STAR TREK: DEEP SPACE NINE "Time's Orphan" (fka "Out of Time") #40510-548 Story by Joe Menosky Teleplay by Bradley Thompson & David Weddle Directed by Allan Kroeker 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 1998 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 This script is not for publication or reproduction.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 DRAFT PARAMOUNT PICTURES CORPORATION March 18, 1998 STAR TREK: DS9 - "Time's Orphan" - 03/20/98 - CAST STAR TREK: DEEP SPACE NINE "Time's Orphan" CAST SISKO KEIKO KIRA MOLLY ODO MOLLY 18 BASHIR DEPUTY DAX KIRAYOSHI WORF SECURITY OFFICER QUARK O'BRIEN Non-Speaking Non-Speaking N.D. SUPERNUMERARIES MADRAT STAR TREK: DS9 - "Time's Orphan" - 03/18/98 - SETS STAR TREK: DEEP SPACE NINE "Time's Orphan" SETS INTERIORS EXTERIORS DEEP SPACE NINE DEEP SPACE NINE AIRLOCK CORRIDOR CAPTAIN'S OFFICE MEADOW CARGO BAY/SAFE ROOM DEFIANT HABITAT RING CORRIDOR HOLDING CELLS O'BRIEN'S QUARTERS LIVING ROOM BEDROOM MOLLY'S BEDROOM PROMENADE QUARK'S LOWER LEVEL UPPER LEVEL HOLOSUITE/MEADOW DEFIANT MESS HALL MEDICAL BAY CAVES/LOWER LEVEL DS9 - "Time's Orphan" - 03/19/98 - PRONUNCIATION STAR TREK: DEEP SPACE NINE "Time's Orphan" PRONUNCIATION GUIDE GOLANA goh-LA-nah LUPI LU-pi ANTHROPOMORPHIZED an-thro-po-MOR-fized DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 1. STAR TREK: DEEP SPACE NINE "Time's Orphan" TEASER FADE IN: 1 INT. O'BRIEN'S QUARTERS - BEDROOM O'BRIEN and KEIKO are coiled tightly together beneath the covers, fast asleep. They both look very content, luxuriating in the sensation of sharing a bed again. MOLLY rushes inside in her PAJAMAS and excitedly jumps into bed with them. MOLLY Wake up. It's time to go. O'Brien and Keiko stir and smile sleepily. KEIKO Hi, honey. MOLLY It's almost seven. Time to get ready. O'BRIEN (pretending not to know) Ready? Ready for what? MOLLY The picnic! O'BRIEN Was that today? MOLLY Yes! Don't you remember? O'BRIEN We'd better get going then. MOLLY (to Keiko) I'm going to wear my blue jumper. KEIKO Good idea, honey. Molly dashes out to get ready. O'Brien watches her go, shaking his head in amazement. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 2. 1 CONTINUED: O'BRIEN I can't believe how much she's grown. She must be four inches taller than the last time I saw her. KEIKO (affectionately) And you must be five pounds heavier. What've you been eating while we've been gone? O'BRIEN (shrugs) The usual. Keiko gets out of bed. KEIKO Well, say goodbye to the usual. I'm back and you're going to start eating right again. O'BRIEN (hopeful) Can it wait until after the picnic? Off Keiko's look -- 2 INT. O'BRIEN'S QUARTERS where the family is making last minute preparations to go. KIRAYOSHI is dressed and waiting in a CARRY-ALL, Keiko is putting things into a picnic BASKET. CHESTER, the O'Briens' cat, is curled up on the couch. Molly, dressed in her favorite blue jumper, ENTERS carrying a distinctive BRACELET. She holds it out to her mother. MOLLY Would you help me put this on? KEIKO Of course, Honey. Keiko puts the bracelet around Molly's wrist and snaps it shut. Molly raises her arm to admire it. O'BRIEN'S VOICE (from the other room) Where's the sunscreen? KEIKO I already packed it. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 2A. 2 CONTINUED: Keiko looks back for Molly, but she's gone to the nearby table, from which she takes a PHOTO and brings it to her little brother. MOLLY This is where we're going, Yoshi. See? DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 3. 3 INSERT - THE PICTURE showing the O'Brien's, sans Yoshi, picnicking on a meadow near some boulders. The picture was taken about a year ago, before O'Brien sent his family to live on Earth. 4 RESUME SCENE MOLLY Last time we went to Golana, you were inside Mommy's tummy. O'Brien ENTERS from the other room, shaved and in CIVVIES. He wears a combadge. O'BRIEN We'd better get down to the airlock. The shuttle leaves in twenty minutes. MOLLY Can we bring Chester? Keiko's not fond of O'Brien's new cat and quickly quashes the idea. KEIKO I don't think that's a good idea. O'BRIEN He might get lost. KEIKO (under her breath) On second thought. O'Brien shoots her a look. KEIKO (picks up basket) All right, let's go. Molly grabs her favorite doll as she heads for the door. MOLLY Come on, Lupi. O'BRIEN (peeking inside the basket) No sausages? Off Keiko's mock scowl -- DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 4. 5 EXT. MEADOW - DAY The O'Briens have spread a twenty-fourth Century PICNIC BLANKET down on a field of lush green grass near a small outcropping of BOULDERS surrounded by brush. (NOTE: THE SAME SPOT AS SEEN IN THE PICTURE) Kirayoshi is asleep under a little pop-up TENT; Molly, holding her doll, is sitting next to her mother, who's brushing her hair. O'Brien sits contentedly drinking in the scene. MOLLY I know what I'm going to be when I grow up. O'BRIEN You do? MOLLY Mm-hm. I'm going to be an exo- bologist. O'BRIEN An exo-bologist? What's that? MOLLY Someone who studies animals from other planets. KEIKO (under her breath) Like Chester.... O'Brien shoots her another look -- MOLLY Daddy, if you send us away again, can we take Chester? This stops O'Brien in his tracks. O'BRIEN Honey, I'm not going to send you away again. MOLLY (hopeful) You're not? DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 5. 5 CONTINUED: O'BRIEN I only did it because it wasn't safe for you to be on the station. MOLLY I know. O'BRIEN From now on, we're going to stay together. MOLLY Promise? O'BRIEN Promise. MOLLY Want to see me do cartwheels? O'BRIEN You bet. She gets up and runs into the nearby grass to start doing cartwheels. O'Brien smiles, happy as can be. As Keiko starts pulling food out of the basket, O'Brien leans in and makes faces at Yoshi. O'BRIEN How are you, little fella? Kirayoshi VOCALIZES contentedly. O'BRIEN I couldn't have said it better myself. (sighs contentedly, looks at Keiko) Real sunshine, fresh air... you and the kids. Life doesn't get any better. Keiko smiles at her husband, feeling the same way. In the background, Molly is now playing at the base of the boulders, investigating the tall grass that grows around them. KEIKO That was a big promise you made. O'BRIEN I meant it. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 6. 5 CONTINUED: (2) KEIKO I know. But what if the war heats up again and you decide the station isn't safe anymore? O'Brien considers for a beat -- O'BRIEN I'll put in for a transfer. I'm not going to be apart from you ever again. Keiko smiles and leans in toward him. They kiss, until suddenly the moment is shattered by MOLLY'S TERRIFIED SCREAM! Miles and Keiko look back at the rocks, but she's nowhere in sight. KEIKO Molly?! O'Brien leaps to his feet and heads for the rocks. Keiko scoops up Kirayoshi and follows. 6 THE ROCKS Miles frantically searches between them. O'BRIEN Molly? Molly! MOLLY'S VOICE (distant, hollow) Help! Keiko arrives behind him, out of breath and holding Kirayoshi. MOLLY'S VOICE Daddy! Keiko tracks her voice and spots a HOLE in the ground at the base of one of the boulders, half-obscured by BRUSH. KEIKO Over here! O'Brien climbs into the hole. 7 INT. CAVE O'Brien crawls along a ledge, trying to spot his daughter. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 7. 7 CONTINUED: O'BRIEN Molly! MOLLY'S VOICE Daddy! He peers over the edge, his face registering horror as he sees... 8 MOLLY (OPTICAL) She's clinging desperately to another ledge several feet below him, her feet dangling precariously above a strange swirling VORTEX OF MULTICOLORED LIGHT. A short distance from the Vortex is an alien control console. Its displays are LIT UP. MOLLY Daddy! O'BRIEN Hold on, Molly. I'm coming. O'Brien lays flat and reaches his hand toward her, but she's too far away. 9 CLOSE - HIS HAND just inches from where Molly's fingers are gripping the ledge. 10 O'BRIEN his face straining with effort. 11 MOLLY'S HANDS losing their grip on the rock. 12 O'BRIEN O'BRIEN Hold on! But she can't -- DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - TEASER 8. 13 MOLLY (OPTICAL) She SCREAMS as she falls into the vortex and DISAPPEARS. The moment she does, SPARKS FRITZ from the control panel and the portal. The VORTEX COLLAPSES like a switched-off picture tube. The spot where his daughter fell is now nothing but solid rock, encircled by the ANCIENT ALIEN FRAME that encapsulated the vortex. 14 O'BRIEN reacts to the inconceivable fact that his daughter is gone. FADE OUT. END OF TEASER DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 9. ACT ONE FADE IN: (NOTE: Episode credits fall over opening scenes) 15 EXT. SPACE (STOCK OPTICAL) The Defiant in orbit of an earth-like planet. 16 INT. CAVES - LOWER LEVEL - DAY A LADDER nows links this level with the ledge above. A short distance from the vortex's frame we see an ALIEN CONTROL PANEL and some EQUIPMENT HOUSINGS, all composed of incredibly ancient composite materials. An alien SUPPORT BEAM has fallen atop the equipment, some of which is open, revealing patches of CIRCUITRY of a kind we've never seen before. Several STARFLEET EQUIPMENT CASES are organized next to the alien devices, and Federation field LIGHTING KITS are in place. O'Brien scans the alien control panel with a TRICORDER. He's intent, focused, nothing else matters to him. Nearby, DAX is studying the portal itself. Two N.D. ENGINEERS are working in the b.g. Keiko sits on an equipment case, dried tear-tracks on her face, staring blankly toward her husband. She's cradling a sleeping Kirayoshi wrapped in a blanket. KIRA steps down from the ladder and pauses to hug Keiko. The women don't need words to share what they're feeling. Kira then proceeds to Dax. KIRA (re: the portal) Have you figured out what this thing is yet? Dax shoots a look the O'Briens' way, pitches her voice low -- she doesn't want them to have to be reminded of what happened to their daughter. DAX It's some sort of time portal. From the chroniton signature, we think it sent Molly about three hundred years into the past. Kira looks down, takes in this grim news. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 9A. 16 CONTINUED: KIRA I wonder what this place was like three centuries ago... DAX Odo contacted the Bajoran Archaelogical Institute to see what he could find out. KIRA (beat) How do we get Molly back? DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 10. 16 CONTINUED: (2) DAX First we have to find a way to reactivate the portal -- it's been abandoned for a long time and it destabilized when Molly fell through. The problem is, we're not sure how this technology works. KIRA (looking over at O'Brien) Something tells me the chief isn't going to stop until he figures it out. DAX Something tells me you're right. KIRA Assuming you can get it back on-line, then what? DAX We punch a transport scanning beam through the portal and try to lock on to Molly's DNA signature. KIRA (following) Then pull her back into the present. DAX That's the idea. The panel O'Brien is working with FRITZES and SPARKS. O'BRIEN Bloody hell! He glares at it, furious. Kirayoshi, startled by the noise, starts to CRY. KEIKO (comforting him) Shh. It's okay. When O'Brien looks over at his wife and son, his features soften. He approaches them, puts a comforting hand to Keiko's shoulder. They share a look of worry and hope. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 11. 16 CONTINUED: (3) O'BRIEN (gently) Maybe you should take him up to the Defiant. It's too cold in here for him. KEIKO I'm not going anywhere. Miles can see she's determined not to leave. KIRA I'll take him. Keiko hesitates, but O'Brien nods that it's all right. Keiko stands and hands the baby over to Kira. O'Brien leans in to his still crying son. O'BRIEN (softly) It's all right, Yoshi. I'm going to get your sister back for you. With a last look to Keiko, O'Brien moves off, calling to the N.D. Engineers. O'BRIEN Give me a hand with this... As they prepare to tilt up the portal... 17 INT. DEFIANT - READY ROOM Kira's standing near a table rocking Kirayoshi and singing a Bajoran lullaby as ODO looks on. KIRA (sings) -- renay teli tah beh-soh... renay teli tah beh-soh, mo-zha ben'koh. She checks his face and sees that he's fallen fast asleep. ODO You're very good with him. KIRA (smiles) He knows me. I had him inside me for five months.. She gives the child a soft kiss on the forehead. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 12. 17 CONTINUED: KIRA (musing out loud) I think I'd like to have one of my own, someday... Odo shifts uncomfortably, changes the subject. ODO According to the archaeologists I talked to, the portal was built by a civilization that vanished a thousand years ago. Odo voices the unpleasant conclusion... ODO Which means if Molly survived the fall, she would've found herself all alone. Kira reacts to this unsettling thought -- KIRA You're saying the planet was uninhabited three hundred years ago? ODO (nods grimly) The first Bajoran colonists didn't arrive until the turn of the century. Kira considers Molly's sad fate... KIRA An eight year-old girl stranded alone on a deserted planet. Odo tries to comfort her ODO With any luck, the chief'll be able to beam her out a few minutes after she fell. She'll hardly know she was gone. Off their faces as they cling to this hope... 18 thru OMITTED 23A DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 13. 24 EXT. MEADOW - DUSK A haggard and beard-stubbled O'Brien walks with Keiko over the grass where their picnic took place not so long ago. KEIKO I'm scared, Miles. You've been at it for over a day. (almost afraid to ask) Tell me you're getting closer. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 14. 24 CONTINUED: O'BRIEN I think I've found a way to modulate the temporal field generators. If it works, Molly'll be home in a few hours. Keiko knows her husband is showing more confidence than he feels, and for his sake, she pretends to believe him. KEIKO She was so excited about coming here again... it's all she could talk about when I told her we were moving back to the station... The irony is too much for her and she starts to break down... KEIKO (through tears) Our poor baby... where is she... what happened to her... ? O'Brien stops, pulls her close. O'BRIEN Shh. I'm going to get her back. Everything's going to be all right... They pull each other close, squeeze tight, and we can see that they're gaining strength from each other, regaining hope. A long moment, then a COM VOICE interrupts. DAX'S COM VOICE Dax to O'Brien. O'BRIEN Go ahead. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 15. 24 CONTINUED: (2) DAX'S COM VOICE (excited) The power convertor you asked me to reconfigure... ? It's ready to go on-line. O'Brien's eyes light with guarded joy. KEIKO What does that mean, Miles? O'BRIEN It means Molly's coming home. Off this moment... 25 INT. CAVES - CLOSE ON THE PORTAL (OPTICAL) The VORTEX swirls at IDLE, emitting an UNEARTHLY LOW THRUMMING SOUND. O'Brien is at the alien controls, running through the final checklist as Keiko looks on. Dax and Bashir are at the Transporter controls. As O'Brien reads from his PADD, he visually verifies each of Dax's responses, then double-checks it with the expected value on his PADD. O'BRIEN Transporter interface link? DAX Synchronized. O'BRIEN DNA acquisition sensors? BASHIR Locked in. O'Brien double-checks his PADD, staring at it for a beat. DAX (gently) We're as ready as we'll ever be, Chief. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 16. 25 CONTINUED: O'Brien looks up. O'BRIEN Let's do it. He turns to Keiko, who smiles bravely. Dax touches a control on the Transporter console. Somewhere, we hear a RELAY ENGAGE. THE THRUMMING INTENSIFIES. 26 THE PORTAL (OPTICAL) The vortex begins swirling actively, adding various colors as its intensity increases. Suddenly, the alien device SPARKS. The COLOR and INTENSITY of the INTERACTIVE LIGHT SHIFTS. O'BRIEN We're losing power! O'Brien tries to compensate as a DISTINCTIVE TECH SOUND indicates the transporter has locked onto Molly. BASHIR We've got a DNA lock. It's her! 27 THE TRANSPORTER PAD (OPTICAL) The Transporter BEAM ENERGIZES. Its standard Starfleet configuration is tainted with elements from the vortex, which FRITZES OFF as a figure begins to MATERIALIZE. At first, we think it's little Molly, but as the figure takes shape, we realize it's a grown WOMAN crouched on the ground, facing away from us. For a moment, the woman remains frozen in place. Finally, she stands and turns to face us. She's a Eurasian of about eighteen. She's barefoot, dressed in skins and fur; her hair is matted, her hands smudged with dirt. Her hands and arms have SCARS and SCRATCHES; her nails are broken and jagged, and her teeth are stained and chipped. She's holding a GOURD cradled in the nook of her arm, and in her free hand, she holds a cluster of ACORNS like the ones filling the gourd. It seems we plucked her right out of a food gathering expedition. She stares at her surroundings, fear rising in her eyes. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT ONE 17. 27A CLOSE - THE WOMAN'S HAND as the acorn cluster drops from her fingers, we see she's wearing the same BRACELET little Molly wore in the Teaser. 27B KEIKO as her eyes fall to the bracelet. KEIKO Molly... ? Molly stares at Keiko, and for a beat, we almost think she might recognize her. But the moment Keiko takes a step toward her, she gets scared and hurls the gourd at her. She backs away in a crouch, looking for a way out of the cave. O'BRIEN (stepping forward) It's all right... Don't be afraid. But his approach only terrifies her more. She reacts like an animal afraid of being cornered. She sees the LIGHT coming from the hole in the cave ceiling, bolts toward it, plowing right into Keiko with a snarl. O'Brien tries to grab her., but she BITES him on the arm. There's a quick scuffle, which only ends when Bashir HYPOS her and she falls unconscious in O'Brien's arms. 28 O'BRIEN as he looks down at what's become of his daughter, then up at Keiko. Off the anguish in their faces, we... FADE OUT. END OF ACT ONE DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 18. ACT TWO FADE IN: INT. DEFIANT - MEDICAL BAY An unconscious Molly-18 lies on a bio-bed. We start CLOSE on her HAND, where we see her CRAGGY, DIRT- STAINED FINGERNAILS, then PAN UP her ARM to see the SCARS and SCRATCHES left by her difficult and dangerous life. We MOVE UP to her DIRT-SMUDGED FACE, her MATTED HAIR, then PULL BACK to REVEAL Bashir scanning her with a medical TRICORDER. BASHIR There's no doubt about it. The DNA sequences match. This is definitely Molly. REVEAL O'Brien and Keiko looking on from nearby. They're still trying to assimilate what happened, and Bashir can see that they're both pretty fragile and require delicate handling. BASHIR My readings indicate she's about eighteen. O'BRIEN (self-recriminating) We pulled her out ten years too late. BASHIR (gently) It's a miracle you found a way to get her back at all. KEIKO (clutching at straws) If you tried again, maybe you could pull her out when she was still a little girl. Keiko hasn't thought through what this means, and it falls to Bashir to deliver the news. BASHIR If you retrieve little Molly, there'd be no one to grow up and become this Molly. You'd be erasing her existence. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 19. 29 CONTINUED: O'BRIEN (trying to convince himself that it's still an option) But our Molly would be back. Keiko's instincts as a mother rise to the fore as she looks at the girl's sleeping form. KEIKO This is our Molly. We may have missed ten years of her life, but we don't have the right to take them away from her. O'Brien knows she's right, and does his best to accept it. Keiko reaches for a nearby CLOTH and begins tenderly cleaning Molly's skin as Bashir prepares to present more bad news. BASHIR She's been deprived of human contact for a long time. It's not going to be easy for her to re-assimilate. The O'Brien's share a pained look. BASHIR Her language skills are going to be rusty. The two of you are the best hope we have of helping her recover them. KEIKO She didn't seem to remember us. O'BRIEN She was so scared I doubt she even saw what we looked like. Bashir doesn't know how to break it to them... BASHIR That's true, but don't expect her to accept you right away. It's possible that she blocked out the memories of her earlier life in order to cope with her isolation. This isn't happy news, but the O'Briens take the hit and steel themselves to do what has to be done. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 20-21. 29 CONTINUED: (2) O'BRIEN Just tell us what you want us to do. BASHIR I'm going to keep her sedated until we get back to Deep Space Nine. I've contacted Captain Sisko and told him we need to set up an environment where she'll feel safe. He's having one of the cargo bays converted. I want you there with her when she wakes up. KEIKO What happens then? BASHIR I'm afraid there aren't any rules in a case like this. We'll have to feel our way through the process... Off the O'Briens as they contemplate the road ahead... 30 EXT. SPACE - DEEP SPACE NINE (OPTICAL) Re-establish the station. 30A INT. WORF AND DAX'S QUARTERS Dax is sitting on the couch with Kirayoshi, playing with a stuffed TOY to keep him amused. DAX -- and mister froggy goes... (tickling him) Wee! Kirayoshi smile and giggles. The door OPENS and WORF ENTERS. DAX Hi. Worf wasn't expecting Dax to be here, much less with Kirayoshi. Not that he's unhappy about it -- in fact, he likes seeing his wife playing with the child. DAX We have a visitor. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 21A. 30A CONTINUED: He gives Dax a kiss on the forehead, leans down to look at Yoshi. WORF (to Yoshi; with mock sternness) And what exactly is this infant doing in my home? DAX (smiles) I offered to watch him so the O'Briens could spend time with Molly. Worf nods and plays with Yoshi for a beat, until he remembers something. WORF I thought you said you were going to be working tonight. DAX (nods) I was going to do a spectral scan of that comet that's passing through the Denorias belt. (to Yoshi) But if I did that, who'd look after you? WORF (a beat) Me. Something flickers across Dax's features, but she covers it and smiles. DAX That's all right. I want to stay with him. WORF Jadzia, you've been waiting for that comet to come into sensor range for weeks. DAX (shrugs) There'll be other comets. WORF Go. (gesturing for him) I will take care of Yoshi. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 21B. 30A CONTINUED: (2) Dax is touched by his intentions, and doesn't quite know how to say what she has to say. DAX Worf... you're very sweet. But let's face it. You're not good with babies. Worf bristles at this -- WORF I raised Alexander. DAX That's different. He was four years old when he moved in with you. You never had to change his diapers. Babies are a handful. I should know. I had nine of them -- WORF (he's heard it all before) I know. Five as a mother, four as a father. (off her look) I can handle a fourteen-month old child. DAX I'm not saying you can't -- WORF Fine. (taking Yoshi) Go run your sensor scans. Yoshi looks like he's on the verge of tears (Who knows, he might even be in tears). DAX You're not holding him right. WORF Leave us. DAX All right, all right. I'm leaving. With a last look Yoshi's way, she EXITS. As soon as she's gone, Yoshi starts to cry. Off Worf's face as he tries to comfort the child... DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 21C. 31 INT. CARGO BAY/SAFE ROOM The room has been adapted to include elements of the planetary environment that Molly-18 is used to. About a third of the space has been set up with BOULDERS, GRASS, native PLANTS and a LARGE TREE big enough to climb in. Keiko and O'Brien, now in uniform, sit on a ROCK a few yards from the COT where Molly is sleeping. Other than the bed, there's no other furniture in the room. Molly wears a loose-fitting JUMPSUIT and is curled up in a fetal ball -- like an animal that's used to sleeping outdoors, where it needs to conserve its body heat. She's been cleaned up, her hair has been trimmed and combed, and her teeth have been fixed and whitened. She stirs slightly, then opens her eyes, still groggy from the sedative. She first focuses on the fabric of the mattress, and strokes it curiously. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 22. 31 CONTINUED: Then she notices her hand: the nails have been clipped and cleaned up and the scratches and scars have vanished. She stares at it with wonder, as if it belongs to someone else. Then she becomes aware of the clean new clothing on her body, and as she returns to full consciousness, her fascination turns to alarm. What's happened to her? Where is she? She bolts upright and sees... 32 MILES AND KEIKO watching her with solicitous smiles that can't hide their underlying anxiety. Keiko tightly clutches a shoulder bag. They speak to Molly-18 in the soft coaxing manner that one would use with a small child. KEIKO (tentatively) Hello, Molly. - Molly's still not used to the sound of human voices and it throws her into a panic. She leaps off the mattress, scrambles up the boulders, and climbs up to hide in the tree. Finding her shoes uncomfortable, she slips them off and lets them drop. She balances on her thin perch with the natural grace of a tree-dweller. From there, she regards her parents as if they are potential predators. Miles and Keiko exchange a pained look, then advance halfway across the room toward her, taking slow and ginger steps. It's extremely difficult for them to see their daughter flee from them in terror. But they work hard to project a calm facade. O'BRIEN It's all right, Molly. We won't hurt you. Molly remains in a defensive crouch on her perch and shows no sign of recognizing them. Miles and Keiko exchange a disconcerted glance. Keiko gives her husband a slight nod to indicate it's time to try something recommended to them by Bashir. He steps over to a rock on which a few pieces of exotic FRUIT have been left. O'BRIEN (to Molly) Would you like something to eat? I bet you're hungry. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 23. 32 CONTINUED: O'Brien looks up and sees that Molly's eyes have followed him to the food. Curiosity begins to overwhelm her fear as the chief makes a big production of picking up one of the melons. O'BRIEN Look at this. Golana melon. He takes a big juicy bite and relishes the taste. O'BRIEN Hmm, delicious. Molly raises her nose and sniffs the air, her eyes ravenous. O'Brien holds the rest of the melon toward her. O'BRIEN Here... it's for you. Molly stares at the melon as he sets it down on the rock and backs away to rejoin Keiko. Molly's eyes dart from her parents to the fruit. Finally, her hunger gets the better of her fear and she climbs down from the tree. She clambers down the boulders and edges toward the fruit -- watching her parents in case they make an aggressive move. Miles and Keiko stand perfectly still. Molly reaches the rock and snatches the fruit, stuffs some of it into her mouth hungrily, shooting apprehensive glances at them as she does so. O'BRIEN Good, isn't it? Keiko takes a few cautious steps forward. KEIKO Molly, do you remember me? It's Mommy. Molly backs away, not sure where to flee, or even if she wants to anymore. She is, by now, as fascinated by her parents as she is afraid of them. She stares at them, and we get the sense that she's groping toward recognition -- but something about their appearance doesn't make sense to her. She steps down off the rockface and takes a few cautious steps toward them. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 24. 32 CONTINUED: (2) When she's some yards away, she peers at them intently. (NOTE: MOLLY IS CAPABLE OF WALKING UPRIGHT; SHE ONLY CROUCHES WHEN SHE'S SCARED OR RUNNING AWAY). 33 MOLLY'S POV of the O'Briens. 34 MOLLY as she studies them, then slowly crouches down, her eyes fixed on their faces. KEIKO (quiet) Miles, what's she doing? 35 MOLLY'S POV - LOW ANGLE as she looks up at the O'Briens. Her crouched perspective duplicates that of an eight-year child. O'BRIEN (quiet) I think she's trying to figure out who we are. She probably remembers looking up at us when she was little. 36 MOLLY cocks her head slightly. Her brow furrows as she struggles toward recognition. O'BRIEN That's right, Honey. It's Mommy and Daddy. A small strangled whimper escapes her throat. O'Brien sees they've cracked open a door in their daughter's mind, and he wants to wedge it open further. O'BRIEN (sotto, to Keiko) Show it to her. Keiko carefully reaches into her shoulder bag and pulls out little Molly's favorite Bajoran doll -- the one established in the Teaser. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT TWO 25. 36 CONTINUED: KEIKO I brought something for you. Keiko extends the doll. Molly recoils. But Keiko just stands there, smiling, with the doll extended harmlessly in her hand. KEIKO It's Lupi. Remember how she used to sleep right next to you on your pillow every night? She's missed you, Molly. Molly cocks her head slightly. Embers of memory begin to glow in her eyes. Keiko extends her arm fully and dangles the doll in front of her daughter. KEIKO Go on, take her. Molly emits another soft whimper, moves forward a few cautious steps, then pauses -- eyes dancing suspiciously from Miles to Keiko, then back to the doll again. Keiko remembers all too vividly how her daughter attacked her in the cave and knows she might do it again. Suddenly, Molly darts forward, quick as a cat, and snatches the doll from her mother's grasp. Miles and Keiko share a look of relief, then watch with fascination as... 37 MOLLY stares at the doll in her hands. Recognition floods her eyes. She strokes the fabric of its dress. KEIKO Yes. That's right, it's Lupi. You remember now, don't you? Molly listens intently to the sound of her mother's voice, then looks at her parents and SMILES. It's the first time we've seen this expression and the effect is magical. Molly face is transformed and in this moment everything seems possible. O'Brien takes Keiko's hand and squeezes it tight. OFF their hopeful features... FADE OUT. END OF ACT TWO DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 26-27. ACT THREE FADE IN: 38 INT. CARGO BAY/SAFE ROOM - CLOSE ON A COLORFUL BALL as it rolls along the floor. 39 REVEAL O'Brien and Keiko sitting on the floor a few yards from each other. The ball's rolling from Keiko toward O'Brien, who scoops it up. O'BRIEN This is a ball, Molly. Molly squats about ten feet from her parents, her attention riveted on what. they're doing. For Molly's benefit, Keiko gestures for the ball. KEIKO May I have the ball? He rolls it back across the deck toward his wife. Their repeated gestures and requests are a conscious attempt to re-familiarize Molly with the connection between language and action. The room has changed since we last saw it. New items have been introduced to re-acclimate her to the objects of the twenty-fourth century and to try to stimulate communication. An area along one wall, opposite from the boulders and plants, has been adapted to accommodate the O'Brien's needs while they spend time with Molly. It contains a COUCH with a few PILLOWS and BLANKETS, a table and a CABINET. KEIKO (to Molly) Would you like the ball? Molly stares at her watchfully. KEIKO Here. Keiko rolls it gently toward her. As soon as it's within reach, Molly snatches it up and stares at them. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 28. 39 CONTINUED: O'BRIEN (gestures for the ball) Give me the ball, Molly. Molly ignores him and runs over to where THREE OTHER BALLS she's collected are tucked between some boulders. O'Brien and Keiko share a frustrated look. KEIKO Julian said it might take her a while. O'Brien sighs, reaches into a nearby BAG, and pulls out another BALL. O'BRIEN I hope she catches on soon. We're running out. O'Brien rolls the ball toward his wife. KEIKO (scooping it up) It's a ball, Molly. She rolls it toward O'Brien, who scoops it up and turns to Molly, who's come back to squat a few yards away from them. O'BRIEN Would you like the ball? (holding the ball toward her) I'll give you the ball. (pulling it back) Then you give me the ball, okay? She cocks her head, working hard to understand. O'Brien rolls it toward her. She snatches it up, but this time, she doesn't run off with it. O'BRIEN Molly? Molly eyes him. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 29. 39 CONTINUED: (2) O'BRIEN (gestures) Give me the ball. Molly regards the ball, looks again at her father. O'BRIEN Please, Honey. Molly hesitates, then rolls the ball toward him. The O'Briens break into wide grins -- O'BRIEN That's it! KEIKO Good girl. Molly's smile lights up and she gestures for the ball. O'Brien rolls it over, and without hesitation, she rolls it to her mother. O'BRIEN That's my girl! That's my Molly O'Brien. O'Brien exchanges a victorious look with Keiko. Off this... 39A INT. WORF & DAX'S BEDROOM It's the middle of the night. The LIGHTS are DIMMED, and Dax is in her PAJAMAS sleeping. After a beat, the door OPENS and an exhausted Worf shuffles in wearing his PAJAMAS. We hear the SOUND of Kirayoshi crying from the other room. Worf sits on the edge of the bed, lets out a weary sigh. DAX Is he all right? WORF He's fine. He just won't go to sleep. DAX Did you change him? WORF I changed him. DAX Did you feed him? DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 29A. 39A CONTINUED: WORF I fed him. DAX Did you read him a story? WORF I read him a story. DAX Did you sing to him? WORF Until my throat was raw. DAX Sounds like you tried everything. (starting to get out of bed) I'll take over from here. WORF That is not necessary. DAX You're exhausted, Worf. Get some sleep. WORF No. (with growing resolve) I am a Klingon warrior and a Starfleet officer. I've piloted Starships through Dominion minefields, I've stood in battle against Kelvans twice my size, I courted and won the heart of the magnificent Jadzia Dax. If I can do those things... then I can make this child sleep. He turns to head for the door. DAX Talk about losing perspective. Listen to yourself. Why is this babysitting thing so important to you all of a sudden? WORF It is not important to me, it is important to you. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 29B. 39A CONTINUED: (2) DAX What are you talking about? WORF You are judging my fitness to be a parent. (before she can protest) Do not deny it, Jadzia. I can see it in your eyes. I have proven myself a worthy husband to you, but you are not convinced that I would be a good father to your children. DAX Who said anything about having children? Worf fixes her with a look. He knows he's right, and he doesn't want to argue the matter anymore. WORF Go to sleep. I have work to do. And with that, he heads out the door. Off Dax's face as she considers his words... 40 INT. CARGO BAY/SAFE ROOM - LATER Molly's asleep in the tree, curled up in a nook formed by two branches, her doll clutched to her chest. O'Brien's dozed off on the couch. Keiko ENTERS, her HAIR clipped back in a PONYTAIL. As she gets to the couch, O'Brien greets her with a yawn. O'BRIEN Hi. (indicating Molly) She went to sleep about an hour ago. KEIKO (marveling) How does she keep from falling? O'BRIEN Got me. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 30. 41 O'BRIEN AND KEIKO as she sits down next to him, Keiko undoes the clip, allowing her hair to fall free. KEIKO Nerys said she could stay with Yoshi until your shift's over. Keiko takes a brush and begins running it through her hair. O'BRIEN Good. I've fallen behind on my repair schedule over the past few days. But Keiko's attention has been diverted to something else. KEIKO Miles... He turns to face the direction she's looking. There's Molly, standing not ten feet away -- somehow, she got down from the tree and approached them without being heard. She's staring intently at Keiko, who's frozen in mid- brush stroke. Keiko runs the brush the rest of the way through her hair, and this prompts a reaction from Molly. She opens her mouth as if to say something and extends her hand. Keiko and Miles exchange glances. Careful not to spook her, Keiko holds the brush out toward her. KEIKO Do you want the brush, Molly? You can have it. Molly steps closer, approaches the couch where her parents are sitting. 42 CLOSE - KEIKO'S HAND holding the brush. Molly's hand enters FRAME, but instead of snatching the brush away, it CLOSES over both the brush and Keiko's hand. 43 RESUME SCENE The two women lock eyes for a moment, then Molly slowly lowers herself down on the floor, pulling Keiko's hand to her hair. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 31. 43 CONTINUED: She releases her mother's hand, and Keiko realizes she wants her to brush her hair. Gently, Keiko runs the brush through Molly's hair. Molly blinks as the sensation awakens old memories within her body. The O'Briens share a look. It's the first time she's allowed either of her parents to touch her, and it's an electrifying moment. Off O'Brien's face as he takes in the sight of his wife brushing his daughter's hair the way she used to when Molly was little... 44 INT. HABITAT RING CORRIDOR as Bashir walks with an excited O'Brien on his way to his quarters. The chief is carrying a rolled up piece of drawing PAPER. O'BRIEN More and more when I look at her, I can see the little girl she used to be. BASHIR Has she spoken yet? O'BRIEN No, but I can tell she understands what we're saying. BASHIR Does she respond to her name? O'BRIEN Absolutely. (unrolling the paper) Look at this. She drew it. He stops and proudly shows Bashir the drawing -- 45 INSERT - THE DRAWING It's a child-like rendering of a landscape. The most striking thing about it is that the trees have FACES, as do the TWO MOONS hanging in the sky. It's as if she sees the world around her as a living, breathing thing. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 32. 46 RESUME SCENE BASHIR Interesting. O'BRIEN Not bad, eh? BASHIR She anthropomorphized the landscape. Bashir is thinking about what this could mean about her psychology, but O'Brien is just plain proud of her. O'BRIEN She loves to draw. Oh, did I tell you? She's started eating with a spoon. (moving again) At this rate, she'll be reading and writing in a few weeks. BASHIR Just be careful not to push her too hard. If she gets frustrated, she could withdraw and relapse into old behavior patterns. O'BRIEN Don't worry, I'm not going to push her. (smiles) I don't have to, she's doing fine on her own. They EXIT TO -- 47 INT. O'BRIEN'S QUARTERS as they ENTER and stop short when they see: 48 WORF sitting on the floor, holding a toy RATTLE and making KLINGON BABY TALK with Kirayoshi. The child is entranced. WORF -- bak-THEG durf wa-TACH doo-GA-ya gung-gung-gung- DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/.98 - ACT THREE 33. 48 CONTINUED: BASHIR Gung-gung-gung? Worf reacts to the sound of Bashir's voice and springs to his feet, scooping up Yoshi in the process. He immediately stiffens into his usual formal persona. WORF I was instructing your son in... (making it up) -- hehh-DUHPP. BASHIR Hehh-DUHPP? WORF A Klingon exercise that teaches children hand-eye coordination. (gilding the lily) So they will grow to become warriors. BASHIR (re: the rattle in Worf's hand) I get it. Sort of a... "baby's first bat'leth" kind of thing. O'Brien elects to take Worf off the hook. He reaches for Kirayoshi. O'BRIEN How'd he do? WORF He acquitted himself well. O'BRIEN Thanks for watching him. Worf nods, turns to go. BASHIR Worf? (indicating the rattle still in his hand) You might want to leave that. In case Yoshi wants to practice his hehh-DUHPPing. Worf glares at him, hands over the rattle. Off this moment... DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 34. 49 EXT. SPACE - DEEP SPACE NINE (OPTICAL) Re-establishing the station. 50 INT. CARGO BAY/SAFE ROOM O'Brien ENTERS to find an agitated Molly pacing like a caged animal. O'Brien looks over to see Keiko standing nearby, holding the hairbrush and wearing a pained expression. She has been trying to catch her daughter's interest, and failing. KEIKO Come on, Molly. Molly ignores her mother.and continues to pace -- she traces the same path with the exact same number of steps, over and over again. O'Brien approaches his wife with concern. O'BRIEN What's going on? KEIKO (worried) I don't know. She's been like this for over an hour. O'BRIEN (taking a ball) I'll see if I can try to calm her down. KEIKO (worried) I'd better get going. I've got to pick up Yoshi and take him home. Molly stops in her tracks, turns to stare at Keiko. She seems to want to say something, and when she finally manages to eke out the word, it's in a small voice, strangled from disuse. MOLLY-18 Owe-muh. The O'Briens stare at her in surprise. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 3S. 50 CONTINUED: O'BRIEN Keiko? Did you hear that? MOLLY-18 Hoe-muh. Keiko approaches her. KEIKO Molly? What are you saying, sweetheart? She finally manage to form the word she means. MOLLY-18 Home. O'BRIEN Home? Molly nods anxiously, touches her chest. MOLLY-18 Maw-lee. KEIKO That's right. Molly. MOLLY-18 Maw-lee, home. O'BRIEN (realizing) You want us to take you home with us? Molly nods animatedly MOLLY-18 Dah-dee home Molly. KEIKO All right, sweetheart. We'll take you home. MOLLY-18 Maw-mee home Molly. The O'Briens can hardly believe the magnitude of the breakthrough that's been made. O'BRIEN Yes, Mommy and Daddy are going to take you home. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 36. 50 CONTINUED: (2) Off Molly's happy expression -- 51 INT. O'BRIEN'S QUARTERS - LIVING ROOM Molly stands in the center of the room, her parents to either side of her. She takes in her surroundings warily. (NOTE: She's now wearing SHOES.) O'BRIEN Home, Molly. This is home. Molly looks confused, but at the same time, curious. Suddenly she sees the window on the other side of the room and rushes toward it with excitement. 52 THE WINDOW Molly presses against the sill and looks out at the stars. MOLLY-18 Starry stars. She smiles out at them as if they were old friends, forgetting for a moment where she is. KEIKO They're pretty, aren't they, honey? The sound of her mother's voice brings her back, and she turns to look at her parents. MOLLY-18 (confused) Home? O'BRIEN (smiles) That's right. (motioning to her room) Do you want to see your room? Molly stares at the doorway, not sure what he means. 53 INT. MOLLY'S BEDROOM Molly stands in the doorway, her parents behind her. She hesitates, staring into what was once the center of her world. Miles and Keiko watch, a little worried by her subdued reaction. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 37. CONTINUED: She enters and begins to look about. Over the years, "My Room" had come to seem like a dream to her, an imaginary place, and yet here she stands. Her eyes take in the warm ambiance -- her dolls, her drawings. Chester is on her bed, and she studies him for a beat before moving to -- 54 THE CLOSET It's open, its rack full of colorful clothes. She moves toward it, pulls out a dress and holds it up to herself. Made for an eight-year-old, it's way too small. Molly stares at it, unable to comprehend what's wrong with this picture. In a sudden burst of anger, she tears the dress in half and flings it to the floor. Startled, the cat dashes out of the room. Molly moves past her parents, who follow her, their smiles gone. 55 INT. O'BRIEN'S QUARTERS - LIVING ROOM - CONTINUOUS Keiko and O'Brien find her back in front of the window. As she hears them come in, Molly turns to face them, very agitated. Try as she might, she can't put the pieces together. MOLLY-18 (pleading) Home. Her eyes fall to the PICTURE little Molly showed her brother in the Teaser -- the photo taken at the picnic years ago. She rushes to it, her eyes devouring it. Then she holds it up to them. MOLLY-18 Home. O'BRIEN No. (gestures) This is your home. Molly adamantly shakes her head waves the picture. MOLLY-18 Home! The O'Briens realize what this means, that she thinks of the planet as home, and it's a devastating blow. KEIKO Miles... DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 38. 55 CONTINUED: O'BRIEN It's all right, Keiko. It's only natural. She lived there a long time. It's just going to take her a little while to realize this is home, too. MOLLY-18 (pleading) Molly, home. KEIKO We know, honey. But we can't go there right now. Molly angrily throws the picture down and moves away from them. O'BRIEN (an idea forming) Maybe we can... 56 EXT. HOLOSUITE MEADOW (OPTICAL) - DAY Molly lets out a cry of delight as she runs across the grassy field. She moves with animal grace and boundless energy. O'Brien and Keiko walk rapidly through the grass, trying to catch up. KEIKO Look at her, Miles. She's so happy. Molly drops to her knees, looks up at the sky. O'BRIEN She has no idea it's a holosuite. KEIKO It must be so confusing to her. One minute she's on a space station, the next she's running around outside.. Molly runs to a tree, touches it almost as if it were a long-lost friend. O'BRIEN There's no reason we can't bring her here for an hour or two every day. I'll talk to Quark about scheduling a regular time. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 39. 56 CONTINUED: Molly begins doing cartwheels on the grass. Miles and Keiko smile at the sight. O'BRIEN (calling out) That's my girl! Molly rolls around in the grass, luxuriating in the feeling of being outside. A CHIME SOUNDS. Molly is too absorbed to react, but O'Brien knows someone's outside the holosuite. O'BRIEN (to Keiko) I'll be right back. O'Brien moves off, leaving Keiko to watch Molly. 57 HOLOSUITE DOOR (OPTICAL) O'Brien taps the control panel next to the door, which fills the frame. It OPENS to reveal QUARK, standing in -- DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 40. 58 THE CORRIDOR (OPTICAL) outside the holosuite, a pair of nasty looking KLINGONS behind him. BAR NOISE intrudes upon the bucolic sounds of the meadow. QUARK Sorry to interrupt, Chief, but your time's up. These gentlemen have a reservation. INTERCUT WITH: 58A O'BRIEN (OPTICAL) with the meadow behind him. O'BRIEN I'll pay for their time if they can wait another half hour. Quark glances at the two Klingons. They glare at him like they're about to peel his lobes. QUARK They seem to have their hearts set on some afternoon carnage... now. O'Brien looks at the unyielding faces of the Klingons. O'BRIEN All right. Give me a minute. As O'Brien turns away, Quark turns to the Klingons. QUARK Let me buy you gentlemen a drink. Quark starts to lead the Klingons down the corridor. END INTERCUT: 58B INT. HOLOSUITE MEADOW - CONTINUOUS (OPTICAL) O'Brien approaches his family. Molly's doing cartwheels again and laughing. O'Brien swallows. O'BRIEN Molly, honey, we've got to go. But as he approaches her, Molly darts away from him, as if it's a game of tag. O'BRIEN Molly. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 40A. 581B CONTINUED: She laughs as she eludes him -- O'BRIEN (hating himself) Computer, end program. The meadow VANISHES around him. 59 OMITTED 60 THE EMPTY HOLOSUITE Molly suddenly finds herself in a small, confined space. She's stunned for a moment, then erupts. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 41. 60 CONTINUED: MOLLY-18 No! O'Brien gently takes hold of her arm. O'BRIEN We'll come back tomorrow. MOLLY-18 (fighting him) Home. Keiko joins her husband's effort to guide her daughter out of the holosuite. KEIKO We have to go, honey. 61 INT. QUARK'S - UPPER LEVEL O'Brien and Keiko maneuver Molly out of the east holosuite, past the spiral staircase, and then by Quark and the two Klingons, who now sit at a table with a couple of TANKARDS of bloodwine. MOLLY-18 (over her shoulder) Home... KEIKO You can come back here and visit every day. I promise. As the O'Briens reach the door that leads to the Promenade, Molly wrenches free and dashes back toward the holosuites. Quark moves to block her way. QUARK I'm sorry, little lady -- She whirls on him and bites his arm. Quark cries out in pain. 61A THE TWO KLINGONS stand. The motion draws Molly's attention to them. They look pretty threatening -- and they're between her and... 61B O'BRIEN who's trying to reach his daughter, but the Klingons and several curious customers are now between them. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 42. 61B CONTINUED: O'BRIEN (desperately) Molly! 61C MOLLY Panicked by the glowering Klingons, she whirls, leaps onto the spiral staircase and hurtles down it. 62 INT. QUARK'S - LOWER LEVEL - CONTINUOUS Molly comes down the stairs. The bottom is blocked by confused customers drawn by Quark's screams. She vaults the railing and lands on a table full of Bajorans. Drinks fly in all directions and so do the Bajorans. STARTLED SCREAMS erupt from the other patrons as Molly springs toward the dabo table, scattering the PLAYERS. A WAITER tries to block her path, but she brandishes a BROKEN BOTTLE and causes him to back off. 62A QUARK'S - MOLLY'S POV The faces all seem hostile and threatening. 62B MOLLY She starts toward the door to the Promenade, but stops when Odo ENTERS with TWO ARMED DEPUTIES. Molly spins around and runs for the rear of the bar toward the other staircase. 63 O'BRIEN AND KEIKO plunge down the east staircase in time to see their daughter fleeing from the deputies. O'BRIEN Molly -- 64 MOLLY She charges through the archway that leads to the west staircase just as a tall alien, MADRAT, steps around it to find out what the fuss is about. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT THREE 43. 65 MADRAT - MOLLY'S POV Surprised by the sight of Molly rushing toward him, he raises his arms to defend himself. 66 MOLLY She reads this as a hostile gesture and stabs him in the chest with the broken glass. As Madrat goes down clutching the jagged glass in his chest, Molly springs for the west staircase. 67 ODO as he gives the order to one of his Deputies. ODO On stun. 68 MOLLY (OPTICAL) She's just starting up the stairs when the Deputy STUNS her. She crumples to the floor. O'Brien and Keiko rush to her side. As Keiko cradles their unconscious daughter, O'Brien turns and sees -- 69 MADRAT lying on the floor, bleeding. ODO (taps combadge) Odo to Doctor Bashir, we have a Medical Emergency in Quark's. Off O'Brien's face as he realizes his daughter has seriously wounded someone and is in deep trouble... FADE OUT. END OF ACT THREE DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 44. ACT FOUR FADE IN: 70 INT. CAPTAIN'S OFFICE SISKO and Odo are explaining the situation to a grim O'Brien. Neither of them like it any more than he does. SISKO The Tarkalean she attacked is recovering in the Infirmary. Doctor Bashir tells me he should be on his feet in a few days. Odo gives O'Brien the bad news ODO He's filed charges against her -- assault with a deadly weapon. O'BRIEN She didn't mean to hurt him; she was just trying to get away. ODO I tried to tell him that, but he wasn't interested in hearing "excuses." As far as he's concerned, she's dangerous and should be incarcerated. O'BRIEN (aghast) Incarcerated? Sisko holds up a hand to indicate it's not as bad as it sounds. SISKO I talked to the Federation magistrate and explained the situation. She wants Molly brought to the special care center on Dalvos Prime for evaluation. O'Brien knows what this means -- O'BRIEN They're going to keep her there, aren't they? Sisko reluctantly admits: DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 45. 70 CONTINUED: SISKO We might be looking at a long-term situation, yes. (trying to reassure him) But it's the best facility of its kind. O'BRIEN (pleading) Molly belongs with Keiko and me. If she's going to make a connection with anyone, it's going to be us -- not some therapist she doesn't even know. SISKO I'm sorry. I wish there were another way. O'BRIEN Sir, please. Don't let them take my little girl away. But there's nothing Sisko can do, his hands are tied. Off O'Brien's face as he realizes he's going to lose her... 71 INT. HOLDING CELLS (OPTICAL) An agitated Molly is pacing back and forth inside one of the cells like a caged animal. O'Brien, Keiko and Bashir are watching from outside. A DEPUTY stands off to one side. Bashir is holding a TRICORDER toward Molly, and he doesn't like the readings he's getting. BASHIR Her system's flooded with adrenalin. He turns to the O'Briens, concerned -- BASHIR I'm not sure she can tolerate being confined like this. It could send her into shock. The O'Briens react to this disturbing possibility -- BASHIR We've got to find a way to calm her down. O'Brien walks up to the cell door and watches her tormented movement. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 45A. 71 CONTINUED: The hopelessness of her situation and his own impotence are almost too much to bear. O'BRIEN Molly? She keeps pacing, ignoring his voice. O'BRIEN Molly. She stops, turns and sees her father. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 46. 71 CONTINUED: (2) MOLLY-18 Daddy, home. She bolts toward him with an imploring look -- O'BRIEN (warning her) Molly, don't. She runs smack into the FORCEFIELD, which FRITZES on and throws her back. She glares at it angrily, and O'Brien can see that she's going to try again. O'BRIEN No, Molly. But she throws herself at the forcefield a second time -- MOLLY-18 Home. The ENERGY CURTAIN FRITZES to life as she makes contact -- she keeps throwing herself against it, oblivious to the current flowing into her body -- KEIKO Miles! O'BRIEN Turn it off, damnit! The Deputy rushes to comply, and when the field FRITZES OFF, Molly breaks through. O'Brien and Bashir try to grab her, but she struggles to free herself. MOLLY-18 Home! Bashir has no choice but to HYPO her. After a beat, her body slackens and O'Brien eases her to the ground. He cradles his daughter's head as Keiko takes her hand. KEIKO (agonized) What are we going to do? BASHIR It won't do any good to keep sedating her. The bottom line is, she needs open space, and lots of it. O'BRIEN She's not going to get that at a "special care" center. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 47. 71 CONTINUED: (3) Bashir can't argue with him. He offers the only hope he has, even if it is short-term. BASHIR I'll talk to the captain about putting her back in a holosuite for the time being. O'BRIEN (anger rising) Fine. But what happens when they put her on a transport? What happens then? Bashir has no answer for him. Off O'Brien's face as he grapples with the dilemma... 71A INT. WORF AND DAX'S QUARTERS Worf is pacing the room with a worried expression when Dax ENTERS. DAX What a day. I can't wait to get out of this uniform. Worf's demeanor is the first clue that something's amiss. She pauses and glances around at the empty room. DAX Where's Kirayoshi? I thought you were going to watch him this afternoon. Worf shifts uncomfortably, his eyes fall away from her. DAX Worf, what's wrong? Bashir steps out of the bedroom, carrying a MED-KIT. BASHIR Kirayoshi took a little fall. DAX Is he all right? BASHIR Just a small bump on the forehead. Happens all the time to kids his age. A little sleep, he'll be as good as new. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 47A. 71A CONTINUED: Bashir pauses and glances at both of them. Worf is looking at the floor and Dax is looking at Worf. The Doctor decides he'd better leave them alone. BASHIR Well, I've got to get back to the Infirmary. Bashir EXITS. Worf sinks grimly into a chair. Dax approaches him. DAX (gently) You want to tell me what happened? WORF (shrugs listlessly) We were playing. I pretended to be a grint-hound and chased him. He was laughing so hard that he didn't look where he was going and fell against the edge of the table... Dax can see that Worf is taking this very hard. DAX It was an accident. It could've happened to anyone. Worf shakes his head adamantly. WORF No. I was too rough with him. I was careless. Worf stands, the matter settled in his mind. WORF You were right to question my fitness as a father. DAX I never questioned your fitness as a father! Don't put words in my mouth. WORF I failed Alexander, I failed Kirayoshi and I would fail our children, as well. He heads for the door -- DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 47B. 71A CONTINUED: (2) DAX Where are you going? WORF I do not want to be here when he wakes up. DAX Worf -- WORF I'm sorry to have proven myself unworthy of you, Jadzia. And with that, he turns and EXITS. Off Dax's face as she realizes Worf is grappling with doubts and fears she never suspected he had... 72 INT. O'BRIEN'S QUARTERS Keiko paces the room as O'Brien watches. KEIKO We've got to do something. We can't let them take her away. O'Brien has a plan, but he wants to protect his wife from the consequences. To do that, he must lie to her -- something he's never been good at. O'BRIEN (looks away) We don't have any choice. We're just going to have to hope Molly can adjust. Keiko stares at him in disbelief. KEIKO How can you say that? How can you just give up? O'Brien looks away as if he'd rather not discuss it. KEIKO (realizing) You're planning something. O'BRIEN What are you talking about? KEIKO I've known you a long time, Miles. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 47C. 72 CONTINUED: KEIKO (Cont'd) You're planning something and you want to keep me out if it. O'Brien's caught, and he knows it. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 48. 72 CONTINUED: (2) O'BRIEN The less you know, the better. KEIKO Why? O'BRIEN Because there are going to be consequences. KEIKO Then we'll face them together. (off his look) She's my daughter, too. O'BRIEN Keiko, listen to me... KEIKO Don't argue with me. I can be as stubborn as you are. O'BRIEN I guess that's why I love you. KEIKO What are we going to do? O'BRIEN We're going to steal a runabout and take Molly back to Golana. KEIKO But that'll be the first place they'll look. They'll find her, unless... Keiko realizes what he's planning, sits down heavily. KEIKO ... unless we send her back through the portal... into the past. O'BRIEN (nods) Once she's through, we'll destroy it. No one will ever be able to find her. Keiko can't stand the thought of losing her forever. KEIKO We'll never see her again... DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 49. 72 CONTINUED: (3) O'BRIEN I wish there were some other way. (trying to accept it) Golana was her home for ten years; she knows how to survive there. She'll be all right... As hard as that is to accept, it's true. Off the look between them. 73 OMITTED 74 INT. HOLDING CELLS The Deputy is still on duty when O'Brien ENTERS. Molly lies unconscious on the ledge running along the back of the cell. O'BRIEN How is she? DEPUTY Doctor Bashir said she'd be unconscious for a few more hours. We'll transfer her to a holosuite before she wakes up. O'BRIEN There aren't any holosuites available. Odo said we have to take her back to the cargo bay. DEPUTY He didn't mention it to me. O'BRIEN Check the log. He said he made a note of it. As the Deputy turns to a wall monitor, O'Brien reaches up and HYPOS him in the neck. He lowers him to the floor and moves to the holding cell. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FOUR 50. 75 INT. AIRLOCK CORRIDOR O'Brien supports the semiconscious Molly as he leads her toward the airlock. Keiko's waiting for them with a bag slung over her shoulder. O'BRIEN (to Keiko) Did you get everything? KEIKO (pats bag) It's all here. O'Brien steps over to the airlock's control panel. He uses his free hand to enter an access code. The airlock slides open. Keiko moves to help him with Molly and they start into the airlock. SECURITY OFFICER (O.S.) Chief. They stop, turn to see... 76 A STARFLEET SECURITY OFFICER a few yards down the corridor, his hand on the PHASER at his side. SECURITY OFFICER (taps combadge) Thompson to Security. I found them. Off the O'Briens' faces as they realize they've been caught... FADE OUT. END OF ACT FOUR DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 51. ACT FIVE FADE IN: INT. AIRLOCK CORRIDOR - LATER Odo has now joined the group, and the Security Officer is explaining what happened. Keiko and O'Brien, still supporting the groggy Molly, listen apprehensively. The airlock door is now CLOSED. SECURITY OFFICER -- they were trying to steal a runabout. Odo eyes the O'Briens for a beat, then turns to the Security Officer. ODO Find out if Deputy Pinar has regained consciousness. I'm going to need his statement. The Security Officer nods and moves off. O'BRIEN Odo, please. Let us go. KEIKO If you put Molly back in a holding cell, it could kill her. Odo studies their faces for a beat... ODO I'm disappointed in you, Chief. O'Brien's heart sinks as he realizes Odo is unmoved -- ODO If anyone could break a prisoner out of a holding cell and get them off the station, I'd've thought it would've been you. With that, he activates the control panel and the airlock door SLIDES OPEN. ODO On your way. The O'Briens react with surprised relief. Keiko kisses Odo on the cheek. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 52. 77 CONTINUED: KEIKO Thank you. O'Brien helps Molly forward into the airlock. As he passes Odo, he pauses, but he can't find the words to express his gratitude. Odo reads his eyes. ODO (nodding to the airlock) Go. Keiko takes Molly's other arm and the O'Briens guide their daughter into the Airlock. Odo watches them. Off this... 78 thru OMITTED 79 80 INT. CAVE - NIGHT The cavern is illuminated by a FIELD LIGHTING KIT. The transporter and other Starfleet gear seen in Act One were removed when the Defiant left the planet and are no longer present. O'Brien is working to reactivate the alien time vortex -- the portal is dormant as he tries to restore power to the control panel. His TOOLKIT sits beside him. Nearby, Keiko is showing Molly some things she's packed for her in a SHOULDER BAG, items from a Starfleet survival kit. As she picks through the bag, we might see a blanket, Molly's ball, and her hairbrush among the other items. KEIKO ... there's also a blanket and a knife. MOLLY-18 (identifying the doll) Lupi. Keiko smiles through the emotion of the moment. KEIKO That's right, honey. Molly starts to rummage through the rest of the bag. She finds the hairbrush and we... CUT TO: DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 53. 81 O'BRIEN He completes his adjustments -- the CONSOLE LIGHTS UP and HUMS to life. Satisfied it's operating properly, he turns and sees -- 82 KEIKO AND MOLLY His daughter sitting contentedly as Keiko brushes her hair. His wife's eyes are moist with tears. He approaches, wishing he didn't have to break up the moment. O'BRIEN Everything's ready to go. I recalibrated the temporal field generator. We should be able to put her back at the same point in time that we took her out. Keiko does her best to accept what they're about to do. O'Brien touches her cheek, turns to Molly. O'BRIEN Molly, honey... I want to show you something. She follows O'Brien over to the console. He fights to control his emotions as he works the controls. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 53A. 83 THE PORTAL (OPTICAL) The VORTEX FORMS within its frame. 84 MOLLY (OPTICAL) Her expression brightens as the INTERACTIVE LIGHT plays upon her face. She stands and walks over to the portal. Her parents follow. She gazes at the swirling light, mesmerized by it. O'BRIEN (gently) You're going home now, Molly. (gesturing) Home is right through there. MOLLY-18 (happy smile) Home. Keiko places the bag on her daughter's shoulder, touches her daughter's cheek for the last time. KEIKO Mommy loves you, Baby. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 54. 84 CONTINUED: O'Brien pulls his daughter close, fighting back tears. O'BRIEN I love you, too. O'Brien holds her for a long beat, then lets go. He and Keiko regard each other, their hearts breaking. It's time to let her go. O'BRIEN (barely gets the words out) Go ahead, honey. (indicates) Home. Molly looks at the portal, then back at her parents. She gestures toward the ceiling to the opening of the cave. MOLLY-18 Stars... your home. Keiko and O'Brien look at one another. They weren't expecting this level of understanding. O'BRIEN That's right. Whenever you look up at the stars, that's where we'll be -- watching you. Molly smiles at the thought of them watching her from above. Keiko brushes a lock of hair from Molly's face. The act turns into a small caress. The gesture breaks O'Brien's heart -- he gently indicates that she go through the vortex. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 55. 84 CONTINUED: (2) O'BRIEN (to Molly) Go on, honey. Molly looks at her parents a last time. MOLLY-18 (softly) Molly loves you. The O'Briens hold each other close, and watch as Molly turns and steps into the portal, DISAPPEARING into the VORTEX. CUT TO: 85 INT. CAVE - PAST - DAY (OPTICAL) The portal is TILTED on its side as it was when we first found it. A shaft of SUNLIGHT pierces the cave from the opening above. O'Brien, Keiko, and the equipment they had with them are all gone. The SOUND of a NEARBY STREAM lets us know that in this time period a small brook flows through the cave. The stalactites are SLICK WITH MOISTURE, and the walls GREEN WITH MOSS. The fallen beam is back where we first saw it, laying atop some dusty equipment. The console is OFF. Molly emerges from the VORTEX in a crouch, the bag slung over her shoulder. She looks around the room, visibly relieved to be back in her own environment. She reaches her hand out to the shaft of sunlight and watches as it glistens on her fingers, then tilts her head back to follow the beam to its source at the mouth of the cave. MOLLY-18 (smiles) Home. With practiced skill, she starts to climb toward the light, but her ascent is halted by a SOFT WHIMPERING. Molly-18 cocks her head to listen. She drops back to the floor and moves toward the sound, which seems to be coming from behind a BOULDER. She moves to it and sees -- 86 YOUNG MOLLY cowering there. The eight-year-old Molly is a pathetic sight. Her CLOTHING'S TORN, her hair a mess. Her face and arms are SCRATCHED and DIRTY. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 56. 86 CONTINUED: She's been down here over a day. It takes her a second to realize she's no longer alone. As Molly-18 crouches down to study the face of this little girl, we can see the memories start coming back to her. She was once this same scared child, huddling alone in the dark. MOLLY-18 Molly... ? Little Molly reacts to the fact that this stranger knows her name. Molly-18 notices the BRACELET on little Molly's wrist. She reaches out and gently touches it. MOLLY-18 (sure of it) Molly. Molly-18 stares at her younger self as the memories come back to her. LITTLE MOLLY I want my mommy and daddy... Molly-18 turns and points to the vortex, to where she knows Mommy and Daddy are. MOLLY-18 There. Little Molly looks at the vortex, and we can see that she's scared of it... 87 INT. CAVE - PRESENT - NIGHT (OPTICAL) The O'Briens are staring at the vortex. As its light plays on their faces, O'Brien moves to his TOOLKIT and removes a PHASER. O'BRIEN You'd better take cover... 88 INT. CAVE - PAST - DAY (OPTICAL) Little Molly stands reluctantly in front of the VORTEX, afraid to go through. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 57. 88 CONTINUED: MOLLY-18 (gestures) Mommy, Daddy -- there. But Little Molly's too scared. Molly-18 pulls Lupi from her shoulder bag and places the doll in the little girl's hand. Little Molly reacts with surprise at seeing her doll, then Molly-18 gives her a gentle push and little Molly steps through the VORTEX. 89 MOLLY-18 (OPTICAL) The thought of her younger self being reunited with her parents fills her with joy. As she watches Little Molly go, her body begins to become TRANSPARENT and DISAPPEAR -- her temporal matrix is destabilizing. MOLLY-18 (smiles) Molly... home. And with that, she WINKS out. 90 INT. CAVE - PRESENT - NIGHT (OPTICAL) O'Brien and Keiko have moved away from the portal so he can fire on it from a safe distance. As he raises his phaser, Little Molly STEPS out of the vortex. The O'Briens are stunned and overjoyed. She runs into their waiting arms... off the image of the family reunited... 91 EXT. SPACE - DEEP SPACE NINE (OPTICAL) Re-establish the station. 92 OMITTED 92A INT. WORF & DAX'S QUARTERS Dax is sitting on the couch when Worf ENTERS from the corridor, still looking dejected. DAX Hi. He acknowledges with a nod and scans the room for any sign of Kirayoshi's things. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 58. 92A CONTINUED: DAX You can come in... he's gone. I dropped him off with the O'Briens a few minutes ago. (trying to lighten his mood) You should've seen the look on his face when he saw his sister again. WORF Did you apologize to the O'Briens for me? DAX Yes, and they said not to worry about it. It's not the first time he's bumped his head. This fails to brighten Worf's demeanor. DAX (testing the waters) They invited us for dinner tonight. They want to thank us for watching him. The last thing Worf wants to do is to face the O'Briens feeling like this. WORF What did you say? DAX I said we had a holosuite reservation, but that I'd ask you. Dax can see he's not inclined to go, decides to let him in on a little secret. DAX By the way, what does... "gung- gung-gung" mean? WORF (suddenly intrigued) Why do you ask? DAX It was the strangest thing. When I was taking Yoshi home, he kept shaking his rattle and saying "gung-gung-gung." DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 58A. 92A CONTINUED: (2) WORF (brightening) He did? DAX He seemed to be getting a kick out of it. What does it mean? The thought that Yoshi took something away from their time together starts to lift Worf's spirits. WORF That is between Yoshi and me. DAX (smiles) I see. Well, you certainly made an impression on him. Maybe you're not as bad with children as you thought. WORF Or as you thought. DAX All right, so maybe I had my doubts. (pulling his arms around her) But I've never been happier to be proven wrong. They share a moment... DAX We'd better get going if we're going to make that holosuite reservation. WORF Holosuite -- and insult the O'Briens? DAX (smiles) We wouldn't want to do that. WORF (a beat) Did he really say "gung-gung- gung?" DAX Over and over again. She hugs him close. Off Worf's face as he smiles proudly at the thought... DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 59. 93 INT. O'BRIEN'S QUARTERS - LIVING ROOM Miles and Keiko sit on the couch watching young Molly, who's sprawled on the floor several feet away from them, COLORING on some PAPER. Kirayoshi is nearby in his playpen. Chester's curled up on a chair, asleep. O'BRIEN The captain volunteered to represent me at the hearing. KEIKO If anyone can make Starfleet understand what you did, it's him. MOLLY Mommy? KEIKO Yeah, honey? MOLLY (as she draws) That girl who found me -- can I see her again? Keiko knows she couldn't possibly explain time-travel to an eight-year-old, and finds another way to answer the question. KEIKO (wistful) Not for a while, sweetheart. MOLLY She was so nice.. O'Brien ruminates about what happened for a beat, then explains it to Keiko, as much for his benefit as hers. O'BRIEN According to Dax, the recalibration didn't hold, so the portal sent her back to the same point in time that it sent little Molly. Keiko takes this in, tries to imagine what transpired in the cave... KEIKO I wonder if she understood that the little girl she was looking at was herself. DEEP SPACE NINE: "Time's Orphan" - REV. 4/15/98 - ACT FIVE 60. 93 CONTINUED: O'BRIEN I hope she did. And I hope she knew that in a way, she was coming home, too. Keiko smiles at the thought, and Molly jumps up and approaches them. MOLLY Look. She presents her finished drawing to her parents. MOLLY It's where we had the picnic. Miles and Keiko look down at the picture and are struck by what they see. 94 INSERT - THE DRAWING It's recognizably similar to the anthropomorphized landscape that Molly-18 drew. Though the specifics are different, the trees and the sun have faces in her child's imagination. 95 RESUME SCENE MOLLY (worried) Don't you like it? O'BRIEN (puts his arm around Molly) It's beautiful. Hold on the family group as Miles and Keiko reflect on this eerie and poignant moment... FADE OUT. END OF ACT FIVE THE END