Screenplay by
Rick Berman, Ronald D. Moore, Brannon Braga
FINAL DRAFT
March 16, 1994
FADE IN:
1 EXT. SPACE (VFX-I) 1
A vast and sparkling starfield. A pinpoint of LIGHT
appears and starts moving toward the camera... a small
and distant cylindrical object tumbling end over end,
but we can't determine exactly what it is yet...
2 EXT. WHEATFIELD - DAY 2
A vast and undulating sea of wheat. We become aware
that there are two HEADS sticking out of the stalks of
wheat: two men are standing and looking up at the
sky. As we move towards them, we begin to hear their
conversation...and we can see that the two men are
SCOTTY and CHEKOV, dressed in civilian clothing.
CHEKOV
(points to sky)
There he is -- there, to the
South!
SCOTTY
(peers upward)
What are ye, blind? That's a
bird.
As they stare up at the sky...
3 EXT. SPACE (VFX-I) 3
The cylinder tumbling through space is now closer, and
we can now see that it is a BOTTLE of some sort, and it
is tumbling directly toward the camera...
4 EXT. WHEATFIELD- DAY 4
As before, Chekov and Scotty staring at the sky.
SCOTTY
(concerned)
Repelling the Crystalline
Trench... rafting down lava
flows... orbital skydiving. it's
like the man is running a bloody
decathlon across the galaxy.
Suddenly we hear a double SONIC BOOM.
CHEKOV
(re: sound)
That should be him now. I think
he's just crossed the sound
barrier.
They shield their eyes against the sun and look up.
5 EXT. SPACE (VFX-I) 5
The bottle gets CLOSER...
6 EXT. WHEATFIELD - DAY 6
A man in a high-tech body harness and parachute LANDS
in the wheat flat on his back. His body-suit is
charred, scorched, wisps of smoke still curling off of
it. There are small thrusters attached to his backpack
and boots. Scotty and Chekov move to him. The man
removes his helmet. Revealing that it is KIRK. He
smiles broadly, like a child who has just come off a
roller-coaster.
KIRK
Right on target! I jump out over
the Arabian Peninsula... and I end
up here, right on the dime.
Kirk gets to his feet.
CHEKOV
Actually, Captain, your precise
target area was thirty-five
meters...
(points)
That way.
KIRK
Thanks for pointing that out.
Kirk starts to pull off his suit, reacts to a sudden
pain in his back.
KIRK
Oh...
SCOTTY
I've warned ye about that back of
yours. You should have a doctor
take a look at it.
Kirk waves him away, and continues to remove his
harness.
6A EXT. SPACE (VFX-I) 6A
The tumbling bottle rushes past, and we can now see
that it is a CHAMPAGNE BOTTLE - Dom Perignon, 2265.
Follow the bottle as it tumbles through space...
6B EXT. WHEATFIELD - DAY 6B
Kirk, Scotty and Chekov as before.
KIRK
Tomorrow I want to make a tri-
elliptical jump. That's where you
jump out over Northern China, and
make three complete orbits before
you start re-entry...
CHEKOV
Captain. Perhaps you have
forgotten that tomorrow is the
christening ceremony.
This strikes a nerve with Kirk -- we see a flash of
hesitation and irritation cross his face.
KIRK
I'm not going.
(beat)
Scotty, help me with this chute.
SCOTTY
What do you mean, you're not
going? We promised.
KIRK
When I retired, I swore I'd never
set foot on a starship again, and
I meant it.
CHEKOV
Captain...
KIRK
(firm)
I don't want to hear anymore about
it. I'm not going, and that's
final.
7 EXT. SPACE (VFX-I) 7
The champagne bottle SMASHES onto the bow of a
Federation starship(Excelsior class) sitting in its
dock in orbit around Earth.
7A EXT. SPACE (VFX-I) 7A
FOLLOW the shards of glass from the bottle as they
spread over the ship...revealing the name on the hull:
U.S.S. ENTERPRISE NCC-1701-B.
8 ANGLE ON SPACEDOCK WINDOW 8
A large picture window overlooking the starship in its
berth. The window is filled with people in Starfleet
uniforms, applauding the christening of the ship (but
we hear nothing).
8A INT. SPACEDOCK OBSERVATION ROOM (VFX-I) 8A
The people are still applauding and we can see that
they are looking out over the ship in its berth.
8B EXT. SPACE - ENTERPRISE-B IN SPACEDOCK (VFX-I) 8B
The great ship sits in spacedock.
9 INT. ENTERPRISE-B - BRIDGE 9
CLOSE ON A SET OF TURBOLIFT DOORS as they slide open to
reveal Kirk, Scotty and Chekov. A bright light shines
into their faces and they react. MOVE TO REVEAL -
that the bright light is coming from a futuristic
CAMERA with a small bank of lights attached to it. The
camera is a holographic recorder with two lenses and is
worn on an operator's head. There are four JOURNALISTS
clustered in front of the Turbolift -- one associated
with the camera, the others using PADDS to make
notations.
Also clustered around the door are the BRIDGE CREW of
the Enterprise-B. Everyone is APPLAUDING as Kirk and
the others blink under the bright lights and ENTER the
Bridge.
JOURNALISTS
(overlapping)
Captain Kirk, how does it feel
to be back on the Enterprise
Bridge... Captain, can I have a
Minute... Captain Scott, do you
have any comment on... Commander
Chekov... etc.
CAPTAIN JOHN HARRIMAN pushes through the crowd.
HARRIMAN
Excuse me, excuse me...there will
be plenty of time for questions
later...
The journalists edge away, and the cameraman moves to
get a good angle.
HARRIMAN
(continuing, to all)
I'm Captain John Harriman. I'd
like to welcome you all aboard.
KIRK
It's our pleasure.
Harriman is young, confident, eager -- this is his
first command and he takes it very seriously.
HARRIMAN
I just want you to know how
excited we all are to have a group
of living legends with us on our
maiden voyage.
(beat)
I remember reading about your
missions when I was in grade
school.
The original Enterprise officers all stop and give him
a look. Harriman looks a little embarrassed -- he
didn't mean to insult them. But Kirk gives him a
little smile, lets it roll off.
KIRK
Well... may we have a look around?
HARRIMAN
Please... please.
Chekov sees someone in the background, calls out to
her.
CHEKOV
Demora!
Chekov moves off.
JOURNALIST
(breezy)
So, Captain... this is the first
Starship Enterprise in thirty
years without James T. Kirk in
command. How do you feel about
that?
The Journalist has unknowingly touched a nerve. Kirk's
eyes flash for a moment -- the longer he's on this
Bridge, the more he realizes he doesn't feel good about
it at all. He tries to shrug it off with a smile.
KIRK
Just fine. I'm glad to be here to
send her on her way...
He tries to move away from the Journalist, who dogs
him.
JOURNALIST
What have you been doing since you
retired?
KIRK
I've been... keeping busy.
At this point, Chekov approaches with a young, (mid-
twenties) attractive, Asian female Ensign named DEMORA.
CHEKOV
(to Kirk)
Excuse me, Captain. I'd like you
to meet the Helmsman of the
Enterprise-B. Ensign Demora Sulu --
Captain James Kirk.
DEMORA
It's a pleasure to meet you, sir.
My father's told me some...
interesting stories about you.
Kirk is shocked. For a long moment, he stares at her
in amazement.
KIRK
Your father... Hikaru Sulu is your
father?
DEMORA
Yes, sir.
CHEKOV
You met her once before, but she
was...
Chekov holds out his hand and indicates a very short
height.
KIRK
But that wasn't so long ago... it
couldn't have been more than...
CHEKOV
Twelve years, sir.
KIRK
Yes... well... congratulations,
Ensign. It wouldn't be the
Enterprise without a Sulu at the
helm.
DEMORA
Thank you, sir.
(to Chekov)
Let me show you the new inertial
guidance system.
Demora and Chekov move off and Kirk looks after them
for a long beat. The expression on his face changes
from shock to sadness... Something is clearly
bothering him.
Scotty moves over to Kirk, with a smile on his face.
SCOTTY
(to Kirk)
Damn fine ship if you ask me...
But Kirk's mind is still on Demora. He watches her as
she moves to the Helmsman's position.
KIRK
You know, Scotty... it amazes me.
SCOTTY
And what would that be, sir?
KIRK
Sulu. When did he find the time
for a family?
SCOTTY
It's like you always said -- if
something's important enough, you
make the time.
Kirk nods absently. Scotty realizes something...
SCOTTY
So... that's why you've been
running around the galaxy like an
eighteen-year-old. Finding
retirement a little lonely, are we?
Kirk gives him a look.
KIRK
With that kind of tact, I'm glad
you're an engineer and not a
psychiatrist.
Harriman interrupts.
HARRIMAN
Excuse me, gentlemen... if you'll
take your seats.
KIRK
Oh... of course.
10 NEW ANGLE 10
Revealing that three CHAIRS have been neatly arranged
to one side.
Scotty, Kirk and Chekov all take their seats. The
Journalists take positions on the opposite side of the
Bridge. Harriman moves to the command chair and the
rest of the Bridge crew go to their stations.
HARRIMAN
(to all)
Prepare to leave spacedock. Aft
thrusters ahead one quarter, port
and starboard at station keeping.
(beat)
Captain Kirk, I'd be honored if
you would give the order to get
underway.
KIRK
No... no. Thank you.
HARRIMAN
Please, I insist.
All eyes on Kirk -- he has little choice. He stands
uncomfortably. There is a moment of anticipation.
KIRK
(to all)
Take us out.
Everyone breaks into APPLAUSE. Kirk sits down in
acute embarrassment and annoyance.
CHEKOV
(sotto)
Very good, sir.
SCOTTY
(sotto)
Brought a tear to my eye.
CUT TO:
11 EXT. SPACE- ENTERPRISE-B (VFX-I) 11
The great ship majestically LEAVES the dock, and heads
out into open space, passing DIRECTLY OVERHEAD.
12 INT. ENTERPRISE-B - BRIDGE 12
A short time later. Harriman turns to his guests.
HARRIMAN
Well... we've just cleared the
asteroid belt. Our course will
take us out beyond Pluto and then
back to spacedock. Just a quick
run around the block.
(beat)
If we have time, we'll conduct a
few tests of the warp --
Suddenly the communications console starts to BEEP.
The COM OFFICER hits a few commands in response.
COM OFFICER
(to Harriman)
We're picking up a distress call,
Captain.
This grabs everyone's attention.
HARRIMAN
On speakers.
We hear the voice of a crewmember who sounds panicked
and urgent.
COM VOICE
(fritzed)
This is the transport ship Lakul.
We're caught in some kind of
energy distortion. We can't break
free... need immediate help...
It' tearing us --
The voice is drowned out by STATIC. The SCIENCE
OFFICER checks something on his console. The
Journalist with the Holo-camera turns on his light and
pans it around to capture the action.
SCIENCE OFFICER
The Lakul is one of two ships
transporting El-Aurian refugees to
Earth.
Harriman blinks a couple of times, surprised at this
unexpected turn of events. Kirk watches him intently.
Harriman clears his throat, then turns to Demora.
HARRIMAN
Can you locate them?
DEMORA
The ships are bearing at three one
zero mark two one five. Distance:
Three light years.
HARRIMAN
Signal the closest starship.
We're in no condition to mount a
rescue... We don't even have a
full crew aboard.
The NAVIGATOR checks his console.
NAVIGATOR
We're the only one in range, sir.
The Holo-camera light is shined on Harriman as he
shifts in his seat, hesitant to take the plunge. Kirk
is drumming his fingers impatiently on his leg.
Finally, Harriman takes a breath and straightens his
jacket a bit.
HARRIMAN
Well, then... I guess it's up to
us.
(to Demora)
Helm, lay in an intercept course
and engage at maximum warp.
Kirk fidgets in his chair, itching to get in on the
action - his instincts taking over. Scotty shoots him
a side-long glance.
SCOTTY
Is there something wrong with your
chair, Captain?
Kirk gives him a look.
13 EXT. SPACE - ENTERPRISE-B (VFX-I) 13
The ship snaps into warp.
14 INT. ENTERPRISE-B - BRIDGE 14
A few minutes later. Demora is watching her console.
DEMORA
We're within visual range of the
energy distortion, Captain.
HARRIMAN
On screen.
15 INCLUDE VIEWSCREEN (VFX-I) 15
Which now shows a HUGE RIBBON OF CRACKLING ENERGY
directly ahead of the Enterprise-B.
Everyone reacts to the bizarre sight.
CHEKOV
What the hell is that?
DEMORA
(off console)
I've found the transport ships.
15A INCLUDE VIEWSCREEN (VFX-I) 15A
The Viewscreen now shows TWO TRANSPORT SHIPS trapped
like insects in the violent torrent of energy. The
ships are being buffeted and thrown about by large
TENDRILS of CRACKLING ENERGY.
DEMORA
(cont'd)
Their hulls are starting to buckle
under the stress -- they won't
survive much longer.
The ship suddenly SHAKES. The Navigator works his
console.
NAVIGATOR
We're encountering severe
gravimetric distortions from the
energy ribbon.
HARRIMAN
We'll have to keep our distance...
we don't want to get pulled in
too...
Harriman frowns at the screen, trying to figure out
what to do. Kirk can barely contain himself -- to him
the answer is obvious. He blurts out the answer --
KIRK
Tractor beam...
Scotty quickly elbows him in the side -- this isn't
Kirk's ship. Kirk shuts up. Harriman glances at Kirk.
HARRIMAN
We don't have a tractor beam.
KIRK
You left spacedock without a
tractor beam?
HARRIMAN
It won't be installed until
Tuesday.
(beat)
Ensign Sulu... try generating a
subspace field around the ships.
That might break them free.
DEMORA
Aye, sir.
When Kirk hears this order, he shakes his head slightly
and mouths the word "no" under his breath. He knows
that won't work.
DEMORA
(continuing; shakes her
head)
There's too much quantum
interference, Captain.
Harriman frowns again, trying to come up with another
solution, but it isn't easy -- it's his first day in
command; his ship is under-manned and ill-prepared.
It's a nightmare come true. Kirk is itching to get in
On this, his fingers digging into the arms of his chair --
but he restrains himself.
HARRIMAN
What about... venting plasma from
the warp nacelles? That might
disrupt the ribbon's hold on the
ships.
NAVIGATOR
Aye, sir.. releasing drive
plasma...
A tense beat. Harriman glances over at the
journalists, then glances over at Kirk. Kirk gives him
a pained smile, trying to be encouraging even though he
knows this is not the right course of action.
NAVIGATOR
(continuing)
It's not having any effect, sir.
I think --
DEMORA
Sir! The starboard vessel's hull
is collapsing --
15B INCLUDE VIEWSCREEN (VFX-I) 15B
Suddenly the right-hand ship on the screen is engulfed
by a fiery TENDRIL of energy and it EXPLODES. The
other ship continues to be thrown about and buffeted.
Everyone reacts with shock on the Bridge.
CHEKOV
How many people were aboard
that ship?
DEMORA
Two hundred sixty-five.
Harriman pales at the sight... seems shell-shocked by
the destruction of the ship. He's overwhelmed now, at
a genuine loss as to what to do next.
DEMORA
(urgent)
The Lakul's hull integrity is down
to twelve percent, sir.
Harriman looks over at Kirk, who has remained quiet
during this entire sequence only through great effort
and out of deference to the young Captain. This is a
delicate moment -- Harriman doesn't want to look
incapable, but at the same time, he needs help.
HARRIMAN
Captain Kirk... I would appreciate
any... suggestions you might have.
Kirk is out of his chair like a cork out of a bottle.
He moves down to stand next to Harriman.
KIRK
(sotto)
First -- move us within
transporter range and beam those
people to the Enterprise.
Harriman looks at him with surprise.
HARRIMAN
What about the gravimetric
distortions? They'll tear us
apart...
KIRK
(gently)
Risk is part of the game if you
want to sit in that chair.
Kirk gives him a supportive look. Harriman buckles
down and grimly looks at the image on the screen.
HARRIMAN
Helm, close to within transporter
range.
Kirk glances at the Cameraman, who's still shining the
light on them all.
KIRK
And second -- turn that damned
thing off.
The cameraman turns OFF the light.
CUT TO:
16 EXT. SPACE - ENTERPRISE-B (VFX-I) 16
The ship edges in yet closer to the crackling ribbon.
The tendrils from the ribbon lash out at the ship, just
missing it.
17 INT. ENTERPRISE-B - BRIDGE 17
As before.
DEMORA
We're within range, sir.
HARRIMAN
(to lieutenant)
Beam them directly to Sickbay.
CHEKOV
(concerned)
How big's your medical staff?
HARRIMAN
(embarrassed)
The medical staff... doesn't
arrive until Tuesday.
Chekov turns to the two journalists.
CHEKOV
You and you. You've just become
nurses. Let's go.
Chekov and the journalists EXIT to the turbolift.
DEMORA
Main Engineering reports
fluctuations in the warp plasma
relays.
SCOTTY
By-pass the relays and go to
auxiliary systems.
The LIEUTENANT is having problems at the aft console.
LIEUTENANT
Sir, I'm having trouble locking
onto them. They appear to be...
in some sort of... temporal flux.
Kirk turns to Scotty.
KIRK
Scotty?
Scotty quickly moves to look at the Transporter
console.
SCOTTY
What the hell...
Kirk moves to him.
SCOTTY
Their life signs are... are
phasing in and out of our
space-time continuum.
KIRK
Phasing? To where?
Scotty begins to work.
NAVIGATOR
Sir! Their hull's collapsing!
18 EXT. SPACE- THE LAKUL (VFX-I) 18
The ship is destroyed by an energy tendril.
19 INT. ENTERPRISE-B - BRIDGE 19
All eyes on Scotty.
SCOTTY
I got forty-seven of them...
(beat, grim)
... out of one hundred fifty.
Suddenly the ship is rocked violently. KLAXONS and
alarms start to wail and the lights FLICKER on and off.
BULKHEAD EXPLODES, sending metal fragments screaming
across the Bridge and KILLING the Navigator. Scotty
quickly takes over the dead man's console.
KIRK
Report!
DEMORA
We're caught in a gravimetric
field emanating from the trailing
edge of the ribbon.
HARRIMAN
All engines, full reverse!
20 EXT. SPACE- ENTERPRISE-B & RIBBON (VFX-I) 20
The ship is turning sideways into the WAKE of the
ribbon, but cannot break away. It is clearly being
pulled along, out of control. Tendrils leap up from the
ribbon, lashing against the ship.
21 INT. ENTERPRISE-B- SICKBAY 21
The room is filled with the SURVIVORS of the Lakul.
They are all members of the EL-AURIAAN race -- humanoid
and dressed in distinctive clothing. The survivors are
in various states of shock. Many sit on the floor,
staring into middle distance. some lie on tables,
unconscious. others are mumbling incoherently to
themselves. Chekov and the Journalists are moving from
person to person trying to get control of the
situation as the ship is ROCKED and FLUNG about.
Chekov has a tricorder.
SURVIVORS
(incoherent, overlapping)
The colors are touching me... I'm
caught in the glass... Help me...
I can see the seconds... Over
here... etc
CHEKOV
It will be all right. We're going
to take care of you.
He looks at the tricorder.
CHEKOV
(off tricorder)
Only minor injuries so far...
(beat)
But it looks like they're all
suffering from some kind of
neural shock.
One Journalist moves past a man sitting on a bio-bed
with a dazed look on his face. He has a nasty-looking
wound on one side of his face. (We will later learn
that this man is named DOCTOR SORAN.)
The journalist is about to turn away when suddenly
Soran GRABS him roughly -- clearly a man of great
Strength -- and pulls him close. Soran's eyes are
suddenly wild, crazed.
SORAN
Why...why?
JOURNALIST
It's all right... you're safe...
you're on the Enterprise.
SORAN
No... I have to go... I have to
get back... You don't understand!
Let me go!
Soran begins to attack the journalist, but before he
can do any real damage, Chekov injects Soran with a
hypospray and Soran falls unconscious.
JOURNALIST
What was he talking about?
Suddenly a WOMAN with her back toward us stumbles
nearby. Chekov quickly grabs her arm and catches her
before she falls.
CHEKOV
Easy there...
The woman turns around and we see her face for the
first time -- it's GUINAN. She seems dazed and
confused. Chekov smiles at her warmly.
CHEKOV
It's going to be okay. Here, just
lie down.
As he guides Guinan onto a table...
22 INT. ENTERPRISE-B - BRIDGE (VFX-I) 22
Energy ribbon on viewscreen.
DEMORA
Inertial dampers failing.
SCOTTY
Engines not responding!
Harriman is gripping the arms of his chair with one
hand. His face pales.
HARRIMAN
(quiet)
I didn't expect to die my first
day on the job.
Kirk tries to buck up the young captain.
KIRK
(sotto)
The first thing you learn as
Captain is how to cheat death.
(beat, then louder)
Scotty?
SCOTTY
(outraged)
There's just no way to disrupt a
gravimetric field of this
magnitude!
DEMORA
Hull integrity failing.
Kirk looks at Scotty expectantly for a moment.
SCOTTY
(continuing)
But I do have a theory...
KIRK
I thought you might.
SCOTTY
An anti-matter discharge directly
ahead... it might disrupt the
field long enough for us to break
away.
KIRK
A photon torpedo?
SCOTTY
Aye.
KIRK
(quickly, to Demora)
Load torpedo bays, prepare to fire
on my command.
Demora turns to him.
DEMORA
Captain... we don't have any
torpedoes.
Kirk glances at Harriman.
KIRK
Don't tell me... Tuesday.
Harriman nods, a little embarrassed. The SHAKING gets
worse.
SCOTTY
Captain, it may be possible to
simulate a torpedo blast using a
resonance burst from the main
deflector dish.
KIRK
(onto the idea)
Where are the deflector relays?
DEMORA
Deck fifteen, section twenty-one
alpha
HARRIMAN
(to Kirk)
I'll go. You have the Bridge.
Harriman heads for the turbolift, and there is a moment
as Kirk is sorely tempted to take command of the ship
and sit in the Captain's chair one more time. But he
pulls himself back before Harriman can exit.
KIRK
No... a Captain's place is on the
Bridge of his ship.
(beat)
I'll take care of it.
Harriman nods in acknowledgement. Kirk heads for the
turbolift.
KIRK
(on the move, to Scotty)
Keep her together until I get
back.
SCOTTY
(matter of fact)
I always do.
Kirk smiles as the turbolift doors slide shut...
23 OMITTED 23
24 INT. ENTERPRISE-B - CORRIDOR 24
Kirk running down the corridor, opens a door.
25 INT. ENTERPRISE-B - DEFLECTOR ROOM (CONTINUOUS) 25
A small control room with a few consoles. Kirk rushes
in and rips off one of the large wall panels. He
quickly begins to re-route cabling and circuitry...
26 INT. ENTERPRISE-B - BRIDGE 26
As before. The ship is SHAKING badly.
DEMORA
Forty-five seconds to structural
collapse!
Scotty is working the consoles frantically.
SCOTTY
Bridge to Captain Kirk.
INTERCUT:
27 INT. ENTERPRISE-B - DEFLECTOR ROOM 27
Kirk working furiously.
KIRK
Kirk here.
SCOTTY
Captain, I don't know how much
longer I can hold her together!
Kirk finishes working and slams the wall panel closed.
KIRK
That's it. Go!
28 INT. ENTERPRISE-B - BRIDGE 28
As before.
HARRIMAN
(to Demora)
Activate main deflector.
Demora works the console.
29 EXT. SPACE- ENTERPRISE-B (VFX-I) 29
A large BURST 0F ENERGY leaps out of the main deflector
dish and EXPLODES in front of the ship. There is an
immediate reaction within the Energy Ribbon, which
roils and fluctuates in response.
30 INT. ENTERPRISE-B - BRIDGE 30
As before.
SCOTTY
We're breaking free.
31 EXT. SPACE - ENTERPRISE-B (VFX-I) 31
The ship now begins to turn away from the crackling
ribbon. But just as it's turning, one final TENDRIL of
energy suddenly leaps out and hits the ship.
32 OMITTED 32
33 INT. ENTERPRISE-B - BRIDGE 33
The ship is ROCKED so hard that everyone is knocked off
their feet. Gradually, the SHAKING STOPS. Demora
scrambles back into position.
DEMORA
We're clear.
Everyone reacts with relief.
HARRIMAN
(excited, to com)
You did it, Kirk!
(to Demora)
Damage report, Ensign.
DEMORA
(off console)
There's some buckling on the
starboard nacelle...
(reacts)
We've also got a hull breach in
the Engineering section.
Emergency forcefields are in place
and holding.
SCOTTY
Where?
DEMORA
Sections twenty through twenty-
eight on decks thirteen...
fourteen...
(looks at Scotty with
meaning)
... and fifteen.
Everyone turns around and looks at Scotty.
SCOTTY
(to com)
Bridge to Captain Kirk.
(beat)
Captain Kirk, please respond.
Still no response. Scotty's face falls.
SCOTTY
(continuing, to Demora)
Have Chekov meet me on deck
fifteen.
Harriman, very concerned, gets up and follows Scotty.
They EXIT to the Turbolift.
CUT TO:
34 INT. ENTERPRISE-B - CORRIDOR 34
Scotty and Harriman head down the Corridor. They round
a bend... and then stop short. They react to
something ahead of them...
35 NEW ANGLE (VFX-P) 35
Revealing that the corridor ahead of them is GONE. A
jagged hole has been ripped in the ship and OPEN SPACE
can be seen beyond the twisted metal.
A FORCEFIELD flickers on and off, holding the vacuum of
space at bay.
Scotty and Harriman look at the awesome sight for a
moment. Chekov comes running up the Corridor behind
them. He stops and reacts.
CHEKOV
My God...
(beat)
Was anyone in there?
A long silent beat as Scotty looks out into space.
SCOTTY
Aye.
36 EXT. SPACE - ENTERPRISE-B (VFX-I) 36
A huge chunk has been ripped out of the Engineering
section, looking like an open wound. Scotty, Chekov,
and Harriman can be seen standing inside the small
Corridor, looking out into space...
37 INT. ENTERPRISE-B- BRIDGE 37
A short time later. Scotty, Harriman and Chekov are
listening to Demora, who is working the Helm console.
DEMORA
I've checked the entire ship and
the surrounding space. there's
no sign of him.
A silent moment. Chekov looks to Scotty, hoping to
hear some sort of miracle. Scotty takes a moment
looks at the empty command chair. Then he shakes his
head. A long beat as everyone is forced to accept this
terrible truth.
SCOTTY
(quiet)
Just a quick... run around the
block.
CHEKOV
I never thought it would end like
this...
SCOTTY
All things must end, Mr. Chekov.
Harriman finally breaks the stillness of the Bridge.
HARRIMAN
Let's go home.
Harriman steps down to the Captain's chair and takes
command of his ship.
Scotty and Chekov exchange a final look. Off the
reactions of these two friends who've just lost someone
very dear to them both...
CUT TO:
38 EXT. SPACE - ENTERPRISE-B (VFX-I) 38
The crippled ship turns and heads away...
FADE TO BLACK.
SUPER: SEVENTY-EIGHT YEARS LATER...
39 CLOSE ON A HALYARD 39
as a FLAG is quickly hoisted to the top of a mast. The
flag reaches the top and is then caught by the wind --
the blue and white banner of the United Federation of
Planets waves in the breeze.
MOVE TO REVEAL THE LOCATION
40 EXT. SAILING VESSEL - DAY 40
A nineteenth-century three-masted sailing vessel (about
the size of a frigate) is hove-to and sitting in the
water gently rocking. Across the stern of the ship, we
can see the name ENTERPRISE picked out in gold letters.
41 ON THE MAIN DECK 41
Where PICARD and RIKER are standing before the
assembled crew of the ship. Everyone is dressed in
full-dress naval uniforms of the period, complete with
cocked hats, epaulettes, etc. The crew is standing at
attention... the wind whistles through the rigging...
the timbers creak...
Picard grimly looks over his crew... then finally he
nods to Riker.
RIKER
Bring out the prisoner!
A drummer begins a long DRUM ROLL.
42 ON A HATCH 42
as WORF is brought on deck by TROI and GEORDI. Worf is
shackled by hand and leg irons. Troi and Geordi hold
him by either arm and shove him toward the Captain.
The drum roll STOPS. Picard moves to Worf and peers at
him closely.
PICARD
Mister Worf... I always knew this
day would come. Are you prepared
to face the charges?
Worf doesn't answer and Troi jabs him in the side.
TROI
Answer him!
WORF
I am prepared.
Picard looks to Riker, who then pulls out a large,
rolled piece of parchment. He opens the scroll and
begins to read from it. In the b.g. Geordi removes
Worf's shackles.
RIKER
"We, the officers and crew of the
U.S.S. Enterprise, being of sound
mind and judgment, hereby make
the following charges against
Lieutenant Worf: One. That he did
knowingly and willfully perform
above and beyond the call of duty
on countless occasions. Two.
That he has been a good and solid
officer on this ship for one score
less twelve years. And Three.
Most seriously... that he has
earned the respect and admiration
of the entire crew."
Riker puts away the scroll
PICARD
There can be only one punishment
for such crimes...
(beat)
I hereby promote you to the rank
of Lieutenant Commander, with all
the rights and privileges thereto.
And may God have mercy on your
soul.
Everyone ROARS in APPROVAL. Picard smiles at Worf and
shakes his hand.
PICARD
(cont'd)
Congratulations, Commander.
WORF
(smiles)
Thank you, sir.
Picard continues to smile at him for a moment...then
Riker steps in.
RIKER
Extend the plank!!
Worf's face registers surprise as everyone GRABS HIM
and hauls him toward the side, where a long plank is
being pushed out over the water.
CREWMEMBERS
Into the sea with him... feed him
to the sharks... walk the
plank... etc.
Picard gives Riker a questioning look.
PICARD
Don't you think you're taking this
a little too far, Number One?
RIKER
When we went to ancient Rome for
Deanna's promotion, we threw her
to the lions, remember?
Picard shrugs it off... it's not exactly his cup of
tea, but he'll go along with it.
Worf is hustled to the rail where BEVERLY is waiting
patiently by the plank, holding a long PIKE. Worf is
put on the plank and Crusher prods him with the pike
until Worf is nearly at the end.
Worf finally stops and turns around.
WORF
(a shout)
WAIT!!
Everyone falls silent a moment. Worf looks over
the side at the water below.
WORF
(a little embarrassed)
I can't swim.
LA FORGE
(calmly, to Worf)
The Holodeck safety program is
engaged... The computer won't let
you drown.
BEVERLY
But the sharks are quite
convincing.
Beverly prods him with the pike and Worf FALLS INTO THE
SEA with a huge SPLASH . Everyone LAUGHS and CHEERS.
Reveal DATA, who is standing near the side rail,
looking a little confused at the reaction.
DATA
(to Beverly)
Doctor, I must confess I am
uncertain as to why pushing
someone into freezing, shark-
infested water is amusing.
BEVERLY
It's all done in good fun, Data.
Get in the spirit of things.
DATA
Ah.
Data thinks a moment, then he LIFTS Beverly with one
hand and hold her over the rail.
BEVERLY
Data...Data -- !
Data lets go and Beverly PLUMMETS into the ocean. Data
looks around -- no one is laughing. They all look a
little surprised.
GEORDI
Data. that wasn't funny.
Data is puzzled by the reaction of the crowd... he's
more confused than ever.
43 PICARD AND RIKER 43
are standing on the quarterdeck as a very wet Beverly
comes up on deck.
PICARD
Well, now that we're all aboard...
(beat, then smiles)
Number One, bring the ship before
the wind.
(savoring the moment)
Let's see what's out there.
RIKER
Aye, aye, sir.
(to Troi)
Take the wheel, Commander.
Troi takes the ship's wheel.
RIKER
(shouts)
All hands make sail! Raise up
tacks and stand by the braces!
The crew springs into action... rushing to their places
aloft and on deck... grabbing ropes and lines...
starting to unfurl the sails... trimming the
yardarms... getting the ship ready to sail.
44 44
THRU OMITTED THRU
45 45
46 PICARD AND RIKER 46
Picard is drinking in the scene with a look of great
satisfaction and contentment.
PICARD
Imagine what it was like, Will. No
engines... no computers... just
the wind, the sea and the stars to
guide you.
RIKER
Bad food, brutal discipline...
(beat)
No women.
But Picard won't let Riker rain on his parade -- he's
thoroughly enjoying himself.
COM VOICE
Bridge to Captain Picard.
PICARD
Picard here.
COM VOICE
There is a personal message for
you from Earth.
PICARD
(annoyed)
Put it through down here.
(to Riker)
But the best thing about a life at
sea was that they couldn't get to
you.
Picard walks toward the bow.
PICARD
(to com)
Computer, arch.
46A ANGLE (VFX-P) 46A
A U-shaped ARCH with several computer panels visible
appears on the forecastle. It's a strange sight to see
a piece of the 24th century on the deck of this ship.
Picard goes to the arch and activates one of the
monitors and waits for the transmission to appear.
46B NEW ANGLE (VFX-P) 46B
A text message APPEARS and he starts to read it. After
a moment, he reacts with shock and dismay to something
on the screen.
47 ON TROI 47
whose attention has been drawn to Picard, at the arch.
She reacts with concern at the expression on his face.
TROI
(to crewmember)
Here. Take the wheel.
Troi moves toward the bow.
48 ON PICARD (VFX-P) 48
whose face is now ashen with shock. Clearly he has
just read something on the screen which is very
disturbing.
He stares into the middle distance for a moment. Troi
moves to him.
TROI
(quiet)
Captain, are you all right?
PICARD
Yes. Fine. If you'll excuse
me...
He turns OFF the screen.
PICARD
Computer, exit.
48A ANGLE (VFX-P) 48A
The Holodeck DOORS APPEAR within the Arch. Picard is
clearly distracted as he EXITS to the Corridor. Troi
looks after him with concern.
49 NEW ANGLE 49
Favoring Riker. He takes a couple of steps toward
Worf.
RIKER
Set the royals and the studding
sails, Mister Worf.
Worf looks at him blankly for a moment.
WORF
The Royal... studs...?
RIKER
(smiles, points aloft)
You see the top yardarm, now look
to the --
Suddenly a com voice interrupts.
COM VOICE
Bridge to Commander Riker.
RIKER
Riker here.
COM VOICE
We're picking up a distress call
from the Amargosa observatory,
sir. They say they're under
attack.
RIKER
(to all)
Red Alert! All hands to
Battle stations! Captain Picard to
the Bridge.
Everyone on the ship reacts, and there is a general
rush to the bow of the ship...
CUT TO:
50 EXT. SPACE - ENTERPRISE-D (VFX-I) 50
The great ship at impulse. We FOLLOW it and then see
ahead of the ship, a small SOLAR OBSERVATORY with a
complex optical array. The observatory bears scorch
marks and other signs of recent battle. (In the b.g.
a YELLOW SUN can be seen.)
51 INT. BRIDGE (VFX-I) 51
Picard in command. Riker, Troi, Worf and Data at their
stations They didn't have time to change, so they are
all still dressed in their costumes from the ceremony.
The ship is at Red Alert. The image of the burnt-out
observatory is on the VIEWSCREEN.
RIKER
It looks like we're too late...
WORF
(off console)
There are no other ships in the
system.
DATA
Sensors show five life signs
aboard the station, Captain.
RIKER
The station complement was
nineteen.
A grim beat. Picard gets up and starts heading for the
Ready Room - his attitude is dismissive, almost
irritated that this has interrupted some deeper concern
of his.
PICARD
Secure from Red Alert. Number
One, begin an investigation. I'll
be in my Ready Room.
Troi and Riker exchange a surprised look.
RIKER
Sir?
PICARD
(hard)
Make it so.
Picard EXITS. An awkward beat. What's wrong with the
Captain? But they have their orders.
As Riker and Worf head for the EXIT...
CUT TO:
52 INT. OBSERVATORY - OPS CENTER (VFX-P) 52
The station is a SMOKING RUIN -- consoles flickering,
lights dim, damage everywhere. Only a few minutes have
passed since they were attacked. Riker, Worf, Beverly
and two SECURITY GUARDS MATERIALIZE. They're all back
in uniform, holding phasers and palm beacons. Worf has
a tricorder and Beverly has a medical kit. The room is
cramped, there are fallen bulk-heads and blown-out
consoles. The debris makes it difficult to get a clear
view of the room.
WORF
These blast patterns are
consistent with type-three
disruptors.
RIKER
Well, that narrows it to Klingon,
Breen or Romulan.
Beverly follows her tricorder readings.
BEVERLY
I'm picking up life signs... about
twenty meters ahead.
WORF
That rules out Klingons.
Riker gives him a look.
WORF
They would not have left anyone
alive.
BEVERLY
Over here.
They pick their way carefully through the carnage of
the station...and come to the body of a Starfleet
Science Officer. He has taken a disruptor blast to the
back and there is a nasty-looking scorch mark on his
uniform. Beverly immediately takes some devices out of
her medical kit and begins to treat him.
RIKER
Worf, you're with me. Paskall,
you and Mendez search the upper
deck.
The Security Guards climb a nearby ladder while Riker
and Worf head down a dimly-lit corridor. Riker stops
at two bodies in the hall, checks them over -- but
they're dead. There is a sudden banging from the far
corner of the room. Worf and Riker quickly move to a
collapsed bulkhead.
WORF
Under here...
They both grab hold of a large metal plate, pull it
aside and begin to dig through the debris. Finally, a
HAND can be seen grasping about from within the pile of
rubble. Riker and Worf work faster. Worf grabs the
man's hand.
WORF
It's all right... do not struggle.
Worf holds the man's hand as Riker shoves away a final
console. We reveal the head and torso of Doctor Soran,
one of the survivors from the Lakul (and last seen
in Sickbay aboard the Enterprise-B). Soran has not aged
at all over the years but he does have a permanent
scar on his face from the earlier wound. He blinks a
few times, seems a little dazed.
RIKER
I'm Commander William Riker of the
Starship Enterprise.
SORAN
Soran... Doctor Tolian Soran...
Soran puts a hand to his head, still trying to get his
bearings.
RIKER
Who attacked you, Doctor?
SORAN
I'm not sure... it happened so
fast...
SECURITY OFFICER
(calls out)
Commander -- you'd better take a
look at this.
Riker and Worf move to the ladder as Beverly begins to
scan Soran...
53 NEW ANGLE - UPPER DECK 53
Riker and Worf move over to the two Security Guards who
are kneeling over a dead body which is obscured from
view. One guard turns over the body, revealing a
ROMULAN SOLDIER. Worf looks at him in disgust.
WORF
Romulan.
Riker and Worf exchange a look. OFF their reactions...
CUT TO:
54 INT. DATA'S QUARTERS 54
Data is sitting in a chair, petting SPOT THE CAT.
Geordi is standing next to him.
DATA
Is she still angry?
GEORDI
No... but I'd stay out of Sickbay
for a while if I were you. I
still don't know why you dropped
her in the water.
DATA
I was attempting to... get in the
spirit of things. I thought it
would be humorous.
Data frowns. troubled by this recent experience. He
puts Spot down and moves to a bulkhead. He activates
a control panel and a small compartment slides OPEN,
revealing a small COMPUTER CHIP which is suspended in
a glass and metal framework. Data looks at the chip
for a beat and Geordi moves to him in concern.
GEORDI
Data... you're not thinking about
using that thing are you?
DATA
It has occurred to me on several
occasions. But I believe this may
be the appropriate time.
GEORDI
Wait a minute. I thought you've
always been afraid it would
overload your neural net.
DATA
That is true. However, I believe
my growth as an artificial
life form has reached an impasse.
For thirty-four years I have
endeavored to become more "human" -
to grow beyond my original
programming. And yet I am still
unable to grasp such a simple
concept as humor.
(re: chip)
This emotion chip is the only
answer.
Geordi considers a moment, looks at the chip...
and reluctantly has to agree.
GEORDI
All right...
Data sits down and La Forge moves to stand behind him.
GEORDI
But at the first sign of trouble,
I'm going to deactivate it.
agreed?
DATA
Agreed.
Geordi works on Data's head for a moment, and then
OPENS a panel on Data's head, revealing the blinking
circuitry within.
CUT TO:
55 INT. READY ROOM 55
Riker is standing next to Picard, who has his back turned
and is staring out the window. Picard seems distracted
during the scene, his mind clearly elsewhere as Riker
finishes his report.
RIKER
We found two dead Romulans aboard
the station. We're analyzing
their equipment to see if we can
determine what ship they came
from.
Picard nods absently.
PICARD
There's still no indication of why
they attacked the station?
RIKER
We think they were looking for
something -- they practically tore
the place apart.
PICARD
Hmm...
(beat)
Inform Starfleet Command. This
could indicate a new Romulan
threat in this sector.
RIKER
You want me to contact Starfleet?
PICARD
Is there a problem?
RIKER
No, sir.
PICARD
Thank you, Number One.
Picard keeps his back turned, looking out the window.
Riker hesitates, awkward.
RIKER
There is something else, Captain.
One of the scientists. a Doctor
Soran... has insisted on speaking
with you.
(beat)
I told him you were busy, sir, but
he said it was absolutely
imperative that he speak with you
right away.
PICARD
Understood. That will be all.
RIKER
Sir... is there anything wrong?
PICARD
No. Thank you.
A beat, then Riker turns and EXITS. Off Picard's
unreadable face...
CUT TO:
56 INT. TEN FORWARD 56
The room is bustling with patrons and activity. Data
ENTERS with an odd look on his face...his body
language subtly altered. He is looking at the world
through new eyes. Geordi is following him closely,
watching his every move. They move to the bar. Guinan
comes over -- she has not aged at all since the
Enterprise-B. She sets down an exotic-looking container
full of dark liquid.
GUINAN
You two just volunteered to be my
first victims.
(re: liquid)
This is a new concoction I
picked up on Forcas Three. Trust me,
you're going to love it.
She pours two glasses of the liquid. Data takes one
and sniffs it, then takes a drink. Geordi watches him
closely. Data frowns.
GEORDI
Well...?
DATA
I believe the beverage has
provoked an emotional response.
GEORDI
Really? What do you feel?
DATA
I am uncertain. I have had little
experience with emotions... I am
unable to articulate the
sensation.
GUINAN
Emotions?
GEORDI
I'll explain later...
Data finishes the drink... concentrates, tries to make
sense of the rush of feelings. His expression is one
of disgust.
GUINAN
(to Geordi)
I don't think he likes it.
DATA
(excited)
Yes. That is it. I hate it.
GEORDI
Data, I think the chip is
working...
Data looks at Geordi with a big smile on his face.
DATA
Yes. I hate this! It is
revolting!
Beat.
GUINAN
Another round?
DATA
Please.
In the b.g., we see Picard ENTER Ten Forward.
57 FOLLOW PICARD 57
as he walks through Ten Forward and heads toward a
table by the windows. Soran is sitting at the table,
staring out at the stars, lost in thought. His
observatory uniform is distinctive, and sets him apart
from everyone else in the room. Picard walks up to the
table.
PICARD
Doctor Soran...?
SORAN
Yes, yes, Captain -- thank you for
coming.
The men shake hands and Picard sits down. Soran is an
imposing physical presence, but at the moment he seems
very much the eccentric scientists consumed with his
work. Picard waves away a waiter.
PICARD
Nothing for me.
(brusque, to Soran)
I understand there's something
urgent you need to discuss with
me.
SORAN
Yes. I need to return to the
observatory immediately. I must
continue a critical experiment I
was running on the Amargosa star.
Picard's reaction is a little impatient -- this doesn't
sound that imperative to him.
PICARD
Doctor... we're still conducting
an investigation into the attack.
Once we've completed our work,
we'll be happy to allow you and
your fellow scientists back aboard
the observatory. Until then --
SORAN
The timing is very important on my
experiment -- if it is not
completed within the next twelve
hours, years of research will be
lost.
PICARD
We're doing the best we can. Now
if you'll excuse me...
Picard moves to stand, but Soran reaches out and gently
but firmly grabs him by the arm. The unexpected
physical contact and the change of intensity in Soran's
face stops Picard in his tracks.
SORAN
(cryptically)
They say time is the fire in
which we burn... and right now,
Captain, my time is running out.
(beat)
We leave so many things unfinished
in our lives -- I'm sure you can
understand.
For some reason, Soran's words have struck a deep chord
within Picard.
He looks away from Soran's compelling gaze and thinks
for a long moment. When he finally speaks, his voice
is barely above a whisper.
PICARD
I'll see what I can do...
Picard walks away without a word before Soran can
thank him. Soran looks after him with relief, then
pulls out an ANTIQUE POCKET WATCH and opens it. He
looks at the watch for a long moment. then snaps it
closed and head for the opposite exit from the one
Picard took. FOLLOW Soran across Ten Forward...until
he suddenly stops in shock at something he sees...
58 SORAN'S POV 58
of Guinan, who is now back at the bar.
59 RESUME SORAN 59
A dark look crosses his face -- he is disturbed by the
sight of Guinan. He quickly turns and EXITS.
60 ON GUINAN 60
she begins to sense something, as though someone is
watching her. She turns, looks in the direction where
Soran was just standing, but there's no one there now.
She shakes off the feeling and goes back to work.
CUT TO:
61 INT. ENGINEERING 61
A short time later. A Romulan tricorder is connected
to some diagnostic equipment near a console. Worf is
talking to Riker.
Worf activates a MONITOR which shows a complex diagram
of sensor information.
WORF
One of the dead Romulans had a
tricorder. We analyzed its sensor
logs and found they were scanning
for signature particles of a
compound called trilithium.
RIKER
Trilithium?
WORF
An experimental compound the
Romulans have been working on. In
theory, a trilithium-based
explosive would be thousands of
times more powerful than an
anti-matter weapon. But they never
found a way to stabilize it.
RIKER
Why were they looking for it on a
Federation observatory? It doesn't
make any sense.
Riker considers.
RIKER
(cont'd)
Have Geordi and Data go over with
the next Away Team... tell them to
scan the observatory for
trilithium.
WORF
Aye, sir.
CUT TO:
62 INT. OBSERVATORY OPS 62
The station is still a wreck. Geordi and Data are
scanning the room with tricorders.
GEORDI
(off tricorder)
There's no sign of any trilithium
in here.
Geordi continues to scan... then suddenly Data lets out
a quiet GIGGLE. Geordi stops and turns to look at him.
Data giggles louder.
DATA
(laughing, to himself)
I get it. I get it.
GEORDI
You get what?
Data laughs again.
DATA
When you said to Commander
Riker...
(imitating Geordi's voice)
"The clown can stay, but the
Ferengi in the gorilla suit has to
go."
Geordi looks blankly at him for a moment.
GEORDI
What?
DATA
During the Farpoint mission. We
were on the Bridge and you told a
joke. That was the punch line.
GEORDI
The Farpoint mission? Data, that
was seven years ago.
DATA
I know. I just got it.
(laughs)
It was very funny.
GEORDI
Thanks.
Geordi indicates a corridor. They EXIT in that
direction...
63 INT. OBSERVATORY CORRIDOR - CONTINUOUS 63
A short corridor connecting the Ops Center with other
compartments. Geordi suddenly stops in front of what
appears to be a standard bulkhead.
GEORDI
Wait a minute... there's a hidden
doorway here. I can see the
joint of the metal with my VISOR.
Geordi runs his finger in a vertical line along what
appears to be a smooth bulkhead.
DATA
(off tricorder)
There appears to be a dampening
field in operation. I cannot scan
beyond the bulkhead.
Geordi puts his tricorder away and begins looking for
a way to open the door.
GEORDI
I don't see a control panel...or
an access port.
DATA
(off tricorder)
It appears to be a magnetically
sealed.
Data steps forward and OPENS a small panel on wrist
and makes a quick adjustment to the circuitry within.
DATA
I believe I can reverse the
polarity by attenuating my axial
servo.
Data completes his adjustment and then moves his wrist
over the door panel.
DATA
(joking)
"Open sesame."
There is a HUMMING sound followed by a loud CLICK. The
door slides open.
DATA
(smiles)
You could say I have a... magnetic
personality.
Geordi reacts to the bad pun with a grimace. They EXIT
to.
64 INT. OBSERVATORY PROBE ROOM - CONTINUOUS 64
A small room with several probes stacked in holding
racks. Geordi and Data scan.
GEORDI
I'm still not picking up anything.
Someone went to a lot of trouble
to shield this room.
They put their tricorders away and begin looking around
the room. Data continues to snicker and giggle as he
tries not to laugh at jokes his mind conjures up.
Geordi begins inspecting the probes... finally stops
at one probe which has SEVERAL ODD DEVICES attached to
the side.
GEORDI
Data, take a look at this.
(Data comes over)
You ever seen a solar probe with
this kind of configuration?
Data uses the tricorder as if it were a puppet as he
opens and closes it like a mouth.
DATA
(making tricorder "talk")
No, Geordi. I have not. It is
most unusual.
Data giggles and Geordi reacts with the irritation of
someone listening to a very bad comedian.
GEORDI
Just help me get this panel open.
Data helps Geordi as they try to open a panel on the
casing of the probe. They open the panel and Geordi
looks inside.he reacts to something.
GEORDI
Whoa. my VISOR'S picking up
something in the theta band...it
could be a trilithium signature.
Data suddenly start LAUGHING. Geordi turns in
irritation.
GEORDI
Data, this isn't the time...
DATA
(laughing)
I am sorry... but I cannot stop
myself... I think something is
wrong...
64A ANGLE (VFX-P) 64A
Data's laughter escalates into hysteria... then Data
begins to JERK and SHAKE and goes into a bizarre
"emotional seizure." A rush of EMOTIONS race across
his face. anger, passion, shock... a kaleidoscopic
blur of reactions contort his features. Then it stops
and he FALLS to the ground.
GEORDI
Data!
Geordi rushes to him. Data has a look of surprise on
his face as he blinks a few times. He sits up.
GEORDI
Data, are you all right?
DATA
I believe the emotional chip has
overloaded my positronic relays.
GEORDI
We better get you back to the
Ship.
(hits combadge)
La Forge to Enterprise.
There's no response. Geordi frowns for a beat, then we
hear Soran's voice.
SORAN
Is there a problem, gentlemen?
65 INCLUDE SORAN 65
standing in the room. Geordi didn't hear him come in.
GEORDI
Oh... Doctor... yeah, as a matter
of fact, there is. There's a
damping field in here blocking
our com signal.
(re: Data)
Will you give me a hand?
Over the above dialogue, Soran glances over at the
solar probe Geordi was inspecting. He notes the opened
panel and a disturbed look crosses his face.
Soran looks back at Geordi.
SORAN
I'd be happy to.
Soran moves toward them. and then without warning, he
punches Geordi in the face, KNOCKING the VISOR across
the room. He whirls around and points a phaser at
Data, who suddenly looks fearful.
DATA
Please don't hurt me.
CUT TO:
66 INT. PICARD'S QUARTERS 66
Picard is standing at the replicator.
PICARD
Tea. Earl Grey. Hot.
The cup of tea APPEARS in the replicator and at the
same moment, the door CHIMES.
PICARD
Come.
Troi ENTERS. Picard would rather not be bothered right
now, but he is polite as always.
PICARD
Counselor. What can I do for you?
TROI
Actually... I'm here to see if
there's anything I can do for you.
PICARD
Well... I appreciate your concern,
but I'd rather not discuss it
right now, thank you.
But Troi won't be brushed away so easily.
TROI
I'm afraid I can't just leave it
at that. The commanding officer
of this ship is clearly distraught
about something. As ship's
Counselor, it's my duty to --
PICARD
As ship's counselor, it's your
duty to know not only when you're
needed... but also when you're
not.
TROI
You can't fool an empath, Captain.
I know exactly when I'm needed.
Picard is really not in the mood for this. His tone
hardens.
PICARD
Well, with all due respect to your
Betazoid senses, I prefer to be
alone right now.
TROI
Very well. I suppose I could make
out my weekly report to Starfleet
Command without your input.
(beat)
"Admiral Lusby... regarding the
unusual behavior of Jean-Luc
Picard: I find him increasingly
Irritable... remote... and
uncooperative. I recommend forced
shore leave at a Starbase facility
in order to --"
PICARD
All right, all right. You've made
your point.
Troi takes a seat and patiently waits. Picard gets
up.moves around the room for a moment...and stops.
He speaks in a flat, unemotional tone of voice.
PICARD
The message I received...
(beat)
My brother... and his son -- my
nephew -- burned to death in a
fire.
Troi reacts, genuinely surprised.
TROI
Captain, I'm sorry.
(beat)
I know there were a lot of
unresolved conflicts between you
and your brother.
PICARD
What I can't get out of my mind is
the image of Rene -- my nephew.
I just can't believe he's gone...
He trails off.
TROI
It's only natural to feel a
heightened sense of tragedy when
a child dies...
(sensing more)
But it goes deeper than that,
doesn't it? I can sense that Rene
meant a great deal to you.
PICARD
In a way, he was as close as I
ever came to having a child of my
own.
Troi eyes an open photo album on the table. She reaches
over and flips through the pages for a moment. There
are many photos inside... from many periods in time
including one of Picard's brother standing next to his
young son. This is the Picard family album.
TROI
Your family history is very
important to you, isn't it?
PICARD
(nods)
Ever since I was a little boy, I
remember hearing about the family
line. The Picards that fought at
Trafalgar... the Picard's that
settled the first Martian colony.
When my brother married and had a
son...
Picard hesitates -- this is difficult for him.
TROI
... You felt it was no longer your
responsibility to carry on the
family line.
PICARD
(nods)
My brother had shouldered that
burden... allowing me to pursue my
own selfish needs...
TROI
There's nothing selfish about
pursuing your own life... your own
career.
Picard moves to the window, stares outside. A shadow
crosses his face. He's getting to the heart of the
matter.
PICARD
You know, Counselor... I'm not
getting any younger. For some
time now, I've been aware that
there are fewer days ahead than
there are behind...
(beat)
But I always took comfort in the
fact that when I was gone, my
family would continue. But now...
Picard moves back to the photo album, open it to the
last page, an then flips through the remaining pages --
they are blank.
PICARD
I've had brushes with death...
more than I care to contemplate.
I always accepted it as a
calculated risk that goes along
with wearing this uniform.
(beat)
But now... the idea of death has
a terrible sense of finality to
it.
He looks at her.
PICARD
I'm the last Picard.
A quiet beat as Troi considers him.
TROI
Captain, perhaps we --
Suddenly, a BLINDING BURST OF LIGHT from outside the
windows washes into the room. Troi and Picard rush to
the window and shield their eyes against the glare.
RIKER'S COM VOICE
Red Alert! All hands to duty
stations!
CUT TO:
67 67
THRU OMITTED THRU
68 68
69 INT. BRIDGE (VFX-I) 69
Picard and Troi ENTER from a turbolift. Riker and Worf
at their stations. The star is on the Viewscreen,
getting DARKER by the second... more flaming debris
is being ejected into space.
PICARD
Report.
RIKER
A quantum implosion has occurred
within the Amargosa star. All
nuclear fusion is breaking down.
PICARD
How is that possible?
WORF
Sensor records show a solar probe
was launched from the observatory
a few moments ago.
RIKER
The star's going to collapse in a
matter of minutes.
Something beeps on Worf's console.
WORF
Sir, the implosion has produced
a level twelve shock wave.
TROI
(shocked)
Level twelve? That'll destroy
everything in this system.
TRANSPORTER COM VOICE
Transporter room to Bridge. I
can't locate Commander La Forge or
Mister Data, sir.
RIKER
(to Worf)
Did they return to the ship?
WORF
(works)
No, sir. They are not aboard.
PICARD
How long until the shock wave hits
the observatory?
WORF
Four minutes, forty seconds.
Picard looks at Riker, who then quickly heads for the
turbolift.
RIKER
Mister Worf.
Riker and Worf EXIT.
70 EXT. SPACE- THE STAR (VFX-I) 70
The star is almost entirely dark. Radiating out from the
star is a huge shock wave- a rapidly growing sphere of
energy.
71 INT. OBSERVATORY PROBE ROOM (VFX-P) 71
Soran is standing at a console watching a graphic
depiction of the star's collapse on a monitor when the
door suddenly opens. Soran whirls around and FIRES his
phaser at Riker and Worf. They dive for cover just
outside the room. (NOTE: The probe Geordi examined
earlier is now gone.)
RIKER
(to Worf)
What the hell's he doing?
Worf dodges another phaser blast and sees Geordi lying
unconscious on the deck. Data is nowhere to be seen.
PICARD'S COM VOICE
Enterprise to Commander Riker, you
have two minutes left.
RIKER
(yells to Soran)
Soran, did you hear that? There's
a level twelve shock wave coming.
We've got to get out of here!
Soran's only answer is another phaser blast.
71A OMITTED 71A
72 INT. BRIDGE 72
As before. ENSIGN HAYES is at Tactical. An ALARM
suddenly BEEPS on the Tactical console.
HAYES
(urgent)
Sir. A Klingon Bird of Prey is
decloaking off the port bow.
Shocked reactions.
PICARD
What?
73 EXT. SPACE (VFX-I) 73
as an old-style Klingon Bird of Prey decloaks near the
observatory.
74 INT. OBSERVATORY PROBE ROOM (VFX-P) 74
Soran is continuing to SHOOT at Riker and Worf. Riker
suddenly notices something off-camera.
74A RIKER'S POV 74A
Data is huddled in a corner of the room, cowering in
fear.
74B NEW ANGLE (VFX-P) 74B
The firefight continues.
RIKER
Data! See if you can get to
Geordi!
Data looks up at him with a terrified look on his face.
DATA
I... cannot, sir. I believe I
Am... afraid.
Suddenly Soran's communicator BEEPS. Soran reaches
down and grabs the unconscious Geordi by the collar and
the two of them DEMATERIALIZE. (Soran has the VISOR in
his hand.) Riker, Data and Worf react.
75 EXT. SPACE - THE KLINGON SHIP (VFX-I) 75
The Bird of Prey cloaks and vanishes.
76 INT. BRIDGE 76
As before.
TRANSPORTER COM VOICE
Transporter room to Bridge. I
have the Away Team aboard, sir.
PICARD
(to Con)
Helm, warp one, engage.
77 EXT. SPACE - ENTERPRISE & OBSERVATORY (VFX-I) 77
The Enterprise warps away just as the shock wave
reaches the observatory and vaporizes it in a fiery
EXPLOSION.
CUT TO:
78 INT. KLINGON BIRD OF PREY - BRIDGE 78
On a monitor where we can see a graphic depiction of
the darkening star and shock wave. MOVE TO REVEAL
We are the inside an old Klingon ship - it's beaten up and
patched in several places, obviously not a first-line
model. Watching the Viewscreen are LURSA and B'ETOR,
two powerful-looking Klingon women... They are sisters.
aggressive... seductive... and very dangerous. Several N.D.
male Klingons man the various stations.
The sisters stare at the image of the destroyed sun in
awe.
B'ETOR
Toh-pak-cha...
(Glorious...)
LURSA
HoS qorDu...
(A great power...)
Soran now ENTERS the Bridge. His expression is dark
and angry. He is clearly not a prisoner here and he
strides up to the sisters.
B'ETOR
(excited, to Soran)
You've done it, Soran.
But without warning, Soran HITS B'Etor squarely in the
jaw, knocking her back over a console. Several
Klingons leap to their feet, drawing their weapons...
but B'Etor holds up a hand as she gets to one knee.
B'ETOR
Wait!
She dabs a trickle of blood at the corner of her
mouth... her expression is angry and threatening.
B'ETOR
I hope for your sake that you are
initiating a mating ritual.
SORAN
You got careless. The Romulans
came looking for their missing
trilithium.
B'ETOR
Impossible. We left no survivors
on their outpost.
B'Etor has now gotten to her feet in the b.g.
SORAN
They knew it was aboard the
observatory. If the Enterprise
hadn't intervened, they would have
found it.
LURSA
But they didn't find it... and now
we have a weapon of unlimited
power.
SORAN
I have the weapon, Lursa. And if
you ever want me to give it to
you, I advise you to be a little
more careful in the future.
B'Etor grabs Soran and holds a wicked-looking knife to
his throat.
B'ETOR
Perhaps we are tired of waiting.
Soran is unfazed by this threat.
SORAN
Without my research... the
trilithium is worthless... as are
your plans to reconquer the
Klingon Empire.
Lursa reaches out and calmly pushes her sister's knife
away.
SORAN
Set course for the Veridian
system. Maximum warp.
LURSA
(to Helm)
Bosh-ta-JaH Veridian
(Set course for Veridian)
A KLINGON GUARD ENTERS dragging the unconscious Geordi.
KLINGON GUARD
What shall I do with this?
Soran moves toward Geordi, a grim look on his face.
SORAN
Bring him with me. I need some
answers from Mr. La Forge.
Soran EXITS.
CUT TO:
79 OMITTED 79
80 INT. CORRIDOR 80
Riker and Worf are on the move down the corridor.
WORF
I have spoken to the Klingon High
Council, sir. They identified the
Bird of Prey as belonging to the
Duras sisters.
RIKER
(surprised)
Lursa and B'Etor...? This doesn't
make any sense. A renowned
stellar physicist somehow uses a
trilithium probe to destroy a
star, kidnaps Geordi... and
escapes with a pair of Klingon
renegades... Why? What the hell's
going on?
They EXIT to...
81 INT. SICKBAY 81
Worf and Riker ENTER. Beverly is closing a panel on
the back of Data's head. He is sitting on a bio-bed,
scanning himself with a tricorder.
RIKER
How is he?
BEVERLY
It looks like a power surge fused
the emotional chip into his neural
net.
WORF
Will that be a danger to him?
BEVERLY
I don't think so. The chip still
seems to be working. I'd feel
better if I could take a closer
look, but I can't remove it
without completely dismantling his
cerebral conduit.
RIKER
(to Data)
Looks like you're stuck with
emotions for a while. How do you
feel?
DATA
I am quite... preoccupied with
concern about Geordi.
RIKER
We all are, Data. But we're going
to get him back.
DATA
I hope so, sir.
Data's expression is still one of concern. Beverly
pulls Riker aside.
BEVERLY
Wil, I checked into Doctor Soran's
background.
Beverly activates the wall monitor and a picture of
Doctor Soran along with some biographical information
appears.
BEVERLY
He's an El-Aurian... over three
hundred years old. He lost his
entire family when the Borg
destroyed his world. Soran
escaped with a handful of other
refugees aboard a ship called the
Lakul. The ship was destroyed by
some kind of energy ribbon, but
Soran and forty-six others were
rescued by the Enterprise-B.
RIKER
(reacts)
That was the mission where James
Kirk was killed.
BEVERLY
I checked the passenger manifest
of the Lakul... guess who else was
on board?
She hits a control and suddenly Guinan's face appears
on the screen. Riker reacts to the image...
CUT TO:
82 INT. GUINAN'S QUARTERS 82
Close on Guinan as she looks up, surprised.
GUINAN
Soran? That's a name I haven't
heard in a long time.
MOVE TO REVEAL Guinan's Quarters, which are unlike any
of the others on the Enterprise. None of the standard
furniture, consoles or decoration are present. The
floor is made of tile, not carpet... the walls are
draped in exotic fabric. The lighting is moody and
subdued.
Picard is standing before Guinan, who is sitting cross-
legged on the floor. They talk to each other with an
easy familiarity... two old friends who know each
other well.
PICARD
Do you remember him?
GUINAN
Oh yes. I remember everyone who
was on the Lakul... every face.
even the ones who didn't make
it...
Guinan stands and begins to move about the room...
she's clearly troubled by the memories. She hesitates,
looks off into the middle-distance for a few moments.
Picard moves to her.
PICARD
Guinan. It's important that you
tell me what you know. We think
Soran's developed a weapon... a
terrible weapon. It might give
him enough power to --
GUINAN
Soran doesn't care about power or
weapons. All he cares about is
getting back to the Nexus.
PICARD
What's the "Nexus"?
Guinan moves to a table and begins to shift around some
exotic-looking alien artifacts... distracting
herself... this is difficult for her to discuss.
GUINAN
It's a place I've tried very hard
to forget...
She makes the decision to plunge ahead.
GUINAN
That ribbon isn't just some random
energy phenomenon traveling
through space... it's a doorway.
It leads to another place... the
Nexus. It doesn't exist in our
Universe... and it doesn't play by
the same rules either.
PICARD
What happened to you?
GUINAN
I can't remember very much... what
it looked like or how long I was
there... but I do remember how it
felt...
She turns to him and her face is filled with some kind
of awe at the memory.
GUINAN
It was like being inside... joy.
As if joy was a real thing that I
could wrap around myself. I've
never been so content...
A long beat as Picard absorbs her words.
PICARD
But then you were beamed away...
Guinan shows a rare burst of anger.
GUINAN
I was pulled away. I didn't want
to leave; none of us did. I felt
like I'd left a part of myself
behind. All I could think about
was getting back... I didn't care
what I had to do.
Guinan moves to a window and looks out at the stars.
GUINAN
It took a long time, but
eventually I learned to live with
it. And I began to realize that
my experience in the Nexus had
changed me...
(beat)
I knew things about people...
about events...about time...
PICARD
Your "sixth sense"... I've always
wondered where it came from...
(beat)
And what about Soran?
GUINAN
Soran may still be obsessed with
getting back. And if he is, he'll
do anything to find that doorway
again.
PICARD
But why destroy a star...?
(beat)
Thank you, Guinan.
He heads for the door.
GUINAN
Let someone else do it, Jean-Luc.
Picard stops, looks at her.
GUINAN
Let them send another starship.
Don't get near the ribbon. If you
go into that Nexus, you're not
going to care about Soran or the
Enterprise or me. All you're
going to care about is how it
feels to be there.
(beat)
And you're never going to come
back.
Picard weighs her words... sees the warning in her
eyes... and carefully backs away and EXITS.
CUT TO:
83 INT. KLINGON BIRD OF PREY - QUARTERS (VFX-P) 83
A dimly-lit room somewhere in the bowels of the Klingon
ship. Like every other room on this decrepit ship, the
room looks well-worn and ill-maintained. Soran is
seated behind a table, holding the VISOR. A PADD and
Soran's pocket watch sit on the table. Geordi is
sitting in a chair across from him -- his shirt has
been removed. He looks very tense.
SORAN
(re: VISOR)
A remarkable piece of equipment...
but a little inelegant, wouldn't
you say?
(beat)
Have you ever considered a
prosthesis that would make you
look a little more... normal?
GEORDI
What's normal?
SORAN
Normal is what everyone else is...
and what you are not.
GEORDI
What do you want?
Soran takes a moment.
SORAN
As you may or may not be aware, I
am an El-Aurian. Some people call
us a race of "listeners". We
listen.
(beat)
Right now, Mr. La Forge, you
have my undivided attention. I
want to listen to everything you
know about trilithium. and me.
Geordi thinks.
GEORDI
Trilithium is an experimental
compound developed by the
Romulans. I think it's a
derivative of --
Soran picks up the PADD from the desk and activates it.
Suddenly something small, with sharp edges, can be
seen MOVING just underneath Geordi's skin near his
chest. Geordi moves his hand to the spot, but then the
protrusion is suddenly gone.
SORAN
I don't want a science lecture.
You were on that observatory
looking for trilithium... why?
GEORDI
I was ordered to by the Captain.
On the PADD in Soran's hand, we can now see an interior
graphic of Geordi's body sitting in the chair. The
graphic is interactive, moving as Geordi moves.
A BLINKING DOT represents the movement of the probe
inside his body. Right now, the dot is in the middle
of his chest.
SORAN
Let's try to move beyond the usual
prisoner-interrogator banter,
shall we? You have information,
and I need it.
(beat)
Did the Captain explain his orders
to you? Did he say why you were
searching for trilithium?
GEORDI
No.
SORAN
What about... Guinan? What has
she told you about me?
GEORDI
Guinan? I don't know what you're
talking about...
On the PADD, we now see the dot has moved to a position
next to Geordi's heart. Soran looks up at Geordi.
SORAN
My instincts tell me you're lying.
And I know that can't be easy for
you...
(off PADD)
I can see you have a good heart.
Soran taps a control on the PADD. Suddenly Geordi
grabs his chest in pain. Soran watches Geordi for a
few seconds, then taps the PADD again. Geordi gasps
and starts to breathe.
SORAN
Oh... I forgot to tell you. While
you were unconscious, I injected
a nano-probe into your
bloodstream. It's been navigating
your cardiovascular system... and
right now I've attached it to your
left ventricle.
(smiles)
A little trick I picked up
from the Borg.
GEORDI
(gasping)
Yeah... they're full of great
ideas.
SORAN
I just stopped your heart for five
seconds. It felt like an
eternity, didn't it? Did you know
that you can stop the human heart
for up to ten minutes before the
onset of brain damage?
GEORDI
No... I didn't know that...
SORAN
We learn something new about
ourselves every day.
(beat)
Now. Maybe I didn't make myself
clear. It is very important that
you tell me exactly what Captain
Picard knows.
GEORDI
I told you everything... you might
as well just kill me right now...
Soran's features soften as he smiles slightly. For a
moment, he looks genuinely compassionate -- and it's
a disturbing contrast to his usual dark intensity.
SORAN
I'm not a killer, Mr. La Forge.
(beat)
Let's try thirty seconds.
Soran taps a control on the PADD. Geordi gasps and
strains against an unimaginable pain.
Soran picks up his pocket watch and opens the cover...
sits back in his chair, watching the seconds tick
away...
CUT TO:
84 INT. STELLAR CARTOGRAPHY (VFX-P) 84
A room filled with exotic-looking devices, sensors and
computers which handle the enormous task of tracking
the ship's position in space.
The monitors around the room display various diagrams
of the ENERGY RIBBON (as seen in the beginning of the
film).
Data is sitting at a computer console which has a great
deal of complex information on the screen. Picard is
standing next to him. Throughout the following, Data
seems distracted and preoccupied.
DATA
According to our information, the
ribbon is a conflux of temporal
energy which travels through our
galaxy every thirty-nine point one
years
PICARD
When is it expected back?
Data doesn't answer right away.
PICARD
Data?
DATA
Sorry, Captain. The Ribbon has
already entered the galaxy. It
will pass through this sector in
approximately thirty-one hours.
Picard moves about the room... he's frustrated...
tired... but determined to find out what's going on.
PICARD
Guinan said Soran was trying to
get back to the ribbon... if
that's true, then there must be
some connection with the Amargosa
star.
DATA
The star's destruction has had
numerous astro-physical effects
within this sector. However, none
of them appear to have a
connection to the energy ribbon.
PICARD
Give me a list of those effects.
I want to know every single thing
which has been altered or
changed... no matter how
insignificant...
DATA
It will take a few moments for the
computer to compile the
information.
Data works the computer and then the computer begins to
work. Data sighs -- his expression becomes downcast
and gloomy. He sits down and puts his head in his
hands. Picard finally has to say something.
PICARD
Data, are you all right?
DATA
No, sir. I am finding it
difficult to concentrate... I
believe I am overwhelmed with
feelings of... remorse and regret
concerning my actions on the
observatory.
PICARD
What do you mean?
DATA
I wanted to save Geordi... I
tried. but I experienced
something I did not expect.
(beat)
I believe it was fear.
Picard regards him sympathetically.
PICARD
Fear is a very difficult emotion
to overcome. It's something we
all have to learn to deal with.
DATA
But I did not deal with it, sir.
I let it prevent me from helping
my friend.
(beat)
Does that make me a coward?
PICARD
No. And what you must try to
avoid is becoming consumed by
another emotion which I believe
you're beginning to experience...
guilt.
DATA
(considers)
Guilt. It is a most unpleasant
feeling.
84A ANGLE (VFX-P) 84A
The computer finishes its calculations and the console
BEEPS. Data works the console. Information appears on
screen.
DATA
According to our current
information, the destruction of
the Amargosa star has had the
following effects in this sector:
gamma emissions have increased by
five percent... the starship
Bozeman was forced to make a
course correction... a research
project on Gorik Four was
halted due to increased neutrino
particles... ambient magnetic
fields have decreased by --
PICARD
Wait. The Bozeman... why did it
change course?
DATA
(matter of fact)
The destruction of the Amargosa
star has altered the gravitational
forces throughout the sector. Any
ship passing through this region
will have to make a minor course
correction.
Picard is starting to get an idea... he's onto
something here. He moves to a large table in the
center of the room.
PICARD
(musing)
A minor course correction...
(beat)
Where is the ribbon now?
84B ANGLE (VFX-P) 84B
Data moves to the table to work. after a few beats,
an elaborate map of the galaxy springs up on the
ceiling of the room. A BLINKING DOT shows the position
of the ribbon.
DATA
This is its current position.
PICARD
Can you project its course?
Data hesitates... still obsessed with his own emotional
turmoil. Picard finally has to lay down the law.
PICARD
(firm)
Data. I have nothing but sympathy
for what you're going through.
But right now, I need your full
attention on the task at hand.
If you can't provide it... then I'll
have to relieve you of duty until
Doctor Crusher can remove this.
emotion chip of yours. I'm sorry,
but you leave me no other choice.
This snaps Data back... he considers this for a long
moment, then looks determined.
DATA
I do not wish to remove the chip,
sir. Although these emotions are
proving difficult to deal with...
I cannot imagine going back to a
life without them. I have taken
an important step toward becoming
truly human. If I were to turn
back now...
(beat)
I would like to continue in my
duties, sir.
Picard smiles at him.
PICARD
Courage is an emotion too, Data.
(beat)
Now... can you project the course
of the ribbon?
DATA
I believe so.
84C ANGLE (VFX-P) 84C
Data works the console. A RED LINE moves to form an
arc through the star field. Picard examines the display
for a moment and nods... he's excited, on to
something...
PICARD
Enhance grid A-nine.
Data works and the display now ZOOMS into a single
SECTOR. The RED LINE cuts through the sector.
PICARD
Where was the Amargosa star?
Data works. A STAR is highlighted near the red line.
PICARD
Now... you said the gravitational
forces in this sector have been
altered... could that also affect
the course of the ribbon?
DATA
(thinks)
I believe so.
84D ANGLE (VFX-P) 84D
Data works and holographic display CHANGES again.
The red line representing the course of the ribbon now
shifts to the right -- AWAY from the Amargosa star's
position. Picard is beginning to realize what's going on.
PICARD
That's what Soran's doing... he's
changing its course.
(beat)
But why? Why try to alter its
path... why not simply fly into it
with a ship?
Data thinks for a moment.
DATA
Our records show that every ship
which has approached the ribbon
has either been destroyed or
severely damaged.
Picard thinks about this... then has a flash of
insight.
PICARD
He can't go to the ribbon... so
he's trying to make the ribbon
come to him.
(beat)
Data, is it going to pass near any
M-Class planets?
DATA
(works)
Yes, sir. There are two in the
Veridian system.
84E ANGLE (VFX-P) 84E
The display ZOOMS IN on a star very close to the
ribbon's path. We now see a SOLAR SYSTEM with a single
star and FOUR PLANETS. The RED LINE moves directly
through the system -- it passes very close to the third
planet. Picard eyes that planet and points to it.
PICARD
It's very close to Veridian
Three... but not close enough...
Picard's mind is going a mile a minute. He suddenly
has a horrible realization.
PICARD
Data, what would happen to the
ribbon's path if he destroyed the
Veridian star itself?
84F ANGLE (VFX-P) 84F
Data works. On the display, the Veridian star suddenly
DARKENS and GOES OUT. The RED LINE shifts slightly
until it makes an exact INTERSECTION WITH THE THIRD
PLANET. They both react to this sight. they're both
aware of just how serious this is.
PICARD
That's where he's going.
DATA
It should be noted, sir, that the
collapse of the Veridian star
would produce a shock wave similar
to the one we observed at
Amargosa.
PICARD
(grim)
And destroy every planet in the
system.
Picard eyes the graphic with a sense of dread.
PICARD
Are any of them inhabited?
DATA
Veridian Three is uninhabited.
but Veridian Four supports a pre-
industrial humanoid society.
PICARD
Population?
DATA
Approximately two hundred thirty
million.
A grim beat.
PICARD
(to com)
Picard to Bridge.
WORF'S COM VOICE
Worf here, sir.
Picard heads for the exit, a sense of urgency and
determination in his every move.
PICARD
Red Alert, Mister Worf. Set a
course for the Veridian system,
maximum warp.
Picard and Data EXIT Stellar Cartography.
85 EXT. SPACE - THE ENTERPRISE (VFX-I) 85
as it goes into warp.
CUT TO:
86 INT. KLINGON BIRD OF PREY - BRIDGE 86
Lursa and B'Etor in command as Soran ENTERS.
LURSA
Did you get anything from the
human?
SORAN
No. His heart just isn't in it.
KLINGON HELM
(off console)
We have entered orbit of Veridian
Three.
SORAN
Prepare to transport me to the
surface.
B'ETOR
Wait. When do we get our payment?
Soran hands B'Etor a small computer CHIP.
SORAN
This contains all the information
you'll need to build a trilithium
weapon. It's been coded. Once
I'm safely to the surface, I'll
transmit the decryption sequence
to you... not before.
KLINGON HELM
(urgent)
Mistress! -- a Federation starship
is entering the system!
LURSA
What? On viewer.
86A ANGLE (VFX-P) 86A
The Helm works. The view screen now shows the
Enterprise at impulse entering the system. Reactions.
KLINGON HELM
They are hailing us.
B'ETOR
Du'cha (On speakers.)
The Helm works. We hear PICARD'S COM VOICE.
PICARD'S COM VOICE
Klingon vessel. We know what
you're doing, and we will destroy
any probe launched toward the
Veridian star.
Soran's expression darkens.
B'ETOR
What do we do?
Soran checks his watch.
SORAN
There's no time for this.
Eliminate them.
B'ETOR
(reacts)
That is a Galaxy class Starship.
We are no match for them.
Soran thinks for a moment... then he gets an idea. He
pulls Geordi's VISOR out of a pocket. He eyes it with
intent.
SORAN
I think it's time we gave Mister
La Forge his sight back.
Off Lursa and B'Etor's curiosity...
CUT TO:
87 EXT. SPACE - THE ENTERPRISE (VFX-I) 87
nearing Veridian Three. The planet's STAR is visible.
88 INT. BRIDGE 88
Picard is pacing. Riker, Data, Worf, Troi, N.D.s at
their stations. The ship is at Red Alert. Data's mood
has improved. He's making an effort to keep a positive
outlook... to stay upbeat.
RIKER
Maybe they're not out there.
PICARD
They're just trying to decide
whether a twenty year-old Klingon
Bird of Prey is any match for the
Federation flagship.
TROI
Or perhaps they're on the
surface...
PICARD
Mister Data, scan the planet for
life forms.
Data smiles, delighted at the request.
DATA
I was hoping you would ask me to
do that, Captain. I just love to
scan for life forms.
As Data works, he breaks into a merry little song.
DATA
(sings)
"Life forms... tiny little
life forms... where are the
life forms --"
PICARD
Commander.
DATA
Sorry, sir.
(works)
There is too much interference in
the planet's ionosphere for an
accurate reading.
Worf turns to Picard.
WORF
Sir, according to my calculations,
a solar probe launched from either
the Klingon ship or the planet's
surface will take eleven seconds
to reach the star.
(beat)
However, since we do not know the
exact point of origin, it will
take us between eight and fifteen
seconds to lock our weapons onto
it.
They exchange a grim look.
RIKER
(quiet, to Picard)
That's a pretty big margin of
error.
PICARD
Too big. How long until the
ribbon arrives?
DATA
Approximately forty-seven minutes,
sir.
PICARD
(disturbed)
I have to find a way to get to
Soran...
An alarm goes off on Worf's console.
WORF
Captain, Klingon vessel decloaking
directly ahead.
88A ANGLE (VFX-I) 88A
On the view screen, the Bird of Prey decloaks.
WORF
They are hailing.
PICARD
On screen.
88B ANGLE (VFX-P) 88B
On the view screen, Lursa and B'Etor APPEAR.
LURSA
Captain. What an unexpected
pleasure.
PICARD
Lursa, I want to talk to Soran.
LURSA
I'm afraid the Doctor is no longer
aboard our ship.
PICARD
Then I'll beam down to his
location. Just give us his
coordinates.
B'ETOR
The Doctor values his privacy. He
would be quite... upset if an
Away Team interrupted him.
PICARD
Very well... I'll beam to your
ship and you can transport me to
Soran...
RIKER
(urgent)
Sir, you can't trust them.
They'll kill you just like they
Killed Geordi.
Lursa and B'Etor exchange a glance.
LURSA
(innocent)
We did not kill your Engineer.
He's been... our guest.
RIKER
Then return him.
B'ETOR
In exchange for what?
PICARD
Me... If you let me speak to
Soran.
The two sisters appear to consider this for a moment.
B'ETOR
(to Lursa)
The Captain would make a much more
valuable hostage.
LURSA
(to Picard)
We'll consider it a prisoner
exchange.
PICARD
Agreed.
The transmission ENDS. Picard heads for the Turbolift.
PICARD
Number One, you have the Bridge.
Have Doctor Crusher meet me in
Transporter Room Three.
As Picard EXITS...
CUT TO:
89 INT. TRANSPORTER ROOM (VFX-P) 89
Picard stands on the platform. Crusher and NURSE OGAWA
stand nearby. The TRANSPORTER CHIEF works his console.
CHIEF
Receiving the coordinates, Captain.
PICARD
Energize.
Picard DEMATERIALIZES -- and at the same instant,
Geordi MATERIALIZES. Beverly and Ogawa rush to his
aide, pull out their tricorders and scan him. Geordi
is conscious, and he's wearing his VISOR.
CUT TO:
90 EXT. MOUNTAINTOP - DAY (VFX-P) 90
A large plateau ringed with trees and underbrush. A
single ROCK FACE juts upward, forming a backdrop for the
plateau. Against the rock face, a large SCAFFOLDING has
been erected -- planks and beams forming a complex
structure -- ladders connect each level. It leads to
a narrow ledge a dozen meters above.
Picard MATERIALIZES on the plateau. (NOTE: Picard's
combadge is gone and he is unarmed.) A moment as he
looks around. strange animals and birds can be heard.
He turns and sees Soran standing nearby, calmly looking
at his pocket watch. Soran puts the watch away.
SORAN
You must think I'm quite the
madman.
PICARD
The thought had crossed my mind...
SORAN
The only possible reason you're
here is because you're not
entirely confident you can shoot
down my probe after all. So
you've come to dissuade me from
my horrific plan.
(beat)
Good luck.
Soran turns his back on Picard and walks away.
90A ANGLE (VFX-P) 90A
Picard takes a step to follow him and then is JOLTED
backward by a large FORCEFIELD which briefly flashes
into view. The field completely surrounds the plateau,
enclosing Soran and the scaffolding, with Picard on the
outside. OFF Picard's surprise...
CUT TO:
91 INT. KLINGON BIRD OF PREY- BRIDGE (VFX-P) 91
The Klingon Navigator is working his console.
KLINGON HELM
I have established the link.
LURSA
Put it through over here.
Lursa and B'Etor move to one of the consoles with a
large monitor. The screen shows STATIC for a few
seconds, then clears to a distorted view of a CEILING
on the ENTERPRISE -- this is GEORDI'S POV. (NOTE: The
POV is slightly fritzed, but free of the usual VISOR
effects.)
LURSA
It's working...
B'ETOR
Where is he?
Suddenly, Crusher's face looms large in the picture, as
if she's leaning over Geordi. She smiles and starts
talking. We can see her lips move, but we can't hear
what she's saying.
BEVERLY
(silent)
Don't worry, there's been no
permanent damage. Your heart is
perfectly fine. There's been a
little arterial damage...
Lursa and B'Etor pull back in surprise at the image.
B'ETOR
Human females are so repulsive.
CUT TO:
92 INT. SICKBAY - CONTINUOUS 92
Beverly is leaning over La Forge, who is on a bio-bed.
mid-conversation.
BEVERLY
... and some myocardial
degeneration. I'm going to give
you some hematozine, and I want to
run more tests... but I think
you're going to be fine.
GEORDI
Thanks, Doc.
CUT TO:
93 EXT. MOUNTAINTOP - DAY 93
Picard is walking the perimeter of the invisible
forcefield, looking for some way in. Soran is
concentrating on his PADD as Picard tries to engage him
on some level.
PICARD
You don't need to do this,
Soran... I'm sure we could find
another way to get you into this
Nexus.
93A ANGLE (VFX-P) 93A
Soran gets up and works his control PADD. Suddenly a
probe LAUNCHER DECLOAKS in the middle of the plateau.
The launcher is a cylindrical apparatus the size of a
small car.
Soran goes to the launcher, steps onto it and begins
working the control panel.
SORAN
(calm, distracted)
I've spent eighty years looking
for another way, Captain. This is
the only one.
(beat)
Of course, you could always come
with me. You fancy yourself an
explorer. Here's a chance to
explore something no human has
ever experienced.
PICARD
Not if it means killing over two
hundred million people.
(beat, then with
meaning)
I wonder... did your wife Leandra
know that she married a man who
was capable of mass murder?
This has touched a nerve in Soran... something dark
and ugly flickers across his face.
PICARD
(continuing; pressing on)
When you tucked your children into
bed... do you suppose they ever
suspected that their father would
one day kill millions as casually
as he kissed them goodnight?
Soran looks up at Picard... and for a moment we can see
that Picard has really gotten to him here... then he
finally smiles a smile that doesn't quite reach his
eyes.
SORAN
Nice try.
CUT TO:
94 INT. GEORDI'S BATHROOM - GEORDI'S POV 94
Geordi is taking a bath. We can see his legs and feet
sticking out of the water in front of him... he stands
up.
MOVE TO REVEAL:
95 INT. KLINGON BIRD OF PREY - BRIDGE (VFX-P) 95
Lursa and B'Etor are still watching La Forge's POV on the
monitor. They are bored and irritable.
B'ETOR
I thought he was the Chief
Engineer.
LURSA
He is.
B'ETOR
Then when is he going to
Engineering?
The POV shows Geordi's view as he stops in front of
a mirror... wipes away the steam and reveals his own
reflection. Lursa and B'Etor gnash their teeth in
frustration...
CUT TO:
96 EXT. MOUNTAINTOP - DAY 96
Soran is working intently on the Launcher's Control
Panel. Picard is still walking the perimeter of the
Forcefield. he's also still trying to engage Soran,
find some way to get to him.
PICARD
What you're about to do is no
different from when the Borg
destroyed your world.
Soran continues to work... keeps his voice calm and
conversational.
SORAN
You're right. And there was a
time when I wouldn't have hurt
anyone. Then the Borg came... and
they showed me that if there is
one constant in this universe,
it's death.
(beat)
Afterwards, I began to realize
that none of it mattered. We're
all going to die anyway. It's
only a question of how and when.
You will too, Captain. You might
contract a fatal disease... you
might die in battle...
Soran now turns and fixes Picard with a penetrating
look.
SORAN
... or burn to death in a fire.
Picard freezes at this. Soran steps off the launcher
with a confident look... he moves closer to where
Picard is standing.
SORAN
You looked surprised. But you
shouldn't be. I've been to the
Nexus, Captain. I know things
about people.
(beat)
Aren't you beginning to feel time
gaining on you? It's like a
predator. It's stalking you. You
can try to outrun it with
doctors... medicines.new
technologies... but in the end,
time is going to hunt you down...
and make the kill.
This strikes home with Picard's own recent concerns...
he struggles for a moment.
PICARD
We're all. mortal, Soran. It's
one of the truths of our
existence.
SORAN
What if I told you I found a new
truth...
PICARD
The Nexus.
SORAN
Time has no meaning there. The
predator has no teeth.
Soran glances up at the sky expectantly, then turns
away from Picard and goes back to work on the Launcher.
OFF Picard's disturbed expression...
97 INT. KLINGON BIRD OF PREY - BRIDGE (VFX-P) 97
B'Etor watching the monitor, impatient. The POV shows
Geordi's view of walking down a CORRIDOR. Lursa walks
over to join her.
LURSA
Where is he now?
B'ETOR
I don't know... he bathed... now
he is roaming the ship. He must
be the only Engineer in Starfleet
who does not go to Engineering!
CUT TO:
98 EXT. MOUNTAINTOP- DAY (VFX-P) 98
Picard continues to walk around the perimeter of the
forcefield. He sees something on the ground -- a
GNARLED ROOT from a large nearby tree. The root is
poking out of the ground, leaving a small arch through
which daylight can be seen. Picard's mind begins
racing... he glances at Soran and then picks up a
pebble and, while keeping his eye on the root, he tosses
the pebble into the air, where it HITS the forcefield.
-- The forcefield FLASHES on briefly and Picard can see
that the bottom border of the field follows the contour
of the root. But it does not extend underneath the arch.
-- Soran turns at the sound of the crackling field.
SORAN
Careful, Captain. That's a fifty
gigawatt forcefield. I wouldn't
want to see you get hurt.
PICARD
Thank you.
Soran returns to working on the Launcher. but Picard
looks back down at the root... then walks away,
planning his next move.
CUT TO:
98A INT. KLINGON BIRD OF PREY- BRIDGE 98A
Lursa and B'Etor are watching the monitor of Geordi's
POV with irritated expressions. On the monitor, Geordi
rounds a corner and enters Engineering.
The sisters lean forward eagerly.
B'ETOR
Finally!
99 INT. ENGINEERING 99
Geordi is talking to an engineer named FARRELL, N.D.s
working in b.g. Mid-conversation.
FARRELL
I'd like to run a Level Three
diagnostic on the port plasma
relays. I think one of the
generators is fluctuating.
GEORDI
Okay, let's do it.
They both move to consoles...
100 INT. KLINGON BIRD OF PREY - BRIDGE (VFX-P) 100
As before. On the screen, we can now see several of the
monitors in Engineering. On the left side of the
screen is the large cutaway view of the Enterprise.
Lursa suddenly reacts to something on the screen.
LURSA
That's it!
(to B'Etor)
Replay from time index four-two-
nine.
B'Etor works. The image on their monitor RUNS BACKWARD
for a moment and then FREEZES. On the screen, we can
see several of the monitors in Engineering. On the
left side of the screen is the large cutaway view of
the Enterprise. Lursa touches the diagram.
LURSA
(continuing)
Magnify this section and enhance.
B'Etor works. The picture ZOOMS IN on the cut-a-way
graphic and SHARPENS in FOCUS. There are several
blocks of numbers and text visible. Lursa studies the
image.
LURSA
Their shields are operating on a
modulation of two-five-seven point
four...
The sisters exchange an excited glance, then move
toward the command area.
B'ETOR
(calls out)
Adjust our torpedo frequency to
match - two-five-seven point
four!
The two sisters smile eagerly.
101 INT. ENTERPRISE BRIDGE 101
DATA
(to Riker)
Sir, I am detecting an anomalous
subspace reading in Main
Engineering. It may be --
WHAM! The ship is ROCKED HARD. Alarms go off on the
Bridge.
102 EXT. SPACE - ENTERPRISE AND KLINGON SHIP (VFX-I) 102
The Klingon ship is FIRING FOUR T0RPEDOES at the
Enterprise. The torpedoes PASS DIRECTLY THROUGH the
ship's SHIELDS and hit directly on the hull.
103 INT. ENTERPRISE BRIDGE 103
WHAM! Another HIT.
WORF
(shocked)
They have found a way to penetrate
our shields.
RIKER
Lock phasers and return fire!
104 EXT. SPACE - THE ENTERPRISE & KLINGON SHIP (VFX-I) 104
The Enterprise FIRES at the Bird of Prey. but the
phaser shots are stopped by the Klingon SHIELDS, which
flash on when they're hit.
The Bird of Prey returns FIRE. The shot carves a
jagged tear in the Enterprise's hull.
105 INT. BRIDGE 105
As before. The ship is jolted again... the Con console
EXPLODES and the Con officer is killed.
RIKER
(to Troi)
Deanna, take the helm. Get us out
of orbit.
Troi rushes to the Con and works...
106 EXT. SPACE- THE ENTERPRISE & KLINGON SHIP (VFX-I) 106
The Enterprise turns and leaves orbit, but the Klingon
ship is right on top of them... FIRING at the
defenseless starship.
107 INT. BRIDGE 107
A jolt.
DATA
Hull breach on decks thirty-one
Through thirty-five.
Another JOLT. The Bridge lights FLICKER. The
situation is desperate.
RIKER
(urgent, to Worf)
Worf, that's an old Klingon ship.
What do we know about it? Are
there any weaknesses?
The ship is JOLTED. They all hold on.
WORF
It is a Class D-twelve Bird of
Prey. They were retired from
service because of defective
plasma coils.
RIKER
Plasma coils... is there any way
we can use that to our advantage?
WORF
I do not see how. The plasma coil
is part of their cloaking
device...
107A INT. ENGINEERING 107A
There is a sudden EXPLOSION on the upper level. Geordi
and the other Engineers rush to deal with it.
GEORDI
Get a stabilizer on that conduit.
107B INT. BRIDGE 107B
Riker suddenly gets an inspiration as the Bridge is
ROCKED.
RIKER
(to Data)
Could we access the defective coil
and trigger their cloak?
DATA
(considers)
Perhaps.
(suddenly enthusiastic)
Yes! If we sent a low-level ionic
pulse, it might reset the coil and
engage the cloaking systems.
WORF
(onto the idea)
As their cloak begins to engage,
their shields will drop.
RIKER
Right. And they'll be vulnerable
for at least two seconds.
(to Data)
Data, lock onto that plasma coil.
DATA
(confident)
No problem.
Data goes to work.
RIKER
Worf, prepare a spread of photon
torpedoes. We'll have to hit them
the instant they begin to cloak.
WORF
Aye, sir.
RIKER
We're only going to get one shot
at this. Target their primary
reactor. With any luck, their
warp core should implode.
Worf works.
108 EXT. SPACE - THE ENTERPRISE & KLINGON SHIP (VFX-I) 108
The Enterprise ROLLS and TURNS back toward the planet,
tries to get away from the Klingon ship. But the Bird
of Prey follows its every move.
109 INT. BRIDGE 109
DATA
I have accessed their coil
frequency... initiating ionic
pulse...
The ship is hit again. An aft CONSOLE EXPLODES.
RIKER
Make it quick!
110 INT. KLINGON BIRD OF PREY 110
Lursa and B'Etor in command... savoring their imminent
victory.
LURSA
(to Navigator)
Target their Bridge.
B'ETOR
Full disruptors.
The Navigator suddenly reacts to something on his
console.
KLINGON HELM
We are cloaking!
B'ETOR
What?
KLINGON HELM
Mistress -- our shields are down!
111 EXT. SPACE - THE KLINGON SHIP (VFX-I) 111
The ship begins shimmering- engaging its cloak.
112 INT. ENTERPRISE BRIDGE 112
RIKER
Fire!
Worf works.
113 OMITTED 113
114 INT. KLINGON BIRD OF PREY (VFX-I) 114
Lursa and B'Etor react to the sight on the Viewscreen
as the spread of torpedoes heads directly for them.
The two sisters exchange a look. The ship is suddenly
ROCKED HARD and we can see the beginning of an
EXPLOSION...
115 EXT. SPACE - THE KLINGON SHIP (VFX-I) 115
The ship IMPLODES, completely destroyed. pieces of
the shattered vessel float past the camera.
116 INT. ENTERPRISE BRIDGE 116
DATA
(excited)
YES!!
CUT TO:
117 EXT. MOUNTAINTOP - DAY (VFX-P) 117
Picard has made his way back to the gnarled root. He
stands a few feet away... a couple of pebbles in his
hand.
He glances at Soran, who's absorbed with his work on
the launcher.
Picard then surreptitiously TOSSES a pebble toward the
root. It misses and BOUNCES off the FORCEFIELD. Soran
looks over his shoulder at Picard, who sits down on a
rock. Soran returns to his work.
Picard tosses a second pebble -- this one also hits the
forcefield. Soran turns with a vaguely irritated look.
SORAN
(as if to a child)
Don't you have anything better to
do?
Picard doesn't respond. Soran goes back to work.
Picard waits a moment, then takes aim and TOSSES
another pebble toward the root. This time, the pebble
bounces underneath the arch and rolls onto the plateau -
inside the forcefield. Picard keeps his expression
neutral, but he's found a way in.
CUT TO:
118 INT. ENGINEERING 118
The room is a disaster. Wreckage from destroyed
consoles and debris are scattered throughout the room.
Geordi is desperately working with Engineers near the
warp core, which is running faster and faster.
GEORDI
(to com)
La Forge to Bridge. I've got a
problem down here. The magnetic
interlocks have been ruptured. I
need to get the --
The warp core starts to spew white-hot GAS.
GEORDI
(continuing)
Coolant leak! Everybody out.
The emergency isolation door comes DOWN and people
start rushing out of Engineering. Geordi heads for the
Corridor.
GEORDI
(on the move, to com)
Bridge, we've got a new problem.
We're about five minutes from a
Warp core breach. There's nothing
I can do.
119 INT. BRIDGE 119
Riker is faced with a no-win situation. He makes the
decision.
RIKER
(to Troi)
Deanna, evacuate everyone into the
saucer section.
(to Data)
Mister Data, prepare to separate
the ship.
Troi and Data work and Riker moves to the Captain's
chair. He presses a button on the armchair console.
a unique and urgent ALARM is heard throughout the ship.
SERIES OF SHOTS as the ALARM SOUNDS:
120 CREWMEMBERS AND CIVILIANS 120
rushing through the corridors.
120A GEORDI 120A
directing people toward the correct doorways.
120B PARENTS 120B
grabbing their children and heading down the Corridor.
120C BEVERLY AND A NURSE 120C
They grab a wounded crewmember and pull him down the
Corridor.
120D PEOPLE 120D
scrambling through Jefferies Tubes and closing hatches
behind them.
121 EXT. MOUNTAINTOP- DAY (VFX-P) 121
Soran is finishing his work on the launcher. On one of
the monitors on the control panel, we can now see alien
graphics and numbers ticking by -- obviously a
countdown in progress. Soran finishes and turns off
the control panel. He steps down and looks over at
Picard, who is standing near the forcefield.
SORAN
Now, if you'll excuse me, Captain,
I have an appointment with
eternity and I don't want to be
late.
Soran turns and begins to climb up the scaffolding
toward the top of the rock face. Picard watches him
intently for a few moments... then quickly springs
into action...
122 INT. JEFFERIES TUBE 122
People scramble through the Tube and out into a
Corridor. Geordi is the last man through the hatch.
He turns and manually SHUTS the hatch behind him.
GEORDI
(hits combadge)
That's it, Bridge -- we're all
out!
123 INT. BRIDGE 123
DATA
One minute to warp core breach.
RIKER
(to Data)
Begin separation sequence.
(to Troi)
Full impulse power once we're
clear.
Data works.
124 EXT. SPACE - THE ENTERPRISE (VFX-I) 124
LOOKING FORWARD from behind the REAR of the massive
ship. A CRACK appears as the separation process
begins.
124A INT. BRIDGE (VFX-I) 124A
Everyone is watching the VIEWSCREEN with anticipation.
DATA
Separation complete. Ten seconds
to warp core breach.
TROI
Engaging impulse engines.
125 125
THRU OMITTED THRU
128 128
129 EXT. SPACE- SAUCER SECTION (VFX-I) 129
Moves away from the battle section... before it can
completely escape, the battle section EXPLODES -- the
force of the explosion hits the saucer section,
knocking it toward the planet.
130 INT. BRIDGE (VFX-I) 130
Everyone is knocked to their knees.
RIKER
Report.
TROI
Helm controls are off-line!
They all look at the Viewscreen... The planet is
rushing toward them.
131 CLOSE ON DATA 131
as he reacts to the terrifying image.
DATA
Oh, shit.
CUT TO:
132 EXT. MOUNTAINTOP- DAY (VFX-P) 132
Picard has dropped to the ground and is on his back -
he's trying to wriggle underneath the root. It's not
easy. he knows there's not much room between the
ground and the invisible field. he just gets his head
and shoulders underneath when he accidentally TOUCHES the
field and it CRACKLES violently around him --Picard is
jolted by the shock.
132A SORAN (VFX-P) 132A
turns at the sound of the field, sees Picard, and then
draws his weapon. Soran quickly fires at Picard.
132B THE GROUND (VFX-P) 132B
is BLASTED APART, creating a cloud of dirt and smoke,
obscuring Picard and the whole area momentarily.
-- Soran jumps down one level on the scaffolding, his
disruptor still in his hand, ready just in case Picard
somehow survived. Soran peers through the cloud of
dust and debris.
-- The dust from the explosion finally CLEARS... but
Picard is gone along with several feet of the ground
where he was crawling.
132C SORAN (VFX-I) 132C
glances up at the sky and sees the distant ENERGY
RIBBON just coming into view. There's no time to look
for Picard.
-- Soran begins to climb the scaffolding.
CUT TO:
133 EXT. SPACE- SAUCER SECTION (VFX-I) 133
PLUMMETS into the planet's atmosphere.
134 INT. BRIDGE 134
The ship is shaking and rolling VIOLENTLY. Everyone
hanging on for dear life.
SERIES OF SHOTS:
135 CORRIDOR 135
Teachers and parents lead a group of children toward an
intersection. The parents go down one corridor, the
teachers and children down another. One child cries
out and tries to reach for its mother, but there's
no time -- a teacher keeps the child moving down the
hall...
135A CREW QUARTERS 135A
People are bracing themselves for the crash, taking
emergency positions against walls, etc.
136 OMITTED 136
137 INT. BRIDGE (VFX-I) 137
The ground is getting closer on the viewscreen.
DATA
(off console)
I have rerouted auxiliary power to
the lateral thrusters. I'm
attempting to level our descent...
RIKER
(to com)
All hands, brace for impact!
138 EXT. PLANET'S ATMOSPHERE - SAUCER SECTION (VFX-I) 138
The leading edge of the huge saucer TILTS UPWARD
Slightly. and then it HITS the surface. the saucer
begins to PLOW THROUGH the dense rain forest: As the
ship continues to tear through the jungle, we INTERCUT
the following sequences.:
138A INT. BRIDGE 138A
Riker and the others hanging on as the ship shakes
violently..
138B CREW QUARTERS 138B
A family huddles for protection as the WINDOWS are
blown inward by debris...
138C INT. READY ROOM 138C
The side window is BLOWN OUT... and Picard's photo
album is tossed across the room along with everything
else...
138D EXT. SAUCER SECTION (VFX-I) 138D
Outside the ship, we see a huge WALL of metal CRASHING
through the jungle, uprooting trees... dirt flying...
birds scrambling out of the way... an enormous scene of
destruction as it tears through the foliage...
139 INT. BRIDGE 139
The ship continues to jump and shake... every light on
the ship goes out in the crash. Finally, it comes to
a STOP. There is a long, quiet beat... then people
begin to stir in the darkened room.
140 ANGLE ON RIKER 140
who is slumped in his chair... he catches his breath,
lifts his face and looks up into... SUNLIGHT. He
shields his eyes and looks up at the ceiling and
reacts...
141 RIKER'S POV (VFX-P) 141
The sun is shining in through the shattered overhead
window on the top of the Bridge. There is a fluttering
sound as a couple of BIRDS perch on the rim of the
window.
142 EXT. PLANET'S SURFACE - THE ENTERPRISE (WIDE SHOT) 142
(VFX-I)
The saucer has come to a stop in the middle of a RAIN
FOREST. The passage of the saucer has gouged a long
trail through the forest behind the ship. Off this
startling sight...
CUT TO:
143 EXT. MOUNTAINTOP - DAY 143
Soran is climbing up the scaffolding. He gets a couple
of levels up, and then suddenly a BOOT kicks him in the
face. Picard has made it inside the field.
A quick fight ensues, during which Picard is knocked a
few levels down on the scaffolding. He LANDS hard --
happens to look up into the sky. He sees something.--
144 PICARD'S POV - THE SKY (VFX-I) 144
The ENERGY RIBBON can be seen in the distant sky
-- a bizarre snake of color streaking across the deep blue
sky. Time is almost up.
145 RESUME ACTION (VFX-I) 145
-- Picard avoids a vicious kick from Soran, glances
down at the probe launcher, and realizes he's got one
chance. He rolls to his feet, runs toward the probe
launcher.
-- There is a THUNDEROUS ROAR as the launcher FIRES THE
PROBE into the sky.
-- The plateau is suddenly quiet as the probe streaks
toward the distant sun and disappears from view.
Picard gets to his knees, stares after the probe,
shocked. He's failed.
-- They watch the sun for a silent moment, waiting...
146 THE SUN (VFX-I) 146
begins to DARKEN and COLLAPSE, as seen before.
147 RESUME PLATEAU 147
the scene DARKENS as the sun goes out... and NIGHT
FALLS on the planet.
Soran, a look of profound elation on his face, makes
his way to the top of the scaffolding and looks into
the sky.
148 PICARD (VFX-I) 148
gets to his feet and stares at the onrushing Ribbon,
the wind whipping up on the plateau. He backs away at
the sight, coming to a stop with his back against the
scaffolding. There's no where to run...
149 NEW ANGLE- THE PLATEAU (VFX-I) 149
as the RIBBON OF ENERGY TEARS ACROSS THE SCENE IN A
TERRIFYING TORRENT OF LIGHT AND SOUND. THE SCENE IS
WASHED OUT BY A BLINDING FLOOD OF RED LIGHT... Then
suddenly the Ribbon is GONE... and so are Picard and
Soran. The plateau is strangely and utterly SILENT
after the passage of the Ribbon... even the birds have
stopped chirping in the trees.
150 EXT. SPACE- VERIDIAN III (VFX-I) 150
As the ENERGY RIBBON rushes past the camera, a HUGE
SHOCKWAVE from the destroyed star HITS the planet and
it EXPLODES in a blast of fiery debris.
CUT TO:
151 CLOSE ON PICARD 151
being led through a darkened HALLWAY. He is wearing a
blindfold. Off screen hands tug and pull at him,
leading him forward down the hall.
He's lost and confused, unsure where he is or what's
going on. He tries to resist, but can't... the hands
keep pulling at him...
He is finally brought out into a larger room, dark.
The hands release him and he stands alone. He takes a
beat and tries to take control of the situation.
PICARD
What's going on? Where am I?
Two hands reach into frame from off screen and remove
the blindfold...
152 PICARD'S POV 152
The blindfold drops, revealing a blurry kaleidoscope of
COLORS and SHAPES...
153 ON PICARD 153
as he blinks and tries to focus...
154 PICARD'S POV 154
As the room comes into focus. The first thing we see
is an enormous, gaily decorated CHRISTMAS TREE
sparkling with hundreds of lights.
155 REVEAL THE ROOM 155
A 24th-century FRENCH LIVING ROOM. It is beautifully
decorated with lights, ornaments, holly. brightly
wrapped presents are clustered beneath the Christmas
tree. There are FIVE CHILDREN standing and sitting in
the room, all looking at Picard with bright, smiling
faces, waiting for him to say something.
Picard stares at the scene for a moment, unsure how to
react. Then we hear the woman's voice again, and we
move to reveal an attractive WOMAN in her forties
standing next to Picard.
WOMAN
Go on... say something. They're
waiting.
Picard is stunned.
PICARD
I... don't know what to say...
One of the children, a young GIRL, speaks up.
GIRL
Say Merry Christmas, Papa!
PICARD
(in a daze)
Merry... Christmas...
The children break out into applause. The woman kisses
him on the cheek, then steers him to a large,
overstuffed chair. Picard sits down and the
children starts handing out presents with much laughter
and chatting.
CHILDREN
This one's for you... where's
mine?... I hope this is the book
I asked for... take this one to
Papa...
As the activity swirls around him, Picard begins to
feel an immense sense of satisfaction and happiness.
It's like a drug -- an overwhelming feeling of joy and
contentment fills Picard. It's a wondrous experience.
He settles back in the chair and a smile spreads across
his face. For reasons he cannot name and does not even
want to understand at the moment, he is very, very
happy.
GIRL
(to Picard)
Isn't the tree beautiful, Papa?
Picard answers as if it were the most natural thing in
the world.
PICARD
Oh yes... yes, it's astonishingly
beautiful. All of it.
All of the children now crowd around the chair with a
single large gift and hand it to Picard. One of the
younger boys speaks up.
YOUNG BOY
This is from all of us.
PICARD
Thank you... I can't imagine what
it is.
Picard tears open the box and pulls out a 19th century
SEXTANT - an old-fashioned nautical navigational
instrument. It's a beautiful piece with polished and
gleaming brass.
YOUNG BOY
(excited)
It's a sack-tent!
Picard eyes it with delight.
PICARD
You mean a sextant. And it's a
handsome one at that... from about
eighteen twenty, I'd say.
Wherever did you find it?
GIRL
It's a secret.
PICARD
(smiles)
Oh, a secret... well, that makes
it a doubly special gift. Thank
you... thank you all...
The children react with pleasure. They cluster around
him, showering him with hugs and kisses.
CHILDREN
Merry Christmas, Papa... I love
You, Father... etc.
Picard is covered in a blanket of love and affection.
The children pull back and return to their own
presents. There is a swirl of activity and commotion
as a warm and heartfelt Christmas morning is played
out.
WOMAN
(to Picard)
I'll go get dinner ready.
they'll be starving in a minute.
Picard nods as the woman EXITS the room. He looks
around the scene, utterly happy, utterly content.
The children continue to chatter and laugh among
themselves as Picard's eye falls on the glorious
Christmas tree. He can't help but smile as he looks
over the ornaments and decorations...
156 PICARD'S POV 156
of the sparkling lights and ornaments -- a swirl of
color and light.
157 PICARD 157
His eye is caught by something in particular on the
tree. He leans forward slightly and stares at it.
158 PICARD'S POV (VFX-P) 158
His eye has been caught by an ORNAMENT near the
top of the tree. It is a large and beautiful glass
ball with a tiny LIGHT at the center in the shape of a
star. As Picard watches, the star suddenly GOES OUT...
and it radiates a SHIMMERING LIGHT EFFECT that expands
outward into the glass sphere.
It's a startling and beautiful ornament whose effect is
reminiscent of the star going out, as seen earlier in the
movie. But this is just coincidence. this is the way
the ornament was designed and it's simply one of many
ornaments on the tree.
159 PICARD 159
reacts. The image of the ornament has touched a nerve
within him somewhere. It has reminded him of something
he'd nearly forgotten - a discordant note in an
otherwise wondrous and magical scene. He frowns, the
reverie momentarily disrupted. But he tries to push it
aside, not wanting the spell to be broken. He stands
and turns away from the tree and looks out a nearby
window -- it's snowing and the beautiful image of snow
soothes him for a moment. Then he reacts to something.
160 PICARD'S POV (VFX-P) 160
reflected on the pane of glass is the image of the
ornament -- it's still blinking. Picard now realizes
that this image is not going to go away... he can't
hide from it.
PICARD
No... this isn't right... this
can't be real...
GUINAN'S VOICE
It's as real as you want it to be.
Picard turns to see
161 GUINAN (VFX-P) 161
standing before him. She is wearing the same outfit
seen in the beginning of the movie on the Enterprise-B.
As they talk, the children and the woman continue to
move about their business as if Picard and Guinan
aren't there.
Picard is stunned.
PICARD
Guinan... what's going on? Where
am I?
GUINAN
You're in the Nexus.
Picard looks around.
PICARD
This... is the Nexus?
GUINAN
For you. This is where you wanted
to be...
PICARD
But I never had a wife, children,
a home like this...
GUINAN
Enjoy them, Jean-Luc...
Picard tries to make sense of it- he focuses on
Guinan.
PICARD
Guinan, what are you doing here?
I thought you were on the
Enterprise.
GUINAN
I am on the Enterprise...I am
also here.
(off his puzzled look)
Think of me as... an "echo" of the
person you know... a part of her
she left behind...
PICARD
Left behind...?
GUINAN
When the Enterprise-B beamed us
off the Lakul, we were partially
in the Nexus. The transporters
locked on to us... but somehow
everyone left a part of themselves
behind.
PICARD
Soran...?
GUINAN
All of us.
PICARD
Where is he now?
GUINAN
Wherever he wanted to be...
Guinan smiles at him.
BOY'S VOICE
Papa, help me build my castle!
Picard glances over at the boy, who is building a play
castle out of the 24th-century equivalent of "Lego".
For a moment, Picard is tempted to drift back to the
warm embrace of the fantasy...
PICARD
(to boy)
In a few minutes...
Picard looks around at the children... the lure to stay
here becoming more powerful.
PICARD
(continuing, awed, to
Guinan)
These are my children... my
children...
GUINAN
(smiles)
Yeah. They're great, aren't they?
You can go back and see them
born... go forward and see your
grandchildren... time has no
meaning here.
WOMAN'S VOICE
Dinner's ready! Let's go!
There's a general rush toward the adjacent dining room.
The youngest boy looks at Picard, goes over to him and
takes his hand.
BOY
Papa... are you coming?
Picard looks down into the face of his child. His
heart swells, the temptation to stay here and live this
out is profound. Almost in a trance, he takes a few
steps with the child toward the dining room... His eye
is caught again by the unusual ornament on the tree for a
moment... torn between the two images. and then, in
one of the most difficult moments of his life, he bends
down to the child...
PICARD
Go on... go on without me...
The boy looks at him quizzically for a moment, then
obeys his father and dashes off toward the dining room
to join the others. Picard straightens up and tries to
steel his voice.
PICARD
Guinan... can I leave the Nexus?
GUINAN
Why would you want to leave?
PICARD
(insistent)
Can I?
GUINAN
Yes... where would you go?
PICARD
I don't understand.
GUINAN
I told you, time has no meaning
here. If you leave, you can go
anywhere... any time.
Picard realizes the opportunity before him.
PICARD
I know exactly where I want to
go... and when. Back to that
mountaintop on Veridian Three...
before Soran put out the star. I
have to stop him.
GUINAN
What makes you think things will
be any different this time?
PICARD
You're right. I'll need help.
(beat)
Guinan, will you come back with
me? Together, we could --
GUINAN
I can't leave. I'm already there,
remember?
Picard looks crestfallen for a moment. Guinan gives
him an enigmatic smile.
GUINAN
I know just the guy.
Suddenly there's the cry of a HAWK from offscreen.
Picard turns at the sound --
162 EXT. KIRK'S HOME - DAY 162
Picard finds himself standing outside a rustic, but
Architecturally striking house with spectacular views
in the Canadian Rockies. A hawk is circling overhead,
making the crying sound that Picard heard. The air is
cold, frigid -- Picard can see his breath. Picard is
just starting to adjust to this sudden change in
location when he hears the sound of wood being CHOPPED
from around the corner of the house. Picard moves to
look around the corner and sees -
James T. Kirk. He's still in his uniform and looks
exactly as he did the last time we saw him aboard the
Enterprise-B at the beginning of the film. He is
vigorously chopping wood with an axe. He's enjoying
himself, lost in the sheer pleasure of the manual
labor. He's never felt this good in his life. There's
no trace of back pain or any other ailment. Picard
recognizes the famous Captain - as would any 24
Century Starfleet officer.
PICARD
James Kirk.
Kirk pauses, looks up at the strange man before him.
His expression is wondrous, almost child-like. Like in
Picard's Christmas sequence, Kirk is immersed in the
sensual feeling of the Nexus. It's like a dream that's
over-powered him.
KIRK
Beautiful day, isn't it?
PICARD
Yes... yes, it is.
Kirk points to a nearby log on the woodpile.
KIRK
Do you mind?
It takes Picard a beat before he realizes that Kirk
wants him to put the log on the chopping block for him.
PICARD
Oh.
Picard places the log on the block and Kirk gives it a
vigorous chop with the axe.
PICARD
Captain, do you realize what --
But Kirk interrupts as he sees something o.c.
KIRK
Wait a second. I think
something's burning.
Picard follows his look to see SMOKE billowing out of
one of the windows of the house. Kirk rushes into the
house, and Picard follows...
163 INT. KIRK'S HOME- KITCHEN - DAY - CONTINUOUS 163
Kirk rushes in. The kitchen's decor is 19th century
with a few 23rd Century touches -- copper pans and an
antique stove mixed comfortably with computer consoles
and Starfleet paraphernalia. Picard hesitates in the
doorway -- a little unsure about rushing into some
stranger's house.
Kirk yanks a burning frying pan of food off the stove.
It's very hot -- he quickly sets it down near the sink,
waves the smoke away with his hand.
KIRK
Looks like someone was cooking
eggs...
(to Picard)
Come on in, it's all right. This
is my house -- or at least it used
to be, I sold it years ago.
Picard comes in and tries to orient Kirk to what's
going on.
PICARD
I'm Captain Jean-Luc Picard of the
starship Enterprise.
Before Kirk can react to this remark, an antique CLOCK
on a shelf CHIMES as it strikes the hour. Kirk moves
to the shelf and looks at the clock in surprise and
wonder -- he is entranced by this experience, beginning
to connect with things and memories from his past.
KIRK
This clock... I gave this clock to
Bones...
PICARD
(pressing on)
I'm from what you would consider
the future... the twenty-fourth
century.
Kirk hears what Picard is saying, but like Picard in
his fantasy, he is more interested in the sights and
sounds around him. A dog barks from o.c. They both
look as a large black dog bounds into the room and greets
Kirk with enthusiasm.
KIRK
(affectionately)
Jake! Jake, you miserable old
Mutt... How can you be here?
(to Picard)
He's been dead seven years.
Kirk is still looking around the kitchen when suddenly we
hear a WOMAN'S VOICE from somewhere upstairs that
stops Kirk in his tracks. As she speaks, we can see
the shock on Kirk's face.
ANTONIA'S VOICE
Come on, Jim, I'm starving. How
long are you going to be rattling
around that kitchen?
A beat.
KIRK
(amazed)
That's Antonia...
Kirk looks at the food on the stove. He's beginning to
realize something.
KIRK
Wait a minute...
Kirk glances at Picard.
KIRK
The future... what are you
talking about? This is the
past...
Kirk moves to a drawer and opens it. Inside is a
HORSESHOE with a tiny red bow tied to it. This
confirms things for Kirk. He picks up the horseshoe.
KIRK
This is nine years ago... the day
I told her I was going back to
Starfleet...
Kirk is swept up in the moment, overwhelmed by
memories, sensations, feelings. He goes back to the
frying pan and looks at the contents with a sudden
burst of recognition.
KIRK
These were Ktarian eggs -- her
favorite.I was cooking them to
soften the blow...
(re: horseshoe)
And I gave her this.
Picard steps in.
PICARD
I know how real this must seem to
you, but it's not. This isn't
Really your house. We've both
been caught up in some sort of
temporal nexus.
But Kirk's mind is clearly elsewhere... he's being
swept away by the emotion of the moment... realizing the
opportunity he suddenly has.
KIRK
Dill weed.
Kirk indicates a shelf, as if asking Picard to go to
it.
KIRK
There's a bottle of dill weed on
the second shelf to the left,
right behind the nutmeg.
Kirk moves to the stove and tosses out the ruined eggs.
He cracks open two new eggs on the skillet and begins
preparing a breakfast. Picard waits for a moment, then
goes to the shelf, grabs the dill weed and hands it
to Kirk.
PICARD
How long have you been here?
Kirk takes the bottle and uses it to season the eggs.
KIRK
I don't know. I was on the
Enterprise-B... in the deflector
control room... keep stirring
these, will you?
Kirk moves to a cabinet and begins putting plates on a
breakfast tray. Picard is getting a little impatient,
but stirs the eggs anyway.
KIRK
(continuing)
The bulkhead in front of me
Disappeared... then I was out
there chopping wood.
(back to stove)
Thanks.
Kirk takes the pan of eggs back from Picard.
PICARD
History records that you died
saving the Enterprise-B from an
energy ribbon eighty years ago...
But Picard's words mean almost nothing to Kirk. He is
Thoroughly enjoying himself and Picard is almost a
distraction. Kirk begins serving the eggs onto the
plates and grabs a small vase of flowers to put on the
tray.
KIRK
(amused)
So you're telling me this is the
twenty-fourth century... and I'm
dead?
PICARD
Not exactly. As I said, this is
some kind of...
KIRK
Temporal nexus... yeah, I heard you.
(frowns at tray)
Something's missing...
Then he remembers and turns to look at a nearby toaster --
as if on cue, two slices of toast pop out. Kirk grins
and puts the toast on the plates. Kirk picks up the
tray and heads for the door.
PICARD
Captain, I need your help. I want
you to leave the Nexus with me.
Kirk goes out of the kitchen and Picard follows...
164 INT. KIRK'S HOME - LIVING ROOM - DAY - CONTINUOUS 164
Kirk and Picard both on the move. Kirk heading for a
staircase.
PICARD
We have to go back to a planet
called Veridian III and stop a
man from destroying a star. There
are millions of lives at stake.
Kirk tries to keep it light, hoping this man will go
away.
KIRK
You said history considers me
dead. Who am I to argue with
history?
PICARD
You're a Starfleet Officer and you
have a duty to --
KIRK
(hard)
I don't need to be lectured by
you. I was out saving the galaxy
when your grandfather was still in
diapers. And frankly, I think the
galaxy owes me one
(beat)
I was like you once... so worried
about duty and obligations that I
couldn't see anything past this
uniform. And in the end, what did
it get me? Nothing. Not this
time.
Kirk brushes past Picard and stops at the foot of the
stairs.
KIRK
(looking up the stairs)
I'm going to walk up these stairs,
march into that bedroom and tell
Antonia that I want to marry her.
Kirk begins to climb the stairs.
KIRK
This time things are going to be
different.
He goes through a bedroom door and closes it behind
him. Picard glances around the room in frustration,
then gets a determined look on his face and marches up
the stairs after Kirk, grasps the doorknob, opens it
and steps through the door into
165 INT. BARN - DAY - CONTINUOUS 165
Picard suddenly finds himself standing in the doorway
of a wooden barn. Straw on the floor... farm
implements on the walls... sunlight streaming in
through the slats. There are stalls in the barn with
a few horses visible.
Kirk is standing a short distance away -- he looks
surprised as well... and he is no longer holding the
tray of food.
PICARD
(re: barn)
This doesn't look like your
bedroom.
Kirk looks around for a moment, the pieces starting to
fall into place. He smiles with a growing
realization...
KIRK
No... no, it's not. It's better.
PICARD
Better?
KIRK
This is my uncle's barn in Iowa...
He points to a horse with a saddle on it.
KIRK
(re: horse)
I took that horse out for a ride
seven years ago... on a spring
day.
Kirk moves to the barn door and opens it revealing a
beautiful spring day.
KIRK
Just like this. If I'm right,
this is the day I met Antonia.
He turns to Picard.
KIRK
This Nexus of yours is very
clever. I can start all over
again -- do things right from day
one.
Kirk grabs the horse, swings up onto the saddle, and
rides out of the barn, filled with excitement. Picard
watches him for a moment, then looks at one of the
other horses in the barn. he makes a decision and
then moves toward a saddle hanging on the wall...
CUT TO:
166 EXT. COUNTRYSIDE - DAY (VFX-P) 166
Kirk is riding his horse hard over the countryside --
and across a stream... through a thicket of trees... and
finally out onto a rolling plain. There is a large
RAVINE up ahead. Kirk sees it and smiles tightly. He
spurs his horse faster toward the ravine... The horse
is tearing along... comes up to the edge of the
precipice, and makes a daring leap to the other side.
Horse and rider land together and Kirk spurs the horse
on. But as he rides, we begin to see a change come
over him -- a look of doubt crosses his face.
Something's not right. He slows the horse to a trot...
and then to a complete stop. He sits there for a
moment and frowns. turns and looks back at the
ravine, which is now a fair distance away. Something
about that jump is nagging at him...
He turns his horse around and then digs in his heels.
The horse breaks into a gallop, racing back toward the
ravine.
Kirk grips the reins tight in his hands and then the
horse makes the LEAP across yet again.
This time when Kirk lands, he brings his horse to an
immediate stop. We can see on his face that something
is very wrong. He turns and stares at the ravine with
a mixture of shock and sadness on his face.
In the distance, Picard can be seen approaching on a
horse of his own. He stops next to Kirk. There is a
long, quiet moment as the two men sit there side by
side. Kirk is introspective as he sorts through his
feelings...
KIRK
(re: ravine)
I must have made this jump fifty
times. and every time it scared
the hell out of me. But not this
time.
(beat)
Because... it's not real.
A quiet beat. Kirk turns and looks toward a particular
hill in the distance, shading his eyes against the
bright sun. Picard follows his gaze and we can now see
the distant figure of a WOMAN walking her horse.
PICARD
(re: woman)
Antonia?
KIRK
(nods)
She's not real either, is she?
Nothing here is... nothing here
matters...
All euphoria is now gone from Kirk -- It's a moment of
self-revelation. He glances around.
KIRK
It's kinda like... orbital
skydiving. Exciting for a few
minutes... but in the end, you
haven't really done anything...
you haven't made a difference...
Kirk takes a beat, then looks at Picard. And in a way,
he's truly seeing him for the first time.
KIRK
Captain of the Enterprise, huh?
PICARD
That's right.
KIRK
Close to retirement?
PICARD
I hadn't planned on it.
There is a passion and a fervor in Kirk that we haven't
seen until now.
KIRK
Well, let me tell you something -
don't. Don't let them promote
you... don't let them transfer
you... don't let anything take you
off the Bridge of that ship...
(beat)
Because while you're there, you
can make a difference.
The two captains face each other for a moment. Picard
hears what Kirk is saying but also knows that's not the
whole story. Picard gives him a direct look, and there
is something in Picard's eyes -- a glint of resolve and
determination.
PICARD
You don't need to be on the Bridge
of a starship. Come with me.
Help me stop Soran.
(beat)
Make a difference again.
A long, silent beat as Kirk considers Picard. And slowly,
unexpectedly, a smile spreads across his face.
KIRK
How can I argue with the Captain
of the Enterprise?
(a beat)
What was the name of that
Planet... Veridian III?
PICARD
That's right.
KIRK
I take it the odds are against us,
and the situation is grim?
PICARD
You could say that.
KIRK
(musing)
Of course, if Spock were here,
he'd say I was being an
irrational, illogical human for
wanting to go on a mission like
that...
And for the first time, we can see the twinkle in his
eye that tells us Jim Kirk is back.
KIRK
Sounds like fun.
The two men turn and walk away from Antonia.and as
they walk, a ROAR OF COLOR AND SOUND WASHES OUT THE
SCREEN, as seen before.
FADE TO RED
FADE IN:
167 EXT. MOUNTAINTOP - DAY (VFX-P) 167
Soran is standing in front of the forcefield, facing
Picard.
SORAN
Now, if you'll excuse me, Captain,
I have an appointment with
Eternity and I don't want to be
late.
We realize we are watching the same events play out
again.
Soran turns and begins to climb up the scaffolding
toward the top of the rock face. Picard drops to the
ground on his back and begins to wriggle underneath
the forcefield. Picard accidentally TOUCHES the
field...
167A SORAN (VFX-P) 167A
turns at the sound of the field, sees Picard, and then
draws his weapon. Soran quickly FIRES at Picard.
167B THE GROUND (VFX-P) 167B
is BLASTED APART, creating a cloud of dirt and debris,
obscuring Picard and the whole area momentarily.
-- Soran jumps down one level, his disruptor still in his
hand, ready just in case Picard somehow survived.
Soran peers through the cloud of dust and debris.
-- The dust CLEARS... but Picard is gone along with
several feet of the ground where he was crawling.
167C SORAN (VFX-I) 167C
Soran glances up at the sky and sees the ENERGY RIBBON,
then begins to climb the scaffolding. Suddenly a BOOT
kicks him in the head.
168 REVEAL KIRK 168
who is attacking Soran in Picard's place. The two men
begin to fight.
169 NEW ANGLE (VFX-P) 169
as Picard rushes to the probe launcher and steps up
onto the control platform and desperately begins trying
to shut down the launcher...
The following happens very quickly:
-- Kirk fights with Soran, hand-to-hand, brutal.
-- Picard works the control panel, trying to make sense
of it all. It won't respond. The control panel is
bizarre and confusing -- many different screens and
alien graphics. The alien countdown graphics continues
to race by.
169A THE SKY (VFX-I) 169A
the distant energy ribbon can be seen getting closer...
169B THE MOUNTAINTOP 169B
Soran tries to pull his disruptor, but Kirk knocks it
to the ground. There's a struggle for the weapon...
-- Picard looks helplessly at the control panel.
Nothing he does has any effect. He keeps hitting
buttons...looking for other control panels, anything
to affect the launcher.
169C ANGLE (VFX-P) 169C
Suddenly, Picard touches one particular control and the
screen CHANGES to an image of the Veridian SUN, held in
the center of the alien CROSS-HAIR.
169D PICARD (VFX-P) 169D
begins working the control panel... desperate... he
looks at the screen... hits a control. Suddenly the
probe CLOAKS. Picard reacts at his mistake. Picard is
left standing on an invisible platform three feet in
the air -- a bizarre sight. Picard isn't sure what to
do -- he can feel the console, but he can't see any of
the controls.
-- Kirk punches Soran and sends him flying backward.
Soran lands heavily on the ground, unconscious. Kirk
stands over him, breathing heavily. He holds his back
in pain -- that old back pain from the beginning of the
movie.
PICARD
(desperate)
Kirk -- there's a control PADD in
his right pocket!
169E KIRK (VFX-P) 169E
sees Picard standing in mid-air and then reaches down,
pulls the control PADD out of Soran's pocket. He
begins working it...
170 CLOSE ON SORAN 170
His eyes open... he sees what Kirk is doing... looks
around quickly... sees the disruptor lying a few feet
away, just beyond his reach...
171 THE PROBE LAUNCHER (VFX-P) 171
Decloaks. Picard goes back to working on the controls.
171A KIRK (VFX-P) 171A
he smiles.
KIRK
The twenty-fourth century isn't so
tough.
Without warning, Kirk is BLASTED forward, shot from
behind. Reveal Soran on the ground with the disruptor
in his hand. He gets up, whirls around, points the
weapon at Picard.
172 MOUNTAINTOP - WIDE 172
The probe is suddenly LAUNCHED in a roar of flame.
Soran freezes. His eyes follow the probe as it arcs
into the sky. The two men watch the probe as it heads
toward the sun...
172A THE PROBE (VFX-I) 172A
makes a sweeping turn to the right and arcs back down
toward the planet. Soran watches in horror as the
probe crashes harmlessly into the distant jungle. We
hear a muffled explosion.
172B SORAN (VFX-I) 172B
can't believe his dreams have been shattered. He looks
into the sky and sees the distant ribbon streaking
overhead. The disruptor falls from his hand as he
rushes to the top of the scaffolding.
173 PICARD 173
moves to Kirk, checks his pulse. The Captain's eyes
flutter -- he's still holding on, but he's badly
wounded.
174 SORAN (VFX-I) 174
is standing on the rock ledge. He reaches up toward
the sky as if trying to grab the Ribbon with his bare
hands...but the ribbon passes by and disappears.
SORAN
No...
His look of shock turns to fury and madness. He turns
to Picard.
SORAN
YOU!!
174B NEW ANGLE (VFX-P) 174B
He jumps down a few levels and then DIVES off the
scaffolding at Picard. But Picard is quicker. He
GRABS the disruptor and FIRES -- the BLAST CATCHES
SORAN IN MID-AIR .
Soran drops to the ground a short distance away. Dead.
The pocket watch has been shattered.
175 PICARD 175
turns back to Kirk, cradles the dying man's head in his
lap. Kirk's eyes flick open, and he takes a ragged
breath.
KIRK
Nice shot.
Kirk coughs. His eyes flutter. He's fading fast.
PICARD
I'll find a way to contact the
Enterprise. You're going to be
all right.
KIRK
Did we do it? Did we make a
Difference...?
PICARD
Yes.
(beat)
Thank you.
KIRK
Least I could do...for a Captain
of the Enterprise.
Kirk coughs again
PICARD
Try to hang on.
Kirk looks up at the sky. the sunlight is warm on his
face. A quiet moment... then, with a last smile on his
face
KIRK
It was fun.
Kirk dies.
Hold te scene for a long moment, the two men in the
quiet clearing.
DISSOLVE TO:
176 EXT. MOUNTAINTOP - SUNSET 176
Close on Picard's hand
as he places a stone on a large pile of other stones.
MOVE TO REVEAL that Picard is placing the final few
rocks on Kirk's grave.
He reaches into a pocket and pulls out Kirk's command
insignia pin. He carefully places it on the grave...
and stands there silently for a few moments.
A distant WHINE of engines can be heard. Picard looks
up into the sky...
177 PICARD'S POV (VFX-I) 177
An Enterprise SHUTTLECRAFT is flying through the sky
toward the mountaintop.
178 EXT. MOUNTAINTOP - SUNSET 178
The shuttle has just landed, and the door OPENS as
Picard enters the clearing. Worf, Geordi and N.D.
security guards jump out to meet him.
WORF
Captain, are you all right?
PICARD
Yes.
LA FORGE
What about Doctor Soran?
PICARD
You needn't worry about the Doctor
anymore.
Picard moves toward the shuttle... then stops as he
notices that the shuttle is damaged. Picard turns and
notices for the first time that La Forge has a bandage on
his face and Worf's uniform is torn.
PICARD
Was there a problem with the
Klingons?
Worf and La Forge exchange a look.
GEORDI
You could say that...
CUT TO:
179 EXT. PLANET SURFACE - THE ENTERPRISE (WIDE SHOT) (VFX-I) 179
as seen before.
PICARD (V.O.)
Captain's log, stardate 48650.1.
The starship Farragut has arrived in
orbit and has begun to beam up
the Enterprise survivors for transport
back to Earth.
CUT TO:
180 INT. ENTERPRISE - CORRIDOR - DAY 180
A hive of activity -- Crewmembers moving about,
carrying personal effects, equipment, etc. Some
wounded people being carried on stretchers...
The corridor is lit by emergency beacons and a HATCH
has been opened at one end of the Corridor leading to
the exterior of the ship. Daylight and jungle can be
seen outside.
PICARD (V.O.)
(continuing)
Our casualties were light. but
unfortunately the Enterprise
herself cannot be salvaged.
MOVE ALONG the Corridor in find Beverly helping an
Injured crewmember into the arms of a waiting Medical
N.D. Ogawa walks up to her
OGAWA
That should be the last of the wounded,
Doctor.
Beverly nods. She looks exhausted.
BEVERLY
Two hundred thirty-two patients in
under two days.
Two medical N.D.s walk past, carrying an empty
stretcher. Beverly glances at them.
BEVERLY
(calls out)
Save that stretcher...
OGAWA
Is there another patient?
BEVERLY
No -- that one's for me.
CUT TO:
181 INT. ANOTHER LOCATION 181
Data and Troi are looking through rubble in a different
section of the ship with tricorders. Troi reacts to
something on the tricorder.
TROI
Over here, Data! I think I've
found something.
Data moves to her, with a hopeful and excited look.
TROI
(off tricorder)
One life sign, very faint.
Data hands his tricorder to Troi and then begins to
pull debris aside with android strength.
182 ANGLE ON DEBRIS 182
As Data pulls aside a large piece of plating, revealing
Spot the Cat sitting in the wreckage. She looks at
Data and gives a plaintive meow.
DATA
(relieved)
Spot.
He picks up the cat and holds it close, stroking its
fur. The cat purrs happily.
DATA
I am very happy to find you, Spot.
Troi smiles.
TROI
Another family reunited.
Data turns, revealing that there are tears in his eyes.
Troi is surprised and touched at the sight.
TROI
Data... are you all right?
DATA
I am not sure, Counselor. I am
happy to see Spot... and yet I am
crying. My emotional program must
be malfunctioning again.
Troi puts a gentle hand on him.
TROI
No, Data... I think it's working
perfectly.
Data looks up at her and smiles through his tears. OFF
the image of Data cuddling his cat.
CUT TO:
183 INT. READY ROOM - DAY 183
Picard and Riker are sifting through the rubble of what
once was the Ready Room, looking for something...
Riker sees something in the rubble.
RIKER
Is this it?
Riker holds up the family photo album seen earlier.
PICARD
(relieved)
Yes, Number One. Thank you.
He takes the album... brushes off the dust and flips
through the pages for a moment. Riker looks around the
wrecked room.
RIKER
I'm going to miss this ship. She
went before her time.
Picard has been rejuvenated by his experience... given
a new perspective on the issues of life and death.
PICARD
It's not how many years you've
lived, Wil... but how you've lived
them.
(beat)
Someone once told me that time is
a predator that stalks us all our
lives. But maybe time is also a
companion who goes with us on
our journey, and reminds us to
cherish the moments of our
lives... because they will never
come again.
(beat)
We are after all. only mortal.
A quiet moment... Riker finally smiles.
RIKER
Speak for yourself, sir. I kinda
planned on living forever.
Picard smiles back at him and the two men EXIT to...
184 INT. MAIN BRIDGE - DAY (VFX-P) 184
Riker and Picard ENTER from the Ready Room. They look
around the wrecked Bridge for a moment. Riker glances
at the captain's chair.
RIKER
I always thought I'd have a crack
at this chair one day.
PICARD
You may still... somehow I doubt
this will be the last ship to
carry the name Enterprise.
A beat, then Picard hits his combadge.
PICARD
(continuing, to com)
Picard to Farragut. Two to beam
up.
The two men dematerialize.
FADE TO BLACK.
THE END