|
<h2><a name="OV">Overview</a></h2>
|
|
|
|
<blockquote><cite>
|
|
Babylon 4 returns as abruptly as it vanished, but its reappearance may bode
|
|
ill for the future. Delenn receives a momentous offer.
|
|
</cite>
|
|
|
|
<a href="http://us.imdb.com/M/person-exact?+Broadhurst,+Kent">Kent Broadhurst</a> as Major Krantz.
|
|
<a href="http://us.imdb.com/M/person-exact?+Choate,+Tim">Tim Choate</a> as Zathras.
|
|
<a href="http://us.imdb.com/M/person-exact?+Gentile,+Denise">Denise Gentile</a> as Lise Hampton.
|
|
</blockquote>
|
|
|
|
<pre>
|
|
Sub-genre: Intrigue/mystery
|
|
<a href="/lurk/p5/intro.html">P5 Rating</a>: <a href="/lurk/p5/020">8.57</a>
|
|
|
|
Production number: 118
|
|
Original air date: August 10, 1994
|
|
<a href="http://www.amazon.com/exec/obidos/ASIN/B00006HAZ4/thelurkersguidet">DVD release date</a>: November 5, 2002
|
|
|
|
Written by J. Michael Straczynski
|
|
Directed by Jim Johnston
|
|
</pre>
|
|
|
|
<h3>Watch For:</h3>
|
|
<ul>
|
|
<li> A man shouts at Garibaldi and Sinclair; what he says might provide
|
|
clues about the nature of the opponents in another scene.
|
|
<li> Look closely at what's inside a transparent case given to Delenn.
|
|
It's an object that's been shown in a previous episode.
|
|
</ul>
|
|
|
|
<p>
|
|
<hr size=3>
|
|
<p>
|
|
|
|
<h2><a name="BP">Backplot</a></h2>
|
|
<ul>
|
|
<li> Babylon 4 was stolen by people from the future, apparently at Sinclair's
|
|
behest during that time period, to act as a base of operations in a
|
|
tremendous war being fought between the forces of light and darkness.
|
|
|
|
<li> Sinclair will be a great leader, possibly <em>the</em> leader, of the
|
|
forces of light in that war.
|
|
|
|
<li> <a name="BP:flash">At some point,</a> long before he participates in
|
|
Babylon 4's disappearance, Sinclair will flee a place (most likely
|
|
Babylon 5, cf.
|
|
<a href="013.html">"Signs and Portents"</a>)
|
|
that is about to be overrun by some evil creatures. Garibaldi will stay
|
|
behind to fight, but will force Sinclair to leave. A
|
|
<a href="020.flash.html">transcript</a>
|
|
of the scene in question is available.
|
|
|
|
<li> The Grey Council stopped the war because of a prophecy. Valen (a
|
|
revered figure, see
|
|
<a href="#JS:valen">jms speaks</a>)
|
|
said that humans, or some among them, had a destiny with which the
|
|
Minbari could not be allowed to interfere.
|
|
|
|
<li> Delenn is on Babylon 5 to study humanity, to determine whether the
|
|
prophecy is correct.
|
|
</ul>
|
|
|
|
<h2><a name="UQ">Unanswered Questions</a></h2>
|
|
<ul>
|
|
<li> Will Babylon 4 appear again? If so, when?
|
|
<li> Was it really Sinclair in the suit? If not, who or what was it?
|
|
<li> What was Sinclair trying to prevent from happening?
|
|
<li> Who was waiting for Delenn and Sinclair?
|
|
<li> Will Delenn keep her position on the council?
|
|
<li> What is the purpose of the triluminary?
|
|
<li> What was happening in Sinclair's flashforward? Who or what was
|
|
attacking the station? Is it related to the destruction of the station
|
|
as foretold in
|
|
<a href="013.html">"Signs and Portents?"</a>
|
|
<li> What was the crazed man referring to when he shouted about "monsters"
|
|
and said, "I see you... you think I can't?" (see
|
|
<a href="#AN:inv">Analysis</a>)
|
|
<li> Is the Grey Council's cruiser the same place Sinclair was taken during
|
|
the Battle of the Line? (cf.
|
|
<a href="008.html">"And the Sky Full of Stars"</a>)
|
|
<li> Why is Delenn so convinced she must remain on Babylon 5, even at the
|
|
risk of her standing in the Council?
|
|
<li> What "change" does Delenn believe is coming?
|
|
</ul>
|
|
|
|
<h2><a name="AN">Analysis</a></h2>
|
|
<ul>
|
|
<li> None of the races have demonstrated an ability to travel through
|
|
time. Yet within Sinclair's lifetime, such technology will either
|
|
be developed, discovered, or introduced by people from the distant
|
|
past or future. Does it exist already? If so, who has it?
|
|
Zathras' people may be the ones to provide the technology.
|
|
|
|
<li> The voice that speaks to Sinclair sounds like Delenn's, but her face is
|
|
intentionally not shown. Presumably there is a reason for that;
|
|
Delenn may be due to change in some way that will alter her appearance.
|
|
|
|
<li> After Babylon 4 completes its time jump, a voice (presumably a
|
|
computer) announces that the atmosphere was breathable. Why wasn't
|
|
it breathable before? Zathras clearly had no trouble breathing in
|
|
the past, so is something about the future Sinclair different that
|
|
prevents him from breathing a normal atmosphere?
|
|
|
|
<li> In the past, when we've seen Grey Council members, they have had silver
|
|
triangles on their foreheads
|
|
(<a href="008.html">"And the Sky Full of Stars"</a>
|
|
and
|
|
<a href="013.html">"Signs and Portents"</a>
|
|
during Morden's visit to Delenn.) Yet no such triangles were visible
|
|
this time. What do the triangles mean, and what causes them to
|
|
appear? (see
|
|
<a href="#JS:triangle">jms speaks</a>)
|
|
|
|
<li> <a name="AN:inv">The attacking force</a>
|
|
in Sinclair's vision of the future seemed to be invisible.
|
|
Witness the fact that Garibaldi's men were firing in seemingly random
|
|
directions, as if they didn't know where the enemy was. It also seems
|
|
unlikely that they'd use a flamethrower if they could aim at their
|
|
opponents. When the unknown force finally cut through the wall, it
|
|
was forced inward, but nothing could be seen forcing it. This also
|
|
explains what the crazed man on B4 was talking about; he'd seen
|
|
visions of a battle against invisible foes too.
|
|
<p>
|
|
The only instance of invisibility seen in the series up until this
|
|
episode was in
|
|
<a href="007.html">"The War Prayer,"</a>
|
|
and it was developed by the Earth Alliance military, suggesting
|
|
perhaps that the attackers might be humans.
|
|
|
|
<li> Garibaldi flashed back to an event two years earlier. That may
|
|
suggest that Sinclair's flashforward (if indeed that's what it was)
|
|
was to two years in the future, which would put the scene somewhere
|
|
in the year 2260, season three of the series.
|
|
|
|
</ul>
|
|
|
|
<h2><a name="NO">Notes</a></h2>
|
|
<ul>
|
|
<li> Babylon 4 is larger than Babylon 5.
|
|
</ul>
|
|
|
|
<h2><a name="JS">jms speaks</a></h2>
|
|
<ul>
|
|
<p>
|
|
<li> The one I'm most looking forward to writing just now, though, is
|
|
"Babylon Squared," in which we finally show what happened to Babylon
|
|
4, and in the process ask more questions than we answer (though at
|
|
least we DO answer the questions we asked about the fate of that
|
|
station in general...you'll know what happened to it, just not yet
|
|
what it means). The end of this episode will cause more speculation
|
|
and consternation and astonishment than anything you've seen on TV in
|
|
a long, long, very long time.
|
|
|
|
<p>
|
|
<li> What a weird day...filming "Babylon Squared," and one minute I'm
|
|
standing in the anteroom/hallway of a Minbari cruiser that leads into
|
|
the Great Hall and the chambers of the Grey Council...a few minutes
|
|
later I'm standing in a section of Babylon 4, and the whole atmosphere
|
|
of the crew is *very* different, the whole sensibility is strange...
|
|
very strange.
|
|
|
|
<p>
|
|
"Babylon Squared" has a *very* different look to it, and a very eerie
|
|
and foreboding feel about it, which I like a lot. Jim Johnston, who
|
|
directed "Soul Hunter" and several others is doing it. Very moody.
|
|
|
|
<p>
|
|
<li> Yesterday, I got the final air-check versions of "Babylon Squared"
|
|
and "Chrysalis" to QC before delivering them to PTEN. Watched both
|
|
of them three times in the same day. They're just stunning.
|
|
Probably the two best episodes of the entire season.
|
|
|
|
<p>
|
|
<li> Yes, you will see the Major Conflict that leads to the situation with
|
|
Babylon 4. We're building toward a massive conflagration here.
|
|
|
|
<p>
|
|
<li> Yes, you will definitely, at some point, see the flip side of the
|
|
B2 episode.
|
|
|
|
<p>
|
|
<li> No, actually, B2 was structured for maximum jarring effect, thus the
|
|
sudden cuts back and forth, the sickly green light in B4...makes the
|
|
person watching feel unexplainably anxious, which was a subliminal
|
|
but definite intent. So no, nothing much was cut. And yes,
|
|
eventually we will see the flip-side of the B4 story.
|
|
|
|
<p>
|
|
<li> In B-squared, we saw the present
|
|
events in the vanishment of B4; in a future episode, we'll actually see
|
|
our characters make the decision to go back in time and yank B4 forward,
|
|
what went wrong, and so on.
|
|
|
|
<p>
|
|
<li>@@@877971397 <em>The One's suit was very similar to the suits in
|
|
"2001."</em><br>
|
|
Re: the suit...that wasn't an intentional 2001 nod...we went to
|
|
Modern Props to get a space suit for Babylon Squared, and the only one
|
|
they had on hand that would work for us was one left-over from 2010,
|
|
which I asked the folks in costume to change as much as
|
|
possible...though it was pretty much what it was regardless. So that
|
|
one wasn't intentional.
|
|
|
|
<p>
|
|
<li> Nope; Zathras is one of his race, which aren't offspring of any
|
|
other two groups.
|
|
|
|
<p>
|
|
<li> When Zathras shows up in time, it'll definitely be recognizeable as
|
|
Zathras.
|
|
|
|
<p>
|
|
<li> B5 is smaller than B4 because they sunk most of
|
|
their budget into B4; on B5 they had to get outside
|
|
funding, and scrimped.
|
|
|
|
<p>
|
|
<li> B1-B4 were located in roughly the same sector, with B4 using some of
|
|
the materials from 1-3 leftover. B5 was constructed about 3 hours
|
|
(traveling time in real-space) from the location of B4.
|
|
|
|
<p>
|
|
<li> No commander had yet been assigned to Babylon 4. One Major Krantz
|
|
had been assigned to oversee the final stages of construction, and
|
|
was on board -- along with about 1300 others in the construction
|
|
crew -- when the station vanished. The station had only been on-
|
|
line 24 hours, and the discussions of a commanding officer had just
|
|
begun when it disappeared.
|
|
|
|
<p>
|
|
<li> Major Krantz wasn't so much in charge of B4 as he was (as noted in
|
|
dialogue) assigned to oversee the final stages of construction. His
|
|
job was to get the station finished, then turn it over to someone
|
|
else to run.
|
|
|
|
<p>
|
|
<li> <a name="JS:triangle"><cite>Why no triangles on the Council's
|
|
heads?</cite></a>
|
|
<br>
|
|
While the triangle is one element of the Grey Council
|
|
symbology, it is not present and visible at all times and
|
|
under all circumstances; it has a particular purpose or
|
|
meaning.
|
|
|
|
<p>
|
|
<li> The triangle only manifests itself for specific reasons, at specific
|
|
times, neither of which were appropriate to that moment. And yes,
|
|
the Triluminary is much cooler...and does something quite interesting.
|
|
|
|
<p>
|
|
<li> <a name="JS:valen">Valen</a> was the one who brought Minbari
|
|
civilization together, he is their Christ-figure. And yes, the
|
|
heavyset Grey Council member is the same one as in "Sky."
|
|
|
|
<p>
|
|
<li>@@@840129143 <em>Does the Grey Council live permanently on that
|
|
ship?</em><br>
|
|
They stay on the cruiser almost entirely during their tenure in
|
|
the council, only leaving for personal family crisis/situations and the
|
|
like.
|
|
|
|
<p>
|
|
<li> <cite>Garibaldi's closing lines in Sinclair's flashforward are
|
|
reminiscent of "Aliens."</cite><br>
|
|
When you're shooting a show, invariably you get to the stage and
|
|
find that you have, for instance, three lines, one per character in the
|
|
room...and you're trying to get them out the door, and it moves better
|
|
if you give one line to one character and the other two to the other
|
|
character. That sometimes happens. But rarely. In the Garibaldi's
|
|
yell case, it was written as a quick shot, he yells and we're out. The
|
|
director wanted to extend the shot a bit, visually. I wasn't in the
|
|
studio at the time, so Jerry improvised a series of yells.
|
|
<p>
|
|
This sort of thing is *extremely* rare on the show; the actors and
|
|
directors know they *cannot* change dialogue on the set without approval
|
|
from me or Larry. On any given script, no more than about 3-6 lines get
|
|
modified for staging purposes once we get to the set. And always with
|
|
approval required. This is an absolute, hard and fast rule. The only
|
|
reason the Garibaldi thing happened is that they figured it was just a
|
|
yell, so nothing could get messed up story-wise (which is the primary
|
|
reason this is so strict; change one word in a line and it could screw
|
|
up plot points three episodes down the road) by having him yell a few
|
|
specific lines. If I'd been there for that scene, I would've written
|
|
him something a little less reminiscent of "Aliens."
|
|
|
|
<p>
|
|
<li> The script called for Garibaldi to take up the Big Massive Gun and
|
|
fire, with a primal YELL that went on forever. Any dialogue at that
|
|
point which replaced the yell came from the actor. The "you're
|
|
already dead" was only relevant to the scene, not T2.
|
|
|
|
<p>
|
|
<li> Re: Garibaldi in the flash-forward scene...no, it wasn't any kind of
|
|
"homage" to Aliens. (And for the most part, I try and stay clear of
|
|
any kind of homage unless it's primarily a throwaway; I want my story
|
|
to be MY story, not a bunch of homages.)
|
|
|
|
<p>
|
|
The single most moving kind of story for me is the "last man on the
|
|
bridge"...the last defender who has to hold the line while others get
|
|
away, knowing he will probably not survive it. This has great power
|
|
for me, and for many others, which is why it shows up again and again
|
|
in films, literature, TV and other venues. The Garibaldi scene has
|
|
NOTHING to do with Aliens, and everything to do with that figure.
|
|
|
|
<p>
|
|
Re: *why* it is that humans are special...has nothing to do with
|
|
sacrifice, or dedication (well, that's not quite true, it has
|
|
something to do with it), but that's not the totality of it. There's
|
|
one more element you don't know about yet, that won't be revealed
|
|
until season two, episode one, "Points of Departure." Once you see
|
|
that episode, you'll fully understand that there is one very
|
|
particular thing about humans that is very special indeed.
|
|
|
|
<p>
|
|
<li> I kinda *have* to play fair with the story; if you hear Delenn's
|
|
voice, then you can be sure it's Delenn.
|
|
<p>
|
|
In one form or another.
|
|
|
|
<p>
|
|
<li> "So who IS the One? Some of the evidence points to Sinclair, but
|
|
other bits seem to indicate Delenn. Yet neither seems to fit all the
|
|
facts above."
|
|
|
|
<p>
|
|
Exactly.
|
|
|
|
<p>
|
|
What you have here in your message are two pieces of the puzzle.
|
|
You're confounded by the fact that somehow they don't quite seem to fit
|
|
into one another. That's because there's one last piece missing in this
|
|
part of the picture, which fits in between them. The intent is to put
|
|
this piece into clear view in year three, probably between episodes 8
|
|
and 11 approximately. At that point, the question of the One will be
|
|
fully answered.
|
|
|
|
<p>
|
|
<li> Re: Sinclair as the One...funny how all this time very few folks have
|
|
really commented much on how it was that Zathras could look right into
|
|
Sinclair's face and say, "NOT the One."
|
|
|
|
<p>
|
|
<li> <em>Garibaldi's eyes glow for one frame in the flashforward scene.</em>
|
|
<br>
|
|
(sigh) Our rotoscope EFX guy was waiting for a bunch of PPG EFX to
|
|
finish rendering in that battle scene, and was bored, and like many
|
|
such EFX types, filled in the eyes of Garibaldi with weird stuff
|
|
while waiting around. When the other scene finished rendering, he
|
|
got out, believing that he had not saved that one frame. Unknowingly,
|
|
he had.
|
|
|
|
<p>
|
|
Nobody caught it until after broadcast.
|
|
|
|
<p>
|
|
We talked.
|
|
|
|
<p>
|
|
<li> "It has been divulged that Sinclair is coexisting in a parallel
|
|
dimension Babylon 4."
|
|
|
|
<p>
|
|
Actually, this has *not* been divulged...what it is is a speculation
|
|
based on an offhand comment by Michael at a convention. I jump in
|
|
here only because, well, that ain't it. B4 is not in an alternate
|
|
dimension, neither is there an alternate Sinclair. Just a course
|
|
correction to the discussion.
|
|
|
|
<p>
|
|
<li> With only one exception, you won't see time travel anywhere in the
|
|
five-year run of the B5 story.
|
|
|
|
<p>
|
|
<li> <em>Which do you do first?</em><br>
|
|
Fasten, button.
|
|
<p>
|
|
Levi's Jeans forever!
|
|
|
|
<p>
|
|
<li> <em>Why wasn't Franklin delivering the autopsy report?</em><br>
|
|
Garibaldi is head of security, and Franklin would likely give him the
|
|
report, which Garibaldi then relays. In such things there is a chain
|
|
of command. And as you say, it seemed pointless to bring in the actor
|
|
just for one half-page scene.
|
|
|
|
<p>
|
|
<li> <em>Credits for two Gray Council members?</em><br>
|
|
Mark Henrickson was the...rounder of the two Minbari. The one with
|
|
the staff wanted to go uncredited.
|
|
|
|
<p>
|
|
No real reason, he just felt it would be better for the character
|
|
to remain mysterious; and since it really wasn't a big part, it
|
|
wouldn't make a real difference one way or another in his credits and
|
|
resume. (I know that sounds weird, but as near as I can determine,
|
|
that's the reason. He did a great job, and we're looking forward to
|
|
having him again.)
|
|
|
|
<p>
|
|
<li> <cite>Does the triluminary have anything to do with the sculpture in
|
|
Delenn's quarters?</cite><br>
|
|
Yes, the Triluminary does have a function in the
|
|
device she's been making.
|
|
|
|
</ul>
|