the words "ad noctum" (Latin for "into darkness") are found carved into a tree trunk. Mulder, Scully, Asekoff, and Fazekas are rescued, but there is no sign of Glaser or the other creature. Upon leaving the forest, Mulder states that the creatures may, in fact, be evolved versions of the first Spanish conquistadors who had first settled in the forest 450 years before. Although Kinsley finds this idea ridiculous, Mulder believes that centuries of seclusion could be adequate for such drastic adaptations to happen. Afterwards, Mulder realizes that the creatures presume others' presence in their territory as threatening and rushes to the hotel room where Scully is packing her things. After ascertaining that she is finished packing, he firmly urges her to vacate the room, which she does. As Mulder closes the door behind them, the camera then pans under the bed, where a pair of glowing eyes open. Production Executive producer Frank Spotnitz was inspired to write the episode after watching the American thriller film Deliverance (1972). According to Spotnitz, "The idea of being stranded in a hostile environment [wa]s very interesting to me and so [wa]s the idea of something moving the brush that you can't see." The ending was left intentionally ambiguous, because, as Spotnitz reasoned, "It's scarier if you think [the monster] could still be out there." When the script was undergoing a rewrite, series writer Vince Gilligan helped by proposing a few story elements, including Mulder and Scully partaking in a "team builder" exercise. Initially, scenes were filmed at the Lower Seymour Conservation Reserve in North Vancouver. Although the typical shooting time for an episode of The X-Files is eight days, "Detour" took nineteen days to film. To make matters more complicated, "it rained every day", according to second unit director Brett Dowler. This put a strain on the production crew because almost every main shot was slated to be outdoors and in the daylight. Because of the massive delays, changes were made: the actors' schedules were adjusted, Kim Manners was brought in to assist Dowler, and filming later moved to a soundstage to avoid the incessant rain. Spotnitz later noted, "I thought I'd come up with a very simple concept. Literally, one that was easy for the props people and all the other departments." Initially, the producers wanted the antagonists of the episode to blend into the background using practical effects. Special effects supervisors