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X-Cops (The X-Files)
From Wikipedia, the free encyclopedia
"X-Cops"
The X-Files episode
A man in a sheriff's uniform is talking to a man with black hair dressed in brown
jacket. The film quality is deliberately low-quality.
Fox Mulder talking to Deputy Wetzel about the monster. The episode was filmed in
the same style as the reality television series Cops.
Episode no. Season 7
Episode 12
Directed by Michael Watkins
Written by Vince Gilligan
Production code 7ABX12[1]
Original air date February 20, 2000
Running time 44 minutes[2]
Guest appearance(s)
Judson Mills as Deputy Keith Wetzel
Perla Walter as Mrs. Guerrero
Dee Freeman as Sergeant Paula Duthie
Lombardo Boyar as Deputy Juan Molina
Solomon Eversole as Ricky
J. W. Smith as Steve
Curtis C. as Edy
Maria Celedonio as Chantara Gomez
Frankie Ray as Crackhead
Tara Karsian as Coroner's Assistant
Daniel Emmett as Cameraman
John Michael Vaughn as Soundman[3]
Episode chronology
? Previous
"Closure" Next ?
"First Person Shooter"
The X-Files (season 7)
List of The X-Files episodes
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"X-Cops" is the twelfth episode of the seventh season of the American science
fiction television series The X-Files. Directed by Michael Watkins and written by
Vince Gilligan, the installment serves as a "Monster-of-the-Week" storya stand-
alone plot unconnected to the overarching mythology of The X-Files. Originally
aired in the United States by the Fox network on February 20, 2000, "X-Cops"
received a Nielsen rating of 9.7 and was seen by 16.56 million viewers. The episode
earned positive reviews from critics, largely due to its unique presentation, as
well as its use of humor. Since its airing, the episode has been named among the
best episodes of The X-Files by several reviewers.

The X-Files centers on Federal Bureau of Investigation (FBI) special agents Fox
Mulder (David Duchovny) and Dana Scully (Gillian Anderson), who work on cases
linked to the paranormal, called X-Files. Mulder is a believer in the paranormal;
the skeptical Scully was initially assigned to debunk his work, but the two have
developed a deep friendship. In this episode, Mulder and Scully are interviewed for
the Fox reality television program Cops during an X-Files investigation. Mulder,
hunting what he believes to be a werewolf, discovers that the monster terrorizing
people instead feeds on fear. While Mulder embraces the publicity of Cops, Scully
is more uncomfortable about appearing on national television.

"X-Cops" serves as a fictional crossover with Cops and is one of only two X-Files
episodes to be shot in real time, in which events are presented at the same rate
that the audience experiences them. Gilligan, who was inspired to write the script
because he enjoyed Cops, pitched the idea several times to series creator Chris
Carter and the series writing staff, receiving a mixed reception; when the crew
felt that the show was nearing its end with the conclusion of the seventh season,
Gilligan was given the green light because it was seen as an experiment. In the
tradition of the real-life Cops program, the entire episode was shot on videotape
and featured several members of the crew of Cops. The episode has been thematically
analyzed for its use of postmodernism and its presentation as reality television.

Contents [hide]
1 Plot
2 Production
2.1 Conception and writing
2.2 Filming and post-production
3 Themes
4 Broadcast and reception
5 Notes
6 References
7 External links
Plot[edit]
The episode begins with the standard opening credit sequence of the reality
television program Cops and its theme song "Bad Boys". Keith Wetzel (Judson Mills),
a deputy with the Los Angeles County Sheriff's Department, is accompanied by a Cops
film crew at Willow Park, California, a fictional high-crime district of Los
Angeles. Wetzel visits the home of Mrs. Guererro (Perla Walter), who has reported a
monster in the neighborhood. Wetzel, expecting to find a dog, follows the creature
around a corner but runs back screaming for the crew to flee. They return to
Wetzel's police car, but before they can escape, it is overturned by an unseen
entity.

When backup arrives on the scene, an injured Wetzel claims that he encountered gang
members. The police soon discover and surround Fox Mulder (David Duchovny) and Dana
Scully (Gillian Anderson), believing them to be criminals, before they realize that
the pair are FBI agents. Mulder and Scully claim that they are investigating an
alleged werewolf that killed a man in the area during the last full moon. According
to Mulder, the entity that they are tracking only comes out at night. Scully is
irritated by the constant presence of the Cops crew, but Mulder is enthused at the
prospect of paranormal proof being presented to a national television audience. The
agents and the police interview Mrs. Guerrero, who describes the monster to Ricky
(Solomon Eversol), a sketch artist. To Mulder's surprise, Mrs. Guerrero describes
not a werewolf, but the horror movie villain Freddy Krueger. Ricky expresses a fear
of being alone in the dangerous neighborhood, and is found a short time later with
serious slashes in his chest. Mulder and Scully find a pink fingernail at the
scene. The group also meets Steve and Edy (J. W. Smith and Curtis C.), a couple who
witnessed the incident but did not see Ricky's attacker, saying that it appeared he
was being attacked by nothing. Scully shows the couple the fingernail, which they
identify as belonging to Chantara Gomez (Maria Celedonio), a prostitute.

When the agents track down Chantara, whose face is pixelated, she claims that her
pimp attacked Ricky and fears that he will kill her. She pleads with the agents for
protection. Mulder and Scully have Wetzel guard Chantara while they assist the
police in the raid of a crack house. The two are drawn back outside when Wetzel
encounters the entity, wildly shooting at it. Inside a police car, the agents find
Chantara with her neck broken. When Mulder questions Wetzel, he admits that he
thought he saw the "wasp man", a monster his older brother told him about when he
was a kid. Though other deputies express skepticism, Mulder finds flattened
bullets; indicating they physically impacted something, though no trace is found of
what they struck. Mulder formulates a theory that the entity changes its form to
correspond with its victims' worst fears. Wetzel, Ricky, and Chantara all expressed
fear shortly before their run-ins with the entity; it was visible to them, but not
to others. The agents think that Steve and Edy may be the entity's next target
because they were in the vicinity of Ricky's attack. They head to their house, only
to find the couple in the middle of an argument. After Edy expresses fear of a
separation from Steve, the couple reconciles. Based on this situation, Mulder
proposes that the entity ignored Steve and Edy because they did not exhibit mortal
fear.

Mulder believes that the entity travels from victim to victim like a contagion. At
his request, Scully performs an autopsy on Chantara's body at the morgue. During
the procedure, a conversation between Scully and the coroner's assistant (Tara
Karsian) causes the latter to panic about a Hantavirus outbreak. The entity
suddenly kills her with the disease. When Mulder discusses the death with Scully,
he realizes that Wetzel is in danger of being revisited by the entity. The agents
and police return to the crack house, where the entity has trapped an injured
Wetzel in an upstairs room. The agents are unable to enter the room until dawn
comes, when the entity disappears and spares Wetzel's life. After the incident is
over, Scully expresses her sympathies to Mulder that being filmed by a national
television crew did not provide the public exposure to paranormal phenomena that he
had hoped. Mulder remains hopeful, noting that it all comes down to how the
production crew edits the footage together.[3]

Production[edit]
Conception and writing[edit]
A man with white hair is looking and smiling at the camera.
The concept of the episode was approved by series creator Chris Carter in the
show's seventh season, after it had been vetoed several times before.
Vince Gilligan, who wrote the episode, was inspired by Cops, which he describes as
a "great slice of Americana."[4] Gilligan first pitched the idea to the X-Files
writing staff and to series creator Chris Carter during the show's fourth season.
[5] Carter was concerned that the concept was too "goofy".[6] Fellow writer and
producer Frank Spotnitz concurred; he was more uncomfortable with Gilligan's idea
of using videotape instead of film to shoot the episode. The show's production crew
liked to use film to create "effective scares",[4] and Spotnitz worried that
shooting exclusively on videotape would be too challenging as the series would be
unable to cut and edit the final product.[4] During the show's seventh season,
Carter relented. Many critics and fans believed, erroneously, that the seventh
season of The X-Files would be the show's last.[7] Similarly, Carter felt that the
show had nearly run its course.[8] Seeing the potential in Gilligan's idea, he
decided to green-light the episode.[4] Gilligan noted that "the longer we've been
on the air, the more chances we've taken. We try to keep the show fresh ... I think
[Carter] appreciates that".[5] "X-Cops" was not Gilligan's first attempt at writing
a cross-over. Almost three years before, he had been working on a script that would
involve a story being presented by Robert Stack of Unsolved Mysteries, with unknown
actors playing Mulder and Scully. This script was later aborted, and re-written as
the fifth season episode "Bad Blood".[9]

Gilligan reasoned that, because Mulder and Scully would appear on a nationally
syndicated television series, the episode's main monster could not be shown, only
"hinted at".[5] Gilligan and the writing staff applied methods previously used in
the 1999 psychological horror film The Blair Witch Project to show as little of the
monster as possible while still making the episode scary.[5] Michael Watkins, who
directed the episode, had a good rapport with the Los Angeles police department. As
such, he secured real Sheriff's deputies as extras. Casting director Rick Milikan
later explained that the group needed "actors who could pull off the believability
in just normal off-the-cuff conversation of cops on the job."[4] During the crack
house scene, real SWAT team members were hired to break down the doors.[10] Actor
Judson Mills later explained that, because there were few cameramen and owing to
the manner in which the episode was filmed, "people just behaved as if we were
[real] cops. I had other cops waving and giving their signals or heads-up the way
they do amongst themselves. It was quite funny".[5]

Filming and post-production[edit]

What was surprising to all of us was how little time it took to shoot. We basically
did one or two takes of something and that was it.
Gillian Anderson, discussing the filming of "X-Cops"[10]
"X-Cops" was filmed in Venice and Long Beach, California. When members of The X-
Files staff asked Cops producer John Langley about a potential cross-over, the crew
of Cops liked the idea and offered their complete cooperation.[4][5] Gilligan was
even invited to the shooting of an episode. Inspired by Cops, Watkins' directing
style was unique for this episode. Watkins filmed some of the scenes himself, in
addition to the shots caught by the usual camera operators of The X-Files. He also
brought in Bertram van Munster, a cameraman for Cops, to shoot scenes to give the
finished product an authentic feel.[6] In an attempt at realism, other staff
members from Cops participated in the production: Daniel Emmet and John Michael
Vaughn, two Cops crew members, were featured during the episode's climax. During
rehearsals, Watkins kept the cameras away from the set, so that when filming
commenced, the cameramen's unfamiliarity would create the "unscripted" reality feel
of a documentary. In addition, a Cops editor was brought in to insert the blur over
the faces of bystanders.[4]

The episode was one of two X-Files episodes to take place in real timewherein
events are presented at the same rate that the audience experiences themthe other
being the sixth season episode "Triangle".[5][11] Due to the nature of the shooting
schedule, the episode was relatively cheap to film and production moved at a quick
pace. Initially, the actors struggled with the new cinma vrit style of the
episode, and several takes were needed for scenes during the first few days, but
these problems receded as filming progressed. On one night, three-and-a-half pages
of script were shot in only two hours; the normal rate for The X-Files was three to
four pages a day.[10] Both Watkins and Mills likened the filming of the episode to
live theater. The former noted, "In a sense we were doing theater: we were doing an
act, or half of a whole act in one take."[5] Anderson called the performance "fun"
to shoot, and highlighted "Scully getting pissed off at the camera crew" as her
favorite part to play.[6] She further noted that "it was interesting to make the
adjustment to playing something more real than you might play for television."[6]

Although filmed to create the illusion that events occurred in real time, the
episode employed several camera tricks and effects. For the opening shot, a
"surreptitious cut" helped to replace actor Judson Mills with a stunt person when
the cop car is overturned by the monster.[5] Usually, an episode of the series
required 800 to 1,200 film cuts, but "X-Cops" only required 45.[10] During post-
production, a minor argument broke out between Vince Gilligan and the network.
Originally, Gilligan did not want the X-Files logo to appear at any time during the
episode. He stressed that he wanted "X-Cops" to feel like an "episode of Cops that
happened to involve Mulder and Scully."[10] The network, fearing that people would
not understand that "X-Cops" was actually an episode of The X-Files, vetoed this
idea. A compromise was reached wherein the episode would open with the Cops theme
song, but the normal X-Files credits would scroll after an opening scene. In
addition, the commercial bumpers would feature red and blue lights flashing across
The X-Files logo while dialogue is heard in the background, in a similar fashion to
the Cops logo.[10] The episode also features a disclaimer at the beginning
informing viewers that the episode is a special installment of The X-Files to
prevent watchers from thinking that the show "has been preempted this week by
Cops".[6]

Themes[edit]
Several critics, such as M. Keith Booker, have argued that "X-Cops" is an example
of The X-Files delving into the postmodern school of thought.[12] Postmodernism has
been described as a "style and concept in the arts [that] is characterized by the
self-conscious use of earlier styles and conventions [and the] mixing of different
artistic styles and media".[13] According to Booker, the episode helps to "identify
the series as postmodern [due to its] cumulative summary of modern American
culture", or, in this case, the show's merging with another popular television
series.[12] The episode also serves as an example of the series' "self-
consciousness in terms of its status as a (fictional) television" show.[14]

According to Jeremy Butler in the book Television Style, the episode, along with
many other found footage-type movies and shows, helps to suggest that what is being
promoted as "live TV", is actually a series of events that have already unfolded in
the past.[15] Furthermore, while the episode is written and performed in a self-
reflexive and humorous tone, the real-time aspects of "X-Cops" "heighten[s] the
sense of realism within the episode", and makes the result come across as hyper-
realistic.[16] This sense of realism is further heightened by the near lack of
music in the episode; aside from the title theme, Mark Snow's soundtrack is not to
be heard.[17]

Sarah Stegall proposed that the episode works on two separate layers. On the top-
most superficial layer, it functions as an outright parody, mimicking both the
stylings of The X-Files as well as Cops. On the other layer, she notes that "it's a
serious look at validation."[18] Throughout the episode, Mulder is attempting to
capture the monster on camera and expose it to a national audience. All of the
witnesses to the monster function as unreliable narrators: a Hispanic woman with "a
history of medications", a homosexual "Drama Queen", a prostitute, a "terrified
morgue attendant, and Deputy Wetzel.[18] Stegall argues that all of these
characters are from "the wrong side of the tracks" and would not be accepted, let
alone believed, by "a placid, middle-class society".[18] In the end, the only
reliable witness is the camera, but Stegall points out that "the camera,
suspiciously, never quite manages to find [the monster]."[18] Furthermore, she
reasons that Mulder's biggest fear is not finding the monster. To back this idea
up, she points out that Mulder not only fails to find what he is looking for, but
he also fails before a live audience.[18]

Broadcast and reception[edit]

"X-Cops" was first broadcast in the United States on the Fox network on February
20, 2000.[1] Watched by 16.56 million viewers, according to the Nielsen ratings
system, it was the second-highest rated episode of the season, after "The Sixth
Extinction". It received a Nielsen rating of 9.7, with a 14 share among viewers,
meaning that 9.7 percent of all households in the United States, and 14 percent of
people watching television at that time, tuned into the episode.[19] It originally
aired in the United Kingdom on Sky1 on June 4, 2000, receiving 850,000 viewers,
making it the channel's third-most watched program for that week.[20] On May 13,
2003,"X-Cops" was released on DVD as part of the complete seventh-season box set.
[21]

A man with black glasses and a black mustache and beard is smiling at the camera.
He is wearing a black shirt.
"X-Cops", written by Vince Gilligan, received praise from critics, largely due to
its unique format as well as its use of humor.
Initial critical reaction to the episode was generally positive, although a few
reviewers felt that the episode was a gimmick. Eric Mink of the Daily News
described it as "nifty" and "exceptionally clever."[7] While noting that "The X-
Files hasn't exactly smoked this season", Kinney Littlefield from The Orange County
Register called "X-Cops" a stand-out episode from the seventh season.[22] Stegall
praised the episode and likened the episode's monster to the Boggart from the Harry
Potter series. Stegall wrote of Vince Gilligan: "top honors must go to Vince
Gilligan, whose work on The X-Files is consistently the sharpest and most
consistent."[18] Tom Kessenich, in his book Examinations, gave the episode a
largely positive review. He called the entry "one of the most entertaining episodes
of the season" and "60 minutes of pure fun".[23] Rich Rosell from Digitally
Obsessed awarded the episode 5 out of 5 stars and wrote that "some might view it as
a stunt, but having Mulder and Scully be part of a spot-on Cops! parody (complete
with full "Bad Boys, bad boys" intro) is just brilliant stuff".[24] Not all reviews
were positive. Kenneth Silber from Space.com gave the episode a negative review and
wrote, "'X-Cops' is a wearisome episode. Watching the agents and police repeatedly
run through the darkened streets of Los Angeles after an unseenand
uninterestingfoe evokes merely a sense of futility. The use of the format of the
Fox TV show Cops provides some transient novelty but little drama or humor."[25]

Contemporary reviews have praised the episode as one of the show's best
installments. Robert Shearman and Lars Pearson, in their book Wanting to Believe: A
Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode four
stars out of five.[26] The two wrote that the episode was "funny, it's clever, and
it's actually quite frightening".[26] Shearman and Pearson also wrote positively of
the faux documentary style, likening it to The Blair Witch Project.[26] Zack
Handlen of The A.V. Club awarded the episode an "A" and called it "witty,
inventive, and intermittently spooky".[27] He argued that the episode was a late-
series "gimmick episode" and compared it to the last few seasons of House; although
he reasoned that House relied on gimmicks to prop itself up, "X-Cops" is "the work
of a creative team which may be running out of ideas, but still has enough gas in
the tank to get us where we need to go."[27] Furthermore, Handlen felt that the
show used the Cops format to the best of its ability, and that many of the scenes
were humorous, startling, or a combination of both.[27]

Since its airing, "X-Cops" has appeared on several best-of lists. Montreal's The
Gazette named it the eighth best X-Files episode, writing that it "pushed the show
to new post-modern heights."[28] Rob Bricken from Topless Robot named it the fifth
funniest X-Files episode,[29] and Starpulse described it as the funniest X-Files
episode, writing that when the series "did comedy, it was probably the funniest
drama ever on television".[30] UGO named the episode's main antagonist as one of
the greatest "Top 11 X-Files Monsters," noting that the creature is a "perfect
[Monster-of-the-Week] if only because the monster in question is a living,
breathing metaphor, a never-seen specter that shifts to fit the fears of the person
witnessing it."[31] Narin Bahar from SFX named the episode one of the "Best Sci-Fi
TV Mockumentaries" and wrote, "Whether you see this as a brilliantly post-modern
merging of fact and fiction or shameless cross-promotion of two of the Fox
Network's biggest TV shows, there's lots of nods to the real Cops show in this
episode".[32] Bahar praised the scene featuring the terrified lady telling Mulder
that Freddy Krueger attacked hercalling the scene the "best in-joke"and applauded
the two series' cohesion.[32]
Notes[edit]
^ Jump up to: a b The X-Files: The Complete Seventh Season (booklet). Kim Manners,
et al. 20th Century Fox Home Entertainment.
Jump up ^ "The X-Files, Season 7". iTunes Store. Retrieved September 22, 2012.
^ Jump up to: a b Shapiro (2000) pp. 141152.
^ Jump up to: a b c d e f g Shapiro (2000) p. 152.
^ Jump up to: a b c d e f g h i Persons, Dan (October 2000). "The X-Files: The
Making of 'X-Cops'". CFQ. 32 (3): 2829.
^ Jump up to: a b c d e Hurwitz and Knowles (2008), p. 179.
^ Jump up to: a b Mink, Eric (February 12, 2000). "'X Files' Boldy Goes Thru 7th
Season". Daily News. Mortimer Zuckerman. Archived from the original on February 18,
2000. Retrieved December 7, 2011.
Jump up ^ Pergament, Alan (January 18, 1999). "Chris Carter Feels 'X-Files' Will
End By Spring of 2000". The Buffalo News. Berkshire Hathaway. Retrieved August 6,
2009.
Jump up ^ Meisler (1999) p. 170.
^ Jump up to: a b c d e f Shapiro (2000), p. 153.
Jump up ^ Carter, Chris (1999). The Truth About Season Six (DVD). The X-Files: The
Complete Sixth Season: 20th Century Fox Home Entertainment.
^ Jump up to: a b Booker (2002), p. 125.
Jump up ^ "Definition of postmodernism". Oxford English Dictionary. Oxford
University Press. Retrieved September 1, 2012.
Jump up ^ Leslie-McCarthy (2007), p. 146.
Jump up ^ Butler (2012), p. 150.
Jump up ^ Friedman (2002), p. 22.
Jump up ^ Sipos (2010), p. 237.
^ Jump up to: a b c d e f Stegall, Sarah (2000). "Don't Boggart That Cop". The
Munchkyn Zone. Archived from the original on September 15, 2011. Retrieved May 2,
2012.
Jump up ^ Shapiro (2000), p. 281.
Jump up ^ "BARB's multichannel top 10 programmes". Broadcasters' Audience Research
Board. Retrieved January 1, 2012. Note: Information is in the section titled "w/e
May 29 June 4, 1999", listed under Sky 1
Jump up ^ Kim Manners et al. (2006). The X-Files: The Complete Seventh Season
(DVD). 20th Century Fox Home Entertainment.
Jump up ^ Littlefield, Kinney (April 7, 2000). "Scully Gets Mystical in Gentle 'X-
Files' Written/Directed by Gillian Anderson". The Orange County Register. Freedom
Communications. Archived from the original on July 30, 2012. Retrieved December 27,
2011.
Jump up ^ Kessenich (2002), p. 113.
Jump up ^ Rosell, Rich (July 27, 2003). "The X-Files: The Complete Seventh Season".
DigitallyObsessed. Retrieved January 14, 2012.
Jump up ^ Silber, Kenneth (July 23, 2000). "TV Review: The X-Files 'X-Cops'".
Space.com. Archived from the original on February 7, 2005. Retrieved January 4,
2012.
^ Jump up to: a b c Shearman and Pearson (2009), pp. 216217.
^ Jump up to: a b c Handlen, Zack (January 12, 2013). "'Closure'/'X-Cops' | The X-
Files/Millennium | TV Club". The A.V. Club. The Onion. Retrieved January 13, 2013.
Jump up ^ "Top Drawer Files: The Best Stand-Alone X-Files Episodes". The Gazette.
Postmedia Network. July 25, 2008. Archived from the original on March 21, 2014.
Retrieved November 16, 2011.
Jump up ^ Bricken, Rob (October 13, 2009). "The 10 Funniest X-Files Episodes".
Topless Robot. Village Voice Media. Retrieved December 27, 2011.
Jump up ^ Payne, Andrew. "'X-Files' 10 Best Episodes". Starpulse. Archived from the
original on December 19, 2011. Retrieved November 16, 2011.
Jump up ^ "Top 11 X-Files Monsters". UGO Networks. IGN Entertainment. July 21,
2008. Archived from the original on July 14, 2011. Retrieved March 1, 2012.
^ Jump up to: a b Bahar, Narin (September 24, 2011). "Best Sci-Fi TV Mockumentaries
The X-Files X-Cops". SFX. Archived from the original on September 26, 2011.
Retrieved July 27, 2012.
References[edit]
Booker, M. Keith (2002). Strange TV: Innovative Television Series from The Twilight
Zone to The X-Files. Greenwood Publishing Group. ISBN 9780313323737.
Butler, Jeremy (2012). Television Style. Taylor & Francis. ISBN 9780415965118.
Friedman, James (2002). Reality Squared: Televisual Discourse on the Real. Rutgers
University Press. ISBN 9780813529899.
Hurwitz, Matt; Knowles, Chris (2008). The Complete X-Files. Insight Editions. ISBN
9781933784724.
Kessenich, Tom (2002). Examinations: An Unauthorized Look at Seasons 69 of the X-
Files. Trafford Publishing. ISBN 9781553698128.
Leslie-McCarthy, Sage (2007). "The X-Files: Continuing the Psychic Detective
Legacy". In Yang, Sharon. The X-Files and Literature: Unweaving the Story,
Unraveling the Lie to Find the Truth. Cambridge Scholars Publishing. ISBN
9781847182395.
Meisler, Andy (1999). Resist or Serve: The Official Guide to The X-Files, Vol. 4.
HarperCollins. ISBN 9780061073090.
Shapiro, Marc (2000). All Things: The Official Guide to the X-Files Volume 6.
Harper Prism. ISBN 9780061076114.
Shearman, Robert; Pearson, Lars (2009). Wanting to Believe: A Critical Guide to The
X-Files, Millennium & The Lone Gunmen. Mad Norwegian Press. ISBN 9780975944691.
Sipos, Thomas (2010). Horror Film Aesthetics: Creating The Visual Language of Fear.
McFarland. ISBN 9780786449729.
External links[edit]
Wikiquote has quotations related to: The X-Files
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"X-Cops" at TV.com
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The X-Files episodes
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"Rush" "The Goldberg Variation" "Orison" "The Amazing Maleeni" "Signs and Wonders"
"Sein und Zeit" "Closure" "X-Cops" "First Person Shooter" "Theef" "En Ami"
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"Requiem"
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