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

STAR TREKIV: THE VOYAGEHOME ____________________________

Screenplayby:

HARVEBENNETT &NICHOLAS MEYER

Story by:

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This script is not for publication or reproduction.No one is authorized to dispose of same.If lost or destroyed, please notify script department.

PARAMOUNT PICTURESCORP. REV. SHOOTINGSCRIPT 5555 Melrose Avenue Los Angeles, California90038 March 11, 1986

rev. thru Apr. 10, 1986

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PRODUCTIONNOTES

1. Please notethat the characterof StarfleetCommander

is "AdmiralCartwright," not"Admiral Morrow."Please modify allscripts and productionboardsaccordingly.

2. Please notethat Master ChiefPetty OfficerRand now

first appearsin Scene 25and in all subsequentStarfleet Command scenes.

3. Please notethat CommanderChapel appearsin Scene 25

and in allsubsequent Starfleet Command Scenes.

4. Please notethat a new Scene188A has beenincluded

and Scotty'sside of the dialoguewill bephotographed in the CargoBay Area.

5. Please notethe readmissionof Scenes 132and

6. Uhura is nowpresent in Scene132.

7. Please notethat in a new scene158A, weare covering Kirk

in the Transporterarea ofthe Bird of Preyduring the plexiglasslowering sequence.

Also note,we will requireVideo playbackfrom production footage ofGillian's imageoutside. Existingvideo monitor in Cargo Baywill be playbacksource forthis image.

8. Please notethat in Scene188A, Scotty willbe covered

in the CargoBay.

9. Please notethat Admiral Morrow(Cartwright)does not

appear in Scenes265, 266,267.

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DEDICATION

IN BLACK

In the silencepreceding theParamount Logo,in simple white letterswhich FADE INis the followinglegend:

"THE CAST ANDCREW OF STARTREK

WISH TO DEDICATETHIS FILM

TO THE MENAND WOMEN OF

THE STARSHIPCHALLENGER

WHOSE COURAGEOUSSPIRIT SHALL

LIVE TO THE23RD CENTURYAND

BEYOND."

THE LEGENDFADES OUT.

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FADE IN:

A HORN soundsthe STAR TREKFANFARE, andwe begin to MOVE FORWARD.MAIN TITLESbegin. And tothe delight of Star Treklovers everywhere,the MUSICOVER the early creditsis the SERIESTHEME by AlexanderCourage. We're in fora classic, goodold Star Trektime. But hold on...

After the first16 bars andearly CREDITS,the music trails offominously intosilence -- anda faint new SOUND. At thesame time, wepick up a speckof light coming towardus from deepspace. As theSOUND GROWS, the speck beginsto assumeshape and form.

A simple cylinder,non-threateningbut hugein size, with odd, eye-likeantennae.It emits theSOUND, a long synthesizedgibberish,foreign to ourears. The SOUND STOPS;the antennaerotates; the SOUNDis heard a second time,then stops. Asthe probe slowlypasses us we hear:

A RELIANT classvessel.

She is a concernedStarfleetprofessional.Her male SCIENCE OFFICERstands besideher. CREDITSRESUME.

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The CALL, louderthis time.As they listen,the Bridge lights beginto dim.

Even as hespeaks, the GIBBERISHincreasesin volume and the lightson the bridgedip lower.

The Helmsmanattempts to comply.Nothingworks.

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The distancecloses rapidly;the Probe'ssize is getting awesome;the GIBBERISHresumes,loud...

6 SARATOGA BRIDGE 6

As the Gibberishreaches aloud climax, thelights go out entirely,along with allengine andelectronic sounds. Inthe sudden darkness:

Very low levellights; baffledfaces; systems Checking.

As it bearsdown on Saratoga,and passesmassively overhead,endlessly; TheProbe is now recognizedas miles long.It passes now,and goes offinto the dis- tance.

7A BACK TO THEBRIDGE 7A

The Captainconsiders this,turns to theComm Officer.

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Disappearingin the distance.The GIBBERISHbegins faintly, ominouslyagain.

The City ofthe 23rd Century,the GoldenGate Bridge: PUSH IN toFederation Headquarters.

FEET

Hurrying overmarble floors,as CREDITSCONTINUE. PAN UP now to revealSAREK, Spock'sfather, movingOUT OF SHOT.

As we PAN SarekINTO SHOTwith COMMANDERCHAPEL, Starfleet MedicalOfficerwhose history inStar Trek is known to all.

Sarek raisesan eyebrow,as they startout.

As Sarek andChapel enterin semi-darkness,while events aretaking place O.S.They look inwonder at:

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As it comestoward us, onlyto be wreckedand torn apart by aseries of explosions.

13 BACK TO SAREK,CHAPEL 13

Awed, seeingthis for thefirst time.

As Enterprisestreaks to itsfiery death,watched in LONG SHOT byKirk and crew.Then as Kirk'sface is seen, CLOSE:

As Kirk's imageFREEZES, PULLBACK to reveal:

A doomed roomin which theFEDERATION COUNCILand its PRESIDENT sitat a long tablebefore theFederation Seal. Thereis a gallery ofrepresentativesfrom vari- ous planets.The screen onwhich Kirk'simage is frozen is centrallylocated.And at a spotlit glass podium, standsthe KLINGONAMBASSADOR, pointing.

16 VARIOUS ANGLESIN ROOM ANDON SCREEN 16

Kirk, ON SCREEN,introducesthe GenesisDevice and its awesome visuals(STAR TREKII AND III). Manypeople in the room havenever seen thesecret materialand react accordingly.And the Klingoncontinues histirade

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(the proofis on screen) Theresult of thisawesome energy waseuphemisticallycalled "The GenesisPlanet..."A secret base fromwhich to launchthe. annihilationofthe Klingon people! (as theaudience stirs) Wedemand the extraditionof Kirk! Wedemand justice!

As the audiencestirs, Sarekdescends thestairs.

The galleryerupts in reactionand the Council President gavelsthem to silence.

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The Presidentremains calmamid the buzzing.Then:

And with aflourish, he exitswith his staffas the assembly murmurs.Then:

He gavels themeeting to itsend. CREDITSCONCLUDE.

A great redsphere.

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CAMERA MOVESIN. The Klingonship restson its landing pad; the crewgathered outsideas in a meeting.

The words "H.M.S.BOUNTY"have been handpainted on the side of theopen bay doors.CAMERA MOVES towardthe gathered Captainand Crew.

CAMERA PANS:as Kirk callsthe roll: BONES... SCOTTY... UHURA...CHEKOV...SULU. Each raisesa hand and holds it.Kirk now says:

As they disperse:

Kirk nods,Scotty heads inside.Bones hangsback sourly.

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And he startsoff. WIDEN asKirk turns toLT. SAAVIK, dressed inVulcan attire.

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They exchangea look, andshe starts in,leaving him alone in thought.Then heslowly, almostsecretly looks upward:he stares uncertainlyat themountain above.

We SLOW ZOOMto the hoodedfigure. It isSPOCK watching impassively.Aftera long moment,he turns and leaves.

They form acomputer consolelike a greatpipe organ, with a bankof keys. On eachscreen are thewords: MEMORY TESTINGINTERRUPTED."PULL BACK asSpock enters, sitsthoughtfully,.Then he placesa small lightweightheadset on:

What followshappens rapidly:Questionsappear on all three screens.The tempo increasesthroughthe sequence toa crescendo. Spocktakes it allon in stride, answering questionsby keyboard,or verbally,without being flapped.

Q. What is themolecular formulaof YominumSulfide

crystals? (A. K4YM3 (SO73Es 2)

Q. Who said, "Logicis the cementof our civilization

with whichwe ascend fromchaos using reasonas our guide?" (A. T'plana-Hath,matron of Vulcan philosophy.)

Q. What significantlegal precedentarose fromthe

peace pactbetween Argus andRigel IV? (A. All beings may not becreated equal yetshall be givenequal opportunityand treatmentunder the law.)

Q. Solve: (agraphic of 3-dimensionalchess) (A.

White Queento section 5,grid 6. Queentakes Knight. Rook takesQueen. White pawnto section5, grid 7, pawn takesRook. Checkmate.)

Q. What was Kiri-kin-tha'sfirstlaw of metaphysics?

(A. Nothingunreal exists.)

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Q. Adjust thesine wave of thismagnetic envelopeso

that anti-neutronscan passthrough it butanti- gravitons cannot. (A. Spockworks keypadand the image of theenvelope is changedon one ofthe screens.)

Q. What is theelectronic configurationofGadolinium?

(A. Spocktypes, in onesecond: 5s22s22p63d104s24p6 4d104f75s25p64d16s2.)

Q. Identify: (animage appears) (A. A Klingonmum-

mificationglyph from theearliest partof the Zanxthkoltdynasty.)

Q. What were theprinciple historicaleventson the

planet Earthin the year 1987? (A. Spocktypes, but things aregoing too fastfor us to seethe answer.)

Q. What significantcontributionto bio-engineeringwas

made on theLoonkerian outposton Klendth? (A. The universal atmosphericelementcompensator.)

Q. What is thisa model of? (A. A three dimensional

theoreticalrepresentationof a four dimensionaltime gate as proposedby the Andorianscientist,Shres.)

Q. Where werethe first conclusiveadvancesmade on

toroidal space-timedistortionand by whom? (A. At Cambridge,Massachusetts,Earth, in 2052by Ralph Seron.)

Q. Evaluate andconclude: A starship'ssensorsindi-

cate it isbeing pursued soclosely thatit occupies the same spaceas its pursuer. (A. Thewarp drive regulatorsare creating aparallex matterecho.)

Abruptly, thehectic pacestops, there isa beat of silence; then,on all threescreens comesthe legend: MEMORY TESTSATISFACTORY.Then: READY FORFINAL QUESTION. Spockis ready.HOW DO YOU FEELO?Spock sees it onall three screensand seems baffled.The question beginsto flash impatiently.

He stares atthe flashingquestion. He becomesaware of someonein the room. Heturns to seehis mother, AMANDA.

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Spock cockshis head, stillbaffled by this contradiction.

It passes CAMERAinnocentlyemitting itsCALL. No cause for alarm.Except asthe Probe passesinto the distance, wesee it is headeddirectly forthe blue marble, Earth.

The sun isshining. MOVE,along the GoldenGate Bridge, towardStarfleet Headquarters.

Large windowsoverlook thebay. But in themidsection of the room,hi-tech displaysmonitor theuniverse. The scene,and the tensionare feverish.One of the communicatorsis LT. RANDformerly of theEnterprise crew. CommanderChapel isalso present. Averbal babble, andvisual reportsat hectic pace.ADMIRAL MORROW, StarfleetCommander,presides. TheCouncil President enters.

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As the Presidentreacts tothis...

The great rotatingsatellite,home of grandSpaceships.

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TWO CONTROLLERS,back to us,sit in thecontrol seats. They controlseveral Starshipsin b.g.

Over this,the SOUND OF THEPROBE'S SIGNALis heard. Almost immediately,ControllerTwo is inbig trouble.

The Two Controllerslook ateach other asthe SOUND OF the Probe'sGIBBERISH comesin at DEAFENINGVOLUME.

All over Spacedock, lightsare dimming.

The Probe'sthrusters fire,and it slowsto orbit the blue marblebelow.

29 CLOSER ANGLE- THE PROBE -ILM 29

As the antennaerotate toface the Earth.As the GIB- BERISH comeson, LOUD:

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An amazingEFFECT: The SOUND,like the prowof an invisible boat,cuts the surfaceof the ocean,leaving not a wakeof water -- butof rising CLOUDS.

31 SERIES OF SHOTS- ILM 31

We INTERCUTbetween the Probe'stransmissionsand the impact on thewater surfacesof Earth tocreate a clear impression:CLOUD COVER isslowly formingas ocean water is beingtransformedinto cloud vaporby the SOUND.

The dignitariesare stunnedto see the cloudcover totally envelopingtheir planet.

Long shadowsover the redplanet.

The " HMS BOUNTY"sits alonein the morninglight.

Renovated andspruced up bythe Enterprisecrew. CAMERA FOLLOWSKirk as heinspects the pre-launch activity.

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Our first lookin this cavern.In additionto the transporterand engine areas,there is alarge Cargo hold.

36 BACK TO BRIDGE 36

As the crewchatters throughthe pre-launchcheck list, Kirk crossesto Saavik, nearthe exit doors,her work finished.

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Kirk wantsto know, but isdeeply moved.At last he reaches forher shoulders,holds on affectionately.

After a moment,they separate.We FOLLOWSaavik to the garb, standsin the open doorwaylookingback at Saavik. A moment.Then:

She looks backat Kirk forthe briefestmoment, then exits. Spockhas started forwardto Kirk.

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(at Spock'seyebrow) Imean, you've beenthrough alot. (then) Station,please.

Spock nods,and somewhat rigidlycrossesto the Science station. Kirkwatches, uncertain.Bonesis suddenly by his side,whispering.

The whine ofthe energizersbegins, the enginescome alive.

As Saavik walksaway withoutlooking back.The wind and ROAR ofthe engines. Shewalks to a waiting Amanda.

With a ROARand a belch ofrocketry, theBird of Prey lifts off,and starts itsjourney.

Wind blown,they watch as:

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The Bird disappearsamongthe canyons ofVulcan.

PULL BACK

It is bedlam.Data is pouringin from everycorner of the Earth.All the visualsand audio reportscombine to create atrend that isinescapable:

AUDIO #1 Juneau,Alaska,cloud cover increasedto 95percent!

AUDIO #2 Tokyo,total cloudcover. All power isfrom reservebanks.

AUDIO #3 Leningradhas lostelectricalpower. Cloudcover 100percent. Temperaturesdroppingrapidly.

As the reportscontinue onSCREENS and onSOUND:

The SOUND OFTHE PROBE isheard throughout,like the death knell.Morrow turnsto the Presidentand says privately:

Now the Presidentsteps tothe great window,where Sarek is watchingthe worldof San Francisco.Rain has begun to streakthe window.

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The Presidentlooks at Sarekdeeply. Ifhis old wise friend hasno answer, whathope is there...?

& &

As it passesus at high speed.

She sets towork, intently:Spock reacts,picks up an earpiece tolisten in, perhapsbe helpful.

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47 BONES 47

He sees Spockat science station,takesthis opportunity to walk tohis old comrade,break the silenceof months.

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Bones is enragedand frustratedby this aswe go to:

47A FAVORING UHURAH'SSTATION 47A

As Kirk arrivesin responseto her wave.

ON SCREEN,we have the optionof playingFRAGMENTS of distress callsfrom SARATOGA,and other VESSELS.But these fragmentsare ultimatelysupercededby the tearing imageof the FEDERATIONPRESIDENT.Some of his message willbe obscured untilUhura canfind a balance.

criticallevel.Planet cannot surviveunless Probeis responded to...Probe transmissionsdominate allstandard channels. Communicationsmaynot be possible...Saveyourselves. Avoid thePlanet Earth...Farewell.

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And as Bonesstalks off:

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Now beginsa virtuoso performanceby Uhura: a series of SOUND CHANGESaccountingfor all the factors;a feeling ofa deductive process,modifyingthe GIBBERISH by slowingit down and changingit, until:

The Bridgeis filled witha SOUND familiarto some in our audience,but bafflingto our 23rd Centuryfriends.

As this impacts,he risesabruptly and headsfor the door. KIRK Whereare you going?!

Spock turnsand is gone. Beat;Kirk startsafter him followedby Bones. Kirkturns back toBones.

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The ultimatecondition statement:belowthe Probe, the Planet hasbecome a grey-blackenshroudedball. Pinpoint lightningflashescan be seen astiny Christmas lights.And theProbe's SOUND goeson.

Above the dinof the Probe'scall and theshouts and chatter ofofficers, the screensconveya series of terrible images,some deteriorating:

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-- Clouds,tumbling abnormallyin responseto the Probe'scall, build upmassive thunderheads,split by LIGHTNINGand THUNDER.

-- A familiarLandmark (TheLeaning Tower,The Sphinx) is seenagainst grey-blacktumbling clouds.Rain has begun tofall heavily.The Sphinx appearsto be crying.

-- A dam cracks,and torrentsof water pourinto the valley below,all underleaden skies.

-- SAN FRANCISCOBAY: Darkwith giant clouds,whipping wind andrain. Lightningcrackles ontop the Golden Gate.

As we WIDENfrom the screen,we are in themidst of Bedlam. Morrow,trying tochatter orders,the President tryingvainly tobe heard on acomm channel, Commander Chapelurgentlydirecting medicaland evacuationefforts. (DIALOGUETO COME)

50 ANGLE AT GREATWINDOW 50

The rain howlsoutside, andwater is beginningto spray in throughthe seals. A CREW,drenched, isattempting to shore upthe window itself.

As the Probe'smodified CALLis heard (WHALESONG), a series of graphicimages presentthemselveson screen; The computersearch narrowsdown to whales,and then, specific speciesthereof.In short orderthe computer finds a match,and a linedrawing of a greatwhale appears. Aprintout indicates:"Megaptera Novaeangliae."As this isoccurring, ANGLEWIDENS to include Kirkand Bones watchingintentlybehind Spock.

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On Screen:"HUMPBACK WHALE"begins flashingto replace the Latin speciesname.

As DATA continuesto flashon screen:

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He trails off,seeing Kirkdeep in thought.

striding througha vast Cargoarea. Bonesfollows.

As Scotty puzzles-

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And with aconfident grin,Kirk exits, pursuedby Bones.

52B ANOTHER ANGLE- THE CARGOBAY 52B

As Bones catchesup with Kirk.

And Kirk passesthrough theCargo Bay into:

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Bones pursuesKirk on theway to the bridge.

There is apause. Bones doesnot have a betteridea.

The doors open,Kirk stridesin, Bones following.

Waves crashagainst the bridgeposts andthe shoreline. Wind roars:Lightning, thunder,crackleand rumble.

Torrentialrain at the window;lightningreflects deep into the room.The situationscreens havebecome erratic; techniciansscurrydesperately andthere is CHATTER overlappingfrom all.Through this:

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But at thismoment, the entiresituationdisplay goes fuzzy, distorts,and is gone.

The board startsup again,but dimmer, moreerratic. A distorted imageof Kirk appearson SCREEN(INTERCUT WITH BIRD OFPREY). We willnot hear everyword.

As the CommOfficer responds,Sarek stepsup beside Morrow. NowKirk's image clearsenough tosee:

But suddenlythe power fails,Kirk's imageis gone. A silence asthey stare at theblank screen.

The interruptionis sudden:the entire greatwindow facing thebay CRASHES INWARD,filling theroom with debris, cries,and howlingwind.

Cloud coveredEarth is distantb.g. Theship passes us. PAN tosee she's headingfor the Sun.

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Her wings moveto their sleekestpositionas she con- tinues hercourse to the Sun.

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The Bird ofPrey explodesinto WARP; sheblurs past our eyes severaltimes, gainingspeed towardthe Sun --

60 INTERCUT -BRIDGE (ILM ELEMENTS) 60

On VIEW SCREENthe sun isgetting larger.Vibration begins on thebridge and increasesmarkedlywith speed...

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& &

-- Just asthe Bird appearscertain to beswallowed by the Sun,a BLAST of somekind acceleratesthe ship along thefar curve ofthe great star.Solar flares lick atthe bright bluras she --

-- Arcs suddenlybehind thesun, whippingalmost faster than wecan see and --

-- Like a tracerbullet ona circular course,the bright bluremerges fromthe oppositeside of the sun and startsback towardEarth.

We are behindthe ship, chasingand closingrapidly as it sizzlesthrough space.We overtake theship until the blue whiteheat of theengines FILLSTHE SCREEN --

FROM THE REARas CAMERA CONTINUESMOVINGIN toward Kirk sitting inhis chair. As theback of Kirk'shead FILLS THE SCREEN:

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We are insideKirk's MINDas we see a seriesof hypnot- ic dream imagesfloating upfrom Kirk's subconscious; undulatingfigures which floattoward usand pass... Liquid faces...amorphousfigures... imagesof Kirk's shipmates insemi-transparentghostly shapes-- aging and regressing.Kirk's imageof himself runningtoward himself...underwater lookingup at a sunlight-dappled surface...gently waving strandsof reedsat an abstract shoreline...disembodiedvoices,sounds and music add tothe hypnoticeffect. And then...

A WHOOSHINGROAR begins tomount and growlouder until it climaxeswith a terribleBANG! And we:

Empty a moment,then the Birdof Prey descendsINTO THE SHOT, no longerglowing, tranquilin flight.

ON SCREEN:The spectacle ofEarth as seenfrom high orbit (NASAMATERIAL). Awesome.

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Sure enough.

Descending,the ship, viathe cloaking device, disappears.

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(AS SHOT)

Within a shieldedsub-room,we can see througha window dilithium crystals.They arebeautiful,but they're dim. WIDENas Scotty tellsKirk and Spock:

Kirk scowlsat the crystals.

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Kirk looksat him, thinking.

The city, alivewith lights.We are descending.

74 THE BRIDGE 74

The FOOTAGEis seen on screen.Kirk is onstation. They are allwatching.

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Everyone looksat Spock. Hearches an eyebrow;reaches into his robeand pulls outa strip of liningwhich he ties aroundhis head, concealinghis earsand making him look likea Japanese gentlemanin samuraidress.

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(then) We'llmaintain radiosilence except inemergency, alltransmissionsto bepreceded by threecoded bleeps. Anyonein uniform,get rid of your rankinsignia. (they do) Anyquestions? (then) Allright, let'sdo our job andget outof here. Ourown world is waitingfor us tosave it if wecan.

A garbage truckis stoppedas TWO GARBAGEMEN empty park trashcans into the rearof the truck.

1STGARBAGE MAN SoI told her: ifyou think I'm layingout sixtybucks for a goddam toasteroven yougot another thing coming.

2NDGARBAGE MAN Sowhat'd she say?

Before he cananswer, a mightywind comesup. We're talking HurricaneGloria at150 m.p.h. It'sall they can do to hangon to the truckfor dearlife, squinting in the directionof the wind.After a coupleof moments, the wind diesas quickly asit arose.

1STGARBAGE MAN Whatthe fuck wasthat?

But both arenow taken bya WEIRD SOUND,and they look to see:

The ramp ofthe Bird of Preydescends, theonly visible part of theship. Kirk andhis crew descend,back-lit.

77 BACK TO THETRUCK 77

The garbagemen stare in disbelief.NumberOne starts for the cab,grabs NumberTwo, who's frozen,and they scramble intothe truck, fumblefor thestarter, and roar away.

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79 BACK TO RAMP 79

As the truckroars off inthe distance,Kirk and the crew reachthe ground. Theramp closes,restoring normal light.

And they moveoff.

Culture shock!Bustling trafficand people.Our doughty bandmoves throughthe scene in aweand wonder, taking in sightsand sounds.They are littlenoticed by passersby;their dressmay be a littleodd, but this is San Francisco.Now theystop in frontof a news machine.

"Nuclear ArmsTalks Stalled."

82 BACK TO SCENE 82

A man stepsto the machine,inserts coins,takes a paper. Kirkfrowns.

He looks aroundin thought,sees:

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84 BACK TO SCENE 84

The group spreadsout selfconsciously,as Spock follows Kirkacross the street.In mid-street,a car SQUEALS toa stop to avoidhitting Kirk.

Spock reactsto this language.

The rest ofthe crew havingspread out perKirk's instructions,are waitingas A YOUNG JAPANESEBOY passes Sulu,does a doubletake and comesup to him. The scene willbe played INJAPANESE withEnglish 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 dividesthe money.

And they divideinto teamsand start off.We stay with Kirk and Spockas they beginwalking.

He leads Kirkto a SYSTEMMAP in a bus stopenclosure.

He starts to,but the mapis diagrammatic,and very puzzling toSpock. As he struggleswith itsillogic, a BUS pulls up.On the sideis an ad: "SeeGEORGE AND GRACIE, theonly two HumpbackWhales in Captivityat the CetaceanInstitute, Sausalito."Kirksmiles.

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87 ANGLE AT BUSDOOR 87

Kirk, followedby Spock, enters.The doorcloses, but the bus doesnot start. CAMERAPANS alongbus to the rear exit door,which opens,disgorginga frustrated Kirk and apuzzled Spock.

Bones, Scottyand Sulu.

They look off.RACK FOCUSto a billboard:"CAN'T FIND IT? TRY THEYELLOW PAGES!"

A finger runsdown one ofthe white pages,finds some- thing, snapsthe book shut.WIDEN to revealChekov emerging fromthe booth, Uhurawaiting.

He steps forward,stops aPASSERBY.

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Kirk and Spockare ridingacross the GoldenGate Bridge. Infront of them,a punker listensto a ghetto blaster soloudly that everytime Kirk triesto talk, he can't beheard. Finallyhe leans forwardand shouts:

In response,the punker flipshim the finger.In response towhich, Spock givesthe punkera Vulcan nerve pinchand disarms theradio. Otherpassengers applaud. Kirkand Spock settleinto theirseats.

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Nobodypays anyattention to youif youdon't swearevery other word. You'llfind it inall the literature ofthe period.

Kirk thinks.

The bus pullsup and disgorgesKirk, Spockand a few other visitors.They headfor the impressivebuilding.

Large, beautiful,with greathanging replicasof whales dominating.A tour group hasgathered, andDR. GILLIAN TAYLOR, perkilyattractive, enters to takecharge.

She startsoff, all follow.

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They'renot; they'remammals like us.Warm-blooded,needing air to breatheand producingmilk tonurse theiryoung. Theyare very old mammals-- 11 millionyears, give ortake.

During thespiel, Taylornotices Kirk. Inan odd way, they connect.He's attractive,even inhis odd clothes, and he paysstricter attentionthan theaverage Joe.

Gillian pushesa button andscreens modernwhale-hunt footage. Prettygruesome stuff.

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(beat) Despiteall attemptsat banning whaling,there arestill countries andpirates currentlyengagedin slaughterof theseinoffensive creatures.Wherethe humpbackwhale oncenumbered inthe hundreds of thousands,todaythere are lessthan 7thousand specimensalive andthose thatare taken areno longer fully grown.In addition,many of the femalesare killed,still bearing unborncalves.

The picturesgraphically illustratewhatshe's talking about.

They startafter her.

The two whalesundulate majestically.Theyare colossal. Kirkand Spock reactin awe.

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Spock reactsoddly to this.

shouldn'tthey be?They're swimming aroundwith thelargest brainson Earth...Now ifyou'll followme please.

The group entersthe building.Spock hangsback. Kirk does not noticehis absence.

As Gilliancontinues the tour.

She startsdown a spiral staircasethat windsaround the tank. Theothers follow,minus Spock.

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94 ANGLE NEXTTO TANK WINDOW,LOWER LEVEL 94

Gillian stopswith her backto the tank.

Kirk has begunto look forSpock -- but invain.

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As Gilliancontinues her spiel,CAMERA MOVESIN toward the whalesand discovers Spock-- in thewater, swimming to them! Heapproaches one,and looks itin the eye. The great eyestares back.

96 CLOSER ANGLE- UNDERWATER 96

Spock and thewhale are afoot apart. Spockgently puts his handon the whale-- a MIND MELD.A shaft of back lightningmakes the moodethereal.

Over speakers,we hear WHALESONG. The crowdreacts.

Now Kirk seesSpock in thewater behindGillian and is in mild shock.He watcheswild-eyed as Spockand whale move throughthe water inmid mind-meld.

As the womanpoints, Gillianturns aroundto see:

99 BACK TO SCENE 99

She dashesup the stairs asKirk desperatelypursues.

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Spock climbsout, and is puttingon hisrobe as Gillian comes runningto him froma distance, followedbut Kirk.

Spock turnsto Kirk for guidance,but:

Spock givesit his best logicalshot.

Spock hesitates.

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Kirk and Spockwalking, GoldenGate Bridgein the back- ground . Slighttension betweenthem. Then:

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Gillian sitson the edge,dangling her feet.George and Gracieswim back and forthnext to her,blowing water thatshowers her. Shestrokes them.

The whalesmake NOISES. Theyare tryingto tell her something --but what? BOBBRIGGS, Directorof the Institute,comes up behindher.

Bob watchesher affectionatelyfrom behind;kicks off his shoes and,rolling uphis slacks, sitsdown next to her with hisfeet in the water.

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Bob is rebuked.Gillian rises.

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Gillian goesoff. Bob sits,then takes hisfeet out of the tank. JOE,an assistant,comes over.

ESTABLISHING

A great AIRCRAFTCARRIER atdock; the NavalBase beyond. AsCAMERA MOVES IN,we note fromthe gangplank banners andthe dockside cabanasthat thisis "U.S.S. ENTERPRISE,CVN65." A definiteStar Trekmoment.

(AS SHOT)

CAMERA MOVES to reveal Uhuraand Chekovcoming through the trees todiscover ENTERPRISEin thenear distance. A moment betweenthem. ThenUhura whipsout her tricorder andbegins gettingsome readings.As the tricorder BEEPS,Chekov pullsout the communicator.

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As Kirk isabout to startanother call onthe comuni- cator, an approachingvehiclemakes himput the device away. He turnsto see:

Kirk and Spocktrudging downthe road ahead.

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108 INSIDE CAR 108

She reacts,keeps her eyeson them, andpasses them slowly enoughso that theylook up to seeher. As she leaves thembehind, she pursesher lips,stops the car, considers. Thenshe backsup.

109 KIRK AND SPOCK 109

The Land roverbacks intothe scene; Kirkacknowledges her presencebut continueswalking, playingit cool. Gillian beginstracking alongside.

No response.

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Kirk eyes her,keeps walking.

She stops,pushes open thedoor. They getin, Spock in the middlestaring straightahead.

Kirk has noidea what she'stalking about.Silence. Then, to Spock:

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Kirk rollshis eyes.

Long pause.Gillian doesn'tlike consideringthis.

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A silence.

Gillian stopsthe car witha SQUEAL OF BRAKES.

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(she startsto interrupt) Please,just --let me finish.I cantell you thatwe're not inthe militaryand thatwe intend noharm tothe whales.

Silence.

Gillian considersthis fora moment; she'sgot nothing better to do.Finally:

Kirk and Spockexchange glances,mystified.

She looks atthem. What agroup.

A big sign --PLEXICORP tellsus what thisplace is.

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Scotty, dressedconservatively,paces backand forth. After a moment,the manager,NICHOLS, emergeswith Bones.

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Scotty startspast Bones.

Sulu movesthrough the groundswhere Plexiglass Products ofall shapes andsizes are stacked.In the midst of this,sits a greatHUEY helicopterwith the company logoon its side.Its PILOT is workingon his engine as Sulucomes up touchesthe craftlovingly, stares studiouslyinto thecockpit.

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An impressiveglass-walledcubicle separatingthe boss from the factorychaos. Nicholsleads Scottyand Bones inside.

A look betweenBones and Scotty.Then:

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He gestures,and Scotty sitsat a nearbyMacintosh. He surveys themachine quizzically,clearshis throat, and in a loud voicesays:

Bones stepsin quickly, picksup the "Mouse"and shoves it into Scotty'shand. Scottylooks at themouse, baffled, thenputs it to hislips like amike.

Then, preparinghis fingerslike a concertpianist, he plunges towork furiously.

An awesomeseries of figuresand graphicsare appearing.PULL BACK to revealScotty, nowmaster of the keyboard,while Nicholswatches in awe,next to Bones. witha flourish, Scottyhits a lastcommand, and a wondrousthree dimensionalgraphicappears.

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As Bones acceptsthe truthof this, we hear:

The Land roverpulls to astop. Kirk andSpock get out, but Kirk getsback in.

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Spock is nowoutside. Gilliancalls to him:

Spock walksOUT OF VIEW.

And they driveoff.

117 ANGLE ON SPOCK- ILM 117

After the Landrover has departed,he isleft alone, standing quietly.Then, withno warning,he BEAMS OUT.

Not fancy butnice; a WAITERstands, readyto take their order.

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Kirk staresat the menu blankly.He shrugs.

The Waiterleaves. Kirk andGillian, a moment;then:

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The Waiterreturns with theirbeers, andtwo plates.

Kirk says nothing,looks ather. There'schemistry, all right.

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As she dabsher eyes witha napkin, Kirk'scommunicator BEEPS threetimes from underhis clothes.Pained, he ignores it.

The BEEPERagain. Exasperated,Kirk flipsit open.

118B BACK TO SCENE 118B

Long pause.Gillian staresat him, pullson her beer thoughtfully.Then:

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She bites herpizza.

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The Waiterarrives, plunksthe pizza downand holds up the check.

And so saying,he exits, leavinga baffledGillian and Waiter. Gillian,a beat, thencovers tothe Waiter:

U.S.S enterprise,floodlit,secure. ShorePatrolmen on duty. Ageneral sense oftight security.

A SAILOR indungarees anda DRUG DOG patrolthe empty corridor. Asthey near CAMERAa familiarSOUND (THE BEAM-IN) isheard faintly.The dog stops,his ears go up in surprise.The sailorhas not heardthe sound. He whistlesto the dog andurges him on downthe corridor.

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Deep withinthe bowels ofthe ship. Uhuraand Chekov have made itin. They carrywith them theCOLLECTING DEVICE, a long,flashlight-liketube witha folded up metal piece.They start forward,hide momentarilyas a PAIR OF FEETwalk above them,seen throughthe metal decking whichforms a ceilingabove them.Then they start carefullyOUT OF SHOT.

Signs of dangerand warnings.Definitelyoff limits. They move quicklyto the "Reactorthreshold,"a control area markedby sings, warnings,and flashingred lights. Uhuratakes a confirmingreadingon her tricorder,nods, and Chekovfans the metalpiece open into a parabolicshape. Heplaces the "dish"in the place indicatedby Uhura,turns on a powersource. A FAINT SOUNDindicates it isworking.

She looks aroundnervously.

thru thru

As the Landrover pulls toa stop.

127 ANGLE INSIDELAND ROVER -KIRK AND GILLIAN 127

As she pullson the handbrake.The emptypizza box is between them.

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She looks athim --

He gives hera brief kissand is gone. Shesits there, surprised,but not disagreeably.Then sheRESTARTS her CAR and isabout to departwhen she hearsan ODD SOUND O.S. and thereis a SLIGHTFLICKER of reflectedLIGHT. She turns andlooks back throughthe rearwindow.

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128 HER POV 128

There is noone within a hundredfeet ofwhere Kirk last stood.

129 BACK TO GILLIAN 129

She turns back,puzzled; slipsthe car intogear, and still puzzled,departs.

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Kirk materializesand is metby Spock. Immediately they beginwalking.

Enraged andfrustrated, Kirkstalks off,leaving Spock. A criticalmoment:his feelings aresurfacing: anger, pain,and above all,confusion.

PULL BACK.The device is stillHUMMING.Uhura looks at Chekov inconcern. He canonly shrug.

Which seemsto be having electronictrouble.Watching it are a RADAROPERATOR andan ELECTRONICTECHNICIAN. in b.g. areother ENLISTEDTECHS, and TWOOFFICERS. The Operatorplays with thefaulty screenand says:

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The COMMANDDUTY OFFICER stepsto the console.

131B UHURA AND CHEKOV 131B

The Collectormakes a soundthat appearsfinal. As Chekov removesthe devicefrom the bulkheadand folds the metal inplace, Uhuraflips the communicatoropen.

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

As the C.D.O.,waiting onphone hears avoice.

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He clicks off,dials a numbercode and ina moment:

& &

131F UHURA AND CHEKOV 131F

131G BIRD OF PREYTRANSPORTER AREA- SCOTTY (INTERCUT) 131G

131H UHURA, CHEKOV- ILM VISTAVISION(INTERCUT) 131H

Chekov stepsaside, as Scottysweats backin the B.O.P. Transporter.The Transporterpower is discernibly weak. At last,Uhura is slowlyBEAMED OUT.Chekov, looks nervouslyabout.

132 BACK TO SCOTTY 132

Scotty is workingfeverishlyas Chekov'svoice breaks up on speaker.During sceneUhura entersand listens anxiously.

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133 BACK TO CHEKOV 133

The RUNNINGFEET, an O.S.COMMOTION, arelouder, closer.

134 ANOTHER ANGLE- PAST CHEKOV(AS SHOT) 134

From all angles,U.S. MARINESin jungle fatigues, helmets andbandoliers havesurrounded Chekov,their SHOTGUNS leveledat him.

There is apause as Chekovstares back.

thru thru

(AS SHOT)

We are CLOSEon an FBI AGENT,his badgein lapel pocket. He'sexamining Chekov'sI.D.

PULL BACK toinclude Chekov,various NAVALOFFICERS, and a CIVILIAN,(A.E.C.)

The phaser --on the desk.

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The Agent takesa deep breathof exasperationand, leaving Chekovat the table,walks back tothe Civilian.

While theyhuddle, Chekovsnatches up thephaser.

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They stareat him in disbelief.

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He aims thephaser and pulls.It makes apathetic BURBLING SOUND.Everyone stares.Chekov, apologetically:

With an abruptchange of moodhe bolts forthe nearest bulkhead door,dogs it openand reachesout.

& &

OF SHOTS

A140 -- AsALARMS SOUND,Chekov dogs a bulkheaddoor behind him,then as a choiceof down ahatch or up a ladder. He wiselygoes up.

B140 -- Marinespour fromhatchways andcorridors in hot pursuit.

C140 -- Chekovup a ladder,Marines in pursuitbelow.

-- Upthe ladders comethe Marines.

D140 -- HANGARDECK: Chekovbreaks intothe great empty space,barn like;he see's theelevator openingand ashot at freedom,he races towardthe light.

E140 -- Marines,gaining,follow him acrossthe hangardeck.

F140 -- Chekovreaches theelevator portal,races ontothe elevatorand thegangway beyond --only to see:

G140 -- SHOREPATROLMEN,coming up the gangplankto the elevator.

H140 -- BehindChekov, theMarines havecaught up. He veers tohis left, thinkingto dive intothe water, trips and,with a cry:

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It's too latefor Chekov.He falls fromthe elevator into CAMERA--

Chekov haslanded on a floatingbarge below the elevator.He lies there,unmoving.

141 UP ANGLED -THE PURSUERS 141

The Marinesand Shore patrolmenlook inhorror. The FBI MAN rushesup, and seeing:

She's at herstation, distraught,monitoringa series of local POLICEand PARAMEDICALEMERGENCYCALLS. Kirk enters, comesto her.

Kirk stepsto his chair, pressesCOMM, weary, frustrated.

Scotty andSpock are watchinga slow re-crystallization process.

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HOLD on Spock.Up above, HOLDon Kirk, asUhura's police callsECHO faintlyin b.g., he feelsall the frustrationof waiting...

The Land roverpulls up andGillian getsout, puzzled. It's very quiet.No press.No crews. Themain door is locked.She takes out akey, and enters.

Gillian enters,and stares:It's strange,ghostly, and empty here.She can see nosign of Georgeor Gracie. Has her worldgone mad? Hasshe walked intothe wrong dimension?As her distressmounts she turnsto face:

& &

146 ANGLE TO INCLUDEBOB 146

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She slaps himhard.

As Gillianruns to her carfrom b.g. andclimbs in, close. Fora moment she justsits there,her head on the wheel,sobbing now. Thenwith determination,she starts thecar, and peelsout of the scene.

The Plexicorphelicopter,carrying an enormouspane of plexiglassacross the city.It is not exactlysteady.

Sulu is atthe controls, mutteringto himself.

DAY

As the chopperand its loadpass overhead;

The Land roverdrives up andstops. Gillianjumps out, still overwrought.She looksaround andalmost like a silent screamfor help, sheyells Kirk'sname. The scream is silentbecause itsdrowned outby the SOUND OF THE APPROACHINGHELICOPTER.Gillian looksup to see:

152 THE HELICOPTER 152

It comes closer,then hovers.

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He climbs intoSHOT from belowFRAME LINE,waves Sulu in like a landingofficeron a carrier.

155 GILLIAN 155

She cannotbelieve what she'sseeing O.S.

The chopperis lowering theplexiglass intothin air, and guidingthe process ishalf of Scotty,visible only from the waistup.

157 BACK TO SCENE 157

Gillian, stunned,moves forwardto get abetter view, and clunksher head on aninvisible strut.She gets up and feels thething like ablind person.She's starting tounderstand she'sin some TwilightZone. In desperation:

158 TO SCOTTY 158

He's seen herdistress belowhim. To communicator:

He is lookingupward, a shaftof daylightfalling on his face. Ashe hears Scotty'scry fromabove, he turns quicklyto a SURVEILLANCEMONITOR closeby. There on thescreen he seesGillian's agitated figure. Thereis a momentof amazed reactionthen looking backup to Scotty:

159 BACK TO SCENE- ILM ELEMENTS 159

As, hysterically,she tripsand bumps intoother parts of the invisibleship.

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The SOUND sheonce heard,she hears again;and to her disbelief,she disappearsin the BEAM EFFECT.

As GillianBEAMS IN. Kirkis there.

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She looks about,dazed ashe helps her offtransporter.

She's aboutto faint; Kirkcatches her.

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He looks upto see Spock entering,all business.

As Gillianstares at Spock'sears:

He offers hishand. She shakesit in wonderas:

161 BACK TO CARGOBAY (INTERCUT) 161

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TRACK withKirk, Bones andGillian -- dressedas DOCTORS ANDNURSES. Bonescarries his ownmedical equipment ina traditionalblack bag.

They split;Kirk and Gilliango one way.We follow Bones. He walksdown a corridor,noddingto other doctors, nurses,interns.He sees a gurney,steps to it. On it isa very feebleELDERLY WOMAN.

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He slips alozenge from hisbag under hertongue.

Kirk and Gillian.Kirk gestures,O.S. WIDENto admit Bones.

Bones reacts,then looks around.He seesan empty gurney.

Kirk and Bones,masks on theirfaces, emergewheeling the gurneywith Gillian underthe covers.They head for an elevator.The doorsopen.

Kirk and Bonespush the gurneyin. TWO INTERNSare talking.

1STINTERN So,Weintraub saysradical chemotherapyorshe's gonna croak. Justlike that...

2NDINTERN AndGottlieb?

1STINTERN Well,what'd youexpect? All he talkedabout wasimage therapy.

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1STINTERN Youhave a differentview, Doctor?

The doors open.They wheelthe bed out,the doors close, leavingthe Internslooking at eachother, perplexed.

We TRACK behindKirk, Bonesand the bedtowards the end of the hall.TWO POLICEMENblock their passage.

They don'tbudge. Under thesheet, Gillianstarts to wail.

Gillian wailslouder. ThePolicemen lookuncertain.

Gillian wails.The Policemenfinally moveaside and they push theirway through.

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Gillian sitsup, throws offthe sheet asthey see the operating theatre.They leavethe bed whereit is and proceed intothe room, liftingtheir surgicalmasks.

Kirk looksto Bones, who nodsand they walkaround the curtain whereChekov, unconscious,lieson the table. Two nursesarrange instrumentsin preparationfor surgery, whilea YOUNG DOCTORreads Chekov'schart.

Then, to thecurious glancesof the surgicalteam, Bones takesout his Tricorderand passesit over to Chekov --

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The young Doctorgives Bonesan icy stare.

But as he turnsto leave,Kirk blocks hispath, then --

He gives theDoctor a swift,sure, Judochop. Gillian and the nursesgasp.

As Bones pullsout his MedicalTricorderand begins working onChekov, Kirk slingsthe fallenDoctor over his shoulder,and draws aphaser.

Indicatinga windowed roomadjoining, heherds them in there, lowersthe Doctor tothe floor, andcloses the door. Thenhe adjusts hisphaser, aims atthe lock and:

Kirks phaserMELTS the lock.

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167B BACK TO SCENE 167B

Bones, mutteringas he passesthe deviceover Chekov.

Kirk joinshim; Chekov hasbegun to moanfaintly...

Chekov's eyesbegin to flutter.

Now Chekovis pulling outof it. He sitsup.

The "Doctors,"pushing thesheet-draped Chekov,exit, passing thetwo Policemenwe saw before.

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They look ateach other, makea beeline forthe O.R.

The crystalsare coming backto life! WIDENto reveal the processsupervised byScotty, watchedby Spock.

Rolling thegurney in a hurry.ALARMS gooff! LOUDSPEAKERS!They break intoa run.

170A SAME CORRIDOR- NEAR DOUBLEDOORS 170A

A group ofHOSPITAL and POLICEGUARDS rounda corner, see the fleeingKirk, andrace toward us,CAMERA PANNING. Asthey exit, HOLDon double doorswhich open. Sittingup on an emergencygurney,happy as a clam, is thefeeble old ladywe saw before.Two DOCTORS, onepushing.

-- Kirkand friends, racingat high speed...

-- The guards,weaponsdrawn are gaining...

-- On thespeeding Gurney,Chekov raiseshis head in confusion;Bones clunkshim down.

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-- A largeelevator dooropens ahead;as the gurney headsfor it, a hospitalGUARD stepsin the way; using

the gurneyas a batteringram, Kirk takesthe Guardout of the play,races withBones and Gillianinto the elevator.The doors closejust as theperusing forces get there.The guards checkthe "UP"indicator and head for thestairs!

-- Insidethe elevator,going up. Gillianis concerned.

-- TOP FLOOR:The pursuersrace out ofthe Stairwell, acrossthe Elevator,where the indicatorsays they'vebeat the elevator.Weaponsdrawn, they wait: whenthe doors openand they pressforward:

-- POV:The Elevator isempty.

-- Backto the group: Consternation.

thru thru

-- Kirk,Gillian, Bonesand Chekov BEAMIN. Bones leadsChekov toward --

-- The descendingRAMP.Sulu appears tohelp. They all disappearup theramp, which nowbegins to close.

-- Kirkalone with Gillian.She sees theramp closing and beginsto sensesomething wrong.

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As Kirk startsto BEAM UP,Gillian leaps,grabs him round the waist.And as theyare BEAMEDIN together:

WHOOSH, andKirk strides inangry, Gillianfollowing, looking aroundroom at allthe crew in wonder.

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As he works,Kirk turns toGillian:

And the GREATROAR BEGINS...

As a GREATHURRICANE envelopesthe meadowalong with the ROAR. Treesbend, trash cansand panic tablestumble until the roarbegins to recede-

DAY

The landingarea below isreceding rapidlyas the Bird's rocketsROAR.

As the professionalsfromthe future crackletheir routine, Gillianwatches,wide eyed.

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By now we seethe outlineof the bay andbridges on a sun sprayedbeautiful day.

186 BRIDGE 186

As Gillianreacts to this,the impulse enginesROAR and:

We are speedingat Mach 16or 17 down theCalifornia coast and outtoward the opensea.

188A CARGO BAY -SCOTTY 188A

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188B BACK TO BRIDGE- KIRK 188B

Kirk movesto Uhura, followedby Gillian.

Uhura, earpiecepressed, holdsup her handto indicate she is workingon it.

188C FAVORING SPOCK'SSTATION 188C

As Spock looksbaffled, BonesENTERS SHOT.

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FAINT SOUNDof Whale Transponderis heard.Gillian reacts:

On VIEWSCREEN,a slightlydeteriorated image,but we can make outGeorge and Gracie.There isa moment of reaction fromGillian, Kirk,Spock and all.Then:

They breech,singing theirsong, and themusic swells to say whatis in everyone'sheart: hangin there!

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192 BACK TO BRIDGE 192

ON VIEWSCREEN:A semi-clearimage of a whalingship, its prow cuttingthrough thewater, its harpoongun very much inevidence.

The horizonrises as our viewdips 20 degrees,the speed increasesto 12,000MPH, and we whizthrough puffy cloudstoward an unseenocean targethundreds of miles away.

(35MM STOCK)

The Whaleris modern, andplows throughthe water at 25 knots. Itscrew are largelybearded; theyare Northern Europeans,maybe Swedes, Icelandersor Russians,all famous as Humpbackhunters.The radar turnslazily. Then:

In the crow'snest a sailorpoints. Binocularsare trained. Theysee something!The ship beginsa gradual coursechange. Theengine telegraphsignals FLANK SPEED.The decks areexploding withactivity as she heads towardthe quarry.

The whalesbreak the surface,arcing majestically; enjoying thesun and theirfreedom...

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(NOTE: We maynow utilize,on VIEWSCREEN,scenes of WHALES andWHALING SHIP, aswell as POV'sof the Bird's forward view,which at themoment, is onscreen.)

Feverish activity,punctuatedby the risingSOUND OF SONAR PINGING.Harpoons arebeing carriedto the gun and loaded.The crew beginspointing excitedlyto the distance.

George andGracie, obliviousto the danger,move through thewater.

The harpoongun is loadedand is transversing.

thru thru

We see theboat on screen.

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206 THE OCEAN -GEORGE AND GRACIE 206

They lazilyappear on thesurface, obliviousto danger. Theyare a perfecttarget.

207 THE SHIP 207

The gunnersights with confidence-- fires!

208 FX SEQUENCE 208

The harpoonsails throughthe air towardthe whales, then, witha great THWANG,hits an invisiblesomething, and falls harmlesslyintothe sea.

209 THE BOAT 209

Bafflement!Consternation!Then:

Where the harpoonhad stopped,now comesa ROAR OF SOUND and LIGHT.The Birdof Prey, big asa football field, DE-CLOAKS!

Oh-my-God!What-he-hell! ALARMKLAXONS! Thehelmsman spins the wheel!The enginetelegraph goesto flank.

& &

The defeatof the whaler causesthe cheersof all. But Kirk quietsthem with:

As the SOUNDof the beam build-upbegins:

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& &

Everythingis to the firewalland he's sweating.

As the energyWHINE PEAKS:

George andGracie, movingslowly throughthe deep, begin to BEAMOUT...

219 CARGO BAY -FAVORING THE TANK- ILM ELEMENTS 219

As Scotty watchesin awe,the whales, andhalf a tank of sea water,BEAM IN.

On Scotty,open-mouthed.

220 THE BRIDGE(INTERCUT) 220

as she beginsto climb withmoderate speedto altitude.

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222 BRIDGE (CONTINUEINTERCUTTING) 222

The Bird ofPrey EXPLODESinto warp speed,disappearing into the deepblue-black ofSpace beyond.

224 AT BRIDGE 224

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He steps forward,shakes Spock'shand asthough he had just come througha greattransformation.In high spirits, Kirkleads Gillianoff the bridge,leaving a puzzled Spock.

There is apause.

Spock straightens,pulls thebottom of hisgarment straight withdignity, andaccepts the responsibility.

The two whalesare contentedlybehind theplexiglass, their eyesfocusing on Gillian.Kirk, Scottyflank her, all watchingthe whales.

Scotty exitsshot.

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As she looksat Kirk, theship begins tovibrate quietly.

Kirk hurriesout.

As before she'sheading straightfor thegreat Star.

Kirk entersthrough the WHOOSHINGDOORS.The bridge is beginning toshake badly now.Kirk listensto:

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Kirk stepsforward.

CLOSE on Spockas the buffetinggets intense.A wait. A further wait.Then:

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-- Just asthe Bird appearscertain to beswallowed by the Sun,a BLAST acceleratesthe shipalong the far curve ofthe Sun as before.Solar flareslick the blurringvessel as shedisappears behindthe Sun. The CAMERA PANSACROSS theSun, waiting forthe "comet"to appear aroundthe far sideof the Sunas she did before...And we wait.And we wait.

-- CLOSER.The bird does notappear. Thewait is interminable.Has the shipincinerated...?Then abruptly:there is a BANGand the SOUNDOF RETROS as we heardin the first timesequence. Suddenly:

The SILENCEis total and deafening.We donot hear even the ambientpings andpongs of theelectronic equipment.We have a feelingof LIMBO. Yetthe people seem all right,though baffled.Are we insome new dimension?Kirk surveys thescene, and daresto speak:

Consternationfrom all; then,FAINTLY inthe void of sound, we beginto hear thePROBE GIBBERISH...

WAVES CRASHagainst the shore.This sequenceis exactly aswe saw earlierin the film. GIBBERISH louder now.

As before;Panic; Lightningand PROBE GIBBERISH.

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But at thismoment, the entiresituationdisplay goes fuzzy, distorts,and is gone.

The board startsup again,but dimmer, moreerratic. A distorted imageof Kirk appearson SCREEN(INTERCUT WITH BIRD OFPREY). We willnot hear everyword.

As the CommOfficer responds,Sarek stepsup beside Morrow. NowKirk's image clearsenough tosee:

But suddenlythe power fails,Kirk's imageis gone. A silence asthey stare at theblank screen.

The interruptionis sudden:the entire greatwindow facing thebay CRASHES INWARD,filling theroom with debris, cries,and howlingwind. (END REPEATSEQUENCE.)

As the windand the rain blowthrough theroom, we find Sarek and Morrow,hands heldup to protecttheir faces, then, suddenly,Sarek looksoutward -- point"

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Deep overcast,lightning flashes,heavyrain. We are looking towardthe GoldenGate. The BIRDOF PREY is descendingout of the overcastheaded towardthe bridge in a shallow,but uncontrolleddive. PROBEGIBBERISH present throughout sequence.

The buffetingof turbulence;the GIBBERISHloud. A sense of helplessnesswe'venever seen fromthis crew.

SHOTS - ILM

-- Where theyare is: headedfor the GoldenGate Bridge.

-- Sarek, Morrowand the otherswatch inhorror as --

-- The Birdnarrowly missesby sheer luckand WHOOSHES under thegreat bridge --

-- Skimmingnow over the ocean,closer andcloser to impact...

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-- The Bird'slong snout rotatesup justa bit and:

-- The crewholds its breathand --

-- The Birdof Prey SLAMSinto the waterlike a giant stone beingskipped, bouncesonce, thenbellies in with ripping SOUNDS --

-- The crewis thrown aboutthe bridge --and the side WINDOWSblow out with aPOW!

-- The Birdcomes to rest,nose high. Aftera moment it is clearshe is sinking.

Water spraysfrom seams andpipes; the crewstruggles to move againstthe uphilltilt.

Spock does.Kirk strugglesto the blownout hatch near Spock.He looks up intothe rain above:

239 HIS POV 239

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

240 BACK TO KIRK 240

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Stay with Kirkas he fightshis way downhillto the exit doors,which he forcesopen with greateffort, then exits.

They're introuble. The wateris waist deepand rising. Scottycannot openthe hatch doorto the NECK.

Kirk, waterspraying abouthim, reachingthe cargo bay door. He tugsat the emergencyrelease.It's stuck.

Water is nowup to their necks.Scotty andGillian can't get outunless --

-- Kirk nowwrenches the release,pulls thedoor open. Hereaches his handdown, helpsGillian, then Scotty,into the temporarysafety of thecorridor above. Abovethe DIN OFWIND, RAIN andHISSING WATER, Kirk shouts:

But Kirk takesa deep breathand is gone,diving below. Scotty watcheshelplessly,then turns toaid Gillian up and out, closingthe hatchas ordered.

As Kirk swimsin, begins searching.It'snot going to be easy: Kirkcannot holdhis breath forever.

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As the crew,one by one, emergefrom thebridge window into the peltingrain. Theycling to thefloating bridge.

Inside thebridge, Spock helpsScotty andGillian in and to thewindow exit.

246 TOP OF CARGOBAY 246

Kirk breaksthe surface, hislungs screamingfor air. Only a fewinches remain unflooded.He gulpsair, and dives one lasttime.

A determinedKirk swims rapidlydown, looksdesperately, finally findsthe panel behinda layer ofwreckage. He rips the barrieraway, opensthe seal, pressesthe sensor. Thereis a MUFFLEDEXPLOSION and:

The bay doorsswing open!

249 BACK TO KIRK- UNDERWATERIN CARGO BAY -(INTERCUT) 249

He looks upand around forhis best wayout: deciding he suddenlydives down, disappearsand --

-- emergesout the open baydoors. He headsfor the surfaceand --

-- Kirk popsto the surfacegulping for air.The rain pelts him.He looks round.

-- The lastof the survivors,Gillian andSpock emerge safely.

-- Kirk relievedbut whereare the whales?And the Probe'snagging GIBBERISHis heard again.He dives once more...

251 UNDERWATER -KIRK 251

comes towardus, stops tosee:

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George andGracie emerge fromthe bay doors,and majes- tically moveaway from theship.

253 UNDERWATER -KIRK (INTERCUT) 253

He watchesin wonder; thenheads for thesurface.

254 THE SURFACE- VARIOUS SHOTS- (TANK) 254

-- Kirk surfacesnear thefloating bridgeand the sur- vivors.Rain pelts; fogobscures; andabove all: the still unansweredCALL ofthe Probe.

-- CLOSER:Kirk arrives atthe wreckage,takes a hand hold nearGillian and Spock,looks backin deep concern.

Now somethingfew have seen:"George" swimsinto center stage,undulates, anddrops intoa hanging ver- tical position.Then he begins:WHALE SONG.

It's antennaturns to thenew SOUND. Then,it trans- mits a NEWGIBBERISH, somehowmore conversational.

As this newdialogue mounts,the Probe willalways trans- mit GIBBERISHfrom above,the whale willalways answer with WHALESONG from underwater.But eventhe dullest of us willsense the relaxingof concernand tension, the almostconversationalclimax betweenthe two commu- nicators. Andthen:

It sends whatsounds whatlike a farewellburst of GIBBERISH;then, a THRUSTERFIRES, and theProbe arcs up and outof orbit into thefar distance,leaving Earth behind.As it leaves,the lights inSPACEDOCK slowly beginto wink on.

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-- The rainbegins to stop.

-- The swirlingclouds beginto calm -- andpart.

-- A shaftof slim sunlightpeeks through.

-- Kirk, Spock,Gillian watch.

-- The crewwatches as theclouds begin topart.

Suddenly, thegreat BOARDbecomes reactivated.Lights go on. SOUNDand chatter returnto normal.

With our floatingsurvivorsin f.g., we seethe rapidly clearing skiesover the GoldenGate Bridgeand the city beyond. Wehear FAINTLY, approachingRESCUESHUTTLE.

They hear thegrowing SOUNDof approachingrescue and looks at theclearing sky.

George andGracie breach andfrolic in theirnew world; the sun breaksfully through,creating amost wonderful rainbow...All in all, a beautifulday inthe 23rd century.

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Somber, hushedby contrast.Galleries filledlargely by STARFLEETPERSONNEL. Somecoughs. No talk.Then:

265 SIDE ENTRYDOOR 265

It WHOOSHESopen and the Presidentand theCouncil enters soberlyand take theirplaces. ThePresident goes to thecentral podium.He looks intothe front row.

266 ANGLE 266

A somber groupin spankingfresh uniforms,enters... They are Kirk,Bones, Scotty,Uhura, Suluand Chekov. They walk pasta front rowwhere Gillian,Chapel, Rand, Sarek and Spockwatch them.The audiencemurmurs as the "Accused"take their placeon the Federation Seal. Moment.Then Spock risesand crossesto Kirk's group wherehe stands at attention.

267 BACK TO SCENE 267

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Reactions,buzz, happiness,but the Presidentgavels for order!

The tide breaksloose: everyonein the greathall rises to astanding ovationfor Kirk andthe crew.

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The last ofthe crowd is exiting.Kirk andthe Crew are acceptingthe last handshakesand congratulations. Spirits arehigh. And Kirksuddenly turnsto find himself faceto face withGillian.

She startsaway.

And she isgone. Kirk shakeshis head inaffection and disbelief,then turns to see:

In a cornerof the empty chamber,Spock waitsstiffly as Sarek approacheshim.

270 BACK TO KIRK 270

He sees, thenwaits discreetly,leavingthem to talk alone.

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As the fatherreaches theSon. A quiet momentin the empty, echoinghall.

Sarek looksat him uncertainly,wantingto hear some- thing. Finally:

HOLD on Sarek.It is his turnto raise aVulcan eyebrow. NowSpock crossesto the waitingKirk. They share a moment,and departtogether.

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From the Dockin the distance,amid thegreat SHIPS, a tiny SHUTTLECRAFTcomes towardus slowly.

A great windowin the frontof the craftgives everyone a view of theships and wherethey are headed.They do not seem toknow.

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

Ahead, throughthe window,is Excelsior.

And then, throughthe windowscreen, ithappens: the shuttle, automated,beginsa rising climb.The Excelsior DISAPPEARSBELOWTHE FRAME LINEand in the near distance,a new SPACESHIPappears.It appears to be a Starshipof the U.S.S.ConstitutionClass.

The faces ofKirk and thecrew light up.

APPROACH -ILM

It looks likethe Enterprise.As we get closer,it is.

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ILM

FAVORING thegreat dish; wherein freshlypainted letters: "U.S.S.ENTERPRISE"and on the linebelow, "NCC 1701 -A" A painter,in spacesuit wavescheerily.

277 BACK TO THESHUTTLE 277

The emotionis high from all,but very restrained. Kirk says itfor all.

The great exitdoors open.The U.S.S. Enterprise emerges andheads out on atrial run.

Shiny, new,refitted for anythingthat maycome. And the crew iswhere they belong,all at theirstations. And Kirk isin his Captain'schair.

The great vesselcurves andheads out. Overthis we hear:

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

THEEND

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STAR TREK IV: THE VOYAGEHOME APPENDIXA.

N.D. STARSHIPDIALOGUE

(as it appearsin Scene 42)

channelZero-one-three-zero,code red.It has been threehours since ourcontact with thealien probeand allattempts at regainingpower have failed.All non-essentialcrew have beengiven hiber-sedativesto slow downconsumption oflife support reserves.Our chiefengineer is attemptingto deploya makeshift solarsail with whichto focus and absorbradiation froma nearby sun we areorbiting. Wehave high hopes thatthis will, ifsuccessful, generatepower to keepus alive indefinitely.If youwould patchus throughto EngineeringControl we couldlink up withthe technicians thereand hopefullylick this problem.We will keepyou postedon ourcondition. Starfleet,and inform youof any furtherdevelopments. CaptainRandolph out.

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STAR TREK IV:THE VOYAGE HOME APPENDIXB.

COUNCILPRESIDENT MESSAGE

(as appearingin Scene 47)

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STAR TREK IV:THE VOYAGE HOME APPENDIXC.

KIRK'S SPEECH#1

(as appearingin Scene 54)

KIRK'S SPEECH#2

(as appearingin Scene 54)

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STAR TREK IV:THE VOYAGE HOME APPENDIXD.

(as in Scene25)

Switchingnow toline 13 withsat com 12...coming upon three...

...Check... we'vegot interactive visualsfrom Delta5 on alien probe possiblemag fluxratios... 4...3... 2...1... we areputting on Satfour Graphicson screens5 and 2...All Clearon patch 13...Putting up CommunicationsfromReon sevenwith Infra-redfiltering...Check... Increasecontrastplease... stop... Downone third...Check that'sit... Okay...

Movingto consoleseven... new Status...Updategraphics on Rigel5... Check...continueupdate... fine... Informationdumpclear for storage... Okaywe're clear...Bandit 5 you're Comingthrough...Graphic dataon PleadianQuadrants5 and 7 comingup on Screenalpha-deltaseven...

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