#Fox script

[proxifire]

Big sis who sees her needy robot sis and pulls it onto the bed. Big sis who cuddles it, knowing its only gonna get more needy. Big sis who feels it get hard and start to hump her and just teases it while it whines. Big sis who finally pushes it on its back and rides it untill the poor robot sis is overheating and bluescreened

[myselfandsomeotherbeing]

THE X FILES, season 2 episode 14 - "Die Hand Die Verletzt"

[wordpress-blaze-239730566]

Noah's Ark on Broadway

LISTEN NOW (8 minutes):

Listen Now as Francis Douglas tells of when Noah's Ark was featured on New York City's Broadway stage.

PODCAST TRANSCRIPT:

Today on Celebrate the Bible:

NOAH’S ARK on BROADWAY in 1896

You are not likely to find anything about Noah's Ark on New York City's famous Broadway today … but, at one time, it was the "toast of the town".

Noah's Ark, and the great world-wide flood as recorded in Genesis, is perhaps one of the most easily identifiable events in all of the Bible. The most interesting aspect of this episode is not the illusion itself, but the fact that it attracted so many people from New York City's secular population: from every-day working families, to the City's upper crust … all were thrilled with the experience.

A few points of note:

Technical details of the illusion were featured in Scientific American magazine

The Olympia was the premiere entertainment showplace of the world

Biblical themes were very popular, with all NYC audiences at the Olympia

It was founded and built by famous Oscar Hammerstein

It was reported that audiences were left spellbound after each Noah’s Ark performance

It was so popular and well-received, that the highly respected science publication, Scientific American, devoted an entire page to this Biblically-themed entertainment attraction -- complete with stunning illustrations.

Let’s take a step-by-step look at the Noah’s Ark illusion. I will inter-space the steps throughout today’s presentation.

STEP ONE

Hammerstein's Olympia Theater and Music Hall was once celebrated as the foremost entertainment venue in the entire world.

Located at 44th and Broadway in New York City, it was only two blocks from what is known today as Times Square. The main theater held 2,800-seats. And the building took up an entire city block.

STEP TWO

The rooftop was just as famous as the theater and music hall. It had a 65-foot tall glass roof, and was illuminated with over 3,000 light bulbs. To provide electricity, there were four dynamos that generated 3,200 amps of power. These dynamos also powered a complete air circulation system, and pump, that brought refrigerated water from the basement to the rooftop area -- providing what was a very early version of air conditioning ... in 1896!

Not to be outdone by any other venue, the rooftop also had trees, rocks, and even a stream that eventually led to a 40-foot lake. There were swans, ducks, and even South American monkeys.

And, while you were enjoying all of this, you could walk around the perimeter of the roof, and take in views of Central Park and neighboring New Jersey.

At the time, the cost of admission for everything, including entertainment, was only 50-cents! However, keep in mind, with the rate of inflation from 1896 to 2025, that same fifty cent admission price would be equivalent to roughly $15 to $20 today.

STEP FOUR

The Scientific American publication was founded by inventor and publisher Rufus Porter in 1845. Contributors of note include Thomas Edison, Robert Goddard, Jonas Salk, Albert Einstein, and Linus Pauling -- just to name a few.

STEP FIVE: The SOLUTION

The answer to the filling of the Ark with water is a simple one … the water funnel on the top of the Ark is attached to a hose that runs down through the support beams, then empties under the stage. The water never fills the Ark in the first place.

Other than taking creative license with a few details (for instance, the real ark was never filled with water), it was a wonderful opportunity for audience members to experience one of the great Biblical events on the grand Broadway stage.

Perhaps one day we'll see a revival of the Noah's Ark Illusion, or a variation on the theme. In the meantime, I'm glad to have been able to bring it to you with this Celebrate the Bible 250 podcast.

So, until we meet again, and for celebratethebible250, this is Francis Douglas.


If you would like me to give a presentation and small exhibit to your church group, school, or organization, on the History of the Christian Holy Bible in America, I’ll place contact information below as the 2026 Semiquincentennial America 250 year approaches.

I will be available for Southern New Jersey, Southeastern Pennsylvania, and Northern Delaware.

Source: Noah's Ark on Broadway

[sonicdesolation]

Issue 4: Page 19

(Beginning) (Prev) (Next)

[scullysbagelbites]

Guys… I’m completely devastated by the script for the end of “Never Again”…

Like what do you mean he was about to tell her that her life has become his too… and he stops but she already knew what he was going to say.

I’m crying.

[hotcinnamonsunset]

Henry stands lovingly close.

[barksilvered]

RWRB script 1/?

[mulderscully]

THE SCRIPT + "in days"

[tincanhoe]

Kinda funny that there was multiple times in TXF they had Mulder and Scully kiss just to cut it. Like why were they making Gillian and David kiss for no reason😭😭😭

[succubustacy]

[menace-behaviour]

*Gearing up to save Bobby and Athena from the Cruise Ship*

Buck: *Loudly* Woah! What is that?!

Eddie: This is an aircraft hanger, Buck. You know that’s a helicopter.

Buck: *Regular Volume* I saw an Instagram Reel that said if you look confused enough in a cool place, hot and nerdy dudes will just flock to you like flies.

Eddie:

Buck: And I’m trying to land a hot pilot husband. I can’t keep being the only smoke show in the relationship!

Eddie: Is that really your priority, right now?

Buck: I’m multi-tasking!

[varpusvaras]

Ah yes, let's blame the fall of the Jedi...not on the fascist war-profiting puppeteer villain who orchestrated the entire war just so he could get rid of the Jedi, but on a literal slave with no rights. Okay then.

[watchyourbuck]

So bottom line is Ryan Guzman can act straight but chooses not to when he’s playing Eddie Diaz,,, ok then

[scullysbagelbites]

Some script moments from “Small Potatoes”

Moment on the couch: (you know the one.)

End of episode:

[from-the-118]

👀

[charliewrites99]

So, which brave soul is going to ask Oliver why exactly was this his favourite episode?

[actual-changeling]

This was supposed to be a short little Folie à Deux meta, but several hours of writing, thinking, and script research later, and suddenly here we are.

Welcome to this glimpse into my insane mind.

So! Let's go on a little journey and discuss the ending of season five, because Folie à Deux not only sets the foundation for The End but actively makes it so much worse than it could have been.

In the previous episodes, Mulder has been ditching her and blowing her off more and more, he keeps doing things behind her back without telling her, they keep having fights about belief vs. hard facts, and then, at the beginning of that episode, what happens?

MULDER: I must've done something to piss him off. SCULLY: What do you mean? MULDER: Get stuck with this jerk-off assignment or have I finally reached that magic point in my career where every time somebody sees Bigfoot or the Virgin Mary on a tortilla I get called to offer my special insight on the matter? SCULLY: You're saying "I" a lot. I heard "we." Nor do I assume that this case is just a waste of our time. MULDER: Not yours, anyway. There's no reason both of us should go to Chicago. I'll take care of it. SCULLY: Mulder! MULDER: I'm monster boy, right?

He actively and intentionally breaks them up against her will. Mulder is making decisions for THEM without consulting or listening to her, and what can she do except let him run off like he so clearly wants to.

Now, what do you think she takes away from that?

After being left in the dark about his undercover mission in the episode before? After Mulder showing her, one way or another, that he does not want to work with her, that he's fine leaving her behind?

But alright, she stays behind, it's simply Mulder being Mulder.

She does the research he asks her to do. She shows up and helps out when he gets taken hostage. She listens to him, tries to understand, she's concerned because he hasn't been sleeping. She does the fucking autopsy even though he went behind her back and tricked her into it. She keeps looking and looking and looking, and by the end, she's not relieved that the case is finally done or that Mulder is no longer actively insane.

Folie à Deux—a madness shared by two, that's what she believes is happening to her, to them.

Shared by two. Scully thinks of them as a pair, a team, an "us" and a "we".

We all know what he tells her when she visits him at the hospital, but let's really really think about the consequences of it.

MULDER: Scully, you have to believe me. Nobody else on this whole damn planet does or ever will. You're my one in five billion.

Yeah, alright, that sounds intensely romantic and affirming of their partnershi— oh that?

Oh, that's Diana. No, I never told you about her even though she's arguably one of the most impactful people in my life. I found the X Files with her, she believes in my theories without giving me any resistance, we were in a relationship, she's back now and I am spending more time with her than with you while ALSO not paying attention to you.

If I will tell you about her now? No. But I WILL treat her like she's my partner and not you.

SCULLY: Say that what you're suggesting were even possible, who'd want to kill a kid whose abilities would offer you the ultimate advantage—I mean in business, in war, in anything? DIANA: Maybe somebody whose business is in keeping secrets. MULDER: Well, let's test him. I think the kid will stand up. Let's run a brain scan and a psych evaluation on him. (looking away) You know what to do, Diana.

Not a single word of recognition towards Scully after the shitshow that just went down with Gibson. Way to go, Mulder, way to go.

On top of that, it is worth mentioning that Fowley calls him by his first name and he calls her by hers. Scully can probably count the amount of times Mulder has called her "Dana" on one hand, and she doesn't call him "Fox" because, and I quote:

MULDER: And I... I even made my parents call me Mulder. So... Mulder.

So, Diana is an exception. Why? Why does she get to call him that? Why she but not Scully?

Why does she get to reappear in his life after leaving without an explanation and have Mulder welcome her back with open arms, offering Scully's position on a silver platter?

Scully needs to ask TLG for help and information about Fowley, and it makes everything so much worse. Within their work-relationship, she's the scientist, that's her job, that's who she is, that's why Mulder needs her, and Fowley isn't one.

Right?

LANGLY: She was there when he discovered the X-Files. She has a background of para-science.

Oh. Oh, okay. Sure.

A big thank you to @sentientsky for sharing the script, which gives us this wonderful additional information:

So, to summarize, she's hot, Mulder's type, has exactly the kind of background that someone working on the X Files needs, and they have an old dynamic to fall back into—a dynamic they fall back into period.

She goes through all that, stays up all night to make sure her evidence is scientifically sound, just for Mulder to not even back her up when Spender and Fowley challenge her.

The script actively states that this is what Diana has been waiting for during the meeting—to refute Scully.

Fowley questions Scully's capabilities as both an agent and a scientist during a meeting right in front of Mulder, and Scully looks at him. She waits for him to say something, to defend her like he usually would, but he doesn't.

He doesn't even look at her.

The betrayal she must have felt, ESPECIALLY after what he told her at the hospital. It's no wonder she writes off anything and everything he says to her when he's injured in some form after that experience.

She needs to make herself believe he was just talking like that because he was having some sort of episode, because what are the other options here?

One in five billion, until someone better comes along?

Until he no longer needs her to do something for him?

Until she has outlived her usefulness and has transitioned from being a vital part of their investigations to being annoying and overly sceptical?

Until it becomes clear that Mulder isn't the issue in their partnership, it's her? That all her fears and anxieties weren't so irrational, after all?

Because it's important to remember that this is the day after she saw him and Diana at the hospital.

After THIS:

How much do you wanna bet that she spent the last, what, twelve hours since seeing them trying to convince herself that it's not what she thinks?

That, of course, Mulder is still her partner. That they're still a team. That she is not an indulgence to Mulder or the X Files, that she belongs down in that basement just as much as he does.

You and me. Me and you. Right? ...Right??

The case goes off the rails, Fowley gets shot, Gibson gets kidnapped, CSM delivers a Star Wars line and later burns down their office.

She stays at his apartment for the night, and we see them interacting when Skinner calls, but Mulder is still not fully acknowledging her. He asks her about Fowley and any news regarding their assignments, but that's it.

No "how are you feeling about potentially getting fired, Scully?"

Now, there's this tiny but important part that they decided to cut, which emphasizes the emotional gap between them; it re-affirms what we have seen for way too many episodes.

Mulder cares about her, but he is completely taking her and the safety she offers him for granted. He is, and I mean this in the least negative way possible, essentially using her as a crutch—without even noticing. Scully notices, though, and in lieu of an explanation from Mulder, she is forced to draw her own conclusions.

I'm going to stay here (your life) if that's okay with you (if you still want me in it).

When they're standing in the ashes at the end, it's just as horrifying and terrible for her as it is for Mulder, and she clings to him for the both of them. She clings to him to keep him from breaking, and he doesn't hug her back.

Scully is giving him her everything, she's trying so incredibly hard to keep him in one piece and soothe his pain, but, tell me, who is taking care of her?

There's a limit, she has reached it, and Mulder doesn't even realize it.

Is he acting maliciously at any point? No, definitely not. However, he is carelessly cruel sometimes, doesn't communicate how much Scully means to him, and simply keeps taking and taking because she keeps giving.

Five years, and yet he still blames and distrusts her when she doesn't immediately jump onto his insect zombie bandwagon. Five years, and never once did he mention the person he found the X Files with. Fowley so easily takes Scully's place and she understandably feels rejected and unloved.

WE know he loves her, yes, but she isn't sure of that anymore. Loving someone comes with feeling comfortable around them and being yourself, yet he is incapable of fully understanding the responsibility they both have to keep each other safe from each other.

Scully is sacrificing herself to keep him from breaking and he does not even notice how she is falling apart right next to him.