Star Trek New Voyages: Phase II
WRITERS’/DIRECTORS’ GUIDE
STAR TREK CREATED BY: THIRD REVISION
GENE RODDENBERRY February 15, 2009
A CAWLEY ENTERTAINMENT PRODUCTION
in Association with
RETRO FILM STUDIOS
Star Trek New Voyages: Phase II
Writers’/ Directors’ Guide
First Revision
Dave Galanter
April 21, 2008
Second Revision
Patty Wright, editor
Andrew Grieb
Gregory L. Schnitzer
September 15, 2008
Third Revision
Patty Wright
February 15, 2009
Written and Revised for
Star Trek New Voyages: Phase II
Using original source material from Gene Roddenberry including:
Star Trek
Writer’s/ Director’s Guide
2nd Revision
April 17, 1967
Inter-Department Communication
(Memo)
“Kirk, Spock, and other continuing Star Trek characters”
Gene Roddenberry
April 18, 1968
Star Trek: Phase II
Writers’/Directors’ Guide
(written by Jon Povill)
1977
TABLE OF CONTENTS
What is Star Trek New Voyages: Phase II?.......................................................................... 1
So You Want to Write a Star Trek New Voyages/Phase II Script?...................................... 2
The Star Trek Format............................................................................................................ 4
The Seven Rules of Television Writing for Science Fiction Shows.................................... 5
What is a Star Trek: TOS story?.......................................................................................... 5
Stories We are Not Interested In......................................................................................... 7
The Star Trek Script Format................................................................................................ 8
Main Characters - The “Big Four”
The U.S.S. Enterprise............................................................................................ 9
Captain James T. Kirk............................................................................................ 11
Commander Spock................................................................................................ 12
(Lt. Commander) Dr. Leonard H. McCoy............................................................. 13
The Alpha Watch Team
Lt. Commander Hikaru Sulu................................................................................. 14
Lt. Pavel Andrievich Chekov................................................................................ 14
Lt. Commander Montgomery Scott .................................................................... 15
Lt. Nyota Uhura.................................................................................................... 15
Ensign Peter Kirk.................................................................................................. 15
Other Regular Running Crew
Lt. Vincent DeSalle.............................................................................................. 16
Lt. Janice Rand...................................................................................................... 16
Lt. Joseph Kyle.................................................................................................. 17
Lt. Sentell.......................................................................................................... 17
Lt. Xon............................................................................................................. 17
Lt. Commander Prescott................................................................................... 17
Other Crew................................................................................................................... 18
Ensign Bernstein, Ensign Fontana, Lt. Jansen, Ensign Zarha, Yeoman,
Ensign Brion Freeman,, Nurse Christine Chapel, Dr. M’Benga
Lt. Alex Freeman.............................................................................................. 19
Non-Crew Returning Characters:
Captain Kargh, Le’ak, Jam’I............................................................................... 19
Sets
Standing Sets.................................................................................................... 20
Available Set Redresses................................................................................... 22
Unavailable Sets.............................................................................................. 23
Location Shooting....................................................................................................... 23
Clothing and Related Gear......................................................................................... 24
Important Equipment and Terminology..................................................................... 24
Starfleet Structure and Military Protocol.................................................................. 32
Questions and Answers........................................................................................... 33
Submission Guidelines................................................................................................ 36
Submission Agreement.............................................................................................. 37
WHAT IS STAR TREK NEW VOYAGES: PHASE II?
Star Trek New Voyages: Phase II is a groundbreaking independent series of new Star Trek episodes that continue the original five year
mission begun by Star Trek: The Original Series in the 1960's. Available for free as internet downloads, Phase II is a fan effort that has
attracted industry professionals from a multitude of disciplines to donate both their time and money in order to continue the stories of
the Original Series.
STAR TREK NEW VOYAGES: PHASE II MISSION STATEMENT
Star Trek New Voyages: Phase II creates and produces new episodes of Classic Star Trek. Continuing the fourth and fifth seasons of
the original series, we film the untold stories of the U.S.S. Enterprise, Captain Kirk, and his crew with the intention of filling in the missing
years of the original five year mission, and bridging the gap to Star Trek: The Motion Picture. It is the goal of Star Trek New Voyages:
Phase II to support and promote the CBS/Paramount Star Trek franchise by giving fans an active way to continue their interest in
Classic Star Trek.
STAR TREK NEW VOYAGES: PHASE II STATEMENT OF PHILOSOPHY
We are a group of fans who have come together with a common love for the classic era Star Trek for the purpose of having fun while
making new episodes. We are not in this production for the purpose of making any profit, nor do we expect to further our careers by
doing so. We believe in Star Trek’s vision of a hopeful future and are just here to make friends, enjoy Star Trek, and have fun along the
way.
To this end:
1.) What brings us here, first and foremost, is our love for Trek and our desire to have fun playing in Gene Roddenberry’s sandbox.
2.) We are volunteers who expect to receive no compensation for our skills, time, or travel expenses.
3.) We contribute what we can toward the production costs, without expectation of reimbursement, in order to make the episodes
possible.
4.) We work as a team, chipping in and helping in all ways –small and large – that we are able.
5.) We believe in the philosophy of IDIC, and accept and respect each other for the unique people that each of us are. We support,
teach, and learn from each other at all times.
6.) We work toward our better future by remaining positive, focused on production of our episodes, and avoid all petty personal dramas
that drain the fun out of our work.
7.) We welcome all fans who want to have fun as we do, and who accept our mission and philosophy statements.
SO YOU WANT TO WRITE A STAR TREK NEW VOYAGES: PHASE II SCRIPT?
Take this test:
Can you find the MAJOR Star Trek error in the following “Teaser” from a story outline?
The scene is the bridge of the U.S.S. (United States Spaceship) Enterprise. Captain Kirk is at his command position, his lovely but
highly efficient female Yeoman at his side. Suddenly and without provocation, our Starship is attacked by an alien space vessel. We try
to warn the alien vessel off, but it ignores us and begins loosening bolts of green photon energy-plasma.
The alien vessel's attack begins to weaken our deflectors. Mister Spock reports to Captain Kirk that the next enemy bolt will probably
break through and destroy the Enterprise. At this moment we look up to see that final energy-plasma bolt heading for us. There may be
only four or five seconds of life left. Kirk puts his arms about his lovely Yeoman, comforting and embracing her as they wait for what
seems certain death. FADE OUT. (END TEASER)
Please Check One:
( ) Inaccurate terminology. The Enterprise is more correctly an international vessel, the United Spaceship Enterprise.
( ) Scientifically incorrect. Energy-plasma bolts are blue, and they could not be photon in nature.
( ) Unbelievable. The Captain would not hug pretty Yeoman on the Bridge of his vessel.
( ) Concept weak. This whole story opening reeks too much of "space pirate" or similar bad science fiction.
No, WE'RE NOT JOKING.
The preceding is a very real and important test of your approach to science fiction. Here’s why.
( ) Inaccurate terminology. Wrong, if you checked this one. Sure, the term “United States Space- ship" was incorrect, but it
could have been fixed with a pencil slash. Although we do want directors, writer, actors and others to use proper terminology, this error
was certainly far from being the major Star Trek format error.
( ) Scientifically inaccurate. Wrong again; be very cautious if you checked this one. Although we do want to be scientifically
accurate, we've found that selection of this item usually indicates a preoccupation with science and gadgetry over people and story.
( ) Concept weak. Wrong again. It is, in fact, much like the opening of some of TOS’ best episodes. “Aliens", "enemy
vessels", "sudden attack" and such things are found in the best classic stories, ranging from "Buck Rogers" to classical literature, and
the effectiveness of this device is dependant on how it is handled. (Check into H. G. Wells' novels, Forrester's sea stories, and so on.)
Understanding the right answer to this is basic to understanding the Star Trek format.
This is the correct answer:
( x ) Unbelievable. Why the correct answer? Simply because we've learned during a full season of
making visual science fiction that believability of characters, their actions and reactions, is our greatest need and is the most important
angle factor. Let's explore that briefly.
Try the same basic story situation, but against another background.
The time is today. We're in Iranian waters aboard the navy cruiser U.S.S. Detroit. Suddenly an enemy gunboat heads for us, our guns
are unable to stop it, and we realize it's a suicide attack with an atomic warhead.
Total destruction of our vessel and of all aboard appears probable. Would Captain E. L. Henderson, presently commanding the U.S.S.
Detroit, turn and hug a comely female WAVE who happened to be on the ship's bridge?
As simple as that. This is our standard test that has led to Star Trek believability. (It also suggests much of what has been wrong in
filmed science fiction.) No, Captain Henderson wouldn't–not if he's the kind of captain we hope is commanding any naval vessel of ours.
Nor would our Captain Kirk hug a female crewman in a moment of danger, not if he's to remain believable. (Some might prefer
Henderson were somewhere making love rather than shelling Asiatic ports, but that's a whole different story for a whole different
network. Probably HBO.)
And so, for every scene of your Star Trek story, test it by translating it into real-life modern-time situations. Try it in your mind as a
scene in “24", “Prison Break”, or some similar show. Would you believe the people and the scene if it happened there?
If you respond “The character acts that way because it’s science fiction”...
Don’t call us, we’ll call you.
THE STAR TREK FORMAT
A Captain- Jim Kirk
A First Officer - Mister Spock
A Group of Regulars - who make up our "television family"
Guest Stars - if the story demands it, an only if the story demands it, but with a story which emphasizes our Series Leads.
On A Giant Starship - a familiar "television home base" (The U.S.S. Enterprise).
On Patrol in a Section of Our Galaxy - our vessel representing Earth and the Federation (assisting colonists, aiding in scientific
exploration, putting down conflicts, helping those in distress, regulating trade, engaging in diplomatic missions, and so on.)
Yes, the Star Trek Format is that simple.
THE SEVEN RULES FOR WRITING TELEVISION SCIENCE FICTION
I. Build your episode on an action-adventure framework. We must reach out, hold and entertain a mass audience of Star Trek
fans, who know what to expect from TOS episodes, and demand it of ours.
II. Tell your story about people, not about science and gadgetry. Joe Friday doesn't stop to explain the mechanics of his .38
before he uses it; Hawkeye never did a monologue about the theory of anesthetics; Matt Dillon never identified and discussed the breed
of his horse before he rode off on it.
III. Keep in mind that science fiction is not a separate field of literature with rules of its own, but, indeed, needs the same
ingredients as any story -- including a jeopardy of some type to someone we learn to care about, climactic build, sound motivation, etc.
IV. Then, with that firm foundation established, interweave in it any statement to be made about man, society and so on. Yes,
the best of Star Trek stories had something to say about our current world and challenged the audience to think, but say it
entertainingly as you do on any other show. We don't need essays, however brilliant.
V. Remember always that Star Trek is never fantasy; whatever happens, no matter how unusual or bizarre, it must have some
basis in either fact or theory–and you must stay true to that premise. (Don't give the enemy lightspeed travel capability and then have
them engage our vessel with grappling hooks and drawn swords.)
VI. Don't try to tell a story about whole civilizations. There has never yet been a usable story from a writer who began... "I see
the strange civilization which..."
VII. Stop worrying about not being a scientist. How many cowboys, police officers and doctors wrote westerns, detective and
hospital shows?
WHAT IS A STAR TREK TOS STORY?
While the construction and development of all television series stories are similar, Star Trek’s attraction to its audience has been unique
as well as broad. The more successful Star Trek episodes have all followed five basic rules:
1. Our Stories are About People (Who Act Believably)
Star Trek is not about science and gadgetry. All good stories are about people and science fiction is no exception. The more believable
the people, the better the story. Science fiction story characters must be written as carefully as characters in any contemporary drama,
reacting and interacting as real people behave. Whatever gadgetry we show must be believable too -- it must be an extension of some
present science fact or theory, or have precedent in canon TOS Star Trek.
2. An Optimistic Projection of the Future
If our society at the time of Star Trek has advanced to a point of interstellar travel and co-existence with diverse life-forms, then it must
be assumed that we have also solved our petty squabbles and prejudices. They have learned an affection for diversity; they do not
judge other worlds and other life forms by Earth standards. However, on Earth or on the Enterprise, life is not dull–the challenge of self
and self improvement have replaced the old fears and aggressions.
This does not mean that individuals are beyond personal conflict -- it would be boring for a drama if they were. Everyone has different
needs, wants, and drives. But our stories should not revolve around problems on Earth. We want to tell stories about our present-day
Earth by involving our crew in alien worlds with similar problems to our modern existence.
3. The Story P.O.V. is that of Our Captain and Crew
"These are the voyages of the starship Enterprise" means exactly that--adventures of that ship and her captain and crew. We see and
feel our stories through the eyes and emotions of our regular characters. The story can depart briefly to the POV of a guest star, but
always returns to indicate how this action has affected our regular characters and the vessel on which they depend. It is not enough for
our ship and crew to run into something fascinating in space or on a strange planet. That "something" must also create a strong
jeopardy or need which will involve one or more of our regular characters. A jeopardy or need involving a guest star is not enough
unless that guest star's safety and/or need has become of paramount importance to one of our regulars.
4. Our Regulars are Heroes
They believe their word and their oath is their bond. They believe there are principles worth a life of discomfort and danger and even
carry the "old fashioned" belief that there are things worth dying for if necessary.
However, in most other ways they are very much 23rd century humans and have few of the sexual, social and economic hang-ups of
their 20th century ancestors. Their values and ideals do not center exclusively on things affecting only Earth and humans.
Their values are not human-centric, but sentient-being centric. And they above all believe personal risk for these values is their
business. This does not mean our crew won't make mistakes or have problems. They will and do. But above all they are to remember in
the end that theirs is a heroic life and they’re in space to do a job and do it well.
5. Our Home Base is the U.S.S. Enterprise
Our starship is very definitely one of the characters in our series. It is the focal point of the lives of all our regular characters and our
stories always either begin or end aboard the Enterprise. Many of our best tales have taken place entirely aboard our ship.
STORIES WE ARE NOT INTERESTED IN:
There are certain stories we either do not wish to tell or would rather leave to staff writers or special situations when we have a guest
star signed for a specific appearance.
1. Stories About Crew Dissent
Our crew is professional and loyal to their captain. They are educated, competent, and are there because they wish to be in their jobs,
doing their duties. We do not wish to tell stories of below-decks rancor.
2. Stories About New, Universe Changing Technology
We do not wish to do stories about new inventions that would completely change some aspect of the Star Trek universe that is familiar
(and in fact shown to be different in movies which take place in a Trek time frame later than ours). If a new invention that would be
universe changing is necessary to your story, why the technology cannot or would not be used must be part and parcel of that tale.
3. Stories That Revisit Past Shows
Yes, you might have an interesting idea that revisit places and people we have already seen in classic Star Trek. (And in fact, we used
the Guardian of Time from "City on the Edge of Forever" in "In Harm's Way".) Star Trek, however, is about boldly going forth to new
adventures, and we have found that revisiting old settings and characters ultimately faces the almost insurmountable obstacle of
creating a dramatic story with a building jeopardy when the audience has already lived it in an earlier episode. We produce very few
episodes, so we are looking for new stories. If you have a good story, it can be set anywhere, on any planet, in almost any setting.
4. Stories That Visit Other Trek Series Shows and Characters
While it might be fascinating to see Bajor (from TNG and DS9) in Kirk's era, we do not want to spend our time on planets very familiar to
our audience. We want to tell new stories, with new planets, and new situations. We want to "seek out new life and new civilizations" and
not rehash those from other shows.
5. Stories that Take Place in the Mirror Universe
While the Mirror Universe is fascinating to most of us, filming in that setting poses too many challenges for us to overcome on our
production. It requires changes to all of our sets, costumes, and time-consuming double-duty from the actors.
6. Time Travel Stories
We are not interested in any time travel stories. When we decide to do these, they are special cases which are done by writers already
connected with the production. Time travel is a tantalizing and fascinating science fiction concept, but it can be an easy crutch and we
want to limit these stories.
7. Saga Stories
The best Star Trek stories are personal ones, not large, sweeping sagas. We are not Star Wars, telling stories of great galactic rebellion
and upheaval.
THE STAR TREK SCRIPT FORMAT
The Teaser
A teaser is 2-5 pages in length. The purpose is always to establish 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. Star Trek traditionally
uses action to hook the viewer in (it can be as simple as everyone tense on the bridge, hunting down a marauding enemy ship... then a
tale-telling blip is sighted on the screen and the captain orders: “All hands to battlestations.") However, some of the best classic Trek
episodes simply set up a dramatic situation (“Journey to Babel”, “Shore Leave”, “Charlie X”, “What are Little Girls Made Of”, “This Side
of Paradise”, “Mudd’s Women”.)
The Acts
Four acts in length.
~Act One begins with a captain's voice over, Captain Kirk (or his replacement) dictating his log. Necessary back story should be laid in
here, not in the teaser. The captain's log should be succinct and crisp... in ship commander "log" language. During the captain’s log we
need some form of establishing silent shot...an orbit, crew working in corridors or sickbay, etc, to give us time for both the captain’s log
and opening credits.
~All Acts MUST end with a “gun to your head”.
~Act Two especially MUST end on a strong note...something that will keep the audience “tuned to our channel”.
~Although TOS stories contain a “wrap-up scene” this is not a TAG, which is separated from the action by a commercial break.
Style
A fast pace, avoid long philosophical exchanges or tedious explanations of equipment. Our cutting technique is to use the shortest
possible time between idea and execution. For example: Kirk decides that a landing party will transport down to a planet ... HARD CUT to
lights blinking on the Transporter console, PULL BACK to REVEAL the landing party stepping into the Transporter.
Page Count
First drafts can run up to 68 pages, but we will trim and tighten it to around 60 pages. The final polished draft will be absolutely no more
than 62 pages!!!
THE U.S.S. ENTERPRISE
THE VESSEL
The U.S.S. Enterprise is a spaceship - unofficial designation "starship class" vessel, official designation “constitution class” vessel.
Somewhat larger than a present-day naval cruiser, it is the largest and most modern type vessel in the Starfleet service. It has a crew of
430 persons of all genders.
The purpose of the U.S.S. Enterprise is to give our audience a "home base", a familiar and comfortable counterpoint to the bizarre and
unusual things and places we see during our episodes. Where possible, try to emphasize and play to the size, complexity, and varied
functions of the vessel. This does not mean you must always use the Enterprise in all acts, but we usually start and/or end each story
there.
The "Saucer Section" of the vessel (at the top of which is cur command bridge) is eleven decks thick at the middle. The Engineering
Section (to which the two engine nacelles are attached) is equally large and complex, contains at the rear a hangar deck large enough
to hangar a whole fleet of today's jet liners. In a dire emergency, the Saucer Section could be disconnected from the Engineering
Section, but it would require a starbase and a group of Starfleet engineers to reconnect the two. (Unlike the Enterprise-D from TNG.)
Turbo elevators, which can run both vertically and horizontally, interconnect every deck and compartment of this huge vessel.
Included in addition to our bridge, sickbay, quarters, turbolift, and briefing room, are the widest possible variety of labs and technical
departments, computer rooms, storage facilities, passenger accommodations, and cargo facilities.
Our PHASE II changes to the exterior (new nacelles and the addition of rounded photon tubes at bottom of the support strut that
connects the Engineering and Saucer sections) are external only, and our internal look and feel is exactly that of the original series.
THE CREW
International in origin, completely multi-racial, and inter-planetary when possible. Our crew has similar values, but in this future century
we will still see some traditional trappings, ornaments, and styles that suggest our different Earth cultures. Spock had been our alien
member of the crew, but in Phase II we have seen the addition of Lt. Xon, Lt. Isel, Lt. Freeman, and Lt. Arex in recent episodes. We
expect that we will discover some other aliens or part aliens working aboard our starship, but keep in mind that Starfleet would only
assign crew together that have like environmental needs. (They would not assign an alien that requires 20% gravity and a nitrogen
atmosphere with humans.)
We strive to use our crewmen to suggest the enormous diversity of our vessel and the variety in life that goes on aboard ship. Be
inventive! Life aboard the Enterprise should be believable, diverse, and not always work and stern devotion to duty. Both our actors and
extras should populate the background and be seen engaging in recreational activities.
As well, remember our cast and extras are donating their time, and our guest stars are working cheap. If a character is used in your
story, please make sure it is worth the person’s use of their time to attend the shoot. The story editor will help you coordinate to use
actors that are available, and, in the case of smaller spoken roles, to give the ship continuity of familiar faces and use as many of our
hard working extended family as possible.
SHIP'S POWER
The Enterprise engines (the two outboard nacelles) use matter and anti-matter for propulsion, the annihilation of dual matter creating
the fantastic power required to warp spacetime to travel faster than the speed of light.
The Enterprise has a secondary propulsion system: impulse engines. These are located at the rear of the saucer section and are sub-
light speed only. They provide power to the ship, as do the warp engines. In case of total failure of all engine power, the vessel’s and
when both engine systems fail, life-support and gravitational systems can be switched to battery power, with a full-load capacity of about
one week.
FTL or warp speeds (which is the terminology we prefer) are measured in WARP FACTORS. Warp factor one is the speed of light --
186,000 miles per second (or somewhat over six hundred million miles per hour.) Note: warp factors two, three and four and so on are
based upon a geometrical formula of light velocity. Warp factor two is actually eight times the speed of light; warp factor three is twenty-
four times the speed of light; warp factor four is sixty-four times the speed of light, and so on. Vessel speed is also impacted by the
density of space: Cochran’s Constant.
Maximum safe speed is warp six. At warp eight the vessel begins to show considerable strain and we have established in preceding
episodes that warp eight is used only in desperate emergencies.
SHIP'S WEAPONRY
The main weaponry of the U.S.S. Enterprise is its banks of “ship’s phasers”, which are artillery-sized version of the hand phaser and
phaser pistol the crew uses in landing parties or mission teams.
From the bridge, phaser power can be aimed in any direction and our Optical Effect here is bars or lines of blue energy, or blue bolts or
squirts depending on circumstance, which are emitted from the top or bottom of the saucer section of the vessel. These can act directly
against a target very much as hand phaser fire, but on a much larger scale. Phaser fire can also be set for proximity explosions and act
somewhat like "depth charges." (“Balance of Terror")
We have shown that, in extreme circumstances, the phasers can be channeled through the WARP engines for more power, creating
“WARP Phasers.” This procedure shorts out the entire weapon’s subsystems, however, and should rarely be used.
The ship is also equipped with both fore and aft photon torpedo tubes. Photon torpedoes are matter/anti-matter weapons which fire and
detonate on or near a target.
Both the helm and the navigation console has the ability to fire weapons, and the main weapons officer is now CHEKOV at Navigation.
Under the Captain's orders, he controls weapons fire using the vessel's navigational aids to lock phasers or torpedoes on target. We
also may now man the Weapon’s and Defense Station on the bridge, as well as the Weapon’s Subsystems Monitor (the two stations to
the right of the viewscreen). CHEKOV or PETER can be seated here singly or in pairs, or any other security team member.
THE CREW
CAPTAIN JAMES T. KIRK
Played by James Cawley, Kirk is about thirty-six, an Academy graduate, rank of captain. A shorthand sketch of him might be "A space-
age Captain Horatio Hornblower", constantly on trial with himself, a strong, complex personality.
With the Starship out of communication with Earth and Starfleet bases for long periods of time, a Starship captain has unusually broad
powers over both the lives and welfare of his crew, as well as over Earth people and activities encountered during these voyages. He
also has broad power as an Earth Ambassador to alien societies in his galaxy sector or on new worlds he may discover. Kirk feels these
responsibilities strongly and is fully capable of letting the worry and frustration lead him into error.
He is also capable of fatigue and inclined to push himself beyond human limits then condemn himself because he is not superhuman.
The crew respects him, some almost to the point of adoration. At the same time, no senior officer aboard is fearful of using his own
intelligence in questioning Kirk's orders and can themselves be strongly articulate up to the point where Kirk signifies his decision has
been made.
Important -- Although Kirk will often solicit information and estimates from Spock, never does the first officer act as Kirk's "brain". Our
Captain is a veteran of hundreds of planet landings and space emergencies. He has a broad and highly mature perspective on
command, fellow crewmen, and even on alien life customs, however strange or repugnant they seem when measured against Earth
standards.
On the other hand, don't play Kirk like the captain of an 1812 frigate in which nothing or no one moves without his command. Speck,
McCoy, Scotty, Sulu and Uhura are a trained team and are well able to anticipate information and actions Kirk needs .
Aboard ship, Captain Kirk has only a few opportunities for anything approaching friendship. One exception is Mister Spock, a strange
friendship based upon logic, high mutual respect and Spock's strong Vulcan loyalty to a commander. Another is with ship's surgeon, Dr.
McCoy, who has a legitimate professional need to constantly be aware of the state of the Captain's mind and emotions. But on a "shore
leave", away from the confines of self-imposed discipline, Jim Kirk is likely to play pretty hard, almost compulsively so. It is not impossible
he will let this drag him at one time or another into an unwise romantic liaison which he will have great difficulty disentangling. He is, in
short, a strong man forced by the requirements of his ship and career into the often lonely role of command, even lonelier because
Starship command is the most difficult and demanding task of his century.
With the addition of his nephew Peter to the crew, Kirk is faced with an on-going challenge to the his well-known world. His ship comes
first and he has spent his life distancing himself from family connections. His knee-jerk reaction is to protect Peter, which he considers a
dangerous distraction for the captain of the ship - and he’s tended to distance himself as a result. After a mission working closely with
Peter, Kirk has come to accept him as a skilled officer and relaxed somewhat, but he’ll continue to struggle with this. Knowing that both
his position as captain and his tentative relationship as an uncle prevents Kirk from closely guiding Peter’s development, he has
entrusted Chekov as the young man’s mentor.
COMMANDER SPOCK
Played by Brandon Stacy. Spock is the First Officer, in charge of all personnel functions, and as such, he is the ship’s number two
ranking officer. Spock is also the Science Officer, in charge of all scientific departments aboard. He is proficient in most technical and
scientific aspects of the ship, a keen scientist, and solid officer.
His bridge position is at the library-computer station which links the bridge to the vessel's intricate "brain", a highly sophisticated and
advanced computer which interconnects all stations of the ship. From his central panel Spock can tap resources of the entire computer
system -- including a vast micro-record library on man's history, arts, sciences, philosophy, plus all known information on other solar
systems, Earth colonies, alien civilizations, a registry of all space vessels in existence, personnel information on any member of the U.S.
S. Enterprise, or almost anything else needed in any of our stories.
In addition, all of the ship's various types of "sensor systems" (never identified except as "sensors") feed into Spock's hooded viewer
and he can read from it almost any type of information necessary to a story. He is an expert on Earth history, even more so than the
humans aboard.
Spock is a native of the planet Vulcan, but is half human. Thus he is biologically, emotionally, and even intellectually a "half-breed". This
alien-human combination results in his alien features with the yellowish complexion and pointed ears. He is considerably stronger than
his human crewmen, he can endure lack of water and higher temperatures for a longer period. His hearing is particularly keen. He is
also telepathic and has the ability to merge his mind with another intelligence, by using the “mind meld” technique and read the thoughts
there. He dislikes doing so since it deprives him of his proud stoic mannerisms and reveals too much of his inner self. Also, the physical
and emotional cost of this is quite high.
Contrary to popular mythology, Vulcans have passionate emotions - - so passionate that they decided they would destroy themselves
as a race if they did not reign them in. They now eschew emotion and live by a philosophy based completely on reason and logic,
spending their lives training to control their emotions, and among Vulcans to show emotion is considered the gravest of failings.
Spock, having a human mother who values emotion, has had more trouble doing this, and so he must work more diligently to shield his
emotions from others. It is a battle going on within him, at which he's become quite competent, but those emotions do slip out with
occasion, much to either his embarrassment or disdain.
Among a crew full of more emotional humans, Spock is often used to as a device to comment on human convention, philosophy and
frailty. Despite that, it should be noted he still has his own personal demons. He can be stubborn, even foolishly so, and he makes
occasional mistakes. Spock is on a journey toward understanding that he is neither fully Vulcan, nor fully human, nor should he be --
and that he must be satisfied merely with being Spock. But he's not quite there yet. While we want to show him to be usually rock solid
and unemotional, he can and should have moments that show he, too, is "human."
Captain Kirk has an external conscience the audience hears, and Spock is the rational side of it. Rather than an angel and devil on
Kirk's respective shoulders, the captain has Spock as the logical whisper in his ear, and McCoy as the emotional. Kirk needs both to
function. Spock does occasionally see that feeling and emotion do help both Kirk and McCoy, and while he may not admit it, knowing
them has been a benefit to him in that way.
(Lt. Cmdr) DR. LEONARD "BONES" MCCOY
Played by John Kelley (“Doc John”), Dr. McCoy is the Chief Medical Officer, and senior ship's surgeon of the Enterprise, head of the
Medical Department. As such, he has medical responsibilities for the health and physical welfare of the crew of the Enterprise and their
captain. He also has broad medical science responsibilities in areas of space exploration.
As Senior Ship's Surgeon, McCoy is the one man who can approach Captain Kirk on the most intimate personal levels relating to the
Captain's physical, mental and emotional well being. Indeed, he has the absolute duty to constantly keen abreast of the Captain's
condition and speak out openly to Kirk on this matter. (Kirk is the only person on the ship who calls McCoy “Bones”, an affectionate
nickname for him.) McCoy is portrayed as something of a future-day H. L. Mencken, a very, very outspoken character, with more than a
little cynical bite in his attitudes and observations on life. He has an acid wit which results in sometimes shocking statements –
statements which, under close scrutiny, carry more than a grain of truth about medicine, man and society.
Of all the crew, McCoy is the least military. He is filled with idiosyncrasies which fit the character and his trademark. He disdains the
transporter more than most, finding the idea of his molecules being scrambled and beamed a barbaric process and in the realm of
medicine would prefer a good diet and exercise to the pills other doctors prefer for keeping on generally healthy.
McCoy is not above believing that a little suffering is good for the soul and the maturity of the individual, and fears that all the perfect
medicine, computers, and technology can rob a man of his individuality and his divine right to wrestle a bit with life. He's a superb
physician and surgeon and while he might sometimes be seen to be treating the wrong ailment, he's usually right in the end.
Dr. McCoy is 45 years of age, was married once ... something of a mystery that ended unhappily in a divorce. He has a daughter,
"Joanna", who is 21 and in training as a nurse somewhere. McCoy has provided for her, hears from her as often as intergalactic mail
permits, but his duty aboard the starship keeps them apart. We will suspect that it was the bitterness of this marriage and divorce which
turned McCoy to the Space Service. The Enterprise seems to be his home for now, but there is an unspoken tension as if this is but a
way-station in life for him, and he will someday move on where many of the others feel this is the place they must be.
He was born in Georgia in the United States and can be something of the gallant Southern Gentle-an in social life, particularly with
females. When the moment is right, a trace of his Southern accent will be heard.
There is something of a "feud" between Dr. "Bones" McCoy and Mister Spock. The Doctor, like most cynics, is at heart a bleeding
humanist. Spock appears to regard McCoy as an archaic, bumbling country doctor, usually achieving cures through luck. On the other
hand, McCoy likes to regard Spock as little more than a sometimes useful piece of computer equipment. But, while disagreeing
constantly, they do work well together when it becomes necessary and we're never but that there could be some affection hidden behind
their constant battles.
“Doc John” is an actual M.D. and will ensure that your script is medically accurate.
THE “ALPHA WATCH” BRIDGE TEAM
Lt. COMMANDER HIKARU SULU -- Born in San Francisco, California, USA, Sulu was the ship’s Astrophysict until the death of Gary
Mitchell. He is now the primary Helmsman. Sulu is of mixed Asian ancestry, Japanese predominating. He is contemporary American in
speech and manner. Sulu fancies himself more of an old-world "D'Artangnan" than anything else. He is a compulsive hobbyist; one week
may be fascinated by botany with the intention of that becoming his lifelong avocation, then another week we'll find he has switched to a
determination of acquiring a galaxy-famous collection of alien firearms. And like all “collectors", he is forever giving his friends a
thousand reasons why they, too should take on the same hobby.
Although these bursts of enthusiasm make him something of a chatterbox, Sulu is a top officer and one of the most proficient Helmsman
in the Starfleet Service. When the chips are down, he immediately becomes another character, a terse professional, whose every word
and deed relate solely to the vessel and its safety. This pleasant and effective "dual personality" results in an officer of rare equanimity,
one whose personal life never intrudes on his job. After the events of “World Enough and Time” Sulu took an extended leave.
LT. PAVEL ANDRIEVICH CHEKOV - portrayed by Jonathan Zungre. The ship’s Chief of Security, Chekov is also still the ship’s primary
navigator and from his navigation console he controls both phasers and photon torpedoes in battle. Chekov is an extraordinarily
capable young man; almost Spock’s equal in some areas. An honor graduate of the Starfleet Academy, he verges on genius. He's
responsible for matters of security and discipline both aboard the vessel and ashore, and trains the security teams which beam down
with the landing parties. He is fiercely protective of both his ship and his crewmates.
Born in the Russian Federation, Chekov has a true Russian soul and a fatalistic Russian attitude. He’s convinced there’s always
something he should punished for and expects that it will be revealed at any moment, and by the time anyone else finds out you can
rest assured Chekov has already thoroughly punished himself for it. Kirk has been known to take advantage of this. Chekov also sees
the glass as half full and knows it’s inevitable that something will come along to empty it more. Kirk has noted that Chekov “sees threats
to this ship and it’s personnel before there are any” and spends his time “strategizing and plotting for situations that no one else dreams
will ever happen”, all which make him an excellent Chief of Security.
While Chekov is no longer our youngest crewmember, he still represents the “youthful” attitude to our older officers, who may actually
seem rather “middle aged” to a large portion of the audience. While Kirk is our “bad boy” to appeal to older female viewers, Chekov is
our “good boy” for the younger girls: Kirk was never a Boy Scout, Chekov was an Eagle Scout. Chekov’s greatest asset may be his
ability to think outside the box. His solutions and methods for doing things are routinely unorthodox and his supervision style is patently
Socratic. When questions don’t work he is known to parrot back a person’s words to let them hear how they sound. With the stubborn by-
the-book Prescott and the stubborn rash Peter working under him he has his hands full but has melded them into a comfortable, working
team.
Certainly the trait Chekov is known most for is his irreverent attitude: he takes nothing very seriously, least of all himself. He has a habit
of breaking tense situations with a joke - usually a bad one. Too often in the past, however, Chekov has simply been the man who
keeps saying “Russia invented that first!”. Don’t fall back on this stereotype and use this joke! This was never really a good joke
anyway; in fact runs rather counter to the broad international philosophy we’ve always tried to build into Star Trek. On the rare occasion
it is used make certain that it is clear Chekov is in on the joke himself and it comes off as good humored fun rather than appear to be
stupid chauvinistic attitude from the character, writer, or producer of the episode. (The above edict, folks, is a quote from Gene
Roddenberry himself.)
As a young man, Chekov was rash, cocky, stubborn, and competitive. He (and his accent) have mellowed as he’s matured but the traits
are still all there. Chekov recognizes both a young Kirk - and himself a few years ago - in Peter and fell into a natural mentoring
relationship with the younger man: which the Captain encouraged. Chekov’s grandfather, Dimitri Chekov, was an Earth ambassador.
COMMANDER MONTGOMERY SCOTT— Senior Engineering Officer on the U.S.S. Enterprise. Portrayed by Charles Root, he is known
to most as "Scotty”.Scott did not graduate from the Academy, but came up through the ranks and his practical education is as broad as
his formal training in Engineering. He has rare mechanical capacity, many claim he can put an engine together with baling wire and glue
. .. and make it run. He regards the U.S.S. Enterprise as his personal vessel and the Engineering Section as his private world where
even Captain James Kirk is merely a privileged trespasser.
Engineering and spaceships are his life. His idea of a pleasant afternoon is tinkering in any Engineering Section of the vessel; he is
totally unable to understand why any sane man would spend reading time on anything but technical manuals. He is strong minded,
strong willed, and not incapable of telling off even a Starfleet captain who intrudes into what Scott regards as his own private province
and area of responsibilities.
Kirk understands his Engineering Officer's fierce love of his vessel and his engines, will take more “guff" off this Officer than almost any
other aboard the ship. Regarding him, Kirk has one rule: "If it doesn't run, take it to Scotty. If he can't fix it, it can’t be fixed."
In times of emotional stress, Scott has an accent that drips of heather and the Highlands, but avoid liberal use of “scottyisms” that turn
him into a caricature rather than a passionate engineer. His one love outside of engineering is bowling, and he holds a 240 average. He
was promoted to full Commander off-screen before the events in “The Child”.
LT. NYOTA UHURA - Communications Officer, played by Kim Stinger. Uhura was born in the United States of Africa/African
Confederacy. Quick and intelligent, she is a highly efficient officer and expert in all ships systems relating to communications. Her
understanding of the ship’s computer systems rivals Spock’s. Uhura is also a warm, highly female woman off duty. She is something of a
favorite in the Recreation Room during off duty hours, too, because she sings -- old ballads as well as the newer space ballads -- and
she can do an impersonation at the drop of a communicator. Uhura also has an adventurous and sharp side to her, and a quick wit.
ENSIGN PETER KIRK -- Portrayed by Bobby Quinn Rice. A security officer, Peter’s post when he is on bridge duty is at the Weapon’s
and Defense Console, next to the Library-Computer Station. He may also be seen manning the Forward Phaser Room adjacent to
Engineering. He is actively pursuing an engineering certificate and has been seen at the navigation station in times of crisis.
Peter is a true young Kirk: competitive, stubborn, brash, impetuous, unreasonably hard on himself - and impatient to learn, advance and
succeed. He’s driven to be hip-deep in any action going on around him. He is quick to speak his mind and confront people - sometimes
a bit too freely.
The youngest son of Captain Kirk’s only brother (George Samuel), Peter was rescued by the Enterprise and is the only member of his
family that survived the attack on Deneva. (He has two older brothers that were away at school during the attack.) Kirk sent Peter to
Earth to be raised by Kirk’s mother, confessing to McCoy that he hoped that the boy would never enter Starfleet but opt for a “normal
life”. After the death of his grandmother Peter did, in fact, enter Starfleet Academy, became one of the elite “Red Squad”, and
graduated with honors. While there he fell deeply in love with an older student, Alex Freeman, and elected to follow him to the Enterprise
so they could serve together - despite a long-held resentment of his uncle. The two were soul mates and planned to marry, but Alex
died tragically - a hero - during a rescue mission.
As with most family relationships, Peter and Kirk’s is a complicated one. After Alex’s death, Peter confronted Kirk about feeling
abandoned by the Captain after the Deneva incident. It took a rash act by Peter for Kirk to be open about his own feelings toward his
nephew, however. The two reconciled as Uncle and Nephew and they are now comfortable with each other as family, but they will never
be close.
Peter floundered on the ship without Alex, unsure of his place with his sole reason for being there gone. Kirk remedied the situation with
a joint mission that forced them to work together to save the Enterprise. Peter has resolved his relationship as an Ensign with his
Captain, found his place on the ship as an officer, and is now a regular member of the crew: which is exactly how he likes it. Peter is the
first to confront anyone he feels is giving him special treatment because of his family name.
Peter serves with Lt. Commander Prescott under the supervision of Security Chief Chekov. He has come to trust the advice and
guidance of Chekov as both his new supervisor and a mentor that can give him the friendly guidance Kirk cannot. Peter embraces
learning from the unorthodox older man and is confident and secure in his dealing with both the older officers, even engaging in good-
natured ribbing of the Security Chief.
OTHER REGULAR RUNNING CREW
LT. VINCENT DeSALLE - portrayed by Ron Boyd. DeSalle is our first alternate Helm Officer. In the past he has served in both Security
and Engineering, and when not at the helm he can be found manning the Engineering console in Scotty’s place. DeSalle has a biting
sense of humor and a sarcastic streak, and thinks of friendly competition as a good way to better himself. A hotshot, to be sure, but that
overt bravado is a bit of a mask. He's not the perfect pilot he wants to be, but he is damn good, and he knows it.
Born in Montreal, Canada, DeSalle was unsure of what department to focus in originally and earned a high rating in engineering. Always
knowing in his gut that the helm was where he belonged, he eventually set out to pursue it when Sulu took a sabbatical for more training
at the Academy. When Sulu returned he realized the man was not a threat but a friend and shipmate, and an opportunity to further
better himself. DeSalle sees Kirk not only as a role model, not only as a commander, but as a total inspiration... and is resolved to live
up to his expectations.
LT. JANICE RAND - Portrayed by Meghan King-Johnson. One of our alternate navigation officers, Rand is in training to become
Transporter Chief, where we see her in TMP. Once the captain’s yeoman, Rand worked her way up through the ranks and earned her
Lieutenant’s stripe. She is a highly skilled and professional officer, sure of her abilities and has earned the respect of everyone she
serves with. She has physical training and is no wilting flower when the situation calls for sterner stuff. While people may ponder if she
had a personal relationship with the captain, it is unlikely and she is now in an on-going relationship with Kyle.
LT. JOSEPH KYLE – Portrayed by Jay Storey. Originally the ship’s Transporter Chief, Kyle has become one of our alternate Helm
Officers while he is training Rand to take his position. Born in Palermo, Italy, he trained as a civilian engineer and joined Starfleet after
the death of his wife and children in a Klingon raid. As a result he is often too quick to come to the offensive when dealing with enemies.
He is now in a long-term relationship with Rand. Before the last episode we will see him transfer to the Reliant, where he is seen serving
in TWOK.
LT. SENTELL – Portrayed by Jeff Mailhotte. Once a member of the security team, Sentell was promoted to Chief of Environmental
Services. He can be seen helping out with engineering tasks and is also an alternate navigation officer. Although no longer serving in
security, Sentell has joined offensive landing forces when numbers are needed.
Sentell is not a graduate of the Academy, but earned his commission the hard way...by working his way up through the ranks. Along the
way he quietly amassed several degrees and certifications, including Engineering, Security, and helm/navigation. As Chief of
Environmental Services, he is responsible for all ship’s service departments that maintain the crew’s everyday lives: kitchen, laundry,
spa, tailor, cobbler, and upkeep of the recreational facilities. A quiet, stoic man, Sentell is super organized, efficient, and a genius at
multi-tasking. A scrounger that can find fresh fruit and vegetables for the crews meals and all the latest games and feature films, he’s as
unflappable when throwing Klingons in the brig as he is when facing the crews complaints about food and Scotty’s constant whining
about the state of the bowling alleys.
LT. XON - Portrayed by Patrick Bell. Our secondary Science Officer, Xon is also an alternate Helm Officer. Just a touch older than Peter,
Xon (pronounced Zahn) is both a full Vulcan and a full lieutenant. Even by Vulcan standards, Xon is a genius, and yet relatively
inexperienced outside of books and classrooms. He has several degrees, has taught, and is an accomplished scientist, and yet his
experience with humans and others is limited. Unlike Spock, Xon is fascinated by human culture and emotions and actively pursues a
study of them. He can occasionally be caught viewing a comedy or reading something that is supposed to be touching or amusing, but
he has trouble getting the point, though he struggles to do so. Roommates with Peter Kirk both on the ship and at Starfleet Academy, he
plays the same role in Peter’s life that Spock does in Kirk’s... acting as the rational side of the man, often pointing out the reality of Peter’
s feelings and his behaviors out loud.
LT. COMMANDER HENRY PRESCOTT III - Portrayed by Paul Sieber. Formally Security Chief on the USS Farragut, Prescott transferred
for the chance of joining the security team on the best ship in the fleet. A fourth generation Starfleet officer, his father was killed on the
Enterprise during “Where No Man Has Gone Before”, for which he still blames Kirk: so it’s not entirely clear why he transferred.
At times both stubborn and inflexible, he does not like to either break or bend the rules. The Starfleet regulations manual is his idea of
light reading: he knows it by heart and loves quoting it. In his free time, he practices martial arts, boxing, weightlifting and other
physical/fighting skills. He also enjoys reading books on war and strategy, and is a master at three-dimensional chess. Not to be
confused with someone who lives to fight, Hank is willing to look at scenarios with the most conscious sense of victory. If victory involves
non-violent action, then he will be the first to suggest that action. He does not, however, flinch in the face of any enemy, no matter how
overmatched he may be. He is known as a strict disciplinarian, requiring rigorous schedule and routine. Sarcasm is not his strong suit.
he says exactly what he's thinking... very straight and to the point.
OTHER CREW
ENSIGN LEONARD BERNSTEIN - portrayed by Deniz Cordell. Bernstein serves in Sciences and has been seen on the Bridge on duty at
the library-computer station on the 3rd shift. He is a distant grandson of the famous conductor and composer, and was the pianist in the
Academy jazz band. . He's extremely overeager, wants to impress and please his fellow officers with his work, and knows his regulations
well. As a result, he often comes off as whiny and annoying. (Which might explain why he’s on the night shift.)
ENSIGN FONTANA - portrayed by Debbie Huth. A recent Academy graduate, Fontana is nontheless an experienced nurse and
confidant enough to stand her ground with senior officers. She was classmates at the Academy with Peter and Xon and is good friends
with them.
LT. JANSEN - portrayed by Brian Holloway. Third shift Helmsman.
ENSIGN ZARHA - portrayed by Riva Gijanto. A young, third shift communications officer.
DR. M’BENGA - portrayed by Robert Mauro. A specialist in Vulcan physiology, our M’Benga is often seen in the background but never
has any lines. (As he is too busy lighting the scenes.)
YEOMAN - Usually played by a young actress, a Yeoman serves as an officer’s Administrative Assistant/Valet/Military Aide on board
ship. Technically, all officers would be assigned an Yeoman, and some yeomen would be male, but we usually see this person as
serving our captain’s needs. A highly skilled professional, it is imperative that a yeoman be able to anticipate an officer’s needs and be
able to perform their duty without interfering in the events taking place. A yeoman often carries a datapadd or tricorder to do their work.
ENSIGN BRION FREEMAN - Portrayed by Evan Fowler. Brion Freeman is Alex’s younger brother. He’s not a twin, but looks almost
identical to Alex because the Freeman family suffers from Armijo’s Syndrome. This genetic disease keeps the family from having viable
births, and such cases are the only genetic engineering the Federation allows: a genetic template which works for the family can be
used to allow procreation. Every brother, cousin, and even sister uses this template, rendering the entire generation similar to one
another, but not clones. Unlike Alex, Brion is heterosexual, has a grating personality, and has no more use for Peter than he did for
Alex, whom he resented. It is expected that when Brion joins our crew he will look different enough from Alex that it would be problematic
to have them both appear in the same episode. Brion has not been introduced yet, but is expected to transfer to the Enterprise in a
future episode.
NURSE CHRISTINE CHAPEL - Nurse Chapel went to space in search of her research-doctor- fiancé, Roger Corbett. After finding and
tragically losing him, she elected to stay aboard as Head Nurse. A skilled surgical assistant, she is as near to a professional confidant as
McCoy will ever have, and there is an unspoken bond due to the fact that they are both in the service because of a tragic romance. She
is also known to harbor an unrequited love for Spock. She holds several degrees in Research Medicine and will have earned her
Medical Degree, becoming a doctor, by the end of our series. There is currently no one cast to portray Chapel and she is thought to be
off taking courses toward her MD. The possibility of casting Chapel so we see her return remains open, but it shouldn’t be counted on
by writers. (Our original Chapel left for medical reasons.)
LT. ALEX FREEMAN -- Portrayed by Evan Fowler. A medical technician, Alex was Peter Kirk’s fiancé. Soon after they became engaged,
Alex was stranded on the USS Copernicus and committed suicide to avoid being infected with Regulan Bloodworms. A gentle man with a
shy smile, his photograph still bears a place of honor in Peter’s cabin.
NON-CREW RECURRING CHARACTERS
CAPTAIN KARGH – Portrayed by English actor John Carrigan. Captain of the Dark Destroyer, Kargh was recently named Warlord in the
restructuring of the Klingon Empire. He led an underground organization in support of the Kitumba against the previous Warlord to
restore honor to the Klingon Empire and thus earned the young Emperor’s trust. He has a very elegant manner of speech (think of Yule
Brenner in The King and I) and never uses contractions.
Kargh is a member of the Great House of Mo’ Kai, a warrior, and a leader. He has always felt that leadership was his destiny, and comes
from a background where he had to earn the respect of the ridge headed majority of Klingon society because he is a descendant of a
warrior affected by the Augment Virus. He has taken that goal to the point of obsession. Not large in stature, but he has backed that up
by gaining a strong reputation in hand to hand combat and it is known that he does not suffer fools gladly. He sees Kirk as the one to
beat and although he respects Kirk, inside he has a hatred for him. In To Serve All My Days the last line he says to Kirk is “We have
been forced to work together this time...But next time” In Blood an Fire the mutual respect, trust and hatred continued and remained
unresolved, and in Kitumba he was once again forced to work with Kirk. He left Kirk with the promise that “the next time we meet, I’ll have
the whole fleet behind me.”
To win his captain’s sash he took a simulated test like the Kobyashi Maru, in which he battled the Federation for days before gaining the
surrender of non other than Kirk himself. As Kargh congratulates a simulated Kirk on screen and offers him one last moment before
Destroying him he sees something in Kirk's eyes which makes Kargh shout for a quick retreat just before Kirk self destructs taking three
other Klingon ships with him. He saved his ship but at the cost of being seen to run away (not a Klingon habit). Years later he was seen
explaining: "The high command regards one Captain's loss of personal honor/preferable to the loss of an entire ship and it's trained
crew. The simulation is not about how you die or even IF you die, it is about outsmarting death. Making him come to you like a familiar
enemy, until the day you choose when and where to face him.” (we saw his father, Korogh, die in the first NV episode while leading his
battle cruiser into combat against a doomsday machine.)
LE’AK: portrayed by English actress Anne Carrigan. Kargh’s First Officer aboard the Dark Destroyer. A highly competent officer who
hates Humans even more than most Klingons, Kargh almost trusts her.
KLAAR: portrayed by Australian actor James Avalos, Jam’i is a helm/weapons officer on the Dark Destroyer.
SETS
These are the sets available for filming at our Retro Film Studios properties, and the details of their usage.
STANDING SETS
These sets exist, intact, for filming at all times.
INT. BRIDGE
A 360 degree circular, two level set where Captain Kirk presides over the whole ship's complex. Access is achieved to this set by
means of a turbolift which opens directly into the set. Kirk sits in his command chair in the inner, lower elevation (quarter deck) facing
the large bridge viewscreen. Directly in front of him, also facing the screen, is the helm/navigation console where the respective officers
sit. On the upper level and outer circle of the set (the apron) are various positions for various technicians and other ship's officers.
Clockwise from the turbolift the stations are Engineering, Environmental Services, Environmental Subsystems Monitor, a flat panel (not
the gangway or the head), the viewscreen, a flat panel (still not the gangway or the head), Weapons Subsystems Monitor, Navigation,
Weapons and Defense Systems, Library-Computer Station, and Communication.
Fixed cameras and dolly track can be set up on the bridge set. The flat panel to the left of the viewscreen may be removed to enhance
camera work, and shots from behind the overhead displays and work panels below the consoles are now available. Other cameras and
equipment will have to be arranged on a as-needed basis.
The bridge is our set that requires all our lighting and camera equipment. Filming on another set requires a move of this equipment, so
schedules which require a move to another set and back again should be avoided at all costs.
Set ups in more than one of the other, smaller sets can occur simultaneously to assist in an easier shooting schedule. Directors should
consult with the Gaffer regarding this to ensure a schedule that is possible and limits downtime.
INT. TURBOLIFT
All through the ship are turbo-lifts which can be programmed for lateral and/or vertical movement. One can reach most any section
aboard by activating its control vocally. Four people is the maximum load the lift set can hold.
The turbolift set is permanently attached to the bridge and cameras are set on the apron of the bridge to film in it.
INT. SICKBAY
A ward with two built-in beds with a complete diagnostic panel above each. This medical device scans the patient continually, takes
readings and registers same upon the diagnostic panel instrument face. Thus, blood pressure, pulse rate, heartbeat, respirations and
various other readings are continuously recorded and displayed for each patient without the necessity of physical contact between
doctor and patient.
The sickbay set is open on one end with fixed walls on the other three sides. A door is visible on the far left end and, outside, a foyer
which shows access into other wards and the doctor’s office. There are plans to build the third bed: a tilting exam bed.
INT. TRANSPORTER ROOM
The transporter room set has access from a visible corridor door. On one end there is a console, free-standing, which is controlled by
the one to two people. There is also a “monitor station” built into the wall beside the transporter console. At the other end of this set is
the transporter chamber itself. It is a circular dias with three steps leading up to its six positions.
The transporter set at Retro Film Studios is upstairs and requires approximately a four hour set up. It is a small set and only a limited
number of equipment pieces can be effectively used within it at one time. The outside stair landing is often used for cameras or
monitors. The console, the corridor door, and the transporter chamber are all separate shot set ups: there is no availability of a master
containing all three areas. This set involves hanging lights. These lights can be left up while set ups and filming is going on in other sets,
except the bridge.
INT. SHIP'S CORRIDORS
Curved corridors with various inter-connecting sub-corridors. Various doors, hatches and access tubes may be present: leading to crew
quarters, recreation rooms, technical areas, and so on. We play these as existing on the different decks and levels of the ship -- and
even on different ships – and, of course, all have connecting turbolifts.
Retro Film Studio’s corridor sets are usually set up between sickbay and the outer bay doors. These are for scenes which require a
short expanse with little or no movement. (Someone working on a panel, for instance.) A “Jefferies Tube” is available at the main studio
corridor location.
Long corridors with intersecting corridors require the sets to be located on a separate property than the main studio and require a
company move to film on them. (The locations for the corridor sets are 30 minutes from the main studio.) Director’s should plan on at
least one day to film any of these corridor scenes.
INT. JEFFERIES TUBE
An access tube for various ship repair purposes.
Please remember to limit the time actors spend in the Jefferies Tube, as it’s just too small for actors and crew to be comfortable. Filming
action inside the Jefferies Tube requires a camera and lighting set up on the upper stair landing which leads to the Transporter Room.
INT. BRIEFING ROOM
A large set where Kirk and Spock can convene all department heads aboard for briefings, discussions and staff meetings, or to meet
with visitors. The set contains a large table with one long side (up to 4 chairs), a short side (up to 3 chairs) and a cut-in computer
monitor station...usually for access by Spock or Uhura. There is a three sided viewscreen device on the table. Chairs can be set up
along the walls (as in “Space Seed”, “Deadly Years” and “Turnabout Intruder”.) Access directly into a main ship's corridor.
INT. KLINGON BRIDGE
A small set which consists of a command chair, helm/navigation console directly in front of it, and a weapons station to the left of the
command chair. The viewscreen, which is forward of the command chair, is CGI.
This set is upstairs at the main Retro Film Studios building and requires several hours of prep time. It is often filmed by a second unit
while the first unit is on location.
INT. HANGER DECK
This set is CGI. A football field sized hangar, it is the place from which shuttles -- or other craft small enough to fit -- both launch and
enter the U.S.S. Enterprise.
AVAILABLE SET REDRESSES OF THE BRIEFING ROOM OR SICKBAY
These sets are available using either the Briefing Room or Sickbay standing set. Please note and plan shooting schedules accordingly.
(In other words, do not plan to move directly from the briefing room, to Kirk’s cabin, to the rec room, as they are all the same set.)
INT. OFFICER’S QUARTERS (Kirk, Spock, McCoy, etc.)
Officers, such as Captain Kirk, have a private two-room complex. There is direct access to the ship’s corridors from either room. One
room contains a working area which contains a desk with a computer monitor and intercom panel affixed to it and two chairs. Separated
by a room divider, the other room is the sleeping area. There is access between both rooms. There are viewing and communications
devices in the sleeping area as well. This set can be redecorated for various senior officers.
INT. JUNIOR OFFICER’S/CREW’S QUARTERS (Peter Kirk, etc.)
Junior officers and crewmen share a cabin between two people. While the same set up as the senior officer’s quarters, the beds are of a
different type and will be set against the wall and usually only one is shown.
INT. FORWARD PHASER ROOM
A small room with a wall control panel and console in which our security team work. (Shown in “Balance of Terror”)
INT. ENGINEERING PREP ROOM
A small “locker” room which is used to show engineers preparing for repair work which requires specialized clothing (e.g. radiation
suits)
INT. RECREATION ROOM
A redress of the briefing room set to give us a variety of mess and recreation facilities. In these, crew members can relax and enjoy their
leisure time. Various games such as three-dimensional chess can be played here.
INT. CAPTAIN’S LOUNGE
As seen in TMP, the Captain’s Lounge is a recreation room dressed with a sailing ship’s wooden wheel and two large observation
windows.
INT. GYMNASIUM
A redress of a small area that is sufficiently sized to allow various forms of limited physical exercise, such as wrestling, fencing, etc.
VARIOUS OFFICES, ALCOVES, CONTROL ROOMS, PLANETARY ROOMS, CHAPEL, RECEPTION HALL, CARGO AREA, ETC,
The briefing room set is able to be redressed for a wide variety of purposes, and is especially versatile as it is a large, open room with
access to the main corridor. Some of these redresses may require one time specialized construction. These are costly and time
consuming and the use of them should be minimized. This is a fan production, built on volunteer time and budgets, and we are unable to
complete large scale or numerous set construction pieces without a great deal of prep time. The writer must use common sense in
keeping construction requirements and costs within our possible operating parameters.
UNAVAILABLE SETS
These sets currently do not exist at Retro Film Studios properties. While plans are in place to construct more sets writer’s should not
count on using the following.
INT. ENGINEERING DECK
We know. We’re crying too. Move on.
INT. SHUTTLECRAFT
We have no shuttlecraft interior in which to film. Since the Executive Producer doesn’t like stories which involve shuttles, this works out
just fine.
NO, WE WILL NOT CGI ANY ENTIRE SETS WHICH REQUIRE INTERACTION WITH THE ACTORS....NOT NOW OR IN THE FUTURE.
DON’T ASK.
MOVE ON.
(Sets which require no interaction with actors, such as the hangar deck, are available via CGI work.)
LOCATION SHOOTING
In order to speed production time, we prefer “bottle shows”, or ones which take place entirely on our ship and other ships. Any location
shooting should be necessary to the story and, to maximize feasibility of shooting the script, take place in locations that are available in
the northeast United States. Other locations would be considered on a case-by-case basis for exceptional stories. Writers and Directors
should be cognizant of the unpredictable weather in the northeast and understand any location shooting may take months - or years - to
accomplish while waiting for the fates to align and our crew to be ready on a day with good weather.
CLOTHING AND RELATED GEAR
Except in exceptional circumstances necessary to a story, our crew is always dressed in "standard uniform", "dress uniform”, or “casual
uniform” -- Phase II variants that include smocks and overalls. Medical variants include scrubs, patient garb, and surgical wear. Never
have members of the crew putting things into pockets; there are no pockets. When equipment is needed, it is attached to special belts
(as in the case of the communicator and phaser), or can be carried in specially made cases.
We have some EVA space suits (“The Tholian Web”) available for hostile planet surfaces or ship’s without stable environments, but
please reserve these for special circumstances. We like to restrict our missions to “Class M” planets (approximating Earth conditions).
We also have radiation suits available - several TOS style (“The Naked Time”),one TMP style, and several original Phase II variants
designed by James Cawley.
Stock costumes include TOS Klingon style clothing, Feature Film Klingon clothing, and civilian Klingon wear.
Our costumers are available to design new costumes for special circumstances, but the number of these per script should be restricted
and Directors should not schedule scenes with new costumes for the first two days of shooting. Unlike Hollywood studios, our costumers
cannot fit and finish new costumes to actors until they arrive on set.
IMPORTANT EQUIPMENT AND TERMINOLOGY
TRICORDER
A portable sensor-computer-recorder, about the size of a small rectangular handbag, carried by an over-shoulder strap. A remarkable
miniaturized device, it is used to identify and analyze various objects and life forms, and can record almost any type of data on landing
parties and other missions. There is a medical version as well, which links to hand scanner and can give detailed information about alien
life-forms.
When on the ship, the tricorder can communicate with the computer.
THE PHASERS
Portable sidearms. At present we have two phasers. The "hand phaser", a.k.a. “Phaser I”, is about the size of a large cell phone. The
"phaser pistol", a.k.a. “Phaser II”, consists of the hand phaser snapped into a pistol mount, the handle of which is a power-pack,
detachable and rechargeable, which greatly increases the range and power of the weapon.
The reason for two phasers -- in some instances, such as friendly calls and diplomatic missions, our landing party would not want to
beam down to a planet with the larger phaser pistols hanging from their belts. The hand phaser (along with the communicator) is worn
on a belt hidden under the shirt. At other times, the story does require that the landing party be conspicuously armed and the larger
phaser pistol hanging visible from a weapons belt fulfills that requirement.
A larger “Phaser IV” assault rifle is also used. It consists of the phaser pistol adapted into a rifle mount, thus having even greater range
and power. The phaser rifle is a larger, more powerful weapon, and meant for more dangerous missions or assault/defense operations
where major personal firepower is called for. The rifle is carried in one’s hands, there is no carrying strap.
All versions of the phaser have a variety of settings. The ones most often used are "stun", which can knock a man down and render him
unconscious without harming him, and "full", which can actually cause an object to dematerialize and disappear. The phaser is also
capable of being set to cause an object to explode, or to burn a clean hole through an object. In some stories we have used the phaser
as a tool, such as a cutting torch. Phasers can also be set to "overload", resulting in a power build-up and explosion which destroys the
phaser and anything in close proximity. We have available earlier and alternate versions of the phaser in order to outfit alien crew.
COMMUNICATORS
This portable "intercom" is similar to a modern cell phone but with much greater range and frequency capability. They are not generally
used aboard vessel, since communication panels are strategically located on the ship. The principle use of the communicator is
between elements of landing party on a planet surface, boarding party on another ship, (or between them) and with the U.S.S.
Enterprise in orbit. The communicator is activated by lifting the antenna-grid, and can be used to easily pinpoint a person's position
when on and in range so that the transporter can lock on to beam them up.
TRANSPORTER
This is a device which "beams" crew or cargo to and from a planet or another vessel. Within this chamber, people are made to
disappear using special lighting effects. It converts matter into energy, beams it to a fixed point, then re-converts the energy back into
matter in its original pattern. Its range is limited to that of little more than a standard orbit (perhaps 20,000 miles or so, give or take).
Intra-ship beaming, or beaming from one part of the ship to another, has been done (“Day of the Dove”) but is so dangerous that it
should not be used again.
The transporter is operated by one or two people from a control console. They, in concert or singly, can transport up to six people at a
time and, of course, the return of said people. Objects can be transported aboard from planets or other ships, or at certain times,
objects out in space which are in close proximity can be brought aboard also, providing their mass and size are not too great. Each
person - or load of cargo - to be transported stands upon one of six light panels. There is a light panel above each position also. We
assume there are various transporter rooms through the vessel, all of them duplicate.
VIEWSCREENS
The most important of these is the Main Bridge Viewscreen. This is not a window; it is an electronic viewing screen, like a high def
monitor. They can show the view outside in any direction and with various magnifications, but can also show tactical information,
computer readouts, etc. Most often, the Main Bridge Viewscreen it is aimed in the direction of ship's travel and shows the stars passing
as we make our way through space.
In addition, intercom viewscreens connect most areas of the vessel as part of computer consoles in crew quarters, on desks, in the
briefing room (which has a three sided screen), medical labs, etc. For example, Kirk in his cabin can call Sulu or Spock on the bridge,
see them and be seen by them through his intercom viewscreen. Think of it as video-phone as well as computer monitor.
The screens above the bridge stations are also viewscreens, and can be used as communication screens, or which can show visual
information from the ship’s computer banks. They are most often displaying information important to the person manning the station.
The Main Bridge Viewscreen is referred to as “VIEWSCREEN” in our scripts. Other viewscreens are simply called “viewer” in order to
delineate between them.
SENSORS
One of the most useful devices, this is our generic term for any equipment aboard the vessel capable of "sensing" or "scanning" almost
any kind of information needed for our stories. This can include the composition of an object met in space, its dimensions, the general
geological age of an asteroid or planet, the number of beings on a vessel or type of vessel in its range, among other various abilities.
The person at the science station (generally Spock) is in charge of ship's sensors, via the hooded viewer located there. These sensors
in particular work in conjunction with the Library-Computer system, which coordinates the information and can even use sensor data to
narrow hypotheses for discussion.
The tricorder has small, less powerful versions of the ship's sensors for use on a landing party or mission team. There are also
specialized navigational sensors used by those at the helm, and medical sensors used in sickbay, weapons and security sensors, and
so on.
DEFLECTORS / SHIELDS
The primary defensive capability of the Enterprise are her deflector screens or shields, and we use the terms interchangeably. They are
essentially an invisible force barrier around the vessel which protect her from anything but the most sophisticated and powerful
weapons. Basic deflector screens are automatically activated when sensors detect a threat, and heavy shields are activated in battle at
command of the captain during alert status. Note: The ship's transporters cannot be used while the deflector screens are operating, nor
can they beam something off a ship which has its defensive shields raised.
If in battle, the power of the shields can be considerably increased if so configured, but at a commensurate loss in ship's power. At
maximum power, shields can only be maintained a limited amount of time.
The vessel also has "navigational deflector beams" which, guided by "navigational scanners," sweep out far ahead of the vessel's path
as she moves through space. This deflects both small and larger particulate which would otherwise impact and damage the ship at the
speeds she travels. These screens are normally fully automated and operated by the ship's computers.
TRACTOR BEAM
Something of the reverse of the navigational deflector, a tractor beam can grab and pull an object, rather than pushing it out of the way.
The beam has a maximum range of about 100,000 miles and is mostly used to hold a firm position alongside another vessel, or tow
another vessel out of danger, or even keep another vessel from leaving the area. The tractor beam can also pull smaller objects within
transporter range so they can be beamed aboard and examined. In short, the tractor beam is a futuristic grappling hook and towing line.
COMPUTER
The logical scientific extension of the limited computers of our own 21st century. Deep in the heart of the vessel are rows upon rows of
"computer banks", in effect a giant electronic brain which runs our vessel, setting course on command, automatically maintaining it,
operating the "life-support systems" which include atmosphere and gravity, warn and take action against unexpected dangers and so on.
Also, the computer banks of the U.S.S. Enterprise hold almost the entire body of recorded knowledge of the various Federation races.
The ship's computers can be connected into any intercom station or viewscreen and will (verbally or visually) analyze practically any
known information in a matter of seconds. The Science Officer’s Library-Computer Console connects most directly and completely with
the ship's computers.
COMPUTER VOICE
When asked a question verbally through an intercom station connected into the computer banks, the answer is given in our COMPUTER
VOICE. This mechanical voice comes directly from the vessel's "electronic brain" and deals only in fact -- if an ambiguous question is
asked, this voice will so inform the questioner. It can be a disconcerting experience for some, as it will also reject lies, misinformation and
so on. It has, for example, been used in court-martials and other forms of trials, the COMPUTER VOICE sometimes interrupting the
proceedings in order to correct a witness who has given wrong age, erroneous birthplace, or any false statement of library- record fact.
BEARINGS AND HEADINGS
Obviously space knows no north or south; directions are in three planes rather than two. Our system for giving a heading, bearing or
direction is, for example: "unidentified object ahead on a bearing of 37 Mark 211". Or the command: "Set course to a heading of 112
Mark 14".
MEASUREMENTS
We use the metric system for most close and small measurements, such as distance of between vessels and objects or their size, etc.
For long measurements, such as distance between stars, we use light year measurements. Parsecs are also used in measuring vast
distances -- a parsec is 3.26 light years, or 19.2 trillion miles (206,265 times the radius of the Earth's orbit). For example, the closest
star to Earth is Proxima Centauri, which is 4.2 light years away or 1.288 parsecs. Other stars in our galaxy are hundreds or thousands of
light years away.
However , the writer should keep in mind that the audience often needs more understandable measurements to understand the gravity
of a situation, such as: "That alien ship is more than a mile in diameter!" The more precise scientific measures are used in giving and
answering bridge commands, while the less scientific, but more understandable terms are used when remarking conversationally, as in
Sulu to Chekov: "They're still a mile out of range."
(Note: A writer need not trouble himself or herself with computing such distances or using such terms. We have technical people who
review scripts and make such adjustments as needed.)
CAPTAIN’S LOG
The Captain's VOICE OVER, (V.O.)a portion of his dictated log which we hear over establishing, silent scenes. We need not see him
dictating it (though we can), and usually we can assume we are hearing portions of a record dictated later. VOICE OVER is rarely used
in the TEASER, since it tends to slow down the action there. However, it is almost always used at the beginning of ACT I, recapping and
explaining the back story and situation to that point. At the writer's discretion., it can open either acts or can be used as a "bridge"
within acts, explaining in terse, log--like fashion things which might otherwise require many slow pages in dialogue between characters.
Most generally, it tells us where we are and what has been going on, and sometimes it suggests the captain's stream of consciousness,
any fears or doubts he may have at the moment. Keep the more personal introspection to a Captain’s Personal Log, and remember that
VOICE OVER itself can become tedious; keep it as short and as much to the point as possible.
SUBSPACE RADIO
The communications station on the bridge is manned by the Communication’s Officer. We use the term "subspace" since it is necessary
that communications from the Enterprise to its bases travel via a “space warp" effect that allows faster than light transmissions. If we did
not have subspace communications, obviously the Enterprise could warp away from its own base, send a message from its destination,
and then return faster than their own message.
STARBASE
From past stories we can assume there are at least seventeen Starfleet Command Starbases strategically located throughout the
Federation's territory. As well, there are at least seven "Deep Space Stations," which are somewhat different and need not actually be
administrated by Starfleet.
Official Starfleet Starbases are commanded by an officer, usually with the rank of Commodore. These bases provide repair, supply,
replacement of personnel, and so on. They can also be used for shore leave.
The Star Trek format is to only use Starbases with Starbase Commanders only when vital to the story, preferring to keep Kirk and the
Enterprise far out of touch, so that dramatic decisions can be Kirk's. When necessary, we can establish our distance from a Starfleet
Starbase by explaining that communication with the nearest base would take many hours or days, even with the fastest subspace radio.
PRIME DIRECTIVE
The only Starfleet Order that concerns us in many stories is a wise but often troublesome rule which prohibits interference with the
normal development of alien life and alien societies. This rule can be and has been disregarded when vital to the interests of the
Federation, but the captain who does violate this order must be ready to present a sound defense of his actions.
The Prime Directive should not be seen as prohibiting interfering in a society which is attempting to interfere with the Federation or her
citizens. This rule is to keep our crew from deciding they will use their advanced technology to take over and control a primitive world,
not to keep Captain Kirk from stealing a Romulan cloaking device.
ORBIT
The Enterprise usually takes up what we term "standard orbit" around a planet. Depending on a number of conditions or needs, this
distance can be from one to seven thousand miles high. Our vessel was constructed in space and has never felt the solidity of the
surface of a planet. In other words, it doesn't land, it stays in orbit.
STARDATE
Stardates were invented to avoid continually mentioning Star Trek's century (approximately 300 years from now), and getting into
arguments about whether this or that technology would be possible by that time. Stardates are a mathematical formula which varies
depending on location in the galaxy, velocity of travel, and other factors, can vary widely from episode to episode. Each percentage
point is roughly equivalent to one-tenth of one day.
Story editors keep track of Stardates and will assign them. You should use the term and a series of four numbers, a period, and another
number. (Stardate: XXXX.X)
LIGHT SPEED/LIGHT YEAR
186,000 miles per second, or approximately 670,000,000 miles per hour. A "light year" is the distance which would be traveled in one
year at that speed -- or approximately 5,800,000,000,000 miles.
UNITED FEDERATION OF PLANETS
The United Federation of Planets is the multi-planetary organization of which Earth is a part. There are many member planets, including
the five that initially formed the union: Earth, Vulcan, Tellar, Andoria, and Alpha Centauri. Do not be delve too much into the politics of
the Federation.
STAR SYSTEM (OR SOLAR SYSTEM)
A star (such as our sun) which includes a planet or planets circling that star, is a solar system or star system. In turn, these planets may
have satellite bodies circling them, known as "moons." Asteroids and comets also orbit stars.
GALAXY
Most simply stated, this is a cluster of billions upon billions of stars. Our galaxy, called the "Milky Way Galaxy," is a barred, spiral galaxy
approximately 100,000 light-years in diameter and 12,000 light-years in depth at its center, and several billion years old.
Given the size of our galaxy, to patrol only a small part of this gigantic cluster of stars our starship must be capable of traveling
hundreds of times the speed of light.
(Note: Our starship will never leave our galaxy to travel to another. The closest galaxy to us is far too distant even with the Enterprise's
speed to make such stories believable. There should be more than enough planets in our section of the galaxy to provide plenty of
stories.)
THE UNIVERSE
The universe can perhaps be described as “all that exists”. It is made up of untold billions of billions of galaxies. If the imagination is
staggered by the distances between the stars of our own galaxy, then the empty space between the galaxies is almost
incomprehensible. For this reason alone our starship never visits other galaxies -- at even the maximum warp speed of our vessel, it
would take thousands of years to even approach near our nearest galaxy neighbor.
HUMAN
We use the term human or humanity when referring to Earth men or women. This includes, however, any genetic human who may have
been born in space or on another planet, but whose ancestors are from Earth. An alien which looks human is generally referred to as
"humanoid”.
STARFLEET AND STARFLEET COMMAND
Starfleet is the United Federation of Planets organization of both defense and exploration. Our crew is military, but their specialties
range from command and security to science and exploration.
Although Starfleet Command exists with general orders and a whole command hierarchy but we try to stay away from it as much as
possible. The galaxy is incredibly vast, the problems out there are complex, and a Starship must necessarily operate as a semi-
autonomous unit. Most of our best drama comes out of Kirk's lonely decisions. Stay away from petty military politics ... it usually comes
off as unbelievable in our advanced century. Also, keep clear of “space fleet maneuvers," "private space yachts," and similar Buck
Rogers concepts.
THE USS ENTERPRISE
The Enterprise is a military vessel, but only semi-military in practice -- omitting features which are heavily authoritarian. For example,
there are no "officers" and "enlisted" categories. All our personnel are officers: some of them commissioned right out of Starfleet
Academy and some have trained for their specialties in other schools of higher learning and earned their places “the hard way”. There
is no distinction either in uniform or protocol between the two groups. We avoid saluting and other annoying medieval leftovers. On the
other hand, we do keep a flavor of Naval usage and terminology to help encourage believability and identification by the audience. After
all, our own Navy today still retains remnants of tradition known to Nelson and Drake. The Enterprise is a ship of the line in Starfleet, and
is often referred to as the Flagship of the Fleet - a very sought after posting.
MILITARY PROTOCOL
While the hierarchy of rank is respected, and necessary, in the everyday functioning of the ship, Starfleet has moved beyond the higher
ranking officer/ensign barriers when they are off-duty. All off-duty areas of the ship are accessible to everyone aboard, regardless of
rank. However, one can assume – given human nature – that certain areas of the ship are understood to be off limit to higher ranking
officers, at least at certain times of the day: such as a recreation room that is known as a crew haunt in late night hours. Given the finite
area inside our ship, and the fact that the people aboard are essentially trapped on it together for long periods of time, it is
unreasonable to expect our lower ranked officers not to need a space to basically “get away” from their supervisors occasionally during
down time.
Addressing Senior Officers – Any member of the Fleet who is addressing a senior will refer to the senior’s rank and last name or call the
senior “Sir”, i.e.; Commander Spock will be addressed by the junior member of the crew as “Commander”, “Commander Spock” or “Sir”.
Junior officers do not address senior officers as “mister”. Spock would never be addressed as “Mister Spock” by anyone but the captain.
Addressing Junior Officers – Junior officers will be addressed by senior officers by their rank or by the term “Mister”, i.e.; Ensign Kirk can
be addressed by their seniors as “Ensign Kirk”, “Ensign”, “Mister Kirk” or “Mister”. Junior crewmembers would refer to Ensign Kirk as
“Ensign Kirk” or “Sir”.
STARFLEET STRUCTURE
Fleet Admiral a.k.a. Commander Starfleet – This Admiral is Commander of Starfleet, managing the operations of the entire fleet. This
character is addressed as “Admiral” or “Sir”. This character will never be addressed by junior officers by his/her given name. This
character will always be held with the utmost respect. Use of this character should be limited to situations that are extremely limited and
absolutely necessary for the story.
Admiral, Vice Admiral, Rear Admiral, Commodore a.k.a. “Flag Officers” – These officers can hold various duties throughout Starfleet as
the story dictates. Normally, Rear Admirals will command large fleets or Sectors. Commodores will usually command smaller fleets and
Starbases. Vice Admirals and Admirals will command special divisions of Starfleet, i.e.; Security or Intelligence or Numbered Fleets. (Use
of higher ranked Admirals should be kept to a minimum for continuity purposes.) Admirals are addressed as “Admiral” or “Sir”.
Commodores are referred to as “Commodore” or “Sir”.
Captain – The rank of Captain is also referred to as a flag officer. Captains will be in command of ships or small fleets of 2 to 3 ships.
While there is a rank of Captain, there is also a special title that should be addressed. Any officer in command of a ship, regardless of
rank, is referred to as “Captain” of the vessel. Destroyers and Scout vessels will usually be captained by an officer of the rank of
Lieutenant Commander or higher. Ships smaller than a scout could be commanded by a Lieutenant, but this situation should be limited
and rare. All other ships should be commanded by an officer of the rank of Captain or higher. (It is very rare for a ship to be
commanded by an Admiral of any rank and should only be done for specific and special reasons.)
Lower Ranked Officers - The responsibilities of lower ranked individuals are governed by their particular assignments on the ships or
bases in which they serve, normally referred to as their “billet”. Commanders and Lieutenant Commanders serve as Executive Officers
or Department Heads. Lieutenants can also serve as Department Heads. Ensigns can be either recently commissioned officers after
their graduation from Starfleet Academy, or graduates of other specialty training institutions that have joined Starfleet. They are all
considered officers in training. Yeomen are administrative specialists assigned to department heads and ship captains.
All scripts will be reviewed by the military advisors before finalizing to ensure authenticity.
SOME QUESTIONS AND ANSWERS
~ Is the mission of the U.S.S. Enterprise something like that of English warships at the turn of' the century?
Very close. As you recall, in those days vessels of the major powers were assigned to sectors of various oceans, where they
represented their government there. Out of contact with the Admiralty for long periods, the captains of such vessels had broad
discretionary powers in regulating trade, bush wars, putting down slavery, assisting scientific investigations and geological surveys,
even to becoming involved in relatively minor items like searching for a lost explorer or school mistress.
~ Do the science fiction pros have any helpful hints for us?
Yes. Beware getting too wrapped up in The Wonder Of It All. The quality of an science fiction tale is usually inversely proportional to the
pretensions a writer brings to it.
~I'm still confused about Earth of the Star Trek century. You said to make logical projections into the future, then turned down my story.
Because the basis of it was an automated, regimented, in-human Earth Federation of the future. We must have an optimistic projection
of man and his society if we are to approve of and identify with Captain Kirk, the crew of the Enterprise, and their mission. However,
Earth colonies, parallel civilizations, and alien cultures, can present any range of problems leading to a story.
~But projecting the advanced capabilities of your starship, wouldn’t man at time have drastically altered such needs as food, physical
love, sleep, etc.?
Probably. But if we did it, it would be at the cost of so dehumanizing the characters that only a small fraction of the audience would be
interested, and the great percentage of viewers might even be repulsed.
~Then must the starship crew be perfect humans?
No, you can project too optimistically. We want characters with a reasonable mixture of strength, weaknesses, and foibles. Again,
believability is the key here. What kind of men would logically and believably man a vessel of this type? Obviously, they'd be better
selected and trained than the men serving below decks in our current Navy. On the other hand, they have not gotten too stuffy to enjoy
themselves and their senses on liberty in an exotic alien city filled with unique pleasures.
~But what about Earth men on other planets and other civilizations?
We'll find them in colonies, scientific bases, mining claims, trading posts, diplomatic posts, and so on. These space colonies and
activities can be anything which results in an entertaining, believable story, practical to photograph. We intend to recreate styrofoam
rock TOS landscapes, but don't ask us to create whole cities or alien landscapes to interact with. They will be suggested by Matte
Paintings and Set Extension Paintings.
~All right, what about the alien life on some of these worlds?
Man-like creatures are the easiest, of course, some photos in the casting books notwithstanding. Minor modification of form, coloring
and hair distribution can be accomplished where necessary. Latex appliances are available but alien designs should never obscure the
actor. Keep in mind at the same time that out of the collected best science fiction stories of all time, a surprising majority of them center
on the more unique and often more thrilling variations in attitudes, values, morals, intellectual power and senses.
~Are there stories which can be done wholly aboard the starship?
Yes. These are called “bottle shows”. A vessel of this size and complexity, along with a crew of 430 contrasting individuals, would have
to be a pretty sterile place if it didn't contain many tales with considerable entertainment value. With Phase II’s budget and time
constraints, these are the scripts we prefer.
~Must stories always start aboard the U.S.S. Enterprise?
No. We also like stories in which we pick up our main characters already on the surface of a planet, with the essential elements of the
story already going.
~I understand the concept of most landings taking place on planets approximating Earth-Mars conditions. But will we never get to a
planet where gravity or atmosphere is a problem?
Yes, and no, assuming the right story. Stories may undoubtedly take us outside our vessel into space for repairs or to investigate some
strange object there, or to atmosphere-challenged environments. Reduced or increased gravity, however, would pose serious
challenges in filming. Generally we will avoid space helmets. Remember, the aim of our format is drama and entertainment based on
character rather than on details of technology and hardware.
~What is Earth like in Star Trek’s century?
For the most part, it doesn’t matter: we'll never take a story back there, and we will not get into subjects which involve these matters. We
know that Earth of the future has a unified government body (“United Earth”) but we will simply never get into details of Earth's politics of
Star Trek’s century: for example, which socio-economic system ultimately worked out best.
~I'm a little unclear about technological devices of the future. Can we invent anything which sounds reasonable'?
Simply think of something logical, with some kind of science or projected-science basis. Generally best are projections of things we have
now or which science is beginning to build now. For example, in the pilot we had a hospital bed which continually monitored all the key
bodily functions, and in fact some advanced hospitals today are already doing part of this and working on further improvements.
~How much science fiction terminology do you want?
The less you use, the better. We limit complex terminology as much as possible, use it only where necessary to maintain the flavor of
the show and encourage believability.
"Technobabble," or "Treknobabble", is the use of jargon or buzzwords that merely mystify and obfuscate rather than explain. Avoid it
always. Never attempt to explain or describe in detail the technology of the Enterprise or the 23rd century. Joe Friday wouldn't explain
how is revolver worked, and nor should Spock or anyone on the Enterprise explain the detailed workings of any particular piece of
equipment or device. We don't need to know how the sensors, shields, warp engines, computer, or any of the ship's technology works.
They exist in our Star Trek universe and they work. No explanation is necessary. It should not be important to the story how the
technology does what it does other than the most superficial description. If we cannot scan within the alien vessel because they have
lined their hull with an alloy sensors cannot penetrate, it should not be necessary to explain why sensors have a problem with that alloy
-- or even what the alloy specifically is. Our technology helps us tell stories in a futuristic setting, but it should never be the story itself.
Our stories are about people and society, characters and emotions -- not about tools and machinery. IMPORTANT: The writer must
know what he means when he uses science or projected science terminology. A scattergun confusion of meaningless phrases only
detracts from believability.
~What about comedy and/or humor?
We hope Star Trek and its characters are human enough and varied enough to be capable of humor. We have no objection to
believable characters whose presence and attitudes create legitimate opportunities for humor.
~What have been the "big problem areas” in past story and script submissions ?
a. TNG scripts. This is the biggest problem we’ve seen in scripts. TOS scripts are Kirk/Spock/McCoy stories, supported by our
main cast. Yes, we want our other actors to have something to do.. but we do not want “ensemble” stories more suited to TNG.
b. Again, it has been in areas of believability. Many otherwise good writers tend to pepper their science fiction with "out of
left field” coincidences, unexplained and illogical actions, unmotivated character changes, things they would never dream of perpetrating
on even a kiddies show script.
c. Illogical situations. For example, it is swallowing quite a bit to believe a present day naval cruiser like our Enterprise would
be full or renegades and mutineers. Or that our crew includes a World War II Navy lower deck of grammar school graduate enlisted men.
We want the exotic, the inexplicable, the terrifying -- but not in the U.S.S. Enterprise, its organization and mission. The ship and
characters are our audience's tie to reality.
d. Intellectual rather than physical or emotional conflict. We’ve received some interesting analyses of possible alien
civilizations, socio-economic speculation which seemed brilliant to us. But the characters were "sitting and talking" rather than "feeling,
moving and doing." They also fail our "GUNSMOKE-KILDARE-NAKED CITY Rule” -- that is, would the basic story, stripped of science
fiction aspects, make an entertaining episode for one of those shows? Don't laugh, try it.
~What do you pay writers and what about outright purchase of existing science fiction tales?
This is a volunteer organization. We do not pay writers, nor do we purchase stories to adapt into screenplays.
~Do you have technical advice directly available to the writer proposing a script?
Yes, within our time constraints. Feel free to contact the story editor, but be aware that you may have to wait for them to have time to
respond.
~Are you people on crack?
No. We’ve spent too much money on sets to afford it.
SUBMISSION GUIDELINES
All submissions MUST be accompanied by a signed Submission Agreement to be considered. Submissions not accompanied by this
agreement will not be read.
All submissions must be made to our Associate Producer.
~Story outlines may be submitted electronically to: pattyawright@gmail.com
~Full scripts must be submitted by mail.
STORY OUTLINES
Submitting a story outline before fleshing out a script is highly recommended. We can often save the writer a lot of unnecessary work at
this early stage, and offer guidance to tailor the story to our needs. Please indicate in outlines each change in set or location.
CAST AND SET LISTS
Make sure you include the following lists with your outline or script: cast list, set list, specialty clothing/costume list (anything other than
standard Starfleet uniforms), and specialty prop list (including props which are needed in great number: i.e. phasers for a landing party
of 12).
SCRIPT EDITING
As with all television and film productions, if we accept your script for production it becomes the property of Cawley Entertainment
Company/Retro Film Studios. Your script will be edited by our story editor, classic Star Trek technology/canon editor and, finally, by the
Senior Executive Producer... who will have the final edit privileges. You may be consulted about changes, but you may not. If you are not
willing for someone to change your script, don’t submit it. That’s how this industry works.
STAR TREK NEW VOYAGES: PHASE II
STORY/ SCRIPT SUBMISSION AGREEMENT
I am submitting a story/script outline/script to Cawley Entertainment/Retro Film Studios to be considered for production on the Star Trek:
Phase II internet series.
In submitting, I hereby certify that I understand:
~ There are only 10 stories in the world. What is different is how each author executes the story. Although my story may not be
accepted, it is possible that a similar story, told by a different author, will be... and I will have no claim as an author to said story.
~ If my story/script outline/script is accepted for production, it becomes the property of CEC/RFS.
If so:
~ CEC/RFS retains the right to all edits, including the final edit.
~ This is a volunteer project. I will receive credit for my work, but will not be paid any monetary funds: neither now nor in the future.
~ I may negotiate any future involvement in the production of this story/script, but nothing beyond credit is guaranteed.
Working Title of Submission: _______________________________________________________
Signed: ____________________________________ Date: ____________________
Printed name: _______________________________
Email address: ______________________________ Phone: ___________________