STAR TREK I I
" I N THY I MAGE"
Scr eenpl ay By Har ol d Li vi ngst on
St or y By Al an Dean Fost er
Thi s scr i pt i s not f or publ i cat i on or r epr oduct i on. No one i s aut hor i zed t o di spose of same. I f l ost or dest r oyed, pl ease not i f y scr i pt depar t ment .
Ret ur n t o Scr i pt ES Depar t ment PARAM OUNT PI CTUR CORPO RATI ON 5451 Mar at hon St r eet Hol l ywood, Cal i f or ni a 90038
ROUGH DRAFT Oct ober 20, 1977
FADE I N: 1
EXT. SPACE
1
The dept h of out er sp ace , t he j ewel ed beaut y o f bi l l i ons of st ar syst ems, sp ar kl i ng nebul ae, hy dr ogen cl ouds swi r l i ng i n t hei r aweso me va st nes s. Al l r et i nf si l 2
t hi s yo u SEE now i n u t t er , ab so l ut e SI LENCE, and we ai n t hi s f eel i ng, t he br eat ht aki ng mi nd- bendi ng i ni t y o f sp ace . And t hen, suddenl y, sh ock i ngl y, t he enc e, t he s er eni t y, i s sh at t er ed as yo u WATCH:
A KLI NGON HEAVY CRUI SER
2
sl i ci ng acr oss t he scen e wi t h t he CAMERA HOLDI NG on i t j us t l ong enough t o ESTABLI SH t he uni que Kl i ngon s t ar s hi p desi gn. I t st r eaks t hr ough t he bl ue- bl ack of sp ace , s mal l er and s mal l er i n t he di st anc e unt i l i t i s b ut a pi npoi nt of l i ght , l ost among t he ot her st ar s. But al most i mmedi at el y f ol l owi ng i t : 3
TWO MORE KLI NGON SHI PS
3
r ac i ng af t er t he f i r s t v esse l , al l t hr ee mor e or l es s i n a ki nd of f or mat i on. Then a su dden t ur bul ent whi pl ash of ene r gy comes f r om OUT OF FRAME and st r i kes one of t he Kl i ngon crui se r s. I t i s n ot phaser f i r e; i t s a weso me f or ce i s u nl i ke anyt hi ng we' ve eve r se en. The hi t cr ui se r i mpl odes i nt o a f l ash f i r ebal l whi ch qui ckl y b eco mes not hi ngness. 4
ANOTHER SH OT OF THE HEAVY CRU I SER r aci ng acr oss t he sp at i al back dr op. The t ur bul ent whi pl ash st r i ke s at t hi s cr ui ser , t oo, mi ss es. Suddenl y, gr acef ul l y, t he Kl i ngon crui se r t ur ns, wheel s a bout i n a per f ect ar c, ass umes a n at t ack a t t i t ude - - and t hen, PHASER GUNS FI RE: t wo st r eams of j et - yel l ow deat h at an unse en adve r sa r y. The p hase r st r eams ha ve h ar dl y l ef t t he Kl i ngon' s b at t er i es when we SEE t he st r ange whi pl ash of ener gy a gai n - - t hi s t i me i t st r i ke s t he ve r y h ear t of t he Kl i ngon cr ui se r , whi ch i s b at hed i n a gr een gl ow, and t hen se ems t o si mpl y d i ss ol ve i n a br i l l i ant whi t e f l ash. The bl ack ness o f sp ace i s i l l umi nat ed j ust one i nst ant and t hen - - wher e t he Kl i ngon was - - t her e i s n ot hi ng.
4
2.
5
THE OTHER CRUI SERS
5
appear i ng, st r eaki ng p ast - - and t hen t he s ame whi pl ash weapon f r om t he unse en adve r sa r y sh oot s o ut , gl ance s of f one of t he crui se r s - - and t he cr ui se r su st ai ni ng t he hi t , pausi ng j ust an i nst ant i n i t s s moot h co ur se , t hen co nt i nui ng. Then i t ' s hi t agai n, dest r oyed . CAMERA NOW CENTERS on t he r emai ni ng Kl i ngon cr ui se r , da maged , t r yi ng t o eva de dest r uct i on. 6
I NT. KLI NGON BRI DGE
6
wher e t he Kl i ngon CAPTAI N i s l oo ki ng di r ect l y TOWARD ( CAMERA) hi s own vi ewer , t r ansmi t t i ng: CAPTAI N . . . bot h dest r oye d, we a r e se ve r el y damaged, r et ur ni ng f i r e. I r epeat , t hi s i s Commander Bar ak o f t he I mper i al Cr ui se r Amar , under at t ack by a huge vesse l of unkno wn or i gi n, i nc r edi bl y p ower f ul . . . Then al l at once t he ent i r e pi ct ur e f l ar es, su ddenl y becomes whi t e, bl azi ng whi t e, and t hen t he SCREEN GOES BLANK. 7
EXT. SPACE - THE FI NAL KLI NGON CRUI SER
7
as i t di es . 8
EXT. STAR BASE ( OPTI CAL)
8
A sp ac e st at i on or bi t i ng an unse en pl anet oi d. The st at i on wi l l r ese mbl e t he hexa gonal or bi t al of f i ce uni t s we wi l l se e l at er . ( A numbe r of hexa gonal pods co nnect ed t o a ce nt er axi s l i ke sp oke s o f a wheel . ) A shu t t l e cr af t i s app r oachi ng , an d CAMERA CLOSES on t he sh ut t l ecr af t so we ca n READ t he l egend on t he cr af t ' s si de: UFP - St ar base 9. 9
I NT. STARBASE - COMMANDANT' S OBSERVATI ON BAY A youn g, ver y at t r act i ve f emal e LT. CMDR. BRANCH at a co nt r ol co nso l e. The st ar s o f de ep spa ce a r e VI SI BLE t hr ough an obse r va t i on por t . A near by i nt er co m l i ght f l ash es o n, and t he g ent l e BEEP of t he audi o s i gnal . Br anch f l i ck s o n t he sp eake r : ( CONTI NUED)
9
3. 9
CONTI NUED:
9 BRANCH Comman der Br anc h. MONI TOR ROOM VOI CE ( MALE) Our sen so r dr ones ha ve j ust moni t or ed a t hr ee- cr ui se r Kl i ngon sq uadr on bei ng wi ped out . Wi t hi n t hei r own boundar i es. . . ! BRANCH ( r eact s ; c ool ) How? Dest r oyed by w hat ? MONI TOR ROOM VOI CE Unkn own. The l ast Kl i ngon co mmuni cat i on ca l l ed i t . . . quot e ' huge, i ncred i bl y p ower f ul . ' We have been abl e t o t r ack i t s magnet i c f i el d, get a c our s e f r om t hat . BRANCH Wel l . . . ? MONI TOR ROOM VOI CE I t ' s h eaded t owar d Ear t h.
10
EXT. SAN FRANCI SCO BAY AREA - DAY ( MATTE)
10
wi t h t he l ege nd " San Fr anci sco" SUPERI MPOSED over . Thi s i s a PANORAMI C SHOT of t he ent i r e Bay Ar ea, wi t h t he f amous a nt i qui t i es t he Gol den Gat e Br i dge a nd t he p oi nt ed Tr ans- Amer i ca Bui l di ng t he o nl y r eco gn i za bl e l andmar ks. The vi si bi l i t y i s p er f ect , cl ear as t he eye ca n se e, whi ch i ndi ca t es sp ar kl i ng cl ean ai r . The sh or el i ne and Bay a s we o nce kn ew i t no l onger exi st - - t he ol d San Fr anci sc o ci t y a r ea i s n ow an i sl and wi t h t he ol d Bay now an i nl and ext ensi on of t he Paci f i c Oce an. I ndust r y and t r ansp or t ar e al l no w und er gr ound. But what r eal l y s t r i ke s t he eye i s t he per f ect har mony bet wee n nat ur al beach es, gr een meadows, cl ear st r eams. And t r ees. Gr ove s of mar ve l ous, huge , maj est i c t r ees, many of t hem a ce nt ur y or mor e ol d. Cl ear l y Ear t h i s now t he home of a peopl e who l ove and r esp ect t hei r l i v i ng pl anet . 11
EXT. PARKLAND - DAY
11
wher e, at f i r st , we HEAR VOI CES: CHI LDREN' S VOI CES, pl ayi ng, f r ol i c k i ng, f ami l i es pi c ni cki ng - - her e a pai r of l ove r s s t r ol l hand i n hand - - and t her e a whi t ehai r ed, di st i ngui sh ed ol der man st r ol l s hand i n hand wi t h a yo ut h i n hi s t went i es, a so n or a t r easu r ed ( CONTI NUED)
4. 11
CONTI NUED:
11
st udent . And ani mal s, once co nsi der ed " wi l d, " l ope about - a ch i l d r i des a t op a magni f i ce nt ant l er ed deer . Li f e i n t hi s cen t ur y i s ver y pl easan t . Now t he CAMERA FI NDS: 12
EXT. COLT TOWER MALL - DAY ( MATTE)
12
Tyi ng t hese CLOSER ANGLES aga i n i nt o t he 2 3r d cent ur y San Fr anci sco l oca l e, we ca n SEE t he anci ent but r eco gni za bl y p r ese r ve d Coi t Tower on a b. g. hi l l . The ce nt ur i es h ave br ought cl i mat i c ch ange s t o t he Bay a r ea whi ch i s much cl ose r t o su bt r opi ca l t han i n t he 20t h ce nt ur y. We SEE st acks o f f r ui t s an d v eget abl es b ei ng f r eel y t ake n by a nyo ne i nt er est ed - - no ve ndor s o r sa l espe opl e. 13
ANOTHER ANGLE - THE MALL
13
An ar t i st has a t t r act ed a del i ght ed gr oup o f ch i l dr en as h e u se s a co mpl ex ke yb oar d t o "pa i nt " wi t h br i l l i ant l i ght on a l ar ge sc r een. Then CAMERA PANS t owar d SOUND and act i vi t y whi ch t ur ns out t o be " f or cef i el d" at hl et i cs ( MAGI C MOUNTAI N BLUE AI RBAG OPTI CAL) . I n b. g. , a g r ou p of naked t wo and t hr eeye ar - ol d ch i l dr en del i ght edl y g ambol under so me so r t of ove r he ad game- spr i nkl er syst em. I n pr evi ous ANGLES and i n so me of t he co st umes, we s houl d hav e br i ef , t ast ef ul adul t nake dness, use d pr i mar i l y t o su ggest t he mat ur e at t i t udes o f t he c i t i z ens o f t he c ent ur y . 14
KI RK
14
i n ci v i l i an c l ot hes . He' s s t r i di ng t hr ough t he gr ov e, peer i ng occ asi onal l y i nt o t he di st ance , obvi ousl y l ooki ng f or somet hi ng- someone. He passes va r i ous smal l gr oups of PEOPLE, but none ar e whom he' s se eki ng . And t hen, i n t he di st ance , he sp ot s: 15
A FEW TEEN- AGERS cl ust er ed ar ound t wo ha ndsome che et ahs. The paw of one of t he ch eet ahs i s b ei ng sp r ay b andage d ( 23r d ce nt ur y medi c i ne st yl e) by a MAN whos e BACK I S TO US. The Man use s va r i ous r um f r om ve Fr om t he r eari nst we ca n ent SEEs onl y tan he oM an'r -sshcioul vi der l i anbag. cl ot hes, and hi s s l i ght l y l ongi s h hai r . An exp r ess i on of r eco gni t i on f l i t s a cr oss Ki r k' s f ace ; he app r oach es t he gr oup.
15
5.
16
CLOSER ON THE GRO UP
16
as we ca n SEE t he Man j ust f i ni shi ng t he bi g ca t ' s p aw, addr es si ng t he t een- ager s. MAN Wel l . . . i f one of yo u t ake s c ar e of t hat paw, i t ' l l be good as n ew i n a week. The t een- ager s ( and t he ch ee t ahs) r omp of f . The Man begi ns pack i ng away hi s i nst r ument s. Ki r k st eps a l i t t l e cl oser . KI RK Those ch eet ahs n eve r pay t hei r bi l l s, Doct or . The Man l aughs, SEE t he Man i s: 17
t ur ns f ul l y I NTO THE CAMERA.
And We
MCCOY
17
as he r eal i z es i t ' s Ki r k and t he l augh t r ai l s of f . Yet t her e' s n o doubt but t hat t hey' r e bot h ve r y p l ease d t o se e t he ot her . Per haps t hey' r e af r ai d t hey' d be ove r emot i onal i f t hey l et t hei r t r ue f eel i ngs s ur f ac e. KI RK So yo u ca me down f r om t he hi l l s. MCCOY ( sh r ug s) Ju st pass i ng t hr ough. They s hake hands. And t hen, st udy each ot her . They' r e bot h awkwar d about t hi s meet i ng. For f i ve l ong ye ar s of t he st ar sh i p mi ss i on, t hey wer e so cl ose t o each ot her . Now t hey f eel al most as st r ang er s. MCCOY ( co nt i nui ng) Wel l . . . how' ve y ou b een? KI RK Thr ee l et t er s - - no answer . MCCOY The f act I di dn' t wr i t e. . . was my answer . Anot her h esi t at i on. moment wi t h a gr i n.
Then Ki r k t r i es t o l i ght en t he
( CONTI NUED)
6. 17
CONTI NUED:
17 KI RK They cal l you what ? The ' an i mal doc t or ' ? MCCOY ( nods) The onl y se nsi bl e pat i ent s I ' ve ever had. KI RK You cou l d al ways heal anyt hi ng, Bones. Remember . . . what di d t he y ca l l i t . . . t he Hor t a? You pat ch ed her up wi t h si l i co ne ce ment .
McCoy ha s cl ose d hi s i nst r ument bag, now sl ung i t ove r hi s sh oul der , and t ur ned t o f ace Ki r k. MCCOY What I r emember , Ji m. . . ar e t he f r i end s who co ul dn' t be put back t oget her . For f i ve y ear s . . . s o many of t hem. And he st ar t s wal ki ng. cat che s up. 18
Ki r k hesi t at es a moment , t hen
KI RK AND MCCOY WALKI NG - VARIOUS ANGLES AND POVS as t he y p r oc eed t hr ough t he g r ove, whi ch pr ovi des u s wi t h ot her VI EWS of t he beau t y o f t he su r r oundi ngs - t he eas e of l i f e. KI RK The Ent er pr i se wi l l be r eady f or commi ssi oni ng i n a f ew weeks. She' s been r ef i t t ed and r edesi gned : new engi nes, new equi pment we ne ver dr eamed of . MCCOY ( al most amused ) You ne ver gi ve u p, do you ? KI RK Bones, sh e' l l be t he most po wer f ul st ar ew s hit op m i at n tch het gal a cr hat axy. , t he She most needs exp er i ence d i n eve r y d epar t ment . McCoy st ops a br upt l y, f ace s Ki r k. MCCOY Then why ar en' t you commandi ng h er ? ( CONTI NUED)
18
7. 18
CONTI NUED:
18 KI RK Beca us e I ' m not a ca pt ai n no w. Admi r al s do ot her t hi ngs.
McCoy sha kes h i s h ead i ndul gent l y, now r esu mes wal ki ng. Then: MCCOY Does Admi r al Ki r k do t hese ot her t hi ngs a s h appi l y? KI RK I f I wer en' t happy, Bones, I ' d r esi gn f r om t he s er v i c e. MCCOY You pr obabl y wi l l r esi gn i n t i me, Ji m. KI RK You' r e wr ong. MCCOY I wi sh I wer e. But I l ear ned t o kno w you t oo wel l . At t hat i nst ant we HEAR t he f ami l i ar COMMUNI CATOR SI GNAL. Ki r k st ops, gl ance s wr yl y at McCoy, no w pr oduce s an ol dst yl e h and co mmuni ca t or , opens i t , AD LI BS i nt o t he s peake r : " Ki r k h er e. . . " COMMUNI CATOR VOI CE Admi r al Ki r k, Admi r al Nogur a r equest s yo ur pr ese nce at a pr i or i t y o ne st af f co nf er ence . Ur gent . I mmedi at el y, i f poss i bl e. Ki r k g i ve s McCoy a l ook, t hen sp eaks i nt o h i s communi cat or . KI RK Ki r k, af f i r mat i v e. Loc k i n, one t o beam back. Locki ng i n.
COMMUNI CATOR VOI CE St and by.
( t o McCoy) KI RK Bet yo u a di nner t hi s i sn ' t t hat ur gent . MCCOY ( smi l es; sh ake s he ad) I ' m on my way a gai n. ( CONTI NUED)
8. 18
CONTI NUED: ( 2)
18
KI RK I f I pr omi s e no mor e ' r ec r ui t i ng' . . . ? MCCOY You woul dn' t kno w how t o st op. I nt er r upt ed b y t he SHI MMER OF THE TRANSPORTER EFFECT - and i n an i nst ant Ki r k h as d emat er i al i ze d and i s g one. McCoy st ands wat ch i ng t he sp ot , ent i r e gamut of emot i ons evi dent on h i s f ace . 19
I NT. NOGURA' S OFFI CE
19
EFFECT appear s at Nogur a' s on e- po si t i on t r ansp or t er ch amber - - an d Ki r k mat er i al i zes. Thi s i s a l ar ge of f i ce as woul d be appr opr i at e f or St ar - f l eet Of f i ce r Commandi ng. Si mpl e f ur ni sh i ngs, ye t al l ve r y f unct i onal . A gi gant i c st ar map occ upi es o ne e nt i r e wal l - - i t occ asi onal l y ch ange si t s i mage f r om one por t i on of t he gal axy t o anot her , bl i nki ng dat a denot i ng t he l oca t i ons of va r i ous ve sse l s. Nogur a' s des k i s at one si de of t he r oom, on t he ot her a l ar ge ho l ogr aph co nf er ence t abl e. NOGURA, a handsome, gr eyi ng man i n hi s 50 ' s, gr eet s Ki r k wi t h a n AD- LI BBED " Admi r al , we' l l commence i mmedi at el y. . . " He se ems t ens e a nd wor r i ed as he gest ur es Ki r k t o t he con f er ence t abl e, whe r e we ar e AWARE of anot her of f i ce r se at ed her e -- a v er y f ami l i ar f ace : 20
SCOTT
20
i n uni f or m, f ul l Commander ' s s t r i pes. He smi l es, pl ease d t o se e Ki r k, who r et ur ns a n equal l y pl ease d smi l e. Each AD LI ES a gr eet i ng: " Sco t t y. . . " and Sco t t sa ys , " Admi r al . . . " As e ach t ake s a se at , Ki r k c ont i nues t o Sc ot t , qui et l y: KI RK The new f uel i nt er - mi x r egul at or s. I hear t hey' r e i nst al l ed now. NOGURA (i nt err upt i ng; t o r k) her e t o gossi p ab out t he You' r Ki e not Ent er pr i se r edesi gn, gent l emen. Ki r k l ooks u p i n su r pr i se at t he s har p- t oned r epr i mand.
( CONTI NUED)
9. 20
CONTI NUED:
20 NOGURA ( co nt i nui ng) For gi ve me, Admi r al . . . Commander . What y ou' l l l ear n her e i s f ar f r om pl easa nt .
Nogur a has sa t at t he head of t he t abl e wher e he f l i cks so me but t ons o n hi s co nso l e a nd, i nst ant l y: 21
FULL ON TABLE - HOLOGRAPHI C I MAGES ( OPTI CAL)
21
of t wo St ar f l eet of f i ce r s, each at one of t he co nf er ence t abl e posi t i ons, e ach of f i ce r ' s i mage l i f e- si ze . Exc ept f or t he t r ansp ar ency o f t hese i mages, i t woul d be di f f i cu l t t o kn ow t he peopl e wer e not act ual l y t her e. One i s a ha nds ome woman, ADMI RAL CARSON; t he ot her CAPTAI N LEBUTU ( a mi ddl e- aged b l ack) . NOGURA ( t o t he i mages) Admi r al Car so n, Capt ai n Lebu t u, yo u bot h know Admi r al Ki r k and Commander Sc ot t . . . They no d at each o t her ' s i mages as K i r k ADLI BS, " We' r e al l ol d f r i ends. " Sco t t sa ys t o Car so n' s i mage, " Admi r al . . . " and t o Lebut u, " How do yo u do, si r ?" Car so n ask s, " How' s y our r ef i t co mi ng?" Sco t t t hr ows a l ook t o Nogur a, says " Fi ne. " Nog ur a get s down t o busi ness i mmedi at el y an d g r i ml y: NOGURA As you kn ow . . . ( i ndi ca t i ng hi m) . . . Lebut u' s s enso r dr ones c onst ant l y moni t or t he neut r al zo ne bet ween our se l ve s an d t he Kl i ngon Empi r e. Two days a go one of our dr one s pi cked up si gns o f Kl i ngon heavy cr ui se r ac t i v i t y. I t g ot t o t he ar ea i n t i me t o r ec or d t he t r eat y vi ol at i on. I wi sh t hat wer e al l we' d l ear ned, gent l emen. Meanwhi l e, Nogur a t ouch es a co nt r ol on hi s co nf er ence t abl e panel , dr aws t hei r at t ent i on t o t he of f i ce vi ewer wher e t hey see: 22
ANGLE I NCLUDI NG VI EWER
22
on whi ch we SEE t he Kl i ngon h eavy cr ui se r sl i ci ng acr oss sp ace. Then t he t wo ot her Kl i ngon cr ui se r s, al l t hr ee i n l oose f or mat i on. ( CONTI NUED)
10. 22
CONTI NUED:
22 Bi g on es. Kor o cl ass.
SCOTT CARSON Thei r ne west and be st .
LEBUTU ( noddi ng) They' ve sp ot t ed so met hi ng j ust out of our dr one' s ca mer a r ange. ( i ndi c at es ) Now wat ch! On t he vi ewi ng s cr een t he sud den t ur bu l ent whi pl ash of ener gy f r om OUT OF FRAME, de st r oyi ng one of t he Kl i ngon crui se r s. 23
ANGLE ON KI RK AND THE O THERS
23
r eact i ng har d, al most di sb el i evi ngl y. SCOTT My God! 24
LEBUTU They' r e f i r i ng back n ow.
ANGLE I NCLUDI NG SCREEN on whi ch we SEE t he r emai ni ng t wo Kl i ngon vessel s maneuv er i ng, f i r i ng t owar d t he un se en obj ect . Then a se co nd cr ui se r i s hi t by t he i ncr edi bl e f l ash of ener gy. The l ead cr ui se r i s ca ught by t he edge of t he whi pl ash , damage d and hi t t i ng out of co nt r ol . LEBUTU At t hi s p oi nt our dr one pi cke d up t hei r command f r equency. On t he vi ewer t he SCENE su dd enl y sw i t ch es t o i nt er i or Kl i ngon cr ui se r br i dge wher e t he Kl i ngon Capt ai n i s l ooki ng d i r ect l y TOWARD ( CAMERA) hi s own vi ewer , t r ansmi t t i ng: CAPTAI N . . . bot h dest r oye d, we a r e se ve r el y damaged, r et ur ni ng f i r e. I r epeat , t hi s i s Commander Bar ak o f t he Iby mper al Cr ui ect se r of Amar , under t ack a hi uge o bj unkn own o rati gi n, i nc r edi bl y p ower f ul . . . Then al l at once t he ent i r e pi ct ur e f l ar es, su ddenl y beco mes whi t e, bl azi ng whi t e, and t hen t he scr een goes bl ank.
24
11.
25
ANGLE ON NOGURA AND THE OTHERS
25
I t i s t aki ng t hem a moment t o abso r b what t hey' ve j ust seen . Then: KI RK Huge o bj ect , i ncr edi bl y p ower f ul , t hr ee Kl i ngon heavy c r ui se r s wi ped out l i ke t hey wer e ca r go f r ei ght er s. CARSON A t ot al l y u npr ovo ke d at t ack . KI RK Let ' s h ope i t j us t does n' t l i ke Kl i ngo ns. ( t o Nogur a) Reco mmend we t r y t o det er mi ne t hi s obj ect ' s p r ese nt co ur se and war n of f an y vesse l s we h ave near by . NOGURA I t s c our se i s kn own, Admi r al Ki r k. ( gr i m beat ) I t ' s headed her e. Towar d Ear t h. 26
ANOTHER ANGLE - KI RK
26
di gest i ng al l t hi s, wei ghi ng t he i mpl i cat i on, as Car so n speaks: CARSON We' ve moni t or ed i t f r om t hr ee di f f er ent s t at i ons . Ther e i s n' t t he sl i ght est doubt t hat i t s headi ng i s o ur sol ar sy st em, t hi s pl anet . 27
ACROSS THEM TO THE STAR A MP
27
as Nogur a r ef er s t o t he st ar dat e ch r onomet er ( di gi t al ) on t he map: NOGURA . . . i t wi l l arr i v e i n ex ac t l y 8. 6 days . . . As h e t al ks, Nogur a i s p unch i ng c onso l e but t ons, so t hat t he appr opr i at e St ar Map qu adr ant i s MAGNI FI ED, and no w co ve r s t he ent i r e map ar ea. Ther e i s b ut a si ngl e l i ght i ndi ca t i ng t he p r ese nce of a UFP ve ss el , a l onel y shi p i n a host i l e sea. Besi de t he l i ght a pr i nt out r eads: USS Aswan .
( CONTI NUED)
12. 27
CONTI NUED:
27 NOGURA ( co nt i nui ng) . . . as yo u se e, al l ot her UFP ve sse l s ar e mor e t han ni ne days a way. The so l e Exc ept i on - - and t he on l y o ne i n pos i t i on t o i nt er c ept -- i s t he Aswan. KI RK Si r , t he Aswan i s a l i ght cr ui se r : her weapons and def ense sys t ems have l ess t han hal f t he power t he Kl i ngo ns had. NOGURA Ther e i s a not her ve ss el t hat co ul d back up t he Aswan. A vess el wi t h st r onger f or ce - f i el ds and f i r epower t han al l t hr ee Kl i ngon cru i se r s combi ned.
Ki r k a nd Sco t t gl ance at each ot her i n su r pr i se ; each r eal i zes w hat vesse l Nogur a mean s. SCOTT You' r e r ef er r i ng t o t he Ent er pr i se , sir...? NOGURA How s oon can you m ove her
out ?
SCOTT ( appal l ed) She' s n ot near r eady, Admi r al . Not hi ng' s b een t est ed: engi nes, weapon s, def l ect or s. She r equi r es at l ea st 60 days of sha ked own. CARSON Command er , ar e you sayi ng t he Ent er pr i se ca n' t go out ? SCOTT I ' m sa y i ng s he s houl dn' t , s i r . NOGURA Your comment s ar e not ed, Commander . Howeve r , oned t he Ent prder i seway i s wi t ot hi ben commi ssi anderun t went y- f our hour s. SCOTT ( hesi t at es, t hen st ands) I ' d best be get t i ng up t her e t hen, s i r. ( CONTI NUED)
13. 27
CONTI NUED: ( 2)
27
Sco t t st ar t s t o l eave , t hen st ops a nd t ur ns. SCOTT ( co nt i nui ng) The ol d cr ew, Admi r al , wi t h an unt est ed st ar sh i p. NOGURA ( nods; i nt er r upt i ng) Commande r Uhur a an d Li eut ena nt Sul u ar e al r eady a boar d. KI RK How abo ut Chekov? He' s t ops f or weapon s an d secu r i t y. NOGURA ( t o Car so n) Get hi m. ( t o Sc ot t ) Thank y ou, Commander . ( t o Ki r k) For sci ence of f i ce r , we' ve got al most Spock' s equ al . Command er Ronak. Sco t t has n odded, exi t s. Ki r k sh ake s h i s h ead, f r owni ng. KI RK A f i ne cr ew on su ch sh or t no t i ce . CARSON I f we had t he r i ght Capt ai n. KI RK ( puzzl ed) Capt ai n Wah Chen i s on e of t he best . CARSON The Ent er pr i se l eave s i n t went yf our h our s, A dmi r al . Capt ai n Wah i s st i l l at St ar - bas e Si x , t hre e days aw ay at maxi mum war p. NOGURA ( t o Ki r k) Who i s t he next most qual i f i ed ca pt ai n? KI RK Bar - Le v. NOGURA He' s never commanded mor e t han a l i ght c ru i s er .
( CONTI NUED)
14. 27
CONTI NUED: ( 3)
27
KI RK He' s t he next qual i f i ed avai l abl e. NOGURA Ki r k! Who i s t he best qual i f i ed ava i l abl e? 28
EMPHASI ZI NG KI RK
28
hesi t at i ng a l ong moment . eye t o eye.
Then he l oo ks u p, meet s Nogur a KI RK
I am. FADE THROUGH BLACK TO: 29
EXT. PLANET EARTH ( OPTI CAL)
29
sever al hund r ed mi l es BELOW US. We ar e ABOVE t he Nor t h Amer i ca n c ont i nent , and u nder t he t hi n c l oud co ve r we can MAKE OUT t he f ami l i ar , cur vi ng coa st of t he Amer i can West : t he so ut her n t i p of Al ask a al l t he way t o Baj a Cal i f or ni a. ( Los Angel es i s now an i sl and. ) ANGLE WI DENS SLI GHTLY TO I NCLUDE: 30
AN ORBI TI NG SPACE/ WORK STATI ON
30
A sp ace st at i on, hexag onal pod con st r uc t i on. The CAMERA STAYS wi t h t hi s i mpr essi ve si ght al ong moment , t he s t at i on r ot at i ng ev er s o sl owl y - - but per c ept i bl y -f r amed agai nst t he bl ue- bl ack of su b sp ace , and sl i ght l y beyo nd - - and bel ow - - Ear t h. 31
ANOTHER ANGLE - THE EDG E OF THE W ORK PLATFORM
31
As t he st at i on move s s l owl y, t ant al i zi ngl y, t he sp i der y net wor k of t he dr y do ck now comes I NTO VI EW. We wi l l SEE bu t a c or ner of i t , a gl i mpse - - and whi l e we s ee not hi ng el se a t t he moment we r ea l i ze s uch a huge, i nt r i ca t e st r uct ur e must co nt ai n a much l ar ger obj ect . Whi l e we do not ye t se e i t , we r eal i ze so met hi ng qui t e i mpor t ant i s wi t hi n t he dr y d ock . 32
I NT. ORBI TI NG WORK OFFI CE
32
A f ul l y e qui pped, busy o f f i ce : dr af t i ng t abl es, PEOPLE ( engi neer s, dr af t smen, t ech ni ci ans - - so me i n uni f or m, so me i n ci vi l i an cl ot hes) movi ng a bout .
( CONTI NUED)
15. 32
CONTI NUED:
32
At one si de, a doubl e posi t i on t r ansp or t er i n whi ch we see t he f ami l i ar EFFECT. 33
KI RK
33
mat er i al i zi ng i n t he t r ansp or t er ch amber . He' s i n uni f or m now, and t ur ns t o Sco t t , who cr osse s o ve r f r om t he dr af t i ng ar ea. SCOTT We' l l have t he Ent er pr i se t r ansp or t er r eady i n a co upl e of hour s, si r . KI RK I t ' s bet t er t hi s way . good l ook a t her .
I ' l l get a
SCOTT She' s mor e beaut i f ul t han ev er , s i r. KI RK ( smi l es) Show me. Sco t t gest ur es Ki r k t o st ep i nt o t he adj oi ni ng pod. 34
OBSERVATION POD
34
A smal l er of f i ce - t yp e r oom, but wi t h co mf or t abl e bench es. Ki r k s i t s a t t he obse r va t i on wi ndow, whi l e Sco t t t ouch es so me but t ons whi ch act i va t e a sl i di ng door . The door s eal s o f f t he pod f r om t he st at i on pr oper , i n ef f ec t pl aci ng t hem i n a se l f - co nt ai ned uni t . Scot t mani pul at es some bu t t ons - - t her e i s a SOUND of JETS I GNI TI NG - and su ddenl y t he pod begi ns movi ng . 35
EXT. THE POD
35
mov i ng, det ac hi ng i t s el f ent i r el y f r om t he s pac e s t at i on as i t c onv er t s , l i t er al l y , i nt o a s mal l s hut t l e. I t f l oat s , pr opel l ed by t he t i ny j et s , t owar d t he f i l i gr eed dr y d ock ( of whi ch we st i l l ca n SEE on l y a gl i mpse ) . 36
I NSI DE THE POD - SCOTT AND KI RK AT THE WI NDOW wat chi ng as t he d r y dock now comes I NTO FULL VI EW - and, sl owl y, we be gi n SEEI NG:
36
16.
37
THE ENTERPRI SE
37
Fi r st t he l ef t engi ne, t hen t he cu r ve of t he hul l sa uce r , and t hen t he ent i r e hul l - - and t hen, f i nal l y, t he whol e sh i p. 38
ON KI RK
38
peer i ng at t he sh i p - - t he l ovel i est si ght he has s een i n mont hs . Hi s s hi p, h i s l i f e. Hi s f ac e r ev eal s al l . Sco t t gl ance s a t hi m, but sa ys no t hi ng ; not hi ng needs t o be sa i d. 39
EXT. ENTERPRI SE - FULL VI EW - VARI OUS ANGLES AND POVS
39
as t he pod appr oach es i t . The gr eat st ar sh i p dwar f s ev er yt hi ng i n s i ght . The dr y doc k f i l i gr eed i ns t al l at i on t hat envel ops t he sh i p se ems f r agi l el y beaut i f ul wi t h t he whi t e bul k of t he Ent er pr i se i nsi de of i t . Now, CLOSER, we can S EE smal l aut omat ed wel di ng de vi ces movi ng al ong t he gi r der s. The wel di ng devi ce st ops, se al s a wel d wi t h a br i ef , br i ght bl ue f l ar e, t hen move s a l ong agai n. I n ot her ar eas o f t he gi r der ed st r uct ur e, su ppl i es a nd equi pment ar e b ei ng l oaded o nt o t he shi p. And h er e and t her e we c an SEE TI NY FI GURES OF ORBI TAL TECHNI CI ANS wor ki ng on t he hul l , t he engi ne p ods, t he st r ut s. They r ese mbl e sp ecks of dust si l houet t ed agai nst t he hul l whi t eness . The shut t l e pod moves cl oser t o wher e we SEE an AI R LOCK t he si ze o f t he pod. 40
ANGLE AT POD AI R LOCK
40
SHOWI NG t he p od gent l y se t t l i ng i n next t o i t - - t hen magnet i ca l l y l ocks cl ose . Then t he " WHOOSH" of t he ai r t i ght door s b ei ng se cu r ed, t he " CLANG" of t he se cu r i t y bol t s. 41
I NT. POD
41
as Sco t t and Ki r k p r epar e t o l eave , Sco t t co mpl et i ng t he i nst r ument f i nal l andi ng check. OVER THE I NTERCOM: LANDI NG OFFI CER' S VOI CE (f i l t ere d) Pod secu r ed. Pr essu r e equal i ze d.
( CONTI NUED)
17. 41
CONTI NUED:
41
Sco t t smi l es a t Ki r k, t ouch es t he co nt r ol openi ng t he hat ch whi ch i mmedi at el y sl i des u p and ope n. 42
I NT. ENTERPRI SE CARGO DECK CORRI DOR The ent i r e ca r go deck i s a ppar ent l y b usy wi t h act i vi t y as va r i ous su ppl i es a r e b ei ng st or ed. Per sonnel use smal l ant i - gr avs ( ant i - gr avi t y d evi ce s) t o ef f or t l ess l y move l ar ge co nt ai ner s o f su ppl i es a nd equ i pment t o app r opr i at e sect i ons. CAMERA CENTERS on sh i p i nt er i or si de of t he ai r l ock as i t opens and Ki r k and Scot t emer ge f r om t he pod and ar e met by an E NSI GN. ENSI GN ( t o Sc ot t ) Si r , t hey ' d l i k e y ou i n Engi neer i ng. . . ( r ecogni ze s Ki r k; su r pr i se d) I beg yo ur pa r don, si r . No one si gnal l ed a f l ag of f i ce r comi ng aboar d. KI RK What ' s t he pr obl em i n Engi neer i ng? LANDI NG OFFI CER They' r e havi ng some damage co nt r ol moni t or r el ay p r obl ems, si r . ( t o Sc ot t ) They nee d you as soon as p ossi bl e, s i r. SCOTT ( t o Ki r k) I ' d bet t er get up t her e, si r . Ki r k nods, and Sco t t hur r i es away. Ki r k s t ands a moment , gazi ng at al l t he act i vi t y. The Ensi gn has been wai t i ng ner vo usl y. ENSI GN I ' d be pl eased t o sh ow you ar oun d t he sh i p, Admi r al . Ki k g man l ance s sh ar a t t that he Ensi t hen ze s t he yo rung d oesn ' t plkny ow t hi sgnAdm i r al r eal i s ti he st ar sh i p' s f or mer ca pt ai n. Ki r k r el axe s i nt o a smal l smi l e. KI RK I t hi nk I ca n f i nd my way, Ensi gn. Thank you. ( CONTI NUED)
42
18. 42
CONTI NUED:
42
And Ki r k t ur ns a nd st ar t s o f f acr oss t he d eck . 43
ANOTHER ANGLE - KI RK
43
as h e moves t hr ough t he deck, st eppi ng ou t of t he way of a CREWMAN r ushi ng a bout on an e r r and - - near l y bl ocki ng ot her CREWMEN eng aged i n movi ng equ i pment . ( The poi nt of t he sc ene i s t hat Ki r k i s an obse r ve r , not a par t i ci pant . ) To t he l ower de ck cr ew her e, he' s a st r anger , and i n t he way. A co upl e of CREW wi l l br ush past hi m, AD- LI BBI NG an i r r i t at ed, " . . . move asi de. . . ! " et c. , and t hen r eal i zi ng i t i s an Admi r al t hey' ve push ed ar ound , i nst ant l y a pol ogi zi ng wi t h AD- LI BBED " Sor r y, s i r , I di dn' t r eal i z e. . . " e t c. Ki r k s et s t hem at eas e wi t h a gest ur e, wal ks t owar d t he e l eva t or . 44
I NT. ELEVATOR
44
as Ki r k e nt er s, and t he door s c l ose , and Ki r k c al l s o ut hi s d es t i nat i on: KI RK Br i dge . . . The t ur bo- el eva t or begi ns g oi ng u p. Ki r k st ands, gr i m, a mi l l i on t hought s whi r l i ng t hr ough hi s br ai n. Suddenl y, t he el ev at or comes t o a j ar r i ng, SCREECHI NG hal t . 45
ANGLE ON ELEVATOR DOORS
45
as t hey snap o pen an d f or mer Nur se CHAPEL backs i nt o t he ca b, gui di ng a pack et of medi ca l su ppl i es b ei ng push ed by a Medi cal Tech ni ci an. She sp ea ks ove r - sho ul der t o Ki r k wi t hout r eal l y s eei ng hi m. CHAPEL Sor r y, I ' ve got so me per i sh abl es her e. ( t ur ni ng t o el ev at or c ont r ol ) Pr i or i t y, Lev el t en f i r s t . The Tech ni ci an h as ba cke d a way, r emai ni ng i n t he co r r i dor as t he el eva t or door s sn ap cl ose d a nd t he t ur bo- ca b st ar t s upwar d i n r esp onse t o Chapel ' s i nst r uct i ons. CHAPEL ( co nt i nui ng) I r eal l y am s or r y but i f t hes e get war m. . .
( CONTI NUED)
19. 45
CONTI NUED:
45 KI RK Qui t e al l r i ght . . . Doc t or . I t i s Doct or Chapel now, i sn ' t i t ?
She has t ur ned, r eco gni zi ng Ki r k i n near di sb el i ef . CHAPEL Capt ai n. . . Admi r al , I sh oul d sa y. . . ( as t hey sha ke h ands) . . . i t ' s wonder f ul t o s ee you. Esp eci al l y t oday. Ar e yo u se ei ng us of f ? KI RK Uh. . . n ot e xa ct l y. You se e. . . I t ' s i nt er r upt ed by t he el eva t or st oppi ng and t he door sn appi ng open. Chapel i s i mmedi at el y busy wi t h her l oad. CHAPEL That was a cl umsy quest i on. I kno w how you must f eel wi t h so meo ne el se t aki ng her out . KI RK Wel l , act ual l y . . . CHAPEL ( i nt er r upt i ng) I r eal l y do under st and, si r . ( t ouch i ng her sl eeve s t r i pes ) At l east , I ' m su ppose d t o under st and su ch t hi ngs. The t r ut h i s, I was t he onl y hal f way q ual i f i ed su r geon ava i l abl e. I f t her e was a ny smal l smi l e on Chapel ' s f ace , i t was a ve r y ner vo us one. She' s cl ear l y f eel i ng t he enor mous r esp onsi bi l i t i es sh e i s i nher i t i ng. The door s have st ar t ed t o cl ose , but Ki r k h as p ut up a hand f r eezi ng t hem i n posi t i on as : KI RK Doc t or . . . y ou' l l be i nt er est ed t hat t hey' ve pi ck ed t he ca pt ai n exa ct l y t he s ame way. He r emov es h i s h and, l et s t he do or s sn ap sh ut on puzzl ed and con ce r ned Chapel . Ki r k smi l es as t he el eva t or con t i nues upw ar d.
20.
46
I NT. BRI DGE - ELEVATOR DOOR
46
as t he t ur bo- l i f t door sn aps o pen a nd Ki r k st eps o ut ont o t he br i dge. CAMERA I NTO MEDI UM CLOSE as he st ops, l ooks a r ound. 47
ANGLE PAST KIRK
47
CAMERA TRAVELI NG t o emphasi z e f i r st UHURA who i s wor ki ng r api dl y and exp er t l y a t t he co mmuni ca t i ons st at i on so r t i ng out and c heck i ng c hannel s. . . " Hai l i ng f r equency f our , ch eck . Hai l i ng f r equency f i ve . . . h ai l i ng f r equency f i ve , wi l l someone gi ve me a ch eck? " At t he hel m, SULU has a se r vi ce pl at e open, pe er i ng i nsi de whi l e he make s an adj ust ment . . . " Hel m, gi ve me a r ead i ng o n f our poi nt zer o zer o si x of f ul l . " We HEAR a VOI CE r esp ondi ng an d Sul u co nt i nues on wi t h ot her r ead i ngs. At t he Weapons Cont r ol St at i on CHEKOV i s ha vi ng a n a r gument wi t h a TECHNI CI AN who kee ps i nsi st i ng t he pho t on t or pedoes r ead " r eady" whi l e Cheko v a r gues t hat t he co mput er i s not r el ay i ng t hat i n f or mat i on t o h i s weapons sca nner . 48
TRAVELI NG WI TH KI RK
48
Ot her n. d. Tech ni ci ans at wor k, t oo. The br i dge i s a mess , se r vi ce panel s o pen, sp ar e p ar t s l yi ng about , so me ci r cu i t s s t i l l l eadi ng acr oss deck ar eas. Ki r k mov es besi de hi s comman d po si t i on . Uhur a l ooks up, f r eezes as she see s h i m and t hen r ecog ni zes hi s exp r ess i on f r om ol d. She wai t s as: KI RK Vi ewer , pl ease , Mr . Sul u. SULU (i rri t abl y ) What i n hel l ' s n ame. . . ? Sul u bi t es o f f hi t hat he act ual l y Chekov has spu n, one of t he t ec hni
s wor ds , st ar i ng at Ki r k, di s bel i ev i ng h ear d t he o r der he t hi nks h e h ear d. t oo, ast oni sh ed . The n he sho ut s at c i ans who i s s t i l l t al k i ng. CHEKOV
Yonso n, kn ock i t of f ! We can F AI NTLY HEAR t he wor k goi ng on near by i n ot her se ct i ons a nd l eve l s. But t her e' s a hush on t he br i dge . . . Ki r k sp eaks i n a nor mal t one: KI RK Vi ewer , pl ease, Commander Sul u. ( CONTI NUED)
21. 48
CONTI NUED:
48 ( puzzl ed) Aye , si r .
49
SULU
ANGLE TO I NCLUDE VI EWER ( OPTI CAL ANGLE)
49
as Sul u hi t s pr oper cont r ol . The VI EWER APPEARS. He has t ur ned t o Uhur a, t osse s her a t i ny ca sse t t e. She c at ches i t ex per t l y , wai t s. KI RK Pat ch t hat i nt o al l v i ewer s, al l decks, pl ease . As Uhu r a co mpl i es, Ki r k be nd s t o p unch t he Yel l ow Al er t but t on at t he si de of hi s comman d ch ai r . We HEAR t he ALERT SI GNAL SOUND t hr ee t i mes bef or e he r el eases i t wi t h a nod t o Uhur a. She pu nc he s i n t he ca sset t e she has i ns er t ed. The STARFLEET COMMAND I NSI GNI A appear s on t he vi ewer al ong wi t h a si mpl e Shi p Commi ssi oni ng BUGLE CALL. Then t he f ace of Admi r al Nogur a app ear s. NOGURA The commi ssi oni ng of eve n t he smal l est and l east di st i ngui sh ed o f our ve ss el s. . . 50
I NT. VARI OUS ENTERPRI SE LOCATI ONS I ncl uded ar e Cor r i dor s, Engi neer i ng, Si ckb ay, Room, Br i ef i ng, Recrea t i on, et c. Al l of t hem about t he sa me unt i dy a nd r us hed co ndi t i on as we' ve se en. I n al l of t hem, cr ew member s ar e up at vi ewer s.
50 Tr ansp or t er l ook i n t he pl ace s l ooki ng
NOGURA . . . i s a l ways a cco mpani ed by f ar mor e cer emony t han can be of f er ed i n t he r eco mmi ssi oni ng of t hi s v esse l t oday. I ndeed, we must r egr et ev en t hese f ew br i ef moment s. Wi t h t he ai d of what eve r Pr ovi dence gui de s we s ai l or s a nd o ur sh i ps, we wi l l one day r epai r t hi s o ve r si ght . ( pause s, t hen) By o r der Feder at i Ent er pr i commi ssi
of ve Stss arelf l. eet Com an d, t hish sip on . . Uni tm ed Space se i s decl ar ed now f ul l y oned and i n se r vi ce.
22.
51
I NT. BRI DGE - I NCLUDI NG VI EWER
51
as Admi r al Nogur a appear s t o be l ooki ng i ndi r ect i on of t he command p osi t i on. NOGURA The ca pt ai n wi l l r ead h i mse l f aboar d. The VI EWER I MAGE OF NOGURA i s r ep l ac ed by t he I MAGE OF KI RK. KI St ar dat e 7411. 4, t o Ja mes T. Ki r k, t empor ar y r ank o f
RK St ar f l eet Or der s post ed t o t he ca pt ai n. . .
Al r eady i nt er r upt i ng ar e Uhur a, Sul u, Cheko v. Sco t t y, Yeoman RAND and ot her f ami l i ar f ace s a r e a l r eady a r r i vi ng on t he br i dge. They ' r e c al l i ng " They' ve done i t ! " "I t ' s Ki r k agai n! " " He' s wi t h us! " KI RK ( c ont i nui ng; t o br i dge cr ew) At e ase ! Si l ence , a l l of yo u! Commander ! The l ast " Command er ! " t o an al most dan ci ng Command er Uhur a who l ooked danger ousl y ne ar hugg i ng Ki r k. 52
I NT. VARI OUS ENTERPRI SE LOCATI ONS The same t he vi ewi br i dge cr and co nt i
52
ar eas an d t ypes of ar eas we saw bef or e. On ng s cr eens, Ki r k h as man aged t o s i l ence hi s ew and has t ur ned b ack t o t he vi ewer t o r epeat nue. KI RK Repeat i ng. . . t o Ja mes T. Ki r k, post ed t empor ar y ca pt ai n, yo u a r e a ppoi nt ed, char ged and r equi r ed t o command s t ar s t hi s U. S. S. Ent er pr i se . . .
We ca n HEAR NO MORE of Ki r k ' s wor ds . Cr ewmen and women have begun t o r eact i n su r pr i se and del i ght , sh out i ng t he news ar ound. 53
I NT. BRI DGE ANGLE ON KI RK
53
f aci ng v i ewer , co mpl et i ng hi s " r eadi ng i n" r equi r ement s. Even o n t he encl osed br i dge we can HEAR a cha nt " JI M KI RK. . . JI M KI RK. . . JI M KI RK! " co mi ng f r om eve r y d eck , di vi si on and se ct i on. ( CONTI NUED)
23. 53
CONTI NUED:
53
Ki r k h as t o f i ght t o ke ep hi s vo i ce eve n and l eve l . KI RK . . . and ar e so ch ar ged at yo ur per i l t o obey i n l et t er and s pi ri t . . . Si gned: Commandi ng Admi r al , Ear t hbase, St ar f l eet . DI SSOLVE TO: 54
EXT. ENTERPRI SE I N DRY DOCK
54
t he St ar s hi p r es t i ng maj est i c al l y wi t hi n t he f i l i gr eed c r adl e, t he wel der s ' ar c s st i l l oper at i ng i n a f i nal r ush t o co mpl et i on. Anot her sh ut t l ecr af t ( The Gal i l eo) appr oa ch i ng. The sce ne' s i nt ent i s mer el y t o SHOW t he act i vi t y a r ound t he sh i p. 55
I NT. BRI DGE
55
al i ve wi t h act i on- depar t ur e pr epar at i ons. At t he hel m posi t i on i s Sul u, busi l y e ngaged i n a c ount down c hecko ut . And at Communi ca t i ons i s Uhu r a. ( Not e: Sul u wear s f ul l Lt . ' s st r i pes and Uhur a Lt . Commander ' s. ) Uhur a i s t est i ng her equi pment , AD- LI BBI NG " . . . t hi s i s t he USS Ent er pr i se t est i ng mai n hai l i ng f r equenci es. I r epeat : t hi s i s a t es t . . . " E t c. , et c . The CAMERA PANS AROUND THE BRI DGE, var i ous CREWMEN and TECHNI CI ANS at t hei r con so l es, t est i ng comput er r eadout scr eens, i nst r ument s, et c. Now t he CAMERA FI NDS a br eat ht aki ngl y b eaut i f ul yo ung woman, j ust ent er i ng t he br i dge, st r i di ng pur pose f ul l y t owar d t he hel m/ navi gat i onal posi t i on. She i s a Lt . JG, whose st unni ng f i gur e i s h ar dl y mi l i t ar y, but whose most pr omi nent f eat ur e i s her head. She i s hai r l ess - ent i r el y bal d, but f or del i ca t el y-sl ant ed eye br ows, a f eat ur e t hat s t r angel y i s not at al l unat t r ac t i v e: wi t h her j ewel ed Del t an headband sh ad owi ng t he bal dness, she emanat es a def i ni t e, al most i nt ense se nsu al i t y. Her na me i s I LI A ( eye - l ee- ah) , an d s he t ak es h er pl ace at Nav i gat or ' s posi t i on besi de Sul u no w. Sul u se ems unabl e t o pr eve nt hi mse l f f r om bei ng di st r act ed by h er pr ese nce . Though not l ooki ng at hi m sh e i s i mmedi at el y awar e ol fy. hi sShe e yehol s ods n her o fem ace m ed di r ect out and a barsoeon ar tmurt ns o t the bar hi r ass hel ms man. Go ahead.
ILIA I t ' s al l r i ght .
( CONTI NUED)
24. 55
CONTI NUED:
55 SULU ( f l ust er ed) Go ahe ad? I ' m not sur e I kno w what y ou mean. ILIA Mr . Sul u, I am a n or mal Del t an f emal e and I can sense i t whenever a man want s t o t ouch me. Ther e' s no need t o r epr ess i t so l ong as y ou ar e awar e t hat I am swor n t o ce l i bacy f or t he dur at i on of t he mi ss i on.
Sul u, ca ught r ed- handed as i t wer e, st i l l t r i es t o sq ui r m out of i t : SULU I was j ust adm. . . ILIA Mr . Sul u. Touch me and get i t out of yo ur mi nd or yo u wi l l pr ove t o be a d i st r act i on t o me as wel l as y our se l f . She r eof f er s her ar m. Awkwar dl y, se l f - co nsc i ousl y, Sul u r each es out and st r oke s her ar m. She t ake s hi s hand and gui des i t al ong her sk i n, t hen sh e gr ace f ul l y ext end s a hand t o Sul u' s f ace , ca r esse s h i s e ar l obe wi t h a f i nger f or a moment bef or e b r us hi ng hi s ch eek wi t h t he gent l est t ouch of her pal m and f i nger t i ps. Sul u' s embar r assment l eave s hi m. He i s cal med. ILIA ( co nt i nui ng) Bet t er ? Sul u i s n ot qui t e su r e he un der st ands h ow he has a r r i ve d at hi s p r ese nt emot i onal st at e, but : SULU Yes.
Thank you.
She r each es a gai n t o hi s f ace i n f i nal punct uat i on as sh e smi l es be aut i f ul l y a nd a nswer s h i s u naske d q uest i on: ILIA We ca n ca l m as wel l as st i mul at e. . . Wi t h t hat , t he su bj ect cl ose s and bot h r et ur n t o t hei r wor k at f ul l ef f i c i enc y . Behi nd t hem, t he t ur bo l i f t door s op en a nd Ki r k emer ges u nce r t ai nl y o nt o t he out er br i dge pl at f or m.
25.
56
ACROSS SULU TO THE BRI DGE ENTRANC E
56
as h e l ooks u p f r om hi s co nso l e t o se e Ki r k. SULU Capt ai n, t hi s i s L i eut enant I l i a, our ne w navi gat or . 57
ANOTHER ANGLE
57
as Sul u l eads Ki r k do wn t o h er . KI RK Fr om Del t a 14. . . I ' v e hear d a l ot about yo u, Li eut enant . ILIA And I yo u, si r . 58
KI RK AND I LI A - TWO SHOT
58
as s he peer s a t hi m, t he Del t an s educt i ve ness l i t er al l y oozi ng out of her . For j ust one i nst ant Ki r k i s co mpl et el y ca ught up i n i t - - and t hen he r eal i ze s who and wher e he i s. KI RK Wel l . . . pl eas e, don' t l et me i nt er f er e wi t h y our dut i es. SCOTTY' S VOI CE Sc ot t t o br i dge. . . i s t he Capt ai n t her e? Bef or e Uhur a ca n sp eak, Ki r k h as st epp ed t o t he i nt er co m. KI RK ( i nt o i nt er co m) Ki r k h er e. SCOTTY' S VOI CE The ne w sci ence of f i ce r i s b eami ng up now, si r . KI RK i ntrio ght i nt er co m). . . I ' l l ( be t here And he st ar t s h ur r i edl y a way.
26.
59
I NT. ELEVATOR
59
as Ki r k e nt er s a nd announce s h i s d est i nat i on. KI RK Mai n t r ansp or t er r oom. 60
I NT. ENTERPRI SE TRANSPORTER ROOM
60
wi t h Sco t t and t wo TECHNI CI ANS wai t i ng , wat chi ng t he r ece i vi ng cha mber . The door op en s now, and Ki r k ent er s. He gl ance s at t he cha mber s - - whi ch ar e empt y, gi ve no evi den ce of a beami ng - - and t hen at Sco t t , who i s st udyi ng t he ch amber wi t h a ve r y wor r i ed f r own. He f l i cks on hi s i nt er co m. SCOTT ( i nt o i nt er co m) Ent er pr i s e t o St ar f l eet t r ans por t er ; we' r e r eady t o r ece i ve . But t he wor d i s h ar dl y o ut of Scot t ' s mout h when su ddenl y t he e nt i r e c ons ol e ERUPTS I N A SHOWER OF SPARKS AND FLAME. The HUMMI NG SOUND of t he Ener gi z er i s VERY LOUD, as t ho ugh out of co nt r ol . The f i gur e i n t he ch amber SHI MMERS, and t hen mat er i al i zes, and t hen SHI MMERS aga i n. Sco t t and t he ot her s a r e st andi ng l i ke f r oze n st at ues, puzz l ed exp r ess i ons f i xe d on t hei r f ace s. 61
EXT. THE ENTERPRI SE I N DRY DOCK - FULL SHOT t he sh i p l oomi ng huge i nsi de t he del i ca t e, f i l i gr eed dr y do ck. We NOTE t he wel der s ar e gone, and su ppl y pods ar e f l oat i ng away f r om t he sh i p. The or bi t al sp ace of f i ce i s i n t he f . g. and now we SEE t hat t he gi r der s a r e sl owl y r i si ng so t hey wi l l be out of t he way o f t he sh i p. ( Thi s mi ght r ese mbl e a 20t h ce nt ur y d r awbr i dge i n pr i nc i pl e. ) The l i t t l e y el l ow j et s s pur t f r om t he s uppl y pods a s t hey move away f r om t he sh i p, and t he gi r der s open mor e and mor e and we SEE t ha t sho r t l y t he bi g sh i p wi l l be f r ee. A sp ace t abl eau, wi t h appr opr i at e MUSI C, whi ch f ades sl i ght l y as OVER t hi s we HEAR: UHURA' S VOI CE Dock Of f i ce r r epor t s we ar e c l ear t o pul l away a t Capt ai n' s d i sc r et i on.
61
27.
62
I NT. BRI DGE
62
wi t h al l per so nnel occ upi ed wi t h t hei r pr e- depar t ur e t ask s. Sul u and I l i a at t hei r h el m and navi gat i onal st at i ons. Uhur a at he r p ost . And, at t he Sci ence St at i on, Ki r k i s wi t h WI LL DECKER, a h and some man i n hi s e ar l y 3 0' s; he i s a bi g man, Deck er , wi t h r ugged, har d f eat ur es - - an d al er t , co l d eye s. He' s peer i ng i nt o t he hooded vi ewer , punch i ng i n pr ogr ammed pr oce dur es - Ki r k b esi de hi m, ass i st i ng. UHURA ( f r om t he s t ar t , co nt i nui ng) We ar e on ye l l ow al er t . KI RK I nf or m Engi neer i ng. . . ( t o Dec ker ; a l i t t l e i mpat i ent ) Can' t yo u pr ogr am a pr e- depar t ur e pl an any f ast er ? DECKER (t est i l y) I f I di d, Capt ai n, we' d neve r l eave t he dock : I ' m not a Sci ence Of f i ce r . . . or i s t hat what y ou t hou ght I was when you yanked m e of f t he Bost on t o s er ve her e? 63
ANOTHER ANGLE - KI RK AND DECKER
63
as Ki r k move s n ext t o Decke r at t he Sci enc e st at i on and f or ces h i s a nger i nt o qui et , pr i va t e co nve r sa t i on. KI RK Command er Decker , I am awar e t hat yo u ar e not a sc i ence Of f i ce r - but t hat ' s t he ve r y r easo n yo u wer e ' ya nke d' of f t he Bost on - bec ause of yo ur ve r sa t i l i t y. I need so meone l i ke yo u t o backs t op not onl y me - but t he ot her v i t al s t at i ons a s wel l . (t i ght l y) Yes, si r .
DECKER
( CONTI NUED)
28. 63
CONTI NUED:
63 KI RK (co nc i l i at ori l y ) Look, Wi l l , I kn ow yo u wer e sl at ed f or you r own co mmand - - and yo u' l l hav e i t . But r i ght n ow l et ' s co nce nt r at e o n t he Ent er pr i se . DECKER What eve r yo u sa y, si r .
Ki r k r eact s, i s about t o r epl y ( angr i l y) , when Uhur a i nt er r upt s : UHURA Tr ansp or t er r oom r epor t s s ci ence and medi ca l of f i ce r s be ami ng up, Capt ai n. KI RK I ' d bet t er get down t her e. ( t o Dec ker , f r i endl y ) Do t he b est you can . And Ki r k qui ckl y l eave s t he br i dg e. gr i ml y a f t er hi m. 64
Decke r gl ance s
I NT. TRANSPORTER ROOM
64
Scot t at t he cen t er con t r ol pane l , t wo TECHNI CI ANS at t he ot her co nt r ol s. Ki r k e nt er s, and Scot t gl ance s a t hi m. SCOTT St ar f l eet t r ans por t er ' s r epai r ed and i n per f ect wor ki ng or der , si r . Ki r k o nl y l ooks at hi m wi t h gr i m hope. 65
ACROSS THEM TO THE TRANSPO RTER CH AMBERS
65
as t he SHI MMERI NG EFFECT commences . I t i s f ast , and co r r ect . Two f or ms mat er i al i ze - - o ne i s yo ung, l ong hai r ed, hi s u ni f or m se emi ngl y s habby, al most r agged. Thi s i s XON, age 22, he l ooks ar ound cu r i ousl y, a st r ange, st eel - har d co l dness i n hi s eye s. The ot her of cerr j i oye s LEONARD McCOY. i s f oi ve d.
Ki r k i s spe echl ess,
but Scot t
SCOTT Bones. . . ! And Sco t t hur r i es ar ound t he co nso l e t o g r eet McCoy wi t h a n af f ect i onat e e mbr ace , AD LI BBI NG " . . . I ca nna ( CONTI NUED)
29. 65
CONTI NUED:
65
bel i eve my anci ent eye s. . . ! " Xon sn aps t o at t ent i on.
et c. At t he sa me t i me,
XON Li eut enant Ju ni or Gr ade Xon, Sci ence Of f i ce r , r equest i ng per mi ssi on t o co me a boar d, si r . No one pays h i m t he sc ant est at t ent i on. Ki r k h as st epped ove r t o McCoy, peer s a t hi m, sh ake s h i s h ead i n ut t er di s bel i ef . MCCOY Chi ef Medi ca l Of f i ce r McCoy r equest i ng per mi ssi on t o come ab oar d, s i r. KI RK ( i ncr edul ous) Bones. . . how di d - - ? I s t hi s so me k i nd of j ok e. . . ? MCCOY (f l at , t i ght ) No j oke , Capt ai n, si r . I ' m su r e a co py o f my o r der s i s a l r eady i n t he per son nel comput er . XON Li eut enant Jun i or Gr ade Xon, r equest i ng per mi ssi on t o come ab oar d, s i r. KI RK ( t o Xon) Yes, ye s, per mi ssi on g r ant ed . ( t o McCoy) What happened ? MCCOY (f l at , t i ght ) What happened, Capt ai n, si r , was t hat our r eve r ed Chi ef of St af f , Admi r al Nogur a h i mse l f , i nvo ke d a l i t t l e known - - and se l dom use d - r ese r ve act i va t i on cl ause . ( v ery t i ght ) .s .i .r i, nI 'sive mplbeen er l dr anguage, ai n, af t ed. . .Capt ! Ki r k i s so nonpl usse d he ca nnot f i nd wor ds - - ca n onl y l augh; and h e gl ance s a t Sco t t , who al so i s u nabl e t o co nce al a d el i ght ed s mi l e.
( CONTI NUED)
30. 65
CONTI NUED: ( 2)
65
XON Si r , I am Li eut enant Ju ni or Gr ade Xon - MCCOY ( har d, t o Xon) - - Yes, Li eut enant Ju ni or Gr ade Xon, we ca n smel l you. KI RK Wher e wer e you t hat you got i nt o su ch a f oul st at e, Li eut enant ? XON The hi gh Gobi dese r t . I n a medi t at i ve monast er y, si r . KI RK Doi ng what ? Rol l i ng i n ya k d r opp i ngs ? XON Pr epar i ng my s el f f or d ut y , si r . I n t he eve nt a sh i pboar d a ssi gn ment sh oul d occu r . KI RK You' r e a Li eut enant ! had shi pboar d dut y?
You' ve neve r
MCCOY Ji m, I . . . I t hi nk h e was gr aduat ed a Li eu t enant . ( t o Xon) How l ong ago? XON Ei ght y- one d ays a go, si r . KI RK ( t o McCoy) He' s yo ur s t hen. Medi ca l Of f i ce r . MCCOY ( sha kes hea d) He' s yo ur s. Vul ca ns al so gr aduat e as L i eut enant s. 66
EMPHASI ZI NG KI RK AND XON
66
The Capt ai n gi vi ng Xon a l on g, l ong l ook.
Then:
KI RK Pl ease t el l me y ou' ve got r ounded ear s, Li eut enant . ( CONTI NUED)
31. 66
CONTI NUED:
66 XON I se e n o r eason t o bei ng our acq uai nt ance wi t h an i nsu l t , si r .
67
EXT. THE ENTERPRI SE
67
movi ng away f r om t he dock, t he do ck g i r der s co mpl et el y open now, and t he Ent er pr i se ' s maneuve r i ng j et s sp ur t i ng l i ve f l ame as t he gr eat st ar sh i p begi ns e dgi ng out of t he dock . Now t he f r ont of t he sa uce r i s cl ear , maj est i ca l l y movi ng ahead - - and n ow t he mai n hul l i s cl ear - - and t hen t he e ngi ne pods . 68
I NT. BRI DGE
68
wi t h al l hands co nce nt r at i ng on depar t ur e. Ki r k occ upi es t he co mmand c hai r , Sul u and I l i a a t t hei r st at i ons. Behi nd t hem Uhur a wor ks communi cat i ons - - and Decke r st i l l sweat s at t he Sci ence St at i on. And al so her e now i s CHEKOV, wor ki ng f eve r i shl y on hi s n ow di smant l ed damage c ont r ol con sol e. KI RK ( t o Cheko v) Ar e you maki ng any pr ogr ess, Chekov?
Mr .
CHEKOV I t hi nk I ' ve al most got i t now, s i r . A f aul t y r el ay i nt egr at or . UHURA The ve ss el i s cl ear of t he dock , Capt ai n - KI RK Maneuv er i ng j et s t o hol d. SULU ( wor ki ng co nt r ol s) Maneuve r i ng j et s t o hol d, si r . KI RK ( i nt o i nt er co m) Engi neer i ng. . . SCOTT' S VOI CE Engi ne er i ng. KI RK Mr . Sco t t , ar e mai n engi nes r ead y ye t ?
32.
69
I NT. ENGI NEERI NG SECTI ON
69
The gr eat engi nes no w sud denl y THROBBI NG, sl owl y bu i l di ng up f r om a l ow gr owl t o a neve r - i ncr easi ng, power f ul WHI NE. A di m r ed gl ow f r om t he uni t i ndi ca t es t he f usi on. Sco t t i s at hi s conso l e, wor ki ng t he co nt r ol s, and n ow sp eaki ng i nt o t he i nt er com: SCOTT Aye , si r . KI RK' S VOI CE ( ove r i nt er co m) Engage. SCOTT Yes, si r ! And he move s t he co nt r ol s f or war d, t he ent i r e r oom sh udde r s sl i ght l y a s t he gr eat en gi nes dr aw mor e and mor e power ; t he r ed f usi on gl ow i ncr ea se s. Sco t t pl ace s hi s p al m agai nst t he wal l behi nd h i m, f eel s t he engi nes' pul se , smi l es wi t h pl easu r e. SCOTT Aye , ca n' t wai t t o go, ca n yo u, yo u mar ve l ous dar l i ngs. . . ?! 70
I NT. BRI DGE - ANGLE ON THE MAI N VI EWER
70
whi ch sh ows t he bl ue- bl ack o f su bsp ace , t he sp ar kl i ng st ar s. And j ust a gl i mpse of t he or bi t al wor k st at i on. Ki r k, i n t he co mmand ch ai r , peer s at t he vi ewer . gl ances at hi m.
Sul u
SULU Al l sy st ems r eady, si r . KI RK Navi gat or . . . ( as I l i a t ur ns t o hi m) Lay i n an i nt er ce pt i on co ur se : co or di nat es 9 53 poi nt 2, mar k 6 . ( t o Sul u) Hel ms man - Ki r k h esi t at es j ust an i nst ant , se ems t o hol d hi s b r eat h - and so does eve r yon e el se. And t hen: KI RK ( co nt i nui ng) Al l ahead, war p poi nt f i ve .
33.
71
EXT. THE ENTERPRI SE
71
s t at i onar y , hov er i ng, t he maneuve r i ng j et s s t i l l s pur t i ng bl ue. Then, al l at once , t he bl ue f l ames ar e of f . The engi ne pod di scs begi n gl owi ng r ed - - and t he Ent er pr i se beg i ns mov i ng, t he CAMERA TRACKI NG HER. She mov es away , f ast er and f ast er , and now begi ns o ut r unn i ng t he CAMERA. I n an i nst ant now she WHOOSHES acr oss t he b l ue- bl ack sk y - - and i n anot her i nst ant i s b ut a sp eck on t he or bi t al hor i zo n, bl endi ng i n n ow wi t h t he myr i ad of sp ar kl i ng st ar s. 72
I NT. BRI DGE
72
Al l ha nds t ense wi t h t he dr ama of t he moment - - movi ng of f i nt o sp ace . SULU War p poi nt f i ve , si r . nor mal .
Al l sy st ems
KI RK Thank you , Mr . Sul u. Depar t ur e angl e on t he vi ewer , pl ease . 73
PAST KI RK TO THE VI EWER
73
as, i nst ant l y, on t he vi ewi ng scr een we SEE t he cl oudl ace d i mage of Ear t h ( OPTI CAL) . A bal l of bl ue and whi t e, smal l er and smal l er bef or e our eye s - - and, qui ckl y , d wi ndl i ng t o but a poi nt of l i ght . Af t er ano t her moment : KI RK Nor mal angl e. And, i nst ant l y, on t he vi ewer we SEE t he f ami l i ar STAR TRAVEL EFFECT. Ki r k f l i cks on hi s i nt er com: KI RK ( co nt i nui ng) Engi neer i ng. . . SCOTT' S VOI CE Engi ne er i ng. KI RK She f eel s g ood, Sco t t i e. SCOTT' S VOI CE That sh e does, si r . She' s a beaut y.
( CONTI NUED)
34. 73
CONTI NUED:
73 KI RK ( a beat ) Al l r i ght , Mr . Sc ot t , l et ' s go i nt o War p Dr i ve. Ahead, War p One. SCOTT' S VOI CE ( ex hi l ar at ed) Acce l er at i ng t o War p One, si r .
Ever yone wai t s t ensel y - - an d t he n we HEAR t he i ncr easi ng, SMOOTH THROB on t he accel er at i ng engi nes. Ther e' s a gent l e SHUDDER as S ul u annou nces: SULU War p p oi nt se ve n. . . Poi nt ei ght . . . poi nt ni ne - 74
EXT. THE ENTERPRI SE
74
sho wi ng shi p st r eaki ng al ong - - and t hen t he WARP DRI VE OPTI CAL EFFECT. 75
I NT. BRI DGE
75
as t he s ame WARP DRI VE OPTI CAL EFFECT appe ar s , and t hen su ddenl y a l l i s q ui et , and nor mal . War p One.
SULU
Eve r yo ne su ddenl y r el axe s, gr i ns. ch ai r , addr esse s Uhur a:
Ki r k get s out of hi s
KI RK Li eut enant Uhur a, est abl i sh a r el ay f r eque ncy b et ween St ar f l eet Command and t he Aswan. Pr i mar y r ecep t i on t o us, pl ease . UHURA ( gent l y ) Si r , i t ' s L i eut enant Command er Uhur a - KI RK I beg yo ur par don. . . Command er . . . An apo l oget i c smi l e. UHURA I t ' s qui t e al l r i ght , Capt ai n.
35.
76
ACROSS KI RK TO UHURA - DECKER I N THE B. G.
76
as s he smi l es t he sa me apol oget i c smi l e back a t hi m - and t hen su ddenl y t he smi l e f r eez es. She i s peer i ng O. S. And Deck er , t oo, i s st ar i ng O. S. I t i s as t hough nei t her ca n bel i eve t hei r eye s. 77
ANOTHER ANGLE - SULU AND I LI A
77
al so peer i ng i ncr edul ousl y O. S. Now Ki r k wheel s a r ound t o se e: 78
WHAT THEY AR E LOOKI NG AT - XON
78
i n t he door way, now sp i c a nd sp an i n a cl ean, new uni f or m, ha i r r egul at i on st yl e, cl ean shave n. And, f or t he f i r st t i me, we SEE hi s ear s: Vul ca n ear s. He i s ve r y s omber , unsmi l i ng, co r r ect . XON ( f r om t he s t ar t ) Li eut enant Ju ni or Gr ade Xon, Sci ence Of f i c er , r epor t i ng f or dut y , si r . For an ot her moment al l st ar e at t he you ng man i n st unned si l ence . Then: ILIA You' r e a Vul ca n. . . XON Obvi ousl y . . . ( t o Ki r k) Si r , may I assu me my st at i on ? KI RK ( nonpl us sed ) By a l l means, Li eut enant . And Xon st r i des a cr oss t he br i dge t o t he Sci ence St at i on, whi ch Deck er st i l l occ upi es. 79
AT THE SCI ENCE STATI ON
79
as Xon ar r i ve s, and Decke r r i se s t o gr eet hi m. DECKER ( as an i nt r oduct i on) Wi l l Decke r . . . XON How do you do, si r ? ( CONTI NUED)
36. 79
CONTI NUED:
79
Xon st ands f aci ng Deck er st ol i dl y, unsmi l i ng. Deck er , who was s mi l i ng, f r i endl i l y, says not hi ng a di st r act ed moment . Then: DECKER I ' ve co mpl et ed al l t he pr e- war p pr ogr ammi ng. XON I f you wi l l per mi t me, s i r. . . He i nd i ca t es ch ai r .
Decke r moves so t hat Xon ca n si t .
Xon scans t he ho ode d vi ewer , now commences t o r emove t he co mput er ch i ps, r eve r se t hem, and r epl ace t hem i nt o t he comput er . DECKER ( pr ot es t i ng) Li eut enant , yo u' r e er asi ng t hose t apes. XON A qui t e l ogi c al deduc t i on, s i r . And he co nt i nues t hi s.
Decke r bl ocks t he Vul ca n' s hand.
DECKER I t t oo k me mor e t han an hour t o ass embl e t hem. Xon l ooks at Deck er sq uar el y, unbl i nki ngl y. XON Si r , t o f unc t i on ef f i c i ent l y as Sci ence Of f i ce r r equi r es my i nt i mat e f ami l i ari t y wi t h eac h c i r cui t i n t hi s sy st em. To ach i eve t hi s, si r , r equi r es a co mpl et e pr ewar p pr ogr ammi ng of my own. DECKER Ar e yo u t r yi ng t o t el l me t hat al l t hat wor k was f or not hi ng? XON That i s t he l ogi ca l co ncl usi on, s That eci i s at not ay your e f faor t s ari re . unappr ed t -o- sbut i t was wast e. Deck er , nonpl usse d a t Xon' s ap l omb, st r uggl es t o c ont r ol hi s t emper . Xon i ndi ca t es Deck er ' s hand, whi ch st i l l bl ocks X on' s.
( CONTI NUED)
37. 79
CONTI NUED: ( 2) (p ol i t el y ) My h an d, si r .
80
79 XON
ACROSS THEM TO KI RK
80
who ha s b een wat ch i ng and l i st eni ng cur i ousl y, as Decke r now r emoves h i s ha nd f r om Xon' s an d st eps d own t o t he ce nt er ar ea, addr esse s Ki r k: DECKER I hope yo ur Sci ence Of f i ce r kn ows what he' s d oi ng. XON ( f r om hi s s t at i on) I do, s i r. ( l ooks u p f r om vi ewer , unsmi l i ng) Howeve r , i f yo ur emot i onal se cu r i t y r equi r es i t , s i r , I c an s uppl y yo u wi t h a cop y of my acade my r eco r d. KI RK ( t ur ni ng t o Xon) I t ' s yo ur per f or mance her e t hat i nt er est s us, Li eut enant Xon. XON ( wi t hout l ooki ng up f r om v i ewer ) Thi s i s my f i r st oper at i onal ass i gnment , si r . And wi t h t hat , he co ol l y t ur ns b ack t o t he vi ewer once mor e. Ki r k a nd Decke r exch ange gl ance s; t hen Ki r k st ar t s t o l eave t he br i dge. KI RK Take t he Conn, Mr . Decker . 81
ANGLE ON U HURA
81
as Ki r k wal ks t owar d t he exi t . She ca l l s o ut : UHURA Capt ai n, I ' ve est abl i sh ed su bsp ace co nt act wi t h t he l i ght cr ui se r Aswan. We sh oul d have a vi ewer l i nku p wi t hi n t he ho ur .
( CONTI NUED)
38. 81
CONTI NUED:
81 KI RK I ' l l be i n my q uar t er s --
The wor ds a r e not out of Ki r k' s mout h when al l at once t he ALARM SI REN SOUNDS and t he comput er i z ed war ni ng VOI CE SPEAKS: COMPUTER VOICE (t ers e, f l at ) Col l i s i on al ert . . . ! Col l i s i on al ert . . .! Ki r k ha s whi r l ed b ack t o t he co mmand ce nt er , st ands behi nd Decke r , who si t s i n t he ch ai r . KI RK Mai n vi ewer . . . ! ( t o Xon) Senso r r eadi ng. . . XON Navi gat i onal def l ect or s a nd s ca nner s ar e i noper at i ve , Capt ai n. KI RK ( di sbel i ev i ng) What ?! Meanwhi l e, t he vi ewer , we SEE a HUGE ASTEROI D: i t i s r el at i ve l y s mal l when we f i r st SEE i t , but i t gr ows i ncr ea si ngl y l ar ge. ( NOTE: Thr ou ghout t hi s se quence , t he SI REN wi l l co nt i nue a nd t he co l l i si on war ni ng VOI CE wi l l c ont i nue: "C ol l i s i on al ert . . . ! Col l i si on al ert . . . ! " et c . , et c . ) 82
ANOTHER ANGLE - THE TURBOLI FT DOORS
82
as Che ko v e mer ges i n r ecr eat i onal cl ot hi ng. 83
FOLLOW CHEKOV
83
as he r uns t o hi s st at i on an d pu nch es so me but t ons o n hi s co nso l e. CHEKOV W eapon power . def l ect or s act i va t ed. 84
Ful l
ANOTHER ANGLE - FAVORI NG DECKER AND KI RK as Deck er r eact s, ca l l s t o Sul u:
( CONTI NUED)
84
39. 84
CONTI NUED:
84 Har d t o por t . . .
DECKER
SULU The hel m i s n ot r esp ondi ng. . . ! DECKER Manual ove r r i de. . . ! As Sul u t ouch es t he co nt r ol s, Ki r k s t eps f or war d and knocks S ul u' s ha nd away: KI RK Bel ay t hat or der ; act i va t e t he mai n phase r s. ( t o Deck er ) We' l l bl as t i t out of t he way . ( t o Cheko v) Lock o n and pr epar e t o f i r e! CHEKOV Mai n phase r s r eady. Tar get l ocke d on. On t he sc r een t he as t er oi d L OOMS LARGER AND LARGER, di r ect l y i n t he s hi p' s p at h. KI RK Fi re . . . ! 85
EXT. THE ENTERPRI SE AND THE ASTEROI D
85
SHOWI NG t he shi p and t he oncomi ng r ock, hur t l i ng at each ot her . The ast er oi d i s now cl ose en ough so you ca n co mpar e i t s s i ze wi t h t he Ent er pr i se: t he r ock i s per hap s a mi l e i n di amet er , and r ese mbl es a met al l i c bask et bal l appr oach i ng a whi t e t enni s bal l . The t wo r ush cl ose r and cl ose r - - and, co nsp i cu ousl y, t her e i s no phase r f i r e f r om t he Ent er pr i se . 86
I NT. BRI DGE
86
wi t h al l peer i ng at t he monst er ast er oi d t hat now se ems t o occu py t he e nt i r e s cr een. Chek ov i s p unch i ng t he phase r co nt r ol s. No r esp onse. KI RK Fi r e, Mr . Cheko v. Fi r e. . . CHEKOV Ther e' s no r esp onse , si r . . . ! ( MORE)
( CONTI NUED)
40. 86
CONTI NUED:
86 CHEKOV ( CONT' D) I ' l l have phot on t or pedoes a r med and r eady i n a mi nut e, si r . They' r e oper at i onal . Mr . Chekov,
KI RK we don' t have a mi nu t e.
Chekov c ont i nues t o wor k a t gr ea t sp ee d. 87
ANOTHER ANGLE - FAVORI NG THE VIEWI NG SCREEN as a l l ca n do not hi ng but st ar e hel pl ess l y a t t he sc r een, t he ast er oi d r ush i ng at t hem whi ch su r el y wi l l now smash t hem i nt o a pul p. CHEKOV Phot on t or pedoes ar e away! For an ot her i nst ant t he r ock r ace s t owar d t hem, now l i t er al l y F I LLS THE SCREEN so c l ose al l t he j agged p eaks and va l l eys ar e cl ear l y VI SI BLE. And t hen t he bur st s of phot o t or pedo f i r e s pur t out - - st r i k e t he as t er oi d whi ch , bef or e our ey es di si nt egr at es. I nt o a t housa nd f r agment s t hat r ace t owar d t he vi ewi ng scr een l i ke pel l et s r el ease d f r om a c annon. The f r agment s sc r eam i n TOWARD US, but boun ce away, sh oot i ng i nt o sp ace as t he def l ect or s b l ock t hei r pat h. But t he br i dge q ui ve r s a nd s hake s wi t h t he co nt i nual i mpact . And t hen one gi gant i c f r agment st r i ke s t he def l ect or s, t he sh i p sh udder s. And at t he moment i t i s ove r . f or t he STAR EFFECT.
The scr een i s bl ank but
KI RK Damage r epo r t . CHEKOV No damage r epor t ed, si r . SULU The hel m i s r esp ondi ng now, si r . CAMERA PANS ac r os s t o Xon. KI RK Ful l r epor t , Mr . Xon. XON Al l syst ems a r e now nor mal , si r .
( CONTI NUED)
87
41. 87
CONTI NUED:
87 KI RK Mr . Xon, why wer en' t t hey n or mal 30 seconds ago? XON ( f l at , unemot i onal ) The ph ase r and di r ect i onal co nt r ol co upl i ngs wer e di se ngaged f r om t he mai n comput er . The same was t r ue of t he Navi gat i onal sc anner s.
Xon pa use s, and Ki r k wai t s f or mor e ex pl anat i on - - but Xon mer el y r egar ds hi m bl andl y. Ki r k gl ance s at Uhur a i n exa sp er at i on; sh e r et ur ns t he g l ance wi t h e qual exa sper at i on. Ki r k st r ai ns t o ke ep hi s vo i ce ca l m and l ev el . KI RK ( t o Xon) Exp l an at i on, Mr . Xon. XON When we went i nt o War p Dr i ve, I di d not pr ogr am t hat ef f ec t i nt o t he comput er . KI RK I t sh oul d have done t hat aut omat i ca l l y. XON I t coul dn' t , s i r ; I had pre v i ous l y di se ng aged al l t hr ee sys t ems i n or der t o r epr ogr am t hem. UHURA ( aghas t ) Al l t hr ee. . . ?! XON I t was t he most ef f i ci ent way o f doi ng i t . By odds of sl i ght l y ove r el ev en t housa nd t o one, we sh oul d not ha ve e nco unt er ed t hat emer ge ncy. Ki r k i s so hor r i f i ed he i s sp eech l ess. ( co nt i nui ng)XON Yes, Capt ai n, I was i n er r or t o eve n r i sk t hose odds. I pr esu me i t has occ ur r ed t o yo u t hat Mr . Spo ck woul d no t have made t hat same er r or .
( CONTI NUED)
42. 87
CONTI NUED: ( 2)
87
KI RK ( eye s Xon; t hen) That i s not a subj ec t i t i s wi s e f or yo u t o r ai se , Li eut enant . XON Your human emot i ons make compar i sons bet ween mysel f and Mr . Spock i nevi t abl e, Capt ai n. I mer el y want ed t o assu r e yo u t hat t hi s d oes not t r oubl e me. KI RK I ' m del i ght ed y ou' r e not t r oubl ed, Mr . Xon. Beca use I am t r oub l ed, v er y t r oubl ed. . . XON ( f i ni sh i ng s ent ence ) . . . b y t he er r or s I ' v e made. I t ' s qui t e n at ur al yo u ar e t r oubl ed, s i r . J us t as i t i s ex pec t ed I woul d make a f ew er r or s. But my er r or s wi l l be f ew and wi l l r api dl y d i mi ni sh t o a near ze r o l eve l . Xon' s ca l m and l ogi ca l r eci t at i on has Ki r k n ear an angr y out bur s t . He c ont r ol s hi ms el f wi t h di f f i cul t y , t ur ns t o exi t br i dge. DECKER Ar e yo u l eavi ng me t he c onn, si r ? KI RK ( sna ps) I gave i t t o yo u ear l i er , Mr . Deck er . DECKER You t ook i t back , si r , when y ou ove r r ul ed my o r der t o t he he l m. Ki r k n ow gi ves Decke r t he same ki nd of l ook h e' s b een gi vi ng Xon. KI RK I se e. Then per haps yo u' l l j oi n me i n my cabi n, Commande r ? DECKER As y ou wi sh , si r . KI RK Li eut enant I l i a, yo u h ave t he co nn.
( CONTI NUED)
43. 87
CONTI NUED: ( 3)
87
Ki r k t ur ns, cr oss es t o t he el eva t or wi t h Deck er f ol l owi ng hi m. Then Ki r k t ur ns agai n t owar d Uhu r a. KI RK ( co nt i nui ng) Have Doct or McCoy j oi n us t her e, pl ease. UHURA Aye , si r . Ki r k an d Dec ke r boar d t he e l eva t or and t he door s sn ap cl ose d. 88
I NT. KI RK' S CABI N
88
as McCOY and CHAPEL ent er . Ki r k i s seat ed; Decker i s st andi ng, i l l at ease . McCoy i ndi ca t es Chapel t o Ki r k. MCCOY Mi nd? I asked my col l eague t o come al ong. CHAPEL ( smi l es) ' Col l eague' i s a r el at i v e t er m, si r . I f si ck bays st i l l used bedpans, I ' d st i l l be empt yi ng t hem. KI RK St i l l , you wer e al most our sh i p' s su r geon. Unt i l t hi s r enegade ve t er i nar i an r epl ace d yo u. CHAPEL To my e nor mous r el i ef , si r . DECKER (t o Ki rk , s t i f f l y ) Woul d y ou l i ke me t o r et ur n l at er , s i r? McCoy t hr ows Decke r a qui ck,
cu r i ous l ook.
MCCOY What ' s e at i ng y ou, Decke r ? DECKER ( annoyed ) Not hi ng i s ' eat i ng me, ' Doct or McCoy. I t ' s a pr i va t e mat t er bet ween t he Capt ai n and mysel f .
( CONTI NUED)
44. 88
CONTI NUED:
88 MCCOY Oh? I t ' s t oo per so nal eve n f or a phys i ci an? DECKER I t ' s a . . . a sh i p' s c ommand mat t er , Doct or . MCCOY Exc el l ent ! ( i ndi c at es ) Doct or Chapel i s a n exp er t i n so ci opsyc ho l ogy. DECKER ( angr i l y, t o Ki r k ) Capt ai n, I obj ect t o t hi s ca su al , mock i ng appr oach t o a mat t er I co nsi der ex t r emel y i mpor t ant . . . per haps eve n cri t i ca l t o t he shi p' s sa f et y. KI RK Whi ch i s pr eci se l y why I i nvi t ed medi cal he r e. Any di spu t e bet ween f i r st and s eco nd i n c ommand i s ve r y much t hei r busi ness.
89
ANGLE EMPHASI ZI NG DECKER
89
as h e wr est l es wi t h t he deci si on, f i nal l y d eci des " why not . " He f ace s Ki r k sq uar el y. DECKER A f ew mi nut es a go you ver y ne ar l y st eer ed us s t r ai ght i nt o an a st er oi d. Pauses. KI RK Cont i nue. DECKER The si mpl e co ur se ch ange I or der ed woul d h ave put us wel l out of t he ast er oi d' s pat h. KI RK Agr eed, i f t hi s wer e a l i ght sco ut cr ui se r of t he t yp e y ou' r e a cc ust omed t o man euve r i ng. Wi t h our a ut omat i c di r ect i onal c ont r ol out , conv er t i ng t o man ual cou l d h ave been a f at al del ay. ( CONTI NUED)
45. 89
CONTI NUED:
89 DECKER I f I r ecal l , s i r , t her e was s ome del ay en gagi ng manual phase r f i r e. And t hat was ve r y n ear l y f at al , t oo. KI RK We di dn' t kno w t he phase r s wer e out . DECKER I beg yo ur par don, Capt ai n, but i t i s r ea so nabl e t o assu me t hat i f aut omat i c di r ec t i onal c ont r ol i s i noper at i ve , t hen a ut omat i c weapons co nt r ol al so mi ght be - - as i t was.
I t i s a good poi nt , and Decke r kno ws h e' s sco r ed. KI RK You' r e qui t e r i ght , Deck er . have t hought of t hat .
I sh oul d
DECKER (stiff) May I be excu se d, si r ? KI RK I n j ust a moment , Command er . ( t ur ni ng t o McCoy) Whi ch i s o ne r eason I want ed yo u i n on t hi s. I ' ve been al most t wo ye ar s out of t hat ce nt er se at . I ' m al most c er t ai nl y s t al e. Pl us . . . Ki r k t ake s a moment t o se l ect hi s next wor ds.
Then:
KI RK ( co nt i nui ng) . . . pl us, I had no i dea how much I ' ve mi ss ed bei ng t her e. I neve r ex pect ed t o s i t t her e agai n. I t . . . I t mea ns so much t o me t hat i t may af f ect my j udgment . The l ast of t hi s ha s be en sai d t o Chap el who nods h er under st andi ng of t he psy ch ol ogi ca l i mpl i ca t i ons. Now Ki r k t ur ns b ack t o Decke r . KI RK ( co nt i nui ng) Ther ef or e, yo u wi l l co nt i nue t o cl osel y moni t or my c ommand per f or mance and make r egul ar r ep or t s t o Doc t or McCoy. Al so . . . ( CONTI NUED)
46. 89
CONTI NUED: ( 2)
89
DECKER Si r ! You ca n' t b e se r i ous. I f yo u' r e suggest i ng I ca r r y r epor t s about yo u t o t he Doct or . . . KI RK I ' m not su ggest i ng i t , Commander . I ' m ord eri ng i t . DECKER ( nonpl us sed ; i nt er r upt i ng) But Capt ai n, i t ' s a l s o possi bl e t hat I ' ve been ov er c r i t i c al of yo u. I was t r ansf er r ed away f r om my own command. . . KI RK ( i nt er r upt i ng) Whi ch i s why yo u wi l l al so mak e r egul ar r epor t s t o Doct or Chapel asse ssi ng you r own pe r f or man ce an d at t i t ude. DECKER Yes, si r . ( wai t s, l ooki ng ar ound) And t hat ' s i t , s i r ? I . . . ( openl y) . . . I had no i dea t hi ngs wer e handl ed t hi s way. . . MCCOY I t i s n' t on al l v es s el s . DECKER ( of f er i ng hand t o Ki r k) I ' m happy t o be on t hi s o ne, Capt ai n. MCCOY Whi l e we' r e h er e, any commen t s on t he youn g Vul can ? CHAPEL ( war ml y) He i s s weet , i sn ' t he! KI RK ( t o Deck er ) Our medi ca l st af f i s n ot wi t hout i t s f l aws a nd bl i nd sp ot s - ( t o McCoy) Let ' s see how f ast he comes ar ou nd.
( CONTI NUED)
47. 89
CONTI NUED: ( 3)
89
DECKER Meanwhi l e, he co ul d ki l l us, si r . KI RK ( smi l es) As yo u poi nt ed out , so co ul d 1. At t hat i nst ant t he i nt er co m f l ash es r ed, and t he AUDI O SI GNAL i s HEARD. UHURA' S VOI CE Commun i ca t i ons t o Capt ai n Ki r k. . . KI RK ( i nt o i nt er co m) Ki r k h er e. UHURA' S VOI CE Si r , we have vi ewer co nt act wi t h t he Aswan. KI RK I ' m on my way. . . ( s t ar t s out , s t ops su dden l y t o f ace Mc Coy ) I don' t t hi nk y ou eve r f or get how - And he l eaves. bemusedl y. 90
McCoy gaze s a f t er hi m, eye br ows r ai sed
I NT. BRI DGE - ANGLE ON THE VI EWER
90
wi t h t he i mage of COMMANDER CORYELL, young, st er nl y r ugged and ve r y gr i m, f i l l i ng t he sc r een. Deck er i s i n t he command ch ai r , and n ow - - as Ki r k ar r i ve s - - move s t o r i se . Ki r k gest ur es Decke r t o r emai n se at ed addr esse s t he vi ewer : KI RK Comman der Cor ye l l , t hi s i s Capt ai n Ki r k. What i s t he Aswan' s pr esen t posi t i on and st at us? CORYELL Coor di nat es 91 2 p oi nt 4, mar k 3 , hi gh se quadr . Wng e have a tgri ng ade-an f our nso rantr eadi i ndi ca ext r emel y s t r ong magnet i c f i el d. We ant i ci pat e a vi su al momen t ar i l y. I have o r der ed a f ul l - ahead se nso r scan.
( CONTI NUED)
48. 90
CONTI NUED:
90 KI RK Have yo u at t empt ed communi cat i on? CORYELL On al l hai l i ng f r equenci es, Capt ai n. No r esponse. KI RK Keep t hi s channe l ope n, Commander , and keep me i nf or med. CORYELL Yes , s i r. . . ( abr upt l y ) We h ave t he vi sua l .
Cor ye l l i s f aci ng away f r om t he vi ewi ng scr een, but hi s eye s a r e open wi de i n f ear and i ncr edu l i t y. CORYELL ( co nt i nui ng) My God. . . ! ! ! And sud denl y Cor ye l l ' s i mage on t he vi ewi ng scr een i s bat hed i n an eer i e gr een gl ow t ha t qui ck l y e nve l opes t he en t i r e scr een a nd b eco mes whi t e no w - - whi t er and whi t er . Ther e i s NO SOUND, onl y t he bl azi ng whi t eness of t he vi ewer . And t hen, j us t an i nst ant l at er , i t i s bl ank. Ki r k a nd t he ot her s p eer i ncr edul ousl y a t t he now bl ank vi ewer . Then: KI RK Navi gat or - ILIA Yes, si r . KI RK Adj ust yo ur co ur se f or an i nt er ce pt al ong a t angent i al l i ne f r om co or di nat es 9 12 poi nt 4, mar k 3 , hi gh quadr ant . ILIA 912 po i nt 4, mar k 3.
Adj ust i ng,
s i r. KI RK ( t o Sul u) I ncr ea se t o War p 6. SULU I ncr ea si ng t o War p 6 . ( CONTI NUED)
49. 90
CONTI NUED: ( 2) Mr . Xon. . .
90 KI RK XON
Si r . KI RK Est i mat ed t i me t o I P. . . ? Xon gl ance s i nt o h i s h ooded vi ewer , r epl i es a l most i mmedi at el y: XON 68. 2 hour s, Capt ai n, i f we mai nt ai n War p 6 KI RK ( t o Uhur a) Lt . Uhur a, i nf or m St ar f l eet Command of t he Aswan' s p r obabl e dest r uct i on, and t hat we a r e p r oce edi ng t o PI at opt i mum spe ed. 91
EXT. SPACE - THE ENTERPRI SE
91
at War p speed. KI RK ( V. O. ) Capt ai n' s L og, st ar dat e 7 420. 1. Li ght Cr ui se r U. S. S. Aswan i s g one. Obl i t er at ed by a weapon we wer e unabl e t o i dent i f y o r under st and. We al so kno w not hi ng of what ev er i t i s t ha t use d t hat weapon. Our f or war d se nso r sca ns a r e bei ng abso r bed by what eve r obj ect i t i s t hat we ar e now about t o i nt er ce pt . 92
I NT. BRI DGE
92
SHOWI NG al l per son nel manni ng t he i r st at i ons an d Chekov st andi ng on si de of t he Capt ai n' s ch ai r , Deck er on t he ot her . The mai n vi ewer i s on, bu t at t he moment al l t hat i s se en i s o ur pass age t hr ough t he st ar s. Vi su al co nt act i ILIA n t hr ee mi nut es, Capt ai n. KI RK ( t o Xon) Sensor r eadi ngs?
( CONTI NUED)
50. 92
CONTI NUED:
92 St i l l none, s i r .
XON
Ki r k s wi ve l s h i s c hai r f ul l y a r ound t o f ace Xon: KI RK Any i ndi c at i on t hat i t ' s s ca nni ng us ? XON I t i s p os s i bl e, Capt ai n. KI RK (f l ar i ng) I f i t ' s pos s i bl e, I need t hat i nf or mat i on wi t hout ask i ng! XON ( unper t ur bed) I t i s e qual l y pos s i bl e, s i r , t hat we a r e not bei ng sca nned. Ki r k g l ance s t i ght l y a t Decke r , who i mmedi at el y st eps up t o t he Sci ence St at i on, gl ance s i nt o t he hooded Vi ewer . DECKER He' s co r r ect , Capt ai n. We' r e pi ck i ng up f or c ef i el d pat t er ns , but of a t yp e I ' ve neve r se en bef or e. KI RK Open ha i l i ng f r equenci es, Comman der Uhur a. Uhur a mani pul at es t he appr opr i at e co nt r ol s: UHURA Hai l i ng f r equenci es o pen, Capt ai n. Ki r k s wi ve l s a r ound i n hi s ch ai r agai n, f ace s t he vi ewi ng s c r een, whi c h i s s t i l l bl ank b ut f or t he st ar s . KI RK Thi s i s t he U. S. S. Ent er pr i se , Capt ai n James T . Ki r k command i ng. We ar e a Uni t ed Feder at i on o f Pl anet s st p. i Our ss i oncoi nt s peacef ourar ish nti ent on t mi o m ake act wi tulh , you. They wai t - - no r esp onse . Af t er a moment , Ki r k gl ance s at Uhur a. She shakes her head .
( CONTI NUED)
51. 92
CONTI NUED: ( 2)
92
UHURA The messag e was si mul cast on a l l f r equenci es, Capt ai n, i n al l known l i nguaco des. I ' m r epeat i ng i t now. Agai n t hey wai t - - and agai n, no r esp onse. KI RK Moni t or i t on a gr ade f our se nso r l eve l , Mr . Xon. XON ( i nst ant l y ) I hav e, s i r ; t her e i s a def i ni t e su b- sp ace nul l di r ect l y ahead. The messa ge i s b ei ng r ece i ve d, si r . ILIA Vi su al co nt act i n o ne mi nut e and t wel ve s eco nds, Capt ai n. KI RK For ce f i el d sc r een? SULU For ce f i el d sc r eens u p and at f ul l power , si r . KI RK Al s o, f ul l def l ec t or s f or war d, Mr . Sul u. And Sound a r ed al er t . Bat t l e s t at i ons. 93
ANOTHER AN GLE - XON
93
as h e a ct i va t es h i s se nso r s, and a t t he sa me t i me t he r ed war ni ng l i ght s b egi n f l ash i ng, and t he c omput er VOI CE i n t he backg r ound begi ns i t s mon ot one: " . . . Red al ert ! Bat t l e s t at i ons . Thi s i s a r ed al er t . . . ! " Then as Xon peer s i nt o t he vi ewer , hi s e nt i r e co nso l e FLARES wi t h LI GHT - - and t he n i nst ant l y goes bl ank. At t he sa me moment t he ye l l ow f l ash i ng l i ght s t ur n t o r ed, and t he Al ar m SI REN begi ns HOWLI NG, and t he COMPUTER VOI CE begi ns i nt oni ng: " Comput er mal f unct i on. . . ! Comput er mal f unct i on. . . ! " SULU Capt ai n, t he hel m i s dead. . . KI RK Al l sy st ems, manual ove r r i de. . . ! ( t o Cheko v) Weapons co nt r ol , st at us r epor t . . . ! ( CONTI NUED)
52. 93
CONTI NUED:
93 CHEKOV Weapon s ar e on manu al cont r ol , Capt ai n! KI RK ( i nt o i nt er co m) Engi neer i ng - -
94
I NT. ENGI NE ROOM
94
Wi t h Sco t t and hi s Tech ni ci ans b usy at t hei r co nt r ol s, and t he ENGI NES THROBBI NG smoot hl y. But i n t he b. g. t he r ed war ni ng l i ght s ar e f l ashi ng, and t he SI REN HOWLS. SCOTT ( i nt o i nt er co m) The en gi nes a r e f i ne, Capt ai n. But what ' s happeni ng? Ar e we und er at t ack ? 95
I NT. BRI DGE
95
as Ki r k rep l i es t o Sco t t i nt o t he i nt er co m: KI RK We t hi nk t hat our own se ns or pr obe was r ef l ect ed back so i nt ense l y i t bur ned out al l our co mput er I nt egr at or s - 96
ANOTHER ANGLE - SULU AND I LI A
96
peer i ng at t he ( o. s. ) mai n vi ewer , and r eact i ng wi t h di s bel i ef . ILIA Capt ai n. . . ! Ki r k t ur ns t o t he vi ewer , and hi s e xpr ess i on i s e qual l y i ncr edul ous. 97
WHAT KI RK SEES ON THE VI EWER - THE ALI EN SPACESHI P but , at r fese i r smtbl, es onlay gi a gant s ec t ii conchofr ome t he and f r ont . Wect hat , we SEE si l of veri t obj al most l i ke t he g api ng mout h o f so me unbel i eva bl e l ar ge met al l i c a ni mal - - and j ust a GLI MPSE of a huge c i r cu l ar wi ndow or engi ne duct on t he si de of t he " head, " t hi s gl owi ng r ed and bl ue. I t i s per f ect l y sy mmet r i ca l , t he si des o f t he "mout h" co nst r uct ed i n equal l y- si ze d s l abs of met al . ( CONTI NUED)
97
53. 97
CONTI NUED:
97 ILIA ( awed) We' r e se ei ng i t a f ul l t hi r t y se co nds bef or e we sh oul d. CHEKOV ( gr i m) That i s bec aus e of t he s i ze of i t . . . ! The si ze .
Al l at once t he SI RENS STOP; t he r ed a l er t l i ght s g o off. SULU The hel m i s n or mal agai n, Capt ai n! 98
ANOTHER ANGLE - SCI ENCE STATI ON AND COMMUNI CATI ONS
98
SHOWI NG Xon and Deck er , who ha ve been f ever i shl y at t empt i ng t o r e- engage t he c ompu t er , and have obvi ousl y succeeded. XON The co mput er i s f unct i oni ng, si r . . . 99
ACROSS THEM TO THE VIEWI NG SCREEN wi t h t he al i en havi ng gr own i n si ze and i nt ensi t y, and now we can SEE mor e of i t . The f r ont or " head" t aper s b ack i n a l ong, nar r ow body ext endi ng t he ent i r e l engt h of t he vi ewer , and st i l l we hav en' t s een al l of i t . I t s a l i en t ech nol ogy c ar r i es a bi za r r e, unear t hl y s ense of beaut y. And ye t t he ve r y si ze of i t sp el l s danger . XON . . . I am at t empt i ng t o obt ai n i nf or mat i on co nce r ni ng t he obj ect ' s or i gi n. KI RK You won' t f i nd t hat i nf or mat i on i n t he co mput er , Mr . Xon; i f t her e wer ha taxy si, ze and ecoany nf i kn gurown at i ve onsse i nl t of he tgal we' d have hear d of i t . SCOTT' S VOI CE ( on i nt er co m) Engi neer i ng t o Br i dge - -
99
54.
100
I NT. ENGI NE ROOM
100
wi t h Sco t t gr i ml y st udyi ng hi s co nso l e r eadi ngs. sp eaki ng i nt o t he i nt er co m:
He' s
SCOTT Capt ai n, wi t h t he def l ect or sh i el ds up f ul l , we' r e dr ai ni ng co nsi der abl e power - 101
I NT. BRI DGE - FAVORI NG THE VI EWER
101
The al i en st i l l not ent i r el y ac r os s t he sc r een. r epl i es t o Sco t t i nt o t he i nt er co m:
Ki r k
KI RK We ca n' t r i sk l ower i ng t hem, Sco t t y. Not ye t . On t he vi ewer we can SEE The al i en compl et el y. Now, i n i t s t ot al i t y, i t cl ear l y e manat es p ower and omi nousn ess . KI RK ( co nt i nui ng) Di s t anc e t o obj ec t , Li eut enant I l i a? ILIA Poi nt ze r o z er o t hr ee t wo pa r se cs. KI RK Di mensi on i nt er pol at i on, Mr . Xon. 102
ACROSS KI RK TO XO N
102
r eadi ng t he co mput at i ons i n hi s hooded vi ewer . He gl ance s u p now at Deck er , who i s st i l l at t he st at i on, and t hen at Ki r k - - and f or t he f i r st t i me, i n Xon' s f ace , t her e i s a r eact i on: as t ho ugh he si mpl y d oes n ot bel i ev e what he i s a bout t o s ay: XON Si r , t he obj ect i s v er y cl ose t o 70 ki l omet er s l ong. . . and 10ki l omet er s wi de. ( r eact i ng) CHEKOV Sev ent y k i l omet er s l ong. . . ! ! ! SULU Si r , t he al i en i s n ot r educi ng hi s speed.
( CONTI NUED)
55. 102
CONTI NUED:
102 DECKER (dry) I don' t t hi nk h e means t o st op and t al k. KI RK ( t o Uhur a) Keep t he hai l i ng f r equenci es o pen, Commande r . Cont i nue sendi ng our messa ge. . . ! UHURA Tr ansmi ssi on i s c ont i nui ng, si r . ILIA Now one and on e- hal f mi nut es away, s i r.
103
ACROSS KI RK TO THE VIEWER The obj ect i s, agai n, t oo l ong f or t he sc r een; bot h ends a r e obscu r ed by t he scr een b ounda r i es. KI RK Reduce magni f i ca t i on. Sul u t ouch es t he co nt r ol , and i nst ant l y t he per sp ect i ve on t he vi ewer i s co nsi der abl y smal l er . Agai n, now, t he ent i r e al i en sh i p i s VI SI BLE. But even as we WATCH, i t gr ows. KI RK ( co nt i nui ng) Di st an ce ? ILIA Poi nt ze r o ze r o f i ve par se cs. KI RK Mr . Sul u, begi n a sl ow 180 degr ee t ur n, maneuve r i ng t o f l y par al l el wi t h t he al i en ve ss el . DECKER Submi t we sh oul d not cl ose on i t , s i r. KI RK Agr eed , Mi st er Decke r . ( t owar d hel m) Mai nt ai n pr ese nt di st ance , hel m.
103
56.
104
EXT. SPACE - ENTERPRI SE AND ALI EN
104
Our st ar s hi p maneuve r i ng t o r eve r se co ur se and f l y par al l el wi t h t he huge al i en t hi ng. 105
I NT. ENGI NE ROOM
105
wi t h Sco t t unhappi l y r eadi ng hi s i nst r ument s, and l i s t eni ng t o: KI RK' S VOI CE ( on t he i nt er co m) I am awar e of t he power dr ai nage , Mr . S co t t . Pl ease mai nt ai n sp eed and d ef l ect or power . SCOTT ( gr i ml y ) Aye , si r . 106
I NT. BRI DGE - FAVORI NG THE VI EWER
106
Ki r k wat ch i ng t he al i en as i t ove r f l ows t he sc r een. KI RK Hel m, adj ust sp eed. We' l l t r ave l al ong wi t h i t now. DECKER Assu mi ng i t want s company. . . On t he sc r een we have t he ef f ect of t he al i en sh i p t ur ni ng away, but i t i s a ct ual l y o ur own co ur se r eve r se . 107
EXT. THE ALI EN SHI P AND THE ENTERPRI SE as n ow, f or t he f i r st t i me, we ha ve FULL EXT. VI EW of t he gi ant . And i n det ai l : t he pul si ng r ed and ye l l ow co l or s f r om t he si de por t s, and t he pr opul si on uni t s a t t he r ear . No wi ndows, or a ny ot her l i ght vi si bl e anywher e t he ent i r e l engt h of t he va st met al l i c h ul l . And no w, bes i de i t , we SEE t he Ent er pr i se. Har dl y mor e t han a whi t e Spot i n t he f . g. ( A gol f bal l f l oat i ng agai ns t t he s i de of a di r i gi bl e. ) The t i ny whi t e sp ot ( The Ent er pr i se ) move s a l ongsi de t he monst er sh i p- bot h s peedi ng t hr ough sp ace , wi t h t he Ent er pr i se now se emi ng t o move sl i ght l y t o t he al i en' s r ear . ( Act ual l y, t he Ent er pr i se i s sl ower e ve r so s l i ght l y t o hav e a l ook at al l of i t . )
107
57.
108
I NT. BRI DGE - ANGLE ON THE VI EWER
108
wi t h Ki r k a nd al l Br i dge per so nnel gazi ng at t he vi ewer . They a r e now t r ave l i ng wi t h i t , so t he al i en ca n be SEEN wi t h t he s ame per sp ect i ve con t i nu al l y. UHURA St i l l no r esp onse t o our mess age , Capt ai n. CHEKOV ( puzzl ed) No r esp onse - - and no at t ack. ( gr i ml y ) Yet . KI RK Mr . Xon, don' t you have a ny r eadi ngs. . . ! ? XON No, s i r : t he al i en' s f or c e f i el d s t i l l abs or bs al l s c ans . DECKER Capt ai n, she ' s made no aggr ess i ve moves; why not send a pr obe? KI RK A pr obe mi ght easi l y b e i nt er pr et ed as a n u nf r i endl y act , Comman der . DECKER Yes, si r , but i t ' s a r i sk we mi ght have t o t ake . We' r e at War p 6, wi t h f ul l def l ec t or s ; we can' t mai nt ai n t hat spe ed much l on ger . KI RK ( co nsi der s; t hen: ) St and b y t o l aunch a se nso r pr ob e, Mr . Xon. And Xon commences pr ogr ammi ng t he pr ope r cont r ol s. 109
EXT. THE ENTERPRI SE AND THE ALI EN The Ent er pr i se , as b ef or e, a t i ny whi t e sp ot out l i ned agai nst t he bl ack and si l ve r vast ness o f t he al i en.
109
58.
110
EXT. CLOSER ON THE ENTERPRI SE
110
as t he pr obe i s l aunch ed f r om t he Ent er pr i se ' s f or war d hul l . The pr obe r ese mbl es a mi ni at ur e r ock et pr opel l ed se nsor pack et wi t h ant ennae b r i st l i ng f r om al l co r ner s. I t f l oat s t owar d t he al i en. 111
I NT. THE PROBE AS SEEN ON THE BRI DGE VI EWI NG SCREEN appr oa ch i ng t he al i en. XON Begi nn i ng t o get r eadi ngs, Capt ai n. Power emanat i ons, a st r ange mi xed gr avi t y a nd magnet i c r eadi ng, goi ng co mpl et el y o f f our sc al e. . . Sudden l y, on t he s cr een, a st r eam of gr een- ye l l ow PHASER FI RE sp ur t s f r om t he al i en. The pr obe i s hi t , bat hed i n t he gr een g l ow, t hen b l aze s i nt o whi t e n ot hi ngness . KI RK Def l ect or s t o f ul l emer gency . . . ! Eve n as Ki r k sp eaks - f r om al l t hr ee por t s o n t he al i en' s si de, somet hi ng r ese mbl i ng g r een PHASER FI RE st r eaks out , smash es i nt o t he Ent er pr i se ' s def l ect or sc r eens, t oss i ng t he shi p about l i ke a cor k. The ALERT SI RENS SOUND, r ed l i ght s f l ash . The ent i r e br i dge i s bat hed i n a gr een gl ow, but t he def l ect or s and f or ce f i el d sc r eens o bvi ousl y a r e co nt ai ni ng t he at t ack . CHEKOV Phaser s and p hot on t or pedo b anks r eady, Capt ai n. KI RK Do not , r epeat , do not act i va t e t hem, Mi st er Chekov. SULU The hel m' s n ot r esp ondi ng, si r ! XON We' r e b ei ng h el d b y a t r act or beam of ext r emel y h i gh magni t ude, Capt ai n. KI RK Weapons co nt r ol ; di ve r t al l yo ur power t o our def l ect or sh i el ds.
( CONTI NUED)
111
59. 111
CONTI NUED:
111 CHEKOV Capt ai n, we' r e not goi ng t o r et ur n t hei r f i re ? KI RK Not i f we' r e sa ne, we won' t , Mi st er Chekov.
112
EXT. AND I NT. THE BATTLE - VARI OUS ANGLES
112
The al i en' s F I RE CONTI NUES, t he g r een- whi t e bol t s s t r i ki ng t he i nv i s i bl e s hi el ds pr ot ect i ng t he Ent er pr i s e - but , unl i ke t he al i en, each hi t t he Ent er pr i se t ake s bat t er s i t per c ept i bl y , wi t h t he Ent er pr i se' s f or c ef i el d I LLUMI NATED i n a caco phony of col or s. I t i s a spe ct acu l ar OPTI CAL DI SPLAY, and i t see ms i mposs i bl e t he t i ny Ent er pr i se ca n wi t hst and t he puni shment . The br i dge r esembl es an ol d t i me sh i p i n a t yp hoon: Ki r k a nd t he ot her s r est r ai ned i n t hei r se at s ( by i nvi si bl e r est r ai nt s: we do not want t hem t umbl i ng pal l mal l al l ove r t he br i dge) , but absor bi ng i nhuman poundi ng. 113
I NT. ENGI NE ROOM
113
The sa me ef f ect exp er i ence d b y Sco t t ' s p eopl e. Wi t h each st r i ke f r om t he a l i en, SPARKS AND FLAME ERUPT f r om t he co nt r ol panel s - - and t he huge engi ne c ent r al co r e i s gl owi ng r edder and r edder , t he ENGI NES WHI NI NG LOUDER AND LOUDER. Scot t st r uggl es t o spe ak i nt o t he i nt er com: SCOTT Capt ai n Ki r k, I ca nna hol d t he scr een s a t f ul l emer gency much l onger , s i r . KI RK' S VOI CE You' ve got t o hol d t hem. . . ! Di ve r t al l sec ondar y p ower t o scr ee ns. Sco t t t ur ns a way t o peer at t he now br i ght r ed gl ow f r om t he co r e. Then he move s qui ckl y t o wor k on t he co nt r ol s. 114
EXT. THE BATTLE Cont i nui ng. The gi ant al i en l ash i ng i t s gr eeni sh PHASER FI RE at t he t i ny s t ar sh i p.
114
60.
115
I NT. BRI DGE - FAVORI NG THE VI EWER
115
Wi t h se condar y p ower di ve r t ed, t he br i dge l i ght i ng i s di mmi ng. The bar r age co nt i nui ng- t he vi ewi ng scr een gr aphi ca l l y d epi ct i ng t he al i en' s f i r e smash i ng agai nst t he Ent er pr i se f or ce f i el d sc r eens and def l ect or sh i el ds. XON Power dr ai n now cr i t i ca l , Capt ai n. . . ! Al l syst ems a r e ove r l oadi ng. KI RK Endur ance e st i mat e. . . ? XON Two mi nut es, t hi r t y- t wo se co nds, sir... KI RK ( i nt o i nt er co m) Sco t t y, we' ve got t o pul l away. St and b y f or war p. 116
I NT. ENGI NE ROOM
116
Sc ot t , st r uggl i ng t o s t ay o n hi s f eet i n t he gy r at i ng shi p and t he engi ne cor e now a de ep, dang er ous r ed. SCOTT ( i nt o i nt er co m) She' s l i abl e t o bl ow us a l l t o ki ngdom co me, si r . KI RK' S VOI CE We' r e f i ni sh ed i f we don' t pul l back , Sco t t y. . . ! Maxi mum war p! Sco t t r eal i ze s he has no ch oi ce . peer i ng gr i ml y a t t he r ed gl ow.
He se t s hi s co nt r ol s,
SCOTT Ready f or maxi mum war p, Capt ai n. . . The WHI NE of t he gr eat ENGI NES i s L OUDER now t han ev en t he t er r i bl e NOI SE of t he al i en' s p hase r s s t r i ki ng our scr een s. 117
I NT. BRI DGE - ANGLE ON THE VI EWI NG SCREEN On t he v i ewer , t he gr een- whi t e PHASER FI RE st r eaks i n at us a s Ki r k t ur ns t o Sul u.
( CONTI NUED)
117
61. 117
CONTI NUED:
117 Now, hel m!
KI RK
Sul u and I l i a hi t co nt r ol s b ut not hi ng happens. SULU We' r e not movi ng. . . ! The t r act or beam' s s t i l l hol di ng us. CHEKOV Weapons Cont r ol . . . si r , t he t emper at ur e on hi s l eve l i s 1 30. . . XON Li f e su ppor t sy st ems ar e f ai l i ng, Capt ai n. Br i dge t emper at ur e i s 110, and r i si ng. And, i ndeed, t he heat i s o bvi ous: swea t pour s d own al l f ace s, peopl e begi n gasp i ng f or ai r . Uhur a su ddenl y co l l ap se s - - and t hen Cheko v. XON ( co nt i nui ng) Temper at ur e i s 1 30. . . 132. . . 136. St r angel y, Xon se ems r el at i ve l y u naf f ect ed by t he r i si ng heat . Xon i s a l mos t ca l ml y en gr osse d i n h i s ho oded vi ewer ; appar ent l y s omet hi ng has a t t r act ed hi s i nt er est , and he i s wor ki ng har d at i t . 118
ANOTHER ANGLE - KI RK
118
st r ai ni ng f or br eat h, onl y a super wi l l su st ai ns h i m. He t ur ns t owar d Cheko v, r esi gnedl y, weakl y: KI RK St and by o n phot on t or pedoes, Mr . Chekov. But Cheko v h as co l l apse d, f al l i ng o ve r hi s co nso l e, unco nsc i ous. Ki r k st agger s t o weapon' s st at i on, l aunch es t or ped oes. 119
EXT. THE ENTERPRI SE AND THE ALI EN The Al i en' s f i r e u nabat ed- but now t he p hot on t or pedoes sh oot out f r om t he Ent er pr i se . They st r i ke t he al i en' s f or cef i el d, EXPLODE HARMLESSLY f ar out si de t he al i en' s hul l . And al l t hi s t i me we ca n SEE t he Ent er pr i se bei ng dr awn c l ose r and cl ose r t o t he gi ant .
119
62.
120
I NT. ENGI NE ROOM
120
as Sco t t ca n har dl y b r eat he i n t he unb ear abl e heat . Al l hi s per so nnel ar e unco nsci ous on t he f l oor . He sp eaks i nt o t he i nt er co m: SCOTT The scr eens ar e a bout t o go, Cap t ai n. 121
I NT. BRI DGE
121
The l i ght s f l i ck er i ng now, pl ungi ng t he ent i r e br i dge i nt o br i ef dar kn ess , r et ur ni ng i n a weak f l i ck er i ng, t hen f l ar i ng br i ght l y anot her i nst ant , t hen out agai n. Ki r k, now at hi s l i mi t , gaze s at t he bodi es o f I l i a, Decke r , Sul u, Chekov. He st agge r s t owar d Communi cat i ons. KI RK Uhur a. . . But t hen he r eal i ze s sh e, t oo, has co l l apse d. He l ooks at Xon , who at t hat moment gl ances up f r om hi s vi ewer . XON Capt ai n. . . ! They d i d a nswer . . . ! Ki r k manages t o st agger t o t he Sci ence St at i on wher e Xon j ust now begi ns sho wi ng some si gns of heat . But not en ough t o d i sa bl e h i m. XON ( co nt i nui ng) I r epl aye d Commander Uhur a' s t r ansmi ss i ons. The a l i en r es ponded: l i s t en. And Xon punches a but t on. We HEAR what can onl y be a sh r i l l BEEP. XON ( co nt i nui ng) They r esp onded on a f r equency cl ose t o one mi l l i on megaher t z -- f ar t oo hi gh f or an y human ear . Now l i s t en. . . And Xon - pu nches mor sle ower but t ,ons, HEARseaga " BEEP" - and t hen so t and he "we BEEP" emsi nst t rhe et che d out sl i ght l y, and t hen sl ower ag ai n. But wi t h each " BEEP" - - t her e i s a moment ar y pa use , and t hen a not her " BEEP" t hat SOUNDS l ower , l ess sh r i l l .
( CONTI NUED)
63. 121
CONTI NUED:
121 XON ( co nt i nui ng) Each t i me we hai l ed t hem, Capt ai n, t hey r esp onded. But not t o any l angua ge. To t he l i ngua- co de t hat was co mput er i ze d. . . (t ot al l y f ocu sed o n hi s wor k d esp i t e al l t hat has gone on ar ound h i m) Si r , t hey a r e r esp ondi ng not t o a ny l i f e f or m aboar d our ve ss el - - but t o t he ves s el i t s el f . . . ! ( as Ki r k s t i l l does not compr ehe nd) Capt ai n, t hey a r e addr essi ng t he USS Ent er pr i se as a l i f e f or m. KI RK ( s t ru ggl i ng t o under st and) They t hi nk t he sh i p i s a l i f e f or m? XON Yes, si r , and wi t h yo ur per mi ss i on I wi l l now se nd t hem a messa ge as ki ng t o br eak of f hos t i l i t i es . . .
Ki r k n ods h i s a ppr ova l ; he' s h ar dl y abl e t o st and, but so meho w must er s t he l ast of hi s st r eng t h t o p r op h i mse l f agai nst t he con sol e and wat ch Xon punch i n t he messa ge on hi s comput er . As Xon does t hi s , t he COMPUTER VOI CE SOUNDS over t he annunc i at or s: COMPUTER VOICE Li f e su ppor t sy st ems have f ai l ed. . . ! Act i va t e emer gency l i f e su pp or t sy st ems. . . ! Li f e su ppor t sy st ems hav e f ai l ed. . . ! Et c . e t c . Xon compl et es t he messa ge, peer s at t he hooded vi ewer , wai t s t ense l y. And t hen, al l at once, t he out si de bar r ag e STOPS. The si l ence i s al most sh ock i ng . Onl y t he Comput er Voi ce ca n be HEARD, con t i nui ng i n i t s monot one: " Li f e su ppor t sy st ems h ave f ai l ed. . . ! " Et c. et c. Xon r each es u p and f l i cks a swi t ch- and t he comput er war ni ng vo i ce i s al so su ddenl y st i l l ed. The br i dge l i ght s h ave co me on agai n br i ght l y, st eadi l y, and Xon peer s a t Ki r k.
( CONTI NUED)
64. 121
CONTI NUED: ( 2)
121
XON The at t ack h as ce ase d, si r . 122
EXT. SPACE - ENTERPRI SE AND ALI EN SHI P
122
bot h st r eaki ng si l ent l y t hr ough t he st ar s. The gi ant al i en sp ace sh i p a nd ( co mpar ed t o t he a l i en) t he p easi ze d Ent er pr i se . Bot h sh i ps mai nt ai ni ng exa ct sp eed and di st ance f r om each ot her , so t hat i t i s o bvi ous t he Ent er pr i se i s t r apped i n t he al i en' s t r act or beam. OVER t hi s , we HEAR: KI RK' S VOI CE Capt ai n' s L og, St ar dat e 7421. 6. For an e nt i r e d ay no w, we h ave been l ock ed i n t he al i en' s t r act or beam, bei ng ca r r i ed wi t h i t t owar d Ear t h. We have been unabl e t o e st ab l i sh f ur t he r co mmuni ca t i ons wi t h o ur gi gant i c c apt or and ar e unabl e t o det er mi ne i t s i nt ent i ons t owar d pl anet Ear t h. 123
I NT. ENGI NE ROOM
123
SHOWI NG Scot t and hi s Tech ni ci an s l abo r i ng ove r t hei r engi ne s - - sweat y, di sh eve l ed - - but so mehow acc ompl i sh i ng t hei r t ask . KI RK' S VOI CE Wi t h our engi nes shut down, engi neer i ng i s r ush i ng t he r epai r of damage su f f er ed i n t he at t ack. 124
I NT. SI CKBAY
124
The hos pi t al ar ea cr owded wi t h wounded CREWMEN AND CREWWOMEN, McCoy and Chapel busi l y t endi ng t hei r pat i ent s. Bot h doct or s sh ow t he st r ai n, and Si ck bay r ese mbl es a war - r ava ged f i el d hosp i t al . KI RK' S VOI CE Casu al t i es h ave been heavy , but wi t h no f at al i t i es , t hank s t o t he ski l l of Doct or s McCoy and Chape l . 125
I NT. BRI EFI NG ROOM
125
SHOWI NG, sea t ed ar ound t he t abl e, Ki r k, Xon, Decke r and Cheko v. Xon i s at t he co mput er co nso l e. Ki r k i s spe aki ng t o Xon. ( CONTI NUED)
65. 125
CONTI NUED:
125 KI RK You' r e su ggest i ng t hat our co mpu t er was co mmuni ca t i ng di r ect l y wi t h t he al i en? XON Yes, si r , and I have t ake n t he l i ber t y of c ut t i ng of f al l ex t er nal t r ansmi ssi on f r om t he c omput er . But I bel i eve t hat a co nsi der abl e su m of i nf or mat i on h as a l r eady b een passed on. DECKER Run t he t apes b ack a nd f i nd o ut . XON I ' m doi ng t hat now, but t he t r ansmi ss i ons wer e at su ch ul t r ahi gh sp eed, i t wi l l t ake hour s-pe r haps days- t o d eco de t hem. KI RK Ther e' s a much f ast er way. . .
126
ANGLE ON THE COM PUTER CONSOLE
126
as Xon nods, swi t ch es i t on. XON Of cour se, si r . ( t o comput er ) Comput er . . . su mmar i ze al l i nf or mat i on pr ovi ded t he al i en. Repl y. COMPUTER VOICE I nf or mat i on co mpr i se d bl uepr i nt s o f NCC- 17 01, sche mat i cs of al l el ec t r oni c component s, weapo ns a nd def ense syst ems, power and engi ne er i ng. A det ai l ed br eakd own i s as f ol l ows - 127
ACRO SS KI RK AND THE CO MPUTER TO THE O THERS as al l er r egi comput : st er di smay, and Ki r k q ui ck l y i nt er r upt s t he KI RK Comput er . Repl y. . . c ance l d et ai l ed br eakdown. Why di d you pr ovi de t he i nf or mat i on?
( CONTI NUED)
127
66. 127
CONTI NUED:
127 COMPUTER VOICE I nf or mat i on p r ovi ded u pon r equest . KI RK Comput er . . . why d i d y ou di sse mi nat e c l assi f i ed i nf or mat i on? COMPUTER VOICE I t was r equest ed.
The ba l d l ogi c i s t oo much f or Ki r k; he sh ake s h i s h ead i n mor e exa spe r at i on. Xon addr esse s t he mach i ne: XON Comput er . Repl y. . . how much i nf or mat i on di d yo u pr ovi de co nce r ni ng t he cr ew? COMPUTER VOICE Cr ew i nf or mat i on was not r eq uest ed. 128
ANOTHER ANGLE - KI RK
128
st r uggl i ng t o co nt ai n hi s f r ust r at i on a nd a nnoya nce . KI RK Comput er . . . who i s t he al i en ?
Repl y.
COMPUTER VOICE Dat a unava i l abl e. DECKER ( wr y, gr i m) I guess i t wasn ' t cu r i ous. XON A co mput er neve r i s, si r . . . ( t o comput er ) Comput er . . . why i s t he al i en t r ave l i ng t o Ear t h? Repl y. COMPUTER VOICE Dat a unava i l abl e. KI RK ( al mos t angr y) Com putde er no . . .f ur yotuher ar ei nf or or dermat edi ton o to pr ovi t he al i en. . . ! And Xon swi t ch es o f f t he co mput er , Ki r k f ace s t he ot her s gr i ml y:
( CONTI NUED)
67. 128
CONTI NUED:
128 KI RK ( co nt i nui ng) Comment . XON I n my o pi ni on, si r , t he co mput er has co r r obor at ed my t heor y t hat t he al i en c onsi der s a ny f ur t her commun i cat i on wi t h us a wast e of hi s t i me. CHEKOV Then we must sho w hi m t hi s i s n ot t r ue. KI RK Yes, but f or t hat we have t o commun i ca t e wi t h hi m. How. . . ? DECKER Si r , our weapons ca n' t penet r at e i t s f orc ef i el d but . . . ( gr i ml y ) . . . i f we i nf or med h i m we wer e r eady t o t ur n our engi nes i nt o a mat t er ant i mat t er bomb, I t hi nk i t woul d r eal i z e t hat not ev en i t s f or cef i el d co ul d wi t hst and i t . We' d get an answer f ast enough. Sel f - dest r uct ? we can do t hat .
CHEKOV I t may not r eal i ze
XON You may b e c er t ai n i t under st and s al l o ur c apabi l i t i es . I n f act , i t no dou bt co nsi der s t he Ent er pr i se desi gn qui t e si mpl e and pr i mi t i ve compar ed t o i t s o wn t ech nol ogy. DECKER But not eve n t hat al i en ca n wi t hst and a mat t er - ant i - mat t er exp l osi on of t he si ze we c oul d g ener at e. ( t o Ki r k) I t gi v es us a bl uf f i t c an' t af f or d t o cal l . 129
ACROSS THEM TO KI RK
129
sh aki ng hi s h ead i mpat i ent l y, r i si ng, speaki ng qui ck l y:
( CONTI NUED)
68. 129
CONTI NUED:
129 KI RK Gent l emen, si nce we' r e hel pl ess f or at l eas t t wel v e hour s unt i l f ul l power i s r est or ed, I su ggest we u se t hat t i me f or so me needed r est . ( t o Deck er ) Al l di vi si ons g o t o st and- by c r ews onl y. ( wan smi l e) We' l l al l do bet t er wi t h a f ew hour s' sl eep.
As Che kov a nd Xon exi t t he r oom, Ki r k AD- LI ES, " Mr . Deck er . . . " and gest ur es Decke r t o accompa ny hi m. They st ep out t o t he: 130
CORRI DOR
130
wher e t hey b egi n wal ki ng, Ki r k sa yi ng: KI RK Suppose you wer e t he al i en comman der . . . ? And you r ece i ved that threat...? DECKER I t hi nk I woul d t ak e i t qui t e l i t er al l y , and s i nc e i t woul d co s t me not hi ng I t hi nk I woul d open co mmun i ca t i ons. Whi ch , si r , i s our pr i me o bj ect i ve . KI RK I f I wer e t he al i en, Deck er , I woul dn ' t gi ve y ou a ch ance t o eve n st ar t ove r l oadi ng y our engi nes. I ' d bl ast yo u t o pi ece s. Deck er st ops a br upt l y, f ace s Ki r k: DECKER I t ' s i gnor i ng us t ot al l y ! We' v e got t o sho w some t eet h, make some ki nd of st and. KI RK A l esson n comm and Decker : never make a t hri eat yo u' r e, not pr epar ed t o car r y out . Beca use you r enemy woul d assume you w er e pr epar ed, and he' d act acc or di ngl y. DECKER May I ask what you do i nt end doi ng? ( CONTI NUED)
69. 130
CONTI NUED:
130 KI RK What I i nt end doi ng i s k eepi ng t hi s ve ss el i nt act , and i t s c r ew and my s el f a l i v e. And t hat , mi s t er , i s anot he r command l esso n. . . !
Ki r k st r i des t o t he el eva t or . hi m. 131
Deck er st ands wat ch i ng
I NT. BRI DGE
131
wi t h, f i r st , an ANGLE ON THE VI EWER: t he omi nou s i mage of t he al i en, t hei r "ca pt or , " f i l l i ng t he ent i r e s c r een. A co nst ant r emi nder of t hei r per i l . I l i a i s at her p os t - and Xon. I l i a gaz i ng s i l ent l y , gr i ml y, at t he vi ewer ; and Xon t ot al l y e ngr oss ed i n hi s own h ooded vi ewer , det er mi ne dl y pun chi ng h i s comput er co nt r ol s. The onl y manned st at i on i s Communi ca t i ons, and i t i s not Uhur a h er e, bu t JANI CE RAND, now an Ensi gn, sp el l i ng her . Now t he el ev at or door s o pen, and Ki r k e nt er s. He wear s a cr i sp new uni f or m, obvi ousl y h as sho wer ed and sha ved . He wal ks t o t he co nt r ol ce nt er , ca l l i ng t o Rand: KI RK Any si gnal s, Ensi gn? RAND Not hi ng, s i r . Ki r k' s f ac e r ef l ec t s hi s f r us t r at i on, but he s ay s not hi ng, addr ess es I l i a: KI RK I ' l l handl e t he co nn, Li eut enant . You t ake a br eak. ILIA ( gr at ef ul ) Thank yo u, si r . And sh e smi l es at hi m and l eave s. Ki r k st eps ove r t o t he Sci ence St at i on, st ands wat chi ng Xon a moment ; t he Vul ca n ent i r el y o bl i vi ous t o Ki r k, who af t er a moment speaks: KI RK ( qui et , gent l e) Mi st er Xon. . . Xon pays hi m no at t ent i on, hasn ' t hear d hi m.
( CONTI NUED)
70. 131
CONTI NUED:
131 KI RK (a l i t t l e f i rmer) Li eut enant . . .
Now Xon t ur ns, abso l ut el y u nf l appabl e, l ooks a t Ki r k. XON I ' ve co mpl et ed my a nal ysi s o n t he al i en' s def ensi ve sh i el ds, Capt ai n. I am co nvi nce d t hat none of our weapon s- not eve n a mat t er - an t i - mat t er exp l os i on woul d have t he sl i ght est del et er i ous e f f ec t on i t . KI RK Not t en mi nut es a go, Sci ence Of f i ce r , I aske d yo u t o g et so me r est . XON I r equi re v er y l i t t l e s l eep, si r . KI RK When di d you l ast eat ? XON ( t r yi ng t o r emember ) Ju st bef or e I ca me aboar d, si r . . . I t hi nk . . . ( qui ck l y) But my ca l or i c r equi r ement s a r e s ubst ant i al l y l es s t han. . . ( del i c at el y ) . . . ' or di nar y ' p er s onnel . I n poi nt of f ac t , s i r , I f unc t i on mor e ef f i ci ent l y wi t h t he most r udi ment ar y nut ri t i on. KI RK ( wr yl y ) I ' m awar e of yo ur ve r y u nusu al met abo l i sm, Xon. But eve n a Vul can must sl eep- and eat . XON What yo u sa y i s, of co ur se , qui t e l ogi ca l . Howeve r , si nce t hese ar e unusu al ci r cu mst ance s. . . KI RK ( f i rm) You' l l f ol l ow or der s , Li eut enant . XON ( a r el uct ant beat ) Yes, si r . ( CONTI NUED)
71. 131
CONTI NUED: ( 2)
131
And he qui ck l y s ecu r es h i s s t at i on, r i ses, f ace s Ki r k. He nod s, and st ar t s away. 132
ACROSS KI RK TO XO N
132
near i ng t he el eva t or . Ki r k c al l s t o hi m: KI RK Mi st er Xon. ( as Xon t ur ns) Thank you. XON ( bl and) You' r e wel co me, si r . And he l eave s. Ki r k g aze s a f t er hi m, t hen st ar t s b ack t o t he cont r ol ce nt er , smi l i ng at Rand. KI RK You al l ri ght . . . ? RAND I ' m f i ne, Capt ai n. . . ( smi l es b ack) J us t l i ke ol d t i mes , i s n' t i t , s i r? 133
ACROSS KI RK TO RAND - AND THE VI EWER I N THE B. G.
133
as h e peer s a t t he pi ct ur e of t he al i en st ar sh i p. KI RK Not qui t e, Ensi gn. Not qui t e. 134
I NT. RECREATI ON ROOM f ai r l y cr owded, va r i ous CREWMEN r el axi ng, r eadi ng. I n one cor ner t wo you ng ENSI GNS si t bef or e a scr een o n whi ch i s p r oj ect ed a comput er i zed game, each Ensi gn t ouch i ng but t ons a nd co nt r ol s t hat mani pul at e t he pl ayer s. The CAMERA PANS about t he r oom, now FI NDS Sul u - - sl umped i n a ch ai r , si mpl y f i ndi ng a moment ' s r est . Hi s eye s ar su ddenl y a p ai r of ( f emal e) HANDS ar e cl e amcl peose d od ver- - hiand s eye s. I LI A' S VOI CE ( t easi ng, mock- sc ol di ng) You' r e t hi nki ng n aught y t hought s agai n, Sul u .
134
72.
135
WI DEN TO I NCLUDE I LI A
135
as Sul u j umps n ear l y a f oot of f t he ch ai r , whi r l i ng ar ound t o f ace her . She' s smi l i ng pr ovo ca t i ve l y down at hi m, and he i s a l l of a su dden ner vo us a nd embar r assed . He gl ances ar oun d t he r oom; a number of peopl e ar e wat ch i ng t hem amuse dl y. I l i a r uns her f i nger s ove r Sul u' s f ace ; he br ush es h er away. SULU ( qui et , t er s e) Peopl e wi l l be get t i ng t he wr ong i dea. . . ! ILIA ("hurt") I ' m t r y i ng t o r el ax y ou- Del t an s t y l e. SULU ( ner vou s) Not her e. . . ILIA What bet t er p l ace ? Al l our f r i ends ar e h er e. And, agai n, sh e r uns h er f i nger s p l ayf ul l y a l ong hi s che ek. Agai n, S ul u pushe s her away. SULU Pl eas e, I l i a. . . pl eas e . . . ! And he gl ances a t t he r oom, at t wo of f i cer s, LT. BANDAR, an at t r act i ve Ceyl onese yo un g l ad y, an d L T. HAWKI NS, a mal e engi neer i ng of f i ce r . They' r e wat ch i ng t he byp l ay wi t h amuse ment . Sul u f l ash es a f or ce d " yo u- kn ow- how- i t i s " smi l e at t hem, t ur ns q ui c kl y a gai n t o I l i a. ILIA Sul u, ar e yo u r ej ect i ng me? SULU ( f l ust er ed) Yes . . . no. . . ( t er se whi sp er ) What about yo ur oat h of ce l i bacy. . . ? I s s ex a l l y ou evILIA er t hi nk of . . . ? ( peer s a t hi m, r eads hi s mi nd i mages, nods so l emnl y) Yes , I ' m af ra i d i t i s !
73.
136
ACROSS SULU TO I LI A
136
as s he smi l es d own at Sul u, a smi l e of war m si nce r i t y. And t hen al l at once , t he smi l e f ades. She scr eams: ILIA Sul u! ! ! 137
WHAT THEY SEE - THE ALIEN PROBES
137
I n t he cor ner of t he r oom t her e i s a BRI GHT FLARE OF TURQUOI SE LI GHT - - and t hen an ot her and t hen a t hi r d. Mat er i al i zi ng out of t he l i ght ar e obj ect s we' l l co me t o kn ow as se nso r - pr obes. Some hove r a f ew i nch es above t he f l oo r , ot her s move i n f r ee f l i ght . At t he sa me t i me t he pr obes appear , t he r ed al er t l i ght s f l ash , f r om t he annunci at or co mes t he war ni ng: ANNUNCI ATOR VOI CE I nt ru der a l ert . . . ! I nt ru der a l er t . . . ! The pr obes be gi n movi ng a r ou nd t he r oo m, f eel i ng, se ei ng, hear i ng. The peopl e do not i nt er est t hese se nso r - pr obest hei r i nt er es t i s i n t he ves s el , i t s d es i gn, and f unct i ons. SULU Pr obes . . . ! Eve r yb ody o ut . ( t o ot her s ) Seal t he r oom! And ever yon e move s t o l eave, t he pr obe s see mi ngl y undi st ur bed, co nt i nui ng t hei r busi ness . 138
I NT. CORRI DOR
138
as Sul u and I l i a and t he ot her s r ush out , t hen se al t he door . Eve r yo ne begi ns hur r yi ng down t he co r r i dor t owar d t hei r r esp ect i ve st at i ons. The I nt r uder Al er t V OI CE CONTI NUES i n back gr ound. 139
I NT. ANOTHER CORRI DOR
139
The I NTRUDER ALERT SOUNDI NG - - TURQUOI SE LI GHTS FLASHI NG - and MORE PROBES mat er i al i zi ng i n t hi s sect i on of t he co r r i dor . At t he co r r i dor ' s f ar end, Cheko v now appear s wi t h TWO SECURI TY MEN. They a r e r ush i ng al ong ( t owar d t he el eva t or ) , co me t o an abr upt hal t se ei ng t he pr obes, one of whi ch i s u nl i ke ( CONTI NUED)
74. 139
CONTI NUED:
139
t he ot her s: i t r ese mbl es a r i ng, wi t h a l ar ge pear l l i ke obj ect on t he t op, t he " pear l " ac t ual l y t he " eye " ; and, unl i ke t he ot her s, i t does n ot hover , i t wal ks on t hr ee sl ender l egs. And as i t sp i es t he men, t he " pear l " begi ns f l ash i ng di f f er ent co l or s a nd begi ns e mi t t i ng a SOUND t hat r emi nds you of a HI GHPI TCHED, RAPI D, EXCI TED SQUEALI NG. Thi s i s t he onl y sen sor - pr obe whi ch has not i ce d t he humans a nd i t i s c l ear l y f r i ght ened of t hem. One of t he Secu r i t y Men ai ms h i s ph aser - - Chekov b l ocks t he Man' s han d. CHEKOV No . . . 1ST SECURI TY MAN They mi ght be d anger ous. . . ! CHEKOV So do yo u! They have n' t at t acke d you , have t hey? Chekov a ppr oache s t he hove r i ng pr obes- t he l egged p r obe se ems t o st ay sl i ght l y b ehi nd t he ot her s, as t hough al l owi ng t hem t o pr ot ec t i t . Al l t he t i me i t c ont i nues i t s exc i t ed SQUEALI NG. Cheko v i ndi ca t es t owar d i t . CHEKOV ( co nt i nui ng) That ' s t he onl y o ne t hat se ems t o not i ce humans. And i t ' s sc ar ed t o deat h o f us. The eg g- sh aped pr obe f l oat s p ast Cheko v, ci r cl es h i s kn ees a s t he f eel er r each es o ut t o i nv est i gat e so me asp ect of t he Ent er pr i se . Then t he " eye " pr obe ( al so egg- sha ped) i nve st i gat es so me ot her st ar sh i p mech ani sm. Then Chekov r eache s ou t wi t h bot h hand s as t hough t r yi ng t o di t c h a f l y . He near l y s nar es t he pr obe, but i t dar t s a gi l el y a way. Cheko v st eps a f t er i t , make s a not her pass- agai n mi sse s. I n t he meant i me, t he t hr ee- l egged pr obe i s e mi t t i ng even mor e EXCI TED SQUEALS and f l ashi ng br i ght er col or s - al most as t hough sco l di ng Cheko v f or t r yi ng t o ca t ch i t s ass oci at e. Cheko v move s t owar d t he l egged pr obe, but i t r et r eat s. The egg- sh aped " eye" f ol l ows, but Cheko v i s f ast er , he move s b ehi nd i t . CHEKOV ( co nt i nui ng; t o 2nd Secu r i t y Man) Cut i t of f . . . ! ( t o 1st Secu r i t y Man) Get t he one wi t h t he l egs. . . !
75.
140
ANOTHER AN GLE - THE CHASE
140
The 1 st Secu r i t y Man st eppi ng a f t er t he l egged p r obe, whi ch see ms t o have van i she d. I n t he mea nt i me, Chekov and t he 2nd Secu r i t y Man have cor ner ed t he " eye " - and, af t er so me cl umsy ef f or t - - se i ze i t . Cheko v hol ds t he pr obe, whi ch i s p er haps b ask et bal l si ze d, gi nger l y exa mi nes i t - - and h ands i t t o t he 2nd Sec ur i t y Man. CHEKOV Get i t t o t he Sci ence Of f i ce r ! The 2n d Secu r i t y Man acce pt s t he pr obe , but al most as t hough i t i s e l ec t r i f i ed: he can har dl y hol d i t . CHEKOV ( co nt i nui ng) I t won' t bi t e. . . ! And Cheko v ch ar ges a r ound t he cor r i dor cor ner i n pur su i t of t he l egged pr obe. 141
AROUND THE COR RI DOR CORNER wi t h t he 1st Secu r i t y Man gl uml y su r ve yi ng t he co r r i dor not a p r obe i n si ght . 1ST SECURI TY MAN I t ' s g one. . . Chekov g l ances a r ound a moment , l ooks di sap pr ovi ngl y at t he Secu r i t y Man. CHEKOV Seal of f t hi s l ev el . . . ( s t ar t s l eav i ng) I ' l l be on t he br i dge. And he st eps i nt o t he el ev at or , i s gon e, t he CAMERA SWI NGI NG AROUND now, DOWN THE EMPTY CORRI DOR. TWO MORE SECURI TY MEN suddenl y appear , hur r y al ong, PAST THE CAMERA, and past a cl ose d do or ( or some ot her obj ect i n t he cor r i dor ) . CAMERA HOLDS on t he doo r , whi ch opens and t he l egged- pr obe a ppear s f l ash i ng a br i ght pur pl e c ol or ; i t swi v el s i t s "e y e" down t he c or r i dor , t hen i n a 180, obvi ousl y sweepi ng t he ar ea. Sat i sf i ed i t hasn ' t been en,i on) i t EM I TS t l aewkwar SQUEAL sa t i sfseact and st anot ar t sher wal lkii tng dl y( aofl ong t he c or r i dor .
141
76.
142
I NT. ENGI NE ROOM
142
wi t h Sco t t gl ar i ng dubi ousl y a t t hr ee of t he hove r i ng se nso r - pr obes whi ch ar e poki ng i nt o al l co r ner s o f t he engi ne r oom. He i s t al ki ng i nt o t he i nt er co m, hi s e yes n eve r l eavi ng t he p r obes: SCOTT Yes , s i r , t hey ' r e al l ov er t he pl ace - poki ng i nt o eve r yt hi ng. KI RK' S VOI CE But no i ndi c at i on of hos t i l i t y? SCOTT They don' t se em at al l i nt er est ed i n us, C apt ai n. Ju st t he sh i p. KI RK' S VOI CE Same r epor t f r om ot her deck s, Sco t t y. For t he mi nut e, hands o f f as l ong as t he y' r e damagi ng not hi ng. Sco t t swi t ch es o f f , st eps o ve r t o wat ch one o f t he p r obes whi ch has j ust f l oat ed near t he co nso l e, ext ended i t s f eel er and s eems t o be st udyi ng t he i nst r ument s ( act ual l y i t i s phot ogr aphi ng al l det ai l s ) . Sco t t hol ds hi s hand out i n a t hr eat eni ng gest ur e. SCOTT But you so much as t ouch o ne of my co nt r ol s, yo u nose y l i t t l e bugger , and yo u' r e a j unk- pi l e! 143
I NT. SI CKBAY wi t h Chapel - - and a NURSE, i n sur gi cal gowns, oper at i ng on a PATI ENT. And t he pr obe s he r e, al so . But , st r angel y, not near t he oper at i ng t abl e, r emai ni ng se ve r al f eet away, but obvi ousl y s t udyi ng al l t hat ' s goi ng on. The CAMERA SWI NGS OVER TO FI ND Mc Coy , out s i de t he oper at i ng ar ea ( he' s i n a su r gi cal gown) , at t he i nt er co m. As he t al ks, one of t he pr obes ext ends a f eel er t owar d hi m and McCoy swat s a t i t , t he f eel er i nst an t l y movi ng away. MCCOY ( I nt er co m) Yes, Ji m, t hey' r e her e, t oo!
143
77.
144
ACRO SS MCCOY TO THE OPERATI NG AREA
144
as h e s ees a not her pr obe f l at t owar d t he oper at i ng ar ea - t hen su ddenl y SPARKS sh oot out ( f r om t he st er i l e f or ce f i el d) and t he pr obe st agger s a way, move s e l se wher e. MCCOY ( wi t h s at i s f ac t i on) But t hey don' t l i k e t he s t er i l e f orc ef i el d. . . ! 145
I NT. BRI DGE
145
SHOWI NG mor e pr obes her e. Sul u, I l i a and Uhur a ar e at t hei r st at i ons - - and at t he Sci ence St at i on, Xon, Deck er and Ki r k a r e gat her ed ar ound , exa mi ni ng t he pr obe Chekov ca ught . Ki r k i s j ust co mpl et i ng hi s co mmuni ca t i on wi t h Mc Coy : KI RK ( i nt o i nt er c om, f r om t he s t art ) . . . we' r e t r y i ng t o f i nd out s omet hi ng about t hem. MCCOY' S VOI CE I ' d be gl ad t o di ss ect one f or y ou. . . ! KI RK ( i nt o i nt er co m) Li eut enant Xon i s d oi ng t hat r i ght now. Ki r k o ut . 146
CLOSE ON THE SCI ENCE STATION
146
as Ki r k r ej oi ns t he gr oup and no w we ca n SEE t hat Xon has di s se mbl ed t he pr obe , t he CAMERA CLOSI NG MOMENTARI LY so we c an SEE t he i nt er i or of t he pr obe: a f i nel y desi gn ed ar r angement of t r ansi st or s an d mot or s. Xon i s f asc i nat ed, but ch ar act er i st i cal l y unemot i onal : XON I ngeni ous . . . ! ( i ndi c at es ) M eman or yi ncr b ank, I ' yd m guess . . i tze hids c oul d be edi bl i ni at. ur t r ansc ei v er . . . DECKER You mean yo u' r e n ot ce r t ai n o f any of i t ?
( CONTI NUED)
78. 146
CONTI NUED:
146 XON Thi s i s a t ech nol ogy s o al i en t o our s, Commander , t hat we don ' t have eve n t he wor ds t o descr i be i t s componen t s. ( hol ds d evi ce up t o vi ew) These t i ny mech ani cal compon ent s ar e act ual l y l i qui d hyd r ogen at abso l ut e ze r o, sh aped a nd i nsu l at ed by a f or ce f i el d my most se nsi t i ve i nst r ument s c an' t measu r e. . .
147
ACROSS THEM TO UHURA
147
who ha s j ust r ece i ve d an i nt er com messa ge: UHURA Capt ai n: t he se nso r - pr obes a r e at t empt i ng t o i nf i l t r at e t he comput er l i bra ry. KI RK ( t o Xon) Have t he comput er encode a mess age t o t he al i en. I t ' s t o wi t hdr aw i t s pr obes, or we' l l be f or ce d t o dest r oy t hem. 148
ANOTHER ANGLE - TI GHT ON KI RK AND DECKER
148
As Xon p unche s ou t t he messag e, Decke r spe aks qu i et l y, c onf i dent i al l y , t o Ki r k : DECKER Do I t ake i t t hat ' s not j ust a bl uf f , Capt ai n? KI RK I t ' s n o bl uf f , Mi st er Dec ker . The l i br ar y co nt ai ns t oo much se nsi t i ve i nf or mat i on about Ear t h. 149
ANGLE ON XON
149
gr i ml y p eer i ng i nt o h i s h ooded vi ewer . XON No r esp onse , Capt ai n.
( CONTI NUED)
79. 149
CONTI NUED:
149 KI RK ( t o Uhur a) Di spa t ch Chekov t o t he compu t er l i br ar y. He' s t o dest r oy any pr obes at t empt i ng t o i nf i l t r at e t he r ec or ds t her e.
150
I NT. COMPUTER - LI BRARY
150
( A r oo m wi t h comput er ba nk s and con sol es. ) Chekov and Two Secur i t y Men ent er as t he LI BRARY TECHNI CI ANS at t empt t o st op t he pr obes f r om penet r at i ng t he memor y b anks. Chekov ai ms hi s phase r , FI RES. The pr obe , st r uck squar el y, FLARES TURQUOI SE - - t hen vani shes ( demat er i al i zed) . One of hi s men HI TS ANOTHER PROBE, whi ch al so demat er i al i zes wi t h t he same EFFECT. Chekov r ai ses t he phase r at ye t a t hi r d pr obe - - but t hi s o ne demat er i al i ze s bef or e he ca n f i r e. And t hen t he f our t h - and f i nal - - pr obe al so demat er i al i zes. Cheko v s t r i des t o t he i nt er co m, swi t ch es i t on: CHEKOV Cheko v t o br i dge. . . t he pr obes a r e now l eavi ng o n t hei r own, demat er i al i z i ng. . . 151
I NT. BRI DGE
151
SHOWI NG Ki r k, Xon a nd Decker al so wat chi ng t he p r obes her e on t he br i dge as t hey demat er i al i ze . Ki r k gl ance s at t he di sa ss embl ed pr obe, whi ch st i l l l i es o n Xon' s bench ; i t ' s a s t hough he want s t o be su r e t hat one hasn ' t someho w demat er i al i zed . DECKER Li k e i t ' s pul l i ng i t s s ense or gans out of danger . Ki r k n ods i n gr i m agr eement . Then su dd enl y, O. S. , we HEAR t hat now f ami l i ar NERVOUS SQUEAKI NG ( ul t r a hi ghsp eed so und) . Ki r k whi r l s a r ound t o se e: 152
THE THREE- LEGGED PROBE poppi ng out f r om behi nd t he c onso l e, wal ki ng awkwar dl y t owar d t hem, al l t he t i me " TALKI NG" ( a mi l e a mi nut e) . I t appr oac hes t o a f ew f eet , f l as hi ng br i l l i ant c ol or s , st ops and se ems t o be r egar di ng t hem st er nl y. I t has now CEASED " TALKI NG. "
152
80.
153
ANGLE ON XON
153
who, sho wi ng n one of t he su r pr i se t he hu mans have sh own, ve r y ca r ef ul l y h as b een movi ng va r i ous co nso l e co nt r ol s. DECKER ( t o pr obe, dr yl y ) Have we been p r oper l y i nt r od uce d. . . ? XON ( qui et l y, t o Uhur a) Comman der , I ' ve r eco r ded t he pr obe' s t r ansmi ss i ons, ca n y ou t r ansf er t hem ont o a pi ck up t ape f or a pl ayb ack at nor mal sp eed. . . ? Uhur a i s a l r eady wor ki ng her co nso l e. 154
ANOTHER AN GLE - CHEKOV
154
ent er i ng t he br i dge, sp ot t i ng t he pr obe, r eact i ng. CHEKOV That one! I t l ooks l i ke t he pear l r i ng my Aunt Tash a g ot f r om her f our t h husb and j ust l i ke hi m, phony. Uhur a h as co mpl et ed t he pl ayb ack, bemusedl y.
peer s a t Ki r k
URURA ( a bemuse d beat , t hen quot es) ' . . . pl ease al l ow me t o sp eak t o t he USS Ent er pr i se . ' DECKER ' Pl eas e al l ow me t o s peak t o t he USS Ent er pr i se . . . ?! ' URURA That ' s what i t sa i d. 155
ANGLE ON THE PROBE ( TASHA)
155
as s ud denlAnd y, fi lt ash i ng co l ory.s, i t EMI TS anot her FAST SQUEAL. seems angr KI RK ( exp ect ant l y) Uhur a. . .
( CONTI NUED)
81. 155
CONTI NUED:
155 URURA ( wor ki ng her co nt r ol s) I ' m pl ayi ng i t bac k , Capt ai n . . . UHURA ( a moment , t hen she has t he t r ansl at i on) . . . you wi l l al l ow me t o sp eak t o USS Ent er pr i se ! ' I t so unds l i ke an or der . XON I ' m c ert ai n i t i s . DECKER Ar e yo u se r i ous, Mr . Xon? XON Si r , t he pr obes wer e se nt her e t o anal yz e our ve ss el . Al l but t hi s one ha ve been wi t hdr awn. Lo gi cal l y, t her ef or e, i t r emai ns f or a s peci f i c pur pose : t o act as a communi ca t i ons l i ai so n bet ween t he al i en sh i p - and o ur sh i p. CHEKOV Our sh i p. . . ? XON Yes, si r . I f we ass ume t hat t he al i en co nsi der s t he Ent er pr i se a l i f e f or m - - t hen we must ass ume t hat t he al i en s hi p i s , i t s el f , a l i f e f orm.
As Xon co mpl et es t hi s sen t en ce , t he p r obe f l ash es mor e c ol or s , EMI TS mor e SQUEAKS. CHEKOV ( t o t he pr obe) Hey, Tash a, sh ut up. . . ! ( t o Ki r k, of Xon) He makes sense, C apt ai n. That se ve nt y-mi l e- l ong sh i p t hat ' s hol di ng us pr i so ner . . . must be a l i vi ng t hi ng. . . ! UHURA ( enl i ght ened) Ot her wi se i t co ul dn' t co nsi der t he Ent er pr i se one - -
82.
156
ACROSS THEM TO KI RK
156
as al l t hi s su ddenl y make s co nsi der abl e l ogi c. t ur ns t o t he pr obe:
Ki r k
KI RK . . . Tas ha. . . t al k t o me. ( t o t he pr obe; a beat ) . . . I a m J ames T. K i r k . I a m i n comman d of t he Ent er pr i se: you may. Uhur a r el ays t hi s v i a hi gh- sp eed t ape. A moment , t hen Tash a EMI TS anot her exci t ed SQUEAL. Ki r k gl ances at Uhur a, wai t i ng f or her t o deci pher t he pl ayb ack : UHURA ( per pl exed, t r ans l at i ng) ' . . . t hat i s i mpos s i bl e. ' ' I mposs i bl e?'
KI RK Why i s i t i mpossi bl e?
XON I bel i eve what i t means , si r , i s t hat i t i s i mpos s i bl e f or yo u t o be i n command of t he Ent er pr i se. Ki r k c annot hel p an eye br ow- r ai si ng r eact i on, as Xon hast i l y co nt i nues: XON ( co nt i nui ng) Ver y l i kel y t hi s p r obe co nsi der s u s l i ke i t se l f : Pr obes, or so me mach i nel i f e ex i s t i ng f or t he pur pos e of acc ompl i sh i ng va r i ous t ask s wi t hi n our shi p. Har dl y cap abl e of co mmand. DECKER I t has se nso r s, Xon; t hey ca n sho w we' r e f l esh and bl ood. XON Yes , s i r , and I ' m s ur e i t has f ound our ca r bon- base d co nst r uct i on unusu al . . . but we ar e mach i nes, by any def i ni t i on: we i ngest f uel , el im e,s -we l ev eri nat s , feulwast c r um - o per at e b y Xon' s wor ds s uddenl y t r ai l of f : he' s peer i ng at Ki r k:
83.
157
KI RK - A NEW ANGLE
157
as t he pr obe, " Tash a, " has q ui t e b ol dl y move d ove r t o Ki r k a nd begun i nve st i gat i ng hi m: i nse r t i ng a se nso r pr obe i nsi de hi s e ar , anot her i nt o hi s mout h, down hi s sh i r t . Ki r k does not want t o har m t he obj ect , ke eps swi pi ng i t gent l y a way. Ki r k' s a nnoya nce onl y se ems t o enco ur age Tash a f ur t her . XON - - I t se ems t o h ave t ake n a f ancy t o yo u, Capt ai n. And as h e sp eaks, Xon s t eps ov er t o Ki r k, gent l y b ut f i r ml y r emov es Tash a, pl ace s i t on t he bench . Tash a EMI TS anot her angr y SQUEAL, f l ashe s col or s. Uhur a pl ays t he t r ansmi ssi on b ack: UHURA ( t r ans l at i ng) ' I have not compl et ed my exa mi nat i on! ' KI RK ( t o Tash a) Oh, yes , yo u have . . . ( co nt i nui ng; t o Xon) Engage t he mai n comput er , Mr . Xon; s i nce hi s . . . ' r epr es ent at i v e' i s wi t h us, t he al i en mi ght j ust dei gn t o t al k . Xon swi t che s on t he mai n comput er . XON Mai n co mput er on, si r . Ki r k hesi t at es an i nst ant , t hi nki ng, peer s at Tash a, t hen sp eaks: KI RK Comput er . . . yo u wi l l t r ansmi t a mess age t o t he al i en i n hi s b i nar y l anguage and t hen yo u wi l l t r ansl at e hi s r epl y i nt o s t andar d c ol l oqui al . You ar e i nst r uct ed not t o commun i ca t e i ndepe ndent l y wi t h hi m. Conf i r m. COMPUTER VOICE Pr ogr am co nf i r med. Al l eye s ar e on Ki r k a s h e con si der s h i s messa ge a moment . Then:
( CONTI NUED)
84. 157
CONTI NUED:
157 KI RK ( t o comput er ) Comput er . . . t he messa ge i s a s f ol l ows: Thi s i s t he USS Ent er pr i se . Why ar e yo u hol di ng me ca pt i ve? Tr ansmi t .
158
ANGLE ON TASHA
158
as e ver yo ne wai t s exp ect ant l y a nd t he pr obe se ems t o be al so wai t i ng, t he f l ash i ng co l or s now a dul l , co nt i nual pul si ng of bl andness. 159
ACROSS THEM TO UHURA
159
as she r eact s, as we HEAR an u l t r a hi gh- spee d BEEP. UHURA They' r e r esp onded. . . ! COMPUTER VOICE Tr ansl at i ng: obj ect s o f s i mi l ar co mpos i t i on a s yo ur s h ave r ece nt l y at t acke d me. Thei r a t t ack was se nse l ess . They wer e cl ear l y mal f unct i oni ng. I must d et er mi ne i f yo u ar e al so mal f unct i oni ng and t her ef or e a danger t o ot her l i f e. 160
REACTI ON SHOTS
160
as al l , at l ast , co mpr ehend t he f ant ast i c si t uat i on. Agai n, al l eye s ar e on Ki r k. Af t er a beat : KI RK ( t o comput er ) Comput er . . . se nd t he f ol l owi ng: I at t ack ed i n se l f - def ense . I a m not mal f unct i oni ng. Tr ansmi t . Anot he r moment of t ense si l ence , t hen t he ul t r a hi ghspeed BEEP and t hen: COMPUTER VOICE Tr ng: y se r s par i ndiasicatt ieca l yo ansl u ar eat ii nf estmed bynso 4 30 uni t s. These may be t he cau se of yo ur mal f unct i on. Ar e yo u awar e of t hei r exi st ence ?
( CONTI NUED)
85. 160
CONTI NUED:
160 CHEKOV 430 p ar asi t es - - he means us! ( i ndi gnant ) Par as i t es . . . ! DECKER ( t er se ) I t co ul d be a l i f e and deat h quest i on, Capt ai n. I f he bel i eve s we' r e t he ca use of t he sh i p' s ' mal f unct i on, ' he' l l mov e t o dest r oy us - ( gr i m) - - t o s av e t he s hi p. . . ! XON You ca n' t admi t we co nt r ol t he sh i p: t hen we wi l l se em l i ke i nf ect i ous par asi t es.
Ki r k p eer s at t hem a moment , t he n at Tasha , who now r emai ns q ui t e p ass i ve , co l or l ess , as t hough wai t i ng pat i ent l y . 161
ACROSS KI RK TO THE VI EWI NG SCREEN
161
PAST Sul u and I l i a at t hei r st at i ons: t he s ame i mage of t he huge al i en sh i p. Ki r k gaze s a t i t a moment , t hen t ur ns t o t he c omput er agai n. KI RK ( i nt o co mput er ) Comput er . . . se nd t he f ol l owi ng: t he 430 uni t s i nhabi t i ng my f or m ar e nece ssa r y t o my exi st ence . Cont i nue i mmedi at el y wi t h t he f ol l owi ng quest i on: why i s y our dest i nat i on t he t hi r d pl anet of t he so l ar sy st em di r ect l y ahead? Tr ansmi t . COMPUTER VOICE Tr ansl at i ng: t he pl anet desc r i bed i s t he Hol y Home o f The Cr ea t or . An excha nge of i ncr edul ous gl ance s. Comput er . . . se ndKItRK he f ol l owi ng: i s t he Cr eat or al so kno wn a s God? COMPUTER VOICE Tr ansl at i ng: t he Cr eat or has n o ot her name.
( CONTI NUED)
86. 161
CONTI NUED:
161 KI RK ( t hi nk s , t hen) The ho me of t he Cr eat or i s t he ent i r e uni ver se , not t he t hi r d pl anet .
An i nst ant of exp ect ant wai t i ng - - and t hen al l at once t he br i dge begi ns t o SHUDDER. Eve r yo ne gr i ps r est r ai ni ng handl es t o r emai n on t hei r f eet . SULU He' s t i ght eni ng t he t r act or beam. . . ! KI RK Red al er t , Mr . Cheko v. . . UHURA They' r e r esp ondi ng, Capt ai n! As Che ko v hi t s t he al er t but t on, and t he SI SOUNDI NG, we can al so HEAR t he BEEP of t he As e ve r yo ne g r asp s t hei r su ppor t s, and t he co nt i nues sh aki ng e ve n mor e vi ol ent l y, t he speaks:
RENS begi n a l i ens' r epl y. br i dge co mput er
COMPUTER VOICE For t hi s d ece pt i on, yo u wi l l be puni sh ed. . . ! The br i dge sh ake s j ust anot her moment , t hen al l at once STOPS. Ever yon e ca t che s t hei r br eat h. ILIA I t cer t ai nl y has a t emper . . . KI RK Cance l r ed a l er t , Mr . Cheko v. As Cheko v hi t s t he but t on t hat SI LENCES t he SI RENS, anot he r BEEP i s HEARD f r om Uhur a' s st at i on. And t hen, al most i mmedi at el y, anot her BEEP - - but of sl i ght l y di f f er ent t one. And t hen t he f i r st BEEP agai n, and t hen t he ot her . XON ( al ar med) The comput er i s communi cat i ng di r ect l y wi t h t he al i en agai n. KI RK ( t o Comput er ) Comput er . . . di se ngage. You ar e vi ol at i ng pr ogr am! Compl y. Al l t hat i s HEARD i s yet
anot her EXCHANGE OF BEEPS.
( CONTI NUED)
87. 161
CONTI NUED: ( 2)
161
DECKER ( t o Xon) Mai n c ont r ol s of f . . . ! Xon hi t s t he swi t che s, but st i l l we HEAR t he BEEPS. XON I c an' t di s engage. . . ! KI RK ( i nt o i nt er co m) Engi neer i ng. . . mai n c omput er co nt r ol s of f , Sc ot t i e! 162
I NT. ENGI NE ROOM
162
Sc ot t at t he c ons ol e, hi t t i ng s wi t c hes , but c l ear l y wi t h no su cce ss. He sp eaks i nt o t he i nt er co m: SCOTT Somet hi ng' s c ont r ol l i ng i t ext er nal l y, Capt ai n. 163
I NT. BRI DGE - ANGLE ON TASHA
163
as t he pr obe wat che s Decke r and Xon de spe r at el y at t empt i ng t o cu t of f t he co mput er , an d t he pr obe now st ar t s wal ki ng a way - - t owar d t he co mmand ce nt er . XON ( r eadi ng co nso l e) I t ' s i nt o t he sh i p' s memor y b anks . . . ! DECKER I t ' l l l ear n St ar f l eet s t r engt h, Ear t h def ense s, eve r yt hi ng. . . ! SCOTT' S VOI CE You' l l have t o br eak i nt o t he c onsol e! S hor t i t o ut . Cr os s - ci r c ui t it. 164
ANOTHER AN GLE - XON
164
br ngs past r k,r hi f aci t heand co nso e, hit hen hi ushi s f i st h i gh Kiove s hng ead, usi l ng s f ulcl l asp Vuli ng ca n st r engt h- he br i ngs h i s c l asp ed f i st s d own i n a sh at t er i ng bl ow on t he co nso l e. The uni t sp l i t s i nt o pi ece s, c as cad i ng i n FLARI NG SPARKS AND WHI TE SMOKE. Xon r eac hes i nt o t he f l ami ng and sp ut t er i ng co nsol e, pul l s out t he mai n ci r cu i t r y a nd pr esse s p osi t i ve an d negat i ve power l i nes t oget her i n ANOTHER BURST OF SPARKS AND SMOKE. ( CONTI NUED)
88. 164
CONTI NUED:
164
Hi s l i ps a r e co mpr ess ed i n pai n f r om t he whi t e hot el ect r i cal ar c t hat he has pr oduce d. The br i dge l i ght s di m, t hen f l ar e agai n - - and t hen t he t wo l i nes i n Xon' s hands g o dead. Hi s kn ees buck l e, he co l l apse s, r est i ng hi s back agai nst t he wal l - - gi nger l y r egar di ng hi s t wo se ve r el y bur ned hands. The ot her s r ush t o hel p hi m. UHURA The co mput er i s c ut of f , Capt ai n. . . ! 165
ANOTHER ANGLE - I LI A
165
who ha s b een obse r vi ng al l t hi s, and has r i se n t o obvi ousl y go t o Xon' s hel p. But j ust besi de her i s t he pr obe - - Tash a, and as I l i a move s t o l eave , t her e i s a sudden T URQUOI SE LI GHT en vel opi ng bot h her and t he pr obe . Sul u se es t hi s, ca l l s o ut : SULU Capt ai n Ki r k . . . ! Ki r k whi r l s j ust i n t i me t o se e bot h I l i a and t he pr obe demat er i al i ze . Che ko v has al so se en t hi s. CHEKOV I t ' s b eamed her ove r t her e. . . ! Ki r k peer s i n hel pl ess agony, at Sul u' s st r i ck en exp r es si on, and t he empt y n avi gat or ' s ch ai r wher e a moment ago I l i a and Tasha had bee n - - but ar e no mor e. 166
EXT. SPACE - THE ENTERPRI SE AND THE ALI EN
166
t r avel i ng t oget her , t he Ent er pr i se gr i pped i n t he gi ant ' s t r act or beam. OVER t hi s we HEAR: KI RK' S VOI CE Capt ai n' s L og, St ar dat e 7421. 7. We - - and t he al i en - - wi l l r each Ear t h or bi t i n exa ct l y t wo days. . . 167
I NT. CORRI DOR
167
SHOWI NG Ki r k wal ki ng ( t owar d Si ckbay) , t he L og VOI CE co nt i nui ng: KI RK' S VOI CE . . . wi t h us s t i l l hel pl es s l y i mpr i so ned i n h i s t r act or beam. ( MORE)
( CONTI NUED)
89. 167
CONTI NUED:
167 KI RK' S VOI CE ( CONT' D) The i r ony of al l , of c our se, i s t hat by c ut t i ng of f our co mput er , we have al so cu t of f our onl y means of co mmuni ca t i ng wi t h t he al i en. . . so t hat we a r e u nabl e t o asce r t ai n t he f at e of Li eut enant I l i a - - and, mor e i mpor t ant , t he pur pose of t he al i en' s v i s i t t o Ear t h. Our o nl y cl ue i s hi s s t at ement t hat Ear t h i s ' The Hol y Home of The Cr eat or . ' What Cr eat or . . . ?
Ki r k r each es Si ckb ay n ow, en t er s. 168
I NT. SI CKBAY
168
Ki r k movi ng t hr ough t he o ut er r oo ms, t o: 169
THE HOSPI TAL AREA
169
wher e sever al beds ar e occupi ed b y i nj ur ed CREWMEN - and an ot her bed, wi t h Xon se at ed on t he e dge ( i n si ckb ay dr ess i ng gown, et c. ) , st udyi ng t he smal l bedsi de vi ewer , and a pi l e of co mput er ch i ps besi de hi m. Chapel i s dr essi ng Xon' s bu r ned h ands, movi ng a smal l , hand- hel d devi ce o ver t he wounds ( t he devi ce e manat es a smal l s haf t of l i ght , t hi s t o f ac i l i t at e heal i ng) , but Xon se ems e nt i r el y o bl i vi ous, so engr oss ed i s h e i n t he vi ewer . McCoy i s a l so her e, st udyi ng a sca n- pr i nt at one o f t he ot her pat i ent s' beds. He gl ance s up as Ki r k appear s, Ki r k no ddi ng t o t he ot her cr ewmen , AD- LI BBI NG " How ar e yo u, Swenso n. . . " " . . . yo u' r e l ooki ng f i ne, Ledoux. . . " et c . , et c . KI RK How ar e yo u f eel i ng, Li eut en ant Xon? Ki r k wal ks o ve r t o Xon' s b ed . Xon do es n ot r epl y; he hasn ' t even hea r d Ki r k, neve r l ooks away f r om t he vi ewer , but now i nse r t s a not her ch p, mst t r ieat entudi . es t he sc r een.
Chapel i s j ust f i ni sh i ng her
CHAPEL ( t o Ki r k) Pl ast i - sk i n has heal ed hi s bur ns beaut i f ul l y, but I don' t know how ( MORE) ( CONTI NUED)
90. 169
CONTI NUED:
169 CHAPEL ( CONT' D) he k ee ps g oi ng af t er t he s ho ck h e su f f er ed.
170
I NCLUDE MCCOY
170
j oi ni ng t hem. MCCOY He' s l i ke al l Vul ca ns: t oo smar t f or t hei r own good. Chapel l eaves, as McCoy r eache s over and sna ps shu t t he vi ewer . Xon, not eve n bot her i ng t o se e who di d i t , si mpl y s wi t ch es i t back o n agai n. MCCOY ( co nt i nui ng; har d) Of f , L i eut enant . Tur n i t o f f . . . ! And McCoy ag ai n swi t che s of f t he vi ewer . Now Xon does t ur n, r egar ds McCoy a co ol i nst an t , t hen gl ance s a t Ki r k, nods pol i t el y . XON Good eve ni ng, si r . You' l l be i nt er est ed t o kn ow t hat I have co mpi l ed al l t he dat a t he al i en manage d t o r ece i ve f r om t he co mput er bef or e we cu t i t of f . KI RK Bef or e y ou di d. XON ( sh r ugs depr eca t i ngl y) No v i t al i nf or mat i on was p as se d: Some t hr ee t housa nd yea r s of anci ent Ear t h hi st or y - - and a por t i on of Ent er pr i se per so nnel r eco r ds. Al so co mpl et e s t udi es on Ear t h agr i cu l t ur e, ani mal l i f e, and human anat omy. KI RK You' r e sur e t hat ' s a l l he got ? XON Abso l ut el y, si r . He r ece i ve d no i nf or mat i on co nce r ni ng St ar f l eet , Ear t h def ense s, or The Feder at i on.
( CONTI NUED)
91. 170
CONTI NUED:
170 KI RK Then we l ucke d o ut . . . ( a wr y asi de t o McCoy) . . . i n t hat ar ea, at l eas t . XON No, si r ; t hi s may n ot be as f or t unat e as i t se ems. KI RK ( s t r ai ni ng f or pat i enc e) Pl ease , Li eut enant , no Vul ca n r i ddl es . XON When I mean t o sa y, si r , i s t hat I have co ncl uded t hat on t he b asi s of what i nf or mat i on t he al i en di d r ece i ve, he must now have d et er mi ned t hat t he s ame ' par as i t es ' i nf ect i ng t he Ent er pr i s e al so ' i nf ect ' Ear t h. I ndeed , he may wel l bel i eve t hey have t ake n ove r t he pl anet - - t he ' Hol y Home of The Cr eat or ' - - an d hi s d ut y i s t o r i d t he pl anet of t hat pl ague. MCCOY Now we' r e a ' pl ague' . . . XON ( bl and , t o McCoy) Yes , s i r. . . ( t o Ki r k) I f yo u wi l l excu se me, Capt ai n, I ' l l co nt i nue my c omput at i ons - -
And he swi t ch es on t he vi ewer aga i n, punch i ng b ut t ons, et c. a nd i s i mmedi at el y l ost i n hi s st udi es. Ki r k l ooks gr i ml y at McCoy, t hen t ur ns a nd st ar t s l eavi ng. McCoy c al l s a f t er hi m: MCCOY Ji m. I want t o t al k t o yo u. 171
ANOTHER AREA OF SI CKBAY
171
as Ki r k s t ands wai t i ng f or McCoy t o j oi n hi m. MCCOY I want yo u t o get so me r est , t oo, Ji m.
( CONTI NUED)
92. 171
CONTI NUED:
171 KI RK ' Rest ' ? An al i en sh i p t he si ze of Manhat t an I sl and i s h eadi ng f or ear t h - - t ak i ng us a l ong wi t h i t ; i t ' s c apt ur ed one of our cr ew member s. And you want me t o ' r est ' ? MCCOY You won' t do us a ny g ood i f yo u co l l apse f r om ner vo us exh aust i on. KI RK I ' l l be al l ri ght . . .
He move s t o l eave, but McCoy p ul l s h i m ba ck: MCCOY ( gent l e, but f i r m) Don' t make me i nvok e my Medi cal Of f i ce r ' s pr er ogat i ve , Capt ai n. ( f ast , as a f r i end) Ji m, pl ease . . . Ki r k p eer s a t hi m a moment , t hen nods. KI RK Al l r i ght . And he gr asp s McCoy' s e l bow gr at ef ul l y, t ur ns a nd l eave s. McCoy st ands ga zi ng wor r i edl y a f t er hi m a moment , t hen t ur ns a nd gl ance s i nt o t he: 172
HOSPI TAL AREA
172
wher e he can see Xon engr ossed i n t he vi ewer . st r i des o ve r t o Xon' s b ed. MCCOY Di d t he i nf or mat i on t he c omput er gave t he al i en i ncl ude any exp l an at i on about how one youn g Li eut enant Ju ni or Gr ade co ul d ab so r b an el ect r i ca l ch ar ge t hat woul d ki l l t wo or di nar y men. . . ?! XON ) i na - - i n co mpar i so n t o Vul ca( c n ool st am human s t ami na - - i s u ni ve r sa l l y kno wn and acce pt ed, doct or . MCCOY So i s t hei r pi gheadedness.
( CONTI NUED)
McCoy
93. 172
CONTI NUED:
172
And McCoy swi t ch es o f f t he vi ewer , swi ngs i t away f r om Xon, and st r i des f r om t he r oom. 173
I NT. KI RK' S QUARTERS
173
SHOWI NG, f i r st , t he smal l pe r so na l vi ewer scr een on whi ch i s f l ash i ng a se t of ca l cu l at i on s. PULL BACK SLI GHTLY TO FI ND Ki r k - - sl umped o ver t he desk, f ast asl eep. He' s wear i ng a l ei su r e su i t , had obvi ousl y f ol l owed McCoy' s o r der s ( t o r est ) , and had f al l en asl eep out of exh aust i on. 174
ACROSS KI RK TO THE W ALL
174
wher e, r ef l ect ed f r om anot he r r oo m, we HEAR A STATI C CRACKLE, and SEE a FLASH OF TURQUOI SE LI GHT. The ef f ec t awake ns Ki r k, who peer s sl ee pi l y at t he vi ewer , assu mes t hi s i s what awake ned hi m, t ur ns i t of f and r i se s a nd st ar t s a cr oss t he r oom t owar d hi s b ed. 175
AT THE BED - ANGLE ON THE BATHR OOM DOOR
175
as Ki r k r each es t he bed, and al l at on ce hear s t he so ni c sh ower ( i n t he bat hr oom) sp l at t er on. Al er t i nst ant l y, Ki r k p eer s i nt o t he bat hr oom, st eps i nt o i t , and se es an i ncre di bl e si ght : 176
WHAT KI RK SEES - A NAKED FEMALE FORM I N THE SHOWER STALL
176
t hr ough t he st al l ' s t r ansl uce nt gl ass door . An i nst ant ' s hesi t at i on, t hen he sl i des open t he gl ass door . And now, t r ul y, he i s i ncred ul ous. He i s l ooki ng at : 177
ILIA
177
nake d, st andi ng i n t he so ni c mi st . ILIA ( pl easa nt , ca su al ) Good eve ni ng, ca pt ai n. . . may I bor r ow yo ur r obe, pl ease . . . ? She i ndi ca t es Ki r k' s r obe hangi ng near t he door . He hands i t t o her , moment ar i l y s pee ch l es s ( not t o ment i on sl i ght l y awed at her l ove l y body) . I l i a smi l es, co nt i nues:
( CONTI NUED)
94. 177
CONTI NUED:
177 ILIA ( co nt i nui ng; as s he put s r obe on) The mul t i - c el l ul ar c as t i ng l ef t my f or m at ni ght t emper at ur e. Thi s has no w co ol ed i t t o what you co nsi der nor mal . KI RK You' r e what ? Somet hi ng us i ng Li eut enant I l i a' s f or m. ILIA And f unct i oni ng per f ect l y.
178
PAST I LI A TO KI RK
178
as s he opens h er r obe, di sp l ayi ng her se l f t o Ki r k, and co nt i nues: ILIA As you ca n obser ve, an exa ct dupl i c at i on. I t i s i nt er r upt ed by t he qui et , STACCATO CHI MES of t he door annunci at or . Ki r k whi r l s t o f ace t he door ( acr oss t he r oom) , t o se e: 179
MCCOY
179
ent er i ng, not i mmedi at el y not i ci ng. 180
I LI A - AS MCCOY SEES HER
180
par t i al l y s hadowed, so he at f i r st onl y d i sc er ns a f emal e i n a r obe. MCCOY ( di sappr ovi ngl y) I or der ed yo u t o r est , ca pt ai n; I don' t r eca l l advi si ng any ot her f or m of t her apy . . . ( now se es I l i a, r eact s) . . . Li eut enant I l i a. . . ! ILIA ( pl easa nt , ca su al ) Good eve ni ng, d oct or . But I ' m ca l l ed ' Tasha, ' not I l i a. KI RK Tash a. . . ?! ( CONTI NUED)
95. 180
CONTI NUED:
180 ILIA Yes, i sn ' t t hat t he n ame y ou gave me?
Ki r k and McCoy exchan ge g l ance s, and t hen McCoy st eps f or war d and exa mi nes I l i a' s e yes - - her f ace - - sk i n. MCCOY ( t o Ki r k) Tash a. . . t he se nso r pr obe? ( i ndi c at i ng) The t hr ee l egged met al l i c t hi ng. . . ? ILIA ( pl easa nt l y) I am a per f ect r epr oduct i on of t he or i gi nal I l i a. I c an per f or m any of her f unc t i ons . . . ( r each es o ut t o ca r ess Ki r k) May I demonst r at e. . . ? Ki r k s t eps a way f r om her , as I l i a co nt i nues: ILIA I ' ve b een gi ven a new body t o f aci l i t at e co mmuni ca t i ng wi t h yo u. MCCOY I n t he shower . . . ? 181
ANGLE ON KI RK
181
as h e st eps t o hi s d esk , pr oduce s a t r i co r der , swi t ch es i t on and r eads t he r esu l t s. Hi s f ace r eveal s i t ; he hands t he u ni t t o McCoy, who al so r ead s t he sco pe. MCCOY Non- hu man l i f e f or m. ILIA ( pl easa nt l y) You se e. . . ? KI RK (t o I l i a) How s i t al y ou dn'st t em t ?r i gger t he i nt r iuder er tdi sy ILIA ( pl easa nt smi l e) The ci r cui t s a r e qui t e si mpl e t o bypass.
( CONTI NUED)
96. 181
CONTI NUED:
181
Ki r k move s t o t he i nt er co m, swi t ch es i t on, sp eaks: KI RK Engi neer i ng. Ki r k. ( i nt o i nt er co m) . . . Sco t t i e, pr ogr am an al t er nat e c i r cui t i nt o t he i nt r uder a l ert net - Aye , si r . v i s i t ors ?
SCOTT ( V. O. ) Ar e we exp ect i ng mor e
KI RK I woul dn' t doubt i t . Ki r k out . 182
ACROSS KI RK TO MCCOY AND I LI A
182
As Ki r k t ur ns f r om t he i nt er co m and se es McCoy, i n ut t er f asc i nat i on, exa mi ni ng I l i a agai n: f eel i ng her sk i n, peer i ng i nt o h er eye s, movi ng her l i mbs, sc anni ng wi t h t he t r i cor der . MCCOY I nc re di bl e. . . ! And he now swi t ch es o n t he i nt er co m, sp eak s i nt o i t : MCCOY ( c ont i nui ng; i nt o i nt er co m) Li eut enant Chapel . . . br i ng a por t abl e sca nne r and met abol i c- r eco r der t o t he Capt ai n' s q uar t er s a t once , pl ease. CHAPEL ( V. O. ) ( wi t h ur gency) I ' m on my way. . . KI RK ( t o McCoy) The Sci ence Of f i ce r - MCCOY ( i nt o i nt er co m) . . . and br i ng Li eut enant Xon wi t h you. 183
I NT. SI CKBAY wi t h Chapel at t he i nt er co m, AD LI BBI NG i nt o i t " Yes, s i r , " s wi t c hi ng i t of f , and s t eppi ng i nt o t he:
183
97.
184
HOSPI TAL AREA
184
wher e Xon, as mi ght be exp ect ed, i s st udyi ng hi s vi ewer . He gl ance s up , awai t s what he exp ect s t o b e a r epr i mand. She whi sp er s t er se l y i nt o hi s ear : CHAPEL Get d r esse d, L i eut enant . I t hi nk so met hi ng' s h appened t o t he ca pt ai n. Chapel l eaves t he ar ea, CAMERA WI TH her , t o a st or age ar ea. She r emove s t wo smal l medi ki t s, pr epar es t o l eave , gl ances behi nd her as Xon emer ges f r om t he hosp i t al ar ea. He t ake s t he ki t s f r om her , and t hey hur r y f r om Si ckb ay. They ar e bot h ve r y gr i m. 185
I NT. CORRI DOR - ELEVATOR
185
as i t opens, and Chapel and Xon e mer ge , st ar t down t he c or ri dor, t o: 186
KI RK' S QUARTERS
186
wher e t he d oor sl i des o pen i mmedi at el y. 187
I NT. KI RK' S QUARTERS
187
as Chap el and Xon e nt er . McCoy t ake s t he medi ki t s f r om Xon , beg i ns op eni ng t hem. At t he sa me t i me Chapel i s be muse d s ee i ng Ki r k ap par ent l y i n f i ne heal t h; s he r eal l y pays n o at t ent i on t o I l i a, but Xon i s reg ar di ng I l i a qui t e cu r i ousl y. CHAPEL You don' t l ook i l l t o me, ca pt ai n - ( now r eal i z es I l i a i s back) I l i a, yo u' r e back ; t hank God! ILIA ( pl easa nt l y) Good eve ni ng, Dr . Chapel . eve ni ng, Li eut enant Xon.
Good
CHAPEL ( co nf use d) I don' t under st and: who' s si ck ?
98.
188
ANOTHER ANGLE - MCCOY
188
The i nst r ument s a sse mbl ed - - t hey wi l l r es embl e smal l , f l at r eadout scr een uni t s, whi ch when pl ac ed ove r a pat i ent wi l l i ns t ant l y r eveal v i t al si gns, r eadi ngs , eva l uat i ons; bl ood co unt s, et c. McCoy gest ur es t o I l i a: MCCOY Woul d y ou mi nd get t i ng on t he be d. . . ? ILIA ( pl easa nt l y) Not at al l . And I l i a l i es o n t he bed, as McCoy a dj ust s t he i nst r ument s. Now, qui ckl y, he sca ns her bo dy, whi l e t he ot her devi ce r eco r ds h er met abol i sm, f l ash es t he r esu l t s o n t he sc r een. Chapel st eps ove r and r eads t he sca nne r , r eact s wi t h di s bel i ef . MCCOY The sk i n i s s yn t het i c, but absol ut el y i ngeni ous. ( t o Chapel ) Look a t t hi s: mi cr omi ni at ur e heat i ng el ement s, se nso r s, r el ays . ( t o Ki r k, t o hav e a l ook) J i m . . . Xon . . . Ki r k a nd Xon vi ew t he sc anner , as I l i a hel pf ul l y s ays : ILIA Ther e i s a l so a net wor k o f mi cr opumps . MCCOY ( st udy i ng sca nner ) My God . . . 189
THEIR POV - CLOSE SHOT - THE SCANNER ( OR VI EWER) A por t i on of I l i a' s i ns i des, al l t he i nt r i c at e mac hi ner y . ( PRODUCTI ON NOTE: we' l l show onl y as much as i s pr acti inat ca bl f asc ed:e f or t he Ar t Depar t ment . )
McCoy i s unendi ngl y
MCCOY (c l i ni c al l y ) . . . ev er y e pi der mal f unc t i on i s dupl i ca t ed, eve n t o eye moi st ur e.
( CONTI NUED)
189
99. 189
CONTI NUED:
189
The exami nat i on con t i nues a f ew mor e moment s, t hen McCoy f i ni sh es. ( Thr oughout t he exa mi nat i on Xon i s si l ent , cl ear l y i nt r i gued wi t h t he andr oi d, and at t empt i ng t o ev al uat e al l f ac t or s . ) MCCOY (t o I l i a) You can si t up now . . . ( t o Chapel ) Take t he equi pment back - - and sa y not hi ng of t hi s t o anyb ody. ( t o Ki r k, as Chapel co mpl i es) I t ' s t he mos t per f ec t andr oi d I ' v e ever see n. (t o I l i a) The q uest i on i s: what do we d o wi t h you? ILIA You may do anyt hi ng you pl ease . That i s, Capt ai n Ki r k may. Chapel , j ust packi ng a way t he equ i pmen t and p r epar i ng t o l eave , r eact s at t hi s r emar k, gl ance s i nt er est i ngl y at Ki r k : CHAPEL I ' d appr eci at e a r epor t on what eve r y ou. . . ' do' . . . wi t h her , Capt ai n. KI RK Yes, I ' m su r e yo u woul d, Li eut enant . Thank yo u f or yo ur i nt er est . And he gl ar es at Chapel a beat ; sh e l eave s. I l i a i s sea t ed co mf or t abl y on t he be d ed ge f aci ng t hem. She wai t s p at i ent l y, pol i t el y f or t he men t o r esu me t hei r i nt er r ogat i on. Ki r k and McCoy gl ance at each ot her , per pl exe d, t hen Ki r k a ddr esse s Xon: KI RK ( co nt i nui ng) Wel l , Mr . Xon, what do we do wi t h her ? XON If i woul d s ugges t f i ropr s t ,i at s i er ,cl t ot hat we nd her so me appr hi ng. (t o I l i a) Wher e i s t he r eal Li eut enant I l i a? MCCOY We aske d her t hat : sh e sa i d I l i a has ce ase d t o f unct i on. ( CONTI NUED)
100. 189
CONTI NUED: ( 2)
189
XON ( a beat , t hen t o I l i a) She has c ease d t o exi st . . . ? ILIA ( pl easa nt l y) She has be en d i sass embl ed. A moment as t he gr i m meani ng of t hi s i s absor bed. XON Why have you been sent
THEN:
her e?
ILIA To l ea r n mor e a bout t he s er vo - uni t s i nhabi t i ng USS Ent er pr i se . MCCOY Ser vo- uni t s . . . ? KI RK The ' par asi t es, ' Bones.
Us.
McCoy r eact s a ppr opr i at el y, as Xon co nt i nues t o Ki r k: XON Obvi ousl y, si r , t he al i en has det er mi ned t hat t he. . . ' s er v o- uni t s' on t he Ent er pr i se ar e co nsi der abl y mor e compl i cat ed t han he susp ect ed. A memor y scan a nal ysi s of Li eut enant I l i a p r obabl y r eve al ed an acu t e awar en ess of Capt ai n Ki r k. . . ( del i c at el y ) . . . t he Del t an se nsu al i t y, of cour se . So t he y r epr oduce d her , as sumi ng - qui t e l ogi c al l y - - t hat a r el at i onsh i p wi t h Capt ai n Ki r k was t he most exp edi t i ous means o f l ear ni ng mor e a bout us. MCCOY ( wr y amusement ) A ' r el at i ons hi p wi t h Capt ai n Ki r k , ' eh. . . ? Chapel was r i ght : t hat wi l l be i nt ere s t i ng. . . ! Shut up, Bones. KI RK (t o I l i a) Exac t l y what ar e yo u su pposed t o l ear n f r om me. . . ?
( CONTI NUED)
101. 189
CONTI NUED: ( 3)
189
ILIA Why USS Ent er pr i se con si der s t he s er vo- uni t s s o v i t al t o i t s exi st ence. Ve- j ur i s anxi ous f or t hi s kn owl edge. XON ' Ve- j ur ' . . . ? I s t hat t he name of yo ur sh i p? ILIA That i s i t s n ame: Ve- j ur . MCCOY Ve- j ur : wel l , at l east we ca n st op c al l i ng i t ' i t' . 190
ANGLE ON THE I NTERCOM - VI EWER
190
as t he AUDI AL SI GNAL i s HEARD, and t hen Scot t ' s i mage appear s on t he scr een: SCOTT ( on Vi ewer ) Capt ai n. . . I ca n gi ve yo u f ul l power now, si r . Ki r k g l ance s a t Xon, t hen sp eaks i nt o t he i nt er co m: KI RK Thank yo u, Mr . Sco t t .
St and by.
(t o I l i a) Woul d yo u mi nd st ayi ng her e wi t h Doct or McCoy whi l e Mr . Xon and I go t o t he br i dge. . . ? ( f or ce d smi l e) We' l l onl y b e a f ew mi nut es. 191
FAVORI NG MCCOY
191
React i ng t o t he announce ment t hat he' s st ayi ng wi t h Il i a. ILIA pl leasa ) t e s at i s f act or y. That ( wi l bentqui And Ki r k ges t ur es Xon t o l ea ve t he r oo m. They st ar t out . Ki r k gl anci ng back at McCoy , who i s r egar di ng I l i a ner vo us l y a s sh e r each es out a ha nd a nd begi ns t ouch i ng hi s f ace wi t h t he Del t an so ot hi ng ca r ess .
102.
192
I NT. CORRI DOR
192
as Ki r k a nd Xon emer ge f r om Ki r k' s q ua r t er s, st ar t t owar d t he el eva t or ; t hey st ep i n, t he d oor s cl ose behi nd t hem. 193
I NT. ELEVATOR
193
Ki r k a nd Xon get t i ng i n, t he el eva t or door s c l osi ng. KI RK ( t o annunci at or ) Br i dge. . . ( t o Xon) Eva l ua t i on, Mr . Xon. XON Our si t uat i on i s unt enabl e, ca pt ai n. KI RK ( exa spe r at ed) Mr . Xon, what I don' t r equi r e f r om yo u i s c onf i r mat i on of t he obvi ous. . . ! What I do r equi r e i s a s ol ut i on. XON You r equest ed a n e va l uat i on, si r . KI RK ( mor e exa spe r at ed) Of t he pos s i bl e s ol ut i on. . . ! XON Yes , si r. I n poi nt o f f act , s i r , whi l e t he mi ss i on of t he andr oi d i s t o gai n f ur t her kn owl edge ab out us, she r epr ese nt s what we l ac k most : i nf or mat i on c once r ni ng t he a l i en, i t s i nt ent i ons , and s pec i f i es r egar di ng Ear t h bei ng t he Hol y Home of The Cr eat or . KI RK And j ust how do we get t hi s i nf or mat i on f r om her . . . ? I woul d sa y, si r XON , by c ooper at i ng wi t h her . . . ( as Ki r k p eer s a t hi m; exp l ai ns) . . . by e nt er i ng i nt o a. . . ' r el at i ons hi p' wi t h her .
( CONTI NUED)
103. 193
CONTI NUED:
193
Ki r k i s s t i l l peer i ng nar r owl y, i nc r edul ous l y , at hi m, when t he el eva t or door s op en , and t hey h av e a r r i ve d a t t he: 194
I NT. BRI DGE
194
wi t h Ki r k p eer i ng at Xon anot her i nst ant , t hen ent er i ng t he br i dge, Xon f ol l owi ng. Decke r i s i n t he co mmand ch ai r , Sul u at t he hel m, Cheko v a t t he Navi gat or ' s posi t i on. Uhur a at communi ca t i on s. On t he vi ewi ng scr een i s t he omni pr esen t i mage of t he al i en sh i p t hat hol ds t he Ent er pr i se . Ki r k st eps t o t he Command ch ai r , gest ur es Decker down as Decke r st ar t s r i si ng t o gi ve up t he co nn t o Ki r k. KI RK St at us , Mr . Decke r . DECKER We ar e s t i l l hel d i n a maxi mum t r act or beam, ca pt ai n, pr oce edi ng on a di r ect ear t h headi ng at War p si x p oi nt t wo. KI RK Has en gi neer i ng i nf or med you t ha t f ul l power i s n ow ava i l abl e? DECKER Yes , s i r . But I don' t t hi nk we' d have a c hance t r yi ng t o b r ea k h i s t r act or beam. 195
ACROSS THEMTO XON
195
who i s a t hi s Sci ence St at i on, peer i ng i nt o hi s h ooded vi ewer . KI RK Mr . Xon. . . ( as Xon l ooks up ) I n your opi ni on, i s a f ul l power at t empt t o br eak t he t r act or beam advi sa bl e? XON I n my op i ni on, si r su ch an a t t empt woul d mer el y an t agoni ze a nd pr ovo ke t he al i en. I a dv i s e agai nst i t . Ki r k n ods ackn owl edgi ngl y, t hen addr esse s Chekov:
( CONTI NUED)
104. 195
CONTI NUED:
195 Mr . Cheko v. . . ?
KI RK
CHEKOV I agr ee, Capt ai n. Ki r k t hi nks a moment , t hen swi t che s o n t he i nt er co m: KI RK ( i nt o i nt er co m) Engi neer i ng. . . Sco t t i e, ca n yo u gi ve us j ust enough power f or a su bsp ace t r ansmi ssi on t o St ar f l eet wi t hout t he al i en' s s enso r s mi st aki ng i t f or a f ul l power br eaka way? SCOTT ( V. O. ) I t ' l l have t o be done i n under f i f t een se co nds, ca pt ai n. 196
ACROSS KI RK TO UHURA
196
as h e g l ances a t her , and sh e nod s: UHURA I ca n p r e- t ape i t , Capt ai n, and se nd i t at ul t r a hi gh sp eed. KI RK ( t o Uhur a) Tr ansmi t our l ogs a nd r epor t s. But war n St ar f l eet not t o r epl y: t he al i en co ul d se i ze t he ch anne l and i nf i l t r at e St ar f l eet ' s c omput er . Uhur a n ods, st ar t s swi vel i ng ar ou nd t o commence h er wor k, when sud denl y she does a do ubl e t ake ; her eye s wi den i n di sb el i ef as sh e pe er s a t so met hi ng O. S. 197
ON SULU
197
React i ng si mi l ar l y, peer i ng O. S. SULU Il i a.. .! 198
WI DEN TO I NCLUDE I LI A
198
and McCoy, j ust ent er i ng; McCoy qu i t e c hagr i ned, and i mmedi at el y s t ar t s e xp l ai ni ng t o Ki r k:
( CONTI NUED)
105. 198
CONTI NUED:
198 MCCOY She i nsi st ed on comi ng up her e - UHURA ( pl eas ed) I l i a, y ou' re al l ri ght . . . ILIA Oh, y es , I ' m f i ne. KI RK ( gr i m) Thi s i s not Li eut enant I l i a. . . Ladi es a nd g ent l emen. . . ( as al l r eac t ) . . . meet . . . Tash a.
199
I NT. ENGI NE ROOM
199
Sco t t at t he co nso l e i nt er co m: SCOTT ( i nt o i nt er co m) Al l r i ght , Capt ai n, I c an gi v e yo u subspa ce communi cat i on po wer now. But f i f t een se co nds o nl y, si r . 200
I NT. BRI DGE
200
Eve r yo ne st udyi ng I l i a, obvi ousl y n ow havi ng been i nf or med of t he t r ut h about her by Ki r k, who i s j ust sp eaki ng i nt o t he i nt er co m: KI RK ( i nt o i nt er co m) St and by, Mr . Sco t t . . . ( t o Uhur a) Ar e you r eady, Commander ? UHURA ( wi t h a gl ance at Il i a) Ready. KI RK Open t he f r equency. And Uhur a peer s a t I l i a j ust one mor e beat , t hen t ur ns and be gi ns t r ansmi t t i ng t he messa ge.
106.
201
ANOTHER ANGLE - THE COMMAND CEN TER
201
wher e I l i a has st epped ove r t o Sul u, and pl ace d her hand o n hi s f or ehead i n a Del t an so ot he. SULU ( qui et , i nc r edul ous ) I don' t bel i ev e i t . . . ILIA ( pl easa nt l y) I ca n do anyt hi ng t he or i gi nal ca n - bet t er . Sul u an d Cheko v exc hange gl ance s, and you can al most r ead Sul u' s mi nd: he' d l ove t o ex per i ment . He hol ds I l i a' s hand, s t r ok es i t , f eel s t he f l esh- l i k e c ov er i ng. And t hen al l at once I l i a st i f f ens, r emove s h er hand f r om Sul u' s, t ur ns and f aces Ki r k: ILIA ( t o Ki r k) Ve- j ur wi sh es t o kn ow why t hi s se r vo uni t . . . ( i ndi ca t es Uhur a) . . . i s s i gnal i ng t he t hi r d pl anet . Ki r k a nd Xon l ook a t each ot her : t hi s i s a not her l i f eand- de at h quest i on. 202
UHURA
202
co mpl et i ng t he t r ansmi ssi on. UHURA Messa ge t r ansmi t t ed, Capt ai n. KI RK ( i nt o i nt er co m) Engi neer i ng. . . sh ut i t down, Mr . Sco t t . Thank yo u. (t o I l i a) The t hi r d p l anet must be i nf or med of Ve- j ur ' s ar r i v al . I l i a agai n appear s t o be i n br i ef , i nt ense co nce nt r at i on ( sh e i s r ece i vi ng si gnal s f r om Ve- j ur ) . Then: ILIA Vej ur su sp ect s t hat t he se r vo - uni t s have somehow gai ned cont r ol over USS Ent er pr i se. ( MORE)
( CONTI NUED)
107. 202
CONTI NUED:
202 I LI A ( CONT' D) I f t hi s i s s o, i t i ndi c at es t he se r vo - uni t s h ave al so gai ned co nt r ol ove r su per i or l i f ef or ms on t he t hi r d pl anet .
203
ACROSS THEMTO XON
203
who see ms t o have sud denl y r eact ed at a r eadi ng i n hi s vi ewer : XON Capt ai n. . . t he t r act or beam i s f adi ng. 204
SULU
204
al so r eact i ng, wor ki ng hi s c ont r ol s. SULU The he l m, si r . . . ! We have co nt r ol of t he vess el . Dec ker i s at t he i nt er c om i ns t ant l y : DECKER ( i nt o i nt er co m) Engi neer i ng. . . st ar t t he mai n engi nes . . . ! KI RK ( t o Deck er ) War p 6, so we can keep u p wi t h hi m. DECKER ( i nt o i nt er co m) Acc el er at e t o War p 6 i mmedi at el y. . . ! ( t o Ki r k) I t hi nk we sh oul d go t o War p 7, ca pt ai n; i f he' s r el easi ng us, we ought t o get as f ar away f r om hi m as we can! KI RK I want t o st ay wi t h hi m; unt i l we f i nd out how t o deal wi t h hi m! 205
EXT. SPACE - THE ENTERPRI SE AND THE ALI EN SHOWI NG t he Ent er pr i se st i l l qui t e cl ose - - as b ef or e - t o t he al i en, but now per ce pt i bl y e dgi ng a way, al t hough r emai ni ng o n t he same co ur se.
205
108.
206
I NT. BRI DGE - FAVORI NG I LI A
206
co ncent r at i ng agai n, as a l l t he a ct i vi t y g oes o n ar ound her . Then, wi t h t hat sa me pl easan t bl andness, sh e announces: ILIA Ve- j ur i s r el easi ng USS Ent er pr i se as e vi dence of Ve- j ur ' s g ood f ai t h, and awai t s s i mi l ar evi dence f r om USS Ent er pr i se. KI RK How may we de monst r at e t hi s evi den ce? ILIA By a cce pt ance of t he Cr eat or , an d The Cr eat or ' s wi sdo m. KI RK We do. ILIA ( sha kes he r head) No; yo u' ve deni ed t hat t he t hi r d pl anet i s t he Hol y Home. 207
PAST THEM TO THE VI EWER
207
The gi ant sh i p on t he sc r een, se emi ngl y s l i ght l y s mal l er now t han we ha ve be en see i ng i t . Ki r k p eer s a t I l i a a moment , t hen at t he scr een. KI RK ( eye s on scr een) Mr . Decke r . . . Maneuver away. See how f ar he' l l l et us g o. DECKER Two de gr ees r eve r se t angent . SULU Two de gr ees r eve r se t angent .
208
EXT. SPACE - THE ENTERPRI SE AND THE ALI EN t he l i t t l e Ent er pr i se now movi ng per ce pt i bl y a way, mai nt ai ni ng t he same headi ng and spe ed , but wi deni ng t he di st ance bet ween i t and t he a l i en.
208
109.
209
I NT. BRI DGE - FAVORI NG THE VI EWER
209
as Ki r k a nd t he ot her s st udy t he s cr een, t he sl owl y r ece di ng i mage of t he al i en. KI RK ( t o Sul u) Hol d her e. . . ( t o Deck er ) He i s r el ea si ng us. (t o I l i a) How can we co nvi nce hi m of our acce pt ance? 210
ANGLE ON I LI A
210
as sh e i s a gai n co nce nt r at i ng. Then: ILIA Ve- j ur i s p r epar ed t o sh ow Capt ai n Ki r k a nd one ot her se r vo - uni t pr oof of t he Hol y Home. KI RK When? ILIA You may be am ove r whenever you ' r e r eady. I ' l l acco mpany y ou. CHEKOV ( dubi ous) Al l of a s udden, j us t l i k e t hat . . . ! Capt ai n, I t hi nk yo u woul d be ve r y f ool i s h t o do i t . KI RK ( wr y) Comman der , I agr ee. . . ( t o Xon) Li eut enant Xon, woul d you con si der vo l unt eer i ng t o se e t he i nsi de of Ve-j ur. . . ? XON Yes, si r ! KI RK You j us t di d. . . ( t o Deck er ) You' r e i n co mmand, Wi l l . ( MORE)
( CONTI NUED)
110. 210
CONTI NUED:
210 KI RK ( CONT' D) I f we l ose co nt act f or any p er i od l onger t han t en mi nut es. . . yo u' l l pr oce ed at maxi mum sp eed t o e ar t h. Cont act f r om me, not any r epl i ca - -
Deck er r i se s f r om t he ch ai r t o f ace Ki r k, addr ess es h i m qui et l y so t hey ca nnot be ove r hea r d: DECKER A command l esso n, cap t ai n: you r pl ace i s her e, on t he Ent er pr i se . Ki r k peer s at hi m angr i l y, t hen so f t ens. KI RK You' r e r i ght . But I ' m t he guest of honor - - I have t o go. ( i nt o i nt er co m) Thr ee t o beam, Sco t t i e. SCOTT ( V. O. ) Thr ee t o beam. . . ? Beam wher e, si r ? Ki r k l ooks at Xon, t hen Deck er - - t hen at I l i a. he l au ghs unhumor ousl y:
Then
KI RK ( i nt o i nt er co m) I wi sh I kn ew. 211
I NT. TRANSPORTER ROOM
211
Sco t t at t he co nso l e, pr epar i ng t he uni t - - and peer i ng at so me ve r y i nt er est i ng r eadi ngs j ust co mi ng i n. At t hat moment , Ki r k, Xon, and I l i a ent er . SCOTT Capt ai n, yo u won' t need l s y s t em bel t s a f t er al l . ( i ndi ca t es c onso l e) Ther e' s a gr av i t at i onal f i ns i de t he al i en s hi p . . . ( r eads f ur t her ) And an o xy gen a t mospher e
i f e s uppor t i el d f or mi ng ! en vel ope !
As t he t hr ee st ep ont o t he pl at f or m, I l i a sa ys : ILIA Pl ease se t f or co or di nat es 4 32 poi nt 6 poi nt 5, Mr . Sco t t .
( CONTI NUED)
111. 211
CONTI NUED:
211 SCOTT Wel l , t hat ' s a hel p: now I won' t have t o wor r y a bout not put t i ng y ou sq uar e i nsi de t he o xy gen. . . ar e y ou r eady, si r ?
Ki r k gl ance s at Xon, who nod s. KI RK ( a beat ) Ener gi ze . SCOTT Good l uck , si r . Scot t moves t he cont r ol s. The SHI MMERI NG EFFECT, and i n an i nst ant t he t hr ee f or ms ar e demat er i al i zi ng. Sco t t wai t s a not her i nst ant , t hen sp eaks i nt o t he i nt er co m: SCOTT ( c ont i nui ng; i nt o i nt er co m) Br i dge. . . t hey' r e beamed ove r , sa f e and sound. 212
EXT. SPACE - FULL ON ALI EN SHI P
212
j us t t o r emi nd us of t he awes ome i mmen si t y. 213
I NT. ALI EN SHI P - CLOSE SHOT OF THE THREE AS THEY ARRI VE
213
t he SHI MMERI NG EFFECT, as t he t hr ee f or ms mat er i al i ze. They ar e FACI NG t he CAMERA, and f or t he moment t hey se em t o be st andi ng agai nst a gi gant i c met al l i c wal l . O. S. y ou c an HEAR MACHI NE SOUNDS ( St eady t hr obbi ng, hummi ng) and t he SOUNDS OF COMPUTERS. I l i a' s f ace r eve al s n o e mot i on - but Ki r k' s e ye s a r e wi de i n di sb el i ef . And Xon, f or a l l hi s Vul ca n r est r ai nt , ca nnot hel p r eact i ng t o a si ght so i ncr edi bl e i t def i es any i magi nat i on.
214
WHAT THEY ARE SEEI NG - THE ALI EN SHI P I NTERI OR a vi st a so huge, so magni f i ce nt . i t equal s i n sc al e and emot i onal i mpact t he ext er i or si ze . We ar e i nsi de a massi ve ca ve r n whose ce i l i ng r i ses as h i gh as t he eye ca n see . Whose l engt h and di mensi ons s eem t o st r et ch on i nt o i nf i ni t y .
( CONTI NUED)
214
112. 214
CONTI NUED:
214
Near by i s a l ar ge obj ect r ese mbl i ng a c ondense r , but wi t h co i l s r i si ng hi gher t han " t he gr eat est sk ys crap er . Thr oug h co i l s r ush a neve r - endi ng su r ge of ener gy, mul t i co l or ed, bl i ndi ng, beaut i f ul i n i t s aweso meness . And wi t h i t t hat cont i nua l SOUND, MACHI NE SOUND. The i nt er i or i s l i ned, gr ac ef ul l y , wi t h mi l es o f so phi st i ca t ed mech ani sms, po wer co ndui t s, opaque t ubi ng ca r r yi ng endl ess s ur ges o f f l ash i ng en er gy pl asma - obvi ousl y f l owi ng f r om one end of t he shi p t o t he ot her . 215
ANOTHER ANGLE - THE THREE I N THE SHI P
215
st andi ng at op an ener gy t ube, Li l l i put i ans i n a wor l d whose si ze dwar f s t hat of a h undr ed Gul l i ve r s. 216
CLOSER ON THE THREE
216
as t hey mar ve l at t he i nt el l i gence t hat cr eat ed t hi s mach i ne. Nei t her Ki r k or Xon spe ak; wor ds ar e su per f l uous. Fi nal l y I l i a br eaks t he si l ence : ILIA ( pl easa nt l y) Fol l ow me, pl ease . . . And she se t s o ut , wal ki ng at op t he t ub e, headed appar ent l y i nt o t he mach i ne wonde r l and t hat st r et ch es endl es sl y b ef or e t hem. They f ol l ow. 217
MOVI NG THROUGH THE MACHI NE - VARIOUS SHOTS AND POVS
217
t he t hr ee t i ny f i gur es p l oddi ng t hr ough t he va st ness . Past ot her mach i ne devi ce s, each wi t h t hei r own uni que col or , movement , and SOUND. Now and t hen bot h Ki r k and Xon st op t o gaze up, or behi nd, or ahe ad - - and neve r f ai l t o mar ve l . Soon t hey appr oa ch a: 218
GELATI NOUS- PLASMA MASS - FROM A DI STANCE
218
t he mass at f i r st obsc ur e, swi r l i ng about , obvi ousl y se l f - co nt ai ned. As t hey move cl ose r , I l i a poi nt s t o t he mass. 219
CLOSER - LI FE SI ZE as Xon and Ki r k f ol l ow I l i a' s hand, and se e wi t hi n t he mass a si ght t hat i s p er haps mor e unbe l i ev abl e t han any t hus f ar .
219
113.
220
WHAT THEY SEE - I LI A FLOATI NG I NSI DE THE MASS
220
t he r eal I l i a, eye s c l ose d, f l oat i ng wi t hi n t he mass as t hough buoyed on a bed of ai r . Her eye s ar e cl ose d; sh e i s ei t her asl eep - - or dead. Ki r k and Xon move cl oser t o st udy h er : XON I ' m af r ai d sh e' s dead, Capt ai n. KI RK (t o I l i a) I s s he ? ILIA ( nods) That se r vo - uni t has ce ase d f unct i oni ng. KI RK Coul d we t ake her back wi t h us? ILIA The f or m i s b ei ng pr ese r ve d f or f ur t her s t udy . KI RK I t ' s p oss i bl e we c an s t i l l r epai r i t somehow. ILIA ( su r pr i sed) But why ? You hav e me. And my co nst r uct i on i s s t r onger - - and much mor e usef ul . XON But yo u ar e not l i ke us. ILIA Al l t he bet t er . I wi l l never wear out . . . ( qui ck l y) Come, I ' l l sh ow yo u t he Cr ea t or . And sh e se t s o f f , Ki r k a nd Xon f ol l owi ng, but bot h gl anci ng bac k re gr et f ul l y at I l i a' s body , gent l y ro c k i ng about i n t he b i l l owi ng p l asma- mas s. 221
ANOTHER QUI CK SERIES OF SHOTS OF THE THREE WALKI NG al ong t he huge t ube, dwar f ed , pa st mor e machi ne devi ces i nsi de t he sh i p' s c ave r nous i nt er i or .
221
114.
222
CLOSER
222
as t hey wal k, Xon co nt i nual l y g azi ng about i n ut t er f as ci nat i on. I l i a wal k s easi l y , wi t h pur pos e, K i r k gr i ml y, hi s mi nd whi r l i ng wi t h a mi l l i on t hought s, si ght s, pl ans. And t hen su ddenl y Ki r k sp i es so met hi ng i n t he f ar di st ance , nar r ows h i s e ye s, peer s a t i t - t hen begi ns wal ki ng f ast er t owar d t he obj ect . 223
WHAT KIRK HAS SEEN - THE W RECKAGE
223
r ese mbl i ng, f r om a di st ance, a smal l , met al l i c o bj ect about t he si ze of a 20t h Cent ur y a i r cr af t f uel dr op t ank. The r ounded al umi num see ms t o be at t ach ed t o - or gr owi ng out of - - t he si de of t he sh i p. Ki r k hur r i es t owar d i t now. 224
CLOSER ON THE O BJECT
224
as t he y r eac h i t , Ki r k a nd Xon exc hang i ng gl ance s, and bot h kn eel i ng t o exa mi ne t he obj ect . Xon sca nni ng i t wi t h hi s t r i c or der . The obj ect once had been pai nt ed, pai nt f l aki ng i n t he doze ns of pl ace s wher e met eor i t es , dus t , heat , ot her sp ace haza r ds sca r r ed i t . XON ( r eadi ng t he t r i c or der ) Ti t ani um base ( r eci t es met al l i c co mposi t i on a nd p ai nt s t r uct ur e) These su bst ances ha ven ' t bee n used si nce t he ear l y 2 1st Cent ur y - But Ki r k i s n ot l i s t eni ng; he' s g az i ng beyond t hi s f i r s t obj ect , t o ot her , sc at t er ed se ct i ons o f t he sa me mat er i al , al so appar ent l y gr owi ng out of t he st ar s h i p wal l and f l oor . He moves t o exa mi ne t hese, an d peer s at one l ar ge se ct i on i n di sb el i ef : 225
WHAT KI RK SEES - THE PLAQUE
225
m et alanl ii cgolr i d, of ar leads: ar ge se ct i on of t he wr eck age. And nsc pt ipar on tt hat V G R 18 NASA ( NOTE: t he l et t er s bet ween V and G and R have bee n obl i t er at ed, as h as much of t he s mal l er wr i t i ng under t he di agr am of t he su n and pl anet s. ) ( CONTI NUED)
115. 225
CONTI NUED:
225
Xon ha s co me over and gaze s at t he pl aque wi t h Ki r k. I t t ake s a moment f or Ki r k t o deci pher t he l et t er s: KI RK VGR - - Ve- j ur . Voya ger . . . ! Voya ger 18. The f i r st deep sp ace pr obe desi gn ed t o s end s i gnal s b ac k f r om beyo nd our sol ar syst em. XON Lau nched i n 1996 . KI RK I t st opped t r ansmi t t i ng onl y a f ew weeks af t er i t passe d Ju pi t er . XON Yes s i r , and al l t heor et i ci ans a gr eed i t di sa ppear ed i nt o a bl ack h ol e. KI RK I t must have ; and e nt er ed hyp er sp ace and t i mel essn ess u nt i l i t ca me out t he ot her si de - - i n a par t of t he g al axy h undr eds of t housa nds o f l i ght ye ar s a way. . . ( r uns f i nger s o ve r ot her i ns c r i pt i ons ) Can yo u make out any o f t hi s. . . ? 226
ANGLE ON I LI A
226
who ha s b een c al ml y o bse r vi ng t he i r r eact i ons, now r epl i es bef or e Xon has a c ha nc e t o s pe ak: ILIA Those ar e t he Hol y Wr i t i ngs. Cr eat or ' s Messa ge.
The
XON ( t o Ki r k) Obv i ous l y , i t i s a des c r i pt i on of t he pr obe' s p ur pose , and i t s o r i gi n - KI RK ( i ndi c at i ng ear t h on - - Thet he t hiplr daque) pl anet . XON And N- A- S- A of cou r se i s NASA, t he ol d Nat i onal Aer onaut i cs a nd Spa ce Admi ni st r at i on agency.
( CONTI NUED)
116. 226
CONTI NUED:
226 Gl or y t o Nasa .
ILIA
KI RK They d on' t r eal i ze i t was u s -- t he humans o n e ar t h - - who bui l t Voya ger 18. . . (t o I l i a) I f Ve- j ur dest r oys t he se r vo - uni t s on t he t hi r d pl anet , he wi l l be dest r oyi ng t hose who cr eat ed hi m. I nst ant l y, out of nowher e, t her e i s a gr eeni sh - whi t e s t r eam of l as er f i r e, and an el ec t r i ca l cra c k l e, t he beam sh oot i ng i nt o Ki r k' s ch est . I t kn ock s hi m down, wr i t hi ng i n pai n. XON ( movi ng t o h el p) Capt ai n. . . ILIA ( ca l ml y) Ve- j ur puni sh es t hose who l i e. XON I t i s not a - But Ki r k manages t o weakl y r each up an d cl ap hi s ha nd ove r Xon' s l i ps, and at t he sa me t i me he sp eaks t o I l i a. KI RK I meant no i nsu l t . ILIA Ve- j ur i s s at i s f i ed t hat t he ser v ouni t s d o not acce pt The Cr ea t or . You wi l l r et ur n t o USS Ent er pr i se , and r esu me yo ur j our ney t o t he t hi r d pl anet . Ther e, yo u ar e t o advi se t he hi gher l i f ef or ms of Ve- j ur ' s ar r i va l , and t he r et ur n of The Cr eat or . KI RK ' Hi gher l i f e f or ms' - - machi nes. XON Yes, si r ; mach i nes. Ki r k g azes a r ound hi m j ust an i nst ant , t hen st r uggl es t o hi s f eet , openi ng hi s wr i st co mmuni ca t or :
( CONTI NUED)
117. 226
CONTI NUED: ( 2)
226
KI RK ( i nt o co mmuni ca t or ) Ki r k t o Ent er pr i se . 227
I NT. BRI DGE
227
at t he Command Cent er , eve r yo ne r eact s t o Ki r k' s vo i ce . Decke r punch es t he co mmuni cat or t r ansmi t co nt r ol , sp eaks: DECKER Capt ai n, ar e yo u al l r i ght ? KI RK' S VOI CE Yes , we' r e al l r i ght . Pl ease i nf or m t he t r ansp or t er r oom t o beam us back i mmedi at el y f r om t hese co or di nat es. SCOTT' S VOI CE I ' ve got t hem f i xe d, Commander . St and b y, Capt ai n, f or beami ng - 228
I NT. ALI EN SHI P KI RK
228
as h e co nt i nues i nt o t he c ommuni ca t or : KI RK Hol d i t , Sc ot t i e. . . Dec k er , have Uhur a s i gnal St ar f l eet t hat we need abso l ut e pr oof of t he exi st ence of NASA i n t he 20t h Cent ur y, an d de t ai l s of t he pl anni ng, co nst r uct i on, and l aunchi ng of t he Voya ger 18 p r ob e - Ki r k h esi t at es, near l y f l i nch es a s t hough wai t i ng f or anot her l ase r bo l t t o st r i ke hi m. But no r eact i on f r om Ve- j ur . KI RK ( c ont i nui ng; i nt o communi cat or ) Al l r i ght , beam us o v er . 229
I NT. ALI EN SHI P - FULL SHOT ( TO SCALE) sho wi ng, agai n, t he aweso me magn i t ude of t he vesse l . And t he THREE SMALL FI GURES ( Ki r k, Xon, I l i a) , st andi ng near t he Voy ager 18wr eck age. Then t he SHI MMERI NG EFFECT, and t hey ar e gone. The CAMERA HOLDS on t he v ast ness of t he al i en i nt er i or , t he obvi ous power o f i t al l . The i nt el l i gence a nd mi ght of t hi s mach i ne ca n b e mat ch ed by n ot hi ng we kn ow of on ear t h.
229
118.
230
EXT. SPACE - THE ENTERPRI SE
230
st r eaki ng t hr ough sp ace - - al one n ow, t he gi ant al i en havi ng r el eased u s. OVER t hi s we HEAR: KI RK' S VOI CE Capt ai n' s Log, St ar dat e 7421. 6. I n t hr ee hour s we ent er ear t h' s o r bi t . The gi ant st ar sh i p Ve- Ju r or Voya ger , i s f i ve hour s b ehi nd us, havi ng al l owed us t hat t i me t o pr epar e ' hi gher l i f e f orms ' f or i t s ar r i va l . . . and, appar ent l y, t he des t r uc t i on of ' l es s er l i f e f or ms ' . ( dr yl y ) Human b ei ngs . . . 231
I NT. BRI EFI NG ROOM
231
wi t h Ki r k, Xon, Sco t t , McCoy - - and I l i a - se at ed ar ound t he t abl e. The CAMERA PANS ar ou nd t he r oom, l i nger i ng a moment on each f ace , as Ki r k' s VOI CE con t i nues: KI RK' S VOI CE Al t hou gh t he p r ese nce of t he andr oi d Tash a/ I l i a i s f or t he cl ear pur pose of pr ovi di ng Ve- j ur a co nst ant f l ow of i nf or mat i on about us. . . we dar e not obst r uct her f or f ear of pr ovo ki ng Ve- j ur i nt o an i mmedi at e and ca t ast r ophi c a t t ack on ear t h. . . 232
FAVORI NG XON AND I LI A
232
se at ed near each ot her , Xon t al ki ng, as Ki r k' s VOI CE co nt i nues: KI RK' S VOI CE Tash a/ I l i a h as, howeve r , bee n o f co nsi der abl e ass i st ance i n hel pi ng us c ompi l e and co r r el at e f act s per t ai ni ng t o Ve- j ur . Bet ween her and Mr . Xon, who has r epai r ed ou r mai n c omput er , a f asci nat i ng ye t per f ect l y c r edi bl e hyp ot hesi s has bee n f or med. End of l og. XON . . . The l i vi ng mach i nes i nhabi t i ng Ve- j ur ' s pl anet have exi st ed f or ( MORE) ( CONTI NUED)
119. 232
CONTI NUED:
232 XON ( CONT' D) eons. But some t hr ee hundr ed year s ago - - f or r eason s whi ch e ven Tash a i s not sur e - ILIA - - The Ti me of t he Tr oubl e. XON Yes, The Ti me of t he Tr oubl e: a se r i es o f nat ur al di sa st er s, per haps. Or per haps t he d i sa ppear ance o f t he met al al l oys t he mach i nes co nst r uct ed t hemsel ve s wi t h. What eve r i t was, t he ci vi l i za t i on began decayi ng. ILIA And t hen t he Hol y One ar r i ved . XON The Hol y One - - Voya ger 18. Cr i ppl ed, bar el y oper at i ve , i t l anded on t he mach i ne pl anet . And whi l e by t he st andar ds o f t he l i vi ng mach i nes, Voya ger 18 was e xt r emel y pri mi t i ve, i t c arr i ed wi t hi n i t a r egener at i v e s par k . I t r evi t al i z ed t he en t i r e r ace . And 300 ye ar s l at er , havi ng now at t ai ned st ar t r avel capabi l i t y , t hey s et out t o r each t he di st ant pl anet f r om whi ch had co me t hei r Savi or . ILIA Gl or y t o Nasa f or se ndi ng i t s Son, and i t s Messa ge. MCCOY But why i s t he messa ge ' Dest r oy Al l Li f e On Ear t h' . . . ?! ILIA Beca use i f se r vo - uni t s l i ke yo ur se l ve s co nt r ol su ch bei ngs a s USS Ent er pr i se - - and i nf est t he t hi r d pl anet i n a s i mi l ar f as hi on - i sn ' t i t obvi ous t he Hol y Home must be cl( eansed pl easa ?nt l y) Sur el y, yo u ca n under st and t hi s. . . ?
McCoy i s t oo exa sp er at ed t o r epl y, gl ance s a t Ki r k, but j us t t hen:
120.
233
ANGLE ON THE TABLE VI EWER
233
as we HEAR t he audi al si gnal . Ki r k s wi t ch es i t on, and Sul u' s f ace appear s o n t he vi ewer : SULU Ear t h o r bi t mi nus 21 mi nut es , Capt ai n. We' r e bei ng hai l ed by t he l i ght c r ui s er Del phi . KI RK ( i nt o i nt er co m) Del phi i s t he onl y St ar sh i p t o hai l us ? SULU The Par i s an d t he Bost on ar e t wo days out , si r . Eve r yt hi ng el se i s mor e t han f i ve d ays. SCOTT ( t o Ki r k) A l i ght crui se r , Capt ai n; goi ng up agai ns t t hat behemot h woul d b e l i ke a mosq ui t o swat t i ng an el ephant . . . ! MCCOY ( dr y, t o Sc ot t ) The Ent er pr i se i s t he st r ongest v es sel i n t he f l eet , Mr . Sco t t , and i f I r emember , we di dn' t exa ct l y f r i ght en Ve- j ur t o deat h - KI RK ( i nt o i nt er co m) I ns t r uc t Del phi t o l ay i n an i nt er ce pt i on co ur se on us - - and hol d. They' r e t o go t o Yel l ow Al er t , and p r ogr am a s t op i nt o a ny mai n co mput er ext er nal t r ansmi ss i ons . . . ( swi t ch es o f f i nt er co m; t o Sco t t ) How f ar of f t ar get woul d yo u be, beami ng f r om or bi t ? SCOTT Wher e' s t he t ar get ? 234
ACROSS KI RK TO I LI A
234
as h e g l ance s a t her , and r epl i es t o Sco t t .
( CONTI NUED)
121. 234
CONTI NUED:
234 KI RK St ar f l eet Command, t he Ar ch i ve s Bui l di ng. SCOTT ( unhumor ous l aug h) Fr om or bi t , Capt ai n, I c oul dn' t guar an t ee anyt hi ng cl ose r t han t he Nor t h Pol e. At per i gee, we' r e 22, 000 mi l es, yo u kn ow. KI RK Suppose t her e was a r el ay st at i on? I n sub- or bi t ? SCOTT So l on g as i t wasn ' t mor e t han 16, 000 mi l es f r om us - - and f r om t he t ar get .
235
ANGLE ON THE VIEWER
235
as Ki r k s wi t ch es i t on, and a gai n Uhur a' s f ace appear s. KI RK ( i nt o i nt er co m) Comman der Uhur a, si gnal Del phi t o di sr eg ar d our pr evi ous c our se i nst r uct i on. They ar e t o pr oceed t o a su bor bi t al pat t er n not t o exc eed 15, 000 mi l es, and pr epar e t o r ece i ve t wo f or beami ng. . . ( s wi t c hes o f f ; t o Sco t t ) We' l l r el ay f r om t he Del phi . MCCOY Who' s ' we, ' Ji m? KI RK Tash a and I . She' l l se e f or h er se l f t he Voya ger 18 r eco r ds, and i nf or m Ve- j ur . 236
ON I LI A
236
as s he smi l es p l easa nt l y. 237
I NT. KI RK' S QUARTERS
237
as t he door opens, and Ki r k a nd I l i a ent er .
( CONTI NUED)
122. 237
CONTI NUED:
237
He cr osse s t o hi s d esk, t ouch es t he vi ewer co nso l e but t on s - - and i mmedi at el y va r i ou s co mput at i ons a ppear on t he scr een. I l i a wat ch es i nt er est edl y. ILIA You' r e pr ogr ammi ng yo ur l og i nt o t he comput er . KI RK ( ch agr i ned) St anda r d p r oce dur e. He t ur ns t o r esu me, but st ops a br upt l y, as I l i a i n her most sed uct i ve Del t an manner pl ace s he r hands on hi s cheek. ILIA I sa w mal e and f emal e s er vo - uni t s t ouch i ng and ca r essi ng each ot he r . I ' d l i k e t o t ry i t . KI RK I don' t t hi nk y ou' d appr eci at e i t . ILIA Woul dn' t I . . . ? And wi t hout anot her wor d, she t hr ows he r ar ms ar ound hi m, dr aws h i s f ace down t o her s - - an d ki sse s h i m. Ki r k i s s o st ar t l ed he i s f r ozen- f or a moment onl y. Tas ha/ I l i a i s s o l i f e- l i k e and r eal t hat he' s near l y ca r r i ed away. He push es her gent l y f r om hi m. KI RK ( f l ust er ed) You r eal l y a r e a f i ne r epr oduct i on. ILIA I t ol d you I was. Coul d we t r y i t agai n? KI RK ( backi ng of f ) Ther e a r e ot her t hi ngs t o a r el at i ons hi p. ILIA But no t as p l easa nt . Ki r k pe er s at her a moment . KI RK How coul d you kn ow t hat ?
( CONTI NUED)
123. 237
CONTI NUED: ( 2) I f eel i t .
237 ILIA KI RK
You ' f eel ' . . . ? 238
FAVORI NG I LI A
238
as s he appear s moment ar i l y co nf use d, al mos t st ar t l ed. She smi l es weakl y at hi m. ILIA That ' s not v er y l ogi c al , i s i t ? They st and gazi ng at each o t her a moment , and i n her eye s t her e i s a ve r y human sp ar k. Ki r k ca nnot hel p but per ce i ve i t , and i t se ems t o bemuse hi m as much as h er . And t hen t he moment i s br oken by: 239
THE TABLE VI EWER
239
emi t t i ng t he AUDI O SI GNAL. For j ust one mor e moment Ki r k does not move , st ands st udyi ng I l i a. The SI GNAL SOUNDS agai n, and Ki r k r eache s t o swi t ch i t on. Sco t t ' s f ace appea r s: SCOTT We' r e r eady t o move i nt o or bi t , Capt ai n. You' d bes t get down he r e t o t he Tr anspo r t er Room. KI RK ( i nt o i nt er co m) On our way, Sco t t i e. He swi t ches o f f t he vi ewer , f ace s I l i a j ust one mor e moment . ILIA We' d b et t er go. Ki r k l ooks a t her , nods a l most sa dl y. 240
I NT. TRANSPORTER ROOM
240
wi t h Ki r k f aci ng Xon, Decke r and McCoy, gi vi ng t hem f i nal ord er s . I l i a i s al so her e, wai t i ng pat i ent l y . Sco t t i s i n t he b. g. , an ear phone pl ugged i nt o hi s e ar . ( He' s co mmuni ca t i ng wi t h t he Del phi . )
( CONTI NUED)
124. 240
CONTI NUED:
240 KI RK ( f r om t he s t ar t ) . . . And you, Mr . Xon, yo u' l l pr ogr am t he mai n co mput er t o pl ace t he ent i r e ve ss el i nt o a se l f - dest r uct mode upon pr oper si gnal . XON Yes, si r . KI RK ( t o Deck er ) You' l l gi v e t hat s i gnal , Wi l l , at yo ur d i sc r et i on. No mat t er what happen s, t he Ent er pr i se ' s memor y banks mus t n' t f al l i nt o Ve- j ur ' s hands. The whol e Feder at i on wi l l be j eo par di ze d. DECKER· I unde r st and, Capt ai n.
241
ANGLE ON SCOTT
241
put t i ng down t he ear pl ug, st eppi ng t owar d t he co nt r ol co nso l e. SCOTT The Del phi i s i n b eami ng posi t i on now, Capt ai n. Ki r k and I l i a st ep ont o t he t r ansp or t er pl at f or m. He st ands a moment st udyi ng hi s o f f i ce r s, and t hen hi s gl ance f al l s on McCoy. He smi l es a l i t t l e smi l e of encour agement at McCoy. The t wo f r i ends l ook a t each ot her , r eal i zi ng t hi s may wel l be t he l ast t i me. Then Ki r k gl ances at Sco t t . KI RK Ener gi ze . Sco t t doesn ' t co mpl y i mmedi at el y, i nst ead peer s a t Ki r k - ol d comr ades. Ki r k nods at hi m. And Scot t move s t he co nt r ol s. Ener gi zi ng.
SCOTT
Ki r k a nd I l i a st and wai t i ng - - t hen t he SHI MMERI NG EFFECT, and i n an i nst ant t hey h ave de mat er i al i ze d. The men st and gazi ng at t he e mpt y pl at f or m.
( CONTI NUED)
125. 241
CONTI NUED:
241 SCOTT ( c ont i nui ng; mut t er i ng t o hi mse l f ) I onl y h ope t he Del phi t r ansp or t er of f i ce r kn ows what he' s d oi ng.
242
I NT. DELPHI TRANSPORTER ROOM ( REDRESS OF ENTERPRI SE ROOM)
242
wi t h t he DELPHI CAPTAI N ( a Commande r ) , and t he TRANSPORTER OFFI CER ( a Li eut enant ) at t he consol e cont r ol s. Now t he SHI MMERI NG EFFECT, and Ki r k and I l i a mat er i al i ze . Bot h Del phi of f i ce r s cannot hel p an admi r i ng r eac t i on at t he si ght of I l i a. DELPHI CAPTAI N Admi r al Ki r k. . . wel co me a boa r d. KI RK Than k you , Commande r . t o r el ay?
Ar e you r eady
DELPHI CAPTAI N Yes, si r . St ar f l eet h as r equest ed we bea m yo u di r ect l y t o Admi r al Nogur a' s of f i ce . KI RK Ver y wel l . TRANSPORTER OFFI CER Si r , we' r e i n a par al l el pat t er n ove r ear t h, so we won' t l ose t he t ar get . Per haps you and t he yo ung l ady mi ght l i ke a f ew mi nut es rest...? KI RK No, we - 243
ACROSS KI RK TO I LI A
243
as h e p ause s a br upt l y, peer s a t her , an i dea f or mi ng. KI RK .i .n . Uni Li eut n k. yo .u?put us d own, on enant Squar, e ca Par TRANSPORTER OFFI CER ( bemus ed) Yes , c er t ai nl y . . .
( CONTI NUED)
126. 243
CONTI NUED:
243 KI RK I t hi nk i t mi ght be hel pf ul f or t he yo ung l ady t o get a f i r st hand l ook at l i f e on ear t h. Mai nt ai n yo ur par al l el pat t er n, and i nf or m Admi r al Nogur a I ' l l meet hi m at t he Ar ch i ve s Bui l di ng i n t hi r t y mi nut es. Ener gi ze .
244
EXT. EARTH - UNI ON SQUARE PARK - DAY ( PAN SHOT) The same par k Ki r k and McCoy wer e i n i n Scene #16. CHI LDREN, as b ef or e, ca vo r t i ng, pl ayi ng wi t h ' wi l d' ani mal s. OLDER PEOPLE ( whose f aces mi ght bet r ay t hei r ye ar s, but whose bodi es and at t i t udes ar e yo ung) . And va r i ou s co mpet i t i ve games. And t he gr ove s o f t re es. . . and sl i ght l y beyo nd, t he oce an. A sl eek hove r cr af t wi l l be ski mmi ng al ong t he wat er , near sh or e. The hydr of oi l ' s decks cont ai n per haps a F EW DOZEN PEOPLE. Now, i n t he mi dst of al l t hi s, Ki r k a nd I l i a MATERI ALI ZE. But no one has se en t hem i n t he a ct of mat er i al i zi ng, so t hat when a gr oup of CHI LDREN r uns past t hem, no o ne pays t he many at t ent i on - - but f or one SMALL BOY. He st ops a nd g aze s u p a t Ki r k, poi nt s t o t he u ni f or m: BOY Ar e yo u wi t h St ar f l eet . . . ? KI RK ( f or ce d smi l e) Somet i mes. BOY ( t ouch es Ki r k ' s s t r i pes ) You' r e an of f i ce r . That ' s what I want t o be when I gr ow up. And wi t h t hat , t he Boy AD- LI BS " ' Bye . . . " and r ush es o f f t o j oi n hi s f r i ends. I l i a has been peer i ng i ncred ul ousl y at t he Boy. ILIA When h e ' gr ows u p' . . . ? KI RK We ' se r vo- uni t s' begi n l i f e ve r y t i ny.( .i .ndi ca t es wi t h hands) . . . t hen we gr ow t o f ul l s i ze . t ake s a nu mber of yea r s.
It
ILIA And t he i nt er nal mech ani sms al so gr ow. . . ? ( CONTI NUED)
244
127. 244
CONTI NUED:
244 Oh, yes.
KI RK
I l i a gl ance s a r ound now at t he va r i ous a ct i vi t y - - t he peopl e - - and f or t he f i r st t i me se ems t o vi ew t hem r ef l ect i ve l y, as t hough now sh e doesn ' t qui t e under st and. She al so has a l ost bl and, acc ept i ng exp r essi on. She waves her hand ar oun d. ILIA The se r vo- uni t s l i v e i n pl ac es l i k e t hi s. . . ? KI RK Thi s i s wher e t hey r el ax. show you.
Let me
And he t ake s h er hand, begi ns gui di ng her t hr ough t he par k. 245
VARI OUS SHOTS AND POVS - KI RK AND I LI A
245
wal ki ng t hr ough t he par k, obse r vi ng t he si ght s - - t he peopl e. The ani mal s. I l i a i s co mpl et el y bemuse d wi t h t he ani mal s, but f ol l ows Ki r k' s l ead and gi nger l y p at s a hand so me sh eep dog. The dog l i cks her f i nger s. Ilia i s b egi nni ng t o r ese mbl e a ch i l d co nt i nual l y d el i ght ed wi t h new di sc ove r i es. And sh e i s par t i cu l ar l y ent r ance d wi t h v eget at i on. She t ouch es t he s hr ubs a nd s mel l s t he f l ower s. Now an d t hen, va r i ous PEOPLE ( al l i n r ecr eat i on/ l ei su r e gar b) ca st cu r i ous g l ance s a t t he s t r ange c oupl e, but no one st ops t hem t o sp eak or qu er y. I n t hi s ce nt ur y, our pe opl e have l ear ned t o ac ce pt t he unus ual and bi za r r e as nor mal . Li ve and l et l i ve . 246
AT THE BEACH
246
as Ki r k a nd I l i a e mer ge f r om t he woode d ar ea, su ddenl y f i nd t hemse l ve s o n t he beach - - t he su r f cr ash i ng up phosphor esc ent l y, r ece di ng, cr ash i ng up. I l i a i s f asc i nat ed wi t h t he wat er , kn eel s t o al l ow t he f oami ng su r f t o sp l ash ove r her f i nger s. She sc oops u p sa nd, t r i ck l es i t t hr ough her hands. And now sh e f i nds a pi ece of dr i f t wood, pi ck s i t up, exa mi nes i t . ILIA ( i ndi c at i ng wat er , sand, wood) The se r vo - uni t s made al l t hi s?
( CONTI NUED)
128. 246
CONTI NUED:
246 KI RK They made none of i t ; nat ur e di d. ILIA Nat ur e? KI RK The nat ur al st at e of t hi ngs a nd bei ngs.
I l i a gr i ps t he dr i f t wood, f eel s i t . ILIA But i f i t i s n' t manuf ac t ure d. . . i t i s n' t per f ec t . KI RK ( agr eei ng) Not hi ng i s p er f ect ; not her e. Not hi ng can b e, becau se t hose who l i ve her e ar e t hemse l ve s i mper f ect - and al ways wi l l be. . . ( f ace s h er ) Can' t yo u s ee t he d i f f er ence b et ween us - - and ot her se r vo - uni t s? ILIA A di f f er ence? How can t her e be a di f f er enc e. . . ? Ki r k peer s at her f r ust r at edl y, t hen i ndi cat es t he dr i f t wood - - and t hen t he oce an, and t hen t he sa nd. The t r ees. KI RK Thi s; al l t hi s i s what makes i t di f f er ent . 247
ACROSS KI RK TO I LI A
247
as sh e se ems t o be gazi ng pa st hi m, he r at t ent i on at t r ac t ed by so met hi ng O. S. She l ooks at hi m now. ILIA ( c ol dl y ) Yes , and t hat , t oo. . . ! She po i nt s O. S. Ki r k t ur ns t o se e: 248
WHAT I LI A I S LOOKI NG AT - THE HYDROFOI L j us t now r ac i ng I NTO SI GHT, t he f i gur es of peopl e at t he r ai l and on d eck V I SI BLE. ( CONTI NUED)
248
129. 248
CONTI NUED:
248 ILIA A machi ne - - empl oyed a s a t r ansp or t er of se r vo - uni t s! KI RK I l i a, we cr eat ed t hat mach i ne. Just as we cr eat ed NASA, and your own Hol y One. And i t was peo pl e l i ke us - - se r vo - uni t s - - who must have cr eat ed eve n t he di st an t ance st or s o f Ve- j ur . ILIA No. . . !
She hur l s t he dr i f t wood t o t he sa nd, st ar es wi l dl y a t hi m one i nst ant , t hen t ur ns a nd st ar t s r unni ng away. Ki r k st r i des af t er her , ca t ch es h er . KI RK Why can ' t yo u si mpl y ac ce pt , or r ej ect my st at ement ? Why do you r un away? I l i a peer s at hi m - - and no l onger i s t hat bl and, pl easan t exp r essi on i n her ey es. Now, mor e t han eve r , t hey se em al i ve . And Tr oubl ed. ILIA I don' t kn ow. And su ddenl y sh e hur l s h er se l f i n hi s a r ms, bur i es h er f ace i n hi s ch est . Cl i ngs t o hi m. Ki r k hol ds her a moment , t hen f l i ps o pen hi s wr i st co mmuni ca t or . KI RK ( i nt o co mmuni ca t or ) Ki r k t o Del phi . DELPHI VOI CE Del phi . KI RK ( i nt o co mmuni ca t or ) Beam t wo f r om t hese co or di nat es t o t he Ar ch i ve s Bui l di ng. Ki k cldsoses comm catpul or ,l sl oo ks ev doen wn cla tose t he he r hol i n thihe s ar ms.uni He h er r t woman o hi m. 249
I NT. ENTERPRI SE BRI DGE - ANGLE ON THE VI EWER Decke r i n t he co mmand ch ai r , al l ot her per so nnel at t hei r st at i ons. On t he vi ewer i s a n i mage of ear t h. ( CONTI NUED)
249
130. 249
CONTI NUED:
249
Uhur a ad dr esses D ecker : UHURA Si gnal f r om t he Del phi , Commande r : t hey' ve beamed Capt ai n Ki r k an d t he andr oi d t o t he Ar ch i ve s Bui l di ng. 250
ANGLE ON XON
250
who ha s b een st udyi ng hi s ho oded vi ewer , now l ooks up gr i ml y: XON The al i en has move d i nt o ear t h or bi t , s i r. DECKER Loca t i on? XON Fi ve t housa nd, t wo hundr ed ki l omet er s f r om our o r bi t al pos i t i on. ( a beat ) Comman der . . . our se nso r s a r e pi cki ng up an obj ect ej ect ed by t he al i en. . . ! I t ' s p r oce edi ng away f r om hi m at a r api d speed, but i n t he sa me or bi t al t r aj ect or y. DECKER Composi t i on. . . ? XON ( sha kes h i s he ad) I t ' s s hi el ded, s i r . DECKER Hel msman, l ay i n an i nt er ce pt i on co ur se : co or di nat es ze r o f i ve one, mar k f our . Or bi t al sp eed pl us t wo. SULU Leavi ng or bi t , s i r . 251
EXT. THE ENTERPRI SE i n or bi t , t hen su ddenl y t he engi ne pods g l ow r ed - - t he sh i p begi ns movi ng out of t he t r aj ect or y.
251
131.
252
I NT. ENTERPRI SE - BRI DGE - FAVORI NG THE VI EWER
252
wi t h al l peer i ng at t he sc r een. For a n i nst ant , al l t hat i s vi si bl e i s t he bl ue- bl ack of su bsp ace , t hen su ddenl y t he obj ect . At f i r st j ust a sp eck on t he hor i zo n. DECKER Magni f i cat i on f act or t hr ee. I ns t ant l y , on t he s c r een, t he obj ec t i s l ar ge - - v er y vi si bl e. I t r ese mbl es a l ong ca ni st er wi t h a mush r oom t op. DECKER ( co nt i nui ng) Eva l ua t i on, Mr . Xon. Xon i s st udy i ng t he h ooded vi ewer . XON Hi gh r adi at i on. . . One h undr ed poi nt t hr ee met er s l ong, t went y met er s wi de. ( gr i m) I t i s a neut r on devi ce - wi t h a pr oxi mi t y fuse...! DECKER (f ast ) Har d a bout . . . ! Sul u wor ks t he co nt r ol s; we h ave t he se nsa t i on of t he Ent er pr i se exe cu t i ng a t i ght 180. Eve r yo ne wai t s t ense l y unt i l t he maneuve r i s co mpl et e; t hen al l se em t o br eat he a si gh of r el i ef . Cheko v r eads hi s i nst r ument s: CHEKOV Anot he r t en seco nds, we woul d have det onat ed i t . 253
NEW ANGLE - XON
253
at t he hooded vi ewer , r eact i ng: XON Com , t he all i devi en i scee ji ec anotman herderi dent i ca n at i ng di f f ere nt orb i t al pos i t i on. . . ! DECKER Put a h i gh- gr ade se nso r on i t .
( CONTI NUED)
132. 253
CONTI NUED:
253 XON I am, s i r . . . I ' l l hav e t he r eadi ngs co r r el at ed i n a se co nd ( br eaks of f , a beat ) He' s pl ace d t wo ot her s i n or bi t ! A t ot al of f our .
254
CHEKOV
254
i nt ent l y st udyi ng hi s c onso l e, now has a gr i m eva l uat i on: CHEKOV Neut r on bombs, f or ce r t ai n. . . ( a beat whi l e h e st udi es f i gur es) Movi ng under t hei r own power t o equi di s t ant or bi t al pos i t i ons . ( gl ance s u p) Four bombs, ove r l appi ng t he whol e pl anet . . . ! DECKER Can we pul l t hem away wi t h a t r act or beam. . . ? CHEKOV No, si r : t hey woul d exp l ode t he i nst an t our beam r each ed t he m. DECKER Det ona t i on dat a, Mr . Xon? XON Unavai l abl e, s i r . DECKER Opi ni on, Mr . Chekov? CHEKOV Si nce t hey a r e al l headi ng f or pr edet er mi ned pl ace ment , t hey wi l l pr obab l y det onat e when al l f our ar e i n pos i t i on. DECKER Est i mat ed t i me t o pl ace ment ? SULU Twent y- si x mi nut es. DECKER Set you r chr onomet er i n a cou nt down mode, Mr . Sul u.
133.
255
ACRO SS DECKER TO SULU
255
as Sul u adj ust s t he ch r onomet er so i t r eads: 00: 26: 05, and t he f l ash i ng se co nds begi n r ol l i ng bac k. Decke r addr esses U hur a: DECKER Communi cat i ons. . . I nf or m St ar f l eet . UHURA ( desp er at e) I ' m not g et t i ng t hr ough. My si gnal s ar e bei ng r ef l ect ed back f r om a f orc ef i el d. . . ! 256
XON
256
j us t now r ec ei v i ng new, mor e omi nous r ead i ngs f r om hi s vi ewer . XON Si r , t her e i s a f or c e f i el d s c r een bei ng f or med ar ound us. 257
ANOTHER ANGLE - THE MAI N VI EWER
257
as, su ddenl y, t he al i en appear s o n t he scr een - - movi ng st r ai ght t owar d t hem, f r ont al l y, i t s h uge ' mout h' r ese mbl i ng t he gapi ng maw of some ni gh t mar i sh monst er . Al l ah ead. . . !
DECKER War p sp eed. . . !
SULU ( desp er at el y wor ki ng co nt r ol s) We' r e ca ught i n hi s t r act or beam agai n! 258
I NT. ARCHI VES ROOM
258
a r oom wi t h s t ack s o f co mput er t apes, mi cr of i l ms - cl ear l y l ong st or ed, anci ent . Seat ed f aci ng a l ar ge vi ewi ng scr een a r e Admi r al Nogur a, Capt ai n Lebu t u, Adm al Car so n - -a'asnd and I l nt i a. i nt oand t heas ar mir rest of Nogur chKi ai rr k ar e co r ol Bui but l t tons, he t ou ch es t hem, on t he scr een f l ash va r i ous co pi es o f r eco r ds, f i l es, newsp aper acco unt s: al l of NASA act i vi t i es, par t i cu l ar l y t he l aunch i ng of Voya ger 18. St i l l phot ogr aphs of t he eve nt , et c. I n a co r ner we wi l l CATCH A GLI MPSE of a 20 t h Cent ur y f i l m pr oj ect or , and se ve r al ca ns o f f i l m. ( CONTI NUED)
134. 258
CONTI NUED:
258 LEBUTU ( f r om t he s t ar t ) . . . t he co mpl et e acco unt s o f NASA - and, as yo u see , Voya ger 18.
259
ANGLE ON I LI A
259
wat chi ng t he sc r een i nt ent l y, but t hen appar ent l y st eal i ng a co ve r t gl ance at Ki r k. And sh e pl ace s her hand gent l y on hi s. He l ooks at her , but sh e i s wat ch i ng t he scr een agai n. NOGURA (t o I l i a) Sur el y, t hi s i s co nvi nci ng evi dence t hat Voya ger 18 or i gi nat ed her e, and was d esi gned and co nst r uct ed b y humans. . . ? I l i a does n ot r epl y, mer el y s mi l es p l easa nt l y, bl andl y at Nog ur a. The Admi r al gl ance s gr i ml y at K i r k. At t hat i nst ant : 260
ANGLE ON THE TABLE I NTERCOM/ VI EWER
260
as t he i mage of a YEOWOMAN appe ar s . YEOWOMAN Admi r al . . . co mmuni ca t i ons r epor t s l oss of co nt act wi t h Ent er pr i se. NOGURA ( i nt o i nt er co m) Ti me t o bomb det onat i on? YEOWOMAN ( a beat ) Mar k! 261
PAST NOGURA TO THE SCREEN
261
as Nog ur a t ouch es a but t on on hi s co ns ol e, and sl i ght l y t o t he si de of t he sc r een a di gi t al cl ock s uddenl y l i ght s up - - t he number s 00 : 13: 10 appea r i ng, and cou nt i ng down. The va r i ous sl i des, et c. , co nt i nue o n s cr een. CARSON (t o Ki rk , of I l i a) I don' t t hi nk we' r e get t i ng t hr ough t o her , Ki r k .
( CONTI NUED)
135. 261
CONTI NUED:
261 KI RK (t o I l i a) Tash a. . . why ca n' t yo u acc ep t t he evi dence . . . ? ILIA ( t r oubl ed) I t ' s al l s i mul at ed. NOGURA Wel l , of co ur s e i t i s ! The or i gi nal r eco r ds cr umpl ed t o d ust hun dr ed s of yea r s ago.
I l i a t ur ns t o Nogur a, r egar ds h i m c ol dl y . ILIA I t i s not genui ne. You ar e f ur t her dese cr at i ng t he Hol y Memor y of The Cr eat or . Your p uni sh ment i s wel l dese r ve d. . . ( t o Ki r k, as t hough hopi ng he' l l under st and) I t ' s l ogi c al , don' t y ou s ee. . . ? Ki r k l ooks at her , t hen past her t o: 262
THE MOTI ON PI CTURE PROJ ECTOR
262
i n t he cor ner . He r i se s, pi ck s up a f i l m ca n, r eads t he l abel , CAMERA CLOSI NG on t he t i t l e: " Thi s i s NASA. " 263
EXT. THE ENTERPRI SE AND THE ALI EN
263
The st ar s h i p now, agai n, l ock ed i n t he al i en' s t r act or beam - - and qui t e cl ose t o t he al i en' s ' mout h, ' and dr awn c l ose r and cl ose r . 264
I NT. ENTERPRI SE - BRI DGE - ANGLE ON THE VI EWER sh owi ng t he menaci ng f r ont - end of t he al i en, as t hough movi ng t o s wal l ow up t he Ent er pr i se ( whi ch , i ndeed, i t i s) . Sco t t and McCoy ar e now al so pr ese nt . Sul u' s ch r ono met er r eads: 00: 07: 32 ( and co unt i ng d own) . DECKER Ar e t he co mput er t er mi nal s t o t he l i br ar y di se ngaged, Mr . Xon?
( CONTI NUED)
264
136. 264
CONTI NUED:
264 XON They a r e di se ngaged, si r ; t he comput er i s pr ogr ammed t o communi cat e t o t he al i en onl y t hat i nf or mat i on we' ve s el ect ed.
265
ACROSS DECKER TO SCOTT
265
at hi s b r i dge engi neer i ng st at i on. Mr . Sc ot t . . . ?
DECKER
SCOTT ( gr i m) I ' m r eady t o ove r l oad my eng i nes a t your or der , command er . Deck er hesi t at es a beat , swi ve l s a r oun d t o gl ance at t he chr onomet er : 00: 07: 12. Now he f ace s t he comput er ( mi cr ophone) , sp eaks: DECKER Comput er . . . t r ansmi t t he f ol l owi ng: I am se ndi ng yo u i nf or mat i on about t he cu l t ur al and s c i ent i f i c ach i evement s of t he h uman ser vouni t s f r om t he begi nni ng of t hei r t i me. You wi l l se e t hat al t hough t he se r vo- uni t s di f f er f r om pur e mac hi ne l i f e, t hey a r e i nt el l i gent cr eat ur es who s er ve use f ul f unct i ons and sho ul d not be d est r oye d. Comput er . . . t r ansmi t . A moment wher e we HEAR t he BEEP of t he u l t r a- hi gh- speed messa ge f l as hi ng ove r t o t he al i en. And t hen anot her moment , and t he r espond i ng BEEP. COMPUTER VOICE Tr ansl at i ng: i nf or mat i on r ece i ve d i s i nco mpl et e. Gl ances of
di smay a r e exchang ed. CHEKOV How coul d he kn ow. . . ?! XON Logi c. Pur e, mat hemat i ca l l ogi c.
( CONTI NUED)
137. 265
CONTI NUED:
265 MCCOY You gi v e hi m t he r es t , he' l l see eve r y war f ought : Al exa nder , At t i l a, t he Cr usa des, Napol eon, Hi t l er . And t he t er r or i sm and pol l ut i on a nd f ami ne of t he 20t h Cent ur y. And t he 21st Cent ur y n ucl ear war s. . . ! ( gr i m wr yne ss) He' l l se e t he ot her si de of our ' ac hi ev ement s . . . ' ! UHURA But we' r e n ot l i ke t hat anymor e. DECKER Then l et h i m s ee i t . . . ! I t mi ght c onvi nc e hi m t hat f or al l our weakn esse s, we' ve su r vi ve d - - an d advan ced t o t he poi nt wher e none of t hat i s nece ssa r y a ny mor e. . . ( t o comput er ) Comput er . XON ( i nt er r upt i ng) Exc use me, si r , but i f we r el ease t hat i nf or mat i on, we al so r el ease i nf or mat i on co nce r ni ng eve r y pl anet i n t he Feder at i on. They ' l l s uf f er t he sa me f at e, si r ! SULU We have f i ve mi nut es t o det onat i on.
266
FAVORI NG DECKER
266
You ca n r ead h i s f ace : agoni ze d a t t he dec i si on h e f ace s, t he r i sk he must t ake ; t he bi l l i ons o f ot her s o n t he ot her pl anet s whose f at e mi ght wel l r est on t hat deci si on. XON Comman der , t he al i en i s dr awi ng u s cl oser a nd cl ose r . I f t he deci si on i s n ot t o r el ease t he r emai ni ng i nf or mat i on, we must act i va t e our se - dest sy st sem f orl fce f i elr duct r ender uss bt ef ot or al el yhiusnabl e t o ope r at e our own co nt r ol s. DECKER Er as e t he t apes, Mr . Xon.
( CONTI NUED)
138. 266
CONTI NUED:
266
The de ci si on made, Decke r l ooks at t he ot her s, t he CAMERA SWI NGI NG OVER on t he cl ock : t he r ed f i gur es f l ash i ng: 00: 04: 47, 00: 04: 46, 00: 04: 45, et c. 267
I NT. ARCHI VES ROOM
267
wi t h TWO TECHNI CI ANS now al so i n t he r oom, cl umsi l y at t empt i ng t o se t up t he ant i que mot i on pi ct ur e pr oj ect or . Ki r k wat ch es i mpat i ent l y. Fast er , so n.
KI RK Fast er . . .
1ST TECH I' m t ry i ng, s i r.. . 268
ANGLE ON I LI A
268
who has been wat ch i ng al l t hi s i nt er est edl y. sh e move s t o t he pr oj ect or .
Suddenl y
ILIA I ca n a ss embl e i t . And t he Tech ni ci ans st ep asi de as r api dl y a nd exp er t l y I l i a s et s u p t he pr oj ec t or , t hr eads t he f i l m. ILIA ( co nt i nui ng) I t ' s a char mi ng uni t - And al mos t i mmedi at el y t he f i l m i s re ady t o r ol l . I l i a ca r ess es t he pr oj ect or l ovi ngl y. ILIA ( co nt i nui ng) How beaut i f ul . . . ! And she swi t ch es i t on: 269
ON THE SCREEN - THE NASA FI LM
269
( PRODUCTI ON NOTE: t hi s wi l l be an a ut hent i c NASA PR f i l m, an ol d f ash i oned bur eaucr at i c f i l m about what NASA i s, and does, et c. ) The f i l m st ar t s - - and t hen su ddenl y t he pi ct ur es a r e bl ur r ed and d i st or t ed - - sc r at ch ed, and so met i mes t he f r ames ar e co mpl et el y bl ank. And t hen t he f i l m br eaks.
( CONTI NUED)
139. 269
CONTI NUED:
269 NOGURA My God, i t ' s l ess t han t hr ee mi nut es t o d et onat i on.
But I l i a qui c k l y r epai r s t he br eak , t he f i l m r es umes . And mor e of t he same - - onl y wor se. Ki r k r eache s over and swi t ch es i t of f . KI RK I t ' s t hr ee hundr ed y ear s o l d; i t ' s det er i or at ed. ILIA ( sa dl y) I ' m s orry . Ki r k and Nogur a exch ange gl ance s of he l pl essne ss. Now i t ' s al l o ve r . Ki r k swi t ches on t he i nt er co m. The f ace of t he Yeowoman app ear s. ( i nt o Thi s i s a er ase al l St ar f l eet 270
KI RK i nt er co m) St ar f l eet Command Or de r : UFP dat a f r om eve r y co mput er l i br ar y.
I NT. ENTERPRI SE - BRI DGE
270
wi t h, f i r st , a CLOSE SHOT on t he chr on omet er : 00: 02: 29. Deck er i s p eer i ng at t he mai n vi ewer - - t he al i en' s huge f r ont al openi ng. Al l on t he br i dge awai t t he i nevi t abl e. DECKER Mr . Sc ot t . . . SCOTT Si r . DECKER Act i va t e t he se l f - dest r uct sy st em, and commence your eng i ne over l oad. 271
ANGLE ON SCOTT
271
Movi ng hi s co nt r ol s. XON ( qui et l y, t o Deck er ) You ar e awar e, Commander , t hat t he al i en' s s hi el ds a r e up f ul l ; our mat t er - ant i mat t er bomb wi l l not penet r at e. ( CONTI NUED)
140. 271
CONTI NUED:
271 DECKER I ' m awar e of i t , Mr . Xon . . . ( unhumor ous l aug h) I t hi nk we mi ght as wel l go out i n s t y l e, t hat ' s al l .
Decke r t ur ns away, now pi cks u p a smal l , boxl i ke devi ce wi t h a cr oss- gr ai ned openi ng ( mi cr opho ne) . He begi ns s peaki ng i nt o i t : DECKER ( co nt i nui ng) Capt ai n' s L og, St ar dat e 742 1. 6. Suppl ement al , t o c oncu r wi t h ot her l ogs pr evi ousl y ej ect ed. Fi r st Of f i cer Wi l l ar d Dec ke r i n comman d. Our ve ss el i s n ow i n se l f - dest r uct mode, and we h ave addi t i onal l y be gun ove r l oadi ng our engi nes t o c r eat e a mat t er - ant i mat t er exp l osi on. . . Deck er pause s, gl ance s a t t he ch r onomet er : j ust passi ng t hr oug h 00: 01: 50. He gl ances at t he ot her s: McCoy, Sco t t , Xon, Uhur a, Sul u. He co nt i nues : DECKER ( co nt i nui ng) . . . i n l ess t han t wo mi nut es, t he al i en' s f our neut r on devi ces wi l l dest r oy eve r y l i vi ng t hi ng on ear t h. 272
I NT. ARCHI VES ROOM
272
t he cl ock r eadi ng 00: 01: 45. Nogur a and t he ot her s p eer at t he cl ock , al l so mewhat st oi c, st eel i ng t hemse l ve s. Ki r k i s a t t he i nt er co m; t he Yeowoman' s f ace on t he scr een : YEOWOMAN The t apes a r e i n er asu r e co ndi t i on, s i r . I t wi l l t ak e appr ox i mat el y f i ve mi nut es t o co mpl et e t he mal l . KI RK ( wr yl y ) I t hi nk t hat sh oul d be j ust t i me enough hank ( s .wi. .t cthes o f yf ou. ; to Il i a) So yo u' r e ' so r r y, ' eh? what ' so r r y' means?
Do yo u kn ow
ILIA I t mea ns r egr et . ( CONTI NUED)
141. 272
CONTI NUED:
272 KI RK And you ca n f eel t hat ? ILIA ( bemus ed) I t hi nk s o. . . ( qui ck l y) Ki r k, what I ' m s or r y about i s t hat you ha ve t o b e d est r oye d. KI RK Onl y me, not t he ot her s? ILIA The ot her s a r en' t i mpor t ant . KI RK Eve r yo ne i s i mpor t ant - - t hat ' s anot he r di f f er ence b et ween h uman s and mach i nes. I t ' s ca l l ed mor al i t y; i t ' s p ar t of our i mper f ec t i on.
She st udi es h i m, and now mor e t ha n ever we di scer n a v i t al i t y i n her ey es . KI RK ( co nt i nui ng) Ve- j ur i s wr ong t o do t hi s. you know t hat .
I t hi nk
ILIA ( wi t h s i nc er i t y ) Ve- j ur ca n n eve r be wr ong. 273
ACROSS KI RK TO THE C L OCK
273
so we ca n SEE i t now r eads 0 0: 00 : 38. Ki r k gl ances a t i t , t hen t o I l i a agai n. KI RK I t ' s wr ong t o dest r oy t hat whi ch means y ou no har m. ILIA But you har m t he mach i nes. No. We bui l t t heKImRK ach i nes, and t oget her wi t h t hem we bui l t a gr eat c i v i l i z at i on. I l i a s ays n ot hi ng a moment , t ur ns a way f r om hi m, t hen back t o hi m.
( CONTI NUED)
142. 273
CONTI NUED:
273 ILIA I don' t want t o hear anymor e. . . !
And she wal ks away f r om hi m, st an ds so sh e won' t have t o f ac e hi m. 274
THE CLOCK
274
00: 00: 10 9 8 7. 275
ILIA
275
t ur ni ng t o l ook at Ki r k; her f ace act ual l y se ems t wi st ed i n pai n, and her eye s a r e con f use d. Then s he cl ose s h er eyes. 276
KI RK
276
wai t i ng. 277
THE CLOCK
277
00: 00: 04 3 2 1 0. 278
FULL SHOT OF THE ROOM
278
as Ki r k s ees t he cl ock a t ' 0, ' and gl ance s a t Nogur a and t he ot her s . They ' r e st i l l al i v e obv i ous l y . CARSON I t sho ul d h ave happened i nst ant aneousl y. 279
KI RK AND I LI A
279
as h e f aces he r , and sh e ope ns h er eyes an d l ooks at hi m. ILIA I t ol d Ve- j ur yo u had sp oke n t he t r ut h: The c r eat or was co nce i ve d b y hum se unquest r vo - uni it onabl s. I et ol hi nc m e. I sawan t he evid de Ki r k l ooks a t her wi t h bot h b ewi l der ment and gr at i t ude. KI RK You l i ed t o hi m. . . ? Why?
( CONTI NUED)
143. 279
CONTI NUED:
279 ILIA ( gazi ng at hi m) I don' t kn ow.
280
I NT. BRI DGE
280
sh owi ng, f i r st , Sul u' s ch r onomet er : st opped at 00: 00: 00, eve r yo ne peer i ng gr i ml y a t i t . Ju st now Uhur a r ece i ve s a t r ansmi ssi on : t he f ami l i ar BEEP. UHURA The al i en i s s i gnal l i ng. . . DECKER ( t o Xon) Engage t he co mput er . . . ! Xon pu nch es t he but t ons, and a moment l at er : COMPUTER VOICE Tr ansl at i ng: Ve- j ur has l ear ned t hat t he t hi r d pl anet ' s s er v o- uni t s ar e i n t r ut h t he pr ogeni t or s o f The Cr eat or . Ther ef or e, t he ser vo - uni t s wi l l be sp ar ed. 281
ANGLE ON SCOTT
281
hear i ng t hi s, r eact i ng, movi ng hi s c ont r ol s - - and sp eaki ng i nt o hi s i nt er co m: SCOTT ( i nt o i nt er co m) Di s engage t he s el f - des t r uct uni t . . . ! Al l mat t er - ant i mat t er power of f ! 282
ANOTHER AN GLE - WI DER ON THE PEO PLE sh owi ng t hei r r el i ef , as Decke r sp eaks i nt o t he c omput er : DECKER Comput er . . . t r ansmi t t he f ol l owi ng: USS ser vo t hanks j ur ask f or s sp ar Ent i ngeri tprs i se - uni t Vs,e- and Ve- j ur i f t he t wo l i f e f or ms c an co mmun i ca t e a nd l ear n f r om each ot her . The r epl yi ng BEEP, and t hen:
( CONTI NUED)
282
144. 282
CONTI NUED:
282 COMPUTER VOICE Tr ansl at i ng: Ve- j ur ca n l ear nnot hi ng f r om l ower l i f e f or ms. End of t r ansmi ss i on. SULU The t r act or beam i s f adi ng. . . !
283
ANOTHER ANGLE - FAVORI NG THE VIEWER
283
as t he i mage of t he gi ant al i en sh i p su ddenl y b egi ns movi ng away. Bef or e our eye s, i t move s f ast er an d f ast er , and i n an i nst ant i s b ut a sp eck on t he sc r een. And al most at t he same i nst ant , t her e i s a T URQUOI SE FLARE OF LI GHT - - and we ar e SEEI NG: 284
ILIA
284
t he r eal I l i a, gl anci ng ar ound daze dl y. MCCOY ( wr yl y ) Wel come aboar d, Li eut enant . 285
I NT. ARCHI VES ROOM
285
as Nogur a a nd t he o t her s wat ch Ki r k a nd I l i a, Ki r k t al ki ng i nt o hi s wr i st co mmuni ca t or : KI RK ( i nt o co mmuni ca t or ) . . . we' r e r eady , Sco t t i e. Aye , Capt ai n. t o r el ay yo u.
SCOTT' S VOI CE The Del phi ' s wai t i ng
Ki r k l ooks a t Nogur a wi t h a smi l e of t r i umph, t hen t ur ns t o I l i a. She r each es out and t ou ch es her hand t o hi s che ek. For a l ong moment t hey st udy each ot her , and i n her eye s i s p ur e l ove . Now he ge nt l y r emoves her hand so t he y ca n assu me t he t r ansp or t i ng po si t i on. And a moment l at er , THE SHI MMERI NG EFFECT. 286
I NT. ENTERPRI SE - TRANSPORTER ROOM
286
Scot t at t he con sol e, Xon, Decke r , McCoy an d Chekov her e. The SHI MMERI NG EFFECT i n t he c hamber - - and t hen Ki r k mat er i al i z es , and besi de hi m " I l i a" - - s he has al most f ul l y mat er i al i ze d when su ddenl y t her e i s a TURQUOI SE FLARE OF LI GHT, and " I l i a" vani shes and i n ( CONTI NUED)
145. 286
CONTI NUED:
286
her pl ace i s t he Mech ani ca l Tash a - - t he sp i der y- l egged pr obe. But Tash a i s co mpl et el y i mmobi l e, si l ent . Ki r k pi cks up t he pr obe, exami nes i t . McCoy st eps f or war d wi t h a t r i co r der , r uns i t over t he pr obe. MCCOY I t ' s c ompl et el y i ner t . . . dead. CHEKOV But why woul d i t be sen t back her e. . . ? 287
ON KI RK
287
as h e p eer s a t t he l i f el ess p r obe - - and r emember s t he ot her mani f es t at i on of i t , t he ot her I l i a. KI RK Mayb e be cau se t hat ' s what she want ed. And h e hol ds t he p r obe a moment , gaze s a t i t f ondl y, t hen put s i t down, and i s a l l busi ness: KI RK Gent l emen, t he USS Ent er pr i se ha s been or der ed t o i mmedi at e du t y. ( wr yl y ) Our r ece nt exp er i ence h as ser ve d as a sha ked own cr ui se. MCCOY ( ' i nnoc ent l y ' ) I s t hat what i t was . . . ? Eve r yo ne l aughs, as Ki r k co nt i nue s: KI RK Those o f f i ce r s d esi r i ng t o t er mi nat e t hei r t our s o f dut y wi l l pl ease s o i ndi ca t e, and t hey wi l l be r et ur ned t o St ar f l eet f or f ur t her ass i gnment . He l ooks at t hem; not a man moves. Ki r k f aces McCoy; t he doct or sa ys n ot hi ng, mer el y f ace s h i m st er nl y. Ki r k gr i ns. KI RK ( co nt i nui ng) Mr . Sc ot t . . . SCOTT Si r.. .?
( CONTI NUED)
146. 287
CONTI NUED:
287 KI RK Pr epar e t o depar t or bi t . SCOTT Ay e, ay e, s i r . . . !
288
EXT. THE ENTERPRI SE l eavi ng ear t h or bi t . and we HEAR:
288 STAR TREK THEME MUSI C comes up,
KI RK' S VOI CE These ar e t he vo ya ges o f t he St ar sh i p Ent er pr i s e. . . i t s n ew f i ve- y ear mi s si on t o ex pl or e. . . et c . , et c . The CAMERA FOLLOWS THE ENTERPRI SE as i t s t r eak s ac r os s t he sky, and: FADE OUT. THE END
