Written by:
HARVE BENNETT
REV. FINAL DRAFT
October 7, 1983
FADE IN:
1 SPACE - A STARFIELD - (ILM SHOT) 1
As the stars appear, we hear the AMBIENCE OF SPACE, a
litany of groans, squeals and pings of the unknown.
Over this we SUPER:
"PARAMOUNT PICTURES PRESENTS:"
We are MOVING through the stars slowly and to our right
as the SUPER FADES. And we hear a hoarse voice.
SPOCK (V.O.)
Space... the final frontier.
Our MOVE CONTINUES to reveal the Genesis planet and its
sun, which flares into our lens.
SPOCK (V.O.)
(continuing)
These are the continuing voyages
of the Starship Enterprise. Her
ongoing mission...
The sunflare has DISSOLVED us to the planet's primal
surface. We are MOVING through the trees and greens of
this Eden-like place. A soft, smoky haze covers every-
thing.
SPOCK (V.O.)
(continuing)
To explore strange new worlds...
To seek out new life forms, and
new civilizations... To boldly go,
where no man has gone before...
And now, amid the trees, we see it, and CAMERA comes to
a brief rest: Spock's casket, a photon torpedo tube,
black with red letters, "Mark VI." The STAR TREK FAN-
FARE is heard, and we SUPER:
"STAR TREK III : THE SEARCH FOR SPOCK"
The CREDITS BEGIN. As they appear, we MOVE away from
the casket and through the lush forest.
The haze thickens, until at last it becomes an obliter-
ating cloud, and then we DISSOLVE through into moving
clouds of the planet's atmosphere, and PULL BACK from
them, DISSOLVING once again back to space and the Gene-
sis planet where we HOLD as CREDITS END.
Then, a final SUPER:
"THE GENESIS PLANET.
STARDATE: 8001.3"
We hear the SOUND of an approaching SPACESHIP.
2 SPACE - USS GRISSOM - (ILM SHOT) 2
A mid-sized Federation Science Vessel approaching at
impulse power. She PASSES CAMERA, and we PAN WITH her
to see her path leads to the Genesis Planet in the
distance.
3 INT. BRIDGE - USS GRISSOM 3
Starfleet LIEUTENANT SAAVIK, looking radiant, is wear-
ing her hair down these days, but is as intense and
efficient as ever. The CRACKLE OF ELECTRONIC ACTIVITY
fills the air.
SAAVIK
(crossing bridge)
We are approaching destination
planet at point zero three five.
So noted in ship's log.
She delivers the log to the Captain as ANGLE WIDENS to
include CAPTAIN ESTEBAN, late forties, a cautious Star-
fleet veteran. Behind him, various OFFICERS on
station.
ESTEBAN
Very well, Lieutenant. Execute
standard orbital approach.
HELMSMAN
Standard orbit, aye.
ESTEBAN
Communications. Send a coded
message for Starfleet Commander,
priority one... "Federation
Science Vessel Grissom arriving
Genesis Planet, Mutara Sector to
begin search. As ordered, full
security procedures are in effect.
J.T. Esteban, commanding."
COMM OFFICER
Aye sir, coding now.
ESTEBAN
(turning)
Dr. Marcus, it's your planet.
ANGLE WIDENS to reveal DAVID MARCUS, mid-twenties, who
will be remembered as the co-creator of Genesis, and
also as Kirk's son.
DAVID
Thank you, Captain. Begin
scanning, please.
Saavik has taken a position next to David at the sci-
ence panel and together they begin activating the de-
vices.
DAVID
(continuing;
enthusiastically)
This is where the fun begins,
Saavik!
SAAVIK
(working)
Like your father... so human.
(then)
All units functional, recorders
are on... Scanning sector one.
Foliage in fully developed state
of growth. Temperature, twenty-
two point two Celsius.
DAVID
Sector two... Indicating desert
terrain. Minimal vegetation,
temperature thirty-nine point
four.
SAAVIK
Sector three... Sub-tropical
vegetation... Temperature --
(puzzled)
Temperature decreasing rapidly --
DAVID
It's snow. Snow in the same
sector. Fantastic!
SAAVIK
... Fascinating.
DAVID
All the varieties of land and
weather known to Earth within a
few hours walk!
SAAVIK
(to him)
You must be very proud of what you
and your mother have created.
DAVID
(checking)
It's a little early to celebrate.
Suddenly... BEEP... BEEP... BEEP... a new and unique
SOUND is heard from the MONITORS. Saavik flicks con-
trols and a new image appears on screen.
SAAVIK
Same sector. Metallic mass.
DAVID
Underground deposit?
SAAVIK
Negative, on surface... A
manufactured object.
DAVID
There's only one thing it could
be... Short range scan.
Saavik complies. David's intensity rises. Captain
Esteban, curious about the BEEPS, has joined them.
SAAVIK
Approximately two meters long...
Cylindrical in form...
DAVID
A photon tube...!
ESTEBAN
Could it be Spock's?
DAVID
It has to be. Gravitational
fields were in flux... It must
have soft landed...!
ESTEBAN
(to Comm Officer)
In code to STARFLEET...
Captain's Spock's tube located
intact on Genesis surface. Will
relay more data on subsequent
orbits.
COMM OFFICER
Yes sir... Coding your message.
As the BEEPS DIMINISH, we HOLD on David and Saavik.
There is mystery in the air.
CUT TO:
4 SPACE - USS ENTERPRISE - (ILM SHOT) 4
She comes AT US slowly, majestically, a great wounded
bird limping home, showing, as she passes, the patched
scars of battle. Over this we hear:
KIRK (V.O.)
USS Enterprise, Captain's personal
log... With most of our battle
damage repaired, we are almost
home. Yet, I feel -- uneasy. And
I wonder why.
5 INT. BRIDGE - USS ENTERPRISE - CLOSE - JAMES T. KIRK 5
He is stalking the bridge, lost in his thoughts.
CAMERA IS MOVING with him. In b.g., bridge activity is
normal.
KIRK (V.O.)
... Perhaps it is the erratic
behavior of Ship's surgeon
McCoy... Or the emptiness of this
vessel: most of our trainee crew
have been reassigned; Lieutenant
Saavik and my son David are
exploring a new world... and
Enterprise feels like a house with
all the children gone... No. More
empty even than that...
He has reached Spock's vacant chair. He touches it.
KIRK (V.O.)
(continuing)
The news of Spock's tube has
shaken me.
(beat)
It seems that I have left the
noblest part of myself back there,
on that newborn planet.
We HOLD on him. Then, he shakes off his mood and:
KIRK
Status, Mr. Sulu?
6 OMITTED 6
& &
7 7
8 WIDER ANGLE 8
to include SULU and CHEKOV at forward stations, UHURA
at the communications post.
SULU
On course, Admiral. Estimating
Spacedock in two point one hours.
KIRK
Very well.
(a beat)
Mr. Chekov, I need pre-approach
scan... Take the science station,
please.
Chekov hesitates for a moment. Then:
CHEKOV
Yes, sir.
He rises and crosses to Spock's empty chair, as Kirk
continues.
KIRK
Uhura, any response from Starfleet
on our Project Genesis inquiries?
UHURA
No, sir, no response.
KIRK
Hmm.. Very odd.
(at chair, hits
comm button)
Scotty. Progress report?
9 INT. ENGINEERING TUBE 9
SCOTTY and an ENGINEER TRAINEE are working at a junc-
tion of circuitry.
SCOTTY
I'm almost done, sir. You'll be
fully automated by the time we
dock.
10 INTERCUT WITH BRIDGE 10
KIRK
Your timing is excellent, Mr.
Scott. You've fixed the barn door
after the horse has come home.
How much refit time till we can
take her out again?
SCOTTY
Eight weeks, sir.
(as Kirk opens
his mouth)
But you don't have eight weeks so
I'll do it for ya in two.
KIRK
(considers)
Mr. Scott. Have you always
multiplied your repair estimates
by a factor of four?
SCOTTY
Certainly, sir. How else can I
keep my reputation as a miracle
worker?
KIRK
Your reputation is secure, Scotty.
(a beat)
Mr. Sulu, take the con. I'll be
in my quarters.
SULU
Aye sir.
Kirk heads for the elevator, presses the door button.
He is about to enter when he is intercepted by TRAINEE
FOSTER, a young black officer too eager for protocol.
TRAINEE FOSTER
Sir... I was wondering...
Kirk turns.
TRAINEE FOSTER
(continuing)
Are they planning a ceremony when
we get in...? I mean, a
reception...?
KIRK
A hero's welcome, son? Is that
what you'd like?... Well, God
knows, there should be. This time
we paid for the party with our
dearest blood.
He enters the elevator, and the doors close.
11 OMITTED 11
12 INT. ELEVATOR - KIRK 12
Even as the doors close, his mood changes. The mantle
of command falls away and he allows himself the luxury
of his deeper feelings. Feelings of aloneness. And
grief. CAMERA IN CLOSE to HOLD this anguished moment.
Then, an intrusive interruption. Kirk covers hiss feel-
ings as:
12A WIDER ANGLE 12A
The elevator doors open at a floor and "BONES" McCOY
steps in. He is disheveled, unshaven -- and in a very
odd emotional place. He takes his place in the eleva-
tor and gazes at the ceiling as the doors close, and
the HUM BEGINS.
KIRK
... Bones.
McCOY
(stiffly)
Jim.
KIRK
(after a pause, with
growing irritation)
Are you planning to shave today?
McCOY
Quo vadis, Admiral...
KIRK
What is that supposed to mean?
McCOY
What is our destination?
KIRK
We'll be orbiting Earth in two
hours.
McCOY
Then we're headed in the wrong
direction.
KIRK
(warning)
Bones, don't do this. This is
me. Jim. Your friend.
McCOY
And I have been, and always shall
be, yours.
KIRK
Damn it, Bones, don't quote Spock
to me! I have enough pain of my
own and I don't need your -- self-
indulgence!
Bones, his eyes far away, turns to make contact. In a
matter-of-fact voice:
McCOY
You left me. You left me on
Genesis. Why did you do that?
KIRK
(aghast)
... What the hell are you saying?
Even Bones is stunned by what has come out of his
mouth. He tries to cope with his own disorientation.
McCOY
(shaken)
I don't know... I just...
(then, poignantly)
Why did we leave Spock?
KIRK
(firmly)
Bones!... You must deal with the
truth! He's gone.
Spock is gone. And we both have
to live with that.
Bones looks at Kirk for an agonized moment. Then, the
elevator comes to a stop, the doors opens. McCoy takes
a step out, then turns back to Kirk.
McCoy
I can't get him out of my head,
Jim. I'd give the whole state of
Georgia if someone could tell me
why.
McCoy leaves. The doors close on Jim Kirk's concern.
CUT TO:
13 SPACE - A STARFIELD - (ILM SHOT) 13
Over the vast emptiness we SUPER:
"SOMEWHERE IN ORGANIAN SPACE..."
As the SUPER FADES, a vessel drifts slowly INTO SCENE,
a dark-looking merchantman. She gives the impression
of drifting in space... of waiting.
14 INT. BRIDGE - MERCHANTMAN 14
Small and grubby; populated by three or four crewmen of
mixed special breeds, and a renegade CAPTAIN who sug-
gests a Federation traitor. And, lurking in the
shadows, her face concealed by a half-veil, what ap-
pears to be an exotically beautiful WOMAN of epic pro-
portions and mystery.
CAPTAIN
Steady... Steady, boys. Keep
scanning...
(beat)
I thought you people were
reliable... Where the hell is he!
WOMAN
He has been here for some time. I
can feel his presence.
CAPTAIN
Don't give me your Klingon mumbo-
jumbo -- there ain't another
vessel in this whole damn
quadrant.
WOMAN
Put me on the hailing frequency.
CAPTAIN
(sourly)
Sure - whatever games you wanna
play.
He shakes his head, presses a button and nods to her.
She now removes the veil, showing us a fascinating face
of Klingon features. The crew stare at her as she
speaks into a communication device. She is oddly un-
emotional.
WOMAN
Commander Kruge: this is
Valkris. I have obtained the
Federation data, and am ready to
transmit.
15 INT. BRIDGE - BIRD OF PREY (CLOAK EFFECT) - CLOSE - 15
KRUGE'S PET
A SHOCK CUT to a frightening creature, half timber
wolf, half lizard. His head is being rubbed by the
hand of the owner. We PAN UP from the beast with
Kruge's hand as it snaps switches.
KRUGE (O.S.)
Well done, Valkris... Stand by.
The PAN CONTINUES UPWARD to reveal BATTLE COMMANDER
KRUGE, a Klingon War Lord of handsome but frightening
presence, and relative youth. Now, in Klingon:
KRUGE
(Disengage cloaking device!)
There is a light change from CLOAK to DE-CLOAKED CON-
DITION, along with ELECTRONIC WHIRRING SOUNDS. CAMERA
PULLS BACK from man and beats during this to reveal the
entire Klingon bridge which suggests the relationship
of galley master to slave.
CUT TO:
16 SPACE - (ILM/DECLOAKING EFFECT) 16
We are SHOOTING PAST the merchantman in the f.g. to
watch the strange and gradual appearance of a vessel.
17 CLOSE ANGLE - BIRD OF PREY (ILM/DECLOAKING EFFECT) 17
Breathtaking. Skeletally at first, then filled in a
section at a time, a small deadly looking warship
forms. It is the Bird of Prey, a long-necked, scary
looking thing, with variable wing attitude which we
will see in time.
18 INT. BRIDGE - THE MERCHANTMAN 18
CAPTAIN
(staring)
What the hell...?
As he and the crew try to comprehend, a commanding
voice on SPEAKERS:
KRUGE (V.O.)
Well done, Valkris...Transmit data
on my command... Now!
The woman leans to the console. She inserts a small
rectangular object and presses a button.
19 INT. BRIDGE - BIRD OF PREY - (INTERCUT WITH 19
MERCHANTMAN)
Kruge rises from his regal station, crosses to a moni-
tor where OFFICER MALTZ adjusts incoming material. We
cannot see clearly what is coming in, but occasional
images suggest material concerning the Genesis Project.
As the high speed transmission ends:
VALKRIS (V.O.)
Transmission completed. You will
find it essential to your mission.
Maltz hands Kruge the completed recording. Kruge taps
it thoughtfully.
KRUGE
(Then you have seen it.)
WOMAN (V.O.)
(I have, my lord.)
KRUGE
(a cloud)
(That is unfortunate.)
WOMAN (V.O.)
(I understand.)
Kruge has a moment of hesitation. Then, to his
helmsman.
KRUGE
(Thrusters!)
20 EXT. BIRD OF PREY - (ILM SHOT) 20
The variable wings begin to dip like hawk's talons, and
the Bird begins an arcing maneuver...
21 INT. MERCHANTMAN 21
Uncertainty. The Captain turns to the Woman.
CAPTAIN
What's going on? When do we get
paid off...?
WOMAN
Soon, Captain... Quite soon.
(to communicator)
(Success, my lord -- and my love.)
22 INT. BIRD OF PREY - CLOSE - KRUGE 22
KRUGE
(You will be remembered with
honor.)
(to gunner)
(Fire.)
23 SPACE - THE TWO VESSELS - (ILM SERIES OF SHOTS) 23
The Bird of Prey, its wings in the menacing attack
position swoops toward the merchant ship. From the two
claw-like tips of the Bird of Prey, phaser beams (of a
new type) erupt, SIZZLE --
EXPLOSIONS rip the outside of the merchantman -
24 INT. MERCHANTMAN - (SPECIAL FX) 24
EXPLOSIONS and smoke cloud the murky small bridge; the
cries of the crew, the Captain's scream of outrage.
And through it all, in the smoke, the Woman's face.
Unperturbed. As a last act, she ritualistically covers
her face with her veil, as she is enveloped in smoke
and flames.
25 INT. BIRD OF PREY - (INTERCUT AS NEEDED WITH 25
MERCHANTMAN)
The SCREAMS AND CRIES of the merchant crew can be
heard. The Captain's voice rises above all these.
CAPTAIN (V.O.)
For God's sake, help us!
Please! We'll keep your damn
secrets, just don't let us die in
space!
Kruge turns impassively to his gunner, and nods. The
gunner presses the firing button.
26 SPACE - THE VESSELS - (ILM) 26
The Klingon Bird FIRES another salvo. The merchantman
is obliterated. Debris floats through the SHOT.
27 INT. BRIDGE - BIRD OF PREY 27
The screams have stopped. Kruge's beats reacts with
pleasure. Officer Maltz observes this, subtly wipes
his forehead, but making sure Kruge doesn't see him.
Kruge pets his beast, then straightens, recording in
hand.
KRUGE
I'll be in my quarters. Execute
course to the Federation Boundary.
MALTZ
Yes, my lord!
As Kruge starts out, the BEAST GROWLS. Kruge stops,
points a finger at a Klingon in the sub-deck below.
KRUGE
(Feed him!)
The Klingon nods vigorously as Kruge exits, then, with
his commander gone, casts a nervous glance beast-ward.
28 CREWMAN'S POV - THE SNARLING BEATS (ILM) 28
A face only a Klingon could love.
CUT TO:
29 EXT. SPACE - THE GENESIS PLANET - (ILM SHOT) 29
INTO SHOT comes USS Grissom, orbiting.
30 INT. BRIDGE - GRISSOM - CLOSE - SCIENCE MONITOR 30
Much visual display and BEEPING. PULL BACK to find
Saavik, David -- with Esteban over their shoulders.
SAAVIK
New orbit commencing... Coming up
on sector three...
DAVID
Short range scan.
SAAVIK
(activates; studies)
As before... Metallic mass...
Verifying triminium photon tube...
No new data.
DAVID
Check for trace radiation.
Infrared enhancement.
SAAVIK
(she responds)
... Radiation residual... Level is
minimal...
Suddenly the BEEPS are joined in harmony by a new and
subtly different SOUND. Saavik looks at David, who
moves closer to her screen, studying it with growing
intensity as she adjusts the controls, and the SOUND
INCREASES IN VOLUME.
DAVID
I don't believe it...
ESTEBAN
What is it?
SAAVIK
If equipment is functioning
properly, indications are -- an
animal life form.
ESTEBAN
(to David)
You said there wouldn't be any.
DAVID
There shouldn't be any. Only
plant forms were built into the
Genesis matrix.
SAAVIK
(she's re-checked)
Cross referenced and verified. An
unidentifiable life form reading.
COMM OFFICER
Do you wish to advise Starfleet,
sir?
ESTEBAN
Wait a minute...! We don't know
what we're talking about here...
DAVID
Why don't we beam it up?
ESTEBAN
Oh no you don't! Regulations
specifically state: "nothing
shall be beamed aboard until
danger of contamination has been
eliminated." Can you guarantee
that?
DAVID
Not from here, no.
SAAVIK
Captain... the logical alternative
is obvious... beaming down to the
surface is permitted...
ESTEBAN
"... If the Captain decides that
the mission is vital and
reasonably free of danger." I
know the book, Saavik.
DAVID
Captain, please -- we'll take the
risk. We've got to find out what
it is...
SAAVIK
... Or who.
The implication is not lost on Esteban. After a
moment:
ESTEBAN
All right -- get your gear. I'll
put you down next time around.
DAVID
Thank you... Sir!
CUT TO:
31 EXT. SPACE - THE EARTH - ORBITING SPACEDOCK - 31
(ILM SHOT)
with the grandeur of the horizon arc of the great blue
marble as a backdrop, Spacedock orbits. INTO SHOT
comes Enterprise, heading toward the waiting port.
32 INT. BRIDGE - USS ENTERPRISE - (ILM ELEMENTS) 32
The bustle and CRACKLING SOUNDS of approach procedure.
Kirk is in the Captain's chair, all others are on sta-
tions. Scotty has come up from below to watch the
show.
KIRK
Standby automatic approach system
... Advise approach control.
UHURA
Approach control... this is
Enterprise. Ready for docking
maneuver.
CONTROLLER (V.O.)
Enterprise is cleared to dock.
KIRK
Lock on!
SULU
Systems locked.
The bridge lights change to docking mode.
KIRK
Spacedock, you have control.
CONTROLLER (V.O.)
Affirmative, Enterprise. Enjoy
the ride, and welcome home.
KIRK
Enterprise confirms. With
thanks...
33 EXT. SPACEDOCK - SERIES OF SHOTS - (ILM) 33
The slowly rotating Spacedock is huge. Enterprise is
coming in on an arc-like course.
The great doors of Approach Threshold 15 slide open...
Enterprise, with unerring precision, slips from space
into the small opening afforded by the doors... and...
34 INT. SPACEDOCK - SERIES OF SHOTS - (ILM) 34
A huge, cavernous area, deigned as an orbital dock for
many space vessels. We see Enterprise entering this
great warehouse of ships through the doors, and proceed
at slow impulse power to her waiting birth.
35 ANOTHER ANGLE (ILM) 35
introducing NX 2000, Excelsior, a super starship. Her
lines are similar to Enterprise, but she is clearly
bigger, sleeker, and very new. She sits at her mooring
like the new Queen of Space.
35A INT. ENTERPRISE BRIDGE - FAVORING VIEWSCREEN - 35A
(ILM ELEMENT)
The Excelsior is on screen for all to see.
UHURA
Would you look at that?
KIRK
My friends, the great
experiment: Excelsior, ready for
trial runs...
SULU
She's supposed to have transwarp
drive...
SCOTTY
Aye. And if my grandmother had
wheels, she'd be a wagon.
KIRK
Mr. Scott...
SCOTTY
I'm sorry, sir, but as far as I'm
concerned, there's nothin' needed
for space travel that this old
girl doesn't already have.
KIRK
Come, come, Scotty. Young minds.
Fresh ideas.
(dryly)
Be tolerant.
36 INT. SPACEDOCK - THE CAFETERIA (FX SHOT WITH ILM 36
ELEMENTS)
THROUGH THE WINDOW of a Spacedock facility, a few
lounging Starfleet persons look up to see a memorable
sight...
... battle-scarred Enterprise is passing alongside of
the sleek Excelsior. Their size differential is
apparent (B-29 to B-17). Yet, Enterprise carries with
her a battle-scarred history of achievement. Some of
the Starfleet people begin to rise, silently. A stand-
ing ovation for a hero's return.
37 INT. ENTERPRISE BRIDGE - FAVORING KIRK 37
COMPUTER (V.O.)
Enterprise, stand by for final
docking procedure.
KIRK
Standing by... Mr. Sulu, activate
moorings... Stand by umbilical and
gravitational support systems...
SULU
Aye, sir, moorings activated... All
systems standing by...
CHEKOV
(abruptly)
Admiral... This is not possible.
KIRK
Mr. Chekov -- ?
CHEKOV
An energy reading from 'C" deck --
from inside Mr. Spock's
quarters...
KIRK
(not patiently)
Mr. Chekov, I ordered Spock's
quarters sealed!
CHEKOV
Yes, sir, I sealed the room myself.
Nevertheless -- I am reading a
life form there.
Kirk rises on the narrow edge of irritation.
KIRK
Mr. Chekov -- this entire crew
seems on the edge of obsessive
behavior concerning Mr. Spock.
(stays Chekov's protest)
I'll have a look... Mr. Sulu,
continue docking procedure.
He exits, as the rest of the crew reacts. Chekov
shrugs to all, indicating that he sees what he sees.
And the CAMERA MOVES CLOSE to his panel to verify his
belief. On screen -- an energy form is definitely
pulsating.
38 INT. ENTERPRISE CORRIDOR - ON ELEVATOR DOORS 38
as they HISS open, and Kirk appears. A SOFT ALARM is
BEEPING O.S. Kirk assesses this, his mood changing to
puzzled concern. He starts purposefully OUT OF SHOT.
39 CORRIDOR SECTOR - TRACKING WITH KIRK 39
He is walking quickly, as the ALARM SOUND increases in
frequency. He reacts: breaks into a trot, CAMERA
SPEEDING UP WITH him until he arrives at the entrance
to Spock's quarters. He examines with shock: a seal-
ant coating over the door has been forced with indica-
tions of great strength. The ALARM CONTINUES, LOUD
now. Kirk TURNS IT OFF with a touch, then cautiously
starts in, convinced the problem is real.
40 INT. SPOCK'S QUARTERS - LOW KEY LIGHTING 40
It is dark and shadowy as Kirk enters. He peers, try-
ing to adjust his eyesight to the darkness. He steps
forward carefully -- trips temporarily on some small
object -- but recovers. He moves slowly inward, then
stops, staring into the impenetrable dark. Then he
reacts, as we hear SPOCK'S VOICE. It is hoarse, raspy,
as it was in the final scene with Kirk in Star Trek
II. But is unmistakably Spock.
THE VOICE
Jim... Help me... take me... up
the steps... of Mount Seleya...
through the hall of ancient
thought...
41 CLOSE - KIRK 41
Shaken now. He strains into the darkness, looking --
41A KIRK'S POV 41A
CAMERA PANS the darkened room and COMES TO REST as we
see a shadowy figure in the far corner.
41B BACK TO KIRK 41B
as he starts forward, all senses alert. As he nears
the figure, whoever it is starts to flee, and Kirk
grapples with him, like Jacob with the dark Angel. And
Kirk pulls him down, panting, and the figure is il-
luminated by a shaft of light, and it is --
42 TWO SHOT 42
-- Bones McCoy. Emotionally drained, eyes wide --
KIRK
Bones, what the hell are you
doing? Have you lost your mind!
McCOY
(his own voice, but
raspy, drained)
... Help me, Jim... Take me home.
KIRK
That's where we are, Bones. we
are home.
McCOY
... Then perhaps there is still
time... Climb the steps, Jim...
Climb the steps of Mount Seleya...
KIRK
Mount Seleya? Bones, Mount Seleya
is on Vulcan! We're home on
Earth!
Bones looks at him, trying to comprehend. When he
opens his mouth; it is, for one brief moment, SPOCK'S
VOICE that emerges:
McCOY
(in Spock's voice)
Remember!
(and again)
Remember!
Kirk stares at him in shock as:
UHURA (V.O.)
Admiral: docking is completed.
Starfleet Commander Morrow is on
his way for inspection.
Kirk, still holding McCoy:
KIRK
Uhura! Get the medics down
here! Get them now!
He cradles McCoy who has gone limp.
KIRK
Bones, it's all right...
As he holds his friend, rocking him gently, we OVERLAP
the SHRILL SOUND of an ELECTRONIC BOATSWAIN'S PIPE.
CUT TO:
43 INT. ENTERPRISE TORPEDO BAY/DOCKING CHAMBER 43
The entire crew is assembled as the SOUND of the PIPE
FINISES -- and the great docking doors open.
SULU
Tetsch-hut!
STARFLEET COMMANDER MORROW enters, a distinguished
looking black man, followed by an AIDE. He crosses to
Kirk at the head of the review line.
KIRK
Welcome aboard, Admiral.
MORROW
Welcome home, Jim.
He reaches for Kirk's shoulders with affection.
MORROW
(continuing)
Well done.
He embraces Kirk. It is both a military courtesy, and
a personal expression, twenty-five years of comrade-
ship, service and sacrifice. Kirk is moved. When the
embrace breaks:
KIRK
Thank you, sir.
(wryly)
I take it this is not a formal
inspection.
A relieved ripple of laughter from all.
MORROW
No. At ease, everyone.
They relax in the glow of Morrow's smile. And he looks
about.
MORROW
(continuing)
Where's Doctor McCoy?
KIRK
(a beat)
Indisposed, sir.
MORROW
Ah, too bad... Well... You have
all done remarkable service under
the most -- difficult of
conditions. You'll be receiving
Starfleet's highest commendations,
and more importantly, extended
shore leaves.
A buzz of approval, then:
MORROW
(continuing)
That is, all but you, Mr. Scott.
They need your wisdom on the new
Excelsior... Report there tomorrow
as Captain of Engineering.
It is clear how Scotty feels about this honor:
SCOTTY
With all appreciation, sir, I'd
prefer to supervise the refit of
Enterprise.
MORROW
Yes, well... That really won't be
necessary...
SCOTTY
But sir -- this refit will take a
practiced hand. There's much to
do --
(a look at Kirk)
It could be months.
MORROW
No, Mr. Scott, I'm sorry... There
isn't going to be a refit.
A pall in the room. Kirk, as shocked as anyone.
KIRK
Admiral, I don't understand. The
Enterprise --
MORROW
Jim, the Enterprise is twenty
years old. We think her day is
over...
KIRK
But, we had requested -- we were
hoping to take her back to
Genesis...
MORROW
(a new concern)
Genesis?! Whatever for?
KIRK
Why -- a natural desire to help
finish the work we began!
MORROW
That's out of the question. No
one is going to Genesis!
KIRK
May I ask why...?
MORROW
(a sigh)
Jim, in your absence, Genesis has
become a galactic controversy...
Until the Federation Council makes
policy, you are all under orders
not to discuss with anyone your
knowledge of Genesis... Consider
it a quarantined planet. And a
forbidden subject.
On their baffled reactions we...
CUT TO:
44 EXT. SPACE - THE BIRD OF PREY - (ILM SHOT) 44
We are TRACKING with her through space. She is quite
visible, her wings in level configuration.
45 INT. BRIDGE - BIRD OF PREY - VERY CLOSE - MONITOR 45
At first we are disoriented. Jim Kirk's image FILLS
THE SCREEN talking right AT US.
KIRK'S IMAGE
To fully understand the events on
which I report, it is necessary to
review the theoretical data on the
Genesis Device...
We are PULLING BACK. The bridge is lit normally. On
screen, Kirk's voice now continues, describing what we
see: molecular charts, followed by a barren graphic
depiction of a planetoid. Toward it a torpedo arcs,
causing fire, inferno, and a resulting new surface,
capable of bearing life. (COMPUTER GRAPHIC, STAR TREK
II.) This is being watched on the bridge by Kruge,
Maltz, and OFFICER TORG, younger than Maltz, more gung-
ho.
46 INTERCUT - THE GENESIS TAPE 46
with the reactions of the two junior officers, seeing
it for the first time.
47 BACK TO SCENE 47
Kruge turns the machine off. He studies the two
officers. Then with quiet intensity:
KRUGE
So!
(to Torg)
Speak!
TORG
Great power... to control...
dominate... destroy. If it works.
Kruge considers the answer, turns to Maltz.
KRUGE
Speak.
MATLZ
(thoughtfully)
Impressive... They con make
planets... Possibilities are
endless... Colonies, resources...
KRUGE
Yes... New cities, homes in the
country... your woman at your
side... children playing at your
feet... and overhead, fluttering
in the breeze... the flag of the
Federation. Charming...
(hisses at Maltz)
Station!
MALTZ
Yes, my lord!
Maltz snaps to and leaves, chastened. Kruge turns to
Torg like a wily serpent.
KRUGE
It works. Oh yes, it works.
He presses a button and a new visual appears, Kirk's
VOICE heard OVER:
KIRK (V.O.)
"... It was this premature
detonation of the Genesis device
that resulted in the creation of
the Genesis planet..."
We see Enterprise fleeing the Genesis explosion (STOCK,
STAR TREK II). Torg is very impressed. Kruge turns
the visual off. Then, importantly:
KRUGE
Share this with no one.
TORG
Understood, my lord.
KRUGE
We are going to this "planet."
Even as our emissaries negotiate
for "peace" with the Federation,
we will act for the preservation
of our race! We will seize the
secret of this weapon. The secret
of ultimate power!
TORG
(whispered)
Success, my lord.
KRUGE
Station!
Torg crosses out, Kruge turns toward his chair, kneels
to pet his beast as we hear:
HELMSMAN (V.O.)
(My lord: approaching Federation
territory...)
KRUGE
(Steady on course... Engage
cloaking device!)
HELMSMAN (V.O.)
(Cloaking device -- engaged!)
Lights change... ELECTRONIC SOUND BEGINS... and:
48 EXT. SPACE - BIRD OF PREY - (ILM CLOAKING EFFECT) 48
The ship, sectionally, vanishes before our eyes.
CUT TO:
49 SPACE - THE GENESIS PLANET - (ILM) 49
USS Grissom is orbiting. We hear:
ESTEBAN (V.O.)
Transporter room, stand by to
energize...
50 EXT. SURFACE OF THE GENESIS PLANET - (BEAM DOWN 50
EFFECT)
We are PANNING. An area of great primal beauty, poet-
ic, romantic. A smoky haze persists. The PAN STOPS as
we hear a familiar ENERGY SOUND: And Saavik and David
begin to appear in the BEAM DOWN EFFECT.
51 CLOSER ANGLE - SAAVIK AND DAVID 51
fully materialized. They are equipped with scientific
backpacks. Their TRICORDERS BLEEP reassuringly, as
they look about.
SAAVIK
(looking as perplexed
as she can)
Saavik to Grissom. Request
computer study of soil samples for
geological aging.
DAVID
(cutting in)
I'll handle that later.
SAAVIK
My readings indicate great
instability.
DAVID
We're not here to investigate
geological aging, we're here to
find life forms!
His TRICORDER BLEEPS.
DAVID
(continuing)
Come on...
Saavik reacts to his tension with a questioning look.
Then they move off.
52 INT. GRISSOM BRIDGE - FAVORING ESTEBAN (INTERCUT 52
WITH SAAVIK)
He and his officers are monitoring the progress of the
landing party. DATA SOUNDS fill the bridge.
Then, LT. HINES points something out on a viewscreen.
ESTEBAN
Grissom to landing party. We have
you approaching radioactive
indications. Do you concur?
SAAVIK (V.O.)
Affirmative, Captain. Our
readings are well below danger
level.
ESTEBAN
Very well. Exercise caution,
Lieutenant. This landing is
Captain's discretion and I'm the
one who's out on a limb.
SAAVIK (V.O.)
I'll try to remember that,
Captain.
53 EXT. GENESIS PLANET - HIGH SHOT - SPOCK'S GLADE - DAY 53
David is in the lead, a distant figure, then stops to
take readings as Saavik catches up to him. Then to-
gether they start forward TOWARD US. As they approach,
HIGH CAMERA NOW LOWERS until it reveals, in f.g.,
Spock's casket.
54 EXT. GENESIS PLANET - SERIES OF SHOTS (ILM) 54
The two explorers take readings; they begin to realize
what they are heading for...
Their tempo increases, they follow their tricorders,
until...
55 EXT. GENESIS - SPOCK'S CASKET IN FOREGROUND 55
Saavik and David come INTO VIEW, close by, and stop,
seeing it.
DAVID
. .. Spock's tube...
SAAVIK
(steps forward,
points)
David --
He joins her, staring at:
56 POV - SPOCK'S CASKET - (ILM SHOT) 56
At the base of the tube, worm-like forms shimmy and
squirm. They are small , horrible, and unquestionably
alive.
57 SAAVIK AND DAVID 57
They try to maintain their scientific objectivity, in
spite of their horror -- and their disappointment at
not finding some trace of Spock.
DAVID
Well. There's your life form
reading. These were microbes on
the tube's surface. We shot them
here from Enterprise.
(with irony)
They were fruitful, and
multiplied.
SAAVIK
But... How could they have evolved
so quickly...?
David doesn't answer, his curiosity caught by something
else. He starts slowly forward, Saavik Following
close. Their tricorders begin to register higher radia-
tion levels as they approach the tube.
58 SERIES OF SHOTS - (PRODUCTION & ILM) 58
David and Saavik's faces as they approach.
Feet step among the wormy creatures to gain access to
the tube. (ILM)
Even the unemotional Saavik reacts to this.
David reaches the tube, raises the lid of Spock's bier.
He looks inside, and sees:
59 DAVID'S POV INTO SPOCK'S CASKET 59
It is empty, except for some kind of rumpled black
cloth.
60 BACK TO DAVID 60
He reacts, stunned.
DAVID
Saavik... He's gone.
He reaches in, withdraws the shroud-like cloth, and
hands it to Saavik. As she touches, she knows.
DAVID
(continuing)
What is it?
SAAVIK
Spock's burial robe.
As they stare at each other without answers, the planet
makes a gentle RUMBLING SOUND -- then the ground qui-
vers slightly.
And in the far distance, a poignant CRY is heard. A
young animal in pain, perhaps. Saavik and David do not
know.
CUT TO:
61 INT. KIRK'S APARTMENT - VIEW OF THE BAY - NIGHT 61
Tranquil. We hear the SOUNDS of HARBOR and distant
CITY. We are PULLING BACK, past Kirk as he stares qui-
etly at the view, a glass in hand. Then he turns
'round, raises his glass in a toast.
KIRK
Absent friends.
ANGLE WIDENS to include Uhura, Chekov and Sulu, who
toast in response, and drink.
SULU
... Admiral, what's going to
happen to Enterprise?
KIRK
She's to be decommissioned.
CHEKOV
Will we get another ship?
KIRK
I can't get an answer. Starfleet
is up to its brass in galactic
conference. No one has time for
those who only stand... and wait.
Kirk sips his drink thoughtfully, as do all. Then:
UHURA
How is Doctor McCoy, sir?
KIRK
That's the good news. He's home
in bed, full of tranquilizers, and
he promised me he'd stay there...
They say it's exhaustion...
(a sigh)
We'll see.
A DOOR CHIME.
KIRK
(continuing)
Ah. Mr. Scott, fresh from the
world of transwarp drive... Come!
They all turn toward the door. We hear it WHIRR open,
O.S. Their expressions change and they stare at:
62 THEIR POV - ANGLE TOWARD THE DOOR 62
A tall, mysterious figure in a hooded Vulcan robe walks
slowly toward us, then stops, CLOSE, face unseen. Is
it Bones?... A Spock apparition? The figure removes
his hood, revealing the distinguished older features
of:
63 BACK TO GROUP - FAVORING KIRK 63
KIRK
(astonished)
Sarek!
A hush of wonder falls over all. The ANGLE WIDENS as
AMBASSADOR SAREK comes to Kirk.
KIRK
(continuing)
Ambassador, I -- I had no idea you
were here...
(then)
I think you know my crew...
SAREK
I will speak with you alone, Kirk.
Kirk turns to his crew. They look at him questioningly.
KIRK
Excuse us, please.
The crew, their concern showing, leave their glasses
and file out. Sarek steps to the bay window, looks out
in contemplation, his back to Kirk. With the others
gone, Kirk comes up behind Sarek. A pause. Then:
KIRK
(continuing)
Sarek... I would have come to
Vulcan... to express my deepest
sympathies...
SAREK
(raises a hand)
Spare me your human platitudes,
Kirk. I have been to your
Government. I have seen the
Genesis information, and your own
report.
KIRK
Then you know how bravely your son
met his death.
SAREK
"Met his death"?
(turning on Kirk)
How could you, his friend, have
assumed that? Why did you leave
him on Genesis! Spock trusted you
-- and you denied him his future!
KIRK
I -- saw no future --
SAREK
You missed the point, then and
now... Only his body was "in
death," Kirk! And you were the
last one to be with him.
KIRK
Yes, I was...
SAREK
Then you must know that you should
have come with him to Vulcan.
KIRK
But -- why?
SAREK
Because he asked you to! He
entrusted you with his very
essence -- with everything
was not of the body. He asked you
to bring him to us -- and to bring
that which he gave you: his
Katra. His living spirit.
KIRK
(deeply, quietly)
Sir. Your son meant more to me
than you can know. I'd have given
my life if it would have saved
his. You must believe me when I
tell you that he made no request
of me!
SAREK
He would not have spoken of it
openly.
KIRK
Then, how --
SAREK
(interrupting)
Kirk, I must have your thoughts.
May I join your mind?
KIRK
Of course...!
Sarek steps close to Kirk as CAMERA PUSHES IN VERY
CLOSE. Sarek's hands are on Kirk's temples in familiar
splayed fashion. And the eyes of both men are closed.
64 MIND MELD SEQUENCE 64
(This can be LITERAL, or can be illustrated by SUB-
LIMINAL FILM from TREK II. To be determined.)
Strange, SUB-MUSICAL SOUNDS underscore. The music of
Vulcan, unlike anything we have ever heard before.
After a moment:
SAREK
... He spoke of your friendship.
KIRK
(semi-trance)
Yes...
SAREK
He asked you not to grieve...
KIRK
... Yes...
SAREK
... The needs of the many outweigh...
KIRK
... The needs of the few...
SAREK
... Or the one.
KIRK
... Spock...
SAREK
I have been... and always shall
be... your friend. Live long...
and prosper!
KIRK
... No...!
`
Kirk, bathed with sweat, suddenly shudders in pain.
Sarek opens his eyes, removes his hands. He touches
Kirk with gentleness as Jim recovers, opens his eyes.
65 ANGLE - SAREK AND KIRK 65
SAREK
Forgive me. It is not here. I
assumed he had mind-melded with
you. It is the Vulcan way when
the body's end is near.
KIRK
But he couldn't touch me...! We
were separated!
SAREK
I see... and I understand.
(rises wearily)
Then everything that he was...
Everything that he knew... is
lost. And when I return home
empty-handed, many shall mourn.
He turns now, starting for the door. Kirk stops him
with an agonized wail:
KIRK
Please wait!... Surely he would
have found a way! If there was so
much at stake -- Spock would have
found a way!
SAREK
(hesitating)
Yes... But -- how...?
KIRK
(rising)
Sarek!... What if he melded with
someone else?!
On their exchange of looks --
66 INT. SMALL ELECTRONIC CENTER 66
We are VERY CLOSE on an electronic screen. There is
the frozen face of Spock with his hand splayed on the
engine room glass. A mechanical voice tells us:
COMPUTER VOICE
Engine Room, Flight Recorder
Visual. Stardate 8128 point seven
eight, point seven eight, point
seven eight --
KIRK (V.O.)
Back. Point seven seven.
The tape begins to speed backwards in a scrambled
image.
67 REVERSE ANGLE - CLOSE - KIRK (INTERCUT WITH SCREEN) 67
His face intense. The SOUND of BACKWARD TAPE is heard.
Then it stops.
On screen: Spock and Kirk in their final conversation.
Kirk watches a moment, painfully, then breaks off:
KIRK
Back. Point seven six.
The computer responds. More BACKWARD SOUND, then:
COMPUTER VOICE
Flight recorder visual. Stardate
8128 point 76, point 76 --
KIRK
Go.
The tape activates. On screen we watch Spock enter the
engine room, go to the console. He make a few adjust-
ments then heads for the radiation room where he is
intercepted by McCoy.
Kirk stares in growing fascination.
McCoy talks to Spock briefly. Spock tricks McCoy into
looking away, then applies the Vulcan nerve pinch.
Bones falls.
On screen: Spock moves close to McCoy, takes gloves
from the unconscious Scott, then places his hand on
McCoy's temple.
SPOCK'S IMAGE
Remember.
KIRK
Hold!
He stares at the frozen image, then:
KIRK
(continuing)
Augment and repeat!
The CAMERA ZOOMS IN a TIGHT TWO SHOT. The action
repeats:
SPOCK'S VOICE
Remember!
KIRK
(breathlessly)
Freeze...!
The image of the critical mind meld is there to see.
Kirk is stunned.
CAMERA ANGLE WIDENS now, to reveal for the first time
that Sarek is with Kirk in the shadowy room.
KIRK
Bones!...
SAREK
One alive, one not. Yet both in
pain.
KIRK
What must I do?
SAREK
You must bring them to Mount
Selaya -- on Vulcan. Only there
is the passage possible. Only
there can both find peace...
KIRK
What you ask is difficult.
SAREK
You will find a way, Kirk. If you
honor them both, you must.
Kirk looks at the screen, examines all that is clear to
him, and accepts the truth of Sarek's challenge.
KIRK
I will. I swear.
Over his determined face, we hear a weird OVERLAPPED
SOUND: the strange CRY OF PAIN from the Genesis
Planet.
CUT TO:
68 OMITTED 68
69 EXT. GENESIS PLANET - AREA 2 69
A different texture than the Spock Glade. Cactus
growth, seeming desert, yet... slightly gnarled,
slightly off. Over this empty landscape there is
another trembling of the earth. And again, the CRY.
70 UP ANGLED - AREA 2 70
The SOUND OF RUNNING FOOTSTEPS. Then David and Saavik
run INO SHOT staring O.S. as the CRY repeats itself.
They stare O.S. and see:
71 THEIR POV - VISTA - (ILM SHOT) 71
Past the tall cactus in f.g., we see snow-covered ter-
rain in the middle distance. The CRY is heard once
more.
72 BACK TO THEM 72
SAAVIK
We hear it whenever the ground
quakes.
David's tricorder is making LIFE FORM SOUNDS. Saavik
whips out her communicator.
SAAVIK
(continuing; to
communicator)
Captain, this is Saavik. We have
strong life sign readings bearing
zero-one-five relative, and we are
proceeding to investigate.
ESTEBAN (V.O.)
We concur, Saavik. And Saavik...
be advised we are reading a severe
and unnatural age curve on the
planet. I'm getting nervous...
SAAVIK
(a look to David)
Do you have an explanation?
DAVID
Later. Let's go...
SAAVIK
Grissom, your message acknowledged.
Will advise... Out.
And she hurries after David.
73 INT. BRIDGE - GRISSOM - FAVORING ESTEBAN 73
ESTEBAN
USS Grissom, out.
(bends over his
science station)
What the hell's going on down
there?!
74 EXT. GENESIS PLANET - AREA 3 - SNOWSCAPE (ILM -- 74
VISTAVISION)
David leading, Saavik catching up as they enter a snow-
covered patch of ground. CAMERA TRACKS with them now
as the WIND begins to HOWL, and the first visible snow-
flakes begin to fall. As the wind and snow increase,
causing them to hold their hands up against the ele-
ments, they stop and stare outward.
75 THEIR POV 75
In the snow-covered landscape ahead of them, a series
of tracks. Small, indeterminate. They lead ahead.
76 BACK TO SAAVIK AND DAVID 76
They respond. The WIND HOWLS, but they start forward.
CUT TO:
77 INT. STARFLEET OFFICER'S LOUNGE - ADMIRAL MORROW 77
- NIGHT
MORROW
No. Absolutely not, Jim, it's out
of the question!
ANGLE HAS WIDENED to include Kirk, a passionate Kirk.
KIRK
(deeply)
Harry. I'm off the record now.
I'm not speaking as one of your
staff. I'm talking about thirty
years of service. I have to do
this, Harry. It has to do with my
honor, my life -- everything I put
any value on.
The intimacy of the conversation is broken by a star-
fleet steward who bears drinks. Kirk sits in frus-
trated suspension until the steward leaves. Then Kirk
tries to resume his plea, but Morrow stays him.
MORROW
Jim... You are my best officer and
if I had a best friend, you'd be
that too. But I am Commander,
Starfleet, so I don't break rules!
KIRK
Don't quote rules, Harry! We're
talking about loyalty.
And sacrifice. One man who died
for us, another who has deep
emotional damage --
MORROW
Now wait a minute! This business
about Spock and McCoy... Honestly,
I have never understood Vulcan
mysticism -- I'm sorry! But part
of me doesn't want you to make a
fool of yourself... Understand?
KIRK
Harry, you don't have to believe!
I'm not even sure I believe. But
if there's even a chance that
Spock has an eternal soul -- then
that is my responsibility.
MORROW
Yours...?!
KIRK
As surely as if it were my own!
(deeply)
Harry, give me back the
Enterprise! With Scotty's help...
MORROW
No, Jim! Enterprise would never
stand the pounding.
KIRK
Then I'll find a ship -- I'll hire
a ship.
MORROW
Out of the question! The Council
has ordered that no one but the
science team goes to Genesis!
KIRK
(desperately)
Then let me speak to the
Council! Harry, please! I can
make them understand!!
Kirk's voice and passion has risen enough to now
gather a response from neighboring tables. Kirk re-
alizes; he checks himself, draws slightly back. Morrow
is firm.
MORROW
No, you understand...! The
Council has its hands full with
Klingons and Romulans! They're
trying to hammer out a treaty on
the Genesis Device and they
haven't got time for your personal
views on friendship and
metaphysics!
(beat)
Jim! Your life and your career
stand for rationality, not
intellectual chaos. Keep up this
emotional behavior and you'll lose
everything. You'll destroy
yourself!
(deeply)
Do you hear me, Jim?
Kirk looks for a long moment, then sighs, his body
sagging.
KIRK
Yes... I hear you.
(a beat)
I just had to try.
MORROW
Of course... Now take my
suggestion, enjoy your leave --
and let all this tension blow
away.
KIRK
(a sigh)
You're right.
(toasts)
Thanks for the drink.
MORROW
Any time.
Kirk rises with a smile, starts out. HOLD on Morrow.
78 MOVING WITH KIRK 78
He crosses the room filled with Starfleet senior
officers, CAMERA TRACKING until he passes out of the
main room, into the entry room -- where we are sur-
prised to see Sulu and Chekov waiting for him conspir-
atorially. Kirk stops close to them, looks about cau-
tiously.
SULU
The word, sir?
KIRK
The word is no.
(a beat)
I am therefore going anyway.
SULU
Count on our help, sir.
KIRK
I'll need it, Sulu.
CHEKOV
Shall I alert Dr. McCoy?
KIRK
Yes. He has a long journey ahead.
CUT TO:
79 INT. BAR - NIGHT 79
A crowded, smoke-filled watering hole of the twenty-
third century, filled with a smattering of civilians,
Starfleet personnel, and visitors from strange and far-
off civilizations. It does not have the bizarre quali-
ties of the "Star Wars Bar" which is across the
street.
McCoy is discovered entering the bar. He is haggard,
less than clean shaved. He appears to be looking for
something as he starts forward.
80 HIS POV - MOVING THROUGH THE BAR (ILM ELEMENT) 80
noting patrons at the twenty-third century equivalent
of video games, darts. We see two people playing at a
holographic version of a video game, in which World War
1 biplanes are engaged in 3-d combat... and a dart
player throwing pneumatic jet propelled darts...
81 BACK TO McCOY 81
Not finding what he is looking for, he settles into a
small alcove. A seedy, but attractive WAITRESS ar-
rives.
WAITRESS
Long time, Doc.
McCOY
Yeah... Anyone... been looking for
me?
WAITRESS
I have... But what's the use?
(a smile)
What'll it be?
McCOY
Altair water...
(grandly)
Specially carbonated from
underground fissures.
WAITRESS
Not your usual poison.
McCOY
(confused)
To expect one to order poison in a
bar is not logical.
(he catches
himself)
Excuse me... I'm on medication.
WAITRESS
Got it.
She leaves. McCoy scans the room. He picks out some-
one approaching.
82 ANGLE - THE ALIEN 82
an exotic-looking grubby fellow with a big grin, making
his way unmistakably to McCoy's booth. PULL BACK with
him as he reaches it, and slides in ebulliently.
ALIEN
Hello! Welcome to your planet.
McCOY
I think that's my line, stranger.
ALIEN
Oh, forgive. I here am new. But
you are known, being McCoy from
Enterprise.
McCOY
You have me at a disadvantage,
sir. You are --
ALIEN
I name not important. You seek
I. Message received. Available
ship stands by.
McCOY
Good. How soon and how much?
ALIEN
How soon is now. How much is
where?
McCOY
Where...
ALIEN
Is yes. Where?
McCOY
... Somewhere in the Mutara
Sector.
ALIEN
Oh. Mutara restricted. Take
permits many. Money, more.
McCOY
There aren't going to be any damn
permits!
(checking room)
How can you get a permit to do a
damn illegal thing?!
(then)
Look, price you name, money I got.
ALIEN
You name place, I name money.
Otherwise, bargain, no.
McCOY
(getting louder)
Alright, dammit. It's Genesis.
The name of the place we're going
is Genesis.
ALIEN
(genuinely
shocked)
Genesis!
McCOY
Genesis, yes. How can you be deaf
with ears like that?
ALIEN
Genesis allowed is not... Is
planet forbidden.
McCOY
Now listen to me, my backwards
friend!
(grabs the Alien
by the collar)
Genesis may be "planet forbidden,"
but I'm damn well --
McCoy is interrupted by a hand on his arm. He looks up
to see a nondescript-looking CIVILIAN, with a gentle,
ingratiating manner.
CIVILIAN
Sir... I'm sorry, but your voice
is carrying. I don't think you
want to be discussing this subject
in public.
McCOY
I'll discuss what I like, and who
the hell are you?!
CIVILIAN
Could I offer you a ride home, Dr.
McCoy?
McCOY
Where's the logic in offering me a
ride home, you idiot! If I wanted
a ride home, would I be trying to
charter a space flight?!
(then)
How the hell do you know who I am?
CIVILIAN
Federation Security, sir.
It's a bad moment for the agent to have announced him-
self. A desperate Bones releases the Alien and rises
to his feet just as the Waitress arrives with his Alt-
air water on a tray. The Altair water spills on the
Alien.
83 SERIES OF CUTS 83
The Alien, hit by the water, leaps to his feet in rage.
The Waitress is knocked into a group of people.
More spilling of drinks.
A bystander, thinking the Alien hit the Waitress, hits
him.
A general scuffle begins.
Meanwhile, McCoy tries to race around the "Civilian's"
end of the confusion, but the agent (very big), grabs
him. Bones, in confusion and panic, suddenly turns,
wild-eyed, and attempts a Vulcan nerve pinch on his
tormentor. The nerve pinch has absolutely no effect,
and the agent stares at Bones for a long moment.
CIVILIAN
You're going to get a nice, long
rest, Doctor.
He ushers Bones out as the brouhaha continues in b.g.
CUT TO:
84 EXT GENESIS PLANET - AREA 3 - SNOWSCAPE 84
It is snowing now, and the WIND WAILS as Saavik and
David appear and come forward into a CLOSE SHOT. The
life sign sound of their TRICORDER is BEEPING faster
now as they peer ahead into the snow. Then Saavik
suddenly points:
85 POV - THROUGH THE SNOWFALL 85
Something alive moves across the front, obscured by
snow and terrain.
86 BACK TO THEM - MOVING CAMERA (INTERCUT WITH POV) 86
As they start forward into the snow, Saavik drawing her
phaser. They peer ahead, seeing nothing but the BLEEP
of their tricorder which they follow like a beacon.
Their POV MOVING through the snow flurry, catches an
occasional hint of something ahead which spurs them on.
Then, with the TRICORDER BEEP indicating very close
proximity, they stop and intuitively Saavik indicates
to David to turn the tricorder off. As the beep stops,
they listen and hear the tiniest of WHIMPERS amid the
WIND. They start out excitedly...
87 THE CREVICE (AND INTERCUT POV'S) 87
as Saavik and David approach. Stop. TRICORDER back
on. Big reading. They step forward through the snow
flurry to see:
88 INT. THE CREVICE - THE BOY 88
A wild thing with scraggly hair, perhaps nine or ten
years old. He covers his nakedness as he shivers in
the cold clutching an injured leg; he watches the
strangers, and their BEEPING machine in hypnotic fear.
89 THE SCENE - IN THE CREVICE 89
At Saavik's gesture, David turns off his tricorder.
Saavik moves close. As she touches the Boy's leg, he
pulls back and she reaches out to his face, and touches
his cheek softly. he accepts watchfully. Then Saavik
slides her hand slowly and parts the scraggly hair.
The Boy is a Vulcan.
Saavik and David exchange and astonished look. Then she
covers the boy with Spock's robe, and in Vulcan:
SAAVIK
(I am Saavik... Can you speak?)
The Boy does not respond. Saavik looks to David.
DAVID
(in awe)
The Genesis Wave... His cells
could have been regenerated...
Reformed --
Quietly, so as not to alarm the Boy, Saavik opens her
communicator and reports softly:
SAAVIK
Captain, this is Saavik. Come in, please...
ESTEBAN (V.O.)
Yes, Saavik, go ahead...
SAVVIK
We have found the life sign. It
is a Vulcan child, perhaps eight
to ten years of age.
ESTEBAN (V.O.)
A child! That's extraodinary.
How did he get there?!
SAAVIK
It is Dr. Marcus' opinion that
this is -- that the Genesis effect
has in some way regenerated --
Captain Spock.
90 INT. BRIDGE - GRISSOM - FAVORING ESTEBAN (INTERCUT 90
WITH PLANET)
There is a moment of uncertainty between Esteban and
his science officers that should be one of the grand
laughs of this film.
ESTEBAN
(slowly and
carefully)
Ah, Saavik, that's, ah,
extroadinary. What would you,
ah, like to do next?
SAAVIK (V.O.)
Request permission to beam aboard
immediately.
ESTEBAN
Saavik... Does Dr. Marcus think
there could be -- any chance of --
ah -- radioactive contamination?
SAAVIK (V.O.)
None that I can detect, sir.
ESTEBAN
Well, all the same, I'm going to
advise Starfleet and get
instructions.
On the planet, Saavik and David exchange a frustrated
look.
SAAVIK (V.O.)
I'm sure Starfleet would approve,
sir.
ESTEBAN
I know, but -- let's do it by
the book. Stand by on this channel.
(to Comm Officer)
Go.
COMM OFFICER
Starfleet Command, this is the USS
Grissom on sub-space coded channel
ninety eight point eight. Come
in, please...
There is an odd SOUND on the speakers. Below, David
and Saavik wait impatiently. Then, on the bridge:
COMM OFFICER
(continuing)
Sir... Something's jamming our
transmission. An energy surge.
ESTEBAN
Locate.
COMM OFFICER
Surge from astern, sir. Aft
quarter!
ESTEBAN
On screen.
On MONITOR, a starfield aappears, with some kind of
energy interference. A heat-like distortion of one
area of the picture is evident. Then, suddenly, by
means of the de-cloaking effect, the Bird of Prey is
dead on a at close range in attack configuration.
ESTEBAN
Oh, my God!
91 INT. BRIDGE - BIRD OF PREY - FAVORING KRUGE 91
& &
91A 91A
KRUGE
(Tube one, target, engine section
only!)
GUNNER
(Ready!)
91B SPACE - BIRD OF PREY STALKS GRISSOM - (ILM) 91B
92 BACK TO BRIDGE - GRISSSOM (INTERCUT WITH PLANET & BIRD 92
OF PREY)
ESTEBAN
Red alert! Raise shields!
SAAVIK (V.O.)
Captain, what's happening?!
ESTEBAN
We are under attack! Stand by for
evasive -- stand by for --
93 INT. BIRD OF PREY 93
KRUGE
(Fire!)
94 EXT. SPACE - GRISSOM F.G., BIRD OF PREY, CLOSE B.G. - 94
(ILM)
The BIRD FIRES A Klingon PHOTON TORPEDO which WHOOSHES
the relatively short distance to the peaceful Grissom
and, shockingly -- blows her to bits with one shot.
95 THE GENESIS PLANET - SAAVIK, DAVID - THE BOY 95
SAAVIK
Captain!... Come in, Captain!
96 INT. BRIDGE - BIRD OF PREY 96
Kruge turns to his gunner.
KRUGE
(I told you, engine station
only!!)
Kruge's BEAST GROWLS.
GUNNER
(A fortunate mistake, sir...)
KRUGE
(I wanted prisoners!)
The BEAST GROWLS again as Kruge, in a rage, pulls out
his phaser and FIRES, obliterating the Gunner. No one
in the crew seems to take this as unusual behavior.
And Kruge adds, for his own justification:
KRUGE
(continuing)
Animal!
Kruge's beast adds his contempt to this message. As
Kruge stalks from his chair --
TORG
Sir, may I suggest --
KRUGE
(whirling)
Say the wrong thing, Torg, and I
will kill you too!
TORG
I only meant, my lord, that if
it's prisoners you want --
(points to screen)
There are life signs on the
planet. Perhaps the very
scientists you seek.
Kruge cocks an eye, examines the screen.
KRUGE
Very good.
97 GENESIS PLANET - THE CREVICE 97
SAAVIK
... Grissom... This is Saavik on
emergency frequency... Come in
please...!
STATIC is heard on her communicator. She folds it
closed in resignation. That unnerves David.
DAVID
Saavik... My god, what happened to
them?
SAAVIK
It would seem that Grissom was
destroyed by an enemy attack.
DAVID
You mean, we're stranded down
here?!
SAAVIK
Logic indicates that is the case.
DAVID
How can you be logical at a time
like this?! We have to get thee
hell off this planet!
SAAVIK
That may be difficult...
DAVID
Why don't you just call for help!
SAAVIK
I have already made one
transmission too many...
David looks at her, understanding now, looks away in
despair. He covers his face with his hands now.
SAAVIK
(continuing)
It's time for total truth between
us.
(then)
This planet is not what you
intended, or hoped for, is it?
DAVID
(ironically)
Not exactly.
SAAVIK
Why?
DAVID
(a pause)
I used protomatter in the Genesis
matrix.
SAAVIK
Protomatter. An unstable
substance which every ethical
scientist in the galaxy has
denounced as dangerously
unpredictable.
DAVID
(defensive)
It was the only way to solve
certain problems --
SAAVIK
Did your collaborator know?
DAVID
My mother knew nothing about it.
That's why I asked her to leave
Genesis in my hands.
SAAVIK
So, like your father, you changed
the rules...
DAVID
If I hadn't, it might have been
years -- or never!
SAAVIK
And how many have paid the price
for your impatience? How many
have died? How much damage have
you done... And what is yet to
come?
David looks at her, accepting the truth of what she
says.
CUT TO:
98 INT. PRISON CELL - CLOSE SHOT - NIGHT 98
Bones McCoy is lying on a cot; we are not yet certain
of his mental state, though he looks like a man with a
very bad hangover. From O.S.:
GUARD 1 (V.O.)
You got a visitor, Doc.
(then)
Make it quick, Admiral. They're
moving him to the Federation funny
farm.
99 ANGLE TOWARD CELL DOOR 99
Kirk and GUARD 1 stand in the doorway which is framed by
line of light indicating a force field. Kirk is in
civilian clothes.
KIRK
Yes, poor friend. I hear he's
fruity as a nutcake.
GUARD 1
Two minutes.
The Guard places an electronic "key" against a plate on
the wall. Force light blinks out. As Kirk enters the
cell, the Guard reactivates the force field and leaves.
Kirk moves quickly to Bones, kneeling beside him.
McCOY
Jim --
KIRK
Shhh. How many fingers up?
Kirk holds up his hand in the Vulcan salute, fingers
splayed.
McCOY
That's not very damn funny.
KIRK
(reaches in pocket)
Good, your sense of humor's
returned.
McCOY
The hell it has.
Kirk withdraws syringe.
McCOY
(continuing)
What's that?
KIRK
Lexorin.
McCOY
Lexorin?! What for?
KIRK
You're suffering from a Vulcan
mind meld, Doctor.
McCOY
... Spock?!
KIRK
That's right.
McCOY
... That green blooded son of a
bitch!... It's his revenge for all
the arguments he lost...
KIRK
Give me your arm. This will make
you well enough to travel.
(re syringe)
How do you do this anyway?
100 INT. PRISON OUTER OFFICE - ANGLE ON ENTRY DOOR - NIGHT 100
A SECOND GUARD is on duty with GUARD 1 as the door
slides open and Sulu enters with some urgency.
SULU
Where's Admiral Kirk?
GUARD 1
He's with the prisoner.
SULU
Get him quickly. Commander,
Starfleet wants him right away.
Guard 1 fishes for his electronic key and leaves.
Guard 2, a big, paunchy man, stretches his girth and
yawns.
SULU
(continuing)
Keeping you busy?
GUARD 2
Don't get smart, Tiny.
101 CELL ENTRY AT DOORWAY 101
Guard 1 applies his device to the cell electronic
plate. Force fields blink out.
GUARD 1
Admiral... Starfleet is...
KIRK
(stops him)
This man is sick! Look at him!
As the Guard moves to Bones, Kirk drops him with a
martial chop.
KIRK
(continuing)
Can you move?
McCOY
Yah -- that's great stuff.
And they start out of shot.
102 PRISON OFFICE 102
A BUZZING is heard from the Guard's console. Guard 2
picks up an earpiece (like Uhura's), holds it to ear
and answers.
GUARD 2
Sixth Floor Holding... Yah, come
up and get him, his visitor's just
leaving.
(a beat)
What? Well, some Admiral name of
-- Kirk.
(much squawk
in ear)
Well how am I supposed to
know -- ? He's a damn Admiral!
He unplugs furiously, rises determinedly, and starts
for the door which, just before he reaches it, slides
open, revealing Kirk and Bones.
GUARD 2
(continuing)
What the hell's going --
He is cut short by a savage martial chop delivered by
Sulu from behind.
SULU
The side elevator. Agents on
their way up.
Kirk nods and, followed by Bones, moves to the outer
door, opens it, and they hurry out. Meanwhile, Sulu
has step |