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