CSI: MIAMI
1X16: EVIDENCE OF THINGS UNSEEN
ORIGINAL AIR DATE ON CBS: 02/17/2003
TRANSCRIBED FROM DVD
Written by DAVID BLACK
Directed by JOE CHAPPELLE
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
==========================
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SUMMARY: The team investigates the death of a man in a peep show booth.
==========================
CSI: MIAMI
1X16: EVIDENCE OF THINGS UNSEEN
==========================
COLD OPEN:
[EXT. VARIOUS MIAMI-DADE CITY LIGHTS (STOCK) -- NIGHT]
[VARIOUS NEON LIGHTS]
[INT. PEEP SHOW CLUB - NIGHT]
(The girls are in the glass booths dancing for the men.)
[SLOT]
(A token is placed in the slot and pushed into the machine. The sliding door
opens to reveal a blonde-haired woman in a thigh-high robe sitting in a lounge
chair.)
(In the booth watching her, is a Russian-looking man.)
You're not going to disappoint me, are you, Ace?
(The woman sits up in the chair and starts to take the robe off. The sliding
door between the woman and the viewer closes.)
(Another token is slipped into the slot and pushed into the machine. The
sliding door opens again.)
(The woman continues to perform for the man. The sliding door closes.)
(Another five dollar token is slipped into the machine. This time, when the
sliding door opens, the glass on the inside of the booth is spattered with
blood.)
(The blonde-haired woman stares at the dead man slumped forward on the glass.)
(She screams.)
CUT TO:
[INT. PEEP SHOW CLUB - BOOTH - NIGHT]
(A camera shutter clicks.)
(Horatio kneels down for a better look.)
[INT. PEEP SHOW CLUB - HALLWAY OUTSIDE BOOTH - NIGHT]
(Det. Frank Tripp walks up to Horatio.)
FRANK TRIPP: No ID on him?
HORATIO: Jeans, t-shirt, K-Mart socks.
FRANK TRIPP: Big spender.
HORATIO: He saved his pennies for the peeps.
(Horatio stands up and finds Speedle snapping photos of the girls in their
robes.)
HORATIO: Speed.
(Speedle turns around.)
HORATIO: (to Frank Tripp) How old do you think the girl is?
(Over on the side, an Officer talks with Amy Cannon, the girl in the glass
booth.)
AMY CANNON: I don't know. I never saw him before this.
(She leans against the wall and flirts with the Officer.)
FRANK TRIPP: Eighteen, maybe nineteen.
(A photo is taken of the girl.)
HORATIO: Just a kid.
(Horatio looks at the punctures in the door.)
HORATIO: So the weapon had to be long enough to penetrate this backdoor to do
damage, right?
(Quick flashback to: [DOOR] Someone with a knife punctures the door three
times. On the other side of the door, the victim slumps over, dead.)
(End of flashback. Resume to present.)
FRANK TRIPP: Yeah. The guy inside the booth must have been pressing against
the wall.
HORATIO: Poised to see paradise.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
[INT. PEEP SHOW VIDEO SHOP -- NIGHT]
(Alexx checks the body.)
ALEXX: Sharp force injuries.
HORATIO: Three knife strikes through the door.
ALEXX: Only two in the body.
HORATIO: That's all he needed I guess. So, what about an ID, Alexx?
(She turns the body over and checks the pockets.)
ALEXX: Nothing out of the ordinary. So far.
(She checks inside his mouth.)
ALEXX: Oof. Bad teeth.
HORATIO: He looks Eastern European to me.
ALEXX: We'll post him in a couple of hours.
(She motions for someone behind her to come to her.)
HORATIO: Okay.
(Horatio stands up.)
(In another part of the store, Calleigh picks up a large hand saw as Seth Davis,
the Video Store Manager, watches.)
SETH DAVIS: You ever seen that video "Sexy Guns, Sexy Girls"? If you go into a
booth with that saw, you don't even have to take your clothes off. You'd make a
fortune in tips.
CALLEIGH: You're standing in my crime scene.
SETH DAVIS: If you take the door, I got to close the booth.
(Horatio joins Calleigh.)
HORATIO: Then close the booth.
SETH DAVIS: Can't blame a guy for trying to make a living.
(The Video Store Manager turns and mutters.)
HORATIO: I hear you. (to Calleigh) So what do we have?
CALLEIGH: Serrated blade, eight inches.
HORATIO: With the strike wider at the top than the bottom.
CALLEIGH: Some sort of hunting knife.
HORATIO: Well, he was hunting. The question becomes how did he know where to
aim? (He looks up and finds a hole higher up in the door.) Wait a second.
What is this?
(He shines his flashlight though the hole.)
[INT. PEEP BOOTH - NIGHT - CONTINUOUS]
(Eric is inside the booth. Through the small hole in the door, he sees the
light shine through.)
(He glances behind, then turns back to work.)
[INT. MAIN VIDEO STORE - NIGHT - CONTINUOUS]
(Horatio puts his flashlight down. He steps forward and looks through the hole
in the door.)
(Through the hole, he sees Eric kneeling down in front of the booth glass.)
[REVERSE ANGLE ON THE HOLE IN THE DOOR]
(We see Horatio's eye.)
[RESUME VIEW]
(Horatio steps back from the door.)
HORATIO: That looks recent, doesn't it?
CALLEIGH: Mm-hmm. I'm taking the door with me.
CUT TO:
[INT. PEEP SHOW BOOTH - NIGHT - CONTINUOUS]
(Eric and Horatio are in the booth. Eric kneels down in front of the glass
taking a swab of the blood spatter.)
(Along side the red blood is the glow of other body fluid spatter. Horatio
stands inside the booth and looks around.)
DELKO: Lot of people have been in this booth.
HORATIO: Everybody but a janitor.
DELKO: Yeah. Hey, check this out.
(Delko takes something off the glass. He stands and shows it to Horatio.)
DELKO: It's a hair. Could be from a million guys.
HORATIO: Yeah, but look how thick it is. And it's needle-pointed. I don't
think that's human.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Alexx removes a similar hair off the head of the dead body. She tucks it in a
bindle. Horatio stands just behind her looking at the body.)
ALEXX: Here's another one. Must have found at least twenty of them. Bet when
you process his clothes, you'll find more.
HORATIO: Who's this guy been hanging out with?
(Alexx removes the head rest.)
ALEXX: Give me a hand, Horatio, please.
HORATIO: Sure.
(They roll the body to its side to look at the knife marks on the back.)
ALEXX: T-shaped injuries.
HORATIO: Which means the killer used a single-edged blade.
(Quick CGI POV to: [SKIN] The knife penetrates the skin leaving a T-shaped
mark.)
(End of CGI POV. Resume to present.)
HORATIO: Any marks on the ribs?
ALEXX: Not the first one. Slipped right between the ribs. Punctured his left
lung.
(Quick CGI POV to: [SKELETON] The skeletal rib cage with heart and lungs
inside, both pulsing.)
ALEXX: (v.o.) Filling the lungs with blood.
(The knife penetrates the lungs.)
(Inside POV of the lungs filling with blood.)
HORATIO: (v.o.) Which he then spewed all over the plexiglas.
(Cut to: [DOOR] The killer jabs the knife through the door and to the victim.)
(Cut to: [VICTIM] The victim is cut and spits out blood that spatters onto the
glass in the booth.)
(Cut to: [DOOR] The killer pulls the knife out from the door.)
(Cut to: [VICTIM] The victim slumps forward onto the glass.)
(Resume to CGI POV of: [SPINAL CORD] (The knife punctures the spinal cord.)
ALEXX: (v.o.) Second stab chipped the fifth vertebrae and severed his spinal
cord.
(End of CGI POV. Resume to present.)
HORATIO: There's your cause of death. Lights out, my friend.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Horatio looks at the red plywood door they removed from the Peep Show Booth.)
(Calleigh turns around and joins Horatio. She hands him photos.)
CALLEIGH: Plywood, two layers. Blade didn't fragment.
HORATIO: Cheap door, good knife.
CALLEIGH: Mm-hmm. I think I've narrowed it down to three.
(He looks through the photos.)
HORATIO: Hmm. Gryphon m35 ... recon ...
CALLEIGH: With a tanto point.
HORATIO: Mm-hmm. And Echelon MPT. Thank you.
(He hands the photos back to Calleigh.)
HORATIO: So ... is he military? Is he SWAT?
CALLEIGH: Well, in any case, it's weapons grade, and whoever owns it, didn't
get it to play mumblety-peg.
HORATIO: Or "I spy." Okay, so ... I'm about six feet tall and that would make
the killer roughly the same height. He would probably place his left hand up
here for support.
CALLEIGH: Making him right-handed.
HORATIO: And then lean in ... to hide what he was doing.
(Quick flash to: [DOOR] The killer braces his left hand near the peep hole in
the door and leans in to conceal what he's doing. He takes out the knife. The
man who exits the other booth steps out into the hallway and zips up his pants.
He walks by the killer who is leaning casually against the door and has his hand
gripping the knife tucked into his jacket.)
(End of flashback. Resume to present.)
HORATIO: Now, people don't make a lot of eye contact in a place like this,
right? So even if he was detected, somebody might just think he was wasted.
CALLEIGH: Well, he definitely knew his way around the place.
HORATIO: There's a reason the Italians call it "little death."
(Quick flashback to: [PEEP SHOW BOOTH] Various flashes of men sitting in the
booth watching the woman in the center.)
(End of flashback. Resume to present.)
HORATIO: So he came and went. Came and went. This a good place to kill
somebody, isn't it?
CUT TO:
[EXT. PEEP SHOW - NIGHT]
(Amy Cannon steps out from the place. She puts a hand to her forehead and looks
up as she smokes her cigarette. She sees Horatio standing next to her.)
AMY CANNON: I'm not working.
HORATIO: I am.
(She looks at him and recognizes him. She nods.)
AMY CANNON: One of the cops.
HORATIO: CSI.
AMY CANNON: Well, you came to the right place. My whole life's a crime scene.
When are you going to arrest whoever's responsible for me having this crappy job
in this crappy town?
HORATIO: Do you, um, work the same shift, the same booth every night?
AMY CANNON: When I can get it. It's in the back, out of the way. Make more
money when you give the guys a little extra.
HORATIO: Well, the guy they took out of here in a body bag got extra, didn't
he?
AMY CANNON: Forgive me if I'm not more surprised, but ... Did you happen to
notice what part of town we're in, Slugger? Oh, and by the way, that guy that
got killed I never saw him before. That's what you were going to ask, right?
HORATIO: Actually, I was going to ask you if you work off the clock.
AMY CANNON: Is that an offer?
HORATIO: I'll take that as a yes. Where you from?
AMY CANNON: Lake Leelanau.
HORATIO: Michigan.
(She looks back at him surprised that he knows the place.)
AMY CANNON: Okay. Only people from home know that and ... I don't make you for
a wolverine.
HORATIO: Well, I spend a lot of time looking at maps.
AMY CANNON: You're a lot more fun than you look, you know? All right, CSI,
what do you want me to say?
HORATIO: How about ... I won't go back.
AMY CANNON: I won't go back.
HORATIO: Then again, you're paid to tell men what they want to hear, right?
AMY CANNON: (nods) That's right.
(She leaves.)
CUT TO:
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[INT. CSI - LAB - DAY]
(Delko and Speedle are looking through their scopes.)
DELKO: We know it's not human.
SPEEDLE: Hey, did you see that tall one?
DELKO: At the peeps?
SPEEDLE: The medulla's fragmented.
[SCOPE VIEW]
(Of the hair.)
DELKO: The index is less than one-third.
SPEEDLE: So, we're talking about a higher primate.
DELKO: Mm-hmm.
SPEEDLE: Hey, did you ever date a stripper?
DELKO: (nods) Nah, I wouldn't call it dating.
(The door opens; Horatio walks into the lab.)
HORATIO: Gentlemen, what did we get?
SPEEDLE: Hairs from the victim.
DELKO: Cortex to medulla ratio tells us it's from an ape. Uh, maybe a chimp,
maybe a gorilla.
HORATIO: Let's assume then that the victim brought the hair to the party.
DELKO: From where he works or lives.
HORATIO: Right, so let's check into zoos, animal shows, circuses, anywhere
where an Eastern European with bad teeth could have access to an ape. All
right?
(Delko nods and looks at Speedle as Horatio leaves the lab.)
CUT TO:
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[EXT. VARIOUS ANIMALS (STOCK) - DAY]
[EXT. MIAMI WILDLIFE PARK - DAY]
(Open on the Miami Wildlife Park sign. Delko tape lifts the clothes of a worker
there.)
DELKO: (in Russian) (subtitled) You work with Chimps?
VADIM SLONIM: (in Russian) (subtitled) I work all over the zoo.
DELKO: (in Russian) (subtitled) With your cousin?
VADIM SLONIM: (in Russian) (subtitled) With that son-of-a-bitch. God rest
his soul.
(Delko points to the scratches on Vadim's forehead.)
DELKO: (in Russian) (subtitled) Where'd you get those?
VADIM SLONIM: (in Russian) (subtitled) Where'd you learn to speak Russian?
(Delko doesn't answer. He glances behind him where Horatio is interviewing
Eduardo Infante. Horatio shows a photo to him to identify.)
EDUARDO INFANTE: That's Victor Ratsch. Night custodian. His, uh, cousin got
him the job. They couldn't stop fighting. I mean, I recommended they fire one
of them, but you know ... who listens to the pr flak?
HORATIO: Hmm. You know what they fought about?
EDUARDO INFANTE: I don't know. I don't speak Russian and Vadim doesn't speak
English.
HORATIO: Did Ratsch speak English?
EDUARDO INFANTE: (nods) Yeah, he was motivated. American women.
HORATIO: Why do you think he went to peep shows then?
EDUARDO INFANTE: I didn't say he had any luck with them.
(Horatio's phone rings. He answers it as the Manager moves away.)
HORATIO: Okay, thank you. Excuse me.
EDUARDO INFANTE: Yeah, sure.
HORATIO: (to phone) Yeah, Horatio. Mm-hmm.
(He turns and walks off screen.)
CUT TO:
[EXT. ROAD - DAY]
(Amy Cannon is dead. Delko snaps photos as Horatio looks down at the body.)
DELKO: Hit-and-run.
HORATIO: She kept her word.
DELKO: What's that?
(He puts on his sunglasses.)
HORATIO: She's not going back.
FADE OUT.
FADE IN.
[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - SUNSET]
[EXT. MIAMI HARBOR (STOCK) - SUNSET]
[EXT. ROAD -- SUNSET]
(Delko walks around the body and notes the scene. Speedle snaps photos of the
body as Alexx examines it.)
ALEXX: Both legs are broken.
(Quick flashback to: [NIGHT] A car zooms toward Amy as she crosses the road.
It hits her square. End of flashback. Resume to present.)
(Alexx feels the back of Amy's head.)
ALEXX: Massive head trauma. And unless she was a diabetic ...
(She checks Amy's inner arm.)
HORATIO: Track marks. All the way from Michigan.
ALEXX: Like most vehicles versus peds, she was flipped by the car. Impact with
the pavement killed her.
(Quick flashback to: [NIGHT] Amy is hit by the car. She flips over and hits
the pavement hard. End of flashback. Resume to present.)
HORATIO: Okay, but if she was flipped by the vehicle, there would be evidence
all over the vehicle, wouldn't there?
(Alex checks Amy's leg.)
ALEXX: Imprint on her calf.
HORATIO: Could be electropark.
ALEXX: Parking by Braille. Beep, beep.
HORATIO: Right. So we're looking for a late model, high-end vehicle. Is that
a shard of glass, Alexx?
(Alexx removes a piece of glass from the body's leg. She holds it up for
Horatio to look at.)
HORATIO: Can't be safety glass.
SPEEDLE: Could be from the headlight. I'll take that.
(Speedle holds out a bindle for Alexx to put the glass into.)
HORATIO: You get anything, Eric?
(Delko is walking back to the group.)
DELKO: No skid marks. Nothing.
SPEEDLE: Side of the road, she's all in black. Seventy percent of all drivers
on the road after 2:00 A.M. are over the legal limit. Could be just an
accident.
HORATIO: Guess that's possible.
DELKO: Well, we find the car, we'll ask the owner.
HORATIO: Mm, you do that. I'm going to find out who she danced for last night.
Thank you, Alexx.
(Alexx continues to work on the body as Horatio leaves.)
CUT TO:
[EXT. PEEP SHOW - PARKING LOT - NIGHT]
(Frank Tripp and Horatio interview Seth Davis.)
SETH DAVIS: It's not like we take roll call here. Guys come here to be
invisible. If I looked, if I asked questions, I'd be out of business.
DET. FRANK TRIPP: Key to any business is return customers. What about them?
SETH DAVIS: I notice them even less.
HORATIO: So nobody stands out?
SETH DAVIS: You might want to check out her husband. He's a real prize. How
do you spell, uh, pimp? Rick Breck.
HORATIO: Thank you.
CUT TO:
[EXT. HARBOR - DAY]
(Horatio walks onto the pier to meet Det. Frank Tripp.)
DET. FRANK TRIPP: (points) Casa del Breck. Married less than a year.
HORATIO: All righty. Still on the honeymoon.
CUT TO:
[INT. CASA DEL BRECK - DAY - CONTINUOUS]
(Det. Frank Tripp and Horatio interview Rick Breck.)
DET. FRANK TRIPP: You and Amy have a car?
RICK BRECK: We've been looking. She likes to walk home. Liked the fresh air.
DET. FRANK TRIPP: When she didn't show you weren't worried?
RICK BRECK: She comes, she goes ... she always calls.
DET. FRANK TRIPP: How about last night? She call you?
RICK BRECK: Yeah, but I wasn't here. She left a message.
DET. FRANK TRIPP: Can I hear it?
RICK BRECK: I erased it.
DET. FRANK TRIPP: Remember what she said?
RICK BRECK: The usual.
(Horatio leans in to examine the answering machine.)
HORATIO: Then you won't mind if I take the answering machine with me.
(Rick Breck nods.)
RICK BRECK: There's nothing on it. Sure.
HORATIO: Okay. I have one more question for you. Do you have a life insurance
policy out on your wife?
RICK BRECK: Are you kidding? I don't even have health insurance.
(Horatio nods.)
CUT TO:
[EXT. PIER - DAY - CONTINUOUS]
(Horatio and Det. Frank Tripp leave the boat and walk along the pier.)
HORATIO: We should get a warrant.
DET. FRANK TRIPP: On what grounds?
HORATIO: On grounds that this is a murder investigation.
DET. FRANK TRIPP: It's a hit-and-run.
HORATIO: He is obviously lying.
DET. FRANK TRIPP: His lips were moving, of course he's lying.
HORATIO: You see, I think if we can connect these two cases we have a shot at
probable cause.
DET. FRANK TRIPP: The probable cause is she's a stripper, she's a junkie and
she's a whore.
HORATIO: She's also a human being ...
DET. FRANK TRIPP: And now she's a corpse. And by god, don't you ever step on
my investigation again.
(Det. Frank Tripp walks away from Horatio who lingers and looks back at the
house boat.)
CUT TO:
[INT. CSI - LAB - DAY]
(Speedle reports to Horatio.)
SPEEDLE: Glass shard was from a Mercedes Benz, S Series. From this millennium,
but as far as that goes, it's a dead end.
HORATIO: Okay. What else you got?
SPEEDLE: Well, I'm working on this tape from the answering machine. I know one
thing the husband wasn't lying about: Amy's message was erased. I recovered it
using high-tech microscopy. Bottom line, tape has memory.
HORATIO: Certainly more than Mr. Breck. Let's hear it.
(Speedle plays the recording.)
AMY CANNON: (from tape) Hey, Rick, I'm on my way. Did you get the stuff you
promised you'd pick up?
(He stops the recording.)
SPEEDLE: See, here's where we lose Amy, but if you scrub out the music ...
(He replays a clearer version of the recording.)
AMY CANNON: (from tape) Hey, Rick, I'm on my way. Did you get the stuff you
promised you'd pick up?
HORATIO: Judging by the condition of her arm, she's definitely talking about
drugs.
SPEEDLE: And they say husbands don't do anything around the house. Okay, here
we go.
AMY CANNON: (from tape) After tonight, I could really use some. Ace, hi.
(In the background, they hear sirens.)
AMY CANNON: (from tape) Don't start without me, okay?
HORATIO: Okay, now, hold on a second. Let's play it again. Let's lift the
background and the siren.
AMY CANNON: (from tape) Hey, Rick, I'm on my way. Did you get the stuff you
promised you'd pick up? After tonight, I could really use some.
MAN ("ACE"): (from tape) Hey.
SPEEDLE: Do we know "hey"?
HORATIO: Keep going.
AMY CANNON: (from tape) Ace, hi.
ACE: (from tape) We got a deal.
(There's a click.)
AMY CANNON: (from tape) Don't start without me, okay?
(The message ends.)
SPEEDLE: What kind of deal?
HORATIO: Let's go talk to Houseboat Rick, find out who Ace is and what kind of
a deal Amy had going.
SPEEDLE: Okay, but what makes you think he's going to be more cooperative this
time?
HORATIO: An old drug charge I just dug up on him won't hurt. Let's go.
(Horatio turns and leaves.)
CUT TO:
[EXT. PIER -- EVENING]
(Speedle and Horatio stand on the edge of the pier looking down at Rick Breck's
dead body floating in the water.)
SPEEDLE: Another accident?
HORATIO: Let's call it in.
(Speedle turns and walks down the pier.)
FADE OUT.
FADE IN.
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[EXT. MIAMI-DADE BOARD HARBOR (STOCK) - DAY]
[EXT. PIER -- DAY]
(Rick Breck's dead body is placed on the boat. Delko, in his dive suit, kneels
next to the body.)
DELKO: Fresh kill. Barely waterlogged.
(Alexx checks the body.)
HORATIO: Any scratches or defensive wounds, Alexx?
ALEXX: Not cursorily, no. Foam around the mouth and nostrils. Earmarks of a
drowning.
(Det. Frank Tripp stands next to Horatio on the small pier.)
HORATIO: I'd like to see what's in his lungs.
ALEXX: I'll find you.
HORATIO: Okay. (thinking) The husband's dead, the wife is dead ...
DET. FRANK TRIPP: Russian's dead.
HORATIO: Yes, let's go talk to the other Russian, the cousin, before he chokes
on a twizzler.
(Horatio turns to leave. Annoyed, Det. Frank Tripp watches him go.)
HORATIO: Thank you, Alexx.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Horatio and Delko interview Vladim Slonim, the cousin. Delko translates.)
HORATIO: Tell him that I can see by the scratches on his face that he's been in
a recent altercation.
DELKO: (in Russian) (unsubtitled)
VADIM SLONIM: (in Russian) (unsubtitled)
DELKO: A lion, a tiger ... he says he doesn't remember.
HORATIO: Okay. Now tell him that if I check under his fingernails, and I can
match it to his dead cousin, I'm going to arrest him for murder.
DELKO: (in Russian) (unsubtitled)
VADIM SLONIM: (in Russian) (unsubtitled)
DELKO: He says he doesn't have to talk to you.
HORATIO: All right. Vadim, Mr. Infante at the zoo says you don't speak
English, is that true?
(Vadim looks at Delko.)
VADIM SLONIM: (in Russian) (unsubtitled)
(Horatio leans forward.)
HORATIO: Vadim, you've been in the country for a long time, so cut the crap and
answer my questions.
VADIM SLONIM: I haven't seen my cousin in two days.
HORATIO: You two fight about the girl at the peep show?
VADIM SLONIM: Peep show, Victor never goes to peep show.
HORATIO: How about you?
VADIM SLONIM: I don't have to pay money for women. At peep show, lap dance,
you spend $5.00, another $5.00. $20 here, $20 there. By end of night, you
could have banged a hooker. Hold a real woman in your arms instead of some
picture in your head. He knows what I'm talking about.
HORATIO: How'd you get the scratches on your face? A big cat?
VADIM SLONIM: Victor stuck me with work ever since he come here.
HORATIO: So you two fought.
VADIM SLONIM: Always fight. I can't report him, he's my cousin. But then it
gets worse. So I say to him, "no more." It doesn't matter, he wants more. So,
two nights ago, he can't feed the lions. He wants me to feed the lions, so I
say to him, "You know, the lions, they scare me. I'll do anything else." But
no, that night he has to go. So I just lost it.
(Quick flashback to: The two men are fighting. End of flashback. Resume to
present.)
HORATIO: Where did he go that he couldn't feed the lions?
VADIM SLONIM: He only says to me it's business. Big business, big man. All he
has to do is look mean.
(Quick flashback to: Victor Ratsch walks around looking big and mean. End of
flashback. Resume to present.)
VADIM SLONIM: Which, you know, for Victor is not that difficult. He says I
feed the lions, he cut me in. But I know my cousin. He give me $5.00, he's
making $500. Plus, it's probably not legal.
HORATIO: To scare who, Vadim?
VADIM SLONIM: Yeah, that ... I don't know that in any language.
(Horatio leans back in the chair.)
CUT TO:
[INT. CSI - HALLWAY]
(Horatio and Alexx walk through the hallway.)
HORATIO: So you finished the post?
ALEXX: There was water in his lungs.
HORATIO: Okay, let's see what Speed says.
(He turns and opens the lab door. They walk inside.)
[INT. CSI - LAB - CONTINUOUS]
(Speedle looks up.)
HORATIO: Speed?
SPEEDLE: It's not salt water.
ALEXX: He didn't drown in the marina.
HORATIO: So somebody drowned him somewhere else and dumped him in the marina.
SPEEDLE: Well, it's not city water, either. There's no trace of the fluoride.
But I did find something to keep us honest.
HORATIO: Go ahead.
SPEEDLE: Pine freshener and formaldehyde.
HORATIO: Like on a boat.
CUT TO:
[EXT. MARINA - CASA DEL BRECK - DAY]
(Horatio sits in the middle of the houseboat.)
(In the bathroom, Delko is taking a sample of the water from the toilet.)
(In the kitchen area, Calleigh tape lifts something off one of the table
chairs.)
(In the bathroom, Delko stands up and walks the sample out.)
DELKO: I'll get this over to trace.
HORATIO: Okay. So Rick had a visitor after we left.
(Quick flashback to: [HOUSEBOAT] Rick is on the bed when someone grabs him
from behind.)
HORATIO: (v.o.) Somebody rousted him ...
(Rick is struggling against the person who drags him down the hallway to the
bathroom.)
HORATIO: (v.o.) ...dragged him down to the bathroom ...
(The person drowns him in the toilet.)
HORATIO: (v.o.) ... gave him a plumbing lesson.
(Rick opens his mouth. Camera zooms into his mouth with the water.)
(Quick CGI POV of: The water travels through his throat and into his lungs.)
(End of CGI POV. Resume to present.)
DELKO: If he wasn't already dead, my money would be on Victor.
HORATIO: Victor's cousin said that Victor was leaning on people, right? And
that he worked for a big man.
CALLEIGH: King Kong. You know, back in Louisiana we used to keep our animals
out of the bedroom. I've got more ape hair, and I just started lifting.
HORATIO: So Victor was here. And maybe he was leaning on the happy couple.
DELKO: Why would he be doing that?
HORATIO: I don't know. Let's figure it out.
CUT TO:
[EXT. MARINA - PIER - DAY]
CALLEIGH: (v.o.) There's no sign of struggle here.
[INT. MARINA - CASA DEL BRECK - DAY]
(Horatio picks up the framed photo of the happy couple from the shelf.)
HORATIO: Eighteen with a husband and a houseboat in the marina.
CALLEIGH: She probably thought she was in paradise.
(Calleigh picks up a camera on the table and looks at the digital pictures
inside.)
HORATIO: Things tend to look better from a distance, don't they?
CALLEIGH: Except here. Up close and couldn't be more personal.
(Delko stops and stands up to look at the camera pictures with Calleigh and
Horatio.)
(The photos are of the happy couple having sex.)
DELKO: How come everybody has naked pictures? Especially dopers.
CALLEIGH: All these angles, in sequence ... they used a photographer.
HORATIO: Let's print this camera and let's find out who took these pictures.
(Calleigh turns to leave.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Speedle is working on the tape.)
AMY CANNON: (from tape) Don't start without me, okay?
(Speedle clicks the mouse and replays the recording.)
AMY CANNON: (from tape) Don't start without me, okay?
(Speedle clicks the mouse and replays the recording.)
AMY CANNON: (from tape) Don't start without me, okay?
(Speedle clicks the mouse and replays the recording.)
AMY CANNON: (from tape) Don't start without me, okay?
(Speedle clicks the mouse and replays the recording.)
(Laura walks up to the lab door.)
LAURA: Speed, you all right?
(He looks up.)
SPEEDLE: Yeah, why?
LAURA: I went up front to get my messages, and trace is ankle deep in spectras.
What the hell are you running?
SPEEDLE: It's on the, uh, auto sampler. I'm running the gamut.
LAURA: Well, dear, it's an OSHA claim waiting to happen. You better get in
there.
(Speedle gets up and leaves the lab. He heads out into the hallway and heads
for trace.)
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(Speedle rushes into the trace lab and finds the sheets of paper all over the
floor. He kneels down and gathers them up. He picks up one of the sheets and
looks at it.)
SPEEDLE: Reservatrol?
CUT TO:
[INT. MARINA - CASA DEL BRECK - DAY]
(Horatio, Calleigh and Delko are still going over the houseboat. Horatio kneels
down next to something he sees in the carpet.)
HORATIO: Take a look at these.
(Calleigh turns around to look.)
CALLEIGH: These carpet impressions are interesting.
HORATIO: Mm-hmm.
(He picks up the dining room chair and places it on the impressions. They fit
perfectly.)
HORATIO: Best seat in the house. Front and center ... there's the stage.
Curtain up.
(Quick flashback to: While the couple are on the bed having sex, the observer
sits in the chair holding the camera between his legs. End of flashback.
Resume to present.)
HORATIO: All right. So, we process the floor between the chair and the bed,
particular attention to the biologicals.
CALLEIGH: I'm on it.
(Delko pulls something down from the ceiling. He opens it up and it's a large-
handled knife.)
DELKO: Hey, you guys, I've got something. The panel wasn't on right, so I just
... popped it open.
CALLEIGH: That's an Echelon MPT. I've only seen those at gun shows.
HORATIO: It fits the one they used on the Russian, too.
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Laura reports the findings to Delko.)
LAURA: Blood on the knife. Compared it to your DB from the peep show ... one
and the same, Victor Ratsch. Congratulations. You found your murder weapon.
DELKO: Great. Question is, who handled it? Obvious answer's the owner of the
houseboat, but someone could've planted it.
LAURA: Well, sorry, can't help you with that. Strictly DNA.
(She puts the knife back into the envelope and hands it to Delko.)
LAURA: All yours.
DELKO: Thanks.
CUT TO:
[INT. CSI - PRINT LAB - DAY]
(Delko fumes the knife.)
[INT. CSI - MORGUE - DAY]
(Delko pulls out the body of Rick Breck from the cabinet. He takes a finger
print sample.)
[INT. CSI - PRINT LAB - DAY]
(Delko removes the knife from the fumer. He squeezes Rhodamine onto the knife
handle.)
(Cut to: He checks the knife under the ALS.)
(Cut to: He visually compares the print on the knife to the print from the
deceased. He smiles.)
DELKO: Gotcha.
(Quick flashback to: [DOOR] Rick Breck uses the knife through the door as he
looks through the peephole.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio and Delko stand in front of the door from the peep show booth.)
HORATIO: So, Rick used the knife ...
(Quick flashback to: Rick Breck uses the knife to carve out the hole in the
door.)
HORATIO: (v.o.) ... to dig a spy hole.
(He leans forward and looks through the hole.)
HORATIO: (v.o.) He estimated Victor's body placement ...
(End of flashback. Resume to present.)
HORATIO: ... and then watched Amy wind up Victor.
(Quick flashback to: Rick's eye as he looks through the peep hole in the door.
He sees Amy in the booth.)
(Inside the booth, Victor sits back against the door.)
HORATIO: (v.o.) He braced himself against the back of the booth
(End of flashback. Resume to present.)
HORATIO: ... as Rick moved in for the kill.
(Quick flashback to: Rick stabs the knife through the door. It goes clear
through to Victor. He stabs a second and a third time. Victor spits out blood.
Rick finishes. Victor slumps forward into the glass.)
(End of flashback. Resume to present.)
HORATIO: So, we know who killed Victor, and why.
DELKO: Question is, who killed Amy and Rick?
CUT TO:
[INT. CSI - HALLWAY / A/V LAB - DAY]
(Horatio heads for the AV lab where Speedle is back to working on the tape.)
HORATIO: Speed, did we get a report on the car glass yet?
SPEEDLE: I got more off this answering machine. There's this weird sound.
HORATIO: Okay, listen to me. We need to process the residue on the headlight.
SPEEDLE: Yeah, I got those spectras, but you got to hear this.
(Speedle starts the recording.)
AMY CANNON: (from tape) Ace, hi.
ACE: We've got a deal.
(Clicking sounds from tape.)
HORATIO: What are those clicks?
SPEEDLE: That's what I'm saying.
(He replays the recording.)
AMY CANNON: (from tape) Ace, hi.
ACE: We've got a deal.
(Clicking sounds from tape.)
SPEEDLE: Click, click-- is that metal?
(Clicking sounds from tape.)
(Clicking sounds from tape.)
(Clicking sounds from tape.)
HORATIO: I don't know. It sounds like the technology is recording it, and then
transforming it into something else.
SPEEDLE: Well, I got something here more conclusive. Residue from the glass
shard from the headlamp. (He reads the results.) Reservatrol, peanut shell,
hayweed, just for starters.
HORATIO: Clarify, please.
SPEEDLE: Dung.
HORATIO: Can you be more specific?
SPEEDLE: Elephant dung.
HORATIO: Elephant dung ... okay. On those Mercedes, let's cross-reference those
parking permits at the zoo, okay?
SPEEDLE: Okay.
(Horatio leaves.)
CUT TO:
[EXT. MIAMI WILDLIFE PARK - DAY]
(Eduardo Infante is walking along the sidewalk while on the phone.)
EDUARDO INFANTE: (to phone) Oh, god, yeah, yeah, yeah. Wait, I gotta go. Bye.
(He hangs up when he comes to Det. Frank Tripp and Horatio. Det. Frank Tripp
shows him his badge.)
DET. FRANK TRIPP: Mr. Infante? We'd like to ask you a few questions.
EDUARDO INFANTE: Yes, did you make any progress in Victor's death?
HORATIO: We're actually here to talk about your car.
EDUARDO INFANTE: Oh, you found it? Tell me it's not stripped.
HORATIO: So, it's still missing?
EDUARDO INFANTE: Yeah. I contacted police about it two days ago.
HORATIO: Two days ago? The night that Amy Cannon was killed.
DET. FRANK TRIPP: In a hit-and-run.
EDUARDO INFANTE: Who?
HORATIO: Amy Cannon is the peep-show dancer that was with Victor Ratsch the day
that he was killed.
(Eduardo Infante's cell phone rings. He answers it.)
EDUARDO INFANTE: Just a sec. (to phone) Hello. Yeah? Yeah, just a sec. I
... yeah, yeah. No, I'm right ...
(Horatio reaches out and takes the phone from Eduardo.)
EDUARDO INFANTE: Hey!
(He turns the phone off.)
EDUARDO INFANTE: Hey, that's a very important call.
HORATIO: This is a murder investigation.
EDUARDO INFANTE: Yes, I'm aware of that. Is there anything else I can do for
you?
HORATIO: I'll let you know.
(He grabs the phone back on his way past Horatio.)
EDUARDO INFANTE: Thank you.
(Horatio turns around to watch him go.)
HORATIO: Don't go far.
FADE OUT.
FADE IN.
[EXT. VARIOUS MIAMI-DADE CITY (STOCK) - DAY]
[INT. CSI - HALLWAY - DAY]
(Calleigh and Horatio are walking through the hallway.)
CALLEIGH: So, I checked for semen. Quite a job-- sheets, towels, comforters,
bedside lampshade. Multiple donors, including the husband.
HORATIO: What about the carpet?
CALLEIGH: Well, here's the best part -- only one donor, not the husband.
HORATIO: Not surprising.
CALLEIGH: And the volume was more than the average ejaculate.
HORATIO: So, a repeat visitor.
CALLEIGH: Who had a favorite spot beside the chair. I don't know, I guess he
was stuck in a rut.
HORATIO: So what do we know?
CALLEIGH: That Amy had a side job. My guess is, she trolled for 'em at the
peep and reeled them into the houseboat.
HORATIO: Which is where the husband joined the show. Okay, let's get a
photograph of Infante into the six-pack. You and Tripp go back to the peep, and
show it around.
CALLEIGH: Out of one zoo and into another.
HORATIO: You got it.
(Calleigh heads into the lab while Horatio continues down the hallway.)
CUT TO:
[VARIOUS PEEP SHOW GIRLS]
[INT. PEEP SHOW - NIGHT]
(Calleigh and Det. Frank Tripp show the photo to the Video Shore Manager.)
DET. FRANK TRIPP: Recognize any of these guys? Just point.
SETH DAVIS: He comes here.
(He points to #5, Eduardo Infante.)
CUT TO:
[INT. CSI - A/V LAB - NIGHT]
(Speedle is still at work on the tape.)
AMY CANNON: (from tape) After tonight, I could really use some.
ACE: (from tape) Hey.
AMY CANNON: (from tape) Ace, hi.
ACE: (from tape) We've got a deal.
(There's a double clicking sound from the tape.)
(Speedle stops the recording.)
SPEEDLE: It's got to be from inside the car, right?
DELKO: Maybe she's popping her gum?
SPEEDLE: No, it's not sharp enough. It's muffled.
DELKO: Play it again.
AMY CANNON: (from tape) Ace, hi.
ACE: (from tape) We've got a deal.
(There's a double clicking sound from the tape.)
DELKO: Maybe she's putting something in her purse.
SPEEDLE: H said she had a backpack.
(Horatio stands out in the hallway and taps on the glass. Both Speedle and
Delko head outside to see what he's got.)
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
SPEEDLE: What's up?
HORATIO: Affirmative on the I.D.
SPEEDLE: Infante was a regular at the peeps?
HORATIO: He was a semi-regular, but when he was there ...
DELKO: He did it with Amy. Little lie, big lie -- he knew her.
HORATIO: So, if we can match his DNA to what we get off the carpet of the
houseboat, we can determine how well.
SPEEDLE: Okay, but how are we going to get a DNA reference?
DELKO: He'll never give it to us.
HORATIO: We don't have to. His brand-new car will have a theft-deterrent
device on it, won't it?
SPEEDLE: That's right.
DELKO: Report your car stolen, company activates the transmitter hidden in the
vehicle.
(Speedle nods.)
CUT TO:
[INT. POLICE DEPARTMENT - DESK - NIGHT]
(Delko leans over the desk to talk with the officer.)
DELKO: Owner reported the car missing two days ago.
OFFICER: Yeah, him and a thousand other owners. We finally got a radio car in
the city.
(The officer activates the computer and a red blinking light appears. It
focuses in and beeps again. It enhances more and beeps again.)
OFFICER: Hey, Sam 15's rolling now.
CUT TO:
[EXT. - JUNKYARD -- DAY]
(Camera pans slowly along the line of cars.)
(The camera zooms in through a particular Mercedes and the security box light
under the steering wheel starts blinking red.)
[EXT. ROADWAY / JUNKYARD - DAY]
(A couple of police cars and a CSI vehicle drives down the road through the
junkyard.)
(They stop near the Mercedes.)
(The camera holds on the broken headlight.)
(Horatio exits his vehicle.)
HORATIO: (to the officer) Good morning.
(On the other side of the vehicle, Delko gets out carrying his kit. He puts his
gloves on as they both head for the car.)
HORATIO: Technology.
DELKO: You got to love it when the good guys win.
HORATIO: Mm-hmm.
(Horatio and Delko round the front of the car.)
HORATIO: Wait a minute. Cracked headlamp. Isolated impact.
(Delko continues on around the hood.)
DELKO: Got blood smears.
HORATIO: All right. So, we got the car. Let's get the DNA.
(Horatio takes out some gloves. He opens the driver's door.)
HORATIO: Unlocked. Typical.
DELKO: If we're looking for DNA to match the carpet, steering wheel's our best
bet. Epithelial rich. Best place to prove who was the last driver.
HORATIO: This car's been reported stolen, so we have to anticipate a mixture of
DNA, right?
DELKO: Infante's and the car thief's. H, I thought you made him for a liar on
this.
HORATIO: Infante is a liar. I just don't know what the lie is yet.
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Laura's looking through a scope while Delko waits.)
LAURA: You want to take notes?
(He turns and looks at her.)
LAURA: Well, you're watching me like you want a DNA lesson.
(He chuckles.)
DELKO: No, I was, uh, just admiring your ... technique.
LAURA: Oh. I got mad technique. You got no idea.
(He chuckles. The printer prints out the results. Laura grabs it and looks at
it.)
LAURA: Primary donor on the steering wheel matches the carpet.
DELKO: Yeah, that's the registered owner of the car, Infante.
LAURA: Minor donor's unknown.
DELKO: Mixture.
LAURA: Well, get it in CODIS, hope for a hit.
DELKO: Sounds good.
(Laura returns to her scope while Delko leaves the lab.)
CUT TO:
[EXT. MIAMI WILDLIFE PARK - DAY]
(Det. Frank Tripp and Horatio question Eduardo Infante while he looks through a
file with photos.)
DET. FRANK TRIPP: Mr. Infante, how many private peeps did you, uh, get from
Amy?
EDUARDO INFANTE: Define private.
HORATIO: Not at her place of employment.
EDUARDO INFANTE: None. Look it, if I'm guilty of anything it's being a loyal
customer. I liked Amy. I liked what she did for me. I liked how she made me
feel.
DET. FRANK TRIPP: At Show Land?
EDUARDO INFANTE: Yeah.
HORATIO: Just at Show Land? Mr. Infante, we can confirm your DNA in her
bedroom on multiple occasions.
EDUARDO INFANTE: Okay ... so what? Yeah, I was there. Consenting adults --
nothing illegal.
HORATIO: All right. Let me tell you how I think it went. It started at Show
Land ...
(Quick flashback to: Amy is on the stage; Eduardo is in the booth.)
AMY CANNON: First time?
EDUARDO INFANTE: I'll try anything once.
(She starts the show. The slide goes down.)
(End of flashback. Resume to present.)
HORATIO: You couldn't get enough. Once you had a taste of Amy, she had her
hooks in you.
(Quick flashback to: [SHOWLAND] Amy propositions Eduardo.)
AMY CANNON: We can go someplace more private. No tokens. No glass. No
limitations.
(Cut to: [THE BOAT] Amy has a private showing for Eduardo. He takes her
picture as she performs for him.)
(Rick Breck joins Amy on bed.)
(End of flashback. Resume to present.)
EDUARDO INFANTE: You can't possibly be here because I watched two people having
sex in the privacy of their own room.
DET. FRANK TRIPP: No, no, no. We like you for their murder.
EDUARDO INFANTE: Whoa, whoa, whoa.
HORATIO: We know you hired Victor.
(Quick flashback to: Eduardo meets with Victor to pay him off.)
EDUARDO INFANTE: And a thousand.
VICTOR RATSCH: I love Americans -- they pay up front.
(End of flashback. Resume to present.)
HORATIO: You hired Victor to muscle them.
EDUARDO INFANTE: They were blackmailing me.
DET. FRANK TRIPP: And you didn't want your palm beach donors to get wind of
what you were doing with these consenting adults?
EDUARDO INFANTE: That's right. I thought it would be an embarrassment, and
frankly, I didn't think it was going to stop at one payment.
DET. FRANK TRIPP: So when they killed your guy, you stepped in and did the job
yourself.
HORATIO: A little hit-and-run, a little drowning ...
EDUARDO INFANTE: No! I told you, my car was stolen. I didn't kill anybody.
Guys we're talking about 50, 60,000 bucks. I don't think they were serious. I
can earn that with a private viewing with one of the gorillas.
(Eduardo Infante stands up and leaves.)
DET. FRANK TRIPP: We can close this one out.
HORATIO: I think we need to take a beat.
DET. FRANK TRIPP: We've got motive... opportunity. We have a very expensive
four-wheel weapon. Have you got a better idea?
HORATIO: I think I do.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Horatio walks up to Delko.)
HORATIO: Eric? You get the minor donor?
DELKO: Hot off the press, boss. We got a hit off the steering wheel.
Convicted felon.
(Delko hands Horatioa the file.)
HORATIO: Who is it?
DELKO: Practically family.
HORATIO: (looking at the file) Hello, Ace. Nice going.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Seth Davis waits in the interview room. Horatio walks into the room.)
HORATIO: Have a seat, Mr. Davis.
SETH DAVIS: I'll stand.
HORATIO: I think you're going to want to sit for this one. Lewd and lascivious
conduct, pandering, grand theft auto, and now murder.
SETH DAVIS: Right, a guy gets murdered at my shop, you want to pin it on me?
HORATIO: Ironically, that's the one we're not going to hang on you. You
murdered Amy and Rick Breck.
SETH DAVIS: Why would I bite the hand that feeds me? Amy was a great earner.
Nineteen-- looks fifteen. I couldn't keep 'em away ... with that, uh, farm girl
act. I had guys lining up.
HORATIO: Outside your booth? Or in their houseboat?
SETH DAVIS: All the girls chippee on the side. It's part of the business.
HORATIO: Yes, it is, but you see, Rick and Amy were making some real money off
a blackmailing scheme and not cutting you in, were they? Mr. Davis, your DNA
places you behind the wheel of a car that killed Amy.
(Quick flashback to: [NIGHT] Amy is walking on the side of the road and
talking on the phone.)
AMY CANNON: (to phone) Hey, Rick, I'm on my way. Did you get the stuff you
promised you'd pick up? After tonight, I could really use some.
(Seth Davis pulls up alongside Amy.)
SETH DAVIS: Hey.
AMY CANNON: Ace, hi.
SETH DAVIS: (to Amy) We got a deal.
AMY CANNON: (to phone) Don't start without me, okay?
(She hangs up.)
SETH DAVIS: Why don't you get in the car.
AMY CANNON: Alone? Are you crazy? Meet me and Rick in the houseboat.
(She turns and walks down the road in front of the car. Seth considers it a
moment, then guns the gas on the car and rams Amy with the Mercedes.)
(End of flashback. Resume to present.)
HORATIO: And I can assure you ... That DNA doesn't lie.
(Seth Davis adjusts his jaw and it clicks. Horatio catches the sound and looks
at Seth.)
(Quick flashback to: [NIGHT] On Seth Davis.)
SETH DAVIS: We got a deal.
(He adjusts his jaw and it clicks.)
(End of flashback. Resume to present.)
(Seth Davis stands up.)
SETH DAVIS: What? (He chuckles nervously.) The zoo guy's, uh, car? The kink
lent it to me so I'd look the other way while he was off perving with Amy and
her husband. Then what? He, uh ... he calls it in stolen. It sounds to me
like, uh, insurance fraud.
(He adjusts his jaw and it clicks.)
HORATIO: Sounds like something else to me. Sit down.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Speedle and Horatio listen to the recording of the clicks.)
SPEEDLE: The guy has TMJ. Cracks his jaw.
HORATIO: That's a nervous habit.
(The clicking continues.)
SPEEDLE: How'd you get him on this, though?
HORATIO: I had him give me a taped statement about how he didn't kill anybody.
SPEEDLE: And he got nervous.
HORATIO: Very.
CUT TO:
[EXT. VARIOUS MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
[INT. SHOWLAND PEEP SHOW - NIGHT]
(The sliding door goes up. Horatio is standing in the booth.)
STRIPPER: What can I do for you, slugger?
LYRICS:
What you gonna do when you just found forever? / Where you gonna get to when
you can't get it together? / Forever and a day / a fly gets caught upon a
spider's web / the snake still has another skin to shed ...
(Horatio hands her several hundred dollars in cash. He takes a step back.)
STRIPPER: Well, what do you want for this?
(He chuckles softly.)
HORATIO: I want you to take the day off.
STRIPPER: Yeah? What about tomorrow?
HORATIO: Tomorrow is what you make of it.
(The sliding door closes.)
CUT TO:
[INT. SHOWLAND PEEP SHOW - HALLWAY - NIGHT - CONTINUOUS]
(Horatio steps out into the hallway and sees the girls lined up along the
walls.)
LYRICS:
Forever and a day / the truth be told / you're more than stones and rings of
gold
(Horatio walks to the end of the hallway and stops in front of the exit. He
pauses and looks back at the girls for a moment. A sad sight.)
(He puts his dark glasses on.)
LYRICS:
you can't be bought or sold / what you gonna do when you just found forever? /
Where you gonna get to when you get it together?
(He leaves.)
LYRICS:
each and every day.
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
1X16: EVIDENCE OF THINGS UNSEEN
ORIGINAL AIR DATE ON CBS: 02/17/2003
TRANSCRIBED FROM DVD
Starring:
DAVID CARUSO as Horatio Caine
EMILY PROCTER as Calleigh Duquesne
ADAM RODRIGUEZ as Eric Delko
KHANDI ALEXANDER as Alexx Woods
and
RORY COCHRANE as Tim Speedle
Created by ANTHONY E. ZUIKER, ANN DONAHUE, CAROL MENDELSOHN
Starring
REX LINN as Det. Frank Tripp
TOMAS ARANA as Seth Davis
SALLI RICHARDSON WHITFIELD as Laura
DAVID SUTCLIFFE as Rick Breck
SHELBY FENNER as Amy Cannon
BORIS KRUTONOG as Vadim Slonim
J.C. MacKENZIE as Eduardo Infante
Music Composed by: GRAEME REVELL
Edited by MARK C. BALDWIN
Production Designer: CAROLS BARBOSA
Director of Photography: WALT LLOYD
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: LOIS JOHNSON
Co-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: DAVID BLACK
Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Written by DAVID BLACK
Directed by JOE CHAPPELLE
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN
Executive Producer: ANN DONAHUE
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.
Co-Starring
PAMELA WARREN as Stripper
DANIEL BETANCES as Officer
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Associate Producer: SCOTT LAUTANEN
Casting by: NAN DUTTON, C.S.A. & JOHN A. AIELLO, 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: MARY ELLEN WOODS
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 / RYAN McDOWELL
Art Director: TIM BEACH
Set Decorator: CINDY COBURN-ROTH
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: GARY D'AMICO
Property Master: MIKE SEXTON / DOUG POOLE
Key Grip: JEFF CASE
Gaffer: JACK SCHLOSSER
Key Make-Up Artist: PEGGY TEAGUE
Key Hairstylist: YVONNE DE PATIS-KUPKA
Camera Operator: MIKE GENNE
2ND 2ND Assistant Directors: ROBYN WILLEY
Location Manager: MAC GORDON
Costume Supervisor: BRIAN MAHON
Transportation Coordinator: BOB CAWLEY
Stunt Coordinator: NORMAN HOWELL
2ND Unit: MICHAEL PHIRMAN
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: MICHAEL FRIEDLANDER
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 Supervisors: 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:10/30/2004~lky
http://www.webphilia.com/~anthology/wnp.htm