Well, in that case, you probably have to go with an Alternate Universe kind of scenario. By going back in time, the characters create an alternate universe with an alternate timeline, but their original universe remains intact.
I don't really like the alternate universe thing. You see, the villain is doing this because he is sure that this will change
his reality. It lessens the stakes if all he's going to do is create an alternate reality like what happened in Star Trek 2009.
Then you're already married to something that doesn't make sense. Which is, of course, actually no problem for a science fiction story.
I mean, I imagine you have your characters leaving the present and appearing in the past in the same geographical location, too, ignoring the obvious fact that astronomical bodies move, and at a pretty decent clip, at that.
It's really not a big deal for a time travel story to collapse under extremely close scrutiny, so long as it survives a cursory inspection. For example, I have a great fondness for time-loops. The most famous one is the creation of Skynet. Even though they're obviously stupid, they're nonetheless elegant and work well in fiction.
That said, one of the neat things about the "alternate timelines" approach is that it underlines tragedy in the same fashion as the Novikov self-consistency approach, but it's freer in what it allows a time-traveler to actually do. In a self-consistent set-up, the character can't really do much--Einstein can't kill Hitler. In a many worlds intepretation-based approach, Einstein can go "back" to the "past," and he can kill a Hitler, but it doesn't affect his memories, or the actual commission of World War II and the Holocaust in his own history. So basically you can "change" all sorts of stuff, but it won't change anything you care about--your own universe--and even more importantly you can't change yourself.
Beyond Antares said:
Well, thanks. But I didn't say that it was going to be anything like Star Trek: First Contact, did I.
Don't sweat it. It's beyond silly to imply the premise of First Contact was in any sense original.