Never Again Original Script
I told amyhit I would try to find the infamous original script for Never Again. If there's one thing Haven is great for is to find lost or fogotten stuff. Over there, Konrad found me a Wayback link (which was really kind of him as he really hates that ep). The page belonged to someone named Laura Witte whom I mailed to let her know I was going to copy and paste the script here in order to preserve this little piece of fandom history.
The bits in red are - I assume - Laura's comments about the script.
Script Differences - Never Again
Written by: Glen Morgan & James Wong
Directed by: Rob Bowman
==================
The script give us a bit more insight into the court's ruling on Ed's divorce:
CAMERA CRUELLY SCROLLS DOWN the court orders...
X- LEGAL CUSTODY OF CHILDREN TO: PETITIONER (Cindy Savalas)
X- CHILD VISITATION TO: RESPONDENT to be supervised by PETITIONER
X- SPOUSAL SUPPORT TO: PETITIONER. ($11,743.00 to be paid on the 1st day of every month)
X- CHILD SUPPORT TO: PETITIONER. ($7,678.00 to be paid on the 1st day of every month)
X- PROPERTY RIGHTS TO: PETITIONER...
And on and on...
There are some "credit card" differences in this scene:
INT. THE HARD EIGHT LOUNGE - NIGHT
Don't let "lounge" throw you, this is a bar. The MUSIC CONTINUES, no SOURCE, as CAMERA MOVES ALONG THE BAR, passing general LOW-LIFES and such, all of which are more animated than the hammered Ed Jerse at the end of the bar.
Still in this afternoon's suit and tie, he downs another boilermaker before struggling to light the last Lucky Stripe in the pack. Looking off to the bartender, Ed gestures to his empty glass; "another."
THE BARTENDER
a barrel chested, bearded, East coast biker, cuts lemons in half with a mean knife. The bartender assesses Ed's condition and merely shakes his head, "no way, you're through."
ED
initially appears pissed of, then realizes how gone he is. Ed nods, gestures for the tab, and pulls out his wallet. He throws a credit card on the bar. The bartender picks it up and moves off.
Ed pauses, HEARTBROKEN, as he looks at something in his billfold. CAMERA EASES IN ON HIM as he slowly removes a wallet sized photo. On the back is scribbled a pathetic, "When they were mine. Cape May. Spring. '96."
-- the part with Ed burning his face out of the picture is the same...
THE BARTENDER
stands over the greasy credit authorization machine. Not pleased, he looks to...
ED
gestures, drunk, for the slip to sign
THE BARTENDER
turns away from Ed, rechecking the machine before picking up the mean lemon cutting knife. The bartender looks back to Ed while slicing his no good credit card in half. With knife in hand, the bartender flashes a threatening look toward Ed, as if "now what?"
ED
the thought of starting a fight flashes, but he knows he is in no condition. With an angry sigh, he pulls out some cash and as he flips it on the bar...
CUT TO:
The description of the "Betty" tattoo:
CAMERA CREEPS IN ON the Betty Page like woman, head cocked seductively over a bare shoulder. Grable hair held up with a pink polka dot ribbon. Full red lips. Long lashes, big blue eyes, one of which is closed in an alluring coy wink.
In the script, Ed's tattoo of Betty lies over two pieces of a heart torn in two. The word "Never" is above Betty, the word "Again" is under her.
Scully does a more thorough perusal of Mulder's desk before he arrives:
INT. MULDER'S OFFICE - DAY - CLOSE - NAME PLATE
"FOX MULDER" is held in Scully's hand.
SCULLY
considers the white name on brown plastic, bothered. She looks around the X-Files office, searching, as if taking inventory. She swivels and looks at the walls behind her.
SCULLY'S POV - OFFICE WALLS
Tacked to the bulletin boards: the "I Want to Believe" poster, a New York Knicks schedule, the away games against Washington are highlighted and an autographed book jacket of From Outer Space; "To Fox Mulder, Best Wishes Jose Chung."
SCULLY
turns back to the desk and eyes a packet of opened sunflower seeds. Chewed disgusting husks are piled by the phone. She opens a lower drawer and removes a stack of magazines. The first is a NICAP journal including "The Molyobka Triangle: Russia's UFO Anomaly Zone" by Fox Mulder.
Returning the magazines, she spots something in the bottom of the drawer. A stray X-File/research folder marked: "Modern Primatives". CAMERA PUSHES IN AS SHE opens the file...
FILE - SLIGHT MATCHING MOVE
A Papua New Guinea woman is covered with tattoos. The pages flip falling upon charts of North American tribe tattoos, African scarification and Christian Coptic tattoos...
SCULLY
CAMERA CONTINUES TO CREEP TOWARD HER...the images reaching her on a level deeper than merely interesting phenomenon.
Mulder's rebuff of Scully not paying attention the night before is less harsh in the script, merely saying, "The contact we met last night at The Wall, who you neither listened or talked to...". Later, when illustrating the "Rocky and Bullwinkle"-ness of the story she says "The contact, whom, although I did not talk to, yet indeed listened to, albeit impatiently..."
Some of the motivations behind the character's actions are interesting. When Mulder asks Scully to keep her eye on things for him, the script says, "Mulder means no malice by this, but Scully tenses from his use of words". When Scully asks him why she doesn't have a desk, the script describes her as "not whining or bitchy, just curious". Mulder's initial response to this a gesture to say "you're sitting behind it". When Scully unhappily adds that, although the work is Mulder's life, it has become hers, the script says that "Mulder seems to understand what is wrong. He's a little hurt by this, but tries to help out".
After Mulder leaves, she takes his name plate from the desk, opens a drawer, and drops it inside. She then places the dead rose petal on the spot that his nameplate used to occupy.
The script describes the camera work as the camera continues backwards down the hall after Ed enters his downstairs neighbor's apartment as "a shameless "Frenzy" rip off".
As Scully watches Pudovkin in the small general store, the store owner and Scully have a small exchange:
Before her, in the window, is a Matryoshka, a Russian doll; displaying a darker message than most. The outer shell being a pretty woman, with each inner shell appearing more sad and disturbed until the smallest final figure is a skeleton.
Scully's focus is beyond the doll, but to the store owner, appearing in the b.g, it appears Scully is looking at the doll.
The Store Owner is rattled by the recent encounter with Pudovkin, and attempts to not let it show, however it does.
STORE OWNER
(Thick Accent)
It is Matryoshka.
Scully is puzzled at first, then once she turns realizes the woman is talking about the doll. CAMERA PUSHES IN ON SCULLY, effected by the imagery of the doll.
STORE OWNER
Tells story. What is inside girl.
Scully is compelled to consider the matryoshka's message. Rattled, she forces herself out of the moment and returns her focus out the window and down the street.
The script describes the tattoo that Scully is interested in as:
"an ouroboros, a snake eats its own tail; similar to, but not the "Millennium" logo.
The scene where Scully and Ed first meet:
SVO
You like this? On his arm?
Ed keeps his eyes downward, humiliated and tense, but if one wasn't aware of his problem, he wouldn't appear psychotic. In fact, he is somewhat handsome.
Scully notes the Betty tattoo as she approaches.
SCULLY'S POV - BETTY TATTOO
CAMERA EASES IN ON Ed's right arm.
Scully cocks her head to see the tat "rightside up." Her eyes move to the bearer of the image and hangs on his face... a beat longer than usual.
SCULLY
The color, the red on the lips, is extraordinary
Svo taps Ed on the knee and stands as if Scully's comment closes the case
SVO
See, pretty girl...
Svo gestures with his hands towards Ed as if to finish the statement, "she likes it, why change it."
SCULLY
I've never seen a color so vibrant on a tattoo. Why is it so different?
Svo moves to Scully if only to attempt to close the discussion with Ed.
SVO
Something I find na narakh.
As Svo CLEARS FRAME, MOVING to Scully, CAMERA PUSHES IN on Ed as he looks up at the woman.
ED'S POV - SCULLY
CAMERA EASES IN ON Scully, not in a manner to imply she is the next victim, however to imply attraction.
SCULLY
Meaning?
ED
still tense, however, subtly attracted to Scully. After a beat, CAMERA TILTS DOWN to Betty.
SCULLY AND SVO
Svo nods, unashamed. He holds out his hand.
SVO
In prison, tattoos are way prisoners talk... without talking. "Thieves Music." See...
He indicates several small markings on his hand and fingers.
SVO (CONT'D)
This, my name; "Svo". This what I do to go to prison.
SCULLY:
Which was?
SVO
(smiles)
Don't remember.
Scully nods as if to say, "okay, I won't push it."
ED
remains locked on Scully.
BETTY (V.O.)
(icy)
Thought I was your girl.
Ed is rattled. His initial reflex is to take his eyes off of Scully. After a beat to think about it, he defiantly looks back to Dana. The tone of Betty's voice is intense... dangerous.
BETTY (V.O.)
Lover... this is a very bad thing.
Ed battles to keep his eyes on Dana.
SCULLY AND SVO
The Russian pushes up his sleeve, REVEALING several crude, black tattoos. One is of a broken heart before an eight pointed star, no color.
SVO
This tells others I am... uh... district boss. "Don't fool with me." This...
He indicates a cartoonish figure behind bars with a saying enclosed in a banner above the cell.
SVO (CONT'D)
"He who has not been deprived of freedom does not know its value."
The saying gently resonates with Scully. She takes a second look at the tattoo.
SVO (CONT'D)
(re: Ed)
I tell him. "Everyone gets tattoo they deserve." Beautiful. Cheap. Thought over. Impulse. Tattoo reflects on body what lies in person's soul.
ED AND BETTY
Ed continues to watch Scully.
BETTY (V.O.)
You'd brake my heart over a cheap redhead?
His response is to remain locked on Scully.
BETTY (V.O.)
Eddie... you talk to her... and I'm gonna be bad.
Ed rolls down his sleeve. Betty disappears.
SCULLY AND SVO
She looks closely at Svo's tattoo.
SCULLY
It's so detailed. All these were done in prison?
SVO
Yes. Use sewing needle. Paper clip. Ink; burned show leather, carbon shaving, urine. I find grasses grow in prison yard. Rye and such. My secret to make bright colours. Don't know why, but work! Only use now on that tattoo.
He points toward...
ED
who has rolled down his sleeve. Behind Ed, poking his head out a small door, Pudovkin gestures to Svo, "come here."
SCULLY AND SVO
Scully notes Pudovkin's location as Svo nods and starts off toward the back room.
SVO
Pardon me. You look.
Scully indicates to the flash as Scully smiles her "thanks". She peeks up towards the back room.
Ed puts on his coat, smiling and attractive...
ED
Mind some advice from a stranger?
Scully is a bit tentative, if only from being out of practice with flirtation.
SCULLY
What's your name?
ED
Ed Jerse. Don't hold that against me.
SCULLY
Dana Scully.
They shake.
SCULLY
Now you're not as much a stranger.
Ed smiles, understanding that he remains very much so.
...the scene continues as filmed
In her hotel room, Scully is actually on the phone giving a case-update to Skinner when the operator breaks in with an "emergency call to Dana Scully from Fox Mulder". Scully tells Skinner that she will be back tonight before speaking to Mulder.
After hanging up on "uncomfortable" Mulder (who doesn't do the Elvis-karate move), the script reads:
An element of her feels at last avenged for the "Not now" treatment while he sat with Bambi. Another side, however, feels quite unsure about herself...but willing to explore the uncertainty.
After Scully calls Ed, explaining that they had met at the tattoo place earlier that day, she says (with a nervous laugh), "There's something I thought I'd never say." (To which Ed replies "Glad you did").
Before Ed burns his tattoo with a cigarette, "Betty" goes on a bit more:
"Never Again." You've never been true to me. But I'll make you be true... I'll make you mine...
There are a few differences when Ed lets Scully into his apartment:
The lone desk lamp makes the room sexy if you don't know Ed's secret; eerie otherwise. Ed works on his tie as Scully takes in the apartment. Basically a desk, a laptop, and some lawn chairs.
ED
At least we can forego the "what a nice place you have" formalities
SCULLY
No, I like it... early American K-Mart beach and patio.
Ed forces a laugh
ED
Truth is, I...um...separated from my wife a year ago and took this place as a sort of halfway house and so I never bothered to... fix it up.
Scully gently responds as if "it's not a problem."
ED (CONT'D)
Divorce became final last week.
(beat)
Well! There's a great first topic of conversation, huh?!
The admission eases her and to further do so, she makes an admission of her own.
SCULLY
Ed...I don't go out very often.
(beat)
The last time I went on a date was to see "Schindler's List" and the characters in the movie had a much better time.
Ed smiles as he eases. There is an instant chemistry and a beat in which both are excited about the evening.
When Scully spots the photo of Ed with his face burned out:
She picks it up, feeling immediate understanding and sympathy.
The bar scene is rather different in places:
Both are relaxed and slumped in the booth, buzzed, but not drunk. Ed works the olive from his martini as Scully drinks from something other than a wine glass.
A girl, just 21, passes their booth. Half of her hair is died black, the other is bleached blond; red leather jacket, pierced eyebrow. Scully looks up and watches her move along.
SCULLY
You believe I used to look just like that girl... once?
Ed checks out the girl and laughs, incredulous.
ED
No.
Scully laughs at the thought of it, but nods her head adamantly. (She's been drinking and is relaxed around Ed, so she's not as formal in her speech)
SCULLY
Minus the pierced eyebrow.
(beat)
I dropped out of med school, just to piss off my dad and went through a thing where I coloured my hair, wore beat up clothes and just listened to The Clash all the time.
Ed gestures to her as if, "so how are you like this?" She understands and shrugs. She considers and simply shrugs back.
SCULLY
Doesn't everybody go through that?
ED
You're askin' the wrong guy. I was married and pushin' Mutual Funds when I was twenty.
(drinks)
You said you were a doctor, so you must have gone back.
She nods, uncomfortable a bit with the mis-information, but feels now is not the time to tell her real occupation.
SCULLY
I've always gone around in this... I don't know, circle. A figure comes into my life, authoritative... controlling. And... part of my likes it. Needs it, even. I want their approval. But then... after a while, every few years...
She gestures as if "I lose it or go against them." Ed doesn't quite follow and with a questioning expression, repeats the gesture. Scully laughs.
SCULLY
Well, let's see... my father was a Navy captain and he ran a tight ship. I worshipped...
(catches herself)
worship... the sea he sailed on. But around thirteen, or so, I went through a thing where I would sneak out of the house to smoke my mom's cigarettes... just because he's kill me if I got caught. I'd gag on 'em, but, man, what a rush.
Ed smiles, listens, enjoying watching her
SCULLY (CONT'D)
And then, you know, when you become a teenager, the church father keeps closer tabs on you. I didn't have a thought about sex until he told me not to.
Ed raises a polite but flirtatious eyebrow. She grins, not minding.
SCULLY (CONT'D)
And you know, along the way...there are other...
She considers what to call Mulder and what slips out is...
SCULLY
Fathers.
ED
It's good to lose control every once in a while.
With a troubled afterthought.
ED
As long as you got it in control. Sounds a little like your time has come around again.
The answer is yes, however, she shrugs.
SCULLY
King of like that ouroboros.
ED
(teasing)
Exactly.
SCULLY
At the tattoo place. On the wall. The snake eating its own tail. An ouroboros is an early Christian symbol. The snake is symbolic of divine life, the circle embraces all cyclic systems. Unity, multiplicity, the return to unity; evolution, involution...birth, death.
Ed's comment is to jokingly slide her drink away from her and look inside. She laughs, embarrassed.
ED
I don't know. Whatever I got out of that is... sounds like you're just going to keep repeating what you do. Good or bad. I want things more like a straight line and I don't want to ever go backward. That's why I got...the tattoo I deserve.
He takes a drink...his tone turning darker.
ED (CONT'D)
It marked a moment... a feeling... a memorial of something I never want to have happen again. I don't know, like...
He shrugs, downs his drink.
ED (CONT'D)
Like something left at The Wall, or something.
He shrugs, flustered, while she looks at him; aroused by the coincidence of his metaphor.
...the scene continues as aired with Scully trying to see his tattoo again
Big difference -- Scully gets her tattoo on her ankle in the script. She later gets the feeling that it feels tight, as though the snake was squeezing her ankle.
During the tattooing process, the word "sensuously" appears often -- as Scully is "excited by the rebellious act", the needles are "dangerous but somehow erotic", the pain is "actually exciting, arousing", and as she turns her eyes back towards Ed the script claims that "This is foreplay".
...and here it is -- the cut "romance" scene:
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 AND SCULLY
POPPING BACK OUT, 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 he 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 BEINGS 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.
CAMERA CONTINUES... OUT THE DOOR and INTO THE HALL, looking back TOWARD Ed's apartment. it HOLDS. After a beat... the door SLAMS! O.S., INSIDE INTENSE MOVEMENTS, not dissimilar in SOUND to Ms. Schilling's attack.
AFTER A MOMENT, CAMERA MOVES backward and adjusts to look down the stairs at Ms. Schilling's apartment.
CAMERA HOLDS...AFTER a tense pause, two Washington D.C. PATROLMEN enter the building and move towards Kaye Schilling's apartment. They KNOCK. No response.
They KNOCK again. And while awaiting a response the will never come...
FADE OUT:
When Mulder ditches his vacation to search for Scully and can't find her by phone, the script describes his attitude:
Mulder hangs up. Not totally... but there's a similar air to the moment you know your "ex" has been out on a date and hasn't come home. As he looks around, considering how he feels about this...
He then finds the rose petal where his nameplate should be.
We don't see Ed wake up on the couch and leave to get breakfast -- we jump straight to Scully being awakened by a knock on the door.
An added line on the note Ed leaves for Scully, after "Didn't want to wake you":
You looked so beautiful
One thing that made me smile -- as the script describes Ed attempting to burn the Betty tattoo in the incinerator, there is a "(Oh, please BS&P)" after the description. Morgan & Wong's plea to Standards and Practices to let the scene happen as they describe.
After Mulder comments that she looks better than she did in the hospital, he adds "Nice tat, by the way". She then eyes him, "reacting to the chilly reception".
After he rambles on for a while, and Scully notices the rose petal next to his name plate:
Mulder sighs, knowing he's come down too hard. In fact, this is not how he wanted to welcome her back. But he is troubled by her reactions. At this point, he feels the best thing is to return to work...
After Scully's "It's my life, Mulder" and his cut-off "But it's..." response:
Returning his focus to the file, he cannot complete the sentence. She looks up to him and after a beat, he looks up to her. He doesn't have to finish the thought for her to know what he was going to say.
WIDER
With only the desk lamp on, the two agents look to one another. If it were ever going to happen, it would be now. As they maintain the silence...
DISSOLVE TO:
INT. TATTOO YOU - DAY - WALL OF FLASH
THROUGH THE DISSOLVE, CAMERA MOVES ACROSS tattoo designs mounted on a wall. A LEGEND APPEARS: "EL CAJON, CALIFORNIA." A young MAN, 21, ENTERS FRAME looking for an image to place under his skin. O.S., a female VOICE offers a suggestion...
VOICE (O.S.)
Are you man enough for this one?
The young man turns around, looking for the source of the voice. Across the room, a FEMALE TATTOO ARTIST works on a customer. Assuming she spoke, he moves in for a closer look at the design in question.
CAMERA MOVES WITH HIM to discover, amongst all the current popular flash, a design that will, unfortunately, never fall out of fashion...
As the frozen Betty tattoo FILLS FRAME, seductively winking INTO CAMERA
FADE OUT
The bits in red are - I assume - Laura's comments about the script.
Script Differences - Never Again
Written by: Glen Morgan & James Wong
Directed by: Rob Bowman
==================
The script give us a bit more insight into the court's ruling on Ed's divorce:
CAMERA CRUELLY SCROLLS DOWN the court orders...
X- LEGAL CUSTODY OF CHILDREN TO: PETITIONER (Cindy Savalas)
X- CHILD VISITATION TO: RESPONDENT to be supervised by PETITIONER
X- SPOUSAL SUPPORT TO: PETITIONER. ($11,743.00 to be paid on the 1st day of every month)
X- CHILD SUPPORT TO: PETITIONER. ($7,678.00 to be paid on the 1st day of every month)
X- PROPERTY RIGHTS TO: PETITIONER...
And on and on...
There are some "credit card" differences in this scene:
INT. THE HARD EIGHT LOUNGE - NIGHT
Don't let "lounge" throw you, this is a bar. The MUSIC CONTINUES, no SOURCE, as CAMERA MOVES ALONG THE BAR, passing general LOW-LIFES and such, all of which are more animated than the hammered Ed Jerse at the end of the bar.
Still in this afternoon's suit and tie, he downs another boilermaker before struggling to light the last Lucky Stripe in the pack. Looking off to the bartender, Ed gestures to his empty glass; "another."
THE BARTENDER
a barrel chested, bearded, East coast biker, cuts lemons in half with a mean knife. The bartender assesses Ed's condition and merely shakes his head, "no way, you're through."
ED
initially appears pissed of, then realizes how gone he is. Ed nods, gestures for the tab, and pulls out his wallet. He throws a credit card on the bar. The bartender picks it up and moves off.
Ed pauses, HEARTBROKEN, as he looks at something in his billfold. CAMERA EASES IN ON HIM as he slowly removes a wallet sized photo. On the back is scribbled a pathetic, "When they were mine. Cape May. Spring. '96."
-- the part with Ed burning his face out of the picture is the same...
THE BARTENDER
stands over the greasy credit authorization machine. Not pleased, he looks to...
ED
gestures, drunk, for the slip to sign
THE BARTENDER
turns away from Ed, rechecking the machine before picking up the mean lemon cutting knife. The bartender looks back to Ed while slicing his no good credit card in half. With knife in hand, the bartender flashes a threatening look toward Ed, as if "now what?"
ED
the thought of starting a fight flashes, but he knows he is in no condition. With an angry sigh, he pulls out some cash and as he flips it on the bar...
CUT TO:
The description of the "Betty" tattoo:
CAMERA CREEPS IN ON the Betty Page like woman, head cocked seductively over a bare shoulder. Grable hair held up with a pink polka dot ribbon. Full red lips. Long lashes, big blue eyes, one of which is closed in an alluring coy wink.
In the script, Ed's tattoo of Betty lies over two pieces of a heart torn in two. The word "Never" is above Betty, the word "Again" is under her.
Scully does a more thorough perusal of Mulder's desk before he arrives:
INT. MULDER'S OFFICE - DAY - CLOSE - NAME PLATE
"FOX MULDER" is held in Scully's hand.
SCULLY
considers the white name on brown plastic, bothered. She looks around the X-Files office, searching, as if taking inventory. She swivels and looks at the walls behind her.
SCULLY'S POV - OFFICE WALLS
Tacked to the bulletin boards: the "I Want to Believe" poster, a New York Knicks schedule, the away games against Washington are highlighted and an autographed book jacket of From Outer Space; "To Fox Mulder, Best Wishes Jose Chung."
SCULLY
turns back to the desk and eyes a packet of opened sunflower seeds. Chewed disgusting husks are piled by the phone. She opens a lower drawer and removes a stack of magazines. The first is a NICAP journal including "The Molyobka Triangle: Russia's UFO Anomaly Zone" by Fox Mulder.
Returning the magazines, she spots something in the bottom of the drawer. A stray X-File/research folder marked: "Modern Primatives". CAMERA PUSHES IN AS SHE opens the file...
FILE - SLIGHT MATCHING MOVE
A Papua New Guinea woman is covered with tattoos. The pages flip falling upon charts of North American tribe tattoos, African scarification and Christian Coptic tattoos...
SCULLY
CAMERA CONTINUES TO CREEP TOWARD HER...the images reaching her on a level deeper than merely interesting phenomenon.
Mulder's rebuff of Scully not paying attention the night before is less harsh in the script, merely saying, "The contact we met last night at The Wall, who you neither listened or talked to...". Later, when illustrating the "Rocky and Bullwinkle"-ness of the story she says "The contact, whom, although I did not talk to, yet indeed listened to, albeit impatiently..."
Some of the motivations behind the character's actions are interesting. When Mulder asks Scully to keep her eye on things for him, the script says, "Mulder means no malice by this, but Scully tenses from his use of words". When Scully asks him why she doesn't have a desk, the script describes her as "not whining or bitchy, just curious". Mulder's initial response to this a gesture to say "you're sitting behind it". When Scully unhappily adds that, although the work is Mulder's life, it has become hers, the script says that "Mulder seems to understand what is wrong. He's a little hurt by this, but tries to help out".
After Mulder leaves, she takes his name plate from the desk, opens a drawer, and drops it inside. She then places the dead rose petal on the spot that his nameplate used to occupy.
The script describes the camera work as the camera continues backwards down the hall after Ed enters his downstairs neighbor's apartment as "a shameless "Frenzy" rip off".
As Scully watches Pudovkin in the small general store, the store owner and Scully have a small exchange:
Before her, in the window, is a Matryoshka, a Russian doll; displaying a darker message than most. The outer shell being a pretty woman, with each inner shell appearing more sad and disturbed until the smallest final figure is a skeleton.
Scully's focus is beyond the doll, but to the store owner, appearing in the b.g, it appears Scully is looking at the doll.
The Store Owner is rattled by the recent encounter with Pudovkin, and attempts to not let it show, however it does.
STORE OWNER
(Thick Accent)
It is Matryoshka.
Scully is puzzled at first, then once she turns realizes the woman is talking about the doll. CAMERA PUSHES IN ON SCULLY, effected by the imagery of the doll.
STORE OWNER
Tells story. What is inside girl.
Scully is compelled to consider the matryoshka's message. Rattled, she forces herself out of the moment and returns her focus out the window and down the street.
The script describes the tattoo that Scully is interested in as:
"an ouroboros, a snake eats its own tail; similar to, but not the "Millennium" logo.
The scene where Scully and Ed first meet:
SVO
You like this? On his arm?
Ed keeps his eyes downward, humiliated and tense, but if one wasn't aware of his problem, he wouldn't appear psychotic. In fact, he is somewhat handsome.
Scully notes the Betty tattoo as she approaches.
SCULLY'S POV - BETTY TATTOO
CAMERA EASES IN ON Ed's right arm.
Scully cocks her head to see the tat "rightside up." Her eyes move to the bearer of the image and hangs on his face... a beat longer than usual.
SCULLY
The color, the red on the lips, is extraordinary
Svo taps Ed on the knee and stands as if Scully's comment closes the case
SVO
See, pretty girl...
Svo gestures with his hands towards Ed as if to finish the statement, "she likes it, why change it."
SCULLY
I've never seen a color so vibrant on a tattoo. Why is it so different?
Svo moves to Scully if only to attempt to close the discussion with Ed.
SVO
Something I find na narakh.
As Svo CLEARS FRAME, MOVING to Scully, CAMERA PUSHES IN on Ed as he looks up at the woman.
ED'S POV - SCULLY
CAMERA EASES IN ON Scully, not in a manner to imply she is the next victim, however to imply attraction.
SCULLY
Meaning?
ED
still tense, however, subtly attracted to Scully. After a beat, CAMERA TILTS DOWN to Betty.
SCULLY AND SVO
Svo nods, unashamed. He holds out his hand.
SVO
In prison, tattoos are way prisoners talk... without talking. "Thieves Music." See...
He indicates several small markings on his hand and fingers.
SVO (CONT'D)
This, my name; "Svo". This what I do to go to prison.
SCULLY:
Which was?
SVO
(smiles)
Don't remember.
Scully nods as if to say, "okay, I won't push it."
ED
remains locked on Scully.
BETTY (V.O.)
(icy)
Thought I was your girl.
Ed is rattled. His initial reflex is to take his eyes off of Scully. After a beat to think about it, he defiantly looks back to Dana. The tone of Betty's voice is intense... dangerous.
BETTY (V.O.)
Lover... this is a very bad thing.
Ed battles to keep his eyes on Dana.
SCULLY AND SVO
The Russian pushes up his sleeve, REVEALING several crude, black tattoos. One is of a broken heart before an eight pointed star, no color.
SVO
This tells others I am... uh... district boss. "Don't fool with me." This...
He indicates a cartoonish figure behind bars with a saying enclosed in a banner above the cell.
SVO (CONT'D)
"He who has not been deprived of freedom does not know its value."
The saying gently resonates with Scully. She takes a second look at the tattoo.
SVO (CONT'D)
(re: Ed)
I tell him. "Everyone gets tattoo they deserve." Beautiful. Cheap. Thought over. Impulse. Tattoo reflects on body what lies in person's soul.
ED AND BETTY
Ed continues to watch Scully.
BETTY (V.O.)
You'd brake my heart over a cheap redhead?
His response is to remain locked on Scully.
BETTY (V.O.)
Eddie... you talk to her... and I'm gonna be bad.
Ed rolls down his sleeve. Betty disappears.
SCULLY AND SVO
She looks closely at Svo's tattoo.
SCULLY
It's so detailed. All these were done in prison?
SVO
Yes. Use sewing needle. Paper clip. Ink; burned show leather, carbon shaving, urine. I find grasses grow in prison yard. Rye and such. My secret to make bright colours. Don't know why, but work! Only use now on that tattoo.
He points toward...
ED
who has rolled down his sleeve. Behind Ed, poking his head out a small door, Pudovkin gestures to Svo, "come here."
SCULLY AND SVO
Scully notes Pudovkin's location as Svo nods and starts off toward the back room.
SVO
Pardon me. You look.
Scully indicates to the flash as Scully smiles her "thanks". She peeks up towards the back room.
Ed puts on his coat, smiling and attractive...
ED
Mind some advice from a stranger?
Scully is a bit tentative, if only from being out of practice with flirtation.
SCULLY
What's your name?
ED
Ed Jerse. Don't hold that against me.
SCULLY
Dana Scully.
They shake.
SCULLY
Now you're not as much a stranger.
Ed smiles, understanding that he remains very much so.
...the scene continues as filmed
In her hotel room, Scully is actually on the phone giving a case-update to Skinner when the operator breaks in with an "emergency call to Dana Scully from Fox Mulder". Scully tells Skinner that she will be back tonight before speaking to Mulder.
After hanging up on "uncomfortable" Mulder (who doesn't do the Elvis-karate move), the script reads:
An element of her feels at last avenged for the "Not now" treatment while he sat with Bambi. Another side, however, feels quite unsure about herself...but willing to explore the uncertainty.
After Scully calls Ed, explaining that they had met at the tattoo place earlier that day, she says (with a nervous laugh), "There's something I thought I'd never say." (To which Ed replies "Glad you did").
Before Ed burns his tattoo with a cigarette, "Betty" goes on a bit more:
"Never Again." You've never been true to me. But I'll make you be true... I'll make you mine...
There are a few differences when Ed lets Scully into his apartment:
The lone desk lamp makes the room sexy if you don't know Ed's secret; eerie otherwise. Ed works on his tie as Scully takes in the apartment. Basically a desk, a laptop, and some lawn chairs.
ED
At least we can forego the "what a nice place you have" formalities
SCULLY
No, I like it... early American K-Mart beach and patio.
Ed forces a laugh
ED
Truth is, I...um...separated from my wife a year ago and took this place as a sort of halfway house and so I never bothered to... fix it up.
Scully gently responds as if "it's not a problem."
ED (CONT'D)
Divorce became final last week.
(beat)
Well! There's a great first topic of conversation, huh?!
The admission eases her and to further do so, she makes an admission of her own.
SCULLY
Ed...I don't go out very often.
(beat)
The last time I went on a date was to see "Schindler's List" and the characters in the movie had a much better time.
Ed smiles as he eases. There is an instant chemistry and a beat in which both are excited about the evening.
When Scully spots the photo of Ed with his face burned out:
She picks it up, feeling immediate understanding and sympathy.
The bar scene is rather different in places:
Both are relaxed and slumped in the booth, buzzed, but not drunk. Ed works the olive from his martini as Scully drinks from something other than a wine glass.
A girl, just 21, passes their booth. Half of her hair is died black, the other is bleached blond; red leather jacket, pierced eyebrow. Scully looks up and watches her move along.
SCULLY
You believe I used to look just like that girl... once?
Ed checks out the girl and laughs, incredulous.
ED
No.
Scully laughs at the thought of it, but nods her head adamantly. (She's been drinking and is relaxed around Ed, so she's not as formal in her speech)
SCULLY
Minus the pierced eyebrow.
(beat)
I dropped out of med school, just to piss off my dad and went through a thing where I coloured my hair, wore beat up clothes and just listened to The Clash all the time.
Ed gestures to her as if, "so how are you like this?" She understands and shrugs. She considers and simply shrugs back.
SCULLY
Doesn't everybody go through that?
ED
You're askin' the wrong guy. I was married and pushin' Mutual Funds when I was twenty.
(drinks)
You said you were a doctor, so you must have gone back.
She nods, uncomfortable a bit with the mis-information, but feels now is not the time to tell her real occupation.
SCULLY
I've always gone around in this... I don't know, circle. A figure comes into my life, authoritative... controlling. And... part of my likes it. Needs it, even. I want their approval. But then... after a while, every few years...
She gestures as if "I lose it or go against them." Ed doesn't quite follow and with a questioning expression, repeats the gesture. Scully laughs.
SCULLY
Well, let's see... my father was a Navy captain and he ran a tight ship. I worshipped...
(catches herself)
worship... the sea he sailed on. But around thirteen, or so, I went through a thing where I would sneak out of the house to smoke my mom's cigarettes... just because he's kill me if I got caught. I'd gag on 'em, but, man, what a rush.
Ed smiles, listens, enjoying watching her
SCULLY (CONT'D)
And then, you know, when you become a teenager, the church father keeps closer tabs on you. I didn't have a thought about sex until he told me not to.
Ed raises a polite but flirtatious eyebrow. She grins, not minding.
SCULLY (CONT'D)
And you know, along the way...there are other...
She considers what to call Mulder and what slips out is...
SCULLY
Fathers.
ED
It's good to lose control every once in a while.
With a troubled afterthought.
ED
As long as you got it in control. Sounds a little like your time has come around again.
The answer is yes, however, she shrugs.
SCULLY
King of like that ouroboros.
ED
(teasing)
Exactly.
SCULLY
At the tattoo place. On the wall. The snake eating its own tail. An ouroboros is an early Christian symbol. The snake is symbolic of divine life, the circle embraces all cyclic systems. Unity, multiplicity, the return to unity; evolution, involution...birth, death.
Ed's comment is to jokingly slide her drink away from her and look inside. She laughs, embarrassed.
ED
I don't know. Whatever I got out of that is... sounds like you're just going to keep repeating what you do. Good or bad. I want things more like a straight line and I don't want to ever go backward. That's why I got...the tattoo I deserve.
He takes a drink...his tone turning darker.
ED (CONT'D)
It marked a moment... a feeling... a memorial of something I never want to have happen again. I don't know, like...
He shrugs, downs his drink.
ED (CONT'D)
Like something left at The Wall, or something.
He shrugs, flustered, while she looks at him; aroused by the coincidence of his metaphor.
...the scene continues as aired with Scully trying to see his tattoo again
Big difference -- Scully gets her tattoo on her ankle in the script. She later gets the feeling that it feels tight, as though the snake was squeezing her ankle.
During the tattooing process, the word "sensuously" appears often -- as Scully is "excited by the rebellious act", the needles are "dangerous but somehow erotic", the pain is "actually exciting, arousing", and as she turns her eyes back towards Ed the script claims that "This is foreplay".
...and here it is -- the cut "romance" scene:
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 AND SCULLY
POPPING BACK OUT, 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 he 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 BEINGS 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.
CAMERA CONTINUES... OUT THE DOOR and INTO THE HALL, looking back TOWARD Ed's apartment. it HOLDS. After a beat... the door SLAMS! O.S., INSIDE INTENSE MOVEMENTS, not dissimilar in SOUND to Ms. Schilling's attack.
AFTER A MOMENT, CAMERA MOVES backward and adjusts to look down the stairs at Ms. Schilling's apartment.
CAMERA HOLDS...AFTER a tense pause, two Washington D.C. PATROLMEN enter the building and move towards Kaye Schilling's apartment. They KNOCK. No response.
They KNOCK again. And while awaiting a response the will never come...
FADE OUT:
When Mulder ditches his vacation to search for Scully and can't find her by phone, the script describes his attitude:
Mulder hangs up. Not totally... but there's a similar air to the moment you know your "ex" has been out on a date and hasn't come home. As he looks around, considering how he feels about this...
He then finds the rose petal where his nameplate should be.
We don't see Ed wake up on the couch and leave to get breakfast -- we jump straight to Scully being awakened by a knock on the door.
An added line on the note Ed leaves for Scully, after "Didn't want to wake you":
You looked so beautiful
One thing that made me smile -- as the script describes Ed attempting to burn the Betty tattoo in the incinerator, there is a "(Oh, please BS&P)" after the description. Morgan & Wong's plea to Standards and Practices to let the scene happen as they describe.
After Mulder comments that she looks better than she did in the hospital, he adds "Nice tat, by the way". She then eyes him, "reacting to the chilly reception".
After he rambles on for a while, and Scully notices the rose petal next to his name plate:
Mulder sighs, knowing he's come down too hard. In fact, this is not how he wanted to welcome her back. But he is troubled by her reactions. At this point, he feels the best thing is to return to work...
After Scully's "It's my life, Mulder" and his cut-off "But it's..." response:
Returning his focus to the file, he cannot complete the sentence. She looks up to him and after a beat, he looks up to her. He doesn't have to finish the thought for her to know what he was going to say.
WIDER
With only the desk lamp on, the two agents look to one another. If it were ever going to happen, it would be now. As they maintain the silence...
DISSOLVE TO:
INT. TATTOO YOU - DAY - WALL OF FLASH
THROUGH THE DISSOLVE, CAMERA MOVES ACROSS tattoo designs mounted on a wall. A LEGEND APPEARS: "EL CAJON, CALIFORNIA." A young MAN, 21, ENTERS FRAME looking for an image to place under his skin. O.S., a female VOICE offers a suggestion...
VOICE (O.S.)
Are you man enough for this one?
The young man turns around, looking for the source of the voice. Across the room, a FEMALE TATTOO ARTIST works on a customer. Assuming she spoke, he moves in for a closer look at the design in question.
CAMERA MOVES WITH HIM to discover, amongst all the current popular flash, a design that will, unfortunately, never fall out of fashion...
As the frozen Betty tattoo FILLS FRAME, seductively winking INTO CAMERA
FADE OUT