Sto-vo-kor

In my tradition, We do not grieve the loss of The Body. 

We celebrate the releasing of The Spirit. 

DATA: 

I believe, sir, that was the first time outsiders have witnessed the Klingon Death Ritual. 

PICARD: 

I can understand them looking at a dying man's eyes, but the howling? 

DATA: 

It was a warning. 

PICARD: 

To whom? 

DATA: 

They are warning The Dead, sir. 

' Beware - a Klingon Warrior is about to arrive.  '

WORF :

You have never seen Death...?

(Their son shakes his head)

Then Look - and Always Remember.

DAX: 

It's called an Irish wake. It's a way to memorialise a death and celebrate life at the same time. 

WORF: 

What are we supposed to do? 

DAX: 

Well, drink, sing songs, laugh, cry, talk about the deceased. 

WORF: 

It sounds almost Klingon. 

[Defiant Cargo bay]

(O'Brien is sitting talking to a torpedo casing.)
O'BRIEN: 
We used a phase-conjugate graviton emitter in the tractor beam. That baby came out of the rock first time. You would've loved it, Quique

WORF: 
did not mean to interrupt.

O'BRIEN: 
It's all right.

WORF: 
You are performing ak'voh for your friend.

O'BRIEN: 
am?

WORF: 
Yes. It's an old Klingon tradition. 
When a warrior dies in battle, his comrades stay with the body to keep away predators. That allows the spirit to leave the body when it is ready for the long journey to Sto'Vo'Kor.

O'BRIEN: 
That's a fine tradition. 
(Worf sits.) 
What are you doing?

WORF: 
We will both keep the predators away.

O'BRIEN: 
I'm sure Quique would like that.

[Enterprise-E crew lounge]

(Picard is handing out glasses of Chateau Picard)

TROI: 

Thank you.

RIKER: 

Thank you, sir.

PICARD: 

To absent friends. ...To family.

TROI: 

Data.

LAFORGE: 

Data.

RIKER: 

The first time I saw Data, he was leaning against a tree in the holodeck ...trying to whistle. ...Funniest thing I ever saw. ...No matter what he did he couldn't get the tune right.

What was that song? 

I can't remember the song.

(The doorbell chimes) 

WORF:

Jeremy Aster? I'm Lieutenant Worf. May I enter? 

JEREMY: 

You were in command of the away team. 

WORF: 

Yes. I was with Lieutenant Aster, your mother, when she died. 

JEREMY: 

You're a Klingon, aren't you. 

WORF: 

Yes. 

JEREMY: 

We studied about Klingons in school. 

WORF: 

What did they teach you about us? 

JEREMY: 

You used to be our enemies.

WORF: 

Did they also teach you that every Klingon hopes to die in the line of duty as your mother did? 

In my tradition, we do not grieve the loss of the body. 

We celebrate the releasing of the spirit. 

JEREMY: 

I understand Death. 

They teach us all about it. 

WORF: 

Jeremy Aster, we may both understand it, but we must bring meaning to your mother's death. 

Perhaps we can do it together.

[Aster home]

MARLA: It is only a matter of time, Captain, before we can power the transporters ourselves 

PICARD: We? For whom else do you speak? 

MARLA: 

The accident on the surface was caused by a remnant of an ancient and tragic era. Two species once shared this world. One of energy and one of matter. 

The physical beings you call the Koinonians destroyed themselves in unending, bitter wars. 

The surviving life forms on this world will not tolerate any further suffering as a result of that dishonourable past. So, they have made this possible. They have made me possible. 

PICARD: 

I appreciate your motives, but his mother is dead. He must learn to live with that. 

MARLA: 

I will be every bit his mother. 

PICARD: But not his mother. Picard to Lieutenant Worf. 

WORF [OC]: 

Go ahead, Captain. 

PICARD: 

Will you escort Ensign Crusher to the Aster quarters? 

WORF [OC]: 

Yes, sir. 

PICARD: 

Picard out. 

MARLA: 

Your philosophy is curious, Captain. 

What is so noble about sorrow? 

I can provide him an existence where he will feel no pain, no anguish. 

PICARD: 

It is at the heart of our nature to feel pain and joy. It is an essential part of what makes us what we are. 

MARLA: He is alone now in your world. A child, alone. How can you know he won't be happier with me? 

PICARD: 

For a brief moment in time, he surely would be. Any of us in his place would be. 

TROI: 

What would Jeremy do for friends in your world? 

MARLA: 

He will have any friends he needs. 

TROI: 

And will you provide for his education, his health, his growth, a career, a wife? 

PICARD: 

Yes, it's quite an undertaking you're proposing, isn't it? 

MARLA: 

It is our duty to make him happy again. 

PICARD:

 Do you honestly believe he would be happy in this total fiction which you wish to create? 

What reason would he have to live? 

What you're offering him is a memory, something to cherish, not to live in. 

It is part of our life cycle that we accept the death of those we love. 

Jeremy must come to terms with his grief. He must not cover it or hide away from it. 

You see, we are mortal. Our time in this universe is finite. 

That is one of the truths that all human must learn. 

WESLEY: 

Acting Ensign Crusher reporting as ordered, sir. 

PICARD: 

Yes. Come in, Wesley. Please stay, Lieutenant. Jeremy, Wesley's father died on a Starfleet mission when he was younger than you are. 

TROI: 

Wes, your mother told me you were finding it difficult to talk to Jeremy. Why is that? 

WESLEY: 

I don't know. I just didn't want to think about it any more. All this has reminded me so much of that day. 

PICARD: 

The day I told you your father had been killed. 

As I recall, Wesley, you took it very well. 

WESLEY: My parents taught me about the dangers of Starfleet missions. I knew what could happen. 

PICARD: 

So you were prepared? 

WESLEY: 

No, I wasn't prepared at all. 

How could anyone be prepared to hear that a parent is never coming home again? 

I tried to be what everybody expected of me. 

Brave and mature. 

PICARD: 

Wesley, are you saying that you didn't want anybody to see what you were really feeling? What were you really feeling? 

WESLEY:

 Like somebody had kicked me in the head. 

PICARD: Somebody? 

TROI: Go on. You've wanted to tell him for a long time. 

WESLEY: 

I was angry at you. 

PICARD: 

Why angry? Why were you angry at me, Wesley? 

Were you angry at me because I was the one who told you your father was dead? 

WESLEY: No. 

PICARD: Then why? 

WESLEY: 

Because you led the mission. 

You came home and my father didn't. 

TROI: 

How long were you angry with the Captain, Wes? 

WESLEY: 

For a long time. But not any more, sir. Not even a little. 

TROI: 

So, Jeremy, you must be very angry at Lieutenant Worf. 

He was in charge of your mother's mission, just as Captain Picard was in command when Wesley's father was killed. 

Isn't that right? 

Worf came back. Your mother didn't. 

(Finally, Jeremy cries) 

JEREMY: 

Why? Why weren't you the one who died? Why did it have to be her? 

TROI: 

He can't answer that. None of us can. 

PICARD: 

Lieutenant Worf also lost his parents. 

WORF: 

They were killed in battle when I was six. 

When I was alone, humans helped me. Let me help you. 

The Marla Aster I knew and honoured is not in this room. 

Nor does she await you on the planet. Now she lives only here 

And here. (in their hearts) 

Join me in the R'uustai, the Bonding. You will become part of my family now and for all time. We will be brothers. 

(Marla goes up to Jeremy, then walks away. She and the house illusion vanish. All is as it should be again)

[Worf's quarters]

(Worf and Jeremy are lighting seriously chunky candles. Then Worf puts a sash across Jeremy's shoulder) 

WORF: 

SoS jIH batlh SoH. 

JEREMY: 

What does that mean? 

WORF: 

It honours the memory of our mothers. 

We have bonded and our families are stronger. 

JEREMY: 

SoS jIH batlh SoH.

(Drink, food, and the host in her flag-draped torpedo case coffin.) 

DAX: 

It's called an Irish wake. It's a way to memorialise a death and celebrate life at the same time. 

WORF: 

What are we supposed to do? 

DAX: 

Well, drink, sing songs, laugh, cry, talk about the deceased. 

WORF: 

It sounds almost Klingon. 

(Kasidy is staring out of the window.) 

SISKO: Hey. 

KASIDY: 

Hey, yourself. 

SISKO: 

When this is over, I want to talk to you about something. 

Something that's been on my mind. 

KASIDY: 

Okay. Is it about me? 

SISKO: 

Well, it's about me, actually. 

KASIDY: 

Ah, that's a relief. 

SISKO: 

I want to try to explain about my behaviour lately. 

KASIDY: 
Sounds good to me. But we'll talk about it over dinner. 
You cook. 

SISKO: 
That's a deal. 

BASHIR: (slightly drunk) 

I just wanted to say that although I only spoke with her for a very short time, I really admired Lisa Cusak. 

I cared about her and I'll miss her.

And another thing. 

Contrary to public opinion, I am not the arrogant, self absorbed, god like doctor that I appear to be on occasion. 

(pause) 

Why don't I hear anybody objecting to that statement? 

O'BRIEN: 

Well, I will if you insist. 

BASHIR: 

I insist. 

O'BRIEN: 

Then I object. 

BASHIR: 

Thank you, Miles Edward O'Brien. No, I have a heart, and I really care about all of you, even if sometimes it would appear that I care more about my work.

To the woman that taught me that it is sometimes necessary to say these things. 

Lisa Cusak. 

ALL: 

To Lisa. 

O'BRIEN: 

I never shook her hand and I never saw her face, but she made me laugh and she made me weep. 

She was all by herself and I was surrounded by my friends, yet I felt more alone than she did. 

We've grown apart, the lot of us. 

We didn't mean for it to happen but it did. 

The war changed us, pulled us apart. 

Lisa Cusak was my friend. 

But you are also my friends, and I want my friends in my life because someday we're going to wake up and we're going to find that someone is missing from this circle, and on that day we're going to mourn, and we shouldn't have to mourn alone. 

To Lisa and the sweet sound of her voice.

Accession : Where's Dodi...?

David Puttnam: I threw Dodi Fayed off Chariots of Fire set for trying to give the cast cocaine

By Richard Barber for MailOnline22:14, 14 Jul 2012, updated 22:18, 14 Jul 2012

David Puttnam: I threw Dodi Fayed off Chariots of Fire set for trying to give the cast cocaine

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Film producer Lord Puttnam has revealed he ordered Dodi Fayed off the set of Chariots Of Fire after the man who later stole Princess Diana’s heart tried to give the cast cocaine.

Dodi was an executive producer on the Oscar-winning film – due for re-release this week – after his billionaire father Mohamed Al Fayed set him up in the movie business.

But according to Puttnam, Dodi was more interested in drugs and girls than in the film – which told the story of the 1924 Olympics.

Banned: Executive producer Dodi Fayed, left, was on banned from the set for providing the crew with cocaine by producer David Puttham, right

‘Dodi had other things on his mind than developing a film career for himself, of which girls and drugs rated pretty highly – and not necessarily in that order,’ he said.

Puttnam arrived one day to find  a number of cast members whose mood had clearly been altered by what he suspects was cocaine provided by Dodi. ‘I said to Dodi, “With the best will in the world, Dodi, this didn’t happen. And I never want to see you again around my cast and crew.” It was very unpleasant,’ said Puttnam.

The story was leaked to Dodi’s father. ‘It upset him terribly,’ said Puttnam. ‘Al Fayed had spent a huge amount of his life dealing with his son’s problems and trying to contain them. 

'So maybe he found it difficult now that it was out in the open. It was all very sad.’  

Though he will always be remembered as the man who died beside Princess Diana in a car crash in Paris in 1997, Dodi was a little-known playboy at the time of the film’s making  in 1981.

Dodi Fayed pictures in the nineties

Mohamed Al-Fayed, father of Dodi, had created the company to give his son new priorities in life other than drugs and women

Dodi Fayed, left, 'disappointed' his father Mohamed Al-Fayed, right, when he found out about his son being banned as had created the company to give his son new priorities in life other than drugs and women

Al Fayed had been so desperate to tame his errant son that he had set up the film production company Allied Stars in a vain attempt to carve out a career for him.

It was this company that provided nearly £2 million to finance the early development of Chariots Of Fire, meaning its future hinged on the whims of an unreliable and often drug-addled young man.

Puttnam said: ‘He was one of the laziest human beings I’ve ever come across. So the idea of him being an executive producer was always going to be hopeless because he had the attention span of the average flea.’ 

On the brink of the London Olympics, Puttnam has revealed other dramas behind the shooting of the movie. 

It told the story of Eric Liddell, the Scottish sprinter and devout Christian who withdrew from the men’s 100m sprint after learning the heats fell on a Sunday. Though the 100m was Liddell’s best event, he trained instead for the 400m – which he famously won. 

Puttnam refers to the film as his ‘proudest achievement’. 

His unlikely partnership with the Fayeds was forged by chance. Puttnam hit on the idea of working on a film about the Olympic Games, inspired  by his father Len who had worked as picture editor at the Associated  Press news agency and was responsible for images during the 1948 Olympics.

During research Puttnam stumbled upon Liddell’s story. It just happened that Al Fayed’s lawyer at Allied Stars had attended Eltham College with Liddell and became determined to make a film about his hero.

A scene from Chariots of Fire show Nigel Havers, Daniel Gerroll, Nick Farrell and Ben Cross carrying Ian Charleson on their shoulders

Chariots of success: The film became a wold-wide hit in 1981 and has now been digitally re-mastered for the cinemas

‘So enthusiastic was the lawyer about the project that it all got nasty at one stage because Al Fayed began to suspect, and quite wrongly, that there was some sort of malpractice afoot,’ said Puttnam. 

‘He felt he was being railroaded into investing in a doomed project about two sprinters with no sex, no beautiful women and not a fast car in sight.’

The 16-week shooting schedule was pitted with even more disasters. 

For Puttnam, ‘the beating heart of the film’ was lead actor Ian Charleson who played Liddell. ‘Ian had read the Bible insideout. He absolutely embodied what Liddell was about and he had the undying respect of every single personon that movie. He was the core of the project.’

So when Charleson came close to being severely injured, Puttnam also came dangerously close to scrapping the film altogether. 

He said: ‘Liddell is prevailed upon at one stage to run in a field. We found one which was very beautiful but no one had checked the ground, which turned out to be riddled with rabbit holes. If Ian’s ankle had snapped in two  . . . Well, end of film.’ 

Meanwhile co-star Nigel Havers broke a wrist while practising the hurdles. But the actor was so fearful he would lose his part, he bound his arm and kept the injury  a secret. And Ben Cross, cast as Jewish athlete Harold Abrahams, quickly became ‘difficult to work with’, according to the director. 

Limited funds also meant there was no budget to pay the 7,000 extras required for the Olympic scenes.

To attract crowds, Puttnam came up with the idea of an hourly prize draw, where vacuum cleaners, washing machines, motorbikes and a Ford Fiesta would be given away at the set in Birkenhead. 

When the movie opened in 1981, there were mixed reviews and poor audiences at the single London cinema where it was first shown.

‘I was on holiday in Cornwall and phoned the box office every two hours,’ said Puttnam. ‘The second afternoon performance, I was told, had been only one-third full. “Well, that’s it,” I thought. “It’s over.” 

‘But then an extraordinary thing  happened. Audience figures peaked the longer the film was showing.  In America, audiences got younger and younger as the attendances  grew. Slowly, we had a global hit on  our hands.’

Eventually Chariots Of Fire took £26 million at US box offices alone – and Al Fayed made a reported £6.5 million.