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 t |