WEBVTT 00:08.772 --> 00:15.327 [SPEAKER_04]: Welcome to the Delta Flyers Journey through the wormhole, with Quark Dax and their good friends, Tom and Harry. 00:15.889 --> 00:18.976 [SPEAKER_04]: Join us as we make our way through episodes of Star Trek. 00:19.537 --> 00:20.740 [SPEAKER_04]: Deep Space Nine. 00:21.344 --> 00:24.269 [SPEAKER_02]: Y'all are hosts for today, are myself. 00:24.590 --> 00:34.408 [SPEAKER_02]: Garrett Wong and my fellow track actors, Terry Farrell, Robert Duncan McNeill, and our super duper special guest and an officer there. 00:34.428 --> 00:44.888 [SPEAKER_04]: Ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, 00:44.868 --> 00:46.730 [SPEAKER_03]: Oh, where are you? 00:46.750 --> 00:49.232 [SPEAKER_03]: I'm actually in San Miguel de Ande. 00:50.733 --> 00:51.754 [SPEAKER_02]: In Mexico, right? 00:51.774 --> 00:52.915 [SPEAKER_03]: Yes. 00:52.935 --> 00:53.456 [SPEAKER_02]: Yes. 00:53.636 --> 00:54.257 [SPEAKER_03]: So great. 00:54.717 --> 00:57.379 [SPEAKER_03]: It really is, it's my heart. 00:57.399 --> 00:59.321 [SPEAKER_03]: I have to say, this place is my heart. 01:00.382 --> 01:01.864 [SPEAKER_01]: Oh, I'm so happy for you. 01:02.004 --> 01:03.625 [SPEAKER_01]: I know you were looking down there. 01:03.805 --> 01:07.168 [SPEAKER_01]: And we have a mutual friend that lives there. 01:07.309 --> 01:09.070 [SPEAKER_01]: I think it's a wonderful place. 01:09.170 --> 01:12.293 [SPEAKER_01]: I've never been, but from what I've heard, it's a magical place. 01:12.353 --> 01:12.754 [SPEAKER_01]: So I think. 01:12.794 --> 01:14.335 [SPEAKER_03]: Well, you've got a reason to come down now. 01:14.315 --> 01:15.137 [SPEAKER_01]: Exactly. 01:15.477 --> 01:15.558 [SPEAKER_03]: Yep. 01:15.758 --> 01:16.259 [SPEAKER_01]: No. 01:16.279 --> 01:17.201 [SPEAKER_03]: Two reasons. 01:17.221 --> 01:17.582 [SPEAKER_02]: Yes. 01:17.962 --> 01:22.392 [SPEAKER_02]: Let's talk a little bit about the jewelry that you are wearing right now. 01:22.432 --> 01:23.654 [SPEAKER_02]: Terrain. 01:23.674 --> 01:24.095 [SPEAKER_02]: Very fair. 01:24.135 --> 01:24.516 [SPEAKER_02]: Terraffer. 01:24.897 --> 01:26.259 [SPEAKER_01]: Tell us about that. 01:26.279 --> 01:27.362 [SPEAKER_02]: Tell us a little bit about that. 01:27.582 --> 01:29.085 [SPEAKER_02]: You know. 01:29.125 --> 01:29.967 [SPEAKER_02]: Pretty on you. 01:30.468 --> 01:31.350 [SPEAKER_02]: So pretty. 01:31.630 --> 01:35.378 [SPEAKER_04]: My face is to gave me this for my birthday. 01:35.510 --> 01:49.310 [SPEAKER_03]: Yeah, I got it down here in San Miguel pretty and the owner of the shop is from Mexico City and she designs everything the jewelry the clothes it's like I asked to avoid this place. 01:49.390 --> 02:04.251 [SPEAKER_03]: It's so great and she she said show me a picture show me who this is you're looking for and so I did and said okay all right wait how tall is she and she was like this oh my god and yeah and she was so right 02:04.231 --> 02:09.957 [SPEAKER_03]: And then the additional thing is, she said, I'm a witch, so I'll bless it. 02:10.758 --> 02:16.605 [SPEAKER_03]: And she did a blessing that was like with a piece of wood, which I've never seen before. 02:17.326 --> 02:18.687 [SPEAKER_03]: And it was just very cool. 02:18.867 --> 02:21.130 [SPEAKER_03]: And then she wrapped in, said, don't touch it. 02:21.410 --> 02:22.591 [SPEAKER_03]: This is for her to touch. 02:22.712 --> 02:23.653 [SPEAKER_03]: This is her reason. 02:23.813 --> 02:25.294 [SPEAKER_04]: And then I said, I didn't touch it. 02:25.515 --> 02:26.316 [SPEAKER_04]: I didn't touch it. 02:26.436 --> 02:26.996 [SPEAKER_04]: That I did. 02:27.477 --> 02:28.478 [SPEAKER_04]: It's a blessing. 02:28.558 --> 02:28.959 [SPEAKER_04]: It's a blessing. 02:28.979 --> 02:29.679 [SPEAKER_04]: I known for me. 02:29.719 --> 02:31.121 [SPEAKER_04]: Then she explained that part. 02:31.161 --> 02:33.023 [SPEAKER_04]: So it was like, OK. 02:33.003 --> 02:48.008 [SPEAKER_02]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no 02:48.477 --> 02:52.464 [SPEAKER_02]: I did a pejoran pregnancy sneeze on your sneezing. 02:52.524 --> 02:53.125 [SPEAKER_03]: That's right. 02:53.265 --> 02:54.367 [SPEAKER_03]: Which is a whole different. 02:54.407 --> 02:55.909 [SPEAKER_03]: That's a blessing in itself. 02:55.929 --> 02:56.390 [SPEAKER_01]: Yeah. 02:56.410 --> 02:56.911 [SPEAKER_01]: No, not. 02:57.011 --> 03:08.089 [SPEAKER_01]: Isn't, isn't San Miguel like what I've heard is that it's a very spiritual place, like House, New Mexico or Sedona or Woodstock or some of those places. 03:08.069 --> 03:15.057 [SPEAKER_03]: There are rumors that it's built on quartz, because there are quartz mines in the line, and that these are quartz mines. 03:15.338 --> 03:17.420 [SPEAKER_03]: It's a UNESCO city. 03:17.440 --> 03:21.185 [SPEAKER_03]: So, it has to remain the way it is. 03:21.225 --> 03:28.093 [SPEAKER_03]: There is a feeling here, and the people here, it's just, it's a wonderful mix. 03:28.113 --> 03:29.675 [SPEAKER_03]: It's really wonderful mix. 03:29.695 --> 03:31.898 [SPEAKER_03]: And some of the best restaurants I've ever been to. 03:32.038 --> 03:32.879 [SPEAKER_01]: That's what I've heard. 03:32.959 --> 03:34.180 [SPEAKER_01]: I've heard it's incredible. 03:34.501 --> 03:38.025 [SPEAKER_03]: Fringe pastry, it's like it's crazy. 03:38.005 --> 03:41.311 [SPEAKER_01]: And Terry, you have that energy on your necklace. 03:41.712 --> 03:43.535 [SPEAKER_03]: I know, but it suits me. 03:43.775 --> 03:49.145 [SPEAKER_03]: Well, she, she's also got new Mexico energy, which in itself is a big deal to it. 03:49.165 --> 03:52.231 [SPEAKER_04]: But it's the same kind of more laid back. 03:52.852 --> 03:58.281 [SPEAKER_04]: I mean, it's not like we make ourselves busy because of our lifestyles, no matter where we live. 03:59.323 --> 04:01.988 [SPEAKER_04]: But the energy in the town. 04:01.968 --> 04:17.819 [SPEAKER_02]: Yeah, is calmer and more relaxed and there are less people in a big hurry to get to where they're going, you know, Tefer, for all of our people that are just listening, can you describe what the necklace looks like for those that are not watching that. 04:17.839 --> 04:21.286 [SPEAKER_04]: Oh, it is a, okay, how do you say this? 04:21.686 --> 04:24.111 [SPEAKER_04]: It is, um, it's beautiful. 04:24.968 --> 04:28.837 [SPEAKER_04]: like a choker but it doesn't connect in the very back. 04:29.038 --> 04:30.501 [SPEAKER_04]: It's a piece of silver. 04:32.025 --> 04:33.609 [SPEAKER_04]: It looks like it was hand. 04:34.251 --> 04:37.358 [SPEAKER_04]: Oh, what do they call that? 04:37.760 --> 04:38.681 [SPEAKER_01]: a black blacksmith. 04:38.802 --> 04:47.535 [SPEAKER_04]: And yes, yes, but in an elegant way, and it's still very kind of handcrafted. 04:47.836 --> 04:49.438 [SPEAKER_04]: Yeah, it doesn't look homemade. 04:49.478 --> 04:50.780 [SPEAKER_04]: It looks handcrafted. 04:51.381 --> 04:51.541 [SPEAKER_04]: Right. 04:52.002 --> 04:54.967 [SPEAKER_04]: And it's a little bit irregular oval. 04:55.007 --> 04:58.232 [SPEAKER_04]: And it has three pieces of lapis. 04:58.532 --> 04:59.954 [SPEAKER_02]: Let's go. 04:59.974 --> 05:00.235 [SPEAKER_04]: Yeah. 05:00.796 --> 05:04.982 [SPEAKER_02]: And what that is, there are all three different 05:04.962 --> 05:09.028 [SPEAKER_04]: I have to be careful though, because the silver is very pliable. 05:09.128 --> 05:13.215 [SPEAKER_04]: So when I went to put it on the first time, it was like, whoa, don't break it. 05:13.475 --> 05:17.121 [SPEAKER_03]: Yeah, so you can bend it to the way your shoulders are. 05:17.521 --> 05:19.144 [SPEAKER_02]: Oh, that's super beautiful. 05:19.324 --> 05:23.430 [SPEAKER_02]: The actual gemstones are they welded onto the metal. 05:23.530 --> 05:24.933 [SPEAKER_01]: They just magically hold. 05:25.293 --> 05:27.156 [SPEAKER_02]: It's held by love. 05:27.642 --> 05:33.349 [SPEAKER_04]: They each have their own backing, and then they have prongs that hold them onto the silver. 05:33.429 --> 05:34.811 [SPEAKER_04]: That's super cool. 05:34.831 --> 05:54.375 [SPEAKER_04]: And then it says, yes, it says, if the backs of the silver that are holding the lapis lazule are probably soldered to it, but they might have also been glued because it actually looks soldered, but sometimes jillers use glue. 05:54.575 --> 05:55.356 [SPEAKER_02]: Okay. 05:55.716 --> 05:58.398 [SPEAKER_04]: I mean, because it's not like I'm going to go swim laps with this on. 05:59.039 --> 05:59.359 [SPEAKER_04]: Right. 05:59.639 --> 06:01.201 [SPEAKER_04]: You took a jewelry class. 06:01.241 --> 06:02.602 [SPEAKER_04]: So you know this. 06:02.922 --> 06:03.843 [SPEAKER_04]: Oh, I missed that. 06:03.903 --> 06:07.306 [SPEAKER_04]: I'm trying to find a place here to take that kind of class. 06:07.967 --> 06:11.270 [SPEAKER_04]: I like the teacher I had, but he, it's all online. 06:11.310 --> 06:14.973 [SPEAKER_04]: And I want somebody where it's like physical present. 06:15.033 --> 06:15.393 [SPEAKER_01]: Yeah. 06:15.553 --> 06:17.855 [SPEAKER_04]: Where you can see the demonstration in real time. 06:17.875 --> 06:18.956 [SPEAKER_01]: Yeah. 06:19.036 --> 06:20.938 [SPEAKER_01]: What a great birthday present in all. 06:21.178 --> 06:21.659 [SPEAKER_01]: Nice. 06:21.699 --> 06:23.080 [SPEAKER_01]: Great birthday present. 06:23.060 --> 06:24.382 [SPEAKER_01]: Speaking of birthdays. 06:24.722 --> 06:25.403 [SPEAKER_01]: Oh, they're there. 06:25.623 --> 06:27.405 [SPEAKER_02]: We'll look at your little segue. 06:27.525 --> 06:27.986 [SPEAKER_01]: Same way. 06:28.366 --> 06:28.987 [SPEAKER_01]: Oh, my God. 06:29.007 --> 06:30.529 [SPEAKER_01]: Some birthdays this week. 06:30.689 --> 06:31.470 [SPEAKER_01]: Yes, we do. 06:32.051 --> 06:34.854 [SPEAKER_01]: First, we'll start with Holly Smith on February 16th. 06:35.355 --> 06:36.536 [SPEAKER_01]: Happy birthday, Holly. 06:36.777 --> 06:38.058 [SPEAKER_04]: Happy birthday, Holly. 06:38.278 --> 06:39.640 [SPEAKER_04]: Happy birthday, Holly. 06:39.920 --> 06:42.844 [SPEAKER_02]: Happy birthday, to Holly. 06:43.124 --> 06:48.811 [SPEAKER_02]: Next up, we have Megan Doyle, who's also on February 16th. 06:49.152 --> 06:50.333 [SPEAKER_02]: So, Happy birthday to Megan. 06:50.414 --> 06:51.602 [SPEAKER_04]: Happy birthday, Megan. 06:51.783 --> 06:53.111 [SPEAKER_04]: Happy birthday, Mason. 06:53.353 --> 06:54.500 [SPEAKER_01]: Happy birthday, Megan. 06:54.560 --> 06:55.446 [SPEAKER_01]: Have a great day. 07:01.450 --> 07:03.432 [SPEAKER_01]: No, no, no, I loved this episode. 07:04.193 --> 07:05.855 [SPEAKER_01]: I will start by saying that. 07:05.875 --> 07:06.856 [SPEAKER_01]: I really did. 07:06.876 --> 07:09.879 [SPEAKER_01]: I thought your performance was great. 07:10.099 --> 07:11.661 [SPEAKER_04]: He never says it like that. 07:11.681 --> 07:12.722 [SPEAKER_01]: I rarely say that. 07:12.962 --> 07:14.124 [SPEAKER_02]: I thought that was his limb rate. 07:14.144 --> 07:30.141 [SPEAKER_01]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, 07:30.121 --> 07:40.192 [SPEAKER_01]: I got inspired about the lesson and about kind of what like here I learned and what I learned and it's a great reminder, especially in these times. 07:40.873 --> 07:41.894 [SPEAKER_01]: So here's my poem. 07:42.114 --> 07:44.517 [SPEAKER_01]: Kira said, I did what I had to do. 07:44.877 --> 07:47.360 [SPEAKER_01]: Salaryn thought he was innocent too. 07:48.301 --> 07:52.305 [SPEAKER_01]: For each life we take leaves generational heartache. 07:52.986 --> 07:56.550 [SPEAKER_01]: No righteous cause can ever make that untrue. 07:56.530 --> 08:03.497 [SPEAKER_01]: Oh, yeah, that's great. 08:03.517 --> 08:04.698 [SPEAKER_01]: Yeah, it's a great episode. 08:04.998 --> 08:10.504 [SPEAKER_01]: It's a powerful lesson and perspective and beautifully done by all of you. 08:10.624 --> 08:14.407 [SPEAKER_01]: Like performances some of the best of your series so far all around. 08:14.487 --> 08:21.714 [SPEAKER_01]: Terry, you and Michael, I mean didn't have a big story, but I love the scene for your comedy as I was watching the scene in the shuttle. 08:21.734 --> 08:22.335 [SPEAKER_01]: I was like, oh, I'm so happy. 08:22.315 --> 08:24.039 [SPEAKER_01]: Oh my god, there's her becker. 08:24.139 --> 08:25.943 [SPEAKER_01]: She's heading off to becker soon. 08:26.444 --> 08:29.471 [SPEAKER_01]: Her sick com energy, her comedy energy is on point. 08:30.173 --> 08:35.304 [SPEAKER_01]: And then I, your work was so naturalistic and grounded and effortless. 08:36.066 --> 08:39.193 [SPEAKER_01]: Renee, I thought, was the best performance I've seen in the series. 08:39.173 --> 08:41.336 [SPEAKER_03]: to record some phenomenal. 08:41.616 --> 08:43.799 [SPEAKER_03]: Yeah, and had you already had Django? 08:43.979 --> 08:46.623 [SPEAKER_03]: It's so funny because I was like, I wasn't pregnant anymore. 08:46.683 --> 08:50.748 [SPEAKER_03]: I really remember not being pregnant, but I looked up on AI. 08:51.069 --> 08:52.891 [SPEAKER_03]: What's not visited pregnant innocent? 08:52.911 --> 08:54.113 [SPEAKER_03]: Yes, in fact, she was. 08:54.533 --> 08:55.474 [SPEAKER_03]: What is it like? 08:55.495 --> 08:55.755 [SPEAKER_03]: No. 08:56.075 --> 09:01.182 [SPEAKER_04]: No, I could tell one of the spots you were wearing a pillow because it was just how you were. 09:01.162 --> 09:06.752 [SPEAKER_04]: It was just, but that's where it drives me insane because it's like, why am I not there? 09:06.772 --> 09:08.174 [SPEAKER_04]: I would have addressed it. 09:08.555 --> 09:11.340 [SPEAKER_03]: I think I had had him a month before. 09:11.360 --> 09:18.833 [SPEAKER_03]: I had Django, September 16th, and I think this was toward the end of October that we saw that 09:18.813 --> 09:33.735 [SPEAKER_02]: been not evidently was during the episode where it was Terry and Michael Dorn going to Oh my god, Ryza and also Sid was there with Lida, the double girl. 09:34.035 --> 09:43.048 [SPEAKER_02]: They were celebrating their breakup and in the you know the the memory alpha notes they were saying that you know Sid actually was super tired because the 09:43.028 --> 09:46.574 [SPEAKER_02]: the birth of his son was the day before this scene was filmed. 09:46.594 --> 09:49.359 [SPEAKER_02]: So that was when it happened about a month ago, like you said. 09:49.920 --> 09:50.080 [SPEAKER_02]: Wow. 09:50.441 --> 09:55.008 [SPEAKER_03]: It was actually, uh, Django was born around 11 at night. 09:55.690 --> 09:57.813 [SPEAKER_03]: And so we were up the whole night, of course. 09:57.853 --> 10:02.421 [SPEAKER_03]: And that morning was like, can I have a few hours of sleep and I was like, nope. 10:02.401 --> 10:16.282 [SPEAKER_03]: because I understand that when, you know, someone had a, someone had a baby on the strange new worlds, they got father time off. 10:16.522 --> 10:18.325 [SPEAKER_03]: Oh, I heard that. 10:18.345 --> 10:18.525 [SPEAKER_03]: Wow. 10:18.545 --> 10:19.246 [SPEAKER_03]: That's awesome. 10:19.266 --> 10:20.348 [SPEAKER_03]: What you should. 10:20.628 --> 10:21.169 [SPEAKER_03]: Great. 10:21.149 --> 10:24.236 [SPEAKER_04]: It's just the two of you really in the beginning. 10:24.477 --> 10:32.315 [SPEAKER_04]: What I loved is I felt your embodiment, the entire episode of all the things you were juggling. 10:32.756 --> 10:40.373 [SPEAKER_04]: I felt it was such a beautifully nuanced performance where I really felt like this poor pregnant woman. 10:40.353 --> 10:45.021 [SPEAKER_04]: It's just she's trying to just do what she needs to do to have a healthy baby. 10:45.061 --> 10:47.305 [SPEAKER_04]: So that is the beginning. 10:47.345 --> 10:56.821 [SPEAKER_04]: And then it turns into it's like you're a happy brown bear with a baby and your piss that you have to eat these herbs that taste like crap. 10:57.542 --> 11:02.310 [SPEAKER_04]: And then suddenly you have to turn into a grisly mama bear. 11:02.290 --> 11:07.561 [SPEAKER_04]: because it's this onslaught of a male storm of f*** coming your way. 11:08.363 --> 11:09.545 [SPEAKER_04]: It was crazy. 11:09.585 --> 11:13.173 [SPEAKER_04]: And then they tried to tie your hands. 11:13.754 --> 11:18.865 [SPEAKER_04]: And then ironically to me, I felt everyone there, but 11:18.845 --> 11:21.068 [SPEAKER_04]: I think it's a testament to the writing. 11:21.108 --> 11:29.719 [SPEAKER_04]: It felt like even though these things were happening around you, people cared about you that were around you, the focus was definitely on you. 11:29.759 --> 11:40.774 [SPEAKER_04]: And it felt, to me, like I was watching you fight this by yourself because what they were doing to try to help you, wasn't helping you at all. 11:42.136 --> 11:44.599 [SPEAKER_04]: You know, it just felt like you were alone. 11:44.647 --> 11:58.651 [SPEAKER_01]: I love what you said Terry about, you know, the point of view or the perspective of this episode because often as a director, that's the most important thing I want to know is like, where is, whose point of view is this scene from? 11:58.831 --> 12:02.477 [SPEAKER_01]: Who is the audience supposed to experience this part of the story with? 12:03.499 --> 12:06.925 [SPEAKER_01]: And Mike Veihar was so good at 12:06.905 --> 12:10.377 [SPEAKER_01]: keeping that point of view clear, and it was here. 12:10.497 --> 12:18.163 [SPEAKER_01]: It was such a great experience with your character, and Mike did such a good job of 12:18.245 --> 12:22.510 [SPEAKER_01]: of supporting that supporting your work and your character in the story in the point of view. 12:22.530 --> 12:23.431 [SPEAKER_01]: I thought it was great. 12:23.611 --> 12:29.318 [SPEAKER_03]: I'm not sure that I saw it at the time, but I see now how much Odo loved her. 12:29.338 --> 12:35.886 [SPEAKER_03]: And as you say, Terry, even Odo knows, and that's kind of the beauty of their character. 12:36.266 --> 12:39.070 [SPEAKER_03]: He knows this is hers to do. 12:39.090 --> 12:45.197 [SPEAKER_03]: I can stand by as much as I can, but this is 12:45.447 --> 13:13.851 [SPEAKER_04]: Oh yeah, and I, because I watched it a couple of times that how you played, I mean, we'll get into it, but I don't want to, it's kind of nice talking about it now because so I don't lose this thought when your last scene kind of with Odo where he's telling you, they're going to go and you need to stay here and rest and then you beam yourself to his office and I was like, well, that's one way to beat him there. 13:17.392 --> 13:20.075 [SPEAKER_03]: That was just genius the technology. 13:20.135 --> 13:20.616 [SPEAKER_03]: Why not? 13:20.976 --> 13:29.606 [SPEAKER_02]: Well Terry has referred to the Mama Bear reference multiple times for you and look how apropos I actually have a hat with a bear on it. 13:29.626 --> 13:30.708 [SPEAKER_02]: Oh, there he comes. 13:30.888 --> 13:32.310 [SPEAKER_04]: Well we're both Mama bears. 13:32.430 --> 13:33.030 [SPEAKER_02]: Yes, you will. 13:33.050 --> 13:35.994 [SPEAKER_04]: Please do not get in the middle of mothers in their kids. 13:36.074 --> 13:37.996 [SPEAKER_02]: No, you don't do that ever. 13:38.216 --> 13:38.517 [SPEAKER_02]: No. 13:38.797 --> 13:39.097 [SPEAKER_02]: All right. 13:39.218 --> 13:45.525 [SPEAKER_02]: Here's my 13:45.505 --> 13:47.948 [SPEAKER_02]: Shikar Rebels targeted. 13:49.409 --> 13:51.432 [SPEAKER_02]: Kira saved my herbs. 13:51.572 --> 13:54.896 [SPEAKER_03]: Was she happy to get those herbs from her friends now? 13:55.076 --> 13:58.780 [SPEAKER_03]: But she realized how sweet that was that they didn't eat fresh ones. 13:58.800 --> 13:59.921 [SPEAKER_04]: I saw that turn. 14:00.302 --> 14:00.462 [SPEAKER_04]: Yeah. 14:00.482 --> 14:04.827 [SPEAKER_04]: And I just thought are those the same herbs that was shared with making you eat? 14:04.907 --> 14:05.227 [SPEAKER_04]: It is. 14:05.407 --> 14:05.768 [SPEAKER_04]: Okay. 14:05.868 --> 14:07.750 [SPEAKER_02]: It's same but not but pressure. 14:07.730 --> 14:12.136 [SPEAKER_04]: So they're more stinky and totally look like bay leaves didn't they? 14:12.196 --> 14:13.498 [SPEAKER_04]: They probably were there. 14:13.558 --> 14:19.046 [SPEAKER_02]: Don't eat bay leaves, not with them, but don't just eat them. 14:19.066 --> 14:22.511 [SPEAKER_04]: Yeah, they used to have a bay leaf tree in my first home. 14:22.712 --> 14:26.517 [SPEAKER_04]: It sprouted, like I don't know, from it just started to grow. 14:26.617 --> 14:28.640 [SPEAKER_04]: And then it took it to my next house. 14:28.861 --> 14:30.984 [SPEAKER_04]: And my next house, and then they moved out of state. 14:31.004 --> 14:31.965 [SPEAKER_04]: And it was like, 14:31.945 --> 14:32.626 [SPEAKER_04]: Shoot. 14:32.967 --> 14:34.489 [SPEAKER_03]: I have one there. 14:34.509 --> 14:34.790 [SPEAKER_03]: Right. 14:34.950 --> 14:36.492 [SPEAKER_03]: Yeah, it's great. 14:36.512 --> 14:42.041 [SPEAKER_03]: You can just take a branch and give it to someone, say, hang it upside down and they've got bay leaves for a year. 14:42.442 --> 14:44.305 [SPEAKER_01]: Wow, it's pretty great. 14:44.385 --> 14:45.066 [SPEAKER_01]: Really great. 14:45.086 --> 14:46.368 [SPEAKER_01]: They can eat the bay leaves. 14:46.388 --> 14:47.350 [SPEAKER_05]: They can eat the bay leaves. 14:49.172 --> 14:54.040 [SPEAKER_02]: No, tear fair has a poem for the darkness and the light. 14:54.601 --> 14:55.082 [SPEAKER_02]: Let's hear it. 14:55.262 --> 14:58.948 [SPEAKER_04]: A warrior a survivor, a freedom fighter. 14:58.928 --> 15:02.416 [SPEAKER_04]: Retching she devours the bitter cure, an edge. 15:03.538 --> 15:06.285 [SPEAKER_04]: Babes safe in her womb, she holds on tighter. 15:07.247 --> 15:11.015 [SPEAKER_04]: Her brethren executed by a stealth phantoms revenge. 15:11.336 --> 15:12.880 [SPEAKER_04]: I like that. 15:12.900 --> 15:18.372 [SPEAKER_02]: Alright, so tell a play by Ronald D. Moore, story by Brian Fuller. 15:18.352 --> 15:20.055 [SPEAKER_02]: directed by a Michael Vayar. 15:20.256 --> 15:22.179 [SPEAKER_01]: Yes, I want to talk about Mike Vayar for a minute. 15:22.199 --> 15:23.622 [SPEAKER_02]: Okay, let's talk about Mike Vayar. 15:23.802 --> 15:30.174 [SPEAKER_02]: This was the first Star Trek episode to be directed by Mike Vayar since the next generation episode coming of age. 15:30.354 --> 15:37.347 [SPEAKER_02]: His only TNG directorial credit, which happened almost nine years earlier in 1988. 15:38.209 --> 15:40.393 [SPEAKER_02]: But from this point forward, 15:40.373 --> 15:46.261 [SPEAKER_02]: He remained one of the franchise's regular directors until the cancellation of Star Trek Enterprise in 2005. 15:47.683 --> 15:49.425 [SPEAKER_02]: So that was my first question to you, Robbie. 15:49.806 --> 15:51.888 [SPEAKER_02]: Why did they wait so long to use them again? 15:52.329 --> 15:53.070 [SPEAKER_01]: I don't know. 15:53.090 --> 15:54.272 [SPEAKER_01]: I have no idea. 15:54.332 --> 15:57.556 [SPEAKER_01]: I'm looking right now at his resume. 15:57.977 --> 16:01.301 [SPEAKER_01]: After Star Trek Next Generation, he was busy. 16:01.381 --> 16:01.681 [SPEAKER_01]: He did. 16:01.742 --> 16:02.643 [SPEAKER_01]: He was zoom. 16:02.663 --> 16:04.365 [SPEAKER_01]: He was an impossible quantum leap. 16:04.525 --> 16:06.788 [SPEAKER_01]: He did 17 episodes of McGyver. 16:07.089 --> 16:08.230 [SPEAKER_02]: He's a busy guy. 16:08.250 --> 16:10.313 [SPEAKER_04]: Oh, then he was friends with Michael Pillar too. 16:10.293 --> 16:12.897 [SPEAKER_02]: Maybe that's how the connection happened with Pillar. 16:13.037 --> 16:21.048 [SPEAKER_01]: So it looks like he was very busy and didn't do a lot of sci-fi until Babel on five. 16:22.510 --> 16:27.236 [SPEAKER_01]: And he did the next gen in the 80s and then went off and did all these action procedural. 16:27.316 --> 16:28.538 [SPEAKER_01]: Those kind of things. 16:28.518 --> 16:37.672 [SPEAKER_01]: and then he came back to Babylon 5 and that's where he got back in the sci-fi world and then he came to DS9 and to Voyager and started doing sci-fi again. 16:37.692 --> 16:38.794 [SPEAKER_01]: I loved Mike. 16:38.874 --> 16:43.060 [SPEAKER_01]: He came from editing, he was an editor, I knew him well, he lived down in Venice. 16:43.080 --> 16:43.981 [SPEAKER_02]: There he is, yeah. 16:44.021 --> 16:45.864 [SPEAKER_04]: You recognize him from his picture? 16:45.904 --> 16:46.685 [SPEAKER_02]: No, not as that. 16:47.467 --> 16:48.969 [SPEAKER_02]: Maybe he starts to look a little familiar. 16:49.109 --> 16:50.391 [SPEAKER_04]: Yes, yes, yes. 16:50.371 --> 16:52.697 [SPEAKER_01]: I think he and Cliff Bowl were good friends. 16:52.937 --> 16:54.822 [SPEAKER_04]: Oh, that makes sense. 16:55.203 --> 16:55.363 [SPEAKER_04]: Yeah. 16:55.383 --> 16:59.133 [SPEAKER_04]: I bet they have very similar energy because I hearing his name. 16:59.273 --> 17:02.842 [SPEAKER_04]: I also didn't see his face right away, but I had a good feeling. 17:03.022 --> 17:04.566 [SPEAKER_03]: How many DS9s did he do? 17:04.606 --> 17:05.609 [SPEAKER_01]: He did seven. 17:05.649 --> 17:07.333 [SPEAKER_01]: This was the first of seven. 17:07.313 --> 17:19.426 [SPEAKER_04]: Yeah, that's why there's a good feeling, but it's so hard though because you're so busy when in and out when it's about you, you're really focused on driving and doing your job. 17:19.507 --> 17:23.671 [SPEAKER_01]: The thing I loved about Mike and I shattered him a bit when he was on our show. 17:24.432 --> 17:25.713 [SPEAKER_01]: He had a calm. 17:26.014 --> 17:27.435 [SPEAKER_01]: He had a quietness. 17:27.716 --> 17:29.878 [SPEAKER_01]: He just kind of did good work. 17:29.858 --> 17:33.145 [SPEAKER_01]: there was no drama, he felt like he were in good hands. 17:33.727 --> 17:47.057 [SPEAKER_01]: It was the kind of director I wanted to emulate and I hope I've done that because Mike was a real role model for me and he was so good and and his set demeanor was great and the way he kind of quietly 17:48.286 --> 18:02.924 [SPEAKER_01]: navigated the story and you didn't feel like it was Mike's, you know, some directors come in and you feel like, oh, it's their show, you know, they're making their personality and their point of view really important. 18:03.004 --> 18:04.706 [SPEAKER_01]: And their shots really important. 18:04.807 --> 18:09.973 [SPEAKER_01]: And, you know, I've heard directors use the term, you know, well, I need my shot, or 18:10.375 --> 18:11.477 [SPEAKER_01]: I need this. 18:11.497 --> 18:12.017 [SPEAKER_01]: I need that. 18:12.077 --> 18:13.119 [SPEAKER_01]: No, you don't need anything. 18:13.179 --> 18:16.484 [SPEAKER_01]: You're serving this story and you're serving the cast. 18:16.504 --> 18:18.026 [SPEAKER_01]: And that was Mike's technique. 18:18.106 --> 18:21.191 [SPEAKER_01]: I thought was he was there in service of the story and the greater good. 18:21.211 --> 18:22.052 [SPEAKER_01]: He was great. 18:22.092 --> 18:22.613 [SPEAKER_01]: Love Mike. 18:23.133 --> 18:25.297 [SPEAKER_02]: Yeah, I also remember how soft spoken he was. 18:25.917 --> 18:29.663 [SPEAKER_02]: I have never raised his voice to any crew member to any cast member. 18:30.043 --> 18:30.804 [SPEAKER_02]: No, not once. 18:30.925 --> 18:34.289 [SPEAKER_02]: Not even not even to emphasize like in a positive way. 18:34.350 --> 18:38.155 [SPEAKER_02]: Like any of the voice was so soft. 18:38.135 --> 18:42.800 [SPEAKER_02]: But with that softness, you knew that he knew exactly what he wanted. 18:43.040 --> 18:43.261 [SPEAKER_02]: Yeah. 18:43.281 --> 18:51.970 [SPEAKER_02]: He knew exactly how to get the job done completely professional and completely prepared, but totally soft spoke into the play. 18:52.010 --> 18:54.253 [SPEAKER_02]: I mean, if you didn't listen, you wouldn't even hear him. 18:54.313 --> 18:58.037 [SPEAKER_02]: I mean, he was that good and that almost like not even there. 18:58.337 --> 18:58.958 [SPEAKER_02]: Does that make sense? 18:58.978 --> 19:00.980 [SPEAKER_02]: He was like a ninja director. 19:01.140 --> 19:05.425 [SPEAKER_03]: Yes, he was a director and what it encouraged was this. 19:05.405 --> 19:11.961 [SPEAKER_03]: this communication and real creativity between the camera guys and us. 19:12.282 --> 19:22.587 [SPEAKER_03]: There's one shot where I'm in the hospital bed and odows here beside me and I'm on my side. 19:22.567 --> 19:31.779 [SPEAKER_03]: the camera had to come in so slowly, and I had to cry by the time they got to this point, so they could catch it. 19:32.420 --> 19:42.313 [SPEAKER_03]: And I just remember us cheering together, the camera, the camera guys, and Renee and me because it's like, we did it, we got it. 19:42.813 --> 19:43.995 [SPEAKER_03]: Oh, look at it shot. 19:44.355 --> 19:48.000 [SPEAKER_03]: And when you're 19:47.980 --> 19:52.849 [SPEAKER_02]: Terry's referring to the fact that we see the tear, it's such a thick tear. 19:53.249 --> 20:11.963 [SPEAKER_03]: It runs down the bio-bed material like that way you're lying in the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the palm of the 20:11.943 --> 20:22.872 [SPEAKER_03]: creativity and wanting to get it because you're working as hard as you possibly can maybe even more with real pressure and that's where magic can happen. 20:23.333 --> 20:25.900 [SPEAKER_03]: He got his heart. 20:26.241 --> 20:27.825 [SPEAKER_03]: He caught your magic. 20:28.463 --> 20:29.526 [SPEAKER_03]: Thank you, Terry. 20:29.546 --> 20:30.408 [SPEAKER_02]: Yes, you don't get it. 20:30.428 --> 20:31.571 [SPEAKER_02]: Yes, you don't get it. 20:32.934 --> 20:33.275 [SPEAKER_02]: That's well said. 20:33.295 --> 20:33.535 [SPEAKER_02]: Mm-hmm. 20:33.555 --> 20:33.816 [SPEAKER_02]: Love it. 20:33.836 --> 20:34.538 [SPEAKER_02]: I love it. 20:34.638 --> 20:35.801 [SPEAKER_02]: That's how good she is. 20:35.821 --> 20:36.142 [SPEAKER_02]: Yes. 20:36.543 --> 20:38.387 [SPEAKER_02]: So let's go through guest stars very quickly. 20:38.407 --> 20:41.394 [SPEAKER_02]: We have Randy Oglesby as... Sillerin. 20:41.454 --> 20:42.196 [SPEAKER_02]: Is it Sillerin? 20:42.357 --> 20:43.640 [SPEAKER_02]: I can't remember the pronunciation now. 20:43.700 --> 20:44.261 [SPEAKER_02]: Sillerin. 20:44.281 --> 20:45.183 [SPEAKER_02]: Sillerin. 20:45.765 --> 20:45.865 [UNKNOWN]: Yeah. 20:46.233 --> 20:47.235 [SPEAKER_02]: Siloran. 20:47.255 --> 20:48.456 [SPEAKER_02]: I think I'll go a Siloran. 20:48.477 --> 20:48.677 [SPEAKER_04]: All right. 20:48.697 --> 20:50.400 [SPEAKER_04]: I don't think he's going to argue about it. 20:50.420 --> 20:50.940 [SPEAKER_04]: He's not. 20:51.061 --> 20:51.842 [SPEAKER_02]: No, he's. 20:52.683 --> 20:54.947 [SPEAKER_02]: We have read the Ogo's be a Siloran print. 20:55.327 --> 21:09.810 [SPEAKER_02]: William Lucking, reprising his role as Farrell, Diane Salinger reprising her role as Lupisa Jennifer Savage as Trenton Fala, Aaron Eisenberg as Nog, co-stars we have Matt Roe as Leitha. 21:09.790 --> 21:17.580 [SPEAKER_02]: Christian Conrad as Brilgar Scott McElroy as the guard and Judy DeRrand as the station computer voice. 21:17.840 --> 21:29.915 [SPEAKER_03]: These two recurring characters were so lovable and worked so well together that the idea that they were killed hurt me as an actor on set. 21:30.596 --> 21:34.060 [SPEAKER_03]: And that is just to get, you know, not much 21:34.040 --> 21:50.428 [SPEAKER_03]: Not much time, they did it, they just, they were immediately these entities I felt that I loved and it was just, it was unthinkable that they were killed, unthinkable. 21:50.408 --> 21:51.750 [SPEAKER_02]: yeah. 21:51.770 --> 21:53.212 [SPEAKER_03]: Which does so much for the story. 21:53.392 --> 21:57.778 [SPEAKER_03]: It really points to what kind of actors both of them are. 21:57.818 --> 21:58.559 [SPEAKER_03]: Yeah. 21:58.579 --> 22:00.721 [SPEAKER_01]: I thought all the guest stars were really good. 22:01.142 --> 22:01.883 [SPEAKER_01]: I really did. 22:01.963 --> 22:03.825 [SPEAKER_01]: And definitely I don't always feel that way. 22:03.906 --> 22:10.414 [SPEAKER_03]: To be fair to all guest stars, our shows were not easy to walk on to to get the tone of. 22:10.494 --> 22:13.918 [SPEAKER_03]: It's like, wait a minute, I just did a procedural and now where am I? 22:13.959 --> 22:15.100 [SPEAKER_05]: It's 22:15.080 --> 22:15.681 [SPEAKER_03]: Yeah. 22:15.741 --> 22:21.489 [SPEAKER_03]: You know, and I think sometimes that really made people look out of place. 22:22.050 --> 22:22.630 [SPEAKER_04]: Yeah. 22:22.831 --> 22:24.673 [SPEAKER_04]: And it was a very intense set. 22:24.954 --> 22:26.155 [SPEAKER_04]: It wasn't the kind of set. 22:26.175 --> 22:33.626 [SPEAKER_04]: I mean, it wasn't that we weren't kind, but it was so, we do fast, we really serious. 22:33.706 --> 22:35.248 [SPEAKER_04]: And so it had to be a little, 22:35.228 --> 22:36.351 [SPEAKER_04]: it all overwhelming. 22:36.371 --> 22:48.561 [SPEAKER_04]: Well, unless you're really experienced, well, maybe a little lonely because you're there and you're expected to be there and you don't really know anyone and you don't have time to build a relationship. 22:49.223 --> 22:49.423 [SPEAKER_02]: Yeah. 22:49.707 --> 23:03.211 [SPEAKER_02]: So you have to come in with it a little bit of trivia here for his very first episode, Brian Fuller based this Star Trek episode on the 1939 Agatha Christie novel regarding Brian Fuller brought more commented. 23:03.352 --> 23:06.838 [SPEAKER_02]: I don't recall Fuller's exact involvement the timeline there, but 23:06.818 --> 23:14.213 [SPEAKER_02]: I do remember that he had gone to one of our writing seminars and we bought that pitch and then he did the story. 23:14.634 --> 23:16.358 [SPEAKER_02]: But I wrote the script. 23:16.378 --> 23:17.540 [SPEAKER_02]: Brian is a genius. 23:17.620 --> 23:24.895 [SPEAKER_02]: So that is amazing to me that he went to some random seminar as a student. 23:24.875 --> 23:28.762 [SPEAKER_02]: pitch them and they bought his story right there on the scene. 23:28.782 --> 23:31.586 [SPEAKER_01]: Do you remember Garrett when we interviewed Brian Fuller? 23:31.787 --> 23:32.087 [SPEAKER_01]: Yes. 23:32.147 --> 23:38.538 [SPEAKER_01]: A few years ago and he talked about because Star Trek still accepted outside pitches. 23:39.259 --> 23:42.365 [SPEAKER_01]: He would write up and he was young when he was doing this. 23:42.445 --> 23:46.351 [SPEAKER_01]: He would write up three pitches a week or a month or something. 23:46.372 --> 23:48.716 [SPEAKER_01]: He sneak out of here about a lot of deliver them. 23:48.756 --> 23:49.617 [SPEAKER_01]: Deliver them. 23:49.597 --> 23:51.660 [SPEAKER_01]: the daughter regular basis. 23:51.740 --> 23:54.404 [SPEAKER_01]: He was he was delivering a story. 23:54.424 --> 23:56.487 [SPEAKER_03]: It was a psychology student at the time. 23:56.928 --> 23:57.389 [SPEAKER_03]: Wow. 23:57.509 --> 23:58.270 [SPEAKER_01]: I didn't know. 23:58.290 --> 23:59.872 [SPEAKER_03]: I was studying to be a psychologist. 23:59.892 --> 24:00.173 [SPEAKER_03]: Yeah. 24:00.673 --> 24:02.777 [SPEAKER_03]: I interviewed him around the same time. 24:02.837 --> 24:03.297 [SPEAKER_03]: You did. 24:04.559 --> 24:05.220 [SPEAKER_03]: Yeah. 24:05.240 --> 24:06.602 [SPEAKER_03]: And he interviewed me too. 24:06.883 --> 24:08.946 [SPEAKER_03]: He was watching DS9. 24:09.427 --> 24:11.790 [SPEAKER_03]: And he was like, I want to do that. 24:11.770 --> 24:12.371 [SPEAKER_01]: Wow. 24:13.232 --> 24:14.174 [SPEAKER_01]: It's so cool. 24:14.194 --> 24:15.256 [SPEAKER_01]: Well, that was his breath. 24:15.276 --> 24:19.262 [SPEAKER_01]: This episode, I guess, was his break in finally into Star Trek. 24:20.164 --> 24:20.545 [SPEAKER_01]: Wow. 24:20.585 --> 24:21.626 [SPEAKER_01]: Yeah. 24:21.666 --> 24:25.453 [SPEAKER_04]: That's such a great thing to that Star Trek had this. 24:26.314 --> 24:26.574 [SPEAKER_01]: Yeah. 24:26.735 --> 24:34.167 [SPEAKER_04]: You know, opportunity for writers to blossom and grow and, you know, be nurtured. 24:34.147 --> 24:39.392 [SPEAKER_01]: I think it's one of the strengths of the franchise, and I wish the new Star Trek did it. 24:39.652 --> 24:40.753 [SPEAKER_01]: Nobody does it anymore. 24:40.793 --> 24:42.014 [SPEAKER_01]: Nobody takes outside pitch. 24:42.034 --> 24:42.475 [SPEAKER_01]: It's bad. 24:43.195 --> 24:53.024 [SPEAKER_01]: I think for Star Trek, because it's in the DNA of Star Trek historically, it would be great if they found a way to let people pitch from the outside. 24:53.044 --> 24:53.144 [SPEAKER_04]: Yeah. 24:53.364 --> 24:55.066 [SPEAKER_04]: And it's generosity of spirit. 24:55.186 --> 25:03.934 [SPEAKER_04]: It's bringing new ideas in and fresh writers, 25:03.914 --> 25:04.275 [SPEAKER_01]: Yeah. 25:04.556 --> 25:06.641 [SPEAKER_04]: I mean it is for anybody doing anything. 25:06.902 --> 25:14.160 [SPEAKER_01]: It was a nice thing to do that Star Trek was one of the last shows to have that, you know, to have the open door policy. 25:14.883 --> 25:15.664 [SPEAKER_02]: I'm proud of that. 25:15.764 --> 25:18.468 [SPEAKER_02]: That makes me very excited to be part of that. 25:18.728 --> 25:28.301 [SPEAKER_02]: You know, this is the most, if you talk about start trick being all encompassing and any one of any race color, Creed, religion can watch it. 25:28.822 --> 25:35.852 [SPEAKER_02]: And then they have a similar submission policy anybody of any, but any one of the world that they wanted to submit, they could submit it. 25:35.932 --> 25:37.554 [SPEAKER_02]: So I think that's super awesome. 25:37.874 --> 25:38.275 [SPEAKER_02]: I love it. 25:38.255 --> 25:39.998 [SPEAKER_02]: All right, we're going to jump right into this episode. 25:40.058 --> 25:46.086 [SPEAKER_02]: We start out with it is basically a the Vedic retreat, but this retreat is being said. 25:46.106 --> 25:46.767 [SPEAKER_02]: It's a game set. 25:46.988 --> 25:47.929 [SPEAKER_02]: It's a game set. 25:48.430 --> 25:51.875 [SPEAKER_04]: Yeah, but did they do a beautiful job of setting it out? 25:51.895 --> 25:52.335 [SPEAKER_02]: It looks good. 25:52.355 --> 25:53.357 [SPEAKER_04]: It's gorgeous. 25:53.557 --> 25:54.218 [SPEAKER_02]: It looks so good. 25:54.238 --> 25:54.699 [SPEAKER_01]: It looks so good. 25:55.220 --> 25:55.540 [SPEAKER_01]: Sorry. 25:55.640 --> 25:57.503 [SPEAKER_01]: I'm going to talk about Mike Vahar a lot. 25:57.663 --> 25:57.944 [SPEAKER_01]: Yes. 25:58.224 --> 26:02.750 [SPEAKER_01]: It's the same caves that you always shoot with the same crew that all shoots it. 26:03.091 --> 26:07.958 [SPEAKER_01]: But yet it looks like you said Terry, so much more beautiful. 26:07.938 --> 26:15.032 [SPEAKER_01]: That's because of the way his eye, he's got a way of lensing and looking at things that just elevates everything. 26:15.072 --> 26:15.794 [SPEAKER_01]: So it was beautiful. 26:15.814 --> 26:19.882 [SPEAKER_04]: And the set design, the pillars and the whole, the overhead shot. 26:20.303 --> 26:21.185 [SPEAKER_04]: Yes. 26:21.345 --> 26:21.586 [SPEAKER_02]: Yes. 26:22.147 --> 26:22.387 [SPEAKER_02]: Yes. 26:22.948 --> 26:26.435 [SPEAKER_02]: So we learned that there is a Vedic, Lathamabran. 26:26.636 --> 26:28.680 [SPEAKER_02]: He is the leader of this retreat. 26:28.660 --> 26:38.610 [SPEAKER_02]: and he makes a quick announcement and we see other Vetics who are interestingly enough, none of them are showing their faces and they want to notice that they're all completely covered. 26:38.730 --> 26:39.951 [SPEAKER_02]: They're Mark. 26:39.971 --> 26:44.395 [SPEAKER_02]: They are monks, but you would think Vetics, Latha would also be kind of covered up as well. 26:44.495 --> 26:44.876 [SPEAKER_02]: I don't know. 26:44.896 --> 26:48.679 [SPEAKER_02]: Maybe there's a different designation between Latha and the rest of them. 26:49.040 --> 26:50.822 [SPEAKER_02]: But they're starting this ceremony. 26:50.882 --> 26:52.403 [SPEAKER_02]: They're all around this land. 26:52.423 --> 26:53.384 [SPEAKER_02]: This land. 26:54.085 --> 26:56.507 [SPEAKER_02]: Yes, for a moment, this lamp, which is lit, 26:56.487 --> 27:05.459 [SPEAKER_02]: And all of a sudden, out of the blue, this phasor shot just comes out of the lamp and hits the right, the chest blows him back about 30 feet. 27:06.040 --> 27:06.841 [SPEAKER_02]: And he's dead. 27:07.021 --> 27:08.042 [SPEAKER_02]: Good stunt, by the way. 27:08.082 --> 27:10.906 [SPEAKER_04]: Do they tie a rope around you and then just pull you really hard? 27:11.046 --> 27:11.887 [SPEAKER_01]: That sounds like you pull. 27:11.907 --> 27:16.373 [SPEAKER_01]: Well, they put a harness, if they, if they, they wouldn't tie a rope, that would hurt people. 27:16.514 --> 27:17.054 [SPEAKER_02]: It's a harness. 27:17.074 --> 27:19.137 [SPEAKER_01]: It put a whole harness. 27:19.522 --> 27:22.489 [SPEAKER_01]: That's spreads the pain. 27:22.549 --> 27:24.994 [SPEAKER_04]: So, when forgiving, you're so terrible. 27:25.054 --> 27:27.600 [SPEAKER_01]: I'm not going to let you run stunts on any show I do. 27:27.640 --> 27:29.164 [SPEAKER_02]: No, please don't. 27:29.324 --> 27:31.068 [SPEAKER_02]: You're just going to throw ropes around me. 27:31.088 --> 27:32.311 [SPEAKER_02]: So let's go up to Terry. 27:32.331 --> 27:34.716 [SPEAKER_02]: Hey, Terry, we're going to tie a rope around your waist. 27:34.856 --> 27:35.578 [SPEAKER_02]: You bad. 27:35.598 --> 27:36.460 [SPEAKER_02]: Let's go. 27:36.520 --> 27:37.743 [SPEAKER_02]: And you're like, yeah, huh. 27:37.983 --> 27:38.745 [SPEAKER_02]: I can't. 27:38.725 --> 27:39.787 [SPEAKER_01]: Let's get her done. 27:40.048 --> 27:41.171 [SPEAKER_01]: It's get her done. 27:41.431 --> 27:41.752 [SPEAKER_01]: Okay. 27:41.772 --> 27:48.027 [SPEAKER_01]: This reminded me, by the way, you have to say of sacred ground, which was the first Voyager episode I derailed. 27:48.047 --> 27:48.648 [SPEAKER_01]: Oh, yeah. 27:48.788 --> 27:53.599 [SPEAKER_01]: Kind of had this religious ceremony thing, and then cast in our show. 27:53.640 --> 27:54.081 [SPEAKER_01]: Yeah. 27:54.281 --> 27:57.308 [SPEAKER_01]: Got hit by this energy. 27:57.288 --> 27:59.453 [SPEAKER_01]: thing at this temple in the back. 27:59.493 --> 28:03.742 [SPEAKER_01]: It was a similar kind of visual and concept. 28:03.802 --> 28:05.366 [SPEAKER_02]: Yeah, but she did not die though. 28:05.526 --> 28:07.330 [SPEAKER_02]: Kested not die for the energy thing. 28:07.350 --> 28:07.931 [SPEAKER_01]: Grown. 28:08.232 --> 28:09.074 [SPEAKER_01]: No, Janeway had to do this. 28:09.094 --> 28:10.016 [SPEAKER_04]: And they gave her a harness. 28:11.318 --> 28:12.902 [SPEAKER_01]: They did give her a harness. 28:12.922 --> 28:13.563 [SPEAKER_01]: Head of a rope. 28:14.064 --> 28:14.666 [SPEAKER_01]: That's correct. 28:14.726 --> 28:16.630 [SPEAKER_01]: Not just a rope. 28:16.610 --> 28:22.499 [SPEAKER_01]: we go into the infirmary next for a lovely scene with Bashir and Kira. 28:22.519 --> 28:30.251 [SPEAKER_01]: Bashir wants Kira to take her herbs and she says they taste like something that would come out of quarks here, which was very descriptive. 28:30.752 --> 28:36.862 [SPEAKER_04]: Oh my God, and every time you're under say that I thought, how does she know that and I don't want to know that story? 28:37.142 --> 28:37.823 [SPEAKER_01]: I don't know. 28:38.384 --> 28:41.309 [SPEAKER_01]: The whole episode, I kept thinking of what's coming out of quarks here. 28:41.509 --> 28:44.794 [SPEAKER_01]: I didn't want to think about it, but I 28:44.774 --> 28:47.877 [SPEAKER_03]: And we know what that would taste like to do. 28:47.897 --> 28:48.678 [SPEAKER_01]: Yeah, so it worked. 28:48.919 --> 28:50.560 [SPEAKER_04]: It was written works. 28:50.580 --> 28:53.504 [SPEAKER_04]: Oh, yes, none of us want your herbs. 28:53.864 --> 28:55.306 [SPEAKER_02]: None of us. 28:55.326 --> 28:58.269 [SPEAKER_02]: And of course, Sid being British says herbs. 28:58.489 --> 28:59.090 [SPEAKER_02]: Read this. 28:59.110 --> 29:00.752 [SPEAKER_02]: Yeah, have you been taking you all the time? 29:00.772 --> 29:02.413 [SPEAKER_04]: I don't think it gives you a progesterone. 29:03.775 --> 29:03.875 [SPEAKER_01]: Yeah. 29:04.636 --> 29:07.098 [SPEAKER_01]: Because she's the Jordan and she hasn't. 29:07.118 --> 29:08.520 [SPEAKER_04]: And we're in the future. 29:08.838 --> 29:15.269 [SPEAKER_01]: And just these herbs that what do they do they they counteract the sedative. 29:15.309 --> 29:19.556 [SPEAKER_01]: So you say I don't want to take the herbs because it it keeps me awake. 29:19.636 --> 29:20.718 [SPEAKER_01]: And I don't go to sleep. 29:21.299 --> 29:23.683 [SPEAKER_01]: Which is an important point later on. 29:23.703 --> 29:24.504 [SPEAKER_03]: Very important. 29:24.604 --> 29:29.412 [SPEAKER_03]: I love things like that in a script where you come back to angle. 29:29.392 --> 29:30.494 [SPEAKER_01]: Yeah. 29:30.574 --> 29:31.195 [SPEAKER_01]: It's like that. 29:31.295 --> 29:31.695 [SPEAKER_01]: Yeah. 29:31.815 --> 29:32.657 [SPEAKER_04]: It's like nothing. 29:33.117 --> 29:33.257 [SPEAKER_04]: Yeah. 29:33.277 --> 29:34.039 [SPEAKER_04]: Yeah. 29:34.059 --> 29:34.259 [SPEAKER_04]: Yeah. 29:35.120 --> 29:36.302 [SPEAKER_01]: And it seems like nothing. 29:36.482 --> 29:42.691 [SPEAKER_01]: It's so sometimes you kind of hear it a fact like that and you go, oh, they're saying that. 29:42.731 --> 29:43.973 [SPEAKER_01]: So I'll remember it later. 29:44.293 --> 29:45.855 [SPEAKER_01]: But this one just blew by. 29:45.875 --> 29:47.097 [SPEAKER_01]: You didn't really. 29:47.397 --> 29:49.279 [SPEAKER_01]: Pay attention, but yeah, it's important. 29:49.640 --> 29:51.662 [SPEAKER_01]: Yeah, Odo shows up, Bashir Leaves. 29:51.963 --> 29:53.124 [SPEAKER_01]: Odo has bad news. 29:53.885 --> 30:01.415 [SPEAKER_01]: He tells Kira that one of the former members of her resistance cell was killed on Bayjore, Leitha Maeprin. 30:02.216 --> 30:10.727 [SPEAKER_01]: And he says that a small hunter probe was inside the ceremonial candle, and then it fired this disruptor blast. 30:10.867 --> 30:13.270 [SPEAKER_01]: I've never heard of hunter probes before. 30:13.790 --> 30:27.645 [SPEAKER_02]: I think we may have, yeah, I think there may have been a mention of it back when there was another explosion that happened, do you remember it was when, um, where were you on a smash it was there? 30:27.665 --> 30:29.790 [SPEAKER_02]: I don't like it on our name right now. 30:29.770 --> 30:31.693 [SPEAKER_02]: Um, no, there's ratchet. 30:31.713 --> 30:33.136 [SPEAKER_02]: Louise Fletcher. 30:33.236 --> 30:35.700 [SPEAKER_02]: Louise Fletcher quit Louise Fletcher was there. 30:35.720 --> 30:37.102 [SPEAKER_02]: There was an explosion on the station. 30:37.383 --> 30:42.471 [SPEAKER_02]: They were talking about there was like a hunter probe that was looking for cork or something at one point. 30:42.672 --> 30:44.595 [SPEAKER_02]: Oh, and that and he dodged her. 30:44.615 --> 30:47.380 [SPEAKER_01]: Well, there's a lot of hunter probes in this episode. 30:47.500 --> 30:48.141 [SPEAKER_02]: My gosh. 30:48.301 --> 30:50.084 [SPEAKER_01]: But you know, you can't get hunter. 30:50.104 --> 30:51.386 [SPEAKER_02]: He's hunting people. 30:51.406 --> 30:52.388 [SPEAKER_02]: Yeah. 30:52.528 --> 30:52.909 [SPEAKER_02]: And I 30:52.889 --> 30:56.557 [SPEAKER_02]: I've only seen this tech and other sci-fi would be in Dune. 30:56.597 --> 31:07.220 [SPEAKER_02]: They use hunter probes in the Dune film franchise, but not in tracks, so I thought, wow, this is pretty- But this is your, well, you're showing off your well-rounded sci-fi. 31:07.280 --> 31:08.282 [SPEAKER_02]: Yes. 31:08.262 --> 31:09.905 [SPEAKER_02]: I love obsession. 31:10.165 --> 31:10.767 [SPEAKER_02]: I suppose. 31:11.107 --> 31:12.610 [SPEAKER_02]: Yes, you could say that has. 31:12.911 --> 31:13.572 [SPEAKER_02]: And it's hard. 31:13.592 --> 31:14.313 [SPEAKER_02]: I think it's cool. 31:14.674 --> 31:15.355 [SPEAKER_02]: It's hard. 31:15.375 --> 31:15.696 [SPEAKER_00]: It's hard. 31:15.716 --> 31:15.936 [SPEAKER_02]: It's hard. 31:15.956 --> 31:16.938 [SPEAKER_03]: It's very hard. 31:16.958 --> 31:19.042 [SPEAKER_03]: Asian on to have the hunter probe. 31:19.342 --> 31:19.483 [SPEAKER_03]: Yeah. 31:19.523 --> 31:19.783 [SPEAKER_02]: Right. 31:20.003 --> 31:22.087 [SPEAKER_02]: Well, that tracks to does. 31:22.147 --> 31:23.149 [SPEAKER_02]: But it's black market. 31:23.209 --> 31:24.872 [SPEAKER_02]: If you could buy it from the car. 31:24.892 --> 31:25.954 [SPEAKER_02]: Yeah, it's on the black market. 31:26.035 --> 31:27.177 [SPEAKER_02]: So it may not be. 31:27.758 --> 31:27.958 [SPEAKER_02]: Yeah. 31:27.938 --> 31:31.949 [SPEAKER_01]: Odo says, he'll let her know if he hears of anything else. 31:32.270 --> 31:35.780 [SPEAKER_01]: Kira admits in this scene, though, which I think is important. 31:36.322 --> 31:40.634 [SPEAKER_01]: She admits that Leitha was a violent man that he did bad things. 31:41.316 --> 31:43.281 [SPEAKER_01]: So she immediately is kind of like, 31:43.582 --> 31:47.087 [SPEAKER_01]: Well, before he was this monk, he was a violent guy. 31:47.127 --> 31:50.131 [SPEAKER_01]: He was a bad guy, you're kind of saying here. 31:50.672 --> 31:52.395 [SPEAKER_04]: Yeah, well, she's a real strange shooter. 31:52.915 --> 32:00.667 [SPEAKER_03]: I am laying judgment on it, but also she could be saying that he had a lot of enemies. 32:01.568 --> 32:03.250 [SPEAKER_03]: That would possibly do this. 32:04.472 --> 32:05.093 [SPEAKER_04]: That's true. 32:05.774 --> 32:11.462 [SPEAKER_04]: But also, you're super honest about your participation in the occupation. 32:11.442 --> 32:14.727 [SPEAKER_04]: Yeah, but they always, they occupied Bayshore. 32:14.767 --> 32:16.991 [SPEAKER_04]: It's like, well, sorry, fair game. 32:17.051 --> 32:19.715 [SPEAKER_04]: It's like if you're in an ocean and you get eaten by a shark. 32:20.656 --> 32:21.618 [SPEAKER_04]: Who's back yard is it? 32:22.079 --> 32:23.581 [SPEAKER_01]: No. 32:23.601 --> 32:26.545 [SPEAKER_01]: That's what happens with violence and aggression. 32:26.586 --> 32:33.957 [SPEAKER_01]: It breeds more violence and aggression to defend pit themselves and now we're in a cycle of violence, which 32:34.173 --> 32:34.513 [SPEAKER_04]: Right. 32:34.533 --> 32:34.754 [SPEAKER_04]: Yeah. 32:35.034 --> 32:38.679 [SPEAKER_04]: Maybe we don't invade other people's territories. 32:39.239 --> 32:39.940 [SPEAKER_01]: Carol leaves. 32:40.000 --> 32:41.202 [SPEAKER_01]: She goes into her room. 32:41.222 --> 32:43.265 [SPEAKER_01]: Uh, at the upper ions. 32:43.465 --> 32:45.688 [SPEAKER_01]: I realized as you walked into the upper ions. 32:45.728 --> 32:46.989 [SPEAKER_01]: I was like, Oh, yeah. 32:47.050 --> 32:48.972 [SPEAKER_01]: She's still living there. 32:49.272 --> 32:56.822 [SPEAKER_01]: She walks in goes to pray in front of a shrine and suddenly she hears a creepy voice going, that's one like a computer voice kind of. 32:57.460 --> 32:59.022 [SPEAKER_02]: an altered voice. 32:59.203 --> 33:01.626 [SPEAKER_02]: It's altered, but it's very creepy. 33:01.707 --> 33:03.990 [SPEAKER_02]: It's, it's, yeah, our movie could be. 33:04.010 --> 33:09.619 [SPEAKER_04]: Yeah, it says, wait, this is because she gets the announcement that she has an urgent message in the bedroom. 33:09.679 --> 33:11.442 [SPEAKER_04]: Yeah, it interrupts her prayers. 33:11.562 --> 33:12.023 [SPEAKER_02]: Yes. 33:12.163 --> 33:14.046 [SPEAKER_01]: Yeah, there's one message waiting for you. 33:14.366 --> 33:20.616 [SPEAKER_01]: Playback message, she says, and the voice says, that's one, and it's got a picture of Leitha, who just died. 33:21.524 --> 33:34.240 [SPEAKER_04]: That's one and she says replay audio that's one but it doesn't actually sound like that's one It almost sounds like foreign language at first the first time you hear it personated No, I can know it's just chicken. 33:34.260 --> 33:37.184 [SPEAKER_01]: I can that's one that's one. 33:37.565 --> 33:44.173 [SPEAKER_04]: Oh my gosh 33:45.014 --> 34:08.389 [SPEAKER_01]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, 34:08.808 --> 34:15.397 [SPEAKER_01]: That's what Oda thinks and he wants to increase security on the station because Kira's here and she was part of that cell. 34:16.298 --> 34:24.048 [SPEAKER_01]: And Kira does mention in the scene that she's contacted most of the surviving members and warned them about what happened to Leithus. 34:24.068 --> 34:28.935 [SPEAKER_01]: I did like at the end of this scene, Kira says he died serving the prophets, they'll take care of him. 34:29.456 --> 34:30.117 [SPEAKER_01]: And so let's go. 34:30.517 --> 34:32.740 [SPEAKER_01]: Cisco agrees, he says, I'm sure they will. 34:32.720 --> 34:37.328 [SPEAKER_01]: So it's kind of showing his spiritual connection as the MSRA. 34:37.549 --> 34:39.112 [SPEAKER_04]: A little more acceptance from him. 34:39.432 --> 34:39.873 [SPEAKER_01]: Yeah. 34:40.274 --> 34:40.855 [SPEAKER_01]: Yeah. 34:41.275 --> 34:41.496 [SPEAKER_01]: Yeah. 34:42.878 --> 34:43.439 [SPEAKER_01]: Nice scene. 34:44.762 --> 34:45.563 [SPEAKER_01]: Nice close-ups. 34:45.844 --> 34:47.006 [SPEAKER_01]: Mike very hard to get a great job. 34:48.188 --> 34:49.911 [SPEAKER_04]: Just tell me, did you know? 34:50.672 --> 34:51.754 [SPEAKER_01]: And none of that, too. 34:51.875 --> 34:52.075 [SPEAKER_01]: Yes. 34:52.636 --> 34:53.277 [SPEAKER_04]: Just seen. 34:54.050 --> 35:09.004 [SPEAKER_01]: And I did think that Renee, I noticed a different kind of Odo in this episode, generally, but even in this first scene, you know, sometimes their Renee would be, um, 35:10.300 --> 35:13.684 [SPEAKER_01]: He could be not performative, but reactive. 35:13.844 --> 35:15.345 [SPEAKER_01]: Reactive, yes. 35:15.666 --> 35:17.788 [SPEAKER_03]: Reactive is in spread of responsive. 35:18.048 --> 35:22.653 [SPEAKER_03]: And here he was, oh, he was, he was observing. 35:23.194 --> 35:23.754 [SPEAKER_01]: Yeah. 35:23.774 --> 35:27.578 [SPEAKER_03]: Kira, he was observing and thinking about what to do. 35:27.638 --> 35:28.359 [SPEAKER_03]: It was beautiful. 35:28.479 --> 35:29.020 [SPEAKER_03]: I agree. 35:29.480 --> 35:31.182 [SPEAKER_03]: It felt like he had more compassion. 35:31.523 --> 35:32.263 [SPEAKER_01]: Yeah, it was great. 35:32.744 --> 35:33.244 [SPEAKER_01]: Great scene. 35:33.685 --> 35:34.906 [SPEAKER_01]: We go down to the replamat. 35:35.767 --> 35:39.531 [SPEAKER_01]: My first note here, Mike, 35:40.422 --> 35:49.630 [SPEAKER_01]: The close-ups were closer than we're used to on DS9 and yeah, the haircut close-ups like in really tight here. 35:50.071 --> 35:58.058 [SPEAKER_01]: This is Miles, here is sitting in the replamette, Miles comes into check on her, but the close-ups on both of you were just beautiful. 35:59.760 --> 36:00.340 [SPEAKER_01]: Great scene. 36:00.380 --> 36:07.527 [SPEAKER_01]: She says basically in the scene, she wants to be helping, she wants to get out there like the old days with this. 36:07.507 --> 36:17.568 [SPEAKER_01]: with this resistance group and try to help solve this, and Miles says you are helping you're you're protecting someone, you're protecting the baby that you're carrying. 36:17.909 --> 36:20.233 [SPEAKER_01]: So a reminder of that connection. 36:20.294 --> 36:25.785 [SPEAKER_04]: Which has to be frustrating too because it is a mission for sure, but 36:25.765 --> 36:29.652 [SPEAKER_04]: her gut is about getting out there and being active. 36:29.992 --> 36:33.819 [SPEAKER_04]: It's not to sit still and take care of in that way. 36:34.440 --> 36:38.066 [SPEAKER_04]: It's a difficult energy I think for Kira. 36:39.048 --> 36:48.685 [SPEAKER_03]: When the character says, I'm a major in the 36:48.665 --> 36:53.856 [SPEAKER_03]: Why am I not fulfilling my purpose to get out there and do what I'm supposed to do? 36:53.876 --> 36:58.907 [SPEAKER_03]: And it's like, oh, but you're also a female protecting a child. 36:59.208 --> 37:03.296 [SPEAKER_03]: That's the struggle, the work, child thing, rock in the hard place. 37:03.597 --> 37:07.365 [SPEAKER_01]: Great scene, and we don't see the two of you miles and Kira. 37:08.088 --> 37:10.151 [SPEAKER_01]: in scenes just the two of you often. 37:10.472 --> 37:11.073 [SPEAKER_01]: I don't think. 37:11.413 --> 37:15.319 [SPEAKER_04]: I mean, I feel like the last one was when it was uncomfortable. 37:15.740 --> 37:16.101 [SPEAKER_04]: Yeah. 37:16.401 --> 37:20.808 [SPEAKER_04]: And then this would have been nice if there was a little more healing in between. 37:20.848 --> 37:21.189 [SPEAKER_04]: Yeah. 37:21.209 --> 37:22.391 [SPEAKER_04]: That's like it. 37:22.491 --> 37:23.873 [SPEAKER_04]: And okay. 37:23.893 --> 37:26.097 [SPEAKER_04]: I don't want to invade your privacy now. 37:27.018 --> 37:29.522 [SPEAKER_04]: It's like almost too far the other way around. 37:29.806 --> 37:30.187 [SPEAKER_05]: Yes. 37:30.267 --> 37:36.176 [SPEAKER_03]: Well, I guess the writers went, okay, now we got to back off that because that's going to get weird. 37:36.296 --> 37:39.361 [SPEAKER_03]: So, you know, either we go for it or we back off. 37:39.522 --> 37:49.738 [SPEAKER_03]: And it seemed like they backed off so that we could just get to a normal see like why did we put our toe in that to begin with like I always say I wish I had more scenes with cake. 37:49.718 --> 37:53.643 [SPEAKER_03]: Yes, that those are the scenes that are missing 100%. 37:53.964 --> 38:08.903 [SPEAKER_01]: So in the replamat, great scene with Miles and Kira at the end though, Kira gets a call from Odo that there's an incoming message, another message, you know, the last message was, that's one, that's one, that was the other message. 38:09.023 --> 38:14.431 [SPEAKER_01]: Now there's another message coming in and they won't give either their name or location. 38:14.551 --> 38:15.332 [SPEAKER_01]: She's got to come. 38:16.253 --> 38:17.835 [SPEAKER_01]: So she heads up to ops. 38:17.967 --> 38:33.495 [SPEAKER_01]: And now we go in Ops and Oto's there, Cisco's there miles came whether they're trying to trace this call, but it's being scrambled, and Kira goes to answer it at a console, and it's an old friend, it's Trenton Fala. 38:33.914 --> 38:42.872 [SPEAKER_01]: but she's very scared and Kira says it tells the team you know what I know this person she is definitely not a threat. 38:43.473 --> 38:51.670 [SPEAKER_01]: I'm going to go talk to her privately so she goes off to a corner and follow basically says she's terrified that she's going to be killed. 38:51.650 --> 38:57.643 [SPEAKER_01]: And Kira promises to protect her and Kira says, I'll send Warf and Dax to bring her back to DS9. 38:57.923 --> 39:01.391 [SPEAKER_02]: So, Fala is extremely sketched out. 39:01.411 --> 39:06.722 [SPEAKER_02]: It's very squarely, very afraid, and it's basically Kira who says, hey, 39:06.702 --> 39:11.369 [SPEAKER_02]: You're going to be okay because you're going to wait it out with me on the station. 39:11.389 --> 39:16.736 [SPEAKER_02]: I'll protect you because Falle did say to Kira, you promised you to help me, you promised. 39:16.877 --> 39:19.661 [SPEAKER_02]: And we don't really know her connection at this point. 39:19.681 --> 39:24.067 [SPEAKER_02]: We just assume that she is a Chicago resistance rebel, but we don't know exactly what the deal is. 39:24.107 --> 39:28.573 [SPEAKER_02]: And Kira even says, by the way, I'm going to send someone to pick you up. 39:28.834 --> 39:33.641 [SPEAKER_02]: It's going to be two of our officers for Fengizia Dax and they're going to come and get you. 39:34.722 --> 39:35.443 [SPEAKER_02]: Don't worry about it. 39:35.543 --> 39:36.625 [SPEAKER_02]: Everything will be fine. 39:36.976 --> 39:37.477 [SPEAKER_01]: No, not. 39:37.497 --> 39:39.261 [SPEAKER_01]: Did you ever meet this actress? 39:39.281 --> 39:40.364 [SPEAKER_01]: Because I know you shoot. 39:40.604 --> 39:41.988 [SPEAKER_01]: You filmed these separately. 39:42.028 --> 39:42.669 [SPEAKER_03]: No. 39:43.631 --> 39:44.132 [SPEAKER_03]: Never did. 39:44.293 --> 39:45.756 [SPEAKER_03]: She was wonderful. 39:45.776 --> 39:46.979 [SPEAKER_01]: She was so good. 39:47.220 --> 39:48.523 [SPEAKER_01]: And you had chemistry. 39:48.563 --> 39:51.750 [SPEAKER_01]: The two of you on a screen on a video call. 39:51.950 --> 39:53.955 [SPEAKER_01]: Like you felt like real friends. 39:54.323 --> 40:03.034 [SPEAKER_03]: and it just makes it so much worse that I promise that she's gonna be safe, that I feel such responsibility for her safety. 40:03.254 --> 40:05.157 [SPEAKER_03]: It just makes the killing worse. 40:05.817 --> 40:07.580 [SPEAKER_03]: Ron DeMora is so good. 40:09.041 --> 40:09.262 [SPEAKER_03]: Yeah. 40:09.602 --> 40:11.945 [SPEAKER_03]: But he knows how to really, right? 40:11.965 --> 40:14.729 [SPEAKER_02]: Did just twist it in the end, yes. 40:15.630 --> 40:15.910 [UNKNOWN]: Oh, yeah. 40:16.227 --> 40:17.188 [SPEAKER_01]: Well, great scene. 40:17.208 --> 40:19.071 [SPEAKER_01]: I loved that actress. 40:19.131 --> 40:27.604 [SPEAKER_01]: I thought she was really so good and, you know, so far, the guest stars in this episode, I was super impressed. 40:27.624 --> 40:30.748 [SPEAKER_01]: Like they just consistently are really, really good in this episode. 40:30.948 --> 40:43.787 [SPEAKER_02]: We do jump to the runabout, and we do indeed see Jezzi attacks with Warf, and this crazy banner goes on about losing at Tongo, not knowing 40:43.767 --> 41:02.169 [SPEAKER_02]: Tongue champion and this this bickering started to remind me of the bickering when they went to risa I'm like not again, not these dudes stop it already But evidently yes Dax owes almost two not almost a complete two bricks of latinum Which he doesn't even have the full amount. 41:02.189 --> 41:08.256 [SPEAKER_02]: She wants to borrow it from war for his absolutely not so that she says fine I'll bar it from cork then 41:08.236 --> 41:09.318 [SPEAKER_01]: I love this scene. 41:09.379 --> 41:12.566 [SPEAKER_01]: The romantic comedy of it was just totally on point. 41:12.686 --> 41:13.287 [SPEAKER_02]: It was great. 41:13.468 --> 41:13.748 [SPEAKER_02]: Yes. 41:13.989 --> 41:19.501 [SPEAKER_02]: My favorite line is from Warf when he says, I have a graduate of Starfleet Academy. 41:19.942 --> 41:21.265 [SPEAKER_02]: I know many things. 41:21.586 --> 41:22.167 [SPEAKER_02]: That's how he says. 41:22.328 --> 41:24.793 [SPEAKER_02]: And I just love that so much. 41:24.773 --> 41:32.861 [SPEAKER_03]: And also for DAX to get herself in a situation where she's done something wrong. 41:33.181 --> 41:41.209 [SPEAKER_03]: I always appreciate when women and TV shows back then could do something wrong and still be a leading actress. 41:41.910 --> 41:42.150 [SPEAKER_02]: Yes. 41:43.091 --> 41:43.372 [SPEAKER_02]: Great. 41:43.492 --> 41:46.355 [SPEAKER_02]: They get to the location where they're going to beam fellow aboard. 41:46.395 --> 41:51.760 [SPEAKER_02]: And as they're starting to beam, there's a power surge in the buffer, something's wrong. 41:51.740 --> 42:08.886 [SPEAKER_02]: And you see this image of Fala coming in and all of a sudden she's writhing in pain and the next thing you know it for it's Is out it doesn't work and she is a complete mess on the ground and deceased obviously she's a pile of goo on the ground Not even that brown goo. 42:08.906 --> 42:17.479 [SPEAKER_04]: Yeah, it's like bone and they and work and I were doing everything we could to try to make it work You did was she on set for that? 42:17.659 --> 42:18.220 [SPEAKER_03]: No 42:18.554 --> 42:21.400 [SPEAKER_03]: No, because that's, yeah, was all special effects. 42:21.961 --> 42:26.672 [SPEAKER_01]: Yeah, I did like the way that Mike shot the filmed this demon. 42:27.133 --> 42:30.220 [SPEAKER_01]: Like he tied it into Dax and the foreground. 42:30.320 --> 42:32.925 [SPEAKER_01]: The beaming was the visual effects was happening in the background. 42:32.966 --> 42:34.930 [SPEAKER_04]: Yeah, and the foreground with Michael. 42:35.291 --> 42:38.217 [SPEAKER_01]: Yeah, and the foreground, like it was really, 42:38.197 --> 42:40.440 [SPEAKER_01]: You know, integrated into the shots. 42:40.500 --> 42:42.984 [SPEAKER_01]: It didn't feel like cut to a visual effect shot. 42:43.044 --> 42:45.127 [SPEAKER_01]: It felt Right. 42:45.407 --> 42:48.972 [SPEAKER_04]: It's like watching a magic show when they cut away and you're like, come on. 42:49.012 --> 42:51.295 [SPEAKER_01]: Yeah, exactly. 42:51.315 --> 42:53.017 [SPEAKER_01]: Yeah. 42:53.158 --> 42:59.226 [SPEAKER_01]: It did remind me a little of the two VIX episode of Voyager, which is very controversial, by the way. 42:59.577 --> 43:05.767 [SPEAKER_01]: where the transporter combined knee-licks and two-vac into one character. 43:05.787 --> 43:06.768 [SPEAKER_01]: Oh yeah. 43:06.788 --> 43:07.449 [SPEAKER_01]: Two-vicks. 43:08.010 --> 43:08.531 [SPEAKER_01]: Two-vicks. 43:09.332 --> 43:09.432 [SPEAKER_01]: Yeah. 43:09.452 --> 43:11.936 [SPEAKER_01]: I thought we were going to have a two-vicks situation here. 43:12.917 --> 43:15.041 [SPEAKER_02]: But it was worse than that. 43:15.121 --> 43:15.882 [SPEAKER_02]: Way worse. 43:15.862 --> 43:17.925 [SPEAKER_02]: All right, we have a little bit of a passage of time. 43:17.965 --> 43:20.789 [SPEAKER_02]: Now, the runabout is docked at the station. 43:20.889 --> 43:22.391 [SPEAKER_02]: We have Cisco there. 43:22.451 --> 43:23.432 [SPEAKER_02]: Per shears there. 43:24.013 --> 43:27.158 [SPEAKER_02]: Kira is absolutely in the state of shock. 43:27.498 --> 43:29.040 [SPEAKER_02]: And the knowing that her friend is there. 43:29.060 --> 43:30.682 [SPEAKER_02]: She's kind of going through the rubble. 43:30.743 --> 43:33.246 [SPEAKER_02]: And she finds follows earring. 43:34.327 --> 43:36.631 [SPEAKER_02]: It's just a really bad situation. 43:36.651 --> 43:37.973 [SPEAKER_04]: It's her body. 43:37.993 --> 43:39.254 [SPEAKER_02]: Yes, her body rubble. 43:39.455 --> 43:41.317 [SPEAKER_02]: OK, I apologize. 43:41.397 --> 43:42.018 [SPEAKER_04]: No, no. 43:42.038 --> 43:42.679 [SPEAKER_04]: I mean, 43:42.659 --> 43:43.460 [SPEAKER_04]: Yeah, it is. 43:43.480 --> 43:45.263 [SPEAKER_04]: When you said Rubble, it's like, where do we go? 43:45.303 --> 43:46.444 [SPEAKER_04]: We're off in a planet now. 43:46.685 --> 43:48.588 [SPEAKER_01]: What are you just starting to say? 43:48.608 --> 43:49.489 [SPEAKER_01]: It's body rubble. 43:49.649 --> 43:50.650 [SPEAKER_01]: It's body rubble. 43:50.670 --> 43:51.351 [SPEAKER_01]: It's body rubble. 43:51.372 --> 43:53.054 [SPEAKER_01]: No, no, you picked up the earring. 43:53.294 --> 43:54.216 [SPEAKER_01]: You picked up the earring. 43:54.276 --> 43:55.537 [SPEAKER_01]: I didn't catch that detail. 43:55.738 --> 43:56.719 [SPEAKER_05]: Yes. 43:56.739 --> 43:57.080 [SPEAKER_01]: Yes. 43:57.100 --> 44:02.187 [SPEAKER_01]: Because that tracks with later on when you explain the earrings. 44:02.167 --> 44:17.408 [SPEAKER_03]: the that battle and a lot of force and it also brings the spirituality back into it and and also a sense of for me it was the responsibility I felt it's you know that type between us 44:17.388 --> 44:18.049 [SPEAKER_02]: Right. 44:18.069 --> 44:18.249 [SPEAKER_04]: Yeah. 44:18.569 --> 44:24.717 [SPEAKER_02]: Odo has a theory that this was not accidental, that it was in fact a Vermont detonator. 44:25.037 --> 44:31.425 [SPEAKER_02]: It's a device that's programmed to scramble the transporter beam during rematerialization. 44:31.485 --> 44:39.575 [SPEAKER_02]: So that is a horrible device and it's device that's invented by the typically used by Romulans, but sold on the black market. 44:39.775 --> 44:42.579 [SPEAKER_02]: It basically stuck into your skin while you're sleeping. 44:42.719 --> 44:44.261 [SPEAKER_02]: From what are those things going in, Robbie? 44:44.321 --> 44:45.302 [SPEAKER_02]: They're 44:45.282 --> 44:50.394 [SPEAKER_02]: But the things that are constantly used over and over again, the hunter probes. 44:50.414 --> 44:53.822 [SPEAKER_02]: Hunter probes, yeah, hunter probes can inject those things into you. 44:53.842 --> 44:54.985 [SPEAKER_01]: We're all as well. 44:55.005 --> 44:56.168 [SPEAKER_04]: What is it, Robbie? 44:56.508 --> 44:59.496 [SPEAKER_01]: That's going to be, that's going to be my band name. 44:59.536 --> 45:00.177 [SPEAKER_01]: Hunter probes. 45:00.257 --> 45:01.320 [SPEAKER_01]: Hunter probes. 45:01.340 --> 45:02.302 [SPEAKER_01]: To probe. 45:02.823 --> 45:03.966 [SPEAKER_01]: So heavy metal band. 45:03.946 --> 45:04.707 [SPEAKER_03]: Yeah, no. 45:04.767 --> 45:06.150 [SPEAKER_03]: It's actually really a good name. 45:06.250 --> 45:07.752 [SPEAKER_03]: I like the name for that, isn't it? 45:07.912 --> 45:09.094 [SPEAKER_02]: Yeah, yeah, yeah. 45:09.114 --> 45:11.959 [SPEAKER_02]: It was you and the other bad members are all named Hunter. 45:12.179 --> 45:14.523 [SPEAKER_01]: We did learn from care that Falla was a spy. 45:14.563 --> 45:20.432 [SPEAKER_01]: She admits it in the scene that Falla cleaned the floors in a Kardashian records office. 45:20.653 --> 45:21.534 [SPEAKER_01]: She was a spy. 45:21.614 --> 45:23.878 [SPEAKER_01]: She was part of, you know, help them out. 45:23.858 --> 45:30.446 [SPEAKER_01]: And that we learned that follow always felt like someone was going to come and take revenge. 45:30.546 --> 45:33.870 [SPEAKER_01]: So a very vulnerable kind of friend of hers. 45:33.930 --> 45:34.831 [SPEAKER_04]: Very brave. 45:35.372 --> 45:41.600 [SPEAKER_04]: And Kira talks about how she was probably braver than anyone because she had to live with that fear every day. 45:41.640 --> 45:42.400 [SPEAKER_04]: Yes. 45:42.421 --> 45:42.601 [SPEAKER_02]: Right. 45:42.621 --> 45:44.483 [SPEAKER_04]: She's going into the... 45:44.750 --> 45:45.171 [SPEAKER_02]: Right. 45:45.191 --> 45:48.176 [SPEAKER_04]: Bad guys territory. 45:49.017 --> 45:50.259 [SPEAKER_02]: Well, she's the cleaning lady. 45:50.279 --> 45:51.381 [SPEAKER_02]: She's there every day. 45:51.502 --> 45:52.904 [SPEAKER_02]: And she goes with the bag. 45:53.144 --> 45:54.006 [SPEAKER_04]: Yeah, exactly. 45:54.567 --> 45:55.048 [SPEAKER_02]: Yeah, horrible. 45:55.689 --> 46:01.138 [SPEAKER_01]: Okay, we go to the promenade and here's headed towards the temple. 46:01.844 --> 46:04.727 [SPEAKER_01]: And just before she goes through the temple doors, she hears a voice. 46:05.088 --> 46:06.149 [SPEAKER_01]: It's that creepy. 46:06.870 --> 46:10.294 [SPEAKER_02]: That's to all to that little do it. 46:10.474 --> 46:13.698 [SPEAKER_02]: That's to that's dope. 46:13.718 --> 46:14.019 [UNKNOWN]: That's amazing. 46:14.039 --> 46:15.480 [UNKNOWN]: Do you remember those little toys where they had the weird little faces? 46:15.500 --> 46:16.241 [SPEAKER_01]: And they had the fluffy green. 46:16.261 --> 46:27.615 [SPEAKER_04]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no 46:28.709 --> 46:34.137 [SPEAKER_04]: You're always sounded like you were a little troll, but you think it's special effects to my voice. 46:34.158 --> 46:40.007 [SPEAKER_03]: No, they just asked me, would you do a creepy boy to that creepy boy? 46:40.027 --> 46:41.689 [SPEAKER_03]: He says, I it's easy for me. 46:42.110 --> 46:42.531 [SPEAKER_01]: Nice. 46:42.911 --> 46:46.136 [SPEAKER_01]: Well, she hears a voice all the way across the promenade. 46:46.196 --> 46:53.127 [SPEAKER_01]: She turns quark pops up in quarks bar and he's got a hair. 46:53.568 --> 46:54.990 [SPEAKER_01]: Yeah, this is residual. 46:55.010 --> 46:56.032 [SPEAKER_01]: This residual scene. 46:56.072 --> 46:56.893 [SPEAKER_01]: Yes. 46:57.616 --> 47:25.497 [SPEAKER_01]: and he's got a pad and he admits well this pad that I have it was meant for you I don't know how I got it I accidentally must have activated it so he's covering for being the black market thief that he is but it's another message it's a creepy message that's too we go to security office care goes to talk to Odo he wants a list of prominent members of the 47:25.477 --> 47:30.409 [SPEAKER_01]: And then suddenly his monitors fritz we hear that's three. 47:30.810 --> 47:31.612 [SPEAKER_01]: That's three. 47:31.853 --> 47:35.582 [SPEAKER_01]: It's another victim Mo-Mo-Mo-Mo-Bera. 47:36.164 --> 47:37.648 [SPEAKER_01]: Is it Mo-Bera or Mo-Bera? 47:37.969 --> 47:38.771 [SPEAKER_01]: I can't remember. 47:39.011 --> 47:39.813 [SPEAKER_01]: Or is it Mo-Bera? 47:39.833 --> 47:40.234 [SPEAKER_02]: It's Mo-Bera. 47:40.535 --> 47:40.695 [SPEAKER_01]: Mo-Bera. 47:40.735 --> 47:41.297 [SPEAKER_01]: Mo-Bera. 47:41.457 --> 47:41.758 [SPEAKER_01]: Mo-Bera. 47:41.778 --> 47:42.540 [SPEAKER_01]: Mo-Bera. 47:42.520 --> 47:44.363 [SPEAKER_01]: But Kira does know him. 47:44.403 --> 47:46.606 [SPEAKER_01]: He's a teacher at a university. 47:46.626 --> 47:52.394 [SPEAKER_01]: Oh, no, message is the school right away to try to warn them or find out if he's okay. 47:53.014 --> 47:55.598 [SPEAKER_01]: And Kira starts to get very mad in this scene. 47:55.778 --> 47:58.662 [SPEAKER_01]: And this is Renee's empathy during this scene. 47:58.722 --> 47:59.423 [SPEAKER_01]: Beautiful. 48:00.064 --> 48:00.725 [SPEAKER_01]: Beautiful. 48:01.686 --> 48:02.908 [SPEAKER_01]: And I wrote down, 48:03.226 --> 48:14.819 [SPEAKER_01]: Again, great scene, the naturalism in the performance, your performance, Nena, Renee's performance is unusual for Star Trek in this era. 48:15.059 --> 48:22.007 [SPEAKER_01]: We were, everything was often very heightened and theatrical, and I didn't feel that in this episode. 48:22.027 --> 48:29.655 [SPEAKER_01]: I felt very grounded and very, it was naturalism in its best way, and I thought it was great. 48:29.753 --> 48:31.776 [SPEAKER_02]: No, no, no, can I hear you say it with the number three? 48:32.017 --> 48:32.337 [SPEAKER_01]: That's three. 48:32.357 --> 48:33.139 [SPEAKER_01]: That's three. 48:33.760 --> 48:34.561 [SPEAKER_01]: That's three. 48:36.204 --> 48:36.745 [SPEAKER_02]: Thank you. 48:36.765 --> 48:38.989 [SPEAKER_02]: She takes deep dives on command. 48:39.029 --> 48:42.795 [SPEAKER_02]: I. I can really prepare for that. 48:42.996 --> 48:45.380 [SPEAKER_03]: So, you know, you have to be pretty good. 48:45.740 --> 48:46.462 [SPEAKER_03]: Where I was. 48:46.722 --> 48:47.323 [SPEAKER_03]: All right. 48:47.303 --> 48:59.832 [SPEAKER_01]: We go to a corridor, Kira's headed back to her quarters, a security guard is escorting her, and this scene I noticed, Mike Veher, followed you on a dolly down in the corridor. 48:59.912 --> 49:02.899 [SPEAKER_01]: It wasn't a steady cam. 49:03.301 --> 49:26.457 [SPEAKER_01]: which I thought was interesting because often you'll do these walk and talks down hallways on a steady cam but the dolly gives it a more locked off feeling it was just it felt a little it felt good you know in a kind of suspenseful way I thought he did a lot interesting yeah I was waiting to hear what the difference would be for you as a director 49:26.437 --> 49:41.796 [SPEAKER_01]: city cams are always going to have a bit of a float they're going to it's a lie to feel a lie to feel this felt like locked down like someone was marching moving you lock something yeah that yeah because it did have that feeling 49:41.776 --> 49:52.650 [SPEAKER_04]: Because later in the show, when they use a steady cam to follow her, fighting her way back, it's like, it's really a like upsetting. 49:52.830 --> 49:53.091 [SPEAKER_04]: Yeah. 49:53.191 --> 49:53.912 [SPEAKER_04]: So it's nice. 49:53.932 --> 49:57.256 [SPEAKER_04]: It like that's, I think, one of those, maybe he thought of that. 49:57.516 --> 49:57.817 [SPEAKER_01]: Yeah. 49:58.217 --> 49:59.098 [SPEAKER_04]: It's a safe. 49:59.679 --> 50:00.320 [SPEAKER_04]: Yes. 50:01.341 --> 50:01.742 [SPEAKER_01]: Yeah. 50:01.762 --> 50:04.886 [SPEAKER_01]: Well, she goes inside O'Brien's quarters back to her room. 50:04.946 --> 50:10.433 [SPEAKER_01]: The guard comes in first, checks out the room, looks safe. 50:10.413 --> 50:12.756 [SPEAKER_01]: Um, she says she's going to go lie down. 50:12.816 --> 50:13.937 [SPEAKER_01]: She goes in the room. 50:14.218 --> 50:17.081 [SPEAKER_01]: But as soon as the door shut, she hears a thump outside. 50:17.121 --> 50:18.903 [SPEAKER_01]: Another noise. 50:19.524 --> 50:22.488 [SPEAKER_01]: She takes a weapon out of her door. 50:22.508 --> 50:24.190 [SPEAKER_04]: I heard your how about that? 50:24.330 --> 50:26.713 [SPEAKER_01]: There's silk and then there's a weapon. 50:26.733 --> 50:31.459 [SPEAKER_01]: She turns off the lights, steps out into the room, but the guard is not. 50:32.013 --> 50:35.045 [SPEAKER_01]: anywhere to be seen, great suspense beats here, I thought. 50:36.612 --> 50:38.519 [SPEAKER_01]: And somebody moves. 50:39.242 --> 50:41.652 [SPEAKER_01]: We, uh, here says, don't move. 50:42.020 --> 50:43.742 [SPEAKER_01]: And then we hear the voice says, hold it. 50:44.363 --> 50:45.764 [SPEAKER_01]: And then she recognizes the voice. 50:45.784 --> 50:53.313 [SPEAKER_01]: She's like, for all, and the voice says, Narees, and the lights come on, and it's a friend. 50:53.634 --> 50:54.355 [SPEAKER_01]: Two friends. 50:54.935 --> 50:55.556 [SPEAKER_01]: Two friends. 50:55.616 --> 50:56.938 [SPEAKER_01]: Yeah, yeah. 50:56.958 --> 50:59.801 [SPEAKER_01]: And the guard we realize is down on the ground. 51:00.962 --> 51:02.444 [SPEAKER_04]: And it was, he's been knocked out. 51:03.125 --> 51:04.146 [SPEAKER_01]: Yes. 51:04.126 --> 51:07.611 [SPEAKER_01]: They let him up and he says, he'll wait outside so they can catch up. 51:07.872 --> 51:15.884 [SPEAKER_02]: That guard, Robbie, to me, he looks like he's been in the background before as security and that maybe this time he got a line. 51:16.185 --> 51:17.306 [SPEAKER_02]: That's what I thought. 51:17.326 --> 51:18.969 [SPEAKER_02]: And I was so excited for him. 51:19.069 --> 51:20.291 [SPEAKER_01]: Look like a stunt person. 51:20.351 --> 51:24.297 [SPEAKER_02]: Does he look like someone that you guys saw on a regular basis, right? 51:24.658 --> 51:27.262 [SPEAKER_04]: Well, Dennis Maddle on he had those hunky guys. 51:27.322 --> 51:32.530 [SPEAKER_02]: Yes, so that maybe that's one of Dennis' crew who knows. 51:32.510 --> 51:34.132 [SPEAKER_01]: Oh, kind of. 51:34.513 --> 51:36.655 [SPEAKER_01]: I was like, it's a family facial structure. 51:36.836 --> 51:37.997 [SPEAKER_01]: Yeah, all right. 51:38.017 --> 51:38.278 [SPEAKER_01]: Maybe. 51:38.938 --> 51:39.799 [SPEAKER_04]: The blonde version. 51:40.120 --> 51:40.801 [SPEAKER_01]: The blue. 51:41.041 --> 51:41.141 [SPEAKER_01]: Yeah. 51:41.161 --> 51:45.146 [SPEAKER_01]: Well, we realize that her friends got around a very complex security system. 51:45.186 --> 51:46.728 [SPEAKER_01]: So they must be pretty good. 51:46.769 --> 51:48.090 [SPEAKER_02]: They actually beeped in. 51:48.270 --> 51:48.991 [SPEAKER_02]: That's how they got it. 51:49.152 --> 51:49.352 [SPEAKER_04]: Right. 51:49.392 --> 51:50.513 [SPEAKER_04]: They're room. 51:50.694 --> 51:55.179 [SPEAKER_04]: That would take some know how, because you shouldn't be able to just beam on to deep space. 51:55.260 --> 51:55.560 [SPEAKER_04]: Nine. 51:55.620 --> 51:55.920 [SPEAKER_01]: No. 51:56.121 --> 51:57.202 [SPEAKER_01]: Not when it's a security. 51:57.222 --> 51:57.863 [SPEAKER_04]: Just anybody. 51:57.883 --> 51:59.445 [SPEAKER_04]: No good. 51:59.678 --> 52:01.901 [SPEAKER_01]: Do you remember working with these actors, Nina? 52:02.442 --> 52:07.108 [SPEAKER_03]: I do, and I remember there were two gorgeous people. 52:07.389 --> 52:09.311 [SPEAKER_01]: You seem like friends, the three of you. 52:09.331 --> 52:11.855 [SPEAKER_01]: You seem legitimately like friends. 52:12.235 --> 52:15.460 [SPEAKER_03]: That was their energy that they just came in with. 52:15.860 --> 52:16.241 [SPEAKER_03]: You know? 52:16.782 --> 52:27.897 [SPEAKER_03]: There were some actors who can come and go, oh, I'm intimidated by all of this or they go, I own this room because I own what I'm doing and here I am. 52:27.877 --> 52:30.889 [SPEAKER_03]: And those two were definitely the latter. 52:30.929 --> 52:33.519 [SPEAKER_04]: This is my stage. 52:33.720 --> 52:35.929 [SPEAKER_04]: This is my, I belong here. 52:36.820 --> 52:53.444 [SPEAKER_01]: Yeah, I liked the chemistry between the three of you and the little things, like when they mention they've brought you some herbs and you open up the box You know, and it's the bay leaves and your response was like, oh, thank you more herbs was really funny. 52:53.484 --> 53:00.634 [SPEAKER_01]: It established that history that you guys have with these characters have and the chemistry was great. 53:00.614 --> 53:17.408 [SPEAKER_03]: And it also reminded me of like when someone brings you something from if you both lived in New York City and you know, you got to bring cheesecake because it's right, you know, it's just this this this this care that's so lovely that people can do. 53:17.388 --> 53:17.809 [SPEAKER_03]: Yeah. 53:17.929 --> 53:22.195 [SPEAKER_04]: It also brings us to Bayjor and homeworld. 53:22.255 --> 53:22.996 [SPEAKER_04]: It's where she's from. 53:23.016 --> 53:25.860 [SPEAKER_04]: It takes us back to where the occupation happened. 53:26.220 --> 53:30.687 [SPEAKER_03]: I saw Diane played the character on for lunch the other day. 53:30.707 --> 53:33.390 [SPEAKER_03]: Oh, yeah, the day the other month. 53:33.711 --> 53:35.533 [SPEAKER_03]: I was that holy. 53:36.154 --> 53:47.310 [SPEAKER_03]: She is loop is a she's that energy that that that 53:47.560 --> 53:48.361 [SPEAKER_03]: It was lovely. 53:48.501 --> 53:50.363 [SPEAKER_03]: It was really lovely to catch up. 53:50.383 --> 53:51.343 [SPEAKER_01]: She's great. 53:51.363 --> 53:53.225 [SPEAKER_01]: I love that you guys are still in touch. 53:53.665 --> 53:54.106 [SPEAKER_01]: That's awesome. 53:54.246 --> 53:56.348 [SPEAKER_01]: Did you know her before this episode? 53:56.368 --> 53:58.850 [SPEAKER_03]: I think this was a second time they guessed it. 53:59.150 --> 53:59.411 [SPEAKER_01]: Right. 54:00.151 --> 54:02.634 [SPEAKER_03]: But they were that way the first time they guessed it. 54:02.694 --> 54:04.195 [SPEAKER_03]: It's not like they got comfortable. 54:04.215 --> 54:05.957 [SPEAKER_03]: They just are comfortable. 54:06.077 --> 54:06.977 [SPEAKER_03]: You could see it. 54:07.438 --> 54:07.618 [SPEAKER_03]: Yeah. 54:07.638 --> 54:11.121 [SPEAKER_03]: And it just made it so horrible that they died. 54:11.141 --> 54:11.822 [SPEAKER_01]: I know. 54:12.102 --> 54:12.923 [SPEAKER_03]: Just. 54:12.943 --> 54:16.326 [SPEAKER_02]: And just the way they died is horrible too. 54:16.786 --> 54:17.567 [SPEAKER_01]: So yeah. 54:17.547 --> 54:33.371 [SPEAKER_01]: We want the name of who's doing this and will take care of it, which I thought was really, you know, it's just showed how much they love you and they want to protect you, they want to give you herbs for the baby, they want to protect you from this killer, the serial killer. 54:33.451 --> 54:38.699 [SPEAKER_04]: And tell you because they understood you couldn't do it yourself and it was a real active love. 54:38.979 --> 54:39.420 [SPEAKER_00]: Yeah. 54:40.092 --> 54:47.983 [SPEAKER_03]: So it's talk about darkness and light, here it is, they are doing a loving thing by saying, we'll take them out. 54:48.123 --> 54:48.664 [SPEAKER_03]: Don't worry. 54:48.985 --> 54:50.006 [SPEAKER_02]: You're so young. 54:50.367 --> 54:50.547 [SPEAKER_02]: Yes. 54:51.388 --> 54:52.069 [SPEAKER_03]: It's dark. 54:52.309 --> 54:52.770 [SPEAKER_02]: Oh, yeah. 54:53.411 --> 54:54.693 [SPEAKER_03]: It's very dark. 54:54.713 --> 54:56.776 [SPEAKER_03]: And we're all like, yes, go kill him. 54:57.116 --> 54:57.537 [SPEAKER_03]: Yes. 54:57.917 --> 54:58.338 [SPEAKER_03]: Yes. 54:58.398 --> 54:58.719 [SPEAKER_02]: Yes. 54:58.859 --> 55:05.408 [SPEAKER_03]: Because the warm and loving and wonderful and on the side of 55:05.388 --> 55:06.009 [SPEAKER_02]: Yeah. 55:06.029 --> 55:07.172 [SPEAKER_02]: Yeah. 55:07.192 --> 55:12.041 [SPEAKER_02]: They're they're willing to go into the dark to leave you in the light is what that it what it is basically. 55:12.101 --> 55:14.566 [SPEAKER_04]: From the person who thinks you're the darkness. 55:14.586 --> 55:26.670 [SPEAKER_01]: Miles comes back to the quarters at the end of the scene and they pull their guns out and pointed at Miles and 55:26.650 --> 55:28.053 [SPEAKER_02]: He doesn't even have a line though. 55:28.194 --> 55:28.895 [SPEAKER_02]: That's what's so great. 55:28.915 --> 55:34.268 [SPEAKER_02]: It doesn't just reaction, which is he gives good, good face there that's a react to all the craziness. 55:34.368 --> 55:35.892 [SPEAKER_01]: We go to the captain's office next. 55:36.173 --> 55:40.443 [SPEAKER_01]: We find out that Mombara is dead, so the professor at the school. 55:40.763 --> 55:44.372 [SPEAKER_01]: It was a micro explosive behind his ear and 55:44.977 --> 55:47.380 [SPEAKER_01]: I think it was a hunter, my grow explosive. 55:47.520 --> 55:53.448 [SPEAKER_02]: They brought my hunter probe again to how was it, how was it put there by the hunter probe always sleeping? 55:54.148 --> 55:54.249 [SPEAKER_02]: Yeah. 55:54.269 --> 55:57.412 [SPEAKER_02]: So, once again, that technology makes it a hunter probe. 55:57.633 --> 55:58.454 [SPEAKER_02]: It's all over the place. 55:58.794 --> 55:59.555 [SPEAKER_01]: But they're good band. 56:00.256 --> 56:03.300 [SPEAKER_02]: Thank you. 56:03.320 --> 56:04.902 [SPEAKER_02]: I was about that album, I would. 56:05.222 --> 56:05.422 [SPEAKER_02]: Right? 56:05.442 --> 56:07.285 [SPEAKER_04]: Yeah, they really get inside your head. 56:07.345 --> 56:07.705 [SPEAKER_02]: They do. 56:07.725 --> 56:08.967 [SPEAKER_04]: Oh, oh. 56:08.987 --> 56:09.167 [SPEAKER_01]: Oh, oh. 56:09.187 --> 56:10.288 [SPEAKER_01]: They really get inside your head. 56:10.308 --> 56:11.109 [SPEAKER_00]: They do. 56:11.129 --> 56:13.212 [SPEAKER_02]: Oh, oh. 56:14.018 --> 56:16.220 [SPEAKER_01]: Uh, Odo, it's this girl trying to figure it out. 56:16.340 --> 56:20.605 [SPEAKER_01]: Odo thinks this is personal to Kira, yes. 56:20.765 --> 56:23.007 [SPEAKER_01]: And they're trying to send a message to Kira. 56:23.127 --> 56:27.272 [SPEAKER_01]: And she says, well, what's going to happen after they send the message and they're going to kill me. 56:27.932 --> 56:36.962 [SPEAKER_01]: And so, yeah, so this feels like it's just a ticking clock heading towards Kira and this serial killer is coming for her. 56:37.222 --> 56:39.064 [SPEAKER_01]: I love the blocking in this scene. 56:39.044 --> 56:54.808 [SPEAKER_01]: Oto and Sisco are sort of talking, they're moving around, Mike Fahre did a great job, and then he walked them over into this two shot, and you sort of rack-focused off to Ops, and it sort of handed off the scene to continue out in Ops. 56:54.940 --> 56:57.403 [SPEAKER_01]: and tie those together in a beautiful way. 56:57.463 --> 56:58.825 [SPEAKER_01]: I thought the blocking was great. 57:00.407 --> 57:01.508 [SPEAKER_01]: We go out to Ops. 57:01.528 --> 57:02.830 [SPEAKER_01]: Nog is there. 57:02.870 --> 57:09.779 [SPEAKER_01]: Nog is helping, because he's from Starfleet Academy now and he's Starfleet, which I loved. 57:10.019 --> 57:11.000 [SPEAKER_04]: And he has big lobes. 57:11.361 --> 57:12.742 [SPEAKER_01]: Yeah, he's got the big ears. 57:13.243 --> 57:21.133 [SPEAKER_01]: So they're listening to the voice, trying to figure out if they can, you know, somehow deduce who's voice this is. 57:21.113 --> 57:23.057 [SPEAKER_01]: Nog is helping with his great hearing. 57:23.698 --> 57:41.333 [SPEAKER_01]: Dax mentioned she never questions a friend he's hearing at one point nog says something care goes are you sure and she goes all right all right never mind it's very funny reaction there but nog does figure out as a composite of kira's voice 57:41.617 --> 57:55.303 [SPEAKER_01]: and Kira is stunned by this news, frozen, which I kind of liked this because suddenly an alarm goes off, there's an explosion of Ryan's quarters, but Kira is just frozen there still. 57:55.423 --> 58:03.979 [SPEAKER_01]: Like, normally you'd expect Kira to go running off to action, and she's just, she doesn't, yet, which I thought was great. 58:04.381 --> 58:12.294 [SPEAKER_03]: And to mention something about the writing again, the fact that it's my voice, the thing that's scaring me is within me. 58:12.314 --> 58:15.299 [SPEAKER_03]: I think that's talking about darkness and light. 58:15.339 --> 58:17.442 [SPEAKER_03]: That's very, very cool element. 58:17.502 --> 58:19.065 [SPEAKER_03]: Yeah, yeah, exactly. 58:19.085 --> 58:21.208 [SPEAKER_03]: Is it your subconscious? 58:21.914 --> 58:23.657 [SPEAKER_03]: It's within me what I've done. 58:24.518 --> 58:24.679 [SPEAKER_01]: Yeah. 58:24.899 --> 58:27.704 [SPEAKER_03]: That's what you fear, what you are sometimes. 58:28.044 --> 58:28.846 [SPEAKER_03]: That's the biggest thing. 58:28.986 --> 58:41.307 [SPEAKER_03]: I want to also mention that when the explosion goes off and we discover that it's been in the O'Brien's quarters, here's a moment that could be 58:41.287 --> 59:03.617 [SPEAKER_03]: really destroyed by an actor who didn't understand the fact that we met with destruction and devastation, you know, on a daily basis in space and had to respond in a way that was compassionate but had us keep moving forward. 59:03.977 --> 59:06.180 [SPEAKER_03]: And I thought you did that so well, Terry. 59:06.160 --> 59:09.006 [SPEAKER_03]: because you knew miles could be there. 59:09.327 --> 59:10.770 [SPEAKER_03]: You knew what it could mean. 59:10.810 --> 59:12.934 [SPEAKER_03]: And you were all business. 59:13.014 --> 59:14.257 [SPEAKER_03]: It's like this is what I do. 59:14.397 --> 59:15.319 [SPEAKER_03]: This is what I check. 59:15.539 --> 59:16.962 [SPEAKER_03]: This is what I call. 59:16.982 --> 59:18.806 [SPEAKER_04]: Oh, it's crisis mode, right? 59:18.947 --> 59:21.612 [SPEAKER_04]: Crisis mode, not panic mode. 59:21.893 --> 59:23.255 [SPEAKER_04]: No, because you're not going to help. 59:24.278 --> 59:24.979 [SPEAKER_04]: Exactly. 59:25.364 --> 59:26.385 [SPEAKER_05]: Yeah. 59:26.405 --> 59:32.430 [SPEAKER_04]: I look like it have panic mode, but I actually don't, which is, they all, not how I respond. 59:34.792 --> 59:43.600 [SPEAKER_02]: Yes, Kira is definitely in a state of shock, but once she gets her senses about her, she is gone like a jack rabbit straight to the O'Brien quarters. 59:44.401 --> 59:45.522 [SPEAKER_02]: We're going through the corridor. 59:45.943 --> 59:47.224 [SPEAKER_02]: This is the shot. 59:47.304 --> 59:47.724 [SPEAKER_02]: Yeah. 59:47.744 --> 59:49.125 [SPEAKER_04]: I was talking about, right? 59:49.406 --> 59:55.371 [SPEAKER_04]: She, it's not safe and, and Kira is 59:55.351 --> 59:58.175 [SPEAKER_04]: I was like, yeah, I mean, she's pregnant. 59:58.255 --> 01:00:00.518 [SPEAKER_04]: She's just, you were remarkable. 01:00:00.759 --> 01:00:02.421 [SPEAKER_02]: Every single person in Jakira. 01:00:02.642 --> 01:00:10.873 [SPEAKER_02]: Yes, one after another, they're trying to stop her because if she opens the door, now she's gonna vent everything out in this space because it's, you know, basically including herself. 01:00:10.974 --> 01:00:17.062 [SPEAKER_02]: Including herself, but I just love, yeah, just the camera work, everything, it's so, so much suspense going on. 01:00:17.443 --> 01:00:18.725 [SPEAKER_02]: She beats the crap out of three. 01:00:18.745 --> 01:00:20.127 [SPEAKER_02]: Is it three different people? 01:00:20.608 --> 01:00:20.888 [SPEAKER_02]: It's great. 01:00:21.228 --> 01:00:22.811 [SPEAKER_02]: They're all like coming up to where are you going? 01:00:22.871 --> 01:00:24.413 [SPEAKER_04]: Major, you can't go in, you know? 01:00:24.393 --> 01:00:27.315 [SPEAKER_04]: Then she collapses when she gets to the door. 01:00:27.335 --> 01:00:28.116 [SPEAKER_02]: Don't she collapses? 01:00:28.136 --> 01:00:28.997 [SPEAKER_02]: She doesn't. 01:00:29.017 --> 01:00:29.978 [SPEAKER_04]: But we know that. 01:00:30.518 --> 01:00:36.103 [SPEAKER_04]: I swear, I like had a little emotional recall and Braxton Hicks when that happened. 01:00:36.143 --> 01:00:41.207 [SPEAKER_04]: It was like, oh, that's like, weez, just knocks you down. 01:00:41.227 --> 01:00:47.272 [SPEAKER_01]: Then now you said you had just had your real life baby a month or so before this. 01:00:47.452 --> 01:00:50.635 [SPEAKER_01]: And here you are doing stunts and fat scenes. 01:00:51.096 --> 01:00:53.978 [SPEAKER_01]: Do you remember the challenge of that? 01:00:54.177 --> 01:00:58.682 [SPEAKER_03]: I very, very, clearly remember the challenge of that. 01:00:58.862 --> 01:01:06.011 [SPEAKER_03]: And I remember that at the time in the 90s, being pregnant was like, oh, you wanted to lose your job. 01:01:06.491 --> 01:01:11.237 [SPEAKER_03]: And it was a gift that they didn't fire me or didn't put me in the background. 01:01:11.818 --> 01:01:17.524 [SPEAKER_03]: So I was, I, I thought if anyone pays for this, it's not going to be the crew. 01:01:18.025 --> 01:01:20.708 [SPEAKER_03]: It's not going to be anybody but me. 01:01:20.688 --> 01:01:26.644 [SPEAKER_03]: And I put, like, everyone was so kind, people were constantly trying to get me chairs. 01:01:27.085 --> 01:01:27.988 [SPEAKER_03]: I wouldn't take them. 01:01:28.670 --> 01:01:36.992 [SPEAKER_03]: It's like, nope, I'm gonna stand, because there's not gonna be any difference between me being pregnant and not pregnant, which was, 01:01:36.972 --> 01:01:51.405 [SPEAKER_03]: huge foolishness on my part, and you know, it's not sustainable and I did damage to myself in all kinds of ways by not taking care of better care and letting people take care of me. 01:01:52.666 --> 01:01:58.191 [SPEAKER_03]: But I do remember how hard it was, and you know, my baby was in the trailer. 01:01:58.272 --> 01:02:06.439 [SPEAKER_03]: So I was doing these scenes and then going back to Django, going to, you know, 01:02:06.419 --> 01:02:07.661 [SPEAKER_01]: They're for your child. 01:02:07.721 --> 01:02:09.163 [SPEAKER_01]: You're being, oh my gosh. 01:02:09.343 --> 01:02:09.804 [SPEAKER_03]: Yeah. 01:02:09.864 --> 01:02:13.228 [SPEAKER_03]: And when Grizzling Buster was at school, he'd be there too. 01:02:13.268 --> 01:02:14.410 [SPEAKER_03]: My first son as well. 01:02:15.051 --> 01:02:18.756 [SPEAKER_03]: So it was, it was, uh, it was a lot. 01:02:20.278 --> 01:02:20.618 [SPEAKER_05]: Yeah. 01:02:20.638 --> 01:02:31.853 [SPEAKER_04]: I do remember you being pregnant and earlier on then this part of it, but and draped across two directors chairs, the high ones. 01:02:32.153 --> 01:02:44.751 [SPEAKER_04]: There she is with her high heels on and a little baby belly and I like you dress Yeah, how about those heels and she's pregnant and she's cute. 01:02:44.771 --> 01:02:45.172 [SPEAKER_04]: Yep. 01:02:45.192 --> 01:02:45.492 [SPEAKER_04]: Boom. 01:02:45.512 --> 01:02:45.712 [SPEAKER_04]: Boom. 01:02:45.732 --> 01:02:46.493 [SPEAKER_04]: Boom. 01:02:46.513 --> 01:02:47.034 [SPEAKER_02]: Boom. 01:02:47.054 --> 01:02:47.154 [SPEAKER_02]: Yeah. 01:02:47.174 --> 01:02:54.104 [SPEAKER_02]: I'm now thinking about that John Claude Van Damme commercial where his legs are doing splits on two trucks and the now's doing that on two directors chairs. 01:02:54.224 --> 01:03:00.253 [SPEAKER_04]: Yes, that's that's well You're in remarkable shape 01:03:00.419 --> 01:03:01.680 [SPEAKER_04]: Carried. 01:03:02.001 --> 01:03:02.481 [SPEAKER_01]: Carried. 01:03:02.501 --> 01:03:10.810 [SPEAKER_01]: It's up all the guards while she's carrying a baby and then she passes out She faints on the floor. 01:03:11.431 --> 01:03:12.892 [SPEAKER_00]: You fainted very well, by the way. 01:03:12.952 --> 01:03:14.714 [SPEAKER_00]: Not everybody can do that. 01:03:14.914 --> 01:03:24.504 [SPEAKER_02]: You passed out very well Because she fainted with suspense because the thing is that door little button was right still there So she goes to her knee first. 01:03:24.524 --> 01:03:25.245 [SPEAKER_02]: You're thinking she's still in 01:03:25.225 --> 01:03:27.208 [SPEAKER_02]: it open it, she's still going to open it. 01:03:27.629 --> 01:03:31.315 [SPEAKER_02]: And then she looks and you even kind of look at the button for a second and then you pass out. 01:03:31.335 --> 01:03:41.353 [SPEAKER_04]: So it's like you almost, I just knew she couldn't open the door because she wouldn't be on the show next week. 01:03:42.194 --> 01:03:42.855 [SPEAKER_03]: I felt safe. 01:03:42.915 --> 01:03:46.862 [SPEAKER_03]: Although we could keep cutting back to Kira on space. 01:03:47.939 --> 01:03:51.507 [SPEAKER_04]: And that's what you would look like that's for where she goes. 01:03:51.527 --> 01:03:52.870 [SPEAKER_04]: Oh, there she is. 01:03:52.890 --> 01:03:54.293 [SPEAKER_04]: No, no, no, she would be dark. 01:03:54.314 --> 01:03:55.416 [SPEAKER_04]: She would be his face going. 01:03:55.917 --> 01:03:56.679 [SPEAKER_04]: That is dark. 01:03:56.699 --> 01:03:57.581 [SPEAKER_04]: That's space. 01:03:58.042 --> 01:03:58.984 [SPEAKER_02]: That's space. 01:03:59.505 --> 01:04:00.929 [SPEAKER_02]: Or open the door. 01:04:00.969 --> 01:04:02.372 [SPEAKER_02]: Open that mess. 01:04:02.412 --> 01:04:03.114 [SPEAKER_02]: Something like that. 01:04:03.354 --> 01:04:04.176 [SPEAKER_02]: Perfect. 01:04:04.156 --> 01:04:09.284 [SPEAKER_01]: She passes out, which takes us to maybe my favorite scene in this episode in the infirmary. 01:04:09.484 --> 01:04:15.634 [SPEAKER_01]: I wrote, at the top of my notes, great job making great performances, great writing, this scene is so good. 01:04:16.155 --> 01:04:21.844 [SPEAKER_01]: But sheer standing over Kira, she's on the bio bed, tells her that Lupisa and Farel are dead. 01:04:22.550 --> 01:04:29.968 [SPEAKER_01]: and odor arrives, beautiful tabloids, beautiful lighting, simple staging, but just elegant, so good. 01:04:30.469 --> 01:04:35.682 [SPEAKER_04]: Is this the one that opens with her alone in Bashir and that sort of really dark lit? 01:04:36.674 --> 01:04:38.137 [SPEAKER_01]: Yes, very dark. 01:04:38.317 --> 01:04:39.118 [SPEAKER_01]: Yes. 01:04:39.138 --> 01:04:41.182 [SPEAKER_04]: Except for kind of a spotlight on the two of them. 01:04:41.643 --> 01:04:42.945 [SPEAKER_04]: Yeah, that was gorgeous. 01:04:42.985 --> 01:04:43.446 [SPEAKER_01]: Beautiful. 01:04:43.947 --> 01:04:44.108 [SPEAKER_04]: Great. 01:04:44.588 --> 01:04:45.330 [SPEAKER_01]: Odo comes in. 01:04:45.350 --> 01:04:53.625 [SPEAKER_01]: But she goes to wait outside here at tells Odo how she met them, how she joined the resistance when she was very young. 01:04:54.446 --> 01:04:57.251 [SPEAKER_01]: Long speeches for you in this episode and on. 01:04:57.271 --> 01:04:59.796 [SPEAKER_01]: This is one of the first ones. 01:04:59.776 --> 01:05:15.270 [SPEAKER_01]: But this is where Mike Vahar kept the camera way back and just slowly pushed in during a very long monologue from a big wide shot of the whole room and you guys were small in the frame pushing all the way into a very tight close-up. 01:05:15.638 --> 01:05:17.179 [SPEAKER_01]: with the tears you mentioned before. 01:05:17.420 --> 01:05:24.726 [SPEAKER_01]: Not easy to do as an actor or for the camera that dolly grips everybody's got to be working together. 01:05:25.187 --> 01:05:26.688 [SPEAKER_03]: Which was thrilling. 01:05:26.908 --> 01:05:31.933 [SPEAKER_03]: That was so fun to be creating with the camera. 01:05:32.033 --> 01:05:33.735 [SPEAKER_03]: Yeah, it's bonding, right? 01:05:34.035 --> 01:05:36.137 [SPEAKER_03]: Everyone had to do their job right. 01:05:36.657 --> 01:05:39.019 [SPEAKER_03]: Yeah, I just mean everybody had to. 01:05:39.039 --> 01:05:41.021 [SPEAKER_02]: Yeah, a true collaboration. 01:05:41.121 --> 01:05:45.105 [SPEAKER_02]: And when you guys pulled it off at the end, 01:05:45.085 --> 01:05:47.970 [SPEAKER_03]: It was, it was, it really was. 01:05:47.990 --> 01:05:48.912 [SPEAKER_03]: It was cool. 01:05:50.013 --> 01:05:55.323 [SPEAKER_01]: Well, Cara tells us in this speech during this beautiful shot, tells us how she joined the resistance. 01:05:55.383 --> 01:06:10.148 [SPEAKER_01]: She was very young, how she fought in her first battle, and they won this battle, and how her earring we learned was made by Lupus from the metal on this Kardashian skimmer that they had attacked. 01:06:10.297 --> 01:06:15.066 [SPEAKER_02]: It's also Lupus who stuck up for Kira when she was a teenager. 01:06:15.166 --> 01:06:21.578 [SPEAKER_02]: So you now know the bonding yeah, the bonding was almost like this was her older sister in a way, right? 01:06:21.598 --> 01:06:29.712 [SPEAKER_02]: So this is you feel more for the two that have just been taken out by whoever it may be at this point. 01:06:29.732 --> 01:06:30.634 [SPEAKER_02]: We don't know. 01:06:30.614 --> 01:06:34.439 [SPEAKER_02]: but it's very, it's a very effective monologue and it's a beautiful story. 01:06:34.619 --> 01:06:35.961 [SPEAKER_02]: Yeah, really well done. 01:06:36.121 --> 01:06:37.583 [SPEAKER_02]: Everything you hit all the points. 01:06:38.224 --> 01:06:44.192 [SPEAKER_02]: How was your experience doing this shooting this scene other than the fact that you guys nailed everything perfectly? 01:06:44.612 --> 01:06:47.196 [SPEAKER_02]: Any other notes or any other comments? 01:06:47.316 --> 01:06:52.723 [SPEAKER_03]: Again, it was that feeling of needing to 01:06:52.703 --> 01:07:11.067 [SPEAKER_03]: to go beyond what I thought I could do, to get it right because you, not only did I feel a sense of responsibility to the very difficult move that the camera operators were doing in the camera of this whole. 01:07:11.047 --> 01:07:28.482 [SPEAKER_03]: but the writing that was that told the story and then I feel the responsibility to every 13 year old who has ever lived who has fought for their people and so there's all this sense of 01:07:28.715 --> 01:07:34.064 [SPEAKER_03]: I've got two, two minutes to do them justice. 01:07:34.605 --> 01:07:35.006 [SPEAKER_00]: You did. 01:07:35.066 --> 01:07:35.987 [SPEAKER_00]: You really did. 01:07:36.027 --> 01:07:36.849 [SPEAKER_04]: You really did. 01:07:37.330 --> 01:07:38.131 [SPEAKER_00]: Beautifully done. 01:07:38.151 --> 01:07:38.512 [SPEAKER_04]: Yeah. 01:07:39.193 --> 01:07:46.425 [SPEAKER_04]: You took that responsibility on and you accomplished it out in the stratosphere. 01:07:47.166 --> 01:07:47.868 [SPEAKER_01]: Perfect. 01:07:48.108 --> 01:07:51.634 [SPEAKER_01]: Do you remember if I don't have a real script in front of me, but 01:07:52.272 --> 01:07:54.478 [SPEAKER_01]: there were tears at the end of the story. 01:07:54.739 --> 01:07:56.544 [SPEAKER_01]: Do you remember was that scripted? 01:07:56.604 --> 01:07:58.870 [SPEAKER_01]: Was that a conversation you have with the director? 01:07:59.010 --> 01:08:00.775 [SPEAKER_01]: Was that just... 01:08:00.855 --> 01:08:03.583 [SPEAKER_03]: It was a conversation with the director. 01:08:03.643 --> 01:08:04.425 [SPEAKER_01]: Yeah. 01:08:04.743 --> 01:08:12.070 [SPEAKER_03]: And when it should happen, so that and and with the camera guys, we won't be close in enough. 01:08:12.811 --> 01:08:16.254 [SPEAKER_03]: So it's we are on this line. 01:08:16.455 --> 01:08:17.135 [SPEAKER_03]: We are here. 01:08:17.175 --> 01:08:18.997 [SPEAKER_03]: That's when it can happen. 01:08:19.658 --> 01:08:28.426 [SPEAKER_03]: So and and of course, I didn't want to be weeping because that didn't feel right either. 01:08:28.466 --> 01:08:31.189 [SPEAKER_03]: That would have been a sense of, um, 01:08:32.587 --> 01:08:45.433 [SPEAKER_03]: It's self-indulgence, maybe, and it wasn't that, it was just, you know, when when your eyes tear and you can't control it, it's just happening. 01:08:46.255 --> 01:08:48.840 [SPEAKER_03]: So that that was, 01:08:49.529 --> 01:08:51.492 [SPEAKER_03]: That was another thing to hit. 01:08:51.972 --> 01:08:54.536 [SPEAKER_01]: Yeah, I wonder if you did a lot of takes of this. 01:08:54.676 --> 01:08:56.659 [SPEAKER_01]: I would guess not to be honest. 01:08:56.679 --> 01:08:57.360 [SPEAKER_03]: No, one. 01:08:57.560 --> 01:09:01.806 [SPEAKER_03]: No, I think we did like two takes. 01:09:01.827 --> 01:09:01.987 [SPEAKER_03]: Yeah. 01:09:02.007 --> 01:09:04.510 [SPEAKER_03]: I think it was very, very limited. 01:09:04.590 --> 01:09:06.153 [SPEAKER_03]: And that was part of the excitement. 01:09:06.453 --> 01:09:06.713 [SPEAKER_04]: Yeah. 01:09:06.733 --> 01:09:08.977 [SPEAKER_03]: It was either the first take or the second take. 01:09:09.217 --> 01:09:10.138 [SPEAKER_03]: We didn't do a lot. 01:09:10.339 --> 01:09:14.845 [SPEAKER_04]: Oh, and it must have taken a long time to set up with a lighting and everything. 01:09:14.825 --> 01:09:22.300 [SPEAKER_03]: Yeah, I remember the camera's being above, it was like they were, they were coming down toward me. 01:09:22.580 --> 01:09:27.129 [SPEAKER_01]: Kira wants to know from Odo if he has any suspects at the end of the scene. 01:09:27.189 --> 01:09:32.540 [SPEAKER_01]: He says, well, I've narrowed it down about 25 names, but he won't share the names with her yet. 01:09:32.720 --> 01:09:33.762 [SPEAKER_01]: She wants to know. 01:09:34.315 --> 01:09:39.462 [SPEAKER_01]: He says, no, and she says, oh, yeah, probably because I would charge right after them. 01:09:39.482 --> 01:09:43.287 [SPEAKER_01]: And he says, yeah, you probably would get something like that. 01:09:43.427 --> 01:09:44.208 [SPEAKER_01]: Yeah. 01:09:44.228 --> 01:09:50.457 [SPEAKER_01]: So he says, I'll keep you informed, just relax and rest, and he leaves the room. 01:09:50.757 --> 01:09:59.749 [SPEAKER_01]: And suddenly, Kira jumps up goes over the computer, requests an emergency transport and gives her code, and 01:09:59.948 --> 01:10:12.801 [SPEAKER_01]: where she going, well, we cut to the security office and she beams in ahead of Odo, goes to his computer, puts some information down let some names into a pad, and then transports out. 01:10:13.842 --> 01:10:25.533 [SPEAKER_01]: And again, Mike integrated this beaming out, just as Odo comes in the door, so it wasn't cut to the visual effect shot, cut to the story, it was all tied together. 01:10:25.854 --> 01:10:28.116 [SPEAKER_01]: Yeah, he just comes around the corner. 01:10:28.703 --> 01:10:49.193 [SPEAKER_01]: comes around the corner and just misses her, we know that, but he comes in suddenly looks at the chair, which is facing the wrong way, yeah, that detail, that chair's not the way that I leave it and he asked the computer to locate Kira, computer says she's not on the station. 01:10:49.865 --> 01:11:05.983 [SPEAKER_02]: Oh, I just want to say with the prior the prior scene with Odo, it really showed the relationship of Kira and Odo of how close they are because when he, you know, when she says, can I see it, the list? 01:11:05.963 --> 01:11:11.291 [SPEAKER_02]: just the way he says that it's so he lets her down so gently he's like not just yet. 01:11:11.792 --> 01:11:12.993 [SPEAKER_02]: I'd like to narrow it a little. 01:11:13.093 --> 01:11:16.438 [SPEAKER_02]: I mean because he already knew if he showed her that list he'd be gone. 01:11:16.478 --> 01:11:27.735 [SPEAKER_02]: So I just again I just love how Odo and Kira's relationship has developed over these years and you can definitely see how close and how much he cares for Kira in that prior scene. 01:11:27.715 --> 01:11:35.809 [SPEAKER_01]: Yeah, this happens as a big leap forward, I think, in feeling that, not just talking about it or no. 01:11:36.430 --> 01:11:37.812 [SPEAKER_04]: There's a film quality. 01:11:37.832 --> 01:11:40.397 [SPEAKER_01]: It's capable to this show. 01:11:40.417 --> 01:11:41.198 [SPEAKER_01]: Yeah. 01:11:41.218 --> 01:11:44.103 [SPEAKER_04]: Because of how realistic and you really get it. 01:11:44.464 --> 01:11:46.007 [SPEAKER_01]: Here it beams out of security. 01:11:46.027 --> 01:11:48.471 [SPEAKER_01]: Otos can't find her on the station. 01:11:48.611 --> 01:11:50.314 [SPEAKER_01]: We cut into a runabout and she's, 01:11:50.665 --> 01:12:12.943 [SPEAKER_01]: getting a weapon and a try quarter out of the locker on this run about I'd never seen that before that was like oh I guess I've missed a few episodes I didn't know that's where they hid them where we put them she is arming up in the captain's office really tight close ups here panning around as they move 01:12:13.193 --> 01:12:22.161 [SPEAKER_01]: which is not easy to do for focus pullers and all those people, but Mike Vayar with his super close-ups was did a great job. 01:12:23.042 --> 01:12:28.007 [SPEAKER_01]: Odo says that Kira erased all the names from his computers, so they don't even know where to look for it right now. 01:12:28.988 --> 01:12:32.131 [SPEAKER_01]: And Cisco tells Worf to prepare the defiant. 01:12:32.931 --> 01:12:35.293 [SPEAKER_01]: Worf, they're going to follow the ion trail. 01:12:35.634 --> 01:12:42.340 [SPEAKER_01]: Worf says, well, she may be hiding the ion trail, 01:12:42.320 --> 01:12:43.281 [SPEAKER_01]: Did you notice that? 01:12:43.722 --> 01:12:44.163 [SPEAKER_04]: Yeah. 01:12:44.924 --> 01:12:45.505 [SPEAKER_04]: Oh, yes. 01:12:45.525 --> 01:12:47.428 [SPEAKER_04]: And did you see Otos reaction to it? 01:12:47.448 --> 01:12:50.953 [SPEAKER_04]: Like, that was unnecessary. 01:12:51.134 --> 01:12:51.394 [SPEAKER_01]: Okay. 01:12:51.414 --> 01:12:55.561 [SPEAKER_01]: So off they go to take the defiant and try to save Kira. 01:12:55.761 --> 01:13:04.935 [SPEAKER_01]: We have a shot in space at the runabout with Kira Narisa's personal law, where she says, I've eliminated three of the suspects from Otos list. 01:13:04.915 --> 01:13:07.520 [SPEAKER_01]: I'm satisfied that none of them could have committed the murders. 01:13:07.620 --> 01:13:14.192 [SPEAKER_01]: The fourth name is Solar and Prinn, a Cardassian living on a planet near the DMC. 01:13:15.233 --> 01:13:17.778 [SPEAKER_04]: So... Demilitarized zone, right? 01:13:18.038 --> 01:13:18.419 [SPEAKER_01]: Yes. 01:13:18.660 --> 01:13:20.022 [SPEAKER_04]: That's not good. 01:13:20.002 --> 01:13:21.003 [SPEAKER_01]: that's can't be good. 01:13:21.223 --> 01:13:23.746 [SPEAKER_01]: And then we see a shot of this like it looks like a trailer. 01:13:24.427 --> 01:13:26.229 [SPEAKER_01]: He's it's like he's living in a trailer. 01:13:26.509 --> 01:13:26.910 [SPEAKER_01]: Yeah. 01:13:26.930 --> 01:13:27.831 [SPEAKER_04]: He's been a cool. 01:13:28.151 --> 01:13:31.014 [SPEAKER_04]: It looks that is very elevated sci-fi. 01:13:31.435 --> 01:13:32.195 [SPEAKER_02]: Why? 01:13:32.215 --> 01:13:38.502 [SPEAKER_02]: It looks a lot like the beginning of a card where they were Patrick Stewart goes to find Michelle Hertz character, Raffee. 01:13:38.803 --> 01:13:40.224 [SPEAKER_02]: She's living in the desert in a trailer. 01:13:40.484 --> 01:13:42.066 [SPEAKER_02]: Just like that. 01:13:42.126 --> 01:13:43.528 [SPEAKER_02]: It's probably the same trailer. 01:13:43.568 --> 01:13:45.570 [SPEAKER_02]: That's a lot like it. 01:13:45.550 --> 01:13:47.733 [SPEAKER_01]: Kara beams into this trailer. 01:13:47.833 --> 01:13:49.054 [SPEAKER_01]: She starts scanning. 01:13:49.094 --> 01:13:50.376 [SPEAKER_01]: It's kind of creepy. 01:13:50.576 --> 01:13:51.357 [SPEAKER_04]: Get out. 01:13:51.578 --> 01:13:52.919 [SPEAKER_04]: What are you doing in there? 01:13:53.220 --> 01:13:54.121 [SPEAKER_01]: It's a horror movie. 01:13:54.261 --> 01:13:55.603 [SPEAKER_01]: It feels like a horror movie. 01:13:55.623 --> 01:13:56.944 [SPEAKER_01]: Yeah, it's true. 01:13:56.964 --> 01:13:58.927 [SPEAKER_04]: Without the scary music, right? 01:13:59.267 --> 01:14:01.830 [SPEAKER_01]: I could have kept having visions of the movie seven. 01:14:02.611 --> 01:14:11.963 [SPEAKER_01]: That sort of like serial killer suspends like the way that Salar and started talking in like the third person and 01:14:11.943 --> 01:14:18.098 [SPEAKER_04]: Also that whole thing where it's focused on her, but everything around Cara is darkness. 01:14:18.520 --> 01:14:18.983 [SPEAKER_01]: Yeah. 01:14:19.216 --> 01:14:19.637 [SPEAKER_04]: Right? 01:14:19.757 --> 01:14:20.678 [SPEAKER_04]: She's in the light. 01:14:21.138 --> 01:14:22.320 [SPEAKER_04]: She is in the light. 01:14:23.161 --> 01:14:23.521 [SPEAKER_01]: Oh, my God. 01:14:23.682 --> 01:14:24.583 [SPEAKER_01]: I am a metaphor. 01:14:24.603 --> 01:14:26.305 [SPEAKER_04]: She's surrounded by darkness. 01:14:26.605 --> 01:14:27.166 [SPEAKER_04]: Yes. 01:14:27.987 --> 01:14:30.730 [SPEAKER_04]: That is the, also the magic of the director. 01:14:31.211 --> 01:14:32.332 [SPEAKER_03]: Yeah. 01:14:32.352 --> 01:14:44.127 [SPEAKER_03]: And I think it's really interesting that Rondi Moore used the third person because that's a really great way to separate yourself from doing harm. 01:14:44.107 --> 01:14:48.392 [SPEAKER_03]: is just seeing somebody as an it, not an entity anymore. 01:14:49.052 --> 01:14:50.895 [SPEAKER_03]: It swams, it's scared. 01:14:51.375 --> 01:14:52.757 [SPEAKER_03]: There's a disconnect. 01:14:52.777 --> 01:14:54.018 [SPEAKER_03]: There's no compassion. 01:14:54.719 --> 01:14:55.339 [SPEAKER_04]: Yeah. 01:14:55.359 --> 01:15:01.426 [SPEAKER_04]: Also, Kudos to our friend Jonathan West beautiful. 01:15:01.666 --> 01:15:08.494 [SPEAKER_04]: Yeah, as I was saying that it's just wow, we haven't mentioned him, but really great work on his 01:15:09.065 --> 01:15:12.008 [SPEAKER_03]: And this actor, he is wonderful. 01:15:12.088 --> 01:15:14.150 [SPEAKER_01]: He's going to be wonderful. 01:15:14.350 --> 01:15:17.373 [SPEAKER_01]: And this whole scene is a long scene. 01:15:17.774 --> 01:15:19.075 [SPEAKER_01]: It's like a one-act play. 01:15:19.115 --> 01:15:21.918 [SPEAKER_01]: This one scene is almost like a one-act play. 01:15:21.978 --> 01:15:23.659 [SPEAKER_01]: It just goes on and on. 01:15:23.699 --> 01:15:25.041 [SPEAKER_01]: We get a lot of backstory. 01:15:25.201 --> 01:15:29.645 [SPEAKER_01]: So when she first arrives, lots of thriller suspense shots. 01:15:30.746 --> 01:15:36.692 [SPEAKER_01]: She turns around, sees in their shoots at the figure, 01:15:36.672 --> 01:15:37.013 [SPEAKER_01]: him. 01:15:37.073 --> 01:15:39.317 [SPEAKER_01]: It's a holiday program goes right through. 01:15:39.337 --> 01:15:45.248 [SPEAKER_01]: And then he shoots from the darkness and knock and takes her out. 01:15:45.910 --> 01:15:49.597 [SPEAKER_01]: It must have been set on stun knocks her out stuns her. 01:15:49.897 --> 01:15:58.073 [SPEAKER_01]: Then he picks her up puts her on a bed with a bright light turns on a kind of force field around her to hold her on the bed and wakes her up. 01:15:58.694 --> 01:16:02.659 [SPEAKER_01]: And yeah, he's talking the third person creeping around through the shadows. 01:16:02.859 --> 01:16:04.602 [SPEAKER_04]: We get a good look at his scar. 01:16:05.062 --> 01:16:05.563 [SPEAKER_01]: Yes. 01:16:06.164 --> 01:16:08.547 [SPEAKER_04]: Like his skin boiled it so awful. 01:16:08.887 --> 01:16:10.149 [SPEAKER_04]: Well, died Michael Westmore. 01:16:10.329 --> 01:16:16.978 [SPEAKER_01]: You draw him out with your kind of confidence and you're not panicking. 01:16:17.018 --> 01:16:18.880 [SPEAKER_01]: You're very much at ease there. 01:16:18.944 --> 01:16:28.960 [SPEAKER_04]: But you could still feel her urgency to get this taken care of that her, she's writing on the edge of imminent death with this man. 01:16:30.001 --> 01:16:30.342 [SPEAKER_04]: Right. 01:16:30.883 --> 01:16:32.585 [SPEAKER_04]: And she has to protect the baby. 01:16:32.966 --> 01:16:45.205 [SPEAKER_04]: Well, the babies, the only thing that can possibly save her until he says about she's the darkness and the baby is the light and it's saved the baby. 01:16:45.185 --> 01:16:47.874 [SPEAKER_04]: It's like, I'm thinking, wow, it's just a couple of weeks. 01:16:47.954 --> 01:16:51.345 [SPEAKER_04]: Can't you just keep her there hostage for a couple of weeks? 01:16:52.609 --> 01:16:52.729 [SPEAKER_04]: Right. 01:16:52.750 --> 01:16:54.756 [SPEAKER_04]: That gives her more time to get out. 01:16:54.871 --> 01:16:58.117 [SPEAKER_01]: Yeah, it's a very dense complicated scene. 01:16:58.477 --> 01:17:14.284 [SPEAKER_03]: I remember how difficult to still have the hormones of having a baby, just having had a baby, and to speak about being cut open about fear for a baby's life. 01:17:15.125 --> 01:17:17.389 [SPEAKER_03]: It was very intense. 01:17:17.890 --> 01:17:18.972 [SPEAKER_03]: I thought it was. 01:17:18.952 --> 01:17:25.875 [SPEAKER_03]: very intense and to be victimized to be held like that. 01:17:26.136 --> 01:17:28.444 [SPEAKER_03]: It was it was a difficult time. 01:17:28.464 --> 01:17:30.210 [SPEAKER_01]: I bet it was a very difficult scene. 01:17:30.241 --> 01:17:35.248 [SPEAKER_04]: How was it for you to try to, you know, shake that off as an actor? 01:17:35.268 --> 01:17:37.511 [SPEAKER_03]: I wasn't good at it back then. 01:17:37.571 --> 01:17:49.228 [SPEAKER_03]: I've sensed really found that you need a protocol to get out of that because as we all know, you put yourself in that place and your body, 01:17:49.208 --> 01:17:52.571 [SPEAKER_03]: is blind to the fact that it's storytelling. 01:17:52.751 --> 01:17:54.093 [SPEAKER_03]: We believe our stories. 01:17:54.573 --> 01:18:00.319 [SPEAKER_03]: So, you know, my body was traumatized by what I was doing. 01:18:00.719 --> 01:18:03.202 [SPEAKER_03]: And I wasn't good at getting out of that back then. 01:18:03.242 --> 01:18:05.684 [SPEAKER_03]: It starts to become part of your personality. 01:18:06.325 --> 01:18:08.227 [SPEAKER_03]: When you're in there, you don't know how to shake it off. 01:18:08.587 --> 01:18:16.735 [SPEAKER_03]: If you don't know how to step out, it definitely does because then your body tells your 01:18:16.715 --> 01:18:38.211 [SPEAKER_04]: We are not safe, and then your body reaffirms that to your brain and now you're in a cycle, now you're in a side of being emotionally stretched away to thin, and then you're in that the vagus nerve that gets in your amygdala going to go on like, oh my gosh, we're fight or flight, fight or flight every day. 01:18:38.452 --> 01:18:42.739 [SPEAKER_01]: We do learn in this scene that Selaren was a servant. 01:18:43.073 --> 01:18:53.252 [SPEAKER_01]: uh... for uh... a high ranking cardazzy and uh... gal peroch and that salar and cleaned uniforms for gal peroch at his home 01:18:53.857 --> 01:19:13.785 [SPEAKER_01]: And we learned that Kira and these fighters, they bombed his home basically, snuck in, planted a bomb right outside his bedside bedroom window, and he didn't, they didn't just kill Gal Parak, they killed lots of people in discriminant killing. 01:19:13.945 --> 01:19:19.473 [SPEAKER_01]: He says 12 Kardashians killed 23 crippled a lot of destruction in death. 01:19:20.274 --> 01:19:20.995 [SPEAKER_01]: Yeah. 01:19:21.329 --> 01:19:22.912 [SPEAKER_01]: And that's where he was wounded. 01:19:22.952 --> 01:19:26.981 [SPEAKER_01]: That's where he got all of these scars, these horrible scars in him. 01:19:27.001 --> 01:19:31.229 [SPEAKER_04]: And she also says, though, this was during the occupation. 01:19:31.249 --> 01:19:32.712 [SPEAKER_04]: You came to our planet. 01:19:32.873 --> 01:19:37.482 [SPEAKER_04]: You took all of our food, our resources. 01:19:38.693 --> 01:19:40.475 [SPEAKER_04]: So it didn't matter who you were. 01:19:40.516 --> 01:19:43.940 [SPEAKER_04]: You were still not supposed to be on our planet. 01:19:44.721 --> 01:19:45.462 [SPEAKER_03]: Period, right? 01:19:45.482 --> 01:19:46.524 [SPEAKER_03]: You're in the military. 01:19:46.804 --> 01:20:01.725 [SPEAKER_03]: It's interesting because duet looked at a man who was innocent, but was serving Kardashians who felt an overwhelming guilt for not speaking up for knowing what was going on. 01:20:02.306 --> 01:20:04.549 [SPEAKER_03]: And even though he didn't do 01:20:04.529 --> 01:20:08.936 [SPEAKER_03]: And he damaged, he felt the responsibility for his people. 01:20:09.357 --> 01:20:24.881 [SPEAKER_03]: And here we have someone who worked for a Cardassian, another Cardassian, who felt the bitterness only, and didn't feel what Harris Yuling did into that. 01:20:25.082 --> 01:20:27.686 [SPEAKER_03]: The bitterness of those herbs you were forced to take. 01:20:29.248 --> 01:20:32.173 [SPEAKER_04]: Seriously, but that's like how it all kind of... Yeah. 01:20:32.778 --> 01:20:43.986 [SPEAKER_01]: Well, there's a real philosophical debate in this scene or debate or conversation about who's innocent and who's guilty, who's the good guy and who's the bad guy. 01:20:44.320 --> 01:20:52.453 [SPEAKER_01]: and it just kind of depends on what side you're looking at it from, you know, from Kira's side, they were innocent. 01:20:52.473 --> 01:20:55.057 [SPEAKER_01]: And they were just fighting to protect themselves and from his side. 01:20:55.117 --> 01:20:57.842 [SPEAKER_01]: He's, I clean uniforms like I'm innocent. 01:20:58.463 --> 01:20:59.564 [SPEAKER_01]: Why do you kill me? 01:20:59.624 --> 01:21:01.027 [SPEAKER_01]: Why do you kill the family? 01:21:01.087 --> 01:21:06.936 [SPEAKER_01]: So they're a great, philosophical debate about guilt and innocence about darkness and light. 01:21:06.916 --> 01:21:09.805 [SPEAKER_03]: And actually what it's about is the gray and between. 01:21:09.825 --> 01:21:15.964 [SPEAKER_02]: I think Ron really in this Ron more really made sure to show everyone that 01:21:16.957 --> 01:21:22.086 [SPEAKER_02]: There's accusations being thrown and valid points on both sides. 01:21:22.106 --> 01:21:27.375 [SPEAKER_02]: So how do you vacillate back and forth to say, who is right in this situation? 01:21:27.936 --> 01:21:32.523 [SPEAKER_02]: Cause in reality, they're both kind of right and they're both kind of wrong at the same time. 01:21:32.643 --> 01:21:34.066 [SPEAKER_02]: So it's such a dilemma. 01:21:34.326 --> 01:21:35.949 [SPEAKER_03]: And he totally gets to me. 01:21:36.310 --> 01:21:38.914 [SPEAKER_03]: I saw Kira. 01:21:38.894 --> 01:21:42.447 [SPEAKER_03]: reacting with fury. 01:21:43.692 --> 01:21:47.807 [SPEAKER_03]: And I don't think it was all from self-righteousness. 01:21:48.349 --> 01:21:50.136 [SPEAKER_03]: I think it was 01:21:50.504 --> 01:22:00.118 [SPEAKER_03]: Yeah, I've got to protect myself from these thoughts too, and I, I, I, I know, I know, yeah, you were in survival mode. 01:22:00.539 --> 01:22:17.203 [SPEAKER_02]: Yes, I also feel like the, you know, you're kind of combatose at the very end of this thing where you're just sitting there and everyone shows up, you know, to say to you. 01:22:17.183 --> 01:22:32.359 [SPEAKER_02]: you know, everything that you almost died, but also the philosophical, the ethics behind it, the moral argument, you're in completely shut down mode where you're like, oh my god, you're questioning your own beliefs and stuff. 01:22:32.800 --> 01:22:35.867 [SPEAKER_02]: It's just such a moving episode and so many things that think about. 01:22:36.235 --> 01:22:49.079 [SPEAKER_03]: What does she say about innocent sometimes innocence is just an excuse for the guilty and sometimes, you know, you say, hey, it's not me, I didn't participate in that. 01:22:49.199 --> 01:22:51.303 [SPEAKER_03]: Well, you didn't participate. 01:22:51.503 --> 01:22:52.525 [SPEAKER_03]: Does that make you guilty? 01:22:52.565 --> 01:22:54.008 [SPEAKER_03]: Maybe it does. 01:22:53.988 --> 01:23:13.566 [SPEAKER_03]: but were you complicit there's that kind of guilt as well and also I think she's talking about herself it's it's this dark place of realizing yeah I call myself a freedom fighter he called me a terrorist and and living with that gray area 01:23:13.546 --> 01:23:26.191 [SPEAKER_04]: Yeah, and sometimes we don't have the perspective until years go by to look back at our behavior and say, Oh, now I see it from the other person's point of view. 01:23:26.211 --> 01:23:28.315 [SPEAKER_04]: I thought I was right. 01:23:29.290 --> 01:23:34.216 [SPEAKER_04]: And I thought so hard, and I wish I would have been a little bit slower. 01:23:34.236 --> 01:23:54.522 [SPEAKER_04]: I mean, this is different because it's a fight, but still, the being able to see the complete picture many times when when you're acting on emotion and the drive and the collective energy around you a lot of times, you don't have time to it's hard to take the time to sit with yourself. 01:23:54.502 --> 01:24:01.128 [SPEAKER_04]: to have a bigger picture, if you're acting on fear and feelings, it's not on logic. 01:24:01.148 --> 01:24:03.070 [SPEAKER_03]: And here she is looking at his face. 01:24:03.230 --> 01:24:05.172 [SPEAKER_03]: She's looking at what she did. 01:24:05.512 --> 01:24:12.318 [SPEAKER_03]: This is the, you know, the lasting, and what you were talking about, Robbie, that there is lasting damage. 01:24:13.019 --> 01:24:14.940 [SPEAKER_03]: It's not just someone had to get killed. 01:24:15.020 --> 01:24:23.648 [SPEAKER_03]: It's someone who lives with this pain that you caused. 01:24:23.948 --> 01:24:32.592 [SPEAKER_01]: darkness and light, is such a perfect title because, um, and Kira sort of learns it at the end that, that, 01:24:33.652 --> 01:24:37.976 [SPEAKER_01]: Both things can be true for all of us, that we can have both of these things. 01:24:38.997 --> 01:24:41.459 [SPEAKER_01]: And in a way, I would argue it's not gray. 01:24:41.900 --> 01:24:44.562 [SPEAKER_01]: It's actually darkness, and it's light. 01:24:44.882 --> 01:24:46.044 [SPEAKER_01]: It's both things. 01:24:46.344 --> 01:24:47.545 [SPEAKER_01]: It's not a blend of them. 01:24:47.725 --> 01:24:51.188 [SPEAKER_01]: It's both separate things that we have inside of us. 01:24:51.308 --> 01:24:55.152 [SPEAKER_01]: And to try to say, oh, well, my side is right and that side is wrong. 01:24:55.512 --> 01:25:00.537 [SPEAKER_01]: No, we both have darkness and both sides of that argument 01:25:00.753 --> 01:25:02.235 [SPEAKER_01]: darkness and light. 01:25:03.076 --> 01:25:06.500 [SPEAKER_01]: And to deny that, you know, that no, we just have the light. 01:25:06.580 --> 01:25:07.742 [SPEAKER_01]: We don't have any darkness. 01:25:07.842 --> 01:25:08.503 [SPEAKER_01]: It's not true. 01:25:09.224 --> 01:25:09.484 [SPEAKER_01]: Right. 01:25:09.504 --> 01:25:10.886 [SPEAKER_01]: I guess either side of that. 01:25:10.906 --> 01:25:12.628 [SPEAKER_04]: That's what I was trying to say, too. 01:25:12.648 --> 01:25:16.513 [SPEAKER_04]: In the moment you feel like yourself righteous. 01:25:16.653 --> 01:25:17.274 [SPEAKER_01]: I'm right. 01:25:17.394 --> 01:25:18.836 [SPEAKER_01]: I'm only in the light. 01:25:18.916 --> 01:25:19.677 [SPEAKER_01]: I'm doing this. 01:25:19.697 --> 01:25:22.481 [SPEAKER_04]: I can't see my darkness when I'm fighting for my light. 01:25:22.741 --> 01:25:22.981 [SPEAKER_01]: Yes. 01:25:23.522 --> 01:25:29.730 [SPEAKER_04]: I almost wish they wouldn't have said anything else 01:25:29.710 --> 01:25:43.737 [SPEAKER_04]: He wanted to protect the innocent and separate the darkness from the light, but he didn't realize the light only shines in the dark and sometimes the line you've finished in the sense is just an excuse for the guilty. 01:25:44.864 --> 01:25:49.951 [SPEAKER_04]: And I love how Ron Moore puts this, the capsule hates it. 01:25:50.091 --> 01:25:51.934 [SPEAKER_04]: So well, that's a good writing. 01:25:52.675 --> 01:25:56.721 [SPEAKER_01]: I like that, and we've kind of jumped around between these last two scenes. 01:25:56.841 --> 01:26:02.088 [SPEAKER_01]: But she does, just to recap for everybody, he's going to cut the baby off because the baby's innocent. 01:26:02.148 --> 01:26:04.131 [SPEAKER_01]: She says, give me some acidity at least. 01:26:04.512 --> 01:26:05.893 [SPEAKER_01]: Show some compassion. 01:26:06.094 --> 01:26:06.875 [SPEAKER_01]: Which he does. 01:26:07.015 --> 01:26:08.177 [SPEAKER_01]: He shows compassion. 01:26:08.257 --> 01:26:10.620 [SPEAKER_01]: He has some light in him. 01:26:11.101 --> 01:26:11.361 [SPEAKER_02]: Right. 01:26:11.421 --> 01:26:14.145 [SPEAKER_02]: But what he does not know that that baby is not. 01:26:14.328 --> 01:26:17.615 [SPEAKER_02]: But Joran, it is a human baby with a special. 01:26:18.056 --> 01:26:18.959 [SPEAKER_02]: He doesn't know that. 01:26:18.979 --> 01:26:21.965 [SPEAKER_02]: Look, yeah, but I'm saying initially, he doesn't know that. 01:26:22.025 --> 01:26:25.794 [SPEAKER_02]: Then she makes him saying, this is the reason why you can't do this. 01:26:26.295 --> 01:26:29.723 [SPEAKER_02]: And then finally, she says, just give me a set of, if this is going to have to happen. 01:26:30.044 --> 01:26:31.527 [SPEAKER_02]: And that is the key. 01:26:31.507 --> 01:26:41.358 [SPEAKER_02]: because I think she realizes that, hey, I'm full of Makara herbs, I'll be fine, and then that's when she pretends to knock out when he releases the force field. 01:26:42.039 --> 01:26:46.163 [SPEAKER_02]: She does a quick kick to his chest, picks up the face, or it takes him out. 01:26:46.424 --> 01:26:48.967 [SPEAKER_02]: That's the, it's the end of Silleri. 01:26:48.987 --> 01:26:49.968 [SPEAKER_01]: And she kills him. 01:26:50.428 --> 01:26:50.588 [SPEAKER_02]: Yeah. 01:26:51.069 --> 01:27:00.079 [SPEAKER_01]: And she's left with that as well. 01:27:00.413 --> 01:27:10.322 [SPEAKER_01]: But she also says the herbs, counteracted the sedative that he gave her to sedate her, and that's why she was able to pretend to sleep. 01:27:10.977 --> 01:27:12.659 [SPEAKER_01]: and take him out and it saved her life. 01:27:13.480 --> 01:27:20.689 [SPEAKER_01]: And then she responds, you know, he was talking about all these metaphors and his kind of third person way of speaking. 01:27:21.110 --> 01:27:25.575 [SPEAKER_01]: And I like that Kira in this scene starts to talk in metaphors. 01:27:26.216 --> 01:27:30.221 [SPEAKER_01]: She kind of carries on what how he was speaking a moment before. 01:27:30.261 --> 01:27:31.703 [SPEAKER_05]: Yeah. 01:27:31.683 --> 01:27:40.715 [SPEAKER_01]: that she's taken some of that, you know, in a good way, taken on some of that perspective and the lessons of that. 01:27:40.816 --> 01:27:53.533 [SPEAKER_01]: And she's speaking in the metaphors, the way he was speaking into, I thought all of that work together beautifully, it's great. 01:27:53.553 --> 01:28:00.002 [SPEAKER_01]: After all these heavy conversations about philosophy and deep thoughts and meaning, my lesson is, 01:28:00.269 --> 01:28:02.834 [SPEAKER_01]: always take your prescribed medication. 01:28:03.355 --> 01:28:05.238 [SPEAKER_01]: You never know when it might save your life. 01:28:05.739 --> 01:28:06.801 [SPEAKER_04]: Oh, I love it. 01:28:07.623 --> 01:28:08.805 [SPEAKER_04]: Listen to your doctor. 01:28:08.865 --> 01:28:11.771 [SPEAKER_01]: Take your ears because it will save your life. 01:28:12.011 --> 01:28:12.853 [SPEAKER_01]: What is yours, Terry? 01:28:13.013 --> 01:28:19.024 [SPEAKER_04]: Mine was sometimes you have to live in the gray to see your part in something. 01:28:19.065 --> 01:28:21.008 [SPEAKER_04]: Slow down. 01:28:21.389 --> 01:28:21.990 [SPEAKER_02]: Be present. 01:28:22.949 --> 01:28:24.794 [SPEAKER_02]: the Nadia lesson or theme. 01:28:24.974 --> 01:28:27.761 [SPEAKER_03]: I'm there with with Terry. 01:28:27.942 --> 01:28:34.919 [SPEAKER_03]: I also love what Robbie said about there's accepting both the the black and white of ourselves. 01:28:35.100 --> 01:28:36.503 [SPEAKER_03]: I think I go 01:28:36.618 --> 01:29:00.432 [SPEAKER_03]: Darkness and light is easier to think because black and white, that kind of thinking really eliminates you looking inward and going what is my part, what do I need to accept, what is my darkness, and what is my intended light, and how can I turn that darkness into something useful for the world and the people around me. 01:29:00.412 --> 01:29:15.464 [SPEAKER_03]: So, yeah, definitely the self-examination of dark and light in us that's important in order to find the light, don't deny the darkness. 01:29:15.805 --> 01:29:17.188 [SPEAKER_03]: Then you get self-righteous. 01:29:17.168 --> 01:29:17.569 [SPEAKER_02]: Yeah. 01:29:17.589 --> 01:29:23.378 [SPEAKER_02]: My lesson for this episode of my theme is when you decide to go on a revenge spree, bring back up. 01:29:23.698 --> 01:29:24.259 [SPEAKER_02]: I have two. 01:29:24.359 --> 01:29:28.185 [SPEAKER_02]: My other lesson is never get in the way of a pregnant mother. 01:29:29.106 --> 01:29:30.949 [SPEAKER_04]: That is true. 01:29:31.370 --> 01:29:33.173 [SPEAKER_04]: I would definitely say yes to that. 01:29:33.974 --> 01:29:36.838 [SPEAKER_02]: What is our Patreon poll winner for theme slash more of this episode? 01:29:36.898 --> 01:29:44.610 [SPEAKER_04]: It is submitted by Andrew 01:29:44.590 --> 01:30:01.018 [SPEAKER_02]: All right, everyone, please join us next time when we will be reviewing and discussing the episode, the begotten, and that will be with Armin, so stay tuned for that, and thank you again, Terra for joining Robby and I, and of course, the wonderful Nadah. 01:30:01.038 --> 01:30:02.019 [SPEAKER_01]: Thank you, Nadah. 01:30:03.462 --> 01:30:04.003 [SPEAKER_03]: Huge pleasure. 01:30:04.263 --> 01:30:04.844 [SPEAKER_03]: Thanks, guys. 01:30:05.105 --> 01:30:09.552 [SPEAKER_02]: For love our Patreon patrons, please 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