Tell Me How You Got into Trouble

PARIS:

Hey, Neelix, what's up?

NEELIX: 

Oh, nothing. 

Just thought I might give you a hand with whatever it is you're doing.

PARIS: 

Oh, you may regret that. 

Chakotay and I have to pick up a supply of biomimetic gel tomorrow morning, and I am trying to find to find the container that is listed as the proper transport device. 

Starfleet standard issue L647X7.

NEELIX: 

Well, sounds like another set of eyes won't hurt. 

M34, no not that one. L647. 

No, it's Y6. 

Tom, if it's not too bold of me, I wonder if I could ask you something?

PARIS: 

Sure, anything.

NEELIX: 

I've heard you were in some trouble in the past. 

Spent time in prison.

PARIS: 

That's right.

NEELIX: 

Do you, would you, tell me how you got in Trouble?

PARIS: 

I've thought a lot about that, and it comes down to one simple fact. 

I didn't Tell The Truth. 

I made a mistake, which happens to people, but if I'd admitted that mistake it would have been a lot better. 

But I lied about it, and it nearly ruined my life. 

Why do you ask?

NEELIX: 

Oh, no reason. Just wondered.

JANEWAY: 

Would all of you excuse us, please? 

I'd like to talk to Neelix alone.

(Tuvok and Kes leave. The EMH goes to his office after receiving a Look.)

JANEWAY: 

Well, do you have anything to say for yourself?

NEELIX: 

Only that I'm terribly sorry.

JANEWAY: 

Oh. You're sorry. 

Is that supposed to make everything better?

I don't really care whether you're sorry or not, Neelix. 

At this point it doesn't matter. 

I can't imagine what made you behave the way you did, lying to us, sneaking around behind our backs, covering up criminal activity. 

Did you have some misguided reason to think this was acceptable behaviour?

NEELIX: 

No, ma'am.

JANEWAY: 

You've been one of my most trusted advisors since we began this journey. 

How can I ever trust you again?

How can I ever listen to you without wondering whether you're telling the truth or not?

NEELIX: 

I've never been dishonest to you before, I swear, Captain.

I just took one step. 

A step that seemed perfectly reasonable. 

And that step lead to another and another, and before I knew what I was involved in something I didn't know how to handle.

JANEWAY: 

What was it? 

What was so important that you were willing to throw away your principles?

NEELIX: 

I needed a map.

JANEWAY: 

A map?

NEELIX: 

Captain, my usefulness to you was at an end.

I don't know anything about space beyond this point. 

I couldn't let you go into the Nekrit Expanse without knowing what you faced.

JANEWAY: 

You've been on this ship for two years. 

I'd think by now you'd have learned that the first duty of any Starfleet officer is The Truth. 

You violated that duty, Neelix, and there will be consequences.

NEELIX: 

I'm prepared to leave the ship, Captain.

JANEWAY: 

Oh no, it's not that easy. 

You can't just walk away from your responsibilities just because you made a mistake.

 You're part of a family now.

And you have obligations.

NEELIX: 

But, I can't guide you. 

I can't advise you. 

I don't know what's coming.

JANEWAY: 

Well, that's not the point, is it? 

None of us knows what's coming. 

That's what Starfleet is all about. 

We are all in this together, Neelix, and we have to be able to count on each other no matter how hard it gets. 

Do you understand?

NEELIX: 

Yes. Yes, I do.

JANEWAY: 

Well, that's good. 

Report to deuterium maintenance at oh four hundred tomorrow morning. 

You're going to spend the next two weeks scrubbing the exhaust manifolds. 

That should give you time to think about what I've said. 

Dismissed.

Death by Drowning

Under Church Law, 

Death by Drowning 

cannot be considered Suicide.

“Iain, I’ve got a great idea —

Let’s KILL The fuckin’ Audience!!”

ACT V.

SCENE I. A churchyard.

Enter two Clowns, with spades, 

First Clown

Is she to be buried in Christian burial that

wilfully seeks her own salvation?

Second Clown

I tell thee she is: and therefore make her grave

straight: the crowner hath sat on her, and finds it

Christian burial.

First Clown

How can that be, unless she drowned herself in her

own defence?

Second Clown

Why, 'tis found so.

First Clown

It must be 'se offendendo;' it cannot be else. For

here lies the point: if I drown myself wittingly,

it argues an act: and an act hath three branches: it

is, to act, to do, to perform: argal, she drowned

herself wittingly.

Second Clown

Nay, but hear you, goodman delver,--

First Clown

Give me leave. Here lies the water; good: here

stands the man; good; if the man go to this water,

and drown himself, it is, will he, nill he, he

goes,--mark you that; but if the water come to him

and drown him, he drowns not himself: argal, he

that is not guilty of his own death shortens not his own life.

Second Clown

But is this law?

First Clown

Ay, marry, is't; crowner's quest law.

Second Clown

Will you ha' the truth on't? If this had not been

a gentlewoman, she should have been buried out o'

Christian burial.

First Clown

Why, there thou say'st: and the more pity that

great folk should have countenance in this world to

drown or hang themselves, more than their even

Christian. Come, my spade. There is no ancient

gentleman but gardeners, ditchers, and grave-makers:

they hold up Adam's profession.

Second Clown

Was he a gentleman?

First Clown

He was the first that ever bore arms.

Second Clown

Why, he had none.

First Clown

What, art a heathen? How dost thou understand the

Scripture? The Scripture says 'Adam digged:'

could he dig without arms? I'll put another

question to thee: if thou answerest me not to the

purpose, confess thyself--

Second Clown

Go to.

First Clown

What is he that builds stronger than either the

mason, the shipwright, or the carpenter?

Second Clown

The gallows-maker; for that frame outlives a

thousand tenants.

First Clown

I like thy wit well, in good faith: the gallows

does well; but how does it well? it does well to

those that do in: now thou dost ill to say the

gallows is built stronger than the church: argal,

the gallows may do well to thee. To't again, come.

Second Clown

'Who builds stronger than a mason, a shipwright, or

a carpenter?'

First Clown

Ay, tell me that, and unyoke.

Second Clown

Marry, now I can tell.

First Clown

To't.

Second Clown

Mass, I cannot tell.

Enter HAMLET and HORATIO, at a distance

First Clown

Cudgel thy brains no more about it, for your dull

ass will not mend his pace with beating; and, when

you are asked this question next, say 'a

grave-maker: 'the houses that he makes last till

doomsday. Go, get thee to Yaughan: fetch me a

stoup of liquor.

Exit Second Clown

He digs and sings

In youth, when I did love, did love,

Methought it was very sweet,

To contract, O, the time, for, ah, my behove,

O, methought, there was nothing meet.

HAMLET

Has this fellow no feeling of his business, that he

sings at grave-making?

HORATIO

Custom hath made it in him a property of easiness.

HAMLET

'Tis e'en so: the hand of little employment hath

the daintier sense.

First Clown

[Sings]

But age, with his stealing steps,

Hath claw'd me in his clutch,

And hath shipped me intil the land,

As if I had never been such.

Throws up a skull

HAMLET

That skull had a tongue in it, and could sing once:

how the knave jowls it to the ground, as if it were

Cain's jaw-bone, that did the first murder! It

might be the pate of a politician, which this ass

now o'er-reaches; one that would circumvent God,

might it not?

HORATIO

It might, my lord.

HAMLET

Or of a courtier; which could say 'Good morrow,

sweet lord! How dost thou, good lord?' This might

be my lord such-a-one, that praised my lord

such-a-one's horse, when he meant to beg it; might it not?

HORATIO

Ay, my lord.

HAMLET

Why, e'en so: and now my Lady Worm's; chapless, and

knocked about the mazzard with a sexton's spade:

here's fine revolution, an we had the trick to

see't. Did these bones cost no more the breeding,

but to play at loggats with 'em? mine ache to think on't.

First Clown

[Sings]

A pick-axe, and a spade, a spade,

For and a shrouding sheet:

O, a pit of clay for to be made

For such a guest is meet.

Throws up another skull

HAMLET

There's another: why may not that be the skull of a

lawyer? Where be his quiddities now, his quillets,

his cases, his tenures, and his tricks? why does he

suffer this rude knave now to knock him about the

sconce with a dirty shovel, and will not tell him of

his action of battery? Hum! This fellow might be

in's time a great buyer of land, with his statutes,

his recognizances, his fines, his double vouchers,

his recoveries: is this the fine of his fines, and

the recovery of his recoveries, to have his fine

pate full of fine dirt? will his vouchers vouch him

no more of his purchases, and double ones too, than

the length and breadth of a pair of indentures? The

very conveyances of his lands will hardly lie in

this box; and must the inheritor himself have no more, ha?

HORATIO

Not a jot more, my lord.

HAMLET

Is not parchment made of sheepskins?

HORATIO

Ay, my lord, and of calf-skins too.

HAMLET

They are sheep and calves which seek out assurance

in that. I will speak to this fellow. Whose

grave's this, sirrah?

First Clown

Mine, sir.

Sings

O, a pit of clay for to be made

For such a guest is meet.

HAMLET

I think it be thine, indeed; for thou liest in't.

First Clown

You lie out on't, sir, and therefore it is not

yours: for my part, I do not lie in't, and yet it is mine.

HAMLET

'Thou dost lie in't, to be in't and say it is thine:

'tis for the dead, not for the quick; therefore thou liest.

First Clown

'Tis a quick lie, sir; 'twill away gain, from me to

you.

HAMLET

What man dost thou dig it for?

First Clown

For no man, sir.

HAMLET

What woman, then?

First Clown

For none, neither.

HAMLET

Who is to be buried in't?

First Clown

One that was a woman, sir; but, rest her soul, she's dead.

HAMLET

How absolute the knave is! we must speak by the

card, or equivocation will undo us. By the Lord,

Horatio, these three years I have taken a note of

it; the age is grown so picked that the toe of the

peasant comes so near the heel of the courtier, he

gaffs his kibe. How long hast thou been a

grave-maker?

First Clown

Of all the days i' the year, I came to't that day

that our last king Hamlet overcame Fortinbras.

HAMLET

How long is that since?

First Clown

Cannot you tell that? every fool can tell that: it

was the very day that young Hamlet was born; he that

is mad, and sent into England.

HAMLET

Ay, marry, why was he sent into England?

First Clown

Why, because he was mad: he shall recover his wits

there; or, if he do not, it's no great matter there.

HAMLET

Why?

First Clown

'Twill, a not be seen in him there; there the men

are as mad as he.

HAMLET

How came he mad?

First Clown

Very strangely, they say.

HAMLET

How strangely?

First Clown

Faith, e'en with losing his wits.

HAMLET

Upon what ground?

First Clown

Why, here in Denmark: I have been sexton here, man

and boy, thirty years.

HAMLET

How long will a man lie i' the earth ere he rot?

First Clown

I' faith, if he be not rotten before he die--as we

have many pocky corses now-a-days, that will scarce

hold the laying in--he will last you some eight year

or nine year: a tanner will last you nine year.

HAMLET

Why he more than another?

First Clown

Why, sir, his hide is so tanned with his trade, that

he will keep out water a great while; and your water

is a sore decayer of your whoreson dead body.

Here's a skull now; this skull has lain in the earth

three and twenty years.

HAMLET

Whose was it?

First Clown

A whoreson mad fellow's it was: whose do you think it was?

HAMLET

Nay, I know not.

First Clown

A pestilence on him for a mad rogue! a' poured a

flagon of Rhenish on my head once. This same skull,

sir, was Yorick's skull, the king's jester.

HAMLET

This?

First Clown

E'en that.

HAMLET

Let me see.

Takes the skull

Alas, poor Yorick! I knew him, Horatio: a fellow

of infinite jest, of most excellent fancy: he hath

borne me on his back a thousand times; and now, how

abhorred in my imagination it is! my gorge rims at

it. Here hung those lips that I have kissed I know

not how oft. Where be your gibes now? your

gambols? your songs? your flashes of merriment,

that were wont to set the table on a roar? Not one

now, to mock your own grinning? quite chap-fallen?

Now get you to my lady's chamber, and tell her, let

her paint an inch thick, to this favour she must

come; make her laugh at that. Prithee, Horatio, tell

me one thing.

HORATIO

What's that, my lord?

HAMLET

Dost thou think Alexander looked o' this fashion i'

the earth?

HORATIO

E'en so.

HAMLET

And smelt so? pah!

Puts down the skull

HORATIO

E'en so, my lord.

HAMLET

To what base uses we may return, Horatio! Why may

not imagination trace the noble dust of Alexander,

till he find it stopping a bung-hole?

HORATIO

'Twere to consider too curiously, to consider so.

HAMLET

No, faith, not a jot; but to follow him thither with

modesty enough, and likelihood to lead it: as

thus: Alexander died, Alexander was buried,

Alexander returneth into dust; the dust is earth; of

earth we make loam; and why of that loam, whereto he

was converted, might they not stop a beer-barrel?

Imperious Caesar, dead and turn'd to clay,

Might stop a hole to keep the wind away:

O, that that earth, which kept the world in awe,

Should patch a wall to expel the winter flaw!

But soft! but soft! aside: here comes the king.

Enter Priest, & c. in procession; the Corpse of OPHELIA, LAERTES and Mourners following; KING CLAUDIUS, QUEEN GERTRUDE, their trains, & c

The queen, the courtiers: who is this they follow?

And with such maimed rites? This doth betoken

The corse they follow did with desperate hand

Fordo its own life: 'twas of some estate.

Couch we awhile, and mark.

Retiring with HORATIO

LAERTES

What ceremony else?

HAMLET

That is Laertes,

A very noble youth: mark.

LAERTES

What ceremony else?

First Priest

Her obsequies have been as far enlarged

As we have warrantise: her death was doubtful;

And, but that great command o'ersways the order,

She should in ground unsanctified have lodged

Till the last trumpet: for charitable prayers,

Shards, flints and pebbles should be thrown on her;

Yet here she is allow'd her virgin crants,

Her maiden strewments and the bringing home

Of bell and burial.

LAERTES

Must there no more be done?

First Priest

No more be done:

We should profane the service of the dead

To sing a requiem and such rest to her

As to peace-parted souls.

LAERTES

Lay her i' the earth:

And from her fair and unpolluted flesh

May violets spring! I tell thee, churlish priest,

A ministering angel shall my sister be,

When thou liest howling.

HAMLET

What, the fair Ophelia!

QUEEN GERTRUDE

Sweets to the sweet: farewell!

Scattering flowers

I hoped thou shouldst have been my Hamlet's wife;

I thought thy bride-bed to have deck'd, sweet maid,

And not have strew'd thy grave.

LAERTES

O, treble woe

Fall ten times treble on that cursed head,

Whose wicked deed thy most ingenious sense

Deprived thee of! Hold off the earth awhile,

Till I have caught her once more in mine arms:

Leaps into the grave

Now pile your dust upon the quick and dead,

Till of this flat a mountain you have made,

To o'ertop old Pelion, or the skyish head

Of blue Olympus.

HAMLET

[Advancing] What is he whose grief

Bears such an emphasis? whose phrase of sorrow

Conjures the wandering stars, and makes them stand

Like wonder-wounded hearers? This is I,

Hamlet the Dane.

Leaps into the grave

LAERTES

The devil take thy soul!

Grappling with him

HAMLET

Thou pray'st not well.

I prithee, take thy fingers from my throat;

For, though I am not splenitive and rash,

Yet have I something in me dangerous,

Which let thy wiseness fear: hold off thy hand.

KING CLAUDIUS

Pluck them asunder.

QUEEN GERTRUDE

Hamlet, Hamlet!

All

Gentlemen,--

HORATIO

Good my lord, be quiet.

The Attendants part them, and they come out of the grave

HAMLET

Why I will fight with him upon this theme

Until my eyelids will no longer wag.

QUEEN GERTRUDE

O my son, what theme?

HAMLET

I loved Ophelia: forty thousand brothers

Could not, with all their quantity of love,

Make up my sum. What wilt thou do for her?

KING CLAUDIUS

O, he is mad, Laertes.

QUEEN GERTRUDE

For love of God, forbear him.

HAMLET

'Swounds, show me what thou'lt do:

Woo't weep? woo't fight? woo't fast? woo't tear thyself?

Woo't drink up eisel? eat a crocodile?

I'll do't. Dost thou come here to whine?

To outface me with leaping in her grave?

Be buried quick with her, and so will I:

And, if thou prate of mountains, let them throw

Millions of acres on us, till our ground,

Singeing his pate against the burning zone,

Make Ossa like a wart! Nay, an thou'lt mouth,

I'll rant as well as thou.

QUEEN GERTRUDE

This is mere madness:

And thus awhile the fit will work on him;

Anon, as patient as the female dove,

When that her golden couplets are disclosed,

His silence will sit drooping.

HAMLET

Hear you, sir;

What is the reason that you use me thus?

I loved you ever: but it is no matter;

Let Hercules himself do what he may,

The cat will mew and dog will have his day.

Exit

KING CLAUDIUS

I pray you, good Horatio, wait upon him.

Exit HORATIO

To LAERTES

Strengthen your patience in our last night's speech;

We'll put the matter to the present push.

Good Gertrude, set some watch over your son.

This grave shall have a living monument:

An hour of quiet shortly shall we see;

Till then, in patience our proceeding be.

Exeunt

Polidori

JOSEPH CAMPBELL: 

This is why clowns are good.

BILL MOYERS: 

Clowns?

JOSEPH CAMPBELL: 

Clown religions, 

because they show that 

The Image is not a fact, 

but it’s a reflex of some kind.

BILL MOYERS: 

So does this help explain the trickster gods that show up at times?

JOSEPH CAMPBELL: 

They’re very much that, yes. 

[Drawing room]

(Ryan is trying to play Chopsticks, one finger each hand, and making a mess of it.) 

MARY SHELLEY: 

Such a jaunty air. 

Is it popular in the colonies? 

RYAN: 

Er, yeah. 

Me Nan taught me, but 

I always get the keys wrong. 

But she always said, there's 

no reason not to try. 

MARY SHELLEY : 

I should practise more. 

But I confess, I prefer to write. 

RYAN: 

Hmm. 

MARY SHELLEY : 

Even though my efforts are weak. 

I could never hope to match the achievements of My Parents. 

RYAN: 

Me Nan would say stick with it. 

MARY: 

Hmm. 

RYAN: 

What's his problem? 

MARY SHELLEY : 

Oh, pay Doctor Polidori no heed. 

He's bad-tempered 

because he does not sleep. 

He walks at night. 

A terrible affliction. 

Imagine, never being able to Truly Rest.

[Drawing room]

(Polidori wakes and stands.)

GRAHAM: 

You're going nowhere, pal. 

You're staying right there. 

I'm on guard.

(Polidori walks away as if in a trance.)

GRAHAM: 

Oh. Hey. Poli? Poli? 

Hello? Poli? Poli? 

Can you hear me, son? 

Can you hear me?

(Polidori walks through a wall.)

[Byron's chamber]

(The Doctor runs in.)

DOCTOR: 

Argh!

(And out and in.)

CLAIRE: 

The same chamber, over and over. 

How is it possible?

DOCTOR: 

It's not. It's...

BYRON: 

Like a dream.

[Staircase]

MARY: 

Elise? Can you hear me? 

Do you have William?

YASMIN: 

He'll be okay. 

He probably just cried himself out and fell asleep.

GRAHAM [OC]: Doc! Poli! Doc!

[Drawing room]

(Runs out and in again.)

GRAHAM: Doc!

(The woman and girl are there.)

GRAHAM: There's something seriously wrong with this gaff.

[Byron's chamber]

DOCTOR: 

Is anyone else trapped?

GRAHAM [OC]: 

Yeah.

[Drawing room]

GRAHAM: 

And I think I'm seeing 

Dead People.

(The wind blows through, extinguishing fires and candles.) GRAHAM: 

Perfect.

RYAN [OC] 

We're the same!

[Staircase]

RYAN: 

I totally saw a ghost.

YASMIN: 

We're stuck on the stairs.

MARY: 

Please! How do we move upwards? 

I need to check My Son is well.

[Byron's chamber]

DOCTOR: 

Working on it! Head's a bit fuzzy. 

Normal service will resume shortly. 

And ghosts don't exist.

[Drawing room]

GRAHAM: 

Of course not. You two just need 

a spray tan and a kip, eh?

DOCTOR [OC]: 

Graham, what sort of 

Dead People, exactly?

GRAHAM: 

Oh. How can I hear your voice, Doc?

DOCTOR [OC]: I'm using the fireplace chimney.

GRAHAM: Doc?

DOCTOR [OC]: Graham? Graham?

GRAHAM: They've gone now. And... so's Polidori.

[Byron's chamber]

GRAHAM [OC]: I've lost him.

DOCTOR: 

You had one job!

[Drawing room]

GRAHAM: 

Yeah, made more challenging by his ability to walk through walls.

[Byron's chamber]

DOCTOR: 

Through?

GRAHAM [OC]: 

Well, he just turned 

sort of zombie and 

went into one.

BYRON: 

What do you speak of? 

What is a zombie?

CLAIRE: 

Mrs Doctor?

DOCTOR: 

Kind of a Dead Person walking, 

but it won't be that.

CLAIRE: 

Mrs Doctor?

BYRON: 

How do you know?

DOCTOR: 

Because Polidori isn't dead, 

for a kick-off.

(Polidori walks in through the wall.)

CLAIRE: 

Mrs Doctor!

DOCTOR: 

Really, just ‘Doctor’ is fine.

BYRON: 

Polidori!

(Byron hides behind Claire.)

CLAIRE: 

He emerged from the wall 

like a phantom.

BYRON:

Begone, demon!

DOCTOR: 

Pulse? Check. 

Breathing. Check.

BYRON: 

May I just say, you are 

quite lovely in a crisis.

DOCTOR: 

No, you may not. 

The lights are on, 

but he's gone 

on a mini-break.

BYRON: 

Possessed?

CLAIRE: 

Or asleep?

 He walks in his sleep.

BYRON:

One does not sleepwalk 

through walls.

DOCTOR: 

Not just through. Up. 

He was downstairs a second ago. What you said before...

BYRON: 

About being lovely?

DOCTOR: 

Back a bit.

BYRON: 

Er... Demon?

DOCTOR: 

It's like dreaming... 

only we aren't, and he is. 

So he can't see 

The Illusion.

(She puts her hand through the wall.)

DOCTOR: 

But it's more than that. 

We're surrounded. Immersed. 

It's sort of like a... 

A perception filter! 

Close your eyes. Clear your mind. 

We're only experiencing 

what it wants us to.

JOSEPH CAMPBELL: 

This is why clowns are good.

BILL MOYERS: 

Clowns?

JOSEPH CAMPBELL: 

Clown religions, because they show that the image is not a fact, but it’s a reflex of some kind.

BILL MOYERS: 

So does this help explain the trickster gods that show up at times?

JOSEPH CAMPBELL: 

They’re very much that, yes. 

BALLOONS

You know, I had trouble one time when I was in school.

It seemed like every day I got chased by this one kid, till one day My Mother said to me, she said, 

“Just pretend the guy's like a balloon.”

She said, 

"If you pop 'em hard, these guys just go away."

OSGOOD: 

If you've got something to say, just say it.

MISSY:

Ahem. 

(Osgood leans in to listen.)

MISSY: 

(sotto) 

I'm going to kill you in a minute. 

I'm not even kidding. 

You're going to be as dead as a fish on a slab any second now, all floppy and making smells. 

But don't tell the boys. 

This is our secret girl plan.

OSGOOD: 

Why would you bother killing me? 

I'm not even important. 

MISSY: 

Oh, silly. 

Why does one pop a balloon? 

Because you're PRETTY. 

You should have a •bit• more confidence in yourself.

• Dracula stakes one of his three brides and then turns his attention to the vampire baby she has just made •

DRACULA :

Johnny, this is interesting.

I've never seen it work

with a baby before. Never.

I think I might keep it on for a

while.

I hope this doesn't mean

that I'm getting sentimental.

HARKER :

Why did you kill her?

DRACULA :

Who?

Oh. Um...

Because I wanted to see if she would die, I suppose.

Johnny, don't give me that look.

You were a child once.

You know the feeling.

Didn't you break your toys apart to see how they worked?

ORCHIDS

“Hybrids! A Crime against Nature!”

[Tuvok's quarters]

(Tuvok is tending his orchids when the doorbell rings.)

TUVOK: 

Come in. Captain, this is unexpected.

JANEWAY: 

I've been in your quarters before.

TUVOK: 

Indeed, but so rarely that I can 

remember each instance. 

Vulcan spice tea, hot. 

And it was always at a time when 

you were particularly troubled.

JANEWAY: 

Right as usual. Thank you. 

Commander Chakotay has proposed that we make an alliance with one of the Kazon factions. 

We wouldn't give them weapons or technology, but we would pledge to support and defend them if they're attacked.

TUVOK: 

I am sure that made you uncomfortable.

JANEWAY: 

How can I consider it? 

I can't just walk away from the precepts Starfleet has laid our for us. 

You don't deal with Outlaws. 

You don't involve yourself in the political machinations of other cultures. 

It goes against everything I believe, everything I trained for, everything experience has taught me.

TUVOK: 

Quite right.

JANEWAY: 

Do I hear a ‘however’ coming?

TUVOK: 

You are perceptive, Captain. 

I believe Commander Chakotay's suggestion does have merit.

JANEWAY: 

Help me understand that.

TUVOK: 

When I was a Young Man, 

A Great Visionary named Spock recommended an alliance between the Federation and the Klingon Empire. 

This produced a major dispute. 

The Klingons, after all, were Outlaws, employing violence and brutality in order to build their Empire. 

I myself spoke out against such a coalition. 

But the alliance was forged and it brought a stability to the quadrant that had not been there for two hundred years. 

Spock's suggestion, so controversial at first, 

proved to be the cornerstone of peace.

JANEWAY: 

There are some differences here. 

By allying ourselves to one faction, we'd be giving that faction more power than the others. 

That would clearly affect the internal politics of all the Kazon.

TUVOK: 

I understand your concern, but remember, it would only be a temporary arrangement since we are on our way out of this quadrant. 

In the meantime, it might bring stability to the region and security for us.

JANEWAY: 

Once we're gone they'll probably go back to their in-fighting.

TUVOK: 

Perhaps. But even temporary stability can bring an appreciation for peace. 

This flower is a rare hybrid. 

As far as I know it exists nowhere else in the galaxy. 

I created it by grafting a cutting from a South American orchid onto a Vulcan favinit plant. 

I doubted the graft would take, 

and indeed the plant was sickly at first. 

However, after a few weeks both plants adapted to their new condition and in fact became stronger than either had been alone.