CHAPTER 1: THE ICE CAVE
NORTH TEXAS
35000 B.C.
(Two tiny figures appear, running in snow towards a cave)
CHRIS CARTER: – When coming up for the idea for the X-Files movie,
Frank Spotnitz and I were sitting in Hawaii thinking about what we needed to do
to make the idea bigger than the series. A concept that could be worthy of a
movie and explain some things that didn’t or hadn’t been explained. So we
needed this big idea that needed to be started in an extreme place and needed to
end in an extreme place and we had done some research and found out that the
globe had been covered in ice not that long ago in historical terms, ah, as far
down as Texas. So we thought, wouldn’t it be interesting to take someplace we
wanted to shoot which is the desert and make it a completely different landscape
prehistorically, and also it was an idea that encompassed the bigger idea here
which is that alien life has been here.
(Primitives striking rocks together to start their torches) Moves quietly through the cave)
Prehistorically and that it may have gone underground this is really the reason for that big action sequence with the cavemen and the alien dinosaur, if you will, that really shapes the first sequence. You write these cavemen, these primitives, these men of an unknown time and while they’ve been recreated by scientists and I guess, anthropologists. The look of them, it just didn’t quite look right when we started making up the actual actors, the stuntmen who play the two primitives, which is what we call them, and so it went through several different stages. They looked kind of cartoon-ish at first and with the prosthetics they looked too ape-like and because this isn’t that long ago in historical terms, they needed to look more like modern times yet when you made them more modern, it didn’t seem right either. So we sort of walked a thin line trying to make it believable and yet not make him look too cartoon-y.
(Something strikes one of the primitives and he begins thrashing about)
ROB BOWMAN: – This particular fight sequence from my point of view, as a director, was challenging because I’ve got two people in *heavy* wardrobe and make up and I need a very physical, very violent fight in basically a black arena and the alien, the gentleman inside the alien suit, is completely blind. With sharp talons at the end of his fingers so I gotta protect the cavemen from his claws and the cavemen has got to pretend to be stabbing somebody that he can’t really stab, with his sword. And you know there’s no guns and none of the usual things we see in a fight in the movies. So how do I make it as real and scary as I possibly can? Well, once I saw the creature walk in, realized that he was blind, I had to adjust the entire approach to filming because I now needed to be very short, flashed cuts so that I could create the illusion that the alien is quite dangerous and lethal and all the while having this UCLA linebacker, Craig Davis and Carrick O’Quinn take all the blows. You know, slam up against real plaster and make it as fissural (?) and dynamic and as worthy of the opening of the movie as I possibly could. So, but none of that was really understood until I saw (laugh) Tommy Woodruff walk on stage. You know, sorta like a blind man walking down a sidewalk. And I thought "Okay, I’m gonna have to be very abstract in my approach" and I think we shot a little extra film just to have enough cuts to make it "pulse along" nicely. It seemed to be pitfalls at every turn of how it "couldn’t" go well yet, due to Tommy’s practices as an alien, back to the alien movies and "Punkinhead" and Carrick’s dexterity and Craig Davis’ dexterity just being athletic. I think we were able to pull off somewhat of a worthy fight sequence between these two disparage characters.
CHAPTER 2: THE IMPOSSIBLE SCENARIO
BLACKWOOD, TEXAS
PRESENT DAY
(Without warning a boy falls through the roof of a cave)
Now we leap forward to present day, 10,000 years forward. The shovel and the wardrobe helps us identify where we are. Now we have these three ordinary little boys that are out playing around in there backyard like every kid that grew up digging holes and looking for stuff and boy, don’t they find the ultimate buried treasure. It’s the accents and sort of, the ease of which these guys are going through the dialog that’s sorta the fun of the scene. Now we’ve gone from you know, prehistoric times into everyday life somewhere in the south. This would be the dream of every ten year old boy, is to jump into a huge cave and find a skull it’s sort of a weird, translucent ) course now it all goes wrong. New mystery for the boys.
(Stevie sees the oil coming up. Starts lifting one foot then the other)Drops skull and looks down at his shoes as the black oil begins creeping up his legs)
This is Lucas Black who we first saw in "Slingblade" and who just sort of has a very natural, easy going pace about his delivery. We thought would it bring the audience closer into the story telling because he sounds like the everyday boy from next door. The other boys, I think, were all found in Virginia and North Carolina and what not. We were looking for as natural a delivery as we could find .
NORTH TEXAS
PRESENT DAY
And now, the camera comes up out of the ground and we realize that we’re in suburban Texas, as the legend identifies, with Dallas there in the background. Yet there’s another time cut in the middle of the shot, still rolling, same shot we bring in the fire department. The trick is marrying the two shots together. There’s two halves of one shot, shot hours apart. Taking out the seams of houses blurring as you overlay the two shots together and now we’re urgently trying to figure out what’s happened to this little boy.
So now, the fireman’s down in the cave. The cave has proven to be a scary, dangerous way for anyone who goes down in there. This will be the third part of our mystery where we’re going to infect these firemen, and now by not showing them and the dangling ropes and the ropes eventually goes still and there’s no response from the radio. We’re worried that the firemen are going to suffer the same fate as the boy and the Neanderthal.
Leap forward again in time to the chopper arriving which is obviously help that’s been called by the fire department but they get more than they bargained for. They’ve asked for just some help from the city of Dallas and who shows up is these HAZMAT suits. HAZMAT suited men in white with this bubble litter and some gentleman who suggests, by scaring everyone away, by asking everyone to move back that there’s a larger problem then we’re being told, that he know something that we don’t know. The sheriff is still in over his head a little bit, he’s informing Mr. Bronschweig here what he saw and what he found. Bronschweig, who knows more than we do at this point, realizes that we’re in more trouble and more danger than we could ever imagine. They’re being preoccupied by the tie in of what he’s seen of the oil in the boy’s eyes, and knowing what he knows about the aliens, entire conspiracy he’s up against this small town fire man . We’re in for a world of trouble, and then playing on to that greater mystery is this circus of trucks pulling in. This was a very tricky sequence to film because we had not enough time to do it. When you have six or seven or eight semi-forty footers rolling in at 35 miles an hour crisscrossing each other's paths there was a lot of opportunity for trouble, for accidents or wrecks. I didn’t have enough time to shoot it carefully so we sort of documentary styled it. There was actually very little good film in there because the film guys were so busy whipping around getting different pieces of film there were very few shots that lasted more than two- two and a half seconds so that it was a challenge just to mined though all the footage and find what is very, very carefully selected few shots of moving those trucks in.
CHAPTER 3: EXPLOSION IN DALLAS
FEDERAL BUILDING
DALLAS, TEXAS
CHRIS CARTER: Our Mantra on the TV series has always been; it’s only as scary as it is believable and it’s only believable if it feels real. Which is what I think science fiction should always attempt to do. So because we needed to recreate Dallas, we went and scouted in Dallas and Texas and found out that it would be prohibitively expensive and that we need to shoot this bomb sequence in Los Angeles. The Los Angeles skyline, which is very recognizable needed to be disguised. So camera angles needed to be chosen, appropriate camera angles. We needed to find the right rooftop, looking over at the right building there were so many different things we needed. Luckily, we found I think, the right combination. I think Rob did a great job of disguising some of the more prominent aspects of the LA skyline. Then Matt Beck came in, our visual effects producer, and helped to take away a little bit of the background of Los Angeles so that when you see that helicopter fly past. You're actually seeing for a moment there, a bit of a re-creation there of what we tried to make look like Dallas instead of Los Angeles.
The character of Scully is introduced. In the following shot we see her tiny on the roof top and then we see her walking down onto this building where she’s talking on the telephone to Mulder. Fans of the TV series know that they communicate by cell phone a lot. I don’t think I could have done a TV show like this, pre-cell phones. This is the introduction of the characters. You get a chance to hear Scully talking very scientifically, she’s very rational, very logical. Then you get a chance to see her run into Mulder. This is the introduction of not just one character but two and also them as a pair. For the movie where we would have a larger audience, maybe even a new audience, we were hoping to build on our television audience. We needed to understand, and very quickly, who these characters were, what they believed in, what their relationship was to one another, the playfulness before all the action set in. This was a trick most film makers don’t have to do something like this, they don’t have to re-establish characters for both a old audience and a new audience. And so that was the trick throughout the beginning of the movie. Not to bore the regular audience and to keep the new audience entertained.
I’ve created two characters who are kind of opposite of their gender stereotypes. Scully, being the reasonable character. The one who is scientific, who needs to have things explained to her, much like the male characters usually are and Mulder being the more intuitive character, who "feels" much more like a female character is usually cast. I think that we needed to re-establish this to have the audience understand this as quickly as possible so that we might take them through the rest of the story understanding exactly who they were watching.
The characters of Mulder and Scully, as fans of the show know, have not just a respect for one another, and an affection, and a protectiveness but they have a deep love for one another. Where this goes in the movie, is a place it has never gone before in the television series and it ends up in a pivotal scene in Mulder’s hallway. That needed to be set up here in the beginning of the picture. We needed to make sure we didn’t go too far ultimately with these characters to too far a place cause we needed to come back to this place for the next year of the TV series, which was year six. So there again, filmmakers usually don’t have to think conservatively, but we needed to make sure the relationship was understood, intact, went somewhere new yet, didn’t go so far as to be irreparable.
(Mulder walks towards the vending machine room, walks past a man in a vendor’s uniform)
ROB BOWMAN: The vending room sequence is a very unusual way to be in a mystery because it begins quietly, and unsuspiciously and then David has this funny moment with the vending machine that eats his quarter, which we’ve all been through. But with Mulder’s impenetrable sense of wonder, he’s always looking around the corner for something not right and he finds something that he never thought he would or certainly hoped he wouldn’t find which is )boom, you know, THE BOMB.
It’s these moments that I played with David a thousand times before in various episodes in Vancouver, where he’s sort of just poking around, with not much to do, results in a discovery of grand proportions. He does not even know how big this one's gonna be.
This discovery is going to lead him on the greatest adventure of his career. Of course, meanwhile Scully’s just outside thinking he’s just goofing off because of the rooftop thing with the doorknob but, psychologically the audience is thinking)"what? Now there’s a bomb, in a vending machine, in a building that was not cleared of its personnel so, are we suggesting that whoever planted this bomb intended to not only detonate the building but everyone inside of it? Full of innocent people?" That’s the most heinous crime I can imagine. I was actually resistant to the idea early on in the script process because I have relatives in Oklahoma but, the fact that Mulder shows up and does clear the building. I think is the difference of course, between the unfortunate event in Oklahoma and what we’re saying here. But, it is a horrible, horrible crime. It’s what is the catalyst that set Mulder and Scully in action to solve this crime and figure out what’s going on. Now from a director’s point of view, on the X-Files everything is tried to be made as authentic as possible and research, research, research. Well, I wanted this bomb to be, without instructing people on how to make a bomb, a "real" bomb. So we had the LA bomb squad come and basically give us visuals of what it should look like. On the first appearance, it’s not very interesting, nowhere near what movie bombs look like but, we came to common ground of reality where this is a bomb that got excelerants and detonators and explosives. So that when you look at it it’s slightly underwhelming. It doesn’t have all the sizzle and eye candy that bombs in movies do because bombs in movies usually are exaggerated, and phoney-baloney. Therefore not really bombs and this one I wanted it to have more of an authentic touch so it’s a little simpler. It’s stacks of "C-4" and some computer cable here and there and something in those gallon jugs down below. I know when we first put the bomb in the vending machine, they taped up the tubs down below and the tape was so well down, that it actually just looked like, oddly enough, just the inside of the vending machine. Although we couldn’t see any cans, we couldn’t tell that it was in fact a bomb so I walked up sort of, yanked around the red tape to break it up a little bit and make it look that it was hand wrapped and quickly so. But, it was just to give the audience the feeling that this was not a sensationalized piece of equipment. That it had something more authentic about it. Just trying to make it as real as possible.
Now begins the countdown to the explosion. This is the sequence that we’ve seen in movies before and I wanted it to find a way to do it differently though the prism of the X-Files, through the eyes of the characters. That is stories we try to stick to and that is telling stories through point of view. So I thought, okay, point of view is first person narrative. How do I tell the story through the minds of Mulder and Scully? That is by following them into the car, staying with them in the car, through the explosion and only using third-person or objective shots of the building to show the degree of damage or the size of the explosion. But nothing else, nothing gratuitous, not a lot of panic shots with the crowd. But Mulder’s and Scully’s perception and experience of this explosion. So I called Heather, Scully’s stunt double, if she would be willing to get in the car, un-seat belted and ride out basically a crash caused by the explosion of the building. She said she would and that sent into motion the story boards and this entire approach of telling the story through an X-Files story telling fashion.
They barely get into the car, they don’t buckle their seat belts and now we’re into the fourteen camera building explosion.
The building explosion was done in two halves. The first half was the building exploding, first floor, what not, angles of cars. Michaud’s car, who’s the FBI agent, was blown up, being concussed and kicked off the ground . The other half, after the building was blown up, was the Mulder/Scully car crashing into the parked car of which there was probably seven or eight cameras used for that sequence. Then all that being done then another small bit of filming of Mulder and Scully getting out of the car, walking up and looking at the exploded building with a green screen behind them and a motion controlled shot rotating around them with the face of the Unical building being blown off which was in fact, a forty five foot shot miniature shot down in Playa Del Rey. With miniature pieces of paper, and flames and smoke added in layers and then added in composite to the background of that shot over the back of David and Gillian.
CHAPTER 4 – ASSIGNING BLAME
FBI HEADQUARTERS
WASHINGTON, D.C.
OFFICE OF PROFESSIONAL REVIEW
(Scully is sitting before the review board)
CHRIS CARTER: The X-Files was built on the idea that the government is withholding information, keeping secret certain facts and knowledge about the existence of extra-terrestrials or not. This was the thing; I think stated very clearly, in the pilot episode and have become a kind of spine for the rest of the series. The FBI has come out of this looking actually pretty good. They look like a tool of a shadow government or of government operatives who are behaving in very selfish ways using the government to there own purposes. To protect this conspiracy, to keep this conspiracy of silence. In the series, this plays in what we call mythology episodes. About five or six episodes a year that investigate with agent Mulder and Scully the THE conspiracy and the main people in it. Including the Cigarette Smoking Man, and some other people, Krycek, that doesn’t appear in the movie, who are doing everything they can to keep these secrets.
So the movie then is the big mythology episode. It is the one that deals with the government and the government's unraveling, if you will, the piercing of the veil of secrecy that they have been keeping for so long. It’s done through a giant investigation of agent Mulder and Scully for their behavior. Mulder and Scully then have to go out again as renegade agents to over turn the information that’s being, sort of, framed against them and in doing so they uncover the mythology that for five years running, have been the) sort of, engine for the X-Files. The X-Files is one of the most collaborative endeavors one could ever hope to be involved in, and I mean that in a good way. There’s a tremendous esprit de corps. There are so many people involved in the TV series as there were involved in the movie who want the work to be good above all else. So you get all these talented people working together for a common goal. It’s important to any enterprise, but it’s particularly important to a movie and for a television series it’s important because you do it for years at a time. Movies, you come and you make the movie and you all part ways hopefully as friends. You may work again sometime but it’s provisional. On a TV series it’s not so, you need to find a team, which becomes your family and you live with them day in and day out. On the movie luckily, I had Rob Bowman directing who was a part of that family, the television family. He and I had developed a rapport, a shorthand. I help him in ways, he helps me in ways, it’s immeasurable. But, when you go forward and you have a director, who values you, as not just as the writer, but as the producer. Who is able to turn and listen to what you’re saying take that information, he may disagree with it and he can say so. You’ve got a situation where you have two heads rather than one. You have a co-operative and a team process. This is to take nothing away from the director. A director is "king" on a movie and he needs to be so for the sake of the crew, for the sake of the actors. He cannot be second guessed, he cannot be undermined. He has to be supported. This is the role of the producer. It’s the role that I hope that I play, and the role I think I played with Rob in the movie. I was there to help him to make it as good as it could be every step of the way. Once again, Rob is a prince. He’s a person that wants it to be good above all else and is willing to listen to advice and to suggestion and to idea and to change. I think that it’s a situation that probably happens all too infrequently in the movie and television business because egos tend to get in the way. But when you find these situations and you can cultivate them, I think that you can make a better project, a better show, a better movie with many heads with one like-minded goal.
CHAPTER 5: CONSPIRACY THEORY
SOUTHEAST WASHINGTON, D.C.
(Fox Mulder is sitting on a stool at "Casey’s Bar")
We tell lots of different kinds of stories on the X-Files. We tell good, scary monster stories. We tell, what I call "weird science" stories. We tell technology stories. We also tell these conspiracy stories which have become the mythology of the show. They’ve actually become the heart of the show, or the backbone, if you will. The whole series began with the idea that Mulder’s sister was abducted by aliens when he was twelve years old. That idea was what pushed Mulder toward the X-Files, what made him start to look at these cases of the paranormal in a very personal way. It was about finding his sister.
So the government conspiracy was a conspiracy to hide the existence of extraterrestrials from the American public. So Mulder has a convergence of two things, he’s got the belief that his sister was taken by extraterrestrials, something you could find in the X-Files and he has a belief now that the government is conspiring to keep these truths away from him. So the series works best on a personal level in this way because the stakes are very personal in the mythology shows and the shows about the conspiracy. Ultimately because Mulder lost his sister to a conspiracy and Mulder ultimately ended up losing his father to a conspiracy. Scully has now lost a sister to the conspiracy. These are very important things on a personal, emotional level to the characters. So I felt, to make the movie, to be honest to the five years of the show, and honest to the origins of the show, it needed to be a movie's, the most personal, passionate part of the show which is the quest for the truth as to why these thing happen to me. Why these things happen to Scully? Why these things happen to Mulder? It was also a way to tell a big science fiction story without having to explode the television series, or re-explain the television series perfectly. It was a way to use the series to launch into the movie and use the movie to launch back into the series. A stand alone story would have been a perfectly good movie I think, but it would not have been contiguous with, and a part of, emotionally, the series in a way that I really wanted it to be.
(Mulder decides to "Water" the *Independence Day* movie poster outside of Casey’s Bar)
ROB BOWMAN: I saw the Wizard Of Oz when I was, I don’t know, eight
or nine years old. I thought "Wow, movies, what is that? Movies are magic.
Look, flying monkeys and I’m scared and I’m happy and I’m sad and all
these emotions". And I’m just watching a picture, and listening to dialog
and the music and sound. "What are Movies?" Then my parents were big
movie buffs and we’d be sitting around the house. My sister Karen and mom and
dad and some movie would come on and Mom would say, "Oh look, there’s
Lyle Barrymore and this is directed by Robert Sieodmack (?)" So, I knew all
the names before I was a teenager. All the old movies you know, Dad was hip on
everything. Mom knew everything about movies. So as a film "buff" or a
film historian the bedrock was laid just in my household. Then as my interest
grew, I started seeking movies and watching more and so watching Martin Landau
on "Mission Impossible" and you know)I remember that. So when the day
comes that I get to direct Martin Landau I’m two people. I’m a little boy
looking at a dream come true. And I’m the director. But I can’t let Martin
Landau know that I’m like, in awe. And he was awesome in "Tucker"
and he’s an Academy Award winner. So the first thing I’m shooting with
Martin Landau is Mulder's point of view of him at the end of the bar. He’s
just this character in the shadows down there. I got two cameras, I gotta wide
and a tight and we do the first take but just before we roll he says, "Hey
Rob, what the B cam? What lens is that?" I said it’s a 150 and he goes
"Okay so you're right here." And he has put his hand right on the
frame line. We all turned and went)"Oh, this is a pro". "Okay
right here" He was 70 feet from the camera , " Oh, okay you're right
there)okay got it, okay I know what I’m doing, okay I got it)Ready, action)Cut."
Now all these extras and everything, then I’m at the other end of the bar at
the monitor. So I say "cut", I’m on my way to Martin. I’m getting
through, trying to cut my way through the red sea of all the extras and I find
him standing, looking over the tops of the extras, like looking for me, like mad
or I don’t know what. I walk up and he goes)"How was that?" And
Martin Landau, now I’m a little boy all of a sudden, is asking me if what he
just did was okay! So I keep the director face on, I said, "I don’t wanna
know that you're thinking. That time you reacted and I could figure out that you
were suspicious, I don’t wanna know that, I wanna know *nothing*. Just the
fact that I cut to you, sitting there, looking our direction and cut back to
Mulder is all I need. The audience is gonna wonder what you're about. So don’t
say anything. (Scully’s apartment)
GEORGETOWN
CHRIS CARTER: In the television series agent Mulder is always coming
to agent Scully and waking her up in the middle of the night. Bringing her into
his office, showing her something that cannot be explained or she cannot explain
it scientifically and it sends them on their way into an X-file. Something
similar happens in the movie. Agent Mulder, having sort of been drinking away
his sorrows goes to agent Scully’s apartment. Wakes her up and brings her down
to this morgue to show her something. What’s important to the television
series as well as the movie, is that it all works on real science. If it weren’t
for her abilities as a medical doctor to question things there would be no
believable science fiction. Mulder would be without someone to refute what
he’s saying. Someone to do the foundational work on which he can build his
theories of science fiction.
ROB BOWMAN: I tried to come up with some signature visuals that would
catch your eye and says "pay attention, this is somebody you should sorta
keep an eye on." The first shot was gonna be the choppers against the moon,
coming over the horizon, approaching the tent city in Texas. The shot itself
just needed to be striking. It’s the first X-File image in the movie. The rest
of it is pretty much, you know, with the x-files look but in terms of the
signature x-files image, that's the first one. And it needs to ring the bell
quite loudly. I can tell you the moon is probably a Hubble shot or something.
The helicopters are completely synthetic, completely CGI manufactured. I can
tell you they almost looked ideal on the first try. That shot just happened
easily and simply. It was unlike any of the other CGI shots. The fumes from the
exhaust sort of rolling in front of the moon, that’s something you're familiar
with seeing in movies, that’s all, the whole thing is synthetic. The leaves
blowing on the hill, it’s all synthetic, the whole thing is fake.
Well, Cigarette Smoking Man has been such a tremendous activator character.
Anytime he’s in the episode, or in the story, we expect some terrible things
to happen, either directly to our characters or he’s going to cause an event
to happen and he’s motivated based on his own needs, you know, what serves him
best. He is a villain that people love to hate, he’s on screen, very cinematic
character because he wears a long dark coat. He smokes, we get the smoke very,
Nuaresic (?) sort of look and doesn’t say much and leaves a great deal to your
imagination to wonder what he’s thinking of and planning. A classic villain.
He seems to be responsible for the most heinous crimes on the X-Files and you
have to include him when you want to have the highest drama because he’s up to
worst no good.
We’ve turned him, in the movie and the following season into not such a
black and white bad guy. That his motives might have been disguised by terrible
consequences of his deeds but in fact, he’s actually been trying to, as he
says, "protect" Mulder or to "protect" Scully. To do the
right thing for mankind, when all along he’s actually trying to extinguish it.
But none the less, just from a director's point of view, a storyteller's point
of view you just want to have him on the screen because he tends to bring out
the worst in people. I think people anticipate what terrible thing is he up to.
So you’ve got the direct effect of his actions and the anticipation factor is
very strong with him because if he’s not doing something now, what is he going
to be doing soon.
(Mulder and Scully are attempting to enter the morgue)
CHRIS CARTER: It’s kind of a conceit, this "truth is out
there" mantra because to be honest, I don’t pretend to know the truth but
the characters are searching for it along with me and the other writers on the
show. With exploring themes, we’re exploring science as it kind of presents
itself to us. We’re really trying to stay up with, on the show and in the
movie, the science that we read about in journals and magazines and newspapers
everyday and it’s fascinating to do. We’re at a time in life right now where
the advances and knowledge is amazing in genetics. What we know about DNA and we
have come to suggest and to theorize about what products we are of our genetic
make up. The neo-Darwinest says we are just robots carrying out the instructions
that are inside of us. There’s also something that’s called "junk
DNA" which is part of our make up and scientists don’t know what its
function and the idea that we have something inside of us, that no one knows why
it’s there or what it does is a wonderful thing to explore. Because no one
else knows the truth, we’re sort of searching, I think, for it like good
science fiction along with scientists who are working currently in the field.
ROB BOWMAN: Once we’re inside the morgue, we’re starting to show
some great, classic, creepy X-Files with the sticky skin and what has happened
biologically and psychologically with this fireman. His skin has been made
translucent, that ties into the skull found in the cave with the little boy. Now
we’re beginning to find that the skin is starting to become like jello. Almost
as though paint thinner has been poured on a person and the skin is starting to
eat away. But what we learn is that he’s being eaten from the inside out,
slowly. Scully, who is our resident scientist, can’t figure out what’s going
on so Mulder is going to ask her to stay and do some research on her own.
She’s reluctant, of course, her career is in jeopardy right now. She’s in
the process of, relocate now, of trying to relocate and say good by to the
x-files. Meanwhile Mulder is saying, "Well ok, while you're thinking about
that do some illegal research for me". She’s saying "why risk my
future so that you can go on another bug hunt and you can prove once again that
the government’s corrupt. We’ve already proved that." He says
"yes, but I want to find out who committed these crimes, and that’s the
right thing to do and don’t you want to do the right thing?"
We’re now going back and forth between the Kurtzweil-Mulder story and
Scully back in the naval base and this is a scene where Mulder enters
Kurtzweil’s apartment and obviously something’s gone wrong here. His
apartment’s being searched by the police and we learn that Kurtzweil is a
gynecologist and that’s a very deep reference to the women that were tested in
the series (for the die hard fan) knowing that all the women tested were tested
and utilized for cancerous experiments, many of those who died, he is somebody
who’s been a part of that and who’s now on the outs with the conspiracy.
Some jokes about Mulder needing a proctological exam.
Here we are outside of Washington, AKA downtown Los Angeles on Normandy with
the blue sunrise sky which means we’re shooting into the last moments of dark,
and finding a private space here for Mulder and Kurzweil to have a meeting.
(Mulder talks to Kurtzweil in the alley outside of Kurtzweil’s apartment)
CHRIS CARTER: It was my chance, of course, to cast people that I’ve
always admired in movies. Character actors, wonderful character actors like
Armin Mueller-Stall and Martin Landau. Luckily I had the good fortune of not
just writing for them but being able to cast the people I actually wrote for in
the roles that we’ve created for them.
Martin Landau was perfect as the Kurtzweil character. He is the combination
of the credible character because he has a certain number of facts that check
out about his life, about what he is suggesting, and has a certain incredibility
because of the outlandishness of his story. Because he delivers them in a way
that begs credulity. He’s not a person that inspires confidence in telling the
story but it’s enough confidence for Mulder so it’s a character that has a
vagueness about him, who has a quality that suggests that he may or may not be
telling the truth, perfect for X-Files. So a character that can deliver
something and make you ill at ease, make you uncomfortable, make you doubt him
but at the same time giving you just enough information to make you curious, to
make you go want to go forward.. This is a great X-files character.
The idea that I’m standing on the set the first day Martin Landau worked,
talking to him after having watched him on Mission Impossible since I was a kid.
It has the combined quality of making you feel very old and making you feel like
a kid again. Because here you are talking to a guy who helped shape your
imagination as a child but, it was a treat to work with him because first of
all, he’s a trooper. There was a night where we shot the scene in the little
alleyway between the two buildings where he ends up delivering to Mulder what
really is the essence of the conspiracy. That scene was shot over a night and
into the next morning. Here you're looking at an actor who is of a certain age,
who went all night long, whose voice started to give out on him, but who kept
going take after take. Didn’t want a break, didn’t want to stop, didn’t
give up. It is about the work for them. It was a great scene in the end. It was
because Martin Landau gave it every bit that he had. All night long.
ROB BOWMAN: So on the parallel, back and forth between Mulder learning
about the depth of the conspiracy, reaches of it, the far reaches of it all the
way to the president’s office, and back and forth between Scully learning
about what is the biology, the science behind the effect of the black oil. Here
we see a translucent piece of bone, a rib. That ties back into the translucent
fireman, that ties back to the skull in the cave, and now, we’re starting to
see that this is the result of a body being infected by the black oil. It
doesn’t mean anything to Scully yet because she’s too busy trying to avoid
capture, then sit around and summate what happened with the body. But for the
audience, that’s the correlation. The oil that infected Neanderthal, and the
fireman, and if we were to see the boy, he would be in the same shape in the
ribcage, as here in the fireman showing the translucent bone. Mulder now having
heard all this about the death of the conspiracy, calls Scully and she’s
afraid, she’s heard, and seen some things that bother her but she’s still
reluctant. And now (Mulder) with her finding this in the body, what he’s heard
from Kurtzweil, he needs her more than ever to keep going because there’s more
to find there. They're actually on to something here, pieces are adding up.
(Scully is beneath one of the gurneys, hiding from the MP’s that have just
entered the morgue)
This sequence of Scully being caught, I think, would have been made better
had we understood the geography between the autopsy room where she was working
and this room. Because to me the distance between opposing forces increases and
decreases tension as they get further and closer away, further and closer to
each other. For me not knowing that the morgue refrigerator was 50 feet away
from the other room. So in my mind, as she goes in the other room I can sort of
click off the amount of time it would take him to walk, my tension increases in
my own mind. But we didn’t do that, we just didn’t have the resources at the
time to create the hallway set. That is one way I think that tension can be
increased and decreased, by always showing the distance between the two parties.
Now here we have Mulder in the FBI office with this agent and they're trying
to look into the rubble from the building explosion and find more translucent
bones. And what Scully’s gonna find here, unspoken, is same molecular
structure from the bone found in the rubble as what she’s seen back at the
coroner’s office. She’s gonna understand, in fact, a tie in between the
fireman and what Mulder’s talking about.
This was actually a set we made in a giant computer room in the Unical
building, downtown Los Angeles. We put the dividing walls, but to get that look,
sort of reminiscent of "All the President’s Men". In the office
there with Dustin Hoffman and Robert Redford with all those florescent lights
that go on forever. We built this little lab, with the little hot zone right in
the center, with our own little light box above to stage around but it was all a
big set (nursing?) job.
Now, Scully here, without saying anything, looks up in shock when she
realizes she’s seen a tie-in between the structure of the bones and what she
saw back in the office.
This shot with the kids is really just an off the cuff thing I made up on the
day. I saw the opportunity while we were scouting and as the sun was setting
here, nearly out of the sky I had these little kids playing on the swing sets
and running up the ladder. Just creating a contrast between, you know, here’s
the worst conspiracy known to man right outside in the backyard, there’s where
these little kids play.
We’re introducing for the first time in the tent sequence here, the
"Scully transport cryo-container" which is what we will see later in
the movie, what carries Scully off to the Antarctic. The thinking behind the
design was to be as "industrial", and as durable as possible because
it gets used over and over. I wanted to stay away from shiny chrome, polished
surfaces, and anything that didn’t look like it was getting used. Sort of
like, what would a D9 look like? D9 Bulldozer which is the largest bulldozer
they make, (as far as I remember), you know after lots of uses. Well it
doesn’t look shiny and polished, it’s pretty beat up. And actually John
Deere was sort of a metaphor we used for looking for ways to design things for a
lot of this stuff. Tough and durable was the idea.
The tents were all, you know, what can you set up and take down in a moment's
notice. It’s all ‘rock and roll’ truss and tents and stuff that’s prefab
and goes up and down in a moment’s notice.
Here’s a tent pole scene in the movie for tension where we’ve been doing
a lot of exposition, sort of listening to people describe a lot of (saying?).
Movies are about showing, so here was a very important sequence in the movie
that would ratchet the tension up and give us a good boo in the middle of the
movie and then carry forward "what’s the monster up to?" It’s
gotta be a nail biting, edge of your seat, white knuckle tension scene.
Otherwise I’ve failed as a story teller.
And again, one of the more important ways to create tension is once you’ve
established your opposing forces, you’ve established your threat to your
protagonist or to whoever is the eventual victim. It’s the distance between
the two forces that for me, are one of the more important elements in tension.
Because the closer the threat is to the person, the greater the tension and the
further away is the opposite. So by moving this creature from the beginning of
the scene where he seems about forty feet away, and he’s not too agitated to,
in a very quick motion, he’s on the other side of the cave, now he’s within
ten feet. Bronschweig goes from curious and in awe of actually witnessing
through his own eyes, what the creature looked like to a look of resignation
where he’s now just having the last look at this thing cause he’s
‘dead’. That’s all done through geography. So tie-ins between the two
opposing forces is to me, essential.
CHRIS CARTER: The people who make up the conspiracy are mostly men in
their fifties, sixties and seventies. The idea being that these were people that
were in positions of power, or of fledgling, burgeoning power during the cold
war. As the cold war escalated and then collapsed these men were in positions to
learn certain things as a result of secret, scientific experiments, cold war
politics. They splintered and/or split off from the body of government they were
working for and banded together with this new knowledge of the existence of
extra-terrestrial life and used that knowledge to their own purpose. They
are)’Elders’ we call them, men from different nations, all of whom have kept
the secret to themselves and will do anything to protect it. So what we are
seeing is really the result of the predictions, I think, about the military
industrial complex, about global politics being shaped by, the not necessarily
the good of the people, but by moneyed interest and I think that it is
allegorical in that way with what we’re seeing in the world today.
We do have a rather farfetched idea about alien life, but I think the world
it takes place in and the players are all too believable and as people who have
made, in fact, find reasons to be involved in something like a global conspiracy
for purposes that are completely selfish. John Neville has been on the show. He
plays a character named the "Well-Manicured Man". All the bad guys
don’t have names they have descriptions. He is an important part of the group
of elders who run the conspiracy because he’s the voice of reason. He’s a
person that believes that violence is the wrong way in which to protect the
secret, that you need to let a certain amount of information out so as, sort of,
keep your pursuers close so you can control them. They all are in service to the
leader, a man named Strughold, who has been in name only in the X-Files, who
becomes embodied by Armin Mueller-Stahl in the X-Files movie. That I actually
got to write this character and then cast exactly who I wanted was a huge thrill
because, I think, Armin Mueller-Stahl is one of the most interesting, intense
actors of a certain age and quality. So when I got to meet him and to see him
work and to see the way he took the words and added to them and gave them a
certain rhythm and pace. He made the somewhat, farfetched ideas of this science
fiction notion, that aliens are plotting to colonize the world. He took it and
as he gave the character the creditability that needed to bring home the central
idea.
ROB BOWMAN: I think a funny moment, when the park is left, after the
clean up. You cut from after the cabal meeting and Armin Mueller-Stahl says, you
know, "We must take away that which he cares about the most" Cut to
Scully! (gasp) Audience)Oh, they're gonna kill Scully. Then cut wide, and see
that they're in this park. "What have they done? It’s a cover-up right?
Okay so, we need a park, we need a lawn, we need sod, we need a jungle gym, we
need a little park that they’ve donated, they’ve given us some sign that
says you know, "donated to the people of Blackwood county", whatever.
Well we show up in the morning and the park is about as big as my kitchen at
home. It’s a little tiny chunk of sod, it’s a disaster. Now, this is one of
those days when you look at the call sheet and you think)"Now if I start
really fast, and I sprint like mad, and we don’t eat lunch, maybe we’ll make
this day". Well, the park is wrong. And then Chris shows up and his hair
just stands straight up. "What is this?" There was so much stress that
there was no stress for me. We’re shooting, we’re shooting, we’re
shooting, we get to the little boys and by the time I shoot the master of the
low panning shot where the boys pan, they ride into the marks left to right and
they stop and David and Gillian walk up. The sun, it’s like right over the
mountains. If you look in the background, it’s actually getting a little lens
flair, cause the camera’s on the ground and the sun's actually going right
through the little boys' back. Right over the (??) lens it’s on the horizon. I
had one camera position and what I would do is, I got behind the camera, I just
panned to the third boy and I’d say "Do your dialog" and then I’d
pan over and I’d go back and say, "Do it again" and then I’d go
back, go back, go back. The sun is gone! And the sky is dark gray and it’s
actually an 18k light cross lighting cause there’s no sun. So I’m hoping the
lab can, like, save my life here. And I’m panning to each one of the three
boys saying, "Do your dialog. Stop. And they don’t know what I’m doing,
I’m like a mad man at this point. The little boys are trying to run a scene
and I’d say, "Stop! Do your dialog again." "Okay, look further
to your right. Okay now, pan over, now you do your dialog. Okay! Funnier,
funnier!" You know, it’s like the most insane directing you can imagine!
"CUT! PRINT! We got it." I turn over to Danny and he just falls out of
his chair. "I CAN’T BELIEVE WE DID IT! I can’t believe it! Oh my God,
oh my God. Chris is laughing because Danny’s just a big raw nerve. And we pull
it off, and you know, it’s actually kind of funny, kinda cute. Every time I
look at that scene I realize that we made that by the "skin of our
teeth" and in all of that there’s a few of the shots, even the one where
David and Gillian walk over to the lawn that I think are really) shots people
complement me on. I thought, if you knew how that stuff came out. "By the
skin of my teeth". You know, it was not sitting in a drawing room with a
story board artist conjuring up master images. It was, "Oh my God, I’m in
big trouble. We’re never gonna make the date. And I’m gonna look like I
don’t know what I’m doing"
CHRIS CARTER: We made this movie in between television seasons. At
Christmas, Frank Spotnitz and I came up with the story, worked it out, laid it
out very carefully. In February of the next year, I snuck away for ten days.
This is during the making of both a season of X-Files and the first season of
Millenium. I snuck away for ten days. I still don’t know how I did it, and
wrote about two-thirds of the movie. It was enough to give the studio, to show
them what we wanted to do. They "green lighted" the project as a
result of that two-thirds, I think something like ninety pages. We started to
prep the movie over the course of the next several months. That being March,
April, May. Beginning shooting the movie in June, I believe. It was a short
prep, it was costly. I wouldn’t ever do it that way again. It was all done as
the thing we were doing in addition to the television series. Which had a
certain amount of benefits because we all knew the TV series, we all knew the
things that work.
We didn’t have to create something completely from scratch so that was
helpful. But no one was used to working on that pace and when you work weekends,
you spend more money, and the budget goes up for things that don’t ever show
up on screen just because you're pushing the limits of time. Because we needed
to get this movie made in the course and span of the time between seasons four
and five of the television series. Before the movie was even finished filming we
were back into our process again of coming up of stories and writing scripts and
going right back in to the television series. So, it really was done on our
vacation time. We ended up working for two years straight, all of us, that is
probably not the best way to work, but it’s the only way we could do this
movie which we were all determined to do.
ROB BOWMAN: When they’ve actually stopped at the crossing, the train
is real there. The only thing we had to do when they were having the argument at
the railroad crossing was remove "Saugus, California" which was a
freeway, hillside, dwellings, lights, what not from the (???) process. Now oddly
enough, I’d originally envisioned that scene that when Mulder came around the
front of the car, he would have, sort of, kneel down to use the headlight to
illuminate the map, and while Scully was taking a (??), while David was down
looking at the map. Well, when we got there and staged it, we just decided that
that wasn’t the right idea. It just didn’t seem like David should squat
down. While what we didn’t think of that moment, and should have was, that by
him standing up, every time you cut to him, you had to remove "Saugus"
from the background. So it was like, thirty thousand, thirty thousand, thirty
thousand every time you cut to him. So we probably would have been better off
having him squat down in front of the car, that would have been fine.
But that sequence was really just a subtractive problem. Crossing over the
track, (and the car following) you know, the next shot, the train's coming
towards the camera. Camera moves out of the way, car comes over, that’s all
practical. But the train from the bluff is CGI, it’s computer generated. It
originally wasn’t moving. So the last time you see it it goes tearing by, goes
into the tunnel. They drive to the bluff, they get out of the car. Walk to the
edge of the bluff, they look out and see this vast expanse. Corn fields, domes
in the middle of the arid desert.
CHRIS CARTER: I used to go to a dairy farm in the summers. We would
milk cows. We would have the kind of farm experience, these were friends of my
parents. We used to go into these cornfields and if you’ve ever gone into a
cornfield at night, it’s one of the most frightening things in the world. You
don’t know what’s gonna pop out, what’s going to grab you, what spiders
are gonna come out. There’s just something eerie about a corn field. It’s
organized, it’s in rows, yet you can get trapped inside, you don’t know how
to get out. So this is a certain fear I have and so why not put Mulder and
Scully into a similar situation. As it worked out, the science, the genetically
altered corn worked for the story. It also dovetailed with another fear of mine
which is the fear of being stung by something. We’re all children when it
comes to stinging things and for me it’s bees and yellow jackets and things
that pack a wallop. Scorpions, centipedes, all those stinging things that were
so frightening to you as a kid somehow on a gut level, they are frightening as
well. So you have this opportunity to do something original, scary and
suspenseful and you have the ability to do it with architecture you’ve never
seen before and make it beautiful. Make it a big screen idea, giant vistas, it
all just came about as a need to do something wholly original that we would
never be able to do in the television series.
ROB BOWMAN: I’ve got the audience as my attorney. They’re thinking
because it’s the X-Files, space ship. Those may be spaceship hangers. Who
knows, I want to leave the possibilities open as long as I can so that their
minds are ready to accept anything. Then we build the tension by stepping into
this dome and you’ve got architecture, you can’t quite figure out what
you're looking at. The audience is trying very hard to try to decipher what it
is these squares might be. They know, because it’s the x-files, that there’s
gonna be a pay off here. What in the world is it gonna be? Are aliens gonna pop
up? Are they gonna be shot? Maybe nothing’s gonna happen, who knows. That’s
exactly what we wanna do. Then we have rising tension again through the slates
opening, and making a lot of noise from very, very quiet to making a lot of
noise. With the slates, the louvers, and the bees come up you can’t figure out
what you're looking at. I think it takes you a couple of cuts of the bee dome to
figure out they're bees. You're confused, but they're freaking out and it’s a
panic all of a sudden. We had three hundred thousand bees flying around. Never
seen it before. By the way, David and Gillian were never stung in all the
filming. They didn’t wear gear. The crew had the nets and the gloves. The crew
got stung. David and Gillian with nothing on, never got stung.
Then you go outside and (whew) we made it. Now the ebb goes down, the
rhythm's sort of stalled for a moment. But again, it’s that uncomfortable
quiet. Something else is happening. And then I wanted, because the audience is
always expecting to see a spaceship in this movie. I wanted to introduce the
helicopters in such a way that you thought; "Spaceship! I knew it! Here it
comes!" Then lights dancing against the top of the corn stalks. That was
the one take where the chopper that was three hundred yards from camera and
flying by his altimeter and the camera man, the steady cam operator is standing
at some random height, somehow the physics, the geometry of these two was just
perfect for that one take.
Where the light was just three inches above the stalk, the cornstalks, and
danced across, and you thought, "There it is, there’s the first spaceship
of the movie." And then it turns into a helicopter. "Aw!" you
know, so now I’m still teasing you, still making you wait for the
extraterrestrial in the movie. (*mumbled, hard to understand*) That’s just the
expectations when you come in to see the movie. From this point on, I have
nowhere to go but up, which is high speed, full velocity sprint. Now, I’ve
also got the audience thinking that there’s gonna be gunfire. "They're
gonna shoot at us! Black helicopters at night shoot at us." That’s just
what I’m thinking. They don’t. But the scene goes on. And we’re running,
and now Mulder and Scully get lost in the fray. And the choppers are doing what?
I’m starting to get concerned because I can no longer anticipate the gunshot.
Because when the gunshots go off, I just have to avoid the bullets. So I can
figure that one out. And again, it’s just trying to stay ahead of the
audience, to say "You’ve not seen this before, you can’t anticipate the
conclusion, you can’t anticipate the consequences because I’m not giving you
anything to deal with. So, the sort of herding of Mulder and Scully, out of the
cornfields is unnerving because I don’t know where the other shoe’s gonna
drop. I thought if they shot at us, and we escaped we’re safe. They dealt the
punishment for being there, they caught us, they shot at us and we made it out.
That’s the end of it. NO, they don’t shoot at you, Mulder, Scully get out. I
feel incomplete. I feel like the punishment's not been dealt. I was sorta shooed
out of the cornfield. But it feels like it’s incomplete. The arc is not
complete. What’s gonna happen now? How is this gonna pay off later in the
movie? What’s gonna happen to Mulder and Scully?
CHRIS CARTER: This is an actually little grace note, that Danny came
up with was, you know, Scully after being up for three days, never having a
chance to go home and primp. Stops for a moment and looks at her reflection of a
photograph of a former FBI boss and primps herself for a second. It was a nice
little touch of class.
This is one of the ideas in the script that was actually most challenging
because it’s tying in principal cast, and a bee that has something very
specific to do, just to crawl out from underneath Scully’s collar, and then
return to the collar. So to set up a later scene, it was something that none of
us thought would really happen including the bee trainer who never told us that
until after it was done. But, he basically had a pheromone box or small trap
underneath the center of her collar and the bee came out after being placed in
just a plain tube. Crawled out from her collar, and searched for this pheromone
trap and it went back into it. We tied it in with the dialog and with the
actress, both Gillian and Blythe Danner, but ended up moving it into another
place in the scene. But none the less, this bee performed this little staging
miracle that we all thought would take half a day to film and would never really
work anyway. And here comes the little girl now, and you see here the camera
moving, it’s all timed with focus and telephoto lens which makes it even more
difficult, and performed an on-camera miracle.
When agent Mulder and agent Scully get back from the cornfield something
changes here. Agent Scully comes forward after having been away from the FBI
against orders. She comes back with some hard evidence of what Mulder has been
suggesting. That there is a conspiracy afoot. She presents this to the OPR Board
and puts herself at some risk for doing it. In fact, it puts herself at great
risk .
Agent Mulder who has taken her out to this place, shown her what he has with
the bees and the mysterious corn field, he now goes to Kurtzweil, the person who
sent him there in the first place, to tell him what he’s seen. And Kurtzweil
says to him that what he’s seen, he can’t explain, that he doesn’t have
explainations for it. He actually leaves Mulder hanging out on a limb. So, as
agent Scully has been brought by Mulder to some conclusion, agent Mulder is
having the rug pulled out from underneath him. And the story shifts here.
It is now agent Mulder who has great doubt and agent Scully who has some
great belief. But the consequence of her belief is in fact going to derail not
just the investigation, but their partnership.
ROB BOWMAN: There’s a sequence after Mulder arrives back in his
apartment to confirm Kurtzweil’s existence and friendship with his father
where Scully comes in and says, "I’ve quit, I’m leaving. I’m going
off to)so and so, I don’t want to stay because I know you’ll talk me out of
it. So I gotta leave now, bye." So she runs out. Mulder persues her down
the hallway, has already confessed to her in the room that now is the worst time
of all. "We’re really on to something here. I need you. I need you, I
need you." That’s the theme of the movie, Mulder needs Scully. Never
before has he come to that understanding quite so strongly as he does in this
story. So, she’s running because she’s afraid that he’s gonna talk her out
of it. So the best thing she can do is just hit the elevator button and go, go,
go. She never makes it. This was her first mistake. And Mulder also knows that
that’s where she’s headed, is out the door. So, he’s gotta tell her why it
is that she’s so important to him. And tell her once and for all that in fact,
the whole time that they’ve been together, that the two of them have been
together, that she has made him better. She has made him feel not like an
outcast, not like discarded FBI trash, but actually sombody that’s worthy of
her friendship. That, as he says, she’s made him a whole person. So in a scene
filled with such virtue, such, you know, people sharing their most highest
thoughts and feelings towards each other, you come to a sort of pinnacle,
respect and mutual admiration that it leads into an intimate moment that neither
one of them expect. Or were sort of working towards. It just sort of happens.
You know, you just keep going and going and arguing and arguing and all of a
sudden it’s not an argument, it’s sort of, you know, "we’re for each
other, we’re for each other and we come to the opportunity of a kiss for the
first time." But it’s not out of lust, it’s not out of any obvious
reasons or typical reasons. It’s out of just absolute overwhelming respect for
one another. Out of that respect comes an emotional response, where you
transcend, sort of, logic and thinking and it becomes more visceral and human.
The only place for him to go in my mind, to express the next thought is to kiss
her. And how do we do that in the x-files fashion which is, you know, you never
give them anything they want, and just sort of lead them down the road and say,
"auuup, that's all you get". Then because of the bee, Mulder is abrupt
and abbreviated. Stops short of, sort of, the zenith that the audience is
wanting. But we don’t want to end the movie by completely cheating the
audience. We’d like to, at least, add up, in parts, a kiss. So there’s the
spaceship where Mulder's trying to rescue Scully and just when they get to the
vent exit she collapses again, and she passes out, and she’s not breathing. So
what do you do when someone's not breathing? You give them mouth to mouth
resuscitation.
So you’ve got the intention of the kiss, and the physical act of them
touching mouths and I believe in Chris’s mind, the idea was, you take those
two, add them together and that’s a kiss! That counts! Sort of in the
frustrating x-files fashion, that’s a kiss. I obviously think that there’s
more gained for the audience out of the hallway kiss. And I don’t think anyone
really walked out thinking, well they sorta did, you add the two together. But
doesn’t matter, because the idea is they were going to. As a story point, that
counts as a kiss. It wasn’t because they didn’t stop themselves, something
else entered the scene and interrupted them so)
So now we have Mulder, what might be mortally wounded lying on the ground
outside of his apartment. The next sequence is gonna be Scully being loaded on
the container onto a cargo jet and flown off somewhere masterminded by Cigarette
Smoking Man. It was a sequence that we shot in one night, it was actually done
the last major day of filming for First Unit. It was really sort of a first and
second unit but we still had, you know, Ward (?) and still the first unit crew
out there and it was a great night at Los Angeles International Airport. It was
just supposed to be a cool x-file sequence where something clandestined is
occurring in a corner of an airport. We’ve got security guards sorta looking
out and you know. It was a scene that we barely completed in the course of the
night. As a matter of fact, in some of the last shots of Cigarette Smoking Man
standing and watching from inside the airplane you can kind of see the sky
starting to blue up from sunrise in the background. The fun part about it was,
again, finding inventive ways to introduce CSM into the sequence, which I’ve
done since the character was created. It’s always, sort of, stealthy and
sometimes clique but always fun none the less. The best part about the entire
night was that I was going to finish the sequence, wrap the show. Then I drove
over to the Bradley terminal and jumped on a plane and flew to Maui for five
days and sat there sort of, in shock in my bed at the Four Seasons in Maui and
couldn’t believe what I’d just finished which was eighty straight days of
filming.
(Mulder’s hospital room with The Lone Gunmen)
CHRIS CARTER: There were certain characters we needed to put in the
movie who the fans had become very fond of and the Lone Gunmen were three of
those characters. So it was difficult to find a way to put them in the movie and
not have to explain too much who they were. Because the audience that’s been
watching the television series for five years running knows who these guys are.
But the non-fan would have no idea so there’s a very quick introduction to the
Lone Gunman. They are explainers, they are nerd scientists, guys that are sort
of "fringe dwellers". To put them in a scene with agent Mulder and
ultimately with Assistant Director Skinner you run the risk of bringing the
movie to a dead halt. The audience not understanding who they are, what’s
going on and creating or ruining the suspension of disbelief because these
characters are kind of cartoon-ish. But I think we found a way to do it and to
use it as a transitional piece in the story. The man who plays the government
"overlooker" in the hallway, a sort of ever-present shadowy government
figure is actually the assistant director on the picture who we suited up. Put a
little earphone on him and he actually served quite well as our watch dog,
keeping tabs on Mulder who escapes through the help of these characters, the
Lone Gunmen.
The characters who make up the conspiracy have kept their secret, a secret by
sort of maintaining a united front. It’s sort of the old mafia idea of
Omerta(?) That you don’t, you never divulge a secret. But inside the
conspiracy there is politics. And the politics in the movie really focus on the
Well Manicured Man, the voice of reason in the conspiracy. The man who does not
like to resort to violence. He is, though, put in a position and taken to a
place that is very awkward for him, which is to commit an act of violence, to
get rid of this character Kurtzweil who’ve they have allowed to live because
his ideas were so preposterous. His books were so outlandish and ludicrous that
they felt that what truth he was putting out to the public actually worked to
their advantage, while it’s quite real to them the public wouldn’t believe
it. So, the Well-Manicured Man, who objects to what the conspiracy and
conspirators have elected to do, which is to conspire with the alien colonists,
they send the Well Manicured Man to destroy Kurtzweil. In doing this they
actually set something in motion they don’t quite understand and this plays to
the character of the Well-Manicured Man. He has a bout of conscience. He thinks
about his family, he thinks about the future. When he finally does do in
Kurtzweil, as he is asked to do, he takes the opportunity to give Agent Mulder
all he’ll need to uncover the thing that will make certain for him that what
he has believed all along has been true. The government has been conspiring to
keep the secrets a secret and in doing so, the Well-Manicured Man does something
that is quite heroic. He gives up his own life. It is on that turn that Mulder
will proceed to his ultimate goal.
ROB BOWMAN: In terms of the look of the x-files, it is heavily
influenced by the noir period of film making. It is very noir-sque It’s a
signature of the show, but the problem is it’s very hard to do. Because it
takes time to use less light because you're working at the bottom end of
exposure on the negative. We’ve been experimenting over the years to get a
good rich low level look without it looking under exposed or grainy. Sometimes
great success and sometimes, you know, not so good where you have a face
floating in a black screen. But it’s the look of the show. It is the touching
on the things that scare us. Which are taking out the trash late at night to the
dark garage. When you’re a kid that’s a spooky thing, what’s gonna come
out and get you? It taps a nerve deep, deep inside of us that the spooky, creepy
things that exist come out of the shadows. That’s where they come from, the
x-files. Anticipation, that if we’ve got a monster or a villain who comes out
of the dark, but we only have him in the story two or three times, anytime
there’s a shadow in that episode or that story then you’ll expect the
possibility of the monster coming out of that dark area. So I explode my
opportunity, my tension tenfold because now you're wondering, of which dark
corners they’re gonna jump out of. It creates suspense, anticipation and
tension, but none the less, it’s much more difficult to shoot dark and shadowy
then bright and shadow-less.
So here’s one of the more pivotal scenes in the movie where we’re
one-on-one with Well-Manicured Man and he’s doing something very
uncharacteristic, which is, revealing a great deal of information to us about
the nature and the origins of both the aliens and the conspiracy and originally
photograph was what had occurred with Mulder’s sister and her abduction, but
proved to be just a bit longer than was necessary and we decided to remove the
references to Mulder’s sister. All the while we’re cutting to the driver who
is subtursly (?) watching us in the mirror and creating just a degree of tension
because we’re wondering, first of all is Well-Manicured Man telling us the
truth? It all seems so far-fetched and preposterous yet enough of it rings true
to Mulder that it’s stuff that we can believe. But does this mean upon hearing
all this information that we’re going to just be killed, and it’s all for
naught anyway?
The drive-by is actually shot outside the agriculture building because I
thought if anybody would get that that was the Department of Agriculture and the
tie-in between the bees and the corn crops and the "Talitha Cumi",
which I think was the first bee episode, that there was some tie-in between the
Department of Agriculture, ah, a little layer to throw in there even if it’s
too far removed to be understood.
Then the car comes to a stop. We’ve set up tension in the alley, tension
inside the car makes us think now that Mulder might not be in such good shape.
The door's locked. Now Well-Manicured Man has a gun and based on what we believe
about Kurtzweil this may be Mulder’s demise. Shockingly it’s the driver that
receives the bullet, probably because Well-Manicured Man was saying things he
shouldn’t have been saying to Mulder which probably means he’s gonna be shot
himself, the two of them were.
ROB BOWMAN: I suppose on a story telling level this would be
considered a dramatic low point for Mulder’s character. Because we’re still
wondering if he’s gonna receive a fatal bullet, although we have been given
the co-ordinance and vaccine for Scully. He’s got the gun in his hand. He’s
already killed one person, where are we going here? The switch is, of course, we
don’t receive the fatal bullet. We receive in fact, directions and convincing
urgings to get off and save Scully.
We have our lucky rat that runs through the background. It was not us, it was
just the good luck that day.
And then the big surprise twist was the suicide of Well-Manicured Man and the
car explosion. We had different ideas on how to explode the car. At one point we
were gonna do an implosion so as to be quieter about it. Another time we were
gonna have hundreds of little metal BB’s come flying out as if he used some
kind of a concussive grenade full of BB shrapnel to kill himself. But we ended
up with a good oldfashioned car explosion.
So we’re dissolving from the black of night, the dark interiors, the
claustrophobic interior of the limousine to this vast white canvas of the
Antarctic. This is really the influence that watching "Lawrence of
Arabia" over and over during the course of filming had on me. Wanting to
really utilize the width and scale of the movie screen for the X-Files and make
it larger and on a grander scale than ever before. It’s a tie-in, a bookended
tie-in from the beginning of the movie, from the image of the two Neanderthals
running at us. So we’re sort of framing our story here. Now I have Mulder in a
snow cat and was attempting to do here, another little layer that might be fun
is that I put him in a "Tucker" snow cat. And Tucker if you remember,
at least the movie, if not the story of the man himself, was a man up against
the "big" three. He was a small man defeated by the larger
conglomerate. I thought that was an interesting parallel with Mulder and what he
was trying to do. So, it was a layer thrown in there for somebody that was
searching for meaning in anything and everything, it was sorta fun. The extreme
challenge here is, of course, when you're shooting on a snow bank that
everywhere you tread you leave a mark. So if you're having shots like David up
on the horizon after he’s crawled out of the snow bank, where you're seeing
literally miles around, then you’ve gotta keep that snow clear and so
basically one take, and you move to a different glacier. I wanted the rivet of
track coming off that snow cap to be going all the way to the horizon and then a
single set of footprints coming all from the snow cat. So that means that the
driver takes that snow cat on the far side of the ring of the glacier field, all
the way around the ice field, drives it straight towards camera with me on the
radio saying, "Keep going. Keep going. A little to the left, a little to
the right", and the driver of this snow cat getting out and walking up
towards camera. So then David I just have to put on the other side of the rocks
and have him popping up on the foreground and you get what looks like a single
set of snow cat tracks and then David’s foot prints walking up. Meanwhile the
camera crew is helicoptered up to the top of a summit. We set up camera and wait
for David, it takes about an hour and a half to do one shot.
There are several shots in this sequence that do not include real David or
nor was I there. E.J. Forrester was up there directing it. We’re using
Mulder’s double and some of the running shots on the surface are Mulder’s
double, you know, had one day with David up on the glacier trying to get all
those shots, which was very difficult of course, trying not to create tracks
everywhere.
Soon as he goes through the ice, you're into a sound stage. On the Twentieth
Century Fox lot. Into a refrigerated sound stage with liquid nitrogen streaming
down, which is actually, basically, cold smoke which falls instead of rises or
hovers like regular smoke. Trying to create the illusion that Mulder has dropped
through layers and layers of, down into, you know, thirty some, forty some feet
below to the surface to what appears to be some sort of vacuum sucking the smoke
down and then he drops down into the hole and now you're in more of a
symmetrical tube. So wherever we are, we’re getting to something that seems to
be something more "made" as opposed to, you know, by the hand of man
as opposed to by the hand of nature. As Mulder is crawling down the tube we have
a mystery as to "okay, where are we now? What could possibly be underneath
this ice field?" and of course we reveal it one layer at a time, like
peeling the onion, you just see it one layer at a time. Now I’ve cut inside
the hallway and you're seeing even more structure. Now we realize we are in a
place that has been manufactured. David jumps down into the hallway and the
hallway needed to look like it went on forever but of course, it went five feet
behind him. But we created a blue screen plate and then added in an
"echo" of the hallway behind him so it looks like it wraps around for
quite a long ways.
Once you're inside the ship, the idea was to show how old the ship was and to
see how long they had been encasing human beings. All the way back to the
Neanderthal period. This gag never really paid off for us because we couldn’t
get the thickness of the ice to look like it was several inches of ice and to
identify what would be the decayed bodies of one of the Neanderthals. Although
that’s what it’s supposed to be. We sort of tried and tried and tried and
realized we should just go for what would look like a human being underneath the
ice. And then you tilt down to the belly and you see the alien and you start to
get the idea of the heightening discovery, the levels of science that are going
on and just what a truly fantastic conspiracy this is.
He walks over to the edge of a pipe, what looks like a large venting pipe. He
looks down and sees what looks like these pods hanging and begin to realize that
this is not just this one layer, but it’s actually quite recessed into the
ground. Establishing the idea from the pods that are hanging in that tube, that
there are many, many of these pods and as we go along in the movie and he steps
out on the balcony we reveal the absolutely massive scale of this interior and
reveal even more, down on the floor, pods hanging from what look like a
Laundromat conveyor belt system moving these things along. That is basically
what this thing is. The extreme high shot of Mulder from far away, way up on the
balcony is basically a shot of David walking on a small set, the size of a dime.
And then entire area, the entire world around him. Ninety nine percent of that
frame is all CGI created. David’s face is real, of course, against a real
background but it’s about forty feet long, fifteen feet high, that’s it. And
we’re saying the ship is, I think, twelve hundred feet across or something. So
you have a mix in here of both practical and CGI images. One of the challenges,
well, how do we get Mulder from upstairs to downstairs in a dramatic, cinematic
sort of way. It’s not going to be boring show leather. So we came up with the
idea of him slipping and sliding and falling down the top of one of these tubes
and of course we don’t know where we’re going. We’re gonna assume that
it’s not gonna end well for him. There is a bottom to it but at the velocity
he’s traveling and with him sort of, careening off this "knuckle" at
the end, this collar. You have to have the shot where once he’s hanging by his
knuckles, you’ve gotta drop something, 'cause that’s the way you show depth.
So we, I don’t know if you can tell, but it’s his binoculars that actually
fall out of his pocket and fall down to their demise.
Then it’s a combination in the overhead shots of both a practical piece of
tubing and then CGI work showing what would suggest hundreds of feet of depth
below him.
It is the challenge of the story teller to keep increasing the size of the
conspiracy and the size of the adventure. You gotta have some pretty impressive
set pieces and moments that keep elevating the story. So you need this kind of
stuff, this kind of a set to make big action summer movie.
So he finds this left behind wardrobe and of course, Scully’s cross. He now
knows he’s found her and as he comes around the corner we reveal, what appear
to be a very fresh set of these cryopods. Compared to the ones upstairs that
appeared to be encrusted and brown, sorta old and we start seeing what look like
modern day human beings encased in what still looks like to be some sort of a
fluid, not completely iced over pod until he finds what he has been hoping for
and hoping not to find Scully now trapped inside one of these giant icicles
basically. It’s a mix of Gillian in a water tank and also a
"Gillian" polyurethane cast inside of a pod that gives us the illusion
that she’s actually incased in this stuff.
Then we have the ice station footage, which was not planned originally but we
need a little more information as to who was sort of running this whole thing
and where does CSM fit in. So we built the inside of the ice station, had a
little running about and CSM looking like he’s in charge. Panic that the ship
is coming apart, that there’s an intruder, actually that’s what it is. That
there’s an intruder not that the ship's coming apart that’s gonna occur when
Mulder injects this vaccine that we witnessed Bronsweig inject in to the side of
the alien inside the cave and that’s what made the aliens stop attacking him
for a moment. The point there sort of setting up the idea that the aliens
don’t like this vaccine, it not necessarily kills them but that they are, um,
it’s a hostile vaccine to the alien. After injecting Scully, you see something
running out of her feed tube evacuating Scully and that tube then shrivels up
and dies and that’s telling the audience the vaccine does in fact work as an
anti-virus against the alien and against the black oil. Then the ship itself
almost organically has a violent reaction to it and starts to sort of, come
undone. The idea is that, basically the aliens are going to try to escape from
the pods before the vaccine, as little as it is, infects the entire ship and
brings them all to their demise. These steam blasts start firing off, and all of
them, of course, CGI implanted, the hallway, the different steam vents. None of
them is real. All of them are sort of, plates of hallways and then placed steam
vents.
Then we are inner cutting back and forth with chaos occurring in the ice
station where CSM is calling for an evacuation. The ship in some form is waking
up. So CSM is realizing that the whole thing is coming apart. There’s a moment
here where Mulder is helping Scully out of the pod and the day we were filming
in the space ship, Tea Leoni, David’s wife, was on set and saw us doing the
shot where he’s carrying her away and suggested a moment where we actually saw
him take her out of the pod, a very gentle moment between the two of them. Sort
of in the tone of the kiss. A tender moment between the two of them and I
thought it was a very good idea and we shot it, quickly and simply but it was a
nice moment to add into the movie.
Now we’re seeing everyone evacuate, we go back to footage that was shot up
on a glacier above Vancouver. All of which was the ice station, and the snow
cats and all of the camera equipment and all of the personnel. Everybody that
was in this sequence, including me and David for one day, we were flown up there
by helicopter. So everything you see made of that glacier, at least to the edge
of the glacier, by chopper.
This is the final chapter of Mulder rescuing Scully out of the space ship.
Down below the ship woke up, somehow, we don’t know what, but it started
vibrating, we know the situation is getting worse and worse for Mulder and
Scully. So he’s trying to evacuate her out of the ship, trying to rescue her,
and we’re inner-cutting between two of the sequences in which is the
evacuation or the escape of the conspirators up on the ice field and also to the
corridor where Mulder first entered, which we see is all melting. The ship is
actually waking up its inhabitants. We assume, to the detriment of Scully and
Mulder. This is a part of the movie where it really is about movie magic because
not much of this is real. You’ve got what’s, in reality, the sets made up of
wood and nails and paint and creatures which are men in rubber suits. The secret
is to hire the best people and hopefully though the lens, to the audience, it
looks real.
Now we're coming into the second part of two parts that make a whole, is the
idea of Mulder and Scully kissing in this movie. Which is something that Chris
wanted to give the audience. But he didn’t want to give it to them in the
standard fashion of them just, you know, exposing their feelings and then
kissing. He broke it in two parts. The first part is in the hallway where they
have the surprising intention to kiss out of respect. Then Scully passes out
here in the corridor and Mulder's gonna have to revive her. It’s gonna have to
be from mouth to mouth resuscitation which gives us the act, or the physical act
of touching lips and Chris thought maybe those two halves might make a whole,
giving them the kiss without actually having them kiss. Which I thought was a
brilliant idea.
Rising tensions. We’ve got a lot going on in this sequence now. We’ve got
Scully unconscious, and creatures are trying to break out. Just like the days of
filming, we also had a lot of things going on. These creatures in the pods,
breaking out, require a great deal of detail work and different departments
coming together. Physical effects creating the pods, that they’ll break out.
These are replaceable face plates that break, you know, then you’ve gotta put
them back on. You’ve got puppeteers holding a head on a stick with a trigger
to make the eyes blink and the mouth open. Another puppeteer wrapped around him
with the hands pounding on the glass.
Then being doused with water, literally working within the confines of the
pod which is nearly impossible being dumped on with water, you’ve got
puppeteers busting their head through the faceplate of this glass. Steam effects
interacted between Mulder and Scully. There’s a lot of things that come
together to make this sequence look real and it’s anything but that on the set
and it’s basically through the hard work and talent of the puppeteers and
physical effects team and never giving up, that made it come true for us.
The final sequence of escape is back in the tube that Mulder first entered
in, is also now melting. Originally we had filmed the alien in the suit, Tommy
Woodruff, pursuing Mulder and Scully down the tube. Every time David would look
back we’d cut to the alien, the alien's point of view. That’s our attention,
that’s our final sequence. We realized, in fact, that it showed too much of
the alien. Like before in the movie, less of the alien was scarier, more to your
imagination. We thought that was actually the sequence through the X-Files prism
that made it more realistic.
So now we return to the ice surface. This was one of the most challenging
sequences in the entire movie because so much of it is synthetic. It’s a lot
of Mulder and Scully on a green screen stage with 120 by 70 foot wide ice field
surrounded by green screen and the rest of it is the artistry and work of Matt
Beck and his model team and CGI team and endless hours in the screening room
with Dan and Frank and Chris and I trying to find sky colorations. Snow
textures, densities, avalanche footage or collapsing snow field footage that
looks realistic, the scale of the shots, all these things have to come into play
and add up to a very, very exciting climactic finish to a summer action film and
this sequence went through so many permentations for budget reasons and what
not. But we had to come up with something that was bigger and better than
anything we had ever seen. So, the idea of them, in fact, running along the top
of the space ship realizing at one point to the audience that the entire time
they were in a space ship. Now they’ve run across and were almost eaten up by
the collapse, which is the space ship's mechanism flying away. It is a great
moment for the movie because it was so incredibly difficult assembling the
sequence and getting the elements to blend into what appears to be a seamless
escape from the space ship. Including the snow in every shot is matched shot to
shot because the densities change based on the lenses, based on the angles where
the light's hitting the snow. The closeups of David and Gillian looking at each
other on the snow were shot months after we finished the principal photography
on a very small six by six chunk of chipped ice with a blue background. Fake
snow blowing through. I’m operating the camera because I’m trying to compose
and stay on the snow and also pull off the idea that once again Gillian is not
seeing, Scully is not seeing the space ship but it was too convenient to have
her pass out and then wake up after the ship left. So we just put her into sort
of a semi-conscious state throughout. Then, of course, once Mulder realizes that
they're both safe and that the ship has passed, the danger is passed. He
collapses and it's Scully then that realizes what has just occurred and that
Mulder has somehow gotten her out of the ice pod. And then this giant pull back
revealing the crater and again it’s completely synthetic. That Mulder and
Scully are just on a piece of ice and I pulled back with the camera and then
Matt Beck added seventy five feet, a hundred feet to the pull back and the
entire pit. So it was quite an achievement for everybody, it was painstaking and
you know, over and over. But, in the end, it seems to be the popular sequence in
the movie.
CHRIS CARTER: The X-Files proceeds on the idea that the government is
not just withholding from the American public, deceiving it, but that it has the
ability to get inside your life, to invade it, ruin your life, make your life
miserable. In the X-Files we sort of play it out in an extreme way. The
government is sort of the all purpose villain. They have the ability to shape
not just the truth but to shape the future and your lives along with it.
ROB BOWMAN: The irony at the end of the movie, which is after all that
hard work and all the discovery and uncovering of facts and truths that the
conspiracy carries on. Just like every other embarrassment or mistake it is
basically lost in the paper shuffle. It's about the movement of paper and facts
and burying it so that nobody will ever know that anything happened. And the
conspiracy, in fact, is going to be both covered up and destroyed. The burning
of the corn fields and the transportation of the bee corn oil we know is now
going to be sent out, spread out, and does that mean we’re going to be
infecting citizens of the United States?
Well, probably, possibly, and that in fact against the wishes of the FBI
director here or the head of the investigation, Blythe Danner, that the only way
any of these truths were ever found out was because of Mulder and Scully’s
pursuit of the truth and then, in fact, the best thing to do is to reopen the
X-Files which is the beginning of the Sixth season. After we show the cover up,
the burning of the cornfields and the scene back in the OPR with Blythe Danner,
we have Mulder and Scully in a Washington D.C. park discussing the cover up.
This is the second version of the scene. The first version actually had Mulder
showing up and talking to Cigarette Smoking Man. Mulder revealing to CSM what he
knew based on the conversation in the limousine with Well-Manicured Man about,
on a holiday there would be an actual emergency and such and such was going to
happen. At the end of that scene, sequence, then Scully shows up and there’s a
brief moment between the two of them. Well, when we screened it the first time,
we were only tested the movie once for a closed audience. The response was with
that scene with CSM was completely out of context of the movie because Mulder
and CSM were actually protagonist and antagonist and never in the movie did they
ever meet. Now they show up in a park and all of a sudden they're conversing as
if they’re old friends. Well they are old friends in the series, I mean,
acquaintances. But not to the first time viewer, and so we decided that the best
thing to do would be to re-shoot and have CSM enter into that scene in a
different way. So we re-shot it and we actually improved it because we made it
more a scene about Mulder and Scully and their relationship and their quest and
their bond. Then at the end of that scene we had CSM up on a hill having watched
them and realizing that he’s going to have to stay on them because they are
going to be a continued nemesis. Well, we cut that out because it seemed
impervious so that was the alternate ending. Then we’ve got this footage of a
helicopter over the sand dunes of, I think, Southern California somewhere down
near the boarder of Mexico. Really wonderful footage shot by E.J. Forrester
where apparently they shot a lot of the Star Wars, the first Start Wars desert
footage.
Then we’re actually here in Bakersfield, where we brought eighty feet of
sand and try to suggest that we were in a (???) corn field in the middle of a
sand dune filled desert. Well, the sand dune they’re walking on, the sand that
they’re actually walking on is about eighty feet long. I wanted to have a
little bit more of an expanse of sand so I could show really how incongruous the
corn field was but when CSM’s feet come into frame the sand is just out the
left edge of frame and when I pan around and I have Armin Mueller-Stahl and Bill
Davis standing there talking the sand is just out of the right corner of the
frame. The rest is just Bakersfield and dirt so)but we did the best we could
with the sand we had and it really was about the discovery of the note that the
X-Files had been re-opened anyway.
Then we finished the movie on a quiet note; which is there are many, many of
these corn fields and, of course, the conspiracy is going to continue on and on.
This shot here, the only thing that is real about it is the corn. The domes,
the sand dunes, the sky is all fake and as matter of fact even some of the corn
was replicated through the shot to make it look like it’s a bigger field then
it really is.
CHRIS CARTER: We have this idea, or we’ve always said, it’s a
pretense actually, that what we do each week with the X-Files is we tell a
little movie, we make a little movie. While I do believe we do this, I learned
in making a movie that nothing is like making a movie. That a year of your life
goes by very quickly, that the big screen has demands that the small screen
doesn’t. It is both a bigger screen and a kind of minimalist process,
everything needs to be reduced. There cannot be any digression, no dead ends, no
pontification. That the audience gets very tired very quickly if they are not
moving in a forward direction in a movie. So I learned why movies cost so much .
I couldn’t believe some of the price tags that were put on things. But when
you're talking effects and you're putting them on film it’s a much more costly
process and prospect. So I learned the hard way and I was sort of slapped in the
face a little bit by the demands of that big picture up on the screen, both of
the film maker and the story teller. While I think that we told a big screen
story and I think we told it well. I think that when we go to do the next
X-Files movie that we will all be much wiser, more experienced and savvy men and
women. Who, I know, that are looking very forward to carrying this on from a TV
series into a series of movies.
THE END
CHAPTER 6: THE MAN IS STILL ALIVE
NORTH TEXAS
CHAPTER 7: A PLAGUE TO END ALL PLAGUES
BETHESDA NAVEL HOSPITAL
MONTGOMERY COUNTY MARYLAND
CHAPTER 8: SO MUCH FOR LITTLE GREEN MEN
FORENSICS LABORTORY
FBI FIELD OFFICE
DALLAS, TEXAS
CHAPTER 9: THE SYNDICATE MEETS
SOMERSET, ENGLAND
CHAPTER 10: UNMARKED TANKER TRUCKS
BLACKWOOD, TEXAS
CHAPTER 11: THE BEE DOME
CHAPTER 12: RESIGNATION
CHAPTER 13: THE LONE GUNMEN
CHAPTER 14: TRUST NO ONE
CHAPTER 15: ANTARCTICA
CHAPTER 16: A CONTAMINANT IN THE SYSTEM
CHAPTER 17: SCULLY, YOU’VE GOT TO SEE THIS
CHAPTER 18: THE TRUTH IS STILL OUT THERE