From: owner-chakram-refugees-digest@smoe.org (chakram-refugees-digest) To: chakram-refugees-digest@smoe.org Subject: chakram-refugees-digest V6 #59 Reply-To: chakram-refugees@smoe.org Sender: owner-chakram-refugees-digest@smoe.org Errors-To: owner-chakram-refugees-digest@smoe.org Precedence: bulk chakram-refugees-digest Friday, March 10 2006 Volume 06 : Number 059 Today's Subjects: ----------------- [chakram-refugees] Downloaded Part 5 [KTL ] [chakram-refugees] Downloaded Commentary part 7 Final [KTL ] ---------------------------------------------------------------------- Date: Thu, 9 Mar 2006 10:13:54 -0900 (AKST) From: KTL Subject: [chakram-refugees] Downloaded Part 5 As sung in Seattle during Gentlemen Prefer Blondes: B Y E B Y E B A B Y Back to Galatica The Prez is talking to the doctor. She tells the doctor the baby will not be raised by the cylons nor will they take the risk of cylon agents getting a hold of her. She tells the doctor she needs his help immediately. The doctor says he needs some names. Her assistant (?) gives him a list of names of people who are capable, anonymous and can be trusted. The doctor says to the Prez, "You've thought of everything, haven't you." Madam President answers, "I hope so." (I wish she had more scenes-she's a very good actor. I really enjoyed the scenes she had with Lucy in Final Cut. I'd like to see more of them together.) Cut to a shot of Six lying unconscious on the ground among huge blocks of rubble. Broken metal and rocks cover her from the waist down. Pan to D'Anna who is standing nearby, bent over, asking Sharon if she's alright. Sharon is hemmed in by broken masonry but is awake and moving. D'Anna moves some rocks to free her. All the women have wounds, dirt, scrapes and some blood on their faces. Sharon asks what happened and D'Anna tells her that there's been an explosion. Sharon looks around and asks where Six is. D'Anna says, "Her body's dead." (Oooooo-"Her BODY'S dead." But of course, not her soul. Again, such GOOD dialogue!) Six grinds out through clenched teeth and compromised breathing, "Not yet." D'Anna and Sharon go to her and lift a big metal frame off her lower body which uncovers her deeply cut, severely wounded leg. D'Anna says very matter of factly and without any emotion, "It would have been better if the explosion hadda killed her. There's nothing we can do about the pain until we get outta here." She pulls off her scarf to give to Sharon to use as a pressure pad to put on Six's leg. D'Anna leans over Six and suggests, "Six. I can get a cross beam and put you out of your misery." BWAHAHAHAHAHAHH! You know, when I saw this, I didn't laugh. But reading it over, it's a hilarious offer. It's just so bizarre. It's so inhuman. Six broke her leg so D'Anna want to "put her down". So matter of fact about death-because, kinda like in XWP, death doesn't matter here. The hero always shows back up somewhere. Six shakes her head no to D'Anna's pragmatic offer and says in great pain in her hampered breathing style, "I'm not gonna give up on life again." "I'm not gonna give up on life again." Fascinating. What another great line. I just love this writing. D'Anna says coldly, "It's your choice." There is no sympathy in her face or voice. Nor much concern either. Six is panting in pain. D'Anna is totally separate, she's not trying to help Six at all nor involving herself in her pain. She's obviously still thinking Six is being impractical-she should just let her kill her. Sharon comes up with a bit of wood to use as a splint and pulls Six's leg straight. Six gives a sharp gasp of pain followed by a few pants. D'Anna, still totally disengaged from Six's pain and suffering just ignores her and asks Sharon, "Where the heck are we anyway?" Sharon replies, "Must be in the garage. North (?) entrance might be that way." D'Anna gets up and walks off saying she's going to start digging. Sharon gives her a glance as she continues to tend to Six. She tells Six, "You're going to be okay." There is a coughing sound from across the room. D'Anna (who has removed her jacket and stripped down to a dark brown tank top) says somewhat cheerily, "A survivor!" Sharon says yeah and they both head over towards the noise. They roll away some rocks. It sounds to me like D'Anna says cockily, "Hang on honey!" (But I could be wrong about the "honey".) And, "We'll get you out." They continue to move rocks and at one point after working together sliding a big one away, D'Anna swings her head down while Sharon is bringing her head up and there is a distinctive little "bonk" sound as they bang their heads together. Sharon puts her hand up towards her head while D'Anna just gives one short shake of her head. (I'm laying money that that wasn't scripted. Grin.) They uncover legs and pull the person out into the light. It's the insurgent. And he's not a face they know. Which on this world of course, is VERY unusual. D'Anna swings her head to stare at Sharon. There is an acknowledgment that this is an unexpected event, but there is no emotion on her face-yet the lack of emotion in her look says volumes. It's a stupendous piece of acting-it's the way a machine might well show surprise. Except that of course they don't show surprise. It's hard to explain, but it struck me as just a perfect expression for that D'Anna to use in response to a situation like this. The insurgent thanks them, saying he thought he was a goner. D'Anna turns back towards him, lifts her foot and kicks him viciously in the face. He's out cold. She bends down to take his gun. "Fracken human. You know he probably set that explosion." Sharon asks, "What, for the resistance?" (And I swear, she says "resistance" like a born New Yorker.) "Why? No military value to the cafe." D'Anna stands up holding his gun. As Lucy stands up, the way she holds her body makes me suddenly realize that she's playing this D'Anna differently now. D'Anna has dropped the artifice she had been using to manipulate the grrls. She's not friendly, not charming, not maternal, not sympathetic and not cunning. She's not trying to fool the other hybrids -she's not hiding anything anymore. She's D'Anna stripped down to being a machine with a human face. At this point, she's just all about surviving. She thinks Six should just die and perhaps it's true that she knows that Sharon is going to be boxed anyway. She's totally different in her gestures, expressions and her posture. She's a machine bent on rescuing herself so she can fulfill her primary mission. Damn, Lucy is a good actor. D'Anna points the gun at the insurgent saying, "Humans don't respect life the way we do." Sharon jumps up and grabs D'Anna hands, shoving the gun up into the air. She screams, "No!" Then more calmly, "I won't let you kill him." D'Anna gives her a very enigmatic look. It seems that she's surprised by Sharon's actions but also really, truly intrigued by them. She appears to be trying to figure out why Sharon is acting this way, what would make a cylon do this. She appears almost fascinated. She's very quiet and still, she's not struggling for the gun, she just looks deeply into Sharon's eyes. Her face is open and assessing and on the verge of cheerful. Sharon appears both determined and a little scared-what will come of her action? At this moment and in the future? Six, lying propped up against some rocks calls over, "She's right. Don't kill him." D'Anna rather impatiently (obviously thinking "Why WON'T that grrl just let me kill her?") snaps out, "Why not?" and I think she's truly asking. Though they frustrate her, she's truly trying to figure these two out. Gaius appears with his usual whining. "Why not kill him? You've already killed billions of people. Do you honestly believe one more body's going to weigh any heavier on your conscience? Which is something that you don't have. Do you?" Six says, still somewhat breathless from her wounds and pain, "We should interrogate him. Find his accomplices." This D'Anna can relate to. She gives a little affirmative grunt. And then gives the grrls a happy smile-to show them that now they're cooking, now they're thinking like they should. She says in a very sweet voice and with a bigger smile, "Okay." Then, "You can let go now Sharon." Sharon slowly pulls her hands away from the gun. D'Anna sighs a few times, like bringing herself down from her killing high. She looks away and then slides her eyes back towards Sharon's while giving her a devilish look. Sharon's obviously not totally convinced that everything is okay but she warily backs away. With a nice big smile, D'Anna tucks the gun in the back of her waistband. It's a cool scene. Lucy acts like a tightly controlled psycho who's enjoying herself in it. Both actors do a great job. D'Anna kneels down to the unconscious insurgent and rips an emblem on a thong off his neck. Sharon says "It's a (something) fleet I.D". D'Anna reads the name. "Thrace. Kara." Sharon grabs it and says in a broken voice, "Starbuck?" D'Anna very matter of factly fills Sharon in. "She was on Caprica a couple of weeks ago". Sharon looks stunned. D'Anna continues, "She escaped with the help of another Sharon." D'Anna gives this Sharon an "Ain't that ironic"? little smile. Sharon is thinking about the implications of him wearing the pendant. "If she gave him this, he meant something to her." D'Anna takes the pendant, gives it a contemptuous look and then tosses it away. "Well, ain't it sweet." (This was a very Xena moment to me. It's about the only time in the whole ep where I could imagine Lucy as Xena doing exactly what Lucy as D'Anna did.) The pendant falls by Six who picks it up. Gaius says, "You have it in your hand. Hard physical proof of one person's love for another. If only you felt this deeply about us." Six answers, "I did. I do. I love you, Gaius." He asks, "Where's the tangible proof?" Oooooo, she gives him SUCH a look! Cut to the sick bay in Galactica. Sharon is weeping by the isolette. The doctor says the baby went into respiratory distress and they lost her. Sharon accuses the doctor of murdering her. And demands to know who ordered it. "Adama?. The president? Who?" The doctor tells her he doesn't kill patients. That they did the best they could. Sharon attacks him. When the guards move in to protect him, she screams out, "You're all murderers!" as they drag her away. Commercial. KT ========================================================= This has been a message to the chakram-refugees list. To unsubscribe, send a message to majordomo@smoe.org with "unsubscribe chakram-refugees" in the message body. Contact meth@smoe.org with any questions or problems. ========================================================= ------------------------------ Date: Thu, 9 Mar 2006 10:19:44 -0900 (AKST) From: KTL Subject: [chakram-refugees] Downloaded Commentary part 7 Final W H E E ! So a few additional comments on this ep. First, my friend who taped it for me was just blown away by Lucy's performance. He thought she was amazing. He kept saying that he couldn't get over how COLD D'Anna was. And when he'd say "COLD", he'd shiver. Grin. (And it being 23 below outside the restaurant window had NOTHING to do with his shivers.) He mentioned (yes, a number of times also), how MENACING she was. And he also said, "I didn't know she could play someone that evil!" That made me laugh out loud thinking of Evil Xena and her horrendous path of destruction through people's lives. And then he'd shake his head and say again,. "COLD. That woman was COLD!" It was GREAT! And he was right. Lucy was really good but she was absolutely astounding in the last 10 minutes or so. When Lucy played Evil Xena, there was a specific goal or motive behind her horrendous actions. Usually had to do with greed, sometimes power which for her had to do with greed anyway. D'Anna just seems pure psycho. A psycho just for the hell of it. A psycho with no grounding. A psycho caught up in religious fervor. (Now *I'm* shivering.) What makes her so scary is her joy in destruction. Her lack of tolerance for nuance. Her total black and white view of the world and its inhabitants. She still has the mind of a machine. She's a metal fundamentalist who hates the "other" and wants to destroy them. Lucy's D'Anna is quicksilver. Her expressions flash across her face, fully rampant and unfiltered. There is never any doubt about when she's delighted, when she's angry, when she's challenged, when she's GOTCHA! She's like a child who hasn't matured enough to control their emotions or their responses. She has the absolute surety of a self contained and totally self-absorbed four year old. And we've seen (well, I'VE seen) Lucy do this before-use those totally open absolutely unmodified expressions of childhood in very serious moments. Damn, she is soooo good! Her instincts as an actor are as spot on as the tight beam of a laser. I wonder how she liked working with new directors, writers and producers in an ongoing series with her actually getting to work on character development. She joked at the con in Burbank this year about having to remember that D'Anna was a guest role-she wasn't the star of the series. And so she had to keep reminding herself to not keep making suggestions like, "Hey-about D'Anna does this!" She joked that it could trigger off the series regulars asking her questions like, "You played in what in the 90's?" to put her back in her place. Laugh! When I first watched this one, my initial response was that I had liked "Final Cut" more. But mostly just because Lucy had more scenes in that one. However, after watching "Download" about seven times or so and watching Lucy's performance especially in the last 10 minues with much rewinding and pauses of the VCR, I think I like this one better now. And heck, it's most likely due to D'Anna being shown as such a psycho. There's a reason actors cherish the chance to play evil. And boy, does Lucy play evil well. I hope that we get to see D'Anna reborn. (And no, unlike many of you not JUST to see Lucy thrashing around in a tub mostly naked.) I want to see her act the pain and horror of rebirth-and the horrible headache she will have from Six having bounced a boulder off her head. She is going to be SO furious! The question is, how powerful will she be? I can just imagine D'Anna waking, roaring up out of the tub and choking Six in fury. Can't you? And yeah, of course she'd be naked when she did that. Ahem. There were very few humans in this ep. And THEY spend most of their time trying to decide what to do with this inconvenient baby. Of course they couldn't kill her. Though I suspect, like Hope, they may wind up wishing they had. I had hoped to see more of Dualla. I really enjoyed that character. And that actor did an exceptional job to me. And also, I was looking forward to seeing Starbuck, Cat and young Adama again. I really enjoyed watching D'Anna's interactions with all of them. Hopefully we'll see her with them in the upcoming eps. I like the way they use the camera in this series. They keep it moving, even when the characters are still. Laterally and in and out. This gives the viewer an edgy, kind of unbalanced feeling. Things are subliminally moving, nothing is stable and settled. "Death becomes a learning experience." Not just empty words. These reborn cylons are "different"-they have a conscience. They have an awareness beyond a machine's. Having a body gives them a bit of a soul. Specifically, experiencing love, either received or given, seems to be a defining and apparently transcendent experience for them, one that makes them different than the other cylons. I wonder how often they've been downloaded. The newly reborn hybrids are like crabs who have just shed their shells so they can grow bigger. Crabs are very vulnerable to predators at that time. The hybrids are also vulnerable-but they are emotionally vulnerable. And showing emotion on this planet can be very dangerous. As we saw when the new Six worried over Gaius and D'Anna immediately pounced on her for it. I really enjoyed how different Six and Gaius were in this ep. Caprica Gaius shows the strength of Six's conscience, her guilt, her anger over what she did/had to do and her acknowledgement of her personal responsibility for having done it. And the ship's Six shows (boy, say THAT three times fast) Gaius' shabby character in the aftermath of what he's done. I have no idea what he was like before he betrayed his world. But after, he's pretty despicable. In "Final Cut", we see how pompous he is, how "wronged" he feels by the attitudes of the others to him. How he, unlike Caprica Six tends to never think about what he did. He certainly never seems to dwell on his own responsibility. In "Download" he of course jumps in to defend the baby, to stand up against infanticide. (LOVED the prez's line, "I don't make suggestions Mr. Baltar, if I want to toss a baby out an airlock, I'd say so.") She's soooo direct. What a gal! Of course it could be true that Gaius is defending that baby only because he thinks she is his and Six's. And perhaps he suspects that Six will not be too pleased with him if they lose her. And boy, was he ever right. I found it very interesting that in the middle of the show they urged viewers to get on AOL and join in the commentary. So they're getting immediate feedback on their ep. Fascinating. I wonder if they read what comes in or if they try to ignore it and write from their own hearts. I'm sure the suits at the network have someone reading the posts (I decided to cut out the questions since they were answered on other lists. And since I was WAY wrong on a major point--the "hybrids" and not. They were never humans whose brains/memories/souls were downloaded into robots. They evolved (for crying out loud, it says this in the credits!) into what they are. Whew. What a great show. And what a great performance from Lucy. That's it! KT ========================================================= This has been a message to the chakram-refugees list. To unsubscribe, send a message to majordomo@smoe.org with "unsubscribe chakram-refugees" in the message body. Contact meth@smoe.org with any questions or problems. ========================================================= ------------------------------ Date: Thu, 9 Mar 2006 10:18:55 -0900 (AKST) From: KTL Subject: [chakram-refugees] Downloaded part 6 Clue: D ' A n n a I n T h e G a r a g e W i t h A (Well, just wait and see) Back to Galactica-two soldiers are releasing the baby's ashes into space. Galactica's Gaius enters a room where Six is sitting waiting for him. She says, "You let them murder our child." Gaius kneels before her and tells her how sorry he is and that he had tried to save her. Six says, "God's will is that our child should survive. His will was that she would lead the next generation of God's children. She grabs Gaius arms and pulls him up. "His will was that you would protect her." She slams him against the wall and fiercely whispers in his ears. And I can't make out one word she says. It does scare the snot out of Gaius though. On to the next scene where we see a young woman cradling the still living baby and thanking the president, the doctor and the president's assistant (?) for giving her the baby. She had just lost her own baby. The assistant says that the adoption must be kept absolutely secret, that the mother is a Pegasus officer and must remain anonymous for political and religious reasons. The young woman gives her word. The president requests that she be allowed to drop in from time to time to visit the child. The mother agrees. She, the baby and the assistant leave. The president thanks the doctor and says, "As far as the cylons know, this child no longer exists. That is a good, GOOD thing." (SHADES OF HOPE! And we all know how badly that turned out.) Cut to the insurgent coming back to consciousness from D'Anna's kick to his face. Oddly enough, behind him is a car that has the license plate, "SEXYMOM". Laugh-I wonder if this is some reference to something in the show from the past or if it's just a new little joke of some kind. He feels for his gun (or maybe his penis-you know how boys are) as he sits up. Pan to the three women sitting on the other side of a cleared space. Six and Sharon are sitting on the floor among the rubble. D'Anna is perched on a big flat boulder, head and shoulders above the other women. She's absolutely in charge. She's so powerful. So in control. She lifts the gun up and asks very calmly but without much of a question in her voice since she knows the answer, "This what you're looking for?" She quirks the right side of her mouth into a fleeting smile. He stares at her. She says in a very neutral tone, like a kid giving another kid's toy back on the playground, "You can have it. Here." And she tosses it on the floor between them. But we playground veterans all know that the kids who take your toys sometimes just pretend to be giving them back to you. They WANT you to pick it up. So you probably shouldn't. Six asks, "What are you doing?" D'Anna is sitting totally relaxed, her right leg crossed over her left leg, her upper body leaning forward, arms crossed over her lap. No tension apparent in her at all. She answers, again in a neutral calm manner and again with a friendly open smile, "Just making it easy for him to get what he wants." This is so low key. It's so discordant-no sweat, no trace of fury, vengeance, hatred or fear-which would be the much more likely responses to his attack upon her country and the beings who inhabit it. It is so chilling. Instead, she's just having a nice conversation with the girls and the boy. (Good gods-I, who hardly ever notices some things, notice that D'Anna has a ring on the ring finger of her left hand. Is she married? Engaged? It's just not something that would slip by the production crew-it has to be deliberate. I don't think I've seen anyone else wearing a ring on the show. But of course, I haven't been looking for that. And of course, I've only seen two eps.) D'Anna is smiling at the insurgent. She offers in a soft, friendly, let's play voice, "C'mon. I'll give ya a head start". Again, reminiscent of classic playground bully challenges, which though they matter a lot to the kids involved, don't usually entail REAL life and death situations as this one does. At least for him. As I rewatch this, it suddenly strikes me that she's a cat toying with a mouse. UH--on a playground. (*sigh*-Mixed metaphors. But I obviously hate giving up them too soon. Grin. Let's see how soon we get to the sandbox. Or the swings. . .) The mouse refuses the big tawny cat's offer. "I'm fine where I am." Suddenly there's a muted explosion above their heads. D'Anna ducks and looks up, Makes sure the ceiling isn't falling down on her. She smiles, sweeps the other women with a glance and turns back to the insurgent to announce with a big smile, "Hey-they're coming for us." Pause. "And YOU." With a bit of a taunt in her calm voice, she continues, "They'll be very interested in you." Sharon interrupts. "Leave him alone." D'Anna turns her attention to Sharon and becomes the school marm. She starts off saying, "Sharon" in that "pay attention, I'm preparing to give you a scolding" type of sad to say it's necessary tone of voice many of us remember from school days. Sharon looks up at her. And now the real, unadorned, true feelings displayed D'Anna emerges. "You're a hero of the cylon. Now you're just a broken machine who thinks she's human." Close-up of Six's face as she slides her eyes towards D'Anna. Close up of Sharon closing her eyes and shaking her head. D'Anna gets up off her boulder and squats down before Sharon. She whispers to her. "But you're not a human Sharon. And you never will be." Sharon whispers back, "Yeah, well at least I'm not a murderer." D'Anna totally relaxes her shoulders and repositions her head as she makes a little assessing "Hmmmm" sound. Again, Lucy's acting is so nuanced and so unusual. I love these little things she does that you just don't see a lot of other actors doing-they're not stereotypical reactions. Sharon declares, "I have a conscience. And I know the difference between right (miniscule pause and then greater emphasis) and wrong." Close up of a tormented look upon Six's face. D'Anna's reply is said in a tone people use when affirming something good about another person, the quality of voice one would use to say, "You are a good and kind human being". But what she says while wearing a sweet smile is, "A murderer is *exactly* what you are." The substitution of a soothing positive tone instead of one of anger and accusation when saying a sentence like this is SO striking. It's so chilling in its discordance. Sharon gets a personal flashback and relives her shooting of Commander Adama. SHADES OF ALTI! Return to the present. Sharon snaps her mouth shut tight. She is mute with pain. Close up of Six's face with tears in her eyes. Gaius intrudes. "Life is short. But the next one's not. Let your heart adrift. And your soul (ARGH! I cannot understand what he says next due to sucky sound. *sigh*) Six says, "I love you Gaius. My heart and soul are yours." D'Anna turns towards Six whom we see staring off into the space where Gaius is. Suddenly there's another explosion. Sharon stands up and walks away from the squatting D'Anna who turns her head and smiles as Sharon leaves. D'Anna puts on a "teasing aimed at the kids adult face", turns towards the insurgent and in a teasing voice to match her face says, "They're nearly here." He stares at her without making a movement or a sound. Gaius asks Six, "You know why they wanted you to work with Sharon?" I THINK he says as he continues, "So you'd lose your mind. They're gonna box you darling. Just like they're gonna box Sharon." Six turns to D'Anna and states, "We're dangerous." Her sudden involvement and apparent total change of subject catches D'Anna off guard. She says "What?" in a kind of "what the furk are you talking about-why did you change the subject?" way. Six continues. "Sharon and I. We're celebrities in a culture based on unity." The crafty D'Anna seems to surface. She makes a "You're totally wrong" facial expression as she shakes her head saying softly and almost sadly, "Nooo." Six turns to Sharon. "Our voices count. More than hers. More than others. We're two heroes of the cylon right? Two heroes with different perspectives on the war." D'anna gives her a look of contempt. "Perspectives based upon our love of two human beings." Six tells Sharon that that's why D'Anna wanted Six to work with her-because she knew that Sharon would tell her that Gaius was still alive. "She wanted me to lose my mind." D'Anna stands up from her squat, giving Six a kind of "Game's up" look. Sharon is watching D'Anna closely as she takes in what Six has said. D'Anna looks from one to the other as she says, "No. You're corrupted by your experiences." Six closes her eyes as her epiphany (received through her mental dialogue with Gaius) is validated. D'Anna gives her beautiful smile as she chuckles out with unseemly happiness, "You're a waste". Gaius appears and says, "Believe your eyes. Ignore the truth." (Something about proof). And "Speak from your heart. Say the things that you know to be true." Six says to Sharon, (Something that is impossible for me to hear with the volume high, with the volume low, with my face smashed against the screen trying to lip read a two-dimensional mouth) so, ". . .They're all sinners in the eyes of God. That's what you and I know. That's what they don't want to hear." Sharon adds, "Because then they'd have to rethink what they're doing." Close up of D'Anna giving Sharon a kind of "Don't go there" look but she's listening intently. Sharon continues, "They'd have to consider that maybe the slaughter of mankind was a mistake!" Suddenly rubble falls with a whoosh (grin) from the ceiling behind D'Anna. She jumps away, the insurgent grabs the gun that was still on the floor. He fires it I think at D'Anna who ducks behind some broken masonry. Sharon charges into him and knocks the gun out of his grasp. It clatters to the floor near D'Anna's hiding place. D'Anna's head pops up. She takes a quick glance around and then jumps out and grabs the gun. And swings it to bear on the insurgent in a perfect Dirty Henrietta huge barrel pushed right into the camera's face homage stance. D'Anna lets out a relieved breath of air and with a happy shake of her head and an absolutely angelic smile of beatific ecstasy, declares in sheer sweeping joy "God loves me!" Proving that "Pride goeth before a fall", that devilish Six suddenly rears up behind D'Anna and smashes her across the back of her head with a huge boulder. D'Anna spins around to face Six. (With a very characteristic stiff shoulder movement used when turning towards someone when she's surprised that I've seen Lucy use on Xena. Unfortunately, there is no reaction shot of her face-we only see her from the back.) Six grunts out something I can't hear while swinging the big boulder to smack D'Anna again, this time giving her a vicious blow across her face. Finally D'Anna is down, eyes open and unseeing, her forehead cracked and bleeding. Fascinating that while Six keeps reassuring people by saying "God loves you", D'Anna makes it "God loves me." Sharon pries the gun from her cold dead hand and then leans down to help Six up. There's another explosive sound from the rescuers. Sharon looks up and says, "Looks like they're almost here." Six tells the insurgent, "You should get out of here while you can." (And says something else I can't make out.) The insurgent is suspicious. "Is this some kind of trick?" Sharon shakes her head no. Six hands Sharon Starbuck's pendant and says, "You can stay and be tortured if you want. Your call." Sharon offers the pendant to the insurgent. He looks at them suspiciously for a bit, but then he snatches it. Cut to a close up of the pendant, showing the name "Thrace" on it. The insurgent asks, "Who are you? What kind of people are you?" Six answers, "I don't know" in a manner suggesting it's a question she's been asking herself that she hasn't found the answer to yet. He clenches his fist around Starbuck's pendant (in a rather overly theatrical gesture I thought) and then begins to weave his way through the rubble. Sharon calls, "Hey wait". In a surprising move (to me at least), Sharon tosses him the gun. He leaves. Sharon squats down a bit aways from D'Anna and reaches out to check for a pulse in her neck. The way you would check a snake to see if it's dead--she doesn't seem to want to get real close to her. Sharon is panting as she leans over. She asks worriedly, "How long till she downloads and tells them what happened?" Six says, "We had a lot of people in the caf. At least 36 hours before they get to her. Long enough." Sharon asks, "Long enough for what?" "To change things for the better." Six is not just another rock thrower-she's also an idealist. Sharon shifts uneasily. "What are you talking about?" Six turns away from her as Gaius appears at her side. He stares lovingly at her for a long silent moment and then says with great intensity, "I have never. . . loved anyone more in my life than I love you now." Six stares at him, calm and at peace. She says, "(Whisper whisper) from the? beginning. And a way to live in Gods' love. She turns to Sharon with tears in her eyes. "Without hate. Without all the lies." Sharon stares back, also with tears in her eyes. "All they need is for someone to show them the way. (Whisper whisper whisper.) (MADDENING, eh?) Six reaches her hand out to Sharon. Sharon looks at it. Hesitates. She looks down, thinking it over. Then she says determinedly, "I'm with you" and she reaches out and grasps Six's forearm. Six slowly breaks into a smile. Sharon kinds of grimaces through her tears. Suddenly a strong, very bright beam of light bursts upon the two women. Cut to the regular male clone peering through a small cleared passage the rescue team has opened. He yells to the rest of the crew. "We found them! They're alive." Sharon yells back, "Yes. We are." They look at each other. Six is smiling broadly. She repeats, "We're alive." Sharon nods. Cut to Sharon's baby and her adoptive mother on Galactica. The mother peers out a small porthole. The camera pulls back to show her face through the porthole. And then pulls back further to show us the fleet. A small ship pulls out and zooms away. I wonder if that means anything. The end. What a wealth of multiple texts in these last few moments of images and dialogue between Sharon and Six. "We're alive" can obviously be taken in the literal sense of we've survived the explosion and our confrontation with that insane Beirs. But "We're alive" can also refer to their raised consciousness due to their experiences, due to their human bodies interacting with other humans. And also, "We're alive" can be cast in a revolutionary sense-in willfully making a decision to reach towards a better life that not just permits but demands in their conscience and in their souls that they will move beyond the constraints of their society of robots-they will defy the prevailing wisdom which makes enemies of any "other" that is not them and calls for their total destruction. (But they'll make an exception for that insane Biers woman.) And of course my crowded, messy, cluttered slob of a mind also pulled out a flash of Pinocchio-with a post-feminist twist, they could well be thinking, "I'm a REAL grrl now!" And the visuals again are so good at telling the story. Literally and figuratively. Just as they grasp arms and form their alliance, the rescue team arrives. And essentially, the sun comes out for them. From having been entombed in that broken, decaying, dark and dangerous underworld, they are now bathed in a ray of pure white light-resurrection beckons them. Like Saul on the road to Damascus, they are saved-physically, mentally and certainly spiritually. They "see the light". Annnnnnd, also, we get the visual metaphor of moles. Moles who spend time underground yes, but also in the spy business jargon sense of "moles"--hidden spies/revolutionaries who pretend to be part of a society in order to destroy it from within. And I guess that's it for me and my metaphors. Excellent, excellent show. Extraordinary writing. Marvelous acting. And, most important of all for my delight, great job by Lucy. KT ========================================================= This has been a message to the chakram-refugees list. 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