DELETED SCENES
So, you've watched Star Trek V: The Final
Frontier.
Think you've seen it all?
Think
again!
According to Shatner, he originally envisioned the film’s opening with a "powers of ten" sequence. In Shatner’s words in "Captain’s Log", "…(it) took place in the very first scene of the film, as Sybok is laughing and the camera moves into the sun. It moves further and further away until it’s in the galaxy, then turns around and does a move into the Earth, the image getting magnified larger and larger by powers of the, until it reaches America, then California, the finally into a hand on a granite rock."
As seen in the final film, we are given the parting shot of Nimbus III, then the star field (with borrowed footage from "Star Trek II"), then an early morning shot of Yosemite National Park and El Capitan. The "powers of ten" sequence could not be achieved at that time and was ultimately scrapped.
After Kirk falls from the mountain and rescued by
Spock, the scene ends with Kirk calling out, "Hi
Bones! Mind if we drop in for dinner?" The scene as originally filmed continues
with Dr. McCoy’s anger toward Kirk for his foolish behavior. Dialog from the
rest of the sequence appears as follows:
KIRK: Hello, Bones. Mind if
we drop in for dinner?
McCOY: That’s right, turn it into a big joke.
Dammit Jim, are you that anxious to meet your maker?
The renegades’ attack on Paradise City was to have consisted of many hundreds of soldiers approaching the city. This approach would have followed by the actual attack on the city itself. In the final film we can clearly observe a few dozen soldiers approaching the city. However, it is unclear whether any other footage of the attack was cut from the film, let alone filmed in the first place.
An additional angle of Sybok in the middle of this army of renegades was also filmed and deleted from the final film. In this sequence, Sybok calls out, "My friends, behold Paradise." The camera then reveals Paradise City.
Much of the dialog among the three ambassadors constitutes part of the lost footage cut from the film for running time and adds further humor to the story. This dialog would appear in the novelization and the DC Comics adaptation in its entirety. These lines are referenced from the shooting script of the film:
INT. BACK ROOM
The stranger lowers the breathing device from her face and is revealed to be a young woman. A Romulan. Her name is CAITHLIN DAR, and she stands on the threshold of the room, trying to adjust her eyes to the murky surroundings. She’s a little nervous and a long way from home.
The back room is a storage area for unwanted odds and ends. A ceiling fan swishes overhead pushing hot air around. TWO MEN are sprawled in chairs at opposite ends of a table. They’re too busy drinking to notice Caithlin’s entrance.
CAITHLIN: Gentleman, I’m Caithlin Dar.
The man seated closest to Caithlin slowly swivels his head in her direction. He wearily extracts himself from his chair and comes forward. He’s a Terran (specifically, an Englishman) named ST. JOHN TALBOT. Thin and dissipated, alcoholic, Talbot is a veteran of the diplomatic corps. He pats down his unruly hair and straighten his soiled suit. He gives Caithlin a tired smile and extends a limp hand.
TALBOT: Ah, yes. Our new Romulan representative. Welcome to Paradise City, Miss Dar, capital of the so-called "Planet of Galactic Peace." I’m St. John Talbot, the Federation representative here on Nimbus Three and my charming companion is the Klingon consul, Korrd.
Caithlin regards the hulking figure at the other end of the table. KORRD is an old, overweight Klingon, a once great warrior now past his prime. He doesn’t rise to greet Caithlin. Instead, he takes a swig from a flagon and emits an earth-shaking belch.
CAITHLIN: I expect that’s Klingon for hello.
(Columnist’s note: At this point the scene switches to the previously mentioned sequence in the final film, of the renegades’ approach to Paradise City.)
Reacting to Korrd’s stench, Caithlin holds her breathing device in front of her mouth.
TALBOT: He doesn’t speak English.
CAITHLIN: And I don’t speak Klingon.
TALBOT: I’m relieved to hear that. Please sit down, Miss Dar. Can I offer you a drink?
Caithlin brushes the dust from a chair at the opposite end of the table from Korrd.
CAITHLIN (boldly): I must say I’m shocked at what I’ve seen. Hunger. Poverty. No law enforcement. And here the two of you sit drinking…
Without warning, Korrd drunkenly lets loose with a barrage in his native tongue. (It is subtitled in English for those who don’t speak Klingon.
KORRD: (Romulan women belong on their backs!)
CAITHLIN: What did he say?
TALBOT: He says
he hopes you’ll enjoy your tour of duty here. Might I ask, Miss Dar, what
terrible thing you did to get yourself banished to this armpit of the
galaxy?
CAITHLIN: I volunteered.
TALBOT (spewing grog): Volunteered?
Talbot
turns to Korrd and translates her answer into Klingon. Korrd chortles
derisively.
CAITHLIN: Nimbus Three is a great experiment. Twenty years ago, when our three governments agreed to develop this planet together, a new age was born.
TALBOT: Your new age died a quick death. The great drought put an end to it. And the settlers we conned into coming here - the dregs of the galaxy. They immediately took to fighting amongst themselves. We forbade them weapons - they fashioned their own.
CAITHLIN: Then it appears I’ve arrived just in time. The policies the three of us agree on will have far-reaching results…
TALBOT: My dear girl, we’re not here to agree. We’re here to disagree. This "great experiment" as you call it was instigated to satisfy a bunch of bleeding hearts whining for "galactic peace". It was intended to fail.
CAITHLIN: I’m afraid I don’t share that view.
TALBOT (pleased): There, you see? We’re disagreeing already.
CAITHLIN: I’m here to open discussions for a solution to these problems.
Korrd comes to life. He roars with laughter and spits back a disgusting mouthful of Klingon. Talbot winces.
CAITHLIN (losing patience): What did he say? I want his exact words.
TALBOT: He said the only thing he’d like you to open is your blouse. He’s heard Romulan women are different.
Caithlin’s embarrassment turns to anger.
CAITHLIN: You tell Consul Korrd - never mind. I’ll tell him myself in the only Klingon I know.
Caithlin lets loose with a Klingon epithet. No translation necessary. Sputtering with rage, Korrd hurls his flagon aside and clambers to his feet.
KORRD (in perfect English) Screw you,
too!
CAITHLIN: He does speak English!
TALBOT (surprised) Sly old
bugger!
Further argument is interrupted by shouts from outside and the
whine of a warning klaxon.
These clips were excised from the final film to tighten the action and emphasize the main points of discussion, of the ambassadors’ meeting and of their work on Nimbus III.
Bennett made additional trims to the sequence of the renegades’ invasion, attack, and capture of Paradise City. "A good example of how he helped (the film)," Shatner pointed out in "Captain’s Log", "was the army sequence, in which I had included many stunts and long fighting sequences in my version. Harve had cut it down so that we only see the army overwhelming the town, which got to the point faster and was more ideologically consistent with Sybok’s character."
The rest of the sequence involving Chekov and Sulu
hiking on Earth (filmed at Glacier Point in Yosemite Valley) was to have
established their location as Mount Rushmore. As originally conceived by
Shatner, Bennett, and Loughery, the faces of the U.S. presidents would have
included a fifth face of the first black female president of the U.S. The dialog
and action from the script are as follows:
SULU (continuing): I
should have gone to Yosemite with the Captain.
CHEKOV: What’s the difference? If you’ve seen one national park, you’ve seen them all.
Camera tilts up to reveal Mt. Rushmore in the background. We pan the granite faces of Washington, Jefferson, Roosevelt, Lincoln, and - surprise - the face of a fifth president (who happens to be a woman. A black woman.)
This establishing shot was never shown in the final version of the film, and there is no evidence of the footage of this establishing shot anywhere, only what is shown in the final film of Chekov and Sulu’s hiking trip.
An additional voiceover in the first Shuttlecraft docking sequence was scripted but deleted from the final film:
SULU’S VOICE: Roger, Galileo 5. Open bay door. Transfer power to the tractor beam.
On the Bird of Prey, additional dialogue between Klaa and Vixis was scripted and deleted from the film. Once Klaa learns that the Enterprise is headed for Nimbus III, he comments about his admiration and hatred for Kirk. The entire dialog is subtitled as in the final film.
VIXIS: ("There will be no peace as long as Kirk lives." Our Empire’s highest bounty has been placed on his head.)
KLAA: (James T. Kirk - I’ve followed his career since I was a boy. A man to admire… and hate.)
Once Klaa gives the order to intercept the Enterprise, Vixis salutes him. From this scene we can infer that Klaa and Vixis are more than just captain and first officer, that they are possibly involved romantically. From the shooting script:
Vixis passionately returns the gesture.
VIXIS: (Success… my captain.)
In the sequence with Spock on the observation deck, a voiceover of Sybok was written and voiced but deleted from the final film:
VOICE: I will find Sha Ka Ree…
An additional scene aboard the Galileo was scripted and filmed but deleted from the final film:
INT. GALILEO
Kirk and Spock are side by side. Kirk buckles himself in, then notices that Spock is lost in thought and has not buckled up. Kirk leans over and buckles Spock’s belt for him.
KIRK: You okay, Spock?
SPOCK: I am fine,
Captain. (trying to reassure him) Damn fine.
Kirk wonders.
Once the crew has infiltrated Paradise City, Kirk gives more misleading information to J’onn and the soldiers. This is another sequence deleted from the film for pacing. From the shooting script:
INT. PARADISE
Kirk and the company rein
their horses to a stop. Much movement and confusion. He shouts to J’onn and the
soldiers on the walls.
KIRK: There’s more than a hundred of them! Fortify the walls!
J’onn and the soldiers turn their attention to the desert and prepare themselves for the confrontation.
The confrontation between the Enterprise crew and the renegades within the city seems edited a bit for a centerpiece sequence. An additional moment during the battle featuring McCoy was filmed and deleted from the final film for pacing. From the shooting script:
ANGLE - McCOY
The doctor rushes to the
wounded crewman who clutches his leg. McCoy drags him to safety and digs into
his kit.
McCOY: I haven’t seen a wound like that since med school. These people are savages.
McCoy passes an instrument over the wound that emits a healing ray and effects the pebble. The crewman flexes his leg. All better. McCoy gives the pebble to the crewman.
McCOY: Here’s a souvenir. (warning) Stay off that leg for a few minutes.
Four additional scenes, Scenes 111 through 115, were initially scripted but deleted from the shooting script. Since there is no available record of prior script treatments as of this writing, there is no way to know just what those additional scenes are.
An additional moment during the sequence in which the crew confronts Sybok for the first time in the story was shot and deleted from the final film. From the shooting script:
SYBOK: Still tight-assed…
It’s clear Sybok is trying to force an emotional reaction from Spock. But Spock refuses to fall into his trap.
To tighten the action of the Shuttlecraft thrusting into the Enterprise sequence, some footage from the film was cut from the final release, of a portion of the dialog between Scotty and Chekov on the bridge, yet the master shot of that sequence appeared in one of the film’s theatrical trailers. Here is that dialog as scripted and as it appears in the theatrical trailer:
INT. ENTERPRISE - BRIDGE
SCOTTY: They’re in!
CHEKOV: Transfer power
to warp drive. Warp speed now!
Once Spock confronts Sybok in the docking bay, Sybok’s dialog is longer and was edited from the film for pacing:
SYBOK (approaching Spock): Spock, you can’t stun me with that weapon and I’ve always been stronger than you. I’m afraid you’ll have to kill me.
Once Sybok has announced his intentions to head for Sha Ka Ree, an additional moment of dialog featuring McCoy appears in the scene in the brig. From the shooting script:
McCOY: Now just a damn minute…
Spock turns back to Sybok’s image.
An additional moment occurs as Sybok’s soldiers sweep the ship in pursuit of Kirk, Spock, and McCoy. From the shooting script:
COMPUTER VOICE: Secure all levels.
Alternate footage from the sequence of the trio accelerating upward at a slower pace is seen in one of the film’s theatrical trailer.
During Sybok’s conversation with Kirk, Spock, and
McCoy in the observation lounge, an additional moment of dialog has been edited
from the final film in which Spock elaborates on Sybok’s "healing" process:
KIRK: Spock?
SPOCK: It is an ancient Vulcan ritual -
forbidden in modern times.
One of the most potentially controversial scenes that may or may not have been filmed occurs during the sequence in which Sybok attempts to break through to Spock and release his emotional burdens. As seen in the final film, we witness Spock’s discomfort over seeing his father Sarek reject the infant Spock by saying, "So human." (An un-credited Mark Lenard did the voiceover for the young Sarek.) However, the sequence was structured much differently in the various script drafts and caused much debate for Leonard Nimoy. The sequence continues in the following manner, referenced from the shooting script:
SCENE 184 - OMITTED
SCENE 185 -
SAREK
He takes the infant and lays it on Amanda’s belly. Amanda beholds
the child up close. As it thrashes against her, she sees for the first time its
tiny pointed ears.
AMANDA (to Sarek): Neither yours nor mine.
SCENE 186 - SPOCK AND KIRK
Kirk looks at Spock with concern.
KIRK: Spock…
SPOCK: Sybok has failed. I resolved this pain long ago.
From behind comes a faraway voice. The voice of young Sybok.
YOUNG SYBOK’S VOICE: Spock…
Spock turns, unprepared for this. A figure regards him from a distance, a hood shadowing his features. It appears to be Sybok on the day he and Spock parted.
YOUNG SYBOK: I must go now.
SPOCK: Sybok? Wait.
YOUNG SYBOK: I can’t. They’ve banished me.
SCENE 186A - ANGLE: SPOCK
He is in shadow,
featureless. But his voice and demeanor is that of an adolescent
boy.
SPOCK: Then take me with you.
SYBOK: Spock…
SPOCK: I want to go with you.
SCENE 186B - ANGLE: THE HOODED FIGURE
YOUNG SYBOK: It’s not possible. I’m an enemy of the people, a heretic. Besides, you have chosen the Vulcan way.
SPOCK: But where will you go?
YOUNG SYBOK:
Where I can be free… where I can prove I was right. I’ll find Sha Ka
Ree.
The Hooded Figure recedes into the distance.
SCENE 186C - ANGLE: THE ADULT SPOCK
The
light comes up on his face. We are back in the present. Sybok appears at his
shoulder… Spock turns to face him.
SPOCK: Sybok…
SYBOK: That is your pain. You begged to come with me then. Come with me now.
Another sequence possibly in need of upgrading is the sequence of the Enterprise shuttle’s approach to the planet Sha Ka Ree. As originally conceived by Shatner and art director Nilo Rodis Jamero, the sequence involved mysterious mountains covered by dark clouds. This sequence was referred to as "the Bierstadt shot", in reference to the 19th century German-born U.S. painter Albert Bierstadt, whose many paintings depicted large mountain regions covered in clouds and fog. (Ironically, a number of Bierstadt’s paintings depict El Capitan in Yosemite National Park and served as an inspiration for the film’s opening establishing sequence on Earth.) Shatner and Jamero worked out the approach to Sha Ka Ree, and while the final film presents a good, serviceable sequence, it can be enhanced with some digital mattes and CGI effects to convey Shatner’s original vision of a "Bierstadt shot".
But the most important restoration of the entire film would center in the film’s climactic sequence, of Kirk, Spock, and McCoy outracing the alien’s minions, ultimately climaxing in a confrontation between Kirk and the alien’s minions. One part of the film that calls for restoration is the original music scored by Jerry Goldsmith for the film. Part of the music as heard on the original sound track album does not appear in the film, while part of the music as heard in the film does not appear anywhere on the album. A portion of the music, used in the final film to underscore the trio’s retreat to the shuttle, is re-tracked from the earlier sequence in the film of Sybok attacking Kirk in the hangar deck. The music as originally heard on the sound track album should be restored to the film to convey the composer’s original concept, which he obviously had a chance to view prior to final editing.As initially conceived by Shatner, the cherubim and seraphim surrounding God, now revealed to be an alien impostor, transform into a group of sinister Furies to attack Kirk, Spock, and McCoy. In Shatner’s words, "McCoy falls and is surrounded by these Furies. Then Spock is surrounded, too. Kirk is about to escape, when he realizes he can’t. He turns around to save Spock, which he does, putting his life on the line. As a result of that, the rift between Kirk and Spock is healed, and they can escape. But they, too, decide to descend into Hell to rescue McCoy from the river Styx. They rescue him, pursued by the frenzied minions of the devil. They get back to the ship, and are saved."Even in this early form the sequence proved to be too expensive to film. Paramount executives informed Shatner that the sequence was too expensive in this concept. Shatner and Bennett changed the Furies into an army of Rockmen. "As Kirk, Spock, and McCoy are running away," Shatner points out, "these huge, twisted shapes break free from the rocks surrounding them and pursue the characters. I had in mind six Rockmen, six hulking, strange creatures - terrifying! … The estimate for all six was something like $300,000. It was way too extravagant. So the first thing I was told was that I could only have one Rockman. … It was one of the first lessons I had in the realization that the movie in my head was going to be different from the one in reality. But I basically had no choice, so we went with it. And one Rockman was all I got." In the DC Comics adaptation of the film, the final sequence depicts Kirk pursued by one Rockman. A photograph that appeared in Starlog Magazine confirms the original ending in which only one Rockman pursues Kirk. An excerpt from the shooting script appears as follows:
SCENE 246A - ANGLE: THE HOLE
Camera pushes in on the smouldering hole as a horrific creature pulls itself out of the abyss - a fire-breathing monster made entirely of rock - all that remains of the evil entity. It spots the escaping threesome and clambers after them.A combination of problems - breaking sunlight, difficulty in the stunt man’s movement and breathing inside the Rockman costume, the smoke from the suit blowing the wrong way, and the illusion to Harve Bennett that the Rockman looked more like a lobster than rock - contributed to all of the Rockman footage being scrapped from the film completely. (Coincidentally, similar problems occurred during filming on the original Star Trek series in 1968 in which the crew confronted an alien rock monster.) In the sequence where Kirk, Spock, and McCoy run toward the shuttle, a group of these Rockmen was to have pursued them. Instead, we see the crew running back with nothing in pursuit.An additional sequence aboard the Bird of Prey was written but deleted from the final film due to the restructuring of the film’s climax. From the shooting script:
INT. BIRD OF PREY - BRIDGE
Enterprise appears on the viewscreen. Klaa is out of his command chair, pacing the deck like a restless buccaneer.VIXIS: (Enterprise defense systems are down. Captain, they don’t know we’re here.)KLAA: (They will in a moment.)
Klaa settles into his gunner’s rig.A portion of Spock’s dialog with Korrd on the bridge of the Enterprise, in which Spock attempts to reason with the Klingon general, appears to have been edited from the final film due to pacing and time considerations. The novelization references further dialog between Spock and Korrd, in the following excerpt:"My assistance?" Korrd asked. "I am of no help to you now."
"On the contrary." Spock inclined his head toward the screen, where a larger-than-life Klaa scowled. "You are his superior officer."The Klingon shook his head. "You misunderstand. My assignment to Nimbus proves I am in disgrace. I am no more than a foolish old man."Spock studied Korrd’s jowly face carefully. Desperate measures were necessary; Klaa would not wait much longer. Jim’s life far outweighed the cost of personal embarrassment."Sybok was my brother, Spock said, ignoring the shocked reactions of all those on the bridge. "He sacrificed himself so that we might escape. Are you so willing to see his death become meaningless?""Klaa will not…" Korrd began.Spock had just seen his brother killed; he would not allow the dame to happen to James Kirk. "Damn you, sir," he said, his tone deliberate and even, "you will try."The bridge became oppressively silent as Korrd considered Spock’s words. …With all of the Rockman footage now scrapped, Shatner, Bennett, and Bran Ferren had to settle for a floating head of the alien in its manifestation of God in the final film. This became known as the "Rock Blob". The original ending appears in its scripted form in the DC Comics adaptation and the novelization. The sequence as it was originally written and filmed appears as follows from the shooting script:EXT. PEAKS
Kirk scrambles from one hiding place to another as the rock creature pursues him, able to anticipate his every move.PINNACLE
With nowhere to go but up, Kirk scales a steep pinnacle. He climbs with agility and speed. He’d better. The pursuing creature is practically breathing fire up his ass.WIDE ANGLE SHOT
Kirk clambers to the top of the pinnacle and finds himself trapped. He always knew he’d die alone. The rock creature climbs up to get Kirk, an inhuman voice issuing from its flaming mouth.CREATURE: Give… me… the… ship.A whooshing sound from overhead. Kirk looks up.ANGLE - SKY ABOVE
The Bird of Prey drops out of the storm clouds. Its guns come to life and strafe the rock creature, driving it back, away from Kirk.The original sequence of Kirk aboard the Bird of Prey was much shorter in the original version than in the final version. This original ending appears in both the novelization and in the DC Comics adaptation, taken from the following script excerpt:INT. BIRD OF PREY - BRIDGEThe bridge doors slide open and Kirk is brought in. The Klingon crew regard him from their stations. Klaa is off to one side looking petulant. Korrd stands beside him, chest puffed up with pride, obviously in charge. Why isn’t Klaa in his command chair? Because someone else is occupying it.The command chair swivels around to reveal its occupant to be Spock. He unstraps himself from the gunner’s rig, stands up and straightens his uniform in a dignified manner.SPOCK: Welcome aboard, Captain.KORRD (to the guards): Release him.The guards step away from Kirk. Klaa glares at Korrd, but it’s clear the older Klingon is now calling the shots.Kirk regards the stoic Spock with affection and wonder.KIRK (can’t believe it): Spock, I thought I was going to die.SPOCK: Not possible. You were never alone.Kirk fights back tears and clasps his friend in a hug. Spock stiffens with embarrassment.SPOCK: Please, Captain. Not in front of the Klingons.Kirk laughs and hugs him all the harder. Spock tentatively hugs him back.The final version as it appears in the film is restructured with additional dialog emphasizing Korrd’s renewed sense of duty and Klaa’s embarrassment, and the music for the sequence was re-scored by Jerry Goldsmith. Harve Bennett revised the sequence with the following action and dialog:As Kirk is transported aboard the Bird of Prey, two Klingon guards escort him to the bridge. They reach the bridge, where Kirk is confronted by Korrd, now dressed to command the Bird of Prey. Klaa is off to one side, humbled.KORRD: Kirk, my junior officer has something he would like to say to you. (orders in Klingon)KLAA: I… apologize.Kirk looks in wonder.KLAA: The attack upon your vessel was not authorized by my government.KORRD: Kirk, and now may I present our new gunner.Kirk looks at the gunner’s chair as it turns to reveal Spock.KIRK: Spock!
Spock arises from the gunner’s chair.SPOCK: Welcome aboard, Captain.KIRK: I… thought I was going to die.SPOCK: Not possible. You were never alone.Kirk eyes Spock then approaches him as if to embrace him.SPOCK: Please, Captain, not in front of the Klingons.Kirk looks around and notices the Klingon crew, then he and Spock nod in acknowledgement to each other.In my opinion this revised sequence is much more effective, as it clarifies Spock convincing Korrd to take action to rescue Kirk.Another significant scene toward the ending features more dialog between Spock and McCoy. Again it is another moment with DeForest Kelley that merits inclusion in the Director’s Edition. From the shooting script:INT. ENTERPRISE - FORWARD OBSERVATION ROOMA reception is in full swing. Spock and McCoy are discovered off by themselves, standing at the observation window, gazing out at the God planet.McCOY: Try this on for size. Has it occurred to you that the Great Barrier wasn’t placed there to keep us out - but to keep that thing in?
SPOCK: It has occurred to me.McCOY: Well, doesn’t that imply the existence of a greater power?
SPOCK: I will say this much, Doctor. We have yet to reach the final frontier.In the dialog among Korrd, Talbot, and Dar, an additional moment was deleted from the final film for pacing and time considerations. This additional dialog references the earlier discussion of the trio on Nimbus III and should be restored to the film, as seen in this excerpt from the shooting script:
TALBOT: Good heavens! We’ve just agreed on something!
CAITHLIN: Gentlemen, it’s about time.They share a warm laugh.In preparing the film for editing, the initial cut of the film ran 122 minutes in length. According to William Shatner in "Captain’s Log", "That was too lengthy, since we had yet to add the opticals and end credits. So it was then up to Harve (Bennett) to cut some of this footage down to meet the apparent requirement of slightly under two hours. The problem was, I couldn’t see where he could make any cuts. In my mind, each sequence was honed down to its bare essentials. I really couldn’t imagine how it could be changed without damaging some important elements." I know this is only a partial listing at best, but hopefully this article will give a detailed look at what fans should deserve and hopefully will get in a new Director’s Edition of "Star Trek V", one that honors Shatner’s original intent and view and brings it to life.
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