Miscellaneous info

Original Casting Call

To:All talent representatives
Date: 3/17/87
RE: Paramount
"Star Trek: The Next Generation"
1-Hr series for syndication
2-Hr TV movie to start June 1
24 1-Hr episodes to start end of July

Please resubmit for the following roles. New York and Chicago submissions are encouraged. Please be advised that there are no scripts available. Actors may look at sides[sic] in the casting office only.

Seeking the following regulars

Production Codes

Besides the three-digit numbers that are assigned to each episode, the series is also assigned a five-digit number, starting with 4027. The last digit of the five-digit sequence is the season number. The number 40270 is the generic number for the series. As an example, the episode Unification, Part I was assigned the complete number 40275-207. If you look carefully, you will find the 4027n number shown in one of the corners on many of the displays used in the series. Another one of the little inside things that the scenic artist does as in inside joke.

History Behind Animation References

A popular series called Urusai Yatsura [Noisy Guy, or Obnoxious Knucklehead] from Japan has provided quite a few of the in-jokes that appear in ST:TNG. It's a comedy about a high school boy, his friends and what happens when a group of aliens decide to invade the Earth.

VERY briefly: in order to save the Earth, the aliens (who have horns and wear tiger striped outfits) give us a chance by playing a game of tag where a randomly selected Earthling is `it', and has to put his hands on the horns of the alien representative. If you haven't guessed already, the Earthling turns out to be this high school boy named Ataru Moroboshi. The alien is the beautiful daughter of the alien leader. Her name is Lum. She normally wears a tiger striped bikini.

Ataru, being a little lecherous :-), is extremely enthusiastic about the contest and thinks that this will be easy...until he finds out that Lum can fly. Since he only has 10 days to catch her, his moves take on a tinge of desperation. At the end of the 9th day (I think), Shinobu, who is Ataru's girlfriend, tells him that she will marry him if he wins...

On the 10th day, Ataru wins by using a bit of human ingenuity (read: he cheated). As he grabs Lum's horns, he shouts "Now I will be married!" He was, of course, referring to Shinobu, but Lum takes it to mean herself. She promptly (well, almost) moves in with Ataru and thus, sets up the setting of the series.
So, at this point, we have:

BTW: Rick Sternbach's comment about insulated clothing makes perfect sense when you realize that Lum's electric shocks don't always hit the desired target...ever hear of innocent bystanders? :-)

Alan Takahashi

Telecaptioning on "Q Who"


Guinan is leaving the bar after saying something inaudible to a crewmember at the bar. The camera pans to the lounge and we see La Forge and Gomez sitting at a table while Guinan is looking around pensively.

LA FORGE: You're excited. So was I on my first tour. Everything's new to you. You're eager, but...

GOMEZ: I know. I'm very enthusiastic, right?

LA FORGE: Do me a favor, just listen.

GOMEZ: I always do that. Someone nice - like you - goes out of their way to give me some helpful advice and all I can do is talk, talk, talk. Okay, not another word, I promise.

Guinan returns to the bar and hits the intercom.

GUINAN: Bridge, this is Ten Forward.

John Interrante

Shuttlecraft Names

Some of the shuttlecraft have been given names of people involved with space and science. Known examples are:

"Time Squared"

Prof. Farouk El-Baz is director of BU's Center for Remote Sensing. Fifteen years ago, when he was director of the Center for Earth & Planetary Studies at the National Air and Space Museum, he was featured in a documentary film about the Apollo space program. The sound man for the filming was Richard Berman, who is now co-executive producer for ST:TNG. Berman decided to name spacecraft and stars after famous scientists.

Boston Univ. paper The Link, July 1989

"The Ensigns of Command"

The shuttlecraft that Data used to go to the planet was the "Onizuka," which was named after one of the seven astronauts that died in the Challenger accident; Ellison Onizuka.

"The Most Toys"

The shuttlecraft that Data used to transport hytritium to the Enterprise was the "Pike", named after the original Star Trek series character; Captain Christopher Pike.

"Identity Crisis"

One of the stolen shuttlecraft was named the "Cousteau." It is obvious who it is named after.

"The Outcast"

The shuttlecraft used by Riker and Soren to check out the "null space" was named the "Magellan."

Episodes Contained in "Shades of Gray"

The clips are divided up into sections, corresponding to how they were shown.

I: Random memories during Pulaski's first run:

And now, the final sequence. Pulaski's triggered the beam in very tight focus, so these are 5- to 10-second clips each. Nice effect. In order, then (you figure them out):

Tim Lynch

Enterprise Starship History


"After the loss of the U.S.S. ENTERPRISE NCC 1701-A, Starfleet Command decided to continue the tradition of the name by baptizing an Excelsior-class Battleship as a new ENTERPRISE. Instead of assigning it a different hull # and adding a `II' to it's name, Starfleet decided to retain the Naval Const. # 1701 and place a letter after it.

Some were opposed, arguing that the ENTERPRISE was a Heavy Cruiser and not a Battleship. If Starfleet wanted to retain the ENTERPRISE name, it should go to one of the new Constellation-class cruisers, with their distinctive quadruple nacelle design.

In the end, the Excelsior-class kept the ENTERPRISE name because this class was intended to be the new workhorse of Starfleet, much like the old Constitution- and Enterprise-classes of a few decades earlier. Starfleet believed that the ENTERPRISE name should be given to a ship that would have high visibility.

Ironically, the Constellation-class cruiser became a famous class in its own right, for one of it's number served as Captain Jean-Luc Picard's ship in the engagement with the Ferengi that led to his famous `Picard Maneuver.'

The Battleship U.S.S. ENTERPRISE, NCC 1701-B had its own distinguished career. Loosely assigned to Starbase 12, the ship took part in many engagements in the Neutral Zone and the Triangle. It also served on 4 five-year galaxy exploration tours, recording a number of first contacts. The career of the ENTERPRISE also boasted the least crew losses by death for six years straight. A far cry from her predecessor!

The ENTERPRISE often served as a transport for dignitaries. It's passengers included, at one time or another, the Klingon Emperor and his consort, the Romulan Praetor, six of the most powerful Orion families, the whole Vulcan political hierarchy, 50 Starfleet Admirals, and the entire Federation Council. Fortunately, they were not all aboard simultaneously!

The ENTERPRISE's career ended in a fashion befitting it's name and class. On Stardate 2/9208.12, the U.S.S. ENTERPRISE engaged an IKS (Klingon) L-24 battleship and a Romulan Nova-class battleship, which were working together in the Triangle, five parsecs from the Imperial Klingon States. Though the Romulan and Klingon vessels were defeated, it was a pyrrhic victory, for the U.S.S. ENTERPRISE also fell. Fearful of losing any more of it's already scarce ships-of-the-line, the IKS pulled back it's fleet and cut back it's Neutral Zone raids almost to nothing."

Such was the first quote, page 29 in the Manual. Next is the second quote from page 55 of the Manual:


"After the destruction of the Excelsior-class ENTERPRISE, NCC 1701-B, Starfleet honored the name of ENTERPRISE by assigning it to the most powerful ship to date, the Alaska-class battlecruiser. Like the Excelsior-class, the Alaska's purpose was quite clear: offensive power.

The naming did not go smoothly. There was debate in the Federation Council, initiated by the Vulcans, that the name ENTERPRISE was synonymous with exploration, discovery, and the ideals of IDIC, the Vulcan philosophy of Infinite Diversity in Infinite Combinations. The Vulcans argued that giving the name ENTERPRISE to a research vessel or Exploration Command cruiser would be a far more logical move.

Starfleet officials listened sympathetically, but the Alaska-class never-the-less received the name. On Stardate 2/9301, the U.S.S. ENTERPRISE, NCC 1701-C was launched. [It should really be Ambassador class, not Alaska class.]

Unfortunately, giving a ship a noble name does not guarantee its success. For its first 5 years of service, the ENTERPRISE was relegated to dull patrol duties along the Neutral Zone. A chance for the vessel to make a name for itself finally came when Starfleet Command assigned the ENTERPRISE to a 10 year Galaxy Exploration mission that would take it beyond the UFP's frontier in the Northwest Quadrant. Starfleet also hoped the move would appease Vulcan critics who had hoped that the name ENTERPRISE would once again be associated with the spirit of exploration.

Two and a half years into its mission, the ENTERPRISE sent a distress call to Starbase 67. The ENTERPRISE was declared lost and presumed destroyed on Stardate 3/0006.30. What has happened to the ship remains a mystery to this day. [More of the history of NCC-1701-C is revealed in Yesterday's Enterprise.]

In honor of this tragic loss, Starfleet Command gave the designation NCC 1701-D and the famous name of U.S.S. ENTERPRISE to the new Galaxy-class exploration vessel. It is hoped that this latest version can uphold the ideals of peace and the quest for knowledge as did its famous counterpart in the early 23rd century."

There you have it. While I don't have the same source as my old arch-enemy Ruskii, Elemental God of Thieving Editors, this is authentic and he can testify to it (you better, you BUM!!!!) as he has the same Officer's Manual as I do. His additional source may lend further insight into these two other ENTERPRISEs.

One last note, for those interested in little, unimportant trivia about ST:TNG: there were only two Galaxy-class Exploration Cruisers built:

The YAMATO was destroyed by a `computer virus', in case you don't remember from the past seasons of ST:TNG. That leaves the current total at 1! If more Galaxy-class Cruisers are going to be built, they haven't said anything yet.

Also, for those not knowing about the various Warp drives, this Manual of mine also explains them. I'll run through them quick for you.

The original 1960s series and movies had regular Warp speed. I forget what exactly that was (Warp x Light Speed, or something). Starting with the Excelsior, and for all other new classes thereafter, they had Transwarp, which was the Warp # cubed times light speed (i.e., Warp 3 = 3 x 3 x 3 x c). This was considered the maximum possible.

Eventually, a person named Dr. Katherine Ballantine discovered that the physical reality of space itself had become altered. They discovered a way of mating two pairs of warp field generators, allowing a quadruple warp field to encompass the ship. This allowed the advent of the previously-unknown Ultrawarp. This allowed Ultrawarp ships to become many times faster, with greater acceleration as well, than any other Starfleet/other vessel. The maximum Warp # is lower than the Transwarp (Galaxy max Warp 7/9, versus the Excelsior max Warp 12/14). However, this is deceiving because with Ultrawarp, the Warp # is not cubed, it is put to the FIFTH exponential power. Thus a ship going Ultrawarp 7 is mega-faster than a ship going Transwarp 14.

Consider: 14 x 14 x 14 x c = 2744c
while: 7 x 7 x 7 x 7 x 7 = 16807c

Amazing, eh? Thus, the theoretical near-maximum speed of Ultrawarp 10 on the Galaxy-class ENTERPRISE could get up to 100,000 times the speed of light! These overlapping warp fields from the nacelles also allowed the ship to go to warp speed virtually instantaneously, as compared to the build-up time of the `older-generation' vessels.

The Star Trek: The Next Generation Officer's Manual is an excellent guide to all sorts of trivia, giving lengthy verbal discussions and explanations on all sorts of technology in ST:TNG. It's a great investment.

Pat My-T-Mac McDonald

Star Trek: The Next Generation Officer's Manual, copyright 1988 by FASA Corporation and Paramount Pictures. The manual is listed as an `official Star Trek RPG supplement'. This information is provided as is and is not considered canon by Paramount.

Tidbits from the BIX Network

The following information was obtained from the BIX (Byte Information eXchange) computer network. Ronald B. Moore, visual effects coordinator, has an account on the network and answers various questions. The following is compiled from his postings.

The main credit for the new third season opening sequence belongs to Rob Legato and Gary Hutzel. Ron and his people pitched in when they could. The spiral mass that you see is not a galaxy, but a solar system forming. The comet disk that is shown would be out around the distance of Mars, which is why it has a tail. If you consider the bright center as something that will end up about the size of our sun, that is the scale they were looking for. You will notice that the star field changes when you see the Saturn-like planet move off screen to the right. This is because the new head end had to match with the original main title ships.

The Enterprise has many phaser strips. It is under computer control and the computer will decide the best place to emit the beam. In Arsenal of Freedom a photon torpedo is fired and breaks into multiple warheads. Once the torpedo is fired, it can be guided by computer control.

A question was asked about how the Sheliak looked like Armus and if they were recycling the monsters. Ron's reply: "We didn't recycle the monster, but the guy inside was the tar monster Armus. We do recycle the actors. ;-)"

In response to a shield question Ron said: "We tried to make something that looks good rather than try to decide how a real shield would work. We make the shields in layers like onion skins. The more powerful the incoming beam the more layers it is likely to penetrate. It's the measuring of the loss to each layer that gives a reading of the power to the hit. The Borgs had a weapon designed to overload shields like ours, and to this point we don't know how to beat it."

Survivors was shot in Malibu and Who Watches The Watchers was shot at Vasquez Rocks (he thinks). He wasn't at the Watchers location, only at Survivors. Here is what Ron said about the moving transporter shot: "It was shot at a house that looks like what you see. We made some changes there but not to the house itself. However, the only time you see the house in a long shot, it is a painting, and the only real part is the area where our guys beam in. It was a tough shot in that we were moving in to the guys while they were beaming in. It was a grand attempt, but it could have been better. We try to add touches like that when we can to add some interest. Most transporters are locked down during the transporting action. It was an unusual shot." Also he said: "I don't remember the names of the owners, but it does stand out, and would be recognized. I can tell you that the view from the real house is much better than what Kevin had. If I was an entity, I would have justified a beach on the west."

"In visual effects, we are interested in photographic and electronic tricks. If someone has to fly, or transform. If something has to be added later like a phaser beam, or a transporter effect. Or an image created like a wide exterior on an alien world. "The Enterprise or another ship all are visual effects and done by Dan and I or Rob and Gary. The art department creates all the graphics like the Science station or the navigation panel or all the graphics in Engineering. If a graphic is to be seen on a small panel or the viewscreen, the art department would make up the graphic, and we would put it in the screen. It was the art department that designed the Enterprise though Dan has designed a few, and there are some other model builders we have used. The art department also has a lot to do with the design of the Tricorders and other such equipment."

"The facility we use to do what computer graphics we use would most likely add something like the soft focus, in fact they went out of their way to add something like it too our DFX. [...] I wish we could do more with such graphics, but just before we started Farpoint we did many tests. Most effects facilities in the area were given the chance to do some tests for us. By far, Digital Production had the most convincing graphics of the Enterprise. They did some things we would have a hell of a time doing on film (the opposite is also true). The producers and the effects department went over and over the results, and in the end we felt that models were really the best choice. The images were more realistic."

"Because of that, we are locked into using models as we must continue using the shots we already have. We are creating quite a library of ship shots. When we have tried to use graphics in other areas we have almost always run into time and money problems. I know it could be smoothed out, but we have so little time that we don't use it as much as we could."

"I think you will see [the new four-foot Enterprise model] in almost every show from Defector on. I for one hope you do not see the difference. You should however note some new angles, and more interesting moves."

"The shape of the toy Enterprise is really close to the models we use. Now we have three models one 6 feet, one 4 feet and one 2 feet long. They all Photograph quite differently, and we have a lot of control with cameras and lenses. In one show we did use one of the plastic models for a shot. We had the kit model built and modified by one of our model builders, he did a really great job."

"I should also point out that the Enterprise models are custom made at a great cost. They are also quite different from each other. If you look at the models they look different, but we use them for different purposes and make them look alike. Sometimes we do better than other times. The 4 foot model is new this year, and was seen for the first time in The Defector. It will allow us some new angles, but the ship will look a little different in some shots just due to its size. As we put it more bull dog like. But the change is small because we do have to mix it with shots of the other models in almost every show."

"I know of no plan at this time for a return of the Borg, but I do believe we will see them again, they were popular."

Deja Q: "The idea for the cigar gag at the end was from the Captain himself! The Q flashes are very difficult to do in that you have to try to remember exactly how someone is standing. John is really good at it. I think he studied tai chi or something like it. In some cases John had to do a take get up and completely change clothes while we all wait making sure no one moves anything and come back and continue where he left off. It's tough, and with TV time and money you can only do so much, but John was really good. If you watch frame-by-frame I am sure you can see imperfections, but I think in context they work, it is a very quick effect. I feel that it is best to put the money where it will show the most."

Slow phasers in Conspiracy: "You caught me on what I think is one of the worst examples of bad planning: the slow phasers in Conspiracy. We did enjoy blowing up Remmick though."

Question about input to effects teams: "The scripts can be detailed; Enterprise fires photon torpedoes at Ferengi ship. Or the crew marvels at the screen while mind boggling image filling them with feelings of impotence! We sometimes have many long talks with the producers and director before the shoot, then it's pretty much up to us. It's good for us if they like what we do cause they will let us keep doing them. We do surprise, inspire and sometimes disappoint them."

Stock shots: "We plan to reshoot some of the stock shots from ILM. We have a better model now and can improve them a lot. We have been shooting a lot of ships the last few years. Hundreds of shots. We hate to use the older shots that you guys are starting to pick out."

The only stock shot in YE was the closing GR credit: "It is a nice shot, we intend to reshoot it soon with the new model. We call it GR 10J."

"Next week (week of 4/16/90) the final show of the third season will finish shooting. Six to seven weeks later it will finish post production and season three is history. The final show looks like a good one, and will be the two part episode you have been asking for. Part two will open season four. I won't give any of it away, but it should have a lot of action."

"Yesterday's Enterprise and Deja Q were entered into the Emmy competition. I hope we can get a nomination out of it. Dan and I were nominated last year for the effects work in Q Who, but lost to War and Remembrance."

"Keep in mind that when we come to the end of a season, and know there is to be another, it's negotiation time. There are usually many more rumors than changes. Things change every season, and there is much talking and many threats. But, it will all settle down and season four will happen. Take everything you hear with a large grain of salt. This is Hollywood where the bull is really spread thick."

[It appears as if Ron's busy ST:TNG schedule has kept him from logging on and contributing his inside information.]

Fourth Season Rumors

Today I briefly talked with a person who supposedly works for the agent of one of the TNG cast members. I talked with him for about twenty minutes then we parted ways. (I don't even know his full name.) Below is what he told me...

Disclaimer: I don't know how reliable this information really is, but he seemed convincing to me. Take the information any way you like.

The stuff he said that passed his desk are:

June, 1990

Cast Member Birthdays

February 2, 1949 Brent Spiner
February 16, 1957 LeVar Burton
February 23, 1939 Majel Barrett
March 2, 1953 Gates McFadden
March 20 John de Lancie
March 29, 1959 Marina Sirtis
July 13, 1940 Patrick Stewart
July 29, 1972 Wil Wheaton
August 19, 1921 Gene Roddenberry
August 19, 1952 Jonathan Frakes
November 13, 1949 Whoopi Goldberg
November 24, 1957 Denise Crosby
December 3, 1981 Brian Bonsall
December 9, 1952 Michael Dorn

Data's Security Key

In Brothers, Data takes over the Enterprise and issues a security code that he uses to keep others from getting control of the ship. But, what he tells the computer and what is displayed on the screen is different in a few places.

Spoken: One Seven Three Four Six Seven [Three] Two One Four Seven Six Charlie Three Two Seven Eight Nine Seven Seven Seven Six [Four] Three Tango Seven Three Two Victor Seven Three One One Seven Eight Eight Eight Seven Three Two Four Seven Six Seven Eight Nine Seven Six Four Three Seven Six LOCK

Display: One Seven Three Four Six Seven Two One Four Seven Six Charlie Three Two Seven Eight Nine Seven Seven Seven Six Three Tango Seven Three Two Victor Seven Three One One Seven [One] Eight Eight Eight Seven Three Two Four Seven Six Seven Eight Nine Seven Six Four Three Seven Six LOCK

The numbers in [Brackets] are unique to the series they appear in (i.e. missing from the other).

Satellite Feed and SMPTE Time Code

Just for fun and just in case anyone was interested, I've taken the uplink from Redemption and split it apart, based on the SMPTE time code. Those of you in the know will remember that I don't have a SMPTE-VITC time code reader. Because of that, I copied the tape to my 3/4" Umatic system, using SMPTE-LTC time code.

Reading the VITC time code manually, I determined where the show started at 01:00:00.00 and set the 3/4" tape to 00:00:00.00. At this point I can play my tape and determine the same times that Paramount had on their tape. To verify the accuracy of my readings, I also checked the time manually at a point near the end of the transmission. I was off by zero frames. SMPTE drop frame is used.

So, here are the timings for Redemption (decimal fraction is in NTSC video frames):

bars (start time varies)
promo slate description
30 sec promo w/ narration
10 sec promo w/ narration
5 sec ID
show slate
Redemption part 1
net commercials
Redemption part 2
ST:TNG logo
black - local break
Redemption part 3
ST:TNG logo
net commercials
Redemption part 4
ST:TNG logo
net commercials
black - local break
Redemption part 5
ST:TNG logo
net commercials
black - local break
Redemption part 6
net commercials
black - local break
promo for next week
promo title slate
30 sec promo w/o narration
10 sec promo w/o narration
5 sec ID
black (approximate length)
- - - - -
The approximate length of the episode is 45:30.27. This doesn't include some drop frame rollover times (2 frames every minute). Extra black between the program starts and break ends haven't been subtracted. I suspect that the length of the actual program is 45:30. Each hour also contains 18 seconds that are wasted for the ST:TNG logos. I wonder what could be done with an extra 18 seconds in each episode, especially since each episode is currently only 45 minutes in length. The 30 seconds that have been removed from the program have been replaced by a 30 second promo for Star Trek: Deep Space Nine (starting with Chain Of Command, Part I).
Starting late in the fifth season, the national commercial placements were changed. The six breaks are now as follows:

1 - 2 minutes
2 - 1 minute
3 - 0 minutes
4 - 2 minutes (ST:DS9 promo after spots)
5 - 2 minutes
6 - 0 minutes

Satellite Feed and Slates

In order to know which program is going to be fed next, a screen is displayed giving information about the program and the time it will be fed. That screen is known as a "slate." Each station is sent the information regarding uplinks in advance. The slates are used to mark the tapes and to let the stations know of any last minute changes. When the special Cage uplink was scheduled to be fed, the slate had the latest uplink information (which was different than the advance information), since it appears the tape wasn't ready yet.

This is the slate for one of the two feeds for the Parallels episode:
The next slate is to identify the promos that were fed before the episode:
The last slate identifies the episode itself:

"Conundrum" Crew Information

During Conundrum, the personnel files for the crew were displayed on the screen. This is the information that could be seen and should not be taken as gospel, since lots of the information was hard to read.
Picard, Captain Jean-Luc
Birthdate: 13 July 2305
Parents: Maurice & Yvette Picard
Place of Birth: LaBarre, France
Entered Academy: 2322
Graduated Acad: 2327
Crusher, Beverly C., M.D.
Birthdate: 13 October 2324
Parents: Paul and Isabel Howard
Place of Birth: Copernicus City, Luna
Entered Academy: 2342
Graduated Acad: 2350
Offspring: Wesley A. Crusher
Troi, Lt. Commander Deanna
Birthdate: 29 March 2336
Parents: Alex and Lwaxana Troi
Place of Birth: Betazed
Entered Academy: 2355
Graduated Acad: 2359
Lieutenant Commander Data
Birthdate: 2 February 2338
Parents: Noonian Soong
Place of Birth: Omicron Theta
Entered Academy: 2341
Graduated Acad: 2345
Offspring: Lal
Ro, Ensign Laren
Birthdate: 17 January 2340
Parents: Ro ? and Ro Gale
Place of Birth: Bajora
Entered Academy: 2358
Graduated Acad: 2364 (2362?)
MacDuff, Commander Keiran
Birthdate: 27 September 2334
Parents: Joseph and Les MacDuff
Place of Birth: Gamma Cabanis II
Entered Academy: 2352
Graduated Acad: 2356
Rachel K. McGregor
rogue@cellar.org or

Ro Laren Death Information

During The Next Phase, Dr. Crusher was filling out the death certificate and the following information was obtained from her screen:
Date of Birth	17 January 2340
Parents Ro Ta?a and Ro Gale
Place of Birth Bajora
Entered Star Fleet Academy
Graduated Star Fleet Academy
Died Stardate 45892.4

Translation of Data's French

During Time's Arrow, Data meets up with a gambler that starts speaking French, after Data said that he was from France. Here is the translated conversation:

Dealer: Ah, my parents are from Bourdonné. I was born in New Orleans.
Data: Then we are almost brothers! I am pleased to meet you.

Editing of Episodes by Paramount

Starting with the two Chain Of Command episodes, Paramount edited 30 seconds from the episodes, in order to make room for the 30 second promo for Star Trek: Deep Space Nine, or The Untouchables. During the seventh season, there were no feeds with promos for The Untouchables. The following lists the places where the edits took place in two repeat episodes that followed Chain Of Command.
2:20.06 - 2:25.20 5.14
11:33.03 - 11:36.16 3.13
.06 early fade @ end of act 1
.28 early fade @ end of act 2
19:53.04 - 19:54.22 1.18
30:31.15 - 30:39.12 7.27
.06 early fade @ end of act 4
43:18.27 - 43:24.28 6.01
1.20 early fade @ end of act 5
Total - 27.13
(no, I don't know where the other 3 seconds are)


1:25.01 - 1:32.20 7.19
3:00.10 - 3:05.03 4.23
7:04.09 - 7:08.27 4.18
8:22.20 - 8:25.18 2.28
8:27.16 - 8:28.19 1.13
11:49.18 - 11:55.25 6.07
18:57.00 - 18:57.06 .06 early fade @ end of act
22:57.03 - 22:59.13 2.10
36:51.16 - 36:51.20 .04 early fade @ end of act
Total - 30.08
Time values are in mm:ss.frame. All times are based upon my edited 3/4" Umatic-SP tapes, but will get you in the general area of the edits.
In "Schisms", the title for Data's poem, "Ode to Spot", was edited out of the repeat showing.

Ode to Spot

Engineering section: [Geordi, Riker, Data]
Data: Commander, I would like to remind you about my poetry reading this afternoon.
Riker: I wouldn't miss it for the world.
Geordi: I can't wait to see what he's come up with.
Unnamed meeting room: [Data facing the usuals, plus another 8 or 10 no-names]
... then we sat on the sand for some time and observed,
how the oceans that covered the world were perturbed,
by the tides of the orbiting moon overhead.
How relaxing the sound of the waves is, you said.
I began to expound upon tidal effects,
when you asked me to stop, looking somewhat perplexed.
So I did not explain, why the sunset turns red,
and we watched the occurrence, in silence, instead.
Data: That poem was written in anapestic tetrameter. For my ninth poem, we will ...
Riker in an aside to Troi:
I can barely keep my eyes open.
Data: Throughout the ages, from Keats to Jorkomo, poets have composed odes to individuals who have had a profound effect upon their lives. In keeping with that tradition, I have written my next poem in honor of my cat. I call it, "Ode to Spot."
Felis catus, is your taxinomic nomenclature,
an endothermic quadraped, carnivorous by nature?
Your visual, olfactory, and auditory senses,
contribute to your hunting skills,
and natural defenses.
I find myself intrigued, by your subvocal oscillations,
a singular development of cat communications,
that obviates your basic hedonistic predilection,
for a rhythmic stroking of your fur,
to demonstrate affection.
A tail is quite essential, for your acrobatic talents.
You would not be so agile,
if you lacked its counterbalance,
and when not being utilized to aid in locomotion,
it often serves to illustrate,
the state of your emotion.
[Riker, falling asleep, is knudged awake by Troi, and interrupts Data by clapping.]
Data: Commander, you have anticipated my denouement, however the sentiment is appreciated. I will continue.
Oh Spot, the complex levels of behaviour you display,
connote a fairly well developed cognitive array,
and though you are not sentient, Spot,
and do not comprehend,
I nonetheless consider you,
a true, and valued, friend.
[Fade to commercial]

Paramount Pictures Andrew Tong

Technical design, graphic design, interactive features, HTML & CGI programming by Andrew Tong. || All materials Copyright © 1987-1995 by their respective authors. || Document created: May 28, 1994 || Last Modified: November 09, 2010