STAR TREK: Expedition 8180 - Episode 2

[Trek Writers Room]

Continued from: STAR TREK: Expedition 8180 - Episode 1

Summary:
A new Star Trek. series featuring an eclectic cast of LEGACY CHARACTERS (from each of the various series) who come together with some surprising NEW CHARACTERS, all of which are leaving our galaxy in an effort to save another. At the behest of Q and with help from The Guardian, a wagon train of starships sets out to explore a completely new frontier. A fast-paced journey into the unknown as the best and brightest of the Federation (along with a select few of the more questionable characters) strive to navigate their way along intertwined paths of joy and sorrow, triumph, tragedy, and for some, self-discovery. With no help from Q or anyone else, the expedition finds itself completely on its own and are forced to do whatever is necessary to save not only themselves, but the galaxy they have come to call home. To Boldly Go... On and On.

Author's Notes:
I would like to welcome you to STAR TREK: Expedition 8180. This is a work of fanfic set in the Prime Timeline, immediately after Season One of Picard. This work does not in any way infringe on the remaining two seasons of the Picard series, or anything else that has come after.

The story is told within a screenplay format and offered in "thirty minute" episodes. The work is a series and should not be read out of sequence. Best to start at the beginning. As a long-term project of several seasons, it is considered a Work In Progress. So you can follow along, I will post Episode SCENES weekly as they are completed.

Due to the posting limitations of the BBcode used by the site, I am unable to format the work in a traditional screenplay format. If you would like to read it as the work was originally created, you can download a PDF of the episode at the link below. Alternatively, the work is hosted on Archive of Our Own (Ao3) and you can see the correct formatting there as well.

Your thoughts, comments, or questions regarding this work are enjoyable and welcome. I am also open to Beta Read for serious writers within Trek canon. You can reach out to me via email: trekwritersroom@gmail.com.

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One

Episode 2

Teaser:

A CORRIDOR OF THE VALIANT - DAY

A look of determination on his face, we watch as NOG purposefully makes his way down a Deck 3 corridor of the Valiant. There is no one else present, his only company is the soft H of the engines propelling the ship through space.

CAST NOTE:
NOG (Aron Eisenberg) appears as the actor did at the end of the DEEP SPACE NINE, episode VALIANT, moments after he has turned in his Red Squad insignia. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

As Nog takes a step, his body seems to freeze in place as another body finishes the step. He looks to have stepped out of himself. After a few more strides forward, Nog apparently realizes something is amiss and stops turning around. He is now looking at the completely still form of himself seemingly frozen in place.

The moment Nog separates from himself in that first step, all BACKGROUND NOISES fall completely silent. So much so that he cannot hear his own breath or the rustling of his uniform as he moves. It is as if he is in a vacuum, a total absence of sound.

Nog is at first confused and then a hint of panic sets in as his brain tries to grasp what is happening. He takes a couple of steps back from his second self and looks around for anyone who might be coming down the corridor. Nothing. Out of his peripheral view he notes something strange though he does not recognize it until he turns to look. Out of the windows that run with the corridor, the stars outside the ship are not moving.

Before he can react further, he suddenly winks out of sight. The moment he is gone the remaining frozen Nog resumes animation and, with the SHIP NOISES now resumed, he continues down the corridor without any apparent knowledge of what has just happened.

CUT TO:

INT. STARFLEET HEADQUARTERS, A LARGE AUDIENCE HALL - DAY

One of the large auditorium halls used primarily for ceremonial functions or when addressing Starfleet personnel and visiting dignitaries. The stage area is dark, the house lights are up along with focus lights on the various flags of Federation members hanging on the walls.

Nog finds himself sitting in a comfortably padded chair on the ground floor of the forward seating area. The place is packed with people of different races, all seated, though for the most part none remain that way for long. Many stand and begin looking around while others call out or begin to make their way toward the isle. They all have one thing in common. Everyone is confused and, to one degree or another, frightened.

Nog looks to his left and right. He is seated next to a slight human female in her early 40's, dressed in a rather old-fashioned looking uniform, though she is wearing a Starfleet comm badge and the pips of a lieutenant (JETT RENO). Interestingly she looks more amused than upset as she finishes unwrapping a square of chewing gum and pops it into her mouth.

CAST NOTE:
JETT RENO (Tig Notaro) appears as the actor did at the end of Discovery, Season Two. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

RENO:
( to no one in particular )
I think I'm going to be late for work.

On Nog's right is an Andorian wearing what could best be described as a black leather military uniform, affiliation unknown (THY'LEK SHRAN). From his seated position the Andorian is busy trying to get his sidearm free of its holster so he can point it at... well, anyone.

CAST NOTE:
THY'LEK SHRAN (Jeffery Combs) appears as the actor did in the final episode of the series ENTERPRISE. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

Just as the Andorian is about to draw his weapon, a large, muscular arm reaches over him from behind. A hand grabs Shran's wrist, the strength of which causes him to immediately let go. With fire in his eyes he tries to turn to see who or what has a hold of him. Shran's eyes go wide.

Watching all of this play out, Nog follows Shran's gaze and his eyes go wide as well, but for very different reasons. The hand and arm belong to WORF, though by his appearance he is not exactly the Worf Nog knows. The Klingon says nothing to Shran, but by the disapproving look he is getting from the much larger Klingon, he thinks better of pushing the matter. At least for the moment.

CAST NOTE:
WORF, Son of Mogh, etc. (Michael Dorn) appears as the actor did in the final episode of the PICARD series. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

Worf notices Nog and addresses him warmly. For a Klingon.

WORF:
It is good to see you lieutenant. It has been many years.

Nog is about to ask a million questions of his one-time shipmate when a CHORUS OF TRUMPETS fill the auditorium which quiets most of the people in the room, though we do see one or two more popping in out of nowhere with the same confused or panicked expressions.

The trumpets fade as there is an earsplitting CRACK followed by a brilliant, ice blue FLASH of energy that causes everyone to turn towards the stage. What was once a bare solid white platform is now a shimmering pool of what looks like liquid mercury. At its center, surrounded by light wisps of fog is the very recognizable form of THE GUARDIAN OF FOREVER (TOS). The Guardian’s deep echoing voice announces two distinct words which reverberate through the auditorium.

THE GUARDIAN:
SIT (a beat) DOWN!

EXT. SPOCK'S FARM - DAY

Picard and Spock are walking slowly together away from the farm house. In the background Riker and Deanna are talking amongst themselves as they make their way inside. Sedek is nowhere to be seen having excused himself to get cleaned up. This leaves Kestra and Elnor who are also in discussion. Eventually they too go inside the house.

PICARD:
I am at a total loss. Knowing how you appreciate a direct and honest approach, I must tell you I am skeptical that all of this is real. With the involvement of Q and his history with me specifically, well...

SPOCK:
I understand completely, Admiral...

PICARD:
( interrupting )
Please, call me Jean-Luc. I am long through with titles.

Spock pauses his stride glancing at Picard for the briefest of moments and then continues.

SPOCK:
Very well, though I suspect you will always have a title. Your career notwithstanding, there are many titles that would befit your station, whatever the circumstance. (a beat) Allow me to provide you with some account of myself and Sedek, and from there you may at least have context for why I made my impassioned plea.

PICARD:
( in earnest )
I am interested in what you have to say; even if I am not entirely certain who or perhaps even what I am talking to.

The pair come to a modest sized pasture immediately adjacent to the large red barn. We see a black and white milk cow standing belly-deep in a small pond. She patiently regards them both with an expectant stare.

Spock stops and Picard follows suit. Looking over at Bessy The Busty Cow, Spock taps the inside of his left wrist and speaks something in Vulcan. To Picard's amazement the cow begins to shimmer and then sort of disintegrate much the same way a sugar cube would if it were doused with water. Less than a second later it rematerializes at the edge of the pond. Bessy looks over her shoulder at them and then slowly makes her way toward the barn.

PICARD:
A holograph?

SPOCK:
Nanites. You will remember the colony your Enterprise relocated to this planet. They have developed exponentially in both sentience and, to one degree or another, in physical ability. Everything you see here, under the dome you most certainly would have seen from your ship, is in fact nanite in form and function.

Picard nods his head in understanding, a slight smile on his lips.

PICARD:
I was afraid this was all Q mischief-magic. At least there is a logical explanation to (motioning around) all of this. Though the circumstances open up even more questions.

SPOCK:
Indeed. To be clear, Q does have a role which will be explained shortly. Suffice to say that the nanites have, for reasons of their own, worked very hard to create this sort of oasis that has become an ideal living arrangement for Sedek and I.

PICARD:
So Sedek is not a nanite creation. He is real?

Spock purses his lip at the still raw memory of how Sedek had made his unfortunate, revealing appearance.

SPOCK:
I must admit there are times when that explanation would be almost welcome. No, Sedek is very much real and he is biologically my own offspring. Like myself he is half Vulcan and half human. His mother and I shared a similar parentage, a human female and a Vulcan father.

PICARD:
And this was by design on your part?

SPOCK:
It was indeed. I had wanted a child for many years and was able to find a suitable, willing mate to provide surrogacy. As a part of our agreement, she would have no role in caring for the child and would only reveal her identity to Sedek should he ever wish to meet her. To date he has expressed no desire to do so, understanding my reasons for his conception and her reasons for providing me that... gift.

PICARD:
( laughing )
He is a spirited boy. And, I must say, a bit of a puzzle.

SPOCK:
I assume you are referring to Sedek's somewhat unorthodox behavior. Most probably not at all what you would have expected from a Vulcan child.

PICARD:
"Bessy The Busty Cow?"

Spock clears his throat, clearly uncomfortable.

SPOCK:
While awaiting his birth and with foreknowledge of his sex, I read many texts for raising a boy with mixed parentage. One of the texts, written by an oddly named human, encompassed "Free Range" child rearing. The theory advocates allowing the boy's personality, physiology, psychology, and character to evolve in tandem with parental guidance and self exploration. To allow the child to, in a sense, have the physical and social environments as a teacher, giving him varied options and choices. As you and I have discussed in the past, my own childhood was both rigid and devoid of any such choices. I have elected to not take a similar path. The results have been, mixed at best. Currently I have an entirely new perspective on adolescent development, to include a host of, shall we say, challenges.

PICARD:
I think it's a wonderful idea. And, very responsible given the social and professional environments he will surely have to navigate in the future.

SPOCK:
I admit, there have been missteps on my part. An example of which was on full display today. From an early age I have always allowed Sedek to speak freely and express himself, at home, and with his peers, as he wished without restriction. We have discussed appropriate settings and boundaries. Thankfully, Sedek exercises a degree of volitional control. When he was seven he decided to name all of our animals and, for reasons known only to him, he chose that particular moniker for our milk cow. One of my missteps.

Again Picard can't help himself but to laugh.

PICARD:
I applaud your approach and I feel it may prove to be a very effective parenting style, with a few surprises along the way.

SPOCK:
( deadpan )
I would like to think that the "little surprises" will soon abate. Thus far, they seem to be growing exponentially.

The pair have reached the far side of the barn where a small wooden structure has been built, very similar to a gazebo. There are two chairs with a small table between them, facing out toward the expansive countryside. Spock uses an open hand as invitation for Picard to sit, which he does. Spock follows suit, and in an unexpectedly casual manner, leans back and crosses his legs to enjoy the view as they continue their conversation.

PICARD:
So, you have lived here for quite some time. At least since your son was born.

SPOCK:
In actuality I arrived on Kavis Alpha IV two years prior to his birth. Arrangements had been made for me to live here and the nanite population was more than willing to accommodate my situation. They are a remarkably complex lifeform with only one simple desire. They are created to serve. Nothing more. Their life, their very existence centers on providing their unique services for cellular regeneration. Without going to far into the mechanics, the nanites are a collective of builders. They live to create and maintain. I was given free reign to design the habitat I would raise Sedek in, as well as all of the necessary amenities that would allow us to live safely and without outside interference.

PICARD:
Amazing. So you designed all of this?

SPOCK:
I did. It took over a year to go from concept to completion. I was provided with a vocal interface and, what could best be described as a coding language, not at all unsimilar to what is currently used by independent starships. I did have to learn the "computer" language, but after that the process was remarkably simple. The nanites learn at an extreme rate and now are very good at anticipating my needs, or the development of new environments based on past requests.

PICARD:
Again, I can only say it is absolutely amazing. However, none of that explains how you came to be here in the first place or, more of interest, how you have managed to be as young as you are.

SPOCK:
You are correct, Jean-Luc. The Spock, me, that you know or once knew, died several years after we last met. I am the same Spock up to a point, and then there was, what would best be described as a splintering. I am that splinter.

Picard had managed to follow along quite well and with Spock’s last statement things suddenly become clearer. A memory stirs.

PICARD:
Spock, I believe I am beginning to understand.

The Vulcan nods his head.

SPOCK:
It would seem logical, but we then have to factor in the illogical. This is where Q enters the story.

CUT TO:

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One
Episode 2

Scene 2:

INT. SPOCK'S FARM HOUSE - DAY

The inside of the house is comfortably furnished in an early American country style. Everything from the furnishings to the various pictures on the walls speak to an Americana feel. The place is relatively neat and tidy.

Deanna and Riker begin by making a tentative survey of the house and eventually find themselves at the back of the dwelling, just behind the living room. Again, everything is very country farm with no modern appliances outside of the period, circa the 1970s. Deanna points to a coffee pot indicating that Riker should make himself useful. He begins to root around for cups and saucers, as well as the can of coffee needed to complete his mission.

For her part, Deanna has noticed a considerable pile of dishes left over from breakfast. The boys had apparently foregone their ritual cleaning. Rolling up her sleeves, she turns on the tap to fill the basin while she sorts out what should be cleaned first.

In the living room, Elnor and Kestra are conducting their own investigation. They move about the room looking at this and that, careful not to touch anything. Elnor takes note of a small coil of rope ending with a lasso that has been hung on the wall to the right of the fireplace. He looks over at Kestra, horror written all over his face. She gives him a quizzical look.

ELNOR:
I suspect Spock uses this rope on his son when he misbehaves. See how handy it is right here in the main room of the house? It must get a lot of use. We must be careful not to cross the Ambassador.

Kestra breaks out laughing.

KESTRA:
That is a lasso. For horses and cows. It's just there for decoration.

Elnor does not look convinced. Just then, Sedek walks in fresh from a shower. He is dressed worn blue jeans and a white t-shirt, neatly pressed and wrinkle free. Unlike Spock, he is not wearing boots, but rather a pair of white canvas, low-top tennis shoes with the name Converse printed on the heel in red letters.

SEDEK:
I would like to apologize for my earlier lack of clothing. While I am not generally in that condition, working on the farm there are times that attire can be a hindrance. (to Kestra) I hope you were not offended.

CAST NOTE:
SEDEK AKIRA JAMES (Actor Unknown) Son of Spock and T'Ahara (who provided Spock with one of her eggs which was placed in storage until a time of Spock's choosing) is a thirteen year old male living on KAVIS ALPHA IV. Sedek is, like his father, half human and half Vulcan. Since his birth he has been raised by Spock, living on a small country farm in a created reality to mimic that of the childhood experienced by his long-time friend James T. Kirk. Sedek was also named after James Kirk.

KESTRA:
Don't worry about it. In my culture you attend weddings in the nude and I've been to four of them. And my father is absolutely shameless when he walks to a nearby lake, butt-ass naked every morning. Luckily we live in the forest.

Elnor is still fixated on the lasso.

ELNOR:
Does your father beat you with this rope? I could cut it up into small pieces if you like.

Kestra can't help herself and stifles another laugh. Sedek on the other hand turns dark and serious.

SEDEK:
Yes, yes he does. I have welts all over my body because of that horrible thing. You just could not see them because of all the mud. He uses it quite liberally, even when I do nothing wrong.

With graceful ease and lighting speed Elnor produces his tan-qalang and expertly strikes several times at the decorative lasso hanging on the wall. As he does so, with each stroke pieces of the rope fall to the floor with a resounding THUD.

Kestra immediately stops laughing, her eyes wide in shock as well as healthy appreciation for Elnor's skill.

KESTRA:
Holy crap!

Sedek too is impressed though he is already trying to figure out how he is going to explain the joke which resulted in the violent death of their decorative lasso.

SEDEK:
Spock said that I should show you around the house, and perhaps the farm. Would you like to see my room?

KESTRA:
( still staring at the rope on the floor )
Yeah, sure. (grabbing Elnor's arm) Come on Elnor.

The three leave the living room and begin to climb the stairs. Half way up Sedek stops and turns to face them.

SEDEK:
Just so you know, my given name is Sedek but when I was nine I wanted to change my name and my father did not object. I chose Akira from a story I like. It is also the name of a battle class ship in Starfleet. Everyone calls me Akira, even Spock. Most of the time anyway.

KESTRA:
That's a good name. Akira. I know what the ship looks like. My father has a hologram that shows pictures of all the fleet ships in a rotation.

ELNOR:
I think so too. We will call you Akira so long as this will not make your father angry. He may have other ropes hidden in the house that I do not know about.

Kestra and Akira smile at one another, but let the joke continue. They make their way up the stairs arriving on the second floor. The Vulcan boy is about to turn to his right when he suddenly stops, changing his mind.

AKIRA:
Wait. Want to see where I go to school?

Kestra shrugs her shoulders at which point Akira turns to his left and leads them down the hall. He stops at the first door they come to and steps inside. It is a bedroom that has been converted into a study. The sparse furnishings consist of only a modest cherry wood desk and a padded swivel chair. The walls are covered with lots of photographs showing Akira at different ages, many of which have him posing with young friends. Some are of him participating in various sports or on the farm. There are even pictures of him and Spock vacationing together in recognizable locations.

ELNOR:
You are schooled from home. I too learned my lessons at home where I lived with the Sisters. I would have preferred to go to a real school with friends.

We see Akira grin wide showing perfectly white teeth, the smile reaching his eyes; a kid accustomed to humor. He goes over to the closet inset against the wall and dramatically swings open the heavy oak door.

AKIRA:
Step inside please. The train leaves momentarily.

ELNOR:
You have a train? In there?

KESTRA:
Elnor, it's a figure of speech. There is another room.

AKIRA:
( shrugging his shoulders )
Okay, sure. Another room.

Allowing his guest to go in first, they both disappear from view in a sudden shimmer of yellow light. We hear the FADING YELL as Kestra realizes what is happening.

KESTRA:
Oh crap... Akira!

CUT TO:

EXT. AN AMERICAN INDIAN VILLAGE SURROUNDED BY FOREST - DAY

A village of Cherokee American Indians. Tee pees are set up in small clusters, each sharing communal fire pits. Strings of horses are close by at the edge of the encampment.

The place is a bee hive of activity as young children run and play while their mothers are busily working at various tasks. Teenage boys and girls are going about their own lives as the men of the village congregate for a meeting of some kind.

Kestra, Elnor, and eventually Akira all materialize just outside the village. No one seems to notice them until a group of small children, about six or seven years of age, spot Akira and charge toward him. They do not pay any attention to Elnor or Kestra.

The children rush Akira, pouncing on him with glee as they try to wrestle him onto the ground. They giggle uncontrollably as the older boy attempts to stay upright. The boys and girls are obviously very pleased to see him. Akira fends them off as best he can, but ultimately they bring him down like hunted moose where he falls into the soft green grass. After a few moments his attackers are seemingly pleased with their work and climb off at which point they spy a new prey and charge toward a teen who has just come out of his tee pee. The process repeats. Kestra and Elnor regard Akira as he gets up and brushes off his clothing.

KESTRA:
This is where you go to school?

AKIRA:
One of the places, yes.

Elnor is looking around in disbelief.

ELNOR:
This is pretend? A hologram?

AKIRA:
No. It's very real. Well, sort of. Everything here is a combination of nanites and artificial intelligence, all of which is preprogrammed by my father. They act and react to any situation as a normal human of this period would, based on not only their culture, but each has his or her own personality and disposition. They are very individual with differing skill sets, and character flaws.

KESTRA:
I love it! But what do you learn here? And why aren't they seeing Elnor and I? They clearly see you.

AKIRA:
It's all part of their programming. To them I am dressed as an Indian boy of the village and they know me very well. They don't see you, but they are smart enough not to occupy the space you are in so they would not run into you or have any sort of interaction.

ELNOR:
This is how humans grow up? In these villages? And, go to school?

AKIRA:
No. This is how a certain group or race of people lived hundreds of years ago on Earth. Even though they may look primitive from our standpoint, there is much you can learn from them and their way of life. That is one of the reasons my father wanted this to be a part of my education. I spend time in thirteen different schools. Some are from Earth and others are from Vulcan.

KESTRA:
So you are part human and part Vulcan? I'm both human on my father's side and Betazoid on my mother's.

Akira nods his head and begins to lead them into the village. As he does so, many of the children and adults greet him in the Cherokee language or, in the case of the male teenagers, with a hearty smack on the back or by crashing of an open palm against his forehead. Interestingly, all of the older boys have pock marks on their bodies from an apparent recent attack by wasps.

AKIRA:
I am half Vulcan and half human. My father did not have a very good relationship with his father and Spock is determined not to repeat the mistakes of Sarak. He exposes me to both my human culture and that of the Vulcan. I am given freedom to choose how I interact with either. It works well, sort of.

As we follow them through the village, a girl of about thirteen walks toward Akira which, if he didn't move out of her way, they would have collided. Akira nimbly steps to one side at which point she turns and smiles coyly at him while two other girls watching from a distance break out laughing. Then, all three quickly disappear behind a tee pee. Kestra catches on immediately.

KESTRA:
Someone's got an admirer.

AKIRA:
That's Chasing Horse. She likes to bully me. Last week she filled my moccasins with honeycomb while I was sleeping. Took me an hour to wash them out in a freezing cold stream.

ELNOR:
That is a very odd mating ritual. Absolute Candor would dictate the female approach you very directly and announce that she would like to have sexual relations with you at a time and place that would be convenient for you. (a beat) Are you old enough yet, physically I mean, to perform a...

KESTRA:
Elnor! My god didn't you learn anything from my talk earlier? Not all cultures, no, most cultures do not embrace that sort of candor. They like... um... well, the flirting. It's romantic and certainly not just about sex.

ELNOR:
But is that not a waste of time? I think that...

Kestra quickly changes the subject regretting her decision to try and explain to a nineteen year old boy how to meet and talk to girls.

KESTRA:
Akira, you were telling us about these other schools you go to.

AKIRA:
Yes Elnor. I am physically capable to perform all manner of sexual activities. Everything is fully functional, though I admit that it is untested under real-world conditions.

KESTRA:
Kestra claps a hand over her mouth to stifle a scream of indignant surprise. Meanwhile Elnor is looking approvingly over at Akira.

ELNOR:
I am happy that you have reached a degree of sexual maturation that allows you to...

KESTRA:
( exasperated )
Would you two please SHUT UP! Honestly, boys are so crass. And, according to my mother, obsessed with sex. (a huff) Akira, TELL US ABOUT YOUR DAMN CLASSES!

The broad smile on Akira's face tells both Kestra and Elnor that he intentionally invoked Absolute Candor in an effort to get a reaction out of Kestra. Elnor finally gets it and he laughs aloud. Kestra however gives him a glare that quickly takes the smile off his face.

AKIRA:
Each school, they're not classes, lasts for anywhere from a few months to years. I have been a member of this tribe since I was eleven. I am now an adult and a full member of the tribe by their rites of passage. Years ago these people were thought of as savages and treated very badly by other cultures. Many tribes eventually became extinct, their traditions and beliefs only preserved in books or on holovids. From everything I have seen and experienced, they are a good people with honorable values and strength of spirit who only want to have the freedom to live their lives as they see fit.

ELNOR:
I would have been very happy going to a school such as this.

AKIRA:
It is a life of hard work and with little in the way of comforts as we know them. It can be difficult at times. But, that is the value of this sort of education. You learn by experience, not some professor lecturing at a podium.

KESTRA:
Tell us about your other schools. Are they all like this, things based on experiences?

AKIRA:
( grinning )
I believe I have a much better idea!

CUT TO:

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One
Episode 2

Scene 3:

EXT. A CITY STREET, NEW YORK CITY, THE 5 POINTS, 1850's - DAY

A crowded street with red and gray brick tenement housing on both sides. Carts pulled by horses work their way slowly up and down the street and pedestrians dressed in period clothing bustle about on littered sidewalks.

Q and THE GUARDIAN AS CARL materialize in the middle of the street and are forced to immediately scurry out of the way to avoid getting run over by a horse-drawn vegetable cart. Both are dressed in non-period garb, Q wearing black pants, a dark colored shirt, and an expensive looking black leather jacket. In contrast, Carl is dressed in a pair of faded blue jeans, Reebok tennis shoes, and a rugged looking red and blue plaid button down shirt. To add a bit of flair he is adorned with a colorful Jeff Gordon NASCAR baseball cap. Q gives Carl a sour look.

Q:
I assume you're not trying to get us both killed and are simply unable to accurately control exactly where you relocate us.

Carl smiles though he declines to answer which only seems to annoy Q all the more. Having avoided a messy accident, the pair walk across the street and go inside a building which advertises Hollaran's Irish Pub.

CUT TO:

INT. HOLLARAN'S IRISH PUB - MINUTES LATER

The place is packed with men, hard looking characters, most of whom are dressed in such a way that they appear to be working class. The man behind the bar however is sharply dressed for his position and is busy serving some fifty to sixty customers. Barmaids rush to and fro in an attempt to keep up with demand.

Q and Carl make for the back of the large room in hopes of finding a booth or table. There are none open. An exasperated Q snaps his fingers and the right side of the room grows by another ten feet opening up six more booths along the back wall. None of the patrons seem to notice the magic that has just occurred, though some who have been standing spot the openings and begin to move to take advantage of the newly available seating. Q and Carl quickly sit in a booth, opposite one another.

Q:
This is the best you could do? A dive full of, well, Irishmen who are apparently in desperate need of alcohol and most certainly a bath?

THE GUARDIAN AS CARL:
For someone who has such an affinity for humans, you do seem rather unhappy to be in their company. Or is it something else?

Q:
I do not have an "affinity for humans". The very concept of "humanity" is a study in contradiction. They aren't a very intelligent race, it took them over 100,000 years to invent the paperclip. Honestly, it's a little piece of wire bent in an oval. And don't get me started on their ability to self-destruct. Do you realize that you could be killed for wearing those shoes in this particular bar? The little red logo... that's the Union Jack. They're not a fan.

THE GUARDIAN AS CARL:
If what you say is true, perhaps you would explain to me why we are here in the first place? The Continuum has pronounced their verdict for your little endeavor and yet here you are enlisting my help in acting outside of their edict. Think of what you are risking for those you consider an insipid race of creatures who are only one slither away from killing themselves off.

A barmaid comes to the table to take their order. Q ignores her while Carl orders an Irish whiskey times three and a bowl of peanuts. The girl, who doesn't look old enough to be working in a place like this, smiles and gives Carl a wink.

BARMAID:
A pleasure sir and to be sure I'll be a gettin' from the top, iffin' ya take my meaning.

THE GUARDIAN AS CARL:
( in a perfect Irish accent )
Well, thanks be ta you darlin'.

Q rolls his eyes barely able to control himself. He looks around the room, unimpressed. Back to Carl.

Q:
( low voice )
The Continuum can, at times, be as stupid and uncaring as this lot giving themselves liver poisoning. You know the cost. Are you telling me we shouldn't be doing this?

THE GUARDIAN AS CARL:
That's not the point. It's not what I think, it's what you are doing, regardless of whether or not it's right or wrong. You have made your decision and I have made mine. I strongly suspect you are more comfortable with yours than I am with mine, but again, that does not matter. We have set things in motion and if the Continuum finds out they will be visiting you, not me.

Q becomes nervous when Carl mentions their name aloud. He even looks around the room as if they might suddenly appear.

Q:
I wish you would stop bringing them up. They are not without their ways of finding things out. Quite frankly I am surprised we have gotten as far as we have.

THE GUARDIAN AS CARL:
Very well. Everyone will soon be in place and the real fun can begin. We have just one more thing to do and then we will be off. Come along.

Carl gets up and produces an astonishingly fat wad of paper bills from his shirt pocket. Before they can step away the barmaid returns with Carl's drink order.

Q:
Where are we going now? We just got here. Sometimes I just don't understand you.

The barmaid is giving them a puzzled look and her eyes narrow with suspicion as she spies the wad of bills Carl is about to hand her. She looks as if she is about to tell him what he can do with his money.

BARMAID:
'nd just what would you be gettin' at?

THE GUARDIAN AS CARL:
These be fer you dearie. Some kindlin' to light the hearts of those two boys you're at raisin'. You can go home now. Real home.

The barmaid's eyes go wide as Carl stuffs the wad of bills into her free hand. He smiles, tips his hat and with Q following behind begins to make his way toward the door.

BARMAID:
Oh but sir... I... I canna' take, thus'ud do fer two lifetimes it would!

THE GUARDIAN AS CARL:
( over his shoulder )
Fortune follows the brave. Be brave Maddy Donnel! Be brave!

We watch as Maddy thinks a moment on what Carl has said, a big grin comes across her face as she drops her serving tray, picks up one of the Irish whisky's and downs it. She then begins to take off her apron and head for the back door.

CUT TO:

EXT. OUTSIDE THE BAR - MINUTES LATER

The street is much the same as when they had arrived. Carl and Q step out just in time to see a shimmer of yellow light across the street. Akira, Kestra, and Elnor have materialized on the sidewalk opposite them.

Kestra and Elnor take in their surroundings, bewildered with the New York city streetlife. Akira begins walking down the street away from Carl and Q who watch them go. Q turns to look at Carl, clearly confused.

Q:
Shouldn't they be at the farm? We are about to have our big to-do and we don't want them getting lost. Or worse yet, kidnapped or something. This is a rough part of town and I don't think that I have the energy to explain to Spock how we let his kid get shanghaied.

THE GUARDIAN AS CARL:
Wrong city. (pointing back over his shoulder) That sort of business happens on a continent over that-a-way. They're fine. They have their business and we have ours. Besides, I have to get changed. Can't show up to our "to-do" looking like this now can I?

Carl swings his arm in an expansive wave and the two of them simply disappear. No one pays the event any attention as Akira and crew turn and disappear down a side alley.

CUT TO:

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One
Episode 2

Scene 4:

EXT. AN ALLEYWAY, THE 5 POINTS - MINUTES LATER

Akira, Kestra, and Elnor have just rounded the corner entering the alley. All are dressed as they were in Scene 2 while visiting the Cherokee village. They continue walking.

ELNOR:
This is another school?

AKIRA:
In a manner of speaking. This is more of a survival course.

KESTRA:
You mean like Starfleet training? To survive in different climates, build a shelter, and find food and water?

AKIRA:
More like Dead Rabbits.

ELNOR:
We are going to eat dead rabbits? I saw plenty of food back there on the street.

Akira smiles as he leads them deeper into the alley. The place is filled with large barrels of trash and abandoned crates. Up above laundry hangs to dry from the various tenants living in the buildings on either side.

AKIRA:
No, not eat them, Become them.

KESTRA:
What do you mean, become? What are you not telling us? I've only known you for an hour and already I'm learning you never really say what you mean. Or more like what you lead us to believe the exact opposite of what you are saying.

AKIRA:
The Dead Rabbits are an Irish gang set up in the mid-19th century. They rule this part of New York City in The 5 Points. They are always at war with someone and this month it's the Greasers of Italian heritage, specifically Palermo just outside of Sicily.

KESTRA:
What's that have to do with us?

AKIRA:
( dropping into Irish dialect )
Because we be the Dead Rabbits. And those seven Guido thugs yon, they be particular unhappy with me and mine.

Elnor stops and looks ahead seeing the seven "Guidos", all boys in their late teens. He slowly reaches back with his right hand grabbing the hilt of his tan-qalang.

KESTRA:
Why are they angry with you?

AKIRA:
Depends now don't it. Iffin' they too have found out that I nicked their cart full o' beef and pork a week past, that would do the trick. Or, if they discovered I be the one that mislaid all of their clothing while they were a swimmin' in the East River, I suppose that would be a qualifier. And then, bein' perfectly honest, there is the fact that I...

The boys spot Akira and immediately begin to charge forward, yelling profanities and threats of violence.

AKIRA:
Run!

Kestra stands her ground.

KESTRA:
Why run? They can't see us and you really can't get hurt because of the safeties. Spock would not let anything bad happen to you.

Akira gets a panicked look in his eyes. His voice skips an octave and he immediately loses his Irish dialect.

AKIRA:
No safeties, No safeties! And in this program then can see you! Run!

Kestra doesn't buy Akira's act. Figuring he's just playing another one of his games, she puts her hands on her hips and stares down the fast approaching boys. Elnor "understands" and letting go of his strapped weapon, does likewise. He too will not be made a fool of.

HOPSCOTCH:
You three get the weird looking Chinese kid, Frankie you take the girl. The Dead Bunny is mine!

Kestra and Elnor look at each other and after the briefest of moments simultaneously turn to run.

KESTRA:
Crap!

ELNOR:
But I am not Chinese!

A chase ensues through the alley and out onto the street. The trio crosses to the opposite side of the street and begin to dodge the slower walking pedestrians. The people who have to get out of their way give them annoyed looks but have not yet realized the kids are being chased. As such, no one offers to help or give them sanctuary.

Akira cuts down another alley and turns to his left, basically doubling back in the direction they came from, just on the next block over. There is enough distance between them and their pursuers that keeps them out of immediate danger.

Another alley is coming up, however instead of making the turn Akira pulls up short and leaps to grab a hold of the rolling extension ladder of the fire escape. He then steps aside and, watching the approaching Italian boys, urges his companions to climb up as quickly as they can.

Kestra and Elnor do as they are told and scramble up the ladder. He quickly follows suit and then, once they are on the first floor scaffold, he quickly pulls the ladder up. Next he reaches down and grabs a block of wood that is tucked up against the black framework. He shoves it in between a ladder rung and the floor of the scaffold, wedging it in place.

The Italians reach the fire escape and begin jumping to try and bring the ladder down. Akira does not wait around. He lunges forward and begins to climb the zig-zag of stairways that will take them up to the roof. Again, Kestra and Elnor follow.

KESTRA:
Next time you invite us anywhere, the answer is no.

AKIRA:
( smiling broadly )
Relax, we're almost home free. Hope you're not afraid of heights!

ELNOR:
This is fun. I like your schools.

CUT TO:

EXT. UP ON THE ROOF OF THE TENEMENT BUILDING

Akira looks down and sees that the boys below have managed to scale their way up to the first landing of the fire escape. They are beginning to climb the stairs.

AKIRA:
( under his breath )
I was afraid of that.

KESTRA:
Afraid of what?

AKIRA:
( innocently )
Nothing. Come on.

Akira leads them to the far corner of the building and jumps up onto the brick ledge. Kestra peers over the side. There is a thick wood plank with 2x3 supports nailed along each side that crosses to the next building. It looks worn and not especially trustworthy.

KESTRA:
You have got to be kidding.

Akira doesn't answer. Instead he steps on the plank and casually walks across. Having shown them how easy it is, he simply shrugs his shoulders as if to say "What are you waiting for?"

ELNOR:
( reassuringly )
I think you will do fine. I will wait here until you are safely across and then join you on the other side.

Kestra bares her teeth in frustration and then, with a look of determination, makes her way across. Elnor practically dances the distance with ease. For his part, Akira looks down and seeing no one below, reaches down and with a mighty heave lifts the plank away from the ledge and lets it fall the eight stories. It lands with a loud crash.

At that moment the seven boys climb over the far ledge of the building across the way. They see Akira and friends and begin to run the length of the rooftop. As they get closer they realize there is no way to cross. Three of the boys produce slingshots and begin the process of loading them.

AKIRA:
Let's go!

Collectively Akira, Kestra, and Elnor turn in unison and run while doing their best to avoid getting hit by rock projectiles. Akira leads the way to the roof's exit and, once reaching a red door, disappears inside.

CUT TO:

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One
Episode 2

Scene 5:

INT. THE BASEMENT OF THE BUILDING - MINUTES LATER

The basement is very large with a high ceiling and plenty of light. The place is fairly clean with a collection of mismatching tables and chairs as well as thirty or so mattresses lined up against the walls. There is also a small kitchen area and a couple of couches that have most certainly seen better days.

We watch as Akira and crew open one of the double doors and walk in. The basement itself has an assortment of boys and fewer girls, all between ten and seventeen or eighteen years of age. The group turns and looks when Akira comes in. Unlike the Indian village, it is clear that these kids can see Kestra and Elnor. A couple of the older boys immediately stand up defensively in case there is going to be trouble from the strangers.

Akira holds up his hands and begins to explain.

AKIRA:
Relax boys, they be friendly enough. Hopscotch and Fat Frankie were a chasin' us along with a bunch o' his goons. Lost 'em we did, on the roof. Gonna have ta haul the plank back up again though.

The older boy, JOHN, gives Elnor and Kestra an appraising look and then goes back to his card game while addressing Akira.

JOHN:
Pookin' 'ell man. That dirty great plank of your'n be downright heavy and this be the second time of a week. Can't ye find a less troublesome way of losing the buggers?

Another boy, ANDREW comes over to where the three are standing and stands toe to toe with Elnor. It wasn't Elnor's physical appearance he was interested in, but rather the blade strapped across his back.

ANDREW:
Who's this then? And why the bloody sword be a hangin' off 'is back?

AKIRA:
Ye best ta leave that one be afore he cuts yer tads off, Andy Boy. Not one ye want to get on the wrong side of, iffin' ya take my meaning.

Andrew, three inches shorter than Elnor, looks from him to the sword and back again seeming to agree. He goes back to the card game. Everyone else loses interest in the visitors and returns to their business, which for most had been eating or sleeping.

Akira leads them to a mattress toward the back of the room. He drops down and points the others to have a seat.

KESTRA:
What is this place? Why are all these kids here? They don't look particularly healthy.

AKIRA:
Orphans, runaways, some have escaped from the workhouse. This is where I live when I am here. Survival.

ELNOR:
I understand now. Spock is teaching you how to adapt to an unwelcoming environment, integrate into the culture and survive any way you can.

KESTRA:
This is terrible! Just look at these poor kids living like this. And we could have been killed climbing eight story buildings, walking across rickety planks, and being chased by street thugs who clearly wanted to kick your butt. Or worse. What is your father thinking having no safeties?

AKIRA:
It's true this is a pretty rough place and you can get hurt; but that's the point. If there was no real danger, you would make bad or poorly considered decisions. Not the case if you're going to be in the hospital for a month. This teaches you to know your limits and make risk-adverse choices.

Kestra is not convinced. She huffs in disapproval.

KESTRA:
If one of those stones they were shooting at us hit me in the eye, it would probably would have blinded me for life, but of course we could have fallen to our deaths instead!

Akira shakes his head in disagreement.

AKIRA:
No, that would have caused what Spock calls an "Environmentally Factored Failure". Essentially I would fail out of this school.

ELNOR:
I am not certain that would matter so much if you are deceased.

AKIRA:
( smiling )
No, we would not die, just fail the school. If I were to fall to my death, well, just short of my death, a force field would have immediately broken my fall and all of this would have disappeared. End of school. If I were to get really hurt, like permanent damage, every person in any of the schools has the knowledge and skill to do everything from heal an abrasion to performing neuro-surgery.

The Vulcan boy nods toward a girl eating a bowl of porridge on her mattress. She is about eleven with a kind of vacant look in her eyes.

AKIRA:
If needed, a fully equipped medical bay and stasis chamber would appear immediately and Amanda over there could restart my heart or do any surgical procedure necessary, while the others come to assist. My father would have been alerted at once and he would have transported here.

KESTRA:
So if you break your arm, he wouldn't let you be healed? That's crazy.

AKIRA:
Well, he would let me heal of course, it would have been expertly set and allowed to mend on its own with periodic monitoring to ensure there were no issues. If there was no pain or discomfort, no consequences to my actions, then the true nature of this type of education would be much less effective.

ELNOR:
I definitely would like to go to school here. I had to sit in my room and memorize things. So, here you are an urchin left to fend for yourself in any way you can. It is very... educational.

KESTRA:
( sarcastic Irish accent )
It's pookin' bizarre!

The remainder of Akira's tour continues without drama. A SERIES OF CUTS take us to various locations, all of which are comprised of different learning environments, most of which are more in line with traditional academic instruction or specialized in some form or fashion.

CUT TO:

INT. THE MAIN MEDITATION HALL, A VULCAN MONASTERY - DAY

We are at the monastery at PJem. Vulcan men dressed in traditional white robes are involved in either group instruction, personal meditation, or playing a musical instrument. Akira shows his friends the various rooms of the monastery as well as his cell when in residence.

WRITER'S NOTE:
The monastery is as it was in ENTERPRISE Season One, Episode 6. Archer and crew arrived at the monastery on a courtesy visit and stumbled upon an altercation between the Vulcan monks and THY'LEK SHRAN of the Andorian War Ship Martok.

CUT TO:

INT. A TRADITIONAL VULCAN SCHOOL - DAY

Akira leads them through a variety of classrooms that are made up of individual computer stations with holographic displays. Vulcan students of middle school age and wearing blue robes work in silence at various problems, or are being tested. Aside from the classrooms there are large lecture halls where instructors are teaching.

CUT TO:

EXT. EATON COLLEGE, GREAT BRITAIN - DAY

The trio travel the well-manicured grounds of the college, much of the campus looks as it does now with a few modern structures added. The students are mostly eighteen to twenty one and all of the Federation member races are represented. There are a considerable number of boys and girls who look to be high school age in attendance as well. All wear the gray uniform with the embroidered college arms on the breast. The learning environment is structured and orderly, but much more relaxed than that of the Vulcan middle-school.

CUT TO:

EXT. ABOARD A LARGE BRITISH NAVAL SAILING SHIP - DAY

The entire crew are boys ages 10 to seventeen. The older boys make up the command structure while the midshipman are somewhat younger and the sailing crew are from ten to twelve. There are adult "instructors" milling about giving gentle suggestions or offering advice, but otherwise the ship is run by the more senior boys who clearly once held the positions of the younger. The ship is at full sail on relatively calm seas as it travels through a chain of tropical islands. Suddenly there is a call to arms and the boys begin to set to for live battle drills. While it may look like great fun, everyone takes their rolls very seriously and perform with exacting expertise.

CUT TO:

INT. ON VULCAN, THE TKARATH SANCTUARY - DAY

A sanctuary dedicated to the study of the KirShara and home of the Syrrannites. The tunneled, cave-like structure deep inside the rock of Vulcan provides for a peaceful society. Here Akira explains the various tenets of the KirShara, the true teachings of Surak.

WRITER'S NOTE:
This underground movement of the Syrrannites and the discovery of Surak's KirShara were introduced in ENTERPRISE Season Four, Episode 83 / 85 respectively. It was here that T'Pol's mother was killed as she and Archer carried the KirShara out to be revealed to all of Vulcan.

CUT TO:

INT. THE USS ENTERPRISE (TOS) - DOWN IN THE "LOWER DECKS" - DAY

The interiors of the tour look exactly as they did in TOS with none of the upgrades in the later ships to carry the name. We are in an area of the ship not immediately recognizable. Small, cramped quarters and, instead of the retro uniforms we are accustomed to, the "crew" all wear drab green coveralls. Everyone is doing some form of menial manual labor or mind-numbing clerical work.

Kestra and Elnor look about their surroundings in confusion as everyone essentially ignores them as they plod along mindlessly doing whatever.

KESTRA:
What kind of school is this?

Akira's normal bravado or mischievous side is no longer on display. He looks down at his feet for a moment unable to meet Kestra's eye.

AKIRA:
Detention.

CUT TO:

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One
Episode 2

Scene 6:

INT. THE AUDITORIUM, STARFLEET COMPLEX, SAN FRANCISCO, EARTH - DAY

The auditorium is SILENT, the house lights are down and the stage is illuminated in a bright light, tinged ever so slightly in blue. The construct of the GUARDIAN (TOS) appears to be floating on the silvery liquid mercury, the stone-like face is beating randomly here and there with yellow light. The center of the circular structure is pitch black with pinpoints of white light. A star field.

The GUARDIAN'S announcement to "Sit Down" hurt Nog's ears. Ferengi ears are sensitive that way, but then given the volume and reverberation of the words, it certainly got everyone's attention. Apparently all those who had been "invited" have arrived as there are no more bodies winking into existence.

The camera pans the huge seating area, the main floor and two tiers of mezzanine. The place is filled to capacity, some twenty eight thousand strong. We recognize many of the faces representing an array of Starfleet eras. There are men, women, and children present, it is easy to see that entire families are strategically seated together.

We find many familiar faces. Not seated together, and located throughout the auditorium (and in no particular order) we see the following:

Liam Shaw (PIC) * T'Pol (ENT) * Dal R'El (PRO) * Tuvok (VOY) * Kira Nerys (DS9) * Seven of Nine (PIC) * Erica Ortegas (SNW) * Soval (ENT)

One thing is clear as we view the crowd. Not all are Starfleet and only a few are in a uniform of any kind. It looks as if it depended on what the person was wearing when he or she was brought here. Another thing; only those races with current Federation membership in the year 2399 are represented.

Everyone stares at the construct, most of whom have no idea what they are looking at. Only those in Starfleet with a high enough security clearance understand its true significance. Suddenly there is movement of the star field inside the Guardian.

One obscure star in the upper right hand quadrant grows ever brighter as it moves from its position to the center of the field. It then begins to grow in diameter, larger and larger until the entirety of the construct's negative space becomes completely filled with the white light.

A translucent shadow in the center begins to take form, at first an undefinable blur which resolves into the clear definition of a human form in black silhouette. Out of the light steps THE GUARDIAN AS CARL wearing what could best be described as a 1930's yachting outfit. He has decided to, after many years as a construct, fully embrace the nanite creations of Spock's design, as well as experience the attire and customs of the period. Carl looks quite sharp in his navy blue blazer with a maroon dress shirt underneath, pressed white trousers and captain's sailing cap, replete with gold scrambles on the black bill.

All eyes are fixed on Carl as he walks on what had appeared to be the slivery liquid mercury, we now realize it is a highly polished floor. As The Guardian walks center stage, a black stage stool slowly materializes, in the same fashion as Bessy The Busty Cow. Reaching the stool Carl tentatively pushes down on the padded seat as if to ensure it is going to support him. He then sits and makes a survey of the crowd, his mouth silently counting, the thumb and fingers of his right hand tapping as if he is doing the math. Satisfied, he addresses the crowd. Interestingly, the first sentence comes out as the TOS version of the Guardian's voice, yet by the time he speaks the last sentence, his voice has mutated into that of Carl.

THE GUARDIAN AS CARL:
I sense fear and confusion. All that is unexpected or unexplained is not necessarily dangerous. Regarding the former, those feelings will soon abate, though the latter are, for the moment understandable. A human once asked me if I was a "machine or a being". I answered him "I am both and neither." I now amend that by adding, "I am what you need me to be when you need me to be it." Today, you need me to look, and sound... like this.

The explanation does not seem to move the people gathered one way or the other. Confusion remains, though the fear seems to be dissipating.

THE GUARDIAN AS CARL:
Okay, how about a familiar face or two? An Admiral perhaps?

The star field had returned to the construct's negative space once Carl had stepped through. It now is a swirl of color which quickly resolve into what looks to be a large, richly colored oil painting of ADMIRAL KATHRYN JANEWAY sitting behind her desk. The Admiral stands and, stepping around the desk, walks forward and out of the portal. She continues to where Carl is seated on his stool. As she gets closer another stool materializes next to the Guardian. Before sitting, she looks out over the crowd and offers them a smile of greeting.

CAST NOTE:
KATHRYN JANEWAY (Kate Mulgrew) appears as the actor did at the end of Season One of PRODIGY (albeit in animated form). Extrapolate this to the actual actor in live action. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

JANEWAY:
Good Afternoon. For those of you who don't know, my name is Kathryn Janeway and I am currently an Admiral serving on special assignment. I would like to start out by saying that everything happening here is in fact completely safe. I also believe it is entirely necessary. This meeting, all of you, at a critically important time. The long and short of it is, we, Starfleet need your help.

Janeway lets that sink in for a few moments as she sits down. Behind her, the construct creates another beautiful oil painting this one the picturesque farm house belonging to Spock and Sedek. Standing together on the porch are Picard and Spock. As they take the two steps down to ground level, they too step out of the Guardian.

In the painting both were dressed as we left them at the beginning of this episode. The moment they step out of the construct, Picard is wearing a semiformal Class B Starfleet uniform, his Captain's pips are securely affixed to his collar. Spock's attire changes dramatically as he is now dressed in a formal Vulcan white and navy blue robe. On the left and right sleeves, just below the shoulder are three distinct Vulcan symbols, printed in a lighter hue of blue on the cloth.

Again the camera finds more familiar faces in the audience. As before, they are seated at varying places on both the main floor and mezzanines.

Laris (PIC) * Data (TNG) * Q'ell (ENT) * T'Rina (DIS) * Una Chin-Riley (SNW) * Po (DIS) * Geordi La Forge (TNG) * Pelia (SNW) * Elim Garak (DS9) * Keyla Detmer (DIS) * Julian Bashir (DS9) * Saru (DIS) * Barash (TNG)

There are audible gasps and considerable hushed conversation when the crowd realizes it is Spock who has just arrived through the portal. Both men walk to stand next to Janeway. Neither of them sit on the high stools that have already materialized. Picard is the first to speak.

Close up on Captain LIAM SHAW who is dressed in uniform. At seeing Picard step out of the construct he mumbles to himself...

CUT TO:

SHAW:
( with sarcasm )
Picard. Of course it's Picard.

CAST NOTE:
LIAM SHAW (Todd Stashwick) appears as the actor did at the end of Season Three of PICARD, just before his final scene in the series. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

CUT TO:

PICARD:
( holding up his hands for quiet )
Please, please. (a few beats) Thank you. My name is Jean-Luc Picard and I want you to know that everything you see before you is real. Several hours ago I too was confused and, dare I say, a little fearful. But I can assure you that not only are you safe, but all of your questions will be answered. Before we can do that however, I think it is imperative that you are satisfied that this is not some elaborate hoax, nor have you been transported into a massive holographic program. What you might consider smoke and mirrors is all the work of (turning to Carl) The Guardian of Forever. Every one of you is real, you are most probably already convinced of that, but those around you, including those of us on the stage, we too are real. And, we ask you to at least listen to what we have to say. But first, allow me to introduce the man whom I am certain almost all of you recognize. Ambassador Spock.

The crowd is not so quiet as again there is a rustle of voices.

SPOCK:
Greetings. I am Spock. Logically, you are all questioning the reality of your surroundings, how you find yourselves here, and exactly who is really speaking to you on this stage. It is illogical to require complete proof, beyond any doubt, of anything that is uncertain. It is up to you to determine how far you will allow your reason and understanding to go before you reach a rational decision, one way or the other. If you are willing to apply a rational discernment to this event, I believe that what your current views are will, logically, shift to a point of possibility. Please indulge us.

With that, both Picard and Spock take their seat on the two remaining stools. For the last time the construct produces a painting. This time it is one of Q, who oddly does nothing to make any sort of grand entrance. He is dressed exactly as he was in Hallorans' and the painting has only a diffusion of a gray to white background. He steps out of the construct and walks to meet the others, center stage.

The audience has a similar reaction to Q as they did to Spock, though it is significantly muted, mostly because he is not recognizable to a majority of the civilians and their families.

Q:
My name is Q. While I wish you could have come to us today in a more, traditional way, due to the emergent nature of the situation it was not possible. I think it should also be said that I am solely responsible for your being here this morning. Each person here on the stage understands the importance of our meeting, but it was I who orchestrated our gathering. To say lives are at stake would be an enormous understatement. Countless civilizations are at your mercy.

It should be said, no one here will be forced to do anything. All you need do is simply stand up and you will immediately be returned to the very place and time you were in before arriving here. From your perspective none of this will have happened. Nothing to remember, nothing to regret. There will be another opportunity to return to your lives after our explanations. A second chance to bow out. However, for now all you need do is stand.

For the last time we get see which other legacy characters have been brought into the cast.

Katrina Cornwell (DIS) * The Doctor (VOY) * Zahban (PIC) * Charles Tucker (ENT) * Ramdha (DIS) * Vorek (VOY) * Raffaela "Raffi" Musiker (PIC) * Quark (DS9) * Phlox (ENT) * Hugh (TNG) * Beverly Crusher (TNG) * Joseph M'Benga (SNW)

There is complete silence as everyone looks around the room, tension mounting as they wait to see who stands and who remains seated. After a moment a few people, most with small children do stand, though there are some who are alone that make the same decision. The instant they are fully up on their feet they wink out of existence. This goes on for less than a minute. Finally, the vast majority remain seated, at least willing to learn more.

Q watches as the last person, a woman with an infant disappears. He then turns to the seated group on the stage.

Q:
Thirty seven out of 28,621. Not too shabby eh Jean-Luc?

Picard, still not especially pleased that Q has any part in all of this, gives him a week smile and quickly turns to the crowd.

PICARD:
Thank you all for your trust and, at the very least, willingness to hear what we have to say. I believe it would be best to turn the floor over to Admiral Janeway who will be the mission commander. As a matter of fact, she will be our only commander. This is not a Starfleet objective because where we are going there will be no Starfleet. Allow me to show you Galaxy 8180.

The Guardian's construct diffuses into a color wrap that goes from a painting background to solid black and then as pinpoints of light develop, revealing our solar system. Through a fast-track of ever increasing size and star fields, the images travel in a widening arc until we are hovering above the Milky Way galaxy.

The pull-back continues for a time as nearby galaxies come into view. More and more galaxies, nebula, and "ort clouds" become visible as the attitude of the camera changes to moving through space. Faster and faster we travel, diving though or around space phenomenon. Eventually we zoom in on a small cluster of galaxies which become a countable number. Seven.

The camera then veers downward toward one galaxy in particular. It is small compared to our Milky Way, perhaps less by half in both size and density. Eventually the angle settles above a single galaxy in peaceful rotation.

PICARD:
Welcome to our Expedition... Galaxy 8180.

CUT TO:

 

[Trek Writers Room]

EXPEDITION 8180
"Tug of War"​

Season One
Episode 2

Scene 7:

INT. THE AUDITORIUM

JANEWAY:
Thank you Captain Picard. You will notice that I said "Captain." While we are all very well aware of Captain Picard's accomplishments and his earned title of Admiral, in joining this mission I asked him if he would please consider accepting the captaincy of our Flagship to this new Galaxy and he readily agreed. I think his exact words were "Oh hell yes. I was a much better Captain than I was an Admiral."

Even under these confusing circumstances, there is a subtle wave of laughter.

JANEWAY:
I would also like you to understand that each of us on stage, excepting The Guardian and Q of course, experienced the same unsettling transportation from our lives to this very location. While we have had more time to learn and process, this is not something that has been in the works for a period of time. It is as immediate for us as it is for you.

My role in all of this will be that of a surrogate for Starfleet. It will be my responsibility to ensure the safety of our convoy of ships, as well as providing for all of the technology and smooth operational protocols. I will facilitate the day to day command and control structure, all the things needed in order to travel safely through this new frontier. To do this effectively, most of you here will be, in one way or another, under my command. That is, for those of you who will be joining us. As it has been recently said, We Are Starfleet.

Let me speak for a moment about the ships that we will be utilizing on this mission and a little bit about the big question I am sure you must all be asking yourself, how we are going to get there. While I thought I was far from home in the Delta Quadrant, we are going to be a considerable distance further.

Another wave of muted laughter.

JANEWAY:
There will be two, multi-mission Explorer ships, each with upgrades that up until today have only been experimental or held within a security classification, unrevealed to the public. For those of you picturing Section 31, which may or may not exist, you wouldn't be far off. Let us say our technical capabilities are somewhat enhanced from what currently exists in the fleet. Our flagship, under the command of Captain Picard, will be a second generation Vesta Class, renamed the Vesta Armada Class. The name should tell you this will be our front line of defense in the event we meet any who are, shall we say, of an unpleasant disposition. I suspect you will be impressed once you see her.

In the interest of time I won't go into the specifics for all of the starships, suffice to say with the D'Kyre class Explorer, a Klingon Battle Cruiser, and a Romulan Imperial Warbird, we will be able to meet any challenges that may come our way.

All in all, I can assure you this mission will have the best in ships, hardware, and technology that the Federation has to offer. Without exception in any field or discipline, it doesn't get any better than what we will be taking with us on our journey. But, none of this will matter a tinker's damn if we can't man these ships with the best and the brightest. And that is where you come in. It's also where I sit back down and pass the torch so to speak to, Captain Jean-Luc Picard.

Janeway's speech seems to have had a mesmerizing effect as, surprising to all present, the crowd breaks into something akin to a mildly enthusiastic applause. It continues as Janeway sits and Picard stands. He holds up his hands to bring the crowd to order.

PICARD:
Thank you Admiral. Very well said. It is the people, you people who, if you are of a mind and believe in what we are about to do. It is the men, women, and yes, the children who will make this mission a success. However, there are things you should know. Each of you have been selected by an intelligence far more "expansive" than our own. It is Q who provided us with a very select and filtered process of crewing the mission. Everyone still sitting in this great hall was carefully considered and has multiple qualifiers for the mission. Your selection was meticulous in nature and it is believed you are the ones necessary for success. There are equally qualified backups for those who choose not to join, but you are the top tier. (a beat) And now for something shocking. Something that even I find astonishing and I made a career of being astonished.

The audience again reacts in a positive way, as there is more brief applause. The camera finds an unbelieving Captain Shaw who continues to scowl.

PICARD:
Not everyone here is from the current date of 2399. What I mean to say is that most of you are from our past. (pause for effect - uneasy murmuring in the crowd) To be clear, where you are now is not an alternate timeline, nor are you in any sort of mirror universe. It is just that many of you have been... plucked out of your own period in history, at a time in your own lives that make you particularly qualified to be here now. The axiom "Hindsight is 20/20" is exactly what is happening. History has already recorded your deeds, your strengths, and your character... a trial by fire, and you are the chosen.

While his audience doesn't seem to have lost any of its interest or enthusiasm, it is a lot to take in. People begin looking around at others sitting near them wondering who they might see from their own past.

PICARD:
You may also be wondering why we would need so many of you for a mission, whatever it may look like. Well, if the whole time-thing wasn't enough to rock you back on your heels, this next bit may. This is a one-way trip. We won't be coming back. We can't. Based on what Q has told us, Galaxy 8180 is something of a problem for not only us, but our universe in general. Not an unsolvable problem, but one that needs to be addressed. Addressed in a way that we of the Federation do best. We are explorers.

Let us look at what we know. 8180 is a small galaxy by comparison to ours and to most others, generally speaking. It is also home to a greater number of Class M planets, as we classify them, in proportion to any other known galaxy. It surpasses all others 20 to one. That is a considerable number. As a matter of fact, the vast majority of these class M planets are ideal in every way. Climate, mass, atmosphere, minerals, the amino acid chain of building blocks necessary for life, the list goes on and on. The mystery is, why no sentient life? And if there was sentience in this galaxy, what happened to it?

Our mission is two-fold. First, to explore. But more importantly, it is also to habitate. It is the United Federation of Planets' decision to essentially set up an extension of sorts. Like all explorers of old, regardless of which culture we come from, those brave men and women who traveled their own planets and eventually the stars in search of not only others like them, but to expand to other worlds. And, that is what our group is going to do. It is a one way mission by choice as much as it is a practicality.

Picard pauses for nearly a minute without speaking and then, instead of continuing, he returns to his stool and sits down. Carl clears his throat and begins to speak, though he chooses to remain seated.

THE GUARDIAN AS CARL:
Admiral Janeway, Captain Picard, thank you. An excellent job of explaining what, in many ways, cannot be explained. Not entirely. What you are wondering now, aside from the fantastic story you have already been told, is do I really want to leave all that I know and love for a fairly undefined mission, to a different galaxy of all places, where absolutely nothing is certain. If you're not wondering that, you ought to have your head examined. I wonder if I might not do the same, get my head examined I mean, (looks at Q) for electing to go along with this whole escapade. But, here I am and we must press on.

By the way, this is the most I have spoken in over 8 billion of your years. I miss it. However, with so much to do ahead of us, we must get down to business. I would like to point out that they left the most difficult part for me to explain. So, here it is. If you choose to join in on the fun, you will not be going, you will be staying. Only a part of you, a... splinter will go.

It's really quite simple, but sometimes the most simple things are also the most difficult to understand. You see, though you don't know it, your lives are continuing on right this very moment. You have been here in this building for 27 minutes, give or take when you popped in. If you were to see yourself now, you would be doing whatever you would have been doing, after that 27 minutes. You don't know what is happening there, wherever there is, and the you there, has no idea what is happening to the you here. The you here is a "splinter" of yourself there, each completely independent of the other, yet fully the same. See? Simple.

The room becomes a chorus of hushed voices, yet again as people try and make sense of it all. Those on stage let it play out for several minutes before Carl begins again.

THE GUARDIAN AS CARL:
Here are the "rules" for the splintering. Let us take, as an example, those that chose, perhaps wisely, to leave us and return to their lives. They will have no memory of their transport here or anything else that occurred. The reason? Because they were transported back to a micro-second in time before they left. Nothing to remember because for them, it never happened. Future experiences for either you or the splinter will diverge from that moment on, and in essence you would be living two lives, both with completely different outcomes. Neither self will ever know the other's outcome.

It is also important to understand that, as far as mortality is concerned, you could, in theory, already be dead, killed somehow in that last 27, now 28 minutes, yet here you live. And, if a beam falls from the ceiling striking you in the head, you'll most certainly die here, but the other you will finish their morning cup of coffee and head off to work or whatever else you have planned for your day. As you can see, this is another very good reason that you will never come back to this galaxy. No temporal issues. (several beats) Mr. Ambassador?

Spock nods his head in acknowledgement to Carl and then stands, adjusting his loose fitting robe as he does so. He then looks out over the audience as if attempting to locate someone in the crowd of over fourteen thousand. After a time, he calls out:

SPOCK:
Commander T'Pol, if you would, please stand.

T'POL, who has been listening intensely takes a moment to realize the Vulcan had just called out her name. She blinks twice as she clears her head and, unsure if she trusts any of this, slowly rises to her feet. She is seated in the third row from the front on the far left side of the house. She is dressed in an ENTERPRISE ERA navy blue jumpsuit uniform. She makes direct eye contact with Spock.

CAST NOTE:
T'POL (Jolene Blalock) appears as the actor did in the final episode of the series ENTERPRISE. The character has all of the memories and experiences as reflected in canon up until that point. Anything after that time stamp in the official chronology to include released series, films, published novels, or fan fiction does not appear in this work and therefore, with no knowledge of future events, the character will act and react to new situations accordingly.

SPOCK:
I ask that you come forward and join us on the stage.

There is a slight hesitation and then she does as Spock requested. Navigating the row seating, she chooses the shortest route to get to the aisle. From there she walks toward the stage, her stride becoming more confident with each step. The lip of the stage is comprised of four narrow descending platforms which act as steps. She takes them up to the stage and approaches Spock.

Spock raises his right hand and offers her the traditional Vulcan greeting. She returns the greeting and then looks at him expectantly. Spock turns and again addresses the audience.

SPOCK:
It cannot have escaped all of you that, given the variety of time periods from which this assembly is drawn, some individuals here will have no idea who I am. (turning back to T'Pol) Commander T'Pol, do you concur?

T'POL:
I concur. In point of fact, I can verify that I personally had no knowledge of your existence prior to this meeting.

Spock nods his head in agreement and looks out over the audience. He motions for T'Pol to face them as well.

SPOCK:
Commander, would it surprise you to know that every adult in this room knows exactly who you are, what you have accomplished thus far in your life, and, those things that you have yet to do.

Spock's statement seems to have taken her aback. She considers this for a moment, choosing to remain silent.

SPOCK:
Your accomplishments, along with those of Captain Archer and the entire crew are, historically speaking, well known some 200 plus years after your death. To put a fine point on it, you, are famous.

T'POL:
If this is real and we truly are in the 25th century, then I would say this is remarkable. If, it is true.

SPOCK:
I would like to ask for your help in testing the validity of what is occurring here, as well as perhaps bolstering my earlier comments on the logic of, at some point, accepting things that may appear to be illogical.

Again T'Pol is caught off guard and several moments go by as she works things out in her head. Eventually...

T'POL:
What would you ask of me?

SPOCK:
I invite you to seek out the answers to your own questions regarding who I am, how I came to be here, and if there is any deception in anything I have said today. I therefore suggest a mind-meld. A deep meld with no limitations. I will not ward any part of my mind that you may wish to explore. You are a competent interrogator from your time with the Vulcan Ministry of Security, are you not?

T'POL:
I would say I was a competent agent during my time there.

SPOCK:
And your... "other" experiences aboard Enterprise with regard to mind melds and those things associated with them.

T'Pol is suddenly uncomfortable. The fact that this Vulcan is aware of her Panar Syndrome and presumably all of things she went through, bothers her. She clearly is not on an even footing.

T'POL:
As I said, I am competent.

SPOCK:
Very well. I propose that we join our minds, now, here on this stage. Take your time and seek out whatever information you wish. I will do nothing to hinder your efforts, nor will I attempt to learn anything from your mind. Whatever you learn, I would then ask you to share it with our audience. I am fairly certain that, with your reputation as a Starfleet officer and what history knows of your character and integrity, they will accept whatever you have to say.

We see T'Pol's jaw clench, a tell that she is experiencing a great deal of stress. Again she takes several moments to answer.

T'POL:
It is logical that I agree to your request.

Spock moves back to his stool and brings it up to where T'pol stands. As he does, another black stool suddenly materializes next to her. She sits. Spock places his stool close and sits as well. They both regard each other.

SPOCK:
You may proceed when you are ready.

T'pol closes her eyes and enters into a brief meditative state in preparation. She then opens her eyes and with a final look into Spock's passive expression, reaches up and places her right hand in the traditional position and they both recite the Words of the Meld, in unison.

Close up on T'pol. Her expression is not one of struggle or discomfort, telling us that Spock has in fact opened his mind completely. She does however look troubled. This expression dissipates and transforms to something like appreciation. These expressions change again and again, each with a different type of "read" on Spock from the meld.

CUT TO:

A series of five TIME CUTS to show what is taking place does so over a period of about fifteen minutes. The audience watches intensely. Beads of sweat break out on T'Pol's forehead, not out of struggle, but rather the effort it takes to maintain such a deeply intense meld.

CUT BACK:

Finally, T'Pol takes a deep breath and ever so slowly relaxes her hand, breaking the meld. She is visibly exhausted, and moves about on her stool, much as someone would do with aching muscles. Gathering herself she turns away from Spock and looks directly at the audience.

T'POL:
I find no logic in what has happened here.

FADE OUT.

 

[Robert Bruce Scott]

Damn it, I didn't want to add another Trek fanfic to my reading list, which has grown rather long.

But tag! Very interesting start! Thanks!! rbs

 

[Trek Writers Room]

Damn it, I didn't want to add another Trek fanfic to my reading list, which has grown rather long.

Hi Robert,
Thanks for the likes/comment. I’m really happy that the story has grabbed you. I hope you continue to enjoy what comes next. By the way, thanks for your suggestion on consolidating episodes into threads. Its certainly seems like a much more logical approach. Looking forward to your continued engagement and feedback!