Spoiler Warning: The commentary found here discusses events in this episode and beyond.  Read at your own risk!


Episode 12: "Strife on Earth"

Writer:  Joe Rovang

This episode was completed on September 7, 2006, and released on May 24, 2008.  Its title refers to both chaos in general and the actual Strife character (though curiously, if this series were actually produced, the audience wouldn't hear Strife's name until episode 16).

[ Sentai footage is from Jetman #14 unless otherwise noted. ]

In Jetman, the Snapshot plot spanned two episodes (Jetman #13 and 14), but as I edited out unusable footage, I was left with little coherent footage from Jetman #13, and in fact this episode of Take Flight exclusively uses footage from battles in Jetman #14.

In Jetman #13 (not adapted), Black is jealous as White fawns over Red on his birthday, but Red is oblivious, continuing to grieve over his fiancée.  Maria (Sasha), meanwhile, astounds Gray (Strife) and herself by playing the piano masterfully.  She then creates a camera monster (Snapshot) which ultimately traps White inside Maria's photo album.

In Jetman #14, Black fails to convince Maria to release White.  The Rangers' battle with Snapshot is then interrupted by Gray (Strife), and the monster captures Yellow and Blue as well.  Red and Black modify Red's vehicle to transform into a new weapon (the Phoenix Cannon), but Black goes into battle alone.  Red then arrives with the Phoenix Cannon, but Gray protects Maria once again; she drops the album, however, and the monster's victims are freed.  The Rangers then destroy Snapshot, and Gray carries Maria home.

[ Fade in to INT. MAGGIE'S APARTMENT (NIGHT) - The scene continues from the previous episode, with the addition of a casually dressed LUKE joining PETE and MAGGIE on the couch.  CHRIS remains on a stool at the counter, while CASEY sits alone on the love seat. ]

As in the previous episode, this scene and the next take place on the evening of Wednesday, May 20, 1992.

Luke is now present, apparently having arrived not long ago.  He intended to tell the others about his concerns about Dr. Bering at this meeting, but Casey's news has apparently taken priority (or he just didn't want to talk about it much to begin with).

They want you to leave?  Why?

As mentioned at the end of the previous episode, Casey's parents want her to leave Spring Valley.

[ CASEY is still somewhat distraught, her eyes still pink and teary.  She has a tissue already wadded up in her hand. ]

They say it's too dangerous.  That forcefield on Saturday was all over the news, and now they've got all these reports on the latest monster sightings, and... (sniffles)  They want me to move back to Fairplain by the end of the week.

The forcefield on Saturday references Magda's dome in episode 9.  The monster reports will be seen in further detail in episode 13.

Fairplain's real-world counterpart is Fremont, CA.

Ummm... okay.  Well, not to be harsh, but... who cares what they think?

In his own irreverent way, Chris is sticking up for Casey out of personal friendship; he still doesn't know she has a crush on him.

(sniffles)  Well, they're kind of paying for most of my rent...

Casey's parents were always intended to be wealthy.  This may have been an intentional similarity to Jetman, but I don't recall at this point.  In any case, she is not the wealthy heiress which White Ranger was.

[ CHRIS looks to the others, then back at CASEY. ]

... Really?

[ CASEY looks down bashfully.  In the background, LUKE slinks back in the couch, apparently trying to escape attention. ]

The subtext here is that Luke also receives (or received) help paying his rent.

[ CHRIS shrugs and returns his attention to CASEY. ]

CHRIS (cont'd):
All right, so what'd you tell them you were gonna do?

I told them I'd think about it.

You're joking.

[ CASEY is silent. ]

[ PETE looks to the others searchingly, but they offer no assistance. ]

[ CASEY rises. ]

I'm sorry, guys.  (wearily heads to the door)  I just need to... sleep on it, okay?

MAGGIE (at a loss for words):
Um... okay....

[ As the door opens and then closes (off-screen), the four HEROES look at one another. ]

I never considered that Casey might actually leave the team.  This dilemma merely arose because I felt it would be realistic for at least one of the Rangers' families to grow concerned over alien activity in the city.

[ INT. SPACE STATION, DILLIK'S QUARTERS - In Dillik's bedroom (see episode 6), DILLIK lies flat on his back in his web-bed, dressed in his normal night attire (also see episode 6).  He stares straight up at the ceiling as the lighting in the room slowly changes hues. ]

[ Soon, DILLIK tosses and turns vigorously.  He quickly grows aggravated with his fluffy bedding and struggles with it out of frustration.  He finally throws the top layer to the floor and lies exhausted in a heap, somewhat out of breath.  He continues to stare off into the distance, lost in thought. ]

[ Flash to INT. SPACE STATION COMMAND, from the previous episode: ]

SASHA (in Dillik's direction):
Who is this worm?

Dillik, my queen.  He is insignificant.

[ DILLIK sulks, looking down at the floor. ]

[ We cut to SASHA being led away by TRASK; as she passes DILLIK, she catches his eye and smiles slightly before looking away. ]

[ INT. SPACE STATION, DILLIK'S QUARTERS - DILLIK furrows his brow in protest. ]

DILLIK (pouting):
I am not insignificant.

[ INT. SPACE STATION CORRIDOR - We cut to a shot of the closed door to Dillik's lab.  As DILLIK, now clad in his normal exo-suit, enters the frame, the door slides open, revealing his lab within (if seen from this angle, STRIFE remains in his previous position in the corner, covered with a white sheet, while DR. BERING's cryogenic container stands in another corner).  Looking back furtively down the hallway, DILLIK then slips into his lab, and the door seals behind him. ]

Strife was always meant to be a secret identity maintained by Dillik.

[ INT. CASEY'S BEDROOM (NIGHT) - In a darkened room of similar decor to her living room (see previous episode), CASEY crawls under her blanket wearing a pink pajama outfit.  Pulling the blanket up to her chin, she continues to lie on her back and stare at the ceiling, lost in thought.  She eventually turns onto her side and reluctantly closes her eyes. ]

Intentional parallel with Dillik's nighttime unrest.

[ Dissolve to EXT. APARTMENT BUILDING (MORNING) - The apartment building is lit in soft morning light. ]

The rest of this episode takes place on Thursday, May 21, 1992, the next day.

[ INT. LUKE'S APARTMENT (MORNING) - LUKE is speaking on the phone, wearing non-work clothes.  He is dressed for a moderately warm day. ]

... I know.  I'm really sorry, Ms. Gillespie.  It's a... serious personal emergency.  (listens)  Yes, ma'am.  (nods)  Okay.  (listens)  Okay.  Thank you.

Frieda may or may not have deduced Luke's identity by this point (see episode 17).  I had not yet planned for her to discover his identity when I wrote this episode, but I was mulling over the idea of one of the Rangers' bosses making this realization.

[ LUKE hangs up the phone and ponders a moment. ]

Picking up from episodes 10 and 11, Luke remains concerned for Dr. Bering, and he now intends to research the space station before venturing there, his impulsive first attempt at leaving having been derailed by Barry (episode 11).

[ EXT. APARTMENT BUILDING (MORNING) - At street level, we see LUKE emerge from the apartment entrance, descend the steps, and look down the street to his right.  He then begins walking off briskly in that direction, his hands in his pockets. ]

[ Behind him, coming from the opposite direction in workout clothes, a gym bag in her hand, is CASEY.  She is sweaty and slightly disheveled from a workout.  Noticing Luke (off-screen by this point), she curiously peers in his direction before entering the building. ]

Casey's morning workout routine was first seen in episode 4.

[ INT. APARTMENT HALLWAY - Entering from the stairwell, CASEY approaches her door (5C), her keys in her free hand.  As she prepares to unlock her door, she hears a commotion from further down the hall.  She sets down her gym bag and follows the noise to Barry's door (5G), where BARRY's indistinct yelping can be heard amidst the clatter inside. ]

[ CASEY curiously knocks on the door. ]

Barry...?  Is that you?

[ In a moment, the door opens long enough for BARRY to stagger into the hallway and quickly close it behind him, panting exhaustedly.  He has a new bandage over his nose (see previous episode) and a few more on his fingertips and knuckles. ]

Barry had a bandage on his nose from a squirrel bite in episode 11.

BARRY (acting casual as he catches his breath):
Oh, hey, Casey...

CASEY (concerned, taking his hand to examine it):
Barry!  My gosh, are you okay?

[ BARRY shrugs and reclaims his hand, awkwardly using it to brush his hair back. ]

What...?  Oh, yeah, I'm fine.  (shaking his head dismissively)  It's just... you know...

Barry doesn't exhibit many signs of his crush on Casey in this scene, instead being concerned for Mr. Whiskers.

What is it?

Mr. Whiskers just hasn't been himself lately.

Is he sick...?

No, I think he's just... "grown-up" now, you know?

While reading about keeping squirrels as pets while writing episode 5, I took note that some pet squirrels can become aggressive once they reach maturity.  I decided to place that event here as a second Casey-Barry focus, but it also served to get Mr. Whiskers out of the apartment before its destruction (episode 13).


BARRY (absently):
The past week, he's just... (troubled, to Casey)  I think he'd be happier somewhere else.

[ CASEY makes a thoughtful expression. ]

CASEY (delicately):
Have you... thought about taking him to, like, the wildlife center downtown...?

In real life, there is at least one wildlife center in Oakland (Oakland Animal Services), but it opened in 1999.

BARRY (dejectedly, with a sigh):
I know... I should've taken him there when I found him, but I got attached to him, and now I don't know if it's too late...

Well, no...  I mean, that's what they do... help animals get ready to go back into the wild.  (optimistically)  Plus it sounds like Mr. Whiskers still has enough of his wild instincts...

Yeah...  But won't I get in trouble though?  I've been keeping him all this time without a license...

Barry is not a licensed wildlife rehabilitator; therefore, it has been illegal for him to keep Mr. Whiskers as a pet.

I dunno.  They're probably more interested in finding what's best for Mr. Whiskers, you know?


[ As BARRY mopes, CASEY sympathetically touches his arm.  He briefly glances at her touch but ultimately listens to what she has to say. ]

Hey, you did a good job taking care of him while his leg healed.  You did all your research, you gave him everything he needed...  But now what he needs is to get out there on his own, run around, climb trees, bark at other squirrels...  (taken aback)  Oh, wow, I'm totally going nuts, because that's starting to sound like good advice for me too.

It may come as a surprise to some that squirrels make barking sounds, but I ran with it anyway.

Casey's "did all your research" remark pertains to the care he took in meeting Mr. Whiskers' recreational needs, as discussed in episode 5.

The squirrel and parent subplots were originally unrelated, but I managed to tie them together as I wrote this episode; this helped give Barry's events more relevance to the episode.

[ BARRY furrows his brow. ]

You want to climb trees and bark at squirrels?

[ CASEY grins. ]

CASEY (teasingly):
... Maybe!

[ Briefly smiling, BARRY grows solemn again. ]

I do need to take him to the wildlife center though.  I've kept putting it off and putting it off...

[ From inside, we hear the sound of a lamp breaking.  BARRY rolls his eyes before continuing: ]

I continue my trend of throwing in interruptions at unexpected places in the surrounding dialog, rather than the customary stopping points where interruptions are often placed in fiction.

BARRY (cont'd):
... I guess I just didn't want to think about it.

[ CASEY nods sympathetically. ]

BARRY (cont'd, bashfully):
Um, do you... think you might be able to give me a ride?

CASEY (earnestly):
Well, of course.  (pointing her thumb toward her apartment)  Do you mind if I just take a quick shower...?

Yeah, no problem.

[ BARRY turns to re-enter his apartment, then pauses, reconsidering. ]

BARRY (cont'd, graciously):
Thanks, Casey.

Barry may come close to seeing Casey in the proper context here, which would be as a caring friend.

[ CASEY smiles wordlessly, and BARRY slips into his apartment, closing the door behind him. ]

[ INT. LIBRARY - At the front desk of a public library, LUKE is speaking with a LIBRARIAN (no audio is heard from this distance).  The LIBRARIAN appears to be explaining something, after which LUKE eventually nods and appears to thank the LIBRARIAN. ]

This might or might not be the library where Maggie works.  Presumably the librarian is referring Luke to Professor Levins (below).

[ INT. LIBRARY LOBBY - We pan through the library's front lobby and ultimately see LUKE speaking to someone on a payphone (again no audio heard from this distance). ]

Luke is probably making an appointment with Professor Levins now (see below).

[ INT. APARTMENT HALLWAY - Wearing a casual outfit with her hair pulled back, CASEY opens her apartment door and finds BARRY standing outside, as if having previously knocked.  He is holding a pet carrier in which a gray squirrel (or stand-in) with an orange collar may or may not be visible to the camera. ]

Though Barry has kept Mr. Whiskers since episode 1, I haven't required him to be shown, due to the presumed difficulty of using wild animals on-set.  Here, a stand-in could suffice inside the pet carrier.

BARRY (puzzled):
... Hey.

What is it?

[ BARRY absently strokes the bandage on his nose and looks down the hallway fruitlessly. ]

Well, I can't find my camera anywhere.  I wanted to take one last picture of Mr. Whiskers, but I swear it's like it disappeared.  I thought I had it when I came in last night... (to himself) ... didn't I...?

A Jinnsect apparently entered Barry's apartment during the night or this morning (or else it infected the camera on the roof earlier in the night).  Dillik will later make a vague allusion to this event while locked in his lab (below).

CASEY (helpfully):
Do you want to use mine?

BARRY (shaking his head):
That's okay.  It's probably better this way.

[ CASEY watches wistfully as BARRY speaks gently to the pet carrier. ]

BARRY (cont'd, to the pet carrier):
It's okay, buddy.  We're gonna get you some fresh air, and you can... (raises a skeptical eyebrow in Casey's direction) ... "bark at other squirrels..."

[ CASEY flashes a weak smile. ]


[ BARRY nods, and CASEY closes her door behind her. ]

[ EXT. SPACE STATION - Establishment shot. ]

[ INT. SPACE STATION CORRIDOR - TRASK and SASHA are strolling down a corridor, SASHA not carrying her STAR HANDLE.  SASHA watches curiously as a NOBODY passes them on patrol; she appears to give it just a little more room than necessary.  In the background, the door to Dillik's lab is nearby. ]

Trask is giving Sasha a tour the day after she arrived in the previous episode; what were they doing for so long?!

[ SASHA stops and watches the NOBODY continue down the corridor. ]

So what are these things, anyway?

Nobodies, my queen.  Made from... recycled lifeforms.

[ SASHA raises an eyebrow and glances back at TRASK. ]

SASHA (more curious than horrified):
What do you mean, "recycled?"

[ SASHA continues to watch the receding NOBODY as TRASK responds. ]

After a lifeform is... converted to liquid form, we can reshape it into a more useful form.  (turns to Dillik's door)  The refiner is in here.

To my recollection, I had not yet invented the biomass gun for Trask at this point.

[ As SASHA joins TRASK at the door, he notices the door is shut.  He examines a small sensor eye above the door frame, then instructs SASHA: ]

TRASK (cont'd):
Perhaps if you waved your hand, my queen.

[ We see through the sensor eye as it looks down on SASHA with a monochromatic red tint; an empty space remains where TRASK would otherwise be standing.  Wryly amused by the frivolity of Trask's suggestion, SASHA waves her hand toward the sensor in a sarcastic manner, almost condescending toward Trask's idea. ]

The sensor can't detect Trask due to his Vampirian nature.  Sasha doesn't appear to know this.

Trask must have difficulty traversing the space station if closed doors fail to open for him.  Presumably he teleports, or Dillik simply leaves all the doors open.

[ We cut to our original perspective behind TRASK and SASHA.  The door doesn't budge.  TRASK approaches and raps on the door. ]

Dillik, open this door.

DILLIK (from within):
Go away!

If Dillik sounds like a petulant teenager, then mission accomplished.

[ TRASK chuckles to SASHA with growing malice toward Dillik's behavior. ]

Dillik, I said open the door!

DILLIK (from within, enunciating crisply):
And I said, go away!  I already sent an extra Jinnsect to Earth, and now I'm busy.

The previous night, Dillik dispatched Jinnsect #14 of 46.  It apparently infected Barry's camera in his apartment (or while he was asleep on the roof).

Dillik feels secure in his knowledge that Trask can't enter while Dr. Bering is present in his lab.  Curiously, he's continued his regular assignment of creating monsters even while rebelling against Trask (due to his belief in Lord Omos, presumably).

TRASK (gritting his teeth):
Dillik, so help me...  If I have to teleport in there...

DILLIK (from within):
Go ahead and try!

[ TRASK scowls furiously.  SASHA's eyes cautiously alternate between Trask and the door. ]

[ TRASK takes a step back from the door and plants both feet firmly in place.  He then shimmers with a brief ripple effect but staggers back slightly, not having teleported. ]

At the time I wrote this, I was under the impression that Trask's teleportation abilities were innate rather than the product of artificial enhancements (see episode 26).

[ TRASK is initially startled speechless.  His face then twists into an expression of rage, and he slams his fist against the door in a violent outburst. ]

TRASK (roaring in outrage):
You have a HUMAN in there!!

DILLIK (from within):
That's right!  Frozen scientist is right at home in here.  And at this rate, I have to say, neither one of us is very inclined to invite you in.

As hinted in episode 2, Trask is unable to enter human homes uninvited (likely due to a human curse mentioned in episode 13).  Here, although Dr. Bering is frozen and unconscious, her and Dillik's presence together has apparently established some sort of "homestead" effect, wherein Trask is barred without invitation.

[ An amused smirk forms on SASHA's face. ]

Here, Sasha learns of Trask's inability to enter uninvited, which she will cite in futility in episode 16.  She surely acquires more respect for Dillik from this interchange.

[ TRASK, meanwhile, is so furious he doesn't appear to know what to do. ]

[ INT. SPACE STATION, DILLIK'S LAB - At his work table, DILLIK sits with various control terminals and feedback displays laid out across the table.  In DILLIK's hands is his VR helmet (see episode 5), which he places over his head, covering his eyes.  He then feels his way into the hand terminals in front of him, completing some sort of electronic link. ]

Dillik tested this VR helmet in episode 5.

The hand controls will eventually fall out of use over the course of the series, presumably as Dillik improves his technology.  I retired them simply out of practicality in storytelling, to allow Dillik to move his hands.

[ Over DILLIK's shoulder, we zoom in on the white sheet left behind where STRIFE was previously standing; it is now crumpled haphazardly on the floor, with STRIFE nowhere in sight. ]

Once again, Strife escapes appearing in US footage.

[ INT. PROFESSOR'S OFFICE - We pan through the cluttered office of Professor Levins, whose paraphernalia befits an astronomy professor.  PROFESSOR LEVINS, a slightly unkempt man in his mid forties, is busying himself arranging some papers on his desk (though the end result seems to be just as cluttered as before), while LUKE stands in the center of the room. ]

This is Professor Levins' only appearance.  I wasn't averse to using him again, but an appropriate scenario never came up.

A satellite?  (chuckles)  Well, take your pick.  There are thousands of them.

I haven't been able to determine whether this was an overestimate for 1992, but it probably isn't out of the ballpark.

LUKE (hesitant):
Well, actually, I was thinking of something more along the lines of a space station.

[ PROFESSOR LEVINS pauses and turns to listen attentively. ]

LUKE (cont'd, watching the professor's reaction):
... in a... geosynchronous orbit...?

[ A slow grin forms on PROFESSOR LEVINS' face. ]

Kid, you know there aren't any geosynchronous space stations, right?

A geosynchronous orbit is one in which a satellite makes one full revolution around the Earth at the same rate as the Earth's rotation; this may sometimes refer to a geostationary orbit, which is a geosynchronous orbit with no eccentricity, allowing it to remain stationary over a fixed point on the Earth (otherwise it would display a figure-eight pattern in the sky).

In order to exhibit either behavior, a satellite must orbit at a distance of nearly 36,000 kilometers above the Earth's surface.  Real-life space stations, meanwhile, only operate in Low Earth Orbit, which only extends 2,000 kilometers up.  Therefore, there are currently no geosynchronous space stations (outside of the fictional Project Jetman station).

[ LUKE begins to speak but is interrupted. ]

... according to NASA and Roskosmos, that is.

Roskosmos is the Russian space agency.  (The Soviet Union has recently dissolved.)

[ PROFESSOR LEVINS digs through heaps of documents on his desk, ultimately producing a crude grayscale print-out of a bright, round object (potentially the space station) over a black background (no stars are visible due to the contrast of the brightly-lit object).  LUKE takes the print-out and examines it as PROFESSOR LEVINS speaks. ]

This reminded me of the photos of the approaching Machine Empire armada in the serial promos for Power Rangers Zeo (1996), but it wasn't an intentional send-up.

It was first sighted in the mid-eighties.  It's quite large... and apparently man-made.  But nobody's admitted to owning it.

Here we learn the approximate age of the space station.  It has apparently operated in extreme secrecy.  Nonetheless, astronomers have telescopes, and speculations abound.

[ PROFESSOR LEVINS shuffles more papers on his desk. ]

If it IS a space station, it's anybody's guess as to what they've been using to service it.   ... That's assuming it needs servicing.  But one thing's for sure - the space shuttle doesn't fly NEARLY that high.

The space shuttle's maximum orbital height is roughly 620 kilometers, as compared to the Jetman station's height of 36,000 kilometers.

[ As LUKE thinks for a moment, we briefly flash to HAWK ONE flying from Earth into space at high speed. ]

Luke imagines the Flyers as servicing the space station, but the station was reverse-engineered from the ancient Red Ranger's ship (see episode 33) and used to test the wormhole generator which ultimately contacted Zordon; therefore the station must predate the Flyers, and some other advanced craft (unseen in Take Flight) must have serviced the station, at least until the Flyers were completed.  (Truth be told, I hadn't refined the chronology in this level of detail by the time this episode was written.)

[ While PROFESSOR LEVINS takes a seat behind his desk, LUKE speaks again, approaching the desk. ]

Professor Levins...  Is there anyone up there?

Well, we don't exactly know.  It's certainly possible given the size of the object, but... it's remarkably quiet, aside from the X-ray bursts.

LUKE (puzzled):
X-ray bursts?

Yes, two brief high-energy events observed recently.

I assumed the wormhole generator required some fairly high-energy physics which would have been detectable from Earth.

LUKE (enrapt):
... How recently?

Well, the most recent event occurred this past Saturday...

That particular X-ray burst was Magda's banishment in episode 10.  The first, over a month prior, was the arrival of the Jinnsects in episode 3.

[ LUKE sets the print-out on the professor's desk, clearly in a hurry to leave. ]

Thank you very much, Professor!

Luke has concluded that the space station is intact and inhabited by Dillik and Trask; this tells him Dr. Bering could still be alive.

[ PROFESSOR LEVINS remains speechless as LUKE quickly darts out of the office.  After a moment, he makes a sound: ]

... Hmm.

[ EXT. INDUSTRIAL SITE (Jetman #5) - From an overhead shot, we see a shadow walking into frame.  The shape is that of STRIFE. ]

Strife's shadow Strife's shadow

In Jetman #5, Gray (Strife) was stalking the unmorphed Black and White Rangers; White remained injured from her crash-landing in the Swanzord in the prior episode.

[ In a side close-up, we see STRIFE's armored black feet walking. ]

Strife's feet Strife's feet

[ In profile, we see STRIFE emerge from behind a foreground object.  He is an armored black robot with narrow red eye slits, no discernible nose or mouth, and a hook shape extending over the top of his head.  He also seems to have a third, vertical eye slit in his forehead.  A silver laser cannon is attached to his back. ]

Strife Strife

This is Strife's first appearance in his completed form (for the US audience, that is).  In Jetman, he was a robot named Gray with strikingly human characteristics: notably, a fondness for wine, cigarettes, and music.  In Take Flight, he is a telepresence robot secretly controlled by Dillik; this was to compensate for a lack of US Strife footage (in a sense, Dillik is Strife's US form).

[ With the relatively low sun shining behind him, STRIFE walks by the camera, which is positioned at a low angle. ]

Strife in front of sun Strife in front of sun

[ From a distance, we zoom in on STRIFE as he walks into frame and comes to a halt. ]

Strife stops Strife stops

At this point in the sentai, Gray lit a cigarette.

[ STRIFE looks around slowly (Jetman #34). ]

Strife looking around Strife looking around

In Jetman #34, Gray was looking for the Red Ranger; this was also the episode in which the Battlezord was taken to the villains' ship.

[ US footage - We see through STRIFE's eyes as he slowly surveys the industrial area.  His vision is in the form of an electronic display with various readouts along the sides of the screen.  While he sees in the visual spectrum, various items of interest in his periphery are briefly analyzed with digital outlines and numeric labels.  Also, along the right edge of the screen are five stacked picture-in-picture windows, each showing a different Hoverbird camera flying over or through the city. ]

I found it interesting that one of the Rangers' foes could see through all of their cameras in his head-up display.

[ INT. SPACE STATION, DILLIK'S LAB - Wearing his VR helmet, DILLIK moves his head in a similar manner. ]

All right, motor systems check out.  Sensors, looking good...

[ EXT. INDUSTRIAL SITE (Jetman #34) - Continuing to look around, STRIFE proceeds again. ]

Strife proceeds Strife proceeds

[ We see STRIFE from a side corridor as he walks by in the distance. ]

Strife proceeds

[ STRIFE walks between two industrial buildings, looking around. ]

Strife walking Strife walking

[ INT. SPACE STATION, DILLIK'S LAB - Helmeted DILLIK continues to look around. ]

DILLIK (approvingly):
Yeah...  This isn't bad at all.  (uses his finger controls)  Now, how about a strength test...

[ INT. WAREHOUSE (Jetman #5) - STRIFE effortlessly bursts in through a metal warehouse wall.  He is now holding his silver cannon on his right shoulder. ]

Strife breaks into warehouse Strife breaks into warehouse Strife breaks into warehouse

In the sentai, Gray was barging in on a not-so-tender moment between Black and White.


Yep, strength's okay.  Oh, and of course the weapons...

[ EXT. WAREHOUSE (US footage) - Through the warehouse windows somewhere on the building's exterior, though we can't see Strife, we hear laser blasts and see flashes of reddish-orange light.  Immediately, intense explosions within the warehouse cause the windows to blow out in a burst of flames. ]

I lacked a proper shot of Strife firing his lasers in the warehouse, so this was my solution.  Strife's wrist lasers use the same technology Dillik tested in episodes 7 and 8.

[ EXT. AEROSPACE MUSEUM, PARKING LOT - We cut to an unshaded parking lot as panicked people run from a broad yellow beam (compare with sentai) which seems to be striking random people from above; as each person is struck, he or she falters or stumbles but appears unharmed and is able to flee the area.  In the background is a small hangar-shaped building with a sign reading, "Hawkins Aerospace Museum." ]

I chose the name Hawkins somewhat arbitrarily; only afterward did I notice a connection with "hawk," obvious though it may seem in retrospect.

I set the camera attack in and around an aerospace museum to explain the large plane seen in the background in the Rangers' eventual confrontation with Snapshot.  I'm uncertain of the nature of the locale in the sentai.

[ Eventually we see Barry's camera (see previous episode) hovering through the air.  It turns to various people below and fires its broad yellow beam at one victim after another.  Each, however, manages to run away after being stunned briefly. ]

Snapshot would have to have remained in pupal form for quite a while if the camera were infected during the previous night (but more than likely, the infection occurred in Barry's apartment in the morning).  Snapshot does not have the ability to transform between monster and camera modes repeatedly, as I was adamant that monster transformations should always be irreversible, to justify the suspense in episode 13.

[ The camera speaks with a sinister, ghostly, echoing voice. ]

CAMERA (giddily):
(laughs)  Your souls are mine!

More on that later.

[ Several photographs of victims fall to the ground.  Each photograph is a reproduction of each victim's location at the time he or she was struck. ]

[ In close-up, however, we see that the victims' images are actually moving, reacting as though trapped within the borders of the photo. ]

I thought it would be intriguing to show the victims seemingly unharmed by the camera's ray, and yet the moving images in the photos clearly indicate something sinister has happened.  But more discussion to come.

[ INT. SPACE STATION COMMAND - TRASK storms in in a huff, SASHA trailing behind.  Her amusement at the situation is only thinly hidden. ]

TRASK (grumbling to himself):
The nerve of that toad!  Why did I ever bring him along?!

Trask's anger will subside, and we will learn the story of their meeting in episode 17.

SASHA (sardonically):
It's all right...  We all need a little alone time.

TRASK (continuing to grumble to himself):
Yeah, I'll give him some alone time... in the Jinnsect habitat, perhaps.

SASHA (off-screen, somewhat playfully):
Say, Trask...  What's that?

[ TRASK looks.  We see SASHA standing at the central console, in which the monitor (then shown in close-up) displays a Hoverbird's view of the floating camera shining its beam on people in the parking lot. ]

[ TRASK approaches, initially unimpressed. ]

That would be a flying Earthen imaging device.

Is it supposed to be doing that?

TRASK (speaking Dillik's name sharply):
No.  That would be Dillik's doing.

SASHA (eagerly):
Well, come on!  Don't just stand there!  We're missing all the fun!

[ SASHA glances at TRASK and smirks disparagingly. ]

SASHA (cont'd):
Oh, right.  The sunlight.

Sasha seems to enjoy Trask's humiliation.

[ SASHA casually summons her STAR HANDLE into her right hand with a small white gleam. ]

SASHA (cont'd, with a shrug):
Well, back in a while!

[ With a white flash of light from her STAR HANDLE, SASHA vanishes.  TRASK narrows his eyes in displeasure. ]

[ The following few scenes are linked by the same musical score underneath, which takes the place of any audio in the scenes: ]

[ EXT. CITY PLAZA - LUKE is slinking around the edges of a plaza downtown, apparently looking for a hidden spot, when his MORPHER blinks (no audio).  He pauses, presses the upper left button, and glances at the display (not seen) before hurrying off. ]

The "hidden spot" refers to a private nook wherein he might morph to begin his journey to the space station.  As in episode 11, however, he is interrupted.

[ INT. BIKE SHOP - Working on a bicycle behind the counter, CHRIS is interrupted by his MORPHER (no audio).  As he puts down his tool, we can briefly see an old photo of his parents (see episode 10) taped to a shelf not visible to customers. ]

As of episode 10, we now see a side of Chris not normally on display, that being his grief over his parents' deaths.

[ INT. MAGGIE'S APARTMENT - MAGGIE is casually draped on her couch as she speaks on the phone with someone (no audio).  She is then interrupted by her MORPHER and quickly ends the call as she rises from the couch. ]

Maggie is most likely talking with her parents.  She is still between semesters (see episode 9).

[ INT. FRANCO'S KITCHEN - In uniform, PETE is deftly assembling two dishes when his MORPHER catches his attention (no audio).  He looks around anxiously before turning to SAM (see episode 10), behind him.  He whispers or says something to her, at which point she nods agreeably.  PETE then adds a finishing touch to his dishes and leaves them on the counter nearby before wiping his hands on his apron and hurrying off. ]

By this point, Mr. Franco has taken a fairly hands-off approach to running his restaurant, such that Pete is able to sneak out on occasion.  Sam and Patrick apparently don't mind.

[ EXT. CITY STREET - As CASEY is driving through the city with BARRY and his pet carrier in the passenger seat and the convertible top up, her MORPHER chimes (the audio having returned). ]

[ Having been whispering into the pet carrier, BARRY looks at CASEY's watch as she glances back at him. ]

My alarm.  Just... reminding me of an appointment.

In episode 5, Barry saw a glimpse of video in Casey's watch display, but she attributed it to UFO-related phenomena.  Despite that encounter, Barry appears to take her explanation here at face value.

[ CASEY worriedly looks out her window toward the sky above. ]

Given that I chose not to make Snapshot capture people in photos, it was necessary for me to explain Casey's absence from the following sentai fight in another way.

[ INT. AEROSPACE MUSEUM - Inside one room of the aerospace museum, we see a MUSEUM PATRON stumble backward in a panic to get away from something (off-camera), but he is ultimately backed against a display. ]

We learn in episode 36 that future-Luke was working here when Sasha attacked.  That was a retcon invented for that episode.

[ From the patron's perspective, we see SASHA advancing with Barry's camera in her hands.  (Her STAR HANDLE isn't present.) ]

There there, human.  Haven't you ever seen an imaging device before?

[ SASHA presses the button, firing the camera's yellow beam with unseen results. ]

In the sentai, the monster did not remain in camera form for any length of time; once again, I use the monster's pupal form to allow the "monster" to appear in US footage.  Further, the sentai monster's ray simply trapped people in Maria's photo album.

[ In midair, a photograph of the MUSEUM PATRON appears from yellow energy and flies to SASHA's waiting hand.  She examines the photo.  In it, the MUSEUM PATRON remains stuck in his previous position and quickly becomes aware of the border around him.  At the same time, SASHA lowers the photo, allowing us to focus on the MUSEUM PATRON as he scrambles to his feet, apparently unharmed, and makes a hasty escape. ]

Again I show something is happening, but I leave it a mystery for now.

[ Watching the man leave (off-camera), SASHA once again examines the photo, then looks admiringly at the camera in her other hand. ]


[ EXT. AEROSPACE MUSEUM, REAR - In a plaza of some sort behind the museum (compare with sentai), we see SASHA's boots enter the foreground in close-up as the RED, BLACK, YELLOW, and BLUE RANGERS come running onto the scene.  SASHA is standing atop a small flight of concrete steps above the RANGERS' location below (compare with sentai).  She is now holding her STAR HANDLE. ]

Chris, Pete, and Luke have had to leave work for this battle; Maggie is off school, as mentioned previously.  Casey is with Barry (and works afternoons and evenings).

PETE (Yellow Ranger):
Look who's back!

CHRIS (Black Ranger, loudly, to Sasha):
Why don't you give it a rest, Princess?

The Rangers last saw Sasha during Magda's defeat in episode 10, five days prior.

[ As SASHA is shown in close-up, a large plane (compare with sentai) may be partially visible behind her through a barbed chain-link fence. ]

SASHA (contemptuously):
I'm the queen now.  You Rangers saw to that.

Sasha maintains a vendetta against the Rangers for their (apparent) destruction of Magda (episode 10).

[ Below, YELLOW RANGER advances a step as he replies in protest.  BLACK RANGER, meanwhile, seems to have reconsidered his own antagonism and backed down slightly. ]

PETE (Yellow Ranger):
Hey, we're not the ones who --

[ RED RANGER gestures for YELLOW to ease off. ]

LUKE (Red Ranger, to Sasha):
Sasha, we're sorry it came to that.  We don't want to have to fight you.

Luke tries to avoid resorting to violence when possible.

Well, you're in luck, because today you'll be fighting my friend Snapshot.

[ As we quickly pan to the left, we transition into sentai footage.  SNAPSHOT, a black camera monster, pulses his flash bulb several times as he speaks animatedly. ]

Snapshot Snapshot

Hello, Rangers!

Maria (Sasha) was present here in the sentai footage, but US shots are required to replace the Japanese actress with the US Sasha, except in select long-distance shots.

[ In US footage once more, SASHA speaks with sinister pleasure to the Rangers below (off-screen). ]

Snapshot here has an interesting power.  He captures human souls.

Snapshot's soul-stealing power was inspired by the belief in certain cultures that photographs (if not any visual depictions) rob the subject of his or her soul.

[ BLACK RANGER retorts: ]

CHRIS (Black Ranger):
Souls...?  Yeah, right!

Chris appears to be a skeptic toward matters of spirituality.  I didn't intend this character trait as necessarily having anything to do with the loss of his parents, but I suppose it's possible.

[ RED briefly glances at BLACK. ]

SASHA (smiling wickedly):
Oh, you'll see soon enough.  (nods to Snapshot, off-screen)

[ Switch to sentai - SNAPSHOT speaks before trotting forward and firing an incendiary blast from his left arm. ]

Snapshot's hand blast Snapshot's hand blast

Look at the birdie, Rangers!  (fires)

[ As seen from behind SNAPSHOT's legs, the RANGERS erupt in a barrage of spark blasts and fall back. ]

Rangers blasted

[ SNAPSHOT continues firing. ]

Snapshot's hand blast

[ The RANGERS fall back amidst the spark explosions in slow motion. ]

Rangers blasted

[ US footage - SASHA laughs wickedly. ]

[ SNAPSHOT raises a large trigger button in his right hand. ]

Snapshot prepares to fire Snapshot prepares to fire

Now it's time for your close-up, Rangers!

[ The RANGERS, rising to their feet, are seen coming into focus through Snapshot's lens. ]

Snapshot prepares to fire Snapshot prepares to fire

CHRIS (Black Ranger):
Look out!

[ SNAPSHOT mashes the trigger button.  In close-up, the iris within his lens quickly opens.  We then see SNAPSHOT fire his yellow beam from his lens. ]

Snapshot fires Snapshot fires Snapshot's iris Snapshot's iris Snapshot fires

[ In close-up, RED RANGER quickly grabs his SKY BLASTER from its holster. ]

Red Ranger grabs Sky Blaster

LUKE (Red Ranger):

[ From a distance, we see the RANGERS return fire with their yellow SKY BLASTER lasers just as SNAPSHOT's beam closes in on them.  The beams meet in a stalemate.  Behind SNAPSHOT stands SASHA. ]

beam stalemate

This is the first time Maria (Sasha) appears in sentai footage in Take Flight.  The US actress is not required to be Asian to match Maria, and in fact the only requirement for Sasha's actress would be that she had light skin to match long-distance shots of Maria (black hair is also seen in a few episodes, but this could be a wig).

[ US footage - In close-up, SASHA watches anxiously. ]

[ EXT. MOUNTAINS (Jetman #42) - In close-up, we see STRIFE's feet treading quickly across the ground of a rocky, open wilderness. ]

Strife treading quickly

[ Advancing at a hurried pace, STRIFE shoots numerous red laser blasts (US addition) from a dual-barreled blaster mounted to his right wrist. ]

Strife firing (lasers not shown) Strife firing (lasers not shown) Strife treading quickly

In Jetman #42 (also the episode with the friendly yellow robot, used in episode 24), Gray was yet again targeting the unmorphed Black and White Rangers.

[ US footage - The red lasers strike a cluster of boulders, blowing them into small fragments with large smoke explosions. ]

Once again, innocent boulders fall victim to Strife's lasers (see episode 8).

[ US footage - Through STRIFE's eyes, we see the smoking remnants of the boulders.  The side Hoverbird cameras, however, show the RANGERS in their struggle with SNAPSHOT: two Hoverbirds show the two beams in stalemate (though the beam appears to be fluctuating closer to the monster), another shows SNAPSHOT shooting a constant beam (frames looped from sentai), and the remaining two show different angles of SASHA watching anxiously. ]

beam stalemate beam stalemate Snapshot firing Sasha watches anxiously Sasha watches anxiously

[ Lowering his arm, STRIFE steps forward with a startled reaction. ]

Strife reacts Strife reacts

[ US footage - Again through STRIFE's eyes, we see the same video as the previous shot, but one of the videos of the beam stalemate (this time the beam fluctuating back toward the RANGERS) expands to cover part of the screen. ]

beam stalemate


Oh no!  Sasha's in trouble!

[ DILLIK works his controls with hurried determination. ]

[ EXT. AEROSPACE MUSEUM, REAR - In US footage, we see the RANGERS continuing to fire their steady yellow lasers. ]

[ Switch to sentai - Again the beams fluctuate, but this time they advance rapidly toward SNAPSHOT. ]

beam stalemate

[ STRIFE appears in midair from greenish-silver vertical streaks (US addition). ]

Strife arrives Strife arrives

[ STRIFE leaps down and takes the brunt of the Rangers' lasers in his forearms, ultimately dispelling the energy into the ground around him. ]

Strife intercepts Strife intercepts Strife intercepts

[ US footage - SASHA is startled. ]


[ The four RANGERS are startled as well. ]

startled Rangers

MAGGIE (Blue Ranger):
Who's that?

[ STRIFE quickly positions his silver cannon on his shoulder and shoots a series of fiery red energy blasts by extending the cannon's barrel. ]

Strife returns fire Strife returns fire

Viewers watching this show on TV could probably spot the Japanese actress in this shot if they watched carefully.

[ The RANGERS are flung back in an explosion of sparks. ]

Rangers blasted

[ US footage - The RANGERS land on the pavement nearby, their bodies smoking and somewhat stunned. ]

Strife's shoulder cannon is quite potent.  In the sentai, however, it actually demorphed the Rangers.  Snapshot then used the opportunity to capture Yellow and Blue with his beam.

[ Beginning with a close-up of a bewildered SASHA (composite US actress over sentai actress), we zoom out to STRIFE, who stands motionless.  SASHA is clutching her STAR HANDLE. ]

Sasha puzzled (US actress to be composited) Sasha puzzled (US actress to be composited)

It might be tricky for a visual effects crew to composite a US Sasha actress into this shot, but surely it's possible.  I felt this shot was necessary to sell the Sasha/Strife interaction.

Who are you?

[ Shown in profile, STRIFE remains silent. ]

Strife's silence

In the sentai, Gray (Strife) was fondly remembering Maria's piano performance aboard their base, which has left him enamored with her.

[ INT. SPACE STATION, DILLIK'S LAB - We see helmeted DILLIK from the same direction.  He appears to want to say something, but he doesn't speak. ]

[ EXT. AEROSPACE MUSEUM, REAR (sentai) - STRIFE looks over his shoulder at SASHA (again with the US actress composited into the shot).  STRIFE speaks with a deep, electronically modified version of DILLIK's voice. ]

Strife speaks (US actress to be composited) Strife speaks (US actress to be composited)

A friend.

I lacked sufficient footage to give Strife's name in the dialog at this point (unless I used more extensive fill-in shots of Dillik); his name wouldn't be revealed to a TV audience until episode 16.

In the sentai, the scene ended here, with Red and Black then shown in their base working on the Phoenix Cannon (after a brief reaction from Radiguet and Tran in their ship).

[ US footage - SASHA shakes her head.  Her demeanor is one of stunned gratitude. ]

But I've never met you.

[ Again shown in profile, STRIFE vanishes with greenish-silver vertical streaks (US addition, followed by airbrushed background). ]

Strife vanishes (streaks not shown) Strife vanished

[ Switch to US footage - SASHA looks around, startled once again. ]

[ The groaning RANGERS, still smoking slightly, begin to rise. ]

[ SASHA glares in the Rangers' direction (off-camera) and points with her STAR HANDLE. ]

Finish them off!

I moved Snapshot's successful beam attack after the Sasha-Strife interaction.  Its effects are different from the sentai.

[ Sentai - In close-up, SNAPSHOT mashes his trigger button.  We then see him firing his yellow beam again. ]

Snapshot fires again Snapshot fires again Snapshot fires again

[ BLACK RANGER shoves the others aside but is struck with the beam in the process. ]

CHRIS (Black Ranger):
Watch out!  (struck with beam)

[ The three RANGERS react. ]

PETE (Yellow Ranger):

[ Briefly stunned, BLACK RANGER staggers slightly once the beam ends, but he appears to be unharmed.  The other three RANGERS rush to help him. ]

MAGGIE (Blue Ranger):
Are you all right?

CHRIS (Black Ranger):
Yeah, I'm fine.

[ YELLOW RANGER addresses Sasha and the monster above (off-screen). ]

PETE (Yellow Ranger):
Your blast didn't have any effect, Snapshot!

[ Above, SASHA holds a photograph in her hand (though we don't yet see its contents).  She smiles boastfully. ]

That's what you think.  (trivially)  But there's nothing inside him anymore.

Chris's soul has apparently been stolen.

[ RED RANGER looks to BLACK. ]

LUKE (Red Ranger):

CHRIS (Black Ranger):
I said I'm fine!  Don't listen to her!

[ SASHA smirks. ]

Pretty convincing replica, isn't it?  The only person who would know otherwise is your dear friend Chris, and I'm afraid he can't be with you at the moment.

[ In close-up, we see the photo in SASHA's hand.  In it, an unmorphed CHRIS hammers his hands against the frame of the photo, having been trapped where he was struck by Snapshot's beam. ]

[ The three RANGERS apprehensively look back and forth between Sasha (off-screen) and BLACK RANGER, whose gaze is fixed intently on their foes above. ]

[ RED RANGER reluctantly leads the RANGERS into retreat, putting his arm around BLACK RANGER. ]

LUKE (Red Ranger):
Come on, guys.

Luke intends to err toward caution when his teammates' well-being may have been compromised.

[ The RANGERS follow RED RANGER and depart. ]

[ SASHA grins wickedly. ]

[ Break. ]

[ EXT. WALLED AREA - Ducking behind a concrete wall of some sort, the RANGERS confer. ]

PETE (Yellow Ranger):
Dude, why'd we have to run away like that?

LUKE (Red Ranger):
Just to be on the safe side.  I wanna make sure everyone's okay.  Power down.

[ LUKE demorphs with a red gleam. ]

PETE / MAGGIE (Yellow/Blue Rangers, in unison):
Power down!

[ PETE and MAGGIE demorph with a yellow and blue gleam, respectively.  LUKE, PETE, and MAGGIE then look warily to BLACK RANGER, who stands alone. ]

CHRIS (Black Ranger):
Power down.

[ With a purple gleam, CHRIS demorphs.  He stands in his original civilian clothes, seemingly no worse for wear.  He looks at the others. ]


[ LUKE approaches. ]

Are you sure you're okay?

[ CHRIS turns disinterestedly. ]

Man, this is stupid.  We need to go stop those guys.

PETE (to the others):
Hey, what do you think Sasha was holding in her hand?  It looked like a photo or something.

CHRIS (sarcastically, glancing back before leaving):
Yeah, you guys let me know when you wanna save the planet.  I'll just be out fighting bad guys.  (runs off)


Well, he's SORTA acting like himself... I guess.

I found it an interesting challenge to write Chris as seeming to be unaffected on the surface, while leaving open the possibility that something was amiss in his behavior.  As noted by Sasha and Maggie, however, his behavior should have been indistinguishable from his normal self.

Umm... have you guys ever heard of philosophical zombies?

PETE (startled by the idea):
"Zombies?!"  What the heck...?

Philosophical zombies.  It's like a thought experiment in philosophy where you try to imagine a person who talks and acts just like a human being, but he doesn't actually have any subjective feeling.  There's no... ability to introspect, no consciousness, no...

Once I had decided to make Snapshot steal souls, I thought it would be an absurd challenge to try to write an episode about philosophical zombies, wherein nobody could tell whether the victims had lost their souls.  I liked absurd challenges, though.  Plus, it seemed novel.

Maggie has apparently studied philosophy.

... soul?

Luke believes in souls.

MAGGIE (reluctantly):
I guess.

Maggie may be agnostic on the subject of souls.  With regard to her skepticism, however, she seemed ready to believe Trask was a vampire in episode 2.

So the lights are on but nobody's home?

Pretty much.

Wait... but how could we tell?

That's just it - you couldn't tell.  (somewhat teasingly)  We might ALL be zombies, for all YOU know.

[ PETE eyes LUKE and MAGGIE suspiciously. ]

MAGGIE (cont'd):
Pete, we're not zombies.

PETE (suspiciously):
Yeah, but how would I know?!

MAGGIE (pondering, to herself):
Of course, most of us spend a lot of our time on auto-pilot without much introspection anyway...

...observed the psychologist.

LUKE (changing the subject):
Guys, we've gotta come up with a plan.  (to himself)  And why hasn't Casey shown up yet?

[ INT. WILDLIFE OFFICE, WAITING ROOM - On long bench-style seating in an office resembling a veterinarian's office, BARRY sits with a melancholy expression on his face.  On one side is his pet carrier (contents not seen) while CASEY sits on his other side. ]

[ CASEY looks to BARRY. ]

You okay?

BARRY (with a sober nod):
I think so.  I really do think he'll be a lot happier this way.

[ CASEY nods in return.  She glances at her MORPHER, which continues to blink in the upper left corner. ]

BARRY (cont'd):
What about you?

CASEY (chuckling innocently):
What?  Me...?

Yeah, you seem like you've been kinda lost in thought.

Oh...  Well, I'm in kind of a parental crisis, but I think I already know the answer.

Casey brings up the problem she can actually discuss; she has apparently decided to ignore her parents' wishes after seeing parallels to her own life in her prior advice about Mr. Whiskers.

Do you... like, wanna talk about it...?

CASEY (distractedly):
Umm... sure.  (holds up her finger)  Do you mind if I go... check on something first?

BARRY (slightly confused):
Yeah, okay...

CASEY (rising, apologetically):
I'm sorry.  I'll be right back, I promise.

[ CASEY exits the office. ]

[ Now alone with his pet carrier, BARRY looks around and makes a bored (or slightly apprehensive) face.  Moments later, a RECEPTIONIST opens the door from an interior hallway. ]

Mr. West?

Barry's last name is revealed.

[ BARRY looks toward the exit where Casey departed. ]

BARRY (caught off-guard):
... Oh --

[ Left with little other recourse, BARRY stands and lifts his pet carrier.  As he proceeds past the RECEPTIONIST into the hallway, he continues to look for Casey, but the exit door doesn't open. ]

Poor Barry.  I wasn't intentionally abusing him or ruining their friendship; rather, these events seemed inevitable once he became her distraction from joining the others.

[ EXT. INDUSTRIAL SITE (Jetman #34) - STRIFE is walking in an industrial area. ]

Strife alone Strife alone

[ Switch to Jetman #22 - BLACK RANGER flies down striking with his TALON SWORD. ]

Black Ranger vs. Strife

In Jetman #22, Gray (Strife), Maria (Sasha), and Tran (no US counterpart) attacked the Rangers following a clash between Red and Black over White Ranger's affections; Radiguet called the generals away once Semimaru (Infernis) had begun to hatch.  The Strife battle is the only part of this episode I used in Take Flight.

CHRIS (Black Ranger):
Hey, ugly!

[ BLACK lands in front of STRIFE and slashes his chest twice with his TALON SWORD, but the robot remains utterly unfazed by the encounter. ]

Black Ranger vs. Strife Black Ranger vs. Strife Black Ranger vs. Strife

This battle will be reenacted almost blow-for-blow in episode 22, though I didn't notice the similarity until writing that episode.  I later found it quite fortuitous that Chris's inability to remember this battle could explain why he later made the same mistakes against Strife.

[ BLACK swings for a third strike, but STRIFE grabs the blade in his hand before reaching forward with his other hand and grappling BLACK.  He throws him into the air. ]

Black Ranger vs. Strife Black Ranger vs. Strife Black Ranger vs. Strife Black Ranger vs. Strife Black Ranger vs. Strife Black Ranger vs. Strife

I cut a brief strangling sequence.

[ BLACK RANGER flies through the air. ]

Black Ranger vs. Strife

[ Landing, BLACK rolls briefly before rising and reaching for his SKY BLASTER. ]

Black Ranger vs. Strife Black Ranger vs. Strife

CHRIS (Black Ranger):
Sky Blaster!

[ In close-up, we see BLACK drawing his SKY BLASTER. ]

Black Ranger vs. Strife

[ BLACK fires a quick burst of golden lasers, but STRIFE harmlessly deflects them to the ground with his hand. ]

Black Ranger vs. Strife Black Ranger vs. Strife

[ STRIFE then returns fire with red lasers (US addition) from his wrist. ]

Black Ranger vs. Strife Black Ranger vs. Strife (lasers not shown)

[ US footage - Struck with the lasers, BLACK RANGER flies flat onto his back. ]

[ STRIFE fires more red lasers (US addition). ]

Black Ranger vs. Strife (lasers not shown)

[ US footage - Flying from a significant spark explosion, BLACK RANGER crashes through a stack of boxes. ]

[ EXT. QUARRY - The RED, YELLOW, and BLUE RANGERS land and survey the seemingly tranquil quarry.  RED RANGER is particularly wary. ]

LUKE (Red Ranger):
All right, I swear I saw somebody here.

PETE (Yellow Ranger):
Did he look like a philosophical zombie?

[ RED RANGER turns and points. ]

LUKE (Red Ranger):
No, he looked a little like that!

[ A NOBODY fires incendiary blasts from his fingertips. ]

[ The three RANGERS roll aside as small spark blasts strike in front of them. ]

PETE (Yellow Ranger):
Just one Nobody?  You've gotta be kidding.

[ The RANGERS look around as several groups of NOBODIES appear around them with black ripples. ]

These Nobodies are again from battalion 3, created in episode 10.  We're left to wonder why Sasha wanted to lure the Rangers to the quarry.

MAGGIE (Blue Ranger):
Well, it does make a heck of a decoy!

[ Switch to sentai - SNAPSHOT and SASHA materialize in mid-stride (SNAPSHOT from yellow energy, SASHA from a white gleam centered around her STAR HANDLE, both effects US additions).  SASHA is composited with a US actress if necessary. ]

Sasha and Snapshot appear Sasha and Snapshot appear

[ US footage - Shown in close-up while walking, SASHA laughs. ]

(laughs)  Your ranks are thinning by the minute, Rangers!  Maybe we should take a picture to remember you by!

[ SNAPSHOT speaks as NOBODIES move around behind him.  He then fires his hand blast. ]

Snapshot's hand blast Snapshot's hand blast Snapshot's hand blast

How about a sitting pose?  (fires)

[ US footage - The three RANGERS are knocked down by spark explosions. ]

Around this point in the sentai, unmorphed Black fell victim to Snapshot's ray, leaving Red Ranger to defeat the monster alone with the newly introduced Phoenix Cannon.

[ EXT. INDUSTRIAL SITE (US footage) - BLACK RANGER hobbles along through the back corners of the industrial site, watching his back carefully.  He slinks around a corner and is startled to collide with the PINK RANGER, who was previously distracted with her visor display, having had two fingers to the left side of her helmet. ]

[ PINK RANGER startles slightly from the collision as well but is relieved to see BLACK, touching his arm. ]

CASEY (Pink Ranger):
Oh!  Chris!  There you are!  What are you doing here?

[ BLACK RANGER shushes her while looking over his shoulder. ]

CHRIS (Black Ranger, quietly):
Shh...  There's a killer robot running around in here.

[ PINK RANGER looks around briefly. ]

CASEY (Pink Ranger, somewhat quietly):
A what?  Where are the others?

[ BLACK RANGER furtively checks around the corner. ]

CHRIS (Black Ranger):
I dunno.

CASEY (Pink Ranger):
You don't --!  Well, don't you think we'd have better luck sticking together?

[ BLACK RANGER doesn't respond, being preoccupied with his surveillance. ]

[ Slightly miffed, PINK RANGER takes a step back and speaks into her left wrist. ]

CASEY (Pink Ranger):
Guys, are you there?

[ EXT. QUARRY (US footage) - The RED, YELLOW, and BLUE RANGERS fly back from another spark explosion.  Recovering, RED RANGER speaks into his wrist. ]

LUKE (Red Ranger):
Casey!  We're in the quarry!  We could use a little help!  (toward the sky, still into his wrist)  Phoenix Cannon!

[ Switch to sentai - The PHOENIX CANNON transforms over a black background. ]

Phoenix Cannon transforms Phoenix Cannon transforms

[ In the quarry, the PHOENIX CANNON descends to the waiting RED, YELLOW, and BLUE RANGERS (Jetman #31). ]

trio receives Phoenix Cannon trio receives Phoenix Cannon trio receives Phoenix Cannon

This footage was taken from the Rangers' battle with Zin and Drek in Jetman #31, because I had already featured this sentai episode's debut of the Phoenix Cannon (featuring Red alone in the quarry) in episode 10.

[ US footage - With NOBODIES moving around behind her, SASHA strolls out and produces a blue and white photo album (compare with sentai) from a gleam of white light.  She holds it up in front of her right side and leafs through the pages within.  Each page contains several photos of victims, still moving and trapped in their original locations (none give any impression of being able to see the outside world). ]

Not so fast, Rangers.  Snapshot's collected a lot of souls, and they're all in this album.  It sure would be a shame if something happened to it, don't you think?

[ US footage - In close-up, we see one page containing CHRIS's photo as he remains trapped where he was struck.  SASHA then closes the book and holds it in front of her. ]

[ His fist initially clenched, RED RANGER slowly looks down at the PHOENIX CANNON's monitor with an exasperated grunt. ]

Red Ranger looks down Red Ranger looks down

[ In the monitor's "Target Lock" screen, we zoom in on SASHA holding the album as SNAPSHOT jumps in front of her protectively. ]

target lock target lock

Don't even think about it!

[ US footage - Still holding the album, SASHA is smiling in self-satisfaction when suddenly sparks strike all around her, causing her to toss the album aside. ]

I find it humorous that Casey blasted the book from her hands so soon after Sasha had warned against something happening to it (unbeknownst to Casey).

[ The album flies through the air and lands on the rocky ground nearby, where it then gleams with white light (partial US addition). ]

Sasha's album Sasha's album Sasha's album

[ US footage - Various victims' photos are seen flying through the air.  In mid-flight, each photo turns into yellow energy and dissipates into the air. ]

In the sentai, the victims were freed when Maria dropped the book after the Phoenix Cannon had been fired; as far as I could see, this negated Red Ranger's apprehension before firing, so I took care of the album before he fired.

[ EXT. VARIOUS LOCATIONS - We see various victims engaged in various activities - some driving, one walking around, one speaking to a police officer outside the museum - when each appears to be struck with a sudden clarity. ]

Tricky to show people returning to normal after they had already been acting "normal" all along.

[ EXT. QUARRY (US footage) - SASHA looks up at the sky and glares angrily. ]

[ EXT. QUARRY LEDGE - On a ledge above, PINK RANGER holsters her SKY BLASTER and calls down: ]

CASEY (Pink Ranger):
Go for it, guys!

[ EXT. QUARRY (Jetman #31) - RED RANGER pumps his fist before pressing the trigger button. ]

Red Ranger fires Red Ranger fires Red Ranger fires

LUKE (Red Ranger):
Phoenix Cannon, fire!  (presses button)

In Take Flight, Luke becomes the one to fire first; in the sentai, he fired out of necessity when Snapshot fired (as Maria still held the album).

[ Switch to Jetman #14 - In close-up, SNAPSHOT presses his own trigger button.  In close-up, the iris within his lens quickly opens. ]

Snapshot fires Snapshot fires Snapshot fires Snapshot fires

[ The PHOENIX CANNON fires a large red blast. ]

Phoenix Cannon fires

[ The Phoenix Cannon's fireball blast strikes Snapshot's yellow beam and pushes it backward toward SNAPSHOT and SASHA.  As the beam grows close, SNAPSHOT staggers back a few steps, unable to resist much longer. ]

Snapshot fires Snapshot fires Snapshot fires

[ Nearby, in front of a cluster of junked automobiles, STRIFE appears from greenish-silver vertical streaks (US addition) in the middle of a sprint. ]

Strife to the rescue Strife to the rescue

[ STRIFE then throws himself in front of SNAPSHOT, trying to contain the blast in his arms. ]

Strife to the rescue Strife to the rescue

[ We see STRIFE's feet sliding back as he struggles to fight the force of the fireball (off-camera). ]

Strife slides back

[ Finally overwhelmed, STRIFE is struck with a bright explosion.  In the background, NOBODIES are flung back. ]

Strife overwhelmed

[ US footage - In close-up, SASHA slams against the rocky ground, apparently knocked unconscious.  Her STAR HANDLE lies beside her. ]

In the sentai, Maria remained quite conscious here and was joined by the one-armed Strife while the four now-freed Rangers morphed.  She was later seen unconscious after last being seen battling the White and Blue Rangers.  Having her knocked out during this explosion seemed much tidier.

[ STRIFE's smoking, severed right arm bounces onto the ground. ]

Strife's severed arm Strife's severed arm

[ SNAPSHOT and the now one-armed STRIFE fly through the air amidst a massive, fiery explosion. ]

Snapshot and one-armed Strife Snapshot and one-armed Strife

[ INT. SPACE STATION, DILLIK'S LAB - DILLIK yelps frightfully and tears the VR helmet off his head, tossing it onto his work bench as he clutches his right arm.  Finding it still intact, he pants in relief. ]

DILLIK (with a weary sigh):
It's just a robot...  It's just a robot...

I wondered whether hypothetical US producers would have a problem with a villain's arm being severed, so I took pains to point out that Dillik was fine and that merely his remote-controlled robot had been damaged.

[ He reaches to reclaim his VR helmet. ]

[ EXT. QUARRY (US footage) - PINK RANGER runs up to the other three RANGERS (with no Phoenix Cannon in sight). ]

CASEY (Pink Ranger):
Way to go, guys!  Hey, what was that book I shot?  We didn't want her to have that, right...?

MAGGIE (Blue Ranger):
No, we did not.

[ EXT. QUARRY LEDGE - Above, BLACK RANGER waves and calls down: ]

CHRIS (Black Ranger, perplexed):
Hey, you guys, what are you doing down there?

Chris's soul has now been returned, leaving him with no memory of his battle with Strife.

[ EXT. QUARRY - The four RANGERS look up, then (with the exception of PINK) at each other. ]

PETE (Yellow Ranger):
Is he back?

MAGGIE (Blue Ranger):

[ EXT. QUARRY LEDGE - BLACK RANGER leaps off the edge. ]

[ EXT. QUARRY - BLACK lands in front of the RANGERS and joins them. ]

LUKE (Red Ranger):
Hey, Chris...  Uhh, how do you feel?

CHRIS (Black Ranger):
Well, fine, I guess...  What, did Snapshot teleport me to the industrial park or something?

PETE (Yellow Ranger):
He doesn't remember anything!

CASEY (Pink Ranger):
What are you guys talking about?

PETE (Yellow Ranger, to Black):
Hey, man, you've got your consciousness back inside you, right?

CHRIS (Black Ranger):
What...?  Quit messing around!  We've still got a monster to deal with!

[ YELLOW and BLUE look at each other, and YELLOW shrugs. ]

[ BLACK RANGER takes a running leap into the air. ]

[ Switch to sentai - BLACK unsheathes his TALON SWORD. ]

Black Ranger attacks Snapshot

CHRIS (Black Ranger):
Talon Sword!

[ BLACK RANGER flies down with a TALON SWORD strike.  He delivers a strike to SNAPSHOT, causing him to reel backward in slow-motion. ]

Black Ranger attacks Snapshot Black Ranger attacks Snapshot Black Ranger attacks Snapshot

In the sentai, Black Ranger's attack on Snapshot came later, and it featured Black standing on Yellow's shoulders for a moment (which looked silly and served no practical purpose, so I cut that part).

[ Elsewhere, RED RANGER clutches his BATTLIZER close to his body; as he does so, two red wings flip out from the sides of the device. ]

Battlizer striker mode Battlizer striker mode Battlizer striker mode Battlizer striker mode

LUKE (Red Ranger):
Battlizer, striker mode!

[ RED RANGER leaps and prepares to strike with his BATTLIZER. ]

Red Ranger leaps Red Ranger leaps

[ RED RANGER lands and strikes two NOBODIES, the BATTLIZER gleaming with red light (US addition) with each strike.  He then turns and blocks two NOBODIES' swords, knocks them downward, and sends a NOBODY spinning aside with a final punch; red gleams (US addition) accompany each impact. ]

Red Ranger fights Nobodies (red gleams not shown) Red Ranger fights Nobodies (red gleams not shown) Red Ranger fights Nobodies (red gleams not shown) Red Ranger fights Nobodies Red Ranger fights Nobodies (red gleams not shown) Red Ranger fights Nobodies

At this point, Red Ranger battled the one-armed Gray (Strife), who retained his vitality after losing an arm.  I chose to keep him out of commission to lend more significance to the first Phoenix Cannon blast (also, I didn't care for the way Gray flung Red around by the leg).

[ US footage - The PINK and BLUE RANGERS pummel several NOBODIES as well.  When each NOBODY falls, it vanishes with a black ripple effect (compare with episode 1). ]

In the sentai, White and Blue battled Maria: first, White blasted near Maria, knocking her to the ground; Maria then rose as Blue flew in with a two-handed strike which sent Maria flying.  Oddly, Maria was later shown unconscious in the wake of this battle (despite having shrugged off that large explosion a moment ago).

In Take Flight, this is the last appearance of Nobodies from battalion 3.

[ YELLOW RANGER flies through the air with a boulder in his arms.  He leaps off BLACK RANGER's shoulders.  Then, in midair, he hurls the boulder (shown twice). ]

Yellow Ranger throws boulder Yellow Ranger throws boulder Yellow Ranger throws boulder Yellow Ranger throws boulder

In the sentai, Black Ranger first stood on Yellow's shoulders, and Yellow then threw him into the air for his sword strike (shown above).  Yellow then immediately leaped off of Black's shoulders to throw his boulder.  I cut the Black-on-Yellow portion because it seemed pointless (Rangers can jump on their own).  I may have kept the Yellow-on-Black shot because Black would be shown nearby when the Rangers regrouped afterward.

[ Struck with the boulder, SNAPSHOT flies back and lands with a crash on his back. ]

Yellow Ranger throws boulder Yellow Ranger throws boulder Yellow Ranger throws boulder

[ YELLOW RANGER lands, and the other RANGERS gather around him. ]

Yellow Ranger throws boulder Yellow Ranger throws boulder Yellow Ranger throws boulder

LUKE (Red Ranger):
Nice job, Pete!  Now let's finish him off!

[ US footage - RED RANGER calls into his wrist. ]

LUKE (Red Ranger):
Phoenix Cannon!

[ The PHOENIX CANNON descends to the five RANGERS.  We see the RANGERS from two additional angles before their energy charges the cannon. ]

Rangers receive Phoenix Cannon Rangers receive Phoenix Cannon Rangers receive Phoenix Cannon Rangers receive Phoenix Cannon Rangers charge Phoenix Cannon Rangers charge Phoenix Cannon

[ RED RANGER looks down at the monitor. ]

Red Ranger looks down Red Ranger looks down

LUKE (Red Ranger):
Target lock!

[ The target lock screen zooms in on the lone SNAPSHOT. ]

target lock

[ RED RANGER presses the trigger button. ]

Red Ranger fires

LUKE (Red Ranger):

[ The cannon fires. ]

Phoenix Cannon fires Phoenix Cannon fires Phoenix Cannon fires Phoenix Cannon fires

RANGERS (in unison):

[ The cannon's phoenix flies down. ]

phoenix blast phoenix blast

[ A spiraling fireball then strikes SNAPSHOT with a white gleam, engulfing him in a fiery explosion. ]

Snapshot destroyed Snapshot destroyed Snapshot destroyed Snapshot destroyed

[ US footage - A smoking JINNSECT lands on the rocky ground before expanding in yellowish-white energy. ]

[ Above, SNAPSHOT materializes in giant size from insectoid energy.  He roars. ]

Snapshot grows Snapshot grows Snapshot grows

[ As the RANGERS scatter below, RED RANGER calls into his wrist: ]

Red Ranger calls into wrist Red Ranger calls into wrist

LUKE (Red Ranger):
Sky Flyers, we need you!

[ EXT. SKY - The SKY FLYERS are seen flying overhead. ]

Sky Flyers fly over Sky Flyers fly over

[ EXT. QUARRY (US footage) - RED RANGER turns to the others. ]

LUKE (Red Ranger):
Let's go for speed, guys!  We can't risk another beam attack.

As far as I can see, the sentai offered no explanation for the return of the Cruiser after so many Megazord battles.

CASEY (Pink Ranger):
Ohh, does that mean what I think it does...?

PETE (Yellow Ranger):
Flaming jet of doom, baby.

In episode 6, it was revealed that Casey didn't enjoy the Cruiser's firebird attack.  Pete also dubbed it the "flaming jet of doom" in the same episode.

LUKE (Red Ranger):
Let's do it!

[ Switch to sentai - As the RANGERS simultaneously brace themselves, a green beam from above whisks them up as Ranger-colored energy. ]

Rangers beam up Rangers beam up Rangers beam up Rangers beam up

[ EXT. SKY - The RANGERS beam up into the SKY FLYERS. ]

Rangers beam up Rangers beam up Rangers beam up

[ The five FLYERS fly up into the sky with colored trails. ]

Flyers with trails

[ The FLYERS rotate around each other in circular formation, crackling with blue electricity. ]

Flyers in electrical loop Flyers in electrical loop

[ In its gridline void, the SKYFORCE CRUISER assembles. ]

Skyforce Cruiser assembles Skyforce Cruiser assembles

[ The CRUISER flies by the camera. ]

Skyforce Cruiser

[ EXT. MOUNTAINS - We zoom in on SNAPSHOT as he reacts. ]

Snapshot reacts Snapshot reacts

Hey, hold still!

[ INT. CRUISER COCKPIT - RED RANGER makes a straight-fingered hand gesture. ]

Red Ranger's hand gesture Red Ranger's hand gesture

LUKE (Red Ranger):
Skyforce Cruiser!

[ RED RANGER presses a button.  The monitor changes from a red hawk display to a flaming bird display, which pulsates with DR. BERING's synthesized voice. ]

talking bird talking bird talking bird

LUKE (Red Ranger):
Firebird attack!

Engaging firebird attack.

[ Two gray joysticks flip up from within RED RANGER's control panel. ]


[ RED RANGER grips the joysticks.  The cockpit is now illuminated from the front with red light as a thundering roar in the background intensifies. ]

Red Ranger with joysticks Red Ranger with joysticks

LUKE (Red Ranger):
Full throttle!

[ EXT. SKY - In a black background, the FIREBIRD is enveloped with flames and grows fiery wings. ]

fiery Cruiser fiery Cruiser

[ EXT. MOUNTAINS - SNAPSHOT fires green energy bolts from his flash bulb. ]

Snapshot blasts

[ The flaming firebird swoops down, the energy bolts missing their target. ]

Snapshot blasts Snapshot blasts

In episode 5, I cut a similar sequence wherein blasts from the monster missed the swooping firebird, because I felt it disrupted the pacing and sent the firebird aiming upward instead of down or horizontally.  Here, I've abandoned that preference in favor of demonstrating the advantage of using the Cruiser for this battle.

[ We zoom in on SNAPSHOT as he panics. ]

Snapshot panics Snapshot panics

That's too close!

[ The firebird flies through SNAPSHOT's midsection.  He groans in pain.  The firebird flies away, and SNAPSHOT crackles with blue electricity as he falls, ultimately exploding. ]

Snapshot's destruction Snapshot's destruction Snapshot's destruction Snapshot's destruction Snapshot's destruction

[ EXT. SKY - The CRUISER flies off, shedding its flames. ]

Cruiser flies off Cruiser flies off

[ EXT. QUARRY (sentai) - SASHA lies unconscious on the quarry ground, her STAR HANDLE beside her (US actress's face composited).  We pan right to see STRIFE's detached arm still smoking not far from her.  STRIFE approaches and picks up the arm with his remaining hand. ]

unconscious Sasha (US actress to be composited) unconscious Sasha (US actress to be composited) unconscious Sasha Strife's arm Strife's arm Strife's arm

Another possibly challenging composite shot.

[ STRIFE holds his detached arm in its original position, at which point the sound of slithering wires and electrical connections is heard. ]

arm repair arm repair

[ US footage - We see an internal view of the workings of STRIFE's shoulder reclaiming its arm and rewiring itself. ]

I added the internal view because I found it unconvincing simply to see Strife press his severed arm against the remaining stump.

[ US footage - We zoom down on the unconscious SASHA from Strife's perspective. ]

[ STRIFE approaches SASHA, bends down, and begins to scoop her up. ]

Strife bends to lift Sasha Strife bends to lift Sasha Strife bends to lift Sasha

[ US footage - Following SASHA's unconscious face in close-up, we watch as Strife (off-camera) lifts her up into his arms. ]

I'm not sure that this shot would be practical to film without Strife's costume on hand.

[ Now cradling SASHA, STRIFE turns and begins to walk away through the quarry.  In the background is an unseen source of smoke.  We slowly zoom out and fade to black. ]

Strife carries Sasha away Strife carries Sasha away Strife carries Sasha away Strife carries Sasha away

Practically speaking, of course, Dillik could just teleport Sasha to safety, but I couldn't pass up this footage.

[ Break. ]

[ INT. WILDLIFE OFFICE, WAITING ROOM - BARRY sits despondently alone in the waiting room, his pet carrier now clearly empty. ]

[ CASEY approaches tentatively. ]


[ BARRY slowly looks up at CASEY with a blank expression.  He then picks up his carrier and rises, walking past her without a word.  As he begins to exit, she follows. ]

CASEY (gently):

Could we just go?

[ As BARRY leaves, CASEY sheepishly looks down and follows him out. ]

Casey and Barry will reconcile in episode 19.

[ INT. QUEEN'S CHAMBER - Slouched in her mother's former throne (see episode 10), SASHA weakly regains consciousness.  We slowly zoom out as she regains her bearings.  She stands and looks around. ]

I didn't intend to revisit Magda's lair when I finished episode 10, but it seemed like a sensible place for Strife to leave Sasha.

[ We cut to a wide shot of the dark, empty chamber, revealing SASHA to be completely alone. ]

[ INT. CASEY'S APARTMENT - CASEY unlocks her door and trudges in, flipping on the lights with minimal effort. ]

[ In the living room, CASEY flops onto her couch, sprawling out across her many pillows. ]

[ Soon, there is a knock at the door.  CASEY rises with a grunt and returns to the door. ]

[ CASEY opens the door, revealing an inquisitive MAGGIE. ]


[ CASEY nods toward the living room and shuts the door behind MAGGIE once she enters. ]

CASEY (flatly):
Hey, Maggie.

Are you okay?

[ CASEY sits on the couch once more. ]

CASEY (gesturing):
Oh, yeah... I --  (brushes the idea away)  It's nothing.

Did you... figure out what to do about your parents?

CASEY (more upbeat):
Oh.  Yeah... I mean, there's not really any choice about it.  I'm here with you guys, and that's that.  I'll just... I dunno, sell some stuff, get a roommate...  (shrugs)  There's stuff I can do.

Casey might have gotten a roommate (and had inevitable difficulty keeping her identity a secret) if Parkview hadn't been destroyed in episode 13.

(smiles softly)  What made you decide?

Well, I mean... I love my parents.  ... but I'm a grown-up.  I need to get out there and be my own person, you know...?  Climb trees, bark at other squirrels, and all that.

[ MAGGIE furrows her brow. ]

MAGGIE (puzzled):
That's an... interesting metaphor...

[ CASEY smiles softly. ]

MAGGIE (cont'd):
Well, anyway, I'm glad you're staying.  We'd all miss you, like, way too much.

[ CASEY smiles more broadly. ]

What, you think I'm just gonna leave you guys?

[ Dissolve to EXT. APARTMENT ROOFTOP as CASEY's line concludes (below).  RED RANGER stands at the edge of the rooftop looking skyward with determination.  A green beam from above shines on him, and he vanishes as a red streak. ]

CASEY (voice-over):
What kind of friend would I be?

I wasn't averse to casting Luke in a negative light when he embarked on his private endeavors.

[ EXT. SPACE (US footage) - Above the Earth, we see HAWK ONE flying away from the planet.  It recedes into the starry distance and vanishes into a point.  Freezeframe. ]

This turn of events continues with Luke's space battle with Trask in the next episode.