An actual Orient Express parlour car was used in this episode.
	Naren Shankar added an uncredited polish to this episode, which in Jeri Taylor's words was "extremely weird".
	Cliff Bole (Director) on "Emergence" - "Again, I though Menosky mighta had a couple of mushrooms when he wrote the first script! We all read it and thought, 'Jeeesus, you can't shoot this is 35 days!' I mean, marvellous crazy ideas, but it had to be downscaled."
	Brannon Braga claims the staff discarded a final Dixon Bill adventure in development as "too familiar" in favor of the "Ultimate Holodeck Show".
	Arlee Daniel/Reed (Hayseed) is Script Coordinator Lolita Fatjo's husband.
	Richard James' planned Art Deco designs for the train carriage were about to be cut due to spiralling costs when a carpenter mentioned he'd worked on the train car used for Bram Stoker's Dracula. The car was rented and delivered on a flatbed trailer to Stage 6, saving enough to allow extensive refurbishing to the desired 1920s look.
	Cliff Bole on the train - "That train was marvellous. If we'd built that there would have been another 120 grand that would have been subtracted from everything else."
	Stock footage from "Murder on the Orient Express" was added to the show, but Cliff Bole had to literally beg Rick Berman to get a close up of the wheels braking and ignore the point of view logic that no one would be in the holodeck to see them. Bole remembers - "The sparks coming and all that - I had to have it! Sometimes for drama's sake you gotta break the rules, so I got away with it once."
	The MacPherson Nebula was taken from never-used elements Dan Curry shot years ago of lasers bouncing off plastics.

If you have some more behind the scenes information, send it in.