Plot
Various members of Voyager's crew discover a holodeck simulation, in which the Maquis members of the ship's crew mutiny against the Starfleet officers. The program appears unfinished, and its author is unknown. As the program becomes popular, Tuvok admits he wrote the program as a security exercise for Starfleet officers under his command during the early parts of Voyager's travel back to the Alpha Quadrant; however, as the Maquis integrated well with Starfleet, Tuvok abandoned the program, believing it unnecessary. However, with its success, Tom Paris offers to help author the remainder of the program with Tuvok's help, turning the program into a full-fledged holonovel.
When the two start to work on the program in the holodeck, they suddenly find themselves trapped in the virtual brig. They are addressed by the simulation's version of former crew member Seska, who admits that before she had escaped the ship, she had discovered Tuvok's program, and created this trap should he attempt to alter it. Seska's alterations not only affect the holodeck but other parts of Voyager, threatening the well-being of the whole crew. While Tuvok and Paris attempt to stay alive from the simulation, Captain Janeway and B'Elanna Torres attempt to effect changes in the simulation to help them. Ultimately, finding themselves cornered by the virtual Seska and her Maquis crew, Tuvok causes one of the simulation's phaser rifle to overload; normally, while it would have destroyed the ship, the impact simply ends the simulation, and allows Tuvok and Paris to safely exit the holodeck.
Read more about this topic: Worst Case Scenario (Star Trek: Voyager)
Famous quotes containing the word plot:
““The plot thickens,” he said, as I entered.”
—Sir Arthur Conan Doyle (1859–1930)
“Trade and the streets ensnare us,
Our bodies are weak and worn;
We plot and corrupt each other,
And we despoil the unborn.”
—Ralph Waldo Emerson (1803–1882)
“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)