Three-Act Structure

Take any dead episode of a once beloved, now cancelled science fiction TV show. Strap it to a table, connect it to all manner of whirly gizmos and electric gadgets, and then rejuvenate it with a bolt of lightning striking a Gothic castle. Have the director scream, "It's aliiiiiiiiiiive!"

At least, that's how we think movies are made.

Regardless of the process, The Search for Spock is basically a resurrected, supercharged episode of the TV series and keeps a narrative structure similar to the show's. This is called the three-act structure…because it consists of three acts. No points for originality with that titling, literature scholars.

You Tease!

First, every Star Trek episode began with a teaser, a little morsel of story that excites you and entices you to watch. This is an important narrative technique for any TV show, because you can easily change the channel should your interest wan. It's less important for theatrical releases—after all, they got your money from ticket sales.

Although it's a theatrical release, Search for Spock starts with a teaser showing us Genesis and the torpedo tube that served as Spock's makeshift grave, enticing us with the promise that not everything is as it seemed in The Wrath of Kahn. We also get a voiceover narrative of Mr. Spock reciting the Star Trek title sequence…because nothing sells like fan service.

Exposition Junction, What's Your Function?

Then we get into the film proper with the first act. This act serves to set up the story by providing the audience with exposition, a.k.a. the stuff you need to know to follow the story.

Kirk's opening captain's log reviews what happened in the previous movie—Khan, Spock's death, Genesis, the whole works—while McCoy's strange behavior clue us in that something's way off. On Earth, Sarek's visit informs Kirk, and in turn the audience, about katra and why Spock's body and soul has to be brought to Vulcan.

This sets up Kirk's goal in the film, but Admiral Morrow denies Kirk use of the Enterprise, creating a roadblock for Kirk that will have to deal with in Act II.

On Genesis, David and Saavik find a newly resurrected Spoke. We also learn that our villain du jour will be Kruge: he wants the Genesis device to preserve the Klingon race. If undertones of racial purity weren't enough, Kruge really drives the point home by murdering a couple of people.

Starship Down

With our expositional knowledge intact, we can now move into the second act without any commercial breaks. This act will consist of the rising action act. Basically, this means that the story focuses less on exposition and more on playing out the conflict set up in Act I.

Kirk steals the Enterprise despite direct orders not to (what a rebel!) and he's chased by the Excelsior, giving them the slip thanks to Scotty's mechanical meddling. Kruge finds Genesis and kidnaps Saavik, David, and a newly resurrected Spock.

Everything builds to the climax, the film's highest point of tension and drama. This bridge between the second and third act is the destruction of the Enterprise. It's a tense and emotional scene—Kirk is put in a no win situation and even loses his son, David. With no other way out, Kirk sets the Enterprise's self-destruct and tricks the Klingons.

All's Well That Ends with Lava

Now we enter Act III, the resolution. Here, story and side stories conclude and any lingering questions are answered as we see the fates of our characters.

Kruge and Kirk end their conflict by way of a fistfight on the exploding Genesis. The winner will be the survivor, and Kirk claims this victory by pulling a Mario and knocking his opponent into a lava pit.

The crew escapes to Vulcan with Spock's body and the ceremony of fal-tor-pan is performed, spiritually downloading Spock's katra from McCoy's brain and uploading it into his refurbished body. Spock will continue to be a bankable character for five movies and a few odd TV episodes for years to come.

David, your sacrifice was not in vain.