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"Scully loves Mulder and Mulder loves Scully" - Chris Carter, Secrets of The X-Files II. .

. .     Well, I mean, let's face it - this film transfer from TV was absolutely brilliant. How could a fan or even a mere occasional viewer of the show have been disappointed?? I'm not going to brief the story - anyone on this page is likely to know it already, and if you don't - go see this movie NOW! for all the action, humour, decent plot line, conspiracy theories and yes, romance!!
    In response to a mailing list question, 'how did you like the shippiness?', I replied...
    Where do I start?? It begins kind of season oneish with the jokes between them - very very cool! Then Scully's sad little undesided turn in the hallway after she had just told Mulder she was quitting!! Oh yeah - the bar!! I mean, it's not just 'the work' that got him down!! ... the more I
think about it I remember shippy bits in basically every M/S scene - maybe that's why I liked those bits so much. I absolutely had no idea they got so close in the hallway scene. For some reason I was thinking it would be a 'Small Spuds' kind of deal, but they weren't even touching in that (well, Mulder/Eddie and S I mean). That whole scene - the words, the hug and what they were about to do just amazes me. But even better is how Scully alludes to all this in their final conversation. In the hallway he was telling her he needed her and what she meant to him, and this made her cry - she means something to someone!! At the end, it's reversed - and his smile just screamed 'I can't believe it, but she does care and she won't leave me'. He means something to someone else. One is the lonliest number - but do they really have to live like that? No! I really think the r'ship has been stepped up slightly. They both know the other is thinking more than they're game to say and I think that perhaps in season 6 we'll get a bit more of what happened in 'The End' - each character 'obviously' feeling more than friendship for the other - only not in their presence (eg. the 'car' scene in The End when Scully looked positively SAD - not jealous even - sad - about what she'd 'seen' b'ween Diana and Mulder. To me the movie romance was almost fairytale like - it's so beautiful it made me want to cry. They have the ideal, as Chris Carter said. I mean, when they kiss it's going to rock the earth - it's going to mean so much - everything. It's going to finally seal what's between them and finally reveal the truth. It's not *just* chemistry any more. In 'The End' Scully may as well have
said she was in love with him. And in the movie, for the Consortium to even say they'd take away the only thing that meant everything to Mulder!!! Come ON!! How many people, on screen and off, get to experience that??! I've gone from excited to stunned watching this relationship now because you know what guys?? We've won! The relationshippers were right!
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Scene in the hallway?? Yeah - there were a few different scripts... hmm.. what did I get my hands on here?...
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from Script as at June 1997.
Mulder: ...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 move [sic] 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 slight toward here [sic] -- 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 [caps are Chris Carter's] at herneck where his hand had been.
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as at April 1997
MULDER: Scully? (O.S.)
SCULLY: Yeah.

Shutting the door quietly behind herself. Taking her time to get to the living room. Mulder sits up, responding to her tone. But her expression says it all.
SCULLY: Pierre, South Dakota

Mulder stands now.

SCULLY: Transfer effective immediately.

Mulders still hasn't said anything.

SCULLY: I already gave Skinner my letter of resignation.
MULDER: You can't quit, Scully.
SCULLY: I can, Mulder. I debated whether or not to even tell you in person, because I knew --
MULDER: We're close to something here -- we're on the verge --
SCULLY: You're on the verge, Mulder. Please don't do this to me --
MULDER: After what you saw last night; after all you've seen -- you can't just walk away.
SCULLY: I have. I did. It's done.
MULDER: Just like that --
SCULLY: I'm contacting the AMA to reinstate --
MULDER: I need you on this, Scully --
SCULLY: You don't, Mulder -- you've never needed me. I've only held you back--
MULDER: You're wrong --
SCULLY: Why was I assigned to you? To debunk your work. To reign you in. To shut you down.
MULDER: You've saved me, Scully. (off her look) As difficult and frustrating as it's been sometimes, your goddam strict rationalism and science have saved me a thousand times; have kept me honest and made me whole. I owe you everything, Scully, and you owe me nothing. But I'm asking you...

She is silent, moved. In spite of all her desire not to be.

SCULLY: It's done, Mulder. Please. Let's just leave it alone.

He stands across from her, considering one last protest, but finally ... he nods in quiet defeat. They stand staring at one another for a moment, neither knowing what to say now. As if there were anything to say.

SCULLY: I gotta go.

She moves back to the door. He watches her.

ANGLE ON SCULLY
She opens the door, steps out, with only a small look back, at
REVERSE ON MULDER
Looking away.
83. INTERIOR 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.:

The door to Mulder's apartment opens and he steps out. Scully senses him before she hears him.

MULDER: Scully --

He's moving to catch up to her. She turns to face him.

MULDER: I just wanted...

He doesn't finish, putitng his arms around her and hugging her tight. She doesn't hesitate a second to do the same. They hold this for a few moments, then break only slightly. There's suddenly an awkward physical intimacy we've never seen.
MULDER: (quietly) ... if you never come through that door again...
They are not exactly poised for a kiss, but the moment has presented itself. It is on their minds, as it is certainly for everyone who's ever watched an episode.

SCULLY: I...

Mulder raises one of his hands gently up to Scully's neck, as if to calm her. And as awkward as they both feel, the gesture is as gentle and protective as a lover's. The moment of truth has arrived. Where there is hesitation, there is also desire. When...

SCULLY: OUCH!

***
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Finally, to top off this moving movie experience, do not forget there are indeed TWO soundtracks - music from the movie - best tracks in my opinion are Walking After You (Foo Fighters), One (Filter), More Than This (The Cure) - but all are really cool [and don't forget to check out Chris Carter's hidden message of truth at 10:13 at the end of this CD!]; and then of course, there is the Mark Snow score from the movie - kind of hard to find but a brilliant album!!
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