These Are The Voyages, TOS, Season One

by Cushman, Marc

  - Sulu, attempting to gauge Mitchell’s intellectual growth: “Do the math. It’s like having a penny, doubling it every day. In a month, you’d be a millionaire.”

  - Kirk, to Spock: “Will you try for one minute to feel? At least act like you have a heart? We’re talking about Gary.... Dr. Dehner feels he isn’t that dangerous. What makes you right and a trained psychiatrist wrong?” Spock: “Because she ‘feels.’ I don’t.”

  - Gary Mitchell: “You should have killed me while you could, James. Command and compassion are a fool’s game.... Time to pray, Captain. Pray to me.”

  ASSESSMENT

  “Where No Man Has Gone Before” is filled with mystery, terror, a personal conflict and an immensely difficult decision for the protagonist -- Captain Kirk. It gives us a physical confrontation between good and evil, as two men who were once like brothers do battle to the death. Writing, direction, acting, music, sets and cinematography all rate high -- especially for a TV production from this era.

  THE STORY BEHIND THE STORY

  Script Timeline

  Samuel Peeples’ story outline, “Esper,” ST #2: First week of April 1965. Peeples’ revised story outline, “Star Prime”: Second week of April, 1965. Peeples’ 1st Draft teleplay, now “Where No Man Has Gone Before”:

  Late April 1965.

  Peeples’ 2nd Draft teleplay (listed as Rev. 1st Draft): May 27, 1965. Gene Roddenberry’s rewrite (Mimeo Department “Yellow Cover” 1st Draft):

  June 16, 1965.

  Roddenberry’s second rewrite (Final Draft teleplay): June 26, 1965. Roddenberry’s third rewrite (Rev. Final Draft teleplay): July 8, 1965. Additional page revisions by Roddenberry: July 12, 14 & 15, 1965.

  Sam Peeples turned in his story outline, “Esper,” at the start of April 1965. Roddenberry was enthusiastic about the outline, although it was light-years away from what would eventually be filmed. He wrote to Herb Solow:

  The idea of character change in the guest star “Esper” is most interesting. His change from decent, kind, very human individual into massive power and evil could be exciting drama…. Equally exciting, and certainly right down the line with what all believe is necessary in this next episode, is the factor of immediate peril to our captain and his ship… and almost from the first page of our script we recognize giant risk and danger. (GR2-1)

  At this stage in the development of the story, the character identified as Esper was not a member of the Enterprise crew, nor a friend of Captain James Kirk. He was a member of a remote Earth colony who, once he started mutating, was held prisoner by the colonists. A landing party from the Enterprise takes him into custody. There is no trip beyond the realm of the galaxy, no damage to the ship, no abandoning Esper on a planet devoid of life, no big climactic fistfight between the brave Captain and a man who believes himself a god.

  Roddenberry’s note to Solow continued:

  Although obviously there are motivations, story direction, and other things yet to be worked out, the story line seems to have the potential of being direct and excitingly dramatic, a straight-lined growth of powerful peril and danger to our lead and his ship, leading to a head-to-head conflict between the captain and the guest star, and yet containing meaningful themes and points of view which should lift it far out of the ordinary. A tale of absolute power corrupting absolutely. (GR2-1)

  Roddenberry worked out the story elements with Peeples before having him revise the outline, delivered during the second week of April -- this one with the working title “Star Prime.” It was a substantial overhaul and now more in line with the story to be filmed. The character of Esper had been changed to Lt. Mitchell, a member of the Enterprise crew with a high “esper” rating. Also present in this new version of the story was Dr. Elizabeth Dehner, who becomes involved with Mitchell.

  A few days later, Roddenberry wrote to Peeples suggesting many changes and specifically asking that Dehner be portrayed as “something less than a ‘swinger,’” that she be “a little overly intelligent and inhibited.” Roddenberry’s verdict of the story, even before the requested changes: “A hell of an exciting outline.” (GR2-2)

  Excitement notwithstanding, more changes were made before Peeples proceeded to script. One thing the writer was proud to take credit for was the title. He said, “That title is mine. That was the original title of the very first copy of the very first version of the story that was submitted to Gene Roddenberry.” (136-1)

  The Star Trek show files are more precise than Peeples’ memory. It was actually on the third version of the story -- the first draft teleplay -- when the epic title initially appeared.

  The script arrived on April 27, 1965. Roddenberry immediately wrote Herb Solow:

  Sam Peeples has written an interesting script and delivers it with his usual remarkable speed. You’ll note in the copy we made for you that he understands the Star Trek format and makes excellent use of our main continuing characters and of the ship. And, with a couple of possible exceptions which we should study and analyze, it promises a show which could be made on budget. (GR2-3)

  Herb Solow took credit for a change in the next draft: the idea of the Captain’s log. Having read Gulliver’s Travels in college, Solow admired how the fantastic storytelling was documented as if in a journal. He made a recommendation to Roddenberry that the Captain’s log entries could quickly clue in the viewer as to events having already taken place, eliminating the need for numerous pages of “boring exposition.” Solow remembered kicking the idea around with Roddenberry, who then “accepted the concept.” (161-3)

  Sam Peeples said Roddenberry brought the idea to him with no mention of Solow’s contribution. He recalled that “G.R.” dropped by his house for a few drinks, after which they discussed the concept of the Captain’s log entry serving as a mechanism to advance and accelerate the narrative for each story.

  Peeples’ revised first draft, dated May 27, 1965, included the Captain’s log, but it did not yet include a “stardate.” One of Kirk’s voiceover entries begins, “Captain’s Log, Report 197.” Peeples remembered the conversation with Roddenberry that brought about the signature stardate. He said, “We tried to set up a system that would be unidentifiable unless you knew how we did it. So the stardate on Earth would be one thing, but the stardate on Alpha Centauri would be different. We thought this was hilarious, because everyone would say, ‘How come this date is before that date when this show is after that show?’ The answer was, because you were in a different sector of the universe.” (136-1)

  Other differences in Peeples’ revised draft from the filmed pilot: Spock is the one who knew and worked with Mitchell for years, not Kirk. Kirk liked Mitchell but was not as close as in the aired version, and there was no talk of shared history, including Mitchell having once saved the Captain’s life. There is no decision as to whether or not to maroon Mitchell on Delta Vega, nor is there even a Delta Vega. Lt. Kelso is killed by Mitchell, but on the Enterprise, not on a barren planet. The body count is higher, with other crewmen also being killed, strangled by power cables. Mitchell is never forced to leave the Enterprise but, instead, uses his mental powers to divert the ship to an unnamed planet to which he and Elizabeth Dehner transport themselves. Kirk regains control of the ship, then, armed with a “laser rifle,” follows them to the planet. Mitchell throws “blue flames” at Kirk, as well as “a gale-force of wind.” When Kirk counterattacks, Mitchell is so weakened by the onslaught of energy barbs flying his way from Elizabeth Dehner that he tumbles over the side of a cliff. Kirk offers Mitchell a hand, but the latter is too weak to hang on and plummets to his death.

  Sam Peeples later said, “One thing that was put in that I didn’t particularly like was the fight at the end. Although I thought it was staged very well, I was opposed to it because I felt that an all-powerful man like Mitchell would not have to resort to physical violence. Gene wanted this physical action at the end of the script, and that’s the way it worked out.” (136-3)

  Roddenberry, knowing what NBC wanted, wrote t
o Solow:

  It is believed imperative that the final climactic scene, the ultimate battle between the captain and the Esper, be reduced to a physical encounter. (GR2-3)

  During the first week in June, Peeples’ revised draft of “Where No Man Has Gone Before” and Roddenberry’s second draft of “The Omega Glory” were sent to NBC. The first draft of “Mudd’s Women” had been delivered to Desilu, but Kandel’s obligatory revision had been delayed due to the writer becoming ill.

  Solow didn’t want to wait. He had read the first try at “Mudd’s Women” and, while finding it to be “well written” and “fun,” felt strongly that it was completely wrong as a potential pilot. He also believed “The Omega Glory” was a poor contender, later saying that the script “wasn’t very good.” (161-3)

  That left “Where No Man Has Gone Before,” the winner by default. On June 10, Solow informed Roddenberry, with a “cc” to the Desilu Board of Directors, that NBC had chosen Samuel Peeples’ work over that of Star Trek’s creator. For the sake of Roddenberry’s pride, he wrote to all concerned:

  From a writing point of view, I must say NBC preferred “The Omega Glory.” However, from the point of view of doing a more straight-line adventure show, they felt that the Peeples’ script, as a finished film, would better complement the first pilot and would also show the two different ranges in which the series can go. As you know, this is also our feeling. (HS2)

  Solow later said that NBC most certainly did not prefer “The Omega Glory” from a writing point of view. He had included the lie in his letter only to help Roddenberry save face.

  Solow’s letter continued:

  NBC has, however, inquired as to what would happen should they much prefer Steve Kandel’s script, “Mudd’s Women,” to Sam Peeples’ script. I have told them, that after a reading of the first draft of the Steve Kandel script, it would still be our recommendation that we do Sam Peeples’ script, as “Mudd’s Women” is a little too light and frothy and would not be a good example of the overall series…. I would appreciate, therefore, Gene, if you would put the Peeples’ script into production. I have made NBC aware of the fact that you will be polishing the script yourself. (HS2)

  Roddenberry responded to Solow, with a “cc” to all the higher-ups:

  As I have said before, no sensitivity here at all over which script they choose and this office is now proceeding full speed into casting and preparation. And with enthusiasm. Our aim is to make an episode which will sell Star Trek. (GR2-4)

  James Goldstone, who Roddenberry wanted as director of the first pilot, agreed this time to beam aboard. Regarding Peeples’ revised first draft, and the “Elizabeth-Mitchell relationship,” Goldstone wrote Roddenberry:

  Need to dramatize Elizabeth’s active hostility toward Mitchell in the opening section so that, when the combination of his physical acts and the ESP influence takes over, she has both an internal and external conflict which can have sexual manifestations and thereby help to humanize both characters... or am I being too personal when I suggest that sex has both external and internal conflicts implicit? (JG2-1)

  Donald Bays, speaking on behalf of NBC, opposed this idea. After reading a first take on the exchange, where Mitchell refers to the aloof Dr. Elizabeth Dehner as “frigid,” Bays wrote Roddenberry:

  The sexual connotation of the word “Frigid” precludes its use with reference to Elizabeth. It is suggested that another word conveying her chilly exterior be found. (DB2)

  Roddenberry removed “frigid” and replaced it with “Walking freezer unit.” He would also do as Goldstone suggested and turn up the steam between the two espers. But Bays had other concerns, and told Roddenberry:

  As written, the strangulation of the two crewmen is unacceptable. A suggested alternate is that we see the cables rise behind the men and move toward them. Later scenes will reveal that the men have been strangled, but we have avoided showing the act of strangulation. [Further] it is suggested that we only see one crewman. (DB2)

  Roddenberry met Bays halfway. He reduced the body count from Lt. Kelso and two crewmen to just Kelso. And while showing the cable encircling Kelso’s neck and tightening down on his throat, he had the scene end sooner, before becoming overly graphic.

  Regarding the big finale, as Mitchell and Dehner hurl energy bolts at one another, Bays wrote:

  In as much as this scene of violence includes a woman, please exercise great caution and restraint in the clash between Elizabeth and Mitchell. Avoid having her “lifted and smashed back against the rocks, crumpling, broken.” It is suggested she simply slump to the ground after having been unable to withstand the force of Mitchell’s power. (DB2)

  Roddenberry made the change. This would save money and time in production. Regarding Kirk slugging it out with the weakened “god,” Bays wrote:

  Please exercise caution on the fight between Kirk and Mitchell. Eliminate the kick to the groin and any other similar brutality. The fight must be as brief as possible and rely on wrestling rather than toe-to-toe slugging. Caution on make-up, if used....The overall violence, however novel, must be handled with restraint and even diminished wherever possible in order to make the episode acceptable for broadcast. (DB2)

  Roddenberry took out the kick to the groin. The rest stayed as originally written -quite graphic for TV of this era.

  Roddenberry finished his version of the script on June 16, 1965, designated “Yellow Cover First Draft” -- the first to be sent to the mimeo department and formatted to where each page would translate to roughly a minute of screen time. In an era before word processors and desktop printers and copiers became commonplace, this was not a trivial matter.

  James Goldstone read the script that day, and came up with the eerie and effective moment in which Kirk, on the bridge, monitoring Mitchell in sickbay as he reads a book on a video screen, flashing through the pages of a book faster and faster. Goldstone wrote:

  Suggest Mitchell “knows” Kirk is there without possibility of seeing or hearing. Suggest we use this haunting method of mutation when we can -starting here in this way and building in whatever frightening ways we can throughout. (JG2-3)

  Roddenberry continued rewriting the script, with revised pages clearing his typewriter on June 26 and July 8, 12, 14 and 15, the last coming just four days prior to the start of principal photography. Many highlights of the filmed episode -- the friendship between Kirk and Mitchell, the Captain’s difficult decision to strand Mitchell on Delta Vega, the grave that Mitchell opens up in the ground for Kirk, and Mitchell’s death, tumbling into that grave as Kirk uses a phaser rifle beam to dislodge a massive rock from a cliff above, which then falls on top of Mitchell, crushing and entombing him -- were all added by Roddenberry, without credit.

  Pre-Production

  Mid-June through Early July, 1965.

  Cast rehearsals, in office: July 15, 1965; on set: July 16.

  Anne Helm with Gary Lockwood in The Magic Sword (1962, UA)

  Joe D’Agosta returned to help with the casting. With a storyline concerning two Enterprise officers gaining mental power and becoming godlike, Roddenberry and D’Agosta knew exactly who they wanted to play one of the two -the story’s antagonist, Lt. Gary Mitchell. James Goldstone, having given direction in the past to the actor they hoped to get, was in complete agreement.

  Gary Lockwood was 28 and well acquainted with both Roddenberry and D’Agosta. He had, after all, played the lead in The Lieutenant. A veteran on TV series such as Twelve O’clock High and Gunsmoke, he had also popped up in strong supporting roles in motion pictures, including the fanciful The Magic Sword and an Elvis Presley vehicle, It Happened at the World’s Fair.

  Lockwood recalled, “Roddenberry said, ‘I made one pilot and it went to New York and there’s problems, but this one will have more action, and it will have you.’ I told him I couldn’t do it. I had just gotten the new Kubrick job (2001: A Space Odyssey), and I was getting ready to go to England and do this big movie. He said, ‘I’d really like you to do it,
this character is you.’ And, you know, he’d been good to me, so I said ‘yes.’” (109-3)

  The timing worked out. 2001 was set to begin filming later in 1965 (nearly two and a half years before it would finally be released). Lockwood was signed for “Where No Man Has Gone Before” on June 29, 1965, with three guarantees: 1) “Top Guest Star Billing,” 2) top guest star rate of $5,000, and 3) that he would not be late for the start of 2001.

  Sally Kellerman, hired to play Dr. Elizabeth Dehner, was also 28. She had been working regularly in television since 1960 with prominent guest spots on dozens of series, including two turns each on Ben Casey, Twelve O’clock High and The Outer Limits. Kellerman signed her contract on July 9, 1965 with a guarantee of $3,000 and “Second Position Guest Star Status.” She would later be nominated for an Oscar as “Hot-Lips” Houlihan in the film version of M*A*S*H.

  Paul Fix in To Kill a Mockingbird (1962, Universal International Pictures)

  For the ship’s doctor, Roddenberry again suggested DeForest Kelley. And, again, he allowed his director to talk him out of this choice. Goldstone had someone else in mind.

  Paul Fix won the role of Dr. Mark Piper, the “third man” in the Star Trek regular cast. Fix was another familiar face from TV. At 64, he had close to 300 credits in television and films, including the recurring role of Sheriff Micah Torrance, the third cast member on TV’s popular Rifleman. Fix had often accepted third billing, prompting him to write Third Man through the Door, the book that, ironically, influenced Malachi Throne to turn down the very same role on Star Trek -- back when the character was named Dr. Phillip Boyce, in “The Cage.” The fixed price for Fix was $1,250.

  Paul Carr, 31, was booked to play the ship’s helmsman, the ill-fated Lee Kelso. Carr already had 100 TV and film appearances behind him, including multiple trips to Twelve O’clock High, Voyage to the Bottom of the Sea and The Virginian. He would make history, of a sort, by being the first member of the starship Enterprise to die in the line of duty. For this he was paid $1,500, very good money in 1964.