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963 lines
58 KiB
963 lines
58 KiB
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[1][ISMAP]-[2][Home]
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### GUIDE ### [3][Background] [4][Synopsis] [5][Credits] [6][Episode
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List] [7][Previous] [8][Next]
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_Contents:_ [9]Overview - [10]Backplot - [11]Questions - [12]Analysis
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- [13]Notes - [14]JMS
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_________________________________________________________________
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Overview
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When President Clark tries to seize control of Babylon 5 by force,
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Sheridan is faced with the prospect of severing the station's ties
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with Earth. Delenn receives disturbing news from a Ranger.
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[15]Bruce McGill as Major Ryan. [16]Kim Miyori as Captain Hiroshi.
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[17]James Parks as Drakhen.
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[18]P5 Rating: [19]9.81
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Production number: 310
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Original air week: April 1, 1996
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Written by J. Michael Straczynski
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Directed by David Eagle
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Winner of the 1997 Hugo award for Best Dramatic Presentation.
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_Note: this episode is more momentous than most. Think twice before
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proceeding to the spoilers if you haven't seen it._
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_________________________________________________________________
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Backplot
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* The former Minbari leader, Dukhat, died in Delenn's arms. Before
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he died, he named her as his chosen successor.
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* Clark has been filling command positions with his people since
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taking office, thus enabling him to retain control of most of
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Earth Force; many officers who oppose his policies feel forced to
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go along, since their superiors will accuse them of treason
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otherwise.
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* The Shadows have formed alliances with many of the non-aligned
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worlds, allegedly to protect them from Centauri aggression; later,
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they've prompted those races to attack their neighbors with the
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belief that association with the Shadows is a guarantee of
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victory.
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Unanswered Questions
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* Was Londo finally able to leave the station? Where was he going?
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(Or, if he was coming aboard, where was he coming from?)
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* Is there more to the prophecy of the return of the Shadows, or has
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it now played itself out, leaving the future uncertain?
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* What _does_ Sheridan's mother do with her time?
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* What has ISN known for a year but been unable to talk about? Did
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they find out about Santiago's death, or perhaps about Earth's
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involvement with the Shadows?
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Analysis
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* Sheridan said he wanted to keep Draal a secret, and thus didn't
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ask for help defending the station. But anyone with two eyes now
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knows he has some interesting non-human technology at his
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disposal; he used the Great Machine to broadcast his holographic
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image all over the station. While Earth has free-floating
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holography (such as the Knights' image of Sinclair at the
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beginning of [20]"And the Sky Full of Stars") it's a far cry from
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what Sheridan did.
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* Five hooded Councilors followed Delenn from the council chamber;
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presumably the remaining four were all warrior caste, as
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established in [21]"All Alone in the Night." (Only three are
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visible onscreen, but the whole Council wasn't visible at the
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start of the scene, either.)
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* Where did the religious and worker castes get three Minbari
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warships and the crews to pilot them? Are there more on Delenn's
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side, or just those? In [22]"Matters of Honor," Lennier implied
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that the religious-caste crew of the White Star was rare, if not
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unheard-of. Did some of the warrior caste side with Delenn? (See
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[23]jms speaks)
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* Delenn's confrontation with the Grey Council is counter to her own
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stated goal of laying low so the Shadows aren't forced to attack
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immediately. She accused them of standing by and doing nothing in
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the face of Shadow encroachment -- but doing nothing was exactly
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what she insisted on in [24]"In the Shadow of Z'ha'dum," among
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other places. If the warrior caste had moved to prevent some of
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the non-aligned worlds from warring, as she seemed to be
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suggesting, it surely would have alerted the Shadows to the fact
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that their return has been discovered.
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On the other hand, it may be that she was accusing them of not
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even preparing for eventual open conflict with the Shadows;
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perhaps she believed their current indifference would continue
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even after the army of light was fully assembled.
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Finally, she may have wanted them to simply take a stand in the
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local conflicts without addressing the Shadows' presence directly.
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* Sheridan's secession from the Earth Alliance plays directly into
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Clark's hands in some respects. Clark can use the secession, and
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the Minbari involvement, to paint a picture of an alien-supported
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military coup against an elected civilian government, further
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proof of the need for martial law, the Nightwatch, and other
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draconian measures. No doubt he'll be able to make that version of
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the story believable to a large number of people back home, thus
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solidifying his power base.
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* Why did only four destroyers jump into Babylon 5 space for the
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initial attack? Perhaps the fleet commander didn't want to
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increase the chance of casualties from friendly fire, but that
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seems dubious at best; or perhaps he didn't know there were more
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ships on the way.
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* Which side of the war does the Agamemnon and its crew support?
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Will Sheridan be forced into conflict with his old ship, something
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he definitely doesn't want? ([25]"Messages From Earth")
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* Given the reason for the Minbari surrender during the war
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([26]"Points of Departure") would Delenn have made good on her
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threat to fire on the Earth ships? Minbari religious beliefs would
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forbid her from doing so, though she might well consider it a
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necessary evil.
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* During the initial attack on the Alexander, Major Ryan claims that
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they can't jump to hyperspace without losing their fighters. But
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fighters have been shown jumping alongside a larger ship before --
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some emerged with the destroyers to attack Babylon 5 later in the
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same episode -- so what would have kept the fighters from jumping
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with the Alexander? (See [27]jms speaks)
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* The Shadows are apparently perfectly willing to double-cross the
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Centauri, at least in words. By offering to protect the League
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worlds from Centauri aggression, when the Centauri are using the
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Shadows to act out that aggression, they've effectively taken
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control of both sides of any potential Centauri border conflicts.
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What they'll do with that control, and why they want it, remains
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to be seen.
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Notes
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* The new Starfury in this episode is called a "Thunderbolt."
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* Many of the Nightwatch members in this episode are production
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staff members, including the production secretary and an assistant
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director.
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* Minor effects mismatch: A group of Starfuries attacks a friendly
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destroyer. Its name is clearly visible as the Churchill. But the
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scene immediately cuts to Major Ryan reacting to the hit -- even
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though he's on the Alexander, not the Churchill. (See [28]jms
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speaks)
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* Just after Major Ryan says, "Right down their throats," a Starfury
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shoots another one with B5 in the background. For one frame, the
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exploding Starfury is replaced with a bright yellow square; then
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the explosion replaces it.
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* Four ships emerge from the jumpgate at the end of act three, two
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Omega-class destroyers and two older Hyperion-style heavy cruisers
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([29]"A Voice In the Wilderness, part 2.") But we only see and
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hear about two, the Agrippa and the Roanoke. One possible
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explanation is that the destroyer rammed by the Churchill isn't
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supposed to be the Roanoke; since Sheridan offers assistance to
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the Roanoke at the end of the battle, that's plausible. However,
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the rammed ship's name is (barely) visible as "Roanoke" during the
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collision.
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* One of the two destroyers in the second wave was called the
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Nimrod; the second was the Olympic.
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* The Roanoke is named after an early English colony in North
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Carolina. After a hard winter, a ship came to check on the colony
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and found it totally deserted, no sign of the inhabitants or of a
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struggle, just the word CROATAN carved into a tree. The fate of
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the colonists was never discovered.
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* The Agrippa was probably named for the famed Roman
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general/admiral, Marcus Vipsanius Agrippa. He served for Octavian
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(Gaius Julius Caesar Octavianus), the nephew of Julius Caesar. He
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was the inventor of the harpax, or harpago, which was a pole with
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a hook on the end which was attached to a rope. Fired toward
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another ship, it allowed the two ships to be pulled together,
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allowing the Romans to board. It was first used in 36 BC at the
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battle of Naulochos (Mylae), and later at the battle of Actium,
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where it helped to defeat Mark Anthony's fleet, leading to the
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eventual crowning of Octavian as Augustus, the first Roman emperor
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in 27 BC.
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* In the UK video release, three seconds were cut from the episode,
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presumably from one of the boarding-party fight scenes.
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jms speaks
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* The number of scenes varies depending on the amount of action
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required. On balance, the average TV script has about 60-75 scenes
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or shots in it. From time to time, in B5, we've gone as high as
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130 shots in episodes like "Twilight" or "Fall." I think we just
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blew out our record here with "Severed Dreams," which has close to
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140.
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Number of scenes shot on any day depends on how long the scene;
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you can do 4 really long shots or 8 fairly short scenes. The
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amount of rehearsal varies depending on the scene, how many extras
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or what kind of action/stunts are required. The more action, the
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more you rehearse, to ensure nobody gets hurt.
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* Much as I'd have wished PTEN would've aired 10, the final part of
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the 3-episode arc that changes direction on the show, a week after
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9, even though it'd be out of sweeps period...it's probably for
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the best. When producer George Johnson saw the scrpt for #10,
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"Severed Dreams," he laughed, walked over to me and said, "Boy,
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this is the best episode we're never gonna deliver. ARE YOU
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NUTS?!"
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As an example of "ARE YOU NUTS?!" in "The Fall of Night," in the
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sequence between the first Garden shot and the end of Sheridan's
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rescue, about 6-7 pages of script, there were, I think, about 60
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or 65 EFX and practical shots. In just the span of 4 pages in 310
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there are roughly 100 EFX and practical shots. In EFX terms, it's
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probably one of the biggest shows we've done, so it's better to
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give Foundation a little extra time to get it right rather than
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rush them.
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* All I'll say here is that there were *so* many EFX here that we
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mixed the episode a few days before delivery, and got it down
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there 2 hours before the process for uplinking the episode to
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stations. It was the hardest thing we've ever done...but it was
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worth it.
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* _Why are these three episodes not marked as a three-parter?_
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For the most part, it's a matter of how the episodes feel to me,
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what length they feel as if they require. When I did the big three
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this year -- Messages, Point and Dreams -- I hadn't really figured
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they'd be as tightly connected as they ended up being. I knew
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they'd relate strongly to one another, but in a sense, they're
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really a three parter. The War Without End story I knew was WAY
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too big for one episode, but due to the structure of the story
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wouldn't take being extended for one more episode; at that point
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you'd just be dragging it out.
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It's all instinct, I wish I had a more concrete answer.
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* I think you hit the distinction between MfE and PoNR...the former
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is exciting, the latter is tense, with "Severed Dreams" a good
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blend of the two, particularly the latter. We did our final
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producer's cut today, and man, it moves....
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* _Why the title?_
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If B5 was a dream given form, and the EA had the potential to be
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something more than it has become, and the two part ways, then you
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have severed dreams. (I had a much more elegant and interesting
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reply, but obviously it entered Vorlon space and hasn't been
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allowed out again.)
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* "Messages," for my money, is so far the best we've ever done,
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though I'll be more able to lock that down once I've seen the
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final CGI. It and "Dreams" are real CGI blowouts; in the latter,
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there are literally 100 shots -- CGI, live action, and compositing
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-- in *four pages* of action. This is an all time record for us
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(and that doesn't count the stuff earlier in the episode).
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* Have begun shooting episode 11, "Messages From Earth," a hideously
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complex episode, outmatched only by #10, "Severed Dreams," which
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is the single most visually ambitious episode we've done in the
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three years of the show. It's just totally outrageous, and it'll
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probably kill us in sheer man-hours to produce...but the result
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should drop jaws all over the place.
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* Re: Foundation "adding a new flame effect"...sort of. One night,
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we just went out into the parking lot, set up a camera pointing up
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behind a plexiglass screen, and set off a bunch of explosions
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above it. Went great until one of the blasts was so big it melted
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through the plex *and* the camera lens....
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Looked good though, didn't it?
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* _The PPG blasts looked different._
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That was because there were so MANY of them; our PPG bursts
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usually take a great deal of work. If we'd given all of them in
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this scene that amount of work, we'd still be doing them.
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* _How did you do the lighting as Ivanova's ship tumbled?_
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We fixed a light atop a gimble, and pre-determined the rotation of
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the starfury, then moved the lighting to match. Gives it a much
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more realistic feel.
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* "In an ep like "Severed Dreams" where cgi effects take up
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literally almost 1/4 of the script, how much input does the
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director have on "camera" angles, close ups of 'Fury pilots, and
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the way in which the SFX is intercut with live action? Or is that
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entirely your job?"
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Generally, a lot of that material is either storyboarded, or
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supervised by our on set EFX supervisor, who determines the angles
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to be used. This is especially important in an episode like
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Severed Dreams when you have to make sure that the pilots are
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oriented the right way on camera (i.e., going from left to right,
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and facing left to right) if that's the direction their ships are
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going in; otherwise you'd have to flop the film to make it match.
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In larger set pieces, using virtual sets and composite shots, the
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director has more influence.
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* _From coproducer George Johnsen, about the [30]effects glitch_
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The show was seriously under the gun for delivery when those shots
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were done. If I remember correctly, a couple of these shots came
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in on the same day we were to deliver, and there was no time to
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re-render them and still make the satellite.
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If I were to tell you it would never happen again, I would be a
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big liar, or a deluded optomist, but we try. Animators are human,
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after all! :-)
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* Funny thing is, how much as you note the show corresponds to some
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of the things Mira's been through...some of it intentional,
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knowing that if I dig into this area, it'll come out of her with
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the ring of truth...some of it quite unintentional. When I
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finished writing "Severed Dreams," and the actors got it, Mira's
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first words to me were, "So...how long DID you live in
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Yugoslavia?" The parallel wasn't intentional...but it fit.
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* Toni: thanks. All of the characters shine in this one, Mira in
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particular as Delenn. It's a nice contrast; her speech to the Grey
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Council is an intense piece of work that goes on for a while; her
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declaration to the EA ships is short, to the point, and absolutely
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deadly. The right tool for the right job.
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I'm utterly pleased and proud of the job we did here. Partly
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because it's just so nifty on its own terms, and partly because it
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gives us a new level to try and beat. Up until now, I've been
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looking to top "Coming of Shadows;" now the goal is to top this
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one...and I think it's possible there may be one or two even this
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season that'll do that, but tonally I think they're different
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enough that it might end up as a tie.
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I definitely wanted the close-in, hand-to-hand fighting to
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personalize what's going on. It's also very logical strategically.
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You send in your forces to disable or overwhelm C&C, distract
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them, slip in a cadre of troops to a station that (you hope)
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didn't know you were coming...then they race to C&C and seize
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control from inside, shooting anyone they have to en route. If
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Sheridan et al hadn't known the ships were coming in, this
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could've gone very differently. But once they were in, they were
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in close quarters, and you want to get in closer if you're on the
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defensive side so that they can't use their weapons without
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cutting down their own people. After that you have to hope you can
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overwhelm the intruders with sheer force of numbers. It's an ugly,
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awful way to win a fight, because it *guarantees* casualties...but
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what war doesn't?
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Something to bear in mind when rewatching, btw...it was during
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this scene that Jerry fell and broke his right arm and right
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wrist. And they still had one last scene to film. He stuck it out
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and they rolled film, to get the shot of him and Zack at the end
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of the fight. Next time you watch it, keep an eye on the right arm
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as he releases the helmet...it bends in directions never intended
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by evolution.
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* I agree, but Jerry was determined to do it, and more time would've
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been lost arguing about it than it took to do the takes.
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* The arm broken was his right arm and wrist; we worked it into the
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show, in a way which actually worked well with what went right
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before it. Jerry's doing fine now.
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* Oddly enough, Jerry's broken arm tied *beautifully* into something
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that had happened in the course of the episode we were filming, so
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all it took was a line or two to sell it.
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The funny thing is...in the very next episode after the incident,
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there was a line in the script I'd written *weeks* earlier, and it
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freaked everybody out...when Garibaldi asks someone to do
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something, and the person responds, "What, you've got a broken arm
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or something?" At first some people thought I'd put it in there to
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pink Jerry, but it'd been there the whole time. Similarly, in the
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Claudia incident, there was a line (cut for time) where Sheridan
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says talking to the Drazi is like trying to talk to your right
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foot...and Ivanova replies "I'll have you know I have a sublime
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relationship with my right foot." Yep, the next day...that's the
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foot she broke.
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Just recently, I was trying to explain time travel to one of the
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actors. I used the analogy, over lunch, "Suppose you finished
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eating your chicken here, then got sick as a dog a few hours
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later, then got in a time machine to go back in time and warn
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yourself not to eat the chicken." Well, a few hours after
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that...the actor got sick as a dog from the chicken.
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I have been asked, expressly, not to make any further mention of
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actors' body parts in scripts....
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* We shot that last scene with Garibaldi *after* we'd shot the
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sequence showing his injured leg. We don't shoot in sequence. So
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we had to cover it in the next episode.
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* We shot the last scene with the cane *before* we shot the scene in
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which Jerry broke his arm. It costs way too much to go back and
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reshoot. At the time we shot the later scene, he hadn't yet broken
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his arm.
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And G'Kar isn't all the way in yet; he wants to be, but so far
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he's still being held at arm's length a bit...he may make an issue
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of this.
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* Actually, though, because he *did* have his hand in his pocket, it
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let me handle the break in the next episode without stretching
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credulity too far. It was...well...I guess you'd call that part of
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it a lucky break.
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* _Is General Hague shown?_
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Foxworth was slated for "Severed Dreams" when he bailed on us.
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* We had booked Foxworth long in advance. Later, out of the blue, a
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rep for the actor said that by accident he'd been double-booked on
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B5 and DS9 for the same period...and even though we had prior
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claim, because the other was a two-parter, more money, they went
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for that. One can only wonder when the other offer *really* came
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in....
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* The Foxworth bail resulted in a change of about three lines,
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that's about it. You'll know which lines when you hear them.
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* We'd booked the actor long, long in advance. At the last minute,
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he bailed to do a DS9 episode playing, essentially, the same
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character, despite our having first dibs.
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So I killed off the character. Didn't change the story by the
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smallest measure. May actually have helped, since it raised the
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stakes in the story right from the start.
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Rule #1: Never honk off the writer.
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* Regarding Hague...it's much harder to hold an actor on a
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once-in-a-while basis. Every show is hostage to that. It's a
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reality of life. We don't have contracts with folks who play one
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or two parts a year. Screen Actors Guild doesn't allow that; you
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make deals as they come up. You can't stop an actor if he wants to
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jump ship under those conditions; and if you try, you have an
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unhappy actor on your set who'll just walk through it because he
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or she doesn't want to be there.
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* Re: Foxworth...it was really the only thing to do. I'd created the
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character *specifically* to have him available for this episode,
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after which he'd basically fade away while others took up his
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standard. It was all leading up to this. Without being in this
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episode, there was nothing more to do with Hague, hence I felt
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quite comfortable with his fate, it changed nothing.
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* _Major Ryan was overstepping his rank._
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Except, of course, you now have an extraordinary situation in
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which the Major, through the death of his CO, was now the
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commanding officer of the Alexander. In ordinary circumstances,
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this would mean he'd be given a field promotion.
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Second, I don't recall any situation where the Major was "giving
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orders to a commander." The aide on the deck of the Alexander was
|
|
a Lieutenant, as I recall. Also, if Hague indicated that he was to
|
|
be given command as he died, that would likely be honored.
|
|
Finally, yes, the Major was involved in the discussions of
|
|
strategy, but in *every case* he presented Sheridan and Hiroshi
|
|
with options, and because it was Sheridan's neck of the woods, it
|
|
was left to Sheridan to give orders. He coordinated the defense,
|
|
and was the only one speaking directly with the Agrippa.
|
|
* I think Sheridan was kinda up to his ears in matters graver than
|
|
the Major's field promotion, though you're right, he had one
|
|
coming (as I noted in an earlier message). Given that they'd just
|
|
broken away from Earthforce, and walked away from the rank
|
|
structure to some extent, it would seem a rather indulgent
|
|
exercise, since Earth certainly wouldn't recognize the field
|
|
promotion of a renegade officer.
|
|
* "...hit between the eyes." Yeah, that's the correct reaction, I'd
|
|
say.
|
|
Yes, it's easy to fire on the enemy when it's a faceless entity;
|
|
not as easy when it's someone you know. Kinda brings it home,
|
|
makes it personal.
|
|
* Exactly. If you're going to do something as monumental as what
|
|
Sheridan does here re: B5's status and Earth, it can't be done
|
|
lightly or frivolously or without sufficient cause. It has to be
|
|
an absolutely last resort. If we'd done it any sooner, it would've
|
|
been less effective, and more of a cheat.
|
|
And yes, after two breather stories, "Ship of Tears" starts the
|
|
arc moving again, and with very few exceptions doesn't let up for
|
|
the rest of the season.
|
|
* _About the warning sign in [31]"Dust to Dust"_
|
|
Yes, the sign does indeed say warning. Look for another sign right
|
|
behind somebody at the end of "Severed Dreams."
|
|
* Actually, yes, I tend to ask for musical counterpoint in the show
|
|
from time to time. For instance, when Sheridan et al were going to
|
|
the area where the crowd was waiting, I told Chris to fool
|
|
us...give us an ominous sounding sting going into what's going to
|
|
be a very "up" scene. In the battle earlier on, when you'd
|
|
normally do something fast and exciting, I asked him to give me
|
|
something more somber, to pull out the Requiem theme in a few
|
|
places. Sometimes, in other shows, I ask for music that works
|
|
against a scene to control the emotional core of it; if it's a bit
|
|
too silly, perhaps, then I go for a more serious musical cue to
|
|
balance it out. Where a scene would seem to ask for major keys, I
|
|
go for minor chords.
|
|
It's all just part of the tapestry.
|
|
(BTW, a little secret...just for fun, I wrote a couple of songs
|
|
that you'll be hearing in an upcoming episode. I used to write
|
|
songs here and there, even did a couple for an ABC prime-time
|
|
special, and figured I'd try it again. I wrote the lyrics,
|
|
discussed the music with Chris, and he took care of the score, and
|
|
it's about what I first conceived. Came out pretty well,
|
|
actually.)
|
|
* _Where was Kosh during all this?_
|
|
Yeah...Kosh seems to have retreated a bit so far...worrying, that.
|
|
* _Why didn't Sheridan ask for help from Draal or Delenn?_
|
|
The other thing to bear in mind about all this is the question of
|
|
a "clean fight." If Sheridan were to bring in alien forces at his
|
|
order to kill humans, it would pretty much destroy his
|
|
credibility. Delenn came in at the end but only after he'd made
|
|
his stand on his own.
|
|
One of the things that kicked off the French Revolution was the
|
|
allegation that the King had brought in or was bringing in
|
|
Prussian troops to help put down dissenters. As long as it was all
|
|
more or less in the family, that was one thing...but to bring in
|
|
outsiders was an absolute affront to them. (One of the singular
|
|
incidents that started the fighting itself was a group of Prussian
|
|
soldiers sighted sitting in a cafe having lunch, which caused this
|
|
rumor about outsiders coming in to spread like wildfire, and led
|
|
to the some of the first major incidents of rioting.)
|
|
Two brothers may fight one another, but let a third unrelated
|
|
person come in and shove one of the brothers around, and they'll
|
|
*both* turn on him.
|
|
During the worst days of the civil war, even Lincoln was offered
|
|
assistance in troops from at least one other country; he declined,
|
|
because it was an internal matter, and had to be resolved by those
|
|
involved, not outsiders.
|
|
Sheridan's logic was exactly the same. It had to be a clean fight.
|
|
* We'll establish in coming episodes that they have to become more
|
|
self sufficient; the Minbari will help some, others will also have
|
|
a reason to help support the station for the advantages it gives
|
|
them, the services it provides, and eventually docking fees will
|
|
have to rise if they can make a go of it.
|
|
* I'd have to check my figures, which are at the office and I'm at
|
|
home, but I *think* we've got about 600 crew and support on a
|
|
Minbari cruiser.
|
|
* Yes, the push in on Delenn revealed her in the White Star, and
|
|
yes, a fair number of the new 'furies B5 inherited are Thunderbolt
|
|
class.
|
|
* "Severed Dreams had a line that was better than Ivanava's sex
|
|
scene. Wow, do these women get lines!"
|
|
Can't help it. I've always been vastly enamoured of strong, sharp,
|
|
funny, independent and strong-willed women. (Well, me and 99% of
|
|
the rest of the male population, most of them just won't admit
|
|
it.)
|
|
I love it when anyone -- male or female -- comes up with a killer
|
|
line. Claudia and I are always going at it, each trying to top the
|
|
other...and I've found out the hard way that you don't challenge
|
|
her on the theory that she'll back down. Won't happen. Ivanova's
|
|
just the same. Mira is also dedicated, fierce in her convictions,
|
|
extremely bright and worldly.
|
|
So why should their characters be any less than the women
|
|
themselves?
|
|
* "...my favorite part, I must say was when Sheridan kissed Delenns
|
|
hand. I've been waiting anxiously for this to happen and it
|
|
finally did! My housemates all laughed at me but I guess I'm just
|
|
an incurable romantic."
|
|
This is a problem?
|
|
We are in need of more romance.
|
|
* _Aren't Starfuries space-only craft?_
|
|
Yes, the Thunderbolt furies were seen both on Mars and attacking
|
|
B5.
|
|
A normal Starfury can't function in an atmosphere environment. The
|
|
new Thunderbolt models have airfoils/wings that are folded back
|
|
over the body of the ship for non-atmospheric maneuvering, and
|
|
then extend out to full sized wings when entering an atmosphere.
|
|
(You'll get to see in detail how this works back and forth in
|
|
"Ship of Tears.")
|
|
* _How does ejection from a Starfury work?_
|
|
You can see explosive bolts going off, and a series of small
|
|
thrusters behind the cockpit are which allow for navigation. This
|
|
gets the pilot away from the main body which has either been
|
|
crippled, or is about to explode, the same way a modern fighter
|
|
has an ejection system. (Check the main credit sequence for a
|
|
better shot of an ejection.)
|
|
* _How did the pilots tell which other Starfuries were which?_
|
|
FOF...Friend Or Foe systems on board the furies.
|
|
* _About the Alexander/Clarkstown battle_
|
|
The interceptors have two components, one that throws a ball of
|
|
energy at an incoming weapons charge (physical or energy) and
|
|
causes dissipation, and the other is a net-like energy web that
|
|
reduces the severity, but does not deflect or absorb, beam type
|
|
energy. This allows some time for maneuvers after beam contact.
|
|
Note that Major Ryan (He'll always be D-Day to my brother!) was
|
|
very reticent to fire on the Clarkstown at all. Knowing that the
|
|
Interceptors were down made his job all the more difficult. The
|
|
rear facing beamn on the Alexander is similar in design to the
|
|
front facers on the Clarkstown. When the C-town fired on the
|
|
rotating section ofthe Alexander, it did not explode, as the
|
|
interceptors were still active.
|
|
George Johnsen
|
|
CoProducer, B5
|
|
* If you're opening a jump point, usually you make it a habit to
|
|
have all your fighters on board or else risk leaving them behind.
|
|
A jump gate can be more easily used and held open for fighters.
|
|
When you arrive at your destination, you can launch your fighters
|
|
as you emerge.
|
|
* "Why was it impossible to jump into hyperspace (in the beginning
|
|
of the show) and not take the Starfuries with the ship? We've seen
|
|
it done before."
|
|
No, I don't believe so. You've seen a jump GATE used, but that's
|
|
different from a jump POINT which basically closes right behind
|
|
the ship like a rabbit pulling its hole in after it. If the ships
|
|
stayed behind to protect its rear, they'd be left behind. Ships
|
|
coming out of a jump point into normal space sometimes will let
|
|
their fighters zip out AS they're coming out, alongside the main
|
|
ship.
|
|
* In "Severed Dreams," the dilemma faced by the Alexander in the
|
|
teaser is that if they jump, they'll end up leaving their fighters
|
|
behind. A jump engine rips the area open for that one ship, and
|
|
closes it again right behind it. What sometimes happens, as in
|
|
"All Alone," is that *as a ship comes out*, it releases its
|
|
fighters. But you can't just follow a ship into a jump point
|
|
formed by another ship. You'd probably get torn apart when space
|
|
folded back on you, because the field opening the point is
|
|
primarily around the other ship.
|
|
* _Why didn't they shut down the jumpgate? Why did the EA ships use
|
|
it?_
|
|
The answer to both your questions is about the same. It takes
|
|
about a day to power down, or power up a jump gate. It operates
|
|
more like a fusion reactor than a light bulb. So not only wasn't
|
|
there enough time, even if they *had* had enough time, you'd want
|
|
to leave the gate up and running in case you needed to evacuate
|
|
for any reason; otherwise you'd cut off your main escape route.
|
|
For the incoming fleet, knowing the gate was active was the way to
|
|
go, since it would let them launch their fighters prior to coming
|
|
in; if you use a jump point, you kinda have to launch while you're
|
|
coming out to avoid anyone being stuck behind.
|
|
* _What good are small fighters if it's the big ships that decide
|
|
the battle?_
|
|
A lot more ships came in with the Roanoke and the Agrippa, support
|
|
ships and others. Probably more breaching pods. They took out
|
|
those. They're also used to keep the enemy starfuries from
|
|
disabling the defense grid on the station, leaving B5 free to use
|
|
its weapons on the larger target/worse threat. They're often used
|
|
to soften up the enemy, harrass them like a pack of hounds falling
|
|
on a prey. In "Fall of Night," we saw a Centauri vessel in large
|
|
measure taken out by the Starfuries with some B5 support. So they
|
|
definitely play a part.
|
|
* Starfuries serve a *lot* of functions which we've shown before on
|
|
the series.
|
|
They can take out a ship's defensive screens and countermeasures,
|
|
allowing access by the big ships' armaments. In a group, they can
|
|
take out a good sized ship on their own (a la the Centauri cruiser
|
|
in "Fall of Night"). They also serve to protect the station's
|
|
defense grid from aggressor starfuries.
|
|
Also, a number of small support ships, including a Hyperion class
|
|
ship came through as part of the "carrier group" that went after
|
|
the station. It was up to the starfuries to take care of those
|
|
ships while B5 and the other destroyers took out the biggest
|
|
threats.
|
|
* _What about all the debris from the battle?_
|
|
We've shown clean-up crews before outside, including a hazmat
|
|
station that goes out to clear away fuel cores or other toxic
|
|
material. They would've been dispatched for this.
|
|
* Fighters re-enter via the main docking bay and are recharged and
|
|
lowered into the fighter bays.
|
|
No question, spare parts would be a problem, and they'll have to
|
|
cannibalize a lot (plus whatever they scrounged up from the
|
|
fighters blown apart outside).
|
|
* Bear in mind that if we had gone over to the other captains and
|
|
what was going on in the other ships, to make room for those
|
|
scenes we would've had to cut anywhere from 3-5 minutes of the
|
|
other stuff. You can't just add to the show's time; if that goes
|
|
in, something else has to come out. So you'd probably have to cut
|
|
the scene between Sheridan and his father since that was the only
|
|
stand-alone set piece.
|
|
Any time you write something, you must decide "who is it about?"
|
|
This episode was about *our characters*, the ones we've come to
|
|
care about, and how they deal with this. To take away from that
|
|
and spend time with people we've never seen before, and won't see
|
|
again, would be to cheat our characters of the time on screen
|
|
needed to pay off all the things we've set up over the years.
|
|
Would it have been an interesting aside to show the other
|
|
captains? Sure. In a movie, with an open-ended running time, I
|
|
probably would have. But there's nothing I would want to cut out
|
|
of the episode as it now stands to make room for it.
|
|
* _Why no scenes from the opposition's point of view?_
|
|
We haven't seen those scenes because we don't know anyone there
|
|
really, and in an hour show you only have so much time, and within
|
|
our budget we only can do so much. Every speaking role you add
|
|
costs thousands of dollars. Every set costs thousands of dollars.
|
|
We're doing the absolute best we can with a budget roughly 1/2 of
|
|
any of the ST episodes.
|
|
If it isn't *absolutely necessary* to the scene, it isn't in.
|
|
Yeah, seeing some folks in EA talking back and forth about well,
|
|
maybe this isn't a good idea, maybe it is, well, let's get back to
|
|
work...it'd be an interesting aside, but in addition to slowing
|
|
down the pace of the episode, and this one had to move like a
|
|
house afire, it's just not something I felt we could or should do.
|
|
* _About the boarding party's uniforms_
|
|
Instead of going for a sinister EA look, I wanted the uniforms to
|
|
be something we're used to, "our side," as you say. There aren't
|
|
many blacks-and-whites on this show. It's all greys...and
|
|
sometimes olive drab.
|
|
* Garibaldi wanted to hold up, cut off the boarding party at a
|
|
bottleneck, but the Narns, *being* Narns, raced right into the
|
|
battle. At that point Garibaldi had to follow them in or let them
|
|
get wiped out for no good reason.
|
|
* _About the Narn sacrifice_
|
|
What you also have to bear in mind sometimes is that *this* is the
|
|
only way to get things done. When the Allies stormed Normandy
|
|
Beach, they knew that German bunkers and machine nests and
|
|
fortified positions were right there on the beach waiting for
|
|
them. But they stormed out, onto the beach, and the first lines
|
|
were cut down, one after another after another, hundreds,
|
|
literally thousands of soldiers. But those behind were able to get
|
|
through, take up position as best they could. Some of them clung
|
|
to the edges of cliffs as Germans above laughed and threw down
|
|
grenades into their midst.
|
|
Sometimes there's no other way. But you do it because those who
|
|
command you have the moral authority to say "You probably will not
|
|
come back, but the cause is just, and fair, and necessary."
|
|
Thus do we go off to die.
|
|
* _Themes of personal sacrifice_
|
|
"It's all this stuff that I think really makes the show. The
|
|
mystery certainly helps, but the puzzles are no longer my main
|
|
reason for watching."
|
|
Aaron: exactly. This was something I said a lot around the first
|
|
part of the second season, that this really *isn't* a mystery
|
|
novel, in any conventional sense, no more so than any novel whose
|
|
ending is yet to be revealed.
|
|
You picked up on exactly the themes that are present in the show,
|
|
with some more to come shortly. Personal sacrifice for a cause --
|
|
perhaps a good cause, perhaps not, depending on how wisely we make
|
|
our decisions -- is probably the dominant theme at this point in
|
|
the story.
|
|
It's worth mentioning that this story was initially conceived in
|
|
the midst of the Me Generation, the decade of "I've got mine,
|
|
jack, screw you all." Since then the culture has gotten
|
|
increasingly factionalized, groups of Me's pulling and tugging at
|
|
the fabric not only of the country, bvut of the planet itself. The
|
|
idea of personal sacrifice, of personal service to a cause, seems
|
|
to have become...passe. Old fashioned. Silly.
|
|
We have an obligation to one another, responsibilities and trusts.
|
|
That does not mean we must be pigeons, that we must be exploited.
|
|
But it does mean that we should look out for one another when and
|
|
as much as we can; and that we have a personal responsibility for
|
|
our behavior; and that our behavior has consequences of a very
|
|
real and profound nature. We are not powerless. We have tremendous
|
|
potential for good or ill. How we choose to use that power is up
|
|
to us; but first we must choose to use it. We're told every day,
|
|
"You can't change the world."
|
|
But the world is changing every day. Only question is...who's
|
|
doing it? You or somebody else? Will you choose to lead, or be led
|
|
by others?
|
|
(Y'know, there are moments I look at the preceding paragraphs, and
|
|
I realize that it wa said more succinctly, and better, and more
|
|
movingly in "Lost Horizon," with this simple sentence: "Be *kind*
|
|
to one another.")
|
|
* The easy thing to do, the TeeVee thing to do, would've been to go
|
|
from Sheridan's line "All ships return to base," to the exterior
|
|
with the big ships, and fade out. But I try to keep this show from
|
|
doing the easy thing. Yes, you had a victory. Yes, it was
|
|
necessary. But what's the cost? We shouldn't glamorize these
|
|
things. Even at the end, as you notice, even at the end of the
|
|
reception...we go out on an ominous note.
|
|
* The older I get, the more I realize there are things you can do
|
|
with silence you can't do with words, though I still love the form
|
|
of the speech. There was a lot of counterpoint in this episode, a
|
|
tool I'm still playing with as a writer; eventually I'll figure
|
|
out how to really use it properly. (Though there's an interesting
|
|
scene up later this season using another kind of ironic
|
|
counterpoint which I think works pretty well.)
|
|
* _Counterpoint?_
|
|
In a sense, it's going from one emotion or thematic element to a
|
|
very different, but equally strong one, either as bookends or
|
|
through intercutting. Going from the high of the victory, to the
|
|
sudden shot of the dead troops, is thematic counterpoint.
|
|
Here's another...in "Cabaret" you've got a scene where the
|
|
performers in the Cabaret are doing the sort of German dance where
|
|
you slap your knees and thighs and chest...and they take it a bit
|
|
further, slapping one another, it's all for comic effect...but
|
|
during this, you're intercutting the owner of the cabaret being
|
|
beaten to within an inch of his life by some Brownshirts outside.
|
|
You go from comic to brutal and back, with the result that the
|
|
happy little dance suddenly takes on ugly characteristics, and the
|
|
beating takes on the sense that the participants are having a sick
|
|
kind of fun, that it's all just another kind of dance, a ritual.
|
|
That's what you have to look at as a writer...how this scene
|
|
works, and how it interacts with the scenes in front, behind and
|
|
"beside" it (for things happening simultaneously). Sometimes, with
|
|
the proper counterpoint, you can add whole new levels of meaning
|
|
to a scene, or make the scene much stronger than it would've been
|
|
on its own.
|
|
* _Did the Earth ships recognize the White Star as the ship from the
|
|
incident on Ganymede?_
|
|
Probably not.
|
|
* Well, President Clark would know it [the White Star], from the
|
|
Aggy records, but the general population wouldn't know it yet,
|
|
since those records weren't released. But it does give him a card
|
|
to play at some point in the future.
|
|
* _Any relation between Captain Hiroshi and the Hiroshi on
|
|
Garibaldi's staff from [32]"Convictions?"_
|
|
No intentional relation, no.
|
|
* _Why wasn't the boarding party coming up through the floor?_
|
|
I figured that they'd come in through the outer hull, secure the
|
|
inner hull area, then go up in and through a side wall, which
|
|
would be faster for purposes of a mass entrance. If you blow a
|
|
hole in the floor, everybody has to crawl out one at a time; you
|
|
blow a hole in the wall, bunches can come through at once. There
|
|
was a fair amount of distance between where they came in, and the
|
|
hull.
|
|
* Yes and no. They came through the "floor" which would be the outer
|
|
hull. Like any good ship, the station has two hulls for
|
|
protection, an inner hull and an outer hull. Once breaching the
|
|
outer hull, they moved into the inner hull, then angled up for a
|
|
wall they could blow out.
|
|
I figured this would make more tactical sense because if they just
|
|
blew through the floor, they'd have to *crawl* out one or two at a
|
|
time, whereas if they angled in safely and then came in through a
|
|
wall, they could pour in more quickly, en masse, and be less
|
|
vulnerable.
|
|
* _From coproducer George Johnsen_
|
|
We don't really know where the Marines actually penetrated, but
|
|
their first hole would be through the "floor". If we assume that
|
|
they know the station well, it is likely they would punch through
|
|
an "unimproved", or storage area first, as it would be easier than
|
|
to burn through a fully habitable area. Then they would go through
|
|
a wall or a door to get at the goal. We postulate that they
|
|
actually were shown entering through their second burn, and
|
|
entering the occupied area.
|
|
* _Was there not much blood in the on-station fight because the guns
|
|
were firing plasma?_
|
|
Correct, PPG bursts, being superheated helium, tend to cauterize
|
|
the wounds as they go through.
|
|
* No, it's a different scene than the flash-forward in Babylon
|
|
Squared.
|
|
* Thanks. That's exactly the impression I wanted...you do the
|
|
dolly/zoom move, isolating Sheridan visually...you don't cut back
|
|
to the others as they speak, just let the camera stay on him, put
|
|
the other voices down under the music and off to the side, just
|
|
*HOLD* there...works great.
|
|
* I'm always getting this confused in my own mind, but basically
|
|
it's using two contradictory moves with the camera. You dolly in
|
|
(push the camera toward the object) and push out with the lens (or
|
|
vice versa...that's the part I'm forever getting confused
|
|
about...like remembering battery connections, is it positive to
|
|
positive or positive to negative...?). In either event, you're
|
|
basically going in and out/away at the same moment. It's a nifty
|
|
effect.
|
|
* "There is a certain sweetness between Sheridan and his father.
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|
Sheridan's father is certainly the one that I wish I had. Is he
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|
yours, JMS?"
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Not by the farthest stretch of the imagination, which is all I'll
|
|
say on this.
|
|
* _Was that Ashan (from [33]"There All the Honor Lies") blocking
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|
Delenn?_
|
|
That wasn't Ashan, no.
|
|
* _Why isn't the Council on Minbar?_
|
|
We've hinted at it...the Grey Council always stays on its ship,
|
|
being part of the universe, giving it an exotic, distant feel for
|
|
its people...as though among the gods.
|
|
* The Grey Council could've taken a lot more action to be supportive
|
|
behind the scenes, getting the warrior caste more involved with
|
|
the rangers, giving aid to the non-aligned worlds...there was a
|
|
LOT they could have been doing all this time that wouldn't have
|
|
required tipping their hand. Instead they sat and did nothing. And
|
|
now, with B5 on the edge of falling, to say it's not their problem
|
|
was too much. Now is the time they have to start coming forward.
|
|
* Basically, the warrior caste doesn't think it's their war; there's
|
|
also a certain amount of resentment in it, I think...they *led*
|
|
the last war, they *did* their job, and got yanked back and forced
|
|
to surrender. That was a terrible blow to their pride, caused in
|
|
part by an alien race, so their attitude now tends to be more or
|
|
less, "Screw 'em."
|
|
* _How did Delenn know B5 needed help?_
|
|
Real simple. Lennier was still on-station. All she had to do was
|
|
check in with him en route and find out. Also, she went to the
|
|
council for the purpose of getting military support because she
|
|
knew heavy stuff was coming down, in one form or another. Knowing
|
|
that "the humans are fighting one another" as she said to the
|
|
council, it's evident that if they didn't come to B5 that day,
|
|
they'd come shortly thereafter.
|
|
* She already knew that civil war had broken out between EA ships
|
|
and forces, and that B5 had already faced one takeover bid, and
|
|
that whether or not it happened today or the next day, it was
|
|
definitely coming. That was unmistakeable. Also, bear in mind that
|
|
Lennier stayed behind. She would have checked in with him en route
|
|
and found out what was going on, or picked up the radio broadcasts
|
|
of the battle in progress. I could've shown this, but that
|
|
would''ve blown the surprise of her arrival.
|
|
* At this point, with the Council broken, Delenn isn't currently
|
|
running Minbar...there's a vacuum of power. The system can carry
|
|
on for a while, the balance between the castes is pretty
|
|
efficient, but this is going to have to be resolved, and some in
|
|
the warrior caste may suspect Delenn of doing this so she *can*
|
|
rise to power.
|
|
As part of Valen's covenant, to prevent one caste from taking over
|
|
the other, each caste has access to its own warships. This was
|
|
done to create trust a thousand years ago, and since then, since
|
|
there hasn't been any conflict between Minbari, the three castes
|
|
own their own warships still, but in general are assigned to
|
|
Warrior caste as a courtesy, which can be revoked. As Delenn
|
|
noted, the worker and religious castes control 2/3rds of their
|
|
forces.
|
|
* Each caste populates the ships in their jurisdiction with their
|
|
own people. Which is why those on the Minbari warships that came
|
|
in, which we'll see shortly, are religious caste, no warriors
|
|
among them...but even the religious caste is well trained in
|
|
combat, as part of their education in temple. We've seen some of
|
|
this already in Lennier's abilities in a fight.
|
|
* No, 5 left the council with her. And one can wonder, Did she turn
|
|
down the position of leader of the Grey Council, which would be a
|
|
balance for that role, in order to eliminate the council and
|
|
become primary ruler? (That is what some of the warrior caste are
|
|
bound to begin wondering after a while.)
|
|
* _Was the brief pause as one of the council members left a sign of
|
|
a single caste breaking apart?_
|
|
No, just a member of the warrior caste making sure one he
|
|
considered a friend *really* wanted to do this....
|
|
* I was living in Delenn's head when she uttered those lines for the
|
|
first time.
|
|
She wasn't bluffing.
|
|
Delenn *never* bluffs.
|
|
* Thanks, and yes, there's definitely fire and steel in Delenn,
|
|
which she calls upon when she needs it. And nobody crosses her
|
|
when that happens.
|
|
* Now that she's gone through her own personal fire, she's a much
|
|
stronger character, and very interesting to write. There's steel,
|
|
and there's humanity and compassion, and she feels no need to
|
|
defend or justify any of those traits. What she is, she is.
|
|
* _Sinclair survived a battle with Minbari warships._
|
|
Her exact line was, "No human captain has ever survived battle
|
|
with a Minbari fleet." Sinclair wasn't a captain.
|
|
* Dukhat was killed at the start of the Minbari war (that *caused*
|
|
the Minbari war), and the Council did without a leader for a long
|
|
time. She was taught and sponsored by Dukhat.
|
|
* _Does Delenn feel responsible for Dukhat's death?_
|
|
No, she doesn't feel responsible; it's an artifact of the way they
|
|
approach certain things. "His word is on my lips, his spirit is in
|
|
my eyes." It's almost a way of saying he's speaking through me,
|
|
back off.
|
|
* _About Sheridan asking the Roanoke to surrender_
|
|
Yeah...the reference was kafuffled. There was so much going on, so
|
|
many EFX shots, so much rearranging of shots to make everything
|
|
work (we literally delivered this 2 hours before the process for
|
|
uplinking started) that this slipped past. I'll assume that
|
|
Sheridan got excited and said the wrong name. It'd happen to
|
|
anyone. Right? Right?
|
|
* Roanoke is a place rich with history. Some of it a little odd,
|
|
given the colony's disappearance, but rich nonetheless. (Clark has
|
|
edged away from giving Omega class destroyers and others names
|
|
from Greek mythology and history, toward more conventional names
|
|
like the Clarkstown and the Roanoke.)
|
|
* President Clark got away from the tradition of using Greek names.
|
|
And the Roanoke was a Virginia colony that disappeared in the
|
|
1600s.
|
|
* _What about the disappearing destroyer?_
|
|
That would've been killed off-camera. We tried to fit in every
|
|
ship getting nailed, but finally realized it would've required
|
|
another half an act.
|
|
* _What did ISN know?_
|
|
I'm sorry, but we cannot answer your question at this time. We are
|
|
experiencing temporary transmission problems with ISN, but hope to
|
|
have the situation remedied very soon. Meanwhile, you can direct
|
|
any inquiries for information to the Ministry of Peace, and the
|
|
Ministry for Public Information, which has been aiding all public
|
|
information broadcasts for almost two years now.
|
|
At the tone, please leave your name and identicard number. Don't
|
|
worry about calling back. We'll find you.
|
|
<beep>
|
|
* Clark had inside info that ISN would be going public soon with
|
|
info on what was *really* going on on Mars, his planned attack on
|
|
B5, and other stuff he wanted quiet.
|
|
* I'm looking to find a way to bring Franklin's father back into the
|
|
storyline now, to help resolve this. (Note: no suggestions,
|
|
please.) I think he would tend to fall on the other side, and it'd
|
|
be good to show that some people may think that yes, there's a
|
|
problem, but you solve that problem from within, not by breaking
|
|
away. Could make for some nice drama....
|
|
|
|
|
|
[39][Next]
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|
|
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[40]Last update: January 12, 1998
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|
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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/054.shtml
|
|
4. file://localhost/home/woodstock/hyperion/docs/lurk/synops/054.html
|
|
5. file://localhost/home/woodstock/hyperion/docs/lurk/credits/054.html
|
|
6. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
|
|
7. file://localhost/home/woodstock/hyperion/docs/lurk/guide/053.html
|
|
8. file://localhost/home/woodstock/hyperion/docs/lurk/guide/055.html
|
|
9. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#OV
|
|
10. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#BP
|
|
11. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#UQ
|
|
12. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#AN
|
|
13. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#NO
|
|
14. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#JS
|
|
15. http://us.imdb.com/M/person-exact?+McGill,+Bruce
|
|
16. http://us.imdb.com/M/person-exact?+Miyori,+Kim
|
|
17. http://us.imdb.com/M/person-exact?+Parks,+James
|
|
18. file://localhost/lurk/p5/intro.html
|
|
19. file://localhost/lurk/p5/054
|
|
20. file://localhost/home/woodstock/hyperion/docs/lurk/guide/008.html
|
|
21. file://localhost/home/woodstock/hyperion/docs/lurk/guide/033.html
|
|
22. file://localhost/home/woodstock/hyperion/docs/lurk/guide/045.html
|
|
23. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#JS.ships
|
|
24. file://localhost/home/woodstock/hyperion/docs/lurk/guide/038.html
|
|
25. file://localhost/home/woodstock/hyperion/docs/lurk/guide/052.html
|
|
26. file://localhost/home/woodstock/hyperion/docs/lurk/guide/023.html
|
|
27. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#JS.jump
|
|
28. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#JS.glitch
|
|
29. file://localhost/home/woodstock/hyperion/docs/lurk/guide/019.html
|
|
30. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#NO.glitch
|
|
31. file://localhost/home/woodstock/hyperion/docs/lurk/guide/050.html
|
|
32. file://localhost/home/woodstock/hyperion/docs/lurk/guide/046.html
|
|
33. file://localhost/home/woodstock/hyperion/docs/lurk/guide/036.html
|
|
34. file://localhost/lurk/lurker.html
|
|
35. file://localhost/home/woodstock/hyperion/docs/lurk/guide/054.html#TOP
|
|
36. file://localhost/cgi-bin/uncgi/lgmail
|
|
37. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
|
|
38. file://localhost/home/woodstock/hyperion/docs/lurk/guide/053.html
|
|
39. file://localhost/home/woodstock/hyperion/docs/lurk/guide/055.html
|
|
40. file://localhost/lurk/lastmod.html
|