Chapter 22: Secret Government, Deep State, XFiles, Hellywood & Me
Chapter 22 Deep State; Secret Gov; XFiles
DEEP STATE
Here is what WIKI defines as the “deep state” in the United States: “the ‘deep state’ is a conspiracy theory which suggests that collusion and cronyism exist within the US political system and constitutes a hidden government within the legitimately elected government. Even today, you will find refutation in all forms truth, such as the mockingbird media, which exists. Such refutation is put forth by the SAME secret government which will attempt to HIDE the truth from you for eternity. WIKI, defines an actual fact of the deep state as a conspiracy theory. The term conspiracy theory is was CREATED by the secret government deep state factions who wish to discredit any legitimate attempt at unveiling the truth. This is a CIA term utilized when referring to ACTUAL conspiratorial FACTS of collusion of global factions.
Author Mike Lofgren believes that there is a ‘hybrid association of elements of government and parts of top-level finance and industry that is effectively able to govern the United States without reference to the consent of the governed as expressed through the formal political process or consider the deep state to encompass corruption prevalent among career politicians and civil servants. The term was originally coined to refer to a relatively invisible state apparatus in Turkey ‘composed of high-level elements within the intelligence services, military, security, judiciary and organized crime’ and similar alleged NETWORKS in other countries including Egypt, Ukraine, Spain, Columbia, Italy, Israel and many others.
Bob Jessop’s book The state; Past, Present, Future proffers three constructs. He cites Mike Lofgrens deep state definition above. He refers to a ‘Dark State’ “networks of officials, private firms, media outlets, think tanks, foundations, NGOs, interest groups and other forces that attend to the needs of the capital, not of everyday life” while “concealed from the public gaze” or as Jason Lindsay notes ‘hidden in plain sight.” Jessop additionally cites there is a Fourth Branch of the US government wherein he cites Tom Englehart in that he states it is “consisting of an ever more unchecked and unaccountable center...working behind a veil of secrecy.”
The Deep State exists. March 2018 Senator Paul Rand stated “there is absolutely a deep state because the deep state IS the intelligence communities that do NOT HAVE OVERSIGHT.” In commenting on the CIA Director briefing where only eight Senators in the US Senate were briefed rather than all of the Senate, he stated “The very definition of ‘deep state’ is when the very people, congressional leaders, people who are elected by the people - are not allowed to hear the intelligence.”
John Leigh, an author who published an article in Moyer’s and Company asserted a more broad based global implication to which the deep state actually applies. John asserts “the term deep state has been used for decades abroad to describe ANY NETWORK of entrenched government officials who function independently from elected politicians and work toward their own ends.”
Mick Mulvaney, acting White House Chief of State, when asked if the deep state working against Trump exists stated the it was “absolutely 100% true.”
Mike Crowley, Sr. Foreign Affairs correspondent for Politico wrote “beneath the politics of convenience is the reality that a large segment of the US government really does operate without much transparency or public scrutiny, and has abused its awesome powers in a myriad of ways.”
George Friedman is a political scientist who believes the deep state has been in place since 1871 and continues ‘beneath the federal government, controlling and frequently rewriting and reshaping policies. In this view the US civil service was create to limit the power of the president. Prior to 1871 the president could select federal employees, all of whom served at the pleasure of the president. This is no longer the case.”
Edward Snowden, NSA, DIA and CIA former employee and leaker stated: “the deep state is not just the intelligence agencies, it is really a way of referring to the career bureaucracy of government. These are officials who sit in powerful positions, who don’t leave when presidents do, who watch presidents come and go...they influence policy, they influence presidents.”
The deep state, is NOT a conspiracy theory, it is a conspiracy of facts involving collusion by GLOBAL New World Order Satanic political factions.
Kevin Shipp
Who is Kevin Ship? Quite simply Kevin is a retired CIA “spook” and whistleblower. Kevin worked for the CIA. He is two years older than me. Kevin is now an author and has published two books, In from the Cold Secrecy and Operations: A CIA Officer’s True Story in 2010 and From the Company of Shadows: With Excerpts from In From the Cold - CIA Secrecy and Operations, in 2012.
Wikispooks lists Kevins resume as follows:
Kevin Shipp, former CIA Officer and Anti Terrorism expert, held several high level positions in the CIA. He was assigned as a protective agent for the Director of Central Intelligence, a counterintelligence investigator, team leader protecting sensitive CIA assets from assassination, manager of high risk Counter Terrorism Center protective operations, lead instructor for members of allied governments, internal staff security investigator and a polygraph examiner tasked with protecting the CIA from foreign agent penetration. He is the recipient of two CIA Meritorious Unit Citations, three Exceptional Performance Awards and a Medallion for overseas covert operations. Shipp also supervised the Department of State Anti Terrorism Assistance program and managed the protective detail assigned to the president of Afghanistan following the US invasion."
Kevin is no slouch. He is level headed. He has a masters degree in forensic psycho physiology. He IS a CIA Whistleblower who worked FOR the AGENCY. Kevin distinguishes that the deep state and the shadow government are not the same entity. In his video on utube he explains “They are joined together in the matrix, but they are not one and the same. Below is the link to his video.
I will summarize from Kevins video, Kevin’s definition of the Shadow Government as disclosed in his video. The below photos re Shadow Governement and Deep State are screenshots taken directly from Kevin’s video and PowerPoint presentation
Kevin states that “in a few years we may no longer have a constitutional republic. Some people think we do not have a constitutional republic, and I personally happen to be one of those. I believe that the constitution is over, except for those of us that adhere to it as the supreme law of the land. The government has superseded that in a gross fashion.”
Kevin states that the Deep State is all of the secret intelligence agencies that are functioning in the dark behind the scenes, that is the Shadow Government, and it binds much of the deep state with secret oaths, secrecy agreements and other things that bind contractors. The deep state is the SYSTEM behind the government, i.e., the MIC, military industrial complex. The currency of the shadow government is secrecy, fear and intimidation. Kevin states he knows because he was a part of it. He was a counterintelligence officer. The currency of the deep state is money, power and greed. These are two different systems of control that work together to manipulate the government.
Kevin states while in the secret government you can not speak of anything that you see even if it is illegal or unconstitutional because there is a system to systematically destroy you if you do.
I was not bound by ANY contract of secrecy. I was not even a whistleblower. I was born into this system as a slave. I was utilized for sexpionage, espionage and murder as a SG DS operative agent. It is this SYSTEM in which I was born under, MKULTRA, Project Genesis: SubProject Eve, that has sought my destruction through experimentation and assassination of mind, body, spiritual, finances and character, from the inception of my birth contrived by the Vatican.
CFR Council on Foreign Relations
Kevin begins his lecture by speaking about the Council on Foreign Relations, CFR, which was established in 1921 largely by the banking elite, Morgans, Rothschilds and others who formed the council. These members established the CIA. Twenty One members of the CFR have been CIA directors. The CFR is an unconstitutional organization.
The CIA had a direct established contract with the mainstream media. The CIA then formed the MSN. Philip and Katherine Graham of the Washington Post were members of the CFR and directly connected to the CIA and the CFR’s program of pumping intel into the news media for propaganda to the American public, this is the continuing operation Mockingbird. I will resume on Kevins lecture after this brief snapshot.
CIA MKULTRA MIAMI, Hollywood & Religion and Politician's Snapshot 1
The Graham name above also explains the affiliation of NWO agenda through infiltration of religion which is an MKULTRA control program. Egnimatic religious leaders utilize hypnosis and NLP to garner followers to religion. The religious leaders are adept in MKULTRA mind manipulation of masses, aka mass hypnosis thru NLP. They use religion for strict control of the masses finances. They advise their “subjects” on what to wear, how to speak, how to dress, what to think, how to vote, what to spend their money on etc..
The religious leaders are sex traffickers and NWO Freemason Satanists. Billy Graham was a pedo and one of my childhood perpetrators along with Nixon and Gleason. Fiona Barnett spoke of Nixon. Fiona has been much maligned as being fake. She is not. She has been maligned by other victims who say she has taken the details of their stories and made them her own. This is untrue. These perpetrators did not just rape one or two children. They were GLOBALLY raping and murdering children. Fiona awakened me as to MY Nixon and Graham connection. I did not steal her story, she did not steal mine. Understand we awaken one another to ask the questions, why were THESE people in MY LIFE? I have not read Fionas complete second book. It is very well documented with footnotes. We can not document actual acts perpetrated in childhood. We were helpless and unfortunately did not carry cameras with us. We can, however, start to recall the events which were erased from us through torture, drugging, rape, electroshock, hypnosis and NLP. The purpose of writing YOUR story, is to awaken others. They will then ask WHY these SAME perpetrators were in THEIR lives.
Nixon maintained a compound on Key Biscayne in 1968-1973, known as the Key Biscayne White House. There were several houses forming the compound Nixon had two houses 516 and 500 Bay Drive, which was 33 minutes via I95 from my childhood home, located at 1255 NE 202 Street, N. Miami Beach Florida. In 1976 when I graduated from Project Genesis and was given to Durrell, Nixon sold his compounds from $320,000 to Mr. & Mrs. Theodore O. Bitter of Southhold, NY which is at the eastern end of Long Island, which is one hour and 26 minutes from Montauk.
Gleason and Nixon
When my brother David was tackled by fellow student, Greg Sted, at Norland High School, Greg became a paraplegic. David was surrounded by paparazzi who asked him how it felt to cripple a boy. David came home crying. The newspaper stated that Nixon met with Greg in the hospital. David asked me why Nixon did not come to see him. David was a football hero. What neither of us knew at the time was that we were from Joseph Mengele’s family and we were both in MKULTRA: Project Genesis: SubProject Eve; super soldier project.
I believe the reason David asked about Nixon was because somehow he had felt an unnatural allegiance to Nixon. This allegiance would have been engendered through raping and torture in the DUMBS, trauma bonding. Nixon already knew David because he was raping David in the DUMBS as a child and David was programmed by Nixon, one of his perpetrators, so he ignores David, but goes to the hospital to see David’s handiwork.
I also believe David DID make Greg a paraplegic, with his mind. I believe Greg did something to David, or David saw him do something to someone else and he was angry. Above ground, he is unaware. It is just a football game and Greg tackles him. But a normal tackle situation, faulty helmet is what they attributed it to, and Greg, who tackles David, becomes a paraplegic. Nixon tshowed up at the hospital to verify David’s skills in disabling someone with his mind. Interestingly enough, when David is murdered by an MS13 member sent by John and Durrell, the DA in San Diego defending David is a paraplegic in a wheelchair. Makes sense, right?
Gleason was DS CIA, and a Satanist. Gleason and Nixon were great buddies, Satanists and sex traffickers. Nixon took Gleason to Homestead Air Force base to the tunnels to show him bodies of extraterrestrials. This means that the tunnels, which exist under every military base, under the sea, in mountains and underneath ice, were being used by Presidents and Hollywood entertainers for Satanic activities.
Gleason was born in Brooklyn and until 1964 his show was recorded at Studio 50 in NY. My mother was born in NY, John’s parents were born in NY, John was born in NY and Trump was born in NY. Jackie brought his show to Florida and used the Miami convention Auditorium (Convention Center) to produce his show. It is now called the Gleason Theatre of the Performing Arts. My mother showed her paintings at the Miami Convention Center and she always placed first, second or third place. I remember that I had a crush on fat man Gleason as a child. Now I know why. In 1971 Gleason moved to the Inverrary golf community near Ft. Lauderdale. I lived in Ft. Lauderdale with Durrell. Gleason hosted the Jackie Gleason PGA attracting Bob Hope, Joe Namath, Richard Nixon, Gerald Ford. He lived in Ft. Lauderdale with June Taylor’s little sister, Marilyn.
Gleason never lived more than a few minutes from me the entire time I lived in Florida. Jackie owned a large house on Alton Road in Miami Beach, a straight shot up the road from Fisher Island. The Alton Road address was 22 minutes from my house in North Miami Beach. Gleason also owned a 9,000 sq.ft ranch on the golf course at the Country Club of Miami in Hialeah. That was 25 minutes from my house. My brother David was a waiter and he worked at many of the country clubs. He worked at the Miami Lakes CC. Miami Shores CC, at the Doral, and a bunch of other country clubs. When I slept with John, when he was my agent, one of the places was at a Hotel in Irvine, off of San Canyon which is 6 minutes from Alton Parkway in Irvine. All streets and cities are CONNECTED throughout the world. Durrell had me audition for the June Taylor Dancers, which were Gleason’s dancers. I was not a dancer, I was a singer.
Oprah, MKULTRA handler, high Illuminati witch, has a residence on Fisher Island, which was land owned and developed by Carl Fisher. Fisher Island is a straight shot down the coast from Gleason’s old hangs, and 53 minutes to Nixons compound on bay lane, Key Biscayne. In the movie “Birdcage” Fisher Island is referenced as the home of Jeb Bush. Mel Brooks owns a home on Fisher Island. There are roughly 700 homes on Fisher Island, which is only accessible through ferry or private boat. Only residents and their guests, hotel guest and club members are permitted on Fisher Island, whose median home price is $2,930,000.
Star Island was also owned by Carl Fisher, who owned and developed Fisher Island. Star Island is accessible via MacArthur Causeway. Madonna, Satanist Kabbalist Madam X Mossad agent allegedly has a residence on Star Island, 28 minutes from Fisher Island. In fact you take Fisher Island Drive to the Fisher Island Ferry to get to Madonna’s house.
Celebrities who own or have owned homes on the island include Sean Combs, Emilio and Gloria Estefan,[2][3] Don Johnson,[2] Rosie O'Donnell,[2] Xuxa[4] and Shaquille O'Neal.[2][3][5] Tour guides and realtors have made false claims of some other celebrities having homes on Star Island, such as LeBron James, Rihanna, Jennifer Lopez, Julio Iglesias, Madonna, Sylvester Stallone and Elizabeth Taylor and Stank McGraw. Perhaps they merely vacationed there, or were seen there, or were house sitting there or were seen at Satanic ceremonies there. Who knows anything for certain anymore. So many lies.
Rosie O’Donnell’s Star Island house (purchased in 1999) was the subject of an 1979 trial in which prosecutors alleged that it was being used by members of the Ethiopian Zion Coptic Church to run a marijuana smuggling ring.[6][7]Some scenes from the 1994 movie The Specialist were filmed there.[citation needed]
More on Kevins Lecture
Kevin states Mocking bird was never discontinued. It wasn’t. Anyone who researches knows this. This much I know, when the CIA tells you their “operations” were discontinued, they are lying. Durrell tried to tell me that my files have been destroyed. They have not been destroyed. They are in some digitized database probably at the Utah Data Center, or at Clapper’s bungalow in Heidelberg Germany, at an undisclosed NSA safe house buried in a basement bunker that he shares with John who is guarding Hitler’s porn collection. I’m sure there are snuff films with Madonna and HRC buried there too.
The operations manual for the CIA is the Art of Deception. That is THEIR BIBLE. MKULTRA NEVER ENDED. These operations that you have been informed of throughout time, still continue today.
The NSA was created by executive order, outside of the constitution. The NSA has the Foreign Intelligence Surveilance Act, or the FISA court. The FISA court is a secret Supreme Court which functions outside of congress and outside of the American people and nobody knows what it does except grant warrants to domestically spy on US citizens. Silicon Valley is directly connected to NSA. The NSA provides contractors contracts but tells them they must sign NSA, secrecy contracts with the CIA and NSA which if breached threaten administrative action, termination or prison.
Joint Special Operations command is the President’s private army. The President can sent the JSOC into any country to conduct special ops in any country.
The Directorate of National Intelligence commands 17 federal agencies, who employs tens of thousand of people, engaged in the Shadow Government. The Department of Homeland Security has its on secret branches. The Dept of State has its own secret branches.
DIA Defense Intelligence Agency which Kevin notes created a program to have US Citizens spy on US citizens.
Karen Molten Stewart, friend and former NSA whistleblower, speaks about her experiences with Fusion Centers orchestrating gangstalking. These citizens range from your school teacher neighbor to MS13 gang members and criminals. These citizens also include, but are not by any means limited to, military, doctors, lawyers, dentists, who ALL serve MKULTRA. They will state that mentally healthy and aware citizens are schizophrenic. The NSA and DIA will assasinate the character AND physical body of whistleblowers by assigning them doctors who will do everything within their means to assassinate their credibility, and ultimately torture and MURDER them. They will write false diagnosis, falsify reports, falsify blood tests, arrest, and lockup them up in crazyhouses where the target will be experimented on, an in many cases murdered. The DIA, CIA, NSA can murder with impunity anyone they declare is “enemy of the state.” There are millions of Americans on secret blacklists labelled as terrorists. The NSA also has their public blacklists which those who employ you are advise NOT to employ you. Those on the public terrorist NSA watchlists are put on no fly lists. Most of these are patriot whistleblowers, a smaller faction may be terrorists that these agencies actually funded and trained.
The assassination of my character and mental status has been ongoing in my life since I was born into MKULTRA. My mother, my brother David and I were monitored from birth. I was told my mother was schitzo, my brother David had been diagnosed as paranoid schizophrenic and then I finally discovered when the NSA locked me up for a year in a remote behavioral facility that tells the public it is a nursing home, that I was diagnosed schizophrenic. I am not, Schizophrenic, and neither was my brother David, nor was my mother, who actually SERVED the NWO as an MKULTRA handler and torturer.
David, the brother who I grew up with, worked at Hyperion and Mammoth Lakes water district as a trained water reclamation expert in the Army. At Hyperion he discovered the secret governments plans for overtaking the water supply through poisoning and privatizing the water supply. He showed me the documents he was given. THEN, the CIA sent a doctor to say he was paranoid schizophrenic. He was not. David did not sign a contract of non disclosure or secrecy. I did not sign any contracts of non disclosure or secrecy. We ARE the secret of MKULTRA in the family of Joseph Mengele, Albert Speer and Hitler.
The CIA doctors have experimented on me, taken my DNA, ovum and fetuses, implanted, erased and drugged me my entire life. Eleven depicted in Stranger Things is actually me. I was water boarded, caged, beaten, enslaved and raped by politicians and Hollywood stars. I have been observed Every second of every day of my life, and still am observed on a daily basis. I have been erased and discredited over and over and over and over. I was informed that the CIA MKULTRA doctors, who are liars, stated that I was schizoaffective, meaning I have schizophrenia AND I am bipolar. Anyone who knows me for any period of time, knows that this is a lie. The problem that MKULTRA whistleblowers have is that when they try to disclose all the “discredited” truths, which legit intel and journalists are trying to grapple with and reveal as they descend head first into rabbit hole, these disclosures involve the revelations regarding technologies so advanced that they are received as incredulous.
One such fact is that movies are true and Hollywood is Satanic. I know because they made hundreds of tv series and movies about me. Tony M in Illinois told me he was followed where ever he want and that they made hundreds of movies and tc series about his life. I did not understand what he was telling me at the time. I understand now.
They didn’t just make movies about Penny L.A. Shepard, they made them about all of us.
Karen Melton Stewart, NSA whistleblower was TOLD that she would be labeled mentally ill if she moved forward with disclosure about the NSA. With a label of any mental instability or illness you will be discredited from testifying in a court of law, you will be drugged with anti psychotics or depression drugs, which CAUSE SUICIDE, and you can be held in a psychiatric facility and locked down, as I was, for an indeterminate amount of time. I was warned by Tony M who was a very good friend of Bill Hybels, Pastor of WillowCreek Church. Bill retired due to allegations of sexual impropriety. Bill’s wife Lynn asked me ‘are you the MK’ meaning MKULTRA. Bill SHOULD be in jail.
Bill Hybel’s is a Freemason Satanist NWO sex trafficking POS, who knows both John and Durrell, both NWO Freemason Secret Government deep state CIA Satanists. After Hybels resigned the entire elder board of WillowCreek resigned. Tony became a good friend. At least I thought he was a good friend. He was not. He was a good friend to Bill Hybels and to Durrell land John, but not to me. I stayed at his house. I helped cook him Thanksgiving dinner. I introduced him to Durrell and John, who he already knew. Tony read my blog pennyforyourthoughts-writer.blogspot.com. It was an ambiguous blog about me trying to recover my memory and relearn technology as I was erased from the fact that I worked AS a technologist and legal word processor and executive secretary. I had forgotten everything I had learned about technology after I was given a systematic chemical lobotomy in San Diego for over 20 years. Slow kill.
Tony asked me did I want to end up like Snowden and Assange. At the time I had no idea what Tony was talking about. Tony took the last copy of my murdered brother David’s book entitled “the Whistleblower” which had been made into a screenplay. Tony took my black leather brief case and my brand new PC laptop. Tony knew both Durrell, Albert Speer’s son, and John, Joseph Mengele’s protege and genetic son.
Kevin states that the DIA is involved directly in a torture program which “is more than water boarding by the way.” The torture program, from my OWN personal experience is a global program of gangstalking, through a myriad of secret factions (not exclusively governmental affiliation, as many believe the term gangstalking means). The torture program employs implantation of RF chips to track and monitor “thoughts”. These chips with software, implanted in the brainstem, are real technology. These chips are stealing your thoughts, or your intellectual property through use of Voice to Skull technology aka Voice of God. These chips can also pump in voices that will simulate a state of schizophrenia. They can turn the subject on and off, as you see happens on the red carpet in Hollywood. You observed Al Rocker being shut off for five minutes on Rockefeller Plaza through hypnosis and utilization of the code words “Holy Ghost”.
Those with the V2S will be guided to MKULTRA doctors who are availed that these subjects are implanted. These doctors will reinforce programming, while at the same time discredit you. They will ask you “do you have voices in your head” well aware that you have the technology implant, and they will then proceed to falsely diagnose and drug their subjects. The drugs cause compliance, or suicidal ideations.
The DIA is availed to advanced technology and uses cell phones, computers, televisions, to stalk and harass. They also use direct energy weapons and they can target individuals as well as entire cities, perpetrating low level frequency waves, such as microwaves, to disable and torture citizens.
Kevin Shipp stated that the technology is incomprehensible. He is correct.
NRO, National Reconnaissance Office maintains the spy satellite systems globally. Kevin states that the technology, all the way down to NANO technology is mind blowing.
NGA National Geospatial Intelligence Agency. They helped Google set up Google Earth. Kevin states “they can come down and see what kind of tomatoes I am growing if they want to.” The federal government helped create google earth. Kevin states “is there any individual privacy any more? It’s gone.”
FBI. FBI has created a warrantless search program. This Prgram was created under Robert Mueller. This program provides the FIB with authority to break into your house, search your house, without a warrant, and leave without you ever knowing they were there.
THE DEEP STATE
Kevin makes the distinction between the Shadow Government and the Deep State thusly. “The Shadow Government is connected to the deep state and it binds much of it through secrecy oaths, secret contracts and secrecy agreements that they are bound by life with. For example Lockheed Martin have CIA contracts that they are bound by secrecy that they can never talk about what they are doing.
MIC/MICC The Military Industrial Complex originally named by Eisenhower, as the Military Industrial Congressional Complex.
In my brother David’s book, at the end of it, he opens a black box. There is a slip of paper in the black box. It says ‘the meek shall inherit the earth.” When I saw that I immediately saw a reptile called the MEEK. I realized then that the MIEC is the Military Industrial Extraterrestrial Complex, currently in control of the Military Industrial Complex, the Military Industrial Congressional Complex, and the Military Industrial Entertainment Complex, which comprise the Secret government. I refer to Congress as Sexual Congress, because they are most assuredly fucking us all.
The MIEC, the Military Industrial Entertainment Complex, which works in conjunction with the Military Industrial Complex is essentially one and the same, branch of the organization, both beholden to the New World Order; I will expound upon this further in another chapter.
Kevin states congress is tied in so deeply with the MIC it is disgusting. I concur. What happened to me is disgusting and incomprehensible. It didn’t just happen to me. It happened to billions of others on this planet. Until we all start telling the truth and sharing the intel we know, it is not going to change. Shipp is sharing his intel. He is giving lectures with the information. It will not help unless we all start researching and begin discerning the truth from the lies. There are a million counter intelligence professionals willing to give you a big dose of truth with a side order of lies. As soon as you start telling the truth there are a million psyops out there that will do everything they can to shred you and slam into you sideways t-boning you, assassinating your character and eventually murdering the truth you are telling and then eventually actually physically murdering you.
The MIC are the lobbyists.
Wall Street (offshore accounts) is connected to the Treasury. Kevin states they are “almost like business partners.” Wall Street has billions of offshore accounts connected to the Treasury, which has a secret on citizens with a backdoor for CIA and NSA to look at your financial records. Mnunkin is Secretary for the Treasury and my evil brother John’s son’s cousin works for Mnunkin as a personal assistant.
Foreign Lobbyists. Keven states that Israel and Saudi Arabia might as well have a senate seat regarding the amount of power and influence they have over our elected officials.
Defense and Intelligence contractors are bound by the deep state. Kevin refers to this as the secret intelligence complex. SIC.
The Federal Reserve. Kevin states you can call this the “economic shadow government.” Kevin states the Federal Reserve to the economic freedoms away from the constitution in 1913. Joseph Mengele was born March 16, 1911; My fake father Thomas Paul Fortner was born Feb 28, 1917. The Federal Reserve is run by international bankers in secret. He states it is NOT a Federal Agency but it is a PRIVATE BANK made up on international banks that run our entire economic policy. The Federal Reserve is an economic shadow government all by itself.
THE WORLD BANK AND INTERNATIONAL MONETARY FUND
THE IMF, is not the Impossible Mission Force, but the International Monetary Fund. Tom Cruise is an agent for the Vatican. He is also an MKULTRA head, general of Scientology MKULTRA NWO cult. He was married to Nicole Kidman, whose father Anthony Kidman (man of the Kids) was an MKULTRA torturer. It is no coincidence the acronym for the Mission Impossible Force is the same as the International Monetary Fund. Movies are strategized military intel, full of coded messages utilized through the MSN and Satanic Hollywood for dissemination of information to various factions in the New World Order.
Kevin states that there is a global economic order with the above stated factions running global economics.
The New World Order is NOT a conspiracy theory, but a conspiratorial fact or collusion’s between secret global organizations under the umbrella of the NWO. I am here to tell you I was raised by Hitler’s, Eichman’s, Mengele’s and Speers, and this was HIDDEN from me for 58 years. I have been alive on this plant for 61 years. August 11, will make it 62 years. If these people IN my family, people I loved, ate dinner with, married, had sex with, hid who they were from me for 60 years, who is in YOUR family, that you have absolutely no idea who they actually are and WHAT faction of this NWO, secret government Freemason Satanic Pedo agenda are they involved with which has been hidden from you.
STOP using the word conspiracy theory. Start saying facts of conspiratorial collusion. And START researching on your own. Do not ask ANYONE for proof. RESEARCH it on your own. The proof is there.
My Shadow Government Deep State Evil Family
My deep state CIA shadow government husband Steve Xenos went to Palos Verdes High School with Bob Bauman who was his best friend in high school. Bob became my drummer in the band put together by my deep state CIA shadow government boyfriend, Durrell. The band was called Big Business. I was the big business. Steve’s family were psychologists, MFCC’s, DS CIA, mob, involved in Project Genesis. The name of their company was Human Resource Center. We HUMANS are THEIR resources. When I decided to leave Durrell, because I was sick of getting raped and beaten, by a psycho alcoholic, I was given to my drummer Bob’s best friend Steve Xenos, who was also a drunk and drug addict and my MKULTRA handler who eventually married me and took my DNA for my evil brother John.
The photo below is a photo taken with Steve and Bob in high school. It was removed from his facebook page shortly after it was posted. I am not sure who the other people are on the photo. They all look like they are involved in some kind of Illuminati magic ceremony, not just band business. The man on the left looks like a seriously tweaked Jim Carrey. Chris Boyce and Dalton Lee from the famed movie Falcon and the Snowman, went to school with Steve and Bob. Steve and Bob bought blow from Dalton who was a drug dealer and sold cocaine, hence his title “snowman”. Boyce was employed with TRW a defense contractor, whose HQ was in Redondo Beach, California. Lee was the adopted eldest son of Dr. Dalton Lee, a wealthy CA physician. Boyce and Lee became agents of espionage and sold secrets to the Soviet Union. There were subsequently arrested for espionage and treason.
Does the CIA know who I am? Yes. Was I an agent and covert operative of the deep state? Yes. I had many aliases under MKULTRA. My agent operative name was X:11, and by the way Barbara Hartwell, fuck you.
Let me make this clear about my affiliation with the CIA. I was an ASSET OPERATIVE for my deep state shadow government Mengele family, all of my life. I was not EMPLOYED, drawing a paycheck, like those CIA, FBI and NSA whistleblowers who are coming forward, who actually worked for “the Agency”. I was never on the workforce for the Federal Government. I was a deep state CIA ASSET AGENT, for my evil family which are Hitlers, Eichmans, Mengeles and Speers. So as to avoid any misinterpretation when I say I am a CIA whistleblower on covert MKULTRA projects understand that although I did not “officially” work for the Federal government, I was, nonetheless, an agent who carried out their covert missions under mind control.
I was tortured and forced to kill people with my mind and the erased. Stranger Things is a true story about my life in covert ops. For those of you that think that it is not possible to kill people with your mind, read John B. Alexander’s bio on WIKI. The Men Who Stare at Goats, is a soft disclosure about Alexander and the MKULTRA projects in which we super soldiers are trained in eliminating life without any implements other than our minds. If you do not believe this is possible, let me be the first to tell you, you need to research what MKULTRA is and what the covert projects involve. I am not here to convince you of anything or prove anything to you.
The CIA lies about everything and HIDES everything. They manufacture evidence and destroy evidence of the truth. The business of espionage is neither sexy or entertaining. It is a dirty mind war operation of power, murder and money. So regarding anything I have to tell you, it is not my job to convince you of the truth. Convince yourself that the operations exist or convince yourself they do not. My job is to make you research the truth. If you have no idea how to go about it, that is sad. There are a million videos out there with a million monetized sites ready to take your money in exchange for information. A million counter intelligence professionals telling you half truths. Discern the truth from the lies or not.
My job is to tell the truth of what happened in MY life. If I can help you find out what happened in your life, I will give you leads for you to research. It’s your life, not mine. I can not dispute the events in your life, because I did not live it. You can not dispute the facts in my life because you did not live it. I can tell you the parallels in your life and mine and I have unusual talents to direct you in the right direction of truth. Your life is your journey. You have the right to know the truth which has been hidden from you. I have the right to know the life that was erased from me by the CIA. I resent having to pay for Satanic Netflix and Hulu to trace my actual life through movies, that Satanic CIA Hollywood made about me.
In “Out of the Shadows” Kevin Shipp admits, the CIA owns Hollywood and the movie industry. Am I lying about anything? No. I have no reason to lie. I started this endeavor to find out why I had no memories. I have not asked anyone for anything. I don’t ask for money, I am not seeking fame or fortune or limelight. I am here, taking phone calls every day of my life, talking to people who are tortured and devastated. No one knows who I am, except the Pentagon, the CIA, the FBI, NSA, MSS, and FSB, but they are not talking.
I, in fact, tell people do not believe anything I tell you, research it for myself. But do not tell me that the super soldiers can not start and stop storms, that only God can do this. I have done it, and I am not a God, I am a human being. HAARP technology creates weather, the tech is not a GOD. It is technology. Do not tell me that the things that I know are true are not. Just do your own research.
Advice is not like cookies. I still eat cookies, I do not take anyone’s advice but GODS.
I am not asking anyone for any advice. I am not asking for advice on religion. Know this, I was indoctrinated through the Satanic Catholic Church and I attended temples and churches alike. I carried a bible with me up until 2017. I know all the evil demonic pastors and I now know that all religions are false DRAGO control systems. The Bible was written by men, by Kings and Queens. The Vatican took original texts and sold them off to fish mongers to wrap fish in. Some truthful texts are still in existence hidden. I do believe in JESUS. That is the only name I use to rebuke these demonic entities. The JESUS you are being “sold” is not the actual JESUS. You did not need a bible when you could not read to understand truth and love.
My GOD IS TRUTH. Jesus was truth. He WAS the WORD [bible] and he was WITH the WORD [bible]. JESUS is not the father of lies, not the father of confusion or chaos. That’s Satan. Someone said to me on instant messenger “well you don’t believe in the Bible Penny, what are you in some watch tower cult?” No. I was in a cult in each church I attended, believing I was there to hear the word of God. Freemason Shadow government Pastor David Jeremiah said once “You may never know it but Satan could be sitting right next to you in this church.” He was David Jeremiah. One of the SPECIES of Satans sat next to me in church and tortured me at home, my Satanic Deep State (DS) husband. He was also talking to me through the pulpit David Jeremiah, through your mouth. I was baptised at Shadow Mountain Church under a stained glass Illuminati eye and upside down cross in the 9th circle of Hell at YOUR church Dave. I also saw your eyes turn black Dave. GOD does not reside in buildings of brick and mortar, he resides in your very DNA. Thus, I am no longer in the churches which ARE cults.
I can quote the Bible along with the best of them. It is up to each and everyone of us to reach for the truth. What do you worship? Lies, Demons, Chaos, Murder, Mahem, Lust, Money? Then Satan is your GOD. It’s really simple. I am not here to engage in a dispute about the Bible. This war predates any bible. This is an epic battle for truth versus lies, good versus evil. Very simple.
I will not argue with you about the Bible
My DNA sister Suzanne Hotte has dreams that come true the next day. I can’t confirm that Suzy is my actual sister, but she looks like me, thinks like me, and is a loving and empathetic person who loves truth and JESUS, like me. I was told by my last “handler” that Suzy is my DNA sister. Regarding George Rodriguez, the last handler sent to me who was a commander at the DAV in Illinois, and who is I found out is MARRIED, and sex trafficked me for two years to himself, well George, I hope your neuropathic feet get burned off by a plasma weapon, and then I will ask you to dance.
Suzy has talked to God her entire life, just like me. Suzy was arrested for getting into a fight with her foster mother when she went back to get her bible from the woman that ran the home. She was on the front page of a newspaper carrying her bible. She baptised over 27 people in a horse trough at her ranch in the name of JESUS. Suzy actually housed homeless at her ranch. She has helped women and men alike. She has a heart of gold and is one of the most kind loving people I know. This is not to say she doesn’t have a fierce temper. She is like me. When someone practices deception and chicanery she becomes furious.
Suzy researched all of the “books” pertaining to the Bible. She has gone back into her own lineage to Joseph of Aramathea. That is the Joseph who was on the Sanhedrin but also followed Jesus and warned him. I believe her linaeage is in Christ’s actual family. The Bible is her speciality. She has read it many times. Her mother Barbara told her when she was little never to talk about God in their house. Barbara said no one talks to GOD. Guess what, I did, Suzy did, and all of those seeking truth do.
When you are seeking the truth, and praying to the truth, the truth will seek you out and provide you people who have truthful answers. We ALL talk to a GOD. Which GOD are you talking to? Satan, the fake illumination, the deceiver, father of lies who pretends he IS JESUS or JESUS, the truth, the light and the way. Those of us who resonate at a higher frequency can speak to the GOD of truth, the others can not.
I spent my whole life in the churches and temples, questioning the Priests, Pastors, Rabbis, and my conclusion is that Religion is show business for profit. If you want to argue about the Bible, talk to Suzy. I no longer do apologetics. Sick of people who have not disputed the content of a book whose narrative controls the world. My narrative is TRUTH. Simple really. That was JESUS narrative. He WAS the WORD, I do not believe he conscripted anyone to write a bible. But that is just me. If you swallow the Bible as the unadulterated word of GOD, you are seriously going to have problems with rectifying the SPECIES of DRAGO Reptilians who ARE the SATANS eating humans. So.. just know, I am not here to foist my views on anyone. I have done the research, now you do yours or not. It’s always your choice.
Thus, Suzanne has a more difficult job than I. I aim to speak on the politics of the deep state. My evil brother John’s son is in the White House very close to Trump. I was told he is my biological son. Can I prove it? No. My evil brother John lies to my face and tells me he is not related to me. That is what a “Satan” from the species of Satan’s does. John is a DRAGO Reptilian Prime. These are a SPECIES of Satans. They appear as human but have an extra membrane, and can blink another set of eyes. They have horns on their forehead and writing on their forehead. Start examining your own family members photos who are evil. Take any photo that you have that you know was not photoshopped. We have the technology. Enlarge enlarge enlarge. Look for horns above the eyebrows and in the temple region. Look for two sets of eyes, look for writing on the forehead, numbers. Look for two tongues and green or grey tinge around the face. The Drago’s are not just in my family they are in everyone’s family. They bred into us from the Garden of Eden, which I refer to as the Garden of Eating because they eat us.
Suzy’s job is to tell you about HER journey in the Bible. I don’t want that job. The truth does not sell as well as lies, but since Suzy and I are not selling anything, you may want to just listen to an alternate prospective before telling us we are going straight to hell. This prison planet is hell. Her utube channel is Suzy Q We Love You. If you want to argue about the Bible, contact Suzanne Hotte on facebook or instant messenger. Leave a note a her channel. She will be more than happy to avail you of her research. I personally, am done with apologetics. This is her job.
My job is to put together the political jigsaw of my own life in MKULTRA, and report my findings on MKULTRA, sex trafficking, covert black ops, advanced technology, and Freemason Satanic Hollywood.
Mike Smith, and I spoke while he was putting together his documentary Out of Shadows. He IS seeking the truth. He asked for my perspective. I told him what I know.
In Mike's documentary he stated “I did not find GOD in a Church”. That’s right Mike, because GOD is not IN the churches. WE ARE THE CHURCH. The TRUTH is the church.
I WAS in the entertainment industry my entire life. I was a great deal more behind the scenes than Mike Smith was. No one knows who I am, I am not a member of SAG AFTRA EQUITY or any agency. However Mike stated he did not see what the industry was about. Neither did I. I found out as I began to research at the age of 58.
How could or can anyone see what is invisible, secret and hidden from our preview, when you are spending every hour of your waking life working with your head down, trying to make a living and you can not see what is transpiring all around you. One day, the frequencies the deep state are pounding down upon the earth, rather than mollifying the populace, keeping them in a state of “sleep”, actually awakens a large portion of the enslaved and you, as one of them, are unawakened to the forces of darkness that reside in the Shadows who are running the earth.
Also understand I am not asking ANYONE to verify my story, which intimate details are only verifiable by those who have my actual files, and trust me, they definitely will NEVER be forthcoming. However, the details regarding Mind Control, New World Order, Deep State, Reptilians, Vatican, sex trafficking and satanic ritual abuse of children who are being EATEN and traded like cattle for their DNA which is utilized to make clones and alien hybrids, and the advanced technology in the DUMBS, that is verifiable.
Kevin Shipp stated that that CIA runs Hollywood. The “insiders” are confirming everything that I write about and everything that I say. Here’s one thing about the truth. It comes out eventually.
I was utilized in mind control from my birth. I was given to all of my handlers. I am a whistleblower on the deep state CIA covert black ops under MKULTRA. I oppose ALL of the black ops agendas. I OPPOSE Mind Control; I OPPOSE the deep state secret government; I OPPOSE Satanic Ritual Abuse; I OPPOSE the murder and drugging of children. I OPPOSE children being sex trafficked and EATEN; I OPPOSE the drinking of blood of human beings.
I OPPOSE anyone engaged in perpetration of this Satanic agenda, and this includes my mother and father, my brothers and sisters, my boyfriends and husbands.
At birth, my name was taken away and I was called by my day of birth 11. I was called L, by my middle initial. Eleven from Stranger Things is based on me. I was married to Dr. Xenos, whose name MEANS STRANGER I was literally MRS STRANGER. Stranger Things Eleven is NOT Preston Nicoles, it is NOT Ellen Atkins, its not ELEVEN Atkins. After Ellen talked with me she began doing podcasts and claiming that she was Eleven. She also is working with a woman who PROMOTES BIG PHARMA AND BUSH. She also claims to have copyright on the little girl who is promoted from the 60s as the MKULTRA victim. Barbara Hartwell claims that is HER sister Irene. I simply say she looks like me, Joseph Mengele is my actual family and there is a number at the bottom that looks cut off. The number is 581. I was born in 1958, August 11, 5811. The photo was taken in 1960s sometime. 1966 I would have been eight years old. I think Ellen is five years younger than me. She would have been three. Ellen is not Eleven. She was not MRS STRANGER, she did not marry and divorce Dr. Xenos whose name means Stranger. That character is based on my actual life in Project Genesis. I can’t even tell you the immeasurable characters analyses of the series who are all in my real life. I will expound upon it later.
What I can say is that it is not funny, it is not flattering. The dehumanization of having your NAME taken and a number assigned is that which happened to the prisoners in German concentration camps. So calling me Eleven is akin to calling victims of the halocaust by the numbers tattooed on their arms, or prisoners by their intact prison number assigned to them. The halocaust victims had their families murdered, were shipped in cattle cars to prison labor camps to be experimented upon. After watching their families murdered in front of them and having everything they owned taken, they were stripped of any identity and, like one would brand cattle, they were branded with a number which was assigned to them, a permanent tattoo on their arms. They became “experiments”. I remember when I talked to Bob in June 2017 when I told him Steve told me John was my biological brother I said “I am just an experiment aren’t I Bob?” Bob had told me at the venue where they filmed the Stepford Wives in the 80s that I was a stepford wife.
There are MILLIONS of us still alive, from that Project. Older and younger. I refer to them as agents. I was an agent, I had my own bands and I ran them. I agented my own projects. I also had many managers and agents, John and Durrell were the main ones. I was a covert agent for my agents.
Those who are coming to me and asking questions, well, many are super soldiers, who have been erased, tortured. I help people regain their memories. I simply talk to them, and they start remembering things they have forgotten. I tell them how I regained my memories through my own research. This is not something any psychologist, psychiatrist, or psychotherapist can assist you with. This is YOUR life, your erased and tortured life. The psychiatrists will tell you you are crazy, none of this is real. They will have a TRIST, with your CHI, or essence. You need to take responsibility for yourself if you have gotten this far in your research. Know that to find out who you are is always and has always been inside of you. You have the locks and the keys. If you are integrated and are starting to have a resurgence of dreams and memories, you, and you alone need to research. Only YOU lived your life.
People ask me hey Penny, can I help you research. Actually, yes and no. You can not research my life, because you didn’t live it. You can research YOUR life, and write about it. You can exchange intel with me, just as I exchange intel with you. The ONLY way the truth will come out is if EVERYONE starts researching their lives and writing about it and sharing the truth, not some bullshit version of it.
People think that Stranger Things is an awesome series, entertaining. Imagine, if you will, that you found out that character is you. Your erased memories come back.
Kevin Shipp did work for the CIA. He was most recently interviewed on Mike Smith’s documentary Out of Shadows. Kevin IS a CIA whistleblower. He drew a paycheck from the CIA. He was a CIA Intelligence Officer and counter terrorism expert who held several high level positions in the CIA. I am not typical. I was utilized by the SG-DS CIA. These Shadow men’s names are not on the roles of the CIA. Mengele was a shadow man, he worked for the OSS and SS and CIA. You will not find Mengele’s name anywhere on the halls of the CIA, but since Germany CREATED the CFR who created the CIA, I’m going to say he has preferential standing. John is on the CFR.
James Clapper, who declared me enemy of the state on some invisible MKULTRA hit list, was born in Indiana but was raised in Nuremberg, Germany. He attended the Nuremberg Trials. He most assuredly was Hitler youth and knew Hitler, Mengele, Speer and the 3rd Reich. He is a retired Lt. General USAF and held key positions in the intel community. He was Director of NSA and DIA. He served under Clinton, Bush and Obama. In May 2017 he joined the DC based think tank Center for a New American Security (CNAS). Clapper knows me and he knows my evil brother John very well.
When I married Steve Xenos I became Mrs. Xenos, Mrs. X. I never changed my name to Xenos, but I was called Mrs. X nonetheless, another Agent name, to which I would respond under mind control. Agent X:11.
XFiles Characters
Sam, my last Satanic handler husband watched the XFiles. I asked him, one day why he looked like David Duchovny and why Gillian Anderson looked like me. He remarked that she was not very pretty, which was a direct insult to me.
Sam Van Hooser was born Nov 4, 1954 as Michael Timothy Van Hooser at Mercy Hospital in San Diego, California. David Duchovny was born August 7, 1960 in New York. So Sam was 6 years older than David. David studied at Illuminati schools Princeton and Yale. Van is a Dutch title. Von is a title that indicates royalty; Van does not indicate royal stature. The name Hooser was given to a person employed “at the House” in most cases a RELIGIOUS house or convent. A Hoosier is also a demonic for a resident of the U.S. state of Indiana. My father called Sam, Preacher Boy. Sam was known for his study of the Bible and theologians. He studied the Bible as a Freemason Satanist. It is said that Satan could quote the Bible very well.
The Duchovny surname means from a priestly or Levite lineage. Duchovny is Russian for clergy man. The name was given either to a rabbi or a Kohen priest. Sam’s name mean one who works in a religious house.
I had a brother who I grew up with named David Duane Fortner. That wasn’t David’s last name either. David told me our father was not his father. Rob, the other brother I grew up with also said Thomas Paul was not his father. My biological brother John’s middle name is David. John David and Durrell sent MS13 to murder David on a high Satanic Holiday. I just found out thru a PI that John has a designer shoe company. I did not get my brother David’s body back. He was murdered on Mission Beach 20 minutes from where I lived near Allied Gardens, Grantville, by Mission Valley. The “red shoes” are designer shoes made with human skin. When I stayed at Durrells he had a bunch of shoes that were in fabric cases to protect them. He said he had some of these shoes for 40 years or more. These shoes are made from the skin of their victims. Mengele ate his victims, and used their skin for lampshades, coats and shoes.
The character of Mulder
The name Mulder means miller. It has many spelling divergences including Mueller, and Muller. Josef Muller, born March 1898 was known as Ochsensepp, Joe Ox and was a German politician. He was a Senior Sergeant on the Western Front 1916-1919. He was a member of the resistance during WWII and one of the founders of the Christian Social Union. Wiki depicts him as a devout Catholic and a leading figure in the Catholic resistance to Hitler. He worked as an attorney during the 3rd Reich defending Nazi opposition. He was in contact with Abwehr (German Military Intelligence). During the war Muller, he was a SPY who made a number of trips to the Vatican under the identity “X”. He allegedly carried correspondence between the German resistance and British Intelligence to Pope Pius XII. Pope Pius was in office when I was born, and was murdered via a series of poisonings two months after I was born.
The Pope’s private secretary Robert Lieberman was Pius’ intermediary. Lieberman met with Muller who visited Rome in 1939 and 1940. The Vatican considered Muller to be a representative of Col enteral Beck. Hans Oster, Wilhelm Canaria and Hans Von Dohnayi, were backed by Beck.
When I was at Durrell’s house in Arizona 2016-2017, Durrell introduced me to a Mike Beck, who had 60 flying V’s. I told Durrell he must be quite the guitarist. Durrell said “oh I didn’t know he played guitar” which is such a ridiculous lie. He knew Beck for 40 years. Unless you are freaking insane with lots of cash you do not collect flying v’s just for fun.
Pope Pius communicated with Britain’s Francis D’Arcy Osborne (Osborn, Ozzy, Satanist) and had secret communications re negotiations with the German opposition who wanted to overthrow Hitler. Muller was subsequently arrested during the Nazi’s first raid on Military Intel in 1943. He spent the rest of the war in concentration camps, ending up at Dachau.
Gerard Ludwig Muller KGCHS is a German Cardinal of the Catholic Church. He served as the prefect of the congregation for the Doctrine of the Faith from appointment by Pope Benedict XVI in 2012 until 2017. He was elevated to the rank of cardinal in 2014. Cardinal Muller was replaced by Pope Francis’ appointment of Archbishop Luis Ladaria. He had previously served as the office’s secretary.
Robert Mueller III is an American lawyer who was the Sixth Director of the FBI from 2001 to 2013. He Served a special Counsel for the US DOJ 2017-2019. He served as Special counsel overseeing the investigation into allegations of Russian interference in the 2016 US presidential election.
Gillian Anderson
Gillian was born in Chicago, Aug 9, 1968. I was born August 11, 1958. Gillian looks like me.
The XFiles
For the longest time when I watched the XFiles and Castle, I wondered if Rob Bowman was Bob Bauman’s brother. Although the names are spelled differently when it comes to lineage the Bowmans, the Boemans, the Bauman’s, the Bowers Bauers are all geneologically related. Men of the Bow, or Rothschilds. When I started researching and found out the the X files are actually about me, I tweeted out at Duchovny after Season 11. I was pretty pissed. I watch Duchovny and Chris Carter at Comic con in San Diego. I wondered if that was my brother Bob with a wig on. That’s how much Bob looks like Chris Carter. What is odd is that Rob Bowman does not look anything like Bob Bauman, but Bob Bauman and Chris Carter could be dopplegangers.
The XFiles movie Transcripts concept/synopsis is below:
http://www.insidethex.co.uk/transcrp/xfftfcom.htm
The characters, plotlines, quotes, etc. included here are owned by Chris Carter and 1013 Productions, all rights reserved. The following transcript is in no way a substitute for the show "The X Files" and is merely meant as a homage. This transcript is not authorized or endorsed by Chris Carter, 1013 Productions, or Fox Entertainment. It was painstakingly transcribed by Donna with help from MJames5180@aol.com and made available for your downloading enjoyment by me, DrWeesh from my website, The X Files Transcripts Archive
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. Got it! Let's roll". I’m walking back to my monitor and I’m having a complete out-of-body experience. I am directing a major motion picture, and I just gave Martin Landau, Academy Award winner, direction. And he looked me right in the eye and as soon as I gave him the direction he said "yes sir" and went back to his chair and said "Roll camera". We did it a few more times and I thought "You know what? Life is pretty good".
(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.
CHAPTER 6: THE MAN IS STILL ALIVE
NORTH TEXAS
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.
CHAPTER 7: A PLAGUE TO END ALL PLAGUES
BETHESDA NAVEL HOSPITAL
MONTGOMERY COUNTY MARYLAND
(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.
CHAPTER 8: SO MUCH FOR LITTLE GREEN MEN
FORENSICS LABORTORY
FBI FIELD OFFICE
DALLAS, TEXAS
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.
CHAPTER 9: THE SYNDICATE MEETS
SOMERSET, ENGLAND
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.
CHAPTER 10: UNMARKED TANKER TRUCKS
BLACKWOOD, TEXAS
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.
CHAPTER 11: THE BEE DOME
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?
CHAPTER 12: RESIGNATION
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.
CHAPTER 13: THE LONE GUNMEN
(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.
CHAPTER 14: TRUST NO ONE
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.
CHAPTER 15: ANTARCTICA
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.
CHAPTER 16: A CONTAMINANT IN THE SYSTEM
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.
CHAPTER 17: SCULLY, YOU’VE GOT TO SEE THIS
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.
CHAPTER 18: THE TRUTH IS STILL OUT THERE
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]
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