Narrator: Previously on:
[Scenes from 1X01: Pilot]
[INT. CSI - HALLWAY]
(NICK moves the "SOLVED" magnet from the side and puts it right on top of the board on CRIME #99, UNIDENTIFIED PERSON, on his side of the board.)
(Cut to: GRISSOM swings NICK'S new I.D. badge in front of him.)
Grissom: Congratulations, Nicky, my boy. You are now a CSI Level Three.
Nick: (excited) Whoo!
[INT. CATHERINE'S SISTER'S HOUSE - BEDROOM - MORNING]
(LINDSEY wakes up.)
Lindsey Willows: Mommy?
Catherine: I couldn't drive here fast enough to tell you how much I love you.
Lindsey Willows: I love you, too.
[Scenes from 1X02: Cool Change]
[INT. CSI - LAB]
Catherine: Sara Sidle?
Sara: (smiles) I know who I am. I think you're a little confused.
[INT. CSI - BRASS' OFFICE - DAY]
(GRISSOM checks into BRASS' office as he clears his stuff out.)
Grissom: I just off the phone with the Sheriff. He says he wants me to run the unit.
Brass: You're the boss.
[INT. CSI - HALLWAY]
(GRISSOM and WARRICK sit on the bench in the hallway.)
Grissom: They say I got to let you go.
Warrick: I know.
(GRISSOM stands and moves in front of WARRICK.)
Grissom: I don't care what the book says. I lost one good person today, I don't want to lose another.
(GRISSOM holds out WARRICK'S gun and badge back out to him.)
Grissom: Here.
(WARRICK looks up at GRISSOM.)
CUT TO END OF "PREVIOUSLY ON"
FLASH IN.
[EXT. VARIOUS NEVADA DESERT (STOCK) - DAY]
(Camera close up of a shovel dropping dry dirt onto the ground and patting it down. A large booted foot steps onto the spot.)
(The MAN finishes and walks away from the spot with his shovel.)
HARD CUT TO BLACK.
(A lighter flame flickers on. The woman holding the lighter is lying down in the dark. She looks around at the enclosed space around her. She starts to panic and cry.)
(She screams as she realizes that she's inside a box.)
[SCENE_BREAK]
[INT. GARRIS RESIDENCE -- NIGHT]
(Scene opens on the tape machine playing the ransom note. GRISSOM, NICK and JACK GARRIS listen to the message.)
Altered Voice: (o.s.) (from tape) Bring $2 million in hundreds to Charleston and Third in three hours or your wife dies. (beat) Stop me from taking the money -- she still dies.
Jack Garris: This guy thinks it's some kind of joke using a voice like that.
Nick: He's altering his voice, sir, electronically.
Grissom: We don't consider it a joke at all.
(GRISOM starts the tape over again.)
Altered Voice: (from tape) Bring $2 million in hundreds ...
Jack Garris: (irritated and impatient) You guys have listened to that tape like, twenty times. Will somebody please go out and find my wife?
Grissom: Mr. Garris, please. Sometimes, if you listen closely you can hear a lot.
(GRISSOM rewinds the tape again. He plays it and everyone falls silent as they listen to the low frequency buzz of the player.)
Jack Garris: (after a moment) I don't hear anything.
Grissom: Right. Where do you hear nothing in Las Vegas?
(JACK GARRIS doesn't say anything as he thinks about it. GRISSOM answers his own question.)
Grissom: The desert. (beat) And, judging by what sounds like a low frequency buzz in the background, possibly near power lines.
Jack Garris: How'd you hear all that?
Grissom: I listen.
(JACK GARRIS stares at GRISSOM and nods his head slightly.)
(In the background, we can hear someone talking on a phone.)
Brass: (to phone) Right, okay, all right, got it.
[INT. GARRIS RESIDENCE -- CONTINUOUS]
(BRASS makes his way across the living room toward them. He puts his phone away.)
Brass: (to GRISSOM) I just spoke with the FBI. They'll back us up if we need it, but we have to handle it.
(BRASS turns to leave. JACK GARRIS stops him.)
Jack Garris: Uh, detective, wait. What are my chances here ... of-of Laura ... f-for Laura?
Brass: It's a three-hour window.
Jack Garris: Will somebody just tell me the truth?
Brass: A ransom message with a short fuse means that the victim's situation will cause her to expire by or before the deadline regardless of what we do.
Nick: In a car trunk -- that kind of thing.
Brass: It's a form of passive murder if you want to be, uh... 'honest' about it.
Jack Garris: Then you guys have got to move.
Grissom: Mr. Garris ... it's my experience that, in situations like this if you want to go fast, go slow.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
[INT. GARRIS RESIDENCE - BACK HALLWAY -- NIGHT]
(SARA walks cautiously into the hallway. She looks at the security pad on the wall.)
Sara: Get a picture of the security pad. Someone touches it before it's dusted, I break their fingers.
(SARA turns her head and works her way down the hallway. The photographer/tech follows her.)
Sara: Shoot the mirror, point of disturbance the lamp, point of disturbance ...
(SARA puts an evidence marker on the mirror and she puts evidence marker #2 on the lamp on the floor. The tech takes pictures of the security pad on the wall, then turns to take pictures of the mirror.)
(SARA looks up and sees something on the doorframe. As she stares at it, NICK appears behind her also staring at the doorframe. SARA turns around.)
Sara: ... you're standing in my crime scene.
Nick: No. (he holds up the disk) (beat) You're in mine.
(NICK smiles and turns to walk out of the house.)
Sara: (envious) You're doing audio? I wanted that.
Nick: I outrank you.
Sara: Technicality. Who did Grissom handpick to work here?
(NICK chuckles dryly.)
Nick: Keep telling yourself that.
(SARA turns back to look at the doorframe)
Sara: (to the tech) Get the lights, will you?
Technician: Got it.
(The TECHNICIAN turns the lights off. SARA gets out her ALS and looks at the stuff on the doorframe.)
[SCENE_BREAK]
[INT. GARRIS RESIDENCE - LIVING ROOM -- NIGHT]
(BRASS talks with JACK GARRIS.)
Jack Garris: Shady friends? No. Laura surrounds herself with quality people-- people of real substance.
(BRASS nods.)
Brass: Has her behavior changed recently -- drug use, alcohol, things like that?
Jack Garris: (interrupts) No, no, no, nothing like that.
(BRASS doesn't say anything. He stands up.)
Jack Garris: She's a health nut -- we both are.
Brass: Uh-huh.
Jack Garris: Look, I'm a rich man. How do we let this guy know I'll pay?
Brass: We don't want to go there yet.
[SCENE_BREAK]
[EXT. GARRIS RESIDENCE - SUV -- CURB -- NIGHT]
(NICK starts the car's engine. GRISSOM leans in through the open passenger window to give NICK last minute instructions.)
Grissom: Nick, tell lab to do a reverse algorithm on that tape and then get it into enhancement.
Nick: I know what to tell the audio guy.
Grissom: You've been a Level Three for what, two weeks?
Nick: I got it under control.
(GRISSOM stares at NICK and doesn't say anything. NICK smiles.)
Nick: Swear.
(GRISSOM moves away from the window.)
Nick: Later.
(NICK shifts the car into gear.)
[SCENE_BREAK]
[INT. GARRIS RESIDENCE - BEDROOM]
(Camera opens on a broken picture frame on the floor next to evidence marker #6. A camera flashes.)
(GRISSOM walks into the bedroom. SARA is standing at the dresser taking photographs. GRISSOM walks in and looks around.)
Sara: Cursory call -- looks like a professional job.
(GRISSOM doesn't say anything. He leans over to look at the various framed pictures on the tabletop. SARA continues to call it.)
Sara: (continuing) Our guy bypasses the security system, surprises the wife in the back hall. Drags her in here. She grabs onto the doorway -- sign of struggle. No sign of sexual assault. He's in, they're out.
(GRISSOM glances down and sees a smudge on the carpet. It grabs his attention and he leans in low to examine it closely.)
Sara: (continuing) Probably ... egress through those doors. Excuse me, is my evaluation interrupting you?
Grissom: No, no, no. I barely heard you.
Sara: Glad I have a healthy ego. You find something interesting there?
Grissom: Dirt.
Sara: You're ... so ... technical ... I can hardly keep up, but ...
GRISSOM; Oh, sorry, but, uh ... out of context, it's ... just dirt.
[SCENE_BREAK]
[EXT. GARRIS RESIDENCE - BACKYARD - NIGHT -- CONTINUOUS]
(GRISSOM steps through the open balcony doors and out into the backyard patio. SARA follows him.)
(He looks around. SARA sniffs.)
Sara: Did you just slap on bad cologne?
Grissom: I never wear it. It interferes with the job.
Sara: It's almost sweet.
(GRISSOM sees something.)
Grissom: Hmm.
(He finds a cloth on the ground. He picks it up and smells it. He offers it to SARA to smell.)
Sara: Can't be chloroform.
Grissom: Halothane, maybe.
Sara: We'll confirm it in GC mass spec.
(SARA reaches into her bag for an evidence bag.)
Grissom: "Looks like a professional job," I think you said.
(SARA glances up at GRISSOM and smiles.)
Grissom: Care to amend your evaluation? I mean, if the guy forgets the rag he used to knock her out, he can't be much of a pro.
(He puts the cloth in the evidence bag SARA holds open for him.)
Sara: (smiles) I keep trying to be your star pupil.
Grissom: Sara, that was a seminar. This is real. Pebbles, tile -- the front is all concrete.
Sara: No dirt. Context-- there is dirt on the carpeting inside.
Grissom: In an otherwise spotless house.
Sara: You're saying kidnapper tracked the dirt in.
Grissom: Possible. As of now, that's about all we have, so ... I guess we follow the dirt.
(GRISSOM walks past SARA and back into the house. SARA looks up, shakes her head and smiles.)
[SCENE_BREAK]
[EXT. RESIDENTIAL STREET -- NIGHT]
(Cameras flash. The female in the body bag is covered and the bag zipped up.)
(Cut to: The ambulance door closes and the vehicle drives off.)
Catherine: How many hit-and-runs we had this year?
Warrick: Too many. One thing I can't stand is a punk coward.
(CATHERINE looks down at the roadside and stares at the scooter that the little girl was riding. It's on its side next to evidence marker #1 and a ruler.)
Catherine: My daughter wants one of these scooters. Says she's the only kid in the world who doesn't have one.
(CATHERINE steps up to the fallen scooter and kneels down next to it. WARRICK looks at CATHERINE'S back.)
Warrick: You want me to take this case alone?
(CATHERINE turns around to look back up at WARRICK.)
Catherine: You feeling all right, Warrick?
Warrick: Oh, I'm fine. I'm ... I'm looking after you. (He shakes his head.) It's that thing with Holly Gribbs.
(CATHERINE stands up and looks at WARRICK.)
Warrick: It's made me think of who I am to my partners, you know?
Catherine: So this is what-- your new leaf?
Warrick: (embarrassed, yet serious) You keep on busting on me, you won't see any kind of leaf.
Catherine: (smiles) Hey, relax. I'll play nice. Thank you for the offer. I'm okay. I can handle this one.
(CATHERINE turns back to look at the scooter. She kneels down next to it.)
Catherine: It'd be nice if this paint transfer had just one special property. (beat) You want to call it?
Warrick: (points) Vehicle's humming down Rochester. The vic was on her scooter, heading eastbound. Car brakes here ...
(WARRICK points to the tire marks on the road next to evidence marker #3.)
Warrick: ... impact here. The vic was thrown -- what-- twenty meters?
Catherine: And all we've got is some paint that's going to match up to about 20 million other vehicles.
Warrick: (sighs) Yeah.
Catherine: b*st*rd.
[SCENE_BREAK]
[INT. GARRIS RESIDENCE - FOYER -- NIGHT]
(JACK GARRIS heads out the front door. He turns around to look at BRASS.)
Jack Garris: Are you ordering me not to pay the ransom?
Brass: It's a very strong suggestion, yes.
(Behind BRASS, GRISSOM turns the corner and heads slowly toward the men.)
Jack Garris: After you told me she could already be dead? I don't believe you guys. This is my wife. I'm paying the ransom.
Brass: Look, if you give up the cash the kidnapper has no reason to communicate with us.
Jack Garris: Does anyone on your team know where Laura is right now?
Grissom: We have an entire forensics lab working on this.
Jack Garris: Yeah? Something tells me I'll see her before you do.
(And with that, JACK GARRIS walks out of the house with the money in a briefcase.)
Brass: Well, your job just got harder.
Grissom: Yeah.
Brass: (sighs) I'll stay close to the money.
(BRASS heads out the front door to follow JACK GARRIS.)
[SCENE_BREAK]
[SCOPE VIEW OF THE DIRT]
Grissom: (V.O.) This dirt has interesting properties.
[SCENE_BREAK]
[INT. CSI - LAB -- NIGHT]
(SARA and GRISSOM are in the lab. SARA is looking through the scope at the dirt.)
Grissom: The gold flecks -- that's easy -- it's gold. The little gray squiggles? Cyanide.
(She looks up from the scope.)
Sara: Cyanide? He poisoned her?
Grissom: No. Did you know that Nevada produces 80% of the country's gold? Miners drop cyanide powder into the dirt and it draws the gold to the surface.
Sara: And how does a bug specialist know so much about dirt?
Grissom: I had a case five years ago. We found a skeleton in an abandoned gold mine. I thought it was a murder. Turned out the guy passed out drunk and the cyanide leached into his system.
Sara: Gruesome, Grissom.
Grissom: You know, it's funny but every case teaches me something about the next.
Sara: So when you said, "Follow the dirt"...?
Grissom: Gold mine -- it's possible that's where he's got her.
Sara: Great. There's got to be 100 gold mines in Nevada.
Grissom: True, but how many are near power lines within range of the drop zone? (He unrolls the map in front of him.) Three. (He points.) One ... two ... three.
HARD CUT TO BLACK.
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DR. JENNA WILLIAMS uncovers the little girl.)
Dr. Jenna Williams: This is your hit-and-run victim. Bad thing about this job is you stop asking yourself 'why'. Here's the bruise I was telling you about.
(She lifts up the blanket to show CATHERINE the bruise on the little girl's thigh. CATHERINE leans in for a better look.)
Dr. Jenna Williams: You see it?
(WARRICK moves around to look at the bruise.)
(Quick flashback to: The little girl screams. The car impacts her on the thigh. End of flashback. Resume to present.)
Catherine: (straightens) Oh, my god. Plate numbers.
Dr. Jenna Williams: From the license plate when it impacted her skin.
Warrick: Looks like a "four" and a "J."
Catherine: Yeah.
Warrick: Not like he left us any evidence.
Catherine: Call DMV.
Warrick: I'll get them to cross-check this partial within a five-mile radius see how many hits they come up with. You'll have those pictures for me?
Dr. Jenna Williams: Yep.
(WARRICK heads out of the autopsy room.)
Catherine: I'll meet you out front.
Warrick: All right.
[SCENE_BREAK]
[INT. HELICOPTER (MOVING) - OVER DESERT -- NIGHT]
(SARA and GRISSOM are sitting in the moving helicopter looking through a heat sensor.)
Sara: Freaky. Is that what I think it is?
Grissom: It's a pack of coyotes. The sensor picks up any form of body heat, two-legged or four-legged.
[SCENE_BREAK]
[EXT. DRIVING RANGE - NIGHT]
[SCENE_BREAK]
[INT. BRASS' UNMARKED CAR - STREET ACROSS DROP POINT -- NIGHT - CONTINUOUS]
(BRASS sits in his car keeping his eye on the trash can just outside the driving range grounds.)
(He watches as a sports car drives up to the trash can. JACK GARRIS gets out of the car with the bag full of money. He looks around and walks toward the trash can. He lifts up the lid and dumps the bag inside the trash can.)
Nick: (o.s.) Captain Brass. Hey.
(NICK opens the car door and gets inside the passenger seat, startling BRASS.)
Brass: Geez, you scared me.
Nick: Sorry. Sorry. Grissom told me to hook up with you. He says the drop place will be a crime scene.
Brass: We hope.
(BRASS turns to look outside just as JACK GARRIS gets back into his car. He closes the door.)
[SCENE_BREAK]
[INT. HELICOPTER (MOVING) -OVER DESERT -- NIGHT]
(The heat sensor tracks a coyote running across the desert.)
Grissom: Come on, give us something two-legged.
Sara: Last mine. We've circled it twice.
Grissom: Yeah, well, we'll circle it again.
(SARA leans over and taps the pilot on the shoulder. The pilot nods.)
[SCENE_BREAK]
[EXT. HELICOPTER (MOVING) - NIGHT]
[SCENE_BREAK]
[INT. BRASS' UNMARKED CAR - STREET ACROSS DROP POINT -- NIGHT]
(A man walking his dog approaches the trash can. He leans over to tie his shoe.)
Nick: Why don't they move in on the guy?
Brass: Why? 'Cause he's probably just walking his dog.
(The man pulls his dog along past the trash can.)
Nick: Well, he's been there five minutes.
Brass: Dogs take their time. What, do you want to be rushed?
Man On Radio: Male in a ball cap, 10:00.
(A man carrying a set of golf clubs approaches the trash can. The man looks around.)
Nick: Here, kitty, kitty...
Brass: (to mic) Nobody moves. You got that? Rock solid till my order.
Officer: (from radio) Copy.
(The man looks around and walks toward the trash can. NICK and BRASS watch from the car parked across the street.)
[SCENE_BREAK]
[EXT. HELICOPTER (MOVING) - OVER DESERT-NIGHT]
[SCENE_BREAK]
[INT. HELICOPTER (MOVING) - OVER DESERT -- NIGHT]
(GRISSOM sees something on the monitor.)
Grissom: What was that? Go back.
Sara: Where?
[HEAT SENSOR VIEW]
(Traveling low across the desert floor, there's something in the middle of the screen.)
Grissom: There.
(They pass the heat mass.)
Grissom: Swing around!
(As they pass it a third time, SARA can definitely see that it's a person lying on their side with their hands tied in front of them.)
Grissom: (realizing) My god, she's below the surface.
Sara: (to the pilot) Okay, let's land! Take her down! Down!
(SARA and GRISSOM take off their ear phones.)
[EXT. HELICOPTER - DESERT - NIGHT -- CONTINUOUS]
(The helicopter lands.)
Grissom: Ground team is right behind us. I'll guide them in.
(GRISSOM and SARA exit the helicopter.)
Grissom: She's got to be right up here.
(Searching the ground, the start yelling for LAURA GARRIS.)
Sara: Mrs. Garris! GRISSOM: Mrs. Garris! Can you hear us? SARA: Mrs. Garris! GRISSOM: We're with the Las Vegas Police Department!
(They hear a woman's muffled screaming coming from the ground.)
Grissom: Here! She's here!
(They drop their gear and start digging, pushing the dirt and rocks away with their bare hands.)
Sara: Got something here.
(Sirens approach and get louder as they near. They stop and emergency personnel and gear exit the vehicles.)
Sara: Come on! GRISSOM: Get that end! SARA: Yeah, come over!
(They all start to dig frantically for LAURA GARRIS.)
Grissom: Got to get her air! GRISSOM: Give me a pick -- an ax-- something. GRISSOM: Get away. Let me get in there.
(Someone hands GRISSOM a pick and he starts to dig for the edge of the box cover. He lifts it up.)
Grissom: Pull it!
(The OFFICERS lift the lid off of the box. Inside is LAURA GARRIS.)
Sara: Oh, my god.
(GRISSOM kneels to help her up from the box.)
Grissom: Okay, we're going to pull her up.
(With GRISSOM'S assistance, LAURA GARRIS stands up, dirt and dust all over her.)
Grissom: Sara, get me something to cut this tape.
(GRISSOM turns to look at LAURA GARRIS.)
Grissom: (to LAURA GARRIS) You okay? GRISSOM: You're going to be okay now. GRISSOM: Get this off.
(SARA hands GRISSOM the scissors and he cuts the tape off from LAURA GARRIS' wrists.)
Grissom: Okay.
(He hands LAURA GARRIS over to the OFFICERS, the tape still in his hand.)
(SARA stands next to him, trying to catch her breath. GRISSOM turns to her.)
Grissom: (to SARA) You okay?
Sara: Never ceases to amaze me what people do to each other.
(SARA looks at the officers and steps away from GRISSOM.)
Sara: (yells out instructions) Transport the box to the lab for latents. Hair fibers, get soil exemplars.
(GRISSOM turns his radio on.)
Grissom: (to radio) Victor-18. Brass, do you hear me?
Brass: (from radio) Copy.
Grissom: (to radio) We got the package, and she's still alive. ...
[SCENE_BREAK]
[INT. BRASS' UNMARKED CAR - NIGHT]
Grissom: (from radio) ... Brass, are you reading me? Over.
Brass: (to radio) Victor-9, affirmative. Way to go. Major player is in our sight. Will update. Out.
(Outside, the man with the cap returns to the trash can. He puts his golf bag down.)
Nick: You think that's him? You think that's our guy right there?
(BRASS keeps an eye on the man and watches as the man moves to the trash can. He lifts the lid up and reaches inside where he removes the bag full of money.)
Brass: (to radio) Move on ball cap! Move, move, move!
(The man grabs the bag and tries to leave. A siren blasts and a cop car rushes into his path, blocking his exit.)
(An OFFICER gets out of the vehicle and raises his weapon at the man with the ball cap.)
Officer: Police officers! Freeze!
Chip Rundle: Hey, no, I wasn't stealing the bag, all right?
Officer: Hands on your head. Down on your knees! OFFICER: Hold still.
(CHIP RUNDLE gets down on his knees with his hands on his head. The second OFFICER hand cuffs him. BRASS and NICK make their way toward CHIP RUNDLE.)
Chip Rundle: Hey, look at the bag. It's not even leather. Why would I want it?
Brass: I can think of about two million reasons, Tiger.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[SCENE_BREAK]
[EXT. CHARLES MOORE'S HOUSE - FRONT PORCH -- NIGHT]
(CATHERINE and WARRICK walk up the path to the front door. CATHERINE rings the doorbell. She knocks on the door. The door opens.)
Catherine: Hello.
Charles Moore: Can I help you folks?
Catherine: Mr. Charles Moore? (He nods.) We're with the Las Vegas crime lab. We'd like to talk to you about your car.
Warrick: We believe it may have been involved in a traffic collision earlier this evening.
Charles Morre: I told the police when they called, my car was stolen.
Catherine: That's why we have a search warrant, sir ...
(CATHERINE unfolds the paper in her hand and holds it out to CHARLES MOORE.)
Catherine: ... so that we can look in your garage.
(He takes the warrant and looks at it.)
[SCENE_BREAK]
[INT. MOORE'S GARAGE - NIGHT --CONTINUOUS]
(The garage door opens. CATHERINE and WARRICK look at the damage to the front of the car with the Nevada plates #484 JUD. CATHERINE looks at WARRICK and turns around to look at CHARLES MOORE.)
Charles Moore: It-it was an accident. I saw the girl and I tried to brake but I accelerated by mistake. I get confused. I-I shouldn't have left. I was wrong. (pauses) Is she okay?
Catherine: She died at the scene.
Charles Moore: (sadly) Oh, my god.
Warrick: You're going to be charged with manslaughter, Mr. Moore. Felony hit-and-run. Do you have a lawyer?
[SCENE_BREAK]
[INT. BREAK ROOM - NIGHT]
(WARRICK walks into the break room. CATHERINE is already there. She's carrying a box.)
Warrick: Catherine, I just got off the phone with the traffic guys. They've impounded Moore's car. Should be here any minute.
(CATHERINE opens the box and inside is a cake with "Happy Birthday Lindsey" icing on it.)
Catherine: Is it me or did he give it up too easy?
Warrick: Old guy was scared.
(GRISSOM rushes into the room. He's giddy with excitement.)
Grissom: (smiling) You have to see the birthday present I got for your daughter.
(SARA also walks into the room.)
Sara: What's the rule? How long do I have to be here before I start kicking in for gifts?
Catherine: When the spirit moves you, Sara. So, in your case, I guess, never.
(GRISSOM opens the box and shows CATHERINE the "CHEMLAB/500" that he's holding in his hand.)
Grissom: I got one of these chem labs when I was six. I almost blew up the whole house. (He chuckles.)
Catherine: I hope you can return it 'cause, uh, Lindsey doesn't want a party.
Grissom: Yeah, what kid doesn't want a party?
Catherine: My kid.
Nick: Hey, Catherine what time's your little girl coming by?
Catherine: She isn't.
(NICK holds up his own gift, a "CHEMLAB/500".)
Nick: Yeah, but I got her a chem set.
Sara: You keep that; might learn something.
Nick: Stop flirting with me. Cath, really, when's the party?
Catherine: (exasperated) What do I have to do -- put it on the bulletin board? There is no party. My daughter doesn't want a party. Is everybody clear on that?
(Several pagers beep. Everyone checks their pagers.)
Warrick: Our car's here.
(WARRICK and CATHERINE head for the door.)
Sara: The burial box is in.
(SARA turns for the door.)
Grissom: The victim's ready at Desert Palm.
(GRISSOM turns to walk out of the room. As he passes NICK, he puts his CHEMLAB set on NICK'S CHEMLAB set.)
Grissom: We'll play with these later.
(NICK laughs. He's the only one left in the room. He looks down at the two boxes and shakes his head.)
[SCENE_BREAK]
[INT. CSI - GARAGE -- NIGHT]
(Camera opens on the box with the words, "WINERY NEVADA" on the bottom of the insignia on its side.)
(The TECHS drop the box in front of SARA.)
Sara: Thanks, guys.
Techs: (leaving) No problem.
Sara: "Garris Winery."
[SCENE_BREAK]
[INT. DESERT PALM HOSPITAL -- NIGHT]
(GRISSOM interviews LAURA GARRIS in the presence of her husband, JACK GARRIS.)
Grissom: And you never saw the person, huh?
(LAURA GARRIS looks at GRISSOM.)
Laura Garris: He ... grabbed me from behind.
(Quick flashback to: Someone grabs LAURA GARRIS from behind, clamping their gloved hand over her mouth muffling her cry. End of flashback. Resume to present.)
Laura Garris: There was something clamped over my mouth ... (she touches her lips) ... and that's the last thing that I remember.
Grissom: You know how you got the bruising around your eye?
Laura Garris: (shakes her head) I have no idea. I'm sorry. I was knocked out.
(She takes a shuddering breath and glances up at her husband JACK.)
Laura Garris: I just don't think I can help you.
Jack Garris: She's been through enough. Can we cut this short?
Grissom: Sure. I'd like to get a blood sample from you, though, if I could.
Laura Garris: What for?
Grissom: You've got scratches on your arm. If we can find traces of your blood in Rundle's truck we can match the DNA -- make our case against him that much stronger.
Jack Garris: Come on, Grissom, you have the guy. Isn't that enough?
Grissom: Yeah, well, we didn't get any prints off the duct tape, our audio guys are working on stuff. Right now, we need something more concrete if we want to prove that he did it.
Laura Garris: I want to help, jack.
Jack Garris: Okay, all right.
Laura Garris: Whatever it takes to put this guy behind bars I'll do.
[SCENE_BREAK]
[INT. CSI - LAB]
(SARA works on finding prints. She finds one and smiles.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS interviews CHIP RUNDLE.)
Brass: So you want to talk to us, no lawyer?
Chip Rundle: Why would I need a lawyer? Look, I told you I didn't know there was any money in that bag. Hit balls at that park twice a week. Ask around.
Brass: And the fact that you're Jack Garris' trainer?
Chip Rundle: How does that mean I kidnapped his wife? I know the dude.
Brass: Yeah.
(BRASS sits down.)
Brass: And the layout of the guy's house.
Chip Rundle: He pays extra for me to come to him.
Brass: You want to explain why we found your fingerprints all over the crate Laura Garris was buried in?
Chip Rundle: Look, unless it was from Jack's vineyard, I don't know. Helped him move some crates couple weeks ago up to his garage. I can't believe it. Y-y-you got nothing to hold me on. Going once, going twice ... sold ... to the man walking out the front door.
(CHIP stands up and walks toward the door. He pauses next to BRASS and puts a business card on the table in front of him.)
Brass: Don't go too far, pal.
Chip Rundle: My lawyer's number. In case you'd like to communicate with me again.
(CHIP heads for the door. GRISSOM walks into the room and they meet each other in the doorway.)
Chip Rundle: Hey, didn't I see you on the news tonight -- the chopper-- you were digging up Jack's wife? It's amazing. Hope you catch the guy.
Grissom: Me, too.
(CHIP leaves the room. GRISSOM turns around to look at BRASS.)
Grissom: So?
Brass: Aw, kid didn't give up a thing ... except the tape that'll break the case open.
(BRASS reaches for the tape recorder on the table and removes the disk inside. He gives it to GRISSOM.)
Grissom: Did you let him know you were recording him?
Brass: Yeah. The guy has no idea what you science types can do with a little audiotape.
Grissom: Thank you.
(GRISSOM smiles and leaves the room.)
[SCENE_BREAK]
[INT. CSI - GARAGE]
(WARRICK and CATHERINE both stand outside the driver's door. WARRICK peers in to the window.)
Warrick: How tall you do you think Mr. Moore is?
(CATHERINE sighs.)
Catherine: Six feet, I'd say.
Warrick: Old people must love hugging that steering wheel 'cause this seat is pushed all the way forward.
(WARRICK opens the door and squeezes himself into the front seat.)
Warrick: Oh!
(WARRICK settles in and looks at the mirror.)
Warrick: Oh ... well, I'm six feet and this mirror isn't helping me at all.
(CATHERINE looks around and gets a hunch.)
Catherine: Start the car.
Warrick: Why?
Catherine: Just do it.
(WARRICK starts the car and they're both startled by the loud rap music.)
Warrick: Whoo!
Catherine: Mr. Moore was not the last person to drive this car.
(WARRICK starts to get into the music.)
Catherine: (in a loud voice) Uh, turn the music off.
Warrick: This?
Catherine: (loud) Yeah.
Warrick: It's good stuff.
Catherine: (shouts) Nobody over nineteen ... (WARRICK turns off the music) (immediately in a softer voice) ... was the last person to drive this car.
(WARRICK sighs.)
Warrick: Yeah.
[SCENE_BREAK]
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(GRISSOM walks into the lab where NICK and THD, the lab tech, are working on the audio tape.)
Nick: Hey, just in time. We're giving it a final run.
(The computer beeps and the ransom note tape comes on. The monitor shows the yellow voice pattern line moving.)
Altered Voice: (garbled, over computer) Bring $2 million in hundreds to Charleston and Third in three hours or your wife dies. Stop me from taking the money -- she still dies.
THD: This is the end of the same tape after a reverse algorithmic.
(THD types on the keyboard. The tape goes on a second time.)
Chip Rundle: (clearly, over computer) Stop me from taking the money -- she still dies.
Grissom: (smiles) Sounds like our guy to me.
Nick: (nods) It is. Now, ransom tape against your exemplar. You got it loaded up, T.H.D.?
THD: Right here.
(The tape from CHIP'S interview with BRASS goes on. The monitor shows a blue voice pattern line moving.)
Chip Rundle: (from tape) Look, unless it was from Jack's vineyard, I don't know.
Chip Rundle: (o.s.) Helped him move some crates couple weeks ago up to his garage.
Grissom: Survey says ... perfect match to the naked ear. Now, where's my spectrograph, so the defense attorneys can't claim that our alterations were altered?
(THD goes to another computer.)
THD: Right here. Uh, yellow lines are the ransom message blue's the interview.
(On the monitor, the yellow line and the blue line combine.)
Nick: There's something wrong. There's just a green line.
Grissom: That's 'cause the blue line is directly on top of the yellow line which makes it green. It's a perfect match.
Nick: We got our kidnapper.
Grissom: What do you do now, Nick?
Nick: I'll call Brass, tell him to go pick the guy up.
Grissom: But you tell Brass to drag his heels 'cause you still got work to do.
(SARA appears in the doorway.)
Sara: Grissom, can you look at something out back? Could be big.
Grissom: (to SARA) Yeah. (to NICK) Come see me after you raise Brass.
(GRISSOM walks out of the room, leaving NICK standing there confused. He turns to look at THD.)
Nick: What did I do wrong?
THD: I'm not going to spoil Grissom's fun. This is how he teaches all you guys.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE and WARRICK interview CHARLES MOORE.)
Warrick: Does anybody else drive your car, Mr. Moore?
Charles Moore: I was driving yesterday.
Catherine: Sir, that doesn't answer our question.
(The door to the interview room opens and JAMES MOORE walks in.)
James Moore: Pops ... hey, you okay?
(CHALRES MOORE looks up at JAMES. He turns to look at CATHERINE.)
Charles Moore: What's he doing here?
Catherine: Your grandson is an approved driver on your insurance. We had him pulled out of school.
Warrick: So, James you like Mos Def?
(JAMES looks at the scene, then takes a seat at the table.)
Catherine: Did you hit that girl with your grandfather's car?
(JAMES MOORE doesn't say anything. He turns to look at his grandfather.)
James Moore: Pops, let me explain to them.
Charles Moore: No.
James Moore: They should hear what happened.
Charles Moore: They're going to ... from me.
(JAMES doesn't say anything more.)
Charles Moore: I asked James to drive with me. I don't do so good, night driving. When I hit that girl I got knocked woozy, and James switched seats and took over the wheel ... got me home.
Charles Moore: He was worried about me, not the girl. One more moving violation and they take away my keys. I'm not saying good judgment was used but that's what happened.
Warrick: James you want to add anything to that?
James Moore: No. That's how it was.
Warrick: Will you please escort Mr. Moore back to his cell?
Officer: Sir.
(CHARLES MOORE stands up and heads for the door with the OFFICER. JAMES also stands up.)
James Moore: I'll come see you with a lawyer.
Charles Moore: Just not during school hours.
James Moore: I won't.
(CHARLES MOORE leaves the room.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
(CHARLES MOORE exits the room and walks down the hallway with the OFFICER. JAMES walks out of the room and follows them slowly. CATHERINE exits the room and watches JAMES.)
Catherine: James. You have family? Someone you can call?
James Moore: There's just the two of us.
Catherine: We can give you a lift home.
James Moore: Thanks, no. I'll take the bus.
(JAMES leaves.)
Catherine: You know that James was riding solo that night.
Warrick: Like I know my middle name. Well, let's go back to the car and find the proof.
(WARRICK starts down the hall. CATHERINE doesn't follow him. WARRICK turns around to look at CATHERINE.)
Warrick: What?
Catherine: It's just that we've got so much power in this job which we use to get the bad guys. Once in a while, I'd like to use it to help the good guys like Mr. Moore and his grandson.
Warrick: And what-- forget about little Renda Harris?
Catherine: No ... what I'm saying is that ... putting James away isn't going to bring her back. Mr. Moore is willing to do the time and the victim's family gets closure.
Warrick: Hey, you don't think I'm feeling this? But we got to follow the evidence even if we don't like where it takes us. (beat) It's the job.
Catherine: (sighs) Yeah. I know it.
Warrick: Hey, we start making deals with the devil and you don't get to walk away. You understand what I'm saying?
Catherine: Yeah. Momentary lapse.
(WARRICK turns and they both head out.)
[SCENE_BREAK]
[INT. CSI - HALWAY -- DAY]
(GRISSOM and NICK walk through the hallway.)
Grissom: I want you to find something new on that tape.
Nick: Like what? We already matched the guy's voice.
Grissom: You know what the defense attorneys will do with that? That's who you're up against, in the end.
Nick: You think I don't know that? Aw, you been second-guessing me ever since I got on this case.
Grissom: People leave us clues, Nick. They speak to us in thousands of different ways. It's our job to make sure that we've heard everything they've said. Anything less is reasonable doubt.
Nick: I'll go back to the tape.
(NICK leaves. GRISSOM turns and looks inside the Break Room where CATHERINE is pouring herself a cup of coffee.)
[INT. CSI - BREAK ROOM - CONTINUOUS]
Grissom: You any better?
(CATHERINE looks up at GRISSOM.)
Catherine: What are you talking about?
Grissom: Your little major-minor blowup about Lindsey not wanting a party.
Catherine: Oh, that. Yeah. (sighs) I'm just afraid that I'm making her weird, you know?
Grissom: (looks at her) No.
Catherine: I work 24/7. I have no time for my friends. My daughter rarely sees me having any fun. And, all of a sudden, she doesn't want a party.
(CATHERINE grabs her cup and heads out the doorway. She and GRISSOM start down the hallway.)
[INT. CSI - HALLWAY - CONTINUOUS]
Grissom: And that's because of you?
Catherine: Yes. I'm her mother. She mimics me.
Grissom: Well, then she'll be fine. I mean, look at you.
Catherine: You're just saying that to make me feel better.
Grissom: Yeah.
(Behind them, SARA steps out into the hallway from the garage carrying a roll of tape.)
Sara: Hey, Grissom ... could you come tape me up?
(Without waiting for an answer, SARA ducks back into the room. GRISSOM turns to look at CATHERINE.)
Grissom: I love my work.
Catherine: It shows.
(GRISSOM turns and heads for the garage.)
[SCENE_BREAK]
[INT. CSI - GARAGE - DAY -- CONTINUOUS]
(SARA is sitting inside the car with her hands taped together in front of her. GRISSOM stands outside the passenger seat adding the last of the tape.)
Grissom: So, you found Laura's hairs here ... passenger side, front seat?
Sara: Right. Not in the back. Which made me ask, what kind of a kidnapper puts a woman bound and unconscious in the front seat? The back of my arm isn't touching the sheepskin, see?
Grissom: Yeah. So?
Sara: But, there is sheepskin fiber on the back of Laura's sleeve. That tells us Laura sat back like a normal person would.
(SARA holds out her taped wrists.)
Sara: Cut me, Mack.
(GRISSOM cuts the tape off.)
Sara: Like this.
(SARA pushes her arms back against the front seat to illustrate what she means.)
Grissom: So she wasn't bound at all?
Sara: Correct. But, would a kidnapper risk putting an unconscious woman in the front seat of his car, even unbound? Answer is usually in the question -- you taught me that. So, was she unconscious? We found halothane on the patio. Halothane knocks you out ... if you take it.
Grissom: So, you're saying she never inhaled the halothane?
Sara: Proof would be in her blood. Halothane stays in the system up to 48 hours.
Grissom: How pleased am I that I got a sample of her blood?
(GRISSOM trumps her and she sighs.)
Grissom: So you can go check at the lab, see how it turned out.
(SARA stands up.)
Sara: Damn it, I wanted to carry the ball over the line.
Grissom: I know.
(SARA heads out of the garage. BRASS walks into the garage.)
Brass: We just picked up our kidnapper-- Chip.
Grissom: What's up?
Brass: His lawyer was at his house -- wants to make a deal.
Grissom: No deals. We know what Chip has to offer.
Brass: Oh, yeah, Kreskin? What's that?
Grissom: Laura Garris.
Brass: The Victim?
Grissom: The Accomplice.
[SCENE_BREAK]
[EXT. CSI - PARKING LOT -- DAY]
(GRISSOM is out in the parking lot when NICK calls out to him and rushes to catch up with him.)
Nick: Hey!
Grissom: You got something that can't wait, Nick?
Nick: Yeah, the ransom tape enhanced -- mega-enhanced.
(NICK hands the tape to GRISSOM.)
Grissom: Good. I'll listen to it right now.
Nick: All right. Hey, I just ... I didn't know there was more to look for, you know?
Grissom: You did it. It doesn't matter how we got here. Just remember this.
[SCENE_BREAK]
[EXT. CSI - GARAGE - DAY]
(CATHERINE and WARRICK examine the car. CATHERINE is in the driver's seat and finds something embedded in the steering wheel cover. She sighs.)
Catherine: When you want evidence, you can't find it. When you don't want it, it's as big as Dallas.
Warrick: What you got?
Catherine: Can you tell what that is?
Warrick: My Aunt Bertha could tell, and she's legally blind.
(WARRICK and CATHERINE look at each other.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(WARRICK and CATHERINE are back interviewing CHARLES MOORE. JAMES MOORE sits next to his grandfather -- not saying anything, not looking at them.)
Charles Moore: (perplexed) You want to look at my teeth? What kind of investigation is this?
Warrick: A forensic investigation, sir.
Charles Moore: Fine. You look at my teeth.
(CHARLES MOORE takes his false teeth out from his mouth and puts it on the interview table.)
Charles Moore: Give them back when you're done.
(CATHERINE clears her throat and look at JAMES. CHARLES puts his teeth back into his mouth.)
Catherine: James ... we found a tooth chip embedded in the steering wheel of your grandfather's car. It doesn't appear to be, uh, from your grandfather's teeth.
(JAMES looks at his grandfather.)
Warrick: James ... you have a chipped tooth? Must be an incisor, or we would have noticed.
James Moore: Pops, I'm sorry, but I got to.
Charles Moore: He's a good boy. It was an accident. I make him call ... let me know where he is especially when he's out after dark.
(Quick flashback to: JAMES MOORE is driving the car and talking to his grandfather on the cell phone. Rap music blasts on the radio.)
James Moore: Hey, pops, it's me. Tips were good.
(Flash cut to: Little RENDA HARRIS is moving along on her scooter.)
James Moore: Hey, I thought I'd go check out a movie over at the plex.
(Flash to: RENDA HARRIS on her scooter.)
James Moore: Okay. See you later.
(JAMES hangs up and glances away for a moment to put the phone away. At that moment, RENDA HARRIS crosses the car's path. JAMES looks up and hits the brakes, but it's too late. The car hits RENDA HARRIS. She screams. The scooter falls. JAMES lunges forward, hitting his teeth against the steering wheel.)
(He starts to panic. He reverses the car and leaves the scene.)
(End of flashback. Resume to present.)
Charles Moore: He drove straight home and wanted me to go to the police station with him.
James Moore: I didn't know that little girl was dead. I swear. I didn't know what to do. I knew Pops would know.
Charles Moore: I wouldn't let him turn himself in. That was my decision. Boy's going places - college -- he's got a real future.
Catherine: I'm very sorry, Mr. Moore. James, I'm afraid you're going to have to be taken into custody.
Charles Moore: Miss, please, now, I'm willing to serve his time.
Catherine: I know you are, Mr. Moore. We can't let you do that.
Charles Moore: I made him cover it up. That was my decision.
Catherine: He can explain all that to court. I'll be a witness.
(CATHERINE looks at WARRICK who also nods his head.)
Catherine: We both will.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
(JAMES MOORE walks out of the interview room with handcuffs on and escorted by two officers. CATHERINE and WARRICK follow.)
Warrick: Hey... why don't you run on home? I'll handle this.
Catherine: Is this more of your new leaf?
Warrick: Your daughter gets out of school in a half hour, right? (CATHERINE nods.) On her birthday. (She nods again.) Why do you want to pick a fight with me now?
Catherine: I owe you.
Warrick: Don't think I won't collect.
(WARRICK turns and walks down the hallway.)
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GRISSOM sits in his office with ear phones on listening to the disk. Behind him, the door opens and SARA walks in.)
Sara: Grateful dead CD?
(GRISSOM takes off the ear phones.)
Grissom: Who's dead?
Sara: No halothane in Laura Garris' blood which proves she was never knocked out. She went willingly. She and Chip faked her kidnapping -- which, of course, makes no sense at all.
Grissom: Because she ended up underground in a box.
Sara: With a black eye. Any theories?
Grissom: Greed.
[SCENE_BREAK]
[INT. GARRIS RESIDENCE - LIVING ROOM -- DAY]
(GRISSOM and SARA interview LAURA GARRIS in their living room while she's sitting next to her husband.)
Laura Garris: That's ridiculous. I don't even know Chip Rundle except that he's Jack's trainer.
Grissom: But you became pretty good friends, didn't you?
Laura Garris: (shakes her head) No. Jack ... no.
Jack Garris: (looks at GRISSOM) I believe my wife.
Grissom: Thing is, Jack, I tend not to believe people. People lie. The evidence doesn't lie.
Sara: You and Chip made a plan to run away together with your hard-earned millions, Jack. Divorce is just too long and messy. Anyway, the plan was surprisingly well thought-out.
(Quick flashback to: CHIP RUNDLE grabs LAURA GARRIS from behind, clamping his hand over her mouth.)
Chip Rundle: Don't move.
Laura Garris: Ooh ...
(He lets her go. She turns around and jumps into his arms where they start kissing.)
(They start making their way slowly down the hallway, LAURA GARRIS still being carried by CHIP.)
Laura Garris: Go on, say it.
Chip Rundle: No, no!
(As they pass the large mirror in the hallway, LAURA tips it askew.)
Laura Garris: Say it!
Chip Rundle: What?
(The lamp falls to the floor. LAURA kisses CHIP.)
Laura Garris: Say the words.
(LAURA reaches out for the door frame.)
Chip Rundle: I love you.
(As they pass through the door frame, LAURA leaves a mark there.)
(Flash to: CHIP tracks dirt on the bedroom floor as he leaves.)
(They pass by the dresser where LAURA knocks everything to the floor.)
(CHIP hands LAURA a cloth.)
Chip Rundle: Put this on.
(LAURA puts the halothane on the cloth.)
Chip Rundle: A lot of it.
(CHIP carries LAURA out of the bedroom and through the patio where LAURA drops the cloth.)
(End of flashback. Resume to present.)
SARA You were in, you were out. And you dropped that halothane rag to make sure we'd find it and know you were unconscious -- a real victim. Jack, all due respect -- she's anything but.
Laura Garris: Oh, really? Then how did I end up buried alive, scared to death?
Sara: We're getting to that. You and Chip drove out of town. She sat in the front seat, unbound, fully conscious. They stopped at a roadside phone. Chipper called in the ransom message and I think you were still in the truck then, right, Laura?
Laura Garris: Whatever. This is your thing.
Sara: Pay attention. It's about to become yours.
Grissom: (taking over) Then you both drove East towards Sandfill mine. He probably told you about some little line shack or something where you could stay while he picked up the ransom money. But then, all of a sudden, he pulled over -- probably made some excuse.
(Quick flashback to: CHIP walks away from the car. LAURA GARRIS shuts the car door and hesitantly follows him.)
Laura Garris: Chip... what are we doing?
Chip Rundle: Switching cars -- covering our tracks. I got a jeep up over this hill.
Laura Garris: Where?
(End of flashback. Resume to present.)
Grissom: I bet, right away, in your gut, you knew something was up. And then, just a few minutes later you knew for sure.
(Quick flashback to: Over the hill, LAURA comes upon the wind box in the hole in the ground. She stops smiling. CHIP comes up behind her. LAURA turns around to look at CHIP. He swings and hits her in the eye, knocking her out.)
(End of flashback. Resume to present.)
Grissom: That's when, I believe, you got your black eye.
Laura Garris: I, uh ... I don't remember.
Grissom: And then, finally, you were unconscious. He duct-taped your hands and he buried you.
(NICK walks in to the room.)
Sara: Guess he figured why split $2 million when he can dump you and have it all.
Jack Garris: Laura?
Laura Garris: Jack, it's not true. I had no part in it.
Nick: Audio downloaded everything. Dubs are cued up.
(NICK starts to set up the speakers attached to the player.)
Grissom: Let's listen to Chip's message, okay? Remember, Jack when I told you you could hear a lot if you listened?
Jack Garris: Yeah.
(NICK takes a seat on the couch.)
Chip Rundle: (from tape) Bring $2 million in hundreds to Charleston and Third in three hours or your wife dies. Stop me from taking the money, she still dies.
Nick: I'm sure you all recognize Chip's voice unaltered. Now, one more time with a slight variation.
(NICK takes out another disk and switches it with the one in the player.)
Grissom: It's amazing what we can do with the new forensic audio programs. Enhance sounds, isolate them.
Nick: Heck, we can lift entire speeches just to see what's underneath.
(NICK shuts the player and turns it on.)
CUE SOUNDS: (from tape) CAR WHOOSING
Grissom: A car went by when Chip was on the phone to you, Jack. Scared you, didn't it, Laura? Thought it might be the police?
(Quick flashback to: On the side of the road, CHIP is on the phone. LAURA is hanging out the car window watching when the car on the road approaches them.)
Chip Rundle: (from tape) Bring $2 million in hundreds to Charleston and third in three hours or your wife dies.
(She nervously glances at the car, then quietly says something to CHIP.)
(End of flashback. Resume to present.)
Grissom: Let's hear it once more without that annoying car.
(NICK turns the player on where it's clear what LAURA says to CHIP.)
Laura Garris: (from tape) Chip, hurry up.
(JACK gasps and turns to look at LAURA.)
Jack Garris: You're my whole life.
Laura Garris: Please, Jack. Your work is your life. How else do you think I started sleeping with Chip right under your nose?
Nick: All right, let's go, Laura. Officer has a car waiting out front.
(LAURA stands up.)
Laura Garris: Just wait. Just wait a second. Grissom, I can help you. I can get you Chip not just on this. He was into a lot of things. Steroids. He was into credit cards. He was ...
(The officers put the handcuffs on LAURA.)
Grissom: We already have you both for about 25 years, minimum.
(The OFFICERS take LAURA out of the house.)
[EXT. GARRIS RESIDENCE - DAY]
SLOW MOTION CAMERA: The officers lead LAURA GARRIS out of the house. GRISSOM and crew follow.
Jack: There's one thing you didn't explain in there. As soon as you dug Laura up, why didn't she turn Chip in?
Grissom: Self-preservation. She rats on him, she rats on herself.
(They put LAURA GARRIS into the car. She turns and looks at JACK. JACK doesn't spare her a glance. He turns and walks back into the house.)
[SCENE_BREAK]
[EXT. PARK - BENCH -- DAY]
(CATHERINE and LINDSEY sit on a bench eating popsicles.)
Catherine: So, did you have a good day at school?
Lindsey Willows: Yeah. Three friends made be birthday cards.
Catherine: They did?! Well, you have got some great friends. So, Lindsey ... how come you didn't want to have a party with them?
Lindsey Willows: I see my friends every day at school. I never get to be alone with you.
Catherine: Oh ... wow ... well, I'm really glad to be alone with you, too. I like this more than you will ever know.
(LINDSEY turns and sees a little boy and a little girl just about her own age riding a scooter.)
Little Boy: Come on, man. Little Girl: I'm coming!
(She turns to look at her mom.)
Lindsey Willows: Are you going to get me one of those for my birthday?
Catherine: Uh, maybe when you're older. (beat) Like 40.
Lindsey Willows: (laughs) Mommy!
Catherine: Whatee?
Lindsey Willows: That's not fair.
Catherine: I know it's not fair. Life isn't fair.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - CORRIDOR -- DAY]
(JAMES MOORE empties his pockets. His grandfather stands on the side watching him.)
James Moore: Don't worry, Pops. I'll be okay.
(CHARLES MOORE sighs.)
Charles Moore: My grandson going to jail is never okay. (beat) You stay alive in there. You hear me?
James Moore: (nods) You, too. Don't be going downhill.
(They hug each other.)
(WARRICK swallows. The OFFICER step up to get JAMES. The cell door opens. WARRICK grabs a pen and stops him.)
Warrick: Hold on. James ... the first couple days are going to be the toughest. Here.
(On JAMES' hand, WARRICK writes down a phone number.)
Warrick: Here's my cell number. You run into any problems you call me. I'll be right there. All right? Keep your head up.
(The officer leads JAMES to his cell. The doors close behind him.)
(WARRICK heads out, past CHARLES MOORE who had watched the entire exchange.. JAMES sits down in his cell.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(WARRICK walks out of the room and into the hallway.)
Charles Moore: (o.s.) You didn't have to do that -
(WARRICK turns around to look at CHARLES MOORE.)
Charles Moore: ... give James your number. I've seen other law enforcement people in my day ...
Warrick: "My day." (chuckles) Reminds me of my grandmother. Yeah, I gave her a lot of rough nights, too. She used to call me her "work in progress."
Charles Moore: Yeah. Well ... she did something right.
Warrick: (nods slightly) Maybe.
(WARRICK turns and walks away.)
Plan: A: The search; Q: What is on for Grissom, Nick, and Sara? A: an abducted woman; Q: What is buried underground? A: a little girl; Q: Who was killed in a hit and run? Summary: The search is on for Grissom, Nick, and Sara when an abducted woman is said to be buried underground. Meanwhile a hit and run death of a little girl is investigated by Catherine and Warrick.