ftp.ee.pdx.edu/2014.02.ftp.ee.pdx.edu.tar/ftp.ee.pdx.edu/pub/mst3k/misties/Star_Trek_Generations

Text File | 1994-11-23 | 164KB | 5,093 lines

This is a MiSTing of the early draft script of Star Trek: Generations
that was floating around the net a while back. Since the movie is out
now, and I've seen scripts for Star Wars, etc. elsewhere on the net,
and I got this script from the net to begin with, I hope it's safe
to post this.

WARNING: This is _really_ long (168k), so you might want to save it
and read it off-line. I'll also try to upload it to xanth.cs.odu.edu.
Enjoy!

Jeff Kirvin
[e-mail]

--------------------------------------------------------------------


[SOL]

[Crow and Tom Servo are arguing loudly about something. Mike is in the
foreground.]

MIKE: (sotto, to Cambot) Hi everybody. I'm Mike Nelson and welcome to
the Satellite of Love. You're just in time for the latest installment
of Crow and Servo's "Who's the better starship captain" debate. Let's
listen in.

CROW: You're full of it, Servo. Picard couldn't fight his way out of
a paper bag, and a starship captain has to be strong, ready to take
on all challengers.

TOM: What is this, the Federation or the Mongol hordes? A captain has
to be a diplomat, able to soothe tensions _before_ they erupt into
violence. Kirk's about as soothing as Klingon opera. It's a wonder he
was never court martialed.

MIKE: (interrupting) He was, at the end of Star Trek IV.

CROW: Keep out of this, Nelson.

TOM: Why? Does the truth _scare_ you? Kirk was a danger to himself,
the Enterprise and everyone he came in contact with. The only thing
he was interested in was exercising his power and bedding every odd-
skinned alien babe that came down the pike!

CROW: (leaping at Tom) Your mother!

[Mike steps in and breaks it up before it gets really ugly]

MIKE: Boys, boys, settle down. The truth is a good commander can be a
warrior _and_ a diplomat. Look at Commander Sinclair on Babylon 5...

[Both bots tackle Mike. He reaches up for the commercial sign button.]

MIKE: We'll be right back.

[More of the wacky adventures of Mentos, the Freshmaker!]

[SOL]

[Tensions have cooled somewhat. Mike is standing between the bots,
watching them carefully.]

MIKE: The truth, guys, is that there is no right answer. Both Kirk
and Picard were effective captains, but they went about solving
problems different ways. The important thing is that the problems
were always solved in the end.

TOM: I suppose you're right, Mike, but I still think Kirk was a
megalomaniacal cretin.

[Crow tries to attack Servo, but Mike holds him back.]

MIKE: Not now, Crow. Kirk and Spock are calling.

[Deep 13]

[Dr. Forrester is in the foreground, but TV's Frank is nowhere to be
seen.]

DR FORRESTER: Greetings, Nelson. Turning into quite the diplomat
yourself, are you?

[SOL]

[Mike is still struggling to hold back Crow.]

MIKE: I do what I can, sir.

[Deep 13]

DR F: Well, "Sinclair", even you won't be able to handle this week's
experiment.

[SOL]

MIKE: What about the invention exchange? We have an authentic Star
Trek (original series) communicator. (Mike demonstrates with one hand
as he talks, holding Crow back with the other.) See, you take an
ordinary Motorola Flip-phone, and a can of gold spray paint...

[Deep 13]

Dr F: There's no time for that, Nelson! We have a full length movie
script for you today, the latest of the never ending Star Trek movies,
Generations.

[SOL]

[The bots stop fighting.]

CROW: That doesn't sound so bad.

[Deep 13]

Dr F: This one features mostly the ST:NG cast with one notable
exception: William Shatner as Captain James T. Kirk!

[SOL]

[All looked shocked.]

CROW: I take it back. This is going to hurt, isn't it, Mike?
MIKE: I'm afraid so.

[Deep 13]

Dr F: Ha! Eat space dust, Nelson! Push the button, Frank.

[Dr F. looks around, spots Frank off camera.]

Dr. F: Frank! Get over here!

[Frank walks on camera dressed in full Trekkie getup. Uniform from
the original series, Spock ears, plastic phaser, everything.]

Dr F: What in God's name are you doing in that outfit?

TV'S FRANK: I was trying to get into the spirit of today's experiment...

Dr. F: Generations is about the crew of the 1701-_D_, you moron!
(Dismissively) I'll deal with you later. Just push the button.

FRANK: (putting on "Spock" airs) It would only be logical-

Dr. F: Just push the button!

[Frank dejectedly pushes the button.]

[SOL]

MIKE: We've got MOVIE SIGN!

[General chaos ensues]

G...6...5...4...3...2...1...

[Mike and the bots enter the theater.]

STAR TREK: Generations

Script

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.

CROW: It's a Coke can!
TOM: They just said we can't tell what it is yet.
CROW: But I'm thirsty...
MIKE: I'll get you something later, Crow. Watch the movie.

2 EXT. WHEATFIELD- DAY

TOM: Is that like Veteran's's Day?

2 A vast and undulating sea of wheat.

MIKE: (Russian accent) Here in Russia, we grow enough wheat to feed
the world. And it glows too, so you can use it as a night light.

We become aware that there are two heads sticking out of the stalks
of wheat:

CROW: Impaled on pikes.

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.

TOM: Next week on STAR TREK UNDERCOVER!

CHEKOV (points to sky) There he is- there, to the south!
SCOTTY (peers upward) What are ye,blind? That's a bird.

MIKE: Well, Chekov's been hitting the Vodka kind of hard lately...

As they stare up at the sky

TOM: They're mugged from behind by petty thugs.
MIKE: What other kinds of thugs are there?

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.

CROW: See? It could be Coke!
TOM: Give it up, Crow.

4 EXT. WHEATFIELD- DAY

MIKE: (Minnesotan voice) And for our annual Wheatfield Day
celebrations, we'll play a traditional round of Throw the Badger.

4 As before, Chekov and Scotty staring at the sky.

TOM: Don't these guys have JOBS?
CROW: Well, they're retired.
MIKE: Yeah, like we buy that one...
TOM: Fanboy.
CROW: Bite me!
MIKE: Guys...

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.

CROW: Leaving bodies in his wake!

Suddenly we hear a double sonic boom.

TOM: One isn't dramatic enough for James! T! Kirk!.

CHEKOV That should be him now. I think he's just crossed the sound
barrier.

TOM: Next up: the Acting Barrier!

They shield their eyes against the sun and look up.

CROW: Isn't that what they _were_ doing?


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.

TOM: No, no, no, you let your _legs_ take the impact...

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.

ALL: AAAGGGGHHHH!

He smiles broadly, like a child who has just come off a rollercoaster.

MIKE: Grimacing in fear?

KIRK Right on target! I jump out over the Arabian Peninsula and I end
up here, right on the dime.

TOM: (Chekov's voice) Kepten, that's my dime you're standing on.

Kirk gets to his feet.

TOM: (Chekov's voice) Thank you, Kepten.

CHEKOV Actually, Captain, your precise target area was thirty-five
meters (points)that way.
KIRK Thanks for pointing that out.

CROW: Smartass.

Kirk starts to pull off his suit, reacts to a sudden pain in his back.

KIRK Oh

MIKE: Where'd this dagger come from?

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.

TOM: Old and out of shape?

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)

ALL: Badoom Bum!

                          Scotty, help me with this chute.
SCOTTY What do you mean, you're not going? We promised.

CROW: Well now I'm unpromising, fatboy. Deal with it.

KIRK When I retired, I swore I'd never set foot on a starship again,
and I meant it.
CHEKOV Captain
KIRK (firm) I don't want to hear anymore about it. I'm not going, and
that's final.

7 EXT. SPACE (VFX-I)
7 The champagne bottle smashes onto the bow of a Federation starship
(Excelsior class) sitting in its dock in orbit around Earth.

CROW: and punches a hole in the hull.
MIKE: D'OH!

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.

TOM: (Authoritative voice) Ensign, get out there and clean the
champagne off the hull.

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).

CROW: Because we're not invited.

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.

MIKE: OK, so the ship hasn't left yet! We get the picture!

9 INT. ENTERPRISE-B- BRIDGE
9 Close on a set of turbolift doors as they slide open to reveal Kirk,
Scotty and Chekov.

TOM: Hey! Kirk's on a Starship!

A bright light shines into their faces and they react.

CROW: Violently.

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

MIKE: Peter David?

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?

CROW: (as Kirk) Great, now get! off! my! ship!

Captain, can I have a minute? Captain Scott, do you have any comment
on?

MIKE: On what?

CAPTAIN JOHN HARRIMAN pushes through the crowd.

HARRIMAN Excuse me, excuse me there will be plenty of time for
questions later.

The journalists edge away, and the cameraman moves to get a good angle.

TOM: Mike, if it's a holographic camera taking a 3-d image, why does
the angle matter?
MIKE: Well, you see...
CROW: Shhhh!

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.

CROW: I will DIE to protect the honor of my command!

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.

ALL: (muted trumpet) Bwah bwah bwahhhh...

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.

TOM: I'll get you later, mister.

KIRK Well, may we have a look around?
HARRIMAN Please, please.

Chekov sees someone in the background, calls out to her.

MIKE: STELLA!

CHEKOV Demora!

Chekov moves off.

JOURNALIST (breezy) So, Captain this is the first starship Enterprise
in thirty years without James T. Kirk in command. How do you feel
about that?

The journalist has unknowingly touched a nerve. Kirk's eyes flash for
a moment- the longer he's on this Bridge,

TOM: The more uncomfortable he feels about his toupee.

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.

TOM: On RESCUE 911!
MIKE: Not to mention T.J. Hooker...
CROW: And Tek Wars...
ALL: HE'S EVERYWHERE!

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.

MIKE: Wink wink, nudge nudge, say no more!

Kirk is shocked. For a long moment, he stares at her in amazement.

CROW: Come on, it can't be _that_ long since Kirk's seen a woman...

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.

MIKE: Roughly his own eye level.

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.

TOM: So what was the 1701-D?
CROW: That hasn't happened yet.

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.

CROW: Scotty moves in for the kill!

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.

TOM: That people still believe you in an action movie?

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.

CROW: Ah, but what _kind_ of 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.

CROW: Take them where?
MIKE: Oh, Crow, that joke's older than Shatner...

KIRK Oh, of course.

10 NEW ANGLE

CROW: Just what this script needs!

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.

TOM: Of this script.

Everyone breaks into applause. Kirk sits down in acute embarrassment
and annoyance.

CHEKOV (sotto) Very good, sir.
SCOTTY (sotto) Brought a tear to my eye.

CUT TO:

11 EXT. SPACE- ENTERPRISE-B (VFX-I)
11 The great ship majestically leaves the dock and heads out into
open space, passing directly overhead.

12 INT. ENTERPRISE-B- BRIDGE
12 A short time later. Harriman turns to his guests.

HARRIMAN Well, we've just cleared the asteroid belt. Our course will
take us out beyond Pluto and then back to spacedock. Just a quick run
around the block. (beat) If we have time, we'll conduct a few tests
of the warp-

Suddenly the communications console starts to beep. The COM OFFICER
hits a few commands in response.

COM OFFICER (to Harriman) We're picking up a distress call, Captain.

This grabs everyone's attention.

MIKE: Although they normally ignore distress calls.

HARRIMAN On speakers.

We hear the voice of a crew member who sounds panicked and urgent.

TOM: In other words, distressed.

COM VOICE (fritzed) This is the transport ship Lakul. We're caught in
some kind of energy distortion. We can't break free... need immediate
help... it's tearing us-

The voice is drowned out by static. The SCIENCE OFFICER checks
something on his console.

MIKE: This thing's made by Fisher Price? What the-

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.

CROW: There's no one in the Star Base? What is this?
MIKE: A plot device.

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.

ALL: The Picard Maneuver!

HARRIMAN Well, then, I guess it's up to us. (to Demora) Helm, lay in
an intercept course and engage at maximum warp.

MIKE: (Scotty voice) The engines won take the strain!

Kirk fidgets in his chair, itching to get in on the action

MIKE: Not a word, Crow.

                                                           - 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.

CROW: Again with the looks!

13 EXT. SPACE- ENTERPRISE-B (VFX-I)
13 The ship snaps into warp.

TOM: and then back out. They ran out of gas.

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.

CROW: By starting an even more bizarre Conga line.

CHEKOV What the hell is that?

TOM: A spatial anomaly. They'll get more common, occurring almost
every week in STNG.

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

MIKE: Without the benefit of punctuation.

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.

TOM: OH, PLEASE! (pleading) Mike, why can't they just once use real
science?
MIKE: Well that would require research and technically knowledgeable
writers. Besides, Star Trek isn't about technology, it's about
characters that never change or develop.

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...

CROW: (strained Kirk) has me... in its grasp...

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?

MIKE: Three demerits!

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.

TOM: Because it isn't real science.
CROW: Hey!

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-

CROW: Because he only has an 80 IQ.

it's his first day in command; his ship is under-manned and ill-
prepared. It's a nightmare come true. Kirk is itching to get in on
this, his fingers digging into the arms of his chair- but he restrains
himself.

HARRIMAN What about venting plasma from the warp nacelles? That might
disrupt the ribbon's hold on the ships.
NAVIGATOR Aye, sir. Releasing drive plasma.

A tense beat. Harriman glances over at the journalists, then glances
over at Kirk. Kirk gives him
a pained smile, trying to be encouraging even though he knows this is
not the right course of action.

TOM: But he isn't willing to help the young upstart.

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.

CROW: But how many were important?

Harriman pales at the sight, seems shell-shocked by the destruction
of the ship. He's overwhelmed now; at a genuine loss as to what to do
next.

DEMORA (urgent) The Lakul's hull integrity is down to twelve percent,
sir.

Harriman looks over at Kirk, who has remained quiet during this entire
sequence only through great effort and out of deference to the young
captain. This is a delicate moment- Harriman doesn't want to look
incapable, but at the same time, he needs help.

TOM: Face it, he's a loser.

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.

TOM: What about Monopoly?
MIKE: That's Bill Gates.

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.

ALL: YAY!

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.

CROW: (as Kirk) Too close! Turn around!

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.

MIKE: Man, medical school's cake in the twenty-fourth century...

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.

CROW: What does this button do?

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...

TOM: This is the dashboard of a '57 chevy!

Kirk moves to him.

SCOTTY Their life signs are phasing in and out of our space-time
continuum.
KIRK Phasing? To where?

Scotty begins to work.

MIKE: Finally.

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.

MIKE: (Minnesotan voice) Ya know, those consoles explode way too
easy...
CROW: (Minnesotan voice) Yeah, I was over at Betty's for tea the
other day and her console exploded right in her face...

KIRK Report!
DEMORA We're caught in a gravimetric field emanating from the
trailing edge of the ribbon.
HARRIMAN All engines, full reverse!

TOM: I'm sure the other ships never thought about backing up...

20 EXT. SPACE- ENTERPRISE-B & RIBBON (VFX-I)
20 The ship is turning sideways into the wake of the ribbon, but
cannot break away. It is clearly being pulled along, out of control.
Tendrils leap up from the ribbon, lashing against the ship.

21 INT. ENTERPRISE-B- SICKBAY
21 The room is filled with the survivors of the Lakul. They are all
members of the El-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.

TOM: They're all Trekkies!
CROW: Bite me!

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?

CROW: Do Scots wear plaid?
MIKE: (Scotty's voice) I don know...

JOURNALIST It's all right. You're safe you're on the Enterprise.
SORAN No, I have to go... I have to get back. You don't understand!
Let me go!

Soran begins to attack the journalist, but before he can do any real
damage, Chekov injects Soran with a hypospray and Soran falls
unconscious.

JOURNALIST What was he talking about?

Suddenly a woman with her back toward us stumbles nearby. Chekov
quickly grabs her arm and catches her before she falls.

CHEKOV Easy there...

The woman turns around and we see her face for the first time- it's
GUINAN. She seems dazed and confused.

MIKE: The 60s were good to Guinan.

Chekov smiles at her warmly.

CHEKOV It's going to be okay. Here, just lie down.

As he guides Guinan onto a table

CROW: (as Chekov) Now's my chance to make my move...

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.

MIKE: (as Kirk) You got family? The insurance payoff is a real
windfall...

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!

TOM: Oh, some _miracle_ worker...
CROW: But we know Scotty survives, because he was in STNG, see...
MIKE: Leave your continuity out of this.

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 it might disrupt the
field long enough for us to break away.
KIRK A photon torpedo?
SCOTTY Aye.

TOM: That was tough. Kirk's solution to everything: shoot it.

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.

All: (muted trumpet) Bwah bwah bwahhhh...

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.

TOM: (resigned) Oh, please...

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.

CROW: Is there any reason they can't control the deflector arrays
from the bridge?
MIKE: Plot twists. Watch.

Harriman heads for the turbolift, and there is a moment as Kirk is
sorely tempted to take command of the ship and sit in the Captain's
chair one more time. But he pulls himself back before Harriman can
exit.

KIRK No a captain's place is on the Bridge of his ship. (beat) I'll
take care of it.

MIKE: (singing) and the beat goes on...

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.

CROW: Smug much?

Kirk smiles as the turbolift doors slide shut.


23 OMITTED
23

CROW: Hey! What's this?
TOM: If only they'd done that with the whole script...

24 INT. ENTERPRISE-B- CORRIDOR
24 Kirk running down the corridor, opens a door.

MIKE: The action never stops with JAMES T. KIRK!

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.

TOM: In a jealous rage, Kirk dismantles the entire ship.

He quickly begins to re-route cabling and circuitry.

26 INT. ENTERPRISE-B- BRIDGE
26 As before. The ship is shaking badly.

MIKE: It has the DTs.

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.

TOM: Scotty there.

SCOTTY Captain, I don't know how much longer I can hold her together!

All:  (GROAN!)

Kirk finishes working and slams the wall panel closed.

CROW: And screams in pain as he realizes he slammed it on his thumb.

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.

MIKE: Jubilant, isn't he?

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

CROW: AAAGGHHH! They did it again!
TOM: I wonder what they're hiding...

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.

CROW: In his lap.

SCOTTY (continuing, to Demora) Have Chekov meet me on Deck 15.

Harriman, very concerned, gets up and follows Scotty. They EXIT to
the turbolift.

CROW: Could this mean?
TOM: It could never really happen, could it?

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.

CROW: AYE, MY EYE!

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.

MIKE: I bet it won't.
CROW: Let us dream, huh?

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

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.

TOM: Boy, Starfleet's fallen on some bad times...

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,

MIKE: Not a word, Crow.

epaulets, 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!

MIKE: Who is Number one?
TOM: You are, Number six.

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.

CROW: Finally!

Troi and La Forge hold him by either arm and shove him toward the
Captain. The drum roll stops. Picard moves to Worf and peers at him
closely.

PICARD 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."

MIKE: (Minnesotan voice) Oh, that sounds pretty bad...

Riker puts away the scroll

CROW: Down his pants.
MIKE: So that's what he keeps down there...

PICARD There can be only one punishment for such crimes. (beat) I
hereby promote you to the rank of Lieutenant Commander, with all the
rights and privileges thereto. And may God have mercy on your soul.

CROW: You'll need it, on this ship.

Everyone roars in approval. Picard smiles at Worf and shakes his hand.

PICARD (cont'd) Congratulations, Commander.
WORF (smiles)

ALL: AAAGGGHHH!

              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?

TOM: And not a moment too soon.

Picard shrugs it off- it's not exactly his cup of tea,

TOM: Earl Grey?

                                                        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 that wasn't funny.

Data is puzzled by the reaction of the crowd. He's more confused than
ever.

MIKE: That wacky Mister Data!


43 PICARD AND RIKER
43 are standing on the quarterdeck as a very wet Beverly Crusher comes
up on deck.

CROW: Her wet tunic clinging lovingly to her firm-
MIKE: CROW!

PICARD Well, now that we're all aboard (beat, then smiles) Number One,
bring the ship before the wind. (savoring the moment) Let's see what's
out there.

MIKE: (pirate voice) Daarrr, I hate the sea and everything in it.

RIKER Aye, aye, sir. (to Troi) Take the wheel, Commander.

Troi takes the ship's wheel.

TOM: Good Troi.

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

MIKE: Man, they're cutting this script to pieces.
TOM: Not nearly enough.

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.

TOM: Riker in HELL!

But Picard won't let Riker rain on his parade- he's thoroughly
enjoying himself.

CROW: So something has to spoil it.

COM VOICE Bridge to Captain Picard.

CROW: See?

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.

TOM: (falsetto) I sense something's troubling the captain.

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.

[Tom starts to get up.]
MIKE: Not you.

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.

CROW: And then thinks better of it.

RIKER Set the royals and the studding sails, Mr. Worf.

Worf looks at him blankly for a moment.

CROW: Boy, nothing slips past that Worf!

WORF The royal...studs?

CROW: Not in this bunch...

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.

TOM: At which point the ship flips over.

CUT TO:

50 EXT. SPACE- ENTERPRISE-D (VFX-I)
50 The great ship at impulse.

MIKE: (New Yorker voice) Ah, it ain't so great...

                              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.

TOM: The observatory spent too much time at Berkeley.

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.

MIKE: More dead people! Big deal!

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?

TOM: He's an evil double!
CROW: Been done.

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

MIKE: Oh, those guys are dead...

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,

CROW: It's the room's time of the month.

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.

MIKE: (as Riker) Good. I hate inconsistent blast patterns.

RIKER Well, that narrows it to Klingon, Breen or Romulan.

Crusher follows her tricorder readings.

TOM: Into the depths of despair...

CRUSHER I'm picking up lifesigns...about twenty meters ahead.
WORF That rules out Klingons.

ALL: (muted trumpet) Bwah bwah bwahhhh...

Riker gives him a look.

WORF They would not have left anyone alive.

TOM: Thanks for clearing that up, Worf.

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.

MIKE: (Minnesotan voice) Oh, they're gonna have trouble getting that
out...
CROW: (Minnesotan voice) You have to pre-soak it first...

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.

TOM: And nobody'll be hurt.

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.

TOM: Bond. James Bond.

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.

CROW: Once again, Worf's keen analytical mind in action!

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?

TOM: Well you're petting her aren't you?
MIKE: I'm not sure he meant the cat.
TOM: It's so hard to tell with this script.

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.

CROW: A real laugh riot!

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.

TOM & CROW: RAM CHIPS!

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.

CROW: I'm going to call about Rogaine.

LA FORGE Wait a minute. I thought you've always been afraid it would
overload your neural net.

MIKE: What is it?
TOM: The secret to the success of seaQuest DSV.
CROW: That would fry anybody's brain.
MIKE: There are some things man wasn't meant to know.

DATA That is true. However, I believe my growth as an artificial
lifeform has reached an impasse.

TOM: This is as tall as I'm ever going to be.

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,

[Crow opens his mouth, but Mike clamps his hand around it.]

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?

TOM: But they never listen to me!

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.

CROW: He was standing on Picard's _face_?

CUT TO:

56 INT. TEN FORWARD
56 The room is bustling with patrons and activity. Data ENTERS with
an odd look on his face, his body language subtly altered. He is
looking at the world through new eyes.

TOM: Eyes, Mark II, new from Tyco!

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.

MIKE: Or since the last time we saw her on the show.

She sets down an exotic-looking container full of dark liquid.

CROW: Coke!

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.

TOM: Oh this is just too cute to bear. [gets up to leave, but Mike
eases him back down]

In the b.g., we see Picard ENTER Ten Forward.

57 FOLLOW PICARD

CROW: TO THE ENDS OF THE EARTH

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,

TOM: because of all the sequins

and sets him apart from everyone else in the room. Picard walks up to
the table.

PICARD Doctor Soran?
SORAN Yes, yes, Captain. Thank you for coming.

The men shake hands and Picard sits down. Soran is an imposing
physical presence, but at the moment he seems very much the eccentric
scientists

MIKE: There's more than one of him?
CROW: That would be imposing.

consumed with his work. Picard waves away a waiter.

TOM: (as Picard) Damn waiters!

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.

MIKE: and Picard is judge of ALL!

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...

TOM: (as Picard) I have better things to do.

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)

MIKE: Kosh?

                    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.

TOM: E minor, to be exact.

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.

ALL: WHAT? CAN'T HEAR YOU!

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.

MIKE: (as Worf) but it's mine now. Ha!

We analyzed its sensor logs and found they were scanning for
signature particles of a compound called trilithium.
RIKER Trilithium?

CROW: Kinda like Dilithium, but with an extra lithium.

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.

TOM: Neither does this movie.

Riker considers.

MIKE: Uh oh, Riker's trying to think.

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.

MIKE: It's the cleaning crew's day off.

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?

TOM: Not an Oscar, that's for sure.

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.

TOM: (emotional) And I though I'd blocked it out. God, it's all
rushing back! Aaagghhh!
MIKE: (consoling) There, there.

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.

CROW: In a mayonnaise jar on Funk & Wagnell's doorstep.

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.

TOM: Ja wohl, mein Fuhrer!

Data completes his adjustment and then moves his wrist over the door
panel.

DATA (joking) "Open sesame."

MIKE: I think I liked the old Data better.

There is a humming sound followed by a loud click. The door slides
open.

DATA (smiles) You could say I have a magnetic personality.

CROW: Agh! This is worse than the Joe Piscipo episode!
TOM: Make it stop!

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.

TOM: Data has lost his mind.

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.

ALL: AAAAGGGHHHH!

Data giggles

CROW: like a schoolgirl

and La Forge reacts with the irritation of someone listening to a
very bad comedian.

MIKE: By throwing eggs and tomatoes.

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.

TOM: (as La Forge) Well I'll be, the Ten Commandments.

LA FORGE Whoa, my VISOR's picking up something in the theta band. It
could be a trilithium signature.

CROW: Or just a clever forgery.

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.

CROW: It's melting my brain too.

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.

ALL: WIMP!

CUT TO:

66 INT. PICARD'S QUARTERS
66 Picard is standing at the replicator.

PICARD Tea. Earl Grey. Hot.

The cup of

TOM: something almost, but not quite, entirely unlike

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.

CROW: (as Picard) BUGGER OFF!

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.

MIKE: Hell hath no fury like a Troi spurned.

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.

CROW: That's telling her!

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.

MIKE: And this is different than his normal tone because...

PICARD The message I received. (beat) My brother and his son- my
nephew-

CROW: Thanks for clearing that up.

burned to death in a fire.

Troi reacts, genuinely surprised.

TROI Captain, I'm sorry. (beat) I know there were a lot of unresolved
conflicts between you and your brother.
PICARD What I can't get out of my mind is the image of Rene- my nephew.

TOM: He was all charred and crispy looking.

I just can't believe he's gone.

He trails off.

MIKE: into the sunset.

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.

CROW: Or it could be the Manson family album, who knows?

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.

CROW: Finally...

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.

ALL: (singing) Seasons don't fear the reaper...

(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.

CROW: Oooooo... Foreshadowing. Your key to quality literature.

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.

MIKE: Nah, death's just the beginning of a whole wacky journey!

He looks at her.

PICARD I'm the last Picard.

CROW: And there was much rejoicing.
ALL: (subdued) yay.

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

CROW: Heaven forbid we find out what happened...
MIKE: I really think we're better off this way.

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.

TOM: When stars clean house - on the next Cosmos!

PICARD Report.
RIKER A quantum implosion has occurred within the Amargosa star. All
nuclear fusion is breaking down.
PICARD How is that possible?
WORF Sensor records show a solar probe was launched from the
observatory a few moments ago.
RIKER The star's going to collapse in a matter of minutes.

Something beeps on Worf's console.

CROW: (as Worf) Damn tribbles!

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 the room. (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.

CROW: Data is a cloud of ions.

PICARD'S COM VOICE Enterprise to Commander Riker, you have two
minutes left.

MIKE: We have the Two-Minute Warning.

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

[All make a show of annoyance]

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?

CROW: (Slowly) A. Klingon. Bird. of. Prey. is. decloaking. off. the.
port. bow.

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.

MIKE: Hilarity ensues!

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.

[ALL make clucking sounds]

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.

TOM: By taking on the dramatic poses of classic works of art! The
Thinker, Venus de Milo and even Michaelangelo's David!

75 EXT. SPACE- THE KLINGON SHIP (VFX-I)
75 The Bird of Prey cloaks and vanishes.

76 INT. BRIDGE
76 As before.

MIKE: Ah, the place never changes...

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.

TOM: It was bought at a garage sale several years before.

Watching the viewscreen are LURSA and B'ETOR, two powerful-looking
Klingon women. They are sisters; aggressive, seductive and very
dangerous. Several N.D. male Klingons man the various stations. The
sisters stare at the image of the destroyed sun in awe.

B'ETOR Toh-pak-cha (Glorious)
LURSA HoS qorDu. (A great power.)

Soran now ENTERS the Bridge. His expression is dark and angry.

CROW: But his teeth are shiny and white!

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.

TOM: Do Klingons _have_ any other expressions?

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.

MIKE: What're you, the Dread Pirate Roberts?

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.

CROW: for Windows 95.


Soran is unfazed by this threat.

SORAN Without my research, the trilithium is worthless, as are your
plans to reconquer the Klingon Empire.

TOM: So there.

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?

CROW: Oh, feed him to the hounds, I don't care.

Soran moves toward La Forge, a grim look on his face.

SORAN Bring him with me. I need some answers from Mr. La Forge.

MIKE: I have a physics final in two weeks, and he can help me cram.

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.

CROW: (as Worf) They also have 46 outstanding parking tickets.

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?

TOM: (resigned) That's what _we'd_ like to know...

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.

MIKE: But he doesn't look a day over 250!

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?

TOM: Regis and Kathy Lee?
MIKE: TV's Frank?
CROW: McCLOUD?

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.

TOM: (as Darth Vader) A feeling I have not felt since...
CROW: Since WHEN?

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.

CROW: Maybe just a little _too_ 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-

MIKE: Control network programming?

GUINAN Soran doesn't care about power or weapons. All he cares about
is getting back to the Nexus.
PICARD What's the "Nexus"?

TOM: The biggest traffic circle you've ever seen. Makes Paris look
like _nothing_.

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.

MIKE: Labotomies, shock therapy, nothing's worked.

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.

CROW: The Nexus answers to no man!

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.

CROW: Like a cow chewing cud!

A long beat as Picard absorbs her words.

PICARD But then you were beamed away.

Guinan shows a rare burst of anger.

CROW: As she tears Picard limb from limb.
MIKE: Wow, that's pretty violent.
CROW: So Guinan's a psycho. Who knew?

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.

TOM: I'd do anything. Comic Relief, Sister Act, anything.

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?

MIKE: Because it's there.

                               (beat) Thank you, Guinan.

He heads for the door.

GUINAN Let someone else do it, Jean-Luc.

CROW: That's OK. I can open a door.

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.

MIKE: (Hysterical) There ain't no comin' back! This is the really real
world, there ain't no comin' 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?

CROW: Then he wouldn't be as fun at parties.
TOM: Aaahhh, yes. Playing "Keep away from Geordi" with the VISOR...

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.

MIKE: I think it's a little late in the movie to go for a dramatic
pause.

SORAN As you may or may not be aware, I am an El-Aurian. Some people
call us a race of "listeners". We listen.

CROW: So _that's_ why they call you "listeners"!

(beat) Right now, Mr. La Forge, you have my undivided attention. I
want to listen to everything you know about trilithium- and me.

TOM: (Soran voice) I just like hearing about myself. (Evil laugh)

La Forge thinks.

LA FORGE Trilithium is an experimental compound developed by the
Romulans. I think it's a derivative of-

Soran picks up the PADD from the desk and activates it. Suddenly
something small, with sharp edges, can be seen moving just underneath
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,

CROW: Cool! It's a Phillips CD-I!

                                   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.

TOM: Hardy har har. How very punny.

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.

MIKE: Those wacky 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.

CROW: OK. BANG!

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.

TOM: As are we.

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?

MIKE: No, sir. I am having doubts about being in this movie. I am no
longer certain it was a wise career choice.

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.

CROW: Picard always suspected Data was yellow.

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?

TOM: They heard about a sale at Macy's.

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.

TOM: and there's a little arrow not too far away saying "You are here."

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...

MIKE: I'd still be ten times the man you are.

(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.

MIKE: No sectors allowed.

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.

MIKE: (as Data) I could really go for a cheeseburger right about now.

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.

TOM: Brilliant!
CROW: (with flourish) Acting!

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

MIKE: (Drill Sergeant voice) YOU EYEBALLIN' ME, BOY?

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.

CROW: This could throw the SFX budget right over the edge!

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?

CROW: (As Data) Yes.
TOM: (as Picard) No, you bucket of bolts, how many?

DATA Approximately two hundred thirty million.

A grim beat.

MIKE: Metallica?

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.

TOM: But he still doesn't ham it up as much as Shatner...
CROW: Bite me, Servo!

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.

ALL: (muted trumpet) Bwah bwah bwahhhh...

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.

MIKE: Oops! Now it's leaving again. Never mind.

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.)

TOM: Mike, why do the worker Klingons always speak in English, and
the sisters speak English to Soran, but every so often they speak
Klingon for no apparent reason?
MIKE: It's one of those great mysteries of life. Maybe when you're
older.
TOM: You don't know either, do you?
MIKE: No.

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.

CROW: HA HA! (makes raspberry sound)

Soran's expression darkens.

B'ETOR What do we do?

ALL: The Watusi!

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.

CROW: Hey! This looks just like a big barrette!

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.

TOM: Oh, God, no.
CROW: Deeep huuuurrrting...

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.

MIKE: and it's not, OK? It's just not!

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.

TOM: AAAAGGGGHHHHH! (starts convulsing, Mike steadies him)

As Data works, he breaks into a merry little song.

DATA (sings) "Lifeforms tiny little lifeforms. Where are the
lifeforms-"

CROW: Ow! I never thought I'd wish we were watching a Bert I. Gordon
flick!
TOM: Even Sandy Frank would better than this...

PICARD Commander.
DATA Sorry, sir. (works) There is too much interference in the
planet's ionosphere for an accurate reading.

Worf turns to Picard.

MIKE: for fatherly advice.

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.

TOM: (as Picard) I know that, Number One. Do I look that stupid?

PICARD Too big. How long until the ribbon arrives?
DATA Approximately forty-seven minutes, sir.
PICARD (disturbed)

MIKE: Deeply, deeply 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.

CROW: How about that? Worf was right!

WORF They are hailing.
PICARD On screen.

88B ANGLE (VFX-P)
88B On the viewscreen, Lursa and B'Etor appear.

ALL: AAAAGGGGGHHHHH!

LURSA Captain. What an unexpected pleasure.
PICARD Lursa, I want to talk to Soran.

TOM: (as Lursa) Well I want braces. Life's tough.

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.

TOM: Our guest for dinner.
CROW: It's a cookbook! It's a cookbook!

RIKER Then return him.

MIKE: for a full refund!

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.

CROW: Alone. It could be my last chance.

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.

MIKE: (makes motions like he's beating a bass drum) BOOM, BOOM, BOOM...
Still going!

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.) Picard
pauses 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.

MIKE: No, he's just misunderstood!

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.

ALL: (jump, as if startled) AAh!

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...

TOM: So we can read lips now?
MIKE: I guess so. (Crow starts opening and closing his mouth at Mike)
Cut it out, Crow.

Lursa and B'Etor pull back in surprise at the image.

B'ETOR Human females are so repulsive.

TOM: Irony! Your key to quality literature!

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.

CROW: (Tinny computer-synthesized voice) How about a nice, game of,
chess?

PICARD You don't need to do this, Soran. I'm sure we could find some
other way to get you into this Nexus.

TOM: We could build this big catapult, see, and-

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.

CROW: (Ominous) There can be 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.

MIKE: a nerve somewhere in his hand, just above the pinky.

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.

MIKE: But you have to give it an A for effort!

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.

CROW: and his treasured rubber ducky.

He stands up. Move to reveal

TOM: Hey! I thought this was a family movie!

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.

TOM: Oh.
MIKE: Why? What'd you expect to see, Tom?
TOM: (slouching into the seat) Nevermind.

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.

TOM: Hey! They might grind those things down to looking normal!

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.

MIKE: and taxes.

(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.

CROW: Well at least he's not burning to death in a fire.

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.

TOM: Isn't that illegal?
MIKE: In most states.

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.

TOM: Mike, I'm scared...

This strikes home with Picard's own recent concerns. He struggles for
a moment.

PICARD We're all mortal, Soran. It's one of the truths of our
existence.
SORAN What if I told you I found a new truth?

CROW: Justice, and the American Way?

PICARD The Nexus.
SORAN Time has no meaning there. The predator has no teeth.

MIKE: But it'll gum you to death, just the same.

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!

TOM: Well, at least know we know what Geordi does when he's not
working.
CROW: I'd rather see him work.

CUT TO:

98 EXT. MOUNTAINTOP- DAY (VFX-P)
98 Picard continues to walk around the perimeter of the forcefield. He
sees something on the ground- a gnarled root from a large nearby tree.
The root is poking out of the ground, leaving a small arch through
which daylight can be seen. Picard's mind begins racing. He glances
at Soran and then picks up a pebble and, while keeping his eye on the
root, he tosses the pebble into the air, where it hits the forcefield.
The forcefield flashes on briefly and Picard can see that the bottom
border of the field follows the contour of the root. But it does not
extend underneath the arch. Soran turns at the sound of the crackling
field.

MIKE: Snap!
TOM: Crackle!
CROW: Bite me!

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.

CROW: One of these days... POW! Right to the moon!

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!

MIKE: (good-naturedly) Oh, those scheming Klingons...

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.

(Mike and the bots lean sharply left, then right, in unison, in
parody of the original Trek.)

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.

TOM: (Minnesotan voice) Oh, they're gonna feel that in the morning...

103 INT. ENTERPRISE BRIDGE
103 Another violent hit.

(They lean back and forth again.)

WORF (shocked) They have found a way to penetrate our shields.

CROW: Worf, as always, quick on the uptake!

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.

TOM: All these years and the Federation is still letting the lowest
bidders make consoles...

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.

(More leaning)

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.

(More leaning, and Tom falls out of his seat. Mike picks him up and
reseats him.)

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.

CROW: (Worf voice) Basically, we're screwed.

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.

TOM: Great. Now Data's turned into Wesley!

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 As before.
DATA I have accessed their coil frequency, initiating ionic pulse.

The ship is hit again. An aft console explodes.

CROW: and some nobody extra dies horribly.

RIKER Make it quick!

MIKE: before these consoles kill someone important!

110 INT. KLINGON BIRD OF PREY
110 Lursa and B'Etor in command, savoring their imminent victory.

LURSA (to Navigator) Target their Bridge.

TOM: If they can punch through the Enterprise's shields, why didn't
they do that first?

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.

TOM: See Worf work.
MIKE: Work, Worf, work.

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.

CROW: I've always loved you.

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!!

TOM: Bloodthirsty, aren't we, Mister Data?

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?

MIKE: Ah, no, actually.

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

CROW: and dead extras

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.

CROW: Damn baked beans!

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.

TOM: Where's Scotty when you need him.

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 crew member and pull him down the corridor.

120D PEOPLE
120D scrambling through Jefferies tubes and closing hatches behind
them.

CROW: PEOPLE looting crew quarters!

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.

MIKE: You just know he's been waiting to whole movie to say that one
line.

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

MIKE: Clam up, Crow.

as the separation process begins.

124A INT. BRIDGE (VFX-I)
124A Everyone is watching the viewscreen with anticipation.

DATA Separation complete.

TOM: Divorce imminent.

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.

(Crow starts giggling uncontrollably. Mike just shrugs and lets it
run its course.)

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.

TOM: (as Picard) Shouldn't... have had... that extra...
cheeseburger...

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.

CROW: I knew he would.

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 kaleidoscope of colors and
shapes.

153 ON PICARD
153 as he blinks and tries to focus.

154 PICARD'S POV
154 As the room comes into focus. The first thing we see is an
enormous, gaily decorated Christmas tree sparkling with hundreds of
lights.

ALL: AAAHH!

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.

TOM: Friends! Romans! Countrymen! Lend me your ears!

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!

ALL: 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.

TOM: I am very, very sick.

GIRL (to Picard) Isn't the tree beautiful, Papa?

Picard answers as if it were the most natural thing in the world.

PICARD Oh yes yes, it's astonishingly beautiful. All of it.

All of the children now crowd around the chair with a single large
gift and hand it to Picard. One of the younger boys speaks up.

YOUNG BOY This is from all of us.

CROW: Cheap bastards.

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.

CROW: Yeah, love ya, yadda yadda yadda, where's the loot?

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.

TOM: Symbolism! Your key to quality literature!

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.

MIKE: What a dump!

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.

MIKE: I left my big toe.

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.

CROW: Or in this movie, apparently. Is it ever gonna end?

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.

TOM: He can get to the end of the movie!
MIKE: If only we could...

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.

ALL: TIME PARADOX!

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.

TOM: but he talks funny, so don't make fun of him.

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-

CROW: By this point, my lungs were _aching_ for air!

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.

CROW: James _T._ Kirk to you.

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.

TOM: It's a drug, man! I gotta have more Nexus! (thrashes)

KIRK Beautiful day, isn't it?
PICARD Yes, yes, it is.

CROW: Kill the small talk!

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.

CROW: Where angels fear to tread.

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.

TOM: Kirk's gone off the deep end.

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?

MIKE: He did some favors for the producer.

(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.

MIKE: (Rocky J. Squirrel voice) _Again_?

Kirk is swept up in the moment, overwhelmed by memories, sensations,
feelings. He goes back to the frying pan and looks at the contents
with a sudden burst of recognition.

KIRK These were Ktarian eggs- her favorite. I was cooking them to
soften the blow. (re: horseshoe) And I gave her this.

Picard steps in.

PICARD I know how real this must seem to you, but it's not. This
isn't really your house. We've both been caught up in some sort of
temporal nexus.

But Kirk's mind is clearly elsewhere. He's being swept away by the
emotion of the moment, realizing the opportunity he suddenly has.

KIRK Dill weed.

CROW: Quick, get me those rolling papers.

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.

ALL: 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.

CROW: Action? A plot?

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-

TOM: Bald as a cue ball.

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.

MIKE: You'd like to _think_ that, wouldn't you?

He goes through a bedroom door and closes it behind him. Picard
glances around the room in frustration, then gets a determined look
on his face and marches up the stairs after Kirk, grasps the doorknob,
opens it and steps through the door into

165 INT. BARN- DAY- CONTINUOUS
165 Picard suddenly finds himself standing in the doorway of a wooden
barn. Straw on the floor, farm implements on the walls, sunlight
streaming in through the slats. There are stalls in the barn with a
few horses visible. Kirk is standing a short distance away. He looks
surprised as well- and he is no longer holding his tray of food.

PICARD (re: barn) This doesn't look like your bedroom.

TOM: (as Kirk) It is, actually. Antonia's my horse.

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.

MIKE: I can take acting lessons!

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?

CROW: Actually, she's latex.

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.

TOM: Then they draw pistols and fire.

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 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.

MIKE: I knew Spock. Spock was a friend of mine, and you, sir, are no
Spock!

And for the first time, we can see the twinkle in his eye that tells
us Jim Kirk is back.

TOM: And ready to rumble!

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.

TOM: AGH! He said it twice!

We realize we are watching the same events play out again.

TOM: Oh.

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
wiggle 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.

CROW: All right! Take notes, Servo.

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.

MIKE: He should have brought some Doans.

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!

ALL: YES!

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.

TOM: And who's still _alive_, huh? The warrior, or the diplomat?
CROW: (dejected) Just bite me, Servo.

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) 1
77 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.

ALL: (groan)

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.

TOM: Does this mean this is really the last Trek movie?
MIKE: It's starting to look that way, Tom, but let's not start
celebrating just yet.

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.

ALL: (muted trumpet) Bwah bwah bwahhhh...

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.

CROW: Just once I'd like to see the ship's cat die. First Alien and
now this.

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.

TOM: This is too cute. I've gotta get out of here. (tries to leave)
MIKE: Settle down Tom. It's almost over.

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.

CROW: She went just in 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.

TOM: Jean Luc Picard: Captain, Lover, Philosopher!

A quiet moment. Riker finally smiles.

RIKER Speak for yourself, sir. I kinda planned on living forever.

CROW: Say it isn't so Mike!
MIKE: I think he was kidding.
TOM: But with Riker, you can never tell.

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.

CROW: NO! They _are_ making more!

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

TOM: And not a moment too soon. Mike, help me out of here.

[Mike and the bots leave the theater.]

1...2...3...4...5...6...G...

[SOL]

[Mike and the bots are in their usual places.]

MIKE: So as we saw in today's movie, Kirk and Picard both have their
uses. Kirk, the warrior, kept Soran busy while Picard, the diplomat
and thinker, disabled the space probe.

TOM: I suppose, Mike, but Patrick Stewart is still a better actor than
William Shatner.

CROW: You take that back!

MIKE: Hold it guys, Lursa and B'Etor are calling. (hits button)

[Deep 13]

[Dr.F. Is in the foreground, and TV's Frank is wandering aimlessly
around the background, dressed like a Borg.]

Dr. F.: So, Booby, you think you learned something from today's
experiment? Little do you know that you're that much closer to being
assimilated!

[SOL]

ALL: What!?!

[Deep 13]

Dr. F.: (catches himself) Huh? Oh, nevermind. All this time down here
with Frank must be getting to me. Push the button, Frank.

TV'S FRANK: (monotone) Buttons are futile. You will be assimilated.

Dr. F.: Oh, bloody hell. (pushes button)

                               \|/
                              --o--
                               /|\

--
Mystery Science Theater 3000 and associated characters are trademark
and copyright 1994 of Best Brains, Inc. and used without permission
for satirical purposes only.