WEBVTT

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[SPEAKER_02]: Hello everyone, welcome to the Delta Flyers journey through the wormhole with Quark Dax and their good friends Tom and Harry.

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[SPEAKER_02]: Join us as we make our way through episodes of Star Trek Deep Space Nine.

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[SPEAKER_03]: Your host for today are my fellow Trek actors, Armin Shiverman, Robert Duncan McNeill, and myself, Garrett Wong.

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[SPEAKER_03]: For the complete and exciting version of this podcast, please check out patreon.com forward slash the Delta Flyers and sign up to become a patron today.

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[SPEAKER_01]: Hello, I was thinking while I was watching the show the other day that, oh my god, we're more than halfway through all seven seasons.

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[SPEAKER_01]: Oh yeah, yeah, look at that.

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[SPEAKER_01]: Yeah, congratulations to you.

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[SPEAKER_01]: Thank you.

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[SPEAKER_01]: I wasn't, you know, I only share them with Terry, you're there at every single one.

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[SPEAKER_02]: Great.

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[SPEAKER_02]: Yeah, but congratulations on this new experience of watching your show.

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[SPEAKER_02]: I mean, now that we're more than halfway through.

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[SPEAKER_02]: How does it feel like globally like taking a bird's eye view of watching the whole show?

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[SPEAKER_01]: It's better than I remember it.

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[SPEAKER_01]: Although I must say that I hadn't watched it for decades.

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[SPEAKER_01]: So to be reintroduced to episodes that I couldn't remember at all including this one I love this episode, but but I don't remember doing it.

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[SPEAKER_01]: I didn't have much to do in it But what the there is is choice and it's a great experience I actually understand now why why a lot of people tell me DS9 is their favorite forgive me boys

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[SPEAKER_02]: I agree with you.

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[SPEAKER_02]: I understand.

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[SPEAKER_02]: I didn't understand it because I had this presumption.

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[SPEAKER_02]: Oh, it's a soap opera.

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[SPEAKER_02]: It's just a bunch of people stuck on a space station.

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[SPEAKER_02]: It's a soap opera.

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[SPEAKER_02]: It's going to be like that.

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[SPEAKER_02]: It's not.

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[SPEAKER_02]: It's come big ideas.

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[SPEAKER_02]: It tackles story areas that I don't think any other Star Trek show has done as sophisticated as you guys did.

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[SPEAKER_02]: And it one thing that for me a bird's eye view is as I watched this show, I feel like

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[SPEAKER_02]: Your show, maybe like all the trucks, you kind of go through cruise control a little while, and then suddenly there's these things, like this episode, I feel like, oh my god, the whole, you know, all the rules are changing again, and you guys have done that a few times already on the show.

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[SPEAKER_02]: It's interesting.

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[SPEAKER_01]: Yeah, I ran company, the writers used to shake it up quite a bit.

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[SPEAKER_01]: I mean, there's a couple of, oh, my god moments in this episode.

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[SPEAKER_01]: We went, whoa, I certainly, I didn't remember it, but if for the audience watching it for the first time, that must have been a shock.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: It's very good.

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[SPEAKER_01]: And you're right.

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[SPEAKER_01]: All the start tricks that I've ever seen start off slow, they they're looking for their footing.

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[SPEAKER_01]: They eventually find it usually sometime early in the in the first season of the second season.

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[SPEAKER_01]: And then they take off ours is certainly one of those.

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[SPEAKER_01]: And I'm very glad for Michael Dorn.

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[SPEAKER_01]: who brought a lot of the audience back to Deep Space Nine, and that was the reason in my home of why they hired him.

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[SPEAKER_01]: Not the Michael is in a wonderful actor and a great addition to the cast, but they knew that somebody from TNG would spark people to come back and just check him out on the new show on the old show.

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[SPEAKER_01]: And they did, and they found it well, this is better than I remembered, and now me watching it 30 years later, I am very proud of the work we did.

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[SPEAKER_03]: Yeah.

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[SPEAKER_03]: You should be.

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[SPEAKER_03]: It definitely the show definitely pushes the envelope more than the other tracks.

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[SPEAKER_01]: And we are, and if I may, yeah, one of the things that happens in this episode, that happens in other episodes, I don't think it happened that much on others.

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[SPEAKER_01]: I'm done expert, but this episode is propelled more.

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[SPEAKER_01]: by our recurring guest stars, then it is by the series regulars.

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[SPEAKER_01]: The series regulars, of course, take part and have quite a bit to do, but it is the recurring characters that make this episode so wonderful.

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[SPEAKER_02]: Yeah, I agree.

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[SPEAKER_02]: I think the heart of this episode is not with necessarily the series regulars, but the heart of it, the emotional core, is with recurring characters.

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[SPEAKER_02]: And that's unusual, fair and unusual.

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[SPEAKER_01]: Yeah, and it's because we stayed in one place.

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[SPEAKER_01]: Everybody got to know these recurring characters really well.

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[SPEAKER_01]: They didn't disappear.

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[SPEAKER_01]: We didn't fly off and leave them behind.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: Always there.

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[SPEAKER_01]: And they could take over as they do in this episode and push the envelope and do it extremely well.

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[SPEAKER_03]: Yeah.

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[SPEAKER_03]: Agreed.

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[SPEAKER_03]: And as you said before, Armin, because Voyager started right after

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[SPEAKER_03]: DS9, or at least Ira, the opportunity to sort of not work with somebody over his shoulder, watching him in the entire time.

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[SPEAKER_03]: So he was able to do some things that other showrunners could not.

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[SPEAKER_03]: So, yeah.

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[SPEAKER_01]: Laced extraction.

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[SPEAKER_03]: Yes, extraction.

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[SPEAKER_03]: All right.

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[SPEAKER_03]: We've got some birthdays.

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[SPEAKER_02]: Yes.

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[SPEAKER_02]: Our first birthday is Nick Cook West on March 18th, Nick happy birthday.

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[SPEAKER_03]: Happy birthday, Nick.

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[SPEAKER_03]: Happy birthday Nick.

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[SPEAKER_03]: Next up on March 19th, a day later.

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[SPEAKER_03]: What a wonderful day because that's the day that Shannon Bane was born.

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[SPEAKER_03]: Happy birthday Shannon.

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[SPEAKER_03]: Happy birthday.

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[SPEAKER_03]: Happy birthday Shannon.

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[SPEAKER_03]: All right, let's get right into this with some poetry synopsis starting off with Robbie and his limerick.

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[SPEAKER_02]: You know what?

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[SPEAKER_02]: I am so proud of myself these days.

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[SPEAKER_02]: I just want to bask in the glow of my own self-love right now because

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[SPEAKER_02]: I, it took me like, how long have you been doing this podcast, Garrett?

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[SPEAKER_02]: Okay, six years.

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[SPEAKER_02]: Yes.

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[SPEAKER_02]: And I've always tried to capture the entire plot, like the A story, the B story and make it funny in the end.

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[SPEAKER_02]: And I've abandoned that and I went to, I've been inspired by Terry's heartfelt poetry.

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[SPEAKER_02]: All of the others that I've been inspired just to go, no, what moved me and focused on that?

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[SPEAKER_02]: Okay, so here is my limerick, my heartfelt limerick for this episode.

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[SPEAKER_02]: Garrix lies in deceit are an art.

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[SPEAKER_02]: It appeared he had a truly selfish heart, but his softness slipped through.

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[SPEAKER_02]: When a mentor he knew said, I was proud son and it mended his heart.

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[SPEAKER_01]: Actually, actually, as an acting teacher pardon me.

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[SPEAKER_01]: Can you go back and do that again and hit the word appeared?

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[SPEAKER_01]: Yes, I can.

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[SPEAKER_02]: Let's see how that sounds.

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[SPEAKER_02]: Alright, Garyx lies in deceit are an art.

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[SPEAKER_02]: It appeared he had a truly selfish heart.

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[SPEAKER_02]: But his softness slipped through.

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[SPEAKER_02]: When a mentor he knew said I was proud son and it mended his heart.

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[SPEAKER_02]: And that's better.

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[SPEAKER_03]: Thank you for the note.

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[SPEAKER_03]: That's so cool.

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[SPEAKER_03]: Maybe that should be part of it from now on.

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[SPEAKER_03]: I'm going to say the arm and directs us in octane.

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[SPEAKER_01]: No, no, no.

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[SPEAKER_01]: It's just incredibly important in Shakespeare when you're doing Shakespeare.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: That the difference between what they call substance and shadow is make clear appear is shadow.

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[SPEAKER_01]: Purgatory shadow shadow as opposed to substance.

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[SPEAKER_01]: The substance was the good heart the appearance is what's different You and you have to in Shakespeare any way in order for an audience to understand you have to make that really clear Contrasted very yes very clearly.

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[SPEAKER_03]: Oh good.

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[SPEAKER_03]: Thank you for the note.

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[SPEAKER_03]: All right.

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[SPEAKER_03]: Here's my high coup for in Purgatory's shadow Garic must fine-tain

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[SPEAKER_03]: Real Bashir, Mar-Talk captured.

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[SPEAKER_03]: Uh-oh, spaghetti!

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[SPEAKER_03]: Too many syllables in that last weekend finished it, but that is to show that it is a cliff to part of it.

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[SPEAKER_03]: Exactly.

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[SPEAKER_03]: Because like this, like, get it?

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[SPEAKER_00]: No.

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[SPEAKER_00]: It's a good one.

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[SPEAKER_00]: Excellent.

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[SPEAKER_00]: Yeah.

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[SPEAKER_03]: That was Megan's idea.

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[SPEAKER_03]: She was like, what if you did this, and then you didn't say the, oh, because it meant it continued to another episode to be, I said, hey, why not?

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[SPEAKER_03]: So it's great.

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[SPEAKER_01]: Excellent.

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[SPEAKER_01]: Excellent.

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[SPEAKER_01]: Megan.

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[SPEAKER_01]: Excellent.

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[SPEAKER_01]: And now with a little etymology from Armand.

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[SPEAKER_01]: Okay, so speaking of Latin, the word purgatory comes from Latin for those of you who speak Latin forgive my poor pronunciation, purgatorium, purgatorium, that's the Latin.

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[SPEAKER_01]: It is a condition or place of spiritual purging and purification in Roman Catholic belief, a state in which

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[SPEAKER_01]: in the grace of God suffer for a time because they still need to be cleansed from the venial sins they have to pay for.

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[SPEAKER_01]: So that's the that's the Kingdom Roman Catholic definition of purgatory and the OED's definition.

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[SPEAKER_01]: of Purgatory, the word was first used in English in what looks like 1225, so Purgatory obviously has been around for a long time because it's been part of the Catholic Church for a very long time.

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[SPEAKER_01]: One of the differences between Catholicism and Protestantism is the Catholics believe in Purgatory and the Protestantism.

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[SPEAKER_01]: Right.

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[SPEAKER_01]: Shadow, the word shadow.

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[SPEAKER_01]: from the tutonic shod, again, forgive me from my poor German pronunciation, but also from frisian and modern Dutch.

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[SPEAKER_01]: So those are the root languages for the word shadow.

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[SPEAKER_01]: The OED defines it as comparative darkness, gloom, unhappiness, a temporary interruption of friendship and something that obscures

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[SPEAKER_01]: the luster of reputation, I think that's important for the episode.

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[SPEAKER_01]: It also has a definition of an unreal appearance, a delusive semblance or image, a vain, unsubstantial object of pursuit.

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[SPEAKER_01]: And what's interesting to me is in Shakespeare, the word shadow,

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[SPEAKER_01]: often means actor.

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[SPEAKER_02]: Oh, all right.

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[SPEAKER_02]: You know what else?

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[SPEAKER_02]: That's great.

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[SPEAKER_02]: The Shakespearean reference.

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[SPEAKER_02]: The other thing that came to me immediately is Carl Jung's psychology and the shadow side of all of our personalities, which is the part of us that we hide repressor Denai, which also fits this story.

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[SPEAKER_02]: Yes, that I part that we are hiding from others.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: Now that we've dove into it, yeah.

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[SPEAKER_02]: It's appropriate, absolutely appropriate.

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[SPEAKER_01]: I have some day have to ask Ira, who came up with the titles?

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[SPEAKER_01]: Who was the master of the titles?

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[SPEAKER_01]: Because they do whoever they were, whoever he or she was, probably because there were no women, whoever he was, did an excellent job.

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[SPEAKER_03]: Yeah, yeah agreed.

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[SPEAKER_03]: This is written by Iris Steven Bear and our good friend Robert Hewitt Wolfe.

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[SPEAKER_03]: This is directed by Gabrielle Beaumont.

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[SPEAKER_03]: This is the first episode and the last episode that she directed.

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[SPEAKER_03]: So she only came in one time.

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[SPEAKER_03]: But you know, I think the actor is really like to from what I've read, but I wanted to know why.

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[SPEAKER_01]: Do you know why, Armin?

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[SPEAKER_01]: No, and, and again, I have no memory really of this episode.

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[SPEAKER_01]: So, um, I, I don't, um, I don't, I don't know, I don't know.

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[SPEAKER_03]: All right.

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[SPEAKER_03]: Let me just read a little quick quote just to talk about Gabrielle Beaumont.

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[SPEAKER_03]: This is from Melanie Smith, who was the actress that played Toraziel in this episode.

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[SPEAKER_03]: She says, um, first of all, Melanie Smith enjoyed working for director Gabrielle Beaumont commenting.

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[SPEAKER_03]: I had a real natural affinity towards her.

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[SPEAKER_03]: I thought she was a wonderful director and I was really pleased with the work she got out of me.

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[SPEAKER_03]: I think that says a lot.

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[SPEAKER_03]: Probably an actor's biggest compliment is that they like what they did with them.

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[SPEAKER_03]: She was just a delight.

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[SPEAKER_03]: So, you know, glowing reviews from the guest are so that's a nice thing right there.

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[SPEAKER_01]: And she got wonderful performances from everybody in this episode.

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[SPEAKER_03]: Yeah, great.

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[SPEAKER_03]: She really agreed.

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[SPEAKER_03]: It's really good.

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[SPEAKER_03]: OK, let's talk about the guest stars Andrew J. Robinson is Garrett.

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[SPEAKER_03]: Camarca limo is gold to caught Melanie Smith as Torazell.

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[SPEAKER_03]: This is the very first appearance as Torazell here.

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[SPEAKER_03]: Obviously, we saw Torazell played by Cia Baton first and then Tracy Middendorf.

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[SPEAKER_03]: And now the third actress to play Zell and from what I understand, this is the final actress to play Zell.

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[SPEAKER_03]: and Zia will make an appearance in further episodes of this show.

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[SPEAKER_03]: J. G. Hertzler, as Martoc, James and Horan, as a cut-tika.

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[SPEAKER_03]: A cut-tika.

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[SPEAKER_03]: Paul Dooley, as an Auburn Tane, we have co-star as Carrie Stauber, as the Bromielan, and Jim Paladino as the Jim Hadar Guard.

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[SPEAKER_03]: So, there we go.

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[SPEAKER_01]: And James Horan and I were about to do 12 nights together.

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[SPEAKER_01]: Well, I was still living in New York, so that's a long time ago.

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[SPEAKER_01]: It was a delight to see him when he came on the set.

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[SPEAKER_03]: Let's go through some trivia here.

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[SPEAKER_03]: First of all, Seroclofton does not appear in this episode.

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[SPEAKER_01]: Which is my only fault with this episode.

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[SPEAKER_01]: Oh, and I'll tell you more about that later.

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[SPEAKER_03]: Okay, okay.

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[SPEAKER_03]: The earliest, earliest origins of this episode involved Michael Eddington.

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[SPEAKER_03]: The plan was to do an episode inspired by the 1963 John Sturge's film The Great Escape with Eddington in the role of the escapee.

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[SPEAKER_03]: Yeah, that was the original plan, but there were some talk about whether or not the fans were behind the character of Eddington, because there's a bit of a flip in that, you know, planned to do the greatest gap in that Eddington becomes the hero in a way that everyone's supposed to follow him.

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[SPEAKER_03]: so they didn't have faith in that.

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[SPEAKER_03]: So they were like, okay, we're going to pivot a little bit and not do that.

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[SPEAKER_03]: Also, the author Judy Klass, who has written a lot of different historic novels, pitched the concept of Tane being Garex father.

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[SPEAKER_03]: She commented, though I did not get on screen credit for it, it was the idea that Garex was the illegitimate

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[SPEAKER_03]: And that was one more reason why he's a double or triple agent and a chronic liar.

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[SPEAKER_03]: He has had to spend his whole life pretending not to know that the man who is his patron and a friend of the family is his father.

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[SPEAKER_03]: Robert Hewitt Wolf was a gentleman and called me a year after I pitched the idea as a basis for an episode to tell me that they were using it tucked inside another episode and paying me for it.

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[SPEAKER_03]: class received money for that pitch.

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[SPEAKER_03]: So that's kind of nice for him to do that.

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[SPEAKER_03]: All right.

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[SPEAKER_03]: Yeah.

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[SPEAKER_01]: Yeah, and after.

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[SPEAKER_01]: So the question is, does she get any residuals when this episode plays?

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[SPEAKER_01]: I don't think so.

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[SPEAKER_01]: Her name's not on the episode.

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[SPEAKER_03]: Unfortunately, that's a bummer.

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[SPEAKER_03]: But she did get that, you know, that's stipend or whatever the payment for that.

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[SPEAKER_03]: And that's very honorable, I think, for some people might call that blood money.

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[SPEAKER_01]: But okay.

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[SPEAKER_03]: Yeah.

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[SPEAKER_03]: Also, this episode marks the first appearance of the real Mar-Talk previously.

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[SPEAKER_03]: We have only met Changsling Mar-Talk, so this is the first time.

15:18.339 --> 15:23.210
[SPEAKER_02]: I love the way that they've played this out and left these little Easter eggs.

15:23.411 --> 15:25.375
[SPEAKER_02]: I love it, it's so cool.

15:25.355 --> 15:25.636
[SPEAKER_02]: Yep.

15:25.896 --> 15:30.528
[SPEAKER_02]: They used to call that on CBS on those procedures when I would do a CBS procedure.

15:30.609 --> 15:34.218
[SPEAKER_02]: This, the network would say, well, our audience likes to play along.

15:34.699 --> 15:41.136
[SPEAKER_02]: So make sure you shoot the story in a way that they can play along at home and at the end of the crime solving.

15:41.521 --> 15:45.566
[SPEAKER_02]: they can guess and they can, you know, that was the play along was their rule.

15:46.147 --> 15:47.369
[SPEAKER_02]: This feels like a play along.

15:47.910 --> 15:48.570
[SPEAKER_02]: Yeah.

15:49.632 --> 15:50.413
[SPEAKER_02]: This whole thing.

15:50.533 --> 16:03.951
[SPEAKER_01]: And even in the writing, there are times when there's a complete turnaround, where it seems to be going one way and then the writers switch, pull the rug out from underneath the

16:03.931 --> 16:06.334
[SPEAKER_01]: the audience for a moment.

16:06.674 --> 16:10.558
[SPEAKER_01]: There's one early on and one comes up, I'll point it out to you.

16:10.939 --> 16:13.061
[SPEAKER_01]: There's others as well, but there's one specifically.

16:13.682 --> 16:14.482
[SPEAKER_03]: Great.

16:14.502 --> 16:21.810
[SPEAKER_03]: The final bit of trivia that I say for the very last is a sad bit of trivia, and that is, this episode is dedicated to the late Derek Garth.

16:22.011 --> 16:28.858
[SPEAKER_03]: This is a grip who is killed in a car accident while on his way to work to film this specific episode.

16:28.838 --> 16:33.848
[SPEAKER_03]: Ira commented that Garth was the most positive person on the set.

16:34.289 --> 16:41.224
[SPEAKER_03]: So he was basically the Moral officer, the Nilix of the DS9 set, of the DS9 crew.

16:41.424 --> 16:44.070
[SPEAKER_03]: And it's just absolutely so tragic.

16:44.631 --> 16:45.733
[SPEAKER_02]: What do you remember, Ermond?

16:45.832 --> 16:49.939
[SPEAKER_01]: What I remember is, it was a lot of this happening, but what is this?

16:50.399 --> 16:52.803
[SPEAKER_01]: I forgot in the name, somebody's rules.

16:54.526 --> 16:56.429
[SPEAKER_01]: It was called something's rule.

16:56.529 --> 17:03.520
[SPEAKER_01]: What it was is that crew members were working not only on our show, but on other shows at this time, very, very long hours.

17:03.701 --> 17:07.066
[SPEAKER_01]: And then they tended to live far away from the studio.

17:07.086 --> 17:10.692
[SPEAKER_01]: They tended to live within an hour and a half of the studio.

17:10.672 --> 17:19.731
[SPEAKER_01]: And so after a very long day, after a very long week, after a very long year, they would be very tired driving home or coming to work.

17:19.751 --> 17:21.976
[SPEAKER_01]: They would not get as much rest as they should.

17:22.637 --> 17:26.385
[SPEAKER_01]: I don't think they had the 12-hour turnaround so that the actors have in their contract.

17:26.365 --> 17:33.239
[SPEAKER_01]: And not a lot, but some people were dying in car accidents, and Derek is one of them.

17:33.520 --> 17:39.652
[SPEAKER_01]: But there was a, there wasn't one particular grip that this condition was named after.

17:40.173 --> 17:43.881
[SPEAKER_01]: And I remember thinking, oh, there's another one, Derek being another one.

17:43.921 --> 17:45.825
[SPEAKER_01]: And he was missed.

17:45.923 --> 18:10.952
[SPEAKER_03]: Yeah, yeah, part of the reason why they live so far out is because the price out of, yeah, you can't buy a property or a house that's closer to the studio because of the, you know,

18:10.932 --> 18:16.940
[SPEAKER_01]: And so at the end of us, you know, sometimes the actors would complain about going past 12 hours.

18:17.321 --> 18:40.433
[SPEAKER_01]: So we go maybe 16 hours, but the crew was there, sometimes before us, and certainly after us, maybe not after me, but after others, and then they had to drive an hour and a half home and had to get up an hour and a half earlier than I did in order to get to work the next day.

18:40.413 --> 18:47.064
[SPEAKER_02]: that were victims of long hours in those days, it's still long hours, but certainly better than it used to be.

18:47.404 --> 18:57.240
[SPEAKER_01]: But science fiction, I'm prejudiced, usually had longer days than other, certainly more better than sitcoms, that's a given, but because of

18:57.541 --> 19:02.506
[SPEAKER_01]: science fiction and so everything had to be Yeah, thought through, an astray had to be thought through.

19:05.108 --> 19:06.749
[SPEAKER_01]: We just had much longer hours.

19:07.410 --> 19:07.750
[SPEAKER_01]: Yeah.

19:07.770 --> 19:09.792
[SPEAKER_02]: Well, we start in Odo's quarters.

19:10.433 --> 19:13.075
[SPEAKER_02]: Odo's moving all his stuff around.

19:13.155 --> 19:14.296
[SPEAKER_02]: Kira comes in with a box.

19:14.957 --> 19:27.328
[SPEAKER_02]: He's moving his solid stuff out and his changeling stuff back in because as we learned last episode with the baby now he is a changeling again.

19:27.781 --> 19:29.663
[SPEAKER_01]: And it's good that the writers reminded us.

19:30.064 --> 19:36.412
[SPEAKER_01]: It's good to say, okay, we haven't just changed it and now we move on, that reminding us of what happened in the episode before.

19:36.692 --> 19:50.549
[SPEAKER_02]: And it's great timing, I think, because it seems like this is one of those scenes where, oh yeah, we're just reminding the audience about Odo's story, but it dovetails into the threat of this episode beautifully.

19:50.750 --> 19:57.518
[SPEAKER_02]: That it subconsciously, we start off with shapeshifters in our head, you know,

19:57.498 --> 19:58.601
[SPEAKER_02]: zone anyways.

19:58.761 --> 19:59.623
[SPEAKER_02]: Yes, very smart.

19:59.944 --> 20:00.846
[SPEAKER_02]: Well, Kira's helping him.

20:00.886 --> 20:05.116
[SPEAKER_02]: She sees some books, which I love this moment, on some pads lying around.

20:05.177 --> 20:06.640
[SPEAKER_02]: She takes a look at it.

20:07.242 --> 20:10.129
[SPEAKER_02]: How to win a mate is what this book is.

20:10.189 --> 20:12.474
[SPEAKER_02]: And Otos very embarrassed.

20:12.915 --> 20:14.259
[SPEAKER_02]: Kira says, don't worry about it.

20:14.379 --> 20:15.642
[SPEAKER_02]: You know, don't know.

20:16.111 --> 20:16.933
[SPEAKER_02]: don't worry about it.

20:17.233 --> 20:19.177
[SPEAKER_02]: He says I only read a couple of chapters.

20:19.217 --> 20:20.579
[SPEAKER_02]: I really really not interested.

20:20.900 --> 20:24.948
[SPEAKER_03]: Well, he kind of says I don't need it now because I'm back to being a shape shifter.

20:24.988 --> 20:35.267
[SPEAKER_03]: But she says there's plenty of, there's plenty of, of, of, of, of, um, potential mates on this station that would love to be with you even as a shape shifter is what she's trying to push.

20:35.568 --> 20:48.448
[SPEAKER_01]: So the question in my mind watching the scene and, and then I did it so well that I can't tell on, did was she aware of the subtext or was she just trying to make him feel better?

20:49.269 --> 20:51.232
[SPEAKER_01]: I don't know, I can't tell from her performance.

20:51.592 --> 20:53.996
[SPEAKER_01]: And that's what's good about it is that you can't tell.

20:54.477 --> 20:59.164
[SPEAKER_01]: It isn't, and so you yourself have to make up your mind and I happen to see it.

20:59.184 --> 20:59.905
[SPEAKER_01]: Got it.

20:59.885 --> 21:10.157
[SPEAKER_02]: Yeah, you could guess that maybe she's flirting with him a little, but it was so sincere, her, you know, it wasn't, she wasn't putting on an act.

21:10.177 --> 21:11.759
[SPEAKER_02]: It was, you're right.

21:11.799 --> 21:12.520
[SPEAKER_02]: It's hard to tell.

21:12.540 --> 21:14.743
[SPEAKER_02]: It could go either way, which is perfect.

21:15.744 --> 21:19.489
[SPEAKER_02]: And at the end of that last scene, Dax does make a call to Odo.

21:19.669 --> 21:23.033
[SPEAKER_02]: We want you to look at something in Ops and the Akira and Odo head out.

21:23.413 --> 21:23.974
[SPEAKER_02]: We go to Ops.

21:24.515 --> 21:29.841
[SPEAKER_02]: They've picked up an encrypted cardacet and code

21:30.428 --> 21:33.885
[SPEAKER_02]: They don't know if any Kardashians are there.

21:33.945 --> 21:39.392
[SPEAKER_02]: They don't, you know, the Kardashians did go in for this battle, but

21:39.811 --> 21:41.873
[SPEAKER_02]: they all died supposedly, right?

21:41.913 --> 21:43.975
[SPEAKER_02]: There shouldn't be any codes coming from there.

21:44.335 --> 21:44.675
[SPEAKER_03]: Correct.

21:44.755 --> 21:53.803
[SPEAKER_03]: It was the one shape shifter, the female shape shifter that came into, if you recall that one episode, she told Gerrick, she goes, all of them.

21:54.124 --> 21:54.824
[SPEAKER_03]: They're all dead.

21:55.004 --> 21:56.005
[SPEAKER_03]: God, they're all dead.

21:56.145 --> 21:56.446
[SPEAKER_03]: Yeah.

21:56.466 --> 22:01.150
[SPEAKER_02]: So this is shocking news, an encrypted card asking signal, but they can't break it.

22:01.250 --> 22:05.233
[SPEAKER_02]: And that's when Odo suggests Gerrick, Gerrick's a code breaker.

22:05.834 --> 22:09.497
[SPEAKER_02]: If anybody could do it, he could do it.

22:09.899 --> 22:10.620
[SPEAKER_02]: and they had out.

22:11.761 --> 22:20.530
[SPEAKER_02]: Um, we go to the Reppel mat next where we see Bashir sitting with a new Taurus y'all, um, a new actress.

22:20.710 --> 22:23.553
[SPEAKER_02]: I'll say generally in this scene, I was like, so far so good.

22:23.914 --> 22:27.918
[SPEAKER_02]: I'm like, hopefully she'll stick around because she seems, it seems pretty good.

22:28.238 --> 22:29.740
[SPEAKER_02]: She seems older than the other two.

22:29.880 --> 22:35.045
[SPEAKER_02]: Like they've aged up this character by the third actress by 10 years.

22:35.125 --> 22:36.767
[SPEAKER_02]: It almost, it feels like.

22:36.747 --> 22:37.788
[SPEAKER_03]: Yeah, so far so good.

22:38.168 --> 22:39.650
[SPEAKER_03]: Hopefully she has a job.

22:39.910 --> 22:40.611
[SPEAKER_03]: So funny.

22:40.631 --> 22:42.292
[SPEAKER_03]: Hopefully she'll stick around this time.

22:43.233 --> 22:46.036
[SPEAKER_02]: Hopefully she'll like a Star Trek people and stick around.

22:46.056 --> 22:46.897
[SPEAKER_02]: Yeah.

22:46.917 --> 22:55.185
[SPEAKER_02]: Gary shows up and he's sort of giggling, explaining that this message was a five-year-old planetary survey.

22:55.225 --> 23:00.890
[SPEAKER_02]: They were so worried about this, you know, encrypted message from Cardassians.

23:00.970 --> 23:03.773
[SPEAKER_02]: And it was just a five-year-old planetary survey report.

23:03.813 --> 23:04.353
[SPEAKER_02]: No big deal.

23:04.974 --> 23:05.995
[SPEAKER_02]: He thinks it's hilarious.

23:06.228 --> 23:11.095
[SPEAKER_02]: But she seems very suspicious though, like, Gary, why weren't you more disappointed?

23:12.337 --> 23:17.725
[SPEAKER_02]: Hmm, you know, you lost so many friends when the Kardashian fleet went there and they all perished.

23:18.205 --> 23:33.788
[SPEAKER_02]: So, Bashir Zondim, Gary says, there's a time to accept reality, he leaves, Zee all says her father would be very mad, but she really likes Gary, so she's, we get she's got a crush on him, we can tell from this scene.

23:33.835 --> 23:37.200
[SPEAKER_01]: another great performance by Alexander Siddig.

23:37.760 --> 23:46.312
[SPEAKER_01]: I watched that this episode twice this week and not knowing what to expect the first time I saw it because I totally forgot this episode.

23:46.933 --> 23:56.065
[SPEAKER_01]: So watching it a second time, I was really intrigued by the way Sid played this scene because knowing what I did know, I thought, oh, there's some of that in there.

23:56.226 --> 23:57.227
[SPEAKER_01]: There's some of that in there.

23:57.207 --> 23:59.089
[SPEAKER_02]: Really, I didn't watch it twice.

23:59.169 --> 24:01.011
[SPEAKER_02]: I just watched it the one time making notes.

24:01.031 --> 24:05.235
[SPEAKER_02]: I would like to go back and rewatch it and see if there's little hints.

24:05.275 --> 24:07.276
[SPEAKER_01]: There's just, there are clues.

24:07.417 --> 24:08.518
[SPEAKER_01]: It is very smart.

24:09.579 --> 24:13.162
[SPEAKER_01]: He's laying in some stuff that at least I think he is.

24:13.522 --> 24:14.743
[SPEAKER_01]: And I'll give him credit.

24:14.783 --> 24:16.445
[SPEAKER_01]: He's a wonderful actor and a great guy.

24:16.485 --> 24:18.427
[SPEAKER_01]: So I think he was doing it.

24:18.447 --> 24:24.953
[SPEAKER_03]: Carmen, do you think that Bashir, this Bashir, this version of Bashir knew that the message was from Tane?

24:24.933 --> 24:31.180
[SPEAKER_01]: No, but I think he makes him a little bit more suspicious because he is not the real Bashar.

24:31.200 --> 24:32.124
[SPEAKER_01]: All right.

24:32.144 --> 24:34.715
[SPEAKER_01]: I think you can see that in Sid's performance.

24:34.735 --> 24:35.297
[SPEAKER_01]: Yes.

24:35.446 --> 24:37.508
[SPEAKER_01]: or it's just me putting into his performance.

24:37.528 --> 24:37.889
[SPEAKER_01]: I don't know.

24:38.429 --> 24:44.796
[SPEAKER_01]: But I think it's possible, as I said earlier, I think Sid is slightly playing.

24:46.478 --> 24:52.585
[SPEAKER_01]: And and doesn't believe Garyx explanation for it, not being important.

24:52.665 --> 24:58.011
[SPEAKER_03]: Well, according to what I read, they kind of gave Sid,

24:57.991 --> 24:59.954
[SPEAKER_03]: the news fairly late in the game.

25:00.074 --> 25:15.916
[SPEAKER_03]: So the time that something gets switched out, he didn't know until I think really this script came out is when he figured it out or when he told you, you know, we do get hopefully 24, 48 hours to read this script before we have to get in for in the camera.

25:16.977 --> 25:25.669
[SPEAKER_01]: So he had to know the ending of the script and who knows when they shot this segment whether it was at the beginning or the end.

25:25.818 --> 25:37.450
[SPEAKER_02]: I think it's a credit to Gabrielle Beaumont, the director, because now we've seen a pattern Kira sort of playing very subtle flirting, Bashir playing very subtle, suspicious Bashir.

25:37.791 --> 25:42.436
[SPEAKER_02]: Like that starts to be a pattern that I would give credit to the director.

25:42.556 --> 25:46.660
[SPEAKER_03]: You know, less, less, less, less high to high, but a good pattern, a good pattern though.

25:46.780 --> 25:48.863
[SPEAKER_03]: Very good, very, very good.

25:48.883 --> 25:49.664
[SPEAKER_03]: Yeah.

25:49.684 --> 25:49.824
[SPEAKER_02]: Mm-hmm.

25:49.844 --> 25:50.104
[SPEAKER_02]: Okay.

25:50.084 --> 25:56.859
[SPEAKER_02]: uh we go to the airlock uh garic breaks into a dock ship i again i'm gonna comment on Gabriel Beaumont.

25:57.099 --> 25:58.262
[SPEAKER_02]: Nice shot sequence here.

25:58.322 --> 26:06.540
[SPEAKER_02]: She builds up his journey to getting into breaking into this with the number of shots before he gets in and Bashir as a phaser.

26:06.520 --> 26:10.166
[SPEAKER_02]: A lot of times on Star Trek we'll see one shot of that.

26:10.567 --> 26:15.756
[SPEAKER_02]: We'll see somebody comes down a hall, they break in a code and exit and suddenly they're inside.

26:15.957 --> 26:25.373
[SPEAKER_02]: She did four or five six shots to build up the anticipation of him finally walking in and then undercut it with this year.

26:25.353 --> 26:25.914
[SPEAKER_02]: Great work.

26:26.255 --> 26:26.415
[SPEAKER_01]: Nice.

26:26.716 --> 26:32.188
[SPEAKER_01]: In this scene is where I emphatically, they pull the rug out from underneath the audience.

26:32.449 --> 26:40.527
[SPEAKER_01]: Karak is trying to convince Beshear to go with him and and he says, yeah, let's go pause pause.

26:40.507 --> 26:42.149
[SPEAKER_01]: to Cisco's office.

26:42.970 --> 26:49.459
[SPEAKER_01]: And I thought that's the entire episode for me was that one thing you're expecting all of a sudden goes in a different direction.

26:50.280 --> 27:01.755
[SPEAKER_01]: And I thought that line reading, whether it's from CID or whether from Gabrielle, was absolutely right as indicative of what I thought the whole episode was about being surprised constantly.

27:01.735 --> 27:02.937
[SPEAKER_02]: I have a question.

27:03.178 --> 27:05.983
[SPEAKER_02]: Why did they send them in a runabout and not the defying?

27:06.124 --> 27:07.787
[SPEAKER_02]: I know they didn't want to find later.

27:07.847 --> 27:11.915
[SPEAKER_01]: First time I watched it, I thought they were on the defying, then I realized no, they're not.

27:12.316 --> 27:14.801
[SPEAKER_02]: Yeah, at the end, he sends Kira out the defying.

27:14.821 --> 27:16.785
[SPEAKER_02]: I was like, wait a minute, I thought they were on the defying.

27:16.805 --> 27:17.787
[SPEAKER_02]: No, they're on a runabout.

27:18.239 --> 27:25.116
[SPEAKER_02]: If they're going into a potentially deadly, anyway, that's that's worth it and it's later.

27:25.156 --> 27:35.522
[SPEAKER_01]: But I'm just thinking, yeah, there's a couple of things like that that my eyebrows went up on, but I, I was so loved this episode, I forgave them.

27:35.502 --> 27:36.023
[SPEAKER_01]: I agree.

27:36.284 --> 27:36.885
[SPEAKER_01]: I agree, Sam.

27:37.346 --> 27:38.769
[SPEAKER_03]: Yeah, good catch, Robbie.

27:39.130 --> 27:42.357
[SPEAKER_03]: Why send them in the Humvee when you can send them in the tank, right?

27:42.377 --> 27:43.259
[SPEAKER_03]: So when everyone makes no sense.

27:43.279 --> 27:47.267
[SPEAKER_01]: When everyone is so worried about them going into the gamma god, right?

27:47.287 --> 27:49.512
[SPEAKER_02]: I know they need the defiant later, and they

27:50.656 --> 27:52.421
[SPEAKER_02]: you know, they're going to need it later.

27:52.541 --> 27:58.095
[SPEAKER_02]: So, so they don't want to send it and have it stuck there with those guys getting captured.

27:58.236 --> 28:06.437
[SPEAKER_02]: We're jumping ahead in our story, but yes, they they the writers made the smart move for the long game, but in the short game it's like

28:06.417 --> 28:08.119
[SPEAKER_02]: Great scene with Garrick and Bashir.

28:08.900 --> 28:18.872
[SPEAKER_02]: We go to the captain's office, Garrick's explaining that he contained where the only ones that had that code, Garrick says there could be more survivors, Cisco agrees, and sends him with somebody.

28:19.212 --> 28:22.056
[SPEAKER_02]: He says at the end of the scene, I do have someone else in mind.

28:22.516 --> 28:30.045
[SPEAKER_01]: Again, pulling the rug at, one assumes that Garrick assumes that it's going to be Bashir, and then Cisco says no, it's going to be somebody else.

28:30.025 --> 28:32.008
[SPEAKER_02]: Who wrote this episode again, Garrett?

28:32.248 --> 28:33.670
[SPEAKER_01]: I wrote Robert Hewitt Wolf.

28:33.991 --> 28:41.381
[SPEAKER_01]: And I believe actually, David Weedel also had input and something you were scripted, Garrett.

28:41.401 --> 28:42.903
[SPEAKER_01]: But I believe David has something to do.

28:42.924 --> 28:48.552
[SPEAKER_02]: OK. Well, they had the the 18 on this, because yes, you're right, Armin.

28:48.572 --> 28:50.074
[SPEAKER_02]: It's really great writing.

28:50.895 --> 28:55.061
[SPEAKER_02]: And balanced with tension, drama, and light moments as well.

28:55.261 --> 28:57.264
[SPEAKER_02]: It's so well balanced.

28:57.304 --> 28:59.307
[SPEAKER_02]: My favorite kind of truck episode.

28:59.287 --> 29:02.811
[SPEAKER_02]: Cisco has someone in mind we don't know who we cut into Worf's cabin.

29:02.851 --> 29:04.013
[SPEAKER_02]: This is great.

29:04.093 --> 29:15.968
[SPEAKER_02]: Dax's pissed he's going on a very dangerous mission and he didn't tell her but he seems unmoved by her panic and frustration and her anger at not being filled in on this danger.

29:16.308 --> 29:18.992
[SPEAKER_02]: So she decides to borrow his cling on operas while he's gone.

29:20.053 --> 29:21.835
[SPEAKER_02]: Very funny he gets very nervous.

29:21.875 --> 29:23.337
[SPEAKER_02]: He's not nervous about dying.

29:23.772 --> 29:26.415
[SPEAKER_02]: But the clings on opera, get his attention.

29:26.636 --> 29:28.618
[SPEAKER_02]: She gives him a very romantic kiss.

29:28.818 --> 29:35.326
[SPEAKER_02]: And as she exits, says, go ahead, die gloriously or don't, it's up to you.

29:35.366 --> 29:37.509
[SPEAKER_02]: Such a fun scene.

29:37.529 --> 29:38.490
[SPEAKER_01]: It is.

29:38.611 --> 29:38.931
[SPEAKER_01]: It is.

29:38.991 --> 29:40.793
[SPEAKER_01]: They both did stellar work.

29:40.973 --> 29:46.120
[SPEAKER_01]: And I can empathize with Dax because she's really upset.

29:46.140 --> 29:47.822
[SPEAKER_01]: And he's not at all mood.

29:47.882 --> 29:52.648
[SPEAKER_01]: He's just cleaning his weapon.

29:52.628 --> 30:19.108
[SPEAKER_01]: I would that would make me even more frustrated and I know my wife has often gotten very frustrated with me when she's It upset about something and I don't think it's very important and and through my actions and saying so But I thought it was really good and and I love the fact I love the twist another twist that he's more interested in his in his Opera collection then he is either in dying one or two that she's upset with him

30:19.713 --> 30:20.134
[SPEAKER_02]: Yeah.

30:20.154 --> 30:20.935
[SPEAKER_02]: It's a class.

30:20.955 --> 30:28.749
[SPEAKER_02]: It's a very relatable, almost sitcom premise, one partner is like, you didn't tell me you made plans.

30:28.769 --> 30:30.873
[SPEAKER_02]: You have to check with me in the relationship.

30:30.953 --> 30:31.755
[SPEAKER_02]: Very relatable.

30:31.795 --> 30:34.119
[SPEAKER_02]: We've all been in relationship or somebody makes a plan.

30:34.139 --> 30:35.281
[SPEAKER_02]: It doesn't tell you.

30:35.301 --> 30:37.986
[SPEAKER_02]: And then you're like, wait a minute, what do you mean we're going to dinner with the Smith side?

30:38.006 --> 30:39.749
[SPEAKER_02]: I don't want to go to dinner.

30:39.769 --> 30:41.171
[SPEAKER_02]: There's that side you can relate.

30:41.211 --> 30:44.337
[SPEAKER_02]: And then as you said, Armin,

30:44.317 --> 30:52.267
[SPEAKER_02]: doesn't think this is important, some people can relate to that side of a relationship, you know, all your own doing it, not so big a deal.

30:52.568 --> 30:53.010
[SPEAKER_02]: Great scene.

30:53.581 --> 30:54.042
[SPEAKER_02]: I love it.

30:54.222 --> 30:56.866
[SPEAKER_02]: And I think Terry is just getting better and better and better.

30:56.886 --> 30:57.507
[SPEAKER_01]: Yes, she is.

30:57.767 --> 30:58.188
[SPEAKER_01]: Yeah.

30:58.208 --> 31:01.873
[SPEAKER_01]: And Michael is learning to vibrate within that prism.

31:02.334 --> 31:04.317
[SPEAKER_01]: He's he's very good in this episode.

31:04.537 --> 31:06.400
[SPEAKER_01]: And I think extremely funny.

31:06.901 --> 31:07.181
[SPEAKER_02]: Yes.

31:07.802 --> 31:10.206
[SPEAKER_02]: The comedy from those two is great.

31:10.787 --> 31:10.887
[SPEAKER_02]: Yeah.

31:10.907 --> 31:11.929
[SPEAKER_02]: It's effortless.

31:12.029 --> 31:13.090
[SPEAKER_02]: It's relaxed.

31:13.351 --> 31:14.032
[SPEAKER_01]: It's real.

31:14.212 --> 31:15.093
[SPEAKER_02]: It's very real.

31:15.113 --> 31:15.514
[SPEAKER_02]: Real.

31:15.654 --> 31:18.478
[SPEAKER_02]: They, they, you feel them both in their own skin.

31:18.558 --> 31:20.922
[SPEAKER_02]: As you said, very comfortably and

31:20.902 --> 31:21.784
[SPEAKER_02]: without pushing.

31:22.045 --> 31:32.312
[SPEAKER_02]: So far, I think Gabriel Beaumont, the writing, whatever it's taken, five seasons in, whatever it's taken, everything is just effortless and elegant and so well done.

31:32.410 --> 31:40.183
[SPEAKER_01]: If the only quaman, that's all it is, a quam that I have with Ms. Beaumont's direction, is it tends to be very static.

31:40.203 --> 31:41.425
[SPEAKER_01]: It's two people talking.

31:41.445 --> 31:43.549
[SPEAKER_01]: There isn't a lot of movement, usually there is.

31:43.930 --> 31:48.337
[SPEAKER_01]: There's one or two scenes later on where she does make the move around and I'm really happy about that.

31:48.417 --> 31:57.713
[SPEAKER_01]: But this is just like two heads talking and maybe because they don't have to worry about blocking the actors can get more involved in the relationship.

31:57.733 --> 31:58.114
[SPEAKER_01]: Baby.

31:58.094 --> 32:23.764
[SPEAKER_03]: Uh, so we're, we're now in the cafe, um, and it's Garrett, it's Zeal talking, and basically, Garrett is trying to just tell Zeal that, look, I'm spending all this time with you because you remind me of home, you're the only, you're the only half Kardashian partially Kardashian, on this entire station, um, and she's, you know, she's clearly crushing on him big time.

32:23.744 --> 32:29.212
[SPEAKER_03]: But while this conversation happens, out of the blue, Garrett gets grabbed by somebody, and I guess what?

32:29.252 --> 32:36.022
[SPEAKER_03]: It's to caught, to caught is extremely upset that his daughter is talking to Garrett.

32:36.062 --> 32:41.550
[SPEAKER_03]: He basically leans him over the railing, as if he's going about them throw him off of the mezzanine level.

32:41.530 --> 32:44.555
[SPEAKER_03]: Um, and says, you know, you don't, don't you dare.

32:44.776 --> 32:46.439
[SPEAKER_03]: If you touch my daughter again, I will kill you.

32:46.539 --> 32:47.761
[SPEAKER_03]: Derek calls his bluff.

32:47.861 --> 32:48.643
[SPEAKER_03]: He says, go ahead.

32:48.943 --> 32:49.384
[SPEAKER_03]: Kill me.

32:49.444 --> 32:51.608
[SPEAKER_03]: Then she will never forgive you.

32:51.728 --> 32:52.950
[SPEAKER_03]: And that, he's caught him.

32:53.030 --> 32:53.611
[SPEAKER_03]: He's got him.

32:53.651 --> 32:55.615
[SPEAKER_03]: There's nothing that he can do at that point.

32:55.975 --> 32:56.757
[SPEAKER_03]: Quirk breaks it up.

32:57.438 --> 32:58.680
[SPEAKER_03]: Quirk comes up and says, come on.

32:59.061 --> 33:00.864
[SPEAKER_03]: Let me, let me, let me get your drink.

33:00.944 --> 33:02.627
[SPEAKER_03]: Let's, let's move away from the situation.

33:03.429 --> 33:04.490
[SPEAKER_03]: We're acting like clean arms.

33:04.971 --> 33:05.412
[SPEAKER_03]: Yeah.

33:06.404 --> 33:24.818
[SPEAKER_03]: exactly and he uses that that that term playing on you guys are paracling on's right now and then obviously when quarkin and garric of left Ziaal is still pluding with her father like he's he's a good man dad you're wrong you're wrong and

33:24.798 --> 33:34.053
[SPEAKER_03]: Dakota is is still not happy, but he's he there whole reason why he's there on the station is he just as we know he's still a run a renegade.

33:34.393 --> 33:36.817
[SPEAKER_03]: He's still fighting the Klingon Empire on its own.

33:37.378 --> 33:39.601
[SPEAKER_03]: So he just had a skirmish with a battle cruiser.

33:40.042 --> 33:45.811
[SPEAKER_03]: His ship is damaged and he's on the station for repairs, but also the second reason is to see his daughter.

33:46.051 --> 33:51.480
[SPEAKER_01]: And again, if we look at the whole episode, this excuse may not hold up.

33:51.460 --> 33:52.481
[SPEAKER_01]: It's great writing.

33:52.761 --> 33:53.702
[SPEAKER_02]: It's great writing.

33:54.002 --> 34:00.409
[SPEAKER_02]: You think that he's there randomly and is his invested only because of his daughter.

34:00.629 --> 34:01.530
[SPEAKER_02]: And that's part of this.

34:02.090 --> 34:02.350
[SPEAKER_02]: It is.

34:02.370 --> 34:07.695
[SPEAKER_02]: You also there's another thing going on that he suggests that I'm sure we'll pay off later.

34:07.776 --> 34:08.396
[SPEAKER_02]: So it's great.

34:08.616 --> 34:19.847
[SPEAKER_01]: One of the great things about this episode is we have this macroscopic event happening, this invasion, the threat of the

34:19.827 --> 34:24.655
[SPEAKER_01]: family issues woven into the episode as well.

34:25.156 --> 34:30.705
[SPEAKER_01]: So we have a microcosm and a macrocosm plot line that I really enjoyed.

34:30.805 --> 34:32.909
[SPEAKER_01]: They were able to weave these two together.

34:33.109 --> 34:39.760
[SPEAKER_01]: I really enjoy the, I mean, it's not just the Dukats, it's also the Garrett and his family.

34:39.740 --> 34:44.865
[SPEAKER_01]: And if I might say, there's a scene, you know, referencing the O'Brien's and their family, as well.

34:45.125 --> 34:50.231
[SPEAKER_01]: I love the fact that we have the knackercasm and the microcosm being woven together so skillfully.

34:50.551 --> 34:51.392
[SPEAKER_02]: Yeah, agreed.

34:51.532 --> 34:51.732
[SPEAKER_02]: All right.

34:51.752 --> 34:57.238
[SPEAKER_02]: We go to the corridor next, and Cisco tells Worf giving him orders about his journey.

34:57.318 --> 34:59.580
[SPEAKER_02]: He says, avoid conflict.

35:00.121 --> 35:01.662
[SPEAKER_02]: Very important, very serious.

35:01.802 --> 35:04.605
[SPEAKER_02]: Just find out some information and return alive.

35:04.845 --> 35:07.468
[SPEAKER_02]: I like that Worf says does the same go for garrick?

35:08.495 --> 35:09.997
[SPEAKER_02]: this guy thinks he's joking.

35:10.037 --> 35:12.081
[SPEAKER_02]: He says, I assume you're joking, right?

35:12.481 --> 35:13.763
[SPEAKER_02]: And we're as he walks away.

35:14.104 --> 35:14.785
[SPEAKER_02]: We will see.

35:15.186 --> 35:15.867
[SPEAKER_01]: We will see.

35:16.688 --> 35:18.792
[SPEAKER_01]: That's a brilliantly funny moment.

35:18.812 --> 35:19.292
[SPEAKER_02]: So funny.

35:20.394 --> 35:22.878
[SPEAKER_01]: And so real and so well done.

35:23.419 --> 35:23.940
[SPEAKER_01]: Yeah.

35:23.960 --> 35:27.225
[SPEAKER_03]: It is that the what a great line at first sign of betrayal.

35:27.405 --> 35:28.207
[SPEAKER_03]: I will kill him.

35:28.327 --> 35:30.450
[SPEAKER_03]: But I promise to return the body intact.

35:30.570 --> 35:31.532
[SPEAKER_03]: He's not going to

35:31.512 --> 35:33.295
[SPEAKER_03]: Just so funny.

35:33.776 --> 35:38.143
[SPEAKER_01]: And again, you could, you know, if it were me, I would have made a meal out of it.

35:38.183 --> 35:40.808
[SPEAKER_01]: But, um, he's very restrained.

35:40.828 --> 35:50.905
[SPEAKER_01]: He lives in that, that those parameters, it was parameters that is worth and still is able to make it very funny in more of his own way.

35:50.885 --> 35:57.891
[SPEAKER_02]: Well, we go on to the run about next, and Garrick is begging Worf to sponsor him for Starfleet Academy, which comes out of left field.

35:58.972 --> 36:01.755
[SPEAKER_02]: This is a great scene with blocking, Arman.

36:01.975 --> 36:02.796
[SPEAKER_02]: I don't know if it is.

36:02.816 --> 36:03.436
[SPEAKER_01]: This is one of them.

36:03.516 --> 36:04.437
[SPEAKER_01]: This is one of them.

36:04.457 --> 36:09.081
[SPEAKER_02]: Garrick is moving around, the camera's panning, and he's coming into that raking too shot.

36:09.482 --> 36:11.543
[SPEAKER_02]: Great stage in great direction.

36:12.224 --> 36:20.031
[SPEAKER_02]: Worf says, you can't join the Academy, you were a spy, Garrick says, I want redemption.

36:20.011 --> 36:20.913
[SPEAKER_02]: Pushes it.

36:20.973 --> 36:22.095
[SPEAKER_02]: He goes back to sitting down.

36:22.416 --> 36:27.225
[SPEAKER_02]: You know, maybe I could start as a commander You could serve under me and then work for realizes.

36:27.245 --> 36:32.235
[SPEAKER_02]: Oh, you were just playing me One of my favorite moments in this whole episode of GERIC confesses.

36:32.676 --> 36:37.986
[SPEAKER_02]: Yes, I was lying if you want to be good at something You have to keep practicing

36:38.185 --> 36:39.307
[SPEAKER_02]: one of my favorite lines.

36:39.587 --> 36:41.871
[SPEAKER_01]: Brilliant, that's a brilliant, brilliant line.

36:41.891 --> 36:43.393
[SPEAKER_01]: And Andy plays it very well.

36:43.413 --> 36:44.355
[SPEAKER_01]: Cause you do believe it.

36:44.555 --> 36:45.476
[SPEAKER_01]: You do believe it.

36:45.757 --> 36:47.720
[SPEAKER_01]: I just, he's, he's turned over a leaf.

36:47.740 --> 36:48.441
[SPEAKER_01]: He really does.

36:48.701 --> 36:51.105
[SPEAKER_01]: And then he just pulls the rug out from the nuts.

36:51.506 --> 36:52.547
[SPEAKER_01]: It's practicing my line.

36:53.048 --> 36:53.709
[SPEAKER_02]: Yeah.

36:53.749 --> 36:56.954
[SPEAKER_02]: We go to the Reppel mat next to Cod is very mad at Kira.

36:57.155 --> 37:00.380
[SPEAKER_02]: He says that she had promised to look out for Zayal.

37:00.480 --> 37:02.583
[SPEAKER_02]: But Kira says Zayal's a grown woman.

37:02.643 --> 37:03.805
[SPEAKER_02]: She can make her own decisions.

37:03.785 --> 37:09.996
[SPEAKER_02]: Ducaut's mad, though, he says, I will not forget this betrayal, and Kira says your threats, your threat is not very impressive.

37:10.116 --> 37:15.144
[SPEAKER_02]: So a nice little chess match between those two, and a threat from Ducaut at the end.

37:15.164 --> 37:27.345
[SPEAKER_03]: If you talk about Ducaut and Kira as sort of the old Cold War, US and Russia, they were against each other forever, and then there's a couple of episodes where they kind of started bonding, where they were

37:27.325 --> 37:40.305
[SPEAKER_03]: less, you know, argumentative and less enemies and it almost seemed like they were going to become allies and then now this episode just throws it right back into antagonistic all over again.

37:40.555 --> 37:42.957
[SPEAKER_01]: The enemy of my enemy is my friend.

37:43.538 --> 37:47.341
[SPEAKER_01]: I think that's when they had a common enemy, yes, they could do that.

37:47.441 --> 37:47.721
[SPEAKER_01]: Right.

37:47.821 --> 37:51.404
[SPEAKER_01]: And now that's dissipated, we go back to square one.

37:52.205 --> 37:53.486
[SPEAKER_02]: All right, we go back to the runabout.

37:53.566 --> 37:54.987
[SPEAKER_02]: Carrick doesn't like the dining.

37:55.208 --> 37:57.670
[SPEAKER_02]: On the dining is complaining about the Earl Grey.

37:57.710 --> 38:03.294
[SPEAKER_02]: Tea, whoever this fellow Earl Grey is, tell them, I want to tell them a thing or two about tea leaves.

38:03.334 --> 38:04.135
[SPEAKER_03]: That's a dig.

38:04.355 --> 38:06.257
[SPEAKER_03]: That's such a dig on TNG.

38:06.297 --> 38:09.820
[SPEAKER_03]: It's hilarious, just because everyone knows

38:09.800 --> 38:10.661
[SPEAKER_03]: We all know this.

38:11.442 --> 38:13.083
[SPEAKER_02]: Work says they've got to turn back.

38:13.163 --> 38:14.785
[SPEAKER_02]: He had strict orders to avoid risk.

38:14.805 --> 38:18.509
[SPEAKER_02]: And the source of the signal is far too deep in dominion territory.

38:19.270 --> 38:21.452
[SPEAKER_02]: It's too risky and they're only in a runabout.

38:22.213 --> 38:23.434
[SPEAKER_02]: And they're in a runabout.

38:24.115 --> 38:27.238
[SPEAKER_02]: If they were in the defiant, they could have the cloaking device.

38:27.278 --> 38:30.421
[SPEAKER_02]: They could do all this but they should have taken the defiant.

38:31.322 --> 38:32.923
[SPEAKER_02]: But Garrett now is panicking.

38:32.943 --> 38:38.389
[SPEAKER_02]: He reminds him of all the Starfleet ships that disappeared here and he didn't think that's panicked.

38:38.369 --> 38:40.293
[SPEAKER_01]: I think that's deliberate.

38:40.954 --> 38:41.916
[SPEAKER_02]: Oh, a very deliberate.

38:41.956 --> 38:43.138
[SPEAKER_02]: He doesn't want to turn around.

38:43.178 --> 38:43.960
[SPEAKER_02]: He wants to go.

38:43.980 --> 38:47.347
[SPEAKER_02]: So he he tugs at worth sense of honor.

38:47.507 --> 38:49.050
[SPEAKER_02]: He says, we've got to go.

38:49.090 --> 38:50.393
[SPEAKER_02]: We can't abandon these people.

38:50.473 --> 38:51.294
[SPEAKER_02]: They're starfleet.

38:51.354 --> 38:53.358
[SPEAKER_02]: There's, you know, my Cardassian friends.

38:53.398 --> 38:54.741
[SPEAKER_02]: We have to do this.

38:54.721 --> 38:56.185
[SPEAKER_02]: find out where this message came from.

38:56.406 --> 38:59.133
[SPEAKER_02]: Worf thinks about honor and they had deeper into space.

38:59.454 --> 39:02.102
[SPEAKER_02]: And I love this space shot as they head into the nebula.

39:02.182 --> 39:05.511
[SPEAKER_02]: It's one of the prettiest nebulas I've ever seen in that purple nebula.

39:05.672 --> 39:06.955
[SPEAKER_03]: And I give you a little trivia.

39:07.096 --> 39:08.098
[SPEAKER_03]: Please, yeah.

39:08.119 --> 39:08.520
[SPEAKER_03]: Here we go.

39:08.540 --> 39:09.522
[SPEAKER_03]: Here we go.

39:09.542 --> 39:09.743
[SPEAKER_03]: Uh, so,

39:09.723 --> 39:21.065
[SPEAKER_03]: So the Nebula, where Warfingeric encounter the Dominion Fleet, is actually one of the background plates of the Mutara Nebula as seen in Star Trek II, the Wrath of Khan.

39:21.726 --> 39:28.800
[SPEAKER_03]: But it is slightly recolored and flipped upside down for DS9, so they changed up a little bit, but it is gorgeous though.

39:28.880 --> 39:31.545
[SPEAKER_02]: Well, that makes sense that it came from movie, because

39:31.525 --> 39:36.975
[SPEAKER_02]: It looks head and shoulders, you know, nicer than the average nebula.

39:37.016 --> 39:38.258
[SPEAKER_02]: That's why I made a note of it.

39:38.298 --> 39:41.204
[SPEAKER_02]: I was like, wow, that is poppin' because they had the money.

39:41.725 --> 39:46.934
[SPEAKER_02]: They did, they had this feature level effect that they reused is very smart.

39:47.115 --> 39:47.516
[SPEAKER_02]: Yeah.

39:47.536 --> 39:52.605
[SPEAKER_02]: Later on, we cut back inside and they run into the gemhadar, a ton of them basically.

39:52.726 --> 39:54.529
[SPEAKER_02]: They're headed straight for them.

39:54.509 --> 39:58.076
[SPEAKER_02]: some evasive maneuvers, a lot of action stuff here.

39:58.136 --> 39:59.558
[SPEAKER_02]: They basically get caught.

39:59.759 --> 40:02.804
[SPEAKER_01]: They get tried to get a message to Deep Space Nine.

40:03.005 --> 40:04.127
[SPEAKER_01]: That's right.

40:04.728 --> 40:05.790
[SPEAKER_01]: And they're not sure it's gone through.

40:06.171 --> 40:07.032
[SPEAKER_02]: Well, they're in a runabout.

40:07.193 --> 40:10.318
[SPEAKER_02]: If they were in the defiant, their message would be stronger and it would have gone through.

40:10.439 --> 40:11.681
[SPEAKER_02]: Well, they're in the nebula.

40:11.721 --> 40:16.430
[SPEAKER_01]: They told us before they went in the nebula that message is going to be different.

40:16.550 --> 40:17.732
[SPEAKER_02]: Yeah, there's interference.

40:17.712 --> 40:18.534
[SPEAKER_02]: Hmm, it's right.

40:18.774 --> 40:21.419
[SPEAKER_02]: Well, they try to do that with the Gemhadar beam on board.

40:21.759 --> 40:28.652
[SPEAKER_02]: Garrick tries to sweet talk them when they first land and he gets punched in the face.

40:28.772 --> 40:33.601
[SPEAKER_02]: Great shot Gabriel Beaumont at that gun blacking out the right on the land.

40:33.621 --> 40:34.303
[SPEAKER_02]: Yeah.

40:34.423 --> 40:34.523
[SPEAKER_02]: Yeah.

40:34.503 --> 40:36.205
[SPEAKER_02]: Smack in the face with a rifle.

40:36.406 --> 40:46.919
[SPEAKER_03]: Do they put some protective something on the front just in case the actor is a little too aggressive and ends up, you know what you don't say in robby like is there a way to Here's one way that you might do it.

40:47.120 --> 40:55.511
[SPEAKER_02]: Okay, you might shoot high speed meaning slow motion and you might actually have the the actor Let me use my water bottle.

40:55.531 --> 40:59.456
[SPEAKER_02]: Yes, you might actually have the actor go slow right to the lens.

40:59.476 --> 41:00.277
[SPEAKER_02]: We're in the moment.

41:00.718 --> 41:01.759
[SPEAKER_02]: It's slow

41:01.739 --> 41:23.292
[SPEAKER_02]: and then in post you would speed that up so it looks like a fast but they they don't have to do it regular speed they got it slowly and deliberately in black out the land and that way he can come he can come right up to the lens yes exactly without actually hitting in deliberately okay and then speed it up and post so it looks like right that's one way what's the other way

41:23.272 --> 41:24.575
[SPEAKER_02]: I don't set the mainway.

41:24.595 --> 41:25.176
[SPEAKER_02]: That's how I would.

41:25.196 --> 41:26.539
[SPEAKER_02]: That's off the top of my head.

41:26.559 --> 41:27.702
[SPEAKER_02]: That's how I would do that.

41:28.363 --> 41:37.744
[SPEAKER_02]: Because when you've got something going right at the camera, sometimes cars, if you've got a shot of a car screeching into a close-up, you'll shoot high speed and you'll have the car go slowly.

41:37.824 --> 41:39.448
[SPEAKER_02]: So it doesn't run over the camera.

41:39.668 --> 41:40.470
[SPEAKER_02]: Right.

41:40.653 --> 41:42.596
[SPEAKER_02]: and God forbid an operator if they're there.

41:42.656 --> 41:45.620
[SPEAKER_02]: So you have to go very slowly than you cut.

41:45.720 --> 41:47.482
[SPEAKER_02]: And then in post, you can have the car come.

41:47.502 --> 41:47.703
[SPEAKER_02]: Right.

41:48.424 --> 41:49.685
[SPEAKER_02]: That would be the way I would do that.

41:50.246 --> 41:50.546
[SPEAKER_02]: Thank you.

41:50.707 --> 41:52.729
[SPEAKER_02]: Old school, Duke's of Hazard Tricks.

41:52.850 --> 41:53.430
[SPEAKER_02]: Yeah.

41:54.572 --> 41:54.672
[SPEAKER_02]: Yeah.

41:54.692 --> 41:56.434
[SPEAKER_02]: I got a turbo lift back on the station.

41:56.534 --> 41:58.157
[SPEAKER_02]: Kira is talking to DAX.

41:58.637 --> 42:00.320
[SPEAKER_02]: She thinks the baby knows who she is.

42:00.560 --> 42:01.481
[SPEAKER_02]: Again, great writing.

42:01.601 --> 42:03.644
[SPEAKER_02]: We're touching on all these storylines.

42:03.724 --> 42:05.807
[SPEAKER_02]: This is the best your show has ever done it.

42:06.107 --> 42:08.010
[SPEAKER_02]: I think, Armin.

42:07.990 --> 42:10.054
[SPEAKER_02]: everybody's getting some attention.

42:11.136 --> 42:16.146
[SPEAKER_02]: Kira talks about the baby, thinks the baby knows who she is, Dax says no, the baby's barely a month old.

42:16.627 --> 42:17.428
[SPEAKER_02]: It's not possible.

42:17.669 --> 42:21.416
[SPEAKER_02]: I did have a criticism of this moving in the lift close-ups.

42:21.736 --> 42:23.279
[SPEAKER_02]: I'm sure the lift was not moving.

42:23.740 --> 42:25.223
[SPEAKER_02]: They just had a park there and they were.

42:25.507 --> 42:33.428
[SPEAKER_02]: pretending to be moving and drop back to let them walk off, but it needed some sense of like lights or shadows or something to show movement.

42:33.890 --> 42:41.811
[SPEAKER_02]: Yeah, I missed some interactive light, any actors to feel like, oh, there, I didn't know if they were just standing against a wall or if they wouldn't.

42:41.791 --> 42:48.120
[SPEAKER_01]: As I remember the lifts and they could have created a different one, but as I remember the lifts, it would have been very hard to get a camera in there.

42:48.260 --> 42:55.691
[SPEAKER_01]: I mean, we had two working elevators, one in ops and one on the promenade, and they were very clunky.

42:56.052 --> 42:58.956
[SPEAKER_01]: I mean, it was always like this when you wrote the elevator.

42:58.936 --> 43:09.250
[SPEAKER_02]: Yeah, I think just some light would have helped this little, it's short scene, but I just was, when they stepped off, I was like, oh, they were supposed to be moving, but it didn't feel like it just felt like they were standing still.

43:09.451 --> 43:28.858
[SPEAKER_01]: But again, this is, this is a little segment about family, about the, the microcosm, about about relationships that have nothing to do really with the macrocosm, but they do, but they do.

43:29.142 --> 43:33.807
[SPEAKER_02]: Jim Hadar, Garbo Garbo Garbo, Billed Up, Garbo Garbo, Garbo Immanant.

43:34.408 --> 43:37.832
[SPEAKER_02]: And that's when Cisco says, notify Starfleet Command.

43:37.932 --> 43:42.017
[SPEAKER_02]: He sends Kira in the defiant, luckily they didn't take the defiant.

43:42.858 --> 43:45.581
[SPEAKER_02]: He says, go find Warfine at what's going on.

43:45.601 --> 43:48.964
[SPEAKER_02]: I love Dave Resilibrary, God help us all.

43:49.265 --> 43:52.028
[SPEAKER_02]: If they get here, you know, go help us all.

43:52.428 --> 43:53.229
[SPEAKER_02]: Right in delivery.

43:53.450 --> 43:54.190
[SPEAKER_01]: It feels epic.

43:54.230 --> 43:55.792
[SPEAKER_01]: Your show feels epic right now.

43:56.052 --> 43:56.533
[SPEAKER_01]: So good.

43:56.513 --> 44:00.321
[SPEAKER_01]: I wish there would have been more than Kira on the defiant.

44:00.962 --> 44:05.672
[SPEAKER_01]: If it was a rescue mission, usually on our show, when there's a rescue mission, all of them are registered.

44:05.773 --> 44:06.414
[SPEAKER_01]: Everybody goes.

44:06.694 --> 44:15.012
[SPEAKER_01]: So we're sending Kira into a dangerous situation all by herself, and she's quite capable of taking care of herself, but I wish she had had more backup with her.

44:14.992 --> 44:16.775
[SPEAKER_02]: This scene, I have a thought about that.

44:16.855 --> 44:20.480
[SPEAKER_02]: This scene would have been a great place for one of the added scenes that I was thinking.

44:20.500 --> 44:21.681
[SPEAKER_02]: Anyway, yes, I agree.

44:21.902 --> 44:23.224
[SPEAKER_02]: There should have been more people on there.

44:23.624 --> 44:25.206
[SPEAKER_02]: We go to the internment center.

44:25.307 --> 44:27.650
[SPEAKER_02]: We find this place for the first time.

44:27.690 --> 44:29.032
[SPEAKER_02]: They were beautifully shot.

44:29.472 --> 44:31.195
[SPEAKER_02]: Beautifully shot.

44:31.555 --> 44:33.558
[SPEAKER_02]: Gabriel was a theater director.

44:34.079 --> 44:36.783
[SPEAKER_02]: So it feels theatrical here.

44:36.843 --> 44:41.910
[SPEAKER_02]: It feels, you know, the tabloes, the beautiful architectures.

44:41.890 --> 44:42.331
[SPEAKER_03]: Beautiful.

44:42.472 --> 44:43.976
[SPEAKER_03]: Was this on your third stage, you think?

44:44.156 --> 44:45.680
[SPEAKER_01]: Could have been, yeah, sounds stage nine.

44:45.961 --> 44:46.523
[SPEAKER_01]: Yeah.

44:46.543 --> 44:47.526
[SPEAKER_01]: And that nine, uh, 10.

44:47.766 --> 44:48.268
[SPEAKER_01]: You would nine.

44:48.368 --> 44:49.351
[SPEAKER_01]: You guys were on nine, right?

44:49.471 --> 44:51.276
[SPEAKER_03]: We were on 17 as our third stage.

44:51.296 --> 44:53.482
[SPEAKER_03]: We had eight nine and 17, eight nine were primary.

44:53.602 --> 44:56.791
[SPEAKER_01]: Yeah, I think 10 was our was our third stage.

44:56.972 --> 44:57.132
[SPEAKER_01]: Okay.

44:57.112 --> 45:02.844
[SPEAKER_02]: Well, they arrive at this base, uh, Garic tries to sweet talk again, but he gets choked by one of the Jomedar.

45:03.044 --> 45:05.469
[SPEAKER_02]: Worf tries to help, steps over grabs the Jomedar.

45:05.990 --> 45:07.994
[SPEAKER_02]: Garic says, please, Worf just back away.

45:08.295 --> 45:09.076
[SPEAKER_02]: It caught Tika.

45:09.297 --> 45:13.285
[SPEAKER_02]: James Hiram says that this is an internment camp.

45:14.087 --> 45:16.051
[SPEAKER_02]: And you're stuck here in this bubble.

45:16.231 --> 45:18.175
[SPEAKER_02]: There's no escape except death.

45:18.155 --> 45:21.659
[SPEAKER_02]: And we've seen it from up above, that's what it is.

45:21.699 --> 45:24.622
[SPEAKER_02]: It's a little bubble on this out on an asteroid.

45:24.882 --> 45:25.363
[SPEAKER_02]: No, where to go?

45:25.583 --> 45:28.306
[SPEAKER_02]: All right, so we go to ops next very tense moment.

45:28.446 --> 45:29.948
[SPEAKER_02]: Something's coming through the wormhole.

45:30.728 --> 45:32.530
[SPEAKER_02]: And it's Kira in the defiant.

45:33.411 --> 45:35.834
[SPEAKER_02]: She says that she found trouble.

45:36.254 --> 45:38.176
[SPEAKER_02]: Lots of great tension here in the scene.

45:38.236 --> 45:39.238
[SPEAKER_02]: What's going to come through?

45:39.258 --> 45:43.402
[SPEAKER_02]: We know there's dominion forces that could be coming through, but it's the defiant.

45:43.522 --> 45:47.166
[SPEAKER_01]: So, well, well, again, we get that

45:47.146 --> 46:04.378
[SPEAKER_01]: we assume it's it's the amount of coming or something coming and it turns out to be friendly friendly is it's kira on the client not what we expect not certainly what the people on ops expect either but they're happy to see here of course yeah one of my go to is when i'm directing and i'm

46:04.358 --> 46:23.970
[SPEAKER_02]: Prepping or looking at a script is I I use the term turn, but I always look for a turn in the scene where the circumstances turn Where a character's awareness is suddenly turned because every scene should have a turn a dramatic turn That's what I would say that's what they were so good at in this episode of the writers

46:23.950 --> 46:25.593
[SPEAKER_02]: that every scene had a turn.

46:25.834 --> 46:35.632
[SPEAKER_02]: Pull the rug out, whatever term you want to use, but every scene had a turn in it from where we start, suddenly there's something we didn't expect and now we're heading in a different direction.

46:36.153 --> 46:36.815
[SPEAKER_02]: Really well done.

46:36.955 --> 46:38.899
[SPEAKER_03]: All right, we're on the promenade now.

46:39.239 --> 46:46.954
[SPEAKER_03]: We have to cut, who is actually waiting outside the temple for Ziaul to these shrines, excuse me, not the temple, the bajorian shrine.

46:46.934 --> 46:53.892
[SPEAKER_03]: Um, she comes out and she says, well, where are we going to go grab dinner and to cut says no, let's just not even talk about dinner.

46:53.912 --> 46:56.539
[SPEAKER_03]: Let's talk about you packing because it's time for you to leave.

46:57.241 --> 46:58.624
[SPEAKER_03]: And she's like, what are you talking about?

46:58.684 --> 47:01.892
[SPEAKER_03]: Well, the the minion fleet is headed for the wormhole.

47:01.933 --> 47:03.677
[SPEAKER_03]: This is no longer safe.

47:03.657 --> 47:10.751
[SPEAKER_03]: and I'm going to take you back to Kardesia, which is the last thing that's the last place that Zia wants to go to.

47:11.312 --> 47:17.584
[SPEAKER_03]: She feels like there's really there's nowhere on Kardesia where she will be accepted and she does not want to go.

47:17.905 --> 47:21.632
[SPEAKER_01]: And this is where the microcosm and the microcosm merge.

47:21.612 --> 47:26.220
[SPEAKER_01]: This is where the family matters, he's trying to protect his daughter.

47:26.821 --> 47:28.063
[SPEAKER_01]: That's the microcosm.

47:28.704 --> 47:33.372
[SPEAKER_01]: Merges with the macrocosm, which is the upcoming threat of invasion.

47:34.213 --> 47:37.959
[SPEAKER_01]: And I think it's essential for what happens later on.

47:38.180 --> 47:43.148
[SPEAKER_01]: And one sees in Mark Alimal the care that he has for his daughter.

47:43.128 --> 47:47.897
[SPEAKER_01]: And again, on our show, characters were never black and white.

47:48.017 --> 47:49.099
[SPEAKER_01]: They were not all good.

47:49.160 --> 47:50.202
[SPEAKER_01]: They were not all bad.

47:50.242 --> 47:51.584
[SPEAKER_01]: They were gray areas.

47:51.945 --> 47:59.900
[SPEAKER_01]: And this is, this is to caught having affection and concern about his daughter and trying to help her out.

48:00.641 --> 48:03.567
[SPEAKER_01]: She, of course, has affection and concerns other places.

48:03.547 --> 48:20.205
[SPEAKER_02]: we go to the internment camp next and they're warned again not to leave the dome it's just a vacuum of space and they walk beautifully shot through this kind of large hallway area and they discover a small fighting ring where a cling-on is fighting a gym a door.

48:20.185 --> 48:26.135
[SPEAKER_02]: and Warf looks closely, he sees that it's Martak fighting, and Martak loses, and he rises up.

48:26.676 --> 48:38.998
[SPEAKER_02]: Warf introduces himself, Martak says that he's heard of him, he says, if he is warf, then he turns to Gary, he says, then you must be Garrett, and he finishes the scene with, he said he would come.

48:39.639 --> 48:41.282
[SPEAKER_02]: So you're like, wait, what?

48:41.262 --> 48:42.624
[SPEAKER_02]: What is happening?

48:43.525 --> 48:44.647
[SPEAKER_02]: How is Marta here?

48:44.687 --> 48:53.420
[SPEAKER_02]: How does he know that this is character like some plan, some solution or something?

48:54.221 --> 48:56.825
[SPEAKER_01]: And there was one moment when I went, what is that?

48:57.125 --> 48:58.267
[SPEAKER_01]: I don't know what that means.

48:58.467 --> 49:03.034
[SPEAKER_01]: Maybe you guys can tell me, while they're fighting, there's a little

49:03.014 --> 49:18.517
[SPEAKER_01]: podium thing in the right the way you come in and out There's not surrounded by lights and Mark talk hits that and then continues to fight and I wondered What is hitting that do what does that mean?

49:18.717 --> 49:19.839
[SPEAKER_01]: What why did he hit it?

49:19.859 --> 49:29.713
[SPEAKER_01]: Did he hit it because he was thrown there or is that some way of saying I've had enough or That's what I thought it was I'm tapping out and the gem at our keeps

49:29.693 --> 49:33.336
[SPEAKER_02]: pummeling him and then the other Joe had arse is enough.

49:33.516 --> 49:34.197
[SPEAKER_02]: He's gonna die.

49:34.277 --> 49:35.218
[SPEAKER_02]: Okay, that explains that.

49:35.258 --> 49:35.698
[SPEAKER_03]: Thank you.

49:36.038 --> 49:36.919
[SPEAKER_02]: That's what I thought.

49:37.660 --> 49:37.760
[SPEAKER_02]: Okay.

49:37.780 --> 49:45.587
[SPEAKER_02]: We go into the barracks next There's a couple of Romulans a brain and someone on a bunk covered up the brain the brain.

49:45.667 --> 49:46.948
[SPEAKER_01]: Oh, yeah, sorry.

49:47.008 --> 49:47.328
[SPEAKER_01]: I'm sorry.

49:47.348 --> 49:50.431
[SPEAKER_02]: You're actually there was a brain Yes, someone else.

49:51.051 --> 49:58.738
[SPEAKER_02]: Yes, that again beautifully shot by Gabrielle Beaumont the reveal of who's under this blanket

49:58.718 --> 50:03.606
[SPEAKER_02]: And Martak leads them in, Garek finds Tane under the blanket, very weak.

50:03.866 --> 50:04.828
[SPEAKER_02]: He's on a bunk.

50:04.848 --> 50:08.714
[SPEAKER_02]: Tane asks where the others are, he asks Garek and Garek says, it's just him.

50:08.874 --> 50:11.899
[SPEAKER_02]: Just me and Warf, and Tane says, well, you've failed then.

50:12.499 --> 50:14.563
[SPEAKER_02]: DS9 has made you soft.

50:14.583 --> 50:18.389
[SPEAKER_02]: And Garek says, you know, I think you would be nice.

50:19.230 --> 50:21.874
[SPEAKER_02]: You know, maybe I'm maybe in, I'm proud of you.

50:21.854 --> 50:24.637
[SPEAKER_02]: but Tane says, no, all you've done is do must both.

50:25.178 --> 50:26.840
[SPEAKER_02]: So, very disappointed.

50:27.221 --> 50:28.743
[SPEAKER_02]: His mentor is very disappointed.

50:28.963 --> 50:30.184
[SPEAKER_03]: I'm going to go back to the brain.

50:30.325 --> 50:38.154
[SPEAKER_03]: I kept thinking that something was going to happen or that maybe I would read some notes that under the brain was actually Irish Stephen Bear.

50:38.194 --> 50:42.099
[SPEAKER_03]: Like, I kept thinking the brain make up, but nothing ever happened with the brain.

50:42.279 --> 50:43.981
[SPEAKER_03]: What I kept expecting something to happen.

50:44.001 --> 50:44.362
[SPEAKER_03]: Background.

50:44.802 --> 50:45.263
[SPEAKER_01]: Yep.

50:45.243 --> 50:52.774
[SPEAKER_01]: That's what it's a two-parter and I haven't seen this second part so I don't know that's true So hey, hey, yeah, that's true.

50:52.994 --> 51:06.053
[SPEAKER_02]: I mean, they make such a big deal of this brain I got to believe it's something We go back to DS9 we're in the wardrobe to caught joins them for this big meeting and here's not happy about that

51:06.202 --> 51:06.963
[SPEAKER_02]: What's he doing here?

51:07.423 --> 51:08.664
[SPEAKER_01]: But it's a very good question.

51:08.724 --> 51:09.885
[SPEAKER_01]: What is he doing there?

51:09.985 --> 51:11.967
[SPEAKER_01]: How does he know about this invasion?

51:12.307 --> 51:14.009
[SPEAKER_01]: It's not like he's their best friend.

51:14.049 --> 51:16.691
[SPEAKER_01]: I don't understand this, but it's a small coin.

51:16.951 --> 51:17.792
[SPEAKER_01]: It's a tiny coin.

51:17.812 --> 51:18.032
[SPEAKER_02]: Yeah.

51:18.232 --> 51:20.034
[SPEAKER_02]: Dude, God says Cisco invited him.

51:20.114 --> 51:27.220
[SPEAKER_02]: So Cisco must have, well, Cisco does say a diminutive invasion in the Alphquard, or will affect Cardassia.

51:27.300 --> 51:28.841
[SPEAKER_02]: Everybody's much is going to affect us.

51:29.342 --> 51:30.823
[SPEAKER_02]: That he's not a part of Cardassia.

51:30.843 --> 51:31.464
[SPEAKER_02]: And he's not.

51:31.744 --> 51:33.566
[SPEAKER_02]: He does say we need all the help we can get.

51:33.866 --> 51:35.247
[SPEAKER_02]: So maybe that's the logic.

51:35.885 --> 51:38.409
[SPEAKER_02]: We need everybody, even the bad guys helping us.

51:38.830 --> 51:41.214
[SPEAKER_01]: Yeah, yeah, the enemy of my enemy is my friend.

51:41.234 --> 51:41.495
[SPEAKER_02]: Yeah.

51:41.715 --> 51:43.237
[SPEAKER_02]: Well, Cisco gives them the bad news.

51:43.478 --> 51:45.321
[SPEAKER_02]: It'll take two days for reinforcements.

51:45.561 --> 51:50.650
[SPEAKER_02]: And even if the reinforcements could get here, they're going to be beat up from the Klingon War and some Borga attacks.

51:50.710 --> 51:52.914
[SPEAKER_02]: So reinforcements aren't going to help run our own.

51:53.094 --> 51:55.378
[SPEAKER_02]: They say that Professor Khan,

51:55.358 --> 52:20.303
[SPEAKER_02]: uh... has found a way to temporarily seal the wormhole so that's their strategy they're going to try to temporarily seal it and warfin garrick will be sealed inside if they do this dax is worried about warf curious worried about the profits but Cisco insists he says it's the only way we have to seal the wormhole uh... it feels like your whole you know station is there by the wormhole for

52:20.654 --> 52:22.296
[SPEAKER_02]: for the wormhole, and now we're gonna shut it down.

52:22.896 --> 52:30.464
[SPEAKER_01]: Well, yes, the station has prospered because of the wormhole, and now you're cutting, you know, you're cutting off the access to the gamma-quoted.

52:30.484 --> 52:34.067
[SPEAKER_01]: And Cisco has an attachment to the profits as well.

52:34.227 --> 52:45.919
[SPEAKER_01]: So he's cutting off that, which is very lovely portrayed by Kira that she's, you're cutting off our religious beings.

52:45.899 --> 52:51.509
[SPEAKER_02]: And as the emissary, his responses, the profit's always fine to wait to connect.

52:51.810 --> 52:55.897
[SPEAKER_02]: So he's got the authority to say that and we can believe it.

52:56.117 --> 52:57.841
[SPEAKER_01]: It might have been nice to see that.

52:57.981 --> 52:58.542
[SPEAKER_01]: That's great.

52:58.642 --> 53:03.992
[SPEAKER_01]: That idea would have been nice to have seen that as the emissary for the profits that Kira goes.

53:04.332 --> 53:05.875
[SPEAKER_01]: Yes, yes, I'm sorry.

53:06.216 --> 53:06.336
[SPEAKER_01]: Yeah.

53:06.356 --> 53:10.303
[SPEAKER_01]: That would have made it a little bit easier for to accept them doing this.

53:10.351 --> 53:10.651
[SPEAKER_02]: Yeah.

53:10.771 --> 53:11.572
[SPEAKER_02]: We go back to the barracks.

53:11.612 --> 53:15.035
[SPEAKER_02]: Mar talk explains how Tane sent the message in this.

53:15.496 --> 53:16.557
[SPEAKER_02]: He found a hiding spot.

53:16.597 --> 53:25.645
[SPEAKER_02]: He brings up that he used a life support system embedded in the walls and spent hours working months on end and figured this out.

53:25.765 --> 53:29.208
[SPEAKER_02]: So, so we get a little backstory in how the message was sent.

53:29.408 --> 53:32.911
[SPEAKER_02]: And then a Romulan arrives says they're releasing him from isolation.

53:33.332 --> 53:34.633
[SPEAKER_02]: So, Romulan is a prisoner.

53:34.993 --> 53:40.358
[SPEAKER_02]: They're releasing some other prisoner from isolation, but we don't

53:40.338 --> 53:43.502
[SPEAKER_02]: and a guard orders this prisoner to move.

53:43.542 --> 53:46.266
[SPEAKER_02]: It's Bashir, what?

53:47.367 --> 53:49.270
[SPEAKER_02]: I thought he was like a stowa way or something.

53:49.290 --> 53:53.636
[SPEAKER_02]: I didn't like, in this moment I was like, well, he was on this shuttle earlier.

53:54.036 --> 53:57.842
[SPEAKER_02]: So maybe he stowa way, but I didn't we just see him in the...

53:58.142 --> 54:00.265
[SPEAKER_03]: But then you saw the old uniform, right?

54:00.305 --> 54:03.930
[SPEAKER_03]: And he noticed that he's not wearing the new gray and it didn't catch that.

54:03.950 --> 54:04.430
[SPEAKER_03]: Oh, okay.

54:04.971 --> 54:07.915
[SPEAKER_03]: So that's how they realized that he was

54:07.895 --> 54:09.097
[SPEAKER_03]: Swapped out.

54:09.497 --> 54:12.301
[SPEAKER_01]: Well, they don't really realize until he shows him his blood.

54:12.902 --> 54:25.798
[SPEAKER_03]: Yes, correct, correct, correct, but I'm saying that's how I think watching can fans the fact that when you know when he was swapped out it was during the time of the old uniforms Holy crap.

54:25.818 --> 54:26.739
[SPEAKER_02]: That's a long time ago.

54:26.759 --> 54:28.101
[SPEAKER_02]: It's been a little while now.

54:28.902 --> 54:33.328
[SPEAKER_02]: So all those beshears that went to risa that did all the things that was a

54:33.308 --> 54:53.136
[SPEAKER_03]: They said the conjecture or the thought process is that the Bashir that operated on Cisco's brain injury was the changeling, the also Bashir changeling was there when the changeling baby died, you know, he didn't save that baby or was unable to save that baby or whatever.

54:53.196 --> 54:55.519
[SPEAKER_03]: So yeah, so changeling Bashir has been around for a while.

54:55.499 --> 54:59.004
[SPEAKER_01]: Wow, you know, that's another small quibble.

54:59.224 --> 55:01.027
[SPEAKER_01]: I can understand replicating the body.

55:01.167 --> 55:04.612
[SPEAKER_01]: I can understand that, but they can't replicate the thoughts.

55:04.952 --> 55:05.713
[SPEAKER_01]: The knowledge.

55:05.773 --> 55:06.875
[SPEAKER_01]: Then knowledge.

55:07.215 --> 55:14.706
[SPEAKER_01]: So the ability to do things like brain surgery, that's a little hard to believe, but it's a small quibble.

55:14.726 --> 55:14.866
[SPEAKER_02]: Mm-hmm.

55:14.886 --> 55:16.068
[SPEAKER_02]: Come back to the barracks.

55:16.188 --> 55:18.171
[SPEAKER_02]: This is where they're doing the blood tests.

55:18.191 --> 55:20.294
[SPEAKER_02]: Bashir tests everybody's blood.

55:20.354 --> 55:21.315
[SPEAKER_02]: He screamed everybody.

55:21.696 --> 55:22.637
[SPEAKER_02]: And basically,

55:22.853 --> 55:26.179
[SPEAKER_02]: says it appears that we are all who we seem to be.

55:26.339 --> 55:31.649
[SPEAKER_02]: So we're starting to get a sense of they're testing the blood to make sure that the real people, but why are they doing this?

55:32.009 --> 55:38.601
[SPEAKER_02]: And it's revealed that they were kidnapped and all replaced by changelings, where they were kidnapped from.

55:38.969 --> 55:41.091
[SPEAKER_02]: What there's an exploded.

55:41.211 --> 55:45.054
[SPEAKER_03]: Yeah, there's a line where Bashir talks about he just went to sleep and woke up.

55:45.175 --> 55:46.376
[SPEAKER_03]: I don't know if that's here or not.

55:46.476 --> 55:47.236
[SPEAKER_03]: Maybe it's a little.

55:47.336 --> 55:47.917
[SPEAKER_02]: Yes, it is.

55:48.297 --> 55:49.639
[SPEAKER_02]: It is.

55:50.299 --> 55:53.702
[SPEAKER_02]: I was attending a burn treatment conference on Meason 4.

55:54.183 --> 55:56.064
[SPEAKER_02]: I went to bed one night and woke up here.

55:56.264 --> 56:01.269
[SPEAKER_02]: And then Mar Talk says the same thing happened to me except I was hunting a saber bear out in Kang Summit.

56:01.409 --> 56:03.391
[SPEAKER_02]: Little did I know I was being stalked as well.

56:03.491 --> 56:08.115
[SPEAKER_02]: And now I'm told the changeling that replaced me caused the death of countless clingsons.

56:08.568 --> 56:11.072
[SPEAKER_03]: Okay, so yeah, so let me just read this part.

56:11.152 --> 56:25.716
[SPEAKER_03]: Since Bashir said he went to bed one night woke up in prison, Ronald E. More commented he must have been very tired and fallen asleep in his uniform because he's oopsie Daisy.

56:25.696 --> 56:27.841
[SPEAKER_02]: Worf says they have to return right away.

56:27.881 --> 56:38.965
[SPEAKER_02]: They've got a warns us go somehow before they carry out their mission Whatever their mission is so so now we're kind of again a turn They pull the rug out from under me because I was totally surprised by us.

56:39.286 --> 56:45.780
[SPEAKER_02]: Well, we all were huge yeah huge surprise We go to ops creepy Bashir, you know, I'm calling him creepy Bashir

56:45.760 --> 56:51.708
[SPEAKER_02]: on the lift heading into ops and there's that profile shot of him with a creepy smile on his face.

56:51.988 --> 56:56.875
[SPEAKER_02]: Miles and Dax are working on preparing to seal the wormhole, but sheer brings snacks, though.

56:56.895 --> 56:58.758
[SPEAKER_02]: A couple sandwiches or something.

56:59.018 --> 56:59.939
[SPEAKER_03]: I thought they were poisoned.

57:00.881 --> 57:02.423
[SPEAKER_02]: I didn't.

57:02.463 --> 57:03.945
[SPEAKER_01]: I think that's what you're supposed to do.

57:03.965 --> 57:04.666
[SPEAKER_01]: Yes, of course.

57:05.086 --> 57:07.930
[SPEAKER_02]: Dax and Miles are very, very grateful.

57:08.411 --> 57:11.515
[SPEAKER_02]: A Brian even says you're a gentleman and a scholar.

57:11.495 --> 57:12.597
[SPEAKER_02]: So, very warm.

57:12.797 --> 57:18.247
[SPEAKER_01]: And I think they say they've been working on it for 16 hours, which ironically is just about what our day was.

57:19.048 --> 57:20.791
[SPEAKER_02]: Yes, yes, yes.

57:21.292 --> 57:21.933
[SPEAKER_02]: Good catch.

57:22.875 --> 57:23.957
[SPEAKER_02]: Good, very good catch.

57:24.397 --> 57:26.541
[SPEAKER_02]: So it's kind of like their craft service second meal.

57:26.741 --> 57:28.144
[SPEAKER_02]: They sandwiched it.

57:28.164 --> 57:28.945
[SPEAKER_01]: Yeah, exactly.

57:29.045 --> 57:29.606
[SPEAKER_01]: No pizza.

57:30.087 --> 57:36.338
[SPEAKER_02]: Yeah, when you work a long day, everybody lives thing, when you work a long day on set, they bring in a second meal or

57:36.318 --> 57:42.685
[SPEAKER_02]: you know, some hot snack later in the day because you haven't eaten in eight hours, so they bring in some food.

57:43.066 --> 57:47.992
[SPEAKER_02]: Yeah, that's what Bashir is doing right here.

57:48.252 --> 57:50.635
[SPEAKER_02]: We go to the airlock next to Kat is waiting for Ziaul.

57:50.655 --> 57:51.235
[SPEAKER_02]: She arrives.

57:51.756 --> 57:53.238
[SPEAKER_02]: She tells her father she's staying.

57:53.338 --> 57:54.920
[SPEAKER_02]: That she's part bejorn too.

57:55.200 --> 57:57.423
[SPEAKER_02]: And to Kat says, you've got to leave.

57:57.463 --> 57:58.324
[SPEAKER_02]: Things are changing.

57:58.764 --> 58:01.127
[SPEAKER_02]: They're going to change on Cardassia.

58:01.343 --> 58:07.098
[SPEAKER_02]: And she asked what things and he says, just trust your father basically.

58:07.680 --> 58:12.753
[SPEAKER_02]: But this was a moment where I went, oh, do caught that makes sense?

58:12.773 --> 58:16.703
[SPEAKER_02]: No, yeah, he's aware, he's helping them, working with them.

58:16.683 --> 58:19.827
[SPEAKER_03]: Yeah, so he's not that much of a rebel as we think then.

58:20.027 --> 58:21.168
[SPEAKER_03]: Is that what you're saying, Robby?

58:21.829 --> 58:24.653
[SPEAKER_03]: Yeah, yeah, we're picking up on some other That's funny.

58:24.693 --> 58:25.714
[SPEAKER_01]: I didn't have any of that.

58:26.154 --> 58:29.919
[SPEAKER_01]: Oh, wow, but interesting, but that's you're just smarter.

58:30.600 --> 58:37.488
[SPEAKER_02]: I didn't think maybe I assumed the wrong thing, but I feel like he knows that there's a battle about to happen.

58:37.568 --> 58:38.469
[SPEAKER_02]: How would he know that?

58:38.790 --> 58:39.130
[SPEAKER_03]: Yeah.

58:39.110 --> 58:42.616
[SPEAKER_02]: Just from that meeting it seems like he knows more than that to me.

58:42.796 --> 58:53.094
[SPEAKER_01]: I feel like maybe maybe it was just what he learned it and that one briefing we all appreciate you know what we get I had no problem but but what you just said makes perfect sense.

58:53.114 --> 58:54.316
[SPEAKER_02]: I'm playing along at home.

58:54.437 --> 58:55.879
[SPEAKER_02]: This is the play along at home.

58:56.059 --> 59:02.130
[SPEAKER_02]: Yeah, I'm trying to figure out you know Who done it the murder she wrote version?

59:02.836 --> 59:03.237
[SPEAKER_03]: Right.

59:03.337 --> 59:03.798
[SPEAKER_02]: Yeah.

59:03.818 --> 59:13.821
[SPEAKER_02]: Well, she, she says no, she's not going to leave DuCott says if an enemy of our family is more important than listening to your father than stay and be damn.

59:13.841 --> 59:15.004
[SPEAKER_02]: He was pretty rough on her.

59:15.344 --> 59:16.367
[SPEAKER_02]: We're having a crush.

59:17.469 --> 59:18.552
[SPEAKER_01]: That's your DuCott.

59:18.792 --> 59:19.915
[SPEAKER_01]: That's the DuCott.

59:19.935 --> 59:21.739
[SPEAKER_01]: We knew at the beginning of the series.

59:21.719 --> 59:29.836
[SPEAKER_02]: Okay, so back at the internment camp, Garrick and Bashir are talking, and Garrick is very unhappy with, with Tane.

59:29.956 --> 59:39.897
[SPEAKER_02]: He hasn't gotten any any thank you or, you know, forgiveness, he says, I forgave him, but why can't he forgive me?

59:40.366 --> 59:44.812
[SPEAKER_02]: And Bashir says, well, you taught me a lesson, you know, don't trust sentiment.

59:45.312 --> 59:51.340
[SPEAKER_02]: But that's when Marta comes in and says, And Bashir says, that's a, that's a, that's a lesson I don't want to know.

59:51.921 --> 59:53.423
[SPEAKER_02]: Yes, yes, exactly.

59:53.643 --> 59:56.907
[SPEAKER_02]: But then Marta comes in and says, if you want to speak to Tain, you better do it right now.

59:57.288 --> 59:58.189
[SPEAKER_02]: Do you don't have much time?

59:58.570 --> 59:59.050
[SPEAKER_03]: Yeah.

59:59.070 --> 59:59.691
[SPEAKER_03]: He's dying.

01:00:00.143 --> 01:00:01.885
[SPEAKER_02]: Yep, Tane is dying.

01:00:01.905 --> 01:00:03.587
[SPEAKER_02]: We cut in the barracks, Tane's dying.

01:00:03.647 --> 01:00:11.437
[SPEAKER_02]: Garg sits close to him, Tane gives himself some advice, you know, who to trust, who to kill, and promise to get revenge for me when you get back.

01:00:11.677 --> 01:00:13.499
[SPEAKER_02]: Promise to live, just don't die here.

01:00:13.880 --> 01:00:15.061
[SPEAKER_02]: And Garg says, well, I will.

01:00:15.121 --> 01:00:20.748
[SPEAKER_02]: If you ask me as my father, I had to explode.

01:00:20.768 --> 01:00:21.869
[SPEAKER_02]: Mm-hmm.

01:00:21.889 --> 01:00:29.138
[SPEAKER_02]: I guess I thought this was like the horrible, you know,

01:00:29.759 --> 01:00:34.445
[SPEAKER_02]: But Tane doesn't give up anything very easily, but they talk a little more.

01:00:34.485 --> 01:00:36.107
[SPEAKER_02]: Tane is definitely dying here.

01:00:37.108 --> 01:00:44.497
[SPEAKER_02]: And this special day comes up where I think, you know, Tane says I can still see you riding in the back of that riding hound.

01:00:45.057 --> 01:00:48.221
[SPEAKER_02]: You must have fallen off it doesn't times but you never gave up.

01:00:49.062 --> 01:00:51.905
[SPEAKER_02]: Gary says, you held my hand and Tane's responses.

01:00:52.146 --> 01:00:54.068
[SPEAKER_02]: I was very proud of you that day.

01:00:54.669 --> 01:00:54.889
[SPEAKER_03]: Oh.

01:00:55.055 --> 01:00:55.796
[SPEAKER_03]: And then he dies.

01:00:55.956 --> 01:00:56.857
[SPEAKER_03]: That's his last words.

01:00:56.957 --> 01:00:59.501
[SPEAKER_03]: The original scene was written a little bit more straightforward.

01:00:59.541 --> 01:01:01.323
[SPEAKER_03]: Where Tane is sort of like, okay, yes.

01:01:01.383 --> 01:01:01.944
[SPEAKER_03]: I love you son.

01:01:01.964 --> 01:01:03.466
[SPEAKER_03]: I'm so proud of you and all this stuff.

01:01:03.506 --> 01:01:05.709
[SPEAKER_03]: And then it was Ira who changed it around.

01:01:05.729 --> 01:01:08.232
[SPEAKER_03]: He said, I've got to make it less dead on.

01:01:08.413 --> 01:01:12.898
[SPEAKER_03]: I've got to be a little bit more beat around the bush for Tane, which is kind of in character.

01:01:12.959 --> 01:01:16.343
[SPEAKER_03]: Tane's always been very mysterious, you know, in a way.

01:01:16.683 --> 01:01:18.666
[SPEAKER_03]: So I think it was well done the rewriting.

01:01:18.646 --> 01:01:20.668
[SPEAKER_01]: And look at what Paul Dooley did.

01:01:21.069 --> 01:01:23.051
[SPEAKER_01]: He's not allowed to move an inch.

01:01:23.572 --> 01:01:24.152
[SPEAKER_01]: That's right.

01:01:24.352 --> 01:01:28.077
[SPEAKER_01]: In this episode, he goes through all this and it's very moving.

01:01:28.317 --> 01:01:30.619
[SPEAKER_01]: It not only moves Garrett and moves us as well.

01:01:30.940 --> 01:01:31.440
[SPEAKER_01]: Yes.

01:01:31.460 --> 01:01:35.945
[SPEAKER_01]: It's extraordinary performance in less is more by Paul Dooley.

01:01:36.146 --> 01:01:40.971
[SPEAKER_01]: And even his last seconds, he doesn't go and die.

01:01:41.632 --> 01:01:43.514
[SPEAKER_01]: He just drifts off for a second.

01:01:43.554 --> 01:01:44.535
[SPEAKER_01]: His eyes are open.

01:01:44.515 --> 01:01:46.402
[SPEAKER_01]: And then they slowly cross.

01:01:47.064 --> 01:01:47.164
[SPEAKER_01]: Yeah.

01:01:47.184 --> 01:01:55.553
[SPEAKER_01]: It is a lovely moment, whether it's duly's or on Miss Beaumont's, whoever came up with the idea, Kudos.

01:01:55.573 --> 01:01:55.774
[SPEAKER_02]: Yeah.

01:01:55.872 --> 01:01:59.357
[SPEAKER_03]: Now, one little interesting bit of trivia here.

01:01:59.477 --> 01:02:02.221
[SPEAKER_03]: Due to the long hours ensueding this episode, both J.G.

01:02:02.261 --> 01:02:06.848
[SPEAKER_03]: Hertzler and Kathy DeBono fell asleep at certain points, such as the scene where Tane dies.

01:02:07.349 --> 01:02:07.950
[SPEAKER_03]: They fell asleep.

01:02:09.031 --> 01:02:09.452
[SPEAKER_01]: That's funny.

01:02:09.592 --> 01:02:10.173
[SPEAKER_01]: Understandable.

01:02:10.453 --> 01:02:11.675
[SPEAKER_01]: Where was Kathy Bono?

01:02:12.096 --> 01:02:15.340
[SPEAKER_01]: There's no reason for Kathy Bono, unless she was dressed as something else.

01:02:16.081 --> 01:02:17.884
[SPEAKER_01]: Because Kathy is Terry's standing.

01:02:19.046 --> 01:02:19.647
[SPEAKER_00]: Oh, oh.

01:02:20.528 --> 01:02:21.930
[SPEAKER_01]: Non-stunt double.

01:02:21.910 --> 01:02:29.538
[SPEAKER_01]: That, too, maybe, but she's going to do some stunts and maybe, or she's dressed up as something else.

01:02:29.899 --> 01:02:31.581
[SPEAKER_01]: Maybe she's the brain for all we know.

01:02:31.621 --> 01:02:33.403
[SPEAKER_01]: She could be the brain.

01:02:33.523 --> 01:02:34.063
[SPEAKER_03]: Hello.

01:02:34.083 --> 01:02:38.128
[SPEAKER_01]: I mean, she's laying down more power to her to falling asleep, who cares?

01:02:38.388 --> 01:02:38.729
[SPEAKER_01]: Right.

01:02:38.789 --> 01:02:40.150
[SPEAKER_01]: But, J.G.

01:02:41.031 --> 01:02:43.274
[SPEAKER_01]: That Cardassia makeup was got off.

01:02:43.294 --> 01:02:44.475
[SPEAKER_01]: You had a cling on makeup, you mean?

01:02:44.455 --> 01:02:47.118
[SPEAKER_01]: excuse me, the card asian was worse.

01:02:47.138 --> 01:02:53.605
[SPEAKER_01]: I'm sorry, but the claim had it's, you know, it's also as Mar-Talkie had to have an eye covered.

01:02:53.625 --> 01:02:56.689
[SPEAKER_02]: So now he's even more prosthetics on him.

01:02:57.089 --> 01:02:59.392
[SPEAKER_02]: Yeah, well, we cut to space.

01:02:59.492 --> 01:03:01.454
[SPEAKER_02]: We see DS9, the station.

01:03:01.574 --> 01:03:07.020
[SPEAKER_02]: We hear a captain's log, a full-scale dominion invasion appears to be imminent.

01:03:07.692 --> 01:03:15.747
[SPEAKER_02]: Still, I remain confident in my cruisability to face this crisis as they have so many others with dedication and with courage.

01:03:16.408 --> 01:03:27.950
[SPEAKER_02]: So Cisco's kind of the drama, the Shakespearean kind of epic nature of his lines and his voice and his delivery, we feel like we're building up to something major.

01:03:28.291 --> 01:03:30.595
[SPEAKER_01]: Larry Shakespearean in this sense that he's playing the chorus.

01:03:30.777 --> 01:03:31.518
[SPEAKER_02]: Yes, he is.

01:03:31.758 --> 01:03:33.281
[SPEAKER_02]: Yes, 100%.

01:03:33.661 --> 01:03:36.566
[SPEAKER_02]: We go into ops, they're losing the relays on the other side.

01:03:36.586 --> 01:03:41.914
[SPEAKER_02]: So getting closer, they're losing them as they get closer, they're taking out relays on the other side.

01:03:41.934 --> 01:03:43.676
[SPEAKER_02]: So they know the demandings about to come through.

01:03:44.738 --> 01:03:47.562
[SPEAKER_02]: They fire this weapon to close the wormhole.

01:03:47.662 --> 01:03:50.066
[SPEAKER_02]: And it seems to work at first, but then it breaks.

01:03:50.426 --> 01:03:53.991
[SPEAKER_02]: And Miles goes over to a panel and says, someone sabotage the emitter array.

01:03:54.052 --> 01:03:58.438
[SPEAKER_02]: And Cisco says, well, battle stations.

01:03:58.486 --> 01:04:00.089
[SPEAKER_02]: And the gem at our fleet comes out.

01:04:00.349 --> 01:04:00.750
[SPEAKER_02]: There we go.

01:04:00.850 --> 01:04:01.391
[SPEAKER_02]: Part two.

01:04:01.611 --> 01:04:02.453
[SPEAKER_02]: I can't wait to see it.

01:04:03.595 --> 01:04:08.243
[SPEAKER_01]: Here is one of the, I just was tickled by this line when I saw it the second time.

01:04:08.764 --> 01:04:13.772
[SPEAKER_01]: When this is all happening, just before they, they hit the button to close the wormhole.

01:04:13.893 --> 01:04:14.674
[SPEAKER_01]: But shears line.

01:04:14.934 --> 01:04:15.816
[SPEAKER_01]: Chainsling, but shears.

01:04:15.936 --> 01:04:16.577
[SPEAKER_03]: Pretty, pretty, pretty sure.

01:04:17.098 --> 01:04:18.200
[SPEAKER_01]: Yeah, pretty, pretty sure.

01:04:18.280 --> 01:04:18.621
[SPEAKER_01]: Thank you.

01:04:18.641 --> 01:04:19.222
[SPEAKER_01]: What does he say?

01:04:19.402 --> 01:04:21.085
[SPEAKER_01]: He says, here goes nothing.

01:04:21.335 --> 01:04:26.140
[SPEAKER_01]: I mean, I didn't write that line.

01:04:26.381 --> 01:04:27.862
[SPEAKER_01]: Oh, my god.

01:04:28.223 --> 01:04:29.084
[SPEAKER_01]: I love this.

01:04:29.905 --> 01:04:31.727
[SPEAKER_01]: It is delicious, isn't it?

01:04:32.027 --> 01:04:32.748
[SPEAKER_01]: Here's nothing.

01:04:33.008 --> 01:04:35.851
[SPEAKER_01]: I mean, it's a line going, okay, we're going to do this.

01:04:36.131 --> 01:04:41.577
[SPEAKER_01]: But no, if you really think about it, knowing all the facts, it's something else.

01:04:41.597 --> 01:04:42.418
[SPEAKER_03]: It's great.

01:04:42.739 --> 01:04:43.900
[SPEAKER_03]: Wow.

01:04:43.880 --> 01:04:45.742
[SPEAKER_03]: Great, great saboteur.

01:04:45.982 --> 01:04:48.124
[SPEAKER_03]: The lines of the saboteur can be nothing.

01:04:48.264 --> 01:04:50.706
[SPEAKER_01]: Here goes nothing because it's going to be nothing.

01:04:50.726 --> 01:04:51.407
[SPEAKER_01]: I love it.

01:04:51.747 --> 01:04:54.190
[SPEAKER_01]: So good and here here's again with my quam came in.

01:04:54.470 --> 01:05:04.379
[SPEAKER_01]: Okay, he looks like Bashir even if he is Bashir how does he know how to sabotage the electronics well that could be other changelings.

01:05:04.499 --> 01:05:05.640
[SPEAKER_02]: Who else is there?

01:05:05.821 --> 01:05:06.381
[SPEAKER_02]: We don't know.

01:05:06.581 --> 01:05:07.222
[SPEAKER_01]: Yeah, it's true.

01:05:07.542 --> 01:05:08.483
[SPEAKER_02]: We have that's true.

01:05:08.503 --> 01:05:08.984
[SPEAKER_03]: That's true.

01:05:09.144 --> 01:05:09.584
[SPEAKER_01]: That's true.

01:05:09.644 --> 01:05:10.065
[SPEAKER_01]: That's true.

01:05:10.405 --> 01:05:10.545
[SPEAKER_03]: Yeah,

01:05:15.622 --> 01:05:16.283
[SPEAKER_02]: even more?

01:05:16.644 --> 01:05:18.707
[SPEAKER_03]: Yeah, what is your theme and moral, Robin McNeill?

01:05:19.268 --> 01:05:22.613
[SPEAKER_02]: Well, as in my poem, I focused on Garyx experience.

01:05:22.713 --> 01:05:26.358
[SPEAKER_02]: I really felt like that was the heart for me of this episode.

01:05:26.478 --> 01:05:32.127
[SPEAKER_02]: So my theme or lesson is healing deep wounds can be cathartic.

01:05:33.990 --> 01:05:35.452
[SPEAKER_01]: Okay, I like that.

01:05:35.993 --> 01:05:41.261
[SPEAKER_01]: I mean, our mean says life doesn't get easier or more forgiving.

01:05:41.621 --> 01:05:44.025
[SPEAKER_01]: We get stronger and more resilient.

01:05:44.326 --> 01:05:46.349
[SPEAKER_02]: Ooh, I like that too.

01:05:46.910 --> 01:05:47.491
[SPEAKER_03]: I like that.

01:05:47.791 --> 01:05:52.839
[SPEAKER_03]: My lesson, the moral of this episode is, expect the unexpected.

01:05:53.239 --> 01:05:54.120
[SPEAKER_03]: Well, that's the truth.

01:05:54.441 --> 01:05:55.042
[SPEAKER_03]: Yeah, yeah.

01:05:56.103 --> 01:05:57.245
[SPEAKER_03]: It's the entire show.

01:05:57.305 --> 01:05:58.287
[SPEAKER_03]: It's like, what, what?

01:05:58.567 --> 01:05:58.707
[SPEAKER_03]: Yeah.

01:05:59.388 --> 01:06:05.938
[SPEAKER_03]: Okay, the Patreon poll winner for the theme slash lessons slash moral of this episode is submitted by Andrew Kapplin.

01:06:06.379 --> 01:06:10.705
[SPEAKER_03]: Do not go searching for answers if you are not ready for the truth.

01:06:12.102 --> 01:06:18.813
[SPEAKER_02]: You know what I find interesting about these lessons from all of us and the picture and poll winner, they're all very different.

01:06:18.833 --> 01:06:23.661
[SPEAKER_02]: And I think that's a testament to the scope of this episode.

01:06:24.262 --> 01:06:27.708
[SPEAKER_02]: There's so many stories that you can relate to.

01:06:28.629 --> 01:06:33.537
[SPEAKER_02]: And everyone's found a different way in which I think is so great with Star Trek.

01:06:33.517 --> 01:06:36.724
[SPEAKER_01]: It's the parable of the blind men in the elephant.

01:06:36.744 --> 01:06:45.243
[SPEAKER_01]: Each blind person is trying to figure out what this thing is, and each has a different answer for what an elephant is.

01:06:45.443 --> 01:06:45.564
[SPEAKER_03]: Right.

01:06:45.584 --> 01:06:45.985
[SPEAKER_03]: All right.

01:06:46.105 --> 01:06:47.067
[SPEAKER_03]: Well, that's it, gentlemen.

01:06:47.107 --> 01:06:47.969
[SPEAKER_03]: We finished that.

01:06:48.210 --> 01:06:51.998
[SPEAKER_03]: Thank you for all the listeners who have been tuning in.

01:06:51.978 --> 01:06:59.546
[SPEAKER_03]: Join us next time and we will be recapping and discussing the episode by Inferno's Light and that will be with Terry.

01:06:59.586 --> 01:07:01.508
[SPEAKER_03]: We want to thank Armen for joining us for this one.

01:07:01.548 --> 01:07:02.129
[SPEAKER_03]: Thanks, Armen.

01:07:02.530 --> 01:07:03.370
[SPEAKER_02]: Thank you, Armen.

01:07:03.531 --> 01:07:04.111
[SPEAKER_02]: Thank you.

01:07:04.712 --> 01:07:05.573
[SPEAKER_02]: That was good to see you.

01:07:05.593 --> 01:07:05.953
[SPEAKER_03]: Yes.

01:07:06.274 --> 01:07:10.859
[SPEAKER_03]: And for all of our Patreon patrons, please stay tuned for your bonus material.

01:07:11.840 --> 01:07:14.863
[SPEAKER_03]: And yeah, for everyone else, we'll see you next time.