Season 2

2x05 Duane Barry

Air date: 10/14/1994
Writer: Chris Carter
Director: Chris Carter
Editor: James Coblentz
Director of Photography: John S. Bartley, C.S.C.
Documented Phenomenon: Abduction

Episode summary / Points to consider / Production analysis / Chris Carter commentary

In Pulaski, Virginia, on June 3, 1985, at late night, with a star-filled sky, in a residential home a TV is still on, and a dog rummages to its bowl and makes its way back to its owner. The house is being remodeled, as plastic covers wood frames. A period movie can be heard playing in the background as the dog jumps on its owner’s bed. The TV goes out as the dog jumps up, whimpering. A figure moves near the room; the dog growls at several figures and runs out. The man starts awake, straining as he can’t breathe. A light envelops the rooms as he helplessly sees a room full of extra-terrestrials. He pleads, “not again,” and he screams as the extra-terrestrials surround him. The dog has run outside and barks as a UFO shines a beam of light that has enveloped the house.

At the Davis Correctional Treatment Center, in Marion, Virginia, in the present day that man, Duane Barry, is being escorted to a doctor, who speaks to Duane about not taking his medicine. Dr. Hakkie points out the medicine is needed so that Duane won’t hurt anyone else. Duane insists he’s not crazy, he’s not like other inmates. He warns, “They’re coming again, I can feel it.” Yet the doctor reassures him. The doctor is about to give him a sedative as Duane makes for the door. Duane crosses the room, knocks out a guard, and takes the gun. Dr. Hakkie tries to calm him down. Duane insists on getting the keys, and then attacks the doctor, insisting they will leave together.

On August 7, 1994, at a recreation pool in Washington, D.C., Agent Krycek approaches Mulder and tells him of a situation, a hostage negotiation for a man who escaped a mental intuition who is holding four people at gunpoint, claiming he’s being controlled by aliens. They arrive at downtown Richmond, VA, at an office called Travel Time. Police cars are lined up, and the public is sectioned off. Mulder and Krycek enter into offices that act as a headquarters for the situation. They are introduced to Lucy Kazdin, the negotiation commander. She briefs them on Duane Barry, who is armed with a nine-millimeter. The man wants safe passage for himself and his original captive, Dr. Hakkie. He is bent on taking the doctor to an alien abduction site. Kazdin explains he’s lucid but manic after not being on his medication. Barry is ranting about scars on his body and homing devices. This piques Mulder’s interest, but he admits he’s never been in a hostage negotiation before. Kazdin assures him that Agent Rich will coach him through it.

Rich suggests that Barry needs a friend and someone who can reason with him. Commander Kazdin asks if Mulder believes in this abduction stuff and hints at her doubts. She reminds him they are there to save lives. As they reevaluate his progress, they will advise and update on the use of force. Mulder, after feeling like he’s being admonished like a school boy, points out to Kazdin he’ll need to know everything about Barry’s abduction, that each abduction is personally different, and he’ll need the hospital records. She argues they can’t stop to do a Freudian analysis as people will die the longer they wait. Mulder is told to “keep him on the phone.”

Barry slugs a male hostage who asks a question, two woman plead for mercy, and Dr. Hakkie appeals to not hurt anyone. Barry warns the doctor, “He’ll see what it’s like, that it’s real.” Just then the phone rings. Mulder speaks to Barry, reassuring him and mentioning the names of the hostages, Bob, Kimberly, Gwen and the doctor, to make sure they are safe. Barry gets enraged before revealing “I know the routine,” meaning that he knows the negotiation tactics. Barry hangs up, and Mulder demands to know who this person is. The commander is forced to admit he was former FBI, that he’d been out of the bureau since 1982, in and out of institutions for over a decade. Mulder is angry that the FBI is trying to protect one of their own, to spare embarrassment. Pointing out that Barry is afraid, he asks if the police have ever heard about abduction cases, having their brains sucked out through their nostrils, or what is done to a woman’s ovaries. He argues that they will have to alter their approach a little. Krycek tries to reassure them, and he is mocked.

Scully is watching about the hostage incident on TV as Mulder calls her and asks her to find out what happened to Duane Barry--therapy sessions, hypnotic progressions, transcripts. Just then, the lights go out at the Richmond offices, as power goes out in the entire area. Duane looks panicked, as there’s a huge flash of light in the area, and gunshots are fired. Mulder dials the number to the office (555-2804) calls as Kazdin informs him that a power substation has blown. Mulder asks if anyone has been shot, and Duane informs him they’ll need a doctor, as Bob lies bleeding in the chest.

Mulder is fitted with a tiny radio in his ear. The police warn him about sudden movements and inform him he’ll be warned if there’s a tactical assault. Mulder is dressed in a flak jacket and dressed as an ambulance paramedic. He is reminded to not jump into Barry’s delusion. Mulder is introduced to Agent Janus, a trained medic who assists. Mulder is asked to keep Duane Barry talking. He is also told that three snipers are at the ready; if he can get Duane to the door, all the snipers need is one clean shot. Duane tells one of the captors to let them in, Mulder and Janus, and move away from the door. Duane frisks them both before allowing them to assist the victim. Mulder tells Duane that the police want to work with him. Mulder asks Duane to let the hostages go, and Duane insists that the doctor is going with him. Mulder asks, “Were they here? Was it the light?” Duane is still skeptical as Mulder points out about lost time, that time stops when they visit.

This triggers a flashback for Duane of an abduction. Duane snaps back to the moment and accuses Mulder of making up what he knows. Mulder argues that is what the doctors have told him, that he is making up the abductions. Duane tells him that all the doctors want to do is give him more drugs, and Mulder reassures that he understands, that he believes his story. Kazdin argues via radio, warning that Mulder is feeding into his psychosis. Mulder ignores this and continues. He tells Duane about the people he’s spoken to, that no one wanted to believe. Janus warns Mulder that the man, Bob, will die unless he gets to a hospital. Mulder asks them to be let go. Duane agrees to let Bob go but insists that Mulder stay.

Duane ties up Mulder and then comments: “Let’s see how good a liar you are.” Duane insists how could Mulder know, and Mulder reveals about his sister’s abduction. Duane demands some honesty and respect. Mulder asks how it happens; then he recounts the experience: the paralysis, the electric shock through the body when they appear. Duane fights another flashback as Mulder continues, about feeling powerless. When Mulder asks if there’s a ship and if Duane is conscious of being transported, this triggers another flashback of his body being lifted as the aliens watch him. Duane tells Mulder about them communicating psychically with him. Mulder reminds him it’s called “Mindscan.” Duane talks about not wanting to go with the aliens, but they carry on with their business. Duane insists that Mulder tell the hostages what their “business” is.

Mulder explains about being taken aboard the ship for tests. Duane tells Mulder about them drilling his teeth, and this triggers another flashback to Duane being tied up on a strange table, with strange devices holding his mouth open. There’s a light grid on the table with an alien present, and a huge, strangely shaped triangular machine above him. A strange, tube-like device descends with a laser pointer, whirling, extending toward his mouth until a laser starts to grind at a tooth, as his lips quiver in pain. Meanwhile, a sniper has drilled a hole through drywall adjacent to the other room with the hostages. Agent Scully calls, and a commander gives the phone to Krycek. She’s informed that Mulder traded himself for one of the hostages. Distressed, she warns him that Mulder has to get out of there or he’ll be killed. Scully tells him that Duane Barry is not who Mulder thinks he is.

Duane asks about Mulder’s sister and shares knowledge of seeing other young girls having tests done to them. Mulder notices a hole being drilled across the room and tries to distract Duane, who says that the pain of the tests is like living with a gun to the head, and never knowing when it will go off. Mulder, now having Duane’s trust, asks to let the others go and to take him. Duane decides he wouldn’t do that to Mulder and insists to take the doctor. Agents place a camera through the wall and get an idea about the situation in the room. Scully has arrived and insists to speak to someone in charge. In distress, she tells Kazdin that Barry has a rare state of psychosis, that in 1982 Barry was shot in the line of duty, with a bullet piercing his bilateral frontal lobe, leaving him incapable of functioning in society and destroying the moral center of his brain. Scully cites a hundred-year-old case of a man named Gage, who had a blasting rod pierce the same area of his brain, leaving him a pathological liar with bizarre and violent behavior. Scully asks to speak to Mulder.

Duane shares with Mulder his belief that the government knows about it, that there’s a secret organization. Mulder points out that Duane will have to deal with resolving the situation, that Duane will have to tell them where he wants to go. Duane tells him about a mountain, the place where it all started, going up, ascending to the stars. Duane insists he’s not going again, just as Scully interrupts to speak to Mulder and warns him with what she knows. Mulder asks how the aliens kept finding Duane, and he reveals the implants, in his gums, sinus cavity, and belly button--tracking devices. Scully warns that he could snap at any time, that Mulder has to negotiate with Barry. Mulder asks again for him to let the women go. Scully warns that unless Mulder can get Duane to free the hostages, H.R.T. is moving into position for a tactical plan. Mulder presses further about letting the female hostages go, and Duane agrees, but he insists that Hakkie stays. He tells the women to go. As they leave, one of them expresses sympathy and believes his story.

Once the women are safe and clear, the snipers are ready, being informed that Duane is in the center of the room. Scully prepares Mulder via the radio. Mulder asks Duane what mode of transportation he wants, and Duane can’t give him an answer. A laser from a rifle appears on Duane’s neck, which Mulder sees, and he distracts him away. Mulder asks if Duane is really telling the truth, and Duane becomes enraged. Mulder apologizes and suggests that Duane go and lock the front office door, since he didn’t after he released the female hostages. This ruse allows the snipers to get a clear shot.

Duane has survived the shot and comes to on a gurney as he is being loaded into an ambulance. Mulder and Scully look on. Mulder expresses disappointment over the fact that he believed Duane was an abductee. “Sometimes when you want to believe so badly, you end up looking too hard,” Scully compassionately points out. At Jefferson Memorial Hospital in Richmond, Kazdin asks to speak to Mulder. She thanks him and informs him that Duane survived, although he is still listed as critical. She talks about Barry’s FBI record, which was exemplary, until he was shot by his own weapon in a drug stakeout and left for dead and lost his family. “The fine thread of sanity,” Mulder observes. Kazdin tells him that several pieces of metal were found in the X-rays, in Barry’s gums, sinus, and abdomen, and there were tiny drill holes in his teeth, left and right molars, and that the drilling could not have been done with any of the current equipment in use. Mulder is astonished by this.

At FBI headquarters, Scully studies the implant in a vial with Mulder present. She tries to rationalize it, pointing out Barry did a tour in Vietnam. Mulder points out that if it was implanted, then Barry had been telling the truth, which Scully seems reluctant to accept. She offers to take it down to ballistics. On another day, a technician studies the object with an electron microscope. He observes small markings, like a stamp that has been tooled or etched, only ten microns across. Later that night while Scully is shopping at a local market and is in line to make her purchase, she has an idea and runs the item over the cash register laser scanner. The display begins to go crazy cycling patterns, and the clerk comes back to check the machine as Scully quickly leaves.

Duane, still asleep at the hospital, is startled awake from a rumbling and a white light. The aliens appear for a moment. Duane jumps up, escapes the bed, attacks a guard with a fire hydrant, and makes an escape. During a storm Scully calls Mulder from her home. He isn’t home, so she leaves a message for him, telling Mulder about what just happened at the market. She tells him there’s some kind of code on the implant and that a serial number came up. She argues that something is using the implant to catalog Barry. She hears a noise from a window, where the blinds are drawn. She walks over and opens the blinds to find Duane Barry. The glass breaks and Scully screams. He shouts to “come on” as she calls out to Mulder. All this is heard from his message machine.

To be continued…

Episode Summary / Points to consider / Production analysis / Chris Carter Commentary

  • The obvious question that needs to be asked: if all of the implants were removed from Duane Barry, how did he know where to find Scully’s residence just from the implant she held? Did someone from the Syndicate inform him where to find her? Did he hold another implant in his body, that no one knew about, that acted as a homing beacon? – Matt Allair
  • While the Syndicate might seem all-powerful, their actions in this period might have laid the groundwork for their eventual demise, just something to ponder moving forward. – Matt Allair
  • The episode simply reinforces an argument I have always made, that The X-Files is really Scully’s story, her evolution from objective skeptic to believer. –Matt Allair
  • The episode features an inside joke in the supermarket scene with Scully buying pickles and ice cream, as Gillian Anderson was in the final stages of her pregnancy during the shooting. – Matt Allair
  • One of the plot elements that explains Duane Barry’s condition was the case of Phineas Gage (1823-1860). Gage was a railway worker who, while placing dynamite, set off an explosion that drove a steel rod more than three feet long through his brain. Gage not only survived but suffered no physical impairment and went on to live another twenty years. However, his personality underwent a dramatic change, turning him into an irascible, profane, and unpleasant man.* – Matt Allair
  • During the Swimming scene when Krycek comes to retrieve Mulder, While David was swimming laps for the scene’s action, his lower extremities rose up as he was rising from the pool, calm and composed he delivered his lines perfectly. Neither David Duchovny nor Chris Carter considered the legacy that would be created with female fans over the choice of the Speedo. David Duchvony once confirmed in a panel appearance or interview that the Speedo was his own, which he choose to wear since he thought it was more realistic for Mulder, as a character to wear to swim, as opposed to the broad shorts that Chris Carter wanted Mulder to wear. This could be an urban legend, or true, that the original Speedo is in the Smithsonian, but David Duchvony has offered to donate the Speedo to the Smithsonian in past comments. – Matt Allair / A.M.D.
  • Fans have noted a technical continuity mistake, once the lights go out in the office complexes, Mulder and Barry appear to be using wireless phones. – Matt Allair
  • Judging by Duane Barry’s violent history and the fact that his gunshot wound was not life threatening, it seems odd that his security in the hospital only consisted of one guard and no restraints. Could the lack of security been ensured by the Syndicate? – Chris Irish
  • Mulder’s trusting nature with Duane Barry initially gained the man’s trust, but ultimately put his partner at risk. Could this effect Mulder in his future endeavors? – Chris Irish
  • The Men in Suits that observe Duane Barry getting abducted are supposedly part of the government. Could these men be of the same group that the Cigarette Smoking Man is from, or are there different groups at work behind these abductions? – Chris Irish
  • Since Duane Barry’s past includes working for the FBI, is it possible that Barry had any connection to the X-Files? If so, could his mysterious gunshot wound he suffered have anything to do with it? – Chris Irish
  • Noted critic John Kenneth Muir makes a number of important points: “In terms of complexity, the primary question for the audience is: what do you make of Duane Barry (Steve Railsback)? Is he a liar and schizophrenic because of his injury (like the historical Phineas Gage)?  Or is he telling the complete truth?  Or is he telling some version of the truth as he understands it? Is he both a schizophrenic and a reliable narrator? The answer isn’t plain, but we see his nightmarish visions from competing perspectives in the episode. We can draw some conclusions if we assume he was abducted: Either aliens abducted him, or shadowy government agents did.  Or perhaps, both forces did.” – John Kenneth Muir*****
  • Noted critic John Kenneth Muir has also added: “Historically, the episode is important because it runs through the entire process of alien abduction, at least as alien abduction is understood by those who study and believe in it. There are various phases (capture, experiment, release, etc.), and ‘Duane Barry’ goes through all of them, so that the experience is understood.  This is not a small matter, since in the course of the series, Scully and Mulder also go through the process, and the stages of the abduction experience. So at the same time Carter tells a visually adroit story about a character who may be schizophrenic and an abductee, he lays the groundwork for viewer understanding of the abduction experience. The X-Files often features unreliable narrators (consider the case of Mulder and Scully in ‘Bad Blood’ or Chung in ‘Jose Chung’s From Outer Space’) but ‘Duane Barry’ creates tension and suspense from the fact that its unreliable narrator represents two things at the same time: truth and madness.” – John Kenneth Muir*****

Episode Summary / Points to consider / Production analysis / Chris Carter commentary

“Duane Barry” might be the most pivotal episode of the entire series, while setting up for the game changer of “Ascension.” It is one of the most layered and masterful episodes to be helmed by Chris Carter, and it was his first time in the director’s chair. The impact for the character Dana Scully would indeed be profound. Noted critic John Kenneth Muir has made several observations about the very skill of the episode: “Carter’s direction creates intriguing visual links in the narrative, like the drilling of a wall during the hostage stand-off and the drilling of Duane Barry’s teeth during his abduction. Are both the work of insidious shadow government agents? The use of the drill demands that we, as viewers, make a mental connection.  The images tell us the story, and fill in the gaps that words cannot. Similarly, despite Duane Barry’s actions (and the results they ultimately have on Scully’s life), he is a character that Carter and the audience feel sympathy for. After he is shot in the hostage stand-off, the camera cuts to his perspective, as he is waking up. We are in his shoes (gazing through his eyes…), asked to sympathize with his perspective. Again, this is Carter’s way of suggesting to us that different eyes see different truths.”

John Kenneth Muir adds: “Thus The X-Files -- at this relatively early date in its run -- asks the audience to consider competing versions of the truth. The mantra of the series, of course, is “The Truth Is Out There,” but what “Duane Barry” suggests is that the truth is not easy to pinpoint, and often based on individual perspective.”*****

Chris Carter has commented before about his reasons for helming “Duane Barry” on his own: “I had to learn how to do this because I’d never done it before The X-Files.” Tom Braidwood, who was one of the assistant directors on the series, observed: “Chris had a really good idea of what he wanted, but for the first few that he directed, it was a bit of a struggle because he just hadn’t had the experience.” David Duchvony has observed: “Chris came in meticulously prepared, which is his nature. I think his first episode was great.”**

While Chris Carter focused on limited locations for the episode, as recounted by location manager Louisa Gradnitzer, there were a number of interesting locations used.**** The University of British Columbia allowed several of the facilities to be used. The aquatic centre and chemistry building were used for a number of sequences. For Mulder’s swimming pool sequence the aquatic centre was used. Generous fans in the chemistry department offered their spectrometer lab for the FBI office scene, and another office was used for a hospital scene for the aliens who visit Duane Barry. The command centre, the travel agency office, and Scully’s office were all filmed at both the Waterfront Centre Hotel on 900 Canada Place Way and the Waterfront Centre Tower on 200 Burrard St., Vancouver. For the exteriors used in the hostage standoff, the Centre Towers fountain plaza was used. Extras dressed in SWAT uniforms. The crew was fighting the sunrise after a late night, and as a token of Chris’s appreciation, the crew lunch was held at the grand ballroom of the Waterfront Center Hotel, with live music and white linen tablecloths.

The treatment center location was found at St. George’s School, on West 29th Ave., Vancouver. There was a shooting delay with the treatment centre, when a sign Chris Carter had requested to read “Please line up quietly,” a reference to One Flew over the Cuckoo’s Nest, was discovered to have been worded incorrectly. The props crew quickly composed a new sign. While filming at the school, the electrics department was pre-rigging Duane’s House with 18 K lights in every room of the building facing the street, necessitating fans and special staffers to look out for fires. A lighting crane was set up in the alley behind the house and a condor with another 18 K light was positioned on the street just past the house, thus lighting up the entire neighborhood. Local residents brought out lawn chairs and prepared for the entertainment. The scene took two hours to film, and a few hours less than anticipated. Incidentally, during the studio sequence with Steve Railsback, a back mould was created, and he was placed on a hydraulic lift for the shot of his body levitated from the Grays.

Actress CCH Pounder, who played Agent Kazdin, earned a primetime Emmy nomination for playing the role. Chris Carter received an Emmy nomination for writing the episode, and director of photography John S. Bartley received an Emmy nomination for cinematography.*

Chris Carter has commented, “I wrote the episode of ‘Duane Barry’ for Steve Railsback. I’ve resisted casting the marquee names only because it takes you out of the show; it makes the show less believable. But there are certain actors who just call out for the part.”** Mr. Railsback has commented about the role in Cinescape: “I like [Duane Barry]. I always believed he was telling the truth and he had just had it up to here with not being believed.” Although he had never seen the series, he noted, “The script is what excited me. It was written as [well] as any screenplay I had read.”*** Steve Railsback came to prominence playing Charles Manson in the 1976 telefilm miniseries Helter Skelter. He had, prior to this, appeared in The Visitors (1972) and Cockfighter (1974). Born in Dallas, Texas, in 1945, he moved to New York to pursue acting in 1967, a student of Lee Strasberg and the Actor’s Studio. While struggling, he became a staple of the New York theatre scene, appearing in such stage productions as “The Bluebird,” “Orpheus Descending,” and “This Property Is Condemned,” and he was spotted by iconic director Elia Kazan, which led to his casting in The Visitors. He had another major role in 1977’s Roots miniseries. He then played Robert E. Lee Pruitt in the 1979 miniseries From Here to Eternity. He appeared in the feature The Stunt Man (1980) with Peter O’Toole. He appeared in a memorable turn as a lead in Tobe Hooper’s Lifeforce (1985), as well as Armed and Dangerous (1986) with John Candy and Eugene Levy. His most recent remembered role came in 2000 when he played Ed Gein in the film of the same name. Other feature film appearances include Barb Wire and The Devil’s Rejects. His television appearances include The Young Riders, Walker, Texas Ranger, The Visitor TV series as Colonel James Vise, Charmed, Family Law, Supernatural, The Mentalist, and Femme Fatales.

Actress CCH Pounder, who played Agent Kazdin, is highly regarded as one of the best character actresses. She was born in 1952, Georgetown, British Guyana, South Africa on a sugar cane estate. She later studied theatre in Sussex, U.K., and New York, where she worked Broadway and Off Broadway, where she caught the attention of Bob Fosse, who cast her in All That Jazz (1979). She appeared in the critically acclaimed film Prizzi’s Honor in 1985. She gained a lot of attention for her role in Bagdad Café (1988). This was followed by roles in Postcards from the Edge (1990), Sliver (1993), and Face / Off (1997). A favorite of Chris Carter, she appeared in Millennium as a recurring character, Millennium Group member Cheryl Andrews, in such episodes as “The Judge,” “Weeds,” “Force Majeure,” and “Skull and Bones” between 1996 and 1998. Considering that she is probably one of the hardest working actors to have maintained a career for multiple decades, her other feature film roles include Go Tell It on the Mountain, The Importance of Being Earnest, Benny & Joon, Robocop 3, Tales from the Crypt: Demon Knight, End of Days, as well as appearing in the role of Moat in James Cameron’s Avatar, and The Mortal Instruments: City of Bones. Her television appearances include Cagney & Lacey, Hill Street Blues, Miami Vice, L.A. Law, Home Improvement, Return to Lonesome Dove, ER, The West Wing, The Practice, Numb3rs, The Shield as the character Claudette Wyms, Law & Order: Special Victims Unit, Warehouse 13 as the character Irene Frederic, and NCIS: New Orleans as character Dr. Loretta Wade.

Frank C. Turner, who played Dr. Hakkie, was born in Alberta, Canada, in 1951. He received his theatrical training at the University of Alberta in 1975. He moved to Vancouver, B.C., in 1983 and remained a steady working actor. His feature film appearances include The Christmas Star, Malone, Shoot to Kill, The Fly II, Clint Eastwood’s Unforgiven, Needful Things, Air Bud, Snow Falling on Cedars, Scary Movie 3, 2012, Diary of a Wimpy Kid: Dog Days, and the upcoming Warcraft. His television appearances include 21 Jump Street, Wiseguy, MacGyver, the miniseries It, The Commish, Sliders, Lonesome Dove: The Outlaw Years, Call of the Wild, The Outer Limits, The Chris Isaak Show, Smallville, The 4400, Supernatural, and recently The Man in the High Castle.

Episode Summary / Points to consider / Production analysis / Chris Carter Commentary

In the opening of the teaser, the date June 3rd is actually the birth date of Chris Carter’s brother.

When Chris Carter originally wrote the episode, he did not intend for it to be a two parter, but the circumstances of Gillian’s situation changed that.

Director David Nutter assisted Chris Carter with blocking shot suggestions, including the crisis debriefing scene with CCH Pounder.

While researching, Chris Carter worked with the FBI hostage rescue team, and even became friends with them.

During the early stages, producer Paul Rabwin suggested having Duane Barry speak in the third person.

In the original script the character’s name was Duane Gary, but when staff researchers learned that there was a real FBI agent named Gary, the name had to be changed to Barry; Chris Carter initially didn’t like the last name, but he grew to like it better.

Due to the limited number of locations, such an episode is referred to as a “bottle show,” but Chris Carter acknowledged that the limitations allowed him to focus on the performances.

The aural implant that Mulder receives by the tech before meeting Barry was fictional, as acknowledged by Chris, but currently, similar ideas for ear implant receivers now exist.

The episode was shot in eight and a half days, which is the usual allotment for a series.

Some actors spend a lot of time in their trailers between takes, but Steve Railsback, aware of the time pressures that Chris Carter was under, made a point of always being on the set.

During the abduction flashbacks with the aliens, the strobe light effect had never been done before for television.

Aside from the historical case of Phineas Gage being an inspiration for Duane Barry, the second inspiration came from a crew member. During the first season, second episode, a sound man was brought in from Los Angeles to fill in. The sound man shared a story with Chris Carter, that the sound man’s brother-in-law believed he was abducted by aliens, and the brother-in-law even claimed that tiny holes were drilled into his teeth. The brother-in-law also lived around high tension wires for protection.

After the bulk of the episode was filmed, pick up shots were needed. During the scene where sharp shooters drill a hole in the wall to insert a camera to see where Barry was, the scene took six hours to film, something that Chris Carter blamed on himself due to inexperience.

The closing and reopening of the X-Files was considered quite controversial for the studio executives at the time.

The crescent-shaped scar that Barry shows Mulder is a staple of UFO lore.

The very first scene shot by Chris Carter was near the end of the episode, when Scully and the FBI tech are looking at the metal implant through the electronic microscope.

* The Truth Is Out There: The Official Episode Guide by Brian Lowry, published by Harper Prism © 1995

** The Complete X-Files: Behind The Series, The Myths and The Movies by Matt Hurwitz and Chris Knowles, published by Insight Editions © 2008

***Beyond Mulder and Scully: The Mysterious Characters of The X-Files by Andy Mangels, published by Citadel Press © 1998

**** X Marks The Spot: On Location With The X-Files by Louisa Gradnitzer & Todd Pittson, published by Arsenal Pulp Press © 1999

***** Exclusive Comments for The X-Files Lexicon by John Kenneth Muir.

Synopsis and Review: Matt Allair
Additional Review and Production Notes: John Kenneth Muir, Christopher Irish
Page Editor: XScribe, A.M.D.

Please visit J.J. Lindl's Tumbler account, The X-Files Poster Project, to find out how to purchase his work:

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2x01 Little Green Men
2x02 The Host
2x03 Blood
2x04 Sleepless
2x05 Duane Barry
2x06 Ascension
2x07 3
2x08 One Breath
2x09 Firewalker
2x10 Red Museum
2x11 Excelsis Dei
2x12 Aubrey
2x13 Irresistible
2x14 Die Hand Die Verletzt
2x15 Fresh Bones
2x16 Colony
2x17 End Game
2x18 Fearful Symmetry
2x19 Død Kalm
2x20 Humbug
2x21 The Calusari
2x22 F. Emasculata
2x23 Soft Light
2x24 Our Town
2x25 Anasazi