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Screenplay by
HARVE BENNETT & NICHOLAS MEYER
Story by
STEVE MEERSON & PETER KRIKES
REV. SHOOTING SCRIPT
March 11, 1986
PRODUCTION NOTES
1. Please note that the character of Starfleet Commander
is "Admiral Cartwright," not "Admiral Morrow." Please
modify all scripts and production boards accordingly.
2. Please note that Master Chief Petty Officer Rand now
first appears in Scene 25 and in all
subsequent Starfleet Command
scenes.
3. Please note that Commander Chapel appears in Scene 25
and in all subsequent Starfleet
Command Scenes.
4. Please note that a new Scene 188A has been included
and Scotty's side of the dialogue will be photographed
in the Cargo Bay Area.
5. Please note the readmission of Scenes 132 and
133.
6. Uhura is now present in Scene 132.
7. Please note that in a new scene 158A, we are covering Kirk
in the Transporter area of the Bird of Prey during the
plexiglass lowering sequence.
Also note, we will require Video playback from production
footage of Gillian's image outside. Existing video monitor
in Cargo Bay will be playback source for this image.
8. Please note that in Scene 188A, Scotty will be covered
in the Cargo Bay.
9. Please note that Admiral Morrow (Cartwright) does not
appear in Scenes 265, 266, 267.
DEDICATION
IN BLACK
In the silence preceding the Paramount Logo, in simple
white letters which FADE IN is the following legend:
"THE CAST AND CREW OF STAR TREK
WISH TO DEDICATE THIS FILM
TO THE MEN AND WOMEN OF
THE STARSHIP CHALLENGER
WHOSE COURAGEOUS SPIRIT SHALL
LIVE TO THE 23RD CENTURY AND
BEYOND."
THE LEGEND FADES OUT.
.......................................................................
FADE IN:
1 SPACE - A STARFIELD - ILM 1
A HORN sounds the STAR TREK FANFARE, and we begin to
MOVE FORWARD. MAIN TITLES begin. And to the delight
of Star Trek lovers everywhere, the MUSIC OVER the
early credits is the SERIES THEME by Alexander Courage.
We're in for a classic, good old Star Trek time. But
hold on...
After the first 16 bars and early CREDITS, the music
trails off ominously into silence -- and a faint new
SOUND. At the same time, we pick up a speck of light
coming toward us from deep space. As the SOUND GROWS,
the speck begins to assume shape and form.
2 CLOSER - THE PROBE - ILM 2
A simple cylinder, non-threatening but huge in size,
with odd, eye-like antennae. It emits the SOUND, a
long synthesized gibberish, foreign to our ears. The
SOUND STOPS; the antennae rotates; the SOUND is heard a
second time, then stops. As the probe slowly passes us
we hear:
FEMALE VOICE
What do you make of it?
MALE VOICE
It appears to be a probe, Captain.
From an intelligence unknown to us.
3 SPACE - THE STARSHIP SARATOGA - ILM 3
A RELIANT class vessel.
FEMALE VOICE
Continue transmitting; Universal
Peace and Hello in all known
languages.
(then)
Get me Starfleet Command.
4 INT. BRIDGE - USS SARATOGA - FAVORING THE CAPTAIN 4
She is a concerned Starfleet professional. Her male
SCIENCE OFFICER stands beside her. CREDITS RESUME.
CAPTAIN
Starfleet Command, this is USS
Saratoga patrolling Sector 5,
neutral zone. We are tracking a
probe of unknown origin on apparent
trajectory to the Terran solar
system. Attempts to communicate
with the probe have been negative on
all known frequencies.
STARFLEET VOICE
Continue tracking, Saratoga. We will
analyze transmissions and advise.
CAPTAIN
Roger, Starfleet, Saratoga out.
HELMSMAN
Range 400,000 kilometers, closing.
(GIBBERISH starts)
Here it comes again.
The CALL, louder this time. As they listen, the Bridge
lights begin to dim.
CAPTAIN
What's causing that!?
SCIENCE OFFICER
Captain, their call is being carried
on an amplification wave of enormous
power!
CAPTAIN
Can you isolate the wave?
SCIENCE OFFICER
Negative. It's impacting on all our
systems!
Even as he speaks, the GIBBERISH increases in volume
and the lights on the bridge dip lower.
CAPTAIN
Yellow alert! Shields up. Helm,
reduce closing speed!
The Helmsman attempts to comply. Nothing works.
HELMSMAN
Captain, Thruster controls have been
neutralized!
CAPTAIN
Emergency Thrusters!
HELMSMAN
(tries, then)
No response, Captain!
5 SPACE - THE PROBE, PAST SARATOGA - ILM 5
The distance closes rapidly; the Probe's size is
getting awesome; the GIBBERISH resumes, loud...
6 SARATOGA BRIDGE 6
As the Gibberish reaches a loud climax, the lights go
out entirely, along with all engine and electronic
sounds. In the sudden darkness:
CAPTAIN'S VOICE
Emergency lights!
Very low level lights; baffled faces; systems
Checking.
CAPTAIN
Damage report!
SCIENCE OFFICER
Captain... All systems have
failed... We are functioning on
reserve power only.
CAPTAIN
We're out of control -- Rig for
collision...
7 EXT. SPACE - THE PROBE - ILM 7
As it bears down on Saratoga, and passes massively
overhead, endlessly; The Probe is now recognized as
miles long. It passes now, and goes off into the dis-
tance.
7A BACK TO THE BRIDGE 7A
SCIENCE OFFICER
(stunned)
They've finished us. And we don't
even know what they want...
The Captain considers this, turns to the Comm Officer.
CAPTAIN
Give me whatever you've got on the
emergency channel.
(then)
Starfleet Command, this is Saratoga.
Can you hear me...? Come in,
please... Come in, please...
7B SPACE - THE PROBE - ILM 7B
Disappearing in the distance. The GIBBERISH begins
faintly, ominously again.
8 EXT. SAN FRANCISCO BAY AREA - DAY - ILM 8
The City of the 23rd Century, the Golden Gate Bridge:
PUSH IN to Federation Headquarters.
9 INT. CORRIDOR - FEDERATION HEADQUARTERS - CLOSE ON 9
FEET
Hurrying over marble floors, as CREDITS CONTINUE. PAN
UP now to reveal SAREK, Spock's father, moving OUT OF
SHOT.
10 INT. CORRIDOR 10
As we PAN Sarek INTO SHOT with COMMANDER CHAPEL,
Starfleet Medical Officer whose history in Star Trek is
known to all.
CHAPEL
Thank you for coming. It's not
going well.
SAREK
Am I to late to testify?
CHAPEL
I don't know.
Sarek raises an eyebrow, as they start out.
11 INT. FEDERATION COUNCIL CHAMBER - ANGLE ON ENTRY 11
As Sarek and Chapel enter in semi-darkness, while
events are taking place O.S. They look in wonder at:
12 SPACE - THE ENTERPRISE 12
As it comes toward us, only to be wrecked and torn
apart by a series of explosions.
13 BACK TO SAREK, CHAPEL 13
Awed, seeing this for the first time.
14 ANGLE - (GIANT SCREEN) 14
As Enterprise streaks to its fiery death, watched in
LONG SHOT by Kirk and crew. Then as Kirk's face is
seen, CLOSE:
KLINGON VOICE
There! Hold the image, hold!
As Kirk's image FREEZES, PULL BACK to reveal:
15 INT. FEDERATION COUNCIL CHAMBER - FULL 15
A doomed room in which the FEDERATION COUNCIL and its
PRESIDENT sit at a long table before the Federation
Seal. There is a gallery of representatives from vari-
ous planets. The screen on which Kirk's image is
frozen is centrally located. And at a spot lit glass
podium, stands the KLINGON AMBASSADOR, pointing.
KLINGON AMBASSADOR
Behold! The quintessential devil in
these matters! James T. Kirk,
renegade and terrorist! Not only is
he responsible for the murder of a
Klingon crew; the theft of a Klingon
vessel. See now the real plot and
intentions:
16 VARIOUS ANGLES IN ROOM AND ON SCREEN 16
Kirk, ON SCREEN, introduces the Genesis Device and its
awesome visuals (STAR TREK II AND III). Many people in
the room have never seen the secret material and react
accordingly. And the Klingon continues his tirade
KLINGON AMBASSADOR
Even as the Federation negotiated a
peace treaty with us, Kirk was
secretly developing the Genesis
torpedo! Conceived by Kirk's son
and test detonated by the Admiral
himself!
(the proof is on
screen)
The result of this awesome energy
was euphemistically called "The
Genesis Planet..." A secret base
from which to launch the.
annihilation of the Klingon people!
(as the audience
stirs)
We demand the extradition of Kirk!
We demand justice!
SAREK
Klingon justice is a unique point of
view, Mr. President.
As the audience stirs, Sarek descends the stairs.
SAREK
(continuing)
Genesis was perfectly named: The
creation of life not death. It was
the Klingons who had first blood
while trying to possess its secrets.
KLINGON AMBASSADOR
Vulcans are well known as the
intellectual puppets of the
Federation!
SAREK
(evenly)
Your vessel did destroy U.S.S.
Grissom. Your men did kill Kirk's
son. Do you deny these events?
KLINGON AMBASSADOR
We deny nothing! We have the right
to preserve our race!
SAREK
Do you have the right to murder?
The gallery erupts in reaction and the Council
President gavels them to silence.
COUNCIL PRESIDENT
Order. There will be no further
outbursts from the floor.
SAREK
(reaches a podium)
Mr. President, I have come to speak
on behalf of the accused.
KLINGON AMBASSADOR
Personal bias! His son was saved by
Kirk!
The President remains calm amid the buzzing. Then:
COUNCIL PRESIDENT
Mr. Ambassador, with all respect,
the Council's deliberations are
over. You have been allowed to
speak in order to put your views on
the record.
KLINGON AMBASSADOR
Then Kirk goes unpunished?!?
COUNCIL PRESIDENT
Admiral Kirk has been charged with
nine violations of Starfleet
regulations...
KLINGON AMBASSADOR
Starfleet regulations? Outrageous!
(then)
Remember this well: there will be
no peace as long as Kirk lives!
And with a flourish, he exits with his staff as the
assembly murmurs. Then:
COUNCIL PRESIDENT
Sarek of Vulcan, with all respect --
we ask you to return Kirk and his
crew to answer for their crimes.
SAREK
With respect to you, Mr. President,
there is only one crime: denying
Kirk and his crew the honors they so
richly deserve.
COUNCIL PRESIDENT
... You are welcome to remain and
testify.
He gavels the meeting to its end. CREDITS CONCLUDE.
17 SPACE - THE PLANET VULCAN - MOVING IN - ILM 17
A great red sphere.
KIRK
Captain's Log, Stardate 8390...
18 EXT. VULCAN - BIRD OF PREY - HIGH SHOT - ILM 18
CAMERA MOVES IN. The Klingon ship rests on its landing
pad; the crew gathered outside as in a meeting.
KIRK'S VOICE
We are in the third month of our
Vulcan exile. We are uncertain
about the progress of Captain
Spock's memory training.. And it
was Doctor McCoy with a fine sense
of historical irony, who decided on
a name for our captured Klingon
vessel.
19 EXT. LANDING PAD - CLOSE - BIRD OF PREY - NEAR RAMP 19
The words "H.M.S. BOUNTY" have been hand painted on the
side of the open bay doors. CAMERA MOVES toward the
gathered Captain and Crew.
KIRK'S VOICE
... And like those mutineers of 500
years ago, we too have a hard choice
to make. A choice made harder
because we are all too old to suffer
fools gladly... Nevertheless:
CAMERA PANS: as Kirk calls the roll: BONES...
SCOTTY... UHURA... CHEKOV... SULU. Each raises a hand
and holds it. Kirk now says:
KIRK
Let the record show that the
Commander and the crew of the late
Starship Enterprise have voted
unanimously to return to Earth to
face the consequences of their
actions in the rescue of their
comrade, Captain Spock.
(a long beat)
Thank you all... Repair stations,
please.
As they disperse:
KIRK
Mr. Scott, how soon can we get
underway?
SCOTTY
Give me one more day, sir. The
damage control is easy. Reading
Klingon is hard.
Kirk nods, Scotty heads inside. Bones hangs back sourly.
BONES
You'd think they could at least send
a ship. Bad enough to be court
marshaled and spend the rest of our
lives mining borite -- but to come
home in this Klingon flea trap...
KIRK
We could learn a thing or two from
this flea trap. It has a cloaking
device that cost us a lot.
BONES
I just wish we could cloak the
stench.
And he starts off. WIDEN as Kirk turns to LT. SAAVIK,
dressed in Vulcan attire.
SAAVIK
Admiral, I'd like to continue my
work on the ship until you leave.
KIRK
Thank you, Lt. Saavik.
SAAVIK
(produces disc)
And... Here is a deposition I have
made. If it is not sufficient, I
will return to Earth to testify.
KIRK
Don't concern yourself, Saavik.
Your leave has been granted for good
and proper cause.
(a beat)
How are you feeling?
SAAVIK
I am well, Admiral.
KIRK
You will be in good hands here.
They exchange a look, and she starts in, leaving him
alone in thought. Then he slowly, almost secretly
looks upward: he stares uncertainly at the mountain
above.
20 OMITTED 20
21 HIGH PROMONTORY ABOVE - UP ANGLED - A FIGURE 21
We SLOW ZOOM to the hooded figure. It is SPOCK
watching impassively. After a long moment, he turns
and leaves.
22 INT. SPOCK'S TEST CHAMBER - CLOSE ON THREE SCREENS 22
They form a computer console like a great pipe organ,
with a bank of keys. On each screen are the words:
MEMORY TESTING INTERRUPTED." PULL BACK as Spock
enters, sits thoughtfully,. Then he places a small
lightweight headset on:
SPOCK
Resume.
What follows happens rapidly: Questions appear on all
three screens. The tempo increases through the
sequence to a crescendo. Spock takes it all on in stride,
answering questions by keyboard, or verbally, without
being flapped.
Q. What is the molecular formula of Yominum Sulfide
crystals? (A. K4YM3 (SO73 Es 2)
Q. Who said, "Logic is the cement of our civilization
with which we ascend from chaos using reason as our
guide?" (A. T'plana-Hath, matron of Vulcan
philosophy.)
Q. What significant legal precedent arose from the
peace pact between Argus and Rigel IV? (A. All beings
may not be created equal yet shall be given equal
opportunity and treatment under the law.)
Q. Solve: (a graphic of 3-dimensional chess) (A.
White Queen to section 5, grid 6. Queen takes Knight.
Rook takes Queen. White pawn to section 5, grid 7,
pawn takes Rook. Checkmate.)
Q. What was Kiri-kin-tha's first law of metaphysics?
(A. Nothing unreal exists.)
Q. Adjust the sine wave of this magnetic envelope so
that anti-neutrons can pass through it but anti-
gravitons cannot. (A. Spock works keypad and the
image of the envelope is changed on one of the
screens.)
Q. What is the electronic configuration of Gadolinium?
(A. Spock types, in one second: 5s22s22p63d104s24p6
4d104f75s25p64d16s2.)
Q. Identify: (an image appears) (A. A Klingon mum-
mification glyph from the earliest part of the
Zanxthkolt dynasty.)
Q. What were the principle historical events on the
planet Earth in the year 1987? (A. Spock types, but
things are going too fast for us to see the answer.)
Q. What significant contribution to bio-engineering was
made on the Loonkerian outpost on Klendth? (A. The
universal atmospheric element compensator.)
Q. What is this a model of? (A. A three dimensional
theoretical representation of a four dimensional time
gate as proposed by the Andorian scientist, Shres.)
Q. Where were the first conclusive advances made on
toroidal space-time distortion and by whom? (A. At
Cambridge, Massachusetts, Earth, in 2052 by Ralph
Seron.)
Q. Evaluate and conclude: A starship's sensors indi-
cate it is being pursued so closely that it occupies
the same space as its pursuer. (A. The warp drive
regulators are creating a parallex matter echo.)
Abruptly, the hectic pace stops, there is a beat of
silence; then, on all three screens comes the legend:
MEMORY TEST SATISFACTORY. Then: READY FOR FINAL
QUESTION. Spock is ready. HOW DO YOU FEELO? Spock
sees it on all three screens and seems baffled. The
question begins to flash impatiently.
SPOCK
I do not understand.
He stares at the flashing question. He becomes aware
of someone in the room. He turns to see his mother,
AMANDA.
SPOCK
(continuing)
I do not understand the final
question...
AMANDA
You are half human. The Computer
knows that.
SPOCK
The question is irrelevant.
AMANDA
Spock... The retraining of your mind
has been in the Vulcan way, so you
may not understand feelings. But as
my son, you have them. They will
surface.
SPOCK
As you wish, since you deem them of
value. But I cannot wait here to
find them.
AMANDA
Where must you go?
SPOCK
To Earth. To offer testimony.
AMANDA
(hopefully)
You do this -- for friendship?
SPOCK
I do this because I was there,
AMANDA
(a pause)
Spock. Does the good of the many
outweigh the good of the one...?
SPOCK
I would accept that as an axiom.
AMANDA
Then you stand here alive because of
a mistake -- made by your flawed,
feeling, human friends. They have
sacrificed their futures because they
believed that the good of the one --
you -- was more important to them.
SPOCK
(a pause)
Humans make illogical decisions...
AMANDA
... They do, indeed.
Spock cocks his head, still baffled by this
contradiction.
23 SPACE - THE PROBE - ILM 23
It passes CAMERA innocently emitting its CALL. No
cause for alarm. Except as the Probe passes into the
distance, we see it is headed directly for the blue
marble, Earth.
24 EXT. SAN FRANCISCO - 23RD CENTURY - DAY - ILM 24
The sun is shining. MOVE, along the Golden Gate
Bridge, toward Starfleet Headquarters.
25 INT. STARFLEET COMMAND - DAY - ILM ELEMENTS 25
Large windows overlook the bay. But in the midsection
of the room, hi-tech displays monitor the universe.
The scene, and the tension are feverish. One of the
communicators is LT. RAND formerly of the Enterprise
crew. Commander Chapel is also present. A verbal
babble, and visual reports at hectic pace. ADMIRAL
MORROW, Starfleet Commander, presides. The Council
President enters.
COUNCIL PRESIDENT
Status report, Admiral!
MORROW
Mr. President, the Probe has
passed through all quadrants. The
starships Shepard and Yorktown and
three smaller vessels have been
neutralized.
COUNCIL PRESIDENT
"Neutralized?" How?
MORROW
We don't know. It's using forms of
energy our best scientists do not
understand...
COUNCIL PRESIDENT
Can you protect us?
MORROW
We are launching everything we
have.
As the President reacts to this...
26 EXT. SPACE DOCK - ILM 26
The great rotating satellite, home of grand Spaceships.
27 INT. SPACE DOCK - CONTROL BOOTH, OVERLOOKING SPACE CRAFT 27
TWO CONTROLLERS, back to us, sit in the control seats.
They control several Starships in b.g.
CONTROLLER ONE
Excelsior and Intrepid are cleared
to depart. Open space dock doors.
Over this, the SOUND OF THE PROBE'S SIGNAL is heard.
Almost immediately, Controller Two is in big trouble.
CONTROLLER TWO
Sir! Space dock doors are
inoperative!
CONTROLLER ONE
Keep trying.
(then)
Excelsior and Intrepid stand by!
Malfunction on exit doors.
INTREPID VOICE
Control, Intrepid. Never mind. We
can't get powered up!
The Two Controllers look at each other as the SOUND OF
the Probe's GIBBERISH comes in at DEAFENING VOLUME.
CONTROLLER TWO
Space doors not responding. All
Emergency systems are non-
functional.
All over Space dock, lights are dimming.
CONTROLLER ONE
Engage reserve power. Starfleet
Command, this is Space dock on
emergency channel. We have lost all
internal power. Repeat, we have
lost all power!...
28 SPACE - THE PROBE - ENTERING EARTH ORBIT - ILM 28
The Probe's thrusters fire, and it slows to orbit the
blue marble below.
29 CLOSER ANGLE - THE PROBE - ILM 29
As the antennae rotate to face the Earth. As the GIB-
BERISH comes on, LOUD:
30 EXT. OCEAN SURFACE - ILM 30
An amazing EFFECT: The SOUND, like the prow of an
invisible boat, cuts the surface of the ocean, leaving
not a wake of water -- but of rising CLOUDS.
31 SERIES OF SHOTS - ILM 31
We INTERCUT between the Probe's transmissions and the
impact on the water surfaces of Earth to create a clear
impression: CLOUD COVER is slowly forming as ocean
water is being transformed into cloud vapor by the
SOUND.
31A INT. STARFLEET COMMAND - VIEW SCREEN INCLUDED 31A
The dignitaries are stunned to see the cloud cover
totally enveloping their planet.
32 EXT. VULCAN SUNRISE - ILM 32
Long shadows over the red planet.
33 EXT. BIRD OF PREY - DAWN - ILM 33
The " HMS BOUNTY" sits alone in the morning light.
34 INT. BIRD OF PREY - BRIDGE 34
Renovated and spruced up by the Enterprise crew.
CAMERA FOLLOWS Kirk as he inspects the pre-launch
activity.
KIRK
Systems report. Communications?
UHURA
Communications Systems ready.
Communications Officer -- ready as
she'll ever be.
KIRK
Mr. Sulu?
SULU
Guidance is functional. Onboard
Computer will interface with
Federation memory bank...
KIRK
Weapons systems?
CHEKOV
Operational, Admiral. Cloaking
Device now available in all modes
of flight.
KIRK
I'm impressed, Mr. Chekov. A lot of
effort for a short voyage.
CHEKOV
(shrugs)
We are in an enemy wessel, sir. I
didn't wish to be shot down on thee
way to our own funeral.
KIRK
Most prudent.
(comm. button)
Engine room. Report, Scotty.
35 INT. ENGINE ROOM - BIRD OF PREY 35
Our first look in this cavern. In addition to the
transporter and engine areas, there is a large Cargo hold.
SCOTTY
We're ready, sir. I've converted
the Dilithium Sequencer to something
less primitive. And Admiral -- I've
replaced the Klingon Food Packs. They
was givin' me sour stomach.
36 BACK TO BRIDGE 36
KIRK
Appreciated by all, Mr. Scott.
(then)
Prepare for departure.
As the crew chatters through the pre-launch check list,
Kirk crosses to Saavik, near the exit doors, her work
finished.
KIRK
(continuing)
Well, Saavik. I guess this is
goodbye.
SAAVIK
Yes, Admiral.
(then, stiffly)
Sir. I have not had the opportunity
to tell you about your son.
(then)
David died most bravely. He saved
Spock. He saved us all... I thought
you should know.
Kirk wants to know, but is deeply moved. At last he
reaches for her shoulders, holds on affectionately.
After a moment, they separate. We FOLLOW Saavik to the
garb, stands in the open doorway looking back at
Saavik. A moment. Then:
SAAVIK
(continuing)
Good day, Captain Spock... May your
journey be free of incident.
SPOCK
Live long and prosper, Lieutenant.
She looks back at Kirk for the briefest moment, then
exits. Spock has started forward to Kirk.
37 ANGLE - SPOCK AND KIRK 37
SPOCK
Permission to come aboard.
KIRK
Permission granted.
SPOCK
Thank you, Admiral.
KIRK
Jim, Spock, Jim. Remember...?
SPOCK
It would be improper to refer to you
as Jim while you are in command,
Admiral... Also, I must apologize
for my attire.
(befuddled)
I seem to have misplaced my uniform.
KIRK
Well, I... find that understandable
(at Spock's eyebrow)
I mean, you've been through a lot.
(then)
Station, please.
Spock nods, and somewhat rigidly crosses to the Science
station. Kirk watches, uncertain. Bones is suddenly
by his side, whispering.
BONES
You sure this is such a bright idea?
KIRK
What do you mean?
BONES
I mean him, back at his post, like
nothing happened. I don't know if
you'd got the whole picture but he
isn't exactly working on all
thrusters.
KIRK
It'll come back to him.
BONES
Are you sure?
(Kirk isn't)
That's what I thought.
KIRK
Mr. Sulu... Take us home...
The whine of the energizers begins, the engines come
alive.
38 EXT. LAUNCH PAD - DAWN - THE RAMP 38
As Saavik walks away without looking back. The wind
and ROAR of the engines. She walks to a waiting
Amanda.
39 EXT. LAUNCHING PAD - BIRD OF PREY - ILM 39
With a ROAR and a belch of rocketry, the Bird of Prey
lifts off, and starts its journey.
40 CLOSE - SAAVIK AND AMANDA 40
Wind blown, they watch as:
41 EXT. VULCAN CANYON - BIRD OF PREY - ILM 41
The Bird disappears among the canyons of Vulcan.
42 INT. STARFLEET COMMAND - SCREEN AND GRAPHICS - 42
PULL BACK
It is bedlam. Data is pouring in from every corner of
the Earth. All the visuals and audio reports combine
to create a trend that is inescapable:
AUDIO #1
Juneau, Alaska, cloud cover
increased to 95 percent!
AUDIO #2
Tokyo, total cloud cover. All power
is from reserve banks.
AUDIO #3
Leningrad has lost electrical power.
Cloud cover 100 percent.
Temperatures dropping rapidly.
As the reports continue on SCREENS and on SOUND:
PRESIDENT
What is estimate cloud cover of the
Planet at this time?
COMPUTER VOICE
93.2 percent. Probe now orbiting
South Pacific. Estimate total cloud
cover by next orbit. No known way
to dissipate cloud cover.
MORROW
Notify all stations: Starfleet
Emergency, Red Alert. Switch power
immediately to Planetary Reserves.
The SOUND OF THE PROBE is heard throughout, like the
death knell. Morrow turns to the President and says
privately:
MORROW
Mr. President, even with Planetary
Reserves we cannot survive without
the sun.
PRESIDENT
I am well aware of that, Admiral.
Now the President steps to the great window, where
Sarek is watching the world of San Francisco. Rain has
begun to streak the window.
PRESIDENT
Sarek... Is there no answer we can
give this Probe?
SAREK
It is difficult to answer if you do
not understand the question.
(then)
Mr. President, perhaps you should
transmit a planet distress signal,
while we still have time.
The President looks at Sarek deeply. If his old wise
friend has no answer, what hope is there...?
43 OMITTED 43
& &
44 44
45 EXT. SPACE - BIRD OF PREY - ILM 45
As it passes us at high speed.
46 INT. BRIDGE - BIRD OF PREY - PAST SULU TO KIRK 46
SULU
Estimating Planet Earth one point
six hours present speed.
KIRK
Continue on course. Chekov, any
signs of Federation escort?
CHEKOV
No, sir. And no Federation wessels
on assigned patrol stations.
KIRK
That's odd. Uhura, what's on the
Comm channels...?
UHURA
(baffled by headset)
Very active, Sir. Multi-phasic
transmissions, overlapping.... almost
a gibberish...
(a beat)
Let me see if I can sort it out.
She sets to work, intently: Spock reacts, picks up an
earpiece to listen in, perhaps be helpful.
47 BONES 47
He sees Spock at science station, takes this opportunity
to walk to his old comrade, break the silence of months.
BONES
Hi... Busy?
SPOCK
Uhura is busy. I am monitoring.
BONES
Umm. Well, just wanted to say --
nice to have your katra back in your
head, not mine.
(He smiles; Spock
stares)
I mean, I may have carried your
soul, but I sure couldn't fill your
shoes.
SPOCK
... My shoes...
BONES
Forget it...
(a new tack)
How 'bout covering a little
philosophical ground? Life, Death,
Life... Things of that nature?
SPOCK
I did not have time on Vulcan to
review the Philosophical disciplines.
BONES
Spock, it's me, Bones! I mean our
experience was unique. You really
have gone where no man has gone
before. Can't you tell me what it
felt like?
SPOCK
It would be impossible to discuss
the subject without a common frame
of reference.
BONES
You're joking...!
SPOCK
A joke is a story with a humorous
climax.
BONES
You mean I have to die to discuss
your insights on death?
SPOCK
(re earpiece)
Pardon me, Doctor, I am hearing many
calls of distress.
Bones is enraged and frustrated by this as we go to:
47A FAVORING UHURAH'S STATION 47A
As Kirk arrives in response to her wave.
KIRK
What is it?
UHURA
Overlapping distress calls. Some
from Starships... others...
KIRK
On screen!
ON SCREEN, we have the option of playing FRAGMENTS of
distress calls from SARATOGA, and other VESSELS. But
these fragments are ultimately superceded by the
tearing image of the FEDERATION PRESIDENT. Some of his
message will be obscured until Uhura can find a
balance.
PRESIDENT'S IMAGE
This is... President of... Grave
Warning: Do not approach Planet
Earth... To all Starships, repeat,
do not approach!
(as Crew reacts)
... Orbiting Probe... emits
transmissions on energy wave unknown
to us... Wave, directed at our
oceans... Ionized our atmosphere...
All power sources have failed.
Starships are powerless.
(clearing now)
... A cloud envelope has enveloped
the Planet. Heavy rain and
flooding. Temperature dropping to
critical level. Planet cannot
survive unless Probe is responded
to... Probe transmissions dominate
all standard channels.
Communications may not be
possible... Save yourselves. Avoid
the Planet Earth... Farewell.
KIRK
Spock? What do you make of it?
SPOCK
Most unusual. An unknown form of
energy of great intelligence and
power. I find it illogical that its
intentions are hostile...
BONES
(dripping sarcasm)
Really? You think this is its way
of saying "Hi there" to the people
of the Earth?
SPOCK
There are millions of other species
on Earth, Doctor. Only human
arrogance would assume the message
was meant for man.
BONES
(to Kirk, aside:)
I liked him better before he died.
KIRK
Bones --
BONES
Dammit, Jim, they've made him into a
goddam green-blooded computer!
And as Bones stalks off:
KIRK
Spock -- you're suggesting the
transmission is meant for life form
other than man?
SPOCK
A distinct possibility, Admiral.
The President did say the
transmission was directed at the
Earth's Oceans
KIRK
Uhura... Can you modify the Probe's
signals by accounting for density
temperature and salinity factors?
UHURA
I'll try, sir.
Now begins a virtuoso performance by Uhura: a series
of SOUND CHANGES accounting for all the factors; a
feeling of a deductive process, modifying the GIBBERISH
by slowing it down and changing it, until:
UHURA
(continuing)
I think I have it, sir.
The Bridge is filled with a SOUND familiar to some in
our audience, but baffling to our 23rd Century friends.
KIRK
(to Uhura)
Then, this is what it would sound
like underwater?
UHURA
Yes, sir.
SPOCK
Fascinating. If my suspicion is
correct, there can be no response to
this message.
As this impacts, he rises abruptly and heads for the
door.
KIRK
Where are you going?!
SPOCK
(turns)
To the on-board computer room. To
confirm my suspicion.
Spock turns and is gone. Beat; Kirk starts after
him followed by Bones. Kirk turns back to Bones.
KIRK
Bones, stay here.
BONES
No way -- somebody has to keep an
eye on him!
48 THE ORBITING PROBE - ABOVE EARTH - ILM 48
The ultimate condition statement: below the Probe, the
Planet has become a grey-black enshrouded ball.
Pinpoint lightning flashes can be seen as tiny
Christmas lights. And the Probe's SOUND goes on.
49 INT. STARFLEET COMMAND - FAVORING DISPLAY SCREENS 49
Above the din of the Probe's call and the shouts and
chatter of officers, the screens convey a series of
terrible images, some deteriorating:
-- Clouds, tumbling abnormally in response to the
Probe's call, build up massive thunderheads, split by
LIGHTNING and THUNDER.
-- A familiar Landmark (The Leaning Tower, The Sphinx)
is seen against grey-black tumbling clouds. Rain has
begun to fall heavily. The Sphinx appears to be
crying.
-- A dam cracks, and torrents of water pour into the
valley below, all under leaden skies.
-- SAN FRANCISCO BAY: Dark with giant clouds, whipping
wind and rain. Lightning crackles on top the Golden
Gate.
As we WIDEN from the screen, we are in the midst of
Bedlam. Morrow, trying to chatter orders, the
President trying vainly to be heard on a comm channel,
Commander Chapel urgently directing medical and
evacuation efforts. (DIALOGUE TO COME)
50 ANGLE AT GREAT WINDOW 50
The rain howls outside, and water is beginning to spray
in through the seals. A CREW, drenched, is attempting
to shore up the window itself.
51 OMITTED 51
52 INT. COMPUTER ROOM - BIRD OF PREY - CLOSE SCREEN 52
As the Probe's modified CALL is heard (WHALE SONG), a
series of graphic images present themselves on screen;
The computer search narrows down to whales, and then,
specific species thereof. In short order the computer
finds a match, and a line drawing of a great whale
appears. A printout indicates: "Megaptera
Novaeangliae." As this is occurring, ANGLE WIDENS to
include Kirk and Bones watching intently behind Spock.
KIRK
Spock...?
SPOCK
As suspected, the Probe's
transmissions are the songs sung by
whales.
KIRK
Whales?
On Screen: "HUMPBACK WHALE" begins flashing to replace
the Latin species name.
SPOCK
Specifically, Humpback Whales.
BONES
That's crazy! Who would send a
probe hundreds of light years to
talk to a whale?
KIRK
(reflects)
It's possible. Whales were on Earth
far earlier than man...
As DATA continues to flash on screen:
SPOCK
10 million years earlier. Humpbacks
were heavily hunted by Man. They
have been extinct since the 21st
Century... It is possible that an
alien intelligence sent the probe to
determine why they lost contact.
BONES
... My God...
KIRK
Spock, could the Humpback's answer
to this call be simulated?
SPOCK
The sounds, but not the language. We
would be responding in gibberish.
KIRK
Is there any other planet where this
species exists?
SPOCK
The Humpback was indigenous to
Earth. Earth of the past.
KIRK
That leaves us no choice. We must
destroy the probe before it destroys
Earth.
SPOCK
That would be futile, Admiral. The
probe would neutralize us easily.
KIRK
But we can't turn away! Is there no
alternative?
SPOCK
There is one, but I cannot guarantee
its success. We could attempt to
find some Humpback Whales.
BONES
You just said there aren't any
except on Earth of the past.
SPOCK
That is what I said, Doctor.
BONES
Then how.?
He trails off, seeing Kirk deep in thought.
BONES
(continuing)
Now wait just a damn minute.
KIRK
Spock, start your computations for
time warp.
(a beat)
Come on, Bones. Let's pay Scotty a
visit.
52A INT. CARGO BAY - KIRK AND SCOTTY 52A
striding through a vast Cargo area. Bones follows.
KIRK
Scotty, how long is this bay?
SCOTTY
About 60 feet, Admiral.
KIRK
That should be enough. Can you
enclose it to hold water?
SCOTTY
I suppose I can, sir; are you
planning to take a swim?
BONES
Off the deep end, Mr. Scott.
As Scotty puzzles -
KIRK
Scotty, we have to find some
Humpbacks.
SCOTTY
(carefully)
Humpbacked - people.?
KIRK
Whales, Scotty. 45 to 50 feet long;
about 40 tons a piece.
SCOTTY
Admiral - how am I going to handle
all that weight?
KIRK
You'll work it out, Scotty. And
remember: two of them.
SCOTTY
Two?
KIRK
It takes two to tango, Mr. Scott.
And with a confident grin, Kirk exits, pursued by
Bones.
SCOTTY
The great flood and Noah's Ark.
what a way to finally go.
52B ANOTHER ANGLE - THE CARGO BAY 52B
As Bones catches up with Kirk.
BONES
You're really going to try this time
travel in this rust bucket?
KIRK
We've done it before.
BONES
Sure, slingshot around the Sun. If
you pick up enough speed you're in
time warp. If you don't, you fry..
KIRK
Would you prefer to do nothing?
And Kirk passes through the Cargo Bay into:
52C INT. NECK CORRIDOR - BIRD OF PREY 52C
Bones pursues Kirk on the way to the bridge.
BONES
I prefer a dose of common sense.
you are proposing to head backwards
in time, find Humpback Whales, then
bring them forward in time, drop
them off - and hope they tell this
Probe what to do with itself!
KIRK
-- That's the general idea.
BONES
That's crazy!
KIRK
If you have a better idea - now's
the time.
There is a pause. Bones does not have a better idea.
52D INT. BRIDGE - BIRD OF PREY 52D
The doors open, Kirk strides in, Bones following.
KIRK
Mr. Spock, your computations?
SPOCK
In progress, Admiral.
KIRK
Uhura. Get me through to Starfleet
Command.
53 EXT. SAN FRANCISCO BAY - ILM 53
Waves crash against the bridge posts and the shoreline.
Wind roars: Lightning, thunder, crackle and rumble.
54 INT. STARFLEET COMMAND 54
Torrential rain at the window; lightning reflects deep
into the room. The situation screens have become
erratic; technicians scurry desperately and there is
CHATTER overlapping from all. Through this:
COMM OFFICER
Sir... I'm picking up a faint
transmission... It's Admiral Kirk
calling...!
MORROW
On screen!
But at this moment, the entire situation display goes
fuzzy, distorts, and is gone.
MORROW
(continuing)
Satellite reserve power, now!
The board starts up again, but dimmer, more erratic. A
distorted image of Kirk appears on SCREEN (INTERCUT
WITH BIRD OF PREY). We will not hear every word.
KIRK'S IMAGE
... Analysis... Probe call...
Captain Spock... Opinion... extinct
species, Humpback Whale... proper
response... Do you read me...?
MORROW
Stabilize! Emergency reserve!
As the Comm Officer responds, Sarek steps up beside
Morrow. Now Kirk's image clears enough to see:
KIRK
Starfleet, if you read, we are going
to attempt time travel. We are
computing our trajectory at this
time...
But suddenly the power fails, Kirk's image is gone. A
silence as they stare at the blank screen.
SAREK
(softly)
Good luck, Kirk. And all you go
with you.
The interruption is sudden: the entire great window
facing the bay CRASHES INWARD, filling the room with
debris, cries, and howling wind.
55 EXT. SPACE - BIRD OF PREY - ILM 55
Cloud covered Earth is distant b.g. The ship passes
us. PAN to see she's heading for the Sun.
56 OMITTED 56
56A INT. BIRD OF PREY BRIDGE 56A
SPOCK
Ready to engage computer, Admiral.
KIRK
What is our target in time?
SPOCK
The late 20th Century.
KIRK
Surely you can be more specific...
SPOCK
Not with this equipment. I have had
to program some of the variables
from memory.
KIRK
What are the variables...?
SPOCK
Availability of fuel components;
Mass of the vessel through a time
continuum, and the probable location
of Humpbacks, in this case, the
Pacific basin.
KIRK
You've programmed that from memory...?
SPOCK
I have.
BONES
(eyes to heaven)
Angels and ministers of grace,
defend us.
SPOCK
Hamlet, Act I scene 4.
KIRK
Mr. Spock... None of us has doubts
about your memory.
(then)
Engage computer. Prepare for Warp
Speed.
57 EXT. SPACE - BIRD OF PREY - ILM 57
Her wings move to their sleekest position as she con-
tinues her course to the Sun.
58 INT. BIRD OF PREY BRIDGE 58
KIRK
Shields, Mr. Chekov.
CHEKOV
Shields, aye.
KIRK
May fortune favor the foolish.
(then)
Mr. Sulu, Warp Speed!
59 EXT. SPACE - SERIES OF SHOTS - ILM 59
The Bird of Prey explodes into WARP; she blurs past our
eyes several times, gaining speed toward the Sun --
60 INTERCUT - BRIDGE (ILM ELEMENTS) 60
SULU
Warp two... three...
KIRK
Steady as she goes...
On VIEW SCREEN the sun is getting larger. Vibration
begins on the bridge and increases markedly with
speed...
SULU
Warp five... seven...
SCOTTY'S VOICE
I don't think she'll hold together,
sir!
KIRK
No choice now, Scotty!
CHEKOV
Sir, heat shields at maximum!
SULU
Warp Nine... Nine point two... Nine
point three...
KIRK
Mr. Sulu, we need breakaway speed!
SULU
Hang on, sir... Nine point seven...
point eight... Breakaway threshold...
KIRK
Steady!!...
(cues from SCREEN)
Now, Mr. Sulu!
61 OMITTED 61
& &
62 62
63 SPACE - SERIES OF SHOTS - THE SLINGSHOT - ILM 63
-- Just as the Bird appears certain to be swallowed by
the Sun, a BLAST of some kind accelerates the ship
along the far curve of the great star. Solar flares
lick at the bright blur as she --
-- Arcs suddenly behind the sun, whipping almost faster
than we can see and --
-- Like a tracer bullet on a circular course, the
bright blur emerges from the opposite side of the sun
and starts back toward Earth.
64 EXT. SPACE - BIRD OF PREY - ILM 64
We are behind the ship, chasing and closing rapidly as
it sizzles through space. We overtake the ship until
the blue white heat of the engines FILLS THE SCREEN --
65 INT. BIRD OF PREY BRIDGE 65
FROM THE REAR as CAMERA CONTINUES MOVING IN toward Kirk
sitting in his chair. As the back of Kirk's head FILLS
THE SCREEN:
66 TIME TRAVEL SEQUENCE - SUBJECTIVE - ILM 66
We are inside Kirk's MIND as we see a series of hypnot-
ic dream images floating up from Kirk's subconscious;
undulating figures which float toward us and pass...
Liquid faces... amorphous figures... images of Kirk's
shipmates in semi-transparent ghostly shapes -- aging
and regressing. Kirk's image of himself running toward
himself... underwater looking up at a sunlight-dappled
surface... gently waving strands of reeds at an
abstract shoreline... disembodied voices, sounds and
music add to the hypnotic effect. And then...
A WHOOSHING ROAR begins to mount and grow louder until
it climaxes with a terrible BANG! And we:
CUT TO:
67 EXT. SPACE - STAR FIELD - ILM 67
Empty a moment, then the Bird of Prey descends INTO THE
SHOT, no longer glowing, tranquil in flight.
68 OMITTED 68
69 INT. BIRD OF PREY BRIDGE 69
KIRK
Mr. Sulu...? ... Mr. Sulu?!
SULU
(out of trance)
... Aye sir...?
KIRK
What is our condition?
SULU
Sir... Braking thrusters seem to
have fired.
KIRK
Picture, please.
ON SCREEN: The spectacle of Earth as seen from high
orbit (NASA MATERIAL). Awesome.
KIRK
(continuing)
Earth... But when?... Spock?
SPOCK
(at his station)
Judging by the pollution content of
the atmosphere, I believe we have
arrived at the late 20th Century.
KIRK
Well done, Mr. Spock.
UHURA
Admiral, I am receiving whale songs.
KIRK
On speakers.
Sure enough.
KIRK
(continuing)
Home in on the strongest signal.
Descend from orbit.
SPOCK
Admiral, if I may: we're probably
already visible to the tracking
devices of the time.
KIRK
Quite right, Spock. Mr. Chekov,
engage cloaking device!
70 EXT. SPACE - BIRD OF PREY - ILM (CLOAK EFFECT) 70
Descending, the ship, via the cloaking device,
disappears.
71 INT. BIRD OF PREY BRIDGE 71
SULU
We are crossing the terminator into
night.
SPOCK
Homing in on the west coast of North
America...
UHURA
Individual whale song getting stronger...
This is strange, Admiral. The song
is directly ahead. It's coming from
San Francisco.
KIRK
From a city? That doesn't make
sense....
SULU
Perhaps thy are stranded in the
Bay, sir?... Or in captivity?
SCOTTY'S VOICE
Admiral, you and Spock better get
down here...!
KIRK
(thoughtfully)
Continue approach...
72 INT. BIRD OF PREY ENGINE ROOM- CLOSE - POWER CONSOLE 72
(AS SHOT)
Within a shielded sub-room, we can see through a window
dilithium crystals. They are beautiful, but they're
dim. WIDEN as Scotty tells Kirk and Spock:
SCOTTY
They're giving out. De-crystallizing.
KIRK
Give me a round figure, Mr. Scott.
SCOTTY
Oh, twenty-four hours, give or take,
staying cloaked. After that,
Admiral, we'll be visible -- and
dead in the water. In any case, we
won't have enough to break out of
the Earth's gravity, to say nothing
of getting back home.
Kirk scowls at the crystals.
KIRK
I can't believe we've come this far
only to be stopped by this!
(thinks)
Scotty, is there any way dilithium
can be re-crystallized?
SCOTTY
Sorry, sir. We can't even do that
in the 23rd Century.
SPOCK
There is a 20th Century possibility.
KIRK
Explain.
SPOCK
If memory serves, there was a
dubious flirtation with nuclear
fission reactors resulting in toxic
side effects. By the beginning of
the fusion era, these reactors had
been replaced, but at this time, we
should be able to find some.
KIRK
But you said toxic.
SPOCK
We could rig a device to collect their
high energy photons safely; we could
then inject the photons into the
dilithium chamber, causing crystalline
restructure.... Theoretically.
KIRK
Where would we find these
reactors... Theoretically.
SPOCK
Nuclear power was widely used in
naval vessels...
Kirk looks at him, thinking.
73 EXT. SAN FRANCISCO - DOWN ANGLED POV - NIGHT - ILM 73
The city, alive with lights. We are descending.
74 THE BRIDGE 74
The FOOTAGE is seen on screen. Kirk is on station.
They are all watching.
BONES
It doesn't look all that different.
KIRK
Let's hope so, Bones. Mr. Sulu, set
us down in Golden Gate Park.
SULU
Aye, sir. Descending.
KIRK
We'll divide into teams. Commanders
Chekov and Uhura are assigned to the
Uranium problem.
CHEKOV
Yes, sir.
KIRK
Dr. McCoy, you, Mr. Scott and
Commander Sulu will convert us a
whale tank.
BONES
Oh, joy.
KIRK
Captain Spock and I will attempt to
trace these whale songs to their
source.
UHURA
I'll have bearing and distance for
you, sir.
KIRK
Right.
(then)
Now look: I want you all to be very
careful. This is terra incognita.
Many customs will doubtless take us
by surprise. It's a forgone
conclusion these people have never
seen an extra-terrestrial before.
Everyone looks at Spock. He arches an eyebrow; reaches
into his robe and pulls out a strip of lining which he
ties around his head, concealing his ears and making
him look like a Japanese gentleman in samurai dress.
KIRK
(continuing)
This is an extremely primitive and
paranoid culture. Mr. Chekov, issue
a phaser and communicator to each
team.
(then)
We'll maintain radio silence except
in emergency, all transmissions to
be preceded by three coded bleeps.
Anyone in uniform, get rid of your
rank insignia.
(they do)
Any questions?
(then)
All right, let's do our job and get
out of here. Our own world is
waiting for us to save it if we can.
75 EXT. GOLDEN GATE PARK - NIGHT 75
A garbage truck is stopped as TWO GARBAGE MEN empty
park trash cans into the rear of the truck.
1ST GARBAGE MAN
So I told her: if you think I'm
laying out sixty bucks for a goddam
toaster oven you got another thing
coming.
2ND GARBAGE MAN
So what'd she say?
Before he can answer, a mighty wind comes up. We're
talking Hurricane Gloria at 150 m.p.h. It's all they
can do to hang on to the truck for dear life, squinting
in the direction of the wind. After a couple of moments,
the wind dies as quickly as it arose.
1ST GARBAGE MAN
What the fuck was that?
But both are now taken by a WEIRD SOUND, and they look
to see:
76 EXT. PARK - NIGHT - ILM 76
The ramp of the Bird of Prey descends, the only visible
part of the ship. Kirk and his crew descend, back-lit.
77 BACK TO THE TRUCK 77
The garbage men stare in disbelief. Number One starts
for the cab, grabs Number Two, who's frozen, and they
scramble into the truck, fumble for the starter, and
roar away.
78 INT. TRUCK 78
NUMBER TWO
Did you see that?
NUMBER ONE
No. And neither did you, so shut up.
79 BACK TO RAMP 79
As the truck roars off in the distance, Kirk and the
crew reach the ground. The ramp closes, restoring
normal light.
KIRK
We'll stick together till we get
orientated. Bearing to the whales?
UHURA
(with tricorder)
283 degrees... 15.2 kilometers...
KIRK
Everyone remember where we parked.
And they move off.
CUT TO:
80 EXT. DOWNTOWN SAN FRANCISCO - VARIOUS SHOTS - DAY 80
Culture shock! Bustling traffic and people. Our
doughty band moves through the scene in awe and wonder,
taking in sights and sounds. They are little noticed
by passersby; their dress may be a little odd, but this
is San Francisco. Now they stop in front of a news
machine.
81 POV - THE HEADLINE, SAN FRANCISCO CHRONICLE 81
"Nuclear Arms Talks Stalled."
82 BACK TO SCENE 82
BONES
It's a miracle these people ever got
out of the 23rd century.
A man steps to the machine, inserts coins, takes a
paper. Kirk frowns.
KIRK
Damn, they're still using money.
We're going to need some.
He looks around in thought, sees:
83 HIS POV - ANTIQUE STORE : "WE BUY AND SELL" 83
84 BACK TO SCENE 84
KIRK
You people wait here... And spread
out. We look like a cadet review.
... Spock --
The group spreads out self consciously, as Spock
follows Kirk across the street. In mid-street, a car
SQUEALS to a stop to avoid hitting Kirk.
CAR DRIVER
Watch were you're going, you dumb
ass!
KIRK
(flustered)
And double dumb ass on you!
Spock reacts to this language.
84A EXT. THE OTHER SIDE OF THE STREET 84A
The rest of the crew having spread out per Kirk's
instructions, are waiting as A YOUNG JAPANESE BOY
passes Sulu, does a double take and comes up to him.
The scene will be played IN JAPANESE with English
sub-titles.
THE BOY
(in wonder)
Ojichan? Akira ojichaan dewa naino?
Koko de nani shiteru no?
(translation)
(Uncle Akira?! Is that you? What
are you doing here?)
SULU
(in classical Japanese)
Gomen nasarei. Hito chigai de
gozaranuka na.
(translation)
I'm sorry, my son. You have mis-
taken me for someone else.
THE BOY
Ah, chigaau hito da. Hanashi kata ga
okashii.
(translation)
Yes, this must be true. You talk
funny.
He starts to back away apologetically but Sulu stops him.
SULU
Chotto omachi nasarei. Namae
wa nanto moosareruka na.
(translation)
Wait my son. What is your name?
THE BOY
Sulu Hikaru.
SULU
(visibly moved)
Ah, sorenara mazu mazu nagaiki wo
sareru to mira.
(translation)
Ah... Then I am sure that you will
have a long and happy life.
THE BOY
Arigato. Sayonara.
(translation)
Thank you, honorable sir.
The boy departs and Bones steps to Sulu.
BONES
Who was that?
SULU
That, Doctor, was my great
great grandfather.
On McCoy's reaction we CUT TO:
85 INT. ANTIQUE STORE - DAY 85
The OWNER examines Kirk's glasses, now shattered.
OWNER
Yes, they're eighteenth Century
American, quite valuable. Are you
sure you want to part with them?
KIRK
How much will you give me?
As the Owner examines the glasses:
SPOCK
Weren't those a birthday present from
Dr. McCoy?
KIRK
And they will be again, Spock.
That's the beauty of it.
(to Owner)
How much?
OWNER
They'd be worth more if the lenses
were intact. I'll give you 200 bucks
take it or leave it.
KIRK
(brightly)
Is that a lot?
86 EXT. ANOTHER STREET CORNER 86
As Kirk divides the money.
KIRK
That's all there is, so nobody
splurge. Are we set?
(they are)
Then, good hunting.
And they divide into teams and start off. We stay with
Kirk and Spock as they begin walking.
KIRK
(continuing)
Well, Spock, thanks to your restored
memory and a little bit of luck, we
are in the streets of San
Francisco looking for a pair of
humpback whales.
(then)
How do you propose to solve this
minor problem?
SPOCK
Simple logic will suffice. We need
a map.
(gestures)
That one should do.
He leads Kirk to a SYSTEM MAP in a bus stop enclosure.
SPOCK
(continuing)
I will juxtapose our coordinates on
this map and find our destination.
He starts to, but the map is diagrammatic, and very
puzzling to Spock. As he struggles with its illogic, a
BUS pulls up. On the side is an ad: "See GEORGE AND
GRACIE, the only two Humpback Whales in Captivity at
the Cetacean Institute, Sausalito." Kirk smiles.
KIRK
I think we'll find what we're
looking for at the Cetacean
Institute in Sausalito. Two
Humpbacks called George and
Gracie.
SPOCK
(perplexed)
How do you know this...?
KIRK
... Simple logic.
87 ANGLE AT BUS DOOR 87
Kirk, followed by Spock, enters. The door closes, but
the bus does not start. CAMERA PANS along bus to the
rear exit door, which opens, disgorging a frustrated
Kirk and a puzzled Spock.
SPOCK
What does it mean, exact change?
88 EXT. STREET - DAY 88
Bones, Scotty and Sulu.
BONES
Would you mind telling me how we
plan to convert this tank?
SCOTTY
Ordinarily, I could do it with a
piece of transparent aluminum...
SULU
You're about 150 years too early for
that.
SCOTTY
I know. We've got to find the 20th
Century equivalent...
SULU
(points)
What about that?
They look off. RACK FOCUS to a billboard: "CAN'T FIND
IT? TRY THE YELLOW PAGES!"
89 INT. PHONE BOOTH - CLOSE ON PHONE BOOK - DAY 89
A finger runs down one of the white pages, finds some-
thing, snaps the book shut. WIDEN to reveal Chekov
emerging from the booth, Uhura waiting.
UHURA
Find it?
CHEKOV
Yes, under "U.S. Government." Now
we need directions.
He steps forward, stops a PASSERBY.
CHEKOV
(continuing)
Excuse me, sir. Can you direct me
to the Navy base in Alameda?
PASSERBY
(hearing the accent)
The... Navy base?
CHEKOV
Yes. Where they keep the nuclear
wessels.
90 INT. BUS - DAY 90
Kirk and Spock are riding across the Golden Gate
Bridge. In front of them, a punker listens to a ghetto
blaster so loudly that every time Kirk tries to talk,
he can't be heard. Finally he leans forward and
shouts:
KIRK
Excuse me. Can you please stop that
sound?
In response, the punker flips him the finger. In
response to which, Spock gives the punker a Vulcan
nerve pinch and disarms the radio. Other passengers
applaud. Kirk and Spock settle into their seats.
SPOCK
As you observed, a primitive
Culture.
KIRK
Yes.
SPOCK
Admiral, may I ask you a question?
KIRK
Spock, don't call me Admiral. Don't
you remember: you used to call me
Jim... Now what's your question?
SPOCK
Your use of language has altered
since our arrival. It is currently
laced with -- shall I say -- more
colorful metaphors: "Double dumb
ass on you" -- and so forth...
KIRK
You mean profanity. That's simply
the way they talk here.
Nobody pays any attention to you if
you don't swear every other word.
You'll find it in all the literature
of the period.
SPOCK
For example?
Kirk thinks.
KIRK
Oh, the complete works of Jacqueline
Susan, the novels of Harold
Robbins....
SPOCK
Ah... The giants.
91 EXT. MARITIME CETACEAN INSTITUTE - DAY 91
The bus pulls up and disgorges Kirk, Spock and a few
other visitors. They head for the impressive building.
92 INT. INSTITUTE - MAIN ROOM - DAY 92
Large, beautiful, with great hanging replicas of whales
dominating. A tour group has gathered, and DR. GILLIAN
TAYLOR, perkily attractive , enters to take charge.
GILLIAN
Good morning. I'm your guide this
morning; my name's Dr. Gillian
Taylor, but you can call me Gillian.
I'm Assistant Director of the
Maritime Cetacean Institute. Please
follow me and just give a yell if
you can't hear, okay?
She starts off, all follow.
GILLIAN
(continuing)
The Cetacean Institute is the only
museum in the world exclusively
devoted to whales. As you can see
we have a great seal to offer, but
that is small compared to what we
know -- or rather what wee don't know
about whales. The first commonly
held misconception is that whales
are fish.
They're not; they're mammals like
us. Warm-blooded, needing air to
breathe and producing milk to nurse
their young. They are very old
mammals -- 11 million years, give
or take.
During the spiel, Taylor notices Kirk. In an odd way,
they connect. He's attractive, even in his odd clothes,
and he pays stricter attention than the average Joe.
A MAN
Do whales attack people -- like in
"Moby Dick"?
GILLIAN
Most whales don't even have teeth.
They strain vast amounts of tiny
shrimp for food and that is the
limit of their hostility. Un-
fortunately, their principle enemy
is far more aggressive.
KIRK
You mean man...
GILLIAN
To put it mildly. Since the dawn of
time, men have harvested whales for
a variety of purposes, most of which
can be achieved synthetically at this
point. A hundred years ago, using
hand-thrown harpoons, they did plenty
of damage -- but that was nothing
compared to what they've achieved
in this century.
Gillian pushes a button and screens modern whale-hunt
footage. Pretty gruesome stuff.
GILLIAN
(continuing; still
emotional for her)
This is mankind's legacy: whales
hunted to the brink of extinction.
Virtually gone is the Blue Whale,
largest creature ever to inhabit
the Earth.
(beat)
Despite all attempts at banning
whaling, there are still countries
and pirates currently engaged in
slaughter of these inoffensive
creatures. Where the humpback whale
once numbered in the hundreds of
thousands, today there are less than
7 thousand specimens alive and those
that are taken are no longer fully
grown. In addition, many of the
females are killed, still bearing
unborn calves.
The pictures graphically illustrate what she's talking
about.
SPOCK
To hunt a species to extinction is
not logical.
GILLIAN
(bitter)
Whoever said the human race was
logical?
(then)
Now if you'll follow me, I'll
introduce you to the Institute's
pride and joy.
They start after her.
93 EXT. WHALE TANK - DAY - ILM ELEMENTS 93
GILLIAN
This is the largest sea water tank
in the world -- and it contains the
only two humpback whales in
captivity.
The two whales undulate majestically. They are
colossal. Kirk and Spock react in awe.
GILLIAN
(continuing)
They are mature humpbacks, weighing
45,000 pounds each. They wandered
into San Francisco Bay as calves and
were brought here. We call them
George and Gracie.
KIRK
(excited whisper)
It's perfect, Spock: a male, a
female, together in a contained
space can beam them up together
and consider ourselves damn lucky...
Spock reacts oddly to this.
GILLIAN
Beautiful, aren't they? And
extremely intelligent. Why
shouldn't they be? They're swimming
around with the largest brains on
Earth... Now if you'll follow me
please.
The group enters the building. Spock hangs back. Kirk
does not notice his absence.
93A INT. BUILDING 93A
As Gillian continues the tour.
GILLIAN
Despite all the things they are
teaching us we have to return
George and Gracie to the open sea.
KIRK
Why's that?
GILLIAN
Well, for one thing, we simply don't
have the money to keep feeding them
a couple of tons of shrimp a day!
KIRK
How soon?
GILLIAN
Soon... It's too bad because they're
very friendly as you can see. I've
grown quite attached to them... This
way.
She starts down a spiral staircase that winds around
the tank. The others follow, minus Spock.
94 ANGLE NEXT TO TANK WINDOW, LOWER LEVEL 94
Gillian stops with her back to the tank.
GILLIAN
Here's a much better way to see
George and Gracie -- underwater.
Kirk has begun to look for Spock -- but in vain.
95 INT. TANK - UNDERWATER 95
As Gillian continues her spiel, CAMERA MOVES IN toward
the whales and discovers Spock -- in the water, swimming
to them! He approaches one, and looks it in the eye.
The great eye stares back.
96 CLOSER ANGLE - UNDERWATER 96
Spock and the whale are a foot apart. Spock gently
puts his hand on the whale -- a MIND MELD. A shaft of
back lightning makes the mood ethereal.
97 EXT. TANK 97
Over speakers, we hear WHALE SONG. The crowd reacts.
GILLIAN
What you're hearing is whale song. It
is sung by the male. He'll sing any-
where from six to as long as thirty
minutes, and then, start again. In
the ocean, other whales will pick up
the song... And pass it on.
Now Kirk sees Spock in the water behind Gillian and is
in mild shock. He watches wild-eyed as Spock and whale
move through the water in mid mind-meld.
GILLIAN
(continuing)
The songs change every year, but
we still don't know what purpose
they serve. Are they navigational?
Part of the mating ritual? Or pure
communication beyond our comprehension?
AN OLDER WOMAN
Maybe he's singing to the man.
As the woman points, Gillian turns around to see:
98 POV - SPOCK AND WHALE IN TANK 98
99 BACK TO SCENE 99
GILLIAN
What the hell --!
(starts out)
Excuse me! Wait right here!
She dashes up the stairs as Kirk desperately pursues.
100 EXT. EDGE OF TANK - DAY 100
Spock climbs out, and is putting on his robe as Gillian
comes running to him from a distance, followed but
Kirk.
GILLIAN
Who the hell are you? What were
you doing in there?!
Spock turns to Kirk for guidance, but:
KIRK
You heard the lady!
Spock gives it his best logical shot.
SPOCK
Attempting the hell to communicate.
GILLIAN
Communicate? Communicate what? You
have no right to be here!
Spock hesitates.
KIRK
Come on, fellah -- speak up!
SPOCK
Admiral, if we were to assume these.
whales are ours to do with as we
please, we would be as guilty as
those who caused their extinction.
GILLIAN
(realizes they are
together)
Ohhhkay. I don't know what this is
about, but I want you guys outta
here right now or I call the cops.
KIRK
I assure you that won't be
necessary. We were only trying to
help...
GILLIAN
The hell you were, buster. Your
friend was messing up my tank and
messing up my whales...
SPOCK
They like you very much. But they
are not the hell your whales.
GILLIAN
I suppose they told you that...?
SPOCK
The hell they did.
101 EXT. ROAD NEAR CETACEAN INSTITUTE - DAY 101
Kirk and Spock walking, Golden Gate Bridge in the back-
ground . Slight tension between them. Then:
KIRK
Spock...
SPOCK
Yes?
KIRK
About those colorful metaphors we
discussed. I don't think you
should try to use them.
SPOCK
Why not?
KIRK
Well, for one thing, you haven't
quite got the hang of it.
SPOCK
I see.
KIRK
And another thing... It is not
always necessary to tell the truth.
SPOCK
I cannot tell a lie.
KIRK
You don't have to lie... You could
exaggerate.
SPOCK
Exaggerate.
KIRK
You've done it before. Can't you
remember?
SPOCK
The hell I can't
KIRK
(sighs; then)
What else did you learn from your
mind meld?
SPOCK
They are very unhappy about the way
their species has been treated by
man.
KIRK
They have a right to be...
(then)
Do you think they'll help us?
SPOCK
I believe I was successful in
communicating our intentions.
KIRK
(an uncertain beat)
... I see.
102 EXT. WHALE TANK - DAY 102
Gillian sits on the edge, dangling her feet. George
and Gracie swim back and forth next to her, blowing
water that showers her. She strokes them.
GILLIAN
It's all right. Yes. I know. It's
okay. They didn't mean any harm.
The whales make NOISES. They are trying to tell her
something -- but what? BOB BRIGGS, Director of the
Institute, comes up behind her.
BOB
Heard there was some excitement.
GILLIAN
Just a couple of kooks...
Bob watches her affectionately from behind; kicks off
his shoes and, rolling up his slacks, sits down next to
her with his feet in the water.
BOB
How're you doing?
GILLIAN
Fine. Just fine.
BOB
Don't tell me fish stories, kiddo.
I've known you too long.
GILLIAN
Bob... it's tearing me apart.
BOB
I know. I feel the same thing. But
we're between a rock and a hard
place. We can't keep them without
risking their lives and we can't let
them go without a taking the same
chance.
GILLIAN
(dully)
Yeah.
BOB
And finally, they're not human
beings, you know. Their
intelligence has in no way been
proven comparable to ours --
GILLIAN
I don't know about you, but my
compassion for someone is not
limited to my estimate of their
intelligence.
(beat)
I mean whales may not have painted
the Mona Lisa or invented the dirt
bike but they didn't ravish the land
either.
Bob is rebuked. Gillian rises.
GILLIAN
(continuing)
Sorry if I spoke out of turn.
BOB
Not at all. You gave me things to
think about. You always do. You do
sound a little wrecked, why don't
you go home and stare at the
ceiling?
GILLIAN
(nods)
Why don't I?
Gillian goes off. Bob sits, then takes his feet out of
the tank. JOE, an assistant, comes over.
JOE
We all squared away?
BOB
Looks like it.
JOE
She's gonna go berserk.
BOB
It's for her own good, Joe; it's the
only way. She'll call me names for
a while, but then she'll calm down
and understand.
103 EXT. ALAMEDA NAVAL BASE - LONG SHOT - DAY - 103
ESTABLISHING
A great AIRCRAFT CARRIER at dock; the Naval Base
beyond. As CAMERA MOVES IN, we note from the gangplank
banners and the dockside cabanas that this is "U.S.S.
ENTERPRISE, CVN65." A definite Star Trek moment.
103A REVERSE - A PARK-LIKE AREA, CLOSE BY - (AND INTERCUT) 103A
(AS SHOT)
CAMERA MOVES to reveal Uhura and Chekov coming through
the trees to discover ENTERPRISE in the near distance.
A moment between them. Then Uhura whips out her
tricorder and begins getting some readings. As the
tricorder BEEPS, Chekov pulls out the communicator.
CHEKOV
Team leader, this is team 2. Come
in, please...
UHURA
(the BEEPS increase)
I have the coordinates of the
reactor...
CHEKOV
... It gives me a great sense of
history.
UHURA
It gives me a great sense of danger.
We have to beam in next to the
reactor room, not in it.
KIRK'S VOICE
Team 2? Kirk here....
CHEKOV
Admiral, we have found the nuclear
wessel.
104 EXT. ROAD - KIRK AND SPOCK - (INTERCUT) (AS SHOT) 104
KIRK
Ah, well done, team 2.
CHEKOV
And Admiral, it's the Enterprise.
KIRK
Understood. What is your plan?
CHEKOV'S VOICE
We will beam in tonight, collect the
photons and beam out. No one will
ever know we were there.
KIRK
Understood and approved. Keep me
informed. Kirk out.
As Kirk is about to start another call on the comuni-
cator, an approaching vehicle makes him put the device
away. He turns to see:
104A POV - A LANDROVER APPROACHING 104A
105 OMITTED 105
106 INT. LANDROVER - DAY 106
107 HER POV - THROUGH WINDSHIELD 107
Kirk and Spock trudging down the road ahead.
108 INSIDE CAR 108
She reacts, keeps her eyes on them, and passes them
slowly enough so that they look up to see her. As she
leaves them behind, she purses her lips, stops the car,
considers. Then she backs up.
109 KIRK AND SPOCK 109
KIRK
It's her -- from the Institute. If
we play our cards right, we may
learn when those whales are really
leaving.
SPOCK
How will playing cards help?
The Land rover backs into the scene; Kirk acknowledges
her presence but continues walking, playing it cool.
Gillian begins tracking alongside.
GILLIAN
Well, if it isn't Robin Hood and
Friar Tuck.
No response.
GILLIAN
(continuing)
Where're you fellahs heading?
Kirk eyes her, keeps walking.
KIRK
Back to San Francisco.
GILLIAN
Came all the way down here to jump
in and swim with the kiddies, huh?
KIRK
There's really very little point in
my trying to explain.
GILLIAN
I buy that. What about him?
KIRK
He's harmless.
(inspiration)
Back in the sixties he was part of
the Free Speech movement at
Berkeley. I think he did too much
LDS.
GILLIAN
LDS?? Are you dyslexic on top of
everything else? Come on, Lemme
give you a lift. I have a notorious
weakness for hard luck cases --
that's why I work with whales.
KIRK
We don't want to be any trouble.
GILLIAN
You've already been that. C'mon.
She stops, pushes open the door. They get in, Spock in
the middle staring straight ahead.
KIRK
Thanks.
GILLIAN
Don't mention it. And don't try
anything, either. I got a tire iron
right where I can get at it.
Kirk has no idea what she's talking about. Silence.
Then, to Spock:
GILLIAN
(continuing)
So you were at Berkeley.
SPOCK
I was not.
Kirk rolls his eyes.
KIRK
Memory problems, too.
GILLIAN
Uh huh. What about you? Where
you from?
KIRK
Iowa.
GILLIAN
A landlubber. Come on, what the
hell were you boys really trying to
do back there? Was it some kinda
macho thing? If that's all, I'm
gonna be real disappointed. I hate
that macho type.
KIRK
Can I ask you something?
GILLIAN
Go ahead.
KIRK
What's going to happen when you
release the whales?
Long pause. Gillian doesn't like considering this.
GILLIAN
They're gonna hafta take their
chances.
KIRK
What does that mean, exactly? Take
their chances.
GILLIAN
It means that they will be at risk
from whale hunters -- same as the
rest of the humpbacks.
(to Spock)
What did you mean when you said all
that stuff back at the Institute
about extinction?
SPOCK
I meant --
KIRK
He meant what you were saying on the
tour: that if things keep on the
way they're going, humpbacks will
disappear forever.
GILLIAN
That's not what he said, farm boy.
"Admiral, if we were to assume these
whales are ours to do with as we
please, we would be as guilty as
those who caused -- past tense --
their extinction."
(pause)
I have a photographic memory. I see
words.
A silence.
SPOCK
(to Kirk)
Are you sure it isn't time for a
colorful metaphor?
GILLIAN
You're not one of those guys from
the military, are you? Trying to
teach whales to retrieve torpedoes,
or some dipshit stuff like that?
KIRK
No, ma'am. No dipshit.
GILLIAN
Well, that's something. I'da let
you off right here.
SPOCK
(suddenly)
Gracie is pregnant.
Gillian stops the car with a SQUEAL OF BRAKES.
GILLIAN
All right. Who are you? and don't
jerk me around any more. I want to
know how you know that.
KIRK
We can't tell you.
(she starts to
interrupt)
Please, just -- let me finish. I
can tell you that we're not in the
military and that we intend no harm
to the whales.
GILLIAN
Then --
KIRK
In fact, we may be able to help --
in ways that, frankly, you couldn't
possibly imagine.
GILLIAN
Or believe, I'll bet.
KIRK
(he sinks back
into his seat)
Very likely. You're not exactly
catching us at our best.
SPOCK
That much is certain.
Silence.
KIRK
You know I've got a hunch we'd all
be a lot happier talking over
dinner. What do you say?
Gillian considers this for a moment; she's got nothing
better to do. Finally:
GILLIAN
You guys like Italian food?
Kirk and Spock exchange glances, mystified.
KIRK (overlapping) SPOCK
Yes. No.
She looks at them. What a group.
110 EXT. PLEXIGLASS FACTORY - BURLINGAME - DAY 110
A big sign -- PLEXICORP tells us what this place is.
111 INT. FACTORY WORK AREA - DAY 111
Scotty, dressed conservatively, paces back and forth.
After a moment, the manager, NICHOLS, emerges with
Bones.
NICHOLS
Professor Scott, I'm Dr. Nichols,
plant manager. I'm terribly sorry
but there's been an awful mix-up
Would you believe I was never told
about your visit?
BONES
I tried to clear things up,
Professor Scott. I explained you'd
come all the way from Edinburgh on
appointment to study manufacturing
methods here at Plexico, but they
don't seem to know anything about
it.
SCOTTY
(furious)
Don't know anything about it? I
find it difficult to believe that
I've come millions of miles --
NICHOLS
Millions?
BONES
Thousands; the Professor's
understandably upset --
SCOTTY
(not missing a beat)
Thousands of miles on an invited
tour of inspection, only to be
informed that I was never invited in
the first place!
NICHOLS
Professor Scott, if you'll --
SCOTTY
I demand to see the owners! I
demand --
BONES
Professor, just take it easy! Dr.
Nichols is offering to take us
around personally.
SCOTTY
(chagrined)
He is?
NICHOLS
With pleasure.
SCOTTY
Well, that's different.
NICHOLS
If you'll follow me, Professor --
SCOTTY
I will. Can my assistant come, too?
NICHOLS
Of course.
Scotty starts past Bones.
BONES
Don't bury yourself in the part.
112 EXT. PLEXIGLASS FACTORY - BIG YARD - DAY 112
Sulu moves through the grounds where Plexiglass
Products of all shapes and sizes are stacked. In the
midst of this, sits a great HUEY helicopter with the
company logo on its side. Its PILOT is working on his
engine as Sulu comes up touches the craft lovingly,
stares studiously into the cockpit.
PILOT
Hi.
SULU
Hi. Huey 205, isn't it?
PILOT
Right on. You fly?
SULU
Oh, here and there.
(pats it)
I flew something similar in my
Academy days.
PILOT
All right, then this is old stuff to
you.
SULU
Old, yes. But interesting.
(then)
Do you mind if I ask a few
questions...?
113 INT. NICHOL'S CUBICLE - DAY 113
An impressive glass-walled cubicle separating the boss
from the factory chaos. Nichols leads Scotty and Bones
inside.
NICHOLS
Well, so much for the tour of our
humble plant. I must say,
Professor your knowledge of
engineering is most impressive.
BONES
Back home, we call him the miracle
worker.
NICHOLS
Indeed... May I offer you gentlemen
anything?
A look between Bones and Scotty. Then:
SCOTTY
Doctor Nichols, I might have
something to offer you.
NICHOLS
... Yes?
SCOTTY
I notice you're still working with
polymers.
NICHOLS
(mystified)
Sill? What else would I be working
with?
SCOTTY
Ah, what else indeed? Let me put it
another way: how thick would a piece
of your plexiglass need to be at 60
feet by 10 feet to withstand the
pressure of 18,000 cubic feet of
water?
NICHOLS
That's easy: 6 inches. We carry
stuff that big in stock.
SCOTTY
Yes, I noticed. Now suppose -- just
suppose -- I could show you a way to
manufacture a wall that would do the
same job but was only an inch thick.
would that be worth something to
you, eh?
NICHOLS
... Are you joking?
BONES
He never jokes... Perhaps the
professor could use your computer.
NICHOLS
Please...
He gestures, and Scotty sits at a nearby Macintosh. He
surveys the machine quizzically, clears his throat, and
in a loud voice says:
SCOTTY
Computer --
Bones steps in quickly, picks up the "Mouse" and shoves
it into Scotty's hand. Scotty looks at the mouse,
baffled, then puts it to his lips like a mike.
SCOTTY
(continuing)
Hello? Computer...?
NICHOLS
(bewildered)
Just use the keyboard...
SCOTTY
The keyboard... How quaint.
Then, preparing his fingers like a concert pianist, he
plunges to work furiously.
114 CLOSE - COMPUTER SCREEN 114
An awesome series of figures and graphics are
appearing. PULL BACK to reveal Scotty, now master of
the keyboard, while Nichols watches in awe, next to
Bones. with a flourish, Scotty hits a last command,
and a wondrous three dimensional graphic appears.
NICHOLS
(wide-eyed)
Transparent aluminum?
SCOTTY
That's the ticket, laddie.
NICHOLS
... But it would take years just to
figure out the dynamics of this
matrix...!
BONES
You'll be rich beyond the dreams of
avarice.
SCOTTY
So, is it worth something? Or
should I just punch "clear"...
NICHOLS
No!
(then)
No... What did you have in mind...?
BONES
A moment alone, please.
BONES
(continuing)
You know, if we give him the
formula, we'll be altering the
future.
SCOTTY
Why? how do you know he didn't
invent the thing!
As Bones accepts the truth of this, we hear:
KIRK'S VOICE
Right here is fine.
115 EXT. GOLDEN GATE PARK - SPACESHIP SITE - DUSK 115
The Land rover pulls to a stop. Kirk and Spock get out,
but Kirk gets back in.
116 CLOSER - ACROSS GILLIAN IN CAR 116
Spock is now outside. Gillian calls to him:
GILLIAN
You sure you won't change your mind?
SPOCK
Is there something wrong with the
one I have?
KIRK
(shrugs)
Just a little joke. See you later,
old friend.
GILLIAN
(still to Spock)
How did you know Gracie's pregnant?
Nobody knows that.
SPOCK
Gracie does.
(to Kirk)
I'll be right here.
Spock walks OUT OF VIEW.
GILLIAN
He's just going to hang around the
bushes while we eat?
KIRK
(shrugs)
It's his way.
And they drive off.
117 ANGLE ON SPOCK - ILM 117
After the Land rover has departed, he is left alone,
standing quietly. Then, with no warning, he BEAMS OUT.
118 INT. ITALIAN RESTAURANT - KIRK AND GILLIAN - NIGHT 118
Not fancy but nice; a WAITER stands, ready to take
their order.
GILLIAN
Do you trust me?
KIRK
Implicitly.
GILLIAN
Good.
(to Waiter)
A large mushroom and pepperoni with
extra onions. And a Michelob.
WAITER
And you, sir?
Kirk stares at the menu blankly. He shrugs.
KIRK
Make it two.
The Waiter leaves. Kirk and Gillian, a moment; then:
KIRK
(continuing)
So how did a nice girl like you get
to be a cetacean biologist?
GILLIAN
(unhappily)
Just lucky, I guess.
KIRK
You're upset about losing the
whales.
GILLIAN
... You're very perceptive.
KIRK
How will that be done, exactly?
GILLIAN
They'll be flown in a special 747 to
Alaska and released there.
KIRK
Flown... And that's the last you'll
see of them?
GILLIAN
See, yes. But we'll tag them with
radio transmitters on a special
frequency so we can keep tabs on
them.
KIRK
You know, I could take those whales
somewhere they wouldn't be hunted.
GILLIAN
(smiles despite
herself)
You? You can't even get from
Sausalito to San Francisco without a
lift.
The Waiter returns with their beers, and two plates.
GILLIAN
(continuing)
Thanks. Cheers.
KIRK
If you have such a low opinion of my
abilities, how come we're having
dinner?
GILLIAN
I told you: I'm a sucker for hard
luck cases. Besides, I want to know
why you travel around with that
ditzy guy who knows that Gracie is
pregnant and calls you Admiral.
Kirk says nothing, looks at her. There's chemistry,
all right.
GILLIAN
(continuing; finally)
Where could you take them?
KIRK
Hm?
GILLIAN
My whales? Where could you take
them where they'd be safe?
KIRK
(carefully)
It's not so much a matter of a place
as of time.
GILLIAN
Sorry, the time would have to be
right now.
KIRK
What do you mean now?
GILLIAN
(bitterly, into
her beer)
Let's just say that no humpback born
in captivity has ever survived.
(a sigh)
Problem is, they won't be a whole
lot safer at sea because of all the
hunting this time of year... So
that, as they say, is that.
(her eyes begin
to moisten)
Damn.
As she dabs her eyes with a napkin, Kirk's communicator
BEEPS three times from under his clothes. Pained, he
ignores it.
GILLIAN
(continuing)
What's that?
KIRK
What's what?
GILLIAN
You got a pocket pager? What are
you, a doctor?
The BEEPER again. Exasperated, Kirk flips it open.
KIRK
(testy)
What is it? I thought I told you
never to call me --
118A INT. BIRD OF PREY CARGO BAY - TRANSPORTER CONTROL AREA 118A
SCOTTY
Sorry, Admiral. We just thought
you'll like to know, we're beaming
them now.
118B BACK TO SCENE 118B
KIRK
Oh I see --
(Sotto)
Tell Them phasers on stun. Good
luck. Kirk out.
Long pause. Gillian stares at him, pulls on her beer
thoughtfully. Then:
GILLIAN
Wanna try it from the top?
KIRK
Tell me when the whales are going to
be released?
GILLIAN
... Who are you?
KIRK
Who do you think I am?
She bites her pizza.
GILLIAN
Don't tell me: you're from outer
space.
KIRK
No, I'm from Iowa. I just work in
outer space.
GILLIAN
Well, I was close. I knew outer
space was going to come into it
sooner or later.
KIRK
All right. The truth?
GILLIAN
I'm all ears.
KIRK
That's what you think.
(then)
Okay...Truth... I'm from what, on
your calendar, would be the late
23rd Century. I've been sent back
in time to bring two Humpback Whales
with me in an attempt to...
repopulate the species.
GILLIAN
Well, why didn't you say so? Why
all the coy disguises?
KIRK
You want the details?
GILLIAN
Are you kidding? I wouldn't miss
this for all the tea in China.
KIRK
Then tell me when the whales are
leaving.
GILLIAN
Jesus, you are persistent.
(then)
Okay, your friend was right. Gracie
is not only pregnant, she is very
pregnant... At noon tomorrow -- in
what is sure to be a media circus --
the whales get shipped out.
KIRK
(stunned)
Noon tomorrow...?!
The Waiter arrives, plunks the pizza down and holds up
the check.
WAITER
Who gets the bad news...?
GILLIAN
Don't' tell me: they don't have
money in the 23rd Century.
KIRK
Well, we don't.
(then, rising)
Come on. I don't have much time now.
And so saying, he exits, leaving a baffled Gillian and
Waiter. Gillian, a beat, then covers to the Waiter:
GILLIAN
Uh... Could we have this to go?
119 EXT. NAVAL BASE - NIGHT 119
U.S.S enterprise, floodlit, secure. Shore Patrolmen
on duty. A general sense of tight security.
120 INT. CORRIDOR - U.S.S ENTERPRISE 120
A SAILOR in dungarees and a DRUG DOG patrol the empty
corridor. As they near CAMERA a familiar SOUND (THE
BEAM-IN) is heard faintly. The dog stops, his ears go
up in surprise. The sailor has not heard the sound.
He whistles to the dog and urges him on down the
corridor.
121 INT. MACHINERY ROOM - NIGHT 121
Deep within the bowels of the ship. Uhura and Chekov
have made it in. They carry with them the COLLECTING
DEVICE, a long, flashlight-like tube with a folded up
metal piece. They start forward, hide momentarily as a
PAIR OF FEET walk above them, seen through the metal
decking which forms a ceiling above them. Then they
start carefully OUT OF SHOT.
122 INT. ROOM ADJACENT TO REACTOR AREA (AS SHOT) 122
Signs of danger and warnings. Definitely off limits.
They move quickly to the "Reactor threshold," a control
area marked by sings, warnings, and flashing red
lights. Uhura takes a confirming reading on her
tricorder, nods, and Chekov fans the metal piece open
into a parabolic shape. He places the "dish" in the
place indicated by Uhura, turns on a power source. A
FAINT SOUND indicates it is working.
UHURA
How long?
CHEKOV
Depends on how much shielding is
between us and the reactor.
She looks around nervously.
123 OMITTED 123
thru thru
125 125
126 EXT. GOLDEN GATE PARK - LANDING SITE - NIGHT 126
As the Land rover pulls to a stop.
127 ANGLE INSIDE LAND ROVER - KIRK AND GILLIAN 127
As she pulls on the handbrake. The empty pizza box is
between them.
GILLIAN
Well, "Admiral," that may be the
strangest dinner of my life and the
biggest cockamamie fish story I've
ever heard.
KIRK
You asked.
(then)
Now, will you tell me something?
(at her look)
George and Gracie's transmitter.
What's the frequency?
She looks at him --
GILLIAN
(sighs)
Sorry, that's classified.
(beat)
I don't really have a clue who you
are... You wouldn't want to show me
around your space ship, would you?
KIRK
It wouldn't be my first choice, no.
GILLIAN
So. There we are.
KIRK
Lemme tell you something. I'm here
to bring two humpbacks into the 23rd
Century. If I have to, I'll go to
the open sea to get them, but I'd
just as soon take yours -- better
for me, better for you... and better
for them.
GILLIAN
I bet you're a damn good poker player.
KIRK
Think about it -- but don't take too
long because I'm out of time. If
you change your mind, this is where
I'll be.
GILLIAN
(looks around)
Here... In the park?
KIRK
Right.
He gives her a brief kiss and is gone. She sits there,
surprised, but not disagreeably. Then she RESTARTS her
CAR and is about to depart when she hears an ODD SOUND
O.S. and there is a SLIGHT FLICKER of reflected LIGHT.
She turns and looks back through the rear window.
128 HER POV 128
There is no one within a hundred feet of where Kirk
last stood.
129 BACK TO GILLIAN 129
She turns back, puzzled; slips the car into gear, and
still puzzled, departs.
130 INT. BIRD OF PREY TRANSPORTER ROOM - ILM 130
Kirk materializes and is met by Spock. Immediately
they begin walking.
KIRK
Status?
SPOCK
The tank will be finished by
morning...
KIRK
That's cutting it closer than you
know. What about team two?
SPOCK
No word since beam-in. We can only
wait for their call.
KIRK
Damn.... Damnit! We've been so
lucky. We have the two perfect
whales in our hands, but if we don't
move quickly, we'll lose them!
SPOCK
In that event, the probabilities are
that our mission would fail.
KIRK
(stunned)
Our mission! Goddam it, Spock,
you're talking about the end of
every life on Earth! You're
half human, haven't you got any
goddamned feelings about that!!
Enraged and frustrated, Kirk stalks off, leaving
Spock. A critical moment: his feelings are surfacing:
anger, pain, and above all, confusion.
131 INT. SHIP COMPARTMENT - CLOSE ON "COLLECTOR" 131
PULL BACK. The device is still HUMMING. Uhura looks
at Chekov in concern. He can only shrug.
131A INT. C.I.C. ROOM - NIGHT - FAVORING RADAR SCREEN 131A
Which seems to be having electronic trouble. Watching
it are a RADAR OPERATOR and an ELECTRONIC TECHNICIAN.
in b.g. are other ENLISTED TECHS, and TWO OFFICERS.
The Operator plays with the faulty screen and says:
OPERATOR
The hell... There it is again.
TECHNICIAN
That's weird.
(turns)
Commander...
The COMMAND DUTY OFFICER steps to the console.
C.D.O.
Thought you were running a test
program...
TECHNICIAN
Aye, sir, but we're getting an
apparent power drain through the
module. It's coming from somewhere
in the ship...
C.D.O.
C.I.C., Command Duty Officer Rogerson.
(listens)
Yes, Chief, we're tracking it here,
too. What do you make of it?
(he tightens)
You sure?... Check the Video scan, I
need a confirm.
(cups phone; to
the others)
He thinks there's an intruder in one
of the MMR's.
131B UHURA AND CHEKOV 131B
The Collector makes a sound that appears final. As
Chekov removes the device from the bulkhead and folds
the metal in place, Uhura flips the communicator open.
UHURA
Scotty: we're ready for beam out.
(a pause; static)
Scotty... Can you hear me...?
131C THE C.I.C. ROOM 131C
As the C.D.O., waiting on phone hears a voice.
C.D.O.
Yes, Chief?... Confirmed, Roger
that.
He clicks off, dials a number code and in a moment:
C.D.O.
(continuing; urgent now)
Mardet C.O. this is Commander
Rodgerson, the Command Duty Officer.
We have and intruder in the #4 M.M.R.
I say again...
131D OMITTED 131D
& &
131E 131E
131F UHURA AND CHEKOV 131F
UHURA
Scotty... Come in please... Do you
read.
SCOTTY'S VOICE
(breaking up)
Aye, lass, I hear you.
131G BIRD OF PREY TRANSPORTER AREA - SCOTTY (INTERCUT) 131G
SCOTTY
... My transporter power's down to
minimal. I got to bring you in one
at a time. Stand by...
131H UHURA, CHEKOV - ILM VISTAVISION (INTERCUT) 131H
CHEKOV
Take the collector. You go first!
Chekov steps aside, as Scotty sweats back in the B.O.P.
Transporter. The Transporter power is discernibly
weak. At last, Uhura is slowly BEAMED OUT. Chekov,
looks nervously about.
CHEKOV
Scotty... How soon... Hello...?
132 BACK TO SCOTTY 132
Scotty is working feverishly as Chekov's voice breaks
up on speaker. During scene Uhura enters and listens
anxiously.
SCOTTY
Chekov, you're breaking up. Please
signal again. Chekov, can you hear me?
133 BACK TO CHEKOV 133
The RUNNING FEET, an O.S. COMMOTION, are louder,
closer.
CHEKOV
Scotty... Now would be a good time --
134 ANOTHER ANGLE - PAST CHEKOV (AS SHOT) 134
From all angles, U.S. MARINES in jungle fatigues,
helmets and bandoliers have surrounded Chekov, their
SHOTGUNS leveled at him.
MARINE LEADER
Freeze!
There is a pause as Chekov stares back.
CHEKOV
Precisely what does this mean --
"freeze?"
135 OMITTED 135
thru thru
138 138
139 INT. INTERROGATION ROOM - ENTERPRISE - NIGHT 139
(AS SHOT)
We are CLOSE on an FBI AGENT, his badge in lapel
pocket. He's examining Chekov's I.D.
FBI AGENT
Lt. Commander Pavel Chekov,
Starfleet, United Federation of
Planets.
PULL BACK to include Chekov, various NAVAL OFFICERS,
and a CIVILIAN, (A.E.C.)
FBI AGENT
(continuing)
All right, Commander, you wanna tell
us anything?
CHEKOV
Like what?
FBI AGENT
Like who you really are and what
you're doing here and what this
thing is.
The phaser -- on the desk.
CHEKOV
My name is Pavel Chekov. I am a Lt.
Commander in Starfleet, United
Federation of Planets, service
number 656-5827b.
FBI AGENT
All right. Let's take it from the
top.
CHEKOV
The top of what?
FBI AGENT
Name?
CHEKOV
My name?
FBI AGENT
No, my name.
CHEKOV
I do not know your name.
FBI AGENT
You play games with me and you're
through
CHEKOV
I am? May I go now?
The Agent takes a deep breath of exasperation and,
leaving Chekov at the table, walks back to the
Civilian.
FBI AGENT
What do you think?
CIVILIAN
He's a Russkie.
FBI AGENT
No kidding... He may be a russkie,
all right, but he's a retard or
something.
CIVILIAN
We better call Washington...
While they huddle, Chekov snatches up the phaser.
CHEKOV
Don't move.
They stare at him in disbelief.
FBI AGENT
Okay... Make nice and give us the
ray gun.
CHEKOV
I varn you. If you don't lie on the
floor, I vill have to stun you.
FBI AGENT
(patiently)
Go ahead. Stun me.
CHEKOV
I'm wery sorry, but --
He aims the phaser and pulls. It makes a pathetic
BURBLING SOUND. Everyone stares. Chekov,
apologetically:
CHEKOV
(continuing)
It must be the radiation...
With an abrupt change of mood he bolts for the nearest
bulkhead door, dogs it open and reaches out.
FBI AGENT
(wearily)
Someone sound a general alarm.
better tell the Marines to go easy,
don't hurt the crazy bastard.
139A OMITTED 139A
& &
139B 139B
140 INT. SHIP COMPANIONWAYS AND DECKS - NIGHT - SERIES 140
OF SHOTS
A140 -- As ALARMS SOUND, Chekov dogs a bulkhead door behind
him, then as a choice of down a hatch or up a
ladder. He wisely goes up.
B140 -- Marines pour from hatchways and corridors in hot
pursuit.
C140 -- Chekov up a ladder, Marines in pursuit below.
-- Up the ladders come the Marines.
D140 -- HANGAR DECK: Chekov breaks into the great empty
space, barn like; he see's the elevator opening and
a shot at freedom, he races toward the light.
E140 -- Marines, gaining, follow him across the hangar deck.
F140 -- Chekov reaches the elevator portal, races onto the
elevator and the gangway beyond -- only to see:
G140 -- SHORE PATROLMEN, coming up the gangplank to the
elevator.
H140 -- Behind Chekov, the Marines have caught up. He veers
to his left, thinking to dive into the water, trips
and, with a cry:
140A EXT. SHIP - UP ANGLED - NIGHT 140A
It's too late for Chekov. He falls from the elevator
into CAMERA --
140B REVERSE - TOWARD BARGE 140B
Chekov has landed on a floating barge below
the elevator. He lies there, unmoving.
141 UP ANGLED - THE PURSUERS 141
The Marines and Shore patrolmen look in horror. The FBI
MAN rushes up, and seeing:
F.B.I. MAN
Damn... Get an ambulance...
141A INT. BIRD OF PREY BRIDGE - FAVORING UHURA - NIGHT 141A
She's at her station, distraught, monitoring a series
of local POLICE and PARAMEDICAL EMERGENCY CALLS. Kirk
enters, comes to her.
KIRK
Any luck...?
UHURA
Nothing... I should never have left
him...
KIRK
Uhura, you did what was necessary.
(gently)
Keep trying. You'll find him...
Kirk steps to his chair, presses COMM, weary,
frustrated.
KIRK
Mr. Scott, you promised me an
estimate on the dilithium crystals...
141B INT. CARGO BAY - DILITHIUM CHAMBER (INTERCUT) 141B
Scotty and Spock are watching a slow re-crystallization
process.
SCOTTY
It's going slow, sir. It'll be well
into tomorrow.
KIRK
Not good enough, Scotty. You've
got to do better!
SCOTTY
(wearily)
I'll try, sir. Scott out.
(then, to Spock)
Well now, he's got himself in a bit
of a snit, don't he.
SPOCK
(thoughtfully)
... He is a man of deep feelings.
SCOTTY
... So what else is new...
HOLD on Spock. Up above, HOLD on Kirk, as Uhura's
police calls ECHO faintly in b.g., he feels all the
frustration of waiting...
DISSOLVE TO:
142 EXT. CETACEAN INSTITUTE - MORNING 142
The Land rover pulls up and Gillian gets out, puzzled.
It's very quiet. No press. No crews. The main door
is locked. She takes out a key, and enters.
143 EXT. TANK AREA - ILM 143
Gillian enters, and stares: It's strange, ghostly, and
empty here. She can see no sign of George or Gracie.
Has her world gone mad? Has she walked into the wrong
dimension? As her distress mounts she turns to face:
144 OMITTED 144
& &
145 145
146 ANGLE TO INCLUDE BOB 146
BOB
(quietly)
They left last night.
(then)
We didn't want a mob scene with the
press, it wouldn't have been good
for them. Besides -- we thought it
would be easier on you this way.
GILLIAN
(rage rising)
You -- sent them away. Without
even letting me say goodbye?
BOB
Gillian --
She slaps him hard.
GILLIAN
You son of a bitch.
147 EXT. THROUGH LAND ROVER WINDOW - PARKING LOT 147
As Gillian runs to her car from b.g. and climbs in,
close. For a moment she just sits there, her head on
the wheel, sobbing now. Then with determination, she
starts the car, and peels out of the scene.
148 EXT. AIR TO AIR - OVER SAN FRANCISCO - DAY 148
The Plexicorp helicopter, carrying an enormous pane of
plexiglass across the city. It is not exactly steady.
149 INT. HELICOPTER 149
Sulu is at the controls, muttering to himself.
SULU
... How the hell did they ever keep
these things in the air...?
150 EXT. THE EDGE OF GOLDEN GATE PARK - GROUND TO AIR - 150
DAY
As the chopper and its load pass overhead;
150A OMITTED 150A
151 EXT. LANDING SITE 151
The Land rover drives up and stops. Gillian jumps out,
still overwrought. She looks around and almost like a
silent scream for help, she yells Kirk's name. The
scream is silent because its drowned out by the SOUND OF
THE APPROACHING HELICOPTER. Gillian looks up to see:
152 THE HELICOPTER 152
It comes closer, then hovers.
153 OMITTED 153
154 CLOSE - SCOTTY 154
He climbs into SHOT from below FRAME LINE, waves Sulu
in like a landing officer on a carrier.
155 GILLIAN 155
She cannot believe what she's seeing O.S.
156 HER POV - ILM 156
The chopper is lowering the plexiglass into thin air,
and guiding the process is half of Scotty, visible only
from the waist up.
157 BACK TO SCENE 157
Gillian, stunned, moves forward to get a better view,
and clunks her head on an invisible strut. She gets up
and feels the thing like a blind person. She's
starting to understand she's in some Twilight Zone. In
desperation:
GILLIAN
Kirk! Kirk! Listen to me! Oh,
God, Kirk, I need you!!
158 TO SCOTTY 158
He's seen her distress below him. To communicator:
SCOTTY
Admiral, we have problem.
158A INT. BIRD OF PREY CARGO BAY - ON KIRK 158A
He is looking upward, a shaft of daylight falling on
his face. As he hears Scotty's cry from above, he
turns quickly to a SURVEILLANCE MONITOR close by.
There on the screen he sees Gillian's agitated
figure. There is a moment of amazed reaction then
looking back up to Scotty:
KIRK
Stand by, Scotty!
159 BACK TO SCENE - ILM ELEMENTS 159
As, hysterically, she trips and bumps into other parts
of the invisible ship.
GILLIAN
Kirk!! Please, Kirk!!
The SOUND she once heard, she hears again; and to her
disbelief, she disappears in the BEAM EFFECT.
160 INT. BIRD OF PREY TRANSPORTER AREA - ILM ELEMENTS 160
As Gillian BEAMS IN. Kirk is there.
KIRK
Hello, Alice. Welcome to
wonderland.
She looks about, dazed as he helps her off transporter.
GILLIAN
It's true... what you said...
KIRK
Yes... And I'm glad you're here.
Though I'll admit, you picked a
hellova time to drop in...
She's about to faint; Kirk catches her.
KIRK
(continuing)
Steady, now. We need your help.
GILLIAN
Have I flipped out? ... Is any of
this real?
KIRK
It's all real. Look.
(takes her)
The storage tanks for the whales.
GILLIAN
But Kirk...
KIRK
We'll bring them up just like we
brought you. It's called a
transporter beam...
GILLIAN
(clearing now)
Kirk. They're gone.
KIRK
... Gone?!
GILLIAN
They were taken last night. I
wasn't told. They're in Alaska by
now.
KIRK
... Damn!
GILLAIN
But they're tagged, I told you.
Can't you go find them?
KIRK
At the moment, we can't go anywhere.
GILLIAN
What kind of spaceship is this,
anyway?
KIRK
A spaceship with a missing man.
He looks up to see Spock entering, all business.
SPOCK
Admiral. Full power is restored.
KIRK
Thank you, Spock.
As Gillian stares at Spock's ears:
SPOCK
Hello, Doctor. Welcome aboard.
He offers his hand. She shakes it in wonder as:
UHURA'S VOICE
(emotionally)
Admiral -- are you there?
KIRK
Yes, Uhura -- what's wrong?
160A INT. BIRD OF PREY BRIDGE - UHURA ON STATION (INTERCUT) 160A
UHURA
(shaken)
I've found Chekov, sir: he's in
emergency surgery right now.
KIRK
Uhura!... Where!
UHURA
Mercy Hospital.
161 BACK TO CARGO BAY (INTERCUT) 161
GILLIAN
That's in the Mission District.
UHURA'S VOICE
They report his condition as critical;
he is not expected to survive.
BONES
Jim, you've got to let me go in there!
Don't leave him in the hands of
Twentieth Century medicine.
KIRK
(already decided, but:)
What do you think, Spock?
SPOCK
Admiral, may I suggest that Dr.
McCoy is correct. We must help
Chekov.
KIRK
(testing)
Is that the logical thing to do,
Spock...?
SPOCK
No, Admiral... But is the human
thing to do.
KIRK
(takes a beat)
Right.
(to Gillian)
Will you help us?
GILLIAN
... How?
BONES
We'll need to look like physicians.
162 INT. MERCY HOSPITAL CORRIDOR - DAY 162
TRACK with Kirk, Bones and Gillian -- dressed as
DOCTORS AND NURSES. Bones carries his own medical
equipment in a traditional black bag.
KIRK
We'll check this way; you try down
there...
They split; Kirk and Gillian go one way. We follow
Bones. He walks down a corridor, nodding to other
doctors, nurses, interns. He sees a gurney, steps to
it. On it is a very feeble ELDERLY WOMAN.
WOMAN
Doctor...
BONES
What's the matter with you?
WOMAN
(faint)
Kidney... dialysis...
BONES
Dialysis?? What is this, the dark
ages? Here, swallow one of these.
He slips a lozenge from his bag under her tongue.
BONES
(continuing)
Call me if you have a problem.
163 INT. HOSPITAL - ANGLE AT ELEVATOR - DAY 163
Kirk and Gillian. Kirk gestures, O.S. WIDEN to admit
Bones.
KIRK
They're holding him in a security
corridor one flight up. His
condition is critical.
Bones reacts, then looks around. He sees an empty
gurney.
BONES
Come on.
164 INT. CORRIDOR - OUTSIDE ROOM - DAY 164
Kirk and Bones, masks on their faces, emerge wheeling
the gurney with Gillian under the covers. They head
for an elevator. The doors open.
165 INT. ELEVATOR - DAY 165
Kirk and Bones push the gurney in. TWO INTERNS are
talking.
1ST INTERN
So, Weintraub says radical
chemotherapy or she's gonna croak.
Just like that...
2ND INTERN
And Gottlieb?
1ST INTERN
Well, what'd you expect? All he
talked about was image therapy.
BONES
Unbelievable.
1ST INTERN
You have a different view, Doctor?
BONES
Sounds like the goddam Spanish
Inquisition...
The doors open. They wheel the bed out, the doors
close, leaving the Interns looking at each other,
perplexed.
166 INT. UPSTAIRS CORRIDOR - DAY 166
We TRACK behind Kirk, Bones and the bed towards the end
of the hall. TWO POLICEMEN block their passage.
BONES
Out of the way!
They don't budge. Under the sheet, Gillian starts to
wail.
POLICEMAN
Sorry, doctor! we have strict
orders...
Gillian wails louder. The Policemen look uncertain.
BONES
Dammit, this woman has immediate
post prandial upper abdominal
distension! Do you want an acute
case on your hands?
Gillian wails. The Policemen finally move aside and
they push their way through.
167 ANGLE - OTHER SIDE OF DOORS 167
KIRK
What did you say she was getting?
BONES
Cramps.
Gillian sits up, throws off the sheet as they see the
operating theatre. They leave the bed where it is and
proceed into the room, lifting their surgical masks.
DOCTOR (O.S.)
Lee, why hasn't this man been
prepped?
Kirk looks to Bones, who nods and they walk around the
curtain where Chekov, unconscious, lies on the table.
Two nurses arrange instruments in preparation for
surgery, while a YOUNG DOCTOR reads Chekov's chart.
DOCTOR
(looks up)
Who are you? Doctor Adams was
supposed to assist me.
BONES
We're just -- observing.
DOCTOR
I was not informed about observers.
Then, to the curious glances of the surgical team,
Bones takes out his Tricorder and passes it over to
Chekov --
DOCTOR
(continuing)
What the hell do you think you're
doing?
BONES
Reading the patient's vital signs.
KIRK
An experimental device, doctor.
BONES
Tearing of the middle meningeal
artery...
DOCTOR
What's your degree in, dentistry?
BONES
How do you explain slowing pulse,
low respiratory rate and coma?
DOCTOR
Fundoscopic examination --
BONES
Fundoscopic examination is
unrevealing in these cases!
DOCTOR
(condescendingly)
A simple evacuation of the expanding
epidural hematoma will relieve the
pressure.
BONES
My God, man, drilling holes in his
head is not the answer. The artery
must be repaired without delay or he
will die! So put away your butcher
knives and let me save the patient!
The young Doctor gives Bones an icy stare.
DOCTOR
I don't know who the hell you are,
but I'm going to have you removed.
But as he turns to leave, Kirk blocks his path, then --
KIRK
Doctors, doctors, this is highly
unprofessional --
He gives the Doctor a swift, sure, Judo chop. Gillian
and the nurses gasp.
KIRK
(continuing)
Quite harmless, I assure you.
As Bones pulls out his Medical Tricorder and begins
working on Chekov, Kirk slings the fallen Doctor over
his shoulder, and draws a phaser.
KIRK
(continuing; to
Nurses)
Ladies. Please...
Indicating a windowed room adjoining, he herds them in
there, lowers the Doctor to the floor, and closes the
door. Then he adjusts his phaser, aims at the lock and:
167A INSERT - ILM 167A
Kirks phaser MELTS the lock.
167B BACK TO SCENE 167B
Bones, muttering as he passes the device over Chekov.
BONES
Chemotherapy... fundoscopic
examination... dealing with
medievalism here!
Kirk joins him; Chekov has begun to moan faintly...
BONES
(continuing)
Wake up, man, wake up!
KIRK
Come on, Pavel...
Chekov's eyes begin to flutter.
BONES
He's coming 'round, Jim...
KIRK
Pavel, can you hear me? Give me
your name and rank...
CHEKOV
... Chekov... Pavel H... Rank -
(a fantasy smile)
... Admiral...
GILLIAN
Don't you guys have any enlisted
types...?
Now Chekov is pulling out of it. He sits up.
CHEKOV
Dr McCoy... ZDRASTVUYTE!
BONES
Hello to you, Chekov.
168 EXT. UPSTAIRS CORRIDOR 168
The "Doctors," pushing the sheet-draped Chekov, exit,
passing the two Policemen we saw before.
POLICEMAN 1
How's the patient...?
KIRK
(exiting)
He's gonna make it!
POLICEMAN
He? They went in with a she...
They look at each other, make a beeline for the O.R.
KIRK
(mutters)
One little mistake...
169 INT. BIRD OF PREY ENGINE ROOM - DILITHIUM CHAMBER 169
The crystals are coming back to life! WIDEN to reveal
the process supervised by Scotty, watched by Spock.
170 INT. HOSPITAL CORRIDOR - KIRK AND FRIENDS 170
Rolling the gurney in a hurry. ALARMS go off!
LOUDSPEAKERS! They break into a run.
170A SAME CORRIDOR - NEAR DOUBLE DOORS 170A
A group of HOSPITAL and POLICE GUARDS round a corner,
see the fleeing Kirk, and race toward us, CAMERA
PANNING. As they exit, HOLD on double doors which
open. Sitting up on an emergency gurney, happy as a
clam, is the feeble old lady we saw before. Two
DOCTORS, one pushing.
DOCTOR 2
So! How do you explain it?
DOCTOR 1
(stunned)
According to the scanner...
(beat)
... She's grown a new kidney...
171 INT. HOSPITAL CORRIDOR - VARIOUS SHOTS 171
-- Kirk and friends, racing at high speed...
-- The guards, weapons drawn are gaining...
-- On the speeding Gurney, Chekov raises his head in
confusion; Bones clunks him down.
-- A large elevator door opens ahead; as the gurney
heads for it, a hospital GUARD steps in the way; using
the gurney as a battering ram, Kirk takes the Guard out
of the play, races with Bones and Gillian into the
elevator. The doors close just as the perusing forces
get there. The guards check the "UP" indicator and head
for the stairs!
-- Inside the elevator, going up. Gillian is
concerned.
GILLIAN
If we keep going up, they'll catch
us!
KIRK
Calm yourself, Nurse.
(pulls out
communicator)
Scotty, get us out of here!
-- TOP FLOOR: The pursuers race out of the Stairwell,
across the Elevator, where the indicator says
they've beat the elevator. Weapons drawn, they wait:
when the doors open and they press forward:
-- POV: The Elevator is empty.
-- Back to the group: Consternation.
172 OMITTED 172
thru thru
178 178
179 EXT. LANDING SITE - SERIES OF SHOTS - ILM ELEMENTS 179
-- Kirk, Gillian, Bones and Chekov BEAM IN. Bones
leads Chekov toward --
-- The descending RAMP. Sulu appears to help. They
all disappear up the ramp, which now begins to close.
-- Kirk alone with Gillian. She sees the ramp closing
and begins to sense something wrong.
KIRK
Gillian... Would the whales be at
sea by now?
GILLIAN
Yes... If you have a chart on board,
I can show you.
KIRK
All I need is the radio frequency to
track them.
GILLIAN
What are you talking about? I'm
coming with you.
KIRK
You can't. Our next stop is the
23rd Century.
GILLIAN
What do I care? I've got nobody but
those whales...
KIRK
I have no time to argue, Gillian.
Or even tell you how much you've
meant to us... The frequency.
GILLIAN
All right. The frequency is 401
megahertz.
KIRK
Thank you. For everything.
(flips communicator)
Beam me up, Scotty.
As Kirk starts to BEAM UP, Gillian leaps, grabs him
round the waist. And as they are BEAMED IN together:
GILLIAN'S VOICE
Surprise!
180 OMITTED 180
181 INT. BIRD OF PREY BRIDGE - ON DOORS 181
WHOOSH, and Kirk strides in angry, Gillian following,
looking around room at all the crew in wonder.
KIRK
Mr. Spock, where the hell is the
power you promised me?
SPOCK
Admiral, you must wait one damn
minute.
SCOTTY
I'm ready Spock. Let's go find
George and Gracie...
KIRK
Mr. Sulu?
SULU
(punching buttons)
I'm trying to remember how this
works. I got used to a Huey.
As he works, Kirk turns to Gillian:
KIRK
You tricked me.
GILLIAN
You need me.
SULU
Ready sir.
KIRK
Go, Mr. Sulu.
And the GREAT ROAR BEGINS...
182 EXT. LANDING SITE - DAY - SERIES OF SHOTS 182
As a GREAT HURRICANE envelopes the meadow along with the
ROAR. Trees bend, trash cans and panic tables tumble
until the roar begins to recede -
183 EXT. GOLDEN GATE PARK - VERTICAL POV - PULLING UP - 183
DAY
The landing area below is receding rapidly as the
Bird's rockets ROAR.
184 INT. BRIDGE - BIRD OF PREY 184
As the professionals from the future crackle their
routine, Gillian watches, wide eyed.
CHEKOV
Cloaking device is stable... All
systems normal.
KIRK
Stabilize Energy Reserve!... Report
helm:
SULU
Maintaining impulse climb. Wing
five by zero, helm steady.
KIRK
Advise reaching 10,000. Steer
three-one-zero.
SULU
Three-one-zero, aye!
KIRK
Uhura, scan for the whales.
401 megahertz!
UHURA
Scanning, sir!
185 EXT. SAN FRANCISCO - VERTICAL POV - STILL RISING - DAY 185
By now we see the outline of the bay and bridges on a
sun sprayed beautiful day.
186 BRIDGE 186
SULU
10,000 M.S.L., Admiral.
KIRK
Wing to cruise configuration... Full
impulse power.
SULU
Aye, sir... Three-one-zero to the
Bering Sea. E.T.A.: 12 minutes.
As Gillian reacts to this, the impulse engines ROAR
and:
187 EXT. - POV LOOKING FORWARD FROM BIRD (UNDERCRANKED) 187
We are speeding at Mach 16 or 17 down the California
coast and out toward the open sea.
188 BRIDGE - (INTERCUT ENGINE ROOM) 188
KIRK
Scotty: Are the whale tanks secure?
188A CARGO BAY - SCOTTY 188A
SCOTTY
Aye. But I've never beamed up 400
tons before.
KIRK'S VOICE
400 Tons?
SCOTTY
It ain't just the whales, it's the
water.
188B BACK TO BRIDGE - KIRK 188B
KIRK
Yes, of course.
Kirk moves to Uhura, followed by Gillian.
KIRK
The whales... Any contact?
Uhura, earpiece pressed, holds up her hand to indicate
she is working on it.
188C FAVORING SPOCK'S STATION 188C
As Spock looks baffled, Bones ENTERS SHOT.
BONES
You, ah...
(diplomatically)
You present the appearance of a man
with a problem.
SPOCK
Your perception is correct, Doctor...
In order to return us to the exact
moment at which we left the 23rd
Century, I have used our journey back
through time as a referent,
calculating the coefficient of
elapsed time in relation to the
acceleration curve.
BONES
Naturally.
(then)
So what is your problem?
SPOCK
Acceleration is no longer a constant.
BONES
Well, you're gonna have to take your
best shot.
SPOCK
... Best shot...?
BONES
Guess, Spock. Your best guess.
SPOCK
"Guessing" is not in my nature...
BONES
(has waited 10
years for this)
Well nobody's perfect...
189 OMITTED 189
190 ANGLE - UHURAH'S STATION 190
FAINT SOUND of Whale Transponder is heard. Gillian
reacts:
GILLIAN
That's it! That's it!
UHURA
Affirmative. Contact with the whales.
KIRK
Bearing!
UHURA
Bearing 327, range 600 nautical.
KIRK
Put them on screen!
GILLIAN
How can you do that?! It's radio!
UHURA
Image translation on screen!
On VIEWSCREEN, a slightly deteriorated image, but we
can make out George and Gracie. There is a moment of
reaction from Gillian, Kirk, Spock and all. Then:
191 EXT. OCEAN - THE WHALES - DAY 191
They breech, singing their song, and the music swells
to say what is in everyone's heart: hang in there!
192 BACK TO BRIDGE 192
UHURA
Admiral, I have a signal closing on
the whales. Bearing 328 degrees.
KIRK
On screen.
ON VIEWSCREEN: A semi-clear image of a whaling ship,
its prow cutting through the water, its harpoon gun
very much in evidence.
BONES
What kind of ship is that?
GILLIAN
A whaling ship, Doctor.
KIRK
Estimate range, ship to whales!
UHURA
Sir... Estimating one nautical mile.
GILLIAN
Oh my God, we're too late!
KIRK
Mr. Sulu: full power descent!
193 EXT. OCEAN - POV - (UNDERCRANKED) 193
The horizon rises as our view dips 20 degrees, the
speed increases to 12,000 MPH, and we whiz through
puffy clouds toward an unseen ocean target hundreds of
miles away.
194 EXT. OCEAN - THE SHIP - SERIES OF SHOTS - DAY 194
(35MM STOCK)
The Whaler is modern, and plows through the water at 25
knots. Its crew are largely bearded; they are Northern
Europeans, maybe Swedes, Icelanders or Russians, all
famous as Humpback hunters. The radar turns lazily.
Then:
In the crow's nest a sailor points. Binoculars are
trained. They see something! The ship begins a
gradual course change. The engine telegraph signals
FLANK SPEED. The decks are exploding with activity as
she heads toward the quarry.
195 EXT. OCEAN - DAY 195
The whales break the surface, arcing majestically;
enjoying the sun and their freedom...
196 INT. BRIDGE - BIRD OF PREY 196
(NOTE: We may now utilize, on VIEWSCREEN, scenes of
WHALES and WHALING SHIP, as well as POV's of the Bird's
forward view, which at the moment, is on screen.)
SULU
Dive speed is 200 knots per minute,
3.3. per second. Estimate reaching
whales in 1.2 minutes.
197 ABOARD THE SHIP - VARIOUS ANGLES 197
Feverish activity, punctuated by the rising SOUND OF
SONAR PINGING. Harpoons are being carried to the gun
and loaded. The crew begins pointing excitedly to the
distance.
198 EXT. OCEAN - THE WHALES - ILM 198
George and Gracie, oblivious to the danger, move
through the water.
199 INT. BRIDGE 199
SULU
Range to whales, 30 seconds...
200 EXT. OCEAN - THE BOAT 200
The harpoon gun is loaded and is transversing.
201 OMITTED 201
thru thru
204 204
205 INT. THE BRIDGE 205
We see the boat on screen.
SULU
10 seconds, sir!
KIRK
Hover on my mark, Mr. Sulu! Mr.
Chekov, stand by de-cloaking --
Scotty, ready for power build up!
(then)
Mark, Mr. Sulu...
206 THE OCEAN - GEORGE AND GRACIE 206
They lazily appear on the surface, oblivious to
danger. They are a perfect target.
207 THE SHIP 207
The gunner sights with confidence -- fires!
208 FX SEQUENCE 208
The harpoon sails through the air toward the whales,
then, with a great THWANG, hits an invisible something,
and falls harmlessly into the sea.
209 THE BOAT 209
Bafflement! Consternation! Then:
209A THE BRIDGE - CLOSE - KIRK 209A
KIRK
Scotty -- Disengage cloaking device!
SCOTTY'S VOICE
Aye, sir.
210 EXT. OCEAN - ILM 210
Where the harpoon had stopped, now comes a ROAR OF
SOUND and LIGHT. The Bird of Prey, big as a football
field, DE-CLOAKS!
211 ABOARD THE SHIP - VARIOUS ANGLES 211
Oh-my-God! What-he-hell! ALARM KLAXONS! The helmsman
spins the wheel! The engine telegraph goes to flank.
212 OMITTED 212
& &
213 213
214 INT. BRIDGE 214
The defeat of the whaler causes the cheers of all. But
Kirk quiets them with:
KIRK
Mr. Scott. It's up to you now.
Commence build up for transporter
beam!
SCOTTY'S VOICE
Give it me best, sir!
As the SOUND of the beam build-up begins:
215 OMITTED 215
& &
216 216
217 CARGO BAY - SCOTTY - (INTERCUT WITH BRIDGE) 217
Everything is to the firewall and he's sweating.
SCOTTY
Stay with me, sir -- I need more
power curve...
KIRK
How long, Scotty?
SCOTTY
10 seconds, Admiral; 5 - 4 - 3 -
2 - 1.
As the energy WHINE PEAKS:
218 EXT. OCEAN - UNDERWATER - ILM ELEMENTS 218
George and Gracie, moving slowly through the deep,
begin to BEAM OUT...
219 CARGO BAY - FAVORING THE TANK - ILM ELEMENTS 219
As Scotty watches in awe, the whales, and half a tank
of sea water, BEAM IN.
On Scotty, open-mouthed.
SCOTTY
Admiral! There be whales here!
220 THE BRIDGE (INTERCUT) 220
KIRK
Well done, Mr. Scott. How soon can
we be ready for warp speed?
SCOTTY
I'll have to re-energize.
KIRK
Don't take too long. We're sitting
ducks for their radar systems...
(then)
Mr. Sulu, impulse climb.
221 EXT. BIRD OF PREY - ILM 221
as she begins to climb with moderate speed to altitude.
222 BRIDGE (CONTINUE INTERCUTTING) 222
UHURA
Unidentified aircraft, 40,000 feet
MSL, range 30 miles, bearing 010.
KIRK
Mr. Scott -- how soon?
SCOTTY
Stand by, sir. Miracle worker at
work...
KIRK
Mr. Scott, don't make jokes, we are
in danger of -
SCOTTY
Full power, sir.
KIRK
(recovers from his
pique and.)
Mr. Sulu, if you please.
SULU
Aye, sir, warp speed!
223 EXT. SUB-SPACE - ILM 223
The Bird of Prey EXPLODES into warp speed, disappearing
into the deep blue-black of Space beyond.
224 AT BRIDGE 224
KIRK
Mr. Sulu, take the con. I'm taking
our guest down to see her whales.
(as he starts)
Mr. Spock: have you accounted for
the variable mass of whales and
water in your time re-entry program?
SPOCK
Mr. Scott cannot give me exact
figures, Admiral. So I will...
(a beat)
Make a guess.
KIRK
You?
(laughs)
Spock, that's extraordinary.
He steps forward, shakes Spock's hand as though he had
just come through a great transformation. In high
spirits, Kirk leads Gillian off the bridge, leaving a
puzzled Spock.
SPOCK
... I don't think he understands...
BONES
No, Spock. It means he feels safer
about your "guesses" than most other
peoples facts.
There is a pause.
SPOCK
You're saying... It is a compliment.
BONES
It is.
Spock straightens, pulls the bottom of his garment
straight with dignity, and accepts the responsibility.
SPOCK
I will try to make the best guess I
can.
225 INT. CARGO BAY - WHALES IN TANK - ILM ELEMENTS 225
The two whales are contentedly behind the plexiglass,
their eyes focusing on Gillian. Kirk, Scotty flank
her, all watching the whales.
KIRK
Ironic. When man was killing these
creatures, he was destroying his own
future...
SCOTTY
(to Gillian)
The beasties seem happy to see you,
Doctor. I hope you like our little
aquarium.
GILLIAN
A miracle, Mr. Scott.
SCOTTY
... The miracle is yet to come.
Scotty exits shot.
GILLIAN
... What does that mean?
KIRK
He means our chances of getting home
are not very good. You might have
lived a longer life if you'd stayed
where you belong.
GILLIAN
I belong here.
(at his look)
Suppose by some miracle you do get
them through.
(beat)
Who in the 23rd Century knows
anything about Humpback whales?
KIRK
(a long moment)
... You have a point...
As she looks at Kirk, the ship begins to vibrate
quietly.
SCOTTY
You better get up there, sir. We're
having some power fall-off...
KIRK
On my way...!
Kirk hurries out.
SCOTTY
Buckle up, Lassie. It gets bumpy
from here.
226 EXT. SPACE - BIRD OF PREY - TO THE SUN - ILM 226
As before she's heading straight for the great Star.
227 INT. BRIDGE - BIRD OF PREY 227
Kirk enters through the WHOOSHING DOORS. The bridge is
beginning to shake badly now. Kirk listens to:
SCOTTY'S VOICE
Warp seven point five... Seven point
nine... Mr. Sulu, that's all I can
give ye!
CHEKOV
Shields at Maximum!
Kirk steps forward.
KIRK
Can we make breakaway speed!?
SPOCK
Hardly, Admiral, I cannot even
guarantee we will escape the Sun's
gravity! I will attempt to
compensate by altering our trajectory.
SULU
Warp eight. Eight point one...
Maximum speed, sir!
SPOCK
Admiral, I need thruster control...
KIRK
Acceleration thrusters at Spock's
command...!
CLOSE on Spock as the buffeting gets intense. A wait.
A further wait. Then:
SPOCK
Steady... Steady... Now.
228 SPACE - SERIES OF SHOTS - "THE SLINGSHOT" - ILM 228
-- Just as the Bird appears certain to be swallowed by
the Sun, a BLAST accelerates the ship along the far
curve of the Sun as before. Solar flares lick the
blurring vessel as she disappears behind the Sun. The
CAMERA PANS ACROSS the Sun, waiting for the "comet" to
appear around the far side of the Sun as she did
before... And we wait. And we wait.
-- CLOSER. The bird does not appear. The wait is
interminable. Has the ship incinerated...? Then
abruptly: there is a BANG and the SOUND OF RETROS as
we heard in the first time sequence. Suddenly:
229 INT. BIRD OF PREY - BRIDGE 229
The SILENCE is total and deafening. We do not hear
even the ambient pings and pongs of the electronic
equipment. We have a feeling of LIMBO. Yet the people
seem all right, though baffled. Are we in some new
dimension? Kirk surveys the scene, and dares to speak:
KIRK
Spock... Did braking thrusters fire?
SPOCK
They did, Admiral.
KIRK
Then... Where the hell are we?
Consternation from all; then, FAINTLY in the void of
sound, we begin to hear the PROBE GIBBERISH...
230 (REPEAT OF SCENE 53) - EXT. SAN FRANCISCO BAY 230
WAVES CRASH against the shore. This sequence is
exactly as we saw earlier in the film. GIBBERISH
louder now.
231 (REPEAT OF SCENE 54) - INT. STARFLEET COMMAND 231
As before; Panic; Lightning and PROBE GIBBERISH.
COMM OFFICER
Sir... I'm picking up a faint
transmission... It's Admiral Kirk
calling...!
MORROW
On screen!
But at this moment, the entire situation display goes
fuzzy, distorts, and is gone.
MORROW
(continuing)
Satellite reserve power, now!
The board starts up again, but dimmer, more erratic. A
distorted image of Kirk appears on SCREEN (INTERCUT
WITH BIRD OF PREY). We will not hear every word.
KIRK'S IMAGE
... Analysis... Probe call...
Captain Spock... Opinion... extinct
species, Humpback Whale... proper
response... Do you read me...?
MORROW
Stabilize! Emergency reserve!
As the Comm Officer responds, Sarek steps up beside
Morrow. Now Kirk's image clears enough to see:
KIRK
Starfleet, if you read, we are going
to attempt time travel. We are
computing our trajectory at this
time...
But suddenly the power fails, Kirk's image is gone. A
silence as they stare at the blank screen.
SAREK
(softly)
Good luck, Kirk. And all you go
with you.
The interruption is sudden: the entire great window
facing the bay CRASHES INWARD, filling the room with
debris, cries, and howling wind. (END REPEAT SEQUENCE.)
232 INT. STARFLEET COMMAND - NEW FOOTAGE 232
As the wind and the rain blow through the room, we find
Sarek and Morrow, hands held up to protect their faces,
then, suddenly, Sarek looks outward -- point"
SAREK
Look!
233 EXT. THE BAY - POV - BIRD OF PREY - ILM 233
Deep overcast, lightning flashes, heavy rain. We are
looking toward the Golden Gate. The BIRD OF PREY is
descending out of the overcast headed toward the bridge
in a shallow, but uncontrolled dive. PROBE GIBBERISH
present through out sequence.
234 INT. BRIDGE 234
The buffeting of turbulence; the GIBBERISH loud. A
sense of helplessness we've never seen from this crew.
KIRK
Spock: Condition report!
SPOCK
No data, Admiral. Computers are
non-functional.
CHEKOV
The mains are down, sir! Aux power
is not responding.
KIRK
Mr. Sulu, switch to manual control!
SULU
I have no control, sir!
KIRK
Picture, Uhura!
UHURA
I can't, sir -- Nothing!
KIRK
Out of control, and blind as a bat!
BONES
For Godsakes, Jim, where are we...?!
235 EXT. SAN FRANCISCO BAY - BIRD OF PREY - SERIES OF 235
SHOTS - ILM
-- Where they are is: headed for the Golden Gate
Bridge.
-- Sarek, Morrow and the others watch in horror as --
-- The Bird narrowly misses by sheer luck and WHOOSHES
under the great bridge --
-- Skimming now over the ocean, closer and closer to
impact...
236 INT. BRIDGE 236
SULU
Sir -- I've got some back pressure
on manual --
KIRK
Ground cushion! Keep the nose up if
you can --
237 OUTSIDE - (AND INTERCUT) 237
-- The Bird's long snout rotates up just a bit and:
-- The crew holds its breath and --
-- The Bird of Prey SLAMS into the water like a giant
stone being skipped, bounces once, then bellies in
with ripping SOUNDS --
-- The crew is thrown about the bridge -- and the side
WINDOWS blow out with a POW!
-- The Bird comes to rest, nose high. After a moment
it is clear she is sinking.
238 INT. BRIDGE - VARIOUS SHOTS - TILTED 238
Water sprays from seams and pipes; the crew struggles
to move against the uphill tilt.
KIRK
Blow the hatch!
Spock does. Kirk struggles to the blown out hatch
near Spock. He looks up into the rain above:
239 HIS POV 239
Rain, fog, but above all: the GIBBERISH of the Probe.
240 BACK TO KIRK 240
KIRK
You got us to the right place,
Spock. Now all we have to do is get
the whales out before we sink.
(reaches Comm)
Mr. Scott, come in!... Scotty...?!
(then)
Damn... Mr. Spock, see to the safety
of all hands.
SPOCK
I will, Admiral.
Stay with Kirk as he fights his way downhill to the
exit doors, which he forces open with great effort,
then exits.
241 FLOODED CARGO BAY - ASLANT - SCOTTY AND GILLIAN 241
They're in trouble. The water is waist deep and
rising. Scotty cannot open the hatch door to the NECK.
242 INT. THE "NECK" CORRIDOR 242
Kirk, water spraying about him, reaching the cargo bay
door. He tugs at the emergency release. It's stuck.
243 FLOODED CARGO BAY - (INTERCUT) 243
Water is now up to their necks. Scotty and Gillian
can't get out unless --
-- Kirk now wrenches the release, pulls the door
open. He reaches his hand down, helps Gillian, then
Scotty, into the temporary safety of the corridor
above. Above the DIN OF WIND, RAIN and HISSING WATER,
Kirk shouts:
KIRK
The whales...?!
SCOTTY
No power to the bay doors.
KIRK
The explosive override -- ?
SCOTTY
It's under water! There's no way to
reach it...
KIRK
Go on ahead... Close the hatch!
SCOTTY
Admiral, you'll be trapped!
But Kirk takes a deep breath and is gone, diving below.
Scotty watches helplessly, then turns to aid Gillian up
and out, closing the hatch as ordered.
244 INT. CARGO BAY - UNDERWATER - (TANK) 244
As Kirk swims in, begins searching. It's not going to
be easy: Kirk cannot hold his breath forever.
245 EXT. OCEAN - DAY - (INTERCUT) 245
As the crew, one by one, emerge from the bridge window
into the pelting rain. They cling to the floating
bridge.
Inside the bridge, Spock helps Scotty and Gillian in
and to the window exit.
246 TOP OF CARGO BAY 246
Kirk breaks the surface, his lungs screaming for air.
Only a few inches remain unflooded. He gulps air, and
dives one last time.
247 INT. CARGO BAY - UNDERWATER - SERIES OF SHOTS 247
A determined Kirk swims rapidly down, looks desperately,
finally finds the panel behind a layer of wreckage. He
rips the barrier away, opens the seal, presses the
sensor. There is a MUFFLED EXPLOSION and:
248 EXT. UNDERWATER - BOTTOM OF CARGO HOLD - ILM 248
The bay doors swing open!
249 BACK TO KIRK - UNDERWATER IN CARGO BAY - (INTERCUT) 249
He looks up and around for his best way out: deciding
he suddenly dives down, disappears and --
-- emerges out the open bay doors. He heads for the
surface and --
250 EXT. OCEAN - VARIOUS SHOTS - DAY 250
-- Kirk pops to the surface gulping for air. The rain
pelts him. He looks round.
-- The last of the survivors, Gillian and Spock emerge
safely.
-- Kirk relieved but where are the whales? And the
Probe's nagging GIBBERISH is heard again. He dives
once more...
251 UNDERWATER - KIRK 251
comes toward us, stops to see:
252 EXT. UNDERWATER - CARGO BAY DOORS - ILM 252
George and Gracie emerge from the bay doors, and majes-
tically move away from the ship.
253 UNDERWATER - KIRK (INTERCUT) 253
He watches in wonder; then heads for the surface.
254 THE SURFACE - VARIOUS SHOTS - (TANK) 254
-- Kirk surfaces near the floating bridge and the sur-
vivors. Rain pelts; fog obscures; and above all: the
still unanswered CALL of the Probe.
-- CLOSER: Kirk arrives at the wreckage, takes a hand
hold near Gillian and Spock, looks back in deep concern.
KIRK
Why don't they answer?
(a beat)
Why don't they sing, dammit!
255 EXT. OCEAN - UNDERWATER - (ILM/IMAX) 255
Now something few have seen: "George" swims into
center stage, undulates, and drops into a hanging ver-
tical position. Then he begins: WHALE SONG.
256 EXT. SPACE - THE PROBE - (INTERCUT) - ILM 256
It's antenna turns to the new SOUND. Then, it trans-
mits a NEW GIBBERISH, somehow more conversational.
257 UNDERWATER - THE WHALE - (INTERCUT) 257
As this new dialogue mounts, the Probe will always trans-
mit GIBBERISH from above, the whale will always answer
with WHALE SONG from underwater. But even the dullest
of us will sense the relaxing of concern and tension,
the almost conversational climax between the two commu-
nicators. And then:
258 SPACE - THE PROBE - SPACEDOCK IN B.G. - ILM 258
It sends what sounds what like a farewell burst of
GIBBERISH; then, a THRUSTER FIRES, and the Probe arcs
up and out of orbit into the far distance, leaving
Earth behind. As it leaves, the lights in SPACEDOCK
slowly begin to wink on.
259 EXT. SAN FRANCISCO BAY - VARIOUS SHOTS - ILM 259
-- The rain begins to stop.
-- The swirling clouds begin to calm -- and part.
-- A shaft of slim sunlight peeks through.
-- Kirk, Spock, Gillian watch.
-- The crew watches as the clouds begin to part.
260 INT. STARFLEET COMMAND 260
Suddenly, the great BOARD becomes reactivated. Lights
go on. SOUND and chatter return to normal.
MORROW
Mr. President -- we have power!
PRESIDENT
(at window)
By God! Launch rescue shuttle!
261 EXT. BAY AREA - ILM 261
With our floating survivors in f.g., we see the rapidly
clearing skies over the Golden Gate Bridge and the city
beyond. We hear FAINTLY, approaching RESCUE SHUTTLE.
262 EXT. OCEAN - THE SURVIVORS - SUNLIT NOW - (TANK) 262
They hear the growing SOUND of approaching rescue and
looks at the clearing sky.
BONES
Congratulations, Jim. I think
you've saved the Earth.
KIRK
Not me, Bones... They did it.
263 EXT. OCEAN - THEIR POV - (INTERCUT) - ILM 263
George and Gracie breach and frolic in their new world;
the sun breaks fully through, creating a most wonderful
rainbow... All in all, a beautiful day in the 23rd
century.
ABRUPT CUT TO:
264 INT. FEDERATION COUNCIL CHAMBER 264
Somber, hushed by contrast. Galleries filled largely
by STARFLEET PERSONNEL. Some coughs. No talk. Then:
265 SIDE ENTRY DOOR 265
It WHOOSHES open and the President and the Council
enters soberly and take their places. The President
goes to the central podium. He looks into the front
row.
PRESIDENT
Bring in the accused.
266 ANGLE 266
A somber group in spanking fresh uniforms, enters...
They are Kirk, Bones, Scotty, Uhura, Sulu and Chekov.
They walk past a front row where Gillian, Chapel, Rand,
Sarek and Spock watch them. The audience murmurs as
the "Accused" take their place on the Federation
Seal. Moment. Then Spock rises and crosses to Kirk's
group where he stands at attention.
267 BACK TO SCENE 267
PRESIDENT
Captain Spock, you do not stand
accused.
SPOCK
I stand with my shipmates. Their
fate shall be mine.
PRESIDENT
As you wish.
(then)
The charges and specifications are:
Conspiracy; Assault on Federation
Officers; Theft of Federation
Property; namely the Starship
Enterprise; Sabotage of the U.S.S.
Excelsior; willful destruction of
Federation Property, specifically
the aforementioned U.S.S.
Enterprise; and finally, disobeying
direct orders of the Starfleet
Commander... Admiral Kirk, how do
you plead?
KIRK
On behalf of all of us, Mr. President,
I am authorized to plead guilty.
PRESIDENT
So entered. Hear now the sentence
of the Federation Council:
(clears throat)
Because of certain mitigating
circumstances, all charges but one
are summarily dismissed.
(a buzz through
the crowd)
The remaining charge, disobeying
orders of a superior officer is
directed only at Admiral Kirk.
(looks up)
I'm sure the Admiral will recognize
the necessity of keeping discipline
in any chain of command.
KIRK
I do, sir.
PRESIDENT
James T. Kirk. It is the judgment
of this Council that you be reduced
in rank to Captain.
(uncertain buzz)
... And that as a consequence of
your new rank, you be given the
duties for which you have repeatedly
demonstrated unswerving ability:
the command of a Starship.
Reactions, buzz, happiness, but the President gavels
for order!
PRESIDENT
(continuing)
Silence!
(it is silent)
Captain Kirk, your new command
awaits you. You and your crew have
saved this planet from its own
short-sightedness... And we are
forever in your debt.
The tide breaks loose: everyone in the great hall
rises to a standing ovation for Kirk and the crew.
DISSOLVE TO:
268 INT. FEDERATION COUNCIL CHAMBER 268
The last of the crowd is exiting. Kirk and the Crew
are accepting the last handshakes and congratulations.
Spirits are high. And Kirk suddenly turns to find
himself face to face with Gillian.
GILLIAN
My own exonerated Kirk! I'm so..
juiced, I can't tell you!
(she kisses him)
Bye, Kirk... Thanks.
She starts away.
KIRK
Hey! -- Where you going?!
GILLIAN
You're going to your ship, I'm going
to mine. Science Vessel. I've got
300 years of catch-up learning to
do.
KIRK
You mean this is -- goodbye?
GILLIAN
(perplexed)
Why does it have to be goodbye?
KIRK
Well, I... As they say in your
century -- I don't even have your
phone number. How will I find you?
GILLIAN
Don't worry. I'll find you.
(then)
See you around the galaxy...
And she is gone. Kirk shakes his head in affection and
disbelief, then turns to see:
269 HIS POV - SPOCK 269
In a corner of the empty chamber, Spock waits stiffly
as Sarek approaches him.
270 BACK TO KIRK 270
He sees, then waits discreetly, leaving them to talk
alone.
271 ANGLE - SPOCK AND SAREK 271
As the father reaches the Son. A quiet moment in the
empty, echoing hall.
SPOCK
Father...?
SAREK
I will be returning to Vulcan within
the hour... I wanted to take my
leave of you.
SPOCK
It is kind of you to make this
effort.
SAREK
It is not an effort. You are my
son.
(then, covering
this emotionalism)
Besides; I am most impressed with
your performance in this -- crises.
SPOCK
Most kind, Father.
Sarek looks at him uncertainly, wanting to hear some-
thing. Finally:
SAREK
As I recall, I opposed your
enlistment in Starfleet... It is
possible that judgment was
incorrect.
(Spock, an eyebrow)
Your associates are people of good
character.
SPOCK
They are my friends.
SAREK
Yes, of course... Do you have any
message for your mother?
SPOCK
(thinks; then)
Tell her I feel fine...
HOLD on Sarek. It is his turn to raise a Vulcan
eyebrow. Now Spock crosses to the waiting Kirk. They
share a moment, and depart together.
272 INT. SPACEDOCK - ILM 271
From the Dock in the distance, amid the great SHIPS, a
tiny SHUTTLECRAFT comes toward us slowly.
273 INT. SHUTTLECRAFT - KIRK AND CREW - ILM BLUE SCREEN 273
A great window in the front of the craft gives everyone
a view of the ships and where they are headed. They do
not seem to know.
274 POV - THROUGH THE WINDDOW (AND INTERCUT WITH SHUTTLE) 274
Various vessels, odd shaped, undistinguished. A
Reliant class, a Saratoga. As they watch:
BONES
The bureaucratic mentality is the
only constant in the universe.
We'll get a freighter.
SULU
With all respect, Doctor, I'm
counting on Excelsior.
SCOTTY
Excelsior? Why in God's name would
you want that bucket of bolts?
KIRK
Scotty, don't prejudge. A ship is a
ship.
Ahead, through the window, is Excelsior.
SCOTTY
Whatever you say, sir.
(to himself)
Thy will be done.
And then, through the window screen, it happens: the
shuttle, automated, begins a rising climb. The
Excelsior DISAPPEARS BELOW THE FRAME LINE and in the
near distance, a new SPACESHIP appears. It appears to
be a Starship of the U.S.S. Constitution Class.
The faces of Kirk and the crew light up.
275 INT. SPACEDOCK - THE SPACE SHIP - CLOSE MOVING 275
APPROACH - ILM
It looks like the Enterprise. As we get closer, it is.
276 INT. SPACEDOCK - CLOSER ANGLE - U.S.S. ENTERPRISE - 276
ILM
FAVORING the great dish; where in freshly painted
letters: "U.S.S. ENTERPRISE" and on the line below,
"NCC 1701 - A" A painter, in spacesuit waves cheerily.
277 BACK TO THE SHUTTLE 277
The emotion is high from all, but very restrained.
Kirk says it for all.
KIRK
My friends... We've come home.
278 EXT. SPACEDOCK - ILM 278
The great exit doors open. The U.S.S. Enterprise
emerges and heads out on a trial run.
279 INT. BRIDGE - U.S.S. ENTERPRISE 279
Shiny, new, refitted for anything that may come. And
the crew is where they belong, all at their stations.
And Kirk is in his Captain's chair.
KIRK
Let's see what she's got, Mr. Sulu.
SULU
Aye, sir!
280 SPACE - THE ENTERPRISE - ILM 280
The great vessel curves and heads out. Over this we
hear:
KIRK'S VOICE
Space, the final frontier. These
are the voyages of the Starship
Enterprise. Her ongoing mission:
to explore strange new worlds... to
seek out new life and new
civilizations... To boldly go where
no man has gone before...
With that, the Enterprise hits WARP SPEED, and is gone
into the stars.
FADE OUT.
THE END
STAR TREK IV : THE VOYAGE HOME APPENDIX A.
N.D. STARSHIP DIALOGUE
(as it appears in Scene 42)
VERSION 1
Starfleet command, this is Captain
Joel Randolph of the starship
Yorktown reporting. Emergency
channel Zero-one-three-zero, code
red. It has been three hours since
our contact with the alien probe and
all attempts at regaining power have
failed. All non-essential crew have
been given hiber-sedatives to slow
down consumption of life support
reserves. Our chief engineer is
attempting to deploy a makeshift
solar sail with which to focus and
absorb radiation from a nearby sun
we are orbiting. We have high hopes
that this will, if successful,
generate power to keep us alive
indefinitely. If you would patch us
through to Engineering Control we
could link up with the technicians
there and hopefully lick this
problem. We will keep you posted on
our condition. Starfleet, and inform
you of any further developments.
Captain Randolph out.
VERSION 2
Starfleet Command, this is
communications officer Trillya of
the U.S.S. Shepard reporting on
emergency status code zero one nine
five. Our condition remains the
same, the probe has neutralized all
power supplies and we are
functioning on reserves only. All
attempts to reinstate main power
have failed. Captain Clampett has
quarantined all but minimal support
crew due to failure of Bio-
Sterilization capsules containing
Vegan D virus, which has already
killed fifteen crew members. All
aboard are believed to be infected.
Atmospheric regeneration and
reclamation systems are not
functional, and all medical supplies
are spoiling due to refrigeration
shut down. At present condition
life support systems will be
exhausted within eight hours.
Starfleet, please advise...?
STAR TREK IV: THE VOYAGE HOME APPENDIX B.
COUNCIL PRESIDENT MESSAGE
(as appearing in Scene 47)
COUNCIL PRESIDENT
This is the President of the United
Federation of Planets with a Planet
Alert, Priority One: Do not
Approach Earth -- This is a Priority
One warning to all Starships, repeat
do not approach! Earth is under the
attack of an unidentified orbiting
probe which emits transmissions on
an energy wave unknown to us. This
powerful wave, directed at our
oceans, has almost totally ionized
our atmosphere. All power sources
have failed or been neutralized.
All Earth orbiting Starships are
powerless. A cloud envelope has
enshrouded the planet causing heavy
rain and flooding. Temperatures are
dropping to critical levels. This
planet cannot survive unless the
Probe is responded to. The Probe's
transmissions dominate all standard
channels. Further communications
may not be possible and we have
discovered no methods to repel the
Probe or destroy it. Do not attempt
confrontation with the Probe!! Save
your energy, save yourselves. Avoid
the Planet Earth at all costs.
Farewell...
STAR TREK IV: THE VOYAGE HOME APPENDIX C.
KIRK'S SPEECH #1
(as appearing in Scene 540
KIRK
Starfleet Command, this is Admiral
James T. Kirk in route to Earth in
Klingon vessel. We have intercepted
and analyzed the call of the Probe
threatening Earth. With the help of
Captain Spock it is our opinion that
only the extinct species Humpback
Whale can give the proper response
to the Probe. Do you concur with
this opinion?... Do you read me?
Starfleet Command, do you read me?
KIRK'S SPEECH #2
(as appearing in Scene 54)
KIRK
Starfleet Command, we hope you can
hear us. If you read, Starfleet, we
are going to attempt time travel.
We are computing our trajectory at
this time.
STAR TREK IV: THE VOYAGE HOME APPENDIX D.
(as in Scene 25)
STARFLEET COMMAND TABLE OPERATOR
Right, I want S.F.C. up on console 5 on
One... cue. Coming up on console three
Com sat 4 no filtering southern
Quadrants... check zero one five niner
On cue three. Switching over to manual
Camera control on sat vert two three
Two. Mark on my cue 4... 3... 2...
1... check coming up on com 4... new
probe data input to major A.1. banks
for possible com link... switching to
data com line priority one weather
control... Quadrant 12-340 has partial
power maintenance... Probe has passed
A-13 new data unavailable... line
three... Sector 15 monitoring station
graphic consolidation display up on
main display 1. All neutral zone
monitoring graphics on screen 5...
On my count... cueing up now... check
K- 12 we've got you clear; I'm putting
You up on the main screen... Rigel
Monitoring graphics general data synth
With graphic reps on main 3... Check...
We're clear...
Switching now to line 13 with sat com
12... coming up on three...
... Check... we've got interactive
visuals from Delta 5 on alien probe
possible mag flux ratios... 4... 3...
2... 1... we are putting on Sat four
Graphics on screens 5 and 2... All
Clear on patch 13... Putting up
Communications from Reon seven with
Infra-red filtering... Check...
Increase contrast please... stop...
Down one third... Check that's it...
Okay...
Moving to console seven... new
Status... Update graphics on Rigel 5...
Check... continue update... fine...
Information dump clear for storage...
Okay we're clear... Bandit 5 you're
Coming through... Graphic data on
Pleadian Quadrants 5 and 7 coming up on
Screen alpha-delta seven...
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