Best $1.85 I have ever spent.
Anonymous said: so this is something i like to ask fellow rizzle shippers (and it really is fun to ask any non-cannon ship this): what do you think is it about rizzles that just make you want them to be together so much? and if you could articulate further than 'cos they're supposed to be together'.
♫ Their mental synchronization can have but one explanation♫
♫Were just meant to beeee♫
♫Love is an open door♫
"Gillian was a little nervous about the scene between Scully and Fake Mulder. She didn’t want it to seem like all Scully needed to give in and kiss Mulder was to get a little wine in her. I didn’t want it to come across like that either. But I told her that these two characters had such a history and had such a great deal of affection for each other that was always just under the surface, and this was more about the two of them loosening their inhibitions just a little. This was not a complete stranger, this was Mulder.”
Vince Gilligan, DVD commentary for “Small Potatoes”
Excerpts from the script for “Fight the Future”:
SCULLY: I can’t…
Scully can’t finish speaking, her voice becoming a hoarse cough.
SCULLY: (barely a whisper) I can’t go any farther.
MULDER: Yes you can. You’re going to make it, Scully.
LOW ANGLE ON SCULLY. Her face is going red, straining for air. Her eyes rolling, seeking relief. As Mulder drops down beside her.
MULDER: Shit. (But she is unable to answer. Mulder hastening to unzip her/his jacket. To get to her neck and find a pulse.) Scully—
Mulder cannot find a pulse. Scully straining harder now as Mulder reaches his fingers into her mouth, clearing her passageway. Moving on top of her now, and pumping forcefully on her chest — trying to get air into her. One - two - three. And putting his mouth down to hers (FINALLY!), breathing his life into her. Pulling away from her to see that he is unsuccessful at this — that Scully is continuing to strain. Pumping her chest again —
MULDER: You’re not dying on me now – godammit godammit godammit-
— Scully’s body suddenly comes back to life beneath him. Labored breaths which turn into a coughing spasm. Mulder breaths relievedly for a moment, watching Scully coughing, coming back to life. Her eyes trying to focus on him, finding him. Seeing his labored relief. The panic melting away.
SCULLY: (weakly, pained whisper) Mulder…
She wants to tell him something. He leans down next to her.
SCULLY: (continued weak) Had you big time.
Mulder has but a moment to savor this weary victory though when he REACTS to something, that causes him to WHIP HIS HEAD AROUND.
The infamous sex scene from the original script for “Never Again”:
Doctor-like, she helps him pull his shirt off. A couple thin streaks of blood roll down his arm from the Betty tattoo. Scully holds his bicep as she takes a look…Now, camera whisks into the tattoo…
BETTY (V.O.): GET HER HANDS OFF ME!
Ed reacts on reflex grabbing Scully’s arm with force. She doesn’t pull away.
BETTY (V.O.): LET GO OF HER!
He guides her toward the wall, pinning Scully. Her breaths quicken. Her eyes locked on his.
BETTY (V.O.): KISS HER AND SHE’S DEAD.
Ed immediately moves into Scully, holding her arms against the wall. She meets his lips. The kiss is intense and passionate, fueled by what they know of one another. Scully pulls away as Ed runs his lips down her neck. She throws her head back, pulling his shirt all the way off his back, digging her nails in his back. Ed lifts Scully, her legs wrapped around his back. He drops to his knees on the floor. She responds, primal as he pulls her coat off her back. Scully’s legs straddling the man on his knees.
BETTY (V.O.): Get it now, lover.
Each utterance from the voice increases Ed’s passion, which in turn amps hers.
BETTY (V.O.): Get it while it lasts.
Down on the floor, camera begins to move past them, toward the open door, just as Ed lowers Scully to the floor between her.
BETTY (V.O.): Cause it ain’t gonna be around much… anymore
From the script for "Fight the Future:
INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT WIDE ANGLE FROM END OF HALL where we see Scully, leaving Mulder's apartment. Moving at a hurried clip to the elevator -- TOWARD CAMERA. As if anticipating her own impulse to turn around and go back. As she moves into f.g. Mulder exits his apt. door. MULDER You're wrong -- He hurries to catch her. As she turns on him. SCULLY Why was I assigned to you? To debunk your work. To reign you in. To shut you down. MULDER You saved me, Scully. (off her look) As different and frustrating as it's been sometimes, your goddamn strict rationalism and science have saved me a thousand times; have kept me honest and made me whole. I owe you so much, Scully, and you owe me nothing. (beat) I don't want to do this without you. I don't know if I can. If I quit now, they win. She is silent, moved. In spite of all her desire not to be. She moves to Mulder, holds him. They break slightly and she looks up at Mulder with deep respect, admiration and... kisses him on the forehead. When... ...suddenly a physical intimacy we've never seen. A heat and passion that can't be denied. The opportunity for the inevitable has presented itself. The moment of truth has arrived. Mulder is staring at Scully as she's looking back at him. His head moves slightly toward hers -- as one of his hands moves up to her neck, drawing her to him. Where there is hesitation on her part, there is also desire. When: SCULLY OUCH!!!