Plot
The crew welcomes aboard Emory Erickson, the inventor of the transporter device. They set out to conduct a series of experiments to test a radical upgrade to transporter technology.
Emory discusses Sub Quantum Teleportation around a table with Captain Archer. Chief Engineer Tucker assists Emory with the Teleporter upgrade, but after being dismissed by Emory following the successful transporter test, which sent a probe 40,000 km to collect data, the farthest anything has been teleported up to this point, Tucker confides in Archer that many of Emory's upgrades and modifications to the ships power systems were not part of his Transporter test.
A photonic ghost kills a crewman, then reappears. Archer, Sub-commander T'Pol and security engage it and T'Pol gets burned by the ghost, but the scans indicate that it is Emory's son. Archer realizes that his old family friend has lied and is using the ship to search for his son, lost years before in a transporter mishap, but agrees to help Emory lock on to his son and reassemble his signal which has been trapped in an empty bubble of quantum space, where the first transporter tests were conducted. His son is recovered, but dies soon after.
In a sub-plot, T'Pol begins to reexamine her Vulcan heritage in the wake of her mother's death.
Read more about this topic: Daedalus (Star Trek: Enterprise)
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)