Monday, June 6, 2016

Unseen Trek: "Mudd's Women" (FINAL DRAFT)

Still from "Mudd's Women" (1966)
Teleplay by Stephen Kandel
Story by Gene Roddenberry
FINAL DRAFT, dated May 26, 1966
Report and Analysis by David Eversole
Originally posted at Orion Press

This is one of the longest scripts at 73 pages, but is relatively the same as aired, just pruned of much excessive dialogue and some fairly lame attempts at banter between Kirk and Spock:

Kirk looks at Spock... too damned efficient sometimes, that Spock.

                                                        KIRK
                                                  (quietly)
                                       Mister Spock?

                                                        SPOCK
                                       Sir?

                                                        KIRK
                                                  (private aside)
                                       I've been on Vulcan, Mister Spock.
                                       Tell me...why do they bother to
                                       put erasers on pencils?

                                                        SPOCK
                                       A courtesy to Earth visitors, sir.

This was a candidate for the second pilot, so the draft probably still retains much of what was written a year earlier. 

We do learn that Harry Mudd is 47 years of age, and was born on Antares Pi Four. The nice little "They'll throw away the key!" bit is not in this script. 

Spock pointed a handheld device at Mudd which was tied into the computer, and it determined his identity from that "scan." 

At one point there must have been a fourth woman, as one scene leaves in a mention of one named "Trina" (in addition to the other three). 

Sulu calls Farrell "James-O," instead of "Johnny-O." 

Act III is much longer, and structured differently than the aired episode. Childress and Gossett come aboard, then we cut to the women and Mudd looking for the Venus Drug, then we cut to the surface of Rigel 12, and Kirk, Mudd, Spock and the women beam directly into the miners' headquarters, and Childress has the "welcome, ladies," line, then the act ends. 

In the aired version, the women meet Childress and Gossett on the Enterprise, and the frantic hunt for the drug comes at a different time.

Image courtesy of Trek Core.

This article was originally published by Orion Press and is reprinted by permission of publisher Randall Landers. All rights revert to the original authors.

Tuesday, May 31, 2016

On Credits and Creators: Star Trek's Evolving Main Titles

Still from Star Trek's first season main title sequence (1966-67)
This piece is in response to several passages by Marc Cushman and Susan Osborn about Star Trek’s opening credits, the first found in These Are The Voyages — TOS: Season One:
Since it was now known that either this episode [“The Man Trap”] or “Charlie X” -- the only two episodes ready, other than the second pilot film -- would be the first to air, Roddenberry arranged for the opening title credit on both episodes to read “Created by Gene Roddenberry.” After these two programs, and some pressure from the studio, his name did not appear in the opening title sequence...until the next season, when this became the norm.
--Marc Cushman with Susan Osborn, These Are The Voyages — TOS: Season One (First Edition, August 2013), p.175
Cushman and Osborn do not precisely establish when Roddenberry allegedly arranged for his “created by” credit to be added to the main titles of these two episodes. However, it would have to have been sometime after August 4, 1966, when "Charlie X" was still being slated to air sixth, according to an airdate memo sent from Bob Justman to Gene Roddenberry:
As per our discussion earlier today, herewith follows our date schedule for STAR TREK:
     1) "THE MAN TRAP"   9-8-66
     2) "THE CORBOMITE MANEUVER"   9-15-66
     3) "MUDD'S WOMEN"   9-22-66
     4) "THE NAKED TIME"   9-29-66
     5) "WHERE NO MAN HAS GONE BEFORE"   10-6-66
     6) "CHARLIE X"   10-13-66
     7) "BALANCE OF TERROR"   10-20-66
     8) "THE ENEMY WITHIN"   10-27-66
Needless to say, after the first two shows on the air, the balance of this schedule would be tentative and subject to change.1
Two details, however, suggest that Cushman and Osborn are referring to a date several weeks later than August 4, 1966. First, “Charlie X” wasn’t actually ready to air until sometime after August 29, 1966 — production status reports indicate it was still being scored and dubbed on that date. Second, those same production status reports indicate that “Where No Man Has Gone Before” was being re-cut as of August 29, 1966, and therefore it wasn’t ready to air, either.

The authors elaborate upon this account in their follow-up book, These Are The Voyages — TOS: Season Two:
In another attempt to keep Leonard Nimoy from getting too much credit, a change was made to the opening title sequence. Gene Roddenberry’s name now came before Nimoy’s. “Star Trek...created by Gene Roddenberry...starring William Shatner...and Leonard Nimoy as Mr. Spock.” And the creator’s name would return at the end of the episode, as Executive Producer.
Herb Solow said, “I again marveled at [Gene’s] seemingly unending drive to fashion himself the single master, the absolute proprietor of Star Trek.”
Roddenberry later said, “It was done that way with many shows from that period. Still is. The Fugitive was a Quinn Martin Production -- stated in the opening titles, not only with a separate [title] card but with Bill Conrad’s voiceover. All QM shows opened that way. Irwin Allen took acknowledgement in the opening titles of his shows. The main title sequence of Star Trek was designed that way at the start of the first year, but, after two episodes [“The Man Trap” and “Charlie X”] I took my name off. Having that credit seemed to bother certain people. With the second year, I had it put back in. And it still bothered certain people. Perhaps my name shouldn’t have been in the titles at all -- front or closing. Just Desilu and NBC. They would have still found something to complain about.”
--Marc Cushman with Susan Osborn, These Are The Voyages — TOS: Season Two (eBook Edition, March 2014)
The proposition that Roddenberry's season two credit was altered to put Leonard Nimoy in his place appears to entirely be the invention of Cushman and Osborn. Neither their interview with Roddenberry, nor the archival record, supports this speculation. I must also point out that the Herb Solow quote used in this passage doesn’t have anything to do with Roddenberry’s “created by” credit in the main titles. It’s been quoted, out of context, from a section of Inside Star Trek: The Real Story that pertains to Roddenberry taking fifty percent of Alexander Courage’s performance royalties for the Star Trek theme music:
With Gene taking half of Sandy's sole credit and royalty, I again marveled at his seemingly unending drive to fashion himself the single master, the absolute proprietor of Star Trek. I'm not sure Gene ever realized the result of his actions.
- Herbert F. Solow, Inside Star Trek: The Real Story (1996), p.185​
Since the Solow quote is completely unrelated to the matter, it appears that These Are The Voyages’ principal source regarding the evolution of Star Trek’s opening credits is an interview Cushman conducted with Roddenberry in either 1982 or 1990 (the book’s citation is unclear about the date). Unfortunately, little of what Cushman and Osborn assert in this case is corroborated by the archival record. In fact, much of what Roddenberry recounts to Cushman, and what Cushman and Osborn assume based upon this recollection, is actually contradicted by the archival record.

The paper trail begins with a June 6, 1966 memo from Shirley Stahnke to Bernie Weitzman (with Gene Roddenberry on carbon copy), which outlines the studio’s contractual obligations in terms of screen credit. Relevant to this discussion are the following notes:
GENE RODDENBERRY: Gene Roddenberry shall receive separate card ‘Created By’ credit and separate card as Producer or Executive Producer among major credits (may be combined if Norway elects).
WILLIAM SHATNER: First star billing on a separate card; such billing will be on main titles but not necessarily above the title. If any other performer receives billing on main and end titles, then Shatner will receive like billing.
LEONARD NIMOY: Co-starring as Mr. Spock or Also starring as Mr. Spock, on a separate card in first position to all other regular performers, is no less than 75% of the size and type afforded star.2
This memo appears to have been overlooked when Bob Justman created a tentative format for Star Trek’s credits and sent them to Gene Roddenberry on July 29, 1966, since he did not properly afford the “co-starring” or “also starring” billing contractually due to Leonard Nimoy. Perhaps this was because Justman had not been on copy on Stahnke’s earlier memo; perhaps these facts had simply been forgotten in the intervening weeks since that earlier memo was sent.
Bob Justman’s tentative main titles (July 29, 1966)
In the memo attached to these credits, Justman wrote:
Attached you will find tentative format and Main and End Credits for STAR TREK.
Please favor me with any comments you might care to make.3
A memo from the week before — July 22, 1966 — went into specific detail about each shot in the main titles, including the “created by” credit:
Panel 5: as the ship passes the razzle dazzle becomes STAR TREK by panel 7. As STAR TREK is ready to recede (quartering angle going away) in panels 8 & 9, "Created by" credit comes on.4
On August 5, 1966, someone — probably Roddenberry — fired off a list of editing comments regarding the main titles. The memo said, in part:
We have no ship passage before the “created by” credit. Suggest we consider doing it as done in the original pilot titles where “created by” credit dissolved in under the STAR TREK.
Would like “Gene Roddenberry” on “created by” credit diminished in size. (This is being done.) STAR TREK can be held a little longer and remain larger than the “Gene Roddenberry” credit.6
This paperwork indicates that Roddenberry’s “created by” credit was intended for every episode of the first season — not simply the first two to air — and that this credit was determined at least seven weeks prior to the broadcast premiere of the series, not less than two, as implied in These Are The Voyages. These credits match the main titles that were originally aired for “The Man Trap” on September 8, 1966 (these credits are reproduced on most DVD releases of the series, although they have been changed for the Blu-Ray version to match the main titles as they appear later in season one).
Original main titles from "The Man Trap" (September 8, 1966)
We know the main titles that appear for “The Man Trap” on DVD were those that originally aired because they match the episode’s revised credits memo dated August 8, 19665:
Revised credits for “The Man Trap” (August 8, 1966)
The paperwork at UCLA, including the following credits memo for “Mudd’s Women” (by this date, it was slated to air fifth), confirm that Roddenberry’s “created by” credit was still being included in credit memos issued as late as August 23, 1966:
Credits for Mudd’s Women (August 23, 1966)
This credits memo7 also indicates the first of several changes to the main titles — as penciled into this document, "starring" billing was added to William Shatner's credit, a change which began with the broadcast of “Where No Man Has Gone Before” on September 22, 1966. This change in billing may have been contractual, but since Shatner’s contract does not survive in the UCLA files, I can only offer this as one possible explanation. To date, I have found no documentation in the show files that offers a more concrete answer.

The credits were changed again on August 26, 1966, when Bernie Weitzman sent Gene Roddenberry an urgent memo following a phone call with Joe Youngerman, the executive secretary of the Directors Guild of America:
Please be advised that I called Joe Youngerman yesterday regarding a waiver under the credit provisions of the DGA agreement with reference to the opening titles whereby “Created By” credit is given to you and without affording Director’s credit on the opening titles.
It was the DGA’s decision through Mr. Youngerman that no waiver will be granted to any studio in such a case. He would be happy to meet with you and discuss your thoughts as a courtesy but he emphatically denied my request for a waiver.
Therefore, we must revise the opening titles by either moving the “Created By” credit into the end titles and only retain the stars and/or guest stars’ names or move the Director’s credit into the main titles and therefore move up the Writer’s credit as well.
This must be done immediately.8 
Two decades after the fact, Roddenberry recalled that his “created by” credit had bothered “certain people” at the studio and the network, but in fact Desilu and NBC had approved the show’s credits, and no objection from either party survives in the show files at UCLA. In actuality, it was the Directors Guild of America's objection that ultimately led to a change in the main titles, due to the fact that a “created by” credit without the “directed by” credit in the main titles violated their basic agreement at that time.

“The Man Trap” and “Charlie X” were too far along in post-production to have their credits changed, but beginning with “Where No Man Has Gone Before” and continuing for the remainder of the first season, Gene Roddenberry would no longer be credited as the creator of Star Trek in the show’s main titles. Instead, this credit was shifted to the end of Act IV and, later, to the show’s end credits.

Act IV title card from “The Menagerie, Part II” (November 24, 1966)
End title card from “The Squire of Gothos” (January 12, 1967)
As a result of all these changes, for one broadcast, Star Trek's main titles were changed to the following format:
Original main titles from "Where No Man Has Gone Before" (September 22, 1966)
Two and a half weeks later, on September 13, 1966, Bob Justman sent Ed Perlstein a memo indicating the main titles would have to be changed again, this time to accommodate a revised credit for Leonard Nimoy:
As per our discussion this morning, we are requesting a change in the Third Card on the STAR TREK Main Title. The Third card presently reads: “LEONARD NIMOY as Mister Spock.”
From now on, starting with the fourth show on the air entitled, “THE NAKED TIME”, #6149-7, and for all succeeding shows, the copy of the Third Card of the Main Titles is to be changed as follows:
          Also Starring
          LEONARD NIMOY as Mister Spock     (75%)
Please note that Leonard’s credit is to be no more than 75% of the type that we afford to William Shatner.
I have already spoken to Bill Heath about this change and he will get right to work on it.
Insofar as Bill and I can determine at present, we will not be able to change the Credits prior to air on the show entitled ‘WHERE NO MAN HAS GONE BEFORE’. However, when we get ‘THE MAN TRAP,” “CHARLIE X” and “WHERE NO MAN HAS GONE BEFORE’ back from the network after their air dates, we shall at that time effect the Main Title changes in the event of re-runs. They’re going to have to be changed anyway, so that the ‘Created by’ Credit of Gene Roddenberry will be coming out to satisfy the Director’s Guild.”9
Although left unsaid in the memo, this change must have happened because either Justman or someone else with the production was reminded of their contractual obligation to Nimoy. Therefore, beginning with “The Naked Time,” and continuing for the rest of Star Trek’s first season, the opening titles now appeared like this:
Original main titles for “The Naked Time” (September 29, 1966)
The main titles, as Cushman and Osborn correctly point out, were changed again at the beginning of the second season. Regarding the way screen credit would be presented that year, Bob Justman sent a memo to Gene Roddenberry on April 6, 1967, which said:
I have had our contractual obligations researched by the Legal Department and can discover no objection to giving DeForest Kelley on our new Main Title. In addition, I have checked with Stan Robertson and he assures me that NBC welcomes the idea, as they think very highly of DeForest Kelley and the character he has helped create. Therefore, we can carry out our intention to give DeForest Kelley credit on our new Main Title for next season. 
In addition, there is no objection from the Writers Guild, the Directors Guild or NBC with regard to the way we wish to give our Directing, Writing and Producing Credits next season. Therefore, as per our previous discussion, the Writing Credit for the shows next season will appear on the same card as the Episode Title at the beginning of Act I. It will be followed immediately by the Directors Credit Card. There will be no further credits at this part of the show and the Producer’s and Executive Producer’s Credits will come as before at the end of Act IV. Of course, we must be careful about the use of Narration at the head of Act I, as it should not start until all visual credit material has disappeared from the screen.10
Cushman and Osborn quote the first paragraph of this memo in These Are The Voyages — TOS: Season Two when discussing DeForest Kelley's addition to the main titles (more on this in a bit). However, they completely neglect the second half of the memo, which begins to explain why Star Trek's main titles were not simply revised to include the writing and directing credits at the beginning of Act I during the rest of the first season (something another Desilu show, Mission: Impossible, did during many of its episodes, apparently without complaint from the DGA, during the 1966-67 broadcast season).
Main titles for Star Trek's second season (1967-68)
A later memo, sent from Justman to Marc Daniels and Joseph Pevney on April 18, 1967, further illuminates the issue:
We wish to acquaint you with some information about a slight change in format for "STAR TREK" this coming season. In the past, we have had to allow sufficient footage at the beginning of Act I, so that we could superimpose the episode title immediately after FADING IN. In addition, any Captain's Log Narration has had to wait until after the episode title. This coming season, in addition to the episode title at the beginning of Act I, we shall be superimposing the writers credit and the directors credit. Since we shall probably be carrying the writers credit on the same card with the episode title, this means that most of the time we shall only be having to handle a total of two cards, rather than one card, at the beginning of Act I. I would guess that allowing an additional footage of about ten feet would be sufficient to handle this requirement.11
Allowing for two extra title cards at the beginning of Act I would have required more footage to ensure that the writing and directing credits were not run over close-ups or dialogue. If Act I quickly began with voice over narration, even more padding would be needed, since Justman wanted to hold any narration until the credits had finished (this would have been a problem with Kirk's Act I captain's log in "The Corbomite Maneuver," just to name one example). In some cases, the extra footage needed may have been unavailable; by the time the Directors Guild of America's complaint was received, eleven first season episodes (plus the first pilot) had already been filmed. Shifting the "created by" credit to the end titles or combining it with Gene Roddenberry's "produced by" credit at the end of Act IV were far more economical options than re-editing the first act of nearly a dozen shows, some of which needed to be delivered to NBC immediately.

Regarding DeForest Kelley's addition to the second season main titles, Cushman and Osborn write, in part:
On December 1, 1966, Justman wrote Roddenberry, stating his desire to provide Kelley with better compensation, including a more visible credit, “because of the performance he gives us” and because Kelley was “one helluva nice guy.” Justman added, “He has been more than the kindly ship’s doctor to all of us...”
Kelley’s agent found a way to get his client compensation beyond co-star billing. Star Trek quietly raised the good doctor’s salary from $850 to $1,250 per episode.
--Marc Cushman with Susan Osborn, These Are The Voyages — TOS: Season Two (eBook Edition, March 2014)
Discussing the same memo from Justman, as well as Kelley's subsequent salary bump, biographer Terry Lee Rioux presents a much different account from the one found in These Are The Voyages:
On December 1, 1966, Justman wrote to Roddenberry that he was way ahead of De's agent, Jimmy McHugh, Jr., because Justman himself had ensured that DeForest received better credit than he was actually contracted for. This, Justman wrote, was "because of the performances he gives us" and because Kelley was "one helluva nice guy. He has been more than the kindly ship's doctor to all of us." Justman and Roddenberry found a way to compensate Kelley before costar billing was possible. They quietly raised his salary to about $2,500 per show.
--Terry Lee Rioux, From Sawdust to Stardust: The Biography of DeForest Kelley, Star Trek's Doctor McCoy (2005), p.158-159
Neither account is entirely accurate. Cushman and Osborn's claim that Justman's December 1, 1966 memo indicated "his desire to provide Kelley with better compensation," is without any basis in fact. In actuality, Justman's three page memo to Roddenberry is entirely about billing — not once does the matter of compensation arise. Additionally, Cushman and Osborn's claim that Justman expressed a desire to give Kelley "a more visible credit" in this memo is also untrue. Justman's memo, part of which I have excerpted below, is actually a thorough defense of the billing DeForest Kelley had been receiving during the first season, not a plea for improved credit:
Had Stanley Lieberman or DeForest Kelley been watching our show every Thursday night, they would notice that in almost every instance DeForest has had better credit than we were contractually obligated to furnish him. As far as I am concerned, I would not change DeForest Kelley's contract at present in any way whatsoever. Granted he has been wonderful and is a wonderful person. But option time will come up and at that time I think we should get into it. I shall now list below a resume of the screen credit that DeForest has received to date and will be receiving in the future...
I think you will agree with me that we have been more than fair and actually have been way ahead of DeForest's agent in every respect. I, Bob Justman, have personally seen to it that DeForest received better credit than he was contractually entitled to. I have done this for several reasons. The most important reason is I felt that he deserved it because of the type of performance he gives us. Another reason, which may be just as important or perhaps more so, is the fact that DeForest Kelley is one helluva nice guy. He has been more than the kindly ship's Doctor to all of us. And we wanted him to know without making a special point of it that we appreciated what sort of person he is.
I do feel that it's about time that his agent realized what sort of people we are.12
Given the fact that their only quotes from this memo are also found in From Sawdust to Stardust, as well as the fact that they completely mischaracterize the content of the memo, I suspect Cushman and Osborn never actually read the original document.

Regarding the matter of compensation, Kelley did receive an unscheduled raise, but this happened in March of 1967 — alongside his promotion to the main titles, not before it, as claimed be Lee Rioux. Moreover, Kelley's salary for Star Trek never amounted to the $2,500 figure quoted in From Sawdust to Stardust. Terry Lee Rioux may have been confused by a May 6, 1968 memo13 from Marvin Katz to Howard Barton, which quoted that amount if the series went to a potential fourth season:
Memo from Marvin Katz to Howard Barton (May 6, 1968)
Incidentally, this memo indicates that Kelley's promotion to the main titles was not contractual until the show's third season. During Star Trek's second season, the producers were only obligated to give the actor "featured billing...on a separate card."14
Memo from Ed Perlstein to Shirley Stahnke (March 20, 1967)
Finally, These Are The Voyages correctly notes that Kelley's salary was raised to $1,250 per episode for Star Trek's second season, although the authors make this raise sound much more dramatic than it was by omitting the fact that Kelley's contract already mandated an increase to $1,100 per episode.
Main titles for Star Trek's third season (1968-69)
Beginning with Star Trek's second season, the show's credits became more or less standardized. During the third season, the typeface went from gold to blue, but the main titles were otherwise the same, at least visually. It's harder to evaluate the ways the main titles changed in terms of sound, due to the inaccurate ways the show's sound mix has been presented on home video, but that is a topic for another time.

Special thanks to Neil B., George N., and Maurice M. for reading various drafts of this piece. Any errors that remain are entirely my own.

Endnotes:

1 Memo from Bob Justman to Gene Roddenberry, August 4, 1966, Gene Roddenberry Star Trek Television Series Collection,  Box 27, Folder 2

2 Memo from Shirley Stahnke to Bernie Weitzman, June 6, 1966, Gene Roddenberry Star Trek Television Series Collection,  Box 27, Folder 18

3 Memo from Bob Justman to Gene Roddenberry with tentative credits attached, July 29, 1966, Gene Roddenberry Star Trek Television Series Collection,  Box 27, Folder 18

4 Projection Room Notes - Star Trek - Opticals, Star Backgrounds, Miniatures, Titles, July 22, 1966, Gene Roddenberry Star Trek Television Series Collection,  Box 27, Folder 18

5 Revised credits memo for “The Man Trap,” August 8, 1966, Gene Roddenberry Star Trek Television Series Collection, Box 1, Folder 9

6 Editing Notes on Star Trek Main Title, August 5, 1966, Gene Roddenberry Star Trek Television Series Collection, Box 27, Folder 18

7 Credits memo for “Mudd’s Women,” August 23, 1966, Gene Roddenberry Star Trek Television Series Collection, Box 2, Folder 8

8 Memo from Bernie Weitzman to Gene Roddenberry, August 26, 1966, Gene Roddenberry Star Trek Television Series Collection, Box 27, Folder 18

9 Memo from Bob Justman to Ed Perlstein, September 13, 1966, Gene Roddenberry Star Trek Television Series Collection, Box 27, Folder 18

10 Memo from Bob Justman to Gene Roddenberry, April 6, 1967, Gene Roddenberry Star Trek Television Series Collection, Box 27, Folder 18

11 Memo from Bob Justman to Joe Pevney and Marc Daniels, April 18, 1967, Gene Roddenberry Star Trek Television Series Collection, Box 27, Folder 18

12 Memo from Bob Justman to Gene Roddenberry, December 1, 1966, Gene Roddenberry Star Trek Television Series Collection, Box 28, Folder 15

13 Memo from Marvin Katz to Howard Barton, May 6, 1968, Gene Roddenberry Star Trek Television Series Collection, Box 28, Folder 15

14 Memo from Ed Perlstein to Shirley Stahnke, March 20, 1967, Gene Roddenberry Star Trek Television Series Collection, Box 28, Folder 15

Sources:

The Gene Roddenberry Star Trek Television Series Collection (1964-1969)

Inside Star Trek : The Real Story (Herbert F. Solow and Robert H. Justman, 1996)

From Sawdust to Stardust: The Biography of DeForest Kelley, Star Trek's Doctor McCoy (Terry Lee Rioux, 2005)

These Are The Voyages: TOS, Season One (Marc Cushman with Susan Osborn, 2013)

These Are The Voyages — TOS: Season Two (Marc Cushman with Susan Osborn, March 2014)

Sunday, May 15, 2016

D.C. Fontana’s Story Outlines for “The Enterprise Incident”

Still from "The Enterprise Incident" (September 27, 1968)
In These Are The Voyages — TOS: Season Three, authors Marc Cushman and Susan Osborn make a number of claims about the story outlines D.C. Fontana wrote for “The Enterprise Incident” in early 1968. For the purposes of this piece, I am focusing on the following passage:
“Ears” was one of four assignments Roddenberry had given Fontana on March 29. The others – “Joanna,” “Survival,” and “Van Vogt’s Robots” -- were not tied to a breaking news event, therefore less time urgent.
NBC had no problem with Star Trek exploiting a real life news story for a higher Nielsen share as long as the approach was pro-American, and so the network representatives agreed the script should be developed quickly. All haste was recommended -- the Pueblo crisis was already into its third month.
Fontana made the necessary changes and sent in her revision, dated April 19. Sarek was out and Spock was now the one negotiating with the Romulan commander (still a male), looking to buy time and distract the enemy long enough to allow Kirk to complete the covert mission.
It was now clear from the get-go that Kirk was up to something in letting the Enterprise enter the Neutral Zone. Many aspects of the story structure were in fact now very much like the episode to be produced. And, with network permission to parallel “The Pueblo Incident,” as the news services were now calling it, the title of Fontana’s story was changed to the more obvious “The Enterprise Incident.” 
Three days later, on April 22, at Freiberger’s request, Fontana created a 2nd Revised Outline, establishing that the Romulans now use Klingon-made ships.
--Marc Cushman with Susan Osborn, These Are The Voyages — TOS: Season Three (eBook Edition, April 2015)
Almost immediately, Cushman and Osborn misrepresent the details here. To start with, Fontana’s third season story assignments were handed out on February 21, 1968 — not March 29. For the latter date to be correct, it would mean that Fontana pitched and sold four stories to Star Trek, then turned around and wrote and submitted a sixteen page outline for "The Enterprise Incident," all in a single work day. Not only does the paperwork not support such a rushed timeline (a third season writers report1 indicates the February 21 date), but Cushman and Osborn contradict themselves when discussing “That Which Survives” in a subsequent chapter:
During a February 21, 1968 pitch session, four of D.C. Fontana’s ideas interested Gene Roddenberry for Star Trek ’s third season. “Van Vogt’s Robots” was jettisoned early on, with nothing being written. “Survival,” “Ears,” and “Joanna,” however, made it to story outline, with “Survival” chosen to be developed first.
--Marc Cushman with Susan Osborn, These Are The Voyages — TOS: Season Three (eBook Edition, April 2015)
If the other three stories were viewed as less urgent than “Ears,” Fontana had a strange way of showing it. As Cushman and Osborn point out in their later chapter, the show files at UCLA indicate Fontana turned in the story outline for “Survival” first, on March 9, 1968, more than three weeks before the initial outline for “The Enterprise Incident” was delivered to the studio.

Regarding NBC’s attitude towards the story and its contemporary political parallels, there’s no record of their position in the show files at UCLA. What the authors present in that regard is pure speculation. As to whether or not the network wanted the episode developed quickly, there is an April 3, 1967 memo from Roddenberry to Freiberger, which asks:
We should check out with Stan Robertson of NBC whether or not this has promotion possibilities, too, and if so, should we lay it in early in our schedule to get Dorothy to work on it before other scripts?2
NBC's reply to Roddenberry's inquiry is not recorded in the show files, but the episode did become the first one Fontana took to teleplay for the third season, and it was slated to film fourth, early in the season.

It is true that Sarek had been featured in Fontana's first draft story outline for the episode, dated March 29, 1968:
Sarek appears in D.C. Fontana's first draft story for "The Enterprise Incident" (March 28, 1968)
It is also true that Sarek was dropped from the story after this draft. However, it is not true that Fontana's first draft story outline was titled "Ears." That had been her title when the story outline was assigned on February 21, 1968, but by the time Fontana delivered her first draft on March 29, 1968, the title had been changed to "The Enterprise Incident." This can be seen on the outline's cover page (which also indicates "Ears" as an earlier title, in pen):
Cover page of D.C. Fontana's first draft story for "The Enterprise Incident" (March 28, 1968)
It is true that the Romulan Commander was still male at this stage in the story's development; the character wouldn't become female until the episode went to teleplay, as this page from Fontana's final draft of the story outline shows:
Detail from page 3 of D.C. Fontana's second draft story for "The Enterprise Incident" (April 22, 1968)
However, it is absolutely untrue that Fontana wrote a revised draft of the script on April 22 at Fred Freiberger's request. The April 22nd "draft" did not establish "that the Romulans now use Klingon-made ships," either:
Comparison showing April 19 and April 22, 1968 "drafts" in fact have identical text
I use the word "draft" in quotes because it's clear, after comparing the two documents, that their text is in fact identical — they are the exact same draft. What appears to have happened is that Fontana completed her story outline on April 19 (a Friday) and sent it to the studio, where it was delivered on April 22 (the following Monday). In fact, you can see that delivery date stamped on the cover page of the April 19 version below:
Cover page of D.C. Fontana's 2nd draft outline of "The Enterprise Incident" (April 19, 1968)
As was often the case, upon receipt, Fontana's draft was re-typed in a standardized format. Apparently, when Cushman and/or Osborn read these story outlines, they did so without paying any attention to detail. The result is a chapter that provides incorrect dates, a wrong title, and invents details that are not supported by the archival record. These types of lapses are, frankly, inexcusable, especially from a pair of authors who want to be taken seriously as archival television historians.

Top image courtesy of Trek Core.

Update: The original version of this post included a photograph of Fontana's April 22, 1968 story outline that did not identify the Romulan Commander's gender, despite my text to the contrary. This has been corrected. Thanks to author Christopher L. Bennett for pointing out this error.

Endnotes:

1 Writers Report, March 29, 1968, Gene Roddenberry Star Trek Television Series Collection, Box 35, Folder 15

2 Memo from Gene Roddenberry to Fred Freiberger, April 3, 1967, Gene Roddenberry Star Trek Television Series Collection, Box 21, Folder 7

Tuesday, April 5, 2016

Second Pilot Episodes Before Star Trek?

Still from an unaired, early version of 'Where No Man Has Gone Before' (1965)
According to behind-the-scenes lore, when Desilu produced 'Where No Man Has Gone Before' in 1965, it marked the first time a second television pilot was produced for a single series. Like many bold claims about Star Trek, this one seems to have began its life in the pages of Stephen Whitfield and Gene Roddenberry's The Making of Star Trek (1968):
NBC shattered all television precedent and asked for a second pilot. This caused quite a stir within the industry, because up until that time no network had ever asked for a second pilot. 
--Stephen Whitfield and Gene Roddenberry, The Making of Star Trek (1968), p.126
To be fair to Whitfield (the nom de plume of Stephen Edward Poe, who shared credit with Gene Roddenberry, but wrote most of the book himself), he wasn't claiming that a second television pilot had never been produced for the same property before — only that, prior to Star Trek, no television network had ever asked for a second pilot episode after rejecting the first one.

In the years since Whitfield's book was first published, however, the record-setting mythology about Star Trek's second pilot episode has only grown. By the time The Making of Star Trek—The Motion Picture (1980) was published, Star Trek's second pilot episode had become unprecedented in and of itself (for now, I'm ignoring the other inaccuracies in this passage):
After knocking on all the doors in town, he [Roddenberry] eventually got Desilu Studios to put up the money for the first Star Trek pilot, “The Cage.” It was rejected by all three networks. Later, an unprecedented second pilot was ordered (“Where No Man Has Gone Before”), and NBC added Star Trek to its fall lineup for 1966.
--Susan Sackett and Gene Roddenberry, The Making of Star Trek—The Motion Picture (1980), p.9*
Although I believe this was the first time that Star Trek's second pilot episode was described as being "unprecedented," it was hardly the last. These are just some of the examples I found with the help of Google Books:
After spending $630,000 on "The Cage," NBC felt the series format deserved a second chance. For the first time in television history, a second pilot was commissioned. Amid the chatter of disbelief within the industry, NBC let Roddenberry and Desilu know that some changes had to be made in the "Trek" format.
-Allan Asherman, The Star Trek Compendium (second edition, 1986), p.17 
The pilot was submitted to NBC in February, 1965. They rejected it. But the project wasn't canned; NBC still saw promise in the series and authorized an unprecedented second pilot—including an almost entirely new cast. 
--Author Unknown, Uncle John's Bathroom Reader (1988), p.86 
However, instead of dumping the project, NBC did the unprecedented, giving Gene the go-ahead to film a second pilot that they hoped would be more appealing to the network’s sensibilities. 
--William Shatner with Chris Kreski, Star Trek Memories (1993), p.66 
However, the executives were impressed enough by Roddenberry's efforts to make an unprecedented request for a second pilot, a more adventurous story by Samuel A. Peeples called "Where No Man Has Gone Before." 
--Jeff Bond, The Music of Star Trek: Profiles in Style (1999), p.14
NBC then made the unprecedented decision of asking Roddenberry to shoot a second pilot, but with changes... 
--David J. Shayler and Ian Moule, Women in Space: Following Valentina (2005), p.146
But they [NBC] requested a second pilot. This was unheard of in NBC history.
--D.C. Fontana, Star Trek 365 (2010), from the book's introduction
NBC executives were impressed enough with "The Cage," Star Trek's rejected original telefilm, that they took the unprecedented step of ordering a second pilot rather than abandoning the concept. 
--Mark Clark, Star Trek FAQ: Everything Left to Know About the First Voyages of the Starship Enterprise (Kindle Edition, April 2012)
Roddenberry was hoping Mort Werner was going to make good on his word and order a second pilot, even though such a thing had never before been done. 
--Marc Cushman with Susan Osborn, These Are The Voyages — TOS: Season One (First Edition, August 2013), p.199.
Still from 'Where No Man Has Gone Before' (1965; broadcast 1966)
Like any oft-repeated claim about Star Trek breaking television precedent, I have to ask the question — is any of it true? Did 'Where No Man Has Gone Before' mark the first time a series had a second pilot episode? Was NBC the first television network to order a second pilot after rejecting the first one? Did the move cause "quite a stir within the industry," as first claimed in The Making of Star Trek?

Contemporary accounts in newspapers and trade magazines are helpful in answering these questions. Consider the following, from the Los Angeles Times:
Desilu is reshooting two pilot films. Star Trek, which reportedly cost $500,000 the first time around, is being filmed again without Jeffrey Hunter. The Good Old Days is undergoing script and premise revisions and will be shot a second time with another actor replacing Darryl Hickman.
--Inside TV: Eddie Albert to Play Rural Lawyer, Los Angeles Times (May 3, 1965), p.D28
The passage above was not the lead in the newspaper's regular "Inside TV" column — that was dedicated to announcing the series that would become Green Acres (1965-71). The news about Star Trek's second pilot was buried in the column's fourth paragraph and, notably, was announced alongside the news that another Desilu program for NBC was also receiving a second pilot and recasting its lead.

Nine days later, Weekly Variety covered the same story in a little more detail:
Two Desilu pilots shot for next season, but not sold, may yet be aired. 
NBC-TV has okayed production of a second seg of "Star Trek," hour-long sci-fi series, and William Shatner will replace Jeffrey Hunter as the lead in this projected series. Web has also okayed three more scripts, and is interested in "Trek" for a mid-season or 1966-67 start. Second seg rolls around July 5, with Gene Roddenberry, who produced the first one, producing it. 
Second Desilu pilot involved is "The Good Old Days," half-hour comedy starring Darryl Hickman. NBC-TV, for which it was made, and Desilu execs are talking of the possibility of reshooting this pilot, and there may be a change in its cast if this is done. 
--'Definite Maybe' for 2 Unsold Desilu Pilots, Weekly Variety (May 12, 1965), p.167
Buried on the bottom of page 167, the news about Star Trek wasn't treated as a prominent story by Weekly Variety, either. And, once again, it was covered alongside the news that another Desilu series for NBC was being slated for a second pilot. In light of this information, the claim that 'Where No Man Has Gone Before' was causing "quite a stir within the [entertainment] industry" seems rather dubious at best.

Having established these facts, however, I could find no evidence in the Hollywood trades that a second pilot was actually produced for The Good Old Days, a proposed half-hour sitcom "about a caveman who goes searching for adventure." Does that mean 'Where No Man Has Gone Before' really was the first time a second pilot was produced for a single series — or, at least, the first time the same network ordered a second pilot after rejecting the first one?

After further research, I'm sorry to report that the answer is a resounding no — not even close. What follows is a chronological list of ten pilot episodes that were rejected, but followed by a second pilot episode. Not all of these second pilots became series (like all television pilots, many didn't sell), but all of them were produced before Gene Roddenberry began developing Star Trek at Desilu.

This list should not be viewed as comprehensive, as my research into this area has been far from exhaustive. If there are other programs with second (or even third) pilot episodes that do not appear here — especially if they were produced before 1965 — I would love to hear about them in the comments section below.

Still from Lum and Abner's second pilot (CBS, 1949)
Lum and Abner (Pilots: 1948, 1949, 1951, 1956)

The earliest program with a second pilot on this list is Lum and Abner, an attempt by CBS to translate their successful radio program into a weekly television series:
The first Lum and Abner TV pilot was filmed for CBS in 1948 and tried to emulate the daily fifteen-minute format of the radio show...CBS president William S. Paley supposedly like it but felt that the market for fifteen-minute television programs was rapidly going to disappear. He commissioned a second pilot, which was filmed during the summer of 1949. 
--Tim Hollis, Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century (2008), p.148-149
The first Lum and Abner pilot is not available, but the second pilot can be seen online. Surprisingly, after rejecting the second, half-hour pilot late in 1949, CBS decided to try again and made a third television pilot about a year later:
A third Lum and Abner pilot actually made it onto CBS' airwaves in February 1951...Although the pilot received favorable reviews after its airing, it still did not lead to a series. 
--Tim Hollis, Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century (2008), p.149-150
A few years later, a fourth attempt to launch a Lum and Abner television series resulted in three half-hour episodes filmed in late 1954 and early 1955, but these trio of pilots for a proposed series were never broadcast. Instead, they were hastily spliced together into Lum and Abner Abroad (1956), which was released theatrically to poor reviews.

Still from The Great Gildersleeve television series (1955-56)
The Great Gildersleeve (Pilots: 1954, 1955)

Like Lum and Abner, The Great Gildersleeve was an attempt to bring a successful radio program to television. After showing their first pilot episode in 1954, NBC announced they were commissioning a second pilot:
Apparently dissatisfied with audience reaction to its "Great Gildersleeve" pilot film, NBC yesterday announced that it has signed producer Robert S. Finkel to film a new pilot for the long-time radio program.
"Gildersleeve was previewed twice on the net this fall in order to gauge viewer response. The second pilot film, also starring Willard Waterman, will first be aired on January 6.
--NBC Sets New 'Gildie' Pilot, The Billboard (December 25, 1954), p.7
The Great Gildersleeve's second pilot led to a weekly series, but it struggled to replicate the success of the radio show, and was finally cancelled after one full season on NBC.

Still from Fibber McGee and Molly (second pilot, 1959)
Fibber McGee and Molly (Pilots: 1954 and 1959)

Fibber McGee and Molly was also a popular radio program, broadcast on NBC from 1935 until 1959. NBC twice attempted to develop the property for television. Their first effort was a half-hour pilot produced in early 1954:
NBC signed Frank Tashlin to produce and direct a pair of pilot telefilms for the "Fibber McGee and Molly" and "Great Gildersleeve" shows which the network owns. He reports next week and expects to finish the assignment by the end of February.
--NBC Sets Tashlin To Guide Telepix On 'Fibber' & 'Gildersleeve, Weekly Variety (January 13, 1954) p.26
Variety reported that sponsors were bidding on the pilot in May of 1954, but a series failed to materialize. Two years later, Weekly Variety reported that a second pilot was in the works:
Jim and Marion Jordan are once again interested in a television version of "Fibber & Molly" and a second pilot may be coming along soon...
--From the Production Centres, Weekly Variety (March 21, 1956), p.30
Interest, apparently, took a while to develop into action, but three years later the second pilot was finally ready to go before the cameras:
As a video entry, F & M will have Bob Sweeney and Cathy Lewis playing the lead roles. Pilot is being shot this month in Hollywood with Bill Lawrence as producer.
--Johnson Wax Still Loves That Fibber, Weekly Variety (March 18, 1959), p.32
The second attempt to bring Fibber McGee and Molly to television was only a little more successful than the first. Although it became a weekly series produced by William Asher for NBC, it only lasted twelve episodes before being cancelled.

Still from Have Camera, Will Travel (second pilot, filmed February of 1956)
Have Camera, Will Travel (Pilots: 1955 and 1956)

Have Camera, Will Travel never became a series, but not before going through two pilot films produced by Hal Roach Studios for NBC. In June of 1955, the first pilot was filmed:
Paul Gilbert pilot, to be filmed by NBC-TV, has been set to roll at Hal Roach Studios on June 6. Program, to deal with the adventures of a pair of photographers, has been titled, "Have Camera, Will Travel."
--NBC-TV Skeds June 6 Start for 'Camera,' The Billboard (June 4, 1955), p.13
NBC rejected this pilot, but ordered a second one:
A second pilot of the Paul Gilbert starrer, "Have Camera, Will Travel," will be shot from a new script, the thinking being that the concept is a sound one but that the first half-hour, lensed at Hal Roach Studios last spring, was mis-written and miscast.
--NBC-TV Bears Down on Color Programs, The Billboard (October 22, 1955), p.14
The second pilot (which guest starred a young Charles Bronson) was filmed in February of 1956, and can be found in three parts on YouTube here, here, and here. Daily Variety reported that this pilot was screened for NBC executives in April of 1956 along with four other potential shows. That screening must have been unsuccessful; afterwards, I can find no mention of the pilot or the proposed series in any of the Hollywood trade papers.

Double Indemnity (Paramount, 1944; source: Filmmaker IQ)
Double Indemnity (Pilots: Unknown and 1963)

I have been unable to find detailed information about the first of these two pilots, but a Weekly Variety story from late 1965 mentions that neither resulted in a series:
U TV has ventured into other Par pix as potential series, but not always with success. It made a pilot based on "Double Indemnity," the Par hit of yesteryear, but it didn't sell. A second pilot of the same property was made last season as a spinoff, but it didn't make the grade either. 
-Universal TV Tries More Old Par Pix as Video Vehicles, Weekly Variety (October 13, 1965), p.34
The spin-off mentioned above was an episode of Kraft Mystery Theater (1947-58), an anthology program which often broadcast potential pilots. Entitled 'Shadow of a Man,' and first aired on June 19, 1963, the pilot was a very loose adaptation of Double Indemnity with Broderick Crawford and Jack Kelly in the roles originated by Edward G. Robinson and Fred MacMurray in Billy Wilder's 1944 film version. This pilot can be viewed in full on YouTube here.

Promotional still for Tombstone Territory (1957-59; source: Shout! Factory)
Tombstone Territory (Pilots: Both 1957)

From 1948 until 1960, Ziv Televisions Program, Inc. was a major supplier of syndicated television, sold directly to local television stations to fill out their schedules outside of prime time. Ziv also employed Gene Roddenberry early in his career, hiring him to write scripts for series including Mr. District Attorney, I Led Three Lives, Highway PatrolDr. Christian, Harbor Command, and West Point.

Beginning in 1956, Ziv also began selling programming directly to the networks, which was the case with Tombstone Territory, a half-hour western that began its life as a pilot called Tombstone in 1957:
Ziv TV today rolls pilot for a new western vidpix series, “Tombstone.” Jan Merlin co-stars with Richard Eastham and Norman Foster directs.
--Daily Variety (February 12, 1957), p.11
Daily Variety later reported that the series had been sold to a sponsor, re-titled Gunfire Pass, and was set to appear on ABC:
“Gunfire Pass,” oater [Western] series starring Richard Eastham, has been sold by Ziv TV to Bristol-Myers, and will be seen on ABC-TV next season....Pat Conway has a featured lead in “Gunfire” series, which will be based on stories of Tombstone, Ariz., produced by Frank Pittman and Andy White. The 89 episodes go into production around the first of June. 
--Ziv Sells 'Gunfire' To Bristol-Myers For ABC-TV, Daily Variety (May 23, 1957), p.9
Although the sponsor (Bristol-Myers) was satisfied with this pilot, apparently ABC had second thoughts, forcing Ziv to produce a second pilot with significant revisions:
Following reshooting and recasting of a pilot nixed by ABC-TV, Ziv TV's second pilot, called "Tombstone Territory," has been okayed by the network and will be seen on ABC next season, with Bristol-Myers sponsoring.
Ziv had originally lensed a pilot called "Town at Gunfire Pass," which BM bought, but ABC termed "unacceptable." As as result, pilot was recast, with Pat Conway, who was second lead in the first pilot, upped to top lead, and the second pilot proved acceptable both to the sponsor and the network. Pilot was directed by Eddie Davis.
Conway plays role of a sheriff of Tombstone, while the crusading editor of the Tombstone Epitaph - originally the lead character - is now relegated to a secondary role. Series will be on Wednesday nights following "Disneyland."
--Ziv Tombstone' Passes Muster After ABC Nix, Daily Variety (August 22, 1957), p.15
Tombstone Territory's second pilot was enough to convince ABC to go forward with the series, which premiered with its second pilot episode on October 16, 1957. ABC eventually broadcast the first pilot (with a new title, 'Guilt of a Town') on March 19, 1958. Tombstone Territory lasted for three seasons and a total of 91 episodes.
Still from Collector's Item (2nd pilot, filmed late 1957)
Collector's Item (Pilots: Both 1957)

The earliest mention of this Vincent Price-Peter Lorre television vehicle I've been able to find is a casting item that appeared in an early 1957 issue of Daily Variety, indicating that the pilot would begin filming on January 29, 1957:
Jockey Billy Pearson has been cast by producer Julian Claman in pilot of "Collector's Item," new telepix series 20th-Fox rolls tomorrow for CBS. Vincent Price, who appeared with Pearson on "$64,000 Challenge" stars in series, as does Peter Lorre.
--Collector's' Mount For Billy Pearson, Daily Variety (January 28, 1957), p.3
Variety followed this story a few weeks later with more detail on the prospective program:
An adventure-comedy series co-starring Vincent Price and Peter Lorre called "Collector's Item." This is a wholly-owned CBS property created by west coast program exec Hunt Stromberg Jr., the idea stemming from the audience excitement generated by Price's recent participation in "$64,000 Challenge" with Edward G. Robinson. However, this one's not a quiz show; strictly comedy with adventure overtones in which Price portrays the owner of a N.Y. art gallery with Lorre as a phony art dealer who goes to work for Price. Web's hopes are particularly high on this one.
--Hopes High on 30-Min. Bundle, Daily Variety (February 20, 1957), p.23
A few weeks later, according to a story in the March 16, 1957 issue of The BillboardCollector's Item was ready to be shown to advertising agencies in New York, in search of a potential sponsor. Apparently, however, CBS was unsuccessful. Not ready to abandon the project, however, CBS hired a new writing team to script a second pilot:
Gwen Bagni and Irwin Gielgud have  been  signed  by CBS-TV  to teleplay pilot of a new vidpix series, "Collector's   Item," which will  star Vincent Price and Peter Lorre.
--Pair Plotting "Item," Daily Variety (July 10, 1957), p.3
Bagni and Gielgud did not work out, leading CBS to go with Herb Meadow instead:
CBS-TV has signed Herb Meadow to a five-year pact as producer-writer and assigned him to produce its new series, "Collector's Item," starring Vincent Price and Peter Lorre. Meadow scripted pilot, which rolls soon. First pilot of series, made long ago, was junked.
--Herb Meadow's 5-Year CBS-TV Prod.-Writer Pact, Weekly Variety (November 6, 1957), p.52
By the end of the year, the second pilot was completed (it can be viewed in three parts herehere, and here), and CBS again went looking for a sponsor for the show:
Collector's Item—Remake of last season's pilot, starring Vincent Price as an art collector who becomes embroiled in crime and mystery.
--Nets Vary Widely On Show Types For Fall, The Billboard (February 3, 1958), p.6
Once again, however, the network came up empty, and the second pilot ended up on the shelf. Interestingly enough, however, this was not the last time the series would be mentioned in the Hollywood trades. About eight months later, Weekly Variety reported that CBS still thought the core idea of Collector's Item had potential, and was considering filming new episodes:
The question of what to do with shelved pilots again is being bandied around, but this time with a new twist.
If the basic idea is good, why give up the ghost if the execution didn't come off well?...
CBS along with its syndication subsid, is pruning all of the unsold pilots, discarding those which it feels don't have a good basic idea. But those such as "The City" and "Collector's Item," dealing with fraudulent art practices and starring Vincent Price, are being revived. New episodes may be shot on the latter. Reason for the approach is that what are considered basic good ideas for a series aren't too plentiful. Advertisers and agency execs will be urged to give the second tries a fresh look. Plan will be abandoned if the new pilot is met with that "I've seen that one before" comment, when screened along Madison Ave. 
--What to Do With Old Pilots, Weekly Variety (September 24, 1958), p.23
There are a few more references to the potential series in late 1958, which indicate that CBS considered producing the series for syndication with a different lead. Ultimately, however, it appears that nothing came of it. As far as I can tell, neither pilot was ever broadcast.
Poster for Tarzan and the Trappers (1958)
Tarzan (Pilots: 1957 and 1958)

Edgar Rice Burroughs' Tarzan stories have been filmed on many occasions. Relevant to Star Trek is the 1966-68 television series, which featured Nichelle Nichols in two episodes and served as Star Trek's second season lead-in on NBC (to disastrous results; Tarzan went from being a top thirty show in the 1966-67 broadcast season to a cancelled flop in 1967-68). Also relevant: an unmade film version written by Gene Roddenberry in 1968 (the project Roddenberry left the Paramount lot to go work on during Star Trek's third season).

Prior to both those versions, however, producer Sol Lesser twice attempted to bring the character to the small screen with veteran Tarzan actor Gordon Scott. The first attempt was made for NBC in early 1957:
Deal has been finalized for NBC to be partnered with Sol Lesser in his "Tarzan" theatrical films under an agreement concluded with Alan Livingston, the net's program vee-pee in Hollywood. Included in the joint control is "Tarzan and Lost Safari," now being released by Metro, and the library of animal and native tribe footage shot in Africa. Lesser will produce the half-hour "Tarzan" telepix series for NBC, with Laslo Benedek directing the first episode. Lisa Davis has femme lead opposite Gordon Scott.
--NBC, Sol Lesser Partner in "Tarzan," Daily Variety (March 22, 1957), p.16
Ultimately, NBC passed on the project, but Lesser was undeterred:
With a "Tarzan" theatrical film now before the cameras, Sol Lesser has reactivated his plans to shoot a vidpix series based on the character created by Edgar Rice Burroughs.

Previously, Lesser filmed a pilot with Gordon Scott and Lisa Davis co-starred but objections and a legal hassle with Commodore Productions at that time curtailed continuation of the "Tarzan" telefilms. Now, however, Lesser is resuming shooting on the "Tarzan" telepix and has already completed filming a second pilot film at Desilu-Culver.

Eve Brent, femme lead of the theatrical version, co-stars with Scott in the televersion. Rickie Sorensen, also in the theatrical film, will recreate his "boy" role in the series.

Pilot, it's understood, is entitled "Tarzan and the Trappers." Latter pic is now in the editing stages and ' will be available for agency screening shortly.
--Lesser's Tarzan Telepix on Again, Weekly Variety (February 19, 1958), p.25
Unfortunately for Lesser, Tarzan and the Trappers did not sell. Following a shake-up in leadership at Lesser's company, it was decided to forgo television exploitation of Tarzan altogether:
Lesser had completed a pilot film for the possible introduction of Tarzan as a telepix series. However, after analyzing the costs and market potential, it was considered "complete insanity," according to Howard, to go into TV. Howard's point being that it would be suicide to destroy a property which has grossed some $ 200,000,000 in 40 years. Since 1918, there have been 32 Tarzan films and, according to Howard, there has never been a loss on a Tarzan film. He said the smallest profit has been $ 500,000.
--Untried Blood Guiding New Lesser Co.; More Films, One Message: 'Escapism,' Weekly Variety (July 23, 1958), p.4
Tarzan and the Trappers was Sol Lesser's final producing credit. Eventually, it was re-edited and broadcast as a TV movie.

Still from I Remember Caviar (1959)
I Remember Caviar (Pilot: 1959) and All in the Family (Pilot: 1960)

I Remember Caviar was a thirty minute sitcom pilot that starred Pat Crowley, about a wealthy family forced into poverty. It was produced by Screen Gems for NBC, but was not picked up. However, NBC and Screen Gems decided to try again, shooting a second pilot called All in the Family (not to be confused with the Norman Lear show that would be produced a decade later — after three different pilot episodes, incidentally), again with Pat Crowley in the lead:
Stars of one of last year's unsold Screen Gems pilots, "I Remember Caviar," reportedly are being recalled to the studio... Although sources at the Columbia vidsubsid will admit only that there is discussion of doing a second pilot of the vehicle, Pat Crowley, who starred in the original, has been paged for the return chore.
--SG 'Caviar' Pilot Stars Recalled To Serve Up Another, Daily Variety (November 5, 1959), p.6
Unlike Star Trek, after giving the Pat Crowley-starring series a second chance, NBC passed on the prospective series. Both pilots ended up being broadcast as installments of Alcoa-Goodyear Theater (a popular graveyard for failed pilots, including the Gene Roddenberry scripted 333 Montgomery, which starred DeForest Kelley), one in 1959 and one in 1960.

Still from Head of the Family (filmed 1958)
Head of the Family (Pilot: 1958) and The Dick Van Dyke Show (Pilot: 1961)

When Carl Reiner first developed a half-hour sitcom about a television writer and his family, he intended to star in the show himself. Indeed, Reiner starred in a pilot that he wrote, called "Head of the Family," in 1958. Ultimately, however, this pilot did not sell, and it ended up being broadcast on CBS during the summer of 1960:
CBS-TV will inject a dubious element of freshness info three of its summer time slots with series consisting entirely of unsold pilots. Two of them will be devoted fully to comedy pilots-the "Hennessey" replacement Monday at 10 and the Red Skelton slot Tuesday at 9: 30. Third show will consist of dramatic pilots mostly CBS' own, on Fridays at 9...
Comedy lineup includes Carl Reiner in "Head of the Family," which he scripted and starred in and was produced by Peter Lawford...
--Like Old Razor Blades, What Do You Do With Unsold Pilots? CBS Giving ' Em Summer Airing, Weekly Variety (May 25, 1960), p.27
Later, with producer Sheldon Leonard, Reiner re-conceived the material for actor Dick Van Dyke. A new pilot episode, "The Sick Boy and the Sitter," was filmed on January 20, 1961. This incarnation picked up a committed sponsor, Proctor & Gamble, and the series (now called The Dick Van Dyke Show) debuted on CBS on October 3, 1961. It lasted for five seasons and 158 episodes.

Still from 'Where No Man Has Gone Before' (1965; broadcast 1966)
Ultimately, what can be said about 'Where No Man Has Gone Before' is that it was unusual for television in 1965 — but it was not unprecedented. In the early history of television, when a pilot did not sell, that was most often the end of it. Cast contracts certainly had no contingency in them for second pilot episodes. Most typically, actors were signed for a pilot episode, and the studio had an option to continue their services — if a weekly series materialized within a set time frame. Such was the case with Star Trek, which is why Jeffrey Hunter could walk away without repercussions when he declined to do the second pilot.

In a few cases, however, one or more of the entities involved (be they the studio, the network, or the sponsor) liked a pilot enough to produce a second or even a third version of the concept. As I have outlined above, this happened at least ten times prior to Star Trek.

Images from 'Where No Man Has Gone Before' courtesy of Trek Core.

Special thanks to Neil B. for offering many corrections and suggestions after reading an early version of this post. Any errors that remain are entirely my own.

Sources:

The Making of Star Trek (Stephen Whitfield and Gene Roddenberry, 1968)

The Making of Star Trek--The Motion Picture (Susan Sackett and Gene Roddenberry, 1980)

The Star Trek Compendium (Allan Asherman, 1986)

Uncle John's Bathroom Reader (1988)

Star Trek Memories (William Shatner with Chris Kreski, 1993)

The Music of Star Trek: Profiles in Style (Jeff Bond, 1999)

Women in Space: Following Valentina (David J. Shayler and Ian Moule, 2005)

Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century (Tim Hollis, 2008)

Star Trek 365 (Paula M. Block with Terry J. Erdmann, 2010)

Star Trek FAQ: Everything Left to Know About the First Voyages of the Starship Enterprise (Mark Clark, Kindle Edition, April 2012)

These Are The Voyages: TOS, Season One (Marc Cushman with Susan Osborn, First Edition, August 2013)