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Полная версия этой страницы: 7х15 En Ami
DD forum > The X-Files > Разговоры о СМ > От Пилота к Истине
Виктория
Сценарий: Уильям Б. Дэвис
Режиссёр: Роб Бауман
Первый показ в США: 19 марта 2000


Вырезанная сцена - когда Малдер приходит в дом Скалли и разговаривает с домовладельцем, после того, как тот говорит, что Скалли – отличная девочка, Малдер отвечает на это: "Yeah, I'm rather fond of her myself."
Еще один важный момент, он присутствует в окончательном сценарии, но его так и не сняли. Когда Скалли с возмущением спрашивает Курильщика, как она оказалась в постели в своей пижаме, он отвечает: «Я раздел вас… в темноте, если вам от этого будет легче».
Еще один момент – платье Скалли. Оказывается, спина в нем голая (чтобы она не могла спрятать микрофон). И когда Курильщик дает платье Скалли, после ее реплики «Оно красивое», он говорит: «Я выбрал его сам» (платье Скалли - Richard Tyler Couture).
Еще один момент – в ресторане Курильщик говорит Скалли, что она ошеломительно выглядит, Скалли игнорирует эту реплику и продолжает расспрашивать его о Кобре. Также во время обеда он сравнивает вино с женщинами. С возрастом женщины становятся все прекраснее. Короче, он осыпал ее комплиментами по полной программе.
В заключительной версии сценария, когда Малдер и Скалли ждут приговора Стрелков касательно диска, они не молчат.
Малдер: Я только хочу знать, почему.
Скалли: Я никогда не лгала бы тебе, Малдер.
Малдер: Но ты солгала.
Скалли: Нет, я солгала ему. Я не могла поступить иначе.

В сценарии, когда Курильщик сообщает Скалли, что он хочет дать лекарство именно ей, потому что устал от упрямства Малдера, он добавляет: «Вы его переросли. Он сидит в своем офисе в ожидании поддельных следов на подобии тех, которые он расследует теперь. Надеясь на какой-нибудь глупый случай, чтобы втянуть вас в его расследование и злоупотребить вашей лояльностью».

Ещё одна вырезанная сцена. Сцена начинается в офисе Скиннера – Скалли возвращается после посещения мальчика, который был чудом излечен (уже после ее встречи с Курильщиком), Малдер просит Скиннера, чтобы тот приказал узнать, кто послал ему e-mail, но Скиннер говорит, что не будет этого делать. На что Малдер отвечает: «Правильно, я забыл, мы живем с демократией, но не работаем». Скалли заходит в офис и сообщает Малдеру и Скиннеру, что она ничего не обнаружила при встрече с мальчиком. После того как они оставляют офис Скиннера, Малдер спрашивает Скалли, что она узнала на самом деле. Она отвечает, что ничего она не узнала. Малдер что-то подозревает, нажав кнопку вызова лифта, он говорит ей: «Я уверен, что если бы ты что-нибудь нашла, то сказала бы мне», и уезжает, оставив Скалли стоять в коридоре.
Виктория
-- "En Ami" is French for "as a friend," yet phonetically it sounds like "enemy".

-- William B. Davis had some time on his hands during Season 7. With the XF alien mythology in transition, and the actor's alter ego, Cigarette-Smoking Man, limited to four episodes, the actor had time to think. He spent his time coming up with a "frightening" scenario for an XF episode: CSM makes himself irresistible to Agent Dana Scully and by degrees, seduces her to his agenda.

-- Gillian Anderson noted that it might have been a seduction in CSM's mind, but not in Scully's. "She knew all along," Anderson said. "She was just playing along to get the secrets he held."

-- Davis, an actor steeped in the theatre and the classics, saw much in the episode of Shakespeare's Richard III and, in particular, the relationship between Richard and Lady Anne. Davis mentioned in interviews that he pulled from the scene in Richard III where Richard tries to convince Lady Anne that he is more than "a lump of foul deformity," and Richard says enough of the right things to temper her anger, gain her wary trust, and even marry her. But the original inspiration for "En Ami" came from the hand that CSM had been dealt by past episodes of the X-Files: Davis felt that CSM never got any really good scenes with Scully, so he decided to write some for himself. "Yes, there was a lot of Richard III in my idea for 'En Ami,'" he said, "but the main thing for me was how far CSM would go to win Scully's affections."

-- Davis went to Chris Carter with the kernel of an idea. In Davis's original proposal of the episode, Mulder had been killed, and CSM came upon Scully in the funeral home and began a process of winning her allegiance. It later turned out that Mulder was not dead but was in on the scam with CSM as he proved to Mulder that Scully was not a worthy partner. Scully realized that Mulder was really a wimp and that she was actually attracted to real power. So she decided to leave Mulder and join CSM. At the very end, the audience would learn that everything happened in Scully's mind and the story was really her nightmare of CSM.

-- The XF creator was intrigued and urged the veteran actor, with the aid of Frank Spotnitz, to craft a first-draft script. Then the script went through a lot of evolution, with lots of correspondence and long-distance telephone calls. In early discussions of the script, Davis reported that Agent Spender and Alex Krycek were in the story and that an alliance between CSM and Krycek was integral to the storyline. However, those elements were eliminated early in the writing process. (A scene that made it to an early draft of the script but was finally eliminated had CSM teaching Scully how to water ski.)

-- Davis finished the first draft of "En Ami" in four weeks. He left his home in Canada and came down to Los Angeles, where he entered an intense four-day in-house rewriting session with Spotnitz and John Shiban. Shiban remembered that sitting in the room with Bill Davis allowed him to see that Davis really believed CSM was the romantic hero of The X-Files. "He had an attitude about the story being a love story," Shiban said. "Bill Davis will admit freely that he's not a writer, so it took some effort on all our parts to fashion a story."

-- Spotnitz remembered the L.A. writing session as critical to clarifying the intent of the story of this unorthodox episode. "The relationship between Scully and CSM was one we had never explored," Spotnitz said. "It's not a matter of course that you're going to say yes to one of your actors to write a script. I thought it was too great an idea not to take a chance on. [But] the last thing the audience wanted to see was Scully trusting this man she's spent seven years hating. How to make that transition believable was one of the hardest things about making this script work."

-- By the time the script went to Chris Carter for a final polish, Davis's initial vision of CSM as a romantic hero had been tempered by the reality of the XF's existing mythos and past character development. "I was basically happy with the way it turned out, despite the fact that there were many other ideas that I had that I did not get to see," said Davis. "My original conception of the story was the CSM was a much better actor at winning Scully's affections and that Scully was somewhat less resistant to his attention to her. But the script got redirected."

-- Chris Carter recalled that the big question raised by the script was what Scully's feelings really were toward CSM. "She considered him to be the devil incarnate, and Bill questioned whether or not that was true based on his interpretation of the character."

-- "En Ami" was originally slotted to appear early in the seventh season, but Mulder's early-season emotional crisis in "The Sixth Extinction" and "Amor Fati" made having a largely Scully episode problematic in terms of advancing characters and story tone.

-- After directing more than 30 XF episodes as well as the XF movie, "En Ami" was the last directing assignment for Rob Bowman (whose other Season 7 contribution was "Orison").
Виктория
-- The original script calls for "Brahms Cello Sonata No. 1 in E minor (or some equally beautiful piece)" to be playing on the radio as CSM and Scully are driving. The script notes that the piece "gives the scene a strange mood. Driving with this man we've known and feared for years, to the haunting melodies of Brahms. Scully stares straight ahead, the melody not lost on her." In the end, the producers felt Mark Snow's musical backing was more appropriate and made the substitution at the last minute.

-- After Scully's line, "You're not just a cold-blooded killer, you're a pop psychologist as well," another interesting CSM line from the shooting script was cut from the final episode: "I am a killer. (beat) I make no excuse for that, except to say I believed I was serving a greater purpose."

-- The Season 7 DVDs include another deleted scene from this episode in which CSM offers Scully a little more background on the 118-year-old Marjorie Butters, including the fact that she had thyroid cancer in 1974 and had a miracle recovery. He says that as far as Marjorie knows, he's just a man she met in the hospital, bringing flowers to his mother.

-- The character of Marjorie Butters was played by veteran character actor Louise Latham, whose credits included Adam at 6 A.M. White Lightning, and Crazy from the Heart.

-- The shooting script describes the scene where CSM and Scully arrive at the cabin in Milford, Pennsylvania, with Scully asleep in the front seat, as follows: "CSM, staring at Scully, inscrutably. Might this be the moment of vulnerability he's been waiting for, to kill her. In this out of the way locale, no one knowing her whereabouts. And we fear the worst, as he starts to put on a pair of black leather gloves. This done, he reaches out with one hand ... and carefully pushes back a lock of Scully's hair. Off this gentle gesture, from this most ungentle of men, cut to ..."

-- description of the scene where there's a knock at Mulder's door. "It's dark in his apartment. Mulder breaks frame, dressed in whatever he's wearing to bed these days."

-- Mulder's magical peephole, which appears or disappears as needed, appears in this episode so he can get a look at the "disguised" LGM at his door.

-- Bruce Harwood (Byers) related that "En Ami" was a "hoot" for the Lone Gunmen in the scene where they were disguised as each other. "I was supposed to be Dean Haglund so they brushed my hair up so it looked like I'd stuck my finger in a light socket. Tom Braidwood had on this awful hairpiece. That show was a relief for me because usually I'm the guy in the suit and it takes me forever to get dressed, and Dean is always dressed in jeans, a tee-shirt, and wears his own shoes. For me, that episode was really relaxing."

-- Production on the episode ran into a time crunch, especially when shooting the restaurant scene with Scully and CSM. Because of the script situation, they shot Gillian Anderson's side of those scenes in the restaurant and Bill Davis's side of the same scenes on a different day at the studio.

-- The exterior of the restaurant in this episode is the "Old Writer's Building" on the Fox lot, which reportedly housed the writers and producers of Chicago Hope.

-- Another short but interesting exchange between CSM and Scully that appears in the original script was deleted from the final episode. CSM pours Scully more wine as they eat dinner and she takes a sip. SCULLY: You become a doctor hoping to cure a handful of people in your lifetime, never imagining, like Salk or Sabin or Curie, to have an impact on all humankind. [She says this matter-of-factly, not as if she will ever be such a person. It is an explanation, though it is delivered openly. As if wine has made the conversation relaxed, candid, honest. The CSM pours for himself. Empties the bottle. Eyes sparkling with ardor.] CSM: But you are *poised.* If cancer were to be eliminated -- humans might live to a hundred and fifty, two hundred years old. SCULLY: It wouldn't be me. I will have done nothing but deliver it. CSM: The story is yours to shape. You've searched for the truth for so long, now you've found it. This discovery is a logical progression of your hard work. SCULLY: I couldn't take credit. CSM: I must insist. [She looks at him, chuckles. It's absurd, but the CSM is adamant.] The scene continues with CSM telling Scully that what she will receive is the cure for all human disease.

-- Most of the lake scenes, including the climatic encounter between Scully and the mystery scientist code-named Cobra, were shot at California's picturesque Lake Sherwood. While it was Scully out in the lake making the exchange with Cobra, it was not Gillian Anderson driving the boat. The stunt driving was courtesy of stunt coordinator Danny Weselis.

-- The tight schedule also resulted in some last-minute construction when a small section of lake and dock were quickly built on a studio set for the sequence in which CSM finally does the noble thing.

-- Mulder and Scully's voiceover dialogue at the end of the episode discussing CSM's motivations (as we see CSM tossing the tape) doesn't appear in the shooting script.

-- Chris Carter joked that the biggest scare of Season 7 might have been seeing Scully in a slinky dress on the figurative arm of Cigarette-Smoking Man. "The scare was quiet and largely cerebral but ultimately very successful," Carter said. "What we see is that she ultimately loathes this man beyond her ability to express it. This may have been the creepiest episode of the year."

Виктория
Анонсы серии: http://www.youtube.com/watch?v=WFJSG9iQahw
Виктория
Очень красивая Скалли ddlove.gif И Малдер её такой не видел mad.gif





И моя любимая сцена эпизода. Такое напряжение ddlove.gif

Fenix
Fenix


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