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The Cage (episode)

While investigating a distress call from Talos IV, Captain Christopher Pike of the starship Enterprise is captured and tested by beings who can project powerfully realistic illusions. (Original pilot) Summary The year is 2254, and it is two weeks after a battle on Rigel VII that left seven crew members injured and took the lives of three crewmen, including Captain Christopher Pike's yeoman, the ship encounters a space distortion on a collision course, according to helmsman José Tyler. It turns out to be an old radio distress signal, "keyed to cause interference and attract attention." The crew says it was sent eighteen years earlier from the Talos star group, but first officer Number One notes they have no Earth colonies or vessels that far out. Pike declines to investigate without any indication of survivors but proceeds to the Vega colony to care for the crew's own injuries. Pike calls the Enterprises chief medical officer, Dr. Boyce, to his quarters but Boyce instead fixes Pike a martini to induce Pike to talk about the battle on Rigel VII. Pike has been thinking of resigning, burdened with making lethal decisions, but Boyce counsels against it. The science officer Spock interrupts on the intercom that a follow-up message from Talos IV indicates there are eleven survivors. Pike returns to the bridge and orders the ship to Talos, at "time warp, factor seven." He encounters a comely young woman, J.M. Colt. The ship's first officer, a woman named Number One, says Colt is the captain's replacement yeoman. Pike expresses discomfort with "a woman on the bridge," assuring Number One that she is an exception, as she's "different, of course." Pike leads a landing party to the surface of Talos IV and finds the makeshift campsite of a disheveled group of male scientists from the crashed survey ship . The scientists identify themselves as an expedition of the American Continent Institute and Lieutenant Jose Tyler describes technological advances while they have been marooned, particularly in the time barrier being broken. A beautiful young woman approaches them. She is Vina, born almost as the group crash-landed on the planet. Vina strangely tells Pike he is a "prime specimen" – as three aliens with huge, pulsating heads watch the landing party through a viewing screen. Boyce provides his medical report to Pike and reports that the survivors are in good health, "almost too good." The scientist Theodore Haskins offers to show Pike their "secret," and Vina leads him away from the others. Vina suddenly vanishes, along with the scientists and their camp. Talosians render Pike unconscious and abduct him through a doorway in the rock. The landing party fires laser pistols at the door to no avail and Spock advises the ship via his communicator that this "is all some sort of trap. We've lost the captain. Do you read?" Pike wakes up without his jacket, communicator, and laser, inside an underground cell with a transparent wall, through which he sees several creatures of different species in nearby cells. Several Talosians arrive and make callous scientific observations about him, which he perceives not through sound but telepathy. They note that Pike is more adaptable to his new surroundings and prepare to begin "the experiment." The Talosians intend to make Pike experience illusions based on his memories, in order to interest him in Vina. The first illusion returns Pike to Rigel VII, with the new task of saving Vina. Pike is not interested in participating, telling Vina he is "not an animal performing for its supper," but he is interested in learning the parameters of the illusions and of his captivity. Nevertheless, he manages to survive the illusory attack from the Kalar and is returned, with Vina, to his cell. He learns from Vina that the Talosians have severely weakened their world and themselves by reliance on their telepathic powers. They want Captain Pike and Vina as breeding stock for a new, stronger race to repopulate the barren surface of the planet. The Talosians punish Vina for revealing this information to Pike. The Talosians provide him with a vial of liquid nourishment and insist that he consume it, even offering to make it appear as any food he wishes. Pike proposes to starve himself instead, which results in the Keeper punishing him with an illusion of being surrounded by scorching flame and threatens to punish him more severely for continued disobedience. Pike appears to relent by consuming the liquid, but then displays another outburst of attempting to break through the containment, unexpectedly startling the Keeper. Pike realizes that the Keeper was unable to read his mind during his outburst of anger and tries to inquire more as to why this is. The Keeper, still unable to probe Pike's mind, attempts then to distract Pike by changing the subject to Vina. Pike relents again, and the Keeper reveals that Vina was the sole survivor of the Columbia crash and confirms what she inadvertently revealed previously – that Pike and Vina were being kept to propagate Humanity and repopulate Talos IV. The conversation ends with Pike demanding that the Talosians punish him instead of her, since he is the one being uncooperative, which the Keeper regards as an excellent development in their relationship. The next illusion is a pleasant picnic just outside Pike's hometown of Mojave, with Vina attempting to entice Pike with the familiar setting, but with Pike still resisting, knowing that all of it is just a mere illusion. Vina then realizes that scenarios with which Pike is already familiar have not been successful in enticing him to cooperate, and surmises that he might be more easily swayed by a forbidden fantasy. The Talosians next tempt Pike by making Vina appear as a dancing Orion slave girl. The Enterprise tries without success to channel the starship's power to the surface to blast a way to Pike. Then Spock locates the Talosians' power generator and prepares a landing party. However, only the females (Number One and Yeoman Colt) are the only ones transported, as the Talosians seek to give Pike a choice of mates; and their weapons and communicators appear not to work. Vina resents the competition; Number One says records indicate Vina cannot be as young as she appears. As the rescue attempts have failed, Spock orders the Enterprise to leave orbit, but the Talosians immobilize it and scan its records, convincing Spock that the ship's utility to the Talosians is at an end and that they will now "swat… this fly." Pike determines that any strong emotions keep the Talosians from controlling his mind and uses this to his advantage. While Pike feigns sleep, the Talosian magistrate tries to recover the female officers' lasers from the cage. Pike seizes the magistrate and ignores the illusions. He reasons that the malfunction of the lasers was itself an illusion and uses the laser pistol to compel the magistrate to stop deceiving him. He now sees that they had blasted away the wall of the cage on their first attempt. He escapes with the women to the surface and sees that the blasting operation on the door had also succeeded, despite an illusion made to appear otherwise. But the communicators still don't work, and the Talosian says that the original goal was to put the group on the surface. Pike offers himself as a captive for the freedom of the others and the Enterprise, but Number One begins a "force-chamber" overload of her laser pistol, intending to destroy herself and her shipmates to thwart the Talosians' plans. She tells the Talosian magistrate that it is wrong to create a whole race of Humans to live as slaves. The magistrate's aides arrive, presenting the summary of the ship's records. The records have shown that Humans possess a "unique hatred of captivity," even when pleasant, making them too dangerous for the Talosians' needs. The magistrate does not apologize for the imposition but concedes that they will now become extinct. Pike asks if commerce or cooperation might not restore the planet, but the magistrate replies that Humans would learn the Talosians' power of illusion and destroy themselves, just as the Talosians did. The crew members are free to go, but Vina says she cannot join them. After the others transport aboard, the Talosians show Pike Vina's true appearance: underneath the Talosian illusions, she is badly deformed from the crash of the Columbia. They were able to make it so that she could remain alive, but could not restore her appearance. The Talosians agree to take care of Vina and they provide her with an illusory Captain Pike to keep her company. Pike returns to the bridge, reassuring Dr. Boyce that he is completely refreshed for work, and waving off a query from Yeoman Colt about whom he would have chosen as a mate, as well as accusing the doctor of being a "dirty old man" for inquiring into the meaning of Colt's remark. The Enterprise departs. Memorable quotes "Check the circuit." "All operating, sir." "It can't be the screen then." - Spock and Tyler, speaking the first lines in Star Trek history "Records show the Talos star group has never been explored. Solar system similar to Earth; eleven planets. Number four seems to be... class M. Oxygen atmosphere." "Then they could still be alive even after eighteen years." "If they survived the crash." - Spock, Number One, and Pike "Sometimes a man'll tell his bartender things he'll never tell his doctor." - Boyce, offering Pike a martini "Chris, you set standards for yourself no one could meet. You treat everyone on board like a Human being except yourself." - Boyce, explaining Pike's work exhaustion "I'm tired of deciding which mission is too risky and which isn't. And who's going on the landing party and who doesn't. And who lives. And who dies." - Pike, hinting at his retirement to Boyce "A man either lives life as it happens to him, meets it head-on, and licks it. Or he turns his back on it and starts to wither away." - Boyce, advising Pike against retirement "We both get the same two kinds of customers. The living and the dying." - Boyce to Pike, as doctor and bartender "It's just that I can't get used to having a woman on the bridge." (Number One looks surprised) "No offense, lieutenant. You're different, of course." - Pike to Number One, about Colt "You appear to be healthy and intelligent, captain. Prime specimen." - Vinas first observations of Captain Pike "There's a way out of any cage, and I'll find it!" - Pike to the Talosians, on his captivity "But they found it's a trap. Like a narcotic. Because when dreams become more important than reality, you give up travel, building, creating." - Vina, on why the Talosians developed their mental powers "I'm a woman as real and as Human as you are. We're like Adam and Eve." - Vina, convincing Pike that she is not an illusion "No, please! Don't punish me!" - Vina, about to be punished for revealing the truth that she and Pike are meant to breed (and finally proving that she's for real) "You overlook the unpleasant alternative of punishment." - The Keeper, outlining the consequences for disobedience "You either live life – bruises, skinned knees and all – or you turn your back on it and start dying." - Pike, understanding Boyce's advice "But we're not here. Neither of us. We're in a menagerie, a cage!" - Pike to Vina, in the picnic fantasy "A curious species. They have fantasies they hide even from themselves." - The Keeper, watching the picnic fantasy "A person's strongest dreams are about what he can't do." - Vina, before becoming an Orion woman "Can you believe it? Actually like being taken advantage of!" - One of Pike's guests, describing the nature of Orion slave girls "The women!" - Spock, after Number One and Colt disappear "Since you resist the present specimen, you now have a selection. Each of these two new specimens has qualities in her favor." - The Keeper, referring to Number One and Colt "Although she seems to lack emotion, this is largely a pretense. She often has fantasies involving you." - The Keeper to Pike, about Number One "The factors in her favor are youth and strength, plus unusually strong female drives." - The Keeper, about Colt "Wrong thinking is punishable. Right thinking will be as quickly rewarded. You will find it an effective combination." - The Keeper, after Pike suffers pain "With the female of your choice, you will now begin carefully guided lives." "Start by burying you?" "That is your choice." - The Keeper and Pike "It's wrong to create a race of Humans to keep as slaves." - Number One, just before preparing to kill the Humans and the Keeper "The customs and history of your race show a unique hatred of captivity. Even when it's pleasant and benevolent, you prefer death. This makes you too violent and dangerous a species for our needs." - The Keeper, before releasing Pike, Number One and Colt "No other specimen has shown your adaptability. You were our last hope." - The Keeper, explaining why Pike's inability to cooperate would lead to the extinction of the Talosians "She has an illusion and you have reality. May you find your way as pleasant." - The Keeper, after restoring Vina's beauty (as well as creating an illusory Christopher Pike to keep her company) "Who would have been Eve?" "Yeoman!" - Colt and Number One, referring to whom Pike would have chosen "Eve? As in Adam?" "As in all ship's doctors are dirty old men." - Boyce and Pike, before the Enterprise leaves Talos IV "What are we running here, a cadet ship, Number One? Are we ready or not?" "All decks show ready, sir." "Engage!" - Pike and Number One, as the Enterprise prepares to leave Talos IV Background information Introductory details The title of this episode – the first installment of Star Trek ever produced – was changed in production from "The Cage" to "The Menagerie". However, when the two-part episode and (which reused almost all the footage from this episode) went into production, the title of this installment reverted to "The Cage". (The Star Trek Compendium, 4th ed., p. 10; ) Although the episode has a title, and is universally referred to as "The Cage", no episode title actually appears on screen, with the only title used in the credits being "Star Trek". Story and script The genesis of this episode was the first of twenty-five proposed stories in Gene Roddenberry's series outline Star Trek is.... The description of the plot concept that became this episode (initially titled "The Next Cage") read, "The desperation of our series lead, caged and on exhibition like an animal, then offered a mate." During an early meeting wherein Gene Roddenberry and Herbert F. Solow pitched the series to television network NBC, Jerry Stanley – NBC Program Development Vice President – asked to hear more about the idea for the series' pilot episode. Solow later reflected, "I asked Gene to explain. He did, very succinctly describing the premise of 'The Menagerie'." Neither Grant Tinker – who was also present at the meeting and was, at the time, NBC Vice President of Programs, West Coast – nor Jerry Stanley was convinced to agree to a series deal with Roddenberry and Solow. Just as Roddenberry was about to leave the room, Solow made a last-ditch attempt to persuade the NBC executives, stating, "If you give us a commitment for a ninety-minute script instead of one hour, and we make the pilot, you can always run it as a TV special and recoup your investment if it doesn't sell as a series. Besides, I'm not leaving this room until you give us a script order." This was enough to sway NBC's stance and the executives agreed to make a deal. (Inside Star Trek: The Real Story, pp. 6, 19-20) This episode's premise was not the only concept that NBC considered for the series' pilot. Herb Solow explained, "They wanted to hear more stories before one of them was chosen for the pilot script. We had more meetings, and Gene gave them more stories." (Inside Star Trek: The Real Story, p. 20) This episode's narrative style was selected after Oscar Katz, the president of Desilu Television at the time, personally pitched four different narrative approaches to the NBC executives. Whereas the first two-story types primarily focused on events aboard the Enterprise and the third option featured a planet whose inhabitants were much like Humanity of either the past or the future, the fourth type involved a planet that was highly different from Earth and was inhabited by people who were likewise very different from Humans. NBC chose the fourth type, the hardest to produce, as they wanted to challenge Desilu by making it as hard as possible for that studio to prove the series was doable. Explained Katz, "I tried to talk them out of it, because I knew it was going to be expensive and, even more, I felt that it might not be representative of the series. But they couldn't be talked out of it." (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 11) The plot idea for this episode underwent further development in early May 1964, after NBC vice-president Mort Werner provided Gene Roddenberry with US$20,000 in development money to write three different story outlines based on the Star Trek format. (The Making of Star Trek, pp. 41-42; The Star Trek Compendium, 4th ed., p. 10) With so much at stake over the trio of episode outlines, Roddenberry diligently labored away at them, obsessing over each page and every word. He spent a month writing the outlines as well as several weeks revising them, after which he finally turned the pages over to NBC. (Star Trek Memories, p. 33) The outlines had been forwarded to the network by the end of June 1964 and the particular outline for this episode was dated 29 June (The Making of Star Trek, pp. 45 & 47). The other two candidates were "The Perfect World" aka "Visit to Paradise" (which became ) and "The Women" (which became ). (These Are the Voyages: TOS Season One, 1st ed., p. 34) Following the submission of the outlines, NBC took several days before announcing their choice of "The Cage" as the pilot-to-be. (Star Trek Memories, p. 33) The episode's story outline consisted of 26 pages. In those pages, the name of the Enterprises captain was Robert April (as it was in the series outline Star Trek is…). He was the only one of his crew whose name was to be changed, as the episode continued to evolve. Also, the Talosians were crab-like aliens (their species remaining unnamed, though they were commonly referred to as "crab-creatures"), and their planet was "Sirius IV". The outline is fully transcribed in The Making of Star Trek (pp. 47-65). Some of Gene Roddenberry's initial thoughts for the episode's illusory scenarios had to be altered or scaled back due to production and budgetary realities. ("The Menagerie, Part II" text commentary) Hours after NBC greenlighted the pilot (a duration that Gene Roddenberry and Herb Solow spent ironing out some of the "twists, turns, and bends in the plot"), Gene Roddenberry set to work on writing the teleplay. (Star Trek Memories, p. 36; Inside Star Trek: The Real Story, pp. 20-21) As he wrote the first draft script, he spared no thought for the practicalities of producing what he was writing about, such as the episode's laser cannon, instead leaving such realistic considerations until later. Noted Herb Solow, "The network draft wasn't for shooting, the network draft was for selling. When we got the order for the pilot film, then we'd face the budget problem head on." (Inside Star Trek: The Real Story, pp. 20-21) Gene Roddenberry did, however, care about the believability of the script. To this end, he initiated a period of intensive scientific research and began an acquaintance with Harvey P. Lynn, a physicist from the RAND Corporation who served as Roddenberry's unofficial technical adviser on the pilot. (The Making of Star Trek, pp. 74, 76-77) During the remainder of the summer and into the early autumn of 1964, major effort was invested in the development of the shooting script, the intention being that it was to later be submitted to NBC for approval. (The Making of Star Trek, p. 78) The first script draft was dated . (The Star Trek Compendium, 4th ed., p. 11) In that version of the episode, the captain's name was still Robert April, though both the Talosians and their homeworld of Talos IV received their eventual names. (The Making of Star Trek, pp. 91-95) It was also the initial draft of the episode's teleplay that changed the Talosians from resembling crabs to becoming small and slim humanoids with elongated heads. (The Making of Star Trek, p. 93) This alteration was made because the production staff realized the aliens might seem too much like the bug-eyed monsters of "1950s horror movies," the antithesis of what Gene Roddenberry wanted the more intellectually-minded Star Trek to be. Depicting the extraterrestrials as crab-like creatures would have not only run a good chance of making them look unconvincing but also would have been prohibitively expensive, two deciding factors in the adjustment of their form. (Star Trek: The Original Series 365, p. 008) According to Majel Barrett, the first character introduced in the script was Number One. "That was the first character Gene wrote into the script," Barrett stated. "Captain April was not an afterthought because he knew he had to have a captain, but the first character that was described was Number One." () The episode's first draft script had an opening scene in the hangar bay where Captain April, whose character at this stage was a tad older than Captain Pike was later written, is inspecting new crew members. He remarks disapprovingly to the doctor, at one point, about the young age of some of these officers. "Something," Roddenberry later wrote in a memo, "that Jim Kirk, the boy wonder of the Academy, never would have done." In this same scene, April sees a number of badly-wounded crewmen off the ship, onto a space shuttle or taxi from the Human colony of Antares. Among these departing officers is an uninjured former navigator named Crowley who April is sending back in disgrace, because he fired on friendly aliens. The officer argues that they were monstrous in appearance and asks how he could have known that they were intelligent enough to have weapons. These protests are met by a stern but subdued dismissal from the captain, who quietly orders, "Get off my ship, mister." (The Making of Star Trek; The Star Trek Compendium, 4th ed., pp. 11-12) While scripting the episode, Gene Roddenberry developed a habit of being somewhat possessive about story ideas, to such a degree that Herb Solow considered this quality to be excessive. "As Gene completed the first-draft pilot script," Solow remarked, "he unfortunately became overly protective of his new baby." Furthermore, Roddenberry began to frequently lay claim to the input of others. "A new side of Gene slowly appeared: ownership of ideas," commented Solow. "If a good story or series point came from anyone, be it NBC, [Desilu's agent] Ashley-Famous, or Desilu, Gene Roddenberry appropriated it." (Inside Star Trek: The Real Story, p. 21) A copy of the episode's first draft script was sent from Gene Roddenberry to Harvey P. Lynn, shortly prior to 14 September 1964. On that date, Lynn responded with correspondence of his own – a letter that included many comments on the script draft. Concerning the docking scene, Lynn proposed a theoretical docking method and a suggestion that the name Antares, since it refers to a sun unsuitable for the habitation of Humans, be substituted with "a more vague name" such as Tycho, Fabricus, or even Lynnicus (the latter name clearly being offered as an in-joke). Additionally, Lynn took the liberty of suggesting that the shuttle or taxi might be from a ship similar to the Enterprise and that that vessel had recently departed from Earth, which Lynn observed would correlate well with the introductions of both Tyler and Yeoman Colt. (The Making of Star Trek, pp. 90-92) The docking scene was excised from the script in a revised draft, and Roddenberry notified Lynn of the scene's exclusion in a letter sent on 24 September. (The Making of Star Trek, pp. 96-97) Though the first script draft referred to Talos IV as being located at the "edge of the universe" and stated that Earth was "at the other end of this galaxy," Harvey P. Lynn rejected these notions, advising Gene Roddenberry that traveling from one end of the galaxy to the other would take an impossibly long time and encouraging him to switch the latter reference to "far away in this galaxy." (The Making of Star Trek, pp. 92, 94) Evidently, Roddenberry ultimately minimized the references to the far distance between Earth and Talos IV; of the two such references, the first was deleted while the second remained. Harvey P. Lynn recommended that Talos IV be stated to be in either Sigma Draconis, Eta Cassiopeiae, or HR 8832 (aka ), owing to both their proximity to our solar system and the fact that it is unknown whether any of them have any Earth-type planets. Other astral names that Lynn requested be changed were Epsilon VII, Orion, and Rigel 113, which he suggested substituting with Draconis, HR 8832, and Vega 113, respectively. A similar idea that he presented was changing Orion traders to Centaurian traders. (The Making of Star Trek, pp. 92, 95) In his reply on 24 September, Roddenberry expressed an interest in having the names of the stars in this episode be ones that were familiar to the audience. "This is why I've avoided such terms as 'HR8832,' etc," he explained. On the other hand, he conceded that the continued use of Rigel and Orion could still be substituted, in the final shooting script, with names such as Vega, admitting that such names – while being more appropriate from a scientific perspective – were also possibly just as familiar. (The Making of Star Trek, p. 97) Comparing the second revised final draft script (dated 20 September 1964) to the episode's final draft indicates that Roddenberry ultimately replaced Rigel 113 with Rigel VII. Neither the same script draft nor the actual episode contain reference to Epsilon VII, though they also evidence that Roddenberry ultimately excluded not only HR 8832 but also Draconis and Vega 113. Due to Harvey P. Lynn's influence, the SS Columbia is said to have been lost in the same "region" as the Talos star group, rather than the same "quadrant" as that star system, and the gravity of Talos IV was altered from "1.3 of Earth" to less than Earth's gravity. Lynn submitted the latter suggestion on the basis of the Talosians' appearance and proposed that Talos IV have a gravity that was 85% as powerful as Earth's. (The Making of Star Trek, p. 92) In the episode's final version, it is said to be "0.9 of Earth." The character of Geologist was known as Astroscientist in the first draft script, but this was also changed on the recommendation of Harvey P. Lynn, who opted for "Geologist" because he believed it was a more specific title. (The Making of Star Trek, p. 93) In the first draft script, the illusory Columbia survivors had more dialogue than they do in the episode's final edit. For instance, it was established that the survivors' distress call had been a directional beam. Harvey P. Lynn, however, proposed that it would be more likely for the survivors' signal to have been a broadcast beam, owing to the increased probability that such a beam would be intercepted. Solar batteries were mentioned by at least one of the survivors too, but Lynn opposed this by suggesting that the illusory Human instead say, "After we could no longer use the ship's power, we switched to automatic batteries and started praying." (The Making of Star Trek, p. 93) This dialogue was evidently later cut or omitted entirely. Harvey P. Lynn also made some notes on the specifics of several elements that were intended to continue to be featured in the forthcoming series (such as lasers, for which he submitted four alternative names, though Gene Roddenberry maintained that he wanted the name to stay as it was, due to the high odds that it would be recognizable to viewers). (The Making of Star Trek, pp. 94, 97) Executives at Desilu were also included in the revision process. Herb Solow explained, "Finally, all the top executives received copies of our pilot [script] to read, review with others, and comment on. I personally walked the Star Trek pilot script into [Desilu president and actress] Lucy [Ball]'s dressing room and handed it to her. 'Lucy, this is the Star Trek pilot script. There'll be lots of changes, so if you have any comments, let me have them, because there'll be ample time to implement them.' Lucy never mentioned the script […] I know Oscar [Katz] read his copy of the pilot script, but he never offered any comments [either]." (Inside Star Trek: The Real Story, p. 22) The second revised final draft script of the "The Cage" indicates, as does the episode, that Spock, José Tyler, and others had been wounded in the fighting on Rigel VII – events which took place just prior to the action in "The Cage". The script includes stage directions for Spock to be limping and for Tyler to have a bandaged hand. As late as 20 November 1964 (in the second revised final script), the captain's name was James Winter. Even though Gene Roddenberry was open to some of Harvey P. Lynn's suggestions, his possessiveness over plot ideas affected his interactions with NBC. (Inside Star Trek: The Real Story, p. 21) The script's final draft was ready to send to the network by the end of September 1964 and the proposed shooting script was submitted to NBC in the last week of September. (The Making of Star Trek, pp. 90, 99) Herb Solow offered, "Gene and I met with NBC to get their script comments. He took offense at most of them, at times unnecessarily so. Some ideas were really good." (Inside Star Trek: The Real Story, p. 21) However, Roddenberry was pleased with the network's general reaction to what he had written, the major stumbling block between them, at this point, being a specific dream sequence that Roddenberry had scripted. NBC warned against overly focusing on the sequence, wary that the message concerning what is reality might be lost on the audience. Numerous other, minor alterations were requested, but NBC more-or-less gave their approval for the episode to be filmed. (The Making of Star Trek, p. 99) By the time this episode's script was completed, Gene Roddenberry's initial concept for the installment had been greatly changed by suggestions from Desilu and NBC. (Inside Star Trek: The Real Story, p. 22) The teleplay also reflected the input of the numerous scientific advisers who Roddenberry had consulted. (The Making of Star Trek, p. 90) Having finished writing the script, Roddenberry asked Robert Butler to read it. Butler later remembered his reactions to the teleplay; "I remember thinking it was a terrific yarn, but that it was somewhat obscured because it was such a showcase script. 'The Cage' showcased such solid, good and fascinating science-fiction disciplines, examples and events, that it was, I thought, a little obscure. The story was somewhat remote." (, issue 117, p. 55) By the time filming began, the name of the Enterprises commanding officer had finally been changed to Christopher Pike. (The Making of Star Trek, p. 115) Cast Prior to the making of this episode, Gene Roddenberry already knew that he wanted to cast both Majel Barrett – who he had in mind when originally developing the character Number One – and Leonard Nimoy as Number One and Spock, respectively. (Star Trek Memories, p. 23; ) All three had previously worked on The Lieutenant, a series that had been produced by Roddenberry and had featured appearances from Barrett and Nimoy. (Star Trek Memories, pp. 43) Casting director Joseph D'Agosta had also worked on The Lieutenant. At a point after Star Trek had been greenlighted but did not yet have a casting director, Gene Roddenberry called D'Agosta and eagerly invited him to fill that production capacity. (The Star Trek Interview Book, p. 213) The casting process began at a time when the script revisions were under way and the captain's name was still Robert April. (Star Trek Memories, p. 41; ) However, because Joseph D'Agosta was meanwhile at 20th Century Fox, his work on the episode was indirect. "I cast it on the phone," he explained, "by just suggesting films to look at and what actors to see, and I relayed all this through a young man named Morris Chapnick, who was Gene's assistant." (The Star Trek Interview Book, p. 213) Chapnick, yet another production staffer who had worked on The Lieutenant, had first become aware of Star Trek when Roddenberry had told him about this pilot. (The Making of Star Trek, pp. 100-101) Majel Barrett was cast as Number One before both Leonard Nimoy and Pike actor Jeffrey Hunter were cast in their roles. (Star Trek Memories, p. 23) Alternative actors that were considered include Lloyd Bridges for the Captain Pike role, Martin Landau for the Spock character, and Yvonne Craig for the guest star role of Vina. (; ) DeForest Kelley was considered for the roles of both Dr. Boyce and Spock. (The Star Trek Interview Book, p. 98; Star Trek Memories, p. 44) Even though Leonard Nimoy was always Gene Roddenberry's first choice for the Spock role, he often said that he would have instead approached Martin Landau to play the role, if Nimoy had been unavailable. () Robert Butler was involved in many of the casting decisions for the episode, including the selection of Peter Duryea as José Tyler. Butler later recalled, "I was very much in on the casting of the supporting people […] I remember trying to get a freshness and colloquiality in those characters and not have them all be rigid and pasteboard leading men." () Robert Butler was happy with the casting of Peter Duryea, Majel Barrett, and Susan Oliver as Vina but had some difficulty with Jeffrey Hunter playing Pike. "I certainly knew of him and found him to be a real co-operative good guy," stated Butler. "He was a little heroic and a little stiff, and I tried to modify that a little bit." () In his introduction for the 1986 VHS release of "The Cage" (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he refused to cast his crew what the network dubbed "sensibly," which according to Roddenberry meant "all white." This was indirectly contested by Herb Solow in the book Inside Star Trek: The Real Story, in which he states that Mort Werner deliberately encouraged NBC to show racial diversity and integration in its programs. In general, the pilot gave its cast a good impression of how good the potentially forthcoming series could be. Laurel Goodwin, who was cast as Yeoman J.M. Colt, remembered, "The whole gang of us knew this show was going to go along wonderfully well. We were all so involved with our characters. There was no doubt in my mind that this would be a successful show if they could just get good stories." () Leonard Mudie, who has one line of dialogue as one of the Columbia survivors, was a veteran of dozens of films dating back to the 1930s. He was 81 when this sequence was filmed, and he died the next year. He was the second-oldest actor ever to appear on the original Star Trek and the first to pass away. Although male voices were dubbed in for the Talosians, all the Talosian actors were actually women. (This is, unfortunately, not correct. Felix Silla (January 11, 1937 - April 16, 2021) played one of The Keepers; he was not just a background image to show how small they were.) Robert Butler and Gene Roddenberry struck upon using this casting method at about the same time as one another, Butler reckoning that it would lend the Talosian characterizations an alien-like androgynous quality. (The Star Trek Interview Book, p. 97) Roddenberry believed that the lighter builds of females might suggest that the Talosians had allowed their bodies to atrophy while instead choosing to concentrate on advanced brain development. ("The Menagerie, Part II" text commentary) Upon searching for suitable performers to play the parts, Roddenberry scoured Hollywood for short actresses with faces that he deemed to be interesting. (The Star Trek Compendium, 4th ed., p. 15) Meg Wyllie was cast as the Talosian Keeper on Butler's recommendation, they having previously worked together. (The Star Trek Interview Book, p. 98) Clegg Hoyt played the transporter chief, Pitcairn, but his voice was dubbed in by Bob Johnson. Johnson was the voice on the tape (and disc) in the TV series Mission: Impossible. Leonard Nimoy and Majel Barrett are the only actors to appear in both this episode and the final episode of , , where Barret played her most regular role, Nurse Chapel. Malachi Throne (Voice of The Keeper) featured not only in this episode, Leonard Nimoy's first Star Trek appearance, but also appeared during Nimoy's final TV Star Trek appearance, the episode . This is the first of six Star Trek instances in which Leonard Nimoy appeared without William Shatner, the other five being , and , and the films and . Michael Dugan, who played the illusory Kalar warrior, was actually a stunt performer. ("The Menagerie, Part II" text commentary) After the crew beams down to the planet surface of Talos IV, Spock is seen limping as he walks toward the singing plants. It has been mistakenly stated that Nimoy had suffered an injury prior to filming. In fact, Nimoy's limp here was feigned, in accordance with the script. (The Making of Star Trek) José Tyler similarly appears with a bandage around his hand. Both injuries were meant to reference the recent mission-gone-wrong that Pike speaks to Boyce about. Because Jeffrey Hunter (who played Pike) was playing a very controlled, internalized character, Nimoy felt the need to bring in some energy and animation onto the set. (Mind Meld: Secrets Behind the Voyage of a Lifetime; et al.) Production The making of this episode despite the fact that best estimates for the pilot originally placed its production cost as more than US$500,000 represented a considerable gamble for Desilu, which was a small, ill-equipped studio at the time. (The Making of Star Trek, p. 41) Nervous about this situation, NBC set out to monitor the progress of the pilot, keeping a check on the project's schedule and cost. (Star Trek Memories, p. 36) Oscar Katz announced NBC's go-ahead to produce the pilot at a Desilu board meeting, after which Herb Solow fielded questions from the board. He explained that, although the pilot was going to cost more than NBC gave the studio, Desilu had no way of knowing how much more until after the revised script had been budgeted. Solow later mused, "The board was nervous. Production of a ninety-minute science-fiction pilot was an expensive business move, a risky business move." As the meeting went on, Solow gave assurances that it was possible for Desilu to produce the show and tried to maintain a positive demeanor as he answered more questions about the imminent pilot. (Inside Star Trek: The Real Story, p. 23) At first, it was uncertain how a production crew could be assembled to handle such an ambitious and complex episode as this, though Gene Roddenberry and Herb Solow immediately ruled out the crew that regularly produced Desilu's The Lucy Show, which starred Desilu President Lucille Ball. "As professional as the crew was, most of them would be of little help when confronted with the overwhelming demands and technical requirements of the planned Star Trek pilot," explained Solow. "Basically, Gene and I were faced with the job of building a production unit from scratch at a time when the availability lists from the unions were scant or empty." (Inside Star Trek: The Real Story, p. 27) Besides Gene Roddenberry and Herb Solow, the first production staffer to be assigned to this episode was Robert Butler. He was chosen by Roddenberry and Solow, following extensive talks with both NBC Programming and Alden Schwimmer, the boss of Ashley-Famous. NBC was satisfied with the decision, Butler having established himself as a director on numerous television series in the 1960s (including The Lieutenant). (Inside Star Trek: The Real Story, pp. 27 & 13) It was Gene Roddenberry who asked Robert Butler to helm the episode. () Both Roddenberry and Solow regarded Butler as highly dependable. (Inside Star Trek: The Real Story, p. 27) However, Roddenberry's extreme protectiveness over the episode clashed with Butler's impression of the script as being somewhat obscure. Butler later reflected, "I discussed whether or not people would get it. I could tell at that point that Gene was so consumed with it that he couldn't have heard any objections." ( issue 117, p. 55) The director also said, "I remember trying to suggest to Gene that we ought to do some straightening out, or at least we should discuss it, and I remember thinking that Gene was too far into it, so I just gave up." (Trek: Deep Space Nine, p. 43) Butler wanted Roddenberry to change the title of the show from "Star Trek" to "Star Track", feeling that the former was too pretentious, tedious, inert and boring. ( issue 117, p. 55; ) "In that discussion, and others regarding the story's obscurity, Gene was not in the mood to receive any such input," remembered the director. ( issue 117, p. 55) After Robert Butler was drafted, some key members of the art department were also sought out. These were Pato Guzman, the art director from The Lucy Show, and Matt Jefferies, who was hired as the episode's assistant art director. Jefferies was initially assigned to design the Enterprises exterior, with Guzman deciding upon the look of the sets. (Inside Star Trek: The Real Story, pp. 27-28; The Making of Star Trek, pp. 78-79) One of the environments that Guzman designed was Captain Pike's quarters. (The Art of Star Trek, p. 11) When he left amid the episode's pre-production phase (specifically, in October 1964), Guzman was replaced by Franz Bachelin, a veteran art director. (The Making of Star Trek, p. 101; Inside Star Trek: The Real Story, p. 35) One set that was designed by both Guzman and Bachelin was the planet surface of Talos IV. ("The Menagerie, Part I" text commentary) However, Matt Jefferies also worked on designing the sets, such as the cage-like environment that serves as the episode's namesake. (The Art of Star Trek, p. 5) In fact, much to his frustration, designing the Enterprises exterior initially delayed Jefferies from planning the episode's sets. (Star Trek Memories, p. 32) A great deal of effort went into scheming the sets, on paper, while the installment's shooting script was in development, spanning late summer and early autumn of 1964. (The Making of Star Trek, p. 78) Costume Designer William Ware Theiss was fortunately available and was hired on the pilot with the task of designing, on a very limited budget, costumes that had to be different from any seen before on television. (Inside Star Trek: The Real Story, p. 28) In early October 1964, Robert Justman was interviewed for the post of associate producer on the pilot but turned it down, fearing that his post-production knowledge was not as extensive as it had to be for the episode, a response that lead to Byron Haskin instead being recruited as the pilot's associate producer. (Inside Star Trek: The Real Story, pp. 28-30; "The Menagerie, Part I" text commentary) Justman meanwhile went back to working on The Outer Limits, on which he had worked with Byron Haskin. The Star Trek pilot still required an assistant director. "The first Star Trek pilot needed a good one," clarified Herb Solow. "I didn't want to use any first assistant [director] who'd worked with Bob Butler in the past, feeling that too much familiarity might be a disadvantage on this mind-boggling science-fiction pilot." After Solow consulted producer and director friends (including his college classmate James Goldstone) around Hollywood (irritatedly referring to the pilot as "a bitch"), he found that Robert Justman was the highest recommended candidate. (Inside Star Trek: The Real Story, p. 31) Solow then convinced , Justman's boss on The Outer Limits and other projects, into permitting a temporary transfer of Justman to the Star Trek pilot, saying, "With prep time, the shooting, and some wrap-up, figure I'd be borrowing him for no more than a month at the most." Stevens wanted Justman to serve as assistant director on his upcoming Esperanto language horror movie, Incubus, which coincidentally starred William Shatner. However, pre-production of Incubus went overdue, so Stevens loaned Justman to Desilu. Justman likewise believed his assignment on Star Trek was not going to be longer than six weeks and, when he returned to Desilu, he was surprised to find that no final shooting script was yet available for him, the teleplay undergoing one of Gene Roddenberry's many rewrites of the script. Justman began his work after he read through the latest rewrite, initiating the schedule and budget "breakdown" process. (Inside Star Trek: The Real Story, p. 32) His role as this episode's assistant director made Justman responsible for a virtually endless series of critical production details. ("The Menagerie, Part I" text commentary) When Director of Photography William E. Snyder became available, he brought his own camera crew and "lighting" gaffer with him. Although some sources cite Jerry Finnerman as having been the camera operator on this episode, the actual cameraman was Richard A. Kelley, according to both Robert Justman and the original crew sheet for the episode. (Inside Star Trek: The Real Story, p. 36) Locating a makeup supervisor who was equipped to tackle the pilot involved a challenging search. "It was apparent that we needed the best makeup man we could find," explained Robert Justman. "There were numerous 'appliances' [latex or rubber prosthetics] that would have to be designed, built, and affixed, on a daily basis, to the actors who would portray non-human aliens […] Most makeup artists didn't have the prosthetic expertise we needed." Also, Desilu had no makeup department of its own. Justman spoke about the project with Fred Phillips, a busy makeup man who had worked with him on The Outer Limits and several previous series. "I managed to spring him long enough to do our pilot," concluded Justman. (Inside Star Trek: The Real Story, p. 36) Purchasing a laser cannon for this episode was of some difficulty. Herb Solow once commented that it was "tough to go down to the local hardware store or gun shop and buy one." (Inside Star Trek: The Real Story, p. 20) The laser cannon prop was ultimately a modified camera dolly. ("The Menagerie, Part II" text commentary) The weirdness of Gene Roddenberry's requirements startled some of the advisors he attempted to consult. "Well, it was all so new and strange to them," Roddenberry observed. "Like you call some unsuspecting production man on the phone, and he says, 'Hello,' and you say, 'What does it cost to paint a girl green?' You get a long silence!" (The Making of Star Trek, p. 77) When doing makeup tests for Vina as an Orion slave girl, Majel Barrett was used as a willing test subject. (Inside Star Trek: The Real Story, p. 40) "I was cheap, I was there, and our guest star was not!" Barrett laughed in retrospect. "She would have had to be brought in and they would have had to test it [on her], and there just wasn't the money." () This took place early in the episode's preproduction phase and it was Fred Phillips who applied the makeup to Barrett. ("The Menagerie, Part II" text commentary) However, the footage of these tests kept coming back without the green skin being visible. Puzzled by this, the makeup crew kept painting the actress again and again with other shades of green, hoping it would be visible on film. This went on for a period of three consecutive days. Afterward, the makeup artists discovered that the film processing lab was "de-coloring" her because they didn't know she was supposed to be green. (Inside Star Trek: The Real Story, p. 40; The Making of Star Trek, pp. 77-78) The first filmed scene from "The Cage" (and of Star Trek) – the sequence with Dr. Boyce and Captain Pike sharing a martini – was filmed on Friday, . ("The Menagerie, Part I" text commentary) Only a short stretch of corridor was built for this episode. This set can be seen, in its entirety, during the scene in which Pike heads through a passageway into his "cabin" (or quarters), passing a young couple. ("The Menagerie, Part I" text commentary) The animation of two of the specimens in the Talosian menagerie – the anthropoid ape and the humanoid bird – was provided for by Janos Prohaska. ("The Menagerie, Part II" text commentary) The ape creature originally appeared in The Outer Limits episode "Fun and Games", without its facial hair. Prohaska was brought in by Robert Justman, who had worked with him previously on the series. The owl-like bird creature, entirely designed and built by master craftsman Wah Chang, also appeared in a later episode of that series, "The Duplicate Man". () Still, "Roddenberry's weirdness" of it all continued to befuddle Director Butler, as he recalled. "I remember there was some chicken – some killer fowl – being locked in some cell somewhere, and I'm talking to this stuntman – it's crazy, me talking to this Janos Prohaska, [who was] Hungarian or something…[saying], "Janos, okay that's good, baby, now try this." And there's this big chicken – this killer chicken – or some equivalent. I mean, it was nuts." (These Are the Voyages: TOS Season One, 1st ed, p. 60) Needless to say, the extended scenes were not utilized in the pilot as presented. One of the imprisoned species is seen only by its shadow; the last cage in the zoo contains a large crab-like creature with huge claws. This was a shadow puppet, rendered with several fingers silhouetted against a lit background. ("The Menagerie, Part II" text commentary) The Talosian seen down the corridor as Pike looks at all the imprisoned creatures was a dwarf (Felix Silla). This gave the appearance of great length to what was actually a short, forced-perspective hallway. Bob Justman came up with this idea when they realized the budget wouldn't allow them to build a large hallway. (Inside Star Trek: The Real Story, p 47) The Talosian headpieces – complete with their bulging veins and small, round ears – were also created for this episode by craftsman Wah Chang, who (like Robert Justman, Byron Haskin and Fred Phillips) had previously worked on The Outer Limits. ("The Menagerie, Part I" text commentary) The head prosthetics were blended into the actresses' own facial features by Phillips and his makeup staff. (The Star Trek Compendium, 4th ed., p. 15) The Talosians' elevator landing was built on a platform, allowing room for the lift to descend without having to excavate below the soundstage's floor. ("The Menagerie, Part I" text commentary) A matte painting created by noted matte artist Albert Whitlock was used to portray the Rigel VII fortress, though these exterior shots also involved the filming of live-action footage on the Metro-Goldwyn-Mayer back lot. ("The Menagerie, Part II" text commentary) While Susan Oliver was wearing her green Orion slave girl makeup, she became very tired. A doctor was called to the studio to give her a vitamin B shot. He went to her dressing room where, not having been informed of her appearance, he was greatly surprised to see that her complexion was green. The doctor was so flustered, in fact, that it took him nearly five minutes to simply identify an area to administer the shot. (The Making of Star Trek, p. 78) The spearhead Pike uses to kill the Kalar on Rigel VII was a recycled prop from . It measured approximately thirty inches in length and was seven and a half inches wide. (Star Trek: The Original Series 365, p. 011) Robert Butler said in an interview with Star Trek Monthly that he wanted some dirt and rust on the sets, but Roddenberry vetoed this idea, claiming that everything must be clean and shiny. In another interview, Butler claimed that this was his basic reason for disliking Star Trek overall, calling it "too square-jawed, heroic" and "too worthy and clean" for his taste. (Star Trek Monthly issue 6 ) The landing party jackets in this episode were fastened by long strips of black Velcro running down the entire length of the inside flap, visible in some of the scenes. The belts were grey-colored elastic-type bands that had metal hook/clip fasteners at the front which held the communicator and hand weapon. They were worn over the shirt but under the jacket, at the waist. When indicating the region of the Talos group on his viewscreen, Spock calls up a photograph of the Pleiades Cluster. The scene inside the Rigel fortress was one of the last scenes to be shot for this episode. It was filmed on . Gene Roddenberry was present during the filming and model maker Richard C. Datin, Jr. also payed a visit to the set, presenting the three-foot USS Enterprise study model to Roddenberry, it eventually turning out to be a full-fledged filming model onto its own. ("The Menagerie, Part II" text commentary, ) This was the single most expensive episode ever created for the original Star Trek series. ("The Menagerie, Part I" text commentary) According to several sources (including the The Star Trek Compendium, 4th ed., p. 17), NBC spent US$630,000 on this episode. According to Majel Barrett, however, there was only US$168,000 available for the pilot. () The episode's preproduction costs were reduced thanks to the use of rear-screen projection for images on the Enterprises main viewscreen. ("The Menagerie, Part I" text commentary) Based upon extensive research author Marc Cushman had performed on the internal studio documentation used at the time, he has reported the budget and total cost at $452,000 (hugely debunking Barrett's earlier statement) and $616,000, respectively. (These Are the Voyages: TOS Season One, 1st ed., p. 64) Visual effects Howard Anderson Company, the company responsible for all visual effects or "opticals" as they were called at the time, subcontracted the build of the Enterprise studio model to Richard Datin. Datin himself built the above-mentioned small three-foot that was originally intended to serve as a study model, but which ended up being used for filming nevertheless. The actual large eleven-foot filming model he himself had to sub-contract to Production Models Shop due to time pressure and lack of space in his workshop. ( For a far more detailed treatise on the two models, see: Constitution-class model The opening shot of this episode was filmed with the use of frame-by-frame stop-motion animation, in order to allow for the transition between the footage of the Enterprise model and the shot that was taken on the set for the starship's bridge. Due to the movement of the space vessel, the shot was necessarily very intricate and extraordinarily difficult to produce. It was created by the Howard Anderson Company. ("The Menagerie, Part I" text commentary) The shot used the eleven-foot model of the Enterprise, while the other ship shots of this episode involved the three-foot miniature of the spacecraft. ("The Menagerie, Part II" text commentary) The shot was the very last to be produced and the only one where the large model was utilized, as it was only delivered to Anderson's on , after all other footage had approximately been completed a week earlier. () The text commentary for "The Menagerie, Part I" refers to the shot's creation as "an outstanding achievement in television visual effects." The opening establishing shot of the Enterprise was reused in several early episodes: , , , , and . The starship, traveling at warp speed, is depicted in a unique effect that was never re-created for the series; the camera "sidles up" to the Enterprise model and "swoops over" the top of the primary hull. Combined with this shot are two space effects: one of a stationary star field and the other of a star field moving rapidly, from right to left. The completed effect is meant to suggest that "local" stars are flying past the Enterprise while the great "backdrop" of the galaxy remains motionless. (These Are the Voyages: TOS Season One, 1st ed., pp 90-91) The effect of the laser cannon firing was an animation produced by the Howard Anderson Company. ("The Menagerie, Part II" text commentary) Majel Barrett felt that her perceived lack of "special effects" in this pilot episode was an indication that the finances provided for the pilot "didn't go very far." () Music Upon first hearing the theme tune for this episode (which went on to serve as the theme music for the original Star Trek series), Robert Butler was impressed. He later reminisced, "The music was good; I remember that theme song was quite wonderful […] I remember liking it when I heard it." () Alexander Courage provided not only this thematic composition as well as the episode's score but also created the sounds of the singing plants. ("The Menagerie, Part I" text commentary, TOS Season 1 DVD; et al.) The musical score of this episode has been released on CD, tied with the score of the episode "Where No Man Has Gone Before". The first official release came in 1988. It was later expanded, restored and remastered for disc 1 of the Star Trek: The Original Series Soundtrack Collection. Reception and aftermath One of the first occasions on which word of this episode reached the press was following NBC's approval of the pilot script; while Gene Roddenberry and Herb Solow were celebrating the confirmation during lunch with their daily Cobb salad at the Hollywood Brown Derby on Vine Street, Dave Kaufman – a television reporter and columnist for Daily Variety – passed by their table on his way back to his office and Solow notified him of the news. However, the cheerful Kaufman replied, "I knew it before you did." After leaning over to engage Roddenberry in a handshake, Kaufman repeatedly asked who would be producing the pilot, doubting that Desilu was up to the task. Roddenberry and Solow acknowledged Kaufman's remarks and he wished them good luck before exiting. (Inside Star Trek: The Real Story, pp. 26-27) The first view of the completed pilot was at a special screening for the episode's cast and crew. "I remember the screening and the special effects and the makeup were just perfect," remarked J.M. Colt actress Laurel Goodwin, "Everyone was applauding when we saw the transporter effect put together. When you shoot it, of course, they just stop the camera and you walk off. But on film, it was so great." () NBC rejected the episode, following its production, and declared it was "too cerebral." Robert Butler found he could relate to this statement. "Apparently, the network, at its level, was feeling exactly as I did," he remarked. ( issue 117, p. 55) According to Gene Roddenberry, he had a similar response to the news. "I sort of understood [NBC's verdict]," he said. "I wrote and produced what I thought was a highly imaginative idea, and I realized I had gone too far. I should actually have ended it with a fistfight between the hero and the villain if I wanted it on television […] because that's the way shows were being made at the time. The great mass audience would say, 'Well, if you don't have a fistfight when it's ended, how do we know that's the finish?,' and things like that." (The Star Trek Interview Book, p. 10) Besides finding the episode too intellectual, NBC also cited criticisms such as the presence of a female first officer on the bridge and the character of Spock being too alien for audiences of the time. () However, the "myth" of the network wanting to eliminate the female first officer was debunked by Herb Solow and Robert Justman in Inside Star Trek: The Real Story. In the book, they state that NBC supported the idea of a strong woman in a leading role, they only rejected Majel Barrett, feeling the actress is not talented enough to pull off such a role, and "carry" a show as co-star. (Inside Star Trek: The Real Story, p. 60) NBC was also not satisfied with the majority of the actors. They wrote, "We also think you can do better with the ship's doctor, the yeoman and other members of the crew". Solow decided to hire a full-time casting director for the next pilot, and eventually the series. (Inside Star Trek: The Real Story, pp. 60-61) Another aspect of the pilot which NBC was very worried with, was its "overall eroticism", most notably the "scantily clad green dancing girls with the humps and grinds". This was a major factor for not choosing , which dealt with "an intergalactic pimp selling beautiful women hookers throughout the galaxy", to be the second pilot. (Inside Star Trek: The Real Story, pp. 59-61, 65-66) Oscar Katz was pleased with this pilot episode. (The Star Trek Interview Book, p. 10) However, Lucille Ball was seemingly uninterested in it. Herb Solow offered, "The day the completed pilot was screened for NBC on the West Coast, I walked into Lucy's dressing room to tell her NBC's reaction. The pilot script was still there, apparently untouched." (Inside Star Trek: The Real Story, p. 22) DeForest Kelley viewed this episode around the same time it was being shown to studio executives. He told Gene Roddenberry, "Well, I don't know what the hell it's all about, but it's either gonna be the biggest hit or the biggest miss God ever made." () Despite the numerous nitpicks they had with this episode, NBC made the extraordinary (and, at the time, rare) move to order a second pilot, . For that subsequent pilot, the briefing room, transporter room and bridge were kept much the same as they are in this historic first attempt (although the bridge doors and other bridge features were painted red, and several smaller modifications were made). However, the only actor to be reused from this episode was Leonard Nimoy. In reference to Number One and Spock, Gene Roddenberry once joked about how he kept the alien character and later married the woman, noting, "I couldn't have legally done it the other way around." (Inside Star Trek) Majel Barrett commented, "To be fired from the job and then see it come back 30 years later made me feel kind of good, but at the time I wasn't happy." () After Jeffrey Hunter's wife convinced the actor that science fiction was "beneath him," Gene Roddenberry – planning to cast William Shatner for the second pilot – arranged for himself and Shatner to watch this episode in Los Angeles. (The Star Trek Interview Book, pp. 10 & 16) "When I walked out [of the viewing] I remember thinking it was a very imaginative and vital idea," Shatner recalled. "I thought everybody took themselves a little too seriously." Shatner not only thought that the episode lacked humor but was also of the opinion that its cast had overacted their parts, to the point of being unrealistic. "That was my impression," he admitted, "and we spoke about that." (The Star Trek Interview Book, p. 16) Fred Freiberger was highly impressed with the episode and, in , he expressed surprise that the outing had been rejected by NBC. "I fell in love with [it] […] To me, 'The Cage' was pure science fiction," he enthused. "That's what the show should have been […] 'The Cage' was what the series was all about. At that time people didn't accept it." (The Star Trek Interview Book, pp. 162-163) In her autobiography Beyond Uhura (pp. 139 & 140), Nichelle Nichols comments on this installment, stating, "Viewing it today […] the show stands as the purest earliest representation of what Gene hoped Star Trek would achieve." She also characterizes the episode as "not only the basic pattern for countless future Star Trek episodes but a blueprint for the future of civilization" and describes the episode's conclusion as "an intelligent, peaceful resolution." In , Grace Lee Whitney cited this as one of her favorite TOS episodes (along with , and ). () The following year, Majel Barrett similarly named this as one of her two favorite episodes of TOS (the other being "The City on the Edge of Forever") and said that she thought both of them "are more Star Trek than anything else that has been conceived." Of this episode specifically, she enthused, "I thought it was beautiful. People still ask me, 'What is your favorite episode? no question, it would have to be 'The Cage' […] [It] was pure Star Trek." () A black-and-white 16mm print of this episode was owned by Gene Roddenberry and was shown by him at speaking engagements and conventions. One of these events was "Tricon" – 1966's World Science Fiction Convention in Cleveland, Ohio – whose attendees included Allan Asherman, a future writer of Star Trek reference works. Due to popular demand, the black-and-white version of this episode was shown after "Where No Man Has Gone Before". (The Star Trek Compendium, 4th ed., pp. 1 & 3) The event was the first convention that Roddenberry took the Star Trek pilots to. (The Star Trek Interview Book, p. 11) Asherman later wrote how he had been impressed by the "serious and imaginative detail" in this episode, a facet he believed it shared with the later pilot. He went on to comment, "In addition there were the laser cannon opticals, the superb Talosian makeups, and another interesting musical score. Its most outstanding characteristics were the intelligence of its story, its polished production values, and the performances of its actors." (The Star Trek Compendium, 4th ed., pp. 1, 3) The master color 35 mm negative of "The Cage" was cut into the master negative of "The Menagerie" in 1966, and the trims not used were subsequently lost. No color or 35mm print of "The Cage" was known to exist, only the black-and-white print owned by Gene Roddenberry, who continued to exhibit the footage at various Star Trek conventions throughout the '70s and early '80s. "The Cage" was initially released on home video in late , in celebration of Star Treks 20th anniversary. The release was a combination of the color footage used in "The Menagerie" and the additional scenes in Roddenberry's black-and-white print. ("The Menagerie, Part II" text commentary; et al.) In 1987, film archivist Bob Furmanek discovered the missing trims from the color 35 mm negative of "The Cage" at a Hollywood film laboratory, and saw that they were returned to Paramount. However, the soundtrack trims were not found. When restoring "The Cage", Paramount used the soundtrack from "The Menagerie" for most scenes, and the soundtrack of Roddenberry's 16 mm print (which was of lower audio quality) for the restored trims. A full-color version of this installment was aired on , with a two-hour special called The Star Trek Saga: From One Generation To The Next bookending it. The special was hosted by Patrick Stewart and traced the history of Star Trek from "The Cage" throughout the first season of TNG and the beginnings of production for . The opportunity to broadcast "The Cage" in its original form came when production of was interrupted due to a Writers' Guild strike. The broadcast filled in for two of the four hours missing from TNG's truncated second season. The Keeper's voice (Malachi Throne) used in "The Cage" was modified for "The Menagerie", in which Throne guest-starred as Commodore Mendez. ("The Menagerie, Part II" text commentary) When the color and black-and-white versions were spliced together in 1986, The Keeper's original voice was heard in the black-and-white footage and the altered voice in the color footage taken from "The Menagerie". This voice discrepancy persists in the "restored" all-color version of "The Cage" in the TOS Season 3 DVD set, even though it would have been entirely possible to substitute the original audio from the 16mm print for The Keeper's lines in footage taken from "The Menagerie". Conversely, the remastered version included on the 3rd season Blu-ray Disc set has the Keeper's dialogue from the black and white footage digitally pitched up to more closely match the altered voice track heard in the color footage. This episode's depiction of the Rigel VII fortress is one of the most-recognized and celebrated matte paintings in Star Trek history. The same painting was reused (unaltered) in the third season, as Flint's home in . In addition, the large moon in the background of the painting was the inspiration for a song called "Moon over Rigel VII", which Captain Kirk recommends as a campfire song in . Footage of the asteroids from the beginning of this episode was reused later, in and . Throughout most of the first and second seasons, the "singing plant" sound heard on Talos IV became the standard background noise on various planets. Beginning with , a different, warbly sound was used for a number of the remaining shows. The sound was used as the transporter beam sound effect in the series proper. In his introduction for the 1986 VHS release of "The Cage" (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he wanted no one aboard the Enterprise to smoke. This was despite the fact that tobacco advertising was a major revenue source for the television networks in 1964. Even one of Star Treks sponsors, during its first season, was Viceroy cigarettes. (All tobacco advertising was banned from television and radio on ). Seventeen years later, Patrick Stewart would appear on-screen smoking a cigarette in , although Picard was shown choking on it. Herman Zimmerman commented: "From my point of view, Gene Roddenberry created, without being maudlin, an eternal idealization of the future. The characters that he created came out of his imagination pretty much whole cloth. You could compare "The Cage" to Sign of Four, which was written by Arthur Conan Doyle. Sherlock Holmes and Watson and Moriarty and Lestrade and the Baker Street Irregulars have a charm and an identity that are immediately discernible from that very first novel". (Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages, pp 5-6) Zimmerman found similarities between "The Cage" and s pilot episode, . Zimmerman commented, "The Cage' was a brilliant piece of science fiction work – especially for when it was done. 'The Emissary' is equally as good." (Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages, pp. 40-41) The same was true (if only for one scene) for Michael Piller, who commented, "I haven't seen 'The Cage' in years, but what brings to mind the memory of it is the imagination that takes you out of that locked cage – Gene's imagination. It takes you into green fields and the picnic and Susan Oliver and those wonderful moments. I would be lying if I did not say that image was with me when I wrote . I don't remember much about it. I don't remember the story, but I remember that friendly green pasture." (Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages, p. 19) In a interview, Rick Berman revealed, "I've never seen 'The Cage'. I've seen little pieces of it." (Cinefantastique, Vol. 23, No. 6, p. 22) When this episode was re-released on VHS in 1996, rated the episode 3 out of 5 stars (defined as "Warp Speed") and regarded it as a "now classic story." Similarly, Cinefantastique scored the episode 3 out of 4 stars in 1996. (Cinefantastique, Vol. 27, No. 11/12, p. 26) In their book Trek Navigator: The Ultimate Guide to the Entire Trek Saga (p. 29), co-writers Mark A. Altman and Edward Gross both individually rate this episode 4 out of 5 stars (defined as "Classic!"). Continuity This episode is difficult to reconcile with canon in many instances. For example, Spock smiles and uses several Human expressions (for example, "buzzing about down there"), which he seldom does in subsequent episodes and films. In the series, he instead has the emotional control and genius level intellect present in the character of Number One here. This change was actually due to the fact that, in contrast to Jeffrey Hunter's portrayal of Captain Pike, Leonard Nimoy found William Shatner as Captain Kirk had his own energy, animation, and exuberance, so Nimoy felt like he was able to be more reserved and internalized in the series than in this pilot. (Mind Meld: Secrets Behind the Voyage of a Lifetime, et al.) Nonetheless, the scene of Spock smiling was included in "The Menagerie", with Kirk later making a brief reference to Spock's emotions, though the moment itself is not commented upon directly. More than half a century later, Michael Chabon wrote the episode to provide an in-universe explanation for the differences between Spock's behavior and manner in this episode and in the rest of the original series. () Chabon wrote that "apart from the ears and the gull-wing eyebrows, the Spock who served under Captain Pike was nothing like the Spock who later launched a thousand zines." Pike tells the Talosians that he's from a stellar group "at the other end of this galaxy," which, in modern Star Trek parlance, implies that Talos IV is deep in the Beta, Gamma or Delta Quadrants – anywhere but the Alpha Quadrant which it is established as being in in . This does not seem likely, especially because the SS Columbia was lost for only eighteen years and, having traveled at less than light speed, must be relatively close to Earth. In fact, Harvey P. Lynn, who served as Gene Roddenberry's unofficial technical adviser on the pilot, told him that traveling from one end of the galaxy to the other would take an impossibly long time. (The Making of Star Trek, p. 92) Tyler implies that faster-than-light (FTL) travel is relatively new. He tells one of the scientists that they can get back to Earth quickly. "The time barrier's been broken! Our new ships can…" Earlier, with an expression used only once in the series, Pike orders FTL speed to Talos IV by saying, "Our time warp, factor 7." Basically, this establishes that warp speed is not only FTL, but also "negates" the time dilation effect about which Einstein theorized in his Special Theory of Relativity. Of course, later Star Trek canon establishes that Zefram Cochrane "discovered" the space warp in the mid-21st century. "The Cage" takes place two centuries later, in 2254. Spock's cry of "Switch to rockets, we're blasting out!" is very anachronistic – there are no direct references to rocket engines in the episodes to come. Dwight Eisenhower, John F. Kennedy, and Lyndon Johnson make the only contemporary presidential appearances in an original series episode here, as images in the Talosian download of the ship's computer. As opposed to the electronic clipboards used in the regular series, Pike uses a very 20th century metal clipboard. A television also appears in his quarters. A "captain's hat" can be glimpsed, in passing, on top of that television, although Pike never wears it, and after this pilot, the hat was never seen again, though similar caps later appeared in and in Carol Freeman's ready room in . Landing party jackets also vanished after "The Cage", but returned in , also appearing in , , and . was the only other television Star Trek that depicted hats and a variety of environment-specific outerwear being regularly issued to crew members. Judging by the shape of the wall and the window, Pike's quarters seem to be directly below the bridge; there are no other curved windows on the saucer section of the model. The bed in Pike's quarters was far too short for Jeffrey Hunter. His feet are extending well beyond the end of the mattress, as he briefly reclines on it. The sign next to the door of the captain's quarters reads simply "Captain." When the series went into production, Captain Kirk's name was put on the nameplate outside his quarters. The pants that the crew wear have a very conspicuous pleat down the front and seem to be a shade of dark blue-grey. At the end of "The Menagerie, Part II", Kirk sees Pike and Vina – with their illusions of youth and beauty – running off, hand in hand. This is an example of the reused footage from this episode. Here, it is an illusion of Pike who the Talosians have provided for Vina to keep her company. In "The Menagerie, Part II", it is the "real" Pike (or rather the non-physical consciousness of the now-disabled Pike) rejoining Vina to start a new life. In one brief part of the first transportation sequence, the transporter chief's assistant is a man wearing glasses, but the scene changes and he appears without them. This is one of only three occasions where Starfleet officers are shown wearing corrective eyeglasses. Although Pike cites the crew complement as 203 other lives besides his own, the Enterprises total crew complement was increased to 428 in , and 430 in later episodes. , however, confirms that, at the time of Pike's mission, the ship had 203 crewmembers. This episode's depiction of a parkland near Mojave is the only time that 23rd century Earth is ever seen in the entirety of the original Star Trek series. Given that this is merely an illusion created by the Talosians, the first appearance of the real Earth of the 23rd century was in , in which scenery from Earth is shown to a cloud creature from the ship's library computer. However, it is not shown in live-action until in . "The Menagerie, Part II" establishes that, following the events of this episode, the Federation imposed General Order 7 on the Talos system, preventing anyone from ever approaching the planet again, under penalty of death. Apocrypha Several comics and novels have chronicled continuations of this story: Star Trek: Early Voyages #4: "Nor Iron Bars a Cage" (from Colt's point of view) : #9: "Return to the Forbidden Planet" #10: "Return to the Forbidden Planet, Part 2... A Prelude to War" Star Trek Annual (DC volume 2) Annual #2: "The Final Voyage" Pocket TOS: Pocket TOS: Burning Dreams Roddenberry actually almost uses the term "forbidden planet" (the one forbidden world in all the galaxy) in his teleplay for "The Menagerie", thereby coming close to admitting how much of "The Cage" was actually "stolen" by him from the 1956 movie of that name, including: setting the action in the 23rd Century; the visual design of the starship (the flying saucer design of the C-57D spaceship in the movie becoming the saucer section of the USS Enterprise); the military organisation of the crew; their Navy-style uniforms; setting the action on an alien planet; the planet's name Altair IV, which became Talos IV; the mental powers of the Krell, which became (only slightly altered) the mental powers of the Keeper; and the energy weapons of the Cruiser's crew, which became the Star Trek hand phasers. The 1956 film also uses, as its main cast, the spaceship's captain, first officer and medical officer: the command structure which Roddenberry lifted as the basis for the main cast on Star Trek. Additionally, a few novels have theorized as to the cause for the vast differences between Spock's highly emotional behavior in this episode and his reservedness in the regular series of Star Trek. Examples of this include Spock possibly not having complete control of his emotions at that point, as he was still quite young, and that he achieved full control of his emotions by observing Captain Pike. In fact, the novel Burning Dreams establishes that indeed, whether Pike liked it or not, Spock did consider him a mentor and so Pike tried his best to live up to that assignment. Burning Dreams also establishes that Spock yelled early in his career because he was under the mistaken impression that Humans couldn't hear him unless he did. The novel The Fire and the Rose establishes that Spock was simply emulating Human behaviors such as smiles, and that there was truly no emotion behind his own smile. He eventually stopped though when his crewmates came to distrust him, believing him not to be truthful about himself to them. Burning Dreams delves much deeper not only into Pike's life before and after Talos, but also Vina's, establishing her to have been a singer and a dancer, who was lovers with the real Theodore Haskins. In fact, before the Enterprises arrival, she spent much time in illusion, dreaming that Columbia had successfully returned to Earth and she led a dance troupe afterward. The novel also establishes that Vina stood up to the Talosians, demanding that they never refer to her as a 'specimen' again and she was just as important as them, perhaps moreso, because their plans for Pike depended on her. During the Rigel VII illusion, she played the "damsel in distress" role effectively, although she hated female characters that screamed like she had to do. A cat version of "The Cage" was featured in Jenny Parks' 2017 book Star Trek Cats. Production timeline Series proposal, "Star Trek is...": – Mentions story idea "The Next Cage" Rough draft outline: Pilot story outline: (The Making of Star Trek, p. 47) Final draft outline: Final draft outline: Teleplay titled "The Cage": First draft script: (The Star Trek Compendium, 4th ed., p. 11) Revised draft script: on or shortly before (The Making of Star Trek, p. 96) Revised teleplay: Color Makeup Tests at Desilu Culver Stage 15: (Call sheet) Second Revised Final Draft script, titled "The Menagerie": Filmed: – Day 1 – , Friday – Desilu Culver Stage 16: Int. Pike's quarters Day 2 – , Monday – Desilu Culver Stage 16: Int. Briefing room, Corridors Day 3 – , Tuesday – Desilu Culver Stage 16: Int. Transporter room Day 4 – , Wednesday – Desilu Culver Stage 15: Int. Bridge Day 5 – , Thursday – Desilu Culver Stage 15: Int. Bridge Day 6 – , Friday – Desilu Culver Stage 15: Int. Orion courtyard Day 7 – , Monday – Desilu Culver Stage 16: Ext. Talos IV surface Day 8 – , Tuesday – Desilu Culver Stage 16: Ext. Talos IV surface Day 9 – , Wednesday – Desilu Culver Stage 16: Ext. Talos IV surface Day 10 – , Thursday – Desilu Culver Stage 16: Ext. Talos IV surface; Desilu Culver Stage 15: Int. Talosian monitoring area Day 11 – , Friday – Desilu Culver Stage 15: Int. Pike's cell, Talosian menagerie Day 12 – , Monday – 40 Acres "Arab Village" backlot: Ext. Rigel VII fortress Day 13 – , Tuesday – 40 Acres "Arab Village" backlot: Ext. Rigel VII fortress Day 14 – , Wednesday – Desilu Culver Stage 15: Int. Pike's cell Day 15 – , Thursday – Desilu Culver Stage 15: Int. Pike's cell, Hell-Fire illusion Day 16 – , Friday – Desilu Culver Stage 16: Int. Orion cavern, Ext. Mojave parkland Score recorded: Network rejection: ("The Menagerie, Part II" text commentary) Color "trims" discovered: Premiere airdate: (complete color) First UK airdate: (BBC Genome ) Remastered Originally intended for airing in syndication on , the remastered version of the episode was removed from the schedule the week before its intended airdate, but was rescheduled for , partly as a tie-in with the release of . The remastered episode is also included in the TOS-R Season 3 DVD and TOS Season 3 Blu-ray sets, along with the original color-black/white release presented by Gene Roddenberry in its original ("unaltered") format. Home media format releases US Betamax release (one-episode tape, Paramount Home Video): Volume 51, catalogue number 60040-01, This version of the episode mixed color and black-and-white footage, as a complete color print was not available at the time. US LaserDisc release (two-sided disc): Volume 27, catalog number LV60040-106, October/ This was the mixed color/black & white print, with an introduction by Gene Roddenberry. Original US VHS release: November 1986 This was the mixed color/black & white print. UK VHS release (two-episode tapes, CIC Video): Volume 1, catalog number VHR 2207, release date unknown This was the mixed color/black & white print. US Betamax/VHS release (one-episode tape, Paramount Home Video): Volume 80, catalog number 60040-99, First known full color release. UK VHS release as "The Cage" All Colour Collectors Edition (CIC Video): catalog number VHR 2374, US LaserDisc release (two-sided disc): Volume 42, catalog number LV60040-99* , Full color release. Japan LaserDisc release (two-episodes disc): As part of the Star Trek - Log 1 collection, catalog number PILF-1615(16), US VHS re-release in color: UK VHS re-release: As part of the Star Trek - 30th Anniversary Trial Pack collection: UK/German LaserDisc release (two-episodes disc): As part of the Star Trek - The Pilots collection, catalog number PLTES-34071 (UK)/PLTGB-34561 (Germany), UK re-release (three-episode tapes, CIC Video): Volume 1.1, US DVD release (two-episodes disc): Volume 40, Released in the final volume, with both prints and an additional episode. US/Europe DVD release (two versions single-disc): As part of the TOS Season 3 DVD collection, (US)/ (Europe) Included on the final disc of the collection, with both prints. Oddly, the disc lists the airdate as rather than its original airdate of . US/Europe remastered DVD release (two versions single-disc): As part of the TOS-R Season 3 DVD collection, (US)/ (Europe) Included on the final disc of the collection, with both prints. US/Europe Blu-ray release (two versions single-disc): As part of the TOS Season 3 Blu-ray collection, (US)/ (Europe) Included on the final disc of the collection, with both prints. US/Europe Blu-ray release (five-episodes disc): As part of the Star Trek: The Original Series - Origins Blu-ray collection, (US)/ (Europe) Links and references Starring Jeffrey Hunter as Christopher Pike Guest star Susan Oliver as Vina Co-starring Leonard Nimoy as "Mister Spock" Majel Barrett as Number One John Hoyt as Phil Boyce Peter Duryea as José Tyler Laurel Goodwin as J.M. Colt Uncredited co-stars Barker as the 4th Talosian Mike Dugan as the Kalar Carey Foster as an Orion servant girl (scene deleted) Sandra Gimpel as a Talosian Clegg Hoyt as Anthony Jochim as the 3rd Survivor Robert C. Johnson as First Talosian's voice Pitcairn's voice Jon Lormer as 1st Survivor Edward Madden as Joseph Mell as the Earth Trader Leonard Mudie as the 2nd Survivor Robert Phillips as the Space Officer Janos Prohaska as Anthropoid ape Humanoid bird Adam Roarke as 1st Crewman Serena Sande as the 2nd Talosian Georgia Schmidt as the 1st Talosian Felix Silla as the 3rd Talosian Malachi Throne as the Keeper's voice Meg Wyllie as the Keeper Unknown performers as Three Orion musicians Two Orion servant girls (scene deleted) Orion slave master (scene deleted) Columbia survivors #4 and #5 Guards #1, #2, and #3 Crewmembers in civilian clothing (aka "Young Man" and "Young Lady") Bridge crewman #1 Transporter technician Bridge Engineer 1 Bridge Engineer 2 Communications crew woman Two Laser Technicians Sciences officer Bridge crew woman #2 Command officer in corridor Sciences officer in corridor Sciences officer in briefing room Unseen characters Pike's Yeoman and two crewmen killed on Rigel VII Stand-ins Bidwell (male stand-in) (female stand-in) Production staff Star Trek Created by Gene Roddenberry Directed by Robert Butler Written and Produced by Gene Roddenberry No other production staff received on-screen credit for this episode. Associate Producer Byron Haskin Production Designer Pato Guzman Art Director Franz Bachelin Assistant Art Director Matt Jefferies Music Composed and Conducted by Alexander Courage Director of Photography William E. Snyder Film Editor Leo Shreve Assistant to the Producer Morris Chapnick Assistant Director Robert H. Justman Set Decorator Edward M. Parker Costume Designer William Ware Theiss Sound Mixer Stanford G. Haughton Photographic Effects Howard Anderson Company Transporter Effects Darrell Anderson Matte Painter Albert Whitlock Special Effects Joe Lombardi Property Master Jack Briggs Prop Maker Jim Danforth Gaffer Bob Campbell Camera Operator Richard A. Kelley Production Supervisor James A. Paisley Script Supervisor George A. Rutter Makeup Artist Fred B. Phillips Special Makeup Creator (for Leonard Nimoy) John Chambers Hairstylist Gertrude Reade Stunt Double (for Jeffrey Hunter) Robert Herron Stunts Frank da Vinci Choreographer (Susan Oliver's dance) Penny Romans Research Kellam de Forest (de Forest Research, Inc.) Harvey P. Lynn Executive in Charge of Production Oscar Katz Assistant to Oscar Katz Herbert F. Solow References 2236; 2254; 24-hour clock; acting captain; ; Adam and Eve; adaptability; adult; advice; age; alternative; American Continent Institute; ancestor; animal; answer; apology; armor; artisan; artist; atmosphere; backpack; bargain; bartender; battery; battle-axe; beauty; big cities; blood; bluff; boasting; brain; bravery; breeding stock; bridle; bridge; briefing room; bruise; ; business; ; cactus; cadet ship; cage; call letters; canyon; captain; captivity; cell; century; chance; chicken; chief petty officer; childhood; children (offspring); choice; circuit; class M; clipboard; clothing; coffee; collision course; colony; color; ; commander; communicator; community; computer; condition; confusion; conjecture; contact; continent; conversation; countdown; course; creating; creature; custom; customer; danger; day; death; deception; deck; desert; desire; destination; devil; dignity; distress signal; (occupation); doctor (title); dream; dress; Earth; emotion; encampment (camp); engage; engine room; engineering deck; Enterprise casualties; entry; escapism; evasive maneuvers; evil; experience; experiment; fable; fabric; family; fear; feeling; flesh; fly; food; fool; forced chamber explosion; forced landing (crash); form; fortress; frustration; geological lab report; geologist; glasses; gravity (g); green; hair; hand; hand laser; hat; hate; head; headache; health; Hell-Fire; helm; hereditary; "hold on a minute"; hole; home; ; horse; horseback riding; hour; hull; Human (Human being); Human history; hunger; husband; husband-wife relationship; hyperdrive; ice; illusion; image; indication; inert element; information; inhabitant; injury; intelligence; intention; intercraft; jailer; ; Kalar; keeper; knee; knoll; landing party; laser cannon; laser weapon; library; lie; lieutenant; life; lifespan; limitation; love; luck; lunch; mace; machine; magistrate; magnetic field; martini; Mary Lou; mate; measurement; medical report; memory; memory capacity; menagerie; mental power; message; metal; metal fabric; meteoroid; meteoroid beam; microrecord; mile; Milky Way Galaxy; mind; minute; mission; Mojave; mutual cooperation; mutual dependence; name; narcotic; NC; neck; need; nitrogen; nuclear weapon; nourishment; officer; olive; opinion; orbit; Orion; Orion colony; Orion slave girl; overload; oxygen; pair; parent; parkland; passion; pen; percent; permission; person; physical appearance; physical prowess; picnic; picnic basket; picture; ; Pike's mother; place; planet; plant; ; power generator; preliminary lab survey; printout; probing; problem; proof; protectiveness; protein complex; pulp; punishment; quality; quarters (cabin); radio; radio-interference distress call; radio wave (radio beam); reality; reason; recipe; record; red; reflection; region; ; report; resignation; respect; responsibility; rest leave; Rigel VII; Rigel VII moon; risk; rock; rocket; saddle; safety limit; sand; sandwich; scientific party; scientist; scouting party; second; secret; shield; ship's captain; signal; singing plant; situation; size; slave; society; Sol system; soul; space; space vehicle/spaceship; speaking; species (race); specimen; spectrography; speed of light; star system; stellar group; starvation; "steady as we go"; strength; subject; sugar; supper; surface; survey expedition; survey vessel; survivor; sword; sympathy; table; Talos star group; Talos system; Talos system's stars; Talos IV; Talosians; Talosian ancestors; Talosian observers; Tango; tape; technician; telepathy; television; theater; theory; thermos; thing; thought; thought record; thought transmission; thousand; threat; time barrier; time computation; time warp; time warp factor; town; trade; trader; transporter; trap; travel; tricking; tuna; universe; USS; Vega colony; vegetation; ; vessel; vial; viewer; Vina's parents; volunteer; Vulcan; wall (transparency); war; warp drive; warp factor; warrior; water; weapon; week; white; wife; window; word; wreckage; wristwatch; year; yeoman; youth; zoo Library computer references USS Enterprise (NCC-1701) library computer: Africa; Alaska; altimeter; American Civil War; American Revolution; Anchorage; Andromeda Galaxy; Antarctica; antenna gear box; Arabian Peninsula; Arabian Sea; Arctic Circle; Asia; astronomical unit; Atlantic Ocean; Atlas-Agena; Australia; Battle of Hampton Roads; Bering Sea; Black Sea; bronchial tube; Canada; Caspian Sea; Central America; command antenna; cosmic dust detector; diaphragm; daisy; ; Dumbbell Nebula; Earth sensor; ; electrostatic analyzer; Explorer S-55; Europe; eye; flower; gallbladder; gamma-ray spectrometer; Hawaii; high-gain antenna; high resolution camera; Hong Kong; infrared scanner; intestine; ion chamber; ironclad; ; Japan; Juneau; ; kudu; Kyoto; ; ; ; liver; long range Earth sensor; Los Angeles; Luna; lunar capsule; lung; Lyman-alpha telescope; magnetometer sensor; Mariner 2; Mars; Maryland; ; Mexico; micrometeoroid satellite; mid-course motor; ; New Orleans; Nimbus 1; North America; North Pole; omnidirectional antenna; optic nerve; orbit; Orbiting Geophysical Observatory; Orbiting Solar Observatory; Pacific Ocean; particle flux detector; Pioneer 5; Pleiades Cluster; Point Barrow; polar orbit; Portland; President of the United States; primary sun sensor; probe; radiometer; radiometer reference horn; Ranger; Ranger 5; Ranger 7; retrorocket; rib; rocket; San Francisco; satellite; secondary sun sensor; skull; Sol; Sol asteroid belt; solar panel; Sol system; South America; South Pole; Soviet Union; star; star chart; stomach; Talos I; Talos II; Talos III; Talos V; temperature control louver; temperature control shield; thermal control van; Tokyo; trachea; TV camera; United States of America; Venus; ; Virginia; ; ; Washington, DC; wildebeest; yaw control nozzle Remastered: Africa; Asia; Australia; battery; Brazil; ; Andromeda Galaxy; Apollo CSM and LM; Apollo mission; atomic bomb; Battle of Fort Hindman; Bikini Atoll; ; ; ; Canada; carbon dioxide; ; China; Colombia; Earth; Earthrise; docking port; ; Emancipation Proclamation; eye; fuel; Fat Man; First Reading of the Emancipation Proclamation of President Lincoln; fox squirrel; Gray's Anatomy; Great Egret; heart; helium; ; India; Indian Ocean; International Space Station; Iran; ironclad; Jupiter; ; ; ; ; ; life support system; ; lionfish; Luna; lungs; maple; Mexico; Mongolia; Moses; Moses Showing the Tables of the Law to the People; muscles; NGC 602; nitrogen tetroxide; oxygen; Peru; ; ribs; rose; Russia; Saturn; Saturn V; ; Small Magellanic Cloud; ; South Africa; Soyuz; space shuttle; steamship; Ten Commandments; ; United States of America; V838 Monocerotis; ; Vina's parents; Vostok 1; water; ; ; Wright Flyer; Yosemite Falls External links de:Der Käfig es:The Cage fr:The Cage (épisode) it:Lo zoo di Talos (episodio) ja:歪んだ楽園（エピソード） nl:The Cage pl:The Cage ru:Клетка (эпизод) sv:The Cage TOS episodes

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Where No Man Has Gone Before (episode)

An encounter at the limits of our galaxy begins to change Lieutenant Commander Gary Mitchell and threatens the future of the Enterprise and the Human race itself. (Second pilot) Summary Teaser "Captain's log, stardate 1312.4. The impossible has happened. From directly ahead, we're picking up a recorded distress signal, the call letters of a vessel which has been missing for over two centuries. Did another Earth ship probe out of the galaxy as we intend to do? What happened to it out there? Is this some warning they've left behind?" In the briefing lounge, Captain James T. Kirk and Lieutenant Commander Spock are playing three-dimensional chess. Spock warns the captain that he's about to checkmate him on his next move, but the captain is preoccupied with awaiting the bridge's update on the unexplained Earth-vessel distress signal. The captain notes that Spock plays a very "irritating game of chess", to which Spock responds with "Irritating? Ah yes, one of your Earth emotions." Captain Kirk makes a move that surprises Spock, and smiles, to which Spock simply turns to look at him. "Certain you don't know what irritation is?" Kirk says wryly. As Spock begins to state that despite the fact that one of his ancestors married a Human female, Kirk interrupts him and jokingly chides him, saying it must be terrible to have bad blood like that. Just afterward then, a call comes over the comm. Navigator Lieutenant Lee Kelso informs the captain that the object is now within tractor beam range, and that it is only about a meter in diameter, too small to be a vessel or an escape pod. Kirk tells him to lock on to it, and the two of them head out. In the transporter room, Lieutenant Commander Montgomery Scott is fine tuning the transporter, preparing to beam the object aboard. Kirk gives the order, and Scott transports the device into the transporter chamber. The captain immediately recognizes it as an old-style ship recorder, one that would be ejected in the event of an emergency. Spock agrees, but states that, based on the level of damage the object seems to have sustained, something must have destroyed the ship. Scott tries to feed the tapes into the computer when the marker begins transmitting a signal. Captain Kirk orders red alert, and the crew go to their stations. Act One Throughout the ship, the crew is reporting to their emergency stations. Kirk and Spock enter a turbolift to go to the bridge, and Lieutenant Commander Gary Mitchell enters just as the doors are closing. Kirk and Mitchell joke about Kelso sounding nervous, and Spock's chess skills, showing that they're comfortable being around each other even in times of red alert. The three officers enter the bridge, Mitchell taking his station as Spock scans for the message. As they approach the edge of the galaxy, Kirk orders all stop. Captain Kirk announces ship-wide that what they picked up was a disaster recorder launched from the two hundred years prior. Department heads report to the bridge as ordered, and Captain Kirk is given introductions. , whom he mistakenly addresses as "", is his new yeoman. Sulu reports astrosciences ready, Scott reports the engineering division ready, "as always", and Chief Medical Officer Doctor Mark Piper reports life sciences ready, then introduces the 's new psychiatrist, Dr. Elizabeth Dehner, who came aboard the vessel back at the Aldebaron Colony to study the long-term effects of space travel on the crew. Spock points out he's been able to get a signal from the recorder, as Mitchell tries to flirt with Dr. Dehner, who rebuffs him only to overhear him call her a "walking freezer unit". Spock interprets the Valiants message: that they had encountered a magnetic storm and were pulled out of the galaxy, and that the crew accessed computer records on "ESP" in Humans, frantic to find information about it. The captain asks Dr. Dehner her opinion, and she mistakes the question as asking whether she has ESP. She reports that there are some Humans who can see "backs of playing cards and so on", but it is never very powerful. Spock goes on to explain that several crewmen had died aboard the Valiant, which had suffered severe damage. The Valiant crew continued researching ESP, until it seems the captain ordered a self-destruct. As future vessels will someday be coming out this far into space, Captain Kirk decides to go ahead anyway and engages warp factor 1. The crew reacts with mixed emotions as the Enterprise heads out of the Milky Way Galaxy. The ship encounters a strange field and Spock orders a full array of scans – deflectors indicating something in front of them while sensors say there's nothing. Smith and Mitchell hold hands to comfort each other as the ship enters the field. Flashes of light fill the bridge and electric discharges penetrate the hull, causing several consoles to explode. Kirk orders Mitchell to reverse course, but, before he can carry out the order, Dr. Dehner and he are struck by a mysterious electric charge which drops them to the deck. With no one in control of the Enterprise, Spock dashes over to the helm console and pilots the starship clear of the energy field. Taking damage reports, Spock informs Kirk that main power is out, the Enterprise is on emergency power cells, and nine crewmen are dead. Captain Kirk tends to Dehner and Mitchell, only to find that while Mitchell feels a little weak, his eyes are glowing an eerie silver… Act Two "Captain's log, stardate 1312.9. Ship's condition – heading back on impulse power only. Main engines burned out. The ship's space-warp ability – gone. Earth bases, which were only days away are now years in the distance. Our overriding question now is – what destroyed the Valiant? They lived through the barrier, just as we have. What happened to them after that?" Captain Kirk, while supervising repairs being made to the bridge, proceeds to the science station where he finds Spock reviewing medical records of the dead crew members, and the crew members who survived but seem to have been affected in some way. Spock is looking at ESP ratings of Dr. Dehner and Gary Mitchell. Both of the officers had high scores on ESP tests given by Starfleet Medical, Mitchell's having ultimately read as the highest in the crew. Dr. Dehner approaches Captain Kirk and provides an autopsy report of the nine dead crew members. She mentions that in all cases, there was damage to a specific region of the brain. Kirk shares the fact that all of the dead crew members, as well as Dehner and Mitchell, had high ESP ratings. Spock also mentions that the captain of the Valiant was frantically searching through their records for information on ESP. Spock then reports that the Valiants captain seems to have given a self-destruct order. Dehner defends those with ESP, stating that the ability is not harmful. Spock, however, reminds the doctor that there are the more extreme (and dangerous) abilities of ESP, such as the ability to see through solid objects or cause spontaneous combustion. In sickbay, Mitchell is reading text on a viewer, trying to pass the time. Kirk enters the room, and Mitchell greets him by name without actually looking to see who it is. Kirk and Mitchell talk about some past experiences; it is obvious they have known each other well for many years. Mitchell mentions that he feels better now than he's ever felt in his life, and he's catching up on his reading, including Spinoza, which surprises Kirk. Mitchell finds Spinoza simple, almost childish, to him. The two continue to reminisce about their days at Starfleet Academy and Mitchell says that he "aimed that little blonde lab technician" at Jim. Kirk replies, "You planned that?!? I almost married her." Kirk informs Mitchell that he's assigned Dr. Dehner to work with him. Mitchell doesn't seem happy, since Mitchell and Dehner have already gotten off to a tense start. As Kirk moves to leave, Mitchell, in an echoing voice, says, "Didn't I say you'd better be good to me?", prompting Kirk to pause and eye him with uncertainty. Once Kirk leaves the room, Mitchell continues reading books on the viewer, at a steadily-increasing rate that soon far exceeds normal pace. Kirk enters the bridge to find Spock monitoring Mitchell's viewer. Kirk assigns twenty four hour security to keep an eye on Mitchell. Kirk approaches the science station viewer to look closely at Mitchell, and Mitchell looks directly at the security camera, seemingly aware that Kirk is watching him. Dr. Dehner enters sickbay and acknowledges the fact that she realizes that Mitchell doesn't like her very well. He apologizes to her for calling her a "walking freezer unit." She asks him how he feels. Mitchell jokingly says that everyone thinks that he should have a fever or something and proceeds to change the vital signs monitor in sickbay with his mind. Then, he makes the readings show that he is dead. All indicators fall to zero, to Dr. Dehner's surprise and horror. Moments later, Mitchell awakens, and starts telling Dr. Dehner of some of his other abilities, like being able to read quickly, going through half of the Enterprises database in less than a day. Dr. Dehner decides to test his memory, and shows Mitchell the title of a record tape, asking him to recite what's on page 387. Mitchell recites, "My love has wings, slender feathered things with grace and upswept curve and tapered tip" from the poem "Nightingale Woman", written by Tarbolde on the Canopus planet back in 1996. Mitchell wonders out loud why she happened to choose that particular poem, which is considered to be one of the most passionate poems written in recent centuries. He then pulls Dehner close to him, and asks her how she feels. Her reply, that she only fell and that nothing else happened, is seemingly disbelieved by Mitchell, but the conversation is cut short by the arrival of Lieutenant Kelso, awkwardly entering at a time which might have seemed like an intimate moment. Mitchell smiles and invites him in, joking that his eyes are merely lit up "due to the lovely doctor." Kelso reports that the main engines are in bad shape. Mitchell warns Kelso to check the starboard impulse engine packs, which Kelso jokingly dismisses. Mitchell snaps (once again in his "booming" voice) that he isn't joking, and that if they activate those engines that the entire impulse deck will explode. Kelso leaves sickbay and Mitchell tells Dehner that he could see the image of the impulse packs in Kelso's mind and that he is a fool not to have seen it. In the briefing room, Kelso shows Kirk the burned out impulse circuit, which he had checked on Mitchell's recommendation, noting with puzzlement that their condition was exactly as Mitchell described. Dr. Dehner enters late, says she got held up observing Mitchell, and attempts to defend him in the face of Spock's and Kirk's seemingly cold assessment of him. She reports her observations of Mitchell's ability to control certain autonomic reflexes and increased memory. Scott reports that bridge controls had started changing on their own about an hour prior, and Spock adds that each time it happened, Mitchell could be seen smiling on the surveillance monitors set up in sickbay. Kirk is annoyed that Dehner hadn't reported Mitchell's new powers earlier, but she argues that no one has been hurt, furthermore saying that someone like Mitchell, with such powers, could give rise to "a new and better kind of Human being." Following an awkward silence, Sulu adds that the growth of Mitchell's abilities is a geometric progression, meaning they would increase at an exponential rate. Spock concludes that Mitchell would become uncontrollably powerful within a month. Kirk tells those present to not discuss their findings openly before dismissing them. After the others have left the briefing room, Spock advises taking the Enterprise to the planet Delta Vega, only a few light days away, where they can adapt the lithium cracking station's power packs to try to repair its damaged systems, and also strand Mitchell there. Kirk strongly disagrees with the plan, stating Delta Vega is uninhabited and automated, and ore ships only visit every twenty years. Spock informs Kirk the only other choice he has is to kill Mitchell before he overpowers the entire crew. Kirk tries appealing to Spock's conscience, saying Mitchell is his long time friend, but Spock merely reminds him that the captain of the Valiant probably had a similar dilemma about his afflicted crew members but made his decision to self-destruct too late. Kirk reluctantly orders the Enterprise course set for Delta Vega. Act Three "Captain's log, stardate 1313.1. We're now approaching Delta Vega. Course set for a standard orbit. This planet, completely uninhabited, is slightly smaller than Earth, desolate, but rich in crystal and minerals. Kelso's task – transport down with a repair party, try to regenerate the main engines, save the ship. Our task – transport down a man I've known for fifteen years, and if we're successful, maroon him there." In sickbay, Mitchell's telekinetic power continues to grow. Feeling thirsty, he moves a plastic cup below a faucet and dispenses water from it with his mind. Kirk, Spock, and Dr. Dehner enter to see Mitchell's levitate the filled cup towards his outstretched hand. Mitchell senses worry in Kirk and Spock's continued urging for the captain to kill him while he still can. Mitchell quickly subdues both Kirk and Spock with an electric shock and informs them he knows the Enterprise is orbiting Delta Vega but won't allow them to force him down there. As he postures about what kind of a world he can use, Kirk and Spock jump him and hold him down long enough for Dr. Dehner to tranquilize him. In the transporter room, preparing to beam down, Mitchell regains consciousness and proclaims "You fools! Soon I'll squash you like insects!" before being sedated again. After transporting down, Mitchell is confined to a holding cell as Lieutenant Kelso and the engineering team begin to salvage the needed components from the outpost to restore the Enterprise engines to full capacity. As Mitchell regains consciousness, he reminds Kirk of how he saved his life on the planet Dimorus, taking poisonous darts meant for the captain and nearly dying from it. He wonders why Kirk should fear him now. Kirk retorts that Mitchell has been testing his ability to take over the Enterprise and reminds him of the threat he made in the transporter room to squash the crew like insects. Mitchell defends himself by pointing out that he was drugged at the time, then snaps back that mankind cannot survive if a true race of Espers like himself is born, and attempts to escape the force field of the cell. Kirk pleads with him to stop, but, Mitchell refuses and is jolted back, draining the light in the eyes. Gary pleads out to "Jim…", but, it doesn't last and the maniacal that has now totally consumed Mitchell returns and he sneers that he'll "just keep getting stronger." Back on board the Enterprise, the repairs are nearly complete as Scott beams a phaser rifle down to Spock. Kirk resents Spock's callousness towards Gary, but Spock retorts that he's just being logical and he believes that the crew will be lucky just to repair the Enterprise and get away from Mitchell in time. Kirk, finally seeing Spock's viewpoint, instructs Kelso to wire a destruct switch to the power bins of the outpost, an explosion that will destroy the entire valley and hopefully kill Mitchell, and orders him to hit the button if Mitchell escapes. Act Four "Captain's log, stardate 1313.3. Note commendations on Lieutenant Kelso and the engineering staff. In orbit above us, the engines of the Enterprise are almost fully regenerated. Balance of the landing party is being transported back up. Mitchell, whatever he's become, keeps changing, growing stronger by the minute." As the landing party prepares to return to the Enterprise, Dehner, completely transfixed on Mitchell, announces she's remaining on Delta Vega with him. At the same time, Mitchell uses his powers to remotely strangle Lieutenant Kelso with a cable. As Kirk orders Dehner to return to the ship, Mitchell turns to the captain and taunts him that Kirk should have killed him while he still had the chance. With that, he shocks both Kirk and Spock and easily eliminates the force field holding him. Dehner takes no action to stop him, and he slowly walks her over to a mirror, where she can now see the light in her own eyes. A short time later, Dr. Piper revives Captain Kirk and informs him that Kelso is dead and that Mitchell and Dr. Dehner have left the facility. Kirk advises Piper not to revive Spock until after he's left as Kirk now blames himself for not listening to the Vulcan's warning. Taking Spock's phaser rifle, Kirk orders that Piper and Spock return to the Enterprise and to give him twelve hours to signal the ship. Failing that, Kirk recommends that the Enterprise proceed at maximum warp to the nearest starbase with his recommendation that the entire planet be subjected to a lethal concentration of neutron radiation. When Piper begins to protest, Kirk firmly tells the doctor it is an order and leaves. In an open valley, Mitchell (now sporting greying sideburns due to premature aging as a consequence of the stress from his advanced powers) conjures up Kaferian apples and water for himself and Dehner. He begins to sense Kirk approaching them, as does Dehner. Mitchell invites Dehner to talk to the captain and begin to realize just how unimportant Humans are compared to what they (Mitchell and Dehner) have become. Dehner appears before Kirk and advises the captain to retreat while he still can. Kirk appeals to what's left of Dehner's Humanity and her profession as a psychiatrist and asks her what she believes will become of Mitchell if his power is allowed to continue to grow. Dehner begins to see the wisdom of Kirk's words, but, before she can decide anything, Mitchell appears before both of them. Kirk opens fire with his phaser rifle, but, it has no effect on Mitchell who easily casts the weapon aside. Taunting Kirk, Mitchell creates a grave for his "old friend", saying he deserves a decent burial, at the very least. Completely convinced of his power and his superiority, with absolute power corrupting absolutely, Mitchell uses his powers to force Kirk to pray to him as a god and for an easy death. Dehner, now realizing that Mitchell is inhuman and becoming more and more dangerous, helps Kirk by blasting Mitchell with some of her power, stunning him. Mitchell turns away from Kirk and counters Dehner's attack, however, the battle drains both of them and they both collapse, Dehner's attack being sufficiently powerful enough to weaken Mitchell who temporarily loses his powers. As Dehner implores Kirk to hurry, the captain begins to attack his former friend, pummeling him to the ground. With a heavy rock raised high and preparing for the death blow, Kirk begs Gary to forgive him for what he must do. However, the captain's hesitation is enough for Mitchell to regain his powers and easily tosses Kirk away. With Kirk no longer able to cope with Mitchell's physical strength, he dives at him, sending both into the open grave. Kirk, scrambling to the discarded phaser rifle, is able to blast the rock face above Mitchell, sending him into the grave and entombing him, thus ending Mitchell's threat forever. Kirk, with his uniform torn and beaten and battered, walks over to Dehner and kneels beside her. She apologizes to the captain for her actions, but offers that the captain had no idea what it was like to be almost a god, before finally dying herself. Silently mourning Dehner's sacrifice, Kirk opens his communicator and hails the Enterprise. "Captain's log, stardate 1313.8. Add to official losses, Dr. Elizabeth Dehner. Be it noted she gave her life in performance of her duty. Lieutenant Commander Gary Mitchell. Same notation." Back on the Enterprise, Kirk, sitting in his chair with a bandaged hand, laments to Spock that he wants Mitchell's service record to end with dignity as he didn't ask for what happened to him. Spock admits he felt for Mitchell as well. With a smirk, Kirk remarks that maybe there's hope for Spock after all, as the Enterprise continues to journey where no man has gone before. Log entries Captain's log, USS Enterprise (NCC-1701), 2265 Memorable quotes "Have I ever mentioned you play a very irritating game of chess, Mister Spock?" "Irritating? Ah, yes. One of your Earth emotions." - Kirk and Spock, in the recreation room "Terrible, having bad blood like that." - Kirk to Spock, on his Human ancestry "The first thing I ever heard from upperclassmen was: Watch out for Lieutenant Kirk. In his class, you either think or sink." - Mitchell to Kirk, reflecting on their time at the Academy "My love has wings. Slender, feathered things with grace in upswept curve and tapered tip." - Mitchell, reciting "The Nightingale Woman" by Phineas Tarbolde "Don't you understand? A mutated superior man could also be a wonderful thing!" - Dehner to Kirk, on Mitchell "Will you try for one moment to feel? At least act like you've got a heart." - Kirk to Spock, before deciding to maroon Mitchell on Delta Vega "The captain of the Valiant probably thought the same thing. And he waited too long to make his decision." - Spock, deliberating with Kirk on what to do with Mitchell "If you were in my position, what would you do?" "Probably what Mr. Spock is thinking now: kill me, while you can." - Kirk and Mitchell, discussing Mitchell's ultimate fate "You fools! Soon I'll squash you like insects!" - Mitchell, in the transporter room "There's not a soul on this planet but us?" "Nobody but us chickens, Doctor." - Dehner and Kirk, on Delta Vega "My friend, James Kirk." - Mitchell, mockingly addressing Kirk upon awakening in the cell on Delta Vega "In the sickbay, you said if you were in my place you'd kill a mutant like yourself." "Why don't you kill me then? Mr. Spock is right and you're a fool if you can't see it." - Kirk and Mitchell "Man cannot survive if a race of true espers is born." - Mitchell "Doctor Dehner feels he isn't that dangerous! What makes you right and a trained psychiatrist wrong?" "Because she feels. I don't. All I know is logic." - Kirk and Spock, as Spock brings a phaser rifle "If Mitchell gets out, at your discretion, Lee, if sitting here makes you think you're the last chance, I want you to hit that button." - Kirk, ordering Kelso to destroy the station "You should've killed me while you could, James. Command and compassion are a fool's mixture." - Mitchell to Kirk, before escaping the brig "Above all else, a god needs compassion! MITCHELL!!" - Kirk, calling out to Mitchell "What do you know about gods?" "Then let's talk about Humans! About our frailties!" - Dehner and Kirk "What's your prognosis, Doctor?!" - Kirk, to Dehner on Mitchell "Morals are for men, not gods." - Mitchell, to Kirk "Time to pray, Captain. Pray to me." "To you? Not to both of you?" "Pray that you die easily!" "There'll only be one of you in the end. One jealous god. If all this makes a god, or is it making you something else?" - Mitchell and Kirk "Do you like what you see? Absolute power corrupting absolutely?" - Kirk, persuading Dehner to turn on Mitchell "For a moment, James… but your moment is fading." - Mitchells last words "I'm sorry. You can't know what it's like to be almost a god." - Dehners dying words to Kirk "He didn't ask for what happened to him." "I felt for him, too." "I believe there's some hope for you after all, Mister Spock." - Kirk and Spock Background information The second pilot This was the second Star Trek pilot. However, it aired as the third regular series episode, after and . In their book Inside Star Trek: The Real Story, Robert H. Justman and Herbert F. Solow explain that because this segment was "too expository" in nature – a common fault with pilots – it would not have made a good premiere episode for the series. Although NBC rejected , they felt that the series concept was strong enough to give Star Trek a second chance, despite having already spent an exorbitant US$630,000 on the first pilot. The network ordered three scripts, from which they would choose one to be developed into an unprecedented second pilot. The three scripts were by Gene Roddenberry, by Roddenberry and Stephen Kandel, and "Where No Man Has Gone Before" by Samuel A. Peeples. The advantage of "The Omega Glory" was that it showcased Roddenberry's "parallel worlds" concept and could be filmed using existing studio sets on the back lot as well as stock wardrobes. "Mudd's Women" was mainly a shipboard tale and could also be shot using the existing Enterprise sets left over from "The Cage". In addition, both required a minimum of new outer space effects shots. However, "Mudd's Women" guest starred "an intergalactic pimp", selling women throughout the galaxy, exactly what NBC didn't want, and "The Omega Glory" wasn't very good. The network finally chose "Where No Man Has Gone Before" which, although it required many new special effects, sets, props, and costumes, was the most powerful and compelling of the three scripts. (Inside Star Trek: The Real Story, pp 65-66; The Star Trek Compendium, p 17) There is a different, pre-broadcast cut of this episode in the archives of the Smithsonian Air and Space Museum. This unique cut includes a few brief scenes trimmed from the aired cut of the episode, different opening titles, and a unique opening and closing theme. The alternate themes can be heard on the GNP Crescendo CD Star Trek: Original Series (Volume 1) "The Cage" / "Where No Man Has Gone Before". This version was the one screened as the second pilot to NBC executives in the tail-end of 1965, and was originally available in bootleg form only, screened at numerous conventions, before becoming available commercially on the TOS Season 3 Blu-ray set. James Doohan was credited as "Engineer", Paul Fix as "Ship's Doctor", George Takei as "Physicist", and Paul Carr as "Navigator" in the end credits of the original cut. It was in effect the Institution itself which had already recognized the cultural significance of Roddenberry's creation; in a rare move – considering the highly contemporary nature of a television series of such recent date – the Institution invited Roddenberry in 1967 to submit both pilots and assorted production material, such as still photography, scripts and story outlines, for safekeeping for posterity. This the consummate (self)promoter Roddenberry did in a formal presentation at the Institution, pursuant the conclusion of the series' first season. ("Smithsonian Seeks TV Pilot", Los Angeles Times, 13 June 1967, p. C19) A second different title sequence resulted from the fact that the main responsible visual effects director, Darrell Anderson of effects company Howard Anderson Company, suffered a third nervous breakdown, brought on by the stress he was under to deliver the new opticals in time and on budget. As Justman recalled, when he and Roddenberry came calling on Anderson in August 1966 to check on the status of the Enterprise footage for the title sequence, for the series slated to start its run on 8 September and "Where No Man" scheduled to air third, "We had seen maybe six good shots and some others that were partially usable. We had expected many more angles, some of which were badly needed for our series main title. "Where's all the other shots, Darrell?" Darrell began to shake. He jumped to his feet, screaming, "You'll never make your first airdate." Bursting into tears, he ran out of the room, still screaming, "You'll never make your first airdate! You'll never make your first airdate!" Gene sat there in shock. I raced after Darrell and caught him outside. He was weeping. And no wonder. We later found out he had been working both day and night for months, trying to satisfy our needs. That afternoon, Darrell went to Palm Springs for a rest cure." Roddenberry and Justman managed to compose a title sequence from the footage already shot, the same day. (Inside Star Trek: The Real Story, p. 281) This was the version as originally aired by NBC on 22 September 1966. The more sophisticated final title sequence was produced (with Anderson returned to his duties) for subsequent episode airings and replacing the improvised sequence for those episodes where it was utilized in reruns. Incidentally, Darrell Anderson suffered his second nervous breakdown while working on the second pilot the year previously, from which he needed two weeks to recover. (Cinefantastique, Vol. 27, No. 11/12, p. 69) The aired version of this episode features a different version of the first season opening credits, which does not have William Shatner's opening narration, and uses a different orchestration of the main and end title themes. These orchestrations were used until mid-season during the original run and the initial syndication showings. However, in the 1980s, Paramount withdrew the prints from syndication and redistributed remastered and pre-cut episodes with standardized opening and closing credit music for the first season (using the Fred Steiner arrangement created for the back half of the season). These remastered prints were also used, in their uncut form, for the video and laserdisc releases. Only this episode was permitted to keep the original Alexander Courage arrangement. The 1999 DVD volumes, and later season sets, however, restored the opening credits to their original form, while leaving the end credits in their altered state (again, except for this episode which remains as originally aired). The original narration spoken by Shatner was: "Enterprise log, Captain James Kirk commanding. We are leaving that vast cloud of stars and planets which we call our galaxy. Behind us, Earth, Mars, Venus, even our Sun, are specks of dust. The question: What is out there in the black void beyond? Until now our mission has been that of space law regulation, contact with Earth colonies and investigation of alien life. But now, a new task: A probe out into where no man has gone before." After NBC saw this episode, they were pleased with the results and decided that Star Trek would be a weekly television series. Gene Roddenberry said that, like , "Where No Man Has Gone Before" still had a lot of science fiction elements in it, but that it was the bare knuckle fist fight between Kirk and the god-like Gary Mitchell that sold NBC on Star Trek. (The Star Trek Saga: From One Generation To The Next) This was the first episode of Star Trek to be shown by the BBC in the UK when the series premiered on . Story and script TNG adopted a gender-neutral and species-neutral version of this episode's title for . This episode sets the original series record for Enterprise crew members killed: twelve (Mitchell, Dehner, Kelso, and the nine who Spock says died when crossing the galactic barrier). Kirk says he's been worried about Mitchell "ever since that night on Deneb IV." Coincidentally (or not), TNG's pilot episode takes place on Deneb IV, home of the Bandi. Gary Mitchell states that the "Nightingale Woman" poem was written in 1996 and that it is one of the "most passionate love sonnets of the past couple of centuries". Taken literally, this line of dialogue seems to suggest that "Where No Man Has Gone Before" takes place no later than the end of the twenty-second century, which in turn would imply that the Valiant was launched during the twentieth. In reality, the poem ("My love has wings…") was written by Gene Roddenberry about his World War II airplane. Production Bob Justman anticipated that the second pilot would take nine days to shoot. However, after "The Cage" went severely over schedule and budget, Desilu's "old guard" executives worried about the same situation regarding the second pilot. To avoid these fears, "Where No Man Has Gone Before" was scheduled to be filmed in seven days. The "old guards" skeptically expected that it will take ten or even eleven days. Filming began on Monday, . As expected, filming the pilot went over schedule, finally resulting in eight days and an extra day of shooting pickup shots and "inserts" – nine days, exactly as Justman expected. (Inside Star Trek: The Real Story, p 85). Just as "The Cage", the second pilot was filmed at Desilu's Culver City studios. For the series itself, the entire production was moved to Desilu's main Gower Street facilities in Hollywood. (Inside Star Trek: The Real Story pp 113-116) On the fifth day of filming, Friday, , a swarm of bees attacked the set, causing delay in filming, and injuries to William Shatner and Sally Kellerman, who were both stung by the bees. (Inside Star Trek: The Real Story, p 83) Sets and props The gravestone Mitchell creates for Kirk reads "James R. Kirk". According to D.C. Fontana in the introduction for Star Trek: The Classic Episodes 1, when the mistake was discovered, Gene Roddenberry decided that if pressed for an answer on the discrepancy, the response was to be "Gary Mitchell had godlike powers, but at base he was Human. He made a mistake." The gravestone also suggests that an important event marked "C" took place on stardate 1277.1; Kirk may have assumed command of the Enterprise on this stardate. Their crew files show that Mitchell and Dehner were born in cities called "Delman" and "Eldman." The mountainous backdrop painting from "The Cage" is reused in this episode. In this episode, the helm console from the bridge was moved to the transporter set to double as the transporter console. Thus, the three levers used to "energize" are not yet in place. When he complies with Kirk's order to "Address intercraft," i.e. put open the intercom, Mitchell merely wipes the edge of his hand over his navigation plotting board and does not manipulate any buttons or switches. A bit of the transporter chamber was changed from "The Cage." The center of the ceiling was "hollowed out," allowing white light to pour down onto the platform when the "materializer" was not in operation. After this episode, however, the dark, grilled ceiling from "The Cage" was restored and remained in place throughout the series. The phaser rifle that Kirk uses appears for the first and only time in the series. However, it can be seen on many pre-season 1 promotional photos. It was designed and created by Reuben Klamer, who, being subcontracted, received no credit for it. (Julien's Auctions presents: Star Trek) In this episode, the sickbay walls are green. The alert light on the helm console is of a different shape in this episode. A large panel seen in the background of the Delta Vega control room was recycled as part of the main engineering set in the series itself. Spock carries a laser pistol (somewhat modified) as first seen in "The Cage". This episode features the goose-neck tubes also used in "The Cage". The communicator Kirk uses at the episode's end to hail the Enterprise is the Lucite-encased, circuit board-filled version from "The Cage". The insignias for the Sciences and Engineering divisions were opposite in this episode of what they were in every other episode. Cast and characters It was the first appearance for Trek mainstays Kirk, Sulu, Scott, and Leslie. Other regulars McCoy and Uhura did not appear until the next episode. In , Uhura is said to be a twenty year space veteran as of 2285, suggesting that she began her career sometime around this episode. Leonard Nimoy (Spock) is the only actor to appear in both this episode and the first pilot, . His pointed ears are a bit smaller than in the first pilot, and his eyebrows are severely slanted (yet not as bushy as in "The Cage"). Most importantly, his hairstyle is reworked to show the bangs typical of his race – and that of eventual nemeses, the Romulans. William Shatner was actually the third actor to be considered for the role of James T. Kirk. Jack Lord and Lloyd Bridges were each offered the role before him. (The Star Trek Compendium) Veteran character actor Paul Fix got the role of the ship's doctor, replacing John Hoyt. Gene Roddenberry wanted to cast DeForest Kelley in the part, whom he originally wanted to play Doctor Boyce in . Then, he was overruled by director Robert Butler's suggestion. Here again, Fix was recommended by director James Goldstone. Roddenberry thought Fix didn't work out well in the role, and decided that if Star Trek became a weekly series, he would cast Kelley as the ship's doctor. (Inside Star Trek: The Real Story, pp 74-75, 152) Andrea Dromm replaced Laurel Goodwin in the role of the captain's yeoman. According to Herb Solow and Bob Justman, her role was actually a "non-part" and Roddenberry claimed he cast her so he could "score with her". They added, it was not just a "non-part", but a "non-score" as well. (Inside Star Trek: The Real Story, p 75) Dromm didn't return to the series, and was replaced by Grace Lee Whitney as Yeoman Rand. Roddenberry, Solow, and NBC were all happy about the casting of Lloyd Haynes as communications officer Alden. Haynes was one of the first African-Americans hired to play an important role in a network series pilot. However, he was not rehired for the series itself, as the production staff saw the role as dull and uninteresting. (Inside Star Trek: The Real Story, p 75-77, 153) This is the only episode of the series in which James Doohan (Scott) appears but DeForest Kelley (McCoy) does not. This is the only episode where Spock and Scott wear gold and tan tunics instead of their better known blue and red, respectively. Effects The matte painting of the lithium cracking station was created by matte artist Albert Whitlock for this episode. A still exists showing the entire landing party in the doorway within the matte, but only the shot of Kirk and Dehner ended up being used. The matte painting was later altered and reused in . The image of the matte painting later appeared on the 1953 issue of the Incredible Tales magazine in the episode . Film trickery enabled Kirk, Spock, and Mitchell's elevator ride to look like an actual ride from one deck to another, without relying on editing. When Mitchell jumped in, there was a gray wall outside the door that hid the bridge set. When the doors closed, the wall was removed by the stage crew, and then seconds later, they're on the bridge. The turbolift in the background after this scene sports "double doors" like modern elevators – the inner one is gray and the outer is red. This feature survived into and at least until , but then was phased out. When Kirk, Spock, and Mitchell emerge from the turbolift, the main viewscreen can be seen in its "off" setting – a kind of "psychedelic" visual effect that was never used again. The voices of damage control personnel responding to the emergency situation were reused many times in subsequent episodes. These voices were provided by Gene Roddenberry, Robert Justman, Majel Barrett, Herb Solow, and other production staff members, including some from Mission: Impossible. Roddenberry can be heard saying, "Communicator, we need more lines to the impulse deck!" in subsequent episodes. (Inside Star Trek: The Real Story, pp. 190-191) Except for the shot of the Enterprise leaving the Barrier – which was shot using the three-foot unlighted model – all other ship fly-bys were produced using the eleven-foot model used in all subsequent episodes. At the time, this model still had no sparkling effects on the front of the nacelles. It also had a larger sensor dish, grilles on the backs of the nacelles, and not as many lighting effects. This footage was re-used in later episodes, often mixed in with shots of the improved model that is on display in the Smithsonian Air and Space Museum. In the standard side-to-side fly-by, two lights on the angled pylon (which connect the two hulls) go out, followed one second later by two near the shuttlebay. The original "bridge zoom-in" Enterprise shot from the beginning of "The Cage" is reused from stock footage in this episode, making it the only shot from the original pilot to appear in the second one. The same shot is also used when the Enterprise hits the barrier with added purple background and lightning effects. Stock footage of the Enterprise in the barrier was reused in and . These are the only three original series episodes in which the Enterprise leaves the galaxy. Preview The preview contains a Captain's Log recorded solely for the preview: "Captain's log, stardate 1312.4. The next mission of the Enterprise takes us into an unknown force field which affects the destiny of my closest friend." Reception A print of the pre-broadcast version of this episode was taken by Roddenberry to the annual in Cleveland, Ohio to be presented to the convention goers. This marked Star Treks second showing to the general public, on with Harlan Ellison having premiered a color print of one of the unaired episodes (those in attendance give conflicting reports on exactly which one of the early episodes was shown) earlier at the San Diego Westercon 19 the previous July. ("What We Did On Our Visit To Desilu" by John & Bjo Trimble, ST-PHILE #1, Jan 1968, p. 33) Allan Asherman, author of The Star Trek Compendium, was present among the audience. He recalled, "There must have been 500 people in that audience. When the Enterprise hit the galactic barrier, 1,000 eyes opened wide. Five hundred respiratory rates accelerated with that wonderful pleasure that comes over lovers of all things when they see their favorite subject being treated well. (…) If he [Roddenberry] could have read our minds at any moment during the screening, he would have been the happiest producer in the world. (…) Here was a future it did not hurt to imagine. Here was a constructive tomorrow for mankind, emphasizing exploration and expansion. This was a science fiction television series we all wanted to see. We were extremely impressed. (…) In fact, we liked everything about the episode more than anything else shown at the convention. (…) Roddenberry seemed to have no idea of the effect his show was having on us. (…) He asked for the audience's opinion; we gave him a standing ovation. He smiled, and we returned the smile before we converged him. We came close to lifting the man upon our shoulders and carrying him out of the room." (The Star Trek Compendium, pp 2-3) Later, a group of the audience asked Roddenberry if he had brought any other episodes of Star Trek with him. He had a black-and-white copy of "The Cage", which was then screened to the audience. (The Star Trek Compendium, p 3) Herb Solow commented on Gene's success: ""Where No Man," unlike the other television and theatrical films screened, was well received. The science-fiction aficionados at the convention were entranced by the new show. But in four days, the series would premiere on television to a national audience that thought science fiction was comic books of busty women being dragged away by alligator people, or a giant purple blob intent on dissolving Tokyo." (Inside Star Trek: The Real Story, p 263) Bjo Trimble and her husband, John, were members of the audience at the convention, and it was the first time they'd met Roddenberry. They persuaded him to allow the Star Trek costumes he brought along to be displayed during the fan-made costume competition. (Inside Star Trek: The Real Story, p 378) Isaac Asimov was also a member of the audience. At the start, Roddenberry shushed a loud man to be silent, not knowing that the man was actually Asimov. When Roddenberry found out it was Asimov, he was horrified. (Inside Star Trek with Gene Roddenberry) Roddenberry picked this as one of his ten favorite episodes for the franchise's 25th anniversary. (TV Guide August 31, 1991) Jason Isaacs also cited this as one of his favorite Star Trek episodes, remarking that he "loved" it. Regarding the transformation to god-like status that happens to Gary Mitchell and Elizabeth Dehner in this episode, Isaacs joked, "I tried for years to do that. In fact, I still try sometimes, in quiet moments." The book Star Trek 101 (p. 17), by Terry J. Erdmann and Paula M. Block, lists this episode as one of "Ten Essential Episodes" from the original Star Trek series. Apocrypha An alternate explanation for the "James R. Kirk" reference is given in Peter David's novel Q-Squared, which suggests that the events of this episode take place in a parallel universe where Kirk's middle initial is indeed R (and not T as we now know it to be). This same book suggests that Gary Mitchell's god-like powers were a result of him being temporarily possessed by Q, and the powers simply drove Mitchell insane. Another explanation for the R as Kirk's middle initial comes from Michael Jan Friedman's three-part novel series, My Brother's Keeper. In it, Kirk claims his middle name to be "Racquetball" to Mitchell upon an early meeting. Later, Mitchell "changes" it to "Rhinoceros" after Kirk steamrolls through a conversation. The grave is thus explained by Kirk as an in-joke. Mandala Productions' Fotonovel #2, in its cast of characters section, identified the captain for this episode as "James R. Kirk", even though all the other Star Trek Fotonovels listed him as "James T. Kirk". The alternate reality's version of events in this episode were depicted in issue 1 and issue 2 of IDW Publishing's ongoing Star Trek comic book. In this version, only Mitchell is affected – Dehner was a former lover of Dr. McCoy, and after the affair ended badly, their relationship was so strained that she rescinded her requested transfer to the after finding out he was on board. Also, while Mitchell was in sickbay, Spock mind melded with him and reported to Kirk that he found "No consciousness. No sentience of any kind." The Pocket TNG novel The Valiant acts as a prequel and sequel to this episode, telling the story of the SS Valiants demise and reveals that some of the crew did survive the self-destruction. Remastered information The remastered version of this episode premiered in syndication the weekend of and featured shots of a digital version of Enterprise, consistent with the model used in this episode, which had a slightly different appearance from both the version seen in the production of the series and that seen the original pilot, . Enhanced effects also included more detailed shots of the barrier, Delta Vega from space as well as on the surface, a subtle touch-up to a phaser shot during Kirk and Mitchell's fight, and an opening titles sequence featuring the pilot-version Enterprise. While the final frontier speech was absent from the original, it was brought into the remastered opening. The next remastered episode to air was . Production timeline Episode commissioned by NBC: Story outline by Samuel Peeples: first week of Revised story outline: second week of First draft teleplay by Peeples: late- Revised first draft teleplay: Second draft teleplay by Gene Roddenberry: Final draft teleplay: Revised final draft teleplay: Additional revisions: , , Filmed: – Day 1 – , Monday – Desilu Culver Stage 15: Int. Recreation room, Corridors, Transporter room, Briefing room Day 2 – , Tuesday – Desilu Culver Stage 15: Int. Turbolift, Bridge Day 3 – , Wednesday – Desilu Culver Stage 15: Int. Bridge Day 4 – , Thursday – Desilu Culver Stage 15: Int. Bridge, Sickbay Day 5 – , Friday – Desilu Culver Stage 15: Int. Sickbay; Desilu Culver Stage 17: Int. Delta Vega control room Day 6 – , Monday – Desilu Culver Stage 17: Int. Delta Vega control room, Security area, Ext. Beam down area Day 7 – , Tuesday – Desilu Culver Stage 17: Int. Delta Vega security area; Desilu Culver Stage 16: Ext. Planet surface site Day 8 – , Wednesday – Desilu Culver Stage 16: Ext. Planet surface site Day 9 – , Thursday – Desilu Culver Stage 15, Stage 16 & Stage 17: Extra pickup shots Score recorded: Original airdate: Rerun date: First UK airdate Remastered airdate: Video and DVD releases Original US Betamax/VHS release: Original UK VHS release (two-episode tapes, CIC Video): Volume 2, catalog number VHR 2210, release date unknown As part of the UK Star Trek - The Three Beginnings VHS collection: US VHS release: As part of the UK Star Trek - The Four Beginnings VHS collection: 1995 UK re-release (three-episode tapes, CIC Video): Volume 1.1, Original US DVD release (single-disc): Volume 1, As part of the TOS Season 1 DVD collection As part of the TOS Season 1 HD DVD collection As part of the TOS Season 1 Blu-ray collection As part of the TOS Season 3 Blu-ray collection, entitled "Where No Fan Has Gone Before" – The Restored, Unaired Alternate Pilot Episode As part of the Star Trek: The Original Series - Origins Blu-ray collection Links and references Starring William Shatner as James T. Kirk Leonard Nimoy as Spock Guest stars Gary Lockwood as Gary Mitchell Sally Kellerman as Elizabeth Dehner Featuring George Takei as Sulu James Doohan as Scott Lloyd Haynes as Alden Andrea Dromm as Yeoman And Paul Carr as Lt. Lee Kelso Paul Fix as Doctor Piper Uncredited co-stars Eddie Paskey as Leslie Unknown actors as Bridge guard Command crewman Command officer Command technician Engineering technician Maintenance engineer (scenes cut and reused in ) Operations crewman Sciences crewman Stunt doubles Dick Crockett as stunt double for William Shatner Hal Needham as stunt double for Gary Lockwood Production crew Directed by James Goldstone Written by Samuel A. Peeples Created and Produced by Gene Roddenberry Associate Producer: Robert H. Justman Music Composed and Conducted by: Alexander Courage Director of Photography: Ernest Haller, ASC Production Designer: Walter M. Jefferies Art Director: Rolland M. Brooks Film Editor: John Foley, ACE Assistant Director: Robert H. Justman, Gregg Peters Casting: Joseph D'Agosta Set Decorator: Ross Dowd Costumes Created by: William Ware Theiss Sound Mixer: Cam McCulloch Post Production Executive: Bill Heath Music Editor: Jack Hunsaker Sound Editor: Joseph G. Sorokin Production Supervisor: James Paisley Wardrobe: Paul McCardle Special Effects: Bob Overbeck Music Consultant: Wilbur Hatch Music Coordinator: Julian Davidson Makeup Artist: Robert Dawn Hair Styles: Hazel Keats Matte Paintings: Albert Whitlock Sound: Glen Glenn Sound Co. Photographic Effects: Howard Anderson Co. Executive in Charge of Production: Herbert F. Solow Production companies Desilu Norway Corporation References 1996; 21st century; 22nd century; 2065; 2242; 2244; 2250; 2260s; 2265; 203-R; ability; ; Aldebaron Colony; amusement; ancestor; annoyance; answer; area; argument; assignment; astrosciences; auto-destruct; autonomic reflex; autopsy report; battery; blasphemy; blindness; blonde; blonde lab technician; blood; body; book; brain; breed; briefing lounge; bridge engineering; burial; ; "by comparison"; call letters; Canopus Planet; case; casualty; century; chance; checkmate; chicken; choice; class; coffee; coffee break; compassion; computer; computer record; consciousness; Constitution-class decks; contact; control room; counterorder; crew; crystal; damage; damage report (aka damage control report); dart; day; ; deck; deflector; Delta Vega; Delta-Vega Station; Deneb IV; density; department head; destruct button; dial; diameter; Dimorus; disaster recorder; dispensary; dispensary screen; distress signal; duty; earphone; Earth; Earth base; electrical charge; electricity; emergency; emergency condition; emergency power cell; emergency stations; emotion; energy; Engineering Deck 3; engineering division; engineering staff; Enterprise casualties; esper; ; extrasensory perception (aka ESP or ESP power); evidence; evil; eye; fact; faucet; feeling; fever; fire; fire alert; fission chamber; fool; force field; freezer unit; fuel bin (aka power bin); g; galactic barrier; Galactic Mining Company; galaxy; glove; god; gravestone; gravitation; gravity control; ; heart; "hello"; helmsman; hour; hull; Human (Human being); ; idea; image; impulse deck; impulse engine; impulse pack; indication; information; initials; insect; intercraft; ; jealousy; ; Kaferian apple; Kaferian apple planet; lab technician; landing party; lateral power; lead; learning; leg; lifeboat; life sciences; light day; light year; lithium; lithium cracking station; logic; love; magnetic space storm; marooning; marriage; mathematics; materializer; maximum warp; medical examination; medical officer; medical test; memory bank; metaphysics; meter; Milky Way Galaxy; million; millionaire; mind; mineral; monitor screen; monster; moral; mutant; name; neural circuit; neutron radiation; night; "Nightingale Woman"; officers' quarters; object; observation; orbit; order; ore ship; overcompensation; page; patient; penny; person; personnel file; phaser; phaser rifle; pill; place; playing card; points; Pointed Peaks; poison; ; ; power cell; power pack; prayer; professional; prognosis; psionic energy; psychiatrist; psychiatry; question; radiation; repair party; rodent; "rodent things" on Dimorus; rook; Sarek; science officer; search; second; sensor; sensor beam; service record; sharing; shaving; ship's library; shock; signal; silver; solid object; sonnet; soul; space warp; speaking; speculation; spontaneous combustion; standard orbit; "stand by"; starboard; stardate; Starfleet Academy; strange energy; strangulation; street; subject; tape; Tarbolde; telekinesis; thief; thing; thought (thinking); three-dimensional chess; toy; tractor beam range; transporter room; type 3 phaser; transporter; ; SS Valiant personnel; valley; vessel; visual contact; voice; Vulcan; (planet); warning; warp factor; white mice; wings; wisdom; worry; wristwatch; year; yeoman; zipper Personnel file references aperception quotient; birthplace; card; College of Medical Sciences; date of birth; ; Delman; Deneb IV inhabitants; Duke-Heidelburg quotient; Eldman; esper rating; father; first name; ; general knowledge quotient; generation; grade school; guessing game; height; inch; last name; lineage; magic; magician; metaphysics; Mitchell's ancestors; mother; permanent address; PhD; present address; secondary school; spiritual reading; thesis; Tri-Planetary Academy; vocational training; weight Unused references 4-0; energy; galactic survey cruiser; ; matter; mile per hour; Persons; Q-signal; space law regulation External links Final revised draft script de:Die Spitze des Eisberges eo:Kien Neniu Homo Estas Irinta Antaŭe es:Where No Man Has Gone Before fr:Where No Man Has Gone Before it:Oltre la galassia (episodio) ja:光るめだま（エピソード） nl:Where No Man Has Gone Before pl:Where No Man Has Gone Before ru:Куда не ступала нога человека (эпизод) sv:Where No Man Has Gone Before TOS episodes

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Reference tables

This page is a convenient list of everything listable. People List of people By species List of individuals (category) By organization Bajoran Militia personnel Bajoran Militia casualties Earth Cargo Service personnel (category) Fleet Operations Center personnel Klingon military personnel (category) MACO personnel Maquis personnel (category) Starfleet personnel Starfleet personnel (22nd century) Starfleet personnel (22nd century) Starfleet personnel (23rd century) Starfleet personnel (24th century) Starfleet personnel (25th century) Starfleet personnel (26th century) Starfleet personnel (29th century) Starfleet personnel (32nd century) Starfleet Academy personnel Starfleet casualties Starfleet casualties (22nd century) Starfleet casualties (23rd century) Starfleet casualties (24th century) Starfleet command division personnel Starfleet engineering personnel Starfleet operations division personnel Starfleet medical personnel Starfleet sciences division personnel Starfleet security personnel Vulcan casualties By ship If a ship has too few personnel to have a list of personnel linked below, a personnel listing will be included in that ship's article (Starships). See: Starfleet personnel By rank Cardassian guls (category) Starfleet flag officers Starfleet captains Starfleet commanders Starfleet lieutenant commanders Starfleet lieutenants Starfleet lieutenants junior grade Starfleet ensigns Starfleet cadets Starfleet enlisted personnel By occupation List of occupations (category) Civilian casualties By origin Mirror universe people Mirror universe casualties Klingon Houses By nomenclature Unnamed individuals By appearances Performers TOS Season 1 performers TOS Season 2 performers TOS Season 3 performers TAS performers Film performers TNG Season 1 performers TNG Season 2 performers TNG Season 3 performers TNG Season 4 performers TNG Season 5 performers TNG Season 6 performers TNG Season 7 performers DS9 Season 1 performers DS9 Season 2 performers DS9 Season 3 performers DS9 Season 4 performers DS9 Season 5 performers DS9 Season 6 performers DS9 Season 7 performers VOY Season 1 performers VOY Season 2 performers VOY Season 3 performers VOY Season 4 performers VOY Season 5 performers VOY Season 6 performers VOY Season 7 performers ENT Season 1 performers ENT Season 2 performers ENT Season 3 performers ENT Season 4 performers DIS Season 1 performers DIS Season 2 performers DIS Season 3 performers DIS Season 4 performers DIS Season 5 performers ST performers PIC Season 1 performers PIC Season 2 performers PIC Season 3 performers LD Season 1 performers LD Season 2 performers LD Season 3 performers LD Season 4 performers PRO Season 1 performers PRO Season 2 performers SNW Season 1 performers SNW Season 2 performers Recurring characters TOS recurring characters TAS recurring characters Film recurring characters TNG recurring characters DS9 recurring characters VOY recurring characters ENT recurring characters DIS recurring characters PIC recurring characters LD recurring characters Lifeforms Alpha and Beta Quadrant species Gamma Quadrant species Delta Quadrant species Humanoid species Non-corporeal species Non-humanoid species Powerful and godlike beings Shapeshifting species Telepathic species Planets and places List of clusters (category) List of moons (category) List of nebulae (category) List of planets (category) List of sectors (category) List of stars (category) List of star systems (category) Homeworlds Inhabited planets Uninhabited planets Cardassian planets Klingon planets Romulan planets Delphic Expanse planets Dominion planets Prime planets First planets Second planets Third planets Fourth planets Fifth planets Sixth planets Seventh planets Eighth planets Ninth planets Tenth planets Twelfth planets Fourteenth planets Twentieth planets Asteroids (category) Planetoids (category) Colonies (category) Bajoran colonies Federation colonies Federation members Celestial objects (category) Unnamed stars Science and medicine Chemical compounds (category) Computer terminology Drugs and treatments Periodic Table of the Elements Materials and substances Medical conditions (category) Medical equipment Particles (category) Syndrome Technology (category) Warp factor Weapons Starships and stations List of starships (category) List of stations Ship classes Bajoran starship classes (category) Borg starship classes (category) Dominion starship classes (category) Earth starship classes Federation starship classes Klingon starship classes (category) Romulan starship classes (category) Suliban starship classes (category) Vulcan starship classes (category) Xindi starship classes (category) Starships Cardassian starships Ferengi starships Klingon starships Romulan starships Vulcan starships (category) Earth starships Federation starships Federation starship registries Federation shuttlecraft Terran Empire shuttlecraft Starships at Wolf 359 Starships at the Battle of Sector 001 Starships Registry numbers and prefixes Starbases and stations Federation outposts Federation starbases Federation shipyards Objects in Earth orbit Miscellaneous Arts and music Borg species designations Borg technology (category) Cardassian military Dedication plaques (category) Foods and beverages Holographic programs Kits Measurements Medals and awards Recreational activities Rules of Acquisition Starfleet Fleets The value of latinum Meta-Trek Star Trek birthdays Star Trek deaths Time travel episodes Production companies 47 references Timeline of Star Trek production Maintenance lists Requested Articles de:Referenztabellen nl:Referentie Tabellen

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Rules of Acquisition

The Rules of Acquisition were the sacred precepts upon which all Ferengi society was based. They were first written by Gint, the first Grand Nagus. In the mid-22nd century there were 173 rules, and by the 24th century there were 285. (; ; ) In theory, "[e]very Ferengi business transaction is governed by [these rules] to ensure a fair and honest deal for all parties concerned." () In 2370, the Ferengi government was debating an amendment to the Rules. () In 2371, Grand Nagus Zek authored a short-lived revised edition of the Rules, after having his state of mind altered by the Bajoran Prophets. It contained rules very different in character from preceding versions, instead promoting honesty and charity. Upon recovering, Zek ordered the destruction of all copies of this work. () Official rules Unofficial rules The following sayings were either not given a number, not explicitly stated to be a Rule, or were not part of the generally-accepted Rules by the Ferengi Commerce Authority. Notes Appendices Background information The Rules of Acquisition were invented by executive producer-writer Ira Steven Behr at the beginning of (beginning with ) () and were mentioned throughout the Star Trek spinoffs. In the first draft script of , the eighty-first or seventy-first Rule of Acquisition (Rom wasn't sure which) was said to be, "What's good for the boss is good for the worker." Similarly, in the first draft script of , the 153rd rule was stated to be, "People will buy anything… especially junk." The authors of the Star Trek Encyclopedia (4th ed., vol. 1, p. 267) identified "Exploitation begins at home.", from the episode , as one of these rules. Apocrypha Deep Space Nine writers Ira Steven Behr and Robert Hewitt Wolfe expanded upon the Rules and Ferengi culture in the non-canon books, The Ferengi Rules of Acquisition and Legends of the Ferengi. A number of additional rules have also appeared within Pocket Deep Space Nine titles. The following rules are derived from non-canon sources: External links de:Erwerbsregeln der Ferengi es:Reglas de adquisición fr:Règles de l'acquisition ferengies ja:金儲けの秘訣 nl:Regels van acquisitie pl:Zasady zaboru Legal documents Literature Philosophy Ferenginar

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Star Trek: Voyager

Star Trek: Voyager is the fifth Star Trek series. It was created by Rick Berman, Michael Piller, and Jeri Taylor, and ran on UPN, as the network's first ever series, for seven seasons in the USA, from to . In some areas without local access to UPN, it was offered to independent stations through Paramount Pictures, for its first six seasons. The series is best known for its familial crew, science fiction based plots, engaging action sequences, and light humor. The writers often noted that many episodes had underlying themes and messages or were metaphors for current social issues. This is the first Star Trek series to feature a female captain in a leading role. However, Kathryn Janeway herself is not the first female captain to be seen within Star Trek as a whole. Additionally, the show gained in popularity for its storylines which frequently featured the Borg. Voyager follows the events of and ran alongside during its first five seasons. (composed by Jerry Goldsmith) Series summary Launched in the year 2371, the Federation starship was a ship built to return to Starfleet's founding principle of scientific exploration. It was fitting that the ship's captain, Kathryn Janeway, rose up through the science ranks rather than command. On the ship's first mission while departing the space station Deep Space 9, which required it to find and capture a Maquis vessel that disappeared into the treacherous Badlands, the crew of Voyager, as well as that of the Maquis ship it was pursuing, were swept clear across the galaxy and deep into the Delta Quadrant. This was the doing of a powerful alien being known as the . The seventy thousand light year transit cost the lives of over a dozen crew members. Captain Janeway was forced to destroy the massive alien array that housed the remains of the Caretaker. In doing so, she saved an alien race, the Ocampa, but stranded Voyager and the crew in the Delta Quadrant. United in a common purpose, the surviving Maquis rebels joined with Janeway's Starfleet-trained crew on Voyager. Though a journey back to the Alpha Quadrant would have taken more than seventy years through unknown and treacherous territory, the crew of Voyager was well served by Janeway's skilled leadership and their own steadfast determination. Ultimately, Voyager returned to the Alpha Quadrant in seven years. The crew's journey home was eventful. Voyager made first contact with over four hundred completely new species in the Delta Quadrant, discovered links to Earth's early space exploration history, utilized and even pioneered new technologies, all the while engaging in countless other adventures. () The crew encountered species ranging from the violent and ruthless Kazon, the Phage-afflicted Vidiians, the colorful Talaxians and the ephemeral Ocampa. The crew's other encounters included run-ins with the temporal sophistication of the Krenim, the predatory Hirogen, the toxic Malon and the scheming Hierarchy. The crew picked up passengers along the way, including the wily but extremely resourceful Talaxian Neelix (who served, at times, as Voyagers ambassador, morale officer, and even head chef), along with the Ocampan telepath Kes (who, as a parting gift to the crew, used her powers of telekinesis to thrust Voyager 9,500 light years closer to the Alpha Quadrant). Most memorable, however, were Voyagers repeated clashes with the dreaded Borg. While each encounter posed grave danger, Voyager was able to prevail every time. At one point, Janeway actually negotiated a temporary peace with the Borg when they perceived a common threat in a mysterious alien species from fluidic space. () At other times, she was able to liberate drones from the Borg Collective, including Seven of Nine (who became a permanent member of the crew), Mezoti, Azan, Rebi, and Icheb. Other instances pitted Voyager against not only the Borg, but also against the nightmarish Borg Queen herself. Several years after Voyagers disappearance into the Delta Quadrant, Starfleet Command learned of the starship's fate. Subsequently, the Pathfinder Project was created, a Starfleet Communications project that attempted to communicate with Voyager through the MIDAS array, via a micro-wormhole and the Hirogen communications network. Thanks to the hard work and enthusiasm of Lieutenant Reginald Barclay, the communications technology improved to a level whereby contact could be made on a regular basis. In 2377, the crew was able to receive monthly data streams from Earth that included letters from the crew's families, tactical upgrades, and news about the Alpha Quadrant. By the end of the year, Voyager made a triumphant return to the Alpha Quadrant, under the guidance of Starfleet and the Pathfinder Project, by utilizing and then destroying a Borg transwarp hub, and after a turbulent trip, a celebration was held in honor of Voyagers return back home. Distinguishing Voyager Despite the general prosperity of , Paramount pressured Rick Berman for yet another Star Trek television series. Although it was decided very early on that the new series would be set aboard a starship once again, it was important for the writers to vary the series from in other ways. Berman stated, "When Voyager came around and we knew we were going to place the next series back on a starship we wanted to do it in a way that was not going to be that redundant when it came to The Next Generation. So we had a certain amount of conflict on the ship because of the Maquis. We had a different dynamic because we were not speaking every day to Starfleet and because we had a female captain. Those were the major differences that set this show apart from the others... It had the core belief of what Star Trek was all about, both in terms of the excitement and the action and in terms of the provocative elements of ideas that Star Trek has always been known to present to the audience." () The series' premise of being lost in deep space was itself a variation on a theme explored in The Next Generation. Michael Piller explained, "We remembered the episodes, many episodes, where Q would show up and throw one of our ships or one of our people off to a strange part of the universe. And we'd have to figure out why we were there, how we were going to get back, and ultimately – by the end of an episode – we'd get back home. But [...] we started to talk about what would happen if we didn't get home. That appealed to us a great deal [...] You have to understand that Rick, Jeri and I had no interest in simply putting a bunch of people on another ship and sending them out to explore the universe. We wanted to bring something new to the Gene Roddenberry universe. The fans would have been the first people to criticize us if we had not brought something new to it. But everything new, everything was... a challenge, in the early stages of development of Voyager." ("Braving the Unknown: Season 1", VOY Season 1 DVD special features) Jeri Taylor concurred that Voyager had to be different from its predecessors. She stated, "We felt a need to create an avenue for new and fresh storytelling. We are forced into creating a new universe. We have to come up with new aliens, we have to come up with new situations." Taylor also recalled, "We knew we were taking some risks. We decided, in a very calculated way, to cut our ties with everything that was familiar. This is a dangerous thing to do. There is no more Starfleet, there are no more admirals to tell us what we can and cannot do, there are no Romulans, there are no Klingons, there are no Ferengi, no Cardassians. All those wonderful array of villains that the audience has come to love and hate at the same time will no longer be there. This is a tricky thing to do." ("Braving the Unknown: Season 1", VOY Season 1 DVD special features) Differentiating the new series from what had gone before hardened the challenge of inventing the series' main characters. Jeri Taylor recounted, "It took a long, long time, it took us weeks and weeks and weeks, even to come up with a cast of characters, because we found that so many wonderful characters had already been done and we didn't want to exactly repeat ourselves. We'd come up with an idea then say, 'No, that's too much like Data,' or, 'That's too much like Odo,' or, 'That's too much like Worf.' So to try to find the right balance of characters, in terms of gender and alien species and that kind of thing, really took a long time." ("Braving the Unknown: Season 1", VOY Season 1 DVD special features) ↑ John Van Citters listed "VGR" as the series' official abbreviation when announcing the "DSC" abbreviation for . MA, among other venues, will continue to use the abbreviation VOY for Voyager, for historical reasons. Reception During its seven-year run, Star Trek: Voyager was nominated for 34 Emmy Awards, mostly in "technical" categories such as visual effects and makeup. It won seven, including "Outstanding Individual Achievement in Main Title Theme Music" for Jerry Goldsmith's theme. Main cast Starring Kate Mulgrew as Captain Kathryn Janeway Also starring Robert Beltran as Commander Chakotay Roxann Biggs-Dawson as B'Elanna Torres Jennifer Lien as Kes (-) Robert Duncan McNeill as Tom Paris Ethan Phillips as Neelix Robert Picardo as The Doctor Tim Russ as Lieutenant Commander Tuvok Jeri Ryan as Seven of Nine (-) Garrett Wang as Ensign Harry Kim Executive producers Rick Berman – Executive Producer Michael Piller – Executive Producer (1995-1996) Jeri Taylor – Executive Producer (1995-1998) Brannon Braga – Executive Producer (1998-2000) Kenneth Biller – Executive Producer (2000-2001) Opening credits The opening credits for Star Trek: Voyager contained imagery of passing near various spatial phenomena. Episode list Season 1 Season 1, 15 episodes: Season 2 Season 2, 26 episodes: Season 3 Season 3, 26 episodes: Season 4 Season 4, 26 episodes: Season 5 Season 5, 25 episodes: Season 6 Season 6, 26 episodes: Season 7 Season 7, 24 episodes: Related topics VOY directors VOY performers VOY recurring characters VOY studio models VOY writers Recurring characters Character crossover appearances Undeveloped VOY episodes Paramount Stage 8 Paramount Stage 9 Paramount Stage 16 Media Star Trek: Voyager novels Star Trek: Voyager comics (IDW) Star Trek: Voyager comics (Malibu) Star Trek: Voyager comics (Marvel) Star Trek: Voyager soundtracks Star Trek: Voyager on VHS Star Trek: Voyager on LaserDisc Star Trek: Voyager on DVD External links ca:Star Trek: Voyager pt-br:Star Trek: Voyager zh-cn:星际旅行：航海家号 bg:Стар Трек: Вояджър cs:Star Trek: Voyager de:Star Trek: Voyager eo:Stela Vojaĝo: Voyager es:Star Trek: Voyager fr:Star Trek: Voyager it:Star Trek: Voyager ja:スタートレック：ヴォイジャー nl:Star Trek: Voyager pl:Star Trek: Voyager pt:Star Trek: Voyager ro:Star Trek: Voyager ru:Звёздный путь: Вояджер sr:Звјездане стазе: Војаџер sv:Star Trek: Voyager Star Trek series Saturn Award nominees Saturn Award winners

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Regular cast

This page is a list of regular cast for the Star Trek series and films. Star Trek: The Original Series William Shatner as James T. Kirk Leonard Nimoy as Spock DeForest Kelley as Leonard McCoy James Doohan as Montgomery Scott George Takei as Hikaru Sulu Walter Koenig as Pavel Chekov Nichelle Nichols as Nyota Uhura Majel Barrett as Christine Chapel Grace Lee Whitney as Janice Rand Star Trek: The Animated Series William Shatner as James T. Kirk Leonard Nimoy as Spock DeForest Kelley as Leonard McCoy James Doohan as Montgomery Scott and Arex George Takei as Hikaru Sulu Nichelle Nichols as Uhura Majel Barrett as Christine Chapel and M'Ress The Original Series films William Shatner as James T. Kirk Leonard Nimoy as Spock DeForest Kelley as Leonard McCoy James Doohan as Montgomery Scott George Takei as Hikaru Sulu Walter Koenig as Pavel Chekov Nichelle Nichols as Uhura Star Trek: The Next Generation Patrick Stewart as Jean-Luc Picard Jonathan Frakes as William T. Riker Brent Spiner as Data LeVar Burton as Geordi La Forge Michael Dorn as Worf Gates McFadden as Beverly Crusher Marina Sirtis as Deanna Troi Denise Crosby as Natasha Yar Wil Wheaton as Wesley Crusher The Next Generation films Patrick Stewart as Jean-Luc Picard Jonathan Frakes as William T. Riker Brent Spiner as Data LeVar Burton as Geordi La Forge Michael Dorn as Worf Gates McFadden as Beverly Crusher Marina Sirtis as Deanna Troi Star Trek: Deep Space Nine Avery Brooks as Benjamin Sisko Nana Visitor as Kira Nerys Rene Auberjonois as Odo Michael Dorn as Worf Terry Farrell as Jadzia Dax Alexander Siddig as Julian Bashir Colm Meaney as Miles O'Brien Nicole de Boer as Ezri Dax Armin Shimerman as Quark Cirroc Lofton as Jake Sisko Star Trek: Voyager Kate Mulgrew as Kathryn Janeway Robert Beltran as Chakotay Tim Russ as Tuvok Robert Duncan McNeill as Tom Paris Roxann Dawson as B'Elanna Torres Garrett Wang as Harry Kim Jeri Ryan as Seven of Nine Robert Picardo as The Doctor Ethan Phillips as Neelix Jennifer Lien as Kes Star Trek: Enterprise Scott Bakula as Jonathan Archer Jolene Blalock as T'Pol Connor Trinneer as Charles Tucker III Dominic Keating as Malcolm Reed Anthony Montgomery as Travis Mayweather Linda Park as Hoshi Sato John Billingsley as Phlox The alternate reality films John Cho as Simon Pegg as Chris Pine as Zachary Quinto as Zoë Saldana as Karl Urban as Anton Yelchin as Star Trek: Discovery Sonequa Martin-Green as Michael Burnham Doug Jones as Saru Shazad Latif as Anthony Rapp as Paul Stamets Mary Wiseman as Sylvia Tilly Wilson Cruz as Hugh Culber Rachael Ancheril as D. Nhan Tig Notaro as Jett Reno Jason Isaacs as Anson Mount as Christopher Pike David Ajala as Cleveland "Book" Booker Blu del Barrio as Adira Tal Star Trek: Picard Patrick Stewart as Jean-Luc Picard Alison Pill as Agnes Jurati Isa Briones as Soji Asha/Kore Soong Evan Evagora as Elnor Michelle Hurd as Raffi Musiker Santiago Cabrera as Cristóbal Rios Harry Treadaway as Narek Jeri Ryan as Seven of Nine Orla Brady as Laris/Tallinn Brent Spiner as Adam Soong Star Trek: Lower Decks Tawny Newsome as Beckett Mariner Jack Quaid as Brad Boimler Noël Wells as D'Vana Tendi Eugene Cordero as Sam Rutherford Dawnn Lewis as Carol Freeman Jerry O'Connell as Jack Ransom Fred Tatasciore as Shaxs Gillian Vigman as T'Ana Star Trek: Prodigy Brett Gray as Dal Ella Purnell as Gwyn Jason Mantzoukas as Jankom Pog Angus Imrie as Zero Rylee Alazraqui as Rok-Tahk Dee Bradley Baker as Murf Jimmi Simpson as Drednok John Noble as The Diviner Kate Mulgrew as "Captain " Star Trek: Strange New Worlds Anson Mount as Christopher Pike Ethan Peck as Spock Jess Bush as Christine Chapel Christina Chong as La'an Noonien-Singh Celia Rose Gooding as Nyota Uhura Melissa Navia as Erica Ortegas Babs Olusanmokun as Joseph M'Benga Bruce Horak as Hemmer Rebecca Romijn as Una Chin-Riley<noinclude> See also Star Trek birthdays Character crossover appearances Cast members who directed Regular cast characters by rank‎ External links bg:Главни герои cs:Stálé postavy de:Liste der Hauptcharaktere es:Protagonistas fr:Personnages principaux it:Personaggi principali ja:メイン・キャラクター nl:Reguliere personages pl:Główni bohaterowie sv:Huvudkaraktärer Main characters

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Star Trek films

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Similitude (episode)

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Enterprise history

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Enterprise

"Enterprise or Enterprize could refer to:\n The series (originally just called Enterprise)\n\n One (...TRUNCATED)