Editing in "The X-Files" (Season 5, episode 11)

The editing in this scene of X-Files (season 5 episode 11) builds viewers’ perception of the events through spatial relationship between shots and the use of ellipsis—a commonly used transitional effect between the shots, in which time is omitted. The overall result is the combination of multiple shots that are interrelated (through editing) in a way that forms the ultimate sense or interpretation of what the scene is about. 

In this sample shots I’ve chosen to analyze, the editing allows the viewers to perceive the woman’s (the "Invisigoth") state of mind first from the close-up (first picture), capturing her reaction towards what the camera is about to show us. Then the next shot captures the ruins of the house in a side-by-side camera movement for panoramic view, while her head is seen front yet blurred; right after, the camera lens’ focus changes within that same shot (instead of cutting into two shots) and the background fades into a blurred perspective while the woman’ face becomes the subject of the camera.

In the upcoming shots, Dana Scully sees her opportunity to break free; the rhythm of the editing—fast-changing shots with little duration each—adds suspense by switching between shots of her struggle and shots capturing the woman’s location as seen through Dana’s perspective (inside the car). Taking advantage of her distance, she manages to unlock herself. In the next shots, editing is important for viewers to know that Dana’s time is running out (to escape), as the woman gets nearer. She discretely continues to unlock by the time the woman gets into the car, and conveniently for Dana, the gun is placed in a reachable place.

When the woman gets inside the car, her reaction was unexpected for Dana. As a seemingly strong woman such as herself, to see her crying was a surprise; she does not know what to do or how she should feel about it. Nevertheless, her disbelief towards her (even despite she's in a moment of emotional weakness) leads her thoughts to her initial extent of escaping. The gun is a reminder of her intentions to escape. And chances have become easier: She already unlocked herself, and it was a matter of taking the gun and she would be in control of the situation. However, she’s aware of the circumstances of the woman’s emotional reaction as she contemplates the house’s ruins from distance while she listens her crying. And interestingly, the next consecutive shots reveal how Dana’s attitude toward the woman’s vulnerable state changes to her ultimate reaction. We can perceive that she feels bad about it, although she's still thinking about the gun. 

These following shots present the viewers with an unexpected change in Dana’s reaction, as she decides to show some emotion instead of remaining cold and distant. After the woman directly gives Dana what she wants (the gun and the power and control it represented), she’s touched by her (the woman’s) selfless reaction (she was willing to die…as if life makes any sense). Dana could understand how sad and lonely she was and finally consoles her. The last screenshot shows Dana as a woman that is able to empathize with other people’s suffering.