You can not select more than 25 topics
Topics must start with a letter or number, can include dashes ('-') and can be up to 35 characters long.
494 lines
28 KiB
494 lines
28 KiB
|
|
[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
|
|
|
|
The Narn-Centauri War reaches a turning point. Sheridan is
|
|
contacted by a powerful ally, who offers assistance. [15]John
|
|
Schuck. [16]W. Morgan Sheppard as Warleader G'Sten. [17]William
|
|
Forward as Refa.
|
|
|
|
Sub-genre: Action/Intrigue
|
|
[18]P5 Rating: [19]9.49
|
|
|
|
Production number: 219
|
|
Original air date: August 1, 1995 (UK)
|
|
October 18, 1995 (US)
|
|
|
|
Written by J. Michael Straczynski
|
|
Directed by John Flinn
|
|
|
|
_Note: this episode is more momentous than most. Think twice before
|
|
proceeding to the spoilers; it's worth seeing unawares._
|
|
|
|
Watch For
|
|
|
|
* A change in the number of candles in G'Kar's quarters.
|
|
|
|
_________________________________________________________________
|
|
|
|
Backplot
|
|
|
|
* The new Centauri emperor, Cartargia, is acting mostly as a
|
|
figurehead, a front for Refa and his compatriots.
|
|
* A treaty among all the aligned worlds outlawed the use of mass
|
|
drivers as a weapon of war, similar to the Earth treaties
|
|
outlawing the use of chemical and biological weapons.
|
|
* Draal says he has found other beings on Epsilon 3, ones who take
|
|
care of the great Machine Draal is at the heart of. One of them is
|
|
a fellow named Zathras (cf. [20]"Babylon Squared.")
|
|
* Delenn has been in charge of all the Rangers on Babylon 5. She now
|
|
shares that command with Sheridan.
|
|
* Sheridan does not know that Sinclair is behind the Rangers.
|
|
* The Centauri seem to have gravity control technology. Londo
|
|
watches as the Centauri bombard the Narn homeworld, standing --
|
|
seemingly in gravity -- aboard a motionless ship. (Either that, or
|
|
they have magnetic shoes.)
|
|
|
|
Unanswered Questions
|
|
|
|
* What's Zathras doing on Epsilon 3, and how did he get there? If
|
|
the planet has been undisturbed for at least the past 500 years
|
|
([21]"A Voice in the Wilderness, part 2,") is he that old?
|
|
* Where was Zathras such that Draal, with sight that extends across
|
|
light-years, couldn't find him? Perhaps he wasn't in another
|
|
place, but another time (see [22]"Babylon Squared.")
|
|
* Will the great machine be involved in pulling Babylon 4 through
|
|
time?
|
|
* Now that Londo has stated he no longer wishes to associate with
|
|
the Shadows, his usefulness to Lord Refa is at an end. How will
|
|
Refa handle this?
|
|
* What exactly was G'Kar told to do in the Kha'Ri's last message?
|
|
Ask for sanctuary, obviously, but anything else?
|
|
* What other technology do the Shadows have that we haven't seen
|
|
yet?
|
|
* Have the Narn unwittingly discovered a weakness of the Shadows?
|
|
(see [23]Analysis)
|
|
* Now that G'Kar has been stripped of his homeworld and position on
|
|
Babylon 5, what can he contribute to the battle against the
|
|
Shadows?
|
|
|
|
Analysis
|
|
|
|
* Londo is now convinced that his associates are far too powerful
|
|
for their motives to be solely for his benefit. He realises that
|
|
he has become a pawn in their larger game, and that his personal
|
|
quest for more power has lead to the death of esteemed friends and
|
|
many innocents. While convinced of this, and that he has allowed
|
|
himself to be maneuvered at every turn by the will of others, he
|
|
still carries through with his role as a paper tiger
|
|
politician/ambassador.
|
|
* The Shadows show some new weaponry. It appears that each ship can
|
|
"give birth" to a cluster of forty or so of the smaller fighters
|
|
G'Kar encountered at Z'ha'dum in [24]"Revelations." We are not
|
|
shown that these fighters are re-assimilated at the end of the
|
|
confrontation, and it is also unknown how many times each Shadow
|
|
can do this.
|
|
The second weapon has the ability to disrupt a jump point so that
|
|
it is fatal for any ship to attempt to use it. Once an attack
|
|
against the Shadows begins it appears you can leave only when they
|
|
so allow it.
|
|
* The Shadow "wounded" during the battle is thrown off course by the
|
|
loss of one of its spines. After the battle is finished, a second
|
|
Shadow joins with it as if to assist it. The broken spine is
|
|
clearly visible on the ship that does not move during the docking
|
|
procedure. It suggests that the damaged Shadow was unable to
|
|
function as effectively, perhaps because it was in pain.
|
|
* With Draal offering the resources of the highly advanced
|
|
technology at his command, it appears that Babylon 5 is one of the
|
|
few places that may withstand a Shadow assault. That it can become
|
|
the base of operations for the Army of Light is now clear.
|
|
Perhaps more importantly, Babylon 5 can probably also withstand a
|
|
frontal assault by Earthforce, though they might prefer to destroy
|
|
it from within.
|
|
* The Centauri use of mass drivers flauts all previously signed
|
|
conventions, and it appears (cf. [25]"And Now for a Word," where
|
|
the Centauri are discovered using Babylon 5 to transport mass
|
|
drivers and energy weapons) that they have been planning this kind
|
|
of assault on the Narn homeworld for some time.
|
|
* A mass driver uses a heavy object (such as a small asteroid)
|
|
launched from orbit toward a planet's surface at low speed. As it
|
|
falls through the planet's gravity well it gains considerable
|
|
momentum. On impact the immediate area becomes a crater, and huge
|
|
quantities of dust are thrown up into the atmosphere, blocking out
|
|
sunlight and causing something like a nuclear winter. E. E. "Doc"
|
|
Smith's [26]Lensman series, written from 1937 to 1948, is the
|
|
first literary SF work to use mass drivers as weapons for
|
|
planetary bombardment as shown in this episode. (If you know of an
|
|
earlier work, send me mail!)
|
|
* All of the major governments (with the exception of the Vorlons)
|
|
are now under serious internal stress. They are either
|
|
introspective (Earth,) skeptical of present danger (Minbari,)
|
|
overextended (Centauri,) or occupied (Narn). It appears that the
|
|
Shadows have achieved, either directly or indirectly, effective
|
|
destabilization of every major power that might stand up to their
|
|
forces.
|
|
* Ambassador Kosh openly lets the Rangers know of his involvement.
|
|
* It appears that Garibaldi's friendship with Londo has strained to
|
|
the breaking point.
|
|
* Sheridan now has access to the Rangers. This appears to be
|
|
fulfilling the dream induced by Kosh (cf. [27]"All Alone in the
|
|
Night") where he is described as being "The Hand." Presumably this
|
|
reference is to his role as someone who will help lead the forces
|
|
of light as the right hand man of "The One."
|
|
* A fully prepared numerically superior Narn task force is easily
|
|
destroyed by the Shadows. Unless more effective combat techniques
|
|
are discovered, the battle with darkness will have to involve more
|
|
subtle tactics.
|
|
* Londo hasn't forgiven Refa for the death of his friend Urza Jaddo
|
|
([28]"Knives.")
|
|
* Londo's cough in the council chamber scene sounds suspiciously
|
|
like the one in his dream in [29]"The Coming of Shadows." Could he
|
|
be coming down with something? (See [30]jms speaks)
|
|
|
|
Notes
|
|
|
|
* JMS premiered this episode at the Chicago Comicon on July 1, 1995.
|
|
* W. Morgan Sheppard also appeared in the first season episode
|
|
[31]"Soul Hunter" as the title character.
|
|
* The episode's initial airing, in the UK, was 50 years, almost to
|
|
the day, after the atomic bomb was dropped on Hiroshima during
|
|
World War II. Considering the obvious parallels between the
|
|
Centauri use of mass drivers and the American use of the atomic
|
|
bomb, that's a serindipitous, if unintentional, bit of timing.
|
|
* "Now the trumpet summons us again: not as a call to bear arms,
|
|
though arms we need; not as a call to battle, though in battle we
|
|
are; but as a call to bear the burdens of a long, twilight
|
|
struggle--year in and year out, rejoicing in hope, patient in
|
|
tribulation--a struggle against the common enemies of
|
|
man--tyranny, poverty, disease, and war itself." --John Fitzgerald
|
|
Kennedy. An [32]audio version of his speech is available. [INLINE]
|
|
* In the first Londo-Refa scene, just before Refa sits, what looks
|
|
like a wooden duck with its wings outstretched is visible on a
|
|
shelf beside the throne. Perhaps it's a Centauri cat (cf.
|
|
[33]"Chrysalis.")
|
|
* Candles are used subtly to represent hope, here and in previous
|
|
episodes (see [34]jms speaks.) At the beginning of G'Kar's prayer
|
|
scene, the shelf behind him is filled with burning candles -- but
|
|
by the end, as his people's last hope is destroyed by the Shadows,
|
|
they've all gone out.
|
|
* Likewise, when Londo and Refa are talking, they're both cloaked in
|
|
shadow -- until Londo expresses misgivings about his associates
|
|
and emerges into the light.
|
|
* The battle sequence was directed by Mojo of Foundation Imaging;
|
|
the mass-driver sequence was directed by John Teska. The episode
|
|
has more effects footage than any previous one, nearly five
|
|
minutes' worth. The effects took almost a month to produce.
|
|
|
|
jms speaks
|
|
|
|
* "The Long, Twilight Struggle" is probably the biggest episode of
|
|
the entire two years to date, story and EFX and character wise,
|
|
and will have a profound effect on the series that I'd compare to
|
|
a cross between "Signs and Portents" and "Chrysalis".
|
|
* I don't want to say anything about "The Long Twilight Struggle" at
|
|
this time, to avoid hyping people. Suffice to say it's a very
|
|
strong episode.
|
|
* Hell, in some ways, when compared with "Struggle," "The Coming of
|
|
Shadows" is a light comedy in which nothing much happens.
|
|
* Without spoiling anything...yes, in this regard, I've always noted
|
|
that there are some echoes of WW II in the overall storyline, and
|
|
some applies here. Also, again, the purpose of a large measure of
|
|
the show is to elicit discussion of such issues as this...where
|
|
are the mora, (moral) responsibilities in such a situation? What
|
|
are the ethics of mass warfare? Where does expediency begin and
|
|
compassion end? *Should* compassion have to end for the greater
|
|
good?
|
|
If we can start some bar fights, I'll have done my job.
|
|
Fact is, I don't have one single damned good answer. But I've got
|
|
a whole LOTTA questions...
|
|
* Thanks. Yes, there's a WW II parallel, not in terms of justifying
|
|
one or the other -- one can make compelling arguments for and
|
|
against the use of atomic weapons to close the war, but I leave it
|
|
to those who were there to have made the right decision, because
|
|
they had to live with it -- but in terms of strategy and wartime
|
|
logic.
|
|
* Thank you. I'm quite frankly thrilled beyond words at the
|
|
preliminary reactions from the UK to this episode; we worked
|
|
*really* hard on it, and I can't tell you what the reactions mean
|
|
to us.
|
|
* Thanks. It's definitely one of my favorite episodes. The intensity
|
|
is terrific.
|
|
* Yes, "They're being bombed back to the stone age" is a Vietnam era
|
|
quote.
|
|
* Re: what you could see of the planet's surface...one of the side
|
|
effects of the technology used is that, realistically, it would
|
|
throw up a *hideous* amount of smoke, dust and debris, and you
|
|
wouldn't see much of anything.
|
|
* _Why isn't Londo floating weightless?_
|
|
Some races, like the Centauri and the Minbari, use drive systems
|
|
built to varying degrees on magnetic and gravitational forces;
|
|
some of them don't so much go to a planet as create a situation
|
|
where they are drawn toward it. One of the side effects of this is
|
|
a field allowing for artificial gravity. Earth doesn't have this
|
|
level of technology, however.
|
|
* Re: your note about 500 Narns for every 1 Centauri...you may want
|
|
to check our own history. During the occupation of some parts of
|
|
Europe during WW II, similar tactics were used. In some cases the
|
|
threat rose as high as 100-200 Jews or Russians executed for every
|
|
Nazi killed; much the same has been done in earlier history. Five
|
|
hundred to one is a figure relatively consistent with what humans
|
|
have done from time to time when we wish to instill terror. So I
|
|
find this a curious quibble.
|
|
* Actually, Londo *specifies* that the 500 will include "the
|
|
perpetrator's own family."
|
|
* _Was Draal's voice dubbed?_
|
|
No, his voice wasn't dubbed, or changed, by anyone; might've been
|
|
a glitch in local audio or something.
|
|
* Thanks. Draal's played by John Shuck, who did a great job. And
|
|
yes, we'll definitely be seeing him again. (We first met him in "A
|
|
Voice in the Wilderness.")
|
|
* _I loved the part with Draal calling out for Zathras_
|
|
Yeah, that was a rather Draal bit of humor, wasn't it?
|
|
* In part it's John's take on the character, but what I indicated to
|
|
him was that Draal's gone through some considerable changes by
|
|
entering the heart of the machine; it's given him greater
|
|
understanding, and the freeing aspects of greater humor. It's
|
|
almost like -- and I hate to even use the reference because
|
|
somebody'll say "Oh, that's what he's doing," and I ain't, it's
|
|
just a point of comparison -- Tom Bombadil in LoTR...quite funny,
|
|
but also someone not to be trifled with.
|
|
* It wasn't intended that Delenn should touch Draal; it sorta
|
|
happened on the set, and no one really noticed, and it wasn't
|
|
worth going back and reshooting the whole thing. My sense is that
|
|
if it's like a virtual reality situation, she would "feel" it even
|
|
though it's not there, if the image was impinging correctly on the
|
|
brain.
|
|
But in either event, the image is not and should not be considered
|
|
to be solid.
|
|
As for Londo's shot...the director called "cut" I think a bit too
|
|
soon, we used every frame we had to extend that shot (and, in
|
|
fact, we even went so far as to freeze the final frame and extend
|
|
the shot by a smidge, if you look at it carefully). Nonetheless, I
|
|
think it works pretty spiffily.
|
|
As for the mass drivers, the amount of energy required to move
|
|
something that big would generate huge amounts of heat, possibly
|
|
making them even white-hot hence the glow.
|
|
* _An actor's job is to physicalize the script. Can you give an
|
|
example?_
|
|
Yes, I think that's accurate. The most obvious place where it
|
|
worked was where Londo looks through the window to Narn being
|
|
bombed below. There's no dialogue, and he has to convey a range of
|
|
emotions just through his face....which is a terribly difficult
|
|
thing to do, and he did a superb job of it.
|
|
* Mass drivers use asteroids freely available in space, accelerated
|
|
and fired into a planetary atmosphere. EA non-rotational ships
|
|
have zero g. EA tech is generally much lower in weapons tech and
|
|
other areas than the Minbari and Vorlons, among others.
|
|
* Actually, what Delenn said was, "...the Rangers *in this area* are
|
|
under my direct command." So Sinclair's post as Ranger One remains
|
|
back on Minbar.
|
|
And yes, Sinclair has apparently been described as the One...but
|
|
you must ask...the one *what*?
|
|
Expect final answers to this one late this coming season.
|
|
* _On each season's music for the opening credits reflecting the
|
|
mood of the season_
|
|
What do I have in mind for season three? What I indicated to Chris
|
|
Franke was to look at a piece of music he did in "The Long,
|
|
Twilight Struggle" and interpolate some elements of that into the
|
|
main theme, with a very hard sound. The piece in question is about
|
|
the middle of the first really...um...busy scene after the act
|
|
break.
|
|
* Until "The Long Twilight Struggle," nothing else has come close to
|
|
that scene [the attack on the Narn outpost in "Coming of Shadows"]
|
|
for me. But there's some stuff in there that finally manages to to
|
|
surpass it. Just gorgeous and scary and awe-inspiring.
|
|
* _These Narn heavy cruisers were different than the ones in
|
|
[35]"Midnight on the Firing Line."_
|
|
There are various kinds of ships the Narns have, some older than
|
|
others; the ones in the first ep were older ones.
|
|
* _About the Narn/Shadow battle_
|
|
Thanks. Yeah, that scene is one of my favorites; a lot of work
|
|
went into it, and I think it shows.
|
|
* _Secret of Narn success in injuring a Shadow ship?_
|
|
Not much to the secret...they coordinated their firepower on one
|
|
of the ships, in hopes of doing damage.
|
|
* G'Kar's prayers would have been unrelated to the wounding of the
|
|
shadow vessel.
|
|
* _Was the Shadow ship permanently disabled?_
|
|
It was in shock, but it would've recovered in a bit more time.
|
|
* _Were there four Shadow ships stacked together after the battle?_
|
|
Actually, what's probably confusing is that the shadow vessels are
|
|
bi-level, so when two come together it looks like four or so; but
|
|
it's just the two.
|
|
* Thanks. One of the things I wanted to try was to find a way to
|
|
stage long-range combat. One of the things everyone says is that
|
|
even though real aerial combat tends to be at great distance --
|
|
and space combat would be conducted over thousands of kilometers,
|
|
you probably wouldn't be able to even SEE your opponent at that
|
|
range, just pick up the enemy ships on your scanners -- you can't
|
|
do that for TV because you need to have both in frame, hammering
|
|
each other short-range, to make it work for viewers.
|
|
But I've always liked a challenge, so I thought I'd see if I could
|
|
make it work. The two sides are, as noted, thousands of kilometers
|
|
apart, and take most of that sequences just to catch up with each
|
|
other. And frankly, I think it's probably one of the most dynamic
|
|
battle sequences we've ever done, so you can expect more in the
|
|
future, now that I've kind of got the hang of how to do this.
|
|
* Agreed. The use of different tactics and weapons at different
|
|
distances gives a sense that there is a *strategy* behind what's
|
|
going on, that it's not just two ships coming with city blocks of
|
|
one another and clobbering each other. Strategy implies
|
|
intelligence, and to see intelligence in the shadow vessels is
|
|
scary indeed.....
|
|
* The reason for the placement of the jump points is *very* straight
|
|
forward.
|
|
By virtue of their size and the tremendous forces unleashed by
|
|
punching a hole into hyperspace, you want to form it a little
|
|
distance away or risk being severely damaged. If they formed the
|
|
points between them and the enemy, which was quite capable of
|
|
avoiding them, it would be entirely possible for the shadows to
|
|
get in front of the point and cut off their sole means of escape.
|
|
Usually, better to form them behind you, so the enemy can't block
|
|
your way out, and take a possible hit or two to your aft sections
|
|
than be totally cut off. They didn't anticipate the extra weapons
|
|
the shadows had.
|
|
* _Were those Narn cruisers especially big?_
|
|
The cruiser is the same size as that sent to look into Z'ha'dum;
|
|
it's just a matter of perspective and how close the camera gets.
|
|
* _Did the shadow ships phase out to avoid the energy mines?_
|
|
No, they didn't phase out so much as absorb the energy, at cost of
|
|
great pain.
|
|
* Well, they're organic technology, so they can feel, but only after
|
|
a fashion.
|
|
* "Why didn't the fighters do anything?"
|
|
They did. Look more closely. They engaged the Narn fighters in
|
|
dogfights all over the place. They're hardly more than specks
|
|
against the huge ships, but they're definitely there.
|
|
* _One Shadow ship in "Signs and Portents," two in "Chrysalis,"
|
|
three in "The Coming of Shadows," four here?_
|
|
Give Tim Lynch a ceegar. Yes, more ships are starting to appear,
|
|
as more ships become available.
|
|
* _They only have four ships?_
|
|
Never said you're seeing their entire fleet, you're seeing what
|
|
they can afford to send out at any given moment on relatively
|
|
low-priority jobs.
|
|
* Dave: yup. Londo's never coughed before, and this was very
|
|
deliberately placed. He's on the path, like it or not.
|
|
* _The Vorlons lodged an official protest! Is this the first time
|
|
they've taken an action like that?_
|
|
Yeah, that's pretty much the first time since the pilot where the
|
|
Vorlons got involved with the Sinclair situation.
|
|
* Bingo. As I mentioned before, the "long twilight struggle" title
|
|
is a quote; you correctly identified the source in the [36]JFK
|
|
quote.
|
|
* _About Sheridan's closing speech_
|
|
Certainly, Sheridan is slowly growing more into a leader who must
|
|
be able to step to the front in this kind of way, yes.
|
|
* _What does "the balloon is going up" mean?_
|
|
There have been many explanations for where this phrase comes
|
|
from. Most of them are obviously spook etymology, but the first
|
|
one I heard -- and who knows if this is right -- comes from WW I,
|
|
where just before one side would go into battle, they'd send one
|
|
man up in a hot air balloon to scout the enemy's location. If you
|
|
saw the balloon going up, you knew combat wasn't far behind.
|
|
Wherever it comes from, though, that's the general meaning of the
|
|
phrase.
|
|
_Editor's note: Apparently the term dates back to the American
|
|
Civil War, during which balloons were deployed by the Signal Corps
|
|
before battles._
|
|
* Candles are, I think, wonderfully emblematic of life, and of being
|
|
a single ray of light, or hope, in a dark place. The Grey Council
|
|
stands between the candle and the star; watch G'Kar's action re: a
|
|
candle in his quarters...and in that scene (for those who've seen
|
|
TLTS) note how many candles are in the room in the beginning, and
|
|
at the end.
|
|
We are the candle that burns brightly, stubbornly,
|
|
effectively...but briefly.
|
|
* [37]The candles in G'Kar's quarters
|
|
Sherry...thank you. The level of attention to detail is the *only*
|
|
way that this story will be told properly. It means you sit down
|
|
with the director, and others, and you make totally clear --
|
|
there, and in the script -- what you saw in your head when you
|
|
wrote it. As well as repeatd verbal themes, cues, phraseologies,
|
|
it's important (since this is a visual medium) to incorporate
|
|
visual cues that add to the thematic thrust of the piece, that
|
|
create a mood, or convey an emotion or a thought on an almost
|
|
cellular level. The hardest part is being careful not to OVER use
|
|
them, because then they lose all meaning and impact.
|
|
* Re: G'Kar's position on the council...Sheridan could have carried
|
|
on, but it would've been basically useless. The Centauri now
|
|
occupy and run Narn, and thanks to the surrender and agreement to
|
|
the Centauri terms, call the shots as far as who can legitimately
|
|
speak for Narn. Sheridan could've kept G'Kar *in the room*, but
|
|
he'd still be powerless, without portfolio, and the whole concept
|
|
of the council would be shot. He is now simply Citizen G'Kar, same
|
|
as any other Narn. No, Londo isn't of higher rank in the council
|
|
than Sheridan, but he speaks for the Centauri, and the Centauri
|
|
speak for Narn.
|
|
* Re: Earth's attitude toward the Centauri...stick around for 2 more
|
|
episodes.
|
|
Re: not recognizing the Centauri rule...on what basis would or
|
|
could Earth do this? If the Narns had not agreed to total and
|
|
unconditional surrender, sure, there might be a case you could
|
|
make...otherwise, one doesn't have a leg to stand on.
|
|
Vampyr...okay, (poink), I've now made you Babylon 5 Person here.
|
|
So how could Sheridan "take Londo down a peg" in any manner
|
|
consistent with reality? Yell at him? Sure, but to what effect? He
|
|
had nothing to back it up. Before, in "Shadows," he had a bluff he
|
|
could run; now that's not relevant because the actions have all
|
|
been taken, and there is nothing that can be done to stop it.
|
|
Sometimes, things happen in the real world, and we'd love to see
|
|
the person taken down a peg, as you say...but sometimes actually
|
|
*doing* that in a real world situation, or a fairly rigorous
|
|
fictional situation, is a different matter.
|
|
|
|
|
|
[43][Next]
|
|
|
|
[44]Last update: January 28, 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/042.shtml
|
|
4. file://localhost/home/woodstock/hyperion/docs/lurk/synops/042.html
|
|
5. file://localhost/home/woodstock/hyperion/docs/lurk/credits/042.html
|
|
6. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
|
|
7. file://localhost/home/woodstock/hyperion/docs/lurk/guide/041.html
|
|
8. file://localhost/home/woodstock/hyperion/docs/lurk/guide/043.html
|
|
9. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#OV
|
|
10. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#BP
|
|
11. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#UQ
|
|
12. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#AN
|
|
13. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#NO
|
|
14. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#JS
|
|
15. http://us.imdb.com/M/person-exact?+Schuck,+John
|
|
16. http://us.imdb.com/M/person-exact?+Sheppard,+William+Morgan
|
|
17. http://us.imdb.com/M/person-exact?+Forward,+William
|
|
18. file://localhost/lurk/p5/intro.html
|
|
19. file://localhost/lurk/p5/042
|
|
20. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html
|
|
21. file://localhost/home/woodstock/hyperion/docs/lurk/guide/019.html
|
|
22. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html
|
|
23. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#AN
|
|
24. file://localhost/home/woodstock/hyperion/docs/lurk/guide/024.html
|
|
25. file://localhost/home/woodstock/hyperion/docs/lurk/guide/037.html
|
|
26. http://wheel.dcn.davis.ca.us/~zlensman/lensfaq.html
|
|
27. file://localhost/home/woodstock/hyperion/docs/lurk/guide/033.html
|
|
28. file://localhost/home/woodstock/hyperion/docs/lurk/guide/039.html
|
|
29. file://localhost/home/woodstock/hyperion/docs/lurk/guide/031.html
|
|
30. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#JS:cough
|
|
31. file://localhost/home/woodstock/hyperion/docs/lurk/guide/002.html
|
|
32. http://www.spies.com/~ceej/Music/twilight.struggle.html
|
|
33. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html
|
|
34. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#JS:candles
|
|
35. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html
|
|
36. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#NO:jfk
|
|
37. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#NO:candles
|
|
38. file://localhost/lurk/lurker.html
|
|
39. file://localhost/home/woodstock/hyperion/docs/lurk/guide/042.html#TOP
|
|
40. file://localhost/cgi-bin/uncgi/lgmail
|
|
41. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
|
|
42. file://localhost/home/woodstock/hyperion/docs/lurk/guide/041.html
|
|
43. file://localhost/home/woodstock/hyperion/docs/lurk/guide/043.html
|
|
44. file://localhost/lurk/lastmod.html
|