CSI: MIAMI
1X03: WET FOOT, DRY FOOT
ORIGINAL AIR DATE ON CBS: 10/07/2002
TRANSCRIBED FROM DVD
Written by: EDDIE GUERRA
Directed by: TUCKER GATES
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
==========================
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==========================
SUMMARY: The team investigates the discovery of a body part found in the belly
of a shark. Following the evidence propels the team into a world where illegal
immigrants pay a high cost for freedom.
==========================
CSI: MIAMI
1X03: WET FOOT / DRY FOOT
==========================
COLD OPEN:
[EXT. VARIOUS MIAMI CITY (STOCK) -- DAY]
[EXT. MIAMI BEACH (STOCK) - DAY]
[EXT. OCEAN -- DAY]
(Camera rides low along the ocean headed toward a boat. On the boat, "Sea Vous
Play", are several people watching the fishing pole and drinking. The captain
stands behind the wheel listening to the radio.)
VOICE: (over radio) ...A squall from the southeast. Last night's severe
thunderstorms caused damage to oceanographic buoys in the Florida Straits. The
storms have dissipated, and the weather service...
FISHERMAN 1: (glances at his watch) I'm not working on my tan out here,
fellas.
VOICE: (over radio) ...And the weather service has lifted the small craft
advisory...
(The MAN sitting at the end of the boat throws in the chum line. Under the
water, the chum line follows the boat.)
(Suddenly, the fishing line is pulled and starts to reel out. The fishermen on
the boat scream and jump up with glee.)
FISHERMAN 1: Ho, baby! That's what I'm talking about!
(The fishermen on the boat grab their reeling lines.)
FISHERMAN 1: Yeah, yeah, yeah.
FISHERMAN 1: Give it here... come on.
(The boat captain turns around to look at the activity below.)
FISHERMAN 1: Let me have it. Fish on!
FISHERMAN 1: Come on, baby. Ain't no use in fighting.
(The fishermen laugh as they fight to bring in their catch.)
(The camera slowly follows the line and disappears under the water.)
DISSOLVE TO:
[EXT. HARBOR -DAY - LATER]
(Close up of the shark hanging upside down over the concrete. The fishermen
stand near by drinking beer and reliving the tale of the catch.)
FISHERMAN: Come on.
FISHERMAN: Yo!
FISHERMAN: It was nip and tuck there for a while.
(They laugh. The Boat Owner walks up to the shark and looks at it.)
FISHERMAN 1: (b.g.) I think I'm a pretty strong guy but I'm telling ya, that
sucker hit that line! It was all over. I said, "how am I gonna get this thing
up?" I'm struggling with it ...
(The Boat Owner joins the other fishermen and holds out a knife to FISHERMAN 1.)
BOAT OWNER: It's your fish, Chief.
(Fisherman 1 takes the knife and heads back to the shark.)
FISHERMAN 1: Sure is gonna look pretty on my wall.
BOAT OWNER: Just give it a good jab and enjoy the ride up.
(Fisherman 1 cuts the shark's gut open. A human arm pops out of the cut. He
jumps back as the entire shoulder and arm falls to the ground.)
FISHERMAN 1: Oh!
FISHERMAN: What the hell was that?
(One of the fishermen in the back turns and throws up.)
(Everyone stares at the sight on the ground.)
FLASH TO:
[EXT. DOCKS -- DAY -- LATER]
(Megan takes several photos of the body part on the ground. Horatio waits for
her to finish. She logs in her notes as he walks over to her. He puts his kit
down.)
HORATIO: This all there is?
MEGAN: (nods) Yep. Rest of him's probably out there.
(She points to the ocean. Horatio turn to glance at the ocean.)
MEGAN: At least we have a hand.
HORATIO: So let me ask you a question. You find human body parts in a shark is
that murder?
MEGAN: It is when we're looking for lead.
(Megan pulls back part of the clothing on the torso to reveal a bullet hole
underneath. She covers the hold up again.)
FADE TO BLACK
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. DOCKS - DAY -- LATER]
(Alexx examines the shark mouth. Horatio stands nearby filling out the
clipboard. Alexx smiles as she straightens and walks along the length of the
shark now on the table.)
ALEXX: I think we're going to need a bigger body bag.
HORATIO: If anybody can find one, it's you, Alexx.
ALEXX: (chuckles) You got that right. (to the coroners) All right, fellas.
You heard the man. Bag him. (She slaps the shark's back.) My shark now.
HORATIO: I'm off to ruin a captain's day.
(Horatio turns and leaves the area. He heads out to the docks where the boat is
moored.)
(Camera follows him and finds Megan already interviewing the Boat Captain on the
boat deck.)
MEGAN: Everything is nautical, I get it.
HORATIO: What I want to know is, did you mark the catch?
CAPTAIN: Ten foot tiger shark? You bet your ass.
(Horatio climbs onto the boat.)
HORATIO: And that ten-foot tiger shark is now property of the Miami-Dade crime
lab. And by the way what kind of a global positioner is that?
(Horatio looks up at the top of the boat.)
CAPTAIN: I've got precise positioning if that's what you're asking.
HORATIO: "Precise positioning"? How'd you get that? The government?
CAPTAIN: I got friends. I called in a couple of favors.
HORATIO: Lucky for us.
(The Captain shows where on the map the shark was caught.)
CAPTAIN: You got Miami, Grand Bahamas, Cuba. About a hundred and seventy miles
total distance. We hooked in right here, fourteen miles out.
(He points to the place on the map.)
HORATIO: About what time was that?
CAPTAIN: (exhales) 8:30 this morning.
HORATIO: Mm-hmm.
MEGAN: I shark fish. I used to shark fish all the time. I've never gone out in
the day.
CAPTAIN: Yeah, well, we got a late start. There was a squall line pushing
through. We couldn't chum or lay out any lines till sunrise.
HORATIO: I'm gonna take this chart, too, if you don't mind.
CAPTAIN: Wait a minute. First you take my client's shark then you take my
chart? What do I get?
HORATIO: You get a pass on your illegal GPS unit.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Alexx cuts through the material covering the arm she wants to examine. She
removes the shirt remnants and puts it in a paper package.)
(She picks up the body part and places it on the scale.)
ALEXX: Twenty-eight pounds, seven ounces.
HORATIO: (from speaker) Boy or a girl, Alexx?
(Above from the view box, Horatio watches. Alexx picks up the body part.)
ALEXX: Don't rush me.
(She puts it back on the examining table.)
ALEXX: Hmm. Gynecomastia. Enlarged breast. Would signify female, but could
also be male. No armpit hair but pronounced hair on the knuckles.
HORATIO: So what are you saying?
ALEXX: What I'm saying is, I'm not an anthropologist. Could be a big woman or
a small man. (to the body) Let's get your DNA.
(Alexx takes a swab sample and puts it on the side. She checks the skin around
the wound.)
(From above, Horatio watches on the monitor.)
ALEXX: (from speaker) Stippling and some GSR inside the wound. The shot was
fired at close range.
(Delko walks into the observation room. He's writing in an open notebook.)
HORATIO: Que fue?
DELKO: Ha. Lovely. I just got a look at that tiger shark in the cooler.
Liberal eaters, like Speedle. They'll eat anything as long as it's alive.
HORATIO: Alexx?
ALEXX: I heard.
(Alexx examines the wounds.)
ALEXX: Dermal ecchymosis around the teeth marks. Capillaries inside the
deltoid muscle are hemorrhagic. Blood was circulating at the time of the
injury.
DELKO: That was like ringing the dinner bell. Two thirds of the tiger sharks
brain is dedicated to processing scent.
(Quick flash: A body is in the ocean - swimming and kicking. Under water a
shark approaches. Fast.)
(End of flashback. Resume to present.)
HORATIO: Alexx, how long do you think the victim was in the shark's stomach?
(Alexx is digging the bullet out of the torso.)
ALEXX: Well, I'll have to test the levels of regurgitative enzymes.
DELKO: (quietly to Horatio) Yeah, sharks regurgitate anything that they can't
digest.
HORATIO: Hmm. Like human bones.
(Alexx pulls out the bullet.)
ALEXX: And metal.
HORATIO: Would you give me a times eight on this tattoo?
(The tattoo is enlarged on the monitor. It looks like a flag.)
DELKO: Interesting tat.
HORATIO: Hmm.
DELKO: Upside-down flag.
HORATIO: Yes, that is the international symbol for distress, isn't it? And
note the fish. It is the ancient symbol for Christian resistance.
DELKO: Catholic leaders in Cuba also used it for the anti-Castro rebellion.
Which would mean that our vic was a political prisoner.
HORATIO: Yup, and it also means that we could have a political mess.
CUT TO:
[INT. CSI - HALLWAY / LAB -- DAY]
(Horatio and Megan walk through the hallway.)
MEGAN: If he was living on U.S. Soil he would have been processed at Krome
detention.
HORATIO: And his prints would be on file.
MEGAN: But if he was on his way here, we've got nothing.
HORATIO: He was making his way, though. He probably wasn't swimming.
MEGAN: Boat?
HORATIO: That would be my guess. Speed?
[INT. CSI - LAB - DAY]
(Horatio and Megan walk into the lab.)
MEGAN: What have you got?
SPEEDLE: Well ... he was from Cuba and he was making a freedom run.
HORATIO: Okay, hang on. You're way ahead of us.
SPEEDLE: Well, based on where the shark was caught and simple geography, it's a
straight shot from Matanzas or Villa Clara to Miami.
(Speedle points to the areas on the map in front of him.)
SPEEDLE: You know what that means? Elian.
MEGAN: Our, uh, victim wasn't on the boat alone.
HORATIO: Okay. So, Speed, call the coast guard make a friend, and take Eric
with you.
SPEEDLE: Aye, aye.
(Speedle turns to leave the lab.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Calleigh looks through the scope. Horatio walks into the lab.)
HORATIO: You got something for me?
CALLEIGH: I got a question.
HORATIO: Shoot.
CALLEIGH: How old are you?
HORATIO: (smiles) Hmm. 45. Caliber round, right?
CALLEIGH: See the rifling characteristics?
(She nods toward the monitor.)
HORATIO: I do. Now I've got a question for you.
CALLEIGH: Shoot.
HORATIO: Do you think that's a Colt?
CALLEIGH: I do.
HORATIO: (nods) So do I.
CUT TO:
[EXT. -- DAY]
(Delko and Speedle exit their vehicle. Carrying their kits, they make their way
toward the boat marooned on the side. Martin from the Coast Guard is there to
meet them.)
SPEEDLE: (to Delko) This guy was in a hurry.
DELKO: (to Speedle) Are you kidding? Look at that boat. (They introduce
themselves.) How are you doing? Eric Delko. Tim Speedle, CSI Miami.
MARTIN (COAST GUARD): Martin, U.S. Coast Guard. We got your call. Got four
birds out there doing coastline patrol. Got a chopper on an insurance job
called it in. What kind of boat are you guys looking for?
SPEEDLE: The kind that has blood in it.
(They nod and head for the boat. Speedle glances at his watch.)
(The boat is called the Luna Nueva or "new moon". Delko wades in the water to
get to the boat. On the shore, Speedle documents the tire tracks nearby.)
SPEEDLE: (shouts) I got tracks.
(He puts the ruler down near the tracks.)
SPEEDLE: South side tire's bald.
(Delko raises his hand in a thumb's up signal to the shore as he reaches the
boat. He walks around the boat examining the outside. He notes the missing
numbers.)
DELKO: Boat's missing its hull identification number.
(Speedle snaps photos of the tire tracks.)
CUT TO:
[EXT. LUNA NUEVA - DAY - LATER]
(Delko and Speedle are both on the boat.)
DELKO: Freedom run gone wrong.
(Speedle kneels down topside, he puts his kit down. Delko walks into the cabin.
Inside, he kneels down and finds something.)
(Speedle finds a rosary.)
SPEEDLE: This didn't work too good.
(Delko picks up the inhaler and checks it.)
DELKO: Inhaler. Empty.
SPEEDLE: Artifacts and abandonment.
(Quick flash of: [BOAT IN STORM - NIGHT] Chaos. People scream as a boat take
on water. End of flash. Resume to present.)
DELKO: What do you think, Tim? Feel suspicious?
(Delko takes out his camera and steps deeper into the cabin.)
(Topside, Speedle looks around.)
(In the cabin, Delko notes the various pictures tacked on the bulletin board.
He sees a slip of paper with an ink smudge on it. He snaps a photo of it.)
(Looking at the slip of paper, he calls back to Speedle.)
DELKO: Hey, Speedle. What do you think you can do with this?
SPEEDLE: What, here or back at the lab?
FLASH TO:
(Speedle and Delko continue to look through the boat. Speedle snaps photos of a
bullet in the side that he's found.)
SPEEDLE: This boat's got a filling.
(Delko steps outside.)
DELKO: Oh, yeah? What caliber?
(Speedle removes the bullet and bindles it.)
SPEEDLE: Well ... that's for Calleigh.
DELKO: (chuckles) Hmm.
(Delko lifts up something and finds blood.)
DELKO: Hmm. This could be our crime scene.
(He takes a swab of it.)
SPEEDLE: That could be fish blood.
DELKO: And that ... is for Megan.
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Calleigh examines the bullets and compares them as Horatio sits on the side and
waits.)
(She looks at the scope.)
CALLEIGH: Bullet from the torso on the left. Bullet from the boat on the
right.
HORATIO: Two hearts beat as one.
CALLEIGH: Both .45 caliber classic copper jacketed six lands and groves with a
left-hand twist.
(Megan enters the lab.)
MEGAN: I've got a twist for you. The blood from the boat: human. Matches our
torso, who was definitely X-Y. Male.
HORATIO: But John Doe was on that boat. Where's the twist?
MEGAN: Flesh tissue on the bullet Speedle recovered from the boat? X-X.
(Quick flash of: A gun is fired. In slow motion, the camera follows the bullet
as it pierces a hand holding a rosary. Camera resumes motion. The boat is
filled with people screaming. They're sitting huddled in the boat, drenched
from the rain.)
(End of flash. Resume to present.)
HORATIO: We ... have another victim out there, ladies.
SMASH CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - WAREHOUSE -- DAY]
(The LUNA NUEVA is in the warehouse. Horatio carries his kit and heads for the
boat.)
HORATIO: Let's hope he didn't sand down the impression.
(Horatio passes Speedle who is working on the ID number. Horatio climbs up the
steps to the boat.)
SPEEDLE: Yeah, if he was a pro, we got nothing. I'm gonna try a little heat
separation -- see if I can't find something under the peel.
HORATIO: Sounds like a good idea.
(Horatio climbs in the boat. Delko is already there and heads for the cabin.)
DELKO: This boat looks like it went through Hurricane Andrew.
(Horatio looks at the boat's engine.)
HORATIO: This boat has enough horsepower in it to have outrun Andrew. Maybe
we're running at night. Never saw the squall coming.
(Quick flash of: [BOAT ON OCEAN - NIGHT] Lighting flashes; thunder rumbles.
The Luna Nueva is on the seas. The captain inside struggles to control the
boat.)
(End of flash. Resume to present.)
HORATIO: Speed!
SPEEDLE: Yeah?
HORATIO: What does it say on the stern?
SPEEDLE: Luna Nueva. Moon New.
DELKO: It's "new moon."
HORATIO: Moon cycle, gentlemen. It goes from first quarter to full, then
three-quarters to new.
SPEEDLE: Which means no moon.
(Speedle takes a couple of photos and promptly runs out of film.)
SPEEDLE: I'm out.
(Speedle turns to leave.)
(Delko heads out of the cabin and walks over a squeaky floorboard.)
(The sound catches Horatio's attention.)
HORATIO: What was that?
(Delko looks down at his feet.)
DELKO: What?
HORATIO: Do what you just did again.
(Delko takes a step back and a step forward right onto the squeaky floorboard.)
HORATIO: There you go. Well, that's a sound that doesn't belong on a boat.
CUT TO:
[INT. CSI - WAREHOUSE - DAY -- LATER]
(Delko cuts through the cabin wall with an electric blade. He looks up at
Horatio and we find that Eric is down in the hold below the cabin and that he's
cut through the wall inside the hold.)
DELKO: Walls like that take a lot of work to build.
HORATIO: There's only one reason to build a hold like that, my friend and that
is to stash your stash. You can run with at least five hundred keys in there.
(Delko takes out a flashlight and looks inside. There's nothing there.)
DELKO: It's like Capone's vault -- empty.
HORATIO: Those are your eyes talking. Look harder.
(Delko uses the flashlight and looks around the cabin. Caked on the wooden
beams, he finds a flaky powder. He scrapes off a sample.)
DELKO: We got something.
(Horatio anticipates what it is and reaches for his kit. Delko puts the sample
of the powder in a test tube and hands the tube up to Horatio.)
(Horatio tests the sample. The results are immediate. He and Delko both nod.)
HORATIO: That's cocaine.
CUT TO:
[INT. CSI - LAB -- DAY]
(Calleigh watches as Speedle works on the ID number. He's put a digital picture
of it in the computer. )
CALLEIGH: Why fill in the number? Why not just sand it all the way down?
SPEEDLE: (shrugs) I don't know. Maybe it's a guy thing.
CALLEIGH: What? They'll add on or cover up but they won't mess up the chassis?
SPEEDLE: You know what? You're scaring me.
(Calleigh remains quiet. Speedle goes back to the monitor.)
SPEEDLE: Okay, we manipulate the pixels in gray scale and ...
(The number underneath is revealed: SM9993?87672.)
CALLEIGH: (interrupts) The hull was built in 1972.
SPEEDLE: (irritated) Do you want to do this?
CALLEIGH: No. It's a guy thing. It's just that Megan wanted it ten minutes
ago.
(Speedle closes his eyes. God grant him patience. Calleigh discreetly leaves.)
CUT TO:
[INT. CSI - MEGAN'S OFFICE -- DAY]
(Megan stands in front of a television set watching video tape from 09-20-02 at
15:06. It's a split screen from two different cameras. On the left, we see
Megan interviewing someone.)
(Speedle walks into the office.)
SPEEDLE: You beep me?
MEGAN: Was it 411?
SPEEDLE: Yeah.
MEGAN: Means I've got info.
(Megan pulls a paper off her desk and gives it to Speedle.)
MEGAN: Your hull ID number ... got us a registration and a name. Captain
Robert Morton.
SPEEDLE: Captain Bob.
MEGAN: Talked to the marina manager.
SPEEDLE: Did he give you anything?
MEGAN: A migraine. (She takes the tape out from the machine.) Said as long as
the Captain's check clears every month, he's the second cousin to Peter Rabbit.
SPEEDLE: So he knows nothing on the guy.
MEGAN: You got it.
(Megan takes the stack of video tapes off her desk and hands them to Speedle.)
MEGAN: Find a seat, get comfortable. I want you to watch every frame for the
last two days. See if the captain shows his face.
(Megan turns and leaves. Speedle follows her out of the office.)
SPEEDLE: (hesitant) Did, uh, did you clear this with H? 'Cause I'm supposed
to be working on the note.
MEGAN: Don't worry about Horatio.
SPEEDLE: It's unclear if I'm working for him or I'm working for you.
MEGAN: You work for the victim.
(Megan walks away. Speedle looks at the stack of tapes and heads in the other
direction. Megan's phone rings. She answers it.)
MEGAN: (to phone) Donner. (pause) Where's Horatio? (pause) Be right there.
(She hangs up, turns and walks out.)
CUT TO:
[EXT. MIAMI CITY (STOCK) - DAY]
[EXT. MIAMI WHARF - DAY]
(Horatio and Megan walk along the wharf. There's an officer there. They head
for Alexx who is sitting in an inflatable raft on the water snapping photos of a
woman found floating in a life preserver.)
(Horatio puts his kit down and kneels closer to look at the body.)
HORATIO: Cyrillic lettering. The Russians have been forever dumping their
second-rate surplus on their island friends. And in this case, we're talking
about Cuba.
ALEXX: This girl's been shot in the leg. Very close to the femoral artery.
Bled out.
MEGAN: Our female bleeder? Can you see an exit wound?
(Alexx lifts up her leg to look.)
ALEXX: No.
HORATIO: Interesting tourniquet.
MEGAN: Tied tight. Who tried to save her?
HORATIO: Hmm ...
(Alexx removes a necklace from the woman and hands it to Horatio.)
ALEXX: Injury like this, she would've been dead in under thirty minutes.
There's no evidence of sunburn or exposure.
HORATIO: She didn't float here all the way, did she?
MEGAN: She was on a boat. Our drug boat?
HORATIO: Could be. Take a look at that. (He hands Megan the necklace.) You
know what that is?
MEGAN: La caridad del cobre. The virgin of charity.
HORATIO: And the patron Saint of Cuba.
MEGAN: I've seen these before.
HORATIO: Mm-hmm.
MEGAN: Families in Miami send them to their relatives as a good luck piece for
the journey.
HORATIO: That's right, and that ninety miles of open ocean will take that good
luck away from you in two seconds.
(Megan looks at the piece under a magnifying glass.)
MEGAN: This is made custom, by hand. Old school ... with a palm push graver.
(Quick flash close up of the medallion being etched. End of flash. Resume to
present.)
MEGAN: Tonal variations ... there's only one or two guys in Little Havana who
do this bulino work.
HORATIO: And not one of them is going to help us with this.
(Horatio stands up and puts on his glasses. Megan sighs.)
DISSOLVE TO:
[EXT. WHARF - DAY -- LATER]
(Horatio stands at the edge looking out at the harbor water and the Miami
Skyline on the other side. Megan approaches him.)
HORATIO: Wet foot, dry foot. All a Cuban immigrant has to do is touch U.S.
soil and they're here. (Megan nods.) Unless, of course the coast guard picks
you up out there on the water and sends you back to Fidel.
MEGAN: If she made it to dry land she'd have gone through seventy-two hours of
processing and walked with a green card.
HORATIO: She almost made it.
MEGAN: She didn't count on getting shot.
(Horatio turns and looks at Megan.)
HORATIO: Ready to play politics?
(Megan nods. Horatio walks past Megan. She turns and follows him off the
pier.)
CUT TO:
[EXT. LITTLE HAVANA -- DAY]
(Horatio and Megan walk toward the man they're looking for.)
BASILIO: (b.g.) Bueno, quien juega?
VOICE: (b.g.) De que tenemos este honor?
VOICE: (b.g.) Pero quiero saber...
(They stop at Basilio's table.)
HORATIO: Buenos dias, Seņores.
BASILIO: Seņor Caine. Rolando, por favor.
(Rolando stands up and leaves.)
HORATIO: Gracias.
BASILIO: A que le debemos este honor?
(Horatio takes the seat next to Basilio.)
HORATIO: Basilio ... bodies are washing up on shore.
BASILIO: They wash up all the time. The government doesn't care about a
balsero.
HORATIO: Balsera ... in this case.
(Horatio shows Basilio the medallion. Basilio looks at it. His demeanor
changes for a moment before he continues with his game.)
BASILIO: Nice work.
MEGAN: She was wearing it.
BASILIO: I'm sorry to hear that.
HORATIO: Basilio ... the last thing this town needs is to blow up and you know
that. I need your help on this.
BASILIO: What's so special about this girl?
HORATIO: She was shot to death.
CUT TO:
[EXT. DE SOTO RESIDENCE -- DAY]
(Horatio and Megan stand outside the gate to the property.)
MEGAN: This necklace can only get us so far.
HORATIO: All it has to do is get us inside.
(On the front porch, Basilio is talking with a couple. He motions for them to
come inside.)
BASILIO: Horatio, please.
(Horatio opens the gate. He and Megan walk inside. Horatio closes the gate
behind him.)
CUT TO:
[INT. DE SOTO RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Horatio and Megan interview Mr. and Mrs. De Soto.)
MR. DE SOTO: So, Seņor Caine. Seņorita Donner, are you police officers?
HORATIO: Well, actually, Seņor ... we're Crime Scene Investigators. (Horatio
takes out the envelope from his coat pocket.) And I'd like to show you
something to see if it has any meaning to you.
(He takes out the medallion and hands it to Mr. De Soto. He looks at it and
swallows hard. He turns and hands the medallion to his wife. She takes it and
puts a comforting hand on her shoulder as she stares at the medallion.)
MR. DE SOTO: The price of freedom for Cuban children is high but worth it.
HORATIO: Ramon Grau. Spent two decades in Fidel's prisons for arranging safe
passage for thousands of Cuban kids to the States. I know who he is.
MR. DE SOTO: Fourteen thousand forty-eight children to be exact.
HORATIO: You're one of Ramon's kids.
(Mr. De Soto nods.
PEDRO: (o.s.) Tia.
(Horatio turns and sees Pedro standing in the doorway to the room at the end of
the hallway.)
HORATIO: Who's that?
(Mr. De Soto heads for the hallway.)
MR. DE SOTO: My nephew Pedro.
(Pedro withdraws to the room and closes the door.)
(Horatio stands.)
HORATIO: Can I speak to him?
BASILIO: We promised you five minutes. It's been five minutes. Finito. No
mas. Hemos terminado.
(Megan stands up. She's been watching Estella De Soto.)
HORATIO: Basilio ... I still need somebody to come down to the morgue to
identify the body.
BASILIO: I will make all arrangements personally.
MEGAN: (to Horatio) Mm. Give me a second.
(Horatio glances back at Megan. Megan moves in front of Estella De Soto and
kneels down in front of her.)
MEGAN: Yo perdi a mi esposo recien.
ESTELLA DE SOTO: I'm very sorry.
MEGAN: I'm sorry, too.
ESTELLA DE SOTO: Her name was Elena. She was my niece.
(Horatio watches.)
BASILIO: Por favor.
HORATIO: (to Megan) We should go.
(Megan looks at Horatio. She takes the medallion back from Estella De Soto.)
MEGAN: So sorry. Gracias.
(Megan stands up and leaves. Estella starts to cry. Her husband goes to her.)
CUT TO:
[EXT. DE SOTO RESIDENCE - FRONT - DAY - CONTINUOUS]
(Horatio and Megan walk out of the house. They put their sunglasses on as they
head for the car. Basilio calls out to them.)
BASILIO: Horatio.
(Horatio and Megan turn around.)
HORATIO: Yes?
BASILIO: Those are my people in there.
HORATIO: I meant no disrespect, Basilio.
BASILIO: This family is in mourning. And this is not an interrogation.
MEGAN: We were up front about our intentions.
BASILIO: You cannot go to the well and drink it dry.
MEGAN: We need to speak to that boy.
HORATIO: And we'll get a warrant if we have to.
BASILIO: Us Cubans are a proud people. Que no?
HORATIO: Nos vemos amigo.
(All around them, they note that the neighbors have come out to watch. It's not
a good thing.)
HORATIO: Basilio ...
MEGAN: Buenos tardes.
(Horatio and Megan leave.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Horatio is walking through the hallway when Alexx catches up with him.)
ALEXX: Horatio, heard you hit some kind of dead end.
HORATIO: You heard right.
ALEXX: Just finished the post on the girl.
(Alexx looks at the clipboard in her arms.)
HORATIO: I want to hear about it. Hang on one second.
(Calleigh is walking toward them.)
HORATIO: Calleigh, the bullet?
CALLEIGH: I'm working on it.
(She walks past them and down the hallway.)
HORATIO: Let me know.
(Speedle heads for the trace lab. Horatio enters the trace lab. From the other
door, Megan walks into the lab.)
SPEEDLE: Who community beeped?
HORATIO: That was me.
[INT. CSI - TRACE LAB - DAY -CONTINUOUS]
HORATIO: How are we coming along on the note?
SPEEDLE: Uh, we're not coming.
HORATIO: What do you mean?
MEGAN: I pulled Speedle off the note for the surveillance footage. My call,
not his.
HORATIO: (to Speedle) Finish up on that, get back on the note. (to Megan)
Any DNA on that rope?
MEGAN: In the works.
HORATIO: Let me know. Eric, roam and assist, please.
DELKO: You got it.
(Horatio turns and leaves the lab.)
[INT. CSI - BULLPEN - DAY - CONTINUOUS]
(Horatio and Alexx walk.)
HORATIO: Okay, Alexx, talk to me.
ALEXX: Who is the girl ...
HORATIO: Her name is Elena de Soto.
HORATIO: Any GSR or stippling?
(Alexx and Horatio walk up the stairs to the second level.)
ALEXX: Yes, and there was something strange inside the wound track. Found
traces of a synthetic-based material. Not a match to her clothing. It's at
trace.
HORATIO: Is that it?
ALEXX: She had significant levels of albuteral in her system.
HORATIO: She was asthmatic. We found an inhaler on the boat.
ALEXX: My guess? Bronchospasms triggered by some kind of stress.
HORATIO: My guess is she overmedicated.
(Quick flash of: [BOAT - NIGHT] Elena de Soto inhales from her inhaler. End
of flash. Resume to present.)
ALEXX: Her heart went into dysrhythmia -- a condition that doesn't go well with
a severed femoral. The tourniquet didn't buy her a lot of time.
HORATIO: Okay. Good.
(Horatio heads for his office. Alexx walks away.)
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Megan is in the DNA Lab taking a swab sample of the tourniquet rope. She finds
some blood, puts the sample on a slide and looks at it through the scope.)
CUT TO:
[INT. CSI - HORATIO'S OFFICE -- DAY]
(Horatio's working on a whiteboard when there's a knock on the door.)
HORATIO: Come on in.
(Megan walks into the office.)
MEGAN: You ought to give me the name of your decorator.
HORATIO: Well, it's just a phone and a desk when we're not in the field.
MEGAN: (sighs) Any word on the captain?
HORATIO: The detectives still have it, we're waiting. What do you got?
MEGAN: DNA results from the skin cells we collected off Elena De Soto's rope.
Somebody else tied that tourniquet.
HORATIO: Well, we knew that.
MEGAN: No, we know that now. There's significant commonality in the markers.
HORATIO: You think it's a family member?
MEGAN: Maybe the guy in the back bedroom.
HORATIO: What about a first cousin?
MEGAN: Closer. I'm thinking brother.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Calleigh walks through the hallway when Delko catches up with her.)
DELKO: Hey, Calleigh. Listen, I was wondering if maybe I could crash at your
place tonight.
(Calleigh doesn't say anything.)
DELKO: (chuckles) I'm trying to keep a low profile and H has been stirring up
the neighborhood.
CALLEIGH: You know how he is, he's like a dog with a bone.
DELKO: Yeah, well, he needs to learn how to let go. Cause this girl's family
doesn't care about solving the crime. Their niece is already dead. You know,
they're thinking we got to protect the living.
(Calleigh walks into the lab and heads for the computer monitor.)
[INT. CSI - BALLISTICS LAB - DAY - CONTINUOUS]
CALLEIGH: I can't say I blame them.
(She logs in. The computer beeps. She turns toward the scope.)
CALLEIGH: On the couch. No midnight tiptoe. Deal?
DELKO: (chuckles) Deal.
(Delko walks into the office.)
CALLEIGH: Check this out. Bullet on the left -- Elena De Soto's leg. Bullet
on the right -- from John Doe torso.
(On the monitor, the striations match.)
DELKO: They're twins.
CALLEIGH: They're triplets. They also match the bullet you guys pulled out of
the Luna Nueva.
DELKO: It must've been some massacre on that boat.
(Quick flash of: [BOAT - STORM - NIGHT] People scream as others huddle with
each other. Someone pulls out a gun.)
(End of flash. Resume to present.)
(Calleigh looks back at the scope. Delko heads out the door. Calleigh stops
him.)
CALLEIGH: Did your parents make that journey?
DELKO: Actually, we all did. (Calleigh turns around.) I was in my mother's
belly.
(Eric smiles then walks away. Calleigh turns back to her scope.)
CUT TO:
[INT. CSI - VIDEO LAB -- DAY]
(Speedle sits in the lab going through the security tapes. Delko walks in.)
DELKO: Yo.
SPEEDLE: (monotone) Yo.
DELKO: What's this?
(Delkos settles on the desk behind Speedle and looks at what he's looking at.)
SPEEDLE: Megan.
(Delko laughs.)
DELKO: Still?
SPEEDLE: Yep.
DELKO: And you're watching it in real time?
SPEEDLE: You see that rental truck there next to the Luna Nueva slip?
(Speedle points to the monitor.)
SPEEDLE: It's been parked there for six hours and twenty-three minutes. You
see the driver?
(The monitor shows a close up of the driver of truck #5645272.)
SPEEDLE: Not a cup of coffee ... doesn't have to take a leak. Nothing.
DELKO: What's he waiting around for?
SPEEDLE: Well, If H is right, that hull can hold five hundred kilos of blow.
DELKO: That's a lot of reasons to wait around.
CUT TO:
[INT. CSI - VIDEO LAB -- DAY]
(Speedle shows Horatio and Delko what he's found on the security tape.)
HORATIO: Five hundred reasons, gentlemen. Speed, get me in closer.
(Speedle enlarges the view of the truck.)
HORATIO: All right, zoom in on those back tires.
(The view of the back tires enlarge on the monitor.)
HORATIO: Now, does that tire look bald to you or not?
SPEEDLE: (nods) Mm-hmm.
HORATIO: Let's find this truck.
(Horatio stands up.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Open on the dish with the bullet on it. The label reads:
ELENA DE SOTO
BULLET
CASE #A4921C
(The label on the dish of the second bullet reads:
JOHN DOE
TORSO BULLET
CASE #A4921C
(The label on the dish of the third bullet reads:
LUNA NUEVA
BULLET
CASE #A4921C
(Horatio is doing a mass spec test when Megan walks into the lab.)
HORATIO: (automatically) Yes, I am up on the current software.
MEGAN: I didn't say anything.
HORATIO: Oh, you don't have to. (He grabs the print out results.) Interesting
... material I found in Elena's wound track is olefin. Which is a synthetic
fiber. What makes it interesting is that she was wearing a cotton dress.
MEGAN: John Doe was wearing olefin.
HORATIO: Yes, he was.
MEGAN: Which give us ...
HORATIO: ... a possible series of events. Let's say John Doe was shot first
from point blank range. The bullet penetrated his shirt ...
(Quick CGI flash of: The gun is up near John Doe's shirt. The gun fires and
the bullet pierces through the material. Material fibers are sucked back into
the barrel.)
HORATIO: (v.o.) ... and some of the material from his shirt was sucked back
into the barrel.
(End of CGI flash. Resume to present.)
HORATIO: That means that the next round fired would carry that material into
Elena's thigh, right?
(Quick CGI POV of: Inside view of the gun barrel with the material fibers and
the bullet.)
(End of CGI flash. Resume to present.)
MEGAN: We've already got a match on all three bullets putting John Doe and
Elena on that boat. The epithelials from the tourniquet tell us someone closely
related to her ...
HORATIO: Someone closely related, like her brother Pedro. He could've tied
that tourniquet.
MEGAN: Close relatives travel together.
(Quick flash of: [BOAT - STORM - NIGHT] Elena and Pedro are huddled together
on the boat with the other people.)
(End of flash. Resume to present.)
MEGAN: A DNA match makes him a material witness.
HORATIO: And that is a warrant we can get.
CUT TO:
[INT. CAR (MOVING ) - DAY]
(Camera view from inside the moving car. A police car escorts the CSI's back to
the De Soto residence. They turn the corner and find a small crowd of
protesting neighbors in front of the residence ready to put up a fight.)
[EXT. DE SOTO RESIDENCE - DAY-CONTINUOUS]
(The police officers, Det. Adell Sevilla, Horatio and Megan exit their cars.
The crowd yells in protest. Megan turns and gets her kit from the back of the
car.)
(Horatio meets up with Adell and shows her the warrant.)
DET. ADELL SEVILLA: Hey.
(She looks at it.)
HORATIO: The only place in the country you have to negotiate with the community
before you serve the warrant.
(Adell hands the warrant back to Horatio.)
DET. ADELL SEVILLA: Let's go.
(Together, they make their way to the front door through the loud, protesting
crowd.)
CUT TO:
[INT. DE SOTO RESIDENCE - PEDRO'S BEDROOM - DAY -- CONTINUOUS]
(Pedro de Soto sits in the room. There's a light knock on the door and it
opens.)
DET. ADELL SEVILLA: Hola, Pedro. Yo me llamo Adell Sevilla. Estos Seņores
aqui van a revisar tu cuarto. Por favor, acompaname.
(Petro gets up from the bed and follows Adell out of the room. Horatio and
Megan enter the room and look around. They open their kits.)
(Horatio grabs a flashlight. Megan starts at the dresser. Horatio looks around
the room.)
(Outside the room, the De Sotos wait. Adell stands by the door.)
(Finished with the boxes on the dresser, Megan turns and starts on the bed. She
finds a couple of strands of hair on the pillow. Horatio stands in the middle
of the room and looks around. He sees the door knob and looks at it.)
(He looks at Adell and blows the white powder off the knob.)
(He looks back around and heads for the vacuum cleaner.
MEGAN: We can just ask for a swab.
(He feels the bag and finds something.)
HORATIO: Hold the phone.
(He unzips the bag and takes out the gun. He holds it up.)
HORATIO: Colt .45.
(Adell turns around and motions to the officer.)
ADELL SEVILLA: Let's take him in.
(Estella de Soto and Mr. De Soto both look alarmed as the officer cuffs Pedro.)
ADELL SEVILLA: Hands behind your back.
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - WAREHOUSE]
(Eric is using the ASL inside the back of the truck. Horatio stands outside the
truck and talks on the phone.)
HORATIO: (to phone) Detectives found the rental truck and the Captain at Miami
International. They're both are in custody. Yes sir, I will
(Horatio hangs up.)
(Delko continues to examine the back of the truck. He finds something on the
floor.)
DELKO: Coke wrapping must have picked up some blood when it was being loaded
off of the boat.
(Horatio puts on his glasses and turns around.)
HORATIO: Locard's Theory. Primary transfer.
(Close up of the blood smear on the truck floor.)
DELKO: Kind of like going to the bathroom. You can never wipe enough.
(Horatio nods.)
CUT TO:
[INT. CSI - FIRING RANGE]
(Calleigh is test firing the gun.)
(Cool CGI of the bullet coming out of the gun muzzle.)
(Resume to present.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(The elevator dings and the doors open. Horatio steps out into the hallway.
Calleigh catches up with him.)
CALLEIGH: Horatio ...
HORATIO: I like that tone.
(Horatio takes out his phone and dials.)
CALLEIGH: That's an affirmative on the .45. It's the source of all three
bullets.
HORATIO: Okay.
(He opens the door, they walk through it.)
[INT. CSI - CRIME LAB - DAY -CONTINUOUS]
CALLEIGH: Doesn't that mean we have the guy?
HORATIO: Well, you tell me. (They walk clear through the lab and into the
hallway on the other side.) You make a run for freedom you shoot your sister
along the way and then you try to save her life.
CALLEIGH: See, this is why I like ballistics. It's an exact science.
HORATIO: (smiles) Mm.
(Calleigh walks away.)
(Horatio looks back at his phone.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Close-up of the ink-stained note.)
(Camera pulls back and we see Speedle taking a photo of the note as Horatio
waits.)
SPEEDLE: Just takes a sec.
(Speedle walks up to the keyboard and types.)
SPEEDLE: The software digitizes the diluted ink pattern. And the algorithm
extrapolates a reversal probability, estimating an image of the original
writing.
HORATIO: Hmmm ...
(He clicks the mouse and the ink stains on the note on the monitor vanishes and
the writing under is revealed.)
SPEEDLE: NM28-30.
HORATIO: But does it crack the code?
SPEEDLE: Yeah, it just gives you the puzzle; it doesn't solve it.
HORATIO: Got to crack the code.
(Horatio turns and leaves.)
CUT TO:
[EXT. MIAMI (STOCK) - DAY]
[INT. CSI - WAREHOUSE -- DAY]
(Megan is standing in the warehouse looking at the boat when Horatio walks in.)
HORATIO: Que pasa?
MEGAN: Why start shooting? Stay with me for a minute.
HORATIO: Okay.
(Megan walks around the boat.)
MEGAN: We catalogued all the personal property on this boat. The shoes, the
hairbrushes, the glasses, the clothing ... we've evidence there were at least
twelve people on that boat. Could've been more.
HORATIO: Who we do know about is Captain Bob, Elena, Pedro, John Doe and an
unidentified female gunshot victim. Anybody else would have drowned in the gulf
stream never to be seen again, right?
MEGAN: Average a 150 pounds per person that's 1,800 pounds, all near the stern.
HORATIO: A thousand pounds of coke in the right hull.
(Quick flash of: [BOAT - NIGHT] Close up of the tightly wrapped coke blocks
stacked on the side of the boat.)
MEGAN: (v.o.) This boat's center of gravity would have been way off.
(End of flash. Resume to present.)
HORATIO: Seven-foot seas, they were taking on water in the fishhold. That
would panic the captain, wouldn't it?
(Horatio heads for the boat. Camera rises up toward the cabin at the top of the
boat.)
(Quick flash of: [BOAT - STORM - NIGHT] The Boat Captain struggles his way
into the cabin hold. The boat suffers through the storm.)
(End of flash. Resume to present.)
(Megan and Horatio walk around the side of the boat.)
MEGAN: He had a decision to make.
HORATIO: Save his passengers or save his drugs.
(Quick flash to: [BOAT - STORM - NIGHT] The Boat Captain enters the hold with
gun in hand.)
ROBERT "BOB" MORTON: Hey! Everybody off! Everybody get off the boat or we're
all going down!
(End of flash. Resume to present.)
HORATIO: So, if he said jump, would you?
MEGAN: If he had a gun to my head.
HORATIO: Let's go put one to his.
(Horatio and Megan leave.)
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Horatio and Megan interview Captain Robert "Bob" Morton.)
ROBERT "BOB" MORTON: My boat can't be missing if I know where it is.
MEGAN: Where do you think it is?
ROBERT "BOB" MORTON: I got blindsided by a storm a couple of nights ago. Had
to ditch it south of Matheson Hammock.
MEGAN: We towed it for you. It's out back. Evidence in criminal
investigation.
ROBERT "BOB" MORTON: Somebody stole it?
HORATIO: Captain Bob, are you aware that it's a crime in the State of Florida
to build a secret compartment in a boat or a car even if the compartment is
empty?
ROBERT "BOB" MORTON: What's the fine?
MEGAN: For trafficking?
ROBERT "BOB" MORTON: (chuckles) I don't know the words to that song you want
me to sing.
MEGAN: You own a gun?
ROBERT "BOB" MORTON: Yeah.
HORATIO: Where is your gun?
ROBERT "BOB" MORTON: Someone stole it off my boat a couple of months ago.
HORATIO: We have your gun and we now have your truck.
MEGAN: We matched your gun to bullets we found in two dead bodies. We have
evidence of pure cocaine in your boat and your rental truck.
HORATIO: I think you were trafficking cocaine into South Florida, got greedy
and picked up some immigrants for extra cash. The thing that you didn't count
on was the storm.
(Quick flash to: [BOAT - STORM - NIGHT] Captain Bob Morton struggles in the
storm. With the gun in his hand, he makes his way down to the hold.)
ROBERT "BOB" MORTON: Everybody off! Everybody get off or we're all going down!
(Someone steps forward and struggles with the Captain for the gun. The gun goes
off. A woman on the boat is shot in the shoulder. People scream in the
confusion. The Captain and John Doe continue to fight for the gun. The gun
goes off. John Doe falls off the side of the boat.)
(End of flash. Resume to present.)
ROBERT "BOB" MORTON: I want a lawyer.
MEGAN: Hmmm ...
(Horatio takes out his cell phone and holds it out.)
HORATIO: My dime.
(He slides it across the desk toward the Captain.)
CUT TO:
[INT. CSI - HALLWAY OUTSIDE INTERVIEW ROOM - DAY -- CONTINUOUS]
(Horatio and Megan step outside into the hallway.)
MEGAN: Ah, Captain Bob should have Pedro's lawyer. Might have half a chance.
HORATIO: Marin Diaz? The Cuban Johnnie Cochran.
MEGAN: (nods) Mm. How'd he get him on?
HORATIO: Care to venture a guess?
MEGAN: Basilio?
HORATIO: Ha, there's debt in every favor. Wish me luck.
MEGAN: Mm-hmm.
(Horatio heads into the interview room.)
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY -- CONTINUOUS]
(Horatio enters the interview room. Pedro de Soto and his lawyer, Marin Diaz,
wait for him.)
HORATIO: Gentlemen ... May I?
MARIN DIAZ: Be kind, Horatio.
HORATIO: As always, Marin. (Horatio sits down.) Now, Pedro ... (paper
rustling) The gun that we found in your room has tied you to two murders.
MARIN DIAZ: Possession doesn't make my client a killer.
HORATIO: We also have your skin cells on the tourniquet you used ...
MARIN DIAZ: Allegedly used.
HORATIO: Allegedly used to save your sister's life. Now, are you going to
rebut everything I'm saying?
MARIN DIAZ: Yes.
HORATIO: Excellent. Pedro ... habla me.
(Horatio puts Elena's medallion on the table in front of Pedro.)
HORATIO: You know what that is, don't you? Now, it was never door-to-door
service.
MARIN DIAZ: Pedro ... (interrupts Horatio) ... you don't have to answer the
questions ...
(Horatio ignores Marin and continues to speak with Pedro.)
HORATIO: The way it works is, you get dropped off as soon as you see the lights
of Miami but that night there was a storm, wasn't there? And the Captain's boat
was taking on water. He took out a gun and ordered everybody off. You refused,
and he started shooting.
MARIN DIAZ: I'm taking my client out of this room until there's a formal
investigation in place.
HORATIO: (to the lawyer) Whatever you want. (to PEDRO) Pedro ... I know that
you tried to save your sister's life.
(Quick flash to: [BOAT - STORM - NIGHT] The gun falls to the boat floor.
Pedro sees it and scrambles for it. He picks it up.)
PEDRO DE SOTO: Down!
(Elena gets to her feet. She and Pedro go overboard. They swim over to the
life preserver.)
(End of flash. Resume to present.)
HORATIO: I know you took the rope out of the inner tube and made the
tourniquet, but it didn't work and she bled to death before she got ashore isn't
that true?
(Marin Diaz gets to his feet and grabs his briefcase.)
MARIN DIAZ: Pedro, that's it. We're leaving, Pedro.
PEDRO DE SOTO: No! We are not leaving.
(Pedro doesn't move. Marin stops and looks at Pedro. He returns to his seat.)
(Pedro picks up the medallion and holds it in the palm of his hand.)
PEDRO DE SOTO: I shot her.
HORATIO: Why?
PEDRO DE SOTO: We were floating in the water for hours.
(Quick flash of: Elena is in the inner tube while Pedro holds on to the side.
Both are exhausted and possibly resting.)
(End of flash. Resume to present.)
PEDRO DE SOTO: Then we saw the boat.
(Quick flash of: A boat horn blares. Pedro opens his eyes and sees the boat
lights off in the distance. He wakes Elena.)
(End of flash. Resume to present.)
HORATIO: The Coast Guard?
PEDRO DE SOTO: I wanted to get her on that boat. Your law says ... (crying)
... if you need medical attention you have to be taken to a hospital.
HORATIO: You were strong enough to swim ashore, she wasn't. You shot her in
the leg knowing that if she got picked up she could stay in America.
PEDRO DE SOTO: I did what I had to do.
(Quick flash of: Elena and Pedro see the Coast Guard boat approaching. They
peak softly to each other as Elena instructs Pedro.)
ELENA DE SOTO: (untranslated in Spanish)
PEDRO DE SOTO: (shakes his head) No.
ELENA DE SOTO: Pedro ... (untranslated in Spanish)
PEDRO DE SOTO: (protests) No.
(Elena gently takes Pedro's hand, the one carrying the gun, and brings it up
above surface.)
PEDRO DE SOTO: (shakes his head) No. Muerto ...
ELENA DE SOTO: Pedro ... (untranslated in Spanish)
(Crying, Pedro cocks the gun and aims it at Elena's leg. He turns away, grits
his teeth and fires. Elena flinches and starts shivering.)
(Pedro grabs the rope and ties it around her leg to stem the bleeding. Elena
winces in pain. Pedro tries to comfort her.)
(The Coast Guard boat is very near, its lights nearly upon them, although it
does appear to turn in a direction away from them. Pedro glances back at the
boat.)
ELENA DE SOTO: Pedro ... (untranslated in Spanish)
PEDRO DE SOTO: (crying) (untranslated in Spanish)
(As he watches, the life seems to ebb out of Elena. Pedro cries. Elena has
stopped moving completely.)
PEDRO DE SOTO: (crying) (untranslated in Spanish)
(Pedro looks back at the boats, but we no longer hear them nearby. He cries as
he kisses the back of her hand. He looks at her for a moment, then turns and
pushes off to swim into the ocean.)
(Pedro swims a few strokes, then turns to look back at Elena for a long moment.
He turns and resumes swimming.)
(End of flash. Resume to present.)
(Pedro puts a hand over his eyes and cries.)
PEDRO DE SOTO: (crying) I did what I had to do.
(Pedro looks at the medallion in the palm of his hand and lightly touches it.)
(Marin Diaz puts a hand on Pedro's shoulder.)
(Camera pulls back on the scene in the interview room.)
HORATIO: (v.o.) The Coast Guard never saw them.
CUT TO:
[EXT. MIAMI-DAD POLICE DEPARTMENT / CRIME LAB BUILDING -- NIGHT]
(Horatio and Megan walk out of the building.)
MEGAN: Why'd he keep the gun?
HORATIO: Sharks.
MEGAN: So what did the State Attorney offer him?
HORATIO: Testimony for citizenship.
MEGAN: Did he take it?
HORATIO: With a heavy heart.
MEGAN: We cracked the code. NM 28 dash 30. New moon. 28th to the 30th. End
of the month.
HORATIO: No light. Here or Havana.
(Horatio stops walking and looks up at the sky.)
HORATIO: Perfect for smuggling. (Megan nods quietly.) Freedom is Light,
though, isn't it, under any moon?
MEGAN: Well said.
HORATIO: Mm.
MEGAN: Good night.
HORATIO: Good night.
(Megan turns and leaves.)
(Horatio goes back to looking up at the sky. The camera slowly moves upward
past the CSI Building and further up to the full moon above.)
(As we watch, the full moon turns and cycles through completely. The full moon
darkens to a new moon.)
FADE TO BLACK.
==========================
THE END
==========================
[Captioning sponsored by CBS and CSI Productions Captioned by Media Access Group
at wgbh access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Do not archive this transcript without permission from the Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
CSI: MIAMI
1X03: WET FOOT / DRY FOOT
ORIGINAL AIR DATE ON CBS: 10/07/2002
TRANSCRIBED FROM DVD
Starring:
DAVID CARUSO as Horatio Caine
EMILY PROCTER as Calleigh Duquesne
ADAM RODRIGUEZ as Eric Delko
KHANDI ALEXANDER as Alexx Woods
with
RORY COCHRANE as Tim Speedle
and
KIM DELANEY as Megan Donner
Created by ANTHONY E. ZUIKER, ANN DONAHUE & CAROL MENDELSOHN
Starring:
WANDA DeJESUS as Det. Adell Sevilla
ISMAEL "EAST" CARLO as Basilio
TONY PEREZ
CHRISTOPHER PEREZ
DON CREECH as Capt Robert "Bob" Morton
Music Composed by: GRAEME REVELL
Edited by: J. BENJAMIN CHULAY, A.C.E.
Production Designer: ARLOS BARBOSA
Production Designer: RICHARD BERG
Director of Photography: WALT LLOYD
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: MATTHEW WITTEN
Co-Producer: STEVEN MAEDA
Consulting Producer: ELIZABETH DEVINE
Co-Executive Producer: LAURIE McCARTHY
Co-Executive Producer: DANNY CANNON
Co-Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Written by: EDDIE GUERRA
Directed by: TUCKER GATES
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN
Executive Producer: ANN DONAHUE
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.
Co-Starring
ALMA DELFINA as Estella De Soto
WAYNE LOPEZ as Marin Diaz
STEVE DuMOUCHEL as Captain
FERNANDA ANDRADE as Elena De Soto
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Casting by: RICK MILLIKAN, C.S.A.
Miami Casting by: LORI WYMAN, C.S.A.
Original Casting by: ROBERT ULRICH, C.S.A., ERIC DAWSON, C.S.A., CAROL KRITZER,
C.S.A.
Unit Production Manager: JEAN HIGGINS
First Assistant Director: ALLEN G. DiGIOIA
Second Assistant Directors: NANCY P. TOWNSEND / DIANE CALHOUN / PAULA SMITH
Costume Designer: CYNTHIA BERGSTROM
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: DONOVAN DEAR / MARK WEBER
Script Supervisor: CLAUDIA YARMY
Special Make-Up Effects: MATTHEW W. MUNGLE / CLINTON WAYNE
Costume Supervisor: CINDY ROSENTHAL
Art Directors: SUE CHAN / TIM BEACH
Set Decorator: DANIELLE BERMAN
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: FRANK CEGLIA / BOB COOPER
Property Master: MIKE SEXTON / NICK ROMANAC
Key Grips: RANDY TAMBLING / GREG KASPER
Gaffer: JACK SCHLOSSER
Key Make-Up Artist: PEGGY TEAGUE
Ms. Delaney's Make-Up: STEPHANIE FOWLER
Key Hairstylist: YVONNE DE PATIS-KUPKA
Camera Operator: MICHAEL GENNE
2nd 2nd Assistant Director: KAREN RADZIKOWSKI
Location Managers: CHRISTINA LABUZETTA / GEORGE LARSON
Transportation Coordinators: BOB CAWLEY / DON RIENZO
2ND Unit: SCOTT LAUTANEN / MICHAEL PHIRMAN
Stunt Coordinator - Miami: ARTIE MALESCI
Stunt Coordinator: TROY ROBINSON
Colorist: GARETH COOK
Assistant Editor: SCOTT LERNER
Post Production Supervisor: MICKIE REUSTER
Loop Group: THE REEL TEAM
Digital Effects by ASYLUM VISUAL EFFECTS
Computer Playback and Graphics by E=MC2
High Definition Post Production by ENCORE
Film Laboratories by FOTOKEM
Post Production Sound Provided by TODD STUDIOS
Filmed at EL SEGUNDO STUDIOS
"Won't Get Fooled Again"
by Pete Townshend
Performed by The Who
The persons and events portrayed in this film are fictitious. Any similarity to
actual persons, living or dead, or any events is unintentional.
(c) 2002 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights
Reserved.
CBS Broadcasting Inc, and Alliance Atlantis Productions Inc, are the authors of
this program for the purposes of copyright and other laws.
Dated:08/21/2004~lky
http://www.webphilia.com/~anthology/wnp.htm