"STAR TREK: THE MOTION PICTURE" (1979)

Star Trek: The Motion Picture

Screenplay by: GENE RODDENBERRY & HAROLD LIVINGSTONE

Story by: ALAN DEAN FOSTER & GENE RODDENBERRY

SHOOTING SCRIPT

July 19, 1978

FADE IN :

An ever expanding infinity of light and color as CAMERA

TRAVELS THROUGH deep space, MOVING DIRECTLY for one pinpoint of light: a STAR GROWING RAPIDLY as we SWEEP TOWARD IT, a normal white star SUDDENLY CHANGING, brightening, flaring unbelievable intensity: supernova. The CAMERA HOLDS just a moment, then MOVES on, SEARCH- ING through space, the jeweled beauty of other star systems, sparkling nebulae, swirling hydrogen clouds. STILL MOVING, then CAMERA FINDS:

In the far distance, slowly growing in size as CAMERA APPROACHES: it resembles, vaguely at this distance, an Aurora Borealis: flaring colors from the fringes, beautiful yet ominous. It is so large, this Cloud, it can envelope an entire solar system. CAMERA CONTINUES APPROACHING the Cloud, and then suddenly, crossing our POV, a:

3 KLINGON HEAVY CRUISER (S) 3

In a graceful, turning arc toward the mysterious LUMINESCENCE. CAMERA FOLLOWS this Klingon, then FINDS a second Klingon cruiser, also turning toward the Cloud, which continues to grow in size as the Klingons approach at warp speed, CAMERA CLOSING on the lead ship, until the vessel's detail can be clearly MADE

OUT: lights, weaponry, power systems, identification emblazoned on the nacelles and saucer in Klingon language (and symbols).

Clearly alien, an ODD-SOUNDING KLAXON signaling "battle stations." Orders issued in KLINGON LANGUAGE, the KLINGON CAPTAIN and EXEC peering at an unusual bridge viewer at the huge area of LUMINESCENT HAZE directly ahead. In KLINGON DIALOGUE:

goes suddenly to a TACTICAL GRID SYSTEM, showing the LUMINESCENT HAZE to be an ENORMOUS BLIP OF LIGHT ON THE SCREEN, with two TINY PINPRICKS OF LIGHT complete- ing their turn on a direct course toward it.

The Patrol is clearly SEEN now on the right of the bottom of the FRAME... THREE tiny ships closing on the

steadily growing LUMINESCENT HAZE.

All eyes on the viewer that shows the ships sweeping on the Mysterious cloud.

The TECHNICIAN makes the switch.

growing ever larger, its flaring colors menacing, mysterious, strangely beckoning.

The crew stands by for battle.

torpedoes.

sliding open, the glowing "Hell Fire" of the Photon Launch tubes, slowly revealed.

They are tiny, insect-like shapes moving still CLOSER to the Luminescent Cloud, so large now that it begins to dominate all space behind.

EXEC (O)

The growing nearness and enormous size of the Cloud also reflected on the Tactical Grid, somehow more awesome by this schematic view. The Captain gestures the order to "FIRE."

The BRILLIANT PHOTON BLOBS of the torpedoes spurt from the tubes.

14 ANGLE ON KLINGON VESSEL (S) 14

A deadly PHOTON TORPEDO pattern racing away from the Klingon and toward the Luminescent glow in the distance.

Three torpedoes are heading directly toward the Cloud. Suddenly they glow briefly and disappear long before they reach their intended target.

incredulous that their torpedoes have disappeared without a trace.

as the second and third ships launch torpedoes toward the color-flaring surface of the cloud. This time we have an outside, real VIEW of the torpedoes glowing brightly and then disappearing with no effect.

The Klingon crew grim, desperate, watching a BRIGHT STACCATO BLIP OF POWER from within the LUMINESCENCE.

Out of the LUMINESCENCE hurtles a FRIGHTENING WHIPLASH OF ENERGY. It bears down on the Klingon Patrol, now in an evasive maneuver. Then the WHIPLASH BOLT hits the third cruiser in a writhing flare of energy which totally engulfs the vessel.

The other two ships veer off, warping around again into attack position. The THIRD SHIP has begun to implode in on itself, the matter-energy of its existence drained by the WHIPLASH BOLT that HOLDS IT.

20 ANGLE ON REMAINING KLINGON CRUISERS (S) 20

desperately defending themselves, FORCE FIELDS FULL UP, RAPIDLY FIRING PHOTON TORPEDOES. But now a SECOND WHIPLASH ENERGY BOLT has emerged from the cloud and hits the second vessel, DESTROYING it.

The THIRD WHIPLASH BOLT glances off the surviving Cruiser as the ship retreats in a wide, evasive turn, FIRING from stern tubes.

The bridge shattered; Klingon bodies. The mortally- wounded Captain is transmitting urgently:

Serenity here. A barren, rocky small plantoid softly lit by the myriad stars. This is a small Starfleet outpost, antennae sprouting everywhere. Tiny figures (WORKERS) servicing one antenna illustrate the size of the installation.

SHOWING the battle scene, and the VOICE OF THE KLINGON CAPTAIN in his last stand against the Object; his VOICE

is weary, almost mechanical. On the adjacent viewer, an English printout of the Klingon's words chatters along the bottom of the picture:

At the viewers are a FEMALE LIEUTENANT and FOUR TECH- NICIANS. COMMANDER BRANCH, a young, alert, enters hur- riedly, scans he console.

A violent EXPLOSION inside the Klingon bridge -- Klingon Captain's body is thrown violently against the bulkhead.

25 CLOSE ON VIEWER (O) 25

showing EXTERIOR of the Klingon vessel: a final, frightening WHIPLASH ENERGY BOLT strikes it -- then the same awesome IMPLOSION INTO FIREBALL.

The Starfleet station onlookers react to the utter

annihilation of the huge cruiser. And now, past where the cruiser just disappeared -- the mysterious LUMINES- CENCE approaching in distance. Technician hits a switch, magnifying the strange CLOUD.

27 CLOSE ON THE MAIN MONITOR STATION (O) 27

as its focal point shifts to the huge elliptically- shaped LUMINESCENCE racing across the sky. MUSIC (V'GER THEME) COMMENCES in a low, unresolved CHORD that remains in the background through the remainder of this scene, and the beginning of the next one.

Ominously now the LUMINESCENCE increases in size, and begins to fill the viewer. HOLD A MOMENT, and then:

with the CAMERA MOVING THROUGH masses of thick, steamy vaporous clouds, swirling about, rising boilingly up from some unseen, underground source. The CAMERA CONTINUES MOVING through clouds.

And then... the Vulcan landscape. Harsh, strange angular peaks and rock formations -- the barren, legend- ary mountain home of Vulcan Masters.

Spock's lean features instantly recognizable despite unkempt, longer hair and the fatigue born of a long, harsh discipline he has undergone. His robes, tattered and dust covered, are that of a Vulcan Aspirant in study with the Masters. Under the V'ger THEME MUSIC we HEAR a VOICE in ritual tones:

diligently you have labored for purification of mind...

In b.g., gigantic ancient Vulcan statues and ruins. In f.g., the stone platform on which Spock stands facing a semi-circle of three similar platforms. On them in regal robes are three VULCAN MASTERS. The Master in the center is a female, the other two Masters are male. The elderly female is holding a cord and ancient pendant as if ready to place it around

Spock's neck at an appropriate moment. Spock is staring up as V'ger THEME MUSIC fades.

Spock turns, giving a small contrite nod -- the ritual continues.

Spock starts to kneel... the Female Master moves in, intending to put the ancient pendant around his neck. But Spock now hesitates -- he's troubled as though uncertain he deserves this symbol and waves the pendant away. Then, a faint reprise of the V'ger THEME MUSIC now causes the Female Master to look skyward. She turns from this back to Spock as she exchanges a look with the Male Masters.

She kneels with Spock -- lays her hands on his temples in Vulcan mind-meld position.

Their eyes close -- their minds meld -- then her head jerks slightly, her features change as her mind feels Spock's reactions to the V'ger consciousness. A long moment, then she opens her eyes, gets to her feet and looks down on the still kneeling Spock. Then, she casts aside the pendant she carries -- it falls into the dust.

The three Masters leave -- Spock watches them go, his disappointment evident even in his stoic features.

31 MED. ANGLE ON SPOCK (M. & F.P.) 31

CAMERA CLOSES IN on his face as we again HEAR a frag- ment of V'ger THEME MUSIC -- Spock again raises his head and peers up into the heavens. HOLD on his face a moment, then...

SHOCK CUT TO :

gleaming silver in the sun as it streaks TOWARD THE CAMERA POSITION and hurtles PAST.

DAY (M)

From this vantage, we can SEE all of twenty-third century San Francisco stretched out before us. In the b.g., the familiar forms of the carefully preserved Golden Gate Bridge and Transamerica Pyramid Building serve as our only reminders that this is, indeed, San

Francisco.

The AIR TRAM (an anti-gravitational train flying several feet above the ground) DECELERATES sharply, settles to the ground with a whisper.

The doors opening, and various TRAVELERS (civilians and Starfleet personnel) leaving the tram, striding onto the platform, continuing on their respective ways. Among the departing throng:

35 KIRK 35

in Admiral's uniform, grim, determined, moving through the throng. Now and then Starfleet officers nod re- spectfully; KIRK responds with detached formality; his mind is clearly set on something he is resolved to ac- complish here in headquarters -- whatever the cost. CAMERA WITH HIM, to:

as Kirk strides into the graceful Starfleet HQ building. Many PEOPLE are about, civilians and uniformed person- nel; most of them with some air of urgency. (NOTE: ALIENS interspersed among them, Vulcans, blue-skinned Andorians, high-domed Vegans, ect.) Kirk continues on when suddenly he reacts, annoyed as he sees:

37 SONAK 37

a Vulcan, Lt Commander; short, white-haired, grizzled, hurrying along. Kirk calls to him:

SONAK turns with Vulcan imperturbability to face Kirk who steps toward him

And Kirk turns, strides purposefully away. Sonak gazes after him, one eyebrow raised quizzically.

In f.g., Orbital drydock offices, rotating slowly but perceptibly against blue-black of space. Small figures in spacesuits working on construction, with work belts. Beyond and below... Earth. In the far distance we can barely make out an orbital drydock.

The cluster is a fully-equipped dockyard engineering center and computer drafting office.

CAMERA MOVES IN AND CENTERS ON an outer "Travel Pod."

an installation which also includes a double position transporter, in which we SEE the TRANSPORTER EFFECT BEGIN. With the TRANSPORTER CREW IS SCOTT. He's with a Technician, busy with a piece of complex circuitry. Then he turns, sees that it is Kirk BEAMING in here. As Kirk materializes, steps off the transporter plat- form, Scott moves quickly to him.

40A KIRK AND SCOTT 40A

The starship Engineering Officer clearly surprised to see Kirk here. Kirk has the same look of grim de- termination we just saw in the headquarters building.

Scott is now eying Kirk just a little warily as he fol- lows him into the pod. Kirk's determined expression suggests that some chips are going to fly and Scott does not want to become one of them.

from this planet...

Kirk hits a button on the travel pod panel -- the air- lock doors SLAM closed behind them. Then, stepping im- mediately to the front observation window:

Scott throws Kirk an appalled look but is now occupied in sealing the Outer Pod door and manipulating drive controls.

CAMERA CONTINUES TO PULL BACK TO REVEAL front of the Pod and arms of the office complex as Pod disconnects and starts to move.

CAMERA CONTINUES TO PULL BACK TO REVEAL front of the pod and arms of the office complex as Pod disconnects and starts moving.

- -

as it moves way from the office complex. We can SEE the jet flames of its tiny thrusters as it cir- cles around, heads off (toward the distant Orbital dry dock).

Scott nervously eying Kirk, and finally deciding to make one more effort:

Starfleet Operations may have made me a little stale, Mr. Scott -- but I wouldn't exactly consider myself 'untried.'

It takes Scott a moment to comprehend, and Kirk smiles now, nods:

Scott peers at him, genuinely surprised -- and pleased. Then:

And he clasps Kirk's elbow affectionately, then gestures Kirk to look out the pod window.

as he looks out: the blue-black of orbital space.

Scott is well aware of what the Enterprise means to Kirk. As Scott maneuvers the pod to provide the best perspective, Kirk peers through the observation window, craning his head, hungry for his first glimpse of the starship. Scott is watching him, immensely pleased.

47 PAST THEM TO THE POD WINDOW (O) 47

as we SEE the drydock and more of its detail, and a hint of what is inside.

- -

PAST Kirk and Scott the corner of the drydock becomes

larger -- we begin SEEING more of it. And then the merest glimpse of what is inside the drydock: The Enterprise slips INTO VIEW.

as he watches, his face reflecting all of it: the awe, the wonder, the romance, the obsession. The one comp- lete love of his life. And with that love regained, he is becoming more fully alive again.

Kirk looks at Scott; for a moment both hold each other's eye. Scott knows precisely how Kirk feels. Both turn to the window again.

Now DOMINATING the SCREEN -- the awesome, symmetrical bulk of the starship comes fully INTO VIEW. And it dominates Kirk's -- and our emotions.

- -

The great ship dwarfs everything. The drydock becomes a fragile filigree framing the ship's great curved bulk. The tiny pod continues to move along it.

Small automated welding devices move along the gird- ers, working with brief, bright orange-white flares. In other areas of metal lace structure, supplies and equipment are being loaded onto the ship. The pod continues moving (Scott is giving Kirk time to see all), watched carefully by the TINY FIGURES OF SUPERVISING TECHNICIANS on the drydock. Now the pod moves toward mating position. It closes in, secures itself to the outer airlock.

Scott completing the mating procedure, Kirk turning from the observation window. Outside, the metallic.. CLICK of the pod locking onto the airlock. Now the "WHOOSH" of the latch doors securing, the CLANG of security bolts. It's all been a rare and delicious moment for Kirk, and his face shows it.

OVER the POD INTERCOM we HEAR, "Pod secured. Pressure equalized." Scott moves the control to open the hatch.

A confusion of organized work and VOICES. The cargo deck bustles with activity; supplies and equipment being stored and installed.

Kirk and Scott are met by a nervous, perspiring ENSIGN.

Kirk gestures him to leave, and Scott hurries away. Kirk stands a moment, gazing down at the cargo deck.

60 ANGLE DOWN PAST KIRK TO FLOOR (M) 60

The crew maneuvering antigravity devices which move heavy containers -- scrambles of activity at storage holds and maintenance lockers.

61 CLOSE ON KIRK AND ENSIGN 61

Kirk is drinking it all in. He's home.

And Kirk moves off, leaving the Ensign gazing at him, relieved.

Kirk ENTERS ANGLE and the doors snap open.

as Kirk enters. The doors close. Kirk waits a beat, savoring this moment too. Then, firmly to the control panel:

The turbo-elevator HUMS WITH POWER as it begins hur- tling up. On the wall back of Kirk we SEE an electronic diagram of the Enterprise tracking the elevator's speedy trip to the Bridge.

A confusion of activity and VOICES. Pieces o equip- ment in a state of disarray: consoles open, fiber optic tubes unconnected, viewing screens dismantled. It's a frantic, desperate scene -- a ship and crew to- tally unprepared. In the midst of this: ALIEN ensign is assisting UHURA (Lt. Comdr. stripes)deftly working her communications station, AD LIBBING "... Hailing frequency four, check. Hailing frequency five, will someone please check me?" At the helm, sweat-soaked SULU (Lt. Comdr stripes) has a service plate open, is peering inside to make delicate adjust- ments, AD LIBBING "... Helm, now give me a reading on four point zero zero six of full." And at the Weapons Control, CHEKOV (Full Lt.)argues with TECHNICIANS who insist photon torpedoes read "ready" while Chekov argues the computer is not relaying that information.

65 ANGLE ON THE ELEVATOR DOORS 65

snapping open -- and there is Kirk. For the moment no one notices him, and he stands watching, remembering. And then he moves forward toward the command center.

66 ACROSS UHURA TO KIRK 66

as she is the first to see him. She reacts,pleased.

as everyone else is suddenly aware of Kirk.

All work stops, with various AD LIBBED greetings from the old crew: "Admiral Kirk..." "It's the Captain...!"

etc., etc. But most sit or stand, simple gaping at Kirk, all quite awed. The old hands, Uhura, Sulu, and Chekov start converging on Kirk. But he gestures them back, speaking crisply.

Kirk reacts with some exasperation, starts away, addresses Chekov:

And Kirk moves to the elevator, enters, is gone. The moment the elevator doors snap closed:

- -

The entire complex a beehive of pre-departure activity. ENGINEERING PERSONNEL (at least a third of them female) coming and going, the platform-elevators (small, one- man lifts to various levels) busy. A gentle but con- stant HUM and WHIRR flows from the engine core, to indi- cate a pre-idling mode. There will be continual AD LIBBED conversation among the Technicians.

Now the Engine Room door opens and Kirk steps into the area. He stands a moment observing the activity. a grizzled ENGINEERING CHIEF pushes a huge condenser on an anti-grav device past irk with a respectful "watch it, sir" admonishment. Kirk moves on to:

71 THE INTERMIX CHAMBER 71

at the middle of the power shaft. Very NOISY here, and a continual CACOPHONY of COMPUTERIZED AND HUMAN VOICES calling off equipment checks. And grouped around a section of burnt-out circuitry are WILLARD DECKER, Captain's stripes, handsome, in his early 30's; Scott, and two Technicians. Decker and Scott are working feverishly uncoupling the device, probing its innards. Decker has discovered the problem, removed several transistor-type parts, taps them with a pencil-sized sonic analyzer.

72 ACROSS THEM TO KIRK 72

as the Technician prepares to install the device, Scott glances up to see Kirk.

He looks from Decker to Kirk in acute embarrassment (so that we should realize Scott hasn't mentioned Kirk's taking over to Decker). Decker now notices Kirk, reacts pleased.

He indicates corner. Decker glances bemusedly at Kirk, then turns to Scott:

73 ACROSS SCOTT TO KIRK AND DECKER 73

as Scott AD LIBS a glum "Aye, sir," and watches them walk across the Chamber.

74 A CORNER OF THE INTERMIX CHAMBER 74

just a little quieter here, with Kirk and Decker arriv- ing, and Decker saying blithely:

Kirk eyes Decker -- then decides the best way to say it is plainly, directly.

I'm sorry, Will.

Decker seems shocked into silence; he can only peer at Kirk who reaches tentatively as though to clasp a paternal hand on Decker's shoulder, then withdraws it and continues quickly.

ROOM)

Scott, working on the relay, but continually glancing at Kirk and Decker with worried concern, as Kirk replies:

I'm sorry, Will.

Kirk is silent a moment, peering levelly at Decker, who returns the gaze with equal intensity. Then:

Decker EXITS. Kirk waits, collecting his composure as he watches him go. Then Kirk turns to glare at Scott. Interrupted by a flare as something shorts out at the mechanism where Scott and Decker had been working. Technician (Clearly) reacts, hits an inter- com button fast:

Scott whirls to a console fast, speaks urgently!

Kirk is exiting on a run, followed by Scott.

(O)

An unusually defective looking TRANSPORTER EFFECT in progress, alternately flashing and glowing -- even the Transporter SOUND seems wrong, as if struggling to

overcome some problem. At the console, CHIEF RAND and ASSISTANT are reacting in surprised, near-horror as they attempt vainly to save the situation.

Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing.

Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself.

77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77

with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty.

78 KIRK, SCOTT AND RAND 78

gazing, horrified, at the empty chamber.

A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know:

Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as:

And before Rand can answer, Kirk leaves the room.

as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent?

Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression.

KIRK

Turboshaft eight...?

She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor.

80 DECKER 80

hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously.

And Kirk moves on, Decker stands gazing reflectively after him.

- -

(AS SEEN ON VIEWER) (O)

(in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.)

But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc.

And then, immediately following this, on the viewer:

86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86

(as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank.

We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck.

The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside.

On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc.

as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer:

as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues.

life form aboard that vessel reasons as we do.

90 ANGLE ON UHURA 90

standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal.

Kirk leans over to the intercom, speaks into it:

91 ON THE REC DECK VIEWER (O) 91

as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician.

Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir.

Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently:

92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92

as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked).

Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky.

(NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.)

as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead:

The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too.

Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets.

as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent.

Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties.

as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues:

Uhura's tone and expression convey "Deltan" in a certain, special manner.

The last is interrupted by:

98A ANGLE ON THE ELEVATOR DOORS 98A

as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk

(NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.)

99 ACROSS ILIA TO DECKER 99

as Ilia starts to speak, suddenly stops: she has just

then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition.

Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this.

Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes.

Kirk flashes a hard glance at Decker, then toward Ilia too.

While respectful, her tone of voice has been just as firm as Kirk's.

100 ACROSS KIRK TO UHURA 100

receiving a message, now relaying it.

Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises.

And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then:

Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats:

Sulu catches her eye but before he can reply, Decker has

moved in beside Ilia.

Clearly, the remark carries special, personal significance.

- -

Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman.

103 ANGLE ON THE CHAMBER (O) 103

A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight.

McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me!

Kirk has offered his hand, but McCoy is already flaring:

McCOY This was your idea! It was your idea, wasn't it!

McCOY -- Why is any object we don't understand called a 'thing'?

McCOY Were you behind this?

Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand.

McCOY Permission to come aboard, sir?

And McCoy moves toward the door, grumbling:

McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And --

Even when he's in the corridor his grumbling trails after him.

McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things.

104 FULL ON KIRK 104

as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on:

- -

Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on.

All flight positions manned, ready.

The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders.

as Kirk hesitates just an instant, seems to hold his breath. Then:

The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock.

THEME MUSIC IN AND UP.

- -

emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship.

CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock.

Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power.

as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise.

The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size.

We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed.

And viewer IMAGE SWITCHED to show the star patterned space ahead.

with its colorful rings and multiple moons FILLING a major portion of the FRAME.

All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this:

End of log.

punching in equations on his console, reaching a reading:

122A INCLUDE ILIA 122A

Checking her console.

And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this.

123 ANGLE ON THE ELEVATOR DOORS 123

as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self.

McCOY They do not. It's like working in a damned computer center.

Kirk starts to swing his chair to normal position -- Decker calls:

McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker.

McCOY (very gently) You're pushing Jim. Your people know their jobs.

Kirk flashes McCoy a glance of annoyance -- then back to using intercom:

The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life.

The CAMERA FINDS Scott in the chamber:

He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration.

as Kirk, annoyed, interrupts Scott on the intercom.

McCoy still watches curiously as Kirk turns to the helm:

Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES.

We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead.

as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles.

Kirk smiles, pleased, starts swinging his chair around, at the same time calling:

Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES:

Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex.

The KLAXONS and BELLS CONTINUE, and the crew responding:

(Note: Computer alert continues through entire scene.)

130 ANGLE ON THE MAIN VIEWER (O) 130

showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay:

131 CLOSE ON MAIN VIEWER (O) 131

The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course.

133 ANOTHER ANGLE - McCOY NOTICING KIRK 133

who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile:

The object even larger.

as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers.

The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit.

Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal.

McCOY

(tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...!

with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom.

Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself:

as Kirk flips off the intercom, rises determinedly, faces Decker:

KIRK

Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu.

McCOY (to Kirk) Mind if I tag along?

Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT.

139 ANGLE FAVORING ILIA 139

gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console.

Ilia's attention is directed toward Decker.

And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned.

The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him.

increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off.

Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat:

Kirk reacts with anger. Struggles for and regains control.

Kirk peers at Decker, who stands facing him determinedly.

Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then:

McCOY He may not be wrong, Jim.

- -

Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him.

Ilia whirls, moves toward her stateroom door, which

snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful.

McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness.

Kirk's expression hardens.

McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back.

McCOY It's an obsession -- that can blind you so far more immediate -- and critical responsibilities. Your reaction to Decker is an example.

Kirk studies him a beat; has McCoy touched a nerve? Something Kirk himself might have been unaware of? Kirk starts speaking, but is interrupted by:

144B ANGLE TO INCLUDE CABIN VIEWER 144B

as Kirk turns to it.

At his VOICE COMMAND, the viewer comes on with AN IMAGE of Uhura at her console.

On the viewer, Chekov's IMAGE replaces Uhura.

Viewer IMAGE FADES. Kirk turns back to McCoy whose question of Kirk's fitness still hangs there between them. Eye to eye - then, finally:

McCOY I hope not.

Kirk nods, exits. McCoy watches him go, hoping his point has gotten through.

traveling at a rapid speed; it carries warp-capacity nacelles which dwarf the smaller to 10 position

shuttle fuselage. The CAMERA HOLD ON THE SHUTTLE as it overtakes the Enterprise, the ENTERPRISE COM- ING INTO VIEW, and the shuttle slowing and beginning to move between the starship's giant nacelles.

THE ENTERPRISE AND THE SHUTTLE (S)

About the size of a fighter airplane floating in over the vastness of an aircraft carrier. The shuttle slows further, hovering now. Then its fuselage pod detaches from the warp drive nacelles -- the pod moving slowly but precisely toward the starship's command airlock.

as we HEAR the CLANK and WHOOSH of the AIRLOCK MECHAN- ISM. Chekov is standing by with a security man.

A moment later the hatch slips open - TO REVEAL Spock. A proud Spock, impassively Vulcan, almost contemptuously aloof. His hair is now trimmed in neat Vulcan style; he wears Vulcan attire simple, civilian, utilitarian.)

Spock is already moving out of the pod entry area, im- passive, no greeting on his lips; no friendship in his expression.

pulling away from Enterprise.

The elevator doors open, and there is Spock. It takes everyone a moment to believe their eyes. Then, the Bridge crew AD LIB their surprise and pleasure.

Kirk, smiling, is moving toward Spock with hand out- stretched. But Spock has already turned and moved toward the science console where Decker sits.

150A AT SCIENCE CONSOLE 150A

It takes Decker a moment to realize that Spock wants to take over the console. He begins getting to his feet, throwing Kirk a look. But Kirk's attention is totally on SPOCK. And Spock is already intent on com- putations he is beginning to punch into the science console computer.

Spock continues to punch information into the science computer -- a monitor screen IMAGE begins to show com- plex equations which Spock inspects -- he makes a further computer punch out and inspects a second monitor IMAGE of other equations. Only then does Spock seem to become aware of Kirk and Decker standing there with questioning expressions.

Kirk starts to grin -- then remembers to wipe it off his face as he turns to Decker.

151 ANGLE TO INCLUDE ELEVATOR DOORS 151

as they SNAP open -- McCoy and Chapel appear. Chapel sees Spock at the science console -- she moves in quickly, overjoyed. Even McCoy seems pleased.

McCOY So help me, I'm actually pleased to see you.

But as Chapel crosses to Spock, her pleased smile brightening her whole face, Spock turns, dismisses her presence with a cold disinterested glance -- Chapel stops, stands dumbfounded. Spock gives McCoy a similar glance - turns back to his console readings as:

The same cold glance causes Uhura to stop in mid- sentence. Several grins directed toward Spock are now fading from bridge crew faces. Spock has turned back again for a last quick reading at the console and now stands -- totally ignoring everyone else as he speaks coolly, unemotionally to Kirk:

Kirk manages a nod, a bit dumbfounded himself at Spock's strange manner. Spock heads for the elevator -- puz- zled expressions from the entire bridge crew. Then Kirk calls after him, very sincerely:

Spock continues onto the elevator without any acknow- ledgment, leaves. Kirk glances, perplexed, at McCoy. McCoy, equally perplexed, shrugs.

McCOY Never look a gift Vulcan in the ears, Jim.

traveling past the stars, sub-warp. OVER this:

Scott making an intermix chamber reading with a hand- held timer-temperature device which emits SIGNALS while Spock now in regulation uniform and hair trim, makes adjustments in the circuitry of a panel complex. Dur- ing the following, they will react as if they've solved the engine problem.

Sulu at the helm, accelerating; just a touch of tense- ness in crew as they move toward the speed which earlier threw them into the "wormhole" effect.

155 ANGLE INCLUDING MAIN VIEWER (O) 155

Stars accelerating as Sulu calls off:

The viewer shows the QUANTUM LEAP into warp drive. The stars ahead shift, streak and congeal into WARP EFFECT MASS.

The others wait, then show relief as:

He continues to seven.

Where, first, CAMERA SHOOTS THROUGH THE WINDOW, the myriad of stars, space, the whole magnificent vista. In the lounge, empty but for them, are Kirk and McCoy -- obviously awaiting Spock, who ENTERS and presents himself cold and aloof as before:

Spock remains standing, addresses Kirk:

For an instant, it looks like Spock will refuse. Then, he complies but sits formally, rigidly. He ignores McCoy totally.

only what seemed an almost omniscient pattern of perfect logic. I can explain nothing more; I understand nothing more.

Kirk is clearly disappointed -- and a bit uncomfortable about what he must ask next. He exchanges a glance with McCoy, then:

McCOY Spock, we've already guessed why you're here...

Although Spock has been almost infuriatingly emotionless, his expression shifts slightly. McCoy indicates this:

McCOY That flicker of emotion confirms our guess. You failed.

McCOY (not in amusement) And now, anger, Spock?

Spock looks straight ahead -- his face instantly com- posed to almost total blankness.

McCOY If you achieve perfect logic, Spock, you'll pay a price. It's given your planet ten thousand years of peace, but no poetry's been written since then, no music.

Spock has come to his feet fast - but Kirk is on his feet too, confronting him. During which:

Spock EXITS. Kirk and McCoy exchange a troubled look, then EXIT too as CAMERA CENTERS AGAIN ON OBSERVATION WINDOW, the view of space there.

- -

pushing red alert. The ALERT SOUNDS; the red lights begin FLASHING.

All regulars in position (different uniforms), extra CREW hurrying in from elevators to man the remainder of the console positions. Decker is making a bridge circuit.

Sulu hits a control -- viewer seems to ZOOM AHEAD and in the distance we SEE a point of light which grows into the LUMINESCENT CLOUD. The same as seen by the Klingons and Starfleet's Epsilon Nine station. Myster- ious, beautiful, and menacing.

as Kirk whirls toward Spock's station, calls out:

sir.

Decker has reacted sharply, disapprovingly, to this:

A moment of thought from Kirk.

162 FAVORING THE VIEWER (O) 162

The Cloud has now grown so large it DOMINATES THE ENTIRE VIEWER. Sulu hits a button, reducing magnif- cation. Immediately, the CLOUD diminishes in size -- but almost instantly begins GROWING AGAIN. Decker's annoyance (with Kirk) suddenly seems to dissipate as his total attention is diverted to the cloud.

Decker turning to Spock

Decker trails his words, realizing that Spock isn't hearing a word. Spock's attention is on the O.S. main viewer, totally absorbed by something he's feeling. He is slowly rising from his seat, stepping forward -- Kirk becomes conscious of this, turns and sees Spock's strange expression. Before he can speak:

Spock shakes his head... then reacts as if sensing or theorizing something further. He turns, moves quickly to his console, begins there as if searching for something.

Interrupted by another ALARM KLAXON.

163 FULL ON THE MAIN VIEWER (O) 163

showing a WHIPLASH ENERGY BOLT streaking from the Cloud!

Bridge begins to tilt.

164 REVERSE ANGLE 164

The WHIPLASH ENERGY BOLT speeds toward the Enterprise, which veers sharply away now -- but WHIPLASH FOLLOWS.

With the WHIPLASH ENERGY BOLT on the main viewer, closer and closer -- heading straight-on for the Star- ship. From the Bridge a CACOPHONY OF VOICES AND SOUNDS, but all organized and disciplined with the BRIDGE LIGHTING DIMMING and then as though traveling the last short distance (actually several million miles) in the wink of an eye -- the WHIPLASH OF ENERGY STRIKES. The bridge lights go out.

In the sudden darkness, the main viewer is all at once a frantic, furious, pattern of GREEN-WHITE FLARING ENERGY, accompanied by an EXPLOSIVE SHRILLING SOUND. It seems to cling to the forcefields, the incredible energy of the

forcefield barriers.

167 FAVORING CHEKOV'S STATION (O) 167

as a sheet of GREEN WHIPLASH ENERGY bursts from Chekov's console -- a LASH of FLAME engulfs Chekov's arm. Automatic fire control nozzles SPURT FOAM over him as he falls twisting and groaning in pain. Ilia reacts first, crossing quickly to assist Chekov -- Decker joins her, taking over Chekov's console.

The SHEET OF WRITHING-GREEN ENERGY enveloping the entire vessel, outlining it starkly. (And outlining, too, the forcefield screens and deflectors -- batter- ing at them, seeking some gap through which to penetrate.)

The bridge still darkened, and on the viewer the WHIP- LASH ENERGY splattering the entire viewing screen with GREEN ENERGY BRILLIANCE, forcing all to shield their eyes against the impossible glare.

A smoking panel BURSTS INTO A SHOWER OF SPARKS AND FLAME, spewing over and past Scott and his crew.

as, first on the viewer, the WHIPLASH ENERGY BOLT EFFECT clings another moment then begins FADING. And then it is gone. The bridge lights go on again. Elevator doors open. Doctor Chapel and Medical Corps- men arrive and cross immediately to where Ilia tends to the injured Chekov.

SCOTT'S INTERCOM VOICE

Engineering to bridge; we cannot hold full power on forcefields; deflector power is down seventy percent!

173A CHEKOV'S STATION 173A

Over the following, we will HEAR Captain Kirk AD LIB order; "Divert auxiliary systems power to deflectors!" and SCOTT INTERCOM VOICE answer: "All auxiliary power to deflectors, sir." Meanwhile, Chapel and Corpsmen giving medical treatment to Chekov who is in agony. Chapel is about to give an injection.

The Deltan woman takes Chekov's upper arm in both her hands, kneading her fingers deep into nerve centers -- Chekov's pain begins to quickly recede and he is almost startled by the sudden relief. Doctor Chapel, now spraying plasti-skin on the burned hand and wrist, gives Ilia a surprised, approving look and a flicker of female friendship passes between the Deltan and Earth woman. (setting up a later story point)

174 CLOSE ON VIEWER (O) 174

The energy brilliance gone now, we can SEE the CLOUD is very close -- the closest we have seen it yet, and the Aurora effect is spectacular; a vast, dense blan- ket of SPARKLING, FLARING COLOR.

175 EMPHASIZING SPOCK 175

whirling abruptly in his chair, addressing Kirk:

Immediately, from the SPEAKER we HEAR a SHRILL, IN- CREDIBLY FAST BEEP.

175A ANOTHER ANGLE 175A

Chapel and Corpsman are assisting Chekov from the bridge (we'll have SEEN that the remarkable plasti- skin sprayed on his hand has completley covered the ugly burn marks - he is even able to move his fingers a bit). Ilia returns to her station -- a relief CREW WOMAN takes over from Decker at Chekov's console.

176 CLOSER ON SPOCK'S STATION 176

so we can SEE in more detail Spock's monitor -- various oscillating waves, and HEAR more of the SHRILL BEEPS as Spock manipulates his equipment, and continues:

Decker has hurried in to assist the science console. Spock indicates a console area -- Decker works there -- Spock works another section of console buttons.

The Cloud ever closer to the ship now, which is a mere dot in space compared to the immensity of the energy- seething, continuous color-exploding Cloud. And then, suddenly, from the Cloud -- ANOTHER WHIPLASH ENERGY BOLT. Bearing down upon the Enterprise.

where the oncoming WHIPLASH BOLT is SEEN emerging from the Cloud. In the b.g., ALARM KLAXONS are SOUNDING, alert lights flashing, etc

to our forcefields?!

Much frenetic activity here, previous damage being repaired, the main shaft GLOWING BLUE-WHITE, ENGINES THROBBING AT FULL POWER, and a harassed Scott at the intercom:

The WHIPLASH BOLT streaking toward the ship.

Spock -- Decker assisting -- works frantically. Spock is clearly dissatisfied, shakes his head tightly.

183 CLOSER ON SPOCK'S STATION 183

as Spock hits the "transmit" button, and we HEAR the SHRILL BEEP SOUND (lasting but a fraction of a second), and Decker calls to Kirk:

184 ANGLE ON MAIN VIEWER (O) 184

where the WHIPLASH BOLT is now BRILLIANT, almost upon

us! Then the WHIPLASH ENERGY BOLT abruptly VANISHES. In the blink of an eye, the entire EFFECT IS GONE.

185 REACTIONS 185

relief, incredulity.

Spock turns, gives the O.S. viewer a glance. Then he shakes head.

All have reacted to this; Kirk exchanges a look with Spock who nods firmly. Then Kirk sees that both Decker and Sulu are throwing him a questioning look. In b.g. McCoy and Chapel have EXITED bridge with Chekov.

DECKER

They may have attacked only as a warning to us, Captain. To keep away.

Kirk peers at Spock hoping for some assistance on the decision; but Spock merely peers back at him ex- pressionlessly: the decision is Kirk's. Kirk faces Spock one last beat, then turns and starts back to- ward his chair, calling to Ilia.

185XC ANGLE INCLUDING MAIN VIEWER (O) 185XC

where the IMAGE of the "powerfield Cloud: changes to a tactical plot of Enterprise's conic flight path ap- proach. It shows a large schematic of the Cloud itself as well as a series of FAINTLY BLINKING schematics of various recent positions and directional attitudes of the Enterprise during its approach. These blinking Enterprise schematics show that the starship has gone from a head-on approach to the Cloud into a (tech. advice) skidding movement around the Cloud (the star- ship always heading directly toward Cloud center), with the last Enterprise positions now showing it ap- roaching the Cloud from a quartering rear approach.

185XD REVERSE ANGLE 85XD

can't withstand another attack.

Decker glances around, moves close to Kirk so only Spock is able to overhear:

Kirk looks at him, then at Spock, who once more is peering in momentary concentration at the viewer, feels Kirk's gaze -- and turns to him, again expres- sionlessly; it's up to Kirk.

185XE ANGLE TO INCLUDE VIEWER (O) 185XE

Main viewer IMAGE reverts to the "powerful cloud." All peer in grim fascination at the cloud another moment. Then:

187 Kirk sits contemplating his next move. Once again, the 187 decision is his. He looks to the Viewer a moment, then:

as the Enterprise slowly enters deeper toward the chamber ahead. We SEE the sheer size of the Cloud as opposed to that of the small ship now entering unknown territory.

As the Enterprise enters the Cloud:

On Viwscreen we SEE a vast array of IMAGES, spiralling IMAGES, changing in size, shape, colour. Its walls spinning and turning, looping and twisting, as the Enterprise proceeds further Into the Cloud.

Amazed bridge crew members can do nothing but awe at the sight before thier eye's. Even Spock has turned to view the sight now illuminating the View screen. Kirk sits pondering, amazed, thinking "What comes next?"

Moving slowly through the maze of VISUAL'S seen from the Main Viewer.

as the CLOUD OBSCURES all now. Everyone gazes at the viewer, almost mesmerized by the shifting violet power- field displays.

191 ANGLE ON SULU 191

Sulu peering toward O.S. main viewer, his eyes wide with incredulity.

192 OTHER REACTIONS 192

Crew peering at O.S. main viewer with expressions of

near disbelief. Similar reactions as Kirk and Decker turn too, reacting to:

193 WHAT THEY SEE ON MAIN VIEWER (O) 193

(V'GER THEME MUSIC UP) The Cloud "Aurora" EFFECT rapidly thinning -- in the "eye of the hurricane" center of the Cloud is the object which has stunned the entire bridge crew.

Rapidly growing in size -- already frighteningly huge. Totally alien in look. Its enormous bulk is irrides- cent, faintly glowing, suggesting that it is made up of exotic combinations of matter, and energy far beyond the scientific knowledge or ability of Earth's 23rd Century technology. Menacing and yet strangely beautiful, both at the same time.

194 VARIOUS ANGLES ON THE BRIDGE CREW AND THE VIEWER 194 - -

The Object continues to GROW RAPIDLY IN SIZE as the Enterprise continues moving toward it. Everyone is awed; even Spock, from whom we discern an involuntary, impressed reaction. Decker is with Spock at the science console.

All digest the dimensions, as:

198 ANGLE ON THE BRIDGE ELEVATOR DOORS 198

opening to admit McCoy and Chekov, whose face and hands are taut with plastiskin applications. Seeing the object on the viewer (O.S. at this ANGLE), Chekov's eyes open with wide astonishment. He crosses quickly to his weapons--defense station, his eyes on the viewer. McCoy, eyes also fixed on the sight, moves to Kirk's side.

McCOY Or just one thousand, ten miles tall.

199 ACROSS KIRK TO SPOCK 199

(This will be the first time we've seen Spock dislay- ing a definite reaction, almost an emotion.) So engrossed is Spock in the main viewer IMAGE that he appears not to have heard Kirk, whose AD LIBS a sharp "Mr. Spock...!" Spock looks absently at Kirk an instant, then:

Concern reflected on the faces of others too. Kirk considers his next move.

- -

CAMERA TRAVELING WITH ENTERPRISE as it moves on a

parallel--closing course -- Alien continues to GROW IN SIZE. Although it already seems an impossibly large vessel compared to the Enterprise, in reality they are still tens of thousands of kilometers apart; the incredible size of the Alien is nowhere near being realized yet.

Tension high as -- the Alien now appears so close that its IMAGE MORE THAN FILLS VIEWER. Considerable tension of bridge -- crew members, throwing nervous looks from viewer to Kirk. How much closer?!

Very nervous looks now directed toward Kirk. Even Spock gives him a glance, a raised eyebrow.

The Alien Object appears A DOZEN TIMES LARGER THAN ENTERRISE and still GROWING IN SIZE.

We begin to SEE Alien exterior detailing which had not even been suspected at a longer distance.

The Enterprise is now quartering in toward the Intruder, coming closer and closer. The Alien vessel is still GROWING IN SIZE -- more and more, its exterior appears to be made of substances never before seen by a human eye -- substances considered possible only in the wildest flights of scientific theory -- plasma-matter, energy fields diamond--hard in their power, solid sheets of subatomic particles, crystalline-lace patterns which seem capable of shifting their nature and rearranging themselves.

205A ANGLE ON INTRUDER 205A

This time, the Enterprise travels on away from us, as its course takes it angling nearer and nearer the gigantic Alien Intruder -- the Starship dwindling in size, growing smaller, smaller, smaller... until it is a tiny dot compared to the enormity of the Alien vessel.

We are coming alongside the mid-section of the Alien vessel, now so huge that only a small section of it now completely fills main viewer frame.

Kirk's voice is blotted out by a DEAFENING, SHRILL- ING SOUND, accompanied by a multi-hued point of LIGHT which EXPLODES into BLINDING INTENSITY, obscuring everything for an instant. Overlapping this action, we HEAR:

Continues.

208 THE PLASMA ENERGY PROBE (O) 208

The BLINDING LIGHT FADES and in its lace we SEE a strange "entity" shocking us with its frightening appearance and its ugly-sounding THROBBING HUM of power. It is about seven feet tall and resembles a "blob" of raw energy in shifting patterns and colors of deep, ugly hues of upper spectrum violet. Yet, it looks strangely alive. At the end of the "tendril" (of light) is an "eye" (a small multi-colored device)

209 CREW REACTIONS -- ELEVATORS IN B.G. (O) 209

The bridge crew reacting hard, shocked and shaken -- the THROBBING SOUND of the Alien thing intensifies as it begins to move across the bridge. Suddenly, in b.g., an elevator door snaps oen and two SECURITY MEN burst onto the bridge, phasers drawn. Chekov

shouts warningly at the Men:

But Chekov is too late: First Security Man FIRES -- the BLAST harmlessly absorbed by the Probe which emits a SCREECHING nerve-grating SOUND --- sends out a SMALL WHIPLASH ENERGY BOLT which instantly envelopes First Security Man in a PURPLE GLOW (of implosion). Second Security Man has almost lifted his phaser -- but now carefully, slowly is moving his hand away from his weapon.

PURPLE GLOW FADES, the First Security Man has simply vanished.

Chekov, like the others, horrified, flips a switch and the COMPUTER-VOICE ("Intruder Alert") goes OFF. At the same time Chekov speaks into his intercom:

The Probe is sending out snake-like tendrils to the various consoles on the bridge.

These tendrils lash out in a cobra-strike movement, the tendril-head seeming to enter into the console affected -- at which time all monitors and instrument lights there come ON as if the Probe is "reading" each console function. The crew carefully stays clear of the tendrils.

Spock has risen, moving to Kirk's side as he slowly brings his tricorder up, very carefully extracting its tiny sensor and aiming it at the probe.

A probe from their vessel... (to Kirk) A plasma-energy combination...

Meanwhile, the probe is now hovering near Chekov who sits frozen, fists clenched, jaw tight.

210B ANGLE INCLUDING SPOCK'S CONSOLE (O) 210B

as the "probe" withdraws an energy-tendril from one bridge station and "inserts" it into another console.

Kirk's words are never completed as suddenly all the energy tendrils withdraw from all consoles and a larger, more powerful-looking tendril lashes out, snaking into the science console complex.

210C CLOSER ON SCIENCE CONSOLE 210C

Where, also immediately, all the console and computer lights are suddenly flashing wildly, rapidly --

-- There is an incredibly fast EXCHANGE OF HIGH-PITCHED BEES -- the computer obviously in unauthorized commu- nication with the probe!

As Decker moves to the main power control, Spock now steps in, his Vulcan strength easily brushing Kirk and Decker aside. Spock clasps his fists above his head,

brings it down in a SHATTERING BLOW on the console. It splits open! As the bridge lights dim even more, and as the science console shorts itself out -- and off, Decker confronts Spock:

Kirk has been giving Spock a puzzled look -- Spock now turns abruptly, and:

210D ANOTHER ANGLE (O) 210D

as Spock, in stepping back, accidentally brushes the probe's energy tendril -- a FLASH OF LIGHT at the contact point sends Spock sinning under the rail and to the floor near Ilia. The probe's energy-tendril has withdrawn from the darkened science console, hov- ers high over the dazed Spock as if angrily seeking the reason for the break in its computer contact. Spock starts to rise.

Decker steps toward her, AD LIBBING a grim "Ilia...!" But he has no chance as:

- -

220 CLOSER ON ILIA (O) 220

The Probe hovers over her, its whole mass seemingly about to envelope her with a single tendril extended toward her, somehow freezing her into immobility - and then the entire Probe DISSOLVES IN A BLINDING FLASH OF WHITE, obscuring Ilia. Almost instantly the WHITE FLASH FADES -- but Ilia has vanished -- her tricorder clattering to the deck.

222 ACROSS THE NAVIGATOR'S STATION TO KIRK AND DECKER 222

helpless, shocked, gazing at the place Ilia was -- but which is now empty.

And almost at the same moment a new BRIDGE ALARM SIGNAL.

- -

233 The ALARM still sounding as from the giant alien ves- 233 sel, we SEE STRANGE, OPAQUE ENERGY PATTERNS STREAKING TOWARD US. Kirk vaults to the command chair, lunges for controls, as Decker races to the weapons-defense console.

Appropriate ALARM KLAXONS, and COMPUTER VOICES begin SOUNDING, and all this is lost in a SUDDEN SHRILLING SOUND (a constant, high-pitched tone). For a moment the energy patterns are prominent on the viewer -- and then the PATTERNS VANISHED and the SHRILL SOUND FADES -- and:

234 FAVOR THE VIEWER (O) 234

showing V'ger GROWING RAPIDLY IN SIZE. The Enterprise is being pulled along the length of the big ship, toward its "prow."

234A ENGINEERING 234A

in a state of controlled chaos, all personnel at their stations, the Engine CORE GLOWING. Scott is working his controls, speaking into the intercom:

as Spock studies his readings, and:

Spock peers in deep concentration at the Main Viewer, trying to sense some clue. Kirk glances at him another moment, then turns to the Main Viewer himself, watches in frustrated helplessness.

the starship being pulled toward the giant as though on a taut cable. As we MOVE CLOSER, we SEE still more intricate details of the incredible Alien design.

as Difalco arrives on the run, and Decker AD LIBS to her, "Assume Navigator's station, Chief...!" Difalco, bewildered, wants to ask what happened, but no time, and she quickly sits at the post, begins orienting herself. Meanwhile, Decker has begun an Executive

Officer's bridge circuit, assisting with various con- soles. Kirk is glancing toward Spock who continues concentrating on the Viewer, striving to comprehend the myriad of thoughts he is sensing from he Aliens. McCoy also arrives on the bridge, takes in the chaotic scene, watches the Viewer grimly.

- -

At the forward end of the giant, an odd-shapped "iris" begins opening menacingly. And it is frighteningly obvious that the tractor beam is pulling the Enterprise to the opening.

showing the unusual "iris" now almost fully open as Enterprise is drawn closer, closer -- through the "iris" we now SEE (some of) V'ger's interior: a dark void relieved only by strange flickering glows of dis- tant ENERGY FIELD PATTERNS.

The crew reacts with understandable awe, apprehension, curiosity, as:

Spock replies for Kirk: quickly, as though to make his point convincingly:

240XA ACROSS SPOCK TO KIRK (DECKER AND McCOY IN B.G.) 240XA

as Kirk reacts somewhat curiously to Spock's remark, but it is Decker who articulates it:

Why are you opposed to trying?

Before Spock can reply:

All face the Viewer again, react, with McCoy who has been observing all these reactions now galvanized into action:

McCOY (to Chekov) Medical observers to all decks!

And he hurries toward the elevators, CAMERA WITH HIM a moment, then SWINGING BACK TO:

240A PAST KIRK TO VIEWER (O) 240A

Kirk staring at the viewer -- the "iris" now fully open so that the exterior of V'ger is no longer visible -- and all we can SEE is the monstrous void dead ahead, which is looming faster and larger before our eyes. And now we are inside.

- -

Enterprise now being pulled past the opening -- into the ship proper. Now we can SEE that the dark void is actually a vast chamber, dimly and intermittently lit by POWERFIELDS appearing and vanishing along the vessel's inner walls, which are miles away in the distance. And here and there in the chamber gigantic ENERGY DISPLAYS erupt briefly with a certain symmetry that suggests they must be part of V'ger's ower or control systems.

Kirk peering awed at the Viewer, the incredible sight of the chamber -- suddenly glances up to see that Spock is standing beside him -- Decker nearby, turns to Spock:

destroy us; they could have done that outside.

245A ANGLE ON UHURA 245A

Reacting to a console reading:

The starship is pulled inside, the "iris" is closing behind it.

The viewer image changing from the huge dark chamber, rear angle shot, showing the "iris" closing.

On the viewer the final glimmer from exterior space as the "iris" closes completely.

248 REACTIONS 248

All eyes on the viewer, CAMERA FINDING ONE FACE AFTER ANOTHER, the reality of the situation etched into each face. Then:

248A FAVORING KIRK 248A

As Spock turns from a reading:

DIFALCO

Confirmed: Vessel is floating free. No forward momentum.

Ahead, the cavernous interior of V'ger.

248C BACK TO SHOT 248C

Kirk eying the main viewer -- Decker watching Kirk.

Kirk rises, goes to Spock's station.

The Enterprise moving slowly forward in this vastness, its running lights merely specks of light, candles in the darkness. In the distance those occasional ERUPT- ING POWER DISPLAYS in distant locations, sizes, shapes and patterns.

showing another persective of the above, and further away GLOWING ENERGY FIELDS dimly illuminating the alien ship's walls -- miles away. Strange semi--solid LIGHT SHAPES (some are "sensor-bee" swarms) traverse the dark- ness in random directions. But in the distance ahead, there seems to be an opening to another chamber.

Sulu is indicating what appears to be a lace-bulwark of POWERFIELD PATTERNS closing off the "chamber" in the distance ahead. Kirk, from the Science Station calls out:

251 ANGLE EMPHASIZING SPOCK 251

at his Science consoles, working rapidly, shifting from one set of controls to another. Now he hits a master control -- his console monitors FLASH, then go dark.

Spock brings a monitor IMAGE ON again, indicates a (Povill) pattern showing a line hitting something, then reversing direction.

251A ACROSS THEM TO THE MAIN VIEWER 251A

Kirk reacts with disappointment, indicates the main viewer.

I believe the light flares to be energy fields -- undoubtedly part of the vessel's inner mechanism. A technology so incredibly sophisticated that I cannot --

- -

254 ANGLE ON CHEKOV 254

Reacting to a console reading:

A moment's reaction from all at this, Kirk hurrying toward elevator, calling:

And Spock rises, joins Kirk and they hurriedly exit, the CAMERA SWINGING BACK to Decker, his perplexed con- cern (because of Ilia).

Where we SEE, behind the translucent stall door, what is unmistakably the form of the NUDE FEMALE.

entering, Spock slightly behind him - and one Security

Guard. Kirk glances around the room, now glances at the shower area and reacts as he sees the NAKED FORM. The others react similarly, even Spock cannot help re- pressing an expression of surprise. A moment's uncer- tainty as Kirk peers at them, then he steps to the stall door, hesitates another instant -- then slides the door open.

(NOTE: Arrange lighting for bizarre, mysterious effect.)

Kirk's eyes cannot believe what he is seeing:

255A "ILIA" 255A

standing in the sonic mist, naked but for a small multi-colored button embedded in her throat. As she looks at Kirk -- and the others -- the men peer back at her, speechless.

"ILIA" I have been programmed by V'ger to observe and record normal functioning of the carbon-based units infesting USS ENTERPRISE.

Kirk peers at her another nonplussed moment, then leans into the shower to touch a control, his eyes fixed on the lovely body behind the mist. He punches in a three digit code. Immediately a HUMMING SOUND emanates from the shower stall, Kirk closing the door, but 'Ilia" remaining inside.

256 ACROSS KIRK AND THE OTHERS TO THE SHOWER STALL 256

The HUMMING SOUND just now reaching a gentle crescendo -- through the translucent door you can see COLORS ENVELOPING "ILIA'S" FORM. And now the SOUND STOPS. "Ilia", attired in a leisure robe, steps from the stall, into the room. She stands facing Kirk, her face impas- sive, eyes unblinking. He looks her back a moment, then glances at Spock, who is gazing at "Ilia" in abso- lute fascination. Kirk addresses her:

"ILIA" V'ger is that which programmed me.

256A ANGLE ON THE DOOR - McCOY 256A

rushing in, concerned:

McCOY Jim, what's --

At the sight of 'Ilia", McCoy's words die in his throat -- and his trained eyes have instantly told him some- thing is awry. He unslings his tricorder, aims the sensor unit at "Ilia". As he reads his instruments, his face reveals the results (incredulity, fascination). Meanwhile, from the start:

"ILIA" V'ger is that which seeks the Creator. McCOY (of "Ilia") Jim, this is a mechanism...!

Kirk stares at McCoy, then at "Ilia" and realizes that "Ilia" is indeed non-human. And quickly:

"ILIA" That unit no longer functions. I have been given its form to more readily communicate with the carbon-based units infesting Enterprise.

McCOY (drily) Humans, Ensign Lang: us. (continues tricorder exam, increasingly impressed)

"ILIA" V'ger travels to the third planet to find the Creator.

Stunned, disbelieving reactions as all four attempt to digest this -- Spock gazing at "Ilia" with even more rapt fascination. Kirk, bewildered, addresses the others:

"ILIA" To join with him.

256B FAVORING SPOCK 256B

suddenly alert, addressing "Ilia":

"ILIA" V'ger and the Creator will become One.

McCOY (worried) Mr. Spock, be careful.

"ILIA" The Creator is that which created V'ger.

"ILIA" V'ger is that which seeks the Creator.

Another moment of total exasperation, frustration, during which "Ilia" seems to be waiting politely, patiently for

any further questions. When none are forthcoming:

"ILIA" (continuing; pleasant, bland) I am ready to commence my observations.

McCOY Let's get her to sickbay.

And he grasps "Ilia's" arm to escort her. But is as though he has seized cast iron: immovable. McCoy is thrown off balance merely by 'Ilia's" remaining sta- tionary. She ignores McCoy, addresses Kirk:

"ILIA" I am programmed to observe and record normal functioning procedures of the carbon-based units.

256B Kirk glances at McCoy, who is totally bemused, but then 256B Kirk quickly responds to "Ilia":

"ILIA" (a beat) You may proceede.

McCOY (carefully) Thank you.

257 CLOSE SHOT OF EXAMINING ROOM VIEWER (O) 257

scanning a "body". PULL BACK TO SHOW McCoy, Chapel, Kirk, Spock and Chekov -- standing over "ILIA" who lies prone on the table, the physicians moving the scanner over her.

McCOY

(from the start; indicating) ... micro-miniature hydraulics, sensors, molecule-sized multi- processor chips... and look at this...

In the b.g., Decker enters, grimly observes the proceed- ings.

Chapel breaks off abruptly, noticing "Ilia" is peering intently -- almost with a glimmer of recognition -- at Decker. Slightly disconcerted, Chapel continues:

"ILIA" (peering at Decker) Deck -- er.

257A FAVORING SPOCK 257A

as everyone reacts to "Ilia's" utterance of Decker's name. It seems to make the deepest impression on Spock, confirming something he has suspected.

"Ilia" continues peering at Decker with just a hint of a puzzled frown, a glimmer of distant recognition. It's the first time we've seen her expression look anything but cool and bland. This results in the quizzical rising of one of Spock's eyebrows.

258 ANOTHER ANGLE 258

McCoy's examination now turns "Ilia" away from the

others. Spock quickly catches Kirk's and Decker's attention, indicates an adjoining door -- they fol- low him out of the room.

as Kirk, Spock and Decker enter, the door snapping shut -- and Spock touching the electronic lock to secure them. He faces the others:

259A ANGLE ON DECKER 259A

also comprehending, and not liking it one bit as Spock and Kirk are both turning their attention to him.

DECKER

That probe in there -- in a different form now -- is the same thing that killed Ilia!

Interrupted by the SOUND of someone trying to open the locked door behind them. Then a METAL RIPPING SOUND as they whirl to see:

260 MEDICAL OFFICE DOOR 260

with the METAL BUCKLING, TEARING -- and a single hand slicing the steel door like paper. It is the "Ilia" probe, her face absolutely impassive, her whole manner incongruously benign. (Behind her, a startled McCoy, Chapel and Chekov.) "Ilia" speaks flatly, blandly.

"ILIA" I have recorded enough here. (motions to Kirk) You will now assist me further.

Kirk exchanges a quick glance with Spock. Then:

"Ilia" has seemed about to object -- but now her eyes hold on Decker. Then she nods.

(AND "ILIA")

as Decker looks at "Ilia" who stands at the torn door. You can read Decker's mind: I'm supposed to persuade that?! He turns back, finds Kirk's eyes on him.

Decker nods.

"Ilia" and a reluctant Decker EXIT.

260B EMPHASIZING SPOCK 260B

looking very troubled as they watch Decker and "Ilia" leave. Kirk notices.

Spock EXITS.

floating in the vast, eerie, alien chamber -- sporadic FLASHES OF ENERGY, erupting now and then. Various other EFFECTS. OVER this, Kirk's VOICE:

The area dimly lit -- unoccupied but for a lone AIRLOCK TECHNICIAN checking and adjusting instruments. The CAMERA MOVES PAST him to FIND:

263 SPOCK 263

His face fixed with grim determination, walking quietly with obvious intent not to attract the Tech's attention. Now he steals up behind the TECH -- and in an instant has applied a Vulcan nerve pinch. The Tech slumps over his console.

Showing a CLOSE SHOT of ENTERPRISE PICTURES, then PULL BACK SLIGHTLY for an IMAGE of Decker and "Ilia" walk- ing through the Rec Deck. PULL BACK FURTHER TO SHOW Kirk watching this -- and with him is McCoy. They continue watching a troubled beat, as:

"Ilia" is giving the pictures a very interested look as we HEAR in Kirk's cabin:

B.G.)

Uhura at her console, struggling to hear the signal.

In the b.g., Spock's station a MAINTENANCE TEAM is replacing the broken Science Station computer. (Spock is conspicuously absent.)

Decker and "Ilia", the Rec Deck unoccupied but for a pair of wary SECURITY GUARDS at a very discreet dis- tance. They are near the pictures of the five Enter- prises, which should be FEATURED in this SHOT, as

Decker waves his hand about the huge room.

268 CLOSER TWO SHOT (PICTURES O.S.) 268

As "Ilia" moves on into the room, Decker follows:

"ILIA" The words 'recreation' and 'enjoy' have no meaning to my programming.

Decker peers at the lovely android with frustration -- and no little pain, for she is after all the exact replica of Ilia. She pays not the slightest attention to Decker's reaction, and begins walking about the Rec Deck taking in (and, clearly, transmitting all images to V'ger) the sights. They are near a game area (elec- tronic games), and now Decker points to one game, switches it on -- presses button to activate its LIGHTS and SOUNDS. "Ilia" watches interestedly as Decker operates the game.

And he demonstrates again, as "Ilia" steps to the device, deftly hits some buttons -- and for just an instant she turns to Decker with a momentary glimmer of recognition.

McCoy watching with special interest:

McCOY (approving) Good! He's using audial-visual association.

But the words are not out of McCoy's mouth when "Ilia" says:

"ILIA" This device serves no purpose.

She steps away from the game; Decker's disappointment is evident. So is everyone elses.

McCOY (nods grimly) She needs something else: something much more personal to stimulate memory patterns. Something with a more emotional tie.

Kirk reacts to this, reflective.

Decker waving back toward the general area of the Enterprise pictures.

"ILIA" Carbon units are not true life forms... Do those images repre- sent how Enterprise has evolved into its present form?

"ILIA" Carbon units have clearly retarded Enterprise's proper evolvement.

"ILIA" Enterprise should not require the presence of carbon units.

And with this she moves off, observing other Rec Deck objects. Decker moves with her; then:

"ILIA" More data concerning this functioning is necessary before carbon units can be patterned for data storage.

271 ACROSS "ILIA" TO DECKER 271

as he reacts to this ominous note; he stops abruptly.

"ILIA" (stopping; almost pleasantly) When my examination is complete, the carbon units will be reduced to data patterns.

This has been delivered with chilling blandness, and she stands facing Decker, almost as though waiting for him to thank her. He thinks fast now.

"ILIA" That is logical. You may procede.

272 ON DECKER 272

realizing the difficult task ahead; the pain he will suffer.

The ship stationary in the chamber as now we SEE an exterior hatch sliding fully open. Up through the hatch a circular airlock door opens -- and a tiny figure in a thruster spacesuit emerges, steps into space, slowly floats down through the hatch and under the Enterprise saucer section. In this and subsequent VIEWS we will SEE that on the rear pack of his thruster

spacesuit is a FLASHING STROBE LIGHT which regularly EMITS the identifying SIGNAL of this particular suit. (By which Kirk will be able to see Spock's position even from several miles away.)

274 CLOSER ON THE SPACESUITED FIGURE (M) 274

MOVING TOWARD the CAMERA until the features behind the face mask are clearly identifiable: Spock, his face set in the same grim, determined expression, as he touches his spacesuit transmitter control.

Kirk ENTERING, crossing Uhura as she calls:

His features now set into an almost trance-like expres- sion as he concentrates on the thought emanations. Then we SEE his head turn, he peers off -- then he

moves his thruster controls. We SEE the small blue jets of his thrusters -- his spacesuit figure begins to move off in the direction he was concentrating upon.

His thrusters moving him across V'ger's vast chamber then dropping down into a deep "trough"-like area which stretches into the distance ahead of him. A cloud of CRYSTAL FORMS (Kirk's entrapment) become visible to one side but Spock passes them at some dis- tance and does not attract them.

We can SEE more clearly now the point on the inner wall of the trough toward which Spock is heading. It is an unusual combination of GLOWING FORCEFIELDS which seem to mark this point of the vessel as of some importance. (Here, also, we will become aware of "sensor-bee" swarms, intermittently darting toward this same wall from all points of the chamber.)

SHOWING Kirk in a thruster spacesuit, helmet being readied by AIRLOCK TECHNICIANS. McCoy is also here, arguing with Kirk:

McCOY And if that 'whatever' has taken over his mind....? KIRK Then he'll have still led me to it, won't he?

And Kirk steps into the airlock door, hits a control -- it begins sliding closed behind him.

UP THROUGH the circular airlock door as it slides open -- and Kirk's tiny spacesuited figure floats down clear of the saucer.

280 CLOSER ON KIRK 280

SEEING his face through the spacesuit faceplate as he scans the darkness.

During which, Kirk spots something.

281 KIRK'S POV 281

Spock's STROBE blinker at a mile or so distance, nearing V'ger's inner walls.

282 ANGLE ON KIRK 282

During which, Kirk touches his thruster controls and blue thruster jet propels him off in the direction indicated. His thrusters come on for a longer period of time as he accelerates to the higher speed necessary to overtake Spock...

The DOOR SNAPPING open, and "Ilia", McCoy and Decker entering. Then CAMERA REVEALS Chapel already inside, looking through some female adornments she's found there.

Clearly this is very painful to Decker. Meanwhile, Chapel hands the Deltan headband to "Ilia".

"Ilia" hasn't the slightest idea what to do with the headband, holds it, runs her fingers over the jewels and feathers embedded into it. Chapel takes it from

her, places it on 'Ilia's" head, now switches on the light illuminating the dressing table mirror -- stands behind her with Decker, both watching apprehensively.

284 ANGLE ON "ILIA" 284

studying her image in the mirror, her face totally blank a moment, but then breaking into a bemused frown -- as though trying to remember. And:

And it seems that "Ilia" does remember. She peers at her image, then sets the headband into its exact proper position. Then she turns and looks at them with recognition.

"ILIA" (haltingly) Dr. Chapel...

285 ACROSS CHAPEL TO DECKER 285

as Chapel smiles, pleased, and looks at Decker who stares at "Ilia" nonplussed. This is Ilia coming alive!

"ILIA" (to Decker) "Will..."

And she touches his hand, runs her own hand over it, and smiles.

Decker is completely overwhelmed, struggles for words and looks to McCoy for some kind of help. McCoy realizes Decker is losing himself in fantasy.

McCOY (gently reminding) Commander... this is a mechanism...

Decker is startled, and for another slit-second he's lost -- but then he realizes the reality, and what he should do:

DECKER

(gently; but urgingly) Ilia, help us make direct contact with V'ger...

"ILIA I... cannot.

Decker looks at "Ilia's" hand still resting on his. Then:

For another moment "Ilia" continues smiling at Decker, holding his hand. Then, abruptly, the smile vanishes -- the hand is released. Clearly, she's again the probe, as:

"ILIA" Why have two carbon units entered V'ger...?

Decker glances at McCoy, who shakes his head almost imperceptibly: he doesn't know. But Decker has an obvious reply:

"Ilia" peers at him blankly, allows him to continue touching her hand, but obviously it means nothing to her.

"ILIA" The carbon units are of no consequence; V'ger will determine their purpose.

McCOY

Their purpose is to survive.

"ILIA" That is also V'ger's purpose.

Decker's face reflects his bemusement:

"ILIA" That is how V'ger will survive.

286 ON DECKER 286

as now, the bemusement changes to just the slightest enlightenment.

"ILIA" I wish to continue my observations.

Kirk but a small object, thruster jets occasionally spurting as he guides himself deeper into the trench as he continues forward progress in the direction he saw Spock taking.

288 CLOSER ON KIRK 288

So we can SEE his face (through the plate), as he looks ahead into the distance toward Spock.

289 KIRK'S POV (O) 289

Spock's STROBE signal closer and Spock's tiny space- suited figure now becoming dimly visible as he moves steadily toward the GLOWING FORCEFIELDS of the inner wall.

290 ON KIRK 290

His attention fixed on Spock, he never notices until an instant too late an O.S. object; quickly he hits a thruster control, and we SEE the MANEUVERING JET turn him to the side as:

A swarm of strange-looking translucent crystal-like FORMS on a collision course with Kirk. (NOTE: They

were traveling randomly, and are not deliberate ob- structions. However, Kirk's nearness now has attracted them and the swarm of them heads in his direction. Kirk tries to avoid them; he hits a second MANEUVERING JET -- but he overcompensates, and spins straight into the intercepting swarm of them.

as the nearest crystal forms WHIP INTO SHOT, adhering to Kirk's spacesuit. He hits full MANEUVERING JETS now, seems to make some escape, but still more forms WHIP IN, adhere.

All eyes anxiously on the O.S. main viewer.

Sulu hits the viewer magnification control.

294 ANGLE TO MAIN VIEWER (M) 294

As the distant STROBE FLASHES of Kirk's spacesuit are MAGNIFIED CLOSER, pulling Kirk into MEDIUM LONG SHOT. We can SEE the details of the swarm of forms adhering. But we can SEE that Kirk's spacesuit is now about half covered with them!

294A REVERSE ANGLE 294A

Expressions of bridge crew to reflect the horror of what they're seeing as:

teams! (glancing at viewer) Chief Lang! Get them out there! Fast!

Looks of distress are exchanged.

Spock's spacesuited figure MOVING TOWARD the CAMERA, as we HEAR:

No indication at first that Spock has heard; his face set with determination, his eyes fixed on his destin- ation: the inner wall.

as Kirk's VOICE STOPS -- and all that is heard now is the HEAVY STATIC crackling ominously. Spock's expression flickers, then he hits reverse thruster JETS, stops -- he turns to glance at the inner wall, then his thrusters turn him so he can look back the way he came from. But he cannot resist Kirk's call; he suddenly hits his thruster controls, then JETS FLARE, and:

as thruster JETS accelerate him back toward Kirk.

showing Kirk's spacesuit completely covered, encased

in the blob. Kirk is no longer moving. But in the distance, facing toward him is Spock!

with Spock in the near distance, heading TOWARD the CAMERA. As he approaches Kirk, Spock brings out his phaser. Now he hits the controls for the REVERSE JETS -- he slows RAPIDLY as he approaches Kirk's now complete- ly encased spacesuit. Spock makes a quick phaser adjustment.

300 ANGLE ON SPOCK AND KIRK'S ENCASED SPACESUIT (O) (S) 300

Spock levels the phaser carefully. FIRES. The PHASER BEAM strikes the blob form -- it SHATTERS, the pieces DISINTEGRATING.

facing each other while hovering in space.

Spock does not immediately reply, peers at Kirk through the faceplate a long beat, then abruptly looks away, points off into the distance:

We can SEE what appear to be SPARKLING GLOBULES OF LIGHT darting toward the inner wall in the distance, then disappearing there. (We'll SEE other swarms occasionally too, coming from different directions -- they will later be identified as "sensor swarms" on closer examination.)

find an indication of whoever -- or whatever -- is aboard this vessel...

Kirk weighs alternatives, then pushes his thruster controls and begins moving in the direction Spock indicated.

Their thruster jets flash, propel them toward the point on the inner wall.

The most prominent area of the vast inner wall -- the patterns on the wall here seem to GLOW with life. The spacesuited figures of Kirk and Spock ENTER SCENE, gliding slowly toward what seems to be the central part of theses patterns.

304 CLOSER ON KIRK AND SPOCK 304

as they approach and then we SEE the brief REVERSE THRUSTERS and then forward momentum stops; motionless. Then Spock sees something, indicates.

305 LONG ANGLE TO INCLUDE SENSOR SWARM (O) 305

Now, we SEE that they are tiny, multi-colored points of FLASHING LIGHT -- almost like swarms of bees. They approach the inner wall at this central point and seem to "disappear" through the orifice.

This "sensor swarm" has been coming from a direction that will take them close past Kirk and Spock. Then, as it passes, Spock reaches out quickly, grabs. He turns to Kirk, his hand closed on something.

307 CLOSE ON KIRK AND SPOCK (AGAINST "TUBE" WALL) 307

Spock opens his hand, retaining a hold on something with his fingers. He brings it up to Kirk's face mask -- it's a tiny SENSOR, its multi-colors flashing as it tries to escape from Spock's fingers. And in this CLOSE VIEW, we SEE that this is a SENSOR very much like the one we've seen earlier embedded in the Ilia-probe's throat hollow. Then Spock releases it and it darts to join the sensor swarm near the opening of the inner wall.

308 KIRK AND SPOCK'S POV (O) 308

From this closer distance, we SEE that an opening ap- pears in the wall, admits the sensor swarm, then closes immediately.

309 BACK TO SHOT 309

Kirk and Spock exchange a look. Their thruster JETS ignite briefly, moving them in that direction.

closely approaching the inner wall now, timing their movements to coincide with the arrival of another "swarm" -- the wall begins OPENING. The "swarm" through, the wall begins CLOSING -- but Spock and Kirk slip in before it closes.

The wall closing behind them, they are safely inside. But as they stop their forward momentum, their eyes widen with awe and surprise at what they are seeing:

311A WHAT THEY SEE (M) 311A

The long "cave" chamber with its row of huge MEDIATOR BALLS extending into the distance. To one side, the gleaming CRYSTAL MEMORY WALL.

311B KIRK AND SPOCK 311B

as Spock makes a quick analysis and estimate of what they are seeing. Then, he takes out his tricorder again, propels himself toward the memory crystals. Kirk follows.

311C AT MEMORY CRYSTAL 311C

as Spock adjusts his tricorder through several readings.

And Spock touches one of these new crystals (it will be shinier, more pulsating than the others): ANOTHER

pattern of the Security Guard killed by the probe. And Ilia.

And he turns and begins moving on, studying the wall, consulting his tricorder.

312 ACROSS THEM TO ANOTHER SECTION OF THE WALL 312

Spock inspecting this area at which the "newer" crystals are PULSATING and GLOWING, and which appears to be a termination of the Crystal area, continuing on and dis- appearing through the wall.

A beat, as Kirk reacts incredulously.

SPOCK

(continuing) I am almost certain now that all of this is V'ger -- I believe that we are inside a life form, a living machine.

Spock turns his spacesuit, turns his tricorder out to- ward the Mediator Balls, takes a reading in that di- rection. Then a glance to Kirk.

Spock touches his spacesuit controls; the THRUSTER JETS move him out toward the Mediator Balls.

313 ANGLE AT MEDIATOR BALL 313

Spock reaching the Ball, halts his momentum and removes one gauntlet, baring his hand. Stretching the bare hand toward a part of it which looks strangely "alive." The very power generated from this area is clearly affecting Spock's hand. Meanwhile, Kirk has used his THRUSTERS to join him.

But Spock pays him no attention, his entire being now focused on the PULSATING GLOW of the "alive" area -- the CAMERA MOVING IN CLOSER TO Spock, as he forces his hand toward that surface, closer, closer.

314 KIRK 314

watching, almost mesmerized. Torn between wanting to pull Spock away from the wall -- and knowing that Spock must go through with it. For everyone's sake.

315 CLOSER ON SPOCK 315

preparing for the ordeal, moving his hand to the "liv- ing area," the invisible force even stronger -- but Spock's strength unwavering, and now he touches the surface -- and it FLARES WITH STRANGE ENERGY at the touch. And at the same moment Spock' body convulses

as if tens of thousands of volts of electricity are charging through him.

316 CLOSE ON SPOCK'S FACE 316

as he begins to shudder with the shock, the CAMERA CONTINUES INTO EXTREME CLOSE-UP as we SEE Spock's mouth open -- he SCREAMS. CAMERA INTO EXTREME CLOSE SHOT OF SPOCK'S EYES.

MUSIC IN AND UP as we travel through ABSTRACT IMAGES (per Con Pederson discussion). Symbolizing V'ger's incredible and complex store of mechanistic knowledge, these IMAGES suggest patterns of atoms, molecules, galaxies, dimensions of the universe beyond human knowledge or comprehension. It takes only fifteen or twenty seconds, but seems to span aeons, taking us through micro-infinity and macro-infinity.

DISSOLVE TO :

CAMERA BRIDGING BACK OUT THROUGH SPOCK'S EYES AND INTO ANGLE ON SPOCK'S FACE as he lies in a sickbay bed. His eyes are open; he is staring straight ahead as if in a catatonic state, completly unaware of his surroundings. Then Doctor Chapel leans INTO SCENE, moving a medical scanner over the brain area.

319 ANGLE ON McCOY AND KIRK 319

McCoy at a console, watching readings he is getting from Chapel's scanner. Kirk watches McCoy anxiously.

McCOY Indications of some neurological trauma--the power pouring through that mind-meld must have been staggering...

Before Kirk can reply, they HEAR a LAUGH! An abrupt, harsh, bitter laugh.

320 ACROSS THEM TO SICKBAY 320

as all whirl to the patient area where it is obviously Spock who has just laughed -- but there is no indication of laughter from him now. A startled Chapel has stepped back away from the bed. Spock seems to be attempting to focus, orient himself as Kirk and McCoy hurry to the bedside.

And Spock reaches out a hand weakly., takes a surprised Kirk's hand in his. McCoy exchanges a surprised glance with Kirk, as Spock -- clutching Kirk's hand in friend- ship and need -- struggles to summon strength to speak.

321 ANOTHER ANGLE 321

with Kirk and McCoy exchanging another surprised glance (at Spock's emotion), with McCoy gesturing Kirk not to question it.

McCOY (to Chapel) We're living machines, too: protein mechanisms.

Kirk nods at McCoy.

living machine: that's why the probe refers to our ship as an entity.

McCOY (dryly) An 'infestation' -- bacteria... microbes.

322 ANOTHER ANGLE 322

as Spock turns to Kirk.

Kirk waits for Spock to continue, but Spock seems too weak.

But Spock falls back, exhausted -- and McCoy gently tugs at Kirk, AD-LIBBING, "Let him rest, Jim..." Kirk shrugs McCoy away, addresses Spock:

Just then an INTERCOM SIGNAL:

Immediately, Sulu's voice:

323 ANOTHER ANGLE 323

as Chapel urns to a MED TECH, AD LIBS an order, "Dalaphaline, twenty cc's..." As the Tech quickly sets the hypo-injector, and hands it to Chapel - and she injects Spock, the hypo emitting a fast, QUIET HISS -- Kirk gazes at Spock just an instant as Spock breathes deeply, the drug clearly strengthening him. Chapel and the Tech help Spock from the bed, as Kirk addresses McCoy:

McCOY God.

Kirk looks at him, then at Spock -- on his feet now -- then at McCoy again:

McCOY Isn't that what we're all trying to do...? (dryly) All us machines...?

Kirk stands facing him another moment, then whirls and steps to the monitor, flips some buttons, and peaks into his communicator.

324 ENGINEERING 324

SHOWING Scott (at his console) listening to Kirk's words -- and facing Decker and "Ilia" who are just about to leave Engineering. (In b.g. the Engine core GLOWS the appropriate color, and there is a SOFT HUM of IDLE POWER.) Kirk's VOICE continues:

status!

325 CLOSER ON DECKER AND "ILIA" 325

The probe bland as usual, but Kirk's words seem to have strangely elated Decker; he says to her:

"ILIA" By the Creator.

"ILIA" To learn all that is learnable; to deliver all collected data to the Creator on the third planet. That is the programming.

326 INCLUDE SCOTT 326

just now confronting them, regarding "Ilia" with open disapproval.

Decker really hasn't heard Scott; he's gazing at "Ilia," attempting to digest what she's just said. But quickly:

He moves to leave.

Now Decker and "Ilia" move toward the exit, Scott gaz- ing after them glaringly, watching "Ilia's" every move. Suddenly, almost into the corridor, "Ilia" turns and looks back at the engine room. She addresses Decker, but load enough for Scott to overhear:

"ILIA" There is no logical reason for carbon units to control Enterprise's power systems.

Kirk with McCoy and Spock, who although somewhat shaky, is clearly more alert. They are just assuming their stations.

328 ANGLE INCLUDING VIEWER (O) 328

Kirk pausing halfway to his chair to study the viewer on which is appearing an IMAGE of V'ger looming omi- nously in orbit over Earth.

As they begin to study it, the IMAGE suddenly distorts and is replaced by signal interference -- SIGNAL STATIC LINES RUNNING ACROSS THE VIEWER SCREEN. (Somewhat resembling the kind of high voltage interference some-times seen on the television screen.)

Uhura hits buttons and immediately from the speakers we HEAR A SERIES OF CARRIER WAVE BEEPS. Spock looks up from his console, listens to it.

appears to be a rather simple carrier wave code signal...

329 PAST KIRK TO THE ELEVATOR 329

as the doors snap open and Decker and "Ilia" appear. All eyes go to them as:

"ILIA" (to Decker; interrupting) As I stated, V'ger calls to the Creator.

"ILIA" 'To learn all that is learnable.'

"ILIA" (as if frightened) Decker... The Creator has not responded.

Kirk hears this, turning inquiringly toward her, but Uhura interrupts:

330 ANGLE INCLUDING VIEWER (O) 330

as, indeed, the interference is fading and a new Main Viewer IMAGE is appearing -- it shows V'GER IN EARTH ORBIT with a strange looking OBJECT moving away from V'ger. It is an ominous looking, HUGE SWIRLING GREEN MASS -- it resembles the same green plasma-energy bolts that destroyed the Klingons and Epsilon 9 -- and very nearly the Enterprise. It is not a bolt now -- the mass is much larger and appears much more deadly. A second object has now formed and moves off, a third one begins to appear. (Meanwhile, the first and second PLASMA- ENERGY OBJECTS are moving off into the distance in different direction.)

McCOY My God! They're the same kind of things that destroyed the Klingons, Epsilon Nine...

Sulu adjusts the viewer through several IMAGE MAGNI- FICATIONS until we SEE the huge OMINOUS GREEN DEVICES more clearly.

Kirk reacts hard at this. Uhura gets another message.

Sir, Starfleet computes their trajectories as moving toward equidistant positions over Earth.

exchanging significant glances.

332 ACROSS KIRK TO DECKER AND "ILIA" 332

as Kirk vaults from his chair, strides to a handrail to confront the "Ilia"-probe.

"ILIA" The carbon-units infection will now be removed from the Creator's planet.

"ILIA" The Creator has not answered.

"ILIA" You infest and control Enterprise. V'ger believes carbon-units interfere with the Creator in the same manner.

DECKER

(nods) It seems we all imagine God in our own image.

Three of the four OMINOUS SWIRLING GREEN OBJECTS have all moved away from V'ger now, in different directions, growing smaller in the distance. The fourth object is holding position nearby, seeming to grow in size and intensity.

334 ANGLE EMPHASIZING KIRK 334

as he throws a look toward Spock who is now in deep meditation. Kirk turns and takes "Ilia's" shoulders and carefully turns her to face him.

McCOY '... similar life forms...?' Jim, V'ger's saying the Creator is a machine...!

Kirk peers at Decker a moment, ingesting this thought. Then he addresses "Ilia" again, this time with emotion: after all, he is pleading for the survival of the entire planet:

Kirk pauses abruptly: "Ilia" is regarding him blandly, stonily -- not the slightest reaction or response; clearly Kirk's plea is being ignored. Kirk draws in his breath to continue, realizes the futility, turns helplessly to Spock.

335 ACROSS KIRK TO SPOCK 335

who has been listening intently, with near fascination -- an idea forming in his mind. Quickly, he steps down to Kirk:

336 FAVORING KIRK 336

startled at this, not sure he's heard correctly.

McCOY Spock, this 'child' is about to eliminate all life on Earth; how do we teach it that that's 'wrong'? With a spanking...!?

Spock peers at McCoy almost sadly, then replies to Decker.

Kirk says nothing, looks at Spock who is awaiting a reaction; then Kirk glances at "Ilia" -- his brain is racing, struggling to reach a decision. And then:

McCOY (shocked) Jim...!

"Ilia" studies Decker just a bland beat, then turns to Kirk:

"ILIA" (to Kirk, hard) Disclose the information.

"ILIA" KIRK UNIT! DISCLOSE THE INFORMATION!

Kirk studies her a moment, then decides to press his bet:

A moment where all are startled at this order -- but no time for questions as just then the ship is ROCKED BY A FURIOUS POWERFUL ERUPTION NEARBY within V'ger.

McCOY Your child is having a tantrum, Spock.

Clear the bridge.

Just then another ERUPTION -- the ship is ROCKED AGAIN.

rocked about by the furious powerfields -- with frightening displays of ray energy.

as all react to the powerful blasts, holding on to railings, etc, at the same time attempting to secure their stations for the evacuation. The DAMAGE REPAIR TECHNICIAN leaves his station, crossing to exit.

"ILIA" (to Kirk; flat) V'ger requires the information.

Kirk merely looks at her, then to the evacuating crew:

McCOY Jim, what the hell kind of strategy is this...?

Meanwhile, Decker has crossed to Chekov's now abandoned console, checks it.

339 ANGLE ON KIRK 339

turning to confront "Ilia":

339A INCLUDING VIEWER 339A

as LIGHT SHOW outside perceptically recedes, and simul- taneously the ROCKING CEASES. At the same time, "Ilia" is saying:

"ILIA" It is illogical to withhold required information.

Kirk does not reply to this, turns away to observe the withdrawing crew. Most are out; only Spock, Decker and McCoy remain behind -- with McCoy on his way. The bridge lighting dims, and now Kirk looks at Spock, who nods approvingly; clearly Spock is the only person who seems to comprehend what Kirk is doing, and why. As Kirk now moves toward the exit, and the lights are dimmed even further:

"ILIA" (almost polite) Kirk-unit, why do you not disclose information?

"ILIA" They have repressed the Creator.

And, gesturing the others ahead of him, Kirk starts toward the bridge elevator. "Ilia" calls after him:

"ILIA" (almost a plea) V'ger needs the information.

340 AT THE ELEVATORS 340

Decker and McCoy about to enter, Spock and Kirk just behind -- all stopping abruptly now at "Ilia's" state- ment. The very tone of her voice is enough for them to realize they have made a very telling point. Kirk follows fast:

KIRK

Then V'ger must withdraw its orbiting devices.

"ILIA" V'ger will comply if the carbon units disclose the information.

341 ANGLE ON McCOY 341

wryly reacting to this:

McCOY It learns fast, doesn't it...?

342 ACROSS McCOY TO KIRK AND SPOCK 342

as Kirk looks at Spock, Kirk's whole expression convey- ing the obvious question: "What the hell do we do now?" But Spock is ready with an answer:

Spock allows the sentence to hang, as he and Kirk eye each other significantly, the CAMERA SWINGING OVER TO KIRK so we can perceive that to Kirk this idea has an even greater significance.

Kirk nods grimly, faces "Ilia" again; this time he's playing for all the stakes.

all wait with hushed expectancy, all eyes on "Ilia" who seems momentarily in some internal communication.

She turns away from Kirk and steps forward looking at the Main Viewer.

McCOY (indicating viewer) Jim...!

344 PAST THEM TO VIEWER 344

the image of the chamber in which the Enterprise is imprisoned. But now, toward the chamber-end, where further passage had previously been barred by the lace- work energy barriers -- an OPENING APPEARS. And at the same time there is a GENTLE LURCHING EFFECT, and:

"Ilia" steps down from the platform and into the well where she is closer to the viewer.

moving through the chamber, pulled by the invisible tractor beam, toward the OPENING -- toward the next chamber which, from this POV seems even larger, more forbidding.

as the four officers step down onto the bridge, Spock hurrying to his science station, Kirk to the center seat.

As Kirk attends to his console, Deck is at an intercom:

DECKER

(into intercom, voice amplified) All personnel resume stations...!

At the same time the lights are brightening -- and members of the bridge crew begin returning. All this time there is an ever increasing sense of movement. Kirk glances at Decker:

Kirk reacts, pleased, a split beat at Decker's "our" hand, and goes on:

Kirk throws him a look of appreciation, then, abruptly his manner changes as he addresses Chekov:

at his console, a female engineering technician (CHIEF ROSS) nearby, the usual engine room ambience in the b.g., as:

as Kirk hesitates, glances around at the crew -- now all having resumed their stations -- and then grimly looks at "Ilia" who still remains at the rail.

Hearing this, Spock whirls around -- peers incredulously at Kirk. He appears for a moment to be incensed at Kirk's words. Then he realizes and understands Kirk's position and turns, sadly resigned, back to his work.

as Scott, too, hears this, but his reaction is of grim acceptance. Not so Chief Ross; she is horrified.

And Scott hits buttons on his console, now moves to step from his station, nearly collides with Ross, who clearly is bravely struggling to maintain her poise and dignity:

satisfaction) When that much matter and anti- matter are brought together? Oh, yes; we will, indeed.

The ship passing now through a chamber that is vastly more active than anything we have previously seen. Directly ahead appears to be an area that dispatches powerfields; a tremendous volume of them seem to ema- nate and converge there. The medium from which the ship moves appears almost solid, to the point where it seems incredible that the ship can be pulled through it at all. The entire chamber pulses with machine- like, alien life. This should even be evidenced in the booming POWERFIELD LIGHTENING BOLTS as they course in ever more frighteningly close proximity to the ship as:

The crew all watching the awesome spectacle of V'ger's interior (on the viewer) as the Enterprise is being pulled toward the brain complex. All are somewhat sub- dued, for all realize how their journey will end -- but at the same time they also realize there is no other way. The CAMERA PANS, catching facial reactions -- as, in the b.g., we HEAR a constant flow of AD-LIBBED crew comments:

351 ANGLE ON SPOCK 351

His back to the viewer, the angle does not reveal his facial features, but we can discern him struggling to

contain his feelings.

352 WIDER ANGLE (INCLUDE KIRK, McCOY, AND DECKER) 352

Kirk's back to Spock as he watches the viewer, Kirk now turning toward Spock.

Spock does not respond, then Kirk reacts with momentary annoyance, then realizes Spock is totally distracted. Kirk peers at him a moment, then suddenly rises and steps up to:

353 SPOCK'S STATION - KIRK AND SPOCK (McCOY IN B.G.) 353

as Kirk arrives, with Spock still facing away from him, clearly distracted.

Spock moves to face him, turning fully INTO the CAMERA so we can see now, just under Spock's eye:

A tear! Welling fom the eye, rolling down his cheek. Kirk is speechless a moment, glances at McCoy who has also witnessed this phenomenon, and started toward Spock; but Kirk gestures McCoy to stay back, as he addresses Spock:

Spock pauses as Kirk peers incredulously at him, then continues:

354 ANGLE ON McCOY AND DECKER 354

Listening, McCoy's face reflecting concern; Decker's

face compassion and understanding, with Decker step- ping closer to Spock, as Spock continues:

McCOY (with empathy) Spock, are you saying that you found, what you needed -- but V'ger hasn't?

355 ACROSS KIRK TO DECKER 355

as Decker reacts with sudden, almost evangelical en- lightenment, as Kirk Says:

ON DIFALCO

reacting to the (O.S.) viewer, AD-LIBBING a terse:

PAST KIRK AND SPOCK TO THE VIEWER

where another opening is suddenly visible -- another chamber. But the violent and color energy effects of the previous chambers are no longer evident. Instead, the entire chamber appears beautifully symmetrical, with a strange, subdued glow, which increases as we move closer.

COMPLEX

This enormous chamber resembles a hemisphere, laced throughout with dazzling energy patterns, not at all ominous, but quite lovely in effect. As the Enterprise continues forward motion, now ahead you will to SEE a small "island." Floating in the exact center of the hemisphere, the "island" seems alive with PULSING LIGHT, with more of the lovely and delicate ENERGY FORMS and COLORS. On the "island," vague at this distance, ap pears to be a "solid" matter form.

The "island" looming larger in the distance. And the Enterprise (as evidenced from the viewer) perceptibly slowing. Kirk just resuming his command chair, as:

Kirk says nothing a moment, studies the viewer -- and then:

KIRK

(into intercom) Engineering... Status, Mr. Scott?

358 ACROSS KIRK TO McCOY 358

as Kirk turns from the intercom and glances at McCoy. Between them a total look of understanding.

The Enterprise approaching the edge of the "island" -- slowing, but still quite clearly being pulled by the tractor beam. The "solid matter" in the "island" cen- ter still obscured by the STRANGE LIGHT GLOW emanating from that area. The Enterprise is now nearly at the "island" edge.

as all watching "island" loom closer and closer.

should

minutes. We could have that much loop "19" & more time... "15")

Kirk glances at the Viewer, the oncoming "island," then at Spock:

(ALT: "19",) (Mr. Spock), if we do not provide ( "15 ) V'ger with certain information, we

won't have twenty-two seconds; the plan must be implemented upon arrival.

Decker's last word is interrupted by an almost gentle BUMP -- and on the Viewer all perceptible motion has stopped. At the same time:

The ship's sauce leading edge holding position at the "island" edge as though docked.

watching the (O.S.) Viewer.

"ILIA" (indicating viewer) V'ger...

363 INCLUDING THE VIEWER KIRK AND THE OTHERS 363

all very silent a moment, gazing at the sight. Now Kirk glances at the people around him: on his command their lives are about to end. Nothing is said; no time for it, no inclination to articulate the obvious. No need to.

364 ANGLE ON CHEKOV 364

reacting to a console reading with surprise.

(ALT. "18",) We have twenty-one minutes. Captain, (.... "14" ) we can still save V'ger... and ourselves.

All this has caused Kirk to vacillate, but he still believes his course of action is the proper one, as:-

"ILIA" The carbon units will now provide V'ger the required information.

"Ilia" is moving toward the elevator, turning to face the others as she says this. Kirk remains frozen, his hand on the intercom button. He glances at McCoy, as though seeking advice. McCoy peers at him blandly, levelly; Kirk must follow his own instinct.

365 FAVORING KIRK 365

gazing at "Ilia," then at Spock, his brain racing, con- sidering all the possibilities, options. He glances at the anxious faces awaiting his decision: a possible twenty-two more minutes of life -- or instant death. Another beat as he decides. Then:

Mr. Scott... we're holding off; there may be a chance... (rises, gestures Spock and McCoy) Spock, Bones...

He starts for elevator.

366 PAST DECKER TO KIRK 366

as Kirk strides toward the elevator, joining McCoy and Spock.

Kirk studies Decker a beat -- there is something com- pelling about Decker's manner -- a certain sense of absolute necessity. Kirk seems about to deny the re- quest, then turns to Sulu:

And Kirk leaves; Decker, his face reflecting a strange, almost eager gratification, hurries after him.

A sudden STORM OF LIGHT AND STRANGE SOUND. In the midst of it, Kirk finds a SHAFT OF LIGHT very much centering on him. He sees "Ilia" watching him with none of their "former navigator" in her expression now. Kirk hesitates, gathering his thoughts:

Our data is being prepared.

"ILIA" Answer!

Kirk's words lead to a suggestion of FRUSTRATION in the STORM OF LIGHT AND SOUND around them.

367 ANGLE EMPHASIZING "ILIA" AND DECKER 367

as he moves to her:

Decker has reached out to touch her -- the probe spins at his touch -- the move knocks Decker from his feet, tumbling, a hard fall. Then the robe looks at him lying there -- just the slightest softening of her features now.

368 EMPHASIZING DECKER 368

slowly turning to face the probe again.

369 EMPHASIZING "ILIA" 369

as she meets Decker's look, her expression softening still more. The STORM OF LIGHT and SOUND begins to subside a bit. She moves to him and he gets to his feet.

Uhura with Sulu and Chekov there.

UHURA

Problem, Captain: the response signal is not in our records. Voyager Six was sent out by Earth's "United States Subdivision.' The code was probably...

as Uhura continues:

McCOY That's preposterous! They wouldn't have kept scientific data from one another.

372 ANGLE ON DECKER AND "ILIA" 372

Kirk, Spock and McCoy are standing some distance from them (out of hearing). The probe is clearly moving into still closer touch with Lt. Ilia's memory patterns as Decker takes her hand.

"ILIA" It will... take me from you...

373 KIRK, SPOCK AND McCOY 373

McCoy is looking at Kirk with an incredulous expression on his face.

McCOY And when it realizes what the Creator is...?

All of us here may be reduced into patterns...

McCOY (small smile) The God it captures is going to be a hell of a disappointment.

374 DECKER AND "ILIA" 374

at the side of Voyager Six, Decker in the midst of twisting a wing-nut which releases a hatch which swings open. Decker peers inside while "Ilia" waits.

375 KIRK, SPOCK AND McCOY 375

Decker and "Ilia" at the old capsule in b.g. as Kirk looks that way.

We SEE Decker look up at Kirk's call, then ignore him and go back to inspecting inside the access hatch. At this moment, from Kirk's communicator, a SIGNAL.

The three of them exchange looks -- Kirk, Spock and McCoy exchanging a silent moment of friendship and resignation. Then Kirk lifts his communicator again:

376 DECKER AND "ILIA" 376

catching Decker in the midst of pressing a control on his tricorder. Both he and "Ilia" are watching Kirk and the others closely. Now Decker looks down at the tricorder's face. He nods:

377 KIRK, SPOCK AND McCOY 377

still waiting. They continue to wait. McCoy shifts uncomfortably, throws Kirk a puzzled glance. Kirk finally lifts his communicator.

378 VARIOUS ANGLES 378

as the others turn to Decker and "Ilia."

retrieve V'ger's data, the Creator has to physically come here!...

Then Kirk touches a control on his tricorder exactly as Decker did earlier. Then he looks up, reacts as he sees Decker holding his own tricorder up -- and a smile playing on Decker's face.

379 ACTION ANGLE 379

as Kirk suddenly pivots, races toward Decker -- but he passes too close to the "Ilia"-probe. It sends him spinning back, tumbling to his knees.

380 AT KIRK 380

as KIRK starts up to scramble to his feet but Spock has stepped in, putting a hand on Kirk's shoulder and re straining him.

And then Decker shoves the tricorder into the access hatch.

TRANSCENDING (S)

For just an instant nothing happens -- and then a BLINDING SHAFT OF LIGHT STRIKES Decker. The color becomes BRIGHTER AND BRIGHTER, begins spiraling through the room. "Ilia" stes toward Decker, is caught in the LIGHT, and instantly VANISHES in a BRILLIANT WHITE GLOW.

We SEE Decker seeming to grow larger -- as if his molecular pattern is expanding. A SPECTACULAR SERIES OF VISUALS., THE SPIRALING LIGHT enveloping the entire area.

All this emanating from Decker's body, becoming LARGER -- also BRIGHTER AND BRIGHTER until now it is almost transparent. And the SPIRALING now expanding in all directions, and the room itself starting to dissolve, vanishing into nothingness -- and all commencing to slip into the new dimension.

Kirk, Spock and McCoy stand transfixed another instant. Around them, V'ger seems to be TRANSFORMING INTO BRIL- LIANT, LOVELY PATTERNS. They all turn and race into the complex in the direction of their vessel.

It too seems to be flowering into loveliness, brilliant, graceful patterns as they seem to slip through to another dimension, vanishing.

The "FLOWERING" EFFECT now spreading outward, V'ger's massive shape becoming a spiraling pattern of twisting, graceful shapes and brilliant colors -- a transcendence into another dimension. And then all of that is left is a shimmering, jewel-like point of light -- and then it too fades -- and reveals there in the blue-black of space, the U.S.S. Enterprise.

which shows now only space and its familiar star patterns. All gaze at the viewer, awed at what they've seen and undergone. They exchange looks silently, no one wanting to be the first to try to comment on some- thing which is beyond mere words. We HEAR an ELEVATOR DOOR, Scott and Chapel ENTER the bridge and stand silently watching.

McCOY Well, it certainly has been... interesting.

McCOY Spock... you're quoting poetry?

Spock's cold look at McCoy is interrupted by:

Engineer.

Kirk and Spock exchange a look -- then Kirk turns to the helm.

Then the trace of a smile comes over Spock's face.

Planet Earth in the distance, and receding in size as the starship heads out the other direction.