Star Trek Deep Space 9 Companion

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Contents
Chapter One
First Season Overview
Putting It All Together
EMISSARYEpisodes #401-402
A MAN ALONEEpisode #403
PAST PROLOGUEEpisode #404
BABELEpisode #405
CAPTIVE PURSUITEpisode #406
Q-LESSEpisode #407
DAXEpisode #408
THE PASSENGEREpisode #409
MOVE ALONG HOMEEpisode #410
THE NAGUSEpisode #411
VORTEXEpisode #412
BATTLE LINESEpisode #413
THE STORYTELLEREpisode #414
PROGRESSEpisode #415
IF WISHES WERE HORSESEpisode #416
THE FORSAKENEpisode #417
DRAMATIS PERSONAEEpisode #418
DUETEpisode #419
IN THE HANDS OF THE PROPHETSEpisode #420
Chapter One: First Season
Overview
Putting It All Together
What are the most important elements required in the development of a television series? A concept,
certainly. A look. A tone. A personality, if you will. But in actuality, it's the people involved with the
series, both on-screen and off, that form the skeleton upon which the entire production takes shape. And
if the skeleton of the newborn television series Star Trek: Deep Space Nine were to resemble the space
station itself, there is no doubt that Ops, the station's nerve center, could be represented in those first
critical days only by co-creators Rick Berman and Michael Piller. It was late 1991 when Berman,
executive producer of Star Trek: The Next Generation, received the clarion call from Brandon Tartikoff,
then head of Paramount Pictures, to create a new science fiction television series for the studio.
"I was asked to create and develop a series that would serve as a companion piece to The Next
Generation for about a year and a half, and then TNG would go off the air and this new show would
continue," recalls Berman. "So I asked Michael Piller to get involved, and we put our heads together. I
really never had the opportunity to discuss any ideas with Gene [Roddenberry]. This was very close to
the end of Gene's life, and he was quite ill at the time. But he knew that we were working on something,
and I definitely had his blessing to develop it."
Tartikoff had mentioned the possibility of the new show being a kind of Rifleman in space -- the concept
being that if Star Trek was originally conceived of as a Wagon Train to the stars, then the new show
would be The Rifleman, a man and his son living together in a frontier town. And the station itself, of
course, would be a high-tech version of Fort Laramie, or Dodge City, or any of a variety of classic
American Western towns located at the edge of the new frontier.
Sounds simple enough -- but remember, this wasn't to be just any science fiction series.
"The challenge of putting together a television show for the first time was especially intimidating because
of the traditions and the expections for Star Trek," admits Piller. "And yet, coming with the wind at our
backs [from The Next Generation, where Piller also held the title of executive producer], it really felt as if
we had figured out what made Star Trek work, and that we could bring all of the vision that Gene
Roddenberry had about space and the future to a different kind of franchise. We didn't want to do the
same thing again. We didn't want to have another series of shows about space travel. We felt that there
was an opportunity to really look deeper, more closely at the working of the Federation and the Star
Trek universe by standing still. And by putting people on a space station where they would be forced to
confront the kinds of issues that people in space ships are not forced to confront."
In a series that focuses on a starship like the Enterprise, Piller explains, you live week by week. "You
never have to stay and deal with the issues that you've raised," he says. But by focusing on a space
station, you create a show about commitment
"...about the Federation's commitment to Bajor and DS9," he notes. "About the commitment that people
have to make when they go to live in a new environment, and have to coexist with other species who
have different agendas than they have. It's like the difference between a one-night stand and a marriage.
On Deep Space Nine, whatever you decide has consequences the following week. So it's about taking
responsibility for your decisions, the consequences of your acts."
As they developed the bible for the show, Berman and Piller decided that the "town" -- or rather the
space station -- would be a darker and grittier environment than fans of both the original series and The
Next Generation were accustomed to seeing. And the inhabitants of the space station, while still reflecting
all the best qualities of humanity, a factor that had been so important to Gene Roddenberry, would
be...less than perfect.
"Everybody in the original series was heroic, but they weren't pure in the way that Gene Roddenberry
decided to make the characters in The Next Generation," explains Writer Joe Menosky, who served on
staff for TNG and freelanced several scripts for DS9. "It's a mystery to me as to how that worked on
TNG, but it worked great. On paper you would think that these people have had every shred of human
pathology that makes humanity interesting bled out of them, everything that makes one feel
compassionate towards people, their weaknesses that make them human. And yet it worked."
But of the characters on DS9, notes Menosky, "You can see right away they're not the perfectly
engineered humans of TNG. They seem more real. I don't know if that makes them as attractive to
viewers or not. But they are really different, and they represent a different way to tell a story. And it was
definitely a conscious choice to create that potential for conflict."
"Gene's major rule was to avoid conflict among his twenty-fourth-century human characters," says
Berman. "But we needed this conflict for decent drama, and we didn't want to have to always bring the
conflict into the stories from the outside. So the idea we came up with was, what if we create a cast of
characters that have amongst them non-Starfleet people? There can be conflict amongst the non-Starfleet
people, and there can be conflict between
the Starfleet people and the non-Starfleet people. And then, what if we put it on a Cardassian space
station that's very inhospitable, to say the least. So by having characters like Quark and Kira and Odo in
this inhospitable setting, we were able to create a conflict with the environment, so to speak."
"We really set out to create conflict on every level of this show," says Piller, "conflict between the
Federation and Bajor; conflict between Starfleet and the environment in the space station that was not
particularly comfortable for humans; conflict with the religious aspects of the Bajoran people; conflict with
the Cardassians and the beings our characters would encounter on the other side of the wormhole;
conflict between us and the humanist values of Gene Roddenberry's futuristic humans. All of these things
were to make life on this space station challenging."
The irony, of course, was that this concerted effort would create conflict with some of the most hardcore
Star Trek fans, who didn't take kindly to the attempt to tinker with the magic formula.
"People talked about the show being 'edgier,' a word I hate," says Berman. "People talked about the
show being 'darker,' which it really was never intended to be. But I think it's all because they didn't see
that group of loving family members that existed on the first two Star Trek shows. You had a much more
contemporary group of characters that had been plopped down in this space station. And I think that
after a year or two, a lot of fans who appreciated what Star Trek was about saw that this series was Star
Trek at its core, although it was also very unique."
It was Piller, primarily, who guided the writers in developing the facets of the characters' personalities at
the initial stages. "Michael had a very clear voice for each of them," recalls Robert Hewitt Wolfe, who
came aboard the series as story editor and departed (at the end of Season 5) as a producer. "He had a
pretty good vision of what he wanted and then eventually the actors started to bring their own stuff in."
But unlike Athena, that vision did not emerge full-grown from Piller's mind. "When I got there, Michael
was working on the pilot," says Peter Allan Fields, a veteran of the Next Generation writing staff who
was brought in as co-producer during the preproduction period. "And I began trying to think up stories
on this or that, and line up other writers, explaining to them what I thought we would want. But Michael
would keep changing this character or fixing that detail, altering this and picking up the hem and changing
the inseam. So I'd have to call up the same writers and say, 'Forget what I told you.' My first couple of
months were unproductive because there wasn't that much for me to do until Michael had a firm grasp on
what he wanted out of the show. He'd had a pretty good idea when I got there, but for Michael it wasn't
good enough. He's got a wonderful knack of taking something and giving it just enough twist, something
that we can still relate to but that's far and away alien. Or something that we haven't seen but have felt.
Human emotion and character are...well, galaxy wide."
Like Fields, Ira Steven Behr was a TNG veteran, albeit a shell-shocked one. "I did not enjoy writing
TNG," he admits. "I did not like the lack of conflict, the kind of stodginess, the tech solutions to a lot of
problems." Behr's relationship with the TNG staff, particularly Piller and Berman, remained good, and
when work began on their new "baby," he yielded to their requests that he return to the fold. "Mike said
to me that 'the new show is going to have more humor, more conflict, it's going to be a little more
bizarre.'"
Behr came on board as supervising producer. And like Fields, he found working with the outside writers
during the preproduction period to be a difficult task, primarily because the thumbnail characterizations of
the crew kept evolving. "I'm sending writers off, telling them to think Clint Eastwood for Odo. Then they
cast Rene Auberjonois, and it's not quite the same thing." Still, the final mix turned out to be even better
than imagined. "Any time you cast a show, the actors bring in something different," Behr comments. "For
example, Sisko was supposed to be a cross between Kirk and Picard. And Avery Brooks brought to it
a much sterner air of authority. He's much more a military leader."
The friendship between Bashir and O'Brien was something that occurred to Behr only after Siddig El
Fadil -- who later changed his name to Alexander Siddig -- was cast as Bashir. Behr had always liked
Colm Meaney's character on The Next Generation and longed to do more with him. "Bashir was
supposed to be this arrogant hothead, this young turk," he recalls. "But as soon as the role was cast, and
I saw that Sid was this proper English gentleman, and we already had Colm as the Irish man of the
people..." Behr knew instantly that he had a classic pairing, one that would provide great fodder for the
writers.
Slowly, the skeleton grew, with many of the key crewmembers being solicited from The Next
Generation. However, in tackling Deep Space Nine, their mandate was to create the look of something
very different from their previous efforts. Marvin Rush, who had served as director of photography on
Seasons 3, 4, and 5 of TNG, embraced the challenge of establishing the look of a brand-new series.
"Even though I was already involved in a very successful show, it was clear to me that it was a good
opportunity to do something new and different," Rush says. "I didn't start TNG and did not create the
look of that show, although I had an effect on it. DS9 was a chance to do something for which they
wanted a very different vision. They wanted a darker, more sinister place. The station is, in fact, an alien
design. So it had a different aesthetic and a different point of view."
Following some overall directives from Rick Berman, Production Designer Herman Zimmerman, who
had worked on the first season of TNG and several of the Star Trek films, was largely responsible for
carrying the Cardassian aesthetic originally established in the TNG episode "The Wounded" throughout
the DS9 production. The distinctive lines and shapes of the station ultimately would reward Zimmerman
and his crew with an Emmy nomination, one of six for which the series was nominated during its first
season.
"The marching orders for the station were to make it bizarre," recalls Zimmerman. "It was to be
recognizable from a long way off. If, from the corner of your eye, you saw the station very small on a
video screen across the living room, you were to know instantly that it was Star Trek: Deep Space 9 that
was about to happen. Deep Space 9's shape had to be like no other."
The task of making the station's magnificent sets look terrific for the television camera fell to others, like
Rush. "Deep Space 9 is a dark, shadowy place, and we had to find ways to introduce higher levels of
contrast than we normally had on TNG," says Rush. That meant using both different lighting techniques --
a lot of "blown-out practicals," or lamps exposed beyond their normal range to create an extreme style,
as well as a lot of smoke and a lot of cold, blue light -- and placing lights in unusual locations. Quark's
bar and the corridors on DS9 are examples of sets designed with no obvious spaces for lighting. In both
cases, Rush worked closely with Zimmerman to fashion something unique to complement Zimmerman's
designs.
"Herman designed Quark's bar as a three-story set with no lighting grid and no real initial attempt to put
in any specific lighting positions for me," Rush notes. "He wanted a set where we could shoot in every
direction. And he came to me and asked what I could do with it. I thought it would be a great
opportunity to do something that I've done a few times in the past, but on a much larger scale -- which is
to light the entire set from outside of the set, literally lighting through the steel grate floors." Rush's team
created a grid of lights that were placed above the third floor, which shine through the floor down onto
the set. "The entire set is lit from internal and external hidden sources, and you can literally pan a camera
in every direction and not see a light," Rush says proudly.
The corridors were handled in a similar manner. According to Rush, the initial design called for blue
fluorescent tubes to be a part of the set. In addition to giving the hallways a certain look, they would
provide Rush with 80 percent of the lighting required to illuminate those scenes. "But when I showed
Rick Berman some initial footage of the corridors with smoke and filtration on the camera, he thought it
was a little extreme and we were asked not to use the neons."
This, again, meant that primary lighting would have to come from above, and that, in itself, was a
problem. "Most stage sets, particularly for television, are ceilingless, because you're trying to work real
fast and you don't want to be concerned with the intricacies of getting low and seeing ceilings," explains
Assistant Chief Lighting Technician Phil Jacobson. "But Mr. Berman had a very big concern about
ceilings. He wanted them."
Rush discussed the problem with Zimmerman and the designer came up with some rectangular portholes
-- approximately two inches by six inches -- in the ceiling for light to appear through. When that proved
to be inadequate, Rush asked him to put some additional holes in the ceiling. The following day, Rush
came in to find a series of circles, about three inches in diameter, cut into the ceiling. "We put lamps up
there, aimed them very carefully and created this sort of polka-dotty kind of light," says Rush. "It looks
alien."
A similar technique is used in lighting the crew quarters, which can obtain different looks via the use of
mirrors placed above the ceiling to project light in different corners of the set. "You can't see them
because they're up above the grid ceilings," Rush continues, "but the mirrors allow us to tilt the light in
whatever direction we want. It's very fast and very easy and it looks unusual."
"O'Brien, Sisko, and Dax's quarters are all the same set," says Zimmerman. "That's a technique I
developed when I did The Next Generation. We build five bays in a roughly circular format and divide
the bays up, say three bays for a living room, one for each bedroom, according to the officer and rank. If
you're an officer you may have a larger living room than a junior officer, or you may have two bedrooms.
Then we literally redress the space with different wall treatment, furniture, and some architectural
elements. Sisko's quarters are pretty much the same as O'Brien's, except for the props.
As hard as it sometimes is to shoot the space station, the veterans of TNG appreciate the contrast from
the flat lighting that characterized sets like the Enterprise bridge. "The bridge is a very easy set to shoot,"
says David Livingston, supervising producer for Deep Space Nine's first three seasons. "It's a three-wall
open set with a lot of room, big and cavernous. Ops, on the other hand, is a multilevel set with a lot of
cramped areas and very contrasty lighting. It's more interesting visually and the directors have found ways
around the pitfalls." In general, Livingston estimates that the extra complexity makes DS9's shooting day
run about an hour or two longer than TNG's.
After the so-called creative decisions were out of the way, casting commenced, and eventually a mixture
of well-known faces, newcomers, and
people-who-might-have-been-familiar-except-they're-always-under-makeup were brought together. For
Armin Shimerman, who was the first person called in to read for the role of Quark, the concept of acting
anonymously under a lot of latex is something he's learned to live with, a fact he illustrates with an
anecdote. "At the end of the first season, Rene Auberjonois suggested that some members of the cast go
out for dinner," he recalls with a smile. "And we were eating in a restaurant when a little boy ran up to
Rene and asked, 'Uh, are you Odo?' And Rene said, 'Yes, I am,' and told him that, in fact, we were all
from Deep Space Nine. He pointed to Terry Farrell and said, 'That's the lady who plays Dax,' and then
pointed to Nana Visitor and said, 'That's Major Kira,' and then pointed at me and said, 'And that's
Quark.' And the little boy looked and looked at me and finally said, 'No way!'"
But Shimerman doesn't mind. "I consider myself a prosthetic actor," he says. "I've probably done as
much makeup as any actor in Hollywood," including, as most fans know, a performance as the very first
Ferengi seen in a Star Trek production, in the TNG episode, "The Last Outpost."
Fellow cast member Auberjonois hadn't done quite as much work under makeup, but he had played his
share of oddballs over the years. Still, it was Auberjonois's stage background, rather than film or
television appearances, that served him best in his transition to becoming a "prosthetic actor." As the look
of Odo's "unfinished" face evolved, crew members worried how the actor underneath would be able to
play the character without the advantage of having pliable features to convey a range of emotions. "But
I'd done a lot of mask work over the years," says Auberjonois. "In fact, I taught mask at Juilliard. And
once they saw that I was going to be able to be expressive with something that completely covered my
face, they were able to move further in the direction they wanted." In fact, over the course of seasons,
Odo's makeup would eventually go from several pieces to one whole mask face.
Auberjonois has nothing but praise for the makeup team who work on his alter ego: Makeup
Department head Michael Westmore, who designed it, Craig Reardon, who developed the face, and
Dean Jones, who applies it. Odo's makeup, which Auberjonois likens to "a pebble that's been rolled by
the ocean on the beach for years, so that it's all sanded down," appears deceptively simple but is actually
an extremely difficult guise. "Most of the exotic makeups on Star Trek are very craggy and bumpy, with
lots of places to hide the seams and the places where the makeup joins the face, like Cardassians and
Klingons and Ferengis. But most people think that Odo's face is some sort of camera trick."
While Odo's makeup was to become more complex as it evolved, the look of the space station's
beautiful Trill, Dax, was radically simplified from its original concept. "I shot for two days with a
prosthetic forehead, like the original Trill [in TNG episode, "The Host"]," says Terry Farrell. "And then
they kept reducing it with each test, until it really looked like someone had just hit me in the forehead. But
Paramount didn't want to make me look strange." Eventually the producers chose to scrap the footage
they had shot of Dax with a prosthetic and opted for a different look. "Finally we went to the spots," says
Farrell, noting that they were influenced by the makeup created for Famke Janssen in the TNG episode
"The Perfect Mate."
Janssen had, in fact, been offered the role of Dax prior to the casting of Terry Farrell. But the beautiful
Dutch model-turned-actress turned down the role with a rationale that echoes Michelle Forbes's decision
not to carry the character of Ensign Ro Laren over to DS9 from TNG. "I wanted some kind of guarantee
that I could do feature films on the side," remembers Janssen, who has since appeared in a variety of
movies, including a memorable turn as Xenia Onatopp, the sexy villainess who tormented Pierce
Brosnan's James Bond in Goldeneye. "Also, while I felt it was a great opportunity, I felt that I would get
lazy as an actor if I didn't keep challenging myself with different parts," Janssen adds.
So it was Terry Farrell who inherited Janssen's spots, which, viewers may be surprised to hear, were not
stenciled. "Michael Westmore did my makeup personally with two different colors of watercolor," she
says. "The first season we experimented with art pens, but they would take me two or three days to get
off of my skin -- not pleasant!" The daily "tattooing" generally took a little over an hour, although Farrell
allows that it would probably have taken less time if she and Westmore didn't have so much fun talking.
"I love Michael to death," she says. "He tells the best stories."
Farrell was the last actor cast. By the time she made her first appearance before the camera, filming was
well under way. It was, according to Unit Production Manager Bob della Santina, a time when the
overall mood across the set was, "Damn the torpedoes, full speed ahead!" "It was a huge undertaking!"
he says. The contrast to his sixteen-year stint working for Aaron Spelling Productions was, to say the
least, noticeable. "I was accustomed to doing things quick and dirty. 'Let's get done. Let's make believe.
How can we do this for seven dollars, on budget, under hours, and all that.' It was difficult for me to let
go of that. But there is no question that the money spent here gets on the screen; it's never wasted."
Della Santina shakes his head when he thinks back to the filming of the pilot. "At the end of that
experience, I was enlightened. I remembered being interviewed for the job and sitting in David
Livingston's office. I don't think I really believed him when he talked about twenty and thirty makeup
people and five-hour makeup sessions and an hour for makeup take-off and turnaround problems and
the optical time involved in shooting the show and blue screen and how much second-unit work was
involved. I said, 'Okay, fine,' but I really had no idea. David said, 'You're going to be overwhelmed, and
you're going to remember this conversation.' And I do, often. And now I realize exactly what it takes to
make this show and what makes it successful. It didn't just happen!"
All the effort paid off big time. Primed by the snowballing strength of Star Trek: The Next Generation,
then in its sixth season, the launch of Star Trek: Deep Space Nine in January 1993 came on like
gangbusters. The two-hour-long pilot scored a whopping 18.8 percent of the syndicated audience, and
was, at the time, the highest-rated series premiere in syndication history. "Emissary" ranked number one
during its time period in a number of key markets, including New York, Los Angeles, San Francisco,
Boston, and Washington, D.C. The first season's ratings averaged out at a respectable 9.1 percent, or
about 8.7 million households.
Deep Space Nine spent its entire first season in the top ten portion of the syndicated ratings chart and
quickly became the darling of the much sought-after male 18-49 viewing audience.
But the show would find more and more competition in the once barren landscape of hour-long
syndication that The Next Generation had pioneered. As a result, ratings would shift over the following
six years.
Rick Berman shakes his head in bemusement. "In a way, Star Trek created its own competition, which
affected everything that came after The Next Generation," he says. "At the point that TNG began to get
really popular in 1989, we had virtually no competition. We were it. We were loved by a dozen million
people a week or more."
But by the time Deep Space Nine made its debut, that position was being encroached upon by
newcomers. Hercules, Xena, Baywatch. Suddenly syndication was the place to be. And so-called
alternative networks like Fox and the WB also were coming up with new hour-long dramatic products.
"You can probably sit down and name twenty television series, most of which did not succeed, that were
in that same vein of science fiction or fantasy-adventure," says Berman. "And we were also competing
with ourselves, with The Next Generation and the original series reruns, and later with Star Trek:
Voyager."
For now, however, ratings looked very promising. Even members of the Television Academy seemed to
be watching. With six Emmy nominations, the series garnered more nods than any other syndicated series
during the 1992-1993 television season, receiving nominations for Outstanding Art Direction,
Outstanding Sound Mixing, and Outstanding Special Visual Effects (all for "Emissary"), Outstanding
Hairstyling (for "Move Along Home"), Outstanding Make-up (for "Captive Pursuit"), and Outstanding
Main Title Theme Music. It won for Dennis McCarthy's title theme; the makeup designed by Michael
Westmore and team members Jill Rockow, Karen Westerfield, Gil Mosko, Dean Jones, Michael Key,
Craig Reardon, and Vincent Niebla; and a juried win for the special effects magic performed by Robert
Legato and team members Gary Hutzel, Michael Gibson, and Dennis Blakey.
EMISSARY
Episodes #401-402
Teleplay by Michael Piller
Story by Rick Berman & Michael Piller
Directed by David Carson
Special Guest Star
Picard/LocutusPatrick Stewart
Guest Cast
Kai OpakaCamille Saviola
Jennifer SiskoFelecia M. Bell
Gul DukatMarc Alaimo
Gul JasadJoel Swetow
NogAron Eisenberg
Tactical OfficerStephen Davies
Ferengi Pit BossMax Grodénchik
Cardassian Officer Steven Rankin
Ops Officer Lily Mariya
Conn OfficerCassandra Byram
Vulcan CaptainJohn Noah Hertzler
Transporter Chief April Grace
Alien Batter Kevin McDermott
Cardassian Officer Parker Whitman
Cardassian Officer William Powell-Blair
Curzon Dax Frank Owen Smith
Doran Lynnda Ferguson
Chanting Monk Stephen Rowe
Young Jake Thomas Hobson
Monk #1 Donald Hotton
Bajoran Bureaucrat Gene Armor
Dabo Girl Diana Cignoni
Computer Voice Judi Durand
Computer Voice Majel Barrett
Stardate 46379.1
Stardate 43997. The Federation starship U.S.S. Saratoga is among a number of Starfleet vessels
attacked by the Borg at Wolf 359. The Borg are led by Locutus, known to Starfleet as Jean-Luc Picard,
captain of the Starship Enterprise, who has been kidnapped and altered both physically and mentally by
the Borg. Lieutenant Commander Benjamin Sisko, serving aboard the Saratoga, manages to get away in
an escape pod with his young son, Jake, but a part of him will never leave that burning ship where he left
his wife, Jennifer, who was killed in the attack.
Three years later, Sisko, now a commander, is assigned to oversee the Bajoran space station Deep
Space 9, a former Cardassian outpost orbiting the planet Bajor. The Cardassians have recently
withdrawn occupational forces from Bajor, leaving its inhabitants on their own for the first time in
decades. At the request of Bajor's provisional government, Starfleet has agreed to establish a Federation
presence in the system -- hence, Sisko's assignment, which he has accepted with reluctance. This
war-torn region is not an ideal place to raise Jake.
Upon his arrival, Sisko begins to meet his staff. His chief operations officer, Miles O'Brien, a recent
transfer from the Enterprise, quickly apprises Sisko of the terrible state in which the Cardassians left the
station. Major Kira Nerys, the Bajoran attaché assigned to the station to serve as Sisko's first officer, is a
former freedom fighter harboring reservations about the Federation's presence. Sisko encounters
Security Chief Odo, an alien with shape-shifting abilities, as the latter apprehends some thieves who've
broken into the station's assaying office. One of the two criminals is Nog, a teenage Ferengi boy whose
Uncle Quark owns the station's bar and gambling establishment.
Sensing an opportunity, Sisko uses Nog as a pawn to force Quark to remain on the station and keep his
business open. But in the midst of dealing with that situation, O'Brien informs Sisko that the captain of the
Enterprise has asked to see him. It is an invitation that Sisko does not relish, a point he makes quite clear
to Picard, whom he blames for the death of his wife. The meeting, which Picard had intended as a
briefing regarding the Bajoran situation, is tense. Sisko lets Picard know that he will do the best job he
can while he is there, although he is thinking of returning to Earth and resigning from Starfleet.
Back on the station, Sisko speaks to Kira about the conflicts among the disparate factions of the
Bajoran people. Kira feels that only Kai Opaka, Bajor's spiritual leader, stands a chance of unifying her
people, but the kai rarely meets with anyone. At that moment, an old monk approaches Sisko and offers
to take him to the kai.
Sisko is surprised when the kai informs him that his arrival -- or, rather, that of the "Emissary" -- has
been greatly anticipated. When Sisko says that he cannot help her people until they are unified, the kai
responds that she cannot give him what he denies himself, and that he must look for solutions from within.
She shows the commander a mysterious orb, which seems to transport Sisko back in time to the day he
met his wife. Sisko is emotionally shaken by the experience, which demonstrates the power of the orb --
a relic the kai says was sent to her people from the so-called "Celestial Temple." Eight other such orbs
were taken by the Cardassians during the occupation, and the kai fears that the Cardassians will invade
the Temple in order to discover the secret of the orb's power. She asks Sisko to warn the Prophets and
gives him the last orb in the hopes that it will help guide him to the Temple.
Not long after, Sisko greets two new members of his crew: Julian Bashir, a cocky young physician who
will serve as the station's medical officer, and Jadzia Dax, the science officer. Sisko is especially pleased
to see Dax, a Trill -- a joined species that consists of a humanoid host and a wormlike symbiont that lives
within the host's body. Sisko was good friends with the Dax symbiont's previous host, an older man
named Curzon; discovering that the new host, Jadzia, is a beautiful young woman with all of Curzon's
memories is somewhat bemusing for the commander. Nevertheless, he's grateful to have someone with
her technological know-how around to help him analyze the Orb he received from Opaka.
Dax sets out to study the orb -- in the process experiencing a journey back to the day she received her
symbiont from Curzon -- while Sisko receives a visit from Gul Dukat, the Cardassian who once served
as Prefect of Bajor. Dukat attempts to convince Sisko to "share" whatever information he may elicit from
the last Orb, but Sisko denies any knowledge of the relic.
Dax's research indicates that the Orb may have originated in the nearby Denorios Belt, a plasma field
that periodically produces severe neutrino disturbances. Sisko and she decide to investigate the region in
a runabout and are startled when the small vessel passes through what appears to be a rip in the fabric of
space. After a short, turbulent ride, they find themselves some seventy thousand light-years from Bajor, in
the Gamma Quadrant. It seems they have passed through a wormhole -- possibly the first stable
wormhole known to exist. As they turn the runabout around and head back, their speed slows, and they
eventually find themselves landing on something inside the wormhole.
Since sensors show that the region, contrary to all logic, contains an atmosphere capable of supporting
life, the two emerge from the runabout to look around. But when Sisko attempts to communicate with
whatever lives there, Dax is caught up in a ball of light and transported back to Deep Space 9. Left
alone, Sisko again tries to communicate with the entities that inhabit the wormhole, a process made
difficult by the fact that they have no concept of reality as Sisko knows it and that they are suspicious of
Sisko's motives in coming there.
On the station, Dax attempts to explain the wormhole to the rest of the crew. They grow excited at the
possibilities a stable wormhole leading into a new quadrant may represent for the future of Bajor, and
when O'Brien determines that the Cardassians are heading for the Denorios Belt, Kira orders him to
move the space station to the mouth of the wormhole before the Cardassians arrive. Bajor must stake a
claim on the wormhole first, she says, and the Federation must also be there to back up that claim. A
message is sent to Starfleet, requesting assistance. In the meantime, Kira takes a runabout with Dax,
Bashir, and Odo -- who was found in the Denorios Belt years earlier -- to the wormhole. Once there,
she attempts to warn Gul Dukat's ship away, explaining that there seem to be hostile entities inside the
passage. But Gul Dukat is unimpressed.
Inside the wormhole, Sisko continues his confusing dialogue with the aliens. Just as he seems to be
making some headway, Dukat's ship enters the wormhole. Alarmed by the intrusion, the aliens close the
wormhole, trapping the Cardassian ship.
A few hours later, the space station arrives at Kira's position near the closed passage. Kira returns to the
station to face the inquiries of several Cardassian warships, who want to know the location of Dukat's
ship. When Kira's honest answer fails to satisfy them, they demand that she surrender the station or risk
destruction.
In the meantime, Sisko tries to explain the nature of a linear corporeal existence to the aliens, hoping to
prove to them that he and his kind mean them no harm. Again and again they look at key moments in his
life, trying to comprehend. The one moment Sisko does not want to relive is the death of his wife, but
when he asks the aliens to stop leading him there, they tell him that he is the one who keeps returning to
that point in time. He exists there, they explain, and, as Kai Opaka told him earlier, they cannot give him
what he cannot give himself; he must look within for solutions. Sisko finally reaches some common
ground with the aliens when he comprehends that by remaining anchored to this terrible moment, he is not
living his life in a linear manner -- and that he must let go of it in order to continue his existence.
Outside the wormhole, Kira has managed to hold off the Cardassians for a time with O'Brien's help. But
just as the escalating battle threatens to destroy the station or force its surrender, the wormhole reappears
and Sisko's runabout emerges, towing the Cardassian ship. The battle is over.
A few days later, a changed Sisko reports to Picard. The life-forms in the wormhole have agreed to
permit ships to travel to and from the Gamma Quadrant via the wormhole, which should improve Bajor's
economic outlook. It also confirms the need for a permanent Starfleet outpost in the region -- and Sisko
摘要：

ContentsChapterOneFirstSeasonOverviewPuttingItAllTogetherEMISSARYEpisodes#401-402AMANALONEEpisode#403PASTPROLOGUEEpisode#404BABELEpisode#405CAPTIVEPURSUITEpisode#406Q-LESSEpisode#407DAXEpisode#408THEPASSENGEREpisode#409MOVEALONGHOMEEpisode#410THENAGUSEpisode#411VORTEXEpisode#412BATTLELINESEpisode#41...

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