"MIND SIFTER" STAR TREK PHASE II

Introduction from our screenwriter Rick Chambers:

I have many great memories related to "Mind-Sifter," from the moment I was asked to create the teleplay from Shirley's magnificent story to the long hours and unflagging enthusiasm of the shoot. One memory that's especially dear to me is linked to the memorial service. While I was working on the teleplay in December 2013, my mother was dying. She was in hospice as I wrote the chapel scene and passed away as I finished the script. So the words I gave to McCoy, about the need to mourn, how it's part of life, and how we move on from grief and despair to hope, all were themes I was dealing with personally at the time. Then, when we shot the scene months later, and Jeff Bond delivered that powerful performance, I was in tears because those words were so right, so true. They resonate in the next scene, too, when Kirk makes his escape from the Klingons ; with his life seemingly about to end, he finds that window of hope, where "grace will lead me home," as the song goes at that moment he leaps through the Guardian. All of this was very meaningful for me personally -- and, I hope, meaningful for those who watch the episode. We shot all asylum shots at Ticonderoga High School. Our producer, Rob Mauro did extensive research and the architecture is period correct!

TEASER

FADE IN:

1 INT. ASYLUM HALLWAY--NIGHT 1 A dimly lit hallway, old and rough at the edges, a facility operating on a shoestring. Walking toward us with determination are two orderlies, FRANK and FRED. Clad in 1950s WHITE SCRUBS, they are burly, a little scruffy and a whole lot of angry. Fred carries a wadded-up STRAITJACKET in one hand. The two men pause at a door marked "Chapel: First of many unforeseen challenges on set. This straitjacket did not arrive as expected. James Cawley took a pattern from a sports coat made the one seen here in about two hours!

Beyond the door, we hear an indiscernible SCREAM. The orderlies exchange a look.FRANK (resigned) All right. Let's do it. FRED (reluctant) Aw hell, Frank. Can’t we just leave him? He’ll come out when he’s hungry. It's gonna be another fight. FRANK I’m done cutting “superman” a break. I’m gonna...

Ron Gates, (left) as Frank FRED Troy Bernier as Fred I still got bruises from last time-- HAMLIN Gentlemen... JAN HAMLIN, dressed in a 1950s DOCTOR'S UNIFORM, emerges from the shadows. She has the inevitable stethoscope draped around her shoulders. She does this as a way of advertising that she is a doctor in a male-dominated field. HAMLIN (CONT’D) Let me. FRED I don't think so, Doctor. He's dangerous... HAMLIN He knows me.

Rivkah Raven Wood, who plays Hamlin was a great surprise! She did an incredible job. 2.

Fred sighs and does as he's told, cautiously opening the door...

2 INT. ASYLUM CHAPEL--NIGHT(high school auditorium) 2 Auditorium Hamlin ENTERS quietly, looking around at the tiny, darkened chapel. A few CHAIRS are lined up in the room, facing the was front, where a SMALL OVERHEAD LIGHT illuminates a TABLE, a redressed to BIBLE, a CRUCIFIX and a RELIGIOUS BANNER on the wall. look like chapel. The room appears empty. But we hear someone BREATHING in quick, fearful gasps. Hamlin hears it, too. Her gaze is drawn to a MAN near the front, huddled in shadow, his back turned to us. He trembles in fear. HAMLIN (quietly) Jimmy? The man catches his breath, then whimpers. HAMLIN (CONT'D) Jimmy, it's me! It's Hamlin! Hamlin walks slowly toward the frightened man, careful not to disturb him further. HAMLIN (CONT'D) You're not hurt, are you? I was worried! Why did you run away? MAN (O.S.) They took it! She reaches him. We still cannot see his face. Hamlin touches him, and the man stops trembling. Hamlin then wraps her arms around him, comforting him as he cries into her shoulder. HAMLIN It's okay, Jimmy. It's okay. (back to him) But you can't stay here. It's late. And you haven't eaten in hours. Aren't you hungry? MAN (O.S.) I can't remember. They took it... The man pulls back a little. We still can't see his face. HAMLIN (CONT’D) Come on. I'll take you to the dining hall, get you some food. 3.

She starts to help the man to his feet when Frank suddenly APPEARS behind her. FRANK Get away from her, you nut! Frank pushes Hamlin aside and moves toward the man. The man reacts instinctively, blocking Frank and throwing a right cross that staggers the orderly, knocking him backwards. Suddenly, Fred APPEARS behind the man and grabs him. Frank slowly BLOOD trickles from his lip. FRANK (CONT’D) You son of a bitch! Frank punches the man in the stomach, then follows with an uppercut that snaps the man's head backward. HAMLIN Stop it! You're killing him! FRANK Get out of the way! Frank punches the man again, and he slumps in Fred's arms. [not sure we need this]

FRANK (CONT’D) Ron, who is a corrections officer, had a Gotta get the jacket on this nutball hard time getting "angry" at Kirk in this before he wakes up. scene. The director, Mark Edward Lewis, (to Hamlin) had him do push up after push up in He was pawing you. Why didn't you between takes! Needless to say, Ron got call? mad! HAMLIN Ron had done maybe 50 push He wasn't -- ups by now! Note how sweaty he is in the scene! Brian Gross "taking direction" from FRANK James Cawley. Brian is an (leering) accomplished martial artist. Notice Yeah. Don’t let him fool you. These not a hair out of place for James! guys are all alike. Fred finishes putting the man in the straitjacket. Frank grabs the man's chin and lifts his face for Hamlin to see, though we still cannot. FRANK (CONT’D) Not so pretty now, is he? Report me, and next time I won’t be so gentle. (to Fred) Lock him up. James, happy with the filming so far.

Our invaluable dolly we used for shooting. To rent this dolly for our 10 day shoot was over $2500.00! 4.

They pick him up. Frank and Fred drag the man from the chapel while a distraught Hamlin watches them go.

3 INT. ASYLUM HALLWAY--NIGHT 3 Frank and Fred continue to drag the man down the hallway. His head hangs down so we still can't see his face. We put tape across Brian's feet so he wouldn't get all scratched! 4 INT. KIRK'S ROOM--NIGHT An old nurses office beside the gym! 4

The door bursts open, and we see Frank and Fred drag the man inside. The room is sparse, with a SMALL BED, a WASH BASIN on an END TABLE, a DRESSER and a BEDPAN. Instead of putting the man on the bed, Frank and Fred drop him to the floor. Then our view switches to the floor just as the man falls. We see his face at last, bruised and bloodied ... and it's JAMES T. KIRK. FADEOUT END TEASER

Publicity shot of Kirk in asylum room. Note the beam of light on his face. It became known as the "Kirk Light." Our Director Of Photography, Jeff Barklage, was a genius in getting the "TOS" feel in lighting this episode. Jeff worked with TOS original D.P. Jerry Finnerman.

Brian and Rivkah rehearsing in the Transporter Room.

Reveal of Kirk in his asylum room. Note Kirk's beard, and makeup. It became a concern as we continued filming. All about continuity. More later... Blue (mm/dd/yyyy)5.

ACT ONE FADE IN:

5 DARKNESS 5 We hear VOICES--a mix of whispers, cries and shouts--echoing in the darkness, bits of conversations between Kirk, SPOCK, KOR, the GUARDIAN OF FOREVER, and others, overlapping until one voice gradually rises from the cacophony: KIRK (V.O.) Help me! Help me! (screaming) Spock! SPOCK! CUT TO:

6 INT. SPOCK'S CABIN 6 Spock's eyes snap open in the dim light of his cabin, hands folded, deep in concentration. A great weight flushes the light from his eyes...distant... UHURA (V.O.) Bridge to Mister Spock. Mister Spock, please respond. Spock rises from the bed and approaches his DESK and VIEWER. He toggles a switch. SPOCK Spock here. UHURA Sir, the USS Lexington has arrived. Admiral Whithrow wants to see you * immediately. SPOCK Acknowledged. Please inform the admiral I'm on my way. Spock toggles off. He stands motionless for a moment. *

This scene, while we were filming it, didn't make much sense to the crew. Watching Brandon sit there and "listen" to Kirk cry out to him was dry. This is where an actor has to trust the director. Mark Lewis, our director, is an accomplished composer and sound supervisor as well. The final product after it was edited with sound helped start the tension for Spock in this episode. Also, while filming this, Brandon came up with an idea to help explain the physchic link between Kirk and Spock. Blue (mm/dd/yyyy)6.

7 EXT. SPACE--ENTERPRISE AND LEXINGTON IN ORBIT (OPTICAL) 7 The two starships orbit a planet that appears to be largely desert around its equatorial and sub-tropical regions, bit with small patches of blue and green clustered near its poles. This shot is from underneath the two heavy cruisers. * Revealing their similarity and their differences. The camera * cranes up and to their profiles. *

8 INT. WHITHROW'S OFFICE Kirk's quarters were used for this scene. * WITHROW is in conference with two of his serving tactical * officers. They are discussing a strategic graphic displayed * on a wall viewer. (This is to emphasize that the ADMIRAL is a * busy man) The door BUZZES. * WHITHROW Enter! The door OPENS and Spock ENTERS.

SPOCK Commander Spock, reporting as ordered. WHITHROW Sit please, Commander. Dismissed, Gentlemen.

Spock reluctantly sits in a CHAIR as the officers leave. * Whithrow does the “admiralty plattitudes” and continues * working. He’s a bad multi-tasker. Note the blinking lights on the desk computer! * WHITHROW (CONT’D) * What’s the operational status of the * Enterprise, Commander? * SPOCK Vessel and crew operating at peak * efficiency, Admiral.

WHITHROW * And her acting commander? * SPOCK Also at peak efficiency, sir. Operated by Alex Tabor...Well WHITHROW done! The cords had to be Spock, he's been missing for over a "roto'd" out frame by frame! month! You've searched every square (MORE) Blue (mm/dd/yyyy)7.

WHITHROW (CONT'D) inch of Nimbus three and the surrounding planets. Captain Kirk is * not here.

SPOCK A logical assumption, but not yet conclusive.

Brandon discusses a scene with Rick Chambers, who wrote the teleplay from the beloved short story. Here Brandon is waiting for his ears to dry before final makeup and his wig is applied. We use the actual LN1 (Leonard Nimoy 1 ) makeup from the 60's. Each ear set costs $400.00 as they are custom fit for Brandon. It's a two hour process to get him camera ready. We have incredibly talented makeup people! Behind Rick set construction is taking place for a scene later in the episode. This eventually will become the Briefing Room.

Makeup supervisor, Brian Holloway begins to apply the LN1 makeup to our favorite Vulcan. Brian has been very generous with his time and skills to New Voyages. He's trained others in his craft on set. A talented actor is his own right, he's appeared in numerous New Voyages epsiodes.

Director, Mark Edward Lewis, gives final approval before Spock's wig is applied. This is at the back of our studio where makeup, wardrobe, production offices and actors dressing rooms are located. Directly behind Mark is the turbolift leading to the bridge of the Enterprise.

Admiral Whithrow with Joshua Price and Jessica Headlee outside the Admiral's quarters. That wall behind them? Paint wasn't even dry, yet! The Admiral's tunic was a custom design by our Wardrobe Expert James Cawley and Executive Producer. Salmon (mm/dd/yyyy)8.

WHITHROW Tell me, Spock, at what point does it become conclusive? Spock ponders for a moment, and begins to answer but Whithrow isn’t interested. WHITHROW (CONT’D) Look, Spock, Nimbus Three is(Star Trek V reference!) considered an Open Planet. Everyone is welcome, provided they don’t upset the peace...which makes an armed Federation Heavy Cruiser hanging in orbit for a month a little hard to justify. SPOCK And yet no one objects to a Klingon Director of Photography Jeff Barklage battlecruiser, Romulan warbird or a Jeff worked with TOS DP Jerry Son’A... James Cawley fits Brian Gross Finnerman. Jeff showed up with his in Kirk's classic wrap tunic. van full of camera equipment. We WHITHROW James worked with Bill Theiss filmed in Cinema 4K for Mind-Sifter. Point taken, Commander, but here’s (costumer on TOS and TNG) what’s at stake: Starfleet during TNG's run. After Bill Intelligence has detected an Theiss' passing, James arguably unusually high number of probes in became the best Trek costumer the past few weeks. It’s believed the on the planet. new Klingon High Council is flexing its muscles and that they may start pushing their boundaries again. SPOCK The peace would be regrettably short- lived. WITHROW With Klingons it always is. The Lexington is here to patrol the James Cawley and Mark region as a show of strength. The Edward Lewis "talk Trek." Enterprise will be joining us. SPOCK Sir, that would require us to Key Grip Kent Schmidt drives home discontinue our search for the a key safety point. The power captain. required to light the sets is significant. This sign resides on WHITHROW what is called a distro box. The That is correct. power bill is $3000.00 during a shoot! Spock lets his formality slip a little as the conversation Jeff and Mark continues. discuss 16X9 vs 4X3. Mind-Sifter was shot in 4X3 aspect ratio. We are very proud of Key Grip Kent Schmidt, who lost 80 pounds prior to this shoot, to fit into his Starfleet uniform for his first ever appearance on the Enterprise. Salmon (mm/dd/yyyy)8A.

SPOCK Admiral, it is imperative that we determine what happened. He was down on the planet. He disappeared. How was his security compromised? And by whom? It's imperative that we find The Red One camera, one of many him, but it's equally imperative to cameras we used during filming. This is discover exactly what happened. Planning a shoot is the view the director and crew have of Otherwise, Captain Kirk might not be the scene. the only Starfleet officer at risk. crucial. The director, Mark, discussing the WHITHROW schedule with the 1st AD. I agree with that assessment, Spock. Do you have anything? SPOCK (beat) Captain Kirk was on leave in Paradise City when he vanished 32 days ago. We have searched the capital and scanned all departing ships since then. No Director Mark Edward Lewis trace. It is almost as if ... he had never existed. discusses continuity with Ian Engelberg. WHITHROW (long pause) Makeup continuity photos. An Mister Spock, has it occurred to you episode is not shot in scene that Jim Kirk might be deceased? sequence. Brian's injuries would change from day to day. SPOCK Yes, but there is no evidence to support that theory. Has it occurred to you, Admiral, that Captain Kirk's disappearance might have something to do with the increase in activities of the Klingon fleet along our mutual Our G/E crew discuss strategy borders? in planning lighting. These guys truly work hard. WHITHROW It has indeed. The High Command might They are artists who "paint" be functioning under the belief that Marybeth Ritkouski starts the beautiful lighting we see by removing Captain Kirk from the makeup on Brian. on New Voyages. equation, they can reduce the military strength of the Enterprise. SPOCK I have my doubts about that, sir. It would be a dishonorable tactic.

James adds fake blood to Brian's Makeup approval by the wardrobe. director, Mark. Salmon (mm/dd/yyyy)8B.

WHITHROW Nevertheless ... and no offense to your considerable skills, Commander, the Enterprise without Kirk is not the same ship. Brian Gross and Rivkah Raven SPOCK After the table read, the actors Wood do a table read with the No, sir. It is not. And that is why director, Mark Lewis. we must continue the search for the start rehearsing with the Captain. director. Brian and Rivkah had a great chemistry from the start. Whithrow leans back in his chair, his expression softening. WHITHROW Regardless, I need the Enterprise on the patrol line. Here are your orders. Whithrow slides a data card to Spock across the table. SPOCK Admiral, with all due respect -- WHITHROW NON-negotiable, Commander. Those are your orders.

Spock reveals no emotions, but his hesitation speaks volumes. He picks up the red data card. He stands, rigid. SPOCK Data cards go missing all the With your permission, Admiral. time! Much to the chagrin of the prop guys! Whithrow hesitates. There's more. WHITHROW I’m sorry, Spock, but if want the Klingons to take us seriously, they have to know both the Lexington and the Enterprise are under strong, capable command. Spock realizes that he’s talking about him. SPOCK Yes, sir. WHITHROW As of this stardate, Commander, you are the captain of the Enterprise.

SPOCK Understood, sir. Salmon (mm/dd/yyyy)8C.

WHITHROW * Dismissed. * Spock turns and exits. *

8a INT. LEXINGTON CORRIDOR 8a * Out in the corridor, after the door to the Admiral’s quarters * closes, Spock stops and reflects for a moment, then marches on * to his duty.** We shot this scene twice. Originally in June * and again in October. While there is no dialogue with Spock going down the hall, everything has to look perfect!*** EXT. 9 ENTERPRISE IN SPACE 9 * Moved. *

This scene, (scene 8) while it may not have used up too much running time in the episode, was very complicated to shoot. First of all, you have to consider what is called continuity. Actors naturally move while talking. They may lean forward, tilt their head, anything. On set, we have three talented people who watch every move an actor makes and record it using specific software. If an actor leans forward during one take and they are leaning back in the next, the scene won't "cut" or edit properly. This scene took approximately 10 hours to shoot. Our continuity people- Ian Engelberg, Jodi Bray and Marybeth Ritkouski did a great job! This set, Kirk's quarters, was always under construction and actually wasn't 100% finished while we shot this scene. The DP, Jeff Barklage, did a great job avoiding spots where the wall wasn't painted yet or set piece wasn't finished. Next challenge was all the camera moves required to make the scene interesting. These quarters are very cramped once you get a lighting crew, actors, director and makeup people. We used a dolly for 90% of the scene as well. You will do a master wide angle take where the actors will go through the complete scene. Multiple times. Actors may flub a line, a disruption due to outside noise, or wardrobe issues can force a take 2 or take 17! Every time we moved the camera, we had to make lighting, wardrobe makeup and prop adjustments. It gets incredibly hot as well, so breaks need to be taken! Kirks quarters got a workout this episode. It was used as Admiral's office, Spock's quarters, McCoy's quarters and finally, for our Captain at the end of Mind-Sifter. It required numerous paint touch ups, redressings to reflect who was living there and prop adjustments. It was great fun and a lot of work for all our crew to make this small set work as many different locations.

Lighting tweaks. James Cawley overseeing construction as Mark Lewis, Brandon Stacy, Jeff Bond, Glen Wolfe looks on. James Cawley and Jeff Barklage. 9.

10 INT. TRANSPORTER ROOM 10

MCCOY ENTERS, carrying his MEDKIT, and finds Scotty sitting on the TRANSPORTER PLATFORM, his face turned slightly away. XON is at the CONSOLE, looking on awkwardly. MCCOY Okay, I'm here. Where's the emergency? Xon nods toward Scotty, who turns so we see his entire face.

He has a BLACK EYE and a BLOODY LIP. McCoy rushes to him and sweeps his MEDICAL SCANNER over him. MCCOY (CONT’D) Scotty, what the hell -- SCOTTY Nothing, Doctor. Just had a ... difference of opinion.

MCCOY With what, a freighter? (scanning) Black eye, split lip, three cracked ribs. Congratulations. You just earned a night in Sickbay. SCOTTY But I've got work to do! Other than the bridge, the Transporter MCCOY Room is the favorite You should have thought of that before you got in a bar brawl. set to visit!

SCOTTY The crew doing "lighting tests" in the Transporter Och, those heathens from the Room. Our Charlie's Angel's pose! Lexington wouldn't know a brawl if you beamed it to them gift-wrapped! MCCOY (patching) You got in a fight with crewmen from the Lexington? SCOTTY Aye! MCCOY What was it this time?

This scene, scene 10, never got filmed due to a gruelling shooting schedule. McCoy does allude to the fight later in the episode. The set was also still under construction which led to the decision to drop it. Would have been fun to film, though! Pink (mm/dd/yyyy)10.

SCOTTY (hesitates) They said the Captain was dead. And we were idiots to keep searching for him. They said ... he probably went AWOL, probably chasing after some skirt. Said that's why we canna find him. I couldna stand for that! MCCOY (patching him up) Scotty, Scotty, Scotty.... SCOTTY (Sighs) Aye, but a man has to stand up for his ship. Something BEEPS on the transporter console. Xon checks a readout and turns to McCoy and Scotty. XON Gentlemen, clear the pad. Mister Spock is returning from the Lexington. Xon readies several controls as McCoy and Scotty move away from the platform to join him. Then Xon activates the transporter. A human figure begins to materialize via TRANSPORTER EFFECT (OPTICAL). As the TRANSPORTER SOUND builds and begins to fade, we switch to see Xon, McCoy and Scotty, each of whom display an expression of genuine shock. MCCOY What in the name of--? SCOTTY Good gomity! XON (pause) Welcome aboard ... Captain. We see Spock on the transporter platform, wearing a GOLD UNIFORM and CAPTAIN'S BRAIDS. He steps off the platform and joins the others. In a moment of silence, he studies Scotty's bruised face. SPOCK Mister Scott...? Pink (mm/dd/yyyy)11.

SCOTTY Uh ... sir? SPOCK You appear to have experienced a physical altercation. SCOTTY I can explain. SPOCK I expect your explanation will be as colorful as the one I heard aboard the Lexington. (gives Scotty a look) Secure all stations. We will be * breaking orbit within the hour. Spock heads toward the door. MCCOY Spock! What the hell is going on? SPOCK Starfleet has ordered us to patrol the Klingon border. MCCOY What about the search? SPOCK We have new orders. MCCOY Are you out of your Vulcan mind? We can't leave the captain behind! SPOCK We are not, Doctor. (beat) I am the captain of the Enterprise. Spock EXITS. McCoy and Scotty continue to stare, flabbergasted. REACTION -- XON. XON (to himself) Logical....

We decided to film the last part of this scene on the bridge. Partly because the set wasn't ready but it was decided this scene had more dramatic effect delivered on the bridge. It also gave the whole bridge crew a chance to react to seeing Spock as the Captain. A script will undergo many rewrites, including on set. This shows how talented our screenwriter, Rick Chambers, truly is. TV shows are rarely shot in order. To save time, we film on shots for a specific set on one or two days. On New Voyages, "Bridge Day's" save our shoots. We shot all our bridge Yellow (mm/dd/yyyy)12. shots over one long shooting day. The day went 20 hours!

11 INT. ENTERPRISE BRIDGE

UHURA is in the command chair, SULU is at the helm, WALKING BEAR is at Navigation. The TURBOLIFT DOORS open, and Spock ENTERS. Uhura gasps, and the rest of the bridge crew turns in stunned silence. Spock approaches the command chair. SPOCK You are relieved, Lieutenant.

Uhura nods -- her uncertainty is visible -- and makes her way to the COMMUNICATIONS CONSOLE. Spock takes his place in the At the helm! command chair as the bridge crew watches.

CLOSER ON SPOCK as he toggles a SWITCH on his armrest. SPOCK (CONT’D) Attention, all hands. This is Commander Spock. The bridge under INSERT - REACTION SHOTS OF CREWMEMBERS, CORRIDOR, REC ROOM, construction. ETC.

SPOCK (CONT’D) (beat) As of this date, by order of Admiral Whithrow, I have been placed in command of this vessel...... as its captain. We have been ordered to discontinue our search efforts and take up patrol duties on the Klingon border.

11a INT. INSERT-REACTION SHOTS OF CREW MEMBERS, CORRIDOR REC ROOM, ETC. This was our first shoot at our new 12 INT. ENTERPRISE BRIDGE studio. Moving the Enterprise and getting it ready for shooting was a SPOCK monumental task. The layout is exactly All sections, prepare for warp speed. as it was at Desilu studios back in the Spock out. 60's. Spock toggles off. At that moment, the turbolift doors OPEN and McCoy and Scotty ENTER. SPOCK (CONT’D) Ensign Walking Bear, plot a course to Starbase 24. (MORE)

Jeff Bond channels his "Inner Kirk" and James Cawley adjusts the "Sulu Scope" while Mark stands in awe! Yellow (mm/dd/yyyy)13.

SPOCK (CONT’D) Upon arrival, you will implement a standard patrol pattern between there and Sherman's Planet. SULU (turns to Spock) Sir, that's over a month away!

SPOCK Thirteen days at warp seven. (without turning around to see Scotty) Mister Scott, I assume you can maintain warp seven? SCOTTY Aye, Cap'n -- (realizes what he's just said) Aye. I c'n give ye tha power. WALKING BEAR Setting course.... (turns back to console, goes to work) McCoy approaches the command chair, Scotty at his heels. MCCOY Spock! We can't leave before we find Brian Gross in the out what happened to Jim! classic "Mirror SPOCK Mirror" tunic. A I have my orders. future episode MCCOY perhaps? To hell with orders! Spock turns to face McCoy, a stern look on his face. SPOCK Doctor McCoy, that will be all. My orders are not your concern. What happens in Sickbay is. MCCOY But ... Spock! This was a "magic moment" on set. When Jeff spun Brandon around in the chair and barked "Spock!" it was electric. Jeff SPOCK Bond did an incredible job playing McCoy. You are dismissed, Doctor. Actors Jeff Bond and Brandon Stacy on the bridge. Jeff Bond remembers: "Doing this role was just about the most fun I've ever had. I had wanted for years just to visit the sets James Cawley had built, but to actually play one of the most iconic characters in the series, and have it be a tremendous dramatic role was really a fantasy come true. What James has set up is really like a Disneyland for Trekkies. I was really hired as a complete fluke, and it was a total shock to be asked to do this role." Goldenrod (mm/dd/yyyy)14.

McCoy is speechless with fury. He storms toward the turbolift. SPOCK (CONT’D) Mister Scott, report to Sick Bay so Doctor McCoy can tend your injuries. Charles Root, our own Mr. Scott. Then you will report to Engineering "I've been with star Trek New and make sure we can maintain warp Voyages over 10 years now. speed for the duration of our Mind-Sifter was the first episode journey. in our new studio and by far it's the nicest location we've ever shot SCOTTY in." (reluctant) Aye, Mr. Spock. SPOCK Captain. Spock. SCOTTY Aye, Captain. Spock. SPOCK Dismissed. Scotty is deeply hurt. Without a word, he joins McCoy, and both men EXIT to the turbolift. Spock then turns to the helm. SPOCK (CONT’D) Navigation? SULU Course laid in, all systems nominal, ready for maximum warp... A long beat as Sulu hesitates. Walking Bear looks to him concerned.

Shyaporn Theerakulstit brought SPOCK a great sense of fun to the shoot. Mister Sulu--? He was a great morale booster for all the crew. SULU (reluctant beat, a glance back, off Spock's look) At your order ... Captain.

9 EXT. SPACE. THE ENTERPRISE 9 The Enterprise breaks from formation with the Lexington by pitching down and away while banking hard to port underneath her. Full impulse is seen being engaged as the lunges toward gravity-free space for warp. Goldenrod (mm/dd/yyyy)15.

12a INT. BRIDGE. -- CLOSE ON SPOCK 12a The tension on the bridge is incredibly high. Sulu actually looks ready to refuse the order. But finally he sags, resigned. Sulu turns to the helm console and enters commands. The crewmembers turn away, going back to their tasks while pointedly avoiding Spock. At the center of the bridge, surrounded by shipmates, Spock is alone. As we hear the Enterprise ENTER WARP, Spock closes his eyes, and the BRIDGE SOUNDS fade. We hear WHISPERS overlapping until one voice, repeating, rises in volume: KIRK (V.O.) Spock! Spock! CUT TO:

13 INT. KIRK'S ROOM--NIGHT 13

Kirk, still in a straitjacket, strains upward on the floor. KIRK (screams) Spock!

He stops and looks around, disoriented. Kirk struggles briefly with the straitjacket but then gives up. He heaves for breath, furling his brow in confusion. With a loud CLANK, the door opens and Hamlin ENTERS. She's carrying a THERMOS. Kirk whimpers and struggles to move away. "I remember the nightmare HAMLIN of the straitjacket," says Jimmy, it's okay. It's me -- Hamlin! James Cawley. "We commissioned one to be built She shuts the door and moves to him. and placed the order and our worst fears happened. The [I’M GOING TO SAY THIS IN THE CLEAR: SHE IS A DOCTOR. SHE IS jacket did not arrive on time. A PROFESSIONAL. HE IS HER PATIENT. SHE DOES NOT SEE HIM I had to drop everything I ROMANTICALLY. SHE RECOGNIZES HE’S A HANDSOME MAN, BUT HER JOB was doing, scramble to find COMES FIRST. TO PLAY THIS AS A ROMANTIC RELATIONSHIP IS A the needed materials, no easy SEXIST, HURT-COMFORT, MARY-SUE FANTASY AND DEMEANS BOTH feat in a tourist town, and CHARACTERS. LET’S DO THE GROWNUP RELATIONSHIP FOR A CHANGE. spent the next two hours WHATEVER SEXUAL TENSION EXISTS BETWEEN THESE TWO CHARACTERS, building a jacket and getting IT IS BURIED VERY DEEP. UNDER OTHER CIRCUMSTANCES, MAYBE -- it on set on time to keep us BUT NOT THESE CIRCUMSTANCES.] all on schedule. I hope I David Gerrold, our showrunner, gives his input never have to face this type of on the Hamlin character in these notes. He scenario again." changed her from a nurse to a doctor, and rightfully cautioned against turning Hamlin into another Edith Keeler. These changes from the original story reflect a more contemporary zeitgeist in keeping with Star Trek tradition. 16.

Hamlin opens the Thermos and pours water into a RAG. She professionally dabs at the cuts and bruises on Kirk's face. He lurches at first--it's painful--then he calms again. KIRK (croaks) Water. Please. Hamlin does not smile, she’s disturbed by his injuries. She pours some water into the Thermos cup, holding it to Kirk's lips. After he drinks, he looks at her curiously. KIRK (CONT’D) Rivkah Raven Wood faced a dual Thank you ... challenge in bringing Hamlin to life. She brought balance to a character Hamlin starts removing the straitjacket. She cares about him that is both intellectually strong and as a patient, but she senses there is something more to this emotionally vulnerable. Fans of the man as well and she is determined to discover who he is. Kirk short story will appreciate her looks around. When he speaks, it's as if he's dizzy, interpretation of the character. disoriented and confused.

KIRK (CONT’D) Where am I? HAMLIN This is an isolation room. KIRK And you are...? Marybeth Ritkouski holds a mirror while hairdresser Alex Viaggio HAMLIN works his magic on Rivkah Raven Doctor Hamlin. Remember? Wood. KIRK (shakes head) HAMLIN You're in a hospital. KIRK A hospital? How long? HAMLIN It's been almost two weeks. Don't you remember? Kirk frowns, trying to recall. KIRK I was outside. Lost. Cold. HAMLIN And then what? 17.

KIRK Two security guards found me. (pause) No, that's not right. They...they took it from me! HAMLIN Rivkah and Brian discuss the Who?? Who hurt you? scene with director Mark Edward Lewis. KIRK (increasingly upset) I ... I... I don't know! But Notice the beautiful lighting by the something's missing. incredible Jeff Barklage. HAMLIN There were two policemen. They brought you here, remember? KIRK Here? What hospital is this? What happened to me? Hamlin has finished removing the straitjacket. She hesitates, unsure how Kirk will react. She gently takes him by the shoulders. HAMLIN It's called amnesia. (curious) Do you remember anything? Kirk is dumbstruck. Tears form, and he lowers his head, clenches his fists and softly beats the air. KIRK No! No! They did this! They -- they took it -- Hamlin holds his hands in hers, comforting.

14 INT. DINING ROOM--NIGHT 14 Kirk sits alone at a table, utterly despondent. The room is empty, though we hear KITCHEN NOISES in the background. Then Hamlin walks up to him, holding a TRAY of UNAPPETIZING FOOD and a PLASTIC COFFEE CUP. She places it on the table. HAMLIN Come on, Jimmy. You need to eat.

A group of extras who played other patients at the hospital - two came all the way from Germany to participate in the production! 18.

Her last words prompt a response. Kirk looks up at her, gives a small and charming smile, and then picks up a spoon and begins to eat--awkwardly at first. Gradually, he takes a greater interest in the food. He takes a sip of coffee. KIRK (grimaces) ) Easter Egg Alert! There are three Is it supposed to be cold? Captain Kirks in this scene! HAMLIN I'm sorry. I'll get you fresh. Hamlin takes the mug and starts to walk away. Kirk rubs his forehead, unsure. He watches as Hamlin retrieves the coffee from a nearby COFFEE URN and returns. He sips coffee and sighs contentedly. KIRK Much better. It almost tastes real. HAMLIN You don't think it's real? Suddenly, a BELL CLANGS. Kirk jumps, startled. He puts down his coffee and stands, his face severe.

KIRK Red alert! HAMLIN What? (reassuring him) It's just the lights-out bell! Kirk strides toward the DINING ROOM DOOR, Hamlin in pursuit. I'M CAPTAIN HAMLIN (CONT’D) KIRK!! Screen writer Rick Chambers Jimmy, where are you going? in spirited discussion with Captain Kirk. KIRK It's a red alert! I have to get to the bridge! (calling to his crew) Combat stations! He pauses at a SWINGING DOOR, waiting for it to open. Of course it doesn't, and after a moment of uncertainty he pushes through. CUT TO: From First AD Dennis Hotston, this impromptu scene with James as Elvis was the result of the director being concerned about nothing happening while Hamlin got Kirk fresh coffee. Dennis continues, "We'd been trying to get Brian and James on screen together for a long time now. Rick Chambers actually wrote a treatment where the Enterprise encounters Elvis." When Mark came to Dennis with this background problem, it seemed a natural fit to bring Brian and James together. "We grabbed Rick and he wrote the scene on the spot. James agreed and the rest is history. Hopefully all of the adlibbed outtakes will appear one day, a definite highlight for me." Goldenrod (mm/dd/yyyy)19.

15 INT. ASYLUM HALLWAY--NIGHT 15 At the door, Kirk stops abruptly, confused. Slowly he moves into the hallway as Hamlin comes up behind him. HAMLIN Jimmy, tell me what's happening. Kirk's confusion gives way to frustration. KIRK * This is all wrong... I needed to... (beat, then sadly) It's gone. Almost. Almost. (turns to Hamlin) Who am I? Hamlin holds Kirk, not quite a hug. (She is fascinated by him, but not romantically obsessed. She is a professional doing her job. REMEMBER THIS THROUGHOUT!!) He stares past her shoulder, his face revealing a churning inner turmoil.

16 INT. KIRK'S ROOM--NIGHT 16 Kirk lays down on his bed. Above the bed is a BARRED WINDOW, through which we see the night sky. Hamlin pulls a BLANKET over him. Jim stares at the ceiling, ignoring her. HAMLIN Just take it one day at a time. I promise, it will get better. Because you'll get better. Kirk doesn't respond. She moves toward the door, pausing to look back at him with professional concern. Then she EXITS. Kirk turns his gaze to the window. He can make out stars in the night sky. There were audible sobs from our crew after "cut!" was called. That's how END ACT ONE good our actors and director were for this episode.

Behind the scenes on location . Blue (mm/dd/yyyy)20.

ACT TWO

17 FADE IN 17

18 EXT. SPACE--ENTERPRISE AT WARP (OPTICAL) 18 The Enterprise flies through space at high warp speed.

19 INT. SPOCK'S CABIN 19 Spock is working at his desk. The door BUZZES. SPOCK Enters.This conversation has Spock continue to work while * McCoy is speaking. * McCoy ENTERS. He stands stiffly near the door. MCCOY Captain Spock. SPOCK Doctor. How may I assist you? McCoy ENTERS. He faces Spock. Despite the empty chair, he doesn’t sit. As he speaks McCoy's tone and body language reveal a rising anger. MCCOY Do you know what day it is?

SPOCK Since you have access to the ship's * chronometer, I must conclude that is a rhetorical question. MCCOY (snorts) That's progress. I figured you'd quote me the time down to the second. SPOCK If you wish. (beat) Today is the 34th day since Captain Kirk disappeared. Is that the answer Even Vulcans need to eat, too! you wanted? MCCOY How can someone as brilliant as you It should be pointed out how great the town of be so goddamn stupid? Ticonderoga is to Star Trek New Voyages. They roll out the welcome mat every year. The local hotels and restaurants are great to the cast and crew. We encourage everyone to come see this beautiful part of New York state! 21.

SPOCK I’m a Vulcan -- MCCOY That’s an explanation -- not an excuse. (confronting him) You’re a Captain now. Be one. (off Spock’s questioning look) Console your crew, dammit. SPOCK Perhaps my obvious genetic contrast "I did want to pay homage to what is still, even now, lost on you, Deforest doctor. And so I repeat: I am a Kelley did with out making it a Vulcan -- parody," says Jeff Bond. "It's weird, but I just tried to FEEL like McCoy MCCOY on the set and have some of his body You’re half-human too! So be half- language." human for a minute. I know it’s a stretch -- (explains) This crew is shattered! They need leadership! Compassionate leadership.

SPOCK Lighting guru Jeff (he knows the word, Barklage makes sure not the experience, the lighting stays true he frowns) to perfect TOS Compassion...? colours. Note the lighting difference MCCOY between this and the It means “to suffer with.” Are you above picture. saying you’re not suffering too? Spock does not answer immediately. SPOCK I am in command of my emotions. I expect my crew to do the same. MCCOY (momentarily patient) We all need healing, Spock -- SPOCK (not interested) That is the job of the ship's doctor. MCCOY Wrong! A starship captain sets the emotional tone for his crew. (MORE) Blue (mm/dd/yyyy)22.

MCCOY (CONT'D) (jabs with his finger) And you're doing a piss-poor job of it! McCoy is purposely trying to anger Spock, and he's very close to succeeding. This stops Spock’s work. * SPOCK I see. (takes a breath) What would you suggest? McCoy finally sits. * MCCOY Well.... (hates to go there) A memorial service, for starters. SPOCK A memorial service honors the dead. MCCOY Winthrop made you Captain of the Enterprise. Doesn’t that tell you something about the official status of James T. Kirk? The actors had to stand (adds) at an awkward angle to I don’t like it either. But we have make this look right on to face facts -- camera. SPOCK Facts? Curious. We have no evidence that he’s -- Again, another MCCOY technically difficult You’ve taken his command! How much scene. Jeff had to more evidence do you need? reamain in character (beat) while avoiding How do you think his crew feels about blocking Brandon's -- face or casting Spock has had enough. He stands. shadows. Jeff learned a lot about the acting SPOCK for the camera from (stands) his castmates. That will be enough, Doctor. McCoy matches him by standing. Blue (mm/dd/yyyy)23.

Screenwriter Rick Chambers was MCCOY always on hand as I don't think so! You always said you the need arose to didn't want the captain's chair. But you sure took it fast enough. tweak the script, help the actors, or SPOCK help the director I took command for the mission. if they had any questions. MCCOY Horse exhaust! You took it for command! Screenwriter and continuity SPOCK look on. Ian Engelberg, (left) (shouts) broke down each version of this Dr. McCoy! script. An incredible asset to STNV. McCoy is shocked to see Spock finally lose his temper. Silence reigns for a few moments as Spock slowly composes himself. Yet his tone remains terse. SPOCK (CONT’D) I am in command of the Enterprise. Why or how does not matter. Is that clear? McCoy does not reply. SPOCK (CONT’D) Is that clear, Doctor? McCoy nods once. MCCOY May I be excused-- (sarcastically) --Captain? Spock looks at him sadly, as if their friendship has been forever damaged. Finally....Spock sits * SPOCK Doctor. Please schedule a memorial service for Captain Kirk. Once again, Spock has surprised McCoy, and he is grateful. * MCCOY Thank you. SPOCK

However, I will not attend. More from Jeff Bond: "I just tried to maintain a light Southern accent without sounding like Foghorn Leghorn!" Blue (mm/dd/yyyy)24.

And again, McCoy is taken aback. He starts to say something, decides against it, and EXITS. Spock stares at the closed door unable to focus, now, on his work. *

20 INT. MCCOY'S OFFICE Again, we used Kirk's quarters redressed for this scene. 20 Scotty and McCoy are standing at McCoy's desk, sipping from GLASSES. A half-empty BOTTLE of GREEN LIQUID stands between them. MCCOY You could sit... SCOTTY As long as I’m standing, I haven’t had enough. (after a thoughtful beat) You really said all that to him? McCoy nods. SCOTTY (CONT’D) Doctor, I dinna know whether to slap your back or your face. MCCOY Don’t even think about it. You’ve been in enough fights this week -- SCOTTY You should see the other floor. (sadly) But he's right, you know. Like it or not, he is the captain now. Notice the fluid level in this bottle. We took MCCOY pictures of it after every Then he should start acting like one! take to keep the exact level SCOTTY accurate on screen. Is that really what you want? McCoy takes another swig of his drink but doesn't answer. SCOTTY (CONT’D) Me neither. The two men stand in silence for a moment. MCCOY I requested a transfer.

This was an incredibly tricky scene to shoot. We had to maintain an exact amount of liquid in that bottle through multiple takes. Editing two "drunk" actors into a great scene was no small feat! 25.

SCOTTY (surprised) And? MCCOY Starfleet refused. Spock wouldn't allow it. (mimics Spock) "Your departure would negatively impact the efficiency of this vessel's Medical services." (beat, with feeling) Nicest thing he's ever said to me. SCOTTY Aye. Another silent moment... SCOTTY (CONT’D) Charles Root brought a lot of You know what scares me, Doctor? When emotion to this scene - the I go a few hours, sometimes a whole knocking over of the glass was day, not thinking about Captain Kirk. entirely improvised by him and MCCOY a great touch. (nods) I know what you mean. We’re getting used to ... the new normal. SCOTTY Aye. If I'm forgetting, and you're forgetting.... They both take another sip. SCOTTY You scheduled a memorial service. (pointedly) Is that you’re way of saying you think Jim Kirk is really dead?

McCoy pauses for a long time, deep sadness in his eyes.

MCCOY Even James T. Kirk can’t cheat the law of averages forever. We both know that. SCOTTY Aye. Then, finally, he lifts his glass. Blue (mm/dd/yyyy)26.

MCCOY The captain is dead. Long live the captain. (sips, then...) God help us all.

21 INT. SPOCK'S CABIN 21 Spock is seated at his desk, eyes closed, fingers steepled. He is meditating. Actually, Brandon came up with the idea that he was psychically linked with Kirk, thus his mind meld pose with one hand in the finished product. Quietly at first, then more loudly, we HEAR the overlapping WHISPERS/SHOUTS. CUT TO:

22 22 INT. BAR

Kirk is jumped from behind by TWO CLOAKED MEN.

23 EXT. ALLEY--NIGHT 23

Kirk struggles against the cloaked men, knocks the hood off one of them to reveal KLINGON #1.

24 INT. KLINGON BRIG 24

Kirk is shirtless, bruised and bloodied. His arms are chained overhead as KLINGON #2 spears him with a PAIN STICK. Kirk cries out in agony. CUT TO: DARKNESS FADE IN:

25 INT. KLINGON BRIG 25 Kirk is slouched in a chair, back in uniform, under the watchful eye of Klingon #2 and facing the entrance to the brig. He's battered and bruised. We hear the HUM of the FORCE FIELD (OPTICAL), which suddenly snaps off as KOR ENTERS, a smile of triumph on his face. An exhausted Kirk squints through blackened eyes.

* Kor paces like a cat toying with its prey. Two incredibly talented makeup professionals play these Klingons. Brian Holloway, (left) and Mark Wolfe. 27.

KOR Ahh, Captain James Tiberius Kirk. So nice to see you again. KIRK (stunned) Kor. What is this? KOR Klingon hospitality. KIRK Kidnapping?! Are you trying to start a war! KOR On the contrary. I’m going to end one. Before it starts. (adds) With just a little cheating.... It was eerie watching the talented Clay Sayre play Kor, on set! KIRK Cheating? Isn’t that dishonorable? KOR No. Losing is dishonorable. Mark and Brian discuss the scene Klingon #1 ENTERS, carrying a tray with a DECANTER and TWO during rehearsal. FILLED METAL STEINS. Kor takes the steins and hands one to Kirk. Kirk stares at it, but doesn’t take it. KOR (CONT’D) Oh, do have some blood wine, Captain. (off Kirk’s look) I assure you it isn't drugged. KIRK Thank you. I’ll pass. Kor strolls around the brig as he speaks. KOR You know.... (enjoying himself) All of this ... unpleasantness ... could have been avoided. A simple answer to a simple question. Surely you can see the logic in that. KIRK If it's logic you want, you got the wrong guy. Blue (mm/dd/yyyy)28.

KOR Ah yes, your Vulcan comrade. Equally stubborn, as I recall. Kor moves over to Kirk and leans down, fixing him with an angry look. KOR (CONT’D) But trust me, Captain. You are not equally resilient. (beat) I’m only going to ask this once -- KIRK Thank you. That’ll be a great time- saver. KOR (ignores the interruption) --Where is the planet known as Gateway? KIRK I’m only going to answer once. (beat) It’s a Starfleet secret. KOR All right, yes. Thank you. * Now that we have concluded the formal part of the inquiry, we’ll proceed to the next phase.... Kor replaces the stein and nods to the two guards. Klingon #2 lifts Kirk to his feet. Klingon #1 puts down the tray and * joins him. With Kor leading, they drag Kirk forward and EXIT the brig. 26 INT. INTERROGATION ROOM Kor, the Klingons and Kirk ENTER. We see them over a small, 26 gleaming, blood-stained corner of the MIND-SIFTER! [(this blood should probably be pink, however).] We never see the device itself, leaving its horror to our imagination. Kor stands aside so Kirk can see it. For the first time, real concern -- fear? -- crosses Kirk's face.

Jaime Sanchez is Brian's personal "Kirk Coach". On the left, Brian is rehearsing with Jaime on Kirk's physical mannerisms. This rehearsal became this scene on the right. Goldenrod (mm/dd/yyyy)29.

Kor nods again, and the Klingons drag Kirk forward. Kirk is struggling now, but futilely. His expression is grim resistance. KIRK No...No! Kirk's terrified "NO!" was dubbed CUT TO: in during post production. On set, it was merely a whisper to protect sound equipment. And Brian's voice! He had more dialog in this episode! DARKNESS * Kirk SCREAMS (V.O.). Continuing over... 27 Int. BRIDGE. CLOSE ON SPOCK 27 *

...he frowns suddenly, as if he’s heard a distant call. * WIDER ANGLE. MATCHING. * As he looks around. Nobody else has heard it. * SPOCK * Mr. Sulu. You have the conn. * Spock heads toward the turbo-lift. The door opens to reveal: * DR. MCCOY starts to step out of the turbo-lift. He has just arrived. He and Spock stare at each other for an * * uncomfortable second. * McCOY * I was just -- * SPOCK * -- coming to see you. * The two of them hesitate a moment, then step into the turbo- * lift together. *

INT. TURBO-LIFT. * They wait until the doors close (SFX). They look at each * other. *

SPOCK * You have something to report? * MCCOY * You’re the Captain, you should go * first. *

Continuity photos of Kirk's wounds from the Klingon painsticks. Brian Gross This scene was not shot in the turbolift. turned down a movie role to make our Much of the dialogue happens later in shoot. He admitted he did not want to let Spock's quarters. down his Star Trek family. All Spock and McCoy scenes were filmed on one day. Kudos to Goldenrod (mm/dd/yyyy)30. Brandon Stacy and Jeff Bond for rising to the challenge of the different range of emotions required! SPOCK * True. * (beat) * However, it may be that what you have * to say is more important... * MCCOY * (this is hard for * him) * I came to apologize. * Spock raises an eyebrow. McCoy? Apologize? * MCCOY (CONT’D) * (beat) * I’m supposed to be the Captain’s * doctor too. * Spock’s eyebrow remains raised. * MCCOY (CONT’D) * You were closer to Jim than anyone. * You have to be feeling it worse than * anyone. * SPOCK * I shouldn’t have to remind you that I * am half-Vulcan. * MCCOY * But I can be a good listener for your * human half...and...I’m your friend, * Spock. * If Spock is touched by the gesture, he does not show it. * SPOCK * Can you listen in Vulcan? * MCCOY * You know I can’t. * SPOCK * I could help you... * Spock reaches out as if to perform a mind-meld. McCoy steps * back. * MCCOY * Uh ... I don’t think so. * SPOCK * Really, Doctor? *

James Cawley and Jeff Bond share a moment on location. Painting was a constant challenge to filming. Often, the paint was barely dry when we went in to shoot. The paint colours are 100% Goldenrod (mm/dd/yyyy)31. accurate to the original sets.

MCCOY * With all due ... respect I need to * keep a human focus. * SPOCK * (puts his hand down) * You are correct. * The two of them survey each other in a rare moment of * understanding. * SPOCK (CONT’D) * Thank you, Doctor McCoy. * MCCOY * Thank you, Captain Spock. *

28 EXT. SPACE--ENTERPRISE AT WARP (OPTICAL) 28 The Enterprise speeds through space at high warp speed.

29 INT. BRIDGE 29 Sulu is alone, seated in the captain's chair on the bridge. * Spock ENTERS from the turbolift and approaches. SULU * Good evening, sir. SPOCK Lieutenant. I trust the rest of the crew at the memorial service? SULU * Yes, sir. I volunteered to stay at conn. SPOCK Commendable, but not necessary. You are relieved, Mister Sulu. * (beat) Join your crewmates. A surprised Sulu stands and heads for the turbolift as Spock * takes his place. Sulu pauses at the doors and looks back at * Spock with appreciation.

The entire bridge crew for this scene was female, leading to some of Shyaporn's funniest outtakes. Look for Shyaporn's comedy on YouTube. Yellow (mm/dd/yyyy)32.

SULU * Thank you.... (beat, then respectfully) Captain. Spock nods once. SULU EXITS. *

30 INT. ENTERPRISE CHAPEL. (AS IN TOS: REDRESS TRANSPORTER ROOM)30 We see SEVERAL ENTERPRISE CREWMEMBERS taking their seats in the chapel, facing the PLATFORM and PODIUM where McCoy, Scotty and Uhura are standing, wearing DRESS UNIFORMS. In the front row are Xon and Walking Bear. SULU ENTERS and * joins them. MCCOY (to Scotty and Uhura) I'm starting to hate this chapel. Too much time spent here lately. UHURA That's one way to look at it. SCOTTY What's yours? Mark addresses the cast for UHURA the memorial service scene. He told them to think of the (pause) saddest memory they could. A place of peace. McCoy looks away, watching as the crewmembers settle, and Uhura, Scotty, Walking Bear find their seats. Finally, he * steps up to the podium. * MCCOY * It is with deep sadness and proud honor that we gather here today to remember James T. Kirk. McCoy pauses, struggling with his emotions. MCCOY (CONT’D) It would be easier if we knew how he died. If we had a body to weep over. But that's a luxury not afforded us. So we grieve in the absence of answers. But we grieve, because we must. (beat)

(MORE) From Jeff Bond: "The eulogy was really special because as an actor there's nothing better than doing a big emotional monologue. I had a real audience, and I also delivered the Blue (mm/dd/yyyy)33. eulogy to Brian Gross for my voiceover." Jeff admitted to being nervous. Little did he MCCOY (CONT’D) know the sound and Because we are human. And this is continuity crew could what humans do. hear his heart pounding through their headphones! 31 INT. ENTERPRISE BRIDGE 31 Spock listens to the service over the intercom. MCCOY (V.O.) We grieve the loss of a good man. A good friend. And the best damned officer in the Fleet.

32 INT. ENTERPRISE CHAPEL MCCOY CONTINUES TO SPEAK. 32 MCCOY Grief is part of life, but not its master. Today, we mourn. Tomorrow, we move on. That's what James T. Kirk would want. We will honor his memory by honoring his ship... (beat) ... and by ... serving the Captain who leads her now.

33 INT. ENTERPRISE BRIDGE 33 Spock reacts subtly to McCoy's words. MCCOY (V.O.) That's what Captain Kirk would have us do. That's how we can remember him Clint Young and Sean Tabor prep best. the set. 34 INT. ENTERPRISE CHAPEL McCoy steps back from the podium. Scotty stands and steps to 34 the edge of the stage and blows a BOSUN'S WHISTLE, and the crew members lower their heads in a moment of silence. Then * Uhura steps to the podium to sing a capella * UHURA (singing) Amazing grace, how sweet the sound, that saved a wretch like me. I once was lost, but now am found. Was blind but now I see. Blue (mm/dd/yyyy)34. Jasmine Pierce, singing as Lt. Uhura.

35 INT. BRIDGE. -- CLOSE ON SPOCK LISTENING. 35 He is stoic, of course -- but also in incredible emotional pain.

UHURA The Lord has promised good to me, his word my hope secures. He will my shield and portion be, as long as life endures...

35a EXT. IN ORBIT AROUND GATEWAY 35a * The lumbering and lethal form of the Klingon’s deadliest * heavy cruiser orbits the alien planet Gateway. The D-7’s * hanging warp nacelles and snake-eye impulse engines’ menacing * form are only matched by the maw of the primary hull’s * torpedo tube. * This shot begins on the serene planet as the D7 careens * slowly into view from the bottom of the screen and the camera * rotates to grasp its normal attitude and then the ship flies * easily away. *

36 EXT. PLANET GATEWAY 36

Kor stands in front of the GUARDIAN OF FOREVER, looking annoyed. We hear the MOANING PLANET SOUND. Behind him, Kirk is on his knees and curled in a ball, with Klingon #2 standing over him. Klingon #1 approaches Kor. KLINGON #1 Commander, we cannot find any controls for the device. KOR There has to be a way!

Kor turns and storms over to Kirk, grabs his uniform* and This entire scene was filmed on green yanks him up so we can see Kirk's face. Kirk's eyes are wide screen. There was very little in terms in terror and pain. BURN MARKS are visible on his forehead of a physical set. Other than the and temples, and BLOOD trickles from his nose and ears. He Guardian, the sand, and a few whimpers as Kor speaks. columns. KOR (CONT’D) You know how this thing works. Tell me!

Kirk shakes his head. Kor becomes increasingly angry.

This was masterful VFX work, earning Pony Horton a IAWTV award nomination. Guardian builder and Art Director Jim Bray notes, "I did have a good time building the Guardian with my incredible team. It's not every day you get a 35. chance to fabricate such an iconic piece. One of the producers, upon seeing it completed, joked about having to go change his pants! Everyone on the crew got in front of it and got a picture!" KOR (CONT’D) You can tell me here, or you can tell the mind-sifter! KIRK No, No! Please! It won’t help you. It won’t-- KOR Your Federation would use this time weapon to destroy the Klingon Empire, and you dare beg me for mercy?! Kor shoves Kirk viciously. He recovers on his side. KIRK If we wanted to, we already would have. (beat) We don’t want to fight you, Kor -- The sand had to be raked after KOR every take. From Clay Sayre, And that’s why you will lose! "Ron Asman, who did the raking, never complained, never acted KIRK tired, he just did his part to make (shakes his head) Star Trek. It makes me smile Imagine for a moment -- just one every time I think about it." moment -- there is another way. A way for both sides to win.... KOR Insanity. Peace is for cowards.

Jeff and Mark discuss KIRK camera angles on the No. It takes more courage not to Guardian set. It was fight -- very small and we had Kor shoves Kirk away. He turns to the Guardian of Forever. to make it appear vast. KOR I will conquer you! I don’t know how yet, but I will make you open. The Guardian LIGHTS UP and PULSES as it speaks. GUARDIAN (V.O.) I hear all. KOR (CONT’D) That's it? (to Klingon #1) You just speak to it!?!

Director Mark Edward Lewis gets to play a Klingon! He wore the Klingon wig backwards to get the right look. 36.

KLINGON #1 We didn't know! Kor angrily waves him away and turns to Kirk, still trembling and panting. KOR We will see who falls from the pages of history!

KIRK Go to hell! Kor gives him an evil smile. KOR I can send you there with a single Dale Morton, Robert Whithrow, word...Captain... and Clay Sayre. Best friends for 40 years! Kirk cringes as if stabbed, CRYING OUT in terror at the use of his rank.

KOR (CONT’D) There, you see? I don’t even need my mind-sifter. Every bit of its horror is wrapped in your identity. I utter your rank, and you suffer. Imagine what would happen if I said your whole name??

37 CLOSE ON KIRK’S REACTION. 37

He is horrified. Kor steps into frame, A TWO SHOT.

KOR Your species is weak -- because you gave up the courage to commit genocide. At 4 am, Director Mark Edward Lewis reviews the script on Kirk's bed. Kirk's quarters was being painted for the next day. (beat) That mattress is incredibly uncomfortable! My species has learned the necessity. Watch this now --

Kirk clenches his jaw, struggling to maintain his strength. Kor turns to the Guardian.

WIDE, INCLUDING THE GUARDIAN. FOG (OPTICAL) fills the center of the Guardian, and BLACK & WHITE IMAGES OF HISTORY (OPTICAL) are visible in the fog. 37.

KOR (CONT’D) (to the Guardian) Give me access to Earth's past. GUARDIAN(V.O.) Behold. They watch the images unfold. KOR (CONT’D) Incredible! Of Kirk jumpng though the (to Klingon #1) Guardian, 1st AD Dennis Are you recording? Hotston says this is one of his favourite scenes in the KLINGON #1 episode. Brian Gross did it in Yes, my lord. But the passage of one take! A green covered years is rapid. Choosing the right This scene was incredibly mattress was behind the moment to intervene ... we will need technical for VFX guru Guardian to cushion his time to analyze. Pony Horton. landing. KOR Time? It's a time portal, you fool! We have all the time we need! (beat) It doesn’t matter. He turns to Kirk. KOR (CONT’D) Captain. James. T. Kirk. (slowly) I’ve had enough of you.

Klingon #2 approaches Kirk with some kind of a hypo-spray. We don’t need to know what it is, but ... The remainder of the scene happens in SLOW MOTION. Kirk freezes, his eyes widen in agony, and he dissolves in MUTED SCREAMS of pure pain. As he looks at each of the Klingons, Kirk whirls away from the Klingons -- a violent struggle -- and Kirk is flung into the FOG/IMAGES (OPTICAL) at the center of the Guardian. All the while Uhura sings the soundtrack... UHURA Through many dangers toils and snares, I have already come. ‘Twas grace hath brought me safe thus far, and grace will lead me home. 38.

FADE OUT. END OF ACT TWO

Publicity shot by set photographer Garth Gullekson. Blue (mm/dd/yyyy)39.

ACT THREE FADE IN:

38 INT. KIRK'S ROOM--DAY 38 We see a bright blue sky through the window. As we ZOOM OUT, we see Kirk standing near the window, looking up and out, appearing both wistful and steadier than we've seen him until now. Then the door opens, and Hamlin ENTERS. HAMLIN You look like you're feeling better today! Kirk turns and looks at her, that familiar, charming smile on * his face. KIRK It's James. Jim. HAMLIN (surprised) Oh, I see. Jim. I like that better. From now on, I'll call you Jim. HAMLIN (CONT’D) (pause) How do you feel? KIRK Better. (beat) I just wish I could remember.... Kirk looks around at the room. KIRK (CONT’D) Why am I locked in this room? Here, set hairdresser Alex Viaggio HAMLIN uses continuity photos as You've had some ... issues. reference while recreating Hamlin's 50's hair style. KIRK Did I ... did I hurt anyone? HAMLIN Don't worry about that. Painstaking continuity photos are taken of all makeup and wardrobe. KIRK Please, Hamlin, tell me. As part of our saftey training, Blue (mm/dd/yyyy)40. Line Producer and lighting guru, Robert Damian Mauro pops "Grippy Pop" popcorn to show how hot lights get. HAMLIN This light here, a 3K (3000 I wouldn't be here if we thought you watt) will burn skin to the dangerous. bone in seconds. Kirk nods his understanding. HAMLIN (CONT’D) Would you like to go outside? KIRK Outside? HAMLIN Yes. Walk under the trees, feel the sun on your face. I think it would do you good. But promise me you won't run away. KIRK I promise. Hamlin goes to the dresser and pulls out a sweater. It’s gold and vaguely suggests a Starfleet velour. HAMLIN Here. Put on a sweater. She holds it out. Kirk makes no move to take the sweater. He stares at it, frowning. HAMLIN (CONT’D) Is something wrong? KIRK No. No. It’s just -- no. For a moment -- He takes the sweater from her, still frowning. She leads him * toward the door. *

39 EXT. ASYLUM GROUNDS--DAY 39 Hamlin and Kirk walk side-by-side near a row of TREES. Kirk marvels at his surroundings, happy to be outdoors. KIRK A nice day. How long have I been here? HAMLIN Almost five weeks now.

The exterior scenes filmed in front of Ticonderoga High School. We had to shoot this on a Sunday to avoid disturbing final exams! Kirk's and Hamlin's wardrobe are vinatge from the 1950's and very valuable. Blue (mm/dd/yyyy)41.

Kirk stops walking. His face darkens. KIRK I have to get back. HAMLIN Where--? KIRK I--I don’t know. I don’t remember. But I have to get back. It’s -- it’s important. Hamlin quickly changes the subject. She walks again. * HAMLIN It’s going to take time, Jim. KIRK I -- I don’t have time. I have -- (beat, as he realizes) -- all the time in the world. (realizes more) No. That’s not right. I have to get back -- HAMLIN Jim. You’re outside. Look around. Enjoy the sun and the air and the trees and the grass. Setting up the dolly shots outside the high school. Our Director of Photography, Jeff Barklage set up the complicated shots perfectly. We KIRK couldn't film the reverse angle as it would show modern 2014 Yes, trees. Grass. Ecology. One of my Ticonderoga! favorite things about shore leave. HAMLIN Shore leave? (beat) You’ve been on a ship? KIRK (brightens) You know, this planet reminds me of Omicron Ceti Three. What a beautiful world! Too bad we can't go back. HAMLIN Our DP, Jeff Barklage, supervises the dolly setup. Everything had to (uncertain) be level. Notice the shims under the Yes, it's too bad. It's a nice ... dolly tracks. planet. 42.

KIRK Not now. The Berthold rays would -- He stops, and the frown returns, more stern this time. He looks at Hamlin with intensity. KIRK (CONT’D) No. You weren't there. Kirk suddenly grabs Hamlin's wrists. KIRK (CONT’D) Why did you say that? Hamlin squirms slightly under Kirk's fierce grip, but she meets his gaze with calm courage. HAMLIN The background had to be set up as Jim, please let me go of me. blurred. We couldn't show a modern backdrop. We avoided shots with any KIRK power lines, telephone poles, or anything But you couldn't know! that would have taken us out of 1958. HAMLIN Jim, you're hurting me. Let go now. Kirk suddenly realizes what he's doing. He releases Hamlin's wrists, and his hands fall to his side. She cups them gently as he hangs his head in shame. KIRK I'm sorry, Hamlin! I didn't mean to hurt you! HAMLIN It's okay, Jim. I'm all right. KIRK No. Let me help you. I'll call Sickbay. Kirk reaches to his waist, fumbles for a moment, then panics. KIRK (CONT’D) It's gone! My communicator is gone! Kirk falls to his hands and needs and searches through the grass. Hamlin reaches out and puts her hand on his shoulder.

We wanted to get a shot in the grass with a communicator and have it fade away to demonstrate Kirk's mental state. The closeup we wanted would have required us to use our "hero" communicator made by company Prop Replicas. The shot was ultimately scrapped as we didn't want to put our expensive prop on the grass! In most shots we use Art Asylum or other mass produced communicators and phasers. Blue (mm/dd/yyyy)43.

HAMLIN You may be noticing the colour names at the top of each page. As Calm down, Jim! It's okay. You didn't a script is revised, each revision gets a different colour, and the have a ... a communicator. changed line is marked by an asterisk in the right margin. A typical colour sequence would be: white, blue, pink, yellow, green, KIRK goldenrod, buff, salmon, cherry, tan, ivory, white (this time known But ... but I...! as "double white"), and back to blue ("double blue"). Our HAMLIN incredibly talented actors are able to handle even last minute And I don't need to go to any revisions with ease and professionalism! Sickbay. I'm fine.

Kirk finally calms down. He stares at his hands in the grass. KIRK It was there. I could almost remember it all. Then... (pause) Is that why I'm in that room? Did I hurt you before? HAMLIN You've never hurt me. But you have fought -- struggled with the orderlies. KIRK Did I hurt them? HAMLIN Not too much. (she’s uncomfortable now) We should go back inside. Kirk nods. He is troubled by what she has said. She starts to step away, he doesn’t follow. She offers her hand. He doesn’t take it, but he rises and follows. *

40 INT. DIRECTOR'S OFFICE--DAY 40 Seated at his DESK, DOCTOR LEONARD WRIGHT sifts through a PATIENT FILE. Seated in a CHAIR across from him is Hamlin Hamlin. Wright peers through READING GLASSES at the file, occasionally glancing at Hamlin as she speaks. HAMLIN He’s not delusional. I know it looks like it. But there’s something real there -- The talented actor, Pat Evans was cast virtually the day before shooting. He had 44. to learn extensive dialog overnight. We also filmed these scenes from about midnight on. Despite the long day, Pat did a great job.

WRIGHT That’s your opinion, yes. This file -- (shrugs) This file ... ? He’s not rational. And he has had violent episodes. HAMLIN He hasn't had a Thorazine injection All of the props in this shot are in over a week. period correct. From the telephone (off Wright’s look) right down to the coffee cup! He doesn't need it. You can talk to him yourself. He’s lucid. He’s more than that. Despite his -- what you call delusional convictions -- he’s appropriate. (adds) We had to replicate sunlight in He knows where he is. He knows why Dr. Wright's office at he’s here. And he cares about not midnight! We used the high hurting anyone. school library for this set. Our production assistants had to WRIGHT move hundreds of books and (nods) put them all back (in order) The thing about psychopaths -- after we wrapped shooting at they’re cunning. They know how to 5AM! manipulate people. They make you believe in them -- because they can believe what they’re saying while they’re saying it. But -- HAMLIN I have a degree too, Doctor Wright. Chastened, Wright leans back and tosses his reading glasses on the desk. Our property masters, Clint Young and Shawn Tabor did a great job of WRIGHT finding vintage props. There’s something else. (off her look) I've already checked on this Jim Doe. There's no record of him in the military, no FBI fingerprint file, and there’s no missing-person report anywhere. HAMLIN He didn't just fall from the sky. (off his look) The police found him wandering outside of town. He must have local roots of some kind. (pause) Mark gives direction to Rivkah (off What if we ran his picture in the screen) as Pat Evans looks on. paper? (MORE) Blue (mm/dd/yyyy)45.

HAMLIN (CONT'D) (explains) Maybe he's been missing for a long time. Maybe the people looking for him think he's dead. WRIGHT (reluctantly) If there’s someone who can take him off our hands -- If it’ll get him out of here, all right, try it. But... (shrugs) I think you’re getting too involved. You’re losing your impartiality. (adds quietly) I’m saying this for your own good, doctor. You can’t afford to...you know...care too much. It’ll hurt your ability to do your job. Hamlin nods, understanding.

41 INT. KIRK'S ROOM--DAY 41 KIRK'S UNIFORM lands on his bed, tossed from off-screen. We TILT UP to see Kirk and Hamlin staring at it. Hamlin * approaches, having just throwin it. Kirk's eyes flood with * recognition. KIRK This is mine... HAMLIN It's what you were wearing when you first came here.

Kirk reaches down and picks up the GOLD SHIRT. He fingers it thoughtfully, sniffs it, and then simply looks at it. KIRK There's something...

He stares a bit longer, then puts down the shirt and removes his hospital top. He starts to reach for the velour, then hesitates, looks at Hamlin, frowning curiously. HAMLIN (misinterpreting) Oh Jim, I'm a Doctor. I've seen it Brian keeps his tunic with him in all before. California. James Cawley, our executive producer sent it to him. Brian has worn his A lot of female crew showed up for this scene. While Brian tunic surfing and at his accountant's office! changed into his uniform, a lot of our female crew was While on set, we don't dare spill anything just offscreen to the right! on it!. We use TOS third season material for our tunics. In the first and second season of TOS they used velour which shrank after being laundered. 46.

He doesn’t understand her meaning. But she turns around anyway. We focus on her as we hear Kirk getting dressed. HAMLIN (CONT’D) Now, remember what I said. We're going to Doctor Wright's office, and a photographer will take your As we shoot scenes out of order, Brian picture. He’ll put your picture in had to be careful about when he could the newspaper and maybe someone will shave or not. The makeup and recognize you and that will help your continuity crew made sure he got it people find you. right. KIRK (pause) Okay. Ready. Hamlin turns and gasps. We see Kirk standing in full uniform, hands on hips, smiling at her. HAMLIN Here, let me fix your hair. Very professionally, she fixes his hair. Then pauses, From our director, Mark Edward Lewis: realizing that he’s staring into her eyes. For the "kissing scene" HAMLIN (CONT’D) This was day three of a grueling four (breaking away) days in the hospital. I'd never worked We'd better get going. with Brian or Becky, but I knew by then they had chemistry on camera. Loads. 42 INT. DIRECTOR'S OFFICE--DAY The trick was to play it so that Hamlin Hamlin realizes that Kirk is getting fixated on her. She also was always resisting him and trying to realizes that she DOES NOT want to be involved with him. Yes, not fall in love with him. In rehearsal he’s attractive, but he’s a patient and she’s a doctor. we tried a few things, and it was working - but it wasn't quite show- KIRK stopping. On the day, we rehearsed it You -- you -- for camera, but I avoided having the kiss happen. I wanted it to be fresh while camera was rolling. To add a little HAMLIN spice (and to create some (stepping back) unpredictableness for the actors to No. No, Jim, we can’t. I can’t. work with), I told Becky, "No matter what happens, don't you let him kiss you...no matter what you're feeling." But that’s not what Kirk meant. He’s starting to realize Now Becky is Julliard trained...so I something else. knew she would be generating 18 tons HAMLIN (CONT’D) of emotional power. But then I went to Let’s go. Brian and I said, "You're going to kiss her no matter what. Get some. Don't He follows her, frowning in confusion -- physically accost her, of course, but get some." When we rolled on the first take, 42 I nearly forgot to yell cut. I was exhausted watching the tension play Doctor Wright stands near his desk, conversing with the out in what is, honestly, one of the most REPORTER as Hamlin and Kirk ENTER. poignant moments in Star Trek romance in any series professional or amateur - ever. Note: when Mark is referring to Becky he means Rivkah. Her friends call her Becky! Blue (mm/dd/yyyy)47.

The Reporter has a large CAMERA hanging around his neck and a slim NOTEBOOK in his hand. Kirk lingers near the doorway, nervous and uncertain. HAMLIN In here, Jim. It’s okay ... Kirk does as he's told. The Reporter offers his hand, and after a moment Kirk shakes it.

REPORTER (loudly) Pleased to meet you...? KIRK Jim. And there's nothing wrong with my hearing. REPORTER (quieter) Oh. Sorry. (writes in notebook) That's it? Just "Jim"?

Michael Stern was added as a separate Kirk nods. Reporter motions Kirk to a place already “pre* lit” photographer at last minute. and designed for the shoot. He alternates between writing* on His line: "Got it!" was added as well. his tablet and checking his camera/shot. * His direction? Pretend this is the REPORTER (CONT’D) 1950's Superman show and be a thug! How long have you been here, Jim?

KIRK I'm not sure.

WRIGHT (interrupts) ) August 25th. REPORTER This year? WRIGHT '54, yes. REPORTER 1st AD Dennis Hotston played the reporter. So, five weeks. Anything else you Says Dennis: "James gave me this part as I remember? arrived in Ticonderoga. To get to interact with Captain Kirk was a boyhood dream Kirk lowers his head, then shakes it. The Reporter looks at come true! I'd never done any acting before. Hamlin and Wright, each of whom shrug. Brian was so generous and helpful to me. My family didn't even recognize me with that fedora on! A great privilege and honor to act in a Star Trek New Voyages episode. Thanks, James!" 48.

REPORTER (CONT’D) Well, that's okay, Jim. How about we just take your picture and call it a day? KIRK Okay. Kirk straightens and stands at ease. The Reporter aims his camera and snaps, lighting a FLASHBULB. Kirk flinches but remains calm. The Reporter takes one more shot with a FLASHBULB. Kirk doesn't flinch this time. The Reporter lowers his camera. REPORTER I guess that'll do it, Doctor. It'll run in tomorrow's paper. Kirk looks quizzically at Wright. KIRK (Remembering) ) DOCTOR... WRIGHT Yes, Jim. I'm Doctor Leonard Wright, chief medical officer of this facility. KIRK (confused) Doctor Leonard... Bones? No, you're not Bones! WRIGHT Is that a name? KIRK No! McCoy...my doctor's name is McCoy! Doctor Leonard McCoy. He's my chief medical officer. That was a pack of Camel HAMLIN cigarettes made by our prop (very quick and team. professional) And you are--? KIRK (straightening, for just a moment he is:) James T. Kirk of the st-- 49.

Kirk stiffens, his eyes open wide, and he collapses to the floor, screaming and flailing. Hamlin tries to aid him, but Kirk inadvertently strikes her, knocking her aside. Wright scrambles for his phone and dials a single number The actors rehearse this scene to get while the Reporter loads another FLASHBULB and snaps a blocking right. Notice Brian's script in picture. his right hand! WRIGHT Two orderlies up here now! He hangs up the phone and looks at the Reporter. WRIGHT (CONT'D) Don’t print that. REPORTER You kidding, Doc? Page one! The door BURSTS OPEN, and Frank and Fred ENTER in a rush. As they wrestle with the screaming Kirk, we see Hamlin lower her head in sorrow.

CUT TO:

43 INT. SPOCK'S CABIN 43 Once again, Spock is at his desk, working at his viewer. The DOOR BUZZER sounds. Enter McCoy ENTERS. MCCOY You asked to see me, Captain? SPOCK Yes, Doctor. Thank you for coming. Please have a seat. McCoy studies Spock with surprise and a hint of suspicion. But he sits down anyway. SPOCK (CONT’D) May I offer you a beverage? Spock indicates a decanter and two glasses. The decanter has a strange-looking fluid in it. MCCOY A Vulcan beverage? No thanks.

This set was built for Kirk's abduction by the Klingons. It also was the Klingon brig and Mind-Sifter set. We see this bar only for a few seconds in the final episode. Notice the attention to the prop details. Goldenrod (mm/dd/yyyy)50.

SPOCK As you wish. (beat) I want to thank you. For what you said during the memorial service. McCoy looks at Spock for a long moment. Shame moves his tone * into the deep resonance of his voice. * MCCOY * And I want to apologize. I’m supposed * to be the Captain’s doctor too. You * were closer to Jim than anyone. You * have to be feeling it worse than * anyone. * SPOCK * I shouldn’t have to remind you that I * am half-vulcan * Makeup Supervisor Brian Holloway and Art Director Jim Bray apply Brandon's MCCOY * makeup. I’m your friend, Spock, and I can be * Brian also played a Klingon in this a good listener for your human half. * episode and Jim built our Guardian. SPOCK * Can you listen in Vulcan? * MCCOY * You know I can’t... * SPOCK * I could help you... *

Spock reaches over as if to perform a mind-meld. McCoy leans back in surprise. Charles Root and Jeff Bond rehearse while Tracy Tabor adjusts Jeff's MCCOY tunic. Uh ... I don’t think so. Thanks. I’d rather keep a human focus. SPOCK You are correct, of course. McCoy takes a second gander at the Vulcan “beverage” and reaches for it after all. * MCCOY I’m going to regret this later-- He reaches over and pours two glasses of the Vulcan beverage. He takes one for himself. Spock does not take the other. Not yet. McCoy gives a small salute to Spock, sips, considers. Yellow (mm/dd/yyyy)51.

MCCOY (CONT’D) Mmm. Different than I expected.

McCoy looks to Spock, waiting. Spock hesitates now, * considering his words.

SPOCK You and I have known each other for a long time. We have been through much * together. (beat) * And we have argued a great deal. But * Dan Reynolds, our audio professional this time... * is recording in Kirk's hospital room. (beat) He's standing in a shower here. Brian I need something from you. * was always singing to him between (off McCoy’s look) * takes! I need you to trust me. * McCoy stares at Spock for a moment. * Below, the director consults with MCCOY continuity. I’ve always trusted your logic. If * I’ve disagreed with your choices ... * it’s because ... sometimes logic * isn’t enough. * SPOCK * There is a logic to emotion as well. * You have been a staunch advocate of * that logic. * MCCOY * I assume that’s a compliment. * SPOCK I am saying that I understand how * deeply your sense of compassion * motivates you. * (adds) * I am considering a possible course of * action that will require each of us * to trust the other. * (beat) * To be blunt. If I -- if we attempt * this, I will need you. We will need * each other. * Brandon was really excited for this episode, as it featured MCCOY * Spock prominently. He was I see. * very pleased with the way the (beat) * episode turned out and the Mr. Spock. Captain Spock. I do trust * positive reaction to it. you. Because I know you. * (MORE) Yellow (mm/dd/yyyy)52.

MCCOY (CONT'D) And I know that you wouldn’t ask * unless -- unless it was important. * So, yes. * (adds) * And because ... in spite of myself * ... I’m actually starting to like * Brian's personal assistant, Sue you. * Herzberg. She always was happy to help stress safety! SPOCK * That last sentence was unnecessary, * Doctor McCoy. * John Mulhern prepares a MCCOY prop for the bar scene. * I wanted to see the look on your face * when I said it. * (beat) * Now, let me ask you .... * (off Spock’s look) If you were to attempt ... a moment of honest affection ... what would you say? SPOCK (raised eyebrow) Vulcans do not indulge in affection. * Therefore, I would say ... * (considers) I respect you. MCCOY * I respect you, Captain. *

Suddenly, the viewer CHIMES. Spock studies the screen for a Like the original Star Trek, New long time, his face becoming stern. Voyages has Canadians working on set. 1st AD Dennis Hotston discusses MCCOY (CONT’D) planning with Continuity Supervisor, Something wrong? * Ian Engelberg. Our Set Photographer, Garth Gullekson also travels from SPOCK Canada. The original Star Trek series What I was waiting for. The final * actually premiered in Canada on piece of the puzzle, Doctor. Come September 6th, 1966-two days before its with me. US debut. William Shatner and James Doohan were born in Canada. Spock stands and heads for the door. A puzzled McCoy follows, and both men EXIT.

44 INT. ENTERPRISE BRIDGE 44 The turbolift doors OPEN, and Spock and McCoy ENTER. Uhura vacates the command chair as Spock takes his seat, McCoy at his side.

"Smart Ass" to Brian Gross. John having a little fun at the studio! Yellow (mm/dd/yyyy)53.

SPOCK (to Uhura) Lieutenant, lock down the bridge. Uhura presses several CONTROLS as Spock continues. SPOCK (CONT'D) What I am about to do is in direct violation of Starfleet orders. I cannot reveal the reason at this time. Anyone who objects may leave the bridge now, and it will not be held against you. Spock waits. Each member of the bridge crew--Walking Bear, * Xon, Sulu, Scotty, and Uhura--eye one another, but no one * leaves. Charles Root on the bridge. Charles creates all the graphics we SCOTTY see on our LCD monitors. If I may, Captain. I believe there's an old Earth saying: We will all hang together, or surely we will all hang * separately. It was decided to give this line to Walking Bear.

McCoy grins. Spock lifts an eyebrow. SPOCK Very well. (to Walking Bear) Ensign, plot a course ... for Gateway. The bridge crew looks surprised but says nothing. Walking Jasmine Pierce as Uhura in command Bear turns to his console and presses several CONTROLS. on the Enterprise. WALKING BEAR Course plotted, sir. E-T-A, seven hours, thirteen minutes, present speed. SPOCK Lt. Uhura, send an uncoded message to Starfleet command. Notify them of our destination and return no replies. UHURA Sir? SPOCK You heard the order Lieutenant.

Wayne W. Johnson as Walking Bear, who is an animated series character. Says Wayne, "It was great getting back together with such a great cast and crew. Always nice to get reacquainted with old friends, as well as make new ones." Goldenrod (mm/dd/yyyy)54.

SULU * Sir, if you do that, every ship in the area is bound to try to intercept us!

SPOCK Patrick Cawley helps Brandon with his Indeed. Mister Sulu. As with Captain * uniform while extras look on. Kirk, I expect you to trust my orders. (adds) Please assist Mister Scott in improving our arrival time. The crew exchanges looks of alarm. Sulu vacates his position * and another crewmember takes his place. * SULU * Aye aye, sir. SPOCK Engage. 42.

45 EXT. SPACE--ENTERPRISE AT WARP (OPTICAL) 45 The Enterprise changes course and leaps toward the stars. DISSOLVE TO:

46 EXT. SPACE--ENTERPRISE EXITS WARP (OPTICAL) -- HOURS LATER 46 The Enterprise careens into normal space from the edge of the * visible starfield and roars by camera in a flash as it * decelerates toward the planet Gatway which, after a whoosh * pan, is far in the distance. The Enterprise shrinks quickly * as it heads toward the solitary alien planet. *

47 INT. ENTERPRISE BRIDGE 47 ESTABLISH: The crew remain at their stations. McCoy loiters on the upper bridge deck, looking impatient. Spock is in the command chair, studying the VIEWSCREEN as it displays PLANET GATEWAY (INSERT-OPTICAL) SPOCK Report.

The proximity alert. Yellow (mm/dd/yyyy)55. UHURA Sir, Starfleet command has ordered you to return to base and surrender this vessel. USS Lexington, Leonov and Hawking on intercept course. SPOCK As expected. XON Sir, I'm picking up temporal disturbances on the planet surface. SPOCK That would be the Guardian of Forever. Mister Sulu, bring us into synchronous orbit. SULU Aye, sir. Entering orbit. *

* Proximity alerts blare on Xon’s console. Xon suddenly* whirls around from the science station. Our bridge set can now "fly" separate XON * pieces like a pie slice. For the first time ever, we've been able to film the Captain! science station at this classic angle. Everyone looks at the viewscreen with expressions of surprise Patrick Cawley, plays Xon from the and worry. McCoy steps down to stand alongside Spock. original Phase 2 series, planned by Paramount in mid '70's. Leonard MCCOY * Nimoy wasn't available for the TV What the devil are they doing here? series, so Xon was 48 EXT. SPACE--ENTERPRISE IN ORBIT (OPTICAL) created. Paramount went back and forth between a TV series and Looking at a quarter of the planet frame right, from the top motion picture. After Star of the screen, the primary hull of the Enterprise CAREENS Wars was released in 1977, the film close to camera to bottom of screen. Camera pans and rotates franchise started with Star Trek The as the Secondary Hull flies by “under camera” as well. The Motion Picture. Enterprise passes and reveals a beautifully lethal Klingon D- 7 Heavy Cruiser bearing down on them. The D-7 is NOT, however, on the same 2-D plane and is finishing a rotation from its orbit to match opposite bearings and face-off with the Enterprise. By the end of the shot, they are, indeed, facing off Z-plane =0. END OF ACT THREE FADE OUT. More from Mark Edward Lewis: For the Enterprise/D-7 Battle: "While I was in Phoenix on another job, Tobias and I worked for 6 hours via Skype trying to get the Gamma-3 pattern Connie barrel-roll to work. It's a super easy maneuver in a plane: just pull back and right on the stick and hit the gas. It's even 1G. But in space flying a 180,000 ton heavy cruiser it's not so easy...and given that Tobias and were on opposite sides of the planet meant further difficulties. Add to that I'm no artist. Tobias asks me to "draw the maneuver on something". "I'm no James Cameron." I retort on the IM screen. I draw the shot like stick-figures in Romper Room as well as the super-speed camera move on a napkin from my hotel room, take a picture with my camera, skype it to him along with a link to a tutorial from a world-war II flying game on mis-named "roll..." Three days later I had this beautiful render that made me cry. That shot is this young FASA player's Connie vs. D-7 confrontation dream-come-true, and I'm so pleased with how it came out. It couldn't have been done without the professionalism, patiences and talent of Mr. Richter and his team. (Connie means Constitution class starship.) Pink (mm/dd/yyyy)56.

ACT FOUR FADE IN:

49 EXT. ENTERPRISE AND KLINGON VESSEL IN ORBIT 49 The Enterprise and the Klingon Battlecruiser face off in orbit of planet Gateway. This shot is from the rear of the D- * 7 looking down the length of the vessel at the Constitution * class in the distance. We get a sense of distance, but also a * sense of tension with both ships hanging in the balance. The * shot cranes up from the bellow of the D-7 to the top of the * ship revealing the powerful impulse engines as they wipe * camera top-to-bottom. *

50 INT. ENTERPRISE BRIDGE 50 The Red alert klaxons blare loudly and warning light flashes red. Bridge crew rig for battle stations and rush about. XON They have raised their shields but they have not charged weapons. We may * have surprised them, Captain.

SPOCK (to Uhura) Hail them, Lieutenant. UHURA Channel open. SPOCK Klingon vessel, this is the U.S.S. Enterprise, Captain Spock in command. Bridge construction at our new studio. Set You are in Federation space, and in construction was happening in between takes and violation of treaty. You are ordered lighting setups. We had a gruelling schedule. We shot to withdraw to Klingon space a 77 page script in 10 days. immediately. Normally we have 14 days to shoot. 50a INSERT: ON VIEWSCREEN, THE KLINGON VESSEL WAITS (OPTICAL) 50a

UHURA No response, sir. SPOCK Klingon vessel, we are waiting for your reply. Yellow (mm/dd/yyyy)57.

51 EXT. GUARDIAN—THAT MOMENT 51 Kor and his two officers stand beside the Guardian of Forever. Kor has his communicator to his ear. They’ve set up * shop with a “science console” and have been working on prying * the secrets of the guardian since Kirk’s disappearance. * KLINGON COMMUNICATIONS OFFICER (o.s IN KLINGON) (translated super) Enterprise has raised shields and powered weapons. KOR Bring us up! Stand by weapons and cloaking device! They beam out. [optical] In this picture of the monitor, we 52 INT. ENTERPRISE BRIDGE see the white lines that indicate 52 * what will actually be seen in the This scene ommitted. final shot. *

53 INT. ENTERPRISE BRIDGE—THAT MOMENT 53 * INSERT: ON VIEW SCREEN, THE KLINGON VESSEL WAITS (OPTICAL). SULU * Sir, they're locking disruptors and arming photon torpedoes! * SPOCK * Hold position, Mr. Sulu. Lock in * attack pattern Gamma-3 execute on my * command. Stand by evasive. Mr. Scott, * all power to the forward shields. * SULU * This is our second "Sulu-Scope." Our Aye, sir. * original was loaned to Paramount for a Star Trek Enterprise episode set in the SCOTTY * mirror universe. Somehow, it never Aye. * made its way back to Ticonderoga. We were happy to lend our original and WALKING BEAR * there are no hard feelings! Prepare to fire, Captain? * SPOCK (sternly) * NO! * Buff (mm/dd/yyyy)58.

53a EXT. SPACE -- THE KLINGON VESSEL COMES ROARING TOWARD US. 53a * TORPEDO TUBE DOORS OPEN WITH THE ROAR OF AN OIL FIRE. *

53b INT. BRIDGE. 53b * WALKING BEAR * They’re attacking -- ! * SPOCK * Hold positions! *

54 EXT. FROM ABOVE AND BEHIND THE ENTERPRISE AS THE KLINGON 54 * VESSEL CHARGES. * The Klingon battle cruiser is playing a deadly game of * chicken with the Enterprise, rushing toward us on a collision * course. *

54a EXT. HIGH AND ABOVE THE BATTLE 54a * Three Federation heavy cruisers SLAM into normal space from * high above the eminent engagement changing the odds * powerfully in the favor of the Enterprise. The three ships * shrink immediately as their massive hulls careen toward the * small Enterprise and D-7 orbiting the planet. The D-7 still * approaches the Enterprise. *

54b EXT. SPACE -- THE KLINGON VESSEL COMES ROARING TOWARD US. 54b * At the last possible moment, the Klingon ship veers off and * banks down and away from the impending doom of the three * incoming starships. *

55 INT. BRIDGE. ON ALL. 55 * SULU * They didn’t fire. * SPOCK * They were trying to get us to fire * first. * Obviously, they wanted us to be the * aggressor. *

In an earlier draft of this script we had the battle scene in the the episode. We shot the scene as written above. During editing it was decided to put the battle scene back in. It required us to "pick up" shots in October. Brandon flew in and delivered the line- "Now, Sulu." Then we were able to put the exciting battle scene back in the episode. Congratulations to Tobias Richter of The Light Works Company for his IAWTV Award Nomination for VFX in Mind-Sifter. We have two shoots every year. Sometimes we have to complete or reshoot some scenes for a specific episode. The 2nd shoot usually take place over a weekend in October or November. We also did pickups for our next episode, The Holiest Thing. They were a complete blast to film and we hope you enjoy the end product. Look for The Holiest Thing in 2015. Goldenrod (mm/dd/yyyy)59.

INT. BRIDGE * XON * They’ve gone into warp. * (checks scope) * On course for Klingon space. * Sulu and Walking Bear look to Spock. Questioning. How did you * know? * SPOCK * Klingons are no fools. * (beat) * Strategy. It is always about * strategy. * (beat) * We know their thinking. They know * ours. * (beat) * It’s time to find another way. * (beat) * A way that lets us stop fighting each * other. * UHURA * Captain--? * (off Spock’s look) * Before going into warp, the Klingons * sent a very strange message. * (Spock nods to her) * It reads: "You'll never find him." Find who? Spock ponders this for a moment. There’s something there in his face. A confirmation? UHURA (CONT’D) Sir, The Lexington is hailing us. SPOCK On screen.

56 SCENE OMMITTED 56 *

57 SCENE OMMITTED 57 *

58 SCENE OMMITTED 58 * Green (mm/dd/yyyy)60.

* 59 It’s Whithrow on his own bridge. 59 * WHITHROW * (not happy) * Very interesting. Very. * (beat) * You planned this, Captain Spock? * SPOCK It was the logical thing to do. * WHITHROW * (sighs) * You disobeyed my orders. I have no * choice. * (beat) * I must place you under arrest for * insubordination. * (adds) * We’ll be alongside in...in 60 * minutes. * (beat) * Will that be enough time? * Reactions of sorrow and surprise from the crew. * SPOCK Yes, Admiral. * * The screen goes back to the three cruisers taking up orbit * around the planet. * McCoy turns to Spock. MCCOY Enough time for what? * Spock doesn’t answer, he rises from the command chair.* SPOCK Uhura, please have Mister Scott ready the transporter. * * (to McCoy) Do you wish to accompany me, Doctor? MCCOY (even though he * doesn’t know why) * Try and stop me. *

Incredible TOS lighting from our DP, Jeff Barklage. Congratulations, Jeff for your IAWTV nomination for cinematography for Mind-Sifter! IAWTV- International Academy Of Web Television. Goldenrod (mm/dd/yyyy)61.

SPOCK I will assume your response to be in the affirmative. (to Uhura) You have the conn, Mr. Sulu. * Spock and McCoy approach the turbolift and EXIT.

60 INT. TRANSPORTER ROOM 60 Spock and McCoy enter the transporter room through the doors * still in conversation. The stop at the transporter console. * They are wearing typical 1950s-ERA CLOTHING -- button shirts, narrow ties, sport coats and slacks, each with an overcoat, and Spock is wearing a HAT to hide his ears. Scotty stands behind the console, still in uniform, watching as his shipmates speak. McCoy has a medkit in a briefcase. MCCOY * --and he went through Guardian...? * (off Spock’s nod) * Okay, except for one thing. James T. * Kirk would never have given up the * location of this world. * SPOCK * The Klingons would have used mind- * sifter technology. * McCOY * My God! But how could you possibly * know this? * Spock * A psychic link, the result of our * many mind-melds over the years. Jim * has been calling to me since the day * he vanished, but I needed time to * work through the mental images. * SPOCK (CONT’D) Until today, I did not know where, or * when he was. SCOTTY Did ye’ say “when” Captain?

Charles Root was unavailabe so Scotty's line were given to Xon. Notice Jeff's medical bag. It was correct for the 1950's. Goldenrod (mm/dd/yyyy)62.

SPOCK (to McCoy) * A simple computer archive search.I * found a newspaper article from Earth year 1954. Jim was found by authorities and placed in an asylum. MCCOY (now he’s angry) If you knew he was still alive, why the hell didn't you say something? SPOCK Would you have believed me? Would the Admiral...? McCOY * But dear God, Spock! Knowing what you * Almost everybody who visits the sets slides knew! Hearing Jim calling out in your * the Transporter levers! mind all this time! How did you * endure it!? * Spock does not reply. Instead, he walks toward the * transporter platform and climbs it slowly, weary. But when he * turns around, all hint of weariness vanishes. * MCCOY (CONT’D) * (piecing it together) So instead ... you ignored orders, and baited three other Federation ships into pursuing us ... to intimidate the Klingons that you theorized would be there!? *

SPOCK * Yes, Doctor. That was the logic of the situation. * *

McCoy watches him for a moment, then joins him. MCCOY Vulcan logic! * SPOCK Precisely. * (to Scotty) * Mister Scott...? Energize. * McCoy and Spock DEMATERIALIZE (OPTICAL).

Brandon's leather jacket rustled against his mic, causing this scene to need a lot of sound editing in post production. Pink (mm/dd/yyyy)63.

61 INT. ASYLUM HALLWAY--DAY 61 Hamlin walks down the hallway. Her pace slows as she * approaches Kirk's room. After a moment, she peeks through the window in the door--and gasps.

62 INT. KIRK'S ROOM--DAY 62 Hamlin unlocks the door and quickly ENTERS. Kirk is seated on the bed, once again in his patient clothes. He looks terrible. His face is bruised, hair ratty, eyes vacant. Hamlin rushes over to him. He faces away from her. * HAMLIN Oh, my god! What have they done to * you? Kirk doesn't respond. She pulls a first-aid kit from a nearby table and begins cleaning his bruises. HAMLIN (CONT’D) This is so wrong -- Finally, Kirk seems to pull himself from his stupor. He turns his head toward Hamlin, and his eyes focus on her. KIRK (barely above a whisper) Hamlin? HAMLIN I'm here! KIRK I had it -- almost -- and then I ... This is the same watch worn by MCCOY (O.S.) Elvis Presley, and also Rod Serling Jim! on the Twilight Zone. AT THE DOOR, McCoy carrying a SMALL MEDKIT in one hand. His expression is one of shock and anger. MCCOY (CONT’D) Oh my God! McCoy rushes over, starts scanning. Kirk looks from McCoy to Hamlin, more confused than ever. MCCOY (CONT’D) Jim, it’s me. Bones.

Brian stuffed cotton balls in his cheeks to help create a swollen look. 64.

HAMLIN Bones? You’re Bones?

KIRK Bones?

Recognition flickers in Kirk’s eyes. But ... he looks to This was filmed incredibly late at night. Hamlin, then to McCoy, then ... The crew and actors did an incredible job! MCCOY Doctor ... Hamlin, is it? Let me... HAMLIN He’s my patient --

Jeff handled the doctor's MCCOY instruments with authority - he He’s mine, too. has several of each at home! HAMLIN Do you know what’s wrong with him? MCCOY I do, and .... (off her look) The cure hasn’t been invented yet. Nevertheless ... McCoy has a hypo-spray. He applies it to Kirk’s arm. MCCOY (CONT’D) Not here, anyway. HAMLIN What is that? What did you just do? MCCOY Uh ... (we know he’s lying) ... a shot of B12. (looks to her) You care about him -- ? HAMLIN As a patient, yes -- McCoy rolls his eyes. MCCOY Well, that would be a first. HAMLIN Doctor Bones -- Blue (mm/dd/yyyy)65.

MCCOY McCoy. HAMLIN (stiffly) Doctor McCoy. I am sick and tired of arrogant men assuming that women are weaklings, incapable of maintaining a professional standard of behavior. He’s my patient, nothing more.

We tried to have some extras unconscious after being neck pinched by Spock. The hallway we shot this scene in was MCCOY just too cramped. We managed to put them elsewhere in (chastened) the episode. Everybody wants to be an extra. It's a real treat Sorry. I wasn’t talking about you. I when a crew member gets the call to "suit up." was talking about him. (to Hamlin) But ... you’re right. And ... someday, it’ll be better. Thank you for taking care of him. Hamlin calms down. MCCOY (CONT’D) (to Kirk) Jim, listen to my voice. It's me. Look at me. Slowly, Kirk turns and looks at McCoy. The fear fades, replaced by wonder. KIRK Bones? Is it really you? MCCOY I'm here to take you home. Kirk falls into McCoy's arms, weeping like a child. McCoy holds him tight as tears spill down his face. Hamlin is stunned by what's happening. HAMLIN Where?? MCCOY We need to get him out of here, get him the right kind of treatment. He fumbles with looking at his ‘50s watch. They rise and move * toward the door. * MCCOY (CONT’D) And we don’t have much time. Goldenrod (mm/dd/yyyy)66.

HAMLIN Where are you taking him? MCCOY I thought I made that plain. His home. HAMLIN Where? Please. Tell me -- ? I have to know -- McCoy suddenly realizes what's going on. MCCOY You wouldn’t believe me. Hamlin is motionless for a moment, studying Jim as he continues to hold onto McCoy. Finally, she nods. MCCOY (CONT’D) (sighs) Oh Jim. Even when you’re not trying -- * (adds) It’s time to go. (to Hamlin) Where are his clothes.

63 INT. HALLWAY. 63 As McCoy and Kirk -- now in his uniform -- followed by Hamlin exit Kirk’s room. Two orderlies lie unconscious on the floor. Spock stands quietly waiting. Hamlin stares, starts to go toward the orderlies. SPOCK They are unharmed. They are just...resting. Kirk stops, straightens, sees Spock. KIRK Spock. SPOCK Captain.

A wordless moment of recognition. She rises. Kirk and Spock shared a psychic link throughout the episode. Spock could hear Kirk crying out to This line was changed to "Jim," at filming. The mention of Kirk's him. In post production, the color of this scene rank sent him into the agony of the Mind-Sifter. We caught it just changed as Spock touched Kirk. If you listen in time. carefully, the sound of the background psychic link sounds stops. It was Spock touching Kirk's HAMLIN shoulder that broke the link and allowed Kirk to What the -- ? realize the reality that he was going home. A great moment enhanced in post production. Buff (mm/dd/yyyy)67.

She stops, her expression a mix of wonder and fear. Then, slowly, she realizes the truth. HAMLIN (CONT’D) He was telling the truth, wasn’t he? All that talk about ships and planets -- ? Spock nods. SPOCK Yes, he was telling the truth. HAMLIN But this is -- important! This is -- my god, the knowledge that you have, we could have peace and plenty and a future that works for all of us -- SPOCK Yes, you will. But you’ll have to Clint Young has waited years to be an create it yourself. It can’t be extra. That's a custom made phaser given. It has to be created. (made by Clint) in his hands. HAMLIN (instant decision, * firmly) * Then take me with you. * (beat) * I want to go where my skills as a * doctor are respected. * Mccoy realizes that this isn’t about her “love” for him, this * is her wanting “respect.” * SPOCK We can’t. It would ... disrupt the time-stream. MCCOY * Doctor ... you have to stay here and * make a difference in your time. * Otherwise, it won’t get better. * HAMLIN (looks to Kirk) What if I told you that ... he’s dependent on me...? He needs me. He -- SPOCK * He won’t love you. *

One of the extras that were originally asked to be in this scene. (Keegan Choffat) Buff (mm/dd/yyyy)68.

HAMLIN * I don’t want his love. I want to be * respected. * MCCOY * You just saved the finest Captain in * Starfleet. You can be proud of that. * This stuns Hamlin to silence. An exact replica seen in Kirk's quarters during TOS original run. SPOCK It took years to find one. Doctor Hamlin, Jim was kidnapped and brutally tortured. They took his memories. His identity. If they’ve * followed previous practice, they've * imprinted him to suffer in agony at the simple mention of his name. Spock pauses, allowing this to sink in. SPOCK (CONT’D) He will recover. We have the technology to undo that damage. And These are perfectly replicated prop he will be grateful to you for all pieces, accurate in every detail. But you’ve done for him. But he will not we do have one authentic prop from love you. Then, you will be alone in * the original series. Can you spot it on a very different and very strange page 22? place. I would not advise it. (beat) * Doctor McCoy is right. Your place is * here. Your presence in this time is * critical to changing its context. * MCCOY * He always talks that way. He’s just * saying... * HAMLIN * I understand. Thank you. * Hamlin realizes that they are telling her the truth. She * turns to Kirk. For the first time, she stops being a doctor and becomes just a woman.... She touches Kirk’s face. * HAMLIN (CONT’D) Jim, in another time and another place, maybe you and I could have been ... true friends. (wistful) But ... it's time for you to go. KIRK I'm going home? Congratulations to Rivkah Raven Wood for Best Female Lead for Buff (mm/dd/yyyy)69. IAWTV Awards!

She touches his cheek gently. HAMLIN Yes. Bones and Mister Spock are taking you home. Hamlin tenderly kisses his forehead. McCoy takes Kirk's arm and leads him toward the door. Hamlin opens it. Kirk looks back at Hamlin and gives her his charming smile. Rivkah on her nomination: "Every time I see any moment of "mine" in Then they EXIT. the film, I see: hair by Alex. Makeup by Marybeth. Direction by Mark. Spock loiters for a moment as Hamlin wipes the corner of one Lighting and shot by Jeff. Music by the eye. It’s more than just Kirk walking away, it’s the loss of an opportunity to go where she’s respected as a woman. other Jeff. Oh, and let's not forget the lines written by Rick ...oh, and the story SPOCK by Shirley revamped by David. Oh...and I am sorry. the set... you see, this could go on and on. These things create the moment. HAMLIN (pause) I had the easy part. it's easy, when you I suppose this is where you swear me have the right role. to silence. Pretend I never met you, And another thing people don't see is that never found out where you're from. during closeups, the bulk of the work is (beat) done by the actor who is standing with But don't tell me to forget. Just * his back to the camera (I say "his" because don’t. * in my case, it was Jeff, Brandon, Brian.) SPOCK None of them chose to have someone I would not ask you to. stand in and read lines so they could take (beat) a break. They stayed there and fully But if you will permit me, I can FULLY did the scene with me with all ease the pain. their energy. Most people don't know this, and I wish Hamlin doesn't know what he means, of course, but she somehow they did -- it's so usual on set for the believes Spock can do what he says. Finally, with reluctance, other actor to just take a break if it's not she nods. Spock places his fingertips on her face. their closeup. DISSOLVE TO: None of our guys did this. I was BLOWN AWAY by their generosity of spirit as actors. Totally blown away to have not one but three who had that kind of "Those moments with Spock and Kirk in the farewell scene were my most deeply satisfying integrity. Holy Moly, Batman. Let's do acting experience thus far - everyone was so completely dedicated to that story; there was this again. energy in that hallway that felt powerful and completely focused - so many people's hearts in one single place. I would love one day to see the ensemble win an award." It was so indescribably beautiful to be a part of that; I remember thinking after this shoot that if that was it, my last role ever, I am completely grateful and fulfilled. "

64 EXT. ENTERPRISE AND LEXINGTON AT K-7 (OPTICAL)--MUCH LATER 64 The Enterprise and the Lexington float alongside a Deep Space Station K-7. Another beautiful shot of the camera floating over and around the two ships massive shapes to rest on the side of the Enterprise. Goldenrod (mm/dd/yyyy)70.

65 INT. ENTERPRISE BRIDGE 65 Uhura is in the command chair. Walking Bear and Xon are at * their stations, and James dressed in drag is at * communications. Walking Bear tries hard not to look bored. * SULU * Three weeks. UHURA Oh, not again. SULU * Two weeks since we rushed to K-7 from Gateway. No explanation. No orders. Starfleet just sticks us out here, station-keeping. Can't even swing a little shore leave. XON * Perhaps a Klingon border incursion * would have been easier. * UHURA * (checks her console) There's a message coming through. * It's from Admiral Whithrow aboard the * Lexington. WALKING BEAR * Patrol orders, at last! UHURA * This is strange. We're ordered to * stand by. The captain is beaming over. The bridge crew all turn to Uhura, confused. * XON * We need an admiral to tell us the * Captain is back aboard? * SULU * It’s not like Spock to stand on * ceremony.

We HEAR the turbolift doors open. Uhura swivels the command chair, and we see her face as she speaks. UHURA Captain on the--

Brian is holding his mic pack in this rehearsal. Yellow (mm/dd/yyyy)71.

She stops, a shocked expression on her face. The rest of the bridge crew turns and mirrors her surprise. Then we change perspective to view the turbolift. Spock, McCoy and Scotty enter after Kirk, and we see that Spock is * back in his BLUE UNIFORM. Kirk, smiling and standing at the * threshold of the turbolift, clearly his old self. He is back in his GOLD UNIFORM. KIRK What are you all staring at? We have work to do. As he steps onto the bridge, he is surrounded by Uhura, Xon, * Walking Bear and Sulu, joyously celebrating his return with * handshakes, back slaps and even a hug from Uhura. Until McCoy finally intervenes. MCCOY Alright, alright, that's enough. (to Kirk) * You’re not fit for duty until I say * so! To Sickbay with you, Jim! KIRK I'll be along in a minute. * (to bridge crew) The rest of you, as you were.

McCoy EXITS the bridge to the turbolift as the rest of the bridge crew returns to their posts. Kirk takes a long slow walk around the bridge, his hand trailing the rail. This is his true love. KIRK (CONT’D) (quietly, to his ship) I missed you. I didn’t even know how much I missed you. Until now. Finally, he heads toward the turbolift where Spock is waiting. They enter the turbolift.

66 INT. TURBOLIFT. KIRK AND SPOCK. 66 Kirk looks to Spock. KIRK You were down on the planet -- ?

From Kirk coach Jaime Sanchez: "Working with Brian on being Kirk is a pleasure, he always wants to do justice, to get it right. Its part of why at the end of this episode I felt that Jim Kirk had really come home, and had his touching moment with his best friend Spock." Yellow (mm/dd/yyyy)72. SPOCK The Guardian understands that some who approach it may not have pure motives. KIRK Will it allow us to post a security force? SPOCK No. But it would welcome a research Brandon takes a selfie. team representing all governments in the quadrant. KIRK Guess that will have to do. Kirk turns to Spock. KIRK (CONT'D) Spock ... I don’t know what others have said, but ... thank you. You saved ... SPOCK You’re welcome. KIRK (finishing) ... history. You saved the Federation.

Spock’s look is dispassionate.

SPOCK

Of course. Jim Bray building the Guardian. Behind KIRK him will eventually be the Conference And me. You rescued me. Room. Spock nods. KIRK (CONT’D)

Brian was directed to imagine Brandon (gently teasing) had a red clown nose on when he said Are you ... being prideful, Mister It's a wrap! Smiles from 1st AD Dennis this line! Spock? Hotston and Director Mark Edward Lewis. SPOCK Unlikely. From the author of this illustrated script, and 1st AD Dennis Hotston: "I'm incredibly proud of this episode. I'm an amateur volunteer. I got to work with KIRK the incredibly talented director-Mark Edward Lewis. Yes, of course. Vulcans don’t do Being the 1st Assistant Director can be a bit dry sometimes. I organize the shoot emotion. and schedule the shooting day. Being creative myself, Mark, and Rick Chambers the screenwriter, listened when I had concerns or ideas. My input was valued and (MORE) sometimes put into place. The original Mind-Sifter short story is very special to me. It's when I realized Star Trek was about the characters. To be able to help shoot, act, and and have input into this film was was an incredible privilege. We worked 175 hours over 10 days to get this filmed. Everybody on cast and crew worked incredibly hard." I'll close it here. Thank you to all who donated to our Kickstarter campaign! KIRK (CONT'D)

(beat) Pink (mm/dd/yyyy)73. But you did rescue me. SPOCK (after a beat) Because I respect you, Jim. (and again) I respect you. KIRK (slightly puzzled, but) Uhhh ... thank you.

We originally filmed this scene in the Turbolift. It was decided that it would play better in Kirk's quarters. Also in the original short story Spock ended with- "Welcome home, Jim. Welcome home." Mark Edward Lewis had never read the * original short story he wanted to approach this story from a fresh approach. But, the short story won out from lobbying by screenwriter Rick Chambers and the line was restored. Everyone agreed it was a better payoff for the episode and fans of the original short story. 67 * * 67 EXT. ENTERPRISE AT K-7 (OPTICAL) * The Enterprise departs Deep Space Station K-7 in a beautiful * array of its slender curves, smooth surfaces and bristling lights with a camera move that displays the true 3-D nature of space.

FADE OUT. Closing thoughts from our Director, Mark Edward Lewis: "Mind-Sifter" was really two beautiful short films inextricably woven together by Rick Chambers: One a suspenseful sci-fi drama set in the Star Trek TOS universe, and the other set in a troubling 1950s era mental hospital. I approached this story exactly in this manner. From different camera lenses, coloring, sound and performances, we shot two completely polar short films which blended together wonderfully. Having such poignant performances on either side of the millennia marker made both shorts seem to forward the same narrative: the resolution of the connection that Kirk and Spock have while plumbing new depths in the connection between McCoy and Spock. Having the 1970s venerable and beloved book come to life in this script (with the inclusion of the Guardian/Klingons) brings out the best of all worlds in the TOS universe and, I believe, is one of the best episodes of TOS ever made."