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CSI:  CRIME SCENE INVESTIGATION
1X03:  CRATE 'N BURIAL
ORIGINAL AIR DATE ON CBS:  10/20/2000
TRANSCRIBED FROM CBS/DVD

Written by ANN DONAHUE
Directed by DANNY CANNON

Transcript by Intrepid

Do not archive this transcript without permission from The Transcriptionist.

(Zenith brings you HDTV)
(CBS Interactive Program)

RATING:  TV-14-LV
==========================
DISCLAIMER:
==========================
"CSI: CRIME SCENE INVESTIGATION" and other related entities are owned, (TM) and 
(c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS Worldwide Inc., CBS 
Broadcasting Inc., Alliance Atlantis Productions, Inc., Alliance Atlantis 
Corporation, CSI Productions and CBS Productions, All Rights Reserved.  This 
transcript was made without their permission, approval, authorization or 
endorsement.  Any reproduction, duplication or distribution of this material in 
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Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY:  Grissom, Sara and Nick investigate a kidnapping where the wife of a 
wealthy man is ultimately found alive buried inside a box.  Catherine and 
Warrick investigate the hit-and-run death of a little girl on a scooter.
==========================
CSI:  CRIME SCENE INVESTIGATION
1X03:  CRATE 'N BURIAL
==========================



COLD OPEN:

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.)

FADE TO BLACK.



SCENE #01:

[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

(COMMERCIAL SET)



FADE IN.

SCENE #02:

[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.)

CUT TO:



SCENE #03:

[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.

CUT TO:



SCENE #04:

[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.)

CUT TO:



SCENE #05:

[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.

CUT TO:



SCENE #06:

[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.)

CUT TO:



SCENE #07:

[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:  Bastard.

CUT TO:



SCENE #08:

[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.)

CUT TO:



[SCOPE VIEW OF THE DIRT]

GRISSOM:  (v.o.)  This dirt has interesting properties.



SCENE #09:

[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.

SRA:  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.

(COMMERCIAL SET)



FADE IN.

SCENE #10:

[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.

CUT TO:



SCENE #11:

[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.

CUT TO:



[EXT. DRIVING RANGE - NIGHT]



SCENE #12:

[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.)

CUT TO:



SCENE #13:

[INT. HELICOPTER (MOVING) -OVER DESERT -- NIGHT]

(The heat sensor tracks a coyote running across the desert.)

GRISSOM:  Come on, give us something