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#408 : Le révélateur

Julie Waters, une jeune danseuse, est portée disparue depuis six jours. Bientôt, les enquêteurs reçoivent un étrange coup de fil. Un homme, Howard Delhomme, photographe de mode, leur susurre que Julie est un ange et qu'il l'a tuée de ses propres mains. Mais bientôt, il revient sur ses déclarations et prétend n'avoir strictement aucun lien avec sa disparition. Catherine accepte de jouer le jeu trouble d'Howard, quitte à se mettre en danger, afin de retrouver Julie, peut-être même vivante. 


3.67 - 6 votes

Titre VO
After The Show

Titre VF
Le révélateur

Première diffusion

Première diffusion en France

Photos promo

Catherine Willows (Marg Helgenberger ) & Gil Grissom ( William Petersen)

Catherine Willows (Marg Helgenberger ) & Gil Grissom ( William Petersen)

Sara Sidle (Jorja Fox) & Nick Stokes (George Eads)

Sara Sidle (Jorja Fox) & Nick Stokes (George Eads)

Catherine & Greg Sanders (Eric Szmanda)

Catherine & Greg Sanders (Eric Szmanda)

Catherine & Greg

Catherine & Greg

Plus de détails

Écrit par : Andrew Liptsitz & Elisabeth Devine
Réalisé par : Kenneth Fink

Avec : Xander Berkley (Sheriff Rory Atwater), Archie Kao (Archie Johnson), Paula Francis (elle-même) 

Guests :

  • Martin Donovan ..... Howard Delhomme 
  • Jamie Ray Newman ..... Julie Waters 
  • Paul Cassell ..... Homme 
  • Gildart Jackson ..... Vendeur de Voiture 
  • Brandon Morgan ..... Sean Christopher Davis / Cadet #1 
  • Bradley James ..... Chef du SWAT 
  • Maureen Muldoon ..... Reportrice 
  • Tom Warden ..... Lui-même 
  • Edmund Wyson ..... Officier Devine 




(On the screen is a stage view of the Showgirls on Stage.)

JULIE WATERS:  (v.o.)  Some girls want to be Homecoming Queen.  Some girls want to be Miss America.  I have always wanted to be a Showgirl.




(Extreme close up of JULIE WATERS' eye.  Camera moves out and we see that we're watching footage of JULIE WATERS giving an interview.)

JULIE WATERS:  (on tv)  I mean, I've been taking dancing lessons since I was five.  I would, um ... I would pull my leotards really high up on my hips,

(A man's hand reaches out to the monitor and lightly caresses her image on screen.)

JULIE WATERS:  (on tv)  ... and stick feathers in my hair, put on my mom's high heels, and then I would put on this show.

(JULIE WATERS laughs self-consciously.)

PAULA FRANCIS:  (on tv)  This is day six in the search for Julie Waters, the model and aspiring reported missing by her parents last Thursday.  Authorities are asking for the public's help in any information regarding her whereabouts.  

(HOWARD DELHOMME changes the channel and finds that JULIE WATERS' image is on every station.  In his other hand, he holds a cordless phone.)

MALE REPORTER:  (on tv):  Where is Julie Waters?  That's the question authorities thus far ...

OPERATOR (MALE):  (from phone)  Can you tell me your address, sir?  What is your emergency?

HOWARD DELHOMME:  (whispers)  She's so beautiful.  

JULIE WATERS:  (b.g. on tv)  The first day I got here, I went straight to the Tropicana ...

HOWARD DELHOMME:  (to phone)  Soft and ...

JULIE WATERS:  (b.g. on tv)  I walked right past all the slots and the tables, to the tiffany theater.  ...

HOWARD DELHOMME:  (to phone)  ... sweet ... like an angel.  

JULIE WATERS:  (b.g. on tv)  I snuck in, and I just sat there in the back row, just watching.  (She sighs.)  

OPERATOR (MALE):  (from phone)  What is your emergency?

HOWARD DELHOMME:  (crying)  I never meant to hurt her ...

(HOWARD DELHOMME hangs up the phone.)

JULIE WATERS:  (on tv)  I couldn't get the smile off of my face.  

(HOWARD falls to his hands and knees in front of the television and searches the floor for his gun.)

JULIE WATERS:  (on tv)  (she laughs)  I didn't even see when the security guard came up to me, and he told me that I had to leave.  You know, "all rehearsals are closed."  

(Camera focuses on her MOUTH, then moves up to focus on her EYE.)

JULIE WATERS:  (on tv)  So I got up, and then he turns to me ... and he says, um... "go ahead and stay."

(HOWARD lifts the gun and places the tip of the barrel against his lips.)



(Officer cars line the front lawn like a barricade; SWAT members aim their guns on the front door.)  

SWAT OFFICER:  He's coming out.  Be advised: Suspect is armed.  He's coming out.

(The door opens and HOWARD DELHOMME slowly, painfully walks out of the house.)

OFFICER:  We have visual.
OFFICER:  Drop your weapon!  
OFFICER:  Freeze!  Freeze!

(The OFFICERS start to converge on the suspect.)

SWAT LEADER:  Get on your knees right now!  

(The suspect falls to his knees, the SWAT LEADER and other officers approach him.)

SWAT LEADER:  Right there, right on your knees!

(An OFFICER cuffs the suspect where he kneels.)

BRASS:  Clear the house.  Look for the girl.

(All but a few OFFICERS leave and head into the house.)



(It's a short time later, reporters and other curious onlookers gather around the front lawn.)

(BRASS runs out of the house and across the lawn.)

REPORTERS:  Captain!  Captain!  Captain Brass!

(He heads for DELHOMME where he sits on the side while NICK gives him a breathalizer test.)

BRASS:  Where is she?


BRASS:  (leans in close)  See this face?  I'm going to be all over you till you give her up.

NICK:  (warning)  Jim, the world's watching.

BRASS:  I want him waiting for me.

(The OFFICERS take DELHOMME away.  CATHERINE and SARA, carrying their kits, join the group.)

BRASS:  Swat cleared the house. It's empty.

CATHERINE:  So no girl?  

(BRASS shakes his head.)  

CATHERINE:  (to NICK)  What did he blow?

NICK:  A .21.

CATHERINE:  Going to take him a long time to sober up.

BRASS:  I'm not waiting.

SARA:  Did he say anything about her?

BRASS:  He never actually mentioned her name.  All he said was, "I never meant
to hurt her."

CATHERINE:  Six days missing?  He didn't just hurt her.





(DELHOMME looks up and around, not really focusing on any one thing around him.  In the background, we hear continuing news reports from the television.)  

SHERIFF RORY ATWATER:  (v.o. from tv)  At this time, the LVPD has in custody one Howard Delhomme, ...



(The television set is on and we see SHERIFF RORY ATWATER giving a press conference.  The heading on the bottom of the screen reads:

SHERIFF RORY ATWATER:  (on tv)  ... whom we believe to be responsible for the disappearance of Julie Waters.  Our forensic team is currently combing the Delhomme residence searching for clues to her whereabouts.

REPORTER:  (from tv)  Sheriff, how long will it take to find her?

(CATHERINE is kneeling in the center of the living room on top of a carpeting of newspapers and in front of the large television set of the press conference.)

(CATHERINE  picks up a newspaper and looks at it.  The title of the paper is:
     NEVADA and the west

{heading on right}


{LARGE photo of JULIE WATERS on left}
{headline on right}
     TAKES TOP PRIORITY                  )

(CATHERINE puts the paper aside.)

(Behind her, SARA quietly goes through more newspapers on the coffee table.)

SHERIFF RORY ATWATER:  (on tv)  I expect an answer to that just as soon as the team is finished processing the house.

CATHERINE:  (mutters)  Attaboy, Sheriff.  Nothing like predicting the future.

(The paper that SARA looks at has multiple doodling sketches of various drawings of an eye or eyes in black ink.  The newspaper's headlines read:  ... ES TO LOSE FAITH ...  Under the headlines is a large photo of JULIE WATERS with another woman.  DELHOMME drew a large eye over JULIE'S forehead and completely traced over both sets of women's eyes in the photo like black eyeliner.)

SARA:  This guy was unraveling.

(SARA looks at a nearby magazine on the coffee table with a beautiful cover shot of JULIE WATERS in a yellow showgirl-sequenced-outfit.  The title story reads:  DYING FOR FAME, THE LIFE OF JULIE WATERS.)

(CATHERINE picks up a newspaper.  It's dated NOVEMBER 11, 2003; the headline

By Mike Botomi

Article reads:  LAS VEGAS - Authorities are growing increasingly frustrated in their search for Julie Waters, the missing model/showgirl whom in recent days, has captured the sympathy of the entire Las Vegas Community.  The LVPD released a statement late last night indicating that the crime well was drying up with very few fresh leads to explore.  LVPD Sheriff Rory Atwater when asked about the likelihood ...

... expressing a sentiment that should be familiar to those who have followed that unfolding events of the past week, "Julie is a face to remind us of everyone's daughter, as anyone with a child can attest to."

It should be noted that the natural general principle that will subgame this boring case requires considerable sexual performance ...   ]

CATHERINE:  This is like a timeline.  Day one all the way up until this morning.

(Camera pans slowly across the carpent of papers to show the variety and headlines:

*  The LAS VEGAS SUN with large photo of JULIE WATERS on the front page with the
headline:  FEARED DEAD.
*  METRO ... with a large photo of JULIE WATERS on the front page.
*  LIVING with a photo of JULIE WATERS on the front page.  )

(SARA looks around the living room and notes the kitchen television set on
televising an interview with JULIE WATERS.)

JULIE WATERS:  (on tv)  I mean, I've been taking dancing lessons since I was
five.  I would, um ... I would pull my leotards ...

SARA:  More Julie Waters.

JULIE WATERS:  (on tv)  ...Stick feathers in my hair, put on my mom's high
heels, and then I would put on this show.

(CATHERINE moves past SARA and into the KITCHEN.  She keeps walking down the
hallway toward the room at the end of the hall.  She opens the room and finds
that it's a darkroom, red lights are still on.)

(The first thing they see is a photo of an extreme close up of an EYE hanging on
the line to dry.  CATHERINE and SARA enter the dark room.)

(Other pictures hanging from the line to dry are other multiple photos of
EXTREME CLOSE UP of a person's EYE.)

(In fact, it almost appears as if every single photo hanging on the line to dry is a photo of a person's eye.)

(CATHERINE looks down on the table and sees a photo of an speedometer, more
photos of an EYE, then a business card.)

(CATHERINE picks on up and looks at it.  It reads:

     78586 AMBERS AVE., LAS VEGAS, 89108
     702-555-0176 / (cell) 702-555-0178

CATHERINE:  (reading)  "Howard Delhomme Photography."

(CATHERINE puts the card down and looks at the photos hanging on the drying line.  Camera passes a couple of odd-looking photos and another close up photo of an eye.)



(Camera opens on HOWARD DELHOMME'S eyes.  He blinks rapidly and is out of focus.  BRASS walks in and stops next to him.)  

BRASS:  Media's gone now.  Just you and me.  Where is she?  

(HOWARD DELHOMME continues to look around and blink.  He's not focused on BRASS or what BRASS has to say.)

BRASS:  Nobody calls 911 unless they're ready to talk.  

(HOWARD DELHOMME continues to look around.)

BRASS:  Tell me.

(BRASS grabs HOWARD DELHOMME'S chin and turns his face to look at his directly.)

BRASS:  Tell me.  Get used to this room, bud.  You're not going anywhere.

(BRASS lets go and leaves the room.)



(CATHERINE, NICK and SARA review the crime scene photos via slideshow.)

CATHERINE:  Who reported Julie Waters missing?

NICK:  Her mom.  She said she talks to her every day.  Called the station when she couldn't reach her by nightfall.

SARA:  Grissom sent Nick and I to her apartment on the "missing."  Her bills were paid, ready to mail.

NICK:  Doesn't look like any of her toiletries were missing.

(There are a couple of slides of a prescription container from the LATONA
PHARMACY.  The label reads:

     10/06/03     945818
     555-0150      J. BRADLEY
     CYCLE ***     100MG
     12/31/03     2/20/01
     1     11/13/03     20                )

SARA:  She even left her birth control pills.  Strange.

NICK:  Her mom said she had dinner with the producers of Real Vegas Showgirls.

CATHERINE:  What's that?

NICK:  It's a reality-based show shooting here in Vegas.

CATHERINE:  What about her car?

NICK:  It was found four days ago at Dante's pizza on boulder highway -- parking lot.

(GRISSOM walks into the lab.)

SARA:  Locked.  No signs of foul play.


SARA:  It's the only thing that was missing.

GRISSOM:  What about the drunk guy?

NICK:  A professional photographer, lives alone ...

GRISSOM:  You collected everything at his house -- no evidence of Julie?

CATHERINE:  Although the place was papered with articles about her, all acquired
after the fact.

(CATHERINE'S phone rings.  She looks at the ID.  It reads:  BRASS.)



(GRISSOM and CATHERINE walk through the hallway.  The closer they approach the room they can hear BRASS and the OFFICER talking.)

OFFICER JOE:  I was following protocol.

BRASS:  Come on, Joe, I ask you to do one thing and this happens?

OFFICER JOE:  I'm sorry, Captain.  I got called away on a PCP ...

(BRASS sees CATHERINE and GRISSOM turn the corner and he stops JOE from continuing.)

BRASS:  Joe.

CATHERINE:  Where is he?

BRASS:  Getting stitched up, but he left something for you.

(GRISSOM and CATHERINE walk into the interview room.  On the wall, written in blood is a message.)

CATHERINE:  (reading)  "I'm sorry. I never meant to hurt anyone."

(GRISSOM looks a the broken metal lining with blood on it.  He looks down and
sees the blood pooling on the floor.  GRISSOM leans in for a closer look.)

(Quick flashback to:  DELHOMME uses his thumbnail and pries the metal siding
away from the table.  He digs it into his hand, drawing blood.  He dips his
finger in to his own blood and uses it to write his message on the wall.  End of
flashback.  Resume to present.)

CATHERINE:  "Anyone"?  What's that supposed to mean?  That Julie Waters isn't
his first victim?  He's done this before?

(An OFFICER escorts HOWARD DELHOMME back to the cell.  CATHERINE turns around
and HOWARD gets a good look at CATHERINE.  Their eyes meet and HOWARD can't seem
to take his eyes off of CATHERINE.  He's very, very focused on CATHERINE.)

(GRISSOM looks up from the table and sees HOWARD'S fixation on CATHERINE.)

GRISSOM:  (to the OFFICER)  You want to take him into the next room, please?

(The OFFICER pulls HOWARD out of the room.  Camera holds on CATHERINE.)



(BRASS and SARA interview HOWARD DELHOMME.  HOWARD is not focused on them, he
picks on the bandage over his wound.)

SARA:  Look, I know you want to make this right.  You called 911.

(HOWARD doesn't answer them.)

BRASS:  What, do you think you're going to walk out of here?  You're in for the
long haul.

(Still, HOWARD doesn't answer.)

SARA:  If you help me, I can help you.  We already know who you're talking
about.  All we need to know is where to find her.

BRASS:  Are we boring you?  Huh?  'Cause what you're not getting is I got all night.  One of us is getting overtime to be here, and it isn't you, so talk to me.

(HOWARD lifts his head.)

HOWARD DELHOMME:  I'll talk ... only for the one in the next room -- The Pretty One.

(Camera holds on SARA.)



(OFFICER cars speed down the roadway.)


(CATHERINE and HOWARD DELHOMME walk over the hill.  Behind them, OFFICERS and NEWSREPORTERS follow.)  

CATHERINE:  How many yards did you say it was from mile marker 15?

HOWARD DELHOMME:  Why don't you take off your sunglasses and your hat?

CATHERINE:  Need your help here, Mr. Delhomme.


CATHERINE:  All right.  

(CATHERINE takes off her glasses and looks at HOWARD.)

CATHERINE:  Howard.  Are we in the right place?

HOWARD DELHOMME:  You walk like a dancer.  Do you moonlight?  I'll bet you're
featured, huh?  High dollar.  Nice long hair down your back?

CATHERINE:  What were you wearing that day, Howard?

HOWARD DELHOMME:  I like long hair.

CATHERINE:  You recognize any of these rock formations?

HOWARD DELHOMME:  You could grow yours out more, but ...

(They continue to walk down the hill.)

(In the back, ready and waiting, are the scent dogs.)

(Cut to:  The news media stand along the edge of the search waiting for word and
interviewing various OFFICERS.  Down below, GRISSOM, SARA other OFFICERS form a
search line to look for evidence.)



(Silhouette against the evening sunset, SARA and GRISSOM talk.)

SARA:  What are we doing?  I-is this logical?  We have suspects picking their
criminalists now.

GRISSOM:  Well, we all want the same thing, Sara.  Catherine may have a way in.  
It could be helpful.

SARA:  So this looks 'helpful' to you?



(A search helicopter flies above.)

(GRISSOM and CATHERINE walk HOWARD DELHOMME back to the car.)

GRISSOM:  We're not finding anything.  You said she was here.

HOWARD DELHOMME:  I'm getting confused.  All these people here.

CATHERINE:  You'd be less confused if it was just you and me?

HOWARD DELHOMME:  I see pictures of her on tv, in the magazines, the newspapers...

GRISSOM:  Mr. Delhomme, we're going to take you back to the station.

HOWARD DELHOMME:  I'd rather go home.

CATHERINE:  Not yet.

(The OFFICER not too gently pushes DELHOMME into the car.)

OFFICER:  Get in.

CATHERINE:  Hey, uh ... We need him in one piece.

(HOWARD notices CATHERINE and looks at her.  She meets his gaze and his mouth twitches in a smile.)

(The car leaves.)

CATHERINE:  All right, at least we can hold onto him for a while.

GRISSOM:  Well, the public defender may have him out on bail by tomorrow morning.

NICK:  Meanwhile, we still haven't found anything.  Now, did anyone stop to think this guy might just be nuts?

CATHERINE:  Well, until we find the body, he is all the evidence we've got.

SARA:  We don't even know if he did it.

CATHERINE:  Oh, I've got a good feeling about this.

SARA:  So does the suspect. The only reason that we're out here today on this wild goose chase is because he wanted to hang out with you.  

(GRISSOM hears SARA and turns to look at her.)

SARA:  It's weird.

CATHERINE:  Believe me, I'd rather follow the evidence, but if it takes having
the evidence follow me ...

(GRISSOM turns to look at NICK.)

NICK:  The original missing persons call was mine and Sara's.

CATHERINE:  I'm the Senior CSI here.

GRISSOM:  Uh-uh.  I'm the Senior CSI here.

CATHERINE:  You want it?

NICK:  Hold on, now.  This is a career case, Grissom.  You know Sara and I both put in for a promotion.  If we work this, we're on departmental radar here.

CATHERINE:  I got the most high-profile cases under my belt; I think that the Sheriff would rest easier knowing that I was heading it up.

SARA:  It's a big department.  There's a lot of room at the top.

(NICK looks at GRISSOM.)

NICK:  We wouldn't ask for it if we couldn't do it.

(Thinking, GRISSOM looks down at the ground.  He lifts his head and looks directly at SARA.)

(SARA reads his look and isn't happy about it at all.)

SARA:  Fine.

(NICK also reads GRISSOM'S look and leaves with SARA.  CATHERINE turns to look at GRISSOM.)

CATHERINE:  You going to have my back?

GRISSOM:  I always have your back.

CATHERINE:  He wanted me. He's got me.




[INT. CSI -- LAB]  

(The lab techs watch the most recent news report on television:  

NEWS REPORTER (WOMAN):  (on tv)  Suspected murderer Howard Delhomme led police
department personnel on a fruitless search for the body of Julie Waters.  The
search was called off in darkness with no indication that law enforcement
personnel will continue to comb the red rock area.

SHERIFF RORY ATWATER:  Just don't make me look bad.

GRISSOM:  Hey, you set the stage.  

SHERIFF RORY ATWATER:  Voters -- they like swift resolutions.  If he's the guy,
I need to say it.

GRISSOM:  Well, let's find out if he is the guy first.

(They reach the lab and stop.  THE SHERIFF looks inside the lab.)

SHERIFF RORY ATWATER:  Who's that with Catherine?

GRISSOM:  Greg Sanders. DNA.

SHERIFF RORY ATWATER:  Is he on the case?


SHERIFF RORY ATWATER:  Hell of a time to break out the "B" team, isn't it?

(GRISSOM glances from the lab to the SHERIFF.)



(CATHERINE and GREG sort through HOWARD DELHOMME'S trash.)

CATHERINE:  Remember, we're looking for anything this guy did last Thursday, November 6.

GREG:  Find where he was seven days ago, and we'll find Julie.

(They sort through the receipts and slips of paper putting it into piles by dates 11/6, 11/7, 11/8 ...)

GREG:  So, I know Warrick's off.  And Sara's pissed.  Why not ask Nick to help?

CATHERINE:  You want to learn.  And you can start by not repeating my mistakes.

GREG:  You mean Sam Braun?

CATHERINE:  I screwed up.  You covered me.

GREG:  That's why I'm here?

CATHERINE:  No, you're here because I want you to be here.

GREG:  (pleased)  Oh.

(GREG looks down at the receipt in his hand from:
     517 Bourban Way
     Las Vegas, NV
     (702) 555-0187
     11/06/03   12:20:39
     NORMAL SALE                             )

GREG:  He was hungry.  "Big Snax."  A chain.  He bought soda for 75 cents, snack for 75 cents, and a household item for $9.99.

(The items on the receipt read:
     **82349349  SODA         0.75
     **4237582   SNACK        0.75
     **7234816   HOUSEHOLD    9.99
     SUBTOTAL                11.49
     TAX @ 7.25%              0.83
     TOTAL                   12.32
                             20.00    )

CATHERINE:  Household item?  That could be anything.

(CATHERINE picks up a vehicle release agreement.)

CATHERINE:  Inucci motors.

[HOME PHONE NUMBER:  702-555-0176
TIME OUT:  2 PM 11/6
TIME IN:  11/17 9 AM        ]

CATHERINE:  He checked out a car at 2:00 that afternoon and returned it the
following morning at 9:00 am.  



(CATHERINE talks with the MANAGER.)

CATHERINE:  Why would Howard Delhomme have a receipt for one of your cars?

MANAGER:  We hired him to photograph it.

CATHERINE:  Did you instruct him to hire a model for the photo shoot?

MANAGER:  A model?  Never.  Nothing in the photographs should be sexier than the automobile.

CATHERINE:  Where is the car?

MANAGER:  It's not just a car.  It's a Maserati.

CATHERINE:  Oh.  Well, I appreciate that.  I still need to look at it.

MANAGER:  Honey ... The car has been detailed three times since Howard brought it back.  It's getting primed for a whale tomorrow.  You're wasting your time.

CATHERINE:  You know what I did the last time I looked at a car?  I cut out a 12-by-12-inch section of leather from every seat.  Guy was a drug dealer.  You know, a salesman?

MANAGER:  I need this car.  Untouched.

CATHERINE:  Oh, well, I can't promise you that.  But what I can promise you is that for the next few hours ...

(CATHERINE hands him the warrant.)

CATHERINE:  ... that car is mine.



(CATHERINE uses the ALS and checks the inside of the car.  She finds a strand of hair and puts it in a bindle.  She GSR tests the upholstery for blood and finds it positive.)

(Cut to:  GREG walks into the garage and sees the car.)

GREG:  Boy, what I could do with a car like this.

(CATHERINE backs out of the car backseat and hands the hair sample to GREG.)

CATHERINE:  Take these and compare them to the toothbrush that Sara collected from Julie Waters' apartment.

(GREG doesn't move, his eyes are on the car.)

CATHERINE:  Hey ... you want to gawk, do it on your own time.  You want to work with me, stay focused.

GREG:  Got it.



(SARA goes through the files and pulls out a file.)

SARA:  I don't believe this.

NICK:  What does it matter?  We're all on the same team.

(SARA sits down at the other side of the desk.)

SARA:  Nick, it was our case.  You said it:  You wait a career for a case like
this.  Puts us on the front line for promotion.

NICK:  Let's just find her, okay?

SARA:  You know what the worst part about this whole thing is?  Catherine knows
I can do this case.

NICK:  So can I.

SARA:  I would take you and me over Catherine and Greg anytime. 

NICK:  She's got Greg helping her?

SARA:  Yeah.

NICK:  Well, the only way to learn is by getting out in the field, and if Greg helps find her, I'm okay with that.

(SARA looks at NICK.)



(CATHERINE sits and watches JULIE WATERS' interview.)

JULIE WATERS:  (on tv)  The first day that I got here I went straight to the Tropicana.  I walked right past all the slots and the tables, to the tiffany theater.  I snuck in, and I just sat there in the back row, just watching.  (sighs)  I couldn't get the smile off of my face.  (laughs)  I didn't even see when the security guard came up to me, and he told me that I had to leave.  You know, "all rehearsals are closed."  

(GRISSOM walks into the lab and watches the video with CATHERINE.)

JULIE WATERS:  (on tv)  So I got up.  And then he turns to me, and he says, um... "go ahead and stay."

GRISOSM:  Is there anything on these tapes?

CATHERINE:  Nothing.  How's it going with the Sheriff?

GRISSOM:  He wants to know why you're working with young Greg.  You could have had Warrick, you know.  Or asked Nick to help.

CATHERINE:  I need someone without an agenda.  

GRISSOM:  Like when Fung brought in Mazzola?  Everybody lost.

CATHERINE:  This isn't O.J.

GRISSOM:  Could be.  A trainee on a career case...

CATHERINE:  I know what I'm doing.



(On the desk between them, SARA and NICK go through the various case files.)

SARA:  Twelve missing girls so far over the last two years.  Ten of them found dead.

NICK:  How many were models?

SARA:  None, except for this one.  Robyn Knight.  Day shift found her skeletal remains six months ago.

(SARA shows the file to NICK.  He looks at it.)

NICK:  Washed up during heavy rains.  Furnace Creek.  "Left in the morning for a
photo shoot.  Has a list of photographers in her day planner."

(Camera focuses on the report:
     M. KIMBLE

... 5/20 A BODY ...     )

(NICK looks up at SARA.)

NICK:  Guess whose name is on the list?

SARA:  Howard Delhomme.




(NICK and SARA are in the lab working on the laptop when CATHERINE walks in with a file.)


(NICK and SARA continue working.)

CATHERINE:  How's it going?

SARA:  Your case.  You tell us.

CATHERINE:  The odometer of the Maserati had 142 miles on it.  The car dealer
said that the vehicle only had nine miles when DelHomme picked it up.  That
means Delhomme drove it for 133 miles.  If you do the math, that makes the
search radius approximately 66 miles.

NICK:  Julie's vehicle was found in the parking lot of Dante's Pizza, off
Boulder highway.  That's what?  12 miles away?

(SARA puts the locations into the map on the monitor.)

CATHERINE:  It's probably where she hooked up with DelHomme.

NICK:  So they hopped in the car and went to a photo shoot.

SARA:  If they did do a photo shoot, and we don't even know that they did, where
are the photos?

(GREG walks into the lab.)

GREG:  I finished the DNA from the car.  Matches the reference Sara got from
Julie's apartment.  And the snack shop?  It's the one on Granite's pass.  I also
found out what the household item was on the receipt.

(SARA marks the location on the monitor.)

GREG:  It was a shovel.

SARA:  He'd already killed her.

CATHERINE:  That explains the blood and the hair in the back seat of the

NICK:  He drove her body to the snack bar and went back and buried her. Question is where?

(CATHERINE sees the car photos on the table.)

SARA:  Robyn Knight washed up near Furnace Creek.

(SARA marks the location on the map and colors in the radius in red.)

(CATHERINE picks up a photo and recognizes the rock formations in the background.)

CATHERINE:  That's "Devil's Smile."

(Camera holds on the photo of the cars.)



(Search crews are out looking for JULIE WATERS' body.  CATHERINE and GREG watch from the side.)

GREG:  I understand why all these cadets are here.  They have to be.  But what's up with all these off-duty cops?

CATHERINE:  Chance to be a hero.  Girl's beautiful.  These guys don't get many chances.

GREG:  For what?

CATHERINE:  To rescue a princess.

CADET:  (o.s.)  I think we may have found something!

(A helicopter flies over head.)

(The cadet leads CATHERINE and GREG to the spot.  As they approach, they see someone leaning forward to move something.  CATHERINE stops them.)

CATHERINE:  Hey, hey!  Hold on.  Nobody touch the crime scene.  We do this right.

(She reaches the body and kneels down to look at the fingers sticking out of the ground.  GREG kneels down behind her.)

CATHERINE:  All right ... I want you to search every trash can, drainage ditch, dump site between here and the city.  We're looking for a shovel, a purse, anything else that looks like it belonged to her.

OFFICER:  Okay ...

(The group disburses.)

(Dissolve to:  A top view of the scene.)

NICK:  (v.o.)  Okay, Greg, diagram every rock on the pile.  By trial time,
defense will make us recreate this whole crime scene.

(Various dissolves as the scene is cleared of the pile of rocks, photos taken
and the body uncovered.)

(On the side, sand is sifted.)

(NICK and CATHERINE uncover the body.  CATHERINE sighs as she looks down at the

CATHERINE:  (nods)  Sleeping Beauty.

(Camera holds on JULIE WATERS.)





(BRASS walks down the hill toward the group around the body.)  

(Everyone sits a moment quietly looking down at the body.  BRASS leans in.)

BRASS:  Julie Waters?

CATHERINE:  (nods)  Nature preserved her.

(Quick CGI POV to:  The rocks and sand and fingers.)

CATHERINE:  (v.o.)  Loose sandy soil, shady area, November temperatures -- it was like a freezer.  

(End of CGI POV.  Resume to present.)

(CATHERINE points to her shirt zippered up all the way up to her chin.)

CATHERINE:  A girl this beautiful wouldn't zip up this far.

(BRASS leans in to look.)

CATHERINE:  She's not wearing any makeup.

SARA:  Maybe he cleaned her.

NICK:  Yeah, and then he used these rocks to cover her so that she wouldn't wash up in a storm the way the other girl did.

BRASS:  What other girl?

CATHERINE:  We think there may be a connection to the Robyn Knight case from
last year.

BRASS:  Can we prove it?

CATHERINE:  Well, only skeletal remains were found.  There's nothing definitive
to connect Delhomme to the murder.

BRASS:  Then we better make this one stick.





BRASS:  You lost your bargaining chip.  We found her body.

HOWARD DELHOMME:  (re: CATHERINE)  And smart, too.

ARTHUR SCOTT (LAWYER):  I advise you to remain silent.

CATHERINE:  Howard, just help us with one thing.  How did this happen?

BRASS:  You're pretty composed, Howard.  I mean, you kill her.  You go buy a shovel, a soda.  It's thirsty work, digging a grave, huh?

HOWARD DELHOMME:  That's not how it happened.

CATHERINE:  I understand.  Photographer. Model.  Had to get the light just right.

HOWARD DELHOMME:  I'd like to photograph you.

CATHERINE:  Mmm ... can't do anything until we figure this out.

HOWARD DELHOMME:  (sighs)  It was an accident.  I wanted to move the car ... and I didn't see her.

(Quick flashback to:  HOWARD DELHOMME carrying JULIE WATERS' lifeless body to the car and putting her in the back seat.  Camera close up of a drop of blood falling onto the upholstery.  End of flashback.  Resume to present.)

BRASS:  Why was she even there?

HOWARD DELHOMME:  Miss Waters had modeled for my client on previous occasions.

CATHERINE:  Well, the problem I have with that is the dealer representative
specifically stated that no model was hired to appear in the photos.

HOWARD DELHOMME:  I was shooting ... new head shots for her.  She was all out.   
It was a favor.  I'm a professional.  Ask any of my models.

CATHERINE:  So, you took photographs of Julie?

HOWARD DELHOMME:  A couple of rolls.

CATHERINE:  Any idea where they are?

HOWARD DELHOMME:  (thinking)  Mmm ... no.

CATHERINE:  Well, if you remember, let me know.

HOWARD DELHOMME:  (smiles)  Okay.

(CATHERINE smiles back.)



(ROBBINS goes over the findings report with CATHERINE, the body between them.)

ROBBINS:  She has no injuries consistent with a car accident.  Cause of death
is, uh, positional asphyxia.

(Quick flashback to:  JULIE WATERS screaming and suffocating.  HOWARD DELHOMME
straddles her and chokes her.  End of flashback.  Resume to present.)

CATHERINE:  Guy we're looking at was 180-plus.

ROBBINS:  Sufficient weight.

CATHERINE:  He must have hit her, which ripped her earring out.

ROBBINS:  Occurred antemortem.

(Quick flashback to:  DELHOMME hits JULIE across the face, ripping her earring
out.  She bleeds in her hands.)

ROBBINS:  (v.o.)  Close to time of death.  Only bleeding injury.

(End of flashback.  Resume to present.)

CATHERINE:  Was there any evidence of sexual assault?

ROBBINS:  Lots of trauma.  Collected a kit.

CATHERINE:  Anything else?

ROBBINS:  Yeah, tox came back with a blood alcohol content of .18.

CATHERINE:  On the day of her dinner with the producers of Real Vegas Showgirls.  
She'd be like Dorothy racing for Oz.  There's no way that she slowed down to get

ROBBINS:  Decomposing blood can generate ethanol postmortem.

(Quick CGI POV:  Camera zooms to JULIE'S chest, through the muscle, bones and
into the blood.  Camera focuses on the red blood cells that expand and expend a

ROBBINS:  (v.o.)   As the cell walls lyse and contact with the sugar in alcohol,
bacterial growth produces the byproducts of carbon dioxide and ethanol.

(End of flashback.  Resume to present.)

ROBBINS:  It's inexact, but the body's capable of producing somewhere around .08
grams percent on its own.

CATHERINE:  But in order to have a postmortem level of .18 ...

ROBBINS:  Well, she had a head start.

CATHERINE:  So, that's three shots in an hour?  He could have forced her to



(CATHERINE and GRISSOM go over the photos.)

CATHERINE:  Robbins rushed the protocol.  Released Julie's body to her parents.

GRISSOM:  So they could take her home to provo.

CATHERINE:  Mmm.  Thousands of girls come to vegas every year just hoping to
beat the odds.

GRISSOM:  Mmm, some of them do.

CATHERINE:  And some of them don't.

(GRISSOM looks at a photo.)

GRISSOM:  Multiple abrasions on her cervix.

CATHERINE:  Sexual assault kit had no semen, no trace evidence.

GRISSOM:  So, it's possible he used a foreign object on her.



(CATHERINE interviews HOWARD DELHOMME with his attorney present.  BRASS watches

CATHERINE:  Now I'm confused.  Julie Waters died of positional asphyxia.  That
means that someone sat on her chest, and ... two years ago, you were arrested
for forced oral cop.  

HOWARD DELHOMME:  You don't think I'd ever do something like that, do you?

ARTHUR SCOTT (LAWYER):  My client went to trial and was found not guilty.

HOWARD DELHOMME:  I liked Julie.  I took a lot of photographs of her.  Even
Julie's mother said that no one captured her on film the way I did.

CATHERINE:  Just one more thing from the autopsy report.  Julie was drinking.

HOWARD DELHOMME:  She wanted to loosen up, you know?

(Quick flashback to:  At the photoshoot, JULIE flirts with the camera.)

JULIE WATERS:  (laughing)  You got what you needed.  Now, get what you want.  
Come on.

(End of flashback.  Resume to present.)

HOWARD DELHOMME:  She never said stop.

CATHERINE:  Why didn't you tell me this before?

HOWARD DELHOMME:  I was afraid of what you'd think of me.




ARTHUR SCOTT (LAWYER):  (on tv)  The Sheriff has tried my client in the media.  
But right now, evidence that will exonerate Howard Delhomme from these false
charges is being handed over to the authorities.

RECEPTIONIST:  (o.s.)  CSI Willows, you have a visitor at the front desk.  
Willows, you have a visitor ...



JAMES DELHOMME:  My brother sent this to me, and his attorney told me to give it
to you.

(He holds it out to her.  She motions to the counter.)

CATHERINE:  Just set it on the counter.  (to receptionist)  Could you please get
me a pair of gloves and an evidence bag?  



(CATHERINE looks at the package.  It's addressed to:
     14490 KILDARE RD.
     LAS VEGAS NV  89101                           )

JAMES DELHOMME:  I can show you what's in there.


(JAMES tilts the package and rolls of film roll out onto the counter.)

CATHERINE:  When did you get this?


(She looks at the cancellation stamp.  It's dated:  NOV 10 2003.)

CATHERINE:  It was mailed two days ago.  There's no return address.  How do you
know your brother sent this?

JAMES DELHOMME:  That's his handwriting.

CATHERINE:  Was there a note in the envelope?


(He takes the note out of his pocket and holds it out to her.  She motions for
him to put it on the counter.)


CATHERINE:  "If I get arrested."  Now, why would he think that?

(CATHERINE looks at JAMES.  Camera holds on JAMES.)



(CATHERINE and ARCHIE look through the film.  They are pictures of JULIE'S photo

ARCHIE JOHNSON:  How are these supposed to help him beat a murder rap?

(They look through the film.)

CATHERINE:  I'm guessing he's trying to create an alibi

ARCHIE JOHNSON:  Four rolls, all of Julie.

CATHERINE:  Something's off, though.  White shoes, black stockings, and all
ripped up.  Not to mention these aren't the clothes that we found her in.

(Toward the end of a film roll, they find different photos.)

CATHERINE:  Now, what is this?

ARCHIE JOHNSON:  It's a nude.

CATHERINE:  Is that Julie's body?

ARCHIE JOHNSON:  If it is, it's double exposed.  I'll have to get them printed
to be sure.

(SARA walks into the lab.)

SARA:  Cadet got a hit off a trash can.  I brought it in.  You want me to get

CATHERINE:  Archie, let me know when you've got these printed up.


(CATHERINE and SARA leave.)



(CATHERINE and SARA go through the trash.)

(SARA finds an envelope with head shots of JULIE WATERS.)

SARA:  There's a lot of head shots here.

CATHERINE:  Here's our little lie.  Delhomme said that he took her out to
photograph her because she had no more head shots.  Needed new ones.

(CATHERINE finds the make-up remover cloths.)

CATHERINE:  Explains how he cleaned her up.

(Quick flashback to:  [DESERT]  DELHOMME wipes the make-up off of JULIE WATERS'
face.  End of flashback.  Resume to present.)

SARA:  Doesn't explain why.  Well, here's her day planner.

(SARA looks through the Day Planner as CATHERINE takes out a bag from the

SARA:  Let's see, there's only two things written in her book the day she
disappeared -- "Real Vegas Showgirl Producer's dinner 7:00 P.M.,"  And the other
-- "Meet Howard, Dante's Pizza, 2:00 P.M."  That would have given her plenty of
time to get back for the producer's dinner.

CATHERINE:  Here's her clothes.

(Inside the bag, they find several outfits.)

CATHERINE:  First thing you learn as a model -- bring several outfits with you. You never know what the photographer might like.

(CATHERINE finds the black stockings with blood spots on it.)

CATHERINE:  Here's our big lie.  Delhomme said when she injured her earlobe, she was in her underwear and she was barefoot.

(CATHERINE shows SARA the blood on the stockings.)

SARA:  I think Howard's been lying to you.




(SARA stares at JULIE'S receipt.  CATHERINE is dressed in shorts and prepares to
put on the left black stocking.)

SARA:  $65?

CATHERINE:  Capital investment.  Our victim hadn't made it to the show yet.  Her
life was all about after the show.  The right guy, the right meal, and after
that ...

SARA:  It's a tough way to get ahead.

(SARA swabs and tests JULIE'S shoes.)

CATHERINE:  Did your father ever tell you you were pretty?

SARA:  (shrugs)  I guess.

CATHERINE:  He ever tell you you were smart?

SARA:  Yeah.

CATHERINE:  So, it probably never occurred to you that you wouldn't be
successful.  If all you ever hear is that you're gorgeous, you can let
everything else fall away, and it can leave you in a very dangerous place.  
Okay, the bloodstain on the top of the foot is round.  Gravitational.  On the
bottom of the foot, it's smeared.

SARA:  There's no blood on these.  She wasn't wearing them.

CATHERINE:  The only way we can get this guy is if the evidence counters every one of his lies.

(CATHERINE takes a sample of the blood, holds it up to the area of her ear and releases a single drop to fall directly on the top of her foot.)

(Camera zooms in as the blood drops and lands on her stocking.)

CATHERINE:  That matches the drop on the top of her stocking.  Separate bloodstain.  Separate drop.

(She releases a second drop onto the covered floor, then steps on it.  She lifts her foot to show SARA.)

SARA:  She was standing.   

(cc)  SARA:  That makes him a liar again.

(Quick flashback to:  [DESERT]  JULIE WATERS backs away from HOWARD DELHOMME.  She's clutching her bleeding ear, blood seeping through her fingers.  A blood drops on her foot and another drop falls to the ground.  JULIE steps on the blood.  End of flashback.  Resume to present.)

CATHERINE:  And there was none to help her.





(ARCHIE goes over the photos with NICK.)  

ARCHIE:  This is from the fifth roll of film Delhomme took with your vic.  

NICK:  What is that, double exposure?

ARCHIE:  Yup. It's two separate images.

NICK:  Separate them?

(ARCHIE separates the two images.)

NICK:  Do you have Catherine's crime scene photos of the car?

ARCHIE:  Mm-hmm.

NICK:  Just give me the instrument panel and put it side-by-side with the double-exposed instrument panel.

(ARCHIE finds the picture, CS#109.400.)

NICK:  Now just the speedometers.

(Camera moves from the first photo of the speedometer with 142 km/h on it to the second photo with 99004 km on it.)

NICK:  Does that look like the same car to you?

(ARCHIE shakes his head.)



(SARA and CATHERINE go through the photos.)

SARA:  She looks fine here.

(SARA hands the photos to CATHERINE.)

SARA:  And here, it's like she's not quite sure what's going on.

(CATHERINE looks at the photos.)

SARA:  Then here, uh ...

CATHERINE:  She knew.

SARA:  We have looked through every piece of evidence on this case.  Whatever
caused these abrasions is gone.

CATHERINE:  Well, it's got to be here.  We found this guy in pieces, and putting
himself together ever since.  If we don't find something, he's going to walk out
of here and forget about this like a bad dream.

(NICK walks into the lab.)

NICK:  Hey, y'all.  I got something on the double-exposed roll of film.



(NICK shows CATHERINE and SARA what he found.)

CATHERINE:  The odometers don't match.

NICK:  No, on the left is you.  Crime scene photo from the Maserati.

SARA:  What about the other one?

NICK:  Well, it's unknown.  Must have used a picture he already had for the double exposure.

(Quick flashback to:  HOWARD DELHOMME in his darkroom developing the photos. End of flashback.  Resume to present.)

SARA:  Guys, if it's a different car, maybe it's a different girl.

CATHERINE:  What's on the rest of the double-exposed roll?

NICK:  A female body, naked.  No face to go with an ID.

CATHERINE:  Archie, do you have the SART photos from the autopsy?

ARCHIE:  Yeah.

CATHERINE:  We need to compare bodies.

(ARCHIE pulls the SART photos on screen and starts to go through them.  
CATHERINE starts to get uncomfortable.)

CATHERINE:  Uh, why don't you guys take a break?

(The guys stand up and leave.)

SARA:  Uh, it's okay.  These photos don't bother me.

CATHERINE:  They bother me.

(SARA gets the hint, doesn't like it, gets up and leaves.)

(CATHERINE takes a seat in front of the monitor.  She goes through the photos on

(Various cuts of CATHERINE comparing the photos of the two bodies.)


[INT. CSI -- LAB]  

(CATHERINE walks into the lab.  SARA'S already there.)

SARA:  Well?

CATHERINE:  The naked pictures weren't of Julie.

SARA:  So, what? Delhomme fakes a bunch of nude pictures and sends them to his

CATHERINE:  At this point I don't care why he did it.  What do you have?

SARA:  Nothing.  Absolutely nothing.  If he raped her with a foreign object, it
is not on this table.

(CATHERINE doesn't say anything.)

SARA:  Do you want me to leave you alone so you can do it yourself?

CATHERINE:  Look, the entire lab didn't need to see pictures of Julie's vagina plastered all over the screen.

SARA:  So, Nick and I are the whole lab now?  That's not it, Catherine, and you know it.

CATHERINE:  I saw the look in Howard's eye.  I used to make my living off that look.  He wanted me.  We needed him.  I decided to exploit that situation.  And as angry as that made you, when you're in my shoes, you'll do the same thing.

(CATHERINE opens the gun case.)

SARA:  I already checked that.

(Quick flashback to:  HOWARD DELHOMME, in the teaser, putting the barrel of his gun against his lips.  End of flashback.  Resume to present.)

(CATHERINE stares at the empty case.)

CATHERINE:  We're looking at the wrong evidence.  His initial arrest was for brandishing a firearm.



(CATHERINE gets the gum, removes the cartridge and swabs the tip of the barrel.)




(CATHERINE heads for the interview room.  She stands at the doorway and sees
HOWARD DELHOMME looking at her.  He's alone and confident.)

(CATHERINE enters the room.)


(She walks in.)

HOWARD DELHOMME:  I fired my lawyer.

CATHERINE:  We waiting on a new one?


(She puts the envelope on the table and takes a seat opposite HOWARD.)

CATHERINE:  Is that what you like?  Being alone with a woman?

(Quick flashback to:  [DESERT] HOWARD and JULIE are alone in the desert at the photo shoot.  JULIE'S laughing.  End of flashback.  Resume to present.)

HOWARD DELHOMME:  A woman like you.

CATHERINE:  Take her out in the middle of nowhere.

(Quick flashback to:  [DESERT]  JULIE starts to look worried.)

JULIE WATERS:  You know I think I got to go.  

(HOWARD continues to take pictures.)

JULIE WATERS:  Howard, it's getting late.  I got to go.  I have a meeting back in town.

(HOWARD continues to take pictures.)  

(End of flashback.  Resume to present.)

HOWARD DELHOMEE:  She posed naked for me.  My brother gave you the pictures.  I never forced her to do anything.

CATHERINE:  You slapped her.

(Quick flashback to:  [DESERT] HOWARD slaps JULIE across the face.  End of flashback.  Resume to present.)

CATHERINE:  Then you violated her.

(Quick flashback to:  [DESERT]  JULIE'S crying.)

JULIE WATERS:  No more pictures.

HOWARD DELHOMME:  No more pictures.

(HOWARD takes out his gun.)

(End of flashback.  Resume to present.)

CATHERINE:  Julie Waters' cervical tissue was on your gun sight.  

(HOWARD doesn't say anything.)

CATHERINE:  What's the matter?  Couldn't swallow it when you saw her all over the TV?

(HOWARD gets angry and pushes the table, lunging toward CATHERINE.  The GUARD standing behind him, grabs him.)

HOWARD DELHOMME:  God.  You bitch.  You ... bitch!

(CATHERINE stares at HOWARD DELHOMME, her look cold and hard.  HOWARD smirks at CATHERINE, finally showing his true self.)



(HOWARD DELHOMME is escorted to the car.)

PAULA FRANCIS:  Prosecutors will seek a life sentence without the possibility of parole for Howard Delhomme in the murder of Julie Waters.


(GRISSOM and CATHERINE sit at the table watching the television.)

GRISSOM:  You did good, Cath.

CATHERINE:  I had help.

GRISSOM:  How are things with you and Nick and Sara?

CATHERINE:  They're good.  They're pros.

PAULA FRANCIS:  This case has been one of the most high-profiled in this reporter's memory.  Never before have I seen ...

CATHERINE:  All he had to do was stay quiet.

GRISSOM:  Unlike Robyn Knight, Julie Waters became Las Vegas' postmortem sweetheart.  The media as moral conscience.

CATHERINE:  She couldn't get away from him and he couldn't get away from her.

(Camera pushes in slowly toward the television screen which is now showing JULIE WATERS' interview.)

JULIE WATERS:  (smiling and animated)  I think that is why I would be perfect for your show.  Well, at least, that's what my dad thinks.  He always says, "Julie, people can't help but love you."   


JULIE WATERS:  (v.o.)  And it's true.


Fait par Wella

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