VOTE | 430 fans

#308 : Les conséquences de leurs actes


Lynette rentre chez elle après son séjour à l'hôpital et invente un mensonge à ses enfants à propos de sa blessure.

Gabrielle décide de redevenir mannequin et va donc à New York.

Susan rentre d'un dîner avec Ian lorsqu'ils surprennent Austin et Julie sur le canapé à moitié nus.

Bree rencontre sa belle-mère et apprend que Orson et elle se détestent.

Le detective Ridley fouille la maison de Mike mais une voisine cache ce qu'ils cherchent.

Popularité


4.5 - 4 votes

Titre VO
Children and Art

Titre VF
Les conséquences de leurs actes

Première diffusion
12.11.2006

Première diffusion en France
27.09.2007

Plus de détails

 



Résumé détaillé


Edie est en train de ranger la maison de Mike pour son retour prochainement. En sortant de la maison, elle voit Mme McCluskey qui veut ouvrir le garage. Elle est furieuse de constater qu'elle a une clé. Mme McCluskey lui dit qu'elle peut emprunter la tondeuse de Mike pour faire son jardin et qu'elle a également vu qu'Edie avait jeté toutes les photos de Mike et Susan et qu'elle pourrait le redire. Mike revient alors chez lui mais ne recouvre pas la mémoire. Rien ne lui revient même ce qu'il lui est familier. Edie a remis des photos d'elle et Mike qu'elle a faite il n'y a pas longtemps.

Lynette est de retour chez elle. Elle ne veut pas que ses enfants soient au courant de la fusillade. Elle va remercier son voisin de lui avoir sauvé la vie et lui promet de lui faire un gâteau alors qu'elle n'en fait jamais. Pour finir, elle raconte tout à ses enfants qui prennent assez bien la nouvelle mais Parker ne veut plus que sa mère retourne au supermarché par peur qu'il lui arrive encore quelque chose. Lynette lui dit alors que Art, son voisin, est un héro puisque c'est lui qui lui a sauvé la vie. Parker est impressionné et très content.

Lynette décide d’aller avec Parker amener le gâteau à Art. En arrivant, Parker est fasciné par le train électrique que son voisin a dans son salon. Lynette est très contente que son fils réagisse ainsi mais elle déchante vite en voyant un mur recouvert de photos de jeunes garçons. 

Ian et Susan sont sortis pour manger dans un restaurant mais elle se fait du soucis et préfère rentrer plutôt que prévu. En arrivant, elle découvre sa fille sur le canapé du salon en compagnie d’Austin. Susan interdit alors à Julie de revoir le jeune homme mais Julie lui dit qu’elle ne l’écoutera pas. Elle va alors en parler à Edie pour qu’elle se mette de son côté mais cette dernière lui dit que si elles leur interdisent de se voir, ils le feront automatiquement pas. Elle appelle alors son ex-mari pour qu’il vole à son secours mais il apprend que Susan avait laissé Julie seule pour aller dîner avec Ian. Karl lui interdit alors d’aller voir son ami mais Susan réplique. Julie se met du côté de son père et elle sait que la partie est perdue d’avance. Par la suite, Susan parle avec Julie en lui disant qu’elle a juste peur qu’il lui arrive quelque chose. 

Le détective Ridley va fouiller la maison de Mike pour rechercher une clé que seul les plombiers ont. Cette clé a un rapport avec la mort de Monique. Il ne trouve rien du tout. Après son départ, Mme McCluskey arrive et lui rapporte sa boîte à outils en lui disant de bien nettoyer sa clé car il y a quelque chose dessus. 

Bree est en train de préparer les cartes de vœux pour Noël et elle demande à Orson l’adresse de sa mère pour lui en faire parvenir une. Orson refuse de la lui donner prétendant que sa mère est folle. Elle insiste et constate que la maison de retrait où est hébergée la mère d’Orson n’est qu’à quelques minutes de chez eux. Elle décide d’aller lui rendre visite et découvre Gloria Hodge tout à fait normale. Elle l’invite alors à manger chez eux mais quand Orson arrive pour le repas, il refuse de manger avec sa mère. Bree lui conseille de faire preuve de civilisation. Gloria avoue à Orson que sa hanche est guérie et qu’elle pourrait alors retourner chez elle mais Orson lui dit qu’il a vendu la maison ainsi que tout ce qu’elle avait dedans. Gloria est furieuse. Ils appellent une personne de la maison de retraite pour venir chercher la mère d’Orson.

En arrivant, Bree insiste auprès de Gloria pour qu’elle reste pour le dessert. Orson est à l’intérieur de la maison avec le conducteur et Gloria prend le contrôle de la voiture mais fonce sur une bouche d’incendie. Par la suite, Bree demande à Gloria de rester vivre avec eux mais Orson refuse. Elle demande à sa belle-fille de les laisser seul pour discuter, elle dit ensuite à Orson qu’elle racontera tout à Bree s’il refuse encore une fois. Il n’a pas d’autre choix de lui dire oui. 

Gabrielle veut redevenir mannequin. Elle va à New York dans son ancienne agence pour rencontrer son ancienne agent Marcela. Elle veut redevenir mannequin mais Marcela lui dit que ce n’est pas possible. Pour finir, elle peut faire un essai mais elle devra faire la mère d’une autre mannequin jeune et belle. On lui donne alors une vieille robe pas très belle et elle essaie de la rendre plus belle mais Marcela lui dit qu’à son âge, on ne peut pas rêver de mieux. Elle revient à Wisteria-Lane et voit Susan. Cette dernière lui dit que si elle part à New York, elle serait vraiment triste. Gaby lui dit qu’elle ne compte plus partir.



Fin de l'épisode

Karen McCluskey's House

Mrs. McCluskey walks out of her house.

"Karen McCluskey had always believed in helping others, whether they wanted her help or not."

Flashback

A neighbor opens his door to find Karen standing there, holding a paintbrush with blue paint on it.

Neighbor: "What's all this?"
Mrs. McCluskey: "You know how you never got around to painting your garage door? Well, it's done. Hope you like blue."

She hands him the paint and brush.

Flashback

Ida Greenberg opens her door to find Karen standing there, holding up a cat.

Ida: "Baxter! You found him!"
Mrs. McCluskey: "Yeah, and I got him neutered, too. I figured you wouldn't want any more strays around here."

Flashback

Alberta opens her door to find Karen standing there, holding up Christmas decorations.

Alberta: "Karen!"
Mrs. McCluskey: "Hi, Alberta. I took these down for you since, you know, Christmas was six months ago."

She hands Alberta the decorations.

Present Day

"Yes, Mrs. McCluskey's helping hand was known throughout Wisteria Lane. But on this day, it was about to get slapped."

Mrs. McCluskey walks up to Mike's padlocked garage and begins fitting a key in it. Edie comes out of the house and walks up to her.

Edie: "What the hell are you doing?"
Mrs. McCluskey: "Jeez, Edie, you scared me. What are you doing here?"
Edie: "Getting Mike's house ready. He comes back from the hospital tomorrow. Since when do you have a key to his garage?"
Mrs. McCluskey: "He gave me one in case of an emergency."
Edie: "Don't lie to me, prune."
Mrs. McCluskey: "Fine, I found it under his mat. Look, I'm not doing anything wrong. I just come over once a week and start his mower so the engine doesn't get rusty."
Edie: "And do you mow your lawn with it, too?"
Mrs. McCluskey: "What's the big deal? I'm doing him a favor."
Edie: "Well, he doesn't need any favors from you. I'm gonna go through Mike's house room by room, and if I find as much as one paper clip missing, I'm calling the cops."
Mrs. McCluskey: "Funny you should talk about stuff that's missing. I found those pictures of Mike and Susan you threw out."
Edie: "Pictures?"
Mrs. McCluskey: "Oh, don't act for me. I know that Mike's been having troubles with his memory. My guess...you don't want him to remember how crazy he was about his old girlfriend."
Edie: "I don't need to resort to deception to land a man."
Mrs. McCluskey: "Oh, Edie, I saved the pictures. And I can show them to Mike anytime I like."

"Yes, Karen McCluskey believed in helping others..."

Edie: "Where are you going with this?"

"Which she felt gave her the right to help herself."

Later, Karen is walking back down Mike's driveway, pushing the lawn mower in front of her and looking very pleased with herself.

Opening Credits

Wisteria Lane

A scout leader is giving a pep talk to her charges.

Scout Leader: "So remember to be polite..."

"Each year as part of their fund-raising drive, the Fairview Adventure Scouts would award a shiny new bike to whoever sold the most magazine subscriptions. And each scout would set out utterly convinced the prize would be hers. That's the beauty of youth. Little girls believe anything is possible...that is, until they grow up and get divorced."

Gabrielle's House

One of the Adventure Scouts goes up to Gabrielle, who is sitting on her front porch, filing her nails.

Girl: "Hi. What if I told you there is a way you could help children, while also reading your favorite magazines at a reduced price? Would you like to hear more?"
Gabrielle: "Sure, knock yourself out."
Girl: "Wise choice. For the lady of the house, we offer Redbook, Glamour, Vog-you..."
Gabrielle: "I think you mean Vogue, sweetie."
Girl: "You sure?"
Gabrielle: "I should know. I was on the cover."
Girl: "No way."
Gabrielle: "Uh, way."

Later, Gabrielle shows the girl her scrapbook of her modeling pictures.

Gabrielle: "Oh, see that coat I'm wearing in this shot? That's genuine ocelot fur. Although the photographer was the real animal, if you know what I'm saying...which I hope you don't. And don't ever do drugs, okay?"
Girl: "Being a model must be so amazing. Why did you stop?"
Gabrielle: "Well, I fell in love, got married and moved to the suburbs for the whole fairy-tale happy ending thing. That was a crock."
Girl: "So, you going back to modeling?"
Gabrielle: "No. No, no, no, no, no, no."
Girl: "Why not? What else are you gonna do?"

Lynette's Porch

Susan, Bree, and Gabrielle are all on Lynette's porch, talking.

Bree: "You're going back to modeling? This is so sudden."
Gabrielle: "Well, let's not get ahead of ourselves. I'm just gonna fly to New York, meet with my old agent, and take it from there. Come on, you guys, this is exciting. Be happy for me."
Susan: "Oh, we are. We're just gonna miss you, that's all."
Gabrielle: "Well, now that my divorce is final, I need a reason to wake up in the morning. I have this hole in my life that can't be filled by shopping. That's right, I said it."

Tom's car pulls into the driveway.

Susan: "Oh, my gosh, Lynette!"

Tom and Lynette get out of the car. Lynette's arm is in a sling.

Tom: "I'll get the kids. They're dying to see you."
Susan: "Hey."
Lynette: "Hey! Oh, my gosh! You didn't have to do this! Hi!"
Gabrielle: "You look great. Well, apparently, taking a thirty-eight slug to the shoulder agrees with you."
Lynette: "Yeah, um, listen, about that...the kids don't know what happened."
Susan: "They don't?"
Lynette: "I thought they were little young to deal with their mother getting shot. All I told them is Kayla is staying with her grandmother, and I made up a story about how I got hurt."

The kids come running out of the house.

Boys: "Hey, Mom!"
Lynette: "Oh, here they are! Hey!"
Boys: "Mommy!"
Lynette: "Hello.Oh, this side. Hi!"
Boys: "Hello! I can't believe you got in a fight with a hobo."
Lynette: "Yeah..."

She sees the look on the her friends' faces.

Lynette: "Well, let's see how well you do on a morphine drip."
Twin: "Mommy, come inside. We helped Mrs. McCluskey make your favorite lunch."
Lynette: "Fantastic! Lead the way, I'm coming in."
Boys: "Hurry up. I'm hungry. Let's go. Let's go."

The boys run inside and Lynette goes up to Tom, who's holding Penny.

Lynette: "There she is! Hi, my little bunny!"
Lynette: "Hey, why don't you go inside and get the party started? And I've gotta.."

She gestures across the street to where Art is watering his lawn.

Lynette: "Okay?"
Tom: "Gotcha."
Lynette: "Hi, bunny. I'll be right there."

She crosses the street.

Lynette: "Hey."
Art: "Hey, Lynette!"
Lynette: "Uh, yeah."
Art: "You're home."
Lynette: "Yeah."
Art: "How you doing?"
Lynette: "I'm good. I just, how do I thank the man who saved my life?"
Art: "You don't have to say anything."
Lynette: "I'm gonna make you a cake."
Art: "A cake?"
Lynette: "Yeah. I never make cakes. This is huge."
Art: "In that case, thanks."

She hugs him.

Lynette: "Yeah, I'm gonna make you a cake."

Bree's House

Bree is writing out Christmas cards at the dining room table with Andrew while Christmas carols play in the background. Orson walks in.

Orson: "Christmas carols? It's not even Thanksgiving."
Bree: "I'm starting my cards early this year. It puts me in the mood to spread holiday cheer."
Andrew: "With the pack of lies in this family newsletter, she spreads holiday denial."
Bree: "Andrew, it's etiquette. Nobody wants to read the truth at Christmas."
Orson: "Well said, darling."
Bree: "Honey, would you put on another CD? Something with sleigh bells."

Andrew leaves.

Bree: "Oh, by the way, Orson, I need your mother's address at the nursing home."
Orson: "Oh, well, I appreciate the thought, darling, but you needn't send her a card."
Bree: "Oh, don't be silly. I'm sending one to the man who reads our gas meter. I can certainly send one to your mother."
Orson: "She's completely senile. She'll only try to dunk it in her coffee."
Bree: "Well, all the more reason to send her one. Let the nurses know that she has family at home who loves her and who could drop by at any minute and slap them with a lawsuit."
Orson: "Bree, I hear what you're saying..."
Bree: "Orson, what's the big deal? It's just an address."
Orson: "Fine. I'll get my book. The home is somewhere over in Lakeview."
Bree: "Lakeview? Oh, you gave me the impression that she was back east."
Orson: "Well, that's because, frankly, I wanted to avoid this conversation."
Bree: "But if she's only thirty minutes away, why haven't you been visiting her?"
Orson: "Okay, the truth is, it breaks my heart to see her now. I want to remember her as she was."
Bree: "But, Orson..."
Orson: "Bree, I refuse to sit in a room that smells of disinfectant and lime Jell-O, making small talk with a woman who doesn't remember me. Now let it go, damn it. But by all means, do send a card. The elves will tickle her."

Outside Susan's House - Nighttime

Ian and Susan drive up onto Susan's driveway.

Ian: "Well, shall we?"
Susan: "Wait. Julie's gonna know we came home early from the restaurant to check up on her. I don't want her to think I'm overprotective and clingy."
Ian: "The girl was held hostage. It's only natural you're gonna be a little bit clingy."
Susan: "Yeah, it's been a week. I'm getting on her nerves."
Ian: "How about this? We came home early because we hated the restaurant. The service was dreadful and the lobster was inedible."
Susan: "Okay. Wait, if we hated the restaurant, then why are we bringing home food?"
Ian: "Good point."

He takes the leftovers and starts to throw them into the trash. Susan stops him.

Susan: "Wait, wait, wait, wait! Are you kidding? That's lobster! Okay, I thought the restaurant was fantastic and you were the fussy snob who was impossible to please."
Ian: "Why do I have to be the fussy snob?"
Susan: "Because you're British."
Ian: "Fine. But I trust you'll make it up to me later by doing the things a gentleman expects when he's sprung for lobster."
Susan: "Ooh!"

They kiss, then walk into the house, turn on the lights, and discover Julie, blouse unbuttoned, lying on the couch with Austin, who doesn't have a shirt on.

Ian: "I'm not getting any tonight, am I?"
Julie: "You're supposed to be having dinner!"
Ian: "It's my fault. I found the restaurant to be absolutely..."
Susan: "Oh, let it go. We came home because I was worried about you and with good reason. You, put on your shirt and get out."
Austin: "Well, I didn't bring a shirt. See, I was out running and..."
Susan: "Who cares? Go!"

He leaves.

Julie: "How could you treat him like that? If Austin hadn't been in that supermarket, I might not be here."
Susan: "Yes, and I am grateful, but I found a way to say thank you without taking my top off."
Julie: "A couple of buttons came undone. It's not like my boobs were out."
Ian: "Okay, well, it's, uh, it's getting late and I really..."
Susan: "No, Ian, am I overreacting here?"
Ian: "Well, I can understand on the heels of a crisis, two people might bond and find themselves..."

He catches the look Susan throws at him.

Ian: "...you're a very naughty girl!"
Susan: "Julie, that boy drinks, he steals, and now I find him mauling you on my couch? That's it. I forbid you to see him."
Julie: "You can't do that. I choose who I date."
Susan: "Yeah? Well, I choose to ground you. Two weeks, baby."
Julie: "Fine, I'll just see him at school."
Susan: "Well, then you won't go to school. I'll home school you."
Julie: "Right, you're gonna teach me trig? You can't even balance your own checkbook."
Susan: "Yes, and you will be poorly educated, and you won't get into college, and you will work for minimum wage for the rest of your life, all because of that boy! I hope you're happy!"
Julie: "Mom, I like this guy, and I'm sorry if it makes you unhappy, but I'm going to keep seeing him."

She leaves.

Mike's House

Mike and Edie enter.

Edie: "Ta da! Doesn't the place look great? I came in and straightened up. I wanted everything to look nice for you. You okay?"
Mike: "Yeah. Yeah, it's just that, I'm home, but it doesn't really feel like home."
Edie: "It will. Give it time. The important thing is that you're back from the hospital and every day you're getting better. Hey, the worst is behind you."

She gives him a hug.

Police Station

Detective Ridley and a prosecutor walk down the hall.

Detective Ridley: "I need the Delfino search warrant."
Prosecutor: "We're not gonna get it without probable cause."
Detective Ridley: "The guy's phone number was written on a dead girl's hand."
Prosecutor: "The judge is gonna need more."
Detective Ridley: "I thought you might say that. Here's Monique Polier's lab work. The infrared spectroscopy matched paint fragments in the head wound to the proximo line of pipe wrenches. They're high-end, only used by professional plumbers. And guess what our boy Delfino does for a living?"
Prosecutor: "I'll see what I can do."

Agent's Office

Gabrielle walks into her agent's office. The agent, Marcella, is on the phone.

Marcella: "What do you mean you can't shoot her? Francesco, if you can airbrush her acne, you can airbrush the track marks. Now don't call me again unless she ODs."

She gets off the phone.

Marcella: "Gabrielle, ma petite fille!Oh, sit!"
Gabrielle: "You look amazing, younger than ever!"
Marcella: "It's my new dermal filler. It's banned here, so my assistant smuggles it in from Brazil. Isn't it fun? I have my own drug mule."
Gabrielle: "That's great! Well, I have some fun news of my own. I'm ready to model again."
Marcella: "Really? Oh. The last time we spoke, you couldn't wait to quit. You were giving it all up for love. What happened to Prince Charming?"
Gabrielle: "Divorce."
Marcella: "Oh, single again? Isn't that ironic, since I'm the one you called, oh, how did you put it? A 'career-obsessed lesbo who would die alone and be eaten by her cats.'"
Gabrielle: "Did I say that?"
Marcella: "Water under the bridge. I thought it was funny. It's even funnier now."
Gabrielle: "Look, Marcella, I'm back. And we made such a great team before, and I think we can be again."
Marcella: "I don't know, darling. Things are different now. You're not gonna be able to jump right back in where you left off."
Gabrielle: "Well, I just wanna work."
Marcella: "Boy, I'm still not sure.You know what might help? If you groveled."
Gabrielle: "Are you serious? Well, I can't tell because your face doesn't move anymore."
Marcella: "No, I'm joking! Welcome back, darling!"

They hug.

Lakeview Nursing Home

A nurse leads Bree through a sitting room. The nurse waves to one of the occupants, then gestures Bree to a woman sitting at a table.

Nurse: "Hi."

Bree stands in front of the woman.

Bree: "Thank you. Well, hello there! How pretty you look today! It's wonderful that you're up and about! You must be enjoying these colorful balloons!"
Gloria: "Why are you talking to me like I'm a moron?"
Bree: "Oh, oh, I'm, I'm so sorry. The nurse pointed me over here. I'm looking for Gloria Hodge."
Gloria: "I'm Gloria Hodge. Who might you be?"

Later, Bree and Gloria sit together in a quieter part of the room.

Bree: "Well, I must say, I'm surprised at how lucid you are. Orson led me to believe..."
Gloria: "That I was in the final stages of dementia? No, I'm afraid that's just wishful thinking on his part."
Bree: "Well, how can he feel that way? You're his mother."
Gloria: "I wouldn't judge him too harshly. Ours is a complicated relationship. There is love, to be sure, but we have a way of disappointing each other."
Bree: "Well, how does he disappoint you?"
Gloria: "He's cold, rigid and, and utterly incapable of letting go of the past."
Bree: "And how do you disappoint him?"
Gloria: "I refuse to die."
Bree: "Yes, I see. Well, surely this rift isn't irreparable."
Gloria: "Do you know how people in nursing homes spend their days, Bree? They think about the past, and all the things they'd do differently if they had the chance. Please tell Orson that I'm sorry and in spite of everything, I still love him."
Bree: "Well, I have a better idea. Why don't you tell him yourself?"

Wisteria Lane

Lynette and Tom are waiting for the school bus to drop off their kids. Lynette is on the cell phone.

Lynette: "That would be great. I really appreciate it. Okay. Thank you."

She hangs up the phone.

Tom: "So what did Ed say? When do you have to go back to work?"
Lynette: "He said take as much time as I want with pay."
Tom: "You should get gunned down more often."

The boys get off the bus.

Lynette: "Hey, there they are!"
Tom: "Hey, guys!
Lynette: "Hello!"
Tom: "How was school?"
Twin: "Mommy, were you shot?"
Lynette: "Shot? Where did you hear that?"
Twin: "Jordan Blackwelder."
Tom: "That's the same little creep who tried to ruin Santa Claus!"
Parker: "And he said that the same crazy lady that shot you killed auntie Nora dead. It was on the news and everything."
Lynette: "Okay, listen, kids. I am sorry. We shouldn't have lied, but sometimes parents wanna protect the kids from scary things."
Tom: "And look, the good news is, mommy's fine now. And we'll all see auntie Nora again in heaven."
Lynette: "Or wherever."
Twin: "Did they let you keep the bullet?"
Lynette: "No, no, afraid not."
Twin: "That blows. We wanted to bring it for show-and-tell."

The twins run off, but Parker stays behind.

Lynette: "Hey, sweetheart, you okay?"
Parker: "What if the crazy lady comes back?"
Tom: "She won't."
Parker: "How do you know?"
Tom: "Well, because she's...up in heaven with auntie Nora."
Lynette: "Or wherever."

Outside Susan's House

Austin is revving the engine of his motorcycle as Julie climbs on the back of it. They zoom off, leaving Susan to run out of the house, shouting after her.

Susan: "Julie Mayer, you get back here! You're grounded, remember?!"

Susan goes over to Mike's house, where Edie is putting out the garbage.

Susan: "Edie Britt, I wanna talk to you."
Edie: "I just survived a hostage situation. Haven't I suffered enough for one week?"
Susan: "You keep your nephew away from my daughter or else."
Edie: "Look, I don't like it either, but the harder we try to keep them apart, the more they're gonna fight to be together. Just let it run its course."
Susan: "Are you crazy? If we don't do something, those two could end up having sex!"
Edie: "Could?"
Susan: "Oh, my God. You don't..."
Edie: "Let me put it this way. I got a box of condoms in my dresser. Eleven are gone. I can only account for eight of 'em."
Susan: "How can you be so calm about this?"

Mike comes out of his house.

Mike: "Edie?"
Edie: "Yeah?"
Mike: "Can you help me with this tie?"

He sees Susan.

Mike: "Oh. Hey."
Susan: "Mike. You're out of the hospital."
Edie: "Yeah. He's home. In fact, we're gonna go out and celebrate tonight. I'll be with you in one sec, okay, babe?"
Mike: "Yeah."

He goes back inside.

Edie: "Since you asked, I'm calm because I know if two people are meant to be together, there's nothing anyone can do about it."

Lynette's House

Lynette is giving instructions to Mrs. McCluskey.

Lynette: "Okay, I should be back at around six. They can have one snack. Try and push apples, but if they threaten violence, I have an emergency candy bar under the sink."
Mrs. McCluskey: "Not anymore you don't."

Karen bites into the candy bar she has.

Lynette: "Oh, jeez."

Parker comes into the room.

Parker: "Mommy? Where are you going?"
Lynette: "To the market."
Parker: "No!"

He grabs a hold of Lynette's leg and won't let go.

Lynette: "Hey, sweetie, it's a different market."
Parker: "You're gonna get shot again."
Lynette: "No, I won't. Lots of mommies go to the store every day, and they're fine. It's really not a scary place."
Parker: "You went to the store, and you got shot, and auntie Nora died."
Lynette: "I'm only gonna be in there ten minutes, I promise."
Parker: "Can't she go?"
Mrs. McCluskey: "Fine. I'll go."
Lynette: "Thanks."
Mrs. McCluskey: "Don't give a hoot if I get shot, do ya, kid?"

Modeling Shoot

Gabrielle places her makeup case near a set of mirrors. A young, beautiful model is sitting in the chair nearby, reading a magazine.

Gabrielle: "You must be Tanya. I'm Gabrielle. We're gonna be co-models today. Now I don't know if you've ever done one of these big shoots before, but don't be nervous. Durkin and I are old friends. He's a sweetheart. Now just remember, he's the king, do exactly what he says, and you'll be fine."
Tanya: "I've been modeling for two years. I've done six magazine covers and I'm sleeping with Durkin."
Gabrielle: "Well, I guess you're all set then."

A costumer comes over with a rack of clothing.

Costumer: "I've got some wardrobe choices."
Gabrielle: "Hey! I want to be buried in this dress!"
Costumer: "This is for Tanya. The mom stuff is at the end."
Gabrielle: "Mom?"

Later, Durkin is getting everyone in position for the shoot. Gabrielle is wearing an unattractive dowdy outfit.

Durkin: "Okay, love, let's get the blood pumping! The concept is lock up your daughters. Okay? Get to work, everybody. Tanya, I want you to hover down here on the lawn, looking absolutely delicious. Thank you very much. And up here on the porch, Mom and Dad looking all scandalized."
Gabrielle: "Excuse me, Durkin?"
Durkin: "Yes, love?"
Gabrielle: "It's Gaby. Gabrielle Marquez. You shot me in Milan, remember?"
Durkin: "Yes! Yes! Lovely to see you again. Did you have a question then?"
Gabrielle: "I do. Aren't you a little worried that I'm gonna pull focus? I mean, it's a little confusing. People are gonna see Tanya, and then they're gonna see that guy, and they're gonna wonder who I am."
Durkin: "You're the mom.."
Gabrielle: "People aren't gonna buy that, so here's what I was thinking. I slap on one of those gowns, I play Tanya's big sister home from college to raise a little hell."
Durkin: "And we're gonna cram all that on a subtitle, are we?"
Gabrielle: "I'm sorry. It's just, this outfit is hideous!"
Durkin: "Just make it work."
Gabrielle: "Fine. I just need a moment to get into character."

Later...

Durkin: "Gabrielle, what's the holdup? We've got to get moving here."
Gabrielle: "Ready, ready!"

Gabrielle appears, outfit dramatically changed to show off her assets.

Durkin: "What's that?"
Gabrielle: "Oh, I made it work. I'm hot Mom."

Durkin turns to an assistant.

Durkin: "Get me her agent."

Susan's House

Susan, Austin, and Julie are in the kitchen.

Susan: "Before we begin, would either of you like some cookies, milk, lemonade, perhaps?"
Julie: "Mom, why are we here?"
Susan: "Ah, cutting to the chase. I like it."

She looks out the window, where a red sports car has pulled into the driveway.

Susan: "I have a confession to make. This whole dating drama has been keeping me up at night, and I hate being the bitchy, naggy mom. When it comes to parenting, I am much more comfortable playing the good cop. Do you see where I'm going with this, kids?"
Julie: "No."
Susan: "Oh. Well, in that case. Meet the bad cop."

Karl walks through the front door.

Julie: "Daddy!"
Karl: "Hey, baby girl. That the guy?"
Susan: "Yep! Get him."

Later, Susan and Julie watch through the kitchen window as Karl talks to Austin outside.

Julie: "This is so unfair."
Susan: "Look, you defied my wishes, you broke my rules. Did you really think I was just gonna throw in the towel? Face it. I outsmarted you."

Karl and Austin come back inside.

Karl: "Who's Ian?"
Susan: "What?"
Karl: "You're dating some British guy named Ian."
Susan: "How did that come up?"
Austin: "I'm sorry. I didn't realize it was a big secret."
Karl: "You know, when you said it was true love with you and the plumber, I was a good guy. I stepped aside, and now you're on to someone else."
Susan: "Big picture, Karl. His hand up our daughter's shirt."
Karl: "Don't change the subject!"
Susan: "That is the subject!"
Karl: "How serious is it with this Ian guy?"
Susan: "I don't know! It's, it's complicated."
Austin: "Yeah, he's kind of married."
Karl: "He's what?"
Susan: "It's not what you think."
Austin: "In her defense, his wife is in a coma."
Karl: "All right, that's it! All right, I forbid you to see this guy!"
Susan: "What? No! I don't take orders from you!"
Julie: "Mom has a point, Dad. You can't tell a woman who she can and can't date. It's her choice."
Susan: "Exactly. Thank you. Wait, no, that does not apply to you."
Karl: "You know, if you don't care about my feelings, I don't know what I'm doing here."
Susan: "Your feelings? My God, you are the worst bad cop ever! Ugh! Go to your room. Not you!"

She puts out a hand to stop Austin from following Julie.

Lynette's House

Lynette and Parker sit on the porch while the twins run around the front yard.

Twin: "Get back here!"
Twin: "You're under arrest!"
Twin: "No, I'm not!"
Lynette: "Hey, buddy, you've been reading comic books for a while. Don't you wanna go and play?"
Parker: "No, I wanna stay with you."
Lynette: "Yeah? Okay."

Lynette sees Art across the street and goes over there.

Lynette: "Hey, Art."
Art: "Oh, hey! How are ya?"
Lynette: "Good, uh, listen, as if saving my life wasn't enough, I have a little favor to ask."
Art: "Sure. What's up?"
Lynette: "My kids are having a hard time. They're pretty freaked out by that whole supermarket thing."

The twins walk by, one of them pointing a play gun at the other as they march along the sidewalk.

Twin: "You're my hostage!"
Twin: "Keep moving, or I'll blow your face off!"
Twin: "Okay, it's my turn. Give me the gun."

Lynette turns back to Art.

Lynette: "Not so much them."
Art: "Right."
Lynette: "But my other son, Parker. So. Back to the favor."

Later, Lynette brings Art inside the house where Parker is sitting on the couch, reading a comic book.

Lynette: "Hey, Parker. I want you to meet our new neighbor, Art. He lives in the house across the street. His sister has the cool wheelchair with the joystick."
Art: "Hey there, Parker."
Parker: "Hi."
Lynette: "In the daytime, Art coaches swimming at the rec center, but, please, can I tell Parker? Please?"
Art: "And compromise my secret identity? No way, Mrs. Scavo. No way."
Parker: "Secret identity?"
Art: "Oh, great, now the cat's out of the bag. Oh, might as well tell him."
Lynette: "It's okay. You can trust him, really. Art is the one who saved me at the supermarket. He's sort of a superhero."
Parker: "Give me a break."
Lynette: "It's true."
Parker: "All right, if you're a superhero, what's your name?"
Art: "I'm...Protector Man. Because I protect people from bad guys. Mm. You don't believe me, do you? Okay. I really shouldn't do this, but..."

He pulls open his shirt to reveal a shirt underneath with a big letter P on it. Lynette gasps. Parker looks awed.

Parker: "Wow! Did you really save my mom?"
Art: "I really did."
Lynette: "He really did. That's why you don't have to worry. That's Protector Man's job. Your job is to run and play and have fun. Okay?"
Parker: "Okay."
Lynette: "Okay."

Parker runs out of the room and Lynette looks at Art's t-shirt.

Art: "Oh, my cousin went to Purdue."

Mike's House

Mike parks his car in the driveway and finds the detective and cops in his house.

Mike: "What the hell?"
Detective Ridley: "Delfino. Nice to see you up and about. Here's our search warrant."
Edie: "Search warrant? Let me see that."
Detective Ridley: "How we doing?"
Detective Collins: "We couldn't find a toolbox."
Detective Ridley: "The man's a plumber. Keep looking."
Cop: "Sir, I can't find a thing."

Modeling Shoot

Marcella walks onto the set and grabs Gabrielle.

Marcella: "You, come with me."
Gabrielle: "Marcella, look, I don't know what they told you, but all I'm asking for is a simple costume change."
Marcella: "You don't get to pull diva crap. Tanya gets away with it because she's a star. You are nothing."
Gabrielle: "Where do you get off talking to me like that? I shot thirty-six covers by the time I was twenty!"
Marcella: "Well, you're thirty now. When you make that face, you look thirty-five."
Gabrielle: "Do you know how many photographers would die to work with me again?"
Marcella: "Yeah. Zero. I had to call in major favors just to get you this job."
Gabrielle: "I don't believe that."
Marcella: "Well, you know what I don't believe? You gave up a brilliant career to play house in the suburbs, and the minute it falls apart, you come back here expecting a homecoming parade. Well, guess what, sweetie? We've moved on. Now get your polyester ass over there and act like the pro you used to be."

Later, Durkin is shooting the scene with Gabrielle wearing the original outfit.

Durkin: "Beautiful, Tanya. That's it. Chin up. Fantastic! Mother, hold the plate higher. Beautiful, Tanya. Oh, you are gorgeous! Yes, girl! Lovely, lovely!"

Mike's House

Mrs. McCluskey comes over to Mike's.

Mrs. McCluskey: "Hiya, Mike. Welcome home. You remember me?"
Mike: "Yeah, I think so. The corner house with all the gnomes out front?"
Mrs. McCluskey: "You're thinking of Martha Huber. Terrible story. Someone beat her to death, and then buried her in the forest. Ironic, huh? Isn't that where gnomes live?"
Mike: "I don't really know that much about gnomes."
Mrs. McCluskey: "Anyway, I know the cops were here earlier."
Mike: "So?"
Mrs. McCluskey: "Well, you won't remember this, but one night two years ago, you drove me to the hospital after I had an attack of angina. Probably saved my life. Anyway, I figure I owe ya. Here. You might wanna wash that wrench off. It's got something on it."

She hands him his toolbox and leaves.

BREE'S HOUSE

Orson enters the dining room where everyone is already sitting, with dinner in front of them.

Orson: "Sorry I'm late. Mrs. Prescott broke a crown and..."
Gloria: "Orson, how well you look."
Orson: "Hello, mother."

He turns to Bree.

Orson: "A word, darling?"

They go into the kitchen.

Orson: "I can't believe you did this!"
Bree: "And I can't believe you told me that she was senile! You lied to me."
Orson: "Yes, to spare us the misery of her company. You don't know her, Bree. She's a loathsome woman and I refuse to break bread with her."
Bree: "Now you listen to me. That woman gave you life, and the Fifth Commandment tells us to honor our parents no matter how hideous or repellent they may be."
Orson: "That's not exactly what..."
Bree: "Orson, it's implied! Now get out there and show her some respect!"
Orson: "Fine, but if you expect anything more from me than forced civility, you will be deeply disappointed."

Later, the family is eating dinner.

Gloria: "Bree, this salmon is superb."
Bree: "Well, thank you! It did win me the blue ribbon at the gourmet county cook-off."
Gloria: "I just love the sauce. What gives it that kick?"
Bree: "Ah, ah, ah! You'd never ask a magician how a trick is done."
Gloria: "You've barely touched your salmon, dear. Is everything okay?"
Orson: "Yes. I was just wondering why you're here."
Gloria: "I want us to be friends."
Orson: "Okay, let's suppose I just had a massive head injury and believe you. We're pals. Now what do you want?"
Bree: "Orson, why does she have to have an ulterior motive?"
Gloria: "I want out of that home."
Orson: "Ah, there it is."
Gloria: "It's a hellhole! Besides, I'm perfectly healthy now. My hip is better, I can handle the stairs, and you said when I got strong enough I'd get to go back to my house."
Orson: "Oh, here's the thing. I sold it."
Gloria: "What?"
Orson: "You heard me."
Gloria: "What about my things?"
Orson: "All gone. Oh, I also sold the car. See, that's the thing about hellholes. They don't pay for themselves."
Gloria: "How dare you? You had no right!"
Bree: "Okay! Maybe I will share my secret ingredient."
Gloria: "I should have smothered you in your crib when I had the chance."
Bree: "Paprika! There, it's out!"
Orson: "That's the mother I remember! I was wondering when she'd show up."
Gloria: "Yes, Orson, I am your mother, so you more than anyone should know how I deal with betrayal."

She leaves the room.

Andrew: "So, can we call her grandma?"

Susan's House

Julie walks into Susan's room. Susan is staring out the window.

Julie: "I've got one more load, and then I'm gonna do my homework. Do you have anything you want me to throw in?"
Susan: "No, I'm good. Thanks."
Julie: "Mom, listen. I know I've put you through the wringer lately, and I'm sorry."
Susan: "Sixteen years of being perfect. You were due."
Julie: "That's what I don't get. You've always trusted my judgment. Why can't you trust me about Austin?"
Susan: "Relationships have nothing to do with good judgment. It doesn't matter how smart you are. You can still get hurt. You do your homework. I'm gonna finish the laundry."
Julie: "Okay."

Susan leaves. Julie looks out the window where Susan had been looking before and sees Mike and Edie kissing on Mike's front porch.

Outside Bree's House

Gloria is being helped into a car by a Lakeview Nursing Home van driver.

Driver: "There you go, Mrs. H. All right. Can I use your bathroom, just..."
Orson: "Come on in."

Orson leads the employee into the house. Bree leans through the car window to speak with Gloria.

Bree: "Please, stay for dessert. I'll work on Orson and we'll discuss this together."
Gloria: "You saw what he sentenced me to...a room no better than a furnished coffin. I have nothing to say to him."
Bree: "Well, then talk to me. I know you're upset, but don't shut me out. Please. Please, Gloria, let me in."

Gloria sees that the keys are in the ignition of the car and she scoots over to the driver's side.

Bree: "Well, I didn't mean it literally, but okay. We'll, um, we'll sit together. And we'll talk."

Bree gets in. Gloria starts the car and begins driving.

Bree: "What are you doing?"
Gloria: "I'm not going back to that place."
Bree: "Gloria, stop!"

Inside the house, the driver comes out of the bathroom.

Orson: "Let's get my mother back to the home, shall we?"
Driver: "Not that it's any of my business, but, is everything okay with you folks?"
Orson: "Oh, yeah, there was a little tension earlier, but I think it's all been resolved."

Gloria crashes the car. Orson and the driver run outside.

Driver: "Oh, what the hell?"

Later, Gloria is sitting by herself at the kitchen table while Bree and Orson talk to each other in the other room.

Orson: "No, I absolutely forbid it!"
Bree: "Just for a few weeks till we find a place where she'll be happier. You should've heard her in the car. She's absolutely miserable in that nursing home."
Orson: "I don't care. My mother's not moving in here till she fits in a jar on the mantle."
Bree: "How can you be so cold?"
Orson: "You don't know who she is. I've worked my entire life to get away from that woman."
Bree: "Why? What could she possibly have done to make you hate her so much?"
Orson: "Look, there is nothing to be gained by dredging up the past."
Bree: "Orson, if there's something I should know."

Gloria comes up to them.

Gloria: "Could I speak to my son a moment?"
Bree: "Of course."

Bree leaves them alone.

Gloria: "So you know, I've decided to accept your wife's kind invitation."
Orson: "I won't allow it."
Gloria: "Oh, I think you will. We're going to end our quarrel right now or I'll tell your wife what it's about."
Orson: "You wouldn't."
Gloria: "Just try me. I gave you life. You know I won't hesitate to take it away. Now give mother a kiss."
Orson: "Why in the hell would I wanna do that?"
Gloria: "To make it look real."

Orson leans over and kisses his mother on the cheek. Bree, watching from the other room, smiles.

Outside Gabrielle's House

Gabrielle gets out of a cab with her luggage and runs into Susan, who's jogging down the sidewalk.

Susan: "Hey, you're back! I'd give you a hug, but I'm really sweaty. So how was New York?"
Gabrielle: "Oh, it was fine."
Susan: "Bree said you got a job on the first day. You're such a star! I want details."
Gabrielle: "Oh, you know, just hours and hours of sitting around, looking pretty. But I think I'm done with modeling."
Susan: "So you're not gonna move to New York?"
Gabrielle: "Well, if something great comes up, I might fly out, but I'm pretty settled here."
Susan: "Oh, thank God! We were all so worried we were losing you. Okay, now I'm hugging you. Oh, it's amazing. Your life is such an adventure. Can't wait to see what you do next."

She jogs off.

Gabrielle: "Yeah, me, too."

Art's House

Lynette and Parker go up to Art's House. Lynette is holding a cake and Parker knocks on the door. The door is unlocked, so they go inside.

Parker: "Okay. Mr. Protector Man?"
Lynette: "Shh! That's a secret. Hello? Hello?"
Parker: "Ah, sweet! Mom, look!"

He turns on a toy train that begins to move around its track, leading into another room.

Lynette: "Hey, don't touch anything. I'm just gonna write a note, and then we'll go. Okay. Parker? Hey! Come back here! Honey? Come on, we're leaving. Parker. Parker, come on, we're leaving. Why didn't you come when I called?"

She finds Parker in the basement, where he's playing a pinball machine. The entire room is filled with games and toys to appeal to young boys.

Parker: "Superhero houses are great!"

Lynette walks around the room and finds, in the corner, an entire wall with pictures of young boys, all with their shirts off.

Lynette: "Parker, come on, we're gonna get out of here."
Parker: "Why?"
Lynette: "Oh, I just said so.Come on."

"There are so many things we wish we could tell the young."

Susan's House

"We'd like to persuade them not to grow up so fast, but they won't listen."

Susan looks out her window to see Austin and Julie talking in the yard, faces close together.

Modeling Shoot

"We want to tell them that beauty fades, but they refuse to believe it."

Marcella is watching Tanya being photographed.

Bree's House

"We warn them that their actions will have consequences, but still they defy us."

On the porch, Gloria smiles at Orson, who's unloading boxes from the car.

Outside Lynette's House

"Sadly, the young can't begin to understand the world is a dangerous place. So it's up to us to do anything we can to protect them..."

Lynette watches her boys play in the yard. She sees that across the street, an Adventure Scout has gone up to Art.

Girl: "What if I told you there is a way you could help children..."

"...absolutely anything."

 

The End

Kikavu ?

Au total, 125 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

Kln16 
16.08.2018 vers 14h

Valerie42 
04.08.2018 vers 19h

Aloha81 
29.07.2018 vers 15h

Aloon33 
01.06.2018 vers 19h

vampire141 
10.02.2018 vers 22h

Dawsey400 
27.01.2018 vers 17h

Vu sur BetaSeries

Derniers commentaires

Avant de poster un commentaire, clique ici pour t'identifier.

Sois le premier à poster un commentaire sur cet épisode !

Contributeurs

Merci aux 2 rédacteurs qui ont contribué à la rédaction de cette fiche épisode

Ne manque pas...

Découvre la carte de Mary Sibley, sorcière de la série Salem, dans la catégorie Magic de notre collection d'HypnoCards.
En vitrine | Salem (Magic)

Appel à candidatures pour trouver des administrateurs pour un futur quartier dédié à la série Manifest de NBC.
Appel à candidatures | Plus d'infos

Venez départager les calendriers de l'Avent créés par nos membres, les votes sont ouverts jusqu'au 4 novembre !
Les votes sont ouverts ! | Date limite : 04/11

Activité récente

Photo du Mois
Aujourd'hui à 21:26

Suite de Mots
Aujourd'hui à 19:20

Les Acteurs
04.09.2018

Calendriers
03.10.2018

Nouveau design
22.08.2018

Actualités
Felicity Huffman est contre une suite pour DH !

Felicity Huffman est contre une suite pour DH !
Felicity Huffman a avoué lors d'une interview pour Entertainment Tonight, qu'elle n'est pas pour...

Dog Days | Eva Longoria - Release, Poster & Trailer

Dog Days | Eva Longoria - Release, Poster & Trailer
Le film Dog Days réalisé par Ken Marino est sorti aux USA depuis hier, mercredi 8 août 2018, et...

Nouveau design

Nouveau design
Le quartier de Desperate Housewives est heureux de présenter son nouveau design. Réalisé entièrement...

Terminator : SCC | Brian Austin Green - Release on Crackle

Terminator : SCC | Brian Austin Green - Release on Crackle
La plateforme de streaming Crackle, accessible depuis les Etats-Unis, le Canada et l'Australie, a...

Nouveau rôle pour Felicity Huffman

Nouveau rôle pour Felicity Huffman
Felicity Huffman vient d'être choisie pour interpréter un rôle dans une nouvelle série.  Elle va...

Newsletter

Les nouveautés des séries et de notre site une fois par mois dans ta boîte mail ?

Inscris-toi maintenant

Sondage
Téléchargement
Partenaires premium
HypnoRooms

grims, Hier à 06:30

Aujourd'hui venez poster votre photo préférée d'Ivar sur le quartier Vikings !!!

Luna25, Hier à 13:21

Nouveau mois sur le quartier Legends of Tomorrow : jeux, sondage, et... Nouveau Design !!

grims, Aujourd'hui à 08:33

Aujourd'hui venez poster votre photo préférée d'Alex Høgh Andersen sur le quartier Vikings !!!

noemie3, Aujourd'hui à 20:40

N'hésitez pas à venir voter au nouveau sondage sur Wildfire ! Merciii

lolhawaii, Aujourd'hui à 21:32

Nouveau thème pour la photo du mois sur le quartier Hawaii Five-0 !

Viens chatter !

Change tes préférences pour afficher la barre HypnoChat sur les pages du site