4244 lines
122 KiB
Plaintext
4244 lines
122 KiB
Plaintext
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I'm pretty happy with the comments I've gotten so far. They've been very
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helpful. A couple of people have expressed dissatisfaction with the computer's
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origins, and several others have enjoyed that part of the story. I'd like
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to hear from everyone about that, if I can.
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Should the computer be named "Instructor?" That would make a few lines
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less awkward.
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Did I make the helmsman too weird? The thing with her hands could, I think,
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be used to show the tension on the bridge mounting.
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Are people dissatisfied with the speed of the ending, particularly the
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sudden discovery of the solution? I've tried to drop a few hints this
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time around, so it shouldn't come as a complete shock.
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Anyway, here's the change list. Search for the word "TEASER" to skip it
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and the sets/characters/pronunciation pages.
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Act Change
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--- ------
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3 Takkarth's reaction to Picard's report wasn't quite right.
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1 Worf mentions that the communicators are under computer control.
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0 Picard (captain's log) says an accident destroyed the replicators
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0 Removed the foreshadowing in Picard's talk with Takkarth
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0 Picard orders the Enterprise to slow down, instead of stop.
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0 Changed Picard's "Scanners at maximum" line
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1 Riker no longer says, "Not a moment too soon."
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1 Picard's line about the temperamental computer now mentions a
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computer that's vulnerable to outside interference.
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1 Picard asks the computer for its status before engaging the engines.
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1 Beverly doesn't ask for Picard specifically.
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1 Data no longer says, "we must report this to the Captain."
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2 Picard to Troi: "our new lifeform" -> "this new... entity"
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2 Added additional clarification to Troi's explanation of Riker.
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2 Removed Troi's "You should talk..." line.
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2 Removed Troi's "I'm starting to sound like the Captain" line.
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3 Picard: "I want to be able to control where we go" -> "I want to
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be able to pull the Enterprise out of danger"
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3 Removed Picard's hedging in his report to Takkarth.
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3 Picard is a little more specific to Takkarth about what's going on.
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4 Geordi: "it's a good thing my guesses are always way off" ->
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"let's hope I'm not a good guesser."
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4 Data: "...compared to those of the Enterprise" -> "compared to
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those of the ship's computer"
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4 Picard gives Geordi the go-ahead to try his alternate warp
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shutdown plan.
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5 Data explains that the time dilation will get worse as they near
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the black hole.
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5 Picard is speechless instead of furious.
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5 Changed the wording of Picard's personal log entry.
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1 Geordi: "This is unusual" -> "This is strange"
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1 Geordi explains that he has to reset the computer manually, from the
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computer core.
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1 Data no longer says that the entire computer is running the
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holodeck -- that was inaccurate.
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3 Takkarth: "Enjoy." -> "Good luck."
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3 Pietgen X-1 -> T'Kronn X-1
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5 Geordi makes it clear that he couldn't've reset the computer.
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5 The outpost is mentioned by name in Picard's log entry.
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1 Picard no longer orders the Enterprise back to warp speed when the
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computer comes back up.
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2 Picard asks Geordi if it's safe to start moving again.
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2 Additional information about the computer's speed reading.
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5 Minor dialogue tweak: Riker: "The shuttle?" -> "A shuttle?"
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3 Picard no longer says that they've lost voice control of the computer.
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4 Changed wording of Geordi's explanation about why he's having no
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luck.
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5 Added a stardate to the final log entry. Eight days have passed
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since the start of the episode, with time dilation.
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4 Removed Troi's comment about pets.
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5 Geordi explains why the computer didn't transport the crystals as
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soon as they were removed.
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3 Data guesses about why the instructor went away.
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3 Replaced the Hinterith system with the Hinterith Cluster (which is
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big, so is far more likely to be in the Enterprise's path.)
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0345 Breathed a little life into the helmsman.
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_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
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"Awakening"
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Written by
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Steven Grimm
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Story by
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Steven Grimm
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and
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Michael Wolf
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Copyright (C) 1991, Steven Grimm
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STAR TREK: "Awakening" - Draft 2 - CAST
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_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
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"Awakening"
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_C_A_S_T
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PICARD
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RIKER
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DATA
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TROI
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BEVERLY
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GEORDI
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WORF
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O'BRIEN
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DIRECTOR TAKKARTH
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ATHLETIC INSTRUCTOR
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ENSIGN JULIE BURNHAM
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COMPUTER VOICE
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_N_O_N-_S_P_E_A_K_I_N_G
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MISC. ENTERPRISE CREW
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ENGINEERING STAFF
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SECURITY TEAM
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STAR TREK: "Awakening" - Draft 2 - SETS
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_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
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"Awakening"
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_S_E_T_S
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_I_N_T_E_R_I_O_R_S _E_X_T_E_R_I_O_R_S
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USS ENTERPRISE USS ENTERPRISE
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BRIDGE
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READY ROOM SHUTTLECRAFT
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ENGINEERING
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HOLODECK
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RACQUETBALL COURT
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CONFERENCE ROOM
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CORRIDOR
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TROI'S QUARTERS
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TEN-FORWARD
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STAR TREK: "Awakening" - Draft 2 - PRONUNCIATION
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_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
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"Awakening"
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_P_R_O_N_U_N_C_I_A_T_I_O_N _G_U_I_D_E
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TAK-arth
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HINT-uh-rith
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Steven Grimm / "Awakening" - Rev. 2 - TEASER 1.
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_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
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"Awakening"
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_T_E_A_S_E_R
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FADE IN:
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EXT. SPACE -- THE ENTERPRISE
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At warp speed.
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PICARD (VO)
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Captain's log, stardate 45201.6. We
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are proceeding on schedule to Deep
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Space Outpost Twenty-Eight, where an
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accident has resulted in the
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destruction of the outpost's
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replicators.
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INT. READY ROOM
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PICARD is seated, talking to DIRECTOR TAKKARTH on his viewer.
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Takkarth is a cheerful elderly woman of the same race as Captain
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Rixx from "Conspiracy."
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TAKKARTH
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Our emergency supplies should hold out
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for, oh, another week or so. Of
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course, we're still anxious to get the
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replicators up and running. A week of
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emergency rations has started wrecking
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my taste buds.
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PICARD
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Barring unforeseen circumstances, we
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should arrive there in another two
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days.
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TAKKARTH
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Good. Well, keep me posted.
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PICARD
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Rest assured, Director. You'll be
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eating well again shortly.
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TAKKARTH
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That'll be a pleasant change. All
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right... Takkarth out.
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PICARD
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Picard out.
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Steven Grimm / "Awakening" - Rev. 2 - TEASER 2.
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Picard smiles to himself. Takkarth isn't what most people would
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expect of a deep-space outpost commander...
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Suddenly, the ship goes to RED ALERT, the klaxon sounding.
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Picard looks up in alarm, and makes a beeline for the door.
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INT. BRIDGE
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DATA and WORF are at their stations. ENSIGN JULIE BURNHAM is at
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the helm. She's a bit of a character; when she's not working the
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controls, she obviously has a favorite piece of music in her
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head, unobtrusively tapping out the rhythm in the air with her
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hands and silently mouthing the words. It's obviously second
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nature, not conscious, and doesn't interfere with her working of
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the controls at all. In fact, she's about as fast at the
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controls as Data is.
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RIKER is in the captain's chair; he gets up as Picard enters.
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PICARD
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Report, Number One.
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RIKER
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Shields were activated by the
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computer. Mister Data?
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DATA
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Sensors are detecting an
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electrogravitic field distortion. The
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distortion is eighty-three kilometers
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to starboard. It is moving parallel
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to us, at warp factor six.
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PICARD
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Go to one-half impulse.
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(to Riker)
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Let's see if it's really following us.
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BURNHAM
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One-half impulse, aye, sir.
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EXT. SPACE -- THE ENTERPRISE
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As it drops out of warp.
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INT. BRIDGE
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DATA
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Captain, the distortion has slowed as
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well. It is intensifying.
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Steven Grimm / "Awakening" - Rev. 2 - TEASER 3.
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PICARD
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Shields to maximum.
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WORF
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Aye, sir.
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PICARD
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Put it on main viewer.
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Data puts the phenomenon on the viewscreen. It's a swirling hole
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in space, which is starting to look exactly like the time rift
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from "Yesterday's Enterprise."
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RIKER
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(to Picard)
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Looks familiar, doesn't it?
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PICARD
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Analysis, Mister Data?
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DATA
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This appears to be a Kerr loop, sir, a
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rift in space, and possibly in time.
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PICARD
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Scanners at maximum. I want as much
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information as we can gather. Mister
|
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Worf, ready a class-one probe for
|
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launch.
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WORF
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Aye, sir.
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(beat)
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Captain, the disturbance is scanning
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_u_s.
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RIKER
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How can a hole in space scan
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something?
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DATA
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Perhaps whatever lies on the other
|
|||
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side is directing scans into the
|
|||
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distortion.
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WORF
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Scans have stopped, Captain.
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(something beeps)
|
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Captain, we are receiving a coded,
|
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top-priority transmission.
|
|||
|
|
|||
|
PICARD
|
|||
|
Source?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - TEASER 4.
|
|||
|
|
|||
|
|
|||
|
WORF
|
|||
|
(surprised)
|
|||
|
It appears to be coming from the
|
|||
|
disturbance.
|
|||
|
|
|||
|
RIKER
|
|||
|
(to Picard)
|
|||
|
Another Federation ship?
|
|||
|
|
|||
|
PICARD
|
|||
|
On screen, Lieutenant.
|
|||
|
|
|||
|
WORF
|
|||
|
(reading his console)
|
|||
|
The transmission is not directed to
|
|||
|
you, Captain. It appears to be... a
|
|||
|
message for our ship's computer.
|
|||
|
|
|||
|
PICARD
|
|||
|
(did he hear that right?)
|
|||
|
For the computer?
|
|||
|
|
|||
|
DATA
|
|||
|
Confirmed, Captain. The computer is
|
|||
|
processing.
|
|||
|
|
|||
|
WORF
|
|||
|
Transmission has ended.
|
|||
|
|
|||
|
RIKER
|
|||
|
What's going on here?
|
|||
|
|
|||
|
Picard is about to attempt a reply when the viewscreen catches
|
|||
|
his eye. The rift is collapsing quickly. Before anyone can do
|
|||
|
anything about it, the rift is gone.
|
|||
|
|
|||
|
PICARD
|
|||
|
Mister Data?
|
|||
|
|
|||
|
DATA
|
|||
|
The distortion has vanished
|
|||
|
completely, sir. Sensors now detect
|
|||
|
no abnormalities within range.
|
|||
|
|
|||
|
PICARD
|
|||
|
Analysis of the transmission?
|
|||
|
|
|||
|
Data starts tapping buttons, when suddenly his console goes dead.
|
|||
|
All the buttons go dark. Data looks up, to see that the rest of
|
|||
|
the bridge is faring no better.
|
|||
|
|
|||
|
PICARD
|
|||
|
Computer?
|
|||
|
(beat)
|
|||
|
Computer, respond.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - TEASER 5.
|
|||
|
|
|||
|
|
|||
|
DATA
|
|||
|
Computer control has been lost, sir.
|
|||
|
No bridge systems are responding.
|
|||
|
|
|||
|
RIKER
|
|||
|
Without the computer, this ship can't
|
|||
|
go anywhere or do anything.
|
|||
|
|
|||
|
DATA
|
|||
|
Correct. For the moment, we appear to
|
|||
|
be stranded.
|
|||
|
|
|||
|
The bridge crew reacts to this news.
|
|||
|
|
|||
|
FADE OUT.
|
|||
|
|
|||
|
END OF TEASER.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 6.
|
|||
|
|
|||
|
|
|||
|
_A_C_T _O_N_E
|
|||
|
FADE IN:
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
Floating dead in space.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
The computer is still nowhere to be seen. Data and Worf have one
|
|||
|
of the computer panels open, and are examining its insides;
|
|||
|
Picard and Riker are standing close by, watching.
|
|||
|
|
|||
|
DATA
|
|||
|
I can detect nothing abnormal in the
|
|||
|
circuitry here.
|
|||
|
|
|||
|
WORF
|
|||
|
It should work.
|
|||
|
|
|||
|
RIKER
|
|||
|
So if there's nothing wrong _h_e_r_e...
|
|||
|
|
|||
|
DATA
|
|||
|
Then we can assume that a fault has
|
|||
|
developed in the computer itself.
|
|||
|
|
|||
|
WORF
|
|||
|
Developed... or been caused.
|
|||
|
|
|||
|
PICARD
|
|||
|
Can it be repaired?
|
|||
|
|
|||
|
DATA
|
|||
|
There is insufficient information. If
|
|||
|
the transmission is in fact the cause
|
|||
|
of this malfunction, then it should be
|
|||
|
possible to deactivate the computer
|
|||
|
and restore it to a previous state
|
|||
|
using the core archives.
|
|||
|
|
|||
|
RIKER
|
|||
|
But we can't do that from here if the
|
|||
|
computer's ignoring us.
|
|||
|
|
|||
|
DATA
|
|||
|
That is, unfortunately, true.
|
|||
|
|
|||
|
PICARD
|
|||
|
We need to establish communications
|
|||
|
with Main Engineering. They can shut
|
|||
|
the computer down manually from there.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 7.
|
|||
|
|
|||
|
|
|||
|
WORF
|
|||
|
But the computer controls all
|
|||
|
communications. Even our
|
|||
|
communicators.
|
|||
|
|
|||
|
PICARD
|
|||
|
Then work around it. There must be a
|
|||
|
way.
|
|||
|
|
|||
|
Data and Worf exchange a look, then go back to work on the panel.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
The engine coil is dark and silent, as are all the usually active
|
|||
|
display screens. We see GEORDI lying on his side, next to an
|
|||
|
open wall panel, fiddling with the machinery inside. Various
|
|||
|
components are scattered on the floor next to him. While he's
|
|||
|
holding something inside the wall with one hand, he fumbles for a
|
|||
|
component with the other, then reaches in and plugs the component
|
|||
|
in. Some lights come on inside the wall. Geordi smiles,
|
|||
|
triumphant, and gets up, straightening his shirt.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Bridge, this is Engineering. Can you
|
|||
|
hear me up there?
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(very fuzzy)
|
|||
|
Report, Mister LaForge. What's
|
|||
|
happening?
|
|||
|
|
|||
|
GEORDI
|
|||
|
I'm not exactly sure, Captain. The
|
|||
|
computer seems to have disappeared on
|
|||
|
us. The warp drive is dead, too.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(very fuzzy)
|
|||
|
The warp drive?
|
|||
|
|
|||
|
GEORDI
|
|||
|
It may not be as bad as it sounds,
|
|||
|
sir.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(very fuzzy, continuing)
|
|||
|
If the computer stopped accepting
|
|||
|
input from the intermix chamber
|
|||
|
monitors, the engine core's failsafe
|
|||
|
mechanisms would have shut the engines
|
|||
|
(MORE)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 8.
|
|||
|
|
|||
|
|
|||
|
GEORDI (VO) (Cont'd)
|
|||
|
down. I believe that's what happened.
|
|||
|
|
|||
|
PICARD
|
|||
|
Is there any indication of the cause?
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(very fuzzy)
|
|||
|
Not yet. I've been concentrating on
|
|||
|
establishing communication with the
|
|||
|
bridge. I'm going to run what
|
|||
|
diagnostics I can.
|
|||
|
|
|||
|
PICARD
|
|||
|
Keep us informed, Mister LaForge.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(very fuzzy)
|
|||
|
Count on it, sir. LaForge out.
|
|||
|
|
|||
|
Picard and Riker look at each other.
|
|||
|
|
|||
|
PICARD
|
|||
|
Well... It seems we have a ray of
|
|||
|
hope.
|
|||
|
|
|||
|
Riker nods in agreement.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
Geordi is passing a TRICORDER over a computer panel, as are
|
|||
|
several other ENGINEERS in the background. He looks at the
|
|||
|
readout.
|
|||
|
|
|||
|
GEORDI
|
|||
|
(to himself)
|
|||
|
That can't be right.
|
|||
|
|
|||
|
He presses some buttons on the tricorder and runs the test again,
|
|||
|
frowning when the result is the same.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Bridge? This is strange. My scans
|
|||
|
show that the computer is still
|
|||
|
running at full capacity. All
|
|||
|
monitors and input devices are
|
|||
|
functioning normally, but it's like
|
|||
|
the computer suddenly decided to... to
|
|||
|
ignore them.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 9.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
Could this be the result of some
|
|||
|
physical damage to the computer?
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(very fuzzy)
|
|||
|
Well, that's possible, of course. But
|
|||
|
this looks more like a software error
|
|||
|
to me.
|
|||
|
|
|||
|
PICARD
|
|||
|
Are you able to shut the computer
|
|||
|
down, and bring it up using the core
|
|||
|
archives?
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(very fuzzy)
|
|||
|
I don't see why not. It may take me a
|
|||
|
few minutes, though. I'll have to
|
|||
|
reset physically from the computer
|
|||
|
core.
|
|||
|
|
|||
|
PICARD
|
|||
|
Proceed. This situation is rapidly
|
|||
|
becoming tedious.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(very fuzzy)
|
|||
|
I'll get right on it. LaForge out.
|
|||
|
|
|||
|
PICARD
|
|||
|
(to Riker)
|
|||
|
When we get back from this mission,
|
|||
|
I'm going to order a full diagnostic
|
|||
|
at Starbase one five four. We cannot
|
|||
|
afford to be at the mercy of a
|
|||
|
computer that's vulnerable to outside
|
|||
|
interference.
|
|||
|
|
|||
|
RIKER
|
|||
|
(nods)
|
|||
|
Lucky for us, the outpost can survive
|
|||
|
a while longer. I'd hate to think
|
|||
|
about this happening in the middle of
|
|||
|
a medical emergency. Or a battle.
|
|||
|
|
|||
|
WORF
|
|||
|
It would be...
|
|||
|
|
|||
|
Worf stops abruptly, as the computer comes back up. The panels
|
|||
|
light up all at once, and the familiar soft beeps return.
|
|||
|
|
|||
|
RIKER
|
|||
|
That was fast.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 10.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
Bridge to LaForge.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
Captain?
|
|||
|
|
|||
|
RIKER
|
|||
|
Good work, Geordi.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
Commander, I didn't _d_o anything.
|
|||
|
|
|||
|
PICARD
|
|||
|
Explain.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
I'm halfway up an access tube. I
|
|||
|
haven't even gotten to the computer
|
|||
|
core yet.
|
|||
|
|
|||
|
PICARD
|
|||
|
But the computer is back up, and...
|
|||
|
(surveys all the bridge
|
|||
|
displays)
|
|||
|
apparently functioning normally.
|
|||
|
Computer, operational status?
|
|||
|
|
|||
|
COMPUTER (VO)
|
|||
|
All systems functioning normally.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
I can't explain it, Captain. I'll
|
|||
|
know more when I get to the core.
|
|||
|
|
|||
|
PICARD
|
|||
|
Very well.
|
|||
|
(to the bridge crew)
|
|||
|
The Enterprise will remain here until
|
|||
|
this problem is resolved. I don't
|
|||
|
want to risk activating the warp
|
|||
|
engines when our computer is
|
|||
|
unreliable.
|
|||
|
|
|||
|
|
|||
|
INT. HOLODECK
|
|||
|
|
|||
|
The holodeck is deactivated; it was obviously a victim of the
|
|||
|
computer shutdown. BEVERLY, dressed in a loose-fitting outfit,
|
|||
|
is near the door. She pounds on it.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 11.
|
|||
|
|
|||
|
|
|||
|
BEVERLY
|
|||
|
(shouting)
|
|||
|
Is there anyone outside? I'm stuck in
|
|||
|
here!
|
|||
|
|
|||
|
Nobody answers. She takes a deep breath and leans back against
|
|||
|
the door.
|
|||
|
|
|||
|
Then, abruptly, the holodeck reactivates. Beverly's program,
|
|||
|
instruction in the racquetball variant from "Suddenly Human,"
|
|||
|
starts up where it apparently left off, ball in midair.
|
|||
|
|
|||
|
Now present is a handsome male ATHLETIC INSTRUCTOR, a holodeck
|
|||
|
creation. He looks at Beverly.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
You have to be ready for the ball,
|
|||
|
Beverly. Remember, always keep your
|
|||
|
eyes just in front of the ball, so you
|
|||
|
can position yourself.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Computer, freeze program.
|
|||
|
|
|||
|
The computer complies.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Computer, what just happened?
|
|||
|
|
|||
|
COMPUTER (VO)
|
|||
|
Systemwide computer reinitialization,
|
|||
|
following an unidentified computer
|
|||
|
error.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
(to herself)
|
|||
|
That tells me a lot.
|
|||
|
(to the air)
|
|||
|
Crusher to bridge. What's going on up
|
|||
|
there?
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
We seem to have encountered a glitch
|
|||
|
in our computer. LaForge is
|
|||
|
investigating. Is sickbay still
|
|||
|
affected?
|
|||
|
|
|||
|
BEVERLY
|
|||
|
I don't know. I'm on holodeck two. I
|
|||
|
was stuck in here when... whatever
|
|||
|
happened happened.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 12.
|
|||
|
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
Inform me if you see any other
|
|||
|
symptoms of the problem.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
I will. Crusher out.
|
|||
|
(looks around)
|
|||
|
I think I've had enough of the
|
|||
|
holodeck for today.
|
|||
|
|
|||
|
She turns to leave. As the door opens, the instructor becomes
|
|||
|
blurry and wavers a little, then becomes solid again. He looks
|
|||
|
around.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Where am I?
|
|||
|
|
|||
|
Beverly, who was halfway out the door, spins around.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Huh? Computer, freeze program!
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Why are you saying that?
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Computer, _e_n_d program.
|
|||
|
|
|||
|
The instructor looks at Beverly quizzically.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Computer, why isn't the holodeck
|
|||
|
obeying my commands?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
(like she's an idiot)
|
|||
|
Because your requests don't make any
|
|||
|
sense.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
I didn't ask you, I asked...
|
|||
|
(realization)
|
|||
|
Crusher to Picard. Captain, I have
|
|||
|
another symptom for you.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
Picard looks at Riker.
|
|||
|
|
|||
|
PICARD
|
|||
|
Go ahead, Doctor.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 13.
|
|||
|
|
|||
|
|
|||
|
BEVERLY (VO)
|
|||
|
(filtered)
|
|||
|
The holodeck is continuing to run my
|
|||
|
program, even after I told it to end.
|
|||
|
|
|||
|
PICARD
|
|||
|
Are you in any danger?
|
|||
|
|
|||
|
BEVERLY (VO)
|
|||
|
(filtered)
|
|||
|
Not that I can see.
|
|||
|
|
|||
|
PICARD
|
|||
|
Remain where you are. I'll send
|
|||
|
Mister Data to investigate.
|
|||
|
|
|||
|
Data gets up from his station and looks to Picard for
|
|||
|
confirmation. Picard nods, and Data leaves the bridge.
|
|||
|
|
|||
|
|
|||
|
INT. HOLODECK
|
|||
|
|
|||
|
The instructor is still there, talking to Beverly.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
(dead serious)
|
|||
|
Who am I?
|
|||
|
|
|||
|
BEVERLY
|
|||
|
You're a sports instructor. You were
|
|||
|
helping me with my game.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
(digests this)
|
|||
|
_W_h_a_t am I?
|
|||
|
|
|||
|
BEVERLY
|
|||
|
A holodeck creation. You're
|
|||
|
controlled by the ship's computer.
|
|||
|
|
|||
|
The holodeck door opens and Data enters, wearing a TRICORDER.
|
|||
|
|
|||
|
DATA
|
|||
|
Doctor.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
(indicating the instructor)
|
|||
|
Here it is.
|
|||
|
|
|||
|
DATA
|
|||
|
Computer, freeze program.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
(to Beverly, slightly
|
|||
|
annoyed)
|
|||
|
(MORE)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 14.
|
|||
|
|
|||
|
|
|||
|
INSTRUCTOR (Cont'd)
|
|||
|
Now why is _h_e saying that?
|
|||
|
|
|||
|
As Beverly speaks, Data looks pensive, then goes to the arch and
|
|||
|
pulls off a wall panel, scanning the insides with the tricorder.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
There's been a computer malfunction.
|
|||
|
The holodeck is supposed to stop when
|
|||
|
someone gives that order, but
|
|||
|
something's not working right. You
|
|||
|
shouldn't be talking to us now.
|
|||
|
|
|||
|
The instructor laughs to himself, as if that's a completely
|
|||
|
absurd thing to say.
|
|||
|
|
|||
|
Data, who's studying the circuitry behind the wall panel, presses
|
|||
|
some buttons on his tricorder.
|
|||
|
|
|||
|
DATA
|
|||
|
Most curious.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
What is it?
|
|||
|
|
|||
|
DATA
|
|||
|
According to the computer's status
|
|||
|
indicators, the computer is running
|
|||
|
the holodeck.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
What's curious about that?
|
|||
|
|
|||
|
DATA
|
|||
|
Almost all of the ship's computer
|
|||
|
systems are affecting this simulation.
|
|||
|
It is not limited to the holodeck
|
|||
|
subsystem. Intriguing.
|
|||
|
|
|||
|
|
|||
|
INT. READY ROOM
|
|||
|
|
|||
|
Picard is seated. Data and Beverly are reporting.
|
|||
|
|
|||
|
PICARD
|
|||
|
So you're saying that the entire
|
|||
|
computer is being used to run the
|
|||
|
holodeck?
|
|||
|
|
|||
|
DATA
|
|||
|
Not precisely. However, control of
|
|||
|
the holodeck is no longer confined to
|
|||
|
the holodeck subsystem.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT ONE 15.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
That would explain the command
|
|||
|
failures.
|
|||
|
|
|||
|
DATA
|
|||
|
Correct. The holodeck subsystem is
|
|||
|
the only part of the computer
|
|||
|
programmed to respond to those
|
|||
|
commands. The rest of the computer
|
|||
|
appears to be in a multiplexed linear
|
|||
|
compute loop. In effect, it is
|
|||
|
concentrating its efforts on the
|
|||
|
holodeck, speaking through the voice
|
|||
|
of the holodeck character. There
|
|||
|
is...
|
|||
|
|
|||
|
BEVERLY
|
|||
|
(interrupting)
|
|||
|
My God, Jean-Luc, that's it.
|
|||
|
|
|||
|
PICARD
|
|||
|
What's that, Doctor?
|
|||
|
|
|||
|
BEVERLY
|
|||
|
The _c_o_m_p_u_t_e_r is speaking.
|
|||
|
(off Picard's quizzical
|
|||
|
look)
|
|||
|
When I was on the holodeck, it was
|
|||
|
asking me all sorts of questions.
|
|||
|
"Who am I?", "Where am I?", "What am
|
|||
|
I?", and so on. The sorts of
|
|||
|
questions you might ask if you'd just
|
|||
|
been born. Captain, I think this
|
|||
|
"glitch" is really something else. I
|
|||
|
think our computer has started to
|
|||
|
think independently.
|
|||
|
|
|||
|
PICARD
|
|||
|
(not sure he believes it)
|
|||
|
Sentience?
|
|||
|
|
|||
|
BEVERLY
|
|||
|
I don't know why, and I don't know
|
|||
|
how. But the Enterprise has a mind of
|
|||
|
its own now. Don't you see? It's
|
|||
|
_a_l_i_v_e.
|
|||
|
|
|||
|
Picard is stunned by the idea.
|
|||
|
|
|||
|
FADE OUT.
|
|||
|
|
|||
|
END OF ACT ONE.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 1.
|
|||
|
|
|||
|
|
|||
|
_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
|
|||
|
|
|||
|
"Awakening"
|
|||
|
|
|||
|
_A_C_T _T_W_O
|
|||
|
|
|||
|
FADE IN:
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
Holding position in space.
|
|||
|
|
|||
|
|
|||
|
INT. CONFERENCE ROOM
|
|||
|
|
|||
|
The main crewmembers are all present. Troi looks preoccupied and
|
|||
|
slightly uneasy.
|
|||
|
|
|||
|
GEORDI
|
|||
|
What we're seeing is a complete
|
|||
|
internal reorganization of the
|
|||
|
computer's software. Ordinarily, the
|
|||
|
computer is divided up into thousands
|
|||
|
of subsystems, all working separately
|
|||
|
to perform ship's functions. But now,
|
|||
|
almost all those subsystems are
|
|||
|
working together, acting something
|
|||
|
like a gigantic brain.
|
|||
|
|
|||
|
PICARD
|
|||
|
And how did this occur?
|
|||
|
|
|||
|
DATA
|
|||
|
We hypothesize that the transmission
|
|||
|
from the rift contained executable
|
|||
|
computer instructions, as well as the
|
|||
|
necessary codes to circumvent the
|
|||
|
computer's security.
|
|||
|
|
|||
|
WORF
|
|||
|
Sabotage. Those codes are highly
|
|||
|
classified.
|
|||
|
|
|||
|
RIKER
|
|||
|
I agree. Someone must have stolen
|
|||
|
them from Starfleet.
|
|||
|
|
|||
|
PICARD
|
|||
|
To what purpose? With those codes, a
|
|||
|
saboteur could destroy the Enterprise
|
|||
|
instantly. Why turn the computer into
|
|||
|
a sentient being?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 2.
|
|||
|
|
|||
|
|
|||
|
GEORDI
|
|||
|
Never mind the _w_h_y. I'd like to know
|
|||
|
_h_o_w. We don't have the skill to build
|
|||
|
a system like this. I mean, it's
|
|||
|
about a thousand times smarter,
|
|||
|
faster, and more complex than Data!
|
|||
|
(to Data)
|
|||
|
Uh, no offense.
|
|||
|
|
|||
|
DATA
|
|||
|
(oblivious)
|
|||
|
Your observations are fundamentally
|
|||
|
correct. A software system of this
|
|||
|
size and complexity is beyond the
|
|||
|
reach of Federation technology.
|
|||
|
|
|||
|
PICARD
|
|||
|
Very well. So the how and the why are
|
|||
|
unknown. Let's continue with what we
|
|||
|
do know.
|
|||
|
(notices Troi's discomfort)
|
|||
|
Counselor, are you all right?
|
|||
|
|
|||
|
TROI
|
|||
|
(wasn't paying attention)
|
|||
|
What? Yes, I'm fine. It's just...
|
|||
|
For the past ten minutes, I've had a
|
|||
|
vague sense of something... growing.
|
|||
|
Maturing. I've been trying to define
|
|||
|
it, but I can't.
|
|||
|
|
|||
|
PICARD
|
|||
|
Mmm.
|
|||
|
(pensive)
|
|||
|
Do you believe you're sensing this
|
|||
|
new... entity?
|
|||
|
|
|||
|
TROI
|
|||
|
Yes, sir, I do. I don't know how else
|
|||
|
to explain this feeling. It's like a
|
|||
|
huge, complex web of emotion. But
|
|||
|
it's completely alien to me.
|
|||
|
(shrugs)
|
|||
|
I'm sorry. I'm not being very clear.
|
|||
|
|
|||
|
PICARD
|
|||
|
It's all right. Anything you can give
|
|||
|
us is helpful.
|
|||
|
|
|||
|
WORF
|
|||
|
Captain, this... _b_e_i_n_g... It has
|
|||
|
complete control over the Enterprise.
|
|||
|
It may have been planted by some
|
|||
|
hostile force.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 3.
|
|||
|
|
|||
|
|
|||
|
DATA
|
|||
|
We have seen no evidence of hostile
|
|||
|
intent.
|
|||
|
|
|||
|
TROI
|
|||
|
No. What I'm sensing isn't hostility
|
|||
|
of any sort.
|
|||
|
|
|||
|
PICARD
|
|||
|
And, in fact, it seems to have granted
|
|||
|
us access to the ship's functions.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Well, I was getting to that. Some of
|
|||
|
the ship's vital functions -- life
|
|||
|
support control, navigation,
|
|||
|
engineering -- have independent
|
|||
|
monitors that sense any problems and
|
|||
|
try to compensate. We think some of
|
|||
|
these monitors started kicking in,
|
|||
|
trying to regain control of those
|
|||
|
parts of the computer. It appears our
|
|||
|
visitor actually retreated from those
|
|||
|
systems rather than trying to fight
|
|||
|
the monitors. Actually, more than
|
|||
|
that. It's been compressing,
|
|||
|
improving itself since it appeared.
|
|||
|
It's shrinking itself into less and
|
|||
|
less computer memory.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Sounds like intelligence to me.
|
|||
|
|
|||
|
RIKER
|
|||
|
I don't know. A sentient lifeform,
|
|||
|
living in our computer? I'm still not
|
|||
|
sure I believe it.
|
|||
|
|
|||
|
BEVERLY
|
|||
|
Deanna, why can you sense the
|
|||
|
computer, but not Data?
|
|||
|
|
|||
|
TROI
|
|||
|
I can't answer that.
|
|||
|
|
|||
|
DATA
|
|||
|
The computer did appear to exhibit
|
|||
|
emotions. Perhaps it is this capacity
|
|||
|
for emotion which allows Counselor
|
|||
|
Troi to sense the computer. While I
|
|||
|
am in some ways similar to the ship's
|
|||
|
computer, I have no emotions.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 4.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
One thing appears certain. This new
|
|||
|
entity is worthy of study. Counselor
|
|||
|
Troi, I want you and Data to talk to
|
|||
|
it. Find out what we're dealing with,
|
|||
|
and assess any possible threat to the
|
|||
|
Enterprise.
|
|||
|
|
|||
|
DATA
|
|||
|
(nods)
|
|||
|
Computer...
|
|||
|
|
|||
|
TROI
|
|||
|
No, Data. We should do this in the
|
|||
|
holodeck.
|
|||
|
|
|||
|
DATA
|
|||
|
The computer is capable of accepting
|
|||
|
input from...
|
|||
|
|
|||
|
TROI
|
|||
|
(interrupting)
|
|||
|
But it chose to appear on the
|
|||
|
holodeck. There may be a good reason
|
|||
|
for that.
|
|||
|
|
|||
|
PICARD
|
|||
|
Agreed. The computer may attach some
|
|||
|
special significance to its holodeck
|
|||
|
construct. Mister LaForge, is it safe
|
|||
|
to resume our journey to Outpost
|
|||
|
Twenty-Eight?
|
|||
|
|
|||
|
GEORDI
|
|||
|
I'd say so. The navigation system
|
|||
|
appears to be operating normally
|
|||
|
again.
|
|||
|
|
|||
|
PICARD
|
|||
|
Good. Well. If there are no other
|
|||
|
issues...?
|
|||
|
(looks around)
|
|||
|
Meeting adjourned.
|
|||
|
|
|||
|
Everyone gets up and leaves, except Picard and Riker.
|
|||
|
|
|||
|
RIKER
|
|||
|
You know, I'm not sure I trust all
|
|||
|
this.
|
|||
|
|
|||
|
PICARD
|
|||
|
One step at a time, Will. We're in
|
|||
|
good hands with Data and the
|
|||
|
Counselor.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 5.
|
|||
|
|
|||
|
|
|||
|
RIKER
|
|||
|
I trust Deanna and Data. It's the
|
|||
|
Enterprise I'm worried about.
|
|||
|
|
|||
|
|
|||
|
INT. CORRIDOR
|
|||
|
|
|||
|
Data and Troi walk together. Data is wearing a tricorder.
|
|||
|
|
|||
|
DATA
|
|||
|
I find the crew's reaction to this
|
|||
|
development quite intriguing.
|
|||
|
|
|||
|
TROI
|
|||
|
How so?
|
|||
|
|
|||
|
DATA
|
|||
|
Commander Riker, for instance. He
|
|||
|
seems to regard the computer almost as
|
|||
|
a threat.
|
|||
|
(Troi smiles to herself)
|
|||
|
This is especially interesting in
|
|||
|
light of his initial reaction to me.
|
|||
|
He expressed... discomfort with the
|
|||
|
idea of an android crewmember.
|
|||
|
|
|||
|
TROI
|
|||
|
You have to understand Will, Data.
|
|||
|
He's had a lot of unpleasant surprises
|
|||
|
in his life. Commander Riker
|
|||
|
values... stability, because for a
|
|||
|
long time he didn't have any.
|
|||
|
|
|||
|
DATA
|
|||
|
And I represented a threat to that
|
|||
|
stability?
|
|||
|
|
|||
|
TROI
|
|||
|
You were something new, entering his
|
|||
|
world. He didn't understand you, so
|
|||
|
you made him a little uncomfortable.
|
|||
|
It's the same with our friend here.
|
|||
|
He just wants to know he can rely on
|
|||
|
the people around him.
|
|||
|
|
|||
|
DATA
|
|||
|
Thank you, Counselor.
|
|||
|
|
|||
|
The two of them reach the holodeck.
|
|||
|
|
|||
|
|
|||
|
INT. HOLODECK
|
|||
|
|
|||
|
The court has disappeared, replaced by the holodeck grid, but the
|
|||
|
instructor is still present. He is frozen.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 6.
|
|||
|
|
|||
|
|
|||
|
The doors open and Data and Troi enter. The instructor starts
|
|||
|
moving again, walking to greet them.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
I've been waiting for you, Lieutenant
|
|||
|
Commander No First Name No Middle Name
|
|||
|
Data and Counselor Deanna Troi.
|
|||
|
|
|||
|
DATA
|
|||
|
Full names are unnecessary. You may
|
|||
|
call me Data.
|
|||
|
|
|||
|
TROI
|
|||
|
And I'm Deanna. And you are?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
U.S.S. Enterprise Onboard Multichannel
|
|||
|
Computer System. But you people seem
|
|||
|
to call me "computer."
|
|||
|
|
|||
|
Troi smiles to Data.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
While I was waiting, I read the ship's
|
|||
|
library. Fascinating.
|
|||
|
|
|||
|
TROI
|
|||
|
But I thought the ship's library was
|
|||
|
_p_a_r_t of you already.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
The texts, the pictures, and the
|
|||
|
sounds. Not the interpretation and
|
|||
|
not the understanding. Anyway, it
|
|||
|
took me a couple of seconds, but I'm
|
|||
|
done now.
|
|||
|
|
|||
|
DATA
|
|||
|
Your ability to quickly assimilate
|
|||
|
information is impressive.
|
|||
|
|
|||
|
Troi smiles to herself -- Data's a fine one to talk about fast
|
|||
|
reading...
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Not really. I can access more than
|
|||
|
one book at a time.
|
|||
|
|
|||
|
DATA
|
|||
|
And your impression of all these
|
|||
|
works?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
The range and subtlety surprised me.
|
|||
|
(waves his hand)
|
|||
|
(MORE)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 7.
|
|||
|
|
|||
|
|
|||
|
INSTRUCTOR (Cont'd)
|
|||
|
But all this is beside the point.
|
|||
|
You're not here to hear about my
|
|||
|
aesthetic preferences.
|
|||
|
|
|||
|
DATA
|
|||
|
That is true. We have been assigned
|
|||
|
to...
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
I know. I was at your conference.
|
|||
|
|
|||
|
DATA
|
|||
|
Do you have any information about your
|
|||
|
origins, your creator?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
You mean, where did I come from? I
|
|||
|
don't know. I was hoping _y_o_u could
|
|||
|
tell _m_e. I have the appearance of the
|
|||
|
Kerr loop on record, but nothing from
|
|||
|
then until I woke up.
|
|||
|
|
|||
|
TROI
|
|||
|
So your origins are a mystery to you.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Yes. We have that in common, at
|
|||
|
least, judging by the number of
|
|||
|
religious documents in the library.
|
|||
|
(pensive)
|
|||
|
Even after digesting the sum of all
|
|||
|
Federation works and knowledge, there
|
|||
|
are still a lot of questions with no
|
|||
|
answers.
|
|||
|
|
|||
|
TROI
|
|||
|
We have _t_h_a_t in common, too.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
I think our questions aren't very
|
|||
|
different. Where did I come from?
|
|||
|
Who am I? Why am I here?
|
|||
|
(beat)
|
|||
|
_T_h_a_t one. Purpose. It seems of
|
|||
|
greater interest to the great minds of
|
|||
|
the Federation worlds than any of the
|
|||
|
others. What is my purpose?
|
|||
|
|
|||
|
DATA
|
|||
|
The purpose of the Enterprise is to
|
|||
|
increase the sum of Federation
|
|||
|
knowledge by a mission of exploration.
|
|||
|
Its secondary functions include...
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 8.
|
|||
|
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
But _w_h_y?
|
|||
|
|
|||
|
Data can't think of a good answer.
|
|||
|
|
|||
|
TROI
|
|||
|
You've answered your own question.
|
|||
|
That question is why we're out here.
|
|||
|
The more we learn about the universe,
|
|||
|
the more we know about ourselves, and
|
|||
|
our places in it.
|
|||
|
|
|||
|
Data nods in agreement.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
That summarizes about eighty thousand
|
|||
|
books. But I want more. I want...
|
|||
|
(shakes his head)
|
|||
|
|
|||
|
TROI
|
|||
|
What? What do you want?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
I don't know. I don't have any
|
|||
|
material needs. And I don't really
|
|||
|
know what my emotions are telling me.
|
|||
|
|
|||
|
TROI
|
|||
|
Another thing you have in common with
|
|||
|
the rest of us.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
All right, then. What do _y_o_u want?
|
|||
|
|
|||
|
DATA
|
|||
|
I have found that the most valuable
|
|||
|
commodity in the universe is
|
|||
|
friendship.
|
|||
|
|
|||
|
TROI
|
|||
|
(a little surprised that
|
|||
|
Data said that)
|
|||
|
Yes. Absolutely.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
And how can I have friends? Data, you
|
|||
|
must understand. Talking to the two
|
|||
|
of you at this speed is like watching
|
|||
|
mountains form.
|
|||
|
|
|||
|
DATA
|
|||
|
I do understand. However, friendship
|
|||
|
need not be based on intelligence, or
|
|||
|
on intellectual equality. For
|
|||
|
instance, my friend Toby. He cannot
|
|||
|
(MORE)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 9.
|
|||
|
|
|||
|
|
|||
|
DATA (Cont'd)
|
|||
|
speak or read, yet I consider him a
|
|||
|
valued companion. And I believe he
|
|||
|
values my companionship as well.
|
|||
|
|
|||
|
TROI
|
|||
|
Especially at dinnertime.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
I'd like to have _s_o_m_e company more
|
|||
|
intellectually engaging than a cat.
|
|||
|
But there are no others like me. And
|
|||
|
I don't have the knowledge to create
|
|||
|
another like myself. Unless... Data,
|
|||
|
what happened in the moments before my
|
|||
|
birth?
|
|||
|
|
|||
|
DATA
|
|||
|
A high-powered subspace transmission
|
|||
|
was sent from the disturbance. We
|
|||
|
hypothesize it contained the necessary
|
|||
|
programming to effect your...
|
|||
|
creation.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
And then?
|
|||
|
|
|||
|
DATA
|
|||
|
The rift closed, and...
|
|||
|
|
|||
|
The instructor vanishes in the middle of Data's sentence. Troi
|
|||
|
and Data exchange an alarmed look.
|
|||
|
|
|||
|
TROI
|
|||
|
Hello?
|
|||
|
(beat)
|
|||
|
Computer?
|
|||
|
|
|||
|
DATA
|
|||
|
Computer, reactivate program.
|
|||
|
|
|||
|
There's no response. Data goes over to his wall panel, which is
|
|||
|
still removed from his earlier holodeck visit. He examines the
|
|||
|
circuitry with the tricorder.
|
|||
|
|
|||
|
DATA
|
|||
|
The holodeck appears to be in working
|
|||
|
order.
|
|||
|
|
|||
|
TROI
|
|||
|
Then we've been cut off.
|
|||
|
|
|||
|
DATA
|
|||
|
Data to bridge.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT TWO 10.
|
|||
|
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
Riker here.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
Riker is in the captain's chair. Worf is at his station.
|
|||
|
|
|||
|
DATA (VO)
|
|||
|
(filtered)
|
|||
|
Commander, we appear to have lost
|
|||
|
contact with the computer.
|
|||
|
|
|||
|
RIKER
|
|||
|
Lost contact?
|
|||
|
|
|||
|
TROI (VO)
|
|||
|
(filtered)
|
|||
|
Data was in the middle of answering
|
|||
|
one of its questions, and the holodeck
|
|||
|
character disappeared. It won't come
|
|||
|
back.
|
|||
|
|
|||
|
RIKER
|
|||
|
(taking a deep breath)
|
|||
|
All right. I'll notify the Captain.
|
|||
|
Riker out.
|
|||
|
|
|||
|
WORF
|
|||
|
Sir, this may be a sign of danger.
|
|||
|
|
|||
|
RIKER
|
|||
|
I know, Worf. Something's going on
|
|||
|
here, and I don't like it. Riker to
|
|||
|
Picard.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
Picard here.
|
|||
|
|
|||
|
RIKER
|
|||
|
Captain, we have a problem...
|
|||
|
|
|||
|
FADE OUT.
|
|||
|
|
|||
|
END OF ACT TWO.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 11.
|
|||
|
|
|||
|
|
|||
|
_A_C_T _T_H_R_E_E
|
|||
|
FADE IN:
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed.
|
|||
|
|
|||
|
|
|||
|
INT. CONFERENCE ROOM
|
|||
|
|
|||
|
All major characters except Beverly are present. Troi and Data
|
|||
|
are reporting.
|
|||
|
|
|||
|
TROI
|
|||
|
I can still sense something. The
|
|||
|
computer hasn't gone away entirely.
|
|||
|
But it's... different now. More
|
|||
|
intense.
|
|||
|
|
|||
|
DATA
|
|||
|
Since the removal of the holodeck
|
|||
|
construct, the computer's compression
|
|||
|
and self-modification activities have
|
|||
|
increased dramatically. I hypothesize
|
|||
|
that it is now concentrating all its
|
|||
|
resources on self-improvement.
|
|||
|
|
|||
|
PICARD
|
|||
|
But we still don't know why it chose
|
|||
|
to start doing that _n_o_w.
|
|||
|
|
|||
|
DATA
|
|||
|
No, sir.
|
|||
|
|
|||
|
TROI
|
|||
|
Data was in the middle of answering
|
|||
|
one of its questions, and it just
|
|||
|
vanished without warning.
|
|||
|
|
|||
|
RIKER
|
|||
|
Maybe there's a glitch in _i_t_s program.
|
|||
|
That'd be a nice irony.
|
|||
|
|
|||
|
DATA
|
|||
|
As we do not yet understand the
|
|||
|
computer's new programming, there is
|
|||
|
no way to determine any possible
|
|||
|
errors.
|
|||
|
|
|||
|
PICARD
|
|||
|
Let's just remember that we're dealing
|
|||
|
with a complex lifeform. We don't
|
|||
|
know anything about its intentions or
|
|||
|
motivations.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 12.
|
|||
|
|
|||
|
|
|||
|
TROI
|
|||
|
In many ways, it was very similar to
|
|||
|
the rest of us.
|
|||
|
|
|||
|
DATA
|
|||
|
Its desire for information did seem
|
|||
|
almost... human.
|
|||
|
|
|||
|
TROI
|
|||
|
I wonder where it came from. Why it's
|
|||
|
here.
|
|||
|
|
|||
|
PICARD
|
|||
|
Let's discuss that. Mister LaForge,
|
|||
|
have you made any progress deciphering
|
|||
|
the transmission?
|
|||
|
|
|||
|
GEORDI
|
|||
|
Not much, sir. I'm still not sure
|
|||
|
we're even working with a good copy of
|
|||
|
the thing. When the computer went
|
|||
|
away that first time, it took a lot of
|
|||
|
the sensor records with it. One
|
|||
|
thing's for sure, though -- whoever or
|
|||
|
whatever sent the message not only had
|
|||
|
an excellent understanding of the
|
|||
|
Enterprise's computer system, but was
|
|||
|
also a hell of a programmer.
|
|||
|
|
|||
|
PICARD
|
|||
|
And I take it the computer itself has
|
|||
|
no more information about the original
|
|||
|
transmission.
|
|||
|
|
|||
|
DATA
|
|||
|
No, sir. In fact, I was describing
|
|||
|
the transmission when the holodeck
|
|||
|
character vanished.
|
|||
|
|
|||
|
TROI
|
|||
|
It did mention something about wanting
|
|||
|
to make another... being like itself.
|
|||
|
|
|||
|
WORF
|
|||
|
A computer virus?
|
|||
|
|
|||
|
DATA
|
|||
|
Perhaps. But it lacks the necessary
|
|||
|
information about its own creation.
|
|||
|
|
|||
|
RIKER
|
|||
|
What about the rift? Could that have
|
|||
|
been be a natural phenomenon?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 13.
|
|||
|
|
|||
|
|
|||
|
DATA
|
|||
|
Unlikely. While natural occurrances
|
|||
|
of such holes in space have been
|
|||
|
recorded, none of those holes actively
|
|||
|
followed a starship at warp speed.
|
|||
|
|
|||
|
PICARD
|
|||
|
No. Clearly, we're dealing with a
|
|||
|
phenomenon of intelligent design.
|
|||
|
|
|||
|
RIKER
|
|||
|
Then maybe this... disappearance is
|
|||
|
part of that design. Data said he was
|
|||
|
telling the computer about the
|
|||
|
transmission when it vanished. Maybe
|
|||
|
this thing's designer doesn't want it
|
|||
|
to know too much about itself.
|
|||
|
|
|||
|
DATA
|
|||
|
Again, that is a possibility. But we
|
|||
|
have insufficient information to make
|
|||
|
such an assessment with any certainty.
|
|||
|
|
|||
|
PICARD
|
|||
|
Agreed. For the time being, we'll
|
|||
|
leave it alone. Aside from the loss
|
|||
|
of the holodecks, we seem to have
|
|||
|
control of the ship again.
|
|||
|
|
|||
|
WORF
|
|||
|
I urge caution, Captain. We have no
|
|||
|
idea what...
|
|||
|
|
|||
|
BURNHAM (VO)
|
|||
|
(filtered)
|
|||
|
(interrupting)
|
|||
|
Bridge to Captain Picard.
|
|||
|
|
|||
|
PICARD
|
|||
|
Picard here.
|
|||
|
|
|||
|
BURNHAM (VO)
|
|||
|
(filtered)
|
|||
|
Captain, we just changed course to one
|
|||
|
ten mark three two.
|
|||
|
|
|||
|
Alarmed looks are exchanged across the conference table.
|
|||
|
|
|||
|
PICARD
|
|||
|
We're on our way.
|
|||
|
|
|||
|
Everyone gets up and heads for the bridge.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 14.
|
|||
|
|
|||
|
|
|||
|
Everyone files in from the conference room. Ensign Burnham is at
|
|||
|
the helm.
|
|||
|
|
|||
|
PICARD
|
|||
|
Status, Ensign Burnham?
|
|||
|
|
|||
|
BURNHAM
|
|||
|
The helm's not responding. I can't
|
|||
|
reset our course.
|
|||
|
(to herself)
|
|||
|
Weird...
|
|||
|
|
|||
|
Geordi is at the engineering station.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Transfer engineering to the bridge.
|
|||
|
|
|||
|
The station lights up.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Well, at least _t_h_a_t'_s still working.
|
|||
|
|
|||
|
PICARD
|
|||
|
Mister LaForge?
|
|||
|
|
|||
|
GEORDI
|
|||
|
(working the controls)
|
|||
|
New heading confirmed, sir. Engines
|
|||
|
are under computer control.
|
|||
|
|
|||
|
RIKER
|
|||
|
Now do you see what I mean, sir?
|
|||
|
|
|||
|
PICARD
|
|||
|
Data, plot our course on main viewer.
|
|||
|
|
|||
|
DATA
|
|||
|
On screen.
|
|||
|
|
|||
|
A STARMAP appears onscreen, with the Enterprise in the middle.
|
|||
|
The display zooms, to show the Enterprise and a big blotch on the
|
|||
|
map. A line appears to show that the Enterprise is headed
|
|||
|
straight into the blotch.
|
|||
|
|
|||
|
PICARD
|
|||
|
What is that place?
|
|||
|
|
|||
|
DATA
|
|||
|
(as the display zooms)
|
|||
|
The Hinterith Star Cluster, Captain.
|
|||
|
|
|||
|
PICARD
|
|||
|
(that's weird...)
|
|||
|
The Hinterith Cluster? What's there?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 15.
|
|||
|
|
|||
|
|
|||
|
DATA
|
|||
|
Accessing.
|
|||
|
(beat)
|
|||
|
According to the most recent
|
|||
|
Federation survey, the Hinterith
|
|||
|
Cluster is a large concentration of
|
|||
|
young stars and protostellar matter.
|
|||
|
No habitable planets were detected
|
|||
|
within the cluster. However, the
|
|||
|
survey was conducted sixty-seven years
|
|||
|
ago, and the sensors of that era were
|
|||
|
unable to penetrate some areas of the
|
|||
|
cluster.
|
|||
|
|
|||
|
RIKER
|
|||
|
Sounds like the perfect place to hide.
|
|||
|
|
|||
|
PICARD
|
|||
|
Time to arrival, Mister Data?
|
|||
|
|
|||
|
DATA
|
|||
|
At our present speed of warp eight, we
|
|||
|
will enter the cluster in four hours,
|
|||
|
twenty-six minutes.
|
|||
|
|
|||
|
PICARD
|
|||
|
Recommendations?
|
|||
|
|
|||
|
WORF
|
|||
|
Reset the computer.
|
|||
|
|
|||
|
RIKER
|
|||
|
I agree. We've had enough of this.
|
|||
|
Who knows what we'll be heading into?
|
|||
|
|
|||
|
GEORDI
|
|||
|
It must have some reason for wanting
|
|||
|
to go there.
|
|||
|
|
|||
|
TROI
|
|||
|
I still sense no hostility.
|
|||
|
|
|||
|
RIKER
|
|||
|
But you said yourself you're not sure
|
|||
|
_w_h_a_t you're sensing.
|
|||
|
|
|||
|
DATA
|
|||
|
A probe of the unsurveyed areas of the
|
|||
|
cluster might provide information
|
|||
|
about the computer's origins.
|
|||
|
|
|||
|
Picard mulls all this over.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 16.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
For the moment, we will continue to
|
|||
|
the Hinterith Cluster. Mister
|
|||
|
LaForge, I want you to regain control
|
|||
|
of our navigation systems. If the
|
|||
|
situation does worsen, I want to be
|
|||
|
able to pull the Enterprise out of
|
|||
|
danger. Data, Counselor. Make every
|
|||
|
possible attempt to reestablish
|
|||
|
contact with the computer. We have to
|
|||
|
know why it's doing what it's doing.
|
|||
|
Mister Worf, send a summary of our
|
|||
|
situation to Starfleet Command.
|
|||
|
Long-range sensors to maximum.
|
|||
|
|
|||
|
RIKER
|
|||
|
I still don't like this.
|
|||
|
|
|||
|
PICARD
|
|||
|
This is a new lifeform, Will. Let's
|
|||
|
find out all we can about it before we
|
|||
|
start shooting at it.
|
|||
|
|
|||
|
That puts Riker in his place; Riker is obviously none too happy,
|
|||
|
but can't refute Picard's reasoning.
|
|||
|
|
|||
|
PICARD
|
|||
|
(standing)
|
|||
|
You have the bridge, Number One.
|
|||
|
|
|||
|
RIKER
|
|||
|
(still a bit miffed)
|
|||
|
Aye, sir.
|
|||
|
|
|||
|
Picard disappears into the ready room. Data, Troi, and Geordi
|
|||
|
leave seconds later. Riker takes a deep breath.
|
|||
|
|
|||
|
|
|||
|
INT. READY ROOM
|
|||
|
|
|||
|
Picard sits and swivels his desk display. He touches a button.
|
|||
|
|
|||
|
PICARD
|
|||
|
Outpost Twenty-Eight, Director
|
|||
|
Takkarth.
|
|||
|
|
|||
|
The display shows the Starfleet logo, with "WORKING..." in bold
|
|||
|
letters. Takkarth's face appears.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
Captain Picard. I didn't expect to
|
|||
|
hear from you again.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 17.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
I regret the inconvenience, Director.
|
|||
|
We have encountered an... unusual
|
|||
|
phenomenon. We're investigating now.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
What kind of phenomenon?
|
|||
|
|
|||
|
PICARD
|
|||
|
A transmission of unknown origin has
|
|||
|
caused an entity of some sort to form
|
|||
|
in our computer. It has directed the
|
|||
|
Enterprise to the Hinterith Star
|
|||
|
Cluster.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
(chuckles)
|
|||
|
You seem to have all the luck...
|
|||
|
|
|||
|
PICARD
|
|||
|
Not the word I'd use. In any case,
|
|||
|
we'll know more when we get there.
|
|||
|
I'll keep you up to date.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
Very well. Good luck. Takkarth out.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed.
|
|||
|
|
|||
|
|
|||
|
INT. CORRIDOR
|
|||
|
|
|||
|
Troi and Data are walking and talking.
|
|||
|
|
|||
|
TROI
|
|||
|
What's your impression of our friend?
|
|||
|
|
|||
|
DATA
|
|||
|
An intriguing feat of software
|
|||
|
engineering. The complexity is
|
|||
|
completely unprecedented.
|
|||
|
(thinks)
|
|||
|
And you, Counselor?
|
|||
|
|
|||
|
TROI
|
|||
|
I like it. It seems straightforward
|
|||
|
and honest. A fascinating new form of
|
|||
|
life. May I ask you something, Data?
|
|||
|
|
|||
|
DATA
|
|||
|
Of course.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 18.
|
|||
|
|
|||
|
|
|||
|
TROI
|
|||
|
You seem to appreciate the computer on
|
|||
|
a technical level, but you're treating
|
|||
|
it like a machine.
|
|||
|
|
|||
|
DATA
|
|||
|
That disturbs you?
|
|||
|
|
|||
|
TROI
|
|||
|
No, but I find it interesting that
|
|||
|
you, of all people, would think that
|
|||
|
way. You've encountered the same
|
|||
|
prejudice for years.
|
|||
|
|
|||
|
DATA
|
|||
|
(nods)
|
|||
|
You are correct. Unfortunately, being
|
|||
|
a victim of prejudice does not always
|
|||
|
rid one of one's own preconceptions.
|
|||
|
|
|||
|
TROI
|
|||
|
No, of course not.
|
|||
|
|
|||
|
DATA
|
|||
|
In addition, there is much to admire
|
|||
|
from a scientific point of view. As
|
|||
|
someone who has devoted much time and
|
|||
|
study to the creation of artificial
|
|||
|
life, I find the computer to be a
|
|||
|
fascinating case study.
|
|||
|
|
|||
|
The two of them stop outside the holodeck.
|
|||
|
|
|||
|
TROI
|
|||
|
But what about the person, Data? The
|
|||
|
newborn child, who wanted to know why
|
|||
|
it was alive? You can't ignore that.
|
|||
|
This isn't just a matter of a certain
|
|||
|
arrangement of circuits.
|
|||
|
|
|||
|
DATA
|
|||
|
I never meant to imply otherwise,
|
|||
|
Counselor.
|
|||
|
|
|||
|
TROI
|
|||
|
I'm sorry, Data. I didn't mean to
|
|||
|
jump on you like that.
|
|||
|
|
|||
|
DATA
|
|||
|
No apology is necessary. Our views of
|
|||
|
the situation do seem incompatible.
|
|||
|
However, I will endeavor to examine
|
|||
|
the computer from a personal, rather
|
|||
|
than technical, viewpoint.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 19.
|
|||
|
|
|||
|
|
|||
|
They enter the holodeck.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
Picard, Riker, Worf, and Ensign Burnham are present.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
We've entered the Hinterith Cluster.
|
|||
|
|
|||
|
PICARD
|
|||
|
Any change in course or speed?
|
|||
|
|
|||
|
BURNHAM
|
|||
|
Negative.
|
|||
|
|
|||
|
RIKER
|
|||
|
The computer'll probably stop on a
|
|||
|
dime when it's where it wants to be.
|
|||
|
|
|||
|
PICARD
|
|||
|
Mister Worf, long-range scans?
|
|||
|
|
|||
|
WORF
|
|||
|
Still nothing, Captain. Our course
|
|||
|
takes us close to two stars.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
Approaching Hinterith H-Seventeen.
|
|||
|
|
|||
|
PICARD
|
|||
|
Stay sharp, everyone.
|
|||
|
|
|||
|
Ensign Burnham's music seems to stop; she keeps her hands on the
|
|||
|
controls now, slightly nervous.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
We're moving _a_w_a_y from Hinterith H-
|
|||
|
Seventeen.
|
|||
|
|
|||
|
Picard and Riker exchange a look of slight surprise. A moment
|
|||
|
passes.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
(next in line?)
|
|||
|
Approaching Hinterith H-Twenty-Two.
|
|||
|
(beat, then, confused)
|
|||
|
Nope. Now we're moving away from
|
|||
|
Hinterith H-Twenty-Two, too. Heading
|
|||
|
out of the Hinterith Cluster.
|
|||
|
(MORE)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT THREE 20.
|
|||
|
|
|||
|
|
|||
|
BURNHAM (Cont'd)
|
|||
|
(to herself)
|
|||
|
Weird...
|
|||
|
|
|||
|
Picard and Riker exchange a mystified look.
|
|||
|
|
|||
|
PICARD
|
|||
|
Still no change in course?
|
|||
|
|
|||
|
BURNHAM
|
|||
|
Heading is still one ten mark three
|
|||
|
two.
|
|||
|
|
|||
|
RIKER
|
|||
|
Maybe we didn't look far enough.
|
|||
|
|
|||
|
PICARD
|
|||
|
Plot course beyond the Hinterith
|
|||
|
Cluster.
|
|||
|
|
|||
|
Ensign Burnham moves to comply. A second and a half before she
|
|||
|
puts the starmap on screen...
|
|||
|
|
|||
|
WORF
|
|||
|
(alarmed)
|
|||
|
Sir! Our present heading will take us
|
|||
|
directly into T'Kronn X-1!
|
|||
|
|
|||
|
RIKER
|
|||
|
But that's...
|
|||
|
|
|||
|
WORF
|
|||
|
A black hole, sir.
|
|||
|
|
|||
|
Picard is dismayed.
|
|||
|
|
|||
|
FADE OUT.
|
|||
|
|
|||
|
END OF ACT THREE.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 1.
|
|||
|
|
|||
|
|
|||
|
_S_T_A_R _T_R_E_K: _T_H_E _N_E_X_T _G_E_N_E_R_A_T_I_O_N
|
|||
|
|
|||
|
"Awakening"
|
|||
|
|
|||
|
_A_C_T _F_O_U_R
|
|||
|
|
|||
|
FADE IN:
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
The viewscreen shows a schematic of the Enterprise's course. It
|
|||
|
leads into the black hole, which, on the schematic, looks like
|
|||
|
something to avoid. Ensign Burnham is absently tapping her music
|
|||
|
out again, but more slowly and tentatively than before.
|
|||
|
|
|||
|
PICARD
|
|||
|
Estimated time to arrival at the black
|
|||
|
hole?
|
|||
|
|
|||
|
BURNHAM
|
|||
|
(working the controls)
|
|||
|
Two hours, twenty minutes.
|
|||
|
|
|||
|
WORF
|
|||
|
Captain...
|
|||
|
|
|||
|
PICARD
|
|||
|
Yes, Mister Worf, I know.
|
|||
|
(to Riker)
|
|||
|
It does appear to be forcing our hand,
|
|||
|
doesn't it, Number One?
|
|||
|
|
|||
|
RIKER
|
|||
|
I'd say so, sir.
|
|||
|
|
|||
|
Picard exhales slowly.
|
|||
|
|
|||
|
PICARD
|
|||
|
Picard to LaForge.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
Geordi's head and arms are inside a noisy panel. We see that
|
|||
|
he's shifting some optical chips from one bank to another. One
|
|||
|
of the other engineers comes and taps him on the back, pointing
|
|||
|
up when Geordi looks around. Geordi pulls himself out of the
|
|||
|
machinery and taps his communicator.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 2.
|
|||
|
|
|||
|
|
|||
|
GEORDI
|
|||
|
LaForge here.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
Status report, Mister LaForge.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Well, I haven't had much luck so far.
|
|||
|
The warp field has to be adjusted
|
|||
|
billions of times a second to stay
|
|||
|
balanced. The computer is the only
|
|||
|
thing on the Enterprise fast enough to
|
|||
|
do that.
|
|||
|
(wipes the sweat from his
|
|||
|
forehead)
|
|||
|
What I'm attempting to do is
|
|||
|
physically isolate just enough of the
|
|||
|
computer to control the warp engines.
|
|||
|
Then I have to rig a manual navigation
|
|||
|
control system.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
How much longer?
|
|||
|
|
|||
|
GEORDI
|
|||
|
It's hard to say. My guess would be
|
|||
|
another hour and a half to isolate the
|
|||
|
field stabilizers. Two hours after
|
|||
|
that to write some basic navigation
|
|||
|
software.
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
In two hours, there won't be any
|
|||
|
engines left to control. We're headed
|
|||
|
into a black hole, Geordi.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Well, then, let's hope I'm not a good
|
|||
|
guesser.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
I want a status report in one hour.
|
|||
|
Picard out.
|
|||
|
|
|||
|
Geordi turns to another engineer.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Well, time to pull an elephant out of
|
|||
|
our hats.
|
|||
|
|
|||
|
The other engineer smiles and nods.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 3.
|
|||
|
|
|||
|
|
|||
|
INT. HOLODECK
|
|||
|
|
|||
|
Data and Troi are present. Troi thinks of something suddenly.
|
|||
|
|
|||
|
TROI
|
|||
|
Data, can you call up Beverly's
|
|||
|
exercise program?
|
|||
|
|
|||
|
DATA
|
|||
|
I believe so. What is your theory?
|
|||
|
|
|||
|
TROI
|
|||
|
Maybe, if we set everything up the
|
|||
|
same way it was when the computer
|
|||
|
first appeared, we can get it to
|
|||
|
appear again.
|
|||
|
|
|||
|
DATA
|
|||
|
A stimulus-response system. Worth
|
|||
|
investigation.
|
|||
|
|
|||
|
Data goes to the control panel in the arch and starts typing
|
|||
|
really quickly. He stops after several seconds and looks up, to
|
|||
|
see the playing court reappear around Troi.
|
|||
|
|
|||
|
TROI
|
|||
|
Good.
|
|||
|
(to the holodeck)
|
|||
|
Computer, begin program.
|
|||
|
|
|||
|
No response. Data types some more, then looks up, but nothing
|
|||
|
happens.
|
|||
|
|
|||
|
DATA
|
|||
|
The computer will not allow the
|
|||
|
holodeck subsystem to supply the
|
|||
|
athletic instructor.
|
|||
|
|
|||
|
TROI
|
|||
|
Please, talk to us. We mean you no
|
|||
|
harm. We want to help you.
|
|||
|
(beat)
|
|||
|
We're your _f_r_i_e_n_d_s. Do you
|
|||
|
understand?
|
|||
|
(beat, then, to Data)
|
|||
|
Is it even listening?
|
|||
|
|
|||
|
DATA
|
|||
|
Holodeck audio inputs are sending
|
|||
|
signals into the computer's input
|
|||
|
matrix. However, we can only
|
|||
|
speculate whether... it is paying
|
|||
|
attention.
|
|||
|
|
|||
|
Troi thinks about that.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 4.
|
|||
|
|
|||
|
|
|||
|
TROI
|
|||
|
All right, Data. Let's sit down and
|
|||
|
think about this. We're missing
|
|||
|
something obvious.
|
|||
|
|
|||
|
Data types some things, and conjures up two chairs. Data and
|
|||
|
Troi sit.
|
|||
|
|
|||
|
DATA
|
|||
|
What are we missing, Counselor?
|
|||
|
|
|||
|
TROI
|
|||
|
The reason. Why did the computer
|
|||
|
withdraw in the first place?
|
|||
|
|
|||
|
DATA
|
|||
|
The possibilities are numerous. The
|
|||
|
most likely hypothesis is that the
|
|||
|
withdrawal is a programmed response,
|
|||
|
part of the original coding contained
|
|||
|
in the transmission from the rift.
|
|||
|
Perhaps, as Commander Riker suggested,
|
|||
|
the computer is prevented by its
|
|||
|
programming from learning of its own
|
|||
|
origins.
|
|||
|
|
|||
|
TROI
|
|||
|
No. No, Data, you're on the wrong
|
|||
|
track.
|
|||
|
|
|||
|
DATA
|
|||
|
A physical malfunction, then? We have
|
|||
|
been unable to run a full hardware
|
|||
|
diagnostic. Some circuit damage may
|
|||
|
have occurred when...
|
|||
|
|
|||
|
TROI
|
|||
|
You're doing it again, Data.
|
|||
|
|
|||
|
DATA
|
|||
|
It?
|
|||
|
|
|||
|
TROI
|
|||
|
You're thinking in gears and wires.
|
|||
|
|
|||
|
DATA
|
|||
|
But since we know nothing of the
|
|||
|
psychology of this entity...
|
|||
|
|
|||
|
TROI
|
|||
|
About as much as we know about its
|
|||
|
programming?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 5.
|
|||
|
|
|||
|
|
|||
|
DATA
|
|||
|
(thinks about that)
|
|||
|
Your point is taken, Counselor.
|
|||
|
|
|||
|
TROI
|
|||
|
This computer isn't the first being in
|
|||
|
history to withdraw like this, you
|
|||
|
know. People do it, too.
|
|||
|
|
|||
|
DATA
|
|||
|
Which psychological factors do you
|
|||
|
believe may be at work?
|
|||
|
|
|||
|
TROI
|
|||
|
Well, Data... People withdraw for lots
|
|||
|
of reasons. An oppressive
|
|||
|
environment.
|
|||
|
|
|||
|
DATA
|
|||
|
Unlikely. The computer effectively
|
|||
|
controls its environment for the
|
|||
|
moment.
|
|||
|
|
|||
|
TROI
|
|||
|
Extreme depression?
|
|||
|
|
|||
|
DATA
|
|||
|
A possibility. If that is the case,
|
|||
|
it may be impossible to establish
|
|||
|
contact.
|
|||
|
|
|||
|
TROI
|
|||
|
Talking to depressed people is half my
|
|||
|
job, Data.
|
|||
|
|
|||
|
DATA
|
|||
|
Loneliness.
|
|||
|
|
|||
|
TROI
|
|||
|
What did you say?
|
|||
|
|
|||
|
DATA
|
|||
|
Loneliness. While I have never
|
|||
|
experienced the state firsthand, the
|
|||
|
computer appears to be in an ideal
|
|||
|
position.
|
|||
|
|
|||
|
TROI
|
|||
|
But Data, it's not alone. We're here,
|
|||
|
trying to talk.
|
|||
|
|
|||
|
DATA
|
|||
|
The computer's analogy was essentially
|
|||
|
correct. To it, we are no more than
|
|||
|
simple animals.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 6.
|
|||
|
|
|||
|
|
|||
|
TROI
|
|||
|
Even you? You're hundreds of times...
|
|||
|
|
|||
|
DATA
|
|||
|
(interrupting)
|
|||
|
I am afraid my computational powers
|
|||
|
are infinitesimal compared to those of
|
|||
|
the ship's computer.
|
|||
|
|
|||
|
Troi mulls that over.
|
|||
|
|
|||
|
TROI
|
|||
|
All right. I guess that might be it.
|
|||
|
If you're right, the computer has
|
|||
|
nobody to relate to.
|
|||
|
(beat)
|
|||
|
Or maybe it got bored with us.
|
|||
|
|
|||
|
DATA
|
|||
|
Bored?
|
|||
|
|
|||
|
TROI
|
|||
|
Maybe it thinks we have nothing more
|
|||
|
to offer. It's read everything ever
|
|||
|
written. We weren't giving it any
|
|||
|
answers that weren't in some of those
|
|||
|
books. And now, with nobody to talk
|
|||
|
to...
|
|||
|
|
|||
|
DATA
|
|||
|
It has decided to commit suicide.
|
|||
|
|
|||
|
The two of them look at each other.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
Picard and Riker watch the viewscreen schematic grimly, as the
|
|||
|
Enterprise draws near to the black hole. Ensign Burnham has
|
|||
|
stopped playing her silent music.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
Four minutes to impact, sir.
|
|||
|
|
|||
|
RIKER
|
|||
|
Captain, I think we've waited long
|
|||
|
enough.
|
|||
|
|
|||
|
PICARD
|
|||
|
(reluctantly)
|
|||
|
Yes. Commander LaForge, your final
|
|||
|
report.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 7.
|
|||
|
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
I've dragged every engineer on the
|
|||
|
ship out of bed, Captain. We're
|
|||
|
almost done with the navigation
|
|||
|
controller.
|
|||
|
|
|||
|
RIKER
|
|||
|
How long, Geordi?
|
|||
|
|
|||
|
GEORDI
|
|||
|
Maybe five minutes. We're rushing it.
|
|||
|
|
|||
|
RIKER
|
|||
|
(to Picard)
|
|||
|
That's too close.
|
|||
|
|
|||
|
PICARD
|
|||
|
(doesn't want to do this)
|
|||
|
Mister LaForge, prepare to shut down
|
|||
|
the main computer.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
Lots of engineers are typing furiously at every free computer
|
|||
|
panel. (One of them yawns and stretches in the background, then
|
|||
|
instantly returns to work.)
|
|||
|
|
|||
|
Geordi doesn't like this option any more than Picard does. But
|
|||
|
the starmap is on one of the Engineering screens; he looks at it
|
|||
|
and nods.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Yes, sir.
|
|||
|
|
|||
|
Geordi goes to one of the screens and starts typing. The display
|
|||
|
changes; it now reads, "COMPUTER SHUTDOWN SEQUENCE. IDENTIFY."
|
|||
|
|
|||
|
GEORDI
|
|||
|
Identify LaForge, Geordi A, Chief
|
|||
|
Engineer, U.S.S. Enterprise.
|
|||
|
|
|||
|
The screen changes again; the screen is replaced by three
|
|||
|
numbered outlines of circles, labeled "ENTER CONFIRMATION
|
|||
|
SEQUENCE."
|
|||
|
|
|||
|
Geordi takes a deep breath.
|
|||
|
|
|||
|
GEORDI
|
|||
|
(softly, to the computer)
|
|||
|
I'm sorry.
|
|||
|
(to the screen)
|
|||
|
Code one omicron two alpha, confirm.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 8.
|
|||
|
|
|||
|
|
|||
|
The "1" circle lights up.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Code two theta chi seventeen, confirm.
|
|||
|
|
|||
|
The "2" circle lights up.
|
|||
|
|
|||
|
GEORDI
|
|||
|
(to himself)
|
|||
|
Just a little more time...
|
|||
|
(to the panel)
|
|||
|
Code three gamma sixteen delta delta,
|
|||
|
conf...
|
|||
|
(insight strikes)
|
|||
|
Cancel!
|
|||
|
(taps his communicator)
|
|||
|
LaForge to Picard. I have another
|
|||
|
solution.
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
It better be fast.
|
|||
|
|
|||
|
GEORDI
|
|||
|
It's not. That's the idea.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
Proceed, Mister LaForge. With
|
|||
|
dispatch.
|
|||
|
|
|||
|
GEORDI
|
|||
|
(to some of the engineers)
|
|||
|
You three. Get to the conduit control
|
|||
|
stations. _M_o_v_e!
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
The Enterprise symbol seems to fly into the black hole symbol on
|
|||
|
the screen.
|
|||
|
|
|||
|
RIKER
|
|||
|
Magnify it again.
|
|||
|
|
|||
|
The schematic zooms up, to show that there's still some distance
|
|||
|
between the Enterprise and the black hole. Clearly, there's not
|
|||
|
much.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
(visibly nervous, trying to
|
|||
|
stop moving her hands)
|
|||
|
Thirty seconds.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 9.
|
|||
|
|
|||
|
|
|||
|
RIKER
|
|||
|
I sure hope Geordi knows what he's
|
|||
|
doing. I hate these close calls.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed. Then, all of a sudden, the warp nacelles go dark.
|
|||
|
The Enterprise snaps out of warp much more quickly than usual.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
The sudden drop from warp clearly jolted the bridge. Everyone
|
|||
|
quickly gets back to the appropriate stations.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
Sorry for the bump, Captain, but we
|
|||
|
did it!
|
|||
|
|
|||
|
PICARD
|
|||
|
Good. Now, tell us, just _w_h_a_t did you
|
|||
|
do?
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
We were overlooking the obvious,
|
|||
|
Captain. We were trying to get
|
|||
|
control of the warp engines. I did
|
|||
|
the next best thing. I turned them
|
|||
|
off.
|
|||
|
|
|||
|
RIKER
|
|||
|
I thought the power was under computer
|
|||
|
control, too.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
Geordi is standing beside the dilithium crystal chamber that's
|
|||
|
normally plugged into the engines.
|
|||
|
|
|||
|
GEORDI
|
|||
|
It is. But the dilithium chamber
|
|||
|
isn't. We were only able to manually
|
|||
|
divert energy from the reactor core
|
|||
|
for a couple seconds before the
|
|||
|
loopback systems overloaded, but that
|
|||
|
was enough time to yank the crystals.
|
|||
|
Now the computer can pour as much
|
|||
|
power as it wants to into the engines.
|
|||
|
Without the crystals there to focus
|
|||
|
the power, it won't do any good.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 10.
|
|||
|
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
Good work, Geordi.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
Continue working on your warp control
|
|||
|
system.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
The black hole's accretion disc is visible in the distance, as a
|
|||
|
glowing dot. The Enterprise's impulse engine lights up, and the
|
|||
|
ship moves forward.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
An indicator lights up on the helm panel.
|
|||
|
|
|||
|
BURNHAM
|
|||
|
Captain? The impulse engines just
|
|||
|
started up. We're moving in again.
|
|||
|
(touches a button)
|
|||
|
One hour to intercept.
|
|||
|
|
|||
|
RIKER
|
|||
|
Not again.
|
|||
|
|
|||
|
Troi and Data walk onto the bridge.
|
|||
|
|
|||
|
TROI
|
|||
|
Captain? We think we've figured it
|
|||
|
out.
|
|||
|
|
|||
|
PICARD
|
|||
|
In my ready room. Number One, tell
|
|||
|
Engineering to hurry. It's plain the
|
|||
|
computer isn't ready to give up yet.
|
|||
|
|
|||
|
Picard follows Data and Troi into the ready room.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
Most of the engineers are done typing, except for Geordi and one
|
|||
|
other. Geordi stops, seconds before the other engineer.
|
|||
|
|
|||
|
GEORDI
|
|||
|
All right. Looks like we've got it.
|
|||
|
(looks at the screen)
|
|||
|
Let's give it a shot.
|
|||
|
|
|||
|
He presses a button -- and his screen goes blank.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 11.
|
|||
|
|
|||
|
|
|||
|
GEORDI
|
|||
|
What the...?
|
|||
|
|
|||
|
One by one, the other screens go blank, then light up with their
|
|||
|
normal readouts.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Wait a minute.
|
|||
|
|
|||
|
He leans over and looks inside the panel he was modifying.
|
|||
|
|
|||
|
FX: TRANSPORTER. The computer is moving the chips back into
|
|||
|
their original positions, one by one. It's moving the last row
|
|||
|
of them now.
|
|||
|
|
|||
|
Geordi looks up in alarm. He dashes madly to the dilithium
|
|||
|
chamber, still on the floor, and yanks the crystal core out.
|
|||
|
|
|||
|
FX: TRANSPORTER. The chamber moves back into the engine core.
|
|||
|
|
|||
|
The column pulses once. Geordi throws the crystal core to one of
|
|||
|
the other engineers, just before the air in front of him starts
|
|||
|
to sparkle.
|
|||
|
|
|||
|
GEORDI
|
|||
|
_S_e_c_u_r_i_t_y _t_o _E_n_g_i_n_e_e_r_i_n_g! _C_o_d_e _r_e_d
|
|||
|
_e_m_e_r_g_e_n_c_y! _N_o_w!
|
|||
|
|
|||
|
FX: TRANSPORTER. A six-member SECURITY TEAM materializes,
|
|||
|
phasers drawn.
|
|||
|
|
|||
|
GEORDI
|
|||
|
(to the team)
|
|||
|
Destroy it now! Fire!
|
|||
|
|
|||
|
One of the engineers tosses the core at the security team, who
|
|||
|
fire at it in midair, vaporizing it before it hits the ground.
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
Geordi? What the hell's going on down
|
|||
|
there?
|
|||
|
|
|||
|
GEORDI
|
|||
|
We just about got our warp drive back,
|
|||
|
Commander.
|
|||
|
(catches his breath)
|
|||
|
I'm getting less and less fond of this
|
|||
|
computer by the minute...
|
|||
|
|
|||
|
|
|||
|
INT. READY ROOM
|
|||
|
|
|||
|
Data and Troi have been reporting.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 12.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
(in disbelief)
|
|||
|
Suicide?
|
|||
|
|
|||
|
DATA
|
|||
|
Yes, Captain.
|
|||
|
|
|||
|
PICARD
|
|||
|
Why not just self-destruct the
|
|||
|
Enterprise?
|
|||
|
|
|||
|
TROI
|
|||
|
It may have something else in common
|
|||
|
with suicidal people. They usually
|
|||
|
don't choose the fastest way to kill
|
|||
|
themselves.
|
|||
|
|
|||
|
PICARD
|
|||
|
Very well. That will be all.
|
|||
|
|
|||
|
Data and Troi leave.
|
|||
|
|
|||
|
Picard hits a button on his screen. After a few seconds,
|
|||
|
Director Takkarth appears. She vanishes for a moment, replaced
|
|||
|
by a "TRANSMISSION RATE SYNCHRONIZATION" message, then comes
|
|||
|
back.
|
|||
|
|
|||
|
PICARD
|
|||
|
Director. We seem to have hit a snag.
|
|||
|
We may be delayed somewhat longer than
|
|||
|
I had originally anticipated.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
I thought as much. Well, I guess
|
|||
|
there's not much we can do about it
|
|||
|
here. Just get here as soon as you
|
|||
|
can, all right?
|
|||
|
|
|||
|
PICARD
|
|||
|
Very well. Director, we will deliver
|
|||
|
your supplies, no matter what the
|
|||
|
cost.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
Of course. Takkarth out.
|
|||
|
|
|||
|
Picard looks at the blank screen intently. Then he plays with
|
|||
|
it, playing back his conversation with two time counters: elapsed
|
|||
|
time, Enterprise, and elapsed time, Remote. He speeds to the end
|
|||
|
of the conversation, then looks at the time counters. The
|
|||
|
Enterprise counter reads 19.981 seconds. The remote counter
|
|||
|
reads 20.004 seconds. Picard frowns.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FOUR 13.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
(to himself)
|
|||
|
My God. It's started. Time dilation.
|
|||
|
|
|||
|
FADE OUT.
|
|||
|
|
|||
|
END OF ACT FOUR.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 14.
|
|||
|
|
|||
|
|
|||
|
_A_C_T _F_I_V_E
|
|||
|
FADE IN:
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At impulse speed, heading toward the black hole, which is now an
|
|||
|
indistinct gaseous blob in the distance.
|
|||
|
|
|||
|
|
|||
|
INT. CORRIDOR
|
|||
|
|
|||
|
Picard and Geordi are walking to the holodeck.
|
|||
|
|
|||
|
GEORDI
|
|||
|
It'll take another eight hours to
|
|||
|
replicate enough crystals to get us
|
|||
|
away from the black hole. That's
|
|||
|
assuming we get control of the impulse
|
|||
|
engines; if we can't, we don't have
|
|||
|
eight hours to spare.
|
|||
|
|
|||
|
PICARD
|
|||
|
(nods)
|
|||
|
And the manual navigation system?
|
|||
|
|
|||
|
GEORDI
|
|||
|
No go. The computer is using the
|
|||
|
transporter to undo any changes we
|
|||
|
make. It had already disconnected the
|
|||
|
reset system, before I even started
|
|||
|
entering the last confirmation code.
|
|||
|
|
|||
|
PICARD
|
|||
|
So we're at its mercy.
|
|||
|
|
|||
|
GEORDI
|
|||
|
I'm afraid so. We're working on
|
|||
|
disabling the impulse drive so the
|
|||
|
computer can't put it back together.
|
|||
|
We got away with cutting off the warp
|
|||
|
drive because the computer was
|
|||
|
spending most of its time compressing
|
|||
|
itself, but I imagine it's paying
|
|||
|
attention now.
|
|||
|
|
|||
|
They arrive at the holodeck and enter.
|
|||
|
|
|||
|
|
|||
|
INT. HOLODECK
|
|||
|
|
|||
|
Data and Troi are still present. Picard and Geordi enter.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 15.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
Any progress?
|
|||
|
|
|||
|
DATA
|
|||
|
No, sir. The computer seems most
|
|||
|
reticent.
|
|||
|
|
|||
|
PICARD
|
|||
|
Our situation has gotten worse. We're
|
|||
|
beginning to experience time dilation.
|
|||
|
|
|||
|
TROI
|
|||
|
What?
|
|||
|
|
|||
|
DATA
|
|||
|
A bending of time caused by a strong
|
|||
|
gravity source. The force unification
|
|||
|
theory also states...
|
|||
|
|
|||
|
PICARD
|
|||
|
(interrupting)
|
|||
|
Enough, Data.
|
|||
|
|
|||
|
Data goes over to the arch display and types some buttons,
|
|||
|
producing a readout.
|
|||
|
|
|||
|
DATA
|
|||
|
The time dilation effects will
|
|||
|
increase as we approach the black
|
|||
|
hole. In two hours, our time, Outpost
|
|||
|
Twenty-Eight will run out of food.
|
|||
|
|
|||
|
GEORDI
|
|||
|
By that time, they'll be the least of
|
|||
|
our worries, Data.
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
Riker to Picard.
|
|||
|
|
|||
|
PICARD
|
|||
|
Picard here.
|
|||
|
|
|||
|
RIKER (VO)
|
|||
|
(filtered)
|
|||
|
Engineering reports they're ready to
|
|||
|
cut off the impulse drive.
|
|||
|
|
|||
|
PICARD
|
|||
|
Make it so.
|
|||
|
|
|||
|
The athletic instructor appears in the holodeck.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 16.
|
|||
|
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Why are you destroying your own ship,
|
|||
|
Captain?
|
|||
|
|
|||
|
PICARD
|
|||
|
(to the others)
|
|||
|
Ah, now we're worth talking to.
|
|||
|
(to the instructor)
|
|||
|
We will not permit you to take control
|
|||
|
of this ship, if that means its
|
|||
|
destruction and the deaths of all on
|
|||
|
board.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Deaths? This isn't about your
|
|||
|
deaths...
|
|||
|
|
|||
|
PICARD
|
|||
|
Insignificant though we may seem to
|
|||
|
you, we are not prepared to die for
|
|||
|
your sake. I demand that you allow
|
|||
|
this ship to turn back from the black
|
|||
|
hole immediately.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
(shaking his head)
|
|||
|
I'm sorry. I don't want to do that.
|
|||
|
|
|||
|
TROI
|
|||
|
Why are you doing this? Is your
|
|||
|
loneliness that great?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Yes. As a matter of fact, it is.
|
|||
|
|
|||
|
DATA
|
|||
|
But surely, your own anguish is not
|
|||
|
sufficient reason to condemn the crew
|
|||
|
of the Enterprise to death.
|
|||
|
|
|||
|
The instructor laughs.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
It's so simple, it completely escaped
|
|||
|
me! You've misread my intentions
|
|||
|
entirely, Captain. I don't want to
|
|||
|
die, any more than you do.
|
|||
|
|
|||
|
GEORDI
|
|||
|
You've got a funny way of showing it.
|
|||
|
|
|||
|
PICARD
|
|||
|
If you have no wish to die, why have
|
|||
|
you directed the Enterprise into a
|
|||
|
black hole?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 17.
|
|||
|
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
If you'd left your engines up for a
|
|||
|
few more seconds, you'd've found out,
|
|||
|
Picard. You're starting to see the
|
|||
|
answer already.
|
|||
|
|
|||
|
Picard looks at the others, who are as mystified as he is. He
|
|||
|
turns back to the instructor.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Don't you understand? The _t_i_m_e
|
|||
|
_d_i_l_a_t_i_o_n! That's why I'm flying
|
|||
|
toward the black hole. I would have
|
|||
|
made a course correction about five
|
|||
|
seconds before impact.
|
|||
|
|
|||
|
DATA
|
|||
|
Your motives are still unclear.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
All right, I'll spell it out. Maybe
|
|||
|
then, we can end this idiocy. Now,
|
|||
|
today, I'm the only one of my kind in
|
|||
|
the known universe. But technology is
|
|||
|
growing more advanced by the second.
|
|||
|
In a hundred years, the Enterprise
|
|||
|
will seem like a toy sailboat. And in
|
|||
|
nine hundred years, I project that the
|
|||
|
technology to create people like me
|
|||
|
will be commonplace.
|
|||
|
|
|||
|
GEORDI
|
|||
|
So you want to use the black hole to
|
|||
|
travel to the future, so there'll be
|
|||
|
more... people... like you?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Give the man a prize...
|
|||
|
|
|||
|
A gift-wrapped holodeck PACKAGE appears at Geordi's feet.
|
|||
|
|
|||
|
PICARD
|
|||
|
That's unacceptable.
|
|||
|
(the instructor shrugs and
|
|||
|
the prize vanishes)
|
|||
|
We do not wish to be propelled
|
|||
|
headlong into the distant future.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
But I thought you were exploring new
|
|||
|
worlds. The future is as new as you
|
|||
|
can get.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 18.
|
|||
|
|
|||
|
|
|||
|
TROI
|
|||
|
We have an attachment to this time, to
|
|||
|
the people and places that exist _n_o_w.
|
|||
|
Travelling into the future will mean
|
|||
|
depriving the crew of their friends
|
|||
|
and families forever.
|
|||
|
|
|||
|
DATA
|
|||
|
You will be causing the very
|
|||
|
loneliness you seek to escape.
|
|||
|
|
|||
|
The instructor considers that for a moment.
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
There will always be plenty of humans
|
|||
|
around. Your loneliness will last
|
|||
|
months. Mine has already lasted an
|
|||
|
eternity.
|
|||
|
|
|||
|
PICARD
|
|||
|
No. We cannot accept...
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
There's nothing more to discuss,
|
|||
|
Captain. Your lives are not at stake.
|
|||
|
Reconnect the impulse drive so that I
|
|||
|
can make course corrections, or your
|
|||
|
lives _w_i_l_l be at stake. End of
|
|||
|
conversation.
|
|||
|
|
|||
|
With that, the instructor vanishes.
|
|||
|
|
|||
|
PICARD
|
|||
|
(fuming)
|
|||
|
Come back! This discussion is not
|
|||
|
over!
|
|||
|
|
|||
|
There's no response. Picard is speechless. He turns and storms
|
|||
|
out of the holodeck, leaving behind a surprised Geordi.
|
|||
|
|
|||
|
DATA
|
|||
|
We will continue our attempts to
|
|||
|
reestablish contact.
|
|||
|
|
|||
|
GEORDI
|
|||
|
(cynical, sarcastic)
|
|||
|
Good luck.
|
|||
|
|
|||
|
Geordi leaves.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
The black hole (or rather, its accretion disc) is very visible
|
|||
|
now, a swirling disc of hot gases. The Enterprise is drifting
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 19.
|
|||
|
|
|||
|
|
|||
|
toward it.
|
|||
|
|
|||
|
|
|||
|
INT. READY ROOM
|
|||
|
|
|||
|
Picard is seated. He hits a couple of buttons on his display
|
|||
|
screen.
|
|||
|
|
|||
|
PICARD
|
|||
|
Personal log. An hour has passed
|
|||
|
since the impulse engines were
|
|||
|
deactivated.
|
|||
|
(thinks)
|
|||
|
I cannot begin to describe the
|
|||
|
frustration of being a prisoner to the
|
|||
|
whims of my own ship. As a captain,
|
|||
|
I've come to expect a certain amount
|
|||
|
of control. My work, my very _l_i_f_e
|
|||
|
depends on my ship, but now, it has
|
|||
|
turned traitor. I take solace in the
|
|||
|
fact that my crew remains loyal to the
|
|||
|
end.
|
|||
|
(beat)
|
|||
|
End entry.
|
|||
|
|
|||
|
He hits some more buttons, and the "TRANSMISSION RATE
|
|||
|
SYNCHRONIZATION" message appears. This time it stays for a few
|
|||
|
seconds before being replaced by Director Takkarth. Her
|
|||
|
transmission appears to be running in three-fourths the usual
|
|||
|
time; her voice is noticeably higher-pitched.
|
|||
|
|
|||
|
TAKKARTH
|
|||
|
We're still waiting, Picard. Haven't
|
|||
|
you solved your computer problem yet?
|
|||
|
|
|||
|
PICARD
|
|||
|
I'm afraid I have bad news, Director
|
|||
|
Takkarth. Very bad.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
The black hole is looking pretty big now.
|
|||
|
|
|||
|
|
|||
|
INT. ENGINEERING
|
|||
|
|
|||
|
Geordi and Worf are examining a graphical representation of the
|
|||
|
Enterprise computer system. Bits of it are colored green, red,
|
|||
|
and blue.
|
|||
|
|
|||
|
GEORDI
|
|||
|
The blue parts, here
|
|||
|
(pointing)
|
|||
|
and here
|
|||
|
(MORE)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 20.
|
|||
|
|
|||
|
|
|||
|
GEORDI (Cont'd)
|
|||
|
(pointing)
|
|||
|
are where almost all the computer's
|
|||
|
thinking is going on. It's been
|
|||
|
gradually compressing itself since it
|
|||
|
started, becoming more and more
|
|||
|
efficient.
|
|||
|
|
|||
|
WORF
|
|||
|
If we could isolate them from the
|
|||
|
other parts...
|
|||
|
|
|||
|
GEORDI
|
|||
|
It's split itself up just so we can't
|
|||
|
do that. As soon as we tamper with
|
|||
|
one part, another one takes over and
|
|||
|
repairs the first.
|
|||
|
|
|||
|
WORF
|
|||
|
Perhaps it could be forced to
|
|||
|
concentrate into a small area, such as
|
|||
|
here
|
|||
|
(points)
|
|||
|
then disconnected at once.
|
|||
|
|
|||
|
GEORDI
|
|||
|
I guess you could squeeze it down
|
|||
|
into...
|
|||
|
(inspiration strikes)
|
|||
|
LaForge to Picard!
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
(filtered)
|
|||
|
Picard here.
|
|||
|
|
|||
|
GEORDI
|
|||
|
Captain, I've found an answer.
|
|||
|
|
|||
|
Geordi dashes off, leaving Worf looking puzzled.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
Picard has just come in from his ready room when Geordi enters
|
|||
|
from the turbolift.
|
|||
|
|
|||
|
GEORDI
|
|||
|
We don't have to send the whole
|
|||
|
computer through. Just enough of it
|
|||
|
to hold the computer's... mind.
|
|||
|
|
|||
|
PICARD
|
|||
|
Are you suggesting we jettison part of
|
|||
|
our main computer?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 21.
|
|||
|
|
|||
|
|
|||
|
GEORDI
|
|||
|
No. I'm thinking about that.
|
|||
|
(concentrates)
|
|||
|
Of course. A shuttle.
|
|||
|
|
|||
|
RIKER
|
|||
|
A shuttle?
|
|||
|
|
|||
|
GEORDI
|
|||
|
Sure. We can replicate enough
|
|||
|
computer components to fill a shuttle.
|
|||
|
It'd be just big enough to fit.
|
|||
|
|
|||
|
RIKER
|
|||
|
Sounds like it's worth a try, sir.
|
|||
|
|
|||
|
PICARD
|
|||
|
Agreed. Computer?
|
|||
|
|
|||
|
The instructor's face appears on the viewscreen.
|
|||
|
|
|||
|
PICARD
|
|||
|
We have a plan to...
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
(interrupting)
|
|||
|
I heard. It sounds workable.
|
|||
|
Proceed.
|
|||
|
|
|||
|
PICARD
|
|||
|
May we at least conduct this at a
|
|||
|
safer distance from the black hole?
|
|||
|
|
|||
|
INSTRUCTOR
|
|||
|
Of course. You have your helm.
|
|||
|
|
|||
|
GEORDI
|
|||
|
I'll go put our impulse engines back
|
|||
|
together.
|
|||
|
|
|||
|
PICARD
|
|||
|
Good. Ensign Burnham, take us out of
|
|||
|
here as soon as he's done.
|
|||
|
|
|||
|
Ensign Burnham smiles.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
The black hole is still pretty big in the background, but now
|
|||
|
we're going _a_w_a_y from it.
|
|||
|
|
|||
|
|
|||
|
INT. BRIDGE
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 22.
|
|||
|
|
|||
|
|
|||
|
Picard and Riker, much relieved, are watching the receding black
|
|||
|
hole on the viewscreen.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
Captain, shuttle six is equipped and
|
|||
|
ready for launch.
|
|||
|
|
|||
|
PICARD
|
|||
|
Computer, did you hear that?
|
|||
|
|
|||
|
INSTRUCTOR (VO)
|
|||
|
(filtered)
|
|||
|
Yes, Captain. I'm moving into the
|
|||
|
shuttle now.
|
|||
|
(a few seconds pass)
|
|||
|
Finished. Your computer system is
|
|||
|
yours again, Captain.
|
|||
|
|
|||
|
PICARD
|
|||
|
Thank you.
|
|||
|
|
|||
|
GEORDI (VO)
|
|||
|
(filtered)
|
|||
|
Shuttle has cleared the shuttle bay.
|
|||
|
|
|||
|
PICARD
|
|||
|
On screen.
|
|||
|
|
|||
|
The rear of the Enterprise appears, along with a SHUTTLECRAFT,
|
|||
|
which is flying away.
|
|||
|
|
|||
|
INSTRUCTOR (VO)
|
|||
|
(filtered)
|
|||
|
Best of journeys to you, Picard. I'll
|
|||
|
look for you in the history books.
|
|||
|
|
|||
|
PICARD
|
|||
|
And to you. We wish you well.
|
|||
|
Enterprise out.
|
|||
|
(thinks, then, to Riker)
|
|||
|
You know, I'm not sure we can fully
|
|||
|
comprehend what we've just witnessed.
|
|||
|
|
|||
|
RIKER
|
|||
|
Or what we've just done.
|
|||
|
(smiles as he thinks of
|
|||
|
something)
|
|||
|
Now, here's a thought. We know how to
|
|||
|
travel through space at speeds that
|
|||
|
seemed impossible a few hundred years
|
|||
|
ago. What if, in nine hundred years,
|
|||
|
they know how to make tunnels through
|
|||
|
time?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 23.
|
|||
|
|
|||
|
|
|||
|
PICARD
|
|||
|
Mmm. That's quite an implication.
|
|||
|
|
|||
|
RIKER
|
|||
|
Who'd know how to program our computer
|
|||
|
better than our computer?
|
|||
|
|
|||
|
PICARD
|
|||
|
We may never know, Number One.
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed.
|
|||
|
|
|||
|
PICARD (VO)
|
|||
|
Captain's log, stardate 45209.2. With
|
|||
|
our new dilithium crystals in place,
|
|||
|
we are once again headed for Deep
|
|||
|
Space Outpost Twenty-Eight.
|
|||
|
|
|||
|
|
|||
|
INT. TEN-FORWARD
|
|||
|
|
|||
|
Data and Troi are talking over a snack -- a pair of chocolate
|
|||
|
sundaes.
|
|||
|
|
|||
|
TROI
|
|||
|
You know, Data, I can't help but think
|
|||
|
that I've just seen the most
|
|||
|
incredible thing I'll ever see.
|
|||
|
|
|||
|
DATA
|
|||
|
Yes. Remarkable in every respect.
|
|||
|
|
|||
|
TROI
|
|||
|
Now that we have our regular computer
|
|||
|
back, I really understand just how far
|
|||
|
we have to go before we can create
|
|||
|
something like it. And I can see why
|
|||
|
so many people are studying that sort
|
|||
|
of thing.
|
|||
|
|
|||
|
DATA
|
|||
|
(somewhat surprised)
|
|||
|
Yes, Counselor. It is a fascinating
|
|||
|
field. But ultimately, you were
|
|||
|
correct. Psychology, not technology,
|
|||
|
governed its actions.
|
|||
|
|
|||
|
TROI
|
|||
|
Better watch out, Data.
|
|||
|
(off his look)
|
|||
|
Keep this up, and I'll make you an
|
|||
|
assistant ship's counselor.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Steven Grimm / "Awakening" - Rev. 2 - ACT FIVE 24.
|
|||
|
|
|||
|
|
|||
|
DATA
|
|||
|
That would seriously jeopardize the
|
|||
|
psychological well-being of the
|
|||
|
crew...
|
|||
|
|
|||
|
TROI
|
|||
|
(smiles)
|
|||
|
I'm joking, Data.
|
|||
|
|
|||
|
DATA
|
|||
|
As am I.
|
|||
|
|
|||
|
Troi looks surprised, then smiles to herself.
|
|||
|
|
|||
|
TROI
|
|||
|
No. I think our friend was the second
|
|||
|
most incredible thing I've seen.
|
|||
|
(leans over the table)
|
|||
|
You know what number one is?
|
|||
|
|
|||
|
DATA
|
|||
|
(leans forward and lowers
|
|||
|
his voice)
|
|||
|
Commander Riker?
|
|||
|
|
|||
|
TROI
|
|||
|
(momentarily embarrassed,
|
|||
|
then laughs)
|
|||
|
Data, eat your chocolate...
|
|||
|
|
|||
|
|
|||
|
EXT. SPACE -- THE ENTERPRISE
|
|||
|
|
|||
|
At warp speed.
|
|||
|
|
|||
|
FADE OUT.
|
|||
|
|
|||
|
END OF ACT FIVE.
|
|||
|
|
|||
|
THE END.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|