S2E34 - REWATCH09-PT02 - The After Hours - Severed: The Ultimate Severance Podcast

Episode Transcript
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Speaker 1 (00:03):
Severed The Ultimate Severance Podcast.

Speaker 2 (00:14):
Welcome back, Refiner. It's time for another day on the
Severed Floor. Our full rewatch of season two continues as
we delve into part two of The After Hours. This
is halfway through the ninth episode of a ten ap season,
but I'm still going to say it spoilers. You absolutely
must have seen all ten of the season two episodes
before you begin this podcast. This is Severed, the Ultimate

(00:37):
Severns Podcast. I'm your host, Alan A. S. Since this
is part two, I doubt we need much in the
way of backstory. Mark and Devon are out in the woods,
driving along a snow lined route. If all goes as planned,
they are about to meet up with none other than
former Severed Floor manager Harmony Kobell. So what do you say, Refiner,
It's time to reopen the file called The After Hours.

(01:00):
We are attracking the hales Range rover in a down
angle drone shot. Devon turns into a clearing along the highway.
According to an anonymous poster on Reddit, this is old
Route nine West near the state line. Lookout if you're
not from the area, that description is a bit vague.
I did some searching and I'm pretty sure they're talking
about a segment of highway near the Palisades Interstate Park

(01:21):
in New Jersey. It looks like a section of nine
West is no longer in use near this lookout in
Bergen County, north of Alpine. The river they're looking at
from the cliff is the Hudson. This area is near
to where Devon, Mark and Harmony have planned their meeting.

(01:43):
Mark's health seems to be degrading by the minute. As
this said, there's a high down angle shot of the
road and woods is Devon approaches. A cut follows the
range rover into the snow covered clearing. Devon slows to
a crawl to accommodate the rougher terrain. If she's not
here yet, Devin turns off the car as they both unbuckle.

(02:03):
Mark is harboring a healthy bit of lumen based paranoia
regarding this meeting.

Speaker 3 (02:09):
You won if it's a trap.

Speaker 2 (02:10):
Is paranoia is probably justified. Luman desperately needs their star
refiner back at his eighties era workstation. Tricking him into
getting back to work would not be out of the
realm of possibility for the Evil Empire. Devin, ever, the pragmatist,
says sure, maybe it is a trap, but maybe it isn't.

Speaker 1 (02:29):
That we fucking need her.

Speaker 2 (02:31):
Someone's phone starts to vibrate in the range Rover cab
and in set shot shows us it's mister Miltchik calling
for Mark. Well, of course he is. The powers that
be in the c suite would like to know why
the numbers aren't moving. Miltchik is devoting all of his
energies towards answering that question. As the phone continues to buzz,
Mark silently looks to Devin.

Speaker 4 (02:52):
Don't answer.

Speaker 2 (02:53):
I'm shocked Mark does not use an Apple product for
his telephonic needs. Neither says another. Finally, the buzzing stops.
Seabirds can be heard cawing in the distance. We hold
for a few moments. Neither Mark nor Devin speaks. We
cut to Helly storming through a door somewhere down on
the severed floor where's Mark. It seems Miss Wong is

(03:15):
not guarding the door to Cess Office, so Helly was
able to just walk right in. Excuse me, Miss Wang
must be packing in preparation for the shuttle that's coming
to take her to the Fallbard. We get a nice
angle on Cess Office from over to the right side
of his desk, looking towards the door. Helly is rather
brazen as she bursts into mister miltchik'senter's sanctum. She wants

(03:37):
to know what's up with Mark S's work schedule.

Speaker 5 (03:40):
This is the second Danna row. He's not here? Is
it coming in?

Speaker 2 (03:42):
Helly? You are not alone in your concern for Mark.
Mister Drummond was asking the same thing not more than
ten minutes ago. There's a reverse cut to Miltchik. He's
looking rather comfy, settled into his chair behind his imposing desk,
flanked by his Wittgenstein statue and his relief of cure.
The painting of the glacier is centered almost perfectly above

(04:03):
his head. Luman is very good about withholding information and
making you feel guilty about even asking in the first place.
They already used it on Mark, and how he would
be violating PDE's privacy if they told him anything about
PDE's oudy situation. Miltchik hits Helly with the same argument here.

Speaker 4 (04:22):
Non disclosure policy forbids.

Speaker 2 (04:24):
End of discussion, Seth returns to marking up some papers
on his desk. Helly is not put off so easily.

Speaker 5 (04:30):
He had a nosebleed before.

Speaker 2 (04:32):
She's worried what's wrong with him might be more than
lowered humidity levels.

Speaker 6 (04:36):
Is he okay?

Speaker 2 (04:37):
Well, he's practically unconscious in his sister's range rover out
along the highway somewhere in the woods. He's also waiting
to have a clandestine meeting with Harmony Cobell. Since Miltchik
doesn't know any of that, he decides to deflect her
question why why why? Seth is barely even looking up
at Helly. He is busy marking up the papers in

(04:57):
front of him. Helly is frustrated. Don't protocol and position
mean anything to these severed floor barbarians?

Speaker 5 (05:04):
His department chief is he?

Speaker 2 (05:06):
Was it given back to him after the unceremonious dumping
of Mark W. Last I remember Miltchik had assigned Department
chief duties to Mark W following Mark S's ill fated
attempt at framing Mark W. I guess the reset back
to the original Mdr Crew also meant restoring Mark S's title.
Of course, they wouldn't leave the severed floor without leadership.

(05:28):
Miltchik calmly looks up from his.

Speaker 4 (05:30):
Notes Dylan is in Mark's absence.

Speaker 2 (05:33):
Okay, so where is Dylan. It's possible his Audi is
upstairs right now, ending the existence of his lecherous Inny,
who's making time with his wife. Helly's demeanor changes, kind
of like you and Cobell. This is the first time
we've seen Helly r alone with mister Miltchick since the OTC.
She now knows who she is as an audi, even

(05:54):
though she hasn't shared it far and wide with the
other Macrodats. The info is still sitting there, just beneath
the surface. Seth looks up with some concern following this comment.

Speaker 5 (06:04):
Place one part with another.

Speaker 2 (06:05):
Helly's insubordination is becoming apparent to mister Miltchick. He closes
whatever he was working on and sets it aside.

Speaker 4 (06:12):
That's enough, Helly are.

Speaker 2 (06:14):
Helly razenly takes a couple of steps across the office.
She moves right up to the edge of Ceth's desk.

Speaker 5 (06:20):
Do you mean how you?

Speaker 2 (06:21):
She caps this line with a little tilt of her head.
It's the nudge, nudge, wink wink of a severed worker
who knows more about their OUDI than they should. Seth
takes this comment in without expression. He considers it a
moment before answering.

Speaker 4 (06:36):
Helena Egan is my employer. You are my subordinate and
this behavior constitutes insubordination.

Speaker 2 (06:43):
In most situations, this statement would shut things down between
an inny and their manager. Not this time, yeah, not shit,
Not when the and he now knows their Audi is
a part of the most powerful family in the world
of Lumen. Helly considers this her last word on the matter,
turns on her heel and stops towards Miltchik's office door.

Speaker 4 (07:03):
Leave it open.

Speaker 2 (07:05):
He still can't call it a door. The scene ends
with a front shot of Seth seated at his desk.
His hands are folded in front of him. He's trying
to muster every bit of zen he might have built
up through the care of his Bonzie tree. He closes
his eyes in silent meditation. There is a slow dissolve
from Seth's office to the Audi family visitation suite. Any

(07:27):
Dylan and Gretchen are seated in the banquette to the
left end of the room. Tall ornamental grasses appear to
be the subject of the windows behind them. These could
even be thistles. Dylan looks concerned.

Speaker 5 (07:39):
I told you about us.

Speaker 2 (07:42):
Another one of those lines that could only be spoken
on severance. Any Dylan, in contrast to his Audie's loud
and defensive response, smiles at this, but Gretchen decides to
be a bit more specific about her statement.

Speaker 5 (07:56):
I told my husband about you and me this morning.

Speaker 2 (08:03):
Any Dylan isn't sure how to respond. He ums for
a minute, then tries to put a positive spin on things.

Speaker 1 (08:10):
Was he glad for us?

Speaker 2 (08:12):
Oh Dylan, you do not know you're Audi at all,
do you? Gretchen slowly shakes her head. Any Dylan doesn't
think mister Audi understands the true importance of what's happening here.

Speaker 1 (08:24):
Well, he should be, because I'm making you happy.

Speaker 2 (08:29):
Which he doesn't realize is the root of the problem.
I know, Audi Dylan should be the one making her happy.
If any Dylan is making Gretchen happy, but Audi Dylan can't,
you're definitely setting the stage for a jealousy meltdown. Dealing
with any Dylan is like dealing with a very sincere
and earnest teenager. The choice is simple. Any Dylan is

(08:51):
providing happiness and he's not. Therefore, isn't it clear she
should be going with any Dylan. Gretchen looks down momentarily.
When she looks back up to meet his gaze, it's
like she's steeled herself for what she has to say.
I can't see you anymore again. Seth Miltchik, what in
the hell were you thinking when you came up with
this oudy family visitation idea? You were so incredibly shortsighted

(09:14):
as to see the benefits of control over any Dylan
while being blind to the downsides of exposing any Dylan
to deep and genuine feelings. Gretchen is ripping this poor
innocent man's heart out through his chest, and there's nothing
he can do about it. Dylan has no response to
the I can't see you anymore line. Gretchen fills the

(09:34):
silence with explanation, befriended.

Speaker 5 (09:37):
To quit, and I don't know if he's still going
to but maybe if I tell him that this is over.

Speaker 2 (09:43):
Dylan cuts her off with a no. Gretchen claims this
is all her fault. No, it's actually Seth Miltchik's fault
for cooking up this whole dangerous idea.

Speaker 5 (09:52):
I never should go here.

Speaker 2 (09:54):
Gretchen gets up from the banquette and walks out into
the main area of the suite. Her clear bag stuff
is sitting on one of the mark newsom Nimrod chairs. Wait,
Gretchen Dylan stands to follow her. Look away, Refiner. This
is gonna get very painful and cringey. After knowing Gretchen
for less than two total hours, any Dylan is ready

(10:15):
to propose. I know, how could in any propose? Oh,
you're gonna find out, and it's not pretty.

Speaker 1 (10:23):
My life started when you came here.

Speaker 2 (10:26):
This makes Gretchen feel guilty. Is she the one who
brought on this whole situation?

Speaker 5 (10:31):
That's not true.

Speaker 2 (10:33):
You have so much going for you. That's a nice
sentiment and all. But the man really has nothing else.
All of the excitement in his life consists of finger traps, erasers,
the occasional melon bar, and once a quarter of roll
in the Hay with some exotic dancers dressed like tempers
who have no emotional connection to him whatsoever. Oh, and

(10:53):
the roll in the Hay is only if he gets
named refiner of the quarter. Any Dylan is aware of
his city.

Speaker 1 (11:00):
Now, I have nothing else. I have this, and I
have fucking pencil.

Speaker 2 (11:06):
Erasers, Gretchen ducks her head. She is so torn about
ending this, but it has to happen.

Speaker 5 (11:12):
I'm sorry, I have to go.

Speaker 2 (11:14):
She can walk away from this Audi. Dylan will come
home this evening and maybe she can patch things up there.
Any Dylan must be forgotten, like he was some workplace dalliance. Unfortunately,
Any Dylan has to go back to the bleak and
relentless grind that is the life of an inny, knowing
he is madly in love with the woman who is
married to his Audi. It's a bleak situation and a

(11:35):
storyline you could only find on Severance. Dylan is about
to make one last, desperate and horribly cringey attempt to
prove his love for Gretchen. Before he does, you should
give your hands a good washing. Refiner. Severed will be
right back. Hey, this is Penko, the sculptor from Severance.

(11:56):
You're listening to sever the Ultimate Severance Podcast. Gretchen is
headed for the door. Oh wait, wait, last chance to
look away, Refiner. The car wreck is coming. Oh it's
so bad, so so bad. Dylan drops to one knee.

Speaker 1 (12:12):
Gretchen, Oh my god, I love you, and I know
I'm just an inny. But I love you all the
way I do.

Speaker 2 (12:20):
Dylan has produced a ring made out of woven paper.
It's his summer camp friendship ring at best. To any Dylan,
it's all he can offer in the way of an
engagement ring.

Speaker 1 (12:30):
Gretchen, I made this for you. I can give you
a life.

Speaker 2 (12:34):
Please just watch Merrit Weaver react to Dylan in this scene.
There should be no question as to why she has
winged golden trophies sitting on her mantel these days. Tears
are rolling down Gretchen's cheeks.

Speaker 5 (12:48):
I'm so sorry.

Speaker 2 (12:49):
She walks towards the door of this week. Dylan, still
on his knees, pivots in her direction as she goes Gretchen,
we get an over the shoulder shot is Gretchen leaves
the Audi family visit suite. I would guess it is
soon to be the security office once again. Gretcha. Yeah.
They don't need to be creating any more scenes like
this one anytime soon. We stay with Dylan still on

(13:12):
his knees. He drops down so his butt is on
his heels. He's contemplating the paper ring still in his hands.
Our perspective cuts to a side view of Dylan It's
a close up on the side of his head. The
memory wall in the background is transitioning between shots of
happy Dylan with happy Gretchen. We hold on a profile
shot of Dylan, then cut to a medium front shot.

(13:33):
There's another look at the ring in his hands. This
becomes the transition image. We go from the ring in
his hands in the visitation suite to roughly the same shot,
only now we're looking at his hands in typical severed
floor lighting. Speaking of severed floor lighting, you can really
hear the hum of the fluorescence in this scene. More
masterful fully in soundwork from Jacob Bribakoff and the Emmy

(13:54):
Award winning Sound department. At severance and up angle shot
of Dylan's face reveals his drawn appearing. He is looking
intently at the ring.

Speaker 1 (14:03):
She keep it.

Speaker 2 (14:04):
It's Helly are This must be shortly after the awful
visit with Gretchen. We're back in the MDR office kitchenette.
We cut to a shot that caught my attention. We're
low to the side of Dylan's arm on the kitchenette table.
The camera view is just up angle enough that Dylan's
forearm is cutting off Helly's mouth and nose. She is
rendered mute in this image, the same way Miss Wong

(14:27):
had her mouth closed by the bust of Jame. Like
Miss Wang, Helly continues to speak even though we can't
see her mouth.

Speaker 5 (14:34):
Give it to someone you meet down here.

Speaker 2 (14:36):
Dylan is a bit pessimistic when it comes to the
possible singles he'll be meeting on the severed floor.

Speaker 1 (14:42):
It's just Undie and the goat people.

Speaker 2 (14:45):
Helly r. Is just little miss Sunshine this morning. We
Dan Erickson did say this place goes on for miles.
There have to be other potential, any dates somewhere down here.
Dylan be patient. Dylan leans back, plating the idea of
seeking out another companion.

Speaker 1 (15:03):
She's my wife.

Speaker 2 (15:05):
Now, if she were, you wouldn't have this problem. Helly
is more pragmatic about his situation.

Speaker 5 (15:11):
She's not your wife.

Speaker 2 (15:14):
The unspoken second part of that statement is she's your
Audi's wife. But Helly continues with this thought in a
slightly different and far more empathetic way.

Speaker 5 (15:23):
Because no one would treat someone I love the way
she's treating you.

Speaker 2 (15:26):
Nice pivot, but it can't last. In typical Helly are
A fashion, she takes this very kind statement about friendship
and turns it into something political.

Speaker 5 (15:35):
Like all the audis treat us like everything's for them.

Speaker 2 (15:38):
Dylan has given up. He's reached the crawl under the
covers and eat a pint of Hagendas stage of his
breakup grief.

Speaker 1 (15:44):
Okay, well, what the fuck is there to do about it?

Speaker 2 (15:47):
Dylan's outlook is about as bleak as it gets.

Speaker 1 (15:51):
At the end of the day. We're still stuck down
here with no lives and no family.

Speaker 2 (15:55):
I don't know where helly r is accessing this loving
and compassionate side of her personality. It's brusque and no nonsense,
but also so very comforting.

Speaker 5 (16:06):
Irving with your family.

Speaker 2 (16:07):
This touches a nerve with Dylan.

Speaker 5 (16:09):
Dude, and he left you a message the Black Hallway.

Speaker 2 (16:12):
She whispers this last. It's proving kind of hard for
anyone to get too fired up about this Black Hallway.
It was important to IRV for some reason. We don't
know yet. Everyone else is acting kind of about the
Black Hallway.

Speaker 5 (16:27):
I don't know if he knew where I leads, but
he thought it was important.

Speaker 2 (16:29):
We even know where it leads, but we aren't all
that enthused.

Speaker 5 (16:33):
And they convince you to turn your back on him
for some audi woman, you.

Speaker 2 (16:36):
Don't even know, Helly, you should be an Amazon warehouses
campaigning for unions. She has that all encompassing passion about
the topic, even if she doesn't know where the elevator goes.
Dylan is nodding and looking at her as she says this.
He is silent for a couple of seconds.

Speaker 1 (16:51):
You know, it's your fault. We're down here at all? Right?

Speaker 2 (16:54):
We cut to it too shot. I wasn't following his
logic on this one. Initially. I guess he means she's
a fault because she's helping to facilitate the development of
the chip program. Helly denies it. It's not Dylan is
kind of in a what if sort of mindset.

Speaker 1 (17:09):
And if we're so different from our audis, and how
come we can't tell when you were gone?

Speaker 2 (17:13):
For one, she was acting. Helena had the luxury of
reviewing Helly's tapes. She knew how to fake it. Even
with this knowledge, she still didn't do a great job
of it. Once she was down on the severed floor.
There were certain things that bled through. Helly pauses considering
this question. Dylan has posed irving good. She's right, even
with the cover up and the attempted deception. Irving was

(17:35):
able to see through Helena Egan and her Oudy deception.
That's a win, right, Mark couldn't truly not fair, dude,
horn dog. Mark was not thinking with his brain the
night of the ort Bow. Helena was benefiting from an
unfair playing field she was posing as Helly are interesting
shot here we get a segmented frame like we've seen

(17:56):
in other season two episodes. This time, both Helly and
Dylan one are contained in the right hand third of
the frame. This framing comes with a twist. Dylan is
actually cut in half by the right hand edge of
the frame. I think this might indicate Dylan's any is
torn between life here on the severed floor and the
life that was briefly dangled in front of him at

(18:17):
the Oudy family visitation suite. His Inny has been further
split in two. Helly was silenced by the Mark couldn't comment.

Speaker 1 (18:26):
Sorry, I guess I'm an asshole down here too.

Speaker 2 (18:29):
Dylan stands and leaves the kitchenette. We hold on the
longer shot of Helly for a couple of beats. Then
there's a cut to a shot that confused me. It
might be right up next to Helly's face, but I'm
not sure what is she supposed to be looking at?
What are we supposed to be looking at? For that matter,
There's a slow dissolve to the down angle view of
the woods where we were earlier with Mark and Devin.

(18:50):
At the transition, we can hear the distinctive sewing machine
thrum of Hampton's Comanche from Salt's neck. The long shot
cuts to a drone follow shot looking at the road.
The cheap Comanche pick up with Harmony behind the wheel,
is winding along Route nine West, headed for the Mark
and Devon rendezvous site. There's a close up to the
rearview mirror in the truck. The tired and bloodshot eyes

(19:11):
of Harmony Cobell are filling the rearview mirror. She's been
driving all night. It would seem Mark and Devon are
leaning against the range rover in the clearing. When Harmony
approaches in the comanche, Harmony keeps her eyes on Mark
and Devon As she gets out of the truck. Mark
and Devin begin to move towards the approaching Harmony. They
meet face to face, equidistant between the vehicles. We fliesh

(19:33):
to Adam Scott's face. He is silent, looking at this
woman who has been so horrible to him but might
be his only hope when it comes to freeing Gemma.

Speaker 4 (19:43):
How are you?

Speaker 2 (19:44):
She looks very intently at him. I figured Cobell had
been driving all night here. It looks like she might
have stopped off at a beauty salon for a little
touch up. She went from sleeping in her mother's old
bed to getting in this truck and driving here. Somewhere
along the way she must have stopped off quick visit
to hair and makeup. In answer to your question, Mark's
not great. He can't resist throwing in a little sarcasm

(20:06):
that sums up his current situation.

Speaker 1 (20:09):
Oh my god, it's so good.

Speaker 2 (20:11):
My wife's being held prisoner and Lehman and I just
got brain surgery in my basement and in the weird
Chinese dinner meeting at Zufu's, And that's pretty much his
whole weekend. Have you been? Gobel looks a bit hurt
at this sarcastic response for allies, now, there's no need allies.
This causes Mark to cut her off. He asks if
this allies thing means they aren't neighbors anymore. I'm kind

(20:34):
of thinking Harmony got booted from the company housing. I
would bet you guys aren't neighbors right now. Sorry, I
just I guess I'm confused. Devin gets the idea this
chest thumping could continue for a while. She decides to
jump in and ask about their actual objective.

Speaker 4 (20:49):
Can you this burden common?

Speaker 2 (20:50):
You can take us there, right, Evan's got this all
worked out.

Speaker 7 (20:52):
So we can talk to his any Cobel.

Speaker 2 (20:53):
Warns they can't go yet. It's the middle of the day.

Speaker 7 (20:56):
Even under the cover of dark, it's perilous waway from I'm.

Speaker 2 (21:00):
So glad Harmony's back. She makes everything that much darker
and more mysterious, Like with the Camomial cookies. Mark has
had quite enough of what miss Cobel is offering.

Speaker 3 (21:11):
Oh, it's perilous.

Speaker 2 (21:13):
Devin backs him up. She asks if this means they
have to wait until the evening, Well, yeah, kind of
sounds like it.

Speaker 7 (21:19):
We don't even know if he's completed the file yet.

Speaker 2 (21:22):
This is information way beyond what Audie, Mark or Devin
would have access to. Mark asked the obvious question, what
file this is such sensitive information? Kobel hesitates, think about
her position right now. She's officially fired from Lumen, doesn't
work there anymore. She just came from her hometown, which

(21:43):
was decimated by the corporate acts of none other than
Lumen Industries. Now she's pausing thinking about whether she should
betray this information. Is she really thinking about protecting the
identity of this file? After all, she would be reporting
to the man who's working on the file. It's kind
of a closed loop. After twelve tens seconds, Harmony finally

(22:06):
utters two words cold harm This, of course means nothing
to Audie, Mark and his sister. Cobell then brings up
the worst case scenario.

Speaker 7 (22:16):
Unless you've completed it.

Speaker 2 (22:20):
Wow, she can't even finish the thought. Harmony looks down.
We get a reverse cut to Mark and Devon. Mark
glances over at Devn. It's like Cobell glitched and needs
to be reset. Well what another close up on Cobell
as she delivers some startling.

Speaker 7 (22:35):
News she's already dead.

Speaker 2 (22:38):
This causes Mark to lunge towards her. She's better be
fucking alive. Take note of this comment from Cobell refiner.
We're gonna revisit it once Mark makes his way down
to the testing floor. Cobell doesn't even flinch as Mark
sticks a finger in her face. She meets Mark's gaze.
Something about it sets Mark off. I think he's picturing

(22:59):
her acting as missus Selvig, his slightly crazy but ultimately
caring next door neighbor. Those were all lies. Surely this
is too now fuck this, We're leaving right now.

Speaker 3 (23:11):
Wait.

Speaker 2 (23:12):
He turns and starts to walk quickly back to the
range rover. Devon tries to stop him. Cobell says she's
trying to help him. Mark doesn't understand the logic of
what they're even doing here.

Speaker 8 (23:23):
She is there, and we are out here, in the
middle of fucking nowhere.

Speaker 2 (23:28):
Yeah, but you don't have a plan. Without a plan,
you can't help her by just being there. Devon tries
to talk him down. I know, and we're gonna get
her out, Bud, Listen, that's what we're doing here right
The shotholds on Cobell's face as we are hearing Devn
try to console and reason with Mark. Is Cobell still
working for the Evil Empire or is she truly on

(23:48):
the side of Mark and his any It seems hard
to believe she would be working to free Marks thought
to be dead wife from the testing floor. I can't
help but wonder if there isn't something more in it
for Cobell that we aren't seeing yet. I do recall
her scene in Extra Weggs opening animation, Cobell with the
storybook that holds all of these people. She was put

(24:11):
in an almost godlike position. In that animation. Cobell takes
a couple of steps towards the still agitated Mark.

Speaker 7 (24:17):
Call mister Meltchik, tell him you're unwell and won't be
coming in today.

Speaker 2 (24:21):
Mark is standing with his mouth open, staring at her.

Speaker 7 (24:25):
Do it now.

Speaker 2 (24:26):
Mark needs a moment to decide what he's going to do.
Study the handbook and let's give him some privacy. Refiner
Severed will be right back.

Speaker 8 (24:37):
Hey, this is Ben Stiller. Thanks for listening to Severed,
the Ultimate Severance Podcast.

Speaker 2 (24:43):
Mark can't call that place where they're holding his wife captive.
It's got to be a trick. Mark can only see
this is Harmony working with Seth to eventually lure him
back to the mother Ship. Oh my god, Cobell is
trying to justify her instructions.

Speaker 7 (25:00):
When else chick cannery and look you out of the
building quick.

Speaker 2 (25:03):
You can tell she's a product of the Myrtle Egan
School for girls, can't you? Cannery is from the French,
dating back to about sixteen ten. It's root meant to
quibble or engage in legal trickery. The more modern definition
means any deception by trickery. It's a rarely used word
in modern English, unless, of course, you're an Egan or

(25:23):
you work for Lumen. Mark is done with Cobell. Too
many bad memories, too many past deceptions. Mark has an
alternative to calling seth, how about fuck off?

Speaker 7 (25:33):
Wait?

Speaker 2 (25:33):
How about that? Mark again heads for the range rover.
Devin chases him down, telling him to wait. Mark is
arguing he's not ready to trust Cobell.

Speaker 5 (25:42):
Do you have any idea how insane she is?

Speaker 9 (25:45):
Yes, I did.

Speaker 2 (25:45):
The shot is holding on Cobell's face as we're hearing
this argument. You know what she did, Mark, like served
you bad cookies under false pretenses, or maybe kept the
existence of your dead wife a secret from you for
the entire time you knew her as an audie. Yeah, Okay,
to think of it, it's probably that one. Mark is
practically hyperventilating. Devon is trying to talk him down.

Speaker 9 (26:06):
Listen to me, take a boat.

Speaker 8 (26:07):
I can't.

Speaker 2 (26:08):
We can't do it. Devon strips it down to the
brass tacks.

Speaker 6 (26:12):
There's literally no other option that to do what the book.

Speaker 5 (26:14):
She says right now.

Speaker 2 (26:15):
She then adds the coda that makes it stick or
Gemma Mark hesitates. I think she pierced his fog of
anger with a bit of undeniable logic. She knows where
she is, sark like it or not, you are going
to need that information. We cut away from the gang
out on Route nine west to Helly R. She's trumping
through the severed hallways with determination. Helly is on a mission.

(26:36):
She reaches a hallway door where she inserts her key card. Okay,
checking the sign, this is the new and improved breakroom.
I know what Helly's up to. It's what she promised
back in the kitchenette. She closes the outer hallway door.
We see her silhouette as she is opening the inner
door that leads to the new breakroom. I'm surprised this

(26:57):
place isn't bustling with activity. It seems like it would
be a popular hangout for severed floor departments, unless maybe
MDR is the only department with access. She turns on
the lights. They slowly power up to reveal the Grin
and Beardit poster, the old compunction screen, and Dylan, who
is still hanging in there. We even cut to an

(27:17):
isolated closeup of the Dylan poster. A reverse shows those
cool Cappellini chairs folded flat against the far wall. This
is one of their key selling points. They are very
easy to store. Helly enters the shot from frame right.
She's looking at the hang in there poster like it's
a puzzle she needs to solve. She runs her hand
down each of the side rails of the frame. All

(27:39):
that build up for nothing. As soon as she pulls
the frame away from the wall, the piece of paper
with herbs testing Floors, Slice Delivery Hall Doodle falls to
the floor. It was right there. If someone had passed
by this poster a little too quickly, the motion would
have caused this note to fall. There's an inset shot
of the note hitting the floor, followed by a unique
up angle shop of Helly. She's looking down at the

(28:02):
now revealed note. We cut back out into the hallways.
Dylan is approaching the camera. He's walking somewhat slowly and contemplatively.
Back in the breakroom, Helly is taking a closer look
at this drawing and note. She scans the insanely detailed
directions on the back cut back out to the halls.
Dylan is getting closer to the camera. He pauses, putting

(28:22):
his hands in his pockets. There's a look of utter
dejection on his face. Standing in the hall with his
hands in his pockets, he starts to shake his head.
Back in the breakroom, Helly is obsessively studying the notes
on the back of herves drawing. Her lips are moving.
I think she's trying to memorize the absurdly complicated list

(28:43):
of directions given by Felicia. Helly looks up like she
hears something. Is Dylan passing by Out in the hall.
There are more insets of the list of directions to
the long dark hallway with the down elevator. We see
Helly's hands fold up the note as we dissolve to
another long down angle. Look at the snowy roads running
along the Hudson River. We're tracking the progress of a

(29:04):
sedan along the road. Hold on a sedan, I was
expecting either a jeep, comanchi pickup truck, or a range
Rover SUV. Who are we following in a sedan? The
cut immediately reveals IRV now in the passenger seat of
Bert's vehicle. He's looking out at the trees passing by.
In the back seat, we see Diddo playing a dejected radar.

(29:25):
He is also looking bailfully out the back window of
the goon's car. We hold on a shot of the
two men in the front seat. Our view is from
the right of Bert, the driver.

Speaker 1 (29:34):
I never heard anyway.

Speaker 2 (29:36):
This accusation of being a goon didn't sit well with Bert.
It implies he was muscle and enforcer, someone who would
hurt other people. He wants IRV to know that's not
the case exactly. So what was Burt up to that
might have made him goon adjacent?

Speaker 1 (29:54):
I drove people places.

Speaker 2 (29:57):
He was a lumen cabby lumen lim. Could he have
been delivering his poor passengers to their final destination? He
has no idea, and that's by choice.

Speaker 1 (30:08):
Last one happens to the most.

Speaker 2 (30:10):
They got that sure. Why would you want to know
about the bad and ugly things when you can convince
yourself you were just the driver. You didn't have anything
to do with harming anyone. Those people he drove around
might have been going to a birthday party for all
Bert knows. IRV doesn't respond to these comments. He's still
looking silently out the passenger side window. After a pause,

(30:31):
he asked the question, neither of them have yet been
brave enough to broach? Is that what Todave's is Bert
acting on the part of his lumin overlords as he's
driving IRV wherever it is they're going. There's a long
silence after IRV asked this question. He turns his head
towards Bert. Still no response. The silence is enough. It

(30:51):
is loudly saying yes, that is what today is all about.
We cut to a close up of a form. The
heading says any resignation Rouqua, Then it runs off the
top edge of the frame. There's a hand in the
shot holding a pen. The first line employee first name
has already been filled in it, says Dylan. It looks
like mister George is going through with his threat in

(31:13):
the kitchen. He is planning to end the existence of
his inny by resigning from the severed program. But hold
on a minute, that's not what this form is saying.
This is an any resignation request. Dylan's any is the
one wanting to call it quits by using this form.
This is the decision Dylan was making when he said
f this place out in the hall. As the hand

(31:35):
continues down the page, we can see The next section
asks for a reason, why do you want to resign?
It says select one, But we can see Dylan has
already selected anger, fatigue, loneliness, guilt, shame, and annoyance as
his reasons for resigning. Those are just the ones we
can see. He may have also chosen boredom, and he
selects a couple more in the lists to the right

(31:56):
that we can't see. Dylan is filling out these form
mister Miltchik's office. He's bent over the front of sess
desk the newly elevated Wintertide Fellow mis Wong is also
sitting in on this session. Well, actually she's standing in
on the session. She is stationed to mister Miltchik's right,
standing slightly behind his chair. Miltchik attempts to dissuade any

(32:18):
Dylan with one last shot of pure guilt.

Speaker 4 (32:21):
I'm sure you know this is very disappointing, and reeks
of ingratitude.

Speaker 2 (32:26):
Ah, Dylan, you let severed floor Daddy down, and he's
sad about it. The guilt games are ignored. Dylan continues
to fill out the paperwork at the bottom of this form.
It looks like there is a place for the AUDI
to comment on the request. I know on that first
day when og MDR was back after the OTC, Miltchik
gave everyone a free pass when it came to resigning.

(32:47):
The INNIE had the option to resign without fear of
having it reversed by their AUDI. It looks like we
are back to the old system of doing things. The
AUDI will still have the chance to block the innis
request because, as Helena said to.

Speaker 5 (33:02):
Helly, I am a person you are not.

Speaker 2 (33:06):
Dylan finishes filling out his part of the request.

Speaker 1 (33:09):
Done anything else.

Speaker 2 (33:11):
Miltchik is so deeply angry about this he can barely
speak key card. Oh my, these defiant and He's are
going to be the death of Seth Miltchik. We get
a great side angle shot with Dylan and Milchick in
silhouette against the far wall of Miltchik's office. Seth very
specifically extends his left arm palm up to receive Dylan's

(33:32):
key card. Dylan pulls the lanyard from around his neck
and slaps the card and lanyard on the desk, just
in front of Miltchik's outstretched hand. Anything to undermine authority.
Dylan knows what he's done. He stands upright and fixes
Seth with a challenging gaze. Miltchik withdraws his hand, leaving
the card and lanyard laying there. He leans back in

(33:54):
his desk's chair.

Speaker 4 (33:55):
These reports are the elevator and wait.

Speaker 2 (33:57):
Without a word, Dylan turns and starts towards US office door.
Miss Wang can't contain herself.

Speaker 5 (34:03):
I'm sorry, Dylan gi.

Speaker 2 (34:05):
This causes Dylan to pause. He turns back towards Miss Wong,
who sounds genuinely contrite.

Speaker 5 (34:11):
I should have assilitated about him.

Speaker 2 (34:13):
It would have made the least bit of difference. This
resignation has nothing to do with facilitation and everything to
do with any Dylan having his heart crushed into thousands
of pieces by his Audie's wife. Miltchik is not happy
about this outburst from his charge.

Speaker 4 (34:30):
That's enough.

Speaker 2 (34:31):
A depressed Dylan tells her it's not her fault. He
then continues out the office door, leaving it standing open.
Of course, Miss Wong steps from behind Miltchik's desk and
appears to follow Dylan out the office door. In voiceover,
we're hearing an unhappy Drummond. So this is tightening the leash.
I didn't think Drummond was going to be too happy

(34:51):
about the mark news. We cut to an up angle
shot of the catwalk outside the conference room. Miltchik is
reporting to Drummond in person.

Speaker 3 (35:00):
Most vital refiner missing in the wind on what was
to be Luhman's finest day.

Speaker 2 (35:07):
The very imposing Drummond turns to face Miltchik, this is
your fault. Have you noticed how quick Drummond is always
to assign blame as soon as a problem arises. Drummond's
first response is to decide who should be considered a
fault for the problem. Miltchik isn't going to be steamrolled
by this physically imposing manager.

Speaker 4 (35:27):
I have followed protocol, mister Drummond.

Speaker 2 (35:30):
We are looking at Drummond over Seth's shoulder. We can
also see the enormous relief sculpture of kir in the
wall behind Drummond. It is amazing to think this is
not an actual sculpture. That's a blank wall. The wizards
at ILM are creating this entire background, but it looks
so very real. Seth couldn't stop with claiming he followed protocol.

Speaker 4 (35:54):
But I thank you for your remonstration.

Speaker 2 (35:57):
A remonstration is a complaint. To remonstrate means to complain
to someone about something. In Drummond's ears, those would be
ten dollars fighting words. Before things get two heated, you
should stop by the vending machine refiner. Severed will be
right back.

Speaker 3 (36:14):
Hello, refiners, this is your beloved leader, Ker Egan. Actually
it's Mark Keller, who plays Ker Egan on Severance for
the latest don Stopping the MDR Rebellion. I like to
check in with Severed, the Ultimate Severance Podcast.

Speaker 2 (36:34):
The word remonstration is still hanging in the air. I
think Seth threw this ten dollars word out there as
bait for Drummond. I get the sense Seth is still
fuming about this. Uses too many big words contention. Drummond
attacks it like a lion getting a whiff of raw meat.

Speaker 3 (36:51):
Needlessly complex word for a simple idea.

Speaker 2 (36:55):
The rather large Drummond takes one menacing step towards Miltchik.
He is looking down at him, now invading his personal space.

Speaker 1 (37:03):
Apologize for the word.

Speaker 2 (37:05):
Ooh, this is getting tense. Seth isn't sure he heard
correctly apologize for the word. Seth blinks a couple of times,
but he does not back down. Drummond is visibly angry.
Against all instincts, Seth decides to try to smooth this over.

Speaker 4 (37:21):
I apologize.

Speaker 2 (37:23):
Drummond doesn't really want an apology. Drummond is a bully.
What he wants is to humiliate Milchik shorter. Seth swallows hard,
his eyes go cold. The words are sticking in his throat,
but somehow he manages to get them out.

Speaker 1 (37:38):
I'm sorry.

Speaker 2 (37:39):
Drummond is relentless again. Seth starts to respond, mister Drummond.
Drummond cuts him off again. Okay, gang, you want to
see Trammel Tillman win an Emmy. Pay attention for the
next thirty seconds or so. This is how you put
hardware on your mental as an actor.

Speaker 4 (37:56):
Devour feculence.

Speaker 2 (37:58):
Oh yeah, you have just been Miltchik to mister Drummond.
We get a reverse cut. Looking at Drummond, he starts
to respond, but isn't exactly sure what has been said
to him. Seth doesn't make him pull out a dictionary.

Speaker 4 (38:11):
It means each shit, mister Drummond.

Speaker 2 (38:16):
They are inches apart. Miltchik, who had been trying to
appease Drummond, is suddenly strong, confident, and ready to fight back.
What did you just say to me?

Speaker 4 (38:26):
I am manager of the severed floor, which means two things.

Speaker 2 (38:32):
Whoa Drummond is shut down? He lets Seth talk first.

Speaker 4 (38:37):
I am owed a measure of respect even by my superiors.

Speaker 2 (38:42):
I think this would be the Harmony Cobell effect. Harmony
set the example by always demanding a certain level of
respect even from her superiors. Seth isn't done. There is
his second part to his list.

Speaker 4 (38:54):
Second, and more obvious that said flow comprises the whole
of my jurisdiction.

Speaker 2 (39:00):
I don't know Seth comprises jurisdiction. You might be losing, Drummond.
To put that monosyllabically to get this joke, it is
important that you know what a monosyllable word is, just
in case. Here's the definition. It's a word with only
one syllable. Mono means one. The is a monosyllabic word.

(39:20):
Seth then proceeds to explain his position using only monosyllabic words.
It's subtle, but very cool once you dial into it. Seth,
of course had this monologue written out and well rehearsed.

Speaker 4 (39:33):
It's not my fault what a Mark Scout does when
he is.

Speaker 1 (39:37):
Not at work?

Speaker 2 (39:39):
Can you hear it? Even Mark Scout fits in since
both of Mark's names are monosyllabic. In the Ben and
Adam Official Severance Podcast, they said it was Tremelle Tillman
who brought the monosyllabically pronunciation to the take. They played
with it on set. So whose fault is it? Drummond
is so intent on his signing fault, Seth tells him,
in no uncertain terms, who's fault this is?

Speaker 1 (40:01):
It's yours?

Speaker 2 (40:03):
Really doing this monosyllable thing off the cuff is difficult.
Try to explain something to someone where you are intentionally
only using single syllable words. It is hard to do,
especially if you want whatever you're saying to make any sense.
Seth totally shuts Drummond down. The big Man has no
comeback for this accusation. We cut to his side view

(40:24):
as Seth turns and walks away from this conversation. Mike,
drop baby, I get this sense. Drummond is sputtering on
the inside. There's a slow dissolve from Drummond still standing
on the catwalk to Harmony standing out in the snowy clearing. Mark, Devin,
and Cobell are all still here. Mark is pacing down
along some rocks. He keeps looking up at Cobell. It's

(40:45):
like he's trying to come to terms with this seemingly
unholy alliance. Can he really be siding with the lying
and deceitful missus Selvig? Should he even be listening to
her instructions? Mark? Besides, she might be right a bay
about one thing. He takes out his phone, Mark, looking
haggard with a three day growth of beard, dials and

(41:05):
puts the phone to his ear. Cobell had been watching him.
Now that she sees he's following her instructions, she turns
to look at Devin. The protective sister arms crossed kind
of gives Cobell a sneer. She knows this is the
person who can get them to Gemma, but at what cost?
She also knows Mark would rather not have anything to
do with her. We cut back to Mark. His call

(41:28):
is ringing at the mothership. We see Seth rushing into
his office to answer his phone. He must just be
getting back from his dust up with mister Drummond.

Speaker 4 (41:37):
Mister scout, where are you?

Speaker 2 (41:39):
Mark takes a long pause. I don't think he was
ready for a question right out of the box. He
most certainly does not have an answer ready. He stammers,
then goes into an explanation. Uh, well, I'm I was
worried about these noseblades. Oh okay, this is legitimate. Miltchik
knows about the nosebleeds. They've caused Marcus's productivity to slow

(42:00):
oh while refining. So we drove to this clinic out
in soil Hill, salts Neck, soil Hill. They have some
oddly depressing city names here in Pe. Mark says this
clinic of his is wanting to do a few more tests.
Mister Miltchik has a rather refined BS detector. He can
tell when he's being lied to, but in this case,

(42:22):
he doesn't want to blurt out your lying.

Speaker 4 (42:24):
Let me send a car.

Speaker 2 (42:26):
Hmm. Think he could send Hell's Lincoln.

Speaker 4 (42:28):
You are a priority employee and you should be under Luman.

Speaker 2 (42:31):
Care wait a sec up to the audi, Seth make
him feel special. Now, mister scout, if you just tell
us where you are exactly.

Speaker 4 (42:38):
Man, I get your exact location.

Speaker 2 (42:40):
This is where a GPS locator in the chip would
come in handy Luman needs to get on that. For
that matter, Luhman should be using some kind of find
my phone app. I'm guessing all of these phones are
Luman issued company phones. I mean they make them live
in company housing. Surely they've got company phones. Mark stammers
again when it comes to providing his exact location. Missus scout,

(43:03):
keeping up with all of these lies upon lies can
be exhausting. Mark makes a decision. Here. There's a reaction
shot from Harmony. She can tell something has changed in
Mark's demeanor. Finally, he answers Seth. He decides to drop
the charade and come clean, at least cleaner. There's a
long pause, then Mark says into the phone, I'm not sick.

(43:24):
No clinic in soil Hill, no tests. He's not sick.
Seth holds for several long moments at the other end
of the line. His silence prompts Mark to continue. I
just needed the day Okay, it's a personal day, a
mental health day. Mark is just in need of a
break from the daily grind. Can you understand that you

(43:45):
Lumen powered management bot. Seth pauses taking in this shot
of truth, ask why nah? Really you may not? No,
I'm just good life stuff. Sometimes life stuff. Trump's work
gets all part of the world. Life balance that Luman
is so adamant about promoting.

Speaker 3 (44:03):
Is not what Lumen's all about. Balance.

Speaker 2 (44:06):
Oh, they do give lip service to balance, but the
truth is, if Luman could find a way for employees
to never sleep, eat, or go to the bathroom, they
do it. Eliminating distractions like those would make for a
far more productive employee. Mark is saying some very anti
Lumen kinds of things here. I mean, work is just work, right,
he's practically quoting Ricken. Seth holds for a long time

(44:30):
taking in this comment. He is so silent for so long.
Mark is prompted to fill the dead air.

Speaker 1 (44:36):
Do you know what I mean? Mis cemented?

Speaker 2 (44:38):
This thought is affecting Miltchik deeply. There's a cut to
a long side shot showing Seth in silhouette against the
far wall. He turns completely around. He is contemplating the
far reaching implications of this statement. Work is just work.
From the moment where Mark asks the balance question until
Seth says another word is an incredible forty two seconds.

(45:02):
During that time, Miltchik considers the picture of the iceberg
behind his desk. It is such an apt analogy for
so many things. So much of this conversation, for instance,
is hiding beneath the surface. As Miltchik contemplates, look at
the long down angle shot of the far wall of
his office. You can see white rocks outside the window.

(45:24):
When I was interviewed by Adam Scott and Ben Stiller
on their podcast, one of the things we discussed was
the depth of the severed floor. I firmly believe we
are thirteen floors below ground based on the security office
elevator control panel. This window outside the severed floor manager's
office is one of the proofs used by those who
think we are only a couple of floors below ground.

(45:45):
Their argument says, this surely has to be natural light, right.
I asked Ben and Adams straight out, are we thirteen
floors below ground? Is this artificial light outside of the
management windows? They both hemmed and hawed without giving me
a straight answer. Although Ben did say he's never seen
snow on Kobel's rocks. This is what he was talking about.

(46:07):
If this courtyard outside of the management window is open
to the outside, these rocks would be covered with snow,
especially this time of year. These rocks are never covered
with snow because they aren't open to the outside. Based
on Ben Stiller's comment, I'm even more sure this is
artificial light providing the feel of sunlight streaming in through

(46:27):
this window. We are truly thirteen floors below ground. Miltchik's
eyes are glistening with tears when he finally responds to Mark.
His request has the undercurrent of a desperate plea.

Speaker 4 (46:40):
Out of your word, you report to work tomorrow, please,
oh please?

Speaker 2 (46:45):
Will you show up tomorrow so I can get Drummond
off my ash. You're killing me here, mister scout. I
think Mark can hear the ohso human sound of desperation
and says voice. He relents and says, Miltchik has his word.

Speaker 9 (46:58):
You do, Yeah, I'll be there, promise.

Speaker 2 (47:01):
Sounds like the momentous day is officially moved off until tomorrow.
Somebody tell the band to stand down. Seth sounds relieved
by this assurance.

Speaker 4 (47:10):
Good and thank you for calling.

Speaker 2 (47:13):
GOTT to keep the out. Hees happy. Seth hangs up
the landline on his desk. Mark contemplates his phone for
several seconds. Was Miltchik really about to cry? Mark turns
to look at Kobel back in says office. He still
looks rattled by the call with Mark. He is looking
at the land lined receiver. As Miltchik is contemplating, we
can hear the sound of a train rushing by. We

(47:35):
cut to a down angle view of a train station.
A mix of freight cars is roaring by. In the
lower left corner of the frame. Bert Sedan appears in
the parking lot and parks. This is the Utica train
station in Utica, New York. It was built in nineteen fourteen.
This station has an impressive pedigree. It was designed by
Alan Stemm and Alfred Felheimer. Those are the same architects

(47:58):
behind the famed Grands Central Terminal in New York. Inside
this terminal, we are looking at a close up of tickets.
They mainly say single, one way, non transferable. It's Bert
buying one of these tickets, but I don't think he's
buying it for himself. The conductor stamps the ticket. When
Bert turns, there's a cut to a long shot looking

(48:18):
straight on at the ticket counter. From this angle, you've
got a great view of the amazing marble work in
this historic station. Listen to the indistinct chatter in the background.
It almost seems like words, but when you try to
pick out words, you realize it's just noise. When we
interviewed Jacob Ribakoff and Bob Javalis from the Severn Sound Department,
they talked about companies that do this background atmospheric type

(48:42):
of fully creation. Bob and Jacob like to use a
studio called the Loop Group n YC. A subsidiary of
Intimation Productions. The Loop Group claims to be able to
provide you with the highest quality group walla for your
film or TV project. Wala is in old school radio
term describing the murmur of a crowd in the background.

(49:03):
It's supposed to have gotten its name because the best
way to get a good crowd murmur in the early
days of radio was to have the background performers repeat Walla, walla, walla, walla,
over and over off Mike. It worked great for all
kinds of crowds. The shoe falls on marble are all
creations of the fully team. Mix those in with the
Luke grubwalla and a few muffled train pa announcements and vola.

(49:25):
You've got a train station. Check those huge marble columns.
This train station is pretty amazing. Bert and Irving are
about to have a final goodbye. You're gonna need a
cup of coffee to get through it, Refiner Severed will
be right back.

Speaker 8 (49:44):
Hey there, this is Haley Ericsson Gelzer Dan Ericson's sister,
and thanks for listening to Severed, the Ultimate Severance Podcast.

Speaker 6 (49:53):
I do.

Speaker 2 (49:56):
IRV is seated on one of the railway station bench seats.
We can see Birt approaching him in this distant shot.

Speaker 1 (50:03):
This line CAUs as far as you.

Speaker 2 (50:05):
Can go, IRV rises. Our perspective changes to an up
angle view from behind Bert. IRV looks concerned.

Speaker 1 (50:12):
I can't know when you get off.

Speaker 2 (50:13):
Bert is sending IRV away, and he's doing it so
even if questioned, he has no idea where Irving Bailiff
got off the train. This isn't just until things blow over.
This is forever, and you can never come back to Keir.
He's got his dog and an old leather jacket. Other
than that, IRV doesn't have much. Bert is very serious

(50:34):
about this.

Speaker 4 (50:35):
Do you want to stand?

Speaker 2 (50:36):
Irving is having trouble accepting what's happening. He shakes his
head and says, no.

Speaker 4 (50:42):
Luman come after you.

Speaker 2 (50:44):
Of course, IRV would be worried about Bert's well being.
I think Bert can take care of himself. IRV needs
to take these warnings seriously. They are coming from a
low level lumenngoon. Bert doesn't respond to the will they
come after you question? His look is enough, Yeah, they will.
You ask me why I said it? It really was for
the reasons we heard at dinner. Bert wanted to be

(51:06):
innocent again, at least part of him.

Speaker 5 (51:08):
Then my innocent part fell in love with you.

Speaker 2 (51:12):
We're seeing the same staging here that we've seen with
Mark and Helly and Seth and Natalie. We are looking
at both men from the side. Bert is in the
left hand side of the frame and Irving is facing
him from the right. Check the musical score. This piece
could be called IRV and Bert's theme. It's the same
scoring we heard in the plant room during episode six

(51:33):
of season one. IRV says he wants to remember it,
meaning the time they had as their innies in love
down on the severed floor. Probably better, we don't. Really,
He's right, the longing would be overwhelming. Why inflict that
on yourself.

Speaker 4 (51:48):
I've never been loved before.

Speaker 2 (51:53):
No, really, this goodbye is heart wrenching, but it's also
taking a while. I was starting to worry some lumin
un squad like the one they dispatched to Salt's Neck
would come storming into the train station. I love Bert's
response to RB's comment about never having been loved before.
It's very brusque and no nonsense.

Speaker 3 (52:15):
How's it feel?

Speaker 2 (52:16):
It can't feel great because they're gonna have to say
goodbye here in just a very little bit, and IRV
can never come back to this place.

Speaker 4 (52:25):
I don't know.

Speaker 2 (52:25):
IRV can't let go of this idea about remembering.

Speaker 4 (52:29):
Don't. You don't how it felt?

Speaker 2 (52:33):
Really, and seriously, it's probably best if you don't go there.
No need to rip your heart out again. Bert says
it's okay, he should just go. IRV can't walk away
so easily. I've never had this. Bert says, he knows
my whole life. I know, IRV says, he's ready. You
remember how he wasn't ready back in the plant room. Now,

(52:55):
of course, here in the train station, I'm ready, he
repeats it. They pushed their forehead together, just like in
the plant room. IRV keeps whispering, I'm ready. Bert is
responding as forcefully as if he's Miltchick in front of
the mirror. We can't there's no kiss. Ultimately, Bert puts
out a hand and they shake. Oh voyage, buddy whitch.

(53:18):
If you remember his weird retirement party, it's about the
same thing. Bert's out, he said to his Inny in
the season one episode Defiant Jazz. Good job, Buddy, bon Voyage.
John Toturo told the Hollywood Reporter he couldn't remember if
the tiny movements like touching Bert's cheek were actually in

(53:40):
the script or if they just did it in the moment.
He said he's learned over the years how a simple
gesture can be as strong as an entire written scene.
This causes me to flash back to IRV sliding Dylan's
glasses up on his nose. Maybe it was to Turo's idea,
IRV really really does not want to leave. Finally, rugs

(54:00):
and walks away. In the longer shot, we can see
IRV has retrieved radar. They are headed for the track
doors at the end of the hall. And please do
make sure to check out this hall. It is stunning.
Bert emerges from between the pillars and watches as IRV
walks right out of his life. We might be seeing
more of this train station in future productions. Paul Buckley,

(54:22):
the commissioner for film Utica, noted that Severance was the
first production ever brought in by film Utica. They were
there in May of twenty twenty three. If all goes well,
film Utica will be hosting more productions out of New York.
In typical Severance fashion, cash rained down in buckets on
this choot. It's estimated the production spent a total of

(54:42):
two million dollars at the train station. That included more
than one hundred and fifty extras and tons of fake
snow added to scenes. In the reverse cut down the
hall looking after IRV, there's a fun little production detail happening.
See the woman to the far left of the frame.
She's crossing with a man in a fedora who's carrying
a briefcase. Watch her feet, she doesn't let her heels

(55:05):
hit the marble. I would bet those squared off heels
make quite a clunking echo in this hall. In order
to keep the sound clean, she's been directed to walk
on her toes. It's not incredibly obvious, but once you've
seen it, you can't unsee it. The music builds to
a crescendo as herve passes through the doors. When the
door closes, the music ends. We cut to one of

(55:35):
these severed floor hallways. I think we're just outside of
the elevator lobby with the new cure painting. The camera
slowly pushes around the corner to reveal Any Dylan. He's
sitting on the green cushioned couch, waiting on either mister
Miltchik or the elevator. He has his hands folded in
front of him. There's a close up study of Dylan's face.
This begins a montage of transitions. We leave Any Dylan,

(55:57):
who has made the decision not to return to the
sever floor. The shot changes to Miss Wong standing on
the front steps of the main lumen building. She's holding
a small suitcase and her bust of Jame Egan, the
shuttle that will be the start of her voyage as
Falbard enters the parking lot from frame left. A fun
production note here. Remember how we were talking about the

(56:17):
weight of that head and how hard it was for
Miss Wong to actually smash the cure game, Well, it
also proved too heavy for her to hold here in
this shot. Pinko, the sculptor told us in an interview
that he made another version of this bust for this scene.
It looks just like the walnut bust of Jame, but
what Miss Wong is holding here is made out of

(56:39):
lightweight foam. The massive chunk of walnut was just too
heavy for Sarah Bach to hold in take after take
out here on the front steps, if possible, Young Eustace
looks even younger here. Costume designer Sarah Edwards said she
designed Miswong's coat for this scene so it would emphasize
her age. The idea was to make her look even

(57:00):
younger and more vulnerable as she is being thrust into
this incredibly stressful situation. There's a close up on her face.
The furry earmuffs make Miss Wong look like some kind
of scared disneyesque woodland creature. She looks nothing like a
confident Wintertide fellow. Ready to dispense empathy to the world.
We're cutting from one scene of transition to the next.

(57:23):
RV is now in a train coach with Radar. They're
searching for a seat. Radar, of course, gets the window.
Is this the end of Irving Bailiff as a character
on Severance? The Hollywood Reporter asked John Taturo that exact question.
He doesn't think so. He said this ending could be
considered making the story complete, but he also says there

(57:43):
is so much more here. We're left with a number
of big question marks surrounding IRV. Who was he talking
to on that payphone? What was he doing at Luman
before he became a macrodat What is he investigating as
an oudie? Did he really have a background of military service?
If IRV doesn't return, we may never know the answer
to any of those questions. Personally, I get the idea

(58:07):
this is it for IRV. He may be claiming otherwise,
but John Taturo has made some noises during season one
and during the hiatus between seasons that led me to
believe he wants off the show. He's commented on what
a grind TV series can be, also how he's older
now and can't do the late nights or early morning
call times as easily as he once could. The writing

(58:29):
on this show, along with allowing him to select Christopher
Walken as his love interest, was a huge lure for Taturo.
Walkin is also sounding like he might be ready to
call it quits on the series work. If this is
the end of IRV on Severnce, I think it's i
logical and at least mostly satisfying, And even if we

(58:49):
never get those questions answered, we cut to the exterior
of the train engine that's going to carry IRV away
from here. This is a beautiful example of the Alco
Century four to twenty four diesel electric locomotive. It's a
four axle configuration that can deliver twenty four hundred horsepower.
One hundred and ninety of these locomotives were built between

(59:10):
April of nineteen sixty three and May of nineteen sixty seven.
They were sold to train lines all over North and
Central America. That National Railways of Mexico were the biggest customer.
They purchased forty five of the Century for twenty fours.
This is one of only six remaining out of the
original one hundred and ninety. This one runs regularly as

(59:31):
part of the Adirondack Railroad formerly the Adirondack Scenic Railroad.
This heritage line runs between Utica, New York, and Tupper Lake,
west of Lake Placid. The rail line is operated by
a not for profit organization. The train crews that run
the line are composed largely of volunteers. The round logo

(59:53):
on the front of the engine says Adirondack Railroad. We
cut to a dolly right shot of Bert still sitting
in the train station. This is intercut with IRV looking
out the window of the train. Radar makes a little
noise and IRV looks over at him. We get an
inst shot of Radar stretched out on the facing seats.
He seems ready for this new adventure, even if IRV
looks a bit hesitant about what lies ahead. Cut to

(01:00:17):
a POV from behind Dylan, still seated in the severed
floor elevator lobby. The elevator doors open. Is this It
is this the last time any Dylan ever rides the
severed elevator. It just might be any Dylan has entered
a request for retirement. We heard Audi Dylan shouting about
ending his Inny's existence in no uncertain terms. Both sides

(01:00:40):
of Dylan's severed self seem to be in agreement. This
might really be it the last time we ever see
Macrodet Dylan g down on the severed floor. We cut
to a front look at Dylan. The huge and imposing
cure painting dominates the frame behind him. Dylan takes a
step towards the elevator. We cut to the front steps
of the main building as the shuttle pulls in to

(01:01:01):
collect this single passenger, miss Wong. There's a cut to
a side shot showing her stuff on board. Several redditors
who happened to live in the Belwarks area noticed and
photographed this Lumen logoed shuttle early on during S two production.
As the season unfolded, they started to wonder when were
we going to get to see the logoed shuttle. Some

(01:01:22):
started to think whatever scene it was in had been cut.
Then finally, here, at the end of the ninth episode
of the season, we finally get to see the official
Lumen shuttle in action down on the severed floor. The
camera is pulling back ahead of Dylan as he gets
on the severed elevator with a grim expression. He turns
around ready to ride. We cut to Bert, who has

(01:01:42):
the same grim expression. He's still sitting at the Judica
train station. I don't know if he's putting off making
a report to Lumen or if he's wanting to be
absolutely sure IRV got on his way. Finally, Bert stands
and leaves the frame. There's a cut to IRV grinning
slightly as he looks out tot e train window. Now
back to Dylan. All of these major transitions are happening

(01:02:04):
almost simultaneously. Just as the elevator door has closed, we
cut to the train shooting up into the frame. From
the bottom, we can see it racing through a desolate landscape.
Based on the position of the sun on the horizon,
it looks like this train is heading to the northwest.
Maybe IRV will wind up in Seattle. He does like
coffee ooh. In a cool transition happening here, we hear

(01:02:25):
the lumin sound as they stutter. Cut back and forth
between the line of the train and the line of
fluorescent lights in the ceiling of the testing floor elevator hallway.
It makes for a cool effect. Back at the Route
nine clearing, the sun is going down we see Mark
in the blue light of dusk. He looks to Cobell,
who gives him a tentative nod. He then looks to Devon,

(01:02:46):
also heavily hidden in the gathering gloom. She gives Mark
a knowing wink. These three have been out here in
this clearing all day. You have to wonder what they
talked about for hours and hours. I hope Mark maybe
got a nap. He needed it, Harmony, Mark and Devon
are about to head to the Demona Birthing Retreat. Before
they go, you need to give your hands a good washing. Refiner.

(01:03:09):
Severed will be right back.

Speaker 8 (01:03:13):
Hey, this is Ben Stiller. Thanks for listening to Severed,
the Ultimate Severance Podcast.

Speaker 2 (01:03:19):
We cut to a long shot watching Mark climb into
the back of the Commanchee pickup. They do seem to
have used the afternoon to formulate a plan. I have
a couple of concerns here. Should they really be sticking
Mark in the bed of this truck. He's the guy
with a hole in his head who just went through
a procedure on his brain. Maybe bouncing around in the
bed of a cold pickup truck isn't the best thing

(01:03:41):
for him right now? Also as producer of anyp pointed out,
why not use the range rover. You could hide Mark
in the back under stuff. He'd be inside the vehicle
and on carpeting. It wouldn't be nearly as physically demanding
as being in the bare metal bed of an open
pickup truck. I guess Kobel has her reasons. If she
worried about them identifying Devon's plates, they could swap plates

(01:04:03):
with a pickup Which makes me wonder wouldn't there be
an all points lumen bulletin out searching for this pickup
truck that's carrying the actual inventor of the severance chip.
As it is, she's running around out in the world,
plodding against the evil Empire, you'd think they'd be wanting
to track her down and get her back home on
the ranch where they can control her. Drummond should be

(01:04:25):
taking care of the harmony problem instead of harassing milchick
devour feculents. Since neither Vinnie nor I was there to
point out these transportation alternatives, it looks like Hampton's sewing
machine powered jeep Comanche will be Mark's chariot to the
Demona birthing Center. He climbs into the bed. Harmony and
Devin cover him with a tarp. The sunset is gorgeous

(01:04:47):
in the background of this shot. We cut back to
the lights of the testing floor elevator hallway. The camera
is moving down the hallway in a tracking shot. No
idea what we're following or why we're here. The cameras
stop at the end of the hallway. There's a pause.
The elevator has arrived the red down arrow lights before
the doors can open. We cut to a high security

(01:05:09):
camera view of a severed floor hallway. There's no movement,
it's late in the day and a number of lights
are off. The shot cuts to a look at the
main doors into MDR. Here, the hallways are lit, but
the MDR workspace is in darkness. We go inside anyway
because somebody is in the darkened MDR room. It's Helly.
She has the light on at her desk and is

(01:05:31):
whispering directions. Right there's an inside shot of the back
of herbs drawing. This is what she was working on
in the breakroom. Helly's attempting to memorize this incredibly long
list of directions provided by Felicia. They lead to the
testing floor elevator. If you leave from O and dight fuck,

(01:06:01):
It's practically a random list of words. She's trying to
visualize these turns in her head, but it's not sticking.
She squeares under her breath and starts again. There's a
shot looking at Helly from the front. We can see
into the lighted hallway over her shoulder. Someone is approaching
the main MDR entrance. This figure is nothing more than

(01:06:23):
a distorted silhouette in the doorway. Helly, oblivious, continues to
repeat the incredibly complex string of directions right A slow
and ominous rack focus reveals the visitor to us. It's
Jame Egan. He's wearing a blue tunic that could almost
be a military uniform. The needle on the creepmeter red

(01:06:47):
lines at eleven. Helly jumps at the sound and pushes
the list of directions under her keyboard. She turns to
see who spoke. Jame is creepily standing in the open doorway.
His Helly, who tricked him? He has to be referencing
their meeting in the bathroom before her gallus speech. Helly
was masquerading as Helena. She tricked Jame into believing she

(01:07:11):
was who he thought she was, or he'd have stopped
her from going out onto the Gallas stage. His Helly
is not thrilled about this intrusion the fun Uh yeah,
pretty much my reaction as well. I think this does
explain the time we just spent in the testing floor
elevator hallway. Like with doctor Mauer, I believe Jame came

(01:07:32):
up from the testing floor to the severed floor for
this visit. Checking in on Mark. He's bouncing along in
the back of the pickup. We see a shot of
his face in darkness sideways as he's lying in the
bed of the truck. We check in quickly with Harmony,
who's driving. The shot dissolves to the Damona Birthing Center gate.
We can see the comanche approaching the guard shack. The

(01:07:52):
shot reverses to inside the huge stone archway. A female
guard steps out of a door in the side wall
and approaches the pick up. She shines a big flashlight
in Harmony's eyes.

Speaker 5 (01:08:03):
Were going to Cottage five.

Speaker 2 (01:08:05):
This is the big cabin Devon was jealous about. It's
where she nabbed a cup of coffee from Gabby Arteta.

Speaker 1 (01:08:11):
I don't have anyone schedule.

Speaker 2 (01:08:12):
Which is actually a relief. If someone had been scheduled,
there's no way they could have gotten in there. Harmony
knows how to get around this objection.

Speaker 4 (01:08:21):
She's one of James.

Speaker 2 (01:08:23):
No, it's too The guard scans her light over to Devon.
Devon smiles a tentative and sheepish smile. She's playing the
part of the poor and fortunate who needs the birthing cabin.
She's one of James. This phrase from Harmony sent the
social threads into a tail spin. What could this mean?
Let's fire up the crazy time theory generator and see

(01:08:45):
what the Internet's finest minds have to offer. Big spoiler.
All these theories end up with somebody getting pregnant. There,
of course, is the straightforward Jame is impregnating them theory.
I don't buy this one at all. We've seen Jame,
and there is no way that man could survive having
sex with anyone. Maybe back in the old days that's
what was going on, but not recently as the ed

(01:09:08):
medications worn. Check with your doctor to make sure you're
healthy enough for sex. I don't think Jame is healthy
enough to even think about sex if he's not impregnating
them directly. There is also the in vitro fertilization theory.
Luman has at least one IVF clinic we know of
harvesting James seed and transferring it to numerous potential candidates

(01:09:28):
seems more likely than Jame betting these girls himself. This
would mean the young lady, most likely a Tide Fellowship recipient,
provides the egg. The offspring would be half Jame half
the woman who gave birth. If this is the case,
it would explain why Jame is so involved with the
selection of his Winter Tide recipients. It also adds a

(01:09:50):
level of ick to the comment Jame made about Harmony
he saw kere in her. Could he have been hoping
this streak of cure would be carried over to her offspring?
Could Harmony have been a tenant in this birthing cabin
when she was younger? Since Harmony isn't severed, I don't
think so. But Cobel is full of surprises. The crazy

(01:10:13):
time theory generator keeps cranking out scenarios. Time to put
on your tinfoil hat. What if one of James means
these girls are vessels? Could Jame be conducting even more
bizarre procreation experiments We've mentioned Cure's proclivity for masturbation. What
if Jame has some of Kure's DNA material and he

(01:10:35):
used it to fertilize harvested eggs from one of the
female CEO's. Leonora would be the most recent and most
likely candidate. Imagine a combination of Cure's seed and Leonora's egg.
This sounds a bit incestuous, but in breeding does not
seem to be a concern among the Egan Klan. The

(01:10:55):
resulting zygote gets implanted in one of these young ladies
so it can be brought to two. Could Jame be
trying to bioengineer another gear? This is Jame we're talking about.
I'd be surprised if he isn't working on something. This
bizarre harmony then says something unexpected.

Speaker 5 (01:11:13):
A special light ninth floor.

Speaker 2 (01:11:15):
The guard puts the light down and swallows hard. These
words mean something to her. They cause her to answer.

Speaker 7 (01:11:22):
Back Specialtis Department.

Speaker 2 (01:11:24):
This is what's called a call and response password. They
were made popular in spy novels about the Cold War.
Instead of a single magic word, call and response passwords
require the user to memorize a short script.

Speaker 5 (01:11:37):
I'm looking for a symbol.

Speaker 2 (01:11:40):
In this case, they are reciting lines based on the
voiceover used by Rod Serling to introduce the original After
Hours Twilight Zone episode.

Speaker 3 (01:11:49):
This Marshall White and the ninth floor Specialties Department looking
for a gold temple.

Speaker 2 (01:11:55):
The password has been properly presented. The guard steps back
and lets Harmony through, so she doesn't even stop her
to check the bed of the truck. No way this
guard would risk doing anything that might delay want of
James girls. On her way to the severed berthing cabin.
There's another look at Mark's face hiding under the tarp.
The truck starts to move and jostle him again As

(01:12:15):
Harmony drives on into the retreat, our view moves to
a tracking shot following the pickup truck. We're headed for
cabin number five. We've speculated a little about the history
of this birthing center. Is this place a lumin property
or is it a separate business that decided incorporating severed
technology into one of their cabins might be beneficial. Either way,

(01:12:38):
James has hijacked this cabin to be used as needed
for his very special girls.

Speaker 4 (01:12:44):
She's one of chains.

Speaker 2 (01:12:46):
As we're following the commanchee. The shot cuts to Mark's
face again in the bed. A camera effect rotates his
face until it's upright. Then we hear the zalie sound
and Mark transitions. The light changes we can see more
sallow flesh tones. Mars Inni has appeared in Demona Birthing
Cabin number five. He looks very confused. Devin is calmly

(01:13:07):
facing Mark as he enters the room. We cut to
Mark's POV as Devin gives him a little sideways smile
or more accurately, Hi, Mark's inny. Mark's Inni is freaked.
He looks down at himself, then back up at Devon.
He knows her from the Night of the OTC. But
none of this is making sense. He's muttering weight what

(01:13:29):
under his breath. Devin tries to reassure him. Marks Any
turns and lunges toward the door behind him. No no, no,
no no, she explains. If he goes out there, his
audi is just going to come back in again. Any
Mark pauses to look around. This is the Demona Birthing
Retreat Cabin number five, a severed space used primarily by

(01:13:49):
well connected mothers. To be okay If any Mark is
freaked out about the cabin. Just wait until he gets upstairs.
Before we head upstairs, I'm want to point out something
important about this cabin as a set. In season one,
the scenes shot here were shot in a real cabin.
It was dressed by set decorator Andrew Basement. When they
decided the story would be returning to this cabin in

(01:14:11):
the second season, somebody said, Hey, what if there's this
second floor to this cabin, and what if we build
that second floor as a set in York studios. It
would be a lot easier to dress and control than
something out on location. The production team thought this was
a great idea. The task of dressing this second floor
fell to second season set decorator David Schlessinger. You don't

(01:14:34):
notice the second floor is quite a bit bigger than
the first floor, and the lighting is amazing. As they're
crossing the room where Mark entered. Mark and Devon are
in the cabin from season one, going up the stairs.
They are now in a birthing cabin set built in
York Studios in the Bronx. Gotta love that movie magic.
Don't miss the pick of cure in the stairwell. This

(01:14:56):
mustachioed cure in uniform looks a lot like the portrait
we saw Bert rolling around on his cart that first
time IRV accompanied him on his rounds. Any Mark is hesitant,
but he goes ahead and follows Devon. When we are
looking down the hallway at Mark arriving on the second floor,
we are now in your studios. This is the set

(01:15:19):
created by David Schlessinger to be the second floor. Mark
slowly approaches the camera. Devon is behind him, encouraging him
to go on into the room. Whatever Mark is seeing
ahead of him is causing him to hesitate. It's like
he's a little afraid to go into this upstairs room.
When the shot reverses, we know why. Harmony Cobell is
standing in the middle of the room. She has positioned

(01:15:41):
herself so she is right in front of a roaring fireplace.
The undulating flames create an ominous backdrop for the already
imposing Cobell. Here is where Harmony is standing under a
six sided light fixture. Our six is a theme or
are these just random occurrences? Is being pulled together to
create a theme. I'm leaning towards random occurrences. Harmony is

(01:16:06):
still and silent, which adds to the overall intimidation of
this scene. A small percussion signature can be heard under
otherwise all we hear in this room is the crackle
of the fireplace. Mark is still taking in the scene.
Devon is standing at his right elbows slightly behind him.

Speaker 5 (01:16:23):
Do you remember the last thing that you said to me?

Speaker 2 (01:16:26):
If he doesn't, I can help. Mark looks back at Harmony.
We get a closer in shot of miss Cobell. She
is unnerving. Mark remembers she's lot. We quickly get a
look at Devin's face and we cut back to the
imposing Cobell. This triggers a music staying. It's a Shapiro

(01:16:53):
composition based on the main theme. It takes us into
credits and the end of The After Hours. That's it.
We've completed the file marked the After Hours. We are ready.
The table has been set. It's time for the season finale,
Cold Harbor. But that's for next time. As always, a
big thanks to volunteer researcher producer Vinnip for his contributions

(01:17:15):
to this week's podcast. Also a big thanks to those
of you who are supporting the podcast with your positive words.
Thank you for your comments on the Facebook page, Reddit
or as an Apple podcast reviewer. I do read all
of the comments and your kind words and encouragement are
greatly appreciated. Your blowing reviews on Apple Podcasts are also
bringing new listeners to the podcast. Quick reminder before you leave,

(01:17:38):
get to this Severed Patreon page. You can support this
Severed podcast by pledging five dollars a month on Patreon.
Signing up is easy. Go to patreon dot com slish
Severed Pod. That's patreon dot com slish Severed Pod. You'll
be supporting the podcast and supplementing my retirement income. Once
you've got your workstations shut down, we are done for

(01:18:00):
the day. You can head to the Severed Elevator refiner.
Thanks for coming back once again to the Severed floor.
We'll complete our breakdown of the second season next time
with the finale. Now, as always, please stegger your exits.

Speaker 9 (01:18:14):
You've been listening to Severed, the Ultimate Severance Podcast. Severed
is written, produced, and hosted by Alan Stair.

Speaker 6 (01:18:21):
Severed is not endorsed by Red Hour Productions, Endeavor Content,
or Apple TV Plus. This podcast is intended for entertainment
and informational purposes only.

Speaker 9 (01:18:32):
Severance the Severance logo and all video and audio of
Severance and Severance characters are registered trademarks of Red Hour,
Endeavor Content, Apple TV Plus, or their respective copyright holders.

Speaker 6 (01:18:44):
Please make sure to leave a five star rating and
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S2E34 - REWATCH09-PT02 - The After Hours

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