Screenplay by:
David Loughery
Story by
William Shatner, Harve Bennett,
David Loughery
Revised Final
November 21, 1988
A WORD ABOUT THE SCIENTIFIC BASIS OF THIS SCRIPT
Many people tend to use terms like "universe" and "cosmos" and galaxy
rather loosely. This script will remain true to the STAR TREK trad-
ition of scientific reality. With a few possible exceptions, the STAR
TREK series and films take place within our own galaxy. The galaxy is
vast, but finite (as opposed to the universe which is infinite). As
Gene Roddenberry has pointed out, ony 1/15 of this galaxy will have
been explored by the 23rd Century.
Because the galaxy is finite, however, it has a center. It is unlikely
that by the time of this tale, this central are, distant and dangerous,
will have been explored. Nor can anyone say for sure what we may find
there.
These basic assumptions evolve from our on-going discussions with the
staff of I.P.A.C. (Infrared Processing and Analysis Center) of JPL/Cal
Tech. Their incredible computer graphics, obtained by advanced infra-
red satellite telescope photography, will be made available to use to
enhance not only the accuracy, but the incredible beauty of this
latest STAR TREK voyage.
HARVE BENNETT
PRODUCER
.......................................................................
FADE IN:
1 EXT. DESERT - DAY 1
Shimmering waves of heat. A flat unforgiving landscape
stretches to infinity. A storm of dust gathers on the
horizon, small at first, increasing in size as it
rolls toward us. Hoofbeats fill the soundtrack. Just
as the storm threatens to engulf us, A RIDER ON
HORSEBACK emerges.
Superimpose: NIMBUS III
IN THE NEUTRAL ZONE
("THE PLANET OF GALACTIC PEACE")
2 CLOSER ANGLE - STRANGE HORSE AND RIDER 2
A twisted rhino horn juts from the snout of this odd
creature. The Rider spurs the beast, driving it onward.
His white robes flare out behind him like the wings
of an avenging angel. He rides like a man possessed.
CUT TO:
3 EXT. DRY LAKE BED - DAY 3
Camera pans an arid expanse of scorched earth. J'ONN,
a ragged and malnourished homesteader of some alien
race, toils beneath a blazing sun, his back to camera.
He sinks an augering device into the ground, drilling
in vain for water. There are many hundreds
of holes in the earth around him.
J'onn reacts to the clop of approaching hooves. He
tenses, then whirls around clutching a crude home-made
pipe gun.
4 J'ONN'S POV 4
Horse and rider thunder toward him.
5 ANGLE 5
J'onn raises his pipe gun and fires a warning shot.
The Rider reins his horse to a halt ten feet short
of J'onn. The beast snorts and stamps its hooves
impatiently while the Rider studies the frightened
homesteader and removes a breathing device from his
mouth. Finally, he speaks.
RIDER
I thought weapons were forbiddeen on
this planet.
The Rider swings down from the saddle. He's tall, power-
fully built beneath his dusty robs, his face shadowed by
a hood. He indicates their bleak surroundings.
RIDER
(continuing)
Besides, I can't believe you'd kill
me for a field of empty holes.
J'ONN
(pathetic)
It's all I have.
J'onn sags under the futile weight of his existence.
The Rider approaches him without fear. He gently
removes the weapon from J'onn's trembling hands. It's
all the homesteader can do to keep from sobbing.
RIDER
Your pain runs deep.
J'ONN
(turns away in
embarrassment)
What do you know of my pain?
RIDER
Let us explore it together.
The Rider collects himself and concentrates deeply.
J'onn is immediately transfixed. He begins to tremble.
Tears flood his dirty cheeks.
RIDER
(continuing; soothing
tone)
Each man hides a secret pain. It must
be exposed and reckoned with. It must
be hauled from the darkness and
forced into the light. Share your
pain with me and gain strength from
it.
J'onn whimpers and cries out in anguish. Finally, the
catharis ends. J'onn drops to his knees, then looks up.
He opens his eyes and blinks in wonder and amazement
at the Rider. The Rider helps him to his feet.
J'ONN
(as if reborn)
Where did you get this power?
RIDER
The power was within you.
J'ONN
(trying to find
the words)
I feel as if a weight has been lifted
from my heart. How can I repay you
for this miracle?
RIDER
Join my quest.
J'ONN
What is it you seek?
RIDER
What you seek. What all men have
sought since time began -- the
ultimate knowledge. To find it, we'll
need a starship.
J'ONN
A starship? There are no starships on
Nimbus III.
RIDER
Perhaps I have a way to bring one here.
J'ONN
But how?
RIDER
Have faith my friend. There are more
of us than you know.
6 CLOSER ON THE RIDER 6
as he throws back his hood to reveal rugged charismatic
features. He's bearded, his hair is shaggy. He has the
piercing eyes of a zealot and, to our surprise, pointed
ears. His name is SYBOK.
J'ONN
(o.s., amazed)
You're a Vulcan.
Sybok nods and does something we've never seen a Vulcan
do. He smiles. And as he does, the first faint bars of
the Star Trek Theme well up on the soundtrack.
7 LONG SHOT 7
The Vulcan, his convert and the horse are tiny figures
in a overpoweringly bleak landscape. Camera tilts up
through waves of heat to the blazing sky and the galaxy
beyond.
SLOW FADE TO:
8 SPACE 8
Music and credits play over a dazzling journey through
the cosmos. Planets, stars and solar systems flash by.
No doubt about it. We're in for a rousing Star Trek
adventure. As the final credits appear, we tilt down
to a breathtaking shot of Earth.
CUT TO:
9 EXT. YOSEMITE NATIONAL PARK - DAY 9
CLOSE UP - A HAND
as it clutches a sheer rock, groping for purchase.
Camera pulls back to reveal "CAPTAIN JAMES T. KIRK"
eight hundred feet above the surrounding forest. He
climbs the face of El Capitan without ropes, gromets
or equipment. Just man against mountain. Using the
cracks in the rock face for hand and foot holds, Jim
Kirk struggles up the treacherous incline, one
painful inch at a time. We hold our breath, afraid
he'll fall.
Superimpose: PLANET EARTH
YOSEMITE NATIONAL PARK
STARDATE 8454.011
10 CAMPSITE BELOW 10
DR. LEONARD "BONES" McCOY watches Kirk's progress
through futuristic binoculars with mounting unease.
From this distance Kirk resembles a small fly on a
big wall.
McCOY
(muttering toward the
mountian)
"You'll have a great time, Bones.
You'll enjoy your leave and be able
to relax."
(lowering binoculars)
You call this relaxing? I'm a damn
nervous wreck.
(a beat)
If I'm not careful, I'll end up talk-
ing to myself.
11 EL CAPITAN - KIRK 11
He inserts the pads of two fingers into a narrow crack
above his head. He exhales, focusing concentration.
Kirk pulls himself up, balancing on a ledge barely an
inch wide. Exhilarated, he pauses to admire the view.
12 KIRK'S POV 12
A breathtaking but vertigo-inducing high angle shot of
Yosemite. This may be the 23rd Century but the park
looks the same as it did three hundred years ago. There
is a soft whooshing sound and SPOCK suddenly rises into
frame.
SPOCK
Greetings, Captain.
13 WIDE SHOT 13
Spock hovers in mid-air along side the startled Kirk,
kept aloft by means of levitation boots. His hands
are clasped behind his back, typically Spock-like.
KIRK
Spock -- what brings you to this neck
of the woods?
SPOCK
I have been monitoring your progress.
KIRK
I'm flattered. Twelve hundred points
of interest in Yosemite and you pick
me.
Spock doesn't take Kirk's hint to get lost.
SPOCK
I regret to inform you that the record
time for free-climbing El Capitan is
in no danger of being broken.
KIRK
(as he climbs)
I'm not trying to break any records,
Spock. I'm doing this because I
enjoy it. Not to mention the lost
important reason for climbing a
mountain...
SPOCK
Which is?
KIRK
(with a smile)
Because its there.
SPOCK
Captain, I do not think you realize
the gravity of your situation.
Kirk slips but manages to gain a handhold and save
himself. Beneath his feet a mini-avalanche of rocks
is dislodged, tumbling to the valley below.
KIRK
(glaring at Spock)
On the contrary. Gravity is foremost
on my mind, Spock. Look, I'm trying
to make an ascent here. Why don't
you go pester Dr. McCoy for a while?
SPOCK
Dr. McCoy is not in the best of moods.
14 CAMPSITE BELOW 14
McCoy, still watching Kirk's progress, is getting an-
grier by the second.
McCOY
(grumbling)
Goddamn... Irresponsible... Playing
games with life...
15 EL CAPITAN - KIRK AND SPOCK 15
Kirk strains for the next handhold.
SPOCK
Concentration is vital. You must be
one with the mountain.
KIRK
Spock, I appreciate your concern but
if you don't stop distracting me,
I'm liable to be one with the...
16 CAMPSITE 16
McCoy lets out a gasp as he watches Kirk's tiny figure
drop down the face of El Cap.
17 ANGLE - SPOCK 17
He dives after Kirk firing boosters to increase his
speed.
18 ANGLE - KIRK 18
Twisting and turning end over end as he hurtles down-
ward. He thrashes at air, unable to defeat gravity.
19 CAMPSITE 19
McCoy turns away, unable to watch.
20 ANGLE - KIRK 20
Dropping... dropping... the ground rushing up like a
hungry mouth. A split-second before impact...
21 ANGLE - SPOCK 21
The Vulcan swoops into shot. His powerful fingers grab
Kirk by the ankle and jerk him upward in the nick of
time.
22 CAMPSITE 22
McCoy hasn't heard the expected splat. He turns to
look and what he sees is:
23 WIDE SHOT 23
Kirk is supended in air, bobbing upside down at the
end of Spock's arm.
24 CLOSER - KIRK AND SPOCK 24
The top of Kirk's head is practically touching the
ground. That's how close he came to being pizza. Kirk
blinks in disbelief.
SPOCK
Perhaps "because it is there" is not
a sufficient reason for wanting to
climb a mountain.
Kirk dangles -- undignified but lucky to be alive.
KIRK
I'm hardly in a position to disagree.
McCoy is heard in approach.
25 KIRK'S POV 25
McCoy is seen upside down.
KIRK
Hello, Bones. Mind if we drop in for
dinner?
McCOY
That's right, turn it into a big joke.
Dammit Jim, are you that anxious to
meet your maker?
CUT TO:
26 EXT. NIMBUS III - DESERT - DAY 26
Sybok and his mount ride majestically to the top of a
dune and halt. They are followed by J'onn. He's on
foot but he clambers over the dune with determination.
Behind J'onn comes another tattered homesteader. And
behind him, two more. Without warning, a virtual army
of ragged settlers swarm over the dune. They fill the
screen, aliens of every different race, the poor and
downtrodden -- united in their devotion to Sybok.
27 ANGLE - SYBOK 27
His army draws up beside him, dust rising. Sybok points
into the blurry middle distance.
SYBOK
My friends, behold Paradise.
Camera pans off Sybok. Below them sprawls the single
outpost of civilization on this desolate world -- a
small ramshackle village smack in the middle of no-
where, surrounded by high walls. A lone rider on
horseback crosses the desert, headed for the outpost.
28 CLOSER SHOT - MAIN GATE 28
Across the top of the arch, broken letters spell out
"Paradise." Some cynical jiker has added the word
"Lost." The lone rider signals the lookout sentries
who open the heavy iron gate. Camera cranes up over
the arch as the rider passes beneath and rides toward
the sleazy-looking saloon at the far end of the street.
CUT TO:
29 INT. PARADISE CITY SALOON - DAY 29
A 23rd Century equivalent of a frontier saloon. Fut-
uristic honky tonk music. The patrons are rugged,
unpleasant types. Klingons, Romulans, Andorians, you
name it. Much drink and boistrous talk. Arguments.
Fistfights. Two men play futuristic "pool" on a table
filled with water.
30 A SEXY CATWOMAN dances atop the bar, flicking her
long striped tail and hissing seductively at her
rowdy audience.
31 ANGLE ON SALOON DOOR 31
A STRANGER coming from outside approaching familiar
western-style doors. But instead of swinging open
like you'd expect, they whoosh apart automatically.
The stranger steps into the bar and the doors whoosh
back into place.
32 WIDE SHOT 32
Talk and noise go dead as the entire saloon turns its
attention to the newcomer. The stranger, seen only
from the back, steps into the squalid bar. The Bar-
tender jerks his thumb in the direction of the back
room. The stranger crosses to the back room door and
dissapears inside. Talk and noise resume.
33 INT. BACK ROOM 33
The stranger lowers the breathing device from her face
and is revealed to be a young woman. A Romulan. Her
name is CAITHLIN DAR and she stands on the threshold
of the room, trying to adjust her eyes to the murky
surroundings. She's a little nervous and a long way
from home.
The back room is an area for unwanted odds and ends. A
ceiling fan swishes overhead pushing hot air around.
TWO MEN are sprawled in chairs at opposite ends of a
table. They're too busy drinking to notice Caithlin's
entrance.
CAITHLIN
Gentlemen, I'm Caithlin Dar.
The man seated closest to Caithlin slowly swivels his
head in her direction. He wearily extracts himself
from his chair and comes forward. He's a Terran (spec-
ifically, an Englishman) named ST. JOHN TALBOT. Thin
and dissipated, alcoholic, Talbot is a veteran of the
diplomatic corps. He pats down his unruly hair and
straightens his soiled suit. He gives Caithlin a tired
smile and extends a limp hand.
TALBOT
Ah, yes. Our new Romulan represent-
ative. Welcome to Paradise City, Miss
Dar, capital of the so-called "Planet
of Galactic Peace." I'm St. John
Talbot, the Federation representative
here on Nimbus III and my charming
companion is the Klingon consul
Korrd...
Caithlin regards the hulking figure on the other end
of the table. KORRD is an old, overweight Klingon, a
once great warrior now past his prime. He doesn't
rise to greet Caithlin. Instead, he takes a swig from
a flagon and emits an earth-shaking belch.
CAITHLIN
I expect that's Klingon for hello.
Reacting to Korrds stench, Caithlin holds her breathing
device in front of her mouth.
TALBOT
He doesn't speak English.
CAITHLIN
And I don't speak Klingon.
TALBOT
I'm relieved to hear that. Please sit
down Miss Dar. Can I offer you a
drink?
Caithlin brushes the dust from a chair at the opposite
end of the table from Korrd.
CAITHLIN
(boldly)
I must say I'm shocked at what I've
seen. Hunger. Poverty. No law enforce-
ment. And here the two of you sit
drinking...
Without warning, Korrd drunkenly lets loose with a
barrage of his native tongue. (It is subtitled in
English for those who don't speak Klingon.)
KORRD
(Romulan woman belong on their backs.)
CAITHLIN
What did he say?
TALBOT
He says he hopes you'll enjoy your
tour of duty here. Might I ask, Miss
Dar, what terrible thing you did to
get yourself banished to this armpit
of the galaxy?
CAITHLIN
I volunteered.
TALBOT
(spewing grog)
Volunteered.
Talbot turns to Korrd and translates her answer into
Klingon. Korrd chortles derisively.
CAITHLIN
Nimbus III is a great experiment.
Twenty years ago when our three
governments agreed to develop this
planet together, a new age was born.
TALBOT
Your new age died a quick death. The
great drought put an end to it. And
the settlers we conned into coming
here -- the dregs of the galaxy.
They immediately took to fighting
amongst themselves. We forbade them
weapons -- they fashioned their own.
CAITHLIN
Then it appears I've arrived just in
time. The policies that the three of
us agree on will have far-reaching
results...
TALBOT
My dear girl, we're not here to agree.
We're here to disagree. This "great
experiment" as you call it was
instigated to satisfy a bunch of
bleeding hearts whining for "galactic
peace." It was intended to fail.
CAITHLIN
I'm afraid I don't share that view.
TALBOT
(pleased)
There, you see? We are disagreeing
already.
CAITHLIN
I'm here to open discussions for a
solution to these problems.
Korrd comes to life. He roars with laughter and spits
back a disgusting mouthful of Klingon. Talbot winces.
CAITHLIN
(losing patience)
What did he say? I want his exact
words.
TALBOT
He said the only thing he'd like to
open is your blouse. He's heard
Romulan women are different.
Caithlin's embarrassment turns to anger.
CAITHLIN
You tell Consul Korrd -- never mind.
I'll tell him myself in the only
Klingon I know.
Caithlin let's loose with a Klingon epithet. No trans-
lation necessary. Sputtering with rage, Korrd hurls
his flagon aside and clambers to his feet.
KORRD
(in perfect English)
Screw you too!
CAITHLIN
He does speak English!
TALBOT
(surprised)
Sly old bugger!
Further argument is interrupted by shouts from outside
and the whine of a warning klaxon.
A handful of sentries brace themselves against the gate.
It suddenly gives way. Camera climbs up over the top
of the arch to reveal Sybok's army on the threshold
of the city. In their midst, towering majestically
above them, is Sybok on horseback. He urges his mount
forward. With quiet determination, he and his army pour
under the arch and proceed up the main drag.
Townspeople scurrying for protection, anticipating an
attack. Those who consider challenging Sybok are
allayed by the crude weapons and intimidating looks
of his followers. Sybok intends to take this town by
show of force without having to fire a shot. And it
looks like he'll succeed.
34 OMITTED 34
35 EXT. STREET OUTSIDE SALOON 35
Korrd, Caithlin and Talbot emerge to see what the hub-
bub is about. When they see the approaching forces,
Korrd and Talbot immediately turn tail and run back
inside. After a moment, Caithlin follows.
36 INT. SALOON 36
Korrd, fearing the worst, goes behind the bar and
opens a bottle. He upends it and pours the contents
down his throat. He prefers to die drunk.
Talbot runs to the far side of the room and yanks a
dusty sheet off a primitive communications screen.
Caithlin rushes to his side as he desperately tries
to get it working.
The saloon doors are forced open. J'onn and several
soldiers pour in, brandishing weapons.
J'ONN
Get away from that screen!
The klaxon winds down to eerie silence as the soldiers
herd Korrd, Caithlin and Talbot together. Sybok enters.
SYBOK
(appraising them
one by one)
Romulan. Terran. Klingon. Consider
yourselves my prisoners.
TALBOT
(scoffing)
Prisoners. We're already prisoners on
this worthless ball of rock. Of what
possible value could we be to you?
SYBOK
Nimbus III may be a wonderous ball of
rock, but it does have one unique
treasure. It's the only place in the
entire galaxy that has the three of
you.
Korrd reaches for the pistol at his side. But before
his fingers can grasp it, Sybok's soldiers noisily
cock their weapons and point them at his heart. Korrd
is outgunned and he knows it. He sputters impotently.
CAITHLIN
(to Sybok; boldly)
I don't know who you are or what you
want but I can tell you this: our
government will stop at nothing to
insure our safety.
SYBOK
(with a smile)
That's exactly what I'm counting on.
On Caithlin's confused look...
CUT TO:
37 EXT. SPACE - THE EARTH - SPACEDOCK 37
Hanging in space like a big Christams ornament. The
big blue marble called Earth is visible in the
distance.
38 INT. SPACEDOCK 38
A huge, cavernous area designed as a high and dry for
space vessels. Among this warehouse of ships is the
one we know best -- U.S.S. ENTERPRISE, NCC-1701-A.
INT. ENTERPRISE BRIDGE
A meager repair crew lazily overhauls consoles and
monitors. Some things work, most do not. One thing
that does work is CHIEF ENGINEER MONTGOMERY SCOTT
who looks up as COMMUNICATIONS OFFICER UHURA enters,
stepping around cables.
SCOTTY
(grumbling to himself)
"Let's see what she's got" the Captain
said. And then we found out, didn't
we?
UHURA
I'm sure you'll whip her into shape,
Scotty. You always do.
SCOTTY
(realizing)
Uhura, why aren't you on leave?
UHURA
I thought we were going together.
SCOTTY
(indicating the
ship)
I canna leave her when she needs me
the most.
UHURA
I had a feeling you'd say something
like that. So...
(produces a food
pack)
I brought you some dinner.
SCOTTY
(touched)
Lass, you're the most understanding
woman I know.
The Bridge light starts to flash red. An ear-splitting
klaxon sounds.
COMPUTER VOICE
Red alert. Red alert.
SCOTTY
(exasperated)
I just fixed that damn thing. Turn
it off, will you?
Uhura goes to her console to switch it off but sees
something odd. She punches a button and responds.
UHURA
This is Enterprise. Identify your-
self.
COMMAND VOICE
Enterprise, this is Starfleet. We
have a Priority Seven situation in
the Neutral Zone.
UHURA
Stand by, Starfleet.
(signalig Scotty)
Scotty, it's for real.
SCOTTY
(aghast)
You canna be serious. The ship's in
pieces and we've less than a
skeleton crew on board.
UHURA
Starfleet, are you aware of our current
status?
COMMAND VOICE
Current status understood. Stand by to
copy operational orders and recall key
personnel.
Uhura and Scotty share grim looks.
CUT TO:
40 EXT. EARTH - FOREST - DAY 40
COMMANDER SULU and CHEKOV tramp through dense woods.
From their weary expressions, its clear they've been
hiking a long time. Sulu leads the way, Chekov
trudges behind him.
CHEKOV
Admit it. We're lost.
SULU
All right, we're lost.
(with a smile)
But we're making good time.
Sulu's communicator beeps.
SULU
I don't believe this.
(flips it out)
Commander Sulu here.
INTERCUT WITH:
41 INT. ENTERPRISE - BRIDGE 41
Uhura studies a monitor showing Sulu and Chekov as two
blips on a grid.
UHURA
Commander Sulu, this is Enterprise.
Bad news, gentlemen. Shore leave's
been cancelled.
CHEKOV
(with relief)
Rescued at last.
UHURA
Return to the prearranged coordin-
ates for pickup.
Sulu and Chekov look at each other.
CHEKOV
(whispering)
Don't tell her you're lost. You'll
never live it down.
UHURA
Is there a problem, gentlemen?
SULU
Er... yes. We've been caught in a
blizzard!
CHEKOV
(playing along)
And we can't see a thing. Request
you direct us to the co-ordinates.
Chekov provides blizzard noises.
On Enterprise, Uhura listens to the "blizzard" and
checks her graphics display for weather report. She
smiles.
UHURA
I'm sorry about your weather. My
visual says sunny skies and seventy
degrees.
CHEKOV
(improvising)
Sulu! Look! The sun's come out! It's
a miracle!
UHURA
(chuckling)
Don't worry, fellas. Your secret's
safe with me. I'll send the shuttle-
craft to pick you up.
SULU
Uhura, we owe you one. Sulu out.
Sulu and Chekov sit down on a boulder to wait.
SULU
(continuing)
I should have gone to Yosemite with
the Captain.
CHEKOV
What's the difference? If you've
seen one national park, you've seen
them all.
Camera tilts up to reveal Mt. Rushmore in the back-
ground. We pan the granite faces of Washington,
Jefferson, Roosevelt, Lincoln and -- surprise -- the
face of a fifth president (who happens to be a woman.
A black woman.)
CUT TO:
42 EXT. YOSEMITE - CAMPSITE- NIGHT 42
McCoy stands over a blazing campfire. A covered pot
simmers on the coals. McCoy picks up a pan and bangs
on it with a spoon. He's slightly tipsy.
McCOY
(calling out)
Come and get it.
Camera pulls back to reveal Kirk and Spock two feet
away.
KIRK
Knock it off, Bones. We're right here
and we're starving.
McCoy grins and crouches beside the covered pot. He
revels in their undivided attention.
SPOCK
Bi-podal seeds, Doctor?
McCOY
Beans, Spock -- but no ordinary beans.
These are from an old Southern recipe
handed down to me by my father. And
if you turn your Vulcan nose at
these, you're not just insulting me,
you're insulting countless gener-
ations of McCoys.
SPOCK
In that case, I have little choice
but to sample your... beans.
McCoy ladles out the beans. Kirk tears into his. Spock
tries a forkful. He finds the taste strangely exciting.
SPOCK
Surprisingly good. However, it contains
a flavoring I am not familiar with.
McCOY
That's the secret ingredient.
Spock eats with enthusiasm.
KIRK
Got any more of that secret ingredient,
Bones?
McCOY
You bet your buns.
McCoy grins and pulls out a bottle of bourbon. Spock
stops in mid-chew and McCoy fills Kirk's cup.
SPOCK
Am I to understand that your secret
ingredient is... alcohol?
McCOY
Bourbon, Spock. Kentucky bourbon.
Care for a snort?
KIRK
Bourbon and beans. An explosive combin-
ation. Do you think Spock can handle
it?
McCOY
Couldn't possibly affect his Vulcan
metabolism.
SPOCK
As you are so fond of pointing out,
Doctor, I am half human.
McCOY
Certainly doesn't show.
SPOCK
Thank you.
McCOY
This guy never changes. I insult him
and he takes it as a compliment.
(pouring himself
another shot)
You know, the two of you could drive
a man to drink.
KIRK
(innocent)
What did I do?
McCOY
You really piss me off, Jim. Human
life is far too precious to risk
on crazy stunts. Maybe it didn't
cross your macho mind but when you
fell off that mountain you should
have been killed.
KIRK
It crossed my mind.
McCOY
And?
KIRK
Even as I fell, I knew I wouldn't
die.
McCOY
(indicating Spock)
I thought he was the only one who's
immortal.
KIRK
It's not that, Bones. I knew I wouldn't
die because the two of you were with
me.
SPOCK
I do not understand.
KIRK
(darkly)
I've always known I'll die alone.
McCOY
(frowning)
I'll call Valhalla and reserve you a
room.
(shaking his head)
It's a mystery that draws us together.
All that time in space -- gettin on
each other's nerves -- and what do we
do when shore leave comes along?
Spend it together. Other people have
families.
KIRK
(wistful)
Other people, Bones. Not us.
They dwell on this thought for a moment. Then, Kirk
notices that Spock has removed a sack from his back-
pack. Spock reaches into the sack and takes out a
marshmallow which he attaches ot the end of a pointed
stick.
KIRK
What are you doing, Spock?
SPOCK
I am preparing to toast a marsh melon.
Marsh melon? Kirk and McCoy hide their smiles as Spock
holds the marshmallow over the fire.
McCOY
Well, I'll be damned. A marsh melon.
Where did you learn that?
SPOCK
Before leaving the ship I consulted
the library computer to familiarize
myself with the customs of "camping
out." The evening meal is tradition-
ally followed by the toasting of
marsh melons.
Spock offers sticks and marshmallows to Kirk and McCoy
who play along, amused by Spock's dead serious approach
to frivolity.
McCOY
Tell me something, Spock. What do we
do after we toast the marsh... er,
melons?
SPOCK
We consume them.
McCOY
I know we consume them, I mean after
that.
SPOCK
I believe we are required to engage
in a ritual known as the sing-a-long.
KIRK
I haven't sung around a campfire since
I was a boy in Iowa. What should we
sing? Bones?
McCOY
(thinking)
How about "Camptown Races?"
KIRK
"Pack Up Your Troubles."
SPOCK
Are we leaving, Captain?
McCOY
It's a song title, Spock.
SPOCK
Ah.
KIRK
"Moon Over Rigel Seven?"
McCOY
"Row, Row, Row Your Boat."
KIRK
Excellent. Do you know it, Spock?
SPOCK
I did not encounter that song in my
research.
KIRK
The lyrics are simple: "Row, row,
row your boat, gently down the
stream...merrily,merrily, merrily,
merrily, life is but a dream."
Bones and I will start it off and
when we give you the signal, jump
in. Doctor if you please...
McCoy takes a hit of booze and clears his throat.
McCOY
Don't say I didn't warn you.
McCoy starts to sing. Kirk joins in. Maybe it's the
bourbon but the two of them sound pretty good.
KIRK AND McCOY
(overlapping)
"Row, row, row your boat gently down
the stream merrily, merrily, merrily,
merrily, life is but a dream..."
They signal Spock that it's his turn to jump in but
the Vulcan merely regards them quizzically. The
sing-a-long grinds to a halt.
KIRK
What's wrong, Spock? Why didn't you
join in?
SPOCK
I was trying to comprehend the mean-
ing of the words.
McCOY
(losing patience)
It's a song, you green-blooded son of
a Vulcan. You sing it. The words
aren't important. What's important is
that you have a good time singing it.
SPOCK
(sincere)
I am sorry, Doctor. We're we having a
good time?
McCOY
(giving up)
I liked him better before he died.
McCoy rolls out his sleeping bag.
KIRK
Why don't we call it a night and get
some sleep? I'm anxious to have
another go at El Cap in the morning.
McCOY
Over my dead body.
They prepare for bed.
43 LONG SHOT - CAMPSITE 43
Under a twinkling sky, the three men settle into their
sleeping bags. Faint night sounds. Crickets. An owl.
Then...
SPOCK
(toubled)
Captain?
KIRK
We're on leave. Call me Jim.
SPOCK
Jim?
KIRK
Yes, Spock?
SPOCK
LIfe is not a dream.
KIRK
(with a sigh)
Go to sleep, Spock.
They go to sleep. Stars twinlke overhead.
CUT TO:
44 EXT. SPACE 44
A NASA Pioneer probe tumbles through space. Ancient,
forgotten, the device is flotsam. On it's side is a
plaque showing image of two humans and simple mathe-
matical and scientific symbols. It comes past camera
and out of this distortion, a Klingon Bird of Prey
materializes.
45 INT. BIRD OF PREY - BRIDGE 45
Doors seperate to admit KLAA, the Bird of Prey's
swashbuckling young captain. He is met by VIXIS, his
first officer, a statuesque Klingon female. It's
clear she adores Klaa.
VIXIS
(Captain Klaa, we have a target in
sight. A probe of ancient origin.)
KLAA
(Difficult to hit?)
VIXIS
(Most difficult.)
KLAA
(Good.)
Klaa's crew watches with excitement as their captain
straps himself into his command chair which has been
equipped with an elaborate gunner's rig allowing
Klaa to do the shooting himself.
KLAA
(All weapons to my control.)
A periscope-like device swings into position in front
of Klaa's flashing eyes.
46 PERISCOPE - KLAA'S POV 46
The probe is a tiny traveling speck in the distance.
Its course is erratic.
47 EXT. SPACE 47
The probe tumbles through space as the Bird of Prey
swoops down for the attack. Machine gun-like phasers
are mounted on the Bird's wings. They come to life
and swivel, blasting a flange off the front of the
probe. A second blast destroys a fin on the rear of
the craft. A third shot blows away the antennae.
Klaa is toying with the target.
48 INT. BIRD OF PREY - BRIDGE 48
The crew cheers each hit. They admire their captain
and his deadly skill. But Klaa seems dissatisfied.
He hesitates finishing the probe off.
KLAA
(Shooting space garbage is no test of
a warrior's mettle. I need a target
that fights back.)
VIXIS
(Captain, we are receiving a priority
message from Operations Command.)
Klaa unstraps himself from the command chair and joins
Vixis at a monitor screen. The fearsome face of A
KLINGON COMMANDER fills the screen and starts barking
Klingon over shots of Nimbus III and the Paradise
outpost. It's clear the Bird of Prey is being ordered
to Nimbus III. Klaa and Vixis are charged with
excitement.
VIXIS
(One of the hostages is a Klingon.)
KLAA
(And the others?)
VIXIS
(A Terran and a Romulan.)
KLAA
(That means the Federation will be
sending a rescue ship of its own.
Plot course for Nimbus III.)
Unable to contain his excitement, Klaa returns to his
command chair.
KLAA
(continuing)
(I've always wanted to engage a Fed-
eration ship.)
49 EXT. SPACE - ANGLE - BIRD OF PREY 49
The crippled NASA probe wobbles into the foreground,
almost out of range. In the far distance, the Bird of
Prey. Klaa's guns come to sudden life and blow the
probe to atoms in a blinding flash of light.
CUT TO:
50 EXT. YOSEMITE - NIGHT 50
Another blinding light, this one a ball of great int-
ensity sets down on the edge of the campsite, rousing
Kirk, Spock and McCoy from sleep.
McCOY
Get that damn light out of my face!
The three men rise and watch as a figure in silhouette
emerges from the light and comes forward. It's Uhura.
UHURA
Mister Scott appologizes for having
to send the shuttlecraft but the
transporter beam is not operational.
Captain, we've recieved important
orders from Starfleet.
KIRK
Why didn't you beep my communicator?
UHURA
You forgot to take it with you.
Uhura hands Kirk his communicator. It's clear he left
it behind on purpose.
KIRK
Wonder why I did that?
(to Spock and McCoy)
Well. gentlemen, it appears shore
leave's been cancelled. Pack out
your trash.
CUT TO:
51 EXT. EL CAPITAN - NIGHT 51
The bright light leaves the deserted campsite and rises
against the mountain. It turns toward camera and
reveals itself as a sleek shuttlecraft of impressive
design. Aft thrusters fire and it shoots skyward.
52 INT. SHUTTLECRAFT GALILEO 5 52
This is the Galileo 5, capable of transporting two dozen
personnel. At the moment its passengers are Kirk, Spock,
McCoy and Uhura who pilots the craft.
53 EXT. SPACE - ANGLE - ENTERPRISE 53
The ship is seen in her shining glory above Earth,
framed against a full moon. The approaching Galileo is
dwarfed by the magnificent starship.
54 INT. GALILEO 54
Kirk gazes fondly at Enterprise.
KIRK
"... and all I ask is a tall ship and
a star to steer by."
McCOY
Melville.
SPOCK
John Masefield.
McCOY
Are you sure about that?
SPOCK
I am well-versed in the classics, Dr.
McCOY
(cantankerous)
Then how come you don't know "Row Your
Boat?"
Spock raises an eyebrow.
55 INT - ENTERPRISE - CONTROL BOOTH OVERLOOKING THE 55
LANDING BAY
A crewman watches a graphic of the approaching shuttle-
craft.
UHURA'S VOICE
Ready for landing maneuver. Enterprise,
you have control.
SULU'S VOICE
Roger, Galileo 5. Open by door. Trans-
fer power to the tractor beam.
56 EXT. ENTERPRISE - FAVORING LANDING BAY 56
Bay doors open to receive Galileo. The tractor beam
locks on to the shuttlecraft and slowly pulls her
inside. It's a delicate maneuver. Even with wings re-
tracted, the Galileo clears the door with only a few
feet on either side.
57 CONTROL BOOTH OVERLOOKING LANDING BAY 57
The crewman operates the controls.
58 BAY AND STAGING AREA 58
The shuttlecraft comes in for a smooth landing. Its
side hatch opens to allow Kirk and company to exit.
There's no one to greet them, just a few crewmen
scurrying around. Scotty appears. He may be exhausted
and covered with grime but he's in his element.
SCOTTY
All I can say is they don't make 'em
like they used to.
KIRK
You told me you could have the ship
operational in two weeks. I gave
you three. What happened?
SCOTTY
I think you gave me too much time,
Captain.
KIRK
(hiding a smile)
Very well, Mister Scott. Carry on.
SCOTTY
Aye, sir. No rest for the weary.
(shouting to some
unfortunate crewman)
How many times do I have to tell you?
The right tool for the right job...
Camera follows Kirk into the turbolift where Spock,
McCoy and Uhura await.
McCOY
(indicating Scotty)
I don't think I've ever seen him hap-
pier.
ELEVATOR VOICE
(badly slurred)
Level please.
KIRK
Bridge, I hope.
Turbolift doors close with a grinding sound. Kirk, Spock,
McCoy and Uhura are carried upward.
KIRK
(to Spock; casually)
I could use a shower.
SPOCK
Yes.
A surprised reaction from Kirk.
CUT TO:
59 INT. ENTERPRISE - BRIDGE 59
Computers come to life. Screens activate.
60 ANGLE - TURBOLIFT 60
A whoosh but only half the automatic door slides open.
The other half is stuck. Kirk must manually force it
open to enter the Bridge.
KIRK
Doesn't anything work on this ship?
YEOMAN
Captain on the Bridge.
AN ATTRACTIVE YEOMAN comes forward with the jacket of
Kirk's uniform. He shrugs off his camping jacket to
reveal a "Go Climb A Rock" t-shirt underneath. Uhura
and Spock go to their stations. McCoy shakes his head
at the noisy, messy Bridge.
McCOY
Starfleet's got some nerve sending
us out in this condition. Why, the
ship's a virtual ghost town.
UHURA
Ready for Starfleet transmission.
KIRK
(raising his voice)
Could we have a little quiet, please?
(work and noise stop
at once)
Thank you.
(to Uhura)
On screen, Commander.
61 INTERCUT WITH BRIDGE VIEWSCREEN 61
Kirk is still fiddling with his buttons as the face of
THE STARFLEET COMMANDER appears. Behind the Commander,
images and data. The image is shaky at first.
COMMANDER
Am I on?
KIRK
Bob?
COMMANDER
Enterprise, this is Starfleet Oper-
ations.
(peers uncertainly)
Jim...? You're dressing rather
informally, I see.
KIRK
You caught me on my way to the shower.
COMMANDER
Understand, sorry to interrupt your
shore leave but look, we've got a
dangerous situation on Nimbus III.
KIRK
(ironic)
On "the planet of Galactic Peace?"
COMMANDER
The same. From what we can make out,
a terrorist force has capturted the
only settlement and taken hostages
of the Klingon, Romulan and
Federation consuls. Now I know
Enterprise isn't completely up to
specs...
KIRK
Will all respect, Enterprise is a
disaster. There must be other ships
in the quadrant...
COMMANDER
Other ships, no experienced command-
ers. Captain... I need Jim Kirk.
KIRK
Go ahead, Bob.
COMMANDER
Your orders are to proceed to Nimbus
III, assess the situatino, and avoid
confrontation if possible. But, above
all, you've got to get those hostages
out safely.
KIRK
Have the Klingons responded?
COMMANDER
No, but you can bet they will.
Kirk addresses his expectant crew.
KIRK
(continuing)
I'm afraid the ship's problems will
have to be solved en route. Since
we're undermanned, I'm counting on
each of you to give his best. End
of speech, let's get to work. Mister
Sulu, plot course to Nimbus III.
SULU
Aye, sir. Plotted.
McCoy sidles over to Kirk.
McCOY
If you ask me, Jim, and you haven't,
this is a terrible idea. We're bound
to bump into the Klingons and they
don't exactly like you.
KIRK
The feeling's mutual. Engine room.
SCOTTY'S VOICE
Scotty here.
KIRK
We'll need all the power you can
muster, Mister.
SCOTTY'S VOICE
Dinna you worry, Captain. We'll beat
those Klingon devils even if I have
to get out and push.
KIRK
I'll keep your offer in mind, Mister
Scott. Best speed, Mister Sulu.
Kirk settles into his command chair. He shifts uncom-
fortably.
McCOY
What's wrong, Jim?
KIRK
I miss my old chair.
62 EXT. SPACE - ANGLE - ENTERPRISE 62
Enterprise edges away from the moon at impulse power.
Then, like she was fired from a slingshot, the ship
warps into space.
CUT TO:
63 ANOTHER PART OF THE GALAXY 63
The Bird of Prey slices through the fabric of space
headed for Nimbus III.
64 INT. BIRD OF PREY - BRIDGE 64
Klaa paces his deck like a restless buccaneer, eager
for confrontation. Vixis approaches.
VIXIS
(We've just intercepted an encoded
message on the Federation frequency.
The Starship Enterprise has been
dispatched to Nimbus III.)
KLAA
(Enterprise? That's Kirk's ship.)
Klaa's eyes flash with excitement. This news is too
good to be true.
VIXIS
("There will be no peace as long as
Kirk lives." Our Empire's highest
bounty has been placed on his head.)
KLAA
(James T. Kirk -- I've followed his
career since I was a boy. A man to
admire... and hate. If I could defeat
Kirk...)
VIXIS
(... you would be the greatest warrior
in the galaxy.)
This fact isn't lost on Klaa.
KLAA
(Maximum speed!)
The crew hops to it. Klaa turns to Vixis and gives her
the chest thumping Klingon salute.
KLAA
(Success!)
Vixis passionately returns the gesture.
VIXIS
(Success... my captain.)
CUT TO:
65 EXT. SPACE - ANGLE - ENTERPRISE 65
As she sails toward the Neutral Zone.
KIRK'S VOICE
Captain's Log, Stardate Eighty Four --
(the recording malfunctions)
Try again, Captain's Log, Stardate
Eighty --
(recording malfunctions again)
Forget it.
66 INT. ENTERPRISE - BRIDGE 66
Uhura addresses Kirk from her station.
UHURA
Captain, we're receiving the hostage
information you requested.
KIRK
On screen.
Spock and McCoy come forward to watch.
67 INTERCUT WITH BRIDGE VIEWSCREEN 67
The screen comes to life and fizzles out. Then pops
back on. Factual information, photographs, film and
visual illustrations depict the background of the
three hostages.
KIRK
Not General Korrd.
SPOCK
The same. He has apparently fallen
out of favor with the Klingon High
Command. His appointment to Nimbus
III appears to be a form of
banishment.
KIRK
(fondly)
Korrd's military strategies were re-
quired learning when I was a cadet
at the Academy. When they put me out
to pasture, I hope I fare better
than Korrd.
McCOY
This must be the hostage tape.
A tape of poor quality. Image and sound come and go.
A static shot of Caithlin Dar, flanked by Talbot
and Korrd. Unlike the lively girl of the first scene,
Caithlin is now restrained, dazed. Talbot and Korrd
are also strangely subdued. In the b.g. we can see
several of Sybok's soldiers brandishing weapons.
SPOCK
Their weapons appear to be extremely
primitive.
CAITHLIN
At fourteen hundred hours we willingly
surrendered ourselves to the forces of
the Galactic Army of the Light. At
this moment, we are in their protective
custody. Their leader assures us that
we will be treateds humanely as long as
you co-operate with his demands. I
believe his sincerity. He requests that
you send a Federation starship to
parlay for our release. Be assured we
are in good health...
McCOY
(scoffing)
Hostage mentality if ever I saw it.
CAITHLIN
... and would appreciate your immediate
response.
Sybok looms into shot, blocking the captives.
SYBOK
I deeply regret this desperate act but
these are desperate times. I have no
desire to harm these innocents but do
not put me to the test. I implore you
to respond within twenty-four hours.
End of transmission. Spock strides to Uhura's console.
He backwinds the tape and freeze frames on Sybok's
face. It's blurry, indistinct. Spock is transfixed by
the image.
KIRK
(concerned)
What is it, Spock? You look like
you've just seen a ghost.
SPOCK
Captain... perhaps I have.
Spocks turns and exits.
CUT TO:
68 EXT. DEEP SPACE - ANGLE - ENTERPRISE 68
As the ship comes past camera, we move in on a single
window in the forward area of the dish.
69 INT. ENTERPRISE - FORWARD OBSERVATION ROOM 69
A vast area designed for contemplation. The most ar-
resting feature is an antique ship's wheel -- the kind
Horatio Hornblower might have steered. The wheel stands
in front of tall curving windows that offer an
impressive space vista.
Spock is beside the wheel, staring at the stars, lost
in thought. In his mind he hears A DISTANT VOICE FROM
THE PAST.
VOICE
I will find Sha Ka Ree...
Kirk and McCoy enter with urgency and approach Spock,
interrupting his revery. Throughout the following,
Spock continues to stare thoughtfully at the stars.
KIRK
Spock, what is it? Do you know this
Vulcan?
SPOCK
I cannot be sure.
KIRK
But he does seem familiar.
SPOCK
He reminds me of someone I knew in
my youth.
McCOY
Why, Spock, I didn't know you had one.
SPOCK
I do not often think of the past.
KIRK
(gently)
Spock, who is it he reminds you of?
SPOCK
(through the haze of
memory)
There was a young student... except-
ionally gifted... possessing great
intelligence. It was assumed that
one day he would take his place
amongst the great scholars of Vulcan.
But he was a revolutionary.
KIRK
What do you mean?
SPOCK
The knowledge and experience he sought
were forbidden by Vulcan belief.
KIRK
Forbidden?
SPOCK
He rejected his logical upbringing
and embraced the animal passions of
our ancestors.
KIRK
Why?
SPOCK
He believed that the key to self-
knowledge was emotion... not logic.
McCOY
Imagine that. A passionate Vulcan.
SPOCK
When he encouraged others to follow
him, he was banished from Vulcan,
never to return.
KIRK
(studying Spock)
Fascinating.
UHURA'S VOICE
Captain to the Bridge.
KIRK
On my way.
Kirk and McCoy head for the exit. Kirk hesitates on the
threshold. He looks back into the room. Spock is still
at the window, lost in thought.
KIRK
(continuing)
Spock...?
Spock snaps out of it. He hurries to join Kirk.
SPOCK
Coming, Captain.
CUT TO:
70 EXT. SPACE - NIMBUS III 70
That imposing ball of rock.
SULU (O.S.)
Approaching Nimbus III.
71 INT. ENTERPRISE - BRIDGE 71
This time it's the other half of the turbolift door that
fails to open. Kirk shoves it open so that he, Spock and
McCoy can enter.
Nimbus III is on the viewscreen.
UHURA
Hailing fequencies open.
KIRK
(taking his seat)
Standard orbit, Mister Sulu.
UHURA
Captain, we're receiving a transmis-
sion from Paradise City. They demand
to know our intentions.
KIRK
Respond with static. Let them think
we're having difficulty. It wouldn't
be far from the truth.
UHURA
(into her speaker)
Paradise City, can you boost your
power? We are barely receiving
transmission.
KIRK
Any sign of Klingon vessels?
SPOCK
Scanning.
KIRK
Transporter room. Status.
72 INT. TRANSPORTER ROOM 72
Scotty, hard at work.
SCOTTY
Scotty here, Captain. Transporter
still inoperative. Even if we
could lock on to the hostages, we
canna beam them up.
BACK TO SCENE.
KIRK
Then we'll have to get them out
the old fashioned way.
SPOCK
Klingon vessel now entering quad-
rant. Bird of Prey. Estimating
1.0 hours until her weapons come
to bear.
KIRK
Damn.
(as he rises)
Let's move.
CUT TO:
73 EXT. NIMBUS III - PARADISE CITY - NIGHT 73
Its walls and craggy structures loom against the
planet's twin moons.
74 INT. SALOON 74
Tables and chairs have been cleared aside. A single
figure stands before an old-fashioned communications
screen. It's Sybok, waiting with great patience.
UHURA'S VOICE
Paradise City, this is the Starship
Enterprise.
SYBOK
(pleased)
A Federation ship.
An image flickers and takes hold on the screen. We see
the Bridge of the Enterprise. The command chair swings
around and reveals its occupant to be Chekov.
CHEKOV
This is Captain Pavel Chekov speaking.
You are in violation of Neutral Zone
treaty. I advise you to release your
hostages at once or suffer the
consequences.
Sybok regards Chekov with a calm smile.
SYBOK
Your threats amuse me, Captain Chekov.
What consequences did you have in mind?
CUT TO:
75 EXT. SPACE - NIMBUS III 75
The shuttlecraft Galileo 5 streaks toward the planet's
surface deploying wings as it enters the atmosphere.
76 INT. GALILEO 76
Low Level combat lighting. Sulu occupies the pilot's
seat. Nearby are Uhura and seven Enterprise crewmen.
Kirk and Spock are huddled over a graphics screen.
They are dresses in field uniform. Phasers and
transparent shields have been dispensed.
SPOCK
Their scanning systems are primitive
but effective. I recommend we land
here co-ordinate Eight Five/ Six
Three.
KIRK
That puts us pretty far away from
Paradise City.
SPOCK
To land any closer would be to risk
detection.
KIRK
Mister Sulu... execute.
77 EXT. DESERT - NIGHT 77
The shuttlecraft swoops out of the dark sky and skims
the surface of Nimbus III.
78 INT. GALILEO 78
Kirk and Spock are side by side. Kirk buckles himself
in, then notices that Spock is lost in thought has
not buckled up. Kirk leans over and buckles Spock's
belt for him.
KIRK
You okay, Spock?
SPOCK
I am fine, Captain.
(trying to reassure
him)
Damn fine.
Kirk wonders.
79 EXT. PARADISE CITY 79
Its lights are tiny specks in the dark desert landscape
as the Galileo comes in for a landing some distance away.
80 INT. SALOON 80
Chekov addresses Sybok from the communication screen.
CHEKOV
Even as we speak, a Klingon warship
is on its way. We estimate arrival
within the hour.
SYBOK
I imagine the Klingons will be
quite angry.
CHEKOV
You are a master of understatement.
They're likely to destroy the
planet.
SYBOK
Then its fortunate I have you and
your starship to protect me. In
the meantime, Captain, I instruct
you and your first officer to
beam down to my co-ordinates.
CHEKOV
(playing for time)
We will be happy to beam down but
first we must have certain
assurances.
SYBOK
(weakly)
Name them.
CUT TO:
81 EXT. NIMBUS III - DESERT - NIGHT 81
Galileo lies behind a dune. The lights of Paradise
city are glimpsed over the rise, a mile off.
82 ANGLE - GALILEO 82
The crewmen zll spill out, lining up in formation,
clutching their rifles and shields. Kirk and Spock
scramble up the side of the dune and scan the
distant outpost with night vision binoculars. There's
nothing between them but flat expanse.
SPOCK
At footspeed I estimate the journey
to Paradise City at 1.2 hours.
KIRK
We don't have 1.2 hours.
(looking O.S.)
Wait a minute...
83 KIRK'S POV - THROUGH BINOCULARS 83
A tiny oasis in the near distance.
CUT TO:
84 EXT. OASIS - NIGHT 84
A BAND OF RAGTAG SOLDIERS gather around a campfire.
They are six in number, all men, members of Sybok's
force. They are heavily robed to retard the night
chill. They chat and drink. Nearby, their horses
sip from a meager spring.
A woman's song floats out of the darkness -- soft
and mysterious, seductive. The soldiers look at each
other in surprise, then rise en masse to seek the
scource of the singing. One of them points O.S. with
excitement.
85 THEIR POV 85
In the distance, atop a dune and silhouetted against
the low hanging twin moons... a female! But not just
any female. This siren undulates as she sings, moving
sensuously.
86 CLOSER SHOT 86
It's Uhura.
87 THE SOLDIERS 87
Drawn like moths to a flame. They stumble over each
other to get a closer look, climbing on hands and
knees up the steep dune were Lorelei Uhura waits at
the top.
88 ANGLE FROM BELOW 88
The slavering soldiers have almost reached the summit
when they hear whinnies from their horses. The soldiers
tear their eyes away from Uhura and look back to camp.
89 OASIS 89
The Enterprise crew is rounding up the horses.
90 SOLDIERS 90
They turn back to Uhura who towers above them, a phaser
in each hand.
UHURA
I've always wanted to play to a
"captive" audience.
Armed Enterprise crewmen enter shot to back her up.
CUT TO:
91 EXT. DUNES - NIGHT 91
Snarling horses pound over a rise, sending sand in all
directions. Riders hurtle past camera with flowing
capes and cowled faces. Ahead of them, Paradise City.
Behind them, the desert -- a sea of darkness.
92 ANGLE - KIRK AND SPOCK 92
Kirk rides with determination, his face nearly hidden
behind a burnoose. He looks over at the rider beside
him. It's Spock, bouncing stiffly on the saddle,
doing all he can to hang on.
KIRK
Spock.
SPOCK
Yes, Captain?
KIRK
(can't resist)
Be one with the horse.
93 EXT. PARADISE CITY GATE 93
Armed sentries watch from the walls as the scruffy
band of horsemen cross the desert. J'onn, Sybok's
convert appears, looking concerned.
J'ONN
It's our look-out party. Open the
gate.
The huge iron gate wings open.
94 ANGLE - THE HORSEMEN 94
They gallop at full tilt, lead by Kirk. He shouts
frantically to the sentries.
KIRK
Federation soldiers -- about a mile
behind us! Close the gate!
As Kirk and his party gallop through, the gate is
closed behind them.
95 INT. PARADISE 95
Kirk and the company rein their horses to a stop. Much
movement and confusion. He shouts to J'onn and the
soldiers on the walls.
KIRK
There's more than a hundred of them!
Fortify the walls!
J'onn and the soldiers turn their attention to the
desert and prepare themselves for the confrontation.
96 MAIN STREET 96
As soldiers rush past them to defend the walls, Kirk
and company coax their horses toward the saloon at
the end of the street. They ride slowly, not wanting
to attract any more attention than they have.
Occasionally a crewmember drops away from the group
and dismounts taking a position where he can lay
down cover for the eventual escape.
97 ANGLE - THE HORSEMEN 97
Kirk's eyes sweep around. There are soldiers on most
of the rooftops, heavily armed and dangerous looking.
KIRK
(urgent whisper)
Spock.
Spock hides a tri-corder in his lap.
SPOCK
Hold your horse, Captain. I am scan-
ning.
(indicating the saloon)
The hostages are in the structure
just ahead.
Hiding it from view, Kirk raises a communicator to
his lips.
KIRK
Galileo, this is Strike Team. Start
your run.
UHURA'S VOICE
Aye, sir. On my way.
98 GATE 98
While the others watch the desert, J'onn turns to watch
the horsemen.
J'ONN
(suspicious)
Where are they going?
J'onn rushes to the big spotlight anchored on the wall.
He wings its bright beam in the direction of the
horsemen.
99 STREET 99
Spock and his tri-corder and Kirk and his communicator
are revealed as the light sweeps across him. Kirk and
the others turn and react to the light, realizing that
the jig is up.
KIRK
(shouting)
Phasers on stun! Get rid of the
mounts! Sulu, take out that light!
The crewmen dismount and whip out the phaser rifles
they've hidden under their robes.
100 ANGLE - SULU 100
Sulu spurs his horse and charges the spotlight as
pebbles fired from the enemy's crude weapons whiz
around them like angry hornets. He gallops toward the
blinding light, raises his phaser and with an expert
shot, blows it to bits. The street goes dark, lit now
by neon and the flash of gunfire and phasers.
101 SERIES OF SHOTS 101
The soldiers on the walls and rooftops open fire with
their crude weapons. The Enterprise crewmen fight back
from strategic positions along the street, expertly
picking off the enemy and using their transparent
shields to repel the volley of pebbles.
102 INT. SALOON 102
Sybok reacts to the gunfire.
SYBOK
What's going on?
CHEKOV
I instruct you to surrender at once.
You are under attack by superior
Federation forces.
SYBOK
(angered)
Do you realize what you've done? It
wasn't bloodshed I was after.
Sybok turns and strides out of the room, his robes
swirling around him.
CHEKOV
(on the screen)
Wait! Come back!
103 EXT. STREETS OF PARADISE - A SERIES OF SHOTS 103
A symphony of smoke and rapid gunfire.Dizzying action.
Running figures. Stampeding horses.
104 ANGLE - KIRK 104
He charges his horse in the direction of the saloon,
clenching the reins with one hand and firing his
phaser with the other. Enemy soldiers scatter in his
wake.
105 ANGLE - SPOCK 105
The Vulcan dismounts. As he heads for the saloon AN
ENEMY SOLDIER leaps from a balcony, landing squarely
in the saddle of Spock's horse. Armed with a sword
the Soldier urges the steed forward to trample Spock.
As Spock turns in response, the Soldier rears the
horse up on its hind legs. Hooves threaten to pummel
Spock into hamburger.
Spock calmly reaches up and presses his fingers into
the horses's neck, executing a Vulcan nerve pinch.
The horse collapses at Spock's feet. The rider
stumbles off, gapping at disbelief at the Vulcan.
Spock arches an eyebrow at him. The rider turns and
runs like hell.
106 ANGLE - KIRK 106
He thunders up the steps of the saloon on horseback.
Kirk swings down and stuns a soldier with a phaser
blast.
107 EXT. ROOFTOP 107
Sybok's soldiers set up a multiple pipe weapon cranked
like a Gatling gun. Like the other weapons it uses
pebbles for bullets. One of them catches an Enterprise
crewman in the leg. He goes down.
108 ANGLE - McCOY 108
The doctor rushes to the wounded crewman who clutches
his leg. McCoy drags him to safety and digs into his
kit.
McCOY
I haven't seen a wound like that since
med school. These people are savages.
McCoy passes an instrument over the wound that emits a
healing ray and effects the pebble. The crewman flexes
his leg. All better. McCoy gives the pebble to the
crewman.
McCOY
Here's a souvenir.
(warning)
Stay off that leg for at least two
minutes.
109 INT. SALOON 109
Dark and empty. Phaser drawn, Kirk cautiously makes
his way across the room when, with a sudden hiss,
the Dancing Catwoman leaps over the bar and pounces
on his back. As she claws at him, Kirk twirls her
around in an "airplane spin" and throws her the
length of the room. The Catwoman lands in the "pool"
table, sending up waves of water that soak the walls.
110 ANGLE 110
Spock enters and reacts to the unconscious Catwoman
as Kirk blasts open the door to the back room.
Caithlin, Korrd and Talbot look up in surprise. Kirk
breathes a sigh of relief.
KIRK
Thank God.
Spock appears at Kirk's side as Kirk signals for the
Hostages to follow them. But the hostages confound
them by pointing three crude pistols at their heads.
KIRK
(continuing)
What the --
CAITHLIN
Please co-operate.
TALBOT
(quite sobor)
Would you mind handing over those
weapons?
111 OMITTED 111
- -
115 115
116 EXT. PARADISE - WIDE SHOT 116
The shuttlecraft has landed and been captured. Sybok's
soldiers shout their victory from the gates and roof-
tops. Others swarm into the street.
117 STREET 117
Kirk and Spock are marched out of the saloon by the
hostages. The rest of the Enterprise crew is herded
together.
118 ANGLE 118
Sybok appears from behind the shuttlecraft to thund-
erous cheers. The soldiers shout his name.
SYBOK
(above their cheers)
Well done, my friends. Well done.
As the cheers begin to die, Spock detaches himself
from Kirk and McCoy. In Vulcan he calls to Sybok
whose back is turned.
SPOCK
Qual es tu... Sybok?
Silence. Sybok cocks his head to one side. For the
first time we see him vulnerable. He's afraid to
turn and look. The voice... the question... It
couldn't possibly be who he thinks it is. Or could
it?
SPOCK
Qual es tu?
Now Sybok knows he's not dreaming. He pivots and con-
fronts Spock across a distance of several yards.
Soldiers move away, clearing a path between the two
Vulcans.
SYBOK
(a choke of emotion)
Spock...
J'onn reacts with amazement.
SYBOK
(continuing; as he
rushes forward)
Spock!
Sybok opens his arms to embrace his fellow Vulcan but
Spock will have none of it. He raises his hand -- a
stop sign. Sybok stops short, hurt and confused.
They regard each other. Spock is without emotion, all
business. It dawns on Sybok that this is not out of
character for Spock. Sybok smiles.
SYBOK
Still tight-assed...
It's clear Sybok is trying to force an emotional reac-
tion from Spock. But Spock refuses to fall into his
trap.
SYBOK
(continuing)
Spock, it's me. It's Sybok. You've
finally caught up with me. Isn't
there anything you want to say?
SPOCK
Yes.
SYBOK
(a beat)
Well?
SPOCK
You are under arrest for violating
seventeen counts of Neutral Zone
treaty.
Sybok is incredulous. There must be a hundred guns
pointed at Spock's heart. Sybok can't help it. He
chucles. The chuckle becomes a full rich laugh. The
soldiers join in and soon their laughter is ringing
through Paradise.
SYBOK
Why, Spock, you've developed a
sense of humor after all.
SPOCK
It was not my intention to amuse
you. These are serious charges.
If you surrender now --
SYBOK
I'm sorry, Spock, but I can't
surrender now. I'm not through
violating Neutral Zone treaty. In
fact, I'm just getting started.
And for my next violation, I
intend to steal something...
something very big.
J'onn and several soldiers chuckle knowingly. Spock
seems bewildered.
SYBOK
(continuing)
I must have your starship.
KIRK
(stepping forward as he
realizes)
You started this to get your hands
on my ship?
Sybok regards Kirk in his grubby commando outfit.
SYBOK
Who are you?
KIRK
James T. Kirk -- Captain of the
Enterprise.
SYBOK
But I thought Chekov...
(realizing)
I see. Very clever, Captain.
(turning to Spock with
excitement)
Spock, it would appear you've been
given a second chance to join me.
What do you say?
SPOCK
I am a Starfleet officer.
SYBOK
Then I'll take the ship without
your help.
CUT TO:
119 EXT. SPACE - ANGLE - ENTERPRISE 119
Waiting. Vulnerable.
120 INT. ENTERPRISE - BRIDGE 120
Chekov, Scotty and a tense crew.
SCOTTY
Shuttle en route.
CHEKOV
Position, Bird of Prey?
SCOTTY
(concerned)
Closing.
121 EXT. SPACE - ANGLE - BIRD OF PREY 121
The Klingon ship approaches Nimbus III.
122 INT. BIRD OF PREY - BRIDGE 122
Klaa and Vixis react to Enterprise on their viewscreen.
VIXIS
(Stealth approach. Slow to one
quarter impulse power. Prepare to
cloak.)
A klaxon sounds. The bridge is bathed in red light.
KLAA
(continuing)
(Engage cloaking device.)
123 EXT. SPACE - ANGLE - BIRD OF PREY 123
The ship distorts and becomes invisible.
124 INT. ENTERPRISE - BRIDGE 124
Scotty reacts to a monitor screen.
SCOTTY
Mister Chekov, I've lost the Bird
of Prey. She must've cloaked.
CHEKOV
Raise shields.
SCOTTY
But the shuttle --
CHEKOV
(in charge)
Do it.
Scotty punches in commands. On his graphics screen a
series of dots wink on around an outline of the ship.
125 EXT. SPACE - ANGLE - GALILEO 125
Slowly heading back to the ship. Enterprise is in
the far distance.
126 INT. GALILEO 126
Kirk, Spock and McCoy are guarded by J'onn and a
select handful of Sybok's soldiers. Sulu and Uhura
pilot the craft while Sybok confers with Caithlin
and Korrd. The remainder of the Enterprise crew
has been left behind on Nimbus III.
Talbot informs Kirk of the plan.
TALBOT
Once we've taken control of your
vessel, we'll bring up the rest
of our followers.
KIRK
(scoffing)
The Klingons are out there. We'll
be lucky to get back to the ship
ourselves.
They are interrupted by Chekov's voice on the radio.
CHEKOV'S VOICE
Galileo, this is Enterprise. Cond-
ition red alert. Bird of Prey
approaching -- she is cloaked.
Raising shields. Recommend Galileo
find safe harbor until situation
secure. Acknowledge.
Sulu and Uhura turn to Kirk for instruction.
SYBOK
No reply. Remain on course.
KIRK
Sybok, listen to me. For this craft
to enter the landing bay, Enterprise
must lower shields and activate the
tractor beam. To bring us inside
and then re-raise the shields will
take...
SPOCK
Exactly 15.5 seconds.
KIRK
An eternity during which we'll be
vulnerable to a Klingon attack.
Korrd -- you tell him.
KORRD
He speaks the truth. If my people
have cloaked then they intend to
strike.
SYBOK
We cannot turn back.
KIRK
Then let me do something.
Sybok regards Kirk with suspicion. He turns to Spock,
the only one he can trust.
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