The X-Files

Season 6 Episode 4

Dreamland (1)

Aired Monday 9:00 PM Nov 29, 1998 on FOX

Episode Fan Reviews (20)

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  • Dreamland

    Dreamland was a perfect episode of the X-Files from start to finish. I really enjoyed watching because there was a lot of character and plot development as a UFO encounter causes Mulder to switch bodies with a shadowy Area 51 employee Morris Fletcher. This was a great idea and interesting way to explore the Area 51 site. I loved how Scully interacted with each Mulder, and it was funny to see Mulder dealing with Fletcher's wife. There seems to be a lot more going on that one would have first thought. I liked the ending as the real Fletcher weaved his web around every one. I look forward to watching the next episode to see how it plays out!!!!!!!!!
  • Nice episode, with only a little problem.

    This episode started out normally for M & S, with Mulder taking Scully to see a source about a UFO. Then things went sideways, and get funny from there. I'd say more, but I'd hate to ruin the episode itself.

    The only really bad part of this episode was the part when M & S were in their car having an argument. Emotionally it seemed ok, but overall it seemed as if the actors weren't getting along that day or something. It felt a little scripted in parts.

    But other than that, the episode was fine =). Loved how Mulder played Morris and vice versa XD. It was a good break. Also, loved the 'Star Trek' nods in the episode =).

    As for the acting overall, other than that blip at the beginning of the episode... the acting from everyone was pretty good.

    Loved the humor in the episode and seeing Scully not knowing that Mulder isn't really there is just priceless XD. Heck I knew it wasn't really him from the first time that Morris said 'Dana'... really, like Mulder would go and do that, over and over again =p?
  • Mulder switches bodies with an Area 51 employee.

    When I first read the premise for this episode on Netflix, I was actually a bit intrigued.. I thought that we'd get a ton of information about the truth Mulder has been looking for for so long. But honestly.. Chris Carter and co. wouldn't exactly drop the truth in our laps like that. Instead of an informational episode, we get an episode filled with some of the show's funniest moments and a story that is slightly interesting. In fact, I found myself caring very little for the actual story and more for Mulder and Scully's interactions, as strange as they were.

    Mulder and Scully are headed to Area 51 when they're suddenly pulled over by a group of Area 51 employees. As they're being asked to turn around, a UFO arrives, hovering briefly over Mulder before suddenly disappearing. What's odd, however, is the fact that Mulder has switched places with one of the employees there, a guy named Morris Fletcher. This puts Mulder in an interesting position: he has the chance to learn as much as possible about Area 51 and the tests they're doing here. Meanwhile, Morris Fletcher (who is now in Mulder's body) does ridiculous things like smoke cigarettes and hit on random women, something that confuses Scully.

    If the episode found a way to balance the drama and the comedy a little better, I think I might have liked it better. Then again, maybe I'm just upset that the episode didn't go in the direction I was hoping. I was hoping for some slight myth-arc stuff, and instead, we got Mulder dancing in front of a mirror in his underwear and getting into awkward situations with Morris Fletcher's wife (technically, his wife, considering he's in Morris' body).

    Vince Gilligan, John Shiban and Frank Spotnitz certainly do a great job with the script, and for the fourth episode in a row, I'm really enjoying the stories we're getting. It's tough for a show to stay relevant six seasons in (something Supernatural is currently facing and doing pretty well with), but this show seems to be delivering some of its funnest stuff (even if it's not quite the best). Luckily, this is a two part episode, so it should be fun to see how everything is resolved and whether Mulder gets his body back!
  • A hilarious episode from the highly underrated season 6.

    I don't know why people thought the sixth season wasn't up to par with the earlier ones, but i personally love the entire season, with the exception of a few duds. Unfortunately during the original run of the x-files I only saw a handful of episodes, plus the original movie. This was one of those episodes I was lucky enough to have happened to see. I was aware of the mythology of the x-files, but i didn't know what it was about, so i was afraid to get into it. However, this episode is the only two parter that has nothing to do with the mythology and it was at the height of the x-files popularity. The whole episode will make you laugh, from the mirror dance, to "Mulder" slapping Scully's ass, you will not be disapointed.
  • A good episode; in fact, one of my favorites among the sixth season of X-files!

    I have to admit, overall, I found the sixth season of X-files rather disappointing. It simply lacked the mystery, intrigue, and (relatively) scientific explanations that made the earlier seasons so damn good! I mean, Rain King, Terms of Endearment, and Alpha were almost painful for me to watch. But Dreamland (I & II) and a few other episodes (i.e. Triangle among others) almost made up for it. Despite a few badly-shot scenes (such as Mulder dancing in front of a mirror in the body of Morris) this episode was really good! It was overall very funny, with a few very touching moments between Mulder and Scully. Personally, I found the whole idea behind the body-swap very cool and original. The story contributed virtually nothing new to the series' Mythology, which I know disappointed a lot of fans. In the long run, however, I was not let down.
  • Funny episode

    One good thing about the move from Vancouver to L.A. was that they were able to explore a few more locations for episodes, namely, the American southwest, e.g. California, Arizona, New Mexico, Nevada and Utah, where the terrain is more desert-like. 'The Beginning' took us to Arizona, Drive from Utah through California, and now Dreamland in southern Nevada, namely Area 51. Area 51 is the motherland of UFOs. It's where some of the U.S. public believes that the cover-up of UFOs and aliens began back in the later 1940's. So, it's cool that the x-files is finally able to visit the home of UFO lore. I find it interesting that when the time warp is passing over them that only Morris and Mulder are switched and not anyone else. It's almost as if the UFO chose Mulder. Unrestricted access to Area 51 was the perfect opportunity for Mulder to find out about UFOs. I have commented on David Duchovny's comic ability before, but it needs reemphasizing here. He is a natural at it and it helps the episode so much. Dreamland features two great guest stars, Michael McKean as Morris Fletcher and Nora Dunn as JoAnne Fletcher, his wife. The two are comic gold, McKean as the sleaze-bag and Dunn as the nagging wife. Even though this episode has a lot of humor in it, it does deal with a serious x-file of UFOs and body-switching. And it surprisingly ends with a cliff-hanger leaving you with doubt as to Mulder's future. Dreamland mixes a traditional x- file with a good dose of humor to make for a very excellent episode.

    I give Dreamland a 10 out of 10.
  • Sweet...

    Along with having time warp episodes another classic story that never gets old is body swapping. Mulder and Scully travel to Area 51 or try to but are stopped by men in black. You would have to figure this would be like a boyhood dream for Mulder to visit Area 51. As they are standing there with the men in black Mulder switches bodies with Morris Fletcher when an aircraft flies over. Now you would think most peple would flip out after switching bodies with someone else but Mulder always keeps his cool. I think he actually enjoyed being Fletcher for a little bit. It was funny how he just sat there watching porn and Fletchers wife says what if the kids had come down and saw that there father was a pervert. Mulder had a point at the end when he said of all people he knew Scully would be doubtfull.
  • One of the funniest episodes

    This episode is hilarious. It´s like this ep from season 5, Bad Blood. Mulder being Morris Fletcher is the best. I love it how Mulder could manage to avoid certain situations with Fletcher´s family and his desperation to find Scully and have her believe him. The scene in the kitchen is very funny, the nose job comment is fantastic.
    My favorite scene is the one when Scully, after noticing the fake Mulder´s weird behavior, travels to Nevada and visits Mulder in Fletcher´s house. He had just convince Joanne about Scully not being a woman and she shows up. Mulder proving Scully that he´s the real one with things such a her lunch is amazing. I wanted to hug him when he says I expected you not believe me.
  • In my opinion the best "non story arc" episode of the entire series. Don't miss this!

    I'm just going to write a review for both parts of "Dreamland" instead of writing two separate ones.

    I suppose this episode could be considered a "comedy" episode- being that the subject matter is relatively light. No one really dies, and there are no horribly disfigured monsters terrorizing the agents. Its just basically a problem they're faced with and it is definitely suspenseful but also a lot of hilarity ensues.

    Its kinda like the movie "Face/Off" with Nicholas Cage and John Travolta- only it is Mulder and a DOD agent Morris Fletcher who switch identities (due to a tear in the space-time continuum caused by an experimental spacecraft). Thing is, Morris Fletcher likes being Mulder. The same can't be said, however, for Mulder who is stuck in Fletcher's old body.

    By far my favorite scene was Morris Fletcher (trapped in Mulder's body) tagging along with Scully to visit the Lone Gunmen. Fletcher poking fun at the Gunmen, followed by Frohike flipping out on him had me laughing out loud to the point where I actually rewound the scene and watched it several times over.

    Both Michael McKean (who plays Morris Fletcher) and David Duchovny do an outstanding job switching characters. So well, in fact, that you get completely lost in the episode and won't remember that it is just an act throughout its entirety.

    This episode is great- like I said, its my personal favorite. One of the few episodes I know I can watch over and over again and never get sick of it.
  • Mulder has a body swap with a 'man in black'

    In keeping with the series 6 lighthearted theme, writers have made a comedy 2-parter episode. This is the first part where we find Mulder and Scully heading out to meet an informant who works at Area 51, famed for its alien conspiracy theories. While being detained by armed guards a craft flies overhead and creates a rip in time which also switches Mulder with one of the shadowy government figures. This sets in motion a whole host of comic situations. Some of the best take place in Morris' household as Mulder struggles to come to terms with life as a family man. Sleeping in the living room rather than going to bed with 'this woman'. She wakes him in the morning with the T.V. still on an adult channel?? The best 'laugh out loud' moment came, when Mulder gets dressed in front of a mirror and we see Mulder as Morris (David Duchovny) and Michael McKean dancing, trying to come to terms with who this person is, that he sees in his reflection.
  • Familiarity Breeds Contempt

    I'm of two minds regarding this episode (no pun intended). Yes, it is a funny, cleverly written episode and a real crowd-pleaser, but it's dishearterning to see yet another self-parody, especially one with so much apparent venom for itself.

    In addition to the usual jabs at the ridiculousness of Mulder's name, we get even more mean-spirited pokes at Scully. For example, Morris/Mulder calls Scully a b**** and Morris' wife refers to her as Special Tramp Dana Scully. Funny stuff, to be sure, but I detect a strong undercurrent of self-hate in all this frivolity, indicating that perhaps the writers needed a break after five seasons and a feature film.

    It also seems that by now the writers have become overly conscious of their fanbase, as they seemingly throw in a laundry list of jokes and references designed to amuse the faithful. Joke about where Mulder sleeps? Check. Another silly Mulder face? Check. Tease a Scully-Mulder kiss? Check. The whole thing becomes so self-referential that the entire episode threatens to crawl up its own, ahem, lower cavity.

    Which is not to say that this episode isn't funny and immensely entertaining, because it is both. It's just that I can't help but worry for the future of the series, even as I laugh out loud at Mulder and "Lenny" doing their mirror gag.
  • Hilarious episode, lots of fun, but not a serious attempt at mythology.

    Wow, Mulder and Scully right in the teaser blip. And having clever and almost personal conversation for once, how nice. Character development, right there. Scully longs for a normal life, Mulder thinks this is normal. A testament to Duchovny's acting - I love his minimal look of shock, realizing he's in a different position than he was. And then the shock switches to panicked (with the amount of emotion his deadpan face usually shows, this slight amount is definitely panic) as he tries to catch Scully's eye and receives no reaction from her. I love that DD can betray so much emotion by the most minimal movements and slightest widening of the eyes. But why doesn't the man in black show any reaction at all? He's acting like this is totally normal! So this could have been a really interesting look into the other side of the conspiracy - how things work, who pulls the strings. I would have hoped that Mulder would take advantage of this opportunity, once he calmed down a little bit. But no, we didn't really learn much. Instead, there were a few continuity goofs. And I had a really very hard time believing that Scully would have such a hard time believing Mulder. I mean, couldn't she connect the dots? Morris didn't even TRY to seem like Mulder - he called her Dana, he smoked, he flirted with girls, he ratted on her actions, he sucked up to Kersh. I mean, even without Mulder telling her what happened, she should've been able to connect it all together! Seriously unbelieveable. I would be angrier if this was a serious episode, but obviously it's one of the light-hearted ones. The light-hearted episodes are notorious for bad continuity and stretching characters so they fit.

    David Duchovny is so good at the comedic acting, I don't know why he think he's type cast as this serious, intense FBI guy. He is clearly gifted at all sorts. His little bit of a flinch as his fellow man in black slashes an imaginary whip at him, as if the whip had landed its blow, is just too good. The episode as a whole was just a plain bit of fun, nothing really added of substance to the story arc. ESPECIALLY because they take it all back at the end of the episode, so it's really like nothing happened at all. Except Mulder got his apartment back. Although it's fun to extrapolate that. If his apartment didn't switch back, that would mean that Kersh still thinks Mulder's his golden boy, Kersh's secretary has the memory of making out with Mulder, and all that.
  • The one where Mulder changes bodies

    Yet another fantastic episode which managed to be hilarious and character developing.

    The episode begins with Mulder and Scully going to a source of Mulder’s who he believes to be able to help him out with info of extra terrestrials. On their way something flies above them which changes the body of Mulder with the one of another agent named Morris. Mulder then begins to go with the flow and when he gets home he finds out how screwed the family is. His two children hate him and his wife wants to eat him alive. This was all very funny, especially how Mulder accidentally hurt his family.

    Meanwhile Morris is acting strange, Scully feels that it’s not Mulder, because he flirts with other women and hits her butt. Meanwhile there is another change, and airpilot with a woman, but this doesn’t happen all the time. Sometimes they get stuck on a rock. When Morris goes with his colleagues to a store something happens there and the man changes bodies, instead of helping him the men shoot him and burn up the store which angers Mulder. The best chemistry was with Joanne and Mulder, the way he always tend to say everything wrong and she screaming. She believed that he was having an affair ect. Mulder tries to contact Scully but she doesn’t believe him when he tells her that the other Mulder isn’t him. She instead stands him up together with Morris and his colleagues take him away.

    The first part was great, lots of hilarious moments and reason enough for me to hate Morris. The mirror dance was the best part of it.
  • Takes the meaning out of body experience to a new level.

    Since I see Dreamland as one episode I'm only going to do one review that covers both parts. Dreamland is one of the silliest episodes I've ever seen but that's exactly why I love it so much.

    Starts out with Mulder and Scully going to Area 51 (more like Mulder dragging Scully with him) Scully asks if he ever wanted a "normal life" and Mulder claims his life is normal, for him. Of course they get stopped by the gov't and it is there that a "UFO" passes over that swaps Mulder and man in black Morris Fletcher (a great Michael McKean). Mulder is now in the body of a middle-aged man with an unhappy marriage and two teenage kids in the suburbs, that so-called "normal life." He of course hates it and desperately wants to get back to his life.

    Unlike Morris who loves living the single life of Mulder. Scully is wondering what the hell is wrong with her partner as he hits on any woman that walks by. He's sleazy and inconsiderate which makes him so funny.

    The out of character elements make this episode very funny. There are some really funny moments in the two part story. Plus Mulder in his underwear is always a great thing!

  • Overall, this episode seems to be designed for the newer members of the audience, since it focuses on the less serious aspects of the series at the expense of the overall mythology.

    Starting with the fifth season, the FOX network was more than happy to begin the season for “X-Files” late in the fall, thus shortening the time between the premiere and the episodes coinciding with the November sweeps period. The effect during the fifth season was minimal; however, the effect for the sixth season forced a two-part “mythology” story very early in the season (about two episodes earlier than usual).

    While this threw the structure of the season into a bit of turmoil, it also gave the audience an early look at how the sixth season would progress, primarily in terms of how the mythology would be treated after “Fight the Future”. The result was an odd amalgam of the “XF-lite” mentality that would plague the series for the next two seasons and core concepts at the heart of the mythology itself.

    Oddly, this is one of the few mythology episodes that doesn’t hinge on an intricate knowledge of the conspiracy. In fact, only the most general knowledge of the conspiracy is required for the story to work. No doubt, this was by design, since new viewers drawn to the series after the film and media frenzy would be looking for a relatively simple introduction to the world inhabited by Mulder and Scully.

    This particular concept is useful because it forces the writers to demonstrate why Mulder and Scully are distinct. Once Mulder and Morris Fletcher switch bodies (in a moment that seems awfully convenient but fits within the mythology remarkably well), Morris quickly demonstrates who Mulder is by acting completely different from Mulder. Scully’s expectations teach the audience what to expect, and in turn, her reactions to drastically different situations teach the audience about her personality.

    One might be sorely tempted to ask why this story didn’t come right after the premiere, given the utility of the concept. While “Drive” was a neatly generic yet revealing tale that helped long-time fans appreciate how Mulder and Scully were dealing with their post-“X-Files” world, “Triangle” was more about the iconic versions of Mulder and Scully as known to the popular culture of 1998. By using the iconic versions of the main characters and the time-slip plot device, “Triangle” gave the savvy new audience a complex look at how Mulder perceives those around him, friend and enemy alike.

    So the theme early in the sixth season was re-introduction to the characters of Mulder and Scully. It was about showing the new viewers who these people were without committing a blatant rehash. This fed into the idea of Mulder and Scully as mythic individuals, legendary to the point of having outlandish adventures that proved their unique bond. All well and good, but at the same time, the writers struggled with the challenge of doing so without letting the stories themselves slip in the process.

    The opening scene is directly related to that mission statement. Scully points out (quite logically) that they have been letting life pass them by while grasping at the vague hope of answers and proof. In that moment, Scully once again reaffirms that she is fully invested in Mulder’s quest; note how she is equally sure that Top Secret flights are being conducted. At the same time, she’s wondering if they would be better served by abandoning the search and finding a new way to live. (And for those looking for hints of romance, there is the unspoken assumption that this “normal life” would be together.)

    The series had long since embraced self-parody, though the earliest examples were quite clever and even literary in scope. The sixth season was the beginning of a general slide towards forced humor. In this case, the more serious implications of a switch between Mulder and a “man in black” are mated with gags and jokes that are perhaps more appropriate to “Freaky Friday”. While some moments are amusing, some are downright silly and poorly executed. (The infamous “mirror scene”, for instance, is horribly done and far too long, with the two actors out of step on several occasions.)

    One obvious problem with the gag was Scully’s reaction to Morris. (For simplicity’s sake, the controlling “personality” will be referenced, regardless of the body in use at the time!). It simply took too long for Scully to come around to the idea that something unusual was taking place (he called her “Dana”!). Given how often these two have been the victim of such a switch, thanks to shapeshifters, one would think that they have a simple protocol for ensuring identity. At the very least, Scully might wonder if Mulder has been adversely affected by something, especially when he started making passes at other women and treating her like a piece of meat (Mulder’s use/misuse of authority with Scully has always shown itself in a very different way).

    Also over the top was Mrs. Fletcher and the rest of the Fletcher household. She comes across as a completely unreasonable harridan, and the kids are stereotypically out of control. Duchovny plays these “family” scenes very broadly, which is clearly meant to be amusing and a showcase of his comedic talents. While there are some truly funny scenes throughout (Mulder mumbling Scully’s name after falling asleep watching porn is particularly priceless), they don’t mesh particularly well with the idea of a mythology episode.

    From the standpoint of the mythology, this episode actually touches on some core concepts, most notably the distinction between the body and the soul/spirit/intelligence. Apply a strong enough EM field, out of control as per the unbalanced propulsion methods under test by the conspiracy for their UFOs, and it has an unexpected effect. Why only certain people find themselves thus affected by the unusual properties of the damaged hyperspace propulsion engine is unknown; one might suppose that it is tied to the unique genetic properties of those more likely to survive separation of mind and body. (Mulder, of course, known to have the latent abilities of the “sentinels”, as William’s father.)

    By showing what happens when the engines for the “UFOs” don’t work correctly, the writers essentially bring to mind the power and technology necessary to make it in the first place. Long-time fans might remember “Synchrony” and how it meshes hyperspace wormhole travel with manipulation of space-time, but this brings the question down to the quantum level. In essence, the malfunctioning hyperspace drive has resulted in a wave of improbability; events that normally are impossible (two objects occupying the same space and time and surviving) are now made possible. The comment about gravity being incorporated in the propulsion system speaks to a depth of knowledge in advanced physics akin to the “Grand Unified Theory”, merging electro-magnetism, quantum mechanics, and gravity as one single type of force expression.

    In switching Mulder with Morris (and vice versa), smaller but interesting aspects of the conspiracy and the mythology reveal themselves. The conspiracy has been working on building the hyperspace drives since before 1953, which fits neatly into the established timelines. One of the more interesting toss-away jokes has been the idea of Saddam Hussein as stooge of the conspiracy, an actor playing a role. While this is a nice enough joke, it actually fits into the idea of a conspiracy using manufactured wars to test emerging “super-soldier” technology. In fact, the Persian Gulf Conflict has been revealed as the testing ground for everything from the nanotech-driven super-soldiers to vaccines against Purity.

    There’s also the small matter of Kersh and his role within the conspiracy. He has leveled several threats at Mulder and Scully, and they have proven ineffectual at best. While it helps play up the big differences between Mulder and Morris, it also begs the question: why doesn’t Kersh follow through? The answer is relatively simple. Cancer Man contrived the situation where Mulder and Scully are on a short leash, but he also wants them to keep acting in accordance with their agenda to further his own. It is, at this point, critical that he have the ability to push the agents where he needs them to guide and control the Syndicate.

    Without the comic relief scenes, however, the concept adds little to the overall mythology. It’s been established for some time that the conspiracy has agents assigned to keeping the effects of their experiments under wraps and out of the public eye. In fact, Mulder and Scully have been used to cover any slips with disinformation (something that goes back to the first season). With such a thin story, the plot could have been covered in a single episode without the cute scenes with Mulder and Morris each dealing with the lifestyle quirks of the other. In the end, the whole idea of Mulder getting framed by Morris (in a more complicated version of his original intent, as seen in the next episode) is a poor excuse for the “body switch” story.

    On the other hand, as fun as Morris can be, despite the forced comedy, there’s the sense that the two-part format could have played well if the plot and character work had taken a darker turn. As threatened as Mulder becomes by the end, the sense of threat is relatively low-key. Mulder should feel a lot more threatened, and for that matter, Morris could be played with a more sinister flare. It’s something that would be missing from the series until its creative resurgence in the eighth season: that dark and oppressive atmosphere.
  • One of the best episodes ever.

    This episode was different. I loved it & it was actually very funny. I can't wait for part 2.

    At first I was totally confused & kept wondering what exactly happened, if Mulder & Fletcher switched bodies then why is Fletcher pretending to be Mulder, why didn't he freak out. I know that Mulder wouldn't.

    I loved watching Mulder trying to fit into Fletcher's life at home with the wife & kids. That had to be the funniest part in the episode. Nagging wife, 2 spoiled brats for children who seem to hate their father. The part I loved the most was when Mulder went upstairs to change and looked at himself in the mirror, then started moving around & dancing around. I was LMAO! I couldn't stop. I just wonder how long it took to shoot that scene perfectly.

    And when Scully came to Fletcher's house to see Mulder & his wife opened the door, another attack of laughter. Especially when she was throwing his things out of the house & telling him that she'll call the police.

    One thing I found myself wondering about is Scully. So Mulder is now acting differently, he doesn't seem to care about the X-files or seems to want to protect his sources anymore. Why didn't she suspect anything especially after she got the call from Mulder, why didn't she put 2 & 2 together. She should know better by now.
  • Investigating a whistler-blower inside Area 51, Mulder ends up switching bodies with said fella. Hilarity ensues.

    Sure, this is one of the more "out-there" episodes, suspension-of-disbelief-wise, but it sure is funny (and the second part is even better). The FX for the effects of the energy wave are great, and if there was a better actor for the part of Morris Fletcher than McKean, I'll eat my shoe. Great, great stuff.
  • One of the greatest and funniest episodes until this point

    A must see episode. Words cannot express how much I loved it. This episode made me laugh so much, its no even funny. The part were Mulder (in Morris’s body) was in front of the mirror, just spilled the glass. Total laugh attack right there.
    I still don’t see how Scully doesn’t see it’s not really Mulder. She should know. But then again, Scully -the sceptical-, what else can we expect?
    Defiantly one of the best, if not the best episode, until this point.
  • its a must 2 watch!!!!!!

    hey well i love this episode alot like they said its not 2 far from the alien conspiracy and yet so close! well i loved this episode becuz its just fun to watch just look:
    MULDER (as MORRIS): Okay, well, uh... Everybody have a, uh... a good day at your various, uh... (realizes no one is paying attention) All right.

    (He turns to leave.)

    CHRIS: Mom!

    MRS. FLETCHER: Morris! What about Chris?

    MULDER (as MORRIS): Chris?

    CHRIS: You said you'd give me an answer today.

    MRS. FLETCHER: Her nose. You said you'd give her an answer about her nose.

    (Family waits in anticipation. This is obviously a very important decision.)

    MULDER (as MORRIS): Um... I think...

    (CHRIS gives him a little girl look.)

    MULDER (as MORRIS): I think she's a little young for plastic surgery don't you think?

    (CHRIS cries again.)

    MRS. FLETCHER: Oh, for God's sake, Morris-- a nose ring! She said she wants a nose ring!

    CHRIS: (to MULDER) I hate you! I wish you were dead.

    MULDER (as MORRIS): Well, my work here is done. Have a nice day.

    there thas funny and this part:
    (FLETCHER household. Next morning. MULDER is again asleep on the recliner. JOANNE FLETCHER steps on the bottom to pop him up again.)

    JOANNE FLETCHER: This is not a marriage. It's a farce.

    MULDER (as MORRIS): What?

    JOANNE FLETCHER: You're not attracted to me anymore. I disgust you, don't i?

    MULDER (as MORRIS): No. No. It's not... It's not that you're disgusting. I-i-it's just that...

    JOANNE FLETCHER: It's just that you don't want to ever make love to me ever again, that's all. That and you mumble something about Scully in your sleep. Who is Scully, Morris? Is it another woman?

    MULDER (as MORRIS): Does Scully sound like a woman's name to you?

    JOANNE FLETCHER: Who is Scully? Tell me.

    MULDER (as MORRIS): Oh, Joanne, I'm sure I've told you many times in the past that there are things about my work that unfortunately, I have to keep a secret.

    JOANNE FLETCHER: Oh, no, buster. That's not going to fly this time.

    MULDER (as MORRIS): My point is that there are a lot of things you don't know about me. And... I've just... I've been under a lot of pressure lately. I mean, up is down and black is white. I don't know where I stand anymore. I don't even know... who I am really anymore. I just... I know for sure that I am not the man you married. I'm just not. And I'm sorry. I'm truly sorry.

    JOANNE FLETCHER: Oh, god, Morris. I didn't know. They have that pill now. (understanding laughter ) We can work this out. There's other ways to be intimate.

    (She hugs him. The doorbell rings.)

    MULDER (as MORRIS): I think that that was the doorbell.

    JOANNE FLETCHER: We can make this work.

    (MULDER gives a silent yell of joy as she turns away to go answer the door. Big Duchovny mug. JOANNE FLETCHER opens the door. It is SCULLY.)


    SCULLY: Hi. My name is Dana Scully. I'm looking for Morris Fletcher.

    (JOANNE FLETCHER's happy face falls.)

    JOANNE FLETCHER: (yells) Morris!

    (MULDER comes to the door with a big grin when he sees SCULLY. JOANNE FLETCHER slaps him.)

    JOANNE FLETCHER: You son of a bitch.

    (She goes back into the house.)

    SCULLY: I'm sorry. Uh, Morris Fletcher?

    MULDER (as MORRIS): (quietly) Scully, it's me. It's Mulder.

    (MULDER closes the door and pulls SCULLY into the driveway.)

    SCULLY: (nervous) You're, uh... You're the man from the other night? From Area 51?

    JOANNE FLETCHER: (yelling from inside the house) Liar!

    SCULLY: You phoned me. Would you mind telling me what this is about?

    MULDER (as MORRIS): I'm Mulder. I'm really Mulder. I switched bodies, places, identities with this man Morris Fletcher the man that you think is Mulder, but he's not. (sees his reflection in the car window - of MORRIS) Of course you don't believe me. Why was I expecting anything different? Your full name is Dana Katherine Scully. Your badge number is... Hell! I don't know your badge number. Your mother's name is Margaret. Your brother's name is Bill Jr. He's in the Navy and he hates me. (no response from SCULLY) Lately, for lunch, you've been having this six-ounce cup of yogurt, plain yogurt, into which you stir bee pollen because you're on a bee pollen kick even though I tell you you're a scientist and you should know better.

    JOANNE FLETCHER: (opens the door and dumps all of MORRIS' black suits onto the front steps) Cheater!

    SCULLY: Look... Any of that information could have been gathered by anyone.

    MULDER (as MORRIS): Even that yogurt thing? That is so you. That is so Scully. Well, it's good to know you haven't changed. That's somewhat comforting.

    SCULLY: I don't know what the point of all of this is.

    MULDER (as MORRIS): I'll prove it to you.

    SCULLY: No. You won't, but I wouldn't mind if you came clean with me.

    MULDER (as MORRIS): Scientific proof about what happened to us on that road two nights ago. Fair enough?

    (JOANNE FLETCHER opens the front door again and yells out.)

    JOANNE FLETCHER: I am calling the police!

    (MULDER clasps his hands, begging SCULLY.)

    SCULLY: Good-bye, Mr. Fletcher. (walks away)

    MULDER (as MORRIS): I will prove it to you, Scully. Tonight. I'll prove everything. Okay?

    thas hilarious, this is so y i watch the show!
  • Great! Just outstanding

    This is just a perfect episode. (part 1 and 2) It is the very essence of this show. It's not too heavy on the alien conspiracy, but not too far away from it either. It is very funny, very sci-fi and just an all around great episode. We also gain a little insight into Mulder. I've seen this storyline tried on other shows and movies, but this is by far the best.
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