CSI: MIAMI
1X02: LOSING FACE
ORIGINAL AIR DATE ON CBS: 09/30/2002
TRANSCRIBED FROM DVD
Written by GWENDOLYN PARKER & STEVEN MAEDA
Directed by JOE CHAPPELLE
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
==========================
DISCLAIMER:
==========================
"CSI: MIAMI", "CRIME SCENE INVESTIGATION", "CSI" and other related entities are
owned, (TM) and (c) by JERRY BRUCKHEIMER Television, Alliance Atlantis
Productions, Inc., and CSI Productions, Inc. All Rights Reserved. For Fair Use,
for entertainment and for educational purposes only. This transcript was made
without their permission, approval, authorization or endorsement. Any
reproduction, duplication or distribution of this material in any form is
expressly prohibited. It is absolutely forbidden to use it for commercial gain.
CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the
headers/disclaimers in tact because it lists all those who have made this
transcript possible for your enjoyment. (3) Provide a link back to the site
where this file originated: http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY: A serial bomber is targeting prominent Columbian importers. Or is he?
Horatio is pulled into the case when his friend and mentor is killed disarming
one of the bombs.
==========================
CSI: MIAMI
1X02: LOSING FACE
==========================
COLD OPEN:
[EXT. MIAMI CITY SKYLINE (STOCK) -- MORNING]
[EXT. MIAMI SUBURBS (STOCK) - MORNING]
[EXT. MORENO RESIDENCE (STOCK) - MORNING]
[INT. MORENO RESIDENCE - BEDROOM - MORNING]
(Open on the alarm clock reading 5:59 a.m. Julisa Moreno is asleep in bed.)
AURELIO MORENO: (o.s.) (whispering hoarsely) Julisa ... Julisa ...
(She stirs in bed.)
(The alarm clock changes: 6:00 a.m. It beeps. Julisa Moreno wakes up.)
(She turns around and puts a hand out to her husband. The bed space is empty.
JULISA MORENO: Aure ...
AURELIO MORENO: (o.s.) Julisa.
JULISA MORENO: Aurelio?
[INT. MORENO RESIDENCE - HALLWAY / LIVING ROOM - MORNING -- CONTINUOUS]
(Julisa walks down the hallway toward the living room. Aurelio sits on the
couch.)
AURELIO MORENO: (o.s.) (hoarsely) Julisa...
JULISA MORENO: Aurelio, qué ha ? Estado hacienda aqui? Why didn't you come
to bed?
(She walks into the living room and slowly makes her way around the chair
Aurelio sits in.)
(She turns and sees Aurelio sitting in the chair with a bomb around his neck.)
AURELIO MORENO: Julisa... ayúdeme.
(Pinned to the front of Aurelio's shirt is a printed note:
this is a
BOMB
Deliver 50,000 dollars
in the next four hours
put the money in a brown paper bag
call 555-0187
do not call the police
(She screams.)
CUT TO:
[EXT. MORENO RESIDENCE -- DAY]
(The area is blocked off. A police car with siren on leads the bomb squad's van
to the street.)
(AL HUMPHREYS steps out of the van and starts issuing instructions to the
officers.)
AL HUMPHREYS: (shouts) Back it up and set a perimeter! No one within five
hundred feet!
CUT TO:
[INT. CSI - BREAK ROOM -- MORNING]
(The television set is on station 3 WORY reporting the Breaking News. Horatio
is watching the news, eyes glued to the set.)
TV ANNOUNCER: Quiet calm of this Coral Gables neighborhood was shattered early
this morning by...
(Delko is fixing himself a cup of coffee.)
DELKO: How about a cup of coffee, H?
HORATIO: No, thank you.
(Calleigh walks in. Speedle follows.)
CALLEIGH: That smells good.
DELKO: A little café cubano. Put some hair on your chest.
CALLEIGH: (drawls) Don't you just say the sweetest things.
SPEEDLE: That stuff's no good for you. It'll rot your stomach out.
(They each have their drinks and join Horatio in front of the television to
watch the latest report.)
TV ANNOUNCER: It is believed that the bomb squad is inside this house right
now.
SPEEDLE: Is it serious?
HORATIO: Change the channel.
(Horatio steps closer to the set. Channels 5, 4 and 11, are reporting the same
news.)
CHANNEL 3 TV ANNOUNCER: It's not known if anyone else is in the house or if...
CHANNEL 5 TV ANNOUNCER: Live on the scene of a bomb scare...
CHANNEL 4 TV ANNOUNCER: ... bomb in a Coral Gables...
CHANNEL 11 TV ANNOUNCER: County Dade Bomb squad...
CUT TO:
[EXT. MORENO RESIDENCE -- DAY]
(A vehicle drives up and stops. Horatio exits the vehicle and walks up to AL
HUMPHREYS who is putting on his vest.)
HORATIO: I didn't know they made body armor in triple extra-large.
(Al Humphreys smiles. It's obvious that these two are old friends.)
AL HUMPHREYS: They make jockey but you wouldn't know anything about that
either. Horatio Caine. (They give each other a hug.) Back from the dead.
Found any good fiber lately?
HORATIO: Just enough to keep me regular. What do we have here?
AL HUMPHREYS: Schedule-80 PVC collar clamped around the vic's neck.
HORATIO: Okay.
AL HUMPHREYS: Going to have to "John Wayne" it.
HORATIO: That's not the way you taught us, Big Man.
AL HUMPHREYS: Don't have much choice. Can't do remote. Got to be hands-on.
HORATIO: Best hands in the business.
(Al Humpreys turns and heads for the back of the car to get his gear.)
AL HUMPHREYS: Look, I've got to go do this thing, but let's grab a beer later.
Catch up.
(He picks up his case and heads into the house. Horatio watches him leave.)
CUT TO:
[INT. MORENO RESIDENCE - DAY -- CONTINUOUS]
(Al Humphreys uses a mirror to examine the underside of the collar bomb.)
AURELIO MORENO: I-I keep my insurance policies in a wall safe upstairs.
AL HUMPHREYS: That's good to know. I keep mine in a sock drawer.
AURELIO MORENO: Would you tell my wife ... tell her I love her.
HUMPHREYS: You can tell her yourself in a couple of minutes. You two will be
knocking back mojitos in no time.
(Off screen, Al takes out a drill and turns it on.)
CUT TO:
[EXT. MORENO RESIDENCE - DAY -- CONTINUOUS]
(Outside, Horatio examines the x-ray of the bomb.)
(The bomb explodes blowing out the living room windows. It's over in an
instant.)
(Horatio looks up from the x-ray and at the house. A look of disbelief on his
face. He takes off his glasses staring at the destruction.)
(Stunned. He raises a hand and wipes some blood off his cheek. He stares at
his red fingertips, then looks back at the house.)
HARD CUT TO.
END OF TEASER
ROLL TITLE CREDITS.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS MIAMI CITY (STOCK) -- DAY]
[EXT. MORENO RESIDENCE - ROAD - DAY]
(The CSI vehicle rushes up to the roadway and screeches to a stop in front of
Megan. Speedle, Calleigh and Delko exit the vehicle.)
(Megan sighs as they approach her.)
MEGAN: All right, we lost the family today. This is top priority.
CALLEIGH: Where's Horatio?
MEGAN: Inside.
DELKO: Have you talked to him? Because, uh, I think he knew the guy.
MEGAN: (nods) Yeah, Al Humphreys. He brought him onto the bomb squad, trained
him. They were close. Give me a minute alone with him, okay?
CALLEIGH: Okay.
MEGAN: Thanks.
(Megan picks up her kit and heads inside. Calleigh turns around and heads back
to the car.)
CUT TO:
[INT. MORENO RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Horatio kneels in front of Al Humphreys' body. Megan quietly enters the room.)
(As she approaches and takes stock of the damage inside the room, Horatio gets
to his feet and starts to work.)
HORATIO: Victim's name is, uh, Aurelio Moreno. He's a successful Coumbian
importer. (He moves around Al Humphreys' body toward Aurelio Moreno.) This is
obviously the seat of detonation right here. The shattering effect here
indicates high explosive and blast and frag pattern indicates that the
explosive, uh, was packed up front. Everything above the neck is blown away.
Below remains intact.
MEGAN: (hesitant) Horatio, this isn't a great idea ...
HORATIO: (interrupts) Is everybody outside?
MEGAN: Yeah.
HORATIO: Okay.
MEGAN: You should stand down. Let us work this one.
HORATIO: This is a crime scene like any other.
MEGAN: We should at least wait for the M.E. to clear the bodies.
HORATIO: What I need you to do is I need to get everybody in here right now to
process this. I want every hair, nail, fiber and every ounce of Al's blood
recovered. (beat) There are no other crime scenes in Miami today.
(Horatio turns and walks out of the room.)
CUT TO:
[INT. MORENO RESIDENCE - LIVING ROOM - DAY - A LITTLE LATER]
(Horatio examines the damage to the house framework.)
HORATIO: There's three types of damage here: Frag from the container, thermal
effect from the release of gasses and blast pressure.
SPEEDLE: Potentially the most damaging. Blast pressure forces air outward in a
shock front of up to twenty-nine thousand feet per second.
(Quick flash of: [EXT. MORENO RESIDENCE - DAY] Slow motion of the bomb blast
from outside the bay windows. A bird flies across the windows just as the blast
shatters the glass. Flash to white. Resume to present.)
CALLEIGH: When did you ever work a bomb scene?
(Speedle stops and turns around.)
SPEEDLE: I happen to read books, okay?
CALLEIGH: What does your book say ... about this?
(Calleigh reaches down and picks up a dead bird. A surprise for her to find
inside the house.)
SPEEDLE: Blast pressure has two phases: positive and negative. When the air
is pushed outward it creates a vacuum in the center.
CALLEIGH: So everything gets sucked back in.
(Quick flash of: [EXT. MORENO RESIDENCE - DAY] In a continuation of the blast,
the bay windows explode in slow motion just as a bird flies by. The blast
shatters the glass. The bird and shattered glass gets sucked back into the
house.)
(End of flash. Resume to present.)
HORATIO: It also means that the components from this device are still in this
room. They're in a thousand pieces, but we should find them. So, Calleigh,
let's find out who had access to the house. Eric, we've got to find that ransom
note. And Speed, you Megan and I will look for the bomb.
MEGAN: Find the bomb, find the bomber.
CUT TO:
[INT. MORENO RESIDENCE - VARIOUS SEQUENCES -- DAY]
(Horatio examines the wall. He sees something.)
(Quick close-up shows a wedding ring with specks of red blood on it embedded in
the wall.)
(Horatio removes the ring from the wall and stares at it.)
(Cut to: Calleigh examines the door frame. She finds something.)
(Quick close-up of: A slip of fabric is caught in the splintered wood.)
(She pulls out the fabric and looks at it. She slips it in a bindle.)
CUT TO:
[EXT. MORENO RESIDENCE - FRONT WALK -- DAY]
(Horatio, Calleigh and Speedle walk out of the house.)
CALLEIGH: Bomber came in through an unlocked window in the maid's room.
Yesterday was her regular day off.
HORATIO: Means the bomber knew their routine.
CALLEIGH: And Moreno's wife said he liked to stay up late and watch tv. My
guess is he got jumped right in the middle of Letterman.
SPEEDLE: "Top ten ways to get your head blown off."
(Horatio turns to look at Speedle. A horrified look crosses Speedle's face as
he realizes what he said.)
SPEEDLE: I'm sorry, H. I didn't mean ...
HORATIO: it's okay.
CALLEIGH: I also found some type of fabric on the frame.
(Horatio walks up to Delko. Calleigh and Speedle leave.)
HORATIO: Let's get that to trace, all right? Is this the note?
DELKO: Yeah. Note's got some flash burns, minimal blood spatter. It's
certainly readable. I mean, "this is a bomb. Deliver $50,000 ... "
MEGAN: Fifty grand? Did you see the size of that place? He could've asked
for ten times that.
HORATIO: Let's get this to chemical processing.
DELKO: You got it, H.
HORATIO: Good.
(Delko leaves. Megan and Horatio turn to put their things in the back of the
vehicle.)
MEGAN: You okay?
HORATIO: Yeah, I'm fine.
(Horatio opens a bindle and puts the wedding ring inside. He folds the
envelope. Megan sees him.)
MEGAN: Horatio, what are you doing?
HORATIO: I'm giving Al's wife his wedding ring back.
MEGAN: That's evidence.
HORATIO: I know that.
MEGAN: You can't just give it away.
HORATIO: (simply) I'm not giving it away ... I'm giving it back.
(He closes his kit and walks away.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Alexx goes over the Aurelio Moreno findings with Megan.)
ALEXX: Avulsive destruction of the face and frontal calvarium. Thermal damage
of the epidermis at the edges of the defect. Thought I'd seen everything.
MEGAN: I'm surprised he didn't take his head clean off.
ALEXX: Yeah. I rushed tox. Traces of chloroform in his system.
MEGAN: That's how the bomber got the collar on him.
(Quick flashback to: Aurelio Moreno is chloroformed.)
(Cut to: The bomber snaps the bomb around his neck.)
(End of flashback. Resume to present.)
ALEXX: (to the body) You didn't know what hit you, did you, sugar?
(Megan looks at the rest of the body.)
MEGAN: Rest of him doesn't look too bad considering.
ALEXX: Looks can be deceiving.
(Alexx opens up the chest cavity to reveal slush inside.)
MEGAN: My god ... what happened?
ALEXX: "White Butterfly" effect. Pressure can cause massive internal damage.
Lungs burst. Other organs turn to soup.
(Quick CGI POV: A colored x-ray of the chest cavity and all the internal organs
simply dissolving. End of CGI POV. Resume to present.)
ALEXX: How's Horatio holding up?
MEGAN: (sighs) Fine. (Alexx turns and looks at Megan.) At least that's what
he's telling me.
ALEXX: He told me he wanted to be down here for Al.
MEGAN: For his post?
ALEXX: Yeah. He said he could handle it.
MEGAN: What did you say to him?
ALEXX: Told him I didn't need him down here. But I knew someone who did.
CUT TO:
[EXT. HUMPHREYS' RESIDENCE - BACK YARD -- DAY]
(Horatio breaks the news to Felicia Humphreys as her two sons play in the
swimming pool.)
FELICIA HUMPHREYS: We've missed you since you left the squad.
HORATIO: Been too long, Felicia.
FELICIA HUMPHREYS: Al was just saying ... we need to have you over for dinner
sometime.
HORATIO: I'd like that.
FELICIA HUMPHREYS: He never wanted to talk about ... you always know there's a
possibility something could go wrong ...
HORATIO: Felicia, everything I am I owe to Al. Everything I know, he taught
me.
(She cries. She turns and looks over at her two sons.)
FELICIA HUMPHREYS: How do I tell them? What do I say to them?
HORATIO: You know what, Felicia? I don't want you to worry about it. I want
you to let me handle it. This is for you.
(Horatio gives Felicia the envelope with Al's wedding ring inside. Horatio
stands up and goes to talk with the boys.)
(Felicia opens the envelope and the wedding ring slides out into the palm of her
hand. She looks at it and cries. She clutches the ring in her fist and holds
it to her heart.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Megan and Speedle stand in front of the table as they put their gloves on. On
the table are the various parts of the bomb.)
(Various cuts of: Speedle reconstructs the bomb as Megan swabs the various
parts.)
(Horatio wears goggles as he examines the parts of the bomb.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio sits on the counter staring out in front of him.)
(Megan walks up to him with the test results.)
HORATIO: It's not here.
MEGAN: Casing came back positive for TATP. Homemade explosive. Very
sensitive. Wouldn't want to get the shakes.
HORATIO: Not this guy. This guy's a pro.
(Speedles looks at the various parts on the table reconstructed by the blast
pieces.)
SPEEDLE: Well, he sure made a beauty: Dummy switches Alternative power source.
Collapsing circuits.
HORATIO: We are still missing a component. The action switch is not here.
SPEEDLE: We covered that scene on our hands and knees. We got it all.
HORATIO: Let me say it again. It's not here.
SPEEDLE: Evidence just can't get up and walk out of the room.
MEGAN: Yes, it can.
CUT TO:
[INT. CSI -- DAY]
(On the monitor, they watch CHANNEL 4 footage of two firemen walking up the
front walk. It also shows a couple of firemen walking out of the house. They
freeze frame the image.)
MEGAN: On their boots. And there it goes.
HORATIO: So let's get it back.
(Megan turns and looks back at Speedle.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS MIAMI CITY (STOCK) - DAY]
[INT. CSI - LAB -- DAY]
(Horatio uses a magnifying glass and examines the undersides of the firemen's
boots that have been collected and are piled on the table. Speedle walks in
carrying a couple more pairs of boots. He adds those to the table.)
SPEEDLE: Three engine companies responded to that bomb call. It was like a
freeway through that house.
HORATIO: And we're going to check them all.
(Horatio picks up another boot.)
SPEEDLE: Any chance it's going to lead to anything?
HORATIO: You tell me.
(He turns and lets Speedle look through the magnifying glass.)
(Close up of a piece of something under the boot.)
SPEEDLE: Electric photocell.
HORATIO: Yeah. This is what killed Al.
SPEEDLE: I'm sorry about that, H.
HORATIO: Yeah. Me too. Me too.
CUT TO:
[INT. CSI - LAB -- DAY]
(Megan walks through the hallway and into the lab where Calleigh is.)
MEGAN: Calleigh? Got something on the fabric?
(Calleigh looks up at Megan.)
CALLEIGH: Flanders mesh pattern. Machine-made. Size ten. 32-count pella
linen.
(Delko walks into the lab.)
MEGAN: French lace. Trés couteux
CALLEIGH: Trés bon.
MEGAN: Hmm. (to Delko) Hey.
(Delko sits down in front of Calleigh.)
DELKO: Hey.
CALLEIGH: Our bomber's quite the clothes hound. He has expensive taste.
MEGAN: If he is a he. A lot of women's clothing is made with french lace.
Blouses, scarves...
DELKO: Lingerie. (Both women turn to look at Delko.) What? I shop on
Valentine's Day.
(Calleigh smiles.)
MEGAN: How you doing on the note?
DELKO: Great. I ran thin-layer chromatography on the ink. It's, uh, garden-
variety laser printer and you can find them at any copy shop. Which made me
realize I was barking up the wrong tree.
(He hands the file folder to Megan.)
MEGAN: You analyzed the paper.
DELKO: Exactly. It's bagasse pulp. It's a treeless paper made from sugar cane
fiber. It's imported primarily from Colombia.
MEGAN: Colombia. We need to find out if any local area stores sell this.
DELKO: There are four high-end stationary stores here in Dade County. All of
them are sold out and they're awaiting a shipment from a Columbian import
company that's owned by one Aurelio Moreno. And I did some other fact checking.
There's been a string of necklace bomb cases just like this one in and around
Bogota. The bombers stalk their victims for weeks get their routines down cold.
They pick only high-profile targets. They're wealthy enough to pay the ransom.
CALLEIGH: Just like Moreno.
MEGAN: Where's that paper shipment now?
DELKO: It's waiting in customs impound.
MEGAN: Then I'm wondering who else might have had access to that paper.
CUT TO:
[EXT. HARBOR (STOCK) - DAY]
[INT. CUSTOMS WAREHOUSE -- DAY]
(Charlie Berenger walks up to Delko as he works. Berenger chews on a
toothpick.)
CHARLIE BERENGER: Charlie Berenger, Customs.
DELKO: Eric Delko, CSI.
(They shake hands.)
CHARLIE BERENGER: So my boys tell me you're looking for paper.
DELKO: Coded watermarks, actually. It's a design pressed into the liquid paper
stock. It can tell us when a particular lot was manufactured.
DELKO: Is this, uh, is this a restricted area?
CHARLIE BERENGER: Sure. Doesn't mean there's no access though. Security
guards, dock workers, plus any number of federal inspectors through here on a
regular basis.
DELKO: Any of them have it in for a guy named Aurelio Moreno?
CHARLIE BERENGER: Moreno? (He chuckles.) That's a real piece of business.
He's been investigated by the cargo cats.
DELKO: The who?
CHARLIE BERENGER: Cargo cats. It's a name we have for ourselves on the counter-
smuggling task force.
DELKO: You have a file on this guy?
CHARLIE BERENGER: Yeah, sure.
CUT TO:
[INT. CUSTOMS WAREHOUSE - DAY -- LATER]
(Charlie Berenger gives the file to Delko.)
DELKO: Looks like Moreno was doing all right for himself.
CHARLIE BERENGER: Better than all right. Nothing moved between South Florida
and Colombia without going through him first.
DELKO: Who's this?
(Delko shows Berenger the photo of a blonde-haired woman.)
CHARLIE BERENGER: That's Moreno's wife. Lauriana.
DELKO: (shakes his head) That's not his wife.
CHARLIE BERENGER: Esposa number two. And you didn't know that?
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio, Megan and Speedle stand around the table with the bomb pieces.)
HORATIO: Now in order for a bomb to do its job it needs three components.
Power source -- it needs an action switch and it needs an explosive load.
(As he talks, Horatio pushes the components into the plastic tubing. He twists
the wires.)
SPEEDLE: We wired in a photocell like the one we found melted into the
fireman's boot.
HORATIO: So Al followed a render-safe procedure and he drilled in in an attempt
to disrupt the power source.
(Once all the components are together, Horatio picks up a drill and drills into
the casing.)
(Quick CGI POV of inside the casing. The drill pierces through the casing
allowing light into the tube.)
SPEEDLE: (v.o.) Once the pipe was breached, the light hit the photocell,
closed the circuit ... boom.
(Light shines on the photocell and the power runs up and down the wires.)
(End of CGI POV. Resume to present.)
MEGAN: What kind of person makes something like that?
HORATIO: Well, bombers are ego-driven. They make bombs to gain control, get
revenge, sow terror. Some believe they've been betrayed by society.
(Delko walks into the lab.)
DELKO: Or betrayed by someone they trusted. Our Moreno was a busy boy. (Delko
puts the photos on the table.) He had one wife in Miami, the other in Bogota.
Customs inspector at Port of Miami told me that wife number two came in a week
ago. High season.
SPEEDLE: Maybe they found out about each other. Sounds like motive.
HORATIO: Yeah, maybe it's time to talk to the wives.
CUT TO:
[INT. CSI - INTERVIEW ROOM 1 -- DAY]
(Horatio interviews Julisa Moreno.)
JULISA MORENO: I don't know anyone who would want to hurt him. He was hard-
working, honest. Aurelio was a good man. He loved his family.
CUT TO:
[INT. CSI - INTERVIEW ROOM 2 -- DAY]
(Megan interviews Lauriana Moreno.)
LAURIANA MORENO: My husband was very devoted to family. He traveled quite a
bit, but he hated to be away from us. If there was even a weekend he could get
away, he would come home.
CUT TO:
[INT. CSI - INTERVIEW ROOM 1 -- DAY]
JULISA MORENO: Of course he had to travel for business, but he hated it. He
didn't like to be away from me.
CUT TO:
[INT. CSI - INTERVIEW ROOM 2 -- DAY]
LAURIANA MORENO: He never wanted to leave me. I miss him so much.
CUT TO:
[INT. CSI - INTERVIEW ROOM 1 -- DAY]
JULISA MORENO: You have no idea how much I miss him.
HORATIO: I'm sorry for your loss. We're trying to figure out who did this.
(Horatio reaches down to grab something.)
JULISA MORENO: What's that?
HORATIO: I'd like to ... take a swab of your hand, if I may. It might help me
identify the killer. Would that be all right?
(She hesitates.)
HORATIO: Let me see your left hand.
(He reaches for her hand.)
CUT TO:
[INT. CSI - INTERVIEW ROOM 2 -- DAY]
MEGAN: Would you mind if I took a hand swab?
(Lauriana Moreno pulls her hands back.)
LAURIANA MORENO: I don't understand. What could be on my hand?
MEGAN: It's just to rule out any possibility of cross-contamination.
(She holds out her hand.)
LAURIANA MORENO: If it will help.
(Megan takes a swab of her palm.)
MEGAN: Beautiful blouse. Is that french lace?
LAURIANA MORENO: (nods) Mm-hmm.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Horatio and Megan talk in the hallway as they watch the two Mrs. Morenos
waiting for the elevator.)
HORATIO: So, old Aurelio's got it coming and going, doesn't he?
MEGAN: Plus he got a two-for-one discount on clothing and jewelry.
HORATIO: Where does he find the energy? Okay, I'm going to go run these
samples. I'll see you in a minute.
(Horatio leaves. Megan continues to watch the two women. Neither acknowledges
the other.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio processes the samples himself. The printer prints out the results.)
CUT TO:
[INT. CSI - LAB -- MORNING]
(Megan walks into the lab. She finds Horatio still at the table.)
MEGAN: Hey. Morning.
HORATIO: Take a look at this. His American's wife's hands were clean while
Lauriana had trace elements of triacetone and triperoxide -- TATP. This is our
bomber.
MEGAN: All your years on the bomb squad ...
(He grunts.)
MEGAN: ... how many bombers were women?
HORATIO: This is my first. I've called the INS to see if we can hang on to her
while her extradition papers come through.
MEGAN: Horatio, stop. Listen to yourself.
HORATIO: No, you listen to me. This woman is not going anywhere until I clear
her.
MEGAN: How can anyone go anywhere with you running roughshod over the evidence?
Can't you see this isn't about you finding out what happened to Al?
(She sighs.)
MEGAN: The day Sean died, I was at his scene. Restaurant shooting. Girl
killed by her boyfriend. I didn't realize that Sean had gone across the street
to the boyfriend's apartment. He found him on the fourteenth floor balcony
ready to jump. Sean tried to talk him down, like any good cop would do. Guy
took him over the side. I saw them hit. Didn't know who it was at first. I
worked that case. I insisted on it. I wanted to be there for him. I couldn't.
Grief is grief; work is work. Don't confuse the two.
HORATIO: You're thinking that maybe I've missed something. Hmm.
MEGAN: Well, did you notice Lauriana's hair and nails? Acetone and peroxide.
Base elements of TATP. Also of nail polish and hair dye. Those two women
didn't bat an eye when they got on the elevator. I'm a woman, and I'm telling
you they don't know each other. They probably had no idea the other exists.
(Horatio absorbs it all in. His phone rings.)
HORATIO: Excuse me. (He answers it.) (to phone) Horatio. (pause) Where are
you? (He listens for a moment, then hangs up.) We've got another bomb.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI BEACH (STOCK) - DAY]
[EXT. VARIOUS MIAMI CITY (STOCK) - DAY]
[EXT. BURGOS RESIDENCE - FRONT -- DAY]
(Horatio makes his way to the bomb squad. Fire personnel are there preparing
for the worst, officers tape off the area.)
[INT. BOMB SQUAD VAN - DAY - CONTINUOUS]
(Inside the van, Horatio removes his sunglasses. He approaches Katrina Cabrera
who is studying the x-ray of the bomb device.)
KATRINA CABRERA: Any closer and I might have to file a sexual harassment suit.
HORATIO: (chuckling) Yes, but it wouldn't stick. We don't work together
anymore.
KATRINA CABRERA: Why do I the feeling this isn't a social call?
HORATIO: Well, we have information on the first bomb that you need. You're
going to have to render-safe in the dark. The device that killed Al had a
photocell just like this. When light hits it, it detonates. (She nods.) Bill,
would you dig out the tarp, please?
KATRINA CABRERA: Right.
CUT TO:
[EXT. BURGOS RESIDENCE - FRONT - DAY -CONTINUOUS]
(Megan walks with Detective Martin Puig as he fills her in.)
MEGAN: Who's the target?
DET. MARTIN PUIG: Vic's name is Maura Burgos. High-end antiques dealer. She
was in her kitchen when she got jumped. Woke up from a chloroform bouquet to a
necklace bomb around her neck.
MEGAN: Burgos? Is she Columbian?
DET. MARTIN PUIG: Hard to say. Unless that's code for scared out of your mind.
CUT TO:
[INT. BURGOS RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Katrina Cabrera is in the house. She has night seeing equipment on and is
kneeling in front of Maura Burgos.)
HORATIO: How did she contact the police?
KATRINA CABRERA: Garage door opener. Neighbor called it in. That was quick
thinking, Maura -- flapping the garage door. Did you have the opener in your
pocket?
MAURA BURGOS: My purse. It was on the table when I came to.
(Camera pulls back and we see that a small portion of the living room is
insulated and covered. It's presumed that Maura and Katrina are inside that
closed off area.)
INTERCUT WITH:
[INT. BOMB SQUAD VAN - DAY]
(Horatio is on the radio.)
HORATIO: (to radio) Okay. Now stay with me, Kat. I'm going to walk you
through it. I think this is a twin of the other device which means the
explosives are packed up front and the safe arm will be on the victim's right
side.
KATRINA CABRERA: Copy that. Approaching from the right.
(Katrina uses a hand drill and makes a hole in the bomb casing.)
HORATIO: Now remember you have to keep her calm.
KATRINA CABRERA: Hey, Maura. You know any Stevie Wonder?
(Maura nods.)
MAURA BURGOS: Hey, babe ... / everything is all right / uptight / out of sight
...
KATRINA CABRERA: Sorry, I'm giving you dandruff. Keep singing darling.
MAURA BURGOS: Everything is all right / uptight ... / out of sight
(Horatio watches from the mobile camera Katrina's wearing.)
HORATIO: So, let's follow along the seam and that's where the frag is largest.
KATRINA CABRERA: I'm trying. Housing's as smooth as a baby's butt.
HORATIO: That's because he used silicone gel, sanded and buffed with an
electrostatic cloth.
KATRINA CABRERA: Trying to hide this sucker, but he can't hide from us, can he,
Maura?
MAURA BURGOS: Uptight / Out of sight...
HORATIO: You need to stop as soon as you feel the pressure ease and before you
hit dead space.
KATRINA CABRERA: Just a few zip-zips, Maura and we're out of here. Easier than
a trip to the dentist.
HORATIO: Stop the drill. Kat, now wait a second now. That's beginning to
separate. I want you to shut that drill down. Stop the drill.
(Katrina stops the drill. The seam of the bomb casing cracks open and a small
stream of sand falls out.)
KATRINA CABRERA: It's a hoax. Damn thing's filled with sand. I'm bringing her
out.
(Katrina opens the partitioned off area .)
HORATIO: No, you're not. You're going to stay right there. Nobody moves.
(Horatio runs out of the van.)
[EXT. BURGOS RESIDENCE - STREET - DAY -CONTINUOUS]
(Horatio rushes out of the van and across the street.)
HORATIO: Kat, listen to me. There may be a secondary device.
KATRINA CABRERA: Let me get Maura out of here first.
HORATIO: No-no-no! It could function in any number of ways! Either of you
moves, it could blow!
KATRINA CABRERA: This isn't your handle anymore, Horatio.
CUT TO:
[INT. BURGOS RESIDENCE - KITCHEN - DAY -- CONTINUOUS]
(Horatio walks cautiously into the kitchen.)
HORATIO: Am I in the path that you cleared?
(In front of them, Katrina and Maura sit in the small tent.)
KATRINA CABRERA: Yellow brick road right under your feet.
(Horatio walks up to them. He looks around the room noting the small things.
On the very top shelf, he sees something a little unusual.)
HORATIO: Maura, should these wires be sticking out of this clown?
MAURA: Yes. There was a little balloon that broke off.
HORATIO: Okay, Maura what I need you to do is take a very good look around the
room and tell me if anything is different.
(She takes a good look around the room and shakes her head.)
MAURA: No, I just ... I don't know.
HORATIO: It's okay.
(He looks at Katrina and he shrugs.)
HORATIO: (to the radio) We're clear in here.
(Katrina takes off her head gear and breathes.)
CUT TO:
[EXT. BURGOS RESIDENCE - FRONT WALK - DAY -- CONTINUOUS]
(Horatio and Katrina escort Maura Burgos out of the house. The bomb has been
removed.)
HORATIO: Deep breaths. You're doing great.
(The small crowd outside and across the street cheer and clap as they see them
emerge from the house.)
KATRINA CABRERA: (to Maura) What did I tell you? Mojito time.
(Two officers escort Maura to the side. Katrina follows carrying the bomb
casing in her hand. The applause continues.)
(Horatio takes a moment and watches the crowd. He looks around and sees
something unusual, a little boy on a bicycle pauses outside the taped area. In
the bicycle basket is a brown paper package.)
(Horatio makes his way to the kid on the bike.)
HORATIO: Hey, Bill?
(Bill, who was talking with Megan on the side, runs over to Horatio.)
BILL: Yeah, boss?
HORATIO: Let's bring out the E.C.M and let's get everybody away from this kid
on the bike right now.
BILL: You got it.
(Bill runs off camera frame. Horatio continues toward the kid on the bike.)
HORATIO: Hey.
(Someone hands Horatio his kit.)
HORATIO: Nice bike.
(The kid glances down proudly at the bike. Horatio ducks under the crime scene
tape.)
HORATIO: What is that?
CONNER: BMX.
HORATIO: That is cool.
(Horatio puts his kit down on the ground.)
(Back near the van, Katrina and Megan watch Horatio with Conner.)
MEGAN: Electronic counter measure? He's jamming every radio signal in the
area.
KATRINA CABRERA: In case the bomber's trying to remote-detonate.
HORATIO: Back in my day I had the, uh sting ray with a banana seat and the
racing slicks, but that was a long time ago. What's your name?
CONNER: Conner.
HORATIO: You know, it is, um, it is a little big for you. Where's you get it?
(Conner glances back.)
CONNER: The man said I could keep it if I brought the package to his friend.
(Horatio kneels down next to the bike.)
HORATIO: Mm-hmm
CONNER: He said to wait for him here.
(Conner points to the yellow street sign: NOT A THROUGH STREET.)
(Horatio doesn't say anything. He continues to study the bike and the package.
Conner glances around and notices the activity.)
CONNER: (worried) I did something bad, didn't I?
(Horatio stands and moves to kneel down next to the bike seat.)
HORATIO: No, you didn't, Conner. Everything's fine. Here's what I want you to
do, though. I want you just sit tight and keep your eyes on me. Can you do
that?
(Conner nods.)
HORATIO: Good. Now, I'm just going to take a look at your bike.
(He looks under the seat and sees something.)
HORATIO: Hey, you like chocolate?
CONNER: How'd you know?
HORATIO: (chuckles) All kids like chocolate. Okay, now here's what we're
going to do next, Conner. Very slowly ... in slow motion I want you to get off
your bike.
(Conner slowly gets off the bike.)
HORATIO: Beautiful. Conner, good job. Now, just as slowly I want you to walk,
not run right to those police officers right there.
(He looks over at Megan and Kat. Megan holds out her hand for Conner.)
(Conner turns and heads in that direction as Horatio watches.)
HORATIO: Good job, Conner.
(Horatio stands up. Conner reaches Megan and they all step away to safety.)
(Horatio continues to study the bike.)
(Cut to: Out from the back of the van, a small robot on wheels exits and makes
its way toward the bike.)
(In the front of the robot is a camera, the monitor is back in the bomb van.)
INTERCUT WITH:
[INT. BOMB SQUAD VAN]
(Horatio and Katrina watch the monitor.)
HORATIO: A new robot?
KATRINA CABRERA: Yeah, "Andros." Tracks a little smoother than the old one.
(The robot turns and stops, the bike in its sights.)
[EXT. BURGOS RESIDENCE - STREET - DAY - CONTINUOUS]
(Megan processes Conner.)
MEGAN: Conner, I'm going to comb your hair to see if the man who gave you the
package left anything on you, okay?
(Megan combs out Conner's hair.)
MEGAN: I know the Detective asked you already but can you remember anything
about that man?
(Conner shakes his head, no.)
MEGAN: That's okay. I forget too. Especially when I'm scared.
(She smiles at him reassuringly.)
CUT TO:
[INT. BOMB SQUAD VAN - DAY - CONTINUOUS]
(On the monitor, they look at the x-ray view of what's inside the package.)
KATRINA CABRERA: You found me my target?
HORATIO: Green is for go if this is the same type of device.
CUT TO:
[EXT. BURGOS RESIDENCE - STREET - DAY - CONTINUOUS]
(Megan finds a stray hair.)
MEGAN: Conner, did the man have light hair?
CONNER: Yeah ... light brown. Kinda wavy.
MEGAN: (she smiles) See? You did remember something.
(He smiles.)
CUT TO:
[EXT. BURGOS RESIDENCE - STREET - DAY - CONTINUOUS]
(The robot adjusts itself, raising itself to the height of the package.)
HORATIO: You're right on line, Bill. Right on line.
(Bill continues to raise the robot laser. Once it's set up, the light on the
laser turns on.)
BILL: Laser's on target.
(Megan walks into the back of the van.)
MEGAN: What's it going to do?
KATRINA CABRERA: Little gizmo on top's called a "disrupter." This of it as a
water pistol only it fires nine hundred feet per second.
HORATIO: Water doesn't compress. It shoots out like steel rebar. If we get
lucky, we can take out this power source.
KATRINA CABRERA: Circuit interruptus.
MEGAN: And if we don't?
HORATIO: And if we don't we're going to have a very large crime scene to
process. Let's go.
(He looks at Katrina. Katrina walks to the van door and looks out.)
KATRINA CABRERA: Fire in the hole!
OFFICER: Fire in the hole!
(Bill turns the key and pushes the button on the control panel.)
(Outside, the laser fires and hits the package. The force of the shot propels
the package high up into the air where it lands on the grass.)
(Katrina walks up to the package and picks up the disrupter. She looks at the
item.)
KATRINA CABRERA: All clear.
(She walks away with the disrupter. Horatio exhales and walks over to the
package. Megan looks down at the package.)
MEGAN: Okay. The thing I don't understand if the bomber's after the girl why
plant a hoax in her house?
HORATIO: Calculate the distance between the house and the sign.
(Megan looks at the sign.)
MEGAN: Couple hundred feet?
HORATIO: I'd say five hundred feet and that's exactly where the bomb squad
would place containment and command post and that's by the book, isn't it?
MEGAN: You're saying this guy knows procedure?
HORATIO: The victims were decoys. He's after the bomb squad.
(Horatio leaves. Camera holds on Megan.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - LAB -- DAY]
(Horatio goes over the pieces and evidence with the team.)
HORATIO: Well, the first bomb, ladies and gentlemen was designed to kill the
victim and the bomb tech. Second bomb was a decoy to lure them in. And the
third bomb was designed to blow them all to smithereens.
CALLEIGH: All those little pieces - It's hard to believe they can be so deadly.
SPEEDLE: Fourteen ounces of semtex brought down that plane over Lockerbie --
and that's smaller than a bag of coffee. Killed all 259 passengers, eleven on
the ground.
HORATIO: And this is gonna bring us straight to the bomber so Speed, swab
everything. Eric, concentrate on the switches. They're not handmade so let's
find out the manufacturer's specs, the make and model of every item. And
Calleigh let's work on the wiring. Let's look for any cuttings or tool markings
that seem odd, okay? And let's put a rush on this, people. It is my belief
that the bomb squad is about to get another call.
SPEEDLE: What are you going to do, boss?
HORATIO: I'm going to look for the signature. Every bomber has a signature.
I'm going to find his.
CUT TO:
[VARIOUS CUTS OF THE TEAM]
(Horatio picks up two wires and looks at them, comparing the two. He studies
the ends, then puts them down facing each other.)
(Quick flash of: The Bomber, wearing black leather gloves, puts the two wires
together. End of flash.)
(Calleigh strips the wires of its plastic covering and cuts the tips off. She
picks up a second wire and cuts the tip off with a wire cutter.)
(Quick close-up of: The tip is cut.)
(Calleigh picks up a third piece of wire and uses a different tool to cut the
tip off. She compares the tips of the wires with each other.)
(Cut to: Horatio twists two wires together.)
(Quick flash of: The Bomber twists two wires together. End of flash.)
(Cut to: Speedle takes a swab of the disrupter. He places the swab in a tube.)
(Delko uses a magnifying glass and examines the bomb piece.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Scope view of a strand of hair.)
MEGAN: I can tell you it's light brown, auburn in reflectivity a fragment of
three inches with an angle tip cut. Cortical cell is damaged, medulla,
fractional. But none of that is going to give you a name.
(Megan is looking through a scope. She turns around to look at Horatio.)
MEGAN: I can also tell you that your standing there is not going to grow a hair
tag at the end of the sample.
HORATIO: (smiles) I need everybody in the layout room.
MEGAN: You miss it, don't you? Being on the front lines.
HORATIO: The simple answer is no.
MEGAN: I saw you out there. Why leave something you're good at?
HORATIO: You ever been in a horse race?
MEGAN: Life's enough of a gamble.
HORATIO: Some horses run better in a harness and the science is my discipline.
I'll see you in there.
(Horatio leaves.)
CUT TO:
[INT. CSI - LAYOUT ROOM -- DAY]
(Horatio and the team gather around the layout table.)
HORATIO: What do we know?
DELKO: A couple of components were brand-name capacitors and switches, but the
relay base grommets were painted, not clear.
HORATIO: Counterfeit?
DELKO: Looks that way.
HORATIO: Find out where they were sold.
HORATIO: Speed?
SPEEDLE: No sweat, no saliva, no hand lotion. But there were traces of
chlordane.
HORATIO: Insecticide?
SPEEDLE: Banned insecticide. It's still in use in some coffee growing
countries, but I don't have a manufacturer yet.
HORATIO: Keep looking. Calleigh?
CALLEIGH: All wire ends were straight-edged, standard wire cutters. Nothing
fancy. It's a dead end.
(Megan walks into the room and sighs heavily.)
MEGAN: Afraid I've also got a dead end, literally. Hair is human. Doesn't
belong to our guy.
HORATIO: How do you know without a skin tag?
MEGAN: Faint traces of silicone adhesive at the root. It came from a wig.
(Quick flash of: The Bomber secures the wig on his head. End of flash.)
CALLEIGH: French lace -- from the window at the Moreno house. It's also used
on high-end toupees. It gives a more natural look to the hairline.
SPEEDLE: Lace on a rug.
CALLEIGH: (nods) Uh-huh.
SPEEDLE: Well, shoot me if it comes to that.
(Everyone shares a laugh.)
MEGAN: (to Horatio) What did you find from the bomb?
HORATIO: Signature is shrink-wrapped wires, laid end to end ... leads twisted
into a counterclockwise direction, but that, ladies and gentlemen is not the big
deal with this guy. This guy is a show-off.
CALLEIGH: How can you get that from a bomb?
HORATIO: Every twist of every wire is about him: "Look at me. Look at how
clever I am."
MEGAN: Still doesn't give us a name.
HORATIO: Okay. Let's go back to the top. He's been around bombs. Maybe he
has a grudge.
MEGAN: Wears a toupee.
CALLEIGH: Out of necessity ... chemo?
HORATIO: Maybe he's had some close calls.
CALLEIGH: Maybe he burned his head in some sort of explosion. That could
account for the wig.
DELKO: And he's making his bombs out of counterfeit parts.
SPEEDLE: In some place with some heavy-duty insecticide.
HORATIO: So, where do counterfeit parts and banned insecticide come together?
SPEEDLE: Both are illegal imports.
DELKO: And Moreno was importing goods from Colombia and so was Maura Burgos.
HORATIO: And it has to go through where? U.S. Customs. Let's go back to that
impound warehouse.
CUT TO:
[EXT. MIAMI INDUSTRIAL AREA - HARBOUR (STOCK) - DAY]
[EXT. IMPOUND WAREHOUSE - CUSTOMS -- DAY]
(The CSI vehicle turns the corner.)
HORATIO: What do you got?
DET. MARTIN PUIG: These are all the agents with access to the Moreno and Burgos
files combined with warehouse access.
(He hands the clipboard to Horatio and Megan.)
HORATIO: Customs enforcement agent Charlie Berenger. There it is.
MEGAN: That's who Delko talked to. You know him?
HORATIO: A long time ago.
DET. MARTIN PUIG: Radio cars are on their way.
HORATIO: Okay, be careful of that. He gets wind of it, he may set another
device.
MEGAN: We should stand down and wait for backup Horatio. This is not a good
plan.
HORATIO: He's killing my friends. And he's talking to me. I'm going in.
(Horatio steps into the warehouse. Megan remains behind.)
CUT TO:
[INT. IMPOUND WAREHOUSE - DAY -- CONTINUOUS]
(Horatio walks deeper into the warehouse. He looks around. He walks through
the various containers looking around.)
CHARLIE BERENGER: (o.s.) Horatio?
(Horatio turns around and chuckles when he sees Charlie Berenger.)
HORATIO: Charlie B.
(Charlie Berenger smiles as he chews on a toothpick. Around his neck is a
collar bomb.)
CHARLIE BERENGER: Horatio Caine. It's been a while. Hey, nice work with the
kid on the bike.
HORATIO: Thank you. Just a couple of old bomb techs talking, right, Charlie?
CHARLIE BERENGER: Yeah.
(Horatio turns and walks toward Berenger.)
HORATIO: 1998 was a raw deal for you when that bomb blew ... wasn't it? You
could have beaten that timer.
CHARLIE BERENGER: I would've ... if I didn't have Humhreys screaming in my ear.
HORATIO: Al made a big mistake with you, Charlie. He underestimated you,
didn't he? But now you're going to show them.
(Quick flashback to: [AURELIO MORENO] Aurelio Moreno struggles as he's
chloroformed.)
(Cut to: The bomb is snapped into place around Moreno's neck.)
HORATIO: (v.o.) You picked victims to mislead the squad.
(Cut to: The bomb explodes.)
(Cut to: [MAURA BURGOS] Charlie Berenger places the collar bomb around Maura's
neck as she's unconscious.)
HORATIO: (v.o.) You made them think they were dealing with colombian bomb
ransoms ...
(Finished, Berenger climbs up and puts on a wig as he leaves.)
HORATIO: (v.o.) but all the while, you were setting them up.
(Cut to: The sand leaks out of the collar bomb.)
(Cut to: Berenger talks with Conner, the kid on the bike.)
CHARLIE BERENGER: All right, partner, you know what you're doing now?
CONNER: Yeah.
CHARLIE BERENGER: Attaboy. All right.
(Conner rides off.)
CHARLIE BERENGER: Go on now. Watch yourself, now. Be careful.
HORATIO: (v.o.) And that last device? A work of art, Charlie.
(Cut to: Berenger twists the wires of the bomb together. Charlie continues to
put the bomb together.)
HORATIO: (v.o.) Collapsing parallel circuits. Michelangelo would've been
envious.
(End of flashback. Resume to present.)
HORATIO: I've done the reconstruction, Charlie, and Al should have never taken
you off that squad. You were too good for that.
CHARLIE BERENGER: I was. Yeah. Look where it got me.
HORATIO: Everybody has a bad day. Today could be mine. Trying to take you
down could get us both blown up couldn't it?
(Charlie chuckles.)
CHARLIE BERENGER: You think I can't get out of this?
HORATIO: I couldn't. I couldn't find the safe-arming switch.
CHARLIE BERENGER: Yeah, well, it's easy to miss. You want a second shot at it?
You know, if you're wrong ...
(He imitates an explosion.)
(Horatio nods.)
HORATIO: That's true.
(Horatio looks at the bomb around Charlie's neck.)
(Quick flashes of: The bomb with a small hole in the casing.)
(Cut to: The drill hole form the inside of the casing with light shining
through.)
(End of flash. Resume to present.)
(Horatio reaches out, grabs Charlie's toothpick and sticks it in the hole in the
collar bomb casing. The casing pops open.)
DET. MARTIN PUIG: (o.s.) Freeze!
(Det. Martin Puig and several officers appear from behind, their guns drawn.
Charlie looks at them, then turns to look at Horatio.)
HORATIO: Turn around, Charlie.
(Charlie smiles at Horatio. He turns around and holds his hands up. Horatio
removes the collar bomb from around Charlie's neck.)
HORATIO: We're clear.
(Det. Martin Puig and the officers move forward.)
DET. MARTIN PUIG: Okay, get on the ground.
(Charlie kneels on the floor. Megan lowers her weapon.)
HORATIO: Get him out of my sight.
(The officers handcuff Charlie Berenger.)
CUT TO:
[EXT. VARIOUS MIAMI CITY (STOCK) - MORNING]
[EXT. CEMETERY -- DAY]
(Megan and Horatio walk across the grounds toward the church.)
MEGAN: So ... (She clears her throat.) You worked the case and still cleared
it. Guess I was wrong.
HORATIO: You weren't wrong. I just got hung up on the wives.
MEGAN: You recovered.
HORATIO: You know what I'm going to miss most about Al? Most people ... (He
acknowledges the officers walking past them.) Gentlemen. (to Megan) Most
people ... make you earn their respect. And with Al, that's where you started.
(Megan nods. Horatio turns and looks over at the church. He sees Felicia
Humphreys standing in the doorway.)
HORATIO: Coming in?
MEGAN: In a minute.
HORATIO: Hey. Thank you.
MEGAN: For what?
HORATIO: For knowing the difference.
(Horatio turns and heads into the church. Megan watches as he hugs Felicia
Humphreys.)
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
1X02: LOSING FACE
ORIGINAL AIR DATE ON CBS: 09/30/2002
TRANSCRIBED FROM CBS
Starring:
DAVID CARUSO as Horatio Caine
EMILY PROCTER as Calleigh Duquesne
RORY COCHRANE as Tim Speedle
ADAM RODRIGUEZ as Eric Delko
KHANDI ALEXANDER as Alexx Woods
Created by ANTHONY E. ZUIKER, CAROL MENDELSOHN, ANN DONAHUE
Starring
CONOR O'FARRELL as Charles Berenger
MAGLY CAICEDO as Maura Burgos
MERCEDES COLON as Katrina
JESSICA FERRARONE as Julisa Moreno
JOE RENTERIA as Aurelio Moreno
CANDY BROWN HOUSTON as Felicia
LOU BEATTY JR as Al Humphreys
LIZ ALVARADO as Lauriana Moreno
SETH ATKINS as Conner
Music Composed by: GRAEME REVELL
Edited by: MARK C. BALDWIN
Production Designer: CARLOS BARBOSA
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 GWENDOLYN PARKER & STEVEN MAEDA
Directed by JOE CHAPPELLE
==========================
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
ALEX PAEZ as Det. Martin Puig
TONY NOAKES as Police Commander
BILL JACOBSON as Bomb Tech
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Casting by: RICK MILLIKAN, 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 / PAULA SMITH
Costume Designer: CYNTHIA BERGSTROM
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: DONOVAN DEAR
Script Supervisor: CLAUDIA YARMY
Special Make-Up Effects: MATTHEW W. MUNGLE / CLINTON WAYNE
Location Managers: MICHELLE LATHAM
Art Directors: TIM BEACH
Set Decorator: DANIELLE BERMAN
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: FRANK CEGLIA
Stunt Coordinator: JEFF DASHNAW
Key Grips: RANDY TAMBLING
Gaffer: JACK SCHLOSSER
Camera Operator: MICHAEL GENNE
Transportation Coordinators: BOB CAWLEY
2ND Unit: SCOTT LAUTANEN / MICHAEL PHIRMAN
Key Make-Up Artist: PEGGY TEAGUE
Ms. Delaney's Make-Up: STEPHANIE FOWLER
Key Hairstylist: YVONNE DE PATIS-KUPKA
Costume Supervisor: CINDY ROSENTHAL
Property Master: MIKE SEXTON
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Editor: JASON ALEXANDER
Assistant Editor: MICHAEL FRIEDLANDER
Loop Group: THE REEL TEAM
Dialogue Editor: TODD NIESEN
ADR Editor: RUTH ADELMAN
Sound Effects Editor: BRAD KATONA
Re-recording Mixers: YURI REESE / BILL SMITH
Music Editor: ASHLEY REVELL
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: 08/15/2004~lky
http://www.webphilia.com/~anthology/wnp.htm