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548 lines
23 KiB
548 lines
23 KiB
<!-- TITLE Dust to Dust -->
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<h2><a name="OV">Overview</a></h2>
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<blockquote><cite>
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An addictive drug with telepathic effects is found on the station,
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prompting a visit by Bester. G'Kar reaches a turning point.
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</cite>
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<a href="http://us.imdb.com/M/person-exact?+Koenig,+Walter">Walter Koenig</a> as Bester.
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</blockquote>
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<pre><a href="/lurk/p5/intro.html">P5 Rating</a>: <a href="/lurk/p5/050">8.62</a>
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Production number: 306
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Original air week: February 5, 1996
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<a href="http://www.amazon.com/exec/obidos/ASIN/B00009OOFK/thelurkersguidet">DVD release date</a>: August 12, 2003
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Written by J. Michael Straczynski
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Directed by David Eagle
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</pre>
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<p>
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<hr size=3>
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<h2><a name="BP">Backplot</a></h2>
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<ul>
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<li> Londo's original assignment to Babylon 5 was at the direct request of
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Emperor Turhan, who chose him after everyone else turned the position
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down.
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<li> Dust, an addictive drug, allows non-telepaths of several races to
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probe the minds of others, experiencing all the victim's memories and
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thoughts in the space of a few minutes. Unfortunately, this leaves the
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victims unconscious, and telepathic victims never recover. The more
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often Dust is taken, the more is required to achieve the effect the
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next time. Dust was originally developed, and is apparently still
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being produced, by Psi Corps in an attempt to induce permanent
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telepathy in normal humans; the experiment has been a failure so far.
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<li> The Narn used to have telepaths, long ago, but they and their families
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were exterminated. The genes for telepathy were too weak in the
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survivors to allow the Narn to breed natural telepaths, but their
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abilities can still be unlocked, briefly, by Dust.
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</ul>
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<h2><a name="UQ">Unanswered Questions</a></h2>
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<ul>
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<li> How much does G'Kar know about Londo's association with the Shadows?
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Did Kosh stop him before he was able to discover everything?
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<li> Why did Kosh stop G'Kar? (See
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<a href="#AN.stop">Analysis</a>)
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<li>@@@833220507 How did Kosh know what was happening?
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<li> Was Bester telling the truth about the Psi Corps combatting secret
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threats to the human race, things ordinary people never hear about?
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If so, what are those threats?
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<li> What happened to the Narn telepaths? (See
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<a href="#AN.narn">Analysis</a>)
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<li> Will the Dust have a permanent effect on G'Kar, such as giving him
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some measure of telepathic ability?
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<li> What did the Corps learn from Talia? Was she actually dissected, or
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was Bester just baiting Garibaldi? Did they find out about Ironheart's
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gift
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(<a href="006.html">"Mind War?"</a>)
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</ul>
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<h2><a name="AN">Analysis</a></h2>
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<ul>
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<li> What is the rest of the Psi Corps' business on Babylon 5? Perhaps
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it involves Lyta Alexander; her presence is probably common knowledge
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by now.
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<li> <a name="AN.narn">The extermination of Narn telepaths</a>
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may be connected to the Shadow
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occupation of the Narn homeworld in the last war. See
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<a href="049.html#AN.narn">"Voices of Authority."</a>
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Or perhaps the Centauri were responsible, during their previous
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occupation. It's also possible, though perhaps less likely, that
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the Narn killed all their own telepaths.
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<li> G'Kar asks Londo if being helpless helps him understand the plight of
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the Narn. But the reverse effect may have taken place as well; G'Kar
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has experienced at least some of the past several years from Londo's
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point of view now, and thus presumably understands why Londo did what
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he did. Whether that understanding can lead to forgiveness, though,
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is another question.
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<li> Kosh's intrusion into G'Kar's probe of Londo can certainly be viewed
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as manipulation, especially given the use of the image of G'Lan. What
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Kosh is trying to achieve by appearing to G'Kar, and why he's willing
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to interfere with the Narn and Centauri now when he expressed no
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interest in them before
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(<a href="001.html#NO.KS">"Midnight On the Firing Line"</a>)
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isn't clear.
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<li> In addition to the mention of the Narn and Centauri being alone and
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dying, reminiscent of
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<a href="001.html#NO.KS">"Midnight On the Firing Line,"</a>
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Kosh also tells G'Kar, "I have always been here." This echoes Kosh's
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statement in Sheridan's dream in
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<a href="033.html#AN:dream">"All Alone In the Night."</a>
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It's still not entirely clear what he means, however.
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Could it have something to do with the "path" revealed to Ivanova in
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<a href="049.html">"Voices of Authority?"</a>
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<li> <a name="AN.stop">Kosh may have stopped G'Kar</a>
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to prevent him from learning too much about the Shadows, on the
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assumption that G'Kar would likely speak out about them in public.
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Since the forces of light are still gathering, that'd be something
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Kosh would want to prevent. It's also likely that Kosh was maneuvering
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G'Kar to be of greater use in the future, perhaps testing his ability
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to influence G'Kar's behavior through the use of religious visions.
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<li> Probably just a coincidence: Kosh ends G'Kar's quest for Shadow
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information in Londo's mind by saying, "It is enough." That's exactly
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what Londo said to Endawi
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(<a href="045.html">Matters of Honor"</a>)
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after recalling his dream of the Shadow ships flying overhead on
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Centauri Prime.
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<li> Did G'Kar overdose on Dust? It is possible that he was about to die,
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given the intensity of all the images he was seeing - the drug hasn't
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been tested on Narn. And that would be consistant with Kosh's previous
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appearances, when Sheridan was in danger of dying
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(<a href="033.html">"All Alone in the Night"</a>
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and
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<a href="044.html">"The Fall of Night."</a>)
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Is Kosh's direct manipulation restricted only to near-death
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appearances?
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<li> Who are the characters in G'Kar's vision? The man on the tree is
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his father (which G'Kar mentions, and which fits with his recounting in
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<a href="037.html">"And Now For a Word."</a>)
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It's not clear who the second person is, the old man. G'Quon, perhaps?
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The third person we know as G'Lan, from G'Kar's exclamation in
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<a href="044.html">"The Fall of Night."</a>
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<li>@@@868381277 Kosh dodged the Vorlon question when G'Kar put it to him;
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in response to being asked, "Who are you?" the vision replied, "I am
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who I have always been," a self-referential answer that conveys
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reflection rather than information.
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<li> Kosh's statement about sacrifice can be interpreted to cover the entire
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Narn race; he may be saying that the Narn (and perhaps the Centauri,
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given his earlier statement about the two races) must die so that the
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rest can live. If that interpretation is correct, Kosh is preparing
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G'Kar to accept the death of his people as inevitable. Will G'Kar
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continue to fight for the Narn?
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<li> Vir's position on Minbar was a joke to Londo (strictly a means of
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getting him out of his hair) just as Londo's position was originally
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viewed. Could Vir parallel Londo's ascension to power, potentially
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rising to great importance in the coming war? Given his newfound
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affinity for the Minbari, and his distaste for Londo's politics (and
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especially Morden,) he could be a great ally of the Army of Light.
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On the other hand, Londo <em>did</em> get Vir the position in the
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first place, and at the time he told Delenn that it was to get Vir
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out of danger.
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<li> Franklin continues to be on edge; could this be a consequence of his
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stim habit?
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(<a href="047.html">"A Day in the Strife"</a>)
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</ul>
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<h2><a name="NO">Notes</a></h2>
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<ul>
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<li> Dust has been mentioned before; for example, in
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<a href="035.html">"Hunter, Prey,"</a>
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Max, the kidnapper, asks Dr. Jacobs if he's a dust smuggler.
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<li>@@@877023485 A possible inconsistency: Bester said the Corps had
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been working on Dust for five years. But in
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<a href="011.html">"Survivors,"</a>
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Garibaldi recalled a Dust problem on Mars 17 years ago. Perhaps the
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Corps took over production of an existing drug, or perhaps the Corps
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worked on Dust for five years sometime in the past.
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<li> The Dust vendor's two aliases, Lindstrom and Morgenstern, are the
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surnames of two characters from the comedy series "The Mary Tyler
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Moore Show."
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<li> Morgenstern means "morning star," one of the names used to refer to
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Lucifer in Judeo-Christian texts.
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</ul>
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<h2><a name="JS">jms speaks</a></h2>
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<ul>
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<p>
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<li> Walter [Koenig]'s first appearance this season will be in "Dust to
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Dust," #306.
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<p>
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<li> An interesting thought...as for Bester's personality, keep an eye out
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for "Dust to Dust," episode #6, where you see Bester from a different
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and very interesting angle. Some of what you say here, he says. (Not
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about the corps, but about doing what's right as he sees it.)
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<p>
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'Course, whether or not one should *believe* anything he says is another
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question altogether.
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<p>
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<li> Re: Kosh...we'll see him again outside his suit in "Dust to Dust," but
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in a somewhat unconventional fashion....
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<p>
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<li> <em>The end credit music changed!</em><br>
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Yes, we did change that. Because we -- I -- forgot to have
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Christopher re-score it when we were re-doing the main title.
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<p>
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<li>@@@865181914 Why didn't we do the music change in the end credits at
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the very start of the season, you ask? Why, what a silly question, it
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was all planned, all intentional, it means...er...it means....
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<p>
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It means we *forgot*. More correctly, *I* forgot. We were all so busy
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getting the new main titles done, we just kinda forgot about it until
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the first mix...and then we sorta looked around and said, "....oops."
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<p>
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<li> "Dust To Dust" - Looks like a non-arc episode initially, but by the end
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it has a strong effect on the overall storyline, and makes some
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permanent changes in one of our characters. Combines Bester, the
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telepathic-assault drug Dust, weapons dealers, and brings to a head a
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major part of the G'Kar/Londo thread.
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<p>
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<li> "Dust to Dust" is what I call one of my "pretty box" episodes.
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I set down the pretty box in front of you, and you think you know what
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it is. Then something else entirely jumps out of it at your face.
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There's more coming here and there. I like pretty boxes....
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<p>
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<li> <em>It's about time we had some heavy arc episodes!</em><br>
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I get this at the start of every season. Let me repeat
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what I've said, oh, about two dozen times already before.
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<p>
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At the start of every season, we have new people sampling the
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show. Do you want the show to continue? If you do, then you have to
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continue to add new viewers. If viewers tune in and they're lost in
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the overall arc, they're going to tune out again. So you give them
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some stand-alone episodes in the beginning, shows that are a little
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more accessible, but introduce them to the characters, the situations
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and the universe so that when the arc begins to move again, they know
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enough to get into what's going on.
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<p>
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Sure, I could've just kept going right with the strong arc
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episodes. Which the new viewers, 90% of whom sample shows in the first
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few weeks of a new season and not thereafter, wouldn't have been able
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to follow well. And they would've tuned out. And it would've been a
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very big nail in the cancellation coffin. You can bring in new
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viewers, or you can get canceled and never tell the whole story. Pick
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one.
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<p>
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Second, you cannot -- CANNOT -- sustain the kind of intensity
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you have in the final four over the course of a season. You need to
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have some lighter moments as contrast or people are going to start
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sticking their heads in ovens all across the country. So at the start
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of a season, I try to do some lighter stuff, to bring people back up a
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little, bracing for the next drop in the roller coaster. You need
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peaks and valleys to develop any kind of rhythm, or to appreciate the
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other side of it.
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<p>
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I got the same thing in season one, and season two..."Why these
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light episodes? What's happened to this arc?" Then by season's end,
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the chorus usually turns to "That was a GREAT season!" So my response
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is, Unless you think I've suddenly turned stupid, or I've decided to
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betray the series I've now worked 10 years of my life to produce...will
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you for chrissakes *trust* me once in a while? Show a little patience.
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When I introduced Vir, everybody on the planet jumped funky all over
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me. "He's just a comic character! It's Flounder! He's dumbing down
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the show! Space him! He stinks! Joe's losing it!" And now, of
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course, we see what Vir is, and in many surveys he's now one of the
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most popular characters.
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<p>
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You know what the #1 comment from the pilot was, on the nets
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and elsewhere? "LOSE the guy with the funny hair! He's just
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ridiculous." Londo. Every time I've done something a little different
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in the show, I've usually been jumped on, because they're not willing
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to trust that I know what I'm doing...until they've seen it for a
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while, then they Get It, and it's "Oh, now I see it." Great, thanks,
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now that you've been beating on my head for six months. Next time show
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a little patience. (And btw, ALL of the comments related above are
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real ones, many of them right here on Compuserve, from people still
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around here.)
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<p>
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Every story can't be an arc story at this point; you've got to
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see the characters outside the arc, in the way they live their lives,
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in other things that happen to them, or else you won't CARE what
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happens to them in the arc. No, the Purple/Green Drazi story didn't
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move the arc ahead, but it showed you a lot about Ivanova, didn't it?
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So now if and when something should happen to her in the arc, you care
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about her. It's the difference between just being chess pieces, and
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being *people*.
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<p>
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Okay, here's the breakdown. Season 3. You had arc episodes
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only a bit in the first batch. "Honor," "Voices" and now a little in
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"Dust." You've got one more stand-alone next week, "Exogenesis."
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That's the last one for a LONG time. Episodes 8, 9, 10, 11, 14, 15,
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16, 17, 20, 21 and 22 are ALL arc stories, most of them heavy, none
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less than moderate.
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<p>
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I said, from the start, that each season would have
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stand-alones and arc stories. About 20% in year one, 35% in year two,
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50% in year three, 70% in year four, and 100% in year five. And the
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stand-alones tend to get pushed toward the beginning of a season for
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the reasons stated. Is nobody paying attention when I say these
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things? Because if so, then why do I get gigged each season at the
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start by people saying "HEY! HOW COME THESE AREN'T ARC EPISODES?"
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(And as it looks now, year 3 has closer to 13-14 arc episodes, so we're
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ahead a bit.)
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<p>
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Before people start making sweeping generalizations about the
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season, it might behoove you to see the season first. If anything, my
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concern in looking at what's been done for year 3 is that we're too
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GRIM for the larger portion of it, and maybe a bit complex...so I'm
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working to clarify a few things here and there as I do these last few.
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<p>
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<li>@@@865181914 You'll see Walter again this season after "Dust," and I'm
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trying to work in one more before the end of the season, but it's
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tough, given what's been going on in the latter half of 2260.
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<p>
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<li>@@@833560613 BTW, here's something to notice when you watch DTD
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again. The montage scene with Londo and G'Kar lasts, I think, 10 maybe
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12 seconds. But that one piece took John and me *hours* to put
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together. Go through frame by frame, and you'll see some of those bits
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are only 3 or 4 frames long (one second is 24 frames). We were nearly
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blind by the time we were done, but it was worth it.
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<p>
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<li> RE: Bester...thanks. I'd decided a while ago that the next time
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we saw him, he either had to win, or he had to be right. If he lost
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again, it'd cut his credibility out. This gave me a chance to do some
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interesting things with him. He's a fascinating guy...a creep, and I
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wouldn't trust him for a second, but fascinating nonetheless....
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<p>
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<li> <em>Wouldn't the telepaths have tipped Bester off that something was
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going on between Sheridan and the Minbari?</em><br>
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Simple fact is, the rules of the
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Psi Corps would forbid them from engaging ANY human telepath for this
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purpose. So the only other recourse is non-humans.
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<p>
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<li> <em>Did Bester read Franklin when he was injected?</em><br>
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I think you're misremembering; Bester nudged up his right sleeve with
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his left hand and held it out; Franklin stuck the needle in. I don't
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believe he held his hand (which was gloved in any event).
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<p>
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<li>@@@865181914 <em>If Garibaldi knew Bester was drugged, why did he
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suspect Bester of reading the smuggler?</em><br>
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I think it came out of the fact that Garibaldi doesn't trust ANYthing
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about Bester, and that it's not out of the realm of possibility for
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Bester to find some way to defeat the drug. If not, then his line was
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basically another way of stating "What the ___ are you pulling and why
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are you doing it and why the hell didn't you TELL me you were going to
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do this before pulling it?"
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<p>
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<li> Londo knows G'Kar knows, yes. He couldn't not know.
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<p>
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<li> <em>Was the music during G'Kar's rush of images from Londo new?</em><br>
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With some thematic exceptions, most of the music Chris composes
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for us each week is unique, and tailored for that episode. So yes,
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it's all mainly new.
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<p>
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Re: the coat of welcoming...here's a little tidbit...we had to
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make up an entire alphabet for most of our major races (and I've been
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gradually building up a dictionary here and there for languages). So
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they came and asked if they could embroider something in Minbari on the
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shirt Vir's wearing when he comes back. I said sure. Did I have
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anything in mind? No, not really.
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<p>
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So I'm on the set that day, and I see the embroidered shirt, and
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I ask what these five letters spell, since I don't offhand read Minbari
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yet. He looked up at me and smiled. "It spells out ALOHA."
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<p>
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We have a very demented crew.
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<p>
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<li> <em>Kosh would rather sacrifice all the Narn through manipulation
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than take direct action?</em><br>
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Exactly. I mean, in three years, what the heck have the Vorlons
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actually *done* to help "our side?" Let the others do it.
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<p>
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<li> Actually, I tend to agree with that assessment. They've guided
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and instructed and pointed, yes...and manipulated...but they still
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haven't had to step up to the plate in other areas.
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<p>
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And I don't think the Narns have sacrificed nearly enough yet.
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You can always sacrifice more.
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<p>
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<li> A person can be sincere and still manipulative, in Kosh's case.
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If he believes he's right, perhaps he's willing to manipulate anyone
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toward that goal, if it's worth it.
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<p>
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<li>@@@865181914 Oh, the Vorlons can be *very* invasive, when they want
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to be, if it suits their purposes. There's no Vorlon prime
|
|
directive...it's manipulation, whether small or large.
|
|
|
|
<p>
|
|
<li> <em>Why <strong>not</strong> sooner?</em><br>
|
|
Because G'Kar needed to hit bottom, real bottom, before he
|
|
would be receptive to the message...because time doesn't mean to the
|
|
vorlons what it means to us...and because he was finally mentally
|
|
receptive due to the dust.
|
|
|
|
<p>
|
|
<li>@@@850297524 It was his father in the first part, G'Lan in angelic
|
|
form, since after all that was G'Lan's form.
|
|
|
|
<p>
|
|
<li>@@@865181914 The figure he was talking through during the scene
|
|
appeared to him as his father; the very last figure, seen departing,
|
|
was that of G'Lan.
|
|
|
|
<p>
|
|
<li> Well, G'Kar doubtless *thinks* he saw a spirit, possibly the
|
|
spirit of his father, possibly something else...revealed later as
|
|
G'Lan, of course, taking that image in order to give him a revelation.
|
|
|
|
<p>
|
|
<li>@@@840404655 <em>Why didn't G'Kar embrace his father?</em><br>
|
|
Logically, G'Kar knows that
|
|
his father is dead. He saw him die. So whoever this was, wasn't his
|
|
father, even though he was appearing that way. Or was a spirit, and
|
|
either way, he would've been sufficiently apprehensive about it not to
|
|
go blithely around embracing something he didn't understand. I sure as
|
|
hell wouldn't.
|
|
|
|
<p>
|
|
<li> Correct. They see reality, and time, and space somewhat
|
|
differently than we do.
|
|
|
|
<p>
|
|
<li> No, I wouldn't say that the shadows and vorlons see space, time
|
|
and reality in the same ways.
|
|
|
|
<p>
|
|
<li> <em>What did G'Kar shout out?</em><br>
|
|
And what G'Kar said was, "Dear G'Quon, no more...."
|
|
|
|
<p>
|
|
<li> <em>Did G'Kar recognize Morden?</em><br>
|
|
G'Kar probably has not yet put that together; remember, he only
|
|
met Morden once, for about 4 minutes, a couple of years previous to
|
|
this.
|
|
|
|
<p>
|
|
<li> <em>Does Kosh find it easier to appear to people when they're in
|
|
altered mental states?</em><br>
|
|
Yes, it helps if the person's mind is in a different state --
|
|
asleep, exhausted, in a heightened state of awareness -- for the
|
|
Vorlons to make contact, which is why their presence is often
|
|
associated with dream imagery.
|
|
|
|
<p>
|
|
<li> <em>The sign behind Kosh says, "WARNING!"</em><br>
|
|
Yes, the sign does indeed say warning. Look for another sign
|
|
right behind somebody at the end of "Severed Dreams."
|
|
|
|
<p>
|
|
<li> <em>G'Kar really beat Londo up.</em><br>
|
|
Implying more than one sees is something that you kinda have to
|
|
learn over time. It can be very effective, as here.
|
|
|
|
<p>
|
|
You just have to kinda put yourself out on a limb, as a writer
|
|
or as an actor.
|
|
|
|
<p>
|
|
This scene *should* be very affecting. It goes to Joe's Theory
|
|
of Violence on TV. To wit...that we need more of it, but it has to be
|
|
realistic violence. It has to show consequences. You glorify or
|
|
desensitize violence when you shoot somebody, and they just go down, no
|
|
yelling in pain, no sobbing as their guts fall out onto the street.
|
|
It's just gunfire, loud noises, excitement and fun. If you're going to
|
|
show violence, then show it for what it *is*, and show it the way
|
|
people would react to it. Make the audience understand that this is a
|
|
*person*, not one in a series of body counts.
|
|
|
|
<p>
|
|
<li> Actually, just to clarify the legalese, the judge sentenced him
|
|
to *no less* than 60 days; that's the minimum, it could be more.
|
|
|
|
<p>
|
|
<li> The female Psi Cop here *was* the same as in ARTDP, played by
|
|
Judy Levitt, who is also Walter's wife.
|
|
|
|
<p>
|
|
Yeah, everyone turned in great performances in this one, very
|
|
intense and layered. And as a result of G'Kar's attack, the next
|
|
several episodes will find him still in prison. In the B5 universe,
|
|
you don't just go in for a long time at the end of an ep and next thing
|
|
you're out again. He has to serve his time, and now we'll see him in a
|
|
cell for a while.
|
|
|
|
<p>
|
|
And yes, you'll learn more about what happened to the Narn
|
|
telepaths in coming months.
|
|
|
|
<p>
|
|
<li> With Ivanova, I've tried to construct a small emotional arc, in
|
|
that when she arrived, she was the new kid, she was a bit uncomfortable
|
|
with the job, and responded by being very formal, very businesslike, a
|
|
bit on the snide side. As she's gotten more comfortable with the job,
|
|
and the people around her, she's relaxed a bit around her
|
|
co-workers...but if somebody crosses her, as Bester tends to do, she
|
|
lets fly with some pretty sharp lines.
|
|
|
|
</ul>
|