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#205 : La femme invisible

Ruth prend à coeur le décès d'une femme sans famille ni amis. Pendant ce temps, Brenda, à la recherche d'une inspiration littéraire pour écrire un livre, retrouve pour déjeuner une de ses clientes, une prostituée de luxe appelée Melissa. Et sa relation avec Nate prend une nouvelle tournure, lorsqu'elle le demande en mariage...

Titre VO
The Invisible Woman

Titre VF
La femme invisible

Photos promo

La famille Fisher

La famille Fisher

Keith et sa nièce

Keith et sa nièce

David réconforte Keith

David réconforte Keith

Plus de détails


Scene: Emily Previn's Apartment, daytime

EMILY PREVIN, a woman in her latter forties, enters her apartment, into the living room, and locks the door behind her. She puts a bag down on the floor and puts her pocketbook on a nearby table.

A few minutes later, EMILY emerges from her bedroom wearing more casual clothes than when we first saw her. She enters her kitchen, and starts to check her mail. Her microwave starts to beep.

A few minutes later, we see EMILY taking the plastic off a microwaved TV dinner. She turns off the little TV on the table in front of her, and takes out the crossword puzzle of the day's newspaper as she starts eating her meal. She chews while filling out letters. She takes another bite, but suddenly starts choking. She struggles futilely to bring the food back up, banging her fist onto her chest. She reaches for the glass of water near her, but knocks it over. She begins to get very frustrated and scared. She gets up, takes the empty glass, and goes to the kitchen, still desperately trying to breathe. She moves out of the camera's view. We hear a bang as she falls to the ground.

The screen fades to white.


Act One

Scene One: Emily Previn's Apartment, a week later, daytime

EMILY PREVIN's corpse lies on the kitchen floor, face to the ground, still holding the glass. Small bugs crawl all over her. We hear two voices: one, a female voice, is a neighbor, the second, a male voice, is GEORGE, the building manager.

George: (O.S.) Hello, Mrs. Previn? Are you in there? It's George, the building manager.

We hear him unlock the front door.

Woman: (O.S.) You know, I started to smell something a few days ago, but I just thought... See you can still smell it! I'm not crazy.

The woman screams when she enters the kitchen, to see EMILY's decaying corpse on the floor. The man makes an "ewww" noise.

Scene Two: Brenda's Bathroom, same day

NATE sits at the edge of BRENDA's tub, holding his aching head in his hands. He rubs his face. He takes out his prescription bottle, and takes two pills. He dry swallows them.

Scene Three: Brenda's Kitchen

NATE and BRENDA are in the kitchen. NATE has a cup of coffee and stands against one of the cupboards.

Nate: I'm just sort of surprised.

Brenda: Why? I told you I was going to write a book.

Nate: No, you didn't.

Brenda: I thought I did.

BRENDA comes up to him and gives an annoyed face.

Nate: What?

Brenda: I need to get in there.

NATE moves so she can get to the cupboard. She gets out a bowl and cereal. He moves over and stands in front of the fridge.

Nate: So, what? You're just gonna sit down today and start writing?

Brenda: Yeah, I think that's how it's usually done. (pouring cereal into the bowl) Oh, except for Hemingway. He stood.

BRENDA, again, comes up to NATE and gives him a look.

Nate: What?

Brenda: (laughing) I need to get in there now.

He moves and she takes out a bottle of milk.

Brenda: What? You think I can't write a book? (pours milk into the cereal bowl)

Nate: No, of course not. It's just a book is so... big.

Brenda: Not all of them.

Nate: Well, it's just, the last time we talked about you doing something new, you mentioned getting some of Billy's friends to help you open an art gallery.

Brenda: Yeah, well, I got to thinking. I don't need to help other people express themselves. I should do it myself.

Nate: Well, I think this is great. Charlotte finally speaks! The story of your fucked-up childhood, but from your point-of-view! People'll want to read that!

Brenda: (eating, laughs) No way! I'm not gonna write a memoir!

Nate: Well, what is it then?

Brenda: Fiction.

Nate: Really?

Brenda: Mm hmm.

NATE comes up to her and kisses her full on the lips. She seems slightly taken aback.

Nate: That's so ambitious! I love it! Hey, I hope I'm in it. I've always wanted to be thinly-veiled.

Brenda: You might be in it. If you ever do anything interesting.

NATE nods and looks down into the mug he’s holding.

Scene Four: School Library

CLAIRE and PARKER sit at one of the desks, open books spread out around them. PARKER is writing something down in her spiral notebook.

Parker: I need help. Do you think the hair on Mr. Peterson's forearms is sexy? Or is it too unkempt? Sometimes he gets all tufty.

Claire: I really don't have time for this. This weekend is my last chance to take the SATs, and I have to do well on them.

Parker: Just take a break! It'll keep you from burning out. (checks around, then whispers) Every fall, I rate the male teachers' fuckability. I've been doing it since the sixth grade.

CLAIRE looks shocked, and perhaps even a little disgusted.

Claire: I am like 400 times smarter than you. Why aren't you panicking more about this test than I am?

Parker: Because I know how to play the game. I have a tutor. I've taken practice tests. And my mom's life coach is advising me.

Claire: Your mom's life coach?! Parker, do you have any idea what a parody of yourself you are?

Parker: I feel bad for Mr. Van Kirk. If he hadn't stopped working out, he could've easily cracked the top 10.

Claire: (interested, in spite of herself) Give me that! (grabs the notebook and reads, laughs) Oh, Gitterman's coming in at 22?

Parker: I was feeling generous.

GARY walks by and stops at the desk.

Gary: Hey, Claire.

Claire: (hiding notebook under her arms) Oh, Gary, hi.

Gary: See you this afternoon?

Claire: Yup.

He walks on by. PARKER checks him out.

Parker: Gary has a great ass.

Claire: (laughs) You think he has a great ass?

Parker: Yeah. Like you haven't noticed.

CLAIRE gives a weird, uncomfortable face.

Parker: My mom calls them "buns." She's so not of this century, I don't care how much she pays her life coach. I could fuck Gary. Easy.

She shoots a look at CLAIRE, and CLAIRE briefly looks back.

Scene Five: Room Behind the Curtain, Fisher House

NATE and DAVE go over EMILY PREVIN's pre-need.

Nate: So this woman in her forties just died alone in her apartment? Just out of the blue? I mean, she must have had some kind of medical condition.

Dave: No, she choked to death. She lay there for a week before anyone found her.

Nate: Why didn't anybody notice sooner? Maybe they thought she was on vacation.

Dave: Here are all the arrangements for her funeral. They're pretty self-explanatory. You should be able to take care of it yourself.

Nate: Wait, shouldn't I talk to whoever's going to bury her and see what they want?

Dave: Nate, it's a pre-need. She buried herself. She came in a few years ago and bought everything she wanted, ahead of time. You have her contact list, her family and friends, her directions for the service, and all the specifications about her restoration. She knew exactly what kind of service she wanted. So... you'll need to order the sheet music for the organist.

Nate: (reading) "And I Am Telling You I'm Not Going." She certainly had a sense of humor. What song is that?

Dave: It's from "Dreamgirls." You know it. (sings a few bars) "And I am telling you, I'm not going. You're the best man I've--" (DAVE gets embarrassed when NATE doesn't know it and speaks the rest of the line) ..."ever known."

Nate: It must be really weird to fill one of these things out for yourself.

Dave: I had fun doing mine.

NATE gives him a look.

Scene Six: Brenda's Bedroom

BRENDA lies on her stomach on her bed, typing on her Powerbook. She types a bit, then deletes everything. Types some more. Deletes everything again. She stares at the screen.

Suddenly, she sees the words: " Go ahead, write," written on the screen. She stares some more. Now the screen says: "What exactly do you have to say, that hasn't been said before?" She grows concerned. Now the screen says: "All you do is observe yourself." BRENDA starts rubbing her head, fixing her hair, getting uncomfortable. Now the screen says: "You are incapable of anything real."

BRENDA shuts the laptop closed.

Scene Seven: Gary's Office

CLAIRE and GARY are in the middle of a meeting.

Claire: Well, I have a test on Monday, I have an art history paper due next week, and I know I could do a good job on both of them if I had more time, but I don't.

GARY stares at her. CLAIRE stops.

Claire: (smiles) Do I have something on my face?

Gary: No.

Claire: You're giving me this look.

Gary: It's just nice to... see you so involved. And you're taking the SAT this weekend? I saw the books in the library.

Claire: I don't know why I didn't tell you.

Gary: It's okay.

Claire: I just signed up for it. I wasn't sure if I would.

Gary: No, that's great. You're starting to take school more seriously, and you're-- you're gonna take the SAT. It shows you're nurturing yourself.

Claire: Give me a break. I'm so scared of having my own thoughts or going in my own direction that I need some safety or approval. This stuff is just cop-out distractions. You know what?, this session's actually given me some clarity! I should just blow this test off tomorrow and look really hard inside myself for what I really want.

Gary: Claire, you're obviously frightened by taking this test. Why?

Claire: I don't know. It's like-- when I think about the test, I see this, like, nasty flourescent light, the kind that shows all your pockmarks and tiny scars that you wish you could hide.

Gary: I see. So, it's very safe in the darkness, isn't it?

Claire: (laughs) Okay, you're getting kind of corny.

Gary: All I'm saying is, you're finally in a place where you're starting to come into your own. You're afraid of people seeing the real you. It'll be scary. And guess what? It is scary. For all of us. Isn't it?

CLAIRE nods.

Scene Eight: Fisher Kitchen

RUTH stirs the dinner at the stove. DAVE sits at the table.

Ruth: Don't be silly, David. You don't have to apologize for what you said about The Plan. If you live in a neighborhood for a long time and somebody moves in and renovates the house across the street, that could just make you feel that your own house is... shabby. (cuts up vegetables and throws them onto the pan)

Dave: (a bit sarcastic, but RUTH can't tell) I see. Did you just insult me?

Ruth: Of course not. You'll see. When you're ready, you'll live in a palace.

CLAIRE enters.

Ruth: Claire, wash your hands, we're about to eat. (starts putting down dinner settings)

Dave: Mom, don't set a place for me. I'm not staying.

Ruth: Who are you having dinner with?

Dave: Uh-- no one. I'm having coffee with someone I met at St. Stephen's.

Ruth: David, if you have a date, just say it. Nothing ever gets built if the material's not labelled properly.

Dave: Okay, I have a date.

Nate: (enters) David, I'm having a problem with the Emily Previn funeral.

Dave: Let's hear it.

Nate: Well, I've called her entire contact list, and the few friends she's listed have either moved or died, and then she's got two distant relatives, one of which I can't reach and the other has this phobia about going to funerals.

Dave: Some people are so sick.

Nate: Well, now we know why she wasn't found for a week. I don't think this woman had anybody in her life.

Ruth: How awful!

Dave: Have you called her job to notify her colleagues about the service?

Nate: No. She worked at a temp agency, so she just had jobs here and there.

Ruth: She must have had someone that she forgot to write down on the list.

Dave: Try her high school. It's on the form. Everyone has friends from high school.

Claire: No, they don't. Maybe they have people they talk to, or even do things with, but they're not really friends. They're just filler. (everybody looks at her blankly) What? It's true.

Ruth: I want a glass of wine. (goes into the next room)

Dave: Oh, God! (yawning)

Nate: It's so weird. Who the hell was Emily Previn?

Claire: Nate, are you okay?

Nate: Yeah, I'm fine.

Claire: Cause your eyes look really weird.

Nate: Yeah, it's just this medication I'm taking. It just makes me a little drowsy, is all. (DAVE and CLAIRE give him a look) Honestly.

RUTH enters with a bottle of wine and a glass.

Dave: Maybe Emily Previn was autistic. I read an article once about a high-functioning autistic person who didn't need people. She just had a job designing these big cattle slaughterhouses, and, at night, she came home and sat in this little machine that made her feel like she was being hugged. And that was all the intimacy she needed.

Nate: That's really upsetting.

DAVE nods.

Claire: (annoyed) I don't see why this person has to be mentally ill just because she had a life that doesn't conform to some familiar image we have in our heads. I mean, maybe she was living the life she wanted. A life without the hassle of other people.

Ruth: (yells) What kind of a life is that?

Scene Nine: Hal's Bar and Grill

DAVE has coffee with BENJAMIN COOPER, his date. BEN is around DAVE's age, handsome, and wears glasses.

Ben: "Well, I'm sorry, your honor, but how was I supposed to know it was your car?"

David: I don't think I could be a public defender.

Ben: Well, why not?

David: I just don't think I could defend people who are guilty. I guess I could be a some-of-the-public defender.

Ben: So, what do you do?

David: Me? Well, my family owns a business. Actually, it's a funeral home... but I got out of that really quickly and now I'm in textiles.

Ben: (seems interested) Oh. I like fabric.

DAVID laughs.

Ben: Well, I have to be in court in the morning, so I have a lot of work to do.

David: (automatically getting up) Okay, well, maybe we'll see each other around.

Ben: David, relax.

David: It's fine, I understand. I guess there's not much of a spark here.

Ben: (disappointed) Oh. I thought there was. You don't?

David: (sits) No, I do. I was just... worried. I'm sorry, Ben, I get a little nervous at these things.

Ben: If I seem at all calm, it's only because I take a beta blocker before I have to get in front of a jury, or... first dates. You're still nervous on the inside, but... you don't show it as much.

David: Do you have any extra?

Ben: (laughs; makes a "no" sound) Mm mmm. Let's go on a real date next time. Like, for dinner.

David: (nods) Okay, that would be nice. (smiles)

Ben: (smiles) You seem a little-- Are you coming out of a bad breakup, or...?

David: No, I'm coming out of a bad celibacy. (they both laugh) I was in a relationship, but that... ended.

Ben: Well, whatever happened, I blame him.

David: You shouldn't. He's a great guy.

Scene Ten: Taylor's Bedroom, Keith's Apartment, night

Smash cut.

Keith: (yells at TAYLOR) You get your spoiled ass into that bed right now!

Taylor: (drawing with crayons at the table) You suck!

Keith: Right now! I mean it!

Taylor: I'm not tired. (slams her book down, gets into bed) And when I'm at my real home, I don't have to go to sleep until I get tired!

Keith: Well, I'm going to turn off the lights now, and soon you'll be tired.

Taylor: What if I never get tired?

Keith: Then you'll lie awake for hours and hours, wondering why life is so hard! That's what the rest of us do.

Taylor: That sounds boring.

Keith: You get used to it.

TAYLOR sighs.

Keith: (sits down on the bed, calmer) Hey, you want to talk about anything? Like how you feel about staying here? Or being scared, because your mom's been up in Oakland for so long?

Taylor: No!

Keith: Okay. But we don't know how long you're gonna be here. So why don't we both try to ease up on each other a little bit, okay?

Taylor: You guys have bad toothpaste.

KEITH smiles.

Scene Eleven: Living Room, Keith's Apartment

EDDIE is sitting on the couch, watching TV. KEITH sits next to him.

Keith: My first instinct is to get angry at her. I open my mouth and I hear my father.

Eddie: Stop being so hard on yourself. That child is not easy.

Keith: I swore to myself I would never be like him.

EDDIE rubs KEITH's head and starts kissing his neck. KEITH pushes him off.

Keith: I'm not in the mood.

EDDIE backs off, annoyed.

Eddie: Fine.

Scene Twelve: Fisher House, next afternoon

RUTH dusts the table in the kitchen but realizes she needs some Endust. She goes to check at the cabinet under the sink, but it's empty. She gives a "How odd" face, and then stands up and looks behind her. The kitchen table is gone. In fact, the entire room is empty. No dishes, no food, no furniture. She looks around, shocked. She walks into the next room and sees that the entire house is empty. She's a little scared. She walks into the TV Room to find someone lying asleep on the couch, the only piece of furniture in the house. She realizes that it is herself!

Ruth: Get up!

She doesn't.

Ruth: Get up!

The RUTH on the couch starts to stir a little, but doesn't get up.

Ruth: (now yelling) GET UP!

RUTH wakes up with a start. She'd nodded off to sleep on the couch. All the furniture is back to normal. She looks around, dazed, and catches her breath.

Scene Thirteen: Brenda's Bedroom/Outdoor Restaurant

BRENDA types at her Powerbook, using a pencil to tap at the keys. She is getting frustrated. She erases everything she wrote again, eats some chips, then suddenly sits up. She gets out her adddress book, takes out her phone and calls up MELISSA, who is at an outdoor table of a restaurant.

Melissa: Hello?

Brenda: Hi, Melissa. It's Brenda... Chenowith. Your massage therapist.

Melissa: Oh! Hey, how's it going?

Brenda: Listen, I was just wondering if you hadn't eaten yet, if you wanted to have lunch.

Melissa: Actually, I'm at a restaurant right now.

Brenda: Oh, look, I'm probably breaking all these client/masseuse boundaries. So, I'll just see you at your regular appointment tomorrow.

Melissa: (laughs) No, I was just gonna say I'm by myself. I'd love the company.

Brenda: Thank God.

Scene Fourteen: Fisher Prep Room

RICO is wearing a protective, plastic, face covering, as he unzips EMILY PREVIN's body bag. We now finally see her face. She is bloated, discolored, and horribly decaying to the point of being unrecognizable. It almost seems like she has too much skin for her body. NATE walks in and instantly puts his mouth and nose into his hand.

Nate: (loudly, disgusted) Oh, Jesus! (goes to the desk)

Rico: Uh-huh. This one's gonna be one hell of a ride.

Nate: (looking for something in the desk’s drawers) I'm sure you'll be able to take care of it.

Rico: Yeah? Well, don't be. She must've been lying out for a week or so in a partially-ventilated space. Dammit, why can't everybody die in an air-conditioned room? Her face is all discolored from where she was laying on it. Now, that I can fix, although it's gonna take me hours. And her abdomen's all distended. Now that woman's got a lot of gas in there. When I poke a hole, we're gonna get some major fumes. Whew, Nellie!

Nate: (finding nothing gives up the seach, because...) I have no idea why I came in here.

Rico: Maybe you have Alzheimer's.

Nate: Yeah, maybe. (gets up, puts on a face mask and walks up to observe EMILY) We really are just biology, aren't we?

Rico: Nate, you may need to talk to the family out of an open casket. I mean, there's only so much I can do, man.

Nate: She doesn't have any family.

Rico: No one?

Nate: No friends, or anybody. I ran an obituary in the paper today. I'm just praying someone will read it and show up for it.

Rico: (looks in file) Pre-need? Well, if she wanted an open casket, we'll try to give her one. I'll boost up the fluids and see if that'll bring the swelling down, but there's a good chance we're gonna get some skin slippage and then we're screwed.

Nate: Maybe she was just some vicious asshole, ya know? Just twisted and evil. Maybe that's why she didn't have any people in her life.

Rico: Nah. You can tell what kind of life people lived, even when they're dead. Yeah, she was alright.

NATE gives him a look, but RICO doesn’t notice.

Scene Fifteen: High School Hallway

There are a bunch of lines of high school kids, standing in lines to get to tables where some women sit, to sign in for the SATs.

Hall Monitor: (female) Please have your IDs out and ready so we can speed things along. Thank you.

CLAIRE gets to the desk.

Claire: Claire Fisher.

Woman: ID?

CLAIRE hands it to her.

Woman: Sign right here.

CLAIRE leans down to sign as an Indian girl comes to the woman next to her to sign in too.

Woman #2: Name?

Girl: Parker McKenna.

CLAIRE looks up, in shock.

Woman #2: Okay, let's see... Parker, sign here, please.

Woman: Next?

Woman #3: (off-camera) Does anybody have an extra number 2 pencil?

Girl: (hands the woman one of hers) Here you go.

CLAIRE looks at the girl in shock and disgust.

Scene Sixteen: Outdoor Restaurant/Fisher & Sons

MELISSA and BRENDA sit and talk.

Melissa: So it sounds like a pretty serious relationship for you.

Brenda: It is. (smiles) I love Nate. I really do. But lately, I feel kind of separate from him. Which I know is healthy on one level, but... on another, I kind of miss how it was. When we first started seeing each other and we weren't together, I'd be wondering "What is he doing?" all day long.

Melissa: Now?

Brenda: I never even think about it. I don't know exactly when I changed, but at some point, he became less present with me. (as BRENDA says this, we see NATE in the second viewing room, showing the casket selections to clients) Sometimes I think it's because I don't give him enough to be present for, but then I think, maybe, he's not present because he knows that if he was really present, then I'd leave him. (the camera returns to BRENDA and then back to NATE, in the office. He sits at the desk and rubs his aching head) You know?, it's just so sad that you can love somebody so much and have absolutely no idea what's going on in their head. (camera returns to BRENDA) Relationships are fucked.

Melissa: That's what I always say. (they clink glasses) I haven't had a real relationship in over a decade.

Brenda: Is that because you--?

Melissa: Because I blow guys for money?

Brenda: I'm so sorry! That was...

Melissa: (chuckles) It's okay. I've only been doing that for about five years.

Brenda: So why, then?

Melissa: I'm just not built for it. Some people aren't, I think. It's not healthy or unhealthy. It just is.

Brenda: Hmm.

BRENDA takes a sip of wine as MELISSA's pager beeps. She checks it.

Melissa: Oh, shit. I'm being paged by a client. (laughs) I am not driving out to Calabasas in this traffic. Let the jerk whack off.

Brenda: (laughs) You know?, I'm really glad you could have lunch.

Melissa: Me too. You know?, it means a lot to me that you're so normal around me. Most people have preconceived notions about what I do.

Brenda: Yeah, well, people can be such judgmental assholes. You don't have to tell me that.

Melissa: You wanna know what's worse? Most girls, they just want to be my friend so that they can pump me for all the gory details about being a lady of the evening. (BRENDA laughs, a little uneasily) It's just question after question like I'm some kind of freak.

BRENDA looks down, guiltily. MELISSA notices. They both laugh.

Melissa: Alright, you get three questions.

Brenda: (claps) Oh, goodie!

MELISSA laughs.

Scene Seventeen: Second Viewing Room, Fisher House

NATE holds up two dresses on hangers.

Nate: (holds up the blue one) There's that one. (now holds up the pink one)

Dave: No, I think that one makes you look fat.

Nate: Very funny. Seriously, which one do you think is going to look better on Miss Previn?

Dave: I guess the pink one. Didn't she specify which casket gown she wanted or did Dad slip up?

Nate: No, Dad didn't slip up. She marked down she wanted to be buried in her own clothes. But the outfit she came in here with was shot.

Dave: Then give her the blue one. I've been dying to get rid of it. It's coming apart in the back.

Ruth: (enters, scolding) David!

Dave: (startled, turns around) Mom, did you want something?

Ruth: I was dusting your casket wall. If this woman wanted to be buried in her own clothes, then one of you boys should go to her home and pick something out.

Nate: Isn't that a bit much?

Dave: I remember Dad doing it once or twice. You get the building manger to let you in.

Nate: Fine, I'll pick out something dressy. Actually, considering the shape her body's in, I should pick whatever covers her up the most.

Ruth: I'll come with you.

Nate: You don't have to do that.

Ruth: I know that.

DAVID gives NATE a look.

Scene Eighteen: Outside Restaurant

Brenda: Aren't the guys scary? It must get dangerous.

Melissa: To tell you the truth, it doesn't. You just have to trust your instinct. It's never wrong. We're kind of like animals that way. When I first meet a client, I take a good long look in his eyes. All that stupid stuff they say about looking in people's eyes is true. You just look into them and you know.

Brenda: Know what?

Melissa: You know, whether someone is right, or whether they're-- you know-- (laughs) wrong. And if they're wrong, you just get out of there immediately. No. I think everyone has the answers to everything in life. It's just a matter of knowing how to listen.

Brenda: You're fantastic!

Melissa: (laughs) Fuck you.

Brenda: You are!

Melissa: (drinks wine) No.

Brenda: (laughs) There is no bullshit with you! You just are who you are, period. You know, even the way you talk about your work-- you provide a service for which you're well-compensated. Unlike the rest of us losers.

Melissa: Please. If there were anything else people would pay me this much money for, I would do it in a heartbeat.

Brenda: But there's not a touch of victimhood about you. It's almost like it's empowering, in a way.

Melissa: I went through that whole feminist rationalization stuff at first. Now I'm just a little more honest. It's just a way to pay the bills.

Scene Nineteen: Emily Previn's Apartment

George: (unlocking the door, and letting NATE and RUTH into the apartment) Sorry I can't make it to the funeral, but my kid's got a soccer game, so...

Nate: She was one of your tenants, for God's sake. She lived among you.

George: Hey, come on, I just started, alright? She only lived among me for a week.

RUTH goes into the dining room and sees the crossword puzzle on the table.

Ruth: She never even got to finish her crossword puzzle.

George: Alright, look. Five minutes?

Nate: Yup.

GEORGE leaves.

Nate: Mom! (goes lookig for her)

Scene Twenty: Outside

KEITH and his PARTNER examine fruit at an outside fruit stand.

Keith: Eddie needs to be able to adapt to how things have changed. A lot more responsibility now, you know? He just needs to be more understanding that sometimes I'm gonna be tired, man.

Partner: Yeah, kids come first. Period.

Keith: Yeah, exactly.

Partner: Hey, have you had this conversation with him?

They start to walk to their squad car.

Keith: He'd just say I need to make more time for him, which would piss me off. So, why bother talking to him about it?

Partner: Because you keep everything bottled up inside you, my friend. That's not good. That creates cancer.

Keith: Give me a break.

Partner: Hey, it does. My wife's cousin was a very angry person, but she never showed it. She just cleaned all day, then she lost both her breasts... It's weird.

Suddenly, a beat-up car pulls up near them. The GUY in the driver's seat is trying to hit his GIRLFRIEND, who screams and gets out of the car. They are both obviously high on some sort of drugs.

Girlfriend: You get away from me, dickless fuck!!! You don't own me, alright?

The GUY gets out of the car and follows her, waving his arms threateningly.

Guy: What the fuck's wrong with you? Don't you fuckin' lie to me, bitch! (she pushes him and he takes out a gun and points it at her) Bitch, I'll blow your fuckin' brains out, you stupid cunt!

Keith: Shit.

KEITH and his PARTNER get out their guns and approach them from behind.

Girlfriend: I wish you would, but you don't got the balls to shoot me!

Partner: Police! Drop the gun!

Guy: Stay out of this, fucking cops!

Keith: Drop the gun, mister!

Girlfriend: (taunts him) Ha, ha! You shoot me, they're gonna shoot you, and then you're gonna be dead, you worthless piece of shit! And you know what?: THE WORLD WILL BE A BETTER PLACE!!!

Guy: (points the gun closer) Shut up!

Keith: Drop the gun now!

The GUY turns around, pointing the gun at KEITH, who shoots him in the chest, near the heart. The GUY falls to the ground. KEITH is in shock.

Girlfriend: (crying, to KEITH) What is wrong with you? What did you do that for? What's wrong with you, huh?!

Scene Twenty-One: Emily Previn's Apartment

In the bedroom, RUTH has a pile of EMILY's clothes on her bed. She examines each dress. She picks a flowered one up. NATE enters.

Ruth: I like all of these, but they seem so... flat. I wish one had a little more oomph.

Nate: Just grab that one. That one has oomph.

Ruth: No, it doesn't. Don't rush me, Nate. I'm not nearly done, and I haven't even started with the shoes and the jewelry.

NATE's phone rings. He answers.

Nate: Nate Fisher. (pause) Yeah, hi. I left a message there for Father Martin Farrell. (pause) He was requested by the deceased to officiate at her funeral. (pause) Oh, great! Well, I'm fucked!

RUTH looks shocked.

Nate: I'm sorry, sister. Well, are there any other priests you'd recommend for a funeral tomorrow? (goes into the next room)

RUTH looks around the room. She opens a small jewelry box on a dresser and takes out a pair of pearl earrings. She goes to the closet, gets down on her knees and picks out a pair of shoes from a group on the floor. She closes the closet door behind her.

A few minutes later, RUTH is in the kitchen, looking inside the fridge. There are very few items within: a bottle of ketchup, a carton of milk, and juice. She stares sadly into the fridge.

Nate: Uh, Mom? What, are you hungry?

Ruth: Of course not.

Nate: Then, are you ready to go?

Ruth: I don't know.

Nate: Maybe she liked solitude. Maybe she was living the life she wanted and was happy.

Ruth: I hope so. But what if some nights she wanted to talk to someone and she picked up the telephone and realized she didn't have anyone she could call, what then?

Nate: We didn't know that she didn't have anyone to call. Maybe there was someone.

Ruth: I hope so.

She closes the fridge and walks away. Nate takes a look around and then goes after her.

Scene Twenty-Two: Crime Scene

Two EMTs lift up the GUY's body on a covered gurney into an ambulance. KEITH stands, almost shellshocked, near his squad car. His PARTNER tries to comfort him.

Partner: No one thinks you did anything wrong. You were just doing your job, okay?

He hasn't convinced KEITH.

Scene Twenty-Three: Chex Margaux Restaurant, exterior, nighttime

DAVID and BEN leave the restaurant after their date. BEN is not wearing his glasses.

David: Wait, now I know what's different: you're not wearing your glasses tonight.

Ben: Oh? Well, I was getting dressed and nothing looked right, and I realized it was all my glasses' fault. So I put in these contacts, which I actually hate, but I thought it was worth it, if you'd-- (getting nervous, laughs) This is me without beta blockers.

Dave: It's good. Maybe it's even better.

BEN leans in to kiss him. DAVE backs away.

Dave: I... still work in the family business.

Ben: Excuse me?

Dave: I'm a funeral director, that's who I am...

Ben: Hmm... Well, I have to say, I'm glad you're not in textiles. That sounded really dull. (laughs) Why did you lie?

Dave: Oh, come on. People always get that look in their eyes, like there's something wrong with you. And they only wait about 5 seconds before bringing the conversation around to necrophilia. I just liked you too much. I was scared it would repulse you.

Ben: So what made you tell me now?

Dave: Because, on our last date, I just sort of liked you, and now I really like you. So, I didn't screw things up because I lied?

Ben: (forgiving) No, I think it's cute.

BEN leans in again; DAVID backs away again.

Dave: And... I'm gonna wanna take this slow.

Ben: Alright, alright! Can we just make out already?

DAVID looks around, a little embarrassed that people may be watching. But then he leans in and kisses BEN. They make out.

Scene Twenty-Four: Fisher TV Room

CLAIRE sits on the couch, reading. PARKER knocks on the kitchen door and then enters into the TV room.

Parker: Claire! We had plans to meet tonight. At the Tiki Ti.

Claire: (annoyed) Did we?

Parker: Claire, why did you blow me off? And why didn't you return my phone calls?

Claire: Because I have nothing to say to you.

Parker: Hey, look, I know this is about the SATs, but it wasn't my fault. It was my mother's idea. She heard about this girl through one of her friends. She's this genius from Westlake, who's going around taking the test and, let me tell you, it works. She got three people into Yale and five into Harvard.

Claire: (disgusted) This is so gross!

Parker: What was I supposed to do? (CLAIRE scoffs) My mom came into my room last night and told me she'd already paid the girl $1000.

Claire: You make me so sick! Just get out of here! Okay, I don't feel like ever seeing you again!

Parker: You're serious?

Claire: Yeah, I am. (points to the door)

Parker: Fine. Fuck you, Claire! And, by the way, I flirted for 45 minutes with Gary Deitman outside of school yesterday, and he's this total horny little freak. And I'm gonna bag him, big time.

Claire: Oh, congratulations! I hope you and his stupid buns will be very happy together!

PARKER leaves, slamming the door; CLAIRE throws her book after her.

Scene Twenty-Five: David's Apartment

DAVE brushes his teeth in front of the bathroom mirror. As he does, we hear his inner monologue.

Dave: David Fisher and Benjamin Cooper invite you to a holiday open house. (Christmas music starts playing.) Merry Christmas from Ben and David. Happy Holidays from the Cooper-Fishers. (the music changes suddenly to a rock beat) "Fish & Coop," new this fall on ABC.

There's a knock at the front door, jarring DAVE out of his daydream. He spits out the toothpaste and goes to answer the door. It's KEITH, who looks incredibly upset. DAVE lets him in.

Dave: Keith, what's wrong?

Keith: I'm not sure.

Dave: Okay. Come on in and sit down.

KEITH slowly walks to the couch and sits down.

Keith: I shouldn't have even come here.

Dave: It's fine. You want a beer? I have Rolling Rock or Amstel Light--

Keith: I killed someone today.

Dave: Oh, my God.

Keith: (getting choked up) It was this guy... him and this woman were having a fight. They were obviously both high on something, and he had a gun, and--

Dave: (sits down, very kindly) Well, I'm sure whatever it was, you did the right thing.

Keith: He's dead, you fucking idiot! I should have aimed at his arm or his leg. I'm stupid. I'm so fucking stupid. (starts crying) I never killed someone before.

DAVE looks terribly concerned. He gets closer and rubs KEITH's back.

Keith: I can't live with this.

Dave: I don't know how to help you. Do you-- do you want to pray? Maybe that would do something.

KEITH suddenly kisses DAVID on the lips. They start making out. Then KEITH stops. KEITH and DAVID look into each other's eyes and then DAVID kisses KEITH and they continue making out. The screen fades to white.

Act Two

Scene One: Fisher Prep Room, next morning

NATE enters. RICO is working on a corpse. A closed casket sits on a nearby table. EMILY PREVIN's corpse is inside it.

Nate: David's not up yet?

RICO shakes his head.

Nate: So where's Emily Previn?

Rico: (sort of meekly) She's, uh-- she's in there.

Nate: Oh, so, she's not gonna have an open casket.

Rico: (suddenly, very defensive) I couldn't do it.

Nate: Okay.

Rico: I was supposed to take the kids to dinner last night so Vanessa could have the night off. But, instead, I was here. Until 9 o' clock last night. (yelling, very worked up) The skin was friggin' pouring off that woman's face! So I get all this shit from Vanessa, and I wasn't even able to restore the fucking poor lady! Nobody could have.

Nate: Rico--

Rico: But, here... you think you can do it? (takes out some tools) Here's some tools. I want to watch you swim in that skin, go ahead!

Nate: (calmly) Hey, hey, all I said was “okay.”

Rico: (clearly he feels like he's failed himself. Walks up to NATE and the closed casket) I'm sorry. I just wish I could've done her the way she wanted.

Nate: Look, if it'll make you feel any better, I don't think there are even gonna be any mourners.

Rico: (quietly, no irony in his voice) Thanks. (walks away)

Scene Two: Dave's Apartment/Keith's Apartment

DAVE wakes up in bed, naked, looking around for KEITH. The phone rings.

Dave: Keith!

The phone rings again. He answers it. It's KEITH, in his own apartment.

Dave: Hello?

Keith: Hey, it's me.

Dave: I thought you were still here.

Keith: I had to get back home.

Dave: Oh. Are you okay?

Keith: Yeah, I'm fine. Listen, what happened last night, that was wrong. I don't know why I went to you, but obviously, I wasn't thinking right.

Dave: (sarcastically) Obviously.

Keith: I'm in a relationship.

Dave: I know that. I'm not an idiot.

Keith: I just thought you and I could be friends, but I was just kidding myself. Look, I don't think that you and I should see each other anymore. (long silence) David?

David: Yeah, I'm here. Sure, whatever you want.

Keith: (beat) I knew you would understand.

Behind KEITH, his apartment door unlocks and EDDIE comes in the front door. He has not heard any of the conversation.

Keith: Well, uh-- good-bye.

Dave: Bye.

They both hang up. EDDIE goes to the kitchen with bags of groceries. KEITH looks up, guiltily.

Scene Three: Brenda's House

BRENDA and MELISSA have just finished an appointment. BRENDA puts away the mat.

Melissa: Thank you. That was intense.

Brenda: You're practically like jelly. You really don't need this.

Melissa: Maybe not, but I love it. You're gifted, you know that? (her cell phone rings, she answers) Hello? (pause) Don't give me that bullshit, Allison. I want your ass there in half an hour. (pause) Okay, fuck you! You are officially dead to me now. (hangs up)

Brenda: Everything okay?

Melissa: I have a client at 2:15 and my watcher just cancelled.

Brenda: Your watcher?

Melissa: Yeah, you know, he likes to be watched by another girl while I do him. It's like the easiest hundred bucks in the world, and this asshole just blew me off for a runway audition. God, I hate models! (dials a number; she gets a machine) Fuck. (the machine beeps) Hey, Paula! If you're sitting in the corner depressed, pick up! Pick up! Alright, be depressed. (hangs up)

Brenda: (comes from the kitchen with a glass of water) Hey, listen, if you're in a jam--

Melissa: This isn't a science project, honey, this is business.

Brenda: Oh, please. You think I can't handle it?

Melissa: (smiles, laughs) Well, like I said, it's pretty easy. Actually, it's like you're invisible. (gets up and finishes dressing) Just sitting and watching.

Brenda: I can do that. I sit and watch all the time. In fact, that's all I do.

Melissa: And I guess you've been in three-way situations before. I mean, who hasn't? (laughs)

Brenda: (laughs) Yeah.

BRENDA looks down. She's obviously lying, and MELISSA can tell.

Melissa: Fuck.

Scene Four: Gary's Office

A jar smashes against a wall into a thousand pieces. Now we see CLAIRE has thrown it as she picks a second jar off GARY's desk and throws it against the wall too. This one doesn’t break, though.

Gary: I've never seen you this angry before! I think it's terrific!

She picks up another jar.

Gary: No, no, my nephew made that!

Claire: (puts it down) Sorry.

Gary: Here, talk to me.

Claire: (furious) This girl cheated on the SATs, and now she's gonna get away with it!

Gary: Okay, what's this girl's name?

CLAIRE gives him as "As If" face.

Claire: And when I realized what was going on, I just wanted to run and not take the test. But I did. I took it, like an idiot, and what was the point? I mean, it's all just some stupid game! And I don't know what I want, but I know I don't want this!

Gary: So you're gonna use this as an excuse to bail?

Claire: Bail? What is that? Some hip lingo you think the kids are saying?! You are so fucking lame sometimes!

Gary: It's fine for you to direct your anger at me, if that's what you need to do.

Claire: Oh, and by the way, you can fuck Parker McKenna if you want to, I don't care, but if I were you, I would definitely wear a condom, because I'm sure that girl has a major case of hepatitis at the very least!

Gary: What are you talking about? Look, if you're referring to the fact that I had a conversation with Parker yesterday, that's all it was: a conversation. I have conversations with lots of young women. They approach me.

CLAIRE makes a "yuck" noise.

Gary: Claire, I'm worried about you.

Claire: Why?

Gary: Because I see you getting your life together and it scares you, so you want to slip into the old, familiar habit of focusing on someone else's drama, instead of concentrating on yourself. You need to stop doing that.

Claire: You're right.

Gary: And now is probably as good a time as any for us to talk about the sexual tension between us.

Claire: (shocked, a little disgusted) What?!

Gary: It exists. It's a normal part of transference and counter-transference, so we should both acknowledge that it's out there and it will never be acted upon, because to do so would be irresponsible and destructive. Do you have anything that you would like to contribute?

Claire: (embarrassed) No, I don't.

Gary: (changing the subject) So... (picks up pieces of the shattered jar) I bet you I could glue this together if I tried hard. I know people don't really glue things together anymore, but I could probably fix this.

CLAIRE just blinks and says nothing. She still looks shocked.

Scene Five: Dave's Bedroom

DAVE lies in bed, holding a wet cloth over his head, with a major headache. The phone rings. DAVE moans. The machine picks up.

Dave's Voice: You've reached the private line of David Fisher. Please leave a message after the beep. (the machine beeps)

Ben's Voice: Hi, David, it's Ben. I'm just calling to figure out what time's good for you on Saturday. Oh, and I had a really good time last night, especially the making out part. Uh-- bye.

DAVE looks guilty, covers his head with the wet cloth and goes back to sleep.

Scene Six: Melissa's Client's House

MELISSA is on her knees, giving her wealthy male client a blowjob. BRENDA sits on a chair nearby, watching. Her head blocks the camera's view of MELISSA'S head and the MAN's penis.

Man: Oh, honey! (laughs) You know exactly how I like it! C'mon. Move your tongue around it. Yeah!

BRENDA looks slightly uncomfortable.

Scene Seven: Brenda's House

BRENDA unlocks her front door, goes inside, and closes it behind her. She throws her keys down and starts laughing. Then she looks up, a weird look on her face.

Scene Eight: Emily Previn's Viewing

An ORGANIST plays "And I'm Telling You I'm Not Going," over and over. There are no mourners. Only NATE stands there. He is very, very bored. His mind starts wandering.

Suddenly, NATE's a rock star, standing on a stage in the middle of the Slumber Room, with flashing lights and an electric guitar. Hordes of female fans enter, screaming and moshing.

Nate: (sings) And I am telling you, I'm not going! I'm the best man you'll ever know. There's no way I could ever go!

Female Fan: Nate, I love you!

The screen splits into 9 boxes, like a music video.

NATE'S fantasy ends. The music returns to the dull organ. RUTH enters the room, dressed up for the service.

Nate: Now that I've heard this crappy song five times in a row, I can honestly say I don't like it.

Ruth: I'm here for the service.

Nate: Mom, look around, there's nobody here. There's not gonna be any service. I mean, I couldn't even get a minister to come, and those guys get paid.

Ruth: I've taken care of that. Father Jack is on his way here right now. Just give me 10 minutes.

Nate: For what?

RUTH leaves the room.

Scene Nine: Prep Room

RICO is prepping a male body. RUTH enters.

Ruth: Federico?

Rico: Yes, Mrs. F?

Ruth: Could you come upstairs, please?

And without waiting for an answer, she turns around and leaves. He takes off his gloves, annoyed.

Scene Ten: David's Apartment

DAVID lies in bed, with his headache. RUTH enters.

Dave: (groggy) Keith? (sees it's RUTH, slightly disappointed) Oh.

Ruth: David, I need you for a few minutes.

Dave: Mom, I have a headache.

Ruth: Too bad.

She leaves. He looks up, miserable.

Scene Eleven: TV Room

Claire: (sitting on the couch) But I'm in the middle of a show!

Ruth: Just do what I say! And get out of those ragamuffin clothes!

CLAIRE sighs and shuts off the TV.

Scene Twelve: Emily Previn's Viewing

RICO, DAVE, NATE and CLAIRE sit in one of the rows of chairs. FATHER JACK stands at the podium. RUTH is up there, talking to him.

Claire: Why is this happening?

Dave: I don't know. Our structures probably need new fencing.

Nate: Or our roofs had bad shingles.

Dave: I had shingles once.

They all quietly laugh.

Dave: She was supposed to have an open casket.

Rico: (defensive again) I did the best I could, okay? (NATE laughs, quietly. It's happening again!) I didn't see you down there helping me out!

Nate: (to DAVE) Leave it alone.

RUTH sits down.

Father Jack: We gather to mourn the passing of Emily Previn. I did not know Emily Previn. From what I gather, few, if any, people did. People might wonder what point there is in leading a life where you don't touch any other lives, but it would be arrogant of us to assume that. Every life is a contribution. We just may not see how. I'm glad to encounter Emily Previn, even if it is in death. Everyone comes into our life for a reason, and it is our responsibility to learn what they have to teach us. Now, in accordance with Emily's wishes, I will read from the Book of Matthew, Chapter 11.

Scene Thirteen: Fisher Hallway, after the service

NATE and CLAIRE sit together on the stairs. DAVE stands nearby.

Nate: Strange, but somehow I feel like Emily won. She remains a fucking question mark right up to the bitter end. Basically, all I know about her is that she kept Wheat Thins in her refrigerator.

Claire: Well, that's something.

Rico: (entering, to DAVID) So, uh, tell your mother I have to get back to work. Unlike some people.

Dave: I'm sorry, Federico, but I have a headache.

RICO leaves.

Dave: (calling after him) Am I not allowed to have a headache?


Father Jack: David, it's so good to see you.

They hug.

Father Jack: How is everything at St. Stephen's?

Dave: It's... okay.

Father Jack: Apropos of what I said earlier, I wanted to thank you, David. I'm really glad you came into my life. You will never know how much you taught me about myself.

Dave: (plays innocent) Really? How so?

Father Jack: Another time, maybe. You look a little sad.

Dave: I have a headache.

Father Jack: (pats his arm) Well, God bless.

He smiles and leaves. DAVID looks in his direction, perplexed.

Ruth: (at the stairs with NATE and CLAIRE) David, come over here. There's something I want to say to the three of you.

Claire: (to NATE) Oh, Lord, our gutters are clogged. I think we need to see about removing the leaves.

NATE chuckles.

Ruth: That's very funny, Claire. I know you three think "The Plan" is ridiculous.

Nate: No, we don't.

Dave: We just think it's weird.

Ruth: Did any one of you wonder why I felt the need to change the structure of my life? Did you even care? (everyone looks down, no one answers) At first, I didn't understand why I was so upset about Emily Previn, and then it hit me: I don't want to turn into her. Life is hard enough without not having people to help you through it.

Nate: Mom, you have us.

Ruth: I do not! Nate, you've been walking around like a zombie for months. David, you're lying in bed in the middle of the day, God knows why.

Dave: I have a headache.

Ruth: Claire, I can't even look in your direction without you acting like it's some incredible imposition.

CLAIRE gives her a look that only confirms her beliefs.

Ruth: All I want is for us not to be strangers. I want some intimacy. (almost pleading) Give me intimacy! Won't any of you have intimacy with me?!

No one responds. RUTH is oblivious to the double entendre.

Ruth: Okay, I guess I have my answer. (starts to go up the stairs, walking between NATE and CLAIRE)

Nate: Mom, wait, it's just that intimacy should happen a little more organically than this.

Ruth: Fine. Then I'll simply wait for it, like I have been. I just pray that it happens before I end up like Emily Previn. Now, if you'll please excuse me--

She goes up the stairs and leaves the room. They all look up.

Scene Fourteen: Brenda's House, nighttime

BRENDA types at her laptop in the living room. NATE opens the door and sees her.

Nate: (voiceover) When I saw you typing at your computer tonight, you had the strangest expression on your face.

Scene Fifteen: Brenda's Bedroom, later that night

NATE lies on the bed. BRENDA gets ready for bed. The conversation continues immediately from NATE's last line.

Brenda: I was writing. It's called "flow." You know all about "flow," don't you?

They both laugh.

Nate: Let me ask you a question: do you think you and I have as much intimacy as you want?

Brenda: (thinks about it for a beat) I don't have as much of anything as I want.

Nate: That's not really much of an answer.

Brenda: Well, it wasn't really much of a question. Did you remember to lock the door?

Nate: Yes, I did, for the second time. You've been acting really strange tonight.

Brenda: What do you mean?

Nate: Well, you've been all jumpy.

BRENDA pauses and then laughs. She puts her head in her hands.

Brenda: Oh, God.

She jumps up.

Brenda: Okay, something has been on my mind.

She reaches to a shelf over her window. She grabs a ring box, sits on the bed and places it on NATE's stomach. He looks at it, amused. He opens it, and sees a ring.

Brenda: Nate Fisher, would you be my wife?

Nate: (smiling) My God, this isn't what I was expecting...

Brenda: Is that a "No"?

Nate: No, of course not. (looks at the ring) It is kind of an ugly ring. It's got these Greek letters on it.

Brenda: Delta Phi Delta. It's my grandfather's fraternity ring. I found it when I was cleaning up, and that's when I got the idea to propose to you.

Nate: (smiles, laughs) So, why today?

Brenda: I... I just started thinking... I didn't know what I'd do if I ever lost you.

Nate: (looks serious, then laughs it off) Well, I'm not going anywhere.

Brenda: Promise?

Nate: (thinks for a moment) Of course I'll marry you. I love you. Absolutely! (gets excited) I love you. Yeah, let's get married! Yes! Yes! Yes!

BRENDA laughs, extremely happy. He puts the ring on.

Nate: Let's get married! C'mon!

They hug and kiss.

Brenda: I love you too.

They kiss three times on the lips.

Scene Sixteen: Fisher Kitchen/TV Room, next morning

RUTH stands in her robe, boiling water in the teapot. When it whistles, she pours the water into a cup and takes it into the TV Room. On a mantle in the room are framed pictures of NATE, DAVE and CLAIRE as children. RUTH walks by each picture, examining them and touching them. She kneels down, looking at the pictures, and suddenly is overwhelmed with great sadness. She starts to sob bitterly. She stands. The camera moves away from her. The screen fades to white.




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