Star Trek: Nemesis Complete Cue List

Here ensueth a complete chronological list of the Star Trek: Nemesis score cues, as heard in the film. Wondering exactly what Varese's 48-minute soundtrack album is missing? Here's your guide. (Please, I do NOT want to get bombarded with e-mails asking me if I can send you a complete score bootleg, because I don't have one! I got all of this information from the film itself.) I have omitted the two source cues (the wedding band and the classical piano music playing in Troi's quarters) and overlooked the fact that "Final Flight" was awkwardly spliced into the end credits. Here goes...asterisks indicate unreleased cues:

STAR TREK: NEMESIS
Music by Jerry Goldsmith

Remus (1:58)
The Box (2:20)
My Right Arm (1:02)
En Route (:26)*
Positronic Signal (1:23)*
The Argo (1:05)*
Odds And Ends (4:37)
Brothers (:51)*
New Course (:27)*
Repairs (6:26)
The Knife (3:09)
Allegiance (4:26)*
Shinzon's Story (1:26)*
Ideals (2:15)
Suspect Data (1:13)*
Violation (:50)*
No More Time (:34)*
Abduction (1:11)*
The Mirror (5:21)
The Scorpion (2:21)
Sins (:41)*
Deactivation (1:33)*
Battle Stations (2:34)*
Evasive Maneuvers (2:13)*
The Hologram (:23)*
True Nature (1:21)*
Let's Get To Work (2:47)*
Lateral Run (3:54)
Hull Breach (:29)*
Engage (2:12)
Full Reverse (1:28)*
Deploy The Weapon (2:53)*
The Corridor (:26)*
Final Flight (3:47)
Firing Sequence (:51)*
A New Friend (2:36)
Returning Home (:46)*
Honor (:29)*
A New Ending (6:08)

All told, roughly 75 minutes of music, which is consistent with earlier reports. After thorough consideration, I've decided I'm more than happy with the album. Most of the unreleased cues are short and unremarkable, and the longer ones are mostly atmospheric or redundant. Nonetheless, there are a few points of interest:

1) They're still separate tracks, but the album blends "Remus" and "The Box" for a longer, more coherent opening.

2) "New Course" is essentially a very brief quote of drydock material from Goldsmith's original ST:TMP score.

3) "Battle Stations" is one of the more unique unreleased cues, in which Goldsmith puts his main Star Trek theme through a heroic martial build-up similar to what Horner did for a parallel scene in TWOK.

4) The dramatic ostinato introduced in "The Scorpion" comes into play again in "Evasive Maneuvers." (It also runs through the later action sequences.)

5) Take special note of "Let's Get To Work" ... that ascending horn figure is a development of the "B-section" of Shinzon's theme as presented in the end credits. Some people have claimed that this figure never appeared in the film!

6) "Returning Home" condenses Goldsmith's original "The Enterprise," one of his finest cues ever, into about 20 seconds. Some people are complaining that this was left off the album, but my take is: Who would want it? It's depressing and anachronistic. Listen to the original. It's better. (And don't give me any B.S. about "continuity" or "coming full circle," because I don't want to hear it. Lush, romantic treatments of Goldsmith's original theme are out-of-place in this ugly, jerky film, and that's the end of it as far as I'm concerned. Tell me it doesn't sound like Goldsmith's trying to hurry through the theme real quick, before the shot cuts away!)

So while I didn't like Nemesis the film at all, I found Goldsmith's score, especially it's album presentation, to be a superior effort...brooding, captivating, and exciting. My full review will appear in a future issue of Film Score Monthly (Vol. 8, No. 1)

-- John Takis (johntakis@hotmail.com)
 

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