"STAR TREK IV: THE VOYAGE HOME" (1986)

HARVE BENNETT & NICHOLAS MEYER

STEVE MEERSON & PETER KRIKES

THE WRITING CREDITS MAY NOT BE FINAL AND SHOULD NOT BE USED FOR PUBLICITY OR ADVERTISING PURPOSES WITHOUT FIRST CHECKING WITH THE TELEVISION LEGAL DIVISION.

This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify script department.

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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

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

9. Please note that Admiral Morrow (Cartwright) does not

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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

LIVE TO THE 23RD CENTURY AND

THE LEGEND FADES OUT.

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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.

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:

A RELIANT class vessel.

She is a concerned Starfleet professional. Her male SCIENCE OFFICER stands beside her. CREDITS RESUME.

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The CALL, louder this time. As they listen, the Bridge lights begin to dim.

Even as he speaks, the GIBBERISH increases in volume and the lights on the bridge dip lower.

The Helmsman attempts to comply. Nothing works.

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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:

Very low level lights; baffled faces; systems Checking.

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

The Captain considers this, turns to the Comm Officer.

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Disappearing in the distance. The GIBBERISH begins faintly, ominously again.

The City of the 23rd Century, the Golden Gate Bridge: PUSH IN to Federation Headquarters.

As we PAN Sarek INTO SHOT with COMMANDER CHAPEL, Starfleet Medical Officer whose history in Star Trek is known to all.

Sarek raises an eyebrow, as they start out.

As Sarek and Chapel enter in semi-darkness, while events are taking place O.S. They look in wonder at:

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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.

As Enterprise streaks to its fiery death, watched in LONG SHOT by Kirk and crew. Then as Kirk's face is seen, CLOSE:

As Kirk's image FREEZES, PULL BACK to reveal:

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.

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

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(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!

As the audience stirs, Sarek descends the stairs.

The gallery erupts in reaction and the Council President gavels them to silence.

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The President remains calm amid the buzzing. Then:

And with a flourish, he exits with his staff as the assembly murmurs. Then:

He gavels the meeting to its end. CREDITS CONCLUDE.

A great red sphere.

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CAMERA MOVES IN. The Klingon ship rests on its landing pad; the crew gathered outside as in a meeting.

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.

CAMERA PANS: as Kirk calls the roll: BONES... SCOTTY... UHURA... CHEKOV... SULU. Each raises a hand and holds it. Kirk now says:

As they disperse:

Kirk nods, Scotty heads inside. Bones hangs back sourly.

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And he starts off. WIDEN as Kirk turns to LT. SAAVIK, dressed in Vulcan attire.

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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.

We SLOW ZOOM to the hooded figure. It is SPOCK watching impassively. After a long moment, he turns and leaves.

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:

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.)

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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.

He stares at the flashing question. He becomes aware of someone in the room. He turns to see his mother, AMANDA.

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Spock cocks his head, still baffled by this contradiction.

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.

The sun is shining. MOVE, along the Golden Gate Bridge, toward Starfleet Headquarters.

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.

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As the President reacts to this...

The great rotating satellite, home of grand Spaceships.

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TWO CONTROLLERS, back to us, sit in the control seats. They control several Starships in b.g.

Over this, the SOUND OF THE PROBE'S SIGNAL is heard. Almost immediately, Controller Two is in big trouble.

The Two Controllers look at each other as the SOUND OF the Probe's GIBBERISH comes in at DEAFENING VOLUME.

All over Space dock, lights are dimming.

The Probe's thrusters fire, and it slows to orbit the blue marble below.

As the antennae rotate to face the Earth. As the GIB- BERISH comes on, LOUD:

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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.

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.

The dignitaries are stunned to see the cloud cover totally enveloping their planet.

Long shadows over the red planet.

The " HMS BOUNTY" sits alone in the morning light.

Renovated and spruced up by the Enterprise crew. CAMERA FOLLOWS Kirk as he inspects the pre-launch activity.

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Our first look in this cavern. In addition to the transporter and engine areas, there is a large Cargo hold.

36 BACK TO BRIDGE 36

As the crew chatters through the pre-launch check list, Kirk crosses to Saavik, near the exit doors, her work finished.

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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:

She looks back at Kirk for the briefest moment, then exits. Spock has started forward to Kirk.

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(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.

The whine of the energizers begins, the engines come alive.

As Saavik walks away without looking back. The wind and ROAR of the engines. She walks to a waiting Amanda.

With a ROAR and a belch of rocketry, the Bird of Prey lifts off, and starts its journey.

Wind blown, they watch as:

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The Bird disappears among the canyons of Vulcan.

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:

The SOUND OF THE PROBE is heard throughout, like the death knell. Morrow turns to the President and says privately:

Now the President steps to the great window, where Sarek is watching the world of San Francisco. Rain has begun to streak the window.

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The President looks at Sarek deeply. If his old wise friend has no answer, what hope is there...?

& &

As it passes us at high speed.

She sets to work, intently: Spock reacts, picks up an earpiece to listen in, perhaps be helpful.

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47 BONES 47

He sees Spock at science station, takes this opportunity to walk to his old comrade, break the silence of months.

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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.

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.

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And as Bones stalks off:

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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:

The Bridge is filled with a SOUND familiar to some in our audience, but baffling to our 23rd Century friends.

As this impacts, he rises abruptly and heads for the door. KIRK Where are you going?!

Spock turns and is gone. Beat; Kirk starts after him followed by Bones. Kirk turns back to Bones.

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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.

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:

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-- 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.

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.

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On Screen: "HUMPBACK WHALE" begins flashing to replace the Latin species name.

As DATA continues to flash on screen:

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He trails off, seeing Kirk deep in thought.

striding through a vast Cargo area. Bones follows.

As Scotty puzzles -

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And with a confident grin, Kirk exits, pursued by Bones.

As Bones catches up with Kirk.

And Kirk passes through the Cargo Bay into:

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Bones pursues Kirk on the way to the bridge.

There is a pause. Bones does not have a better idea.

The doors open, Kirk strides in, Bones following.

Waves crash against the bridge posts and the shoreline. Wind roars: Lightning, thunder, crackle and rumble.

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:

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But at this moment, the entire situation display goes fuzzy, distorts, and is gone.

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.

As the Comm Officer responds, Sarek steps up beside Morrow. Now Kirk's image clears enough to see:

But suddenly the power fails, Kirk's image is gone. A silence as they stare at the blank screen.

The interruption is sudden: the entire great window facing the bay CRASHES INWARD, filling the room with debris, cries, and howling wind.

Cloud covered Earth is distant b.g. The ship passes us. PAN to see she's heading for the Sun.

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Her wings move to their sleekest position as she con- tinues her course to the Sun.

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The Bird of Prey explodes into WARP; she blurs past our eyes several times, gaining speed toward the Sun --

On VIEW SCREEN the sun is getting larger. Vibration begins on the bridge and increases markedly with speed...

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& &

-- 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.

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 --

FROM THE REAR as CAMERA CONTINUES MOVING IN toward Kirk sitting in his chair. As the back of Kirk's head FILLS THE SCREEN:

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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:

Empty a moment, then the Bird of Prey descends INTO THE SHOT, no longer glowing, tranquil in flight.

ON SCREEN: The spectacle of Earth as seen from high orbit (NASA MATERIAL). Awesome.

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Sure enough.

Descending, the ship, via the cloaking device, disappears.

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(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:

Kirk scowls at the crystals.

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Kirk looks at him, thinking.

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.

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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.

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(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.

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:

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.

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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.

And they move off.

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.

"Nuclear Arms Talks Stalled."

82 BACK TO SCENE 82

A man steps to the machine, inserts coins, takes a paper. Kirk frowns.

He looks around in thought, sees:

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84 BACK TO SCENE 84

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.

Spock reacts to this language.

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.

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He starts to back away apologetically but Sulu stops him.

The boy departs and Bones steps to Sulu.

On McCoy's reaction we CUT TO:

The OWNER examines Kirk's glasses, now shattered.

As the Owner examines the glasses:

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As Kirk divides the money.

And they divide into teams and start off. We stay with Kirk and Spock as they begin walking.

He leads Kirk to a SYSTEM MAP in a bus stop enclosure.

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.

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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.

Bones, Scotty and Sulu.

They look off. RACK FOCUS to a billboard: "CAN'T FIND IT? TRY THE YELLOW PAGES!"

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.

He steps forward, stops a PASSERBY.

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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:

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.

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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.

Kirk thinks.

The bus pulls up and disgorges Kirk, Spock and a few other visitors. They head for the impressive building.

Large, beautiful, with great hanging replicas of whales dominating. A tour group has gathered, and DR. GILLIAN TAYLOR, perkily attractive , enters to take charge.

She starts off, all follow.

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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.

Gillian pushes a button and screens modern whale-hunt footage. Pretty gruesome stuff.

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(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.

They start after her.

The two whales undulate majestically. They are colossal. Kirk and Spock react in awe.

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Spock reacts oddly to this.

The group enters the building. Spock hangs back. Kirk does not notice his absence.

As Gillian continues the tour.

She starts down a spiral staircase that winds around the tank. The others follow, minus Spock.

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94 ANGLE NEXT TO TANK WINDOW, LOWER LEVEL 94

Gillian stops with her back to the tank.

Kirk has begun to look for Spock -- but in vain.

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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.

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.

Over speakers, we hear WHALE SONG. The crowd reacts.

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.

As the woman points, Gillian turns around to see:

99 BACK TO SCENE 99

She dashes up the stairs as Kirk desperately pursues.

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Spock climbs out, and is putting on his robe as Gillian comes running to him from a distance, followed but Kirk.

Spock turns to Kirk for guidance, but:

Spock gives it his best logical shot.

Spock hesitates.

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Kirk and Spock walking, Golden Gate Bridge in the back- ground . Slight tension between them. Then:

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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.

The whales make NOISES. They are trying to tell her something -- but what? BOB BRIGGS, Director of the Institute, comes up behind her.

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.

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Bob is rebuked. Gillian rises.

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Gillian goes off. Bob sits, then takes his feet out of the tank. JOE, an assistant, comes over.

(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.

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As Kirk is about to start another call on the comuni- cator, an approaching vehicle makes him put the device away. He turns to see:

Kirk and Spock trudging down the road ahead.

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108 INSIDE CAR 108

She reacts, keeps her eyes on them, and passes them slowly enough so that they look up to see her. As she leaves them behind, she purses her lips, stops the car, considers. Then she backs up.

109 KIRK AND SPOCK 109

The Land rover backs into the scene; Kirk acknowledges her presence but continues walking, playing it cool. Gillian begins tracking alongside.

No response.

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Kirk eyes her, keeps walking.

She stops, pushes open the door. They get in, Spock in the middle staring straight ahead.

Kirk has no idea what she's talking about. Silence. Then, to Spock:

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Kirk rolls his eyes.

Long pause. Gillian doesn't like considering this.

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A silence.

Gillian stops the car with a SQUEAL OF BRAKES.

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(she starts to interrupt) Please, just -- let me finish. I can tell you that we're not in the military and that we intend no harm to the whales.

Silence.

Gillian considers this for a moment; she's got nothing better to do. Finally:

Kirk and Spock exchange glances, mystified.

She looks at them. What a group.

A big sign -- PLEXICORP tells us what this place is.

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Scotty, dressed conservatively, paces back and forth. After a moment, the manager, NICHOLS, emerges with Bones.

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Scotty starts past Bones.

Sulu moves through the grounds where Plexiglass Products of all shapes and sizes are stacked. In the midst of this, sits a great HUEY helicopter with the company logo on its side. Its PILOT is working on his engine as Sulu comes up touches the craft lovingly, stares studiously into the cockpit.

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An impressive glass-walled cubicle separating the boss from the factory chaos. Nichols leads Scotty and Bones inside.

A look between Bones and Scotty. Then:

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He gestures, and Scotty sits at a nearby Macintosh. He surveys the machine quizzically, clears his throat, and in a loud voice says:

Bones steps in quickly, picks up the "Mouse" and shoves it into Scotty's hand. Scotty looks at the mouse, baffled, then puts it to his lips like a mike.

Then, preparing his fingers like a concert pianist, he plunges to work furiously.

An awesome series of figures and graphics are appearing. PULL BACK to reveal Scotty, now master of the keyboard, while Nichols watches in awe, next to Bones. with a flourish, Scotty hits a last command, and a wondrous three dimensional graphic appears.

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As Bones accepts the truth of this, we hear:

The Land rover pulls to a stop. Kirk and Spock get out, but Kirk gets back in.

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Spock is now outside. Gillian calls to him:

Spock walks OUT OF VIEW.

And they drive off.

After the Land rover has departed, he is left alone, standing quietly. Then, with no warning, he BEAMS OUT.

Not fancy but nice; a WAITER stands, ready to take their order.

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Kirk stares at the menu blankly. He shrugs.

The Waiter leaves. Kirk and Gillian, a moment; then:

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The Waiter returns with their beers, and two plates.

Kirk says nothing, looks at her. There's chemistry, all right.

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As she dabs her eyes with a napkin, Kirk's communicator BEEPS three times from under his clothes. Pained, he ignores it.

The BEEPER again. Exasperated, Kirk flips it open.

118B BACK TO SCENE 118B

Long pause. Gillian stares at him, pulls on her beer thoughtfully. Then:

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She bites her pizza.

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The Waiter arrives, plunks the pizza down and holds up the check.

And so saying, he exits, leaving a baffled Gillian and Waiter. Gillian, a beat, then covers to the Waiter:

U.S.S enterprise, floodlit, secure. Shore Patrolmen on duty. A general sense of tight security.

A SAILOR in dungarees and a DRUG DOG patrol the empty corridor. As they near CAMERA a familiar SOUND (THE BEAM-IN) is heard faintly. The dog stops, his ears go up in surprise. The sailor has not heard the sound. He whistles to the dog and urges him on down the corridor.

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Deep within the bowels of the ship. Uhura and Chekov have made it in. They carry with them the COLLECTING DEVICE, a long, flashlight-like tube with a folded up metal piece. They start forward, hide momentarily as a PAIR OF FEET walk above them, seen through the metal decking which forms a ceiling above them. Then they start carefully OUT OF SHOT.

Signs of danger and warnings. Definitely off limits. They move quickly to the "Reactor threshold," a control area marked by sings, warnings, and flashing red lights. Uhura takes a confirming reading on her tricorder, nods, and Chekov fans the metal piece open into a parabolic shape. He places the "dish" in the place indicated by Uhura, turns on a power source. A FAINT SOUND indicates it is working.

She looks around nervously.

thru thru

As the Land rover pulls to a stop.

As she pulls on the handbrake. The empty pizza box is between them.

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She looks at him --

He gives her a brief kiss and is gone. She sits there, surprised, but not disagreeably. Then she RESTARTS her CAR and is about to depart when she hears an ODD SOUND O.S. and there is a SLIGHT FLICKER of reflected LIGHT. She turns and looks back through the rear window.

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128 HER POV 128

There is no one within a hundred feet of where Kirk last stood.

129 BACK TO GILLIAN 129

She turns back, puzzled; slips the car into gear, and still puzzled, departs.

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Kirk materializes and is met by Spock. Immediately they begin walking.

Enraged and frustrated, Kirk stalks off, leaving Spock. A critical moment: his feelings are surfacing: anger, pain, and above all, confusion.

PULL BACK. The device is still HUMMING. Uhura looks at Chekov in concern. He can only shrug.

Which seems to be having electronic trouble. Watching it are a RADAR OPERATOR and an ELECTRONIC TECHNICIAN. in b.g. are other ENLISTED TECHS, and TWO OFFICERS. The Operator plays with the faulty screen and says:

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The COMMAND DUTY OFFICER steps to the console.

131B UHURA AND CHEKOV 131B

The Collector makes a sound that appears final. As Chekov removes the device from the bulkhead and folds the metal in place, Uhura flips the communicator open.

131C THE C.I.C. ROOM 131C

As the C.D.O., waiting on phone hears a voice.

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He clicks off, dials a number code and in a moment:

& &

131F UHURA AND CHEKOV 131F

Chekov steps aside, as Scotty sweats back in the B.O.P. Transporter. The Transporter power is discernibly weak. At last, Uhura is slowly BEAMED OUT. Chekov, looks nervously about.

132 BACK TO SCOTTY 132

Scotty is working feverishly as Chekov's voice breaks up on speaker. During scene Uhura enters and listens anxiously.

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133 BACK TO CHEKOV 133

The RUNNING FEET, an O.S. COMMOTION, are louder, closer.

From all angles, U.S. MARINES in jungle fatigues, helmets and bandoliers have surrounded Chekov, their SHOTGUNS leveled at him.

There is a pause as Chekov stares back.

thru thru

(AS SHOT)

We are CLOSE on an FBI AGENT, his badge in lapel pocket. He's examining Chekov's I.D.

PULL BACK to include Chekov, various NAVAL OFFICERS, and a CIVILIAN, (A.E.C.)

The phaser -- on the desk.

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The Agent takes a deep breath of exasperation and, leaving Chekov at the table, walks back to the Civilian.

While they huddle, Chekov snatches up the phaser.

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They stare at him in disbelief.

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He aims the phaser and pulls. It makes a pathetic BURBLING SOUND. Everyone stares. Chekov, apologetically:

With an abrupt change of mood he bolts for the nearest bulkhead door, dogs it open and reaches out.

& &

B140 -- Marines pour from hatchways and corridors in hot pursuit.

C140 -- Chekov up a ladder, Marines in pursuit below.

-- Up the ladders come the Marines.

D140 -- HANGAR DECK: Chekov breaks into the great empty space, barn like; he see's the elevator opening and a shot at freedom, he races toward the light.

E140 -- Marines, gaining, follow him across the hangar deck.

F140 -- Chekov reaches the elevator portal, races onto the elevator and the gangway beyond -- only to see:

G140 -- SHORE PATROLMEN, coming up the gangplank to the elevator.

H140 -- Behind Chekov, the Marines have caught up. He veers to his left, thinking to dive into the water, trips and, with a cry:

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It's too late for Chekov. He falls from the elevator into CAMERA --

Chekov has landed on a floating barge below the elevator. He lies there, unmoving.

The Marines and Shore patrolmen look in horror. The FBI MAN rushes up, and seeing:

She's at her station, distraught, monitoring a series of local POLICE and PARAMEDICAL EMERGENCY CALLS. Kirk enters, comes to her.

Kirk steps to his chair, presses COMM, weary, frustrated.

Scotty and Spock are watching a slow re-crystallization process.

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HOLD on Spock. Up above, HOLD on Kirk, as Uhura's police calls ECHO faintly in b.g., he feels all the frustration of waiting...

The Land rover pulls up and Gillian gets out, puzzled. It's very quiet. No press. No crews. The main door is locked. She takes out a key, and enters.

Gillian enters, and stares: It's strange, ghostly, and empty here. She can see no sign of George or Gracie. Has her world gone mad? Has she walked into the wrong dimension? As her distress mounts she turns to face:

& &

146 ANGLE TO INCLUDE BOB 146

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She slaps him hard.

As Gillian runs to her car from b.g. and climbs in, close. For a moment she just sits there, her head on the wheel, sobbing now. Then with determination, she starts the car, and peels out of the scene.

The Plexicorp helicopter, carrying an enormous pane of plexiglass across the city. It is not exactly steady.

Sulu is at the controls, muttering to himself.

DAY

As the chopper and its load pass overhead;

The Land rover drives up and stops. Gillian jumps out, still overwrought. She looks around and almost like a silent scream for help, she yells Kirk's name. The scream is silent because its drowned out by the SOUND OF THE APPROACHING HELICOPTER. Gillian looks up to see:

152 THE HELICOPTER 152

It comes closer, then hovers.

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He climbs into SHOT from below FRAME LINE, waves Sulu in like a landing officer on a carrier.

155 GILLIAN 155

She cannot believe what she's seeing O.S.

The chopper is lowering the plexiglass into thin air, and guiding the process is half of Scotty, visible only from the waist up.

157 BACK TO SCENE 157

Gillian, stunned, moves forward to get a better view, and clunks her head on an invisible strut. She gets up and feels the thing like a blind person. She's starting to understand she's in some Twilight Zone. In desperation:

158 TO SCOTTY 158

He's seen her distress below him. To communicator:

He is looking upward, a shaft of daylight falling on his face. As he hears Scotty's cry from above, he turns quickly to a SURVEILLANCE MONITOR close by. There on the screen he sees Gillian's agitated figure. There is a moment of amazed reaction then looking back up to Scotty:

As, hysterically, she trips and bumps into other parts of the invisible ship.

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The SOUND she once heard, she hears again; and to her disbelief, she disappears in the BEAM EFFECT.

As Gillian BEAMS IN. Kirk is there.

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She looks about, dazed as he helps her off transporter.

She's about to faint; Kirk catches her.

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He looks up to see Spock entering, all business.

As Gillian stares at Spock's ears:

He offers his hand. She shakes it in wonder as:

161 BACK TO CARGO BAY (INTERCUT) 161

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TRACK with Kirk, Bones and Gillian -- dressed as DOCTORS AND NURSES. Bones carries his own medical equipment in a traditional black bag.

They split; Kirk and Gillian go one way. We follow Bones. He walks down a corridor, nodding to other doctors, nurses, interns. He sees a gurney, steps to it. On it is a very feeble ELDERLY WOMAN.

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He slips a lozenge from his bag under her tongue.

Kirk and Gillian. Kirk gestures, O.S. WIDEN to admit Bones.

Bones reacts, then looks around. He sees an empty gurney.

Kirk and Bones, masks on their faces, emerge wheeling the gurney with Gillian under the covers. They head for an elevator. The doors open.

Kirk and Bones push the gurney in. TWO INTERNS are talking.

1ST INTERN So, Weintraub says radical chemotherapy or she's gonna croak. Just like that...

2ND INTERN And Gottlieb?

1ST INTERN Well, what'd you expect? All he talked about was image therapy.

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1ST INTERN You have a different view, Doctor?

The doors open. They wheel the bed out, the doors close, leaving the Interns looking at each other, perplexed.

We TRACK behind Kirk, Bones and the bed towards the end of the hall. TWO POLICEMEN block their passage.

They don't budge. Under the sheet, Gillian starts to wail.

Gillian wails louder. The Policemen look uncertain.

Gillian wails. The Policemen finally move aside and they push their way through.

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Gillian sits up, throws off the sheet as they see the operating theatre. They leave the bed where it is and proceed into the room, lifting their surgical masks.

Kirk looks to Bones, who nods and they walk around the curtain where Chekov, unconscious, lies on the table. Two nurses arrange instruments in preparation for surgery, while a YOUNG DOCTOR reads Chekov's chart.

Then, to the curious glances of the surgical team, Bones takes out his Tricorder and passes it over to Chekov --

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The young Doctor gives Bones an icy stare.

But as he turns to leave, Kirk blocks his path, then --

He gives the Doctor a swift, sure, Judo chop. Gillian and the nurses gasp.

As Bones pulls out his Medical Tricorder and begins working on Chekov, Kirk slings the fallen Doctor over his shoulder, and draws a phaser.

Indicating a windowed room adjoining, he herds them in there, lowers the Doctor to the floor, and closes the door. Then he adjusts his phaser, aims at the lock and:

Kirks phaser MELTS the lock.

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167B BACK TO SCENE 167B

Bones, muttering as he passes the device over Chekov.

Kirk joins him; Chekov has begun to moan faintly...

Chekov's eyes begin to flutter.

Now Chekov is pulling out of it. He sits up.

The "Doctors," pushing the sheet-draped Chekov, exit, passing the two Policemen we saw before.

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They look at each other, make a beeline for the O.R.

The crystals are coming back to life! WIDEN to reveal the process supervised by Scotty, watched by Spock.

Rolling the gurney in a hurry. ALARMS go off! LOUDSPEAKERS! They break into a run.

A group of HOSPITAL and POLICE GUARDS round a corner, see the fleeing Kirk, and race toward us, CAMERA PANNING. As they exit, HOLD on double doors which open. Sitting up on an emergency gurney, happy as a clam, is the feeble old lady we saw before. Two DOCTORS, one pushing.

-- Kirk and friends, racing at high speed...

-- The guards, weapons drawn are gaining...

-- On the speeding Gurney, Chekov raises his head in confusion; Bones clunks him down.

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-- A large elevator door opens ahead; as the gurney heads for it, a hospital GUARD steps in the way; using

the gurney as a battering ram, Kirk takes the Guard out of the play, races with Bones and Gillian into the elevator. The doors close just as the perusing forces get there. The guards check the "UP" indicator and head for the stairs!

-- Inside the elevator, going up. Gillian is concerned.

-- TOP FLOOR: The pursuers race out of the Stairwell, across the Elevator, where the indicator says they've beat the elevator. Weapons drawn, they wait: when the doors open and they press forward:

-- POV: The Elevator is empty.

-- Back to the group: Consternation.

thru thru

-- Kirk, Gillian, Bones and Chekov BEAM IN. Bones leads Chekov toward --

-- The descending RAMP. Sulu appears to help. They all disappear up the ramp, which now begins to close.

-- Kirk alone with Gillian. She sees the ramp closing and begins to sense something wrong.

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As Kirk starts to BEAM UP, Gillian leaps, grabs him round the waist. And as they are BEAMED IN together:

WHOOSH, and Kirk strides in angry, Gillian following, looking around room at all the crew in wonder.

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As he works, Kirk turns to Gillian:

And the GREAT ROAR BEGINS...

As a GREAT HURRICANE envelopes the meadow along with the ROAR. Trees bend, trash cans and panic tables tumble until the roar begins to recede -

DAY

The landing area below is receding rapidly as the Bird's rockets ROAR.

As the professionals from the future crackle their routine, Gillian watches, wide eyed.

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By now we see the outline of the bay and bridges on a sun sprayed beautiful day.

186 BRIDGE 186

As Gillian reacts to this, the impulse engines ROAR and:

We are speeding at Mach 16 or 17 down the California coast and out toward the open sea.

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Kirk moves to Uhura, followed by Gillian.

Uhura, earpiece pressed, holds up her hand to indicate she is working on it.

188C FAVORING SPOCK'S STATION 188C

As Spock looks baffled, Bones ENTERS SHOT.

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FAINT SOUND of Whale Transponder is heard. Gillian reacts:

On VIEWSCREEN, a slightly deteriorated image, but we can make out George and Gracie. There is a moment of reaction from Gillian, Kirk, Spock and all. Then:

They breech, singing their song, and the music swells to say what is in everyone's heart: hang in there!

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192 BACK TO BRIDGE 192

ON VIEWSCREEN: A semi-clear image of a whaling ship, its prow cutting through the water, its harpoon gun very much in evidence.

The horizon rises as our view dips 20 degrees, the speed increases to 12,000 MPH, and we whiz through puffy clouds toward an unseen ocean target hundreds of miles away.

(35MM STOCK)

The Whaler is modern, and plows through the water at 25 knots. Its crew are largely bearded; they are Northern Europeans, maybe Swedes, Icelanders or Russians, all famous as Humpback hunters. The radar turns lazily. Then:

In the crow's nest a sailor points. Binoculars are trained. They see something! The ship begins a gradual course change. The engine telegraph signals FLANK SPEED. The decks are exploding with activity as she heads toward the quarry.

The whales break the surface, arcing majestically; enjoying the sun and their freedom...

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(NOTE: We may now utilize, on VIEWSCREEN, scenes of WHALES and WHALING SHIP, as well as POV's of the Bird's forward view, which at the moment, is on screen.)

Feverish activity, punctuated by the rising SOUND OF SONAR PINGING. Harpoons are being carried to the gun and loaded. The crew begins pointing excitedly to the distance.

George and Gracie, oblivious to the danger, move through the water.

The harpoon gun is loaded and is transversing.

thru thru

We see the boat on screen.

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They lazily appear on the surface, oblivious to danger. They are a perfect target.

207 THE SHIP 207

The gunner sights with confidence -- fires!

208 FX SEQUENCE 208

The harpoon sails through the air toward the whales, then, with a great THWANG, hits an invisible something, and falls harmlessly into the sea.

209 THE BOAT 209

Bafflement! Consternation! Then:

Where the harpoon had stopped, now comes a ROAR OF SOUND and LIGHT. The Bird of Prey, big as a football field, DE-CLOAKS!

Oh-my-God! What-he-hell! ALARM KLAXONS! The helmsman spins the wheel! The engine telegraph goes to flank.

& &

The defeat of the whaler causes the cheers of all. But Kirk quiets them with:

As the SOUND of the beam build-up begins:

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& &

Everything is to the firewall and he's sweating.

As the energy WHINE PEAKS:

George and Gracie, moving slowly through the deep, begin to BEAM OUT...

As Scotty watches in awe, the whales, and half a tank of sea water, BEAM IN.

On Scotty, open-mouthed.

220 THE BRIDGE (INTERCUT) 220

as she begins to climb with moderate speed to altitude.

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222 BRIDGE (CONTINUE INTERCUTTING) 222

The Bird of Prey EXPLODES into warp speed, disappearing into the deep blue-black of Space beyond.

224 AT BRIDGE 224

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He steps forward, shakes Spock's hand as though he had just come through a great transformation. In high spirits, Kirk leads Gillian off the bridge, leaving a puzzled Spock.

There is a pause.

Spock straightens, pulls the bottom of his garment straight with dignity, and accepts the responsibility.

The two whales are contentedly behind the plexiglass, their eyes focusing on Gillian. Kirk, Scotty flank her, all watching the whales.

Scotty exits shot.

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As she looks at Kirk, the ship begins to vibrate quietly.

Kirk hurries out.

As before she's heading straight for the great Star.

Kirk enters through the WHOOSHING DOORS. The bridge is beginning to shake badly now. Kirk listens to:

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Kirk steps forward.

CLOSE on Spock as the buffeting gets intense. A wait. A further wait. Then:

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-- Just as the Bird appears certain to be swallowed by the Sun, a BLAST accelerates the ship along the far curve of the Sun as before. Solar flares lick the blurring vessel as she disappears behind the Sun. The CAMERA PANS ACROSS the Sun, waiting for the "comet" to appear around the far side of the Sun as she did before... And we wait. And we wait.

-- CLOSER. The bird does not appear. The wait is interminable. Has the ship incinerated...? Then abruptly: there is a BANG and the SOUND OF RETROS as we heard in the first time sequence. Suddenly:

The SILENCE is total and deafening. We do not hear even the ambient pings and pongs of the electronic equipment. We have a feeling of LIMBO. Yet the people seem all right, though baffled. Are we in some new dimension? Kirk surveys the scene, and dares to speak:

Consternation from all; then, FAINTLY in the void of sound, we begin to hear the PROBE GIBBERISH...

WAVES CRASH against the shore. This sequence is exactly as we saw earlier in the film. GIBBERISH louder now.

As before; Panic; Lightning and PROBE GIBBERISH.

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But at this moment, the entire situation display goes fuzzy, distorts, and is gone.

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.

As the Comm Officer responds, Sarek steps up beside Morrow. Now Kirk's image clears enough to see:

But suddenly the power fails, Kirk's image is gone. A silence as they stare at the blank screen.

The interruption is sudden: the entire great window facing the bay CRASHES INWARD, filling the room with debris, cries, and howling wind. (END REPEAT SEQUENCE.)

As the wind and the rain blow through the room, we find Sarek and Morrow, hands held up to protect their faces, then, suddenly, Sarek looks outward -- point"

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Deep overcast, lightning flashes, heavy rain. We are looking toward the Golden Gate. The BIRD OF PREY is descending out of the overcast headed toward the bridge in a shallow, but uncontrolled dive. PROBE GIBBERISH present through out sequence.

The buffeting of turbulence; the GIBBERISH loud. A sense of helplessness we've never seen from this crew.

-- Sarek, Morrow and the others watch in horror as --

-- The Bird narrowly misses by sheer luck and WHOOSHES under the great bridge --

-- Skimming now over the ocean, closer and closer to impact...

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-- The Bird's long snout rotates up just a bit and:

-- The crew holds its breath and --

-- The Bird of Prey SLAMS into the water like a giant stone being skipped, bounces once, then bellies in with ripping SOUNDS --

-- The crew is thrown about the bridge -- and the side WINDOWS blow out with a POW!

-- The Bird comes to rest, nose high. After a moment it is clear she is sinking.

Water sprays from seams and pipes; the crew struggles to move against the uphill tilt.

Spock does. Kirk struggles to the blown out hatch near Spock. He looks up into the rain above:

239 HIS POV 239

Rain, fog, but above all: the GIBBERISH of the Probe.

240 BACK TO KIRK 240

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Stay with Kirk as he fights his way downhill to the exit doors, which he forces open with great effort, then exits.

They're in trouble. The water is waist deep and rising. Scotty cannot open the hatch door to the NECK.

Kirk, water spraying about him, reaching the cargo bay door. He tugs at the emergency release. It's stuck.

Water is now up to their necks. Scotty and Gillian can't get out unless --

-- Kirk now wrenches the release, pulls the door open. He reaches his hand down, helps Gillian, then Scotty, into the temporary safety of the corridor above. Above the DIN OF WIND, RAIN and HISSING WATER, Kirk shouts:

But Kirk takes a deep breath and is gone, diving below. Scotty watches helplessly, then turns to aid Gillian up and out, closing the hatch as ordered.

As Kirk swims in, begins searching. It's not going to be easy: Kirk cannot hold his breath forever.

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As the crew, one by one, emerge from the bridge window into the pelting rain. They cling to the floating bridge.

Inside the bridge, Spock helps Scotty and Gillian in and to the window exit.

246 TOP OF CARGO BAY 246

Kirk breaks the surface, his lungs screaming for air. Only a few inches remain unflooded. He gulps air, and dives one last time.

A determined Kirk swims rapidly down, looks desperately, finally finds the panel behind a layer of wreckage. He rips the barrier away, opens the seal, presses the sensor. There is a MUFFLED EXPLOSION and:

The bay doors swing open!

He looks up and around for his best way out: deciding he suddenly dives down, disappears and --

-- emerges out the open bay doors. He heads for the surface and --

-- Kirk pops to the surface gulping for air. The rain pelts him. He looks round.

-- The last of the survivors, Gillian and Spock emerge safely.

-- Kirk relieved but where are the whales? And the Probe's nagging GIBBERISH is heard again. He dives once more...

comes toward us, stops to see:

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George and Gracie emerge from the bay doors, and majes- tically move away from the ship.

He watches in wonder; then heads for the surface.

-- Kirk surfaces near the floating bridge and the sur- vivors. Rain pelts; fog obscures; and above all: the still unanswered CALL of the Probe.

-- CLOSER: Kirk arrives at the wreckage, takes a hand hold near Gillian and Spock, looks back in deep concern.

Now something few have seen: "George" swims into center stage, undulates, and drops into a hanging ver- tical position. Then he begins: WHALE SONG.

It's antenna turns to the new SOUND. Then, it trans- mits a NEW GIBBERISH, somehow more conversational.

As this new dialogue mounts, the Probe will always trans- mit GIBBERISH from above, the whale will always answer with WHALE SONG from underwater. But even the dullest of us will sense the relaxing of concern and tension, the almost conversational climax between the two commu- nicators. And then:

It sends what sounds what like a farewell burst of GIBBERISH; then, a THRUSTER FIRES, and the Probe arcs up and out of orbit into the far distance, leaving Earth behind. As it leaves, the lights in SPACEDOCK slowly begin to wink on.

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-- The rain begins to stop.

-- The swirling clouds begin to calm -- and part.

-- A shaft of slim sunlight peeks through.

-- Kirk, Spock, Gillian watch.

-- The crew watches as the clouds begin to part.

Suddenly, the great BOARD becomes reactivated. Lights go on. SOUND and chatter return to normal.

With our floating survivors in f.g., we see the rapidly clearing skies over the Golden Gate Bridge and the city beyond. We hear FAINTLY, approaching RESCUE SHUTTLE.

They hear the growing SOUND of approaching rescue and looks at the clearing sky.

George and Gracie breach and frolic in their new world; the sun breaks fully through, creating a most wonderful rainbow... All in all, a beautiful day in the 23rd century.

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Somber, hushed by contrast. Galleries filled largely by STARFLEET PERSONNEL. Some coughs. No talk. Then:

265 SIDE ENTRY DOOR 265

It WHOOSHES open and the President and the Council enters soberly and take their places. The President goes to the central podium. He looks into the front row.

266 ANGLE 266

A somber group in spanking fresh uniforms, enters... They are Kirk, Bones, Scotty, Uhura, Sulu and Chekov. They walk past a front row where Gillian, Chapel, Rand, Sarek and Spock watch them. The audience murmurs as the "Accused" take their place on the Federation Seal. Moment. Then Spock rises and crosses to Kirk's group where he stands at attention.

267 BACK TO SCENE 267

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Reactions, buzz, happiness, but the President gavels for order!

The tide breaks loose: everyone in the great hall rises to a standing ovation for Kirk and the crew.

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The last of the crowd is exiting. Kirk and the Crew are accepting the last handshakes and congratulations. Spirits are high. And Kirk suddenly turns to find himself face to face with Gillian.

She starts away.

And she is gone. Kirk shakes his head in affection and disbelief, then turns to see:

In a corner of the empty chamber, Spock waits stiffly as Sarek approaches him.

270 BACK TO KIRK 270

He sees, then waits discreetly, leaving them to talk alone.

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As the father reaches the Son. A quiet moment in the empty, echoing hall.

Sarek looks at him uncertainly, wanting to hear some- thing. Finally:

HOLD on Sarek. It is his turn to raise a Vulcan eyebrow. Now Spock crosses to the waiting Kirk. They share a moment, and depart together.

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From the Dock in the distance, amid the great SHIPS, a tiny SHUTTLECRAFT comes toward us slowly.

A great window in the front of the craft gives everyone a view of the ships and where they are headed. They do not seem to know.

Various vessels, odd shaped, undistinguished. A Reliant class, a Saratoga. As they watch:

Ahead, through the window, is Excelsior.

And then, through the window screen, it happens: the shuttle, automated, begins a rising climb. The Excelsior DISAPPEARS BELOW THE FRAME LINE and in the near distance, a new SPACESHIP appears. It appears to be a Starship of the U.S.S. Constitution Class.

The faces of Kirk and the crew light up.

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ILM

FAVORING the great dish; where in freshly painted letters: "U.S.S. ENTERPRISE" and on the line below, "NCC 1701 - A" A painter, in spacesuit waves cheerily.

277 BACK TO THE SHUTTLE 277

The emotion is high from all, but very restrained. Kirk says it for all.

The great exit doors open. The U.S.S. Enterprise emerges and heads out on a trial run.

Shiny, new, refitted for anything that may come. And the crew is where they belong, all at their stations. And Kirk is in his Captain's chair.

The great vessel curves and heads out. Over this we hear:

With that, the Enterprise hits WARP SPEED, and is gone into the stars.

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STAR TREK IV : THE VOYAGE HOME APPENDIX A.

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STAR TREK IV: THE VOYAGE HOME APPENDIX B.

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STAR TREK IV: THE VOYAGE HOME APPENDIX C.

KIRK'S SPEECH #1

(as appearing in Scene 54)

KIRK'S SPEECH #2

(as appearing in Scene 54)

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STAR TREK IV: THE VOYAGE HOME APPENDIX D.

(as in Scene 25)

Switching now to line 13 with sat com 12... coming up on three...

... Check... we've got interactive visuals from Delta 5 on alien probe possible mag flux ratios... 4... 3... 2... 1... we are putting on Sat four Graphics on screens 5 and 2... All Clear on patch 13... Putting up Communications from Reon seven with Infra-red filtering... Check... Increase contrast please... stop... Down one third... Check that's it... Okay...

Moving to console seven... new Status... Update graphics on Rigel 5... Check... continue update... fine... Information dump clear for storage... Okay we're clear... Bandit 5 you're Coming through... Graphic data on Pleadian Quadrants 5 and 7 coming up on Screen alpha-delta seven...

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