They BACK OUT OF FRAME so we have a FULL SHOT of the street opposite, and CAMERA MOVES IN so we see the brick wall and a sudden shimmering (NOT THE TRANSPORTER MATERIALIZATION EFFECT—ANOTHER) as Beckwith abruptly becomes substantial, standing there looking around, trying to get oriented, still wearing his Enterprise garb. Then Kirk and Spock dash INTO FRAME from XTREME CLOSEUP so the FRAME IS BLACK for a beat as they race away from us.

82 REVERSE ANGLE—PAST BECKWITH—HIS POV

as he looks across the street and sees Spock and Kirk coming for him. He recognizes them instantly and turns first one way, then another, to run—but he doesn’t know which way. Spock gets across the street, but as Kirk moves to follow, just a beat behind him, another huge bootleg beer truck in the caravan rumbles down the street, and Kirk is cut off. Spock reaches Beckwith, who falls back against the brick wall, and raises a booted foot. He catches Spock in the stomach with the foot, and hurls him back. Then Beckwith rushes OUT OF FRAME RIGHT as the truck passes and Kirk reaches Spock. He helps him up. CAMERA ANGLE NARROWER now.

KIRK

Which way?

SPOCK

Toward the Milk Kitchen…

They tense, and race off down the street as we

DISSOLVE TO:

83 INT. TENEMENT—SAME AS 74—DAY

on the vestibule door, as it opens, and Kirk brings Edith Keeler in behind him. He is rushing her, holding her by the arm.

EDITH

Jim…what is this?

KIRK

You shouldn’t be out there alone.

She pulls away, stands her ground. She’s wearing the cape with the sunburst, but a different dress of the period.

EDITH

What in the world are you talking about? You come dashing into the Milk Kitchen and practically abscond with me! Now, Jim, I’ve got responsi—

Kirk moves to her, takes her lovely face in his hands, and if we are ever to see the inner man, James Kirk, this is the moment. Gathered here in his hands is everything that means anything to him. Kirk is deeply in love.

KIRK

Edith, do you trust me?

EDITH

Jim…I…

KIRK

No, please, do you trust me?

EDITH

(looks down demurely)

I trust you…and I love you, Jim.

A stricture of pain/pleasure crosses his face. She does not see it. He tilts her face up and stares at her for a long moment, then kisses her. She clings to him. After a long beat they move apart a bit and CAMERA COMES CLOSER.

KIRK

Edith…

EDITH

Do you love me, Jim? It’s the first time for me, so I don’t know.

KIRK

Very much. More than anyone I’ve ever known. You’ve become very important to me. You can’t know how important…

EDITH

And you’re afraid, Jim, what is it?

KIRK

It’s nothing, I just want you to be—