So now that everybody knows everybody, they each squat down over the body, each on their side of the line, though Cross is pushing it a bit. Ruiz wonders who the victim is, and after trying to shut down the discussion by simply pointing out that she's American, Cross reluctantly identifies her as a judge named Lorraine Gates. And right here on the gates between nations, too, which I'm sure Cross will at some point cross. My Spanish is practically nonexistent, but I'm beginning to suspect that "Ruiz" translates to "Symbol of Cultural Friction." An American uniform comes up asking who the cop in charge is, and the awkward moment is now here. Cross claims the case, pointing out the victim is American and the car came from the El Paso side. "Okay," Ruiz shrugs, heaving himself painfully back to a standing position. That was resolved a lot more easily than I expected.
Fortunately, the first conflict of the show presents itself. It's in the form of Annabeth Gish, crowding the police barrier from the Mexico side. She indicates the idling ambulance she's standing next to and says that her husband is inside having a heart attack, so they need to cross the bridge. Cross says there's nothing they can do, even when the soon-to-be-widow waves a wad of cash at her. "There are rules," Cross insists, and walks off to presumably find someone less idiotic who understands about crime scenes. Ruiz, who followed Cross over to the ambulance, looks like he might be on the verge of behaving more reasonably. When he asks what these rich folks were doing in Juarez in the first place, the woman backs off with an excuse about shopping for horses and gets back in the ambulance with her dying husband. Ruiz steps over to the open driver's window and has a brief, subtitled conversation in Spanish with the paramedic confirming that the old man will die if he doesn't reach a hospital soon.
Meanwhile, in the middle of the bridge, Cross is dressing down a border guard for not knowing the make and model of the car in question when the ambulance rolls right past her. She chases after it yelling, then gives up and demands to know who authorized its passage. Ruiz confesses, arguing that the Americans wanted an American hospital. He's acting kind of sheepish, as though he was out of line. He does show her his badge when she demands to take down the number. She's all het up about his compromising the scene of a U.S. case, and he non sequiturs, "I don't need your body. Just this morning I got nine heads in the parking lot at City Hall." "Why tell me that?" she demands. "We've got our own dead," he explains. "How'd you let that happen?" she parting-snots, and leaves him to soak in that for a while, as though the answer to her question is something to do with his tendency to let emergency vehicles to their job. Instead of feeling bad about it, he orders his men to roll out and announces he's going back to sleep. Unless things pick up soon I won't be far behind him.