Thanks to http://www.geocities.com/ussmunchkin7/Star_Trek_V.htm 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,