Voici la scène où Scully annonce qu'elle doit partir à Bellefleur, Oregon, à son petit ami. Vous pouvez aussi voir une photo d'une page du script original.
Ethan Minette est un journaliste de télévision. Il est dans sa vingtaine. Scully vient le voir à son travail pour lui annoncer son départ en Oregon pour enquêter. Minette est en train de dire à quelqu'un d'aider le sénateur avec son microphone.
ETHAN: Qu'est-ce que tu fais ici?
SCULLY: Je savais que tu n'allais pas être à la maison avant cette nuit et je voulais te voir. J'ai un assignement, Ethan.
ETHAN: Dana, tu ne peux pas faire cela. On a des vacances préparées depuis six mois.
SCULLY: (soupir) Je dois aller en Oregon. Je ne sais pas pour combien de temps.
ETHAN: Est-ce que je peux demander pourquoi c'est si important pour que tu ruines notre voyage. La sécurité nationale n'est pas une réponse acceptable.
SCULLY: (sourire) Tu sais que je ne peux pas parler de cela.
ETHAN: Tu travailles avec quelqu'un?
SCULLY: Oui, mais crois-moi, il n'est pas quelqu'un que tu dois inquiéter. Son nom est Fox Mulder.
ETHAN: Mulder le Martien?
SCULLY: Tu le connais?
ETHAN: Il est le gars qui a eu suposément un homme de congrès de l'Iowa à parrainer un projet sur les OVNIs. On a essayé de couvrir la nouvelle mais personne ne voulait nous parler.
SCULLY: Qu'est-ce que tu veux dire?
ETHAN: Je pense qu'il est une honte pour le FBI. C'était définitivement une grosse blague en ville l'année dernière. C'est en Oregon, hein? Peut-être que je peux avoir une équipe de nouvelle là-bas...
SCULLY: Je suis désolée, Ethan. Tu sais à quel point je voulais partir avec toi. On va prendre une fin de semaine dès que je reviens? Peut-on faire cela?
Quelqu'un lui crie: "Deux minutes, Ethan". Ethan et Scully se regardent pour un moment. C'est une romance moderne. Il l'embrasse sur le front.
ETHAN: Oui. Appelle-moi dès que tu arrive. D'accord?
SCULLY: D'accord.
Il lui donne un sourire rassurant et retourne à son travail. Scully se tient là pour un moment, voulant plus que tout au monde d'aller en vacances avec lui.
CUT TO:
INT. HALLWAY - BALTIMORE, P.D. - DAY - CLOSE - VENDING MACHINE
A package of sunflower seeds stands suicidal on a ledge of the vending machine. The coil turns and the package falls.
WIDER
Mulder removes his snack from the bottom tray. Scully inserts some coins, then weighs her options.
SCULLY: Hmmm. Do I want the trail mix of the yogourt covered raisins?
MULDER: With the day you're having?
He pushes some buttons.
CLOSE - CANDY BAR
A chocolate monster loaded with comforting but unhealthy junk falls to the bin.
WIDER
Scully sighs.
SCULLY: Thank you.
He produces the candy from the bin and hands it to her. They move along the precinct. She stops, flustered.
SCULLY: Mulder, that was so unlike you.
MULDER: (a hedge) What, I've flipped for candy bars before...
SCULLY: No, back there. You knew those guys would never believe you. Why'd you push it?
MULDER: Maybe I thought you caught the right guy...
Beat. Scully doesn't buy it. Mulder smiles.
And maybe I run up against so many people who are hostile just because they can't open their minds to the.. possibilities, that sometimes the need to mess with their heads outweighs the millstone of humiliation.
INT. MAIN BUILDING - NIGHT
Mulder entangled with the dead body, makes a lasting "smoking gun" impression on the others who stop dead in their tracks.
Scully raises her weapon, frightened at the idea of Mulder being infected. Mulder pushes the dead man away. The following shoud be played at a rocket's pace and intensity.
MULDER: Put it down, Scully. One of you killed him.
HODGE: You're the one in front of the dead body!
SCULLY: Mulder, did you see who?
MULDER: No. But it was one of you. I heard one of the doors close.
DA SILVA: It could have been you and you just don't know it.
MULDER: I have none of the symptoms.
HODGE: Then turn around so we can examine your neck.
The stress is getting to Mulder, he's getting aggressive.
MULDER: I'm not turning my back on anyone. No one touches me.
HODGE: Then we'll assume that you're infected.
MULDER: Scully get that gun off me!
Scully is torn in half (not literally)
SCULLY: You have to understand!
MULDER: PUT IT DOWN!
SCULLY: YOU PUT IT DOWN FIRST!
MULDER: Scully, for Christ's sake, it's me!
SCULLY: Mulder... you may not be who you are.
The line pierces and scares everyone. Mulder raises his gun. Scully tenses. He releases the ammo clip, removes it and slides his weapon away.
MULDER: Now give me your clip. It'll even things out for whoever is not infected.
Scully eases. She removes her clip and holds it out to Mulder. Hodge and DaSilva step back as Mulder moves towards the front entrance. Leaving the empty shell of the gun on the floor, he takes the clips and moves towards the front entrance.
CAMERA follows him. Mulder yanks open the locks and handle. He opens the door and hurls the clips out into the snow. He closes the door. As he turns back around, CAMERA PUSHES IN on his stunned reaction to...
MULDER'S POV - SCULLY, HODGE, DA SILVA
Hodge and DaSilva raise a finger, outvoting Scully. The majority wishes to confine Mulder.
WIDER
Mulder is furious. MULDER: Go ahead Scully. Vote your conscience.
SCULLY: Mulder.. here, under these conditions.. I can't be sure. Let us examine you.
MULDER: Us? Is that what we're at?
DaSilva charges Mulder with the nylon rope. Hodge tackles Mulder around the legs. They tumble to the floor. Mulder is stronger and better trained at fighting, but outnumbered. DaSilva winds the rope around Mulder's arms. Scully charges in, pushing them away.
SCULLY: Stop it! Stop it!
She looks at Mulder
Mulder...don't do this. Just go along.
He recaptures his breath. He gets up. They start toward the tunnel.
INT. HALLWAY - NIGHT
Mulder is escorted to the supply room, like a prisoner. He steps inside, cooperating. Scully stands before him, framed in the doorway.
MULDER: Be. careful. I'll be safer than you.
SCULLY: For your sake. I hope you're right.
Scully agonizes as she closes the door. As the padlock CLICKS shut...
SCULLY: Well, never let it be said that you wouldn't walk through fire for a woman.
MULDER: And never let it be said that I wouldn't do it for you again, Scully.
INT. INTENSIVE CARE WARD - DAY - CLOSE - CRYSTAL
Light sparkles, bending inside a slowly spinning crystal. The crystal is lowered onto Scully's chest. A female hand holds the stone over Scully's heart. The respirator HISSES.
MELISSA SCULLY, 29, looks down upon her younger sister. Melissa is dressed in a long flowered dress with a subtle crystal necklace. There is a level of sadness to Melissa, but it is not from her sister's condition. She seems to have a certain peace about the situation. Melissa holds the rock over Scully's heart and closes her eyes. in the b.g., Nurse Owens is tending to someone in the room.
MULDER enters, approaching the bed. He studies Melissa.
WIDER
Without opening her eyes, Melissa extends the crystal to Mulder. He reaches for it, then pulls his hand away from the heat. Melissa slowly opens her eyes, enigmatic.
MELISSA: I've been told not to call you "Fox".
MULDER: By who?
MELISSA: Dana, just now.
Mulder eyes her, curious.
She talks a lot about you.
MULDER: She never talks about you.
Melissa smiles at Mulder, but once again turns sad at the probably truth.
MELISSA: Probably not.
MULDER: Who are you?
MELISSA: My name's Melissa.
Margaret Scully enters the ward and is surprised to see Melissa. There is tension between the mother and daughter, but it is subtle as both sides try to hide their feelings.
Hi mom.
Mulder turns, surprised.
MULDER: You're Scully's sister?
MARGARET: Thank you for coming, dear.
MULDER: (to Margaret) She said she talked to Dana, just now.
Margaret is dubious.
MELISSA: And I didn't even ask her for money.
Margaret is not pleased. Mulder moves to the EEG machine.
MULDER: If she had spoken to you, the EEG would have moved.
Melissa shakes her head, "not in that way".
MELISSA: Her soul is here.
She gently moves her hands out over her sister's body. Margaret turns away, upset.
MARGARET: Would anyone like coffee?
Mulder and Melissa shake their heads "no". Margaret leaves.
MELISSA: Dana's choosing whether to remain.. or move on.
Mulder looks over the area, then to Melissa.
You don't believe...but you want to. You want to believe more than ever.
He looks to her, close to nodding in agreement.
You can feel her. Here.
She closes her eyes and holds her hand over Scully's body. Mulder moves to the bed, holding out his hand.
CAMERA FOLLOWS HIM, however, THE CAMERA MOVES BEYOND Mulder toward Scully, PUSHING IN on her eyes. CLOSER... CLOSER...
CUT TO:
EXT. THE SEA - DAY - CLOSE - WATER
Waves lap against the hull of a small wooden rowboat, matching the rhythm of the respirator.
WIDE ANGLE - DANA SCULLY
sits on the boat. She wears a black Victorian coat. Her expression is blank as she looks towards the shore. On the dock, stands Mulder and Melissa continuing their conversation from the hospital. In fact, their SOUND PRESENCE is the same as if they were standing over the hospital bed.
Nurse Owens stands behind them by herself on the dock.
MULDER: She's not here.
MELISSA: Your anger...your hurt...is blocking the emotions you need her to feel.
MULDER: She's gone.
INT. INTENSIVE CARE UNIT - DAY
Mulder steps back. Melissa takes his hand, he pulls his hand away.
MELISSA: She needs you.
MULDER: I need to do more than just wave my hands in the air.
INT. INTENSIVE CARE WARD - DAY - CLOSE-EEG MONITOR
The needle, which has been nearly flat, suddenly records activity.
WIDER
Scully, no longer with a tube over her throat, remains alive, comatose. Nurse Owens looks over her, smiles.
OWENS: You're doing well on your own, sweetheart. We're all behind you.
She walks away. Melissa appears and kisses Scully on the head. Melissa looks around, then lights a stick of incense and directs the smoke toward Dana.
Mulder enters with an expression of doubt.
MELISSA: The hospital doesn't allow incense in the I.C.U.
MULDER: What about lava lamps and Vangelis CD's?
MELISSA: Is that how you break down The New Age?
MULDER: There are a lot of good beliefs in it, I'm just cautious of the cash motive.
She nods, understands.
MELISSA: So, you believe in an afterlife?
MULDER: All I'm sure of is... if there's a rock 'n roll Heaven, you know they got a helluva band.
She eyes him.
MELISSA: How 'bout some coffee? (poking fun at herself) Or I have some Gota Kulu tea.
MULDER: Sure, that'll go good with a jelly donut.
INT. INTENSIVE CARE WARD - NIGHT
Scully lies in the bed. It is uncharacteristically quiet in the ward. It is relatively dark. Only pickets of illumination shine from desk lamps and headboard lights.
Mulder pulls up a chair alongside his friend. He isn't teary nor does he look directly at her, but it is from the bottom of his soul.
MULDER: The first time I saw you Scully...I hated you. I couldn't let you see it...but...when they told me they had assigned another agent...I knew you were put on to be a watchdog. I resented you in my life...and now...now I can't imagine my life without you.
He now looks at her, thinking of something more to say. But he's said it all. Mulder leans back in the chair, sitting by her side.
CAMERA MOVES, PULLING BACK. Mulder and Scully appear as if they were the only two people in the universe, as the darkness surrounds them.
Above her bed is a wall clock. It is 8:27pm.
INT. HOSPITAL ROOM - DAY
Scully lies in a hospital bed in her own room. She is weak and pale. An I.V. is still inserted into her arm. Flowers and cards surround the head of her bed. Margaret Scully sits next to her daughter, Melissa is also in the room. There is a knock at the door. Mulder opens and peeks inside. He carries two small plastic bags. Scully is too weak to react.
Mulder smiles at Margaret.
MARGARET: Hello, Fox.
SCULLY: Not Fox. Mulder.
Mulder smiles.
MULDER: How do you feel?
SCULLY: Mulder, I don't remember anything...after Duane Barry...
MULDER: (gently) Forget it.
Mulder places one bag on the nightstand by Scully.
I brought you a present. A CD box set of the Essential Recordings of Elvis Presley from the 1950's.
SCULLY: I knew there was a reason to live.
He hands Melissa the other bag.
MULDER: And these are the Essential Elvis recordings of the 1960's.
MELISSA: I'll invite him over for a listen.
Mulder looks to Scully, gently placing a hand on her arm.
MULDER: I know you need rest. I just wanted to say hi.
She nods, closes her eyes, seemingly lost to sleep. Margaret and Melissa exchange glances with Mulder who takes another look at Scully before gesturing with a short wave. As he starts to leave...
SCULLY: Mulder...
He pauses.
I look forward to getting back to work.
Mulder nods and starts to exit.
And I can't imagine it without you either.
He's floored, but would never show it. He reaches into his pocket to place something in her hand.
MULDER: I've been holding this for you.
She's too weak to look. He begins to exit, CAMERA PUSHES IN to her hand, IN CLOSE, to REVEAL her tiny gold cross necklace.
HOLD, for a beat...
INT. DINER - DAY
The Sheriff and the Agents sit at a booth in a diner, decorated to resemble a circus big top.
MULDER: We weren't aware Jerald Glazebrook was a side-show performer. On the VICAP form, the victim's occupation was listed as 'artist.'
SHERIFF: Jerry was an artist. The best escape artist since Houdini. He should have been headlining in Vegas, but his skin condition kept him on the side-show circuit.
SCULLY: I didn't even know side-shows were still in existence.
SHERIFF: There's only about two or three left. It used to be a thriving business. Times change.
MULDER: I got the impression Glazebrook was not the only side-show performer living here.
SHERIFF: Well, like I said, the "Ten-In-One" has all but died out, so the few side-show folks still around are pretty much retired. 'Course most of our other citizens are employed in either circuses or traveling carnivals.
SCULLY: Why is that?
SHERIFF (shrugs): People in Pittsburgh work in steel mills. People in Gibsonton work in circuses. The town was founded back in the Twenties when some of Barnum and Bailey's troupe started coming down here during the winter off-seasons. It just became the traditional place for side-show performers to take up residence. There's a little historical museum down the street, if you're that interested.
SCULLY: I'm interested in how it affects our case. A side-show performer would have traveled extensively throughout the country, and their isolation from everyday society--caused by their physical deformities -- could perhaps create resentments so pathological that murder is the only release.
SHERIFF: Now hold on there a second. Around here we refer to them as "Very Special People", and that's what they are -- the nicest bunch of people you'll ever meet. Some of them may look like monsters on the outside, but it's what's inside that counts, and inside they're as normal as anybody.
SCULLY: Up until their arrests, many serial killers are considered by their friends and family to be quite "normal." If you do regard these people as normal, Sheriff, then you must also accept the fact that they are capable of committing atrocities, just like any other so-called normal person.
SHERIFF: I understand what you're saying. It's just been my experience that people have a harder time dealing with these people's deformities than they do themselves.
SCULLY: I didn't mean to sound insensitive. We're here to apprehend a brutal killer, Sheriff, whether he looks as odd as the Elephant Man or as common as this waitress.
On cue, a WAITRESS--middle aged, but having retained a slightly haggard beauty--approaches the table.
WAITRESS: Hey, Sheriff. The usual?
SHERIFF: Sounds good, Sal.
The Waitress now turns to Scully, revealing that this order taker
is a half man/half-woman. The man side (half
a mustache, hair cut short, etc.) now addresses Scully with a deeper
voice and a suave, arched eyebrow.
WAITRESS: And for the lady?
SCULLY (pause): Coffee. Please.
The waitress turns to Mulder, favoring her feminine side.
WAITRESS: And what's your pleasure?
MULDER (pointing at menu): What is this?
WAITRESS: The Barnum Burger? It's a beef patty, topped with baloney --
MULDER: Not the sandwich, the drawing.
MENU
The ornate sketching around the border of the menu features portraits of "famous" sideshow freaks of the past. The bottom corner -- where Mulder's finger points -- displays an unkown animal. Its upper torso is vaguely human, with shriveled head, protruding teeth, and clawed hands. The lower half is distinctly the tail of a fish. (This is an actual sketch from P.T. Barnum's autobiography.)
WIDE
WAITRESS: Oh, we don't serve anything like that. That's just, part of the menu decoration.
MULDER: That design is copyrighted by "Hepcat Helm". If that's a local artist, I'd like to talk to him.
Scully looks at the menu drawing, then up at Mulder. What in the world now?
SHERIFF: Sure, I can take you to se him, but I have to warn you -- the guy's kind of a freak.
EXT. TRAILER PARK - NIGHT
The Creature, silhouetted, scampers down the row of trailers. It stops
abruptly, as a man, cast in shadows,
steps out from his trailer. The Creature heads towards its next victim.
MULDER & SCULLY
running down the row of trailers, desperately seeking Leonard.
CREATURE'S NEXT VICTIM
Still in shadows, he steps into the light coming from the trailer's
interior, revealing he is the Conundrum.
Hearing something, he looks around for its source.
CONUNDRUM'S POV - CREATURE
Lurching from the darkness, the Creature is finally seen in full view
and light. Its head resembles the color and
texture of an internal organ, with a faint hint of facial features.
The eyes are black slits, the nose barely a
bump, the mouth an exposed tracheal tube. In any case, it is seen for
only a flash before it lunches at the
Conundrum.
CONUNDRUM
Startled and terrified, he SCREAMS as the Creature clasps itself to
his stomach. Falling back into the
shadows, the two crash against the trailer.
MULDER & SCULLY
hearing the SCREAM, freeze. Looking for its source, they see--
SHADOWED FIGURES
An upright man, whose arm is plastered against the trailer as if in
agony, GROANS as a smaller figure
oscillates at the man's mid-section.
MULDER & SCULLY
Race towards the figures. Aim their guns. About to fire, when---
SHADOWED FIGURES
Turn towards the agents and the light, revealing the man is the Giant
(from the funeral scene) and the smaller
figure is the Waitress (from the restaurant scene). The startled couple
stare at the Agents.
WAITRESS: Hey -- we're consenting adults!
Cline exits. Mulder walks over to the dolls, and begins absentmindedly to inspect them.
SCULLY: We might as well go home, Mulder. This case is as good as solved.
MULDER: I've worked with many "psychic detectives" Scully. They're all more pathetic than prophetic. And yet... I know there's someone out there. Someone who possesses the ability to "see." Who can be used in a way that'll change the nature of criminal investigations for --
He becomes aware that Scully is looking at him amusedly.
MULDER (continued): Well, I can dream, can't I?
Scully pats him on the shoulder, nodding towards the princess doll Mulder now holds in his hands.
SCULLY: Don't worry, Mulder -- some day your psychic will come.
INT. HOTEL ROOM - NIGHT
Bruckman now recliness on the bed, while Scully, apparently taking a
break from her work, pours herself a cup
of coffee.
SCULLY: ...But I don't believe our destinies are predetermined. We control the pattern of our own lives.
BRUCKMAN: Well, I imagine if you were able to step back and view your whole life—from birth to death—you'd see ... "patterns"...that existed, even though you were unaware of them, because you were too close to your own life to see them.
SCULLY: Like what?
BRUCKMAN: Well, how many times have you crossed paths with your future husband—or even this killer you're after -- but were unaware of it because you didn't know that sometime in the future he'd be your husband. Or the killer.
SCULLY: I'm not sure I see your point.
BRUCKMAN: Because there isn't any ... now. But maybe, sometime in the future, when you look back at this moment it'll have one. (pause) Then again, maybe not.
Still staring O.S., Mulder gulps.
MULDER'S POV--ENTOMOLOGIST EXTRAORDINAIRE
Describing her like one of the insects she studies, DR. BAMBI BERENBAUM
has luscious mandibles, a
voluptuous pair of thoraxes, and a great ovipositor, all of which are
accentuated by her tight-fitting flannel
shirt, African safari shorts, and hiking boots. She stands with her
hands defiantly on her shapely coxae (hips).
BERENBAUM
May I ask why you're trespassing on government property?
CHUNG: I've just spent three months in Klass County, and everybody there has a different version of what truly happened. Truth is as subjective as reality, which might help explain why people, when talking about UFO experiences, always start off with: "I know how crazy this sounds, but ..."
SCULLY: So you're here to get MY version of the truth.
CHUNG: Exactly. Now, when were you first made aware of the case?
SCULLY: Actually, my partner was aware of the case before it waws even a case.
MONTHS EARLIER
Mulder sits behind the desk now, perusing the computer, while Scully's at the file cabinets doing busy work.
MULDER: Scully, listen to this -- last night, several UFO sightings were reported in Klass Count, Washington, near Jacobs Air Force Base.
SCULLY (facetious exuberance): Then what are we waiting for??!
MULDER: The Air Force initially acknowledged the "unidentified" sightings, then later recanted, claiming they themselves were conducting tests in the area. The Air Force will only categorize a sighting as "unidentifiable" after a lengthy investigation and then as a last resort, yet in this instance, they seemed all too willing to label it as such.
SCULLY: Mulder, that has all the makings of a military cover-up so complex that to try to decipher its many layers may leave you questioning the nature of reality itself. Best let it be.
MULDER: We've been together for three years now, Scully. The least you could do was feign interest in some of my interests.
SCULLY: It'd be easier for me to do if all your interests weren't either paranormal or pornogr --
CUT TO:
PRESENT TIME
SCULLY: -- aphic -- don't put that in your book. That's sort of an... inside joke.
CHUNG: Oh please, you don't have to worry about things like that. New, when were you made aware of the case proper?
Chung scribbles down a note reading "Mulder pervert??"
MULDER: Oh... j'ai une lampe de poche dans ma poche.
SCULLY: (souriante) Oh... je pensais qu'une de tes curiosités vient d'être satisfaite.
Voici la version en anglais:
MULDER: (apologising) Oh...I have a flashlight in my pocket.
Scully: (smiling) Oh...I thought a long-standing curiosity had just been satisfied.
Version française:
"Davis se rappelle aussi d'une autre scène, écrite et filmée, que l'acteur trouvait que cela sonnait faux mais qui a terminé sur le plancher de la post-production, 'Merci, Mon Dieu!' 'Ils ont coupé toute la scène lors de la post-production. Dans cette scène, je reviens chez moi lors de la Veille de Noël et je me dirige vers mon frêle sapin de Noël où il y a un seul cadeau que j'ouvre. On a actuellement filmé cela, ' répète-t-il. 'Et c'est un briquet qu'on verra plus tard dans le grenier, celui qui à une inscription: NE FAITES CONFIANCE À PERSONNE. Il y a aussi une carte de voeux disant "Meilleurs Voeux d’Alex Krycek." Alors, le briquet était un cadeau de Noël que Krycek m'avait offert. Ceci étire vraiment des choses, je veux dire, qu'est-ce qui est arrivé au briquet depuis les cinq dernières années? Et si je marchais un peu partout où il y a des gens que je veux impressionner, vais-je sortir un briquet disant NE FAITES CONFIANCE À PERSONNE?'"
Version originale:
"Davis also recalls another scene, scripted and shot, which the actor found particularly jarring but which ended up on the cutting room floor, 'thank Goodness!' 'They cut a whole scene in post-production which had me coming home on Christmas Eve to my feeble little Christmas tree with only one present under it, which I open. We did actually shoot this,' he reinterates. 'And it's the lighter that you see in the loft later, [the one] that says TRUST NO-ONE on it, and a card saying "Best Wishes from Alex Krycek." So the lighter was Krycek's Christmas present to me. Which is really stretching things, I mean, what happened to the lighter I'd used for the previous five years? And if I was moving around in circles where I was trying to impress people, would I pull out a lighter that said TRUST NO-ONE on it?'"
Scully's lying down in her hospital bed, looking awful, and Bill is standing beside her in full uniform, his hat in one hand, he takes her hand in his hand.
BILL: "Dana?"
SCULLY (she wakes up and looks at him, surprised): "Bill?" (she starts to sit up)
BILL: "You look good."
SCULLY (laughs): "Thank you."
BILL: "Charles is ... sorry he couldn't make it, he'll call you tonight, if you're feeling up to it."
SCULLY: "Sad cause for a family reunion." (pause as neither speaks)
BILL: "Oh, did Mom tell ya? Get new orders, NAS Miramar, Dad's old stomping grounds."
SCULLY: "That's great! Huh ... (Bill is nodding with a frozen semi-smile on his face) Yeah, I was ... umm ... I was out there not long ago. Lot of old memories."
BILL (not looking at her): "Yeah. Lot of ghosts now ... Dad ... Melissa ... (the tight smile returns as he looks at her) Mom's gettin' worried there's gonna be noone to carry on the Scully name. Guess the pressure's on, huh?" (she turns to look at him, her face very serious)
Cette scène est le premier baiser sur les lèves entre Mulder et Scully. Malheureusement, je ne peux pas mettre sur ce site le vidéo. Voici donc une transcription de l'événement spécial:
MULDER: Okay.
SCULLY: There's something I'm most certain of is as long as I'm able, I need to be with you, searching for the truth.
They both smile
MULDER: Tommorow then.
Scully gives him a big hug.
MULDER: The truth will save you, Scully. I think it will save both of us.
He gives her a kiss on the forehead. He watches her then, his lips falls on her lips. He lets her go.
SCULLY: You're name's Emily, right? I'm Dana. This must be very scary for you. I just wanted to let you know that everything's going to be fine.
Cette scène a été coupée du film car un auditeur qui n'a jamais vu la série ne comprendrait pas cette scène. Cependant, elle apparaît dans la version vidéo.
La scène en question parle de l'enlèvement de Samantha. L'Homme Bien-Manicuré dit que lorsque la guerre est futile, la victoire consiste seulement a se tenir en vie. La survie est l'ultime idéologie. Il dit que le père de Mulder a refusé de croire cela. Il a sacrifié sa fille car sans vaccination, les seuls survivants de l'holocauste viral sont ceux qui sont immunés contre cela: des clônes humains/extra-terrestre. Il a permit que sa fille fut enlevée pour qu'elle survive et l'a ammenée à un programme de clonage. Elle a survécu sous la forme d'un hybride génétique. Le père de Mulder a choisi l'espoir au-delà de l'égocentrisme. Il avait espoir que son fils allait découvrir la vérité sur le Projet. Il pensait qu'il allait tout arrêter, qu'il allait combattre le futur.
Voici la scène en anglais:
WELL-MANICURED MAN: When war is futile, victory consists of merely staying alive. Survival is the ultimate ideology. Your father wisely refused to believe this.
MULDER: My father sacrificed my sister! He let them take Samantha--
WELL-MANICURED MAN: No. [looking sorrowful] Without a vaccination, the only true survivors of the viral holocaust would be those immune to it: human/alien clones. He *allowed* your sister to be abducted, to be taken to a cloning program. For one reason.
MULDER: [in sudden understanding] So she'd survive. As a genetic hybrid...
WELL-MANICURED MAN: Your father chose hope over selfishness. Hope in the only future he had: his children. His hope for you, Agent Mulder, was that you would uncover the truth about the Project. That you would do everything you could to stop it-- That you would fight the future.
MULDER: Why are you telling me this?
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