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#716 : Le monstre de la boîte

Grissom vient de recevoir un paquet. A l'intérieur, il découvre la maquette d'une scène de crime. En analysant les pièces qui constituent cette oeuvre pour le moins macabre, Grissom parvient à identifier l'affaire concernée. Or, d'après les éléments dont il dispose, le meurtrier en cause serait décédé. Grissom et ses collègues reprennent leurs analyses. Le décor reproduit correspond à un site qui existe encore. Grissom comprend alors que cette mise en scène montre un autre crime qui, celui-là, n'a pas encore été commis. Toute l'équipe des experts tente de prévenir ce prochain drame. 

Titre VO
Monster in a box

Titre VF
Le monstre de la boîte

Première diffusion

Plus de détails

Écrit par : Douglas Petrie & Naren Shankar 
Réalisé par : Jeffrey G. Hunt 

Avec : Louise Lombard (Sofia Curtis), Wallace Langham (David Hodges), Archie Kao (Archie Johnson), David Berman (David Phillips), Larry Mitchell (Officer Mitchell) 

Guests :

  • Dayton Callie ..... Ernie Edward Dell 
  • Kathleen Quinlan ..... Barbara Tallman 
  • Tim Trobec ..... Security Guard 
  • Cate Cohen ..... Officer Kamen 
  • Scott Wilson ..... World Send Delivery Guy 
  • Harry Groener ..... Peyton Tallman 
  • Brendan Fletcher ..... Mitchel "Mitch" Douglas 
  • Janine Sharell ..... Reporter Janine Sharell 



(The city is lit outside the window.  The camera pulls back and passes a 
crackling fire inside the large, spacious living room.  A cat meows and runs 
across the wood-paneled floor, disappearing behind the large bookshelf.)  

(The camera continues through the spacious room.  There are bookshelves, couches 
and modern-styled lamps.  Up against the wall there are filled vases.  Paper 
crunching is heard and a light shines down from above.  The camera continues 
around the room.)  

(The camera swings around and lingers on a LAS VEGAS GLOBE newspaper on the desk 
with the headline, “Another Body Found!”)

(The paper crunching continues.  Camera swings around the miniature desk and 
pulls back from the miniature chair.  Light shines from above as Grissom lifts the lid to the room.)  

(He stares at the latest diorama.)  


(Grissom reaches down and lifts the miniature room out of the box.  We’re 
looking up from the room at Grissom.  He carries the diorama and heads out of his office.)  

(He rushes carefully through the hallway.  He glances to the side and shouts.)  

GRISSOM:  Catherine, layout room, right away!

(He continues toward the layout room.)  

CATHERINE:  (o.s.)  Where’re you going?  

(The elevator bell dings.  Grissom continues toward the layout room.)  


(He sets the diorama down on the table.)  

CATHERINE:  (o.s.)  Gil, where's the fire?

(Catherine appears next to Grissom as they both look at the latest miniature.)  

TOP VIEW DOWN:  This miniature has a person sitting on a long, black sofa.

GRISSOM:  It's been sitting in my office for the last four weeks.

CATHERINE:  But ... we caught the ’miniature serial killer’; he confessed.

GRISSOM:  Yeah, I watched him blow his brains out.  But I think the package was 
postmarked after he killed himself.

CATHERINE:  So maybe he arranged to have it sent postmortem.

(Grissom turns the diorama.)  

GRISSOM:  The three other murders, the miniature was left at the scene.  This one was addressed to me.

(Grissom uses the magnifying glass and examines the room.)  

CATHERINE:  So, now it's personal?

GRISSOM:  The victim appears to be a Caucasian female with lots of books.  It 
could be an office, somebody's living room ... or a modern hotel lobby.  When I was gone, did anybody work a scene like this?

CATHERINE:  No ...  at least not on our shift.  

(Grissom notes the miniature newspaper on the table.)  

CATHERINE:  I'll check with days and swing, and see if anybody caught a case 
that matches.

(Catherine turns to leave, but Grissom stops her.)  

GRISSOM:  Never mind.

CATHERINE:  Why not?

GRISSOM:  Take a look at the early edition.  

(Grissom hands Catherine the magnifying glass.  The date is SATURDAY, FEBRUARY 17, 2007.)  

CATHERINE:  It's dated the day after tomorrow.  

GRISSOM:  This murder hasn't happened yet.





(Grissom snaps photos of the diorama.  He snaps a photo of the three vases and 
of the newspaper on the miniature desk, of the coffee table with miniature tea set and of the woman on the couch.  He continues snapping photos.)  



(Sara, Nick and Warrick watch the video.)  

ERNIE DELL:  (from video)  My name is Ernest Edward Dell.   I was born in 1946 
in Ames, Iowa.  My life's been hard, but I don't complain.  I never expected better.  

(On the video, he takes a sip of his cup.)  

ERNIE DELL:  (from video)  I'm good with my hands.  I make things.  I fix things.  I'm a handyman.  That's what I am.



(VARIOUS DISSOLVES OF:  Grissom puts the photos on the board lining the wall.)  

ERNIE DELL:  (v.o.)  I'm not the sociable type.  I-I know that.  You spend any 
amount of time around people, you get your heart broke -- treachery, hypocrisy ... the promise of love.


ERNIE DELL:  (from video)  A man has a right to an honest day's pay.  Me, I 
service the machinery of death so that people can eat.  If that makes me evil, 
then so be it.

(They pause the video.)  

SARA:  The ‘Miniature Killer’ murdered three people over a period of roughly six 
months.  Ernie Dell was either directly or indirectly related to all of them.

WARRICK:  What's with the bloody dolls?

SARA: We're not sure.  There's a different perspective of that same image in all 
of the miniatures.  (She hands Warrick an enlarged photo.)  We're thinking it 
could be some kind of signature.

(The video resumes.)  

ERNIE DELL:  (from video)  Look into the mouth of a person and you'll find lies 
wriggling there like maggots waiting to grow wings.  The world has ... has gone 
mad.  A man could kill from sunup to sunset, and still his work would never be 

(Ernie takes the gun, puts it under his chin and fires.  Sara, Nick and Warrick 
flinch.  Sara pauses the video.)  

NICK:  Remember the Blue Paint killers?  Maybe Ernie Dell had a partner.  Like 
an apprentice, an accomplice, something like that.

WARRICK:  Or a disciple.

SARA:  You guys make models when you were kids?

NICK: Tanks and airplanes.

WARRICK:  Classic cars.

SARA:  These miniatures are obsessively precise, half-inch scale models of the 
crime scenes.  They probably took weeks of focused effort to create.  I don't 
think the killer's into team sports.

WARRICK:  Izzy Delancy ... he was a rock star.  You know, famous brings out the 
nut jobs.  Maybe we're just looking at a copycat.

SARA:  The miniatures were never released to the press.  No photos, nothing.  
You can't copy what you can't see.

NICK:  Other people had access to those files.  Maybe it was a cop.  Or somebody 
in the lab.  It's been known to happen.

WARRICK:  Yeah, so, Ernie Dell takes the rap for three murders, and then eats a 
.38. Why?

SARA:  I think he was trying to protect someone -- someone he cared a lot about.



(SCOPE VIEW:  Of the purse.  Grissom checks the inside of the purse and finds it 

(Catherine walks in.)  

CATHERINE:  Prints and DNA are going over the package and wrapping paper.

GRISSOM:  They won't find anything. 

CATHERINE:  Return address was an empty lot.  Any clue as to who the victim is?

GRISSOM:  No, I even went through her little purse.

(Catherine puts her glasses on and looks at the miniature.)  

CATHERINE:  Well, she's not wearing a wedding ring.  She's probably single.  Her 
eyes appear to be bloodshot.  Petechial hemorrhaging, maybe?

(Grissom notices something on the pillows.)  

GRISSOM:  Look at this.

CATHERINE:  Blue smudges on the pillow.  Blue mascara on the victim.  

(Catherine leans forward and looks through the miniature’s window and visualizes 
the woman lying down on the couch.)  

CATHERINE:  Our vic gets comfortable, grabs a little shut-eye ...

(Someone leans over her and smothers her with a pillow.  She struggles and 

CATHERINE:  ... and never wakes up.

(The people in the miniature vanish.  Catherine straightens and looks at 

CATHERINE:  She's going to be smothered.

GRISSOM:  It would seem so.

CATHERINE:  If you interpret this headline literally, the doll is the victim.  
That's different than the others.

GRISSOM:  Methods change.  Killers evolve.

(It sounds familiar to Catherine.)  


CATHERINE:  Keppler said something like that once.  (She looks at Grissom.)  He 
did come down on the right side.

(Grissom nods.  He looks at the books on the shelf.)  

GRISSOM:  These books are all arranged by subject matter:  art, religion, 
science ... The victim is apparently well-educated.

(Grissom looks on the shelf and sees a framed photo of Izzy carrying his baby.)  

CATHERINE:  That's from the Izzy Delancy miniature.  What's it doing here?

GRISSOM:  I don't know.

(Grissom picks up the framed photo and looks at it.  He turns it over and sees 
the doll image.)  

GRISSOM:  There's something on the surface.  Looks like brush strokes.

(Catherine shines the light on it and reveals the word:  YOU.)

(Grissom goes straight for the pillow on the couch – the same pillow form the 
Penny Garden miniature.  He puts it on the table next to the framed photo.  On 
the shelf he picks out the window covering from the Mannleigh miniature and puts 
that on the table as well.  Under the light it reveals:  
     YOU     WERE     WRONG     )

(We hold on Grissom.)




(Sara walks along the rows of file boxes.  Greg turns the corner and walks over 
to her.  He’s in a suit.)  

GREG:  Hey, Sara, I heard we got another miniature.  Is that true?

SARA:  Yeah, looks like Ernie Dell was covering for someone.

(Sara pulls a file box off the side and hands it to Greg.  She grabs another for 

GREG:  No kidding?

(They head out with the two boxes.) 

SARA:  Hey, you were the one who checked for next of kin after his suicide, 

GREG:  SOP.  Snail mail, email, bank accounts, police records, Google.  All I 
got was he's a widower.  Received his wife's Social Security benefits.

(They put the two boxes down on the table.)  

SARA:  He had to be connected to somebody.

(Sara cuts the tape on the box while Greg puts on his gloves.)  

SARA:  It's kind of early for court.

GREG:  Finally rescheduled my deposition for the civil suit.

(Sara opens the file box.)  

GREG:  You know, Demitrius James's family is suing the city for 3.5 million.

SARA:  That's going to be a long deposition.

(They go through the items in the box.  Under the shirts, Sara finds a stack of 
video tapes.  The top one is labeled SUMMER ’87.)  

SARA:  Home movies.



(The hallways are sparse while the janitors mop the floor.  In the layout room, 
Grissom is still going over the latest diorama with a magnifying glass.  He 
looks at the books on the shelves and the flowers in the vases.  He goes back to 
the books on the shelves.)  

(He pulls out a particular book and looks at it.  He puts it down, then notices 
the black cat resting on the bookshelf.  Grissom picks up the black cat and 
looks at it.)  

(Hodges knocks on the door before entering.)  

HODGES:  Hey, boss.  We're ordering out for breakfast.

GRISSOM:  (interrupts)  You have a cat, don't you, Hodges?

HODGES:  Mr. K.  Kobayashi-Maru.  It's in reference to ...

GRISSOM:  Do you ever take him out of the house?

HODGES:  My little Kobe? No way.  Vegas is coyote country.

GRISSOM:  So if this is a house cat, then this must be somebody's home.

(He looks at the cat and notices the white around the mouth.)  

HODGES:  Tsk, tsk.  Looks like he's been in the milk.

GRISSOM:  Yeah.  Maybe the victim has as well.  The previous murders have all 
involved the vic's habits and routines.  So maybe this time, it's a little 
something extra in her afternoon tea.

(Grissom and Hodges leans forward to look at the tea set on the coffee table.)  

HODGES:  So they're going to be poisoned.

(Flash to:  The woman finishes her tea and lies back on the couch.  She puts a 
pillow over her face.  The cat sips the milk on the tea tray and jumps on the shelf.)  

GRISSOM:  (v.o.)  She lays down for her usual nap, the cat sneaks a sip, and 
neither one ever wakes up again.

(End of flash.)  

GRISSOM:  It doesn't matter how she dies if we can't figure out who she is or where she is.

(Hodges glances at his watch.)  

HODGES:  Well, you can't figure that out on an empty stomach.  If you don't like this restaurant, there's plenty of others to choose from.

(Grissom looks at the DELIVERY ZONE on the back of the menu from Hodges.)  

(Grissom puts the menu down and looks at the diorama.  On the bottom of the 
coffee table, Grissom picks up two miniature order menus for the KRISPY WOK and 

GRISSOM:  I choose these two.



(The fax prints the KRISPY WOK menu.  Grissom looks at the delivery area on the 
back of the menu.  He marks the area on the computer map in green.)  

(He prints out another KRISPY WOK menu and marks that area on the computer map.  
He does so with the additional KRISPY WOK delivery areas.)

(He prints out a TANDOORI TEMPLE menu and does the same for that eating area.  
He marks it on the map in red.  He does the same for the other TANDOORI TEMPLE 
menus and delivery areas.)  

(He finds the area where the two eating places overlap and marks it CROSSING 




(Brass briefs the officers.)  

BRASS:  We're looking for a building whose exterior looks exactly like this.

(He gives them a photo of the exterior of the miniature.  The officers spread 
out to canvass the area.  Brass makes a call on his cell.)  

WARRICK:  (from phone)  Talk to me.

BRASS:  (to phone)  So what are we looking at, Rick?  We've got a modernist 
structure with cement beams, steel rails, frosted glass.



(Warrick is walking and talking on the phone.)  

BRASS:  (from phone)  Something like that.

WARRICK:  (to phone)  Probably, but whatever it is, it should match exactly.  
The killer's hyper-specific.

BRASS:  Well, maybe that'll work in our favor.

(Warrick hangs up.  Nick is looking at the buildings around them.)  

NICK:  Now, even if we find a match, we could already be too late.


(Warrick whacks Nick on the arm to get his attention and points to the building 
directly in front of them.  It’s exactly like the miniature.)  

(Nick checks it against the photo.)  

WARRICK:  Let's check it out.

(Warrick starts running toward the building.  Nick motions for the officer to 
follow them.)  

NICK:  C’mon.  C’mon.


(Nick, Warrick and the officer enter the lobby and walk up to the manager behind 
the front counter.)  

NICK: Nick Stokes, LVPD.  We're looking for a woman that lives in this building.  
She looks like this.  (Nick shows him the photo of the miniature.)  Have you ever seen her?

(The manager looks at the photo and scoffs.)  

MANAGER:  That looks like a doll.

NICK:  Yeah, well, it's actually a death threat.  Time is of the essence here.  
Can you help us out?  Anyone in the building look like this?  No?

WARRICK:  She's got a cat.

MANAGER:  Well, that narrows it down to about a hundred tenants.

(Warrick puts a photo of the miniature down.)  

WARRICK:  That's her home.

(The manager looks at the photo and recognizes it immediately.)  

MANAGER: 1106.  That's Ms. Tallman's place.


(The manager leads Nick, Warrick and the officer to 1106.)  

DISPATCH:  (over radio)  All units responding to 3-5-0-4, 3-5-0-4.  CSI Brown 
and Stokes have ID’d the building.  Please respond.

(The manager points to the door.  They stop and listen.  Behind the door, they 
hear music playing.  Nick knocks loudly on the door.)  

NICK:  Mrs. Tallman?  Las Vegas Police.  You need to open your door, please.

(There’s no answer.)  

NICK:  Mrs. Tallman?

(There’s no answer.  Nick looks at Warrick.  Everyone moves.  Nick reaches for 
his gun and stands on the side of the door.  Warrick motions toward the door.)  

WARRICK:  (to manager)  Open it and stand clear.

(The manager unlocks the door and steps aside.  Nick opens the door and Warrick 
steps through, his gun out in front of him.)  


(Warrick, Nick and the officer enter the apartment cautiously.)  

TOP VIEW DOWN:  It is the apartment, although no one is sleeping on the sofa. 

(Nick notices that the sofa is empty.  Music continues blasting through the 
apartment.  The fire is burning in the fireplace.  Nick sees a newspaper on the 
desk and the books on the shelf.)

(He hears a door open and close.  Nick raises his gun as a woman returns.  She 
sings along with the loud music, turns and sees the men in her apartment.)  

(She screams.)  

(Warrick puts his gun down and looks over at Nick.)  

NICK:  Please, ma'am, calm down.  We're with the Crime Lab.

BARBARA TALLMAN:  This isn't a lab.  This is my home.  You must be confused.

NICK:  No, we're not confused.  We're here for your protection.

(Nick motions to the music.  Warrick turns it off.)  

WARRICK:  Ms. Tallman ...


WARRICK:  Dr. Tallman ... I need you to take a look at this.

(He shows her the photos of her apartment.)  

BARBARA TALLMAN:  Did you make this for me?  That's very sweet.

WARRICK:  It's a death threat.

BARBARA TALLMAN:  Who would want to kill me?

NICK:  Doctor, do you normally take a nap around the same time every day 
covering your face and eyes with the pillow?

BARBARA TALLMAN:  (sleepily)  Yes, at 4:00 p.m.  I ... I have tea and cookies 
every day when I wake up.  Have you been watching me?

WARRICK:  No, Miss, no, but we think someone else has.  Doctor, your life is in 
danger.  We need you to get dressed and come with us, please.

BARBARA TALLMAN:  Am I in trouble?

NICK:  No, ma'am.  No, not anymore.  This officer will help you get your things, 

BARBARA TALLMAN:  No, no, no.  I'll go get my things.

(She starts to leave, then turns around.)  

BARBARA TALLMAN:  I want you to know that you young men are refreshingly polite.  

WARRICK:  Thank you.

(Dr. Tallman leaves.  Warrick turns and looks at Nick.)  

WARRICK:  Is she on something?

NICK:  She may have already been poisoned.

(The cat jumps on the table and starts drinking from the tea set.)  

WARRICK:  We'll get her to the hospital.

NICK:  We should collect blood for tox.

WARRICK:  And any open food or drink.

(Nick turns and shoos the cat away.)  

NICK:  Hey, get out of there!  (The cat meows.)  The killer did plan every 

WARRICK:  Except for us showing up.





[INT. CSI – A/V LAB]  

(The video DATE/STAMPED MARCH 7, 1988, is on the monitor.  Greg, Archie and Sara 
watch the video.  On the video, Ernie speaks with the engineer of the small 
train.  The children run toward the train.)  

SARA:  That's got to be Ernie Dell's wife.

(They climb into the train.  Ernie waves the engineer.)  

ARCHIE:  Quite the bash.

(The train starts to move.)  

ARCHIE:  They must love kids.

(The next video scene is of the family around a table full of kids.  Ernie and 
his wife stand behind a little boy seated at the head of the table.  Everyone 
sings "Happy Birthday To You.”) 

ARCHIE:  Is that Ernie's son?

GREG:  There's no record of a son, but it sure looks like it.

(On the monitor, the little boy glares at his birthday cake.)  

SARA:  One, two, three, four, five birthday candles in 1988 would make him 
around 24 now.

(On the monitor, the little boy can’t seem to blow out the candles.  Everyone 
laughs.  The little boy sweeps the cake off the table and onto the ground.)  

ARCHIE:  Hmm.  Don't look like a very happy birthday.

(The little boy jumps off his seat and runs.  Mrs. Dell runs to console him.)  

GREG:  Did you get the boy's name?

ARCHIE:  Cake never made it on camera.

SARA:  How about audio?

ARCHIE:  It sucks. '80s video cam with built-in, non-directional mic, pulls in 
nothing but wind and train noise.

SARA:  So let's process it.

ARCHIE:  This is processed.

(On the monitor, Ernie Dell is with his son and eats some of the cake off his 
son’s fingers.)  



(Nick walks through the hallway with Grissom and fills him in.)  

NICK:  We ran tox on Ms. Tallman's blood as well as her milk and cookies.  She 
was negative on everything from pharmaceuticals and illicits, to herbicides, 
pesticides and heavy metals.  You sure she was going to be poisoned?

GRISSOM:  No, but I'm pretty sure she was scheduled to die today.  In each of 
the previous cases, the killer was at the scene to commit the murder.  So maybe 
he was planning to show up at the condo.

NICK:  Well, it'd be kind of rude not to greet him, don't you think?



(“Barbara Tallman” walks into the living room with the tea set.  She sets it 
down on the coffee table and sits on the sofa.  She lifts her lapel and speaks 
into the mic.)  

OFFICER KAMEN:  I'm ready for my close-up.

(Officer Kamen glances at the camera set up on the top of one of the shelves.)  

(In another room, Sofia watches the monitor.  Officer Kamen stretches out on the 
couch for her afternoon nap.)  

OFFICER KAMEN:  (from mic)  This definitely beats walking the beat.

SOFIA:  Feed's good.  Officer Kamen, how's your read?

(On the monitor, Officer Kamen nods.)  

OFFICER KAMEN:  Time to go to sleep.

(On the monitor, Officer Kamen picks up the couch pillow and puts it over her 
head as Barbara Tallman does.)  


(Brass sits in the lobby reading the paper.)  

BRASS:  (to radio)  All units, this is Brass.  All right.  Maintain a low 
profile.  That means I don't want to see a uniform within three blocks of this 
place, okay?


(Sofia watches Officer Kamen pretend to sleep.)  

BRASS:  (from radio)  Be vigilant, but be cool.

(She takes a sip of her coffee cup as she waits.)  


(The lobby door opens and a delivery man walks in with a package.  He goes to 
the front desk and signs in.  Officer Mitchell is behind the desk pretending to 
be the manager.)  

OFFICER MITCHELL:  Where you headed?


(The delivery man signs in.)  



(The delivery man walks past Brass on his way to the elevators.  The elevator 
bell dings off screen in the background.)  

(A second, older man walks in.  He’s wearing a dark coat and carrying a large 

MAN:  Hold the elevator.


MAN:  Eleven.

(The elevator doors close.)  

BRASS:  (to radio)  Someone's coming up.


BRASS:  (from radio)  White male with a suitcase.

(On the monitors, the man gets out of the elevator on the eleventh floor.  He 
heads toward the apartment.)  

(The man puts his suitcase down on the floor in front of the apartment.)  

SOFIA:  (to radio)  We got a possible.


(Sofia and a couple of officers burst out of the storage room.)  

SOFIA:  LVPD. Up against the wall.


(The officer turns and pushes Peyton Tallman up against the nearby wall.)  

OFFICER:  She said hands against the wall.

SOFIA:  What's your business here, sir?

(Sofia checks his wallet.)  

PEYTON TALLMAN:  Nothing.  I mean, this is my sister's place.  I'm Peyton 
Tallman.  Where's Barbara?  Did something happen to her?

     2672 W. 6TH ST.
     LAS VEGAS, NV  89109   )

SOFIA:  This officer will explain everything to your satisfaction.  Get him out 
of here.


(The officers lead Peyton Tallman down the hallway.)  



(Grissom walks through the hallway and is on the phone with Brass.) 

BRASS (from phone):  Peyton Tallman's ID checks out.  And you know ... and I 
kind of doubt the killer's going to make a miniature crime scene of his own 
sister's house.

GRISSOM:  (to phone)  And we have nothing to link him to the other three 

BRASS:  (from phone)  He wants to see his sister.  I'll let you know how that 
goes down.

GRISSOM:  Okay. Thanks.

(Grissom hangs up and enters – 


(The latest miniature is on his desk.  He sits down, looks at it and sighs.  
Grissom looks at the three vases.  He zooms in on the middle vase.)  


(It’s night.  Sofia is watching Officer Kamen on the monitors.  She looks at her 

SOFIA:  (to radio)  Okay, that's it.  Killer's not gonna show.  (to officers)  
Let's call it a night.


(Grissom pulls the lamp in closer for a better look.  The flowers in the vases 
immediately melt and fall apart.  Grissom thinks about it.)  


(The front door opens.  Sofia walks in.)  

SOFIA:  All right, I know you must be exhausted from your brutal day in the 
field, but it's time to go.

(Officer Kamen doesn’t move.)  

SOFIA:  Officer Kamen?

(Sofia knocks the pillow away from her face.  Officer Kamen’s dead open eyes 
stare back at her.)  

(Sofia gasps.)  



(A camera flashes as David Phillips snaps photos of Officer Kamen.  Sofia stands 
on the side watching and upset.)  

DAVID PHILLIPS:  She's pale.  No sign of trauma.  COD'll have to wait till 
autopsy.  Sorry.

SOFIA:  Not as sorry as I am.

(Grissom steps into the room.)  

(He puts his kit down near the door.  Sofia turns around and he doesn’t say 
anything.  Grissom looks around the room and sees the shelf where the black cat 
was found.  He heads over to the shelf while putting on his gloves.)  

(He pulls the books away and finds the dead cat.)  

(Grissom shakes his head.)  





(Brass walks into the office.  Barbara and Peyton Tallman are sitting at his 

BRASS:  Look, I know we’ve all had a tough day, but the sooner we get done here, 
the sooner we can all go home.

BARBARA TALLMAN:  (sniffles)  Why?  So my little Tripper can run out to greet 


BRASS:  I'm sorry about your cat, ma'am.  We lost an officer.

BARBARA TALLMAN:  How much did you love her?

PEYTON TALLMAN:  Barbara, please.

BRASS:  When my guys went to your house, they said you were a little out of it, 
but you're thinking clearly now, right?

BARBARA TALLMAN:  Well, having your home invaded can be a little bracing.

PEYTON TALLMAN:  Captain, how can we help?

BRASS:  Can you tell me why anyone would want to kill you?


PEYTON TALLMAN:  But you can.  Well, Barbara was a high regarded 

BARBARA TALLMAN:  Is.  That hasn't changed.

BRASS:  Is or was?

BARBARA TALLMAN:  I'm retired.

BRASS:  You seem a little young to be retired.

BARBARA TALLMAN:  I got tired of it.

BRASS:  Can you tell me why one of her patients would want to kill her?


PEYTON TALLMAN:  Well, no, it's-it's possible.  She, um ... she counseled a lot 
of at-risk adults, um, halfway house kids, pro bono.

BARBARA TALLMAN:  I also treated suburban sexual dysfunction for $300 an hour.

PEYTON TALLMAN:  She helped a lot of people.

BRASS:  Did you work out of your home?

BARBARA TALLMAN:  For the last few years.

BRASS:  Treat any sociopaths?

BARBARA TALLMAN:  That's not a term for which there's any diagnostic criteria.  
You're not looking for one of my patients.

BRASS:  Well, maybe I am.  Maybe I'm looking for a 20-something-year-old male, 
last name of Dell.


PEYTON TALLMAN:  She can't say.  It's doctor-patient confidentiality.

BRASS:  But you're retired.

BARBARA TALLMAN:  Well, you know where I live.  Are you done yet?

BRASS:  No, we're not done yet.  At least, I'm not done yet.  All right, look, 
let's start again, all right?  Let's ... Maybe we started off on the wrong foot, 
all right?  Look, I'm asking you as a professional, as a psychotherapist, please 
... help me out here.

(He puts the photos of the miniature crime scenes out on the table.)  

BRASS:  Okay? Tell me ... what am I looking for?

(She looks at them, putting her hand out over the photos.  She moves stiffly and 
awkwardly, but nothing too much out of place.)  

BARBARA TALLMAN:  Repetition ...  attention to detail indicates obsessive-
compulsive disorder.  Obvious antisocial personality.

BRASS:  Uh, yeah, four bodies --  I'd call that antisocial.

BARBARA TALLMAN:  Most murderers lack impulse control, inability to plan ahead, 
but ... this one's different.

BRASS:  Different how?

BARBARA TALLMAN:  He conceives murder ... visualizes it.  Then he takes all that 
horror that he's imagined.  He compresses it into these little rooms.  These 
models literally indicate repressed rage.  And when you start taking that apart, 
all that rage comes flying out ... and you will have let the monster out of the 



(Grissom snips the shirt off one of the miniature dead bodies.  Hodges stands in 
the doorway watching.  Grissom doesn’t look up.)  

GRISSOM:  Stop hovering, Hodges.  You're in or you're out.


(Hodges steps into the room.)  

HODGES:  So, she wasn't poisoned, huh?

GRISSOM:  No.  Hand me a scalpel.

(Hodges hands Grissom the scalpel.  Grissom cuts the miniature dead body open, 
performing an autopsy of sorts on it.  He opens the body.)  

GRISSOM:  Tweezers.

(Hodges hands Grissom the tweezers.  Grissom removes the body’s lungs.)  

HODGES:  Nice lungs.



(Hodges takes a sample of the gas inside the miniature lungs with a syringe.  He 
tests the sample.)  



(Grissom is in the A/V lab watching the video of Officer Kamen sleeping.  His 
phone rings.  He answers it.)  

GRISSOM:  (to phone)  Grissom.



(Tripper is cut wide open on the autopsy table.)  

ROBBINS:  (to phone)  Yeah, Gil, uh, got a good idea on COD for your asphyxiated 

(On the other table, Robbins stands in front of the table with Officer Kamen on 

ROBBINS:  (to phone)  Internal organ color nailed it on both the autopsy and 
necropsy as ...

(Grissom is reviewing the GCMS test results:  CARBON MONOXIDE.)  

GRISSOM:  Carbon monoxide poisoning.

ROBBINS:  You know, nobody likes when you do that.  So, how did CO get into the 

GRISSOM:  That I don't know.

(Grissom hangs up and goes back to watching the video of Officer Kamen sleeping.  
He sees something and rewinds the tape.  The fire in the fireplace flares.)  



(Grissom pushes the scope through the living room and past the miniature body on 
the couch.)  



(Nick and Warrick enter the room and put their kits down near the fireplace.  
Nick turns on his flashlight and checks under the flue.)  


(Grissom checks under the flue and finds the rigged timer.  He thinks about it.)  


(Nick looks up under the flue and finds the rigged timer.

(Quick flash to:  [THE FLUE]  The flue is open.  The timer activates and shuts 
the flue, dropping the charcoal on the fire.)  

NICK:  (v.o.)  The timer goes off, activating the motor, which closes the flue 
and drops powdered charcoal onto the flames, producing carbon monoxide.  

(In the living room, Officer Kamen sleeps on the sofa.  The fumes fill the 

NICK:  (v.o.)  Fumes have nowhere to go but out into the apartment, into Officer 

(End of flashback.)  


NICK:  And the cat.

(Nick reports to Grissom.)  

NICK:  You know, this timer was geared to run for weeks.  It could have easily 
been put in place a month ago.

GRISSOM:  That's why the killer felt safe enough to send me the miniature.  He 
never intended to be at the scene.  There was no danger of being caught.



(Greg catches up with Sara and shares his findings with her.)  

GREG:  Hey, Sara, check this out.  I was digging through Mannleigh Chicken's 
employee health insurance records ... 

SARA:  45 million Americans without health coverage, and a chicken 
slaughterhouse provides medical benefits?

GREG:  Izzy Delancy's animal rights PSA forced the company to clean up its act 
in all departments.  Anyway, Ernie Dell had one dependent listed:  a son.

SARA:  "Lionel Dell."  Unbelievable.

GREG:  Yeah, the man loved his trains.  Lionel changed his name to Mitchell 
Douglas after he turned eighteen, and get this.  He did time in a halfway house 
after getting busted for fentanyl.

SARA:  Which connects him to the fentanyl-dealing sexagenarian, Penny Garden.  
Where's young Dell now?

(They walk out of camera frame.)  



(Sara and Greg walk up to Mitch Douglas.)  

SARA:  Lionel Dell?

MITCH DOUGLAS:  My name is Mitch Douglas.

SARA:  I'm Sara Sidle.  I'm with the Crime Lab.  I was wondering if you knew 
this woman.  

(She shows him a crime scene photo of Penny Garden.)  

SARA:  She used to sell fentanyl.

MITCH DOUGLAS:  Want me to pee in a cup?

SARA: What about this guy? He's dead, too. He was found face down in a chicken 
stun bath in a place your dad used to work. 

MITCH DOUGLAS:  He worked a lot of places.  I met a lot of people.

(Mitch uses a device on the canister.  Sara watches him.)  

SARA:  Did you know Izzy Delancy?

(Sara shows him another crime scene photo.) 

MITCH DOUGLAS:  Yeah.  His music sucks.  What do all these stiffs got to do with 

SARA:  What was your relationship like with your father?

MITCH DOUGLAS:  Before or after he blew his brains out?

SARA:  Let's start with ... before.

MITCH DOUGLAS:  You ever step in a pile of crap, but you're wearing boots, so 
you can't just scrape it off. You got to dig it out with a stick, but even that 
doesn't work, so you just end up tossing the boots in the trash?  It was kind of 
like that.

SARA:  And after?

MITCH DOUGLAS:  Much better.  You gonna arrest me?

SARA:  (shakes his head)  We're just talking.


(He goes back to work.)  



(Camera passes by all the miniature crime scene set up in plastic cases in 
Grissom’s office.  Grissom is at his desk looking at photos of the most recent 
miniature.  Sofia knocks on the door.)  

SOFIA:  Did you know Officer Kamen?


SOFIA:  Me, neither.  I was watching her die, and I didn't even realize it.

GRISSOM:  Look, Sofia, there weren't any carbon monoxide sensors in the 
apartment, so no one could have known.

SOFIA:  Yeah.

GRISSOM:  And in fact, if I hadn't have gone away, we'd have had another month 
to work with; you'd have never been in that position.

SOFIA:  It doesn't make you feel any better either, does it?  You know, the 
scene's been released.  Ms. Tallman was pretty insistent.  We offered to leave a 
uniform with her, but she wasn't having it.

(Grissom picks up the photo and looks at it again.  He sighs.)  

SOFIA:  So, what are you looking for?  The miniature's complete.

GRISSOM:  It's not perfect, though.  Officer Kamen was not the intended victim.

SOFIA:  Well, she was dressed like her.  She died in the right position.  So did 
the cat.

GRISSOM:  I'm still not sure it's perfect enough.

(The phone rings.  Grissom answers it.)  

GRISSOM:  (to phone)  Grissom.  (pause)  Yeah.  (pause)  Okay.

(He hangs up and looks at Sofia.)  

GRISSOM:  Now, it's perfect.

(He looks at the photo.)  



(TOP VIEW DOWN:  Barbara Tallman is dead on the sofa.  DISSOLVE IN officers and 
other crime scene personnel.)

(Nick snaps photos of the real BARBARA TALLMAN dead on the sofa.)  





(Nick snaps photos of Barbara Tallman.  Catherine checks a hand-held meter, then 
picks up the pillow.)  

CATHERINE:  It's deja vu all over again.

NICK:  Not entirely. There's some kind of liquid.  It looks like it fell and 
splashes on the floor ... and the body ... and it looks like ... the ear.

(Camera ZOOMS into the liquid in Barbara Tallman’s ear.)  

(Catherine looks around and sees some liquid at the base of the vase on the 

CATHERINE:  This could be the source.

(Quick flash of:  The killer smothers Barbara Tallman with a pillow.)  

CATHERINE:  (v.o.)  Killer returns to ... complete the miniature the old-
fashioned way.  

(As the killer leaves, he backs into the vase and knocks it over.

CATHERINE:  (v.o.)  And things get a little messy.  But in the end ...

(The killer picks up the vase and fixes everything as best as possible.)  

(End of flash.)  

CATHERINE:  -- he puts everything right back where it belongs.



PEYTON TALLMAN:  (v.o.)  What happened to my sister was not just some isolated 

[EXT. -- NIGHT]  

(Peyton Tallman is holding a press conference.)  

PEYTON TALLMAN:  There have been four other murders, four deaths which could 
have been prevented had the public been warned by the people sworn to protect 
us.  Barbara Tallman was the latest victim of a serial killer ... the LVPD has 
known about for months.

REPORTER JANINE SHARELL:  What do they call him?


(The television is on the WFIN 19 LIVE news coverage of the press conference.  
The caption on the bottom of the screen reads:  BREAKING NEWS, BROTHER OF SERIAL 

PEYTON TALLMAN:  (from tv)  They call him the ‘Miniature Killer,’ because he 
makes little models of his victims posed in the places where they die.

(Hodges and Grissom are watching the news coverage.)  

HODGES:  I feel for the guy, but he just made our job a lot harder.

GRISSOM:  It was inevitable.   With the murder, the amount of information that 
could leak rose exponentially.

PEYTON TALLMAN:  (from tv)  I'm a private person, but if this prevents just one 
tragedy, then it's worth it.

(Hodges gives Grissom the test results.)  

HODGES:  Trace report on the second crime scene or ... or should I say second 
murder?  Crime scene is the same.  

(The results show:  
     :  C:DatabaseWiley275.L
     :  99

HODGES:  Haven't finished processing all the samples, but the water from the 
vase is consistent with the water found on the victim's clothing.

GRISSOM:  There's chlorine bleach in the samples.  Why put bleach in vase water?

HODGES:  I knew you'd ask that.  Well, I had this girlfriend who was a florist 

GRISSOM:  The one with the water retention problem.

HODGES:  You remembered.  Anyway ... she said that if you add a few drops of 
bleach to your water, it kills bacteria, and gives your flowers a nice long 
life, but add too much ... the flowers die.

(Greg walks in.)  

GREG:  Grissom, we may have caught a break on Barbara Tallman.  She did pro bono 
work at Lionel Dell's halfway house.

(Grissom removes his glasses at the news.)  



(Sofia and Sara interview Mitch Douglas.)  

MITCH DOUGLAS:  Okay, so maybe I met her.  So what?

SOFIA:  So, she's dead.  That's four stiffs associated with you, Lionel.  Five, 
if you count Ernie.


SARA:  You know, you keep saying that you hated your dad, but I'm not buying it.  

(Sara shows him the photos of the miniature crime scenes.)  

SARA:  You go through your life alone.  You're good with your hands.  You have 
weird hobbies.  You make little things. And when that gets tricky ... you call 
your father.

SOFIA:  Maybe Ernie didn't know you were a killer.  Police start poking around, 
asking questions, showing him pictures.  And when Ernie sees these ... he knows 
exactly what his little boy's become.

SARA:  To the rest of the world, a monster, but to him ... just a little boy 
knocking over his birthday cake.

SOFIA:  So he confesses to crimes you committed, shoots himself in the head; 
it's a dead end for us.

SARA:  New start for you.

MITCH DOUGLAS:  If only.  Let me tell you about Ernie.  What he cared about in 
this life was ... his wife, his trains, and his kids.  In that order.

SARA:  Kids?  You're an only child.

MITCH DOUGLAS:  (chuckles)  Again, if only.  If you're looking for a love 
connection, then ... then you should maybe go talk to one of the chosen ones.

SOFIA:  What are you talking about?

MITCH DOUGLAS:  Fosters.  My parents had, like ... dozens.  They'd come and go, 
some before I was born.  My mom loved kids.  Dad loved Mom.  I guess as soon as 
I came around ... the love ran out.  And then Mom dies ... the kids leave ... 
and Ernie's left with me.

(He looks at them.)  

MITCH DOUGLAS:  Ernie didn't take a bullet for me.  (shakes his head)  But it's 
a beautiful thought.



(Robbins goes over the preliminary findings with Catherine.)  

ROBBINS:  I pulled these fibers out of her nasal passages.

CATHERINE:  Well, they appear to be consistent with the sofa pillow cushion at 
the scene.

ROBBINS:  COD was asphyxiation. Now ... what is wrong with this brain?

(He picks up the brain from the metal bin and shows it to Catherine.)  

CATHERINE:  Other than the fact that it's out of its skull?  Pigmentation's 

ROBBINS:  Bingo ... or keno or whatever you prefer.  Pronounced lack of 
pigmentation near the midbrain, along with ... clearly diminished substantia 
nigra.  She had Parkinson's.

CATHERINE:  Nick and Warrick did say that she was a little ... spacey when they 
met her, but they didn't mention any shaking.

ROBBINS:  Her disease was advanced.  She was on some pretty heavy meds.

CATHERINE:  Would they have shown up on a poison tox panel?

ROBBINS:  No, but those kinds of medications can cause abnormal thinking and 
behavior.  Takes somebody with a very strong will to keep it hidden.



(Grissom is heading into one of the labs when Catherine catches him.)  

CATHERINE:  Hey!  How'd it go with the sheriff?

(Grissom steps into Catherine’s office.)  

GRISSOM:  Media's all over him. Which means he's all over the undersheriff, 
who's all over Ecklie, who's blaming me for not going public with the Izzy 
Delancy miniature like he told me to.

(Catherine shows him the test results.)  

CATHERINE:  Well, I got the final trace report on the bleach water that spilled 
at the scene, but ... the fluid in the ear was biological.  Water and proteins.

GRISSOM:  Lipocalin, lactoferrin, lysozyme.  Tears.

CATHERINE:  (nods)  Mm-hmm.

GRISSOM:  The victim was crying?

CATHERINE:  The smudges are from the pillow.  There were no tear tracks.  I 
don't think the victim was crying.  I think the killer was.

(Quick flash of:  Peyton Tallman removes the pillow from Barbara’s face.  He 

CATHERINE:  (v.o.)  When you cry, your tears sometimes can pick up skin cells 
from your cheek.

(XCU:  A single tear runs down his cheek and falls into Barbara’s ear cavity.)  



(Catherine interviews Peyton Tallman.  She shows him the test results.)  

CATHERINE:  The DNA in your tears that were found on your sister's body proves 
that you were there.  I imagine it was the hardest thing you've ever done.  But 
you did it.

PEYTON TALLMAN:  You should've seen Barbara when she was young.  She was fierce.  
And fearless.  She protected me.  She was the smartest, the funniest, best 
friend I could ask for in life.  The Parkinson's just robbed her of everything.  
She'd take medication; she'd go away.  She'd get off medication.  She'd become 
lucid again, only in agony.  She wanted to die in her own home.

CATHERINE:  There's no ... assisted suicide protection in Nevada.

PEYTON TALLMAN:  She said this was the perfect opportunity.  She could get what 
she wanted, and ... everyone would blame the ‘Miniature Killer.’

CATHERINE:  I understand.  You're under arrest.


[INT. CSI – A/V LAB]  

(On the monitor is the video footage from the birthday party held on MARCH 7, 
1988.  Then entire train is filled with kids.)  

(Sara and Grissom are watching the video tapes.)  

SARA:  We reran the footage several times to get a head count.  Assuming that 
they're all Dell foster kids, there's 13 of them.

GRISSOM:  At this birthday party?

SARA: Yeah.  Lionel only remembered the first names, and only a few of those.  
Getting the DHS records is going to be tough.  Judges hate giving them out 
unless we can demonstrate a pressing need ... and even then, they're spotty.  
And a lot of a foster kids change their names when they age out.

GRISSOM:  Ernie Dell confessed and killed himself to protect someone he loved.  
And that someone has murdered five people.

(The kids on the video look like they’re having fun – girls and boys.)  

GRISSOM:  Eenie, meeny, miney, mo.  Catch a monster by the toe.

(On the video, one of the boys elbows another boy.  A dark-haired girl stops 
him.  The boy being elbowed turns and looks at the monitor.)

(The video ends.)  



Kikavu ?

Au total, 21 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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mais mais mais qu'est-ce que j'en sais!!

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si tu le dit ^^'

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oui file! ^^

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