CSI: MIAMI
1X05: ASHES TO ASHES
ORIGINAL AIR DATE ON CBS: 10/21/2002
TRANSCRIBED FROM DVD
Written by: MARK ISRAEL
Directed by: BRYAN SPICER
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: Megan, Calleigh and Speedle investigate the death of a Catholic Father
found dead in his office. Horatio and Delko investigate a woman found burned in
her car.
==========================
CSI: MIAMI
1X05: ASHES TO ASHES
==========================
COLD OPEN:
[EXT. VARIOUS MIAMI CITY (STOCK) -- DAY]
CUE SOUND: (PRELAP) (b.g.) CHURCH BELL TOLLS
[INT. CHURCH - SANCTUARY - DAY]
(The Parishioners walk into church slowly filling up the pews. It's hot and
they wait for the Father to start the service.)
(The side door opens and an altar boy rushes into the church.)
(A baby cries.)
(A black woman, the Father's Housekeeper, sits in the pew and glances
impatiently at her watch. She looks around the church noticing the various
religious icons - the paintings and the crucifixes. She stands up and heads for
the front of the church to check on the Father.)
(She reaches the front, kneels and crosses herself. She stands and heads for
the back rooms.)
CUT TO:
[INT. CHURCH - BACK HALLWAY - DAY - CONTINUOUS]
(She turns the corner of the hallway toward the Father's office and notices his
white and red robes still hanging on the hook near the door.)
(She knocks lightly on the door.)
HOUSEKEEPER (WOMAN): Father Carlos?
(She opens the door and sees the Father dead on the floor. She screams.)
CUT TO:
[INT. CHURCH - DAY -- LATER]
(Horatio walks into the church foyer and joins Det. Adell Sevilla and Megan.)
HORATIO: Detective Sevilla, Megan. What do we got?
(Adell looks through some polaroids as Megan explains.)
MEGAN: The body was found at 7:40 this morning by the vic's housekeeper. She
checked on him when he didn't show up for mass.
HORATIO: She still inside?
(Adell leads Horatio and Megan through the sanctuary.)
DET. ADELL SEVILLA: Yeah, she said she cleaned up his residence last night.
And at 8:15, that place was spotless. And when she left, he was alone ... and
alive.
CUT TO:
[INT. CHURCH - BACK OFFICE - DAY - CONTINUUOS]
(Adell leads Horatio and Megan to the back office. An officer stands in the
doorway with the distraught housekeeper. The body is still on the floor.)
HORATIO: Expended shell casing right here.
(Horatio points to the casing on the floor and to the far wall. Megan puts her
kit down on the floor and starts opening it.)
HORATIO: A bullet strike on the wall right over there.
MEGAN: Who would want to kill a priest?
(Horatio kneels down next to the body.)
HORATIO: Nowadays? Anyone.
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS.
(COMMERCIAL SET)
FADE IN.
[INT. CHURCH - BACK OFFICE - DAY]
(Alexx rolls the body over. Megan and Speedle examine the crime scene. Horatio
walks around the room.)
(Horatio looks at Speedle and kneels down.)
HORATIO: What does it look like, Speed?
SPEEDLE: Partial prints under the coffee table. And that's just the beginning.
(We notice that the bloodied footprints are evidence marked 1, 5, 4, 3, and 2
leading away from the body.)
(Horatio's phone rings. He stands up to answer it.)
ALEXX: Liver temp is 82. He was probably killed between nine and midnight.
HORATIO: (b.g.) (softly) (to phone) Horatio. (pause) Okay, I'll be there.
(He hangs up.) Megan.
MEGAN: Yeah.
(Megan stands up.)
HORATIO: I have another scene. Are you good to go on this?
MEGAN: Sure. I'm just waiting for Speedle to finish up with the prints.
HORATIO: Okay. Keep me posted.
(Horatio leaves. In the back of the room, we see Calleigh working on extracting
the bullet from the far wall.)
(Alexx continues her examination report to Megan.)
ALEXX: Possible entrance wound back of his neck.
(Megan lifts the camera and snaps a photo.)
(Quick CGI POV to: A gun fires at the back of someone's neck. End of CGI POV.
Resume to present.)
ALEXX: And the second here to the shoulder.
(Quick flash of: Father Carlos gets shot in the shoulder. He cries out in
pain. End of flash. Resume to present.)
ALEXX: And what looks like an exit wound under his heart.
(Quick flash of: The bullet comes out of the person's chest. End of flash.
Resume to present.)
(Cut to: Close-up of: Calleigh extracts the bullet from the wall with
forceps.)
ALEXX: And a third entrance here in his thigh.
(Megan snaps a photo of the wound.)
ALEXX: What can you tell us, Father about who did this to you?
(Calleigh looks at the bullet.)
CALLEIGH: Well, whoever it was meant business and he used a rifle to conduct
his business with.
(She puts the bullet into a bindle.)
MEGAN: Three possible shots and only two casings. Are we missing one?
(Megan stands up.)
SPEEDLE: Megan.
(Megan walks over to Speedle who is examining the shoe prints on the floor.)
(Calleigh walks over to the table and snaps a photo of the glasses on it.)
(Speedle shows Megan the two electrostatic prints.)
MEGAN: Two different shoes?
SPEEDLE: Or a guy with a limp, prosthetic leg or something. One's definitely
more worn in.
(She looks at the bloody shoe prints on the floor leading to the priest's body.)
MEGAN: So those are different than the priest's bloody footprints.
(Camera shows the priest's shoe.)
(Speedle looks around the small office.)
SPEEDLE: There's no sign of break-in.
MEGAN: Priests open their door to lots of people.
(Calleigh smells the contents on the glass.)
CALLEIGH: Now, this is interesting. One glass smells like scotch. The other
one has no smell, but a clear lip print.
(Close-up on the lip print on the glass Calleigh's holding.)
CALLEIGH: Looks like lip gloss.
(She puts the glass down on the table.)
(Megan stands up.)
MEGAN: Priests can have a drink. They can also have company over.
SPEEDLE: You got an uncle who's a priest, right?
MEGAN: Jesuit. He drinks, smokes, plays poker. Just doesn't have sex.
(Alexx finds an unused packaged condom.)
ALEXX: Don't know if we can say the same about our priest.
MEGAN: Condom in his pocket?
CUT TO:
[EXT. -- DAY]
(Horatio drives his vehicle up to the crime scene. Emergency personnel are
there. He goes looking for Delko.)
HORATIO: Delko?
WOMAN OFFICER: (points) Yeah, he's down there.
HORATIO: Thank you.
(Horatio heads in the direction. We can hear another voice giving
instructions.)
WOMAN: (b.g.) You need to contact Georgia Highway Patrol. That car in the
ravine was stolen.
(Horatio looks around the scene at the road above the ravine. He heads for the
edge of the hill.)
HORATIO: (calls down) Eric!
(Delko climbs back up the hill to report to Horatio.)
DELKO: Got a female driver, H. She's dead.
HORATIO: No passengers?
DELKO: No, just a bottle of booze.
(Down in the ravine, we see the burned and smoking car. Fire personnel are
there trying to get the door open. An Officer kneels at the side taking notes.)
DELKO: Car was reported stolen two weeks ago in Georgia. (Delko points to the
road next to them.) Tire treads indicate she went straight over the edge.
Could be suicide.
HORATIO: No skid marks.
(Quick flash of: [NIGHT] The SUV tears through the street, bursts through the
shrubbery, flies off the road and down to the ravine below.)
HORATIO: (v.o.) Maybe she just missed the turn.
(End of flash. Resume to present.)
HORATIO: Let's take a look.
(Horatio and Delko make their way down the ravine.)
DELKO: All right, watch your step there, H.
HORATIO: No problem.
(Camera lowers and we see the badly burned body still inside the car.)
DELKO: Thinking the fuel line ruptured when the car hit bottom.
(Quick flash of: [NIGHT] The SUV hits the bottom of the ravine and bursts into
flames.)
DELKO: (v.o.) Or the gas tank punctured and sparks set it off on impact.
(End of flash. Resume to present.)
DELKO: Check this out.
(Delko pulls out a bottle label from the evidence tin. It reads: Beauchamp.)
HORATIO: Our car thief has expensive tastes. That's a $400 bottle of cognac.
(Horatio walks toward the vehicle. He and Delko look in to the car.)
HORATIO: Get an ID?
DELKO: No. I found a purse twelve feet from the car, but nothing inside.
HORATIO: No pictures, no receipts?
DELKO: Nothing else except a suitcase.
HORATIO: Now, why would this poor thing travel with a purse and a suitcase and
no ID?
CUT TO:
[INT. CHURCH - SANCTUARY -- DAY]
(Open on the icon hanging on the wall of Jesus with his arms outstretched.
Megan and Speedle are in the sanctuary.)
SPEEDLE: Last time I was in church was when Kurt Cobain died.
MEGAN: Hmm.
(Megan walks over to the dish of holy water. She nearly touches it when she
sees something on the bottom of the glass dish. She takes out her flashlight
for a better look.)
(There's blood on the bottom of the dish.)
SPEEDLE: You got something?
MEGAN: I don't know. I'm not sure.
(Megan opens her kit and takes out a glove. She takes a sample of the water and
puts it in a tube. Speedle already has the solutions out. She tests the
sample.)
MEGAN: Thanks.
(The water turns pink.)
MEGAN: Blood.
SPEEDLE: The killer washed his hands, huh? A regular Pontius Pilate.
MEGAN: Or he blessed himself.
(Quick flash of: The person dips their fingers into the dish and crosses
themselves.)
(End of flash. Resume to present.)
MEGAN: Which means we're probably looking for a devout catholic.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Alexx holds out the bloodied bullet.)
ALEXX: Don't say I never gave you anything.
(Alexx hands the bullet to Calleigh who smiles with pleasure.)
CALLEIGH: Two-two-three. Hunting rifle. Same as from wall. Homemade bullet
cast with hot lead. Definite reload.
(She hands the bullet to Megan.)
MEGAN: Sure is mangled.
ALEXX: It's mangled because it entered the body ... twice.
CALLEIGH: Like this.
(Alexx motions to the Assistant working in the room.)
ALEXX: I need some muscle.
(He helps lift the body.)
CALLEIGH: This will give us an exact route.
ALEXX: Okay. First shot to the shoulder was a through-and-through.
(Calleigh takes the plastic stick and pokes it into the shoulder wound.)
CALLEIGH: Went into the shoulder out the back ... and into the wall.
(The stick comes out the back of the body's shoulder.)
ALEXX: The second shot was closer range.
(They move the body into a sitting position.)
MEGAN: Yeah.
ALEXX: I've got stippling where it entered at the base of his neck then tore
through his lung hit the aorta before leaving his chest.
(Calleigh puts the second stick through the body's neck.)
CALLEIGH: Now, this is the interesting part.
ALEXX: And then the same bullet reentered here in his thigh where the femur ...
flattened it.
CALLEIGH: That's why there were only two casings at the rectory. Only two
rounds were fired.
CUT TO:
[INT. CSI - CRIME LAB -- DAY]
(Speedle and Delko work side-by-side on two different cases.)
SPEEDLE: What have you got?
DELKO: (chuckles) A car explosion. Burned victim. Checking for cognac used
as an accelerant. Can you beat that?
SPEEDLE: Yeah. I got a priest shot with a rifle dead in a church.
DELKO: That's not bad.
SPEEDLE: Not bad?
DELKO: It's not bad.
SPEEDLE: It's at least a draw. You're not going to beat me with a burned-out
car.
(Delko laughs.)
(Megan walks into the lab.)
MEGAN: Oh, boys and their measuring sticks. You guys crack me up. (to Delko)
Hey.
DELKO: Hey.
MEGAN: (to Speedle) Is it lipstick?
SPEEDLE: I'm still narrowing brands. It's not lipstick or lip gloss.
MEGAN: What is it?
SPEEDLE: Lip balm. With an SPF 45. Unique ingredient -- macadamia oil.
MEGAN: Any prints on the condom?
SPEEDLE: Father Carlos.
MEGAN: In my senior year Sister Mary Francis found a condom in my desk. Her
prints would have been on it.
SPEEDLE: (scoffs) Yeah, right. (The computer beeps.) I got something here.
(They look at the results on the monitor.)
MEGAN: Those are lip balms used by kids.
SPEEDLE: Who skateboard or surf. A teenage boy, a priest. We might have
motive.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Alexx is working on the burned body. Horatio watches the monitors from the
observation room up above.)
HORATIO: What do you see, Alexx?
ALEXX: It's what I don't see. Any broken bones.
HORATIO: She may have been drinking. The tox screen isn't back yet.
ALEXX: I've seen drunks so looped they've fallen out of a moving car at sixty
and don't break a finger. Checking passages.
(Horatio watches on the monitor.)
(Quick CGI POV: The camera follows the air passage to the lungs. They breathe
in particles as if the body inhales.)
(End of CGI. Resume to present.)
ALEXX: There's soot in her lungs.
HORATIO: So, she was alive during the fire.
ALEXX: (to the body) I hope you didn't suffer too much, darling.
HORATIO: Alexx, if she's going to help us we need to know who she is.
(Alexx picks up the burned hand.)
ALEXX: Can't get prints from bone. Checking stomach contents for time between
last meal and time of death.
(She cuts the stomach off.)
ALEXX: Hmm.
(She picks up the stomach and a clean beaker and empties the stomach contents
into the beaker. Along with the liquid, something hits the bottom of the beaker
with a clink.)
ALEXX: Oh. You're not going to believe this.
(Immediately, Horatio zooms in on the beaker and watches as Alexx lifts out a
diamond ring from the murky contents.)
HORATIO: A diamond ring.
ALEXX: Looks like she ate about four carats for her last supper.
(Horatio nods.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Delko is in the lab reading through a file when Horatio walks in.)
HORATIO: Eric? Check with missing persons and her dental records are going to
come up dry.
DELKO: Toxicology screen came up. Not a trace of alcohol.
HORATIO: Hmm.
DELKO: But she did ingest fifteen micrograms per mil of demerol.
HORATIO: Fifteen micrograms. That's enough to kill yourself twice.
DELKO: She also reported high levels of folic acid.
HORATIO: (realizes) She was pregnant.
DELKO: (grimly) Seven weeks.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI CITY SKYLINE (STOCK)]
[INT. CSI - WAREHOUSE - DAY]
(Horatio and Delko work on the burned SUV. Delko is on a dolly examining the
car's underside.)
(Horatio examines inside the car. On the floor, he finds the cognac bottle's
cork.)
(Delko rolls out from under the car and joins Horatio.)
DELKO: There's no damage to the fuel line.
HORATIO: And no print on the truck. Take a look at what I found buried in the
front seat. (He hands the cork to Delko.) Also ... I found this melted into
the floor panel on the back.
(He shows the piece of glass. Delko shakes his head.)
DELKO: Well, there's no glass from the bottle around the cork.
HORATIO: What that means is the cognac bottle didn't break during the crash and
the cork had been removed before.
DELKO: Maybe someone used it as an accelerant. They poured it all over her ...
(Quick CGI Sequence of: [NIGHT] The woman is sitting behind the driver's wheel
as someone empties the alcohol on her.)
DELKO: (v.o.) ... tossed the bottle in the back and, uh, it melted in the
fire.
(The person drops the bottle. Overlay the fire flames.)
(End of CGI Sequence. Resume to present.)
HORATIO: Something is still missing. See here? (He points.) See the char in
the burn indicator? Look at this.
(Quick CGI Sequence of: The woman is sitting behind the driver's wheel
unconscious. The flames start in the back of the SUV and travel forward,
engulfing her.)
HORATIO: (v.o.) See, it means that the origin of the fire was in the back seat
and it traveled to the front seat. It also means that the fire was hot enough
...
(End of CGI Sequence. Resume to present.)
HORATIO: ... to melt glass before the fire department got there.
DELKO: And she was covered in cognac so the fire didn't miss her.
HORATIO: Yes, but we still don't know what started the fire.
DELKO: I don't know, maybe, uh, maybe a spark on impact.
HORATIO: I don't think so. Not a spark. The killer has gone to all this
trouble he's going to hope for a spark?
(Delko listens intently.)
HORATIO: I think that whoever did this wanted to make sure that this mother and
child were never identified again. That's what I think.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Alexx and Horatio walk through the hallway.)
ALEXX: You sure know how to brighten up a girl's day, don't you?
HORATIO: I've got nothing, Alexx. I need an I.D. on the father.
ALEXX: Well, your best shot for a match on CODIS is if his DNA has unique
characteristics.
HORATIO: Are you ready for this?
ALEXX: Fetal tissue recovery is the one thing I'm never ready for.
(They both walk out of camera frame.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(On the monitor, Alexx is digging back inside the body intent on finding one
thing. She pulls out the placenta, the umbilical cord and the fetus. She
places it in a container full of liquid. She cuts off the small fetus and
places it in the center of the petrie dish Horatio holds out.)
(They look grimly at it.)
HORATIO: Not just skin cells, is it?
(Alexx says nothing. He caps the dish and holds it up.)
HORATIO: (quietly) Thank you, Alexx.
(He turns and leaves.)
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Horatio walks into the lab and hands the petrie dish to the DNA lab
technician.)
(cc) HORATIO: Would you set that up for me, please?
(She takes the dish, uncaps it, and places it under the scope.)
(cc) HORATIO: Thank you.
(She steps aside and Horatio looks through the scope.)
[SCOPE VIEW] We see that the fetus is about seven weeks old.
(A grim sight. He straightens and nods to himself.)
(cc) HORATIO: Thank you.
(Horatio leaves the technician and the lab. He closes the lab door behind him
and pauses in the hallway.)
(Camera holds on Horatio.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Open on two computer monitors simulating the shot and trajectory of the
priest's death. Calleigh and Megan sit at the keyboards.)
CALLEIGH: We know the caliber of round was a .223.
MEGAN: And the blood he lost while laying against the wall was approximately
half liter. (On the monitor, the simulated figure is on the floor and looses
blood.) With that information we can estimate that Father Carlos laid bleeding
for ten seconds before he walked to his killer.
(On the monitor, the simulated figure gets up.)
CALLEIGH: Plenty of time for the killer to come over and shoot him.
MEGAN: But he didn't. Why? What happened in those ten seconds?
(Speedle walks into the lab.)
SPEEDLE: Hey.
MEGAN: Hey.
(He leans in between the two women and starts typing.)
SPEEDLE: Check this out.
(The two shoe prints appear side-by-side on the monitor.)
SPEEDLE: The shoe prints left at the rectory ... were DVS.
(On the right side of the monitor, the analysis of the shoe print appears along
with the identification. It reads:
Object: Shoe Print Type: Sneaker
Tread: Outer sole markings (rubber tread)
Brand: DVS
Model: JBD3K
Distinguishing Marks: Wear marks
Description: A popular brand of shoe among skateboarders, this street
sneaker was made famous in the late 1980's thanks in part to the appearance in a
teenage cult motion picture. Today, it is recognized as the premier 'skate
shoe' by professional and amateur skateboarders alike, due to its comfort and
durability, and is sold nationwide. )
SPEEDLE: Who wears DVS? Skateboarders. The reason for the difference in the
wear is because one foot is always on the board staying new, and the other foot
pushes off from the ground, wearing out.
MEGAN: This person's goofy footed. He keeps his right foot on the board,
pushes off with his left. That's not as common.
CALLEIGH: And you know this how, Miss Three-Inch Heels?
(Calleigh and Megan's eyes meet. Megan smiles.)
SPEEDLE: Okay, so we're looking for a teenager around 5'2" probably left-
handed. Let's bring in the altar boys.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(A young blonde-haired boy steps forward. Speedle holds out a glass to take a
lip print from the boy. The boy steps aside when done.)
(We see that there is a long line of kids standing in the hallway in front of
the cart Speedle has set up to take the samples. At the back of the hallway,
Megan and Adell Sevilla stand near the door.)
(One by one, the kids give sample lip prints. A little girl steps aside and a
Hispanic boy steps forward. He steps aside.)
(Megan notes his shoes as he sits on the chair.)
MEGAN: All right, could you guys all sit down for a minute? I'm going to need
you to lift your left foot.
(The kids sitting down lift their left feet up in the air. Speedle steps
forward with his shoe print equipment and paper.
(cc) SPEEDLE: (o.s.) Right over here.
(cc) SPEEDLE: (o.s.) Thanks.
(He starts taking shoe print samples from the kids.)
SPEEDLE: (o.s.) And then the other one.
SPEEDLE: (o.s.) Yeah, if you could stand up.
(Cameron looks nervously at Megan who notes the wear on the underside of his
left shoe.)
(Megan glances back at Adell.)
CUT TO:
[EXT. MEDINA RESIDENCE -- DAY]
[INT. MEDINA RESIDENCE - LIVING ROOM - DAY]
(Adell Sevilla serves the warrant on Iris Medina and Cameron while Megan,
Calleigh and Speedle watch.)
DET. ADELL SEVILLA: Mrs. Medina, with this warrant do you understand that we
have the right to search your home and sample you and your son's DNA?
IRIS MEDINA: Yes. But why? We didn't do anything.
MEGAN: (to Adell) Do you want to take Cameron outside till we're done?
DET. ADELL SEVILLA: Yeah, sure.
(Adell gives the warrant to Iris Medina.)
IRIS MEDINA: (to Adell) Gracias. Esta bien mi hijo. No te preocupes.
[Translation, or so: Thanks. He is good - my son. We have nothing to hide.]
(Megan notes the crucifix necklace around Iris Medina's neck.)
(Cameron looks at his mom, then steps forward to go with Adell. They leave the
room.)
(Megan nods to Calleigh. Calleigh and Speedle leave the room.)
VARIOUS CUTS OF:
[INT. MEDINA RESIDENCE - BATHROOM / SHED / BEDROOM - DAY - CONTINUOUS]
(Speedle enters the bathroom, puts his kit down and opens it.)
(Calleigh walks into the shed.)
(Megan walks into the bedroom.)
(Holding a toothbrush, Speedle takes out a bindle.)
(Megan opens her kit.)
(Calleigh continues to walk in further to the shed.)
(Megan sees a small tube of lip balm, "SPF 45" with "aloe & lanolin". She picks
it up. It's "Ripped" lip balm.)
(Calleigh removes a cloth from an item.)
(Speedle picks up a hairbrush and looks at it.)
(Calleigh examines the item.)
(Megan looks at a photo of Cameron skateboarding tacked to the mirror. The date
on the photo is 10/26 02. She removes the photo.)
(Calleigh finds a rifle.)
(Speedle bags a second hairbrush.)
(Megan picks up belt off of a chair.)
(Quick flash to: Iris Medina has bruises on her neck in a similar pattern. End
of flash. Resume to present.)
(Megan examines the belt.)
(Calleigh checks the rifle's chamber.)
(Megan finds the wall damaged and strand of bloodied hair on the wall. She puts
the hair strand in a bindle.)
CUT TO:
[INT. MEDINA RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Iris Medina looks the warrant over. Megan walks into the room and sits down.)
MEGAN: Mrs. Medina ... we were told the police had been here a number of times
for domestic disturbance calls.
IRIS MEDINA: (nods) My husband and I have had our troubles.
MEGAN: Where is your husband now?
IRIS MEDINA: Your guess is as good as mine.
MEGAN: Well, we're going to need to speak to him.
IRIS MEDINA: When my husband leaves on business I don't ask where and I don't
ask for how long.
(She sighs.)
CUT TO:
[EXT. MEDINA RESIDENCE - BACK YARD - DAY - CONTINUOUS]
(Outside, Adell watches Cameron who is currently sitting on the bench while
Speedle takes a DNA swab sample from him. The ducks quack in the water.)
SPEEDLE: (to Cameron) Thanks. That wasn't too bad, was it?
(Megan walks up to Adell.)
MEGAN: Adell, I need a minute with him.
DET. ADELL SEVILLA: All right.
(Adell and Speedle leave. Megan sits down on the bench next to Cameron.)
MEGAN: Cameron ... why were you at Father Carlos' Saturday night?
CAMERON MEDINA: I wasn't. I was skateboarding.
MEGAN: Skateboarding at night?
CAMERON MEDINA: At Ollie Oop. It has indoor ramps.
MEGAN: The thing is, Cameron, I know you were there because we matched your lip
prints to a glass we found. And your shoe prints match the ones we took from
the floor. So, you want to try again?
(Cameron sighs.)
CAMERON MEDINA: I just went to tell him I didn't want to be an altar boy
anymore.
MEGAN: What happened?
(Quick flash of: [FATHER CARLOS' OFFICE] Cameron runs for the door.)
CAMERON MEDINA: No! Get away from me!
(Father Carlos stands up.)
FATHER CARLOS: Cameron, wait!
(End of flash. Resume to present.)
MEGAN: Cameron, was Father Carlos hurting you?
CAMERON MEDINA: That's between me and god now.
(Cameron stands up and heads for the house.)
CUT TO:
[EXT. MIAMI CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - A/V LAB -- NIGHT]
(Megan is working on the photo of Cameron taken from his bedroom. Calleigh and
Speedle walk into the lab.)
CALLEIGH: Megan? I tested the residue on the bullets that killed Father Carlos
and, uh, G-6. Bingo. It matches the powder I found in both the casings and the
reloader.
MEGAN: Mm.
CALLEIGH: Same manufacturer. Everything's pointing to Cameron.
SPEEDLE: He had access to the guns.
CALLEIGH: And he admits to being in the rectory the night Father Carlos was
killed.
MEGAN: There's only one problem.
CALLEIGH: What?
MEGAN: It wasn't him. Here's Cameron the night Father Carlos was killed. It
was taken by a photographer at the Ollie Oop who sells his pictures to the kids.
SPEEDLE: That picture could be taken anytime.
MEGAN: It could have, but it wasn't. Look at the bottom of the picture. It's
a digital imprint made by the camera when the picture was taken.
(Camera close-up of the date: 10/26 02.)
SPEEDEL: Saturday was the 26th.
MEGAN: (nods) Mm-hmm. And this one was taken at 10:30.
(She enlarges the wall clock behind Cameron. It reads: 10:30.)
SPEEDLE: So, he was exactly where he said he was.
CALLEIGH: When he said he was.
MEGAN: Which means Cameron's not our shooter.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Close-up of the diamond ring.)
(Delko is examining the ring under a scope when Horatio walks into the lab. He
looks up.)
DELKO: Hey, was it as bad as they say?
HORATIO: It was worse. It was worse and the CODIS search for the father's DNA
is negative.
DELKO: It's hard to search with half the DNA.
HORATIO: How did we do on the dress and the melted glass?
DELKO: Big surprise, actually. (Delko hands the test results to Horatio.) The
dress was covered in cognac but the melted glass wasn't. As a matter of fact
the melted glass wasn't from the cognac bottle at all.
(Horatio looks at the results.)
HORATIO: Sulfuric acid, sugar gasoline, potassium chloride -- that's an
exothermic reaction, isn't it?
DELKO: That's right.
(Quick flashes of the following: A mixture is made and brushed onto the paper.)
DELKO: (v.o.) You paste the potassium chlorate and sugar to the back of the
paper label, ...
(Cut to: Gasoline and acid is poured into a bottle.)
DELKO: (v.o.) ... then you pour the sulfuric acid and gasoline into the empty
bottle ...
(Cut to: The bottle is capped.)
(Cut to: [BACK OF THE SUV - NIGHT] The bottle is in the back seat of the car.)
DELKO: (v.o.) ... and when the bottle breaks you serve up a molotov cocktail.
(The SUV misses the curb and flies in the air into the ravine. The bottle on
the back seat hits the floor and explodes. The car hits the ground.)
(End of flash. Resume to present.)
HORATIO: Killer's not taking any chances.
DELKO: Look, have a look at this. Tell me what you think.
(Delko moves aside to let Horatio look at the scope at the diamond.)
([SCOPE VIEW] High magnification of the etching on the diamond.)
HORATIO: Okay, I can tell you that this was done with an Excimer laser and its
inscription point was no more than three microns in diameter.
(Delko's impressed. Horatio grins knowingly.)
DELKO: (chuckles) Okay, how do you know that though? You were a jewel thief
in another life? What?
HORATIO: Well, in another life I incarcerated many a jewel thief.
DELKO: Well, why ruin a perfectly good diamond with a $30,000 billboard?
HORATIO: That's not what they're doing. They reserve this for the best
diamonds and the best customers.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI CITY SKYLINE (STOCK) - DAY]
[INT. CSI - BALLISTICS LAB -- DAY]
(On the monitor, the two bullets are side-by-side. The left side is turning
trying to find a match to the right side.)
(Megan walks into the lab.)
MEGAN: How's it going?
CALLEIGH: Well, I tested the guns I found in the Medinas' shed. And the rounds
that killed Father Carlos don't match any of them.
MEGAN: So we're still missing a rifle.
CALLEIGH: Yep.
MEGAN: Something's going on in that house. Even if Cameron's not our shooter,
he still lied about being at the rectory that night.
CALLEIGH: I have a theory.
MEGAN: Go.
CALLEIGH: We know the dad is violent. What if he thought Father Carlos was
molesting Cameron?
MEGAN: (nods) Let's see if we can find dad and ask him.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Horatio slides a photo of the diamond ring across the table toward Jeffrey
Douglas.)
HORATIO: Do you recognize this ring?
JEFFREY DOUGLAS: Yes, yes. Of course, I do. But what are you doing with it?
Did something happen to Lisa?
HORATIO: Does Lisa have a last name?
JEFFREY DOUGLAS: Valdez -- Lisa Marie Valdez. Please tell me if something's
happened to her.
HORATIO: According to Stewart Diamonds you and Lisa were in eleven weeks ago to
purchase that ring.
JEFFREY DOUGLAS: That sounds about right. But I don't ... I-I don't know
exactly. I'm not sure.
DELKO: When was the last time you saw her?
JEFFREY DOUGLAS: Maybe seven, maybe eight weeks ago.
HORATIO: So, buying her a rock that large caused you a problem, didn't it?
JEFFREY DOUGLAS: The problem was that I ... gave it to her to show her my
appreciation for ... an intimate night together.
HORATIO: Right. So, let me guess: Lisa took that to mean that it was more than
a souvenir.
(Quick flash of: [EXT -- DAY] Jeffrey Douglas and Lisa Marie Valdez are
fighting over the ring.)
JEFFREY DOUGLAS: Now, don't! J-just give me the ring back!
LISA MARIE VALDEZ: Wait! What are you ... no! No!
JEFFREY DOUGLAS: Give me the ring! Give me the ring!
LISA MARIE VALDEZ: No! No!
LISA MARIE VALDEZ: Okay, fine.
(She takes the ring off her finger and swallows it.)
LISA MARIE VALDEZ: Yeah.
(End of flashback. Resume to present.)
HORATIO: Mmm.
JEFFREY DOUGLAS: Then she obsessed. And-and I didn't want to hurt her I-I just
... so I just cut it cold turkey.
HORATIO: And now she's dead.
JEFFREY DOUGLAS: Dead? How? Suicide?
(Horatio shows the morgue photo to Jeffrey.)
HORATIO: Does this look like a suicide to you?
(Jeffrey gasps and covers his face with his hand.)
JEFFREY DOUGLAS: Oh! (shuddering)
(Horatio puts the photo down on the table and turns to face Jeffrey Douglas.)
CUT TO:
[EXT. SEWAGE PLANT -- DAY]
DET. ADELL SEVILLA: (o.s.) We're looking for the dad. We found his truck.
CALLEIGH: (o.s.) Well, that's a start.
(Det. Adell Sevilla, Megan and Calleigh talk with Emilio Medina's boss, Jones.)
DET. ADELL SEVILLA: You know, you said the truck showed up Sunday but Emilio
Medina didn't?
JONES (FOREMAN): That's right.
DET. ADELL SEVILLA: All right. So, when was the last time you did see him?
JONES (FOREMAN): Well, he hasn't been to work since, I guess since end of last
week.
MEGAN: You mean, he's not away on business?
JONES (FOREMAN): Only business he's got is in a smelly sewer.
CALLEIGH: Do you mind if we take a look?
(The Foreman motions for her to go ahead. Calleigh and Megan approach the
truck. They put their kits down and open them. They put their gloves on and
grab their flashlights.)
(Calleigh checks the back of the truck while Megan checks the front. Calleigh
finds the tool kit and takes out the large wrench.)
MEGAN: We might have something here.
DET. ADELL SEVILLA: Yeah? What is it?
MEGAN: Dried blood.
(Close-up of the blood smears on the steering wheel. She also finds a single
strand of hair.)
MEGAN: And a hair ... dropped while the blood was wet.
(Megan picks off the hair strand.)
(Calleigh climbs down from the back of the truck and shows the wrench to Megan.)
CALLEIGH: Does this look like anything besides rust to you?
(Megan takes the wrench from Calleigh and spots the empty holder on the back of
the truck.)
MEGAN: A rifle rack.
DET. ADELL SEVILLA: Mr. Jones, is there any reason why Emilio Medina would
carry a rifle?
JONES (FOREMAN): You ever see a gator coming towards you in a sewer? Hell, you
don't talk to the son of a bitch, you shoot it.
DET. ADELL SEVILLA: (nods) I see. I'd like to ask you some questions.
(Adell and the Foreman step aside.)
CALLEIGH: So, where's Emilio Medina? And his rifle?
CUT TO:
[EXT. MIAMI CITY (STOCK)]
[INT. CSI - LAB]
(Delko enters the lab as he puts on his lab coat. Horatio is already there.)
DELKO: Hey.
HORATIO: Hmm.
(Horatio is looking at a photo of a pretty dark-haired woman.)
DELKO: This our vic?
HORATIO: Mm-hmm.
DELKO: She was pretty.
HORATIO: Yes, she is. Yes, she is. Everything we need to convict this guy is
right here. Let's find it.
(On the table are the items from the burned SUV. Delko and Horatio get to
work.)
(Series of dissolves.)
(Delko and Horatio look at the items on the table.)
DELKO: We've got three pairs of shoes a bottle of cognac, and some roses. All
dressed up and nowhere to go.
(Horatio picks up a burned bundle from the table.)
HORATIO: Hmm.
DELKO: What is it?
HORATIO: More importantly, what was it?
(He squeezes it.)
HORATIO: Feels rubbery. Let's take a look.
(He cuts it open and finds red-colored lingerie inside.)
DELKO: What's it say to you?
(He smells it. He lets Delko smell it.)
HORATIO: What does it smell like to you?
DELKO: Strawberries?
HORATIO: Mm. So, what do you get when you cross strawberries with rubber?
(Delko chuckles.)
HORATIO: mm-hmm.
DELKO: A guaranteed good time.
HORATIO: Here's what we're going to do.
(Horatio reaches for a piece of paper and a pen. He jots down an address.)
HORATIO: Go to this address ... with a photograph of Douglas. And ask Artie if
he has recently sold any strawberry-scented rubber teddies.
(Horatio hands the address to Delko. He looks at it and laughs.)
DELKO: (reads) "Artie's Adult Playground"?
HORATIO: Do you know Artie?
DELKO: (shoots back) Do you know Artie?
HORATIO: Just go to the address, Eric.
(Horatio leaves the room.)
CUT TO:
[INT. CSI - LAB]
(Speedle walks into the lab to report to Megan who is busy examining the
wrench.)
SPEEDLE: Well, the blood from the steering wheel belongs to father Carlos.
MEGAN: Have you matched the hair to anyone yet?
SPEEDLE: Not yet. I still have to test it from the hair at the house.
MEGAN: What about this? Inside the teeth of the wrench. Take a look.
(She makes room for Speedle to look under the magnifying glass with her. She
finds something white stuck to the wrench.)
MEGAN: It always reminds me of sticky oysters.
SPEEDLE: It looks like melted provolone. What is it?
MEGAN: Brain matter.
SPEEDLE: Father Carlos didn't have a head contusion.
MEGAN: (nods) I know.
(Speedle steps aside.)
(Megan takes a sample of the white stuff in the wrench and tests it.)
(Cut to: [LATER] She looks at the DNA results.)
(She scoffs and shows the results to Speedle.)
MEGAN: Look.
SPEEDLE: Brain matter is dad's.
MEGAN: So ... if it was Cameron's dad that killed Father Carlos he did it
without his temporal lobe.
SPEEDLE: Hard to do.
(Megan nods.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. MEDINA RESIDENCE -- DAY]
(Det. Adell Sevilla and many officers with scent dogs are combing the Medina
yard.)
(Megan and Calleigh follow the dog toward the water.)
(The search dog stops at the water's edge and whimpers.)
(The officer places a small red flag in the area, then follows as the dog takes
off again. Megan walks up to the marked area.)
MEGAN: Those look like drag marks.
(Quick flash of: Emilio Medina is dragged into the water. End of flash.
Resume to present.)
CALLEIGH: Do you think if we dragged the river we'd find the missing rifle out
there?
(The dog starts barking.)
DET. ADELL SEVILLA: The scent dog found something.
MEGAN: Let's go.
(Megan and Calleigh head for the scent dog who is sniffing the dirt in a small
clearing near the house wall. The dog whimpers. The officer puts a red flag
marker in the spot. The dog moves on.)
(Adell kneels down near the spot. She stands and moves when Megan and Calleigh
approach.)
MEGAN: Dirt's been disturbed.
(They put their kits down. They open their kits and put on their gloves. Megan
removes the flag and pushes the dirt aside. They find some clothing with a
large stain on it.)
MEGAN: Looks like dried blood.
CALLEIGH: It doesn't look like anything mom would wear.
MEGAN: Oh, man ...
(Megan puts the shorts on the package Calleigh holds out for her. Megan's phone
rings.)
MEGAN: Excuse me. (She answers it.) Megan Donner.
INTERCUT WITH:
[INT. CSI - LAB - DAY]
SPEEDLE: Hey, uh, I finished running the hair on the steering wheel.
MEGAN: Yeah?
SPEEDLE: I compared it to the hair that I took from the father's brush, ...
(Quick flash of: Speedle collects the brush from the bathroom. End of flash.
Resume to present.)
SPEEDLE: ... and it didn't match, but right now, I'm looking at the one that
does. It's the hair you found embedded in the wall in Cameron's room.
(Scope view: The two strands match.)
(Quick flash of: Megan holds up the hair strand and puts it in a bindle. End
of flash. Resume to present.)
SPEEDLE: ... On the left, I'm looking at the hair you found on the steering
wheel. Both of the hairs match Cameron's mother which means Mrs. Medina was
driving that truck.
MEGAN: Thanks, Speed.
(Megan hangs up.)
(Calleigh pulls out another piece of clothing from the ground.)
(Megan walks over to Adell Sevilla. In the background, Iris Medina withdraws
back into the house.)
MEGAN: We're going to need to talk to the mother.
(Adell nods. She motions to an officer.)
ADELL SEVILLA: Let's go.
(Adell leaves with the officer. Megan kneels down next to Calleigh who is now
looking at the front of the shirt.)
(She shows the blood-stained "The Ollie Oop" shift to Megan.)
MEGAN: Oh, man.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Horatio steps into the hallway and runs into Delko.)
HORATIO: Eric.
DELKO: Artie says hello and that Douglas came in to satisfy his rubber fetish
about three days ago.
HORATIO: So, he lied to us about the last time he saw Lisa Marie and that
doesn't prove he killed her so, we go back to the jeep.
DELKO: I already have.
HORATIO: No, no, listen to me. Go back to the jeep.
DELKO: H, I already have. There's not a print, a trace, a fiber. There's
nothing left in that jeep that connects him to her.
(Horatio stops.)
HORATIO: So, he's ... going to get away with it.
(There's a moment of silence. Delko looks away for a moment.)
HORATIO: That's what you're telling me: He's going to get away with it. He's
going to get to crawl back under that rock that he slithered out from ...
because he's killed the only person that knows the truth. Right?
DELKO: Well, for now.
HORATIO: (nods) For now. Okay. (Horatio walks into the lab and heads for the
technician inside.) Hey, Jerome, do me a favor, will you?
(Horatio hands him a file. Jerome looks at it and nods.)
HORATIO: Let me know when you're finished with that, all right?
(Jerome puts the open file on the counter and we see that there're photos
inside. Horatio turns and walks out of the lab.)
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Adell Sevilla pours a glass of water. At the table are Iris Medina and Megan.)
IRIS MEDINA: This has nothing to do with Cameron. It was me.
(Adell walks back to the table and puts the glass of water in front of Iris.)
IRIS MEDINA: (crying) I killed Emilio.
MEGAN: No. No, you didn't. I know you want to protect your son but you didn't
kill your husband. Cameron did.
(Iris cries.)
MEGAN: The clothes we dug up were Cameron's. Had blood from him and his father
all over them. He killed his father to protect you, didn't he?
(She cries.)
(Quick flash of: Cameron yells as Emilio hits Iris.)
CAMERON MEDINA: (shouting) Stop it!
(Iris falls hard against the back of the wall.)
CAMERON MEDINA: (shouting) Stop it!
(Emilio turns to look at Cameron. He's choking Iris with the belt.)
EMILIO MEDINA: Fuera de aqui!
(Iris chokes and gasps as she screams. Cameron runs out of the room. He looks
around and sees the tool kit on the floor. He opens the tool kit and removes
the wrench.)
(Emilio continues to choke Iris. Cameron returns to the room and hits Emilio on
the back of the head.)
(End of flash. Resume to present.)
(Iris is crying.)
MEGAN: That same night you and Cameron dragged his body to the river.
(Quick flash of: Cameron and Iris pull Emilio to the river. They push him into
the water. Iris puts her arm around Cameron's shoulders, but he shrugs her off.
Cameron runs away.)
(Iris stands on the edge of the bank watching the body in the water.)
(End of flash. Resume to present.)
MEGAN: When Cameron needed to talk to someone about what he'd done he went to
see Father Carlos.
(Quick flash of: [FATHER CARLOS' OFFICE] Father Carlos talks with Cameron.)
FATHER CARLOS: You need to tell the police.
CAMERON MEDINA: No!
FATHER CARLOS: Come with me to the police. Let me help you.
(Father Carlos holds out a hand to Cameron, but he pushes him away and runs out
the door.)
CAMERON MEDINA: No! Get away from me!
FATHER CARLOS: Cameron, wait!
(End of flash. Resume to present.)
MEGAN: When you dropped Cameron off at Ollie Oop Skate Park he told you Father
Carlos would tell the police.
DET. ADELL SEVILLA: So, you went back to the rectory ... to kill him.
(Quick flash to: [FATHER CARLOS' OFFICE] Iris Medina talks with Father
Carlos.)
IRIS MEDINA: Promise me you won't tell the police.
FATHER CARLOS: They'll understand.
IRIS MEDINA: No one understands -- not you, not God -- no one.
(End of flash. Resume to present.)
IRIS MEDINA: I gave up. I-I left and I went back to the truck.
(Quick flash of: [NIGHT] Crying, Iris goes into the truck. In the rear-view
mirror, she sees the rifle on the rack.)
(Cut to: Father Carlos takes a sip of his drink. Iris returns and cocks the
rifle.)
FATHER CARLOS: Iris.
IRIS MEDINA: My son protected me. I'm the only one who can protect him now.
(She fires and hits Father Carlos in the shoulder. He falls back against the
wall. He falls down, then pulls himself up.)
FATHER CARLOS: Iris.
(Crying, Iris turns around. She cocks the rifle again.)
IRIS MEDINA: You knew what he was doing to me. (screams) You knew!
FATHER CARLOS: It's not my place to judge.
IRIS MEDINA: But you gave him communion every Sunday!
(She fires.)
(Cut to: Iris dips her fingers into the holy water and crosses herself. She
turns and leaves. Camera holds on the statue of Jesus with his arms
outstretched.)
(End of flash. Resume to present.)
(Iris cries. Adell walks toward the window, her back to the interview table.)
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Horatio re-interviews Jeffrey Douglas. His lawyer is present.)
HORATIO: Jeffrey, you lied to me about the last time you saw Lisa. You just
saw her three days ago, didn't you? Did you know that she had family that
thought she was still alive, Jeffrey, until I was forced to tell them that she
was dead?
LAWYER: Do you have anything more than your opinion and my client's itinerary
to hold him on?
(Horatio doesn't say anything. The lawyer turns to Jeffrey.)
LAWYER: Let's go.
(Both the Lawyer and Jeffrey stand up.)
HORATIO: You mean like his DNA?
(Jeffrey freezes.)
HORATIO: Jeffrey is the baby's father, so sit down.
(Jeffrey and the Lawyer take their seats.)
HORATIO: See, I think this is about the baby and how you didn't want the baby
to cramp your style so, you force-fed Lisa Marie enough demerol to kill her. Am
I close?
LAWYER: No. But now you're done.
(Jeffrey and the Lawyer stand up and head for the door. Horatio stops them.)
HORATIO: Before you go ...
(Horatio stands up and joins them.)
HORATIO: I wanted to ... show you ... a photograph.
(He shows Jeffrey a photo of a blonde-haired little girl.)
HORATIO: Take a look at that. Do you know who that is? That's your daughter.
This is what she would have looked like on her second birthday had you not
killed her and her mother. Know this, my friend. Every year on this child's
birthday I am going to haunt you. I am going to be all over you till I get what
I need to put you in jail. Understand? Do you understand what I'm saying?
(Jeffrey and his lawyer leave the room.)
(Horatio stands alone in the room and looks down at the picture of the little
girl.)
DISSOLVE TO:
[INT. CHURCH - DAY]
SINGING: ...How sweet the sound / that saved a wretch like me / I once was lost
/ but now am found / was blind, but now I see... /
(The choir sings at the mass for Father Carlos. Cameron is an altar boy at the
funeral. The priest passes incense over the coffin.)
(At the back of the church, Horatio walks into the church. He joins Megan who
is already there.)
(The congregation stands as the priest and the alter boys and girls walk down
the aisle. In the front of the small group, Camera carries the crucifix. As he
passes them, Cameron looks at Megan.)
(At the back of the church, Adell and an officer stand waiting. Megan leaves to
join them.)
SINGING: 'twas grace that taught my heart to fear / and grace my fears relieved
/ how precious did / that grace appear / the hour I first believed /
(The nuns walk down the aisle past Horatio. He pauses a moment, then walks to
the side. He walks up to a large statue of Mary holding the baby Jesus. Mother
and child. Horatio takes out the photo from his coat pocket. He places it at
the base of the statue. He turns and leaves.)
SINGING: ... through many dangers, toils and snares / I have already come /
'tis grace has brought me safe thus far ...
(The camera moves down to linger on the photo.)
SINGING: ... and grace will lead me home.
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
1X05: ASHES TO ASHES
ORIGINAL AIR DATE ON CBS: 10/21/2002
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, CAROL MENDELSOHN, ANN DONAHUE
Starring:
WANDA DE JESUS as Det. Adell Sevilla
BERNARD WHITE as
R.J. FENSKE as Cameron Medina
RUTH ZALDUONDO as Iris Medina
AL WHITE as
Music Composed by: GRAEME REVELL
Edited by: J. BENJAMIN CHULAY, A.C.E.
Production Designer: CARLOS BARBOSA
Director of Photography: MICHAEL O'SHEA, A.S.C.
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: STEVEN MAEDA
Consulting Producer: MARK ISRAEL
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: MARK ISRAEL
Directed by: BRYAN SPICER
==========================
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
MARK SIVERTSEN as Jeffrey Douglas
JOHNNY MICHAELS as Emilio Medina
MARINA PALMIER as Rebecca Montero
MARCIA JEFFRIES as Ms. Clara Denize
LISA ARNING as Lisa Valdez
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: KEVIN WILLIAMS
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 Manager: GEORGE LARSON
Art Directors: TIM BEACH
Set Decorator: DANIELLE BERMAN
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: FRANK CEGLIA
Stunt Coordinator: TROY BROWN
Key Grips: RANDY TAMBLING
Gaffer: JACK SCHLOSSER
Camera Operator: MICHAEL GENNE
Transportation Coordinator: 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: SCOTT AMBROSE
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: SCOTT LERNER
Post Production Supervisor: MICKIE REUSTER
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:08/22/2004~lky
http://www.webphilia.com/~anthology/wnp.htm