Photographer = Kenneth Randolph Taylor

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There used to be four stores and a bank on this corner.

I wonder how much longer two buildings will be here.

KENNETH RANDOLPH TAYLOR

DECEMBER 27, 2019 COMMON ERA

THE THIRD DAY OF CHRISTMAS

THE FEAST OF SAINT JOHN THE EVANGELIST

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Photographer = Kenneth Randolph Taylor

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I played in this park from June 1980 to June 1982.

When I walked back into the park, having been away since 1982, I recognized much of the equipment.

KENNETH RANDOLPH TAYLOR

DECEMBER 27, 2019 COMMON ERA

THE THIRD DAY OF CHRISTMAS

THE FEAST OF SAINT JOHN THE EVANGELIST

I recognized the merry-go-round immediately.

These were almost certainly in the park in 1980-1982.

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Photographer = Kenneth Randolph Taylor

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My father was the pastor of Vidette United Methodist Church from June 1980 to June 1982.

The structure is different.  The fellowship hall is larger, front steps and shelters over the front doors are different, the ramp is relatively new, and gap between the worship space and the fellowship hall is covered.

KENNETH RANDOLPH TAYLOR

DECEMBER 27, 2019 COMMON ERA

THE THIRD DAY OF CHRISTMAS

THE FEAST OF SAINT JOHN THE EVANGELIST

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Photographer = Kenneth Randolph Taylor

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My father was the pastor of Vidette United Methodist Church, Vidette, Georgia, from June 1980 to June 1982.  He, my mother, my sister, and I resided in the parsonage, which stood on the now-vacant lot.

Yesterday, while driving from Statesboro to Athens, I took a detour through Vidette.  I spent about an hour, walked around town, and stirred up old memories from the years I was in the second and third grades.  I also recognized the outline of the house on the ground and identified where each room had been.  Standing where my bedroom had been was odd.

KENNETH RANDOLPH TAYLOR

DECEMBER 27, 2019 COMMON ERA

THE THIRD DAY OF CHRISTMAS

THE FEAST OF SAINT JOHN THE EVANGELIST

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Above:  Part of the Christmas Village I Assembled on My Coffee Table, December 20, 2019

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Advent and Christmas are supposed to be happy times, are they not?

They have been for me.  Through last year I found December and the first five days of January to be an almost magical, but definitely sweet period of time.  It was not about presents, whether giving or receiving them.  No, the time was inherently joyous.

This year, however, I have worked harder than usual to find the joy.  My experience has been bittersweet because of two recent deaths–those of Bonny and my grandmother.  I have joined the ranks of those for whom this season is mostly blue.

My prayer for all of us who feel this pain is that, as we work through our grief, is that we will know the peace of God, present with us.  Our feelings may be irrational, but they are also real.  For those of us who strive to be as fact-driven as possible, the reality of emotions we know to be irrational and stubborn is especially is especially difficult to reconcile.  Guilt we know to be misplaced remains a burden.  We cannot deliver ourselves from it.  No, we must turn it over to God.  Yet it persists.

We are all broken; that is the human condition.  We are all broken.  Some of us seem not to know that.  Others of us know it better than others.  We are all broken.  May we trust in God and be kind to each other and ourselves.

KENNETH RANDOLPH TAYLOR

DECEMBER 22, 2019 COMMON ERA

THE FOURTH SUNDAY OF ADVENT, YEAR A

THE FEAST OF FREDERICK AND WILLIAM TEMPLE, ARCHBISHOPS OF CANTERBURY

THE FEAST OF SAINTS CHAEREMON AND ISCHYRION, ROMAN CATHOLIC MARTYRS, CIRCA 250

THE FEAST OF CHICO MENDES, “GANDHI OF THE AMAZON”

THE FEAST OF HENRY BUDD, FIRST ANGLICAN NATIVE PRIEST IN NORTH AMERICA; MISSIONARY TO THE CREE NATION

THE FEAST OF ISAAC HECKER, FOUNDER OF THE MISSIONARY SOCIETY OF SAINT PAUL THE APOSTLE

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We should never cease to appreciate natural beauty.

I was walking in the woods of Ben Burton Park, near my home, this afternoon.  When I came to the Middle Oconee River and saw a beautiful bird standing on a rock in the river, I chose to immortalize the moment.

Now I choose to share it.

We all need to find balance in our lives.  We need to speak out when morality requires us to do, especially when obeying morality is inconvenient.  However, we also need to recognize that which is good and beautiful around us.  We need to charge our batteries, so to speak.

Enjoy the beauty of the bird, O reader.

KENNETH RANDOLPH TAYLOR

DECEMBER 21, 2019 COMMON ERA

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I reject all cults of personality, from the extreme to the mundane.  For an extreme political cult of personality, see North Korea, with its “Eternal President,” who died more than two decades ago.  For mundane examples of political cultism, just look around.  Some people need just to look in a mirror.

We are all at risk of becoming political cultists, unless we are always consistent regarding ethical and moral principles.  Consider a hypothetical person, Jane Q. Public, O reader.  She has strong ties to one political party.  Whenever someone from another political party with which she usually disagrees commits offense x, she jumps on that person like lint on a cheap suit.  But whenever a person from her party commits offense x, she does not condemn him or her.  Or, if Jane does criticize, she does so very quietly, in such a way that one could easily miss it.  Jane Q. Public is a political cultist.

Timeless principles are timeless because they apply universally.  One of these principles is to “call a spade a spade.”  One need not call out everyone or everything to be consistent.  One does need to spend time each day doing something else, such as working, eating, or sleeping, after all.  And one should maintain a balance in choosing when to speak or write and when to remain silent.  Yet one should also refrain from condemning the same behavior in politicians with whom one usually disagrees while excusing or ignoring it in politicians with whom one usually agrees.

May we avoid hypocrisy as much as possible.  May we place country before party, not visa versa.

KENNETH RANDOLPH TAYLOR

DECEMBER 21, 2019 COMMON ERA

Above:  The Title Card for Starhunter Redux

A Screen Capture

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About fifteen years ago, when I lived near Dublin, Georgia, I purchased two DVDs containing the first fifteen episodes of Starhunter (2000-2001) from the video section of a discount store in Dublin.  I watched those episodes again and again for years.  I purchased the full season set in the summer of 2007.  Then I learned what happened after Dark and Stormy Night.  I thrilled to watch the remaining seven episodes and see Dante meet his son at the end of the season.

I purchased and watched the DVD set of Starhunter 2300, the second season, a few years later.

Then, in 2010 and 2011, I watched all the episodes again and blogged about every episode.

The first two seasons hang together better as Starhunter Redux, which is generally the best way to watch the series.  The main exception to that generalization pertains to the first season.  I still recommend purchasing the first season DVD set, if only to see all of Rudolpho’s opening transmissions, most of which are absent from the first season of Starhunter Redux.  Some character information that pays off in the second season is in those opening transmissions.

Starhunter Redux is a rewarding viewing experience for a detail-oriented geek, such as yours truly.  Despite a few flubs, such as calling a nearly thirteen-year gap (January 3, 2300, minus late 2286) between seasons in-universe a fifteen-year gap, the attention to details is evident.  Events in earlier episodes frequently come up in later episodes, whether in passing or as important and relevant to the plot.  Lesser episodes of Starhunter Redux are superior to better episodes of some other series I have watched and choose not to name in this post.  Needless to say, better episodes of Starhunter Redux are vastly superior to most episodes of certain series I watched and do not name in this post.

I, having seen all the episodes again, perceive that most of the very early episodes in the first season did world building well as they laid the foundations for character development.  For that reason, I enjoy them more than someone new to the series may.  I watch the earliest episodes in the context of the rest of the series.  Yes, they are slow, compared to middle and late first season episodes, but we could not have the middle and late first season episodes without the early first season episodes.

I have another critical (in the highest sense of that word) statement about the first season.  Dante’s monologue, present in the opening credits sequence of Starhunter (2000-2001), should have remained in the opening credits sequence of the first season of Starhunter Redux (2018).  That monologue explains much succinctly.  The monologue fills in viewers, especially new ones, efficiently.

I anticipate season three, or SolSys.

KENNETH RANDOLPH TAYLOR

DECEMBER 21, 2019 COMMON ERA

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Opening and Closing Credits

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On both seasons, for totally different reasons, there was a struggle for creative control, reflected in unintended mysteries, in addition to intended mysteries.

Above:  Callie Larkadia in Hyperspace II

A Screen Capture

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The second season of Starhunter Redux (2017) is superior to Starhunter 2300 (2003-2004).  Reediting, remastering, and adding a little new material does much to improve the season by making the first and second seasons look as is they form a set.  There is still the matter of retconning the bridge and galley sets, but c’est la vie.

Now that I am rejected my former theory of the first and second seasons occurring in parallel universes, I enjoy the second season more.  Now that I focus less on the exterior of the Tulip and on the question of whether that really is Travis (It really is not.), I enjoy the character development more.  I also enjoy the internal continuity of the second season more as I notice links between the seasons.

I do have one critique (in the highest sense of that word, not in the sense of “everyone is a critic”) of the second season, though.  It should have been more unified, with the Orchard providing the glue.  That menace underlay most of the first season, from the first episode to the final one, to great effect.  In the second season, in contrast, the Orchard is present, explicitly or implicitly, in a few episodes, all of them in the last half.  The second season seems somewhat disjointed, compared to the first season.

I hope you understand my intention, O reader.  I have no interest in participating in toxic fandom.  I do not want to offer half-baked and poorly-informed ideas and insist that you must respect them.  No, I seek, as much as possible, to operate based on objective reality and to offer well-reasoned opinions.  I do not preface obviously subjective statements with redundant statements such as, “in my opinion.”  Of course, it is my opinion.  I do not pretend that it is anything else.  If someone feels the need to become offended and rebut, “That’s YOUR opinion,” I do not want to relate to that person.  Life is too short to deal with easily offended people unnecessarily.  Grow a thick skin, people.

I understand just enough to realize that there is much I do not understand.  Consider this statement from G. Philip Jackson, one of the creators of the Starhunter series:

–November 9, 2019

Actually, Jackson may have been generous in his description of the “struggle for creative control.”  Based on my reading of such struggles behind the scenes of series, from Galactica 1980 to Firefly, assuming that people who interfere are creative may have no basis in reality.  There is just a struggle for control, not creative control, much of the time.  Perhaps that is an accurate description of what occurred behind the scenes of Starhunter (2000-2001) and Starhunter 2300 (2003-2004).

Having watched Starhunter 2300 a few times and the second season of Starhunter Redux once, I recommend the latter.

KENNETH RANDOLPH TAYLOR

DECEMBER 21, 2019 COMMON ERA

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Opening and Closing Credits

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1. Rebirth
2. Star Crossed
3. Biocrime
4. Chasing Janus
5. Spaceman
6. Becoming Shiva
7. The Third Thing
8. Torment
9. Painless
10. Skin Deep
11. Supermax Redux
12. Pandora’s Box
13. A Stitch in Time
14. The Prisoner
15. Kate
16. Rivals
17. The Heir and the Spare
18. Just Politics
19. Negative Energy
20. License to Fill
21. Hyperspace I
22. Hyperspace II

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SEASON 2, EPISODE 22

Above:  Percy Montana, from the Starhunter Redux Version of This Episode

A Screen Capture

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MAIN CAST

Michael Paré as Dante Montana (Starhunter Redux)

Tanya Allen as Percy Montana

Clive Robertson as Travis Montana

Dawn Stern as Callista “Callie” Larkadia

Stephen Marcus as Rudolpho DeLuna

Paul Fox as Marcus Fagen

Graham Harley as Caravaggio (the ship’s AI)–in Starhunter 2300

Murray Melvin as Caravaggio (the ship’s AI)–in Starhunter Redux, Season 2

SUPPORTING CAST

Rachel Sanders as Dr. Vienna Xeylon

Greg Ellwand as Dr. Edward Murchison

Lynne Cormack as Roone

Geordie Johnson as Tristan Catchpole

Neil Davison as Thug

Michelle Duquet as Penny Montana (Starhunter 2300)

Heather Belle-Matmor/Heidi von Palleske as Penny Montana (Starhunter Redux)

Sima Sepehri as Red Hair Lady (Starhunter Redux)

Chadwick Allen as Man in Suit (Starhunter Redux)

Cavanagh Matmor as Waitress (Starhunter Redux)

BEHIND THE CAMERAS

Director = Roger Gartland

Director (for Starhunter Redux new material) = G. Philip Jackson

Writer = Hudson King

Writers (for Starhunter Redux additional material) = Chris Jones-Hansen and G. Philip Jackson

Composer (Theme–Starhunter 2300) = Peter Gabriel (Darker Star, arranged and mixed by Richard Evans and David Rhodes)

Composers (Episode–Starhunter 2300) = The Insects (Bob Locke and Tim Norfolk)

Composer (Theme–Starhunter Redux, Season 2) = Donald Quan

Composer (Episode–Starhunter Redux) = Donald Quan

Length of original episode = 0:47:53

Length of Redux episode = 0:46:14

PRELIMINARY COMMENTS

Above:  Percy Montana, from the Starhunter Redux Version of the Episode

A Screen Capture

All but one screen capture in this post comes from the Starhunter Redux version of the episode.  For more screen captures, I refer you, O reader, to my May 2011 post about Hyperspace II (Starhunter 2300).

This post is much more involved and considerably longer than any other post in my series about Starhunter Redux.  This is the case because the alterations to the reedited version of Hyperspace II are greater.  There is also additional material.  Hyperspace II (Redux) sets up season 3, SolSys, not released yet.

Some of the content of this post comes from an email from G. Philip Jackson, one of the creators of Starhunter (2000-2001) and Starhunter 2300 (2003-2004), as well as one the people deeply involved in shaping Starhunter Redux.  I want you, O reader, to know that I am consulting reliable sources, not making up material for this post.

In 2010 and 2011, when I wrote my first series of episode guides, there was no Starhunter Redux.  I was operating from DVDs of Starhunter (2000-2001) and Starhunter 2300 (2003-2004).  At the time, I posited that each season existed in a parallel universe.  It made sense to me at the time. How else could I account for the Transutopian looking radically different on the outside in each season?  And how else could I explain the differences between Travis Montana in each season?   I have disavowed this theory for two reasons.  First, Starhunter Redux has made the two seasons more superficially similar, bringing the second season ship design into the first season.  Second, I have learned information not available to me in 2010-2011.  G. Philip Jackson has written me, “On both seasons, for totally different reasons, there was a struggle for creative control, reflected in unintended mysteries, in addition to intended mysteries.”  Jackson has also confirmed that that man claiming to be Travis Montana in the second season is not the son of Dante and Penny Montana.

From G. Philip Jackson:  “We don’t know if the Season Two Travis is an imposter with intentions of deceit, or a victim of  a Raider always falsely encouraged to believe he was Travis by his early “Raider family” because something wrong happened with the real Travis (maybe when he disappeared with Dante at the end of 122 Redux, as briefly referred to by Dante in 222 Redux).

One should be willing to change one’s mind based on evidence.

Future Percy seems to accept fake Travis as her cousin.  When did she change her mind?

As far as the developments after Hyperspace II (Redux) are concerned, watch SolSys when it is available.  That is my plan.

BACKGROUND AND OTHER GENERAL COMMENTS

Above:  Percy and Dante

A Screen Capture

In the hyperspace diner scene at the end of the Redux episode, Dante asks the alien/waitress, “Were you there when I met Penny?  Is that why you look like her?”  In real life, the alien/waitress looks like Penny because Cavanagh Matmor is the daughter of Heidi von Palleske/Heather Belle-Matmor, who portrayed Penny in the first season and in the Redux version of this episode.

Cavanagh Matmor, as a baby, portrayed the very young Travis Montana in the first season.

Neil Davison was a stunt performer and stunt double on Starhunter 2300.  He also played a thug in Negative Energy.  Most of his credits in the second season were in the categories of stuntman and stunt double.

Those of us who have lived long enough to have historical perspective remember life before microwave ovens were ubiquitious, when VCRs were expensive, when most people had access to only a handful of television channels, when telephones sat on tables and hung on walls, and when one could place a small Christmas tree atop many a television set recall having to wait a week between episodes of our favorite series.  The Starhunter 2300 version of the episode, does not really get underway until 0:05:23, due to the opening sequence (0:01:15 long), followed by the recap of Hyperspace I.  By 2017, however, the age of streaming services and binge-watching had begun, hence the absence of a recap at the beginning of Hyperspace II (Redux).

This episode marks the return of Michael Paré as Dante Montana, absent from the role since Resurrection, at the end of the first season.  According to what I read here, Dante will be prominent in SolSys, the third season.

In Travis, the penultimate episode of the first season, the real Travis forgave his mother (Penny) and sent her to the fourth dimension, where she would find peace.

The fake Travis hates Penny until he speaks with her in this episode.

As future Percy reveals in this episode, hyperspace is just a bunch of nows.

GENERAL COMMENTS ABOUT THE EPISODE

Above:  Dante, Appearing in Percy’s Quarters, from the Starhunter Redux Version of This Episode

One may recognize the scene (minus Dante) as being from The Heir and the Spare.

A Screen Capture

1. At the end of Hyperspace I, the Transutopian entered hyperspace when an Orchard vessel was on top of the Tulip. The proximity of the Orchard ship creates the triphasic event on the Tulip.
2. Fake Travis and Dr. Xeylon go off into a region of hyperspace resembling clouds while reality on the Transutopian split up into a triphasic event.  Percy, Marcus, and Rudolpho are each alone (yet not alone) in his or her separate phased reality.  Percy is in a blue-shifted reality, Marcus is in a red-shifted one, and Rudolpho is in a green-shifted one.
3. In the Starhunter 2300 version of this episode, the implication is that the only other person in each color-shifted reality is Tristan Catchpole.  He is indeed, present, as one who watches the episode should know.  Yet, in the Starhunter Redux version of this episode, Percy from eighteen years later (and perhaps from an alternate universe) creates portals, looks through them, and closes them.  She appears to her younger self and to Marcus in early scenes.
4. Percy eventually returns to “home, sweet home,” wherever that is, in the Starhunter Redux version of this episode.  She proceeds to move her arms about and move tachyons until Caravaggio arrives.  They speak.  She asks the AI to help her find Dante, for there is a window to locate her uncle.
5. Fake Travis, whom most characters seem to accept as being the son of Dante and Penny, is a good guy.  His major problem in this episode is his suppression of his emotions.  Dr. Xeylon tells him that, to activate his second Divinity Cluster gene, the one that will enable him to travel in hyperspace at will, he must experience his emotions fully, in order to control them.  Only then will he be ready go back in time and change the past, to save Callie.  He succeeds on the second attempt, after encountering the deceased Callie and Penny in hyperspace.
6. The conversations between fake Travis and Penny Montana are different in each version of this episode.  Read farther down the screen, O reader, for both versions.
7. Future Dante and Percy (in the Starhunter Redux version of the episode) do not operate under the constraints of linear time.  In a scene set prior to other events of Hyperspace II (Redux) and altered from a previous episode of Starhunter 2300, fake Travis walks through a corridor.  In so doing, he walks through Dante, trying to break through from hyperspace. Shortly thereafter, both Dante and Percy appear in her quarters and speak to each other.  Percy has returned to hyperspace, and Dante has never left it.  Yet they can see and hear each other.  Dante asks, “Who was that that walked through me?”  Percy answers “That was your son, Travis.”  Dante replies, “No.  If there is one thing I’m sure of, Percy, he–that was not my son.”
8. According to G. Philip Jackson, Dante was looking for Percy, just as she was seeking him.  Furthermore, future Percy returned to the events of Hyperspace II to “effect changes that, among other things, help save all of them at the end of 2300.”  She also enabled Dante to “enter her older timeframe.”
9. Tristan Catchpole, aboard the Tulip, cannot retrieve the horizon generator until Percy, Marcus, and Rudolpho each fire a gravitonic burst, thereby bringing them into the same reality.  Then Catchpole steals the horizon generator and returns to Mars, the headquarters of the new Orchard.
10. The new Orchard is at least as bad and perhaps worse than the original one.  The second Orchard, like the first one, also has factions.  Dr. Edward Murchison just wants the new Orchard to monopolize access to hyperspace.  He is not above ordering people abducted, reprogrammed, or murdered, if he thinks that is necessary.  He is Machiavellian; the ends justify the means, according to him.  Catchpole and Roose, however, conspire to assassinate him during a meeting.  With Murchison’s corpse slumped at the table, Catchpole encourages the other Orchard members present to embrace the agenda of hybridizing the human species and resurrecting the aliens who implanted the Divinity Cluster about three million years ago.
11. This was the same agenda a faction of the first Orchard favored and that Eccleston opposed in Resurrection.
12. Fake Travis finally activates his second Divinity Cluster gene, goes back in time, changes the past, and shoots the Orchard thug to shot Callie in Hyperspace I.  Fake Travis returns to hyperspace.
13. Darius Scott was correct in Dark and Stormy Night; the ability to travel in time is tantamount to immortality.
14. On the bridge of Tulip, Percy, Marcus, and Rudolpho discuss how screwed and doomed they are without the horizon generator.  The ship is losing its structural integrity, and will explode soon, unless they can get out of hyperspace.   Then Callie appears on the bridge.  Nobody is surprised to see her.
15. Fake Travis and Dr. Xeylon return to the Transutopian.  Dr. Xeylon says there is a theoretical, untested way to take the ship out of hyperspace.  Yet time is running out; the warp bubble is collapsing.  Presumably, if the warp bubble collapses, boom!  Dr. Xeylon is finally ready to try her proposed method of exit when the warp bubble collapses.
16. The second season of Starhunter 2300 ended on that cliffhanger.
17. In Hyperspace II (Redux), a new scene placed shortly before that final scene of Hyperspace II (Starhunter 2300) has future Dante and Percy moving tachyons around (I guess that is what they are doing.) and observing the past. Dante remembers that, at the end of Resurrection, when he and the real Travis were in a shuttle falling toward Earth, he (Dante) teleported them into hyperspace.   Shortly after hearing this, Percy, in mid-sentence, disappears.  Or rather, the projection of her disappears.  I interpret her partial sentence to be a reference to Dr. Xeylon’s untested method of taking the Tulip out of hyperspace.
18. The final scene of Hyperspace II (Redux) plays out in a hyperspace diner.  Read farther down in this post for the transcript of that scene, O reader.  The waitress in the scene is a projection of one of the aliens who implanted the Divinity Cluster at the beginning of the first season.
19. The last shot of the episode is of a distortion in outer space.  This shot is recycled from the opening of Rebirth.  In that context, the shot precedes the emergence of the Tulip from hyperspace.  Is this a clue to what will happen in the opening scene of SolSys?  Time will tell, will it not?

THE (FAKE) TRAVIS-PENNY MONTANA CONVERSATION FROM HYPERSPACE II (2004)

Above:  Penny Montana in Hyperspace II (2004)

A Screen Capture

TRAVIS (TO DR. XEYLON):  Because I hate her.

PENNY:  I understand why you hate me.

TRAVIS:  Why are you here?

PENNY:  I’ve always been here.

TRAVIS:  No, you haven’t.

PENNY:  My consciousness is within you, within the Divinity Cluster.  I’ll be with you as long as you live.

TRAVIS:  Well, thanks to you, I’m a Divinity Cluster freak and a Raider, the very people who killed you.

PENNY:  Then you’ve gained your revenge on me.

TRAVIS:  I think you’ve missed the point.

PENNY:  You think I meant for this to happen to you?

TRAVIS:  I’d like to think not.  The truth is, I actually don’t know.

PENNY:  Your heart is looking for someone to blame.  I had no idea my experiments would affect you.  And I’m sorry they did.  But you must accept that accident and allow the possibilities of this life, not the the one you might have had.

Penny touches Travis’s face.

PENNY:  I’m always with you.

Penny vanishes.

TRAVIS:  Wait.  There’s so much more I have to say.

THE (FAKE) TRAVIS-PENNY MONTANA CONVERSATION FROM HYPERSPACE II (REDUX) (2017)

Above:  Penny Montana in Hyperspace II (Redux) (2017)

A Screen Capture

TRAVIS (TO DR. XEYLON):  Because I hate her.

PENNY:  I understand that.

TRAVIS:  Why are you here?

PENNY:  The flow of space, the geometry of time.

TRAVIS:  No, you haven’t.

PENNY:  My consciousness is within you, within the Divinity Cluster.  I’ll be with you as long as you live.

TRAVIS:  Well, thanks to you, I’m a Divinity Cluster freak and a Raider.

PENNY:  Do you think I meant for this to happen to you?

TRAVIS:  I’d like to think not.

PENNY:  It was an accident, Travis.  I had no insight into how my work would affect you.  And I am sorry it did.  But you may find that your powers and your training as a Raider could be of purpose to you.  It may serve you well in the events to come.

Penny vanishes.

TRAVIS:  Wait.  There’s so much more I have to say.

THE HYPERSPACE DINER SCENE

Above:  The Hyperspace Diner

A Screen Capture

The alien/waitress speaks with a distorted voice.

The pictures on the diner wall behind the alien/waitress are scenes from the first season.

WAITRESS:  Been a while.  Where you been?

DANTE:  Staying with my niece.

WAITRESS:  Coffee’s on the house.

Dante drinks coffee.

DANTE:  It’s so good.

WAITRESS:  Have as much of it as you want.

DANTE:  No.  I got too much to do.

WAITRESS:  On a day like this?

Rain begins to fall.

DANTE:  I never saw it rain.  Where are you gettin’ this? Seriously.  From some bit I saw?  Were you there when I met Penny?  Is that why you look like her?

WAITRESS:  You want a top off?

Dante throws the mug.  It shatters then vaporizes.  The waitress has one eye missing.  There is solid black where it was. There there is solid white where the eye was.  The waitresses’s face is obviously a construct.

WAITRESS:  Something different about you, Dante.  You all right?

DANTE:  You could say that.  You see, my niece, she’s been helping me get a good look at myself.  I’ve been trapped here with you for so long the memories are starting to fade.  Let me ask you something.  You have any memories?

The waitress’s face is returning to normal.

WAITRESS:  No need to get sassy.

DANTE:  No, you don’t, do you?  Because it’s all a bunch of now to you people.

WAITRESS: People?  People?  You think we’re some sort of monkeys like you?

DANTE:  Maybe, a long time ago.  But you live in hyperspace now, don’t you?

WAITRESS:  Don’t do this, Dante.

DANTE:  I ought to pity you what you’ve become.  But after what you’ve done to me, to my family, to the whole human race, all I got is race, lady.  I got it all the way down–

WAITRESS:  Wait.

Most of the waitress’s face is missing.  We see outer space where her mouth, nose, and eyes used to be.  Then we see a distortion in outer space.

End credits roll.

Above:  The Distortion in Outer Space

A Screen Capture

MORE SCREEN CAPTURES, IN ORDER

FINAL COMMENTS

Before I complete my Starhunter Redux blogging project, I have at least two more posts to compose and publish.  One will be a second season general post.  The other will be about Starhunter Redux as a whole.

I long for the days I can begin to watch and blog about SolSys.

KENNNETH RANDOLPH TAYLOR

DECEMBER 21, 2019 COMMON ERA