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#107 : Petits meurtres en famille

Deux jeunes filles viennent d'être découvertes par la police en état de choc. Elles ont en effet assisté au massacre de toute leur famille. Dans leur maison, située dans une banlieue calme, les inspecteurs découvrent les preuves du drame. Aux alentours, ils recueillent de nombreux indices. Grissom, mis sur l'affaire, commence à comprendre quel pourrait être le mobile de ce crime atroce. Il écarte les explications trop simplistes ou évidentes et, avec son équipe, il essaie de comprendre ce qui s'est réellement passé cette nuit-là. Catherine s'implique beaucoup dans l'enquête. Il n'en faut pas plus à son ex-mari pour qu'il prévienne les services sociaux, arguant du fait qu'elle néglige leur fille au profit de son travail.

Titre VO
Blood Drops

Titre VF
Petits meurtres en famille

Première diffusion
17.11.2000

Première diffusion en France
04.05.2002

Plus de détails

Écrit par : Andrew Lipsitz d'après une histoire de Tish McCarthy
Réalisé par : Kenneth Fink

Avec : Timothy Carhart (Eddie Willows), Glenn Morshower (Shérif Brian Mobley), Robert David Hall (Dr Al Robbins), Marc Vann (Conrad Eckley), Madison McReynolds (Lindsey Willows)

Guests :

  • Allison Lange ..... Tina Collins 
  • Dakota Fanning ..... Brenda Collins 
  • Traci Melchor ..... 
  • Mike Bowman ..... Oliver

La quiétude d’un quartier de la banlieue de Las Vegas est soudainement troublée par les cris effroyables d’une jeune fille, sortant de sa maison, lieu de trépas de quatre membres de sa famille. 

Grissom arrive sur place, où l’attend déjà le Sergent O’Riley qui lui signale alors que le bilan du massacre est toujours aussi lourd : le père, la mère ainsi que les deux frères ont été sauvagement assassinés, seules les deux jeunes filles de la famille ont été épargnées. Selon O’Riley, elles n’ont pas pu commettre les meurtres du fait de leur gabarit. La nature du massacre est tellement insoutenable que les agents de la police en sont très perturbés. 

Générique 

Grissom décide de pénétrer à l’intérieur de la maison, la scène de crime, en compagnie d’un agent de la Police Criminelle qu’il charge de prendre des notes, afin de dresser un premier état des lieux. Il le défend d’ailleurs de toucher à quoique ce soit et lui demande d’enfiler une paire de gants.

Grissom établit alors ses premières constatations : il y a une forte odeur de cuivre, ce qui indique qu’il y a beaucoup de sang, il conseille alors son accompagnateur de respirer par la bouche. Ils montent à l’étage et découvrent le premier cadavre gisant sur le sol dans le couloir. Il s’agit de la dépouille du père, homme de race blanche, la quarantaine, étendu dans une mare de sang. Il n’y a pas de traînées sur le sol le corps n’a donc pas été déplacé, Grissom constate des traces de coups de couteau multiples dans le dos et également au cou donnés par une lame à un seul tranchant au premier abord. L’arme a sectionné les veines jugulaires internes droite et gauche. L’agent ne se sentant pas très bien, il est aussitôt relayé par Sara alors venue en renfort, qui constate la présence d’un dessin sanglant sur le mur et pense qu’il s’agit peut être d’un rite satanique. 

Leur visite d’inspection les mène dans la chambre des parents où gît le corps inanimé de la mère, morte après avoir reçu un seul coup de couteau au niveau de la gorge. Ils ne constatent aucune blessure de défense, donc elle serait morte durant son sommeil. Sara prend alors de clichés alors que Grissompoursuit sa visite d’inspection durant laquelle il remarque la présence de gouttes de sang à proximité du cadavre du père. Il constate qu’il n’y a pas de cadavre dans la chambre de Brenda, ce qui n’est pas le cas dans la chambre des deux frères. Le cadavre du premier gît sur le lit, visiblement tué durant son sommeil comme sa mère, et le corps de l’autre se trouve dans le dressing à proximité d’un autre dessin sanglant en forme de cercle concentrique. 

Grissom sort de la demeure et demande à O’Riley de rappeler toute l’équipe de secours qui se trouvait à l’intérieur avant qu’il intervienne. Il demande également à un agent d’appeler son équipe de nuit afin qu’ils travaille de concert sur cette affaire prioritaire. Sara est aussi chargée d’étudier minutieusement les clichés qu’elle a pris.

Pendant ce temps, les médias ont afflué sur place et commentent ce massacre particulièrement violent. Grissom interroge Tina, l’aînée qui a donné l’alerte visiblement très choquée et demandant à voir sa petite sœur et aussi sa petite sœur Brenda, qui reste dans son silence pendant qu’il lui pose des questions. Au moment de la quitter, cette dernière lui dit que le « bison est venu », ce qui interpelleGrissom qui cherche alors a en savoir plus, sans résultat. 

Il rejoint ensuite Catherine, Warrick et Nick devant la maison et leur donne ses instructions : ils ne doivent interroger personne et ne rien dire au sheriff. Il leur indique aussi que l’assassin était encore présent il y a deux heures de cela et qu’il a laissé des traces sur son passage. 

Catherine est chargé de prendre dans la maison des plans et des échantillons sanguins. Nick et Warricksont chargés de fouiller le périmètre à la recherche d’indices sur le parcours du tueur. Quant à Grissom, il inspecte la cuisine à la recherche d’indices. Il est aussitôt rejoint par O’Riley, qu’il a appelé. Il remarque qu’un seul des tiroirs du buffet, contenant des couteaux de cuisine, est ouvert et constate qu’il en manque un. C’est le seul tiroir ouvert, donc le tueur a voulu aller droit au but, ce qui indique qu’il connaissait l’emplacement des couteaux dans la cuisine.

Grissom inspecte ensuite le revêtement du sol de la cuisine à l’aide d’une source lumineuse à variation grâce à laquelle il repère une série de traces qu’il entend bien exploiter à l’aide de son révélateur d’empreintes électrostatique chargé, dans ce cas précis de récolter les poussières des semelles afin de dresser un modèle de la chaussure du meurtrier. 

Grissom interroge ensuite les agents qui sont initialement arrivés sur place. Il leur demande où ils ont marché quand ils se trouvaient à l’intérieur et ce qu’ils ont touché. Ils affirment avoir pénétré dans la maison par l’entrée principale et être montés à l’étage. Il demande aussi à voir la semelle de leur chaussure afin de faire une comparaison avec l’empreinte de pas retrouvée dans la cuisine. Grissomdécouvre alors qu’il s’agit de l’empreinte des chaussures des premiers agents arrivés sur place qui sont finalement allé dans la cuisine sans prendre de précautions.

Interrogé par les médias, Grissom élude la plupart de leurs questions. Le sheriff vient prendre des nouvelles de la situation, sans succès, puisque Grissom ne lui fournit aucune information exploitable. Le sheriff se charge alors de parler à la presse et leur dit que la police a la situation bien en main. Grissomcharge Sara de s’occuper de Brenda qui devra la conduire à l’hôpital afin de subir quelques examens routiniers, ce qui la déçoit fortement, elle qui souhaitait faire partie intégrante des investigations dans la maison. 

Les investigations peuvent alors se poursuivre. Warrick se trouve dans le jardin où il se charge de relever des empreintes et de trouver différents indices. Il remarque ainsi la présence d’une trace de pneu, profondément marquée dans la terre. Quant à Nick, il prend divers clichés des endroits clés de la demeure. Catherine prélève des échantillons sanguins à l’intérieur de la maison aux endroits où gisaient les différents cadavres. Warrick prend également des clichés de la trace de pneu qu’il a repérée dans le jardin et Nick découvre le mégot d’un cigare, dont il prend des clichés et qu’il prélève, dans un des massifs du jardin. Ce n’est pas sa seule découverte. Sur une dalle de l’allée menant à la maison, il repère également un morceau d’allumette qu’il récolte. 

Grissom donne des instructions précises aux coroners venus récupérer les différents cadavres qui seront alors conduits à la morgue. Il leur demande de conserver tous leurs effets personnels(vêtements, bijoux, etc.)

Catherine indique à Grissom qu’elle a envoyé les échantillons de sang au laboratoire pour qu’ils soient analysés. Ils s’interrogent sur la nature du meurtre, en se demandant s’il s’agit bien d’un massacre rituel(d’après les différents dessins sanglants retrouvés sur les murs). Pour Catherine, il s’agirait d’une pale imitation du massacre perpétré par Charles Manson

Grissom émet une théorie au sujet du déroulement du massacre : la mère serait la première victime, tuée pendant son sommeil, le bruit aurait réveillé le mari qui serait alors sorti de la chambre afin de se rendre dans celle de ses enfants afin de les protéger, malheureusement pour lui, le tueur qui l’attendait, un couteau entre les mains, lui porta plusieurs coups de couteau, le premier sur le pas de la porte de la chambre et le dernier au bout du couloir pour l’achever. Or il n’y a pas assez de sang entre le premier point d’impact et l’emplacement du cadavre, ce qui constitue une zone d’ombre à élucider. 

Ils décident de procéder par élimination et suspectent rapidement Tina, la grande sœur, premier témoin du massacre, qui aurait agi de concert avec son petit ami, qui serait alors le bison, pour organiser la tuerie. 

Au département de Police, alors que Brenda s’occupe en dessinant, Sara se plaint auprès de Brass du rôle qui lui a été attribué dans cette affaire (elle est chargée de s’occuper de Brenda). Elle doit l’emmener à l’hôpital où l’attend une assistance sociale pour qu’elle subisse une série d’examens physiques et psychologiques. Sara s’approche alors de la petite fille qui réagit violemment en raturant le dessin qu’elle était en train de réaliser. 

Grissom et Brass procèdent aussi à l’interrogatoire de Tina et lui posent les questions d’usage. Elle affirme avoir entendu des bruits de pas provenant de la cuisine et s’être cachée en conséquence dans la penderie. Elle leur indique aussi que ses parents n’avaient pas vraiment l’habitude de tout verrouiller la nuit et que son père faisait le tour de la maison chaque soir. Grissom lui demande aussi si elle a un petit ami, ce dont à quoi elle répond qu’elle en a plusieurs, mais aucun d’attitré. Aussi lui demande t-il si l’un d’entre eux est surnommé le bison. Sa réaction à l’évocation de ce surnom intrigue Grissom. Un détail interpelle Brass. Il se demande pourquoi elle a eu peur spécialement cette nuit là. Elle affirme qu’elle n’a pas reconnu les bruits de pas provenant de la cuisine, ce qui l’a effrayée. 

Nick et Warrick étudient la trace de pneu située dans le jardin. Warrick se prépare d’ailleurs à réaliser un moulage de cette marque. Cette trace est fraîche puisque le système d’arrosage automatique se met en marche chaque nuit à 2h00 du matin alors que les meurtres ont été commis aux alentours de 2h40. Le suspect est sorti de la maison, a enfourché une moto légère, jeté son mégot de Bindy (marque de cigarette indienne fortement prisée par les jeunes) et a traversé le gazon, laissant alors une trace de son passage. Ce qui les amène à penser que le meurtrier pourrait être un adolescent, alors habitué à prendre des raccourcis. 

À l’hôpital, le médecin ayant examiné Brenda rejoint Sara et l’assistante sociale dans la salle d’attente. Il lui indique qu’il souhaite procéder à des examens complémentaires psychologiques qui seront réalisés par un psychiatre, sur la petite fille. Sara est surprise et demande quelques explications à la représentante des services sociaux qui veut alors prendre la relève. Or Sara insiste pour rester auprès de Brenda afin d’être présente en cas de découverte d’un élément qui pourrait faire progresser l’enquête. 

Quant à Catherine, elle analyse minutieusement les différentes projections et marques sanguines à l’intérieur de la maison. Elle place des écriteaux numérotés aux endroits où se trouvent les différentes traces, tout en prenant des clichés. Son but : dresser un plan exact où figure l’emplacement de chaque marque et déterminer les différentes trajectoires sanguines afin de mettre en évidence le parcours du meurtrier. Plongée dans son travail, elle en oublie même de récupérer Lindsey à l’école ! 

Au laboratoire, Warrick rejoint Grissom, alors en train d’inspecter à la loupe la chemise de nuit de Tina. Il lui fait part de ses découvertes au sujet de la trace de pneu découverte dans le jardin. Il s’agit d’une trace laissée par un scooter (année 1993); après quelques recoupements, il découvre qu’un adolescent vivant à proximité de la scène de crime a le même modèle. 

Grissom est surpris de ne voir apparaître aucune trace de sang sur le vêtement qu’il analyse. (En effet, lorsqu’une personne découvre le corps d’un membre de sa famille, elle se jette dessus afin de voir si elle est toujours en vie, ce qui a pour effet de maculer de sang ses vêtements). La réaction de Tina lors de la découverte des cadavres (qu’elle n’a sans doute pas approché suffisamment pour tâcher sa veste)intrigue donc Grissom qui se demande alors ce qui s’est réellement produit. 

Catherine rentre rapidement chez elle et découvre sa fille en compagnie de son ex mari Eddie, qui s’est alors chargé de la récupérer à la salle de danse. Catherine visiblement gênée lui explique sa défaillance,Eddie lui répond que cela n’est pas grave et qu’il comprend, ce dernier étant alors au courant de l’affaire sur laquelle travaille Catherine. Mais son bipper sonne, c’est Grissom qu’elle appelle aussitôt. Il lui demande de revenir rapidement au labo parce qu’il a de nouveaux éléments à lui soumettre. 

Au labo, Grissom croise Ecklie qui lui rappelle que le shérif veut des résultats. La compétition entre l’équipe de nuit et l’équipe de jour est au centre des débats. 

Brass et Warrick interrogent Oliver, le propriétaire du scooter à l’origine des traces de pneu dans le jardin. Il affirme qu’il ne se trouvait pas dans le quartier au moment des faits, mais plutôt à Hoover chez son père, et qu’il ignorait que la famille de Tina avait été tuée. Il leur indique également que Tina multipliait les conquêtes masculines. Ce dernier leur révèle que le scooter est une propriété collégiale dans la mesure où il partage son utilisation avec ses amis qui ont investi dans l’achat de celui-ci. 

Grâce aux traces de pneu, l’équipe tient quatre suspects mais il y a d’autres éléments intéressants à exploiter : la veste de Tina ne comporte aucune trace de sang, des analyses ADN de la cigarette Bidy et de l’allumette sont en cours sachant qu’aucun membre de la famille n’en fumait (d’après Tina) et les examens psychiatriques réalisés sur Brenda indiquent qu’elle est en état de choc dû au traumatisme – elle a d’ailleurs réagi à l’évocation du mot bison. 

Catherine interroge à son tour Tina sur l’absence de sang sur les vêtements qu’elle portait au moment des faits. Dans sa déposition, elle déclare avoir serré sa mère dans ses bras avant de trébucher sur la dépouille de son père dans le couloir, or cela aurait du laisser des traces visibles sur ses vêtements. Elle corrige alors sa déclaration. Elle prétend avoir vu ses parents morts puis être sortie rapidement de la demeure afin d’aller chercher du secours. Grissom évoque alors les indices qui lui rapportent une autre histoire. 

Ensuite Brass et Nick procèdent à l’interrogatoire des trois autres suspects. Le premier indique qu’il a couché avec Tina mais qu’il était interdit de sortie depuis une semaine et nie avoir tué sa famille, le second déclare qu’il campait au moment des faits et le dernier nommé Jess Overtam, visiblement nerveux reconnaît avoir eu des rapports sexuels avec Tina et demande aussitôt un avocat. Nick reste avec lui au cas où il lui fournirait des indications sur l’emplacement du scooter. Excédé, le suspect sort de la poche de sa chemine un paquet de Bindy, ce qui interpelle Nick qui fait alors le rapprochement avec la cigarette retrouvée sur les lieux du crime. Il récupère le paquet ainsi que son boîtier d’allumette, sur lesquels il pourra effectuer des analyses et des tests de comparaison. 

Brass rejoint Grissom pour lui donner les conclusions de l’interrogatoire. L’attention se porte dorénavant sur Jess, un des utilisateurs du scooter, ce qui fait réagir Tina, alors présente dans la pièce.Brass envisage de demander une commission rogatoire afin de fouiller chez lui. Tina demande à voir sa sœur mais Grissom n’accède pas à sa requête car elle ne se trouve pas dans les locaux de la police mais à l’hôpital où elle a subi des examens montrant qu’elle est en état de choc. Catherine lui demande alors ce qu’il s’est réellement passé. Brenda a-t-elle vu le petit ami de sa sœur tuer les membres de sa famille ? 

Nick vérifie si le morceau d’allumette qu’il a découvert dans l’allée est bien issu du boîtier qu’il a emprunté à Jess, le morceau d’allumette s’y emboîte parfaitement, le test de comparaison se révèle alors concluant, Warrick confirme alors sa découverte. Nick tient la résolution de l’enquête et l’élément suffisant pour confondre le meurtrier ! 

Grissom, accompagné par Brass, fouille le garage de Jess, et découvre fortuitement la roue du scooter ainsi qu’un pantalon maculé de sang dans une poubelle. (Commentaire personnel : il faut vraiment être stupide pour laisser de telles preuves à son domicile !) 

La culpabilité de Jess ne fait plus aucun doute ! Il passe alors au détecteur de mensonge, qui se révèle concluant (il indique qu’il a agi de concert avec Tina qui lui a alors demandé de tuer sa famille) sauf pour l’avant dernière question concernant le mobile du meurtre (a-t-il commis le meurtre afin de voir librement Tina ? il répond OUI alors que le détecteur indique qu’il ment). Suite à ce test, la culpabilité de Tina ne fait plus aucun doute ! L’affaire semble alors bouclée mais quelques zones d’ombre subsistent. 

Grissom demande au docteur Robbins si ce dernier lui a bien fait parvenir les effets personnels de la famille Collins, il lui déclare alors les avoir confiés à Ecklie, ce qui irrite Grissom qui se rend alors chez son «collègue» afin de les récupérer. S’en suit une discussion plutôt houleuse où la rivalité exacerbée existant entre les deux hommes est alors mise en lumière. Grissom insiste sur sa position prioritaire à propos de cette affaire. Il finit ainsi par récupérer ce qu’il est venu cherché. Durant ses observations, il découvre que le médaillon que portait le père est estampillé d’un bison. Ce qui intrigue Grissom, qui voit en lui le fameux bison dont parlait Brenda. Il appelle donc Sara pour lui demander si les médecins ont découvert des traces de violences sexuelles sur la jeune fille, ce que ne confirme pas Sara. Il lui demande de faire des clichés du corps de Brenda à l’aide d’un appareil photo à ultraviolets agissant comme une radiographie. 

Quant à Catherine, elle établit des observations à partir des clichés et des échantillons sanguins, sur le cheminement du meurtrier dans la maison. Voilà ce qu’elle constate : l’agresseur tue la mère, le père va protéger sa fille, il passe alors devant le tueur qui le rattrape et l’immobilise avant de l’achever dans le couloir alors que le père s’apprête à entrer dans la chambre de Brenda. Or elle se rend compte que le père sortait en fait de la chambre de la petite fille, ce qui la pousse à donner une nouvelle version de la reconstitution. Le meurtrier a d’abord tué le père qui sortait de la chambre de Brenda, il s’est ensuite dirigé vers la chambre des parents (d’après les gouttes de sang provenant du père, indiquant que le couteau suintait durant le trajet), pour tuer la mère dans son sommeil. Juste au moment d’appelerGrissom pour lui faire part de ses constatations, elle reçoit la visite d’un agent de la protection de l’enfance lui indiquant que son ex mari Eddie a porté plainte contre elle parce qu’il lui reproche de délaisser souvent Lindsey pour son travail. Il lui indique qu’une enquête est en cours pour mettre en lumière les négligences qu’on lui impute. 

Sara observe attentivement les clichés de l’appareil photographique à ultraviolets. Ils révèlent des traces de violences physiques, ce qui atteste que le père abusait de sa fille sexuellement. 

Grissom interroge à nouveau Tina et lui révèle ce qu’il a découvert. Elle passe donc aux aveux et décrit les atrocités qui se déroulaient dans sa maison bien avant la nuit du meurtre. 

Elle avoue alors que Brenda est en fait sa fille et non pas sa soeur, née d’une relation adultérine avec son père. Elle explique pourquoi elle a chargé Jess de tuer sa mère et ses deux frères, alors coupables de ne pas avoir su la protéger, elle voulait aussi surtout protéger sa fille afin qu’elle ne subisse plus le même sort. 

Fait par Morte

COLD OPEN:

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

[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]

WHITE FLASH TO:



SCENE #01:

[EXT. COLLINS' HOUSE - NIGHT]

(Camera opens on the front of the Collins' mail box. The sprinkler system is
on.)

(Camera pushes in slowly to the bunny lawn decorations near the mail box.)

(The sprinkler system shuts off.)

(After a moment, the front door opens and a woman screams.)

TINA COLLINS: (screaming) Help me!

(TINA COLLINS runs out of the house.)

TINA COLLINS: (screaming) Oh, god, help me! Somebody, please! Please ... oh,
god! Somebody help me!

(TINA COLLINS runs across the front lawn and out into the street, still
screaming at the top of her lungs.)

TINA COLLINS: Please! Help me! Help me!

(She runs to the next door neighbor's, the lights in the house having turned on
at the screams.)

TINA COLLINS: Help me! Help me! Please!

(She reaches the front door and starts pounding on it.)

CUE SOUND: (PRELAP) AMBULANCE SIREN WAILING

CUT TO:



SCENE #02:

[EXT. NEIGHBORHOOLD - NIGHT -- CONTINUOUS]

(Emergency vehicles and Officer cars surround the house. GRISSOM drives up to
the scene, the dispatch radio on in his car.)

(GRISSOM parks the car and exits the vehicle. He meets up with DET. O'RILEY.
They head for the house.)

GRISSOM: Hey.

DET. O'RILEY: Heads up. The press is going to be all over this one.

GRISSOM: Did the count change since you called me?

DET. O'RILEY: Four dead: Mother, father, two teenage boys. The sisters were
luckier.

(He points to a girl talking with an officer off to the side. She has a blanket
wrapped around her.)

DET. O'RILEY: Teen girl heard a noise, hid in the closet. Alerted the
neighbors after all the shouting was done.

(He points to a little girl sitting in the front seat of the police car.)

DET. O'RILEY: Younger sister's over there. They couldn't have killed their
father tag team -- soaking wet.

(GRISSOM looks at the house and sees an OFFICER run out of the house, a
handkerchief pressed tightly to his mouth. He rushes toward the bushes at the
side of the house to throw up.)

GRISSOM: What's the matter with your guys?

DET. O'RILEY: They've been inside.

(DET. O'RILEY puts his notebook into his coat pocket and walks away.)

(Grimly, GRISSOM stares at the house. He sighs.)

HARD CUT TO:
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

SCENE #03:

[EXT. COLLINS HOUSE - NEAR FRONT DOOR -- NIGHT]

(GRISSOM and SHIBLEY walk toward the open front door.)

GRISSOM: Put your equipment down, son.

(SHIBLEY puts his kit down. GRISSOM signs in and hands the board back to the
officer at the door. He hands a pair of latex gloves to SHIBLEY. GRISSOM'S
thoughts are at what lies beyond. GRISSOM puts his own gloves up.)

GRISSOM: Put these on. I'm going to do a preliminary walk-through. You're
going to take my notes.

CUT TO:

[INT. COLLINS' HOUSE - FRONT DOOR - NIGHT - CONTINUOUS]

(GRISSOM and SHIBELY walk inside.)

(GRISSOM looks around. He sees the framed family photograph on the wall.)

(SHIBLEY also looks around and sees the light switch. He moves to turn it on.
GRISSOM stops him.)

GRISSOM: Don't touch that! I want everything exactly the way it was.

(SHIBLEY withdraws. GRISSOM looks around and sees the stairs leading up to the
second floor. On the way up, they pass more framed family photographs hanging
on the wall.)

GRISSOM: The air smells like copper. Lots of blood. Breathe through your
mouth.

SHIBLEY: Yes, sir.

(On the stairway, they pass a statue of a rabbit in front of a photograph of
rabbits.)

(They reach the second floor.)

CUT TO:



SCENE #04:

[INT. COLLINS HOUSE - SECOND FLOOR - HALLWAY - NIGHT -- CONTINUOUS]

(The first thing they see down the hallway is a pair of feet of the first dead
body. There is blood spatter on the hallway walls. GRISSOM turns the corner
and looks down at the body.)

GRISSOM: Male caucasian approximately 40 years old lying in a pool of blood.

(GRISSOM walks cautiously around the body. SHIBLEY appears and takes a look at
the body as he writes. GRISSOM kneels down next to the body.)

GRISSOM: No drag marks. Body does not appear to have been moved. Multiple
stab wounds to the back and neck. Looks like a single-edged blade. Force to
such a degree that the left and right internal jugular veins have been
transected. Head faces west. Feet pointing east. Approximately two feet from
the north wall, one foot from the south.

SHIBLEY: (swallows as he's getting sick) Could ... could you take your own
notes? I think that I'm going to be sick.

(Behind him, SARA appears. She looks at SHIBLEY and grabs the clipboard from
him.)

SARA: I got it. Go get some fresh air.

(SHIBLEY leaves, coughing as he goes. GRISSOM stares at SARA.)

SARA: I heard on the scanner. Quadruple. Figured you might need a hand.

GRISSOM: You don't sleep, do you?

SARA: (shakes her head, unoffended) No.

(GRISSOM turns back to look around. SARA also looks around and latches on the
bullseye symbol on the wall.)

SARA: Blood swirl on the wall. Are you thinking cult? Manson?

GRISSOM: (shakes his head, he doesn't know) Somebody left a message. I need
to see the rest of it.

(GRISSOM looks around.)

CUT TO:



SCENE #05:

[INT. COLLINS HOUSE - SECOND FLOOR - MASTER BEDROOM - NIGHT -- CONTINUOUS]

(GRISSOM and SARA walk into the Master Bedroom. They walk toward the bed. On
the bed, Mrs. Collins is dead.)

(GRISSOM recites; SARA writes.)

GRISSOM: Female Caucasian. Appears to be one stab wound to the throat.
Transection of left and right carotid arteries with exsanguinating hemorrhage.
No defense marks. Cursory opinion: She was killed in her sleep.

(SARA looks around. Listening. GRISSOM also stops and looks around. In the
silence, they can hear it. Something's dripping.)

(They both lean in toward the body.)

(Her blood hasn't clotted and is dripping down her fingertips to the floor.)

GRISSOM: (sighs) Do you feel this?

SARA: (nods) (quietly) Her soul's still in the room.

GRISSOM: But there's something else.

CUT TO:



SCENE #06:

[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]

(SARA takes a picture of the dead woman. GRISSOM walks out of the room and down
the hall. He follows the blood spatter on the floor back to the body of MR.
COLLINS.)

(GRISSOM stops in front of the door that MR. COLLINS is in front of. It's
BRENDA'S room. GRISSOM pushes the door open and walks into the room. He looks
around. It appears to be a normal little girl's room.)

(Cut to: GRISSOM pushes the door open and walks into the sons' room. One of
the boys is dead on the bed. GRISSOM lifts the sheet and looks underneath.)

(He checks the windows.)

(He looks at the other empty bed in the room. On the mirror is another bull's
eye symbol. GRISSOM walks toward it and looks at it.)

(In the mirror's reflection, he finds the second son's body on the floor between
the bed and the wall. He turns around to look at the body. The little boy was
stabbed in the back. GRISSOM looks up and sees two bloodied hand prints on the
wall. He closes his eyes at the sight.)

SHORT TIME CUT TO:



SCENE #06:

[EXT. COLLINS' RESIDENCE - NIGHT -- CONTINUOUS]

(GRISSOM walks out of the house. He walks up to DET. O'RILEY.)

DET. O'RILEY: You want a barf bag?

GRISSOM: (firmly) I want the paramedics that were in this house back here
immediately -- police escort. Get them on this front lawn now.

(GRISSOM walks up to the next OFFICER.)

DET. O'RIELY: You'd think I work for you instead of the other way around.

GRISSOM: (to the OFFICER) Call dispatch. You tell my entire graveyard shift
that I want them here ASAP -- all of them-- no exceptions.

(The OFFICER leaves. GRISSOM turns to look at SARA.)

GRISSOM: Sara, those photos -- blown up times ten. Tell the lab that we need
every forensics tool available to us here right away. This is the only crime
scene in Las Vegas tonight.

SARA: Yes, sir.

(GRISSOM turns and walks away.)

CUT TO:



SCENE #07:

[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]

(A reporter standing outside the house gives her news report.)

REPORTER 1 (WOMAN): The fear in this neighborhood just South of Las Vegas
Boulevard is almost palpable. Scott Collins, his wife and two sons were
brutally murdered in their beds.

(Camera moves past the woman reporter to another woman reporter behind her ... )

REPORTER 2 (WOMAN): ... the murder of four innocent ...

(Camera moves past the camera view screen for the first reporter ... )

REPORTER 1 (WOMAN): Authorities thus far have offered no comment fueling the
fears of the neighbors that a killer is on the loose.

REPORTER 3 (MAN): (o.s.) ... A multiple murder. And we will have more on this
...

(Camera lingers on the neighbors standing outside and watching.)

CUT TO:



SCENE #08:

[EXT. COLLINS HOUSE - FRONT LAWN - NIGHT -- CONTINUOUS]

(GRISSOM walks up to DET. O'RILEY who is talking with TINA COLLINS.)

DET. O'RILEY: It's okay. We'll give you clothes. The lab guys just want to
see yours.

GRISSOM: Sergeant, may I?

(DET. O'RILEY steps aside. GRISSOM looks at TINA.)

GRISSOM: Tina ... I'm very sorry about what happened to you tonight. But
everything we take from your house can help us find out what happened to your
family.

TINA COLLINS: (crying) When can I be with my sister? She's so scared.

(TINA looks over at BRENDA who is sitting quietly in the front of the police
car.)

GRISSOM: Soon. Detective?

(A woman detective steps up to stand next to TINA COLLINS. GRISSOM turns and
heads for the police car.)

CUT TO:



SCENE #09:

[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]

(GRISSOM walks up to the police car.)

GRISSOM: (to the OFFICER) Thanks.

(The OFFICER steps aside and GRISSOM kneels down in front of BRENDA COLLINS.
BRENDA doesn't look at GRISSOM.)

GRISSOM: Hi. Is your name Brenda?

(BRENDA blinks, then looks at GRISSOM.)

GRISSOM: I'm trying to find out who hurt your family. Do you think you could
help me? Did anyone come into your room tonight? Through the door? Through
the window maybe?

(BRENDA doesn't say anything.)

GRISSOM: (nods) Okay.

(GRISSOM stands up and turns to leave. BRENDA stops him.)

BRENDA COLLINS: (softly) The buffalo.

(GRISSOM turns around to look at BRENDA. He kneels back down in front of her.)

GRISSOM: The buffalo? Who's the buffalo?

(BRENDA doesn't respond. And she doesn't look at GRISSOM.)

GRISSOM: Brenda?

(Sensing he's not going to get any more from her, he stands up and leaves.
BRENDA watches him go.)

BLUR OUT TO:



SCENE #10:

[EXT. COLLINS RESIDENCE - NIGHT - SHORT TIME LATER]

(GRISSOM walks up to NICK, CATHERINE and WARRICK.)

GRISSOM: First rule for this crime scene: Do not do any interviews. Second
rule: Don't talk to the Sheriff either.

WARRICK: Media have it right? Four dead?

GRISSOM: The killer was here not two hours ago. He left part of himself
behind. Catherine, I need you inside, mapping and blood samples.

CATHERINE: You got it.

GRISSOM: Nick, Warrick-- the perimeter. I want to know how he got here how he
got in, how he got out, and how he left.

NICK: I'll take the back. Warrick, you get the front?

WARRICK: You got it.

(Cut to: A blurry image of the American flag.)

(Cut to: Various shots of the spectators standing around watching.)

(Cut to: The media crowd out in the front lawn.)

(GRISSOM heads back into the house.)

(Cut to: DET. O'RILEY stands next to REPORTER 1 (WOMAN). He looks up when
someone calls his name.)

OFFICER: (o.s.) Hey, O'Riley, Grissom wants to see you.

(He ducks under the crime scene tape and heads back toward the house.)

CUT TO:



SCENE #11:

[INT. COLLINS HOUSE - KITCHEN -- NIGHT]

(GRISSOM walks cautiously in the kitchen. DET. O'RILEY walks into the kitchen.)

DET. O'RILEY: They said you were looking for me.

GRISSOM: Hey, stop! Evidence!

(DET. O'RILEY stops and changes his course, staying off of the main floor and on
the sides of the room.)

DET. O'RILEY: We got to hug the wall? This is the only room with no blood in
it. There's nothing to disturb.

GRISSOM: You guys will never get it, will you?

(GRISSOM continues to look around and notices the open knife drawer. He reaches
over and pulls it open.

GRISSOM: Knife drawer. One missing.

DET. O'RILEY: It's the only drawer open. The killer knew where they were
going.

GRISSOM: I think the suspect's been in this house before. And this is the
first place they stopped tonight.

(GRISSOM looks down at the floor.)

GRISSOM: Good. Linoleum. The best surface.

DET. O'RILEY: Best surface for what?

WHITE FLASH TO:

(GRISSOM is on his hands and knees mere inches from the floor holding a special
light. He finds some shoe prints.)

(Short time cut to: GRISSOM has the print lifter on the floor.)

DET. O'RILEY: (o.s.) You guys got some toys ...

GRISSOM: It's not a toy, O'Riley. It's an electrostatic dust print lifter.

DET. O'RILEY: Okay ...

GRISSOM: Like a supercharged lint remover only it lifts footprints. Possibly
our killer's.

(GRISSOM flips the sheet over and on the other side is a clear image of the shoe
print.)

CUT TO:



SCENE #12:

[EXT. COLLINS HOUSE - NIGHT -- CONTINUOUS]

(GRISSOM questions the paramedics.)

EMS #1: We did everything by the book, sir.

GRISSOM: Relax. I just want to know where you walked in the house and who you
touched in there.

EMS #1: Well, we did use the main entry, and up the stairs. But once we saw
the husband, we grabbed the walls. I felt the pulses in each room. Once I
found they were dead, we booked.

GRISSOM: Show me the bottom of your shoe.

(GRISSOM takes the shoe print and checks it against the EMS's.)

(The first one is not a match.)

GRISSOM: Now yours.

(The second EMS's shoes match the prints found in the kitchen. He stands up.)

GRISSOM: You fellows were both in the kitchen.

EMS #1: We didn't see any bodies in there so I didn't think twice about walking
on the surface.

GRISSOM: All right. Yours are the only clean prints I found. Thanks. You can
go back to work.

(The paramedics leave. DET. O'RILEY walks up to GRISSOM.)

DET. O'RILEY: News bim's waiting for you. Thinks you have an "interesting
look."

(GRISSOM looks over at the media hanging just outside the crime scene tape.)

REPORTER 1 (WOMAN): Any truth to the rumor that a cult may have committed these
crimes?

GRISSOM: I don't know that.

REPORTER 1 (WOMAN): But you wouldn't rule it out?

GRISSOM: I don't rule anything out.

(That small tidbid seemed to satisfy the news media. From behind him, someone
calls him.)

SHERIFF BRIAN MOBLEY: Grissom.

GRISSOM: Sheriff?

SHERIFF BRIAN MOBLEY: The mayor has already called. So what have you got?

GRISSOM: Nothing.

SHERIFF BRIAN MOBLEY: I'm not asking you to lay out your whole case. Just give
me something I can run with. I have got to feed the press and defuse the panic.

GRISSOM: As soon as I have something, you'll have something.

SHERIFF BRIAN MOBLEY: Here's a thought. Why don't you try being more like
Ecklie?

GRISSOM: I could speak volumes about Conrad Ecklie, but I have a crime scene to
process so ... you'll have to excuse me.

REPORTER 1 (WOMAN): Sheriff, can you tell me what went on inside?

(SHERIFF walks over to the media and talks with them.)

SHERIFF BRIAN MOBLEY: Let me assure everyone that the situation is well under
control. We don't have any suspects at this time, but our forensic crew ...

(Still sitting in the front of the police car and temporarily forgotten is
BRENDA COLLINS. GRISSOM walks over to SARA.)

SARA: You want me inside?

GRISSOM: I need you to transport the little girl to the police department.
Brass is waiting for you.

SARA: You're kidding me, right? I'm a taxi service on the biggest case of the
year?

GRISSOM: Sara ... I need one of us with that little girl.

(GRISSOM turns and walks back into the house leaving SARA with her mouth
gaping.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #13:

[EXT. COLLINS HOUSE - YARD -- DAY]

(WARRICK finds some tire prints in the dirt. He checks the dirt.)

(Cut to: A bunny yard decoration.)

(NICK stands in the entryway taking pictures of something he's found just
outside the door.)

CUT TO:



SCENE #14:

[INT. COLLINS HOUSE - MASTER BEDROOM - DAY]

(Camera opens on small framed photographs on the bedside table. Camera moves
over to show the bloodstained bedsheets, the body has already been removed.)

(CATHERINE takes a sample of the blood found on the bed.)

(Cut to: [EXT. ENTRYWAY] NICK steps just outside the entryway and sees a bidi
in the bushes. He takes a photograph of it.)

(Cut to: [EXT. YARD] WARRICK takes photographs of the tire prints in the
dirt.)

(Cut to: [INT. SECOND FLOOR HALLWAY] CATHERINE takes another blood sample from
the hallway floor.)

(Cut to: [EXT. ENTRYWAY] NICK picks up the bidi from the bushes and looks at
it. He puts it in a bindle. He looks down and finds a used match. He picks
that up also.)

(Cut to: [INT. SECOND FLOOR BOYS' BEDROOM] CATHERINE takes a blood sample from
the hand prints on the wall. She turns around and watches the CORONERS' remove
one of the boys' bodies.)

CUT TO:



SCENE #15:

[INT. COLLINS HOUSE - FIRST FLOOR - DAY -- CONTINUOUS]

(GRISSOM watches as the body is brought down the stairs by the CORONERS.
GRISSOM walks up to DAVID PHILLIPS.)

GRISSOM: I want to see all of their personal property -- clothes, jewelry,
whatever they have on.

DAVID PHILLIPS: If there's something under all this blood you'll be the first
to know.

(DAVID turns to leave with the bodies. NICK stands in the doorway and lifts up
the sheet to one of the little boy's bodies. He looks under it and puts it
down. He looks at GRISSOM and sighs.)

NICK: (upset) This kid should be out playing Pop Warner.

(NICK heads back outside and hits the door with his fist in frustration.
GRISSOM doesn't say anything, but watches NICK.)

CUT TO:



[EXT. VARIOUS FRONT LAWN SCENES - DAY -- CONTINUOUS]



SCENE #16:

[INT. COLLINS HOUSE - MASTER BEDROOM - DAY -- CONTINUOUS]

(CATHERINE reports to GRISSOM.)

CATHERINE: I got the blood samples on the way to the lab.

GRISSOM: Good. You buy this cult thing?

CATHERINE: You mean the blood swirls next to the father's body in the boys'
room?

(CATHERINE shakes her head.)

CATHERINE: I studied pictures of the Manson Murders. This isn't butter. It's
imitation.

(GRISSOM nods in agreement.)

CATHERINE: What's your take?

GRISSOM: Whoever did it killed the mother first. In her sleep, quick.

CATHERINE: Explains why the blood is confined to the bed and the floor under
it.

GRISSOM: Husband woke up. Ran to protect his kids.

(They start walking out of the bedroom as GRISSOM narrates.)

GRISSOM: The killer nicked him here. And then finished him off down the hall.

CATHERINE: Gave his life for the little girl. There should be more blood.

GRISSOM: Yeah. It's a hole. We need to fill it. If we start from the inside
and fan out whoever's left at the scene ...

CATHERINE: The first suspect.

GRISSOM: The teen daughter?

CATHERINE: Well, she'd need help. Maybe a boyfriend?

GRISSOM: (thoughtful) I wonder if they call him "buffalo."

CUT TO:



SCENE #17:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(Camera close up of BRENDA COLLINS drawing. She's using the black crayon and
vigorously coloring.)

SARA: (o.s.) Look, brass, I don't see why I got to take her. I'm a scientist.
Catherine's the mom. Ask her.

BRASS: O'Riley was primary on this till it passed over to me. Big deal.

SARA: What about Family Services? Can't they take her?

BRASS: They sent their caseworker over to the hospital so meet her there with
the kid.

SARA: I am not good with kids.

BRASS: Look, I'm not asking you to adopt her. Just take her over to sunrise
for a Psych Eval, will you?

(BRASS turns and walks away.)

(SARA looks at BRENDA and walks over to her. She glances back at BRASS, then
kneels and looks at what BRENDA'S coloring.)

SARA: That's very pretty.

(BRENDA grabs the pink crayon and starts scratching out the picture.)

SARA: Or not.

(BRENDA puts the crayon down.)

SARA: Want to go for another ride?

(Without saying anything, BRENDA pushes the paper and all the crayons off the
table and onto the floor. She puts her hands flat against her ears.)

SARA: I'll take that as a "yes."

CUT TO:



SCENE #18:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(BRASS and GRISSOM interview TINA COLLINS.)

BRASS: Tina, do you know what time you heard those noises?

TINA COLLINS: No, but they sounded like footsteps coming from the kitchen.

BRASS: And that's when you hid in the closet?

TINA COLLINS: Yes.

BRASS: Does your family normally keep the doors locked at night?

TINA COLLINS: I don't know. My dad checks the house at night. It's always
been a safe neighborhood.

GRISSOM: Tina ... do you ... go out with anyone special?

TINA COLLINS: I hook up with different guys. No one special.

GRISSOM: Are any of them ... called "Buffalo"?

(TINA doesn't look at them. BRASS notices this immediately.)

TINA COLLINS: "Buffalo"? No.

(GRISSOM notices it also.)

BRASS: How about this, Tina? You live in a house with six people, right? You
must be used to hearing footsteps in the kitchen late at night. Why so scared
last night?

TINA COLLINS: I know my brothers' footsteps. And my Dad's. These were
different.

CUT TO:



SCENE #19:

[EXT. COLLINS HOUSE -- DAY]

(NICK and WARRICK kneel down looking at the tire print in the dirt.)

NICK: How do you know it's fresh?

WARRICK: I checked the sprinkler system. It goes off every night at zero-two
hundred (0200).

NICK: (nods) And paramedics pronounced at oh-two-forty (0240).

(WARRICK starts mixing the plaster cast.)

WARRICK: So somebody came out of the house and got on what looks to be a step
down from a motorcycle and drove it across the lawn.

NICK: And I bet he dropped the bidi I found in the back on the way out.

GRISSOM: Bidi?

NICK: Yeah. Those hand-rolled cigarettes? Probably a teenager. They're always
taking shortcuts.

WARRICK: How's that hand?

NICK: Hmm?

WARRICK: I saw you beating up the door a little while ago. You all right?

NICK: Yeah. It's cool. I'll see you back at the lab.

(NICK stands up and leaves. WARRICK takes the mixture and starts pouring it
into the tire print.)

CUT TO:



SCENE #20:

[INT. HOSPITAL - HALLWAY -- DAY]

(BRENDA COLLINS walks out into the hallway holding onto DR. LEEVER'S hand, a
pink stuffed toy in her other arm.)

SARA: Hey, Brenda.

(DR. LEEVER and BRENDA meet up with SARA and the FAMILY SERVICES REP, CONNIE
BELLVUE. They both stand up.)

DR. LEEVER: Which one of you is with Family Services?

CONNIE BELLVUE: I am. Connie Bellvue.

DR. LEEVER: (to CONNIE BELLVUE) Brenda's fine but I'd like her to have a
consult. I've paged the psychiatric resident. Should be here within the hour.

(DR. LEEVER completely ignores SARA. He turns and leaves. CONNIE BELLVUE steps
up next to BRENDA and puts her hand on the little girl in a possessive manner.)

CONNIE BELLVUE: (dismissing to SARA) Thanks. I'll take it from here.

SARA: What ... what's the head exam for?

(BRENDA starts playing with her hair. CONNIE BELLVUE doesn't answer SARA'S
question.)

CONNIE BELLVUE: I said ... we'll take it from here.

SARA: (insistent) Look, if there's any forensic evidence found during this
exam, I need to be there.

CONNIE BELLVUE: (quietly dismissing) It's already going to be tense.

(BRENDA quietly steps away from CONNIE BELLVUE and around to SARA'S other side,
the side with her gun. She grabs the back of SARA'S jacket, which is tied
around her waist, and starts tugging it to get SARA'S attention.)

CONNIE BELLVUE: (continuous) Go back to your crime lab. I'll keep you posted.

(SARA looks down at BRENDA, who is now looking up directly at SARA. Her choice
unmistakable. SARA puts her arm around the little girl and nods.)

SARA: (soothing) It's okay, Brenda.

(Though still talking to BRENDA, SARA looks at CONNIE BELLVUE.)

SARA: (firmly) I'm not leaving you.

(Camera holds on BRENDA as she looks at CONNIE BELLVUE.)

CUT TO:



SCENE #21:

[INT. COLLINS HOUSE - MASTER BEDROOM -- DAY]

(Camera opens on the photographs tucked into the frame of the vanity mirror.
Through its reflection, we see CATHERINE back inside the master bedroom with a
clipboard in her hand.)

(Camera moves back to focus on a picture of BRENDA sitting at a soda pop counter
and smiling for the camera.)

(Cut to: [HALLWAY -- DAY] CATHERINE starts mapping the blood spatter in the
hallway. She puts down evidence marker #1 and takes a photograph of it.)

(Cut to: [DAY] She puts down evidence markers #3 and #2. She takes a
photograph of evidence marker #2. She takes photos of evidence marker #3. She
takes photos of evidence marker #4. She takes the photo and looks out at the
hallway.)

(Cut to: [LATE DAY] CATHERINE is still in the hallway, crouching between
evidence markers #2 and #3. Down the hallway near the bullseye are evidence
markers #4 and #5. CATHERINE picks up her clipboard and works on the photos.
She writes on the photo with evidence marker #5, "Spatter found opp ... ".
CATHERINE looks out down the hallway.)

(Cut to: [EVENING] CATHERINE finishes mapping out the blood on a plastic
architectural layout of the second floor.)

(Dissolve to: [NIGHT] CATHEIRNE sits on the floor in the door way to one of
the bedrooms, looking out at the blood spatter in the hallway; the evidence
markers are removed. She continues to work. The clock chimes. She looks
around at the sound and checks her watch. She finally realizes how late it is.)

CATHERINE: (grimaces) Linds.

(CATHERINE puts her things aside and scrambles to her feet.)

CUT TO:



SCENE #22:

[INT. CSI - LAB -- NIGHT]

(GRISSOM is in the lab examining TINA'S clothes. He turns on the ALS and cuts
the top lights off.)

(Off to the side, there's a thud ... and a curse.)

WARRICK: Damn!

GRISSOM: (without looking up) That you, Warrick?

(WARRICK walks up to GRISSOM.)

WARRICK: You need to tell somebody when you're cutting the lights.

GRISSOM: What, are you working for OSHA now?

WARRICK: Grissom, you remember those tire treads ... I found on the front lawn?

GRISSOM: mm-hmm.

WARRICK: Well, I ran them through the FBI register and they belong to a '93
Honda scooter.

GRISSOM: That's good.

WARRICK: I DMV'd it. A kid four blocks away from the scene owns the same make.

GRISSOM: That's very good.

WARRICK: I might have just blown open the case and all you give me is a "that's
very good"?

(GRISSOM looks up at WARRICK, changing the subject completely.)

GRISSOM: If your whole family was murdered, wouldn't you run to them to check
to see if they were still alive?

WARRICK: Yeah.

(GRISSOM goes back to examining the clothes. He doesn't find it and gives up.)

GRISSOM: This is a Lady Macbeth.

WARRICK: Lady Macbeth?

(GRISSOM turns the lights back on.)

GRISSOM: "Out, out, damn spot." There's not a trace of blood on the teen
daughter's clothing. Not a spot.

CUT TO:



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



SCENE #23:

[INT. WILLOWS' HOUSE - LIVING ROOM -- NIGHT]

(CATHERINE walks into the house.)

CATHERINE: Linds? Lindsey?

(CATHERINE walks into the house looking for her daughter.)

CATHERINE: Lindsey ... Lindsey.

(CATHERINE walks into the family room and finds LINDSEY on the floor next to
EDDIE, both listening to vinyl record albums.)

CATHERINE: Hi, honey!

LINDSEY WILLOWS: Mommy, hi!

(LINDSEY stands up and gives CATHERINE a hug.)

CATHERINE: Oh, am I glad to see you.

(EDDIE gets up and turns off the stereo.)

LINDSEY: Daddy came to ballet tonight.

CATHERINE: I know. I was just there. Your teacher told me daddy came to pick
you up. Oh, you feel so good.

(CATHERINE puts LINDSEY down and turns to look at EDDIE.)

CATHERINE: Ed ... I'm working this quadruple. Time got away from me. I
apologize.

EDDIE WILLOWS: I figured that's probably what it was.

CATHERINE: Right.

EDDIE WILLOWS: When they couldn't reach you, they called me.

CATHERINE: Yeah. Thank you. I really, really ...

EDDIE WILLOWS: Cath, Cath, Cath ... she's my kid too, okay? All right?

CATHERINE: Yeah.

(EDDIE moves around CATHERINE and starts massaging her shoulders.)

CATHERINE: (sighs) Oh, god.

EDDIE WILLOWS: So, the case is bad? I saw it on the news.

CATHERINE: Yeah.

EDDIE WILLOWS: Hey.

(He stops, turns her around and looks at her.)

CATHERINE: What?

EDDIE WILLOWS: Are you hungry? I made pancakes.

CATHERINE: You made pancakes?

EDDIE WILLOWS: Mm-hmm.

CATHERINE: (chuckles) For dinner?

EDDIE WILLOWS: Yeah.

(CATHERINE'S pager beeps. She checks it.)

CATHERINE: That would be Grissom.

EDDIE WILLOWS: How is your boyfriend?

CATHERINE: (sighs, unamused) Ed.

INTERCUT WITH:

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

(The phone rings. GRISSOM answers it.)

GRISSOM: (to phone) Yeah. I need you back here right away. The Collins Case
is busting out.

CATHERINE: Okay, I'll be right there. Just let me put on some clean clothes.

GRISSOM: Please do.

(GRISSOM hangs up.)

(CATHERINE turns to look at EDDIE, who leans against the door frame.)

CATHERINE: Eddie ...

EDDIE WILLOWS: She's going to ask where you are.

CATHERINE: (sighs) She always does.

(CATHERINE walks away.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #24:

[INT. CSI - HALLWAY -- NIGHT]

(GRISSOM walks through the hallway and promptly runs into CONRAD ECKLIE.)

GRISSOM: Mr. Ecklie.

CONRAD ECKLIE: I just got off the phone with the Sheriff. He wants results,
Gil.

GRISSOM: He should go to a sports book. I hear the Stardust is good.

CONRAD ECKLIE: No. What he should do is go to his first team-- my team.

GRISSOM: Teams, Conrad? I didn't know this was a competition.

CONRAD ECKLIE: Well, it is, and my crew usually wins.

GRISSOM: Really? Didn't graveyard beat day shift in softball last summer?

CONRAD ECKLIE: You know, you can joke all you want. It's your ass on the line.

(GRISSOM heads down the hallway and turns around to glance back at ECKLIE.)

GRISSOM: (rubbing it in) I think it was 14-3.

CONRAD ECKLIE: Like I said, it's all about results. And, if you don't get them
I will.

CUT TO:



SCENE #25:

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

(WARRICK and BRASS interview OLIVER.)

WARRICK: The tire treads from the scooter place you at the scene of the
murders.

OLIVER: Look, I was in Hoover visiting my father. I don't know anything about
Tina's parents getting killed.

WARRICK: Tina's parents? So you know Tina Collins?

OLIVER: Yeah, I know her. A lot of guys know her. She's a freak.

WARRICK: You mean sexually?

OLIVER: Yeah.

WARRICK: Where's your scooter now?

OLIVER: I told him I don't know.

BRASS: So it just disappeared?

OLIVER: Look, it costs money, right? And my dad's been slacking on support so
I bought it with three other guys. We share it.

BRASS: Here's a pen. Start writing.

(BRASS puts the pen down on the table in front of OLIVER. OLIVER grabs the pen
and pulls the paper toward him. He starts writing.)

CUT TO:



SCENE #26:

[INT. CSI - BREAK ROOM -- NIGHT]

(The door opens and SARA walks in to join the meeting.)

SARA: Hey, heard you have a suspect.

WARRICK: We got about four just on the tire prints alone. Homicide's grabbing
them up.

GRISSOM: Let's talk about what else we have. Tina Collins' pajama top from the
murder scene without a drop of blood on it.

(SARA grabs a plate of food and takes a seat.)

SARA: Hello. How does she explain that?

CATHERINE: We're about to go ask her. Nick, what did you find out about that
stuff that you collected at the back of the house?

NICK: The bidi? DNA's still processing but Tina said nobody in the family
smoked.

SARA: So a non-family member was out there.

GRISSOM: Bidi? Bidi? I thought you found a cigarette and a match behind the
house.

NICK: Well, it's just like a cigarette.

SARA: Kids smoke them. They think there's less carbon monoxide.

GRISSOM: What did you find out about the psych exam on the little girl?

SARA: The shrink says the kid is in a catatonic state from a trauma. I
could've told you that. But she did respond to the name "Buffalo."

GRISSOM: Respond how?

SARA: She freaked out.

(CATHERINE stares at SARA and takes a deep breath.)

GRISSOM: And ... what are you doing about it now?

(SARA nods as she looks at GRISSOM.)

SARA: Going back to the girl.

(beat)

SARA: I left her in the car.

(GRISSOM looks at her. CATHERINE can't believe what she's hearing.)

SARA: (deadpans) The windows are cracked.

(GRISSOM stares at SARA, absolutely no expression on his face. SARA breaks out
into a smile and stands up.)

SARA: Give me a little credit. She's at the hospital.

(WARRICK snickers at the fast one SARA just pulled on GRISSOM and CATHERINE.
NICK also smiles appreciatively.)

(GRISSOM turns to look at CATHERINE. CATHERINE stares, then pops a piece of
something in her mouth to eat.)

CUT TO:



SCENE #27:

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

(CATHERINE and GRISSOM re-question TINA COLLINS.)

TINA COLLINS: I don't know why I didn't get blood on my pajamas. I just
didn't.

CATHERINE: But your statement says that you bent down and hugged your mother
who was bleeding profusely. Then you ran out, tripping over your father's body
in the upstairs hallway.

GRISSOM: But there was no blood on you.

TINA COLLINS: I saw my family dead. I was scared. I ran to the neighbors.
That is the truth.

GRISSOM: The evidence is telling a different story.

CUT TO:



SCENE #28:

[EXT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(NICK and BRASS question the scooter owners.)

SUBURBAN TEEN GUY #1: I did the nasty with her, yeah, but I didn't kill her
family. Besides my dad grounded me last week.

CUT TO:

SUBURBAN TEEN GUY #2: I share the scooter with Oliver but I was camping last
night. Ask my mom. She made me go. Church group.

CUT TO:

JESSE OVERTON: We had sex. So what? I want a lawyer.

BRASS: You want a lawyer? Okay, we'll get you a lawyer. Investigator Stokes
will stay with you just in case you remember where you left that scooter.

(BRASS glances at NICK, then leaves the room. JESSE OVERTON nervously sits
there for a moment, then reaches into his shirt pocket for a bidi.)

NICK: There's no smoking in here.

JESSE OVERTON: Sharon Stone -- "Basic Instinct", dude.

NICK: And I'm not your dude. This ain't a movie and Sharon Stone's fine.
Let's go.

(JESSE OVERTON tosses the pack at NICK. NICK takes it and looks at the box.)

NICK: Matches?

(He tosses the matches to NICK.)

(NICK opens the unmarked match pack and looks inside where there's noticeably
two matches ripped out from the pack.)

CUT TO:



SCENE #29:

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

(BRASS walks over to GRISSOM'S office where GRISSOM still has TINA COLLINS
sitting inside.)

BRASS: The kid's name is Jesse Overton. He time-shares the scooter. He admits
to having sex with your girl, and he's asking for a lawyer.

(TINA COLLINS starts to react to what she's hearing. GRISSOM and CATHERINE both
notice her reactions.)

BRASS: I want to get a warrant and search his house. I'll keep you posted.

(BRASS leaves the room.)

(TINA looks at GRISSOM.)

TINA COLLINS: I want to see my sister.

GRISSOM: It's not going to happen, Tina.

CATHERINE: It's a little too late to start coaching her now.

TINA COLLINS: You don't understand. I need to speak with her.

GRISSOM: She won't speak.

CATHERINE: The doctor says it's from trauma. What happened, Tina? Did you
catch your boyfriend killing your family?

(TINA sits back, not responding to the accusation. She glances up at GRISSOM
but remains quiet.)

CUT TO:



SCENE #30:

[INT. CSI - LAB -- DAY]

[SCOPE VIEW: Matches]

(NICK attaches the match found at the scene to the match pack.)

NICK: (o.s.) Ha-ha-ha! Houston, we have liftoff.

WARRICK: Let me take a look.

(NICK steps aside. WARRICK looks at the scope.)

NICK: You see how each half of the match lines up?

WARRICK: I see.

NICK: Ah ... who broke the case?

WARRICK: Well, if you believe what you hear in the halls - Ecklie.

NICK: Ecklie?

BOTH (NICK/WARRICK): (laughs) Day shift.

CUT TO:



SCENE #31:

[INT. JESSE OVERTON'S RESIDENCE - GARAGE -- DAY]

BRASS: Sophisticated criminal, huh?

(BRASS lifts up and opens the trash can. Inside are the scooter parts.)

GRISSOM: Hmm?

BRASS: This is the getaway vehicle. Tossing it in his own trash? What else is
new?

(GRISSOM picks up the tire. BRASS looks inside the trash can and finds
something else.)

BRASS: Whoa. Is this a pair of jeans under all that blood?

GRISSOM: (sighs) "Yet who would have thought the old man to have so much blood
in him?"

[Note: Quote said by Lady Macbeth, from "Macbeth", Act 5, Scene 1, 1.36-8,
William Shakespeare.]

BRASS: What was that?

GRISSOM: That's Shakespeare.

(BRASS nods and hands the bloodied jeans to GRISSOM.)

FADE TO BLACK.



FADE IN.

SCENE #32:

[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- DAY]

(GRISSOM and BRASS watch as the LIE DETECTOR OPERATOR hooks up JESSE OVERTON to
the machine.)

GRISSOM: The lawyer's pleading him guilty.

BRASS: Had to, once I put the murder weapon in his mug.

CUT TO:



SCENE #33:

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

(JESSE OVERTON answers questions while hooked up to the machine.)

LIE DETECTOR OPERATOR: Remember -- yes or no.

JESSE OVERTON: Got it.

LIE DETECTOR OPERATOR: Did Tina Collins approach you at school and ask you to
kill her family?

JESSE OVERTON: Yes.

LIE DETECTOR OPERATOR: (o.s.) Would you lie about that to escape the death
penalty?

JESSE OVERTON: No.

LIE DETECTOR OPERATOR: Did you kill her family?

JESSE OVERTON: Yes.

LIE DETECTOR OPERATOR: Did Tina let you in the front door the night of the
killings?

JESSE OVERTON: Two o'clock. I waited till it was straight up.

(Quick flashback to: At the back door, JESSE OVERTON lights up a bidi with a
match.)

LIE DETECTOR OPERATOR: (v.o.) Yes or no?

(End of flashback. Resume to present.)

JESSE OVERTON: Sorry. (beat) Yes.

(Quick flashback to: JESSE OVERTON selects a knife and takes the biggest one in
the drawer.)

LIE DETECTOR OPERATOR: (v.o.) Did she already have a knife for you?

JESSE OVERTON: (v.o.) No. She let me choose.

(He gets a grip on the knife and heads up the stairs.)

LIE DETECTOR OPERATOR: (v.o.) Did you use that knife to kill Barbara Collins?

(End of flashback. Resume to present.)

JESSE OVERTON: (takes a deep breath) Yes.

(Quick flashback to: JESSE OVERTON puts a gloved hand over BARBARA COLLINS'
mouth. She wakes up, eyes wide. The bed spot next to her is empty.)

(He stabs her. She dies. He lets go of her.)

(End of flashback. Resume to present.)

LIE DETECTOR OPERATOR: And Mr. Collins?

JESSE OVERTON: (harder) Yes.

(Quick flashback to: JESSE OVERTON attacks MR. COLLINS from behind in the
hallway. He stabs him. End of flashback. Resume to present.)

LIE DETECTOR OPERATOR: And both sons?

JESSE OVERTON: Yes.

LIE DETECTOR OPERATOR: Was Tina mad at her parents for not letting you see each
other?

JESSE OVERTON: Yes.

LIE DETECTOR OPERATOR: Did Tina Collins tell you she wanted them dead so you
could see each other?

(JESSE pauses and looks away.)

JESSE OVERTON: Yes.

(Camera cuts to the print out that shows the lines all over the place.)

CUT TO:



SCENE #34:

[INT. POLICE DEPARTMENT - HALLWAY -- DAY]

(BRASS walks out into the hallway carrying the print out.)

BRASS: Well, the sick bastard is on the up and up. (to CATHERINE) Except your
last question. Your "Why"?

CATHERINE: That they killed the family so they could be together?

BRASS: Operator says his respiratory reactions were inconsistent. He's lying.

NICK: We got them both. I don't much care why they did it.

WARRICK: I'm with you there.

GRISSOM: I care. I don't like holes. What are they hiding?

FADE TO BLACK

(COMMERCIAL SET)



FADE IN.

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



SCENE #35:

[INT. CORONER'S OFFICE - FORENSIC AUTOPSY -- DAY]

(GRISSOM walks into the autopsy room.)

GRISSOM: Did you collect the property from the Collins family?

DR. ALBERT ROBBINS: Right after the autopsies. Sealed them myself. Why?

GRISSOM: I told one of your assistants to make sure that I got them.

DR. ALBERT ROBBINS: Well, I gave them to Ecklie. He said he'd deliver them to
you.

(GRISSOM turns and leaves the room without another word. DR. ROBBINS finishes
putting the body back in storage.)

DR. ALBERT ROBBINS: He was down here on another case.

(He closes the door.)

CUT TO:



SCENE #36:

[INT. CSI - BREAK ROOM -- DAY]

(GRISSOM walks angrily through the hallway looking for ... )

GRISSOM: (mad as heck) Ecklie!

(GRISSOM pushes the doors to the break room open.)

GRISSOM: I want everything right now.

CONRAD ECKLIE: (flippantly) I've been going over it.

GRISSOM: The Collins case is my shift. You are completely off base.

CONRAD ECKLIE: What, you're afraid I'll find something that might show you up?

GRISSOM: Oh, I'm sure, if you could, you would have by now. Where is it?

(ECKLIE motions with his hand. GRISSOM heads out the door. ECKLIE stops him.)

CONRAD ECKLIE: I don't care that you got some pimply-faced kid to confess. You
kept the Sheriff out of the loop. That's a career-killer, Gil.

GRISSOM: That's what so sad, Conrad. You think of this as a career.

(GRISSOM leaves the room.)

CUT TO:



SCENE #37:

[INT. CSI - LAB - DAY]

(Piece by piece, GRISSOM goes through the evidence taken off the bodies. He
compares them with the crime scene photos.)

(He reaches for the next envelope and empties it on the table. Inside the
baggie is a bloodied amulet on a chain. He cleans it up and finds ... )

GRISSOM: (whispers) The buffalo.

(Cut to: GRISSOM is on his cell phone.)

GRISSOM: (to phone) Sara?

SARA: (from phone) Yeah?

GRISSOM: (to phone) Sara. When they examined the little Collins girl did they
check for sexual abuse?

SARA: (from phone) There were no overt signs. Why?

CUT TO:



SCENE #38:

[INT. HOSPITAL - EXAM ROOM - DAY]

GRISSOM: (v.o.) Have some ultraviolet photographs taken.

(SARA lifts up BRENDA COLLINS onto the table. She shows BRENDA the camera.)

SARA: This... is a very special camera. It can see deep into your skin. It
can see things nobody can see. How about I take a picture of me first, okay?

(BRENDA nods her head. SARA lifts the camera and takes a picture of her own
arm. The camera clicks. SARA looks at BRENDA and smiles.)

SARA: See? It's okay.

(BRENDA nods her head. SARA unties BRENDA'S gown and slips it just below her
shoulders. BRENDA doesn't say a word.)

SARA: (quietly) Okay.

(SARA attaches a ruler to the top of the gown just below her shoulders. SARA
picks up the camera and checks with BRENDA again.)

SARA: All ready?

(BRENDA nods.)

SARA: Okay.

(SARA lifts the camera and takes the pictures.)

CUT TO:



SCENE #39:

[INT. CSI - GARAGE -- DAY]

(In the garage, CATHERINE speaks into a tape recorder as she takes her notes.
She looks at a schematic of the crime scene, #XR-0048-096822-003.)

(As she speaks, the camera follows on the map. It starts with the figure of the
father in the hallway in front of BRENDA'S bedroom door ... )

CATHERINE: Notes on mapping: Collins family murder. Case #00-398. Intruder
killed mother.

(... then moves to the photo of the mother in the bedroom, Case #00-398, Photo
#17.)

CATHERINE: Father went to protect the little girl. Got nicked by knife.

(Camera moves from the boy's room on the map to the photo, Case #00-398, Photo
#47.)

CATHERINE: Killer subdued him as dad was entering the little girl's room to ...

CATHERINE: ... save her.

(Something doesn't click. It doesn't match the photos she's looking at. She
looks at the photo of the blood drops found on floor, Case #00-398, Photo #36.)

(From this photo, she looks at another photo, #30. And another photo, #18.)

(CATHERINE doesn't like what she's seeing. She reaches for the magnifying glass
to look again at Photo #18.)

(Quick flashback to: Cast in red light, MR. COLLINS steps out of the bedroom
and is attacked from behind. MR. COLLINS falls to the floor in front of
BRENDA'S bedroom door. JESSE OVERTON stabs MR. COLLINS repeatedly.)

(White flash to: JESSE carries the dripping knife down the hallway.)

(End of flashback. Resume to PHOTO #18.)

CATHERINE: Grissom.

(CATHERINE drops the magnifying glass and reaches for her cell phone.)

(There's a light knock on the door. CATHERINE looks up. A man carrying a file
package walks in.)

TED GOGGLE: Catherine Willows?

CATHERINE: Who's asking?

TED GOGGLE: Ted Goggle. I'm with Family Services. Were you working the
Collins' case?

CATHERINE: (sighs) You know, your department can't seem to get things
straight. If you're looking for the little girl, she's already got a
caseworker.

TED GOGGLE: Actually, I'm inquiring about your little girl.

CATHERINE: My Lindsey? Why? What are you talking about?

TED GOGGLE: Your husband, Eddie, filed a report. Says you neglected to pick
her up after dance class last night. That you routinely neglect her for your
job.

CATHERINE: (sighs) Is this Eddie's idea of a joke? What, are you in one of
his bands?

TED GOGGLE: I already made a field visit to your house. Here's the form.

(He hands her the form. She looks at it.)

TED GOGGLE: Lindsey seems okay but there is going to be an investigation as to
whether there was parental neglect. You're on notice.

(He leaves the garage.)

CUT TO:



SCENE #40:

[INT. HOSPITAL - OUTSIDE X-RAY ROOM -- DAY]

(Standing outside the X-Ray room, GRISSOM'S phone rings. He answers it.)

GRISSOM: Grissom.

INTERCUT WITH:

CATHERINE: It's me. Something's off on the map.

GRISSOM: (from phone) Off? How?

CATHERINE: Uh ... I'm looking at dad's blood in the hall. I found an
interesting drop. The droplet tells me that he wasn't running to the little
girl's room.

GRISSOM: He was coming out of it?

CATHERINE: Yeah.

(Quick flashback to: MR. COLLINS coming out of BRENDA'S bedroom when he's being
attacked.)

CATHERINE: (v.o.) I filled one of your holes, Grissom.

(JESSE gets up from over MR. COLLINS.)

CATHERINE: (v.o.) The father was killed first -- then the mother.

(JESSE carries the dripping knife down the hallway.)

CATHERINE: (v.o.) And the blood that we found in the hallway was from the
knife.

(End of flashback. Resume to GRISSOM.)

(CATHERINE shuts her phone off and throws it on the table in front of her. She
picks up the Family Services form and looks at it.)

CUT TO:



SCENE #41:

[INT. CSI - BLACK ROOM -- DAY]

(SARA develops the photos. She flips it over and hangs it up. She and GRISSOM
both look at the pictures.)

SARA: Damn it. Look at all those bruises.

GRISSOM: Somebody was all over this kid.

CUT TO:



SCENE #42:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(GRISSOM and BRASS re-interviews TINA COLLINS.)

(Camera opens on the photos on the table in front of TINA.)

GRISSOM: We have forensic evidence that your father sexually abused your
sister.

(TINA reaches out a hand and touches the photos in front of her.)

GRISSOM: We also know ... that he was in her room the night of the murders.

TINA COLLINS: How can you tell?

GRISSOM: Blood drops. They fall a certain way depending on the motion of the
victim.

(TINA takes a deep breath, her eyes glued to the photos on the table.)

GRISSOM: Something horrible happened in that house, didn't it, Tina? Long
before the night of the murders.

TINA COLLINS: That was the last night he was going to touch her.

GRISSOM: But why your mother? And why your brothers?

TINA COLLINS: (crying) Because they should have protected me.

GRISSOM: You?

TINA COLLINS: My father ...

(Quick flashback to: A YOUNG TINA COLLINS sitting on her bed. She looks up at
her mother standing in the doorway to "TINA'S" room. She leaves and shuts the
door.)

(In the mirror, we see her father in the room alone with TINA.)

(White flash to: The buffalo medallion on a chain around his neck.)

(End of flashback. Resume to present.)

TINA COLLINS: I was young. I learned to deal. But when he went for my
daughter ...

GRISSOM: (realizing) Brenda is ... ? And who is ... ?

TINA COLLINS: The father? I was thirteen ... and nobody noticed that my
clothes were getting bigger. Nice, huh? Brenda may hate me for what I did ...
but I protected her. I did that much.

CUT TO:



SCENE #43:

(SARA and BRENDA sit in the chairs in the hospital hallway. BRENDA clutches her
pink stuffed bear to her.)

(After a moment, SARA reaches over, picks up BRENDA'S hand and holds it. BRENDA
looks up at SARA. She gives her a small smile, then turns and looks back
blankly out in front of her.)

(SARA continues to watch BRENDA.)

CUT TO:



SCENE #44:

[INT. CSI - LOCKER ROOM -- NIGHT]

(CATHERINE closes her locker and leaves.))

CATHERINE: Night, guys.

NICK: (o.s.) See you, Cath.

GRISSOM: Good work.

(GRISSOM grabs his book and heads out. He passes NICK, who is sitting on the
locker bench with an ice pack on his knuckles.)

GRISSOM: It'll be back to normal in 24 hours.

NICK: Normal would be nice.

CUT TO:



SCENE #45:

[INT. CSI - HALLWAY - CONTINUOUS]

(GRISSOM walks through the hallway and glances inside the break room. He sees
something, opens the door and walks in.)

[BREAK ROOM]

(GRISSOM picks up a red apple from the basket on the desk. He takes a bite and
glances down at the table. He stops.)

(He leans forward, picks up the pencil on top of the folded newspaper and fills
out an answer in the crossword puzzle. He puts the pencil down to leave the
room.)

(He takes a bite of the apple and turns back around to glance at the newspaper.
He gives up, takes out his glasses and puts them on. He sits down to finish the
crossword puzzle.)

(In the hallway, WARRICK walks by and glances up. He smile when he sees GRISSOM
working on the crossword puzzle.)

(Camera holds on GRISSOM working on the crossword puzzle.)

FADE TO BLACK.

Fait par drogba

Kikavu ?

Au total, 13 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

miss1110 
11.11.2016 vers 23h

ptitebones 
31.10.2016 vers 18h

RonanBart 
05.10.2016 vers 14h

sia31 
27.09.2016 vers 01h

tibo18 
10.09.2016 vers 14h

Maddy 
Date inconnue

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HypnoChat

Titepau04 (23:39)

Ouiiii ! C'était chouette!

Sonmi451 (23:40)

Tu m'étonnes!

stanary (23:40)

Non je suis toujours là. Mais je me demande bien comment on en est arrivé à parler de ça !

Sonmi451 (23:41)

On est parti de la copine de tite qui angoisse de pas comprendre bébé. ^^

Titepau04 (23:41)

Parce que j'étais toujours la, et j'expliquais pourquoi je n'étais pas encore couchée!

stanary (23:42)

Aaah oui c'est vrai ! Mais bon j'ai pas d'expérience personnelle à raconter donc...

Titepau04 (23:43)

Ouh la la, elle commence à douter!! Savoir si elle veut continuer l'allaitement!

Sonmi451 (23:44)

La fatigue de l'accouchement.

Titepau04 (23:44)

Stanary, surtout le jour où tu es enceinte, fais des cours de préparation avec une bonne sage femme !!! C'est important!

Sonmi451 (23:44)

Et puis si le personnel n'est pas bon, c'est sure ça aide pas.

Titepau04 (23:45)

C'est clair, ma sage femme va prendre le relais mais il faut d'abord qu'elle sorte

Sonmi451 (23:45)

Faut qu'elle s'accroche, c'est le début qui est dure après ça va tout seul

Sonmi451 (23:45)

bébé est en apprentissage aussi, faut pas qu'elle se sente fautive, c'est un travail d'équipe.

Titepau04 (23:46)

On est daccord! Mais quand déjà tu n'as pas confiance en toi, plus la fatigue...

stanary (23:47)

Oh mais non ! Il faut pas arrêter l'allaitement. Ça va rien changer je pense

Titepau04 (23:47)

Je lui ai dit que ça n'avait rien a voir!

stanary (23:48)

C'est le stress qui parle pour elle je pense

Titepau04 (23:49)

J'espère qu'elle va sortir rapidement!

Titepau04 (23:49)

Y'a ça qui joue aussi, elle a hâte de sortir mais le stress que bebe ne prenne pas de poids...

Sonmi451 (23:50)

La chute des hormones qui parle, un baby blues, faut pas prendre de décision là-dessus.

stanary (23:50)

Oui peut-être que tu devrais lui rendre visite demain

Sonmi451 (23:51)

un bébé ne se laisse pas mourir de faim. qu'elle se dise bien que si bébé a faim, il la laissera pas tranquille, elle va pas avoir le choix de le nourrir et bébé trouvera le lait. ^^

Titepau04 (23:53)

Je ne peux pas, les enfants autre que frère et sœur ne sont pas acceptés... je vais pas payé la nounou non plus

Titepau04 (23:53)

Je l'ai vu samedi deja

Titepau04 (23:54)

Je lui ai déjà dit ça!!

Sonmi451 (23:54)

Bon moi je vais me coucher, bébé m'a pas demandé, les microbes doivent le mettre K.O mais je préfère voir que tout va bien. ^^

Sonmi451 (23:54)

Bonne nuit.

Titepau04 (23:54)

Bisoussss

stanary (23:54)

Bonne nuit

stanary (23:59)

Bon aller moi aussi je dois me coucher. Bon courage avec ton amie. Et bonne nuit !

stella (21:26)

Design spécial Noël sur le quartier Downton Abbey ainsi que son calendrier de l'avent original.

DGreyMan (22:23)

Nouveau sondage spécial Harry Potter dans "Game of Thrones" ! Merci d'avance.

carina123 (23:09)

Nouveaux sondages et calendriers sur les quartiers Lie to Me et Jericho, Venez nombreux, merci. Bonne soirée à tous !

sabby (08:54)

Bien le bonjour la citadelle !! Toujours personnes sur Empire pour ouvrir le calendrier de l'avent, ni sur Friday Night Lights pour commenter le nouveau design Un petite visite ferait plaisir, on vous attends Bonne journée à tous !

Moorgana (09:13)

Sondage de noël sur le quartier Heartland

serieserie (10:16)

N'oubliez pas de vous inscrire pour le grande hypnoGame Arrow!!

Margauxd (12:42)

Nouveaux sondages sur les quartiers : Blindspot, The Last Ship et New-York Unité Spéciale, n'hésitez pas à voter !!

Titepau04 (21:41)

Nouveaux calendriers sur les quartiers NCIS Los Angeles, S Club 7 et Dr House!!! ^^

DGreyMan (21:47)

Nouveaux jeux, nouveau calendrier et nouveau sondage dans Game of Thrones. Merci d'avance.

leila36 (22:37)

Hohoho, venez admirer et commenter le nouveau design du quartier "Big Bang Theory". Vous n'allez pas le regretter.

emeline53 (22:43)

Le nouveau sondage de The Fosters vient d'arriver ! Venez nous dire ce que vous voulez comme cadeau de Noël

Sonmi451 (13:47)

Venez commenter les calendriers chez House, Scrubs, urgences et friends. Et au passage un petit vote pour les sondages sont les bienvenus, merci.

Profilage (20:16)

Bonsoir, un tout nouveau calendrier vient d'apparaitre sur les quartiers The 100 & Under the Dome. On vous attend !

carina123 (00:09)

Nouveaux calendriers et sondages sur les quartiers Lie to Me et Jericho, venez nombreux, merci. Bonne soirée à tous !

Sonmi451 (08:43)

Design' spécial noël sur Scrubs, on attend vos commentaires.

Chaudon (10:25)

Nouveau calendrier sur le quartier "Elementary" ! Donnez votre avis sur le quartier de la série !

Chaudon (10:31)

Nouveau sondage sur le quartier "Elementary" ! N'hésitez pas à venir voter sur le quartier et à donner vos avis sur le topic approprié !

Chaudon (10:49)

Votez dès maintenant pour la Nouvelle Photo du Mois du quartier "Elementary" !

arween (10:57)

Bonjour la citadelle ! Une grande animation vous attends sur The Night Shift, venez participer !

seriepoi (11:05)

Bonjour tout le monde ! Vous pouvez, si vous le souhaitez, venir sur le quartier "True Blood" pour commenter le (très) beau calendrier de décembre, fait par Sonmi. Merci par avance et bon dimanche à tous.

ObikeFixx (11:25)

Bonjour tout le monde! En plus du nouveau sondage, n'hésitez à venir découvrir le nouveau calendrier et la nouvelle photo du mois sur le quartier "The Last Ship"

Phoebus (14:15)

Bonjour tout le monde ! Il ne vous reste plus qu'une journée pour voter pour la voter de l'épisode 8x05 de The Vampire Diaries et pour participer à la review de cet épisode.

serieserie (16:44)

Inscrivez-vous vite pour la grande partie d'HypnoGame Arrow qui aura lieu dans 6 jours!! Rendez-vous dans les forums de l'accueil!!

arween (18:46)

Venez voir les nouveaux calendriers de The Night Shift (serie²) et Dollhouse (Xana).

emeline53 (19:24)

Seulement 2 persones pour commenter le design Noël de The Fosters ? Venez donner votre avis en plus, un sondage sur votre souhait de cadeau est en ligne !

stella (19:25)

Special spécial Noel sur le quartier Downton Abbey et sans oublier son calendrier de l'avent original

DGreyMan (22:40)

Bonsoir. Sondage dédié à "Game of Thrones" dans le quartier "Harry Potter"...

DGreyMan (22:40)

... ou le contraire ! ^^

serieserie (09:07)

Plus que quelques jours pour vous inscrire à la grande soirée HypnoGame Arrow dans les forums de l'accueil ou par MP!!!

arween (09:44)

Bonjour à tous ! Aujourd'hui nous lançons une toute nouvelle rubrique, les reviews. Rendez-vous sur la page HypnoReview ou à l'accueil pour plus d'infos Bonne lecture et bonne journée !

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