CSI: MIAMI
1X12: ENTRANCE WOUND
ORIGINAL AIR DATE ON CBS: 01/06/2003
TRANSCRIBED FROM DVD
Written by LAURIE McCARTHY & GWENDOLYN PARKER
Directed by DAVID GROSSMAN
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
RATING: TV-PG-LV
HDTV
==========================
DISCLAIMER:
==========================
"CSI: MIAMI", "CRIME SCENE INVESTIGATION", "CSI" and other related entities are
owned, (TM) and (c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS
Worldwide Inc., Alliance Atlantis Corporation, CSI Productions and CBS
Productions, 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 intact 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: Horatio and Speedle investigate the discovery of a naked woman found
dead under a motel room bed. Calleigh and Delko investigate a random shooting
at a gas station where a German tourist is shot and killed.
==========================
CSI: MIAMI
1X12: ENTRANCE WOUND
==========================
COLD OPEN:
[EXT. VARIOUS MIAMI-DADE CITY (STOCK) -- DAY]
[INT. HOTEL ROOM - DAY]
(A man and a woman are kissing. They start undressing each other. She stops
and looks around when she hears flies buzzing.)
WOMAN: What's that noise?
MAN: It's the waves crashing on the beach.
(In the background, we hear the waves crashing on the beach. The man starts
kissing the woman again while trying to take his shirt off. The woman stops
kissing him and smiles skeptically at him.)
WOMAN: Since when do oceans hum?
(The man chuckles and kisses her again. The sound of flies buzzing is
persistent. The man starts to remove his tie. The woman is sufficiently
distracted by the buzzing flies. She turns around.)
WOMAN: Wait.
(As the man continues to remove his shirt, the woman cautiously looks around the
small room. She gets near the bed and checks under it.)
(She finds the dead body of a naked woman hidden under the bed.)
(The woman screams. She pulls back in horror at the sight.)
CUT TO:
[INT. MOTEL ROOM - DAY -- LATER]
(Horatio looks under the bed. Flies buzz around the body.)
(Horatio backs away from the bed and stands up. The Detective on the case and a
couple of officers wait for Horatio to clear them to move the bed. Horatio
nods.)
(A couple of officers lift the bed off the body. Underneath is the dead body.)
DET. CHRISTIAN BRUNNER: A guy and his coworker found her this morning.
HORATIO: Well, they've obviously cleaned the room before they checked in,
right?
DET. CHRISTIAN BRUNNER: Yeah, typical maid service -
HORATIO: Scrub the surface. Scrubbed the surface but left the dead body under
the bed. So what do we know about our previous occupant?
DET. CHRISTIAN BRUNNER: No face-to-face booking. Sent the victim to pay.
HORATIO: And who is our victim?
(The camera slowly moves over the dead both.)
DET. CHRISTIAN BRUNNER: Pocketbook and clothes were missing but the assistant
coroner okayed a live scan of her prints. Susan McCreary. A string of priors
for prostitution. Looks like she was working the street.
HORATIO: Not anymore.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[EXT. MIAMI CITY SCENE (STOCK) - DAY]
[INT. MOTEL ROOM -- DAY]
(Horatio snaps a couple of pictures of the thermostat.)
HORATIO: Seventy-five degrees.
ALEXX: (o.s.) With her liver temp that puts time of death between seven and
nine last evening.
(Horatio notes the white orchid plant in the room. Alexx moves the body a bit
to look at the woman's wounds. Horatio kneels down behind Alex to look at the
body.)
ALEXX: Victim was stabbed repeatedly. Slim, sharp implement.
HORATIO: What do you think? A knife or scissors?
ALEXX: Width of the wounds could match either.
HORATIO: She wasn't stabbed under here. There's not enough room, and there's
no blood present.
ALEXX: On the bed's the next logical choice.
HORATIO: Yes, but there would be spatter on the night stand and the wall and
the sheets would be soaked.
(On the side, Speedle is dusting the window shutters.)
SPEEDLE: I got the sheets from the maid. There's no visible stains, but I
bagged them anyway.
HORATIO: Bag that bedspread, too, will you?
(Camera moves slowly past the two evidence packages on the floor over to the
bedspread.)
(Cut to: Horatio uses the ALS on the walls.)
HORATIO: What do we have here?
(Behind him, Speedle bags the bedspread.)
(Horatio swabs the walls. He tests the swab and finds it positive for blood.)
HORATIO: That's blood ... and somebody tried to wipe it away.
(Quick flashback of: Blood spatters on the wall. Someone wipes the blood on
the walls. End of flashback. Resume to present.)
ALEXX: Not the only surface he scrubbed.
(Alexx is putting the body in a bag. She leans in close to the body and
sniffs.)
ALEXX: Body smells like cardamom. It's a spice. I use it in a mean South
African curry but it's also used as a scent in soaps.
(Alexx zips the bag up. Speedle is examining the bathroom counter top.)
HORATIO: Scented soaps. (Horatio steps into the bathroom.) Okay.
(Horatio looks at the bathtub.)
SPEEDLE: The maid did say that the renter boosted a couple of towels and a
washcloth.
HORATIO: What about used soap?
SPEEDLE: Yeah, he took that with him, too.
HORATIO: You know what? Let's green-light this tub.
(Speedle takes the ALS out and uses it on the tub. Horatio looks at the bath
soap tray near the tub.)
HORATIO: Cardamom soap.
(Under the green light, Speedle finds a lot of blood stains in the tub.)
SPEEDLE: Whoa.
HORATIO: You got something?
SPEEDLE: Yeah. It looks like he washed her.
(Quick flashback to: The dead body is in the bathtub under the running water.
The killer uses the loofa sponge and soap from the soap dish to wash her. End
of flashback. Resume to present.)
HORATIO: That would explain the clean body and the missing towels, wouldn't it?
DET. CHRISTIAN BRUNNER: Well, he didn't hose these.
(The Detective and an Officer stand in the room holding some clothes.)
DET. CHRISTIAN BRUNNER: Uniform found them in a dumpster outside.
HORATIO: Well, I guess they could be the victim's. They fit the lifestyle.
DET. CHRISTIAN BRUNNER: Don't worry. Officer Saxon didn't touch anything else.
(Officer Saxon hands the clothes to Horatio.)
HORATIO: We'll take it from here, gentlemen.
SPEEDLE: (shrugs) I guess I got to go check the dumpster now.
HORATIO: Do that next.
CUT TO:
[EXT. MIAMI BRIDGE (STOCK) - DAY]
[EXT. VARIOUS MIAMI COMMUNITY (STOCK) - DAY]
[EXT. GAS STATION -- DAY]
(The CSI vehicle pulls up. Det. Adell Sevilla stands near the open car door and
takes notes.)
(Delko and Calleigh exit their vehicle and walk over to Adell.)
DELKO: Hey, what do we got?
DET. ADELL SEVILLA: Attempted carjacking or robbery. German tourist couple.
They stopped for directions. Now, that's the wife, Greta Roebling. (She
indicates the blonde-haired woman with the blanket around her shoulders.)
Husband's Werner and they're here on a short vacation from Stuttgart.
CALLEIGH: Oh, another slam from the European Press. "Miami: Deathtrap Under
the Palms."
DELKO: Did the wife see the shooting?
DET. ADELL SEVILLA: No. She said a masked man approached her side of the car
and then shot her husband.
DELKO: Body's still in the car?
ADELL SEVILLA: No. Husband fled, shooter ran after him ...
(Quick close-up of the blood drops on the ground.)
ADELL SEVILLA: ... and he left his body on the floor of the garage bay.
DELKO: Well, if it's a carjacking, why chase a guy who's already abandoned his
car?
ADELL SEVILLA: Exactly.
CALLEIGH: That's the first of many questions. (Calleigh heads for the car.)
How about I take the car, you take the garage and we'll meet up at the body when
the M.E. shows up?
DELKO: Sounds good.
(Flash to: [INT. CAR] Close-up of the blood on the inside driver door.)
(Calleigh removes the camera from around her neck and reaches for her kit. She
picks up the flashlight and carefully examines the inside of the car on the
driver's side.)
(She sits in the car and looks around the car.)
(She finds a smudge on the corner of the rear view mirror and swabs it.)
(She steps out of the car and glances up at the security camera. She finds two
security cameras.)
FLASH TO:
[INT. GAS STATION - GARAGE -- DAY - CONTINUOUS]
(Eric snaps a photo of the dead body. He kneels down next to the body and snaps
another photo.)
(Off screen, Calleigh enters the garage.)
CALLEIGH: (o.s.) I got blood spatter in the car but no bullets.
(Eric snaps another photo.)
CALLEIGH: Also, got a smear on the rearview mirror. There's no sign of the
M.E.?
DELKO: No. Stuck on the Venetian Causeway. The bridge wouldn't close. Would
you believe?
CALLEIGH: Hmm. So how many times was this guy shot?
(Calleigh steps over the body to look at it from the opposite angle.)
DELKO: I'm only seeing one wound. A small entrance behind the ear possible
exit through the mouth.
CALLEIGH: Gosh, it's hard to imagine him running all the way in here with a
shot in the head.
DELKO: (shrugs) Anything's possible.
CALLEIGH: Did you find any bullets in here?
DELKO: No, but check out these blood patterns.
(Delko shows Calleigh the blood on the garage floor.)
DELKO: Now, it doesn't look like a shoe but, uh, it's hard to say where it's
from. And the spatter on the back of this truck is even harder to place.
CALLEIGH: Looks like high velocity from a gunshot.
(Delko snaps a photo of the blood on the back of the truck. He turns around.)
DELKO: Well, that would put a second shot in here and that doesn't track with
the body.
CALLEIGH: Or with his head wound in relation to the truck. Aah, we need to get
at this body.
CUT TO:
[INT. CSI - FORENSICS LAB - DAY]
(Alexx is going over the preliminary with Horatio.)
ALEXX: Twenty-three stab wounds in all. Some of them look tentative.
HORATIO: Till he got the hang of it.
ALEXX: Yeah. The majority of the wounds are deep penetrations.
HORATIO: What's your cause of death?
ALEXX: Exsanguination from a sharp force injury that severed the aorta.
HORATIO: Not much external blood loss, though, huh?
ALEXX: (nods) Right. Aorta bleeds out into the chest cavity.
(Quick CGI POV of: A knife pierces through the body and cuts the aorta. The
aorta bleeds. End of CGI POV. Resume to present.)
HORATIO: Which would have helped the killer with his cleanup. You think he
could have known that?
(Alexx turns to look at Horatio.)
ALEXX: You find him and ask him.
HORATIO: Hmm.
(Horatio notices the residue on the body's wrists.)
HORATIO: Adhesive, right?
ALEXX: Yeah. Wrist, ankles and mouth.
HORATIO: Okay, so he picked her up gagged her, taped her, went to town. How
about sexual assault?
(Alexx checks the clipboard forms.)
ALEXX: No vaginal tearing, no signs of semen. Guy went to a lot of trouble for
no apparent personal or sexual motive.
HORATIO: Mmm. How about the joy of just taking a life? That's always good.
Okay.
(Horatio leaves.)
CUT TO:
[INT. CSI - LAB - DAY]
(Speedle is in the lab. The bed sheet is on the table in front of him. Horatio
walks into the lab.)
HORATIO: Anything else from the dumpster?
SPEEDLE: Just the victim's clothes. Pipes from the tub were a bust. I found
traces of drain cleaner. So it would have dissolved any DNA he might have left.
(Quick flash to: Close-up of Drain Cleaner as it's poured into the pipes. It
bubbles and sizzles when it hits the grime in the pipes. End of flash. Resume
to present.)
HORATIO: (points) What about right here? Right in the center.
SPEEDLE: I'm about to test it. Never go naked on the hotel bedspread.
HORATIO: Mm. Lucky for us, some people do, right? Keep me posted. I'll go
check her personal effects.
(Horatio leaves.)
CUT TO:
[INT. CSI - LAB - DAY]
(Horatio uses the ALS on the victim's shoe. Finding nothing, he puts the shoe
down and runs the light across the victim's belt. Near the buckle, he finds a
print.)
CUT TO:
[INT. CSI - PRINT LAB - DAY]
(The print is run through the database. A match is found.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Speedle fills Horatio in as they walk through the hallway.)
SPEEDLE: The smear on the center of the bedspread was mold. A type that wasn't
on anything else at the bungalow.
HORATIO: Maybe the killer brought it in with him.
SPEEDLE: But not off his body. Could be transfer from some kind of cover he
used to keep the mess down.
HORATIO: He did get sloppy about one thing. We found a bloody fingerprint on
the victim's belt.
SPEEDLE: Guy in the system?
HORATIO: A Cole Judson. A prior knife assault on a woman twelve years ago.
SPEEDLE: Not his first time.
HORATIO: Let's make it his last.
(They walk out of frame.)
FADE OUT.
FADE IN.
[EXT. MIAMI COMMUNITY (STOCK) -- DAY]
[EXT. JUDSON RESIDENCE - FRONT YARD -- DAY]
(Three men are placing a heavy concrete block. Horatio and Det. Christian
Brunner walk up to them.)
HORATIO: Excuse me.
(LEE BASTILLE, the LANDLORD looks at them.)
HORATIO: We're looking for Cole Judson.
LEE BASTILLE: Um, yeah, he's probably out back helping me out with my fence.
(LEE BASTILLE steps toward them.)
DET. CHRISTIAN BRUNNER: Does he work for you?
LEE BASTILLE: No. I'm the landlord. This guy pulls in six figures and his way
to unwind is hacking at wood. Go figure. You guys the police?
DET. CHRISTIAN BRUNNER: Yes, we are.
HORATIO: Where would that be?
LEE BASTILLE: Right around back. Just follow the screams. His step-kids
believe in expressing themselves.
HORADIO: Thank you.
(Horatio and Det. Christian Brunner head for the back yard.)
[EXT. JUDSON RESIDENCE - BACK YARD - DAY - CONTINUOUS]
(They kids are playing in the back yard. Wendy Judson sits at the back yard
table reading the paper. Cole Judson works on a piece of wood. There's a large
knife on the work table in front of him.)
(Horatio and Det. Christian Brunner step into the back yard. A couple of
officers follow them.)
DET. CHRISTIAN BRUNNER: Cole Judson? Detective Brunner, Miami-Dade police.
Horatio Caine, CSI. You're under arrest for the murder of Susan McCreary.
(The kids stop and stare. Wendy surges to her feet. Cole Judson turns around
to look at her. The officers put the handcuffs on him.)
DET. CHRISTIAN BRUNNER: You have the right to remain silent.
WENDY JUDSON: Cole?
DET. CHRISTIAN BRUNNER: Anything you say can be used against you ...
WENDY JUDSON: What are they doing?
COLE JUDSON: Wendy, call our lawyer.
(They start to lead him out of the back yard.)
WENDY JUDSON: Cole?
(Horatio remains behind.)
DET. CHRISTIAN BRUNNER: You have the right to an attorney. If you cannot
afford ...
COLE JUDSON: (shouts) Everything's going to be okay.
DET. CHRISTIAN BRUNNER: The court will appoint you one.
(The officers and detective leave the back yard with Cole Judson. Wendy Judson
walks up to Horatio.)
WENDY JUDSON: What are you doing? Cole would never hurt anyone.
(Det. Christian Brunner steps back into the backyard. Horatio takes out the
warrant.)
HORATIO: Mrs. Judson, your husband will be transported downtown where he will
be booked. In the meantime, I have a warrant to search your residence.
(He hands the warrant to her. She looks at it.)
WENDY JUDSON: This, this can't be right. You're wrong.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Calleigh is working on the security video from the gas station.)
(On the monitor, at 4:33, the car is at the station. A man walks up to the
passenger side.)
CALLEIGH: There's our shooter.
DELKO: Yeah, with a mask leaving us no facial ID. But I can ID our odd print
on the floor.
(Delko enlarges a video picture of the shooter with the gun in his gloved hand.)
DELKO: Perforations on the glove appear to match the pattern we found in that
blood smear.
(Quick flashback to: [GARAGE] The shooter slips on the blood and falls. He
puts his hand down on the floor. End of flashback. Resume to present.)
CALLEIGH: So the shooter lost his footing.
DELKO: Which confirms the wife's story.
(On the monitor, they watch as the shooter reaches through the passenger window
across the wife and aims for the husband.)
CALLEIGH: (o.s.) The shooter approached her side of the car and shot the
husband.
DELKO: (o.s.) But we still can't see where the husband was hit.
CALLEIGH: (sighs) Oh, it's riveting but what I really want is a call from
Alexx.
DELKO: Easy, girl. You will get your bullet.
CUT TO:
[INT. CSI - FORENSICS LAB - DAY]
(Alexx holds out the bullet piece in her palm of her gloved hand.)
ALEXX: Sorry, Calleigh. Your second bullet was fragmented.
(Calleigh grabs the bullet and looks at it.)
CALLEIGH: It's a small caliber. .22, probably. (sighs) There's no hope for a
comparison.
ALEXX: But the good news is I've got your first bullet.
CALLEIGH: (surprised) He was shot in the mouth?
(Quick flashback to: [INT CAR] Werner Roebling turns and looks out the window
at the shooter. He gasps just as the shooter fires. The bullet breaks Werner's
top teeth and splits his tongue.)
(End of flashback. Resume to present.)
(Alexx extracts the bullet out of Werner Roebling's mouth.)
ALEXX: Oh, yeah.
CALLEIGH: Well, I have never seen anything like this before.
(Calleigh takes the forceps and bullet.
ALEXX: Never forget your first time, do you?
CALLEIGH: It's intact, that's a good sign.
ALEXX: Came to rest in the back of his throat.
CALLEIGH: That would explain all the blood spatter on the back of the truck.
He would have been spitting cupfuls of blood with a wound like that.
ALEXX: Over forty arteries and veins inside the oral pharynx and the buccal
mucosa.
(Quick CGI POV: Close-up of the arteries and veins on the tongue. The tongue
splits and the mouth quickly fills with blood.)
(End of CGI POV. Resume to present.)
CALLEIGH: He was hiding from his killer.
(Quick flashback to: [GARAGE] Werner Roebling hides behind the back of the
truck. He coughs. Blood spurts out his mouth against the side of the truck.)
(End of flashback. Resume to ...
[INT. JUDSON RESIDENCE - KITCHEN - DAY]
(Speedle is in the kitchen. He takes a pearing knife out and looks at it. He
reaches for an envelope and bags it.)
INTERCUT WITH:
[INT. JUDSON RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Horatio is in the living room looking through the books on the shelves.)
(In the kitchen, Speedle writes on the envelope.)
(Horatio continues to look at the shelves. He leafs through the record album
collection.)
(He reaches down and picks up a toy dinosaur on the counter. He smiles.)
(He looks at the top of the cabinet and removes a large pair of green-handled
scissors.)
(In the kitchen, Speedle opens the drawer and takes out an ice pick.)
(Horatio walks down the stairs. He looks out the window and sees a man kneeling
in front of Wendy Judson talking with her and her two kids.)
HORATIO: Who's this?
SPEEDLE: That's the ex-husband.
(Horatio watches as the ex-husband carries one son.)
HORATIO: Hmm ... the ex-husband. That's interesting.
CUT TO:
[INT. JUDSON RESIDENCE - KITCHEN - DAY]
(Michael takes the two children out with him.)
MICHAEL: I'll keep them for a few days, all right, Wendy? Don't worry.
WENDY JUDSON: This is a mistake, Michael. It, it's crazy.
MICHAEL: Anytime, the middle of the night 5:00 in the morning, I'm there for
you, okay? If you need me.
WENDY JUDSON: Yeah.
MICHAEL: If there's anything I can do ...
HORATIO: We'll let you know. Thank you.
WENDY JUDSON: (to her children) Bye, sweetie.
(Wendy shuts the door.)
DET. CHRISTIAN BRUNNER: Are you aware that your husband has a record for a
knife assault on a woman?
WENDY JUDSON: (shakes his head) No, that's not right. It can't be. Cole
could never do what you're accusing him of.
HORATIO: Can you tell us where he was last night?
WENDY JUDSON: He was, he was at his weekly sales meeting. Every Wednesday till
9:00.
DET. CHRISTIAN BRUNNER: Could you give us a contact at his office?
WENDY JUSON: Yeah. Let me get it.
DET. CHRISTIAN BRUNNER: Thank you.
(Wendy leaves the room to get the number.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Det. Christian Brunner catches up with Horatio.)
DET. CHRISTIAN BRUNNER: Surprise, surprise.
HORATIO: What's up?
DET. CHRISTIAN BRUNNER: Cole Judson didn't work late on Wednesday. He never
does.
HORATIO: So he's two for two on lies to his wife. Okay.
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Horatio and Det. Christian Brunner interview Cole Judson.)
COLE JUDSON: Please, you have to believe me. I don't know what you found, but
you're wrong.
HORATIO: What happened to your finger?
(Horatio looks down at the band-air on the tip of Cole's right index finger.)
COLE JUDSON: I whacked my nail. Henry, the little one, put this on me.
HORATIO: Mind if I take a look at it?
COLE JUDSON: Yeah, sure.
(Cole Judson takes the band-aid off his finger. Speedle steps forward with a
bindle.)
SPEEDLE: The band-aid?
HORATIO: Band-aid. (Cole puts the band-air in the envelope.) Thank you.
DET. CHRISTIAN BRUNNER: Where were you last night?
COLE JUDSON: After work I took a walk on the beach. It's what I do every
Wednesday.
HORATIO: That's not what your wife told us.
(busted)
COLE JUDSON: Listen, I ... I love being married, I do. And I adore those kids.
But I steal one night a week for myself and I ... I should have been honest with
Wendy about needing it.
DET. CHRISTIAN BRUNNER: What about the girl you stabbed in college?
COLE JUDSON: Oh, my god, Beth? I never hurt Beth. Listen, we were young and
we were drunk, and we were arguing and she cut herself. I took her to the ER to
get stitches. They had to file a report. Suddenly she was worried about what
her family would say so she said I did it.
HORATIO: Do you, um, recognize this woman?
(Horatio puts the file folder and photo down on the table, case #792543-A.)
(Cole looks at the photo, averts his eyes and swallows hard.)
COLE JUDSON: No.
HORATIO: No?
(He looks at Horatio.)
COLE JUDSON: No.
(Horatio nods.)
HORATIO: Excuse me.
(Horatio leaves the room.)
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Calleigh is working in the lab running the bullet through the database. It
finds a match.)
CUT TO:
[EXT. FRONT STEPS - DAY]
(Calleigh shares her findings with Det. Sevilla and Delko.)
CALLEIGH: Well, our gas station bullet matched a prior convenience store
robbery. The gun was never recovered.
DET. ADELL SEVILLA: The adult was convicted, he's still behind bars but the
juvenile accomplice, Malcolm Davidson, served only a few months.
DELKO: All right, so where's Malcolm now?
DET. ADELL SEVILLA: At home, with grandma.
CUT TO:
[INT. DAVIDSON RESIDENCE - LIVING ROOM - DAY]
(Det. Adell Sevilla and an officer wait in the living room with Malcolm
Davidson, his grandmother and Brian Davidson.)
MALCOLM'S GRANDMA: I'm telling you wherever you think Malcolm was he was out
with me.
[INT. DAVIDSON RESIDENCE - BED ROOM - DAY -- CONTINUOUS]
(Calleigh looks through the closet.)
CALLEIGH: I'm not finding any of those clothes.
(She shuts the closet door.)
[INT. DAVIDSON RESIDENCE - BED ROOM - DAY -- CONTINUOUS]
(Delko finds a black glove in the closet.)
[INT. DAVIDSON RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
DELKO: (o.s.) Hey, Calleigh come take a look in here.
(Brian Davidson reacts when he hears Delko's shout from the bedroom.)
[INT. DAVIDSON RESIDENCE - BED ROOM - DAY -- CONTINUOUS]
(Calleigh walks into the bedroom.)
CALLEIGH: You find the gun?
DELKO: No, even better.
(He shows her the glove.)
CALLEIGH: Originally seen on video.
DELKO: Mm-hmm. Rinsed off and stiff from drying, too.
CALLEIGH: With perforations that look very similar to that blood pattern we
found on the garage floor.
CUT TO:
[INT. DAVIDSON RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(The officer handcuffs Malcolm Davidson. Grandma kisses Malcolm on the cheek
before he's taken away.)
OFFICER: All right, let's go.
BRIAN DAVIDSON: No way my brother did this.
CUT TO:
[INT. CSI - LAB - DAY]
(Horatio and Speedle are in the lab.)
HORATIO: Okay, so I'm the killer and I've just wiped down the scene, and I'm
preparing to dispose of the victim's clothes but somehow, some of the victim's
blood has escaped my cleanup, right?
(Horatio uncaps a glass jar filled with blood.)
SPEEDLE: Beef blood?
HORATIO: Yup. Close to human but not a biohazard.
(He puts a dab on his index finger.)
HORATIO: So, this is how the print ...
(Horatio puts a clear print on the paper.)
HORATIO: ... should look on the belt. But take a look at the picture.
SPEEDLE: Looks the same, like the print you made.
HORATIO: Ah, but it's not because it wasn't made with a bloody fingerprint. It
was made with oil.
(Horatio takes a stick and rubs his finger across it. He leaves another clear
print on the paper.)
HORATIO: Like this.
(Horatio picks up a swab and dabs it in the blood.)
HORATIO: And the blood was applied ... later. Like this.
(He applies the blood to the oil print.)
HORATIO: Allowing the blood to slide off the ridges and pool in the furrows.
(Close-up of the blood pooling in the furrows of the print.)
HORATIO: Take a look.
SPEEDLE: Wow. Never seen anything like that. I guess you'd miss it if you
didn't know it.
HORATIO: That's right. So it pays to stay current. Remember the criminalist
from Taos?
SPEEDLE: The one with the long, black hair?
HORATIO: Mm-hmm. She did a study and this is how you can frame somebody with
their own fingerprint.
SPEEDLE: What did the state's attorney say when you called them and told them
they had the wrong guy?
HORATIO: Well, he said it was a very, very interesting study.
SPEEDLE: So he's ignoring the science.
HORATIO: Right, and here's why -- because people understand fingerprints and he
is not going to confuse a jury over one study.
SPEEDLE: So Cole Judson ...
HORATIO: Is looking at murder one.
FADE OUT.
FADE IN.
[INT. CSI - LAB - DAY]
(Horatio and Speedle looks at the monitor at a close-up of mold.)
HORATIO: Now, I believe that the killer left the print behind intentionally,
but he left this behind by mistake.
SPEEDLE: That's my mold from the bungalow.
HORATIO: Cladosporium is a dark mold commonly found in indoor water space like
Cole Judson's bathroom. Now, this is the mold from the shower curtain.
(Horatio puts a second close-up photo of mold up on the monitor. The two
match.)
SPEEDLE: Mold from his bathroom matches the bungalow?
HORATIO: Mmm.
SPEEDLE: It's not looking good for Cole.
HORATIO: That's true. But cladosporium is a common genus and species, and that
would be like saying the killer's a homo sapien. So, in order to clear Cole
Judson we have to distill this mold down to the equivalent of a human name.
(Horatio puts the sealed evidence envelope back into the bag.)
SPEEDLE: You're trying to identify the DNA of the mold?
HORATIO: Yes, I am which would mean the smear from the bungalow could only come
from a single host colony like the killer's bathroom.
SPEEDLE: (thinks about it) Mold's a primitive organism.
HORATIO: But if it's biological, it has DNA.
SPEEDLE: Yeah, but still isolating DNA is ... is going to be rough.
HORATIO: Not as rough as leaving an innocent man to do time on death row.
CUT TO:
[INT. CSI - LAB - DAY]
(Calleigh meets Delko just outside the lab.)
CALLEIGH: Hey.
(She opens the door and they both walk in.)
DELKO: Hey. You should have gone for Malcolm's closet. Driving glove I found
was a major score.
(Delko puts his envelope down on the table as he signs the clipboard.)
DELKO: Yeah, blood was the German husband's epithelia's match Malcolm and there
was a waxy substance.
CALLEIGH: A waxy substance?
DELKO: Mm-hmm.
CALLEIGH: On the glove?
(Calleigh opens the file folder and reads the findings.)
CALLEIGH: "Castor oil, triglyceride, lanolin, heptan-2-one red number six
barium."
DELKO: Mm-hmm, I couldn't locate the brand or the manufacturer but it's
definitely lipstick. Probably grandma's.
(Quick flashback of: [DAVIDSON'S RESIDENCE - LIVING ROOM] Grandma kisses
Malcolm on the cheek before the officers escort him out of the house.)
(End of flashback. Resume to present.)
CALLEIGH: You know, it's bad enough when you're in that awkward stage between
boy and cold-blooded killer, but it's even worse when grandma's kiss links you
to the scene.
DELKO: Are you kidding me?
CALLEIGH: I found the same lipstick on the German's rearview mirror.
DELKO: So that doesn't just put him at the scene. That puts Malcolm inside
their rental car.
(Calleigh logs in the evidence on the clipboard:
ROEBLING REAR VIEW MIRROR
CALLEIGH: Except we have the whole crime scene on video and Malcolm never sets
foot in the car.
DELKO: Okay, so it had to happen before the crime. But what was he doing in
their front seat?
(Quick flash of: [INT ROEBLING'S CAR] Malcolm wipes his cheek and adjusts the
rear view mirror leaving a smudge on the corner of the mirror.)
(End of flash. Resume to present.)
CALLEIGH: I don't know. And who was he sitting with?
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Horatio meets with Det. Christian Brunner.)
HORATIO: Christian, you get my message?
DET. CHRISTIAN BRUNNER: You think Cole Judson is being framed. Any reason
someone would want to do that?
HORATIO: Oh, probably because they don't want to get caught or they're trying
to ruin his life.
DET. CHRISTIAN BRUNNER: It's a theory or two.
(Det. Christian Brunner turns and walks down the hallway. Horatio follows
leisurely behind him.)
HORATIO: I'm awaiting a mold smear.
DET. CHRISTIAN BRUNNER: Mold smear? We got a bloody print.
HORATIO: Yes, but we believe the blood was applied later and that the print is
a forgery.
DET. CHRISTIAN BRUNNER: How do you forge someone's print?
HORATIO: Well, you get them to stick their finger into something soft, you let
it harden you fill it with epoxy, and then you duplicate the print.
(They stop in front of the elevator. Det. Christian Brunner turns around to
look at Horatio.)
DET. CHRISTIAN BRUNNER: Without their knowledge?
HORATIO: Or you could use an existing print.
DET. CHRISTIAN BRUNNER: From the print store?
HORATIO: Everyday things: Tile grout, Clay. You might be surprised.
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Horatio interview Cole Judson.)
HORATIO: Mr. Judson, who has access to your apartment?
COLE JUDSON: Wendy and I -- we rent -- so I guess the building manager or our
cleaning lady.
HORATIO: Okay, I guess what I'm asking is who has keys to it?
COLE JUDSON: What does my apartment have to do with anything?
HORATIO: For right now why don't you let me worry about that, okay?
(Horatio sits down.)
COLE JUDSON: You know, I wish I could but I'm going through hell, and I didn't
do anything. So I give you our friends, our cleaning lady's name and what,
they're here instead of me?
HORATIO: Okay, the thing is is that they might be able to help you.
COLE JUDSON: How? I don't even know what you're looking for.
HORATIO: Does anyone have a reason to frame you?
COLE JUDSON: No.
HORATIO: You see, what I'm trying to determine is whether somebody gained
access to your apartment and took something without your knowledge.
COLE JUDSON: Wendy's ex-husband doesn't have keys, but we came home one day and
found him inside the apartment.
HORATIO: Did he have a reason to be there?
COLE JUDSON: Not at that moment, no.
CUT TO:
[INT. BUILDING HALLWAY - DAY]
(Horatio and Det. Christian Brunner talk with Michael, the ex-husband.)
MICHAEL: I brought the kids home, Henry was sick so I put him in bed.
HORATIO: That's not what Cole and the ex-wife say. They say you didn't have
custody that day.
(Michael puts his briefcase down.)
MICHAEL: Okay. All right. I told the landlady I left my car keys. She let me
in, and I looked around.
DET. CHRISTIAN BRUNNER: What were you looking for?
MICHAEL: Drugs, pornography. Wendy married this guy just three days after our
divorce was final. She just met him five months before that.
HORATIO: Where were you Wednesday night between six and nine p.m.?
MICHAEL: Me? I was at a cocktail party for a colleague. We set up around six
p.m. And I was home shortly after nine.
DET. CHRISTIAN BRUNNER: Can anyone confirm your presence at the party?
MICHAEL: Everyone. I was the toastmaster.
CUT TO:
(Michael walks away. Det. Christian Brunner and Horatio walk down to the lobby
to leave.)
DET. CHRISTIAN BRUNNER: The only surprise there is the ex didn't find a stash
of violent porn.
HORATIO: So you think his alibi is going to clear him, huh?
DET. CHRISTIAN BRUNNER: Read the M.E.'S report again. She was killed at
approximately seven p.m.
HORATIO: Approximately seven p.m. Time of death is always the most fluid
aspect of any crime. I mean, even you should know that.
CUT TO:
[INT. CSI - LAB - DAY]
(Horatio cuts a piece of the petal off the white orchid plant from the crime
scene. He puts it on the microscope in front of Speedle.)
HORATIO: Now, Cole's fingerprint aside the only thing that ties him to the
crime and clears the ex ... is time of death, right?
(Speedle looks at the petal under the microscope.)
SPEEDLE: Established by the victim's liver temperature.
HORATIO: Which brings us to room temperature. When we entered the room it was
75 degrees, correct? Perfect for humans and orchids.
[SCOPE VIEW]
(Close-up of the white orchid petal cells.)
SPEEDLE: Cells look healthy.
HORATIO: As they should at 75 degrees. But take a look at these cells. (He
points to some other petals on the table.) They don't look healthy. And the
reason they're not healthy is because like her body, they were chilled.
(Quick flash to: Camera zooms into t a scope view of the petal cells bursting.
End of flash. Resume to present.)
SPEEDLE: (v.o.) Causing the cells to burst and the petals to close.
HORATIO: At fifty degrees or below.
SPEEDLE: So somebody went in and cranked the air conditioning.
(Quick flash of: [MOTEL ROOM] Someone turns the air conditioning up. The body
is already dead. End of flash. Resume to present.)
HORATIO: Reentered the room reset the temperature of the room thereby changing
the time of the crime.
CUT TO:
[EXT. MIAMI SCENE (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM - DAY]
(Adell slides a folder with six mug shots on it across the table toward Greta
Roebling. She picks it up and looks at it.)
GRETA ROEBLING: I recognize no one. The shooter wore a snow mask.
ADELL SEVILLA: Do you know anyone who would want to hurt you or your husband?
GRETA ROEBLING: We know no one in Miami. People told us, "Don't go there.
You'll get shot." We came. My husband was killed. I would like to go and I
would like to take my husband with me.
(Calleigh pours a glass of water and puts it on the table in front of Greta
Roebling.)
CALLEIGH: Why don't you just relax, have a sip of water? Maybe you can think
of something that might help us.
(She picks up the glass and sips it. She puts it down. Calleigh notes the
lipstick smudge on the glass.)
GRETA ROEBLING: You know, I am tired, and I've already told you everything I
know.
CALLEIGH: I think we have everything we need.
ADELL SEVILLA: Okay. Thanks for coming.
(Greta Roebling gets up and leaves the room. Calleigh puts on a latex glove.
She picks up the glass.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Alexx and Speedle report back to Horatio.)
ALEXX: Cooling the body made it look like she died earlier than she did.
SPEEDLE: Electrical company confirms there was a spike in kilowatts at that
bungalow from 9:00 P.M. till 12:00.
HORATIO: Okay, but whether he killed her or she was just bound and gagged, our
prostitute did not turn up the air by herself.
SPEEDLE: Putting somebody else in the room with her after 9:00 P.M.
HORATIO: So he killed her and then waited while her body chilled.
(They stop walking and consider the implications of the new information.)
SPEEDLE: New time of death clears Cole Judson.
HORATIO: Leaving a bitter ex-husband with time to spare.
FADE OUT.
FADE IN.
[EXT. MIAMI BEACH (STOCK) - DAY]
[INT. CSI - LAB - DAY]
(Horatio sits in the lab looking at the finger print found on the victim's belt.
Speedle walks into the lab.)
HORATIO: Let me ask you a question. How many things do you think we'll
overlook in a career?
SPEEDLE: You?
HORATIO: Hmm.
SPEEDLE: Less than anyone I know. Me, fewer because of it. It's a perfect
clue.
HORATIO: And Cole is the perfect guy to pin it on, isn't he?
SPEEDLE: No alibi, a rap sheet with a knife assault.
HORATIO: Right, and his wife doesn't know about the prior conviction, but her
ex-husband does.
SPEEDLE: That's a lot of information for sale.
HORATIO: Yeah. Let's see if he purchased any of it, okay?
CUT TO:
[INT. CSI - LAB - DAY]
(Calleigh reads out the findings from her analysis of Greta's lipstick as Delko
listens.)
CALLEIGH: Castor oil, triglyceride heptan-2-one pigment red 68. But Greta
prefers a deeper shade of red.
(Delko chuckles as he examines the lipstick on the glove.)
DELKO: Well, lipstick on the glove was definitely grandma's.
CALLEIGH: So the Roeblings were here for two days and somehow a kid from
Liberty City ends up hanging out in their car?
DELKO: The same kid who shot the husband.
CALLEIGH: Okay, so what kind of murder requires an advance meeting?
DELKO: A hired hit. The question is: Who did the hiring?
CALLEIGH: Husband ended up dead.
DELKO: But ... Malcolm was aiming at the wife.
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Calleigh and Delko review the security video footage again. On the monitor,
they watch as the gunman aims through the passenger window.)
CALLEIGH: So he's looking straight at Greta.
DELKO: But is Malcolm recognizing his employer or is he locking on a target?
CALLEIGH: I don't know. It's not quantifiable either way.
DELKO: No, but this is. (Delko rewinds the video and replays it in slow-
motion.) The average person's reaction time from sensation, perception through
response is one point five seconds.
CALLEIGH: How do you know that?
DELKO: Auto insurance studies. Now, for an unexpected stimulus the brain needs
even more processing time.
CALLEIGH: Say, for example, if you weren't accustomed to having someone pull a
gun on you.
DELKO: Exactly. The video images are shot at one-thirtieth of a second
intervals. She ducked in one point one seconds. Olympians aren't even that
fast.
CALLEIGH: So when do good reflexes become intent to kill?
DELKO: And how, within two days of arriving in Miami did the wife find a
shooter that she knew wouldn't flip on her?
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Calleigh and Det. Adell Sevilla interview Brian Davidson. Calleigh puts two
photos on the table.)
BRIAN DAVIDSON: A glove ... a mirror. And what does any of this have to do
with me?
(He pushes both photos back at Calleigh.)
CALLEIGH: It has to do with you and your brother Malcolm. Did you know that
heptan-2-one isn't approved in the united states? It offers sun protection.
The sun shines in Germany, doesn't it?
BRIAN DAVIDSON: You never asked me if I lived in Germany.
ADELL SEVILLA: State department was happy to provide that information ... along
with your work visa.
CALLEIGH: It was an easy call. Once we linked your grandmother's lipstick to
its European manufacturer.
BRIAN DAVIDSON: I don't understand.
CALLEIGH: It's chemistry. It's a gift, just like all the other cosmetics you
bought for your grandmother.
ADELL SEVILLA: But those gifts stopped coming once you were cut from the
Stuttgart Ballet. And then you took on some private clients. Like Greta
Roebling.
CALLEIGH: You should have limited your services to teaching dance.
(There's a knock at the door. Calleigh turns around and sees Delko out in the
hallway.)
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Calleigh steps out into the hallway.)
DELKO: (smiles) Wife's ready to make a deal. She's very opposed to the death
penalty especially when it's applied to her.
[INT. CSI - INTERVIEW ROOM 2 - DAY - CONTINUOUS]
(Great Roebling talks with Calleigh, Delko and Det. Sevilla.)
GRETA ROEBLING: I don't like to exercise, not even dance. I complain and
complain. It's my way. So, when I told Brian "I wish my husband were dead". I
didn't mean it literally. And then Brian said he'd arranged a shooting person.
[INT. CSI - INTERVIEW ROOM 1 - DAY - CONTINUOUS]
(Brian Davidson talks with Calleigh, Delko and Det. Sevilla.)
BRIAN DAVIDSON: I said, "Where I come from, ten grand buys you a corpse." I
was talking trash. She gives me an itinerary. They're coming here. Hands me
cash for a ticket, too.
CALLEIGH: She booked you but at any point, you could have said no.
BRIAN DAVIDSON: I was broke. And I had leaned on every friend that I had. And
I swore that I would never end up where I came from.
DELKO: So you came home to cash out on your little brother's back.
(Brian Davidson sighs.)
BRIAN DAVIDSON: Malcolm ... he saw what I had and he wanted out, too. But he
didn't have a focus. 'Cause he had never worked for anything before. I said,
"Get a fresh strap." But does he do it? No.
CALLEIGH: A different gun. That's looking out for him.
CUT TO:
[INT. CSI - HORATIO'S OFFICE - DAY]
(Speedle reports his findings to Horatio.)
SPEEDLE: I started with the biggest criminal records company. All you need is
a social and a date of birth.
(Speedle hands the file folder to Horatio to look at. He flips through it.)
HORATIO: Thirty bucks buys you a lot of information these days.
SPEEDLE: That one's out of Jacksonville. There's no billing to the ex, Michael
Giotti, but they did run Cole's criminal history.
HORATIO: This one's bought and paid for by Cole's landlord, Lee Bastille.
SPEEDLE: Checking a tenant's history is not exactly a crime.
HORATIO: Unless you use it to frame them for murder.
CUT TO:
[INT. BASTILLE RESIDENCE - LIVING ROOM - DAY]
(Det. Christian Brunner and Horatio interview Mrs. Bastille.)
DET. CHRISTIAN BRUNNER: Mrs. Bastille, how long have you and your husband owned
the building?
MRS. BASTILLE: Uh, three ... no, four years. But I don't know Mr. Judson very
well.
(Horatio looks at the books on the bookshelf.)
DET. CHRISTIAN BRUNNER: Don't you check into your tenant's histories?
MRS. BASTILLE: Uh, only a credit check. Sometimes Lee will have me call a
reference -- previous landlords.
(Horatio notes the title of the books, "Chemistry: The Study of Matter",
"Organized Crime", " ... evidence & documentation", "-to prescription and Over
the Counter Drugs", "Vol 1 - Bloodstains", etc.)
DET. CHRISTIAN BRUNNER: Do you manage the building with your husband?
MRS. BASTILLE: We do pretty much everything together. Or at least I try.
(Horatio takes out the volume on Bloodstains.)
MRS. BASTILLE: It sometimes drives Lee crazy but you have to hold a marriage
together.
HORATIO: I understand that Mr. Judson did some work for your husband around the
building.
MRS. BASTILLE: That's why Lee would be able to tell you more about him. He
just left, but I could reach him on his cell phone.
HORATIO: That won't be necessary. (He shows her the book on Bloodstains.) You
have a ... a forensics buff in the house.
MRS. BASTILLE: They're Lee's. He can't get enough. I think they're
disgusting. (She realizes whom she's talking to.) No ... no offense.
HORATIO: No. None taken. Could I, um ... could I use your bathroom?
CUT TO:
[INT. BASTILLE RESIDENCE - BATHROOM - DAY -- CONTINUOUS]
(Horatio puts on a latex glove as he walks into the bathroom. He looks around
and notices the pink soap near the bathtub.)
(He picks up the soap, looks at it and smells it.)
(Just then, Mrs. Bastille rounds the corner and finds Horatio in the bathroom
sitting on the edge of the tub with the soap in his hand. The door is wide
open.)
MRS. BASTILLE: Why are you wearing gloves?
HORATIO: This is cardamom soap, Mrs. Bastille. Is this yours?
MRS. BASTILLE: No. Lee brought it home.
HORATIO: Did he do that recently?
MRS. BASTILLE: A few nights ago.
HORATIO: Possibly Wednesday?
(She doesn't answer.)
HORATIO: Did he ask you to use this, Mrs. Bastille?
MRS. BASTILLE: He didn't ask.
(Horatio puts the soap back in the dish and stands up.)
HORATIO: How do you mean?
MRS. BASTILLE: Well ... we've been married almost nine years, and ... I'd
accused Lee of being asleep for eight of them. Then one day he woke up. It
wasn't how I thought it would be.
HORATIO: Is that when the baths started?
MRS. BASTILLE: And every day since.
(Quick flashback to: [BATHROOM] Mrs. Bastille is in the tub. Lee holds her
shoulder down for a moment.)
LEE BASTILLE: Be still. That's better.
(He uses the soap and washes her.)
(End of flashback. Resume to present.)
HORATIO: Okay, Mrs. Bastille, I'm going to level with you. The woman that we
found that was stabbed to death was bathed in cardamom soap by the killer. I
need to know where he was Wednesday night.
MRS. BASTILLE: He was home. We always eat at seven. Later he said he got a
call from a tenant -- some broken pipes.
HORATIO: Okay, what time was that?
MRS. BASTILL: (scared) Uh, a little before nine. I ... didn't hear the phone
ring. He'll be home any minute.
HORATIO: Okay, I don't want you to worry about that right now. Here's what I
want to do: I want to search your apartment, but first I want to get you out of
here for your personal safety. Can I do that?
CUT TO:
[INT. BASTILLE RESIDENCE - BATHROOM - DAY - LATER]
(Horatio picks up the pink bath soap and puts it in an envelope. He puts the
envelope in his kit. He picks up his flashlight and looks around the tub.)
(He finds mold in the grout. He takes a scraping of the mold.)
(Cut to: Horatio opens the cabinet under the sink and looks at the cleaning
supplies. He finds the small tub of Plumber's Putty. He picks it up and looks
inside. In the center of the putty is a print.)
(Horatio stands up with it.)
CUT TO:
[EXT. MIAMI (STOCK) - EVENING]
[INT. CSI - INTERVIEW ROOM - EVENING]
(Horatio and Det. Christian Brunner interview Lee Bastille.)
LEE BASTILLE: I didn't do anything.
HORATIO: Now, the Judsons were in your building less than a month before you
created the plumbing emergency, right?
DET. CHRISTIAN BRUNNER: That both Wendy and Cole Judson confirm you insisted on
fixing with Cole's help.
(Quick flashback to: [BATHROOM] Cole and Lee Bastille work on the bath tub.
Lee holds out the putty and Cole takes a big scoop out with his fingers. Lee
notices the print in the putty and caps it. He puts it aside.)
(End of flashback. Resume to present.)
HORATIO: We found traces of epoxy in the plumber's putty.
(Quick flashback to: [BATHROOM] Lee Bastille makes a mold of the print.)
(End of flashback. Resume to present.)
HORATIO: Nice job on the print, by the way.
(Horatio hands Lee Bastille a report.)
LEE BASTILLE: This is from a botanist.
HORATIO: That's correct. You transferred mold from your bathroom to the
bedspread of the bungalow.
LEE BASTILLE: I don't understand ...
HORATIO: Check your crime books, my friend. Mold has DNA.
LEE BASTILLE: I was at home with my wife having dinner. Ask her. We do the
same thing every night. I mean, we may not look at each other or talk for days,
but we eat together, seven o'clock.
HORATIO: While Susan McCreary lay bound, gagged terrified, but not dead, right?
(Quick flashback to: [MOTEL ROOM] Lee spreads out a plastic sheet. On it,
Susan McCreary is naked, her hands tied and mouth taped.)
HORATIO: (v.o.) You left her waiting while you went home to your wife to set
up an alibi.
(Cut to: [BASTILLE RESIDENCE] Lee and his wife sit at the dinner table
eating.)
HORATIO: (v.o.) Later, after you killed her you dropped her body temperature
so you could roll the clock back.
(Cut to: [MOTEL ROOM] Lee turns the knob on the air conditioner in the room.
He pulls her body off of the plastic sheet and adjusts her hair and head.)
(End of flashback. Resume to present.)
HORATIO: You would have pulled this off without the bloody print had you not
gone too far.
LEE BASTILLE: I liked it.
(Quick flashback to: [MOTEL ROOM] Lee Bastille is standing over Susan
McCreary's dead body. He washes her blood off of her in the bathtub using the
bar of soap.)
(End of flashback. Resume to present.)
HORATIO: I can see that evidenced by the bar of soap that you took home as a
souvenir.
LEE BASTILLE: Wh ... ? You never take soap from hotel rooms? It's not a crime
if you paid for it.
HORATIO: The same doesn't apply to the women you kill though, right?
(He pushes the photo of the dead body across the table at him.)
LEE BASTILLE: (leans forward, eager to make his case) Think about it. What do
we do? Work, sleep, eat the same food, have the same sex and then do it all
over again tomorrow. I felt dead until I felt her life slip through my hands.
(shakes his head) I was curious. I'm not a monster.
HORATIO: To her, you were.
FADE TO:
[EXT. OCEAN (STOCK) - DAY]
(Camera moves low across the ocean.)
DISSOLVE TO:
[EXT. MIAMI SCENIC (STOCK) - DAY]
[EXT. JUDSON RESIDENCE - FRONT - DAY]
(Horatio drives up to the front of the house. Cole Judson gets out of the car.
Standing out in the front are Wendy and her two children. They run up to meet
him.)
(Horatio gets out of the car and watches Cole Judson hug his two children.)
(Wendy hugs him.)
(Satisfied, Horatio watches from the car. Cole Judson turns and waves at
Horatio. Horatio waves back.)
(He leaves.)
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
1X12: ENTRANCE WOUND
ORIGINAL AIR DATE ON CBS: 01/06/2003
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
Created by ANTHONY E. ZUIKER, ANN DONAHUE, CAROL MENDELSOHN
Starring
WANDA DE JESUS as Det. Adell Sevilla
KIRK B.R. WOLLER as Detective Christian Brunner
DB WOODSIDE as Cole Judson
SARAH ALDRICH as Wendy Judson
CAMERON WATSON as Lee Bastille
SAXON TRAINOR as
TIM QUILL as
Music Composed by: GRAEME REVELL
Edited by JOHN REFOUA, A.C.E.
Production Designer: CAROLS BARBOSA
Director of Photography: WALT LLOYD
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: LOIS JOHNSON
Producer: STEVEN MAEDA
Producer: JOE CHAPPELLE
Supervising Producer: MARK ISRAEL
Consulting Producer: ELIZABETH DEVINE
Co-Executive Producer: LAURIE McCARTHY
Co-Executive Producer: DANNY CANNON
Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Written by LAURIE McCARTHY & GWENDOLYN PARKER
Directed by DAVID GROSSMAN
==========================
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
BELINDA WAYMOUTH as Greta Roebling
CARLTON WILBORN as Brian Davidson
XAVIER LYNCH as Malcolm Davidson
PATRICIA FORTE as Grandma
TODD ECKERT as Man
BREE MICHAEL WARNER as Girlfriend
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.
Story Editor: GWENDOLYN PARKER
Unit Production Manager: JEAN HIGGINS
First Assistant Director: KEVIN WILLIAMS
Second Assistant Directors: NANCY P. TOWNSEND
Costume Designer: MYNKA DRAPER
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: DONOVAN DEAR
Script Supervisor: CLAUDIA YARMY
Special Make-Up Effects: MATTHEW W. MUNGLE / CHERI MEDCALF
Art Directors: TIM BEACH
Set Decorator: CINDY COBURN-ROTH
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: GARY D'AMICO
Property Master: MIKE SEXTON
Key Grip: RANDY TAMBLING
Gaffer: JACK S. SCHLOSSER
Key Make-Up Artist: PEGGY TEAGUE
Key Hairstylist: YVONNE DE PATIS-KUPKA
Camera Operator: MICHAEL GENNE
2ND 2ND Assistant Director: ROBYN WILLEY
Location Manager: PHILLIPS "FLIP" WYLLY
Costume Supervisor: BRIAN MAHON
Transportation Coordinator: BOB CAWLEY
2ND Unit: SCOTT LAUTANEN / MICHAEL PHIRMAN
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: EDWARD R. ABROMS
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
Visual Effects Supervisor: LARRY DETWILER / MARC LEIDY
Digital Effects by STARGATE DIGITAL
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) 2003 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:09/26/2004~lky
http://www.webphilia.com/~anthology/wnp.htm