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...