The episode was written by Vince Gilligan, John Shiban, and Frank Spotnitz three days after another script idea fell through. Spotnitz noted that "Darin Morgan had left the show but was going to contribute an episode. And we realized at the eleventh hour that it wasn't going to happen, and we were stuck with nothing. John, Vince and I broke that story in maybe two days. We split up the acts, wrote it in probably another two days, and gave the crew something to prep before Christmas break. That was the worst ever." Carter ended up rewriting the script over the holiday. The initial cut ended up being too long, resulting in a scene introducing Scully's older brother Bill Scully, played by Pat Skipper, being removed. The character, still played by Skipper, would eventually make his first appearance in the fourth-season finale "Gethsemane". The scene which would have established the character was intended to echo a similar scene in the second season episode "One Breath", which featured Don S. Davis as Scully's father. Both scenes featured the actors standing over a supine Scully, wearing white United States Navy dress uniforms. Also deleted from the episode was a kiss between Mulder and Scully, which would have been the first in the series' run. This was an ad-lib on Anderson and Duchovny's part, and was removed from the episode as it was something Chris Carter felt he wanted to make use of in the series' film adaptation. Such a kiss was eventually deferred to season six's "Triangle". The episode's opening scene, featuring a camera moving slowly towards Scully in a harsh white light, was achieved by constructing a long narrow set covered in aluminium foil, which amplified the light being used and downplayed any colors. This shot was drained of color entirely, and was combined with a series of blurring and framing effects in post-production to further enhance the intended image—to create the impression of waking from a dream. A scene featuring multiple clones of the character Kurt Crawford was achieved with motion control photography, allowing actor David Lovgren to portray all of the clones—multiple takes were recorded with the actor in different positions within the scene, and by using a camera controlled by a computer to follow exactly the same motions for each take, these could be seamlessly composited together. Producer Paul Rabwin has noted that achieving these shots was difficult