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The Lurker's Guide to Babylon 5
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[1][ISMAP]-[2][Home]
### GUIDE ### [3][Background] [4][Synopsis] [5][Credits] [6][Episode
List] [7][Previous] [8][Next]
_Contents:_ [9]Overview - [10]Backplot - [11]Questions - [12]Analysis
- [13]Notes - [14]JMS
_________________________________________________________________
Overview
When the Narn attack a Centauri colony, Londo and G'Kar nearly come
to blows. Meanwhile, raiders are attacking transport ships near the
station. [15]Paul Hampton as The Senator. [16]Peter Trencher as
Carn Mollari.
Sub-genre: Action/intrigue
[17]P5 Rating: [18]6.99
Production number: 103
Original air date: January 26, 1994
Written by J. Michael Straczynski
Directed by Richard Compton
Watch For
* The campaign issues in the presidential election, especially the
pledges of the winner of the election.
_________________________________________________________________
Backplot
* Earth's first contact with an alien race was with the Centauri. At
the time, the Centauri claimed to be the dominant species in the
galaxy, a "huge empire" - but (according to Garibaldi) this hasn't
been true for almost a _hundred_ years. Furthermore, they tried to
convince the Terrans that they were actually a Centauri lost
colony, which genetic analysis proved also false.
* All Centauri foresee the circumstances of their deaths in a dream.
In Londo's dream, it is 20 years in the future and he and a Narn
have one another by the throat. When Londo first saw G'Kar, he
recognized him as the one from his dream.
* According to G'Kar, the Centauri occupation of his homeworld was a
"_hundred_ year reign of terror."
* The Sinclairs have been fighter pilots since the Battle of
Britain. Jeffrey Sinclair's father taught him everything he knows
about flying and combat.
* The Narn sold weapons to Earth during the Earth/Minbari war.
* The first Mars colony was destroyed by an enemy sneak attack.
* Ivanova's mother was a long-undiscovered telepath, never able to
use her powers very well. When the Psi Corps finally caught up to
her, they put her on very potent psi-retardant drugs. "Every day
we just watched her drift further and further away from us. The
light in her eyes went out bit by bit. And when we thought she
could go no further, she took her own life." (cf. [19]"Eyes" and
[20]"Legacies".)
* Londo has enough clout to get a member of his family assigned to
an agricultural colony rather than admitted to the military.
Unanswered Questions
* There are [21]two references in this episode to a major event in
the Centauri empire about a hundred years ago. What happened back
then? (cf: [22]"Signs and Portents", perhaps)
* How did Kosh get into his encounter suit so quickly? When Sinclair
visits to ask about his position on the Ragesh 3 situation, Kosh's
suit is in plain view but un-animated, the "shoulders" at rest
about two feet below the "head" (which they normally encircle).
Sinclair can see a large light moving behind a translucent screen;
Kosh's voice also appears to come from behind the screen. When
Sinclair turns his back to go, the light flashes across him for a
moment, and when he spins around the encounter suit is just
reaching its full height, with Kosh as in it as he ever is.
* When Londo tells Garibaldi he couldn't possibly understand his
situation, Garibaldi replies, "I understand better than you'll
ever know. I know it burns, I know the things it makes you want to
do." What was he referring to? (cf: [23]"Survivors", perhaps)
* How did G'Kar know about the Centauri decision to make no response
to the Ragesh 3 attack?
* Why did Kosh attend the council session?
* Is it part of a larger Narn plan to supply the raiders with
weapons?
* What _is_ Garibaldi's most favorite thing in the universe?
Analysis
* From the things they say about each others' races at various times
during this episode, neither Londo nor G'Kar seem likely to strive
for lasting peace:
_Londo:_
"We should have wiped out your kind when we had the
chance!"
"On the issue of galactic peace I am long past innocence
and fast approaching apathy. It's all a game, a paper
fantasy of names and borders. Only one thing matters:
blood calls out for blood."
_G'Kar:_
"Your time has come and gone! It's our turn now. One
night you'll wake up and find our teeth at your throat."
"I will confess that I look forward to the day when we
have cleansed the universe of the Centauri and carved
their bones into flutes for Narn children. 'Tis a dream I
have."
* Londo was absolutely consumed by anger and hatred. He would have
sacrificed peace and justice for personal vengeance. (cf: [24]"By
Any Means Necessary")
* The Narn attack a distant easy target with little military value.
This must have been to test the Centauri reaction - see how many
ships they send in response, how hard they're willing to fight to
defend any part of their territory. The Narn are forced to
withdraw for non-military reasons, but they learn a great deal
about their enemies with that move.
* Ivanova is surprised to hear Sinclair defend the honor of the
Minbari. (cf: [25]"The Gathering")
* The EA is not in a strong enough position at home to take an
ethical stance toward its neighbors. "The Earth Alliance can't go
around being the galaxy's policemen," says the senator, "They want
to fight it out, let'em. Just keep us out of it - at least until
after the election."
* One of the most alien moments was watching Delenn try to
understand Garibaldi's cartoons and popcorn. She is at times a
sage, and sometimes an innocent.
* Sinclair claims he confiscated data crystals detailing Narn
communications that confirm Londo's claims about the situation at
Ragesh 3. However, Sinclair has bluffed before (cf: [26]"The
Gathering"). There is no proof that the crystals actually
contained data.
Notes
* Centauri have no major arteries in their wrists.
* Garibaldi knows about the habitual movements of the senior staff
(Sinclair turning off his link during down time at C&C, Ivanova
going to the bar after work).
* Garibaldi has had prior experience with the raiders. ("I knew
they'd be back sooner or later.")
* Ships move to and from the "secondary jump point" through
hyperspace via the primary.
* Starfuries can take multiple hits from Narn heavy weapons without
losing function.
* Earth is ruled by a Senate and a popularly elected President,
though it remains to be seen how much these positions resemble
those of today's USA. America, Russia, and China are among the
"states" in this democracy.
* A Senate subcommittee can dictate Sinclair's vote on the council.
* G'Kar's [27]spoo was quite fresh that week.
* Sinclair attributes two aphorisms to his father:
"The best way to understand someone is to fight him, make him
angry. That's when you see the real person."
"Ignore the propaganda. Focus on what you see."
* _Kosh speaks:_
K: They are alone. They are a dying people. We should let them
pass.
S: Who, the Narn or the Centauri?
K: Yes.
* Shipping companies buy access to the jumpgates in bulk, then sell
it on the open market. However, the schedules are kept secret to
protect against piracy.
* All incoming ships log their routes through Ivanova's console.
* A Narn weapons deal always includes an advisor who instructs the
buyer in the weapons' use and insures they aren't sold to a third
party.
* All Earth Telepaths are given three options: join the Psi Corps,
go to jail, or [28]take drugs. Unlicensed telepaths are heavily
controlled in the name of protecting public privacy.
* Luis Santiago wins the presidential election over challenger Marie
Crane. His platform included promises to cut the budget and keep
Earth out of war. His agenda for his coming term includes
cultivating a closer relationship with the Mars colony and
"preserving Earth cultures in the face of growing non-Terran
influences" (cf: [29]"The War Prayer", [30]"Survivors")
jms speaks
* The first one-hour episode of the series, "Midnight on the Firing
Line," does a fair amount of re-introduction, for those who've
seen the pilot and need to be up to speed, and some introducing
for those who haven't. It is, however, largely an action-oriented
story, into which we weave the characterization. It manages to
convey some of the same info as the pilot, but in a *much* more
dramatic fashion.
* No, the show isn't a year and a half late. As it is, it's less
than one year since the pilot aired. It was our initial hope, and
my initial belief, that we'd go straight into the series as soon
as we finished the pilot. But the studio, in its infinite wisdom,
decided that since they HAD a pilot, it kinda behooved them to air
it and get the ratings before committing to a series. So we then
waited until February for the airing, got the go-ahead to
production around April/May, began shooting in July, got a whole
bunch of episodes in the can, and now we're hitting the air. That
is the sum and substance of it.
* We'd always figured on going right to series, but once we had done
the pilot, the studio said, in essence, "Well, we've got a pilot,
we don't know if the market will sustain more than one space SF
series, no other SF series has done well lately...maybe we ought
to air the pilot first, and get the ratings, before committing to
a series." And that's what happened...much to our consternation at
first, but in the long run it was a blessing in disguise, because
that interim period allowed us to really do a lot to make the show
better.
* Approximately nine months have passed since the time of the pilot
and the birth of the series.
* I *love* [31]"Duck Dodgers." I have virtually all of the WB
cartoons on tape or disk, and from where I sit, that's wonderful
stuff that'll be around for a long, long time. No omens, just
something I thought would be fun. (Again, connecting
past/present/future, sort of our B5 theme.)
* "Midnight on the Firing Line" as a title was more my feelings
about the episode and the series. I knew we'd come under
considerable fire, figured it was cool.
* _"...and if our future lies on the firing line, are we brave
enough to see the signals and the signs...."_
-- Harry Chapin
Just a thought.
* Ah, but you're assuming that the Londo-strangling-scene is as it
seems to be; maybe it is, but maybe it isn't. You don't know the
context yet.
* Down the road, we will be seeing more of Londo, and his people,
and realize that they aren't as human looking as they first
appear.
* The Raghesh 3 claim is only about 20 years old; the Centauri came
to Narn over a hundred years ago.
* You're correct in your appraisal of the "coincidences" in the
first episode. Upon finding that Londo's nephew was there, they
would of course trot him out to try and undermine Londo's
credibiltiy (you'll note that G'Kar made special mention of this,
as if to say, "Is the Centauri ambassador calling his own nephew a
liar?"). It'd be the same thing if the son of an American
ambassador was on-hand when hostages were taken. As for the choice
of the attack's location...Londo wanted his nephew "far away from
all this." Someplace safe. A fairly safe, mundane place is not
going to have a major military presence...and hence is a perfect
target for attack.
* RE: the spotlights, we'd figured that since the transport had been
freshly attacked, there'd be debris all over the place, and lots
of particulate matter which would show up in the light.
* Quick replies to your questions: Spoo is. What else can one say
about spoo?
The Centauri station actually was rotating, as I recall, it's the
camera angle that I believe doesn't showcase it as well as it
might.
The scanners on the Starfuries detected no movement, no
atmosphere, no signals, no warmth of bodies.
The lights on the fighters during the examination of the rubble
were visible due to particulate matter spewed out during and after
the attack.
* What is spoo? Spoo....is.
(Spoo is also Oops spelled backward.)
* Spoo is/are (the plural of spoo is spoo) small, white, pasty,
mealy critters, rather worm-like, and generally regarded as the
ugliest animals in the known galaxy by just about every sentient
species capable of starflight, with the possible exception of the
pak'ma'ra, who would simply recommend a more rigorous program of
exercise. They are also generally considered the most delicious
food in all of known space, regardless of the individual's
biology, almost regardless of species, except for the pak'ma'ra,
who like the flavor but generally won't say so simply to be
contrary.
Spoo are raised on ranches on worlds with a damp, moist, somewhat
chilly climate so that their skin can acquire just the right shade
of paleness. Spoo travel in herds, if moving a total of six inches
in any given direction in the course of a given year can actually
be considered moving. They stay in herds ostensibly for mutual
protection, but the reality is that if they weren't propped up
against one another, most of them would simply fall down. They do
not howl, bark, moo, purr, yap, squeak or speak. Mainly, they
sigh. Herds of sighing spoo can reportedly induce unparalleled
bouts of depression, which is why most spoo ranchers wear earmuffs
even when it's only mildly cold, damp, wet and dreary outside. If
there is any life-or-death struggle for dominance within the spoo
herd, it has not yet been detected by modern science.
Spoo ranching is one of the least regarded professions known.
Little or no skill is required, once you've got a planet with the
right climate. You bring in two hundred spoo, plop them down in
the middle of your ranch, and go back to the nearby house. Soon
you've got more. When it comes time to cull out the ones ready for
market (the softest, mealiest, palest, most forlorn-looking spoo
of the pack), little physical effort is required since they're
incapable of rapid movement without falling over (see above). They
do not resist, fight, or whine; they only sigh more loudly. When
spoo harvest time comes, the air is full of the sound of whacking
and sighing, whacking and sighing. Even an experienced spoo
rancher can only harvest for brief periods of a time, due to the
increased volume of sighing, which even the sound of whacking
cannot altogether erase. (also see above) Some have simply gone
mad.
Spoo are the only creatures of which the Interstellar Animal
Rights Protection League says, simply, "Kill 'em."
Fresh spoo (served at an optimum temperature of 62-degrees) is
served in cubed sections, so that they bear as little resemblence
as possible to the animal from which they have just been sliced.
Spoo is usually served alongside a chablis, or a white zinfandel.
Further information on the care, feeding, eating and whacking of
spoo can be found in the second edition of the Interstellar Guide
to Fine Dining.
* Re: your desire to make and eat spoo at home...depends on whether
or not you ever want to have children later....
* _What does spoo taste like?_
Meat Jello.
Served chilled.
* At the point in which we join the tale of the last of the Babylon
stations, *everything* is in a state of flux...one government is
on the rise, another is declining, Earth is taking some new and
disturbing directions...so yes, they all feel there is a change
coming. It's a little thing, but we keep it alive to keep a sense
of something moving on a web, and each movement makes the whole
thing shake just a little.
* Re: the "last" of the Babylon Stations...y'all might want to bear
in mind the syntax of the narration. It speaks of B5 in the *past
tense*. "Bablyon 5 WAS the last of the Babylon stations...it WAS
the dawn of the third age of mankind." The narration is the voice
of future history, the storyteller, long after the fact, spinning
for us the tale of the last of the Babylon stations.
* I never said it was an isolationist president. The reporter doing
the commentary at the election talked about preserving earth
culture in the face of growing alien influences, which isn't quite
the same thing as cutting off trade agreements.
* You'll get a pretty good glimpse into why Sinclair jumps into a
fighter any chance he can get in "Infection." Part of it is to
escape from stuff...the other goes much deeper, and much
darker....
* Here's what I find curious (not necessarily in direct response to
anything you said, but in general on this topic)...is that when
Ivanova makes her remark to Garibaldi about snapping his hands off
at the wrists, many people have assumed that she was insulting
him, berating him, being bitchy, truly disliking and threatening
him.
But the same words, put in the mouth of another male, wouldn't
have drawn that reaction, and would've been classified under,
"kidding around" or affable sarcasm.
Which is exactly what it is in this case. In this place and this
time, they're comfortable enough to mess with each other without
it being taken seriously (among these characters, that is). There
are times they kinda like to phuque with each other a bit, justfor
the hell of it, as comrades will sometimes do. ("Babylon Squared"
has a great example of Sinclair and Garibaldi messing with
Ivanova.)
* Sinclair's line, "Cut acceleration," was in regards to forward
momentum, so he could more easily spin the fighter around.
* RE: the Raider ships...they turned by a less effective system of
thrusters put in here and there, not nearly as powerful as the
systems used by the Starfuries. The reason -- verifiable by the
shape of the Raider ships -- is that Raider ships are handicapped
by the fact that they're made to function both in space *and*
within an atmosphere (hence the aerodynamic wing shapes), which
gives it something of a problem when dealing with the Starfuries,
which are made ONLY for fighting in space, and are most ideally
suited to it. The Raider ships make compromises for greater
utility, which is generally okay unless they run into superior
forces of ships designed for spaceborne combat.
* The symbol Talia wears isn't a Link or any other kind of
communications system; it is *strictly* a form of identification,
tagging her as a telepath and a member of the Psi Corps. It serves
no other function.
* Correct, Christopher Franke designed Kosh's voice.
* That the Centauri *claimed* that we were a lost colony is not the
same as indicating that we *believed* them.
* I like it when people lie in television, and we find out about it
over time. The "lost colony" routine was one such. At one point,
Garibaldi confronts Londo with this as reason for why he doesn't
trust the Centauri. Londo shrugs it off as a "clerical error."
There will be a few points in the series when we'll get
information, and we'll buy into it...and discover after a while
that that character bald-facedly lied to the other character (and,
by proxy, to us). And naturally there will be consequences to
this....
* In "Midnight," Sinclair is really not given a chance to show his
character, since it's basically a reintroduction to the series,
and there is a lot to cover. He functions throughout the episode
only in his official capacity. In other episodes, you'll get to
see some very different sides to his character, particular in
"Parliament of Dreams."
* Re: Sinclair getting into a fighter...there were a number of
reasons for this, one of which being he wanted a good reason to
avoid being in on the counsel vote, given his marching orders. But
more than that ...I would point out that this isn't Star Trek, and
Sinclair isn't Picard; he is first and foremost a pilot. He loves
to get into a fighter and take it out He's a fighter. That's when
he is most at ease. That's what his character *is*.
At the same time, however, there are consequences for that kind of
behavior, as you point out. And there are deeper reasons for what
he is doing than even he want to admit. Tell you what...table that
aspect until after you've seen the last part of "Infection," which
deals *with this exact issue*.
* My thought, at the time, was that if we play the reality of this
for a moment, probably *all* of the ambassadors have some kind of
weapon, smuggled in via diplomatic pouches. Garibaldi and Sinclair
know they're there...question is, is it worth starting a
diplomatic incident over, as long as they're not being used?
Garibaldi is saying, in essence, "Okay, you know it's there, and I
know it's there, but now you've made a point about it. Lose it or
hide it, or I'm going to have to charge you, and we're BOTH going
to be up to our ears in it." If Garibaldi confiscated it, there'd
be a whole diplomatic hassle... and Londo would just have another
one sent to him via diplomatic pouch.
* It's interesting what we can read into faces...in Delenn's
reaction, I saw concern, angst, but not that she believed the
story. That certainly wasn't the intent of the scene, or the
script...faces are interesting things. As for the rest, you're
right; not everyone wants to do the Right Thing For The Right
Reasons. Some would prefer not to get involved. So some might want
deniability, want a reason not to go up against the Narns, or have
sold out their votes. A human looking at that screen could tell
that the person was being coerced...but what about the other alien
races, to whom a downcast face could be a sign of joy? In any
event, suspicion is one thing, but *proof* is another, and the
legal system works on *proof*. Nothing could be done until they
had the proof that Sinclair got at the end, and chose to use
behind closed doors to the same effect.
* You may think it was obvious that the nephew was reading at
gunpoint, and in fact, he was...but thinking something or
suspecting something isn't the same as proving it. Londo could
say, "He was reading at gunpoint!" And G'Kar could say, "No, he
wasn't." Where do you go from there? (And, in fact, that's
*exactly* what Londo said...only to have G'Kar deflect it.)
Re: why Londo didn't show the clips...at this point, there's not
any quesion in anyone's mind about the attack taking place. The
Narns say they were invited in to help quell internal strife. That
the events took place isn't at issue; it's *why* and whether or
not they were invited in. (As with Germany in WWII indicating that
some places "invited" them in.)
Had Sinclair shown the evidence, it probably would've just
hardened G'Kar. Also, most politics is back-room dealing. You do
this in public, and you make a terrible enemy who'll strike back
as soon as he has a chance. Let him have his dignity, save face,
BUT get what you want, and there's room to maneuver in future.
It's the difference between being a punch'em-out hero, and someone
who has to be diplomatic, within limits.
* Sinclair did not -- repeat, did NOT -- "tell Ivanova to defy
Earth's orders and deceive the council." He set up a situation in
which he would say that he was unable to catch up with her and
pass along the Senator's instructions before he had to leave. Her
line would be that "The Commander never told me," and he would
back this up. (And that he would hedge the truth this way is
hardly "perfect.")
Defying the Senator's orders would be telling them that the vote
will NOT be made as ordered. That never happened.
* In "Midnight," Sinclair had to be pretty much in command mode all
during the episode as a character, so that influences the result.
But in later episodes, we get him out of those situations, out of
uniform, and into other settings where he can be more relaxed. So
that's coming, and you'll see it *very* early on in the first
season.
* Yeah, the Sea Witch is the one that rotates and fires at one of
the Raiders. It's a woman's face in a green and blue background.
* As a matter of fact, in a couple of episodes you'll see a photo of
the Earth Alliance president. The photo itself is of Doug Netter,
my associate on the show and fellow executive producer. (The woman
running against the incumbent president in the election featured
on "Midnight" is played, in photo, by our wardrobe designer, Ann
Bruice.)
* Yes, Vir is very obsequious in "Midnight." That's done in order to
give his character somewhere to go, as gradually he begins to
stand up to Londo and talk back.
* Re: Vir...that was the first episode filmed with his character,
and he wasn't directed as well as he might have been. We pulled
him back a lot in later episodes.
* Vir calms down. Trust me.
He even manages to nail Londo from time to time...as he does when
Londo suffers a rather nasty hangover in "Born to the Purple."
* If there's anything about "Midnight" that I would change...ehh...
that's a tough question to ask any producer or writer. I can't
think of anything I've done that I wouldn't want to go back and
tweak. The only real drawback we had was that we were still
building sets as we filmed our first few episodes, so we didn't
have access to all of the full range of sets. Not that we really
needed them, the story works fine in the sets we had, but we
could've moved one or two shots around into different sets just
for variety.
But aside from general tweaking, I don't think there's really
anything I'd change in it. My problem is that I'm too close to it,
and there are a number of episodes we shot afterward that blow it
right out of the water in terms of quality, production values and
the rest; I'd have to say that my favorite shows to date, in
order, would be The Parliament of Dreams, Mind War, And the Sky
Full of Stars, Soul Hunter, Born to the Purple, Midnight,
Believers, Infection, The War Prayer, Survivors and Grail.
Chrysalis, which we're shooting now, will probably take over the
Favorite #2 spot from Mind War. We're fighting to make every
episode better than the one before it.
We're going to have a brass plaque put up here in the offices one
of these days, before we finish, saying, "If you're not here to
kick ass, get out."
* What you and the others seem to be pointing out is what I've been
trying -- imperfectly, as best I can -- to communicate for some
time. In the case of "Midnight," can you follow that show and
enjoy it absolutely on its own terms? I believe that is the case.
There's another level there, the "little clues and hints" you
mention, which will just skate past most casual viewers and not in
any way interfere with their viewing of the episode...but if
you're paying attention, and you catch them, it adds a new level.
The more you see, the more you begin to perceive that second
level. It's a cumulative effect that doesn't diminish the single
episodes as stand-alones.
* (Lost the last paragraph of my message.) In any event, what I'm
striving for is the idea that you can watch the episodes for the
character stories, OR the story arc, OR the individual stories, OR
all three at the same time, all in the same exact episodes. You
can get out as much as you're willing to find.
It's a very weird kind of writing...but at least on this end, it's
kinda fun, actually.
* I agree, most of the plot lines are tied up pretty well (except
for the telepath issue introduced at the end, which comes back at
us again...as does, incidentally, the Raghesh 3 incident and other
stuff). In responding to some of the criticism of the pilot, I
tried to make this one far more self-contained. Which is why I
much prefer "Parliament," "Mind War" and "Soul Hunter" over
"Midnight."
* Did we save anything for the rest of the season? Lemme put it to
you this way...you ain't seen *nothin* yet. "Midnight" makes just
about everything done before for TV look lame...but there's stuff
coming down the pike that'll make "Midnight" look pale by
comparison. With each show we get better, we learn more, and we
can *do* more.
* In the teaser scene you refer to in "Midnight," you've got a
couple dozen fighters coming in alongside about 3-4 motherships
(or capital ships, either term will suffice). We've always said
that big ships can punch through and form their own jump points.
That's how the jump gates get there in the first place: a big ship
comes through, on its own, and leaves behind a jump gate. There's
no contradiction. One (or more) of the big ships was creating the
point of entry as it went.
* During the con appearance, Jerry told a story that *I* hadn't
heard before. There's a scene in the script "Midnight on the
Firing Line" in which Talia (Andrea) goes into a transport tube,
finds Garibaldi, and asks some questions about Ivanova. They
rehearsed it several times, this being Andrea's first time on the
set, and filmed one take. She comes down the hall, comes to the
pen...and Garibaldi's pants are down around his ankles. Needless
to say, that shot did NOT end up in dailies....
There are days I think -- between Jerry, Harlan, me and some
others involved on the show -- we ought to name this Loose Cannon
Productions....
* Behind-the-scenes humor: because it had been so long since the
pilot, it took a few of our actors a bit of time to get back into
their characters, to find the characters' "fingerprints" for lack
of a better term. This is quite understandable given the long
waiting period. When he needed to find his character for a scene,
Peter Jurasik mentioned that he would just stand up straight and
yell, "MISter GariBALdi!" and he'd be right back in character.
Sort of the B5 version of "Shazam!"
Minus the lightning bolt, of course.
_________________________________________________________________
Originally compiled by Matthew Ryan _matt@uhs.uchicago.edu_
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[38]Last update: January 13, 1998
References
1. file://localhost/cgi-bin/imagemap/titlebar
2. LYNXIMGMAP:file://localhost/lurk/maps/maps.html#titlebar
3. file://localhost/home/woodstock/hyperion/docs/lurk/background/001.shtml
4. file://localhost/home/woodstock/hyperion/docs/lurk/synops/001.html
5. file://localhost/home/woodstock/hyperion/docs/lurk/credits/001.html
6. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
7. file://localhost/home/woodstock/hyperion/docs/lurk/guide/000.html
8. file://localhost/home/woodstock/hyperion/docs/lurk/guide/002.html
9. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#OV
10. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#BP
11. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#UQ
12. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#AN
13. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#NO
14. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#JS
15. http://us.imdb.com/M/person-exact?+Hampton,+paul
16. http://us.imdb.com/M/person-exact?+Trencher,+Peter
17. file://localhost/lurk/p5/intro.html
18. file://localhost/lurk/p5/001
19. file://localhost/home/woodstock/hyperion/docs/lurk/guide/016.html
20. file://localhost/home/woodstock/hyperion/docs/lurk/guide/017.html
21. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#BP
22. file://localhost/home/woodstock/hyperion/docs/lurk/guide/013.html
23. file://localhost/home/woodstock/hyperion/docs/lurk/guide/011.html
24. file://localhost/home/woodstock/hyperion/docs/lurk/guide/012.html
25. file://localhost/home/woodstock/hyperion/docs/lurk/guide/000.html#AN:5
26. file://localhost/home/woodstock/hyperion/docs/lurk/synops/000.html#nanobluff
27. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#JS:spoo
28. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#BP:6
29. file://localhost/home/woodstock/hyperion/docs/lurk/guide/007.html
30. file://localhost/home/woodstock/hyperion/docs/lurk/guide/011.html
31. file://localhost/home/woodstock/hyperion/docs/lurk/guide/245.html
32. file://localhost/lurk/lurker.html
33. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#TOP
34. file://localhost/cgi-bin/uncgi/lgmail
35. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
36. file://localhost/home/woodstock/hyperion/docs/lurk/guide/000.html
37. file://localhost/home/woodstock/hyperion/docs/lurk/guide/002.html
38. file://localhost/lurk/lastmod.html