"STAR TREK III: THE SEARCH FOR SPOCK" (1984)

by HARVE BENNETT

FADE IN:

As the stars appear, we hear the AMBIENCE OF SPACE, a litany of groans, squeals and pings of the unknown. Over this we SUPER:

2 "PARAMOUNT PICTURES PRESENTS:" 2

We are MOVING through the stars slowly and to our right as the SUPER FADES. And we hear a hoarse voice.

Our MOVE CONTINUES to reveal the Genesis planet and its sun, which flares into our lens.

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.

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:

3 "STAR TREK III : THE SEARCH FOR SPOCK" 3

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.

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.

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.

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.

ANGLE WIDENS to reveal DAVID MARCUS, mid-twenties, who will be remembered as the co-creator of Genesis, and also as Kirk's son.

aavik has taken a position next to David at the science panel and together they begin activating the de- vices.

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 complies. David's intensity rises. Captain Esteban, curious about the BEEPS, has joined them.

As the BEEPS DIMINISH, we HOLD on David and Saavik. There is mystery in the air.

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:

He is stalking the bridge, lost in his thoughts. CAMERA IS MOVING with him. In b.g., bridge activity is normal.

He has reached Spock's vacant chair. He touches it.

We HOLD on him. Then, he shakes off his mood and:

9 WIDER ANGLE 9

to include SULU and CHEKOV at forward stations, UHURA at the communications post.

Chekov hesitates for a moment. Then:

He rises and crosses to Spock's empty chair, as Kirk continues.

SCOTTY and an ENGINEER TRAINEE are working at a junc- tion of circuitry.

11 INTERCUT WITH BRIDGE 110

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.

Kirk turns.

He enters the elevator, and the doors close.

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 feelings as:

14 WIDER ANGLE 14

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.

Bones, his eyes far away, turns to make contact. In a matter- of-fact voice:

Even Bones is stunned by what has come out of his mouth. He tries to cope with his own disorientation.

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 leaves. The doors close on Jim Kirk's concern.

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.

Small and grubby; populated by three or four crewmen of mixed special breeds, and a renegade CAPTAIN who suggests a Federation traitor. And, lurking in the shadows, her face concealed by a half-veil, what appears to be an exotically beautiful WOMAN of epic proportions and mystery.

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 unemotional.

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.

The PAN CONTINUES UPWARD to reveal BATTLE COMMANDER KRUGE, a Klingon War Lord of handsome but frightening presence, and relative youth. Now, in Klingon:

There is a light change from CLOAK to DE-CLOAKED CONDITION, 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.

We are SHOOTING PAST the merchantman in the f.g. to watch the strange and gradual appearance of a vessel.

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.

As he and the crew try to comprehend, a commanding voice on SPEAKERS:

The woman leans to the console. She inserts a small rectangular object and presses a button.

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:

Maltz hands Kruge the completed recording. Kruge taps it thoughtfully.

Kruge has a moment of hesitation. Then, to his helmsman.

The variable wings begin to dip like hawk's talons, and the Bird begins an arcing maneuver...

Uncertainty. The Captain turns to the Woman.

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 -

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.

The SCREAMS AND CRIES of the merchant crew can be heard. The Captain's voice rises above all these.

Kruge turns impassively to his gunner, and nods. The gunner presses the firing button.

The Klingon Bird FIRES another salvo. The merchantman is obliterated. Debris floats through the SHOT.

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.

As Kruge starts out, the BEAST GROWLS. Kruge stops, points a finger at a Klingon in the sub-deck below.

The Klingon nods vigorously as Kruge exits, then, with his commander gone, casts a nervous glance beast-ward.

A face only a Klingon could love.

INTO SHOT comes USS Grissom, orbiting.

Much visual display and BEEPING. PULL BACK to find Saavik, David -- with Esteban over their shoulders.

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.

The implication is not lost on Esteban. After a moment:

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.

The bustle and CRACKLING SOUNDS of approach procedure. Kirk is in the Captain's chair, all others are on stations. Scotty has come up from below to watch the show.

The bridge lights change to docking mode.

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...

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.

37 ANOTHER ANGLE (ILM) 37

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.

(ILM ELEMENT) The Excelsior is on screen for all to see.

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.

Kirk rises on the narrow edge of irritation.

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.

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.

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.

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.

Shaken now. He strains into the darkness, looking --

45 KIRK'S POV 45

CAMERA PANS the darkened room and COMES TO REST as we see a shadowy figure in the far corner.

46 BACK TO KIRK 46

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 --

47 TWO SHOT 47

-- Bones McCoy. Emotionally drained, eyes wide --

McCOY ... Then perhaps there is still time... Climb the steps, Jim... Climb the steps of Mount Seleya...

Bones looks at him, trying to comprehend. When he opens his mouth; it is, for one brief moment, SPOCK'S VOICE that emerges:

Kirk stares at him in shock as:

Kirk, still holding McCoy:

He cradles McCoy who has gone limp.

As he holds his friend, rocking him gently, we OVERLAP the SHRILL SOUND of an ELECTRONIC BOATSWAIN'S PIPE.

The entire crew is assembled as the SOUND of the PIPE FINISES -- and the great docking doors open.

STARFLEET COMMANDER MORROW enters, a distinguished looking black man, followed by an AIDE. He crosses to Kirk at the head of the review line.

He reaches for Kirk's shoulders with affection.

He embraces Kirk. It is both a military courtesy, and a personal expression, twenty-five years of comradeship, service and sacrifice. Kirk is moved. When the embrace breaks:

A relieved ripple of laughter from all.

They relax in the glow of Morrow's smile. And he looks about.

A buzz of approval, then:

It is clear how Scotty feels about this honor:

A pall in the room. Kirk, as shocked as anyone.

On their baffled reactions we...

We are TRACKING with her through space. She is quite visible, her wings in level configuration.

At first we are disoriented. Jim Kirk's image FILLS THE SCREEN talking right AT US.

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.

with the reactions of the two junior officers, seeing it for the first time.

52 BACK TO SCENE 52

Kruge turns the machine off. He studies the two officers. Then with quiet intensity:

Maltz snaps to and leaves, chastened. Kruge turns to Torg like a wily serpent.

He presses a button and a new visual appears, Kirk's VOICE heard OVER:

We see Enterprise fleeing the Genesis explosion (STOCK, STAR TREK II). Torg is very impressed. Kruge turns the visual off. Then, importantly:

Torg crosses out, Kruge turns toward his chair, kneels to pet his beast as we hear:

Lights change... ELECTRONIC SOUND BEGINS... and:

The ship, sectionally, vanishes before our eyes.

USS Grissom is orbiting. We hear:

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.

fully materialized. They are equipped with scientific backpacks. Their TRICORDERS BLEEP reassuringly, as they look about.

His TRICORDER BLEEPS.

Saavik reacts to his tension with a questioning look. Then they move off.

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.

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.

The two explorers take readings; they begin to realize what they are heading for...

Their tempo increases, they follow their tricorders, until...

Saavik and David come INTO VIEW, close by, and stop, seeing it.

He joins her, staring at:

At the base of the tube, worm-like forms shimmy and squirm. They are small , horrible, and unquestionably alive.

62 SAAVIK AND DAVID 62

They try to maintain their scientific objectivity, in spite of their horror -- and their disappointment at not finding some trace of Spock.

David doesn't answer, his curiosity caught by something else. He starts slowly forward, Saavik Following close. Their tricorders begin to register higher radiation levels as they approach the tube.

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:

64 DAVID'S POV INTO SPOCK'S CASKET 64

It is empty, except for some kind of rumpled black cloth.

65 BACK TO DAVID 65

He reacts, stunned.

He reaches in, withdraws the shroud-like cloth, and hands it to Saavik. As she touches, she knows.

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.

Tranquil. We hear the SOUNDS of HARBOR and distant CITY. We are PULLING BACK, past Kirk as he stares quietly at the view, a glass in hand. Then he turns 'round, raises his glass in a toast.

ANGLE WIDENS to include Uhura, Chekov and Sulu, who toast in response, and drink.

Kirk sips his drink thoughtfully, as do all. Then:

A DOOR CHIME.

They all turn toward the door. We hear it WHIRR open, O.S. Their expressions change and they stare at:

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:

A hush of wonder falls over all. The ANGLE WIDENS as AMBASSADOR SAREK comes to Kirk.

Kirk turns to his crew. They look at him questioningly.

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:

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.

69 MIND MELD SEQUENCE 69

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:

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.

He turns now, starting for the door. Kirk stops him with an agonized wail:

On their exchange of looks --

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:

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:

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.

He stares at the frozen image, then:

The CAMERA ZOOMS IN a TIGHT TWO SHOT. The action repeats:

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 looks at the screen, examines all that is clear to him, and accepts the truth of Sarek's challenge.

Over his determined face, we hear a weird OVERLAPPED SOUND: the strange CRY OF PAIN from the Genesis Planet.

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.

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:

Past the tall cactus in f.g., we see snow-covered ter- rain in the middle distance. The CRY is heard once more.

77 BACK TO THEM 77

David's tricorder is making LIFE FORM SOUNDS. Saavik whips out her communicator.

And she hurries after David.

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.

80 THEIR POV 80

In the snow-covered landscape ahead of them, a series of tracks. Small, indeterminate. They lead ahead.

81 BACK TO SAAVIK AND DAVID 81

They respond. The WIND HOWLS, but they start forward.

ANGLE HAS WIDENED to include Kirk, a passionate Kirk.

The intimacy of the conversation is broken by a starfleet steward who bears drinks. Kirk sits in frustrated suspension until the steward leaves. Then Kirk tries to resume his plea, but Morrow stays him.

Kirk's voice and passion has risen enough to now gather a response from neighboring tables. Kirk realizes; he checks himself, draws slightly back. Morrow is firm.

Kirk looks for a long moment, then sighs, his body sagging.

Kirk rises with a smile, starts out. HOLD on Morrow.

83 MOVING WITH KIRK 83

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 surprised to see Sulu and Chekov waiting for him conspiratorially. Kirk stops close to them, looks about cautiously.

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 qualities 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.

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... BACK TO McCOY 81 Not finding what he is looking for, he settles into a small alcove. A seedy, but attractive WAITRESS arrives.

She leaves. McCoy scans the room. He picks out some- one approaching.

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.

McCoy is interrupted by a hand on his arm. He looks up to see a nondescript-looking CIVILIAN, with a gentle, ingratiating manner.

It's a bad moment for the agent to have announced himself. A desperate Bones releases the Alien and rises to his feet just as the Waitress arrives with his Altair water on a tray. The Altair water spills on the Alien.

87 SERIES OF CUTS 87

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.

He ushers Bones out as the brouhaha continues in b.g.

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:

Something alive moves across the front, obscured by snow and terrain.

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...

91 THE CREVICE (AND INTERCUT POV'S) 91

as Saavik and David approach. Stop. TRICORDER back on. Big reading. They step forward through the snow flurry to see:

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.

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:

The Boy does not respond. Saavik looks to David.

Quietly, so as not to alarm the Boy, Saavik opens her communicator and reports softly:

PLANET)

There is a moment of uncertainty between Esteban and his science officers that should be one of the grand laughs of this film.

On the planet, Saavik and David exchange a frustrated look.

There is an odd SOUND on the speakers. Below, David and Saavik wait impatiently. Then, on the bridge:

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.

97 BACK TO BRIDGE - GRISSSOM (INTERCUT WITH PLANET & BIRD OF97 PREY)

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.

Kruge turns to his gunner.

Kruge's BEAST GROWLS.

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's beast adds his contempt to this message. As Kruge stalks from his chair --

Kruge cocks an eye, examines the screen.

STATIC is heard on her communicator. She folds it closed in resignation. That unnerves David.

David looks at her, understanding now, looks away in despair. He covers his face with his hands now.

David looks at her, accepting the truth of what she says.

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.:

104 ANGLE TOWARD CELL DOOR 104

Kirk and GUARD 1 stand in the doorway which is framed by line of light indicating a force field. Kirk is in civilian clothes.

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.

Kirk holds up his hand in the Vulcan salute, fingers splayed.

Kirk withdraws syringe.

A SECOND GUARD is on duty with GUARD 1 as the door slides open and Sulu enters with some urgency.

Guard 1 fishes for his electronic key and leaves. Guard 2, a big, paunchy man, stretches his girth and yawns.

106 CELL ENTRY AT DOORWAY 106

Guard 1 applies his device to the cell electronic plate. Force fields blink out.

As the Guard moves to Bones, Kirk drops him with a martial chop.

And they start out of shot.

107 PRISON OFFICE 107

A BUZZING is heard from the Guard's console. Guard 2 picks up an earpiece (like Uhura's), holds it to ear and answers.

He unplugs furiously, rises determinedly, and starts for the door which, just before he reaches it, slides open, revealing Kirk and Bones.

He is cut short by a savage martial chop delivered by Sulu from behind.

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.

As Sulu hurries after the others, we PUSH gently to the fallen giant, sleeping peacefully.

Kirk whips out his communicator as they descend.

Kirk flips his communicator closed. McCoy raises an eyebrow.

McCOY You're taking me to the promised land?

The new Queen of Space is quietly docked, floodlit like a great monument, but essentially in bed for the night.

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.

The doors of the elevators close, leaving Scotty alone inside. A slightly condescending MALE VOICE says:

In contrast to Excelsior, she seems a ghost ship, unlit and without signs of activity.

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

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.

The entry door slides open and Kirk, Bones and Sulu hurry in and begin walking without hesitation, toward the pods.

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.

With that Uhura turns, a phaser leveled.

He backs into it, disappears inside, and she closes the door from her panel.

She smiles and activates THE BEAM. They wave back to her until they are gone.

CAMERA PUSHES TOWARD the darkened bridge section as energizer and ELECTRONIC SOUNDS are heard, and suddenly from within, the lights begin to go on.

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.

As they reach stations, we are on Kirk as a series of orders and responses are given...

The scarred, noble vessel begins to move slowly, im- pulse, rockets WHOOSHING intermittently.

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?

Backing slowly into the last third of the great dock -- and the great closed doors through which she must pass.

Sleeping, he is jarred awake by an alarm KLAXON. Then:

Styles fumbles to consciousness, not pleased to be awakened. He gropes for a comm button.

Styless' mouth drops open. Then:

Doors open, Styles strides in, buttoning tunic.

1ST OFFICER All automates ready and functioning. Automatic moorings retracted. All speeds available through transwarp drive.

As she moves away, heading forward, looking faster than Enterprise even in low speed.

They are closed -- and approaching!

This is not lost on Bones -- But Scotty is too busy to panic, rolling in numbers on his console coolly.

He presses a final button, looks up at the screen as --

They slide slowly open just in time to allow Enterprise a narrow passage out into space...

127 BACK TO THE BRIDGE 127

Picks up speed and EXITS the SHOT... But Excelsior is seen now exiting the Spacedoors and coming on.

1ST OFFICER Enterprise maintaining full impulse power...

1ST OFFICER Tractor beam, aye!

Enterprise first... Excelsior clearly closing the gap.

131 ENTERPRISE BRIDGE 131

133 BACK TO SCENE 133

He moves his control, SOUND builds, and --

The Warp Drive explodes her forward and OUT OF VIEW.

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!

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.

She begins to shake and vibrate, shuddering her way through space...

Strange, impotent SOUNDS no one of them has heard be- fore, and on Styles' face, absolute bafflement.

Except for the puzzled McCoy, there seems to be quiet satisfaction on the Enterprise.

He hands McCoy a tiny microchip (INSERT). McCoy looks up bewildered, still shaky from the chase.

There are smiles, but sober ones. And Kirk puts his hand on Sulu's shoulder as he says:

Responding to Sulu's touch, she speeds off.

The Bird of Prey is orbiting.

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.

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.

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.

The Spock casket is in the f.g. CAMERA RISES now as the Klingons approach the casket, stop short in surprise as they see:

Where the "squiggly forms" once were, now horrible 4- foot- long SERPENTINE THINGS rise, Cobra-like, HISSING and SQUEALING.

146 BACK TO SCENE 146

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.

147 SCENE - KRUGE AND SERPENTS - (PRODUCTION & ILM FX SHOTS)147

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 squeezing 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 creature'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:

The light around him begins to change dramatically. He looks up, and reacts to:

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.

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:

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.

152 BACK TO DAVID 152

He reacts in wonder.

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 breathing heavily as the pain recedes.

HOLD on the Boy.

Looking out over the darkened planet, lost in thought. WIDEN to admit Saavik. She too looks outward. A distant, FAINT RUMBLE. No tremor felt. Then:

Saavik steps forward seeking eye contact and an explanation. David looks at her now.

But his TRICORDER is BEEPING FAINTLY. He checks it.

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?

She passes us at high speed.

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.

You could drop a pin. Everyone turns to Spock's station...

Chekov begins calling, as Kirk crosses easily to McCoy.

She has fallen asleep in her exhaustion. There is a faint SOUND OF TRICORDER LIFE SIGNS BEEPING. She slumbers 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.

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.

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:

Hunched down in a corner, his face turned AWAY FROM USS, is Spock. He is now in some kind of awful spasm.

161 BACK TO SAAVIK 161

She studies what she sees. She understands. His CRY OF RAGE now splits the air and:

162 THE YOUNG SPOCK 162

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.

163 SAAVIK 163

She approaches him cautiously, but with absolute under- standing. She stops a step away from him.

Spock hears, but does not understand.

Her voice has calmed him some. She takes the last step and is now close to him. Calmly and in Vulcan:

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.

A moment of soft SPACE AMBIENCE. Then Enterprise glides silently INTO SHOT.

McCoy hunches forward at the science station, but his lack of understanding is clear.

With an understanding nod, Chekov crosses toward the science station to take over. McCOY (to Kirk) Sorry...

An object appears, accompanied by a SOFT ALARM. PULL BACK. The screen is being watched by Maltz, who reacts.

The SOUNDS and lights of cloaking begin...

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.

168 SAAVIK 168

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.

169 BACK TO SAAVIK 169

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 --

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:

171 KRUGE 171

A slow PAN UP reveals the Klingon, his patience strained.

At his gesture, David is thrust forward and thrown among the other two. David shows signs of having been roughed up by the Klingons.

Saavik, assessing the desperate situation, takes her best shot:

The Sergeant steps forward, communicator in hand.

Kruge snatches the communicator, barks into it:

For Saavik and David, a moment of hope.

We're on Saavik and David and the uncomprehending Vulcan as the sound and reflected light of a BEAM-UP take place.

At the science station, the blue light of the scanner flickering on his face.

Favoring David, Saavik and the Vulcan. They hear the voice over the Sergeant's communicator.

For David, it is the voice of his father and rescue. For Saavik, it is a possibility, just out of reach.

The doors slam open as Kruge hurries INTO SCENE.

The KLAXON sound... in the b.g.

Coming toward us. Apparently a sitting duck.

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.

(ILM) Smoothly, we are stalking the Enterprise.

(ILM ELEMENT) Kirk is studying the projected image.

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.

The beats GROWLS.

The KLAXONS BEGIN, the lights dim to red --

bathed in combat red light --

The SOUNDS and lights which accompany this, and --

The ship begins to de-cloak --

ELEMENTS)

where the Bird appears exactly in the spot anticipated.

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 --

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.

All lean forward toward the O.S. viewscreen.

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:

192 KRUGE'S POV 192

His beast. Dead.

193 BACK TO SCENE 193

A passion of rage. He is back to his instincts now.

He shows growing concern.

He begins hitting buttons.

The thrusters stabilize her turning and backward movement. She is now lined up with a splendid angle on Enterprise.

as she shudders and tilts with the hits, and the flashes of flame...

A blast hits. Scotty's panel sizzles... LIGHT OUT!

The light return, EMERGENCY MODE. The ship rights itself. Kirk has been knocked down. Bones to him --

Kirk pales, looks quickly to:

But Sulu's gesture says he has no control of helm, and Chekov also shakes his head in helplessness. Kirk digests this. Then:

ANGLE WIDENS to include Kruge, who raises his hand for pause, and thought.

204 BACK TO SCENE 204

205 ANGLE FAVORING KLINGON SCREEN (INTERCUT) 205

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.)

On the Bird of Prey: Kruge's reaction to Kirk's face:

Only Kruge's voice is heard here, and on the planet below.

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.

The Sergeant has had enough with her long windedness, pulls the communicator and thrusts it in front of David.

A beat.

But a Klingon crew member has cut David off the air --

-- and STATIC FILLS THE SPEAKERS on board.

209 THE PLANET 209

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 --

210 ANGLE 210

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.

The CRY OF PAIN is heard on the speakers. There is a horrible silence that follows.

At last we hear the shaken voice of Saavik.

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:

Kruge takes this news with a blink of triumph. Calmly:

212 BIRD OF PREY 212

Kruge, pleased his gambit has worked, is magnanimous.

213 ENTERPRISE BRIDGE 213

The crew has come forward to stand behind Kirk's command chair. Kirk is staring ahead, his eyes glazed.

Kirk turns to face McCoy. His face is hollow, his eyes staring. Then, in a voice strained with grief.

He turns to them, his voice hoarse:

As the individuals respond to orders, PUSH TO Kirk as he presses his COMM button.

Kirk out. He steps to the science station as Chekov and Scotty gather round. He leans in, presses a COMM button.

Kruge is inspecting the six man landing party as- sembled by Torg. They are loaded down with weapons. Kruge raises his arm and points:

TORG & ALL Success!

Scotty steps in now.

A moment among them. Then:

And they hurry out. CAMERA MOVES to a visual display which is counting in sync with the COMPUTER VOICE.

216 BIRD OF PREY BRIDGE 216

Kruge, alone with Maltz, checks time impatiently, hits a talk button.

218 RUNNING 218

as Kirk, Scotty and Chekov hurry in. Kirk stops as the others move O.S.

As the ELECTRONIC WIND UP begins...

220 BIRD OF PREY BRIDGE 220

221 ENTERPRISE TRANSPORTER ROOM (ILM ELEMENT) 221

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.

222 BIRD OF PREY BRIDGE 222

Kruge waits, patiently...

The Klingon landing party enters, proceeds cautiously...

It is deserted except for the soft COMPUTER VOICE.

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, puts his communicator close to the computer's panel speaker and the voice is quite loud now.

Torg and his men are baffled by Kruge's distress when a sudden SERIES OF EXPLOSIONS engulf the bridge, and --

-- a fireball streaks through the empty companionway --

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.

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)

The comet-like death of Enterprise in the distance is being watched by a silhouetted group as the sun sets.

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 takes a deep breath, nods his understanding to McCoy. Even as the earth trembles, and Sulu's tricorder begins to go a little wild.

They hurry off in the direction Sulu has pointed, as the GROWLS AND RUMBLES of the planet begin to accelerate. Night is falling.

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...

As Maltz watches him uncertainly...

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.

231 FAVORING SAAVIK 231

As the two Klingons are distracted, and the planet's agony continues, Saavik slips away from them toward Spock.

232 SPOCK 232

He is seated, BACK TO US. His aging spasms has begun, and with each earth RUMBLE of the planet, he suffers.

233 THE KLINGONS 233

concerned about their own problems, and the silence from their ship. The Sergeant pulls his communicator.

234 STATIC CRACKLES. 234

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.

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.

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.

reacts in shock to what has happened, draws his phaser, all business now as he studies:

237 THE VULCAN 237

Hands over his face as he twists in pain. He emits a long, terrible CRY, the cry we've heard, but never seen.

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.

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:

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.

241 THE SERGEANT 241

He's frightened. He reflexively raises his phaser...

The flash of lightning illuminates the arrival of Kirk and the crew. Kirk, phaser leveled --

The Klingon whirls to face the new threat, whips his phaser toward Kirk -- But Kirk FIRES A STUN BLAST...

The STUN WAVES zip at the Klingon, strike him with spectacular force, cause him to somersault through the air, and then, landing, lie still.

244 BACK TO SCENE 244

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.

245 ANGLE AT SPOCK AND SAAVIK 245

Kirk and the others have pulled up. Spock is now comatose, 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.

McCoy crosses quickly, takes the Vulcan's form from Saavik as she rises to Kirk.

Even a half-Vulcan has a breaking point. She sags for just a moment.

As he holds Saavik, his eyes flick over her shoulder to:

246 KIRK'S POV 246

Unnoticed up to now, half covered by leaves, the body of David, Kirk's fallen son.

247 BACK TO SCENE 247

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.

WIDEN to admit Kirk as he enters, kneels. He reaches out, touches hiss son's brow, wipes a leaf away.

Saavik has come up behind him. She hangs back. Then Kirk rises, aware of her presence.

Kirk runs, hurries OUT OF SHOT...

FAVORING McCOY AND SPOCK

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:

There is a lightning FLASH, and an earth TREMOR -- and a moan from Spock. Kirk responds, rises, and crosses

249 OUT OF SHOT... 249

250 ANGLE WITH KIRK 250

As he moves, stops, wrestling with the urgency of what must be done. Then, deciding, he whips out his communicator.

251 BACK TO KIRK 251

A lightning flash makes him cover his eyes... Then:

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.

Kirk and the others look up in shock, then rise slowly hands in the air. Kruge moves closer, pointing.

The group moves to a cleared space indicated, leaving Spock's form behind.

McCoy, Scotty, Sulu, Chekov and Saavik disappear in the beam effect and are gone.

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.

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 --

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:

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.

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.

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:

Kruge does jump forward at the last possible instant as the rock falls away. He leaps to:

260 THE NEW EDGE OF THE PRECIPICE (ILM ELEMENTS) 260

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.

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 turns and kicks Kruge mightily -- and the Klingon begins his fall...

Kirk in f.g. watches as Kruge tumbles endlessly toward the steaming red hot lava beds below...

262 ON KIRK 262

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 --

His inert body lies, surrounded by new bursts of steam from the cracking earth...

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:

265 PAST KIRK TO SPOCK 265

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.

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:

There is a moment of uncertainty. Kirk is about to try again when the Klingon beam SOUND begins and...

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...

... and closer still, casting yellow white light over the disintegrating surface...

The doors WHOOSH open, and Kirk, carrying the inert Spock, steps out, phaser at the ready!

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.

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:

And so saying, he dashes OUT OF SHOT, followed by Saavik. The Klingon can only stare in confusion.

We are near her now ERUPTING surface; flames shoot out. Beyond, her sun waits, former friend, now ready to accept the planet in death.

Kirk in command, Sulu and Saavik on nearby station. They are confronted by familiar tools, but baffling zymology.

No one does.

273 ENGINEERING PANEL 273

Scotty hunched over the console, Chekov hunched over him...

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.

274 BRIDGE 274

Sulu responds to the panel indicator.

Sulu impels the throttle device -

Turning gracefully, she gains speed, PASSES CAMERA, and heads for the stars with increasing velocity breaking to Warp Speed as -

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.

The mood is subdued, somber.

As he starts to:

At Kirk's gesture, Chekov leads Maltz out. Kirk turns back to his panel.

CAMERA MOVES IN to Kirk and Saavik.

Saavik raises an eyebrow.

As Kirk wrestles with the horror of this we see:

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.

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.

HOLD. The ROAR of an unseen spaceship is heard, and, the Bird of Prey ENTERS SHOT, heading toward Vulcan.

As Kirk enters.

LOOKING DOWN on the awesome mountainous landscape with a temple complex on a high forbidding peak. SLOW ZOOM IN TO MATCH:

Zooming at comparable speed, to a CLOSE UP of Spock's father.

CAMERA PANS now from Sarek to reveal Uhura, in uniform.

at impulse power, approach speed. Her "wings" config- urate into atmospheric lift generating airfolis; she glides...

As the ship descends slowly and gracefully to a soft landing in the Temple area, retro's kicking dust.

As energizers wind down, Kirk hits comm:

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:

The great hill to the Temple is lined with hundreds of Vulcans, many with torches. It is most impressive.

Then Kirk sees something else, reacts as:

290 UHURA 290

Crosses to the crew -- is hugged by Kirk. Her eyes are moist with emotion as:

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.

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.

292 VARIOUS SHOTS 292

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:

REACTION CUTS from Kirk and the others. And we --

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.

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 --

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 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:

She looks at him for a long moment. Then:

As Sarek's nod and Kirk's urgent look, Bones replies uncertainly:

As Sarek leads Bones toward the altar, we HOLD on Kirk's new apprehension.

296 THE ALTAR - (INTERCUT WITH KIRK AND CREW) - SERIES OF SHOTS296

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:

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...

The great altar area, the land and valley beyond. Lightning streaks the sky.

The lightning flashes are reflected in his face as we MOVE SLOWLY IN on his concerned face... and VERY SLOWLY --

The early morning sun casts a different, long-shadowed hot look on the altar and threshold.

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:

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.

302 KIRK AND CREW 302

They wait now as Bones, leaning on Sarek, ENTERS SHOT.

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.

Sarek looks at him with deep admiration, then turns and heads back to the group of priests. The wind blows, and --

303 KIRK AND GROUP 303

They are now looking into the low sun, shading their eyes for a last look at the white-robed figure.

They are moving slowly away when, suddenly, the white- robed figure stops, turns toward the Enterprise group.

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.

306 KIRK AND GROUP 306

watching with held breath as the white-robed figure walks steadily to them, reaches them.

307 THE FIGURE 307

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.

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 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:

Kirk steps forward a few steps -- hushed, encouraging --

There is an odd moment after Kirk's impassioned speech: Spock cocks his head as if some vital piece of information had just clicked into place.

Kirk's eyes well with tears. He nods his head.

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...

309 ON ENTERPRISE FAMILY 309

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 --