"STAR TREK V: THE FINAL FRONTIER" (1989)

Shimmering waves of heat. A flat unforgiving landscape stretches to infinity. A storm of dust gathers on the horizon, small at first, increasing in size as it rolls toward us. Hoofbeats fill the soundtrack. Just as the storm threatens to engulf us, A RIDER ON HORSEBACK emerges.

Superimpose: NIMBUS III IN THE NEUTRAL ZONE ("THE PLANET OF GALACTIC PEACE")

A twisted rhino horn juts from the snout of this odd creature. The Rider spurs the beast, driving it onward. His white robes flare out behind him like the wings of an avenging angel. He rides like a man possessed.

Camera pans an arid expanse of scorched earth. J'ONN, a ragged and malnourished homesteader of some alien race, toils beneath a blazing sun, his back to camera. He sinks an augering device into the ground, drilling in vain for water. There are many hundreds of holes in the earth around him.

J'onn reacts to the clop of approaching hooves. He tenses, then whirls around clutching a crude home-made pipe gun.

Horse and rider thunder toward him.

J'onn raises his pipe gun and fires a warning shot. The Rider reins his horse to a halt ten feet short of J'onn. The beast snorts and stamps its hooves impatiently while the Rider studies the frightened homesteader and removes a breathing device from his mouth. Finally, he speaks.

The Rider swings down from the saddle. He's tall, power- fully built beneath his dusty robs, his face shadowed by a hood. He indicates their bleak surroundings.

J'onn sags under the futile weight of his existence. The Rider approaches him without fear. He gently removes the weapon from J'onn's trembling hands. It's all the homesteader can do to keep from sobbing.

The Rider collects himself and concentrates deeply. J'onn is immediately transfixed. He begins to tremble. Tears flood his dirty cheeks.

J'onn whimpers and cries out in anguish. Finally, the catharis ends. J'onn drops to his knees, then looks up. He opens his eyes and blinks in wonder and amazement at the Rider. The Rider helps him to his feet.

as he throws back his hood to reveal rugged charismatic features. He's bearded, his hair is shaggy. He has the piercing eyes of a zealot and, to our surprise, pointed ears. His name is SYBOK.

Sybok nods and does something we've never seen a Vulcan do. He smiles. And as he does, the first faint bars of the Star Trek Theme well up on the soundtrack.

The Vulcan, his convert and the horse are tiny figures in a overpoweringly bleak landscape. Camera tilts up through waves of heat to the blazing sky and the galaxy beyond.

SLOW FADE TO:

Music and credits play over a dazzling journey through the cosmos. Planets, stars and solar systems flash by. No doubt about it. We're in for a rousing Star Trek adventure. As the final credits appear, we tilt down to a breathtaking shot of Earth.

CLOSE UP - A HAND

as it clutches a sheer rock, groping for purchase. Camera pulls back to reveal "CAPTAIN JAMES T. KIRK" eight hundred feet above the surrounding forest. He climbs the face of El Capitan without ropes, gromets or equipment. Just man against mountain. Using the cracks in the rock face for hand and foot holds, Jim Kirk struggles up the treacherous incline, one painful inch at a time. We hold our breath, afraid he'll fall.

Superimpose: PLANET EARTH YOSEMITE NATIONAL PARK STARDATE 8454.011

DR. LEONARD "BONES" McCOY watches Kirk's progress through futuristic binoculars with mounting unease. From this distance Kirk resembles a small fly on a big wall.

He inserts the pads of two fingers into a narrow crack above his head. He exhales, focusing concentration. Kirk pulls himself up, balancing on a ledge barely an inch wide. Exhilarated, he pauses to admire the view.

A breathtaking but vertigo-inducing high angle shot of Yosemite. This may be the 23rd Century but the park looks the same as it did three hundred years ago. There is a soft whooshing sound and SPOCK suddenly rises into frame.

Spock hovers in mid-air along side the startled Kirk, kept aloft by means of levitation boots. His hands are clasped behind his back, typically Spock-like.

Spock doesn't take Kirk's hint to get lost.

Kirk slips but manages to gain a handhold and save himself. Beneath his feet a mini-avalanche of rocks is dislodged, tumbling to the valley below.

McCoy, still watching Kirk's progress, is getting an- grier by the second.

Kirk strains for the next handhold.

McCoy lets out a gasp as he watches Kirk's tiny figure drop down the face of El Cap.

He dives after Kirk firing boosters to increase his speed.

Twisting and turning end over end as he hurtles down- ward. He thrashes at air, unable to defeat gravity.

McCoy turns away, unable to watch.

Dropping... dropping... the ground rushing up like a hungry mouth. A split-second before impact...

The Vulcan swoops into shot. His powerful fingers grab Kirk by the ankle and jerk him upward in the nick of time.

McCoy hasn't heard the expected splat. He turns to look and what he sees is:

Kirk is supended in air, bobbing upside down at the end of Spock's arm.

The top of Kirk's head is practically touching the ground. That's how close he came to being pizza. Kirk blinks in disbelief.

Kirk dangles -- undignified but lucky to be alive.

McCoy is heard in approach.

McCoy is seen upside down.

Sybok and his mount ride majestically to the top of a dune and halt. They are followed by J'onn. He's on foot but he clambers over the dune with determination. Behind J'onn comes another tattered homesteader. And behind him, two more. Without warning, a virtual army of ragged settlers swarm over the dune. They fill the screen, aliens of every different race, the poor and downtrodden -- united in their devotion to Sybok.

His army draws up beside him, dust rising. Sybok points into the blurry middle distance.

Camera pans off Sybok. Below them sprawls the single outpost of civilization on this desolate world -- a small ramshackle village smack in the middle of no- where, surrounded by high walls. A lone rider on horseback crosses the desert, headed for the outpost.

Across the top of the arch, broken letters spell out "Paradise." Some cynical jiker has added the word "Lost." The lone rider signals the lookout sentries who open the heavy iron gate. Camera cranes up over the arch as the rider passes beneath and rides toward the sleazy-looking saloon at the far end of the street.

A 23rd Century equivalent of a frontier saloon. Fut- uristic honky tonk music. The patrons are rugged, unpleasant types. Klingons, Romulans, Andorians, you name it. Much drink and boistrous talk. Arguments. Fistfights. Two men play futuristic "pool" on a table filled with water.

A SEXY CATWOMAN dances atop the bar, flicking her long striped tail and hissing seductively at her rowdy audience.

A STRANGER coming from outside approaching familiar western-style doors. But instead of swinging open like you'd expect, they whoosh apart automatically. The stranger steps into the bar and the doors whoosh back into place.

Talk and noise go dead as the entire saloon turns its attention to the newcomer. The stranger, seen only from the back, steps into the squalid bar. The Bar- tender jerks his thumb in the direction of the back room. The stranger crosses to the back room door and dissapears inside. Talk and noise resume.

The stranger lowers the breathing device from her face and is revealed to be a young woman. A Romulan. Her name is CAITHLIN DAR and she stands on the threshold of the room, trying to adjust her eyes to the murky surroundings. She's a little nervous and a long way from home.

The back room is an area for unwanted odds and ends. A ceiling fan swishes overhead pushing hot air around. TWO MEN are sprawled in chairs at opposite ends of a table. They're too busy drinking to notice Caithlin's entrance.

The man seated closest to Caithlin slowly swivels his head in her direction. He wearily extracts himself from his chair and comes forward. He's a Terran (spec- ifically, an Englishman) named ST. JOHN TALBOT. Thin and dissipated, alcoholic, Talbot is a veteran of the diplomatic corps. He pats down his unruly hair and straightens his soiled suit. He gives Caithlin a tired smile and extends a limp hand.

Caithlin regards the hulking figure on the other end of the table. KORRD is an old, overweight Klingon, a once great warrior now past his prime. He doesn't rise to greet Caithlin. Instead, he takes a swig from a flagon and emits an earth-shaking belch.

Reacting to Korrds stench, Caithlin holds her breathing device in front of her mouth.

Caithlin brushes the dust from a chair at the opposite end of the table from Korrd.

Without warning, Korrd drunkenly lets loose with a barrage of his native tongue. (It is subtitled in English for those who don't speak Klingon.)

Talbot turns to Korrd and translates her answer into Klingon. Korrd chortles derisively.

Korrd comes to life. He roars with laughter and spits back a disgusting mouthful of Klingon. Talbot winces.

Caithlin's embarrassment turns to anger.

Caithlin let's loose with a Klingon epithet. No trans- lation necessary. Sputtering with rage, Korrd hurls his flagon aside and clambers to his feet.

Further argument is interrupted by shouts from outside and the whine of a warning klaxon.

A handful of sentries brace themselves against the gate. It suddenly gives way. Camera climbs up over the top of the arch to reveal Sybok's army on the threshold of the city. In their midst, towering majestically above them, is Sybok on horseback. He urges his mount forward. With quiet determination, he and his army pour under the arch and proceed up the main drag.

Townspeople scurrying for protection, anticipating an attack. Those who consider challenging Sybok are allayed by the crude weapons and intimidating looks of his followers. Sybok intends to take this town by show of force without having to fire a shot. And it looks like he'll succeed.

Korrd, Caithlin and Talbot emerge to see what the hub- bub is about. When they see the approaching forces, Korrd and Talbot immediately turn tail and run back inside. After a moment, Caithlin follows.

Korrd, fearing the worst, goes behind the bar and opens a bottle. He upends it and pours the contents down his throat. He prefers to die drunk.

Talbot runs to the far side of the room and yanks a dusty sheet off a primitive communications screen. Caithlin rushes to his side as he desperately tries to get it working.

The saloon doors are forced open. J'onn and several soldiers pour in, brandishing weapons.

The klaxon winds down to eerie silence as the soldiers herd Korrd, Caithlin and Talbot together. Sybok enters.

Korrd reaches for the pistol at his side. But before his fingers can grasp it, Sybok's soldiers noisily cock their weapons and point them at his heart. Korrd is outgunned and he knows it. He sputters impotently.

On Caithlin's confused look...

Hanging in space like a big Christams ornament. The big blue marble called Earth is visible in the distance.

A huge, cavernous area designed as a high and dry for space vessels. Among this warehouse of ships is the one we know best -- U.S.S. ENTERPRISE, NCC-1701-A.

A meager repair crew lazily overhauls consoles and monitors. Some things work, most do not. One thing that does work is CHIEF ENGINEER MONTGOMERY SCOTT who looks up as COMMUNICATIONS OFFICER UHURA enters, stepping around cables.

The Bridge light starts to flash red. An ear-splitting klaxon sounds.

Uhura goes to her console to switch it off but sees something odd. She punches a button and responds.

Uhura and Scotty share grim looks.

COMMANDER SULU and CHEKOV tramp through dense woods. From their weary expressions, its clear they've been hiking a long time. Sulu leads the way, Chekov trudges behind him.

Sulu's communicator beeps.

INTERCUT WITH:

Uhura studies a monitor showing Sulu and Chekov as two blips on a grid.

Sulu and Chekov look at each other.

Chekov provides blizzard noises.

On Enterprise, Uhura listens to the "blizzard" and checks her graphics display for weather report. She smiles.

Sulu and Chekov sit down on a boulder to wait.

Camera tilts up to reveal Mt. Rushmore in the back- ground. We pan the granite faces of Washington, Jefferson, Roosevelt, Lincoln and -- surprise -- the face of a fifth president (who happens to be a woman. A black woman.)

McCoy stands over a blazing campfire. A covered pot simmers on the coals. McCoy picks up a pan and bangs on it with a spoon. He's slightly tipsy.

Camera pulls back to reveal Kirk and Spock two feet away.

McCoy grins and crouches beside the covered pot. He revels in their undivided attention.

McCoy ladles out the beans. Kirk tears into his. Spock tries a forkful. He finds the taste strangely exciting.

Spock eats with enthusiasm.

McCoy grins and pulls out a bottle of bourbon. Spock stops in mid-chew and McCoy fills Kirk's cup.

They dwell on this thought for a moment. Then, Kirk notices that Spock has removed a sack from his back- pack. Spock reaches into the sack and takes out a marshmallow which he attaches ot the end of a pointed stick.

Marsh melon? Kirk and McCoy hide their smiles as Spock holds the marshmallow over the fire.

Spock offers sticks and marshmallows to Kirk and McCoy who play along, amused by Spock's dead serious approach to frivolity.

McCoy takes a hit of booze and clears his throat.

McCoy starts to sing. Kirk joins in. Maybe it's the bourbon but the two of them sound pretty good.

They signal Spock that it's his turn to jump in but the Vulcan merely regards them quizzically. The sing-a-long grinds to a halt.

McCoy rolls out his sleeping bag.

They prepare for bed.

Under a twinkling sky, the three men settle into their sleeping bags. Faint night sounds. Crickets. An owl. Then...

They go to sleep. Stars twinlke overhead.

A NASA Pioneer probe tumbles through space. Ancient, forgotten, the device is flotsam. On it's side is a plaque showing image of two humans and simple mathe- matical and scientific symbols. It comes past camera and out of this distortion, a Klingon Bird of Prey materializes.

Doors seperate to admit KLAA, the Bird of Prey's swashbuckling young captain. He is met by VIXIS, his first officer, a statuesque Klingon female. It's clear she adores Klaa.

Klaa's crew watches with excitement as their captain straps himself into his command chair which has been equipped with an elaborate gunner's rig allowing Klaa to do the shooting himself.

A periscope-like device swings into position in front of Klaa's flashing eyes.

The probe is a tiny traveling speck in the distance. Its course is erratic.

The probe tumbles through space as the Bird of Prey swoops down for the attack. Machine gun-like phasers are mounted on the Bird's wings. They come to life and swivel, blasting a flange off the front of the probe. A second blast destroys a fin on the rear of the craft. A third shot blows away the antennae. Klaa is toying with the target.

The crew cheers each hit. They admire their captain and his deadly skill. But Klaa seems dissatisfied. He hesitates finishing the probe off.

Klaa unstraps himself from the command chair and joins Vixis at a monitor screen. The fearsome face of A KLINGON COMMANDER fills the screen and starts barking Klingon over shots of Nimbus III and the Paradise outpost. It's clear the Bird of Prey is being ordered to Nimbus III. Klaa and Vixis are charged with excitement.

Unable to contain his excitement, Klaa returns to his command chair.

The crippled NASA probe wobbles into the foreground, almost out of range. In the far distance, the Bird of Prey. Klaa's guns come to sudden life and blow the probe to atoms in a blinding flash of light.

Another blinding light, this one a ball of great int- ensity sets down on the edge of the campsite, rousing Kirk, Spock and McCoy from sleep.

The three men rise and watch as a figure in silhouette emerges from the light and comes forward. It's Uhura.

Uhura hands Kirk his communicator. It's clear he left it behind on purpose.

The bright light leaves the deserted campsite and rises against the mountain. It turns toward camera and reveals itself as a sleek shuttlecraft of impressive design. Aft thrusters fire and it shoots skyward.

This is the Galileo 5, capable of transporting two dozen personnel. At the moment its passengers are Kirk, Spock, McCoy and Uhura who pilots the craft.

The ship is seen in her shining glory above Earth, framed against a full moon. The approaching Galileo is dwarfed by the magnificent starship.

Kirk gazes fondly at Enterprise.

Spock raises an eyebrow.

A crewman watches a graphic of the approaching shuttle- craft.

Bay doors open to receive Galileo. The tractor beam locks on to the shuttlecraft and slowly pulls her inside. It's a delicate maneuver. Even with wings re- tracted, the Galileo clears the door with only a few feet on either side.

The crewman operates the controls.

The shuttlecraft comes in for a smooth landing. Its side hatch opens to allow Kirk and company to exit. There's no one to greet them, just a few crewmen scurrying around. Scotty appears. He may be exhausted and covered with grime but he's in his element.

Camera follows Kirk into the turbolift where Spock, McCoy and Uhura await.

Turbolift doors close with a grinding sound. Kirk, Spock, McCoy and Uhura are carried upward.

A surprised reaction from Kirk.

Computers come to life. Screens activate.

A whoosh but only half the automatic door slides open. The other half is stuck. Kirk must manually force it open to enter the Bridge.

AN ATTRACTIVE YEOMAN comes forward with the jacket of Kirk's uniform. He shrugs off his camping jacket to reveal a "Go Climb A Rock" t-shirt underneath. Uhura and Spock go to their stations. McCoy shakes his head at the noisy, messy Bridge.

Kirk is still fiddling with his buttons as the face of THE STARFLEET COMMANDER appears. Behind the Commander, images and data. The image is shaky at first.

Kirk addresses his expectant crew.

McCoy sidles over to Kirk.

Kirk settles into his command chair. He shifts uncom- fortably.

Enterprise edges away from the moon at impulse power. Then, like she was fired from a slingshot, the ship warps into space.

The Bird of Prey slices through the fabric of space headed for Nimbus III.

Klaa paces his deck like a restless buccaneer, eager for confrontation. Vixis approaches.

Klaa's eyes flash with excitement. This news is too good to be true.

This fact isn't lost on Klaa.

The crew hops to it. Klaa turns to Vixis and gives her the chest thumping Klingon salute.

Vixis passionately returns the gesture.

As she sails toward the Neutral Zone.

Uhura addresses Kirk from her station.

Spock and McCoy come forward to watch.

The screen comes to life and fizzles out. Then pops back on. Factual information, photographs, film and visual illustrations depict the background of the three hostages.

A tape of poor quality. Image and sound come and go. A static shot of Caithlin Dar, flanked by Talbot and Korrd. Unlike the lively girl of the first scene, Caithlin is now restrained, dazed. Talbot and Korrd are also strangely subdued. In the b.g. we can see several of Sybok's soldiers brandishing weapons.

Sybok looms into shot, blocking the captives.

End of transmission. Spock strides to Uhura's console. He backwinds the tape and freeze frames on Sybok's face. It's blurry, indistinct. Spock is transfixed by the image.

Spocks turns and exits.

As the ship comes past camera, we move in on a single window in the forward area of the dish.

A vast area designed for contemplation. The most ar- resting feature is an antique ship's wheel -- the kind Horatio Hornblower might have steered. The wheel stands in front of tall curving windows that offer an impressive space vista.

Spock is beside the wheel, staring at the stars, lost in thought. In his mind he hears A DISTANT VOICE FROM THE PAST.

Kirk and McCoy enter with urgency and approach Spock, interrupting his revery. Throughout the following, Spock continues to stare thoughtfully at the stars.

Kirk and McCoy head for the exit. Kirk hesitates on the threshold. He looks back into the room. Spock is still at the window, lost in thought.

Spock snaps out of it. He hurries to join Kirk.

That imposing ball of rock.

This time it's the other half of the turbolift door that fails to open. Kirk shoves it open so that he, Spock and McCoy can enter.

Nimbus III is on the viewscreen.

Scotty, hard at work.

BACK TO SCENE.

Its walls and craggy structures loom against the planet's twin moons.

Tables and chairs have been cleared aside. A single figure stands before an old-fashioned communications screen. It's Sybok, waiting with great patience.

An image flickers and takes hold on the screen. We see the Bridge of the Enterprise. The command chair swings around and reveals its occupant to be Chekov.

Sybok regards Chekov with a calm smile.

The shuttlecraft Galileo 5 streaks toward the planet's surface deploying wings as it enters the atmosphere.

Low Level combat lighting. Sulu occupies the pilot's seat. Nearby are Uhura and seven Enterprise crewmen. Kirk and Spock are huddled over a graphics screen. They are dresses in field uniform. Phasers and transparent shields have been dispensed.

The shuttlecraft swoops out of the dark sky and skims the surface of Nimbus III.

Kirk and Spock are side by side. Kirk buckles himself in, then notices that Spock is lost in thought has not buckled up. Kirk leans over and buckles Spock's belt for him.

Kirk wonders.

Its lights are tiny specks in the dark desert landscape as the Galileo comes in for a landing some distance away.

Chekov addresses Sybok from the communication screen.

Galileo lies behind a dune. The lights of Paradise city are glimpsed over the rise, a mile off.

The crewmen zll spill out, lining up in formation, clutching their rifles and shields. Kirk and Spock scramble up the side of the dune and scan the distant outpost with night vision binoculars. There's nothing between them but flat expanse.

A tiny oasis in the near distance.

A BAND OF RAGTAG SOLDIERS gather around a campfire. They are six in number, all men, members of Sybok's force. They are heavily robed to retard the night chill. They chat and drink. Nearby, their horses sip from a meager spring.

A woman's song floats out of the darkness -- soft and mysterious, seductive. The soldiers look at each other in surprise, then rise en masse to seek the scource of the singing. One of them points O.S. with excitement.

In the distance, atop a dune and silhouetted against the low hanging twin moons... a female! But not just any female. This siren undulates as she sings, moving sensuously.

It's Uhura.

Drawn like moths to a flame. They stumble over each other to get a closer look, climbing on hands and knees up the steep dune were Lorelei Uhura waits at the top.

The slavering soldiers have almost reached the summit when they hear whinnies from their horses. The soldiers tear their eyes away from Uhura and look back to camp.

The Enterprise crew is rounding up the horses.

They turn back to Uhura who towers above them, a phaser in each hand.

Armed Enterprise crewmen enter shot to back her up.

Snarling horses pound over a rise, sending sand in all directions. Riders hurtle past camera with flowing capes and cowled faces. Ahead of them, Paradise City. Behind them, the desert -- a sea of darkness.

Kirk rides with determination, his face nearly hidden behind a burnoose. He looks over at the rider beside him. It's Spock, bouncing stiffly on the saddle, doing all he can to hang on.

Armed sentries watch from the walls as the scruffy band of horsemen cross the desert. J'onn, Sybok's convert appears, looking concerned.

The huge iron gate wings open.

They gallop at full tilt, lead by Kirk. He shouts frantically to the sentries.

As Kirk and his party gallop through, the gate is closed behind them.

Kirk and the company rein their horses to a stop. Much movement and confusion. He shouts to J'onn and the soldiers on the walls.

J'onn and the soldiers turn their attention to the desert and prepare themselves for the confrontation.

As soldiers rush past them to defend the walls, Kirk and company coax their horses toward the saloon at the end of the street. They ride slowly, not wanting to attract any more attention than they have. Occasionally a crewmember drops away from the group and dismounts taking a position where he can lay down cover for the eventual escape.

Kirk's eyes sweep around. There are soldiers on most of the rooftops, heavily armed and dangerous looking.

Spock hides a tri-corder in his lap.

Hiding it from view, Kirk raises a communicator to his lips.

While the others watch the desert, J'onn turns to watch the horsemen.

J'onn rushes to the big spotlight anchored on the wall. He wings its bright beam in the direction of the horsemen.

Spock and his tri-corder and Kirk and his communicator are revealed as the light sweeps across him. Kirk and the others turn and react to the light, realizing that the jig is up.

The crewmen dismount and whip out the phaser rifles they've hidden under their robes.

Sulu spurs his horse and charges the spotlight as pebbles fired from the enemy's crude weapons whiz around them like angry hornets. He gallops toward the blinding light, raises his phaser and with an expert shot, blows it to bits. The street goes dark, lit now by neon and the flash of gunfire and phasers.

The soldiers on the walls and rooftops open fire with their crude weapons. The Enterprise crewmen fight back from strategic positions along the street, expertly picking off the enemy and using their transparent shields to repel the volley of pebbles.

Sybok reacts to the gunfire.

Sybok turns and strides out of the room, his robes swirling around him.

A symphony of smoke and rapid gunfire.Dizzying action. Running figures. Stampeding horses.

He charges his horse in the direction of the saloon, clenching the reins with one hand and firing his phaser with the other. Enemy soldiers scatter in his wake.

The Vulcan dismounts. As he heads for the saloon AN ENEMY SOLDIER leaps from a balcony, landing squarely in the saddle of Spock's horse. Armed with a sword the Soldier urges the steed forward to trample Spock. As Spock turns in response, the Soldier rears the horse up on its hind legs. Hooves threaten to pummel Spock into hamburger.

Spock calmly reaches up and presses his fingers into the horses's neck, executing a Vulcan nerve pinch. The horse collapses at Spock's feet. The rider stumbles off, gapping at disbelief at the Vulcan. Spock arches an eyebrow at him. The rider turns and runs like hell.

He thunders up the steps of the saloon on horseback. Kirk swings down and stuns a soldier with a phaser blast.

Sybok's soldiers set up a multiple pipe weapon cranked like a Gatling gun. Like the other weapons it uses pebbles for bullets. One of them catches an Enterprise crewman in the leg. He goes down.

The doctor rushes to the wounded crewman who clutches his leg. McCoy drags him to safety and digs into his kit.

McCoy passes an instrument over the wound that emits a healing ray and effects the pebble. The crewman flexes his leg. All better. McCoy gives the pebble to the crewman.

Dark and empty. Phaser drawn, Kirk cautiously makes his way across the room when, with a sudden hiss, the Dancing Catwoman leaps over the bar and pounces on his back. As she claws at him, Kirk twirls her around in an "airplane spin" and throws her the length of the room. The Catwoman lands in the "pool" table, sending up waves of water that soak the walls.

Spock enters and reacts to the unconscious Catwoman as Kirk blasts open the door to the back room. Caithlin, Korrd and Talbot look up in surprise. Kirk breathes a sigh of relief.

Spock appears at Kirk's side as Kirk signals for the Hostages to follow them. But the hostages confound them by pointing three crude pistols at their heads.

The shuttlecraft has landed and been captured. Sybok's soldiers shout their victory from the gates and roof- tops. Others swarm into the street.

Kirk and Spock are marched out of the saloon by the hostages. The rest of the Enterprise crew is herded together.

Sybok appears from behind the shuttlecraft to thund- erous cheers. The soldiers shout his name.

As the cheers begin to die, Spock detaches himself from Kirk and McCoy. In Vulcan he calls to Sybok whose back is turned.

Silence. Sybok cocks his head to one side. For the first time we see him vulnerable. He's afraid to turn and look. The voice... the question... It couldn't possibly be who he thinks it is. Or could it?

Now Sybok knows he's not dreaming. He pivots and con- fronts Spock across a distance of several yards. Soldiers move away, clearing a path between the two Vulcans.

J'onn reacts with amazement.

Sybok opens his arms to embrace his fellow Vulcan but Spock will have none of it. He raises his hand -- a stop sign. Sybok stops short, hurt and confused.

They regard each other. Spock is without emotion, all business. It dawns on Sybok that this is not out of character for Spock. Sybok smiles.

It's clear Sybok is trying to force an emotional reac- tion from Spock. But Spock refuses to fall into his trap.

Sybok is incredulous. There must be a hundred guns pointed at Spock's heart. Sybok can't help it. He chucles. The chuckle becomes a full rich laugh. The soldiers join in and soon their laughter is ringing through Paradise.

J'onn and several soldiers chuckle knowingly. Spock seems bewildered.

Sybok regards Kirk in his grubby commando outfit.

Waiting. Vulnerable.

Chekov, Scotty and a tense crew.

The Klingon ship approaches Nimbus III.

Klaa and Vixis react to Enterprise on their viewscreen.

A klaxon sounds. The bridge is bathed in red light.

The ship distorts and becomes invisible.

Scotty reacts to a monitor screen.

Scotty punches in commands. On his graphics screen a series of dots wink on around an outline of the ship.

Slowly heading back to the ship. Enterprise is in the far distance.

Kirk, Spock and McCoy are guarded by J'onn and a select handful of Sybok's soldiers. Sulu and Uhura pilot the craft while Sybok confers with Caithlin and Korrd. The remainder of the Enterprise crew has been left behind on Nimbus III.

Talbot informs Kirk of the plan.

They are interrupted by Chekov's voice on the radio.

Sulu and Uhura turn to Kirk for instruction.

Sybok regards Kirk with suspicion. He turns to Spock, the only one he can trust.

Kirk punches a button on the console.

The Klingons have been monitoring the exchange between Enterprise and Galileo.

Chekov and Scotty exchange confused looks.

The shuttle draws closer.

Enterprise looms through the windshield

Sybok looks at Kirk in amazement. Kirk smiles uneasily and indicates Sulu.

With agonizing slowness, the bay doors begin to open.

Klaa flexes his itchy trigger finger and peers into his view scope.

The shuttlecraft swims into the target crosshairs.

Scotty punches in commands.

On Scotty's graphic screen, the dots wink out around the outline of the ship. Enterprise is now vulnerable.

The Klingon ship is sighted.

Sulu hits the aft thrusters and the shuttle roars to life.

The shuttlecraft takes off with a tremendous kick. Like it was fired from a slingshot, the tiny craft closes the gap between itself and Enterprise at alarming speed. But the bay doors -- they haven't opened wide enough yet. Just when it looks like Galileo will pulp itself on the fantail, she banks ninety degrees.

Galileo negotiates the narrow opening by coming on its side<. It skids down the runway, showering sparks all the way, unable to stop. To our surprise a cargo net pop up to keep it from crashing into the retaining wall.

As the shuttle rcoils against the net, passengers are thrown about like rag dolls. Lights blow out and instrument panels explode.

Klaa gapes in surprise. The target has zoomed out of his sights.

Klaa squeezes the trigger.

One moment she's there, the next she's gone in a flash of blinding light. Klaa's shot goes into the void.

Klaa reacts with amazement to Enterprise's sudden departure.

As Vixis and the crew hop to it, camera pushes in on Klaa who throws off his gunner's rig, unable to hide his admiration for Kirk's cleverness.

The badly-damaged Galileo lies smouldering on its side.

In the smoking wreckage, passengers have been flung everywhere. No one's been killed but all are dazed or unconscious. Sybok and Kirk come to simultaneously. But before Kirk can act, Sybok snatches up a prim- itive shooting weapon and aims it at him.

The Galileo's back hatch blows open, emitting a cloud of smoke along with Kirk and Sybok. As Sybok steps down behind him, Kirk whirls and grabs for the weapon. The two men struggle and tumble across the landing bay floor.

Kirk is no match for the Vulcan's superior strength but he fights with everything he's got. He manages to knock the weapon from Sybok's hand. It skitters across the floor and stops at the feet of Spock who has emerged from the shuttle.

Spock looks down at the weapon, then back to Kirk whom Sybok is rendering helpless with one hand. With his incredible strength, Sybok forces Kirk to the floor.

Spock obediently picks up the weapon like it was a distastful object. Kirk collapses on the floor, conscious but no longer able to fight. Sybok faces Spock.

Spock raises the weapon as Sybok advances.

But Spock can't shoot. The emotional price is too great. He lowers the weapon in shame and defeat. Sybok takes it from him with a smile.

Sybok's soldiers emerge from the wreckage of the shuttle with McCoy. The doctor hurries to Kirk and helps him to his feet. Kirk, in pain and betrayed, glares at Spock who cannot meet his eyes.

Sybok turns to J'onn. He indicates Kirk and McCoy.

J'onn and several other soldiers march Kirk, Spock and McCoy out.

Scotty witnesses the action on the deck below. Fortun- ately, no one sees him. He steps back into the shadows.

Caithlin, Korrd and Talbot emerge from the shuttle with Sulu and Uhura in tow.

Uhura and Sulu are defiant. Sybok approaches them.

Kirk, Spock and McCoy are shoved into a cell by J'onn. Phaser beam bars materialize to contain them. Kirk is enraged.

Kirk and McCoy can't believe it.

Kirk's anger burns itself out.

Door whoosh open to admit Uhura and Sulu. Chekov, in the command chair, stands to greet them.

Sybok enters, followed by the hostages and several armed soldiers. Chekov looks at Uhura and Sulu in confusion. They, like the hostages, are smiling warmly -- converts to Sybok's cause.

Sulu moves past Chekov and takes his seat at the helm. He punches in commands.

Sybok approaches Chekov.

Kirk balances on Spock's shoulders, examining the ceiling, seeking a means of escape. Kirk uncovers a fixture. Spock shakes his head negatively.

Kirk turns the fixture. It snaps off in his hand. He throws it away and investigates a circuitry panel. Spock once again disaproves.

Kirk touches the panel and receives a shock that causes him to tumble to the floor.

The ship continues at warp speed, disappearing from shot in a blur of blinding light.

Uhura and Sulu are at their stations. Chekov once again occupies the command chair. Sybok stands beside him. In the background are Caithlin, Korrd and Talbot.

Sybok looks happy and paternal, less driven. He turns to Uhura.

Kirk, Spock and McCoy continue to seek escape.

They peer at a monitor screen beyond the cell.

Sybok on the bridge, flanked by Chekov, Uhura and Sulu.

Baffled responses from Kirk and McCoy.

Spock turns back to Sybok's image.

An infrequent almost inaudible tapping sound comes from the back wall of the cell.

They turn and regard the back wall. The tapping continues.

They scramble over and huddle beside the wall.

They're about to congratulate themselves when they realize it's a warning.

They dive for cover as a large panel explodes from the wall, showering them with dust. Scotty appears in the opening.

Sybok, J'onn and Sulu exit the turbolift and head for the Brig.

The Brig doors whoosh open. They step inside and are confronted with an empty cell. The prisoners have vanished.

Scotty leads Kirk, Spock and McCoy through the labyrinth inards of the ship.

Kirk, Spock and McCoy start down the tunnel.

Scotty walks off in the opposite direction.

Scotty turns the corner and whacks his head on a low hanging pipe. He collapses to the floor, out cold.

A warning klaxon sounds. Sybok's soldiers sweep through the ship.

Kirk, Spock and McCoy gaze up at a narrow and seem- ingly endless elevator shaft. An emergency ladder attached to the wall is the only way up.

Kirk starts to climb the emergency ladder. McCoy reluctantly follows. Spock watches. Then, unnoticed, he slips away.

Sulu, leading a team of converts, rounds a corner and nearly stumbles over Scotty. Scotty groans.

Kirk climbs hand over hand, followed by a huffing and puffing McCoy.

Kirk and McCoy look down. No Spock. Just then, a soft whooshing sound from above. They look up.

Spock descends wearing the levitation boots from Yosemite. He floats alongside Kirk and McCoy, hovering in mid-air.

Kirk breaks into a smile of relief. He steps off the ladder and grabs on to Spock. They dip down a few feet, then slowly rise to a hovering position beside McCoy.

Grumbling, a little fearful, McCoy steps on board. Their combined weight causes them to sink steadily downward.

They continue to descend at an alarming rate.

Sulu and the search party appear at the bottom of the shaft, armed with phasers.

Sinking lower, on the verge of capture.

Spock hits the boosters. With an explosion of power and noise they shoot skyward like a bullet.

Our heroes are an upward blur that shows no sign of stopping. Spock hits "the brakes" and they stop barely one floor from the ceiling, bobbing in mid- air. Kirk and McCoy are white as sheets.

Spock guides them to the exit.

Dark, deserted. The grandeaur of space lies beyond the tall curving windows. Kirk, Spock and McCoy enter and cross to the communications console. Spock activates it. Functions come to life.

Several tense moments. Then a burst of static followed by a faint, scratchy female voice.

To reveal the "Starfleet Command" voice belongs to Vixis. Behind her, Klaa sits smugly confident.

The transmission crackles out. Kirk shares hopeful looks with Spock and McCoy.

Vixis turns to Klaa. Klaa barks an order to his helms- man.

Klaa isn't about to let a little thing like death stop him.

Kirk, Spock and McCoy start for the exit when they are startled by the appearance of Sybok, J'onn and several armed soldiers.

Sybok turns to J'onn and the soldiers.

J'onn and the soldiers reluctantly withdraw. Sybok indicates four chairs, arranged in a circle.

The four men take their seats. The lighting becomes intimate. Sybok weaves his spell.

Scotty awakens to find Uhura holding him in her arms.

Uhura gives Scotty a loving look.

Scotty slips out of her arms.

Scotty heads for the exit.

Beyond the windows, the swirling vastness of space. Kirk, Spock and McCoy and Sybok sits in a circle.

Sybok closes his eyes and concentrates deeply.

The surrounding walls come alive with energy. What follows is theatrical in style as we enter a subjective world.

He turns to find himself on a brilliantly white, sterile hospital room. A wasted figure reclines on a bed, an old man connected to a powerful life support system. This is McCOY'S FATHER and we are somewhere in the past.

McCoy rushes to the bedside.

In the near background, Sybok watches with Kirk and Spock. They are entranced by what they're seeing.

Father whispers something. McCoy bends down and puts his ear next to the old man's parched lips.

McCoy looks into his father's eyes. The old man's gaze travels to the support machinery. He wants McCoy to shut it off.

McCoy reaches his decision. He shuts off the machine. The father dies in his son's arms. Sybok appears at McCoy's side.

McCoy hesitates, trembling. This is his darkest secret.

McCoy weeps for several moments, then wipes the tears away. He looks up at Sybok's comforting smile and is filled with a deep sense of relief.

McCoy nods. Sybok turns to Spock.

O.S. a woman screams in agony.

They turn and find themselves beneath the hanging stalagtites of a cave. Torchlight throws weird shadows on the walls. The shadows depict a woman in labor, attended by a Vulcan High Priestess. Ceremonial drums pound a throbbing pulse. The woman lets out another scream. It reverberates throughout the cavern.

Sybok appears beside them. He leads Spock and Kirk into the past.

Spock's mother, the young earthwoman AMANDA, lies on a rough pallet, her legs spread beneath her robes, her distended stomach lifting. Her only attendent is THE HIGH PRIESTESS who intones the Vulcan birthrights.

Spock watches.

A figure steps from the shadow. It is SAREK, Spock's father. He observes his wife with typical detachment.

As the drums build in intensity, Amanda begins to deliver.

The birth takes place in shadow. Drums reach a climax and stop. An infant cries. Amanda lifts the mewling baby from between her legs.

watching his entry into the world.

She takes the baby from Amanda and holds it up. The tiny infant kicks and cries. Amanda reaches out for her child but the Priestess turns and presents the crying baby to Sarek instead.

He takes the infant and lays it on Amanda's belly. Amanda beholds the child up close. As it thrashes against her, she see for the first time its tiny pointed ears.

Kirk looks at Spock with concern.

From behind comes a faraway voice. The voice of young Sybok.

Spock turns, unprepared for this. A figure regards him from a distance, a hood shadowing his features. It appears to be Sybok on the day he and Spock parted.

He is in shadow, featureless. But his voice and demean- or is that of an adolescent boy.

The Hooded Figure recedes into the distance.

The light comes up on his face. We are back in the present. Sybok appears at his shoulder... Spock turns to face him.

(2nd R.P. DENSITY CHANGE)

Spock turns away from Sybok and the others.

The question hits Kirk with force.

A tense silence broken by...

Sybok is filled with excitement, eager to go to the bridge.

Sybok and McCoy start for the exit but stop when they realize that Spock is remaining with Kirk.

McCoy reacts to this speech. After a moment, he takes his place with Kirk and Spock.

(3rd R.P. DENSITY CHANGE)

Beyond the great windows, space is changing, reflecting this unique part of the galaxy.

Sybok regards Kirk, Spock and McCoy with affection. This is only a temporary setback. He knows the ultimate win will be his.

Sybok heads for the exit. Doors whoosh open to reveal the guards outside.

The fiery look in Sybok's eyes might be confidence, it might be madness. He turns and exits.

Enterprise is poised on the edge of the giant starcluster known as the Great Barrier. It is visibly stunning and equally dangerous. We see giant regions of star form- ations as well as expanding blast waves from exploding stars. Beams of radiation from pulsars sweep the tiny and insignificant ship, bathing her in color.

Sybok is on the Bridge, Uhura, Chekov and Sulu are at their stations. Caithlin, Korrd and Talbot are also present. They and the rest of the crew are transfixed by the viewscreen, awed by the vista of a sky filled with thousands of stars, each a fiery orange.

But what really draws their attention is the black thundercloud looming directly ahead. Here starts the ring of gas and dust that enshrouds the center of the galaxy, hiding it from view. Behind this black veil lies a region that emits ten times more energy than our sun. Through the chinks in the wall we see flashes of blue light -- hints of the fires blazing within.

The ship's monitor screens go blank.

And with that, the ship plows into the Barrier, straight into the dark clouds, disappearing from sight. We hold for a terrifying moment, wondering if we'll ever see Enterprise again.

Surprisingly, there is no turbulence, no buffeting. The Enterprise travels through a fantastic passageway of light and color. Then, quite suddenly, the gas clouds part and the ship enters a region of incredible calm and serenity, like the clear space at the eye of a hurricane.

The crew experiences the euphoria of safe passage. A wave of joy washes over them.

Kirk, Spock and McCoy feel the rush of happiness. They gaze through the window at this incredible spacescape, unable to deny the sensation stirring within them. Sybok was right.

Dead ahead, a single planet. A planet of great beauty and peace. Our final destination.

A burst of emotion. Crew members rejoice.

Kirk, fascinated by the planet, moves to the antique ship's wheel. He absent-mindedly rests his hand on it. His eyes are drawn to the plaque attached to the spokes of the wheel. On it, the charter of the Enterprise has been set in bronze. Camera moves in on these words: TO GO WHERE NO MAN HAS GONE BEFORE.

Visibly moved.

The Bridge buzzes with excitement. Monitor screens come to life.

On the viewscreen, the planet appears up close -- a celestial orb, cloaked by swirling white clouds. Quick shots of awed reactions.

The bridge doors whoosh open to reveal Kirk, Spock and McCoy. The others turn, fearful of what he'll say or do. A tense moment, then:

Kirk looks at the hopeful facts around him. He feels the excitement of being on the verge of a great frontier, perhaps the greatest frontier.

Kirk's eyes flash with excitement. To Sybok:

Sybok happily joins them in the turbolift.

Bay doors open. Copernicus, the shuttle backup, emerges and drops from the mothership. Thrusters fire as it streaks toward the planet, disappearing into the swirling white clouds.

Spock pilots the craft. He, McCoy and Kirk have changed into Starfleet uniforms.

Clouds part as if swept aside by hand. Beneath the shuttle a world opens up that can only be described as incredible.

Sybok, Kirk, McCoy and Spock remain focused ahead, awestruck.

Copernicus skims over a rich abundant landscape awash with bright primary colors.

Spock removes his hands from the console.

Kirk, Spock and McCoy regard each other with wary excitement, then turn their attentions to what lies ahead.

A circle of peaks appears in the distance, rising against the sky.

Sybok smiles at the others.

Copernicus comes in for a soft landing.

Engines switch off. Kirk slips a communicator into his belt. He's about to pick up a hand phaser when he feels Sybok's disapproving eye upon him.

He leaves the weapon behind.

The exit hatch opens. Our four explorers emerge from the craft. They regard the prehistoric peaks with excitement.

They urgently start forward with Kirk leading the way.

Crew members abandon their posts and move forward to the viewscreen.

Four tiny figures pass through the peaks and look down into a naturally formed amphitheater. It's nothing more than a rough crater carved in the summit, ringed by the peaks.

Uhura, eyes fixed on the viewscreen, speaks urgently into her speaker.

Scotty is hard at work.

Kirk walks around the base of the tall peak as the CAMERA PULLS BACK

While the crew marvels at the viewscreen, CAMERA PANS over to the defense station which is unattended.

The screen blinks to life. A graphic of the Bird of Prey appears and a warning; "KLINGON VESSEL IN QUADRANT. RECOMMEND: ACTIVATION OF DEFENSE SYSTEMS. AWAITING COMMAND." A low warning BEEP. But no one's there to respond.

Kirk, Spock, McCoy and Sybok descend into the bowl of the crater. They reach the center and stop. They look at each other wondering. "Is this all there is?" Sybok tries to hide his disappointment. He looks around for a sign that isn't there, then, after a moment of deafening silence, he addresses their bleak surroundings.

Nothing. It looks like a bust. Sybok's voice chokes off and he lowers his head. Kirk and McCoy frown at each other. Kirk whips out his communicator to address the ship.

Spock goes to Sybok and puts a comforting hand on his brother's shoulder.

Spock's words are obscured by a rumble from within the earth. A shadow engulfs the amphitheater.

Clouds turn ashen and threatening, transforming day into night.

The ground comes to life beneath the feet of our heroes. The earth buckles and ripples as if nature herself were trying to break free. Without warning a pillar of sheer rock rips up through the surface and climbs skyward. Then another pillar shoots up, followed by another and another. They encircle the amphitheater like giant fingers. We intercut Kirk, Spock, McCoy, and Sybok reacting to this dazzling display of power

The fingers of rock form a crude cathedral.

Within this primative cathedral Kirk, Spock, McCoy and Sybok watch as the ground in front of them melts like molten lava. It swirls, creating a vortex. A rushing sound comes from the planet's core, growing closer. Something of incredible power is on its way to the surface.

A shaft of energy explodes out of the vortex. It shoots skyward like an erupting geyser, blinding our heroes with its beauty and raw power.

The energy shaft rises from the planet like a beacon light. Enterprise, just outside the shaft, is bathed in its reflection.

Sybok staggers back. Like Kirk, Spock and McCoy, he must shield his eyes from the intensity of the energy shaft.

It pulsates and throbs with life. A GOD-LIKE VOICE comes from within.

Startled reactions.

As if responding to McCoy's question, the energy shaft throbs. From the swirling dust within it, a living form begins to take shape. The shape is powerful, beautiful, enticing.

Sybok and the others watch in wonder. The wind it kicks up causes them to stagger back.

Within this maelstrom of power, the form of humanity begins to take shape. And it takes on many forms, each reminding us of the holy paintings that have depicted the All-Mighty through the ages.

We intercut between the shifting images of God and the reactions of the Enterprise crew. One moment the figure is Ra. The next, Allah. He's black. White. Female. Male. Andorian. Klingon. Each witnesses a flash of his own God.

They watch the "God Show" with mounting fascination.

The Being synthesizes into the Biblical Heavenly Father of our imagination. (Note: The Being is con- tained within the perimeters of the energy shaft, unable to venture out of it.)

The Being turns his gaze to Sybok, Kirk, Spock and McCoy. He beams with pleasure. His eyes twinkle.

It does indeed. No one knows what to say. Sybok is vind- icated, he can barely contain his ecstasy.

Kirk politely raises a hand.

The Being regards Kirk like he was a pesky insect.

McCoy looks at Kirk like he just farted in church.

The Being returns his attention to Sybok.

The Being once again regards Kirk. Kirk stands his ground.

The smile leaves The Being's face. Thunder rumbles faintly in the distance, underscoring his displeasure.

A bolt of energy shoots from the Being's eye and then strikes Kirk full in the chest, knocking him to the ground. Spock and McCoy look on in shock as Kirk, now injured, tries to rise.

Sybok is confounded. He addresses The Being.

Spock takes it upon himself to step forward.

The Being's countenance turns dark. Another bolt shoots from his eye and heads for Spock. Crash! Spock is knocked to the ground.

The crew can't comprehend this turn of events. Korrd, Caithlin and Talbot look at each other in horror.

The Being turns to McCoy.

McCoy looks at The Being's handiwork -- his injured friends.

The Being is on the verge of zapping McCoy when Sybok interrupts.

By way of reply. The Being smiles a truely wicked smile and Sybok realizes to his horror that he's been tricked.

Spock shouts to his brother.

Before our stunned eyes, the being changes into Sybok himself -- a dark sinister reflection of Sybok. This Evil Sybok laughs, enjoying the reaction.

His self-realization is painful to behold.

The Being indicates Kirk, Spock and McCoy.

Sybok raises his hand to Spock in the Vulcan gesture of farewell.

Sybok turns to face the Being, gathering up all his power. Spock starts forward but Kirk holds him back.

Sybok has no fear as he confronts his evil mirror image.

Sybok boldly enters the shaft and embraces his evil twin.

An amazing spectacle. As they grapple, the good and evil Syboks merge into one twisting and thrashing body, clearly at battle with itself. The good Sybok tears himself loose. He dominates the struggle until the evil Sybok manages to rip through and fight back. The two Syboks, good and evil, battle on... merging, tearing apart.

Sulu and Chekov in action. Sulu uses all the tricks of the pilot's trade to angle the ship into the best possible attack position. Chekov punches commands into the weapon's console, plotting the correct torpedo trajectory. It's like watching two master musicians play a symphony in a windstorm. The screens in front of them blink and flash with graphic displays and warnings.

Kirk, Spock and McCoy watch the titanic struggle raging within the energy shaft. As they grapple, the two Syboks are slowly pulled downward... into the hole.

A photon torpedo leaves the dish and streaks downward.

Camera chases the torpedo down the shaft and into the hole.

Impact is seconds away. Kirk, Spock, and McCoy run for cover. From far beneath the surface of the planet comes the sound of the explosion. The ground blisters and puckers.

A blinding explosion errupts from the hole.

The energy shaft vanishes. Enterprise is safe.

Smoke. Debris. The Cathedral is in disarray. An eerie silence. Kirk, Spock and McCoy emerge from cover. The enrgy shaft is a memory. In its place there is only a gaping hole, glowing raw and red like a wound.

A rumbling sound from within the earth. The hole throbs. It pulsates.

They haul ass up the side of the amphitheater.

Camera pushes in on the smouldering hole as a horrific creature pulls itself out of the abyss -- a fire- breathing monster made entirely of rock -- all that remains of the evil entity. It spots the escaping threesome and clambers after them.

They're desperately trying to locate Kirk, Spock and McCoy on the planet below.

The unattended screen still depicts the Bird of Prey. "ESTIMATED TIME OF INTERCEPT: 4 MINUTES." Then, the graphic of the ship vanishes and is replaced with the warning: "CLOAKING DEVICE ENGAGED, POSITION UNKNOWN,"

Enterprise appears on the viewscreen. Klaa is out of his command chair, pacing the deck like a restless buccaneer.

Klaa settles into his gunner's rig.

Kirk, Spock and McCoy make it inside. The door closes behind them.

Before Spock can act, a tremendous blow rocks the shuttle. There's something out there and it wants to get in. Spock tries the controls.

Kirk whips out his communicator.

Before Spock and McCoy can protest, the transporter beam shimmers down and takes them away. A second later, the windshield behind Kirk is smashed to pieces by a monsterous fiery arm. Off Kirk's startled reaction...

Spock and McCoy step off the platform. Scotty is at the control console.

At that moment Enterprise absorbs a terrific jolt. Spock, McCoy and Scotty go flying as the transporter explodes in a shower of sparks.

The Klingon ship has decloaked and fired from a position directly in front of Enterprise. In cowboy terms, it's got the drop on them.

Kirk realizes he's not going to be beamed up. The rock creature comes in after him.

Kirk escapes through the Copernicus' rear hatch. He disapears into the darkness, pursued by the rock creature.

The crew painfully pulls itself together. Fires are put out. Auxilliary power comes on. Spock, McCoy and Scotty enter.

Klaa appears on the viewscreen arms folded across his chest, seated triumphantly in his command chair. He speaks English the first time.

Spock glimpses a possibility. He turns to Korrd and speaks with urgency.

Korrd sees that Spock will not take no for an answer.

Kirk scrambles from one hiding place to another as the rock creature pursues him, able to anticipate his every move.

With no where to go but up, Kirk scales a steep pinn- acle. He climbs with agility and speed. He'd better. The pursuing creature is practically breathing fire up his ass.

Kirk clambers to the top of the pinnacle and finds himself trapped. He always knew he'd die alone. The rock creature climbs up to get Kirk, an inhuman voice issuing from its flaming mouth.

A whooshing sound from overhead. Kirk looks up.

The Bird of Prey drops out of the storm clouds. Its guns come to life and strafe the rock creature, driving it back, away from Kirk.

Vulnerable atop the pinnacle. The Bird of Prey hov- vers directly above him, its guns swivelling in his direction. Kirk is determined to go down fighting.

The Bird of Prey's transporter beam shimmers down and engulfs him. Kirk disappears in its sparkling light, saved from the rock creature who lets out an angry roar of defeat. The Bird of Prey takes off with its prize.

Kirk materializes. He's immediately seized by two brutal- looking Klingons. They march him out of the transporter room.

The bridge doors slide open and Kirk is brought in The Klingon crew regard him from their stations. Klaa is off to one side looking petulant. Korrd stands beside him, chest puffed up with pride, obviously in charge. Why isn't Klaa in his command chair? Because someone else is occupying it.

The command chair swivels around to reveal its occupant to be Spock. He unstraps himself from the gunner's rig, stands up and straightens his uniform in a dignified manner.

The guards step away from Kirk. Klaa glares at Korrd but it's clear the older Klingon is now calling the shots.

Kirk regards the stoic Spock with affection and wonder.

Kirk fights back tears and clasps his friend in a hug. Spock stiffens with embarassment.

Kirk laughs and hugs him all the harder. Spock tentat- ively hugs him back.

Enterprise and Bird of Prey are side by side, in orbit around the planet.

A reception is in full swing. Spock and McCoy are dis- covered off by themselves, standing at the observation window, gazing out at the God planet.

The Klingon polishes off a tumbler of fluid. He frowns. What he wants is a real drink. Scotty approaches him.

Scotty produces a bottle and pours a splash into the Klingon's tumbler. Korrd downs it with obvious relish. Scotty smiles.

Korrd chortles agreeably and moves off. We follow him over to Talbot and Caithlin.

They share a warm laugh.

He's been watching with satisfaction. As he turns, he notices Klaa eyeing him keenly from across the room -- the young gun locking eyes with the seasoned pro. With a smile, Kirk gives Klaa the Klingon salute.

Kirk notices Spock and McCoy still standing at the window, still staring out, oblivious to the party around them. Kirk approaches.

Camera pushes in on them and we slowly...

DISSOLVE TO:

Camera pulls back from a roaring campfire. McCoy pours two cupsful of bourbon and hands one to Kirk who sets aside his marshmallow on a stick. Kirk and McCoy clink cups in a silent toast and drink, distracted by strange plinking sounds from close by. Spock is revealed, absently strumming his Vulcan lute in search of a tune.

The plinks and plunks gradually become a tune. The un- mistakable "Row Your Boat." Kirk and McCoy react with delight. McCoy takes a hit of bourbon and clears his throat.

Kirk jumps in and, when it's his turn, Spock joins the chorus too. The three shipmates sing loudly with feeling and gusto. Their voices climb into the night sky.

As they continue to sing, we execute the greatest pull back of all time. The campfire becomes a dot of light. The dot of light joins other dots of light. They become the stars of the universe.

AND THE ADVENTURE CONTINUES

THE END