[Rom has returned a beautiful woman’s lost wallet]
Quark: You worthless tiny-eared fool! Don’t you know the First Rule of Acquisition?
Rom: Yes, brother.
Quark: Then say it!
Rom: “Once you have their money, you never give it back.”
This teleplay was written by Ira Stephen Behr, who wasn’t a “father” of DS9 (like Piller and Berman), but raised it into a strong/unique sci-fi series. The main story of this ep has the leader of the Ferengi, Grand Nagus Zek (veteran actor Wallace Shawn) and his son, Krax (Lou Wagner), arrive at DS9. Quark (Armin Shimerman) and his brother, Rom (Max Grodenchik), are in awe and arrange for everything Zek needs. (The face seen on the Grand Nagus’ golden staff was sculpted to resemble Shimerman’s Quark.) Zek praises Quark’s business instinct; Quark fears that Zek wants to take over his bar. However, Zek tells Quark a conference will be held in the bar, where Ferengi politicians will discuss how to exploit business opportunities in the Gamma Quadrant (the world on the other side of the wormhole). Also, Zek plans to retire and appoint his successor.
Quark: Tell me, is the Grand Nagus here on business or pleasure?
Krax: Is there a difference?
In the B-story (secondary), we see adolescent growing pains, as 14 y.o. Jake Sisko (Cirroc Lofton) prefers to spend time w/ his friend, Nog (Aron Eisenberg), than his father. Chief O’Brien (Colm Meaney) has to substitute teach (been there- ugh), since wife Keiko is spending time w/ her mom on Earth. (The screen in the school behind O’Brien includes a figure of the aliens- Korob and Sylvia- from the TOS ep “Catspaw,” and also tribbles. In the back of the classroom, there is a poster containing the five USS Enterprise vessels.) Nog’s father decides that he doesn’t need to attend school (w/ humans). We discover Jake was teaching Nog to read (aww)! Sisko (Avery Brooks) earlier told Jake that humans and Ferengi were too different culturally to be friends.
Zek: [6th Rule of Acquisition] Never allow family to stand in the way of opportunity.
The Rules of Acquisition are mentioned in this ep. The scene where Quark meets Nava is a tribute to the The Godfather. Quark’s Corvan gilvo (the alien animal he holds), the way he scratches his ear, the blinds on the windows, and the dialogue (“Yet now you call me Nagus”) allude to the film. This is a light-hearted and somewhat funny ep where we get character development of Quark, Rom, and Nog. Sisko, Jake, Odo, and even Dax get their moments.
[1] The Ferengi are essentially the exact opposite of the Federation. The Federation has abandoned all market-based activities, including commerce, acquisition of assets, and even money itself; while Ferengi society is entirely based around those things.
[2] For those that enjoy broad farce and slapstick comedy… you might find a chuckle or two.Shimerman, in the midst of outrageous comedy, manages to inject some thoughtful dramatic moments as he struggles with his new found power and the added responsibilities (and dangers) it brings.
[3] Episodes like this really fulfill the core promise of DS9 as a show… Now we follow a crew that has the unknown come to them, and the consequences of those encounters are real and must be dealt with.
The runabout Ganges returns to the space station in serious trouble, as it has no power, the hatch can’t be opened, and oxygen is running out. There seems to be an extra person on board. O’Brien opens the hatch and recognizes someone from his time on the Enterprise. Vash (Jennifer Hetrick) has been traveling in the Gamma Quadrant for two years and brought back some artifacts, including a beautiful geode. Dangerous blackouts keep happening, putting the crew and the nearly 300 residents in danger. Could this be one of Q’s jokes, or something much worse?
Q: Really, Vash, I can’t believe you’re still pining for Jean-Luc, that self-righteous do-gooder.
This is one of the S1 stories meant to raise ratings and draw in fans of TNG; it assumes that the viewer has watched TNG. The teleplay is by Robert Hewitt Wolfe; he also wrote the memorable TNG ep “A Fistful of Datas.” Not much time is spent on introducing Q (John de Lancie). Vash, the shady lady version of Indiana Jones in space, was one of Picard’s few love interests. Q and Vash are two of the most memorable guest stars in the ST universe; they operate in shades of gray (which is not unlike some characters you’ll meet later in DS9). Vash met Picard on Risa in “Captain’s Holiday.” “Qpid” is the ep where Q took Vash to travel the galaxy as his companion. No, they aren’t a romantic pair, but they bicker like one!
Vash: It’s over, Q, I want you out of my life. You’re arrogant, you’re overbearing and you think you know everything.
Q: But… I do know everything.
Vash: That makes it even worse.
I saw this ep on it’s first run on TV, but didn’t recall some of the details (such as Vash teaming up w/ Quark to sell the artifacts). Bashir is used for comedy in the opener and closing; this is too on-the-nose, but some fans may enjoy re-watching. At the start of the ep, he is on a date w/ a Bajoran woman, trying to impress her w/ his medical smarts. A few scenes later, he asks Vash out on a date; she flirted w/ him in Sick Bay. Quark also gets a little crush on her, as she also has her mind on profit.
Q: You hit me! Picard never hit me.
Sisko: I’m not Picard.
Q: Indeed not. You’re much easier to provoke. How fortunate for me.
There is an alternate scene that is must-see, even if you don’t watch the ep. You can find the blooper on YouTube. In an outtake from the fight scene between Sisko and Q, de Lancie replied to Avery Brooks’ order to bring back the DS9 inhabitants w/ the line: “Or what? What? You’ll ravish me?” Then, de Lancie laughed and apologized. Brooks seductively replied: “I might.” The crew laughed and applauded. ROTFLMAO!
[1] The plots seems a bit disjointed…
[2] The dialogue here is written well and both Hetrick and De Lancie do well with their roles.
[3] What doesn’t make sense in this episode is her relationship with Q. Although Q is all-powerful and clearly very condescending, he chases after her like a love-starved puppy…
[1] The more you “know” about vampires, the more you’ll enjoy this!
[2]It pokes fun at every part of the vampire mythology without resorting to simply being a parody of other movies.
[3] …the wide range of comedy used, from slapstick to satire and everything in between, is probably the biggest reason why this movie does not feel forced.
[4]Some comedies try too hard to make you laugh and end up the character are being ridiculously stupid and unlikeable, but this isn’t the case, their character’s goofiness is so believable that you find their stupidity quite adorable.
-Excerpts from IMDB reviews
The story follow the lives of Viago (Taika Waititi- before he hit it big in Hollywood), Deacon (Jonathan Brugh), and Vladislav (Jemaine Clement from Flight of the Conchords) – three flatmates who are just trying to get by and overcome life’s obstacles, like being immortal vampires who must feast on human blood. Hundreds of years old, the vampires are finding that beyond sunlight catastrophes, hitting a victim’s main artery, and not being able to get a sense of their wardrobe w/o a reflection-modern society has them struggling w/ the rent, chores, getting into clubs, and overcoming personal conflicts.
About 125 hrs. of footage was shot for this comedy/horror/mockumentary (which I saw on Amazon), most of which was improvised by the cast. Editing that down to a 90-minute movie took almost a year. Waititi and Clement (who are also the writers/directors) held screenings in the US after a successful Kickstarter campaign. This is the kind of fun/quirky movie that we need in these difficult (quarantine) times! There are a few scenes which include blood. The humor can get dark, which I’ve read is common in New Zealand. The actors- professional and amateur- have easy chemistry w/ each other. I was surprised by the quality of the special effects, which seemed quite good for a low-budget movie.
Each vampire is modeled on one from a famous vampire movie. Petyr (the oldest one) is silent/scary, resembling Count Orlok from Nosferatu. Deacon is like Bela Lugosi’s flamboyant Dracula. Vlad is like Gary Oldman’s Dracula. Nick compares himself to Edward from Twilight. Viago is sensitive/stylish like Louis- Brad Pitt’s character in Interview with the Vampire. Vlad refers to himself as “Vlad the poker,” a joke on “Vlad the impaler,” the 15th-century Transylvanian who was the main inspiration for Dracula. There is also a housewife/wannabe vampire (Jackie), a low-key IT guy (Stu) who befriends the vampires, and a pack of werewolves (headed by Rhys Darby- one of New Zealand’s top comics). Watch the trailer below.
Capt. Kirk: How close will we come to the nearest Klingon outpost if we continue on our present course?
Chekov: Ah, one parsec, sir. Close enough to smell them. [grins broadly]
Spock: That is illogical, Ensign. Odors cannot travel through the vacuum of space.
Chekov: I was making a little joke, sir.
Spock: Extremely little, Ensign.
The working title for this popular/comedic ep was “A Fuzzy Thing Happened to Me…” (LOL)! Having received a Priority One distress call from an outlying space station, the Enterprise arrives to find they’ve been summoned there by a self-important Federation commissioner, Nilz Baris (William Schallert), to protect a shipment of seeds (quadrotriticale) meant to sow wheat on Sherman’s planet. The planet is coveted by the Klingons, who are taking shore leave at the station. Koloth (William Campbell) cites authority to shore leave rights as authorized by the Organian Treaty; this occurred in Errand of Mercy when the Organians prevented a war between the Federation and the Klingon Empire. The Treaty of Organia dictates interactions between the two sides to prevent another chance of war. The trouble arises w/ tribbles- small furry creatures that seem to multiply w/o end. However, their presence reveals both a problem w/ the wheat and a spy on the space station.
Spock: [while holding a tribble] Most curious creature, Captain. Its trilling seems to have a tranquilizing effect on the human nervous system.
Spock: [beginning to pet it gently] Fortunately, of course, I am… immune to it’s effect… [realizing what he is doing, he quickly puts the tribble down and excuses himself]
When McCoy figures out that the tribbles are in a perpetual state of being pregnant, this marks one of the very first instances on American TV of the use of that word. While McCoy is telling the good things about tribbles, Spock takes a jab at him by saying that one good thing about tribbles is that they don’t talk much. William Shatner recalled: “The trouble we had with Tribbles was [to] keep your straight face. It was just a lot of fun.” The scene in which Kirk is buried in an avalanche of tribbles took eight takes to get right. The tribbles were thrown into the hatch by the production crew, but were not sure when to stop b/c they were unable to see the scene. This is why additional tribbles keep falling on Kirk one by one. Shatner looks perplexed (almost breaking the fourth wall for a moment) in that scene.
[Kirk is testing the tribbles’ reaction on several people, starting with the Klingons. The tribbles squeal]
Capt. Kirk: …They don’t like Klingons. [He moves on]
Capt. Kirk: But they do like Vulcans. Well, Mr. Spock, I didn’t know you had it in you.
Spock: Obviously, tribbles are very perceptive creatures, Captain.
To create the one tribble moving on its own, the prop supervisor bought a battery powered toy dog and stripped it down to the mechanical works. Once recovered w/ fur incl. the toy legs, the prop moved on camera along the railing on the Enterprise bridge without wires or external assistance. The toy was so noisy all the dialogue in the scene had to be looped w/ ADR (re-recorded after shooting). The noises that the tribbles make were a combination of dove cooing, screeching owl cries, and air escaping from balloons. Tribbles have made appearances in different versions of Star Trek, incl. Star Trek: Deep Space Nine: Trials and Tribble-ations (1996).
[1] Sometimes an episode like this is needed to keep the fun flowing… refreshing change from the drama that is prevalent throughout the series. I also love the fighting between Kirk’s crew and the Klingons – that is a barrel of laughs. In fact, there is humor all though this episode – that is the appeal of it.
[2] Here, the mundane, the banal, is thrust upon him [Kirk]: instead of being allowed to explore the galaxy in the grandest tradition, he’s forced to guard a bunch of wheat.
It’s a farce, Trek style.
[3] Shatner wears a great air of weary disbelief about everything and he has plenty of great lines… …he shows a real comic touch here and I was rolling with laughter as he stands up to his chest in Tribbles being pelted from above by them while delivering his lines. Nimoy enjoys himself too with lots of “raised eyebrow” moments…
This was the first episode of the original Star Trek to air on TV. We get to see the developing chemistry between the main crew members, an alien creature, and interesting planetary scenery. Captain James T. Kirk (William Shatner), Dr. Leonard McCoy (DeForest Kelley), and a young redshirt (Michael Zaslow, who later became a soap opera star) beam down to a planet to provide medical supplies to Dr. Crater and his wife, Nancy, a former girlfriend of McCoy’s. Oddly, each man sees Nancy as a different woman from his past. Redshirt is a term used by fans of Star Trek to the characters who wear red Starfleet uniforms and/or characters who are expendable, and often killed.
The joking banter between Kirk and McCoy shows that the captain is not just an authority figure, and the doctor has a lot of charm. We learn re: Spock (Leonard Nimoy) and his logical Vulcan personality. There is a flirty early scene between him and Lt. Uhura (Nichelle Nichols); this (no doubt) inspired the romance between the characters in J.J. Abrams recent reboot movies. Uhura tried and succeeded in making Spock hot under the collar (notice the little move Nimoy does at end of the clip).
Episode 4: Where No Man Has Gone Before
The episode title was the closing phrase of the opening credits (voiced by Shatner) and has gone on to shape sci-fi and pop culture! After investigating what happened to the Valiant, the Enterprise encounters a magnetic space storm that gives Lt. Cmdr. Gary Mitchell (Gary Lockwood) dangerous/godlike powers and ESP. When Mitchell, a friend of Kirk’s from Starfleet Academy, unleashes his powers on the crew, Spock suggests that he should be killed. Kirk disagrees and takes him to a remote planet, but there is more to the story.
There is action and fine acting by Lockwood and Sally Kellerman (psychiatrist Dr. Elizabeth Dehner). Lockwood (a former football player and stuntman) was the star of Roddenberry’s first TV show- The Lieutenant (1963). In 1968, he was cast as the co-lead in Stanley Kubrick’s iconic sci-fi film- 2001: A Space Odyssey. You get a glimpse into humanity’s struggle for power and the corruption it breeds. Kirk knows that Mitchell didn’t ask for what happened to him; thus begins a tradition of complicated/sympathetic villains in the world of Star Trek.
Episode 5: The Naked Time
Spock and a redshirt- Tormolen- beam down to a planet (wearing funky/orange environmental suits) to investigate. They discover a frozen lab w/ 6 dead scientists. They also get exposed to a substance that strips people of their inhibitions. After beaming back aboard, Tormolen ends up killing himself (riddled w/ self-doubt). You get to see the chemistry between Bones (Kirk’s nickname for McCoy) and the captain; they’ve known each other a long time.
Riley, another young crewman, begins acting goofy (going on about being Irish and singing songs). Most famously, Sulu (George Takei), begins to parade around w/ a sword (like a musketeer). Riley ends up taking over the engineering room, and basically, the ship becomes chaos! Spock stops Sulu by applying the Vulcan nerve pinch (which Nimoy came up w/ himself, as an alternative to a violent strike). As you see in S1 E6, it was Shatner’s over the top reaction that sold this move to producers. Nurse Christine Chapel (Majel Barrett) and Spock have a nice scene, and he gets infected (after she holds his hand). There is a lot of comedy, but fans also love it for Nimoy’s terrific performance. Capt. Kirk is even infected, so we hear his regret at not having a personal life.
Episode 6: The Enemy Within
Star Trek takes on Jekyll and Hydew/ an ep focused on Kirk (and Shatner’s unique style of acting). During a survey of a new planet, a technician is exposed to a substance that alters the Enterprise’s transporter. When Kirk beams aboard the ship, he is split into two: one good, one evil. After the lustful/violent Kirk attempts to assault Yeoman Janice Rand (Grace Lee Whitney), Spock deduces that there is an imposter aboard. The good Kirk is lacking confidence and indecisive (looking to Spock for his trusted guidance). The episode looks into the duality of human nature; the two halves need to coexist together inside one body. There is also an alien animal which is (obviously) a small dog in a furry costume w/ a horn on its head- LOL! This ep was directed by Leo Penn (father of actor Sean Penn); he went over-schedule, so was sadly not asked back to work.
Episode 11: The Corbomite Maneuver
While developing star maps of a distant region of space, the Enterprise is confronted by a box-shaped alien ship commanded by a powerful being- Balok. When he threatens to destroy the ship, Kirk comes up with a cunning bluff to convince the alien that the Enterprise is carrying a deadly substance (corbomite) which could destroying both ships. This is the first ep to show Kirk’s daring in a face-off w/ another ship in space. Kirk bends the rules for the greater good and turns a potentially fatal situation into a victory. By using his imagination instead of violence, a better outcome is achieved.
Episodes 12 &13: The Menagerie (Parts I & II)
The only 2-part episode of ST: TOS which calls back to former star dates when the Enterprise was comprised of a different crew (aside from Spock). Before Shatner was cast as Kirk, Star Trek shot a pilot (The Cage) starring Jeffrey Hunter as Capt. Christopher Pike and Number One (Majel Barrett)- his female first officer. The network rejected that pilot, considering it too cerebral and thinking it too unrealistic to have a woman as senior officer. Barrett would play Nurse Chapel on the show (w/ a blonde wig) and the voice of the computer system. She married the show’s creator, Gene Roddenberry, in 1969.
This is a clip-show w/ Starfleet’s version of a courtroom drama. Spock abducts his former commander, the recently disabled Capt. Pike, and heads for Talos IV, where The Cage took place. The punishment for traveling to this planet is death, according to Starfleet. Spock turns himself in and presents an elaborate story in defense of his actions. We meet a beautiful/mysterious human woman (played by Susan Oliver) and the Talosians (a large-headed alien race who communicate w/ their thoughts and have the power to create illusions which look like reality).
Episode 15: Balance of Terror
At the 50th anniversary Star Trek convention in Las Vegas in August 2016, fans voted this the 8th best episode of the entire franchise! The Enterprise battles a Romulan ship suspected of destroying outposts in the Neutral Zone in this tense, intelligent, and though-provoking ep. The Romulan Bird-of-Prey has a cloaking device. Since two-way visual communications didn’t exist during the Earth-Romulan War about a 100 yrs ago, Romulans and humans have never seen one another. The Enterprise has to confront a brilliant enemy leader and also its own bigotry, as the unnamed Romulan commander (Marc Lenard, who later played Spock’s father- Sarek) resembles a Vulcan! Budget and time constraints prevented the make-up and costuming departments from dressing up each of the Romulans in Vulcan ears. They decided to give the lesser Romulans helmets, which were redressed Roman helmets from the studio’s Biblical epics of the ’50s.
Network restrictions at the time forbade the tackling of any controversial subjects (EX: Vietnam War, the Civil Rights movement, and the rise of feminism). ST: TOS, under the form of sci-fi, boldly flouted these rules! This story openly deals with the subject of racism, as reflected through Lt. Stiles’ (Paul Comi) opposition to Spock. Lenard (who worked mainly in theater until his early 40s) said: “The Romulan Commander was one of the best roles I ever had on TV. In many ways, I did enjoy that role [Sarek], but I think the more demanding role and the better acting role was the Romulan Commander.” When Nimoy held out for a better contract (after the first season), Lenard was one of the leading candidates to replace him as Spock. Nimoy (who received more fan mail than Shatner and an Emmy nom) eventually got a raise from $1,250 to $2,500 per episode.
Episode 17: The Galileo Seven
This ep features a shuttlecraft (for the first time). Spock leads a research team aboard the Galileo on a mission that begins as an investigation of a mysterious quasar-like formation. Forced to make an emergency landing on Taurus II, a fog-shrouded planet, Spock and crew face off w/ large/ape-like creatures armed w/ huge spears. These creatures pose immediate threats to the crew, but Spock also goes up against hisgreatest enemy– his own logic- when faced w/ decisions of command. Nimoy comes center stage (for the first time and proves that Spock can serve as the driving force of an ep). Spock’s logic is thwarted by several events. In a desperate attempt to escape the planet, Spock makes an illogical gamble!
Episode 23: Space Seed
This very famous ep introduced Star Trek‘s most popular villain: the genetically enhanced superman from the 20th century, Khan Noonien Singh (Ricardo Montalbán). Following positive feedback from producers and the network, this was the first episode to feature a prominent role for Scotty (James Doohan). The Enterprise comes across a long-lost Earth vessel, the Botany Bay, containing a cryogenically frozen Khan and his crew. After manipulating historian Lt. Marla McGivers (Madlyn Rhue) w/ his strong will/magnetism, Khan and his superhuman soldiers take command of the Enterprise. Carey Wilber (the scriptwriter) used the 18th c. British custom of shipping out the undesirables as a parallel for his concept of “seed ships,” used to take unwanted criminals out to space from the overpopulated Earth.
Khan is the perfect villain for Kirk to take on, as he is a mentally/physically superior being who threatens his command and crew. Montalban was always the first choice for Khan; he had been suggested by casting director Joseph D’Agosta, who was not looking to cast an actor of a particular ethnic background due to Roddenberry’s vision (of race neutrality) for the series. Montalban (born in Mexico to Spanish parents) came up in the theater, like several actors in the Star Trek franchise, and does a terrific job. The actor thought his role was “wonderful,” saying “it was well-written, it had an interesting concept and I was delighted it was offered to me.” This episode inspired two films: Star Trek II: The Wrath of Khan (1982), in which Montalban once again played the role, and Abrams’ Star Trek: Into Darkness (2013) w/ Benedict Cumberbatch.
Episode 25: This Side of Paradise
Was humanity meant to live in an Eden? This memorable ep explores that question when the Enterprise investigates a colony destroyed by deadly ray beams on a planet. Kirk, Spock, McCoy, Sulu, and some redshirts beam down to the planet’s surface to discover that Elias Sandoval (Frank Overton) and his colonists are still alive and in perfect health, enjoying a pastoral existence off the grid. The colony’s botanist, Leila Kalomi (Jill Ireland) knew Spock 6 yrs ago and has deep feelings for him still. She leads him a flowering plant whose spores cause euphoria and loss of inhibitions. Spock declares that he loves Leila and agrees to live in the commune! As you will see in the clip below, Nimoy plays this scene totally straight (revealing that he does love Leila, but was unable to express it before).
This ep has mutiny, temptation, and comedy. Kirk struggles to maintain control over the crew members who have been exposed to the spores. McCoy starts talking more Southern (w/ a slow drawl) and looking for ingredients of a mint julep- LOL! Writer D.C. Fontana (who started as a script editor) thwarts audience expectations by putting Kirk in the intellectual lead, while Spock’s half-human side is further developed. Nimoy was initially taken aback when he was told that they were working on a love story for Spock, but said it turned out “very lovely.” Here is a (funny) clip; we also get to see Nimoy’s smile.
Episode 26: The Devil in the Dark
The Enterprise travels to the planet Janus 6 to assist a mining colony. Kirk, Spock, and McCoy beam down to the planet where Chief Engineer Vanderberg tells of a creature loose in the mine tunnels killing his men. It seems to appear out nowhere, then disappears just as quickly. Finding that the creature, a Horta, lives in a newly-opened part of the underground mining complex, Spock uses the Vulcan mind meld to determine why it is killing the miners. Nimoy said the closing banter between Spock and Kirk was one of his faves, as “it was a wonderful moment which defined the relationship and defined the whole Spock character’s existence and his attitude about himself.”
Roddenberry considered this one of the best eps, saying: “The Horta suddenly became understandable… It wasn’t just a monster- it was someone. And the audience could put themselves in the place of the Horta… identify… feel! That’s what drama is all about. And that’s it’s importance, too… if you can learn to feel for a Horta, you may also be learning to understand and feel for other humans of different colors, ways, and beliefs.” Shatner identified this as his fave ep, b/c his father died during filming and Nimoy’s delivery of the mind meld lines made him laugh. He thought it was “exciting, thought-provoking and intelligent, it contained all of the ingredients that made up our very best Star Treks.”
Episode 29: The City on the Edge of Forever
This ep (loved by TV critics and fans) by Harlan Ellison shows us a sympathetic tale mixed w/ elements from the best of sci-fi. This was the most expensive episode produced during the first season, and also the most expensive episode of the entire series, except the two pilots. The average cost of each S1 ep was around $190,000. Production went over schedule, resulting in 8 shooting days (not 6, as usual). Ellison won a Hugo Award and a Writer’s Guild award for best teleplay. Joseph Pevney was chosen to direct on this episode because of his experience in directing 20+ films.
After an accidental overdose which makes him temporarily insane, McCoy beams down to an alien planet. A gateway, The Guardian of Forever, sends him back to Earth during the Great Depression. He somehow alters the course of time, erasing the Federation from history! Trapped in the limbo, Kirk and Spock travel back in time to 1930 (a week before McCoy) in an attempt to correct the course of history. They meet Edith Keeler (Joan Collins), a social worker who runs a mission and has dedicated her life to the needy. Spock works on building a computer to access material on his tricorder. Kirk and Edith have a romance; there is great chemistry between Shatner and Collins. The shocking truth is revealed- in order to fix the time alteration, Edith must die! When asked whether this ep was consciously commenting on the anti-Vietnam War movement, associate producer Robert H. Justman answered (in 1992), “Of course we did.”
Ellison’s original story outline and first draft script featured a crewman named Beckwith (not McCoy), who was dealing drugs. Beckwith murdered a fellow crewman, LeBeque, who was on the verge of turning him in, escaped to the planet the ship was orbiting, and went through time and changed history. The Enterprise was gone, and a savage pirate ship was in its place, full of renegade humans. Kirk and Spock follow Beckwith through the time portal to 1930 in NYC. Kirk still falls in love w/ the young social worker. Finally, w/ the help of a disabled WWI vet- Trooper (who dies in the action)- Kirk and Spock find Beckwith. In the end, Kirk does not stop him saving Edith, but freezes and Spock prevents her rescue. In the epilogue, Spock tries to console Kirk by saying: “No other woman was offered the universe for love.” This script was unusable for different reasons, so was rewritten several times. Roddenberry objected to the idea that drugs would still be a problem in the 23rd century, and even present among starship crews. Also, the production staff was strongly against Kirk’s final inactivity. It seemed that being unable to decide and act, viewers could never be able to accept him as the strong leader in later eps. Some elements were simply impossible to create on the series’ (low) budget.
Knightleyemma 