Thanks to https://www.geocities.com/ussmunchkin7/Star_Trek_IV.htm Star Trek IV: THE VOYAGE HOME 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...