CSI: MIAMI
1X24: BODY COUNT
ORIGINAL AIR DATE ON CBS: 05/19/2003
TRANSCRIBED FROM DVD
Teleplay by ILDY MODROVICH & LAURENCE WALSH
Story by: STEVEN MAEDA
Directed by: JOE CHAPPELLE
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
Episode Length: 75 min.
RATING: TV-PG-LV
HDTV
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==========================
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==========================
SUMMARY: A prison breakout sends Horatio chasing after Stewart Otis, the serial
child molester from 1X06 (Broken), and Calleigh chasing after Hank Kerner.
==========================
CSI: MIAMI
1X24: BODY COUNT
==========================
COLD OPEN:
[EXT. VARIOUS MIAMI-DADE CITY (STOCK) -- DAY]
[EXT. VARIOUS CUTS OF PRISON - DAY]
(The guards stand above in the tower watching down on the prisoners out in the
yard.)
(The prisoners lift weights with exercise gear. The guards keep watch on them.)
(Other prisoners play a game of basketball.)
(One prisoner throws the ball to another.)
PRISONER: Thanks.
(A second prisoner comes up behind him and stabs him in the abdomen. He double
over and collapses.)
(The second prisoner walks away.)
CUT TO:
[FRONT GATE 1]
(The front gate opens.)
(Horatio is standing on the other side of the gate. He walks into the prison
with his CSI kit.)
CUT TO:
[INT. PRISON -- FRONT]
(Horatio walks in and hands his ID to the guard at the front.)
HORAITO: Morning.
(The guard buzzes him in.)
[EXT. PRISON - YARD - DAY - CONTINUOUS]
(The dead prisoner lies on the concrete in a pool of blood. Horatio and another
guard stand nearby. The weapon is a sharpened toothbrush.)
HORATIO: Toothbrush to a murder weapon.
PRISON WARDEN: Anything can be a weapon if you have enough time on your hands.
HORATIO: We know they've got plenty of that. Is this them?
(They walk over to the prisoners in orange on their knees on the ground with
their hands behind their heads.)
PRISON WARDEN: Yeah. They're the guys that were playing ball.
PRISON GUARD: Shut your mouth and keep your hands on your head.
(Horatio walks up behind one of the prisoners.)
HORATIO: How about you? What's your name?
(He doesn't get a response.)
HORATIO: Come on, partner, what's your name?
MONTOYA: Ramirez, Rico. Booking number 9397489.
(Horatio peels back the man's collar to note the tattoo on the back of his neck:
MONTOYA.)
HORATIO: What'd you say your name was?
MONTOYA: Ramirez. You deaf or something?
HORATIO: Did you forget your name when you got this tattoo? We've got a
bracelet switch here.
PRISON WARDEN: We've been in lockdown for half an hour. We just started to
check I.D.s.
(Above them, a helicopter flies.)
HORATIO: What's that? This airspace is restricted.
PRISON WARDEN: Someone get on the horn to air patrol. Get that chopper out of
here.
HORATIO: Air patrol doesn't fly a-stars.
(The helicopter starts to land in the yard.)
HORATIO: This murder is a decoy. We have an escape in progress.
(Suddenly, the prison alarms blare.)
(The prison doors open and three prisoners dressed in orange jumpsuits run out
across the yard toward the POLICE helicopter. The helicopter hovers low enough
for the three to climb aboard.)
(The guard on the wall sees them and starts shooting at them.)
(One of the prisoners has a gun and fires back. The officer is hit and falls
off the wall.)
(Horatio runs toward the fallen guard.)
(A second officer with a gun start firing at the helicopter. The prisoner
continues to fire at the guard. The helicopter starts to rise and leave.)
(Horatio reaches the fallen guard.)
HORATIO: Officer down!
(Horatio grabs the officer's hand gun and turns. He fires repeatedly at the
helicopter.)
(The helicopter rises slowly.)
(Gunfire litters the side of the helicopter.)
(A bullet connects with something in the helicopter. The helicopter starts to
fly away, black smoke coming out of its side.)
(The helicopter is too far away to shoot at any more. The three escaping
prisoners are inside. Horatio watches it go. He turns and looks at the
bleeding officer on the ground.)
(He kneels down and calls it in.)
HORATIO: (to radio) This is Horatio Caine. You have a 39-escapee. You have a
westbound chopper from the Miami detention center. Three fugitives aboard, A
and D. I repeat, they are armed and dangerous.
(Horatio stands up and looks at the sky.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS MIAMI-DADE CITY (STOCK) - DAY]
[INT. PRISON - SLEEPING QUARTERS -- DAY]
(Horatio and Speedle talk with the Prison Warden.)
HORATIO: Head count?
PRISON WARDEN: Two hundred inmates in each of six gen-pop modules. Another
three hundred keep-aways in safety cell confinement. It's going to take time to
count fifteen hundred men.
HORATIO: Fifteen hundred minus three. We find out who they are, we'll know
where they went.
SPEEDLE: It's going to be difficult with the bracelet switch.
PRISON WARDEN: We found at least twenty men with switched bracelets in this
module alone.
PRISON GUARD: Lieutenant?
HORATIO: Yeah.
(They head over to the prison guard who is holding out a prisoner's wrist to
show them the bracelet. The Prison Warden looks at the bracelet.)
HORATIO: What do we have here?
PRISON WARDEN: Bracelet says he's from this module, but he's from SCC. Name:
Joe Aviar. Likes to rape old women. We try and keep guys like this out of
general pop. Inmates tear them up.
HORATIO: Okay, Joe, who forced you to wear the bracelet?
JOE AVIAR: I don't know what you're talking about.
HORATIO: No? Okay.
(He reads the bracelet himself: HANK KERNER.)
HORATIO: Thank you. "Hank Kerner." Who's Hank Kerner?
PRISON WARDEN: Three-time loser: Carjacking with a side of murder. Partial to
temple shots. He's awaiting trial on a tourist couple that he capped down in
Biscayne.
HORATIO: I know that case.
(Quick flash to a mug photo: The prisoner is holding a sign:
MIAMI-DADE P.D.
KERNER, HANK. R.
DOUBLE HOMICIDE,
CARJACKING )
(Several side views of the prisoner.)
(End of flash. Resume to present.)
SPEEDLE: Hank Kerner was going away for life; nothing to lose.
(Horatio's phone rings. He answers it.)
HORATIO: Hang on a second. (to phone) Horatio. Yeah. Okay. Set up a one-
mile perimeter. I'll be there in ten. (He hangs up.) They found the
helicopter downed around Northwest and Flagler. Thank you, Joe.
(Horatio turns to leave.)
CUT TO:
[EXT. STREET -- DAY]
(Officer cars are already there when Horatio and Speedle drive up. They stop
and park.)
(Horatio meets up with Det. John Hagen.)
HORATIO: John.
DET. JOHN HAGEN: Pedestrians saw the chopper losing altitude. First officer
thinks the fuselage was leaking from the shoot-out.
HORATIO: Injuries on the ground?
DET. JOHN HAGEN: We got lucky.
HORATIO: DBs?
DET. JOHN HAGEN: Two dead bodies -- pilot and one passenger.
(Alexx is already checking out the bodies. Calleigh stands near the
helicopter.)
HORATIO: Alexx, you think they were killed in the crash?
ALEXX: Not unless they each crashed into a bullet. Both victims-- single shot
to the head, temple area.
CALLEIGH: This entrance wound is all business.
ALEXX: You see something familiar?
CALLEIGH: Maybe. I don't know.
(Calleigh checks his wrist band. It reads: RANDALL KAYE.)
CALLEIGH: "Randall Kaye." Now, that's familiar.
DET. JOHN HAGEN: Wasn't he that stockbroker from last thanksgiving? Hit and
run? Dragged a pedestrian two miles under his car.
HORATIO: Hired the most powerful attorneys in palm beach and got three short
years.
(Quick flashback to: Mug shot flashes of Randall Kaye with the ID plate:
MIAMI-DADE P.D.
KAYE, RANDALL
VEHICULAR HOMICIDE,
HIT AND RUN
(End of flashback. Resume to present.)
HORAITO: The question is, who's the pilot?
(Alexx checks the license.)
ALEXX: License says "Bryce Kaye." Must be his brother.
CALLEIGH: I don't think Bryce was planning on landing here.
HORATIO: I would agree.
CALLEIGH: Okay, so if they've been on the ground forty minutes, and the average
foot speed is five miles per hour, we've got a radius of just a little over
three miles.
HORATIO: That means they're looking for transportation. Hank Kerner will be
all over that.
DET. JOHN HAGEN: I'll put out a bolo for any stolen vehicles within three
miles.
CALLEIGH: Hank Kerner ... I thought I recognized that muzzle stamp.
HORATIO: Let's hope somebody recognizes him. Let's put his picture out on the
news and find him. (He turns to leave.) Thank you, Alexx.
ALEXX: All right.
CUT TO:
[INT. PRISON - CELL BLOCK -- DAY]
(The gate opens and Delko walks in. He turns and walks through the line of
cells. The prisoners cat call and comment to him as he goes.)
(Speedle is already in the cell.)
SPEEDLE: What's with the no-ac, man?
DELKO: Had my phone on vibrate, I was, uh ... a little busy.
SPEEDLE: Yeah?
DELKO: Didn't want to be interrupted.
SPEEDLE: Busy with the left hand?
(Delko reaches the cell.)
DELKO: Funny. So this is Joe Aviar's original cell, huh? Guy who likes to
rape elderly women.
SPEEDLE: Yeah, he switched wristbands with one of our fugitives -- Hank Kerner.
DELKO: Three guys locked in the same cell, and the C.O. Doesn't recognize
them?
SPEEDLE: He's fresh out of the academy. It's his first assignment. He sees a
convict, he sees their clothes, not their faces.
DELKO: All right. You want upper or lower?
SPEEDLE: I got here on time.
DELKO: For once.
(They start going through the things in the cell. Speedle looks at the top bunk
while Delko pulls his hand out of the toilet.)
DELKO: Nothing in here.
(Speedle looks under the top bunk mattress while Delko looks at the lower bunk.
Delko also looks under the top bunk springs. He finds a hoop with some thread.)
(Speedle snaps photos hanging on the wall. They're of a man, a woman and of a
little girl.)
SPEEDLE: Stockbroker was living the dream. One minute, you're running the
world and, the next, you're in a six-by-six.
DELKO: It's a shock to the system. Explains why Randall would try to escape.
SPEEDLE: I talked to Horatio. He thinks Randall and his brother were used to
get the other two out.
(Delko sees something on the bottom of the toilet. He picks it up.)
DELKO: Spark plug. Wonder where this came from.
SPEEDLE: Maybe one of the guys was taking auto shop.
DELKO: Yeah, looks like there's something in the threads. Some, uh, concrete
dust.
SPEEDLE: These guys weren't driving, they were digging.
(Quick flashback to: Someone uses the spark plug to dig through the concrete
around the toilet. End of flashback. Resume to present.)
DELKO: Hmm.
(Delko removes the toilet. Inside is a clear passageway along the pipes. They
look inside.)
DELKO: Sewer pipes, air vents. Any number of ways they could've gotten to the
yard after lockdown.
SPEEDLE: We got to follow their route. They might've left us something that'll
lead us to them.
SHORT TIME CUT TO:
[INT. SEWAGE PASSAGEWAY - DAY - CONTINUOUS]
(Speedle sits in the cell and watches Delko's progress through a hand-held
monitor. Inside the sewage passageway, Delko is walking and following the
trail.)
SPEEDLE: Keep going. You're doing fine.
DELKO: Yeah. Ever tell you I'm scared of the dark?
SPEEDLE: (from radio) Well, next time you're up for a promotion, you can
mention that. You see anything?
DELKO: Yeah. A kind of tunnel.
SPEEDLE: That's probably for maintenance, so means there's an exit.
DELKO: Light up ahead. I'll check it out.
(Delko continues walking. He comes to a room with a ladder that leads out to
the yard.)
DELKO: You ask me, this is where they climbed up to escape.
(Delko looks down. Speedle sees something on the monitor.)
SPEEDLE: Wait a minute. Hold on a second. Turn slightly to your left. What
is that?
(Delko picks it up.)
DELKO: Needle and thread. It's not from auto shop.
SPEEDLE: Tailoring.
DELKO: You think?
SPEEDLE: I think a guy'll do anything to get out of a six-by-six cell. Let's
get that stuff back to the lab. I'll put in a call to Horatio.
(Delko turns around. In the cell, Speedle picks up the radio.)
VOICE (MAN): (from radio) Code 22. Repeat, code 22. All radio units, respond
to a carjacking, seventh and riverside park.
CUT TO:
[EXT. ROAD - DAY]
(Horatio drives up and stops just outside the crime scene tape. Officers are
already there.)
HORATIO: John, what do you got?
DET. JOHN HAGEN: Vic's name's Jill Gormley. Married, two kids. Drives a black
Lincoln navigator. Wrong place, wrong time. Single gunshot to the head.
HORATIO: Same as the two guys in the chopper. What about witnesses?
DET. JOHN HAGEN: Street vendor saw everything.
HORATIO: Okay. Thank you, John.
(He looks up. Det. Yelina Salas is there talking with the street vendor.)
HORATIO: Yelina.
DET. YELINA SALAS: Horatio. Guillermo Soriano.
HORATIO: Senor, tell me what you saw.
GUILLERMO SORIANO: (in Spanish) (unsubtitled)
(Quick flashback to: [EARLIER] The light is green. The car stops in the road
to pick up a COCONUT TROPICAL DRINK from the vendor. He prepares one for her.)
(End of flashback. Resume to present.)
DET. YELINA SALAS: (in Spanish) (unsubtitled)
GUILLERMO SORIANO: (in Spanish) (unsubtitled)
(Quick flashback to: The two escaped prisoners walk down the sidewalk. He
approaches the driver's side, his hand pointed in through the window.)
(End of flashback. Resume to present.)
HORATIO: Did you see which one took the shot?
GUILLERMO SORIANO: (in Spanish) (unsubtitled)
GUILLERMO SORIANO: (in English) A flash. A big flash.
(Quick flashback to: While he's preparing the drink, he looks at the woman.
The gunman is standing just outside her door. He raises the gun to her temple.
He fires.)
(End of flashback. Resume to present.)
HORATIO: You remember a flash first?
(Horatio is looking at something.)
DET. YELINA SALAS: (in Spanish) (unsubtitled)
GUILLERMO SORIANO: (in Spanish) (unsubtitled)
DET. YELINA SALAS: You know, he may be talking about the muzzle flash.
HORATIO: I don't think so.
DET. YELINA SALAS: Eyewitnesses can be unreliable.
HORATIO: Not when they're on camera. That is a traffic enforcement camera.
(Quick flashback to: [EARLIER] The light is green when the prisoners walk up
to the car. The light turns from yellow to red. The car in the next lane goes
through anyway.)
(It sets off the sensor.)
(Quick CGI POV to: The electrical pulse runs through the wire in the road, up
to the pole and up to the camera.)
(The security camera snaps a photo.)
(End of flashback. Resume to present.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Horatio is reviewing the security camera photos with Det. Yelina Salas.)
HORATIO: Okay, so that's our victim right there.
TYLER JENSON: The car behind her runs the red light just moments before she
gets shot.
HORATIO: Activating the traffic camera.
DET. YELINA SALAS: Explains why Mr. Soriano saw a flash before he heard a
gunshot.
HORATIO: Right. And there's our carjacker. Zoom in on him.
TYLER JENSON: Sure.
(He enhances the photo.)
DET. YELINA SALAS: That's Hank Kerner, but his partner? We can't see him.
HORATIO: Tyler, these cameras take two pictures though, don't they?
TYLER JENSON: Yeah, one as you enter the intersection, and one in the center.
(He switches to the second photo.)
TYLER JENSON: Still can't see his face.
HORATIO: Zoom in tighter.
(He zooms in close enough for Horatio to recognize the second man.)
HORATIO: That's Stewart Otis.
(Quick flashes of: The mug shot with name plate:
MIAMI-DADE P.D.
OTIS, STEWART
HOMICIDE, SEXUAL ASSAULT OF A MINOR, KIDNAPPING )
(End of flashback. Resume to present.)
DET. YELINA SALAS: The child molester?
HORATIO: Convicted child killer. I put him in jail myself.
(Quick flashback to:
[Scenes from 1X06: Broken]
[INT. CSI - INTERVIEW ROOM - DAY]
STEWART OTIS: She was flirting with me.
(Cut to:
(Stewart is dressed as s worker and holds a cotton candy cone.)
[INT. ZANY TOWN - MAIN PLAY AREA - DAY]
(Ruthie Crighton plays.)
STEWART OTIS: Whoopsie-daisy.
(He holds out the cone of cotton candy.)
(Cut to: Ruthie Crighton reaches for it.)
(Cut to: Stewart holds Ruthie Crighton's hand as he walks with her away from
the play area.)
(Cut to:
[INT. CSI - INTERVIEW ROOM - DAY]
(Horatio interviews Stewart Otis.)
STEWART OTIS: I never even got to play with her.
(End of flashback. Resume to present.)
DET. YELINA SALAS: According to our witness, this Stewart never even got into
the car. Maybe Kerner left him behind.
HORATIO: Yes. The question is, to do what? I told Ruthie Crighton's mother
he'd never hurt another child.
DET. YELINA SALAS: Horatio ... are you okay?
HORATIO: Nope. Not with Stewart on the loose. Nobody is.
(Camera zooms in on Stewart Otis on the monitor.)
FADE OUT.
FADE IN.
[EXT. VARIOUS MIAMI-DADE (STOCK) - DAY]
[INT. CSI - FORENSICS LAB -- DAY]
(Alexx is working on the post of the young woman driver.)
ALEXX: Young mother, and a bullet to the temple. Mmm. Two things that do not
go together.
(Calleigh holds up the bullet and looks at it.)
CALLEIGH: It's a .38 or a .357 with a five right. Smith & Wesson, Ruger or a
Taurus revolver.
ALEXX: I've got gunpowder burns with radial tears around the wound -- figure
eight. And you know what that means.
CALLEIGH: A muzzle stamp.
ALEXX: Same as our two bodies from the helicopter.
(Quick flashback to: The helicopter is damaged and flying crooked. It lands.
Hank Kerner shoots both the Kaye brothers. He steps out of the helicopter.
Stewart Otis steps out of the helicopter.)
(End of flashback. Resume to present.)
CALLEIGH: The stamp is sideways, which indicates the shooter turned his weapon.
(Quick flashback to: Hank Kerner walks up to the open window. He turns his
weapon, holds it to the woman's head and fires.)
(End of flashback. Resume to present.)
ALEXX: That's three for three on the Hank Kerner chart. Boy's a regular
cowboy.
CALLEIGH: And a cold-blooded killer.
ALEXX: Calleigh, I don't like this. You and Kerner have a history.
CALLEIGH: I have a history with a lot of bad guys, Alexx. So do you.
DET. JOHN HAGEN: You know Hank Kerner?
(Calleigh and Alexx turn and find John Hagen in the doorway.)
DET. JOHN HAGEN: Our fugitive?
CALLEIGH: Yeah, we've been through two hung juries together. It's not like
we're picking out china.
DET. JOHN HAGEN: You should've told me you were the CSI on his case. Didn't he
go off in court threatening everybody?
CALLEIGH: It was typical chest-beating of a guy who's facing L-WOP. His
retrial's in two weeks.
DET. JOHN HAGEN: That means he's desperate, Calleigh.
CALLEIGH: Well, it means we better catch him before the poor guy misses his
court date. Would you check the old visitor logs from jail and see if you can
scare up the name of someone he might be hiding out with?
DET. JOHN HAGEN: Already did. Prostitute named Treynece Banks. I don't think
he'll hide out so much as make a pit stop.
CALLEIGH: Well, it's a lead. Well, if you guys'll excuse me, I have to make a
call.
(Calleigh turns and leaves.)
ALEXX: And I thought she blew me off.
(Alexx chuckles.)
CUT TO:
[EXT. VARIOUS MIAMI (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Calleigh meets up with Janet Medrano.)
CALLEIGH: Hey, hot pants.
JANET MEDRANO: Hey, girl.
CALLEIGH: Look at you.
(They hug.)
CALLEIGH: What did you do -- give up prosecuting and start modeling?
JANET MEDRANO: Oh, right. God, look at you. How much to I love that necklace?
CALLEIGH: Oh ... it's an apology present from dad.
JANET MEDRANO: Ah. How is the old charmer?
CALLEIGH: He's fine, the same. You know.
JANET MEDRANO: Good to hear. So ... I assume you called me about our old
friend Hank Kerner.
CALLEIGH: Yeah. I'm worried about the college girl. She's the only eyewitness,
and the whole case rests on her.
JANET MEDRANO: I'm one step ahead of you, Cal. She's in protective custody.
CALLEIGH: 24-hour surveillance?
JANET MEDRANO: Mm-hmm.
CALLEIGH: Oh, that's good. Okay, well, what about her family?
JANET MEDRANO: Norsat's on it. Hmm? See? All that worrying about nothing.
CALLEIGH: Yeah.
JANET MEDRANO: You catch this guy, I'll throw away the key this time, all
right, Cal?
CALLEIGH: Okay. All right. We still on for Thursday night?
JANET MEDRANO: Yeah, as long as the workaholic doesn't cancel on me again.
CALLEIGH: I'm not a workaholic.
JANET MEDRANO: Are you kidding me? I send your Christmas card to CSI.
CALLEIGH: I'll see you later, Janet.
CUT TO:
[INT. CSI -- LAB]
(Delko and Speedle report to Horatio.)
DELKO: We got a carjacker, a kid killer and a stockbroker. The only thing they
have in common is a burning desire to get out of the joint.
HORATIO: Okay, this is the stuff from Stewart's cell.
SPEEDLE: And Randall Kaye's; also Aviar's.
HORATIO: Ok, as a sexual predator, Stewart might have a diary or letters. What
about his work detail?
SPEEDLE: Randall was in printing, Hank was in wood shop and Stewart was
assigned to tailoring.
HORATIO: Tailoring?
DELKO: Mm-hmm. Found a needle and thread in their escape tunnel.
SPEEDLE: And we also got some more sewing stuff from the cell. Embroidery
hoop, some thread and some kind of sticky paper.
DELKO: It's water soluble weave stabilizer -- uh, boy scouts -- it's used to
make patches.
HORATIO: You mean like for a uniform?
(Quick flashback to:
[Scene from 1X06: Broken]
[INT. OTIS RESIDENCE - BEDROOM - DAY]
(They find Zany Town vests hanging in the closet.)
HORATIO: (v.o.) A fake uniform.
(Cut to: [ZANY TOWN] Stewart Otis is wearing a uniform and holding some cotton
candy.)
(Ruthie Crighton smiles at him.)
HORATIO: (v.o.) That's how he got Ruthie Crighton.
(He and Ruthie walk away from the main play area.)
(He puts the OUT OF ORDER cone down on the floor in front of the restroom and
closes the door.)
(End of flashback. Resume to present.)
HORATIO: So he was making a disguise. Okay. (He looks at the photos on the
table.) Is this Randall Kaye's family?
DELKO: Yeah. That's, uh ... wife Dawn and daughter Emma.
HORATIO: Daughter Emma. How old do you think she looks?
DELKO: Six, seven.
HORATIO: Seven. You see this tape? It means that this picture has been taken
off the wall repeatedly.
SPEEDLE: One man's family album is another man's porn.
HORATIO: Yes. This could be his next target.
DELKO: Yeah, we got to get to Randall Kaye's house.
HORATIO: Hang on a second. The thread that Stewart uses is red, blue and gray,
right?
(Camera zooms in on a photo of the ST. LUCITA'S school uniform patch. It's red,
white and blue.)
HORAITO: It's not the house. We got to get to the school.
SPEEDLE: It's the school.
(They head out.)
CUT TO:
[EXT. ST. LUCITA'S - DAY]
(The school bell rings.)
(The doors open and the kids run outside.)
(Horatio and a couple of Police cars drive up the driveway. He stops and meets
up with Det. Yelina Salas.)
HORATIO: Did you find her?
DET. YELINA SALAS: I just talked to her teacher.
HORATIO: Okay.
DET. YELINA SALAS: Class was already let out when you called.
HORATIO: We got to find her.
DET. YELINA SALAS: You think he took any of the other girls?
HORATIO: No, he wants Emma. (He walks up to some of the girls.) Girls? Emma?
SCHOOL GIRL: Are you looking for Emma?
HORATIO: Yeah, I am. Have you seen her?
SCHOOL GIRL: She went with that man.
HORATIO: What man?
SCHOOL GIRL: The new teacher.
(Quick flashback to: Stewart Otis.)
STEWART OTIS: Emma?
(Emma turns around.)
STEWART OTIS: Hi. I'm Mr. Andrews.
(On Stewart Otis' jacket is a St. Lucita's patch.)
EMMA: Hi.
STEWART OTIS: Your mommy told me to come get you.
(He holds out his hand and she takes his hand.)
(He smiles as they leave.)
(End of flashback. Resume to present.)
(Horatio stands up.)
HORATIO: He's got her.
(Dawn Kaye closes her car door.)
DAWN KAYE: Emma. Emma!
(Horatio and Yelina see a woman waiting for Emma. They walk up to her.)
HORATIO: Are you Mrs. Kaye?
DAWN KAYE: Yes.
(Yelina walks up to the back of the car and notices the packed baggages.)
HORATIO: Mrs. Kaye, about five minutes ago, a man took Emma from the school.
You don't seem too concerned.
DAWN KAYE: (stammer) I'm, I'm ... well, no, I'm ... I just ...
DET. YELINA SALAS: Nice luggage. When is that last time you spoke to your
husband?
DAWN KAYE: Okay, my husband is in jail.
HORATIO: Ma'am, your husband was killed this morning escaping from that jail.
CUT TO:
[INT. ST. LUCITA'S - HALLWAY -- DAY]
(Horatio and Det. Yelina Salas talk with Dawn Kaye.)
DET. YELINA SALAS: I noticed the luggage in your car.
HORATIO: Were you traveling today?
(She doesn't say anything.)
HORATIO: Mrs. Kaye, you're involved in this, aren't you?
DAWN KAYE: My daughter was growing up without a father. I just wanted my
family back together.
HORATIO: I understand.
DAWN KAYE: Where's Emma?
DET. YELINA SALAS: We believe that one of the men that escaped with your
husband has taken Emma.
HORATIO: Mrs. Kaye, I need you to focus. The first twenty-four hours are
crucial.
DAWN KAYE: Sh-should we, uh, go to the bank?
HORATIO: Listen to me. I can assure you this man's interest in Emma is not
monetary.
DAWN KAYE: Wha ... what have I done?
DET. YELINA SALAS: Do you have an article of her clothing?
DAWN KAYE: For what?
HORATIO: For scent dogs. We plan to track them, but we need to do it right
now. Mrs. Kaye?
DAWN KAYE: Lieutenant, please ... she is all I have.
HORATIO: Where's the clothing? Show me.
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Scope view of two bullets.)
(John Hagen knocks on the door.)
DET. JOHN HAGEN: How's it coming?
CALLEIGH: Oh, you know -- bits and pieces.
DET. JOHN HAGEN: How's that?
CALLEIGH: Well, three different bullets fired into three different skulls.
(Quick CGI POV of: A bullet hits flesh straight until it hits bone.)
CALLEIGH: (v.o.) Randall Kaye ...
(A second bullet hits flesh and bounces around before splitting as it hits bone.
CALLEIGH: (v.o.) ... His brother ...
(A third bullet hits flesh and rests against the bone.)
CALLEIGH: (v.o.) ... and our carjacking victim, Jill Gormley.
(End of CGI POV. Resume to present.)
CALLEIGH: Bullets bounce against bone and you end up with three pretty
distorted bullets.
DET. JOHN HAGEN: Tell me you can still get a match between all three.
CALLEIGH: Oh, yeah. I just have to straighten things out first.
(John Hagen's phone rings. He answers it.)
DET. JOHN HAGEN: (to phone) Hagen. Son of a bitch. Same gunshot wound?
Where? I'll be right there. (He hangs up.) I got to go.
CALLEIGH: What? Wait. What same gunshot wound?
DET. JOHN HAGEN: I got a call out.
CALLEIGH: Is this about Hank Kerner?
DET. JOHN HAGEN: It looks like he got another victim.
CALLEIGH: Not the eyewitness, our college girl?
DET. JOHN HAGEN: Worse.
CUT TO:
[EXT. BEACH - DAY]
(Janet Medrano is dead with a bullet wound to her temple.)
CALLEIGH: Oh, I can't believe he went for Janet.
DET. JOHN HAGEN: Calleigh ...
CALLEIGH: I want to be there when you notify her family. Her parents are going
to be devastated.
DET. JOHN HAGEN: You shouldn't be anywhere near this. If Kerner's bold enough
to go after the prosecutor on his tourist trial, he's going to come after the
CSI. You should take time off till this is over.
CALLEIGH: With fugitives out there? I don't think so.
DET. JOHN HAGEN: I'm sure Horatio will say the same thing.
(He reaches for his phone.)
CALLEIGH: John, put the phone down. I have never so much as taken a sick day,
and I'm not about to start now.
DET. JOHN HAGEN: Don't you get it? Kerner broke out to kill anyone who could
hurt him at trial. You're next, Calleigh.
CALLEIGH: Well, then so be it, 'cause I'm not leaving the investigation.
(Calleigh turns and leaves.)
FADE OUT.
FADE IN.
[EXT. VARIOUS MIAMI CITY (STOCK) - DAY]
[INT. ST. LUCITA'S - FRONT DRIVE -- DAY]
(Dawn Kaye stands in the front. Horatio is on the phone and stands in the
driveway. Storm clouds gather in the distant sky, thunder rumbles.)
HORATIO: (to phone) Hang on a second, Dan.
(He holds out his phone to Delko. Delko hands Horatio his phone.)
HORATIO: (to Delko) Dan Clarkson, fugitive team commander. Wants to set up a
debriefing.
DELKO: It's Calleigh.
HORATIO: Calleigh, what's up?
INTERCUT WITH:
[EXT. BEACH - DAY]
CALLEIGH: (to phone) Kerner got to Janet Medrano. Yeah, state's attorney.
The liver temp indicates that the body is fresh, so he's less than an hour out.
I don't know if he's on foot or on wheels, but, if you catch him now, the sand
in his shoes alone is enough to strap him to the chair.
HORATIO: Okay, here's what you do. Tell the fugitive team to set up new
checkpoints. And, Calleigh, be careful of this guy Kerner. He plays for keeps.
CALLEIGH: I'm taking all necessary precautions.
(Horatio hangs up. He turns to the officer with the K-9.)
HORATIO: Hey, butch, thanks for coming. I need the best.
BUTCH: She's ready to track ... if this rain holds.
HORATIO: Here's her shirt. She's a seven-year-old girl. Originated from this
point, butch, all right?
(Horatio hands Butch the baggie with Emma's clothes inside.)
BUTCH: Duchess will find her.
DELKO: I've read that dogs smell with their tongues.
BUTCH: Well, that's true.
(Quick CGI POV of: A cloth is held out in front of the dog.)
BUTCH: (v.o.) Most odor molecules ...
(The scent particles go from the cloth to the dog.)
BUTCH: (v.o.) ... are carried by mucus through the nasal cavity to the
convoluted folds behind the nose.
(Camera zooms into the dog's nose ... slows on the folds inside the nose ...
then zooms into a close-up of the dog's brain.)
BUTCH: (v.o.) That's where that molecule becomes a chemical message to the
brain.
(Camera pulls out of the dog's head.)
(End of CGI POV. Resume to present.)
(Butch lets Duchess sniff the cloth.)
BUTCH: Here we go. She's got a scent. You good to go?
HORATIO: Let's go.
BUTCH: Let's track.
(Duchess starts moving.)
BUTCH: Hey!
[EXT. VARIOUS MIAMI COMMUNITY (STOCK) - DAY]
[EXT. ROAD - DAY]
(Duchess leads Horatio, Butch and Delko across the street. Horatio holds his
badge up in front of the on-coming cars to allow Duchess time to find the
scent.)
HORATIO: All right, Eric. Hold traffic and call for backup.
BUTCH: Stewart must've hailed a cab. With the new venting systems, the dog can
follow a scent even if a person's gotten in a car.
(Quick flashback to: Stewart Otis carries Emma and stands at the corner waving
for a cab.)
STEWART OTIS: Hey, you don't say a word or I'll kill your mommy.
(A cab stops. Stewart and Emma get into the cab.)
STEWART OTIS: Hi. 24th, please.
(Emma's scent is in the cab. The scent goes to the vent in the doors, through
the tubes in the car and out the back as the taxi drives away.)
(End of flashback. Resume to present.)
(Duchess sniffs around the road.)
HORATIO: You got anything?
BUTCH: She's got something. She's going to go.
DELKO: (to phone) We need backup here, now.
BUTCH: Okay, there we go. There she goes!
(Duchess starts running down the road.)
DOG'S POV
(Camera quick zooms down the road, turns the corner and continues through
several roads.)
(Horatio looks around the area they've stopped at.)
HORATIO: What have we got, Butch?
BUTCH: She's casting about. That means they stopped here and the scent pooled.
HORATIO: Okay, drop back. You ready, Eric?
(He raises his gun.)
HORATIO: Go wide.
(He and Delko start looking around the area. Horatio walks toward the trash
bins up against the wall.)
(Behind the trash bins on the ground, they find a small bundle of clothing and
dark hair.)
(Horatio lowers his gun.)
HORATIO: Hang on a second.
DELKO: Looks like a school uniform.
HORATIO: Probably purchased clothes at the mall, and I'm guessing they were
boy's clothes.
DELKO: Yeah, and something to cut her hair with.
HORATIO: Just like Ruthie Crighton.
(Quick flashback to: Emma is in different clothes. Stewart is cutting her hair
off.)
STEWART OTIS: It'll be just like Halloween. Your own neighbors won't even know
you.
(Emma is crying.)
STEWART OTIS: Come on, we're a team. Come on. Come on. Stop crying.
(End of flashback. Resume to present.)
HORATIO: Put out the word, Eric. He's traveling with a little boy.
CUT TO:
26.13
[EXT. BUILDING - DAY]
(SWAT with their body armor and guns are lined up against the building. Det.
John Hagen talks with
DET. JOHN HAGEN: You're sure Treynece is in there?
PIMP: Come on, Starsky. I admit to that, you bag me up for pandering.
DET. JOHN HAGEN: You got it backwards. You don't help us confirm she's with
Hank Kerner, we grab you up. Does Treynece carry a cell phone?
PIMP: What do I look like to you, man, some low-budget bougie operation? All
my girls got cell phones, beepers, PCs. I mean, it's the third millennium,
Chuck.
SWAT: Okay, Bill Gates, call her. We need to make sure she's in the room
before we move.
(Ha makes the call.)
PIMP: (to phone) Yo. Delicious, what's taking so long? You got my money?
(Calleigh drives up and parks along the street.)
PIMP: (to phone) I didn't ask you what the bald boy likes. I asked you, do
you got the money? Well, count it twice. I'm bouncing. Yo. (He hangs up.)
She's in there ... with Kerner.
DET. JOHN HAGEN: All right. Step back out of the way, please.
(Calleigh walks up to Hagen.)
CALLEIGH: Detective? I didn't get a call. I had to hear from dispatch you
located Kerner's associate.
DET. JOHN HAGEN: A lead just came in.
CALLEIGH: This is our investigation. Don't run it without me.
PIMP: Yo, Chuck. Look like you got some management problems of your own, pimp.
DET. JOHN HAGEN: I asked you to step back out of the way, all right?
PIMP: My bad, my bad.
(A gun fires.)
(John Hagen and Calleigh take cover behind the cars as they draw out their
weapons. SWAT heads into the building.)
SWAT VOICE: Let's move it. Go, go, go!
[INT. BUILDING -- STAIRS/HALLWAY - DAY - CONTINUOUS]
(SWAT makes their way up the stairs and through the hallway up to Treynece's
room.)
(They kick the door in.)
[INT. BUILDING - TREYNECE'S APARTMENT - DAY - CONTINUOUS]
(Treynece is sitting on the bed. They search the apartment.)
SWAT: Show me your hands!
SWAT: Show me your hands!
SWAT: Bathroom clear.
(The SWAT Leader looks out the window and reports.)
SWAT LEADER: He's out the back. We have no visual. (Treynece glances to her
right.) Get the choppers in the air. Coordinate with patrol on the ground.
(Det. John Hagen and Calleigh walk into the apartment.)
CALLEIGH: Where'd he go?
TREYNECE: He didn't pay me. Cheap-ass bald bastard.
CALLEIGH: Where did Hank go?
TREYNECE: Pop a cap in some bitch cop. Blond bitch. Uh, Britney ... better
check this out.
(She removes the painting leaning up against the wall to show a spray-painted
number: 31.)
CALLEIGH: 31.
DET. JOHN HAGEN: Homicide. A direct threat to you.
CALLEIGH: Yeah. It's also a gift. It's trace evidence. Hank Kerner left us
his calling card.
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Horatio and Det. Yelina Salas interview Dawn Kaye.)
DET. YELINA SALAS: So let me get this straight. The first time you and your
husband discussed it?
DAWN KAYE: It was during a jail visit. Randall said a convict had approached
him about escaping. He wouldn't tell me who he was or what he had done. I
should've asked.
HORATIO: Okay, keep going. You know more than you think you do.
DAWN KAYE: I told Randall's brother what the plan was.
HORATIO: Bryce, right? Bryce the pilot.
DAWN KAYE: Yeah. He would've done anything for his big brother. I called an
offshore account in the morning to wire the ... wait, um ... um ... I remember
one of the men asked for an RV. Uh ... Randall ... didn't want me to be tied up
purchasing one, so he decided to pay them both cash. They agreed on $50,000
apiece, which Bryce brought over on the helicopter. I don't know which one
asked for the RV.
HORATIO: Yeah, Stewart. Stewart asked for the RV.
DAWN KAYE: The man who took Emma?
HORATIO: That's correct.
DAWN KAYE: How do you know?
HORATIO: It doesn't really matter right now.
DAWN KAYE: It's a mobile apartment. He could take her anywhere.
HORATIO: (to Yelina) Contact every RV dealership in Miami.
DET. YELINA SALAS: Find out if a single man bought one in the last 24 hours?
HORATIO: No, rent. He has to conserve his cash.
CUT TO:
[EXT. BISHOP RESIDENCE - FRONT PORCH - DAY]
(The door opens. Simon Bishop appears in the doorway. Horatio is on the front
porch with Det. Yelina Salas.)
HORATIO: Simon Bishop.
SIMON BISHOP: Yes.
HORATIO: Where's your RV?
SIMON BISHOP: What RV?
DET. YELINA SALAS: You were the only one insured to drive. Dealer's statement.
HORATIO: Could we come in?
SIMON BISHOP: Sure.
[EXT. BISHOP RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Horatio looks at a framed photo of a soccer group. It's hanging on the wall.)
HORATIO: Kids' soccer, huh?
SIMON BISHOP: I also coach local boys' basketball and cross-country.
HORATIO: It says that you are the coach of the year, Simon. (Simon smiles.)
Where's your RV?
SIMON BISHOP: The RV. I lent it to a friend.
DET. YELINA SALAS: Who? Him?
(She shows the WANTED poster for Stewart Otis.)
SIMON BISHOP: Stewart Odett. I met him on-line. Chat room.
HORATIO: Stewart Otis. He is a convicted child molester and child killer. Did
you know that?
DET. YELINA SALAS: He was about to get sentenced to death when he broke out of
prison.
HORATIO: He was traveling ... (He sees something in the trash.) traveling with
a little girl disguised as a little boy.
(Horatio takes out what looks like a Happy Meal box from the trash.)
SIMON BISHOP: He was alone. He asked me to rent the RV. I met him at the curb
...
HORATIO: (interrupts) Since when does chinese food come with a kid's meal?
Try again.
SIMON BISHOP: He said her name used to be Emma. He didn't tell me her new
name. I haven't seen them since. I don't know where they went.
HORATIO: So you short eyes don't do each other favors?
SIMON BISHOP: Short eyes? I don't molest children.
HORATIO: What did he trade for use of the RV?
SIMON BISHOP: Nothing.
HORATIO: Nothing. You're insulting me.
SIMON BISHOP: You're the one insulting. Emotional intimacy doesn't come with a
predetermined age range. I merely challenge the accepted view that children are
non-sexual.
HORATIO: What about the accepted view that exploiting a child in any way is a
felony? So what do you got, Simon? Let's go.
SIMON BISHOP: Photos.
HORATIO: Where.
SIMON BISHOP: He offered, I accepted.
(Simon takes out the polaroids.)
SIMON BISHOP: He said he took them their first few hours together.
(They're photos of Emma.)
HORATIO: Well, there you go.
DET. YELINA SALAS: Simon bishop, you're under arrest for possession of child
pornography.
SIMON BISHOP: But they're not my photos. She's not even my type.
HORATIO: You better hope she's still alive.
FADE OUT.
FADE IN.
[EXT. VARIOUS MIAMI-DADE CITY (STOCK) - SUNSET]
[INT. CSI - LAB -- SUNSET]
(Calleigh takes out the swab with a black tip. In front of her is a photo of
the "31" on the wall.)
(She cuts off the tip of the swab.)
(She looks up. She's alone in the lab. After a moment, she continues to work.)
(She processes the swab.)
(She hears something and turns. She turns the machine on. She definitely hears
something. She continues to work.)
(Various dissolves of: Calleigh in the lab working.)
(The machine prints out the results.)
DET. JOHN HAGEN: Hey.
(Calleigh turns around.)
CALLEIGH: Oh, you.
DET. JOHN HAGEN: Got anything?
CALLEIGH: Yeah, petroleum and graphite.
DET. JOHN HAGEN: Gun lubricant.
CALLEIGH: Yeah, but it's old school. Most modern-day lubricants have teflon.
DET. JOHN HAGEN: Can you pin down the brand?
CALLEIGH: No, but I'm going to take it to Claudia. She probably can. Why? Are
you going to follow me there, too?
DET. JOHN HAGEN: You sure you're okay?
CALLEIGH: You know, Hagen, not only did I graduate from the same academy as
you, but I'm a southern woman and all that implies, and I don't know why you
have so little confidence in my ability to protect myself.
DET. JOHN HAGEN: It's not that.
CALLEIGH: Well, then what?
DET. JOHN HAGEN: My first partner, Ray Caine, when we worked narco, when he got
killed on the job. I lose two partners, I got a rep.
CALLEIGH: Ah, snakebit.
DET. JOHN HAGEN: People get afraid to team up with you. I've seen it bounce
guys off the force.
CALLEIGH: So this is more out of concern for your career than it is for my
safety.
DET. JOHN HAGEN: Yeah. Will you stay with Speedle tonight? Or Delko?
CALLEIGH: Actually, I'm going to stay here.
DET. JOHN HAGEN: Then I'm going to stay with you.
CALLEIGH: Okay. Well, as long as we're clear you're doing it for you, not for
me.
DET. JOHN HAGEN: Crystal clear.
CUT TO:
[INT. CSI - A/V LAB -- SUNSET]
(Delko works on the photos.)
HORATIO: So what does Simon say?
DELKO: It's all in the pixels. Take a look at the portable tv in the corner.
See anyone you know?
(On the monitor, a reflection of Simon Bishop appears.)
DELKO: Hello, Simon. He was there when this picture was taken.
HORATIO: Yes, but it doesn't tell us where it was taken.
DELKO: It's not a house -- it's an RV-- so they could have driven it anywhere.
HORATIO: Okay, what about reference points?
DELKO: Stewart tacked a sheet over the window to disguise the location.
HORATIO: All right, so let's go to the last picture.
(Delko puts up a different photo.)
DELKO: The light's changed.
HORATIO: All right. When the sun moves, it highlights the background, doesn't
it?
DELKO: I'll go close on the window.
HORATIO: Okay, grid it.
DELKO: Look, uh, looks like a mountain.
HORATIO: Yes, but we both know Miami has no mountains.
DELKO: And those don't look like trees, either. Maybe the geographic
information system can recognize it.
(Delko outlines the shadow in the background and measures the distances between
peaks.)
DELKO: It calculates the ratio between peaks and then compares that to a
database of similar ratios from Miami's buildings and landscapes.
(He runs the comparison and finds a match.)
HORATIO: It's the orange bowl.
DELKO: Yeah. The orange bowl has five thousand parking spots.
HORATIO: All we need is one, though.
DELKO: I can calculate the movement of the sun to figure out where Stewart was
parked. But that's going to take a few hours.
HORATIO: Let's see if our friend Simon can help us with that.
(Horatio leaves.)
CUT TO:
[EXT. ORANGE BOWL - PARKING LOT -- DAWN]
(Horatio drags Simon Bishop out across the parking lot.)
HORATIO: Where are they, Simon? Where's the RV?
SIMON BISHOP: You don't have to be so physical.
HORATIO: You don't know what physical is. Where are they?
SIMON BISHOP: This is it. This is where he parked.
HORATIO: Well, they're not here, are they?
OFFICER: Get on the radio.
OFFICER: All right.
(Det. Yelina Salas walks over to them.)
HORATIO: They're not here.
(Horatio sees a spill on the asphalt. He smells it.)
HORATIO: Smells chemical.
DET. YELINA SALAS: Dealer said the RV needed repairs.
HORATIO: Could be from the waste tank. Big tank, little leak, right?
DET. YELINA SALAS: Let's follow the bread crumbs.
HORATIO: Uh-huh. We just caught a break.
(They start following the leak.)
(Quick zooms following the leak through the parking lot ... and through several
roads ... through dirt roads ... )
[EXT. SECLUDED SPOT - NIGHT]
(The camera follows the RV leak straight to the RV. Horatio turns and looks at
the RV.)
HORATIO: Somebody's home.
(Cut to: Horatio and SWAT members approach the RV door.)
HORATIO: On my count. Three, two ...
(Horatio opens the door and steps into the RV.)
[INT. RV - NIGHT - CONTINUOUS]
HORATIO: (shouts) Miami-Dade police! Get down!
STEWART OTIS: (from monitor) A doggy maybe?
EMMA KAYE: (from monitor) Yeah.
SWAT: Clear.
(Horatio stops and watches the monitor. Yelina steps in and watches.)
STEWART OTIS: (from monitor) Is it a little boy doggy or a little girl doggy?
EMMA KAYE: (from monitor) Little girl.
STEWART OTIS: (from monitor) And what's her name?
EMMA KAYE: (from monitor) Her name is beetle, 'cause she's super small like a
bug.
(Yelina turns away and looks around.)
STEWART OTIS: (from monitor) Show me how you pet the doggy.
DET. YELINA SALAS: Oh ...
STEWART OTIS: (from monitor) That's very nice.
DET. YELINA SALAS: Blood. Damn it!
STEWART OTIS: (from monitor) Thank you.
(She finds a plastic toy dinosaur with blood on its body and smeared on the
table.)
DET. YELINA SALAS: Son of a bitch. I found something outside, too.
HORATIO: Okay.
STEWART OTIS: (from monitor) Thank you. I want you to do one more thing,
okay? (Emma is crying.) I want you to say good-bye to Horatio.
(Stewart sits in front of the monitor next to Emma. He smiles at the camera,
then leans in close to turn it off.)
HORATIO: Okay, Stewart, okay. Let's go.
(They turn and leave the RV.)
[EXT. SECLUDED SPOT - NIGHT -- CONTINUOUS]
(She shows the prints to Horatio.)
HORATIO: What do you got?
DET. YELINA SALAS: Footsteps.
HORATIO: That's a drag mark.
DET. YELINA SALAS: From a body?
HORATIO: Nope. It's from a shovel.
(Quick flash to: Stewart Otis and Emma run quickly down the dirt road. Stewart
Otis is dragging a shovel behind him.)
EMMA KAYE: No! Help me!
STEWART OTIS: Come on!
(He stops suddenly and looks at her. He continues.)
EMMA KAYE: No!
(End of flash. Resume to present.)
HORATIO: He's going to bury her.
FADE OUT.
FADE IN.
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - LAB - NIGHT]
(Det. John Hagen sits in the chair and watches over Calleigh as she sleeps on
the couch. He loosens his tie.)
CUT TO:
[EXT. SECLUDED SPOT - NIGHT]
(Horatio walks cautiously through the brush. He holds up his flashlight and
looks around the area. After a while, he finds the shovel.)
HORATIO: No. Oh, no.
(Near the shovel is a small pair of legs. He pushes aside the leaves.)
HORATIO: Emma?
(He puts his flashlight aside and reaches down to check if she's still alive.)
HORATIO: Emma?!
(He checks for a pulse.)
HORATIO: Emma? Emma?!
(He finds a pulse. Emma opens her eyes.)
HORATIO: (shouts) She's alive!
(On the road, Det. Yelina Salas turns around as she and the other officers hear
Horatio shout.)
HORATIO: (o.s.) She's alive!
FADE TO:
[EXT. VARIOUS MIAMI (STOCK) - MORNING]
[INT. CSI - LAB - DAY]
(Det. John Hagen opens his eyes. He finds the couch empty. Calleigh is gone.)
DET. JOHN HAGEN: Calleigh? (louder) Calleigh?!
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(John Hagen rushes into the lab.)
DET. JOHN HAGEN: Calleigh Duquesne -- have you seen her?
CLAUDIA: She came in about an hour ago.
DET. JOHN HAGEN: What did she want?
CLAUDIA: Results on that substance she recovered. The gun slick brand.
DET. JOHN HAGEN: Where'd she go?
CLAUDIA: I don't know. She took off like a bat out of hell.
CUT TO:
[INT. GUN SHOP - DAY]
(Calleigh walks up to the store owner.)
CALLEIGH: Excuse me. I was wondering if y'all carry a particular brand of gun
lubricant in your store. It's called a-1 Dependable.
STORE OWNER: No.
CALLEIGH: Really? Now, that's funny, 'cause it's this old-school lubricant that
my daddy used to use and I distinctly remember y'all being the only store in
Miami that carried that brand.
STORE OWNER: You remembered wrong.
CALLEIGH: Okay, let's try this again.
(Calleigh shows him the WANTED poster of Hank R. Kerner.)
CALLEIGH: I need to know if you sold gun lubricant to this man.
STORE OWNER: (nervously) Um ... (He glances behind him.) uh ... I don't know.
CALLEIGH: Now, that's too bad, 'cause now I'm going to have to come back with
an ATF agent and shut you down for a couple days, and I guarantee you you're
going to remember that.
(Calleigh looks and sees Hank Kerner in the store. She reaches for her gun.)
STORE OWNER: (quietly) Please, I don't want to get in any trouble.
CALLEIGH: Why don't you just tell me what aisle it's on?
(She takes out her gun.)
STORE OWNER: Four.
(She slowly walks through the aisle. She looks at the security mirror and sees
Hank Kerner kneeling down in front of a gun display.)
(She holds her gun up and walks over to him.)
(He looks up and doesn't see her.)
(She walks up behind him.)
(Hank Kerner stands up.)
(He looks at the security mirror and sees Calleigh walking up to him.)
(He reaches for his gun.)
(He turns into the next aisle and points it thinking she's there. She's not.)
(He looks up.)
(She walks up next to him and puts her gun up against his temple.)
CALLEIGH: Drop the gun. Get down on the floor.
(Hank makes as if to move toward her, but she stops him.)
CALLEIGH: Uh-uh. There are two ways this goes down. Either way, you're
dropping the gun.
HANK KERNER: If I give up now, I go to the chair.
CALLEIGH: Ten years of appeals, or you can go right now.
(After a moment, he puts the gun down.)
(Calleigh twists the gun against his temple - like he's done to all his
victims.)
CALLEIGH: How does it feel?
CUT TO:
[INT. CSI - HALLWAY - DAY]
(The elevator doors open. Calleigh steps out.)
CALLEIGH: (to the officers) You can take him up to booking. I'll do the
paperwork.
OFFICER: Yes, ma'am.
HANK KERNER: This ain't over, bitch. I'll be seeing you.
(Calleigh turns around.)
CALLEIGH: Well, you know what the thing is, Hank? It doesn't really matter if
you do because, even if you get rid of me, someone will step in my place. And,
if you silence me, the evidence has its own voice, and it keeps saying, over and
over-- you. You and your bullets. You know what? And, by the way, where you're
going ... I think you're going to be the bitch.
(The elevator doors close.)
(Det. John Hagen runs as he turns the corner. He slows down when he sees
Calleigh.)
DET. JOHN HAGEN: Calleigh. Where have you been?
CALLEIGH: I took a drive ... got some fresh air ... (She smiles.) I
apprehended an escaped felon.
(She walks away from him. John Hagen turns and watches her go.)
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Emma is coloring. Horatio sits down next to her at the table.)
HORATIO: Hi.
EMMA KAYE: Hi.
HORATIO: Mm-hmm. You feeling better?
EMMA KAYE: Yeah.
HORATIO: That's good. Would you like some water or ... something to drink?
EMMA KAYE: No, thank you.
HORATIO: Okay. A nurse is on her way in to see you in a few minutes, but I was
hoping I could ask you a few questions before she comes in. Would that be okay?
EMMA KAYE: Yeah.
HORATIO: All right.
EMMA KAYE: You're my policeman.
HORATIO: That's right. Here's what I want to ask you. I was looking for you
before I found you. Does that make sense?
EMMA KAYE: I know. He told me.
HORATIO: The man who took you from school.
EMMA KAYE: He told me he was a jail man.
HORATIO: And you know what? He was. He was in jail.
EMMA KAYE: If he could get out of jail, could he get in here?
HORATIO: No. I wouldn't let him in here. Okay? I won't let him do that.
EMMA KAYE: My mom told me that sometimes ... they put good people in jail.
Like daddy. But I don't think that man was a good man. He hurt my neck.
HORATIO: I know. I know he did. I know he hurt you, and that's why I want to
get him. I don't want to let him do this to any other kids. Now, Emma ...
EMMA KAYE: He said my name wasn't Emma. He gave me a new name.
HORATIO: He gave you a new name. Is it Robyn?
EMMA KAYE: Is that the new name? Nuh-uh. He said my name was Bobbie.
HORATIO: So who's Robyn?
EMMA KAYE: My cousin. She's six.
HORATIO: She's six. Okay. Let me ask you one more question. All right? Do
you remember if you gave this man Robyn's address?
EMMA KAYE: No. But ... would I be in trouble if I told him where she went to
school?
HORATIO: No. You'd be fine. Okay? The nurse will be right in.
(Horatio leaves the room.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Det. Yalina Salas catches up with Horatio.)
DET. YELINA SALAS: I've located Robyn Kaye. She's on a field trip at the
aquarium.
HORATIO: Notify the fugitive team.
CUT TO:
[INT. AQUARIUM OF THE ATLANTIC - DAY]
(Det. Yelina Salas and other officers walk into the aquarium. She's on the
phone with Horatio.)
DET. YELINA SALAS: (to radio) We're moving into position.
HORATIO: (from radio) Okay, keep your eyes open for a man in uniform -- an
employee, a vendor, or maybe a guard.
DET. YELINA SALAS: Roger that.
(The kids are looking at the fish in the tank.)
(Standing among them, dressed in a work uniform with a patch, AQUARIUM OF THE
ATLANTIC, is Stewart Otis.)
(He watches the sharks swimming in the tank.)
(He leans forward to talk with a blonde-haired girl.)
(He looks around and sees Horatio staring at him.)
(Suddenly, Horatio is gone.)
(A little spooked, he looks around the area. Det. Yelina Salas sees him.
Stewart grabs the girl near him.)
ROBYN: Mommy! Mommy!
DET. YELINA SALAS: (to radio) Suspect is on the move, heading toward the south
exit.
ROBYN: Mommy! Mommy!
(Yelina chases after them.)
[EXT. AQUARIUM OF THE ATLANTIC - STAIRS / ROOF - DAY -- CONTINUOUS]
(Carrying the little girl under his arm, Stewart Otis runs up the stairs leading
to the roof.)
ROBYN: Mommy! Mommy!
(He puts her down and pulls her along with him as he continues climbing up the
stairs to the roof.)
ROBYN: No!
(They reach the roof. He's run out of places to run.)
(Horatio reaches the roof, his gun in his hand behind his back.)
HORATIO: There's no way out, Stewart.
(Stewart turns around, his hand around the little girl's neck.)
HORATIO: Let her go.
STEWART OTIS: I'll kill her, Horatio.
HORATIO: Stewart, I'm not going to ask you again. Let her go.
STEWART OTIS: I love them. I can't do without them.
(Horatio takes a step closer.)
HORATIO: Stewart, that's not her fault.
(Stewart moves. He leans forward to grab the little girl.)
HORATIO: (warning) Stewart. Stewart!
(Horatio fires and hits Stewart in the upper chest. Stewart turns and falls
over the railing. He holds on.)
(Horatio walks over to Robyn.)
HORATIO: Are you okay, Robyn?
ROBYN: (nods) Mm-hmm.
HORATIO: You sure? Okay, here's what I want you to do. I want you to run that
way as fast as you can. Go ahead. Run.
(Robyn runs.)
HORATIO: Run, Robyn.
(Horatio walks over to Stewart still hanging over the side. He stands there and
looks at Stewart for a moment. Horatio grabs Stewart by his uniform lapel.)
HORATIO: Give me your other hand, Stewart.
STEWART OTIS: Let me go.
HORATIO: I wish I could.
STEWART OTIS: I'll just get another one.
HORATIO: Give me your other hand, Stewart. Come on, give it to me.
STEWART OTIS: Let me go.
HORATIO: Come on.
(Stewart reaches up and cuts Horatio with the knife in his other hand.)
(Bleeding, Horatio tries to grab Stewart again, but Stewart tries to cut Horatio
with the knife. Finally, Horatio hauls Stewart up and over the railing.)
(He drops Stewart flat on the floor and wrestles the knife out of Stewart's
grip.)
(In the distance, the sirens from approaching police cars are heard. Det.
Yelina Salas steps out of the car.)
STEWART OTIS: Why didn't you let me die?
HORATIO: Because you died a long time ago, Stewart. Let's go.
DET YELINA SALAS: Stewart Otis, you're under arrest for the attempted murder of
Emma Kaye.
(The officers haul Stewart up to his feet and handcuff him.)
STEWART OTIS: No. I will get out. It's my nature.
HORATIO: And I'll be waiting. That's my nature. Take him.
(They leave. Yelina walks up to Horatio.)
DET. YELINA SALAS: Hey, you're bleeding.
HORATIO: Oh.
DET. YELINA SALAS: Hold on.
(She takes a clean handkerchief and dabs at his bloody hand.)
HORATIO: I'm fine.
DET. YELINA SALAS: I can see that.
HORATIO: Thank you.
(They look at each other.)
DET. YELINA SALAS: Well, everything in its own time.
HORATIO: Yes, aren't those words to live by? Will I see you at the booking?
DET. YELINA SALAS: Yeah. Maybe you will.
(She turns away to leave. He stops her.)
HORATIO: Okay. Yelina. Nice job.
(She smiles. Horatio walks up to the wall and looks out. Yelina turns and
leaves.)
(Camera holds on Horatio for a moment.)
CUT TO:
[INT. CSI - LAB - DAY]
(Speedle looks at the whiteboard with photos on it of various people affected by
this breakout - from the prisoner in the yard, to the attorney Janet Medrano, to
young Emma Kaye.)
(Speedle reaches up and removes the photos.)
[EXT. TRACK - DAY]
(Delko is running on the track.)
[INT. CSI - BALLISTICS LAB - FIRING RANGE - DAY]
(Calleigh is at the firing range shooting.)
[INT. CSI - FORENSICS LAB - DAY]
(Alexx pushes the body tray back into the cabinet. She closes the cabinet door.
She lightly touches the nameplate on the cabinet above:
NAME OF DECEASED: JANET MEDRANO
CORONER'S CASE NO. 19987201
FILE NO.: 24302-7251
DATE: 5-18-03
(Cut to: She reaches up and turns the table light off.)
(Dissolve to: Alexx turns the room light off. She opens the door and leaves
the room.)
[EXT. BEACH - DAY]
(Horatio looks at his bloodied hand.)
(He's kneeling down at the shoreline. He reaches down and puts his hand flat in
the salt water and washes the blood off his hand.)
(He stands up.)
(He puts his sunglasses on.)
FADE TO BLACK.
==========================
THE END
==========================
Episode Length: 75 minutes.
[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
1X24: BODY COUNT
ORIGINAL AIR DATE ON CBS: 05/19/2003
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
SOFIA MILOS as Det. Yalina Salas
HOLT McCALLANY as Det. John Hagen
WILLIAM O'LEARY as Stewart Otis
STACY HAIDUK as Dawn Kaye
JAMES PICKENS JR., as Prison Warden
D.B. SWEENEY as Simon Bishop
AISHA TYLER as District Attorney Janet Medrano
TROY EVANS as Butch
TESSA ALLEN as Emma Kaye
BRIAN POTH as Tyler Jensen
MAURICE COMPTE as Guillermo Soriano
Music Composed by: GRAEME REVELL
Edited by JOHN REFOUA, A.C.E.
Production Designer: CAROLS BARBOSA
Director of Photography: DERMOTT D. DOWNS
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: DAVID BLACK
Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Teleplay by ILDY MODROVICH & LAURENCE WALSH
Story by: STEVEN MAEDA
Directed by: JOE CHAPPELLE
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN
Executive Producer: ANN DONAHUE
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.
Co-Starring
GEOFF MEED as Hank Kerner
JOHN EDDINS as (Fugitive Team Commander) Dan Clarkson
SCOTT ADSIT as Izzy
DON BRUNNER as Burley C.O.
CRISTOS ANDREW as Inmate #1
BRYN LAUREN LEMON as School Girl
SAAFIR as Mega-G
TOMIKO MARTINEZ as Technician (Claudia)
CISCO REYES as Joe Aviar
SHENIKA WILLIAMS as (Treynece Banks) Delicious
MARKI ANN MEYER as Robyn Kaye
RACHEL ROGERS as Ruthie Crighton
CHUCK TAMBURRO as Bryce Kaye
KENNY ALEXANDER as Randall Kaye
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Associate Producer: SCOTT LAUTANEN
Casting by: NAN DUTTON SELLS & 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: GARY DAIGLER
Second Assistant Directors: NANCY P. TOWNSEND
Costume Designer: MYNKA DRAPER
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: DONOVAN DEAR
Special Make-Up Effects: MATTHEW W. MUNGLE / KRIS KOBZINA
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: JOEY KRAFT
Gaffer: JEFF ZUCKER
Key Make-Up Artist: PEGGY TEAGUE
Key Hairstylist: TERRY ROBBINS
Camera Operator: MIKE GENNE
2ND 2ND Assistant Director: ROBYN WILLEY
Location Manager: MAC GORDON
Costume Supervisor: BRIAN MAHON
Transportation Coordinator: BOB CAWLEY
Stunt Coordinator: TIM TRELLA
2ND Unit: 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 Supervisors: MARC LEIDY / LARRY DETWILER
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:12/28/2004~lky
http://www.webphilia.com/~anthology/wnp.htm