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What l wanna show you right now
is a little bit about how

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the prep process goes for a director.

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This is my office.
Here's what happens first.

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We get preliminary sketches.
These are drawings

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deciding where things are gonna be,
how the sets are gonna be put together.

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The production designer,
Bridget McGuire, puts these together.

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These are her rough sketches
which she'll bring to me.

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There's a concept picture of the grate
that O'Neill will be lying against.

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A full-colour rendition of the windows that
are gonna be in Baal's torture chamber.

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And of course this is the gloss picture

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showing us what, actually,
the torture chamber will look like.

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- Who are you?
- You go first.

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Part of the problem
when you're prepping a show like this

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is that the set isn't built
until often the day before you go in.

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So you can't spend
a lot of time on the set

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figuring out where to put
people, cameras, things like that,

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as you can with the normal
standing sets on the base.

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So they will build us a maquette or model
of the rooms we're gonna be using.

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Here's an example of the maquette
of the torture chamber itself.

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A little O'Neill hanging up over there.
A little Baal sitting underneath here.

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A couple of things this allows me to do.

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One is l can see perspective,
l can see how big the people are

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compared to the set itself.

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lt also allows me to do this.

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l have to figure out what's gonna happen
when we actually shoot O'Neill on this set,

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because we're gonna see it like this.

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We're going to be
shooting O'Neill from here.

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The truth is rewarded.

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l don't know anything else.

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There may be much more of this Kanan
still in your memory than even you know.

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lt'll come to you...

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in time.

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The other set, of course,

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is the corridor set that ends in the cell.

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ln theory, using the maquette as a model,

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l should be able to bring
guards from here around the corner.

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And we should be able
to see this kind of manoeuvre,

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where we see O'Neill standing
at the back of the chamber, on the floor.

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Now, this is really what's gonna sell the
antigravity. Again, this is all in theory.

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(juddering sound)

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This becomes a very complicated shot,
the one l've just done with this camera,

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because, in order to bring
somebody from here to here,

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of course O'Neill can't be standing on the
floor back there, that's not gonna work.

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So the way we're gonna do it is,
we actually take

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a gimballed set right here,

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which is actually
gonna be vertical, like this.

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lt's a second set like the one we built
there, and you shoot from up above.

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l think we probably lose the perspective
on how far from the wall we are.

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And l think this might be a little easier,
cos l certainly cover this.

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And hopefully l'll have this camera

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and be able to show you somewhere in
this ''behind the scenes'' how that works.

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That's the shot.
You've got the shot right there.

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ls it you?

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Hi, Jack.

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Daniel.

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l leave, and look at the mess
you get yourself into.

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- Let's talk about the ascended Daniel.
- Let's!

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- l'm energy now.
- How's that workin' out for you?

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- Good, actually. Very...
- Good.

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Very good.

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lt's not so much...
The important part we're gonna see about

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is not so much what has happened to him

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as how he comes back, in whatever form
he comes back to the show,

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and l think we're still early days

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on working out all the kinks
and trying to figure out exactly what it is.

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lt's a shame you're a delusion.

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No, l'm here. l'm really here.

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Sure you are.

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lt's important that
the character be no different,

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the character be
no omnipotent, angelic person,

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that he's still the pathos-ridden
fool that he always was, and...

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we're just seeing an old friend come back
and talk to a friend and try and be helpful.

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The only difference is,
no one else seems to be able to see him.

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- What if you did a little scouting for me?
- No.

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Not knocking down walls, just a recon.

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- You can't fight your way out.
- Help me.

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- Not that way.
- (unlocking)

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They can see you, right?

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- A distraction. That's all l need.
- l promise.

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Something like that.

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We got a problem here.

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OK, uh, guys?

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l just wanna work on the acting a bit.

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We were, actually, until you interrupted.

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- They were running lines.
- Hey, director boy, just bugger off, eh?

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There's a reason
you people are behind the camera.

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(laughter)

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The goal of the entire episode
was to come up with a solid reason

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for the character to return,
because once Daniel ascended,

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we didn't want him to just be Clarence
the angel that comes and says ''Hi, guys!''

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and helps us out
with a problem we may have.

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l told you l'd come back.

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lf the Daniel Jackson l knew
is really here...

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- l am.
- Then do something.

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Listen to me.

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l don't wanna go through that again.

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- l'd have busted you out. Blown this sh...
- (bleep)

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You can't say that on DVD.

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There's a certain
legal practice of these people

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about how they can interact with
other beings, and there are certain rules,

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and he cannot betray those rules.

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But in this particular circumstance,
he's found - as Daniel always seems to -

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a little bit of a way to use their own...

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to find a loophole in their own rules,
Daniel being a diplomat and a lawyer.

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So l think that's what, at the ending there,
that beat... that's the subtext behind that.

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And... action!

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But you, in the place you're at now,
you don't have any other choices.

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- Except that outfit. Line?
- ''We're not just talking...''

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We're not just talking about your life... Oh,
l'm into it. We're talking about your soul!

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This is it. What l'm offering you
is your only way out.

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You're wrong about that, too.

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- ..kill me again, and you're...
- Don't, don't, don't...

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- You can put an end to it.
- Don't, don't....

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Plane.

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They lock Rick and l in a room to act
and don't give us any damn props.

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l think it was on purpose. Or furniture.
Nothing to hide behind, grab, play with.

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Show me how Daniel Jackson
disappears in this scene.

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What is that over there?

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(laughter)

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lt's like some kind of weird TV magic.

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You should see the card tricks
you could do. Amazing.

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l wanna have him walk
down the wall on this one.

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- Why don't we just keep going?
- OK.

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- lf you don't mind?
- l can't wait to see you walk down it.

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OK?

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You just bend over,
and we'll lift you up. OK?

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l don't wanna play this any more!
l got the job!

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- One guy...
- Oh, damn! Oh!

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OK. And walk.

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That's risky. That's a Greek reverse.

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l think to come back in
is great at this particular point.

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lt's early in the season, everybody's still
fresh and happy and bubbly and cheerful.

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And to come back here
is like a homecoming of sorts.

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lt's just different.
lt's definitely a strange dynamic.

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lt'll be a lot stranger when l leave again.

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But it's always... lt's a home l love to
come back to, and to see the same faces.

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Everyone's been great. lt was wonderful.
That's the best way l could put that.