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Les Experts
#805 : Action... Coupée !

Les Experts enquêtent sur le meurtre de Weatherley Adams, une actrice de films d'horreur. Son corps a été découvert sur le plateau de tournage, une hache plantée dans le dos. Mais il semble que l'outil en question ne soit pas l'arme du crime. Un de ses anciens compagnons, défiguré à la suite d'un accident de tournage, pourrait constituer un suspect idéal. A moins qu'un des patrons du studio n'ait voulu détourner les soupçons sur lui et le faire accuser. 


2.5 - 2 votes

Titre VO
The Chick Chop Flick Shop

Titre VF
Action... Coupée !

Première diffusion


8x05 - Promo

8x05 - Promo


Scène: Dickie flirte avec Catherine (VO)

Scène: Dickie flirte avec Catherine (VO)


Plus de détails

Écrit par : Evan Dunsky
Réalisé par : Richard J. Lewis 

Avec : David Berman (David Phillips), Archie Kao (Archie Johnson), Liz Vassey (Wendy Simms), Jessica Lucas (Ronnie Lake), Jon Wellner (Henry Andrews) 

Guests :

  • John Asher ..... Zack Putrid
  • John Ventimiglia ..... Stanley Vespucci
  • Martin Klebba ..... Dickie Jones
  • Chris Diamantopoulos ..... Oliver Zarco
  • Matt Gerald ..... Vincent Lafoon
  • Will Sasso ..... Mason Lafoon
  • Irwin Keyes ..... Russ Beauxdreaux
  • Stephen Full ..... Editor
  • Ted Michaels ..... SFX Guy
  • Cassandra Jean ..... Pola Chesterwood
  • Carla Orlandi ..... Weatherly Adams
  • Roger W. Morrissey ..... Roger 




(A young woman is held captive with her wrists tied high above her head. Off
screen, she hears faint slicing, and gurgling. She screams.)

(Blood squirts on her face and in her mouth. She coughs. Yuck.)

(Behind her, a man hacks off a dummy’s head.)


(She continues to cough.)

ZACK PUTRID: (o.s.) Cut! Damn it!

(The bell rings and overhead lights turn on. The director, Zack Putrid, gets
out of his chair.)

ZACK PUTRID: Can somebody please get her a glass of water?! (He walks up to
the actress.) What happened? Babe? What are you doing? Are you choking on the

(She nods.)

SFX GUY: I did what you told me to.

ZACK PUTRID: Yeah, but this time, get it on her face, not in her mouth.

SFX GUY: The mouth is part of the face.

ZACK PUTRID: Yeah, I know, I know. But hit her from the side, from the side.
And get plenty on the rack.

(The SFX guy turns and leaves. We hold on the two actors dressed as doctors –
one giant man and Dickie Jones.)

GIANT DOCTOR: We're dying here.

DICKIE JONES: I'm going to go ring it.

GIANT DOCTOR: All right. Hey, grab me a bear claw.

(Dickie Jones heads off the set. He walks past Zack Putrid talking with the
cameraman who is wearing a red baseball cap.)

ZACK PUTRID (DIRECTOR): How long have I known you, huh? This is you and me.
Get the shot -- not too tight. Wide enough to fit in the fun bags.

(The director turns back to the actress, who is still tied up with her arms over
her head as the fake blood is being wiped off her. Her make-up is being

ZACK PUTRID (DIRECTOR): Baby-cakes ...

(The actor playing the killer interrupts them.)

KILLER ACTOR: (to the director) Where was I? Want me to laugh?

ZACK PUTRID (DIRECTOR): Don't laugh. You were scary. Get away.

(The killer leaves.)

ZACK PUTRID (DIRECTOR): Honey, this time, don't inhale the blood, okay? All
right, let's get her cleaned up. Let's shoot this bitch.

(He heads back to his chair. The actress gasps loudly.)

ACTRESS: (o.s.) Oh ...

ZACK PUTRID (DIRECTOR): Not you, baby. The shot. The shot's a bitch. I love
one-ers. And you know what else I love? I love sushi. Me, too. Do you want
to go for sushi?

(In the background, Stanley Vespucci leads Brass through the set. Nick follows

STANLEY VESPUCCI: Our lead actress, Weatherly Adams, had her dressing room
violated last night.

BRASS: So she's the one you suspect is missing?

STANLEY VESPUCCI: She missed her call this morning. The woman is nothing if
not professional. She's predictably precisely 35 minutes late every day. You
could set your watch to it. She's already ... three hours late and still no
sign of her.

(He looks at his watch.)

(A light blows out as they pass.)

STANLEY VESPUCCI: Nothing to worry about, gentlemen. It's just a bad bulb. If
you will, please, follow me.

(He leads them out.)


(He opens the dressing room door.)


(They walk in.)

STANLEY VESPUCCI: Check out the flowers in the vase.

(Nick looks at the note on the flowers.)

NICK: "Congratulations on your last film." Any idea who sent her these, Mr.

(A framed photo of a pretty blonde-haired woman is on the dressing table next to
the flowers.)

STANLEY VESPUCCI: (shrugs) Stalkers, creeps, cranks, nut balls, degenerates --
we get them all here. Weatherly attracts them like flies.

(He shows them a stack of letters.)

STANLEY VESPUCCI: These are ... uh ... some of the guys we've had trouble with
in the past.

BRASS: I'll take that.

(Nick continues to look through the dressing room.)

BRASS: When was the last time you saw her?

(Vespucci takes his phone out and dials.)

STANLEY VESPUCCI: At wrap yesterday. We shot all night, finished about 4:00 in
the morning.

BRASS: Did anyone see her leave the building?

STANLEY VESPUCCI: Her car's still parked out back.

(Nick holds a purse.)

NICK: This hers?


WEATHERLY ADAMS: (recording) Hi, it's Weatherly. Leave a message or I'll
scream. (giggles)

(Nick turns the bag over, the contents spilling out onto the sofa.)

NICK: Wallet, keys, and cell phone still in there.

STANLEY VESPUCCI: Still no answer on her home phone.

BRASS: I'll send a patrol car to her house. You said there was a break in. Why
don't you show me?



(Down in the basement, various items are stored – dress dummies, rolled-up
carpets and a VORTEX OF EVIL movie poster hangs on the wall just below the
ceiling light.)

STANLEY VESPUCCI: Ah, Weatherly ... how has she died for us, let me count the

(Stanley Vespucci leads Brass and Nick down through the basement.)

(They walk past posters of the movies Weatherly made – NIGHT SHIVERS, INTO THE

STANLEY VESPUCCI: Bludgeoned, boiled, filleted, defenestrated, decapitated,
disemboweled, oh, yeah, and strangled with her own intestines. Autopsied while
still alive.

(They walk into the large storage area.)

STANLEY VESPUCCI: Made to eat her own liver, fed slowly through a tree chipper,
roasted and served on a bed of Belgian endive. When Weatherly Adams dies, it's
money in the bank.

(He shows them the open window.)

STANLEY VESPUCCI: Here you are, gentlemen.

NICK: Looks like somebody broke the glass, reached in, unlocked it and opened

(Nick looks around the area.)

STANLEY VESPUCCI: Yeah, that's the way I found it when I got here this evening.

(Nick finds some blonde-haired stuffed dummies on the furniture. Among the
dummies, he finds the real Weatherly with an axe stuck in her back. Flies buzz
around the dead body.)

NICK: Uh, Jim ... I got her.

(Nick kneels to look at the body. Jim and Stanley Vespucci join him. Vespucci

NICK: And I believe she's died for the last time.





(A movie poster, I HAVE TO AXE MY MOTHER, hangs on the cement post. The main
photo is of Weatherly in red with an axe stuck in her head.)

NICK: Whoever stuck her under this poster was trying to send a twisted message.

(Weatherly’s dead body is also in red with an axe stuck in her back.)

CATHERINE: Either that, or the killer's got a wicked sense of humor.

(Catherine puts her gloves on. Nick snaps a photo as David Phillips turns the
body to look under it.)

DAVID PHILLIPS: Lividity is fixed along the anterior aspect, and ... she is
still in full rigor.

(Nick checks his watch.)

NICK: She was last seen alive about 15 hours ago.

DAVID PHILLIPS: No panties. I'll do an SAE kit.

(David pauses and looks up where he sees the movie poster.)

DAVID PHILLIPS: (inflecting) "The horror."

(He chuckles and looks at Catherine and Nick. He does it again.)

DAVID PHILLIPS: (exaggerating) The horror ...

(Catherine smiles.)

DAVID PHILLIPS: Huh? Huh? Bra-Brando? (normal voice) Brando from Apocalypse

CATHERINE: Oh, yeah, yeah. I know, Dave. Everybody knows that.

DAVID PHILLIPS: (deflated) Oh. I'll get the gurney.

(David leaves. Catherine notices Weatherly’s broken shoe.)

CATHERINE: Looks like the Lady lost a heel.

NICK: There's a whole lot of something here, but it doesn't really look like
blood to me.

(Nick indicates the blood under the body. Catherine dusts the axe handle.)

CATHERINE: No, it's ... uh ... it's the wrong color. It's too red.

NICK: Smells sweet. Karo syrup and food coloring -- it's prop blood.

CATHERINE: And I am not seeing any prints. It's been wiped clean.

NICK: The question is, where does the fake blood end and the real blood begin?



(The actress in pink wails and cries. The actor playing the killer cries.)

(Brass talks with the cast and crew.)

BRASS: Now, I know this may come as a shock to most of you, and I'm sorry for
your loss. I understand that Weatherly Adams was a long-time member of this
company ...

(The midget, Dickie Jones, looks around, then turns and hugs the pretty actress
in pink.)

ZACK PUTRID (DIRECTOR): Well, do you have a suspect?

BRASS: Uh, sir, we just found the body about an hour ago.

(Dickie Jones hugs the actress, then squeezes her butt.)

BRASS: We're just beginning our investigation.

(The actress pushes Dickie Jones away.)

ZACK PUTRID: Yeah, I get it, I get it. I mean, it could be anyone.

(He turns and looks around – just as the other cast and crew members look around
at each other.)

BRASS: Now, I'm going to have to look at your IDs and I'm going to take
statements and fingerprints from all of you. And I thank you in advance for
your cooperation.

STANLEY VESPUCCI: Anything we can do to help.

(Brass turns and heads up the platform stairs.)

ZACK PUTRID: So what am I supposed to do today?


(Stanley Vespucci catches up with Brass.)

STANLEY VESPUCCI: Excuse me, Mr. Brass. Do you think that it would be all
right if we were to ... continue to shoot ...


VINCENT LAFOON: I want that little twerp Zarco found and locked up.

BRASS: Uh, who are you?

VINCENT LAFOON: Vincent Lafoon. This is my brother Mason. We own this place.

BRASS: Who's Zarco?

VINCENT LAFOON: Oliver Zarco. He used to work here. He had a thing for
Weatherly, and then he got hurt, blamed it on us, went a little nuts.

MASON LAFOON: He was the one who got ...

VINCENT LAFOON: (interrupts) He was the one who sent the flowers and the note.

BRASS: So he's done this before.

MASON LAFOON: Yeah, like, three times.

VINCENT LAFOON: (irritated) Would you shut it? (to Brass) Three times. He's
your guy.

BRASS: Do you have video surveillance by any chance?

VINCENT LAFOON: Yeah, only on the exterior, but the video system's been on the
fritz lately.

STANLEY VESPUCCI: I had it repaired three days ago-- I'll get the tapes.

VINCENT LAFOON: Oh, good. (Vespucci leaves.) (to Brass) Look, just find
Zarco, okay?

(Vincent leaves. Mason lingers.)

KILLER ACTOR: Everyone come together.

MASON LAFOON: Um, I can't, I still can't believe she's gone. I mean ... she
was a ... she was a real beautiful lady.

(Everyone gathers on the set.)

KILLER ACTOR: Let's form a circle and touch hands with someone you care about.

(Mason turns to join the others.)

KILLER ACTOR: Yea, though I walk through the valley of the shadow of death, I
will fear no evil, for thou art with me.
Thy rod and thy staff, they comfort me ...



(Nick swabs the “blood” and tests it. It doesn’t work.)



(Catherine is in Weatherly’s dressing room. She dusts the green vase.)

(She stops when she doesn’t find any prints.)


(Nick goes over to the window. He sees the security camera outside and measures
the distance. He notes it on the sketchpad.)


(Catherine snaps photos of Weatherly’s dresser and open drawer.)

(She opens the top drawer and snaps a photo of it. She takes out a notebook and
looks inside. She finds dates, times and numbers.)

(Nick walks in.)

NICK: How's it going in here?

CATHERINE: The vase is clean. I've got a spiral notebook filled with dates,
times and weights. Looks like she was a bit concerned about her size.

NICK: Actors.



(Robbins and David are working on removing the axe from Weatherly’s back.)

DAVID PHILLIPS: (appalled) You really don't recognize her?

(David holds the body down while Robbins pulls on the axe.)

ROBBINS: (grunts) No.

DAVID PHILLIPS: You've ever seen Chop Chop, Fizz Fizz?


DAVID PHILLIPS: Can I Lick The Spoon?

ROBBINS: Please, David.

DAVID PHILLIPS: They're classics.

ROBBINS: Those are not classics.

(The axe pops out.)

ROBBINS: The Exorcist. The Shining. Rosemary's Baby. Those are classics.

(David washes the body.)

DAVID PHILLIPS: You know what I loved about her? She really made you feel the
terror. When she was scared for her life, I was scared, too.

(Robbins holds the axe cut open as David washes it out. He sees something.)

ROBBINS: Interesting.




(Brass talks with Oliver Zarco.)

BRASS: Mr. Zarco ... tell me about you and Weatherly Adams.

OLIVER ZARCO: It was the happiest time in my life. I had realized my dream.

FLASHBACK TO: The set is busy.

OLIVER ZARCO: (v.o.) I was working in the movies. Though I was only in an
entry-level position, Weatherly and I were already an item.

(Weatherly and Zarco are kissing in the back.)

OLIVER ZARCO: (v.o.) Just like ...


OLIVER ZARCO: ... Julia Roberts and what's his name.

FLASHBACK TO: They’re filming on the set.

(Weatherly takes the burning meat out of the oven and puts it on the table. The
meat is smoking.)

OLIVER ZARCO: (v.o.) We were in love.

WEATHERLY: (smiles) Hi.

(Zarco is on the side with a smoke machine, adding to the smoke. He blows her a
kiss. Filming continues.)

OLIVER ZARCO: (v.o.) And then it was all over in an instant.

(The smoke machine blows up and bursts into flames in his face. Zarco screams.)


(Zarco’s face is on fire. He gets up and runs around the set.)


(Finally someone with a fire extinguisher puts the fire out.)


(Zarco’s face is scarred.)

OLIVER ZARCO: I was in rehab for six months. That slime ball Lafoon convinced
me not to file a Worker's Compensation claim. He said that he'd take care of

BRASS: And you trusted him?

OLIVER ZARCO: Yes. And then, when the deadline passed to file my claim, Vincent
offered me two grand, take it or leave it, and then he fired my ass. And I
could have lived with that, but ...

BRASS: But what?

OLIVER ZARCO: Weatherly ... dumped me. She felt we were no longer compatible.
The truth was, she couldn't stand to look at me. She cried when she told me.
Actresses can do that. The smell of her skin ... like fresh lemon poppy seed
scones baking in the oven. Gold flecks that danced like Valkyries in the
emerald depths of her eyes. Her hair-- oh, God ... Her hair ...

BRASS: So you started stalking her.

OLIVER ZARCO: I brought her gifts from time to time, to let her know that I
still loved her. Is that against the law?

BRASS: It is if you break in to do it.

OLIVER ZARCO: They wouldn't let me in the front door.

BRASS: So you came in through the window. Only this time, you got caught. You
argued. She told you where to shove your flowers, and you thought to yourself,
"You know, do I really need this aggravation?" So you killed the bitch. I
think you killed the bitch.

OLIVER ZARCO: Why would I kill her?

BRASS: How should I know?

OLIVER ZARCO: Do I know you?

BRASS: Listen, Zarco, you whack job, you'd better focus! You focus.

OLIVER ZARCO: I'm trying to explain to you. I haven't been near that place in
over a year. You got the wrong guy. I don't do that anymore. I'm in therapy
now. Lots of therapy. Freudian, Jungian, Gestaltian -- all that crap. I've
let go of my anger.



(Grissom is in his office when Wendy appears in the doorway. She’s carrying
some test results.)

WENDY: Have you seen Catherine around?

GRISSOM: No, why?

WENDY: 'Cause I just got the DNA results for Weatherly Adams, and the skin
under her nails and the semen from her SAE, they both belong to Vaughn Krunty.


WENDY: Vaughn Krunty, aka "Zack Putrid."

GRISSOM: Who's that?

WENDY: (amazed) The Titan of Terror, The Sultan of Slash. He's the movie
director. I just ... I found him in CODIS for a statutory rape charge in
Laughlin when he was 18 and the girl was 16. Can you believe that?

GRISSOM: What's the matter with you?

WENDY: Nothing.

GRISSOM: Go tell Catherine what you found, make sure that you pull all the old
evidence out of storage in case she needs it.

WENDY: Okay.

(Wendy looks at the results, turns and leaves the office.)



(Zack Putrid is reviewing the footage shot that day.)

ZACK PUTRID: Please. That looks pretty stupid, doesn't it?

EDITOR: Well, you could cut out earlier, maybe go to a wide exterior shot, you
could carry the scream over a big flock of birds taking off.


(Putrid kicks the editor’s chair.)

EDITOR: Or ... yeah ...

(He picks up the golf club and hits the table, smashing whatever is on it.)

EDITOR: (mutters) Or not. Or not, just ... bad idea. All right, okay.

(Putrid turns around and sees Brass leaning against the door frame watching him.
Putrid chuckles.)

(Putrid chuckles)

ZACK PUTRID: Detective Brass.

(He points to Brass, turns and chuckles at the editor.)

ZACK PUTRID: Man, I love that. Detective Brass. You're a detective, and your
name is Brass. I mean, I can use that. That's like a cop named Officer
Copper. Or a tin horn sheriff named Sheriff Tin. You cannot write that stuff.

BRASS: Listen, buddy ...

ZACK PUTRID: Dude, I know why you're here, okay? Weatherly and I, yes, we were
knocking boots, man.

BRASS: So, you acknowledge having sex with her?

(Brass walks in and heads toward the editor’s table where he looks at the latest
“star” covered with fake blood.)

ZACK PUTRID: Well, yeah, I just said I had sex ... Why would I deny it? Hey,
I bang all my stars. It builds trust. It's part of my process.

BRASS: We found traces of your skin under her fingernails. Maybe she wasn't
into your "process," so you raped her.

(Putrid chuckles.)

(Brass turns and looks at him.)

BRASS: You find that funny?

ZACK PUTRID: Dude, you gotta see this. You're gonna love it. (to the editor)
Bring up Double D.

EDITOR: Yeah. Here goes.

(The editor switches tapes and shows a recording of Weatherly wearing a pink
dressing gown in her pink dressing room.)

WEATHERLY ADAMS: (on tape) Hi, baby. Hi.

(On the tape, she blows a kiss to the camera. A man off screen laughs.)

(Putrid whacks Brass on the arm and indicates the monitor.)

ZACK PUTRID: Check it out.

(On the tape, Weatherly opens the dressing gown and shows the camera her boob

ZACK PUTRID: (on tape) Money. Money.

(On the tape, she giggles.)

(Putrid turns and looks at Brass.)

ZACK PUTRID: Oh, yeah.

ZACK PUTRID: (on tape) You're a star.
WEATHERLY ADAMS: (on tape) Oh, ba-by. Oh, ba-by.

EDITOR: (groans) I can't believe this is my life.

ZACK PUTRID: (on tape) Oh, man, oh, man...

WEATHERLY ADAMS: (on tape) Come over here, baby.

(On the tape, they start kissing as the camera rolls.)

(Zack Putrid puts a hand on Brass’s shoulder and smiles proudly. Like a little
kid, he points excitedly to the monitor.)

BRASS: This what you do all day?

ZACK PUTRID: Look, does that look like a woman being taken against her will?

BRASS: That still doesn't explain how your skin got under her fingernails.

ZACK PUTRID: Weatherly was ... how can I put this delicately? She was an ass-
scratcher, man. She liked to scratch my ass. She wasn't pushing me away, man,
she was pulling me in.

(Putrid puts his pants down.)

ZACK PUTRID: Brass, look at my ass.

(He shows Brass his ass.)

ZACK PUTRID: Freaking claw marks.

BRASS: Are you trying to make me throw up, Mr. Putrid?

(Putrid purrs.)

(HOLD on Brass.)





(A woman walks down the hallway. She glances over her shoulder and continues
walking quickly down the hallway.)

(We see the woman is WENDY SIMMS. She glances behind her again and speeds up a
little. She turns the corner and glances behind her. She starts running.)

(The camera follows her.)

(She comes to the end of the hallway and tries opening the doors. The first one
is locked. The second door is locked. She hurries to the third door. It


(Wendy enters the room and shuts the door. She cowers and waits.)

(A chainsaw engine revs. The double doors open and a bearded man in a hooded
raincoat carries a bloodied chainsaw.)

(Wendy screams.)



(Henry Andrews, Hodges, Sara and Wendy are watching a video.)

(On the monitor, Wendy runs and the man with the chainsaw cuts her. She spits
out blood and some really bad EFX has her top half fall to the floor while her
bottom half remains in a standing position. After a beat, the bottom half falls
to the floor as well.)

(Henry laughs.)

HENRY ANDREWS: Oh, my God. No way!

(Hodges jaw drops.)

(Sara closes her eyes.)

(Wendy smiles and pauses the tape.)

HENRY ANDREWS: That is so cool. I can't believe you worked for Repulsion

WENDY: Well, I did it on a whim. I was supposed to be an extra, but then they
liked me, so they gave me this whole featured bit. I got 600 bucks for that.
What? What? I was fresh out of college. I really needed the money.

RONNIE LAKE: I don't get it -- what's the thrill here? It's always hot babes
with huge breasts falling out of their shirts, getting hacked up ...

WENDY: I don't have huge breasts. Mine are kind of ... medium.

HODGES: But perfect ...

(Wendy turns and glares at Hodges.)

HODGES: --ly adequate. Better, in fact.

(He turns and looks at Sara.)

SARA: Okay. Uh, I'm out of here.

(Sara leaves.)

HENRY ANDREWS: Hey, let's watch it again.



(Robbins shares his findings with Nick.)

(TOP VIEW DOWN of the BACK with an IMAGE of the AXE.)

ROBBINS: (v.o.) When I removed the axe, --

(The AXE vanishes and CGI VIEW of the inside of the WOUND.)

ROBBINS: (v.o.) I noticed that the dermis along the margin of the wound showed
no vital response, except in a small area on both sides of the center of the


ROBBINS: (v.o.) The cause of death was perforation of the liver, spleen, and

(A CGI pointed object jabs into wound.)


ROBBINS: But the injuries are inconsistent with the position of the axe wound.

NICK: The axe isn't what killed her.

ROBBINS: Exactly. The perforation was caused by a sharp, hollow, cylindrical
object entering through the lower back, and then passing upwards into the

NICK: Like a spear, or a pipe of some kind?

ROBBINS: Perhaps.

NICK: If the axe was planted in her back postmortem to conceal t original
puncture site, then ... we don't have a murder weapon.



(Archie goes over the video with Catherine.)

ON THE COMPUTER MONITOR is the footage dated 11/07/07 at 05:22 A.M. of someone
in a baseball cap opening the window to the warehouse.

ARCHIE: The only thing I found on the surveillance tapes was this.

(He pauses the video.)

CATHERINE: That guy looks familiar. Oh, that's Vincent Lafoon. He and his
brother own the place.

ARCHIE: Well, here's where it gets a little weird.

(Archie resumes the tape. Vincent opens the window, then backs away and

CATHERINE: He's trying to make it look like somebody broke in. I think he's
framing Zarco.

ARCHIE: If he owns the place, he must have known about the surveillance
cameras. Right? (Catherine nods.) Why would he let himself get caught on

CATHERINE: I don't know, but according to Brass's notes, he thought the system
was down. So, we found no physical evidence linking Zarco to the scene.
Vincent knew he had an easy fall guy. He's been playing us the whole time.



(Brass is sipping a cup of coffee as Vincent Lafoon is escorted in by an

VINCENT LAFOON: Hey, you're making a big mistake; you got the wrong dude.

BRASS: Yeah, a lot of guys tell me that.

VINCENT LAFOON: But I didn't do anything. Why would I kill Weatherly? She was
my company's best asset. Plus, I liked her. She was my friend.

(They turn and continue through the hallway just as Oliver Zarco turns into the
same hallway.)

VINCENT LAFOON: That's him. That's Zarco. That's your guy.

OLIVER ZARCO: What happened, Lafoon? She get too old, so you killed her for

(Zarco walks past him and heads out.)

VINCENT LAFOON: Where's he going?

BRASS: I don't know. Probably out for a nice dinner.

(Brass sits down. Zarco stops walking and turns to watch.) )

VINCENT LAFOON: You're letting him go? Are you out of your mind?

BRASS: We've got nothing on him.

VINCENT LAFOON: But I'm the one getting set up here, me! Don't let him go--
I'm telling you-- you'll regret this.

(Zarco walks up to Lafoon.)

OLIVER ZARCO: I never touched her. You know it, I know it, and they know it.
You killed her, and you're going down.

(Zarco turns to leave again. Lafoon lunges at Zarco. The officer holds Lafoon
back. Brass sits on the chair, sipping his coffee and watching the show.)

OLIVER ZARCO: Can I go now?

BRASS: Yeah, get out of here while I'm still in a good mood.

(Zarco smiles.)

OLIVER ZARCO: So long, Lafoon. I hope they tear you a big one.

(Zarco chuckles as he leaves.)




(Sara sits in the locker room when Greg appears in the doorway.)

GREG: What's up?

SARA: You know, in the slasher movies, when they go after the dark-haired girl,
she always dies?

(Greg walks in.)

GREG: Yeah. And the blond always lives. (He sits down.) Aren't you glad it
wasn't a movie?

(She giggles at the irony.)

SARA: I think, um ... I think I am sick of having my face shoved in death every
day. The murder rate has gone up every year since I've been here. It's totally
out of control, and ... we're not even slowing them down.



(Nick walks and talks with Catherine.)

NICK: After examining the crime scene, I determined there were between 200 and
300 milliliters -- that's less than a cup -- of Weatherly's actual blood outside
of her body. Originally, we had assumed that the axe blade had sealed the
wound, that the position of her body had caused her to bleed internally.

CATHERINE: But if she had been gored first by another weapon and then axed,
there would have been a lot more blood.

NICK: Right, right. So, I compared the initial coroner's report with the last
entry in her weight loss journal -- which was taken no more than an hour or two
before her death. And guess what?

CATHERINE: Her body came up light?

NICK: Six pounds light. That's six pints of blood at a pound each nowhere in
or around the body. She was moved.

(Quick flash to: Someone drags a tarp with Weatherly’s body on it through the
hallway. End flash.)

(Hodges joins them.)

HODGES: Hey. The trace from the puncture wound came back. It's zinc, which is
electrically coated onto steel to make galvanized pipe.

CATHERINE: Well, we should go back, expand the search perimeter, try to find
the actual murder site.

NICK: Okay. I'll get a hold to swing. We're going to need some help.




(Dark clouds roll across the sky. Stanley Vespucci steps outside and looks up
at the sky.)

(He sees the CSI SUV roll in and park. Catherine, Nick and Ronnie carry their
kits and meet up with him.)

STANLEY VESPUCCI: I hear you're holding Vincent Lafoon on suspicion of murder.
His lawyer called me. I'd be surprised. Yes, the guy is a bit rough around the
edges, but I don't think that he..uh ... Hello.

(He turns and looks at Ronnie.)

(Nick and Catherine both turn and look at Ronnie.)

CATHERINE: Nick. Why don't you ... uh ... take the offices, and Ronnie and I
will start in the storage area.

(Nick heads into the warehouse. Catherine and Ronnie turn and head inside, too.
Vespucci turns toward Ronnie.)

STANLEY VESPUCCI: My name is Stanley. (Catherine and Ronnie head inside,
ignoring him.) But you call me Stan.

(Stan waits outside.)



(A NIGHT SHIVERS poster hangs on the wall. Nick walks into the offices. He
puts his kit down and starts looking around.)

(Up on the bulletin board are lots of WORK-SAFETY notices. There are fake body
parts on the shelves. Nick finds a really large pair of slippers under the
desk. He looks over and finds a red baseball cap on the wall hook. He notes
the cap-size band has been adjusted.)

(Quick flash of: Someone adjusts the size of the red baseball cap to make it
fit a bigger head. End flash.)

(Nick takes his phone out and makes a call.)



(Catherine and Ronnie are walking around the building.)

NICK: (from phone) Hey.

CATHERINE: (to phone) Hey, Nicky, what do you got?

(Ronnie splits apart and enters a side room while Catherine continues to talk on
the phone.)

NICK: (from phone) I've got the hat Lafoon was wearing in the surveillance
video. The wear on the strap indicates that it's been set larger ... like it
was adjusted for somebody with a bigger head or something.

(Catherine walks across the warehouse.)

NICK: (from phone) So I'm going to get it back, see if I can get some prints
off it.

CATHERINE: (to phone) Okay, I'll ... uh ... meet you back at the lab.

(Catherine hangs up.)

(She stops and looks around and doesn’t see or hear Dickie Jones approach.)

DICKIE JONES: Howdy. Dickie Jones. And you are?


DICKIE JONES: How about after your shift, I take you out for a cup of coffee?
And I could tell you my whole life story.

CATHERINE: No, thanks.

DICKIE JONES: It's just a cup of coffee, doll. I'm not asking you to make

(Catherine rolls her eyes and turns to the side. Dickie eyes her behind and
hisses his appreciation.)

DICKIE JONES: (under his breath) Not right away, anyway.

(Catherine kneels and puts her goggles on.)

DICKIE JONES: You know, I could open up new worlds to you. Have you ever had
the back of those thighs kissed by a man ... who's standing up?

(Catherine turns her head as she starts laughing. She gets to her feet.)

DICKIE JONES: So you find dwarves funny?

(Catherine laughs.)

CATHERINE: Sometimes, yeah.

DICKIE JONES: Come on, what do you say? Is it because of my receding hairline?

(Catherine stops laughing.)

CATHERINE: I don't go out with persons of interest in an ongoing investigation.

DICKIE JONES: Well, I just think you might be missing out, pookie.

CATHERINE: Don't call me pookie.

(Catherine stands up with her kit.)

DICKIE JONES: But you haven't told me your name.

CATHERINE: Catherine.

(He walks over to her.)

DICKIE JONES: Catherine.

CATHERINE: Catherine.

DICKIE JONES: Catherine. Well, Catherine, we little people see things from a
different perspective -- things other people might miss.

(Catherine puts her case down.)

CATHERINE: If you're implying that you know something about Weatherly's death,
and you're not giving it up, that makes you, at a minimum, an accessory after
the fact, --

(Stanley Vespucci walks in.)

CATHERINE: -- and that buys a long stretch for a stubby guy.

DICKIE JONES: I'm just talking, doll-face.

STANLEY VESPUCCI: Dickie. Why don't we leave the nice woman alone to do her

CATHERINE: Here's my card.

(She gives him her card.)

CATHERINE: If there's anything that you want to tell me as it pertains to the
case ...

(Dickie takes the card from her and kisses the back of her hand.)

CATHERINE: Uh ... call me.

(Dickie backs away as Stanley walks over. Catherine turns and leaves.)

DICKIE JONES: What are you doing?

STANLEY VESPUCCI: Don’t complicate things, Dickie.

DICKIE JONES: I’m just trying to work--



(The red baseball cap is in the fumer.)


(Nick removes the red baseball cap from the fumer. He looks for prints and puts
it down when he doesn’t find any. He runs a computer search on CASE FILE NO.
LVPD 07 11 08 – 1078 GG.)

(He pulls up the MDV licenses.)

(He turns and looks at the sketch with the notation 5’02” near the window. He
looks at the screen cap of the man in the baseball cap. He pulls up the driver
license for VAUGHN KRUNTY (aka Zack Putrid). He notes the height: 5’10”.)

(He pulls up the driver license for VINCENT LAFOON. He notes the height:

(He pulls up MASON LAFOON’S driver license. His height is 6’3”.)

(Nick again looks at the video capture.)

(He gathers the file folder with the pictures and heads out.)


(Nick heads over to Archie.)

NICK: Hey, Archie, could you bring up the surveillance video from Repulsion
Pictures, please?

ARCHIE: Yeah, got it over here.

(Archie plays the video.)

NICK: What's the best you can get me on the face?

(Archie enhances the image without success.)

NICK: He seems to be deliberately looking away from the camera. Take him to the

NICK: Freeze that. Zoom in on the sleeve. Does that jacket look a little
small for that guy to you?

ARCHIE: Maybe.

NICK: I measured the height of the window. It's five feet. How tall is the

ARCHIE: Well, he's a head taller than that window.

NICK: Vincent Lafoon's only five-foot-ten. This guy's six-foot-two, six-foot-
three, easy. And a lot rounder. The only guy that big in the bunch is Mason.

(Nick makes a call.)

NICK: (to phone) Catherine, it's Nick. Listen, the surveillance video footage
is a fake. I think we got the wrong brother in custody. I think Mason set up
Vincent to set Oliver up. It's getting complicated.






(Thunder rumbles and lightning flashes. Catherine has her goggles on as she
looks around.)


(Ronnie is inside the set looking around with her flashlight.)

(Catherine is on the other side looking at the bloodied dummies with her ALS.)

CATHERINE: (calls out) Hey, Ronnie, anything?

(Ronnie walks through the set.)

RONNIE: No. This place is creeping me out.

CATHERINE: It's supposed to.

(Catherine turns and looks over at the shelves with extra body parts.)

(Lightning flashes and thunder rumbles outside. Catherine walks over to one of
the props. She checks it and finds blood. In one of the pipes protruding from
the prop, she finds more blood.)

(Catherine turns her ALS off and goes to her kit to take a sample.)

(Meanwhile, Ronnie continues to make her way slowly through the dark, creepy

(Catherine takes a swab sample off the pipe and tests it. It comes out
positive. Ronnie joins her.)

CATHERINE: I think we just found our murder weapon. Hidden in plain sight.

(Ronnie sees something on the side.)

RONNIE: Catherine? I've got something else here.

(Ronnie photographs it and pulls it out of the rolled up coils on the shelf.)

CATHERINE: Looks like Weatherly's missing heel.

(Quick flash to: Weatherly struggles with someone. She backs up, trips and
falls backwards. End flash.)

CATHERINE: This is where she died.

(Lightning flashes and thunder crashes. The overhead lights go out completely.)

CATHERINE: Ah, damn.

(The generator lights turn on.)

CATHERINE: Oh, good.

CATHERINE: Auxiliary generator just kicked in.

(Catherine checks her phone.)

CATHERINE: And I don't have any service.

(Ronnie checks her phone.)

RONNIE: Mine's dead, too.

(Ronnie puts her phone down on the shelf.)

CATHERINE: I'm going to get a dolly for you to move this thing. Photo it and
get it back to the lab.

(Catherine heads out.)




(Its pouring.)


(Ronnie is driving. She glances down at her fuel. It’s nearly empty. The
message on the dash reads: FUEL RANGE LOW.)

(Ronnie turns into the nearest gas station to fill it up. The attendant,
dressed in a raincoat and hat, runs out. Ronnie gives him the money.)

RONNIE: Here you go. Thanks!

(He turns and heads back inside. She fills the SUV and reaches for her phone.
It’s not there.)

RONNIE: Damn it.

(Ronnie opens the car door and takes out the radio.)

RONNIE: (to radio) Control, this is C-147 Lake for C13 Willows.

DISPATCH: (from radio) Copy, C-147. Stand by. C-147, you have C-13. Over.


CATHERINE: (to radio) This is Catherine.

RONNIE: (to radio) Hey, Catherine, I left my cell phone at the studio. I need
to go back and get it.

(Ronnie finishes filling her car.)

CATHERINE: (to radio) Yeah, you'd better. They're department issue. And if
you lose it, you replace it.

RONNIE: (to radio) Does that include the cost of the contract?

CATHERINE: (to radio) Oh, yeah.

RONNIE: (to radio) Damnit. I'll see you later.

(Ronnie goes back into the car, puts her seatbelt on and leaves the gas

(As she pulls out, a woman with short blonde hair watches her. Lightning

(Ronnie’s SUV heads back to the studio.)



(Catherine returns. She’s on the phone with Brass.)

CATHERINE: We found the pipe that killed Weatherly. It's in the print lab
being processed. She was killed on the soundstage and then dragged over.

BRASS: (from phone) We've got a warrant out for Mason Lafoon. We're looking
for him now.

CATHERINE: (to phone) Okay. Let me know what you find out.

(She hangs up. Another call comes in. It’s DICKIE JONES.)

(Catherine sighs and heads into her office.)

CATHERINE: (to phone) What do you want?

DICKIE JONES: (from phone) Pookie, it's me, Dickie.

CATHERINE: (to phone) I know.

DICKIE JONES: (from phone) I've got information I think you might be
interested in.

CATHERINE: (to phone) Okay, shoot.

DICKIE JONES: (from phone) No. It has to be in person.

CATHERINE: (to phone) Where are you?

DICKIE JONES: (from phone) I'm at the studio.

CATHERINE: (to phone) I thought there was no phone transmission from there.

DICKIE JONES: (from phone) There wasn't. Now there is. That's how it is with
phones and electrical storms. Look, it's urgent. Get down here as soon as you

CATHERINE: I just came from there. Why didn't you tell me then, you annoying
little man?

DICKIE JONES: (from phone) The situation is evolving.

CATHERINE: (to phone) If you're screwing with me, I will to string you up and
beat you senseless.



DICKIE JONES: (to phone) I look forward to it. Just hurry.

(Thunder cracks. Dickie Jones hangs up.)



(Brass puts a photo of Mason opening the warehouse window down on the table.)

BRASS: That's you, Mason. All six feet, three inches of you impersonating your
brother, which makes you good for Weatherly's murder. You did that one, too,
didn't you?

MASON LAFOON: No, no, no. Nobody killed Weatherly, okay? She killed herself.

BRASS: Oh, really? What, she axed herself in the back?

MASON LAFOON: No, you don't understand. She ... she ... It was an accident.
She tripped.

(Quick flashback to: Mason Lafoon and Stanley Vespucci are talking as Weatherly
says good night to them.)

MASON LAFOON: Good night, Weatherly.

STANLEY VESPUCCI: Good night, kid.

MASON LAFOON: Yeah, great stuff tonight. Have a good night.


MASON LAFOON: See you tomorrow.

WEATHERLY ADAMS: See you tomorrow. Okay.

(Weatherly smiles and waves to them as she backs away. She trips on the rolled
up hose on the floor, falls off the set stage, and ... SQUISH!)

(Mason and Stanley rush over to check on her. They find her impaled and dead on
the prop below.

MASON LAFOON: (shouts) Call 911! Call 911!

(Mason reaches for his phone. Stanley stops him from dialing.)

STANLEY VESPUCCI: Wait, let's think about this.

MASON LAFOON: No, but Stanley ...

STANLEY VESPUCCI: Mason, she's dead! This time she's not coming back. We've
got so many health and safety violations. If we report one more set-related
accident -- especially one resulting in a death -- we will lose our bond, our
liability insurance, OSHA will shut us down, we'll get our asses sued for
wrongful death, and that will be the end of Repulsion Pictures! Is that what
you want? Is that what you want?!

MASON LAFOON: (shouts) No!


MASON LAFOON: He ... he said "the show must go on," th-that Weatherly ... would
have wanted it that ... I don't ... we ... we didn't kill anybody.

BRASS: But you made it look like a murder, and then you framed your brother.

MASON LAFOON: Well, he's been treating me like crap my entire life.

(Brass chuckles.)

BRASS: Yeah, but for that, you're going to send him to jail for the rest of his

MASON LAFOON: This was all ... this was all Stanley's idea.

BRASS: Do you realize how much trouble you're in?

MASON LAFOON: Look, Stanley was the one who wanted to frame Vincent, okay? All
I was supposed to do was clean up the accident scene and pretend to be Vince and
buy the roses and that was it. The rest was him. If you don't believe me, talk
to the dwarf.

(Brass sits down.)

BRASS: Why? What did he have to do with it?

MASON LAFOON: Dickie saw the whole thing.

(Quick flashback to: Stanley and Mason talk. Dickie Jones is in the back of
the set watching ... and hearing them.)

STANLEY VESPUCCI: ... and that will be the end of Repulsion Pictures. Is that
what you want? Is that what you want?!


MASON: (v.o.) And he's been trying to shake down Stanley ever since.


BRASS: Well, that would explain the animosity.



(Ronnie returns to the warehouse. She wipes the rain from her forehead as she
heads to the back to get her phone.)

(Thunder rumbles. Lightning flashes. The lights are on. Ronnie enters the
room. She grabs her phone off the stage and turns around to leave. She stops
at a fresh pool of dripping blood on the floor.)

(She looks up and finds Dickie Jones hanging from the overhead beams upside
down. He’s dead.)





(The CSI SUV turns on the road.)


(Catherine is driving.)

CATHERINE: (to radio) Control, this is C-13 Willows, trying to contact C-147

DISPATCH: (from radio) C-13, Control. Copy. Stand by.


(Ronnie is on her phone.)

RONNIE: (to phone) Hello, Dispatch?

(She doesn’t get a response. She shakes her phone.)

RONNIE: (to phone) Hello?


DISPATCH: (from radio) C-13, Control. C-147 is not responding.

CATHERINE: (to radio) Okay, thanks. Over and out.


(Ronnie’s phone beeps as it disconnects. She looks around. Two gunshots fire.)

(She heads out to the door.)

(She stops when a WOMAN in a long gown, high spiked heels and a short blonde wig
walks across the far entryway. The WOMAN looks like it might be Weatherly.)

(Ronnie’s phone rings.)

(She ducks quickly to the side to hide. She reaches for her phone to turn the
ringer off. But the WOMAN turns around and looks at Ronnie. Ronnie runs back
to the set.)

(She ducks into the corner and crouches against the wall. She opens her phone
and makes a call.)


RONNIE: (to phone) (whispers) Catherine, it's Ronnie. I'm stuck at Repulsion
Pictures. I need backup.

CATHERINE: Ronnie ...

RONNIE: (to phone) Hello?

(Ronnie looks at her phone.)

CATHERINE: (echo-y) ... uh ... I'm, I'm coming.

RONNIE: (to phone) Hello?

CATHERINE: Just ... just stay on the line.

(“Weatherly” turns and heads back toward the set where Ronnie is.)

RONNIE: (to phone) Hello?


RONNIE: (to phone) Hello?


(The line goes dead.)

RONNIE: (to phone) Hello?

(Catherine’s phone beeps. She picks up the radio to call dispatch.)

CATHERINE: Dispatch, this is C-13 Willows requesting backup to meet me at
Repulsion Pictures.

(Catherine turns the sirens on.)


(Meanwhile, Ronnie looks out the window. Lightning flashes and the woman’s
figure passes by the window, her heels clacking on the floor.)

(Ronnie reaches over and picks up the toilet tank cover. She backs away from
the door.)

(She turns around and ZACK PUTRID is standing there.)

(He falls to the floor with a THUD. He grabs Ronnie by her ankle.)

ZACK PUTRID: (gasps) You gotta help me. I'm shot! I'm shot! You gotta get
us out of here.

(Ronnie puts the cover down and applies pressure to the wound in Zack’s back.)

RONNIE: (quietly) It's gonna be okay. Keep your voice down.

ZACK PUTRID: (gasping) Do you know how many people I've killed in this place?


ZACK PUTRID: The irony is exquisite, but the pain is more formidable, you know?
I think the pain is preventing me from enjoying the irony.

(Ronnie covers Zack’s mouth to stop him from talking.)

RONNIE: Shh! Shut up!

(She removes her hand and he starts talking again.)


RONNIE: For the love of God, stop talking.


(Catherine’s SUV turns onto the road, sirens wailing.)


(Zack coughs blood.)

ZACK PUTRID: Oh, that's not good. (coughs) I should really stop talking and-
and try and relax.

OTHER POV: Someone watches them.

RONNIE: That's good. Yeah, stop talking.

ZACK PUTRID: But I can't stop talking. I've got that thing that ... It's a
syndrome. It's a word ... There's a word for it.

RONNIE: Shh-shh-shh!

ZACK PUTRID: People have it. It's a syndrome. I can't stop talking.


(Ronnie looks up and sees Stanley Vespucci standing up on the mezzanine level
above them. He’s carrying a gun and raises it at them.)

(Zack turns and looks at Stanley.)

ZACK PUTRID: Stanley ... Stanley, don't shoot me again. I don't want to die,
okay? You already shot me twice. I learned my lesson, okay?

RONNIE: Sir, I'm a CSI. Think about what you're doing.

(Thunder rumbles.)

RONNIE: Put down your weapon.

STANLEY VESPUCCI: I'm sorry, I don't think I can do that.

(He cocks the gun. Zack sobs.)

(Suddenly, Stanley gasps. He staggers down the stairs with an axe in his back.)

(He falls to the floor in front of Ronnie and Zack.)

(Behind him, Oliver Zarco is dressed in a blue sequined gown and is wearing a
short blonde wig. He’s looking a lot like “Weatherly.”)

(Ronnie looks at Zarco.)

OLIVER ZARCO: Are you okay?

RONNIE: (nods) Yeah.

(Oliver gulps and sits down hard on the steps. He removes the blonde wig.)

(The approaching sirens grow louder.)

OLIVER ZARCO: I really loved her.

(He buries his face in the wig and cries.)

(Ronnie lets out a shaky breath.)

CATHERINE: (o.s.) Ronnie!

(Catherine enters the room with two officers behind her. Their weapons are

(Ronnie sits down on the floor.)

(Catherine sees the bodies on the floor – and Zarco sitting on the steps. She
looks up and sees Dickie Jones hanging from the ceiling beams.)



ZACK PUTRID: (v.o.) I'm editing late, like I always do, and I hear a shot.


(Stanley is turning the crank that raises Dickie Jones up to the ceiling beams
by his feet.)

ZACK PUTRID: (v.o.) So, I go outside and check it out.

(Zack walks in and sees him.)


STANLEY VESPUCCI: You gotta help me hide the dwarf before the cops come back.
Dickie was blackmailing us about Weatherly's accident. He wants to bring the
whole company down.

ZACK PUTRID: But you killed him! You killed Dickie!

STANLEY VESPUCCI: What's it gonna be, Zack? (He points the gun at Zack.) You
gonna help me here or what?!



(Zack talks with Ronnie.)

ZACK PUTRID: Next thing you know, I'm running for my life. And the nut job is
chasing me. He shoots me, and then I see the hot ... you. And all I can think
the whole time is, "Man, this is great. I could use this stuff." I mean, this
is life imitating art imitating life. You are so beautiful.

(Ronnie starts to smile.)

ZACK PUTRID: You are ... Your, your face is so expressive. It-it emotes. You
do terror so good.

RONNIE: I wasn't acting.


RONNIE: I'll see you.

(Ronnie turns to leave.)

ZACK PUTRID: Well, hey, listen. If you ever get tired of fighting crime, you
know, there's always a future for you in the horror business. I mean, I'll
take you there.

RONNIE: Thanks, but I like what I'm doing.

ZACK PUTRID: Oh, hey, the offer's still good.

RONNIE: Okay, thanks.

ZACK PUTRID: No, I'm serious. I could build an entire franchise around you.


(Ronnie leaves.)

ZACK PUTRID: (shouts) Seriously. Give me a call.



(We move through the hallway, past a dead body on a gurney. We turn the corner
and enter Forensic Autopsy.)

(We hear music and screaming – men screaming, maniacal laughter and a woman

(We see a dead body on the autopsy table and hear horror movie climax music
playing. A man laughs. A door hinge creaks loudly.)

(Robbins and David Phillips sit at the desk watching a horror movie and eating

ROBBINS: That is impressive. As the woman's throat is being slashed, you can
actually see the entire transverse view of the trachea.

DAVID PHILLIPS: That's all you've got to say?

(Robbins puts his glasses on and sits forward.)

ROBBINS: I believe I can see the epiglottis.

DAVID PHILLIPS: Epiglottis? What about the pathos? I mean ... what about the
humanity? This may be Weatherly's finest performance.

(Robbins stares at David.)

DAVID PHILLIPS: Oh, just watch the movie.

(A woman screams. They go back to the popcorn and the movie.)


(A man laughs maniacally.)


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bloom74, 21.06.2022 à 07:34

Bonjour, dernier jour pour voter pour la manche2 de la SuperBattle du quartier The Boys. A vous de jouer.

KylianM, 21.06.2022 à 17:12

Venez récompenser les séries quotidiennes françaises avec Les Quotidiennes Awards sur le quartier de Plus belle la vie !

CastleBeck, 22.06.2022 à 11:27

Le survivor du quartier This Is Us compte sur vos votes! Merci

ShanInXYZ, 22.06.2022 à 17:10

Nouveau thème dans Voyage au centre du Tardis, quelle photo de Dan Lewis allez vous nous dénicher ? Passez voir le Docteur

bloom74, 22.06.2022 à 17:34

Et voilà la 3e Manche de la SuperBattle est en cours, les combats de titans ont commencé. Retrouvez les sur le quartier The Boys !

Viens chatter !