We see Sevilla watching a woozy Jason being rolled on his side. A doctor comes up to her and says, "Buckshot penetrated his kidney; we removed it. Packed and ligated the renal artery. Sutured his multiple splenic lacerations. He's got some will to live." Sevilla asks if Jason said anything about his family. Nope. Sevilla wants to know if she can talk to Jason. After warning her that Jason may be a little loopy from the anesthesia, the doctor gives the go-ahead. Sevilla goes in, and has a conversation with Caplin that can best be described thusly:
Sevilla: Can you tell us anything useful? Like, who did this to you?
Caplin: Of course not. But have I mentioned yet that the kids were making my wife really crazy?
Sevilla: So did your wife threaten to do anything?
Caplin: Wait a minute. I need to put on my shocked face so we'll all think that I didn't really just try to set up my wife as a psycho killer. I may be whacked out on the pain meds, but I'm still evil enough to be slandering my dead spouse. Oh, wait, was that in my out-loud voice, or just in body language loud enough to be heard in San Francisco?
Once this conversation is over, Sevilla leaves with his clothes (she hands them over to Horatio with, "The blood's starting to smell") and tells Horatio, "He says his wife called him at the office and he came home." Horatio wants to know why. Sevilla tells him, "She was upset. Baby wouldn't stop crying. U-turns from office to home were not unusual." The two of them having established that Stephanie had her hands full and was prevailing upon the person who had contributed a little something to this situation, they begin pondering Jason's wounding in the course of events. After dismissing the possibility that he shot himself in the back with a rifle, Horatio decrees, "Hormonal depression and long arms could get us there."
It's Megan! She's still holding the swab and writing as Delko comes in. She asks, "What you got?" "A year-long gig!" he replies. Actually, he has some long, dark hairs collected from the master bedroom where blonde Stephanie slept. Well, we know what Megan's doing when she's off-camera -- testing the hair.
And now, it's Calleigh's turn to get her very own Science Montage, where she's doing assorted things to the rifle that will be neither explained nor rendered particularly relevant later, so let's move on to Speedle, who's got the gory version of those mail-order home decorator kits where you can draw up the floor plan and stencil in furniture. Speedle's version has different corpse positions and rifle stencils, and even after painstakingly tracing everything in, he's taken the time to go back and fill in little red-ink pools of blood. Horatio pops by eventually to ask how Speedle's little masterpiece is going, and he replies, "Marking evidence as it rolls in." Delko pops in just then, saying, "Megan ran the hairs from the master bed!" We learn that the mystery shedder isn't Stephanie, but a female relative of hers. Speedle says, "The sister was so broken up." What sister? Whose sister? Why is this the first we've heard of her existence, much less her reaction to the news? Has the sister been talking to Megan? Would that explain it? In any event, Horatio immediately infers the worst and says, "Maybe Mom had more than hormones and kids to worry about, huh?"
Calleigh, in the meanwhile, has to worry about the baby bottle. She's fumed it for prints and is now matching the results against the family's prints. Cue Science Sequence Number Two. I've finally figured out why I'm bored stiff by them on this show -- because they don't show us anything. A good mystery allows us to unravel the puzzle along with the investigators, to identify and process new pieces of information with them. Here, the investigation sequences are basically music videos that don't explain what anyone's doing, much less how it affects the direction of the case as a whole. The segments are stunningly devoid of context. I'm not saying that CSI is necessarily the pedagogical tool I'd haul out in a forensics class, but the original does manage to set up its scenes so that the investigators carry us along on their trains of thought; this one does not, and I think that's dull, D-U-L-L, dull.