1
00:00:26,207 --> 00:00:30,200
Well, we used to write for animation.
I guess that's where we got started.

2
00:00:30,287 --> 00:00:33,836
We wrote, did some producing,

3
00:00:33,927 --> 00:00:38,796
and developing shows for animation,
and story-edited, as well.

4
00:00:38,887 --> 00:00:42,880
In fact, we met in a creative writing class.

5
00:00:42,967 --> 00:00:47,006
- (Paul) Not a screenwriting class, though.
- Short stories.

6
00:00:47,807 --> 00:00:50,879
It's not all that interesting,
I'll be honest with you.

7
00:00:50,967 --> 00:00:53,640
That story
was going to be really interesting.

8
00:00:53,727 --> 00:00:59,563
We wrote a feature together, then Paul
was going to do his PhD in Toronto.

9
00:00:59,647 --> 00:01:01,444
(Paul) That's not true.

10
00:01:01,527 --> 00:01:05,406
That's what you were gonna do
if you weren't gonna be a writer.

11
00:01:05,487 --> 00:01:07,239
Cut. Start again.

12
00:01:07,327 --> 00:01:10,842
(Joseph) You were going to.
Isn't that what you planned to do?

13
00:01:10,927 --> 00:01:13,760
(Paul) I was gonna do a PhD,
but it wasn't in Toronto.

14
00:01:13,847 --> 00:01:18,159
- (Joseph) You mentioned Toronto.
- There was nothing definite.

15
00:01:18,247 --> 00:01:22,365
I studied history,
and I was going to do a PhD.

16
00:01:22,447 --> 00:01:24,642
Joe was going to become...

17
00:01:24,727 --> 00:01:29,562
- An astronaut. That was top of my list.
...a high-school teacher.

18
00:01:29,647 --> 00:01:32,286
He was well on his way
to becoming a teacher

19
00:01:32,367 --> 00:01:34,722
when we had an idea for a script.

20
00:01:34,807 --> 00:01:40,916
A kind of science-fiction action comedy.

21
00:01:41,007 --> 00:01:44,044
Pizzaman, 2017.
If he's not there in 30 minutes, he's dead.

22
00:01:44,127 --> 00:01:47,722
- That was the pitch.
- That was the log line.

23
00:01:47,807 --> 00:01:50,605
No one has ever made that script,
and never will.

24
00:01:50,687 --> 00:01:55,556
- But it got us...
- It opened a lot of doors for us.

25
00:01:55,647 --> 00:01:59,276
That's what got us our first job
on a show called Student Bodies,

26
00:01:59,367 --> 00:02:03,360
which I'm sure many of the fans
are familiar with.

27
00:02:04,287 --> 00:02:09,407
We were producers, and ended up
writing a third of the episodes produced.

28
00:02:09,487 --> 00:02:14,003
(Paul) And the same script got us,

29
00:02:14,087 --> 00:02:18,922
through our agent,
connected to Robert Cooper.

30
00:02:19,007 --> 00:02:24,525
He and Brad, at the end of season three
of "Stargate", were looking for writers.

31
00:02:24,607 --> 00:02:30,557
They read our spec script, and liked it
enough to get us to pitch for the show.

32
00:02:30,647 --> 00:02:33,639
This is too weird.

33
00:02:33,727 --> 00:02:37,117
OK. Get it all out of our system.

34
00:02:43,367 --> 00:02:46,677
We've written approximately 35 episodes
for Stargate to date.

35
00:02:46,767 --> 00:02:48,359
- Really? 35?
- Yeah.

36
00:02:48,447 --> 00:02:50,039
(Joseph) We wrote...

37
00:02:50,127 --> 00:02:55,679
For the first three years we worked
on the show we wrote scripts together,

38
00:02:55,767 --> 00:03:00,045
but this year, just because
we've been so pressed for time,

39
00:03:00,127 --> 00:03:03,915
and we've had to, essentially,
produce 40 hours of television,

40
00:03:04,007 --> 00:03:07,238
for the first time
we've been writing scripts separately.

41
00:03:07,327 --> 00:03:13,721
First draft separately, and then
doing passes on one another's drafts.

42
00:03:13,807 --> 00:03:15,763
Before, we used to...

43
00:03:15,847 --> 00:03:21,285
It was good creatively, because
we would bounce ideas off each other.

44
00:03:21,367 --> 00:03:25,440
Just kind of run dialogue with each other,
and things like that.

45
00:03:25,527 --> 00:03:28,724
That was good. This year,
we've been splitting the workload,

46
00:03:28,807 --> 00:03:31,082
because the workload has been so heavy.

47
00:03:35,367 --> 00:03:37,039
Favourite episodes?

48
00:03:37,127 --> 00:03:40,836
There are some good episodes
in season eight. "It's Good to Be King"

49
00:03:40,927 --> 00:03:44,806
finds Harry Maybourne on the planet
that the Tok'ra dropped him off at.

50
00:03:44,887 --> 00:03:50,245
It's kind of a fun scenario. I've always
liked those more humorous "Stargates".

51
00:03:50,327 --> 00:03:54,798
Usually, any one that involves Maybourne
is a pretty good episode.

52
00:03:54,887 --> 00:03:59,324
(Paul) I liked "Point of No Return" a lot.
Was that our first season?

53
00:03:59,407 --> 00:04:01,796
Season four or five?

54
00:04:01,887 --> 00:04:09,077
For some reason, that one just turned out
almost exactly the way I imagined it,

55
00:04:09,167 --> 00:04:12,125
which almost, well,
in fact, never happens.

56
00:04:13,007 --> 00:04:17,478
Not to say that's a bad thing.
A lot of times, things turn out a lot better.

57
00:04:17,567 --> 00:04:21,401
But that one, right down
to the tone of the dialogue,

58
00:04:21,487 --> 00:04:26,322
to the delivery, to the guest cast,

59
00:04:26,407 --> 00:04:31,401
everything just fell together so perfectly
that it just stands out in my mind

60
00:04:31,487 --> 00:04:36,561
as a rare example of our vision
really just coming out

61
00:04:36,647 --> 00:04:40,242
exactly the way we thought about it
when we were writing it.

62
00:04:40,327 --> 00:04:43,603
Writing for sci-fi in general,
I think, is difficult

63
00:04:43,687 --> 00:04:48,124
because, as open-ended
as science fiction is,

64
00:04:48,207 --> 00:04:54,203
there are certain areas of science fiction
that are standard.

65
00:04:54,287 --> 00:04:57,359
I don't want to say they're clichés,
I don't want to diss it,

66
00:04:57,447 --> 00:05:03,158
but there are things like time travel, and
clonings and robots and things like that

67
00:05:03,247 --> 00:05:07,957
that are just standard vocabulary,
if you will, for science fiction.

68
00:05:08,047 --> 00:05:12,757
They're used by all the different science
fiction shows that are out there.

69
00:05:12,847 --> 00:05:17,762
There are a lot of shows out there, and
science fiction fans watch all the shows.

70
00:05:17,847 --> 00:05:22,238
They know there's a big weight of stories

71
00:05:22,327 --> 00:05:28,004
that have been told since TV started, cos
science fiction has always been around.

72
00:05:28,087 --> 00:05:34,606
What we do is make it particular to
our Stargate universe or our characters.

73
00:05:34,687 --> 00:05:37,645
"Window Of Opportunity"
was our first episode.

74
00:05:37,727 --> 00:05:40,764
We pitched it out as a time loop.
I remember Brad saying:

75
00:05:40,847 --> 00:05:44,442
"We can't do this episode.
This is like that episode of "Star Trek",

76
00:05:44,527 --> 00:05:46,802
"where they're in the time loop."

77
00:05:46,887 --> 00:05:50,004
So we had to make it
particular to the "Stargate" universe.

78
00:05:50,087 --> 00:05:55,286
We had O'Neill and Teal'c caught in the
loop. It's actually these two guys who...

79
00:05:55,367 --> 00:05:58,359
Usually, Daniel's the one
who's translating the text,

80
00:05:58,447 --> 00:06:01,007
or Carter's figuring out
the scientific angle,

81
00:06:01,087 --> 00:06:06,445
but since they're not in the loop,
it falls on O'Neill and Teal'c,

82
00:06:06,527 --> 00:06:12,796
as the unlikely go-to guys in this event
who have to figure out the translation,

83
00:06:12,887 --> 00:06:19,406
or figure out the scientific explanation
and explain it to Carter.

84
00:06:19,967 --> 00:06:22,435
Excuse me. George.

85
00:06:22,527 --> 00:06:24,802
Colonel, what are you doing
out of uniform?

86
00:06:24,887 --> 00:06:28,800
- Handing you my resignation.
- Resigning? What for?

87
00:06:28,887 --> 00:06:31,959
So I can do this.

88
00:06:36,087 --> 00:06:41,036
You have to be careful not to just toss off
clichés and treat them like clichés.

89
00:06:41,127 --> 00:06:46,247
You have to play with them a little bit, and
make them fun and interesting and new.

90
00:06:46,327 --> 00:06:48,238
That is always a challenge.

91
00:06:48,687 --> 00:06:54,125
Essentially, what happens in this story
is the Tok'ra come to us.

92
00:06:54,207 --> 00:06:57,438
The Goa'uld's about to win the war
against the System Lords.

93
00:06:57,527 --> 00:06:59,802
The System Lords
are gonna be wiped out.

94
00:06:59,887 --> 00:07:05,280
As a means to seek sanctuary, they
check out all the old abandoned planets.

95
00:07:05,367 --> 00:07:09,042
One of these planets is the planet
where the Tok'ra left Maybourne.

96
00:07:09,127 --> 00:07:12,563
So SG-1 goes to meet the natives,
who don't want to talk.

97
00:07:12,647 --> 00:07:16,720
They say, "You come meet the king."
So SG-1 goes to the king's chambers.

98
00:07:16,807 --> 00:07:21,005
We reveal the king, who is none other
than Maybourne. End of tease.

99
00:07:21,087 --> 00:07:24,841
First act, we find out how Maybourne
has set himself up as king,

100
00:07:24,927 --> 00:07:27,043
he takes us to these ruins.

101
00:07:27,127 --> 00:07:29,766
It turns out the ruins
are written in Ancient,

102
00:07:29,847 --> 00:07:34,921
and one of the tablets is a repository
of the history of this planet -

103
00:07:35,007 --> 00:07:36,884
past, present and future.

104
00:07:36,967 --> 00:07:41,597
Essentially, what Maybourne has done
is he's predicted things like a flood,

105
00:07:41,687 --> 00:07:44,565
and made various prophesies.
He's won over the people.

106
00:07:44,647 --> 00:07:47,878
He saved the village. They made him king.
He lives the good life.

107
00:07:47,967 --> 00:07:52,757
SG-1 says, "We gotta get out of here.
We're not staying to fight these Goa'uld."

108
00:07:52,847 --> 00:07:56,886
Of course, Daniel being Daniel,
he wants to stay and check things out.

109
00:07:56,967 --> 00:08:00,164
Carter says, "Check out the ruins,
we'll come back for you."

110
00:08:00,247 --> 00:08:03,603
Daniel translates the ruins,
finds out what this is.

111
00:08:03,687 --> 00:08:06,804
It's the ground station
for an Ancient time-travel device.

112
00:08:06,887 --> 00:08:13,042
Hidden beneath the brush is the Puddle
Jumper, an Ancient time-travel device.

113
00:08:13,127 --> 00:08:18,042
O'Neill arrives on the scene cos we need
an Ancient to operate the Puddle Jumper.

114
00:08:18,127 --> 00:08:20,960
He takes it out for a spin
and ends up crashing it.

115
00:08:21,047 --> 00:08:25,040
He says, "Abandon it for now, we've got
to go. The Goa'uld are on their way."

116
00:08:25,127 --> 00:08:28,642
They end up surrounded by natives
who don't want their king to leave.

117
00:08:28,727 --> 00:08:31,719
Picking up in act three, SG-1 is in a cell.

118
00:08:31,807 --> 00:08:35,595
Maybourne feels bad, but he doesn't
want to leave his people, his rule.

119
00:08:35,687 --> 00:08:40,920
His wives. So O'Neill says, "There's
no guarantee you'll survive this attack."

120
00:08:41,007 --> 00:08:45,319
Maybourne gives in. He gives a big
speech to his people and says goodbye.

121
00:08:45,407 --> 00:08:47,477
He and SG-1 head to the Stargate.

122
00:08:47,567 --> 00:08:51,242
By the time they get to the Stargate,
the Goa'uld are stepping through.

123
00:08:51,327 --> 00:08:55,479
They're too late. Top of act four,
the Goa'uld come, they meet Maybourne.

124
00:08:55,567 --> 00:08:59,480
They make demands of him. O'Neill
and Teal'c are disguised as commoners.

125
00:08:59,567 --> 00:09:05,881
Cut to the forest where Carter and Daniel
are working on the Puddle Jumper.

126
00:09:05,967 --> 00:09:09,164
O'Neill and Maybourne decide
at the big feast tonight,

127
00:09:09,247 --> 00:09:14,526
Maybourne's gonna plan to sort of knock
out the Goa'uld by poisoning their drink.

128
00:09:14,607 --> 00:09:18,441
Happy ending. Back in the forest,
the Goa'uld discover the ruins.

129
00:09:18,527 --> 00:09:22,202
Daniel sees this. Carter has fixed it.
She says, "We gotta test it."

130
00:09:22,287 --> 00:09:25,677
They contact O'Neill.
Cut to Maybourne with Teal'c,

131
00:09:25,767 --> 00:09:29,760
and the Goa'uld arrive on the scene.
They found out about the plot.

132
00:09:29,847 --> 00:09:34,841
They discover Teal'c in disguise, and
they decide to kill Maybourne and Teal'c.

133
00:09:34,927 --> 00:09:40,559
So this is where you, the fans, come in.
This is the make-up-the-fifth-act contest.

134
00:09:40,647 --> 00:09:44,276
Unless you have a really good idea.

135
00:09:47,807 --> 00:09:52,722
We oversee all aspects
of an episode's production.

136
00:09:53,327 --> 00:09:56,080
We get the script, we'll do a pass,

137
00:09:56,167 --> 00:10:02,276
we oversee the concept meeting where
all the department heads get together.

138
00:10:02,367 --> 00:10:05,723
The art department,
Props, Visual Effects, et cetera.

139
00:10:05,807 --> 00:10:11,120
We go through the script, scene by scene,
and decide what we want to do.

140
00:10:11,207 --> 00:10:16,076
And then we take meetings
with the various individual departments.

141
00:10:16,167 --> 00:10:21,525
We'll cast the episode, and then
we'll have the final production meeting -

142
00:10:21,607 --> 00:10:24,724
the meeting right before
we actually shoot.

143
00:10:24,807 --> 00:10:28,038
We'll look at dailies,
and once the director's done his cut,

144
00:10:28,127 --> 00:10:31,563
we'll go in and do our pass,
and do our producers' cut.

145
00:10:31,647 --> 00:10:33,877
So it's basically all prep and post.

146
00:10:33,967 --> 00:10:37,801
We don't really do anything during
the actual shooting of the episode.

147
00:10:37,887 --> 00:10:42,756
Usually by that time
we're writing an episode down the line.

148
00:10:42,847 --> 00:10:45,964
We do all the prep.
We have a week of prep, officially,

149
00:10:46,047 --> 00:10:48,959
although we'll start earlier
for a bigger episode,

150
00:10:49,047 --> 00:10:52,244
get the art department going on sets,
and things like that.

151
00:10:52,327 --> 00:10:56,286
As he said, we run all the meetings
with all the different department heads,

152
00:10:56,367 --> 00:11:00,883
then they shoot for a week, and
we do nothing except watch the dailies.

153
00:11:00,967 --> 00:11:04,801
Once they've got all the film in the can,

154
00:11:04,887 --> 00:11:08,163
we go into the editing room
and start working again.

155
00:11:08,247 --> 00:11:13,640
Cut the show. This is all a collaborative
process with Brad and Robert.

156
00:11:13,727 --> 00:11:16,924
We get notes from Michael Greenburg.

157
00:11:17,007 --> 00:11:20,761
I don't want to make it sound
like we're making all these decisions.

158
00:11:20,847 --> 00:11:27,639
We run these meetings, and do the cut,
but with the contribution of other people.

159
00:11:27,727 --> 00:11:31,037
It's a very collaborative process.

160
00:11:31,127 --> 00:11:36,247
Once we cut it, it goes off
to various postproduction things,

161
00:11:36,327 --> 00:11:39,160
like visual effects, sound, music.

162
00:11:39,247 --> 00:11:42,603
Then we get mixes back. We watch those.

163
00:11:42,687 --> 00:11:46,760
Give notes on any possible problems
with the sound and the music.

164
00:11:46,847 --> 00:11:50,044
We see the visual effects
through their various stages.

165
00:11:50,127 --> 00:11:53,164
They do temp visual effects.
They show them to us.

166
00:11:53,247 --> 00:11:57,206
We'll tweak them here and there,
make suggestions for changes.

167
00:11:57,287 --> 00:12:01,997
They'll keep bringing us more versions
that are closer to the final product,

168
00:12:02,087 --> 00:12:04,681
and then, eventually,
you've got an episode.

169
00:12:21,207 --> 00:12:25,962
They have a lot of leeway,
especially Richard Dean Anderson.

170
00:12:26,887 --> 00:12:30,960
I mean...
Consider the script a blueprint, really.

171
00:12:31,047 --> 00:12:36,280
We've heard stories from actors or writers
who have come to work on Stargate,

172
00:12:36,367 --> 00:12:40,565
and told us that they're amazed
at what the actors will get away with.

173
00:12:40,647 --> 00:12:42,922
Cos on network shows, and things...

174
00:12:43,007 --> 00:12:46,477
I mean, Chris used to work
for ABC on a show,

175
00:12:46,567 --> 00:12:52,802
and he's told us if they wanted
to change a single word it was a big deal.

176
00:12:52,887 --> 00:12:57,677
You have to call down to the producers,
and they would discuss the change.

177
00:12:57,767 --> 00:13:00,679
We're a little bit more open-minded here.

178
00:13:00,767 --> 00:13:05,204
It's occasionally a pleasant surprise
to watch dailies and see:

179
00:13:05,287 --> 00:13:07,960
"Hey, that wasn't the line we wrote."

180
00:13:08,047 --> 00:13:10,686
We love it when they do that.

181
00:13:10,767 --> 00:13:15,204
They always bring some fresh new angle
to it that we never expected or never saw.

182
00:13:15,287 --> 00:13:21,157
We're always pleasantly surprised.
We think, "I wish I'd written that."

183
00:13:29,327 --> 00:13:32,637
- (Paul) Good question.
- (Joseph) Those loveable Furlings.

184
00:13:32,727 --> 00:13:37,164
Boy, so many times we've tossed around
ideas for the Furlings.

185
00:13:37,247 --> 00:13:42,367
It never gets much past the idea
of little bears, dancing in the woods.

186
00:13:42,447 --> 00:13:46,440
- That's his impersonation of a Furling.
- They're dead, though, sadly.

187
00:13:46,527 --> 00:13:50,486
We have no idea what the Furlings
look like. We imagined little bears.

188
00:13:50,567 --> 00:13:55,004
They could be eight-foot tall,
very gaunt, skeletal figures.

189
00:13:55,087 --> 00:13:59,444
- It doesn't sound like it from the name.
- We were going to touch on the Furlings

190
00:13:59,527 --> 00:14:02,644
in an episode called "Paradise Lost".

191
00:14:02,727 --> 00:14:05,321
Maybourne and O'Neill
are stranded offworld.

192
00:14:05,407 --> 00:14:11,357
They discover the remnants
of a people, who...

193
00:14:11,447 --> 00:14:16,282
In the first draft, I think it was suggested
they were the Furlings.

194
00:14:16,367 --> 00:14:20,997
- What happened? I don't remember.
- It didn't survive. So...

195
00:14:21,087 --> 00:14:27,435
I guess... Think of the Furlings like the
contents of the briefcase in Pulp Fiction.

196
00:14:27,527 --> 00:14:29,483
It will always remain a mystery.

197
00:14:29,567 --> 00:14:33,037
Those Care Bears of outer space
are out there somewhere.

198
00:14:33,127 --> 00:14:35,561
Who knows? Maybe season nine.

199
00:14:42,887 --> 00:14:47,119
I remember mentioning this once,
and I was raked over the coals on line.

200
00:14:47,207 --> 00:14:49,198
They were like, "Of course it exists."

201
00:14:49,287 --> 00:14:53,200
I don't know what they said it stood for,
but Brad and Robert made it up.

202
00:14:53,287 --> 00:14:57,485
Originally, the acronym was NRD -
"Not a Real Department",

203
00:14:57,567 --> 00:15:03,085
and the changed it to NID,
because they felt it sounded better.

204
00:15:03,167 --> 00:15:04,361
So...

205
00:15:04,447 --> 00:15:08,042
NID - the National Intelligence Directorate.

206
00:15:09,047 --> 00:15:11,242
He's lying. It is a real department,

207
00:15:11,327 --> 00:15:14,399
we're just not at liberty
to tell you what it stands for.

208
00:15:23,207 --> 00:15:27,405
I'm not sure what you mean, Raeshele.
"Hook up 'in that way"'?

209
00:15:27,487 --> 00:15:30,126
Well, they kissed.

210
00:15:30,207 --> 00:15:34,200
There were many time loops
that we didn't see all the details of.

211
00:15:34,287 --> 00:15:37,836
Lots of stuff could have gone on,
I don't know. What do you think?

212
00:15:37,927 --> 00:15:41,761
I really don't have an opinion,
one way or another.

213
00:15:41,847 --> 00:15:45,237
- That's a question for Amanda.
- If it did happen,

214
00:15:45,327 --> 00:15:48,000
he made sure to retire
from the air force first.

215
00:15:48,087 --> 00:15:52,842
Because otherwise, that would
have been breaking regulations.

216
00:16:02,167 --> 00:16:06,399
To be honest,
even if ideas are dismissed,

217
00:16:06,487 --> 00:16:10,196
they're really shelved,
and they are usually...

218
00:16:10,287 --> 00:16:14,803
Every idea we've ever had has found
its way into one episode or another.

219
00:16:14,887 --> 00:16:19,677
Just because we've been here for so long,
we've done so many episodes,

220
00:16:19,767 --> 00:16:23,840
that everything that we pitch out...
I can't think of a pitch that we...

221
00:16:23,927 --> 00:16:27,966
The musical I've been pitching
hasn't really been picked on.

222
00:16:28,047 --> 00:16:31,517
Season nine. Don't blame us
if the musical doesn't happen.

223
00:16:31,607 --> 00:16:36,556
We'll do the musical episode
the same season

224
00:16:36,647 --> 00:16:42,119
that we do the telepathic dog episode
that I've been pitching out.

225
00:16:44,887 --> 00:16:47,355
Thanks.
Thanks for watching season eight.

226
00:16:47,447 --> 00:16:52,123
Thanks for picking up this box set
and keeping us employed.

227
00:16:52,207 --> 00:16:56,405
We need jobs after this. Please,
if you have any recommendations.

228
00:16:56,487 --> 00:17:01,242
I mean, I've done a bunch of stuff. I might
be going to cooking school afterwards.

229
00:17:01,327 --> 00:17:05,161
I haven't decided yet.
I'm just thinking about it.

230
00:17:06,247 --> 00:17:11,037
Get in touch with me on line, whatever.
Willing to travel.

231
00:17:11,127 --> 00:17:16,565
The fans love this kind of stuff. The thing
fans requested most is producer outtakes.

232
00:17:16,647 --> 00:17:19,639
Hi, and welcome to Outlining 101.

233
00:17:19,727 --> 00:17:24,676
You have to have an actual
outline of story,

234
00:17:24,767 --> 00:17:26,758
which in this case is problematic.

235
00:17:26,847 --> 00:17:29,281
So we won't go there.
We need a black marker.

236
00:17:29,367 --> 00:17:34,680
Green, reds, can do the trick, but they're
not really as good. I would avoid yellow.

237
00:17:34,767 --> 00:17:40,125
This is when you come in. You're fresh
in the morning, you start writing.

238
00:17:40,207 --> 00:17:45,884
It's around the middle of the second act
when you realise it isn't working,

239
00:17:45,967 --> 00:17:50,677
and you've done this for nothing, but
you just forge ahead and make stuff up.

240
00:17:50,767 --> 00:17:54,442
"Oh, my God. None of this is gonna work.
I have to write bigger."

241
00:17:54,527 --> 00:17:56,995
We just came back
from the Saturn Awards in LA.

242
00:17:57,087 --> 00:18:03,606
We won for best cable-syndicated series
and-or spoken-word album.

243
00:18:03,687 --> 00:18:05,917
It's covered in Saturn.

244
00:18:06,007 --> 00:18:08,396
- Best...
- Where do you want these?

245
00:18:08,487 --> 00:18:11,126
Shall we just put it...? That was wrong.

246
00:18:12,007 --> 00:18:15,283
Is something wrong with this water?

247
00:18:15,367 --> 00:18:18,723
- Sorry. I'm ready.
- He's trying to ask some questions.

248
00:18:18,807 --> 00:18:19,319
ENHOH