VOTE | 131 fans |

#906 : Ne Faites Confiance à Personne

Titre original:
Trust No One

1re diffusion américaine:
06 janvier 2002

1re diffusion française:
/

Réalisation:
Tony Wharmby

Scénario:
Chris Carter
Frank Spotnitz

Guest stars:
Kathryn Joosten (l'agent Edie Boal), Terry O'Quinn (l'homme de l'ombre), James Riker / Travis Riker (William), Allison Smith (Patti)...

¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤

Scully découvre que Mulder lui a transmis un message via internet. Il y exprime son désir de la revoir. Plus tard, Doggett et Reyes l'informent que quelqu'un, en possession d'informations concernant le programme des "Supers Soldats" a tenté d'entrer en contact avec Mulder, le seul qui serait, selon cette source, capable de découvrir la vérité...

¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤

Plus de détails

906 - Ne faites confiance à personne

 

Scully parle à son fils, le moment où il l'interrogerait sur sa naissance. Elle lui demande de rencontrer son alter-ego. Quelqu'un qui le mettra en danger ainsi qui le protègera. La vérité est ailleurs, il ne la trouvera pas dans la science, mais plutôt dans son coeur. Tout ce qu'elle dit est suivit d'images de Mulder et elle. 

ACTE 1
Scully est filmée, elle est à la gare et regarde sa montre.

Dans un café, Scully est assise à un ordinateur. Elle trouve dans ses courriels, un message de Mulder qui a pour adresse électronique : trustno1@mail.com. 

(Ah mon Dieu, que Mulder est mignon !!!) Scully se tourne vers son fils, elle pleure, et le regarde. Une autre femme (Patti) entre avec son bébé. Elle répond Mulder. Elle veut le voir, mais il ne sera pas en sécurité chez elle. Le bébé de Patti pleure, mais la mère n'est plus là. Elle se lève, mais la serveuse vient voir le bébé. Patti est à l'extérieur et parle à un homme. Elle revient chercher son bébé.

Scully donne son cours à Quantico, elle regarde l'impression de la lettre à Mulder. Doggett et Reyes entrent. Ils veulent lui parler. Un homme veut contacter Mulder, mais il n'a pas voulu dire pourquoi. Ils ne savent pas qui c'est, il n'a laissé aucune trace derrière lui. Il leur a dit ce matin qu'il a un dossier militaire classé trop secret; le dossier nommé Super-Soldats. Il veut donner à Mulder les noms des Super-Soldats, mais seulement à lui.  Elle ne sait pas comment le contacter. Elle va rejoindre sa classe. 

Doggett vient la chercher en classe et l'amène avec lui. Si cet homme donne les noms des Super-Soldats, ils pourraient les trouver et comme cela, Mulder pourra revenir à la maison en toute sécurité. Le problème c'est qu'elle ne sait pas qui est l'homme et elle ne veut pas mettre la vie de Mulder en danger. Il demande quand elle va enfin lui faire confiance. Elle retourne en classe.

Scully stationne sa voiture, elle voit le couple qu'elle a vu au café. L'homme prend l'enfant, malgré les objections de sa mère. Scully demande à Patti si elle a besoin d'aide. Elle la fait monter à son appartement. Scully lui montre le téléphone pour que Patti appelle la police, mais elle ne veut pas. Scully lui confie qu'elle aimerait avoir quelqu'un de nouveau dans sa vie pour prendre soin de William. Patti lui dit qu'il va revenir. Scully l'invite à rester chez elle pour la nuit. Elles se présentent. 

Doggett regarde un bâtiment.  Reyes vient le rejoindre. Doggett a retracé l'appel qu'il a eu le matin. Il n'a pas le numéro de téléphone, mais il a l'adresse et ça vient du bâtiment. Reyes hésite à surveiller l'espion parce que ceci risque de compromettre le retour de Mulder. Une voiture arrive devant le bâtiment. C'est l'homme qui a enlevé le petit à Patti. Il entre dans le bâtiment, mais sans le bébé. 

L'homme entre dans un bureau. Un autre homme, Shadow Man, demande des nouvelles de son enfant et de sa femme. Il regarde sur son moniteur et on voit qu'il surveille Doggett et Reyes. Les agents se dirigent vers la voiture de l'homme. 

ACTE 2
Scully est filmée, elle est à une gare. Elle regarde sa montre quand Reyes arrive. Un homme dans l'ombre la surveille.

Reyes et Doggett regardent encore le bâtiment. L'homme sort. Doggett et Reyes le suivent. Patti est dans l'appartement de Scully. Elle se lève et va voir Scully qui est encore endormie. Elle ferme l'interrupteur et elle prend William dans ses bras. Le cellulaire de Scully vibre. Doggett l'appelle et lui annonce que l'homme qui a fait l'appel entre dans son immeuble. Scully entend un bruit. Elle va dans le salon, elle prend son arme et le pointe vers Patti. Elle lui demande de laisser son bébé tranquille. 

Doggett montre les escaliers, il croise l'homme entrain de forcer la poignée de Scully. Doggett et Reyes demandent à Scully si elle connaît cet homme, c'est le mari de Patti. 

Doggett et Reyes veulent des explications. Patti veut protéger William, l'homme lui avait dit qu'ils pouvaient l'aider. Ils sont entrain de nous regarder, dit l'homme. Scully va ferme son rideau. Elle a un bébé, Joy, et quelque chose n'est pas normal, comme William, ils ont les mêmes pouvoirs. Scully pleure. Le mari de Patti sait tout en ce qui les concerne. Scully a vu William faire bouger son mobile avec son esprit, la même chose arrive à Joy. L'homme a raconté à son patron tout ce qui concerne William et Joy. Il connaît le programme des Super-Soldats. Mulder est le seul qui peut faire la connexion. Ils veulent aider Scully à faire revenir Mulder, comme cela, ils vont savoir la vérité

Le téléphone de Scully sonne. C'est Shadow Man. Il la regarde encore. Il sait que Mulder lui a envoyé un e-mail. Elle veut le voir. Elle ne lui dira rien au téléphone. Il lui donne rendez-vous au café dans 20 minutes. Reyes s'occupera de William. Scully ne suit pas les objections de Doggett. 

Scully est appelée, elle est toujours regardée. Il lui dit de s'avancer vers une voiture et d'entrer à l'intérieur. Elle démarre très vite parce que l'homme lui a demandé, elle provoque presque un accident. Elle arrive dans une ruelle. La caméra la surveille toujours. Elle embarque dans une autre voiture. Elle roule pendant quelques heures. Elle ouvre le coffre-arrière et trouve des vêtements. Il lui demande de les changer, c'est ce qu'elle fait. À l'aide d'une commande, il éloigne la voiture et la fait exploser. Il lui demande de lui donner sa montre si elle veut toujours voir Mulder, Il prend sa montre, la regarde et lui redonne. 

Scully se trouve devant Shadow Man (qui est Darius Michaud dans le film). Il sait tout ce qui concerne Scully allant jusqu'à son rythme cardiaque. Il a été surpris autant qu'elle lorsqu'elle a invité Mulder dans son lit. Scully n'en revient pas qu'il sache autant de chose. Elle pleure. Elle demande qui il est. Il est le futur.  Il l'a appelé parce qu'il sait qu'elle peut contacter Mulder. Mulder doit savoir ce qu'il sait sinon Mulder n'aura aucun futur, personne en aura. Une autre voiture l'attend plus loin. Si Scully n'a pas de contact avec Mulder dans les prochains 24 heures, il va disparaître. Il lui donne ses clés. Elle s'en va. 

ACTE 3
Scully enseigne quand Doggett arrive. Elle le voit et va le retrouver. Il demande pourquoi l'homme l'a contacté elle et non Mulder directement. Il n'a pas contacté Scully, mais Doggett. Il est venu à elle parce que Patti est venue la voir. Elle ne pense pas que Patti et son mari soient impliqués dans cette surveillance. Patti a peur pour son enfant, pour les mêmes raison que Scully. Doggett pense que le couple va inciter Shadow Man à tuer Mulder, mais elle n'est pas d'accord. Ce couple n'a pas confiance en Shadow Man, tout comme elle. Doggett demande alors si Mulder sera vraiment en sécurité lorsqu'il reviendra, mais Scully et Mulder ont pensé à tout avant qu'il parte. Mulder va arriver par train, à minuit. Doggett veut qu'elle le contacte pour qu'il ne vienne pas. Elle ne veut pas qu'elle lui fasse ça. Elle veut le voir. Il sait, mais il ne veut pas qu'il lui arrive quelque chose. C'est trop tard d'après elle parce qu'à cette heure, Mulder est dans le train. Scully s'en va. 

Le soir, à 23 h, Scully attend à la gare. Elle regarde sa montre. La caméra la surveille toujours. 

Doggett entre dans le laboratoire de preuve. Il rejoint l'Agent Boal. Elle doit regarder des vêtements. Ce sont les vêtements que portaient Scully. Il veut en savoir plus sur celui qui les a donnés à Scully. 

Scully attend toujours, elle voit Reyes s'approcher. L'homme la surveille. Le mari à Patti approche et il éteint la caméra de surveillance. Doggett est à son bureau. Il est très inquiet. Il s'en va. 23 h 55, le train approche. Le mari de Patti sort un revolver et pointe Scully. Reyes vient la protéger. Scully regarde le train. Shadow Man approche avec une arme à la main. Reyes couche Scully sur le sol. Le mari à Patti est tué. Shadow Man s'approche de Scully. Il veut la tuer, mais Doggett le tue auparavant. Shadow Man tombe où le train. Le train passe droit sans s'arrêter. Le mari de Patti est maintenant mort d'après les constatations de Scully. Elle commence à pleurer parce qu'elle vient de manquer Mulder. 

ACTE 4
La police arrive à la gare. Les policiers regardent où se trouvent Shadow Man, mais il n'est plus là. Patti vient voir Scully. Elle jure que son mari n'était pas impliqué. Elle voulait voir Mulder, ce n'était pas censé se produire. Son mari voulait la protéger. Son patron est responsable de tout cela. Patti a de la peine face à la mort de son mari. Scully la prend dans ses bras pour la consoler. Elle s'en va. Doggett vient retrouver Monica et Scully. Les policiers ne trouvent pas Shadow Man. Il peut être n'importe où. Un ADN a été trouvé sur les vêtements de Scully. Il contenait énormément de fer. Shadow Man n'est pas un homme, mais un Super-Soldat. Scully pense à Mulder. Elle doit le protéger. 

Doggett, Reyes et Scully s'avancent vers un responsable de la gare. Scully lui dit que Shadow Man est dans le train. Le responsable reçoit un appel du conducteur du train. Un homme a sauté du train proche d'une carrière. Scully, Reyes et Doggett pensent que c'est Mulder. 

Arrivée à la falaise, Scully prend la voiture pour se rendre dans la carrière . Doggett et Reyes descendent la carrière et se trouvent devant une grande surface plane. Ils voient quelqu'un courir. Ils crient le nom de Mulder, l'homme s'arrête et repart à courir. 

Pendant ce temps, Scully arrête sa voiture et se trouve devant Shadow Man qui traverse le brouillard. Elle se met à courir. Shadow Man la suit. Elle lui demande pourquoi il veut la tuer. Quelqu'un doit mourir, Mulder ou son fils. Scully ne comprend pas pourquoi il parle de son fils. Elle veut des réponses. Shadow Man se met à trembler et va contre la carrière où il meurt. (enfin peut-être, personne ne meurt vraiment dans X-Files). Scully s'en va apeurée. 

Scully écrit à Mulder. Elle est contente de voir qu'il a sauté de train parce qu'il savait qu'il était en danger. Elle lui dit qu'elle a peur pour lui. La détermination de Scully est de le revoir et de partager de nouveau avec lui un autre moment de sécurité et de confort qui malheureusement était pendant un bref moment. Elle signe : Jusqu'à ce moment, je serai toujours à toi, Dana. Elle regarde son bébé en souriant et lui caresse la joue. La musique de Mark Snow joue derrière. Elle pense à Mulder et envoie le message.

TRUST NO 1

 

SCENE 1

(Fade In.)

(During SCULLY's opening voiceover we see a montage of images and scenes from previous seasons and classic MSR (Mulder Scully Romance) episodes. The whole opening teaser is in slow-motion. The classical music playing during this montage of clips is Peter Ilyich Tchaikovsky's "The Seasons: Barcarolle", arranged and performed by Richard Grayson. The teaser gives the impression that MULDER and SCULY have been under surveillance for a long time.)

(Black and white image of SCULLY looking at herself in a mirror.)
(From "WITHIN" 8X01)

(It dissolves into a colourful image of two cars passing each other on a city street at night.)

(Black-and-white image of SCULLY looking down in front of a mirror takes place up-front on screen.)
(From "WITHIN" 8X01)

(It dissolves into another colourful city street shot, with moving cars and the Capitol Building in the background, well-lit and clearly visible at night. The scene freezes and turns black and white.)

(We cut seamlessly onto SCULLY exiting the hospital, lost in her thoughts, holding a bouquet of flowers in her right hand. Black-and-white footage.)
(From "all things" 7X17)

(Black and white shot of SCULLY seated in a car behind a steering-wheel in a parking garage. Very sad. Its format is that of a surveillance footage.)
(From "THE END" 5X20)

(Another black and white shot of SCULLY looking at herself in a mirror.)
(From "WITHIN" 8X01)

(Black and white image of SCULLY holding an umbrella. As the scene begins playing the screen turns colourful and SCULLY comes up to join MULDER at a crime scene. Then the scene freezes and turns into a black and white surveillance photograph.)
(From "LEONARD BETTS" 4X14)

(Fade to white)

(The white light melts into a black and white image of MULDER running towards a phone booth, SCULLY close behind him. It is a surveillance photograph, then other black and white surveillance photographs appear, all fast-forwarded until we see a close-up of MULDER holding a phone receiver to his ear. It is also a black and white surveillance photograph.)
(From "PUSHER" 3X17)

[Fade to black]

(Colourful image of MULDER and SCULLY appears, both sitting in The X Files office. MULDER sitting in his chair behind his table, SCULLY sitting in a chair in front of the table. Very awkward atmosphere, yet *very* memorable moment. The scene freezes and turns black and white.)
(From Final images of "NEVER AGAIN" 4X13)

(Black and white scene of SCULLY following MULDER through the street. Police officers can be seen in the background.)
(From "PAPER HEARTS" 4X08)

(Black and white scene of MULDER and SCULLY kneeling over a dead body lying on a floor at the Metro Diner.)
(From "KILL SWITCH" 5X11)

(MULDER and SCULLY sitting on a couch at MULDER's apartment. The camera angle is from the airvent.)
(From "MILAGRO" 6X18)

(Black and white surveillance image of MULDER staring ahead of himself, contemplating the next move. The shot freezes, then begins playing as SCULLY leans closer to MULDER to speak to him privately. Very lovely image.)
(From "THE FIELD WHERE I DIED" 4X05)

(Hallway hug at the hospital. MULDER and SCULLY holding each other. MULDER has his chin on the top of SCULLY's head. He then stokes her hair.)
(From "MEMENTO MORI" 4X15)

(MULDER smiles at SCULLY, then leans down to her and they kiss.)
(From "MILLENNIUM" 7X05)

(MULDER embraced SCULLY after her failed attempt at IVF pregnancy. We see her face over his shoulder. Her eyes are filled with tears.)
(From ("PER MANUM" 8X08)

(MULDER sitting on bed in his motel room, SCULLY examining him.)
(From "DEMONS" 4X23)

(Standing at SCULLY's apartment close to each other.)
(From "PER MANUM" 8X08)

(Night. SCULLY approaching MULDER in a desert before their touching "Good-bye" conversation.)
(From "DREAMLAND II" 6X05)

SCULLY: (Voiceover) One day, you'll ask me to speak of a truth - of the miracle of your birth. To explain what is unexplained. And if I falter or fail on this day, know there is an answer, my child, a sacred imperishable truth, but one you may never hope to find alone. Chance meeting your perfect other, your perfect opposite - your protector and endangeror. Chance embarking with this other on the greatest of journeys - - a search for truths fugitive and imponderable. If one day this chance may befall you, my son, do not fail or falter to seize it. The truths are out there. And if one day you should behold a miracle, as I have in you, you will learn the truth is not found in science, or on some unseen plane, but by looking into your own heart. And in that moment you will be blessed - and stricken. For the truest truths are what hold us together, or keep us painfully, desperately apart.

(We see a new image of SCULLY's devastated face. She is leaning over a lifeless male body laying on a train platform. The green surveillance footage changes into a real- life colourful image.)



 

[OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS]

TAGLINE: THEY'RE WATCHING



SCENE 2

(Night. SCULLY is still on the platform, waiting for someone. She is being covertly watched through a surveillance camera. She paces down the platform and checks her watch.)

[Fade to black]



SCENE 3
FEDERAL GROUNDS INTERNET CAFE
WASHINGTON, D.C.

(Day. SCULLY is pushing WILLIAM in his stroller along a street. She enters the cyber cafe and walks over to the counter, where she orders a drink. The WAITRESS recognises her.)

WAITRESS: (from behind a counter) Hey. Tall coffee with milk?

SCULLY: Yes, thanks.

SCULLY: And can I get a warm-up, please?

(SCULLY hands the WAITRESS a bottle of baby milk to warm.)

(Minutes later, SCULLY is sitting in front of a computer and has logged into her mail account. A voice informs her "You have 5 new messages." The screen says "Welcome Dana Scully". The messages listed on the screen are:

Subject From
Lose 25 lbs. in TWO WEEKS - Gauranteed! tracy1893@dieters
Travel Bargains-Airfare Discounts! HotTravelBargains
Tired Of Your Old Job??? Sue185@RRS
Requested Research Link drstanton@fbi.gov
Dearest Dana trust_no1@mail.com

(The camera moves in towards the email from "trust_no1@mail.com. SCULLY looks happy to see it. She opens it. We see the message on the screen.)

E-Mail From: Trust_No1@mail.com
To: Queequeg0925@hotmail.com
Date: 07 Jan 2002

SCULLY: (Voiceover) I've resisted contacting you for reasons I know you continue to appreciate. But, to be honest, some unexpected dimensions of my new life are eating away at any resolve I have left. I'm lonely, Dana, uncertain of my ability to live like this. I want to come home. To you, and to William.

(SCULLY looks sad after reading to message to herself. She looks down at WILLIAM, who is sucking on his bottle. We hear another baby cry. SCULLY looks up)

(A woman, PATTI, enters the cafe, pushing another stroller. She stops at the counter to attend to her baby.)

PATTI: Shhh-shhh.

(SCULLY starts writing her reply on the computer.)

SCULLY: (Voiceover) I am physically shaking right now seeing your words. Wishing it were you speaking them to me. I want so badly to see you too, but you are still not safe here.

(SCULLY looks up. The baby's mother is nowhere to be seen. The baby continues to cry. SCULLY gets up and walks over to the stroller. The WAITRESS has also walked over to the baby.)

SCULLY: The child's mother, she was just here. Where did she go?

WAITRESS: I think that's her out there.

(Through the window, we can see PATTI talking to a MAN ON THE STREET. They seem to be having a heated discussion. She suddenly turns away from him and comes back into the cafe.)

PATTI: Excuse me.

(She kneels down, tending to her baby.)

PATTI: I'm sorry. I'm sorry.

(She stands back up. SCULLY smiles at her. The PATTI quickly turns the stroller around and leaves the cafe.)



SCENE 4
FBI TRAINING ACADEMY
QUANTICO, VIRGINIA

(Day. SCULLY is looking at a print out of the E-Mail from earlier on a piece of paper. She hears doors opening and sees DOGGETT and REYES enter. She quickly hides the piece of paper in a drawer.)

DOGGETT: Can we talk to you a second?

REYES: It's about Agent Mulder.

SCULLY: What about Mulder?

DOGGETT: We got a guy contacting us through intelligence channels. He keeps saying he wants to talk to Fox Mulder only he won't say why.

SCULLY: Well, who is he?

REYES: We don't know. He always covers his tracks. But this morning we finally got him to tip his hand. He says he has highly classified military files.

SCULLY: Files on what?

DOGGETT: These bio-engineered soldiers we've all come in contact with. So-called super-soldiers. The same ones threatening Mulder's life, forcing him to live underground.

SCULLY: What does he want with Mulder?

DOGGETT: He wants to give him the names of these super-soldiers, and Mulder's the only person he'll give them to.

(Pause)

SCULLY: Well, even if this was a good idea I don't know how to contact him.

(SCULLY leaves, going into her teaching lab where her FBI class is waiting for her.)

SCULLY: (To her class) I'm sorry about that. I believe that last class we were covering petechia and evidence of death by -

DOGGETT: (standing behind SCULLY, interrupting) Agent Scully.

(SCULLY and DOGGETT leave the lab. They stop outside the door.)

DOGGETT: What the hell are you doing?

SCULLY: I'm trying to teach a class.

DOGGETT: You understand what we're being offered here? If we know who these super-soldiers are we can go after them. This is somebody giving us a way that can make it safe for Mulder to come home.

SCULLY: That's the operative word here - somebody. Somebody that we don't know.

DOGGETT: And you don't want to check it out.

SCULLY: (Insistent) What I don't want is Agent Mulder's life to be endangered any more than it already is.

DOGGETT: How long are you going to do this?

SCULLY: Do what, Agent Doggett?

DOGGETT: Refuse to trust me ... or anybody. How else you going to get him home?

(SCULLY looks away before going back into the lab.)



SCENE 5

(Night. A silver car, license plate 51 - CORI, turns round a corner and stops at the kerb. SCULLY gets out and goes to the rear door to get WILLIAM out of his car seat. She overhears someone in the street. She doesn't recognise her.)

PATTI: Leave us alone.

MAN ON THE STREET: I am not going to do this.

PATTI: Get away. Get away from us. Leave us alone.

MAN ON THE STREET: She's coming with me.

PATTI: What are you doing?

SCULLY: (To the WOMAN) Do you need help, ma'am?

(PATTI has her back turned to her.)

PATTI: No. Don't ...

SCULLY: Hey.

PATTI: Don't take her with you.

MAN ON THE STREET: No. I'm not letting you have her.

SCULLY: Do you need me to call the police?

PATTI: Don't go. Don't go! Please.

SCULLY: Ma'am? Are you all right?

(The WOMAN turns and SCULLY sees that it is the woman from the Internet cafe, PATTI.)



SCENE 6

(Night. SCULLY's apartment. Her front door opens and SCULLY enters, holding WILLIAM in her arms. PATTI follows her in. SCULLY turns some lights on.)

SCULLY: Come on in. The phone's over there.

PATTI: I don't know if it's such a good idea. Making out a police report.

SCULLY: Well, you've (pausing) obviously got a problem. I saw you this morning at the cafe. Is he your husband?

(PATTI looks upset, and avoids eye contact with SCULLY.)

PATTI: Yeah.

SCULLY: It's okay. I understand. I mean ... it's hard enough caring for a child.

PATTI: You don't have anyone, do you?

SCULLY: No. (SCULLY looks down.) But I wish I did.

PATTI: (With a smile) Maybe he'll come back.

(SCULLY looks up at PATTI, a beautiful smile on her face.)

SCULLY: Do you have anywhere to go?

PATTI: (Shaking her head) No.

SCULLY: I'm going to get you a blanket and something hot to drink, all right?

PATTI: Thank you.

SCULLY: (Extending her hand) My name's Dana.

PATTI: (Smiling back) I'm Patti.

(They shake hands.)



SCENE 7
BETHESDA, MARYLAND
9:32 PM

(Night. DOGGETT is sitting in his car, watching a 3-storey brick building across the street in front of him. REYES' car pulls up behind his. He sees her in his rearview mirror. She gets out of her car and joins DOGGETT in the front seat of his.)

REYES: What do you have?

DOGGETT: This source of ours decided to give my cell phone a call tonight. I ran a trace.

REYES: Did you get a number?

DOGGETT: No, but I got a node. A sector of six City blocks. The area's pretty vacant, except for this building here.

REYES: Say this source is for real, and this is Mulder's chance to come home. We spook the spook, and maybe that chance goes away. Or worse, it drives Mulder deeper.

(A dark car pulls up in front of the building. A man gets out and opens a door into the building. He enters, checking behind his before he closes the door. We see it is the MAN IN THE STREET from earlier.)

REYES: Where are you going?

DOGGETT: Take a little look into his car.

REYES: I'll say it again - what we risk is compromising Mulder's return.

DOGGETT: I don't plan on getting caught.

(DOGGETT gets out of the car.)



SCENE 8

(A surveillance room. There are maybe a dozen desks in the room, each with several monitors on them. Staff sit in front of the screens, working at terminals. The MAN IN THE STREET enters the room, taking off his jacket and sitting down at a desk. Another man is sitting at a desk next to his, his fade in shadow.)

MAN ON THE STREET: Good evening. How are you?

SHADOW MAN: Good. You?

SHADOW MAN: Your wife and kid?

MAN ON THE STREET: They're good. Good. Everybody's good.

(The SHADOW MAN turns back to his monitor. On the screen, we see a feed from a surveillance camera outside. We see DOGGETT and REYES run across the road to investigate the MAN IN THE STREET's car. The SHADOW MAN watches intently.)

[Fade to black]



SCENE 9

(Surveillance footage. We again see SCULLY being surveilled on the train platform. The camera zooms in to show her face. We see REYES standing on the platform. A solitary man in shadow walks down the platform.)

[Fade to black]



SCENE 10
5:41 AM

(Day. In the car, REYES is asleep, whilst DOGGETT reads the paper. He notices the MAN IN THE STREET leaving the building, moving towards his car.)

DOGGETT: Monica, wake up.

REYES: What?

(The man starts the car and drives away (license plate 29 - DOTH), past DOGGETT. Once he has passed, DOGGETT turns the car around in the street and follows.)



SCENE 11

(Early morning. SCULLY's apartment. PATTI is laying awake on the sofa. She gets up and sees SCULLY sleeping in her bedroom. She goes to the baby monitor and turns it off. She stands over WILLIAM and outstretches her arms to pick him up.

(In SCULLY's bedroom, her cell phone starts vibrating on the bedside table. She wakes up and answers it.)

SCULLY: (On phone) Hello.

DOGGETT: You awake?

SCULLY: Yeah. I just laid down. What time is it?

DOGGETT: 6:00 AM

(We see DOGGETT and REYES are walking up the street in front of SCULLY's apartment.)

DOGGETT: Agent Reyes and I just tailed a car onto your street. We watched a guy go into your building. A guy we're guessing you've got no business with.

DOGGETT: (on phone, voice) You there, Agent Scully?

(SCULLY appears from around a doorway with her gun, aimed in front of her. She sees PATTI holding WILLIAM.)

SCULLY: Put him down. Now!

PATTI: Oh, my God.

SCULLY: Put my baby down.

(PATTI puts WILLIAM back down in his crib. She looks visibly shocked by SCULLY's actions.)

(The door handle starts to turn slowly. Outside her apartment door, we see the MAN ON THE STREET picking the lock. DOGGETT exits the stairwell and sees him. He races towards him and pins him up against the wall. He wrestles him to the floor as REYES appears from the stairwell. REYES moves towards the door.)

REYES: (Pounding on door) Agent Scully?

(SCULLY still has her gun aimed at PATTI, as the door opens.)

REYES: Agent Scully, do you know this man?

(SCULLY looks down at the MAN ON THE STREET.)

DOGGETT: I wouldn't think so. Not with him trying to pick his way into your place.

(DOGGETT shows SCULLY the lockpick he was using to pick the lock.)



SCENE 12

(Inside SCULLY's apartment. DOGGETT, REYES and SCULLY are interrogating PATTI and the MAN ON THE STREET, who are sat next to each other on the couch.)

DOGGETT: Start with who you work for.

MAN ON THE STREET: I'm not at liberty to say.

DOGGETT: Is this your wife? Maybe she's at liberty. Maybe she doesn't want to accompany you to prison.

SCULLY: You staged this, didn't you? Arguing on the street. Everything.

PATTI: No.

SCULLY: It's a con job. What are you after? My baby?

PATTI: No, no. I want to protect William.

MAN ON THE STREET: That's enough. You want to get us killed?

PATTI: You said ... you said that they could help us. You told me that. That's what you said.

DOGGETT: What the hell is going on here?

MAN ON THE STREET: They're watching.

DOGGETT: They're watching?

(SCULLY walks over to the window and lowers the blinds.)

SCULLY: You got something to say, say it.

MAN ON THE STREET: I work for the National Security Agency. The name on my driver's license is false. If you were to call the police I would be detained only long enough for another NSA agent to authorize my release. I don't exist as a citizen, nor does anyone I work with.

DOGGETT: So what are you doing here?

MAN ON THE STREET: As you can see, my wife is upset. I was coming to get her to stop this very event.

REYES: What's she so upset about?

PATTI: We have a daughter ... Joy. There's something about her. Something different. Just like there's something different with her son William.

(SCULLY is silent, listening carefully and shocked at PATTI's revelations.)

DOGGETT: Different how? How do you know anything about her or her son?

MAN ON THE STREET: (To DOGGETT) I know virtually everything about you. (To REYES) And you.

(To SCULLY) And you. Several months ago, you saw your son affect the movement of the mobile over his crib. He spun it, as if with his mind. It happened to us the same way.

REYES: So you've been looking in this apartment with what, cameras?

MAN ON THE STREET: Various forms of technology.

REYES: Then it's you who's been contacting us.

MAN ON THE STREET: Not directly. My scope is limited. I only look at what they tell me to. But I have a supervisor who I've told everything I'm telling you about my daughter, and her son, and he started to look into it. He learned things about a super- soldier program. Things he won't tell us. Crimes, he says, against innocent people.

SCULLY: What does he want with Mulder?

MAN ON THE STREET: Mulder's the only one capable of making the connections, he says.

PATTI: Maybe we can help you. And maybe you can help us find out the truth. About what our babies really are.

(During the pause in conversion, SCULLY's home phone rings. She picks it up and answers.)

SCULLY: (On phone) Hello.

SHADOW MAN: (On phone) You've had quite an earful.

(The voice we hear through SCULLY's phone is distorted to disguise it.)

SCULLY: Who is this?

(We see the SHADOW MAN sitting at his desk.)

SHADOW MAN: As my associate indiscreetly told you, we don't have names.

SCULLY: You've been listening to us?

SHADOW MAN: It's all I could do after you closed the shades, Agent Scully.

SCULLY: You ever heard of the Constitution?

SHADOW MAN: Yes. It's what allows foreign terrorists to live here and enjoy the American dream, until time comes to destroy it. But my trespasses are the least of your concern, after what they've done to you and Mulder.

SCULLY: What have they done?

SHADOW MAN: Actually, it's what they're prepared to do next.

SHADOW MAN: I'd be happy to tell Agent Mulder.

SCULLY: (Tearful) Well, you're going to have to tell me 'cause I don't know how to reach Agent Mulder.

SHADOW MAN: You reached him yesterday. You sent him an e- mail. Would you like me to read it to you?

SCULLY: (Tears are now welling up in her eyes) Look why should I trust you? You're just a voice on the end of the phone. I'm not going to give you anything unless I can meet you. Unless I ... unless I can see your face. Are you still there?

SHADOW MAN: If you think you can flush me out you're making a big mistake. Bus bench, Internet cafe. Come alone. You have 20 minutes.

(The SHADOW MAN hangs up the phone. SCULLY puts on her jacket.)

DOGGETT: Agent Scully? What are you doing?

SCULLY: I'm going to meet your contact. I think you should watch William, Monica.

DOGGETT: I don't like this. I don't like the feel of it and I don't like you agreeing to it without backup.

SCULLY: You said I had to trust someone, right? Well, that's what I'm doing.

(SCULLY gets ready to leave.)



SCENE 13

(Outside the Federal Grounds internet cafe. SCULLY stops and sits on the bench. Her cell phone rings as soon as she's sitting.)

SCULLY: (On phone) Hello.

SHADOW MAN: (On phone, distorted) Are you armed, Agent Scully?

SCULLY: Yes.

SHADOW MAN: Then you're prepared to use your weapon should anything go wrong?

(We see a surveillance camera is monitoring SCULLY outside the cafe.)

SCULLY: (on phone) I'm not sure I follow you.

SHADOW MAN: Then do exactly as I say. If you vary my instructions in the smallest way, we're over. If I see, or suspect that you're not working alone I will terminate our communication. If I believe a third party is trying to use this meeting to prevent our exchange you must be prepared to use your weapon in your own defence. Am I clear?

SCULLY: (on phone) Yes.

SHADOW MAN: (on phone, voice) There's a green sedan across the street from you. The keys are in it. I want you to get in the car.

(SCULLY notices the car on the other side of the road. She gets up and goes over to it. The camera tracks her whilst she does this. She looks around before getting into the driver's seat.)

SCULLY: (on phone) All right, what next?

SHADOW MAN: (on phone, voice) Start the engine, put the car in drive and await my next order.

SHADOW MAN: (on phone, voice) Pull out quickly! Go now!

(In front of an approaching car, SCULLY accelerates from the side of the road into traffic. The car she cuts up slams on the brakes and sounds their horn in anger. SCULLY continues to accelerate down the road, driving with one hand and holding to phone to her ear with the other.)

SHADOW MAN: (on phone, voice) Agent Scully?

SCULLY: (on phone) Is it absolutely necessary to get innocent people hurt?

SHADOW MAN: (on phone, voice) You're free to stop the car and walk away at any time. Up to you. I'm doing this for your own protection and for Mulder's.

SCULLY: (on phone) So where am I going?

SHADOW MAN: (on phone, voice) Turn right. Right now.

(SCULLY looks up ahead. There is a narrow alley to the right up ahead. She turns into it and stops the car. The camera is watching her. She walks away from the car.)

SHADOW MAN: (on phone, voice) Stop the car. Get out, Agent Scully. Turn the engine off, take the keys out. Walk to the top of the alley. There's another car there. Get in and drive directly to the interstate on-ramp heading west. You will continue driving west until I tell you otherwise.)

[Fade to black]



SCENE 14

(Night. Road. SCULLY is driving alone in the dark. She is still holding the phone to her ear.)

SHADOW MAN: That's far enough. Get out of the car.

(She moves to turn off the engine.)

SHADOW MAN: Leave it running.

SCULLY: Where are you?

SHADOW MAN: Move around to the trunk. You'll see a change of clothes inside for you. Put them on.

SCULLY: Look, uh ... we're in the middle of nowhere.

(She opens the trunk. There are clothes inside.)

SHADOW MAN: There is no middle of nowhere anymore, Agent Scully.

(We see SCULLY being watched from about 20 metres, by someone standing behind bushes. We are in a deserted clearing, the car's headlights providing the only illumination. SCULLY is changing into the new clothes. She bends down to the ground to pick up her old clothes when suddenly we see somebody's foot appear in front of her. It is the SHADOW MAN.)

SHADOW MAN: Put the gun in the trunk. Your clothes, too.

(She does as he asks. The SHADOW MAN takes a remote control device out of his pocket and turns it on. The car starts moving away from them. We see the license plate is 48 - INXU. SCULLY watches in semi-shock. When the car is sufficiently far away, he presses another button on the device and the car explodes in a huge ball of flames. He turns to SCULLY.)

SHADOW MAN: Your watch. Give it to me.

SCULLY: This is ridiculous. This has gone far enough.

SHADOW MAN: Do you want to see Mulder again?

(She takes her Omega from her wrist. The SHADOW MAN examines it before giving it back to her.)

SCULLY: These clothes that I'm wearing ... they're my size. How the hell do you know my size?

SHADOW MAN: Your size? I know your blood type, your resting heart rate, your childhood fear of clowns. I know the name of your College boyfriend, your true hair colour, your ATM pin number, favourite charities, pet peeves. I know you spend too much time alone. And I know ... that on one lonely night you invited Mulder to your bed.

(SCULLY cannot believe all this. Her eyes starts to well up.))

SCULLY: (Speechless) Oh, my God.

SHADOW MAN: I was as surprised as you are.

(Tears have started to stream down her face.)

SCULLY: Who authorizes you? I mean, what gives you the right? Who are you?!

SHADOW MAN: I'm the future, Agent Scully. And I risked my life being here.

SCULLY: Well, then why do it? I mean, why meet me?

SHADOW MAN: Because you can reach Mulder. Mulder needs to know what I know or he may have no future. Perhaps no one will. Another car is parked on the main road, half a mile out. If I see that you haven't contacted Mulder in the next twenty- four hours, I disappear and you never see me again. Do you understand, lady?

(He holds out some car keys and she takes them. She walks off into the night. The SHADOW MAN watches her.)

[Fade to black]



SCENE 15
FBI TRAINING ACADEMY
QUANTICO, VIRGINIA

(SCULLY is in the teaching lab, standing over a cadaver with a group of students. DOGGETT is standing outside in the corridor. She notices him.)

SCULLY: (To her students) Excuse me.

(SCULLY comes over to the lab door, opening it and standing in the doorway.)

SCULLY: I'm teaching a class, Agent Doggett. Is it something pressing?

DOGGETT: Yeah. I'm worried now about what it is I've gotten you into.

(She joins him in the corridor.)

SCULLY: You're right to be worried.

DOGGETT: This guy that led you all over town last night ... he says he wants to talk to Mulder, right? Why does he need you? Why not go to Mulder directly? 'Cause this guy knows Mulder resurfaces only if the one person he trusts asks him to.

SCULLY: That guy didn't come to me, Agent Doggett, he came to you. That woman that I took in blew his cover. He had no other choice.

DOGGETT: Did you ever stop to think that this woman and her husband are in on this, too?

SCULLY: I don't believe that. That woman is truly scared for her child for the same reasons that I am.

DOGGETT: How do you know they're not being used by this Shadow Man to lure Mulder out? To kill him?

SCULLY: 'Cause that couple doesn't even necessarily trust the Shadow Man. I mean, for their own reasons.

DOGGETT: You think about it. This guy seems to know everything. He even reads your e-mail. How can you, or anybody hope to ensure for Mulder a safe passage home?

SCULLY: Mulder and I already considered that even before he left. His return has been pre-arranged. The place, the mode of transport, everything's been set.

DOGGETT: Well, you can call the whole thing off?

SCULLY: I can't. I've already sent for him. Mulder's on a train. He'll be here at midnight.

DOGGETT: Maybe you can reach him.

SCULLY: You can't do that to me.

DOGGETT: I'm sorry.

SCULLY: (Passionately) I want to see him so bad.

DOGGETT: I know. And I want to make sure that you get to, Dana. That's the whole reason I'm here.

SCULLY: Well, it's too late. And I have to go.



SCENE 16
10:48 PM

(SCULLY is on the train platform, walking down it alone. She checks the time on her watch. A surveillance camera watches her every move. It zooms in on her face. She looks very anxious.)



SCENE 17
FBI EVIDENCE LAB

(DOGGETT enters the lab, carrying an evidence bag. We see an female agent sitting at a bench, wearing glasses with magnifiers on each lens and a small light source attached to the bridge of the glasses. She is hard at work examining something.)

DOGGETT: Agent Boal? Edie Boal? Yeah, I'm John Doggett. We spoke a few minutes ago. You said if I came right down you might be able to help me out.

(She looks up from the bench. She moves the magnifiers so she can see him.)

AGENT BOAL: What'd I get myself into?

DOGGETT: I've got some clothing here. I'm looking for anything you can find that might give me an ID.

AGENT BOAL: Male or female?

DOGGETT: It's a male who handled them and he gave them to a female agent.

AGENT BOAL: When do you need them?

DOGGETT: I got a little over an hour.

AGENT BOAL: Your staring over my shoulder doesn't make me go faster.

(She turn and looks at him, her expression clearly making her point. DOGGETT leaves the sample with her and heads for the door.)



SCENE 18

(SCULLY is still pacing the platform. She checks the time on her Omega watch again, 11:26 PM. She turns back towards the station building, and REYES appears. SCULLY is still being surveilled. She turns away and we see the MAN ON THE STREET walking down the platform towards her. He stops in front of her, looking up the wall of the platform building. We notice a small camera attached to the wall. He takes out a black spraycan and sprays over the lens, obscuring its view.) CUT TO:

(DOGGETT is in the X Files office, watching the clock. It is now 11:38 PM. He takes his jacket and heads out the door.) CUT BACK TO:

(The Postal Telegraph clock at the station shows it is now 11:56 PM. REYES is on the platform. SCULLY is now looking very anxious. She checks up and down the platform. The MAN IN THE STREET is still there.)

STATION ANNOUNCER: (On Tannoy) May I have your attention please? Southbound 112 now arriving. Southbound 112 now arriving. Please stay clear of the platform until the train comes to a full stop.

(In the distance we seethe light of a train approaching the station. A bell starts to ring as the crossing closes.)

(The scene suddenly change to slow motion. SCULLY looks over at the MAN IN THE STREET. He reaches into a pocket and pulls out a handgun. He aims it in SCULLY's direction. REYES notices this and shouts to DANA. She runs over to her and pulls SCULLY to the ground. The MAN IN THE STREET shouts as he holds his aims. From the other end of the platform, and from behind a ground of waiting people, the SHADOW MAN appears. He has a handgun aimed back towards THE MAN IN THE STREET as he pushes his way past the group of people.)

(The SHADOW MAN walks towards him and fires, hitting the MAN IN THE STREET in the left side of the chest. He continues towards him. The MAN IN THE STREET collapses onto the platform. The SHADOW MAN moves closer. REYES reaches for her gun, protection SCULLY. Suddenly the SHADOW MAN is hit in the leg and chest. The camera pans to reveal DOGGETT standing a short distance away, his gun still aimed at the SHADOW MAN who falls backwards off the platform in front of the train. It looks as though he falls inbetween the rails.)

(The scene changes back to normal speed.)

STATION MANAGER: (On radio) Two men shot! Two men shot! Keep rolling!

(SCULLY runs up to him.)

SCULLY: Stop the train!

STATION MANAGER: (on radio) Keep rolling!

SCULLY: I'm a Federal Agent!

STATION MANAGER: (on radio) Keep rolling!

(SCULLY checks the carriages for any sign of MULDER, getting more agitated as the train passes.)

SCULLY: (Shouting) Mulder!

(The train passes the platform. SCULLY runs back over to REYES and DOGGETT, who are standing over the MAN IN THE STREET's body. He is just barely alive. SCULLY cradles his head in her hands, and he drifts away. SCULLY is very upset and kneels over him.)

[Fade to black]



SCENE 19

Night. Later on the platform, a police car pulls up, its blue lights flashing. DOGGETT and a police officer are inspecting the tracks where the SHADOW MAN fell. SCULLY is sitting with REYES in silence on the platform bench. PATTI walks over to her.)

PATTI: (Tearfully) Agent Scully? It wasn't supposed to happen. This wasn't supposed to happen at all. All we wanted was answers. We never meant to harm you. My husband was not a part of this.

SCULLY: I know. I know that he was only trying to protect me.

PATTI: The man who he works for ... he's the one who's responsible for this.

SCULLY: I know. I'm sorry.

SCULLY: I'm so sorry.

(PATTI and SCULLY are now both crying. SCULLY comforts PATTI and they hug.)

(DOGGETT leaves the trackside and walks up a flight of steps to the platform. REYES walks over to him.)

REYES: What is it?

DOGGETT: What I was afraid of.

SCULLY: Agent Doggett, what?

(SCULLY walks over to them.)

DOGGETT: We can't find him.

SCULLY: Who?

DOGGETT: The man I shot. He fell in front of a frikkin' moving train but he ain't down there on the tracks.

SCULLY: Well, where is he?

DOGGETT: Nowhere. It shouldn't make a bit of sense, but it does. I went to run the DNA on the clothes he gave you, only the man's DNA can't be tested. They say it's some kind of weird DNA complexed with iron or some damn thing.

REYES: That doesn't make sense.

DOGGETT: I think it does. 'Cause he's not a man. He's a super-soldier.

(SCULLY now realises what this means.)

SCULLY: Mulder. I've got to warn Mulder.

(SCULLY runs over to the STATION MANAGER, who is standing on the platform with some other passengers.)

SCULLY: Get on the radio! Get on the radio and alert them that there's a situation on that train.

STATION MANAGER: A situation?

SCULLY: The man who fell on the tracks, he's gotten on that train.

(Suddenly, a voice is heard over the STATION MANAGER's radio.)

MAN FROM THE TRAIN: This is the Southbound 112. We got a jumper. A man jumped off the train at the mile 19 connector, ran into the Manville rock quarry there.

(SCULLY turns away, sure of who they are referring to.)



SCENE 20
MANVILLE ROCK QUARRY
1:17 AM

(Night. A car is driving into the quarry. We see its license plate is 86 - WFMG. It comes to a stop and Agents SCULLY, DOGGETT and REYES get out. SCULLY runs around from the passenger seat as DOGGETT and REYES get out.)

DOGGETT: Agent Scully, you drive. Head down into the quarry and we'll meet you at the bottom.

SCULLY: Okay.

(SCULLY gets into the driver's seat whilst DOGGETT and REYES head off to explorer the quarry on foot. SCULLY starts the car and drives off.)

(DOGGETT and REYES are climbing down a rather steep rock face, littered with stones and boulders. DOGGETT stops and sees a man running across the bottom of the quarry, too far away to easily identify.)

DOGGETT: Agent Reyes!

(DOGGETT calls out. The figure stops momentarily.)

DOGGETT: Mulder! Mulder!

(The figure stands there.)

DOGGETT: Mulder, it's John Doggett!

(The figure starts to run again.)

SCULLY: Mulder? Mulder?

(A man appears through the mist. It's the SHADOW MAN.) CUT TO:

(SCULLY parks the car at the bottom of the quarry and gets out. She calls out.)

SCULLY: Mulder?

(Silence. She calls out again.)

SCULLY: Mulder?

(A figure emerges from the mist ahead of her. His face in shadow to start with, as he approaches his identity is revealed. It is the SHADOW MAN, alive and well as DOGGETT predicted. Recognising him, SCULLY runs off in the opposite direction. She continues as far as she can go. She finds herself in an open area surrounded by the high, steep sides of the quarry. There is heavy plant machinery standing idle around her. SCULLY stops and draws her gun as the SHADOW MAN appears from behind one of the diggers. He starts walking towards her.)

SCULLY: Stop there! Stop right there! Why do you want to kill us?!

(The SHADOW MAN continues walking towards SCULLY.)

SHADOW MAN: Mulder must die. Mulder or your son.

(Taking no notice of SCULLY he continues towards her menacingly.)

SCULLY: What are you talking about? What does this have to do with my son? What's wrong with my son?! Answer me!

(The SHADOW MAN suddenly stops in front of her. His expression becomes pained. His body goes rigid. He looks at the rocks around him. There is a reddish colouring around the base of the quarry. The SHADOW MAN starts shaking and drops to his knees. SCULLY holds her gun on him, unsure of what is happening. He drops onto his chest. Patches of black start appearing on his forehead. He tries to get up, but cannot resist the invisible attraction to the rock. He struggles to his feet, his exposed skin now completely blackened by a chemical reaction. Suddenly without warning, his body is pulled towards the quarry wall at great speed, flying past Agent SCULLY. He hits the wall with enormous velocity, his body exploding into dust on impact. Nothing remains.)

(SCULLY, laying on the ground to avoid him, looks over at the rock wall. She scrambles to her feet and runs off back the way she came, back to her car.)



SCENE 21

(Night. SCULLY is sitting in the internet cafe, typing an email to MULDER. WILLIAM is awake in his stroller next to her.)

SCULLY: (Voiceover) I hold no hope you can respond to this. Or that it reaches you. I only hope that you are alive.

I cannot help believing that you jumped off that train because you knew what I now know - that these "super-soldiers," if that's what they are, can in fact be destroyed. That the key to their destruction lies in the iron compound at that quarry.

I am scared for you, Mulder. And for William. The forces against us are unrelenting. But so is my determination. To see you again. To regain the comfort and safety we shared for so brief a time.

Until then, I remain forever yours... Dana

(SCULLY looks down at WILLIAM, who looks very content. She strokes his face with her hand, and smiles warmly at him.)

(She clicks the "Send" button. Seconds later a message message appears on the screen "Your Mail Has Been Sent.")

[Fade to black]

[THE END]

Kikavu ?

Au total, 12 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

RonanBart 
05.10.2016 vers 16h

JessBones 
19.09.2016 vers 20h

stephe 
29.08.2016 vers 14h

Sonmi451 
28.08.2016 vers 11h

tutu0605 
Date inconnue

gaia38 
Date inconnue

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

Activité récente

Photos 209
03.12.2016

The Fall
18.10.2016

Hannibal
09.10.2016

Aquarius
09.10.2016

Actualités
Aquarius - Saison 2

Aquarius - Saison 2
RDV ce soir à 20h55 pour la saison 2 de Aquarius,  sur 13emeRUE : 20h55 : Episode 1 : Helter Skelter...

HypnoAwards 2016

HypnoAwards 2016
Dans la catégorie ; Meilleure actrice dans une série fantastique ou de science fiction, On retrouve...

The Fall: Saison 3

The Fall: Saison 3
The Fall saison 3 c'est Jeudi 29 Septembre à 21h sur BBCTWO > Fiche Série ...

The X-Files  Les nouvelles affaires non classées

The X-Files Les nouvelles affaires non classées
Aujourd'hui, sortie du comics The X-Files Nouvelles Affaires T2 avec textes de décryptage d'Alain...

The Fall: Saison 3

The Fall: Saison 3
La saison 3 de The Fall arrive prochainement sur BBC 2, la chaîne nous offre un Teaser avec Gillian...

Newsletter

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

Inscris-toi maintenant

Sondage

Vous préférez David Duchovny dans ...

Total : 2 votes
Tous les sondages

Téléchargement
Partenaires premium
HypnoChat

Sonmi451 (23:13)

Profites bien tite.

Titepau04 (23:13)

Mais ouiiii !!! J'aime pas le froid!!!

Titepau04 (23:13)

Merciiii !

Sonmi451 (23:13)

Il fait pas hyper froid, il fait bon chez toi, ici fait encore chaud pour la fin novembre

Sonmi451 (23:14)

Moi j'adore, c'est le chaud que j'aime pas. lol

CastleBeck (23:14)

Sonmi : Ce n'est pas que tu n'as pas le temps, car si tu en avais réellement envie, tu trouverais de le temps

Sonmi451 (23:15)

On a pas le temps, on a un temps et c'est ce temps là qu'on a toujours mais on n'en connait pas sa durée et tout le problème est là.

CastleBeck (23:15)

Non, c'est oki aujourd'hui, mais j'aime ni le froid ni le chaud...

stanary (23:15)

Ah je comprends pas comment vous faîtes pour aimer le mauvais temps .

Sonmi451 (23:15)

Mais bien sur, j'ai toujours mon temps. ^^

Titepau04 (23:15)

Tu n'aimes pas le froid??? C'est dommage ça!!!

CastleBeck (23:16)

Un temps, le temps... Tout est question de déterminant tout ça

CastleBeck (23:17)

Le froid,c 'est pas du mauvais temps... Il peut faire froid et soleil...
Moi, j'aime le printemps et l'automne, j'aime pas l'hiver et tout ce qui s'y rapporte (sauf le hockey)!

stanary (23:17)

Non je déteste ça . Sonmi ton avant dernier message n'a aucun sens

Sonmi451 (23:19)

ha non c'est pas pareil le temps personne ne le tiens, c'est quelque chose qui nous fil entre les doigts mais on a tous un temps donné.

Sonmi451 (23:20)

Ca ne veut pas rien dire, c'est de la philo Star' nuance. ^^

CastleBeck (23:20)

Tout à fait d'accord. Il faut s'accorder un temps pour faire ce qu'on veut, comme danser sur la table de ton salon

Sonmi451 (23:21)

J'ai jamais dit que j'avais envie de danser sur la table. lol

CastleBeck (23:21)

Je sais!

Sonmi451 (23:21)

j'ai dit que le jour où on m'entend dire que je m'ennuie, j'irais danser sur la table ^^

Sonmi451 (23:21)

mais heureusement que je prends du temps pour moi hein ^^

stanary (23:22)

Et tu m'enverras la vidéo d'ailleurs ^^

CastleBeck (23:22)

Mais, tu vois, ici, il y a des gens qui prennent les conversations en plein milieu et qu'ils interprètent à leur façon!

CastleBeck (23:22)

(qui)

Sonmi451 (23:24)

Haaa ça je sais! lol

CastleBeck (23:25)

Sur ce, moi, il parait que je dois retourner travailler (et pelleter), alors je vous souhaite une excellente fin de soirée et une bonne nuit

stanary (23:26)

Bon courage au travail
Bonne nuit et bonne fin de soirée.

Sonmi451 (23:28)

Travailles-bien !

CastleBeck (23:29)

Merci

Sonmi451 (23:35)

Sur ce j'y vais aussi.

Titepau04 (21:41)

Nouveaux calendriers sur les quartiers NCIS Los Angeles, S Club 7 et Dr House!!! ^^

DGreyMan (21:47)

Nouveaux jeux, nouveau calendrier et nouveau sondage dans Game of Thrones. Merci d'avance.

leila36 (22:37)

Hohoho, venez admirer et commenter le nouveau design du quartier "Big Bang Theory". Vous n'allez pas le regretter.

emeline53 (22:43)

Le nouveau sondage de The Fosters vient d'arriver ! Venez nous dire ce que vous voulez comme cadeau de Noël

Sonmi451 (13:47)

Venez commenter les calendriers chez House, Scrubs, urgences et friends. Et au passage un petit vote pour les sondages sont les bienvenus, merci.

Profilage (20:16)

Bonsoir, un tout nouveau calendrier vient d'apparaitre sur les quartiers The 100 & Under the Dome. On vous attend !

carina123 (00:09)

Nouveaux calendriers et sondages sur les quartiers Lie to Me et Jericho, venez nombreux, merci. Bonne soirée à tous !

Sonmi451 (08:43)

Design' spécial noël sur Scrubs, on attend vos commentaires.

Chaudon (10:25)

Nouveau calendrier sur le quartier "Elementary" ! Donnez votre avis sur le quartier de la série !

Chaudon (10:31)

Nouveau sondage sur le quartier "Elementary" ! N'hésitez pas à venir voter sur le quartier et à donner vos avis sur le topic approprié !

Chaudon (10:49)

Votez dès maintenant pour la Nouvelle Photo du Mois du quartier "Elementary" !

arween (10:57)

Bonjour la citadelle ! Une grande animation vous attends sur The Night Shift, venez participer !

seriepoi (11:05)

Bonjour tout le monde ! Vous pouvez, si vous le souhaitez, venir sur le quartier "True Blood" pour commenter le (très) beau calendrier de décembre, fait par Sonmi. Merci par avance et bon dimanche à tous.

ObikeFixx (11:25)

Bonjour tout le monde! En plus du nouveau sondage, n'hésitez à venir découvrir le nouveau calendrier et la nouvelle photo du mois sur le quartier "The Last Ship"

Phoebus (14:15)

Bonjour tout le monde ! Il ne vous reste plus qu'une journée pour voter pour la voter de l'épisode 8x05 de The Vampire Diaries et pour participer à la review de cet épisode.

serieserie (16:44)

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

arween (18:46)

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

emeline53 (19:24)

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

stella (19:25)

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

DGreyMan (22:40)

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

DGreyMan (22:40)

... ou le contraire ! ^^

serieserie (09:07)

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

arween (09:44)

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

Titepau04 (09:49)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!

cinto (11:39)

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

grims (16:47)

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

choup37 (17:13)

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

choup37 (17:14)

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

stella (19:34)

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

Titepau04 (22:11)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

Rejoins-nous !

Ou utilise nos Apps :

Disponible sur Google Play