Star Trek III
The Search For Spock
Written by:
HARVE BENNETT
REV. FINAL DRAFT
October 7, 1983
FADE IN:
1 SPACE - A STARFIELD - (ILM SHOT) 1
As the stars appear, we hear the AMBIENCE OF SPACE, a
litany of groans, squeals and pings of the unknown.
Over this we SUPER:
"PARAMOUNT PICTURES PRESENTS:"
We are MOVING through the stars slowly and to our right
as the SUPER FADES. And we hear a hoarse voice.
SPOCK (V.O.)
Space... the final frontier.
Our MOVE CONTINUES to reveal the Genesis planet and its
sun, which flares into our lens.
SPOCK (V.O.)
(continuing)
These are the continuing voyages
of the Starship Enterprise. Her
ongoing mission...
The sunflare has DISSOLVED us to the planet's primal
surface. We are MOVING through the trees and greens of
this Eden-like place. A soft, smoky haze covers every-
thing.
SPOCK (V.O.)
(continuing)
To explore strange new worlds...
To seek out new life forms, and
new civilizations... To boldly go,
where no man has gone before...
And now, amid the trees, we see it, and CAMERA comes to
a brief rest: Spock's casket, a photon torpedo tube,
black with red letters, "Mark VI." The STAR TREK FAN-
FARE is heard, and we SUPER:
"STAR TREK III : THE SEARCH FOR SPOCK"
The CREDITS BEGIN. As they appear, we MOVE away from
the casket and through the lush forest.
The haze thickens, until at last it becomes an obliter-
ating cloud, and then we DISSOLVE through into moving
clouds of the planet's atmosphere, and PULL BACK from
them, DISSOLVING once again back to space and the Gene-
sis planet where we HOLD as CREDITS END.
Then, a final SUPER:
"THE GENESIS PLANET.
STARDATE: 8001.3"
We hear the SOUND of an approaching SPACESHIP.
2 SPACE - USS GRISSOM - (ILM SHOT) 2
A mid-sized Federation Science Vessel approaching at
impulse power. She PASSES CAMERA, and we PAN WITH her
to see her path leads to the Genesis Planet in the
distance.
3 INT. BRIDGE - USS GRISSOM 3
Starfleet LIEUTENANT SAAVIK, looking radiant, is wear-
ing her hair down these days, but is as intense and
efficient as ever. The CRACKLE OF ELECTRONIC ACTIVITY
fills the air.
SAAVIK
(crossing bridge)
We are approaching destination
planet at point zero three five.
So noted in ship's log.
She delivers the log to the Captain as ANGLE WIDENS to
include CAPTAIN ESTEBAN, late forties, a cautious Star-
fleet veteran. Behind him, various OFFICERS on
station.
ESTEBAN
Very well, Lieutenant. Execute
standard orbital approach.
HELMSMAN
Standard orbit, aye.
ESTEBAN
Communications. Send a coded
message for Starfleet Commander,
priority one... "Federation
Science Vessel Grissom arriving
Genesis Planet, Mutara Sector to
begin search. As ordered, full
security procedures are in effect.
J.T. Esteban, commanding."
COMM OFFICER
Aye sir, coding now.
ESTEBAN
(turning)
Dr. Marcus, it's your planet.
ANGLE WIDENS to reveal DAVID MARCUS, mid-twenties, who
will be remembered as the co-creator of Genesis, and
also as Kirk's son.
DAVID
Thank you, Captain. Begin
scanning, please.
Saavik has taken a position next to David at the sci-
ence panel and together they begin activating the de-
vices.
DAVID
(continuing;
enthusiastically)
This is where the fun begins,
Saavik!
SAAVIK
(working)
Like your father... so human.
(then)
All units functional, recorders
are on... Scanning sector one.
Foliage in fully developed state
of growth. Temperature, twenty-
two point two Celsius.
DAVID
Sector two... Indicating desert
terrain. Minimal vegetation,
temperature thirty-nine point
four.
SAAVIK
Sector three... Sub-tropical
vegetation... Temperature --
(puzzled)
Temperature decreasing rapidly --
DAVID
It's snow. Snow in the same
sector. Fantastic!
SAAVIK
... Fascinating.
DAVID
All the varieties of land and
weather known to Earth within a
few hours walk!
SAAVIK
(to him)
You must be very proud of what you
and your mother have created.
DAVID
(checking)
It's a little early to celebrate.
Suddenly... BEEP... BEEP... BEEP... a new and unique
SOUND is heard from the MONITORS. Saavik flicks con-
trols and a new image appears on screen.
SAAVIK
Same sector. Metallic mass.
DAVID
Underground deposit?
SAAVIK
Negative, on surface... A
manufactured object.
DAVID
There's only one thing it could
be... Short range scan.
Saavik complies. David's intensity rises. Captain
Esteban, curious about the BEEPS, has joined them.
SAAVIK
Approximately two meters long...
Cylindrical in form...
DAVID
A photon tube...!
ESTEBAN
Could it be Spock's?
DAVID
It has to be. Gravitational
fields were in flux... It must
have soft landed...!
ESTEBAN
(to Comm Officer)
In code to STARFLEET...
Captain's Spock's tube located
intact on Genesis surface. Will
relay more data on subsequent
orbits.
COMM OFFICER
Yes sir... Coding your message.
As the BEEPS DIMINISH, we HOLD on David and Saavik.
There is mystery in the air.
CUT TO:
4 SPACE - USS ENTERPRISE - (ILM SHOT) 4
She comes AT US slowly, majestically, a great wounded
bird limping home, showing, as she passes, the patched
scars of battle. Over this we hear:
KIRK (V.O.)
USS Enterprise, Captain's personal
log... With most of our battle
damage repaired, we are almost
home. Yet, I feel -- uneasy. And
I wonder why.
5 INT. BRIDGE - USS ENTERPRISE - CLOSE - JAMES T. KIRK 5
He is stalking the bridge, lost in his thoughts.
CAMERA IS MOVING with him. In b.g., bridge activity is
normal.
KIRK (V.O.)
... Perhaps it is the erratic
behavior of Ship's surgeon
McCoy... Or the emptiness of this
vessel: most of our trainee crew
have been reassigned; Lieutenant
Saavik and my son David are
exploring a new world... and
Enterprise feels like a house with
all the children gone... No. More
empty even than that...
He has reached Spock's vacant chair. He touches it.
KIRK (V.O.)
(continuing)
The news of Spock's tube has
shaken me.
(beat)
It seems that I have left the
noblest part of myself back there,
on that newborn planet.
We HOLD on him. Then, he shakes off his mood and:
KIRK
Status, Mr. Sulu?
6 OMITTED 6
& &
7 7
8 WIDER ANGLE 8
to include SULU and CHEKOV at forward stations, UHURA
at the communications post.
SULU
On course, Admiral. Estimating
Spacedock in two point one hours.
KIRK
Very well.
(a beat)
Mr. Chekov, I need pre-approach
scan... Take the science station,
please.
Chekov hesitates for a moment. Then:
CHEKOV
Yes, sir.
He rises and crosses to Spock's empty chair, as Kirk
continues.
KIRK
Uhura, any response from Starfleet
on our Project Genesis inquiries?
UHURA
No, sir, no response.
KIRK
Hmm.. Very odd.
(at chair, hits
comm button)
Scotty. Progress report?
9 INT. ENGINEERING TUBE 9
SCOTTY and an ENGINEER TRAINEE are working at a junc-
tion of circuitry.
SCOTTY
I'm almost done, sir. You'll be
fully automated by the time we
dock.
10 INTERCUT WITH BRIDGE 10
KIRK
Your timing is excellent, Mr.
Scott. You've fixed the barn door
after the horse has come home.
How much refit time till we can
take her out again?
SCOTTY
Eight weeks, sir.
(as Kirk opens
his mouth)
But you don't have eight weeks so
I'll do it for ya in two.
KIRK
(considers)
Mr. Scott. Have you always
multiplied your repair estimates
by a factor of four?
SCOTTY
Certainly, sir. How else can I
keep my reputation as a miracle
worker?
KIRK
Your reputation is secure, Scotty.
(a beat)
Mr. Sulu, take the con. I'll be
in my quarters.
SULU
Aye sir.
Kirk heads for the elevator, presses the door button.
He is about to enter when he is intercepted by TRAINEE
FOSTER, a young black officer too eager for protocol.
TRAINEE FOSTER
Sir... I was wondering...
Kirk turns.
TRAINEE FOSTER
(continuing)
Are they planning a ceremony when
we get in...? I mean, a
reception...?
KIRK
A hero's welcome, son? Is that
what you'd like?... Well, God
knows, there should be. This time
we paid for the party with our
dearest blood.
He enters the elevator, and the doors close.
11 OMITTED 11
12 INT. ELEVATOR - KIRK 12
Even as the doors close, his mood changes. The mantle
of command falls away and he allows himself the luxury
of his deeper feelings. Feelings of aloneness. And
grief. CAMERA IN CLOSE to HOLD this anguished moment.
Then, an intrusive interruption. Kirk covers hiss feel-
ings as:
12A WIDER ANGLE 12A
The elevator doors open at a floor and "BONES" McCOY
steps in. He is disheveled, unshaven -- and in a very
odd emotional place. He takes his place in the eleva-
tor and gazes at the ceiling as the doors close, and
the HUM BEGINS.
KIRK
... Bones.
McCOY
(stiffly)
Jim.
KIRK
(after a pause, with
growing irritation)
Are you planning to shave today?
McCOY
Quo vadis, Admiral...
KIRK
What is that supposed to mean?
McCOY
What is our destination?
KIRK
We'll be orbiting Earth in two
hours.
McCOY
Then we're headed in the wrong
direction.
KIRK
(warning)
Bones, don't do this. This is
me. Jim. Your friend.
McCOY
And I have been, and always shall
be, yours.
KIRK
Damn it, Bones, don't quote Spock
to me! I have enough pain of my
own and I don't need your -- self-
indulgence!
Bones, his eyes far away, turns to make contact. In a
matter-of-fact voice:
McCOY
You left me. You left me on
Genesis. Why did you do that?
KIRK
(aghast)
... What the hell are you saying?
Even Bones is stunned by what has come out of his
mouth. He tries to cope with his own disorientation.
McCOY
(shaken)
I don't know... I just...
(then, poignantly)
Why did we leave Spock?
KIRK
(firmly)
Bones!... You must deal with the
truth! He's gone.
Spock is gone. And we both have
to live with that.
Bones looks at Kirk for an agonized moment. Then, the
elevator comes to a stop, the doors opens. McCoy takes
a step out, then turns back to Kirk.
McCoy
I can't get him out of my head,
Jim. I'd give the whole state of
Georgia if someone could tell me
why.
McCoy leaves. The doors close on Jim Kirk's concern.
CUT TO:
13 SPACE - A STARFIELD - (ILM SHOT) 13
Over the vast emptiness we SUPER:
"SOMEWHERE IN ORGANIAN SPACE..."
As the SUPER FADES, a vessel drifts slowly INTO SCENE,
a dark-looking merchantman. She gives the impression
of drifting in space... of waiting.
14 INT. BRIDGE - MERCHANTMAN 14
Small and grubby; populated by three or four crewmen of
mixed special breeds, and a renegade CAPTAIN who sug-
gests a Federation traitor. And, lurking in the
shadows, her face concealed by a half-veil, what ap-
pears to be an exotically beautiful WOMAN of epic pro-
portions and mystery.
CAPTAIN
Steady... Steady, boys. Keep
scanning...
(beat)
I thought you people were
reliable... Where the hell is he!
WOMAN
He has been here for some time. I
can feel his presence.
CAPTAIN
Don't give me your Klingon mumbo-
jumbo -- there ain't another
vessel in this whole damn
quadrant.
WOMAN
Put me on the hailing frequency.
CAPTAIN
(sourly)
Sure - whatever games you wanna
play.
He shakes his head, presses a button and nods to her.
She now removes the veil, showing us a fascinating face
of Klingon features. The crew stare at her as she
speaks into a communication device. She is oddly un-
emotional.
WOMAN
Commander Kruge: this is
Valkris. I have obtained the
Federation data, and am ready to
transmit.
15 INT. BRIDGE - BIRD OF PREY (CLOAK EFFECT) - CLOSE - 15
KRUGE'S PET
A SHOCK CUT to a frightening creature, half timber
wolf, half lizard. His head is being rubbed by the
hand of the owner. We PAN UP from the beast with
Kruge's hand as it snaps switches.
KRUGE (O.S.)
Well done, Valkris... Stand by.
The PAN CONTINUES UPWARD to reveal BATTLE COMMANDER
KRUGE, a Klingon War Lord of handsome but frightening
presence, and relative youth. Now, in Klingon:
KRUGE
(Disengage cloaking device!)
There is a light change from CLOAK to DE-CLOAKED CON-
DITION, along with ELECTRONIC WHIRRING SOUNDS. CAMERA
PULLS BACK from man and beats during this to reveal the
entire Klingon bridge which suggests the relationship
of galley master to slave.
CUT TO:
16 SPACE - (ILM/DECLOAKING EFFECT) 16
We are SHOOTING PAST the merchantman in the f.g. to
watch the strange and gradual appearance of a vessel.
17 CLOSE ANGLE - BIRD OF PREY (ILM/DECLOAKING EFFECT) 17
Breathtaking. Skeletally at first, then filled in a
section at a time, a small deadly looking warship
forms. It is the Bird of Prey, a long-necked, scary
looking thing, with variable wing attitude which we
will see in time.
18 INT. BRIDGE - THE MERCHANTMAN 18
CAPTAIN
(staring)
What the hell...?
As he and the crew try to comprehend, a commanding
voice on SPEAKERS:
KRUGE (V.O.)
Well done, Valkris...Transmit data
on my command... Now!
The woman leans to the console. She inserts a small
rectangular object and presses a button.
19 INT. BRIDGE - BIRD OF PREY - (INTERCUT WITH 19
MERCHANTMAN)
Kruge rises from his regal station, crosses to a moni-
tor where OFFICER MALTZ adjusts incoming material. We
cannot see clearly what is coming in, but occasional
images suggest material concerning the Genesis Project.
As the high speed transmission ends:
VALKRIS (V.O.)
Transmission completed. You will
find it essential to your mission.
Maltz hands Kruge the completed recording. Kruge taps
it thoughtfully.
KRUGE
(Then you have seen it.)
WOMAN (V.O.)
(I have, my lord.)
KRUGE
(a cloud)
(That is unfortunate.)
WOMAN (V.O.)
(I understand.)
Kruge has a moment of hesitation. Then, to his
helmsman.
KRUGE
(Thrusters!)
20 EXT. BIRD OF PREY - (ILM SHOT) 20
The variable wings begin to dip like hawk's talons, and
the Bird begins an arcing maneuver...
21 INT. MERCHANTMAN 21
Uncertainty. The Captain turns to the Woman.
CAPTAIN
What's going on? When do we get
paid off...?
WOMAN
Soon, Captain... Quite soon.
(to communicator)
(Success, my lord -- and my love.)
22 INT. BIRD OF PREY - CLOSE - KRUGE 22
KRUGE
(You will be remembered with
honor.)
(to gunner)
(Fire.)
23 SPACE - THE TWO VESSELS - (ILM SERIES OF SHOTS) 23
The Bird of Prey, its wings in the menacing attack
position swoops toward the merchant ship. From the two
claw-like tips of the Bird of Prey, phaser beams (of a
new type) erupt, SIZZLE --
EXPLOSIONS rip the outside of the merchantman -
24 INT. MERCHANTMAN - (SPECIAL FX) 24
EXPLOSIONS and smoke cloud the murky small bridge; the
cries of the crew, the Captain's scream of outrage.
And through it all, in the smoke, the Woman's face.
Unperturbed. As a last act, she ritualistically covers
her face with her veil, as she is enveloped in smoke
and flames.
25 INT. BIRD OF PREY - (INTERCUT AS NEEDED WITH 25
MERCHANTMAN)
The SCREAMS AND CRIES of the merchant crew can be
heard. The Captain's voice rises above all these.
CAPTAIN (V.O.)
For God's sake, help us!
Please! We'll keep your damn
secrets, just don't let us die in
space!
Kruge turns impassively to his gunner, and nods. The
gunner presses the firing button.
26 SPACE - THE VESSELS - (ILM) 26
The Klingon Bird FIRES another salvo. The merchantman
is obliterated. Debris floats through the SHOT.
27 INT. BRIDGE - BIRD OF PREY 27
The screams have stopped. Kruge's beats reacts with
pleasure. Officer Maltz observes this, subtly wipes
his forehead, but making sure Kruge doesn't see him.
Kruge pets his beast, then straightens, recording in
hand.
KRUGE
I'll be in my quarters. Execute
course to the Federation Boundary.
MALTZ
Yes, my lord!
As Kruge starts out, the BEAST GROWLS. Kruge stops,
points a finger at a Klingon in the sub-deck below.
KRUGE
(Feed him!)
The Klingon nods vigorously as Kruge exits, then, with
his commander gone, casts a nervous glance beast-ward.
28 CREWMAN'S POV - THE SNARLING BEATS (ILM) 28
A face only a Klingon could love.
CUT TO:
29 EXT. SPACE - THE GENESIS PLANET - (ILM SHOT) 29
INTO SHOT comes USS Grissom, orbiting.
30 INT. BRIDGE - GRISSOM - CLOSE - SCIENCE MONITOR 30
Much visual display and BEEPING. PULL BACK to find
Saavik, David -- with Esteban over their shoulders.
SAAVIK
New orbit commencing... Coming up
on sector three...
DAVID
Short range scan.
SAAVIK
(activates; studies)
As before... Metallic mass...
Verifying triminium photon tube...
No new data.
DAVID
Check for trace radiation.
Infrared enhancement.
SAAVIK
(she responds)
... Radiation residual... Level is
minimal...
Suddenly the BEEPS are joined in harmony by a new and
subtly different SOUND. Saavik looks at David, who
moves closer to her screen, studying it with growing
intensity as she adjusts the controls, and the SOUND
INCREASES IN VOLUME.
DAVID
I don't believe it...
ESTEBAN
What is it?
SAAVIK
If equipment is functioning
properly, indications are -- an
animal life form.
ESTEBAN
(to David)
You said there wouldn't be any.
DAVID
There shouldn't be any. Only
plant forms were built into the
Genesis matrix.
SAAVIK
(she's re-checked)
Cross referenced and verified. An
unidentifiable life form reading.
COMM OFFICER
Do you wish to advise Starfleet,
sir?
ESTEBAN
Wait a minute...! We don't know
what we're talking about here...
DAVID
Why don't we beam it up?
ESTEBAN
Oh no you don't! Regulations
specifically state: "nothing
shall be beamed aboard until
danger of contamination has been
eliminated." Can you guarantee
that?
DAVID
Not from here, no.
SAAVIK
Captain... the logical alternative
is obvious... beaming down to the
surface is permitted...
ESTEBAN
"... If the Captain decides that
the mission is vital and
reasonably free of danger." I
know the book, Saavik.
DAVID
Captain, please -- we'll take the
risk. We've got to find out what
it is...
SAAVIK
... Or who.
The implication is not lost on Esteban. After a
moment:
ESTEBAN
All right -- get your gear. I'll
put you down next time around.
DAVID
Thank you... Sir!
CUT TO:
31 EXT. SPACE - THE EARTH - ORBITING SPACEDOCK - 31
(ILM SHOT)
with the grandeur of the horizon arc of the great blue
marble as a backdrop, Spacedock orbits. INTO SHOT
comes Enterprise, heading toward the waiting port.
32 INT. BRIDGE - USS ENTERPRISE - (ILM ELEMENTS) 32
The bustle and CRACKLING SOUNDS of approach procedure.
Kirk is in the Captain's chair, all others are on sta-
tions. Scotty has come up from below to watch the
show.
KIRK
Standby automatic approach system
... Advise approach control.
UHURA
Approach control... this is
Enterprise. Ready for docking
maneuver.
CONTROLLER (V.O.)
Enterprise is cleared to dock.
KIRK
Lock on!
SULU
Systems locked.
The bridge lights change to docking mode.
KIRK
Spacedock, you have control.
CONTROLLER (V.O.)
Affirmative, Enterprise. Enjoy
the ride, and welcome home.
KIRK
Enterprise confirms. With
thanks...
33 EXT. SPACEDOCK - SERIES OF SHOTS - (ILM) 33
The slowly rotating Spacedock is huge. Enterprise is
coming in on an arc-like course.
The great doors of Approach Threshold 15 slide open...
Enterprise, with unerring precision, slips from space
into the small opening afforded by the doors... and...
34 INT. SPACEDOCK - SERIES OF SHOTS - (ILM) 34
A huge, cavernous area, deigned as an orbital dock for
many space vessels. We see Enterprise entering this
great warehouse of ships through the doors, and proceed
at slow impulse power to her waiting birth.
35 ANOTHER ANGLE (ILM) 35
introducing NX 2000, Excelsior, a super starship. Her
lines are similar to Enterprise, but she is clearly
bigger, sleeker, and very new. She sits at her mooring
like the new Queen of Space.
35A INT. ENTERPRISE BRIDGE - FAVORING VIEWSCREEN - 35A
(ILM ELEMENT)
The Excelsior is on screen for all to see.
UHURA
Would you look at that?
KIRK
My friends, the great
experiment: Excelsior, ready for
trial runs...
SULU
She's supposed to have transwarp
drive...
SCOTTY
Aye. And if my grandmother had
wheels, she'd be a wagon.
KIRK
Mr. Scott...
SCOTTY
I'm sorry, sir, but as far as I'm
concerned, there's nothin' needed
for space travel that this old
girl doesn't already have.
KIRK
Come, come, Scotty. Young minds.
Fresh ideas.
(dryly)
Be tolerant.
36 INT. SPACEDOCK - THE CAFETERIA (FX SHOT WITH ILM 36
ELEMENTS)
THROUGH THE WINDOW of a Spacedock facility, a few
lounging Starfleet persons look up to see a memorable
sight...
... battle-scarred Enterprise is passing alongside of
the sleek Excelsior. Their size differential is
apparent (B-29 to B-17). Yet, Enterprise carries with
her a battle-scarred history of achievement. Some of
the Starfleet people begin to rise, silently. A stand-
ing ovation for a hero's return.
37 INT. ENTERPRISE BRIDGE - FAVORING KIRK 37
COMPUTER (V.O.)
Enterprise, stand by for final
docking procedure.
KIRK
Standing by... Mr. Sulu, activate
moorings... Stand by umbilical and
gravitational support systems...
SULU
Aye, sir, moorings activated... All
systems standing by...
CHEKOV
(abruptly)
Admiral... This is not possible.
KIRK
Mr. Chekov -- ?
CHEKOV
An energy reading from 'C" deck --
from inside Mr. Spock's
quarters...
KIRK
(not patiently)
Mr. Chekov, I ordered Spock's
quarters sealed!
CHEKOV
Yes, sir, I sealed the room myself.
Nevertheless -- I am reading a
life form there.
Kirk rises on the narrow edge of irritation.
KIRK
Mr. Chekov -- this entire crew
seems on the edge of obsessive
behavior concerning Mr. Spock.
(stays Chekov's protest)
I'll have a look... Mr. Sulu,
continue docking procedure.
He exits, as the rest of the crew reacts. Chekov
shrugs to all, indicating that he sees what he sees.
And the CAMERA MOVES CLOSE to his panel to verify his
belief. On screen -- an energy form is definitely
pulsating.
38 INT. ENTERPRISE CORRIDOR - ON ELEVATOR DOORS 38
as they HISS open, and Kirk appears. A SOFT ALARM is
BEEPING O.S. Kirk assesses this, his mood changing to
puzzled concern. He starts purposefully OUT OF SHOT.
39 CORRIDOR SECTOR - TRACKING WITH KIRK 39
He is walking quickly, as the ALARM SOUND increases in
frequency. He reacts: breaks into a trot, CAMERA
SPEEDING UP WITH him until he arrives at the entrance
to Spock's quarters. He examines with shock: a seal-
ant coating over the door has been forced with indica-
tions of great strength. The ALARM CONTINUES, LOUD
now. Kirk TURNS IT OFF with a touch, then cautiously
starts in, convinced the problem is real.
40 INT. SPOCK'S QUARTERS - LOW KEY LIGHTING 40
It is dark and shadowy as Kirk enters. He peers, try-
ing to adjust his eyesight to the darkness. He steps
forward carefully -- trips temporarily on some small
object -- but recovers. He moves slowly inward, then
stops, staring into the impenetrable dark. Then he
reacts, as we hear SPOCK'S VOICE. It is hoarse, raspy,
as it was in the final scene with Kirk in Star Trek
II. But is unmistakably Spock.
THE VOICE
Jim... Help me... take me... up
the steps... of Mount Seleya...
through the hall of ancient
thought...
41 CLOSE - KIRK 41
Shaken now. He strains into the darkness, looking --
41A KIRK'S POV 41A
CAMERA PANS the darkened room and COMES TO REST as we
see a shadowy figure in the far corner.
41B BACK TO KIRK 41B
as he starts forward, all senses alert. As he nears
the figure, whoever it is starts to flee, and Kirk
grapples with him, like Jacob with the dark Angel. And
Kirk pulls him down, panting, and the figure is il-
luminated by a shaft of light, and it is --
42 TWO SHOT 42
-- Bones McCoy. Emotionally drained, eyes wide --
KIRK
Bones, what the hell are you
doing? Have you lost your mind!
McCOY
(his own voice, but
raspy, drained)
... Help me, Jim... Take me home.
KIRK
That's where we are, Bones. we
are home.
McCOY
... Then perhaps there is still
time... Climb the steps, Jim...
Climb the steps of Mount Seleya...
KIRK
Mount Seleya? Bones, Mount Seleya
is on Vulcan! We're home on
Earth!
Bones looks at him, trying to comprehend. When he
opens his mouth; it is, for one brief moment, SPOCK'S
VOICE that emerges:
McCOY
(in Spock's voice)
Remember!
(and again)
Remember!
Kirk stares at him in shock as:
UHURA (V.O.)
Admiral: docking is completed.
Starfleet Commander Morrow is on
his way for inspection.
Kirk, still holding McCoy:
KIRK
Uhura! Get the medics down
here! Get them now!
He cradles McCoy who has gone limp.
KIRK
Bones, it's all right...
As he holds his friend, rocking him gently, we OVERLAP
the SHRILL SOUND of an ELECTRONIC BOATSWAIN'S PIPE.
CUT TO:
43 INT. ENTERPRISE TORPEDO BAY/DOCKING CHAMBER 43
The entire crew is assembled as the SOUND of the PIPE
FINISES -- and the great docking doors open.
SULU
Tetsch-hut!
STARFLEET COMMANDER MORROW enters, a distinguished
looking black man, followed by an AIDE. He crosses to
Kirk at the head of the review line.
KIRK
Welcome aboard, Admiral.
MORROW
Welcome home, Jim.
He reaches for Kirk's shoulders with affection.
MORROW
(continuing)
Well done.
He embraces Kirk. It is both a military courtesy, and
a personal expression, twenty-five years of comrade-
ship, service and sacrifice. Kirk is moved. When the
embrace breaks:
KIRK
Thank you, sir.
(wryly)
I take it this is not a formal
inspection.
A relieved ripple of laughter from all.
MORROW
No. At ease, everyone.
They relax in the glow of Morrow's smile. And he looks
about.
MORROW
(continuing)
Where's Doctor McCoy?
KIRK
(a beat)
Indisposed, sir.
MORROW
Ah, too bad... Well... You have
all done remarkable service under
the most -- difficult of
conditions. You'll be receiving
Starfleet's highest commendations,
and more importantly, extended
shore leaves.
A buzz of approval, then:
MORROW
(continuing)
That is, all but you, Mr. Scott.
They need your wisdom on the new
Excelsior... Report there tomorrow
as Captain of Engineering.
It is clear how Scotty feels about this honor:
SCOTTY
With all appreciation, sir, I'd
prefer to supervise the refit of
Enterprise.
MORROW
Yes, well... That really won't be
necessary...
SCOTTY
But sir -- this refit will take a
practiced hand. There's much to
do --
(a look at Kirk)
It could be months.
MORROW
No, Mr. Scott, I'm sorry... There
isn't going to be a refit.
A pall in the room. Kirk, as shocked as anyone.
KIRK
Admiral, I don't understand. The
Enterprise --
MORROW
Jim, the Enterprise is twenty
years old. We think her day is
over...
KIRK
But, we had requested -- we were
hoping to take her back to
Genesis...
MORROW
(a new concern)
Genesis?! Whatever for?
KIRK
Why -- a natural desire to help
finish the work we began!
MORROW
That's out of the question. No
one is going to Genesis!
KIRK
May I ask why...?
MORROW
(a sigh)
Jim, in your absence, Genesis has
become a galactic controversy...
Until the Federation Council makes
policy, you are all under orders
not to discuss with anyone your
knowledge of Genesis... Consider
it a quarantined planet. And a
forbidden subject.
On their baffled reactions we...
CUT TO:
44 EXT. SPACE - THE BIRD OF PREY - (ILM SHOT) 44
We are TRACKING with her through space. She is quite
visible, her wings in level configuration.
45 INT. BRIDGE - BIRD OF PREY - VERY CLOSE - MONITOR 45
At first we are disoriented. Jim Kirk's image FILLS
THE SCREEN talking right AT US.
KIRK'S IMAGE
To fully understand the events on
which I report, it is necessary to
review the theoretical data on the
Genesis Device...
We are PULLING BACK. The bridge is lit normally. On
screen, Kirk's voice now continues, describing what we
see: molecular charts, followed by a barren graphic
depiction of a planetoid. Toward it a torpedo arcs,
causing fire, inferno, and a resulting new surface,
capable of bearing life. (COMPUTER GRAPHIC, STAR TREK
II.) This is being watched on the bridge by Kruge,
Maltz, and OFFICER TORG, younger than Maltz, more gung-
ho.
46 INTERCUT - THE GENESIS TAPE 46
with the reactions of the two junior officers, seeing
it for the first time.
47 BACK TO SCENE 47
Kruge turns the machine off. He studies the two
officers. Then with quiet intensity:
KRUGE
So!
(to Torg)
Speak!
TORG
Great power... to control...
dominate... destroy. If it works.
Kruge considers the answer, turns to Maltz.
KRUGE
Speak.
MATLZ
(thoughtfully)
Impressive... They con make
planets... Possibilities are
endless... Colonies, resources...
KRUGE
Yes... New cities, homes in the
country... your woman at your
side... children playing at your
feet... and overhead, fluttering
in the breeze... the flag of the
Federation. Charming...
(hisses at Maltz)
Station!
MALTZ
Yes, my lord!
Maltz snaps to and leaves, chastened. Kruge turns to
Torg like a wily serpent.
KRUGE
It works. Oh yes, it works.
He presses a button and a new visual appears, Kirk's
VOICE heard OVER:
KIRK (V.O.)
"... It was this premature
detonation of the Genesis device
that resulted in the creation of
the Genesis planet..."
We see Enterprise fleeing the Genesis explosion (STOCK,
STAR TREK II). Torg is very impressed. Kruge turns
the visual off. Then, importantly:
KRUGE
Share this with no one.
TORG
Understood, my lord.
KRUGE
We are going to this "planet."
Even as our emissaries negotiate
for "peace" with the Federation,
we will act for the preservation
of our race! We will seize the
secret of this weapon. The secret
of ultimate power!
TORG
(whispered)
Success, my lord.
KRUGE
Station!
Torg crosses out, Kruge turns toward his chair, kneels
to pet his beast as we hear:
HELMSMAN (V.O.)
(My lord: approaching Federation
territory...)
KRUGE
(Steady on course... Engage
cloaking device!)
HELMSMAN (V.O.)
(Cloaking device -- engaged!)
Lights change... ELECTRONIC SOUND BEGINS... and:
48 EXT. SPACE - BIRD OF PREY - (ILM CLOAKING EFFECT) 48
The ship, sectionally, vanishes before our eyes.
CUT TO:
49 SPACE - THE GENESIS PLANET - (ILM) 49
USS Grissom is orbiting. We hear:
ESTEBAN (V.O.)
Transporter room, stand by to
energize...
50 EXT. SURFACE OF THE GENESIS PLANET - (BEAM DOWN 50
EFFECT)
We are PANNING. An area of great primal beauty, poet-
ic, romantic. A smoky haze persists. The PAN STOPS as
we hear a familiar ENERGY SOUND: And Saavik and David
begin to appear in the BEAM DOWN EFFECT.
51 CLOSER ANGLE - SAAVIK AND DAVID 51
fully materialized. They are equipped with scientific
backpacks. Their TRICORDERS BLEEP reassuringly, as
they look about.
SAAVIK
(looking as perplexed
as she can)
Saavik to Grissom. Request
computer study of soil samples for
geological aging.
DAVID
(cutting in)
I'll handle that later.
SAAVIK
My readings indicate great
instability.
DAVID
We're not here to investigate
geological aging, we're here to
find life forms!
His TRICORDER BLEEPS.
DAVID
(continuing)
Come on...
Saavik reacts to his tension with a questioning look.
Then they move off.
52 INT. GRISSOM BRIDGE - FAVORING ESTEBAN (INTERCUT 52
WITH SAAVIK)
He and his officers are monitoring the progress of the
landing party. DATA SOUNDS fill the bridge.
Then, LT. HINES points something out on a viewscreen.
ESTEBAN
Grissom to landing party. We have
you approaching radioactive
indications. Do you concur?
SAAVIK (V.O.)
Affirmative, Captain. Our
readings are well below danger
level.
ESTEBAN
Very well. Exercise caution,
Lieutenant. This landing is
Captain's discretion and I'm the
one who's out on a limb.
SAAVIK (V.O.)
I'll try to remember that,
Captain.
53 EXT. GENESIS PLANET - HIGH SHOT - SPOCK'S GLADE - DAY 53
David is in the lead, a distant figure, then stops to
take readings as Saavik catches up to him. Then to-
gether they start forward TOWARD US. As they approach,
HIGH CAMERA NOW LOWERS until it reveals, in f.g.,
Spock's casket.
54 EXT. GENESIS PLANET - SERIES OF SHOTS (ILM) 54
The two explorers take readings; they begin to realize
what they are heading for...
Their tempo increases, they follow their tricorders,
until...
55 EXT. GENESIS - SPOCK'S CASKET IN FOREGROUND 55
Saavik and David come INTO VIEW, close by, and stop,
seeing it.
DAVID
. .. Spock's tube...
SAAVIK
(steps forward,
points)
David --
He joins her, staring at:
56 POV - SPOCK'S CASKET - (ILM SHOT) 56
At the base of the tube, worm-like forms shimmy and
squirm. They are small , horrible, and unquestionably
alive.
57 SAAVIK AND DAVID 57
They try to maintain their scientific objectivity, in
spite of their horror -- and their disappointment at
not finding some trace of Spock.
DAVID
Well. There's your life form
reading. These were microbes on
the tube's surface. We shot them
here from Enterprise.
(with irony)
They were fruitful, and
multiplied.
SAAVIK
But... How could they have evolved
so quickly...?
David doesn't answer, his curiosity caught by something
else. He starts slowly forward, Saavik Following
close. Their tricorders begin to register higher radia-
tion levels as they approach the tube.
58 SERIES OF SHOTS - (PRODUCTION & ILM) 58
David and Saavik's faces as they approach.
Feet step among the wormy creatures to gain access to
the tube. (ILM)
Even the unemotional Saavik reacts to this.
David reaches the tube, raises the lid of Spock's bier.
He looks inside, and sees:
59 DAVID'S POV INTO SPOCK'S CASKET 59
It is empty, except for some kind of rumpled black
cloth.
60 BACK TO DAVID 60
He reacts, stunned.
DAVID
Saavik... He's gone.
He reaches in, withdraws the shroud-like cloth, and
hands it to Saavik. As she touches, she knows.
DAVID
(continuing)
What is it?
SAAVIK
Spock's burial robe.
As they stare at each other without answers, the planet
makes a gentle RUMBLING SOUND -- then the ground qui-
vers slightly.
And in the far distance, a poignant CRY is heard. A
young animal in pain, perhaps. Saavik and David do not
know.
CUT TO:
61 INT. KIRK'S APARTMENT - VIEW OF THE BAY - NIGHT 61
Tranquil. We hear the SOUNDS of HARBOR and distant
CITY. We are PULLING BACK, past Kirk as he stares qui-
etly at the view, a glass in hand. Then he turns
'round, raises his glass in a toast.
KIRK
Absent friends.
ANGLE WIDENS to include Uhura, Chekov and Sulu, who
toast in response, and drink.
SULU
... Admiral, what's going to
happen to Enterprise?
KIRK
She's to be decommissioned.
CHEKOV
Will we get another ship?
KIRK
I can't get an answer. Starfleet
is up to its brass in galactic
conference. No one has time for
those who only stand... and wait.
Kirk sips his drink thoughtfully, as do all. Then:
UHURA
How is Doctor McCoy, sir?
KIRK
That's the good news. He's home
in bed, full of tranquilizers, and
he promised me he'd stay there...
They say it's exhaustion...
(a sigh)
We'll see.
A DOOR CHIME.
KIRK
(continuing)
Ah. Mr. Scott, fresh from the
world of transwarp drive... Come!
They all turn toward the door. We hear it WHIRR open,
O.S. Their expressions change and they stare at:
62 THEIR POV - ANGLE TOWARD THE DOOR 62
A tall, mysterious figure in a hooded Vulcan robe walks
slowly toward us, then stops, CLOSE, face unseen. Is
it Bones?... A Spock apparition? The figure removes
his hood, revealing the distinguished older features
of:
63 BACK TO GROUP - FAVORING KIRK 63
KIRK
(astonished)
Sarek!
A hush of wonder falls over all. The ANGLE WIDENS as
AMBASSADOR SAREK comes to Kirk.
KIRK
(continuing)
Ambassador, I -- I had no idea you
were here...
(then)
I think you know my crew...
SAREK
I will speak with you alone, Kirk.
Kirk turns to his crew. They look at him questioningly.
KIRK
Excuse us, please.
The crew, their concern showing, leave their glasses
and file out. Sarek steps to the bay window, looks out
in contemplation, his back to Kirk. With the others
gone, Kirk comes up behind Sarek. A pause. Then:
KIRK
(continuing)
Sarek... I would have come to
Vulcan... to express my deepest
sympathies...
SAREK
(raises a hand)
Spare me your human platitudes,
Kirk. I have been to your
Government. I have seen the
Genesis information, and your own
report.
KIRK
Then you know how bravely your son
met his death.
SAREK
"Met his death"?
(turning on Kirk)
How could you, his friend, have
assumed that? Why did you leave
him on Genesis! Spock trusted you
-- and you denied him his future!
KIRK
I -- saw no future --
SAREK
You missed the point, then and
now... Only his body was "in
death," Kirk! And you were the
last one to be with him.
KIRK
Yes, I was...
SAREK
Then you must know that you should
have come with him to Vulcan.
KIRK
But -- why?
SAREK
Because he asked you to! He
entrusted you with his very
essence -- with everything
was not of the body. He asked you
to bring him to us -- and to bring
that which he gave you: his
Katra. His living spirit.
KIRK
(deeply, quietly)
Sir. Your son meant more to me
than you can know. I'd have given
my life if it would have saved
his. You must believe me when I
tell you that he made no request
of me!
SAREK
He would not have spoken of it
openly.
KIRK
Then, how --
SAREK
(interrupting)
Kirk, I must have your thoughts.
May I join your mind?
KIRK
Of course...!
Sarek steps close to Kirk as CAMERA PUSHES IN VERY
CLOSE. Sarek's hands are on Kirk's temples in familiar
splayed fashion. And the eyes of both men are closed.
64 MIND MELD SEQUENCE 64
(This can be LITERAL, or can be illustrated by SUB-
LIMINAL FILM from TREK II. To be determined.)
Strange, SUB-MUSICAL SOUNDS underscore. The music of
Vulcan, unlike anything we have ever heard before.
After a moment:
SAREK
... He spoke of your friendship.
KIRK
(semi-trance)
Yes...
SAREK
He asked you not to grieve...
KIRK
... Yes...
SAREK
... The needs of the many outweigh...
KIRK
... The needs of the few...
SAREK
... Or the one.
KIRK
... Spock...
SAREK
I have been... and always shall
be... your friend. Live long...
and prosper!
KIRK
... No...!
`
Kirk, bathed with sweat, suddenly shudders in pain.
Sarek opens his eyes, removes his hands. He touches
Kirk with gentleness as Jim recovers, opens his eyes.
65 ANGLE - SAREK AND KIRK 65
SAREK
Forgive me. It is not here. I
assumed he had mind-melded with
you. It is the Vulcan way when
the body's end is near.
KIRK
But he couldn't touch me...! We
were separated!
SAREK
I see... and I understand.
(rises wearily)
Then everything that he was...
Everything that he knew... is
lost. And when I return home
empty-handed, many shall mourn.
He turns now, starting for the door. Kirk stops him
with an agonized wail:
KIRK
Please wait!... Surely he would
have found a way! If there was so
much at stake -- Spock would have
found a way!
SAREK
(hesitating)
Yes... But -- how...?
KIRK
(rising)
Sarek!... What if he melded with
someone else?!
On their exchange of looks --
66 INT. SMALL ELECTRONIC CENTER 66
We are VERY CLOSE on an electronic screen. There is
the frozen face of Spock with his hand splayed on the
engine room glass. A mechanical voice tells us:
COMPUTER VOICE
Engine Room, Flight Recorder
Visual. Stardate 8128 point seven
eight, point seven eight, point
seven eight --
KIRK (V.O.)
Back. Point seven seven.
The tape begins to speed backwards in a scrambled
image.
67 REVERSE ANGLE - CLOSE - KIRK (INTERCUT WITH SCREEN) 67
His face intense. The SOUND of BACKWARD TAPE is heard.
Then it stops.
On screen: Spock and Kirk in their final conversation.
Kirk watches a moment, painfully, then breaks off:
KIRK
Back. Point seven six.
The computer responds. More BACKWARD SOUND, then:
COMPUTER VOICE
Flight recorder visual. Stardate
8128 point 76, point 76 --
KIRK
Go.
The tape activates. On screen we watch Spock enter the
engine room, go to the console. He make a few adjust-
ments then heads for the radiation room where he is
intercepted by McCoy.
Kirk stares in growing fascination.
McCoy talks to Spock briefly. Spock tricks McCoy into
looking away, then applies the Vulcan nerve pinch.
Bones falls.
On screen: Spock moves close to McCoy, takes gloves
from the unconscious Scott, then places his hand on
McCoy's temple.
SPOCK'S IMAGE
Remember.
KIRK
Hold!
He stares at the frozen image, then:
KIRK
(continuing)
Augment and repeat!
The CAMERA ZOOMS IN a TIGHT TWO SHOT. The action
repeats:
SPOCK'S VOICE
Remember!
KIRK
(breathlessly)
Freeze...!
The image of the critical mind meld is there to see.
Kirk is stunned.
CAMERA ANGLE WIDENS now, to reveal for the first time
that Sarek is with Kirk in the shadowy room.
KIRK
Bones!...
SAREK
One alive, one not. Yet both in
pain.
KIRK
What must I do?
SAREK
You must bring them to Mount
Selaya -- on Vulcan. Only there
is the passage possible. Only
there can both find peace...
KIRK
What you ask is difficult.
SAREK
You will find a way, Kirk. If you
honor them both, you must.
Kirk looks at the screen, examines all that is clear to
him, and accepts the truth of Sarek's challenge.
KIRK
I will. I swear.
Over his determined face, we hear a weird OVERLAPPED
SOUND: the strange CRY OF PAIN from the Genesis
Planet.
CUT TO:
68 OMITTED 68
69 EXT. GENESIS PLANET - AREA 2 69
A different texture than the Spock Glade. Cactus
growth, seeming desert, yet... slightly gnarled,
slightly off. Over this empty landscape there is
another trembling of the earth. And again, the CRY.
70 UP ANGLED - AREA 2 70
The SOUND OF RUNNING FOOTSTEPS. Then David and Saavik
run INO SHOT staring O.S. as the CRY repeats itself.
They stare O.S. and see:
71 THEIR POV - VISTA - (ILM SHOT) 71
Past the tall cactus in f.g., we see snow-covered ter-
rain in the middle distance. The CRY is heard once
more.
72 BACK TO THEM 72
SAAVIK
We hear it whenever the ground
quakes.
David's tricorder is making LIFE FORM SOUNDS. Saavik
whips out her communicator.
SAAVIK
(continuing; to
communicator)
Captain, this is Saavik. We have
strong life sign readings bearing
zero-one-five relative, and we are
proceeding to investigate.
ESTEBAN (V.O.)
We concur, Saavik. And Saavik...
be advised we are reading a severe
and unnatural age curve on the
planet. I'm getting nervous...
SAAVIK
(a look to David)
Do you have an explanation?
DAVID
Later. Let's go...
SAAVIK
Grissom, your message acknowledged.
Will advise... Out.
And she hurries after David.
73 INT. BRIDGE - GRISSOM - FAVORING ESTEBAN 73
ESTEBAN
USS Grissom, out.
(bends over his
science station)
What the hell's going on down
there?!
74 EXT. GENESIS PLANET - AREA 3 - SNOWSCAPE (ILM -- 74
VISTAVISION)
David leading, Saavik catching up as they enter a snow-
covered patch of ground. CAMERA TRACKS with them now
as the WIND begins to HOWL, and the first visible snow-
flakes begin to fall. As the wind and snow increase,
causing them to hold their hands up against the ele-
ments, they stop and stare outward.
75 THEIR POV 75
In the snow-covered landscape ahead of them, a series
of tracks. Small, indeterminate. They lead ahead.
76 BACK TO SAAVIK AND DAVID 76
They respond. The WIND HOWLS, but they start forward.
CUT TO:
77 INT. STARFLEET OFFICER'S LOUNGE - ADMIRAL MORROW 77
- NIGHT
MORROW
No. Absolutely not, Jim, it's out
of the question!
ANGLE HAS WIDENED to include Kirk, a passionate Kirk.
KIRK
(deeply)
Harry. I'm off the record now.
I'm not speaking as one of your
staff. I'm talking about thirty
years of service. I have to do
this, Harry. It has to do with my
honor, my life -- everything I put
any value on.
The intimacy of the conversation is broken by a star-
fleet steward who bears drinks. Kirk sits in frus-
trated suspension until the steward leaves. Then Kirk
tries to resume his plea, but Morrow stays him.
MORROW
Jim... You are my best officer and
if I had a best friend, you'd be
that too. But I am Commander,
Starfleet, so I don't break rules!
KIRK
Don't quote rules, Harry! We're
talking about loyalty.
And sacrifice. One man who died
for us, another who has deep
emotional damage --
MORROW
Now wait a minute! This business
about Spock and McCoy... Honestly,
I have never understood Vulcan
mysticism -- I'm sorry! But part
of me doesn't want you to make a
fool of yourself... Understand?
KIRK
Harry, you don't have to believe!
I'm not even sure I believe. But
if there's even a chance that
Spock has an eternal soul -- then
that is my responsibility.
MORROW
Yours...?!
KIRK
As surely as if it were my own!
(deeply)
Harry, give me back the
Enterprise! With Scotty's help...
MORROW
No, Jim! Enterprise would never
stand the pounding.
KIRK
Then I'll find a ship -- I'll hire
a ship.
MORROW
Out of the question! The Council
has ordered that no one but the
science team goes to Genesis!
KIRK
(desperately)
Then let me speak to the
Council! Harry, please! I can
make them understand!!
Kirk's voice and passion has risen enough to now
gather a response from neighboring tables. Kirk re-
alizes; he checks himself, draws slightly back. Morrow
is firm.
MORROW
No, you understand...! The
Council has its hands full with
Klingons and Romulans! They're
trying to hammer out a treaty on
the Genesis Device and they
haven't got time for your personal
views on friendship and
metaphysics!
(beat)
Jim! Your life and your career
stand for rationality, not
intellectual chaos. Keep up this
emotional behavior and you'll lose
everything. You'll destroy
yourself!
(deeply)
Do you hear me, Jim?
Kirk looks for a long moment, then sighs, his body
sagging.
KIRK
Yes... I hear you.
(a beat)
I just had to try.
MORROW
Of course... Now take my
suggestion, enjoy your leave --
and let all this tension blow
away.
KIRK
(a sigh)
You're right.
(toasts)
Thanks for the drink.
MORROW
Any time.
Kirk rises with a smile, starts out. HOLD on Morrow.
78 MOVING WITH KIRK 78
He crosses the room filled with Starfleet senior
officers, CAMERA TRACKING until he passes out of the
main room, into the entry room -- where we are sur-
prised to see Sulu and Chekov waiting for him conspir-
atorially. Kirk stops close to them, looks about cau-
tiously.
SULU
The word, sir?
KIRK
The word is no.
(a beat)
I am therefore going anyway.
SULU
Count on our help, sir.
KIRK
I'll need it, Sulu.
CHEKOV
Shall I alert Dr. McCoy?
KIRK
Yes. He has a long journey ahead.
CUT TO:
79 INT. BAR - NIGHT 79
A crowded, smoke-filled watering hole of the twenty-
third century, filled with a smattering of civilians,
Starfleet personnel, and visitors from strange and far-
off civilizations. It does not have the bizarre quali-
ties of the "Star Wars Bar" which is across the
street.
McCoy is discovered entering the bar. He is haggard,
less than clean shaved. He appears to be looking for
something as he starts forward.
80 HIS POV - MOVING THROUGH THE BAR (ILM ELEMENT) 80
noting patrons at the twenty-third century equivalent
of video games, darts. We see two people playing at a
holographic version of a video game, in which World War
1 biplanes are engaged in 3-d combat... and a dart
player throwing pneumatic jet propelled darts...
81 BACK TO McCOY 81
Not finding what he is looking for, he settles into a
small alcove. A seedy, but attractive WAITRESS ar-
rives.
WAITRESS
Long time, Doc.
McCOY
Yeah... Anyone... been looking for
me?
WAITRESS
I have... But what's the use?
(a smile)
What'll it be?
McCOY
Altair water...
(grandly)
Specially carbonated from
underground fissures.
WAITRESS
Not your usual poison.
McCOY
(confused)
To expect one to order poison in a
bar is not logical.
(he catches
himself)
Excuse me... I'm on medication.
WAITRESS
Got it.
She leaves. McCoy scans the room. He picks out some-
one approaching.
82 ANGLE - THE ALIEN 82
an exotic-looking grubby fellow with a big grin, making
his way unmistakably to McCoy's booth. PULL BACK with
him as he reaches it, and slides in ebulliently.
ALIEN
Hello! Welcome to your planet.
McCOY
I think that's my line, stranger.
ALIEN
Oh, forgive. I here am new. But
you are known, being McCoy from
Enterprise.
McCOY
You have me at a disadvantage,
sir. You are --
ALIEN
I name not important. You seek
I. Message received. Available
ship stands by.
McCOY
Good. How soon and how much?
ALIEN
How soon is now. How much is
where?
McCOY
Where...
ALIEN
Is yes. Where?
McCOY
... Somewhere in the Mutara
Sector.
ALIEN
Oh. Mutara restricted. Take
permits many. Money, more.
McCOY
There aren't going to be any damn
permits!
(checking room)
How can you get a permit to do a
damn illegal thing?!
(then)
Look, price you name, money I got.
ALIEN
You name place, I name money.
Otherwise, bargain, no.
McCOY
(getting louder)
Alright, dammit. It's Genesis.
The name of the place we're going
is Genesis.
ALIEN
(genuinely
shocked)
Genesis!
McCOY
Genesis, yes. How can you be deaf
with ears like that?
ALIEN
Genesis allowed is not... Is
planet forbidden.
McCOY
Now listen to me, my backwards
friend!
(grabs the Alien
by the collar)
Genesis may be "planet forbidden,"
but I'm damn well --
McCoy is interrupted by a hand on his arm. He looks up
to see a nondescript-looking CIVILIAN, with a gentle,
ingratiating manner.
CIVILIAN
Sir... I'm sorry, but your voice
is carrying. I don't think you
want to be discussing this subject
in public.
McCOY
I'll discuss what I like, and who
the hell are you?!
CIVILIAN
Could I offer you a ride home, Dr.
McCoy?
McCOY
Where's the logic in offering me a
ride home, you idiot! If I wanted
a ride home, would I be trying to
charter a space flight?!
(then)
How the hell do you know who I am?
CIVILIAN
Federation Security, sir.
It's a bad moment for the agent to have announced him-
self. A desperate Bones releases the Alien and rises
to his feet just as the Waitress arrives with his Alt-
air water on a tray. The Altair water spills on the
Alien.
83 SERIES OF CUTS 83
The Alien, hit by the water, leaps to his feet in rage.
The Waitress is knocked into a group of people.
More spilling of drinks.
A bystander, thinking the Alien hit the Waitress, hits
him.
A general scuffle begins.
Meanwhile, McCoy tries to race around the "Civilian's"
end of the confusion, but the agent (very big), grabs
him. Bones, in confusion and panic, suddenly turns,
wild-eyed, and attempts a Vulcan nerve pinch on his
tormentor. The nerve pinch has absolutely no effect,
and the agent stares at Bones for a long moment.
CIVILIAN
You're going to get a nice, long
rest, Doctor.
He ushers Bones out as the brouhaha continues in b.g.
CUT TO:
84 EXT GENESIS PLANET - AREA 3 - SNOWSCAPE 84
It is snowing now, and the WIND WAILS as Saavik and
David appear and come forward into a CLOSE SHOT. The
life sign sound of their TRICORDER is BEEPING faster
now as they peer ahead into the snow. Then Saavik
suddenly points:
85 POV - THROUGH THE SNOWFALL 85
Something alive moves across the front, obscured by
snow and terrain.
86 BACK TO THEM - MOVING CAMERA (INTERCUT WITH POV) 86
As they start forward into the snow, Saavik drawing her
phaser. They peer ahead, seeing nothing but the BLEEP
of their tricorder which they follow like a beacon.
Their POV MOVING through the snow flurry, catches an
occasional hint of something ahead which spurs them on.
Then, with the TRICORDER BEEP indicating very close
proximity, they stop and intuitively Saavik indicates
to David to turn the tricorder off. As the beep stops,
they listen and hear the tiniest of WHIMPERS amid the
WIND. They start out excitedly...
87 THE CREVICE (AND INTERCUT POV'S) 87
as Saavik and David approach. Stop. TRICORDER back
on. Big reading. They step forward through the snow
flurry to see:
88 INT. THE CREVICE - THE BOY 88
A wild thing with scraggly hair, perhaps nine or ten
years old. He covers his nakedness as he shivers in
the cold clutching an injured leg; he watches the
strangers, and their BEEPING machine in hypnotic fear.
89 THE SCENE - IN THE CREVICE 89
At Saavik's gesture, David turns off his tricorder.
Saavik moves close. As she touches the Boy's leg, he
pulls back and she reaches out to his face, and touches
his cheek softly. he accepts watchfully. Then Saavik
slides her hand slowly and parts the scraggly hair.
The Boy is a Vulcan.
Saavik and David exchange and astonished look. Then she
covers the boy with Spock's robe, and in Vulcan:
SAAVIK
(I am Saavik... Can you speak?)
The Boy does not respond. Saavik looks to David.
DAVID
(in awe)
The Genesis Wave... His cells
could have been regenerated...
Reformed --
Quietly, so as not to alarm the Boy, Saavik opens her
communicator and reports softly:
SAAVIK
Captain, this is Saavik. Come in, please...
ESTEBAN (V.O.)
Yes, Saavik, go ahead...
SAVVIK
We have found the life sign. It
is a Vulcan child, perhaps eight
to ten years of age.
ESTEBAN (V.O.)
A child! That's extraodinary.
How did he get there?!
SAAVIK
It is Dr. Marcus' opinion that
this is -- that the Genesis effect
has in some way regenerated --
Captain Spock.
90 INT. BRIDGE - GRISSOM - FAVORING ESTEBAN (INTERCUT 90
WITH PLANET)
There is a moment of uncertainty between Esteban and
his science officers that should be one of the grand
laughs of this film.
ESTEBAN
(slowly and
carefully)
Ah, Saavik, that's, ah,
extroadinary. What would you,
ah, like to do next?
SAAVIK (V.O.)
Request permission to beam aboard
immediately.
ESTEBAN
Saavik... Does Dr. Marcus think
there could be -- any chance of --
ah -- radioactive contamination?
SAAVIK (V.O.)
None that I can detect, sir.
ESTEBAN
Well, all the same, I'm going to
advise Starfleet and get
instructions.
On the planet, Saavik and David exchange a frustrated
look.
SAAVIK (V.O.)
I'm sure Starfleet would approve,
sir.
ESTEBAN
I know, but -- let's do it by
the book. Stand by on this channel.
(to Comm Officer)
Go.
COMM OFFICER
Starfleet Command, this is the USS
Grissom on sub-space coded channel
ninety eight point eight. Come
in, please...
There is an odd SOUND on the speakers. Below, David
and Saavik wait impatiently. Then, on the bridge:
COMM OFFICER
(continuing)
Sir... Something's jamming our
transmission. An energy surge.
ESTEBAN
Locate.
COMM OFFICER
Surge from astern, sir. Aft
quarter!
ESTEBAN
On screen.
On MONITOR, a starfield aappears, with some kind of
energy interference. A heat-like distortion of one
area of the picture is evident. Then, suddenly, by
means of the de-cloaking effect, the Bird of Prey is
dead on a at close range in attack configuration.
ESTEBAN
Oh, my God!
91 INT. BRIDGE - BIRD OF PREY - FAVORING KRUGE 91
& &
91A 91A
KRUGE
(Tube one, target, engine section
only!)
GUNNER
(Ready!)
91B SPACE - BIRD OF PREY STALKS GRISSOM - (ILM) 91B
92 BACK TO BRIDGE - GRISSSOM (INTERCUT WITH PLANET & BIRD 92
OF PREY)
ESTEBAN
Red alert! Raise shields!
SAAVIK (V.O.)
Captain, what's happening?!
ESTEBAN
We are under attack! Stand by for
evasive -- stand by for --
93 INT. BIRD OF PREY 93
KRUGE
(Fire!)
94 EXT. SPACE - GRISSOM F.G., BIRD OF PREY, CLOSE B.G. - 94
(ILM)
The BIRD FIRES A Klingon PHOTON TORPEDO which WHOOSHES
the relatively short distance to the peaceful Grissom
and, shockingly -- blows her to bits with one shot.
95 THE GENESIS PLANET - SAAVIK, DAVID - THE BOY 95
SAAVIK
Captain!... Come in, Captain!
96 INT. BRIDGE - BIRD OF PREY 96
Kruge turns to his gunner.
KRUGE
(I told you, engine station
only!!)
Kruge's BEAST GROWLS.
GUNNER
(A fortunate mistake, sir...)
KRUGE
(I wanted prisoners!)
The BEAST GROWLS again as Kruge, in a rage, pulls out
his phaser and FIRES, obliterating the Gunner. No one
in the crew seems to take this as unusual behavior.
And Kruge adds, for his own justification:
KRUGE
(continuing)
Animal!
Kruge's beast adds his contempt to this message. As
Kruge stalks from his chair --
TORG
Sir, may I suggest --
KRUGE
(whirling)
Say the wrong thing, Torg, and I
will kill you too!
TORG
I only meant, my lord, that if
it's prisoners you want --
(points to screen)
There are life signs on the
planet. Perhaps the very
scientists you seek.
Kruge cocks an eye, examines the screen.
KRUGE
Very good.
97 GENESIS PLANET - THE CREVICE 97
SAAVIK
... Grissom... This is Saavik on
emergency frequency... Come in
please...!
STATIC is heard on her communicator. She folds it
closed in resignation. That unnerves David.
DAVID
Saavik... My god, what happened to
them?
SAAVIK
It would seem that Grissom was
destroyed by an enemy attack.
DAVID
You mean, we're stranded down
here?!
SAAVIK
Logic indicates that is the case.
DAVID
How can you be logical at a time
like this?! We have to get thee
hell off this planet!
SAAVIK
That may be difficult...
DAVID
Why don't you just call for help!
SAAVIK
I have already made one
transmission too many...
David looks at her, understanding now, looks away in
despair. He covers his face with his hands now.
SAAVIK
(continuing)
It's time for total truth between
us.
(then)
This planet is not what you
intended, or hoped for, is it?
DAVID
(ironically)
Not exactly.
SAAVIK
Why?
DAVID
(a pause)
I used protomatter in the Genesis
matrix.
SAAVIK
Protomatter. An unstable
substance which every ethical
scientist in the galaxy has
denounced as dangerously
unpredictable.
DAVID
(defensive)
It was the only way to solve
certain problems --
SAAVIK
Did your collaborator know?
DAVID
My mother knew nothing about it.
That's why I asked her to leave
Genesis in my hands.
SAAVIK
So, like your father, you changed
the rules...
DAVID
If I hadn't, it might have been
years -- or never!
SAAVIK
And how many have paid the price
for your impatience? How many
have died? How much damage have
you done... And what is yet to
come?
David looks at her, accepting the truth of what she
says.
CUT TO:
98 INT. PRISON CELL - CLOSE SHOT - NIGHT 98
Bones McCoy is lying on a cot; we are not yet certain
of his mental state, though he looks like a man with a
very bad hangover. From O.S.:
GUARD 1 (V.O.)
You got a visitor, Doc.
(then)
Make it quick, Admiral. They're
moving him to the Federation funny
farm.
99 ANGLE TOWARD CELL DOOR 99
Kirk and GUARD 1 stand in the doorway which is framed by
line of light indicating a force field. Kirk is in
civilian clothes.
KIRK
Yes, poor friend. I hear he's
fruity as a nutcake.
GUARD 1
Two minutes.
The Guard places an electronic "key" against a plate on
the wall. Force light blinks out. As Kirk enters the
cell, the Guard reactivates the force field and leaves.
Kirk moves quickly to Bones, kneeling beside him.
McCOY
Jim --
KIRK
Shhh. How many fingers up?
Kirk holds up his hand in the Vulcan salute, fingers
splayed.
McCOY
That's not very damn funny.
KIRK
(reaches in pocket)
Good, your sense of humor's
returned.
McCOY
The hell it has.
Kirk withdraws syringe.
McCOY
(continuing)
What's that?
KIRK
Lexorin.
McCOY
Lexorin?! What for?
KIRK
You're suffering from a Vulcan
mind meld, Doctor.
McCOY
... Spock?!
KIRK
That's right.
McCOY
... That green blooded son of a
bitch!... It's his revenge for all
the arguments he lost...
KIRK
Give me your arm. This will make
you well enough to travel.
(re syringe)
How do you do this anyway?
100 INT. PRISON OUTER OFFICE - ANGLE ON ENTRY DOOR - NIGHT 100
A SECOND GUARD is on duty with GUARD 1 as the door
slides open and Sulu enters with some urgency.
SULU
Where's Admiral Kirk?
GUARD 1
He's with the prisoner.
SULU
Get him quickly. Commander,
Starfleet wants him right away.
Guard 1 fishes for his electronic key and leaves.
Guard 2, a big, paunchy man, stretches his girth and
yawns.
SULU
(continuing)
Keeping you busy?
GUARD 2
Don't get smart, Tiny.
101 CELL ENTRY AT DOORWAY 101
Guard 1 applies his device to the cell electronic
plate. Force fields blink out.
GUARD 1
Admiral... Starfleet is...
KIRK
(stops him)
This man is sick! Look at him!
As the Guard moves to Bones, Kirk drops him with a
martial chop.
KIRK
(continuing)
Can you move?
McCOY
Yah -- that's great stuff.
And they start out of shot.
102 PRISON OFFICE 102
A BUZZING is heard from the Guard's console. Guard 2
picks up an earpiece (like Uhura's), holds it to ear
and answers.
GUARD 2
Sixth Floor Holding... Yah, come
up and get him, his visitor's just
leaving.
(a beat)
What? Well, some Admiral name of
-- Kirk.
(much squawk
in ear)
Well how am I supposed to
know -- ? He's a damn Admiral!
He unplugs furiously, rises determinedly, and starts
for the door which, just before he reaches it, slides
open, revealing Kirk and Bones.
GUARD 2
(continuing)
What the hell's going --
He is cut short by a savage martial chop delivered by
Sulu from behind.
SULU
The side elevator. Agents on
their way up.
Kirk nods and, followed by Bones, moves to the outer
door, opens it, and they hurry out. Meanwhile, Sulu
has stepped to the master console, a bank of flashing
lights and comm equipment. He reaches underneath with
an electronic device, then steps back as the entire
console shorts itself to oblivion in a shower of sparks
and electronic pain. Sulu starts out of the room, but
cannot resist stopping for a split second over the
fallen body of Guard 2.
SULU
(continuing)
Don't call me Tiny.
As Sulu hurries after the others, we PUSH gently to the
fallen giant, sleeping peacefully.
103 INT. ELEVATOR - SULU, BONES, KIRK 103
Kirk whips out his communicator as they descend.
KIRK
Unit two, this is One. The
Kobayashi Maru has set sail for
the promised land. Acknowledge.
CHEKOV (V.O.)
Message acknowledged. All units
will be informed.
Kirk flips his communicator closed. McCoy raises an
eyebrow.
McCOY
You're taking me to the promised
land?
KIRK
... What are friends for?
104 INT. SPACEDOCK - USS EXCELSIOR - (ILM SHOT) 104
The new Queen of Space is quietly docked, floodlit like
a great monument, but essentially in bed for the night.
105 INT. DESERTED CORRIDOR - EXCELSIOR 105
Mr. Scott, looking cautiously around, stands by the
elevator door in the empty corridor. The elevator door
opens, and as Scott is preparing to step in, CAPTAIN
STYLES steps out. Styles is an officer about Kirk's
age. If he's a little stuffy, it's pardonable; he
does, after all, have the plum assignment in all of
Starfleet.
STYLES
Ah, Mr. Scott. Calling it a
night?
SCOTTY
Ah, yes, Captain.
STYLES
Turning in myself. Looking
forward to breaking some of
Enterprise's speed records
tommorrow.
SCOTTY
Yes, sir. Good night.
The doors of the elevators close, leaving Scotty alone
inside. A slightly condescending MALE VOICE says:
ELEVATOR (V.O.)
Level please!
SCOTTY
Transporter room.
ELEVATOR (V.O.)
Thank you.
SCOTTY
Up your shaft.
106 INT. SPACEDOCK - ON USS ENTERPRISE - (ILM SHOT) 106
In contrast to Excelsior, she seems a ghost ship, unlit
and without signs of activity.
107 INT. TRANSPORTER ROOM - ENTERPRISE (ILM SHOT) 107
Eerie. Dark. A mysterious hand throws a switch at the
transporter panel, and the resulting glow reveals
Chekov. A BEAMING SOUND is heard and:
Mr. Scott materializes on a pod
CHEKOV
Welcome home, Mr. Scott.
SCOTTY
Thank you, Chekov... Let's get
some life in the old girl.
108 INT. A SHABBY TRANSPORTER STATION - ON UHIRA - NIGHT 108
UHURA
(into comm)
Roger. Old City Station at 2200
hours. All is well.
She releases comm and methodically begins adjusting
controls on her console as CAMERA WIDENS to reveal a
lanky, cynical Starfleet LIEUTENANT in his early twen-
ties; he leans back in his chair, hands clasped behind
his head.
LIEUTENANT
You amaze me, Commander.
UHURA
(working)
How is that...?
LIEUTENANT
A twenty year space veteran, yet
you ask for the worst duty station
in town. I mean, look at this
place: the hind end of space.
UHURA
Peace and quiet appeals to me,
Lieutenant.
LIEUTENANT
Well, maybe that's okay for
someone like you whose career is
winding down. But me: I need
some challenge in my life. Some
adventure... Even just a surprise
or two.
UHURA
You know what they say, Lieutenant.
Careful what you wish for: you may
get it.
The entry door slides open and Kirk, Bones and Sulu
hurry in and begin walking without hesitation, toward
the pods.
UHURA
(continuing)
Gentlemen. Good evening.
KIRK
Good evening, Commander. Everything
ready?
UHURA
Yes, Admiral. Step into my parlor.
The parade of purposeful men passes the befuffled
Lieutenant as if he weren't there. He watches as they
settle themselves onto the pods, while Uhura busies
herself with the setting of controls. He crosses with
concern to where she is working so efficiently.
LIEUTENANT
(sotto)
Commander, these are some of the
most famous people in Starfleet!
Admiral Kirk, my God!
UHURA
Good for you, Lieutenant.
LIEUTENANT
But it's damn irregular. No
destination orders, no encoded
i.d...
UHURA
All true.
LIEUTENANT
Well -- what are we going to do
about it?!
UHURA
I am going to do nothing about
it. You are going to sit in the
closet.
LIEUTENANT
The closet?! Have you lost all
sense of reality?
UHURA
This isn't reality. This is
fantasy.
With that Uhura turns, a phaser leveled.
UHURA
(continuing)
You wanted adventure? How's this?
The old adrenalin going?
(he nods)
Good boy. Now get in the closet.
He backs into it, disappears inside, and she closes the
door from her panel.
McCOY
I'm glad you're on our side.
KIRK
(re -- the closet)
Will you be able to handle
that...?
UHURA
Oh, I'll have "Mr. Adventure"
eating out of my hand. And I'll
see you at the rendezvous.
(then)
All my hopes.
She smiles and activates THE BEAM. They wave back to
her until they are gone.
109 INT. SPACEDOCK - ENTERPRISE (ILM SHOT) 109
CAMERA PUSHES TOWARD the darkened bridge section as
energizer and ELECTRONIC SOUNDS are heard, and suddenly
from within, the lights begin to go on.
110 INT. BRIDGE - ENTERPRISE - ELEVATOR DOORS 110
They open and Kirk, Bones and Sulu appear on the bridge
where activity is now bustling thanks to Scotty and
Chekov. Scotty turns in informal salute.
SCOTTY
As promised, she's all yours,
sir. All systems automated and
ready. A chimpanzee and two
trainees could run her.
KIRK
Thank you, Mr. Scott. I'll try not
to take that personally.
(to all)
My friends... I can't ask you to
go any further. Dr. McCoy and I
have to do this. The rest of you
do not.
CHEKOV
Admiral, we're losing precious
time.
SULU
What course please, Admiral?
KIRK
Mr. Scott?
SCOTTY
I'd be grateful, Admiral, if you'd
give the word.
KIRK
(a moment)
Gentlemen... may the wind be at
our backs. Stations please!
As they reach stations, we are on Kirk as a series of
orders and responses are given...
KIRK
(continuing)
Clear all moorings... engage auto
systems... one-quarter impulse
power...
CUT TO:
111 INT. SPACEDOCK - ENTERPRISE - (ILM SHOT) 111
The scarred, noble vessel begins to move slowly, im-
pulse, rockets WHOOSHING intermittently.
112 INT. SPACEDOCK - THE CAFETERIA - (FX SHOT WITH ILM 112
ELEMENTS)
It's darkened now, and empty. A lone cleaning man
works among the stacked tables as behind him, in the
great window, Enterprise begins backing away from
Excelsior like a mouse tip-toeing away from a sleeping
cat. The cleaning man looks up in surprise. What the
hell's going on?
113 INT. SPACEDOCK - ENTERPRISE - (ILM SHOT) 113
Backing slowly into the last third of the great dock --
and the great closed doors through which she must pass.
114 INT. ENTERPRISE BRIDGE 114
SULU
One minute to space doors.
McCOY
(edgy)
You just gonna -- walk through
them?
KIRK
Calm yourself, Bones.
CHEKOV
Sir. Commander, Starfleet on
emergency channel. He orders you
to surrender this vessel.
KIRK
(a breath)
No reply, Chekov... Continue on
course...
115 INT. EXCELSIOR - CAPTAIN'S QUARTERS - CLOSE - STYLES 115
Sleeping, he is jarred awake by an alarm KLAXON. Then:
BRIDGE VOICE (1ST OFFICER)
Yellow alert! Captain to the
bridge. Yellow alert -- !
Styles fumbles to consciousness, not pleased to be
awakened. He gropes for a comm button.
STYLES
Bridge, this is the Captain. How
can you have a Yellow Alert in
Spacedock!
BRIDGE VOICE
Sir... Someone is stealing the
Enterprise!
Styless' mouth drops open. Then:
STYLES
On my way.
116 INT. BRIDGE - ENTERPRISE 116
SULU
Thirty seconds to spacedoors.
CHEKOV
Sir: Excelsior is powering up
with orders to pursue.
McCOY
(looks to O.S.
screen)
My God, she's gaining on us just
sitting there...
117 INT. EXCELSIOR BRIDGE (ILM ELEMENT) 117
Doors open, Styles strides in, buttoning tunic.
STYLES
Status!
1ST OFFICER
All automates ready and
functioning. Automatic moorings
retracted. All speeds available
through transwarp drive.
STYLES
Incredible machine. Helmsman,
one-quarter impulse power.
118 INT. SPACEDOCK - EXCELSIOR - (ILM SHOT) 118
As she moves away, heading forward, looking faster than
Enterprise even in low speed.
119 INT. SPACEDOCK - ENTERPRISE, F.G. - THE SPACEDOORS - 119
(ILM)
They are closed -- and approaching!
120 INT. ENTERPRISE BRIDGE 120
KIRK
Steady... Steady... All right, Mr.
Scott.
SCOTTY
(distracted)
Sir...?
KIRK
(an edge)
The doors, Mr. Scott!
This is not lost on Bines -- But Scotty is too busy to
panic, rolling in numbers on his console coolly.
SCOTTY
Yes, sir, workin' on it...
He presses a final button, looks up at the screen as --
121 INT. SPACEDOCK - THE DOORS - (ILM) 121
They slide slowly open just in time to allow Enterprise
a narrow passage out into space...
122 BACK TO THE BRIDGE 122
SULU
(sweat in his voice)
... We have cleared Spacedoors.
KIRK
FULL IMPULSE POWER!
123 EXT. SPACEDOCK - ENTERPRISE - (ILM) 123
Picks up speed and EXITS the SHOT... But Excelsior is
seen now exiting the Spacedoors and coming on.
124 INT. BRIDGE - EXCELSIOR - FAVORING STYLES 124
1ST OFFICER
Enterprise maintaining full
impulse power...
STYLES
And we are gaining... Stand by,
tractor beam!
1ST OFFICER
Tractor beam, aye!
STYLES
If he tries to get away with Warp
Drive, he's really in for a shock...
125 SPACE - BEYOND THE EARTH - (ILM) 125
Enterprise first... Excelsior clearly closing the gap.
126 ENTERPRISE BRIDGE 126
CHEKOV
Excelsior closing to 4,000 meters,
sir.
KIRK
Mr. Scott, we need everything
you've got now.
SCOTTY
Aye, sir... Warp Drive is standing
by...!
126A EXCELSIOR BRIDGE - STYLES 126A
STYLES
Kirk! You do this, you'll
never sit in the Captain's chair
again.
126B BACK TO SCENE 126B
KIRK
Warp Speed, Mr. Sulu...
SULU
Aye, sir, Warp Speed...
He moves his control, SOUND builds, and --
127 EXT. SPACE - ENTERPRISE - (ILM) 127
The Warp Drive explodes her forward and OUT OF VIEW.
128 INT. EXCELSIOR BRIDGE - FAVORING STYLES 128
STYLES
No way, Kirk.
(crisply)
Prepare for Warp Speed! Standby
Transwarp Drive!
Appropriate KLAXONS and SOUNDS prepare the ship, the
helmsman completes his pre-sets and nods to the first --
1ST OFFICER
Transwarp at your command, Sir!
STYLES
Execute!
There is a massive buildup of SOUNDS, and then -- a
sudden series of BANGS, SHAKES, COUGHS and WHEELS, as
if the ship had hit a series of potholes in space.
129 SPACE - EXCELSIOR - (ILM) 129
She begins to shake and vibrate, shuddering her way
through space...
130 INT. EXCELSIOR BRIDGE 130
Strange, impotent SOUNDS no one of them has heard be-
fore, and on Styles' face, absolute bafflement.
131 INT. BRIDGE - ENTERPRISE 131
Except for the puzzled McCoy, there seems to be quiet
satisfaction on the Enterprise.
SULU
Excelsior, the great experiment,
is adrift in space.
KIRK
Mr. Scott: as good as your word.
SCOTTY
Aye, sir. The more they over-
think the plumin', the easier it
is to stop up the drain.
(turns to McCoy)
Here, Doctor, a souvenir as one
surgeon to another.
He hands McCoy a tiny microchip (INSERT). McCoy looks
up bewildered, still shaky from the chase.
SCOTTY
(continuing)
I took it out of her main
Transwarp computer drive.
McCOY
Nice of you to tell me in
advance.
KIRK
(wry)
That's what you get for missing
staff meetings, Doctor. Gentlemen,
your work today was outstanding...
I intend to recommend you all for
promotion... in whatever fleet
we end up serving.
There are smiles, but sober ones. And Kirk puts his
hand on Sulu's shoulder as he says:
KIRK
(continuing)
Best speed to Genesis.
132 SPACE - ENTERPRISE - (ILM) 132
Responding to Sulu's touch, she speeds off.
CUT TO:
133 SPACE - THE GENESIS PLANET - (ILM) 133
The Bird of Prey is orbiting.
134 INT. BRIDGE - BIRD OF PREY 134
Maltz and a half-dozen Klingons are on station under
Torg. The young officer leans into a monitor with
interest. We see two BLIPS there, one converging on
the other.
135 EXT. GENESIS PLANET - SPOCK'S GLADE - CLOSE TRACKING - 135
DAY
We are on a Klingon TRICORDER which is BEEPING excitedly.
WIDEN to see that it is in Kruge's hand as he advances
rapidly, through the oddly changed glade.
136 SPOCK'S GLADE - WIDER - STILL TRACKING 136
A SERGEANT and one CREWMAN are with Kruge on the
planet, always a half step behind his brisk pace. The
TRICORDER'S BEEPING INCREASES with each step. Then,
abruptly, the PLANETARY RUMBLE is heard -- and the
Klingons -- and CAMERA -- STOP, listening to the
rumble.
The earth shakes. As it does, a hideous, high-pitched
SQUEAL is heard, nearby O.S. (This is different than
the cry we have heard on the planet.) As the surface
stops shaking, the SQUEAL TAPERS OFF -- but the TRI-
CORDER BEEPS remain very active. Kruge, his curiosity
inflamed, starts forward OUT OF SHOT, the others fol-
lowing.
137 EXT. SPOCK'S GLADE - FULL 137
The Spock casket is in the f.g. CAMERA RISES now as
the Klingons approach the casket, stop short in sur-
prise as they see:
138 SHOCK CUT - CLOSE - CASKET - (ILM SHOT) 138
Where the "squiggly forms" once were, now horrible 4-
foot-long SERPENTINE THINGS rise, Cobra-like, HISSING
and SQUEALING.
139 BACK TO SCENE 139
Kruge is impassive, the others a little shocked. The
Sergeant pulls his phaser -- but Kruge stops him with a
hand. Now Kruge regards the serpents... then steps
forward to them. He does this with total arrogance to
reassert his bravery to the crew. CAMERA PULLS with
Kruge. He smiles as he reaches the casket. Then he
reaches into the group of serpents.
140 SCENE - KRUGE AND SERPENTS - (PRODUCTION & ILM FX 140
SHOTS)
Kruge grasps one of the elusive Things, brings it close
for study. This has the macho quality of a bullfighter
getting within an inch of the bull. The crew watches
breathlessly. Then, suddenly --
The Thing makes a squidlike coiling motion and wraps
itself around Kruge's neck and right arm. It's squeez-
ing hard.
The crew reacts, but are wisely stayed by the Sergeant.
This is the boss's show.
Kruge responds in a worthy manner. Even though the
Thing is coiling tightly, Kruge exerts all the strength
he has in what he correctly guesses to be the crea-
ture's jugular. The creature POPS -- its strength
collapses -- and it slithers down and falls away from
its conqueror.
He takes a moment to enjoy the crew's reaction... then:
KRUGE
(to his communicator)
Bridge -- Nothing of consequence
here. Am resuming search.
The light around him begins to change dramatically. He
looks up, and reacts to:
141 HIGH - FULL GENESIS PEAK - (ILM SHOT) 141
The highest promontory on the small planet gives us a
view of the sunlight TERMINATOR LINE (the line between
day and night, as on the moon) rolling forward on the
terrain below, where we now know the Klingons are.
Sunlight is being replaced by night with the rolling
motion.
142 OMITTED 142
143 CLOSE - DAVID 143
The POV has been his. He watches in wonder as the day-
night line crosses him, in a light change. He stands,
turns, and looks behind him to see:
144 GENESIS PEAK - FULL - (PRODUCTION) 144
The highest plateau is turned into night to complete the
cycle. We now see this area for the first time as the
starlight begins to fill it. A rocky, craggy place
with giant tree roots and gnarled shapes everywhere.
145 BACK TO DAVID 145
He reacts in wonder.
146 INT. THE CAVE AT GENESIS PEAK - CLOSE - MOVING - NIGHT 146
Saavik is ministering to the O.S. boy. We do not yet
see his face. We hear his SOFT SOUNDS, the aftermath
of cries which we heard earlier. CAMERA CONTINUES
MOVING as Saavik takes off her tunic and throws it as
an added cover on the O.S. figure. Then she stops,
looks at the boy in wonder, as CAMERA completes its arc
to reveal the BOY.
We are shocked to see the Boy has changed. He is now
unquestionably older, perhaps 13 or 14. He is breath-
ing heavily as the pain recedes.
SAAVIK
(... Sleep)
She rises, and slowly steals out. HOLD on the Boy.
147 EXT. GENESIS PROMONTORY - CLOSE - DAVID - NIGHT 147
Looking out over the darkened planet, lost in thought.
WIDEN to admit Saavik. She too looks outward. A dis-
tant, FAINT RUMBLE. No tremor felt. Then:
DAVID
(taking tricorder
readings)
This planet is aging in surges.
SAAVIK
(nods; then)
And Spock with it. They are
joined together.
Saavik steps forward seeking eye contact and an explan-
ation. David looks at her now.
DAVID
The Genesis wave started a life
clock ticking for him and the
planet. But at the rate things
are going now...
SAAVIK
... How long?
DAVID
Days... Maybe hours... Protomatter
has made the situation unpredictable.
(softly)
I'm sorry.
SAAVIK
(accepts; then)
It will be hardest on Spock. Soon
he will feel the burning of his
Vulcan blood.
DAVID
I don't understand.
SAAVIK
Pon Farr. Vulcan males must
endure it every seventh year of
their adult life.
DAVID
I still don't...
But his TRICORDER is BEEPING FAINTLY. He checks it.
DAVID
(continuing)
Whoever they are, they're getting
closer.
SAAVIK
I'll go...
DAVID
No!... I'll do it.
(then)
Give me your phaser.
Their eyes meet. She gives him the phaser. Then he
hurries out. HOLD on Saavik. Slightest RUMBLE of the
planet. Concern. Is another surge coming?
CUT TO:
148 EXT. SPACE - ENTERPRISE EN ROUTE - (ILM) 148
She passes us at high speed.
149 INT. ENTERPRISE BRIDGE 149
Around Kirk is his new "formation"; Chekov is at the
Comm station, Sulu at the helm, next to him Scott on
weapons/engineering; and at the Spock science post --
well, we haven't seen yet.
SULU
Estimating Genesis 2.9 hours,
present speed.
KIRK
Can we hold speed, Mr. Scott?
SCOTTY
Aye, sir, she's got her second
wind now.
KIRK
Scan for vessels in pursuit!
SPOCK'S VOICE (O.S.)
Scanning... Indications negative
at this time...
You could drop a pin. Everyone turns to Spock's
station...
150 ANGLE - FAVORING BONES 150
McCOY
Did I get it right?
KIRK
You did great, Bones... Just great.
CHEKOV
Sir, Starfleet calling Grissom
again. A warning about us.
KIRK
Response?
CHEKOV
(a beat)
Nothing. As before.
KIRK
What's Grissom up to?... Will they
join us, or fire on us...?
(thinks)
Chekov, break radio silence. Send
my compliments to Captain Esteban.
CHEKOV
Aye, sir.
Chekov begins calling, as Kirk crosses easily to McCoy.
KIRK
How we doing?
McCOY
(thoughtfully)
How are we doing... Funny you
should put it quite that way, Jim.
(beat)
We are doing fine. But I'd feel
safer giving him one of my kidneys
than what's scrambled in my brain.
CHEKOV
Admiral, there is no response from
the Grissom on any channel.
KIRK
Keep trying, Chekov. At regular
intervals.
CUT TO:
151 EXT. PROMONTORY - CLOSE - SAAVIK 151
She has fallen asleep in her exhaustion. There is a
faint SOUND OF TRICORDER LIFE SIGNS BEEPING. She slum-
bers through this. Then, the planet begins to tremble.
A RUMBLE. An O.S. CRY, which by now we know is from
the young Spock. Saavvik shakes herself, wakes up not
knowing what has just happened. The first thing she is
aware of is the BEEPING TRICORDER. She checks it,
uncertain. Then pulls her communicator.
SAAVIK
David... This is Saavik... Come
in.
There is STATIC, and no response. Then the planet
trembles again, and there is a definite O.S. CRY.
Saavik reacts in alarm, hurries OUT OF SCENE as the
RUMBLING and the CRIES CONTINUE.
152 INT. ENTRANCE TO THE CAVE - NIGHT 152
As Saavik appears in the opening.
We hear the O.S. CRIES OF PAIN from the boy as Saavik
watches, sympathetic but helpless. As the CRIES
SUBSIDE, and there are no more rumblings, Saavik takes
a few steps inside. She sees:
153 HER POV - THE YOUNG MAN 153
Hunched down in a corner, his face turned AWAY FROM USS,
is Spock. He is now in some kind of awful spasm.
154 BACK TO SAAVIK 154
She studies what she sees. She understands. His CRY
OF RAGE now splits the air and:
155 THE YOUNG SPOCK 155
He turns TO CAMERA suddenly, a YOUNG MAN in his late
teens, lean of face, high of cheekbone. The look on
this tortured face and his body language tell us he is
fighting for control of body and his world. He is
fevered and shuddering. He looks at Saavik with wild
eyes which are both frightened -- and frightening.
156 SAAVIK 156
She approaches him cautiously, but with absolute under-
standing. She stops a step away from him.
SAAVIK
So it has come.
Spock hears, but does not understand.
SAAVIK
(continuing)
It is called Pon Farr.
He stares.
SAAVIK
(continuing)
Pon Farr.
Her voice has calmed him some. She takes the last step
and is now close to him. Calmly and in Vulcan:
SAAVIK
(continuing)
(... Will you trust me...?)
Spock does not respond; he is in quiet agony. She
kneels beside him. His breathing is labored... Saavik
offers her hand in Pon Farr configuration -- like a
two-finger Boy Scout salute. Spock studies it, then
she brings up his right hand in the same configuration.
With her two extended fingers she touches his and then
slowly begins to stroke his entire hand in gentle fore-
play. His breathing eases now, his body begins to
relax. Uncertainly, he begins to return the finger-
play, first on Saavik's hand and then on her temples.
He is more in control now... intense. His eyes turn
and lock on hers. Hands touching, they move together
until their faces are brushing... and their fingers
embrace.
CUT TO:
157 SPACE - THE STARS (ILM) 157
A moment of soft SPACE AMBIENCE. Then Enterprise
glides silently INTO SHOT.
158 INT. ENTERPRISE BRIDGE - FAVORING SULU 158
SULU
We are secured from Warp Speed...
Now entering Genesis Sector of
Mutara Quadrant.
KIRK
What about Grissom, Mr. Chekov?
CHEKOV
Still no response, sir.
KIRK
Bones... Can you give me a
quadrant bi-scan?
McCoy hunches forward at the science station, but his
lack of understanding is clear.
McCOY
I think you just exceeded my
capability...
KIRK
(a look)
Mr. Chekov...
With an understanding nod, Chekov crosses toward the
science station to take over.
McCOY
(to Kirk)
Sorry...
KIRK
Your time is coming, Doctor... Mr.
Sulu, proceed at impulse power.
159 INT. BRIDGE - BIRD OF PREY - CLOSE - MONITOR SCREEN 159
An object appears, accompanied by a SOFT ALARM. PULL
BACK. The screen is being watched by Maltz, who reacts.
MALTZ
Vessel entering sector.
Torg has come up, bends over screen.
TORG
Yes... Federation Battle
Cruiser.
(then)
Have they scanned us?
MALTZ
Not yet.
TORG
Engage cloaking device.
The SOUNDS and lights of cloaking begin...
160 INT. CAVE - GENESIS - CLOSE - THE YOUNG SPOCK (17) 160
Morning light is streaming in. His eyes are closed, he
breathes calmly. A hand, Saavik's, ENTERS SHOT, to
sooth his brow and smooth his matted hair.
161 SAAVIK 161
A softer look than we have seen before. But a look of
concern and apprehension.
She sighs, then picks up communicator. She is about to
transmit a message when an instinct makes her put it
down, turn to the cave entrance. We PAN with her look
to cave entry, low. There, a pair of Klingon boots
stand.
162 BACK TO SAAVIK 162
She reacts, starts to rise, when Klingon hands grab
her, pull her to her feet. CAMERA WHIP PANS to young
Spock who opens his eyes with a start, stares in con-
fusion -- then hands grab him and --
163 EXT. THE PROMONTORY - FULL - DAY 163
Outside the cave the Klingon landing party waits.
Here, amid gnarled and stoned formations, Saavik and the
young Spock are forcibly pulled from the cave and
hurled at the feet of:
164 KRUGE 164
A slow PAN UP reveals the Klingon, his patience
strained.
KRUGE
So! I have come a long way for
the power of Genesis. And what do
I find?
At his gesture, David is thrust forward and thrown
among the other two. David shows signs of having been
roughed up by the Klingons.
KRUGE
(continuing)
A weakling human... a Vulcan boy
... and a woman!
Saavik, assessing the desperate situation, takes her
best shot:
SAAVIK
My Lord... We are survivors of a
doomed expedition... This planet
will destroy itself in hours. The
Genesis experiment is a failure.
KRUGE
A failure! The most powerful
destructive force ever created -- !
(then)
You will tell me the secret of the
Genesis torpedo.
SAAVIK
I have no knowledge.
KRUGE
Then I hope pain is something you
enjoy.
The Sergeant steps forward, communicator in hand.
SERGEANT
(My Lord...)
Kruge snatches the communicator, barks into it:
KRUGE
I ordered no interruptions.
TORG (V.O.)
But sir! Federation Starship
approaching.
For Saavik and David, a moment of hope.
KRUGE
Bring me up!
We're on Saavik and David and the uncomprehending
Vulcan as the sound and reflected light of a BEAM-UP
take place.
165 INT. ENTERPRISE BRIDGE - FAVORING CHEKOV 165
At the science station, the blue light of the scanner
flickering on his face.
CHEKOV
I'd swear something was there sir,
but I might have imagined it.
KIRK
What did you see, Chekov?
CHEKOV
For an instant... A scout class
vessel.
KIRK
(thoughtfully)
Could be Grissom.
(then)
Patch in the hailing frequency.
(at Chekov's nod)
U.S.S. Grissom, this is Enterprise
calling. Come in, please.
166 EXT. PROMONTORY - THE KLINGON CAMP 166
Favoring David, Saavik and the Vulcan. They hear the
voice over the Sergeant's communicator.
KIRK (V.O.)
Grissom, this is Enterprise
calling. Do you read?
For David, it is the voice of his father and rescue.
For Saavik, it is a possibility, just out of reach.
167 INT. BRIDGE - BIRD OF PREY - CLOAKED LIGHTING EFFECT 167
The doors slam open as Kruge hurries INTO SCENE.
KRUGE
Battle alert.
The KLAXON sound... in the b.g.
KIRK (V.O.)
I say again: Grissom, this is
Enterprise. Admiral Kirk calling
Captain Esteban or Lieutenant
Saavik. Come in!
KRUGE
Report status!
TORG
We are cloaked. Enemy closing on
impulse power. Range, 5,000
Kellicams.
KRUGE
Good.
(beat)
This is the turn of luck I have
been waiting for.
168 EXT. SPACE - ENTERPRISE - AGAINST STARS - (ILM) 168
Coming toward us. Apparently a sitting duck.
169 INT. BRIDGE - ENTERPRISE 169
CHEKOV
Nothing on my scanner, sir.
KIRK
Short range scan, Mr. Chekov... On
screen, Mr. Sulu.
170 ANGLE FAVORING VIEW SCREEN - (ILM) 170
A view of the approaching Genesis planet appears, the
planet off to the side. The other two-thirds of the
screen appear to be normal star field/space. That is,
except for one odd area, slightly diffused, which only
the sharp-eyed might notice.
171 INT. BIRD OF PREY 171
MALTZ
Range: 3000 Kellicams.
KRUGE
Steady. Continue on impulse power.
TORG
Yes, sir!
MALTZ
Range, 2000 Kellicams...
KRUGE
Standby to transfer energy to
weapons... at my command!
172 EXT. SPACE - POV OF ENTERPRISE - MOVING TOWARD HER - 172
(ILM)
Smoothly, we are stalking the Enterprise.
173 INT. ENTERPRISE BRIDGE - INCLUDING VIEW SCREEN - 173
(ILM ELEMENT)
Kirk is studying the projected image.
KIRK
There. That distortion.
We see on the screen a kind of heat wave effect we saw
once before when Grissom "bought it." But Grissom did
not have Kirk.
KIRK
(continuing)
See! That shimmering area.
SULU
Yes, sir. It's getting larger as
we close in.
174 INT. BIRD OF PREY 174
MALTZ
Firing range, sir.
KRUGE
(Gunner: sight target. Disabling
only -- understood?!)
NEW GUNNER
(Understood clearly, sir.)
The beats GROWLS.
175 INT. ENTERPRISE BRIDGE 175
KIRK
That distortion is closing
rapidly... Opinion, Sulu?
SULU
I think it's an energy form,
sir...
KIRK
Yes. Enough energy to hide a
ship, wouldn't you say?
SULU
... A cloaking device?
KIRK
Red alert, Mr. Scott.
The KLAXONS BEGIN, the lights dim to red --
176 INT. BIRD OF PREY 176
MALTZ
1,000 Kellicams, closing!
KRUGE
Wait!... Wait...
177 INT. ENTERPRISE BRIDGE 177
bathed in combat red light --
KIRK
Mr. Scott, all power to the
weapons systems --
SCOTTY
Aye, sir!
McCOY
No shields?
KIRK
If my guess is right, they'll have
to de-cloak before they can fire.
McCOY
May all your guesses be right.
KIRK
Mr. Scott: two photon torpedoes
at the ready. Sight on the center
of the mass.
SCOTTY
Aye, sir!
178 INT. BRIDGE - BIRD OF PREY 178
MALTZ
500 Kellicams!
KRUGE
(Stand by torpedoes -- de-cloak!)
The SOUNDS and lights which accompany this, and --
179 EXT. SPACE - BIRD OF PREY - (ILM SHOT) 179
The ship begins to de-cloak --
180 INT. ENTERPRISE BRIDGE - FAVORING VIEW SCREEN - (ILM 180
ELEMENTS)
where the Bird appears exactly in the spot anticipated.
SULU
Klingon Bird of Prey, sir! She's
arming torpedoes...!
KIRK
Fire, Mr. Scott!
181 EXT. SPACE - SERIES OF SHOTS - (ILM) 181
The Enterprise fires two torpedoes... They impact on
the Bird of Prey in separate explosions --
The displacement of the explosions cause the Klingon
ship to turn and be pushed back, as if by thrusters --
182 INT. BIRD OF PREY - (SPECIAL FX) 182
As explosions shake the bridge, filling it with smoke
and debris and cries of the injured. And suddenly,
CLOSE, Kruge's outraged face appears, smudged by an
explosion.
183 INT. ENTERPRISE BRIDGE (ILM ELEMENTS) 183
All lean forward toward the O.S. viewscreen.
KIRK
Good shooting, Scotty.
SCOTTY
Aye, those two hits should stop a
horse, let alone a bird.
KIRK
Precautionary, Mr. Chekov.
Shields up...
CHEKOV
Aye, sir.
184 INT. BIRD OF PREY BRIDGE 184
Amid the shouts and the orders in Klingon, a dis-
orientated Kruge wanders for just a moment until he al-
most stumbles across something. It is a body. He
looks to see:
185 KRUGE'S POV 185
His beast. Dead.
186 BACK TO SCENE 186
A passion of rage. He is back to his instincts now.
TORG'S VOICE
Sir, the cloaking device is
destroyed!
KRUGE
Never mind! Emergency power to
the thrusters!
TORG'S VOICE
Yes, my lord.
187 INT. ENTERPRISE BRIDGE - FAVORING CHEKOV 187
He shows growing concern.
CHEKOV
Sir, the shields... Non-
responsive.
KIRK
Scotty...?
SCOTTY
The automation system's
overloaded. I didn't expect to
take us into combat, ya know...!
He begins hitting buttons.
188 INT. BIRD OF PREY BRIDGE 188
KRUGE
Lateral thrust!... Standby
weapons...
189 EXT. SPACE - THE BIRD OF PREY (ILM) 189
The thrusters stabilize her turning and backward
movement. She is now lined up with a splendid angle on
Enterprise.
189A INT. BIRD OF PREY - KRUGE 189A
KRUGE
(Fire!)
189B EXT. BIRD OF PREY - FIRES TORPEDOES - (ILM) 189B
190 INT. ENTERPRISE BRIDGE 190
KIRK
Torpedoes coming in -- !
191 EXT. SPACE - ENTERPRISE (ILM) 191
as she shudders and tilts with the hits, and the
flashes of flame...
192 INT. ENTERPRISE BRIDGE - TILTED 192
A blast hits. Scotty's panel sizzles... LIGHT OUT!
KIRK'S VOICE
Emergency power!
The light return, EMERGENCY MODE. The ship rights
itself. Kirk has been knocked down. Bones to him --
KIRK
I'm all right -- stand by to
return fire! Mr. Scott, transfer
power to the phaser banks --
SCOTTY
Oh, God, sir, I dinna think so...
KIRK
What's wrong?
SCOTTY
They've knocked out the damn
automation center.
(pounds his
panel in rage)
I've got no control over anything!
Kirk pales, looks quickly to:
KIRK
Mr. Sulu...?!
But Sulu's gesture says he has no control of helm, and
Chekov also shakes his head in helplessness. Kirk
digests this. Then:
KIRK
(continuing)
So... We're a sitting duck.
193 INT. BIRD OF PREY - A DATA GAUGE - OVER TORG'S 193
SHOULDER
TORG
Emergency power re-charge is 40
percent... 50 percent...
(he turns now)
Ready for fire emergency tube...!
ANGLE WIDENS to include Kruge, who raises his hand for
pause, and thought.
193A SPACE - THE TWO SHIPS DRIFT QUIETLY - (ILM) 193A
193B BACK TO SCENE 193B
KRUGE
Why haven't they finished us?...
They outgun me ten to one; they
have four hundred in crew to my
handful, yet they sit there.
TORG
Perhaps they wish to take you
prisoner.
KRUGE
They know we would die first.
MALTZ
My Lord, enemy commander wishes a
truce to confer.
KRUGE
Put him on screen!
(to Torg)
Study him well.
194 ANGLE FAVORING KLINGON SCREEN (INTERCUT) 194
The screen is a different configuration than we are
used to; Kirk's image appears. (We will INTERCUT the
Planet and Enterprise as needed during following
sequence.)
KIRK'S IMAGE
This is Admiral James T. Kirk of
the Federation Starship Enterprise.
On the Bird of Prey: Kruge's reaction to Kirk's face:
KRUGE
So! The Genesis Commander
himself!
KIRK'S IMAGE
... By violation of treaty between
the Federation and Klingon Empire,
your presence here is an act of
war. You have two minutes to
surrender your crew and your
vessel, or we will destroy you.
KRUGE
(to Torg)
He's hiding something. We may
have dealt him a more serious blow
than I thought.
TORG
How can you tell that?
KRUGE
I trust my instincts.
(leans to comm
button)
Admiral Kirk. This is your
opponent speaking.
195 INT. ENTERPRISE BRIDGE (AND INTERCUT) 195
Only Kruge's voice is heard here, and on the planet
below.
KRUGE (V.O.)
Do not lecture me about treaty
violations. The Federation, in
creating an ultimate weapon, has
become a gang of Intergalactic
criminals. It is not I who will
surrender, it is you.
(a pause)
On the planet below, I have three
prisoners from the team who
developed your doomsday weapon.
If you do not surrender
immediately, I will execute them,
one at a time, as enemies of
galactic peace.
KIRK
Who is this?! How dare you --
KRUGE
Who I am is not important. That I
have them is.
(beat)
I will let you speak to them.
196 EXT. GENESIS - THE KLINGON CAMP (INTERCUT) 196
As Kruge's VOICE barks a Klingon order over the commun-
icator, Saavik, David and the Vulcan are rousted to
their feet by the Klingons, and assembled in a line.
The Sergeant thrusts the communicator in front of
Saavik, pokes her to make his command clear. She leans
into the communicator, controlling carefully.
SAAVIK
Admiral, this is Lieutenant
Saavik.
KIRK
(softly)
Saavik... Is... David with you?
SAAVIK
Yes, he is. And someone else.
Vulcan scientist of your
acquaintance.
KIRK
This Vulcan -- is he alive?
SAAVIK
He is not himself -- but he lives.
He is subject to rapid aging --
like this unstable planet.
The Sergeant has had enough with her long windedness,
pulls the communicator and thrusts it in front of
David.
DAVID
Hello, sir. It's David.
KIRK
(shaken)
David... Sorry I'm late.
DAVID
It's okay -- I should have known
you'd come... Saavik's right:
this planet is unstable. It's
going to destroy itself in a
matter of hours.
KIRK
David!... What went wrong?
DAVID
I went wrong.
A beat.
KIRK
David, I don't understand...
DAVID
I'm sorry, sir. Just don't
surrender. Genesis doesn't
work! I can't believe they'll
kill us for it --
But a Klingon crew member has cut David off the air --
197 INT. ENTERPRISE BRIDGE - (CONTINUE INTERCUTTING) 197
-- and STATIC FILLS THE SPEAKERS on board.
KIRK
David?... David!
KRUGE
Admiral, your young friend is
mistaken. I meant what I said.
And now, to show my intentions are
sincere... I am going to kill one
of the prisoners.
KIRK
Wait! Give me a chance --
KRUGE
(to communicator)
(Kill one of them. I don't care
which.)
198 THE PLANET 198
The Sergeant has received the order. He draws a dis-
tinctive Klingon dagger, frightening to behold. As
KIRK'S VOICE is heard, INDISTINCTLY PROTESTING over the
communicator, the Sergeant walks behind the assembled
line of the three prisoners: the Vulcan youth, Saavik,
and David. It is like a game of Russian Roulette.
We do not know where the blow will fall. Then, the
Sergeant has picked his victim, and raises his dagger
back to strike --
199 ANGLE 199
It is Saavik he intends to kill. David, his face
curled in rage, leaps forward. grabs the man's arm.
The struggle is short.
David takes a knife in the chest.
200 INT. ENTERPRISE BRIDGE (INTERCUT) 200
The CRY OF PAIN is heard on the speakers. There is a
horrible silence that follows.
KIRK
Saavik?!... David...!?
At last we hear the shaken voice of Saavik.
SAAVIK
Admiral. David is dead.
There is none of these three Kirk would have parted
with. But David... He fights back the horror as Bones
steps to his side -- but finally he must let it go:
KIRK
You Klingon bastard! You've
killed my son...!
Kruge takes this news with a blink of triumph. Calmly:
KRUGE
There are two more prisoners,
Admiral. Do you want them killed
too?
(a beat)
Surrender your vessel!
KIRK
(a scream)
All right, damn you! All right!
(a trembling mo-
ment, then)
Give me a minute to inform my
crew.
201 BIRD OF PREY 201
Kruge, pleased his gambit has worked, is magnanimous.
KRUGE
I give two minutes. For you, and
your gallant crew.
(clicks off;
to Torg)
Take every last man: form a
boarding party, armed heavily!
TORG
They outnumber us, my Lord --
KRUGE
We are Klingons! Once you control
the ship, I will transfer my flag
there. And we will take Genesis
from their own memory banks!
202 ENTERPRISE BRIDGE 202
The crew has come forward to stand behind Kirk's com-
mand chair. Kirk is staring ahead, his eyes glazed.
McCOY
Jim. You okay?
Kirk turns to face McCoy. His face is hollow, his eyes
staring. Then, in a voice strained with grief.
KIRK
Mr. Sulu, what is the crew
complement of a Bird of Prey?
SULU
About a dozen officers and men.
KIRK
(thinking)
With some on the planet...
He turns to them, his voice hoarse:
KIRK
(continuing)
I swear to you, we're not finished
yet.
McCOY
We never have been, Jim.
KIRK
(rising)
Bones, you and Sulu to the
transporter room. The rest with
me. We have a job to do.
As the individuals respond to orders, PUSH TO Kirk as
he presses his COMM button.
KIRK
(continuing)
Commander, Klingon vessel. Stand by
to board this ship on my next signal.
KRUGE (V.O.)
No tricks, Kirk. You have one
minute.
KIRK
No tricks. I'm looking forward to
meeting you. Kirk out.
He steps to the science station as Chekov and Scotty
gather round. He leans in, presses a COMM button.
KIRK
(continuing)
Computer, destruct Sequence One,
code one, one-A...
203 INT. BIRD OF PREY 203
Kruge is inspecting the six man landing party as-
sembled by Torg. They are loaded down with weapons.
Kruge raises his arm and points:
KRUGE
(To the transporter room. Success!)
TORG & ALL
(Success!)
204 INT. ENTERPRISE BRIDGE 204
CHEKOV
Computer, this is Commander
Chekov, acting Science Officer.
Destruct sequence two, code one,
one-A, two-B.
Scotty steps in now.
SCOTTY
Computer, this is Commander Scott,
Chief Engineering Officer.
Destruct sequence three, code one-
B, two-B, three.
COMPUTER (V.O.)
Destruct sequence completed and
engaged. Awaiting final code for
one-minute countdown.
A moment among them. Then:
KIRK
Code zero, zero, zero destruct
zero.
COMPUTER (V.O.)
One minute... fifty-nine seconds
... fifty-eight... fifty-seven...
And they hurry out. CAMERA MOVES to a visual display
which is counting in sync with the COMPUTER VOICE.
205 BIRD OF PREY BRIDGE 205
Kruge, alone with Maltz, checks time impatiently, hits
a talk button.
KRUGE
Kirk, your time runs out. Report!
205A INT. ENTERPRISE CORRIDOR - KIRK, SCOTTY, CHEKOV, 205A
RUNNING
206 INT. ENTERPRISE TRANSPORTER ROOM 206
as Kirk, Scotty and Chekov hurry in. Kirk stops as the
others move O.S.
KIRK
Everything set?
SULU'S VOICE
Yes, sir. Hurry!
KIRK
(flips communicator)
Commander, Klingon vessel. We are
energizing transporter beam... Now.
As the ELECTRONIC WIND UP begins...
207 BIRD OF PREY BRIDGE 207
KRUGE
Transporter stand by!
208 ENTERPRISE TRANSPORTER ROOM (ILM ELEMENT) 208
As the POWER WHINE INCREASES, Kirk steps on one of the
transporter pods, joining Scotty, McCoy, Sulu and
Chekov. After a few endless seconds, they begin to
DE-MATERIALIZE AND VANISH. There is a FLICKER, a
pause. Are they returning? Have they been blocked?
No. The second BEAM EFFECT materializes the Klingon
landing party. They pause guardedly, phasers drawn.
Then, led by Torg, they start out. We are faintly
aware of a soft COMPUTER VOICE counting off seconds.
209 BIRD OF PREY BRIDGE 209
Kruge waits, patiently...
209A INT. ENTERPRISE CORRIDOR 209A
The Klingon landing party enters, proceeds cautiously...
210 INT. BRIDGE - ENTERPRISE (INTERCUT WITH KRUGE) 210
It is deserted except for the soft COMPUTER VOICE.
COMPUTER (V.O.)
Twenty-two... twenty-one...
twenty...
The sliding door opens and Torg leads the Klingons in,
weapons drawn. They check out the bridge as the VOICE
CONTINUES FAINTLY, unobserved by the Klingons. Then
Torg pulls out his communicator.
TORG
My Lord. The ship appears to be
deserted.
KRUGE'S VOICE
How can this be? They are hiding!
TORG
Yes, sir. But the bridge appears
to be run by computer. It is the
only thing speaking.
KRUGE'S VOICE
Speaking? Let me hear...
Torg, puts his communicator close to the computer's
panel speaker and the voice is quite loud now.
COMPUTER (V.O.)
Six... five... four... three...
KRUGE'S VOICE
Get out! Get out of there! Get
out!
Torg and his men are baffled by Kruge's distress when a
sudden SERIES OF EXPLOSIONS engulf the bridge, and --
210A INT. ENTERPRISE CORRIDOR 210A
-- a fireball streaks through the empty companionway --
211 EXT. ENTERPRISE/ EXT. PLANET/ INT. BIRD OF PREY - 211
SERIES OF SHOTS (INTERCUT)
The great ship is wrecked by an EXPLOSION, then AN-
OTHER, and ANOTHER in a chain of designed destruction.
(ILM)
The skin of the circular section ruptures, cracks open
like an arid desert; the star drive section bursts and
trembles... (ILM)
Kruge watching in frustrated rage...
Like a fiery comet, Enterprise falls gracefully out of
orbit, burning up as she plunges, toward her death.
(ILM)
Saavik; the young Vulcan, watching. She, uncertain.
He, staring blankly...
We see Enterprise in the distance, a small fireball in
the outer edge of the Genesis atmosphere. (ILM)
212 EXT. GENESIS PLANET - KIRK'S LANDING - (ILM ELEMENTS) 212
The comet-like death of Enterprise in the distance is
being watched by a silhouetted group as the sun sets.
213 REVERSE ANGLE - TWILIGHT - (AND INTERCUT) 213
The five survivors of Enterprise, temporarily safe,
watch in awe and grief as their home of twenty years
dies in the ominous sky beyond. On each face, the
light left by Enterprise flickers, then at last, is
gone. Kirk watches with hollowed eyes.
KIRK
My god, Bones. What have I done?
McCOY
What you had to do. What you
always do. Turned death into a
fighting chance to live.
(concerned)
You hear me, Jim?
Kirk takes a deep breath, nods his understanding to
McCoy. Even as the earth trembles, and Sulu's tri-
corder begins to go a little wild.
SULU
Sir, planet core readings
unstable... Changing rapidly...
KIRK
What about surface life signs...?
SULU
Close... There --
KIRK
(draws phaser)
Come on!
They hurry off in the direction Sulu has pointed, as
the GROWLS AND RUMBLES of the planet begin to
accelerate. Night is falling.
214 BIRD OF PREY BRIDGE - ON OFFICER MALTZ 214
He is watching something O.S. with apprehension. WIDEN
to reveal Kruge in f.g. going through his own crisis,
an agony of self-loathing. After a moment...
MALTZ
My Lord... what are your orders?
KRUGE
(mainly to himself)
I underestimated him... He did
the one thing I didn't anticipate
... He destroyed himself...
MALTZ
Sir, may I --
KRUGE
Killing his son was stupid! It
made Kirk willing to die.
MALTZ
We still have the prisoners,
sir. Perhaps their information --
KRUGE
They are useless! It was Kirk I
needed. And I let him slip away.
MALTZ
But surely, our mission has not
failed -- ?
KRUGE
Our mission is over. I have
failed... A human has been bolder
and more ruthless than I...
(a beat)
That -- is the real dishonor.
As Maltz watches him uncertainly...
215 EXT. THE KLINGON CAMP - NIGHT 215
The two Klingons guard the seated Saavik. Spock is
isolated, some distance away. The death RUMBLINGS of
the planet begin to INCREASE with each moment. The sky
beyond occasionally lights with awesome flashes of
electrical energy; the ground shakes in unpredictable
spurts. Suddenly, a tree vaults upward, as if pushed
from its place by a force below. The TREE GROANS AN
CRASHES toward the ground, the Klingons leaping out of
its way.
216 FAVORING SAAVIK 216
As the two Klingons are distracted, and the planet's
agony continues, Saavik slips away from them toward
Spock.
217 SPOCK 217
He is seated, BACK TO US. His aging spasms has begun,
and with each earth RUMBLE of the planet, he suffers.
218 THE KLINGONS 218
concerned about their own problems, and the silence
from their ship. The Sergeant pulls his communicator.
SERGEANT
(Lord Commander... This place is
destructing... What are your
orders?...
STATIC CRACKLES.
SERGEANT
(continuing)
(My Lord... Recommend beaming up
ourselves and the prisoners...)
While he waits for an answer, his eyes catches Saavik's
progress toward Spock. He calls this to his subordi-
nate's attention with a guttural grunt, and the second
Klingon hurries off to correct the situation.
219 ANGLE - SAAVIK AND SPOCK 219
As she nears the suffering Vulcan, the Klingon reaches
her, and with a strong arm, hurls her easily aside.
The GROUND RUMBLES again. The Vulcan cries out. THE
Klingon, fascinated by the Vulcan's behavior,
approaches, then, reaches out toward him.
SAAVIK
No, don't touch him!
The Klingon ignores. He puts his hand on the Vulcan,
and for his trouble, in a blur of action, gets grabbed,
whacked, and hurled through the air by a burst of the
Vulcan's strength.
The Klingon lands at the base of the gnarled tree and
lies quite still, his neck broken.
220 ANGLE - THE KLINGON SERGEANT 220
reacts in shock to what has happened, draws his phaser,
all business now as he studies:
221 THE VULCAN 221
Hands over his face as he twists in pain. He emits a
long, terrible CRY, the cry we've heard, but never
seen.
222 EXT. GROTESQUE FOREST - FAST TRUCKING SHOT 222
Kirk and the crew are coming to the rescue, running
amid the TREMORS and the flashes of light, whipped by
wind and flailing trees. As the CRY is heard THROUGH
THE WIND, they pull up, listening. The CRY AGAIN,
close by. Kirk leads them out on the run.
223 THE KLINGON CAMP - SERIES OF SHOTS 223
Saavik has returned to try to help Spock. She holds
him now, as his spasms continue.
The Sergeant comes forward, phaser in hand, until he
reaches the Vulcan, held by Saavik. The Klingon stops,
mesmerized. He stares at:
224 YOUNG SPOCK - OVER SAAVIK'S SHOULDER - (SPECIAL FX) 224
His features are changing before our eyes, his face
distending...
Saavik, looking back at the Klingon, clutches the ago-
nized Spock to her, trying in some way to protect him.
225 THE SERGEANT 225
He's frightened. He reflexively raises his phaser...
226 ANGLE - THE CLEARING'S EDGE 226
The flash of lightning illuminates the arrival of Kirk
and the crew. Kirk, phaser leveled --
KIRK
Don't move!!
The Klingon whirls to face the new threat, whips his
phaser toward Kirk --
But Kirk FIRES A STUN BLAST...
227 ANGLE - INCLUDING THE KLINGON - (STUNT & ILM) 227
The STUN WAVES zip at the Klingon, strike him with
spectacular force, cause him to somersault through the
air, and then, landing, lie still.
228 BACK TO SCENE 228
Kirk lowers his phaser; he and the others stare at:
Saavik, holding the now immobile Spock.
The Enterprise family reacts; with Kirk and Bones lead-
ing, they rush to Saavik.
229 ANGLE AT SPOCK AND SAAVIK 229
Kirk and the others have pulled up. Spock is now coma-
tose, breathing with labored sighs. We cannot see his
face, cradled in Saavik's comforting embrace. But Saavik
is looking up at Kirk with dazed eyes.
KIRK
... Bones...
McCoy crosses quickly, takes the Vulcan's form from
Saavik as she rises to Kirk.
SAAVIK
Oh, Admiral.
Even a half-Vulcan has a breaking point. She sags for
just a moment.
KIRK
Easy, Saavik. It's all right.
As he holds Saavik, his eyes flick over her shoulder
to:
230 KIRK'S POV 230
Unnoticed up to now, half covered by leaves, the body
of David, Kirk's fallen son.
231 BACK TO SCENE 231
He reacts. Then, with a last comforting hug to Saavik,
he breaks the embrace, and heads slowly for David's
body. She watches him EXIT SHOT.
232 ANGLE - DAVID'S BODY 232
WIDEN to admit Kirk as he enters, kneels. He reaches
out, touches hiss son's brow, wipes a leaf away.
KIRK
(a intimate whisper)
My son... "To thee no star be
dark... Both Heaven and Earth...
Friend thee forever..."
Saavik has come up behind him. She hangs back. Then
Kirk rises, aware of her presence.
KIRK
(continuing)
What happened...?
SAAVIK
He gave his life to save us. That
is all I know.
McCOY'S VOICE
... Jim!
Kirk runs, hurries OUT OF SHOT...
233 FAVORING McCOY AND SPOCK 233
With the crew gathered around, McCoy is scanning the
Vulcan's body, soothing his fevered brow. We cannot
see Spock's face, but Kirk ass he enters and kneels
beside McCoy. He reacts, mesmerized by what he sees:
KIRK
... Bones...?!
McCOY
... Rapid aging... all genetic
functions highly accelerated...
KIRK
And his mind?
McCOY
It's a void. It would seem,
Admiral, that I've got all his
marbles.
KIRK
Is there anything we can do?!
SAAVIK
Only one thing, Sir... Get him off
this planet... His aging is part
of what's going on around us...
There is a lightning FLASH, and an earth TREMOR -- and
a moan from Spock. Kirk responds, rises, and crosses
OUT OF SHOT...
234 ANGLE WITH KIRK 234
As he moves, stops, wrestling with the urgency of what
must be done. Then, deciding, he whips out his
communicator.
KIRK
(to communicator)
Klingon Commander, this is Admiral
James T. Kirk... I am alive and
well on the planet's surface...
235 BACK TO KIRK 235
KIRK
I know this will come as a
pleasant surprise for you... But
you see our ship was the victim
of an unfortunate accident... I'm
sorry about your crew, old boy,
but -- c'est la vie, as we say on
Earth...
A lightning flash makes him cover his eyes... Then:
KIRK
(continuing)
Well? I'm waiting for you!...
What is your answer?!
(only static; more
desperately)
I have what you want. I have the
secret of Genesis... But you'll
have to bring us up there to get
it... Do you hear me!
More STATIC. Kirk's ploy has apparently failed. He
sags a bit, starts back toward the crew, when another
series of flashes blind them all as the planet rumbles
with sound and fury and Spock moans. Then, Kirk and
crew do not see what to do:
In the near distance, amid the flashings, a figure is
revealed, lost in the confusion. It is Kruge, phaser
in hand.
KRUGE
... Drop all weapons!
236 OMITTED 236
237 ANGLE - FAVORING KIRK AND CREW, PAST KRUGE 237
Kirk and the others look up in shock, then rise slowly
hands in the air. Kruge moves closer, pointing.
KRUGE
Over there, All but Kirk.
The group moves to a cleared space indicated, leaving
Spock's form behind.
KRUGE
(continuing to
his comm:)
Maltz. Prisoners are at beam
coordinates. Standby...
KIRK
(easily)
You should take the Vulcan, too.
KRUGE
No.
KIRK
But, why?
KRUGE
Because you wish it.
(then, in Klingon)
(Maltz! Activate beam!)
238 FX SHOT - BEAM EFFECT - (ILM ELEMENTS) 238
McCoy, Scotty, Sulu, Chekov and Saavik disappear in the
beam effect and are gone.
239 BACK TO SCENE - KIRK AND KRUGE 239
A flash of lightning! A movement of earth. The sudden
HISS of a FISSURE OF STEAM through the surface... And
the two men face each other, shouting above the planet
noises.
KRUGE
Genesis, I want it.
KIRK
Beam the Vulcan up -- And we talk.
KRUGE
Give me what I want -- and I'll
consider it...
KIRK
You fool -- look around you! This
planet is destroying itself!
KRUGE
Yes. Exhilarating, isn't it!
KIRK
If we don't help each other, we'll
all die here!
KRUGE
Perfect! That's the way it shall
be!... Give me Genesis!
Suddenly, the very ground on which he stands seems to
become an elevator. He is carried rapidly upward on a
craggy rock formation which bursts upward, out of the
ground. Kruge tumbles, and Kirk seizes the opportunity --
240 THE FIGHT - SERIES OF SHOTS 240
Kirk leaps upon Kruge and they roll and struggle on the
churning, erupting ground.
They are evenly matched. Kirk's opening momentum holds
until Kruge's great size begins to turn the tide. He
takes temporary command with swift vicious kicks and
punches. Kirk is down.
Kruge now looks around for his phase, starts for it,
but Kirk, in a series of ground rolls trips Kruge up
with his legs, and comes on.
The off-balance Kruge now takes a series of punches
from Kirk which make him reel backward near the edge of
the promontory. A final blow from Kirk forces Kruge
over the edge -- and he:
-- tumbles and rolls down the fifteen foot slope. Kirk
peers over the edge to see:
241 KIRK'S POV - (ILM ELEMENTS) 241
Kruge has landed on a level precipice about fifteen
feet in diameter. Beyond that is an endless drop into
a chasm, the bottom of which has become a glowing red
river of LAVA.
242 ON THE PRECIPICE - UP ANGLED (ILM ELEMENTS) 242
As Kruge rises to his feet, Kirk without hesitation
soars into the air from above and dives upon Kruge, the
momentum of the dive taking both men right to the edge
of the final drop. They work their way to their feet
and continue the struggle anew, pieces of the rock edge
slipping away under their feet as they scuffle. Kirk
is winning until:
With a burst of energy, Kruge shoves Kirk hard and Kirk
slams into a wall of stone, dazed. Kruge has him --
but as he starts to step forward, the edge of the rock he
is standing on starts to slip.
243 FULL - THE PRECIPICE - (ILM ELEMENTS) 243
Kirk on the left against the wall, Kruge on the right,
on the edge. Kruge is dropping lower. The rock forma-
tion he is on now breaks away, carrying him outward:
KIRK
(shouts)
Jump -- damn you!
Kruge does jump forward at the last possible instant as
the rock falls away. He leaps to:
244 THE NEW EDGE OF THE PRECIPICE (ILM ELEMENTS) 244
Where Kruge lands precariously, hanging on almost by
his fingernails. He's holding on as best as he can, his
legs flailing, unable to gain any purchase to boost him
up.
Kirk, recovering his own strength, sees Kruge in this
helpless situation. He comes forward to the edge,
kneels over the Klingon.
KIRK
Give me your hand and we both
live.
KRUGE
(screams a curse in Klingon)
KIRK
Don't be a fool -- give me your
hand!
Kruge looks down, measuring the terror below as if
considering, then with sudden and explosive strength,
vaults upward making a desperate grab for Kirk. He has
a leg! Suddenly, Kirk is fighting not to be pulled
over the edge. He is losing that fight. Till he
lashes out with a blow. The Klingon's grip slips, yet
he hangs on tenaciously, until -- with a cry of rage --
KIRK
(continuing)
I have had... enough... of you!!
Kirk turns and kicks Kruge mightily -- and the Klingon
begins his fall...
245 WIDE DOWN ANGLED SHOT - (ILM ELEMENTS) 245
Kirk in f.g. watches as Kruge tumbles endlessly toward
the steaming red hot lava beds below...
246 ON KIRK 246
He turns now to his ultimate problem: the planet is
caving in around him. He starts to scramble up the
steep slope, back to the promontory where --
247 THE PROMONTORY - SPOCK 247
His inert body lies, surrounded by new bursts of steam
from the cracking earth...
248 ANGLE - KIRK (ILM ELEMENT) 248
Behind him we see the first signs of a fast rising
fireball sun. He claws his way back to the top level
and races to Spock's fallen form. He kneels and turns
the body over to see:
249 PAST KIRK TO SPOCK 249
We see the face at last: it is Spock, at the age he
died.
But he is also a haggard, ravaged shell of a being,
almost again dead from the agonies of change -- and
even now, with soft frightening sounds, giving
indications of the final changes that lie just ahead.
250 KIRK - SUN LARGER BEHIND HIM (ILM ELEMENTS) 250
Amid the death knell of this place, Kirk knows it is
now or never. A desperate idea forms. With
determination, he picks Spock up and shoulders him.
Then drawing his communicator, he flips it open and
takes his best shot:
KIRK
(in guttural Klingon)
(Maltz... Activate beam!...)
There is a moment of uncertainty. Kirk is about to try
again when the Klingon beam SOUND begins and...
251 BEAM UP EFFECT - (ILM ELEMENTS) 251
Amid the groans, flashes, the HISSES OF STEAM and
falling debris, Kirk, carrying Spock dematerializes in
the KLINGON BEAM, even as the sun appears to be coming
closer...
252 MASTER - THE DESERTED PLANET (ILM SHOT) 252
... and closer still, casting yellow white light over
the disintegrating surface...
253 INT. BIRD OF PREY 253
The doors WHOOSH open, and Kirk, carrying the inert
Spock, steps out, phaser at the ready!
254 REVERSE - INCLUDING KIRK 254
Maltz on the Captain's deck, the Enterprise prisoners
below. Maltz turns, expecting Kruge, and is clearly
astonished; as he raises his hands, Kirk steps forward.
KIRK
How many more?
SCOTTY
Just him, sir!
KIRK
Bones, help Spock! Everyone else,
find a station!
A flurry of activity as the crew moves into position in
the strange -- yet familiar bridge. McCoy takes Spock
from Kirk, guides him OUT OF SCENE, and Saavik takes
Maltz' phaser and steps back. To Maltz:
KIRK
(continuing)
You! Help us or die!
MALTZ
I do not deserve to live!
KIRK
Fine, I'll kill you later! Let's
get out of here!
And so saying, he dashes OUT OF SHOT, followed by
Saavik. The Klingon can only stare in confusion.
255 SPACE - THE GENESIS PLANET - (ILM) 255
We are near her now ERUPTING surface; flames shoot
out. Beyond, her sun waits, former friend, now ready
to accept the planet in death.
256 BRIDGE - BIRD OF PREY 256
Kirk in command, Sulu and Saavik on nearby station.
They are confronted by familiar tools, but baffling
zymology.
KIRK
Anyone here read Klingon?
No one does.
KIRK
(continuing)
Well, take your best shot.
257 ENGINEERING PANEL 257
Scotty hunched over the console, Chekov hunched over
him...
CHEKOV
If you can bypass into the module -
SCOTTY
Fine, but where's the damn anti-
matter inducer?
CHEKOV
This.? No, this!
SCOTTY
This or nothing.
Scotty makes several adjustments, presses some buttons,
then, with a deep breath, moves a sliding handle for-
ward. A HIGH WHINE STARTS, WAVERS, THEN GROWS ROBUST.
258 BRIDGE 258
Sulu responds to the panel indicator.
SULU
If I read this right, sir, we have
full power.
KIRK
Go, Sulu!
Sulu impels the throttle device -
259 SPACE - BIRD OF PREY - (ILM) 259
Turning gracefully, she gains speed, PASSES CAMERA, and
heads for the stars with increasing velocity breaking
to Warp Speed as -
260 SPACE - GENESIS AND HER SUN - (ILM) 260
The planet is now heading toward the sun. We watch
in wonder as she gains speed and becomes a glazing
fireball, plummeting spectacularly to her own
destruction.
261 BRIDGE - BIRD OF PREY 261
The mood is subdued, somber.
SAAVIK
The Genesis planet is gone.
KIRK
(a whisper)
Goodbye, David.
SULU
We are clear and free to navigate.
KIRK
Best speed to Vulcan. Mr.
Chekov, take the prisoners below.
CHEKOV
Aye, sir.
As he starts to:
MALTZ
Wait! You said you would kill me!
KIRK
I lied.
At Kirk's gesture, Chekov leads Maltz out. Kirk turns
back to his panel.
SULU
Estimating Vulcan at point one
niner.
CAMERA MOVES IN to Kirk and Saavik.
KIRK
Saavik: message to Ambassador
Sarek. Tell him we bring McCoy
and a living Spock. Ask him to
prepare for the Katra ritual.
Saavik raises an eyebrow.
SAAVIK
Yes, Admiral. But that
may not be possible.
KIRK
(turning)
What? What are you saying?
SAAVIK
The Katra ritual is meant to
deposit Spock's consciousness in
the Hall of Ancient Thought - not
in his body.
KIRK
But we have Spock alive! That's
more than we bargained for!
SAAVIK
Or less. What you describe is called
Fal Tor Pan - the refusion. It is
very dangerous. The elders may not
choose to attempt it.
KIRK
And if they don't.? What will
Happen to Spock?
SAAVIK
. He will remain always as he
is.
As Kirk wrestles with the horror of this we see:
262 INT. BIRD OF PREY SICK BAY - CLOSE - SPOCK 262
He is pale, comatose, fragile looking. WIDEN as Bones
passes a scanner over the form; the scanner's sound is
feeble. McCoy stops in frustration, checks Spock's
eyes; then turns back, wearily. Softly, as CAMERA
begins to ARC around them.
McCOY
(wearily)
Spock. I've done everything I
know (to do). Help me!. You
struck me with it, for God's sake,
teach me what to do with it!
(a pause, then)
I never thought I'd say this
to you. but it seems I've missed you.
And I couldn't bear to lose you again.
He lowers his head in helpless grief on the form of the
unmoving Spock, and CAMERA'S ARC has revealed Kirk
standing, watching. Kirk steps forward now, puts his
hand gently on McCoy, then on Spock. Three lives,
intertwined for so long.
263 SPACE - THE PLANET VULCAN - (ILM) 263
HOLD. The ROAR of an unseen spaceship is heard, and,
the Bird of Prey ENTERS SHOT, heading toward Vulcan.
264 INT. BRIDGE - BIRD OF PREY 264
As Kirk enters.
SULU
The planet Vulcan. In hailing
distance, sir.
KIRK
Saavik. Send to Ambassador Sarek.
Tell him we're coming in.
265 EXT. THE VULCAN TEMPLE AREA - HIGH FULL ANGLE - DUSK 265
(ILM)
LOOKING DOWN on the awesome mountainous landscape with
a temple complex on a high forbidding peak. SLOW ZOOM
IN TO MATCH:
266 EXT. TEMPLE AREA - UP ANGLED - CLOSE - SAREK - DUSK 266
Zooming at comparable speed, to a CLOSE UP of Spock's
father.
A VOICE
On approach. Permission to land.
SAREK
Permission granted. Tell Kirk
we'll be ready.
CAMERA PANS now from Sarek to reveal Uhura, in uniform.
UHURA
I'll send the message, sir.
267 EXT. VULCAN - BIRD OF PREY - ILM) 267
at impulse power, approach speed. Her "wings" config-
urate into atmospheric lift generating airfolis; she
glides...
268 INT. BIRD OF PREY 268
KIRK
Mr. Sulu, you're on manual.
SULU
It's been a while, sir. Here we
go... Retrothrusters!
269 EXT. VULCAN - BIRD OF PREY - DUSK - (ILM) 269
As the ship descends slowly and gracefully to a soft
landing in the Temple area, retro's kicking dust.
270 INT. BIRD OF PREY 270
As energizers wind down, Kirk hits comm:
KIRK
Bones, let's get him off-loaded.
271 EXT. VULCAN LANDING AREA - CLOSE IN - BIRD OF PREY 271
as a RAMP section of the plane HISSES and lowers to the
ground. Spock is carried down on a litter borne by his
friends. As they reach the bottom, Kirk is in f.g.,
and looks in amazement to see:
272 POV - (ILM ELEMENTS) 272
The great hill to the Temple is lined with hundreds of
Vulcans, many with torches. It is most impressive.
273 BACK TO KIRK - McCOY - SAAVIK 273
KIRK
My God...
SAAVIK
Much is at stake...
Then Kirk sees something else, reacts as:
274 UHURA 274
Crosses to the crew -- is hugged by Kirk. Her eyes are
moist with emotion as:
UHURA
Sarek is waiting above...
Kirk nods, and Uhura falls in place behind him, helping
to carry Spock's form with the others. They now carry
Spock OUT OF SCENE as we begin to hear RITUAL CHANTS
and MUSIC in the distance.
DISSOLVE TO:
275 EXT. VULCAN HILL - SERIES OF SHOTS - NIGHT 275
The procession is in progress through a path lined on
both sides by simply-robed Vulcans of all ages.
Spock's form makes passage to stately MUSIC.
276 VARIOUS SHOTS 276
Vulcans responding to Spock's passage.
FEATURE: A small girl releases herself from her
father's grip and moves alongside the body, makes the
Vulcan salute, and whispers with great solemnity:
SMALL GIRL
... Live long and prosper, Spock...
REACTION CUTS from Kirk and the others. And we --
DISSOLVE TO:
277 EXT. VULCAN - UPPER LEVEL OF TEMPLE AREA - SERIES OF 277
SHOTS
Sarek, some DIGNITARIES, and SIX VULCAN WOMEN, tall and
stately, are waiting. MUSICIANS are close by now. As
the Enterprise group reaches Sarek, he steps forward to
meet them. Now a silence falls.
Sarek stands at his son's head and gently places his
two hands on Spock's face. When he is done, he looks
at Kirk and McCoy. They search his face for some
indication of hope, but Sarek is expressionless. He
steps back now, gestures. The Vulcan women come
forward, and take Spock from his friends.
As the transfer is completed, the procession begins
again toward the temple entry. Sarek falls in behind
the body; Kirk and his group follow him.
DISSOLVE TO:
278 INT. VULCAN TEMPLE - SERIES OF SHOTS 278
The Hall of Ancient Thought, lined with massive heads
of stone. DOLLY with the procession as an amazing
thing takes place:
As Spock's body moves, now seen -- now blocked by
passing forms, we realize the bearers' hands are
no longer under the body, but are ON TOP OF IT.
The magic of this moment is not lost on Kirk, Bones and
the others as we --
DISSOLVE TO:
279 EXT. VULCAN ALTAR AREA - SERIES OF SHOTS (ILM ELEMENTS) 279
A great saucer-shaped platform under the Vulcan sky,
with an altar at the far end. The dramatic figure of a
VULCAN PRIESTESS stands there. Rising into the air
behind her is an elegant version of the Vulcan hand
salute shaped in gleaming metal.
The bearers continue with Spock toward the altar, but
Sarek stops here on the threshold, and stops Kirk and
group.
SAREK
This is where you will wait.
Sarek turns to face the altar. Spock's body is
deposited there to ritual MUSIC. Then, the powerful
CHANT of the HIGH PRIESTESS begins.
Kirk and McCoy and the others stare in awe at what is
happening, as the Priestess' chant flows over them.
Then, the CHANT ENDS. Sarek steps forward. A HORN..
..SOUNDS. Then:
PRIESTESS
Sarek... Child of Skon... Child of
Solkar. The body of your son
breathes still. What is your
wish?
SAREK
I ask for Fal-Tor-Pan, the
refusion.
PRIESTESS
What you seek has not been done
since ages past -- and then, only
in legend. Your request is not
logical.
SAREK
Forgive me, T'Lar. My logic
falters where my son is
concerned.
She looks at him for a long moment. Then:
PRIESTESS
Who is the Keeper of the Katra?
As Sarek's nod and Kirk's urgent look, Bones replies
uncertainly:
McCOY
I am... McCOY... Leonard H.
(adding)
Son of David...
PRIESTESS
(deep, ominous)
McCoy... Son of David. Since
thou art human, we cannot expect
thee to understand fully what
Sarek has requested. The
circumstances are extraordinary:
Spock's body lives... With your
approval, we shall use all our
powers to return to his body that
which you possess: his essence.
But McCoy...
(a pause)
You must now be warned! the
danger to thyself is as grave as
the danger to Spock.
(this impacts on
McCoy and Kirk)
You must make the choice.
McCOY
(pause, then...)
I choose the danger.
(then, aside to
Kirk)
Helluva time to ask.
PRIESTESS
Bring him forward.
As Sarek leads Bones toward the altar, we HOLD on
Kirk's new apprehension.
280 THE ALTAR - (INTERCUT WITH KIRK AND CREW) - SERIES OF 280
SHOTS
Sarek and McCoy reach the altar, and Sarek departs.
The Priestess intones another short CHANT, punctuated
by GONGS and MUSICAL emphatics. Then chant and music
stop and we hear only the gentle SOUND OF THE WIND, and
far-off TEMPLE CHIMES. She places a hand on Bones'
face, another on Spock's. Then, eerily:
PRIESTESS
All that can be done... shall be
done... Though it take full turn
of the Vulcan sun...
SOFT MUSIC now. She begins drifting into a trance like
mind meld, chanting softly, almost inaudibly.
CLOSE on McCoy... And Spock... Their eyes are closed.
A sense of kinetic energy somehow passing between
them...
The crew of the Enterprise, each and all... Waiting...
281 FULL SHOT - FROM ABOVE 281
The great altar area, the land and valley beyond.
Lightning streaks the sky.
282 CLOSE - KIRK - SLOW MOVE IN 282
The lightning flashes are reflected in his face as we
MOVE SLOWLY IN on his concerned face... and VERY SLOWLY --
LONG DISSOLVE TO:
283 EXT. VULCAN TEMPLE AREA - HIGH FULL SHOT - SUNRISE - 283
(ILM)
The early morning sun casts a different, long-shadowed
hot look on the altar and threshold.
284 OUTSIDE THE ALTAR - KIRK, THE CREW 284
From where they had watched from last night, here they have
waited, lain down. They are beginning to stir when the
SOUND OF A GONG brings them fully awake. They rise,
bleary eyed to see:
285 THEIR POV - TOWARD THE ALTAR 285
The High Priestess, exhausted, is being carried out of
the altar area on a sedan chair. As she leaves, Sarek,
supporting a weary McCoy, heads a procession of hooded
robed priests. Among them we now see a HOODED ROBED
FIGURE all in WHITE.
The procession is passing Kirk's party, while Kirk and
the crew can only stare in uncertainty. Then, Sarek
signals the others to continue while he, with McCoy,
breaks off and comes to Kirk.
286 KIRK AND CREW 286
They wait now as Bones, leaning on Sarek, ENTERS SHOT.
KIRK
Bones...?
McCOY
All right... I'm all right, Jim.
Sulu and Scotty reach for him, help support him. He is
weakened, but otherwise all right. Kirk gestures
toward the white-robed figure walking slowly away.
KIRK
What about Spock?
SAREK
I am not sure. Only time will
answer.
(then)
Kirk. I thank you. What you have
done is --
KIRK
What I have done, I had to do.
SAREK
But at what cost? Your ship...
Your son.
KIRK
If I hadn't tried, the cost would
have been my soul.
Sarek looks at him with deep admiration, then turns
and heads back to the group of priests. The wind
blows, and --
287 KIRK AND GROUP 287
They are now looking into the low sun, shading their
eyes for a last look at the white-robed figure.
288 POV - SAREK AND GROUP - LONG LENS 288
They are moving slowly away when, suddenly, the white-
robed figure stops, turns toward the Enterprise group.
289 CLOSE - THE WHITE HOOD 289
We cannot see the features beneath, but we know the
figure is staring. After a moment, the figure starts
back to the Enterprise group. As two priests reach to
stop him, they are stayed by Sarek, who now watches
with interest.
290 KIRK AND GROUP 290
watching with held breath as the white-robed figure
walks steadily to them, reaches them.
291 THE FIGURE 291
Back lit. The wind whips his garment. Now he lowers
his hood. We see Spock: a radiant, gentled Spock.
His age is as we have known it; his hair, his face, the
same; he would look at peace except for the eyes, which
remain hollow, filled with questions and uncertainties.
292 SCENE - VARIOUS ANGLES 292
The Enterprise crew, each of them stares back at Spock
as SUBJECTIVE CAMERA PANS PAST them SLOWLY. Each makes his
own effort to be remembered, but --
Spock remains churning, but uncertain. Then he looks
hardest at all at:
Kirk. The wind whips his hair.
Something triggers in Spock. He steps forward, and
then in an odd, rusty voice:
SPOCK
I know you... Do I not?
KIRK
Yes. And I know you.
SPOCK
My father says you have been my
friend... You came back for me.
KIRK
You would have done the same for
me.
SPOCK
(searching)
Why would you do this...?
KIRK
(grasping to make
a connection)
Because... the needs of the one
outweighed the needs of the many.
Spock stares at him. A vague connection has been made
-- but not enough. Spock turns away in uncertainty,
begins walking back to the group he left. Kirk raises
his helpless hand after Spock, wondering what he might
have said, should have said -- when suddenly:
Spock stops, back to Kirk. He closes his eyes, looks
to the sky. And like someone who has found a piece of
a puzzle, he says:
SPOCK
I have been... and ever shall
be... your friend.
Kirk steps forward a few steps -- hushed, encouraging --
KIRK
Yes, yes, Spock...
SPOCK
(half turns)
The ship... Out of danger...?
KIRK
(deeply)
You saved the ship, Spock. You
saved us all. Don't you remember?!
There is an odd moment after Kirk's impassioned speech:
Spock cocks his head as if some vital piece of informa-
tion had just clicked into place.
SPOCK
(softly)
... Jim... Your name is Jim.
Kirk's eyes well with tears. He nods his head.
KIRK
... Yes.
Their eyes are locked together. Spock gives a little
nod of satisfaction, as if knowing he has taken the
first of many steps. He turns to share this with
McCoy... And then with them all. We have the feeling
that Spock has come back to his family... and to us...
293 ON ENTERPRISE FAMILY 293
They have gathered round Kirk now, beaming at Spock
through their tears and their joy, knowing they all
have a future together. As the CAMERA PULLS UP AND
BACK from this, we ROLL END CREDITS and --
FADE OUT.
THE END