1) Quintessential Fraser moments like his identification of chicken breeds by their voices alone, and his futile attempts at lying ('Your car...it's on fire...No, really, it's burning away - all the other cars feel threatened' - haven't laughed so much since his foray into secondhand car dealership in "Pizzas and Promises"). And the lovely subtle touch when he is analysing and listing all the ingredients in the chickens' food and says 'I can't place the other two' - only Fraser would nevertheless be able to tell exactly how many more there were to be placed; it's that kind of detail that separates DS from the herd - you've gotta love it!
2) Just as you've got to love little - almost throwaway - exchanges like the one between the eggman and OFM: 'Take your eggs' 'Thank you kindly' 'God bless'. And the classic Ray/Ben discussion - 'Are you sure your wolf is OK around all these chickens? 'Well, as long as they aren't in possession of any Milk Duds they should be fine.' 'He still hasn't kicked that junk food habit yet?' You know, they say it's harder than heroin'. Why does it make so much sense that Dief has a junk food addiction? It's one of those things you hope you never have to try to explain to a non-Dueser; in fact, if I am ever labouring with the task of trying to explain the show to one of these poor, benighted souls I tend not even to mention the existence of Diefenbaker: 'He's got a deaf wolf...Why? Because he pulled him out of Prince Rupert Sound and his eardrums burst, of course...oh, why a wolf? Because then Benton can tell Inuit stories about the wolf spirit...and allow Ray to demonstrate his friendship by getting a wolf licence...and make us all choke back tears when it looks like Benton is going to have to shoot Dief...oh, and of course, he's the symbolic embodiment of Ben's wild side and frequently of Ray's conscience too...no, that does make sense, because Ray and Ben are two halves of the same whole, so naturally Dief represents the opposite for each of them...Look, it's just one of those things where alone they're incomplete but together they're better than they are separately...Take my word for it, OK?' - you could go mad <vbg>.
3) Lots of OFM/Thatcher moments - when she dismisses him from her office before he can query their mythical dinner together (PG always manages that mentally-adrift-but-valiantly-trying-to-keep-up look so well!); but managing to provide the word 'deflect' for her as she struggles to explain her actions to him in his apartment - just a nudge to remind us that he has hidden depths and is not always as obtuse as he might first appear, and steering us gently onto the path that leads eventually to That Kiss on top of That Train (after all, you don't provide a word like 'deflect' in that context without having noticed at some level that she is indeed a woman - and not made of stone - do you? ;-) ). And speaking of nudges - we also have the marvelous incubator scene (actually, this probably counts more as a push); comic perfection, from the moment she says 'Take off your tunic, Constable, that's an order' with an ever-so-slight hint of a smile, almost daring him to question her and thereby admit to the existence of a sexual je ne sais quoi between them, through his unquestioning obedience to her instructions (such an attractive quality in a man <g>), to his 'electrocution' and 'Just joking' - just brilliant! The way he suddenly straightens up (as only OFM can - I'm sure he has a steel rod where his spine should be), becoming Serious Mountie again, only to deliver that line cracks me up every time; and the joke - the informality of it - lets her know that he is, at some level, recognising the undercurrent between them and rising to the implicit challenge she set with the 'Take off your tunic' line. Hey, that's my theory and I'm sticking to it <g>.
I really enjoy the scene where he analyzes the eggs and when they're throwing eggs instead of trying to get the gun from the enemies. It's so hilarious and funny. I think this episode deserve a B+.