Star Trek 7 (GENERATIONS) Script is HERE --> READ THIS LENGTHY THING
JOHN YERGAW
WELL FOKS HERE IS THE REAL STAR TREK 7 SCRIPT.....
Judge it for yourselves and post comments.
Sorry I took so long to put it up here!
In my opinion I think the script "stinks", but hopefully I am
just being bias (even though I have no reason to be bias about).
This script is LOOONGG so get yourself a snackwell and enjoy :(
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บ Star Trek: Generations บ
ฬà¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸à¸™
บ Complete script of the บ
บ seventh Star Trek film บ
บ uniting the captains บ
บ of both generations. บ
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บ r.a.startrek.current บ
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STAR TREK:
Generations
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 standing and
looking up at the sky. As we move towards them, 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
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 it. There are small thrusters attached to
his backpack and boots. Scotty and Chekov move to him. The man
removes his helmet. It is KIRK. He smiles broadly, like a child who
has just come off a rollercoaster.
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=8A
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=8A? Captain, can I have a minute? Captain Scott, do you have
any comment on? Commander Chekov
CAPTAIN JOHN HARRIMAN pushes through the crowd.
HARRIMAN
Excuse me, excuse me=8A there will be plenty of time for questions
later.
The journalists edge away, and the cameraman moves to get a good
angle.
HARRIMAN
(cont'd, 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=8A this is the first starship Enterprise in thirty
years withoutJames T. Kirk in command. How do you feel about that?
The journalist has unknowingly touched a nerve. Kirk's eyes flash
for amoment- 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
outbeyond 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
energydistortion. 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 3-1-0 mark 2-1-5. 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
(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=8A venting plasma from the warp nacelles? That might
disrupt theribbon'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 goves him a pained smile, trying to be
encouraging even though he knows this is not the right course of
action.
NAVIGATOR
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 struction
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
Bypass 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. A 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 ofthe El-Aurian 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...
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 biobed with a dazed
look on his face. He has a nasty looking wound on one side of his
face. (We will learn later 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=8A 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
(cont'd)
But I do have a theory...
KIRK
I thought you might.
SCOTTY
An anti-matter discharge directly ahead=8A 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 15, section 21-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=8A 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 of 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 20 through 28 on decks 13, 14...(looks at Scotty with
meaning) and 15.
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 15.
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 have 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=8A
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 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 LA FORGE. Worf is shackled
by hand and leg irons. Troi and La Forge hold him by either arm and
shove him toward theCaptain. The drum roll stops. Picard moves to
Worf and peers at him closely.
PICARD
Mr. 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., La Forge 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 privilegesthereto. 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!
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 CRUSHER 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.
CRUSHER
But the sharks are quite convincing.
Crusher 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 Crusher)
Doctor, I must confess I am uncertain as to why pushing someone
into freezing, shark-infested water is amusing.
CRUSHER
It's all done in good fun, Data. Get in the spirit of things.
DATA
Ah.
Data thinks a moment, then he lifts Crusher with one hand and hold
her over the rail.
CRUSHER
Data...Data-!
Data lets go and Crusher plummets into the ocean. Data looks
around- no one is laughing. They all look a little surprised.
LA FORGE
Data=8A 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 Crusher comes
up on deck.
PICARD
Well, now that we're all aboard=8A (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, Mr. 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, Crusher and two SECURITY GUARDS materialize.
They're all back in uniform, holding phasers and palm beacons. Worf
has a tricorder and Crusher 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 III disruptors.
RIKER
Well, that narrows it to Klingon, Breen or Romulan.
Crusher follows her tricorder readings.
CRUSHER
I'm picking up lifesigns...about twenty meters ahead.
WORF
That rules out Klingons.
Riker gives him a look.
WORF
They would not have left anyone alive.
CRUSHER
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. Crusher 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 Crusher 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. La Forge is
standing next to him.
DATA
Is she still angry?
LA FORGE
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 La Forge moves to him in concern.
LA FORGE
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.
LA FORGE
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
lifeform 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. This emotion chip is the only answer.
La Forge considers a moment, looks at the chip, and reluctantly has
to agree.
LA FORGE
All right.
Data sits down and La Forge moves to stand behind him.
LA FORGE
But at the first sign of trouble, I'm going to deactivate it.
Agreed?
DATA
Agreed.
La Forge works on Data's head for a moment, and the 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
oddlook on his face, his body language subtly altered. He is
looking at the world through new eyes. La Forge 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. This is a new
concoction I picked up on Forcas III. 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. La Forge watches him closely. Data frowns.
LA FORGE
Well?
DATA
I believe the beverage has provoked an emotional response.
LA FORGE
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?
LA FORGE
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 La Forge)
I don't think he likes it.
DATA
(excited)
Yes. That is it. I hate it.
LA FORGE
Data, I think the chip is working.
Data looks at La Forge 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 skake 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. La Forge and Data are scanning the
room with tricorders.
LA FORGE
(off tricorder)
There's no sign of any trilithium in here.
La Forge continues to scan. Suddenly Data lets out a quiet giggle.
La Forge stops and turns to look at him. Data giggles louder.
DATA
(laughing, to himself)
I get it. I get it.
LA FORGE
You get what?
Data laughs again.
DATA
When you said to Commander Riker (imitating La Forge's voice) "The
clown can stay, but the Ferengi in the gorilla suit has to go."
La Forge looks blankly at him for a moment.
LA FORGE
What?
DATA
During the Farpoint mission. We were on the Bridge and you told a
joke. That was the punchline.
LA FORGE
The Farpoint mission? Data, that was seven years ago.
DATA
I know. I just got it. (laughs) It was very funny.
LA FORGE
Thanks.
La Forge indicates a corridor. They EXIT in that direction.
63 INT. OBSERVATORY CORRIDOR- CONTINUOUS 63
A short corridor connecting the Ops Center with other compartments.
La Forge suddenly stops in front of what appears to be a standard
bulkhead.
LA FORGE
Wait a minute, there's a hidden doorway here. I can see the joint
of the metal with my VISOR.
La Forge 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.
La Forge puts his tricorder away and begins looking for a way to
open the door.
LA FORGE
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.
La Forge 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. La Forge
and Data scan.
LA FORGE
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. La Forge begins inspecting the probes,
finally stops at one probe which has several odd devices attached
to the side.
LA FORGE
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 La Forge reacts with the irritation of someone
listening to a very bad comedian.
LA FORGE
Just help me get this panel open.
Data helps La Forge as they try to open a panel on the casing of
the probe. They open the panel and La Forge looks inside. He reacts
to something.
LA FORGE
Whoa, my VISOR's picking up something in the theta band. It could
be a trilithium signature.
Data suddenly start laughing. La Forge turns in irritation.
LA FORGE
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.
LA FORGE
Data!
La Forge rushes to him. Data has a look of surprise on his face as
he blinks a few times. He sits up.
LA FORGE
Data, are you all right?
DATA
I believe the emotional chip has overloaded my positronic relays.
LA FORGE
We better get you back to the ship (hits combadge) La Forge to
Enterprise.
There's no response. La Forge frowns for a beat, then we hear
Soran's voice.
SORAN
Is there a problem, gentlemen?
65 INCLUDE SORAN 65
standing in the room. La Forge didn't hear him come in.
LA FORGE
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 La
Forge was inspecting. He notes the opened panel and a disturbed
look crosses his face. Soran looks back at La Forge.
SORAN
I'd be happy to.
Soran moves toward them, and then without warning, he punches La
Forge 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, Im 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 Picards 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
nuclearfusion 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
Commander 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
Mr. 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 theroom. (NOTE: The probe La Forge examined
earlier is now gone.)
RIKER
(to Worf)
What the hell's he doing?
Worf dodges another phaser blast and sees La Forge 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 La Forge 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 the inside of the 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=8A (Glorious=8A)
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 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 La Forge.
KLINGON GUARD
What shall I do with this?
Soran moves toward La Forge, 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. Crusher is closing a panel on the back of
Data's head. He is sitting on a biobed, scanning himself with a
tricorder.
RIKER
How is he?
CRUSHER
It looks like a power surge fused the emotional chip into his
neural net.
WORF
Will that be a danger to him?
CRUSHER
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. Crusher pulls Riker
aside.
CRUSHER
Will, I checked into Doctor Soran's background.
Crusher activates the wall monitor and a picture of Doctor Soran
along with some biographical information appears.
CRUSHER
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.
CRUSHER
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 travelling
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 pocketwatch sit on the table. La Forge 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?
LA FORGE
What's normal?
SORAN
Normal is what everyone else is, and what you are not.
LA FORGE
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.
La Forge thinks.
LA FORGE
Trilithium is an experimental compund 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 La Forge's skin near his chest. La Forge 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?
LA FORGE
I was ordered to by the Captain.
On the PADD in Soran's hand, we can now see an interior graphic of
La Forge's body sitting in the chair. The graphic is interactive,
moving as La Forge 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?
LA FORGE
No.
SORAN
What about Guinan? What has she told you about me?
LA FORGE
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 La
Forge's heart. Soran looks up at La Forge.
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 La Forge grabs his chest
in pain. Soran watches La Forge for a few seconds, then taps the
PADD again. La Forge 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.
LA FORGE
(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?
LA FORGE
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.
LA FORGE
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. La Forge gasps and strains
against an unimaginable pain.
Soran picks up his pocketwatch and opens the cover, sits back in
his chair, watching the seconds tick.
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 39.1 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 .05 percent, the starship Bozeman was
forced to make a course correction, a research project on Gorik IV
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
starfield. Picard examines the display for a moment and nods. He's
excited, on to something.
PICARD
Enhance grid A-9.
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 III, 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 III is uninhabited, but Veridian IV 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, Mr. 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 III.
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 viewscreen 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.
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 La
Forge's VISOR out of a pocket. He eyes it with intent.
SORAN
I think it's time we gave Mr. La Forge his sight back.
Off Lursa and B'Etor's curiosity.
CUT TO:
87 EXT. SPACE- THE ENTERPRISE (VFX-I) 87
nearing Veridian III. 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
Mr. Data, scan the planet for lifeforms.
Data smiles, delighted at the request.
DATA
I was hoping you would ask me to do that, Captain. I just love to
scan for lifeforms.
As Data works, he breaks into a merry little song.
DATA
(sings)
"Lifeforms tiny little lifeforms. Where are the lifeforms-"
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 viewscreen, the Bird of Prey decloaks.
WORF
They are hailing.
PICARD
On screen.
88B ANGLE (VFX-P) 88B
On the viewscreen, 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.
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, La Forge
materializes. Crusher and Ogawa rush to his aide, pull out their
tricorders and scan him.
La Forge 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 rockface
juts upward, forming a backdrop for the plateau. Against the
rockface, 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 pocketwatch. 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 La Forge'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 La Forge. She smiles and starts talking. We can see
her lips move, but we can't hear what she's saying.
CRUSHER
(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
Crusher is leaning over La Forge, who is on a biobed.
Mid-conversation.
CRUSHER
...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.
LA FORGE
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 some other
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
(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. LA FORGE'S BATHROOM- GEORDI'S POV 94
La Forge 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 La Forge'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. He 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 ou 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 La Forge'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 thepebble 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 La Forge's POV with
irritated expressions. On the monitor, La Forge rounds a corner and
enters Engineering. The sisters lean forward eagerly.
B'ETOR
Finally!
99 INT. ENGINEERING 99
La Forge 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.
LA FORGE
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 429.
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
Magnify this section and enhance.
B'Etor works. The picture zooms in on the cutaway 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 257.4.
The sisters exchange an excited glance, then move toward the
command area.
B'ETOR
(calls out)
Adjust our torpedo frequency to match- 257.4!
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-
The ship is suddenly rocked violently. Alarms go off on the Bridge.
102 EXT. SPACE- ENTERPRISE AND KLINGON SHIP (VFX-I) 102
The Klingon ship is firing four torpedoes at the Enterprise. The
torpedoes pass straight through the ship's shields and hit directly
on the hull.
103 INT. ENTERPRISE BRIDGE 103
Another violent 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 31 through 35.
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-12 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. La Forge and the
other engineers rush to deal with it.
LA FORGE
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. La Forge is desperately working
with engineers near the warp core, which is running faster and
faster.
LA FORGE
(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.
LA FORGE
Coolant leak! Everybody out.
The emergency isolation door comes down and people start rushing
out of Engineering. La Forge heads for the corridor.
LA FORGE
(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) Mr.
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 LA FORGE 120A
directing people toward the correct doorways.
120B PARENTS 120B
grabbing their children and heading down the corridor.
120C CRUSHER AND A NURSE 120C
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 rockface. 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. La Forge
is the last man through the hatch. He turns and manually shuts the
hatch behind him.
LA FORGE
(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-
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 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) (VFX-I)=
142
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 and 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.
O.s. 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 o.s. and remove the blindfold.
152 PICARD'S POV 152
The blindfold drops, revealing a blurry kaleidscope 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 a woman's voice 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=8A 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
1820, 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. 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 hanging near the top of the
tree. It is a large and beautiful glass ball with a tiny light in
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 film. 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 film 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 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; he's 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 III, 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 o.s. 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 24th-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 has overpowered 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 that-
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 24th-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 memeories,
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
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 24th-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 frsutration, 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 his 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? What was the
name of that planet=8A 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 rockface. Picard drops to the ground on his back and begins
to wriggl 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 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.
167C SORAN (VFX-I) 167C
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. 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 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. 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 film.
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 24th-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
pocketwatch 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 the 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, La Forge 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.
LA FORGE
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. Our casualties were light, but
unfortunately the Enterprise herself cannot be salvaged.
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 can be seen outside. Move along the corridor
to find Crusher 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.
Crusher nods. She looks exhausted.
CRUSHER
Two hundred thirty-two patients in under two days.
Two medical N.D.s walk past, carrying an empty stretcher. Crusher
glances at them.
CRUSHER
(calls out)
Save that stretcher.
OGAWA
Is there another patient?
CRUSHER
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, Will, 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
(to com)
Picard to Farragut. Two to beam up.
The two men dematerialize.
FADE TO BLACK.
THE END
CAST
Captain Jean-Luc Picard PATRICK STEWART
Commander William Riker JONATHAN FRAKES
Lt. Commander Geordi La Forge LEVAR BURTON
Lt. Commander Worf MICHAEL DORN
Doctor Beverly Crusher GATES McFADDEN
Counselor Deanna Troi MARINA SIRTIS
Lt. Commander Data BRENT SPINER
Guinan WHOOPI GOLDBERG
Doctor Soran MALCOLM McDOWELL
Nurse Ogawa PATTI YASUTAKE
Spot the Cat HIMSELF
Captain James T. Kirk WILLIAM SHATNER
Captain Montgomery Scott JAMES DOOHAN
Commander Pavel Chekov WALTER KOENIG
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