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Les Experts
#110 : Quand les insectes parlent

Les enquêtes confiées aux experts sont de plus en plus complexes. Trois cas les occupent à temps plein. Le premier concerne une femme dont le corps a été retrouvé rongé par les punaises dans le désert. Aucun doute possible : il s'agit bien d'un meurtre. Le deuxième semble plus délicat : des oeuvres d'art ont été volées. Les indices ne permettent pas, pour l'instant, de remonter jusqu'aux commanditaires. Enfin, une voiture a été abandonnée près d'un arrêt de bus. Son propriétaire demeure introuvable. 

Titre VO
Sex, Lies and Larvae

Titre VF
Quand les insectes parlent

Première diffusion
22.12.2000

Première diffusion en France
30.12.2001

Extrait #01
Extrait #01

  

Extrait #02
Extrait #02

  

Extrait #03
Extrait #03

  

Extrait #04
Extrait #04

  

Plus de détails

Écrit par : Josh Berman & Ann Donahue
Réalisé par : Thomas J.Wright

Avec : Glenn Morshower (Shérif Brian Mobley), Robert David Hall (Docteur Al Robbins), Marc Vann (Conrad Eckley)

Guests :

  • John Getz ..... Richard Zeigler 
  • Mark Moses ..... 
  • Jennifer Sommerfield ..... Détective Secula 

Pré-générique

Las Vegas – Quartier Résidentiel. Un plombier intervient au sous-sol d’une maison afin de déceler l’origine d’une fuite d’eau. Malheureusement pour lui, ce n’est pas une voie d’eau qu’il découvre, mais la partie d’un squelette coulé dans le béton.
Grissom arrive sur les lieux où Nick l’attend déjà. Ils décident de libérer le squelette de son linceul bétonné. La décomposition d’un cadavre dans du béton crée une poche de gaz étanche, il suffit de frapper à un endroit précis pour que le mur se brise facilement, facilitant alors l’extraction du cadavre. 


Générique

Au laboratoire, Grissom distribue les différentes affaires qui occuperont son équipe. Il charge Sara et Warrick d’élucider les circonstances d’une mort par balle ayant eu lieu sur un parking.
Il aurait voulu confier un 426 (affaire de viol) à Catherine mais il doit y renoncer à cause d’un conflit d’intérêt. En effet, une danseuse exotique aurait été violée par un certain Eddie Willows, l’ex mari de Catherine en l’occurrence ! Ce dernier a d’ailleurs demandé à ce que l’affaire soit confiée à Catherine, or Grissom s’est opposé. Cependant, Catherine parvient à le convaincre et se chargera alors de l’enquête préliminaire pour ensuite passer le dossier à une autre personne.

Catherine se rend à la salle d’interrogatoire où l’attend Eddie. Avant de le rejoindre, elle l’observe attentivement derrière la vitre teintée donnant sur la salle où elle le rejoint. Tout en confirmant le rapport sexuel sur le parking attenant à la boite de strip-tease, il nie les faits qui lui sont reprochés en attestant que la victime était consentante. Or le rapport de police affirme le contraire. Catherine lui demande alors des nouvelles de sa compagne du moment, Mélanie, à qui elle pourrait révéler cette histoire scabreuse afin de le gêner davantage mais ce dernier affirme qu’ils sont maintenant séparés. Visiblement nerveuse, Catherine lui indique qu’elle ne peut pas l’aider et que son cas relève de la compétence des spécialistes en délinquance sexuelle. Or, pour tenter de la convaincre de lui venir en aide, il évoque le sort de Lindsay qui pourrait être, selon lui, indisposée par la perspective de venir rendre visite à son papa à la prison du comté.

Salle d’autopsie du Laboratoire. Grissom étudie le squelette retrouvé dans les fondations de la maison, en compagnie de Nick. Gil parvient à l’identifier comme étant celui d’une femme d’après la forme des hanches. L’inspection de restes du squelette indique que la victime aurait été préalablement tuée avant d’être coulée dans du béton. Quant aux circonstances du décès, au premier abord, d’après les entailles visibles au niveau des côtes, il semblerait qu’elle aurait été poignardée une douzaine de fois, à l’aide d’une arme peu banale légèrement incurvée avec un bord dentelé. D’après le type d’attaque, la victime connaissait son meurtrier.

Sara et Warrick rejoignent Brass, alors accompagné de Tyner, l’agent de police ayant abattu un suspect, sur le parking de la mort par balle. Il fait part de sa version des faits. Il a réagi à des coups de feu et le suspect a pris la fuite. Il l’a alors poursuivi en voiture jusqu’au parking où le suspect s’est arrêté. Il s’est alors approché de son véhicule et a constaté que le suspect, très nerveux, tenait une arme à feu. Ne souhaitant pas retourner en prison en cas d’arrestation, il a préféré se donner la mort, laissant alors son arme dans sa voiture. Afin de respecter les procédures habituelles liées à ce genre de cas, Warrick demande alors l’arme du policier. Pendant ce temps, Sara en profite pour récupérer l’arme du suspect dans le véhicule ; quant à Warrick, il souhaite qu’un périmètre de sécurité soit installé sur le lieu de l’incident, ce qui pose visiblement problème à Brass qui voit alors d’un très mauvais œil la volonté affichée de Warrick de faire la lumière sur cette affaire.

Salle d’autopsie du Laboratoire. Grissom étudie de près la chape de béton (dimension : 2x1) entourant le squelette, sur laquelle l’empreinte partielle du corps de la victime s’est progressivement imprimée durant le processus de décomposition. Nick lui donne des précisions sur la maison. Le permis de construire de cette maison construite à Summer Creek (où le sol est désertique, ce qui explique l’état de dessèchement du corps) date d’il y a cinq ans. La maison a été vendue après sa construction, ce qui indique que l’ancien propriétaire n’était pas au courant de la présence du cadavre. Il l’informe aussi qu’il a effectué des vérifications sur la liste des personnes portées disparues.

Au Laboratoire. Sara rejoint Warrick. Ensemble, ils s’interrogent sur les réelles circonstances de l’incident et se posent des questions sur le rôle joué par l’agent de Police Tyner. Il a d’ailleurs constaté qu’il manque une balle dans le chargeur de l’arme de service du policier, ce qui n’est pas réglementaire. Les deux armes confisquées, celles du suspect et du policier, sont identiques. Ce sont des automatiques 9 mm. Ces premières constatations ne risquent pas de plaire à Brass et ils s’attendent à un véritable bras de fer avec le service de Police Criminelle.
Grissom, alors en train de s’amuser avec une tarentule, est rejoint dans son bureau par Terri Miller, la meilleure spécialiste en anthropologie médico-légale d’Amérique du Nord. Il lui demande son aide pour reconstituer un visage.

Salle d’interrogatoire. Sara et Warrick questionnent le policier. Il nie de suite avoir abattu l’homme. Ils lui signalent alors qu’il manquait une balle dans le chargeur de son arme. Il s’explique en affirmant qu’il ne complète jamais son chargeur car la 14eme balle peut faire pression sur le ressort est ainsi enrayer l’arme. Ils lui demandent aussi si des témoins peuvent confirmer sa version des faits. Il s’énerve et à ce moment là, Brass intervient dans la salle, en prétextant être le délégué syndical du policier en question. Warrick lui indique qu’il manque une balle dans le chargeur de son protégé, Brass les charge alors de retrouver la balle manquante qu’il aurait tiré, projectile à tête arrondie, afin de mettre un terme à cette affaire envenimée. Sara évoque ensuite le dossier chargé de Tyner, ce dernier comportant cinq plaintes, trois déposées par des citoyens pour usage abusif de la force et deux ayant débouché sur des enquêtes de l’inspection générale qui l’a alors blanchi. Le ton de la conversation monte et Brass tente de le calmer. Afin de faire définitivement la lumière sur cette affaire, il est nécessaire de retrouver la balle manquante, d’où l’intérêt d’avoir sécurisé la scène de crime à l’aide d’un périmètre de sécurité, comme l’avait demandé Warrick au début de l’enquête.

Salle d’autopsie du Laboratoire. Grissom se trouve en compagnie de Terri Miller qui s’apprête alors à réaliser un moulage des empreintes du visage de la victime, imprimé dans la chape de béton. D’après la forme du visage, il semblerait que la jeune femme a un faciès typiquement nordique, ce qui amènerait à dire qu’il y ait de fortes chances que ce soit une blonde aux yeux plutôt marron (car couleur couramment répandue chez ce groupe ethnique). Une fois le visage reconstitué grâce aux prouesses de Terri, Grissom prend plusieurs clichés photographiques. Il les transmet aussitôt aux médias afin qu’ils puissent diffuser le signalement de la mystérieuse victime. Catherine, pendant ce temps rejoint Grissom et Nick au laboratoire, afin de pouvoir s’entretenir en privé avec son chef à propos de l’affaire de viol dans laquelle son ex mari est accusé. Nick les laisse alors en privé. Catherine transmet alors ses premières impressions sur l’enquête tout en reconnaissant qu’elle est relativement mal à l’aise dans cette affaire, étant étroitement liée au suspect. Grissom lui demande alors de confier le dossier à Warrick.

Salle d’autopsie. Grissom rejoint le docteur Robbins, qui l’a fait mander. Il lui indique qu’il a repéré une entaillure à l’arrière du crâne du squelette, ce qui montre que la victime a reçu un coup violent, porté à l’aide d’un objet lourd. Il lui indique également qu’il a retrouvé du sodium sur les os de l’oreille interne ainsi qu’un bouchon de cérumen contenant des grains de sable. A la lumière de ces découvertes (sel et sable), la victime aurait-elle été abattue sur une plage ?
Nick apprend à Grissom que la diffusion du portrait robot réalisé à partir des empreintes laissées dans la chape de béton a porté ses fruits, la jeune fille ayant été identifiée par au moins cinq personnes dont sa mère. La victime s’appelait Faye Green.
Grissom se rend alors chez la famille Green afin d’obtenir des informations complémentaires sur la vie de la victime. Il y rencontre alors sa mère et lui pose une série de questions. Elle lui apprend qu’elle faisait de la plongée et qu’elle venait à peine d’obtenir son brevet. Elle lui indique également qu’elle avait emménagé avec son petit ami, un certain Jason Adler, qui habite encore sur place, à Medley Peace. La police l’a interrogé à plusieurs reprises. Elle affirme d’ailleurs qu’elle croit en son innocence parce qu’il aimait vraiment sa fille avec laquelle il ne se disputait jamais.

Pendant ce temps, l’inspecteur Evans procède à l’interrogatoire de la danseuse exotique victime du viol. Elle lui indique qu’elle a passé une partie de la soirée avec le suspect, puis ils se sont rendus sur le parking où il se serait montré plus entreprenant. Catherine prend alors le relais, rassurant Evans quant à sa capacité à mener l’enquête. Elle constate rapidement la présence de bleus sur les avant bras de la victime, celle-ci affirmant que le suspect l’aurait plaquée contre un mur. Elle effectue également un prélèvement sous les ongles de la victime afin de récupérer d’éventuels échantillons de peau appartenant à l’agresseur pour prouver qu’il y a bien eu lutte. La victime se demande alors pourquoi les enquêteurs ne se contentent pas des prélèvements vaginaux préalablement effectués.

Parking – Scène de Crime – Mort par balle. Warrick et Sara scrute la scène à la recherche de la balle manquante, sans succès. Or ils sont aussitôt rejoints par un jeune homme qui prétend avoir assisté à l’incident la veille. Il relate alors ce qu’il a vu. Le policier s’est approché du véhicule de la victime, visiblement très nerveuse et lui aurait subitement tiré dessus sans sommation… Cette affaire sent le roussi pour nos deux experts qui risquent d’être directement confrontés aux intérêts et à la solidarité de la Police Criminelle !

Vestiaire du Laboratoire. Warrick est rejoint par Grissom qui lui pose des questions pièges afin de vérifier si Catherine lui a bien confié son affaire. Il finit par découvrir que ce n’est pas le cas et il s’énerve… Catherine arrive à temps pour s’expliquer. Elle a décidé de mener cette enquête afin de préserver sa fille Lindsay et prétend prendre toutes les précautions possibles En effet, si elle se trouve en contact direct avec les preuves, cela invaliderait les conclusions de l’investigation, puisqu’elle a un lien intime avec le suspect, ce que ne manque pas de lui rappeler Grissom.
Selon ses premières découvertes, les traces de contusion ainsi que les fragments de peau appartenant visiblement au suspect, Eddie se trouve dans une situation délicate. L’enquête tend alors vers une confrontation entre les deux versions des protagonistes de cette affaire, seules les preuves feront la lumière sur cette sombre histoire.

Laboratoire. Greg étudie au microscope les grains de sable retrouvés dans l’oreille du squelette. Il constate alors que ce sable n’a rien de naturel (le fragment serait lisse si c’était vraiment du sable). L’étude des composants minéraux de ce sable indique la présence de feldspath et de quartz, deux éléments essentiels du grés. Ce sable provient alors de gré concassé.

Couloir du Laboratoire. Sara et Warrick croisent Brass qui est visiblement agacé par le tournant que prend l’enquête. Brass les intimide tout en arguant que Warrick essaie de se venger d’un passé relativement récent. Puis Tyner arrive, visiblement échaudé et leur reproche de n’être que des scientifiques, pas très conscients des réalités du terrain. Le ton monde et c’est le début d’une altercation entre Tyner et Warrick ! Heureusement, Nick et Grissom interviennent pour les séparer. Il leur est donc indispensable de retrouver la fameuse balle manquante…

Catherine, dînant dans un restaurant reçoit une visite surprise, celle de son ex mari Eddie, alors libéré sous caution. Il la remercie pour ce qu’elle fait pour prouver son innocence.

Laboratoire – Garage. Sara et Warrick inspectent le véhicule de la victime de fond en comble afin de trouver la balle. Ils démontent alors la jeep entièrement sans succès. Warrick décide alors de jeter son dévolu sur le pneu de secours. Son inspiration est la bonne ! Une balle y est bien logée. Il leur suffira de comparer cette balle avec celles de l’arme de Tyner. L’observation au microscope corrobore leur constatation. La balle correspond bien à celles de l’arme du policier. Or un technicien leur apprend que cette arme appartient en fait à la victime…

Catherine et l’inspecteur Evans se rendent à la boite de strip tease, se situant à proximité du lieu où aurait eu lieu le viol. Catherine navigue en terrain connu puisqu’elle était, dans le temps, une danseuse exotique travaillant pour le compte du gérant de la boite, Ted, qu’elle connaît alors très bien. Catherine inspecte le vestiaire de la victime et découvre une boite de pilules contraceptives vaginales.

Quant à Nick et Grissom, ils se rendent au domicile de Jason Adler afin de lui poser quelques questions au sujet de son ex compagne, Faye Green. Ils lui demandent si ils peuvent entrer, Jason lui affirme qu’il n’y voit aucun inconvénient. Au cours de son inspection, Grissom remarque la présence d’un aquarium dans le séjour. En marchant, ils découvrent aussi qu’une des lattes du parquet a du jeu, ce qui leur parait suspect. Grissom lui demande alors si son aquarium se trouvait à cet endroit à un moment donné. Grissom décide alors de découvrir ce qui se cache sous la latte, tout en demandant l’aval du propriétaire… Quelle est sa surprise lorsqu’il y trouve du sable ! L’aquarium se trouvait alors à cet endroit ! Ce constat gêne visiblement Jason qui leur demande alors de partir ! Grissom promet de revenir, la prochaine fois, muni d’une commission rogatoire…

Au laboratoire, Catherine demande à Greg les résultats des analyses concernant l’affaire de viol. Il a décelé des traces d’inoxinol 9 (alcool) et de glycérine qui provient, après test, d’un des films contraceptifs découverts dans le vestiaire de la danseuse. Ce film se dissout à l’intérieur du corps à cause de la chaleur produite. Ce moyen contraceptif doit être inséré de quinze minutes à trois heures avant le rapport sexuel. Or d’après le résultat des analyses, elle l’aurait inséré pendant ses heures de travail… Une question taraude alors l’esprit de nos experts. Pourquoi la victime aurait-elle inséré ce produit contraceptif juste avant d’être violée ?

Dans les couloirs du Laboratoire, Nick indique à Grissom que Jason Adler était employé pour le compte d’une entreprise sous traitante, il y a cinq ans sur le lotissement de construction de Summer Field. En même temps, ils croisent Terry dont le travail est désormais terminé…

Dans le garage. Warrick et Sara procèdent à la reconstitution des faits en fonction de la trajectoire de la balle et de l’endroit présumé où était placé l’agent, survenus sur le parking devant le capitaine Brass. Leurs conclusions sont sans appel. Tyner est innocent car les lois de la physique l’emportent sur les témoignages oculaires. Affaire classée !

Catherine rencontre à nouveau la danseuse exotique et lui demande pourquoi elle a simulé un viol pour faire plonger Eddie. Elle lui affirme alors qu’elle était blasée par ses mensonges multiples. Pour se venger, elle a alors mis sur pied cette histoire de viol, question de toucher le jackpot avec l’argent que lui aurait versé Eddie afin de ne pas être poursuivi. Catherine lui révèle alors qu’Eddie est un sans le sou et qu’elle n’aurait rien obtenu de lui… Affaire classée !

Grissom et Nick se rendent à nouveau chez les Adler, cette fois munis d’une commission rogatoire afin de fouiller minutieusement la maison. Ils constatent de visu que la maison a été nettoyée depuis leur précédent passage (il n’y a plus de sable sous la latte de parquet). Ils décident alors de rechercher d’éventuelles traces de sang grâce aux différents révélateurs dont ils disposent. Le luminol ne donnant pas les résultats escomptés, ils décident de s’en remettre à la lumière alternative dont l’écho peut traverser n’importe quelle couche de peinture et de vernis (d’ailleurs ils remarquent la présence de plusieurs couches de vernis sur le parquet…). Cela se révèle concluant ! Les tâches de sang apparaissent alors !
Grissom tente alors de reconstituer les faits qui se sont produits la nuit de la disparition de Faye. Jason se serait disputé violemment avec elle, suite à une bousculade elle aurait percuté avec sa tête l’aquarium qui se trouvait alors à son ancien emplacement. Sonnée, elle aurait tenté de s’enfuir et il l’aurait définitivement achevée… à l’aide d’un objet contondant peu banal. Cependant Jason nie les faits ! Grissom poursuit son récit. Il l’aurait ensuite emporté son corps sur le chantier de Summer Field afin de la couler dans du béton pour la faire disparaître définitivement. Il continue de nier les faits tout en affirmant qu’il l’aimait et qu’il l’aime toujours, ce qui a pour effet d’indisposer sa femme Emmy.
Grissom charge alors Nick d’inspecter minutieusement la maison pendant qu’il s’occupe d’avertir la Police Criminelle afin de procéder à l’arrestation de Jason pour le meurtre de Faye Green.
Un des cadres du séjour attire l’attention de Nick. Il y voit Jason muni d’un piolet et pense de suite qu’il pourrait s’agir de l’arme du crime. Malheureusement pour lui, Emmy visiblement très perturbée le menace avec une arme !
A l’extérieur, Grissom accompagne Jason, enserré par deux policiers, qui continue de clamer son innocence. Une de ses répliques attire l’attention de Grissom. En effet, il affirme que sa femme Emmy vernissait le parquet tous les ans. Il comprend alors qu’il s’est trompé de coupable et s’empresse vite de rejoindre Nick dans la demeure.
Pendant ce temps, Emmy le menace toujours avec son arme et finit par lui avouer ce qu’elle a fait la nuit de la disparition de Faye. Suite à une violente dispute, elle l’a tuée froidement pour se venger parce que Jason l’avait quittée pour Faye. C’est donc un crime passionnel. Nick est terrorisé et lui demande de déposer son arme, ce qu’elle refuse de faire… Heureusement Grissom intervient à temps pour tirer Nick de ce mauvais pétrin. Elle dépose alors son arme… Nick sort très bouleversé de cette expérience.

Au parc, Eddie rejoint Catherine et Lindsay. Il tient à la remercier pour ce qu’elle a fait pour lui en l’invitant à déjeuner. Mais elle décline son invitation. Elle ne veut pas parler de ce qui c’est passé entre eux tout en affirmant avoir une nouvelle vie…

Réalisé par Morte

COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY]

[EXT. LAS VEGAS CITY MOUNTAINS (STOCK) - DAY]



SCENE #01:

[EXT. MOUNTAINS -- DAY]

(We hear the crunching of footsteps on the brush.)

HIKER MAN: (o.s.) Isn't it great to get back to nature?

(We hear more footsteps.)

HIKER MAN: (o.s.) You want to set camp here?

(In the brush, we see two campers, ANGIE and a man. ANGIE has her legs crossed
and shuffles from one foot to the other.)

ANGIE: We can camp on the moon. Just give me the shovel.

(HIKER MAN takes off his back pack and grabs the shovel. He hands it to her.)

HIKER MAN: Chill, chill. You got paper?

(She grabs it and hurries off. The MAN laughs silently at her.)

ANGIE: I have what I need.

(ANGIE walks some distance away from her camping partner and tries to get the
shovel open. We hear insects buzzing. She looks in front of her and gasps.)

ANGIE: Oh, my god!

HIKER MAN: (concerned) Angie?

(ANGIE is frozen as she stares at whatever it is she's looking at. When ANGIE
doesn't answer him, the MAN turns to go look for her.)

HIKER MAN: Angie!

(He runs toward her and finds her frozen at whatever she's looking at.)

ANGIE: They're ... they're everywhere.

HIKER MAN: What the ... ?

(In front of them, under the bush, is the body of a person.)

HIKER MAN: That's a person.

(They both start coughing and gagging at the thought.)

CUT TO:



SCENE #02:

[EXT. MOUNTAINS - NIGHT]

(Large lights are set up on the mountain side. SARA and GRISSOM make their way
down toward the dead body.)

DETECTIVE: Hey.

(They walk up toward BRASS.)

BRASS: Hikers found her. Looks like a gunshot to the head.

GRISSOM: Did you find a weapon?

BRASS: No.

(GRISSOM and SARA approach the body. GRISSOM puts his kit down. and puts on the
gloves. He brushes a few away. SARA looks wide-eyed at the flying bees.)

SARA: I hate bees.

GRISSOM: Just paper wasps. They're having too much fun to worry about us.

(GRISSOM picks up his kit and walks closer toward the body. SARA stays back
where she is.)

SARA: I never get used to this part, you know when the bugs get going.

(GRISSOM opens his kit.)

GRISSOM: Just doing what god intended ... ... recycling us back to the earth.

(GRISSOM looks down at the body. SARA takes out a pair of gloves.)

GRISSOM: Hey, Officer

OFFICER: Yeah?

GRISSOM: Can I borrow some of your hot coffee, please?

OFFICER: Sure.

(The OFFICER hands GRISSOM the cup. SARA bats her hand at the bees. GRISSOM
takes a couple of bugs off of the body and puts them in a container. He pours
some coffee into the container. SARA has moves in nearer to the body.)

GRISSOM: (to SARA) Preservation.

(GRISSOM caps the container and puts it aside. Off the body, he takes beetle
samples.)

GRISSOM: John ... Paul ... George ... Ringo.

SARA: Beetles. No alkali fluids in the dirt so she wasn't killed here.
Whoever dumped her must have been in a hurry. Didn't take the time to bury her.
What do you think?

GRISSOM: You got any of that beef jerky you're always gnawing on?

SARA: You can eat?

GRISSOM: I want to keep these little fellas alive. They're our first witnesses
to the crime.

HARD CUT TO:
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

SCENE #03:

[INT. CSI - BREAK ROOM - NIGHT]

(Everyone's in the break room waiting for GRISSOM and the assignments.)

WARRICK: Cath, you want some coffee?

CATHERINE: Please. Cream with some of that fake stuff.

NICK: There's nothing good to eat around here.

(CATHERINE tosses NICK an apple over her shoulder. It lands in his hand. He
looks down at it and smiles.)

(GRISSOM walks into the room.)

GRISSOM: Hi. Sorry I'm late.

CATHERINE: Hey, how's the body with the bugs?

(GRISSOM starts, then stares at CATHERINE.)

GRISSOM: How do you know about that already?

(He turns around and look over at SARA, who is on the other side of the room
reading a book. She looks up and shrugs.)

SARA: Hey, don't look at me.

NICK: We, uh, played a hunch; checked with homicide. You were late.

CATHERINE: What do you have for us?

(GRISSOM looks at the assignment sheet.)

GRISSOM: A Paul Sorenson ...

(He hands the assignment sheet to CATHERINE.)

CATHERINE: (reading) Missing since last night. Last seen at home of Richard
Zeigler in - ooh -- Summerlin.

WARRICK: Summerlin ... rich folks.

GRISSOM: Warrick, you can work this with Catherine. (CATHERINE hands the sheet
to WARRICK.) Don't you have a court date coming up?

WARRICK: Yeah, the DA asked me to testify on chain of custody.

WARRICK: I could do that in my sleep.

GRISSOM: Listen, juries need to have confidence in the evidentiary, process, so
work with Catherine then break off when you have to appear.

WARRICK: Yeah.

(WARRICK and CATHERINE head out the front door.)

CATHERINE: Bye.

GRISSOM: Good luck.

NICK: Bye.

WARRICK: See you.

(They leave. NICK looks at GRISSOM.)

NICK: Need help with your homicide?

GRISSOM: No. Sara's going to work with me.

(NICK looks over at SARA, who smiles back at getting the dead body case with
GRISSOM.)

GRISSOM: You get a missing person. (reading) Sheryl Applegate. Her husband
notified the police that she took the car and headed to L.A., but she never
showed up. A few hours ago, P.D. found her car at the bus station. They
requested a CSI.

NICK: She took the bus instead. Case solved.

(NICK smiles smugly at SARA. SARA laughs.)

GRISSOM: Hopefully, you're right. But, until she's located treat her car like
a crime scene.

(GRISSOM holds out the assignment sheet to NICK. NICK sighs and takes the sheet
from GRISSOM. He heads for the door. On his way out, he tosses the apple to
SARA, who catches it.)

(GRISSOM looks at SARA and points at the door. She stands up and they leave the
room.)

CUT TO:



SCENE #04:

[EXT. ZEIGLER RESIDENCE - NIGHT]

(CATHERINE and WARRICK walk up to the front door. CATHERINE knocks.)

CATHERINE: Is everything okay? You've been quiet all night.

WARRICK: Yeah. I got a call earlier today from Child Services asking about you
and Lindsey.

(CATHERINE shakes her head in surprised disbelief.)

CATHERINE: I don't believe this.

WARRICK: They told me they'd notified you -- some investigation -- that Eddie
had made a charge or something.

CATHERINE: Yes. He's pissed off because I won't let him back into my life so he
sics Child Services on me.

(WARRICK understands now.)

CATHERINE: (still upset) I never expected they were going to talk to my
friends. Well, what did they ask? What did you say?

WARRICK: Well, I ...

(The front door opens.)

RICHARD ZEIGLER: Hello.

CATHERINE: Hi. Sir, we're with the Las Vegas Crime Lab. We're here about a
Paul Sorenson.

RICHARD ZEIGLER: I'm Richard Zeigler. Cops told me you were coming. Here,
please, come in.

CATHERINE: Thank you.

WARRICK: Thanks.

(He holds the door open for them. They walk inside.)

CUT TO:



SCENE #05:

[INT. ZIEGLER RESIDENCE - LIVING ROOM - NIGHT - CONTINUOUS]

(RICHARD ZEIGLER leads them into the living room. He stops and points to the
wall in front of them.)

RICHARD ZEIGLER: Well, this is, uh where the Sorenson was displayed.

CATHERINE: Sorenson is a painting.

RICHARD ZEIGLER: Paul Sorenson was an artist. Early 1900s.

(RICHARD ZEIGLER steps past them and up to the empty wall. WARRICK puts his kit
down.)

CATHERINE: (shrugs) How dumb are we?

WARRICK: What's he know about the forensic analysis of a friction ridge?

CATHERINE: Right on.

RICHARD ZEIGLER: (doesn't hear & turns around) I think I may have surprised
the guy while he was stealing it.

(Quick flashback to: RICHARD ZEIGLER walks down the darkened stairs.)

RICHARD ZEIGLER: (v.o.) I came downstairs to read and I heard a noise.

(The plaster breaks and the wall hanger falls to the floor with some plaster.)

(Cut to: The thief runs out of the living room with the painting. RICHARD
ZEIGLER turns his head and notices the open door.)

RICHARD ZEIGLER: (v.o.) By the time I got to the room, he was gone but the
door was open.

(End of flashback. Resume to present.)

(CATHERINE and WARRICK reach into their field kits.)

CATHERINE: Why don't we dust for prints?

WARRICK: Mr. Ziegler, one more thing. What about the security alarm?

RICHARD ZEIGLER: Somebody disengaged it.

(WARRICK nods his head. RICHARD ZEIGLER walks away.)

WARRICK: You thinking what I'm thinking?

CATHERINE: Oh, yeah. Inside job.

(CATHERINE reaches up and starts dusting the wall for prints.)

CATHERINE: So ... was it a disaster with Child Services?

WARRICK: Disaster? What do you mean?

(WARRICK reaches up next to CATHERINE and starts dusting the wall for prints.)

CATHERINE: Well, my job does take me away from my daughter. Nobody knows that
better than you.

WARRICK: Yeah, but you think I'd say that?

CATHERINE: Well, not intentionally. (sighs) They just, you know, know how to
ask questions.

RICHARD ZEIGLER: Are you finding anything?

CATHERINE: We're working on it, sir.

CUT TO:



SCENE #06:

[INT. CSI - FORENSIC AUTOPSY -- NIGHT]

(DR ROBBINS goes over the body with GRISSOM and SARA.)

DR. ALBERT ROBBINS: Your young woman from the mountains.

GRISSOM: Do we know who she is yet?

DR. ALBERT ROBBINS: I gave her prints to homicide for ID. There's the blanket
she was wrapped in. Whoever she is, last day on earth was not pleasant. .38
caliber gun, flush to the scalp.

(White flash to Quick CGI: Gunshot is heard and the camera follows the bullet's
path through the gun barrel and through the scalp. Camera backs up a little to
show the entry wound. End of CGI. Resume to present.)

DR. ALBERT ROBBINS: Shot clean through, right to left. Bullet out the other
side.

(SARA leans in close and looks at the wound.)

SARA: Stellate pattern and beveled wound confirms the proximity of barrel to
scalp. No question this was an intimate killing.

GRISSOM: "Full of sound and fury signifying" ... what, Doc?

[Note: Quote from Macbeth, Act V, Scene V, William Shakespeare]

(DR. ROBBINS turns and walks off to the side.)

DR. ALBERT ROBBINS: I took these.

(They look at the x-rays up on the viewbox.)

SARA: Let's see what we have. Fracture to the nasal bone, orbital bone,
mandibular ... all facial fractures.

DR. ALBERT ROBBINS: (realizing) Typical for battered women.

SARA: These aren't fresh, are they?

DR. ALBERT ROBBINS: The old fracture lines indicate this woman was in a long-
term abusive relationship.

SARA: Any idea how long she's been dead?

DR. ALBERT ROBBINS: The elements really got to her. Grissom and his insects
are going to have to figure that one out.

(DR. ROBBINS turns around and sees GRISSOM picking up a bug from the body.)

DR. ALBERT ROBBINS: Have we lost you, Grissom?

(GRISSOM looks at the bug.)

GRISSOM: (muttering) "The worms go in the worms go out / the worms play
pinochle on your snout."

[Note: Quote from "The Hearse Song", Nursery Rhyme.]

SARA: Shakespeare again?

GRISSOM: An old nursery rhyme.

DR. ALBERT ROBBINS: A very special insect, Dr. Seuss?

GRISSOM: A muscid fly -- typical only in urban areas.

DR. ALBERT ROBBINS: But you found her in the mountains.

(He smiles in agreement.)

CUT TO:



SCENE #07:

[INT. ZEIGLER RESIDENCE - NIGHT]

(CATHERINE questions RICHARD ZEIGLER.)

CATHERINE: How many people have access to your home -- keys and security code?

RICHARD ZEIGLER: Just my wife and my two sons and, uh ... my daughter.

(Meanwhile, WARRICK finds something.)

CATHERINE: Can you get them all here? They might be able to help us with
evidence.

WARRICK: Hey, Catherine. Check this out.

(CATHERINE turns around and looks at the wall.)

WARRICK: You see that?

CATHERINE: Helix, antihelix, helix rim, tragus, antitragus.

WARRICK: I think the thief must have pressed his head against the wall to check
if the painting was wired.

CATHERINE: (laughs) Come on. An earprint?

WARRICK: Hey, a jury convicted a first-degree murderer based on a print just
like this two years ago in Washington.

CATHERINE: Yeah, I know, I know. I'd like to see that one on appeal. Well,
photograph and lift. We'll have someone to compare it to soon enough.

CUT TO:



SCENE #08:

[INT. CSI - GRISSOM'S OFFICE -- NIGHT]

(Camera opens on a certificate hanging on the wall from the "UNIVERSITY OF
CHICAGO", "SOCIETY OF VECTOR ECOLOGY" to "Gil Grissom", then pans over to the
various bugs pinned to a white board. GRISSOM adds another pinned bug to the
board.)

(SARA sits behind GRISSOM holding the container with the 'preserved' beetle in
it, the one with the caffeine.)

SARA: Okay, bear with me.

(GRISSOM walks over to the counter to pick up another container marked
"evidence" with an insect inside.)

SARA: I mean, you're one of ten guys in the country that understands this
stuff.

GRISSOM: I think there's at least fifteen, but go on. What don't you get?

SARA: Insects arrive at a corpse in a specific order, right?

GRISSOM: Like summer follows the spring.

SARA: And you can pinpoint time of death based on the type and age of insects
present on the body?

GRISSOM: I watch the insects mature from eggs to larvae to adults and then
count backwards.

(Off SARA, out in the hallway, BRASS lingers in the doorway.)

SARA: Linear regression.

(GRISSOM holds up a bug and looks at it.)

BRASS: How old are those creepy crawlers?

GRISSOM: They're not done maturing yet.

BRASS: Oh.

GRISSOM: But when they are, I'll be able to tell you how old they were when I
found the body.

SARA: Which will tell us when the woman died.

BRASS: I ID'd her body through AFIS, and located her husband.

GRISSOM: Let me guess. Downtown? The Fremont District?

(BRASS' face falls at GRISSOM'S accuracy.)

BRASS: You know, I'm not even going to ask.

GRISSOM: Synthesiomyia nudiseta is the Latin name.

SARA: It's a muscid fly. Only breeds in urban areas but Grissom found one on
our girl which means she was probably killed downtown and then carried into the
mountains.

BRASS: Well, the neighbors heard a gunshot at their apartment five days ago.
The "grieving" husband ...

(BRASS looks down at his notes.)

BRASS: ... his name is Scott Shelton.

(beat)

SARA: What was her name?

CUT TO:



SCENE #09:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]

(GRISSOM, SARA and BRASS interview SCOTT SHELTON.)

SCOTT SHELTON: Kaye screamed at me a lot, that's for sure but I didn't kill
her. In fact, I was out of town last week at a convention.

BRASS: Yeah, in New Orleans soaking up the gumbo. You told us. When was the
last time you saw your wife?

SCOTT SHELTON: Five days ago. When I came back from my trip she was gone.

BRASS: And you didn't think to notify the police?

SCOTT SHELTON: I keep my personal business private. If Kaye had left me again,
I wasn't going to broadcast it.

BRASS: So this neighbor lady who told me that she heard a gunshot and a woman
scream inside your apartment ... what, she just imagined that?

SCOTT SHELTON: It was probably our tv.

(SARA slides the folder on the table toward GRISSOM. He leans forward to
continue the interview.)

GRISSOM: Mr. Shelton ... did your wife drive race cars?

SCOTT SHELTON: (laughs) You're kidding me.

GRISSOM: No. The two most common causes of facial trauma in adult women:
Motor vehicle accidents and domestic violence.

(GRISSOM opens the file folder.)

GRISSOM: These are your wife's x rays.

SARA: Every face and neck fracture your wife has sustained over the last six
years is highlighted.

SCOTT SHELTON: Kaye can get wild. If I came home late with friends I've
wrestled her off me. I admit that.

BRASS: Three complaints against Scott for spousal abuse in the last two years.

SCOTT SHELTON: Kaye was excitable. Like I said I've wrestled her off me, but I
never, ever laid a hand on her.

SARA: How about a gun?

(SCOTT SHELTON looks at SARA, then turns to GRISSOM.)

SCOTT SHELTON: (laughs) You have your hands full with her.

GRISSOM: So do you.

SARA: We're going to investigate your apartment. Do we need a warrant or are
you going to play nice?

SCOTT SHELTON: Come on over. I've got nothing to hide.

SARA: We'll be the judge of that.

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #10:

[EXT. BUS STATION -- NIGHT]

(NICK makes his way toward the detective.)

NICK: Detective Secula.

DET. SECULA: Mr. Stokes.

NICK: What's up?

DET. SECULA: You got stuck on this one, too?

NICK: (puts field kit down) Yeah, well, missing person -- could be
interesting.

(NICK pulls a pair of gloves out of his pocket and puts them on.)

DET. SECULA: Husband reports his wife missing and her car's at a bus terminal.
Come on. Lady took a trip. Didn't want him to know where to. Not much of a
mystery.

NICK: Auto unit been by yet?

DET. SECULA: No. We just slim-jimmed. We checked for a body -- didn't find
one. Big surprise.

NICK: Yeah.

(NICK takes a breath and points to the car. She beats him to the question with
the answer.)

DET. SECULA: No. I didn't touch a thing.

(NICK nods. He opens the door and looks inside.)

NICK: Secula ... something wrong?

(DET. SECULA looks at the inside of the car over NICK'S shoulder.)

DET. SECULA: We had dinner last week. I thought it went great. You never
called.

(He turns his flashlight off and looks at her.)

NICK: That doesn't mean I wasn't going to.

(NICK opens the trunk and looks inside. He finds some hair.)

NICK: Is our missing person a redhead?

DET. SECULA: Yeah.

NICK: Call in a tow to the CSI garage. This case is now officially
interesting.

(NICK takes out the camera and snaps a photo.)

CUT TO:



SCENE #11:

[INT. ZEIGLER RESIDENCE -- MORNING]

(CATHERINE looks at the ear print. She and WARRICK talk to the entire ZEIGLER
family.)

CATHERINE: It's just like a fingerprint ... for your ears.

RICHARD ZEIGLER: Now, wait a minute. Are you thinking one of us did this?

CATHERINE: Well, there's no forced entry. Someone shut off your alarm. That
tells us that we eliminate the family first before we widen our investigation.

TROY ZEIGLER: I'll tell you what. I'm not putting that crap on my ear.

WARRICK: Well, we can get a warrant.

RICHARD ZEIGLER: Oh, no. Nobody's getting a warrant against this family. We'll
humor them, and get this over with.

(RICHARD ZEIGLER gets to his feet.)

CATHERINE: Thank you, sir.

(MRS. ZEIGLER takes off her earring.)

RICHARD ZEIGLER: Tell me what you want me to do.

(He walks up to CATHERINE.)

CATHERINE: You're a good sport.

WARRICK: I'm just going to press this against your ear. See?

(WARRICK presses the glass against RICHARD ZEIGLER'S ear and shows him the
print.)

(Cut to: WARRICK and CATHERINE dust the ear prints. of the glass panels in
front of them.)

(Dissolve to: CATHERINE blows the dust off of the glass for LISA Z.)

(Dissolve to: WARRICK and CATHERINE continue to work on the ear prints.
CATHERINE presses the tape against the glass. WARRICK works on his glass.)

(Dissolve to: One by one, CATHERINE compares the ear print to the samples taken
from the family. The family waits. CATHERINE finds a match.)

CATHERINE: We got a match.

(She stands up and shows it to WARRICK. Then, she shows it to RICHARD and MRS.
ZEIGLER.)

CATHERINE: What do you think?

WARRICK: Jason?

JASON: What?

WARRICK: The earprint talking.

(Quick flashback to: That night, JASON presses his ear to the wall as he lifts
the painting away from the wall to get the hanger behind it.)

(Cut to: RICHARD ZEIGLER walks down from the top of the stairs.)

(Cut to: JASON rips the painting off of the wall. The hanger falls to the
floor with bits of plaster. JASON turns around to face the camera.)

(Cut to: JASON walks out the door carrying the painting. He runs.)

(End of flashback. Resume to present.)

RICHARD ZEIGLER: Why would you steal from me?

WARRICK: Sir, are you going to want to press charges?

RICHARD ZEIGLER: No, no. God, no. No. I just ... we'll get help for Jason.
I don't want court records.

CATHERINE: Jason, do you still have the painting?

JASON: What if I told you I sold it?

CATHERINE: Well, that would be selling stolen property and you would be
arrested, no matter what your dad says.

JASON: Okay. Painting's in the trunk of my car.

CUT TO:



SCENE #12:

[INT. SHELTON RESIDENCE -- DAY]

(SCOTT SHELTON offers them a drink.)

SCOTT SHELTON: Can I get you guys something to drink? Soda, ale?

SARA: (o.s.) No, thanks.

(GRISSOM checks under the couch cushions. BRASS walks along the room. SARA
checks out the items on the wall shelves. Most of the photos and items on the
shelves are his.)

SARA: Not a lot of room for Kaye.

SCOTT SHELTON: She's shy.

(SARA nods.)

(BRASS kneels next to the bed and finds something. A holder with some bullets
it in. SCOTT SHELTON sees BRASS pick it up. BRASS looks at SCOTT.)

(SARA continues to look around the room. GRISSOM stands in the middle of the
living room.)

GRISSOM: Does it get cold in here in the winter?

SCOTT SHELTON: Sometimes. Why?

(GRISSOM finds some fibers on the couch. He picks it up.)

GRISSOM: That's why you'd need a blanket on the couch, huh? A green one, I
bet.

BRASS: (checks the gun) Looks like your gun's just been cleaned.

SCOTT SHELTON: Yeah, I, uh, cleaned it before I left town. Took out the
garbage, too. (flippant) Does that make me guilty of something?

(GRISSOM puts the fibers in a bindle. He turns to look at SCOTT.)

BRASS: No bullets missing here.

(BRASS checks the gun. He picks up the bullet holder.)

BRASS: Bullets missing here, though.

SCOTT SHELTON: I fired them at the shooting range last month. I go there with
a couple guys from work.

GRISSOM: We're going to need to borrow your bullets.

(SCOTT SHELTON takes a step back. GRISSOM looks around and sees SARA head down
the hallway.)

(She puts on some gloves and checks the floors and walls. GRISSOM checks on
SARA. He watches as she picks up a green fiber from the floor and put it in a
bindle.)

(SCOTT SHELTON walks over behind GRISSOM to see what's going on. BRASS also
walks over.)

SARA: This back door lead to your car?

SCOTT SHELTON: To a car. I drive a different demo every day. Perk of the
dealership.

(SARA sniffs.)

SARA: You smell that, Grissom?

GRISSOM: (turns to look at SCOTT) Did you do laundry back here today?

(SARA starts to check for blood on the floor.)

SARA: I got news for you, Scott. Bleach doesn't make blood disappear. You
just can't see it with the naked eye.

(After a thought, she also checks for blood on the walls. GRISSOM steps into
the hallway and watches SARA continue to check for blood.)

(SARA sprays the other wall and red streaks appear. GRISSOM and SARA look at
SCOTT.)

SCOTT SHELTON: I have no idea how that got there.

SARA: (angry) It "got there" when you shot your wife in the head before you
wrapped her in a blanket and you dumped her in the mountains!

(SARA stands up and gets into SCOTT SHELTON'S face. He knocks her hand out of
the way. SARA pushes him back.)

SCOTT SHELTON: Get your finger out of my face, bitch!

GRISSOM: Sara!

(GRISSOM grabs SARA and pulls her back.

SARA: You touch me again, you draw back a stump!

SCOTT SHELTON: Look at her.

GRISSOM: Sara!

SCOTT SHELTON: Can't you control her?

GRISSOM: Get him out of here, Jim.

SCOTT SHELTON: I told you she was a handful.

BRASS: Come on.

SARA: You don't know a handful!

(BRASS leads SCOTT SHELTON back into the main room. GRISSOM looks at SARA.)

GRISSOM: Hey. Hey. What is the matter with you?

SARA: (more than upset) I am a woman, and I have a gun. And look how he
treated me. I can only imagine how he treated his wife.

(SARA turns and walks away.)

CUT TO:



SCENE #13:

[INT. CSI -- DAY]

(WARRICK carries the painting into the office. CATHERINE stands at the counter
as the clerk puts the forms in front of her.)

CATHERINE: Thank you.

(NICK walks into the room.)

NICK: Hey.

WARRICK: Hey.

CATHERINE: Nicky, how's it going?

WARRICK: What's up?

NICK: Good, good. (he looks at the painting) Are you putting one of Lindsey's
drawings into evidence?

(CATHERINE and WARRICK laugh.)

CATHERINE: If only her artwork brought in this kind of dough I wouldn't need to
worry about her college tuition.

NICK: Yeah, I heard your missing person was a "painting".

(WARRICK scoffs.)

WARRICK: At least we solved our case.

NICK: Oh!

(NICK puts a hand to his chest as if wounded.)

CATHERINE: Keep walking.

(NICK laughs and leaves the room.)

WARRICK: Give me an evidence tag for this painting.

CLERK: Sure.

CATHERINE: Okay, now I know that these are rich people and it's just a painting
and nobody died, but ... this just doesn't feel finished.

WARRICK: I know, every time you say that, I'm looking at more overtime.

CATHERINE: I know.

(WARRICK'S pager beeps. He looks at it.)

WARRICK: You know what? I got to be somewhere.

CATHERINE: Court.

WARRICK: Yeah, right. Can you handle this from here?

CATHERINE: Yeah.

WARRICK: Cool. I'll see you later.

(WARRICK heads for the door. CATHERINE stops him.)

CATHERINE: Hey, Warrick. Are you going to tell me?

WARRICK: What?

CATHERINE: About Child Services?

WARRICK: Oh, I told them as far as mothers are concerned, you're the bomb.

CATHERINE: Really?

WARRICK: Yeah. And I also told them your ex is pretty screwed up. (CATHERINE
smiles.) No worries.

(WARRICK turns and leaves the room.)

CUT TO:



SCENE #14:

[INT. CSI - HALLWAY -- DAY]

(SARA, GRISSOM and BRASS discuss the case.)

SARA: What do we need to nail him at trial?

BRASS: The neighbor puts him in the apartment five days ago. You tell me she's
been dead five days and a jury is going to jump all over that coincidence.

GRISSOM: The post-mortem insects will tell me when she was killed.

BRASS; No, all I'm saying is five days is what I need.

GRISSOM: Jim, please don't try and compromise my end of the investigation.

BRASS: Good luck.

(BRASS hands the evidence bag to SARA and leaves. SARA heads down one way,
GRISSOM the other.)

CUT TO:



SCENE #15:

[INT. CSI - FORENSIC AUTOPSY -- DAY]

(DR. ROBBINS puts the sheet back over KAYE SHELTON. He closes the storage door
with the label: GUNSHOT VICTIM / KAYE SHELTON.)

CUT TO:



SCENE #16:

[INT. CSI - GRISSOM'S OFFICE -- DAY]

(Using the Christopher Columbus, GRISSOM looks at the bug.)

[SCOPE VIEW of bug]

(GRISSOM writes in a log book.)

DISSOLVE TO:



SCENE #17:

[INT. CSI -- LAB]

(SARA looks at the evidence bag with the green fibers in them. On the table is
the blanket that KAYE SHELTON was found in. SARA looks at the scope.)

[SCOPE VIEW of green fibers]

(SARA writes down in her notes: "Cotton green dye #24 / double loop
stitching".)

(Dissolve to: GRISSOM pins another bug up on the white board. He looks at them
carefully.)

(Dissolve to: GRISSOM studies the bugs on the desk.)

(He measures the beetles then checks the computer print out which reads:

[NAME 12 HRS 18 HRS 24 HRS 36HRS 48HRS 60]

LAGIIDAE* .21MM .32MM .41MM .52MM .65MM .70
(LONG-JOINTED BARK BEETLES)

LAMPYRIDAE .22MM .32MM .41MM .54MM .61MM .63
(LIGHTENING BUG OR FIREFLIES)

LEIODIDAE .12MM .22MM [.32MM] .41MM .56MM .69
(ROUND FUNGUS BEETLES)

LEPTINIDAE .51MM .74MM .86MM .99MM 1.23MM 1.71MM
(MAMMAL-NEST BEELTES)

LUCANIDAE .32MM .485MM .58MM .74MM .92MM 1.72MM
(STAG BEETLES)

DISSOLVE TO:

(SARA lifts her head from the scope. She picks up one of the bullets and looks
at it. She writes on the side of the envelope: For Trace.)

(Dissolve to: GRISSOM checks the containers full of insects.)

DISSOLVE TO:



SCENE #18:

[INT. CSI - GRISSOM'S OFFICE]

(GRISSOM examines the insects. SARA walks into the office and reports to him.
GRISSOM doesn't look up.)

SARA: The bullets from Scott's gun are unusual.

(GRISSOM looks up at SARA.)

SARA: Since we didn't find the spent bullet I sent one from the box over to
trace. Everything else stacks up. He killed her.

(GRISSOM looks back down at his bugs.)

SARA: What did you get?

(He sighs.)

GRISSOM: She's been dead three days.

SARA: (shocked) Are you positive? Not five?

(nods)

GRISSOM: Three.

CUT TO:



SCENE #19:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(GRISSOM, SARA and BRASS present their findings to SCOTT SHELTON and his
lawyer.)

PUBLIC DEFENDER: My client was in New Orleans three days before his wife's body
was discovered on that mountain. He couldn't possibly have killed her. Unless
I misunderstand what you've explained to us, Mr. Grissom -- your "linear
regression."

GRISSOM: You understand it.

SARA: Okay, forget time of death. How does your client explain Kaye's blood
all over his apartment wall?

PUBLIC DEFENDER: Quite simply. Scott has three prior complaints for abuse.
What's to say the blood didn't get there during one of those altercations?

SARA: "Altercations" ... upgraded from "wrestling"?

BRASS: This is good. Admitting to prior abuse to cover up actual murder.

PUBLIC DEFENDER: My client and I are leaving.

(They stand up.)

PUBLIC DEFENDER: And, Mr. Grissom, thank you.

(SARA watches them carefully as they leave the room. As soon as the door
closes, SARA falls forward and hits her head against the table. GRISSOM watches
her frustration.)

HARD CUT TO BLACK.

(COMMERCIAL SET)



FADE IN.

[EXT. LAS VEGAS CITY (STOCK) - DAY]



SCENE #20:

[INT. CSI - HALLWAY -- DAY]

(GRISSOM walks through the hallway. In passing he bumps into CONRAD ECKLIE.)

CONRAD ECKLIE: Hey, tough luck about the, uh, wife abuser getting released.

GRISSOM: There's no secrets around you, are there, Conrad?

CONRAD ECKLIE: You think I wanted you to whiff out on that? Your reputation as
an entomologist elevates this entire crime lab which elevates my stature by
association.

GRISSOM: Well, then, you must feel very small today ... by association.

(GRISSOM turns to leave, but ECKLIE stops him.)

CONRAD ECKLIE: You're dropping the ball in other areas, though.
Administratively?

GRISSOM: Did I miss one of your status meetings?

(ECKLIE looks around, then lowers his voice.)

CONRAD ECKLIE: Warrick Brown had one of my guys sub for him in court.

GRISSOM: So? I'm sure something came up.

CONRAD ECKLIE: Hey, he told my guy it was an emergency but I have it on good
authority that he was gambling.

(GRISSOM turns to leave. But that stops him.)

CONRAD ECKLIE: At the Monaco.

GRISSOM: What?

CONRAD ECKLIE: That's right. On CSI time. I don't like him using one of my
guys as a cover. I figure if he brings anybody down with him it should be from
your shift. Don't you think?

(ECKLIE turns and leaves. Camera holds on GRISSOM'S stern look.)

CUT TO:



SCENE #21:

[INT. CSI -BREAK ROOM - DAY]

(In the breakroom, SARA is sleeping with her arms folded and head resting
against the table. The kettle starts whistling. SARA'S eyes open.)

(GRISSOM picks up the empty tea kettle off of the burner.)

GRISSOM: Sara?

(SARA wakes up.)

GRISSOM: (softer) Sara? You okay?

SARA: Fine. Yeah.

GRISSOM: Did you sleep here?

SARA: I was working till 4:00 A.M. I combed every demo Scott's driven. Zilch.
What's up?

GRISSOM: I need you to do some background for me on Warrick without letting him
know why.

SARA: Oh. Warrick -- your favorite CSI.

GRISSOM: That's why I want you to handle it, so that Ecklie can't accuse me of
favoritism if it turns out that Warrick's clean.

SARA: What do you want to know?

CUT TO:



SCENE #22:

[INT. CSI - OFFICE -- DAY]

(WARRICK holds up the painting. CATHERINE is on the computer.)

WARRICK: This painting's a forgery? Where does it say that?

CATHERINE: I was reading up on Sorenson, and I found a site that says that 15%
of all museum art is fake.

WARRICK: It's not our job to authenticate art. Case is closed.

CATHERINE: You're so right, but if this is a forgery, we've got a new crime.

CUT TO:



SCENE #23:

[INT. CSI -- DAY]

(JESSICA LOVETT, the tech, explains how to test the painting for
authentication.)

JESSICA LOVETT: This electrothermal atomizer is set at the excitation
wavelength for titanium which was not used in oil paint before the 1950s.

CATHERINE: So, an authentic Sorenson would be titanium-free.

JESSICA LOVETT: If it's present, the canvas will fluoresce and we've got a
forgery. Hit the lights.

(The lights turn off. JESSICA turns the light on and uses it on the painting.
It fluoresces.)

JESSICA LOVETT: Mm-hmm. No doubt about it -- it's a fake.

(They turn the lights back on.)

CATHERINE: Okay, so if the owner purchased this painting from a reputable
auction house, they would have run a similar test to this?

JESSICA LOVETT: Absolutely.

WARRICK: So, the kid stole the original painting from his pop and gave us back
a forgery. (cc) No wonder he copped to it so easy.

CATHERINE: This kid's in college, right? Let's check his dorm room.

CUT TO:



SCENE #24:

[INT. CSI - GARAGE -- DAY]

(NICK vacuums the back of the car. DET. SECULA appears behind him. He sees her
and turns the vacuum off.)

NICK: There's no more hair. Not even a trace. No signs of foul play.

DET. SECULA: And the carpet's clean.

NICK: Yeah. Yeah, too clean ... ... which begs the question ...

DET. SECULAR: What lies beneath?

NICK: Hand me the phenothaline, please.

(She turns and hands it to NICK.)

DET. SECULA: You're checking for blood?

NICK: Well ... I am checking ... to see why someone scrubbed this carpet so
clean. If there is blood present ... ... we'll know why.

(He takes a sample and tests it. It tests positive. NICK smiles.)

DET. SECULA: Looks like our missing person might be a homicide.

NICK: Right.

CUT TO:



SCENE #25:

[INT. CSI - GRISSOM'S OFFICE]

(GRISSOM is in his office working. SARA appears in the doorway and leans
against the door frame. GRISSOM looks up.)

SARA: Hey.

GRISSOM: Did you find out anything about Warrick?

SARA: Um ... I'm-I'm here about something else. You ... you know how you say,
"We're the victim's last voice"?

GRISSOM: Mm-hmm.

SARA: I thought it was our job to speak for Kaye Shelton.

GRISSOM: You don't crunch evidence to fit a theory.

SARA: What if you hear the victim's screams? In the car, at the store.

GRISSOM: You have empathy for her, Sara. You want someone to pay for what was
done to her. That's normal.

SARA: You want to sleep with me?

(GRISSOM freezes. He puts down his food and takes off his glasses.)

GRISSOM: Did you just say what I think you said?

SARA: That way, when I wake up in a cold sweat under the blanket, hearing
Kaye's screams ... you can tell me it's nothing. (beat) It's just empathy.

(Having said her piece, SARA turns and walks away. GRISSOM stares at the
doorway. He leans back in his chair, thinking. Then something occurs to him.)

(Something, they might have missed.)

CUT TO:



SCENE #26:

[INT. CSI - EVIDENCE VAULT]

(GRISSOM empties the bag of evidence onto the table. The large green blanket
KAYE SHELTON was found wrapped in tumbles out of the package. GRISSOM sets the
package aside, then turns to the blanket.)

(He opens the blanket up slowly, looking for anything.)

CUT TO:



SCENE #27:

[EXT. -- NIGHT]

(The Secure Cold Transport Truck drives away. BRASS leans against the wire
fence while GRISSOM is busy preparing the experiment.)

BRASS: (calls out) So, you planning a little late-night luau? Roast pig?

GRISSOM: It's an experiment. Maybe Kaye was dead five days.

BRASS: I thought your bugs never made mistakes.

GRISSOM: They don't. People do. The victim was wrapped in a blanket. Normally
a blanket or clothing doesn't impact insect maturation. The insects usually
fight their way in anyway. But I examined the folds in Kaye's blanket. She was
wrapped tight -- maybe tighter than I realized -- which would have decreased the
corpse's exposure to insects.

BRASS: So it took longer for the insects to get in there?

GRISSOM: And deposit their eggs. Maybe two whole days. I've wrapped porky
here pretty tight.

BRASS: Well, let me ask you this. You killed a pig just for this?

GRISSOM: This poor ham was already on its way to someone's Christmas dinner
table.

BRASS: I mean, wouldn't a rabbit be easier?

GRISSOM: Got to be a pig. Interestingly, they're the most like humans.

BRASS: Yeah, I've been saying that since I was a rookie. You're on your own
pal.

(BRASS turns and leaves.)

DISSOLVE TO:



SCENE #29:

[EXT. -- NIGHT]

(GRISSOM checks the camera and sets it up to record.)

(Dissolve to: In the cold outdoors, GRISSOM sits and watches the progress. He
writes in his log book.)

(Dissolve to: GRISSOM snaps a few photos of the bugs on the pig.)

(Cut to: GRISSOM secures his jacket tighter around himself as he writes in his
log book. He looks up.)

(SARA walks up to him, an appreciative smile on her face. She puts her kit down
next to his open one. Without a word, she puts her bag down and takes the seat
next to GRISSOM.)

(GRISSOM takes off his glasses and SARA hands him the thermos. He uncaps the
thermos and she takes out a fresh blanket, which she opens and wraps around his
shoulders.)

(He looks at her and smiles.)

SARA: (quietly) Thanks.

(Short time cut to: The camera pans across the area outside the fence and rests
on the sign: NO TRESPASSING / VIOLATORS WILL BE - PROSECUTED. Inside the
fenced area, GRISSOM and SARA sit and keep watch over their pig.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

[EXT. LAS VEGAS CITY (STOCK) - DAY]



SCENE #28:

[INT. CSI - OFFICE -- DAY]

(DET. SECULA lingers in the doorway and calls inside.)

DET. SECULA: How's the case going?

(NICK turns around and sees her.)

NICK: Hey. Dead end. How about you?

DET. SECULA: Just got a hit on one of our missing lady's credit cards. A
motel.

(She takes a step back out into the hallway. She and NICK head out.)

NICK: Her abductor sold her card or is using it himself. What motel?

DET. SECULA: Four Aces.

NICK: That's right around the corner from where we found her car.

DET. SECULA: I've got some uniforms meeting us there.

NICK: (smiles) Good job.

CUT TO:



SCENE #29:

[EXT./INT. FOUR ACES --]

(NICK stands with the police outside the motel room door. They open the door.)

OFFICER: Las Vegas police!

(The officers enter the room. NICK is the last to follow.)

OFFICER: All right, don't move!
OFFICER: Put your hands where I can see them!

(Outside the sounds of helicopter blades are heard overhead. NICK rounds the
corner and freezes at what he sees. He glances over at DET. SECULA who doesn't
say anything.)

NICK: Are you Sheryl Applegate?

(On the bed is a woman handcuffed to the side. She nods.)

(The OFFICERS push a man in a towel back into the motel room.)

MICHAEL: Oh, whoa, man! Ow! Oh, what's going on here?

SHERYL APPLEGATE: Michael, shut up!

DET. SECULA: (amused) Las Vegas police. Your husband reported you missing.

SHERYL APPLEGATE: Can she put that gun away?

(DET. SECULA puts her gun away.)

NICK: You, uh ... you haven't been abducted have you, Mrs. Applegate?

SHERYL APPLEGATE: Not really.

NICK: We found evidence of blood in your car.

SHERYL APPLEGATE: I saw an injured dog last week and drove it to the vet.

(DET. SECULA clears her throat.)

DET. SECULA: Uh, Nick, let's get out of here.

(NICK nods and clears his throat. He turns to leave the room.)

SHERYL APPLEGATE: Wait! What are you going to tell my husband?

NICK: That you're okay. (laughs) You're going to have to fill in the blanks.

(They leave the room.)

CUT TO:



SCENE #30:

[INT. CSI -- GRISSOM'S OFFICE]

(SHERIFF BRIAN MOBLEY looks through the photographs of the pig.)

SHERIFF BRIAN MOBLEY: So the pig's insects matured at a rate consistent with a
five-day-old corpse?

(In the office, GRISSOM, SARA, and BRASS talk with SHERIFF BRIAN MOBLEY.)

GRISSOM: (nods) Once I took the blanket into account.

SHERIFF BRIAN MOBLEY: Your initial computations were wrong. You went back,
adjusted conditions, and proved actual time of death.

GRISSOM: Five days, not three.

SARA: Which places the victim with her husband who's already guilty as sin.

SHERIFF BRIAN MOBLEY: Captain Brass do you understand Grissom's insect
evidence?

BRASS: (nods) To a degree. You know ... in a general way.

SHERIFF BRIAN MOBLEY: Do you think a jury will understand your "adjustments"?
Or do you think they'll realize your "conditions" can make the evidence say
anything you want it to say?

GRISSOM: I can make a case to any jury against Scott Shelton for the murder of
his wife.

SHERIFF BRIAN MOBLEY: Your arresting officer can barely understand it. I read
the file. Other than bugs is there anything else?

(GRISSOM shakes his head.)

SHERIFF BRIAN MOBLEY: Get something a jury can understand or move on.

(The SHERIFF leaves the office. Camera holds on SARA.)

CUT TO:



SCENE #31:

[INT. ZEIGLER RESIDENCE -- DAY]

(CATHERINE and WARRICK walk up to the front door.)

RICHARD ZEIGLER: Hello.

CATHERINE: Hello, Mr. Zeigler.

(He sees the painting.)

RICHARD ZEIGLER: Oh, good. You brought my Sorenson.

(Inside the house, JASON watches.)

CATHERINE: Yes.

RICHARD ZEIGLER: Good. I'm glad it's back.

WARRICK: Nice campus you got there, Jason.

JASON: (off guard) What?

WARRICK: We were by your dorm earlier with the police here.

CATHERINE: We'd like to ask a favor of you Mr. Zeigler. A private viewing of
the painting.

SHORT TIME CUT TO:



SCENE #32:

[INT. ZEIGLER RESIDENCE - DAY -- CONTINUOUS]

(CATHERINE tests the painting. RICHARD ZEIGLER recognizes the test immediately
and reacts to the results.)

RICHARD ZEIGLER: My god, my-my ... my Sorenson's a forgery?

WARRICK: That's not all, sir.

RICHARD ZEIGLER: Wait. I have $10 million worth of forgeries?

WARRICK: No, sir. The police recovered your originals from Jason's dorm room
today.

RICHARD ZEIGLER: What?

(RICHARD turns and looks at JASON, who still hasn't said anything.)

RICHARD ZEIGLER: I don't even know you.

WARRICK: What, did you have an art major do your fakes for you, Jason?

CATHERINE: Robbery checked with your school. They actually teach classes in
how to copy the Masters.

(JASON nods.)

JASON: My friends helped me out. They didn't know what I was doing with the
copies.

RICHARD ZEIGLER: And what exactly were you doing?

WARRICK: Your son stole all your originals replacing them with forgeries.

CATHERINE: But, the other night, his little scam was interrupted.

(Quick flashback to: The painting is ripped off of the wall. The hanger and
some plaster falls to the floor.)

WARRICK: (v.o.) He didn't have time to make the switch.

(Close up of JASON looking behind him at the sound of his father walking down
the stairs. He puts the painting down on the floor next to the "fake". He
slides it aside and picks up the fake. Cut to: JASON runs out of the room with
the fake.)

(End of flashback. Resume to present.)

WARRICK: If the hook hadn't dislodged from your Sorenson you would have spent
the rest of your life admiring fakes.

JASON: (laughs) And you never even knew the difference, did you, dad? You're
right. You don't know me. Where are your pictures of me? You're too busy
staring at your masterpieces, and they're not even real! I'm right here, dad.
You don't even see me!

CATHERINE: (quietly) The police are going to want to know if you're pressing
charges this time.

(RICHARD nods.)

RICAHRD ZEIGLER: I am. You want my attention, Jason? You got it.

CUT TO:



SCENE #33:

[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY -- DAY]

(GRISSOM is leaning against the wall and reading a file. SARA walks up to him.)

SARA: I heard you were going into an autopsy. (upset) How can you just move
on to another case? They're laughing at us. You know that, right? They think
we're a couple of 'science nerds'. They threw out our findings.

(DAVID walks up to GRISSOM.)

DAVID PHILLIPS: That body should be up in a few minutes, Mr. Grissom.

GRISSOM: Thank you, David.

(DAVID leaves.)

GRISSOM: You know, there was a murder recently in a village on the other side
of the world. Every man in the village denied having any part of it. The
victim's throat had been slashed with a shovel. So this one guy -- I guess you
could call him a "science nerd" -- asked all the men in the village to bring
their shovels to the center of town and hold them spade-side up. And he waited.
Eventually, flies started showing up on one specific shovel looking for
microscopic bits of blood and flesh.

(SARA nods.)

SARA: "First witness to a crime."

GRISSOM: The investigator got his murderer, and...

SARA: ...and forensic science was born. Sung T'su, 1235 A.D. You call 800
years ago recent?

GRISSOM: To an astronomer, it is. (pause) But then people forgot about
forensic science, didn't they? And they had to be reminded again by Francesco
Redi in the 1600s.

SARA: And again by Bergeret D'Arbois in the 1800s.

GRISSOM: Every civilization learns what it needs to know and the next one
forgets it. The sheriff ... well... it's not personal.

SARA: We're part of the cycle.

GRISSOM: Yeah, they laughed at fingerprints 70 years ago, and now it's law.

SARA: Except somebody had to push for prints. And you're standing there saying
"all things in their own time."

GRISSOM: You're confused, right?

SARA: (shakes her head, then nods) Yes.

GRISSOM: That's the best place for a scientist to be.

(Behind SARA, GRISSOM sees someone approaching.)

GRISSOM: My body's here.

(The Coroner's Assistant pushes the gurney between GRISSOM and SARA toward the
door. GRISSOM reaches over and lifts up the sheet. SARA looks down.)

SARA: (smiles) Kaye Shelton ...

(She looks at GRISSOM. He smiles at her and motions to the door.)

GRISSOM: Shall we?

(They push the door open and walk inside, the body on the gurney right behind
them.)

CUT TO:



SCENE #34:

[INT. CSI - FORENSIC AUTOPSY -- CONTINUOUS]

(GRISSOM, SARA and DR. ROBBINS work on the body.)

SARA: Gave her a bath, huh?

DR. ALBERT ROBBINS: Routine cleaning. We had to do it sometime.

GRISSOM: Doc, what's this blue mark here?

(GRISSOM looks a the blue mark around the bullet wound.)

SARA: Why didn't we see this at the autopsy?

DR. ALBERT ROBBINS: It was under a gallon of blood. But the blue's embedded;
it won't wash away.

GRISSOM: Didn't you say the suspect's ammunition was in trace?

SARA: Yeah.

(SARA turns to follow it up.)

CUT TO:



SCENE #35:

[INT. CSI - LAB]

(SARA opens the envelope from Trace. She removes the report and looks at it.)

SARA: "Lead, copper, zinc ... teflon." (thinks about it) Teflon?

(Cut to: SARA takes out a bullet and looks at it.)

CUT TO:



SCENE #36:

[INT. CSI - BALLISTICS LAB]

(SARA test fires the bullet.)

(Camera follows the bullet in slow motion as it fires out of the gun and impacts
its target. Resume to normal.)

(SARA walks up to the target and checks it. There's blue residue around the
hole.)

(Cut to: SARA looks into the scope. And smiles.)

(GRISSOM walks into the lab. SARA stands up and points to the scope.)

GRISSOM: And? So?

SARA: Strand of hair from our lady in the mountains.

(GRISSOM sits down and looks into the scope.)

[SCOPE VIEW of hair with blue stuff on it.]

SARA: The blue dust from around her entrance wound -- that's from the bullet's
impact. It's made of teflon. Now look at the next specimen.

(GRISSOM stands up and moves to the next scope.)

[SCOPE VIEW of bullet]

SARA: The bullet is from Scott's personal ammo supply which I test-fired. See,
the teflon disintegrated into blue powder at the moment of impact.

(Quick flashback to: KAYE SHELTON is slammed against the wall.)

SCOTT SHELTON: You're gonna leave me? Is that what you think?!

KAYE SHELTON: No, Scott, no!

(SCOTT grabs KAYE from behind.)

SCOTT SHELTON: And all the guys are gonna see a woman walk out on me?

KAYE SHELTON: (screaming) No! Scott, no!

SCOTT SHELTON: You just try...

(He puts the gun up against her temple and fires.)

(Camera follows the bullet through the gun barrel and up to the temple where it
leaves a smoking hole.)

(Cut to: SCOTT grabs the blanket off of the couch and wraps KAYE'S body in it,
leaving a small piece of fiber on the hallway floor. He wraps her in the
blanket.)

(Cut to: SCOTT drags her down the floor.)

(End of flashback. Resume to present.)

GRISSOM: You did very good. (SARA beams.) But this is just more
circumstantial evidence. We're a long way from a conviction.

SARA: But we can bury him under evidence. You're the one who's always saying
it's better to have one piece of forensic evidence than ten eyewitnesses.

GRISSOM: (stares at her) What, do you tape everything I say? (SARA shrugs.)
You still have to educate the jury.

SARA: (counters) On bullets. It's got to be easier than bugs. (GRISSOM
smiles) (beat) Less Latin.

(SARA smiles. It's too contagious. GRISSOM smiles, too.)

CUT TO:



SCENE #37:

[INT. POLICE DEPARTMENT - HALLWAY -- DAY]

(BRASS puts the handcuffs on SCOTT SHELTON.)

BRASS: You know, I been waiting three days to do this. No, make that five
days. Let's go.

(BRASS escorts SCOTT SHELTON out the door. GRISSOM watches from the side. THE
PUBLIC DEFENDER looks over at GRISSOM.)

(Satisfied, GRISSOM leaves.)

CUT TO:



SCENE #38:

[INT. CSI - FORENSIC AUTOPSY]

(Under DR. ROBBINS' watchful eyes, SARA puts the sheet back over KAYE SHELTON
and pushes her body back into storage.)

(DR. ROBBINS closes the door.)

(SARA stands there and watches as DR. ROBBINS tapes the note onto the storage
door:

RELEASE FOR BURIAL
DATE OF BIRTH: 9/24/72
DATE OF DEATH: 12/ 6/00
DATE OF RELEASE: 12/15/00

(Camera holds on SARA.)

CUT TO:



SCENE #39:

[INT. CSI - GRISSOM'S OFFICE]

(GRISSOM is going through his things when SARA walks into the office.)

SARA: Hi.

(He looks up at SARA.)

GRISSOM: Hi.

SARA: I checked out Warrick. His story about missing court was, uh ... lame.
I got this surveillance tape from the Monaco. He was in the casino.

(SARA gives the tape to GRISSOM.)

SARA: I'm sorry.

(GRISSOM looks at SARA, then looks back down at the tape.)

GRISSOM: Thanks.

(SARA turns and leaves the office. GRISSOM slowly sits down in his chair with
the tape in his hand.)

FADE TO BLACK.

Fait par drogba

Kikavu ?

Au total, 13 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

miss1110 
11.11.2016 vers 23h

ptitebones 
31.10.2016 vers 18h

RonanBart 
05.10.2016 vers 14h

sia31 
27.09.2016 vers 01h

tibo18 
10.09.2016 vers 14h

Maddy 
Date inconnue

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HypnoChat

stanary (21:46)

Merci !

Titepau04 (21:58)

Re !!! Félicitations Stanary!! Cest chouette ça!

Sonmi451 (21:59)

Pub aussi de mon côté

Sonmi451 (21:59)

y a vraiment trop de pub!

Titepau04 (22:17)

Graaaave!!!!

Sonmi451 (22:17)

Ca te casse carrément ton trip

Sonmi451 (22:17)

t'as encore une pub?

stanary (23:13)

Désolée j'etaisj'étais occupée. Merci tite ! Plus de pub alors ?

Titepau04 (23:25)

Vraiment trop!! Pas très longues mais à une fréquence!!! Au moins 6 pour 2h30

stanary (23:26)

Mais c'est bizarre ! Pour moi y a que 3 pubs normalement...

Titepau04 (23:27)

Bah d'habitude elles sont un peu plus longues mais moins fréquentes

Titepau04 (23:27)

Même entre les 2 épisodes yen avait une

Titepau04 (23:27)

Je pense qu'il y a eu 5 pubs en fait, 2 par épisode et une entre les deux

stanary (23:28)

Et c'est sur TF1 ?

Titepau04 (23:29)

Oui

stanary (23:29)

Ah bah alors ils ont tout changé

Titepau04 (23:30)

Je pense qu'ils ont fait parce que les épisodes étaient plus longs

Titepau04 (23:30)

65 min par épisode

stanary (23:33)

Ah oui la je comprends mieux. J'avais jamais vu ça à la télé c'est pour ça

Titepau04 (23:34)

C'est désagréable

stanary (23:37)

Au pire regarde si une autre chaine diffuse la série

Titepau04 (23:38)

Je crois pas qu'il y en ait d'autre ... c'était les derniers de la saison

stanary (23:42)

Et c'est déjà fini ?

Titepau04 (23:42)

Oui ça y est

Titepau04 (23:42)

Yen a que 8

stanary (23:44)

8 épisodes ? ah mais c'est meilleur alors !

Titepau04 (23:56)

Nooonnnnn c'est trop court!!!

stanary (00:17)

Ah ça, ça dépend quand même des séries. Bon moi je vais me coucher. Bonne nuit !

Titepau04 (10:33)

Bonjour tout le monde!!!

serieserie (11:14)

Hello la citadelle!

chrismaz66 (19:26)

J'y go Mamy et toujours chez Dr House le sondage Bad Boys, votez pour votre chouchou inter-séries, et quelques clics pour Torchwood qui en a bien besoin, merci

Phoebus (00:03)

Bonjour, nouveau sondage sur le quartier de Person Of Interest.

arween (09:26)

Bonjour ! Nous n'avons que peu de participants à l'animation The Night Shift... Elle est pourtant ouverte à tous ! Allez ne soyez pas timide et venez nous rendre visite

SeySey (12:55)

Bonjour! Nouveau sondage spécial fête de Noel sur le quartier Under The Dome! Venez nombreux!

liliju (15:55)

Un sondage spécial Noël vous attend sur le quartier des zombies (The Walking Dead). Ils ont besoin de vous. Merci de votre temps

Titepau04 (17:06)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

chrismaz66 (17:39)

'Soir, venez départagez nos ex-aequo au sondage House, et Torchwood va bientôt fêter ses 10 ans : animations signées Choup! Un petit coucou serait sympa Merci

serieserie (09:44)

Tout dernier jour pour vous inscrire à la soirée HypnoGame ARROW de samedi soir!! Allez si vous aimez un minimum la série et que vous avez envie de passer une bonne soirée avec nous, venez vous inscrire à l'accueil, n'aillez pas peur!!!!

SeySey (14:50)

Bonjour! Nouveaux design & sondage sur le quartier Under The Dome! Venez donner votre avis

oOragnarOo (15:10)

bonjour, venez voter à la photo du mois sur SONS OF ANARCHY et VIKINGS merci d'avance

Merane (16:41)

Bonjour, le sondage sur l'épisode 6.04, Relics, de Teen Wolf, vient d'arriver . N'hésitez pas à voter et à partager votre avis, merci .

Sonmi451 (22:10)

La bannière de noel d'urgences attendent vos votes dans préférence, merci.

Titepau04 (22:17)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

Titepau04 (22:18)

Calendrier de Noël pour les jolies sorcières de Charmed!!!

arween (08:32)

Bonjour à tous ! Venez nous rendre visite sur The Night Shift pour participer à notre grande animation (ouverte à tous), commenter le joli calendrier réalisé par serie² et voter au sondage ! Merci

arween (08:33)

Dollhouse vous attends pour voter au sondage et commenter le calendrier fait par Xana. Merci pour vos visites

mnoandco (09:17)

Hello, le quartier Blacklist vous propose de venir voter pour ses HypnoAwards. Venez découvrir chaque jour une nouvelle catégorie! Vous avez oublié ! Pas de soucis ! Vous pouvez voter pour les catégories précédemment proposées et ce pendant les 15 jours que dure l'animation !

serieserie (09:29)

Heyyy! Lucifer vous attend pour son animation 'Le diable s'habille en Prada'!!

liliju (10:16)

Ca vous dit une ptite interview collective pour Noël sur le quartier Supernatural? je vous attend sur le topic spécial interview. Et n'oublier pas le calendrier de l'avent sur le quizz. Merci à tous. On ne peut rien faire sans vous

Titepau04 (10:32)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Profitez-en aussi pour voter sur le sondage ncisla!!!! et pas besoin de connaître la série!

Titepau04 (10:33)

Calendrier de Noël pour les jolies sorcières de Charmed!!!

serieserie (12:22)

On oublie pas de venir voter pour le concours #OneChicagoOS sur Chicago PD

angie5 (12:35)

Bonjour, nouveau design pour le quartier de sous le soleil, vous pouvez commenter sur le forum dédié et n'hésitez pas à commenter les épisodes d'une famille formidable saison 13 diffusé depuis lundi !! et si vous voulez donner un coup de main, envoyez-moi un mp. merci. bonne journée. Bonne visite!!

mnoandco (14:44)

Hello, le quartier Blacklist vous propose de venir voter pour ses HypnoAwards. Venez découvrir chaque jour une nouvelle catégorie! Vous avez oublié ! Pas de soucis ! Vous pouvez voter pour les catégories précédemment proposées et ce pendant les 15 jours que dure l'animation !

mnoandco (14:45)

Le quartier Blacklist, en plus de l'animation HypnoAwards, vous propose de jolis calendriers pour ce mois de décembre. N'hésitez pas à venir voter, commenter vos choix, donnez votre avis sur ces créations!

mamynicky (15:01)

'Jour les 'tits loups Le quartier Empire voudrait connaître vos goûts en matière de chants de Noel.

chrismaz66 (16:40)

Mamy je déteste les chants de noël, ça m'file le cafard ! Mais bon je vais voter parce que c'est toi

chrismaz66 (16:42)

Choup nous a concocté des animations spécial 10 ans de ouf pour Torchwood, venez jouer, pas besoin de connaître la série! Apportez juste vos yeux et votre cerveau

Phoebus (18:20)

Bonjour, Photo de l'épisode et Review de l'épisode 8x06 (celui du 2 décembre) sur le quartier The Vampire Diaries.

Sonmi451 (21:27)

Merci voter dans préférence.

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