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1 line
64 KiB
Plaintext
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STAR TREK: THE NEXT GENERATION
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"11001001"
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(fka "10101001")
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#40271-116
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Written by
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Maurice Hurley
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&
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Robert Lewin
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Directed by
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Paul Lynch
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Copyright 1987 Paramount Pictures Corporation. All Rights
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Reserved.
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This script is not for publication or reproduction. No one
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is authorized to dispose of same. If lost or destroyed,
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please notify the Script Department.
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2ND REV. FINAL DRAFT
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NOVEMBER 19, 1987
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STAR TREK: "11001001" - 11/19/87 - CAST
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STAR TREK: THE NEXT GENERATION
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"11001001"
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CAST
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PICARD ORFIL QUINTEROS
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RIKER BYNARS:
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BEVERLY ONE ZERO
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DATA ZERO ONE
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TASHA ZERO ZERO
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WORF ONE ONE
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GEORDI JAZZ COMBO:
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WESLEY BASS PLAYER
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DRUMMER
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Voice-Overs: PIANIST
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COMPUTER VOICE (Main Computer)
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COMPUTER (Auto-Destruct) MINUET (BEAUTIFUL BRUNETTE)
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WOMAN (MINUET-LIKE)
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Non-speaking roles:
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MAINTENANCE PERSONNEL
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JAZZ CLUB AUDIENCE
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PRETTY BLONDE
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STUNNING REDHEAD
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DR. TERENCE EPSTEIN
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Voice-Overs:
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STARBASE COM VOICE
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STARBASE COMPUTER
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STAR TREK: "11001001" - 11/19/87 - SETS
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STAR TREK: THE NEXT GENERATION
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"11001001"
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SETS
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INTERIORS EXTERIORS
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USS ENTERPRISE USS ENTERPRISE
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MAIN BRIDGE
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AIR LOCK CORRIDOR STARBASE 74 SPACE STATION
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MAIN ENGINEERING
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CORRIDOR BYNAUS (BYNAR PLANET)
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TURBOLIFT
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OBSERVATION LOUNGE
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SICKBAY
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HOLODECK DOOR
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HOLODECK
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JAZZ CLUB
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BANDSTAND
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DANCE FLOOR
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TRANSPORTER ROOM
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PASSAGEWAY CONNECTING
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ENTERPRISE AND STARBASE 74 SPACE STATION
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STARBASE 74 SPACE STATION
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COMMAND CENTER (MAIN DECK)
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CONFERENCE ROOM
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STAR TREK: "11001001" - 11/19/87 - TEASER 1.
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STAR TREK: THE NEXT GENERATION
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"11001001"
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TEASER
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FADE IN:
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1 EXT. SPACE - STARBASE AND ENTERPRISE (OPTICAL)
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as the Enterprise moves toward Starbase 74.
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PICARD (V.O.)
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Captain's log, stardate 41365.9.
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The Enterprise has been ordered
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to Starbase 74, in orbit around
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Tarsas III.
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2 EXT. SPACE - ANOTHER ANGLE (OPTICAL)
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as the Enterprise closes with the huge starbase
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entrance port.
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PICARD (V.O.)
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(continuing)
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... where a routine maintenance
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check of all systems will be made,
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and certain upgrades completed,
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including the Holodeck, with which
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we have had problems. I anticipate
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a glowing report. This ship has
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performed magnificently -- beyond
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anyone's expectations.
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3 INT. MAIN BRIDGE
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The REGULAR CREWMEMBERS are in their accustomed places
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as:
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GEORDI
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Coming into position.
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RIKER
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Stand by to dock.
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DATA
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Ready to dock.
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4 INT. STARBASE (OPTICAL)
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as the Enterprise moves into docking position.
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STAR TREK: "11001001" - 11/19/87 - TEASER 2.
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4 CONTINUED:
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RIKER (V.O.)
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Engage mooring beams and lock
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off.
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GEORDI (V.O.)
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Aye sir.
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5 INT. STARBASE (OPTICAL)
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The two elements COME INTO PLACE.
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6 INT. MAIN BRIDGE
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GEORDI
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Docking complete.
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PICARD
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Thank you, Number One. Well
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done, and well done all.
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7 INT. ENTERPRISE AIR LOCK
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A hatch OPENS to the Starbase and allows the easy
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passage of people and supplies. There is a RUSH OF
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AIR as the hatch opens. Then a group of maintenance
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personnel EMERGE from the far end and CROSS to the
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Enterprise.
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8 INT. AIR-LOCK CORRIDOR
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Picard and Riker greet the starbase personnel.
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Commander ORFIL QUINTEROS, the base commander, steps
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forward. TWO other pale, frail people with translucent
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skin stand nearby. They are the BYNARS.
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QUINTEROS
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Commander Quinteros; request
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permission to come aboard.
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PICARD
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Granted -- and welcome.
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Quinteros STEPS FORWARD and shakes Picard's hand.
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PICARD
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(continuing)
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This is Commander Riker.
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STAR TREK: "11001001" - 11/19/87 - TEASER 3.
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8 CONTINUED:
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As the two shake hands the group moves down the
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corridor.
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QUINTEROS
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You're late. We expected you a
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week ago.
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RIKER
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We were unexpectedly delayed at
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Omicron Pascal.
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QUINTEROS
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Is there anything specific you
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wish to report, or that we should
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be aware of?
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PICARD
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No. We are very pleased with the
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operation of the Enterprise.
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QUINTEROS
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I knew you would be - I was in
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charge of the team which put her
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together.
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RIKER
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And are these gentlemen the
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Bynars?
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He indicates the Bynars.
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8A INT. MAIN ENGINEERING
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as they ENTER.
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QUINTEROS
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They're not gentlemen or ladies,
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Commander.
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(off Riker's look)
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They are a unified pair. Always
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together. This is One Zero.
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One Zero bows.
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QUINTEROS
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(continuing)
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And this is Zero One.
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Zero One bows. Picard and Riker nod to them.
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STAR TREK: "11001001" - 11/19/87 - TEASER 4.
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8A CONTINUED:
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QUINTEROS
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(continuing)
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They just finished upgrading the
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computers on the Wellington -- did
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a great job.
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PICARD
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(to the Bynars)
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Your reputation precedes you.
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I am pleased you will be improving
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our system.
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BYNAR ONE ZERO
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It is a great pleasure...
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BYNAR ZERO ONE
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... to work on such a large mobile
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computer.
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PICARD
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You have forty-eight hours,
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because at forty-eight plus six
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we have an appointment at Pelleus
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Five which we must keep.
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The Bynars swap a look with each another.
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ZERO ONE
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I thought we'd...
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ONE ZERO
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... have more time.
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PICARD
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I'm sorry. Our mission can't be
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delayed. Can we postpone this
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work?
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ZERO ONE
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Oh, no. This is...
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ONE ZERO
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... the best time...
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ZERO ONE
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... to do it.
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ONE ZERO
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We can complete...
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ZERO ONE
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... our work within the...
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STAR TREK: "11001001" - 11/19/87 - TEASER 5.
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8A CONTINUED: (2)
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ONE ZERO
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... time allotted.
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QUINTEROS
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They work very quickly, but it'll
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be tight.
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PICARD
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Commander Riker and I will stay
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aboard, and be available should
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you need us.
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QUINTEROS
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Thank you, Captain. I don't think
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we'll need you until we're ready
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for inspection.
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Quinteros nods and FOLLOWS the Bynars AWAY, who CHATTER.
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9 INT. CORRIDOR
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Picard and Riker walking along.
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RIKER
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The Bynars are perfect for this.
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This is the first time I've come
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in contact with them.
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PICARD
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As I understand it, over time
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they've become so interconnected
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with the master computer on their
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planet that their language and
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thought patterns have become as
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near to binary as possible for
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organic beings.
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RIKER
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It will be interesting to see how
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they improve a computer as
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advanced as ours.
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PICARD
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Well, I'm going to put my feet
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up, turn on my personal relaxation
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light and lose myself in the pages
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of some old novels.
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They STEP INTO the turbolift.
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STAR TREK: "11001001" - 11/19/87 - TEASER 6.
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10 INT. TURBOLIFT
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Picard gives their destination.
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PICARD
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Bridge.
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(then:)
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And you, Number One? You've
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earned a good rest. What are you
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going to do with it?
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Riker smiles. The turbolift doors OPEN.
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RIKER
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I've never been good at organizing
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my time off, but something will
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come up -- it always does.
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Picard nods at him, and STEPS OFF.
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PICARD
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I'll be in my Ready Room.
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Riker acknowledges with a nod. Picard heads toward
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his Ready Room as Riker STEPS ONTO the bridge.
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A11 INT. STARBASE (OPTICAL)
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ESTABLISH the Enterprise inside the immense interior.
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11 INT. MAIN BRIDGE
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CLOSE-UP on two of the Bynars as they pull open a
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panel. PULL BACK TO REVEAL Riker and Wesley watching
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them. Other than these four, the bridge is empty.
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The Bynars' CONVERSATION IS UNINTELLIGIBLE. It's a
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flow of data based information, which SOUNDS LIKE
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HIGH-SPEED RADIO MULTIPLEX IN BURSTS. The sound of
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it, and the movements of the aliens amuses Riker. TWO
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BYNARS ENTER the bridge and COME hurriedly UP. They
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are all in a state of agitation. The CONVERSATION goes
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on AT VERY HIGH SPEED.
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RIKER
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I thought there were only going
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to be two of you.
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ONE ZERO
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Because of the limited time
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allotted...
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STAR TREK: "11001001" - 11/19/87 - TEASER 7.
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11 CONTINUED:
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ZERO ONE
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... us, we need others...
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The newly-arrived Bynars continue with a HIGH SPEED
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STREAM OF AGITATED CONVERSATION.
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RIKER
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(picking up on their
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agitation)
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Is there a problem?
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The Bynars closest turn toward Riker.
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ZERO ONE
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Ah... No...
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ONE ZERO
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...no. No problem.
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The tone - the hesitation. Riker isn't satisfied.
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RIKER
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Then why are you all so excited?
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ZERO ONE
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Because we... ah... have to...
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ONE ZERO
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... the ah, stacking...
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ZERO ONE
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... to reconfigure the computer...
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ONE ZERO
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... to communicate with itself...
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ZERO ONE
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... more efficiently...
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ONE ZERO
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... and at higher speeds.
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Zero One and One Zero MOVE OFF to help their mates.
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Riker watches, concerned.
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WESLEY
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You act like you don't believe
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them.
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RIKER
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I'm not sure. It's probably
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nothing.
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STAR TREK: "11001001" - 11/19/87 - TEASER 8.
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11 CONTINUED: (2)
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WESLEY
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Maybe it's just how a different
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species behaves.
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Riker nods thoughtfully.
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RIKER
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Maybe. I'm going to stroll the
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ship. You have the bridge. Keep
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an eye on them.
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WESLEY
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Aye sir.
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Riker turns and CROSSES to the turbolift, as Wesley
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looks over at the Bynars with a new awareness.
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FADE OUT:
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END OF TEASER
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STAR TREK: "11001001" - 11/19/87 - ACT ONE 9.
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ACT ONE
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FADE IN:
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12 INT. CORRIDOR
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As Riker walks along he sees TASHA, WORF, and some
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other members of the Crew, at the far end of the
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corridor. They are dressed for athletics. Each
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carries a small duffel bag.
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TASHA
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We've been challenged to a
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friendly game of Parrises Squares
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by some of the maintenance
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personnel -- want to join us on
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the starbase?
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Riker makes a quick count.
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RIKER
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You've already got all the players
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you need.
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TASHA
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We can switch off.
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RIKER
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No... if you do that in Parrises
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Squares you lose the rhythm of
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the game.
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TASHA
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I can't talk you into coming with
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us?
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RIKER
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No. But win, all right? The
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pride of the Enterprise goes with
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you.
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WORF
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Rest assured, Commander, we will
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be victorious, at whatever the
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cost.
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RIKER
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(concerned)
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Worf -- it's just a game. You
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know, a little friendly
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competition -- work up a sweat,
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have some laughs, make new
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friends.
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STAR TREK: "11001001" - 11/19/87 - ACT ONE 10.
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12 CONTINUED:
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WORF
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(with a gleam in his
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eye)
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If winning is not important...
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then, Commander, why keep score?
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Riker can only shrug because he has no answer. Worf
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nods a good-bye, and HEADS OFF with the others. Tasha
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holds back for a beat.
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TASHA
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I think he's pulling your leg.
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Believe it or not, Worf's
|
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developing a sense of humor.
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RIKER
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Let's hope so for their sake.
|
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Riker smiles and shakes his head. Tasha, returns the
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smile, flashes a quick thumbs up... and SPRINTS OFF to
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join the others.
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13 ANGLE ON RIKER
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He watches them go for a lonely moment. The area
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SUDDENLY DARKENS. Riker steps over to the com panel.
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He touches the panel, which LIGHTS UP, ILLUMINATING
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HIM.
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14 RIKER AT COMPANEL
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He touches the panel.
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RIKER
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Computer -- There's a power
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reduction in section L-Ninety
|
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Four. Explain.
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COMPUTER
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Unoccupied sections are being
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closed down in order to clear
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||
space in the main computer banks.
|
||
It's necessary to facilitate the
|
||
system upgrade. Full power can
|
||
be restored if needed.
|
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Riker is satisfied. He MOVES OFF.
|
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STAR TREK: "11001001" - 11/19/87 - ACT ONE 11.
|
||
|
||
15 INT. OBSERVATION LOUNGE - CLOSE ON PAINTING
|
||
|
||
Its design and form is to be determined, the artist is
|
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Lieutenant Commander Data.
|
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|
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GEORDI (O.S.)
|
||
What do you think?
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RIKER (O.S.)
|
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First tell me what it's supposed
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to be, then I'll give you an
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opinion.
|
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PULL BACK TO REVEAL Geordi, Data and Riker examining
|
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the "work of art" which is on an easel set up in the
|
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Observation Lounge.
|
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|
||
DATA
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It is an attempt at pure
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||
creativity.
|
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|
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GEORDI
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||
What we're investigating is, "Can
|
||
Data be creative?"
|
||
|
||
DATA
|
||
This is my attempt... with
|
||
guidance from Geordi.
|
||
|
||
GEORDI
|
||
I suggested the Zylo eggs.
|
||
|
||
RIKER
|
||
Is that what those are?
|
||
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||
Riker heads for the door.
|
||
|
||
RIKER
|
||
(continuing)
|
||
Keep notes. This project might
|
||
turn out to be of interest to
|
||
future scholars.
|
||
|
||
GEORDI
|
||
Really?
|
||
|
||
RIKER
|
||
Think about it. A blind man
|
||
teaching an android to paint?
|
||
That's got to be worth a couple
|
||
of pages in someone's book.
|
||
|
||
HOLD ON Data and Geordi as Riker waves a cheerful
|
||
good-bye and WALKS OFF.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 12.
|
||
|
||
15A INT. SICKBAY AND CORRIDOR
|
||
|
||
BEVERLY is picking up notes and notebooks. She's
|
||
excited almost to the point of being frazzled. Riker
|
||
ENTERS.
|
||
|
||
RIKER
|
||
You look like you're packing up
|
||
and leaving forever.
|
||
|
||
BEVERLY
|
||
(surprised)
|
||
Oh -- Commander Riker. No -- I'm
|
||
just getting my notes together.
|
||
It's so exciting. Doctor Terence
|
||
Epstein is at this Starbase.
|
||
|
||
RIKER
|
||
Is he someone I should know about?
|
||
|
||
He FOLLOWS her OUT into the corridor.
|
||
|
||
BEVERLY
|
||
He's the leading mind in
|
||
cybernetics. He lectured at
|
||
my medical school. Since the
|
||
disaster at Micromius I've been
|
||
working on a theory combining
|
||
cybernetics and regeneration. It
|
||
sounds impossible I know -- but I
|
||
think I have an approach which
|
||
could work. What an opportunity!
|
||
To have a chance to discuss this
|
||
with Doctor Esptein. Sorry, Will,
|
||
I'd like to stay here and chat --
|
||
but I have to be going.
|
||
|
||
And she's INTO a turbolift -- leaving Riker standing
|
||
alone.
|
||
|
||
16 OMITTED
|
||
|
||
17 INT. CORRIDOR AND HOLODECK DOORS (OPTICAL)
|
||
|
||
Two of the Bynars are there working on the outer panel.
|
||
Riker APPROACHES.
|
||
|
||
RIKER
|
||
How's it going?
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 13.
|
||
|
||
17 CONTINUED:
|
||
|
||
ZERO ZERO
|
||
We are almost done...
|
||
|
||
ONE ONE
|
||
... the deviation...
|
||
|
||
ZERO ZERO
|
||
... caused by a previous...
|
||
|
||
ONE ONE
|
||
... probe has been corrected...
|
||
|
||
ZERO ZERO
|
||
... You may use the equipment...
|
||
|
||
ONE ONE
|
||
... anytime you wish.
|
||
|
||
RIKER
|
||
How much has it been changed?
|
||
What exactly did you do?
|
||
|
||
ONE ONE
|
||
Enhancement...
|
||
|
||
ZERO ZERO
|
||
... nothing more.
|
||
|
||
The Bynars look at him, then at each other.
|
||
|
||
ZERO ZERO (SUBTITLED)
|
||
(in Binary)
|
||
This could be perfect!
|
||
|
||
ONE ONE (SUBTITLED)
|
||
(in Binary)
|
||
Let's use him!
|
||
|
||
ZERO ZERO
|
||
(to Riker)
|
||
Would you like to try...
|
||
|
||
ONE ONE
|
||
(to Riker)
|
||
... the enhancement?
|
||
|
||
RIKER
|
||
(a beat)
|
||
All right. What should I do?
|
||
|
||
Riker steps over to the com panel.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 14.
|
||
|
||
17 CONTINUED: (2)
|
||
|
||
RIKER
|
||
Computer - I need a place to play
|
||
some music - a little atmosphere.
|
||
|
||
COMPUTER
|
||
Specify.
|
||
|
||
RIKER
|
||
Jazz.
|
||
|
||
COMPUTER
|
||
Era?
|
||
|
||
RIKER
|
||
(pauses)
|
||
Circa 1958.
|
||
|
||
COMPUTER
|
||
Location.
|
||
|
||
RIKER
|
||
Kansas City. No, wait. New
|
||
Orleans. Yeah. New Orleans -- the
|
||
Low Note. 'Round midnight.
|
||
|
||
Pause.
|
||
|
||
COMPUTER
|
||
Program complete. Enter when
|
||
ready.
|
||
|
||
18 HOLODECK DOOR
|
||
|
||
Riker steps to the entrance. The doors OPEN. Before
|
||
him is a --
|
||
|
||
19 OMITTED
|
||
|
||
20 HOLODECK (OPTICAL)
|
||
|
||
-- JAZZ CLUB -- blue light -- dusty -- low ceiling -- small
|
||
tables crowded together -- a worn little bandstand lit
|
||
by pencil spots. Riker's impressed.
|
||
|
||
RIKER
|
||
Very good.
|
||
|
||
He turns and nods his appreciation to the Bynars who
|
||
are off to one side watching.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 15.
|
||
|
||
20 CONTINUED:
|
||
|
||
RIKER
|
||
(continuing)
|
||
Very good indeed.
|
||
|
||
He STEPS INTO the Holodeck, turns his attention to the
|
||
com panel on the arch. The Bynars, who ENTER with him,
|
||
are fascinated.
|
||
|
||
RIKER
|
||
(continuing)
|
||
Now, computer -- someone to play
|
||
with. A combo. Say, drums
|
||
upright bass...piano. And a 'bone
|
||
for me.
|
||
|
||
And just like that, the bandstand IS POPULATED with a
|
||
jazz combo, including a trombone waiting on the stand.
|
||
NONE OF THE IMAGES MOVE, and they won't until Riker
|
||
activates them.
|
||
|
||
RIKER
|
||
(continuing)
|
||
Now -- an audience...
|
||
|
||
And the room IS FULL.
|
||
|
||
RIKER
|
||
(continuing)
|
||
Whoa... too many. I was thinking
|
||
of something a little more
|
||
personal...intimate.
|
||
|
||
And that quick the room IS EMPTY, SAVE FOR ONE very
|
||
pretty blonde who is sitting alone at a front table.
|
||
Her hand rests lightly on a glass. Her head is turned
|
||
as though expecting someone -- a man to join her. Riker
|
||
is very impressed -- not only by what the computer has
|
||
accomplished, but by the blonde. He turns to the
|
||
Bynars --
|
||
|
||
RIKER
|
||
(continuing)
|
||
Great job, boys.
|
||
|
||
The Bynars TALK among themselves in their unique HIGH
|
||
SPEED LANGUAGE. Riker turns back to the room.
|
||
|
||
RIKER
|
||
(continuing)
|
||
But, computer... blondes and jazz
|
||
seldom go together.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 16.
|
||
|
||
20 CONTINUED: (2)
|
||
|
||
The girl CHANGES to a redhead -- not the same girl with
|
||
red hair, but a different girl, with beautiful green
|
||
eyes and a low cut shimmering dress. Absolutely
|
||
stunning.
|
||
|
||
RIKER
|
||
(continuing; he turns
|
||
to the Bynars.)
|
||
Now that is truly exceptional...
|
||
(then back to the
|
||
computer)
|
||
...but... more sultry.
|
||
|
||
And again the girl CHANGES -- this time to a BRUNETTE
|
||
-- and even more beautiful.
|
||
|
||
21 ANGLE ON RIKER
|
||
|
||
This three-dimensional, computer-generated image is so
|
||
beautiful it takes his breath.
|
||
|
||
RIKER
|
||
(to the Bynars)
|
||
Gentlemen, if this is what you
|
||
call "enhancement" you have a gift
|
||
for understatement.
|
||
|
||
He CROSSES to the beautiful WOMAN.
|
||
|
||
22 THE BYNARS
|
||
|
||
They CONSPIRE EXCITEDLY among themselves. Then go
|
||
to the computer panel and make some very specific
|
||
adjustment, looking at each other seriously for
|
||
approval.
|
||
|
||
23 ANGLE ON WOMAN'S TABLE
|
||
|
||
As Riker sits down, the IMAGES COME TO LIFE. The combo
|
||
BEGINS TO PLAY, the woman (Minuet) MOVES.
|
||
|
||
24 BACK TO THE BYNARS
|
||
|
||
The level of excitement among the Bynars increase. They
|
||
are very pleased with what they have done.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 17.
|
||
|
||
25 RIKER AND WOMAN
|
||
|
||
He looks at her with interest.
|
||
|
||
RIKER
|
||
What's your name, and tell me you
|
||
love jazz.
|
||
|
||
MINUET
|
||
My name is Minuet. I love all
|
||
jazz except Dixieland.
|
||
|
||
RIKER
|
||
Why not Dixieland?
|
||
|
||
MINUET
|
||
Because you can't dance to it.
|
||
|
||
RIKER
|
||
My girl.
|
||
|
||
26 ANGLE ON BYNARS
|
||
|
||
It's clear from his expression and attitude that
|
||
Riker's reaction is very meaningful. Zero Zero and
|
||
One One APPROACH the computer panel and make a slight
|
||
adjustment.
|
||
|
||
27 ANGLE ON TABLE WITH RIKER AND MINUET (OPTICAL)
|
||
|
||
A slight change occurs in Minuet. The way she looks at
|
||
Riker is more personal.
|
||
|
||
RIKER
|
||
(slyly)
|
||
What's a knockout like you doing
|
||
in a computer-generated joint like
|
||
this?
|
||
|
||
MINUET
|
||
Waiting for you.
|
||
|
||
Her voice is deeper, sexier. Her eyes are warm,
|
||
liquid, inviting.
|
||
|
||
RIKER
|
||
Waiting for me?!! You can't be
|
||
serious?
|
||
|
||
MINUET
|
||
Oh yes, Will -- I've never been
|
||
more serious in my life.
|
||
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT ONE 18.
|
||
|
||
27 CONTINUED:
|
||
|
||
Riker is knocked a little off balance by her look
|
||
and her directness. CAMERA ZOOMS THROUGH Riker and
|
||
Minuet to the Bynars, who TALK EXCITEDLY.
|
||
|
||
27A ANGLE ON BYNARS (OPTICAL)
|
||
|
||
ZERO ZERO (SUBTITLED)
|
||
(in Binary)
|
||
It's working. All we need...
|
||
|
||
ONE ONE (SUBTITLED)
|
||
(in Binary)
|
||
... is to hold him here for twenty
|
||
minutes.
|
||
|
||
They HEAD OFF through the open doors. The doors CLOSE,
|
||
then DISAPPEAR, REVEALING the back wall of the Club.
|
||
|
||
FADE OUT.
|
||
|
||
END OF ACT ONE
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 19.
|
||
|
||
ACT TWO
|
||
|
||
FADE IN:
|
||
|
||
28 INT. STARBASE (OPTICAL)
|
||
|
||
The Enterprise is still docked.
|
||
|
||
29 INT. MAIN BRIDGE
|
||
|
||
Wesley is at the Aft station watching two of the Bynars
|
||
-- Zero One and One Zero (they are always in pairs).
|
||
Quinteros is off to one side, checking. Wesley
|
||
APPROACHES him.
|
||
|
||
WESLEY
|
||
Do you mind if I ask you a
|
||
question about the Bynars?
|
||
|
||
QUINTEROS
|
||
Why not just ask them?
|
||
|
||
Makes sense to Wesley. He goes to them.
|
||
|
||
WESLEY
|
||
What is that high-speed sound you
|
||
make?
|
||
|
||
ZERO ONE
|
||
That is our...
|
||
|
||
ONE ZERO
|
||
... primary language.
|
||
|
||
WESLEY
|
||
How can humanoids process
|
||
information at that speed?
|
||
|
||
Zero One and One Zero point to each other's buffer.
|
||
(These are belt-carried oblong cases roughly 4" x 6"
|
||
x 2" deep, with CHASER LIGHTS.)
|
||
|
||
ZERO ONE
|
||
We store the information...
|
||
|
||
ONE ZERO
|
||
... with these buffers.
|
||
|
||
ZERO ONE
|
||
We receive information...
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 20.
|
||
|
||
29 CONTINUED:
|
||
|
||
ONE ZERO
|
||
... all the time...
|
||
|
||
ZERO ONE
|
||
... and save it...
|
||
|
||
ONE ZERO
|
||
... until we need it.
|
||
|
||
WESLEY
|
||
How did you happen to develop this
|
||
ability?
|
||
|
||
ONE ZERO
|
||
It happened over...
|
||
|
||
ZERO ONE
|
||
... a long period of time.
|
||
|
||
WESLEY
|
||
To have a society so interdependent
|
||
on computers has
|
||
tremendous advantages.
|
||
|
||
ONE ZERO
|
||
And a few...
|
||
|
||
ZERO ONE
|
||
...disadvantages.
|
||
|
||
Picard COMES OUT of his Ready Room.
|
||
|
||
PICARD
|
||
Everything under control, Ensign
|
||
Crusher?
|
||
|
||
WESLEY
|
||
Fine, Captain. I am just trying
|
||
to learn something about the
|
||
Bynars.
|
||
|
||
PICARD
|
||
Where's Commander Riker?
|
||
|
||
WESLEY
|
||
Holodeck Four. Shall I call him
|
||
for you, sir?
|
||
|
||
PICARD
|
||
No, I'll wander down and see
|
||
what's he doing to occupy himself.
|
||
Keep me apprised.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 21.
|
||
|
||
29 CONTINUED: (2)
|
||
|
||
WESLEY
|
||
Yes, sir.
|
||
|
||
Picard LEAVES.
|
||
|
||
30 INT. HOLODECK
|
||
|
||
Riker is on the bandstand playing with the trio.
|
||
|
||
31 ON RIKER
|
||
|
||
Slips into a short solo.
|
||
|
||
32 INTERCUT
|
||
|
||
Minuet listens, enthralled more by the man than by his
|
||
music.
|
||
|
||
33 ANGLE ON THE BAND
|
||
|
||
As the PIANO PLAYER takes over, the BASS PLAYER leans
|
||
over to Riker.
|
||
|
||
BASS
|
||
The chick digs you, man.
|
||
|
||
RIKER
|
||
What makes you say that?
|
||
|
||
BASS
|
||
Hey -- look at her.
|
||
|
||
34 ANGLE ON RIKER
|
||
|
||
He looks at Minuet.
|
||
|
||
35 ANGLE ON MINUET
|
||
|
||
Her eyes are shining and it's all for Riker.
|
||
|
||
36 ANGLE ON RIKER
|
||
|
||
He tries to defuse the look and his feelings.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 22.
|
||
|
||
36 CONTINUED:
|
||
|
||
RIKER
|
||
Maybe it's my music.
|
||
|
||
DRUMMER
|
||
Yeah, well - about that... Don't
|
||
give up your day job.
|
||
|
||
37 ANGLE ON THE BANDSTAND
|
||
|
||
Riker talks to the bass player, but really he's talking
|
||
to himself.
|
||
|
||
RIKER
|
||
It's all too real.
|
||
|
||
PIANIST
|
||
Yeah, Slim you got that
|
||
straight... too real is too
|
||
right.
|
||
|
||
Riker smiles.
|
||
|
||
RIKER
|
||
Thanks for letting me sit in.
|
||
|
||
BASS
|
||
Ain't nothin' to it.
|
||
|
||
Riker LEAVES the bandstand and HEADS for Minuet's
|
||
table.
|
||
|
||
BASS
|
||
(continuing)
|
||
Strange cat...
|
||
|
||
DRUMMER
|
||
I know this. If they're in town
|
||
-- we get 'em.
|
||
|
||
They laugh.
|
||
|
||
38
|
||
thru OMITTED
|
||
40
|
||
|
||
41 INT. HOLODECK IV
|
||
|
||
Riker APPROACHES the table. Minuet smiles a greeting.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 23.
|
||
|
||
41 CONTINUED:
|
||
|
||
RIKER
|
||
I am going to have to leave you
|
||
for a while and see to my duties.
|
||
|
||
MINUET
|
||
Your work is very important to
|
||
you.
|
||
|
||
RIKER
|
||
It is me -- it's what I am.
|
||
|
||
MINUET
|
||
Can we dance once before you
|
||
leave?
|
||
|
||
The invitation is so effortlessly offered -- and the
|
||
woman so appealing -- who could resist?
|
||
|
||
RIKER
|
||
Sure, why not.
|
||
|
||
She rises. He leads her to the little dance floor.
|
||
|
||
42 ON THE DANCE FLOOR
|
||
|
||
As they STEP ONTO the dance floor, Minuet turns and
|
||
folds herself into his arms. They dance. It's slow
|
||
and sexy.
|
||
|
||
RIKER
|
||
How did you learn to dance so
|
||
well?
|
||
|
||
MINUET
|
||
From following you.
|
||
|
||
Riker is puzzled and amused at the same time.
|
||
|
||
MINUET
|
||
I can anticipate your lead. Tell
|
||
me more about your work -- what
|
||
is it about it that consumes and
|
||
enthralls you?
|
||
|
||
RIKER
|
||
What an interesting choice of
|
||
words. That's exactly what it
|
||
does.
|
||
|
||
MINUET
|
||
You are very fortunate.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 24.
|
||
|
||
42 CONTINUED:
|
||
|
||
RIKER
|
||
I know that.
|
||
|
||
MINUET
|
||
At this point in your life to be
|
||
exactly where you want to be...
|
||
And it's wonderful that you
|
||
realize it.
|
||
|
||
RIKER
|
||
I'd be a fool not to know how
|
||
lucky I am to be on this ship
|
||
serving with this group of people.
|
||
It's a dream come true.
|
||
|
||
She snuggles in a little closer.
|
||
|
||
RIKER
|
||
(continuing)
|
||
Just like this.
|
||
|
||
MINUET
|
||
A dream? Is that what this is?
|
||
Is that what I am?
|
||
|
||
She fills up his senses. He holds her away, to look
|
||
at her. Her fragrance -- the lightness of her touch.
|
||
Her movement. Riker is becoming captivated by her.
|
||
As a woman can, she senses what he's feeling and leans
|
||
back to look in his eyes.
|
||
|
||
RIKER
|
||
I know you are a computer-generated
|
||
image... but your smell,
|
||
the way you feel, your touch, even
|
||
the way you talk and think is so
|
||
real.
|
||
|
||
MINUET
|
||
Thank you.
|
||
|
||
RIKER
|
||
How far can this relationship go?
|
||
I mean, how real are you?
|
||
|
||
MINUET
|
||
As real as you need me to be.
|
||
|
||
Then a look. To underline her words, she molds herself
|
||
against him.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 25.
|
||
|
||
42 CONTINUED: (2)
|
||
|
||
PICARD (O.S.)
|
||
Astounding.
|
||
|
||
At the sound of Picard's voice, Riker turns -- a little
|
||
like a kid with his hand in the cookie jar.
|
||
|
||
43 INT. HOLODECK
|
||
|
||
Picard is near the entrance taking it all in. The
|
||
band, the mood, and Riker with a beautiful woman.
|
||
|
||
RIKER
|
||
Captain!
|
||
|
||
Picard STEPS further INTO the room. Minuet is relaxed,
|
||
confident, as she waits.
|
||
|
||
PICARD
|
||
Sorry, Number One -- I didn't mean
|
||
to interrupt.
|
||
|
||
RIKER
|
||
It's all right, come in.
|
||
|
||
PICARD
|
||
You picked a wonderful locale.
|
||
Something I might have chosen
|
||
myself.
|
||
|
||
MINUET
|
||
Aren't you going to introduce me?
|
||
|
||
RIKER
|
||
Excuse me. Yes, yes, of course
|
||
I am. Captain Picard, this is
|
||
Minuet... Minuet, this is Captain
|
||
Jean-Luc Picard.
|
||
|
||
She steps over to take his hand.
|
||
|
||
MINUET
|
||
Enchante. Comme c'est merveilleux
|
||
de vous voir ici.
|
||
|
||
PICARD
|
||
Incroyable! Vous etes Parisienne?
|
||
|
||
Riker is surprised that she speaks French and a little
|
||
jealous that she and Picard are hitting it off so well.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 26.
|
||
|
||
43 CONTINUED:
|
||
|
||
MINUET
|
||
Au fonde c'est vrai, nous sommes
|
||
tous Parisienne.
|
||
|
||
PICARD
|
||
(laughs)
|
||
Oui, au fonde nous sommes tous
|
||
Parisienne. The spirit of that
|
||
city can always restore my soul.
|
||
|
||
His attitude is a mixture of curiosity, amusement and
|
||
amazement. He, like Riker, is thoroughly captivated by
|
||
Minuet. Her easy grace, her style, her beauty, and the
|
||
fact that she is a figment of a computer's binary
|
||
imagination.
|
||
|
||
MINUET
|
||
I have been hoping to meet you.
|
||
|
||
PICARD
|
||
(with a look to Riker)
|
||
Oh.
|
||
(lightly)
|
||
Have I been a topic of
|
||
conversation?
|
||
|
||
MINUET
|
||
Indirectly.
|
||
|
||
Riker smiles and shrugs.
|
||
|
||
MINUET
|
||
(continuing)
|
||
Join us, Jean-Luc.
|
||
|
||
Picard STEPS OVER and sits down at the table.
|
||
|
||
MINUET
|
||
(continuing)
|
||
A glass of wine?
|
||
|
||
PICARD
|
||
Thank you.
|
||
|
||
As she pours.
|
||
|
||
MINUET
|
||
Will was saying how much he enjoys
|
||
this assignment. It's a credit
|
||
to you. For a ship and crew to
|
||
function well it always starts
|
||
with the captain. You set the
|
||
tone.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 27.
|
||
|
||
43 CONTINUED: (2)
|
||
|
||
PICARD
|
||
(to Minuet, graciously)
|
||
At the moment, it's you who are
|
||
setting the tone.
|
||
(then, to Riker)
|
||
The sophistication of this
|
||
programming is remarkable.
|
||
|
||
MINUET
|
||
In what way?
|
||
|
||
PICARD
|
||
The Holodeck has been able to give
|
||
us woodlands and ski slopes and
|
||
figures that fight and fictional
|
||
characters with which we can
|
||
interact -- but you are quite
|
||
different. You adapt. You spoke
|
||
French to me.
|
||
|
||
MINUET
|
||
It's very simple. When I heard
|
||
your name, I merely accessed the
|
||
foreign language bank.
|
||
|
||
PICARD
|
||
Impressive.
|
||
|
||
MINUET
|
||
Oui, mon choux.
|
||
|
||
Riker is very impressed.
|
||
|
||
43A INT. OBSERVATION LOUNGE
|
||
|
||
Data and Geordi are still working on his painting which
|
||
shows signs of change, if not improvement. Data has
|
||
stopped and is gazing vaguely off in space.
|
||
|
||
GEORDI
|
||
Now what are you doing?
|
||
|
||
DATA
|
||
I am awaiting inspiration.
|
||
|
||
WESLEY'S COM VOICE
|
||
Commander Data.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 28.
|
||
|
||
43A CONTINUED:
|
||
|
||
DATA
|
||
This is Commander Data, go ahead.
|
||
|
||
43B INT. MAIN BRIDGE
|
||
|
||
Wesley's at the aft Science Station. The Bynars are
|
||
slightly off to one side watching him with great
|
||
interest.
|
||
|
||
WESLEY
|
||
I'm getting an indication of
|
||
possible trouble in Main
|
||
Engineering.
|
||
|
||
DATA'S COM VOICE
|
||
Can you be more specific?
|
||
|
||
WESLEY
|
||
Not very much. I'm reading a
|
||
problem with the magnetic field
|
||
which contains the antimatter.
|
||
Could you come up here?
|
||
|
||
GEORDI'S COM VOICE
|
||
We'll go to Engineering since
|
||
that's where the trouble is. Wes,
|
||
don't disturb the captain or
|
||
Commander Riker until we check
|
||
this out.
|
||
|
||
WESLEY
|
||
Aye, sir.
|
||
|
||
He turns, looks at the Bynars. They go back to work.
|
||
|
||
44 INT. MAIN ENGINEERING
|
||
|
||
The area is quiet. The lights are down. Geordi and
|
||
Data ENTER. Surprised no one is there. They are
|
||
looking for anything. As he moves vaguely around,
|
||
something catches Geordi's extremely efficient eye.
|
||
His attitude changes. He moves quickly to the
|
||
COMPUTER and begins working.
|
||
|
||
GEORDI
|
||
bridge, this is Main Engineering.
|
||
|
||
WESLEY'S COM VOICE
|
||
This is the bridge.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 29.
|
||
|
||
44 CONTINUED:
|
||
|
||
GEORDI
|
||
Are you running any test programs?
|
||
|
||
WESLEY'S COM VOICE
|
||
No.
|
||
|
||
GEORDI
|
||
Are the Bynars?
|
||
|
||
WESLEY'S COM VOICE
|
||
Not to my knowledge. Is something
|
||
wrong?
|
||
|
||
GEORDI
|
||
I don't know. There's nobody on
|
||
duty here, and we're getting a
|
||
strange reading from the magnetic
|
||
containment field.
|
||
|
||
Data is at another computer terminal.
|
||
|
||
DATA
|
||
The field is deteriorating.
|
||
Contact the captain immediately.
|
||
I am initiating Red Alert.
|
||
|
||
Data touches the com panel and the Red Alert KLAXON
|
||
SOUNDS.
|
||
|
||
GEORDI
|
||
I can't maintain the integrity
|
||
of the containment field.
|
||
|
||
DATA
|
||
If the antimatter is released the
|
||
ship will be destroyed.
|
||
|
||
GEORDI
|
||
Nothing I do has any effect. I'm
|
||
losing it. I have rechecked every
|
||
circuit. This is not a misread
|
||
by the computer.
|
||
|
||
Data calmly touches the com panel.
|
||
|
||
DATA
|
||
Computer -- situation analysis.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT TWO 30.
|
||
|
||
44 CONTINUED: (2)
|
||
|
||
COMPUTER
|
||
Estimate release of antimatter
|
||
in four minutes eighteen seconds -- seventeen
|
||
seconds -- sixteen
|
||
seconds...
|
||
|
||
DATA
|
||
Bridge -- Engineering.
|
||
|
||
The worried voice of Wesley Crusher.
|
||
|
||
WESLEY'S COM VOICE
|
||
Yes. This is the bridge.
|
||
|
||
DATA
|
||
Alert starbase. Inform them we
|
||
are abandoning the ship. Tell
|
||
them why. Initiate the automated
|
||
sequence for departure, lay in
|
||
a course and speed to put maximum
|
||
distance between the Enterprise
|
||
and any inhabited planet.
|
||
|
||
WESLEY'S COM VOICE
|
||
Shouldn't we wait for the
|
||
captain's approval?
|
||
|
||
DATA
|
||
There is no time. Based on all
|
||
the information presently
|
||
available the decision is correct.
|
||
(touches the com panel)
|
||
This is Lieutenant Commander Data
|
||
speaking for the captain -- abandon
|
||
ship -- this is not a drill.
|
||
|
||
45 INT. ENTERPRISE - VARIOUS SHOTS
|
||
|
||
The KLAXON SCREAMS over a SERIES OF SHOTS of the
|
||
ENTERPRISE BEING EVACUATED.
|
||
|
||
DATA'S COM VOICE
|
||
I say again. All personnel
|
||
abandon ship. Abandon ship -- this
|
||
is not a drill -- this is not a
|
||
drill.
|
||
|
||
FADE OUT.
|
||
|
||
END OF ACT TWO
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 31.
|
||
|
||
ACT THREE
|
||
|
||
FADE IN:
|
||
|
||
A46 EXT. SPACE - STARBASE 74 (OPTICAL)
|
||
|
||
REESTABLISHING.
|
||
|
||
B46 INT. STARBASE 74 (OPTICAL)
|
||
|
||
The Enterprise is docked.
|
||
|
||
46 INT. ENTERPRISE (SERIES OF SHOTS)
|
||
|
||
People running down the corridors, the KLAXON still
|
||
BLARING.
|
||
|
||
47 OMITTED
|
||
|
||
48 INT. ENTERPRISE CORRIDORS (CONTINUE SERIES OF SHOTS)
|
||
|
||
People still running. Over this:
|
||
|
||
COMPUTER VOICE
|
||
(echoing)
|
||
Decks One through Four to Cargo
|
||
Transporters. Decks Five through
|
||
Ten: Transporters: One-Two,
|
||
Three-Four. Decks Six through
|
||
Sixteen: Transporters: Five-Six,
|
||
Seven-Eight, Nine-Ten. Decks
|
||
Seventeen through Twenty-eight to
|
||
Transporters: Eleven-Twelve,
|
||
Thirteen-Fourteen. Decks Twenty-nine
|
||
through Forty-two:
|
||
Transporters: Fifteen-Sixteen,
|
||
Seventeen-Eighteen, Nineteen-Twenty.
|
||
This is not a drill.
|
||
|
||
(This Voice-Over dialogue should run from SCENE 46
|
||
through SCENE 49.)
|
||
|
||
49 INT. AIR-LOCK
|
||
|
||
Those people still aboard on the lower decks are SEEN
|
||
RUNNING OUT of the connecting ramp into the Starbase.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 32.
|
||
|
||
49A INT. STARBASE - CONFERENCE ROOM (NO WINDOWS)
|
||
|
||
Beverly is talking to Doctor Terence Epstein, a young
|
||
man of twenty-six. She has her notes spread out on
|
||
a table.
|
||
|
||
BEVERLY
|
||
When I reviewed your fifth paper
|
||
on molecular biology, I knew I
|
||
was on the right track. You
|
||
defined the problem as
|
||
conductivity -- and that's exactly
|
||
what...
|
||
|
||
Beverly is distracted by a flurry of ACTIVITY outside.
|
||
She stretches to look out.
|
||
|
||
STARBASE COMPUTER (V.O.)
|
||
Attention all personnel.
|
||
Emergency evacuation of USS
|
||
Enterprise in progress. Report
|
||
to your stations.
|
||
|
||
BEVERLY
|
||
Oh, no! Something's happened
|
||
to the Enterprise. That's my
|
||
ship!
|
||
|
||
And she BOLTS from the room.
|
||
|
||
50 INT. ENTERPRISE - TRANSPORTER ROOM
|
||
|
||
People are converging, bunching up. INCLUDE Wesley.
|
||
|
||
AD LIBBED VOICES
|
||
Hurry up! We don't have much
|
||
time! The ship'll be leaving in
|
||
a minute!
|
||
|
||
51 INT. STARBASE COMMAND CENTER - NEW ANGLE
|
||
|
||
Drawn by the emergency SIRENS and frantic activity
|
||
around the Enterprise, Tasha and Worf ENTER to see what
|
||
is happening.
|
||
|
||
WORF
|
||
What's going on?
|
||
|
||
QUINTEROS
|
||
Please stand out of the way.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 33.
|
||
|
||
51 CONTINUED:
|
||
|
||
BEVERLY
|
||
The Enterprise is being evacuated.
|
||
|
||
WORF
|
||
Why?
|
||
|
||
BEVERLY
|
||
Some problem in Engineering.
|
||
|
||
TASHA
|
||
Get the security team together.
|
||
|
||
WORF
|
||
Aye, Lieutenant.
|
||
|
||
52 INT. MAIN BRIDGE
|
||
|
||
Data and Geordi are closing down their consoles.
|
||
|
||
DATA (V.O.)
|
||
Ship's log. Supplemental. This
|
||
is Lieutenant Commander Data.
|
||
I have put the ship on automated
|
||
departure and ordered the complete
|
||
evacuation of the Enterprise.
|
||
Everyone remaining is leaving on
|
||
foot or beaming off.
|
||
|
||
Data takes a second to punch his console.
|
||
|
||
DATA
|
||
Computer, where are the captain
|
||
and Commander Riker?
|
||
|
||
COMPUTER VOICE
|
||
All decks empty.
|
||
|
||
DATA
|
||
Curious. The captain is
|
||
usually the last to leave.
|
||
|
||
GEORDI
|
||
Let's go! We only have forty-one
|
||
seconds.
|
||
|
||
Data shuts down his console. They GET INTO the
|
||
turbolift. As the doors CLOSE:
|
||
|
||
GEORDI
|
||
I think we're the last.
|
||
|
||
DATA
|
||
I hope we are the last.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 34.
|
||
|
||
53 INT. STARBASE SPACE STATION COMMAND CENTER (OPTICAL)
|
||
|
||
It is a room about the size of the main bridge. There
|
||
is a large window through which WE SEE the now "empty"
|
||
ENTERPRISE as it starts to BACK OUT. Quinteros is in
|
||
charge of the operation. Enterprise people are
|
||
ARRIVING. Wesley has joined Worf and Tasha as Data
|
||
and Geordi BEAM IN.
|
||
|
||
WORF
|
||
Did you see the captain and
|
||
Commander Riker?
|
||
|
||
DATA
|
||
No. Are they not here on the
|
||
Starbase?
|
||
|
||
TASHA
|
||
No.
|
||
|
||
GEORDI
|
||
Are you saying they are still on
|
||
the Enterprise?
|
||
|
||
WORF
|
||
Yes. Sir, where's your
|
||
Transporter Room?
|
||
|
||
DATA
|
||
We have to beam back and get them.
|
||
|
||
QUINTEROS
|
||
You haven't time!
|
||
|
||
STARBASE COM VOICE
|
||
This is Starbase 74. The
|
||
Enterprise magnetic field is
|
||
regenerating.
|
||
|
||
GEORDI
|
||
How is that possible?
|
||
|
||
STARBASE COM VOICE
|
||
Unknown.
|
||
|
||
TASHA
|
||
That changes nothing. The captain
|
||
and Commander Riker must be in
|
||
trouble, or they'd be here.
|
||
|
||
Quinteros grabs her and points.
|
||
|
||
QUINTEROS
|
||
Look!
|
||
|
||
Data turns to look.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 35.
|
||
|
||
54 OMITTED
|
||
|
||
55 DATA'S POV - OUT THROUGH STARBASE WINDOW (OPTICAL)
|
||
|
||
The SHIP continues to BACK AWAY from its mooring.
|
||
|
||
QUINTEROS (O.S.)
|
||
Your ship's almost clear.
|
||
|
||
A56 INT. STARBASE (OPTICAL)
|
||
|
||
The Enterprise EXITS out through the entrance port
|
||
doors.
|
||
|
||
56 EXT. SPACE - ENTERPRISE AND STARBASE (OPTICAL)
|
||
|
||
The ship clears the starbase, turns, and WARPS AWAY,
|
||
leaving starbase far behind.
|
||
|
||
57 INT. STARBASE (OPTICAL)
|
||
|
||
as the members of the Enterprise crew stare at the
|
||
emptiness which had been their ship.
|
||
|
||
STARBASE COM VOICE
|
||
The USS Enterprise has departed
|
||
in excess of warp one.
|
||
|
||
58 EXT. SPACE - THE ENTERPRISE (OPTICAL)
|
||
|
||
at warp speed as it RUSHES ON toward an unknown
|
||
destination.
|
||
|
||
59 INT. ENTERPRISE
|
||
|
||
CAMERA ROAMS the decks and corridors. All EMPTY.
|
||
Warning LIGHTS still continue to FLASH.
|
||
|
||
60 INT. HOLODECK
|
||
|
||
WE COME INTO THE SCENE, as Picard, Riker, and Minuet
|
||
are talking. Minuet reaches over and lightly touches
|
||
Riker's arm.
|
||
|
||
MINUET
|
||
... and the boy never found out?
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 36.
|
||
|
||
60 CONTINUED:
|
||
|
||
RIKER
|
||
Oh, yes, but not until later.
|
||
(lightly)
|
||
When he finally walked in with
|
||
his younger sister.
|
||
|
||
MINUET
|
||
And I'll bet both of them were
|
||
all smiles.
|
||
|
||
RIKER
|
||
Yes. And we knew right then both
|
||
of them had found out.
|
||
|
||
MINUET
|
||
You handled it in a very
|
||
thoughtful way. You are very good
|
||
with people.
|
||
(to Picard)
|
||
Don't you agree, Jean-Luc?
|
||
|
||
Riker and Minuet hold each others' eyes for a moment.
|
||
|
||
PICARD
|
||
She's very different from any
|
||
images we've experienced on the
|
||
Holodeck, isn't she? More -- you
|
||
might say -- intuitive.
|
||
|
||
RIKER
|
||
It's as though she was plugged
|
||
into my subconscious and can
|
||
anticipate what I want her to say
|
||
even before I'm aware of it
|
||
myself.
|
||
|
||
PICARD
|
||
I suppose it's an understandable
|
||
progression. Computers make
|
||
decisions based on inputs and we
|
||
humans give off many subtle signs
|
||
which communicate our emotions.
|
||
|
||
RIKER
|
||
It's uncanny. I could develop
|
||
feelings for Minuet. A desire
|
||
exactly as I would for any woman.
|
||
|
||
Minuet smiles.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 37.
|
||
|
||
60 CONTINUED: (2)
|
||
|
||
PICARD
|
||
Doesn't love always begin that
|
||
way? With the illusion being more
|
||
real than the woman?
|
||
|
||
MINUET
|
||
Oh, Jean-Luc, spoken like a true
|
||
Frenchman.
|
||
|
||
Picard smiles.
|
||
|
||
PICARD
|
||
I think I'll be leaving.
|
||
|
||
Minuet turns to Picard.
|
||
|
||
MINUET
|
||
Oh, don't go.
|
||
|
||
PICARD
|
||
Two's company.
|
||
|
||
MINUET
|
||
We have time -- there's no rush.
|
||
I'd like it very much if you
|
||
would stay.
|
||
|
||
RIKER
|
||
Yes, stay, Captain.
|
||
|
||
PICARD
|
||
This is your diversion, Number
|
||
One. Not mine.
|
||
|
||
MINUET
|
||
Wait -- we haven't danced.
|
||
|
||
PICARD
|
||
I don't dance.
|
||
|
||
MINUET
|
||
Then some more wine.
|
||
|
||
PICARD
|
||
Thank you, no.
|
||
|
||
MINUET
|
||
Wait -- please. Please don't go -- you
|
||
can't. Not yet.
|
||
|
||
PICARD
|
||
What?
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 38.
|
||
|
||
60 CONTINUED: (3)
|
||
|
||
RIKER
|
||
Why -- Minuet -- what's the matter?
|
||
Why can't he leave?
|
||
|
||
Minuet FREEZES as they LEAVE her and stride quickly
|
||
to the arch.
|
||
|
||
PICARD
|
||
(to computer)
|
||
Exit.
|
||
|
||
The doors OPEN. The RED ALERT is still FLASHING.
|
||
|
||
61 RIKER AND PICARD - AT THE ARCH
|
||
|
||
They react with shock -- like a dousing of ice water.
|
||
|
||
PICARD
|
||
(touches a panel)
|
||
bridge, this is the captain.
|
||
Situation report.
|
||
|
||
No response, so Riker touches his communicator.
|
||
|
||
RIKER
|
||
Riker to bridge.
|
||
|
||
Still nothing. The two exchange looks. Picard steps
|
||
halfway into the corridor and operates the com panel.
|
||
Riker stands with him.
|
||
|
||
62 FRESH ANGLE
|
||
|
||
Picard and Riker are framed in the doorway, with
|
||
Minuet, MOTIONLESS, in the background.
|
||
|
||
PICARD
|
||
(tense)
|
||
Computer! Explain Red Alert.
|
||
|
||
COMPUTER VOICE
|
||
Initiated as a programmed
|
||
response. The magnetic field
|
||
containing the antimatter had
|
||
weakened. There was no fail-safe
|
||
available.
|
||
|
||
PICARD
|
||
Why wasn't I notified?
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 39.
|
||
|
||
62 CONTINUED:
|
||
|
||
COMPUTER VOICE
|
||
Unknown.
|
||
|
||
PICARD
|
||
Present condition.
|
||
|
||
COMPUTER VOICE
|
||
The magnetic field is now
|
||
restored. Containment is
|
||
restored. Propulsion is at
|
||
maximum efficiency.
|
||
|
||
PICARD
|
||
(beat, thinks)
|
||
Locate Lieutenant Commander Data.
|
||
|
||
COMPUTER VOICE
|
||
Not on board the Enterprise.
|
||
|
||
PICARD
|
||
Explain.
|
||
|
||
COMPUTER VOICE
|
||
All Enterprise personnel except
|
||
the captain and first officer have
|
||
been evacuated.
|
||
|
||
PICARD
|
||
Evacuated!? Was the condition
|
||
that critical?
|
||
|
||
COMPUTER VOICE
|
||
Yes.
|
||
|
||
A thought occurs to Riker.
|
||
|
||
RIKER
|
||
Are we still docked on the
|
||
starbase?
|
||
|
||
COMPUTER VOICE
|
||
No.
|
||
|
||
PICARD
|
||
Position report.
|
||
|
||
COMPUTER VOICE
|
||
Coordinates four-one-five-nine
|
||
point two-six by eight-one-nine-two-one
|
||
by three-one-two. Heading
|
||
Two-three-three mark four-five.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 40.
|
||
|
||
62 CONTINUED: (2)
|
||
|
||
PICARD
|
||
Destination?
|
||
|
||
COMPUTER VOICE
|
||
Planet Bynaus in the Beta Magellan
|
||
system.
|
||
|
||
RIKER
|
||
The Bynars!
|
||
|
||
PICARD
|
||
Am I to understand that the Bynars
|
||
have stolen the Enterprise?
|
||
|
||
COMPUTER VOICE
|
||
That information is not available.
|
||
|
||
Picard turns back to Minuet.
|
||
|
||
63 INT. HOLODECK IV
|
||
|
||
Picard APPROACHES Riker and Minuet. She COMES ALIVE
|
||
when he speaks to her.
|
||
|
||
PICARD
|
||
(a beat, strong)
|
||
It's the Bynars -- and you're part
|
||
of this.
|
||
|
||
MINUET
|
||
(without hesitation)
|
||
Yes.
|
||
|
||
RIKER
|
||
They made you the lure to keep
|
||
me here! They programmed you
|
||
while I was relaxing.
|
||
|
||
MINUET
|
||
Yes. When they saw your interest
|
||
in me, they thought I could
|
||
distract you and keep you here.
|
||
|
||
PICARD
|
||
That explains, Riker... What about
|
||
me?
|
||
|
||
MINUET
|
||
Your being here was just a
|
||
fortunate happenstance.
|
||
|
||
STAR TREK: "11001001" - 11/19/87 - ACT THREE 41.
|
||
|
||
63 CONTINUED:
|
||
|
||
RIKER
|
||
Why do they want me?
|
||
|
||
PICARD
|
||
What do they want with the
|
||
Enterprise? What's their purpose?
|
||
|
||
MINUET
|
||
I am not programmed to give you
|
||
that information.
|
||
|
||
PICARD
|
||
Come on, Number One. We've got
|
||
to regain control of our ship!
|
||
|
||
Riker and Picard HEAD OUT. Minuet FREEZES behind them.
|
||
|
||
64 INT. STARBASE CONTROL
|
||
|
||
With Geordi, Data, Tasha, Wesley and Worf.
|
||
|
||
GEORDI
|
||
What do we do?
|
||
|
||
DATA
|
||
Which is the nearest Starfleet
|
||
vessel?
|
||
|
||
QUINTEROS
|
||
The Trieste.
|
||
|
||
DATA
|
||
I know the Trieste. Too small,
|
||
too slow.
|
||
|
||
QUINTEROS
|
||
Plus it's sixty-six hours away.
|
||
|
||
DATA
|
||
Where are the Bynars?
|
||
|
||
QUINTEROS
|
||
... I haven't seen them.
|
||
|
||
DATA
|
||
Then they are obviously still
|
||
aboard. Another Starfleet vessel
|
||
must be sent to intercept the
|
||
Enterprise at Bynaus. They might
|
||
be taking the ship to their home
|
||
planet.
|
||
|
||
|