STAR TREK: Expedition 8180 - Episode 1

[Trek Writers Room]

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.

Introduction​

It occurs to me that of all the books, TV, or film franchises in the entertainment spectrum, none have the organic life of Star Trek. It's ironic that a television show set in a genre of science fiction which often deals with new forms of life can, in a stretchy sort of way, be referred to as having life. Perhaps not sentient, yet (arguably) there is a form of "life" in play here. A man named Gene Roddenberry conceived and breathed life into this "Trek Through the Stars" and from that moment on, we the fans have collectively kept it alive. However, now that I think about it, it's also the creators, producers, showrunners, writers, casts, crews, even the bean counters in dimly lit accounting offices, all have contributed to this life. Sure those latter groups are getting a pay check for their efforts, but all share one thing in common. At the very least all recognize Trek for what it is and there is an international joyful tolerance for Star Trek.

We started with three years of broadcast television back in the sixties and here we are approaching the mid-21st century, consuming content as fast as it can be released. As we have grown, so too has the Trek universe. Numerous crews aboard various versions of the USS Enterprise as well as new ships fresh out of space dock, or aboard space stations and planets, stories have been told. Of recent note we now experience several different universes and at least three distinct timelines, though depending on when you are reading this, the numbers have most probably already changed.

As far as the Trekverse goes, aside from the TV and film releases, we have a considerable library of books that are "official" and on another very large shelf, countless works of fan fiction. Web series, animated productions, podcasts, radio, conventions, fanzine publications, fan film productions, console and online gaming, the entire body of work is extensive. Whether amateur or professional, every day, someone, somewhere is creating new Star Trek content. Our breath of life has kept this benevolent beast alive and (thankfully) there is no sign of a slowing.

And that brings us to this contribution to the Trekverse. I have always wanted to dip my toes into fanfic in general and have continually played with a storyline specific to Star Trek. Semi-retired, I find I now have the time and energy to begin what has long been a satisfying mental exercise of "One day I'm going to write a screenplay for my own Star Trek. series. Allow me to talk for a moment about how I approached the work and what I hope to achieve.

Star Trek has always been about the mission and as such I will follow their lead. All of the necessary ingredients for a tasty bit of mindless (or mindful) entertainment are hopefully present; an evolving plotline, well developed characters both familiar and new, edgy dialog, and a few subplots that will serve to build upon the initial theme. But there are some other things that you may or may not be interested to know at this point. In an effort to hold up my part of the bargain, I will parse these out now so you won't be too shocked later on.

This is a tale that is primarily (but certainly not exclusively) about legacy characters, set in a previously unknown galaxy. The plotline should be considered stand alone. In other words it does not piggy back on something existing, nor is this a re-imagined telling of what we have already seen. There are a host of familiar characters involved, though it should be said that because we are working within a different timeline, none of what happens here changes anything about their lives past, present, and/or future. The continuity of canon in this work remains consistent and should fit nicely within anything authors or showrunners might do in the future.

To avoid any confusion (while at the same time not providing any spoilers) here is how I have approached the introduction of legacy characters while at the same time maintaining established canon. Whenever a legacy character is introduced for the first time there will be a CASTING NOTE inset against the right margin of the page. The information provided will give the reader a clear understanding of when in that particular character's story arc, that he or she is being brought into the story. It should be said that nothing about the legacy character's fundamental appearance or personality are in any way different than what we know as accepted canon.

When it comes to Original Characters, I have "cast" many of my favorite actors whom I would have begged to participate in the project if I were actually producing this work. As this is all fictional, some of the actors have either passed or are no longer in the biz.

I am a huge stickler for recognized canon. Everything about time, place, setting, the primary universe, and timelines, as well as all the characters we have come to know are canonical and adherent to the various existing series. All in all, with very minor exception, I strive to be faithful not only to the existing canon, but shall subscribe to the Physician's Creed: to "Do No Harm".

A.I. - Let me be very clear. There is not a single sentence in this work that was generated by the use of Artificial Intelligence. To say I am opposed to its use in creative content would be an understatement. I do not understand why those who create content would even consider such a thing. The whole purpose of writing is to be able to express yourself, tell you won story in whatever the medium or venue. Now, where did I put my picket sign...

There will be a certain degree of graphic violence. It's Star Trek. and I'll have to kill off a few Red Shirts. Actually, anyone wearing a shirt (or some other garment) or who may be as naked as a Ferengi female at a Betazoid wedding is subject to a very bad ending. If you have trouble reading between the lines; be warned. We may very well have your favorite character marinated and roasted alive on an open flame and then consumed in explicit detail as part of the Tessalk Feast day ritual. That's life.

Love and the human condition require characters to express themselves sexually either in solo practice or with a partner and, as a gay man, this will include homosexual parings. Why? As it's been said; that's life. This is not billed as a romance and it's very much in line with the typical action/adventure - science fiction genre we expect from Trek. But, we will address the entire range of the human condition, regardless of how uncomfortable that can be for some people. Clearly Kirk was sexually active in TOS and we are have recently been introduced to characters who embody the LGBT+ spectrum. It is... human.

I am well aware of the guidelines set forth by TREK BBS and will adhere to them. I will make any necessary alterations to dialogue, careful not to be contextually insensitive or gratuitous. If you would like to read an unedited version, which quite honestly differs only in some use of... colorful metaphors, this work is also hosted on Archive of Our Own (AO3) and can be found with a simple title search.

But all is not lost to social and moral decay! I do not go out of my way to write graphic or socially shocking content. Nothing in this work is gratuitous or poorly considered. I like to think this story has the flavor of realistic, contextual content as it applies to the characters and story presented, whatever that might look like based on character and circumstance. It's the good, the bad, and the ugly, the heart-wrenching, and there may even be a moral message mixed in somewhere. A tip of the hat to Gene Roddenberry.

Lastly, allow me speak for a moment about the format. This is written in the form of a screenplay. Due to the limitations of the BBcode used by the site, I am unable to format the work in a traditional screenplay format. That said, you can download any of the posts for all of the episodes of the series at the link below.

As you begin to read (especially if you work in the entertainment industry) you will note there are some differences in the format from a production screenplay. The format resembles a script, but only on the surface. Actually there are several different types of screenplays; Director's Book, a shooting script, a tech script, a writer's draft... all depending on what your roll in the production is.

I will call this an Annotated Screenplay Format. It is essentially all of the slug lines and character dialog of an actor's script, with Third-Person Present Tense narration you would normally find in a manuscript. This is used for exposition as you will not have the luxury of visual storytelling. All of the blocking, direction, or tech references have been stripped away. I have however added a set of writer's notes relative to casting and production. Everything is written as I would have filmed it, but with a less technical feel for the reader.

My final thought: I am not looking to simply tell you the story; rather it is my hope that you will experience the journey as the characters do. To travel and grow with them as they strive to navigate their way along intertwined paths of joy and sorrow, triumph, tragedy, and self-discovery. To Boldly Go... On and On.

T.K.

 

[Trek Writers Room]

Season 1

Episode 1

TEASER​

EXT. A DENSE WOODLAND ATOP ROLLING HILLS
The hot afternoon sun beats down on dense, rolling woodlands. Oaks and maples stand covered in full summer foliage, leaves rustling in the muggy breeze. Deep green ferns and last year's leaf decay carpet the shaded forest floor.

A lean, determined boy of no more than thirteen nimbly darts between the trees as if running an obstacle course. Rivulets of sweat glisten across his body as he works to outrun his pursuers. He is wearing only a simple tanned leather loincloth stained with dirt and grime, it looks to be the dress of a young warrior of a North American Indian, circa the 1870's. His long raven hair flows wildly behind him.

HOOTS and something akin to WAR CRIES can be heard in the distance, though they are getting closer.

The boy cuts to his left and with graceful ease leaps over several felled trees in the hope it will slow down those of the chase.

He is a handsome boy in a coming of age sort of way, though currently he is covered in a not so subtle mixture of muddy sweat and dried leaves. He is neither tall nor short for his age, his physique is lean and just this side of being muscular. He has high, chiseled cheekbones and emerald green eyes with dark lashes, a hint of mischief and calm seems to radiate whenever he looks directly at you. To accent his body he is adorned with various colors of war paint on his bare chest and wicked-looking zigzag markings have been brushed on his face.

The WAR CALLS are louder now as the boy ducks and dodges through the forest. He never looks back at his pursuers, only forward. Occasionally he checks the path to ensure nothing will cause him to stumble.

Speaking Cherokee: ENGLISH SUBTITLES run at the bottom of the screen.

BOY 1:
We are coming for you little one!

BOY 2:
You will hurt yourself out here away from your tee pee! It is dangerous for one such as you. End your running and we will take you home to your mother's teat!

The boy doesn't consider their offer, but does suggest a rather rude offer of his own, though only under his labored breath as he pushes on, willing himself to run even faster.

The chase continues for several minutes as we see three groups of boys moving in from different directions. Each group is comprised of five or six Indian boys, all of which are at least one or two years older than the lone runner. They are slowly catching up to their quarry.

The LOUD CRIES and YELLS turn from that of the hunter to the victor as they work their way into cornering the younger boy up against the thick trunk of an elm tree. All are out of breath, their spears and arrows point menacingly at the trapped prey.

BOY 1:
You have lost. We have victory and you are nothing!

The Running Boy stands motionless, his captors hurling insults at him, most of which question his manhood. He slowly looks around at the twenty or so boys grinning triumphantly at his capture and humiliation. He does not look angry or defeated, it is more like... amused.

RUNNING BOY:
It is true you have caught me, but only because I have allowed it! I offer you a chance to save yourselves from my superior tactics.

There is a sudden pause of shock as all of the boys go silent. Certainly this is not the way their hunt was intended to go.

BOY 2:
Perhaps this young pup is touched in the head.

BOY 3:
He has drank bad water. He is sick. It is all the same, we have captured this idiot. Drag him by his heels back to our camp!

Two boys closest to their victim move in to knock him off his feet and are surprised as he becomes a blinding cyclone of motion. Kicking the nearest boy in the stomach, the Running Boy reaches behind him and grasps a thin line of twined sinew held taught against the tree trunk. A quick glance up and the boy yanks the cord free from its hold. Spinning to his left, he kicks the feet out from under the second teen before lunging himself backward and forcefully dropping onto his back. Scrambling for a handhold on the leaves under him, we see that a brown blanket had previously been secreted under the dried foliage.

There is a CRACKING sound as several grayish sacks are falling from the branches high above. As they land, the stiff cocoons erupt into swarms of angry red and black bodied hornets. With blanket in his right hand the boy keeps his body straight as he rolls to one side thereby wrapping himself into his own protective cocoon.

Chaos erupts in the forest as the older boys' bravado turns to panic. They SCREAM and SHOUT, swatting at the relentless swarm descending upon them. The angry hornets sting any exposed skin, sending the boys fleeing in all directions. They crash blindly through the underbrush, vows of revenge replaced by cries of pain.

Soon, an eerie calm settles over the woods. The victorious insects have chased their own quarry far into the forest. Left behind lies the Running Boy, safely cocooned in his tightly woven blanket. He emerges unscathed and looks around, making a quick survey of the now-peaceful surroundings. A slight smile tugs at his lips. He takes a moment to shake the debris from his wild, dark hair. Satisfied he has cleared the worst of the debris, the boy secures his hair into a single ponytail. This pulls back the hair from his angular features, fully exposing his arched, UPSWEPT BROWS and POINTED EARS.


FADE.

 

[Trek Writers Room]

SCENE 1​

INT. BRIDGE, THE LA SIRENA – Day
The CHIRPPING sound is just enough of a distraction to cause RAFFAELLA "RAFFI" MUSIKER to look up from the padd she is reading. Annoyed, she gives a casual glance toward the upper left corner of the holographic display situated next to her at the LA SIRENA's navigation console. It's a comm announcement on a channel reserved for mundane bulletins within occupied solar systems. Generally one would find things like routing information, zones closed to certain types of ships or space travel, local advertisements, or planetary information for visitors. After a few moments of staring at the unwelcome message her brow furrows.

RAFFI:
JL, I'm getting a message on the CINET.

CAST NOTE
RAFFAELLA "RAFFI" MUSIKER (Michelle Hurd) appears as the actor did at the end of Season One of PICARD. 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.

JEAN-LUC PICARD who had been napping in the chair at Systems and Life Support sits up with a confused look. He blinks several times in an effort to get his bearings. In previous times naps had never been a normal part of his day.

CAST NOTE
JEAN-LUC PICARD (Patrick Stewart) appears as the actor did at the end of Season One of PICARD. 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.

PICARD:
CINET? Who would be sending me a message on a local channel? I don't ever remember traveling to this system before, and certainly no one would have known we'd be coming here. We didn't know ourselves until last night when the air filtration system...

A HOLOGRAPH of the La Sirena's chief (and only) engineer instantly appears. He's wearing a pair of gray overalls, covered in what looks like a mixture of hydraulic oil and translucent cotton candy. Looking suspiciously like a disheveled RIOS, his muddy Scottish accent is on full display if not slightly over exaggerated.

HOLO ENGINEER RIOS:
( demanding )
Don't be sayin' it! The air quality be just fine and I'll thank ye not to dispute the matter.

Picard gives the engineer a pained look. Pretty much every conversation with this particular holographic doppelganger turns out to be a battle of semantics.

PICARD:
You said that if we didn't replace the habrondater we'd all be dead within a few days. I find that sort of information to be a clear indicator that something is wrong.

The holograph provides both Raffi and Picard a stern look, much like a teacher unhappy with his students who had not completed a homework assignment.

HOLO ENGINEER RIOS:
I said that if we didn't fix it there was a very good chance you would die a horrible death, slowly asphyxiating on your own expelled gasses. Since I do not breath, I won't be affected in the slightest. My declaration was that the (correcting) hadronator might need to be replaced. Sooner rather than later would be much more beneficial to you, not me.

Just as suddenly as it had appeared the holographic image winks out of existence. Picard was in the process of raising a finger to point emphatically at the engineer, but since it is no longer present, he loses interest. He turns back towards Raffi.

PICARD:
What sort of message?

Already busy at the console it takes the woman a full minute to answer. While the message itself is quite clear, its origin and content are not at all expected.

RAFFI:
This is very strange. First, the message is not really a message. It's a replicator coding.

PICARD:
A replicator coding? A coding for what? And who would be sending me a replicator coding?

RAFFI:
One thing at a time. It's a food replicator coding. A sandwich I think. Something called a BLT on dassi bread.

Picard's eyebrows shoot up.

PICARD:
That's odd. BLTs are usually made on white or wheat, but dassi bread?

Raffi all but rolls her eyes. She is not concerned with the makeup of the sandwich, but rather the message itself.

RAFFI:
The question is: Who and why is someone sending, very specifically this ship, a replicator coding or anything else for that matter. This is a CINET channel.

Picard leans forward to get a better look at Raffi’s display. He had received some strange messages from practically every corner of the Alpha Quadrant and beyond, but at least he understood why they were strange. This one simply makes no sense.

PICARD:
I don't know. Free samples? (a beat) No indication at all who it's from?

RAFFI:
We're both clueless. The only thing I can tell you is that the communication is not a part of the local CINET. Someone hijacked the system net and as soon as it saw us come out of warp, the message automatically trigged. It's not like an advert or update. Our eyes only, no one else is getting this.

PICARD:
Taste buds.

RAFFI:
( perplexed )
What?

PICARD:
( smiling )
Taste buds. It's a sandwich. For our taste buds only.

Not for the first time, Raffi asks herself how Riker and crew didn't mutiny or at the very least tie Picard up in a maintenance locker for a few hours a day.

Picard leans back and stares out the front display of the ship. While his body is motionless, it is easy to see his brain is moving in multiple directions. Raffi brakes the silence.

RAFFI:
One more thing. I never said the message was for you.

Picard is genuinely surprised if not a bit embarrassed. For so many years he had, by and large, been at the heart of all ship's operations and the focus of any communications either directly or indirectly.

PICARD:
Really? (a beat) Who is this sandwich, or message, or whatever it is addressed to?

Folding her arms across her chest, Raffi swivels to face the former captain, turned admiral, turned retired admiral, turned captain. Very matter of factly she says:

RAFFI:
Elnor.


FADE.

 

[Trek Writers Room]

SCENE 2​

INT. SHIP'S GALLEY - SOME MINUTES LATER
The humanoid crew and two versions of the holographic Rios stand in the galley, surrounding the food replicator. Their expressions range from excitement (Elnor) to curiosity (most everyone else save for the Rios version of the Emergency Medical Hologram who can barely manage to hide his abject boredom). AGNES JURATI is a different story. The last few weeks have been something of a shock to her neat and orderly world.

AGNES:
Are we sure this thing is safe?

She tries to sound brave while making a poor attempt to conceal the fact that she is standing as far away from the replicator as possible and hoping no one would notice. Everyone notices.

AGNES:
What if someone is trying to send us a bomb or infect the ship's computer? I think we should...

The holographic engineer clears his throat in an overly noisy fashion in order to take control of the conversation.

HOLO ENGINEER RIOS:
It's entirely safe, I assure you. The coding is only read and produced by the replicator itself. It is not tied in directly to the ship's computer network. In addition, the replicator's safety protocols will kick in if there is anything present that can be of harm or contains any sort of coding above and beyond food replication. This contains only the chemical makeup for a plastic plate, a napkin, color blue, and the compounds for this thing called a BLT sandwich. I would like to point out that the ingredient list sounds absolutely disgusting and is most probably extremely dangerous. Do you know what actually goes into dassi bread?

ELNOR:
I love dassi bread. I think it is a surprise gift from the Sisters.

CAST NOTE
ELNOR (Evan Avagora) appears as the actor did at the end of Season One of PICARD. 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.

Elnor is like a kid before attending a festival, the anticipation of a treat only adding to the excitement of his first interstellar communique.

Picard regards the innocent looking replicator for a few more moments and then looks to his left at Elnor.

PICARD:
Well, I don't see any other course of action than to create Elnor's sandwich. Would you like to do the honor?

Elnor grins and Agnes winces as he speaks the magic words.

ELNOR:
Computer, one BLT on dassi bread.

There is a slight HUM as the replicator comes to life. A wink of light and a shimmer later, a white plastic plate appears adorned with a rather impressive looking Bacon, Lettuce, and Tomato between two thick slabs of forest green dassi bread. Next to it is a perfectly folded light blue napkin.

No one moves as they regard the sandwich, waiting for something unexpected to happen. Nothing.

RAFFI:
( through with it all )
Well, Elnor, take the damn thing!

PICARD:
( sharply )
No!

Elnor freezes in mid-reach. Without moving his body he slowly turns his head to look at Picard.

PICARD:
Stand back my boy.

Her worst fears are realized Agnes confirms. She suspected all along something was wrong and now they were all going to die. She resigns herself to imminent destruction.

AGNES:
( whispering mostly to herself )
I knew it!

Picard brushes past Elnor and, reaching into the replicator's small service bay, goes for the napkin instead of the plated sandwich. Carefully he unfolds the quartered cloth and smiles. It is a message after all.

Turning the napkin so all can see, they quickly come to the same conclusion. On the napkin is the clear, distinctive lettering of Romulan script. Each letter is carefully handwritten in black ink and at the bottom there is what looks like a hand-drawn bit of intricate artwork. It very much resembles a crest or coat-of-arms. Drawn inside the seal is a figure wearing a hooded cloak.

Since the message has been sent to Elnor, and given the fact that no one else could read Romulan, Picard passes the napkin to Elnor.

PICARD:
I believe this belongs to you.

Without giving it a second thought, Elnor begins to read aloud. Regardless of what the message says, these are his shipmates and there will be no secrets as far as he is concerned.

Jolan Tru, Elnor, Qalankhkan of the Qowat Milat, Sworn Sword to Jean-Luc Picard, and trusted friend to those who travel with him.

I greet you with this letter, however unorthodox its form or method of delivery. It is as urgent as it is imperative for you and Admiral Picard to travel immediately to the coordinates I have provided. The admiral will know what to do once he arrives, assuming he remembers a young ensign once under his command. The seal rendered below should speak for my authenticity and then hopeful acceptance of my plea for assistance.

SOS.
After the listed coordinates is a post script written at the bottom of the napkin, just above the neatly sewn hem.

Admiral Picard does not read Romulan and, when attempting to speak the language, over one third of the words will be tragically mispronounced. Please tell him it is safe for you to eat the sandwich. I spent considerable time in the kitchen and after four attempts, I believe I was able to get the proper proportions of meat, leafy green, and red fruit correct.

No one says a word as they collectively huddle around Elnor, looking over his shoulder as he reads. Only the boy and the engineer could read the Romulan print, but for some inexplicable reason they had all tried to follow along as the young qalankhkan read aloud.

RAFFI:
What the hell was that? And who is sending Elnor an 'SOS'?

When Picard does not answer she looks over at him and suddenly becomes worried. The man has gone white in the face and looks as if he might pass out.

RAFFI:
JL, what is it?

Picard needs to sit down, but not because he might pass out. Thankfully the galley is full of comfortable aluminum and plastiform chairs. He finds the closest one and drops heavily onto the gray, crushed velvet cushion.

RIOS:
( equally concerned )
Picard, what's going on?

AGNES:
I'll get some water!

Picard holds up a hand to stay their questions. He isn't certain, but he has a pretty good idea he knows exactly who has sent the message. The only problem, the sender is a ghost. Eventually he speaks in a slow and measured tone.

PICARD:
The coat-of-arms. It's meaningless. A ruse to divert attention away from the author's true identity. It is not an "SOS". The letters stand for something else completely. (several beats) Son of Sarak. This is a message from Ambassador Spock.

The galley again becomes silent as everyone contemplates Picard's announcement. They all know the name as well as the long and storied role Spock had played as a member of Starfleet, as well as the years of work he accomplished for the Romulan people.

A clearly exhausted SEVEN OF NINE enters the galley dressed in red and blue pinstriped pajamas. Her hair is something of a mess as are her mental faculties. She does her best to chase away the fog.

SEVEN:
Did I miss something?

CAST NOTE
SEVEN OF NINE (Jeri Ryan) appears as the actor did at the end of Season One of PICARD. 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.
Elnor cannot wait any longer as he stares at his prize.

ELNOR:
May I eat the sandwich?


FADE.

 

[Trek Writers Room]

SCENE 3​

INT. THE LA SIRENA MAIN DECK - THE NEXT DAY
Jean-Luc Picard stares out the front view screen, a man seemingly lost in thought. Minutes earlier Rios had announced they were about to come out of warp, and they had, after three days travel, arrived at their destination. For Picard it is much more than a simple set of coordinates and a destination. This is a return. A return full of memories; good times and good friends.

The Kavis Alpha sector was home to a neutron star that for reasons unknown would explode every 196 years. Some thirty years past Picard and his crew aboard the Enterprise had witnessed the last explosion.

WRITER'S NOTE
TNG, EVOLUTION, Season 3, Episode #307 -- While aboard the Enterprise young Wesley Crusher had been experimenting with medical nanites; a school project. Two of the nanites had escaped their biocontainer and managed to get into the ship's computer core. They began to replicate at a phenomenal rate and eventually developed a collective intelligence. Consequently, a new civilization was born and after getting the nanites out of the ship's systems, the colony was relocated on Kavis Alpha IV as it had plentiful supplies of linear crystals which the nanites relied upon for nourishment.

As the star comes into view it looks wholly unremarkable, the same as any other neutron star one might expect to find in any system in the universe.

A small smile creases the corners of Picard's mouth as he speaks, barely above a whisper.

PICARD:
Hello old friend.

RAFFI:
Scanning the area.

Rios makes an adjustment to the La Sirena's sensor array to allow for a wider field beyond the star, while at the same time making minor course corrections.

RAFFI:
No ships JL. The only thing here is the Federation's research buoy that monitors the star.

RIOS:
The last warp signature to enter the system has decayed to the point that it's almost undetectable. (more fiddling about with the holographic display) I'd say no warp capable ship has been through here in over a year.

Picard snaps out of his reverie and sits up a little straighter in his chair. This is followed by a quick tug at his tunic to remove any un-approved wrinkles.

PICARD:
Well, these are the coordinates, and there is our star so we're in the right place. We wait. If the message truly is from Ambassador Spock, he will show up.

Agnes looks over at Picard and finally asks the question she has been holding onto since Elnor first read the message seventy-two hours earlier.

AGNES:
Do we really think the Ambassador could be alive? Even if he survived the destruction of Romulus, wouldn't he be...

PICARD:
Yes, very old, even for a Vulcan. All I can say is very little would surprise me when it comes to the Ambassador.

RIOS:
I'm not convinced the message really is from Spock. Anyone could have sent that replicator code claiming to be the Ambassador and, to be perfectly frank, why all the cloak and dagger? I never knew the man, but from what I do know, this sort of thing would hardly be his style.

Picard doesn't bother an attempt to stifle his laugh.

PICARD:
Oh contraire Captain Rios. Depending on his objective, this would be exactly his style. And, his sense of humor, which he does have no matter how hard he might try to convince the universe otherwise. I remember once when...

The THREE-DIMENSIONAL COMMUNICATIONS CONSOLE FLASHES UP followed by an incessant CHIRPING. At the same time, the La Sirena's interior lighting accents changes from blue to red and a very retro KLAXON hammers everyone's ear drums. The ship has automatically taken them to RED ALERT status.

Rios' hands become a blur of motion as his fingers dance with the holographic display before him. He starts to call out orders.

RIOS:
We're being targeted! Shields up, forward shields to maximum. Picard, you're on weapons!

Jean-Luc quickly leans forward and initiates protocols to spin up the La Sirena's phaser banks and dual photon torpedo tubes.

PICARD:
I don't have a target! Do you have anything, coordinates? I need something to aim at.

Seven rushes up behind Picard and shoos him out of weapons systems which he gladly relinquishes. She then begins a thorough scan of her own.

Rios ignores Picard and Seven for the moment and, without taking his eyes off the ship's sensor grid, addresses Raffi who is busy scanning with secondary systems.

RIOS:
Enter coordinates in case we need to leave in a hurry.

AGNES:
I have a better idea. We could leave now!

RAFFI:
( to Rios )
Coordinates to where?

Agnes is absolutely certain Raffi is speaking to her.

AGNES:
Rigel. I haven't been to Rigel since I was a little girl. Let’s go to Rigel.

Rafi tears her eyes off the navigation panel and gives Agnes an exasperated look. She then begins prepping to enter a set of coordinates into the La Sirena's navigation control.

RIOS:
Anywhere far away.

AGNES:
( nodding in agreement )
That's good too.

RAFFI:
I found an asteroid belt about two light years away we could try for. Good camouflage if we’re pursued and we can fight if it comes to that.

Picard who has taken up station to Rios’ left addresses the group.

PICARD:
We should stay. You said there was no warp signature, if it's an enemy ship it would have to be from within the Kavis system.

The coordinates locked in, Raffi quickly silences the chirping comm alert and begins to interrogate the source.

RAFFI:
Hold on. There is a priority message being beamed directly at us. It's an old, really old, laser transmission system. I haven't seen one of these since...

SEVEN:
It's the laser that triggered the alert. We're not being targeted by a weapon's system. The ship is interpreting the laser as a threat.

RIOS:
(with a frown )
Where's the message coming from?

Rafi's heart slows somewhat.

RAFFI:
It's coming from the Federation monitoring buoy. Someone is very good at hijacking communications systems.

ELNOR:
( hopeful )
What kind of message is it? Perhaps it is another sandwich?

Rafi sends the information over to Rios so he can see for himself.

RAFFI:
It's a new set of coordinates. They're for a planet in this system, Kavis Alpha IV.

Picard half expected this ever since they discovered where exactly the coordinates were in Ambassador Spock's message.

PICARD:
Kavis Alpha IV. (a beat) Now there's yet another ghost from the past.

AGNES:
You know it?

PICARD:
Kavis IV is the homeworld of a nanite population that I had occasion to witness as a First Contact. Commander Data was able to establish communication and acted as a conduit of sorts. It was the Enterprise that relocated them to their new planet and, as far as I know, they have lived there ever since. I never heard any more about them.

Dr. Jurati finds this to be a very interesting bit of news. As a research scientist with a specialty in artificial or mechanical intelligence, this is in line with her field of study.

AGNES:
So if these messages are from Ambassador Spock, he might be meeting us there.

PICARD:
It could very well be. In any event, we need to have a look.

There is a considerable pause as no one speaks. Then...

RIOS:
Kavis Alpha IV it is.


FADE.

 

[Trek Writers Room]

SCENE 4​

EXT. THE LA SIRENA IN ORBIT AROUND KAVIS ALPHA IV - THIRTY MINUTES LATER
From this height the sand-brown planet seems to have a very arid environment though it clearly has a Class-M atmosphere as there are belts of thin wisps of cloud. The ship is in a counter-rotation orbit. After a time the POV reveals an oval-shaped patch of lush green in several hues, surrounded by an encompassing outer layer of blue. The well-defined oasis appears to be about 1800 by 1600 kilometers.

CUT TO:​

INT. TRANSPORT AREA BEHIND THE BRIDGE
Picard has changed into clothing that is more suitable for travel. He's wearing a pair of fitted dark brown pants and a white shirt with a black vest. Oddly he has chosen a black belt with a rather large if not gaudy silver belt buckle in the shape of a tilted wine bottle.
He is standing in the transporter section located just behind the bridge. Seven has taken up station at weapon systems, a "just in case" precaution should there be any more surprises. Agnes and Soji are in quiet conversation when Elnor comes up the stairs from below. He too has changed into what for him is his normal traveling attire, complete with his tan-qalang sword strapped across his back. Picard breaks off his part of the conversation as he eyes the sword.

PICARD:
Elnor, your weapons are unnecessary. We are going to meet a friend.

Soji and Agnes look to Elnor, waiting for what will surely be some degree of argument. They do not have to wait long.

ELNOR:
As we are both aware, your life is my responsibility. My ability to protect you requires that I have my tan-qalang.

PICARD:
( placating )
And I appreciate your concern, I really do, but it may be taken as a sign of mistrust or worse, an affront to our friendship. Best to leave it here, thank you.

Elnor makes no move to return to his quarters or remove the leather strapping of the scabbard. The ladies don grins at the expectation of what will be a spirited debate.

ELNOR:
I have spent considerable time interrogating the ship's computer for historical data on Ambassador Spock. It is my understanding that while the ambassador served aboard the Enterprise he went on many away missions. Is this not correct?

Picard expected this tact.

PICARD:
He did, though when requested by his captain to beam down unarmed, I am certain he did so without discussion.

Elnor's expression does not change as he begins to remove the well-fitted leather strapping of his sword's scabbard. Once removed, he sets it down next to the transporter station's console and then turns to select a pad slightly behind Picard's. Everyone watches with curiosity.

RIOS:
Coordinates mapped and we're ready when you are. Visually, there's nothing but what looks like farms down there. Not very sophisticated farms either. Some livestock and mostly fields. There is a small town, but the coordinates Ambassador Spock provided are pretty much alongside a paved road fairly close to one small farm.

PICARD:
Nothing from sensors?

SEVEN:
There is a multi-level field of rydoffic particles suspended above the entire area. We can see what we see with the naked eye, but that's all. Sensors cannot penetrate the rydoff. The harmonics distort everything the sensors rely on. Very clever really. You see everything but learn nothing. We could send down a probe first.

Picard has had enough intrigue. Whoever or whatever is waiting for them down on the planet surface is not going to have to wait much longer.

PICARD:
We go. Now. (pointing at the panel) Someone push the damn button.


FADE.

 

[Trek Writers Room]

SCENE 5​

EXT. KAVIS ALPHA IV, THE PLANET SURFACE
All is quiet and serene. By the looks of things this could have been any country road on Earth, perhaps Iowa, circa 1970. Picard and Elnor materialize at the center of a two lane concrete road. On either side are open grassy planes with barbed wire fencing to keep livestock from wandering onto the road, though there are no animals to be seen. Up ahead, on the left side we see a corn field, the height of the stalks indicating that it is in mid-season. The sun has warmed the late morning to the point where it will soon be a bit uncomfortable. The air is sweet with country smells, the only sound is that of the breeze and occasional bird call.

Both scan up and down the road looking for signs of life. With no one to meet them, they begin to gaze across the fields for some sort of indication as to which direction they should go to find the farm house.

PICARD:
Curious. I would have thought Ambassador Spock would have given us coordinates a little closer to... something.

Elnor walks to the side of the road, stepping into the calf-high grass. He bends over to pick something up, retrieving the black leather scabbard with his tan-qalang which he quickly slips over his head and makes the necessary adjustments to set things just right. Without looking at Picard he walks back to the center of the road and points off in the distance.

ELNOR:
I think we should go that way.

Picard has watched all of this and raises a finger which lands directly on Elnor.

PICARD:
I told you that you were not to bring any weapons. You blatantly disregarded my orders!

ELNOR:
I did not bring it with me. It simply beamed down when I left the ship.

PICARD:
What the hell does that mean?

ELNOR:
When we first boarded the La Sirena, as a security precaution I asked the pretend Captain Rios, who is apparently also an engineer, for assistance. In an emergency, I wanted to know if there was a way to beam my weapons from wherever they may be on the ship down to whatever location I am beamed to and locate them three meters to my left. He attached something he called an emitter to the bottom of the scabbard. (a beat) It works well, don't you agree?

Picard absorbs all of this and is about to launch into a well-deserved dressing down when he suddenly thinks better of it. He looks off in the direction that Elnor had pointed.

PICARD:
Why do you think we should go in that direction?

Elnor begins walking toward the barbed wire fence where he tests the barbed points. Sharp, he quickly pulls his finger away. Over his shoulder he says...

ELNOR:
Because three humanoids have just materialized on the other side of those two trees.

Picard's head snaps up as he squints off in that direction. After a few moments of focus he manages to make out, though just barely, the three forms. Almost immediately his eyebrows shoot up in clear recognition as he mumbles under his breath.

PICARD:
( incredulous )
I've fallen down the rabbit hole.


FADE.

 

[Trek Writers Room]

SCENE 6​

EXT. THAT SAME FIELD, BETWEEN THE TWO TREES
Picard and Elnor walk nearly side-by-side toward the trio who have already spotted them approaching. The figures are immediately recognizable. There is a mixture of expressions among all five; shock, smiles, and a healthy dose of confusion. As they get closer...

RIKER:
( calling out )
I should have known you would have had something to do with this!

CAST NOTE
WILLIAM RIKER (Jonathan Frakes) appears as the actor did at the end of Season One of PICARD. 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.

PICARD:
And I should have an idea as to why you are here, the three of you, but I must admit I haven't a clue. (a beat) How the devil did you end up here?

DEANNA:
We received an invitation... sort of.

CAST NOTE
DEANNA TROI-RIKER (Marina Sirtis) appears as the actor did at the end of Season One of PICARD in the episode NEPENTHE. 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.

ELNOR:
( low voice to Picard )
This is not Ambassador Spock. Who are these people?

Picard ignores Elnor's question as he and Riker exchange enthusiastic hugs followed by a more feel good embrace with Deanna. After that, Picard turns to KESTRA and gives her an appraising look before she smiles and steps forward to give him a hug, which he seems uncharacteristically willing to accept and return.

PICARD:
And I see you brought The Wild Girl of the Woods with you. Hello Kestra.

KESTRA:
Hello Jean-Luc Picard. Is Soji with you?

CAST NOTE
KESTRA TROI-RIKER (Lulu Wilson) appears as the actor did at the end of Season One of PICARD in the episode NEPENTHE. 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.

PICARD:
No, I'm afraid she remained on the La Sirena. She definitely wasn't expecting you to be here. Though I am certain she will be sorry to have missed seeing you again.

Riker turns his attention to Elnor who is watching them all suspiciously, looking at not only the people, but the surrounding area for any sign of a threat. Riker, having often taken up that same role for Picard has picked up on Elnor's tension.

RIKER:
And judging by that blade your friend is carrying, I think this must be the qalankhkai you spoke so highly of. Elnor, if I remember correctly.

PICARD:
Yes, this is my old friend and in many ways savior of late, Elnor. (to Elnor) And this is William Riker and Deanna Troi who served with me aboard the Enterprise when we were all in Starfleet. As you are my protector, you can see that they brought one of their own. This is Kestra, their daughter.

Elnor's body language relaxes a bit and he offers a slight smile. Then, with a more formal bow of respect, he offers the traditional open-hands greeting of the Qowat Milat.

Both Riker and Deanna, well versed in first contacts with new cultures, do their best to repeat the greeting. After a brief pause Kestra steps forward and extends her hand toward Elnor. He takes it rather gently where she immediately begins to over dramatically pump his whole arm up and down in a playfully firm manner.

KESTRA:
Hey Elnor, I like your sword thingy. I prefer a bow myself.

Elnor, who even as a young boy had very little interaction with children close to his age is completely lost by Kestra. He gives Picard an uncomfortable look and then turns back to Kestra, still at a loss.

ELNOR:
Thank you Wild Girl of the Woods. (several beats) I like your... aggressive hand... thingy.

Everyone but Elnor laughs leaving the young qalankhkai looking even more perplexed on just how to handle social settings outside his comfort zone.

PICARD:
So, Will, tell me just how you came to be here, and with family in tow.

RIKER:
( slightly more serious )
As Deanna said, we received a sort of "invitation". From a ghost of the past really.

PICARD:
Let me guess. You received some sort of mysterious communication from someone claiming to be Ambassador Spock. He asked you to come to an off limits Federation planet, the very one we visited some years ago. Am I close?

Both Will and Deanna exchange confused glances.

DEANNA:
Not even in the same quadrant Jean-Luc. No, our invitation, if you could call it that, was at the behest of Q.


FADE.

 

[Trek Writers Room]

SCENE 7​

EXT. KAVIS ALPHA IV, OUTSIDE A SMALL FARM
A country farm. There is a modest, two-story house at the end of a long gravel road which feeds off the paved lane. The house is built in the style of a 1970's wood frame home with a front porch. Off to one side and behind the farm house are several outbuildings as well as a large traditional red barn with white trim. Opposite the barn are two fenced pastures used for grazing. There are a few mature oak and maple trees on the property which make for a very picturesque setting.

The group of five have stopped where the farm road intersects with the gravel. We see some discussion that eventually leads to them cutting off the main road and begin walking up toward the farm.

RIKER:
So you believe Spock is alive and well living here on an isolation planet reserved for the sentient nanite population. One that we were instrumental in setting up in the first place.

Picard considers this for a moment as he listens to Kestra and Elnor having their own discussion walking behind the adults. From the bits and pieces we can hear, Kestra is lecturing the socially repressed Elnor on the finer points of adolescent dating rituals of various cultures. Elnor is a mixture of attentive student and wishing he was anywhere else at the particular moment.

PICARD:
Is it any more or less plausible than Q showing up on your doorstep early this morning, making you all breakfast and then snapping you here?

DEANNA:
He didn't exactly make us breakfast. He did snap his fingers though, and an entire restaurant appeared in our backyard. Something called "The Greasy Spoon". They had the best white pepper sausage gravy over biscuits I think I've ever had.

PICARD:
And just what did Q tell you?

DEANNA:
Nothing. At first he and Will had a rather heated argument about how he was trespassing. Q replied very politely that as soon as we had finished our breakfast we would all be off to... wherever. Will then made some rather colorful statements that I shouldn't repeat...

KESTRA:
( piping in )
He said, (imitating her father's voice and demeanor) "You damn well better leave or I'll kick your ass up down my back yard!"

Deanna's eyes go wide as Riker refuses to turn around and give his daughter a stare, embarrassed that he had lost his temper with Q.

DEANNA:
Kestra!

PICARD:
Yes, well, to be fair I may have said something similar a time or two, but what I am more concerned about is that Q is back to playing games with me and, as is usually the case, we have no choice but to play along. So, you ate and left the restaurant and found yourself here.

RIKER:
Exactly, Jean-Luc. It's odd that he didn't come to you or bring you here in the same way. I wonder what he's up to. This time.

PICARD:
Only one way to find out. I have a feeling that farm house up ahead will have the answers.

CUT TO:​

EXT. THE FARM HOUSE
The sturdy two-story farm house has recently been painted with its second coat of white paint. The gray shingled roof sports a red brick chimney as well as a completely out of place aerial TV antennae. There is a furnished porch at front of the house.

Everyone is standing a few paces away from the steps going up to the porch which travels the entire length of the wood frame building. Just as Picard is about to take the first step, the screen door to the house creaks open and out steps Spock. Everyone stares in disbelief, even those who did not know him, but certainly knew of him.

CAST NOTE
SPOCK (Leonard Nimoy) appears as the actor did just prior to THE SEARCH FOR SPOCK.

Spock steps out and lets the door close behind him. He puts his hands behind his back and pauses a moment before speaking. He is wearing a blue and white button down shirt, blue jeans, and a pair of brown leather work boots.

SPOCK:
Greetings. To those of you whose acquaintance I have not yet made, I am Spock. Welcome to my home. And Admiral or should I say Captain Picard, thank you for coming.

No one knows exactly what to say and all focus is on Picard who is the first to break the spell.

PICARD:
Spock, is it really you? I don't understand. If it is you, you were a much older man when we first met and should be even older now. Can you explain this?

In true Spock-like fashion the Vulcan nods his head while raising a single right eyebrow.

SPOCK:
You are correct admiral. I was much older and while I may appear somewhat underage, I can assure you that...

Suddenly there is a LOUD YELL coming from around the corner of the house. Everyone's attention turns in unison to the direction where the commotion is coming from.

There is another, CLOSER YELL though this time it is accompanied by a body. Coming around the corner is the Running Boy we saw in the TEASER. He is completely naked and covered from head to toe in a very dark, wet mud. His long hair has been cut to shoulder length though it is currently plastered down against his scalp, and is hanging across his eyes. We can however see his pointed ears.

The boy marches purposefully around the corner of the house and, instead of coming across the yard, he vaults himself over the wood railing of the porch and stomps deliberately to where Spock is standing at the front door.

RUNNING BOY:
( angry and frustrated )
Spock! Bessy The Busty Cow got herself stuck, yet again, in the patch pond. I yelled at her, I asked her very nicely, and I even offered to give her a water hose massage. Nothing worked. She just stood there staring at me as if I were the one stuck in the mud! So I stripped down and went in to offer her moral support for whatever was bothering her. I tried everything and she isn’t going to move until you come and have one of your long drawn out disscusssss...

The boy suddenly realizes they have company. A complete transformation occurs. He slowly turns toward the others and mirroring Spock, places both hands behind his back. His facial features, those that we can see anyway, become serene and contemplative as his body relaxes. He seems to be completely unconcerned with his bizarre appearance.

RUNNING BOY:
( with a calm, even tone )
I apologize. I was not aware we had visitors. Welcome.

Spock looks as mortified as a Vulcan can look, though he does his best to simply go with it. Clearing his throat he damage controls the situation.

SPOCK:
( to Picard and company )
I accept a degree of responsibility for this unfortunate circumstance of introduction. I was not aware of exactly when you would be arriving. (to the boy) This is Admiral Picard and his protector, Elnor. You will remember us working together in the kitchen. We made the BLT sandwich for him. Also we have as our guest Captain William Riker and his wife Deanna Troi along with their daughter, Kestra. (back to the company) and this... (reluctant beat as he struggles with the words) is my son, Sedek.


FADE OUT.