FADE IN : 1 EXT. DESERT - DAY 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. SUPERIMPOSE : NIMBUS III IN THE NEUTRAL ZONE A withered tree is revealed f.g. with a rifle leaning against it. SUPERIMPOSE : "THE PLANET OF GALACTIC PEACE" 2 EXT. DRY LAKE BED - DAY 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 auguring device into the ground, drilling in vain for water. There are many hundreds of holes in the earth around him. He suddenly straightens and squints into the dust storm as HOOFBEATS fill the SOUNDTRACK. 3 ANGLE J'onn releases his auguring device and hurries toward his rifle. 4 J'ONN'S POV (INTERCUT - SLOW MOTION) Horse and RIDER, dressed in a hooded cape, thunder toward him. 5 BACK TO SCENE The CAMERA TILTS DOWN revealing J'onn's rifle as he cocks the weapon. He uses stones as ammunition, which slip from his hand and fall to the parched ground as he tries to load the rifle. He turns and points the gun as the Rider continues his approach. 6 J'onn raises his gun as the Rider reins his horse to a halt ten feet short of him. The beast snorts and stamps its hooves impatiently while the Rider studies the frightened homesteader and removes a breathing apparatus from his mouth. Finally, he speaks. RIDER I thought weapons were forbidden on this planet. The Rider swings down from the saddle. He's tall, powerfully built beneath his dusty robes, 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 existence. The Rider approaches him without fear. It's all the homesteader can do to keep from sobbing. RIDER Your pain runs deep. J'ONN (sobbing) 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 dragged from darkness and forced into the light. Share your pain. Share your pain with me and gain strength from the sharing. 6 CONTINUED : J'onn whimpers and cries out in anguish. Finally, the catharsis ends. J'onn sobs and rests his head on the Rider's chest. He opens his eyes and blinks in wonder and amazement at the Rider as he comforts J'onn. 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 - ultimate knowledge. But 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. 7 CLOSE ON RIDER 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. 7 CONTINUED J'ONN (O.S.) You're a Vulcan. Sybock nods and does something we've never seen a Vulcan do. He smiles. As he does, the first faint bars of the STAR TREK THEME well up on the SOUNDTRACK. 8 CLOSE ON SYBOCK As he covers his smiling mouth with his hand. 9 ANOTHER ANGLE Sybok stands by his horse, laughing. FADE TO WHITE FADE IN: SPACE 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 : 11 EXT. YOSEMITE NATIONAL PARK - CLOSE UP - A HAND - DAY TITLES CONTINUE OVER The hand clutches at a sheer rock, groping for purchase. CAMERA PULLS BACK to reveal CAPTAIN JAMES T. KIRK eight hundred feet above the surrounding forest. He climbs up the face of El Captain without ropes, grommets or equipment. Just man against mountain. Using the cracks in the rockface for hand and foot holes, 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 : 8454.1" END TITLES 12 CAMPSITE BELOW 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 mountain) "You'll have a great time Bones, You'll enjoy your shore leave. You'll be able to relax." (lowering binoculars) You call this relaxing? I'm a nervous wreck. (a beat) If I'm not careful, I'll end up talking to myself. 13 EL CAPITAN - KIRK He inserts the pads of two fingers into a narrow crack above his head. He exhales, focussing concentration. Kirk pulls himself up, balancing on a ledge barely an inch wide. Exhilarated, he pauses to admire the view. 14 KIRK'S POV 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. 15 WIDE SHOT Spock hovers in mid- air alongside the startled Kirk, kept aloft by means of levitation boots. His hands are clasped behind his back, typically Spock-like. KIRK (he gasps) Spock - What are you doing in this neck of the woods? SPOCK 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 for free-climbing El Captain is in no danger of being broken. KIRK (as he climbs) I'm not trying to break any records. I'm doing this because I enjoy it. Not to mention the most important reason for climbing a mountain... SPOCK And that is? KIRK (with a smile) Because it's there. SPOCK Ah, Captain? KIRK MM.? SPOCK 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. Look, I'm trying to make an ascent here. Why don't you go pester Dr McCoy for a while? SPOCK I believe Dr McCoy is not in the best of moods. 16 CAMPSITE BELOW McCoy, still watching Kirk's progress, is getting angrier by the second. McCOY (grumbling) Goddamn..irresponsible... playing games with life... 17 EL CAPITAN - KIRK AND SPOCK Kirk strains for the next handhold. SPOCK Concentration is vital. You must be one with the rock. KIRK Spock, I appreciate your concern, but if you don't stop distracting me, I'm liable to be one... And as Kirk reaches for the next crack, the ledge comes loose underfoot and he finds himself falling. 18 ANGLE - SPOCK He dives after Kirk, firing boosters to increase his speed. 19 ANGLE - KIRK Twisting and turning end over end as he hurtles downward. He thrashes at the air, unable to defeat gravity. 20 CAMPSITE McCoy turns away, unable to look. McCoy Oh, my God! 21 ANGLE - KIRK Dropping...dropping..the ground rushing up like a hungry mouth. A split second before impact... 22 ANGLE - SPOCK The Vulcan swoops INTO SHOT. His powerful fingers grab Kirk by the ankle and jerk him upward in the nick of time 23 CAMPSITE McCoy hasn't heard the expected splat. He turns to look and what he sees is: 24 WIDE SHOT Kirk is suspended in air, bobbing upside-down at the end of Spock's arm. 25 CLOSER KIRK AND SPOCK The top of Kirk's head is practically touching the ground. That's how close he came to being pizza. Kirk blinks in disbelief. KIRK Oh, God SPOCK Perhaps "because it is there" is not sufficient reason for climbing a mountain. Kirk dangles - undignified but lucky to be alive. KIRK I'm hardly in a position to disagree. McCoy is heard in approach. 26 KIRK'S POV McCoy is seen upside-down. KIRK Hello, Bones. Mind if we drop in for dinner? 27 EXT. DESERT OUTPOST - DAY The single outpost of civilization on this desolate world - a small, ramshackle village smack in the middle of nowhere, surrounded by high walls. A lone rider on horseback crosses the desert, headed for the outpost. SUPERIMPOSE : "PARADISE CITY - NIMBUS III" INT. SALOON - DAY A 23rd Century equivalent of a frontier saloon. Futuristic honky-tonk MUSIC. The patrons are rugged, unpleasant types. Klingons, Romulans, Andorians, you name it. Much drink and boisterous talk. Arguments. Fistfights. Two men play futuristic "pool" on a table filled with water. 29 A SEXY CATWOMAN Dances atop of the bar, flicking her long striped tail and hissing seductively at her rowdy audience. 30 ANGLE ON SALOON DOOR A STRANGER coming from outside approaches 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. 31 WIDE SHOT 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 Bartender jerks his thumb in the direction of the back room. The stranger crosses to the back room and disappears inside. Talk and noise resume. A VEIWSCREEN is revealed b.g. As the cloaked stranger passes through the room toward the back, we hear: TELEVISION ANNOUNCER'S VOICE ...your dream can become a reality... the Paradise Inn...lots to choose from. We at the Paradise Inn attempt to create the closest thing to paradise in Paradise City, that is... INT. BACK ROOM 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 a storage 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 two 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 (specifically, 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 representative. (continuing) Welcome to Paradise City, my dear, capital of the so-called "Planet of Galactic Peace." I'm St John Talbot, the Federation representative here on Nimbus III. My charming companion here is the Klingon consul, Korrd... Caithlin regards the hulking figure at the other end of the table. KORRD is an old, overweight Klingon, a once-great warrior 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. TALBOT Won't you come in, my dear? 33 EXT. PARADISE CITY J'onn clambers over a dune with determination. He aims his gun as Sybock and his mount ride majestically to the top of the dune and continue on, followed by Sybok's soldiers, a virtual army of ragged settlers - aliens of every different race, the poor and the downtrodden - united in their devotion to Sybok. 34 INT. BACK ROOM - SALOON CAITHLIN Twenty years ago, our three governments agree to develop this planet together. Korrd pours a drink from a bottle into his cup. KORRD Hmmm... CAITHLIN A new age was born. TALBOT Our new age has died a quick death. (continuing) And the settlers we conned into coming here - they were the dregs of the galaxy. They immediately took to fighting amongst themselves. We forbade them weapons and they soon began to fashion their own. CAITHLIN Well then, it appears I've arrived just in time. Korrd looks confused. KORRD Mmmm... There are shouts from outside and the whine of a warning KLAXON. EXT. PARADISE CITY A handful of sentries brace themselves against the gate. It suddenly gives way. CAMERA CRANES 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 scurry for protection, anticipating an attack. Those who consider challenging Sybok are allayed by the crude weapons and intimidating looks of the followers. Sybok intends to take this town by show of force without having to fire a shot. And it looks like he'll succeed. 36 EXT. STREET OUTSIDE SALOON Korrd, Caithlin and Talbot emerge to see what the hubbub is about. When they see the approaching forces, Korrd and Talbot immediately turn tail and run back inside. After a moment, Caithlin follows. 37 INT. SALOON 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 and Caithlin hurry to the viewscreen. Talbot moves to turn off the program being broadcast. TELEVISION ANNOUNCER'S VOICE ....we have spared no expense to create the closest thing to.... Caithlin and Talbot wait as a communications screen rises in front of them. The saloon doors are forced open. J'onn rushes in. J'ONN Get away from that transmitter! Korrd lifts his drink. J'onn grabs him; Korrd pushes back. CAMERA PANS to reveal two armed soldiers who grab Korrd and hold him. The KLAXON winds down to eerie silence as Sybok enters, observing the action. He is followed by several soldiers. SYBOK (appraising them one by one) Romulan. Terran. Klingon. Consider yourselves my prisoners. TALBOT (scoffing) Prisoners? We're already prisoners on this worthless lump of rock. What possible value could we be to you? SYBOK Nimbus III may be a worthless lump of rock, but it does have one unique treasure. It's the only place in the entire galaxy that has the three of you. CAITHLIN (to Sybok; boldly) I don't know who you are or what you want but I can tell you this: our governments 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 : 38 EXT. SPACE - EARTH - SPACEDOCK Hanging in space like a big Christmas ornament. The big blue marble called Earth is visible in the distance. 39 INT. SPACEDOCK 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. SCOTTY'S VOICE U.S.S. Enterprise, shakedown cruise report. I think this new ship was put together by monkeys. She's got a fine engine, but half the doors won't open. And guess whose job it is to make it right? 40 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; as he rises) Borgus Frat. SCOTTY (continuing; grumbling to himself) "Let's see what she's got," said the Captain. And then we found out, didn't we? UHURA I know you'll whip her into shape, Scotty. You always do. SCOTTY (realizing) Uhura, I thought you were on leave. UHURA And I thought we were supposed to be going together. SCOTTY (indicating the ship) Oh, I cannot leave her now when she needs me the most. UHURA I had a feeling you would say something like that. So I brought us dinner. She holds up small modernistic food packs. Scotty takes one. SCOTTY (touched) Oh, lassie, you're the most understanding woman I know. The bridge light starts to flash red. An ear-splitting KLAXON SOUNDS. COMPUTER VOICE Red, Red, Red Alert. Red Alert. Red, Red, Red Alert. SCOTTY (exasperated) I just fixed that damn thing. A man enters in b.g. carrying a cable over his shoulder. SCOTTY (continuing, to man) Turn it off, will you? Two men look at the console with concern. COMMAND VOICE Red Alert. Red Alert. This is a Red Alert. Enterprise acknowledge. Uhura goes to her console, punches a button and responds. UHURA This is Enterprise. Identify yourself. COMMAND VOICE Enterprise, this is Starfleet. We have a Priority Seven situation in the Neutral Zone. UHURA Stand by Starfleet. (signaling Scotty) Scotty, this is for real. SCOTTY (aghast) They can't be serious. The ship's in pieces and we've less than a skeleton aboard. UHURA Starfleet, are you aware of our currant status? COMMAND VOICE Currant status understood. Stand by to copy operational orders and recall key personnel. Uhura and Scotty share grim looks. 41 EXT. EARTH - FOREST - DAY COMMANDERS SULU and CHEKOV tramp through dense woods. From their weary expressions it's 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. UHURA'S VOICE Commander Sulu, come in, please. SULU I don't believe this. (flips it out) Commander Sulu here. 42 INT. ENTERPRISE BRIDGE (INTERCUT) Uhura studies a monitor showing Sulu and Chekov as two blips on a grid. UHURA Bad news, gentlemen. Shore leave's been cancelled. CHEKOV (with relief) Rescued at last. UHURA Return to prearranged coordinates for pickup. Sulu and Chekov look at each other. CHEKOV (whispering) Don't tell them you're lost. You'll never live it down. UHURA Is there a problem, gentlemen? SULU Um... yes. We've been caught in a blizzard! CHEKOV (playing along) And we can't see a thing. Request you direct us to the coordinates. Chekov provides blizzard noises. On Enterprise, Uhura listens to the "blizzard" and checks her graphics display for weather report. She smiles. UHURA My visual says sunny skies and seventy degrees. CHEKOV 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 shuttlecraft to pick you up. SULU Uhura, I owe you one. Sulu out. CUT TO : 43 EXT. YOSEMITE - CAMPSITE - NIGHT McCoy stands over a blazing campfire. A covered pot simmers on the coals. McCoy rings a TRIANGLE. He's slightly tipsy. McCoy (calling out) Come and get it! Com and get it! CAMERA PULLS BACK to reveal Kirk and Spock seated two feet away. KIRK Knock it.. knock it... Bones... Bones.. knock it off. We're right here. And we're starving. McCoy grins and crouches beside the covered pot. He revels in their undivided attention. With a flourish, he whips the lid off the pot to reveal a steaming mess of beans. 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 stick your Vulcan nose up at these, you're not only insulting me, but generations of McCoy's. McCoy ladles out the beans. SPOCK In that case, I have little choice but to sample your... beans. Kirk tears into his. Spock tries a forkful. He finds the taste strangely exciting. SPOCK (continuing) Mmmm. Surprisingly good. It does have a flavoring I'm not familiar with. McCoy Ah, that's the secret ingredient. Spock eats with enthusiasm. KIRK You got any more of that secret ingredient, Bones? McCOY Be my guest. KIRK Thank you. 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 Whiskey. Tennessee whiskey, Spock. You care for a little snort? KIRK Bourbon and beans, an explosive combination. (McCoy laughs) Think Spock can handle it? McCOY Are you kidding? With that Vulcan metabolism, he could eat a bowl of termites and it wouldn't bother him. SPOCK As you are so fond of pointing out, Doctor, I am half human. McCOY Well, it certainly doesn't show. SPOCK Thank you. McCOY How do you like that - this guy never changes. I insult him and he takes it as a compliment. (drinks from bottle) Mmmm. KIRK (drinks from up) Ahhh. McCOY You know, you two could drive a man to drink. KIRK (innocent) What did I do? McCOY What did you do? You really piss me off, Jim. Human life is far too precious to risk crazy stunts. Maybe it didn't cross that macho mind of yours, but you should've been killed when you fell off that mountain. KIRK It crossed my mind. McCOY And? KIRK And, even as I fell, I knew I wouldn't die. McCOY (nodding at Spock) Oh? I thought he was the only one who's immortal. KIRK Oh, no. It isn't that. I knew I wouldn't die because the two of you were with me. SPOCK I don't understand. KIRK (darkly) I've always known... I'll die alone. McCOY (frowning) Well, I'll call Valhalla and have them reserve a room for you. (shaking his head) It's a mystery to me what draws us together. All that time in space - getting on each other's nerves. And what do we do when shore leave comes along? (laughs) We 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 backpack. Spock reaches into the sack and takes out a marshmallow which he attaches to the end of a pointed stick. KIRK What are you doing? 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'd you learn to do that? SPOCK Before leaving the ship, I consulted the computer library to familiarize myself with the customs associated with "camping out." Kirk and McCoy play along, amused by Spock's dead serious approach to frivolity. McCOY Well, tell me, Spock. What do you do after we toast the marsh - er, marsh melons? SPOCK We consume them. McCOY I know we consume them. I mean after that. SPOCK Oh. I believe we are required to engage in a ritual known as the singalong. KIRK That's great. I haven't sung around a campfire since I was a boy in Iowa. What are we going to sing? What... Bones, what are we going to sing? McCOY (thinking) How about "Camptown Races?" KIRK "Pack Up Your Troubles." SPOCK Are we leaving, Captain? McCOY It's a song title, Spock. KIRK "Moon Over Rigel Seven?" McCOY (sings) "Row, row, row your boat..." KIRK "Row, row, row your boat..." I love "Row..." (to Spock) Do - do you know "Row, Row, Row, Row, Row Your Boat?" SPOCK That song did not come up in my research, Captain. KIRK The lyrics are - are very simple. It's, er, "Row, row, row your boat, gently down the stream. Merrily, merrily, merrily, merrily, life is but a dream.." The Doctor and I will start it off, and then when we give you the signal, you jump in. (to McCoy) 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 is his turn to jump in but the Vulcan merely regards them quizzically. The singalong grinds to a halt. McCOY (sings) ...life... KIRK Come on, Spock. Why didn't you jump in? SPOCK I was trying to comprehend the meaning of the words. McCOY (loosing patience) It's a song, you green-blooded Vulcan. You sing it. The words aren't important. What's important is that you have a good time singing it. SPOCK (sincere) Oh. I am sorry, Doctor. Were we having a good time? McCOY (giving up) God, I liked him better before he died. KIRK All right, all right, let's call it a night, will ya? McCOY (overlapping) He just keeps after it. KIRK Let's go to bed and just let's get some sleep. They prepare for bed. 44 LONG SHOT - CAMPSITE Under a twinkling sky the three men sit around the campfire. Faint night sounds. Crickets. An owl. Then... SPOCK (troubled) Captain? KIRK Spock, we're on leave. You can call me Jim. SPOCK Jim. KIRK Yes, Spock? SPOCK Life is not a dream. KIRK (with a sigh) Go to sleep, Spock. SPOCK Yes, Captain. KIRK Goodnight, Bones. McCOY (sighs) Goodnight, Jim. They all lie down. KIRK Goodnight, Spock. SPOCK Goodnight, Doctor. McCOY Goodnight, Spock! SPOCK Goodnight, Jim. McCOY (sighs) I don't know. I just don't know. 45 EXT. SPACE A NASA Pioneer probe trumbles through space. Ancient, forgotten, the device is flotsam. O it's side is a plaque showing images of two humans and simple mathematical and scientific symbols. It comes PAST CAMERA and OUT OF SHOT. In the distance, a distortion appears and out of this distortion, a Klingon Bird of Prey materializes. 46 INT. BIRD OF PREY - BRIDGE Doors separate 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 (in Klingon; subtitled) (Captain Klaa, we have a target in sight. A probe of ancient origin.) KLAA (n Klingon; subtitled) (Difficult to hit?) VIXIS (in Klingon; subtitled) (Most difficult.) KLAA (in Klingon; subtitled) (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 (continuing; in Klingon; subtitled) (All weapons to my control) A periscope-like device swings into position in front of Klaa's flashing eyes. KLAA (continuing; in Klingon; subtitled) (Scope!) 47 PERISCOPE - KLAA'S POV The probe is a tiny travelling speck in the distance. It's course is erratic. 48 EXT. SPACE 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. He hesitates, then finishes the probe off. 49 INT. BIRD OF PREY - BRIDGE Vixis and anther crewman stand by, admiring their Captain and his deadly skill. But Klaa seems dissatisfied. KLAA (in Klingon; subtitled) (Shooting space garbage is no test of a warrior's mettle. I need a target that fires back.) VIXIS (in Klingon; subtitled) (Captain, new data. Hostages on Nimbus III.) 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 that the Bird of Prey is being ordered to Nimbus III. Klaa and Vixis are charged with excitement. VIXIS (continuing; in Klingon; subtitled) (One of the hostages is a Klingon.) KLAA (in Klingon; subtitled) (And the others?) VIXIS (in Klingon; subtitled) (A Terran and A Romulan.) KLAA (in Klingon; subtitled) (That means the Federation will be sending a rescue ship of its own.) (in Klingon; subtitled) (Plot course for Nimbus III. I've always wanted to engage a Federation ship.) CUT TO : 50 YOSEMITE - NIGHT A blinding light, a ball of great intensity, sets down on the edge of the campsite, rounding 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 Mr. Scott apologizes for having to send the shuttlecraft. The transporter beam is non-operational. Captain, we've received important orders from Starlet Command. KIRK Why didn't you beep my communicator? UHURA ER... You forgot to take it with you. Uhura hands Kirk his communicator. It's clear he left it behind on purpose. KIRK Oh. I wonder why I did that? (to Spock and McCoy) Well, gentlemen, it appears shore leave has been cancelled. Pack out your trash. 51 EXT. EL CAPITAN - NIGHT 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 EXT. SPACE - ANGLE - ENTERPRISE The ship is seen in her shining glory above Earth, framed against a full moon. The approaching Galileo shuttlecraft is dwarfed by the magnificent starship. 53 INT. GALILEO 5 SHUTTLECRAFT 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. Kirk gazes fondly at the Enterprise. KIRK "... 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, Doctor. McCOY (cantankerous) Then how come you don't know "Row, Row, Row Your Boat?" Spock raises an eyebrow. 54 INT. ENTERPRISE - CONTROL BOOTH OVERLOOKING LANDING BAY ON VIEWSCREEN, a graphic of the approaching shuttlecraft. ANGLE WIDENS to reveal Scotty. UHURA'S VOICE Ready for landing. Enterprise, you have control. SCOTTY We're doing just fine. 55 CONTROL BOOTH OVERLOOKING LANDING BAY Bay doors open to receive Galileo. The tractor beam locks onto the shuttlecraft and slowly pulls her inside. It's a delicate maneuver. Even with wings retracted, the Galileo clears the doors with only a few feet on either side. 56 CONTROL BOOTH OVERLOOKING LANDING BAY Scotty operates the controls. 57 BAY AND STAGING AREA 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. SULU What happened? SCOTTY All I can say is that they don't make them 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, Mr. Scott. Carry on. SCOTTY Aye, Captain (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 seen him happier. ELEVATOR VOICE (badly slurred) Level.. level.. level..? 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 Spock. CUT TO : 58 INT. ENTERPRISE - BRIDGE Computers come to life. Screens activate. 59 ANGLE - TURBOLIFT 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? McCOY Starfleet's got some nerve sending us out in this condition with this handful of people. FEMALE YEOMAN'S VOICE Captain on the bridge. An ATTRACTIVE YEOMAN comes forward with the jacket of Kirk's uniform. He shrugs off his camping jacket as Uhura and Spock go to their stations. McCoy shakes his head at the noisy, messy bridge. UHURA Captain, Starfleet transmission on line. KIRK Put it on the veiwscreen, would You please? Kirk looks at a wall console which begins shorting out. A crewman lies beneath it as sparks begin to fly. The crewman hits his head on the wall console; more sparks. Kirk takes his captain's uniform jacket from the Yeoman. KIRK Can we have a little quiet, please? He puts on his Captain's jacket. The CAMERA PANS to reveal the veiwscreen. Kirk points, indicating the static on the screen. KIRK Can you...? COMMANDER'S VOICE Am I on? KIRK Can you clear that up? The Yeoman and a crewman stand near a toolkit which topples over. Kirk is beginning to get aggravated. COMMANDER'S VOICE Hello? 60 INTERCUT WITH BRIDGE - VIEWSCREEN Kirk is still fiddling with his buttons as the face of THE STARFLEET COMMANDER appears. Behind the Commander, images and data. The image is shaky at first. KIRK Can we have it quiet? COMMANDERS IMAGE Enterprise, this is Starfleet Operations. Come in. KIRK Bob? COMMANDERS IMAGE (peers uncertainly) Jim...? Well, we're dressing informally, aren't we? Kirk tucks in his shirt as he looks up at the veiwscreen. His T-shirt reds: "Go Climb a Rock." KIRK You caught me on my way to the shower. COMMANDERS IMAGE I apologize for canceling shore leave, but look, we have a dangerous situation out on Nimbus III. KIRK (sarcastic) On "The Planet Of Galactic Peace?" COMMANDERS IMAGE The same. From what we can make out, a terrorist force has captured the only settlement. And they've taken hostages. McCoy and Spock look at the O.S. action on the VIEWSCREEN. COMMANDERS IMAGE (continuing) The Klingon, the Romulan, the Federation consuls. Now I know Enterprise is not exactly up to specs... KIRK With all due respect, the Enterprise is a disaster. There must be other ships in the quadrant. COMMANDERS IMAGE Other ships, yes. But no experienced commanders. Captain, I need Jim Kirk. KIRK (wry smile) Oh, please. COMMANDERS IMAGE Your orders are to proceed to Nimbus III, assess the situation and avoid a confrontation if possible. Above all, however, get those hostages back safely. KIRK Have the Klingons responded? COMMANDERS IMAGE No, but you can bet they will. KIRK Understood. Kirk out. 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 one of you to give his best. End of speech. Let's go to work. McCoy slides over to Kirk. McCOY Jim if you ask me, and you haven't, I think this is a terrible idea. We're bound to run into the Klingons and they don't exactly like you. KIRK The feeling's mutual. (then, into comm) KIRK (continuing) Engine room. SCOTTY'S VOICE Scotty here. KIRK We'll need all the power you can muster, Mister. 61 ENGINE ROOM - SCOTTY SCOTTY Don't you worry, Captain. We'll beat those Klingon devils even if I have to get out and push. 62 BACK TO BRIDGE KIRK I hope it won't come to that, Mr. Scott. Kirk turns off the comm, picks up his camping gear and sits in the Captain's chair. KIRK (continuing) All possible speed, Mr. Sulu. SULU Aye-aye, sir. Kirk settles into his command chair. He shifts uncomfortably. McCOY What's the matter, Jim? KIRK I miss my old chair. 63 ANGLE ON SPOCK He contemplates their situation with concern. 64 ANOTHER PART OF THE GALAXY The Bird of Prey slices through the fabric of space headed for Nimbus III. 65 INT. BIRD OF PREY - BRIDGE Klaa paces his deck like a restless buccaneer, eager for confrontation. Vixis approaches. VIXIS (in Klingon; subtitled) (The Starship Enterprise has been dispatched to Nimbus III.) KLAA (in Klingon; subtitled) (Enterprise? That's Kirk's ship! If I could defeat Kirk...) VIXIS (in Klingon; subtitled) (...you would be the greatest warrior in the galaxy.) This fact isn't lost on Klaa. KLAA (in Klingon; subtitled) (Maximum speed!) The crew hops to it. Klaa turns to Vixis and gives her the chest-thumping Klingon salute. KLAA (in Klingon; subtitled) (Success!) Vixis passionately returns the gesture. VIXIS (in Klingon; subtitled) (Success!) 66 EXT. SPACE - ANGLE - ENTERPRISE As she sails toward the Neutral Zone. KIRK'S VOICE Captain's Log, Stardate 8450... 67 INT. ENTERPRISE - BRIDGE The CAMERA PULLS BACK AND ROTATES as Kirk impatiently drums his hand on the malfunctioning Captain's Log disk machine. KIRK (continuing) Captain's Log, Stardate 84 fif... The recorder malfunctions again; a portion pops out. CAMERA PULLS BACK to reveal Kirk looking off at the Yeoman. Uhura stands near the wall console. COMPUTER VOICE Good morning, Captain KIRK That's it. Forget it. The Yeoman takes the malfunctioning Captain's Log and walks off. UHURA Captain, we're receiving the hostage information you requested. KIRK Put it on the screen. CAMERA PANS to reveal veiwscreen b.g. Kirk joins Sulu and Chekov at the control board; is seated in the chair. COMPUTER VOICE This is an authorized transmission from Starfleet Galactic Memory Bank. Spock and McCoy come forward to watch. 68 INTERCUT WITH BRIDGE VEIWSCREEN The screen comes to life and fizzles out. Then pops back on. Factual information, photographs, film and visual illustrations depict the backgrounds of the three hostages. KIRK Not General Korrd. SPOCK The same. He's apparently fallen out of favor with the Klingon High Command. KIRK (fondly) General Korrd's military strategies were required learning when I was a cadet at the Academy. When they put me out to pasture, I hope I fare better than Korrd. McCOY Oh, this must be the hostage tape. A tape of poor quality. Images 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. CAITHLIN'S IMAGE A short time ago, we willingly surrendered ourselves to the forces of the Galactic Army of Light. At this moment we're in their protective custody. Their leader assures us that we will be treated humanely so long as you cooperate with his demands. I believe his sincerity. He requests that you send a Federation starship to parlay for our release at once. Be assured that we are in good health, and would appreciate your immediate response. SYBOK'S IMAGE 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 immediately. 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? You look like you've seen a ghost. SPOCK Perhaps I have, Captain. Perhaps I have. CUT TO : 69 EXT. DEEP SPACE- ANGLE - ENTERPRISE As the ship comes PAST CAMERA, we move in on a single window in the forward area of the dish. 70 INT. ENTERPRISE - FORWARD OBSERVATION ROOM A vast area designed for contemplation. The most arresting 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. Kirk and McCoy enter with urgency and approach Spock, interrupting is reverie. 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 certain. 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) Who is it he reminds you of? SPOCK There was a young student, exceptionally gifted, possessing of 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. McCOY Forbidden? SPOCK He rejected his logical upbringing and embraced the animal passions of our ancestors. KIRK Why? SPOCK He believed 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. 71 INT. ENTERPRISE - BRIDGE Kirk steps to the bridge as the CAMERA PANS revealing Uhura seated at a wall console, Sulu at the control board. Kirk takes the Captain's chair. SULU Approaching Nimbus III. UHURA Hailing frequency open. KIRK Standard orbit, Mr. Sulu. UHURA Captain, we're receiving transmission from Paradise City. They're demanding to know our intentions. KIRK Respond with static. Let them think we're having difficulty. Which wouldn't be far from the truth. UHURA (into her speaker) Paradise City, can you boost your power? We're barely receiving transmission. KIRK Transporter room. Status. 72 INT. TRANSPORTER ROOM Scotty, hard at work. SCOTTY Scotty here, Captain. Transporter is still inoperative. Even if we could lock onto the hostages, we couldn't beam them up. 73 BACK TO SCENE KIRK Then we'll have to get them out the old fashioned way. SPOCK Klingon vessel now entering quadrant. Bird of Prey. Estimating 1.9 hours until her weapons come to bear. KIRK Damn. (as he rises) Let's go. He and Sulu rise and walk to McCoy at the sliding doors. 74 ANGLE ON CHEKOV He turns toward the veiwscreen where Nimbus III is seen. 75 EXT. SPACE - NIMBUS III The shuttlecraft Galileo 5 streaks toward the planet's surface, deploying wings as it enters the atmosphere. 76 INT. GALILEO Low-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 dressed in field uniform. Phasers and transparent shields have been dispensed. SPOCK Their equipment is primitive but effective. I recommend we land at Coordinate 8563. KIRK That puts us pretty far away from Paradise City. SPOCK To land any closer would risk detection. KIRK Mr. Sulu. Execute. SULU aye, sir. 77 EXT. DESERT - NIGHT The shuttlecraft swoops out of the dark sky and skims the surface of Nimbus III. The CAMERA PANS the desolate terrain. 78 EXT. PARADISE CITY The ramshackle of buildings of Paradise City are illuminated by the light of two moons hanging overhead. CHEKOV'S VOICE Paradise City. 79 INT. SALOON Chekov addresses Sybok from the communication screen. CHEKOV'S IMAGE This is the Starship Enterprise. SYBOK A Federation starship. CHEKOV'S IMAGE 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 Your threats amuse me, Captain Chekov. What consequences did you have in mind? CUT TO : 80 EXT. NIMBUS III - DESERT - NIGHT The shuttlecraft swivels as it lands. The doors open revealing its crew. Kirk leads them from the craft. 81 INT. ENTERPRISE - BRIDGE As "Captain" Chekov continues the ruse. CHEKOV Even as we speak, a Klingon warship is on its way. We estimate arrival within the hour. 82 INT. SALOON SYBOK I imagine the Klingons will be quite angry. CHEKOV'S IMAGE You are a master of understatement. They are likely to destroy the planet. SYBOK Then it's fortunate that I have you and your starship to protect me. In the meantime, Captain Chekov, I instruct you and your First Officer to beam down to my coordinates. CHEKOV'S IMAGE We will be happy to beam down. But first we must have certain assurances. CUT TO : 83 EXT. NIMBUS III - DESERT - NIGHT Galileo lies behind a dune. The light of Paradise City are glimpsed over the rise, a mile off. Kirk and Spock lie on a dune 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. 84 KIRK'S PIOV - THROUGH BINOCULARS A tiny oasis in the near distance. KIRK'S VOICE ...Wait a minute... Perfect. But we will have to get their attention. CUT TO : 85 EXT. OASIS - NIGHT A BAND OF RAGTAG SOLDIERS gathers 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 slip from a meager spring. A BLACK SOLDIER lifts his head and smiles as 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. The Black Soldier rises and steps toward the SOUND. Another soldier joins him. 86 THIER POV 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. 87 CLOSER SHOT It's Uhura. 88 THE SOLDIERS Drawn like moths to a flame. The Black Soldier rises; they stumble over each other to get a closer look, climbing on hands and knees up the steep dune where Lorelei Uhura waits at the top. BLACK SOLDIER What is that? As the soldiers continue to climb the dune toward Uhura, two Enterprise crewmen enter and point their phasers at them. Other crewmen lie in the sand flanking Uhura's dancing feet. The Soldiers, taken by surprise, stop mid-climb. UHURA Hello, boys... I've always wanted to play to a captive audience. SOLDIER Oh, damn. 89 EXT. DUNES - NIGHT 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. 90 ANGLE - KIRK AND SPOCK Kirk rides with determination, his face nearly hidden behind a burnoose. He looks over at the rider beside him. It's Spock, bouncing stiffly in the saddle, doing all he can to hang on. KIRK Spock. SPOCK Yes, Captain? KIRK (can't resist) Be one with the horse. SPOCK Yes, Captain. 91 EXT. PARADISE CITY GATE Armed sentries watch from the walls as the scruffy band of horsemen crosses the desert. J'onn, Sybok's first convert, appears looking concerned. J'ONN Open the gate. It's our lookout party. The huge iron gate swings open. 92 ANGLE - THE HORSEMEN They gallop at full tilt, led by Kirk. He shouts frantically to the sentries. KIRK Federation soldiers right behind us. Close the gate! As Kirk and his party gallop through, the gate is closed behind them. 93 INT. PARADISE - MAIN STREET Kirk and company proceed up the street, coaxing their horses toward the saloon at its end. J'ONN (to men) Where are they going? They ride slowly, not wanting to attract more any more attention than they have. Occasionally a crew member drops away from the group and dismounts, taking a position where he can lay down cover for the eventual escape. 94 ANGLE - THE HORSEMEN 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 tricorder in his lap. SPOCK Hold your horse, Captain. I'm scanning. (indicating the saloon) The hostages are in the structure just ahead. Hiding it from view, Kirk raises a communicator to his lips. KIRK This is Strike Team. Start your run. 95 GATE While the others watch the desert, J'onn turns to watch the horsemen. J'ONN (suspicious) Who are you? J'onn rushes to the big spotlight anchored on the wall. He swings its bright beam in the direction of the horsemen. 96 STREET Sulu and Kirk are revealed as the light sweeps across them. Kirk and the others turn and react to the light, realizing the jig is up. KIRK (shouting) Phasers on stun! Get rid of the mounts! Sulu - take out that light! SULU Yes, Captain. The crewmen dismount and whip out the phaser rifles they've hidden under their robes. 97 ANGLE - SULU Sulu spears his horse and charges at the spotlight as pebbles fired from the enemy's crude weapons whiz around him like hungry hornets. He gallops toward the blinding light. A BAZOOKA SHELL EXPLODES near him and he is knocked from his mount, but manages to roll away toward the spotlight and rises up to his knees. He raises his phaser and with an expert shot, blows the spotlight to bits as J'onn holds it. The street goes dark, lit now by neon and the flash of gunfire and phasers. 98 INT. SALOON Sybok reacts to the gunfire. SYBOK What's going on? CHEKOV'S IMAGE I instruct you to surrender. You are under attack by Federation forces. SYBOK (angered) Do you realize what you've done? It wasn't bloodshed I wanted. Sybok turns and strides out of the room, his robes swirling around him. CHEKOV'S IMAGE Wait! Come back! 99 EXT. STREETS OF PARADISE - A SERIES OF SHOTS A symphony of smoke and gunfire. Dizzying action. Running figures. Stampeding horses. ANGLE - KIRK Kirk dismounts; his horse runs off. A soldier rushes in and thrusts his weapon at Kirk, who grabs it and strikes the man in the face. He knocks him O.S. and takes the weapon. 101 LOW ANGLE 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 A BLINDING EXPLOSION 103 ANGLE - KIRK A soldier grabs Kirk; they struggle. Kirk flips him OUT OF SHOT. Another soldier hurries in shooting as he climbs over a wall. Other crewmen hit still more soldiers with phaser fire. They scream and fall. 104 ANGLE - SPOCK 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 to a hamburger. Spock calmly reaches up and presses his fingers into the horse's neck, executing a Vulcan nerve pinch. The horse and its rider tumble to the ground as Spock walks off. 105 ANGLE - KIRK He stands in the doorway, back-lit by an inner bright light. KIRK Uhura, come on down. 106 INT. SHUTTLECRAFT Uhura is at the controls. UHURA Roger. Coming in. 107 EXT. ROOFTOP Sybok's soldiers set up a multiple pipe weapon cranked like a Gattling 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 - KIRK Kirk shoots his phaser toward the lights of the building housing the saloon. The lights EXPLODE. 109 INT. SALOON 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 a wave of water that soaks the walls. 110 ANGLE Spock enters and reacts to the unconscious floating Catwoman as Kirk blasts open the door to the back room. TELEVISION ANNOUNCER'S VOICE ... recreational opportunities are limitless.. The vicinity is famous for plentiful local wildlife. And the fishing is terrific... Caithlin, Korrd and Talbot look up in surprise. Kirk breathes a sigh of relief. 111 ANGLE - SPOCK Spock appears at Kirk's side. TELEVISION ANNOUNCER'S VOICE (continuing; overlapping) ... easy financing through Federation Federal can put you in your own home on the beautiful, conveniently located... KIRK (to Spock) Thank God... 112 ANGLE - THE HOSTAGES Kirk signals for the hostages to follow them. But the hostages confound them by pointing three crude pistols at their heads. CAITHLIN Please cooperate. KORRD Ahhh... TALBOT (quite sober) Would you mind handing over your weapons? TELEVISION ANNOUNCER'S VOICE (continuing) Beam on down! (laughs) 113 EXT. PARADISE - STREET Kirk and Spock are marched out off the saloon by the hostages. The rest of the Enterprise crew is herded together to the accompaniment of thunderous cheers from Sybok's soldiers. SYBOK (smiling at J'onn; over their cheers) Well done, my friends. An armed soldier pushes Uhura toward a smiling Sybok and J'onn. 114 ANGLE - SPOCK As the cheers begin to die, Spock detaches himself from Kirk and McCoy. Sybok notices him. For the first time we see him vulnerable. SYBOK Spock. It's me. It's Sybok. After all these years, you've finally caught up with me. Don't you have anything to say to me? It's clear Sybok is trying to force an emotional reaction from Spock. But Spock refuses to fall into his trap. SPOCK You are under arrest for seventeen violations of the Neutral Zone Treaty. Sybok is incredulous. There must be a hundred guns pointed at Spock's heart. Sybok can't help it. He chuckles. The chuckle becomes a full rich laugh. The soldiers join in and soon their laughter is ringing through Paradise. SYBOK Spock, you've developed a sense of humor after all. SPOCK It was not my intention to amuse you. These are serious charges. However, if you surrender now- SYBOK I'm sorry, Spock. I can't surrender now. I'm not through violating Neutral Zone Treaty. In fact, I'm just getting started. And now for my next violation I intend to steal something. Something very big. J'onn and several soldiers laugh and cheer. SYBOK (continuing) I must have your starship. KIRK (stepping forward as he realizes) You staged all 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 Captain Chekov.. (realizing) I see. Very clever, Captain. (turning t Spock with excitement) Spock, it would appear that you've been given a second chance to join me. What do you say? SPOCK I am a Starfleet Officer. SYBOK Of course. Of course. Then I'll take the ship without your help. The soldiers cheer wildly, waving their weapons in the air. CUT TO : 115 EXT. SPACE - ANGLE - ENTERPRISE Waiting. Vulnerable. 116 INT. ENTERPRISE - BRIDGE Chekov, Scotty and a tense crew. SCOTTY Shuttle en route. CHEKOV Position, Bird of Prey? SCOTTY (concerned) Closing. 117 EXT. SPACE - ANGLE - BIRD OF PREY The Klingon ship approaches Nimbus III. 118 INT. BIRD OF PREY - BRIDGE Klaa and Vixis react to Enterprise on their veiwscreen. VIXIS (in Klingon; subtitled) (Estimating attack range in 8,000 Kellicams.) Klaa casually slips into the gunner's rig. KLAA (in Klingon; subtitled) (Stealth approach. Slow to one quarter impulse power. Prepare to cloak.) A KLAXON SOUNDS. The bridge is bathed in red light. KLAA (continuing; in Klingon; subtitled) (Engage cloaking device) 119 EXT.`SPACE - ANGLE - BIRD OF PREY The ship distorts and becomes invisible. 120 INT. ENTERPRISE - BRIDGE Scotty reacts to monitor screen SCOTTY Mr. Chekov, I've lost the Bird of Prey. She must have cloaked. CHEKOV Raise shields. SCOTTY But the shuttle- CHEKOV (in charge) DO it. Go to Red Alert. Scotty punches in commands. On his graphics screen a series of dots winks on around an outline of the ship. 121 EXT. SPACE - ANGLE - GALILEO Slowly heading back to the ship. Enterprise is in the far distance. 122 INT. GALILEO 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 Once we've taken control of your vessel, we'll bring up the rest of our followers. KIRK (scoffing) The Klingons are out there. (continuing) 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. Condition Red Alert. Bird of Prey approaching. She is cloaked. Raising shields. 123 INT. ENTERPRISE - BRIDGE - FEATURING CHEKOV CHEKOV Recommend Galileo find safe harbor until situation secure. 124 INT. GALILEO CHEKOV'S VOICE Acknowledge. Sulu and Uhura turn to Kirk for instruction. SYBOK No! No reply. Remain on course. KIRK Sybok, listen to me. In order for this craft to enter the landing bay, Enterprise must lower the shields and activate the tractor beam. To get us inside and re-raise the shields will take- SPOCK Exactly 15.5 seconds. KIRK An eternity during which we'll be vulnerable to Klingon attack. Korrd-you tell him. KORRD He speaks the truth. If my people are cloaked, then they intend to strike. SYBOK We cannot turn back. Sybok regards Kirk with suspicion. He turns to Spock, the only one he can trust. SPOCK You must allow us to act. KIRK Let me do something. SYBOK Very well. (to Kirk) Do what you must-but no more. Kirk punches a button on the console. KIRK Enterprise. 125 INT. BIRD OF PREY The Klingons have been monitoring the exchange between Enterprise and Galileo. KIRK'S VOICE This is Kirk. KLAA (in Klingon; subtitled) (Kirk! He's on the shuttlecraft! Alter the attack course!) 126 INT. GALILEO KIRK Understand your situation. Are unable to return to planet. Stand by to execute... (pulling a name out of the air) Emergency Landing plan.. B 127 INT. ENTERPRISE - BRIDGE Chekov and Scotty exchange confused looks. CHEKOV (aside to Scotty) What's Emergency Landing Plan B? SCOTTY I don't have a clue. KIRK'S VOICE B as in "barricade." SCOTTY (alarmed) He can't be serious. 128 EXT. SPACE - ANGLE - ENTERPRISE AND GALILEO The shuttle draws closer. 129 INT. GALILEO Enterprise looms through the windshield. SYBOK What are you doing? KIRK In order to lower and raise the shields as quickly as possible, we're going to forego the tractor beam and fly her in manually. McCOY (horrified) Manually? SYBOK (to Sulu) How often have you done this? SULU Actually it's my first attempt. Sybok looks at Kirk in amazement. Kirk smiles uneasily and indicates Sulu. KIRK He's good. Really (then) Scotty, on my mark. Open bay doors. 130 EXT. ENTERPRISE -FANTAIL With agonizing slowness, the bay doors begin to open. 131 INT. BIRD OF PREY - BRIDGE Klaa flexes his itchy trigger-finger and peers into his view scope. 132 KLAA'S POV - VEIW SCOPE KLAA (in Klingon; subtitled) (Stand by to decloak for firing!) 133 INT. GALILEO KIRK Kirk to Scotty-lower shields! 134 INT. ENTERPRISE - BRIDGE Scotty punches in commands. SCOTTY Lowering shields, sir. On Scotty's graphic's screen, the dots wink out around the outline of the ship. Enterprise is now vulnerable. 135 EXT. SPACE The Bird of Prey materializes. 136 INT. GALILEO The Klingon ship is sighted. UHURA Bird of Prey bearing one zero five mark two. KIRK Go, Sulu. Sulu hits the aft thrusters and the shuttle roars to life. 137 EXT. SPACE - ANGLE - ENTERPRISE AND GALILEO The shuttlecraft takes off with a tremendous kick. Like it was fired from a slingshot, the tiny craft closes the gap between itself and the Enterprise at alarming speed. But the bay doors - they haven't opened wide enough yet. Just when it looks like the Galileo will pulp itself on the fantail, she banks ninety degrees. 138 INT. ENTERPRISE - LANDING BAY Galileo negotiates the narrow opening by coming in on its side. It skids down the runway, showering sparks all the way, unable to stop. To our surprise, a cargo net pops up to keep it from crashing into the retaining wall. 139 INT. GALILEO As the shuttle recoils against the net, passengers are thrown about like rag dolls. Lights blow out and instrument panels EXPLODE. 140 INT. ENTERPRISE - BRIDGE SCOTTY They're in! 141 INT. BIRD OF PREY - BRIDGE Klaa gapes in surprise. The target has zoomed out of his sights KLAA (in Klingon; subtitled) (Bear on Enterprise) VIXIS (in Klingon; subtitled) (Enterprise Targeted!) 142 INT. ENTERPRISE - BRIDGE CHEKOV Warp speed now! 143 INT. BIRD OF PREY - BRIDGE Klaa looks through the view scope, turns the firing handles. KLAA (in Klingon; subtitled) (Fire!) 144 EXT. SPACE - ANGLE - ENTERPRISE One moment she's there, the next she's gone in a flash of blinding light. Klaa's shot goes to the void. 145 INT. BIRD OF PREY - BRIDGE Klaa reacts in amazement to Enterprise's sudden departure. KLAA (in Klingon; subtitled) (Track her course!) As Vixis and her crew hop to it, CAMERA PUSHES IN on Klaa who throws off his gunner's rig, unable to hide his admiration for Kirk's cleverness. KLAA (continuing; in Klingon; subtitled) (He's good.) 146 INT. ENTERPRISE - LANDING BAY The badly-damaged Galileo lies smoldering on its side. 147 INT. GALILEO In the smoking wreckage, passengers have been flung everywhere. No one's been killed but are all dazed or unconscious. Sybok and Kirk come to simultaneously. But before Kirk can act, Sybok snatches up a primitive shooting weapon and aims it at him. SYBOK We must change our course at once. KIRK (crafty) I'll take you to the bridge. 148 INT. LANDING BAY The Galileo's back hatch blows open emitting a cloud of smoke along with Kirk and Sybok. As Sybok steps down behind him, Kirk whirls and grabs for the weapon. The two men struggle and tumble across the landing bay floor. 149 ANGLE - KIRK AND SYBOK Kirk is no match for the Vulcan's superior strength but he fights with everything he's got. He manages to knock the weapon from Sybok's hand. It skitters across the floor and stops at the feet of Spock who has emerged from the shuttle. Spock looks down at the weapon, then back to Kirk whom Sybok is rendering helpless with one hand. With his incredible strength Sybok forces Kirk to the floor. KIRK (in pain) Spock... pick it up! Spock obediently picks up the weapon like it was a distasteful object. Kirk collapses on the floor, conscious but no longer able to fight. Spock faces Sybok. SPOCK Sybok, you must surrender. SYBOK No. You must kill me. Sybok advances toward Spock until the weapon is pressing into Sybok's chest. KIRK (desperate) Shoot him! But Spock can't shoot. The emotional price is too great. He lowers the weapon in shame and defeat. Sybok takes it from him with a smile. SYBOK For a moment, I thought you might actually do it. 150 ANGLE Sybok's soldiers emerge from the wreckage of the shuttle with McCoy. The doctor hurries to Kirk and helps him to his feet. Kirk, in pain and betrayed, glares at Spock who cannot meet his eyes. Sybok turns to J'onn. He indicates Kirk and McCoy. SYBOK Put him in the brig with Captain Kirk. (then, to Spock) Spock, you will accompany me to the bridge? SPOCK (finding his voice) No. I will not. SYBOK You know I'm right. He is met by stony silence. SYBOK (continuing; a long pause) Then you must join them. J'onn and several other soldiers march Kirk, Spock and McCoy out. 151 ANGLE - LANDING BAY Caithlin, Korrd and Talbot emerge from the shuttle with Sulu and Uhura in tow. KORRD These two will be useful. Uhura and Sulu are defiant. Sybok approaches them. SYBOK Give us a moment alone. CAITHLIN (to Uhura and Sulu) Don't be afraid. 152 ANGLE - LANDING BAY CONTROL BUBBLE Scotty witnesses the action on the deck below. Fortunately, no one sees him. He steps back into the shadows. CUT TO : 153 BRIG Kirk, Spock and McCoy are shoved into a cell by J'onn. Phaser beam bars materialize to contain them. Kirk is enraged. KIRK Damnit, Spock. God damnit! SPOCK Captain, what have I done - KIRK What you have done is betray every man on this ship. SPOCK Worse. I have betrayed you. I do not expect you to forgive me. KIRK Forgive you? I ought to knock you on your goddamn ass! SPOCK If you think it would help. McCOY You want me to hold him, Jim? KIRK You stay out of this! (to Spock) Why, Spock? Why? I.. All you had to do was pull the trigger. SPOCK If I had pulled the trigger, Sybok would be dead. KIRK I ordered you to defend this ship. SPOCK You ordered me to kill my brother. KIRK Look, the man may be a fellow Vulcan, but that doesn't... SPOCK No, no, no, Captain. You do not understand. Sybok also in a son of Sarek. Kirk and McCoy can't believe it. KIRK You mean he's your brother brother? (flustered) You made that up! SPOCK I did not. KIRK You did too. Sybok couldn't possibly be your brother because I happen to know for a fact that you don't have a brother. SPOCK Technically, you are correct. I do not have a brother. KIRK There, you see? See? SPOCK I have a half brother. KIRK (suddenly weary) I gotta sit down. McCOY Let me get this straight. You and Sybok have the same father but different mothers. SPOCK Exactly. That is correct. Sybok's mother was a Vulcan princess. Upon her death, Sybok and I were raised as brothers. KIRK Why didn't you tell me this before? SPOCK I was not disposed to discuss... matters of a personal nature. For that, I'm sorry. KIRK (still fuming) He's sorry, See, he's sorry. Everything... that makes everything all right. He's sorry, everything's... McCOY Stop it, Jim. Spock could no more kill his own brother than he could kill you. If you want to punish him for what he's done, why don't you throw him in the brig? Kirk's anger burns itself out. McCOY (continuing) Besides, we've got bigger problems to deal with. Like how the hell to get out of here. (a beat; turning to Spock) I'll say one thing, Spock. You never cease to amaze me. SPOCK Nor I myself. CUT TO : 154 INT. ENTERPRISE - BRIDGE Doors WHOOSH open to admit Uhura and Sulu. Chekov, in the command chair, stands to greet them. CHEKOV I was beginning to worry. Where is the Captain? Sybok enters, followed by the hostages and several armed soldiers. Chekov looks at Uhura and Sulu in confusion. They, like the hostages, are smiling warmly - converts to Sybok's cause. UHURA It's all right Pavel. Sybok will explain everything. Sulu moves past Chekov and takes his seat at the helm. He punches in commands. CHEKOV Sulu, what are you doing? SULU Plotting our new course. CHEKOV (alarmed) New course? You have no authority. (to Sybok) What's going on here? SULU Pavel. SYBOK I won't force you. SULU (overlapping) You've got to listen to this man. SYBOK (overlapping) The decision must be yours. CHEKOV I don't understand. SYBOK (soothingly) Each of us hides a secret pain. Share yours with me and gain strength from the sharing. 155 INT. BRIG Kirk balances on Spock's shoulders, examining the ceiling, seeking a means of escape. Kirk uncovers a fixture. Spock shakes his head negatively. SPOCK Useless. Kirk stands on Spock's shoulders, now holding on to a pipe. SPOCK (continuing) Unwise. Kirk investigates a circuitry panel. He touches it and receives a shock that causes him to tumble to the floor. KIRK (irked at Spock) You could've warned me. McCOY He did, Jim. KIRK There's got to be a way out of this place. SPOCK This is a new brig, Captain. It is escape-proof. KIRK How do you know? SPOCK The designers tested it using the most intelligent and resourceful person they could find. He failed to escape. KIRK (as he and McCoy realize) This, er, person... didn't by any chance have pointed ears and an unerring capacity for getting his shipmates into trouble, did he? SPOCK He did have pointed ears. CUT TO : 156 EXT. SPACE - ANGLE - ENTERPRISE The ship continues at warp speed, DISAPPEARING FROM SHOT in a blur of blinding light. 157 INT. ENTERPRISE - BRIDGE Uhura and Sulu are at their stations. Chekov once again occupies the command chair. Sybok stands beside him. In the background are Caithlin, Korrd and Talbot. CHEKOV (pleased to report) Following new course. Warp seven. SULU Estimating destination in 6.7 hours, present speed. Sybok looks happy and paternal, less driven. He turns to Uhura. SYBOK Now that we're underway, it's time I announced my intentions to the rest of the ship. (then, to comm) Brave crew of the Starship Enterprise... Consider the questions of existence. These are the questions which man has asked ever since he first gazed at the stars and dreamed. 158 INT. BRIG Kirk, Spock and McCoy discontinue their efforts to escape and now peer instead at a monitor screen beyond the cell 159 INTERCUTTING WITH MONITOR SCREEN SYBOK'S IMAGE (continuing) My Vulcan ancestors were ruled by their emotions. They felt with their hearts. They believed with their hearts. But above all else, they believed in a place in which these questions of existence would be answered. Modern dogma tells us this place is a myth, a fantasy concocted by pagans. 160 INT. LANDING BAY A crewman pauses to listen to Sybok's continuing spee