|
|
Episode 1.16: A Human Reaction Transcribed by Anya BB: My name is Ben Browder. I'm sitting here with Claudia Black. Claudia, could you say something in Sebacean for us? CB: [speaking Sebacean] BB: She just said she's happy to be here, and, uh, no, she's not gonna put away the gun. [Claudia chuckles] For those of you that wondered whether Claudia, later in this episode, is speaking, or it has been treated, now you know the answer to that question. Hang out for the clue. This is, uh, 'A Human Reaction.' Episode 16, season 1. CB: Directed by Rowan Woods... BB: ...and one of my absolute, all-time, favorite episodes. Perhaps my favorite episode of season 1, full-stop. CB: yeah, yeah... BB: Maybe my favorite episode. I love this episode. CB: So many good things about it. We got to go out on location. BB: Yup. CB: Got to open it up. BB: Yup. CB: Umm, tr-traditionally on a space show, when people go back to earth, you think, "oh, there goes the budget. They were just trying to save some money, and they couldn't afford to build alien sets." For us, it was sort of, just a way for opening up the universe of Farscape and pushing it into the next season. BB: Yup. And we got to kiss! CB: We got to do a lot more than just kiss. They just didn't see it! BB: heh heh heh heh heh. Anyway, uh, this is John, looking at his first gray hair. Interestingly, at the time, they had to pull a hair off someone else. CB: oh. BB: I didn't have any gray hairs. I have one now. [CB giggles] CB: Now he's starting to grow hair out of places that shouldn't have hair. BB: Thanks, Claud. That's a lovely image. [lilting laugh from CB]. We'll share that with the audience. Um... CB [singing]: "Getting to know you! Getting to know all"...um... BB: This, uh, coming up is one of the last innocent looks we'll ever see on John Crichton's face. Um, it's a pivotal episode, in that... the episode is... the beginning...of the end...[chuckles] of John Crichton as we knew him. CB: Yeah, here's one...here's...you know, this is the first time we see a legitimate way for him to get home. BB: Or at least one he thinks is legitimate. And it also is the first time he begins to question whether he ever really can go home. It raises that question. But the innocent look on this boy's face when he sees his little blue planet. CB: There's this- there's this line coming up when, when he actually goes down through the wormhole, where Rygel says, "Lucky prabakto." I mean, all these characters are dying to go home. And they're all just sort of stuck together, this motley crew. And finally Crichton has been given this opportunity. So not only is it a wormhole, but it's...[sighing] planet Earth. BB: And this mirrors the look that Crichton gave the first time he saw an alien world. Boy, he's young! [laughs] CB: Theme music there. BB: Now this is pre-Guy Go-Gruy--Guy Gross days, isn't it? CB: Yup. BB: Right. This is Subvision doing the music on this, and Rowan Woods, the immaculate director of this ep, Mr. Uncompromising, oversaw a huge amount of the music on it. And they, and they did a really great job. As you go through the piece, occasionally listen, and you know, that Rowan's being really hands-on and very particular. When we started to shoot this episode, in talking about the look and the feel of it, um, there was a discussion of X-Files... and indie film. CB: hmm. [agreement] BB: and the episode is different in feel from any episode which came before, and perhaps any episode that came after, in that it really has...a strange combination of those two feels. It just, it feels different, and I think, you know, it's us biting off dramatically something than we hadn't bit off before and maybe never bit off afterwards. CB: I remember shooting this scene actually. Aeryn's still at a stage where she can't really... contact her emotions terribly well and express herself. She's just a little lost child who's not happy about her...[sighs] friend going. BB: And Gigi Edgley, back when Gigi was still considered 'guest cast.' CB: It's her second episode. BB: It is, that's right! And they were trying to figure out what to do with her, hence that scene at the very beginning, where she's walking along with Zhaan, being accused of stealing something. CB: [laughing] They're having an argument, yeah. BB: Yeah, y'know, it's a Euro scene. CB: [chuckling] I like it, it's funny. BB: Yeah. CB: [still chuckling] I like it a lot! [imitating Chiana] "Like I said, I change my mind!" BB: This is another Justin Monjo script. Justin's just a, you know, we've talked about him before, and we'll talk about him again. He is a fantastic writer. CB: He's so funny and intelligent, and... BB: Yeah, but don't get him mad. [CB laughs a little] BB: Do not get Justin mad, you don't want to see him when he's mad. CB: [smiling] I never have! BB [sounding like Eric Bana from 'The Hulk']: You won't like me when I'm angry!" [both laugh] You've never gotten him mad at you? You gotta work at that, 'cuz it's- it's an E-ticket ride. CB: Now, how much have we seen before this of Crichton modifying his module with Moya parts? BB: Um, we... CB: Was it established... BB: Uh, no, he, he had modified it with Moya- with Moya parts earlier in the year when he was doing the test runs out in ep 11, and then... CB: Ah, yeah, that's right... BB: You know, by the time we got to ep, uh, 14, which we won't talk about [mock coughing] Jeremiah Crichton! [both laugh] Um, yeah... CB: Geshunteit! BB: he had totally modified...yeah. CB: Here we go, each of the- every time we sort of... play these scenes where someone's going, we play them for real, so everyone has a little good-bye and... BB: Very, very much a Farscape kind of thing that, you know, fifteen good-byes later, CB: Yeah... BB: ...and then we're saying hello again. CB: Yeah. BB: [chuckles] Remind me never to write a good-bye scene. CB: Well, it's a...each are a bit different. The good-byes are very interesting; they go from being, you know, the handshake from D'Argo. He's learned the hand- the Earth handshake... BB: Ah, we were referencing 11... CB: Yeah, and then, you know, Zhaan, and then each time, John and Aeryn have to say a potential good-bye, they just get more...layered, more interesting. [on screen, Zhaan says, "John Crichton, remember, there's a part of me inside you."] CB: Yeah, that's dirty. BB: Now, this is-this is a Euro scene, which was not part of the original release. This is an episode, as all season 1 episodes were, that had additional footage, which was for the European release. Obviously, the good people at ADV have-have seen fit to include this footage in- in this release. And I think this is an episode, which is better for the added footage. CB: Yeah. Yup. BB: This is an episode that needed more space. Some episodes you want to truncate down. CB: Yup. BB: This one you want to expand it. Let's-let the moments play longer. Let the scenes play longer. Look at that! Look at that girl! CB: Poor girl, who can't speak...I love that. BB: Look at that girl! CB: I like that little reaction. I don't know what I was... BB: I think you were trying to get something out of your eye! [CB laughs, then BB laughs.] CB: [sarcastically] Screw you. BB: Awww! Look at that! I'm wearing the straps... CB: What are you holding?! [she laughs again heartily] BB: [laughing] Yeah, I know, those...that's where they put the joystick, baby, that's why pilots are what they are! CB: You never-there are rules with men. You never give it a name. You've called it the "joystick"?! BB: Well, you know, that's what that one was. That was the joystick. It's a yoke. Um...you see, you made me totally lose my train of thought [CB laughs] as I'm thinking about...playing with my yoke! [CB laughs heartily again] Um, that screen, which we never saw again, was the original screen in the module. CB: That's right, I was going to say! BB: Yeah, you know, it's like, oh yeah! What's that? Oh yeah, that screen! It was in there in season one! CB: Oh look! BB: All these things. And look at Rygel with Johnny Eccleston! Johnny Eccleston puppeteered season one. If Rygel looks a little different, it's 'cuz Johnny's hand is up him. [CB snickers] And he's also- the mechanics on him are slightly different. CB: Yeah, and he also, he gets a different skin every season or so, so they paint him slightly differently, and thread different hair... goes through changes, as we all did. BB: I like the lighting in this episode. CB: And this is very protracted, this whole process of Crichton being in the wormhole...and well, about to launch into the wormhole, it takes... BB: Yeah. CB: ...it's a long sequence. I mean, from the beginning with Crichton walking onto Moya, uh, onto the command and hearing and seeing that there's the wormhole to now, it's been... deteriorating... exponentially... BB: In typical Crichton form, he just- wait for the last minute to get there... CB: yeah, until it's most unstable...and then he goes. BB: Yeah, normally, you'd want it- you'd want it to be closing in on you as you go down the wormhole. CB: ...for added drama. [on screen: Pilot says, "He's off my sensors. He's gone."] CB: Oh, and we're coming up to one of my favorite sequences! BB: And this is... CB: The shot sequence...stuff that Rowan chooses to shoot... BB: on the beach! CB: on the beach! I just love it! Shot by shot by shot! BB: First we have to get through this really cool CG shot, and Rowan, Rowan has a great transition coming up...where it's gonna white out and, you know, he's gonna fade in and out. And it's Rowan doing...art. CB: And Rowan was the first, really, to do these ECUs of, you know, extreme close-ups of your eyes. He used it a lot. BB: And there's a lot of them in this. CB: Yeah. BB: So here, you know, just with the sound effects. Now we're back to the sun. Pan down to Cronulla Beach! CB: You've got the flare, full tilt. BB: Ah, fantastic! And you know what? It was a great surf morning! CB: And this is great angle! I just love this with the... BB: Yeah. CB: You know, the practical door opening on the module. Soft focus... BB: And you sit there, you know, as he, as he focuses in, loses focus. Focus out. Cut back, so we know where we are. CB: Was "Hello, Sky" in the script? It wasn't, was it? BB: I don't think so. CB: I think that was you. BB: Yeah, but it was there. CB: And I think it informs this whole sequence, that's what I love about it. BB: Well, it's- it's a way of showing Crichton's joy at being back. CB: That's right. BB: It may be there. It may be in the script. It's hard to remember at this point. CB: Ah then, it's just the choice and the edit. It's just great! BB: This script didn't need a lot of extra stuff. CB: No [in agreement] BB: It was a really good script. And the laughter! CB: Yeah. BB: The happiness of being there. CB: Yeah. BB: I was just happy because I actually got out at the break of dawn and surfed! CB: Yeah! BB: Look at that! See that? It was better in the morning! That little right-hander/left-hander, right off where we were shooting. I was out surfing as the sun came up, and you could see the module there, and I thought, "Man, this is a good life!" CB: Isn't this where we had the trailer war? I got kicked out of my trailer 'cuz mine had a shower. BB: I got, I got kicked out of mine, and [CB sighs] then you got kicked out of yours. And we've hated each other ever since. CB: Yeah, I never forgave you. BB: I know. CB [in mock exasperation, under her breath]: God! Geez! Starving myself with...[inaudible] BB: That's a difficult line: "This is Australia, right?" [CB laughs] CB [sarcastically]: I knew that! BB: You're like, how stupid! And you worry that people are walking by, that aren't controlled by the set, are going, "Who's the- CB: Yeah! BB: ...sepo with the- y'know, the sepo with the... CB: orange jumpsuit. BB: ...space suit?" CB: A necessary plot device... BB: Right. CB: ...to have had Crichton in Australia before. BB: Now, have we seen the first of Rowan's helicopters? CB: No, it's about to come. BB: Yeah. CB: I love that. BB: We can hear it though. CB: Just even the... BB: Very simple. Should we talk about what lens we're on and? [CB laughs] Okay, we're on a steady cam, on a 17-5, and they're gonna warp with it a bit. Ooh, look at that tasty left-hander out there in the ocean! This is good. I like, y'know, I like the camera-and this, you know, we've talked about doing this and wanted to be like, you know, an animal hitting the ground CB: Yeah BB: ...and we, you know, overcrank it, and it's like one of those animals falling - "fufoom!" - in a documentary CB: ECU... BB: ...and Rowan comes in for the massive ECU. Eyeball. We're gonna go back to that again. CB: And this is the set that was only used once. Is that right? Did we come back and use this ever again? BB: They probably reused components of it, but this section of the set was built in, uh, an old incinerator. Another healthy place that... garbage incinerator, which I don't think was ever used as a garbage incinerator! It was built in, uh, where was it? CB: uh, Water-loo. BB: ...Waterloo in Sydney. CB: Prosthetic chest that you saw the needle coming out of, wasn't it? [inaudible - Ben talks over her] BB: No, I let 'em, I let 'em inject me. CB: Yeah. Pulled out blood. BB: Yeah. CB: And Rowan tells this story of the human turned alien so well. BB: Yeah. CB: You're suddenly under the microscope and being interrogated. BB: Yeah, and then the, the use of the camera. The photos. I mean, he's pulling a lot of tricks, which he gathered in during his, his short filmmaking days. The shortcuts of how to tell a story without having to use traditional means. CB hmm [agreement] BB: Or without having to use traditional television means, for sure. Ro took- Ro, y'know, we used to, we used to argue about whether he was an auteur, and he would say, "No, I'm a hack!" [both laugh] But he's the auteur hack! CB: But he plays the role of an auteur perfectly! [laughs again] BB: Oh, look. He's, he's fantastic, and, y'know, the- his choices and selections and how he shoots a scene. CB: And he trusts his actors. He expects actors to come to set with choices and offers because he hasn't thought it all out yet. He wants people to come up with solutions for him. BB: And, and this, this piece is very much an actor's piece. CB: mm [agreement] BB: Y'know, when I saw the script, I'm basica-, I am, I'm in every scene in this piece, so I had a great deal invested in it. It was, uh, I think probably the first and last time I was in every single scene that we shot. I was there for every frame of it. CB: Wow. BB: Um, which is why they kicked you out of your trailer! [CB giggles. BB laughs] 'Cuz I didn't have one! CB: I don't want to talk about it again. BB [quietly in mock guilt]: I won't talk about it. CB: It's a great opportunity to see you in a wifebeater as well, of course. (CB makes a popping sound. J) BB: Ah, he's a young man! CB: Surfing muscles... BB: Yeah, that, that's just surfing, folks. You know, if you need to get in shape, go surfin'. I know that I gotta be in a wifebeater, I'm going out surfin'. CB: Kind of amusing that they do this whole thing of Crichton being in Australia, and the main guy who's interrogating you is actually from New Zealand. [laughs] BB: I don't think that the American audience really notices the difference. CB: Well the clue is when you say 'fish and chips.' BB [in Kiwi accent]: Ah, fish and chips. CB [Kiwi accent]: Pens and pencils. BB [Kiwi accent]: Pehns and pehnciils! CB [Kiwi accent]: That's excellent! BB [Kiwi accent]: Nice! [sounds like "Noice"] CB [Kiwi accent]: Hello! How are you? BB [Kiwi accent]: Good! [like "gewd"] CB [Kiwi accent]: My name's Matthew [sounds like "Mattheyew"] BB: You know they can't say 'Beihng'? CB: and I'm from __?__ [sounds like "Teranepeh" - they're both talking over each other at this point] BB: In Australia, they say "Beihng", not "Ben." It's "Beihng." "Ah, Beihng!" CB: Beihng! BB: Anyway, uh, back to the story! [both laugh heartily] CB: Very cruel environment. These guys are not giving an inch. BB: Yeah, but, y'know, the performances are all understated. CB: Yeah BB: It's a psychological piece! CB: That's right. BB: It's not, it's not your sci-fi TV that you're gonna typically see, and that's part of what makes, makes it such a good sell. Everything is so... earthbound and psychological. There's nothing heightened about this stuff. It's as natural as you can make it. It's actually one of the things when we did our Earth episodes...was, there was a sort of shift, which occurs in the filming and in the acting, which becomes more earthbound...for most of us. CB: mm [agreement] BB: Certainly for me, I always think in a more earthbound context. CB: Yeah. BB: Almost in a more traditional, naturalistic style to the entire piece. CB: This was the birth of, "It was a trout." BB: Oh, the hardest line... [CB laughs her hearty, lilting laugh again] ...in the history of Farscape! When you read this line you go, "No, Dad, it's a trout." [CB giggles] Now, this line...should not work, especially in an emotional scene. B: "No, Dad..." BB: You can judge for yourself when you watch it, which will come later. We can actually wait and listen for that line. CB: "...it's a trout! No, Dad, it's a trout..." BB: [chuckling] Yeah, but there's only so many different ways... CB: "No! Dad, it's a trout." BB: The height of the emotion! Tears welling in your eyes! Oh well, we'll watch. CB: Well, the way you guys choose to play this scene, you really can't go for the big romantic. BB: Isn't Kent good? Kent McCord is good! CB: [in awe] Yeah! BB: He's really good! He's wh-...you know, it...once you get over the "1-Adam 12" thing...[CB laughs softly] you know, this guy, really, really has the chops! You know, as a father-son scene. You know, I'm...I...have a tremendous amount of respect for this man! CB: Yeah, and also the fact that he's...y'know, the protocol that he has to follow, y'know, and the job that this man has done, and... BB: So he's come in to interrogate John by asking leading questions and getting John to give the right answers. CB: But he's also a dad, very much wanting it to be his son, and the tension's really... BB: But not really a dad. CB: a bit too much... BB: An alien pretending to be a dad. The layers, you know. CB: [dramatically] Layer upon layer... BB: Rowan referred to him, with the alien mode later, which w-, as doing his "Jaime," which is the, I think, the robot from, uh...[laughs] Jaime was the robot from, uh, from "Get Smart," I think. He said, he said, "Kent does the best 'Jaime' I've ever seen!" [CB laughs] BB: All right, we're coming up to the hardest line... CB: It's interesting because traditionally, you would expect the two would walk into the room and have a big sort of emotional reunion at the beginning of the scene... BB: Yeah CB: ...and we have to build to that because you guys have to earn... [on screen, Crichton has 'trout' line] CB: ...the beat. There you go. BB: " It was a trout, Dad." CB: "It was a trout, Dad." [snickers] BB: Watch his response. [on screen Jack says, "It was a trout."] BB: [laughs] This line should not work. Somehow, Justin Monjo must have known it worked, but, y'know, I looked at it on the page and went, "Am I really gonna say, 'it's a trout'? and he's gonna say, 'yeah, it's a trout,' and there would be a big hug?" CB: hmm [agreement] BB: But, you know what? I guess it works. CB: It's like in "Big." I remember after seeing "Big" saying to my friend, "what would- what song or what clue would you give me if you came back as an adult, and I was still a kid, to prove to me that you were who you said you were?" The trout! It's the Trout Factor! BB: Now the other thing about an Earth episode is you're- you're- you're hiding. This is another episode where you're hiding the deep truth, and you're hidi-, you know, you sort of look for the clues as you go along. And- he gives you the clues as you go along. The people that you see, and some of them are small and some of them are big, and some of them are just big fat guys in pools...[CB laughs] ...which is coming up. We're gonna see a character that we'll see later. Um, and y'know, Rowan sort of, spots them for you, but doesn't make too much of it, so that the clues- the clues are subtly laid to the fact that Crichton is being gaslighted here. This is a beautiful, beautiful location. That guy there... CB: hmm [agreement] BB: You're not gonna forget that guy, are you? Well you'll see him later. It's impossible to forget it. CB: There you go. BB: And thi- this- this badge here. Now there's a shot coming up, as they drop it in the water. CB: Yeah, with the crab! BB: The crab! I think they spent four hours waiting for the crab to crawl across that thing. CB: I was gonna say! But I like it! BB: It's- it's a Rowan Woods touch! CB: [smiling] Yeah! BB: It's like, what does the crab have to do with anything? And Ro goes, [BB imitating Rowan Woods, speaking fast] "Squ- squirt those crabs! Yeah, yeah, oh yeah, yeah, yeah! Okay now, see if you can get the crab to crawl across..." so... y'know, but it's- it's really cool kind of art [laughing] of that crab crawling through that shot! CB: Well, it is! It is- It's cool to have it there, and I knew looking at it, that it would have taken goodness knows how many hours to get it, but... BB: ... yeah, but the attention to detail, you know, it just...that's filtered through this entire episode. CB: It's a nice touch. BB: I don't think anybody out there cares, but it- we like it. [laughs] CB: Yeah, no, I was thinking about it... BB: yeah. CB: ...when I saw it again. BB: Yeah. CB: The theme of this good luck charm, which you see a lot in Farscape. BB: At least through the first year. I couldn't see it after the first year. I kept waiting for it to fall out of the sky from somewhere. [CB laughs] That's what his dad gave him when he- when he left. CB: Then you give it to D'Argo. BB: Yeah, y'know. But look, these kinds of scenes are not the scenes that we would normally play. We don't play these very simple, low-key scenes, talking about this, that, and the other thing. CB: domestics. BB: Y'know, it's just a very domestic feel about it, and y'know, and to pull that off. Ah, another one of Ro's... CB: CGI chopper. BB: ...CGI chopper. Ro was insistent on having some choppers, and that of course, gives it certain scope. CB: We were shooting- we had real guns. It was weird going from shooting with plastic guns to having these real ones... BB: One of my chocolate references... CB: Yeah, I heard that! Yeah. BB: [laughs] "They do not have chocolate!" CB: Here we go. "Have we met?" BB: Yeah, this is the first twig. It's the first... [screen shows exchange between Crichton and soldier] CB: "Yes, of course. Oh, that fits!" So far... BB: Not too much of a deal about it, but enough. CB: Here we go. Nice transport pod with a fake flare put in for effect. BB: Yeah. It's a really, it's a good set! You know, you think, it's a good set, the way the lights are used, the way- it's the way we were able to shoot it. Y'know, all of our- this space stuff is done basically in one location and everything is there. At the times where it's hidden that-- CB: It felt good... BB: yeah! CB: ...it felt good walking onto that set every time you start a new episode and you walk on, you think, "Okay, well, this is where this adventure will be set and..." BB: I think it's actually important to the context of the series, to- to have, even if it's-- even if it's a gaslight, to have Crichton make contact with Earth. CB: Yeah. BB: Y'know, it's a brave thing to do as well. CB: And in terms of the budget of this sort of show, I mean, I've talked about it before, but on an Australian production, you know, it's quite obviously an American show when you look at it in this context, because there's been money that's been spent on the sets and-- BB: Yeah. CB: ...the way that it looks. BB: Well, y'know, Anthony Simcoe, when we were getting ready to do this, said, "This was a terrible mistake! It's a terrible, terrible mistake! Don't- don't do- The minute you go to Earth, it's- it's, y'know, in sci-fi, you go to Earth, the series is over! You know, it's a terrible idea!" CB: Yeah. BB: And, on one hand, yes, proper wisdom says you don't do that, in the same way you don't put your leads together. You don't let your leads sleep together, you may- you draw that out. And this episode breaks...those rules. In spades. CB hmm [in agreement]. We just subverted it, we just subverted as many clichés as we could, and this I loved, the backwards and forwards between what they can't understand and what we're saying to Crichton. BB: At this point, we're seeing a demonstration of the translator microbes that...we never see...when we're in space 'cuz everybody can understand one another. CB: Crichton's injected in...yeah. BB: ...so you guys basically had to make up your own languages, is that right? CB: Yup. I decided that I- it was pretty obvious to me when we started that they were gonna end up, the end of Farscape, revealing that, you know, if we weren't the same race as humans, we were pretty damn close, so I decided I'd do English backwards. Simple enough. Went in to record some, actually, with Angus Robertson, who did our- directed our ADR. And in the end decided to just, sort of, do it live. BB: It's a really clever use of it. Now what- was that in the script? I can't remember. CB: This was very specifically scripted. BB: Yeah. CB: What they could hear... BB: Yeah. CB: ...and what we were saying. BB: And it's one of those- it's that attention to detail on the script, where you might gloss over it, or find a technobabble way out of it, or "Oh, they've already learned English" that, particularly in an episode like this, gives it that sense of reality. Y'know, if you really think about it... CB: Isolation and...yeah. BB: Yeah, but- If you really think about it, y'know, "They must really be back on Earth. We can't understand them." Otherwise, it could've- they could've said, "Nah, don't bother. We'll just use it as one of the clues." But they didn't. The writers didn't. CB: Which comes up, what it does, at the end with Kent McCord as I'm walking out... BB: Yeah. CB: ...and he says, "Thank you, Aeryn Sun." BB: Now this is one of those days where I was suffering from food poisoning. CB: [gasps] BB: Well, not food poisoning. That lovely day surfing, I picked up, uh, bacteria in the water, and I was basically on a cot, beside the camera, for...better part of a week! CB: Oh man... BB: Oh, yeah, it was ugly! But you know what? If you've gotta lose weight! [chuckling] You might as well kick it off surfin'! Wow! Um, but I spent a good portion of this, um, deadly ill. And I- actually, looking at it, you go, "Was this one of the days I was deadly ill? I think it was." [CB chuckles] BB: Yeah. But we didn't stop shooting, and I didn't miss a day of work. It all went on. CB: Something that the Creature Shop had to concoct: a dead Rygel. BB: Yeah... CB: Autopsy Rygel. He has two- multiple organs... BB: It's a pretty shocking image. But of course, you know, fans of the series are saying, "Well we know he's being had on now, because Rygel's dead!" [CB laughs] Rygel's not gonna be dead! CB: Well...yeah. BB: But you know what? [chuckles] If it had come later, they'd have thoroughly bought it 'cuz we just kill 'em off! [CB[chuckles] CB: I have to get you to explain bits of this episode to me 'cuz I still can't figure it out. BB: [chuckles] You see that door open? There was actually nowhere to go back there! CB: Yeah! BB: [chuckles] If you look closely... CB: that's right... BB: ...You'd see the wall on the back. CB: But that's- but it's also revealed at the end of the episode that it really is a door that leads to nothing, except a room for you to meet with the Ancients! BB: Yeah, well, you've never been there before, so obviously, there should have been a little orange light glowing out... CB: Yeah! Yeah, that involves some of the questions I have to ask you. [on screen: D'Argo: "You know that those animals killed him." Aeryn: "then they cut him open!"] BB: [softly] "what could this mean?" [chuckles] CB: It's a weird, throat burp. [? She says it very quietly.] Right now, all of Aeryn's fears are being realized. She's already said to Crichton, up on the ship, that she doesn't think she'll fit in. And now they're being given very hostile treatment. Rygel's dead. D'Argo and Aeryn face potentially the same fate. BB: This is the first time that Crichton has had to really think about his allegiance to his friends in regards to his desire to go home. And that becomes a recurrent theme, and he's being confronted with it here, and it never... entirely goes away. And continues to play in the Earth episodes that we see later, even into season four. Particularly into season four. CB: hmm [in agreement] BB: You know, he goes to Earth, he doesn't forget this episode. CB: Dog with Two Bones... BB: Yes. CB: ...as well. BB: Crichton does not forget. Unless of course he's been jerked back in time, and... [chuckling] CB: Or drugged! BB: [laughing] Or drugged and made to forget. Or he's got a chip in his head, in which case, he's been instructed to forget, but...[soft laugh from CB] But the characters in Farscape do not forget what's happened to them. And this episode in particular sets an entirely different tone for Crichton, where he's now thinking about the world that he's living in. The universe he's living in, not the one that he left behind. Cool framing with those buildings, isn't it? CB: Yeah. BB: The minute you want to "rabbit" [?] on about your own work, you start looking at the work that other people do on the show and you go, "Wow! They really make us look good!" [snicker] And a simple thing, like just picking that spot instead of some spot up against a blank wall, which you see, that's just cool framing. In a lot of...very quick television, or film even, I don't see the kind of attention to detail that I see coming out of the camera department. CB: Yeah. BB: ...or the directors on Farscape. CB: Yeah. They don't bother to move the camera, they haven't got the time, or just... BB: Well, I don't know whether they do or they don't, or they don't have the advantage of having Sydney as a backdrop, but- or, you know, look, a director like Rowan Woods is a rare kind of guy. He's a rare director who's capable of...taking...taking the mundane and making it interesting, and taking the interesting and making it special. CB: Yeah, and they... BB: [chuckles, in a funny voice] "It's special!" CB: ...They originally said, when they started Farscape, that they wanted it to be like, y'know, small feature films each week that we were delivering, and for that, they wanted film directors, and- but being delivered in a television schedule. BB: I like this music. It's pretty spooky, isn't it? CB: Yeah, and look at the low lighting here. I love this scene! BB: I- Yeah- you know what? I agree with you, I think this scene rocks! CB: Yeah, and what about it? It's an M-16? Is that what I've got? BB: Yeah, you've got an M-16. CB: It was heavy, and it was scary as hell because we've got the... BB: You think it was scary - you were pointing it at me! CB: Well, months of running around with just a fake, sort of, plastic thing. This one really meant business! BB: You know, there's something about having real guns, which makes this scene much more immediate, whether it be a handgun or having an M-16 pointed in your face. [on screen, Aeryn says, "Are you with me, or them?"] CB: Interesting question. BB: It's really interesting, and it's scary, and in the way that you're doing it, it's laced with emotion as well, I-it's just- you're fantastic in this. Should I tell you how shockingly bad you are at other things sometime... CB: Oh! BB: ...Just to bring you back down? CB: Yeah, please do, go right- go tell everyone! [BB laughs heartily] CB: Y'know, just a few thousand friends... in the Farscape community... BB: [in goofy announcer voice] "That's right, a few thousand of our closest friends." CB: I think she's sorry that she's...that Crichton's world just seems so hostile. She'd like to think...I imagine that there's a potential future for her with Crichton, but...Here we go. Some kind of alien jab Rowan wanted. BB: The SAS guys teach you that? [both laugh] "I could show it to you, but I'd have to kill you." You know, it's a real headspin for Crichton to be talking to someone that actually understands what he's talking about. CB: hmm [in agreement] BB: After 15 episodes of no one understanding a word he says... CB: here we go...[makes sound] That's just the sound of a backward T [repeats sound] BB: Yeah, but it's a lot harder than it looks. CB: Sounds cool. [giggles] [on screen: J&A's confrontation with Cobb] CB: Where he's starting to finally experience what it's like for Crichton when he first came aboard the ship, we're now getting the same level of... BB: Yeah. And you're also- we're also seeing the hardest edge that we've ever seen on Crichton. You know, the things that happen to him...in space...couldn't make him hard, but when he became disappointed about what happens to him on Earth, you're seeing a very- very harsh edge of him. CB: And we see him thinking. He's thinking on his feet. Him and Aeryn are working as such a great team. He and Aeryn. Takes the gun. That's something that the Crichton of early days might not have done...and hits him. BB: That's not all though. He's gonna add one. [on screen, Crichton kicks Cobb on the floor] CB: Yeah. BB: The hero would never do that [chuckling] but, you know... CB: I remember I was talking about that... BB: Yeah, but I said, "You know what? That guy deserves it!" Ahhh, the rain! CB: Ahhh! BB: Well, it wasn't supposed to be raining when we shot this. It was supposed to be sunny! CB: It was supposed to be beautiful and sunny. So Rowan said, "We've got to call the rain. Cee, Claud, do something. Do something alien. What would you do?" [giggles] So I said to him, "Well, I'd taste it, wouldn't I? It's a sensual experience." And he said, "Well, I don't know..." so I said, "No, no, I'll give it a go." BB: It's really gorgeous. And the idea that Aeryn has never stood in the rain before just speaks volumes to the difference in her experience from our experience. CB: Yeah. All those opportunities, but Rowan always wanted us to take them whenever we could to...reinforce the idea that we're from somewhere else. My question to you is, if it's all based on where he's been before, didn't you just say that your father told you about the safehouse? BB: Did I say that? CB: Yeah, I think you just did. BB: No, I'm supposed to know about the safehouse. I think I said it's a place my father... knows. CB: told you about... BB: No, no, he's been there before. CB: But what ab- so Crichton's been to that safehouse? BB: Yeah. CB: Okay. BB: It's a place... CB: Just checking... BB: ... where they stayed when they came to Australia... CB: ...okay, alright... BB: ... to test the engines. CB: Just checking. Whew! BB: Oh, wow! I have a bruise on my shoulder. CB: From? BB: Surfing. [laughs] CB: Oh, I thought you were going to say me! BB: [laughs] No, no. Wait... CB: Where a board came up... BB: Well, there's a big bruise...I just noticed that! I- Yeah, no, I went out on one of those big days and got- I got caught in a big wave and got dumped. CB: I like that moment. [referencing the screen] Just went by. "Down the hatch." BB: Where you're drinking beer? CB: Well, Aeryn trying on that expression for size. She's not gonna ask what it means, but she can understand. They're drinking VB, which is an Australian beer. BB: Very, um, simple. Very simple camera work here, much more simple than you would normally see in Farscape. CB: We were losing light and it was the end of the day, wasn't it? BB: We had already lost the light. That- that- all that light is artificial. We'd lost the light, but I think that the aesthetic reason behind it is, is that, y'know, to me it looks...like an independent film. CB: Yeah. BB: You know, it has a complete naturalism, and that's part of why the look of the show changed, was to sell, to sell this idea that he is on Earth. The filmmaking is part of the process of selling- selling the conceit. CB: Yeah. BB: Hiding the trick. CB: And also, I mean... BB: Ah...wait... CB: It's very effective... BB: And it... CB: ...when we get into this... [on screen, Crichton says, "Earth..."] BB/CB: Yeah. [on screen, Crichton again: "minus the sunshine."] BB: "Earth minus the sunshine." [They start noodling each other:] CB: I wasn't going to talk over it! BB: Yeah you were. Yeah, you were... CB: I wasn't. I knew what you were waiting for... BB: You know... CB: Shut up. BB: But it took a long time for Crichton to get it out. CB: I know! BB: Yeah. CB: Tell me about it! BB: He's sort of mulled over that one. Um... CB: Interesting kind of foreplay for these two, 'cuz he's telling her basically to shut up, funnily enough, as you just did, um...And they just sit there, and they're so depressed! [both laugh] BB: Is this foreplay? Is that what you're saying? [BB continues to laugh heartily] CB: [laughing] I bloody well hope not. This is, like, the least fun I've ever had with my clothes on. So here they are. Sittin'. Both miserable...and Crichton goes in for a tender moment! And I think this establishes, like "The Flax," whenever they're about to die, or whenever they're miserable... BB: We've talked about that. Yeah. Whenever they think they're about to die, that's when they're most likely to be...getting it on! CB: Yeah. Which is- I like that. BB: Yes, uh, emergency sex, I think, is [chuckles] a good term for it. But it's- that's where they get drawn closer together, I- I just think it's beautiful. I think this is really [in Aussie accent] kind of a nice kiss! CB: And we mirror this moment... BB: [still with Aussie accent] Nice! CB: ...when we do the, um... BB: "The Choice." CB: "The Choice." Season 3, episode 17? BB: Yup. [extra emphasis on 'p' sound at the end.] We actually reversed image on that. That was a Rowan op- that was a Rowan Woods episode... CB: Yeah. BB: ...written by Justin Monjo, and there was you and I that... CB: yeah. BB/CB [together]: ...decided to mirror that. BB: as well as mirroring the clothes. That this is the moment- this episode is the moment that Aeryn remembers as the beginnings of their... relationship. CB: Yeah. BB: So that was echoed in "The Choice" by the clothing, the blocking, and- and, y'know, other things. CB: To solve the con-, y'know, they never wanted to resolve whether they had done it or not, but I think it's pretty clear! [chuckles] BB: Yeah, and this is a Euro scene! This a scene which wasn't in the- in the cut that was broadcast in the States, which led people to really question what happened after that, and this sort of... leaves fewer questions about... what happened... after the kiss. [on screen: Crichton says, "About last night..." and CB giggles] [on screen: Aeryn: "Yes, it's fine, John, it's just not top priority right now." And both laugh] CB: Go, Aeryn! BB: What a- [still laughing]... CB: Let's not waste time talking about it. [laughs] BB: It's so dismissive! [laughs] It's SO Aeryn, it's so typically Aeryn! "Yeah, yeah, it's not top priority right now." I can't tell whether she's actually trying to convince herself it didn't happen, or whether she really doesn't care. CB: Or, or if she really didn't have a good time, and she doesn't want to hurt his feelings! Have you considered that possibility? BB: I suppose that's- that's the alternative. [chuckles] Typical of John, he wants to talk about it. CB: [laughs] Oh dear. I decided- we had the opportunity in wardrobe to discuss the sort of clothes that Crichton would put her in. And I decided, slightly naughty librarian. BB: [laughing] Is that what you decided Crichton would put her in? CB: Yeah. BB: I think if I'd have been deciding, Crichton would have put her in something else! We'd have been seeing that bikini looong before season 4! CB: One of the ideas that David Kemper had for this episode, that he wanted sort of Femme Nikita. He wanted- he had an image in his mind of Aeryn in a dress with an Earth gun. And this is where it was realized, in this scene. [on screen: Aeryn speaks in Sebacean. Jack asks, "What is she saying?"] CB: "You're a Nazi!" [both laugh] BB: I love the ease of these translations! You know, 'cuz, y'know, we're just talking to each other like it's no - you're just saying something... CB: Yeah. BB: you know, and Crichton's going, "I'm not gonna search him! I'm NOT gonna search him!" Y'know? CB: Yeah! [scene in safehouse plays out w/ no commentary for a minute or so] BB: [snickers] We're just watching the movie, kids! CB: Yeah. BB: This was a difficult scene! CB: mm [agreement] BB: A difficult scene to figure out how to place it. I think we sort of batted about, y'know, it's come out okay. CB: Just even the blocking. BB: Oh yeah. CB: 'Cuz it looks simple now. But just where the... BB: No, you look at that space, and it's very difficult to figure out where to put your cameras. CB: mm [agreement] BB: 'Cuz, you're-, y'know, you've got that- those three people, and then- y'know the basic rules of not crossing the line, everybody on the same line of the camera, so that you know who people are looking at. When you have a three-hander in this tight kind of space, it's difficult to get your cameras in and maintain your continuity. Or maybe it's just difficult for us! [laughs, then puts on thick, redneck accent] "You know, in America, it's really simple, but dammit, down there in Australia, where the world is upside down, the sun's in the wrong place, it's hard to figure out where to put your camera!" CB: Watch out. BB: Nah, we're just Americans. Uh, easy for you. CB: It was an Australian crew. You were the only American. BB: Yeah, okay, there you go. CB: You and David Kemper. BB: [laughs] Dave was never on set. Maybe showed up once a year on set. CB: Yeah, just before he drowned me! [BB chuckles, and CB laughs heartily] BB [putting on funny voice]: "Are we killin' Aeryn today?" CB: Yeah. BB: "I think I'll come down to set." CB: Exactly. Here we go, interesting Rowan moment. [referring to scene between Aeryn and Jack after Crichton leaves the room. Jack says, "Thank you, Aeryn Sun."] CB [as Aeryn]: " What?! How come he can understand me? That's a little...weird." She doesn't know what to do about that...[BB chuckles] ...bit of information, so [CB chuckling] hopefully the audience isn't totally clued into on that... BB [sarcastically, as "Aeryn"]: "Okkkaaaayy!...Maybe I'd better not tell the audience exactly what's happening yet. I'm leaving the scene now!" CB: Yeah. I love this! BB: What, you walking on the street in a dress? CB: No, no, no. "Frank Cokonis! I dated your sister!" BB: [chuckles]: Frank Cokonis...is the one guy from my high school, who I figured was most likely to watch this show. CB: and have you spoken to him about it? BB: I haven't! And I'm desperately been trying to find Frank Cokonis. Frank Cokonis was the smartest guy in my high school. He graduated a year early with a perfect SAT score, went to Georgia Tech on a tech scholarship. At his 17th birthday, we took Frank out to, uh, another high school where nobody knew he was a geek, so that he could have a good time and dance. And Frank wore his, uh, Captain Kirk- no, his Spock shirt. He wore his Spock shirt with the emblem, his Enterprise shirt. And he was just so adamantly who he was and comfortable wearing his Spock shirt to the other high school to go to a dance, and had a great time. I figured, if anybody that I knew from my high school was gonna be watching this, it was going to be... CB/BB [together]: Frank. BB: ...and I wanted to give a nod to Frank Cokonis! CB: Here's the guy that you mentioned before, getting out of the pool... BB: Yeah, that's the guy in the pool. Now the audience is seeing the same people: the girl on the beach, the guy in the pool... CB: The magazines are a year old... BB: And we're going a hundred percent on the camera! Another, you know, another thing that one does technically to accentuate the weirdness is we're looking down the lens of the camera in some of these shots, so we're looking specifically at John, getting a subjective point of view, showing that he's freaking out. [on screen: John says, "Frank Cokonis! I dated your sister!" and both laugh] BB: Yeah, I never dated his sister! CB: I love that line! BB: But, but [chuckes] you know... CB: You made that up, did you? BB: Frank was a smart guy. Yeah, I guess I made that up. Yeah I did. BB: Interesting thing about Australia. They don't have handguns in Australia. Citizens aren't carrying them around all the time, so people, extras in general, are not afraid of handguns...except...this guy right here! [shirtless man on screen] This- this guy rea- when I pulled the gun out, he was backing away. Everybody else kind of ignored it, and I- and I asked him where he was from, and he was actually from East Africa, where he'd seen a lot of guns. CB: Oh boy. BB: And his reaction to a gun coming out was similar to my reaction. When I see a handgun I- ayayay! As an American and having grown up around them, I'm real nervous when any gun comes out. And Australians, you pull a gun out, and they're like, "Yeah, it's a gun." It's like, "Okay, you actually haven't grown up in a gun culture, otherwise you'd be freakin' out!" Okay! Anthony Simcoe! Rowan Woods! And Ricky Eyres! CB: [gasps] What?! No! BB: Yes! That's Anthony Simcoe, Rowan Woods, and Ricky Eyres in the bathroom from left to right! CB: Shut up! BB: [smiling] No, it is! CB: Fantastic! I never knew that! BB: [laughing] There you go! CB: I've seen it so many times, and I never noticed! And here we go! It's all about the girls' toilet! BB: No, forget the girls' toilet, go back and look at the guys in the bathroom! CB: No, but this is the, y'know, it hinges on the women's toilet! 'Cuz you never went in there! BB: Yeah, he never went in there. CB: ...that week! BB: I would never go in a woman's toilet! CB: Ah, I'm sure Crichton's been in a girls' toilet. BB: This is a Euro scene [scene with Cobb outside base]. This is a scene which was not in the American release. CB: Here we go. This is the... BB: And this is the appearance of Jaime! [both laugh] This is Jaime the robot! CB: So what do they do? They put-we're about to see Kent's front get pulled off by you, so he had just a special shirt on that had a hole cut in it and a...? BB: Nah, I just ripped his chest off! [CB laughs softly] No- no actual stunt or special effect in any episode of Farscape. It's all real! CB: Well, put me back...[? Hard to hear] BB: Yeah, they had- they had some sort of contraption. Now this is a day where I'm definitely sick! [chuckles] Ah, terrible! You look at it and you go, "Now the audience don't really want to know how you were feeling that day, Ben. You know, I want to maintain the illusion." Well, don't listen to the DVD commentary if you want the illusion to continue! [chuckles] CB: You just want everyone to know what a professional you are- what a trouper you are for sort of- carrying on on set and doing your lines and getting all that- BB: No, I'm just looking for a way to explain the hair! [CB giggles] See, I was laying down on the cot, I stood up, and "Rolling!" CB: We never - we never talk about what happens to Aeryn, but she just kind of disappears! BB: Ah, that's a...hole in... the script. She just disappears, but it's also because there's a missing scene in the tag, which was the reunion scene where that was actually explained. CB: mm [agreement] BB: We had another scene on the beach, which isn't anywhere that I can find... CB: I know. BB: ...which explained, uh, some of the more esoteric elements like, "Where did Aeryn go?" CB: I remember that. BB: That was explained. CB: Did we? We didn't shoot it? Did we shoot it? BB: Yeah, we shot it. CB: That's right. BB: We shot it on the beach, and we were hauling Rygel up the beach. CB: That's right! BB: Yeah, it just never made it to the final cut. [on screen, Jack: "We needed a human reaction, John."] BB: Jaime. Yeah, [CB chuckles] so they built that chest for him, and we yanked it off, put goo all over my hands... CB: So in the moment where the camera is on your hands and the front of the shirt... BB: yeah? CB: did he have it, like a green screen patch, on the shirt first? BB: I think we just played it in cuts. I don't think we used a green screen component there. I think it was played in cuts. There was two separate pieces that the Creature Shop built, but I'm not sure. We should call Rowan. Ask him. But it's... early in Australia right now. [on screen, John asks, "Why not just make a wormhole to take you to Earth?" "That would use all our remaining power."] CB: "So instead we've come up with this elaborate scheme!" [giggles] BB: Yeah, this is actually, uh, more power-efficient. It's-- CB: Yeah! BB: This is about conservationism and saving the environment! CB: They'll waste our energy instead of their own! BB: We'll build a whole world instead of, you know, shipping! [both laugh] Maybe it's just- [still laughing] maybe it is more efficient. I don't know, you know? We don't know how they have to go about making- CB: Now- BB: This is in the bottom of an incinerator! Designed for burning garbage! Um, and I don't think they ever started using it. It was one of the great white elephants of, of uh, Sydney politics. Uh, and, uh, so we got to shoot in the bottom of this thing, and the only way in, they had to build ladders and stuff in. This is about an eighty-foot drop from the ledge into the bottom of this thing! Eighty- to a hundred-foot drop. It's a pretty impressive space. Good acoustics! CB: I think we used it in an episode with Tony Tilse! The same location to do absailing. Didn't we rappel down it? BB: I don't...know... CB: I have some bizarre rem- memory of us reusing this set! BB: You know, we reused- we may have talked about reusing it. I don't, I don't ever remember going down- I never absailed down the thing. Umm.. CB: But we had...someone rappelling down on it. I'm going crazy! Um, now, at the time, later on, a coup- a few episodes down, three or four episodes down, when Crichton's in the Aurora Chair... BB: Yup. CB: We get the information that isn't revealed here. BB: No, it isn't. What we're seeing here is my actual baby pictures. CB: Yup. BB: Th- There I am by the pool when I'm, like, two... CB: Cute! BB: Little towhead! I had blond hair - check it out! CB: That's you...did you catch a fish? BB: I caught a fish! I caught a fish... CB: I know that photo... BB: I cleaned it, gutted it, ate it. CB: Was it a trout? BB: [chuckles] "It was a trout, Dad." Long hair... CB: Look at you with blond hair...! BB: It was the si- well, we had long hair in them days! CB: and a bowl cut! BB: And they've CGed, um, Jack Crichton's face on my dad there. CB: Wow! BB: And that's actually... That's- You know what? I get chills... Oh look! You know, I get chills seeing little pictures of myself floating around when I was a kid. Oh! CB: Look at you in a suit! Is that from your...? BB: Nah, that's high school, wearing- in my- that's ...football...uniform... in high school. CB: No, but behind, there was one of you in a suit, which looked like your wedding day. BB: Oh my gosh! Well, I don't know if that's there. That would be a bit weird! [nervous laugh?] But it- yes, they- we came- we also shot components, which would later be used in "Nerve." On the same day, same time, similar set up. CB: So David already knew in advance what he wanted to do with the Aurora Chair stuff? BB: Oh, yah! Yeah, we were getting to it now. This point, y'know, I think Kemper was getting serious about what he wanted to do. CB: Right. He's always had a pretty good idea of where he wants each season to go. Certainly knew where he wanted it to end. [BB laughs] CB: That he had this image in his head of how he wanted [inaudible]...to last with Crichton and Aeryn. [? Hard to tell - Ben's talking over her] BB: Well, you know how Rock says the series ends? CB: How? BB: With the death of John Crichton! CB: [gasps in shock] Really! BB: Oh yeah! CB: Really? BB: That was Rock's- CB: Well, he's always had this massive analogy with Jesus Christ. Therefore, "John Crichton." He talked to me about that before. BB: Did he? CB: Yeah. BB: hmm. They don't tell me anything. They're afraid I'll do something with it. [CB chuckles] BB: Um, [laughs] CB: The critter! BB: The critter! Yeah, the- the critter...you know, it's one of those deals, you've got sixteen puppeteers and the critter. It- you know, there's something about the critter in this episode, in particular because it's so earthbound, uh, and in this Earth environment, that, you know, with all the great stuff they- they do, I wish the critter had been better. CB: mm. Well- BB: It's about the only negative thing you're ever going to hear me say in my life: I wish the critter had been better! CB: I'm sure they do too. I mean, I can't imagine that their turnaround on this- I think, a lot of the time, the Creature Shop would say that they get a phone call and say, "We need it tomorrow instead of next week." And they'd have to suddenly- BB: I know, they're building stuff all the time and they're- CB: [sighs]...create something. BB: ...massively undermanned. And another thing, you never know what is gonna work and what's not gonna work. You know? CB: mm. BB: When you... CB: It's so dependent on the lighting, and the sets and everything- BB: ...when you build a monster...yeah. CB: And we just never had enough pre on any of this. It was fast turnaround! BB: Pretty good for fast turnaround television, though! CB: Very good. Very high production values. BB: Now, I think originally they had designed that they would be looking at a wormhole. When he opened it up, he would see the wormhole, and, you know, Rowan said, [whispering] "Nah! I think he would see- he would see the water! Go back to where we started and see the water!" Yeah, I like that. I like that idea. Maybe. He turns and says, "Maybe." [CB giggles] BB: Anyway, I love that episode! CB: Yeah, well done, Rowan! BB: Yeah, it was, um, not your typical Farscape, but therein lies the problem. The minute you start to recommend an episode of Farscape to watch, you know. You recommend "John Quixote," and they think you're insane! You recommend that, and they think, "Oh, it's kind of 'X-Files'." And so you recommend something- It's very difficult to pick what would be a typical Farscape! CB: It was good though. It was the start of us really allowing ourselves to turn the show dark. You know, we were expecting to have a sunny, sunshiny Sydney episode... BB: Yeah! CB: ...and it rained on the days when we were doing important scenes, so we went with it! BB: Yeah, we broke a few rules, and we kind of got away with it, and by god, I like it! [CB giggles] BB: And that damn HOT kissing scene, man! Yeah! [laughs] CB: And the shagging scene that never happened! BB: Oh, yeah, you know, I've got that footage at home! CB: Really? BB: Oh yeah! CB: [something indistinguishable-Ben's talking over her.] BB: Anyway, thanks to...Hallmark, Jim Henson Company, and everyone in between! CB: And for anyone who's still listening, my goodness, you're very patient! BB: Good night, y'all! [END] |