The X-Files In-Jokes List

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Script Differences - The Movie
X-Files - Fight the Future

Written by: Chris Carter
Directed by: Robert Bowman
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Note: since a scene that was cut from the movie did appear when the video version was released, I have not included it in the script differences here. -- LW

The opening lines of the script: "A blinding white screen, under which we hear an ominous low end Dolby THX Big Screen rumble. We're not in 19" television land anymore, Toto."

Slight difference - as the "primitives" go deeper into the cave, we keep catching glimpses of the creature they are tracking.

When the primitive man kills the alien, its blood pools but does not flow toward the man. Instead, it travels into a fissure in the cave floor. Not to worry though, the man was spattered with enough black-blood during the fight, which does travel up his body in the worm-like manner we know so well.

The skull Stevie finds is slightly different -- the light shines through it. It is described as "milky, opaque, as if it's bone that's turned somehow glassy in places."

Slight difference - when the firemen first descend into the hole to get Stevie, we see that they walk right through a puddle of the black oil. We see it start to move after they pass by.

Some slight dialog differences from the opening Mulder/Scully scenes:
Instead of saying "Boom" to alert Scully to his presence, Mulder simply launches into his "What happened to playing a hunch?" line (which still makes Scully jump).
Instead of his "What makes you think I'm bored?" response to Scully's assertion, he simply replies "How's that?".
The script does state that Mulder is "quick on the draw, and realizes what she's up to" as she tells him that the door on the roof is locked.
We don't get the "When I panic, I make this face" bit at all -- simply a "Have you ever seen me panic, Scully?". Thus, we don't get the joke later about making the face he had just showed her.

A line that I really missed when it didn't end up in the movie -- as Assistant Director Cassidy is telling Mulder to leave because he arrived late, Mulder does add the line "It does say there in your paperwork that we were the ones who found the bomb...", to which Cassidy responds by continuing to tell him to leave.

A cut bit from the Mulder/Skinner scene in the hallway:


MULDER
And they want to blame us?

SKINNER
Agent Mulder -- we both know that if you and Agent Scully hadn't taken the initiative to search the adjacent building, you could have multiplied the fatalities by a hundred --

MULDER
(grasping the irony)
But it's not the lives we saved. It's the lives we didn't.

SKINNER
(reciting the dictum)
-- if it looks bad, it's bad for the FBI.


A cut little bit from Scully's "I'm quitting" speech to Mulder:
"I left behind a career in medicine because I thought I might make a difference at the FBI. When they recruited me they told me women made up nine percent of the bureau. I felt that was not an impediment, but an opportunity to distinguish myself. But it hasn't turned out that way."

At the conclusion of the above scene, Mulder forgetting his jacket and Scully handing it to him is not in the script. It does say "Mulder rises. Scully studying his poorly disguised hurt. Before he turns and goes into the room. Scully watching the door close behind him. Her feelings poorly disguised, too."

After the barmaid's "Poopy day?" question, she goes on to ask him "A woman?", to which he shakes his head no. She then asks "Work?" and he nods. His long spiel about what he does is a little shorter -- without the "global conspiracy" and "reaches into the lives of every man, woman, and child" line. The "86 being your lucky number" and "one is the loneliest number" lines aren't there, instead replaced with the barmaid telling him to "go home to the old lady", to which Mulder replies that he doesn't have one.

When Kurtzweil first tells Mulder his name, Mulder replies that "I know that name. Why?" (which doesn't mean much now, but comes up again later). After Kurtzweil mentions knowing Mulder's father and about his "disenchantment", he continues with "I never believed in the Project" -- and as Mulder starts to walk away he calls out "Oh, come on. Don't pretend you don't know about the Project. Your father died for it. Your sister was taken because of it."

As Mulder leaves Kurtzweil, we don't get the little bit where Mulder fights with himself about going home vs. going to Scully's.

When Mulder arrives at Scully's there's a bit of dialogue that's did not appear in the final movie:


SCULLY
Is that before or after you got the idea to come here?

Mulder looks at her curiously.

MULDER
What are you implying, Scully?

SCULLY
(frowning)
I thought that you may have gotten drunk and decided to come here to talk me out of quitting.

MULDER
Is that what you'd like me to do?

Scully hesitates. Long enough to indicate her own wavering heart.

SCULLY
Go home, Mulder. It's late.


When Dr. Bronschweig shows the Cigarette Smoking Man the infected Fireman, the script notes that the movement of the alien is in the fireman's skull, not his chest as in the movie. A bit later, the alien has grown into the Fireman's neck and chest.

In the script, The Cigarette Smoking Man's scene with Dr. Bronschweig continues on a bit after his "Burn it, like the others" line:


DR. BRONSCHWEIG
This man's family will want to see the body laid to rest.

CIGARETTE SMOKING MAN
Tell them he was trying to save the young boy's life, and that he died heroically like the other firemen.

DR. BRONSCHWEIG
Of what?

CIGARETTE SMOKING MAN
They seemed to buy our story about the Hanta virus. You'll make sure the families are taken care of financially, along with a sizable donation to the community.
(beat)
Maybe a small roadside memorial.


The fireman that Mulder and Scully see looks quite different in the script. The fireman is still in his uniform, but he's missing an arm, a leg, and a large part of his torso (which makes more sense than the untouched way he looked in the movie itself -- if he was in the building when it blew up).

The scene where Mulder runs into Kurtzweil outside of Kurtzweil's home is a bit different. When telling Mulder how others have tried to discredit him, he mentions that he's had his license taken away in three states. Mulder also now remembers where he's heard Kurtzweil's name before, and when Kurtzweil claims to know too much about the truth, this exchange occurs:


MULDER
You mean that apocalyptic trash you write? I knew your name was familiar. I just didn't know why.

KURTZWEIL
You know my work?

MULDER
(pointedly)
Dr. Kurtzweil, I'm not interested in bigoted ideas about race or genocide. I don't believe in the Elders of Zion, the Knights of Templar, the Bilderburg Group, or in a oneworld Jew run government --

KURTZWEIL
I don't either, but it sure sells books.


When Mulder asks Kurtzweil how he was right about Dallas, Kurtzweil responds:
"I picked up the historical document of the venality and hypocrisy of the American government. The daily newspaper."

As Mulder is pressuring Kurtzweil about what killed the men, Kurtzweil claims that if he wrote about it, "they'd do more than just harass me. They have the future to protect."

As Kurtzweil runs off at the end of this exchange, Mulder calls after him to ask how he can be reached. When Kurtzweil replies that he can't be reached, Mulder gives him his cell phone, telling him "No calling Hawaii". (note: This explains why when he later calls Scully, he calls her from a pay phone)

Some further cut dialog on what Scully learned about the virus:
"And unlike the AIDS virus or any other aggressive strain, it survives aggressive strain. It survives very nicely outside the body."

There are quite a few (interesting -- to me anyway) differences in the Consortium scenes:


GROUP ELDER
(speaking up)
The virus has mutated.

WELL-MANICURED MAN
On its own?

CIGARETTE SMOKING MAN
It's effect on the host has changed. The virus no longer just invades the brain as a controlling organism. It's developed a way to modify the host body.

WELL-MANICURED MAN
Into what?

STRUGHOLD
A new extraterrestrial biological entity.

...later in the conversation...

WELL-MANICURED MAN
In hope of what? Learning that it's true?! That we are nothing more than digestives for the creation of a new race of alien lifeforms?!

STRUGHOLD
Let me remind you who is the new race. And who is the old.
(beat)
What could be gained by withholding anything from them; By pretending to ignorance? Our knowledge may forestall their plans to step up the timetable. To start Colonization early.

WELL-MANICURED MAN
And if it doesn't? By cooperating now we're but beggars to our demise! Our ignorance was in cooperating with the Colonists at all.

STRUGHOLD
Cooperation is our only change of saving ourselves.

CIGARETTE SMOKING MAN
They still need us to carry out their preparations.

STRUGHOLD
We'll continue to use them as they do us. If only to play for more time, to continue work on our vaccine.

WELL-MANICURED MAN
Our vaccine may have no effect!

STRUGHOLD
Well, without a cure for the virus, we're nothing more than digestives anyway.

...later in the conversation, after discussing who "tipped" Mulder...

CIGARETTE SMOKING MAN
Kurtzweil, we think.

STRUGHOLD
We've allowed this man his freedom. His books have actually helped us to facilitate plausible denial. Has he outlived his usefulness to us?

WELL-MANICURED MAN
No one believes Kurtzweil or his books. He's a toiler. A crank.

STRUGHOLD
And Mulder?

ELDER
Our situation makes us vulnerable. If he learns information as we do, he could jeopardize the Project's secrecy.

2ND ELDER
Control of information means control of Mulder.

CIGARETTE SMOKING MAN
I can control Mulder. I've always controlled Mulder.

STRUGHOLD
This may take another approach.

He says this, casting his look toward the Well-Manicured Man. A look of cold malevolence. The W.M.M.'s reaction is distain.

WELL-MANICURED MAN
You can't kill Mulder. He's got too much light on him.

STRUGHOLD
You need not kill a man to destroy him.

WELL-MANICURED MAN
(personalizing the inference)
No, you need only take away what is most precious to him.

(Yes, the scene still shifts directly to Scully)


In the script as the scene shifts from the Consortium to Scully & Mulder, they are already standing on the playground (not amongst the houses -- before walking over to the playground -- reportedly this is because the playground ended up being much smaller than Carter had originally envisioned).

When Mulder asks the kid how he knows they aren't FBI agents, the kid replies: "Cause FBI agents wear like suits and goofy ties. And dresses like my mom wears to church. Like on that one show." After Mulder & Scully show their badges, Mulder comments "Maybe you've been watching too much TV."

The "Five years together -- how many times have I been wrong" line is in the script, but absent are Mulder's continuing comments ("Never!" and "Not driving anyway").

At the train tracks, after Mulder tells Scully that the virus may be extraterrestrial, Scully's dialog goes on much longer in the script (and contains that word we had been told she was going to say, but then was cut from the final version)...


SCULLY
I don't believe this. I don't f**king believe this.
(reaching her limit of impatience)
Y'know, I've been here... I've been here one too many times with you, Mulder.

MULDER
Been where?

SCULLY
Pounding down some dirt road in the middle of the night. Chasing some elusive truth on a dim hope, only to find myself standing right where I am right now: at another dead end ---

As she says this A BELL starts to sound.


Inside the dome, Mulder grabs Scully's hand and they start running well before the louvered vents in the floor open -- prompting Scully to ask "What are you doing?" to which Mulder simply yells "Come on!". The vents open before they can reach the door. Scully lets go of Mulder's hand to pull her jacket over her head, but then she loses her sense of direction and lags behind. Mulder makes it all the way to the door (where the air blast knocks the bees from him) before turning to see that Scully is far behind. He runs back and grabs her, "whipsnapping her the rest of the distance to the doorfans."

Outside the bee dome, Mulder and Scully don't even have time to say anything to each other before the helicopters appear.

Here's a little cut piece at the end of the helicopter chase scene (which I'm rather glad that they cut -- because it seems just a bit too cliched):


Where Mulder and Scully's car is parked. Stillness, until Mulder and Scully's heads appear as they climb up from the direction of the corn fields. They get in their car and start it quickly. Mulder turns the ignition, but the car doesn't start immediately. He turns it over and over, but it won't kick.

As he does this, unbeknownst to the agents ONE OF THE BLACK HELICOPTERS rises up from below the bluff, appearing in their rear windshield. Hovering just behind the car like a giant bumblebee, Just as...

...Mulder gets the car started, throwing the transmission in gear and spinning the tires. As they head off back in the direction they came, without their lights on. As they do this, the black chopper continues to hover for a moment, then BANKS OFF AND AWAY. Into the night.


As Scully is grilled by Cassidy, and Mulder talks to Kurtzweil in the bar, the scene doesn't jump between the two of them as it does in the movie. Scully's scene with Cassidy is first and goes to the end, then Mulder's with Kurtzweil starts.

After Mulder and Kurtzweil have their confrontation in the alley (when Mulder sees the man watching him from the fire escape), the script sticks with the man for a bit -- we get to recognize him as the man who brushed past Mulder coming out of the vending room in Dallas.

Very slight difference -- during the scene where Scully tells Mulder that she has resigned, she also tells him that she's contacting the state board Monday to file medical reinstatement papers.

Okay, here's the script's description of the scene between Mulder and Scully in the hallway (after Mulder's heartfelt speech to her):


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 her -- 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!!!

Scully pulls away from Mulder, RUBBING at her neck where his hand had been.


Slight difference -- Scully is the one who tells Mulder to call her an ambulance after she collapses to the floor.

As Mulder is coming to in the hospital, we don't hear Langly and Frohike bickering over Mulder's chart. Instead of saying "Cowardly Lion, Scarecrow -- Toto", he says to Byers "Tin Man", to Langly "Scarecrow", then to Frohike, "Toto".

Mulder's wound is a bit more serious in the script than in the movie, we get more information from Skinner, and we get to see Mulder's rear in the scene below:


BYERS
You were shot in the head. The bullet broke the flesh on your right brow and glanced off your temporal plate.

MULDER
(woozy)
Penetration but not perforation.

LANGLY
Three centimeters to the left and we'd be playing the harp

Mulder is still shaking out the cobwebs.

BYERS
They gave you a craniotomy to relieve the pressure from a subdural hematoma. But you've been unconscious since they brought you in.

MULDER
When was that?

BYERS
Two days ago. Your guy Skinner's been here with you around the clock.

LANGLY
We got the news and made a trip to your apartment. Found a bug in your phone line.

FROHIKE
And one in your hall.

Byers holds up the first small device. Frohike holds up a vial containing A BEE. Mulder realizing:

MULDER
Scully had a violent reaction to a bee sting --

BYERS
You called 911. Except the call was intercepted.

MULDER
(sitting up)
They took her --

Mulder pushes the covers off. Swinging his legs to the ground. As A.D.Skinner enters the room. Surprised to see Mulder up.

SKINNER
Agent Mulder --

MULDER
Where's Scully?

As he says this he loses his balance slightly, has to hold onto one of the Gunmen. Struggling with his facilities.

SKINNER
She's missing. We've been unable to locate her or the vehicle they took her in.

MULDER
Whoever they are -- this goes right back to Dallas -- it goes right back to the bombing.

SKINNER
I know.
(off Mulder's reaction to this)
Agent Scully reported your suspicions to OPR. On the basis of her report, I sent techs over to S.A.C. Michaud's apartment. They picked up PSTN residues on his personal effects consistent with the construction of the vending machine device in Dallas.

MULDER
How deep does this go?

SKINNER
I don't know

Mulder sees A MAN IN A SUIT passing by the small window in the door, casting a furtive glance in, then moving off. He turns his look back to Skinner.

MULDER
Are we being watched?

SKINNER
I'm not taking any chances.

Mulder nods. Pulling now at the bandage on his head. Peeling it away and revealing the wound beneath.

MULDER
I need your clothes, Byers.

BYERS
Me?

SKINNER
What are you doing?

MULDER
I've got to find Scully.

FROHIKE
Do you know where she is?

MULDER
No. But I know someone who might have an answer. Who better.

Mulder is undoing his hospital gown now, his white buns gracing the screen for the first time in history. As he ducks into the bathroom. As the men left standing in the room all look to Byers, reluctantly removing his duds.


The scene between the Well-Manicured Man and Kurtzweil goes on for a bit longer:


WELL-MANICURED MAN
Dr. Kurtzweil, isn't it? Dr. Alvin Kurtzweil?

KURTZWEIL
Jesus Christ.

Kurtzweil is shaken by the sight of this man. Backpedaling a bit, looking around and behind him for an ambush.

WELL-MANICURED MAN
You're surprised. Certainly you've been expecting some response to your indiscretion.

The W.M.M. steps out of the doorway, following Kurtzweil.

KURTZWEIL
I didn't tell him anything.

WELL-MANICURED MAN
I'm quite sure whatever you told Agent Mulder, you have your good reasons. It's a weakness in men our age; the urge to confess.
(stopping his walk)
I forgive you that.

Kurtzweil is thrown by the words, and the delivery. Stopping his backward progress. Studying this upright and civil man.

KURTZWEIL
What are you doing here? What do you want from me.

WELL-MANICURED MAN
You must try to understand, what I'm here to do is only to protect my children. You and I have but short lives left. I can only hope the same isn't true for them.

On this note, Kurtzweil turns and hoofs it back in the direction from which he came. TRACKING BACK WITH HIM until HEADLIGHTS hit his face.

REVERSE ANGLE
A TOWN CAR has pulled into the alley behind him. Accelerating fast down the narrow corridor. Effectively trapping Kurtzweil in. As he squints into its headlights, then turns back with fear in his eyes to the W.M.M.


In the script it takes a bit more cajoling to get Mulder into the Well-Manicured Man's car.


MULDER
What happened to Kurtzweil?

WELL-MANICURED MAN
He's come and gone.

The W.M.M. moves to Mulder, who doesn't trust him for a second. Mulder is still breathing hard, sizing up this scene.

MULDER
Where's Scully.

WELL-MANICURED MAN
I have answers for you.

MULDER
Is she alive?

WELL-MANICURED MAN
Yes.

Mulder stares at the W.M.M. - measuring him.

WELL-MANICURED MAN
I'm quite prepared to tell you everything, though there isn't much you haven't guessed.

MULDER
About the conspiracy?

WELL-MANICURED MAN
I think of it as an agreement. A word your father liked to use.

MULDER
I want to know where Scully is.
The scene continues there, with the W.M.M. pulling out the envelope with the vaccine.


There are a few cut bits (even after the restoration on the video) in the scene between Mulder and the Well-Manicured Man in the car. When the W.M.M. is explaining to Mulder why the Project happened, he says "To give us access to the virus. In false hope we might be able to find a cure. So that we might save ourselves, as the last of the species. Your father wisely refused to believe this, choosing hope over selfishness. Hope is the only future he had: his children. The only future any of us have." Mulder answers with the line about sacrificing Samantha.

When Mulder asks W.M.M. where Kurtzweil is, the W.M.M. first replies "As your father knew, things need to be sacrificed to the future." When Mulder asks again, the W.M.M. responds simply "In the trunk." This is when Mulder starts saying that he wants out of the car.

After Mulder and W.M.M. exit the car, the W.M.M. tells him that "You hold in your hand the power to end the project." He also tells Mulder to save Scully because "Only her science can save the future." When Mulder asks about the W.M.M., he replies "My life is over."

In the script, the "White dome tents" Mulder sees in Antarctica are supposed to match a "design now familiar to us."

On the "ship", the first man Mulder finds encased in one of the green pods is supposed to be the prehistoric hunter from the opening of the movie -- I seem to recall an interview with Carter where he said that they did try to do this, but you never really could tell through the gunk that it was a prehistoric-type person, so they scrapped the idea.

There is no mention of Mulder slipping and sliding down the shaft in the ship.

The script explains Mulder's amazingly quick ability to pinpoint the location of the "bubble litter" Scully was transported in: "Standing out as a rather human artifact against the otherwise dull gray bulwarks and architecture surrounding it."

In the script, when Mulder "bleeds" the syringe to get the air out before injecting Scully, some of the liquid squirts out of the needle tip and falls to the floor. As soon as it hits the floor, the whole floor "sizzles like water being dropped onto a hot skillet. Spreading out from Mulder in every direction. A violent chemical reaction." The whole ship rumbles and jumps, causing Mulder to drop the syringe -- fortunately is doesn't break.

There is no mention of anything going into Scully's (or any of the other victims') mouth while in the pod -- thus Mulder doesn't pull it from her throat so she can breathe. There also isn't mention of the scene where Mulder puts Scully into his outer-wear -- we just eventually see her in it.

The quick exchange between Mulder & Scully (during the "we've got to keep moving" scene) includes Scully asking "Where are we?" and Mulder answering "You got me. But I think I know what they did with Jimmy Hoffa."

The resuscitation scene is quite different (probably because the medical stuff is rather messed up) -- oh yeah, the little comment in parenthesis during the resuscitation attempt is not mine --it actually appears in the script:


Mulder stopping and seeing:

THE BODY IN THE MELTING ICE LITH
As it too moves. The embryonic creature inside it turning slightly, as if coming awake.

REVERSE ON MULDER
Reacting to this -- and then to Scully who suddenly starts GASPING FOR BREATH.

Falling now from Mulder's grasp as her legs buckle and she goes down.

LOW ANGLE ON SCULLY
Her face if 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.

MULDER
Scully --

Mulder cannot find a pulse. Scully straining harder now as Mulder reaches his fingers into her mouth, 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 --

As he pumps her chest. Placing his mouth over hers again and BREATH - BREATH -- BREATH.

Lifting his mouth from hers, feeling for a pulse again. Putting his ear down to her mouth, praying he'll feel the breeze of a breath. Nothing. While:

ANGLE OVER HIM TO THE CREATURE IN THE ICY POD

As it moves again, MORE VIOLENTLY NOW. As the ice around it continues to melt and fissure.

RESUME MULDER
His hands going to a pocket on the inside of the jacket Scully is wearing -- his jacket -- finding again the syringe that he used on Scully. It is still partially full of vaccine. Mulder, finding this, getting ready to use it when --

-- Scully's body suddenly comes back to life beneath him. Labored breaths which turn into a coughing spasm. Mulder breathes 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.

The scene continues from there -- with her "Had you big time line."


From time-to-time in the chase from the ship, Mulder instructs Scully to "keep breathing" and asks her if she's still breathing.

Here's the description of the ship disappearing and the final scenes with Mulder & Scully on the ice:


Scully is still face down on the ice, as Mulder watches the ship's shadow cast over Mulder's SnowCat which is still parked in the distance. Moving up and off.

The ship continues up into the Antarctic sky where it rises toward the sky where it begins to get WHITEHOT. Transforming itself into pure energy. It is visible for several moments during transformation. Then it disappears completely. As does the RUMBLE, which dopplers across the white, barren landscape. Then it is gone.

MULDER
Watches this then lays his head down on Scully's back. He is spent, at the brink of complete exhaustion. His whole body is heaving. But now starting to shiver, and to lose consciousness. Scully's body is motionless beneath him, for a moment we might believe that this is the way it might end. Out here on the ice with Mulder and Scully freezing to death. A chill wind blows off the Antarctic plain, the same LOW RUMBLE. The only taint of silence in the vastness of this literal end of the world.

Then Scully coughs -- the same hoarse cough. She's alive. Struggling to consciousness. Her head lifting slightly, TURNING TO CAMERA. Her eyes blink open and she coughs again. Feeling Mulder's weight on top of her, unaware of his condition or even where she is.

Scully
(weakly)
Mulder...

There is no answer. Scully struggling to pull herself out from under the weight of his body. Rolling over so that her face is opposite Mulder's now. Seeing that he has lost consciousness. Finding the strength to roll him over, so that she can cradle him and warm him.

HIGH WIDE ANGLE ON THIS SCENE
With the SnowCat a short distance away. Mulder and Scully in each others arms. The way it should end.

FADE TO BLACK


After Scully walks out on the review board, Cassidy asks Skinner to "Please ask Agent Scully to come back to this hearing. We're not quite finished." The scene then switches to Mulder waiting outside, but this scene in the script is completely different:


EXT. WASHINGTON D.C. - DAY

We are JUST ABOVE THE TREETOPS. The Capitol Dome is in the far distance. CAMERA CRAINING DOWN to find Mulder sitting by himself on a park bench. We are WIDE. There is no one else around.

Until the Cigarette Smoking Man appears. Walking through the otherwise deserted park. Joining Mulder on the park bench.

CLOSER ON MULDER, THE CIGARETTE SMOKING MAN
They do not speak for several moments. A quiet tension as the CSM lights up a trademark smoke. Inhaling, exhaling. Then:

CIGARETTE SMOKING MAN
Congratulations on your survival. Your life is worthless now, I hope you know that.

MULDER
And yours?

CIGARETTE SMOKING MAN
(derisive)
You think you've stopped it. What I've worked for fifty years to create. You haven't stopped it. You can't stop it.
(takes a drag)
You're just one man.

MULDER
You're wrong.

WIDE ANGLE
Mulder rises from the bench heading TOWARD CAMERA. The CSM rising, watching him.

As Mulder continues toward us, ADJUST TO REVEAL Agent Scully in the f.g. Mulder moving to her as the CSM watches from the distance. Their eyes meet, an unspoken restored bond exchanged in this moment. Before Mulder takes Scully by the arm, leads her off. Leaving the CSM standing alone in the distance.


The scene in Tunisia does not include the Cigarette Smoking Man -- just Strughold receiving the telegram that the X-Files have been reopened.

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Laura Witte
laura.witte@nashville.com
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