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#318 : Tri non sélectif

Un corps en décomposition est découvert dans un baril de déchets toxiques. Catherine, Nick et Sara sont chargés de l'enquête, qui démarre difficilement, car les médecins légistes peinent à identifier la victime. Celle-ci est probablement morte depuis plusieurs mois. Le docteur Robbinsdécouvre un indice crucial : une bague ornée de symboles grecs. L'enquête mène Catherine, Nick et Sara dans le monde de la guerre technologique. Pendant ce temps, Warrick et Grissom enquêtent sur un autre meurtre. Greg leur vient en aide en acceptant une mission sous couverture. Cette affaire lui permet de prendre du galon.


3.83 - 6 votes

Titre VO
Precious Metal

Titre VF
Tri non sélectif

Première diffusion

Plus de détails

Écrit par : Naren Shankar & Andrew Lipsitz
Réalisé par : Deran Sarafian

Avec : Geoffrey Rivas (Détective Sam Vega) 

Guests :

  • Katherine La Nasa ..... Ginger 
  • Matt Winston ..... Brian Kelso 
  • Garret Dillahunt ..... Luke 
  • Matt DeCaro ..... Vendeur de pièces 
  • Blake Adams ..... Willy Reddington 
  • Sarah Lancaster ..... Mme Mercer 




SCENE #01:

[EXT. -- DAY]

(Camera close up of an old rusty toy truck, a turned over shopping cart and an abandoned toilet.)

(Two racers on their quad-bikes ride in and out of the area, each pacing with the other.)

(BILLIE, the rider in BLUE, on the red bike hits a large metal canister and falls to the ground.  The rider in RED on the blue bike stops to render aid.)

RIDER in RED:  Billie!

(The RIDER gets off her bike.  BILLIE takes off her helmet and looks at the canister.)

RIDER in RED:  My God, Billie, are you okay?  What did you hit?

(They both look at the canister #3077 with a large yellow sticker on it labeled "HAZARDOUS WASTE / HANDLE WITH CARE".  Camera cuts to a white sticker labeled: POISON.)


SCENE #02:


(BRASS shows GRISSOM and CATHERINE the body in the canister.)

BRASS:  So, according to the girl, one minute she's blasting through the mud and having fun, everything's great, the next thing she knows, she's lying upside down in the dirt, staring at chemical waste.  She called Hazmat.  Now, it's not toxic.  They saw the barrel was buckling, they thought it might explode, so they opened it.

(They approach the barrel and immediately smell the body.)


GRISSOM:  Yeah, whoa-ho.

CATHERINE:  Soap mummy.

GRISSOM:  Adipocere, a.k.a. Mortuary wax.  This is what you get when fatty tissue decomposes in an alkaline environment with limited oxygen.

CATHERINE:  All you need is a little moisture and enough time.

(Quick CGI POV of:  Camera close up of the body in the can slowly decomposing and turning into soap.)

CATHERINE:  (v.o.)  Anaerobic bacteria digest body fats, converting them into a waxy solid.

(End of Quick CGI POV.  Resume to present.)

CATHERINE:  Kind of like the way they make vegetable shortening.

BRASS:  I'll never eat another french fry.  How long you think he's been in there?

GRISSOM:  How do you know it's a he?

CATHERINE:  Five, six weeks, minimum.

BRASS:  With all this wind and weather, any evidence of the dump is long gone.

GRISSOM:  (nods toward the barrel)  We got evidence.  (beat)  Signed, sealed and delivered.




SCENE #03:


(The contents of the barrel are turned over onto the table.  ROBBINS is explaining the process to two other assistant coroners, one of whom looks like he's getting sick from the smell.)

ROBBINS:  Gentlemen, saponification occurs most frequently in infant burials.  That's because their bodies have more fat, and their bacterial flora aren't fully developed.  (as the barrel tilts)  ... Slowly ...

(The liquid from the barrel spills out onto the table along with the first body part.)

ROBBINS:  Hold it.

(The barrel stops.  ROBBINS picks up a ring from the table and looks at it.)

ROBBINS:  Hmm.  Look at this.  Something for Catherine.

(ROBBINS puts the ring aside.)

ROBBINS:  All right.  Let's pull  the rest of this out.  Historically, saponified corpses that maintain their physical features were looked upon as, uh, incorruptible, even saintly.

(The assistant coroner in the room continues to look sick.  Camera close up of the liquid soup coming out of the barrel.)

ROBBINS:  So, when it happened to children, it just reinforced that notion.  Hand me that foot there, would you?  Okay.

(The assistant coroner finally lifts up his head gear, gags and exits the room.  ROBBINS continues to pull out body parts and place them on the table.)

ROBBINS:  You know, interestingly enough, since formaldehyde is alkaline and American caskets are sealed, there are more bodies in this country turning to soap now than at any other time in human history.  We are, in fact, the adipocere capital of the world.  USA -- we're number one.

(ROBBINS lifts up the hand with it's index finger extended.)



SCENE #04:


(GRISSOM and WARRICK make their way through the hallway to the lab.)

WARRICK:  Are you serious?  David lost a body?

GRISSOM:  It happens.  When I was working in Minneapolis, we had two John Smiths come in on the same day.  Sent the wrong one back to Canada.  Anyway, our body's still in the morgue.  David finally processed his ten card.  Guy's name is Keith Mercer.

WARRICK:  When did he come in?

(WARRICK spreads out the photos on the table.  GRISSOM grabs a pair of gloves and puts them on.)

GRISSOM:  Eleven days ago.  Found him in an alley off of Fremont in a pile of garbage next to the dumpster.

WARRICK:  Eleven days ago?  I guess we've got no more crime scene to process.

GRISSOM:  Initially, the police thought he was homeless.  He hadn't bathed, no wallet, watch or keys, and he has scars on his lower legs.

(WARRICK picks up a photo of the body's head.)

WARRICK:  And a nice laceration with ecchymosis on his left temple.

(GRISSOM picks up the evidence from the bag.  First, the victim's shirt.)

GRISSOM:  Yeah, cause of death was blunt force trauma to the head.

WARRICK:  Could have been an accident.

(GRISSOM puts the victim's shoe down.)

GRISSOM:  Could have been a lot of things.  

(He reaches into the bag and takes out the victim's belt.)  

GRISSOM:  Evidence without context is ambiguous at best.

(He notices something yellow on the belt near the buckle.)


SCENE #05:


(ROBBINS goes over the findings with CATHERINE.)

ROBBINS:  Did you ever chop wood, split a log?

CATHERINE:  I've seen it done.

ROBBINS:  You should try it sometime.  I find it relaxing.

CATHERINE:  (smiles)  Mmm.

ROBBINS:  The blow here was delivered similar fashion.  The temporal bone was hit, driven down hard.  Upper palate smashed.  Most of the teeth gone.

CATHERINE:  What about the foot?  It looks as though that's been sheared off.

(Camera close up of leg bone cut clean through.)

ROBBINS:  Yeah, by something fast and powerful.

CATHERINE:  Industrial accident?

ROBBINS:  No, industrial accidents are messy.  These cuts are too clean.  My guess -- single impact.

CATHERINE:  How about an axe then?

(Quick CGI POV of:  Camera close up of an axe hitting into a leg.  End of CGI POV.  Resume to present.)

ROBBINS:  Possible.  I'll cast the tool marks.  

CATHERINE:  Body in a drum in the middle of the mountains.  Well, if the head and hands were missing, I'd be saying mob hit.

ROBBINS:  Could be ritual mutilation or fetish murder.

CATHERINE:  So, I.D. from dental records is out.  How about DNA?  Bone marrow may still be viable.

ROBBINS:  My thoughts exactly.  

(ROBBINS grabs the bone saw from the side.)  

ROBBINS:  The preferred sample is a large bone with a portion of joint, and we freeze, grind and sequence.  Want a breast or thigh?

CATHERINE:  It's your kitchen.


SCENE #06:


(NICK and SARA get a cup of something to drink.)

NICK:  Hey, Sara, I don't want to cross any lines here, but, uh, I've got this buddy who's not going out with anybody ...

SARA:  No.  No, no, forget it.

(CATHERINE appears in the doorway and calls out to them.)

CATHERINE:  Hey, Grissom bailed.  You guys are with me.

NICK:  Good.

(They take their cups and head out of the lounge.  NICK continues to try to get SARA to agree with him.)

NICK:  He's a cool guy.

SARA:  No.

NICK:  I mean, you don't ...

SARA:  No, Nick ...

NICK:  Listen, just hear me out for a second.


SCENE #07:


(Camera close up of the ring.  SARA looks at the ring and does an internet search on it for "FRATERNITY CHAPTER".  She pages down through the different kinds of fraternity rings looking for a match.)


SCENE #08:


(Wearing a mask and sitting on a chair, NICK tackles the barrel the body was discovered in.  He swabs the inside.  He notices the barrel plate.)

(NICK cuts the barrel plate off of the barrel.  He polishes the plate off.  He takes a MAGNAFLUX (c) Magnetic Particle Test Equipment out from its box and sets it up.)

(He pours some black powder on the plate completely covering the plate.  When the machine is turned on, the black powder embeds itself into the etching revealing the following:  4LRW8464.)

NICK:  (pleased at the results)  Gone but not forgotten.


SCENE #09:


(SARA knocks lightly on the doorframe as she walks into the lab.  CATHERINE is inside at the table.)

SARA:  DNA hit on the soap mummy?

CATHERINE:  Yeah. His name was Christian Cutler.

(CATHERINE looks down at the information sheet in front of her with the following information:

[...182672K   DATE:01-05-98 TIME: 11:22:13

--ATION: E-5  *****               ]

SARA:  You got to love CODIS.  What's his felony?

CATHERINE:  He wasn't in CODIS.  Department of defense registry.  He was in the army.  An E-5 sergeant, honorably discharged three years ago.  The guy drove tanks.

SARA:  Well, that fits.  You know that fraternity ring?  It's not a fraternity ring.  Omega-Zeta-Alpha is a mechanical engineering honor society.

CATHERINE:  Hard-core mechie.

NICK:  Hey, hey -- want to know where his drum came from?


SCENE #10:


(NICK, CATHERINE and BRASS make their way to the warehouse.)

NICK:  The chemical company serializes all their shipping containers.  That way, if hazardous waste ends up where it shouldn't be, they know where it came from.

CATHERINE:  This place seems lively for a warehouse.

NICK:  A good place for a rave, though.


SECURITY GUARD:  The cover's 25 bucks each.

(BRASS points to his badge.)

BRASS:  I got a coupon.


SCENE #11:


(Inside the warehouse, loud techno music plays.  There is a huge rink in the middle surrounded by protective glass.  Inside the rink are a number of robot machines.)

NICK:  Robot rumble.  Demolition derby by remote control.  They got a show on cable tv.

GINGER:  (over p.a.)  And here comes Spiker Chick.  The death blade goes up, and the death blade comes down.  Oh! Jabba the Bot is made of titanium, but how much can he take?  

(NICK cranes his neck to watch the action inside the rink.  Off to the side, the robot creators with their remote controls drive the machines inside the rink.)

GINGER:  (over p.a.)  Oh, we got a jam-up, but with this much horsepower, it won't last long.  Slaughter's driving yellow belly into the wall, trying to shake him off. It's mayhem in the middle. ... On his back, taking a pounding.  And here comes Spiker Chick with the death blade.  Oh, no! We got a Spiker Chick sandwich!  Spiker chick is going for Jabba. Oh, again and again! Oh, and in a dazzling array of skill and deception ...

CATHERINE:  Metal weapons, money, competition, testosterone.

BRASS:  We got a roomful of murder suspects.

GINGER:  (over p.a.)  And the winner is ... Jabba the Bot!  Whoo! Whoo-whoo!

(The audience cheers wildly.)




SCENE #12:


(Camera follows a small remote-controlled two-wheel robot with blade across the floor.  CATHERINE and BRASS question GINGER, the owner of the warehouse.)

GINGER:  Bots fight all over the country, on tv, all over the world.  This is an informal venue where competitors can come to hone their skills and their machines.

BRASS:  You have a gaming license?

GINGER:  I don't need one.  See, I just put on a show.  If people bet, that's their business.

BRASS:  You're the only house in Vegas that doesn't take a cut.

GINGER:  Hey, my daddy ran an independent shipping company he ran it right into the ground.  He died broke, but he left me a bunch of empty warehouses.  I needed revenue, so I developed a new market.  (to JIMBO)  Hey, Jimbo, you looked ferocious out there.

(JIMBO looks up from tending to his robot.)

JIMBO:  Thanks, Ginger.  We lost.

GINGER:  (smiles)  Yeah, but I like a guy who goes down with style.

CATHERINE:  Look available, be unobtainable.

GINGER:  Keeps them coming back for more.  Want to tell me what this is all

(BRASS holds out a photograph.  GINGER looks at it and recognizes the person.)

GINGER:  That's Chris Cutler.

BRASS:  He's dead.

CATHERINE:  He found his body stuffed in a chemical waste drum from this

BRASS:  When was the last time you saw Christian?

GINGER:  (thinks)  God, about six weeks ago.  Robot rumble, big free-for-all.

(Quick flashback to:  CHRIS CUTLER yelling with pleasure as he controls his bot
and demolishes the other bots such as "Hammer of God" and "Kill".)

GINGER:  (v.o.)  Smash-'N-Burn was on fire that night.  Dismantled three or four

(End of flashback.  Resume to present.)

GINGER:  He had the kind of fight that most of these boys dream about.

(Quick flashback to:  CHRIS CUTLER yelling and taking pleasure as he controls
his bot.  The other bots' owners don't look as thrilled as CHRIS CUTLER.)

GINGER:  (v.o.)  Using the thing that he built  to destroy the thing  that the
other guy built.

(End of flashback.  Resume to present.)

GINGER:  It's a basic male drive.

CATHERINE:  (to BRASS)  That kind of puts that whole weapons of mass destruction
thing into perspective.  (to GINGER)  I take it this Chris was not well liked.

GINGER:  Let me put it to you this way, nobody likes a winner who needs to shove
it in your face.

BRASS:  We're going to need you to identify the guys fought with that night.

NICK:  As well as their bots.  We can't have a murder without a murder weapon.

BRASS:  I'll take them all.



SCENE #13:


(GRISSOM and VEGA interview MRS. MERCER, KEITH MERCER'S wife.  They show her the
photograph of the body.)

MRS. MERCER:  Keith went to Yosemite to climb El Capitan.  The shield headwall.

VEGA:  Did you go with him?

MRS. MERCER:  I drove to Taos to see my sister.

VEGA:  And got back when?

MRS. MERCER:  Ten days ago.  Keith's gear was in the living room, but he wasn't

VEGA:  What did you do then?

MRS. MERCER:  I called his cell phone.  I called his office.  And then I called
the park service and all they said was that Keith had been by to pick up his
permit.  So then I checked the hospitals up there and nothing.  Then I called
the hospitals in Vegas.  And then I called the police.  I did everything I could
do and nobody would pay attention.

GRISSOM:  Mrs. Mercer ... you have my attention.  And I'd like to see your


SCENE #14:


(WARRICK pulls out the climbing rope from the bag on the living room floor.)

WARRICK:  Looks like his gear's all here.  I don't see a sleeping bag, though.

(GRISSOM studies the wood floor.)

GRISSOM:  It looks like someone was trying to clean up, too, but forgot to use
their Murphy's oil soap.  

(GRISSOM stands up.)  

GRISSOM:  Luminol.

(WARRICK reaches in to his kit and takes out the spray bottle of luminol.  
GRISSOM closes the window blinds.  The floor glows.)

WARRICK:  You called it.  Positive for blood.

(GRISSOM looks around at the framed photographs on the fireplace mantle and on
the wall of the MERCER'S.)

(WARRICK continues to spray luminol on the floor in the surrounding area and
finds a shoe print.)

(Quick flashback to:  Someone walks through the blood and leaves behind
shoeprints of blood.  End of flashback.  Resume to present.)

WARRICK:  Got a trail of bloody footprints.

GRISSOM:  I may have blood here, too.

(GRISSOM looks at the bookshelf and finds a bloodied finger print on the edge of
a wooden box.  He picks up the box and opens it.  It's empty.)

(WARRICK continues to spray the floor leaving behind evidence markers where he
finds day-glo shoeprints.  The prints lead up to the fireplace.  WARRICK sprays
around the fireplace and finds blood on the base of a heavy figurine.)

(Quick flashback to:  Someone hits MR. MERCER over the head with the figuring.  
End of flashback.  Resume to present.)

WARRICK:  Grissom.  I think I might have just found our murder weapon.

(WARRICK picks up the figuring and holds it up for GRISSOM.)


SCENE #15:


(Camera close up of the various bots taken from the warehouse.)

SARA:  Spiker Chick, Donsueme, Slaughter 10?  You really think one of these things killed your vic?

NICK:  They're fast, they're powerful, and the weapon characteristics fit, so I can't rule them out.

SARA:  Well, you know what they say -- it's what's on the inside that counts.

(NICK tests the drill he's carrying, then hands it to SARA.)

NICK:  Well put.

(SARA takes the drill and starts unscrewing the first bot in front of her.)

(NICK starts taking apart the bot in front of him.)

(Dissolve to:  SARA takes a swab from the open machine in front of her.)

(NICK takes a swab from the machine in front of him.)

(Various cuts to both NICK and SARA taking swabs from the insides of the machines.)

(SARA tests the swab.  It turns pink.)

SARA:  I got blood.

NICK:  Yeah, join the club.

SARA:  I'll take these to Greg.

NICK:  I'll get going on the tool marks.


SCENE #16:


(The bots are placed in their own little booth separated by plastic sheet dividers.  From the next room, NICK controls the bot and tests its cutting edge against a hanging chicken leg.)

(The first bot, Donsume, cuts the chicken leg.)

(Dissolve to:  NICK takes a mold of the chicken leg bone cut.)

(Dissolve to:  NICK places the new mold under the scope next to the mold taken of the severed leg bone from the body found in the barrel.)

(Scope view in focus.)

(GREG walks into the lab.  He's carrying a piece of paper.)

GREG:  Any luck?

NICK:  No.  Tool marks don't match the vic's wounds.

GREG:  Mm.  Could have saved you the time.  DNA beats tool marks every time, you know.  I ran your blood samples.  Got a match, all three of them.

(GREG hands NICK the results.  NICK looks at it.)

NICK:  Victim's blood, three different parts from three different bots?  That doesn't make any sense.

GREG:  Well, where did the parts come from?

(NICK looks at GREG.)



SCENE #17:


(BRASS and NICK interview CHRIS CUTLER'S partner, BRIAN KELSO.  BRASS plays with
the little two-wheeler bot with the big blade.  NICK sits across KELSO listening
to him talk.)

BRIAN KELSO:  I buy and sell and trade parts all the time.  From all over the
place.  Salvage yards, swap meets, e-bay.

NICK:  They usually have blood on them?

BRIAN KELSO:  I don't check.  Doesn't matter if they're clean or dirty, only
that they work.  Look, me and Chris are partners.  I built the bot, he drove it.  
We kicked ass, made good cash.  Why would I want him dead?

(BRASS looks at the photographs of "ROBOT RUMBLE 2003".  The caption on the left
reads:  "SMASH AND BURN / FIRST PLACE".  The caption on the right reads:  
"CHRISTIAN CUTLER / BRIAN KELSO".  The two men sit with their bot in between

BRASS:  You know, Brian, I mean ... your best buddy drops off the face of the
earth for six weeks ...

(NICK glances over at the photograph.)

(Quick flashback to:  Smash 'n Burn in the rink ripping apart some poor bot.  
End of flashback.  Resume to present.)

(BRASS puts the photos down.)

BRASS:  .... You get a call or e-mail but you care so much about him that you do
absolutely nothing to find out what happened.  You can understand why we're he,
so straighten us out.

BRIAN KELSO:  There was nothing weird Chris be he did stage effects for
pyrotechnica.  Have some pretty good tunes, you know.  Worth listening to.  
(beat)  Or not.  

(BRASS hands the photos to NICK.)

BRIAN KELSO:  Anyway ... when Chris is on the road he's a vapor trail.  He's not
a phone call kind of guy.

NICK:  That's a nice ATV.  You ever take it to the mountains?

BRIAN KELSO:  Yeah, sometimes.  I, uh, I dabble in ambient music.

(MRS. KELSO walks into the room with her daughter.  NICK watches as she makes
her way with the fussy baby to BRIAN KELSO.)

MRS. KELSO:  She wants her daddy.

BRIAN KELSO:  There's some pretty good samples out in the mountains, especially
at night.

(She hands the baby to BRIAN KELSO.  He starts bouncing her on his knee.  She
immediately stops fussing.)

BRASS:  You know, you got a lot of hobbies, Brian.

(The baby starts to cry.)

BRIAN KELSO:  Oh, you don't have hobbies you go nuts.  Human beings are designed
to make things.  It's hard-wired into our brains.  We make things, we build
things to make more things.  

(BRIAN reaches for the milk bottle and starts feeding his daughter.  She stops

BRIAN KELSO:  It's what sets us apart from the other animals.  Except monkeys.  
Primates in general, I guess.

NICK:  Brian, Brian.


NICK:  Hobbies take up space.  You don't seem to have a whole lot of that here.  
Do you have a workshop?

BRIAN KELSO:  Uh, I rent a space.


SCENE #18:


(Inside the warehouse, it's busy.  Machines whirs.  The doors open and OFFICERS
walk inside, evacuating the guys inside the building.)

OFFICER:  All right, guys, we got to clear the room.
OFFICER:  Come on.  Let's go, boys.
OFFICER:  Excuse me, bud.  You wanna set that down.

JIMBO:  Yeah.

OFFICER:  We need you guys here to clear outside.

LUKE:  Oh, okay.  Slow day oppressing the weak?  Don't scuff your jackboots.

OFFICER:  Let's go.  Let's go.

(As LUKE and the OFFICER walk out of the warehouse, NICK and CATHERINE walk in.  
CATHERINE turns on her flashlight.  More people leave the warehouse.)

OFFICER:  All right.  We're all clear.

CATHERINE:  Is this a machine shop or a junkyard?  

(CATHERINE looks at the individual work stations and finds pictures of robots
pinned to the shelves.)  

CATHERINE:  I guess this is what passes for pinups with these guys.

(CATHERINE and NICK continue to look around.)

NICK:  This is Brian's bot right here.  Smash-n-Burn.  And it's got a spinning
weapon.  I'll take it in for tool marks.

(NICK looks inside the open machine and sees that it's bare.)

NICK:  And it's missing parts.

(CATHERINE looks at another work station with matching photographs pinned to the

CATHERINE:  So this must be Hammer of God.  Or at least what's left of it.

(Quick flashback to:  Inside the rink, HAMMER OF GOD is demolished into pieces.)

GINGER:  (over p.a.)  HAMMER OF GOD is against the ropes.

(End of flashback.  Resume to present.)

(NICK finds something on the floor.)

NICK:  Rust stain.

(NICK takes out his tape measure and measures it.)

NICK:  Twenty-three inches.  (CATHERINE turns around.)  That's standard diameter
for a 55-gallon drum.

(CATHERINE continues to look around.  NICK kneels down on the ground and starts
looking for evidence.)

(CATHERINE finds a broken press-on nail on the ground.)

NICK:  Catherine, I've got spatter.

(Quick flashback to:  The sounds of a saw whirring and a man screaming as blood
spatters into the webbing of the grate.  End of flashback.  Resume to present.)

NICK:  I think we've got our murder scene.

(CATHERINE looks at the nail and recognizes it.)

CATHERINE:  I think we just got Ginger.





SCENE #19:


(CATHERINE talks with GINGER.)

CATHERINE:  We traced the machine shop back through a holding corporation.

GINGER:  To me.  I own it.  It's a rental property.  It's a good one.  It's
popular with the bot boys.  I would have told you if you'd bothered to ask.

CATHERINE:  Well, we found this in Brian's station -- your fingernail.

(CATHERINE shows GINGER the nail in an evidence baggie #011-35736-77.)

GINGER:  They break.

CATHERINE:  Yeah, they also scratch.  There were skin scrapings under the nail.  
We tested the epithelials.  They're Christian Cutler's.  Your shop, your
fingernail, your waste drum with the dead guy in it.

GINGER:  I stop by every now and then to make sure my clients are happy.  Chris
was there alone one night working.  He kind of got the wrong idea.

(Quick flashback to:  Smash-n-Burn is on and CHRIS CUTLER teases GINGER with the
bot.  GINGER doesn't find it remotely funny.)

CHRISTIAN CUTLER:  Come on.  He just wants to play.

GINGER:  No, Chris, stop doing it.  It's not funny.

CHRISTIAN CUTLER:  Way you keep shoving those ta-tas in my face isn't funny,

(GINGER reaches out a hand and scratches CHRIS on the face.  CHRIS yells.  In
her struggles, the fingernail comes loose and falls to the floor.)

GINGER:  Stop it!  Knock it off!

(End of flashback.  Resume to present.)

CATHERINE:  And you didn't think this was worth mentioning?

GINGER:  Hey, you guys asked me when I saw him last.  This happened the day
before the big free-for-all.

CATHERINE:  So, that's the price of doing business?

GINGER:  Yeah, you could call it that.

CATHERINE:  Here's the way I'd call it ...

(Quick flashback to:  GINGER grabs the remote from CHRIS CUTLER.)

GINGER:  Give me that, you son of a bitch.

(She turns the machine on and attacks CHRIS with it.  CHRIS screams.  End of
flashback.  Resume to present.)

GINGER:  Listen, I let the geeks fantasize about me.  And most of them are
harmless, happy to stare and then go home and spank the monkey like good little
college boys.  But Chris was a dumb, vicious, army grunt.  And maybe I wasn't as
careful around him as I should have been, but that doesn't mean that I killed

(CATHERINE stares at GINGER with surprise.)


SCENE #20:


(WARRICK takes out the figurine from the evidence bag and lays it down flat on
the grill, face up.  He takes a bottle of "AMIDO BLACK" and sprays it on the
figurine.  He then takes a bottle of water and washes the figurine with it.)

(He looks at the figurine under the light and sees something.)

(Quick flashback to:  Someone handling the figurine.  End of flashback.  Resume
to present.)

(WARRICK picks up the figurine and takes it to another machine where he lays it
flat on the bed.  He takes a photograph of the figurine.)


SCENE #21:


(WARRICK and GRISSOM question MRS. MERCER again.)

WARRICK:  Mrs. Mercer, we found this statue on your mantle.  It had your
fingerprints on it.

MRS. MERCER:  It was a wedding gift.

WARRICK:  Well, we also found your husband's blood on the base of it.  

GRISSOM:  Did you touch or move this statue at any time in the last ten days?

MRS. MERCER:  Keith hated that thing.  He was always trying to toss it.  

(Quick flashback to:  MRS. MERCER walks in and picks up the figurine from the
floor.  She puts it on the mantle.)

MRS. MERCER:  (v.o.)  When I came home, I found it on the floor.

(End of flashback.  Resume to present.)

MRS. MERCER:  I thought he'd put it there.  I found it in the hall closet, in
the garage.  I even found it in the car once.  It was like a game for us.  (She
looks at them.)  Look, I came to you.  You guys have been giving me the
runaround for over a week.

GRISSOM:  Could you tell us what you kept in this box?

(GRISSOM shows MRS. MERCER a photograph of the empty box taken from different

MRS. MERCER:  We inherited a coin collection, and we figured ... we'd save it
for a rainy day.


SCENE #22:


(CATHERINE and NICK watch as SARA works on the computer looking for a name to go
with the honor society ring.)

(The computer beeps.  SARA searches on the Omega-Zeta-Alpha Honor Society Web
page.  She checks the membership directory under "C" for CHRISTIAN CUTLER'S

CATHERINE:  Cutler-Comma-Christian.  

SARA:  Ring's not his.

CATHERINE:  Never went to college.  That part wasn't in his service record.

NICK:  Scroll up.  Check the K'S.

(SARA checks the "K" listing.)

NICK:  Hmm.  Hold it.

(They find "KELSO, BRIAN" listed.)

SARA:  Bingo.


SCENE #23:


(The Ring in a evidence bag is thrown onto the table in front of BRIAN KELSO.  
BRIAN stares at the ring.)

NICK:  The rings belongs to you, Brian.

BRASS:  You must have dropped it when you stuffing your buddy's corpse into a

(Quick flashback to:  BRIAN stuffs the body into the barrel.  His ring falls off
into the barrel.  End of flashback.  Resume to present.)

BRASS:  Here's the way this is going to play out.  This is the best-case
scenario.  We arrest you for murder.  The, uh, the jury likes your face, and,
uh, you get man one.  Then you get to spend the next fifteen years staring at
your wife and kid through a wire glass window.  Maybe if you're lucky, uh ...
when you get out, you can take her to the prom.  

(BRIAN KELSO starts to cry.)

BRASS:  She's going to be so proud of you, daddy.

(Loud wracking sobs consume BRIAN KELSO.)

BRIAN KELSO:  It was an accident.

NICK:  You want a tissue or something?

BRIAN KELSO:  No.  Hmm?  (He takes a deep breath.)  We were in the shop.

(Quick flashback to:  BRIAN and CHRIS walk into the shop.  On the ground is
Smash-n-Burn, chopper twirling slowly.)

BRIAN KELSO:  (v.o.)  Real late, no one else there.  I'd made some changes to
Smash-n-Burn's program.  We were testing them out.

(End of flashback.  Resume to present.)

BRIAN KELSO:  (quietly)  Smash was acting ... really flaky.  Sluggish, and then

(Quick flashback to:  BRIAN KELSO has the remote in his hand, surprise and
horror written all over his face.  The sounds of a saw whirring and a man
screaming as blood spatters into the webbing of the grate.  End of flashback.  
Resume to present.)

BRIAN KELSO:  It just went crazy.  With all that blood.  (He starts crying
again.)  And ... Chris ... in the middle of it just lying there.  I had to make
it go away.

BRASS:  Hey ... hey, Brian if it was an accident, why didn't y report it?

BRIAN KELSO:  It was my fault.  I was ... I was so scared.

NICK:  You disposed of the body.  Cleaned up the scene, dismantled the bot, and
sold the parts.

BRIAN KELSO:  All I could think about was my wife, and my little girl.  My
little girl.  I didn't want to lose them.  You got to believe me.  It was an

(He starts crying again.)

BRIAN KELSO:  (moaning between sobs)  I'm so sorry.  I'm so sorry.


SCENE #24:


(VEGA and WARRICK walk through the hallway.)

VEGA:  The bank flagged Keith Mercer's ATM card.

WARRICK:  Really?

VEGA:  Somebody tried to use it.

(VEGA laughs.)

WARRICK:  I guess the machine ate it, huh?

VEGA:  Yeah, but we got the stomach contents.

(VEGA reaches into his jacket pocket and pulls out a baggie with the credit card
inside.  He gives it to WARRICK.)

WARRICK:  Wicked.


SCENE #25:


(WARRICK sets the credit card inside the plastic container and places the fume
hood on top of it.  After a while, the print appears.)

(Camera zooms in for a close up of the print.)

(Cut to:  WARRICK looks through the database for a print match.  GRISSOM watches
as they find a match for:

[Match Found:  Willy Reddington
Case ID: (4845-209-
Las Vegas, Nevada

10-05-02 Public Drunkenness
11-29-02 Public Drunkenness
01-05-03 Assault & Battery
<>   ]

SCENE #26:



VEGA:  You're not Keith Mercer, but you have been using his credit cards.  Do
you care to tell us about that?

WILLY REDDINGTON:  He lent me his stuff, told me to have a good time.

VEGA:  When did he tell you this?


GRISSOM:  Yesterday?

WILLY REDDINGTON:  (nods)  Mm-hmm.  

GRISSOM:  Mr. Mercer's been in the morgue for ten days.  So unless you were at a

WILLY REDDINGTON:  I found him. Uh ...

GRISSOM:  Did you find that suit there as well?

WILLY REDDINGTON:  No. I-I bought the suit.

GRISSOM:  With this credit card?

(GRISSOM holds out a plastic bag with the credit card inside.  WILLY REDDINGTON
looks at it.)


(WILLY reaches into his back pocket and pulls out a wallet.  He opens the wallet
and takes out a different credit card.)

WILLY REDDINGTON:  ... I used this one.  It's not a platinum.  It's a ... it's a

(WILLY REDDINGTON smiles.  GRISSOM and VEGA look at each other.)


SCENE #27:


(WARRICK is in the lab checking WILLY REDDINGTON'S clothes.  GRISSOM walks in
and takes a seat.)

WARRICK:  So these are Willy Reddington's original gear.  This guy was classy.  
He goes into a store, buys new clothes, and leaves the old ones behind.  And
they tossed them in the dumpster.

GRISSOM:  I wish these people would start checking IDs.

WARRICK:  This is Vegas, baby.  Anybody can get lucky.

GRISSOM:  So, blood?

WARRICK:  Not a drop.

(GRISSOM puts his glasses on.)

GRISSOM:  No blood on his clothing.  

(GRISSOM looks at the photograph of the shoe print taken form the house and the
bottom of WILLY REDDINGTON'S shoe.)

GRISSOM:  The shoe treads don't match.  And the guy's got no car.

WARRICK:  Yeah, how do you dump a body with no car?  What did he do, drag Mercer
down the strip?

GRISSOM:  And if you're robbing a house, why don't you take more stuff?

WARRICK:  Everything was still there.  Except the coin collection.

GRISSOM:  I think the killer knew what he was going to steal.


SCENE #28:


(NICK and SARA walk into the garage.)

NICK:  Smash-n-Burn isn't some cyborg death machine with a mind of its own.  
Man, you've got to drive them.

SARA:  Well, we proved it couldn't have happened the way that Brian said it did.  
You may have your killer.

NICK:  Yeah.


SCENE #29:


(SARA and NICK reconstruct the murder weapon Smash-n-Burn.  They put the blade
together and put the wheels back on to the original machine.)

(SARA finishes drilling in the last piece.  She steps back cautiously.  NICK
puts the remote together and readies it to be tested.  SARA joins him.)

NICK:  Okay.  Here we go.

(He flicks the switch.  Nothing happens.)
NICK:  It's not responding.

(NICK fiddles with the remote.  SARA silently hands NICK the drill.)


SCENE #30:


(SARA and NICK share their findings with CATHERINE.)

SARA:  You've got a transmitter module in the remote and a receiver module in
the bot.  They work as a pair.

NICK:  Yeah, and in every competition, each team is assigned a different
numbered frequency.  That way, each driver can control their bot without
interfering with anybody else's.

SARA:  Or vice-versa.  This is Smash-n-Burn's receiver.

(SARA hands CATHERINE the evidence baggie with the electronic piece inside.)

NICK:  Yeah, and this is Brian's transmitter.

(NICK hands CATHERINE the baggie with the transmitter inside.  She compares the
two numbers.  The receiver is #84; and the transmitter is #89.)

CATHERINE:  They don't match.  Okay, so when Christian died, Brian wasn't
controlling the bot.

SARA:  Somebody was.





SCENE #31:


(CATHERINE and NICK walk through the hallway.)

NICK:  Brian claims the bot malfunctioned.

CATHERINE:  Well, we know it didn't.  It was responding to a different control

NICK:  I don't think he knew that.

CATHERINE:  If he did, he was protecting somebody.


SCENE #32:


(GREG catches up with GRISSOM in the hallway.)

GREG:  Hey, boss.  Um, I wasn't able to pull any DNA off your Vic's personal
effects but I did find something else.  Uh, those yellow on his belt ... I ran
them through the GCMS.

GRISSOM:  You ran it?

GREG:  Yeah.  They're sulfur.  

(GREG hands GRISSOM the test results.)  

GREG:  Now, Warrick mentioned something about a missing coin collection.  Now
some dealers, bad ones-- use sulfur to polish up coins for sale.

(GREG and GRISSOM walk into the lounge.)

(Quick flashback to:   Someone puts a dirty old coin into a ziploc bag and
shakes it.  He takes out the coin and it's dusted with sulphur.)

GREG:  (v.o.)  Shake and bake.

(End of flashback.  Resume to present.)

GREG:  So I figure that your killer is either a coin dealer or a collector.  And
he transferred the sulfur to the body when disposing of it.

(GRISSOM puts the pot down.)

GRISSOM:  Are you a numismatist, Greg?

GREG:  Oh, my grandpa started me off with a 1909 V.D.B.  "S" Lincoln penny.  
Often referred to as a V.D.B.  Because it bears the monogram of its engraver,
Victor D. Brenner.  It's a low mintage.

GRISSOM:  So, let's see, you surf, you scuba dive, you're into latex ... you
like fashion models and Marilyn Manson.  And you also have a coin collection.

GREG:  Weird, huh?

GRISSOM:  (shrugs)  Well ... I raise cockroaches.

(GRISSOM walks out of the lounge with his cup.  GREG smiles.)


SCENE #33:


(Camera close up of GINGER'S long fingernails tapping against the table.)

CATHERINE:  Look available.  Be unobtainable.  Except when you're trying to beat a murder rap.

GINGER:  Excuse me?

NICK:  Whatever you did worked.  Brian's going down for you.

GINGER:  Oh, so, first you accuse me of whacking Christian.  Now you're accusing
me of doing Brian?

CATHEIRNE:  Well, you are the queen bee.  The drones line up to service you.

GINGER:  What the drones do is make bots and break bots.  And while they're up wiring and soldering all night long, you know where I am?  I'm at home.  With this.  

(GINGER pulls out a photograph of a man.  She shows it to CATHERINE.)

CATHERINE:  Does it have a name or did it come with the wallet?

GINGER:  Pretty funny for a scientist.  

(GINGER takes the picture from CATHERINE.)  

GINGER:  Let me make it easy for you.  And in case you can't spell, that "E-S-Q" means he and his entire law firm are going to be all over your ass.  

(GINGER stands up.)

GINGER:  Next time you want to talk to me, talk to him.

(She leaves the room.)


SCENE #34:


(GRISSOM is in the lab looking through KEITH MERCER'S wallet.  He pulls out a wedding picture of KEITH and his WIFE.  Through the glass, we see DET. VEGA walking toward the room.  He knocks lightly on the door before walking inside.)

VEGA:  Hey, I was able to pull the cell phone records for our vic.


Address:  311 SEPHILL ROAD
LAS VEGAS, NV  89108
EMER. PHONE:  (702) 555-0287
LNV 9866187 EXPIRES:  2006          ]

VEGA:  Most of the calls went to the office, two went to the wife.  But there are two who are interesting.  Jones Collectibles.  

(VEGA hands GRISSOM the sheet of cell phone calls from "ALL-WORLD PHONE ... /
L.V.P.D. REQUEST".  The highlighted number reads:
NV 555-0167 / Jones Collectibles / 1:00 (Minutes) / for .12 (Amount).)

VEGA:  Guy is a small-time fence.  That mean anything to you?

(GRISSOM picks up a small slip of torn notebook paper from KEITH MERCER'S wallet.  On it is written:  JC (702) 555-0167.  He compares it to the phone listing.  It's a match.)

GRISSOM:  Does now.


SCENE #35:


(GREG walks up to JONES COLLECTIBLES and enters the shop.)

MR. JONES:  Anything I can help you with, let me know.

(GREG looks around.)

GREG:  I heard that you dealt in coins.

MR. JONES:  Really?  From whom?

GREG:  Grissom.  

(MR. JONES has a confused look on his face.  The name doesn't ring a bell for him.)  

GREG:  He's a friend of mine.  We work together.  Uh, looking to see what you got.  I'd like to make a trade.

(GREG holds out his Lincoln penny.  MR. JONES takes it and looks at it.)

MR. JONES:  Why the flip?

GREG:  I've been meaning to get it slabbed.

(Sirens blare outside.  MR. JONES takes an eye piece and examines the penny.  GREG waits patiently.)

MR. JONES:  Not bad.  No hairlines.  No fly specks.  You got yourself a slider.

(He hands the penny back to GREG.)

GREG:  I'd like to get myself a 1916 "d" dime.  Been all over Vegas, can't find one.  You got any?

MR. JONES:  I might have one, but it's pricey.

GREG:  Hey, so is mine.  

(MR. JONES looks at GREG and considers him for a long moment.  He turns away and reaches down into the drawer where he takes out a case.  Inside the case are coins.  GREG leans in and looks at the coins.  He's impressed.)

GREG:  1907 Saint Goddins double eagle gold piece.  I've only seen that in books.

MR. JONES:  And that's as close as you get.  If you want to deal for the "D" dime, it's yours.

GREG:  I'll take it.


SCENE #36:


(Camera close up of LUKE and his machine, HAMMER OF GOD.  CATHERINE and NICK are back at the warehouse workshop.)

(NICK grabs one of the photographs.)

NICK:  The bot was on a different control frequency, which means someone was using a different transmitter.

CATHERINE:  Puppet master.  Somebody else was pulling the strings.

NICK:  That would explain why the bot was sluggish.

(Quick flashback to:  CHRIS showing BRIAN what's wrong with Smash-n-Burn.  The machine whirls, but it's not smooth.)

CHRISTIAN CUTLER:  See, she sticks, Brian.

BRIAN KELSO:  Maybe there's something jammed.

(BRIAN kneels down and picks up the machine.  End of flashback.  Resume to present.)

(CATHERINE walks around.)

CATHERINE:  So, what's the range of those controllers anyway?

NICK:  It's limited.  Definitely not outside this building.

(NICK reaches across the workstation and pulls down another photograph of LUKE and his machine, HAMMER OF GOD.)

CATHERINE:  So, if somebody hijacked Brian's bot they'd have to be nearby, but ... obviously, out of sight.

(CATHERINE looks up at the door at the top of the stairs.  It's near and it's dark inside.)

(Quick flashback to:  Someone sitting inside the door at the top of the stairs with a remote in his hands.  End of flashback.  Resume to present.)

CATHERINE:  Well, there's a good place to hide up there.  Opportunity.

(NICK pulls down a photograph and shows it to CATHERINE.  It's a photograph of LUKE and the busted HAMMER OF GOD.)

NICK:  Maybe we've got motive.

CATHERINE:  Ooh, proud papa.  The man who built Hammer of God.

NICK:  Which leaves us with ... means.  (NICK looks around.)  Transmitter modules.  

(NICK reaches up on the shelf of LUKE'S workstation and takes down a plastic storage container with transmitter modules in it.  The slots are labeled.)

NICK:  Yeah, check out the 80s.  81, 82, 83 ... 85, 86?

CATHERINE:  And look what's missing: 84.

(NICK chuckles.)

NICK:  I bet I know who's got it.


SCENE #37:


(GREG is back at the Coin Dealers' with GRISSOM, VEGA and some OFFICERS.)

MR. JONES:  (to GRISSOM)  Guy came in a couple of weeks ago with this collection looking to sell.  I bought it.

GRISSOM:  There must be $50,000 worth of coins in there, isn't there, Greg?

(GRISSOM shows the coin case to GREG.  MR. JONES looks at GREG and recognizes him.  GREG looks at the coins.)

GREG:  At least.

GRISSOM:  You must have a record of the transaction.

MR. JONES:  I know I got it somewhere.

GRISSOM:  Maybe it's in your car.

VEGA:  Mind if we help you look?

MR. JONES:  No, go ahead.  I got nothing to hide.

(MR. JONES tosses VEGA the keys.)


SCENE #38:


(VEGA opens the back of MR. JONES' car.  GRISSOM looks inside.  GREG stands behind and looks into the back of the car.)

GREG:  Ten-inch subs.  400 watts.  Four channels?  That's state-of-the-art.  Those hot, too?  It kind of looks like the de Lorean from back to the future.

(GRISSOM finds some powdery substance.  He sniffs it.)

GRISSOM:  Trace amounts of sulfur.  You don't artificially tone your coins, do you, Mr. Jones?

MR. JONES:  Hey, my merchandise is authentic.

(GRISSOM finds some blood inside the car.)

GRISSOM:  Well, you may have some authentic blood in your car as well.

(Quick flashback to:  MR. JONES opens the back of the car and puts KEITH MERCER'S body inside.  It scrapes against the back seat and leaves behind blood evidence.  End of flashback.  Resume to present.)

MR. JONES:  Yeah, well, I cut my finger the other day.


GREG:  That's Keith Mercer's blood.  You know it and when I get back to the lab, I'm going to prove it.  (smiles)  I think you're busted.


SCENE #39:


(LUKE is escorted through the hallway by a police officer.  He glares at BRIAN KELSO as they pass each other.  BRIAN is also escorted by an officer.)


SCENE #40:


(CATHERINE shows LUKE a photo that they took from his workshop of the demolished HAMMER OF GOD machine.)

CATHERINE:  So ... what happened?

LUKE:  I lost.

NICK:  You didn't lose.  You were destroyed.

(Quick flashback to:  LUKE at his remote.  CHRIS CUTLER laughing at his remote.  And HAMMER OF GOD in pieces inside the rink.  Despite already defeating HAMMER OF GOD, CHRIS CULTER continues to have SMASH-N-BURN pulverize the broken bot.)

CHRIS CUTLER:  (laughing and taunting)  Ooh!  You got nothing left, Luke!

(CHRIS CUTLER continues to send his machine into what's left of HAMMER OF GOD.  He continues to laugh and taunt LUKE.  End of flashback.  Resume to present.)

NICK:  And you wanted revenge.

CATHERINE:  You couldn't kill Christian's bot so you killed Christian.

LUKE:  I heard Brian killed him.

NICK:  This is the transmitter from Christian's robot.

(NICK holds up the transmitter in a bag.)

LUKE:  So?

NICK:  So ... it's got your DNA on it.

(Quick flashback to:  LUKE tampers with the remote.  He opens it and temporarily puts the transmitter #89 in between his lips while he fiddles with the remote's insides.  He puts the transmitter into the remote.  End of flashback.  Resume to present.)

NICK:  Brian wasn't in control of the bot.  You were.

(Quick flashback to:  LUKE sits in the little room at the top of the stairs.  In the darkness, he holds the remote that controls the bot.  Outside, CHRIS and BRIAN lean over the machine.)

(LUKE makes the machine move.  It cuts right in to CHRIS, knocking him to the floor in pain.)

BRIAN KELSO:  Oh, my god!  I can't turn it off!

(BRIAN jumps out of the way while desperately trying to control the bot.  LUKE makes the bot turn and head back straight for CHRIS.  The machine whirrs as CHRIS screams, sending blood into the grates.)

(End of flashback.  Resume to present.)

CATHERINE:  The bot wasn't the only thing you manipulated, Luke.

(Quick flashback to:  LUKE appears to walk into the warehouse from the door at the top of the stairs.  He acts surprised when he sees BRIAN and CHRIS.)

BRIAN KELSO:  Chris!  Chris!

LUKE:  Oh, my god.  What did you do?!

BRIAN KELSO:  It was an accident.  The bot just ... oh, my god!  Oh, we've got to call the cops!

LUKE:  If you do that, they're going to think you did this.

BRIAN KELSO:  I didn't do it.

LUKE:  They're going to put you in prison for life.  I'll keep this quiet, but you have to get rid of this body.

(BRIAN and LUKE pick up the body and put it in the barrel.)

(End of flashback.  Resume to present.)

CATHERINE:  Brian gave you up.  

NICK:  No place to hide now.  

(LUKE pulls the photograph of the destroyed HAMMER OF GOD toward him.)

CATHERINE:  I know what it must've been like for you.  Having created something, only to lose it.

LUKE:  Let me guess.  You have a kid?

CATHERINE:  Yes, I have a daughter.

LUKE:  And you think that just because you squeeze a baby out from between your legs, you know how I feel?  That's biology.  Any animal can do that.


LUKE:  But I took a thought from my head and I made it real.  It was ... perfect.

(Standing behind LUKE, NICK shakes his head at the logic.)

CATHERINE:  I guess the only flaw then was you.



SCENE #41:


(GRISSOM walks into the lab.)

GRISSOM:  How's it look?

GREG:  Oh.  Blood in the car is the victim's.  

(GREG hands GRISSOM the test results, then turns back to whatever he's working on.)

GRISSOM:  Keith Mercer made a bad call.

(Quick flashback to:  MR. JONES is on the phone with KEITH MERCER.)

MR. JONES:  (to phone)  Yeah, it sounds like a pretty nice collection.  How about I come by Saturday and take a look?

KEITH MERCER:  (from phone)  Uh, this weekend's no good.  My wife and I are out of town.

(Cut to:  KEITH MERCER comes home early and finds MR. JONES in his house near the book shelf.)

KEITH MERCER:  Hey, what are you doing?

(Caught, MR. JONES picks up the figurine and hits KEITH MERCER on the head with it.)

(End of flashback.  Resume to present.)

GREG:  Told you that dude was busted.

GRISSOM:  What happened to your enthusiasm, Greg?

(GREG looks up at GRISSOM.)

GREG:  Well...every time I make another DNA match in here, my world gets a little smaller. Out there felt large.

GRISSOM:  Out there ... means a pay cut.

GREG:  I'm not about the money.

(GRISSOM takes off his glasses.)

GRISSOM:  That's good to know.

(GRISSOM leaves the lab.)



Fait par Wella

Kikavu ?

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mamynicky, Avant-hier à 17:00

'Jour les 'tits loups ! Monk vous attend avec un nouveau sondage. Venez nous parler de vos phobies sur le forum.

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mamynicky, Aujourd'hui à 12:02

'Jour les 'tits loups ! Monk vous attend avec un nouveau sondage. Venez nous parler de vos phobies sur le forum.

Viens chatter !