Then he decides to put on a sassy beat while he and his environment-destroying Humvee head to the crime scene. Sevilla meets him and gives him the 411 on the scene: this is where Jane Doe and a splotch of her blood were found. Horatio concludes that "she wasn't killed here. There's not enough blood for a head shot, right?" Right. You wanted an answer, didn't you, Horatio? Sevilla tells Horatio the girl could have been dumped, and she's got a couple of guys on the road preserving tread marks. Horatio and Delko then check out the blood drops Delko's found, and Horatio's all, "Adele, pull your men off the road. We're going to expand the crime scene." Who's in charge of this scene anyway? Is it Adele as the police detective, or Horatio as the CSI? Is there some sort of chain of command, or can Adele tell Horatio to pound sand? In any case, Horatio reconstructs Jane Doe's last moments: "She crawled to here. Probably rested for a moment, losing a lot of blood. Continued to travel, and then somehow got up. Fell again right here." As he and Delko walk along, we see that they're heading along a towpath beside a canal; the blue sky is brilliantly reflected in the water below. Whatever script, acting, and wardrobe problems this show has -- and yes, I do think Calleigh's weekly atrocities are such that they can be mentioned in the same breath as the writing -- the one thing this show consistently does right is find striking visual compositions. Anyway. Horatio has no time to ponder what a pretty picture he makes; he's too busy looking at the reflection of the sky in the canal and noticing that something looks hinky. Those aren't just clouds he's seeing, but a submerged compact car. Horatio concludes, "So [Jane Doe] crawled from here all the way to the road." Delko adds, "A quarter of a mile on her belly with a 9-mm round in her head. All for nothing." "Not if we can help it," Horatio replies.
Within moments, the small blue car is being pulled out of the canal. Once it's on land, Horatio notices that the window's spiderwebbed, i.e. rent with small, circular cracks caused by the impact of something against the glass. Delko -- who apparently went diving at some point in the car-retrieval process -- leans in to look and take the guess, "It could have shattered when Jane Doe was shot, just like Abby Sandoval." Horatio points out, "The difference is, Jane Doe had no glass in her wound." Delko says he'll try to lift prints off the steering wheel to see if he can give the woman a name, but Horatio spies a purse and pulls it out. Delko asks, "Any ID?" What, like Horatio's going to use his x-ray vision in front of mortals to figure that stuff out? Horatio tells him to hang on, and finds a check-cashing card belonging to one Bonita Cruz of Southwest 10th Street. Delko notes that Abby Sandoval lived in the same neighborhood. Horatio remembers, "Southwest 14th Street, right?" Delko replies, "Yeah, I know a lot of girls like that. They come from Cuba, Honduras, Nicaragua, looking for a better life, but they wind up cleaning toilets in Bal Harbour." Given a choice between that and being shot at or tortured by assorted political goon squads, I'm thinking the toilets might have a slight edge. Not that I think immigrant exploitation is the proudest component of the American marketplace; it's just that it might help to have a little perspective, is all. Anyway, Horatio actually pins the problem by pointing out how few people actually pay attention to the folks who clean their offices and homes by saying, "Yes, the invisible ones." Delko points out, "Perfect victims. No one gives them a second look." Delko happens to find a shell casing right then, much to everyone's delight.