Friday, June 12, 2015

Unseen Trek: "Where No Man Has Gone Before" (FIRST DRAFT)

Still from workprint version of "Where No Man Has Gone Before" (1965)
Written by Samuel A. Peeples
FIRST DRAFT, dated May 27, 1965
Report and Analysis by David Eversole
Originally posted at Orion Press

Peeples' first draft, amazingly, was changed relatively little — it is about 85% what was finally filmed. Some names are different — here we have Lieutenant Clark Mitchell, Lieutenant Leroy Kelso and Ship's Doctor Johnson (Johnson is only referenced by his last name once, the senior staff are simply tagged as Ship's Doctor, Ship's Engineer, Ship's Physicist, etc.).

Some differences between this script and what aired:
  • The action opens with the Kirk log detailed in my review of the shooting script, then cuts directly to the bridge; no introductory chess game between Kirk and Spock, no first meeting with Mitchell in the elevator.
  • There is no mention of stardates. One of Kirk's logs opens with, "Captain's Log, Report 197."
  • It is stated in the narrative that Spock is senior to Mitchell. Spock is described as red-hued, much as in Roddenberry's first series outline. Perhaps Peeples never saw "The Cage."
  • The Valiant was lost 132 years ago. The Valiant's recorder is brought into an engineering airlock by the tractor beam, not beamed directly onboard via the transporter.
  • Mitchell is even more flirtatious than in the aired version--he even refers to Yeoman Smith as "kitten." Spock is the one who knew and worked with Mitchell for years. Although friends, Mitchell and Kirk are not as close as in the aired version, and there is no talk of any shared history.
  • When the Enterprise passes through the barrier at the edge of the galaxy, everyone is enveloped in a greenish glow and bolts of green "electricity" shoot from their hands and feet.
  • A mass funeral is held in the Ship's Chapel (described as containing symbols such as the Christian Cross and the Jewish Star of David, as well as several unknown alien religious icons) and the bodies of the dead are consigned to space.
  • Much of the action then transpires as aired, though in this draft Kirk does not divert to Delta Vega with the intent of stranding Mitchell. Kelso and three others are strangled onboard the Enterprise, then Clark Mitchell, using his mental powers, diverts the ship to an unnamed planet which he beams down to with Elizabeth Dehner.
  • Kirk regains control of the ship, and, armed with a laser rifle, beams down after them. He makes his way across the mountainous terrain toward Mitchell and Dehner, suddenly finds that the blue sand he is crossing is quicksand. He sinks fast, but pulls a small gun, armed with a steel barb, from his belt, fires it toward a rock wall. A thin nylon-like rope shoots out and the barb embeds itself in the wall. Kirk drags himself free of the quicksand.
  • Using his power, Mitchell blocks Kirk's path with a wall of blue flames. Kirk, using his barb/rope weapon, swings over the flames, lands safely on the other side. Mitchell then attempts to stop him with a gale-force wind, but Kirk continues on doggedly, eventually confronts the two. Things play out as in the aired version, but in the final fight, there is no grave or tombstone. Weakened by Dehner's dying blast of energy, Mitchell is at the edge of a cliff, below him is a thousand-foot drop. He and Kirk fight, and Mitchell, weakened, is forced over the edge. Kirk extends a hand to him, Mitchell grabs hold, but he is too weak, lets go and plummets to his death.
  • Onboard the Enterprise, Spock agrees with Kirk that Mitchell and Dehner should be listed as casualties since they did not ask for what befell them. Kirk and Spock smile at each other, and for the first time there seems to be the beginning of a friendship between the two.
SAMUEL A. PEEPLES (1917-1997): Best known as the writer of Star Trek's second pilot, "Where No Man Has Gone Before," but some people forget that he also contributed an episode ("Beyond The Farthest Star") for the animated Star Trek series, and wrote an unused script for the second Star Trek movie (Worlds That Never Were) which discarded the character of Khan and, instead, involved two travelers from an alternate dimension facing off against Kirk and company. Peeples has an impressive array of credits on other television series as writer, series creator and producer. They include: Wanted: Dead or AliveBonanzaBurke's LawThe Legend of Jesse James (which he created), A Man Called Shenandoah, and The New Animated Adventures of Flash Gordon.

Editor's Note: Although this draft does have Kirk say, "Ship's log, Report 197" in it (on page 67) it also used the stardate system. For example, at the beginning of the script (on page 2), Kirk says, "On stardate 1312.6." Read more about the origins of stardates in this previous post.

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, June 2, 2015

Unseen Trek: "The Cage" (REVISED DRAFT)

Still from "The Menagerie" aka "The Cage" (1964)
Written by Gene Roddenberry
REVISED DRAFT, dated November 20, 1964
Report and Analysis by David Eversole
Originally posted at Orion Press

This 74-page script is very narrative heavy — everything is described and explained. Again, very understandable, it was setting the scene, describing the Star Trek universe for the first time.

It is noted that Spock's limp and the bandages on the various crewmembers are a result of the recent battle on Rigel VII, thus laying to rest all the speculation that Leonard Nimoy was limping because of a real life accident. In this draft, the captain was briefly renamed James Winter, before reverting to Christopher Pike in the episode as filmed.

The Orion Slave Woman scene as scripted:

                                                        VINA
                                                  (continuing)
                                       ... he must wonder what it would be
                                       like to forget all that.

EXT. ORION COURTYARD - NIGHT - MATCHING WINTER

The transition catching him still seated. He's startled by the SOUND of strange music and wild merriment. He is now on a pillowed floor at a long low table piled high with exotic foods. His attire is rich silk robes, almost like those of an Oriental potentate. And he becomes aware he is being anxiously attended, even fawned upon, by two who have something of the "slave" in their garb and manner. Their skin has a color like Mr. Spock.

                                                        SPACE OFFICER'S VOICE
                                       You used to be Captain of the Enterprise,
                                       didn't you?

CAMERA PULLS BACK to reveal the speaker is a uniformed space officer (not from the Enterprise) seated at the table. The other man is an Earth trader dressed similar to Winter but less luxuriously. Each of these men is being served by a slave woman. Around all this, a scene of barbaric splendor with an almost Oriental flavor. The MUSIC comes from a quartet seated near a fountain pool, playing unusual instruments. Here and there in the courtyard are richly exotic plants with unusual shapes.

                                                        EARTH TRADER
                                       Matter of fact he was. Used to stop
                                       here now and then...
                                                  (smiles at Winter)
                                       ...and then send Earth 
                                       a blistering report...
                                                  (pretended report)
                                       "The Orion traders are taking shocking
                                       advantage of the natives..."

Good-natured laughter interrupting this.

                                                        SPACE OFFICER
                                                  (to Winter)
                                       Do any of you have a green one? They're
                                       dangerous, I hear. Razor claws, and
                                       they attract a man like a sensation of
                                       irresistible hunger...

Winter is perceptibly startled by the familiar term: "Irresistible hunger". And why had Space Officer emphasized the words, and why is he giving Winter that searching look? The Earth Trader is also giving Winter a knowing look. He indicates Winter to the Space Officer.

                                                        EARTH TRADER
                                       Now and then comes a man who
                                       tames one.
                                                  (to Space Officer)
                                       He'd stumbled into this dark corridor,
                                       and then he saw flickering light ahead.
                                                  (to Winter)
                                       Almost like secret dreams a bored
                                       ship captain might have, wasn't it?
                                       There she was, holding a torch,
                                       glistening green...

Aware now the Talosians are definitely baiting him thru the images of these two men, Winter angrily rises. But his female servant is in his path. And in b.g., the male servant has moved to sound a NOTE on a hanging cymbal.

                                                        WINTER
                                       Get out of my way, blast you!

The MUSIC changes now -- louder, a slow throbbing rhythm. Winter's attention is attracted by an exclamation of astonishment from the seated space officer. He turns to see:

ANGLE - VINA

Wild! Green skin, glistening as if oiled. Her fingertips are long gleaming razor-edged scimitars, her hair not unattractive but suggesting a wild animal mane. She is moving out to the open rectangle in front of the table, eyes wild. We feel she's larger than before, immensely strong. The female slaves have hurried off, frightened. But one is slower and Vina suddenly pivots with a CAT SOUND, bars a frightened female slave's escape. Winter's male servant has grabbed a whip, leaps out to intercede and Vina turns, snarling at him. The man slave swings back to lash at her.

                                                        WINTER
                                       No!

Vina turns at the voice, eyes WINTER for a long moment.

CLOSE SHOT - WINTER

returning the look, fascinated.

ANGLE - VINA

Now, her gaze riveted on WINTER, she moves to the center of the rectangle, lets the slow-powerful beat of the MUSIC reach her, the slow surging beat forcing movement out of her as a reed flute takes possession of a cobra. She SHRIEKS (dubbed wild animal cry) and the rhythm moves faster, her movements following the barbaric MUSIC.

CLOSE SHOT - WINTER

unable to tear his eyes from her.

ANGLE - VINA 

Now dancing wildly, animal beautiful.

EMPHASIZING WINTER

as the Earth Trader looks up toward Winter, again meaningfully:

                                                        EARTH TRADER
                                       Wouldn't you say that's worth a
                                       man's soul?

Space Officer turns to eye Winter similarly.

                                                        SPACE OFFICER
                                       It makes you believe she could be
                                       anything. Suppose, you had all of
                                       space to choose from, and this was
                                       only one small sample of...

Winter tears himself from these words, turns and brushes past his retainers, hurrying into the exit door behind.

The rest is exactly as was shot.

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.