Sometimes it really helps to go back to the original source! But watching the episode—or even skimming it—can be time consuming. So why not let the computer search the text for you? I’ve collected the scripts of every episode of The Next Generation , Deep Space Nine , and the first 10 movies.
All episodes are stored in plain text format.
Archivist’s Note: All of these scripts were obtained from other published sources; the complete scripts for TOS, Voyager , and Enterprise are not available right now. (Please don’t ask me about getting more scripts added, I’ve posted all the files I’ve found.)
Star Trek: The Movies
All Movies [ZIP file, 612 KB]
- Star Trek: The Motion Picture
- Star Trek II: The Wrath of Khan
- Star Trek III: The Search for Spock
- Star Trek IV: The Voyage Home
- Star Trek V: The Final Frontier
- Star Trek VI: The Undiscovered Country
- Star Trek: Generations
- Star Trek: First Contact (Draft Version)
- Star Trek: Insurrection
- Star Trek: Nemesis
Star Trek: The Next Generation
- Episode 1-2: “Encounter at Farpoint”
- Episode 3: “The Naked Now”
- Episode 4: “Code of Honor”
- Episode 5: “Haven”
- Episode 6: “Where No One Has Gone Before”
- Episode 7: “The Last Outpost”
- Episode 8: “Lonely Among Us”
- Episode 9: “Justice”
- Episode 10: “The Battle”
- Episode 11: “Hide and Q”
- Episode 12: “Too Short A Season”
- Episode 13: “The Big Goodbye”
- Episode 14: “Datalore”
- Episode 15: “Angel One”
- Episode 16: “11001001”
- Episode 17: “Home Soil”
- Episode 18: “When the Bough Breaks”
- Episode 19: “Coming of Age”
- Episode 20: “Heart of Glory”
- Episode 21: “The Arsenal of Freedom”
- Episode 22: “Symbiosis”
- Episode 23: “Skin of Evil”
- Episode 24: “We’ll Always Have Paris”
- Episode 25: “Conspiracy”
- Episode 26: “The Neutral Zone”
- Episode 27: “The Child”
- Episode 28: “Where Silence Has Lease”
- Episode 29: “Elementary, Dear Data”
- Episode 30: “The Outrageous Okona”
- Episode 31: “The Schizoid Man”
- Episode 32: “Loud as a Whisper”
- Episode 33: “Unnatural Selection”
- Episode 34: “A Matter of Honor”
- Episode 35: “The Measure of a Man”
- Episode 36: “The Dauphin”
- Episode 37: “Contagion”
- Episode 38: “The Royale”
- Episode 39: “Time Squared”
- Episode 40: “The Icarus Factor”
- Episode 41: “Pen Pals”
- Episode 42: “Q Who?”
- Episode 43: “Samaritan Snare”
- Episode 44: “Up the Long Ladder”
- Episode 45: “Manhunt”
- Episode 46: “The Emissary”
- Episode 47: “Peak Performance”
- Episode 48: “Shades of Grey”
- Episode 49: “The Ensigns of Command”
- Episode 50: “Evolution”
- Episode 51: “The Survivors”
- Episode 52: “Who Watches the Watchers?”
- Episode 53: “The Bonding”
- Episode 54: “Booby Trap”
- Episode 55: “The Enemy”
- Episode 56: “The Price”
- Episode 57: “The Vengeance Factor”
- Episode 58: “The Defector”
- Episode 59: “The Hunted”
- Episode 60: “The High Ground”
- Episode 61: “Déjà Q”
- Episode 62: “A Matter of Perspective”
- Episode 63: “Yesterday’s Enterprise ”
- Episode 64: “The Offspring”
- Episode 65: “Sins of the Father”
- Episode 66: “Allegiance”
- Episode 67: “Captain’s Holiday”
- Episode 68: “Tin Man”
- Episode 69: “Hollow Pursuits”
- Episode 70: “The Most Toys”
- Episode 71: “Sarek”
- Episode 72: “Ménage á Troi”
- Episode 73: “Transfigurations”
- Episode 74: “The Best of Both Worlds, Part I”
- Episode 75: “The Best of Both Worlds, Part II”
- Episode 76: “Family”
- Episode 77: “Brothers”
- Episode 78: “Suddenly Human”
- Episode 79: “Remember Me”
- Episode 80: “Legacy”
- Episode 81: “Reunion”
- Episode 82: “Future Imperfect”
- Episode 83: “Final Mission”
- Episode 84: “The Loss”
- Episode 85: “Data’s Day”
- Episode 86: “The Wounded”
- Episode 87: “Devil’s Due”
- Episode 88: “Clues”
- Episode 89: “First Contact”
- Episode 90: “Galaxy’s Child”
- Episode 91: “Night Terrors”
- Episode 92: “Identity Crisis”
- Episode 93: “The Nth Degree”
- Episode 94: “Qpid”
- Episode 95: “The Drumhead”
- Episode 96: “Half a Life”
- Episode 97: “The Host”
- Episode 98: “The Mind’s Eye”
- Episode 99: “In Theory”
- Episode 100: “Redemption, Part I”
- Episode 101: “Redemption, Part II”
- Episode 102: “Darmok”
- Episode 103: “Ensign Ro”
- Episode 104: “Silicon Avatar”
- Episode 105: “Disaster”
- Episode 106: “The Game”
- Episode 107: “Unification, Part I”
- Episode 108: “Unification, Part II”
- Episode 109: “A Matter of Time”
- Episode 110: “New Ground”
- Episode 111: “Hero Worship”
- Episode 112: “Violations”
- Episode 113: “The Masterpiece Society”
- Episode 114: “Conundrum”
- Episode 115: “Power Play”
- Episode 116: “Ethics”
- Episode 117: “The Outcast”
- Episode 118: “Cause and Effect”
- Episode 119: “The First Duty”
- Episode 120: “Cost of Living”
- Episode 121: “The Perfect Mate”
- Episode 122: “Imaginary Friend”
- Episode 123: “I, Borg”
- Episode 124: “The Next Phase”
- Episode 125: “The Inner Light”
- Episode 126: “Time’s Arrow, Part I”
- Episode 127: “Time’s Arrow, Part II”
- Episode 128: “Realm of Fear”
- Episode 129: “Man of the People”
- Episode 130: “Relics”
- Episode 131: “Schisms”
- Episode 132: “True Q”
- Episode 133: “Rascals”
- Episode 134: “A Fistful of Datas”
- Episode 135: “The Quality of Life”
- Episode 136: “Chain of Command, Part I”
- Episode 137: “Chain of Command, Part II”
- Episode 138: “Ship in a Bottle”
- Episode 139: “Aquiel”
- Episode 140: “Face of the Enemy”
- Episode 141: “Tapestry”
- Episode 142: “Birthright, Part I”
- Episode 143: “Birthright, Part II”
- Episode 144: “Starship Mine”
- Episode 145: “Lessons”
- Episode 146: “The Chase”
- Episode 147: “Frame of Mind”
- Episode 148: “Suspicions”
- Episode 149: “Rightful Heir”
- Episode 150: “Second Chances”
- Episode 151: “Timescape”
- Episode 152: “Descent, Part I”
- Episode 153: “Descent, Part II”
- Episode 154: “Liaisons”
- Episode 155: “Interface”
- Episode 156: “Gambit, Part I”
- Episode 157: “Gambit, Part II”
- Episode 158: “Phantasms”
- Episode 159: “Dark Page”
- Episode 160: “Attached”
- Episode 161: “Force of Nature”
- Episode 162: “Inheritance”
- Episode 163: “Parallels”
- Episode 164: “The Pegasus ”
- Episode 165: “Homeward”
- Episode 166: “Sub Rosa”
- Episode 167: “Lower Decks”
- Episode 168: “Thine Own Self”
- Episode 169: “Masks”
- Episode 170: “Eye of the Beholder”
- Episode 171: “Genesis”
- Episode 172: “Journey’s End”
- Episode 173: “Firstborn”
- Episode 174: “Bloodlines”
- Episode 175: “Emergence”
- Episode 176: “Preemptive Strike”
- Episode 177-178: “All Good Things...”
Star Trek: Deep Space Nine
- Episode 1-2: “Emissary”
- Episode 3: “A Man Alone”
- Episode 4: “Past Prologue”
- Episode 5: “Babel”
- Episode 6: “Captive Pursuit”
- Episode 7: “Q-Less”
- Episode 8: “Dax”
- Episode 9: “The Passenger”
- Episode 10: “Move Along Home”
- Episode 11: “The Nagus”
- Episode 12: “Vortex”
- Episode 13: “Battle Lines”
- Episode 14: “The Storyteller”
- Episode 15: “Progress”
- Episode 16: “If Wishes Were Horses”
- Episode 17: “The Forsaken”
- Episode 18: “Dramatis Personae”
- Episode 19: “Duet”
- Episode 20: “In the Hands of the Prophets”
- Episode 21: “The Homecoming”
- Episode 22: “The Circle”
- Episode 23: “The Siege”
- Episode 24: “Invasive Procedures”
- Episode 25: “Cardassians”
- Episode 26: “Melora”
- Episode 27: “Rules of Acquisition”
- Episode 28: “Necessary Evil”
- Episode 29: “Second Sight”
- Episode 30: “Sanctuary”
- Episode 31: “Rivals”
- Episode 32: “The Alternate”
- Episode 33: “Armageddon Game”
- Episode 34: “Whispers”
- Episode 35: “Paradise”
- Episode 36: “Shadowplay”
- Episode 37: “Playing God”
- Episode 38: “Profit and Loss”
- Episode 39: “Blood Oath”
- Episode 40: “The Maquis, Part I”
- Episode 41: “The Maquis, Part II”
- Episode 42: “The Wire”
- Episode 43: “Crossover”
- Episode 44: “The Collaborator”
- Episode 45: “Tribunal”
- Episode 46: “The Jem’Hadar”
- Episode 47: “The Search, Part I”
- Episode 48: “The Search, Part II”
- Episode 49: “The House of Quark”
- Episode 50: “Equilibrium”
- Episode 51: “Second Skin”
- Episode 52: “The Abandoned”
- Episode 53: “Civil Defense”
- Episode 54: “Meridian”
- Episode 55: “ Defiant ”
- Episode 56: “Fascination”
- Episode 57: “Past Tense, Part I”
- Episode 58: “Past Tense, Part II”
- Episode 59: “Life Support”
- Episode 60: “Heart of Stone”
- Episode 61: “Destiny”
- Episode 62: “Prophet Motive”
- Episode 63: “Visionary”
- Episode 64: “Distant Voices”
- Episode 65: “Through the Looking Glass”
- Episode 66: “Improbable Cause”
- Episode 67: “The Die Is Cast”
- Episode 68: “Explorers”
- Episode 69: “Family Business”
- Episode 70: “Shakaar”
- Episode 71: “Facets”
- Episode 72: “The Adversary”
- Episode 73-74: “The Way of the Warrior”
- Episode 75: “The Visitor”
- Episode 76: “Hippocratic Oath”
- Episode 77: “Indiscretion”
- Episode 78: “Rejoined”
- Episode 79: “Starship Down”
- Episode 80: “Little Green Men”
- Episode 81: “The Sword of Kahless”
- Episode 82: “Our Man Bashir”
- Episode 83: “Homefront”
- Episode 84: “Paradise Lost”
- Episode 85: “Crossfire”
- Episode 86: “Return to Grace”
- Episode 87: “Sons of Mogh”
- Episode 88: “The Bar Association”
- Episode 89: “Accession”
- Episode 90: “Rules of Engagement”
- Episode 91: “Hard Time”
- Episode 92: “Shattered Mirror”
- Episode 93: “The Muse”
- Episode 94: “For the Cause”
- Episode 95: “The Quickening”
- Episode 96: “To the Death”
- Episode 97: “Body Parts”
- Episode 98: “Broken Link”
- Episode 99: “Apocalypse Rising”
- Episode 100: “The Ship”
- Episode 101: “Looking For par’Mach in All the Wrong Places”
- Episode 102: “...Nor the Battle to the Strong”
- Episode 103: “The Assignment”
- Episode 104: “Trials and Tribble-ations”
- Episode 105: “Let He Who Is Without Sin...”
- Episode 106: “Things Past”
- Episode 107: “The Ascent”
- Episode 108: “Rapture”
- Episode 109: “The Darkness and the Light”
- Episode 110: “The Begotten”
- Episode 111: “For the Uniform”
- Episode 112: “In Purgatory’s Shadow”
- Episode 113: “By Inferno’s Light”
- Episode 114: “Doctor Bashir, I Presume?”
- Episode 115: “A Simple Investigation”
- Episode 116: “Business as Usual”
- Episode 117: “Ties of Blood and Water”
- Episode 118: “Ferengi Love Songs”
- Episode 119: “Soldiers of the Empire”
- Episode 120: “Children of Time”
- Episode 121: “Blaze of Glory”
- Episode 122: “Empok Nor”
- Episode 123: “In the Cards”
- Episode 124: “Call to Arms”
- Episode 125: “A Time to Stand”
- Episode 126: “Rocks and Shoals”
- Episode 127: “Sons and Daughters”
- Episode 128: “Behind the Lines”
- Episode 129: “Favor the Bold”
- Episode 130: “The Sacrifice of Angels”
- Episode 131: “You Are Cordially Invited...”
- Episode 132: “Resurrection”
- Episode 133: “Statistical Probabilities”
- Episode 134: “The Magnificent Ferengi”
- Episode 135: “Waltz”
- Episode 136: “Who Mourns for Morn”
- Episode 137: “Far Beyond the Stars”
- Episode 138: “One Little Ship”
- Episode 139: “Honor Among Thieves”
- Episode 140: “Change of Heart”
- Episode 141: “Wrongs Darker Than Death or Night”
- Episode 142: “Inquisition”
- Episode 143: “In the Pale Moonlight”
- Episode 144: “His Way”
- Episode 145: “The Reckoning”
- Episode 146: “ Valiant ”
- Episode 147: “Profit and Lace”
- Episode 148: “Time’s Orphan”
- Episode 149: “The Sound of Her Voice”
- Episode 150: “Tears of the Prophets”
- Episode 151: “Image in the Sand”
- Episode 152: “Shadows and Symbols”
- Episode 153: “Afterimage”
- Episode 154: “Take Me Out to the Holosuite”
- Episode 155: “Chrysalis”
- Episode 156: “Treachery, Faith, and the Great River”
- Episode 157: “Once More Unto the Breach”
- Episode 158: “The Siege of AR-558”
- Episode 159: “Covenant”
- Episode 160: “It’s Only a Paper Moon”
- Episode 161: “Prodigal Daughter”
- Episode 162: “The Emperor’s New Cloak”
- Episode 163: “Field of Fire”
- Episode 164: “Chimera”
- Episode 165: “Badda-Bing, Badda-Bang”
- Episode 166: “Inter Arma Enim Silent Leges”
- Episode 167: “Penumbra”
- Episode 168: “‘Til Death Do Us Part”
- Episode 169: “Strange Bedfellows”
- Episode 170: “The Changing Face of Evil”
- Episode 171: “When It Rains...”
- Episode 172: “Tacking Into the Wind”
- Episode 173: “Extreme Measures”
- Episode 174: “The Dogs of War”
- Episode 175-176: “What You Leave Behind”
Star Trek: Voyager
- Episode 34: “Death Wish”
- Episode 68: “Scorpion, Part I”
- Episode 69: “Scorpion, Part II”
- Episode 74: “The Raven ”
- Episode 89: “The Omega Directive”
- Episode 93: “One”
- Episode 94: “Hope and Fear”
- Episode 30: “Death Wish”
- Episode 44: “False Profits”
- Episode 53: “The Q and the Grey”
- Episode 95: “Night”
- Episode 104: “Counterpoint”
- Episode 110: “The Disease”
- Episode 111: “Dark Frontier, Part I”
- Episode 112: “Dark Frontier, Part II”
- Episode 120: “ Equinox , Part I”
- Episode 121: “ Equinox , Part II”
- Episode 129: “The Voyager Conspiracy”
- Episode 140: “Good Shepherd”
- Episode 157: “Shattered”
- Episode 158: “Lineage”
Star Trek: Enterprise
- Episode 1: “Broken Bow” (Draft Version)
- Episode 69: “Azati Prime”
- Episode 76: “Zero Hour”
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Star trek: the original series scripts and writer's guides, 1965-1968, ohio state university, related resources, more like this.
Star Trek Timeline
Friday, July 8, 2016
Tos original scripts.
Authentic scripts from Star Trek: The Original Series are great collectibles. In addition to them being historic pieces, they make fascinating and educational reading. With regards to this latter aspect, since different drafts exist of the scripts for the produced and unproduced episodes, you can learn about the Trek s that almost happened but didn't. Furthermore, since genuine scripts are sometimes peppered with handwritten notes from the cast or crew, it's possible to find nuggets of undocumented, inside information in them. So, with that TEASER, let's FADE IN on this article about the original scripts of TOS . Our ACTS here will present an overview of the types of scripts that were written and, consequently, the types that are available today. Our discussion in this STORY will also include the context in which the scripts were produced to help illustrate the relationship between the various drafts as well as some other characteristics of the scripts. However, before DOLLYING IN, we want to point out that our exposition will focus on scripts that were written in TOS' s era. The process today, and the physical appearance of the resulting scripts, are a bit different. CUT TO: Scripts, by the Numbers As you know, TOS had 79 episodes and two pilots, which meant that it had to have at least 80 scripts (the two-part " The Menagerie " only had one script). We use the words "at least" on purpose because, if you count the first story outlines (which are technically not scripts, but for the purposes of this article we'll include them), the first drafts, the second drafts, the final drafts, the revised final drafts and so on, you'll quickly discover that there were hundreds of different scripts prepared for the series. At this late date, it's difficult to know exactly how many, but there were a lot. And when you realize that Gene Roddenberry, Fred Freiberger, Bob Justman, Gene Coon, Dorothy Fontana and the rest of the production company were cranking out episodes on a weekly basis, it's no surprise that TOS had both good and bad episodes… like most television shows and movies. The Outline A potential episode of TOS started with an idea, of course, which was then committed to paper as a story outline. These outlines were typically short, from 2-25 pages, and were generally structured using TEASERS (the part before the opening narration designed to hook you) and ACTS (the four long parts in the middle of the episode separated by commercials). At this early stage, there were usually no scenes or dialogue in the outlines, but the stories were complete from beginning to end, and set and location changes were often indicated. The physical form of the story outlines for TOS was pretty simple. They were typed on plain white paper or onion skin, had no formal covers and were usually stapled in the upper left-hand corner.
(Here are two pages from "The Aurorals," an unproduced TOS story outline written by Frank Paris. Please note that we've joined the pages together vertically for ease of reading.)
Early Drafts
After an outline was approved, which meant that the production company, studio and network were okay with it (more on that in a moment), a writer – usually the writer of the outline, but not always – was tasked to write the first draft of the script using the outline as a guide. This first draft was usually 50-80 pages long, had cast and set lists, and scenes that were consecutively numbered, fully described and contained dialogue. The script was bound in a yellow cardstock cover using two brads. (A picture of the cover of a first draft script is presented towards the end of this article.) Following the completion of the first draft, it was read by the principal cast members, department heads, studio and network, so that a decision could be made as to whether the basic story would work for TOS – e.g., that it would fit the format and could be done on budget – and the writer could do a good job. Everyone realized that this initial attempt was just a first shot and revisions would be necessary – no one expected it to be immediately shootable. At this point in the process, the writer was frequently given extensive notes on the script and asked to make revisions. S/he went back to the typewriter (yep, no computers in the late 1960's) and, if all went well, produced a final draft. It was not unheard of, however, for the writer to be asked to write a second draft, and then maybe a third draft, before proceeding to a final draft. Those second and third draft scripts, incidentally, also had yellow covers. (The below excerpt is from the first draft script of "The Cage" written by Gene Roddenberry.)
Final Drafts
Final draft scripts weighed in at around 65 pages and were close to what the production team hoped to put before the cameras. Their format was similar to the first draft scripts, except their cover colors were gray; a few had blue covers, however, but these were the exceptions. The change of color on the cover signified that the script was locked for production, which meant that the various departments could start their serious planning and budgeting discussions. This did not mean, however, that changes weren't made to the scripts. In fact, many were altered after they went to gray cover due to a variety of reasons, and any changes were handled through the use of colored pages to make sure that everyone could easily identify them. These colored "change pages" had dates at the top – called revision slugs – and each successive change was denoted by a different color. Their colors followed the standard scheme which started with white pages in the initial draft followed by blue, pink, yellow, green, etc. However, this scheme was not set in stone in TOS and we've seen exceptions to it. (Shown below are examples of colored change pages from " The Man Trap " and " Miri .")
We should note that when significant changes were made to the script that required a lot of change pages, the script version was incremented to the next one, e.g., a final draft became a revised final draft, a revised final draft became a 2nd revised final draft and so on. Additionally, the cover color was often changed to red.
Finally, when the last revision of the script was as "done" at it could be, the episode was ready to be shot. If all went well, this final version was completed before the first day of filming. However, there are a few instances where the script was revised while the episode was filmed. Two examples of this situation include " Mudd's Women " and " The Enemy Within ." We mentioned earlier that the scripts were written fast. To give you an idea of the speed at which they were, an average first draft script typically was turned into a final draft in 2-3 weeks and a final draft script (or higher revision) typically went before the cameras in 5-18 days following its completion. (The below shows examples of authentic, production-used scripts – a yellow first draft, two gray finals, and one red revised final. Note the information on the covers, including the large "STAR TREK" written in shadow block font and the blue machine-stamped script number in the upper right-hand corner.) Lincoln Scripts Before concluding this article, we want to comment on the scripts sold by the mail-order company Lincoln Enterprises. We've examined many that were purchased from them and can attest that quite a few were production-used; they contained colored change pages and had crew names written on their covers. Others, the majority, were reproductions, some of which were high quality and similar to the studio scripts, while others were not. The higher quality reproductions were printed on mimeograph machines and collated with two brads to mimic what was done by the studios. These copies were also done in red cover cardstock with nearly identical printing as the originals. At some point though – we believe in the mid-to-late 70's – Lincoln discontinued the red cardstock covers and used other colored, non-cardstock paper. However, all of these Lincoln copies contained all white pages with differing revision dates at the top, a clear indicator, one of several, that the scripts were reproductions. Additionally, the scripts that Lincoln sold were not always the "shooting drafts" as they advertised – they were whatever versions they got access to. (An assortment of Lincoln Enterprises reproduction scripts, sold through the years, is shown below. Their covers are generally plain relative to the original scripts, and the words "STAR TREK" are written in a variety of different font styles. Also, the script numbers were most often written by hand, but some early ones were machine stamped in black ink.)
And with that, we'll FADE OUT and say THE END. Until next time.
Biographical Information David Tilotta is a professor at North Carolina State University in Raleigh, NC and works in the areas of chemistry and sustainable materials technology. You can email David at [email protected]. Curt McAloney is an accomplished graphic artist with extensive experience in multimedia, Internet and print design. He resides in a suburb of the Twin Cities in Minnesota, and can be contacted at [email protected]. Together, Curt and David work on startrekhistory.com. Their Star Trek work has appeared in the Star Trek Magazine and Star Trek: The Original Series 365 by Paula M. Block with Terry J. Erdmann.
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transcripts of all of star trek and some commands to search them
varenc/star_trek_transcript_search
Folders and files, repository files navigation, star trek transcript search.
Transcripts of all of Star Trek and some commands to search them
getting stared
Check out this repo, and put it somewhere you like:
search commands
Now search the transcripts. Here's the most basic command for searching:
For example:
For a better experience, use The Silver Search ( ag ) instead of grep
Make this an easily used function by adding this to your .bashrc or .zshrc
Then just call trekLines "terraform.*venus" to do a search.
There's lots more things you can do as well. Like count the number of lines per character per episode. Or find the episode where each character spoke the fewest number of words. May update this with examples of how to do that later.
fun examples
Get the average words per episode for each series
(Note: not super accurate since the transcripts include some descriptions of what's happening on screen and the name of each speaker. Running this on subtitles instead of transcripts would be more accurate.)
Make a function to find the episodes where a chacter has the fewest/shortest lines, and then run it on Worf and then Tom Paris
(Note: The above requires ag and probably zsh instead of bash)
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Star Trek: The Beginning Script
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CSUF UA&SC and LDCOPH Finding Aids
Star Trek Scripts, 1966-11-01 - 1967-06-08
Scope and contents.
Scripts for "Star Trek: The Original Series," created by Gene Roddenberry and broadcasted on NBC from September 8, 1966 to June 3, 1969. The collection contains scripts for 78 of the 79 episodes produced, organized according to original air date. Lacks script for "The Savage Curtain," prod. #60043-77, Season 3 Episode 2, original air date March 7, 1969.
- 1966-11-01 - 1967-06-08
From the Collection: 14 boxes
Language of Materials
From the Collection: English
Additional Description
Contains episodes 21-31.
Related Names
- From the Series: Roddenberry, Gene (Person)
- From the Series: Desilu Productions (Organization)
- From the Series: Paramount Television (Organization)
- From the Series: Norway Corporation (Organization)
Physical Storage Information
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Star Trek Scripts, 1966-11-01 - 1967-06-08, Document box: 3. Willis E. McNelly Science Fiction collection: Star Trek, SC-13-ST. CSUF University Archives & Special Collections.
Star Trek Scripts, 1966-11-01 - 1967-06-08, Document box: 3. Willis E. McNelly Science Fiction collection: Star Trek, SC-13-ST. CSUF University Archives & Special Collections. http://archives.fullerton.edu/repositories/5/archival_objects/13123 Accessed May 30, 2024.
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Star Trek script collection
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Scope and Content Note
The bulk of the collection contains scripts from the original Star Trek television series. Also included are record albums, books and miscellaneous materials pertaining to the series.
- Creation: 1966-1968
- Berman, Ruth (Person)
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The collection is available for use by researchers in the Andersen Library Reading Room.
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Contact the archivist regarding copyright of these materials.
Historical Note
Star Trek, created by Gene Roddenberry, features the explorations of the fictional spaceship U.S.S. Enterprise under the command of Capt. James Kirk during the 23rd century. The original series lasted three years, beginning in 1965.
Additional Description
Collection includes screenplays, record albums and books from the original Star Trek television series.
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The collection of scripts is organized in alphabetical order by title.
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Collection was donated by Ruth Berman in 1984.
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The collection was processed and finding aid written by Performing Arts Archives staff. The finding was revised in 2017 by Kathryn Hujda, Brandon Taitt, and Alex Hollub.
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- Star trek (Television program)
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Star Trek script collection (PA036), Performing Arts Archives, University of Minnesota Libraries, Minneapolis, Minnesota.
Cite Item Description
Star Trek script collection (PA036), Performing Arts Archives, University of Minnesota Libraries, Minneapolis, Minnesota. https://archives.lib.umn.edu/repositories/9/resources/1872 Accessed May 30, 2024.
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Crisis Point II script
A script was a piece of literature that was used by a director of a movie or television show for the production of the latter.
When Beckett Mariner was altering Brad Boimler 's holodeck program with Leonardo da Vinci , she put in her own parameters for a holoprogram that played out like a scripted movie, although it was actually completely unscripted. The movie was called Crisis Point: The Rise of Vindicta . ( LD : " Crisis Point ")
Brad Boimler meticulously scripted his holo-novel which was called Crisis Point II: Paradoxus , which served as a sequel to Crisis Point: The Rise of Vindicta , which was scripted by Beckett Mariner . ( LD : " Crisis Point 2: Paradoxus ")
Star Trek scripts [ ]
The cover of the script for TNG : " Angel One "
A script is a written version of a film (also known as a screenplay) or television episode (also known as a teleplay), used in the creation of that filmed product. Many Star Trek scripts have been written, some using a working title . Scripts have been used in the creation of all the Star Trek TV series and films.
Scripts typically proceed from a story outline. Scripts are then revised through a series of drafts, each draft given a new color for revision pages. A first draft script initially has completely white pages, though the first draft's colored change pages are later collated with these. Changes to pages, as regards both dialogue and stage directions, are indicated using asterisks on the right side of the page. For the Star Trek TV episodes, most scripts cycled through three or fewer drafts before a final draft was created. Often on Star Trek: Voyager and Star Trek: Enterprise , the first draft didn't encompass the entire episode, with one or more acts still to be written and added. For ENT, an archive copy was created and saved in post-production. A writer's draft script is the last (or pending) version from a freelance writer's own hands who is not on the relevant writing staff, and the story hasn't yet been subjected to the whole room to break.
In the end credits of TOS : " The Squire of Gothos ", the word "script" was misspelled "SPIPT".
In four episodes of Star Trek: The Next Generation , scripts can be seen in the background during the filming of episodes. In " Suddenly Human " a script can be seen in sickbay, in " Violations " a script was lying on the steps during a dream sequence, in " Ethics " a script was featured on the floor of the cargo bay, and in " Cost Of Living " a script was forgotten on the bed in the guest quarters. [1]
Official releases [ ]
- The Trouble with Tribbles
- The City on the Edge of Forever
- Star Trek Phase II: The Lost Series
- The Q Chronicles
- Becoming Human: The Seven of Nine Saga
- Star Trek: The Next Generation Companion - A Series Guide and Script Library
- Star Trek: Deep Space Nine Companion - A Series Guide and Script Library
External links [ ]
- Screenplay at Wikipedia
- Teleplay at Wikipedia
- A collection of Star Trek scripts
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TOS Scripts
Discussion in ' Star Trek - The Original & Animated Series ' started by QuasarVM , Dec 30, 2008 .
QuasarVM Fleet Captain Fleet Captain
I notice Roddenberry.com has been selling TOS scripts. Do any of you here own any of these? If so, are these just the episodes as-aired or do they contain scenes and dialogue that didn't end up in the broadcasts? Just curious...
OmahaStar Disrespectful of his betters Admiral
"Begun"? They've been doing it for about twenty years now. First as Lincoln Enterprises and then as roddenberry.com ... same company. As for any changes, well, yes. Pretty much every script has something that had to be cut, whether for timing or pacing or whatnot. Unless you purchase one of the transcripts (one of the movies has this available) then you're getting the script. Transcripts - just the dialog, and should match exactly what's on screen. They also have variations of the movie scripts, various drafts etc.
Sir Rhosis Commodore Commodore
I own copies from them of the entire first season and a few second and third season scripts from other sources. Even the so-called Final Drafts and Revised Finals have many differences to what aired. Myself and alchemist review TOS scripts online. See the first link in my sig. Sir Rhosis, (alphabetically, the senior Dave)
Omaha: Yes, I know Roddenberry.com is/was Lincoln Enterprises...and that the scripts have been available forever practically. I have just never bought them because I was afraid they reflected only what appeared onscreen. I am, however, interested in purchasing scripts that have deleted scenes in them. If that's the case, then there's a few I'd like to get. The impetus for this is over at startrekhistory.com there are some images from some cut scenes from various episodes...some of them include script there. I was wanting complete scripts with these scenes in their entirety (or more) in the scripts... It's something I personally have not read before... Rhosis: Excellent site! I've been there before...great stuff there!
alchemist Captain Captain
Hi Quasar (or is that Mr. VM? ), As both a contributor to Unseen Elements (I'm the other Dave) and startrekhistory.com (I'm on staff there), I'm always looking for deleted scene film clips and their corresponding script extracts. Pairing unbroadcast Trek images with deleted scenes is not only challenging but a lot of fun! From my observations, the Lincoln scripts are generally either shooting drafts, final drafts, or revised final drafts. Thus, most of them contain the filmed, but later cut, scenes. However, I should point out that I've found authentic Trek scripts that were later revisions of the Lincoln "final" draft scripts, so it appears that they didn't alway reproduce the final versions. This is no fault of theirs, however, because there were a lot of drafts for a given episode - from the first draft all the way to the shooting script. In fact, in many instances, the scripts were being revised as the episode was being shot and edited. At any rate, we do our best to include the full extracts of deleted scenes with the images. Best, Dave, Jr.
Captain Robert April Vice Admiral Admiral
In some cases, the changes were something done on the set and never reflected in any draft, generally ad libs, rephrasing of lines, that sort of thing. Others, a late decision that Sulu, Uhura, or whoever didn't really need to say a certain line, thus moving the story along and resulting in a blood feud years later with Shatner.
alchemist said: ↑ Hi Quasar (or is that Mr. VM? ), As both a contributor to Unseen Elements (I'm the other Dave) and startrekhistory.com (I'm on staff there), I'm always looking for deleted scene film clips and their corresponding script extracts. Pairing unbroadcast Trek images with deleted scenes is not only challenging but a lot of fun! From my observations, the Lincoln scripts are generally either shooting drafts, final drafts, or revised final drafts. Thus, most of them contain the filmed, but later cut, scenes. However, I should point out that I've found authentic Trek scripts that were later revisions of the Lincoln "final" draft scripts, so it appears that they didn't alway reproduce the final versions. This is no fault of theirs, however, because there were a lot of drafts for a given episode - from the first draft all the way to the shooting script. In fact, in many instances, the scripts were being revised as the episode was being shot and edited. At any rate, we do our best to include the full extracts of deleted scenes with the images. Best, Dave, Jr. Click to expand...
QuasarVM said: ↑ Hi Dave, Great job with BOTH sites! Ok, let me ask this question then: Are the James Blish Episode novelizations based on earlier versions of the scripts? And do these include all the scenes? I've been fan since I was about 5 -- that's a long time ago -- but never really gave the script question much thought until visiting startrekhistory.com and discovering those cut scenes -- the one's from Elaan of Troyius and Spock's Brain come immediately to mind... Thanks...Oh...and that's "Mr. VM"... Click to expand...
Ah, cool! Thanks Dave! UPDATED: Ok...I went back and read my Blish novelization of Spock's Brain...and in that version, Spock never gets robotized. They just keep him in sickbay until Kirk comes back with Spock's brain...
ToddPence Fleet Captain Fleet Captain
I have a script of "The Omega Glory" - it contains a couple of scenes that were cut from the final print - also a scant few lines of dialogue are slightly different. Lt. Galloway is called "Lt. Raintree" throughout the script - otherwise, it pretty much is filmed exactly as written.
jefferiestubes8 Commodore Commodore
teleplays Does any website plan on selling PDF files of an entire season or series of scripts (teleplays) including unproduced teleplays on CD-R ? other than this site: [FONT=Trebuchet MS]earlier drafts of the original Star Trek episodes and a comparison to the aired versions. We'll also take a look at the deleted scenes and purchased scripts that were never produced. [/FONT] Click to expand...
Re: teleplays ^^^Just to clarify since I'm one of the fellows who writes those reviews at Orion Press. Those are NOT the full treatments, etc. Rather, they are brief synopses of the treatments, outlines, scripts, etc. Sir Rhosis
The TOS scripts at Roddenberry.com say published January 2009. Reproduced from the actual production scripts from season 1 of Star Trek The Original Series! Click to expand...
Admiral Buzzkill Fleet Admiral Admiral
I have a number of TOS scripts, which vary depending upon the script from relatively early drafts to final shooting scripts which nonetheless generally contain scenes and dialogue which varies from the finished episode. "The Corbomite Maneuver" is the most interesting of these - I'm sure it's the same draft you'd get from Roddenberry - because of the sometimes odd and generally interesting ways that Sohl tries to introduce and define a number of the supporting characters like Uhura and Sulu (remember this is the first production episode of the series). He acknowledges that Uhura is not a native English speaker, for example. I have a couple of Phase II scripts around here somewhere - "Devil's Due" and "Kitumba" - and at one time owned a copy of "Blood And Fire" from TNG. "Kitumba" is a really strongtwo-part story that's a little short on characterization; "Devil's Due" is surprisingly superficial and unlikely as a story but IIRC has some nice character stuff involving McCoy and Xon.
Therin of Andor Admiral Moderator
Dennis said: ↑ I have a couple of Phase II scripts around here somewhere - "Devil's Due" and "Kitumba". Click to expand...
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In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets. In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets. In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets.
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Published May 28, 2024
WARP FIVE: Director Jonathan Frakes Hits the Target Within the 'Lagrange Point'
The Star Trek legend details directing the series’ penultimate episode, his journey with Discovery, and more!
SPOILER WARNING: This article contains story details and plot points for the fifth season of Star Trek: Discovery.
Getty Images / StarTrek.com
Welcome to Warp Five, StarTrek.com's five question post-mortem with your favorite featured talent from the latest Star Trek episodes.
Throughout the course of Star Trek: Discovery 's five-season run, the director with the second most amount of episodes under his belt was Star Trek legend Jonathan Frakes himself, who directed the series' latest episode, " Lagrange Point ."
In the series' penultimate episode, Moll and the Breen capture a mysterious structure that contains the Progenitors ' power aboard their dreadnaught, while Captain Burnham leads a covert mission to retrieve it before the Breen figure out how to use its power.
Ahead of the release of "Lagrange Point," StarTrek.com had the opportunity to speak with Jonathan Frakes about balancing the episode's epic action, capturing the crew's reaction within their Breen disguises, the range of relationships, and more!
Following "The Chase," and Coming Full Circle
Behind-the-scenes of "Lagrange Point"
StarTrek.com
While starring on Star Trek: The Next Generation , Jonathan Frakes took on Star Trek 's unofficial Director School and became its first student, making himself useful during downtime as he shadowed producers, editors, directors, and more. One of the eight episodes he directed during the series' seven seasons was the sixth-season episode, " The Chase ," which serves as a basis for Discovery 's fifth-season mystery.
On the serendipitous fortune of directing "The Chase," Frakes explains, "It's interesting because in the Next Gen days, you're assigned episodes based on some random availability issues of other directors."
"Because I was on the show, they gave me slots when our regular directors had other commitments," Frakes continues. "I just happened to get 'The Chase,' and it just happened to be an episode that Michelle [Paradise] had decided to use as a tipping off point for Season 5. It's a privilege, and a lucky happenstance that I'm now connected with that connective tissue. It's luck, that's really what it is. I'm thrilled about it, but it's merely luck."
Balancing the Action and the Relationships in "Lagrange Point"
"There's a lot going on in the episode," Frakes says. "The contrast of this wonderful story with Saru and T'Rina, their impending nuptials. It's such a different type of music than with the action adventure of the Breen story. The balance has made for a quite exciting episode."
Pivoting to the events on the Discovery bridge, Frakes reveals, "The thing at the end, the wonderful idea that Rayner has been given the responsibility to be the first officer and the runner, the kind of lighthearted runner that he refuses to sit down on the captain's chair until he gets this message from Burnham and he understands what his next move is. Tilly, as usual, has given him the confidence the way she gave Adira the confidence to go on the away mission. Tilly was a pivotal character in all of these stories. By the time we got to the bridge and we're setting up for the finale, I thought that what's going on the Discovery is in many ways as exciting as what's going on the Breen ship. It cut together quite well, and again, it's all in the writing."
With the Discovery crew, a lot of the forward progression comes from other elements outside of strict action. "It begins in prep because with the writers, not only are you concerned with the dialogue," Frakes elaborates. "You're concerned with the descriptions of the scenes, the action lines, the slug lines, they're all in the script. In those slug lines, often are very important story points that the writers remind you of. As I get older and older doing this, I remember and I remind myself how important it is not to walk away from a scene without having covered those things, which are often meaningful looks or questioning looks or informing looks. That happens in this show more than others, specifically around this idea of Book and needing to be informed about the information Burnham now has."
"Then, we have that wonderful shot of the two fathers [Stamets and Culber] and Adira going down the hall," adds Frakes. "It's like they’re sending them off to college. The relationships are often, you don't remember what they said, but you remember how you felt when they looked at each other. And that's a very important part of the job."
The Infiltration of the Breen
This season of Discovery provides the franchise with more insight into the mysterious Breen Imperium as the Discovery sees a future when the Breen takes possession of the Progenitor tech and learns that the fugitive L'ak is the Scion of the Imperium.
"The Breen is not unlike the Borg," states Frakes. "They are so threatening and so omnipotent. One of the things I like about this episode is the idea of infiltrating the Breen by literally going into costume incognito, creating their helmets, and attacking from within once they've infiltrated the Breen bridge, which Burnham cleverly puts together in her head, telling them, 'Here’s what we’re going to do. You, you, you, and you, you’re with me. Let’s go.' It feels like you’re watching a 70s action movie."
When it comes to infiltrating a species that's monolithic and hidden behind a helmet, how did Frakes approach letting viewers know who are our heroes and who are our villains?
"That was the biggest challenge," admits Frakes. "I had a wonderful new cinematographer named Maya Bankovich who did this with me. We needed to find a way to cut inside the helmet so that we could literally remind the audience who's who. Because the Breen, like the Borg, all look alike. When we found that close-up that you could believe that might be shot by a camera inside the helmet."
"We took the liberty with the storytelling, specifically the story about Burnham finding a time and place to share with Book the information she had gotten from 508 about the mystery that the archivist gave her in the library. Book didn't know anything about it, and it was affecting Burnham's behavior, and it was affecting their relationship. It was massively important that he knows something about what's going on in her head. What she's expected, what she learned, and what new information she had."
"Yet there's so much going on in the show because the writing is so tight that the only time they can talk about it was during the chaos of the Breen chase," Frakes continues. "She pulls him next to the wall, and they’ve got 15 seconds to tell him about what's going on. We definitely needed to see them. We needed the close-ups. We found a way to incorporate those close-ups throughout to remind the audience, so they didn't just look at the Breen helmet and hear their voices. You need to see the actor."
Imparting Legacy Wisdom to Each Next Generation
Frakes joined the Discovery family when he directed the first-season episode, "Despite Yourself."
"I remember when I first went over there in Season 1, I was reminded of how familiar they felt as a family to our Next Gen one when we were starting in our first season," recalls Frakes. "Because Discovery , as you know and is obvious, they are the beginning of this next era of Star Trek , just as we were the beginning of the next one after [ The Original Series ]. There was a certain skepticism from the audience and from the fans. I think some of that affects the actors, the writers, and the filmmakers. When I arrived on set as a guy who had been through it as an actor and as a director, the curiosity from the actors was palpable. They came to me individually, and as groups, and asked, 'What’s this going to be like? What are we getting ourselves into?'"
"I shared with them what the late great DeForest Kelley had shared with me when I met him on our show," adds Frakes. "He said, 'Your lives are going to change. This is going to change your life.' Certain actors were excited, certain actors were skeptical, and certain actors were dismissive of it. Now flash forward, five or six years, to this finale of Season 5 of Discovery , all of them realize that it has in fact changed their lives, obviously for the better. And that we are all in this wonderful family that we're all blessed to be part of. It's a very limited addition. The boundaries are expanding, then there'll be more coming with Starfleet Academy people and this wonderful new movie that Michelle [Yeoh] is doing, Section 31 , which will add new people to the family. Discovery really broke the ground for all of the new Trek , for Strange New Worlds , for Prodigy , for Lower Decks , and for Picard . It has been a blessing for all of us."
What Discovery Gave Us
As he was wrapping up his conversation with StarTrek.com, Frakes reflects on Discovery 's arrival back at its start.
"The fact that they took this big swing, and then flash forward, whatever it was, 932 years, so they would not be saddled with the cannon of the Star Trek universe, which was so limited in a way," Frakes notes. "The freedom to tell a story about Discovery and its importance, as it is leading into its casting and storytelling. It was very Star Trek with its [inclusion of] the LGBTQ community [reflecting] Roddenberry's vision of the future — that there would be no racism, and there would be no sexism; everyone would be treated as equals. In Discovery , that's the way it is. Everybody does their job, and everybody is who they are. That representation has been very, very important for the worlds, for the fans, in the same way that Nichelle Nichols was on the bridge of the original Enterprise . That will resonate into the future."
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Interview: Blu Del Barrio On Adira’s ‘Star Trek: Discovery’ Journey And Why It’s Fun When Jonathan Frakes Directs
| May 27, 2024 | By: Anthony Pascale 30 comments so far
Blu del Barrio joined the cast of Star Trek: Discovery for season 3 in 2020, playing Adira, the first nonbinary character in the franchise. A lot changed for Adira by season 5, like becoming an ensign, and in the latest episode (“ Lagrange Point “), they go on a dangerous undercover mission. TrekMovie had a spoilery chat with the actor about what it was like getting to do some action, especially in one of those Breen suits. Del Barrio also talks about being directed by Jonathan Frakes again, how they feel about their and Adira’s journey though the series, and their hopes for the future.
“Lagrange Point” was a big episode for Adira. What do you think it says about them and their journey since being introduced in season 3?
Something I realized after-the-fact was how much they joke around in this episode, how comfortable they are on this mission that they probably would not have been trusted to do in the past two seasons. This probably wasn’t a responsibility they would have been given. I think the difference is just a lot of security. I think they feel their value. I think they feel their worth as a part of this crew. And I think that we can sort of see that in the way that they communicate and talk back and forth to Discovery while they’re on this mission.
Blu del Barrio as Adira and Anthony Rapp as Stamets in “Lagrange Point” (Michael Gibson/Paramount+)
When you got the script and saw Adira was going on a very dangerous mission towards the end of the season, was there any worry they might kill off your character? Do you ever worry about that kind of thing?
I am an anxious person, so all the time. From the second I started working on Discovery to the moment I finished there was a “I’m going to get fired tomorrow” mentality. But actually, no, not for this episode. I think because there was just a lot of excitement and we were very buzzy about the finale. I was just really excited to have a part in such a big mission towards the end of the season, which wasn’t something I was expecting. I was excited for the responsibility and to be like a little action hero for a minute.
What was the biggest challenge or the most fun, as an actor?
The most fun was definitely the fighting, the combat. I came up in theater so I’ve done more stage combat than is necessary for anybody, but that is something that I was always very comfortable with and really wanted to do on the show. It was really cool to have actual combat rehearsals. The fact that I got to do it before it ended, I was really happy about. It was incredibly nice and fun to do it with Patrick [Kwok-Choon]. The only thing that made it harder was those Breen suits, which are like 70,000 pounds and very constricting. [laughs]
Going in disguise is classic Star Trek. But did you feel that Adira stood out compared to those big guys they have playing the Breen?
Yeah, that was the first thing I asked. [laughs]. When I saw all the other Breen, like I am just five foot, two. I am like the size of a shoe and they are all sky high. I was like, “This doesn’t make sense?” [laughs] I think they hid it/shot it in a really smart way. They made it so that the thing that would give Adira away is their physical tendencies. I feel like that’s what would give them away, more so than their height, maybe, in terms of how we filmed it. But yeah, if you were there in the room, you could absolutely see that I was way shorter than everybody else.
Blu del Barrio (R) with Patrick Kwok-Choon, disguised as Breen in “Lagrange Point” (Michael Gibson/Paramount+)
You talked about Adira’s confidence, but we have also seen them questioning themselves this season. What do you think is driving this new confidence? Is it Rayner? Is it their space dads?
I think I think probably some of it just comes from growing up a little bit, getting a little bit older. I think it definitely comes from their space dads. I think it comes from probably feeling a little bit of the weight to get more comfortable and confident after going through a breakup and you know, not having their partner right beside them all the time. Like after a breakup, you feel, “I need to have a glow up!” I need to be doing really well, I need to be really strong in my presence here and this is the path I chose, so I want to be confident. Rayner was also a really good challenge for them. I think it was it was very fun to play on off Callum [Keith Rennie] for all of that. That definitely sent a little bit of a shock into Adira. Tilly was also really helpful and nice.
When you are doing a scene with Wilson Cruz [Culber] and Anthony Rapp [Stamets], are you playing it like a child with parents, or a junior officer with their superior officers?
Definitely more on the side of a child and their parents. I think that that relationship just went into that dynamic so seamlessly. I think that me is the actor, I forget that they’re sort of my bosses. I forget that and I think Adira does as well.
Speaking of guys in charge, your first-ever episode [“People of Earth”] was directed by Jonathan Frakes, as was “Lagrange Point.” Can you talk about how he set the table for you back then and how the dynamic has changed these years later?
That was really emotional for me to have him direct this episode and also have them direct on my first. I couldn’t have been luckier to have him direct on my first episode. For me, he is probably my favorite director I’ve ever worked with. That man is absolutely Looney Tunes, and also the smartest person in the room. He comes in with the attitude and the desire that he really needs everyone to have fun there, which is not always the energy that you get from a director. they have a bunch of weight on their shoulders and it can be really stressful environment, but it feels like his number one priority is that everybody have a good time which is wild to me. He somehow hides the rest of the inner workings and the mechanics of how he’s sorting it all out in his brain, which is like really kind and wonderful. So, yeah, it was terrifying having him for my first episode and I was very freaked out and nervous and self-conscious. And the flip side of having him for my second to last, just felt like a really big honor that I got to kind of close out that circle with him. I hope I get to work with him again in the future.
Jonathan Frakes directing Blu del Barrio and Phumzile Sitole in “People of Earth” (Michael Gibson/Paramount+)
Looking at Adira’s arc over these seasons and now that it is ending, do you feel satisfied or do you feel there are things you wanted to do in future seasons?
That’s a good question. I think that I am satisfied where Adira leaves off. When I think about it, it could have been much more of a cliffhanger and that would have been so much more upsetting. I think I got kind of lucky with how their story played out in season 5 and where they ended up. I think it’s a very positive note for them to end on. But of course, there was definitely a bunch of stuff that I wanted to do. I wanted them to be a part of a Mirror Universe episode. I wanted them to go on more way missions. I had a bunch of stuff that I wanted to do and you know. Trek is forever, so maybe in the future Adira can come back.
You mentioned the relationships with Tilly and we still don’t know if she is part of the new Starfleet Academy series, but if Adira were to appear in the new series, what would you like to see? As a teacher, a graduate student? Just visiting?
One of those future paths I had thought of for Adira was to follow in Tilly’s footsteps and start teaching. I think that would kind of make sense for them. I think they’d be a really fun teacher and interesting teacher to watch, because of how blunt they can be sometimes. While they are still younger, I think visiting Tilly would be something really nice to do.
There is a bit of connection as the new show is set in San Francisco, not at Starfleet HQ. One of the unique things about Adira is they are actually from Earth in the 32 nd century. But we really don’t know much about that aspect of them. Did you ever get any backstory?
Thank you for asking that. That’s something that I always wanted to go back to. All I know is what was in those episodes in season 3 of showing that little tiny bit of history with Gray before The Burn. So there’s stuff that I had in my head kind of worked out. I was always hoping we would go back and maybe get a little bit more of that history of what their life was like before they went on Discovery, but nothing was ever written, so we don’t have any canon. [laughs]
Mary Wiseman as Tilly and Blu del Barrio as Adira in “Mirrors” (Michael Gibson /Paramount+)
In our interview before the season started , you talked about how important it was to you to talk to trans people and their families about how the character had impacted you. Recently, Sonequa [Martin-Green] and Tawny [Newsome] talked about feeling pressure to represent black women and being on the same high-profile show as one of the few non-binary characters on TV, did you also feel that kind of pressure to represent?
Of course, one hundred percent. All of my first season I had severe impostor syndrome and had so much anxiety around all of that and it took me a very long time to realize, well, no, that’s probably just because the representation that I’ve had on screen has not been a lot. And what I have seen is probably people who appear very confident, because you do feel that weight on your shoulders to be the best version of yourself that you can be. And then I started thinking, it’s kind of nice, maybe, for people to see someone who’s at just the beginning of their transition and going through that and going through the anxieties and the worries and difficulties of that. So as scary as it was, and kind of as vulnerable as to sort of come out on television and also go through a lot of my medical transition while I was on Discovery , I’m really proud that it’s out there for anybody who felt like me, who was at the beginning of that journey and really freaked out and maybe also had impostor syndrome. [laughs]
Here’s the Entertainment Tonight fluffy question, did you take anything from the set?
The only thing that I have—and I’m very happy I got something—because they keep so much of stuff for the archives and for fans and stuff like that. I didn’t think I was going to take anything home but I got the backing of my chair that says “Adira” on it. And I’ll keep that forever, and a bunch of my scripts and stuff. I wish I could have kept my badge, but those are apparently very precious and we could not take that. But I do have my chair backing and I love that.
The fifth and final season of Discovery debuted with two episodes on Thursday, April 4 exclusively on Paramount+ in the U.S., the UK, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia, and Austria. Discovery also premiered on April 4 on Paramount+ in Canada and will be broadcast on Bell Media’s CTV Sci-Fi Channel in Canada. The rest of the 10-episode final season is available to stream weekly on Thursdays. Season 5 debuted on SkyShowtime in select European countries on April 5.
Note: The interview has been edited for brevity and clarity.
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I like Adira. I thought Gray was beyond annoying, but I like Adira. I’m glad they stuck around.
Same. I like Adira but they still could’ve done way more with the character overall. I don’t think there is even a real arc this season.
None, I agree. Adira’s interesting scenes were mainly in season three.
Same here. In fact one of my favorite episodes of Discovery is her S3 backstory episode. Loved her take on Frakes – clearly he is a big favorite for the Discovery crew as much as Trek fans gravitate to him.
Their S3 backstory Their take on Frakes.
Blu- and Adira- are non-binary and use they/them pronouns. Please do not misgender them.
Thank you for pointing that out – I appreciate it. Btw, in today’s business world, more and more people as using he, she or they in their signatures and I have found that to be quite useful, especially for those who have names that can be either gender or neutral.
I’ve really enjoyed Adira’s growth over the last three seasons. I really hope the reworked finale has some nice stuff for them.
I think the ship was righted there this season and Adira got a decent progression. In season 4 they were somehow less confident, put-together and assured than when they started in season 3.
Annoying character imo and such paper-thin character development.
One of my favorite characters along with Tilly!
The word that best describes Adira is ‘dud’. What a dud character. Bland, pointless, zero charisma.
Adira exists because the writers and producers wanted to burnish their progressive credentials with a non-binary character, but they couldn’t think up any more traits for them other than the constant diffidence. immaturity, and social awkwardness.
The social anxiety and imposter syndrome that Blu del Barrio speaks of profoundly seeps into their performance. Emmy-level material this is not. (They do, at least, outshine the truly awful Ian Alexander, who had even less of a reason to be crammed into this season.)
That they view their relationship with Culber and Stamets as one of “space dads” doesn’t help, either. They is supposed to be a professional military officer, not someone who needs a parental figure every step of the way. Again, the anxiety is showing by virtue of this immaturity. Adira is a modern-day Peter Pan, a metaphor for the emerging generation plagued by extreme anxiety that resulted from helicopter parenting.
Even Wesley Crusher, who was underage when he first set foot on board the Big-E, eventually grew up, asking for his own quarters in “Journey’s End.” (I’ll concede that the events of “Lagrange Point” at least addressed this concern.)
The character is virtually unwatchable, and it’s a travesty that they have gotten more screentime than Saru or even Owosekun or Detmer.
Oh, and another thing. I get that it’s Hollywood and “weird” just means it’s Tuesday, but still, that goth makeup on the red carpet is performative as hell.
Very, very well said.
Absolutely spot on 👍
The character is totally unnecessary, just another version of Tilly without the humour
One reason I appreciate Reno so much is that she brings a completely different side of humor to the proceedings. Now that Stamets is warm and fuzzy the only acerbic edge to the show is with Reno and Rayner, and the former gets to twist that into something funny. It’s a good counterbalance to the nervous energy that Tilly and Adira often have.
Rayner Is such a good character a shame we only get one season of him
I know his arc is to embrace Burnham and Tilly’s brand of encouragement and personal connection, but damned if I don’t enjoy his blunt professional distance and tough love approach to his job.
At least we got THAT!
Yep 👍 and only that
Stamets was an interesting character in the first season, precisely because of the sardonic/acerbic edge. He reminded me of Rodney in STARGATE ATLANTIS, or even Toby Ziegler in THE WEST WING. No more; he’s been neutered since they time-jumped.
Exactly, he was such a better character now he starts freaking out if anyone he knows has to leave the ship.
Now he’s just annoying. His puppy dog expression and warm and fuzzy personality are… annoying, to say the least.
It’s not a great fit for Rapp what he’s playing now. Does not help that he has way more “tell don’t show” type development now.
I struggle with that sometimes in principle – sometimes the only way to know someone has evolved is to have them say it or for another character to point it out. And we mustn’t forget that on TNG characters like Beverly and Geordi would often be lucky to get this kind of character attention, blunt though it may be. But what works best is things like seeing how Picard warms to Wesley over the years, or even watching “Bold Boimler” come to fruition in a crisis. Seeing Tilly spell it out to Adira and the audience that they have grown and can take more responsibilities isn’t my favorite method of conveying growth. Even making that conversation about Adira be between Tilly and any other character -but- Adira would deliver the same information but feel less clumsy. Then it’s suddenly more layered and rewarding when Adira does take on the away mission and bridge duties while Tilly and co beam with pride. Discovery now wears its heart on its sleeve. It’s affirming but makes for a hamfisted show at times.
Subtlety isn’t something Discovery has ever been.
It’s a real bummer that Frakes is still in “director-jail.” Almost every actor says he is their favorite, and it shows in their performances. Here’s hoping that Matalas will hire Frakes for the Vision show, and maybe he can get more work in the MCU and/or other Disney productions after that.
It’s really only “director jail” for movies. The man is worth tens of millions, now largely due to his being quite in demand as a TV director, and often for TV shows that have lavish budgets.
Roxann Dawson has shot for Marvel (Agents of SHIELD, which Frakes also directed). She occasionally was mentioned as a contender for a jump to the movies, but TV is where the steady employment is.
Robert Duncan McNeill might be in the best position out of the Trek school of directors as he also has recent EP credits. But they all seem very happy doing what they do now.
Poor Garrett Wang :( His co-stars got meal tickets for life with the DGA memberships.
Hope we see Adira and Blu del Barrio in future Star Treks.
Paramount’s Strict William Shatner Directive for Star Trek IV: The Voyage Home
I nsiders of the “Star Trek” world are no strangers to the stories about William Shatner’s self-centered conduct during the times of the original series. Shatner, the actor behind the iconic Captain James T. Kirk, believed he was the unrivaled protagonist of the franchise. His behavior on set demonstrated this belief, as he often overshadowed colleagues, attempted to snatch lines from his co-stars, and acted disagreeably. Despite the on-set tensions, Shatner eventually managed to mend fences with several, though not all, of his colleagues, leading to some friendships.
When it came to the 1986 film “Star Trek IV: The Voyage Home,” such was Shatner’s influence that Paramount Pictures enforced a rule ensuring Kirk was always portrayed as a key figure. Meerson, reflecting on the directive, remembered being told:
“The approach we were told to take is that Kirk really had to be the one to lead everyone. […] Not necessarily that he had to actually have the idea to do something, but it had to appear as if he has the idea.”
Co-writer Krikes explained the strain of this condition, noting that if one is observant enough while watching the film, it becomes apparent that Kirk’s character is artificially present in sequences without logical explanation. In one such instance at the movie’s conclusion, a dialogue between Spock (portrayed by Leonard Nimoy) and Sarek (played by Mark Lenard) transpires, with Kirk awkwardly in the backdrop, serving no clear purpose other than to fulfill the studio’s imperative.
FAQ Section
William Shatner’s legacy as Captain Kirk comes with tales of on-set ego and dominance, which not only affected interpersonal relations but also the creative process behind “Star Trek IV: The Voyage Home.” Paramount Pictures’ insistence on Kirk being unduly featured highlights the complexities of navigating star power within popular franchises. While the film remains a well-loved installment in the series, these behind-the-scenes insights offer a deeper look into the dynamics of storytelling and character portrayal in Hollywood.
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47 in TOS: 47 in TNG: 47 in Voyager: Enterprise: Movies 1979- 2003: Andromeda: Doctor Who franchise: 47 in Enterprise: Discovery is only available via paid streaming services. List of episode titles only - and very Andromeda-esque they are too. Picard is only available via paid streaming services.
TOS Original Scripts. By David Tilotta and Curt McAloney. Authentic scripts from Star Trek: The Original Series are great collectibles. In addition to them being historic pieces, they make fascinating and educational reading. With regards to this latter aspect, since different drafts exist of the scripts for the produced and unproduced episodes ...
Archivist's Note: All of these scripts were obtained from other published sources; the complete scripts for TOS, Voyager, and Enterprise are not available right now. (Please don't ask me about getting more scripts added, I've posted all the files I've found.) Star Trek: The Movies. All Movies [ZIP file, 612 KB] Star Trek: The Motion Picture
The Star Trek Transcripts - Episode Listings : Season One : Episode Name: Production: Airdate: The Cage: 1: unaired: ... Beyond The Farthest Star: 22004: 8 Sep, 1973: Yesteryear: 22003: 15 Sep, 1973: One Of Our Planets Is Missing: 22007: ... A document analysing dialogue in TOS and TAS. Star Trek main page.
SearchTrek. Search the scripts of Star Trek. Transcription by Chakoteya. Everything TOS TAS TNG DS9 VOY ENT. A Star Trek Script search engine, search every word spoken in the Star Trek TV series and movies.
An ambassador from a planet of traitors. A Vulcan never lived who had an ounce of integrity. SPOCK: Captain, please don't KIRK: You're a traitor from a race of traitors. Disloyal to the core, rotten like the rest of your subhuman race, and you've got the gall to make love to that girl.
Mar 15, 2001. Re: Online tool to conveniently search through the Star Trek transcrip. This recent article points out that, to the new generation of fans, all the Trek series are equally accessible through online streaming. Go to the Netflix page for, say, TOS, TNG, VGR, or ENT (though not DS9, for some reason), scroll down to the "More Like X ...
Star Trek: The Original Series Scripts and Writer's Guides includes scripts and writer's guides from 1965 to 1968, encompassing seasons one to three, which are known as the Original Series. The episodes were written by several authors, and this collection includes annotated scripts and multiple iterations of some episodes. Materials in this ...
Authentic scripts from Star Trek: The Original Series are great collectibles. In addition to them being historic pieces, they make fascinating and educational reading. With regards to this latter aspect, since different drafts exist of the scripts for the produced and unproduced episodes, you can learn about the Treks that almost happened but didn't.
Running this on subtitles instead of transcripts would be more accurate.) Make a function to find the episodes where a chacter has the fewest/shortest lines, and then run it on Worf and then Tom Paris
Star Trek: The Beginning Script ... Enterprise and the beginning of Star Trek: The Original Series. Its story depicts the Earth-Romulan War. Addeddate 2020-12-17 03:45:14 Identifier star-trek-the-beginning-unproduced Identifier-ark ark:/13960/t85j7c14n Ocr tesseract 4.1.1 ...
Scripts for "Star Trek: The Original Series," created by Gene Roddenberry and broadcasted on NBC from September 8, 1966 to June 3, 1969. The collection contains scripts for 78 of the 79 episodes produced, organized according to original air date. Lacks script for "The Savage Curtain," prod. #60043-77, Season 3 Episode 2, original air date March ...
Additional Description. Collection includes screenplays, record albums and books from the original Star Trek television series. The collection of scripts is organized in alphabetical order by title. Collection was donated by Ruth Berman in 1984. The collection was processed and finding aid written by Performing Arts Archives staff.
Star Trek - the original series - is frequently referred to as TOS within fan circles in order to differentiate it from the other Star Trek series. ... Star Trek was followed with an animated television series of 22 stories in 1973-4, and eventually a movie series. In this section - Transcripts of the 3 seasons episodes plus the Animated episodes.
3. Writer redoes script and GR says OK and gives them $ 1 000 and says thanks. 4. Some one rewrites script with stage directions and Acts etc. 5. A secretary mimeographs 50 copies of the script and gives them out to cast, lighting guys, music guys, wardrobe etc and these are the "production scripts". 6.
The cover of the script for TNG: "Angel One ". A script is a written version of a film (also known as a screenplay) or television episode (also known as a teleplay), used in the creation of that filmed product. Many Star Trek scripts have been written, some using a working title.Scripts have been used in the creation of all the Star Trek TV series and films.
jefferiestubes8 Commodore Commodore. Joined: Mar 8, 2009. Location: New York City. The TOS scripts at Roddenberry.com say published January 2009. Reproduced from the actual production scripts from season 1 of Star Trek The Original Series!
The item "Original first-draft script & outline for Star Trek The Original Series 1968″ is in sale since Saturday, January 4, 2020. This item is in the category "Entertainment Memorabilia\Television Memorabilia\Scripts\Originals\Unsigned". The seller is "epluribusunusual" and is located in Sacramento, California.
Star Trek: Created by Gene Roddenberry. With Leonard Nimoy, William Shatner, DeForest Kelley, Nichelle Nichols. In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets.
Star Trek in reruns in the 70's and 80's sort of defined science fiction for a whole generation. There's only three seasons, so it's not like it's that much material to watch. Heck, part of its endurance is because the few episodes were in constant rotation so people got to know them super well, better than if there had been 8 or ten seasons ...
Star Trek Enterprise episode transcripts. I, Mudd Stardate: 4513.3 Original Airdate: 3 Nov, 1967 [Corridor] (Spock and McCoy are greeted by a crewman in blue as he walks along.) NORMAN: Good morning, sir, Doctor. ... The Star Trek web pages on this site are for educational and entertainment purposes only. All other copyrights property of their ...
THE STAR TREK SCRIPT FORMAT. THE TEASER We open with action, always establishing a strong jeopardy, need, or other "hook". It is not necessary to establish all the back story in the teaser. Instead, we tantalize the audience with a promise of excitement to come. For example, it can be as simple as everyone tense on the
While starring on Star Trek: The Next Generation, Jonathan Frakes took on Star Trek's unofficial Director School and became its first student, making himself useful during downtime as he shadowed producers, editors, directors, and more. One of the eight episodes he directed during the series' seven seasons was the sixth-season episode, "The Chase," which serves as a basis for Discovery's fifth ...
I knew you would come to the stars one day. Of all the gods, I knew and I waited, waited for you to come and sit by my side. CAROLYN: I don't understand. APOLLO: Even five thousand years ago, the gods took mortals to them to love, to care for, like Zeus took Leto, my mother. We were gods of passion, of love.
Blu del Barrio joined the cast of Star Trek: Discovery for season 3 in 2020, playing Adira, the first nonbinary character in the franchise. A lot changed for Adira by season 5, like becoming an ...
Insiders of the "Star Trek" world are no strangers to the stories about William Shatner's self-centered conduct during the times of the original series. Shatner, the actor behind the iconic ...
The Star Trek Transcripts - Arena. Arena Stardate: 3045.6 Original Airdate: 19 Jan, 1967. [Transporter room] (Enterprise is in orbit of a planet) KIRK: You'll enjoy Commodore Travers. He sets a good table. MCCOY: I wonder if he brought his personal chef along with him to Cestus Three. KIRK: Probably.