All language subtitles for 24 - 5x06 - Day 5_12.00 PM - 1.00 PM Commentary_eng

Hi, this is David Fury,
the writer of episode six,

called "12pm to 1pm".

And John Allen Nelson, aka Walt Cummings.

- (David) Boo!
- Boo and hiss.

(David) Here's some trivia. The original script
opened with an interrogation scene

between Curtis and Spenser,

the mole who was working for Cummings.

But the episode turned out very long.

We were going to do more of the story
with Spenser and Chloe

and kind of enhance
that relationship a little bit,

where Chloe's watching him
being interrogated.

Like a lot of things on this, it's like
a moving train with the windows open.

Stories fly out the window
as it's moving so fast and you go:

"What happened to that
Chloe and Spenser story?"

(John) I got really excited
when I read the script.

- There was so much of my character in it...
- (David) Counting the lines, were you?

(John) "Shit, this means there's
nowhere else to go. Not much further."

(David) That's right. You're giving up
the whole plan. That can't be good.

(John) It was good news and bad news.
And it was really bad news.

It's an amazing thing
to watch it all come together.

And I got a box at the beginning of this one.
That was my first Walt Cummings title.

The first Walt Cummings title.

- (David) You got your box cherry broken.
- (John) Absolutely.

(David) So here we are -
it's all about Walt Cummings.

Jack trying to get to Walt Cummings
through Mike Novick.

(John) At what point did you decide that
Cummings was a patriot in his own mind?

(David) Actually,
when we originally started this season,

we didn't know it was
going to be Cummings, your character.

We talked in broad strokes. We just said
there'd be a Rasputin in the White House.

There was gonna be someone who'd pull
on strings and manipulate the president.

And itjust kind of fell. You were
the obvious choice after last season,

after pulling the thing on Jack, trying
to have him killed and manipulating Logan,

that it became obvious
that you were going to do it.

But we realised if we're going to do this story
about a conspiracy in the White House,

it had to be justified
through the prism of patriotism,

as much as is happening
in the world right now.

Whatever acts are being taken,

you're accused of being anti-patriotic
if you don't support the White House.

The plan needed to be couched in the idea
that they think there's a greater good in this.

Cummings is not strictly evil.

None of the people are evil
who are involved in this conspiracy.

They genuinely believe they are manipulating
things for the good of the American people.

(John) That's one of the great things
about the show

and certainly the choices the actors have
made and what you pull out when you edit.

If you can walk that tightrope,
without being evil, being... etc, then...

You play the grey area and you guys can
make of it what you want in future writings.

(David) It's interesting
when you have characters...

This is what's making
this season so interesting,

it's not a clear villain
who has a clear evil agenda.

It's much more cloudy.
It's much more cloudy issues.

(John) How did you get this guy to puke up
this stuff? Cos when we first saw that...

(David) We, uh... I have no idea.

I was trying to think of some reason to
nauseate him, but couldn't think what we did.

Obviously, it's our beautiful special effects
team that put some fizzy liquid in his mouth.

(John) I gotta tell you, working with these
two actors, Jude Ciccolella and Gregory ltzin,

holy cow, these are guys
at the top of their game.

- Incredible performers.
- (David) Oh, yeah.

And Greg...

He has, I would consider, the thankless role
of playing a character that people hate.

He does it beautifully.
They don't hate him for being bad,

they hate him for being inept and weak
and all these other things.

And it's very hard to play that
and still find the empathy for this character,

and I think that's what Jean Smart brings
with her genuine...

She has a genuine love.

(John) You see those human moments. The
interaction between them humanises him.

But I've never worked with an actor
who is so absolutely in the moment.

You can shoot a scene ten times
from ten different angles,

and if on take ten, someone sits down
in a chair and it squeaks for the first time,

the guy takes it in and itjust becomes
part of the performance of that take.

He's staggering.

And shifty-eyed Jude. Look at him.

(David) This is the first time Mike and Jack are
talking since Mike has learned Jack is alive.

And it's a tricky thing to try.
You wanna play out moments where...

It would be a significant moment
for these two characters to know.

"Oh, my God, you're really alive. It's true."

But the plot has to keep propelling forward.

What I find writing this show
is you have to blow past

what you imagine to be the more natural,
emotional play between those characters.

For the sake of momentum, for the sake
of Jack trying to move his agenda.

(John) The viewers too.
They don't want that much dead space.

(David) They don't, but I don't consider
those emotional moments...

I think that grounds it, that makes it realer.

(John) You have to pick your moments?

(David) You're dying to see what's going to
happen when Kim finds out that Jack's alive.

Or when Novick finds out that Jack's alive,
what that scene's going to be.

You think about it and wind up going, "Jack,
you're alive, how nice. What do you need?"

(John) So often there are the brief moments
that, even if they're a nano-second,

they're so full that, as an audience member,
for me, knowing what's coming,

you watch them and react to it,
cos there's so much expectation

and even if you feel like you're bowling by it,
it still works for me.

- Even if it's not extended.
- (David) This show is less is more.

The thing I want to compliment is that
the production, directors, actors, editors,

they really find a lot of the subtext
in the production itself.

Whereas I'm used
to more writer-driven shows

where you have to infuse
a lot of that emotion in it.

You know, the directors here,
Jon Cassar, Brian and Brad,

they can do it with a look, get the actor
to just look at her across the room.

Suddenly, all that emotion you wanted to
infuse in the dialogue or felt needed to be in,

they find it, they find it in the moments.
They find it in scenes like this.

(John) Absolutely. But these are the moments
where you need to spend that time.

(David) And in this show, it's tough. These
are scenes that went through a lot of hands,

because there was a need to always calibrate
how much emotion should be there,

how much does Jack care about her?

How much is too much with the tears?

It's a tricky balancing act with this show.

You don't have time to really spend
making those scenes more lived in.

They just kind of have
to serve their purpose and move on.

(John) Oh, the sneaky guy behind the desk.

(David) When you do the phone scenes,
are actors doing the other side?

(John) On every other show I've worked on,
somebody is reading them.

On this show, almost every phone
conversation I had, the actors were there.

Even Kiefer, last season, season four,

there was a phone conversation with Kiefer.

He was off that day and the guy
came into work to do his off-camera.

- It blew my socks off.
- (David) That's great professionalism.

(John) That's one of the reasons
the show's so great.

His absolute single-minded commitment
to making it the best show it can be.

It's really admirable.
And what a powerhouse performer.

- I mean, I gotta tell you...
- (David) Kiefer.

(John) His presence is remarkable.

And I can say that cos I'm dead.

(David) There's Glenn,
another great character - Aaron Pierce.

(John) Fantastic character, great actor.

And that's another one, with just a look.
He conveys so much.

(David) His love for Palmer
doesn't have to be expressed.

His affection. He's so wonderful
at playing all that.

(John) You get that sense of a solid guy
when you see him.

(David) This was one of the interesting things
where we hit on this idea,

I forgot who it was, Howard maybe,

but the idea that there's something more
between Pierce and Martha Logan.

It was actually a subtextual love

that is unrequited.

We play into it. There are more moments
this season where we illustrate that point,

but still, this little privileged moment
between the two of them,

it's playing the idea that the head
of Secret Service has a thing for the first lady.

(John) What I loved about that
on Glenn's side...

Jean's just... They're both great actors,
but with Glenn, it's a great lesson for actors,

how you can do so little and yet be so full.

Cos when you watch him,
there's not a lot of extraneous motion there.

And yet every second's full.

And this guy rocked my world this year.
Holy cow!

(David) This is a fantastic cast.
I keep singing their praises.

I know no one wants to hear that, but they're
just great. Everybody's great, down the wire.

- Sean did a greatjob.
- (John) Musically?

(David) Sorry, I meant Astin.
And Sean our music director.

(John) I was thinking of Sean Callery
cos he did another series that I did.

- When I hear Sean on this show, it's like...
- (David) His scores have been incredible.

(John) Yeah, they're another character,
they really are.

(David) This is the inside man that Cummings
has placed among the terrorists,

who's planting the trigger device

where they're going to betray the terrorists
and blow up the nerve gas back at their base.

- You just know in this scene he's done for.
- (John) Absolutely.

(David) The thing about 24
is that everything's kind of out there.

We don't play a lot of games with the
audience in terms of trying to fool them.

We do things, sometimes they're unexpected,
but generally, everything's on the table.

This scene is written to go, "This guy's dead."

We're not mincing words. We don't try to
make it a surprise that Erwich found him out.

We see that. The characters' motivations
are always expressed beforehand.

You see them,
so you know what they're doing.

Part of the fun is anticipating it.

(John) What I love about the way the show's
shot is you feel like you're eavesdropping.

So many shots are from behind something
or something obscures part of the view

and you feel like you're watching
round the corner as an audience member.

- Which makes it really exciting.
- (David) Or somebody who's snuck on set.

(John) Makes it very intimate.

(David) Again, a lot of people
wanted to make more of this and this triangle,

but there really wasn't anything to play.

I think that Kiefer, rightly so,
feels that Audrey is the woman he loves.

He didn't feel tempted by Connie's character,

but it's still tragic to see that she feels for him
and that he can't love another woman.

But some people expected her to be back and
expected this triangle to play out all season,

but it's, again, one of the things about
this show, we won't drag these things out.

A few episodes. This triangle's
not gonna ride out for all 24 episodes.

The fact that Walt Cummings is the bad guy
as far as we can tell, we're revealing it here.

He comes clean and gets his comeuppance.

Here, it's only six episodes into the series
and that's what people love.

They're expecting these things to play out
longer and longer and we don't.

People catch up to the audience quickly.

(John) I love the fact that you had Cummings
come clean with the president.

(David) This is a scene
that a lot of people hate.

A lot of fans hated the fact that Audrey chose
this moment to call Jack about her feelings,

when he's about to meet the president
and confront him about his chief of staff.

And I can't argue with that.

It's one of those things, it's a very difficult
show to find these moments.

And you just have to bend over backwards
sometimes and just accept...

You gotta shoehorn 'em in
or they don't get in.

And if they don't get in, there's no character
development, no relationship development.

Jack's always on the move.
But you gotta play a little bit of the story.

The timing is tricky.

But we felt there was enough of a lull here
that she might be able to work it in.

(John) And it's an emotional thread
that we need as viewers. Absolutely need.

(David) Some of us need. Some want,
some need, some could do without.

And you don't wanna waste Kim.
Kim Raver is so wonderful.

If she's stuck at CTU,
you don't want her at a keyboard going:

"I'm helping with the uplink."
You need what she brings to it,

which is grounding Jack in what
he left behind when he faked his death.

He left this woman behind.

There's an example of what you talked about,
behind the wall. Half of him is obscured.

(John) Precisely.
So you just feel like you're looking in.

(David) And the set is amazing.
It looks like it's an exterior.

There's a reflecting pool out there
which you see occasionally.

- It's an amazing set, the president's retreat.
- (John) Stunning.

(David) The first time I stepped
onto the CTU set, I was blown away.

The show is not shot wide very often.
Everything's played usually very intimately.

- So I never really got the scope.
- (John) Absolutely. It's huge.

(David) When you are actually standing there,
you go, "Oh, my God. This is a movie set."

And when you go into Logan's retreat,
you have to take my word for it, it's a house.

There are rooms upon rooms
and bedrooms and offices...

(John) And you can have continuous shots
that last for minutes.

(David) And it's remarkable.

(John) I kept thinking that I should have
ended up floating in that reflecting pool.

(David) No such luck.
You get to hang by your neck.

(John) I will say, periodically,
you'll see the water reflecting off the walls.

How they've done that, they've got a little
mechanical shark that they put in there.

He swims back and forth and his tail, as he's
swimming back and forth, fans the water.

(David) That's something to look for,
if you can see the mechanical shark.

See the water rippling right there,
in the background?

That's awesome. Bruce.

(John) This scene, when we did it,
Jon Cassar, who directed this episode,

said he thought it was the longest scene
you'd shot on the show between two actors.

- There's five pages.
- (David) it doesn't play like it.

It's riveting.

(John) It ended up
being a wonderful moment.

As actors, we both had done our homework
and we shot the scene over seven hours,

with all the different angles
and this and that.

We did not go up on our lines one time.
Our first take after lunch, I had one bobble,

but aside from that,
neither one of us forgot our lines.

- It was like doing a play.
- (David) That must have been fun for you.

(John) It was staggering,
but that's a tribute to Greg.

He's an incredible stage performer and
when you're working with him as an actor,

not only are you working with the best actor
you could dream of working with,

you're working with a guy who,
as you're going through rehearsals,

can absolutely give you,
if you're having problems with something,

- he can give you that one line that...
- (David) Puts you back on track.

(John) And I was having a difficult time
with one section of this scene.

I couldn't quite get...
I kept getting it in my head.

And Greg just came over and said, "Word
of advice, just shoot me between the eyes."

That was it. And I was, "That's it."
Right between the eyes and that was it.

And the scene worked.

- You're a traitor.
- No.

No, Mr President, I am a patriot!

Doing what needs to be done for the
continued safety and wellbeing of this nation.

(David) The patriot speech
is one we give a lot.

We have to keep justifying the rationale for
what's going on, that this is a patriotic act.

Here we are in this episode, we're doing
this commentary and writing episode 22.

People are still making the patriot speech.

(John) And it is apropos of the times.

(David) It's the only thing
that can justify a lot of people's actions here.

You have to believe
that they are zealots for their country.

(John) My girlfriend said, "Now people
can see what you're like when you're angry."

- (David) That was pretty forceful.
- It was like, "Oh, God, no, I'm a quiet man!"

(David) I should mention Evan Katz
did a lot of heavy lifting in that scene.

Like all the episodes of 24,

there's more than one hand,

no matter what the credited writer is.
We all take passes at acts.

More than any show I've worked on,
it's more collaborative in the script.

(John) I had that scene memorised
three days before, then I got the rewrite.

Then I memorised that one
and then I got the rewrite.

And I think the day off we got another one.

(David) Once it got past some of the stuff,
we had to go back and do some stuff to it.

(John) You always make it better.
It's incredible how that works.

(David) That's the other thing. The scripts
are continually rewritten as you're shooting.

I've never been on a show where the scripts
are more colourful. You get coloured pages.

There are more colours in those scripts
than in the rainbow.

(John) Then you go back to using
the same colours.

(David) Yeah, so you start going,
"It's second white, second blue."

But the show is always honing itself.
These guys are perfectionists.

(John) When you get to second salmon,
you know that.

(David) Abbot and Howard in particular
are very meticulous

and they want every single comma
in the right place.

- (John) That's great. It shows.
- It gets rewritten during production.

Kiefer changes the lines and, you know,
makes it better than anything we've done.

- (John) His instincts are quite wonderful.
- Absolutely. He makes it great.

And the directors do. Jon in particular
creates a lot of things that aren't in the script

or finds ways to shoot them, finds lines
to drop, you know, reworks things.

Again, everybody's working
to make the show the best it possibly can be.

There's Logan who's kind of...
Now he's no longer in charge.

Cummings is calling the shots now.

At one point we had Cummings
at the president's desk.

- (John) Oh, wow. How fascinating.
- Logan was standing off on the side

and Cummings was sitting
at his desk on this phone call

and you're going, "Oh, my God."
It's a coup, you know?

(John) One thing about this particular scene,
I had been in Sweden.

I'd been over there seeing my children.

This was a scene that we hadn't gotten
while we shot the original episode

and I had been told we'd shoot it
a few days after I got back.

So I checked my voicemail
just before I got on the plane

to see if I needed to memorise this scene
and there were no messages.

So I didn't look at it.
I fly back from Sweden. I land.

They must have called
ten minutes after I left Sweden

to say, "You're shooting it tomorrow."
So I get back here at night.

I had to be at the set at six the next morning
to shoot this scene.

I stayed up all night, memorised the scene...
Oh, it was hysterical. But the scene worked.

I thought, "How is this gonna fly?"
You cannot tell that it's a month later.

- (David) You look wrinkled around the eyes.
- There you go. It's the pruning effect from...

- (David) I kid because you're good-looking.
- Thank you.

- (David) No, thank you.
- Yes. No. You guys should see this guy.

All right.

It's makeup. Makeup. Heavy makeup.

(David) You know, there is another thing.

Because this is 12 to one
I was determined to show them eating lunch.

You know, one of the criticisms of the show
is, why is no one eating a meal?

- (John) There was a meal. In the corner.
- But we never really see it.

- We never see the platter.
- As actors we knew there was food there.

(David) The later scene where Jack
takes a knife out and is holding it?

I had it as a knife that was on the platter.

That there was a big cutting knife
on the platter, that he improvises this.

I didn't imagine he had weapons on him. I
don't know if this got changed in production.

I wanted for him to have to go to the platter,
and look, they're having lunch.

It's 12 to one. Of course they're having lunch.

But of course it fell away
and Jack had a switchblade inside his pocket.

(John) Which was quite intimidating,
by the way.

(David) The knife. Oh, yeah.
Well, we'll get to the knife when you...

The "thank you" is something Glenn added.

That expression with him going,
"Thank you," is priceless

and that was something
that's not in the script.

This is a scene I really wanted.

We weren't showing the conflict
between Lynn and Buchanan enough.

That here's this young guy
who really is in over his head.

I mean, he's smart, capable, but he doesn't
know how to make the hard decisions.

- (John) Mm-hm.
- Always.

And setting in this conflict was something
that I was really happy to write.

I love this.

It got dropped after this episode,
but I wanted to keep this conflict alive

of "I know more than you".

- Yeah, they're great.
- (John) But you buy this.

(David) I love that. He hesitates
cos "You gotta decide now."

It's like, "Don't think about it,
just make this decision now."

It's such a little thing,
but, you see, these are the conflicts.

Another thing I steered away from early on
was, there's not a lot of conflicts within CTU.

Everyone usually is on the same page.

And, you know, sometimes it's hard
to write these scenes when there's no conflict.

It's just shouting out orders
and people following orders.

Here's another scene I'm proud of too, is this
idea that she's mourning the relationship

she had with her husband.

- And she's just, "How did we get here?"
- (John) Yeah.

- (David) This just breaks your heart.
- Yeah.

- (John) Such a proud woman.
- Yeah. These are the downbeats.

Sometimes it's hard to get to on the show.
These are my favourite things in the episode,

these downbeats, not the action.

Though you getting your ass kicked was fun.

(John) Yeah, of course it was. (laughs)

And I think the viewers
enjoyed the hell out of that.

(David) There's a telling line.
He's the president, he can do what he wants.

That's a little bit of a foreshadow
for those who

continue watching into future episodes.

Here's another interesting thing.
When I originally wrote this,

they would talk to each other
like they were friends.

It never occurred to me they'd never met.

In all the years that Pierce
was serving under Palmer,

Jack was always talking to Palmer
on the phone, almost 95%% % of the time.

So, here's these two characters that we like
and we care about, and they've never met.

So we just had to play it
as Jack recognising him somehow

and then using his love for Palmer,
Aaron Pierce's love for Palmer,

to get him to help him.

Walt Cummings ordered
the assassination of David Palmer.

(David) We think.

- Or so Walt Cummings thinks.
- Absolutely.

(David) You know now
that that's not the case.

- (John) I... No. I only know...
- You only know what you've seen.

- (John) Exactly.
- I'll let you keep watching.

- (John) Yeah, and I will.
- No, it's like an onion.

(John) That keeps us coming back for more.

(David) Or like a wagon that's wheels have
come off. One or the other, I'm not really sure.

Here's these two guys who...
You know, they're both action guys.

I mean, Pierce is a loyal Secret Service agent.
Loyal to the president.

But you also know that when he goes
into action, this guy's good.

- (John) Absolutely. Gotta be.
- He's the head of the Secret Service.

So putting the two of them
in the same room, that was exciting.

- (John) I love this.
- Yeah.

Putting Jack in the room with Logan
was a thrill

because, again, he rarely gets to play
a scene with the president.

- He's usually on the phone to the president.
- And those scenes were so good.

(David) Cos here's a guy... You want him
to slap some sense into Logan. Jack.

"You're the president."

(John) OK.

(laughs)

- Who's he gonna call?
- I know.

If I could just get to the phone...

(John) Now, you'll notice when Kiefer, when
he gets this knife up to my eye in a moment,

look at his knuckle on his right hand.

- It's bleeding.
- Is that for real?

(John) Yeah. They put a pad on me,
a hard shell on my stomach,

and with a pad over that,
and the pad slipped down at one point.

I felt so badly for Kiefer.
In order to sell it you gotta make contact.

Then you pull the punch, but you gotta
make some contact. He was hitting this pad

and it was ripping the skin off his knuckle
and he never said a word.

I looked down after
the fourth time through this,

saw the blood running down his hand
and thought, "This guy has not whimpered."

- And it's got to hurt.
- You know why? Kiefer is Jack Bauer.

(John) The guy is Jack Bauer.
And the thing is, he's not a big man.

His presence is so huge.

(David) You buy him taking out anybody.
An 8ft tall...

(John) Absolutely. I mean,
he's unbelievably intimidating

and it's a wonderful thing.

- (David) Jack was gonna shoot...
- There was a gun next to my head.

(David) He was going to shoot you
in the kneecap.

And we said, Jack's done that before.
He's shot kneecaps.

(John) Sorry, David. See the bloody knuckle.
You'll see it when he gets it up to my eye.

He was gonna shoot me in the kneecap,
but you've seen that before.

(David) So I went to the eyeball. I went there.

(John) The thing was, that was a real knife
when he was pointing it at my eye.

All that was...
And then this, of course, is a fake.

But see? You see his knuckle there?
Look at that.

- (David) Is this where your eye is...?
- Yeah. The next morning,

we shot the scene that comes after this.

And I get to work and the director...

I hadn't even been to the makeup trailer
and he goes, "Wow. Greatjob on your eye."

I said, "What?"
He goes, "The blood in your eye."

And my eye had haemorrhaged inside
the eyeball in the bottom right corner.

- (David) During this scene, do you think?
- No, cos when I got home it was fine.

But at some point it had haemorrhaged,

so the whole bottom right corner
of my eyeball is bright... full of blood.

So you see it in this next scene
if you guys slow-mo it, stop it, whatever.

(David) Stop it. Get your telescopes out.

(John) Exactly.

But that was an intense scene.
I mean, Kiefer was just so on the money.

(David) We try to resist
the idea of Jack torturing people

cos you try to... you go to the well too often.

But that was so justified. It was not
strictly torture, he was just beating you up

and holding a knife to your eyeball and
threatening to cut out your eye. Both eyes.

(John) Got the info.

Here's a lovely moment.
Absolutely lovely moment.

(David) Yup, he just follows orders.
You know, "OK."

(John) But that's a guy
you would want on your team.

- Absolutely.
- He's a great soldier.

But he knows enough, like, he was in
that scene while Jack was beating you up.

He's there to protect the president.

He says to the president,
"I'm here to protect you, sir."

"By getting the information on Cummings I'm
protecting you from having to cover for him."

(John) This is an incredible scene.
Two heavyweight fighters.

(David) Yeah.

I think that little look says,
"I don't really care."

He's still respectful, but you know
that Jack does not like this president.

(John) But Kiefer carries such empathy
at the same time as being so strong.

It's an incredible combination.
You don't see that that often.

(David) One of the subtexts here
that I'm not sure comes across

was that after this is over
he wasn't sure what he was going to do,

but right now he's being asked
to disappear again.

So he's basically... Right now when he's
saying this, he's leaving Audrey again.

(John) Absolutely.

(David) Because it's not on the heels
of the phone call from Audrey.

- (John) Yeah, but...
- That's the pain that he's getting now.

(John) I read it as an audience member.
Absolutely.

And that's just out of his performance and
then what you guys have laid in writing-wise.

(David) He's gotta take his phone with him,
cos what is Jack without his cellphone?

(John) Absolutely.

What a beautiful episode, man.
It's so beautifully written.

Totally.

(David) Well, I thank you for that.

You try... Like I say,

a lot of hands are in each script,

and we're trying to make every episode
as good as the next one or better.

At least better than the last one, I should say.

(John) Again, another brilliant moment.
Brilliant moment here.

(David) Thank you.
I was very proud of this one too.

Again, you just put these characters in. You
put Greg and Jean in and they're just gold,

so it's not really necessary to write much.

And this is after all these episodes of not...
hours of not believing her.

And she's not letting him off the hook.

You know, as usual
Logan trying to pawn it off on someone else.

(John) God, they're good.

(David) Another telling moment.
"I do not forgive you."

- (John) Absolutely.
- Until the next episode. (laughs)

Cos there's just so long you can go, like:

"I'm giving you the silent treatment
for the next, oh, hour."

(John) Absolutely.

(David) "And then
I'll have to deal with you again."

I'm sorry we didn't get to use Mary Lynn
enough in this episode.

Like I said, there was a little bit more
between she and Spenser.

That story got pushed back a little bit.

But she's so great and she is really
the sole vessel for comedy

orjust humour,
just grounded humour in the show.

(John) And yet the character seems to be
developed so much more this season as well.

(David) She's not strictly comic relief.
But you can put those lines...

Sometimes you can put great, you know,
very cutting remarks out of her

which you can't really do
with other characters.

- She puts such a funny spin on it.
- Oh, she does. Oh, my God.

- She's quite wonderful.
- The man in the yellow tie.

(David) It's always great to see...
They work Dennis's image, Palmer's image...

It reminds you again,
"Oh, yeah, this is Jack looking..."

He was looking to get vengeance
for David Palmer's death.

What he's going to find out
is he hasn't got it yet.

Walt Cummings is not the end
of the Palmer conspiracy.

(John) I got to watch the first two episodes
of this with Dennis Haysbert

- at Greg ltzin's house.
- (David) Wow. It's like Camp David.

(John) It was. It was Dennis, Jude Ciccolella,
Greg and myself, and our ladies.

It was really wonderful. A lot of fun.

(David) They shot this
at Long Beach Port, I believe.

The split screen so works great on this.

It's such an obvious thing
to be saying in year five,

but to have characters reacting as we're
seeing it with them, it really puts you there.

You were just describing the way the show
is shot as if you're an observer.

You look at them to see their reaction.

You experience the same moment and see
how they react. Rather than cutting to them,

it's in real time. It really makes a difference.

You're in trouble. You're in big trouble.

People were upset Jack doesn't say "dammit"
in this episode. There's a drinking game.

Jack says "dammit" in every episode,
and I gave it to the president in this one.

That is a little bloody eye there,
or am I wrong?

Is this the one?

(John) You know, it actually may be
in the opening of the next episode.

(David) It's a slow haemorrhage. Jack did it
so that the haemorrhage is taking effect now.

- (John) It's the bottom corner of my right eye.
- Watch for it in episode seven.

(John) That's right. I love that smirky look
of Jean's as she's coming in.

(David) Yeah.

How are we gonna get the terrorist
to call into the president?

Well, the only way they could do it
is if they call in to Cummings' phone

and they'd only be able to do that
if they got the phone of the inside man.

You have to figure all this stuff.

Your head's spinning trying to figure out
the logistics of how does he call in?

(John) We know what we need,
how do we get there?

(David) Well, the Secret Service have
Cummings' phone in an envelope.

It's you being a patriot again,
protecting the president.

Taking all the blame.

Your country is about to pay
a very steep price.

A steep price.

That can only mean 18 more episodes.

(John laughs) Absolutely. Fun and games.
It's been a pleasure, David.

(David) You too, John. It was great. Thanks.

- (John) Thank you.
- Thanks so much.

Visiontext Subtitles: Simon Campbell

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