The one where Spock loses it!
Spock begins to act oddly, he has entered pon farr and is suffering from plak tow, and must return to Vulcan for koon-ut-kal-if-fee. Then he and Kirk must fight in ahn-woon!
Written by Theodore Sturgeon, and working only on the fact the Spock's planet was a world of logical individuals, who shun emotion, this script, with so much trivia about the Vulcans, was produced in response to fans curiosity about the world. Celia Lovsky (T'Pau) makes an excellent choice for the Vulcan matriarch with her stage presence, an accent and a facial similarity to Leonard Nimoy.
During the koon-ut-kal-if-fee, as Kirk attempts to persuade T'Pau that he should speak with Spock, long shots and close up shots are cut together. During the long shots, Spock is seen standing against a wall with his hands clasped behind his back. During the close ups, he is deep in the intense plak tow. When he eventually realises the cameras are rolling, he is seen quickly rushing back into position.
Spock begins to act oddly, he has entered pon farr and is suffering from plak tow, and must return to Vulcan for koon-ut-kal-if-fee. Then he and Kirk must fight in ahn-woon!
Written by Theodore Sturgeon, and working only on the fact the Spock's planet was a world of logical individuals, who shun emotion, this script, with so much trivia about the Vulcans, was produced in response to fans curiosity about the world. Celia Lovsky (T'Pau) makes an excellent choice for the Vulcan matriarch with her stage presence, an accent and a facial similarity to Leonard Nimoy.
During the koon-ut-kal-if-fee, as Kirk attempts to persuade T'Pau that he should speak with Spock, long shots and close up shots are cut together. During the long shots, Spock is seen standing against a wall with his hands clasped behind his back. During the close ups, he is deep in the intense plak tow. When he eventually realises the cameras are rolling, he is seen quickly rushing back into position.
