far beyond the stars

STAR TREK: DEEP SPACE NINE "Far Beyond the Stars" (fka "The Cold and Distant Stars") #40510-538 Story by Marc Scott Zicree Teleplay by Ira Steven Behr & Hans Beimler Directed by Avery Brooks

THE WRITING CREDITS MAY NOT BE FINAL AND SHOULD NOT BE USED FOR PUBLICITY OR ADVERTISING PURPOSES WITHOUT FIRST CHECKING WITH THE TELEVISION LEGAL DEPARTMENT.

Copyright 1997 Paramount Pictures Corporation. All Rights Reserved. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify the Script Department.

Return to Script Department FINAL DRAFTPARAMOUNT PICTURES CORPORATION November 14, 1997

STAR TREK: DS9 - "Far Beyond the Stars" - 11/14/97 - CAST

STAR TREK: DEEP SPACE NINE "Far Beyond the Stars" CAST

SISKO/BENNY JOSEPH SISKO/PREACHER KIRA/KAY KASIDY YATES/CASSIE BASHIR/JULIUS VENDOR DAX/DARLENE ROY RITTERHOUSE WORF/WILLIE DUKAT/BURT DICKSON ALBERT WEYOUN/KEVIN MULKAHEY HERBERT PABST JAKE/JIMMY Non-Speaking Non-Speaking N.D. SUPERNUMERARIES

STAR TREK: DS9 - "Far Beyond the Stars" - 11/14/97 - SETS

STAR TREK: DEEP SPACE NINE "Far Beyond the Stars" SETS

INTERIORS EXTERIORS DEEP SPACE NINE NEW YORK STREET CAPTAIN'S OFFICE OFFICE BUILDING OPS HARLEM STREET CORRIDOR ANOTHER HARLEM STREET INFIRMARY AMBULANCE SISKO'S QUARTERS PROMENADE

MAGAZINE OFFICE BENNY'S APARTMENT HARLEM COFFEE SHOP AMBULANCE

DEEP SPACE NINE - "Far Beyond... " - 11/14/97 - PRONUNCIATION

STAR TREK: DEEP SPACE NINE "Far Beyond the Stars" PRONUNCIATION GUIDE

HEINLEIN HINE-line SWOFFORD SWOH-ferd

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - TEASER 1.

STAR TREK: DEEP SPACE NINE "Far Beyond the Stars" TEASER

FADE IN:

1 INT. CAPTAIN'S OFFICE

A grim SISKO listens to KIRA complete her report.

KIRA... the Defiant searched the area for almost six hours, but we couldn't find any sign of survivors.

SISKO(feeling the loss)The Cortez was a fine ship.

KIRA(sympathetic) You knew Captain Swofford a long time.

SISKO(nodding) I introduced him to his wife.

KIRAPatrolling the Cardassian border is getting more and more dangerous. You never know when you're going to run into a squadron of Jem'Hadar fighters.

SISKOI guess we popped the champagne corks too soon.

Kira gives Sisko a puzzled look.

SISKO Everyone thought the war was over when we retook the station and pushed the Dominion back into Cardassian space.

KIRAI never believed that... and neither did you.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - TEASER 1A.

1 CONTINUED:

SISKO A lot of good that did the four hundred people on the Cortez.

Kira looks at Sisko for a beat, then realizing there's nothing more to say, she nods and heads for the door.

1A ANGLE ON THE DOOR

as Kira leaves, she passes JOSEPH SISKO ENTERING.

KIRA(smiling) Mister Sisko. So, how do you like our station so far?

JOSEPHIt certainly is big.

Kira nods acknowledgement then EXITS as Joseph turns his attention to his son.

JOSEPH I heard about Quentin Swofford. I'm sorry.

SISKO(nods) Look, Dad... I know I haven't been very good company the last few days.

JOSEPH I didn't come here to be entertained. I came to see you and Jake.

SISKOYou picked an interesting time to take your first trip away from Earth.

JOSEPH Well, I figured it was now or never. Besides, I've been worried about you. Last couple of times we've talked... it seemed like the weight of the entire Alpha Quadrant was on your shoulders.

SISKOSometimes it feels that way.


1A CONTINUED:

There's something Sisko wants to say that he's having difficulty articulating.

SISKODad... I'm not sure...

JOSEPH Just say it, son.

SISKOI just don't know how many friends I can lose. Every time I think I've achieved a real victory... something like this happens and it all turns to ashes.

JOSEPHSo what do you want to do?

SISKO Maybe it's time for me to step down... let someone else make the tough calls.

JOSEPH I see.(a beat) Well, no one's indispensable, son. Not even you.(a beat) Whatever decision you make, I'll support it.(a beat) Of course, if Quentin Swofford was here... I'd bet he'd have a few things to say to you.


1A CONTINUED:(2)

SISKOBut he's not here... is he?That's the whole point.

This moment hangs in the air for a beat.

JOSEPH I'd say you have some thinking to do... and I've got a dinner date with my grandson, so I'll let you get to it.

Just then, something off screen catches Sisko's eye --

2 SISKO'S POV

outside his office, a MAN dressed in a gray flannel suit, circa 1953, passes by his door. (This is Odo, sans make-up, dressed in the clothes he will be wearing later as Pabst).

3 ON SISKO

puzzled at the odd image.

SISKO Who was that?

But Joseph's back was to the door. Sisko walks out of his office to get a better look.

4 INT. OPS - CONTINUOUS

DAX and Kira man their stations; SUPERNUMERARIES as needed. Sisko glances around Ops, but there's no sign of the man in the gray flannel suit. Joseph comes up behind him.

SISKO Where'd he go?

JOSEPH Who?

SISKO The man who just walked by my door.

Dax and Kira don't know what he's talking about.


4 CONTINUED:

DAXI didn't see anyone.

SISKO(puzzled)I could've sworn...

And off that moment of Sisko's puzzlement, we go to --

5 INT. CORRIDOR

Sisko and KASIDY YATES are walking down the corridor together.

KASIDYI don't know what you're so worried about, Ben. I'm not taking my ship anywhere near the Cardassian border.


5 CONTINUED:

SISKO I realize that. But the Dominion is getting bolder and bolder... and your freighter is no match for a Jem'Hadar attack ship.

KASIDY They'd have to catch me first.

SISKOYou're really not worried, are you?

KASIDY Me? I'm fearless. You know that -- that's why you love me.

SISKOI think I follow that logic.

Then something off screen catches Sisko's attention --

6 ANOTHER ANGLE

to see WILLIE HAWKINS (Worf without his makeup), dressed in a New York Giants baseball outfit, circa 1953.

WILLIE (to Sisko) Hey, Benny. See the game last night?

Willie passes by Sisko and Kasidy -- though Kasidy doesn't seem aware of his presence.

SISKO What?

Willie continues walking down the corridor, disappearing into some quarters.


7 ON SISKO

standing by Kasidy, a little dumbfounded.

KASIDYBen?

SISKOWho was that?

KASIDYWho was who?

Sisko looks at Kasidy, sees she's telling the truth. There's something very wrong here and Sisko's determined to get to the bottom of it.

Sisko hurries over to door where the ballplayer disappeared.

KASIDY(calling after him)Ben -- where are you going?

But Sisko's attention is on the door. He keys in the override code on the door panel and the door OPENS to reveal --

8 EXT. NEW YORK STREET - DAY

It's a mid-town Manhattan street, circa 1953. CARS, TAXIS, PEDESTRIANS -- predominantly caucasian.

9 ON SISKO

as he takes a step INTO the strange surroundings trying to grasp what he sees.

10 WIDER

Sisko is standing in the middle of the street, still trying to make sense of what he sees. Is this a back door to a holosuite? But before he can figure out what's going on, a HORN BLASTS as a taxicab comes SCREECHING toward him. Sisko jumps out of the way, but the cab clips him, knocking him to the ground.

People rush all around him, as Sisko lies in the middle of the street.


10A SISKO'S POV

of the onlookers staring down at him, their faces obscured by the overhead sun.


10A CONTINUED:

KASIDY'S VOICEBen -- what's wrong? Are you hurt?

11 OMITTED

12 INT. INFIRMARY

CLOSE ON Sisko as he opens his eyes to find himself on a biobed. BASHIR is near him, examining him with a [MED TECH] tool. JAKE, Joseph and Kasidy are standing nearby.

KASIDY He's awake.(to Sisko) Ben, are you all right?

SISKO(getting his bearings)I think so...

JOSEPH Thank God.

JAKE Hey, Dad. You scared us there for a minute.

Sisko sits up.

SISKO What happened?

BASHIR I'm not sure. I'm reading some unusual synaptic potentials.(to Sisko) The neural patterns are similar to those you experienced last year.

SISKOYou mean when I was having those... visions about Bajor?

JOSEPH Visions? Does this have something to do with those Prophets you're always telling me about?


12 CONTINUED:

SISKOCould be.

KASIDY(concerned, to Bashir) He's not going to need surgery again, is he?


12 CONTINUED:(2)

BASHIR I don't know yet. (to Sisko) But I'd like you to remain overnight for observation.

SISKOAre you sure that's necessary?

BASHIRAbsolutely. Take a look at these readings --

Bashir hands a PADD to Sisko. Sisko looks down at it --

13 SISKO'S POV

to see the PADD has become: Galaxy, a fifties sci-fi pulp magazine.

VENDOR (O.S.) You gonna buy that or not?

PULL BACK to REVEAL Sisko -- or rather, BENNY RUSSELL, as he will now be known -- standing by a newsstand in the same New York street we saw before. But this time, Benny is wearing a suit appropriate to the era. (Note: Benny is a separate individual from Ben Sisko. He has none of his thoughts, memories, or attitudes. He's a black man in early fifties America.)

The newsstand VENDOR is a tough, street-smart New Yorker (Nog without his makeup).

VENDOR Personally, I don't see the attraction. Spaceships, flying saucers, men from Mars...

BENNY What's wrong with men from Mars?

VENDOR Nothing, except it's all make-believe. Me -- I like war stories. Did you see From Here to Eternity? Burt Lancaster standing there, in the middle of Pearl Harbor... machine gun blazing...


13 CONTINUED:

VENDOR (Cont'd)(making the sound of gunfire)... shooting down those zeros. If it had been flying saucers... forget about it.(re: the magazine) So you gonna buy that or not?

Benny searches his pockets for some change.

ALBERT (O.S.) Benny.

14 NEW ANGLE

on ALBERT MACKLIN (O'Brien), an ex-mechanical engineer turned sci-fi writer. Macklin is an extremely intelligent but diffident fellow, who never seems to be able to finish a sentence. A pipe smoker, he's constantly patting down his pockets for the ever-elusive book of matches.

BENNY Hello, Albert.

ALBERT(patting his pockets) I thought... that is if you're on the way to the office...

BENNY(finishing the sentence)... we could walk there together?

ALBERT Exactly.

Benny hands Albert a pack of matches.

ALBERT Ah, there they are.

And as they walk off together, we PULL BACK WIDE to see the bustling city street, and:

FADE OUT.

END OF TEASER

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT ONE 10. ACT ONE

FADE IN:

(NOTE: Episode credits fall over opening scenes)

15 EXT. NEW YORK STREET - DAY (STOCK)

Establishing.

16 INT. MAGAZINE OFFICE

The brain center of Incredible Tales -- a fairly successful science fiction magazine of the time. The walls are lined with blown-up covers of past issues. A series of small cubbyhole offices line the room, with a larger, glass-enclosed office in the back. This belongs to the magazine's editor, Douglas Pabst. In the center of the room is a round table where the writers gather, get their assignments and basically shoot the breeze. At the moment, there are three people at the table:

JULIUS and KAY EATON (Bashir and Kira without her Bajoran nose and earring), a husband and wife writing team, are seated drinking coffee. Julius is a refined, elegantly dressed Englishman wearing an ascot, a cigarette holder clutched in his hand. His wife, Kay, sits perched on a table. She's a no-nonsense attractive woman, with a cutting sense of humor.

Also present is HERBERT ROSSOFF (Quark without makeup), as opinionated and feisty a gent that ever set pen to paper. He's also the best writer of the group and he knows it.

CLOSE ON Julius and Kay at the table. Kay is carefully spooning in two tablespoons of a granulated mixture into a glass pitcher of water. She stirs the mixture and the water turns a tannish brown.

KAY Voila. A pitcher of plain water instantly becomes a pitcher of ice tea.

JULIUS (impressed) Incredible.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT ONE 11.

16 CONTINUED:

Julius picks up the jar of granulated tea powder and studies the label.

JULIUS(reading) White Rose Redi-Tea. What an appalling concept.

KAY I bet H. G. Wells would've liked it.

JULIUS I doubt that. No self-respecting Englishman would.

HERBERT (O.S.) Pabst!

17 NEW ANGLE

to find Herbert standing by the table, having just bitten into a doughnut, taken from a box on the table.

HERBERT Pabst! Get out here.

The door to the glass office opens and DOUGLAS PABST (Odo without makeup) comes storming in.

PABST What's wrong now, Herb?

HERBERT(holding up a doughnut) I'll give you one guess.

KAY The battle of the doughnuts, round twenty-eight.

PABST(irked) That's what you called me out here for -- to complain about the doughnuts?

HERBERT They're stale again.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT ONE 11A.

17 CONTINUED:

Thrusting the box at Pabst's chest. Pabst takes a doughnut and bites into it.

PABST Delicious.


17 CONTINUED:(2)

HERBERT Delicious my eye -- these are two days old and you know it.

PABST I've been eating doughnuts my whole life and these weren't baked more than --(taking another bite) -- six hours ago.

For a moment, Herbert stands there shaking with rage at the sheer mendacity of his editor.

HERBERT(throwing up his hands) That's it, I quit. I'm going over to Galaxy.

PABST That rag?

18 ANGLE ON THE DOOR

as Benny and Albert ENTER and make their way to the round table.

HERBERT I bet that rag knows the difference between a doughnut and a doorstop.

PABSTBENNYYou want to write(to Kay and Julius)Galaxy, go ahead. ButWho's winning?they're not going to payyou four cents a word forKAYyour stories.A draw... same as always.

JULIUSALBERT(indignant)(looking for hisYou're paying him fourmatches again)cents a word?Did you see where I put...

PABSTBENNYStay out of this, Julius.... the matches? I gavethem to you.


18 CONTINUED:

JULIUSALBERTIf he's getting four, Kay(patting himself)and I should at least getThen they should bethree.here...

HERBERTKAYFor that fantasy crap you(re: Benny'swrite? You're lucky tomagazine)be getting two.What's that?

JULIUSBENNY(offended)The latest Galaxy.I beg your pardon.

KAY(to the room)Hey. Benny has the new issue of"Galaxy".

That gets everyone's attention. Herbert snatches the magazine from Benny's hand.

HERBERT(reading off the cover) Heinlein, Bradbury, Sturgeon... quite a lineup. Add Herbert Rossoff and it's complete.

PABST What if I promise you fresh doughnuts tomorrow?

HERBERT Why should I believe you?

PABST I'll even throw in a couple of crullers.

HERBERT(thinking it over) Okay, I'll stay.

JULIUS Don't do us any favors.

PABST All right, now that we've taken care of the old business...


18 CONTINUED:(2)

Pabst takes his half-eaten doughnut and throws it into the trash can.

PABST... onto the new. Time to hand out next month's story assignments.(booming out) Ritterhouse! We're waiting.

ROY (O.S.) Coming.

From out of the back emerges ROY RITTERHOUSE (think Martok without the makeup), carrying a folder of pencil sketches. Roy is an upbeat illustrator who enjoys his work.

ROY All right, friends and neighbors, let's see what Uncle Roy brought you today...

Roy holds up the first sketch -- it's a drawing of a little girl standing in the woods near a picnic table, staring at two aliens in space suits.

PABST I've titled this one... "Please, Take Me With You."(to the group) Who wants this one?

JULIUS(getting a nod from his wife) I think we can do something with that.

HERBERT(caustic) I bet you can. I can see it now -- the lonely little girl, befriended by empathetic aliens who teach her how to smile.(shuddering) It's enough to make you go out and buy a television.(to Roy) Next.


18 CONTINUED:(3)

Roy holds up another drawing. This one has a bug-eyed monster climbing over the ledge of an apartment building, about to crawl onto the rooftop where a buxom lady is sunbathing on a towel.


18 CONTINUED:(4)

KAY(re: the drawing)You've got to be kidding...

ROYWhat can I say? I had extrasauerkraut on my franks that night.

HERBERTBe that as it may, it's still theworst piece of garbage I've ever seen.(a beat)I'll take it.

JULIUSOf course you will. You've anaffinity for garbage, don't you?

HERBERTThe picture may be garbage, but thestory... the story will be art.

Herbert studies the drawing, his mind already beginning to weave a tale.

19 ON BENNY AND ALBERT

who are rummaging through the remainder of Roy's illustrations. One of them in particular catches Benny's attention.

20 ANGLE ON THE DRAWING

it's of a space station -- one that looks quite suggestive of the Deep Space Nine we know.

21 ON BENNY

as he examines the drawing.

PABST(re: the drawing)I don't have a title for it yet...

BENNYI'll think of something.


21 CONTINUED:

And as Benny continues to study the illustration --

PABST Next order of business, some of our readers have been writing in wanting to know what you people look like.

KAY Write back and tell them we look like writers. Poor, needy and incredibly attractive.

PABST The publisher has come up with a better idea. Mister Stone has decided to run a picture of you in next month's issue.

ALBERT Is this really...

PABST... necessary? I'm afraid so.

Pabst turns to Kay.

PABST Kay... you can sleep late that day.

KAY (biting) Of course I can. God forbid thatthe public ever finds out K.C. Hunter is a woman.

An uncomfortable Pabst then turns his attention to Benny.

BENNY I suppose I'm sleeping late that day, too.

PABST It's not personal, Benny. But as far as our readers are concerned, Benny Russell is as white as they are. Let's just leave it that way.


21 CONTINUED:(2)

HERBERT(sarcastic) If the world's not ready for a woman writer -- imagine what would happen if it learned about a Negro with a typewriter -- run for the hills! It's the end of civilization!

BENNY(to Pabst) What about James Baldwin, Richard Wright, Zora Neal Hurston, Langston Hughes? Ever heard of Native Son?

PABST(dismissive) That's literature for liberals and intellectuals. The average reader isn't going to spend his hard-earned cash on stories written by Negroes.

HERBERT(reacting to Pabst) Would someone please shoot me and put me out of my misery?

JULIUS How I long for a gun.

Benny maintains his dignity, but he's clearly unhappy with the situation.

PABST I'm sorry, Benny. I wish things were different, but they're not.

BENNY(irked) Wishing never changed a damn thing.

PABST Come on, Benny... it's just a photo.

BENNY(with a bit of an edge) I'll try to remember that.

Pabst looks around for support. But all he gets is:


21 CONTINUED:(3)

HERBERT (to Pabst) You're a dog.

Pabst decides there isn't a graceful way out of this.

PABST All right, enough standing around. Get back to work.

And with that, he heads back into his office.

CUT TO:

22 EXT. NEW YORK STREET - OFFICE BUILDING - NIGHT

Benny emerges from the Incredible Tales office building, still looking over Ritterhouse's drawing. As he begins to walk down the street, a sudden gust of September wind blows the paper out of his hand. Benny turns to chase it.

23 ON THE PAPER

as it flutters across the sidewalk.

24 ON BENNY

trotting after the elusive paper.

25 ON THE PAPER

as it moves along until suddenly, a black brogan comes stomping down it, pinning it to the ground. WE TILT UP the leg to REVEAL a plainclothes police officer - BURT RYAN (Gul Dukat sans makeup). Beside him, is another plainclothes cop, KEVIN MULKAHEY (Weyoun, also in human form), leaning against an unmarked police car.

26 NEW ANGLE

to include Benny as he approaches the two men. He immediately braces himself for a confrontation; he knows cops when he sees them. Both cops are staring long and hard at him, and there's nothing friendly in their eyes.


26 CONTINUED:

RYANWhat's all the hurry?

BENNYThat's my drawing.

Ryan makes no move to lift his shoe off the paper, but flashes his badge at Benny.

RYANIs that so?

MULKAHEY(challenging)Nice suit. Where'd you get it?

BENNY(calm)I bought it.(a beat)Can I have my drawing back?

Ryan remains motionless.

RYANHey boy, I'd watch that tone ofvoice if I were you.

MULKAHEYWhat are you doing around here?

BENNYI work here.

RYANWhere?

Benny points to the office building.

BENNYIn there.

RYANWhat are you -- the janitor?

MULKAHEYAwfully well-dressed for a janitor.

RYANHow do we know the picture's yours?


26 CONTINUED:(2)

BENNY(struggling to maintain his composure) It's a drawing of a space station.

MULKAHEY Space station?

He bends down to pick up the paper and tugs at it, but Ryan's foot is still on it.

MULKAHEY Well, get off it.

A reluctant Ryan obliges his partner. Mulkahey examines the drawing.

BENNY See -- it's not worth anything, except to me.

RYAN(to Mulkahey) Let's run him in, check him for priors.

Mulkahey is getting bored with this little encounter.

MULKAHEY Nah. We're due uptown in fifteen minutes.

He shoves the drawing back at Benny.

MULKAHEY Take your picture and get out of here.

Benny tries to leave, but Ryan stops him.

RYAN This time, you're getting off with a warning. Next time, you won't be so lucky.

MULKAHEY You heard him, move it.

The two cops watch Benny walk away with as much dignity as he can muster.


26 CONTINUED:(3)

RYAN(to his partner) I tell you, Kevin. This city's going to hell in a handbasket.

MULKAHEY(agreeing) Damn shame.


27 EXT. HARLEM STREET - NIGHT

Somewhere around 145th and Lennox, Benny comes out of a subway station and crosses the street on his way to his apartment. It's late at night and there are only a few PEDESTRIANS, all black.

As he approaches the street corner, we see a black street PREACHER (Joseph Sisko), addressing whoever will listen.

PREACHER "And he said to me, 'These words are trustworthy and true.' And the Lord, the God of the spirits of the prophets, has sent his angel to show his servants what must soon take place."

The Preacher points at Benny as he approaches.

PREACHER "Then the eyes of the blind shall be opened, and the ears of the deaf shall be unstopped." Praise the Lord, open their eyes. Help them to see.

BENNY Are you talking to me?

PREACHER "Oh, that my words were now written! Oh, that they were printed in a book!" Write those words, Brother Benny. Let them see the glory of what lies ahead.

BENNYHow do you know my name?

PREACHER Go now and write the truth that's in your heart. The truth "that shall set them free!"

The Preacher gives Sisko a last hard look, walks away -- preaching to whoever will listen.

PREACHER Praise be the word of the Lord... Praise to the word of the prophets. Hallelujah, brothers and sisters.


27 CONTINUED:

We HOLD ON Sisko for a moment as the Preacher's words sink in. Then we go to ---

28 INT. BENNY'S APARTMENT - NIGHT

A small, modest, one-room apartment. Benny walks over to a kitchen table. A cheap manual typewriter and a radio rest on the table. He turns on the radio and we hear the haunting sounds of Charlie Parker. In the b.g., we see an upright piano tucked in a corner.

Benny stares at the typewriter for a moment, then sits and, almost defiantly, rolls a piece of paper into the carriage. Benny sighs for a beat, then --

29 EXTREMELY CLOSE ON THE TYPEWRITER

to see the keys pound on the paper: Captain Benjamin Sisko sat looking out the window of Deep Space Nine, his ebony reflection staring back at him.

30 ON BENNY (OPTICAL)

as he sits and gazes up at his kitchen window. Reflected in the glass, we see Benny wearing Sisko's Starfleet uniform.

Benny blinks and rubs his eyes -- somewhat thrown by the image. When he opens his eyes again, the image is gone.

Benny then takes a deep breath, regaining his composure and returns his attention.to his work. As he continues typing, we:

FADE OUT.

END OF ACT ONE

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT TWO 23. ACT TWO

FADE IN:

31 INT. HARLEM COFFEE SHOP - DAY

Benny, holding a manila envelope and looking very tired from having worked nonstop for a few days, ENTERS the busy restaurant and goes over to the counter where his girlfriend, CASSIE (Kasidy Yates), is the waitress. And though she's busy, the moment she sees him, she throws him a big smile.

CASSIE Hey, baby. Have a seat. The usual?

BENNY How 'bout scrambling the eggs today?

CASSIE My aren't we feeling adventurous.

He sits down as she pours him a cup of coffee.

BENNY(holding up the envelope) I just finished the best story I've ever written.

CASSIE(sincere) That's great, baby. I got some good news, too.

Cassie leans forward, placing one of her hands over his. She looks him in the eye and talks with quiet sincerity.

CASSIE I talked to Mrs. Jackson last night. She's serious about retiring in the next couple of ears. I asked her about selling this place to us and she said she'd be willing.

Benny doesn't share her enthusiasm for this idea.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT TWO 24.

31 CONTINUED:

BENNY Cassie, we've been over this. I have a job. I'm a writer.

CASSIE And how much money have you earned doing that?

BENNY I've only been working at it for a few years.

CASSIE A few years? More like fifteen -- if you count all those stories you wrote in the Navy.

BENNY That was amateur stuff.

CASSIE Baby, neither one of us is getting any younger. Don't you see? This is our chance. we can make some money. Get married. You're always writing about the future -- well, look around - this is our future.

Benny looks around, he doesn't see his future within these walls. Suddenly, there's a commotion amongst the patrons. Benny turns to see --

32 NEW ANGLE

as Willie Hawkins (Worf without the Klingon makeup) approaches. There are AD HOC SHOUTS of approval from the crowd -- "Way to go, Willie," "Good game," "Way to go, my man," "You showed 'dem bums," etc. Willie is stylishly dressed and wearing a hundred-watt smile directed at Cassie.

WILLIE Hey there, Cassie. Hear the game last night? I went two for four and robbed Snider of a tater. You shoulda heard the crowd -- the way they were yelling and carrying on...


32 CONTINUED:

BENNY Sure they were yelling. They want to know why the Giants are in fifth place.

WILLIE(to Cassie, re: Benny) Why don't you tell this fool to take his business someplace else.

CASSIE(smiling) I've thought about it. Trouble is, if he did leave, he'd take my heart with him.

WILLIE Suit yourself. But if you ask me, you're wasting an awfully pretty heart.

CASSIE(looking to Benny) I don't think so.

BENNY(to Willie) Strike three. You're out.

WILLIE(to Benny) That's all right, I'll get another turn at bat.(to Cassie) Now how about frying me up some steak and eggs?

CASSIE Coming right up. But first, tell me something -- how come you're still living uptown? A famous ballplayer like you can live anywhere he wants.

WILLIE The hell I can. They can hardly get used to me playing alongside them on the ballfield... living next to 'em -- that's a whole other story.


32 CONTINUED:(2)

WILLIE (Cont'd) Besides, around here, when people look at me, it's 'cause they admire me. There, I'm just a colored boy who can hit a curve ball.

Willie looks over and sees a GROUP OF PEOPLE at a table waving at him.

WILLIE Now, if you'll excuse me, my public awaits.

Willie moves over to the group flashing them his winning smile.

CASSIE (to Benny) I'll see to those eggs.

Cassie moves off. As Benny takes a sip of coffee and glances at the newspaper. JIMMY (Jake Sisko), a black street kid, slips onto the stool next to Benny.

JIMMY Hey, Benny -- wanna buy a watch?

Jimmy furtively shows him a wristwatch.

BENNY Where'd you get that?

JIMMY I found it. Nice, huh?

BENNY One of these days, Jimmy, you're going to find yourself in serious trouble.

JIMMY Anything I can get into, I can get out of.

BENNY You keep thinking that -- see what happens.

Despite the stern tone, it's clear that Benny cares for this young man.


32 CONTINUED:(3)

JIMMY Man, how come you're always lecturing me?

BENNY I'm not lecturing you -- I'm trying to help you.

JIMMY You want to help me, buy this watch. I could use the cash.

BENNY Why not get a job?

JIMMY As what -- a delivery boy or a dishwasher? No, thanks. I like being my own boss. Setting my own hours.

BENNY(sarcastic) Sounds like a great life.

JIMMY(defensive) Yours ain't no better. Writing stories about a bunch of white people living on the moon. Who cares about that?

BENNY I'm not doing that anymore. I'm writing about us.

JIMMY What -- colored people on the moon?

BENNY Check out next month's issue.

Jimmy contemplates this for a beat; the thought tickles him.

JIMMY Colored people on the moon... I just might do that.

Jimmy looks around the room, dangling the wristwatch, looking for a new customer.


32 CONTINUED:(4)

JIMMY But first, I'm gonna need to raise me some cash.

And with that, Jimmy takes off, looking for a new "customer."

33 INT. MAGAZINE OFFICE - DAY

CLOSE ON Herbert sitting at the table, completely engrossed as he reads a carbon copy of a novella-sized manuscript. As he finishes reading a page and begins reading the next, he hands the finished page over to Kay, who is seated next to him. She is equally engrossed in what she's reading. As she finishes her page and continues on to the next, she hands off her finished page to Julius. Julius, in turn, hands his finished page to Albert. Albert finishes reading the page he's on, hands it off to Ritterhouse. Ritterhouse finishes the page he's on, passes it up to a woman standing behind him. The woman is DARLENE KURSKY (Dax without the spots). As we'll learn shortly, she is Pabst's new secretary.

DARLENE(as she reads) She has a worm in her belly? That's disgusting.(a beat) Interesting, but disgusting.

All the writers look up at her. There's a beat as they all try to place the new face.

ALBERT Who... that is, if you don't mind me asking... are, uh...

DARLENE I'm Mister Pabst's new secretary. Darlene Kursky.(re: the manuscript) Which one of you wrote this?

BENNY (O.S.) I did.


34 NEW ANGLE

to include Benny standing by the coffee pot.

DARLENE You?

BENNY Surprise.

DARLENE It's the best thing I've read since "The Puppet Masters."(a beat, almost apologetic) I read a lot of science fiction.

HERBERT Bless you, my child.

KAY The world needs more people like you.

ALBERT(to Benny) The story really... I mean to say... it's quite...

DARLENE... impressive?

Albert nods -- precisely.

HERBERT It's a damn fine piece of writing is what it is. And "Deep Space Nine" is a very intriguing title.

JULIUS Very admirable.

HERBERT(to Benny, re: Julius) The master of understatement. What he really means is that he wishes he had half your talent.

KAY I really like this major of yours... she's a tough cookie.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT TWO 29A.

35 BENNY'S POV OF KAY

who is momentarily Major Kira -- the nose, the earring, the uniform, the whole bit.


36 WIDER

KAY Science fiction needs more strong women characters. I'm always saying that, aren't I, Jules?

JULIUS Ad nauseam, my dear.

ROY(to Benny) These Cardassians... I like how you've described them. Their neck ridges especially. I'll come up with some sketches to show you. It could make a nice cover.

But before Benny can say anything, a voice booms in from off screen.

PABST (O.S.) Don't waste your time.

They all turn to see Pabst emerge from his office, holding the original of Benny's story.

PABST(to Darlene) You, back to work.

Darlene scurries back to her desk.

DARLENERight away, Mister Pabst.

PABST You too, Roy.

Roy gives Benny a shrug of defeat, then EXITS.

HERBERT Douglas -- you're not going to stand there and tell us you don't like this story.

PABST Oh, I like it all right. It's good. Very good.

Pabst crosses over to Benny.


36 CONTINUED:

PABST But you know I can't print it.

BENNY Why not?

PABST Come on, Benny -- your hero's a Negro captain. The head of a space station, for Christ's sake.

BENNY What's wrong with that?

PABST People won't accept it. It's not believable.

HERBERT And men from Mars are?

PABST Stay out of this, Herb.(to Benny) Look, Benny, I'm a magazine editor -- not a crusader. I'm not here to change the world. I'm here to put out a magazine. That's my job. And that means I've got to answer to Mister Stone, the national distributors, the wholesalers --(holding up the story) -- and none of them are going to want to put this on the newsstand. For all we know, it could cause a race riot.

HERBERT Congratulations, Douglas. That's the most imbecilic attempt to rationalize personal cowardice I've ever heard.

KAY(to Pabst, amused) Uh-oh, he's angry now.

PABST Herb's been angry ever since Joseph Stalin died.


36 CONTINUED:(2)

That brings Herbert shooting to his feet.

HERBERT What's that supposed to mean?

PABST You know exactly what it means.

HERBERT You calling me a red?

Herbert goes after Douglas, but Benny steps in his way.

BENNY Easy.

JULIUS(to Herbert) Calm down, dear boy. We're writers, not vikings.

HERBERT I'm not going to let some craven fascist call me a pinko and get away with it.

Albert tries to change the subject to ease the tensions.

ALBERT Douglas, what'd you... uh, think of my story?

PABST I loved it.(to Benny) You see, Albert's got the right idea. He's not interested in Negroes or whites -- he writes about robots.

HERBERT That's because he is a robot. No offense, Albert.

ALBERT(none taken) I... uh, like robots. They're very... efficient.


37 ANGLE ON PABST

as he grabs a new illustration of Roy's from the table. This one depicts a family being sold a used rocketship by a particularly oily alien salesman. He offers the drawing to Benny.

PABST Here, write me a novella based on this drawing and I'll print it in next month's issue. Do a good job and you might even get the cover.

BENNY(holding up his manuscript) What about my story?

PABST The way I see it, you can either burn it or you can put it in a drawer for fifty years or however long it takes the human race to become colorblind.

BENNY But I want people to read it now.

PABST Fine. You want me to publish it? Then make the captain white.

BENNYBut that's not what I wrote.

PABST(a shrug)It's your call..

Pabst turns and heads back to his office.

38 CLOSE ON BENNY

as he contemplates these distasteful alternatives. And on his expression of inner turmoil, we:

FADE OUT.

END OF ACT TWO

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT THREE 34. ACT THREE

FADE IN:


An even more tired and dejected Benny sits at the counter, drinking a cup of coffee. Jimmy sits beside him, casually spinning himself around on the stool. Cassie refills Benny's cup.

CASSIE I'm sorry they didn't buy your story, baby. Really I am.

JIMMY(to Benny) I told you you were wasting your time.(shaking his head) A colored captain... the only reason they'll ever let us space is if they need someone to shine their shoes. Ain't that right, Cassie?

CASSIE I don't know and to be honest, I don't much care what happens a hundred years from now. It's today that matters.

JIMMY Well I got news for you... today or a hundred years from now don't make a bit of difference -- as far as they're concerned, we'll always be niggers.

BENNY Things are going to change. They have to.

JIMMY(not buying it for a second) You keep telling yourself that.

Jimmy pushes himself off the stool and walks off.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT THREE 35.

39 CONTINUED:

CASSIE Maybe all this is happening for a reason.

BENNY(facetious) You mean maybe this is God's way of telling me to quit writing and go into the restaurant business?

CASSIE Hey, it's possible.(with great seriousness) Baby, I know we could make this work for us. We could be happy here. Besides, you don't have to give up writing altogether... maybe you could write something for the Amsterdam News or one of the other Negro newspapers.

BENNY I'm not a reporter. I write fiction -- and the Amsterdam News isn't going to publish stories about a space station four hundred years in the future.

40 ON BENNY

as he looks deeply into her eyes, when suddenly, a hand drops on Benny's shoulder.

WILLIE (O.S.)Hear the game last night?

Benny turns to see --

41 BENNY'S POV

but instead of Willie, Benny sees WORF in full Klingon regalia.

42 WIDER

as Benny reacts -- leaping off the counter stool and crashing into the customer seated beside him.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT THREE 35A.

42 CONTINUED:

WILLIE/WORF Hey, I'm sorry -- I didn't mean to frighten you.


42 CONTINUED:(2)

Benny closes his eyes and rubs his forehead. When he opens his eyes, Worf has become Willie again.

Willie reaches over and tries to help Benny back to his seat.

WILLIEYou don't look so good. You sickor something?

BENNYI'm fine.

CASSIEWant to lie down in the back?

BENNYI just need some air.

CASSIEWe still on for tonight?

BENNYI'll pick you up around ten.

Benny flashes her a smile he doesn't really feel, gets up and heads for the door, EXITING. We HOLD ON Willie and Cassie watching him leave.

WILLIESo what're you doing 'til ten?

CASSIEWhatever it is, I'm not doing itwith you.

She turns away from him, returning to her work.


CLOSE ON Benny as he walks aimlessly down the street, lost in his own world and trying to make sense of hishallucination.

PREACHER (O.S.)Hello, Brother Benny.

Startled out of his revelry, Benny turns to see the Preacher emerging from the shadows of an alleyway.


43 CONTINUED:

BENNY You again? I don't understand... what do you want from me?

PREACHER To follow the path of the Prophets. Walk with the Prophets, Brother Benny. Show us the way.

BENNY What way? I don't know what you're talking about.

Benny turns away from the Preacher and continues walking down the sidewalk. The Preacher stays put, but calls out to him:

PREACHER Write the words, Brother Benny. The words that will lead us out of the darkness and onto the path of righteousness.

Benny keeps walking, faster and faster -- but the Preacher's words keep racing after him.

PREACHER Write the words, Brother Benny. Write the words.


Benny ENTERS the apartment, quickly shutting the door behind him, then stops to catch his breath. After a beat, something catches Benny's attention off screen --


45 BENNY'S POV

of the typewriter, sitting on his kitchen table. A silent challenge.


Time cut.


It's late. Benny, still wearing his street clothes, is asleep at the typewriter. Papers are scattered all about the table. A woman's hand CLICKS ON the radio which begins playing some soft, easy jazz. After a beat, the woman's hand comes to rest on his shoulder and begins rubbing his back, waking him gently.

CASSIE Hey, baby. You forgot all about our date.

Benny comes to, but he hardly looks rested. It's almost as if his dreams were exhausting as well.

BENNYDate? Oh, yeah -- that's right.I'm sorry. I was working...

Cassie looks over at the paper in the typewriter.

CASSIE(reading) Ben Sisko? Isn't that your colored captain?(off his nod) Why are you writing another one of those stories? You couldn't sell the last one. What makes you think this one will be any different?

BENNY It probably won't be. Doesn't matter.(with resolve)It's what I've got to do.

CASSIE Right now, what you've got to do is eat.


47 CONTINUED:

Cassie holds up a paper bag.

BENNY I'm not hungry.

Benny stands and starts to stretch.

BENNYWhat time is it anyway?

CASSIE A little after midnight. I should be getting home to bed. But before I go --

Cassie steps into his arms and they begin to dance slowly.

CASSIE -- what do you say we take one spin around the dance floor.

As they sway to the music --

CASSIE Feels good, doesn't it?

BENNY I could stay like this forever.

Cassie raises her head from his shoulder; Benny looks down at her and suddenly

MATCH CUT TO:

48 INT. DEEP SPACE NINE - SISKO'S QUARTERS

Benny is now holding Kasidy Yates in his arms, dancing.

KASIDY Me, too. It's times like these that I wish we'd never heard of the Dominion.

Benny is looking around wondering where he is and how he got there. He's so confused he doesn't stop dancing.


48 CONTINUED:

BENNY The Dominion?

MATCH CUT TO:


Benny and Cassie dancing.

CASSIE What do you mean?(off his confused look) You said something about the Dominion...

But Benny is looking around the room, trying to regain his bearings. But when he looks back over at Cassie --

MATCH CUT TO:

50 INT. DEEP SPACE NINE - SISKO'S QUARTERS

-- he's back in the twenty-fourth century.

KASIDY(seeing his confusion) What is it, Ben? What's wrong?

BENNYI don't know -- I think I'm losingmy mind...

MATCH CUT TO:


As before.

CASSIE Why? Tell me -- what's wrong?

BENNY(knows how odd this sounds) I'm starting to see things... things from my story... it's as if I'm becoming Captain Sisko.


52 ANOTHER ANGLE

as Benny breaks off the dance and slumps on the couch, holding his head in his hands.

CASSIEBaby, you need to get some rest.

Cassie sits next to him and wraps her arms around him.

CASSIEIt's all right, baby. I'm here.Just take it easy... I'm with you.

And as she cradles Benny in her arms, we:

FADE OUT.

END OF ACT THREE

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FOUR 42. ACT FOUR

FADE IN:

A53 EXT. NEW YORK STREET - DAY

Re-establishing.


Pabst is holding one of Benny's stories. There's a pile of five other stories on the bullpen table in front of him.

PABST(accusatory)Have you lost your mind?

ADJUST TO REVEAL Benny standing opposite him. Benny looks burnt out; a man consumed from within. Albert, Kay, Julius and Herbert watch the confrontation silently. In the b.g., Darlene types away.

BENNY(wry) Lately, I've been asking myself the same question.

PABST I give you a novella to write - even offered you a shot at the cover -- and three weeks later, instead of a novella, you come back with six stories -- six sequels to a story I refused to publish in the first place. So I guess the answer to the question we've both been asking is yes - you're certifiable!

54 ANOTHER ANGLE

to include Julius --

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FOUR 43.

54 CONTINUED:

JULIUS(to Benny) You might consider printing those stories yourself -- you know, through a private publishing house. A nice, elegant, little volume. Fifty to a hundred copies.

PABST(to Benny)That's a great idea.

KAY(to Julius) He may as well write them in chalk on the sidewalk. More people would read them that way.

HERBERT You tell him, Kay. I know a good divorce lawyer if you need one.

ALBERT I've got an idea. Why not make it... you know, a dream?

Everyone looks at Albert.


54 CONTINUED:(2)

BENNY What's that?

ALBERT(nodding) Uh... you know, make the ending... of your first story -- "Deep Space Nine" -- a dream.

BENNY(to Pabst) Will that make a difference?

Pabst thinks about it for a moment.

PABST That depends...

KAY On what?

PABST On who's doing the dreaming.

KAY Obviously, someone without much hope. A shoeshine boy or a convict -- dreaming of a better future.

PABST A Negro?

DARLENE I suppose he'd have to be... if he's dreaming about a Negro captain.

HERBERT(objecting) Hold on -- making it a dream guts the whole story.

PABST Shaddup, Herbert.

JULIUS(disagreeing with Herbert) I think it makes it more poignant.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FOUR 44A.

54 CONTINUED:(3)

HERBERT But what about your other Sisko stories? You can't make them all dreams.

KAY Let him get the first one published. He can worry about the others later.

JULIUSWhat do you think, Benny?

BENNY(thinking it over) I think it's better than chalk on the sidewalk...


55and OMITTED 56


Willie Hawkins is at the counter, trumpeting his achievements to Cassie once again.

WILLIE -- bottom of seventh I come up again. And on an oh-two fastball -- BAM. Into the centerfield bleachers. Had to be at least four hundred feet.


57 CONTINUED:

CASSIE I know all about it, Willie. I read the newspaper.

WILLIE Yeah, but you gotta admit -- they don't tell it as well as I do.

The door opens and Benny ENTERS.

BENNY Cassie.

WILLIE(to Benny) Hey, man. Hear the game last night? I went two for four.

BENNY That's great, Willie. But I just hit a grand slam.

Benny goes behind the counter and hugs a surprised Cassie.

BENNY They're publishing one of my Sisko stories.(even more good news) And at three cents a word.

CASSIE(hugging him back) Good for you, baby.

BENNY Tonight, we're celebrating. Dinner, dancing -- the works.

CASSIE I'll wear my red dress.

BENNYYou're damn right you will.

Benny and Cassie kiss joyously.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FOUR 46A.


An exhilarated Benny and Cassie emerge from an Apollo-like club into the cool, night air. Cassie's in a beautiful red dress. Benny takes her in his arms and whirls her once around the sidewalk.


58 CONTINUED:

It's a movie moment -- but as it ends, Cassie winces, her feet are sore from a long day of work and a night of dancing.

CASSIE My poor feet... baby, you better marry me soon. I'm not getting any younger.

Benny turns and takes her in his arms.

BENNY But you are getting more and more beautiful.

Benny breaks out into a TBD SONG. Although he's hamming it up, it's obvious he has an impressive voice. After a few bars, they lean over to kiss. But before their lips touch --

PREACHER (O.S.) Brother Benny.

Benny looks to see --

59 BENNY'S POV

of the Preacher emerging from the shadows. Benny lets go of Cassie and walks over to him, smiling.

BENNY I was hoping I'd see you again. (proud) I did it. My story's going to be published.

PREACHER "The light of the Lord is in his path." But, this is only the beginning of your journey -- not the ending. And the path of the Prophets sometimes leads into darkness and pain.

CASSIE Benny, what's he talking about? (to the Preacher) Who are you?


59 CONTINUED:

PREACHER I speak with the voice of the Prophets.

The Preacher reaches out and grabs Benny's ear as if reading his pagh. The Preacher takes his hand away and looks at it --

60 INSERT OF THE PREACHER'S FINGERS

smeared with blood.

61 RESUME

Benny reacts by touching the same ear, but when he looks at his hand, there's no blood on it at all.

PREACHER And in their words, hope and despair walk arm in arm.

And on that ominous note, the Preacher walks away. We HOLD ON Benny and Cassie watching him leave.

CASSIE Did you understand any of that?

But before Benny can answer, we hear the sound of a gun being FIRED. Then after a beat, THREE MORE SHOTS.

CASSIE Is that gunfire?

A few people begin to hurry toward the sound of the gunfire. The Preacher looks off in that direction, then back at Benny.

PREACHER The time has come, Brother Benny. Go and "be of good courage."

Benny, knowing it's what the Preacher wants, begins to follow the crowd.

Feeling an unexplained panic build inside him, Benny breaks into a fast trot, pulling Cassie along with him.


62 EXT. ANOTHER HARLEM STREET - NIGHT

Two police cars are parked at right angles to the sidewalk. Various UNIFORMED POLICE OFFICERS are keeping the crowd at bay.

In the middle of the street, Officers Ryan and Mulkahey are standing over the body of a dead teenager.

63 NEW ANGLE

as Benny and Cassie come running up, they see that the dead teenager is Jimmy.

BENNY Jimmy!

Benny moves toward the body, but Ryan blocks his approach, shoving him away.

RYAN Get back.

BENNY What happened?

MULKAHEY What's it to you?

BENNY(re: Jimmy) I know him --

RYAN Yeah? Then maybe you can explain what he was doing trying to break into that car.

Mulkahey points to a late forties sedan.

BENNY Is that why you shot him? For breaking into a car?

MULKAHEY(holding up a crowbar) He had a weapon.

BENNY(you call that a weapon) A crowbar?


63 CONTINUED:

Angry and frustrated, Benny tries to push past the cops to get to Jimmy --

RYANI said -- stay back!

Ryan shoves Benny back. With a shout of rage, Benny lunges at Ryan. As he does, Mulkahey steps around him and hits him on the back of the head with a sap. Benny's knees buckle. Mulkahey and Ryan continue to pummel him with vicious blows that drive Benny to the ground.

CASSIEStop it! Please!

63A BENNY'S POV

as he tries to duck the blows. Benny looks up and we see that Ryan and Mulkahey have become DUKAT and WEYOUN.

63B WIDER

as Dukat and Weyoun become Ryan and Mulkahey again (we shift them back and forth editorially) and continue to beat Benny. Cassie tries to intervene, but they shove her aside.

CASSIEDon't! You're killing him!

64 OMITTED

65 ANOTHER ANGLE

But the cops continue to mercilessly pound Benny's body. And off this horrific moment, we:

FADE OUT.

END OF ACT FOUR

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FIVE 51. ACT FIVE

FADE IN:

66 EXT. NEW YORK STREET - DAY (STOCK)

Re-establishing.

67 INT. BENNY'S APARTMENT - DAY

Weeks later; early morning. Benny, still recovering from the beating, gingerly puts on his suit jacket. Cassie steps up to him to fix the knot of his tie.

CASSIE I'm telling you, baby -- you've been cooped up in this apartment too long. Going down to the office will do you good.

BENNY I suppose I should be there when the first copies of this month's issue are delivered.

CASSIE Absolutely. After all that work you did -- you deserve to see your story in print.(smiling) Just no jumping up and down with excitement -- I wouldn't want you to hurt yourself.

BENNY(smiling back) I'll restrict myself to a proud grin.

They kiss for a beat.

CASSIE You're not having any more of those... hallucinations, are you?

BENNY(shaking his head) I'm fine.

The moment hangs in the air for a beat, then Cassie nods and Benny EXITS.

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FIVE 52.


Albert, Kay, Julius and Herbert are in the bullpen. Darlene is at her desk, typing. The door opens and Benny ENTERS.

HERBERT Hey, Benny -- long time no see.

BENNY Is it here?

JULIUS Not yet. Pabst is still at the printers.

KAY But we're all waiting for his return with baited breath.

ALBERT(to Benny) We heard... you know, that you were... ah...

KAY We heard they beat the hell out of you.

Benny shrugs it off.

BENNY I'm okay.

ALBERT Glad to see that you're... ah... you know, up... and about.

DARLENE Tell him the good news, Albert.

ALBERT(playing it down) It's... nothing really.

KAY Nothing? He sold a novel to Gnome Press and he calls it nothing.

BENNY A novel -- congratulations! Robots?


68 CONTINUED:

ALBERT (smiling) What else?

69 ANGLE ON THE DOOR

as it is suddenly flung OPEN and Pabst ENTERS, empty-handed. For a moment, Pabst looks at everyone with an accusatory stare.

JULIUS It's about time.

HERBERT Hey, Douglas -- where's the magazine?

PABST There is no magazine. Not this month anyway. Mister Stone had the entire run pulped.

BENNY He can't do that!

PABST He can and he did. He believes that this issue quote -- did not meet our usual high standards -- unquote.

BENNY And what's that supposed to mean?

PABST It means he didn't like it.

Pabst goes and pours himself a cup of coffee, trying to put this whole thing behind.

PABST Which means the public's simply going to have to get along without any Incredible Tales this month.

But Benny refuses to leave it at that.


69 CONTINUED:

BENNY(his anger rising) You still haven't said what he didn't like. The artwork? The layout? Exactly what "high standards" is he talking about?

KAY Take it easy, Benny.

Benny ignores the warning. He's focused on Pabst. All the frustrations, all the indignities he's suffered come boiling to the surface.

BENNY It's about my story, isn't it? That's what this is all about. He didn't want to publish my story -- and we all know why. Because my hero is a colored man.

PABST Hey -- Mister Stone owns this magazine. If he doesn't want to publish this month -- we don't publish this month. End of story.

BENNY That doesn't make it right and you know it.

PABST Don't tell me what I know. Besides, it's not about what's right -- it's about what is.

Pabst takes a deep breath, he's not done handing out the bad news.

PABST I'm afraid I have some more bad news, Benny. Mister Stone has decided your services are no longer required here.

That only fuels Benny's anger.

BENNY You're firing me?


69 CONTINUED:(2)

PABST I have no choice, Benny. It's his decision.

BENNY Well you can't fire me -- I quit. To hell with Stone and to hell with you.

JULIUS Try to stay calm.

Herbert, Albert and Julius come up alongside Benny, trying to get in between him and Pabst.

BENNY(shouting) I'm tired of being calm. Calm's never gotten me a damn thing.

PABST I'm warning you, Benny -- if you don't stop shouting, I'm calling the cops.

BENNY Call them! Go ahead! They can't do anything to me. Not anymore. None of you can.

Benny breaks away from Herbert and the others. Everyone steps back, afraid of what he might do. Benny stands in the middle of the room, the rage pouring out of him. Tears of frustration roll down his face.

BENNY I'm a human being, dammit! You can deny me all you want but you can't deny Ben Sisko. He exists! That space station -- those people -- that future -- they exist!(pointing to his head) In here. And in the minds of everyone of you who read it.

WE PUSH IN CLOSER AND CLOSER until Benny's anguished face fills the screen.


69 CONTINUED:(3)

BENNY You hear what I'm telling you? You can pulp the story but you can't destroy the idea. That future is real -- I made it real! (louder) You hear me -- it's real! (still louder) It's real! It's real!

The last "real" becomes a sustained HOWL.

70 EXT. NEW YORK STREET - DAY

A crowd has gathered around an ambulance waiting at the steps of the office building, its back doors hanging open. After a beat, TWO AMBULANCE ORDERLIES emerge from the building pulling a gurney. Strapped to the gurney is a semi-comatose Benny. Albert, Kay, Julius, Herbert, Darlene, and Pabst follow the gurney to the ambulance.

Benny is placed into the ambulance, and the doors are shut behind him.

71 INT./EXT. AMBULANCE - DAY

Benny lies on the gurney as a hand comes to rest on his arm. Benny looks up to see the Preacher sitting beside him, offering a comforting smile.

PREACHER Rest easy, Brother Benny.

72 ON BENNY

as his eyes open. He's dressed in Sisko's uniform.

PREACHER You've walked in the path of the Prophets. There is no greater glory.

Benny looks down at himself, sees the uniform, then looks back up at the Preacher.

BENNYTell me, please. Who am I?

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FIVE 57-57A.

72 CONTINUED:

PREACHERDon't you know?

Benny looks up to see --

73 BENNY'S POV OF THE REAR AMBULANCE WINDOWS (OPTICAL)

where he sees nothing but stars.

74 RESUME

BENNYTell me!

PREACHERYou're the dreamer. And the dream.

And as a confused Benny closes his eyes, trying to make sense of everything

SMASH CUT TO:

75 INT. DEEP SPACE NINE - INFIRMARY

-- to see Sisko's eyes open.

KASIDYBen!

Sisko tries to sit up, Joseph and Jake go to help him.

SISKOHow long was I out?

Bashir approaches holding a medical tricorder.

BASHIROnly a few minutes.

JOSEPHSeemed like forever to me.

BASHIR(off his tricorder)That's odd. Somehow, your neuralpatterns have returned to normal.


75 CONTINUED:

JAKEThat's good, isn't it?

BASHIR It's very good. I just don't understand why it happened.

And off this moment --

76 INT. SISKO'S QUARTERS

A couple of days later. Sisko is standing by the window, drinking a cup of raktajino. The door CHIMES.

SISKOCome in.

The door OPENS and Joseph Sisko ENTERS.

JOSEPHHow're you feeling, son?

SISKOOkay.

JOSEPH I'm done packing. Transport leaves at eight in the morning.

SISKOI wish you could stay longer.

JOSEPH I've got to get back to the restaurant. My customers have never gone this long without me. (a beat) The question is -- what are you going to do?

Sisko thinks it over for a beat, then smiles.

SISKOThe only thing I can do. Stayhere and finish the job I started.(a beat)And if I fail...

DEEP SPACE NINE: "Far Beyond... " - REV. 12/10/97 - ACT FIVE 58A.

76 CONTINUED:

JOSEPH "I have fought the good fight. I have finished the course. I have kept the faith."

Sisko looks at his father in surprise.

SISKO I've never known you to quote the Bible.

JOSEPH I'm full of surprises, aren't I? (a beat) And so are you... sounds like this dream you had helped you sort things out.

SISKOI suppose it did. (a beat) But I've been wondering... what if it wasn't a dream? What if this life we're leading... all of this... you and me -- everything... what if all this is the illusion?


76 CONTINUED:(2)

JOSEPH(only half kidding) That's a scary thought.

Sisko smiles, pats his father on the shoulder.

SISKO I know... but maybe, just maybe, Benny isn't the dream -- we are. Maybe we're nothing more than figments of his imagination.

77 CLOSE ON SISKO (OPTICAL)

as he looks back out the window and sees his reflection -- wearing Benny's clothes -- staring back at him.

SISKO For all we know, at this very moment, somewhere, far beyond all those stars... Benny Russell is dreaming of us.

And on that thought, we:

FADE OUT.

END OF ACT FIVE THE END

far beyond the stars

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