Star Trek V
The Final Frontier
Screenplay by:
David Loughery
Story by
William Shatner, Harve Bennett,
David Loughery
Revised Final
November 21, 1988
A WORD ABOUT THE SCIENTIFIC BASIS OF THIS SCRIPT
Many people tend to use terms like "universe" and "cosmos" and galaxy
rather loosely. This script will remain true to the STAR TREK trad-
ition of scientific reality. With a few possible exceptions, the STAR
TREK series and films take place within our own galaxy. The galaxy is
vast, but finite (as opposed to the universe which is infinite). As
Gene Roddenberry has pointed out, ony 115 of this galaxy will have
been explored by the 23rd Century.
Because the galaxy is finite, however, it has a center. It is unlikely
that by the time of this tale, this central are, distant and dangerous,
will have been explored. Nor can anyone say for sure what we may find
there.
These basic assumptions evolve from our on-going discussions with the
staff of I.P.A.C. (Infrared Processing and Analysis Center) of JPL/Cal
Tech. Their incredible computer graphics, obtained by advanced infra-
red satellite telescope photography, will be made available to use to
enhance not only the accuracy, but the incredible beauty of this
latest STAR TREK voyage.
HARVE BENNETT
PRODUCER
.......................................................................
FADE IN:
1 EXT. DESERT - DAY 1
Shimmering waves of heat. A flat unforgiving landscape
stretches to infinity. A storm of dust gathers on the
horizon, small at first, increasing in size as it
rolls toward us. Hoofbeats fill the soundtrack. Just
as the storm threatens to engulf us, A RIDER ON
HORSEBACK emerges.
Superimpose: NIMBUS III
IN THE NEUTRAL ZONE
("THE PLANET OF GALACTIC PEACE")
2 CLOSER ANGLE - STRANGE HORSE AND RIDER 2
A twisted rhino horn juts from the snout of this odd
creature. The Rider spurs the beast, driving it onward.
His white robes flare out behind him like the wings
of an avenging angel. He rides like a man possessed.
CUT TO:
3 EXT. DRY LAKE BED - DAY 3
Camera pans an arid expanse of scorched earth. J'ONN,
a ragged and malnourished homesteader of some alien
race, toils beneath a blazing sun, his back to camera.
He sinks an augering device into the ground, drilling
in vain for water. There are many hundreds
of holes in the earth around him.
J'onn reacts to the clop of approaching hooves. He
tenses, then whirls around clutching a crude home-made
pipe gun.
4 J'ONN'S POV 4
Horse and rider thunder toward him.
5 ANGLE 5
J'onn raises his pipe gun and fires a warning shot.
The Rider reins his horse to a halt ten feet short
of J'onn. The beast snorts and stamps its hooves
impatiently while the Rider studies the frightened
homesteader and removes a breathing device from his
mouth. Finally, he speaks.
RIDER
I thought weapons were forbiddeen on
this planet.
The Rider swings down from the saddle. He's tall, power-
fully built beneath his dusty robs, his face shadowed by
a hood. He indicates their bleak surroundings.
RIDER
(continuing)
Besides, I can't believe you'd kill
me for a field of empty holes.
J'ONN
(pathetic)
It's all I have.
J'onn sags under the futile weight of his existence.
The Rider approaches him without fear. He gently
removes the weapon from J'onn's trembling hands. It's
all the homesteader can do to keep from sobbing.
RIDER
Your pain runs deep.
J'ONN
(turns away in
embarrassment)
What do you know of my pain?
RIDER
Let us explore it together.
The Rider collects himself and concentrates deeply.
J'onn is immediately transfixed. He begins to tremble.
Tears flood his dirty cheeks.
RIDER
(continuing; soothing
tone)
Each man hides a secret pain. It must
be exposed and reckoned with. It must
be hauled from the darkness and
forced into the light. Share your
pain with me and gain strength from
it.
J'onn whimpers and cries out in anguish. Finally, the
catharis ends. J'onn drops to his knees, then looks up.
He opens his eyes and blinks in wonder and amazement
at the Rider. The Rider helps him to his feet.
J'ONN
(as if reborn)
Where did you get this power?
RIDER
The power was within you.
J'ONN
(trying to find
the words)
I feel as if a weight has been lifted
from my heart. How can I repay you
for this miracle?
RIDER
Join my quest.
J'ONN
What is it you seek?
RIDER
What you seek. What all men have
sought since time began -- the
ultimate knowledge. To find it, we'll
need a starship.
J'ONN
A starship? There are no starships on
Nimbus III.
RIDER
Perhaps I have a way to bring one here.
J'ONN
But how?
RIDER
Have faith my friend. There are more
of us than you know.
6 CLOSER ON THE RIDER 6
as he throws back his hood to reveal rugged charismatic
features. He's bearded, his hair is shaggy. He has the
piercing eyes of a zealot and, to our surprise, pointed
ears. His name is SYBOK.
J'ONN
(o.s., amazed)
You're a Vulcan.
Sybok nods and does something we've never seen a Vulcan
do. He smiles. And as he does, the first faint bars of
the Star Trek Theme well up on the soundtrack.
7 LONG SHOT 7
The Vulcan, his convert and the horse are tiny figures
in a overpoweringly bleak landscape. Camera tilts up
through waves of heat to the blazing sky and the galaxy
beyond.
SLOW FADE TO:
8 SPACE 8
Music and credits play over a dazzling journey through
the cosmos. Planets, stars and solar systems flash by.
No doubt about it. We're in for a rousing Star Trek
adventure. As the final credits appear, we tilt down
to a breathtaking shot of Earth.
CUT TO:
9 EXT. YOSEMITE NATIONAL PARK - DAY 9
CLOSE UP - A HAND
as it clutches a sheer rock, groping for purchase.
Camera pulls back to reveal "CAPTAIN JAMES T. KIRK"
eight hundred feet above the surrounding forest. He
climbs the face of El Capitan without ropes, gromets
or equipment. Just man against mountain. Using the
cracks in the rock face for hand and foot holds, Jim
Kirk struggles up the treacherous incline, one
painful inch at a time. We hold our breath, afraid
he'll fall.
Superimpose: PLANET EARTH
YOSEMITE NATIONAL PARK
STARDATE 8454.011
10 CAMPSITE BELOW 10
DR. LEONARD "BONES" McCOY watches Kirk's progress
through futuristic binoculars with mounting unease.
From this distance Kirk resembles a small fly on a
big wall.
McCOY
(muttering toward the
mountian)
"You'll have a great time, Bones.
You'll enjoy your leave and be able
to relax."
(lowering binoculars)
You call this relaxing? I'm a damn
nervous wreck.
(a beat)
If I'm not careful, I'll end up talk-
ing to myself.
11 EL CAPITAN - KIRK 11
He inserts the pads of two fingers into a narrow crack
above his head. He exhales, focusing concentration.
Kirk pulls himself up, balancing on a ledge barely an
inch wide. Exhilarated, he pauses to admire the view.
12 KIRK'S POV 12
A breathtaking but vertigo-inducing high angle shot of
Yosemite. This may be the 23rd Century but the park
looks the same as it did three hundred years ago. There
is a soft whooshing sound and SPOCK suddenly rises into
frame.
SPOCK
Greetings, Captain.
13 WIDE SHOT 13
Spock hovers in mid-air along side the startled Kirk,
kept aloft by means of levitation boots. His hands
are clasped behind his back, typically Spock-like.
KIRK
Spock -- what brings you to this neck
of the woods?
SPOCK
I have been monitoring your progress.
KIRK
I'm flattered. Twelve hundred points
of interest in Yosemite and you pick
me.
Spock doesn't take Kirk's hint to get lost.
SPOCK
I regret to inform you that the record
time for free-climbing El Capitan is
in no danger of being broken.
KIRK
(as he climbs)
I'm not trying to break any records,
Spock. I'm doing this because I
enjoy it. Not to mention the lost
important reason for climbing a
mountain...
SPOCK
Which is?
KIRK
(with a smile)
Because its there.
SPOCK
Captain, I do not think you realize
the gravity of your situation.
Kirk slips but manages to gain a handhold and save
himself. Beneath his feet a mini-avalanche of rocks
is dislodged, tumbling to the valley below.
KIRK
(glaring at Spock)
On the contrary. Gravity is foremost
on my mind, Spock. Look, I'm trying
to make an ascent here. Why don't
you go pester Dr. McCoy for a while?
SPOCK
Dr. McCoy is not in the best of moods.
14 CAMPSITE BELOW 14
McCoy, still watching Kirk's progress, is getting an-
grier by the second.
McCOY
(grumbling)
Goddamn... Irresponsible... Playing
games with life...
15 EL CAPITAN - KIRK AND SPOCK 15
Kirk strains for the next handhold.
SPOCK
Concentration is vital. You must be
one with the mountain.
KIRK
Spock, I appreciate your concern but
if you don't stop distracting me,
I'm liable to be one with the...
16 CAMPSITE 16
McCoy lets out a gasp as he watches Kirk's tiny figure
drop down the face of El Cap.
17 ANGLE - SPOCK 17
He dives after Kirk firing boosters to increase his
speed.
18 ANGLE - KIRK 18
Twisting and turning end over end as he hurtles down-
ward. He thrashes at air, unable to defeat gravity.
19 CAMPSITE 19
McCoy turns away, unable to watch.
20 ANGLE - KIRK 20
Dropping... dropping... the ground rushing up like a
hungry mouth. A split-second before impact...
21 ANGLE - SPOCK 21
The Vulcan swoops into shot. His powerful fingers grab
Kirk by the ankle and jerk him upward in the nick of
time.
22 CAMPSITE 22
McCoy hasn't heard the expected splat. He turns to
look and what he sees is:
23 WIDE SHOT 23
Kirk is supended in air, bobbing upside down at the
end of Spock's arm.
24 CLOSER - KIRK AND SPOCK 24
The top of Kirk's head is practically touching the
ground. That's how close he came to being pizza. Kirk
blinks in disbelief.
SPOCK
Perhaps "because it is there" is not
a sufficient reason for wanting to
climb a mountain.
Kirk dangles -- undignified but lucky to be alive.
KIRK
I'm hardly in a position to disagree.
McCoy is heard in approach.
25 KIRK'S POV 25
McCoy is seen upside down.
KIRK
Hello, Bones. Mind if we drop in for
dinner?
McCOY
That's right, turn it into a big joke.
Dammit Jim, are you that anxious to
meet your maker?
CUT TO:
26 EXT. NIMBUS III - DESERT - DAY 26
Sybok and his mount ride majestically to the top of a
dune and halt. They are followed by J'onn. He's on
foot but he clambers over the dune with determination.
Behind J'onn comes another tattered homesteader. And
behind him, two more. Without warning, a virtual army
of ragged settlers swarm over the dune. They fill the
screen, aliens of every different race, the poor and
downtrodden -- united in their devotion to Sybok.
27 ANGLE - SYBOK 27
His army draws up beside him, dust rising. Sybok points
into the blurry middle distance.
SYBOK
My friends, behold Paradise.
Camera pans off Sybok. Below them sprawls the single
outpost of civilization on this desolate world -- a
small ramshackle village smack in the middle of no-
where, surrounded by high walls. A lone rider on
horseback crosses the desert, headed for the outpost.
28 CLOSER SHOT - MAIN GATE 28
Across the top of the arch, broken letters spell out
"Paradise." Some cynical jiker has added the word
"Lost." The lone rider signals the lookout sentries
who open the heavy iron gate. Camera cranes up over
the arch as the rider passes beneath and rides toward
the sleazy-looking saloon at the far end of the street.
CUT TO:
29 INT. PARADISE CITY SALOON - DAY 29
A 23rd Century equivalent of a frontier saloon. Fut-
uristic honky tonk music. The patrons are rugged,
unpleasant types. Klingons, Romulans, Andorians, you
name it. Much drink and boistrous talk. Arguments.
Fistfights. Two men play futuristic "pool" on a table
filled with water.
30 A SEXY CATWOMAN dances atop the bar, flicking her
long striped tail and hissing seductively at her
rowdy audience.
31 ANGLE ON SALOON DOOR 31
A STRANGER coming from outside approaching familiar
western-style doors. But instead of swinging open
like you'd expect, they whoosh apart automatically.
The stranger steps into the bar and the doors whoosh
back into place.
32 WIDE SHOT 32
Talk and noise go dead as the entire saloon turns its
attention to the newcomer. The stranger, seen only
from the back, steps into the squalid bar. The Bar-
tender jerks his thumb in the direction of the back
room. The stranger crosses to the back room door and
dissapears inside. Talk and noise resume.
33 INT. BACK ROOM 33
The stranger lowers the breathing device from her face
and is revealed to be a young woman. A Romulan. Her
name is CAITHLIN DAR and she stands on the threshold
of the room, trying to adjust her eyes to the murky
surroundings. She's a little nervous and a long way
from home.
The back room is an area for unwanted odds and ends. A
ceiling fan swishes overhead pushing hot air around.
TWO MEN are sprawled in chairs at opposite ends of a
table. They're too busy drinking to notice Caithlin's
entrance.
CAITHLIN
Gentlemen, I'm Caithlin Dar.
The man seated closest to Caithlin slowly swivels his
head in her direction. He wearily extracts himself
from his chair and comes forward. He's a Terran (spec-
ifically, an Englishman) named ST. JOHN TALBOT. Thin
and dissipated, alcoholic, Talbot is a veteran of the
diplomatic corps. He pats down his unruly hair and
straightens his soiled suit. He gives Caithlin a tired
smile and extends a limp hand.
TALBOT
Ah, yes. Our new Romulan represent-
ative. Welcome to Paradise City, Miss
Dar, capital of the so-called "Planet
of Galactic Peace." I'm St. John
Talbot, the Federation representative
here on Nimbus III and my charming
companion is the Klingon consul
Korrd...
Caithlin regards the hulking figure on the other end
of the table. KORRD is an old, overweight Klingon, a
once great warrior now past his prime. He doesn't
rise to greet Caithlin. Instead, he takes a swig from
a flagon and emits an earth-shaking belch.
CAITHLIN
I expect that's Klingon for hello.
Reacting to Korrds stench, Caithlin holds her breathing
device in front of her mouth.
TALBOT
He doesn't speak English.
CAITHLIN
And I don't speak Klingon.
TALBOT
I'm relieved to hear that. Please sit
down Miss Dar. Can I offer you a
drink?
Caithlin brushes the dust from a chair at the opposite
end of the table from Korrd.
CAITHLIN
(boldly)
I must say I'm shocked at what I've
seen. Hunger. Poverty. No law enforce-
ment. And here the two of you sit
drinking...
Without warning, Korrd drunkenly lets loose with a
barrage of his native tongue. (It is subtitled in
English for those who don't speak Klingon.)
KORRD
(Romulan woman belong on their backs.)
CAITHLIN
What did he say?
TALBOT
He says he hopes you'll enjoy your
tour of duty here. Might I ask, Miss
Dar, what terrible thing you did to
get yourself banished to this armpit
of the galaxy?
CAITHLIN
I volunteered.
TALBOT
(spewing grog)
Volunteered.
Talbot turns to Korrd and translates her answer into
Klingon. Korrd chortles derisively.
CAITHLIN
Nimbus III is a great experiment.
Twenty years ago when our three
governments agreed to develop this
planet together, a new age was born.
TALBOT
Your new age died a quick death. The
great drought put an end to it. And
the settlers we conned into coming
here -- the dregs of the galaxy.
They immediately took to fighting
amongst themselves. We forbade them
weapons -- they fashioned their own.
CAITHLIN
Then it appears I've arrived just in
time. The policies that the three of
us agree on will have far-reaching
results...
TALBOT
My dear girl, we're not here to agree.
We're here to disagree. This "great
experiment" as you call it was
instigated to satisfy a bunch of
bleeding hearts whining for "galactic
peace." It was intended to fail.
CAITHLIN
I'm afraid I don't share that view.
TALBOT
(pleased)
There, you see? We are disagreeing
already.
CAITHLIN
I'm here to open discussions for a
solution to these problems.
Korrd comes to life. He roars with laughter and spits
back a disgusting mouthful of Klingon. Talbot winces.
CAITHLIN
(losing patience)
What did he say? I want his exact
words.
TALBOT
He said the only thing he'd like to
open is your blouse. He's heard
Romulan women are different.
Caithlin's embarrassment turns to anger.
CAITHLIN
You tell Consul Korrd -- never mind.
I'll tell him myself in the only
Klingon I know.
Caithlin let's loose with a Klingon epithet. No trans-
lation necessary. Sputtering with rage, Korrd hurls
his flagon aside and clambers to his feet.
KORRD
(in perfect English)
Screw you too!
CAITHLIN
He does speak English!
TALBOT
(surprised)
Sly old bugger!
Further argument is interrupted by shouts from outside
and the whine of a warning klaxon.
A handful of sentries brace themselves against the gate.
It suddenly gives way. Camera climbs up over the top
of the arch to reveal Sybok's army on the threshold
of the city. In their midst, towering majestically
above them, is Sybok on horseback. He urges his mount
forward. With quiet determination, he and his army pour
under the arch and proceed up the main drag.
Townspeople scurrying for protection, anticipating an
attack. Those who consider challenging Sybok are
allayed by the crude weapons and intimidating looks
of his followers. Sybok intends to take this town by
show of force without having to fire a shot. And it
looks like he'll succeed.
34 OMITTED 34
35 EXT. STREET OUTSIDE SALOON 35
Korrd, Caithlin and Talbot emerge to see what the hub-
bub is about. When they see the approaching forces,
Korrd and Talbot immediately turn tail and run back
inside. After a moment, Caithlin follows.
36 INT. SALOON 36
Korrd, fearing the worst, goes behind the bar and
opens a bottle. He upends it and pours the contents
down his throat. He prefers to die drunk.
Talbot runs to the far side of the room and yanks a
dusty sheet off a primitive communications screen.
Caithlin rushes to his side as he desperately tries
to get it working.
The saloon doors are forced open. J'onn and several
soldiers pour in, brandishing weapons.
J'ONN
Get away from that screen!
The klaxon winds down to eerie silence as the soldiers
herd Korrd, Caithlin and Talbot together. Sybok enters.
SYBOK
(appraising them
one by one)
Romulan. Terran. Klingon. Consider
yourselves my prisoners.
TALBOT
(scoffing)
Prisoners. We're already prisoners on
this worthless ball of rock. Of what
possible value could we be to you?
SYBOK
Nimbus III may be a wonderous ball of
rock, but it does have one unique
treasure. It's the only place in the
entire galaxy that has the three of
you.
Korrd reaches for the pistol at his side. But before
his fingers can grasp it, Sybok's soldiers noisily
cock their weapons and point them at his heart. Korrd
is outgunned and he knows it. He sputters impotently.
CAITHLIN
(to Sybok; boldly)
I don't know who you are or what you
want but I can tell you this: our
government will stop at nothing to
insure our safety.
SYBOK
(with a smile)
That's exactly what I'm counting on.
On Caithlin's confused look...
CUT TO:
37 EXT. SPACE - THE EARTH - SPACEDOCK 37
Hanging in space like a big Christams ornament. The
big blue marble called Earth is visible in the
distance.
38 INT. SPACEDOCK 38
A huge, cavernous area designed as a high and dry for
space vessels. Among this warehouse of ships is the
one we know best -- U.S.S. ENTERPRISE, NCC-1701-A.
INT. ENTERPRISE BRIDGE
A meager repair crew lazily overhauls consoles and
monitors. Some things work, most do not. One thing
that does work is CHIEF ENGINEER MONTGOMERY SCOTT
who looks up as COMMUNICATIONS OFFICER UHURA enters,
stepping around cables.
SCOTTY
(grumbling to himself)
"Let's see what she's got" the Captain
said. And then we found out, didn't
we?
UHURA
I'm sure you'll whip her into shape,
Scotty. You always do.
SCOTTY
(realizing)
Uhura, why aren't you on leave?
UHURA
I thought we were going together.
SCOTTY
(indicating the
ship)
I canna leave her when she needs me
the most.
UHURA
I had a feeling you'd say something
like that. So...
(produces a food
pack)
I brought you some dinner.
SCOTTY
(touched)
Lass, you're the most understanding
woman I know.
The Bridge light starts to flash red. An ear-splitting
klaxon sounds.
COMPUTER VOICE
Red alert. Red alert.
SCOTTY
(exasperated)
I just fixed that damn thing. Turn
it off, will you?
Uhura goes to her console to switch it off but sees
something odd. She punches a button and responds.
UHURA
This is Enterprise. Identify your-
self.
COMMAND VOICE
Enterprise, this is Starfleet. We
have a Priority Seven situation in
the Neutral Zone.
UHURA
Stand by, Starfleet.
(signalig Scotty)
Scotty, it's for real.
SCOTTY
(aghast)
You canna be serious. The ship's in
pieces and we've less than a
skeleton crew on board.
UHURA
Starfleet, are you aware of our current
status?
COMMAND VOICE
Current status understood. Stand by to
copy operational orders and recall key
personnel.
Uhura and Scotty share grim looks.
CUT TO:
40 EXT. EARTH - FOREST - DAY 40
COMMANDER SULU and CHEKOV tramp through dense woods.
From their weary expressions, its clear they've been
hiking a long time. Sulu leads the way, Chekov
trudges behind him.
CHEKOV
Admit it. We're lost.
SULU
All right, we're lost.
(with a smile)
But we're making good time.
Sulu's communicator beeps.
SULU
I don't believe this.
(flips it out)
Commander Sulu here.
INTERCUT WITH:
41 INT. ENTERPRISE - BRIDGE 41
Uhura studies a monitor showing Sulu and Chekov as two
blips on a grid.
UHURA
Commander Sulu, this is Enterprise.
Bad news, gentlemen. Shore leave's
been cancelled.
CHEKOV
(with relief)
Rescued at last.
UHURA
Return to the prearranged coordin-
ates for pickup.
Sulu and Chekov look at each other.
CHEKOV
(whispering)
Don't tell her you're lost. You'll
never live it down.
UHURA
Is there a problem, gentlemen?
SULU
Er... yes. We've been caught in a
blizzard!
CHEKOV
(playing along)
And we can't see a thing. Request
you direct us to the co-ordinates.
Chekov provides blizzard noises.
On Enterprise, Uhura listens to the "blizzard" and
checks her graphics display for weather report. She
smiles.
UHURA
I'm sorry about your weather. My
visual says sunny skies and seventy
degrees.
CHEKOV
(improvising)
Sulu! Look! The sun's come out! It's
a miracle!
UHURA
(chuckling)
Don't worry, fellas. Your secret's
safe with me. I'll send the shuttle-
craft to pick you up.
SULU
Uhura, we owe you one. Sulu out.
Sulu and Chekov sit down on a boulder to wait.
SULU
(continuing)
I should have gone to Yosemite with
the Captain.
CHEKOV
What's the difference? If you've
seen one national park, you've seen
them all.
Camera tilts up to reveal Mt. Rushmore in the back-
ground. We pan the granite faces of Washington,
Jefferson, Roosevelt, Lincoln and -- surprise -- the
face of a fifth president (who happens to be a woman.
A black woman.)
CUT TO:
42 EXT. YOSEMITE - CAMPSITE- NIGHT 42
McCoy stands over a blazing campfire. A covered pot
simmers on the coals. McCoy picks up a pan and bangs
on it with a spoon. He's slightly tipsy.
McCOY
(calling out)
Come and get it.
Camera pulls back to reveal Kirk and Spock two feet
away.
KIRK
Knock it off, Bones. We're right here
and we're starving.
McCoy grins and crouches beside the covered pot. He
revels in their undivided attention.
SPOCK
Bi-podal seeds, Doctor?
McCOY
Beans, Spock -- but no ordinary beans.
These are from an old Southern recipe
handed down to me by my father. And
if you turn your Vulcan nose at
these, you're not just insulting me,
you're insulting countless gener-
ations of McCoys.
SPOCK
In that case, I have little choice
but to sample your... beans.
McCoy ladles out the beans. Kirk tears into his. Spock
tries a forkful. He finds the taste strangely exciting.
SPOCK
Surprisingly good. However, it contains
a flavoring I am not familiar with.
McCOY
That's the secret ingredient.
Spock eats with enthusiasm.
KIRK
Got any more of that secret ingredient,
Bones?
McCOY
You bet your buns.
McCoy grins and pulls out a bottle of bourbon. Spock
stops in mid-chew and McCoy fills Kirk's cup.
SPOCK
Am I to understand that your secret
ingredient is... alcohol?
McCOY
Bourbon, Spock. Kentucky bourbon.
Care for a snort?
KIRK
Bourbon and beans. An explosive combin-
ation. Do you think Spock can handle
it?
McCOY
Couldn't possibly affect his Vulcan
metabolism.
SPOCK
As you are so fond of pointing out,
Doctor, I am half human.
McCOY
Certainly doesn't show.
SPOCK
Thank you.
McCOY
This guy never changes. I insult him
and he takes it as a compliment.
(pouring himself
another shot)
You know, the two of you could drive
a man to drink.
KIRK
(innocent)
What did I do?
McCOY
You really piss me off, Jim. Human
life is far too precious to risk
on crazy stunts. Maybe it didn't
cross your macho mind but when you
fell off that mountain you should
have been killed.
KIRK
It crossed my mind.
McCOY
And?
KIRK
Even as I fell, I knew I wouldn't
die.
McCOY
(indicating Spock)
I thought he was the only one who's
immortal.
KIRK
It's not that, Bones. I knew I wouldn't
die because the two of you were with
me.
SPOCK
I do not understand.
KIRK
(darkly)
I've always known I'll die alone.
McCOY
(frowning)
I'll call Valhalla and reserve you a
room.
(shaking his head)
It's a mystery that draws us together.
All that time in space -- gettin on
each other's nerves -- and what do we
do when shore leave comes along?
Spend it together. Other people have
families.
KIRK
(wistful)
Other people, Bones. Not us.
They dwell on this thought for a moment. Then, Kirk
notices that Spock has removed a sack from his back-
pack. Spock reaches into the sack and takes out a
marshmallow which he attaches ot the end of a pointed
stick.
KIRK
What are you doing, Spock?
SPOCK
I am preparing to toast a marsh melon.
Marsh melon? Kirk and McCoy hide their smiles as Spock
holds the marshmallow over the fire.
McCOY
Well, I'll be damned. A marsh melon.
Where did you learn that?
SPOCK
Before leaving the ship I consulted
the library computer to familiarize
myself with the customs of "camping
out." The evening meal is tradition-
ally followed by the toasting of
marsh melons.
Spock offers sticks and marshmallows to Kirk and McCoy
who play along, amused by Spock's dead serious approach
to frivolity.
McCOY
Tell me something, Spock. What do we
do after we toast the marsh... er,
melons?
SPOCK
We consume them.
McCOY
I know we consume them, I mean after
that.
SPOCK
I believe we are required to engage
in a ritual known as the sing-a-long.
KIRK
I haven't sung around a campfire since
I was a boy in Iowa. What should we
sing? Bones?
McCOY
(thinking)
How about "Camptown Races?"
KIRK
"Pack Up Your Troubles."
SPOCK
Are we leaving, Captain?
McCOY
It's a song title, Spock.
SPOCK
Ah.
KIRK
"Moon Over Rigel Seven?"
McCOY
"Row, Row, Row Your Boat."
KIRK
Excellent. Do you know it, Spock?
SPOCK
I did not encounter that song in my
research.
KIRK
The lyrics are simple: "Row, row,
row your boat, gently down the
stream...merrily,merrily, merrily,
merrily, life is but a dream."
Bones and I will start it off and
when we give you the signal, jump
in. Doctor if you please...
McCoy takes a hit of booze and clears his throat.
McCOY
Don't say I didn't warn you.
McCoy starts to sing. Kirk joins in. Maybe it's the
bourbon but the two of them sound pretty good.
KIRK AND McCOY
(overlapping)
"Row, row, row your boat gently down
the stream merrily, merrily, merrily,
merrily, life is but a dream..."
They signal Spock that it's his turn to jump in but
the Vulcan merely regards them quizzically. The
sing-a-long grinds to a halt.
KIRK
What's wrong, Spock? Why didn't you
join in?
SPOCK
I was trying to comprehend the mean-
ing of the words.
McCOY
(losing patience)
It's a song, you green-blooded son of
a Vulcan. You sing it. The words
aren't important. What's important is
that you have a good time singing it.
SPOCK
(sincere)
I am sorry, Doctor. We're we having a
good time?
McCOY
(giving up)
I liked him better before he died.
McCoy rolls out his sleeping bag.
KIRK
Why don't we call it a night and get
some sleep? I'm anxious to have
another go at El Cap in the morning.
McCOY
Over my dead body.
They prepare for bed.
43 LONG SHOT - CAMPSITE 43
Under a twinkling sky, the three men settle into their
sleeping bags. Faint night sounds. Crickets. An owl.
Then...
SPOCK
(toubled)
Captain?
KIRK
We're on leave. Call me Jim.
SPOCK
Jim?
KIRK
Yes, Spock?
SPOCK
LIfe is not a dream.
KIRK
(with a sigh)
Go to sleep, Spock.
They go to sleep. Stars twinlke overhead.
CUT TO:
44 EXT. SPACE 44
A NASA Pioneer probe tumbles through space. Ancient,
forgotten, the device is flotsam. On it's side is a
plaque showing image of two humans and simple mathe-
matical and scientific symbols. It comes past camera
and out of this distortion, a Klingon Bird of Prey
materializes.
45 INT. BIRD OF PREY - BRIDGE 45
Doors seperate to admit KLAA, the Bird of Prey's
swashbuckling young captain. He is met by VIXIS, his
first officer, a statuesque Klingon female. It's
clear she adores Klaa.
VIXIS
(Captain Klaa, we have a target in
sight. A probe of ancient origin.)
KLAA
(Difficult to hit?)
VIXIS
(Most difficult.)
KLAA
(Good.)
Klaa's crew watches with excitement as their captain
straps himself into his command chair which has been
equipped with an elaborate gunner's rig allowing
Klaa to do the shooting himself.
KLAA
(All weapons to my control.)
A periscope-like device swings into position in front
of Klaa's flashing eyes.
46 PERISCOPE - KLAA'S POV 46
The probe is a tiny traveling speck in the distance.
Its course is erratic.
47 EXT. SPACE 47
The probe tumbles through space as the Bird of Prey
swoops down for the attack. Machine gun-like phasers
are mounted on the Bird's wings. They come to life
and swivel, blasting a flange off the front of the
probe. A second blast destroys a fin on the rear of
the craft. A third shot blows away the antennae.
Klaa is toying with the target.
48 INT. BIRD OF PREY - BRIDGE 48
The crew cheers each hit. They admire their captain
and his deadly skill. But Klaa seems dissatisfied.
He hesitates finishing the probe off.
KLAA
(Shooting space garbage is no test of
a warrior's mettle. I need a target
that fights back.)
VIXIS
(Captain, we are receiving a priority
message from Operations Command.)
Klaa unstraps himself from the command chair and joins
Vixis at a monitor screen. The fearsome face of A
KLINGON COMMANDER fills the screen and starts barking
Klingon over shots of Nimbus III and the Paradise
outpost. It's clear the Bird of Prey is being ordered
to Nimbus III. Klaa and Vixis are charged with
excitement.
VIXIS
(One of the hostages is a Klingon.)
KLAA
(And the others?)
VIXIS
(A Terran and a Romulan.)
KLAA
(That means the Federation will be
sending a rescue ship of its own.
Plot course for Nimbus III.)
Unable to contain his excitement, Klaa returns to his
command chair.
KLAA
(continuing)
(I've always wanted to engage a Fed-
eration ship.)
49 EXT. SPACE - ANGLE - BIRD OF PREY 49
The crippled NASA probe wobbles into the foreground,
almost out of range. In the far distance, the Bird of
Prey. Klaa's guns come to sudden life and blow the
probe to atoms in a blinding flash of light.
CUT TO:
50 EXT. YOSEMITE - NIGHT 50
Another blinding light, this one a ball of great int-
ensity sets down on the edge of the campsite, rousing
Kirk, Spock and McCoy from sleep.
McCOY
Get that damn light out of my face!
The three men rise and watch as a figure in silhouette
emerges from the light and comes forward. It's Uhura.
UHURA
Mister Scott appologizes for having
to send the shuttlecraft but the
transporter beam is not operational.
Captain, we've recieved important
orders from Starfleet.
KIRK
Why didn't you beep my communicator?
UHURA
You forgot to take it with you.
Uhura hands Kirk his communicator. It's clear he left
it behind on purpose.
KIRK
Wonder why I did that?
(to Spock and McCoy)
Well. gentlemen, it appears shore
leave's been cancelled. Pack out
your trash.
CUT TO:
51 EXT. EL CAPITAN - NIGHT 51
The bright light leaves the deserted campsite and rises
against the mountain. It turns toward camera and
reveals itself as a sleek shuttlecraft of impressive
design. Aft thrusters fire and it shoots skyward.
52 INT. SHUTTLECRAFT GALILEO 5 52
This is the Galileo 5, capable of transporting two dozen
personnel. At the moment its passengers are Kirk, Spock,
McCoy and Uhura who pilots the craft.
53 EXT. SPACE - ANGLE - ENTERPRISE 53
The ship is seen in her shining glory above Earth,
framed against a full moon. The approaching Galileo is
dwarfed by the magnificent starship.
54 INT. GALILEO 54
Kirk gazes fondly at Enterprise.
KIRK
"... and all I ask is a tall ship and
a star to steer by."
McCOY
Melville.
SPOCK
John Masefield.
McCOY
Are you sure about that?
SPOCK
I am well-versed in the classics, Dr.
McCOY
(cantankerous)
Then how come you don't know "Row Your
Boat?"
Spock raises an eyebrow.
55 INT - ENTERPRISE - CONTROL BOOTH OVERLOOKING THE 55
LANDING BAY
A crewman watches a graphic of the approaching shuttle-
craft.
UHURA'S VOICE
Ready for landing maneuver. Enterprise,
you have control.
SULU'S VOICE
Roger, Galileo 5. Open by door. Trans-
fer power to the tractor beam.
56 EXT. ENTERPRISE - FAVORING LANDING BAY 56
Bay doors open to receive Galileo. The tractor beam
locks on to the shuttlecraft and slowly pulls her
inside. It's a delicate maneuver. Even with wings re-
tracted, the Galileo clears the door with only a few
feet on either side.
57 CONTROL BOOTH OVERLOOKING LANDING BAY 57
The crewman operates the controls.
58 BAY AND STAGING AREA 58
The shuttlecraft comes in for a smooth landing. Its
side hatch opens to allow Kirk and company to exit.
There's no one to greet them, just a few crewmen
scurrying around. Scotty appears. He may be exhausted
and covered with grime but he's in his element.
SCOTTY
All I can say is they don't make 'em
like they used to.
KIRK
You told me you could have the ship
operational in two weeks. I gave
you three. What happened?
SCOTTY
I think you gave me too much time,
Captain.
KIRK
(hiding a smile)
Very well, Mister Scott. Carry on.
SCOTTY
Aye, sir. No rest for the weary.
(shouting to some
unfortunate crewman)
How many times do I have to tell you?
The right tool for the right job...
Camera follows Kirk into the turbolift where Spock,
McCoy and Uhura await.
McCOY
(indicating Scotty)
I don't think I've ever seen him hap-
pier.
ELEVATOR VOICE
(badly slurred)
Level please.
KIRK
Bridge, I hope.
Turbolift doors close with a grinding sound. Kirk, Spock,
McCoy and Uhura are carried upward.
KIRK
(to Spock; casually)
I could use a shower.
SPOCK
Yes.
A surprised reaction from Kirk.
CUT TO:
59 INT. ENTERPRISE - BRIDGE 59
Computers come to life. Screens activate.
60 ANGLE - TURBOLIFT 60
A whoosh but only half the automatic door slides open.
The other half is stuck. Kirk must manually force it
open to enter the Bridge.
KIRK
Doesn't anything work on this ship?
YEOMAN
Captain on the Bridge.
AN ATTRACTIVE YEOMAN comes forward with the jacket of
Kirk's uniform. He shrugs off his camping jacket to
reveal a "Go Climb A Rock" t-shirt underneath. Uhura
and Spock go to their stations. McCoy shakes his head
at the noisy, messy Bridge.
McCOY
Starfleet's got some nerve sending
us out in this condition. Why, the
ship's a virtual ghost town.
UHURA
Ready for Starfleet transmission.
KIRK
(raising his voice)
Could we have a little quiet, please?
(work and noise stop
at once)
Thank you.
(to Uhura)
On screen, Commander.
61 INTERCUT WITH BRIDGE VIEWSCREEN 61
Kirk is still fiddling with his buttons as the face of
THE STARFLEET COMMANDER appears. Behind the Commander,
images and data. The image is shaky at first.
COMMANDER
Am I on?
KIRK
Bob?
COMMANDER
Enterprise, this is Starfleet Oper-
ations.
(peers uncertainly)
Jim...? You're dressing rather
informally, I see.
KIRK
You caught me on my way to the shower.
COMMANDER
Understand, sorry to interrupt your
shore leave but look, we've got a
dangerous situation on Nimbus III.
KIRK
(ironic)
On "the planet of Galactic Peace?"
COMMANDER
The same. From what we can make out,
a terrorist force has capturted the
only settlement and taken hostages
of the Klingon, Romulan and
Federation consuls. Now I know
Enterprise isn't completely up to
specs...
KIRK
Will all respect, Enterprise is a
disaster. There must be other ships
in the quadrant...
COMMANDER
Other ships, no experienced command-
ers. Captain... I need Jim Kirk.
KIRK
Go ahead, Bob.
COMMANDER
Your orders are to proceed to Nimbus
III, assess the situatino, and avoid
confrontation if possible. But, above
all, you've got to get those hostages
out safely.
KIRK
Have the Klingons responded?
COMMANDER
No, but you can bet they will.
Kirk addresses his expectant crew.
KIRK
(continuing)
I'm afraid the ship's problems will
have to be solved en route. Since
we're undermanned, I'm counting on
each of you to give his best. End
of speech, let's get to work. Mister
Sulu, plot course to Nimbus III.
SULU
Aye, sir. Plotted.
McCoy sidles over to Kirk.
McCOY
If you ask me, Jim, and you haven't,
this is a terrible idea. We're bound
to bump into the Klingons and they
don't exactly like you.
KIRK
The feeling's mutual. Engine room.
SCOTTY'S VOICE
Scotty here.
KIRK
We'll need all the power you can
muster, Mister.
SCOTTY'S VOICE
Dinna you worry, Captain. We'll beat
those Klingon devils even if I have
to get out and push.
KIRK
I'll keep your offer in mind, Mister
Scott. Best speed, Mister Sulu.
Kirk settles into his command chair. He shifts uncom-
fortably.
McCOY
What's wrong, Jim?
KIRK
I miss my old chair.
62 EXT. SPACE - ANGLE - ENTERPRISE 62
Enterprise edges away from the moon at impulse power.
Then, like she was fired from a slingshot, the ship
warps into space.
CUT TO:
63 ANOTHER PART OF THE GALAXY 63
The Bird of Prey slices through the fabric of space
headed for Nimbus III.
64 INT. BIRD OF PREY - BRIDGE 64
Klaa paces his deck like a restless buccaneer, eager
for confrontation. Vixis approaches.
VIXIS
(We've just intercepted an encoded
message on the Federation frequency.
The Starship Enterprise has been
dispatched to Nimbus III.)
KLAA
(Enterprise? That's Kirk's ship.)
Klaa's eyes flash with excitement. This news is too
good to be true.
VIXIS
("There will be no peace as long as
Kirk lives." Our Empire's highest
bounty has been placed on his head.)
KLAA
(James T. Kirk -- I've followed his
career since I was a boy. A man to
admire... and hate. If I could defeat
Kirk...)
VIXIS
(... you would be the greatest warrior
in the galaxy.)
This fact isn't lost on Klaa.
KLAA
(Maximum speed!)
The crew hops to it. Klaa turns to Vixis and gives her
the chest thumping Klingon salute.
KLAA
(Success!)
Vixis passionately returns the gesture.
VIXIS
(Success... my captain.)
CUT TO:
65 EXT. SPACE - ANGLE - ENTERPRISE 65
As she sails toward the Neutral Zone.
KIRK'S VOICE
Captain's Log, Stardate Eighty Four --
(the recording malfunctions)
Try again, Captain's Log, Stardate
Eighty --
(recording malfunctions again)
Forget it.
66 INT. ENTERPRISE - BRIDGE 66
Uhura addresses Kirk from her station.
UHURA
Captain, we're receiving the hostage
information you requested.
KIRK
On screen.
Spock and McCoy come forward to watch.
67 INTERCUT WITH BRIDGE VIEWSCREEN 67
The screen comes to life and fizzles out. Then pops
back on. Factual information, photographs, film and
visual illustrations depict the background of the
three hostages.
KIRK
Not General Korrd.
SPOCK
The same. He has apparently fallen
out of favor with the Klingon High
Command. His appointment to Nimbus
III appears to be a form of
banishment.
KIRK
(fondly)
Korrd's military strategies were re-
quired learning when I was a cadet
at the Academy. When they put me out
to pasture, I hope I fare better
than Korrd.
McCOY
This must be the hostage tape.
A tape of poor quality. Image and sound come and go.
A static shot of Caithlin Dar, flanked by Talbot
and Korrd. Unlike the lively girl of the first scene,
Caithlin is now restrained, dazed. Talbot and Korrd
are also strangely subdued. In the b.g. we can see
several of Sybok's soldiers brandishing weapons.
SPOCK
Their weapons appear to be extremely
primitive.
CAITHLIN
At fourteen hundred hours we willingly
surrendered ourselves to the forces of
the Galactic Army of the Light. At
this moment, we are in their protective
custody. Their leader assures us that
we will be treateds humanely as long as
you co-operate with his demands. I
believe his sincerity. He requests that
you send a Federation starship to
parlay for our release. Be assured we
are in good health...
McCOY
(scoffing)
Hostage mentality if ever I saw it.
CAITHLIN
... and would appreciate your immediate
response.
Sybok looms into shot, blocking the captives.
SYBOK
I deeply regret this desperate act but
these are desperate times. I have no
desire to harm these innocents but do
not put me to the test. I implore you
to respond within twenty-four hours.
End of transmission. Spock strides to Uhura's console.
He backwinds the tape and freeze frames on Sybok's
face. It's blurry, indistinct. Spock is transfixed by
the image.
KIRK
(concerned)
What is it, Spock? You look like
you've just seen a ghost.
SPOCK
Captain... perhaps I have.
Spocks turns and exits.
CUT TO:
68 EXT. DEEP SPACE - ANGLE - ENTERPRISE 68
As the ship comes past camera, we move in on a single
window in the forward area of the dish.
69 INT. ENTERPRISE - FORWARD OBSERVATION ROOM 69
A vast area designed for contemplation. The most ar-
resting feature is an antique ship's wheel -- the kind
Horatio Hornblower might have steered. The wheel stands
in front of tall curving windows that offer an
impressive space vista.
Spock is beside the wheel, staring at the stars, lost
in thought. In his mind he hears A DISTANT VOICE FROM
THE PAST.
VOICE
I will find Sha Ka Ree...
Kirk and McCoy enter with urgency and approach Spock,
interrupting his revery. Throughout the following,
Spock continues to stare thoughtfully at the stars.
KIRK
Spock, what is it? Do you know this
Vulcan?
SPOCK
I cannot be sure.
KIRK
But he does seem familiar.
SPOCK
He reminds me of someone I knew in
my youth.
McCOY
Why, Spock, I didn't know you had one.
SPOCK
I do not often think of the past.
KIRK
(gently)
Spock, who is it he reminds you of?
SPOCK
(through the haze of
memory)
There was a young student... except-
ionally gifted... possessing great
intelligence. It was assumed that
one day he would take his place
amongst the great scholars of Vulcan.
But he was a revolutionary.
KIRK
What do you mean?
SPOCK
The knowledge and experience he sought
were forbidden by Vulcan belief.
KIRK
Forbidden?
SPOCK
He rejected his logical upbringing
and embraced the animal passions of
our ancestors.
KIRK
Why?
SPOCK
He believed that the key to self-
knowledge was emotion... not logic.
McCOY
Imagine that. A passionate Vulcan.
SPOCK
When he encouraged others to follow
him, he was banished from Vulcan,
never to return.
KIRK
(studying Spock)
Fascinating.
UHURA'S VOICE
Captain to the Bridge.
KIRK
On my way.
Kirk and McCoy head for the exit. Kirk hesitates on the
threshold. He looks back into the room. Spock is still
at the window, lost in thought.
KIRK
(continuing)
Spock...?
Spock snaps out of it. He hurries to join Kirk.
SPOCK
Coming, Captain.
CUT TO:
70 EXT. SPACE - NIMBUS III 70
That imposing ball of rock.
SULU (O.S.)
Approaching Nimbus III.
71 INT. ENTERPRISE - BRIDGE 71
This time it's the other half of the turbolift door that
fails to open. Kirk shoves it open so that he, Spock and
McCoy can enter.
Nimbus III is on the viewscreen.
UHURA
Hailing fequencies open.
KIRK
(taking his seat)
Standard orbit, Mister Sulu.
UHURA
Captain, we're receiving a transmis-
sion from Paradise City. They demand
to know our intentions.
KIRK
Respond with static. Let them think
we're having difficulty. It wouldn't
be far from the truth.
UHURA
(into her speaker)
Paradise City, can you boost your
power? We are barely receiving
transmission.
KIRK
Any sign of Klingon vessels?
SPOCK
Scanning.
KIRK
Transporter room. Status.
72 INT. TRANSPORTER ROOM 72
Scotty, hard at work.
SCOTTY
Scotty here, Captain. Transporter
still inoperative. Even if we
could lock on to the hostages, we
canna beam them up.
BACK TO SCENE.
KIRK
Then we'll have to get them out
the old fashioned way.
SPOCK
Klingon vessel now entering quad-
rant. Bird of Prey. Estimating
1.0 hours until her weapons come
to bear.
KIRK
Damn.
(as he rises)
Let's move.
CUT TO:
73 EXT. NIMBUS III - PARADISE CITY - NIGHT 73
Its walls and craggy structures loom against the
planet's twin moons.
74 INT. SALOON 74
Tables and chairs have been cleared aside. A single
figure stands before an old-fashioned communications
screen. It's Sybok, waiting with great patience.
UHURA'S VOICE
Paradise City, this is the Starship
Enterprise.
SYBOK
(pleased)
A Federation ship.
An image flickers and takes hold on the screen. We see
the Bridge of the Enterprise. The command chair swings
around and reveals its occupant to be Chekov.
CHEKOV
This is Captain Pavel Chekov speaking.
You are in violation of Neutral Zone
treaty. I advise you to release your
hostages at once or suffer the
consequences.
Sybok regards Chekov with a calm smile.
SYBOK
Your threats amuse me, Captain Chekov.
What consequences did you have in mind?
CUT TO:
75 EXT. SPACE - NIMBUS III 75
The shuttlecraft Galileo 5 streaks toward the planet's
surface deploying wings as it enters the atmosphere.
76 INT. GALILEO 76
Low Level combat lighting. Sulu occupies the pilot's
seat. Nearby are Uhura and seven Enterprise crewmen.
Kirk and Spock are huddled over a graphics screen.
They are dresses in field uniform. Phasers and
transparent shields have been dispensed.
SPOCK
Their scanning systems are primitive
but effective. I recommend we land
here co-ordinate Eight Five/ Six
Three.
KIRK
That puts us pretty far away from
Paradise City.
SPOCK
To land any closer would be to risk
detection.
KIRK
Mister Sulu... execute.
77 EXT. DESERT - NIGHT 77
The shuttlecraft swoops out of the dark sky and skims
the surface of Nimbus III.
78 INT. GALILEO 78
Kirk and Spock are side by side. Kirk buckles himself
in, then notices that Spock is lost in thought has
not buckled up. Kirk leans over and buckles Spock's
belt for him.
KIRK
You okay, Spock?
SPOCK
I am fine, Captain.
(trying to reassure
him)
Damn fine.
Kirk wonders.
79 EXT. PARADISE CITY 79
Its lights are tiny specks in the dark desert landscape
as the Galileo comes in for a landing some distance away.
80 INT. SALOON 80
Chekov addresses Sybok from the communication screen.
CHEKOV
Even as we speak, a Klingon warship
is on its way. We estimate arrival
within the hour.
SYBOK
I imagine the Klingons will be
quite angry.
CHEKOV
You are a master of understatement.
They're likely to destroy the
planet.
SYBOK
Then its fortunate I have you and
your starship to protect me. In
the meantime, Captain, I instruct
you and your first officer to
beam down to my co-ordinates.
CHEKOV
(playing for time)
We will be happy to beam down but
first we must have certain
assurances.
SYBOK
(weakly)
Name them.
CUT TO:
81 EXT. NIMBUS III - DESERT - NIGHT 81
Galileo lies behind a dune. The lights of Paradise
city are glimpsed over the rise, a mile off.
82 ANGLE - GALILEO 82
The crewmen zll spill out, lining up in formation,
clutching their rifles and shields. Kirk and Spock
scramble up the side of the dune and scan the
distant outpost with night vision binoculars. There's
nothing between them but flat expanse.
SPOCK
At footspeed I estimate the journey
to Paradise City at 1.2 hours.
KIRK
We don't have 1.2 hours.
(looking O.S.)
Wait a minute...
83 KIRK'S POV - THROUGH BINOCULARS 83
A tiny oasis in the near distance.
CUT TO:
84 EXT. OASIS - NIGHT 84
A BAND OF RAGTAG SOLDIERS gather around a campfire.
They are six in number, all men, members of Sybok's
force. They are heavily robed to retard the night
chill. They chat and drink. Nearby, their horses
sip from a meager spring.
A woman's song floats out of the darkness -- soft
and mysterious, seductive. The soldiers look at each
other in surprise, then rise en masse to seek the
scource of the singing. One of them points O.S. with
excitement.
85 THEIR POV 85
In the distance, atop a dune and silhouetted against
the low hanging twin moons... a female! But not just
any female. This siren undulates as she sings, moving
sensuously.
86 CLOSER SHOT 86
It's Uhura.
87 THE SOLDIERS 87
Drawn like moths to a flame. They stumble over each
other to get a closer look, climbing on hands and
knees up the steep dune were Lorelei Uhura waits at
the top.
88 ANGLE FROM BELOW 88
The slavering soldiers have almost reached the summit
when they hear whinnies from their horses. The soldiers
tear their eyes away from Uhura and look back to camp.
89 OASIS 89
The Enterprise crew is rounding up the horses.
90 SOLDIERS 90
They turn back to Uhura who towers above them, a phaser
in each hand.
UHURA
I've always wanted to play to a
"captive" audience.
Armed Enterprise crewmen enter shot to back her up.
CUT TO:
91 EXT. DUNES - NIGHT 91
Snarling horses pound over a rise, sending sand in all
directions. Riders hurtle past camera with flowing
capes and cowled faces. Ahead of them, Paradise City.
Behind them, the desert -- a sea of darkness.
92 ANGLE - KIRK AND SPOCK 92
Kirk rides with determination, his face nearly hidden
behind a burnoose. He looks over at the rider beside
him. It's Spock, bouncing stiffly on the saddle,
doing all he can to hang on.
KIRK
Spock.
SPOCK
Yes, Captain?
KIRK
(can't resist)
Be one with the horse.
93 EXT. PARADISE CITY GATE 93
Armed sentries watch from the walls as the scruffy
band of horsemen cross the desert. J'onn, Sybok's
convert appears, looking concerned.
J'ONN
It's our look-out party. Open the
gate.
The huge iron gate wings open.
94 ANGLE - THE HORSEMEN 94
They gallop at full tilt, lead by Kirk. He shouts
frantically to the sentries.
KIRK
Federation soldiers -- about a mile
behind us! Close the gate!
As Kirk and his party gallop through, the gate is
closed behind them.
95 INT. PARADISE 95
Kirk and the company rein their horses to a stop. Much
movement and confusion. He shouts to J'onn and the
soldiers on the walls.
KIRK
There's more than a hundred of them!
Fortify the walls!
J'onn and the soldiers turn their attention to the
desert and prepare themselves for the confrontation.
96 MAIN STREET 96
As soldiers rush past them to defend the walls, Kirk
and company coax their horses toward the saloon at
the end of the street. They ride slowly, not wanting
to attract any more attention than they have.
Occasionally a crewmember drops away from the group
and dismounts taking a position where he can lay
down cover for the eventual escape.
97 ANGLE - THE HORSEMEN 97
Kirk's eyes sweep around. There are soldiers on most
of the rooftops, heavily armed and dangerous looking.
KIRK
(urgent whisper)
Spock.
Spock hides a tri-corder in his lap.
SPOCK
Hold your horse, Captain. I am scan-
ning.
(indicating the saloon)
The hostages are in the structure
just ahead.
Hiding it from view, Kirk raises a communicator to
his lips.
KIRK
Galileo, this is Strike Team. Start
your run.
UHURA'S VOICE
Aye, sir. On my way.
98 GATE 98
While the others watch the desert, J'onn turns to watch
the horsemen.
J'ONN
(suspicious)
Where are they going?
J'onn rushes to the big spotlight anchored on the wall.
He wings its bright beam in the direction of the
horsemen.
99 STREET 99
Spock and his tri-corder and Kirk and his communicator
are revealed as the light sweeps across him. Kirk and
the others turn and react to the light, realizing that
the jig is up.
KIRK
(shouting)
Phasers on stun! Get rid of the
mounts! Sulu, take out that light!
The crewmen dismount and whip out the phaser rifles
they've hidden under their robes.
100 ANGLE - SULU 100
Sulu spurs his horse and charges the spotlight as
pebbles fired from the enemy's crude weapons whiz
around them like angry hornets. He gallops toward the
blinding light, raises his phaser and with an expert
shot, blows it to bits. The street goes dark, lit now
by neon and the flash of gunfire and phasers.
101 SERIES OF SHOTS 101
The soldiers on the walls and rooftops open fire with
their crude weapons. The Enterprise crewmen fight back
from strategic positions along the street, expertly
picking off the enemy and using their transparent
shields to repel the volley of pebbles.
102 INT. SALOON 102
Sybok reacts to the gunfire.
SYBOK
What's going on?
CHEKOV
I instruct you to surrender at once.
You are under attack by superior
Federation forces.
SYBOK
(angered)
Do you realize what you've done? It
wasn't bloodshed I was after.
Sybok turns and strides out of the room, his robes
swirling around him.
CHEKOV
(on the screen)
Wait! Come back!
103 EXT. STREETS OF PARADISE - A SERIES OF SHOTS 103
A symphony of smoke and rapid gunfire.Dizzying action.
Running figures. Stampeding horses.
104 ANGLE - KIRK 104
He charges his horse in the direction of the saloon,
clenching the reins with one hand and firing his
phaser with the other. Enemy soldiers scatter in his
wake.
105 ANGLE - SPOCK 105
The Vulcan dismounts. As he heads for the saloon AN
ENEMY SOLDIER leaps from a balcony, landing squarely
in the saddle of Spock's horse. Armed with a sword
the Soldier urges the steed forward to trample Spock.
As Spock turns in response, the Soldier rears the
horse up on its hind legs. Hooves threaten to pummel
Spock into hamburger.
Spock calmly reaches up and presses his fingers into
the horses's neck, executing a Vulcan nerve pinch.
The horse collapses at Spock's feet. The rider
stumbles off, gapping at disbelief at the Vulcan.
Spock arches an eyebrow at him. The rider turns and
runs like hell.
106 ANGLE - KIRK 106
He thunders up the steps of the saloon on horseback.
Kirk swings down and stuns a soldier with a phaser
blast.
107 EXT. ROOFTOP 107
Sybok's soldiers set up a multiple pipe weapon cranked
like a Gatling gun. Like the other weapons it uses
pebbles for bullets. One of them catches an Enterprise
crewman in the leg. He goes down.
108 ANGLE - McCOY 108
The doctor rushes to the wounded crewman who clutches
his leg. McCoy drags him to safety and digs into his
kit.
McCOY
I haven't seen a wound like that since
med school. These people are savages.
McCoy passes an instrument over the wound that emits a
healing ray and effects the pebble. The crewman flexes
his leg. All better. McCoy gives the pebble to the
crewman.
McCOY
Here's a souvenir.
(warning)
Stay off that leg for at least two
minutes.
109 INT. SALOON 109
Dark and empty. Phaser drawn, Kirk cautiously makes
his way across the room when, with a sudden hiss,
the Dancing Catwoman leaps over the bar and pounces
on his back. As she claws at him, Kirk twirls her
around in an "airplane spin" and throws her the
length of the room. The Catwoman lands in the "pool"
table, sending up waves of water that soak the walls.
110 ANGLE 110
Spock enters and reacts to the unconscious Catwoman
as Kirk blasts open the door to the back room.
Caithlin, Korrd and Talbot look up in surprise. Kirk
breathes a sigh of relief.
KIRK
Thank God.
Spock appears at Kirk's side as Kirk signals for the
Hostages to follow them. But the hostages confound
them by pointing three crude pistols at their heads.
KIRK
(continuing)
What the --
CAITHLIN
Please co-operate.
TALBOT
(quite sobor)
Would you mind handing over those
weapons?
111 OMITTED 111
- -
115 115
116 EXT. PARADISE - WIDE SHOT 116
The shuttlecraft has landed and been captured. Sybok's
soldiers shout their victory from the gates and roof-
tops. Others swarm into the street.
117 STREET 117
Kirk and Spock are marched out of the saloon by the
hostages. The rest of the Enterprise crew is herded
together.
118 ANGLE 118
Sybok appears from behind the shuttlecraft to thund-
erous cheers. The soldiers shout his name.
SYBOK
(above their cheers)
Well done, my friends. Well done.
As the cheers begin to die, Spock detaches himself
from Kirk and McCoy. In Vulcan he calls to Sybok
whose back is turned.
SPOCK
Qual es tu... Sybok?
Silence. Sybok cocks his head to one side. For the
first time we see him vulnerable. He's afraid to
turn and look. The voice... the question... It
couldn't possibly be who he thinks it is. Or could
it?
SPOCK
Qual es tu?
Now Sybok knows he's not dreaming. He pivots and con-
fronts Spock across a distance of several yards.
Soldiers move away, clearing a path between the two
Vulcans.
SYBOK
(a choke of emotion)
Spock...
J'onn reacts with amazement.
SYBOK
(continuing; as he
rushes forward)
Spock!
Sybok opens his arms to embrace his fellow Vulcan but
Spock will have none of it. He raises his hand -- a
stop sign. Sybok stops short, hurt and confused.
They regard each other. Spock is without emotion, all
business. It dawns on Sybok that this is not out of
character for Spock. Sybok smiles.
SYBOK
Still tight-assed...
It's clear Sybok is trying to force an emotional reac-
tion from Spock. But Spock refuses to fall into his
trap.
SYBOK
(continuing)
Spock, it's me. It's Sybok. You've
finally caught up with me. Isn't
there anything you want to say?
SPOCK
Yes.
SYBOK
(a beat)
Well?
SPOCK
You are under arrest for violating
seventeen counts of Neutral Zone
treaty.
Sybok is incredulous. There must be a hundred guns
pointed at Spock's heart. Sybok can't help it. He
chucles. The chuckle becomes a full rich laugh. The
soldiers join in and soon their laughter is ringing
through Paradise.
SYBOK
Why, Spock, you've developed a
sense of humor after all.
SPOCK
It was not my intention to amuse
you. These are serious charges.
If you surrender now --
SYBOK
I'm sorry, Spock, but I can't
surrender now. I'm not through
violating Neutral Zone treaty. In
fact, I'm just getting started.
And for my next violation, I
intend to steal something...
something very big.
J'onn and several soldiers chuckle knowingly. Spock
seems bewildered.
SYBOK
(continuing)
I must have your starship.
KIRK
(stepping forward as he
realizes)
You started this to get your hands
on my ship?
Sybok regards Kirk in his grubby commando outfit.
SYBOK
Who are you?
KIRK
James T. Kirk -- Captain of the
Enterprise.
SYBOK
But I thought Chekov...
(realizing)
I see. Very clever, Captain.
(turning to Spock with
excitement)
Spock, it would appear you've been
given a second chance to join me.
What do you say?
SPOCK
I am a Starfleet officer.
SYBOK
Then I'll take the ship without
your help.
CUT TO:
119 EXT. SPACE - ANGLE - ENTERPRISE 119
Waiting. Vulnerable.
120 INT. ENTERPRISE - BRIDGE 120
Chekov, Scotty and a tense crew.
SCOTTY
Shuttle en route.
CHEKOV
Position, Bird of Prey?
SCOTTY
(concerned)
Closing.
121 EXT. SPACE - ANGLE - BIRD OF PREY 121
The Klingon ship approaches Nimbus III.
122 INT. BIRD OF PREY - BRIDGE 122
Klaa and Vixis react to Enterprise on their viewscreen.
VIXIS
(Stealth approach. Slow to one
quarter impulse power. Prepare to
cloak.)
A klaxon sounds. The bridge is bathed in red light.
KLAA
(continuing)
(Engage cloaking device.)
123 EXT. SPACE - ANGLE - BIRD OF PREY 123
The ship distorts and becomes invisible.
124 INT. ENTERPRISE - BRIDGE 124
Scotty reacts to a monitor screen.
SCOTTY
Mister Chekov, I've lost the Bird
of Prey. She must've cloaked.
CHEKOV
Raise shields.
SCOTTY
But the shuttle --
CHEKOV
(in charge)
Do it.
Scotty punches in commands. On his graphics screen a
series of dots wink on around an outline of the ship.
125 EXT. SPACE - ANGLE - GALILEO 125
Slowly heading back to the ship. Enterprise is in
the far distance.
126 INT. GALILEO 126
Kirk, Spock and McCoy are guarded by J'onn and a
select handful of Sybok's soldiers. Sulu and Uhura
pilot the craft while Sybok confers with Caithlin
and Korrd. The remainder of the Enterprise crew
has been left behind on Nimbus III.
Talbot informs Kirk of the plan.
TALBOT
Once we've taken control of your
vessel, we'll bring up the rest
of our followers.
KIRK
(scoffing)
The Klingons are out there. We'll
be lucky to get back to the ship
ourselves.
They are interrupted by Chekov's voice on the radio.
CHEKOV'S VOICE
Galileo, this is Enterprise. Cond-
ition red alert. Bird of Prey
approaching -- she is cloaked.
Raising shields. Recommend Galileo
find safe harbor until situation
secure. Acknowledge.
Sulu and Uhura turn to Kirk for instruction.
SYBOK
No reply. Remain on course.
KIRK
Sybok, listen to me. For this craft
to enter the landing bay, Enterprise
must lower shields and activate the
tractor beam. To bring us inside
and then re-raise the shields will
take...
SPOCK
Exactly 15.5 seconds.
KIRK
An eternity during which we'll be
vulnerable to a Klingon attack.
Korrd -- you tell him.
KORRD
He speaks the truth. If my people
have cloaked then they intend to
strike.
SYBOK
We cannot turn back.
KIRK
Then let me do something.
Sybok regards Kirk with suspicion. He turns to Spock,
the only one he can trust.
SPOCK
You must allow us to act.
SYBOK
Very well.
(to Kirk)
Do what you must -- but no more.
Kirk punches a button on the console.
KIRK
Enterprise, this is Galileo.
127 INT. BIRD OF PREY 127
The Klingons have been monitoring the exchange
between Enterprise and Galileo.
KLAA
(Kirk! He's on the shuttlecraft!
Alter attack course!)
128 INT. GALILEO 128
KIRK
Understand your situation, Enterprise,
but are unable to return to planet.
Stand by to execute
(pulling a name out
of the air)
Emergency Landing Plan -- B.
129 INT. ENTERPRISE BRIDGE 129
Chekov and Scotty exchange confused looks.
CHEKOV
(aside to Scotty)
What's Emergency Landing Plan B?
SCOTTY
I dinna have a clue.
KIRK'S VOICE
B as in "barricade."
SCOTTY
(alarmed)
He canna be serious.
130 EXT. SPACE - ANGLE - ENTERPRISE AND GALILEO 130
The shuttle draws closer.
131 INT. GALILEO 131
Enterprise looms through the windshield
KIRK
(to Sybok)
In order to lower and raise shields
as quickly as possible, we're going
to forego the tractor beam and fly
in manually.
McCOY
(horrified)
Manually?
SYBOK
(to Sulu)
How often have you done this?
SULU
Actually, it's my first attempt.
Sybok looks at Kirk in amazement. Kirk smiles uneasily
and indicates Sulu.
KIRK
He's good. Really.
(then)
Scotty, on my mark -- open bay doors.
132 EXT. ENTERPRISE - FANTAIL 132
With agonizing slowness, the bay doors begin to open.
133 INT. BIRD OF PREY - BRIDGE 133
Klaa flexes his itchy trigger finger and peers into
his view scope.
134 KLAA'S POV - VIEW SCOPE 134
The shuttlecraft swims into the target crosshairs.
KLAA
(Stand by to de-cloak for firing.)
135 INT. GALILEO 135
KIRK
Kirk to Scotty -- lower shields!
136 INT. ENTERPRISE - BRIDGE 136
Scotty punches in commands.
SCOTTY
Lowering shields...
On Scotty's graphic screen, the dots wink out around
the outline of the ship. Enterprise is now vulnerable.
137 EXT. GALILEO 137
The Klingon ship is sighted.
UHURA
Bird of Prey bearing one zero five
mark two.
KIRK
Go, Sulu.
Sulu hits the aft thrusters and the shuttle roars to
life.
138 OMITTED 138
139 EXT. SPACE - ANGLE - ENTERPRISE AND GALILEO 139
The shuttlecraft takes off with a tremendous kick.
Like it was fired from a slingshot, the tiny craft
closes the gap between itself and Enterprise at
alarming speed. But the bay doors -- they haven't
opened wide enough yet. Just when it looks like
Galileo will pulp itself on the fantail, she banks
ninety degrees.
140 INT. ENTERPRISE - LANDING BAY 140
Galileo negotiates the narrow opening by coming on its
side<. It skids down the runway, showering sparks all
the way, unable to stop. To our surprise a cargo net
pop up to keep it from crashing into the retaining wall.
141 INT. GALILEO 141
As the shuttle rcoils against the net, passengers are
thrown about like rag dolls. Lights blow out and
instrument panels explode.
142 INT. BIRD OF PREY - BRIDGE 142
Klaa gapes in surprise. The target has zoomed out of
his sights.
KLAA
(Bear on Enterprise.)
143 INT. ENTERPRISE - BRIDGE 143
SCOTTY
They're in!
CHEKOV
Transfer power to the warp drive.
Warp speed now!
144 INT. BIRD OF PREY - BRIDGE 144
VIXIS
(Enterprise targeted.)
KLAA
(Firing!)
Klaa squeezes the trigger.
145 EXT. SPACE - ANGLE - ENTERPRISE 145
One moment she's there, the next she's gone in a flash
of blinding light. Klaa's shot goes into the void.
146 INT. BIRD OF PREY - BRIDGE 146
Klaa reacts with amazement to Enterprise's sudden
departure.
KLAA
(Track her course!)
As Vixis and the crew hop to it, camera pushes in on
Klaa who throws off his gunner's rig, unable to hide
his admiration for Kirk's cleverness.
KLAA
(to himself)
(He's good.)
147 INT. ENTERPRISE - LANDING BAY 147
The badly-damaged Galileo lies smouldering on its side.
148 INT. GALILEO 148
In the smoking wreckage, passengers have been flung
everywhere. No one's been killed but all are dazed or
unconscious. Sybok and Kirk come to simultaneously.
But before Kirk can act, Sybok snatches up a prim-
itive shooting weapon and aims it at him.
SYBOK
We must change course at once.
KIRK
(crafty)
I'll take you to the Bridge.
149 INT. LANDING BAY 149
The Galileo's back hatch blows open, emitting a cloud
of smoke along with Kirk and Sybok. As Sybok steps
down behind him, Kirk whirls and grabs for the weapon.
The two men struggle and tumble across the landing
bay floor.
150 ANGLE - KIRK AND SYBOK 150
Kirk is no match for the Vulcan's superior strength
but he fights with everything he's got. He manages to
knock the weapon from Sybok's hand. It skitters
across the floor and stops at the feet of Spock who
has emerged from the shuttle.
Spock looks down at the weapon, then back to Kirk
whom Sybok is rendering helpless with one hand. With
his incredible strength, Sybok forces Kirk to the floor.
KIRK
(in pain)
Spock... pick it up!
Spock obediently picks up the weapon like it was a
distastful object. Kirk collapses on the floor,
conscious but no longer able to fight. Sybok faces
Spock.
SPOCK
Sybok, you must surrender.
SYBOK
(approaching Spock)
Spock, you can't stun me with that
weapon and I've always been
stronger than you. I'm afraid
you'll have to kill me.
Spock raises the weapon as Sybok advances.
KIRK
(desperate)
Spock -- shoot him!
But Spock can't shoot. The emotional price is too great.
He lowers the weapon in shame and defeat. Sybok takes
it from him with a smile.
SYBOK
For a moment... I thought you might
actually do it.
151 ANGLE 151
Sybok's soldiers emerge from the wreckage of the
shuttle with McCoy. The doctor hurries to Kirk and
helps him to his feet. Kirk, in pain and betrayed,
glares at Spock who cannot meet his eyes.
Sybok turns to J'onn. He indicates Kirk and McCoy.
SYBOK
Put these two in the Brig. Spock
will accompany me to the Bridge.
SPOCK
(finding his voice)
I will not.
SYBOK
(a long pause)
Then you must join them.
J'onn and several other soldiers march Kirk, Spock and
McCoy out.
152 ANGLE - LANDING BAY CONTROL BUBBLE 152
Scotty witnesses the action on the deck below. Fortun-
ately, no one sees him. He steps back into the shadows.
153 ANGLE - LANDING BAY 153
Caithlin, Korrd and Talbot emerge from the shuttle
with Sulu and Uhura in tow.
KORRD
These two will be useful
Uhura and Sulu are defiant. Sybok approaches them.
SYBOK
Give us a moment alone.
CAITHLIN
(to Uhura and Sulu)
Don't be afraid.
CUT TO:
154 INT. BRIG 154
Kirk, Spock and McCoy are shoved into a cell by J'onn.
Phaser beam bars materialize to contain them. Kirk is
enraged.
KIRK
Dammiot. God dammit!
SPOCK
Captain, what I have done --
KIRK
What you have done is betray every
man on this ship.
SPOCK
Worse. I have betrayed you. I do
not expect you to forgive me --
KIRK
Forgive you? I ought to knock you
on your goddamn ass!
SPOCK
If you think that will help.
McCOY
You want me to hold him, Jim?
KIRK
You stay out of this!
(to Spock)
Why, Spock? All you had to do was
pull the trigger.
SPOCK
If I had pulled the trigger, Sybok
would be dead.
KIRK
I ordered you to defend your ship.
SPOCK
You ordered me to kill my brother.
KIRK
The man may be a fellow Vulcan,
but that's no reason --
SPOCK
(cutting him off)
You did not hear me, Captain.
Sybok, too, is a son of Sarek.
Kirk and McCoy can't believe it.
KIRK
He's your brother brother?
(flustered)
You made that up.
SPOCK
I did not.
KIRK
Sybok couldn't possibly be your
brother because I know for a fact
that you don't have a brother.
SPOCK
Technically, you are correct. I
do not have a brother.
KIRK
You see?
SPOCK
I have a half brother.
KIRK
(suddenly weary)
I need to sit down.
McCOY
Let me get this straight. You and
Sybok have the same father but
different mothers.
SPOCK
That is correct. Sybok's mother
was a Vulcan princess. After her
death, Sybok and I were raised as
brothers.
KIRK
But why didn't you tell us this
before?
SPOCK
I was not prepared to discuss...
matters of a personal nature. For
that I am sorry.
KIRK
(still fuming)
He's sorry. Well, I guess that makes
everything all right, doesn't it?
McCOY
Quit it, Jim. Spock couldn't kill
his brother any more than he
could kill you. If you want to
punish him for what he's done, why
don't you throw him in the Brig?
Kirk's anger burns itself out.
McCOY
(continuing)
Besides we've got bigger problems to
deal with. Like how we're going to
get out of here.
(a beat; turning
to Spock)
I'll say one thing, Spock. You never
cease to amaze me.
SPOCK
Nor I myself.
CUT TO:
155 INT. ENTERPRISE - BRIDGE 155
Door whoosh open to admit Uhura and Sulu. Chekov, in
the command chair, stands to greet them.
CHEKOV
I was beginning to worry. Where is
the Captain?
Sybok enters, followed by the hostages and several
armed soldiers. Chekov looks at Uhura and Sulu in
confusion. They, like the hostages, are smiling
warmly -- converts to Sybok's cause.
UHURA
It's all right, Pavel. Sybok will
explain everything.
Sulu moves past Chekov and takes his seat at the helm.
He punches in commands.
CHEKOV
Sulu, what are you doing?
SULU
Plotting our new course.
CHEKOV
(alarmed)
New course? You have no authority.
(to Sybok)
What have you done to them?
SULU
Pavel, I'm doing what I think is
right. You've got to listen to this
man.
Sybok approaches Chekov.
SYBOK
I won't force you. The decision must
be yours.
CHEKOV
I don't understand...
SYBOK
(soothingly; and in
Russian)
Each of us hides a secret pain.
Share yours and gain strength
from the sharing.
CUT TO:
156 INT. BRIG 156
Kirk balances on Spock's shoulders, examining the
ceiling, seeking a means of escape. Kirk uncovers a
fixture. Spock shakes his head negatively.
SPOCK
Useless.
Kirk turns the fixture. It snaps off in his hand. He
throws it away and investigates a circuitry panel.
Spock once again disaproves.
SPOCK
Unwise.
Kirk touches the panel and receives a shock that
causes him to tumble to the floor.
KIRK
(irked at Spock)
You could've warned me.
McCOY
He did, Jim.
KIRK
There's got to be a way out of here.
SPOCK
This is a completely new Brig,
Captain. It is escape proof.
KIRK
How do you know?
SPOCK
The desighners tested it on the
most intelligent and resourceful
person they could find. He failed
to escape.
KIRK
(as he and McCoy
realize)
This person... he didn't by any
chance have pointed ears and an
unerring capacity for getting his
shipmates into trouble, did he?
SPOCK
He did have pointed ears...
CUT TO:
157 EXT. SPACE - ANGLE - ENTERPRISE 157
The ship continues at warp speed, disappearing from shot
in a blur of blinding light.
158 INT. ENTERPRISE - BRIDGE 158
Uhura and Sulu are at their stations. Chekov once again
occupies the command chair. Sybok stands beside him. In
the background are Caithlin, Korrd and Talbot.
CHEKOV
(pleased to report)
Following new course. Warp Seven.
SULU
Estimating destination in 6.7 hours,
present speed.
Sybok looks happy and paternal, less driven. He turns
to Uhura.
SYBOK
Now that we're underway, it's time
I announced my intentions to the
rest of the ship.
CUT TO:
159 INT. BRIG 159
Kirk, Spock and McCoy continue to seek escape.
SYBOK'S VOICE
Brave crew of the Starship Enterprise...
They peer at a monitor screen beyond the cell.
160 INTERCUTTING WITH MONITOR SCREEN 160
Sybok on the bridge, flanked by Chekov, Uhura and Sulu.
SYBOK
(continuing)
Consider the questions of existence.
"Who am I? Why am I here? Does God
exist? These are the questionsd man
has asked ever since he first gazed
at the stars and dreamed. My Vulcan
ancestors were ruled by their
emotions. They felt with their hearts
... made love with their hearts...
and believed with their
hearts. Above all else, they believed
in a place where these questions of
existence would be answered. Modern
dogma tells us this place is a
myth... a fantasy concocted by pagans.
(emphatic)
It is no fantasy! I tell you it
exists!
(continuing; with great
excitement)
My brothers, we have been chosen to
undertake the greatest adventure
of all time -- the discovery of
Sha Ka Ree.
Baffled responses from Kirk and McCoy.
SPOCK
(intrigued)
Is it possible?
KIRK
Is what possible?
SPOCK
That he's found it. Sha Ka Ree. The
reason Sybok left Vulcan.
McCOY
Now just a damn minute --
Spock turns back to Sybok's image.
SYBOK
Our destination... the planet Sha Ka
Ree. It lies beyond the Great
Barrier at the Center of the Galaxy.
KIRK
(alarmed)
Center of the Galaxy?
SPOCK
Where Sha Ka Ree is fabled to exist.
KIRK
But the Center of the Galaxy can't
be reached. No ship has ever gone
into the Great Barrier. No probe
has ever returned.
SPOCK
Sybok possessed the keenest intel-
lect I have ever known.
KIRK
Spock! My only concern is getting
the ship back. When that's done
and Sybok's in here you can
debate Sha Ka Ree until you're
green in the face. Until then,
you're either with me or you're
not.
SPOCK
(as if it's obvious)
I am with you.
KIRK
That's a little vague, Spock --
An infrequent almost inaudible tapping sound comes
from the back wall of the cell.
KIRK
(continuing; distracted)
What is that damn noise?
They turn and regard the back wall. The tapping continues.
SPOCK
I believe it is a primitive form of
communication known as Morse Code.
They scramble over and huddle beside the wall.
KIRK
You're right, Spock. I'm a little
out of practice...
(listening)
Let's see... that's an "s."
SPOCK
I believe the next letter is a
"t."
KIRK
"a"... "n"... "d"... end of word.
McCOY
"Stand."
KIRK
New word. "b"... "a"... "c"...
"k."
McCOY
"Back." "Stand back."
They're about to congratulate themselves when they
realize it's a warning.
TOGETHER
(in horror)
Stand back.
They dive for cover as a large panel explodes from
the wall, showering them with dust. Scotty appears
in the opening.
SCOTTY
Well, what're waiting for? Dinna
you know a jailbreak when you
see one?
CUT TO:
161 INT. CORRIDOR 161
Sybok, J'onn and Sulu exit the turbolift and head for
the Brig.
SYBOK
The bond between these three is
strong... difficult to penetrate.
This is going to be quite a
challenge.
The Brig doors whoosh open. They step inside and are
confronted with an empty cell. The prisoners have
vanished.
SULU
We've got to find them!
162 INT. BOWELS OF ENTERPRISE 162
Scotty leads Kirk, Spock and McCoy through the labyrinth
inards of the ship.
SCOTTY
Captain, we canna trust no one.
KIRK
If we could send a distress signal...
McCOY
We'd never make it to the Bridge.
SPOCK
There is an emergency sending appar-
atus in the forward observation room.
KIRK
The only problem is, it's up there
and we're down here.
SCOTTY
You might be able to reach it by
means of turbo shaft number three
which is closed for repairs. It
would be a long and dangerous
climb...
McCOY
(looking at Kirk)
Some of us get off on long and
dangerous climbs.
KIRK
Scotty, get the transporter working.
If we make contact with a rescue
ship, we'll need it.
SCOTTY
Aye, sir. Count on me.
KIRK
Now... which way to the turbo shaft?
SCOTTY
Head down this tunnel and make a
right at the hydro vent, then a
left at the blowscreen. You
canna miss it.
Kirk, Spock and McCoy start down the tunnel.
KIRK
Mister Scott, you're amazing.
Scotty walks off in the opposite direction.
SCOTTY
(a little too prideful)
Nothing amazing about it. Why I know
this ship like I know the back of my
hand.
Scotty turns the corner and whacks his head on a low
hanging pipe. He collapses to the floor, out cold.
CUT TO:
163 INT. CORRIDOR 163
A warning klaxon sounds. Sybok's soldiers sweep
through the ship.
COMPUTER VOICE
Secure all levels.
164 INT. TURBO SHAFT 164
Kirk, Spock and McCoy gaze up at a narrow and seem-
ingly endless elevator shaft. An emergency ladder
attached to the wall is the only way up.
KIRK
Look at it this way. We'll get a
good workout.
McCOY
Or a heart attack.
Kirk starts to climb the emergency ladder. McCoy
reluctantly follows. Spock watches. Then, unnoticed,
he slips away.
165 INT. BOWELS OF ENTERPRISE 165
Sulu, leading a team of converts, rounds a corner and
nearly stumbles over Scotty. Scotty groans.
SULU
(to a crewman)
Get Mister Scott to Sick Bay.
166 INT. TURBO SHAFT - MIDWAY - MINUTES LATER 166
Kirk climbs hand over hand, followed by a huffing and
puffing McCoy.
McCOY
(breathless)
Jim, this is going to take forever.
KIRK
(suddenly realizing)
Where's Spock?
Kirk and McCoy look down. No Spock. Just then, a soft
whooshing sound from above. They look up.
167 ANGLE 167
Spock descends wearing the levitation boots from
Yosemite. He floats alongside Kirk and McCoy,
hovering in mid-air.
SPOCK
I believe I have found a faster
way.
Kirk breaks into a smile of relief. He steps off the
ladder and grabs on to Spock. They dip down a few
feet, then slowly rise to a hovering position beside
McCoy.
KIRK
Bones...
McCOY
(wary)
You go ahead. I'll wait for the
next car.
KIRK
We're not splitting up.
Grumbling, a little fearful, McCoy steps on board. Their
combined weight causes them to sink steadily downward.
SPOCK
It would appear we are too heavy.
KIRK
It's all those marsh melons.
They continue to descend at an alarming rate.
168 ANGLE - BELOW 168
Sulu and the search party appear at the bottom of the
shaft, armed with phasers.
SULU
(pointing)
There!
169 ANGLE - KIRK, SPOCK AND McCOY 169
Sinking lower, on the verge of capture.
KIRK
Spock... the booster rockets.
SPOCK
If I activate them, we will be
propelled upward at unpredictable
speed.
KIRK
(an order)
Fire the boosters!
Spock hits the boosters. With an explosion of power
and noise they shoot skyward like a bullet.
170 ANGLE 170
Our heroes are an upward blur that shows no sign of
stopping. Spock hits "the brakes" and they stop
barely one floor from the ceiling, bobbing in mid-
air. Kirk and McCoy are white as sheets.
SPOCK
I am afraid I overshot our mark by
one level.
McCOY
Nobody's perfect.
KIRK
All ashore.
Spock guides them to the exit.
CUT TO:
171 INT. FORWARD OBSERVATION ROOM 171
Dark, deserted. The grandeaur of space lies beyond the
tall curving windows. Kirk, Spock and McCoy enter and
cross to the communications console. Spock activates
it. Functions come to life.
SPOCK
Emergency channel open.
KIRK
To anyone within the sound of my
voice: This is Captain James T.
Kirk of the Federation Starship
Enterprise. If you read me,
acknowledge.
Several tense moments. Then a burst of static followed
by a faint, scratchy female voice.
FEMALE VOICE
Enterprise, this is Starfleet Command.
We read you. Over.
KIRK
(encouraged)
A hostile force has seized control
of our vessel and put us on a direct
course with the Great Barrier. Our
co-ordinates are zero-zero-zero,
\mark two. Request emergency
assistance. Acknowledge.
FEMALE VOICE
Understood, Enterprise...
172 INT. BIRD OF PREY - BRIDGE 172
To reveal the "Starfleet Command" voice belongs to
Vixis. Behind her, Klaa sits smugly confident.
VIXIS
(in English)
We are dispatching a rescue ship
immediately.
173 INT. FORWARD OBSERVATION ROOM 173
KIRK
Roger, Starfleet.
The transmission crackles out. Kirk shares hopeful
looks with Spock and McCoy.
174 INT. BIRD OF PREY 174
Vixis turns to Klaa. Klaa barks an order to his helms-
man.
KLAA
(Plot course zero-zero-zero, mark
two.)
VIXIS
(But, Captain, that course will
take us into the Barrier as well.)
Klaa isn't about to let a little thing like death stop
him.
KLAA
(Where Kirk goes, we follow.)
175 INT. ENTERPRISE - FORWARD OBSERVATION ROOM 175
Kirk, Spock and McCoy start for the exit when they are
startled by the appearance of Sybok, J'onn and several
armed soldiers.
SYBOK
I trust your message was received?
KIRK
You can't expect us to stand by
while you take this ship into the
Great Barrier. It can't be done.
SYBOK
What you fear is the unknown. The
people of your planet once
believed their world to be flat...
but Columbus proved it was round.
They said the Sound Barrier
couldn't be broken... but it was
broken. They said Warp Speed
couldn't be achieved... but it
was. The Great Barrier is the
ultimate expression of this
universal fear... an extension
of personal fear.
(a beat)
Captain Kirk, I so much want your
understanding and respect. Are
you afraid to hear me out?
KIRK
I'm afraid of nothing.
Sybok turns to J'onn and the soldiers.
SYBOK
Wait outside.
J'onn and the soldiers reluctantly withdraw. Sybok
indicates four chairs, arranged in a circle.
SYBOK
(continuing)
I'm sure you have many questions.
Here, with the stars of the
galaxy for our backdrop, we
shall seek the answers together.
The four men take their seats. The lighting becomes
intimate. Sybok weaves his spell.
176 INT. SICK BAY 176
Scotty awakens to find Uhura holding him in her arms.
UHURA
(soothing)
Easy, Scotty. Your back with us.
SCOTTY
(testing her)
Uhura. I had the strangest dream. I
dreamt a madman had taken over the
Enterprise.
UHURA
Dear Scotty, he isn't a madman.
SCOTTY
(realizing she's a
convert)
He's not?
UHURA
Sybok's put us in touch with feel-
ings we've always been afraid to
express.
Uhura gives Scotty a loving look.
SCOTTY
(uncomfortable)
I... er... have to get back to the
transporter.
Scotty slips out of her arms.
UHURA
But there's so much I want to tell
you.
SCOTTY
Maybe when I'm a wee bit stronger.
I dinna think I could take it in
my present condition.
(under his breath)
Or yours.
Scotty heads for the exit.
CUT TO:
177 INT. FORWARD OBSERVATION ROOM - (1st R.P. DENSITY CHANGE) 177
Beyond the windows, the swirling vastness of space.
Kirk, Spock and McCoy and Sybok sits in a circle.
SYBOK
Sha Ka Ree. "The Source." Call it
what you will. "Heaven." "Eden."
The Klingons call it "Qui'Tu." To
the Romulans, it's "Vorta Vor."
The Andorian word is... unpronoun-
cable. Every culture shares this
common dream of the place from
which creation sprang. For us,
that place will soon be a reality.
KIRK
The only reality I see is that I'm
a prisoner on my own ship. What is
this power you have to control the
minds of my crew?
SYBOK
I don't control minds. I free them.
McCOY
How?
SYBOK
By making you face your pain and
draw strength from it. Once that's
done, fear cannot stop you.
KIRK
Spock?
SPOCK
It is an ancient Vulcan ritual --
forbidden in modern times.
McCOY
Sounds like brainwashing to me.
Sybok closes his eyes and concentrates deeply.
SYBOK
(to McCoy; sensing)
Your pain is the deepest of all.
McCOY
(startled)
What?
SYBOK
I can feel it. Can't you?
MAN'S VOICE
(o.s., a whisper of
pain)
Leonard...
McCOY
It's some kind of trick.
MAN'S VOICE
(o.s., imploring)
Leonard...
McCOY
(as he recognizes
the voice)
Father?
The surrounding walls come alive with energy. What
follows is theatrical in style as we enter a
subjective world.
McCOY
(continuing; frightened)
My god. Don't do this.
178 ANGLE - McCOY 178
He turns to find himself on a brilliantly white, sterile
hospital room. A wasted figure reclines on a bed, an
old man connected to a powerful life support system.
This is McCOY'S FATHER and we are somewhere in the past.
FATHER
(barely audible)
Leonard...
McCoy rushes to the bedside.
McCOY
I'm here, Dad. I'm with you.
FATHER
The pain... stop the pain...
McCOY
I've done everything I can do, Dad.
You've got to hang on.
FATHER
Can't stand the pain. Help me.
In the near background, Sybok watches with Kirk and
Spock. They are entranced by what they're seeing.
McCOY
All my knowledge and I can't save
him.
SYBOK
(the voice of conscience)
You've done all you can. The support
system will keep him alive.
McCOY
(flaring)
You call this alive? Suspended be-
tween life and death by a bridge of
pain?
Father whispers something. McCoy bends down and puts
his ear next to the old man's parched lips.
FATHER
Release... me...
McCoy looks into his father's eyes. The old man's gaze
travels to the support machinery. He wants McCoy to
shut it off.
McCOY
(recoiling)
I can't.
(in agony)
But how can I watch him suffer like
this?
SYBOK
You're a doctor.
McCOY
(defiant)
I'm his son!
McCoy reaches his decision. He shuts off the machine.
The father dies in his son's arms. Sybok appears at
McCoy's side.
SYBOK
Why did you do it?
McCOY
To preserve his dignity.
SYBOK
But that wasn't the worst of it was
it?
McCOY
No.
SYBOK
Share it.
McCoy hesitates, trembling. This is his darkest secret.
McCOY
Not long after... they found a cure.
A goddamn cure!
SYBOK
If you hadn't killed him, he might
have lived.
McCOY
(breaking down)
No! I loved him!
SYBOK
You did what you thought was right.
McCOY
Yes! No!
SYBOK
You must release this pain.
McCoy weeps for several moments, then wipes the
tears away. He looks up at Sybok's comforting smile
and is filled with a deep sense of relief.
SYBOK
This pain has poisoned your soul for
a long time. But now you've taken
the first step. The other steps
we'll take together.
McCoy nods. Sybok turns to Spock.
SYBOK
(continuing)
Each man's pain is unique.
SPOCK
I hide no pain.
SYBOK
I know you better than that.
SPOCK
(challenging)
Do you?
KIRK
Spock... don't.
SPOCK
It's all right, Captain.
(to Sybok)
Proceed.
O.S. a woman screams in agony.
179 ANGLE - KIRK AND SPOCK 179
They turn and find themselves beneath the hanging
stalagtites of a cave. Torchlight throws weird shadows
on the walls. The shadows depict a woman in labor,
attended by a Vulcan High Priestess. Ceremonial drums
pound a throbbing pulse. The woman lets out another
scream. It reverberates throughout the cavern.
KIRK
What is this?
SPOCK
I believe we are witnessing my
birth.
Sybok appears beside them. He leads Spock and Kirk
into the past.
180 ANGLE - AS THEY APPROACH 180
Spock's mother, the young earthwoman AMANDA, lies on
a rough pallet, her legs spread beneath her robes,
her distended stomach lifting. Her only attendent is
THE HIGH PRIESTESS who intones the Vulcan birthrights.
Spock watches.
A figure steps from the shadow. It is SAREK, Spock's
father. He observes his wife with typical detachment.
As the drums build in intensity, Amanda begins to
deliver.
181 ANGLE - CAVE WALL 181
The birth takes place in shadow. Drums reach a climax
and stop. An infant cries. Amanda lifts the mewling
baby from between her legs.
182 SPOCK 182
watching his entry into the world.
183 HIGH PRIESTESS 183
She takes the baby from Amanda and holds it up. The
tiny infant kicks and cries. Amanda reaches out for
her child but the Priestess turns and presents the
crying baby to Sarek instead.
SAREK
(without joy)
So human.
184 OMITTED 184
185 SAREK 185
He takes the infant and lays it on Amanda's belly.
Amanda beholds the child up close. As it thrashes
against her, she see for the first time its tiny
pointed ears.
AMANDA
(to Sarek)
Neither yours nor mine.
186 SPOCK AND KIRK 186
Kirk looks at Spock with concern.
KIRK
Spock...
SPOCK
Sybok has failed. I resolved this
pain long ago.
From behind comes a faraway voice. The voice of
young Sybok.
YOUNG SYBOK'S VOICE
Spock...
Spock turns, unprepared for this. A figure regards him
from a distance, a hood shadowing his features. It
appears to be Sybok on the day he and Spock parted.
YOUNG SYBOK
I must go now.
SPOCK
Sybok? Wait.
YOUNG SYBOK
I can't. They've banished me.
186A ANGLE - SPOCK 186A
He is in shadow, featureless. But his voice and demean-
or is that of an adolescent boy.
SPOCK
Then take me with you.
SYBOK
Spock...
SPOCK
I want to go with you.
186B ANGLE - THE HOODED FIGURE 186B
YOUNG SYBOK
It's not possible. I'm an enemy of
the people a heretic. Besides, you
have chosen the Vulcan way.
SPOCK
But where will you go?
YOUNG SYBOK
Where I can be free... where I can
prove I was right. I'll find Sha
Ka Ree.
The Hooded Figure recedes into the distance.
186C ANGLE - THE ADULT SPOCK 186C
The light comes up on his face. We are back in the
present. Sybok appears at his shoulder... Spock
turns to face him.
SPOCK
Sybok...
SYBOK
That is your pain. You begged to
come with me then. Come with me now.
187 ANGLE - FORWARD OBSERVATION ROOM - 187
(2nd R.P. DENSITY CHANGE)
Spock turns away from Sybok and the others.
KIRK
Spock...
(when he doesn't reply;
to Sybok)
What have you done to my friends?
SYBOK
I've done nothing. This is who they
are, didn't you know that?
The question hits Kirk with force.
KIRK
(realizing)
No... I didn't.
SYBOK
Now learn something about yourself.
KIRK
No. I refuse.
McCOY
(imploring)
Jim, try to be open about this.
KIRK
About what? Thay I've made the wrong
choices in my life? That I went left
when I should've gone right? I know
what my weaknesses are. I don't need
Sybok to take me on a tour of them.
McCOY
If you'd just unbend and allow your-
self --
KIRK
To be brainwashed by this con man?
McCOY
I was wrong. This "con man" took away
my pain!
KIRK
Dammit, Bones, you're a doctor. You
know that pain and guilt can't be
taken away with the wave of a magic
wand. They're things we carry with
us -- the things that make us who
we are. If we lose them, we lose
ourselves. I don't want my pain
taken away. I need my pain.
A tense silence broken by...
UHURA'S VOICE
Sybok, this is the Bridge. We are in
approach of the Great Barrier.
Sybok is filled with excitement, eager to go to the
bridge.
SYBOK
Captain, I'm afraid you'll have to
remain here. Spock... Doctor...
come with me.
Sybok and McCoy start for the exit but stop when they
realize that Spock is remaining with Kirk.
SYBOK
(puzzled)
Spock?
SPOCK
I cannot go with you.
SYBOK
(can't believe it)
Why?
SPOCK
I stand with my captain.
SYBOK
I don't understand...
SPOCK
You are my brother, but you do not
know me. I am not the outcast boy
you left behind. Since that time I
have found myself and my place in
the world... here... among these
people... my shipmates. This ship
is my life.
McCoy reacts to this speech. After a moment, he takes
his place with Kirk and Spock.
McCOY
I guess you'd better count me out,
too.
(3rd R.P. DENSITY CHANGE)
Beyond the great windows, space is changing, reflecting
this unique part of the galaxy.
Sybok regards Kirk, Spock and McCoy with affection.
This is only a temporary setback. He knows the
ultimate win will be his.
SYBOK
Then I'll see you on the other side.
Sybok heads for the exit. Doors whoosh open to reveal
the guards outside.
KIRK
Wait!
(Sybok turns)
You know we'll never make it through
the Barrier.
SYBOK
But if we do, will that convince you
that my vision was true?
KIRK
What vision?
SYBOK
Given to me by God.
(as the others react)
He waits for us on the other side.
KIRK
(stunned)
You are mad.
SYBOK
Am I? We'll see.
The fiery look in Sybok's eyes might be confidence,
it might be madness. He turns and exits.
188 EXT. SPACE - THE GREAT BARRIER 188
Enterprise is poised on the edge of the giant starcluster
known as the Great Barrier. It is visibly stunning and
equally dangerous. We see giant regions of star form-
ations as well as expanding blast waves from exploding
stars. Beams of radiation from pulsars sweep the tiny
and insignificant ship, bathing her in color.
189 INT. BRIDGE - ANGLE TO INCLUDE VIEWSCREEN 189
Sybok is on the Bridge, Uhura, Chekov and Sulu are at
their stations. Caithlin, Korrd and Talbot are also
present. They and the rest of the crew are transfixed
by the viewscreen, awed by the vista of a sky filled
with thousands of stars, each a fiery orange.
But what really draws their attention is the black
thundercloud looming directly ahead. Here starts the
ring of gas and dust that enshrouds the center of
the galaxy, hiding it from view. Behind this black
veil lies a region that emits ten times more energy
than our sun. Through the chinks in the wall we see
flashes of blue light -- hints of the fires blazing
within.
The ship's monitor screens go blank.
SULU
They say no ship can survive it.
SYBOK
I say they're wrong. I say the danger
is an illusion.
CHEKOV
We have no instrument readings. Is
it there or isn't it?
SYBOK
Mister Sulu... full ahead.
SULU
Full ahead, aye.
190 EXT. SPACE - ANGLE - ENTERPRISE 190
And with that, the ship plows into the Barrier, straight
into the dark clouds, disappearing from sight. We hold
for a terrifying moment, wondering if we'll ever see
Enterprise again.
191 ANGLE - INSIDE THE BARRIER 191
Surprisingly, there is no turbulence, no buffeting. The
Enterprise travels through a fantastic passageway of
light and color. Then, quite suddenly, the gas clouds
part and the ship enters a region of incredible calm and
serenity, like the clear space at the eye of a hurricane.
192 INT. ENTERPRISE - BRIDGE 192
The crew experiences the euphoria of safe passage. A
wave of joy washes over them.
193 INT. FORWARD OBSERVATION ROOM 193
Kirk, Spock and McCoy feel the rush of happiness.
They gaze through the window at this incredible
spacescape, unable to deny the sensation stirring
within them. Sybok was right.
194 EXT. SPACE 194
Dead ahead, a single planet. A planet of great beauty
and peace. Our final destination.
195 INT. ENTERPRISE - BRIDGE 195
A burst of emotion. Crew members rejoice.
196 INT. FORWARD OBSERVATION ROOM 196
Kirk, fascinated by the planet, moves to the antique
ship's wheel. He absent-mindedly rests his hand on it.
His eyes are drawn to the plaque attached to the
spokes of the wheel. On it, the charter of the
Enterprise has been set in bronze. Camera moves in on
these words: TO GO WHERE NO MAN HAS GONE BEFORE.
197 KIRK, SPOCK AND McCOY 197
Visibly moved.
McCOY
Are we dreaming?
KIRK
If we are, then life is a dream.
SPOCK
Fascinating.
198 INT. BRIDGE - ANGLE TO INCLUDE VIEWSCREEN 198
The Bridge buzzes with excitement. Monitor screens come
to life.
CHEKOV
Instruments are back on line. Incred-
ible. There's a power source emanating
from the planet like nothing I've ever
seen.
On the viewscreen, the planet appears up close -- a
celestial orb, cloaked by swirling white clouds.
Quick shots of awed reactions.
SYBOK
Sha Ka Ree.
CAITHLIN
Vorta Vor.
KORRD
Qui'Tu.
TALBOT
Eden.
199 ANGLE 199
The bridge doors whoosh open to reveal Kirk, Spock and
McCoy. The others turn, fearful of what he'll say or
do. A tense moment, then:
KIRK
(to Sybok)
About the ship...
SYBOK
(encouraging)
It needs its Captain.
KIRK
No special conditions?
SYBOK
(happily)
No conditions.
KIRK
What makes you think I won't turn us
around?
SYBOK
Because you too, must know.
Kirk looks at the hopeful facts around him. He feels
the excitement of being on the verge of a great
frontier, perhaps the greatest frontier.
KIRK
Then if we're going to do it...
(with conviction)
... we'll do it by the book. Chekov
take the conn. Sulu, standard orbit
approach. Uhura, alert the shuttle-
craft to stand by. Sybok, Spock and
Doctor McCoy with me. The rest of
you will remain on board until I've
determined what we're dealing with.
Kirk's eyes flash with excitement. To Sybok:
KIRK
(continuing; with
a smile)
Well, don't just stand there. God's
a busy man.
Sybok happily joins them in the turbolift.
CUT TO:
200 EXT. ENTERPRISE 200
Bay doors open. Copernicus, the shuttle backup,
emerges and drops from the mothership. Thrusters fire
as it streaks toward the planet, disappearing into
the swirling white clouds.
201 INT. COPERNICUS 201
Spock pilots the craft. He, McCoy and Kirk have changed
into Starfleet uniforms.
202 MISSING 202
- -
214 214
215 EXT. AMPHITHEATER 215
Kirk, Spock, McCoy and Sybok descend into the bowl of
the crater. They reach the center and stop. They look
at each other wondering. "Is this all there is?"
Sybok tries to hide his disappointment. He looks
around for a sign that isn't there, then, after a
moment of deafening silence, he addresses their bleak
surroundings.
SYBOK
(shouting; a trace of
desperation)
We have travelled far by starship...
Nothing. It looks like a bust. Sybok's voice chokes
off and he lowers his head. Kirk and McCoy frown at
each other. Kirk whips out his communicator to
address the ship.
KIRK
Enterprise, this is Kirk...
Spock goes to Sybok and puts a comforting hand on his
brother's shoulder.
SPOCK
Perhaps --
Spock's words are obscured by a rumble from within
the earth. A shadow engulfs the amphitheater.
216 ANGLE - THE SKY ABOVE 216
Clouds turn ashen and threatening, transforming day
into night.
217 AMPHITHEATER - A SERIES OF SHOTS 217
The ground comes to life beneath the feet of our
heroes. The earth buckles and ripples as if nature
herself were trying to break free. Without warning
a pillar of sheer rock rips up through the surface
and climbs skyward. Then another pillar shoots up,
followed by another and another. They encircle the
amphitheater like giant fingers. We intercut Kirk,
Spock, McCoy, and Sybok reacting to this dazzling
display of power
218 EXT. AMPHITHEATER - WIDE SHOT 218
The fingers of rock form a crude cathedral.
219 INT. AMPHITHEATER 219
Within this primative cathedral Kirk, Spock, McCoy and
Sybok watch as the ground in front of them melts like
molten lava. It swirls, creating a vortex. A rushing
sound comes from the planet's core, growing closer.
Something of incredible power is on its way to the
surface.
220 ANGLE 220
A shaft of energy explodes out of the vortex. It shoots
skyward like an erupting geyser, blinding our heroes
with its beauty and raw power.
221 EXT. SPACE - ANGLE - PLANET AND ENTERPRISE 221
The energy shaft rises from the planet like a beacon
light. Enterprise, just outside the shaft, is bathed
in its reflection.
222 INT. AMPHITHEATER 222
Sybok staggers back. Like Kirk, Spock and McCoy, he
must shield his eyes from the intensity of the energy
shaft.
223 ENERGY SHAFT 223
It pulsates and throbs with life. A GOD-LIKE VOICE
comes from within.
VOICE
Brave souls. Welcome.
Startled reactions.
McCOY
(hushed)
Is this the voice of God?
As if responding to McCoy's question, the energy shaft
throbs. From the swirling dust within it, a living form
begins to take shape. The shape is powerful, beautiful,
enticing.
Sybok and the others watch in wonder. The wind it kicks
up causes them to stagger back.
224 CLOSER ANGLE - ENERGY SHAFT 224
Within this maelstrom of power, the form of humanity
begins to take shape. And it takes on many forms, each
reminding us of the holy paintings that have depicted
the All-Mighty through the ages.
225 A SERIES OF SHOTS 225
We intercut between the shifting images of God and the
reactions of the Enterprise crew. One moment the figure
is Ra. The next, Allah. He's black. White. Female. Male.
Andorian. Klingon. Each witnesses a flash of his own
God.
226 KIRK, SPOCK AND McCOY 226
They watch the "God Show" with mounting fascination.
227 ENERGY SHAFT 227
The Being synthesizes into the Biblical Heavenly
Father of our imagination. (Note: The Being is con-
tained within the perimeters of the energy shaft,
unable to venture out of it.)
The Being turns his gaze to Sybok, Kirk, Spock and
McCoy. He beams with pleasure. His eyes twinkle.
BEING
Does this better suit your expect-
ations?
It does indeed. No one knows what to say. Sybok is vind-
icated, he can barely contain his ecstasy.
SYBOK
Qual se tu?
BEING
It is I.
(a pause)
The journey you took to reach me
could not have been an easy one.
SYBOK
It was not. The Barrier stood between
us -- but we breached it.
BEING
Magnificent. You are the first to
find me.
SYBOK
We sought only your infinite wisdom.
BEING
And how did you breach the Barrier?
SYBOK
With a starship!
BEING
Ah. This starship... could it carry
my wisdom beyond the Barrier?
SYBOK
It could. Yes!
BEING
Then I shall make use of this
starship.
SYBOK
(thrilled)
It will be your chariot!
Kirk politely raises a hand.
KIRK
Excuse me.
BEING
(ignoring Kirk)
It will carry my power to every
corner of creation...
KIRK
(insistant)
Excuse me.
The Being regards Kirk like he was a pesky insect.
KIRK
(continuing)
I just wanted to ask a question.
McCoy looks at Kirk like he just farted in church.
KIRK
(continuing)
What does GOD need with a starship?
The Being returns his attention to Sybok.
BEING
Bring the ship closer.
KIRK
I said... what does God need with a
starship?
McCOY
Jim, what're you doing?
KIRK
I'm asking a question.
The Being once again regards Kirk. Kirk stands his
ground.
BEING
Who is this creature?
KIRK
Who am I? Don't you know? Aren't
you God?
The smile leaves The Being's face. Thunder rumbles
faintly in the distance, underscoring his displeasure.
SYBOK
He has his doubts...
BEING
You doubt me?
KIRK
I seek proof.
McCOY
Jim, maybe you shouldn't ask him for
his I.D.
BEING
Then here is the proof you seek.
A bolt of energy shoots from the Being's eye and then
strikes Kirk full in the chest, knocking him to the
ground. Spock and McCoy look on in shock as Kirk, now
injured, tries to rise.
KIRK
(to Sybok)
Why... is God... angry?
Sybok is confounded. He addresses The Being.
SYBOK
I don't understand. Why have you
done this to my friend?
BEING
He doubts me.
Spock takes it upon himself to step forward.
SPOCK
You have not answered his question.
What does God need with a starship?
The Being's countenance turns dark. Another bolt shoots
from his eye and heads for Spock. Crash! Spock is
knocked to the ground.
228 INT. ENTERPRISE - BRIDGE 228
The crew can't comprehend this turn of events. Korrd,
Caithlin and Talbot look at each other in horror.
229 INT. AMPHITHEATER 229
The Being turns to McCoy.
BEING
Do you doubt me?
McCoy looks at The Being's handiwork -- his injured
friends.
McCOY
I doubt any God who inflicts pain
for his own pleasure.
The Being is on the verge of zapping McCoy when Sybok
interrupts.
SYBOK
Stop! The God of Sha Ka Ree would
not do this!
By way of reply. The Being smiles a truely wicked smile
and Sybok realizes to his horror that he's been tricked.
BEING
Sha Ka Ree?
(scornful laughter)
An eternity I've been imprisoned in
this place! The ship! I must have
the ship! Now give me what I want!
Spock shouts to his brother.
SPOCK
Sybok -- this is not the God of Sha
Ka Ree -- or any other God!
SYBOK
I don't understand...
(to the Being)
Reveal yourself to me!
230 ANGLE - THE BEING 230
Before our stunned eyes, the being changes into Sybok
himself -- a dark sinister reflection of Sybok. This
Evil Sybok laughs, enjoying the reaction.
BEING
What's wrong? Don't you like this
face? I have many but this one
suits you best.
231 ANGLE TO INCLUDE SYBOK 231
His self-realization is painful to behold.
SYBOK
No... it's not possible.
BEING
Bring me the ship or I will destroy
you!
SYBOK
(realizing the Being's
evil intention)
The ship...
BEING
Bring it closer so that I might
join with it. Do it or watch
these puny things die horribly.
The Being indicates Kirk, Spock and McCoy.
KIRK
(into his communicator)
Kirk to Enterprise. Listen carefully...
SYBOK
(turns to Sybok; in
agony)
Spock, what have I done?
SPOCK
(urgently)
Sybok...
SYBOK
(soul searching)
This is my doing! My arrogance...
my vanity...
(to the others with
sudden determination)
Save yourselves!
SPOCK
(realizing Sybok intends
to sacrifice himself)
No, Sybok!
Sybok raises his hand to Spock in the Vulcan gesture of
farewell.
SYBOK
Forgive me.
Sybok turns to face the Being, gathering up all his
power. Spock starts forward but Kirk holds him back.
232 OMITTED 232
- -
234 234
235 ANGLE - THE BEING AND SYBOK 235
Sybok has no fear as he confronts his evil mirror
image.
SYBOK
I couldn't help but notice your pain.
BEING
(caught off-guard)
My pain?
SYBOK
It runs deep. Share it with me.
Sybok boldly enters the shaft and embraces his evil
twin.
236 ANGLE - ENERGY SHAFT 236
An amazing spectacle. As they grapple, the good and
evil Syboks merge into one twisting and thrashing
body, clearly at battle with itself. The good Sybok
tears himself loose. He dominates the struggle until
the evil Sybok manages to rip through and fight back.
The two Syboks, good and evil, battle on... merging,
tearing apart.
237 INT. ENTERPRISE - BRIDGE 237
Sulu and Chekov in action. Sulu uses all the tricks
of the pilot's trade to angle the ship into the best
possible attack position. Chekov punches commands
into the weapon's console, plotting the correct
torpedo trajectory. It's like watching two master
musicians play a symphony in a windstorm. The screens
in front of them blink and flash with graphic displays
and warnings.
238 INT. AMPHITHEATER 238
Kirk, Spock and McCoy watch the titanic struggle raging
within the energy shaft. As they grapple, the two Syboks
are slowly pulled downward... into the hole.
KIRK
(into his communicator;
desperate)
Enterprise... are you ready?
239 INT. ENTERPRISE - BRIDGE 239
SULU
In firing position. Torpedo armed.
CHEKOV
But Captain, we're firing directly
on your position.
KIRK'S VOICE
Send it down Mister Chekov -- now!
240 EXT. SPACE - ANGLE - ENTERPRISE AND ENERGY SHAFT 240
A photon torpedo leaves the dish and streaks downward.
241 ANGLE 241
Camera chases the torpedo down the shaft and into the
hole.
242 INT. AMPHITHEATER 242
Impact is seconds away. Kirk, Spock, and McCoy run
for cover. From far beneath the surface of the planet
comes the sound of the explosion. The ground blisters
and puckers.
243 AMPHITHEATER - LONG SHOT 243
A blinding explosion errupts from the hole.
244 EXT. SPACE - ANGLE - ENTERPRISE 244
The energy shaft vanishes. Enterprise is safe.
245 INT. AMPHITHEATER 245
Smoke. Debris. The Cathedral is in disarray. An eerie
silence. Kirk, Spock and McCoy emerge from cover. The
enrgy shaft is a memory. In its place there is only
a gaping hole, glowing raw and red like a wound.
SPOCK
(softly)
Sybok...
A rumbling sound from within the earth. The hole
throbs. It pulsates.
KIRK
(worried)
We've got to get out of here.
246 KIRK, SPOCK AND McCOY 246
They haul ass up the side of the amphitheater.
246A ANGLE - THE HOLE 246A
Camera pushes in on the smouldering hole as a horrific
creature pulls itself out of the abyss -- a fire-
breathing monster made entirely of rock -- all that
remains of the evil entity. It spots the escaping
threesome and clambers after them.
247 OMITTED 247
- -
249 249
250 INT. ENTERPRISE - BRIDGE 250
They're desperately trying to locate Kirk, Spock and
McCoy on the planet below.
251 ANGLE - DEFENSE STATION 251
The unattended screen still depicts the Bird of Prey.
"ESTIMATED TIME OF INTERCEPT: 4 MINUTES." Then, the
graphic of the ship vanishes and is replaced with the
warning: "CLOAKING DEVICE ENGAGED, POSITION UNKNOWN,"
252 INT. BIRD OF PREY - BRIDGE 252
Enterprise appears on the viewscreen. Klaa is out of
his command chair, pacing the deck like a restless
buccaneer.
VIXIS
(Enterprise defense systems are down.
Captain they don't know we're here.)
KLAA
(They will in a moment.)
Klaa settles into his gunner's rig.
253 OMITTED 253
254 EXT. AMPHITHEATER 254
Kirk, Spock and McCoy make it inside. The door closes
behind them.
KIRK
Spock, get us out of here!
Before Spock can act, a tremendous blow rocks the
shuttle. There's something out there and it wants to
get in. Spock tries the controls.
SPOCK
Thrusters are inoperative.
Kirk whips out his communicator.
KIRK
Scotty!
SCOTTY
Scotty here, Captain.
KIRK
Now would be a good time to tell me
the transporter's working.
SCOTTY
She's got partial power, sir. I
might be able to take two of you.
KIRK
Beam up Spock and Doctor McCoy.
Do it!
255 OMITTED 255
Before Spock and McCoy can protest, the transporter
beam shimmers down and takes them away. A second later,
the windshield behind Kirk is smashed to pieces by a
monsterous fiery arm. Off Kirk's startled reaction...
256 INT. ENTERPRISE - TRANSPORTER ROOM 256
Spock and McCoy step off the platform. Scotty is at
the control console.
SPOCK
Mister Scott, send the beam back
down.
SCOTTY
Aye, sir.
At that moment Enterprise absorbs a terrific jolt.
Spock, McCoy and Scotty go flying as the transporter
explodes in a shower of sparks.
256A EXT. SPACE - ANGLE - ENTERPRISE AND BIRD OF PREY 256A
The Klingon ship has decloaked and fired from a
position directly in front of Enterprise. In cowboy
terms, it's got the drop on them.
256B INT. COPERNICUS 256B
Kirk realizes he's not going to be beamed up. The rock
creature comes in after him.
257 EXT. PEAKS 257
Kirk escapes through the Copernicus' rear hatch. He
disapears into the darkness, pursued by the rock
creature.
258 OMITTED 258
- -
259 259
260 INT. ENTERPRISE - BRIDGE 260
The crew painfully pulls itself together. Fires are put
out. Auxilliary power comes on. Spock, McCoy and Scotty
enter.
McCOY
(to Spock)
What about Jim? We can't just leave
him down there.
SPOCK
(stoic)
Please, Doctor, try to get a grip
on yourself. Status report.
UHURA
Mister Spock, Klingon captain wishes
to name his terms.
SPOCK
On screen.
Klaa appears on the viewscreen arms folded across his
chest, seated triumphantly in his command chair. He
speaks English the first time.
KLAA
This is Captain Klaa of the Klingon
Empire. Attempts to raise shields
or arm weapons and I will destroy
you. You are alive for a single
reason. The renegade James T. Kirk!
Hand him over and I will spare your
lives. My transporter stands ready
to beam him aboard.
SPOCK
Captain Kirk is not among us.
KLAA
You lie!
SPOCK
I am a Vulcan. I cannot lie. Captain
Kirk is on the planet below.
KLAA
Then give me his co-ordinates!
Spock glimpses a possibility. He turns to Korrd and speaks
with urgency.
SPOCK
General, I am in need of your assis-
tance.
KORRD
(scoffing)
My assistance?
SPOCK
You are his superior officer.
KORRD
I can do nothing! I am a foolish old
man.
SPOCK
Damn you, sir, you will try!
Korrd sees that Spock will not take no for an answer.
CUT TO:
261 EXT. PEAKS 261
Kirk scrambles from one hiding place to another as the
rock creature pursues him, able to anticipate his every
move.
262 PINACLE 262
With no where to go but up, Kirk scales a steep pinn-
acle. He climbs with agility and speed. He'd better.
The pursuing creature is practically breathing fire
up his ass.
263 WIDE ANGLE SHOT 263
Kirk clambers to the top of the pinnacle and finds
himself trapped. He always knew he'd die alone. The
rock creature climbs up to get Kirk, an inhuman voice
issuing from its flaming mouth.
CREATURE
Give... me... the... ship.
A whooshing sound from overhead. Kirk looks up.
264 ANGLE - SKY ABOVE 264
The Bird of Prey drops out of the storm clouds. Its
guns come to life and strafe the rock creature,
driving it back, away from Kirk.
265 KIRK 265
Vulnerable atop the pinnacle. The Bird of Prey hov-
vers directly above him, its guns swivelling in his
direction. Kirk is determined to go down fighting.
KIRK
(shouting in defiance)
So it's me you want, you Klingon
bastards! Come and get me!
The Bird of Prey's transporter beam shimmers down and
engulfs him. Kirk disappears in its sparkling light,
saved from the rock creature who lets out an angry roar
of defeat. The Bird of Prey takes off with its prize.
266 INT. BIRD OF PREY - TRANSPORTER ROOM 266
Kirk materializes. He's immediately seized by two brutal-
looking Klingons. They march him out of the transporter
room.
267 INT. BIRD OF PREY - BRIDGE 267
The bridge doors slide open and Kirk is brought in The
Klingon crew regard him from their stations. Klaa is
off to one side looking petulant. Korrd stands beside
him, chest puffed up with pride, obviously in charge.
Why isn't Klaa in his command chair? Because someone
else is occupying it.
The command chair swivels around to reveal its
occupant to be Spock. He unstraps himself from
the gunner's rig, stands up and straightens his
uniform in a dignified manner.
SPOCK
Welcome aboard, Captain.
KORRD
(to the guards)
Release him.
The guards step away from Kirk. Klaa glares at Korrd
but it's clear the older Klingon is now calling the
shots.
Kirk regards the stoic Spock with affection and
wonder.
KIRK
(can't believe it)
Spock, I thought I was going to die.
SPOCK
Not possible. You were never alone.
Kirk fights back tears and clasps his friend in a hug.
Spock stiffens with embarassment.
SPOCK
Please, Captain. Not in front of
the Klingons.
Kirk laughs and hugs him all the harder. Spock tentat-
ively hugs him back.
CUT TO:
268 EXT. SPACE 268
Enterprise and Bird of Prey are side by side, in orbit
around the planet.
269 INT. ENTERPRISE - FORWARD OBSERVATION ROOM 269
A reception is in full swing. Spock and McCoy are dis-
covered off by themselves, standing at the observation
window, gazing out at the God planet.
McCOY
Try this on for size. Has it occured
to you that the Great Barrier wasn't
placed there to keep us out -- but
to keep that thing in?
SPOCK
It has occured to me.
McCOY
Well, doesn't that imply the exist-
ence of a greater power?
SPOCK
I will say this much Doctor. We have
yet to reach the final frontier.
270 ANGLE - KORRD 270
The Klingon polishes off a tumbler of fluid. He frowns.
What he wants is a real drink. Scotty approaches him.
SCOTTY
Would you care for a wee nip of
scotch whisky?
KORRD
Umm...
Scotty produces a bottle and pours a splash into the
Klingon's tumbler. Korrd downs it with obvious
relish. Scotty smiles.
SCOTTY
I never thought I'd be drinking with
a Klingon.
Korrd chortles agreeably and moves off. We follow him
over to Talbot and Caithlin.
KORRD
And what are you two conspiring
about?
TALBOT
We are just thinking how far we've
come in such a short time.
KORRD
We certainly have.
TALBOT
Good heavens! We've just agreed on
something!
CAITHLIN
Gentlemen, it's about time.
They share a warm laugh.
270A ANGLE - KIRK 270A
He's been watching with satisfaction. As he turns, he
notices Klaa eyeing him keenly from across the room --
the young gun locking eyes with the seasoned pro. With
a smile, Kirk gives Klaa the Klingon salute.
Kirk notices Spock and McCoy still standing at the
window, still staring out, oblivious to the party
around them. Kirk approaches.
KIRK
Cosmic thoughts, gentlemen?
McCOY
We were speculating...
(staring out)
... is God really out there?
KIRK
Maybe He's not out there, Bones.
Maybe He's right here... in
human heart.
(noticing Spock's distant
expression)
Spock?
SPOCK
I was thinking of Sybok.
KIRK
I lost a brother once. But I was
lucky; I got him back.
McCOY
I thought you said men like us
don't have families.
KIRK
I was wrong.
Camera pushes in on them and we slowly...
DISSOLVE TO:
271 EXT. YOSEMITE - NIGHT 271
Camera pulls back from a roaring campfire. McCoy pours
two cupsful of bourbon and hands one to Kirk who sets
aside his marshmallow on a stick. Kirk and McCoy clink
cups in a silent toast and drink, distracted by strange
plinking sounds from close by. Spock is revealed,
absently strumming his Vulcan lute in search of a tune.
KIRK
(with a smile)
Well, are you just going to sit
there and pick at it or are you
going to play something?
The plinks and plunks gradually become a tune. The un-
mistakable "Row Your Boat." Kirk and McCoy react with
delight. McCoy takes a hit of bourbon and clears his
throat.
McCOY
(singing)
"Row, row, row your boat gently
down the stream..."
Kirk jumps in and, when it's his turn, Spock joins
the chorus too. The three shipmates sing loudly
with feeling and gusto. Their voices climb into the
night sky.
VOICES
"... merrily, merrily, merrily,
merrily, life is but a dream..."
As they continue to sing, we execute the greatest pull
back of all time. The campfire becomes a dot of light.
The dot of light joins other dots of light. They become
the stars of the universe.
AND THE ADVENTURE CONTINUES
THE END