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#701 : Que le spectacle commence (1/2)

Une femme a été assassinée dans les coulisses du Cirque du Soleil de Las Vegas. Grissom et Catherine se rendent sur les lieux du crime pour relever toutes les traces qui pourraient les mener à l'assassin. Pendant ce temps, un homme est abattu lors d'une réception donnée par Sam Braun, le père de Catherine, pour fêter l'ouverture de son tout nouveau casino. Or, le défunt était l'un des investisseurs de la salle de jeu. Pour les besoins de l'enquête, Catherine se rend avec Nick dans une boîte de nuit : elle manque d'y laisser la vie. Grissom, lui, se concentre sur la scène du crime du Cirque du Soleil et découvre des éléments intéressants. 

Titre VO
Built to Kill - Part 1

Titre VF
Que le spectacle commence (1/2)

Première diffusion
21.09.2006

Première diffusion en France
03.02.2008

Nick & Catherine
Nick & Catherine

  

Plus de détails

Écrit par : Sarah Goldfinger, David Rambo & Naren Shankar
Réalisé par : Kenneth Fink 

Avec : David Berman (David Phillips), Scott Wilson (Sam Braun) 

Guests :

  • John Mayer ..... Lui-même
  • Danny Bonaduce ..... Izzy
  • Nick Searcy ..... Sheriff Burdick
  • Kevin Rahm ..... Joe Hirschoff
  • Joe Reegan ..... Arnie Clifton
  • Michael Milhoan ..... Bartender
  • Arielle Vandenberg ..... Party Girl
  • Yusuf Gatewood ..... DJ
  • Edward C. Hayes ..... Robert O'Brien
  • Mark Ivanir ..... Cirque Manager 

FADE IN:

[CIRQUE DU SOLEIL]

(BLURRY BOTTOM VIEW UP: The blurry image of an acrobat falls toward the camera in a controlled way. The closer he gets to the camera, the clearer he is. He slows and stops in front of the camera.)

VARIOUS VIEWS OF:

(Acrobats fly through the air and land feet first against a tall, black vertical wall. As their feet hit the wall, light patterns emerge. More acrobats fall and hit the wall feet first; a light pattern appears as they walk back up toward the ceiling in time with the dramatic music.)

(The audience applauds.)

INSERT: CUTS OF THE CIRQUE DU SOLEIL SHOW

INTERCUT WITH:

[EXT. VARIOUS LAS VEGAS CITY LIGHTS - NIGHT]

[EXT. HOTEL - ROOFTOP PARTY - NIGHT]

(Cameras snap as Sam Braun and his young guest arrive.)

INTERCUT WITH:

[INT. HOTEL - HALLWAY - NIGHT]

(A man dressed in black checks the wires around some explosives.)

[EXT. HOTEL - ROOFTOP PARTY - NIGHT]

(O'Brien stands in the front of the audience watching the women perform. After a moment, he turns and walks away.)

[INT. HOTEL - HALLWAY - NIGHT]

(A person cuts the wires hooked up to the explosives.)

(He walks away. We note the long wire extended through the passageway.)

[CIRQUE DU SOLEIL]

(The program continues.)

VARIOUS CUTS OF: THE PROGRAM, THE SCAFFOLDING AND BACKSTAGE.

[INT. HOTEL - HALLWAY - NIGHT]

(BLURRY IMAGE OF: The man shines a flashlight down the hallway.)

[CIRQUE DU SOLEIL]

VARIOUS CUTS OF: THE PROGRAM.

MULTIPLE INTERCUTS OF THE THREE SCENES:[INT. HOTEL - HALLWAY - NIGHT]

(The man unrolls more wire down the hallway from the explosives.)

(He presses the two buttons.)

INSERT: - The current travels through the lines in the hallway and straight to the explosives, setting them off.)

(The RAMPART explodes.)

[EXT. HOTEL - ROOFTOP PARTY - NIGHT]

(The guests at the rooftop party cheer as they watch the RAMPART fall.)

[CIRQUE DU SOLEIL]

(The program continues. One of the performers slides down the wall and sees a dead body on the floor underneath.)

[EXT. HOTEL - ROOFTOP PARTY - NIGHT]

(A woman guest leads a man to a nearby cabana. She giggles as they enter. A man is already there in the cabana, sitting on the cushions and slumped over. She bumps into him, turns and screams.)

(The reporters at the party rush over and start snapping photos of the dead man, a gun in his hand and blood dripping from his mouth onto his shirt.)

[CIRQUE DU SOLEIL]

(The workers at the Cirque crowd around the dead woman on the floor. The performers hanging from the wires up above watch.)

 

WHITE FLASH TO:

[CIRQUE DU SOLEIL]

(The back door slides open. Grissom and Catherine walk inside and meet up with Sofia, who is there with the body.)

CATHERINE: I always liked the circus.

GRISSOM: Yeah, it's fun trying to figure out the magic tricks.

CATHERINE: Well, that's taking the fun out of it.

SOFIA: Hey, the coroner's on his way. (Catherine and Grissom put their kits down.) Vic's a Jane Doe, no ID.

CATHERINE: Green powder on her dress.

GRISSOM: Is she with the show?

SOFIA: According to statements, she wasn't a part of Cirque du Soleil.

(Michael Souray quietly steps forward behind Sofia. He remains a discreet distance behind her.)

CATHERINE: Well, there's plenty of surveillance.

SOFIA: Yeah, but the body was discovered backstage.

GRISSOM: What's it doing out here?

SOFIA: I think he wants to tell you.

(She indicates Michael Souray behind her. He steps forward.)

MICHAEL SOURAY: Hi. Michel Souray, company manager of Ka. I'm sorry to meet you under these circumstances.  

CATHERINE: Why'd you move the body?

[INT. HOTEL - BACKSTAGE - NIGHT]

(The doors open. Performers are still in costume and are mingling around.)

MICHAEL SOURAY: (v.o.) Backstage can be a dangerous place if you don't know your way around.

(Michael Souray escorts Catherine and Grissom backstage as they head to where the body was found.)

MICHAEL SOURAY: So the Cirque organization made a special agreement with Clark County. Any accidents that occur inside our facility are under Cirque jurisdiction. When we found the body, our personnel immediately transported her outside and the paramedics arrived within minutes.

[INT. HOTEL - BACKSTAGE -- UNDER THE PLATFORM - NIGHT - CONTINUOUS]

(Michael Souray leads Grissom and Catherine under the stage's rising platform.)

MICHAEL SOURAY: I have no idea who the poor girl is and I know every face on our staff. Watch your step.

(He steps down off the main beam and maneuvers to the site.)

MICHAEL SOURAY: During the performance, the stages above you are always moving.

(He leads them to a spot with large drops of blood on the floor.)

MICHAEL SOURAY: We found the body here in the crush zone.

CATHERINE: Well, we know where she died.

(They look up and around. Obviously, they're under the rising platform.)

GRISSOM: Where'd she come from?

(Cut to: Catherine and Grissom stand on the platform as it rises.)

(The platform reaches stage level and they look out at all the seats in the audience. It's an amazing view.)

CATHERINE: Where would you like to start?

(Grissom's speechless as he looks around.)

FADE TO

END OF TEASER

ROLL TITLE CREDITS

 

(COMMERCIAL SET)

 

FADE IN:

[EXT. HOTEL - ROOFTOP - NIGHT]

(Warrick and Sara are at the crime scene. Warrick snaps photos of the body as Sara looks closely at it.)

SARA: Looks like he ate a .38 special.

WARRICK: The gun's still in his hand. How many suicides have you seen like that?

SARA: Personally? None.

WARRICK: Me neither.

SARA: I haven't found a suicide note.

WARRICK: Maybe it was staged.

DAVID PHILLIPS: Sorry, got held up at the "meet the future in-laws" dinner.

(He puts his kit down. Sara turns around.)

SARA: Did they love you?

DAVID PHILLIPS: I got a little too excited talking about work. They stopped eating.

SARA: Oh.

WARRICK: David, the gun is still in his hand; it's yours to clear.

DAVID PHILLIPS: Yes, sir.

(David Phillips reaches for the gun. He struggles with trying to get the gun out of the dead man's grip.)

DAVID PHILLIPS: Rigor's setting in fast. It happens when it's hot like tonight.

(The gun fires into the ground.)

(Women scream.)

DAVID PHILLIPS: Oh!

SARA: Are you all right?

WARRICK: (to Phillips) You all right?

(Sara steps out of the cabana.)

SARA: (loudly) It's all right everyone, a misfire.

WARRICK: Hey. At least we know one person who shot the dead guy.

(CUT TO: Outside the cabana, officers take statements, reporters snap photos, and Brass talks with Sam Braun. They're standing in front of a miniature model of the new hotel Sam is going to build)

SAM BRAUN: Good to see you on your feet again, Jim.

BRASS: You've never seen me off them, Sam. You know, this is like old times. You, me, a party. A dead body.

SAM BRAUN: This is supposed to be a celebration. The Eclipse is going to be my legacy. We break ground next year.

BRASS: So I'm guessing you knew the victim -- Robert O'Brien?

SAM BRAUN: He invested in the Eclipse.

BRASS: Did you hear the shot?

SAM BRAUN: No. Must've taken place during the implosion.

BRASS: You think he shot himself?

SAM BRAUN: You think he didn't?

BRASS: Well, he was about to make a lot of money in your casino; why would he?

SAM BRAUN: Look, I hardly knew the guy ... or his partner, Joe Hirschoff.

(Sam turns around and indicates the man sitting and popping a couple of pills in his mouth.)

SAM BRAUN: They were marketing the project in LA. They had a little money, so I sold them a few shares.

BRASS: How much is a share?

SAM BRAUN: Two million.

BRASS: When was the last time you saw him?

SAM BRAUN: Everyone was gathering on the other side of the roof. I think he went off with his partner.

 

CUT TO:

[EXT. NEW YORK CITY (STOCK) - NIGHT]

(We hold on the MGM building and of the Cirque du Soleil "Ka" ad on the video boards.)

[INT. MGM HOTEL -- BACKSTAGE -- NIGHT]

(Off screen, we hear the camera snap and see camera flashes.)

(Camera pans down and settles on Nick, who is drawing a map of the scene.)

NICK: I got it.

NICK: Aircraft carrier. That's what this place reminds me of. Of course, an aircraft carrier was built for national security and this ...

(Nick looks up and sees the platform at its highest above him.)

NICK: ... is a ton of hi-tech, twisted steel for the sake of entertainment.

GRISSOM: It's not just entertainment, Nick. The Cirque's about the power of imagination -- it's how we were able to put a man on the moon.

(Nick looks up and around. Catherine finds a necklace and picks it up.)

CATHERINE: I've got a monogram necklace. A.F.D. Well, it's not an ID, but I'll settle for initials.

 

CUT TO:

[INT. HOTEL - ROOFTOP -- NIGHT]

(Brass and Sara interview Joe Hirschoff.)

BRASS: Did you and Mr. O'Brien arrive together?

JOE HIRSCHOFF: (nods) Yeah, we're in a suite downstairs.

BRASS: And you've been with him since?

JOE HIRSCHOFF: Mostly. A couple minutes before, um, the implosion, I went to get us margaritas. When I came back, Robert was gone. I knew he didn't want to miss it, so I went looking.

INSERT: FLASHBACK

(Joe Hirschoff turns and leaves the front of the crowd. Several cuts of him looking for someone.)

BACK TO SCENE.

JOE HIRSCHOFF: I was by the elevator. I thought maybe Robert had gone back to the suite. Then I heard that girl scream and ... I just knew.

BRASS: Are you taking any medication?

(He takes the bottle of pills out and shows it to them. Sara takes a baggie out.)

SARA: May I see that?

SARA: Alprazolam.

JOE HIRSCHOFF: It's for stress. My job is very stressful.

BRASS: Does Mr. O'Brien own a gun?

JOE HIRSCHOFF: He hates guns; we both do.

SARA: Could you hold your hands out for me like this please?

JOE HIRSCHOFF: Why?

SARA: Gunshot residue test.

JOE HIRSCHOFF: Robert shot himself.

BRASS: And this is how we prove it.

SARA: Right palm down.

(He holds out his hand and Sara dabs at them. She notices a smell.)

SARA: Am I smelling alcohol on your hand?

JOE HIRSCHOFF: Yeah. When I saw Robert, I spilled the drinks.

 

CUT TO:

[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]

[INT. CSI - FORENSIC AUTOPSY -- NIGHT]

(Robbins records his exam.)

ROBBINS: Standard SAE was collected. No signs of sexual trauma indicated.

(He folds the sheet covering her chest back a little.)

ROBBINS: Several linear red-brown abrasions on the chest and back. Marginal contusions. Palpable underlying rib and sternal fractures.

(He feels the abdomen and hears crackling sounds.)

ROBBINS: Huh, Rice Krispies. Subcutaneous emphysema.

INSERT: CGI OF TISSUE UNDER THE SKIN

INSERT: FLASHBACK OF VICTIM UNDER THE PLATFORM BEING CRUSHED. THE VICTIM IS STILL ALIVE.

ROBBINS: (v.o.) Air in the tissue indicates victim was most likely subjected to significant crushing force across the torso.

FLASH TO:

[INT. HOTEL - BACKSTAGE - NIGHT]

(Catherine looks at the blood on the floor.)

CATHERINE: You know, this crush zone is clearly marked.

(She stands up and looks at Nick.)

NICK: Yeah, and anybody familiar with the stage would know to avoid that area.

(Grissom turns his flashlight on and looks up at the underside of the lift.)

GRISSOM: Looks like blood on the edge of this lift. It might have been unavoidable.

 

FADE OUT.

(COMMERCIAL SET)

 

FADE IN:

[INT. CSI - FORENSIC AUTOPSY]

(Robbins examines the liver in the scale pan as he reports his findings to Catherine.)

ROBBINS: Her liver was lacerated. If she'd been alive when the crushing occurred, these lacerations would of resulted in hemoperitoneum and, bilateral hemothorax.

(He turns back to the body on the table.)

ROBBINS: But there was no significant hemorrhage in the abdominal or thoracic cavities.

CATHERINE: So she was dead before she was crushed.

ROBBINS: Yeah, COD was temporal laceration of the brain due to skull fracture. Initially, I assumed it was associated with a crushing trauma. It wasn't.

CATHERINE: So the fatal blow was a separate event.

ROBBINS: (nods) Mm-hmm.

CATHERINE: Well, the way things move around on that stage, it could have happened anywhere. She looks like she's probably in her mid-20s. She's in good shape.

ROBBINS: Yeah.

(Catherine picks up the victim's hand and turns it over.)

CATHERINE: Is well toned. She got calluses on her hands and feet.

ROBBINS: Could be a dancer or a gymnast.

CATHERINE: But if she wasn't part of Cirque, what was she doing there?

 

FLASH TO:

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

BRASS: (v.o.) Hey Sheriff, how's it going?

[INT. POLICE DEPARTMENT - HALLWAY - DAY]

(Brass and Sheriff Burdick walk the hallways.)

BRASS: What can I do for you?

BEN BURDICK: This is about what I can do for you.

BRASS: Really?

BEN BURDICK: I've asked the mayor to give you a commendation. Medal of Valor. Congratulations.

BRASS: (sighs) Well, that's-that's nice, uh, do I have to be there?

BEN BURDICK: As a matter of protocol, I'd say you damn well better be, Captain.

BRASS: Well, you know, Ben, if --

BEN BURDICK: (interrupts) Look, I'm going to say a few nice things, hand you a plaque, we'll shake hands, a whole lot of reporters will be there to take pictures of the big event. It'll be magic.

BRASS: Yeah.

BEN BURDICK: My office will call you to set it up.

(The sheriff continues walking while Brass stops.)

BRASS: (mutters) I was going to vote for you anyway.

 

CUT TO:

[INT. CSI - TRACE LAB -- DAY]

(Hodges reports his findings to Grissom, who looks through the scope at the powder.)

HODGES: The green powder on your vic's dress is open-celled phenolic foam, holds more than forty times its weight in water. Reminds me of this girl I knew in college--

GRISSOM: (interrupts) I don't need to hear about that.

HODGES: (continues) She was a florist. The foam's used almost exclusively in floral arrangements.

(Grissom looks at Hodges.)

GRISSOM: Wait a minute.

(He puts his glasses on and looks at the file.)

GRISSOM: The security guard at Ka said that he let a young woman through the artists' entrance with a delivery of flowers. He escorted her to the green room, but didn't remember seeing her leave.

(Grissom stops and thinks.)

HODGES: Ah, the old flower delivery trick. Works every time.

GRISSOM: Huh.

(Grissom takes his glasses off and leaves the room.)

 

CUT TO:

[INT. CSI - A/V LAB -- DAY]

(Greg is viewing the various security camera views on the monitor. He shares his findings with Grissom and Nick.)

GREG: Cirque du Soleil has cameras all over that theatre. They use them for performance review. I went through all the feeds the Cirque guys sent over, and I have to tell you, Siegfried & Roy's disappearing elephant no longer impresses me.

GRISSOM: I'll tell you how they did that later.

NICK: There's the vic, right?

(On the video, they watch as a woman and a man slip through the backstage door.)

GREG: Yup, 11-D. Artists' entrance. Girl has the same kind of dress and hair color as the vic. As far as I can see, they managed to stay hidden backstage for most of the performance.

NICK: It's dark, they're wearing black ... crew's focused on their jobs ... it's possible nobody saw them.

(On the monitor, they watch as the woman and man walk along the catwalk.)

GREG: The guy left alone, same way they came in, just before the show ended. I tried to make out a face, but there's not much detail here. However, look at this. Check this out.

(Greg shows them footage of the man playfully grabbing the woman from behind. She drops her purse.)

GRISSOM: She dropped something.

GREG: I think it's a purse.

GRISSOM: There was no purse near the body or anywhere else backstage.

GREG: If we find it, it might get us an ID.

(The other cameras run and Nick sees something.)

NICK: Give me the time code when she dropped the purse.

(One of the security cameras show "sand" falling from the platform.)

 

CUT TO:

[INT. CSI - FORENSIC AUTOPSY -- DAY]

(David Phillips and Dr. Robbins stand over the body bag.)

ROBBINS: Okay, who's in the burrito?

DAVID PHILLIPS: It's apparent suicide, from Sam Braun's party. Sara and Warrick's case. Gunshot to the head.

(David unwraps the body and finds the body and the bag messy from the blood.)

ROBBINS: What's this?

DAVID PHILLIPS: He bled out in the bag. I guess I forgot to tape them shut.

(Robbins checks the victim's hand.)

ROBBINS: This blood corrupts any GSR. Clean it up.

(Robbins leaves. David closes his eyes and sighs.)

 

CUT TO:

[INT. CSI -- LAB]

VARIOUS CUTS OF: WARRICK PROCESSES THE GUN.

(He swabs the gun. He puts a scope down the barrel. He swabs the gun. He prints the gun.)

 

[INT. CSI - FORENSIC AUTOPSY]

(Robbins opens the victim's mouth and finds tiny seeds under the victim's tongue.)

(He smells the container of the victim's stomach contents. He runs it through a sieve and doesn't find any seeds.)

 

[INT. CSI - LAB]

(Warrick removes the victim's jacket and shirt from the bag. He hangs them on a hanger and puts them in the dryer. He closes the dryer door.)

 

[INT. CSI - FORENSIC AUTOPSY]

(Sara walks in.)

SARA: Hey, doc, you tell me. Suicide or homicide

ROBBINS: Either side at this point. According to Tox, BAC was point-one-nine.

SARA: That's over twice the legal limit.

ROBBINS: My guess, based on the whiffing the stomach contents, tequila.

SARA: You're good; he was drinking margaritas.

ROBBINS: Tox also found alprazolam in his bloodstream.

SARA: Yeah, his partner has a prescription for it. He was also the one bringing him drinks.

ROBBINS: Hmm. Hand me that trajectory rod.

SARA: Sure.

ROBBINS: Thank you.

(Sara hands him the rod and watches as he inserts it into the body.)

ROBBINS: Sara, hold this in would you?

SARA: Sure.

ROBBINS: Here we go.

(Sara helps Robbins sit the body up.)

ROBBINS: However he got it, he probably would've been too stoned to stand.

SARA: It would of made it easier to stick a gun in his mouth at this angle.

INSERT: FLASHBACK

(The victim, Robert O'Brien, is sitting when someone walks up to him, puts the gun in his mouth and fires. The blood spatters on the curtains.)

BACK TO SCENE.

ROBBINS: Look in there.

(Robbins shows her the metal pan with the seeds inside.)

SARA: Sesame seeds?

ROBBINS: I think so. I found them in the oral cavity, but not in the stomach contents.

SARA: It's hard to swallow when you have a gun in your mouth.

 

FADE OUT.

(COMMERCIAL SET)

 

FADE IN:

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

[INT. HOTEL - BACKSTAGE -- DAY]

(Nick stands in the same position where the man and woman were standing on the security camera.)

VOICE: (over radio) Okay, I'm in position. What do you need?

NICK: Okay, let me know when the cliff deck is where it was at that point in the show. Um, I think it was just before the "wash up to the shore" scene. That was at, uh, 21 minutes, 37 seconds.

VOICE: (over radio) Copy that.

(The platform starts to rise.

NICK: Yeah, that's great. That's great right there, thanks.

(The platform stops rising.)

NICK: Okay ... go find your friend.

(Nick drops a black purse onto the sand-covered platform.)

NICK: Okay, move the deck into its next position, please.

VOICE: (over radio) Copy that, foot deck is on the move.

(The platform rises. Nick watches. The platform swivels around and stops.)

VOICE: (over radio) All clear. Ready to drop.

(The platform tilts and the sand falls. Nick watches carefully.)

CUT TO:

(Nick is shoveling "sand" in a bin. Sofia stands outside the bin and puts on her gloves. She looks up at the platform.)

SOFIA: Amazing. Ground cork. From the audience, it looks like real sand.

NICK: You know, if you want to dive in here and give me a hand, this might go a little faster.

(Sofia looks at Nick and laughs.)

SOFIA: Nice try.

(Nick continues to shovel, then stops.)

NICK: Okay, hang on. I think I found something. (He finds the bag.) This isn't the purse I dropped.

(He hands the purse to Sofia and she checks the driver's license.)

SOFIA: Celia Noel, Wisconsin.

NICK: Well, the initials on the necklace that Catherine found were "A.F.D."

(Sofia digs into the bag and takes out some show tickets.)

SOFIA: Well, clearly not her initials, but check this out. It looks like she hit every Cirque show in town.

(The first ticket is for the Cirque du Soleil at the Bellagio for Wednesday, September 20, 2006, at 10:30 p.m. The cost of the ticket is $150.00. The second ticket is for Beatles Love for Monday, September 18, 2006, at 7:00 p.m. The cost of the ticket is $150.00. The next ticket is for "Mystere," the Cirque du Soleil at Treasure Island on Wednesday, September 20, 2006, at 7:00 p.m. - for $95.00.)

NICK: (nods) Apparently one a little bit harder than the others.

 

CUT TO:

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

BEN BURDICK: (v.o.) On May 11, 2006, --

[INT. CSI - LOUNGE -- DAY]

(On the monitor, the sheriff is giving Brass an LVPD commendation.)

BURDICK: (from tv) -- with an innocent life hanging in the balance, Captain Brass went into at hotel room alone, face-to-face with a deranged killer.

(Warrick is standing in front of the television set, watching the ceremony. Sara is sitting at the table eating some veggies.)

WARRICK: Brass looks like he's about to puke.

SARA: Or punch someone.

(Warrick turns and sits down. He keeps one eye on the television set.)

BURDICK: (from tv) Captain Brass was severely wounded, but the hostage's life was saved. And for these actions which exemplify the dedication of the Las Vegas Police Department, the city thanks you.

(Sheriff Burdick turns and gives Brass the plaque. The audience applauds.)

REPORTER: This is Captain Brass' second commendation in the line of duty. The first ...

(Sara turns the television set off. Just then, Grissom walks in carrying two lunch containers. He sets one down in front of Sara.)

GRISSOM: I got you a veggie burger.

SARA: Thanks.

WARRICK: What about me?

GRISSOM: I didn't know you were here. So sorry.

(Grissom looks at Sara.)

WARRICK: Where's the love?

(Grissom turns and leaves. Sara stifles a smile.)

WARRICK: So we found some gunk in the revolver's forcing cone. Hodges ID'd it as ... melted sesame seeds.

SARA: Doc Robbins found sesame seeds in the vic's mouth. Any prints on the gun?

WARRICK: No. The grip was checked. We don't usually get prints off those.

SARA: Is it registered?

WARRICK: In California, to a Joe Hirschoff.

SARA: Really?

WARRICK: Yeah.

SARA: He said he hated guns. Check this out ... I researched ownership in the Eclipse project. The vic and Joe Hirschoff held their share as joint tenants.

WARRICK: Really?

SARA: Which means ... with Robert dead, Joe automatically and immediately owns all the shares.

WARRICK: Sounds like a great reason to kill.

 

CUT TO:

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

(Brass interviews Joe Hirschoff.)

BRASS: Why did you lie?

JOE HIRSCHOFF: I didn't lie. I bought the gun when I moved to LA. White kid from a small town ... put it in a closet. Forgot it was there.

BRASS: How did Robert get it?

JOE HIRSCHOFF: I don't ... going through my stuff, I guess.

BRASS: Did he take your pills? 'Cause we found them in his bloodstream.

JOE HIRSCHOFF: I don't know.

BRASS: You don't know?

JOE HIRSCHOFF: No, I don't know. Robert was depressed. Maybe he did.

BRASS: You know, we did a credit check on you, Joe. You're in hock for over a million dollars. It's personal debt - that's heavy paper.

JOE HIRSCHOFF: (nods) I'm leveraged.

(Brass chuckles.)

JOE HIRSCHOFF: Yeah, I'm leveraged. So what? I live well ... I live well by believing in myself.

(As Brass talks, Joe fiddles with his watchband.)

BRASS: No, you live well by playing the come line with borrowed money. You know, Joe, you're the type of guy -- you see something you like, you got to have it, including your partner's share in the Eclipse. So you put your pills in his drink, he nods off, you wrap his fingers around your gun, and then you get to live really well.

JOE HIRSCHOFF: I want my lawyer.

 

CUT TO:

[INT. CSI -- LAB]

(Sara and Warrick look through the things from the search warrant for Joe Hirschoff's room.)

SARA: Is this everything?

WARRICK: Everything from Hirschoff's and O'Brien's room that I could get under the warrant.

SARA: No suicide note?

(Warrick snaps photos.)

WARRICK: Not even in the Holy Bible.

SARA: (amused) That is the first place I look, too.

(Warrick takes more photos. Sara looks through the clothes and finds an oven mitt. She shakes her head.)

SARA: Did the suite have a kitchen?

WARRICK: No.

SARA: Why pack an oven mitt?

(She looks inside and finds seeds.)

SARA: Sesame seeds.

 

CUT TO:

[INT. CSI -- LAB]

(Nick looks at one of the Cirque du Soleil tickets for "Zumanity" for Thursday, September 21, 2006, at 7:30 p.m. The cost of the ticket was $99.00.)

(Catherine walks in and hands some photos to Nick.)

CATHERINE: The blood on the necklace was the victim's. A.F.D. Arcadia Federation of Dance. Celia Noel was a dancer, which would explain her fascination with Cirque.

(He looks at her.)

NICK: You still like to dance?

(She turns and looks at Nick.)

NICK: I don't mean the way you used to, I ...

CATHERINE: I know what you mean, and yes, I do.

NICK: I think I have a line on the victim's date. Now, four of the tickets that we pulled from her purse were charged to her credit card, but the Zumanity ticket was purchased with a different card, one belonging to a gentleman named Arnie ... Clifton.

(He runs it through the NEVADA DEPARTMENT OF MOTOR VEHICLES DATABASE)

NICK: He should have paid cash.

 

CUT TO:

[INT. SHOE STORE -- DAY]

ARNIE CLIFTON: Yeah, Celia and I scoped out Zumanity. Sexy stuff.

SOFIA: Right up your alley.

ARNIE CLIFTON: I've got all kinds of alleys, but, uh, yeah, I'd say that's one of them.

NICK: How'd you two meet?

ARNIE CLIFTON: I touched her feet for over an hour. She tried on twenty pairs of shoes.

SOFIA: Did she invite you to the show?

ARNIE CLIFTON: Yeah.

NICK: Did you pay for it?

ARNIE CLIFTON: I'm a gentleman. Best toe cleavage I ever saw.

SOFIA: What did you do after the show?

ARNIE CLIFTON: Nothing. We had a nice time; she split. Haven't seen her since.

SOFIA: We have. She's dead. Backstage at Ka. You didn't join her for the double feature?

ARNIE CLIFTON: Nah, man, not me.

(Nick looks down and notices the ground cork stuck in the bottom of Arnie's sneakers.)

ARNIE CLIFTON: Look, uh, are we done, 'cause I got to get back to work.

NICK: No, we're not done here. You got sand in your shoes.

 

CUT TO:

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

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

(Sofia interviews Arnie Clifton.)

SOFIA: Finely ground particles of Portuguese cork. Same stuff they use backstage at Ka, which places you at the crime scene.

ARNIE CLIFTON: Okay, so what if I was there?

SOFIA: You were there with a woman who wound up dead, which is why you're here.

ARNIE CLIFTON: "Zumanity" got me all worked up. She was grabbing on me. I-I was down to do whatever she wanted.

SOFIA: What did she want to do?

ARNIE CLIFTON: Go backstage at Ka, see it up close and personal. She was bananas about that show. She said to meet her near the artists' entrance just after the show started. I did. She let me in.

SOFIA: And you thought if you went with her, you'd get laid?

ARNIE CLIFTON: I figured maybe backstage at Ka was her version of the mile high club.

INSERT: FLASHBACK

[INT. HOTEL - BACKSTAGE - NIGHT]

(Celia Noel grabs Arnie Clifton's hand and pulls him along backstage.)

CELIA NOEL: Come on, come on.

ARNIE CLIFTON: Celia, just relax for a minute.

CELIA NOEL: Come on.

(She stops at the railing and watches the performance up close.)

(She hits her head and she falls.)

ARNIE CLIFTON: (v.o.) Something clipped her in the side of the head. She fell. She didn't even scream.

(Arnie leans over the side and sees Celia on the floor.)

BACK TO SCENE.

ARNIE CLIFTON: I was just so freaked out, I bailed, I'm telling you. I tried to warn her, but she was just too fired up. She kept trying to get closer and closer and closer.

SOFIA: Yeah, and you let her.

(Arnie rubs his eyes.)

 

CUT TO:

[INT. CSI - TRACE LAB - DAY]

(Hodges cuts the oven mitt open for Warrick.)

HODGES: I perfected my butterfly technique on chicken breasts. I sauté them in a chardonnay reduction with herbes de provence. Drives women wild. Well, mom. Now say the magic words.

WARRICK: "Shut up, Hodges"?

HODGES: No. "Open sesame."

(Hodges opens the mitt. He picks a sesame seed up and puts it in the container Warrick is holding. Warrick looks at the seed.)

WARRICK: Hand me that can of ferro-trace.

HODGES: I live to serve.

(Hodges hands the spray. Warrick sprays and finds an image of the gun inside the mitt.)

WARRICK: The gun was transported to the hotel room in the oven mitt. The only question is, who brought it to the party?

 

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. CSI -- LAB]

(Camera pans around the clothing items in the clothes dryer. The blood on the shirt hardens and dries.)

CUT TO:

(Warrick opens the dryer and checks the clothes. He removes the pants and closes the dryer door.)

(He puts the pants down on the table and checks the pockets. He finds sesame seeds in the pocket. He takes one out and looks at it under the magnifying glass.)

INSERT: FLASHBACK

(Robert O'Brien places the gun in the oven mitt. At the bottom of the mitt are some sesame seeds.)

SARA: (v.o.) The trail of seeds proved it.

VARIOUS FLASHES OF ROBERT O'BRIEN AT THE PARTY.

SARA: (v.o.) It was suicide, after all.

(The gun fires. Blood spatters on the curtain. The body slumps in the chair; the gun remains in Robert O'Brien's grip.)

(Blood drips from his mouth.)

BACK TO SCENE.

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

(Grissom looks over the report as he and Sara talk.)

GRISSOM: It's the first time I've ever seen a suicide where the gun stays in the vic's hand.

SARA: I have an explanation for that, too. Dupuytren's Contracture. It's a rare condition, characterized by progressive fibrosis of the palmar fascia, the tissues thicken ...

INSERT: CGI X-RAY VIEW OF A HAND

(A skeletal and muscular view of the hand as its fingers contract.)

SARA: (v.o.) ...contracting the fingers. He couldn't let go of the gun.

INSERT: SCENE

(Robert O'Brien is slumped in his chair, his hand out, fingers contracted. The gun appears in his closed fingers.)

BACK TO SCENE.

SARA: The condition was still in its early stages, which is why it looked like rigor.

GRISSOM: Do we have any idea why he killed himself?

SARA: Depression, maybe. You know, according to my supervisor, we're not really in the business of why, but…

(Sara's phone rings. She checks it.)

SARA: I got to go.

GRISSOM: Bye.

(Sara turns and leaves.)

 

CUT TO:

[INT. CSI - HALLWAY -- DAY]

(Sara talks with Joe Hirschoff as he looks at the bag of Robert's things. He turns the bag over, looking for something.)

SARA: These are Robert's personal effects. You'll have to sign for them.

(He reaches into the bag and takes out a ring. Sara watches as Joe slips the ring on the ring finger of his left hand. It fits perfectly with the matching ring that he's been wearing all this time.)

(Without a word, he takes a clipboard and pen from Sara. He signs and returns them to Sara.)

SARA: I'm very sorry for your loss.

(He gets up, looks at her, then turns and leaves.)

 

CUT TO:

[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]

(Brass finishes up his phone call.)

BRASS: (to phone) Okay. I'll do it.

WARRICK: Hey, Jim.

BRASS: What's up?

(Warrick walks into the office and looks around, obviously looking for something.)

WARRICK: Where's your hardware?

BRASS: Oh, come on, come on.

WARRICK: Don't even try it; you were all over the news. Let's see it.

BRASS: (groans) Yeah, yeah.

WARRICK: Wow. That's beautiful. What's with all the modesty? It should be up on your wall, man.

BRASS: For what? For taking a bullet or not dying?

WARRICK: For being brave.

BRASS: You know what, Rick? I'll tell you something. I walked into that hotel room, and 23 years of police work told me I knew what that guy was about. And he played me like a damn rookie. He beat me at my own game. I mean, what's the dumbest thing you've ever done? You want to make a poster of it, put it on your wall? I don't think so.

(He puts the plaque back in the drawer and closes it.)

BRASS: But thanks for coming by.

WARRICK: (nods) All right.

(Warrick turns to leave.)

 

CUT TO:

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

[INT. BAR -- NIGHT]

(Nick and Catherine are at the hotel bar.)

NICK: So do you think Grissom will show?

CATHERINE: Not if he thinks he as to dance.

(Nick chuckles. They turn their attention to the stage.)

EMCEE: (over speaker) Ladies and gentlemen, tomorrow night, more than 18,000 people are going to come and see this guy at the Thomas and Mack Center. But tonight, you guys are going to hear him first. Everybody give it up for Mr. John Mayer!

(The audience applauds.)

CATHERINE: Ooh. I like him.

NICK: You got to dance.

(Nick takes Catherine's hand and leads her to the dance floor.)

NICK: Come on, let's go. My God.

(The song starts; Nick and Catherine dance.)

 

CUT TO:

[INT. TATTOO PARLOR - NIGHT]

(Brass sits in the chair and grimaces slightly as he gets a tattoo on the right side of his chest.)

(The tattoo artist finishes. Brass turns and looks at it. We see that under the bullet scar, he has the date "MAY 11, 2006.")

 

[INT. BAR -- NIGHT]

(Nick and Catherine continue to dance.)

(The song ends. The audience applauds and cheers.)

CATHERINE: Oh ... awesome.

(Nick looks over and sees a blonde-haired woman he seems to recognize.)

NICK: I think I know her.

CATHERINE: Yeah, I bet you do.

CATHERINE: Ask her to dance.

NICK: Yeah?

CATHERINE: I'm going to get a drink.

NICK: You're sure?

CATHERINE: Go for it.

(Catherine leaves the dance floor and heads over to the bar. The blonde-haired woman and Nick dance as the next song starts.)

(Catherine sits at the bar. The bartender leans over and points to a man sitting at the far end of the counter.)

BARTENDER: The guy down there wants to buy you your next drink.

(Catherine turns and looks at the man. She shakes her head.)

CATHERINE: (to the bartender) No, thanks.

(The bartender leaves. Catherine takes her drink and sips as she turns and listens to the music as she watches Nick on the dance floor.)

(She smiles and continues sipping from her drink.)

(Thinks start to get blurry for Catherine. The music fades in and out. She puts a hand to her head.)

(She looks around, the music mutes and fades in and out.)

VARIOUS DISSOLVES OF THE BAR

(The song fades. Nick waves to Catherine as he leaves with the blonde.)

SMASH FADE TO BLACK

 

FADE IN:

[CU: CATHERINE'S EYE]

(It's quiet. Catherine opens her eyes.)

[INT. MOTEL ROOM - MORNING]

(Sunlight filters in through large holes in the closed curtains.)

(Catherine blinks. Sounds and voices slowly filter in from outside and register with her.)

(Catherine raises her head off the bed. We note that she is naked and face-down on a bed in an unknown room.)

INTERCUT WITH:

[INT. DELANCY RESIDENCE - KITCHEN - MORNING]

(Close-up of a dish rack with dishes on it. With one continuous take, the camera moves over along the counter - past a paper towel holder, an old-fashioned toaster, some cut bread, the loaf and a knife. We continue past an open cookbook on a holder in front of an open window.)

(Uninterrupted, the camera continues along the kitchen - past a stove with a pot and pan on it - and along the counter where there are appliances, bottles of cooking supplies and other kitchen details.)

(The camera continues to pull back into the kitchen and past the island filled with framed photos of Izzy Delancy, a red bowl of fruit, bottled water, money and change on the counter next to the mail.)

(We continue to pull back past the counter. We note a filled dog dish on the floor. We reach the kitchen table - a fork, a plate of two over-easy eggs and bacon - all near a blood pool.)

(The camera continues down to the floor where the blood has spilled onto the carpet. Camera moves over to the person sitting in the chair in the blood pool.)

(We move over to the sneakers, up the jeans-covered legs - and up the blood dripping down the arms - and up to the bloodied doll's face. The doll's eyes are closed and head on the table in the pool of blood.)

(Camera pulls back to show the doll slumped over in its doll chair, head on the miniature table, a breakfast plate nearby.)

(Suddenly, the light coming from the miniature kitchen window is blocked and an eye peeps inside.)

(We move back across the kitchen and toward Grissom's eye.)

 

CUT TO:

TOP VIEW DOWN

(The light from the flashlight shines down on the miniature doll at the miniature table inside the miniature box.)

(Camera rises and we see a real dead body slumped over the table, head in a pool of blood. A breakfast plate of bacon and eggs is nearby.)

(Sofia looks from the miniature to the dead body.)

SOFIA: Have you ever seen anything like this?

(Grissom stands up.)

GRISSOM: No.

(In the miniature, there's a folded newspaper on the table near the blood pool.)

GRISSOM: The detail is ...

SOFIA: -- terrifying.

(Grissom notes the cut bread, knife, mayo and other items on the counter in the miniature box.)

GRISSOM: Impressive.

(He looks over at the dead body at the kitchen table.)

GRISSOM: And yes ... terrifying.

(Next to the real dead body, there's a folded newspaper, too. Sofia looks form the dead body to the miniature box.)

SOFIA: Which do you think came first: The chicken or the egg?

(Grissom looks at the miniature, then at the real body.)

GRISSOM: I've always been an egg man. But this time, I don't know.

 

CUT TO:

[INT. MOTEL ROOM - MORNING]

(We pan along the motel room floor and we see Catherine's dress, a black slip and her purse.)

(Catherine is still on the bed. She grabs her bag and sits up. She dumps the contents onto the bed.)

(She checks her wallet - her driver's license, credit cards and cash are still inside.)

(Outside is a small motel swimming pool. She squints as her eyes adjust to the bright light and as she looks around. All she sees is a parking lot and more motel rooms.)

[INT. DELANCY RESIDENCE - KITCHEN - MORNING]

(Grissom snaps photos of the kitchen counter, which is exactly like the miniature kitchen counter. He picks up the ruler and moves it over to the kitchen sink as he snaps photos of the frying pan with two eggs, bacon and spatula.)

FLASH TO:

(The miniature frying pan in the sink has two eggs, bacon and spatula.)

(Grissom puts the ruler down on the counter and snaps photos of the bag of potato chips.)

(He raises his camera and snaps photos of the gold records hanging on the wall. We focus in on the last record: IF DUSTY FELL, Izzy Delancy.)

(Grissom continues to snap photos. He puts the ruler down next to the folded LAS VEGAS REVIEW-JOURNAL and takes photos of it. He takes photos of the victim's head injury, of the breakfast plate in the pool of blood on the table.)

FLASH TO:

(The miniature table.)

FLASH TO:

[INT. MOTEL ROOM - MORNING]

(Catherine is standing in front of the mirror. She's wearing her black slip.She picks up the phone and dials.)

WOMAN: (from phone) Las Vegas Crime Lab? How can I help you?

(Without a word, she hangs up quickly.)

(She thinks, then quickly heads back to the bed. She picks up a tampon, a comb, a tissue and a nail file. She looks down and notices a slip of paper on the carpet. She uses the tissue and picks it up.)

(Catherine heads back to the sink where she opens up an unused towel. She puts her supplies down on it. She opens the ice container and sets it aside. She opens a shower cap. She uses the nail file to scrape samples from under her fingernails into the shower cap. She sets it aside.)

(She takes a couple of tissues and wipes the sink drain. She sets that aside.)

(She opens the tampon and uses it to take a sample from herself. She sets it aside.)

(She takes the comb and a couple of tissues and sets out to get more samples from herself.)

FLASH TO:

[INT. DELANCY RESIDENCE - KITCHEN - MORNING]

(Grissom snaps photos of the miniature. He lifts up the box cover and finds a miniature pot rack hanging from the ceiling. He snaps a photo of it.)

(He looks at the pot rack, then turns and looks back at the kitchen behind him. Sure enough, there's a pot rack hanging from the ceiling.)

(He sets it aside. He removes the box cover and snaps more photos of the miniature.)

(He pauses and turns to look back at the real crime scene.)

[INT. MOTEL ROOM - SHOWER -- MORNING]

(Catherine is taking a shower)

FADE TO BLACK.

TO BE CONTINUED

The End

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

Sonmi451 (23:35)

Sur ce j'y vais aussi.

Sonmi451 (14:23)

Bonne journée à tous! Et Joyeuse St-Nicolas!

arween (18:40)

Vous êtes nombreux à fêter la Saint Nicolas ?

Xanaphia (19:04)

En tout cas chez moi aussi ça se fête Alors bonne Saint Nicolas

arween (19:05)

Dans le sud, ça ne se fête pas du tout

Xanaphia (19:11)

Et oui c'est plutôt du nord et de l'est de la France +la Belgique, si je ne dis pas de bêtise ^^

arween (19:11)

ouais donc loin de chez moi ^^

Xanaphia (19:12)

vous avez des fêtes spéciales par chez vous ?

arween (19:13)

Non rien du tout

arween (19:13)

Ah attends si on la fête de mai.

arween (19:14)

Mais je crois que c'est juste à Nice

Xanaphia (19:14)

la fête de mai ?

mnoandco (19:14)

Oui, chez moi aussi il y a la Saint Nicolas (Nord Est) ! et le père fouettard...pour les pas gentils...ne me sens évidement pas concernée!

arween (19:15)

Honnêtement je ne sors pas beaucoup là où il y a foule alors je sais pas trop ce qu'ils font

Xanaphia (19:15)

coucou ah oui le folklore local ^^

Lolo1710 (19:27)

Saint Nicolas c'est sacré en Belgique, les primaires font un spectacle chaque année puis les autre c'est surtout pour les bonbons ?

Xanaphia (19:29)

Ou les chocolats et les coquilles

Lolo1710 (19:41)

Ouaip, un truc génial aussi mais c'est peut être que dans mon école, c'est les filles qui font régime et qui troc des bonbons contre des mandarines

Sonmi451 (21:20)

Moi je fais saint-Nicolas car mon homme est du nord-Est mais ma fête à moi arrive jeudi. ^^

Sonmi451 (21:20)

Avec la fête des lumières.

Sonmi451 (21:21)

Bonsoir au fait!

Xanaphia (21:30)

Bonsoir Ah la fête des lumières ça doit être joli ^^

Sonmi451 (21:36)

Très.

Sonmi451 (21:37)

Cette année, je vais me contenter de mettre les lampions aux fenêtres.

serieserie (08:40)

Bonne journée de chasse aux cadeaux sur la citadelle!

CastleBeck (15:46)

BOnjour ici!
Je viens de lire qu'une de mes séries préférées est renouvelée pour une 4e saison avec ajout d'un de mes acteurs préférés. Il me semble que ça met du bonheur dans ma journée <--- Oui, ça ne m'en prend pas beaucoup!

CastleBeck (15:53)

(Tiens, dans l'article ils disent que ce sera diffusé prochainement sur France 2... C'est bon à savoir. Si vous voyez passer Mensonges sur France 2, vous regardez!)

aline2408 (22:27)

Joyeux Anniversaire James723

aline2408 (22:28)

Joyeux Anniversaire James723

James723 (22:28)

Thank you ^^

serieserie (16:44)

Inscrivez-vous vite pour la grande partie d'HypnoGame Arrow qui aura lieu dans 6 jours!! Rendez-vous dans les forums de l'accueil!!

arween (18:46)

Venez voir les nouveaux calendriers de The Night Shift (serie²) et Dollhouse (Xana).

emeline53 (19:24)

Seulement 2 persones pour commenter le design Noël de The Fosters ? Venez donner votre avis en plus, un sondage sur votre souhait de cadeau est en ligne !

stella (19:25)

Special spécial Noel sur le quartier Downton Abbey et sans oublier son calendrier de l'avent original

DGreyMan (22:40)

Bonsoir. Sondage dédié à "Game of Thrones" dans le quartier "Harry Potter"...

DGreyMan (22:40)

... ou le contraire ! ^^

serieserie (09:07)

Plus que quelques jours pour vous inscrire à la grande soirée HypnoGame Arrow dans les forums de l'accueil ou par MP!!!

arween (09:44)

Bonjour à tous ! Aujourd'hui nous lançons une toute nouvelle rubrique, les reviews. Rendez-vous sur la page HypnoReview ou à l'accueil pour plus d'infos Bonne lecture et bonne journée !

Titepau04 (09:49)

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!!

cinto (11:39)

Fans de Dallas, Friends, Petite maison , Mission impossible, venez défendre votre série préférée chez Ma sorcière bien aimée: sondage "génériques"!

grims (16:47)

Coucou à tous ! une petite visite sur les quartiers Sons of anarchy, Outlander et Vikings serait sympa de jolis calendriers de Noël vous y attendent : ) merci d'avance pour votre passage

choup37 (17:13)

Calendriers aussi chez Kaamelott, Merlin, Doctor Who, Torchwood et Musketeers

choup37 (17:14)

(c'est super ces deux onglets pour alterner entre blabla et promo)

stella (19:34)

Case 5 du calendrier de l'avent de Downton Abbey vient d'être dévoilée.

Titepau04 (22:11)

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!!!!

mnoandco (09:56)

Coucou! Le quartier Blacklist propose 3 calendriers totalement différents et de circonstances pour ce mois de décembre. N'hésitez pas à venir les commenter.

sabby (10:19)

Hello la citadelle !! Le quartier Friday Night Lights aurait bien besoin de visites. Personnes pour voter au sondage ni commenter le nouveau design. Venez jouer au ballon avec moi, je m’ennuie un peu tout seule là_bas

serieserie (10:19)

Allez allez, on s'inscrit pour l'HypnoGame Arrow!!

mamynicky (10:27)

'Jour les 'tits loups Un calendrier de l'Avent gourmand sur Downton Abbey et un autre musical sur Empire. Si vous êtes en retard, vous pouvez le rattraper et n'oubliez pas de les commenter. Merci

Titepau04 (10:34)

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!!!!

arween (13:12)

Bonjour à tous ! Une grande animation vous attends sur The Night Shift ainsi que le calendrier et le sondage. Et sur Dollhouse, il y a un nouveau calendrier qui ne demande qu'à être commenté

roro73 (15:22)

Bonjour Nouveau sondage et nouvelles PDM sur Wildfire. Venez nous voir, on s'ennuie un peu =P

mamynicky (19:11)

Edgemont a besoin de clics sur son sondage. Merci

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

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