“Hard Time” is a gripping, compelling, profoundly emotional episode. In many ways, it’s a dark mirror to TNG’s “The Inner Light” in that a main character spends years in a virtual reality, only to suddenly “resurface” back into the reality he has always known. The episode itself features an excellent production in terms of dialogue, pacing, cinematography, music and, especially, acting. There are a handful of possible criticisms which may or may not serve to pull audiences out of the story. But for anyone who does buy into the concept, this has the potential to be one of the most moving, powerful episodes in all of Trek.

As the episode begins, Chief O’Brien finds himself in a prison cell. He’s an old man, broken and disheveled. In short order, we learn that this was all the result of some alien form of “rehabilitation” — to force an individual to live years of incarceration within the span of hours. The idea being that, after having “served” the time, the individual would be less likely to commit another crime and could still live a full, productive life as a member of society. It’s a fascinating concept, which really only serves to establish the main conflict of the episode: O’Brien’s reintroduction back into life aboard DS9 after having memories of being in prison for more than twenty years.

Of course, this brings up one of the potential flaws in the premise of the episode. O’Brien’s experiences have left him a profoundly different man, one who is emotionally broken. As such, one has to question the rationality of the alien program to force people to spend that much time “incarcerated.” O’Brien has a tremendously difficult time adapting and, if that is the case, it stands to reason that many of the former “inmates” of the aliens would also have trouble reintegrating — perhaps leading to greater social unrest. It’s a minor point to the overall episode, but it is a concern in terms of plausibility.

At any rate, the episode is notable for its emphasis on the consequences of living a lifetime within the span of hours, quite unlike “The Inner Light,” we focused on the lifetime itself. And for O’Brien, the consequences are very, very difficult to navigate.

What really sells the concept is the way the episode is presented. Everything, from little touches — such as O’Brien’s first view of DS9 after being released, to his sleeping on the floor in his quarters — to the music to the incredible performance from O’Brien, is nearly perfect. O’Brien is a tortured soul. He struggles with remembering his wife’s pregnancy and the names of his tools. And he struggles with a guilty conscience.

The episode’s worst-kept secret is the fate of O’Brien’s cellmate, Ee’Char. Ee’Char appears on the station, repeatedly, and its quite clear, from very early on, the O’Brien, at some point, has killed him. All that’s left is for O’Brien to confront his actions, his guilt, and for us to learn the hows and whys of the killing. Of course, because the episode is so well-constructed and executed, the fact that the twist is obvious doesn’t much matter. This is a story that is as much about the journey as it is about the destination.

And whether it is Miles nearly breaking Quark’s arm, brooding about his fate, or reacting angrily to his daughter, the episode never ceases to pull in its audience. O’Brien’s performance is truly exceptional and goes a long, long way to sell the episode.

In the end, Miles is saved by his friends — whether they be in his head like Ee’Char or those around him like Bashir, Sisko, and Keiko. Their efforts help build the bridge that he must cross to come to terms with his experiences. The climactic scene, in which Miles breaks down and, in a rage, starts smashing things in a cargo hold before pointing a phaser on himself is pure emotion. And it works. It never crosses into cheap melodrama. But it also brings the episode to its one mistake.

Just as Miles is ready to commit suicide, Bashir arrives and begins, finally, to break through the walls Miles has constructed around his guilt. But just as the scene is building to its emotional crescendo, it’s punctured by an ill-timed flashback — to the moment where Miles, in a mad rage, accidentally kills Ee’Char. Of course, I’m not exactly sure where the flashback would have worked. But its placement undercuts what had been a powerful, powerful character moment.

Otherwise, the ending is just about as plausible as Trek can be. There are no simple cures to Miles’ fractured psyche. But Bashir, and his friends and family, prove to be enough to allow him to come down from the edge, and find a way to … well … find himself once again.

“Hard Time” is a fantastic episode. There are a few legitimate points of criticism, and one clear mistake. Otherwise, this is an episode that simply cannot be missed.

Filed under: Deep Space Nine