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Les Experts
#103 : Au-delà des apparences

Laura, la femme d'un homme aisé, est enlevée avant d'être enterrée vivante dans le désert. Son ravisseur exige la somme de deux millions de dollars en échange de sa libération. Le capitaine Brass et son équipe se chargent de l'affaire. De leur côté, Warrick et Catherine enquêtent sur un délit de fuite après un accident ayant causé la mort d'une jeune fille. 

Popularité


4 - 1 vote

Titre VO
Crate'n Burial

Titre VF
Au-delà des apparences

Première diffusion
20.10.2000

Première diffusion en France
13.01.2002

Plus de détails

Ecrit par : Ann Donahue
Réalisé par : Danny Cannon

AvecJudith Scott (Dr Jenna Williams) Madison McReynolds (Lindsey Willows)

Guests :

  • John Beasley .....Charles Moore 
  • Erich Anderson ..... Mr Garris 
  • Jolene Blalock ..... Laura Garris 
  • Hamilton von Watts ..... 
  • Genevieve Buechneras ..... 
  • Samuel L. Jones III ..... James Moore 

Première enquête 

 Experts concernés : Gil Grissom, Sara Sidle et Nick Stokes 

 Le temps est compté pour Laura Garris, enterrée vivante en plein desert. Son mari, un millionnaire a reçu une demande de rançon et a aussitôt contacté les services de police. A Grissom et son équipe de resoudre cette affaire de rapt avant qu’elle ne devienne un cas d’homicide. 

Nick et Sara secondent Grissom dans cette affaire, en relevant des indices aussi bien à l’intérieur qu’à l’extérieur du lieu où a été enlevée Laura Garris. Sur place, Sara et Grissom récoltent les indices, en vue de reconstituer l'enlèvement : des traces de sang, de boue, un mouchoir d'halothane. Ils étudient attentivement le son de la bande sonore sur laquelle se trouve la demande de rançon. L'analyse des traces de boue montre des traces d'or et de cyanure, ce qui ne peut s'expliquer que si cette boue provient des alentours d'une mine d'or. Grissom arrive ainsi à restreindre le cadre des recherches, sachant de plus par le biais de la cassette que la victime doit être à proximité d'une ligne à haute tension, à trois zones. 

Nick tient compagnie à Jim Brass au point de règlement de la demande de rançon, où la Police finit par interpeller Chip Rundle, qui n’est autre que le coach sportif de Jack Garris.

En même temps, Sara et Grissom partent en hélicoptère à la recherche de Laura. Ils finissent par la repérer, enterrée, grâce à une caméra infrarouge, et réussissent à la libérer saine et sauve. 

Les preuves et le témoignage de Laura Garris ne concordent pas. En effet, Laura affirme avoir été inconsciente et ligotée au cours de son enlèvement mais les prélevements effectués prouvent le contraire, en effet, on ne découvre aucune trace de lathanol dans le sang de Laura, ce qui prouve que cette dernière était bien consciente au moment des faits. Bientôt, il devient évident pour le CSI que cette dernière a pris une part prépondérante dans l’organisation de son propre rapt. En étudiant attentivement la bande sonore sur laquelle figure la demande de rançon, les experts entendent avec stupeur sa voix en arrière-fond, lorsqu’elle dit à Chip, alors effrayée par l'arrivée d'une voiture : «Dépêche-toi». Pourquoi ? Elle affirme que son mari la délaissait et qu’elle trouvait le réconfort dans les bras de Chip. Mais ce dernier l’a dupée en l’enterrant vivante dans le désert afin de conserver par avidité l’intégralité de la rançon. 

 

Seconde enquête 

 Experts concernés : Catherine Willows et Warrick Brown 

A Las Vegas, Catherine et Warrick sont chargés de déterminer l’identité de la personne qui a heurtée mortellement avec une voiture la petite Renda Harris. Les indices retrouvés sur le lieu du crime, parmi eux une partie de la plaque d'immatriculation du véhicule est restée imprimée sur la jambe de la victime, permettent aux experts de remonter jusqu’à un homme âgé, Charles Moore, qui nie totalement son implication dans l’accident dans un premier temps. Mais lorsque les enquêteurs trouvent son véhicule, Charles, rongé par le remord, finit par avouer qu’il s’agissait d’un tragique accident. Cependant, les Experts n’ont pas encore bouclé l’affaire. En inspectant minutieusement le véhicule, ils découvrent des indices, par exemple la musique écoutée par le conducteur au moment de l'accident et un morceau de dent coincé sur le volant, qui n'appartient pas à Charles d'après les analyses, ce qui contredit les aveux de Charles. Ils ont la preuve formelle que la personne qui conduisait le véhicule n’était pas Charles Moore. 

Catherine, préoccupée par l’humeur changeante et le prochain anniversaire de sa fille, aide Warrick à déterminer que le conducteur de la voiture de Charles Moore n’est autre que son petit-fils James. Charles a voulu le couvrir, mais James finit par avouer sa responsabilité dans la mort de Renda. Ce fut un malheureux accident. Au moment où il conduisait, il perdit son attention lorsque son téléphone cellulaire lui glissa des mains. En tentant de le récupérer, il n’avait plus les yeux rivés sur la route et ne vit donc pas la jeune fille, qu’il heurta violemment. 

Fait par Loveangel

Dans les épisodes précédents. 

 

Grissom : Belle promotion, mon petit Nicky. Tu accèdes maintenant au niveau 3.

Nick : Whou.

 

Catherine : J’ai vraiment fait aussi vite que j’ai pu pour venir te dire que je t’aime.

Lindsey : Je t'aime aussi.

 

Catherine : Sara Sidle ?

 

Sara : Quel drôle d’idée. J’imagine que vous êtes un peu perturbé.

 

Grissom : Je viens tout juste d’avoir le shérif. Il compte sur moi pour diriger l'unité.

Brass : C’est vous le patron

 

Grissom : Je suis sensé vous renvoyer.

Warrick : Je sais.

Grissom : Je me fiche du règlement. J'ai déjà perdu un bon élément aujourd’hui, je ne veux pas en perdre un autre.

 

****************

 

Extérieur – Désert – Jour.

 

Un homme avec une pelle s’éloigne. Une femme allume un briquet pour éclairer l’endroit où elle se trouve. Elle se met à pleurer et à crier après avoir réalisé qu’elle est enfermée dans une boîte.

 

Homme (bande) : Déposez deux millions dans la poubelle à l’angle de Charleston et de la 3ème dans 3 heures ou votre femme mourra. Idem, si vous tentez de m’intercepter.

Mr Garris : Qu’est-ce que c’est que ce clown ? Pourquoi il prend cette voix ?

Nick : Il la déforme grâce à un gadget électronique.

Grissom : Nous n’avons pas à faire à un clown.

Homme (bande) : Déposez deux millions dans la poubelle à l’angle…

Mr Garris : Ça fait vingt fois que vous écoutez cette cassette, vous ne pensez pas que vous serez mieux de rechercher ma femme.

Grissom : Quand on prend la peine de bien écouter, on peut entendre des tas de choses.

Mr Garris : Je n'entends rien.

Grissom : Exact. Où y a-t-il du silence à Las Vegas ? Dans le désert. Et j’ajouterais pour être plus précis, à cause de la basse fréquence que l’on perçoit sur cette bande, pas loin d’une ligne à haute tension.

Mr Garris : D’où tenez-vous tout ça ?

Grissom : J’écoute.

Brass : Ouais, ouais, d’accord. Ouais merci.

 

Brass raccroche au téléphone.

 

Brass : Je viens d’avoir le FBI. On peut compter sur leur soutient mais il faut qu’on se débrouille.

Mr Garris : Inspecteur, attendez. Quelles sont nos chances ? Je veux dire… Euh. Je veux dire… Euh. Pour… Pour Laura ?

Brass : On a un créneau de trois heures.

Mr Garris : Vous ne pourriez pas être un peu plus explicite.

Brass : Un délai aussi court signifie que le kidnappeur a placé sa victime dans une situation à provoquer sa mort avant l’échéance de l’ultimatum. Peu importe notre réaction à celui-ci.

Nick : Dans un coffre, par exemple.

Brass : C’est ni plus ni long, un meurtre passif si on veut appeler les choses par leur nom.

Mr Garris : Alors, vous devriez presser le mouvement.

Grissom : Mr Garris, d’après l’expérience que nous avons de ce genre d’affaire qui "va piano va sano".

 

Générique.

 

 

 

En cours de rédaction. 

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 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.)

CUT TO:



[EXT. HELICOPTER (MOVING) - NIGHT]



SCENE #14:

[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.)

CUT TO:



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



SCENE #15:

[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. ...

CUT TO:



SCENE #16:

[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.

CUT TO:



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



SCENE #17:

[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.)

CUT TO:



SCENE #18:

[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?

CUT TO:



SCENE #19:

[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.)

CUT TO:



SCENE #20:

[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."

CUT TO:



SCENE #21:

[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.

CUT TO:



SCENE #22:

[INT. CSI - LAB]

(SARA works on finding prints. She finds one and smiles.)

CUT TO:



SCENE #23:

[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.)

CUT TO:



SCENE #24:

[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.

CUT TO:



SCENE #25:

[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.

CUT TO:



SCENE #26:

[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.)

CUT TO:



SCENE #27:

[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.)

CUT TO:



SCENE #28:

[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.)

CUT TO:



SCENE #29:

[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.

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #30:

[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.

CUT TO:



SCENE #31:

[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.)

CUT TO:



SCENE #32:

[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.

CUT TO:



SCENE #33:

[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.)

CUT TO:



SCENE #34:

[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.

CUT TO:



SCENE #35:

[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.)

CUT TO:



SCENE #36:

[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.

CUT TO:



SCENE #37:

[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.)

CUT TO:



SCENE #38:

[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.)

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

Sonmi451 (21:59)

y a vraiment trop de pub!

Titepau04 (22:17)

Graaaave!!!!

Sonmi451 (22:17)

Ca te casse carrément ton trip

Sonmi451 (22:17)

t'as encore une pub?

stanary (23:13)

Désolée j'etaisj'étais occupée. Merci tite ! Plus de pub alors ?

Titepau04 (23:25)

Vraiment trop!! Pas très longues mais à une fréquence!!! Au moins 6 pour 2h30

stanary (23:26)

Mais c'est bizarre ! Pour moi y a que 3 pubs normalement...

Titepau04 (23:27)

Bah d'habitude elles sont un peu plus longues mais moins fréquentes

Titepau04 (23:27)

Même entre les 2 épisodes yen avait une

Titepau04 (23:27)

Je pense qu'il y a eu 5 pubs en fait, 2 par épisode et une entre les deux

stanary (23:28)

Et c'est sur TF1 ?

Titepau04 (23:29)

Oui

stanary (23:29)

Ah bah alors ils ont tout changé

Titepau04 (23:30)

Je pense qu'ils ont fait parce que les épisodes étaient plus longs

Titepau04 (23:30)

65 min par épisode

stanary (23:33)

Ah oui la je comprends mieux. J'avais jamais vu ça à la télé c'est pour ça

Titepau04 (23:34)

C'est désagréable

stanary (23:37)

Au pire regarde si une autre chaine diffuse la série

Titepau04 (23:38)

Je crois pas qu'il y en ait d'autre ... c'était les derniers de la saison

stanary (23:42)

Et c'est déjà fini ?

Titepau04 (23:42)

Oui ça y est

Titepau04 (23:42)

Yen a que 8

stanary (23:44)

8 épisodes ? ah mais c'est meilleur alors !

Titepau04 (23:56)

Nooonnnnn c'est trop court!!!

stanary (00:17)

Ah ça, ça dépend quand même des séries. Bon moi je vais me coucher. Bonne nuit !

Titepau04 (10:33)

Bonjour tout le monde!!!

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Hello la citadelle!

Sonmi451 (14:46)

Bon week end!

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Depuis début décembre, le quartier "Elementary" a un NOUVEAU SONDAGE ! Soyez nombreux pour voter !

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bonjour, venez voter à la photo du mois sur SONS OF ANARCHY et VIKINGS merci d'avance

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La bannière de noel d'urgences attendent vos votes dans préférence, merci.

Titepau04 (22:17)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
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Calendrier de Noël pour les jolies sorcières de Charmed!!!

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Mamy je déteste les chants de noël, ça m'file le cafard ! Mais bon je vais voter parce que c'est toi

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