Isn't it lovely how artists can capture us

A small detail from a scene of “Dreamland II” I find intriguing is when Scully exposes Morris Fletcher as fake Mulder. Fletcher has just more or less dragged her onto the waterbed, and they are both lying next to each other looking at themselves in the mirror above.

“You hate it”, Fletcher/Mulder tells her, half question, half statement. There’s a significant little pause before she answers, in a pensive, (I find) somewhat sad tone: “No, I don’t hate it”. And this is revelatory, and I love it to bits, because it's so cleverly done, both visually and how GA interprets it. What she sees in the reflection is something unreal (and that’s what we see in mirrors, an inverted, alternative world, a possible threshold, think of Alice’s Looking glass), a wish: Mulder and herself together, in a bed = as lovers. But what’s meaningful, it’s what we see and hear there as well: not Fletcher, as in all the other body-switch scenes, but Mulder, speaking with his own voice. We get to see her dream-wish too.

Then Fletcher turns around, rests his face on his hand and says, “You hate it”. Scully pauses, knowing it is Fletcher but choosing to look at the “Dreamland” up there for two more heartbeats. “No, I don’t hate it”, she says in that melancholy voice and means, I wish this were real, I wish it were you vede with me instead of this horrible man. Then sits up, slips back into reality (steels herself, I guess) and proceeds to unmask Fletcher.  

There is so much in this single sentence for me, it’s so subtly done and so precious to me that she reveals what she is longing for by saying it the way she does.

"the audience doesn't know what was supposed to happen, the worst thing you can do is flinch and in doing so admit something wasn't planned"