Thursday, September 15, 2016

Star Trek: The Original Series (TOS) - Episode 01. The Cage


Star Trek: The Original Series (TOS)

Episode 01. The Cage

Story, Script & Trivia


1. Season    

Episode 01. The Cage

Season:    1
Air Date:    1988-10-01
Writer:    Gene Roddenberry
Director:    Robert Butler
Guests:    Jeffrey Hunter (Captain Christopher Pike), Majel Leigh Hudec (Number One), Susan Oliver (Vina)

This pilot episode was later incorporated into the two-part Star Trek episode The Menagerie, Parts One and Two. The only characters who were retained in the Star Trek series were Leonard Nimoy (as Spock) and Majel Barrett (who took a large demotion from "Number 1" in the pilot to Nurse Chapel).


- Check the circuit. - All operating, sir.
Can't be the screen, then.
Definitely something out there, Captain, headed this way.
Could be these meteoroids.
No. It's something else. There's still something out there.
[ Siren Wailing ]
Coming at speed of light. Collision course.
The meteoroid beam has not deflected it.
- Evasive maneuvers ? - Steady as we go.
[Wailing Stops]
It's a radio wave, sir.
We're passing through an old-style distress signal.
They were keyed to cause interference and attract attention this way.
A ship in trouble making a forced landing, sir.
- That's it. No other message. - I have a fix.
It comes from the Talos Star Group.
We've no ships or Earth colonies that far out.
Their call letters check with a survey expedition-- S.S. Columbia.
Disappeared in that region approximately 18 years ago.
It would take that long for a radio beam to travel from there to here.
Records show the Talos group has never been explored.
Solar system similar to Earth. Eleven planets.
Number four seems to be Class "M"--
Oxygen atmosphere.
They could still be alive even after 18 years.
If they survived the crash.
We aren't going to go to be certain ?
Not without any indication of survivors, no.
We'll continue on to the Vega Colony...
and take care of our own injured first.
You have the helm. Maintain present course.
Yes, sir.
- [ Chirping ] - Boyce here.
Stop by my cabin, Doctor.
[Knocking At Door]
What's that ?
I didn't say there was anything wrong with me.
I understand we picked up a distress signal.
That's right.
Unless we get anything more positive on it,
it seems to me the condition of our own crew takes precedent.
I'd like to log the ship's doctor's opinion too.
Oh, I concur with yours, definitely.
Good. I'm glad you do...
because we're going to stop first at the Vega Colony...
and replace anybody who needs hospitalization...
and also--
What in the devil are you putting in there, ice ?
Who wants a warm martini ?
What makes you think I need one ?
Sometimes a man will tell his bartender...
things he'll never tell his doctor.
What's been on your mind, Chris,
the fight on Rigel VII ?
Shouldn't it be ?
My only yeoman and two others dead. Seven injured.
Was there anything you personally could have done to prevent it ?
I should have smelled trouble when I saw the swords and the armor.
Instead, I let myself get trapped in that deserted fortress...
and attacked by one of their warriors.
Chris, you set standards for yourself no one could meet.
You treat everyone on board like a human being except yourself.
Now you’re tired, and you--
You bet I'm tired. You bet.
I'm tired of being responsible for 203 lives.
I'm tired of deciding which mission is too risky and which isn't,
and who's going on the landing party and who doesn't.
And who lives...
and who dies.
Well, I've had it, Phil.
To the point of finally taking my advice of rest leave ?
To the point of considering resigning.
And do what ?
Well, for one thing, go home.
Nice little town...
with 50 miles of parkland around it.
Remember I told you I had two horses ?
We used to take some food and ride out all day.
That sounds exciting. Ride out with a picnic lunch every day.
I said that's one place I might go,
or I'd go into business on Regulus...
- or on the Orion Colony. - You, an Orion trader,
dealing in green animal women slaves ?
The point is this isn't the only life available.
There's a whole galaxy of things to choose from.
Not for you.
A man either lives life as it happens to him,
meets it head on and licks it,
or he turns his back on it...
and starts to wither away.
Now you're beginning to talk like a doctor, Bartender.
Take your choice. We both get the same kinds of customers--
The living and the dying.
[Intercom Whistling]
Mister Spock here.
We're intercepting a follow-up message, sir.
There are crash survivors on Talos.
"Eleven survivors from crash.
"Gravity and oxygen within limits.
Food and water obtainable. But unless--"
The message faded at that point, sir.
- Address inner craft. - System open.
This is the captain. Our destination is the Talos Star Group.
Our time warp-- factor seven.
Course computed and on the screen.
All decks have acknowledged, sir.
On course, sir.
- Yeoman ? - Yes, sir.
I thought I told you when I'm on the bridge--
That you wanted the reports by 0500.
It's 0500 now, sir.
Oh. I see.
Thank you.
She's replacing your former yeoman, sir.
No, she does a good job, all right.
It’s just that I can't get used to having a woman on the bridge.
No offense, Lieutenant.
You're different, of course.
We've settled into orbit, sir.
Geological lab report complete, Captain.
- Preliminary lab survey ready, sir. - Spectrography ?
Our readings shows an oxygen nitrogen atmosphere.
Heavy with inert elements, but well within safety limits.
- Gravity ? - 0.9 alert.
Captain ? Reflections, sir, from the planet's surface.
As I read it, they polarize out as rounded metal bits.
Could be parts of a spaceship hull.
Equip a landing party of six. You feel up to it ?
- Yes, sir. - Yes, sir.
Sorry, Number One. Little information on this planet.
We'll have to leave the ship's most experienced officer covering it.
Of course, sir.
No indication of problems down there, but let's not take any chances.
Yes, sir. There's a canyon to the left.
We can set you down there completely unobserved.
[ Chiming Stops ]
[ Chiming ]
They're men.
They're humans.
Captain Christopher Pike. United Spaceship Enterprise.
Dr. Theodore Haskins. American Continent Institute.
- Is Earth all right ? - The same old Earth,
and you'll see it very soon.
And you won't believe how fast you can get back.
The time barrier’s been broken. Our new ships can--
This is Vina.
Her parents are dead. She was born almost as we crashed.
[ Chirping ]
- Enterprise. - Landing party, come in.
We'll begin transporting the survivors...
and their effects up to you very shortly.
Quarters are being prepared, sir.
Have I permission to send out scouting and scientific parties now ?
That's affirmative on--
You appear to be healthy and intelligent, Captain.
Prime specimen.
I didn't get that last message, Captain.
Uh, affirmative on request.
Landing party out.
You must forgive her choice of words, Captain.
She's lived her whole life with a collection of aging scientists.
If they can spare you a moment,
I'd like to make my medical report.
I think it's time to show the captain our secret.
Their health is excellent,
- almost too good. - There's a reason for our condition,
but we've had some doubt if Earth is ready to learn the secret.
Let the girl show you. We'll accept your judgment.
You're tired, but don't worry.
You'll feel much better soon.
Don't you see it ?
Here and here.
I don't understand.
You will. You're a perfect choice.
Captain !
- [ Chirps ] - Spock here.
Landing party, come in.
There is no survivors' encampment, Number One.
This is all some sort of trap.
We've lost the captain.
Do you read ?
[ Growling ]
Can you hear me ?
My name is Christopher Pike,
commander of the space vehicle Enterprise...
from the stellar group at the other end of this galaxy.
Our intentions are peaceful. Can you understand me ?
[ Using Telepathy ] It appears, Magistrate,
that the intelligence of the specimen is shockingly limited.
This is no surprise since his vessel...
was baited so easily with a simulated message.
As you can read in its thoughts,
it is only now beginning to suspect that the survivors and encampment...
were a simple illusion we placed in their minds.
You're not speaking, yet I can hear you.
You will note the confusion as it reads our thought transmissions.
All right, then. Telepathy.
You can read my mind. I can read yours.
Now, unless you want my ship to consider...
capturing me an unfriendly act--
You now see the primitive fear-threat reaction.
The specimen is about to boast of his strength,
the weaponry of his vessel and so on.
frustrated into a need to display physical prowess,
the creature will throw himself against the transparency.
If you were in here...
wouldn't you test the strength of these walls too ?
There's a way out of any cage, and I'll find it.
Despite its frustration, the creature appears more adaptable...
than our specimens from other planets.
We can soon begin the experiment.
The inhabitants of this planet must live deep underground.
Probably manufacture food and other needs down there.
Now, our tests indicate the planet's surface...
without considerably more vegetation or some animals,
simply too barren to support life.
So we just thought we saw survivors there, Mr. Spock.
Exactly. An illusion, placed in our minds by this planet's inhabitants.
It was a perfect illusion.
They had us seeing Just what we wanted to see--
Humans beings who survived with dignity and bravery.
Everything entirely logical, right down to the building of the camp.
The tattered clothing, everything.
Now, let's be sure we understand the danger of this.
The inhabitants of this planet can read our minds.
They can create illusions out of a person's...
own thoughts, memories and experiences.
Even out of a person's own desires.
The illusion’s just as real and solid as this table top...
and just as impossible to ignore.
Any estimate what they might want one of us for ?
They may simply be studying the captain,
to find how Earth people are put together,
or it could be something more.
Why aren’t we doing anything ?
That entry may have stood up against hand lasers,
but we can transmit the ship's power against it,
enough to blast half a continent.
Brains three times the size of ours.
If we start buzzing about down there,
we're liable to find their mental power is so great,
they could reach out and swat this ship as though it were a fly.
It's Captain Pike they've got. He needs help.
And he probably needs it fast.
Engineering deck will rig to transmit ship's power.
We'll try blasting through that metal.
[Alien] Thousands of us are already probing...
the creature's thoughts, Magistrate.
We find excellent memory capacity.
I read most strongly a recent death struggle...
in which it fought to protect its life.
We will begin with this,
giving the specimen something more interesting to protect.
[Female Alien] Come on ! We must hide ourselves.
Come. Come.
Hurry ! It's deserted.
There'll be weapons and perhaps food.
This is Rigel VII.
Please ! We must hide ourselves.
I was in a cage, a cell, in some kind of a zoo.
- I must still be there. - Come on !
They've reached into my mind...
and taken the memory of somewhere I've been.
- [Roaring] - The killer !
It's starting just as it happened two weeks ago.
Except for you.
Longer hair, different dress, but it is you.
- The one the survivors called Vina. - [Growling]
Or rather the image of Vina. But why you again ?
Why didn't they create a different girl ?
Quick ! If you attack while it's not looking--
- But it's only a dream. - [Growls]
You have to kill him, as you did here before.
You can tell my jailors I won't go along with it.
I'm not an animal performing for its supper.
It doesn't matter what you call this. You'll feel it.
That what matters.
You'll feel every moment of whatever happens to you.
Please ! Don't you know what he'll do to us ?
Why would an illusion be frightened ?
Because that's the way you imagined me.
Who are you ? You act as if this were real to you.
Careful !
[ Screaming ]
It's over.
Why are you here ?
To please you.
Are you real ?
- As real as you wish. - Oh, no.
No, that's not any answer.
I've never met you before, never even imagined you.
Perhaps they made me out of dreams you've forgotten.
And dressed you in the same metal fabric they wear ?
Well, I have to wear something, don't I ?
Or I can wear whatever you wish...
or be anything you wish.
So they can see how their specimen performs ?
They want to see how I react. Is that it ?
Don't you have a dream,
something you've always wanted very badly ?
Or do they do more than just watch me ?
Do they feel with me too ?
You can have whatever dream you want.
I can become anything,
any woman you've ever imagined.
You can have anything you want in the whole universe.
Let me...
please you.
Yes, yes, you can please me.
You can tell me about them.
Is there any way I can keep them from probing my mind...
and from using my thoughts against me ?
Does that frighten you ?
Does that mean there is a way ?
You're a fool !
Since you're not real, there's not much point...
in continuing this conversation, is there ?
All circuits engaged, Mr. Spock.
Standing by, Number One.
- Take cover. - [Spock] Ten, nine,
eight, seven, six,
five, four,
three, two, one.
Increase to full power.
Can you give us any more ?
Our circuits are beginning to heat. We'll have to cease power.
Disengage !
The top of that knoll should've been sheared off the first second.
Maybe it was. It's what I tried to explain in the briefing room.
Their power of illusion is so great,
we can't be sure of anything we do or anything we see.
if you asked me some questions I could answer.
How far can they control my mind ?
If I tell you, then will you pick some dream you've had...
and let me live it with you ?
They can't actually make you do anything you don't want to do.
But they try to trick me with their illusions.
And they can punish you when you're not cooperative.
You'll find out about that.
Did they ever live on the surface of this planet ?
Why do they go underground?
War-- thousands of centuries ago.
That's why it's so barren up there ?
The planet's only now becoming able to support life again.
So the Talosians who came underground found life limited here,
and they concentrated on developing their mental power.
But they found it's a trap,
like a narcotic.
Because when dreams become more important than reality,
you give up travel, building, creating.
You even forget how to repair...
the machines left behind by your ancestors.
You just sit, living and reliving other lives...
left behind in the thought record.
As in probing the minds of zoo specimens, like me.
You're better than the theater to them.
They create an illusion for you.
They watch you react, feel your emotions.
They have a whole collection of specimens,
descendants of life brought back long ago...
from all over this part of the galaxy.
Which means they had to have more than one of each animal.
- Please. - They'll need a pair of humans too.
Where do they intend to get the earth woman ?
You said that if I answered your questions--
But that was a bargain with something that didn't exist.
You said you weren't real, remember ?
I'm a woman,
as real and as human as you are.
We're like Adam and eve.
If we--
Don't, please ! Don't punish me !
The vial contains a nourishing protein complex.
Is the keeper actually communicating with one of his animals ?
If the form and the color is not appealing,
it can appear as any food you wish to visualize.
- And if I prefer-- - to starve ?
You overlook the unpleasant alternative of punishment.
[ Groans ]
[ Yelling ]
From a fable you once heard in childhood.
You will now consume the nourishment.
Why not just put irresistible hunger in my mind ?
'Cause you can't, can you ?
You do have limitations, don't you ?
If you continue to disobey,
from deeper in your mind,
there are things even more unpleasant.
- That's very interesting. - Now to the female.
You were startled. Weren't you reading my mind then ?
As you've conjectured, an Earth vessel did crash on our planet,
but with only a single survivor.
Let's stay on the first subject.
All I wanted for that moment was to get my hands around your neck.
We repaired the survivor's injuries...
and found the species interesting.
Do primitive thoughts put up a block you can't read through ?
It became necessary to attract a mate.
All right, all right. Let's talk about the girl.
You seem to be going out of your way...
to make her attractive to make me feel protective.
This is necessary in order to perpetuate the species.
It seems more important to you now...
that I begin to accept her and like her.
We wish our specimens to be happy in their new life.
Assuming that's a lie,
why would you want me attracted to her ?
So I'll feel love and a husband/wife relationship ?
Well, that would be necessary only if you intend to build a family group...
or perhaps a whole human community.
With the female now properly conditioned.
You mean properly punished !
I'm the one who's not cooperating. Why don't you punish me ?
First an emotion of protectiveness,
now one of sympathy.
[Woman] Do you want some coffee, dear?
I left the Thermos hooked to my saddle.
Tango !
You old devil you !
I'm sorry. I don't have any su--
Well, they think of everything, don't they ?
Hey! The coffee.
Is it good to be home ?
They read our minds very well.
Home, anything else I want, if I cooperate. Is that it ?
Have you forgotten my headaches, darling ?
I get them when you talk strangely like this.
I'm sorry they punish you, but we can't let them--
My, it turned out to be a lovely day, didn't it ?
It's funny. Just about 24 hours ago,
I was telling the ship's doctor how much I wanted something...
not very different from what we have here.
An escape from reality,
a life with no frustrations,
no responsibilities.
And now that I have it, I understand the doctor's answer.
I hope you're hungry. These little white sandwiches...
are your mother's recipe for chicken tuna.
'Cause you either live life--
bruises, skinned knees and all--
or you turn your back on it and start dying.
Well, the doctor's going to be happy about one part of it at least--
He said I needed a rest.
Well, this is a lovely place to rest.
Yeah, I used to ride through here when I was a kid.
Not as pretty as some of the parks around the big cities, but--
That's Mojave. That's where I was born.
That's supposed to be news to your wife ?
You're home. You can even stay if you want.
Wouldn't it be nice showing your children where you once played ?
These headaches. They'll be hereditary, you know.
Would you wish them on a child or a whole group of children ?
- That's foolish. - Is it ?
first they made me protect you, and then feel sympathy for you.
And now we have these familiar surroundings...
and a comfortable husband/wife relationship.
They don't need all this for just passion.
What they're after is respect and mutual dependence.
They say in the olden days,
all this was desert, blowing sand and cactus.
But we're not here, neither of us !
- We're in a menagerie, a cage. - No !
I can't help either one of us if you won't give me a chance.
Now, you told me once they used illusions as a narcotic.
They couldn't even repair the machines left by their ancestors.
Is that why they want us, to build a colony of slaves ?
Stop it !
Don't you care what they'll do to us ?
Back in my cage, it seemed for a couple of minutes...
that our keeper couldn't read my thoughts.
Do emotions like hate--
keeping hate in your mind--
does that block off our mind from them ?
They can’t read through primitive emotions.
But you can't keep it up for long enough. I've tried.
They keep at you and at you, year after year,
tricking and punishing.
And they won.
They own me.
I know you must hate me for that.
Oh, no, I don't hate you.
I can guess what it was like.
But that's not enough.
Don't you see ?
They read my thoughts, my feelings,
my dreams of what would be the perfect man.
That's why they picked you.
I can't help but love you,
and they expect you to feel the same way.
If they can read my mind, then they know I'm attracted to you.
I was from the first moment I saw you in the survivors' camp.
[ Using Telepathy ] A curious species.
They have fantasies they hide even from themselves.
I'm beginning to see why none of this has worked for you.
You've been home and fighting, as on Rigel.
That's not new to you, either.
A person's strongest dreams...
are about what he can't do.
Yes. A ship 's captain--
always having to be so formal,
so decent and honest and proper.
You must wonder what it would be like to forget all that.
Nice place you have here, Mr. Pike.
Glistening green, almost like secret dreams...
a bored ship captain might have.
Funny how they are on this planet--
actually like being taken advantage of.
Suppose you had all of space to choose from...
and this was only one small sample ?
Wouldn't you say it was worth a man's soul ?
Now, we've located a magnetic field.
Seems to come from their underground generator.
But could that be an illusion too ?
Well, you all know the situation.
We're hoping to transport down inside the Talosian community.
If our measurements and readings are an illusion also,
one could find oneself materialized inside solid rock.
Nothing will be said if any volunteer wants to back out.
The women !
Captain !
No ! Let me finish !
But we were a party of six.
We were the only ones transported.
It's not fair. You don't need them.
They don't work.
They were fully charged when we left.
It's dead. I can't make a signal.
- What is it ? - Don't-Don't say anything.
I'm filling my mind with a picture...
of beating their huge, misshapen heads to pulp !
Thoughts so primitive, they black out everything else.
I'm filling my mind with hate !
How long can you block your thoughts, a few minutes, an hour ?
- How can that help ? - Leave him alone.
He doesn't need you. He's already picked me.
Picked her ? For what ? I don't understand.
Now, there's a fine choice for intelligent offspring.
Offspring ? As in children ?
Offspring as in he's Adam. Is that it ?
You're no better choice.
They'd have more luck crossing him with a computer.
Well, shall we do a little time computation ?
There was a Vina listed on that expedition as an adult crewman.
Now, adding 18 years to your age then--
It's not fair ! I did what you asked !
Since you resist the present specimen,
you now have a selection.
I'll break out of this zoo somehow and get to you.
Is your blood red like ours ? I'm going to find out.
Each of the two new specimens has qualities in her favor.
The female you call Number One has the superior mind...
and would produce highly intelligent children.
Although she seems to lack emotion, this is largely a pretense.
She often has fantasies involving you.
All I want to do is get my hands on you.
Can you read these thoughts--
images of hate, killing ?
The other new arrival has considered you unreachable,
but now is realizing this has changed.
The factors in her favor are youth and strength,
plus unusually strong female drives.
You'll find my thoughts more interesting,
thoughts so primitive, you can't understand,
emotions so-- [ Groans ]
Wrong thinking is punishable.
Right thinking will be as quickly rewarded.
You will find it an effective combination.
- Captain. - No. Don't help me.
I have to concentrate.
They can't read through hate.
- Address inner craft. - Open, sir.
This is the acting captain speaking. We have no choice now...
but to consider the safety of this vessel and the remainder of the crew.
We're leaving.
All decks prepare for hyper drive.
Time warp factor.
Mr. Spock, the ship's controls have gone dead !
- Engine room, Mr. Spock here. - Open.
Switch to rockets. We're blasting out.
All systems are out, bridge. We've got nothing.
There's nothing. Every system aboard is fading out !
Hold still, or I'll-- Hold still, or I'll break--
Don't hurt them. They don't mean to be evil.
I've had some samples of how good they are.
You stop this illusion, or I'll twist your head off !
All right.
You try one more illusion, you try anything at all,
I'll break your neck.
Your ship.
Release me,
or we'll destroy it.
Nothing. If not for the batteries,
we'd lose gravitation, oxygen.
- [Alarm Blaring] - The computers !
I can't shut it off ! It's running through our library.
Tapes, micro records, everything. It doesn't make sense !
Could be we've waited too long.
They're collecting all the information stored.
They've decided to swat us.
He's not bluffing, Captain.
With illusion, they can make your crew work the wrong controls...
or push any button it takes to destroy your ship.
I'm gonna gamble you're too intelligent...
to kill for your reason.
On the other hand, I've got a reason.
I'm willing to bet you've created an illusion this laser is empty.
I think it just blasted a hole in that window,
and you're keeping us from seeing it.
You want me to test my theory on your head ?
Captain !
Make contact, Number One.
They kept us from seeing this too. We cut through and never knew it.
Captain !
As you see,
your attempt to escape accomplished nothing.
I want to contact our ship.
You are now on the surface, where we wished you to be.
With the female of your choice,
you will now begin carefully guarded lives.
And start by burying you ?
That is your choice.
To help you reclaim the planet's surface,
our zoological gardens will furnish a variety of plant life.
I'll make a deal with you--
You and your life for the lives of these two earth women.
Since our life span is many times yours,
we have time to evolve you...
into a society trained to serve as artisans, technicians--
Do you understand what I'm saying ?
You give me proof that our ship is all right,
send these two back and I'll stay with Vina.
It's wrong to create a whole race of humans to live as slaves.
Is this a deception ?
Do you intend to destroy yourselves ?
What is that ?
The weapon is building up an overload--
A force chamber explosion.
You still have time to get underground.
Well, go on !
And just to show you how primitive humans are, Talosian,
you go with her.
If-If you all think it's this important,
then I can't go, either.
I suppose if they have one human being, they might try again.
Wait !
[ Using Telepathy ] Their method of storing records is crude...
and consumed much time.
Are you prepared to assimilate it ?
We had not believed this possible.
The customs and history of your race...
show a unique hatred of captivity.
Even when it's pleasant and benevolent, you prefer death.
This makes you too violent and dangerous a species for our needs.
He means that they can’t use you.
You're free to go back to the ship.
And that's it ?
No apologies.
You captured one of us, threatened all of us.
Your unsuitability has condemned the Talosian race to eventual death.
Is this not sufficient ?
No other specimen has shown your adaptability.
You were our last hope.
But wouldn't some form of trade, mutual cooperation--
Your race would learn our power of illusion...
and destroy itself too.
[ Whistles ]
Captain, we have transporter control now.
Let's get back to the ship.
I can't. I can't go with you.
Sir, it just came on. We can't shut the power off.
- [Whistling] - Mr. Spock here.
All power has come on, Mr. Spock. The helm is answering the control.
The captain.
You see why I can't go with you ?
This is the female's true appearance.
They found me in the wreckage...
dying, a lump of flesh.
They rebuilt me. Everything works,
but they had never seen a human.
They had no guide for putting me back together.
It was necessary to convince you...
her desire to stay is an honest one.
You'll give her back her illusion of beauty ?
And more.
She has an illusion, and you have reality.
May you find your way as pleasant.
Mr. Spock, the system is coming on again.
- What's happened to Vina ? - Isn't she coming with us ?
No, and I agreed with her reasons.
- Hold on a minute. - No, I feel fine. Just fine.
Yeah, you look 100% better.
You recommended a rest, and a change of pace, didn't you ?
- Mm-hmm. - I've even been home.
Does that make you happy ?
- Yeoman ? - Yes, sir.
I thought I told you that when I'm on the bridge, l--
Oh. Oh, yes, the-the reports.
Thank you.
Sir, I was wondering--
Just curious-- who would have been Eve ?
Yeoman ! You've delivered your report.
Yes, ma'am. Yes, sir.
Eve, sir ?
Yes, sir.
Eve as in Adam ?
As in all ships' doctors are dirty old men.
What are we running here, a cadet ship, Number One ?
-Are we ready or not ? - All decks show ready, sir.

Episode Trailer


Episode 01. The Cage

"The Cage" went into production in 1964.
This is the first ever Star Trek ever made.
This episode was never aired, only first aired in 1988.
Jeffery Hunter, only appeared in active footage of this episode in "The Menagerie, Part I" and "The Menagerie, Part II".
Leonard Nimoy, is the only character to survive the un-aired pilot.
The episode takes place 13 years before the episode "Where No Man Has Gone Before".
The Enterprise was almost called the U.S.S. Yorktown.
This is the time we see Orian Slave girls, until Star Trek: Enteprise.
The Enterprise is different in this episode.
Matthew Jefferies, designed the U.S.S. Enterprise.
In the fan made production, Star Trek: New Voyages. Pike helps Kirk in saving his Enterprise in theat episode "In Harms Way".
There is two cuts of "The Cage", one is in color and one own by Gene Roddenberry that was in black and white.
Majel Barrett, played Nurse Christine Chapel/Lt. M'Ress/Enterprise computer/Additional voices. She never reprises "Number One" from this lost pilot. She later plays the Enterprise-D'S computer, Defiant in Star Trek: Deep Space Nine, and the Voyager's computer in Star Trek: Voyager. She reprise her roles as ships computer in "In a Mirror, Darkly, Part I" and "In a Mirror, Darkly, Part II", also in "These are the Voyages" in Star Trek: Enterprise. Majel, also played Lwaxana Troi, Deanna Troi's mother.
Majel Barrett is married to Gene Roddenberry, the creator of the series.
Gene Roddenberry originally envisioned the Talosians as being crab-like creatures, but budget constrains and the visual effect capabilities of the mid 1960's made this unfeisable.
This pilot was rejected by NBC, who thought Spock might scare children.
Spock served, 11 years with Captain Pike. This mentioned in "The Menagerie, Part I" and "The Menagerie, Part II".
In "The Cage" Pike says he doesn't want women on his bridge, Number One being the singular exception, and he keeps ordering Colt off of it. Somehow, though, he overlooks the very obviously female crew-woman seated at the science station when the computer print-out about Talos is being generated.
Special effects of the ship in space were very expensive in the 60s and couldn't be wasted. So when a larger model was built with slightly different nacelles, shots of both versions became common, even within the same episode. This is why the Enterprise sometimes had red needle-tipped nacelles and sometimes lighted "spinning" ones, and in aft views she had either round white balls or perforated vents at the nacelles' ends.
In the first illusion, Vina runs down the path from the fortress to Pike. When we cut to close-ups, they're both suddenly standing much closer to the building than before, and the fortress has changed color from brownish orange to white.
When the doctor is mixing the drink and Pike gets up off the bed to accept it, an equipment shadow sweeps across the left side of the screen.
This is the first episode we saw the transporter.

After the pilot aired, the studio told Gene Roddenberry to get rid of the guy with the ears, Mr. Spock. But Roddenberry wanted an alien presence on the bridge and had to fight to keep the character on Star Trek (1966).
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The first pilot was not aired on TV until 1988, when it was used as a filler episode for Star Trek: The Next Generation (1987) due to a writers strike.
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Leonard Nimoy's Mr. Spock was the only character from the first pilot retained into the series. The ship's first officer character, Number One, was rejected for the series by the network because she was female (according to Gene Roddenberry), or because of her lack of acting ability (according to Desilu production chief Herbert F. Solow). Actress Majel Barrett (Roddenberry's girlfriend at the time and later wife) was recast as Nurse Chapel. When the pilot was recycled as Star Trek: The Menagerie: Part I (1966) and Star Trek: The Menagerie: Part II (1966), it was established that Captain Pike's voyage to Talos IV took place 13 years prior to the events of the Star Trek (1966) series.
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During pre-production make-up tests, the Orion Slave Girl footage (with Majel Barrett acting as a stand-in for the not-yet-cast Susan Oliver) kept returning from processing with the character's green skin changed to Caucasian. Initially believing the green makeup was somehow failing to show up on film, the producers learned the developers at the processing lab hand-corrected the color, believing it to be a processing error.
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According to William Shatner's book "Star Trek (1966) Memories", Lloyd Bridges was approached to play Captain Pike, but refused because he didn't feel like taking part in an outer-space series.
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The original script called for the aliens to be crab-like arthropods. Since the budget would not allow this, they were made into humanoids with bulging brains, beginning a Star Trek tradition of almost all aliens being of a shape that could be easily played by human actors.
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The officer rank insignia in this episode (single gold braid for everyone) was intended to be generic so as to imply that the space service of the future had no need for ranks and titles, and was not intended to be a military organization. This concept did not carry over into other Star Trek series, as a classic rank insignia structure was developed and Star Fleet was clearly indicated to be based on the military.
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Just after the women beam down, Vina attempts to insult Number One by comparing her to a computer. Majel Barrett, who played Number One, went on to voice the Federation Computer in every Star Trek (1966) series.
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Yvonne Craig auditioned for the role of Vina. She would later guest star in Star Trek: Whom Gods Destroy (1969) wherein she played an Orion slave which was one of the personas Vina played in this episode.
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NBC reportedly called the pilot "too cerebral", "too intellectual", and "too slow" with "not enough action". Rather than rejecting the series outright, the network commissioned - in an unusual, and at the time unprecedented, move - a second pilot, which then became Star Trek: Where No Man Has Gone Before (1966). This was accepted and Star Trek: The Original Series began production.
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Prior to the making of this episode, Gene Roddenberry already knew that he wanted to cast both Majel Barrett - who he had in mind when originally developing the character Number One - and Leonard Nimoy as Number One and Spock, respectively. All three had previously worked on The Lieutenant (1963), a series that had been produced by Roddenberry and had featured appearances from Barrett and Nimoy. Casting director Joseph D'Agosta had also worked on the series.
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Majel Barrett would return in the series as Nurse Christine Chappel and would later play Lwaxana Troi in Star Trek: The Next Generation (1987) and provide computer voice in TNG, Star Trek: Deep Space Nine (1993) and Star Trek: Voyager (1995).
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Number One's name likely stems from Historical Brittish Navy Traditions in which first officers were addressed as "Number One." On Star Trek: The Next Generation (1987), Captain Picard routinely addressed his first officer Riker as "Number One."
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Takes place eleven years before Star Trek: The Man Trap (1966).
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Majel Barrett's character, Number One, was rejected by the studio executives. They considered a female authority figure unrealistic. (This account has been questioned and may be apocryphal.)
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David Opatoshu was considered for the role of Dr. Phillip Boyce. Opatoshu later guest starred in Star Trek: A Taste of Armageddon (1967).
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Malachi Throne provided the voice of the Talosian Keeper in Star Trek: The Cage (1986), which was also Leonard Nimoy's first Star Trek (1966) appearance. Throne was also with Nimoy for his final "Star Trek" television appearance, Star Trek: The Next Generation: Unification II (1991).
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Principal photography began on November 27, 1964, and ran through December 18, 1964 (sixteen production days, going over its originally scheduled eleven days). Following post production (special optical effects, editing, music, etc.), "The Cage" was delivered to NBC in February 1965.
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Loulie Jean Norman who vocalized the intro theme starting in the second season added her angelic but haunting vocal touch during several of the Talosians' illusions such as when the Vina is first luring Pike into a trap.
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Footage of this pilot has been used to create the two-part Star Trek (1966) episode "The Menagerie". Because of a production delay, they had only one week to produce two episodes and so they edited this pilot into Star Trek: The Menagerie: Part I (1966) and Star Trek: The Menagerie: Part II (1966).
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This takes place in 2254.
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NBC's objection to Number One is said to be their belief that a woman wouldn't be believable in such a command position. At the time, Gene Roddenberry and Majel Barrett were in the midst of their extramarital affair. NBC's primary objections have been said to be related to the fact that the part of the lead female would be played by the Mistress of the series Producer.
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Jeffrey Hunter did not continue with the series after this one pilot, because he had decided to concentrate on films.
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Although male voices were dubbed in for the Talosians, three of the Talosian actors were actually women. Robert Butler and Gene Roddenberry struck upon using this casting method at about the same time as one another, Butler reckoning that it would lend the Talosian characterizations an alien-like androgynous quality. Roddenberry believed that the lighter builds of females might suggest that the Talosians had allowed their bodies to atrophy while instead choosing to concentrate on advanced brain development. Upon searching for suitable performers to play the parts, Roddenberry scoured Hollywood for short actresses with faces that he deemed to be interesting. Meg Wyllie was cast as the Talosian Keeper on Butler's recommendation, they having previously worked together.
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Though the first script draft referred to Talos IV as being located at the "edge of the universe" and stated that Earth was "at the other end of this galaxy," Harvey P. Lynn Jr. rejected these notions, advising Gene Roddenberry that travelling from one end of the galaxy to the other would take an impossibly long time and encouraging him to switch the latter reference to "far away in this galaxy." Evidently, Roddenberry ultimately minimized the references to the far distance between Earth and Talos IV; of the two such references, the first was deleted while the second remained.
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The origin of Number One was revealed in the Star Trek (1966) novel, 'Vulcan's Glory'. Her name is a reference to the fact that she is the top intellect of her generation. Her home planet is called Illyria.
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When doing makeup tests for Vina as an Orion slave girl, Majel Barrett was used as a willing test subject. "I was cheap, I was there, and our guest star was not!" Barrett laughed in retrospect. "She would have had to be brought in and they would have had to test it [on her], and there just wasn't the money." This took place early in the episode's preproduction phase and it was Fred Phillips who applied the makeup to Barrett. ("The Menagerie, Part II" text commentary) However, the footage of these tests kept coming back without the green skin being visible. Puzzled by this, the makeup crew kept painting the actress again and again with other shades of green, hoping it would be visible on film. This went on for a period of three consecutive days. Afterward, the makeup artists discovered that the film processing lab was "de-colouring" her because they didn't know she was supposed to be green.
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Notice when landing party fires at the entryway the laser beam appears to disappear into the elevator doors. This is because the doors are an illusion thus the beams are passing through.
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The bed in Pike's quarters was far too short for Jeffrey Hunter. His feet are extending well beyond the end of the mattress, as he briefly reclines on it.
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While Susan Oliver was wearing her green Orion slave girl makeup, she became very tired. A doctor was called to the studio to give her a vitamin B shot. He went to her dressing room where, not having been informed of her appearance, he was greatly surprised to see that her complexion was green. The doctor was so flustered, in fact, that it took him nearly five minutes to simply identify an area to administer the shot.
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DeForest Kelley viewed this episode around the same time it was being shown to studio executives. He told Gene Roddenberry, "Well, I don't know what the hell it's all about, but it's either gonna be the biggest hit or the biggest miss God ever made."
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During an early May 1964 meeting wherein Gene Roddenberry and Herbert F. Solow pitched the series to television network NBC, Jerry Stanley - NBC Program Development Vice President - asked to hear more about the idea for the series' pilot episode. Solow later reflected, "I asked Gene to explain. He did, very succinctly describing the premise of 'The Menagerie'." Neither Grant Tinker - who was also present at the meeting and was, at the time, NBC Vice President of Programs, West Coast - nor Jerry Stanley was convinced to agree to a series deal with Roddenberry and Solow. Just as Roddenberry was about to leave the room, Solow made a last-ditch attempt to persuade the NBC executives, stating, "If you give us a commitment for a ninety-minute script instead of one hour, and we make the pilot, you can always run it as a TV special and recoup your investment if it doesn't sell as a series. Besides, I'm not leaving this room until you give us a script order." This was enough to sway NBC's stance and the executives agreed to make a deal.
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This episode's narrative style was selected after Oscar Katz, the president of Desilu Television at the time, personally pitched four different narrative approaches to the NBC executives. Whereas the first two story types primarily focused on events aboard the Enterprise and the third option featured a planet whose inhabitants were much like Humanity of either the past or the future, the fourth type involved a planet that was highly different from Earth and was inhabited by people who were likewise very different from Humans. NBC chose the fourth type, the hardest to produce, as they wanted to challenge Desilu by making it as hard as possible for that studio to prove the series was doable. Explained Katz, "I tried to talk them out of it, because I knew it was going to be expensive and, even more, I felt that it might not be representative of the series. But they couldn't be talked out of it."
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The plot idea for this episode underwent further development in early May 1964, after NBC vice-president Mort Werner provided Gene Roddenberry with US$20,000 in development money to write three different story outlines based on the Star Trek format. With so much at stake over the trio of episode outlines, Roddenberry diligently laboured away at them, obsessing over each page and every word. He spent a month writing the outlines as well as several weeks revising them, after which he finally turned the pages over to NBC. The outlines had been forwarded to the network by the end of June 1964 and the particular outline for this episode was dated 29 June. The other two candidates were "The Perfect World" (which became Star Trek: The Return of the Archons (1967)) and "The Women" (which became Star Trek: Mudd's Women (1966)). Following the submission of the outlines, NBC took several days before announcing their choice of "The Cage" as the pilot-to-be.
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Hours after NBC greenlighted the pilot (a duration that Gene Roddenberry and Herbert F. Solow spent ironing out some of the "twists, turns, and bends in the plot"), Roddenberry set to work on writing the teleplay. As he wrote the first draft script, he spared no thought for the practicalities of producing what he was writing about, such as the episode's laser cannon, instead leaving such realistic considerations until later. Noted Solow, "The network draft wasn't for shooting, the network draft was for selling. When we got the order for the pilot film, then we'd face the budget problem head on."
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The episode's first draft script had an opening scene in the hangar bay where Captain April, whose character at this stage was a tad older than Captain Pike was later written, is inspecting new crew members. He remarks disapprovingly to the doctor, at one point, about the young age of some of these officers. "Something," Gene Roddenberry later wrote in a memo, "that Jim Kirk, the boy wonder of the Academy, never would have done." In this same scene, April sees a number of badly-wounded crewmen off the ship, onto a space shuttle or taxi from the Human colony of Antares. Among these departing officers is an uninjured former navigator named Crowley who April is sending back in disgrace, because he fired on friendly aliens. The officer argues that they were monstrous in appearance and asks how he could have known that they were intelligent enough to have weapons. These protests are met by a stern but subdued dismissal from the captain, who quietly orders, "Get off my ship, mister."
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This was the single most expensive episode ever created for the original Star Trek series. According to several sources, NBC spent US$630,000 on this episode. According to Majel Barrett, however, there was only US$168,000 available for the pilot. The episode's preproduction costs were reduced thanks to the use of rear-screen projection for images on the Enterprise's main viewscreen. Based upon extensive research author Marc Cushman had performed on the internal studio documentation used at the time, he has reported the budget and total cost at $452,000 (hugely debunking Barrett's earlier statement) and $616,000, respectively.
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Majel Barrett felt that her perceived lack of "special effects" in this pilot episode was an indication that the finances provided for the pilot "didn't go very far."
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The opening establishing shot of the Enterprise was reused in several early episodes: Star Trek: Where No Man Has Gone Before (1966), Star Trek: The Corbomite Maneuver (1966), Star Trek: Mudd's Women (1966), Star Trek: The Man Trap (1966), and Star Trek: Charlie X (1966). The starship, traveling at warp speed, is depicted in a unique effect that was never re-created for the series; the camera "sidles up" to the Enterprise model and "swoops over" the top of the primary hull. Combined with this shot are two space effects: one of a stationary star field and the other of a star field moving rapidly, from right to left. The completed effect is meant to suggest that "local" stars are flying past the Enterprise while the great "backdrop" of the galaxy remains motionless.
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Upon first hearing the theme tune for this episode (which went on to serve as the theme music for Star Trek (1966)), Robert Butler was impressed. He later reminisced, "The music was good; I remember that theme song was quite wonderful [....] I remember liking it when I heard it."
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Alexander Courage provided not only this thematic composition as well as the episode's score but also created the sounds of the Talosian singing plants.
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The first view of the completed pilot was at a special screening for the episode's cast and crew. "I remember the screening and the special effects and the makeup were just perfect," remarked J.M. Colt actress Laurel Goodwin, "Everyone was applauding when we saw the transporter effect put together. When you shoot it, of course, they just stop the camera and you walk off. But on film, it was so great."
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One aspect of the pilot which NBC was very worried with, was its "overall eroticism", most notably the "scantily clad green dancing girls with the humps and grinds". This was a major factor for not choosing Star Trek: Mudd's Women (1966), which dealt with "an intergalactic pimp selling beautiful women hookers throughout the galaxy", to be the second pilot.
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Despite the numerous nitpicks they had with this episode, NBC made the extraordinary (and, at the time, rare) move to order a second pilot, Star Trek: Where No Man Has Gone Before (1966). For that subsequent pilot, the briefing room, transporter room and bridge were kept much the same as they are in this historic first attempt (although the bridge doors and other bridge features were painted red, and several smaller modifications were made). However, the only actor to be reused from this episode was Leonard Nimoy. In reference to Number One and Spock, Gene Roddenberry once joked about how he kept the alien character and later married the woman, noting, "I couldn't have legally done it the other way around." Majel Barrett commented, "To be fired from the job and then see it come back 30 years later made me feel kind of good, but at the time I wasn't happy."
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A few novels have theorized as to the cause for the vast differences between Spock's highly emotional behaviour in this episode and his reservedness in the regular series. Examples of this include Spock possibly not having complete control of his emotions at that point, as he was still quite young, and that he achieved full control of his emotions by observing Captain Pike. In fact, the novel Burning Dreams establishes that indeed, whether Pike liked it or not, Spock did consider him a mentor and so Pike tried his best to live up to that assignment. The novel The Fire and the Rose establishes that Spock was simply emulating Human behaviors such as smiles, and that there was truly no emotion behind his own smile. He eventually stopped though when his crewmates came to distrust him, believing him not to be truthful about himself to them.
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Spock's cry of "Switch to rockets, we're blasting out!" is very anachronistic - there are no direct references to rocket engines in the episodes to come.
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The pants that the crew wear have a very conspicuous pleat down the front and seem to be a shade of dark blue-grey.
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Although Pike cites the crew complement as 203 other lives besides his own, the Enterprise's total crew complement was changed to 428 in Star Trek: Charlie X (1966), and 430 in later episodes.
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In one brief part of the first transportation sequence, the transporter chief's assistant is a man wearing glasses, but the scene changes and he appears without them. This is one of only three occasions where Starfleet officers are shown wearing corrective eyeglasses.
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Footage of the asteroids from the beginning of this episode was reused later, in Star Trek: Mudd's Women (1966) and Star Trek: The Doomsday Machine (1967).
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The pilot was initially released on home video in late 1986, in celebration of Star Trek's 20th anniversary. The release was a combination of the colour footage used in "The Menagerie" and the additional scenes in Gene Roddenberry's black-and-white print.
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Leonard Mudie, who has one line of dialog as one of the Columbia survivors, was a veteran of dozens of films dating back to the 1930s. He was 81 when this sequence was filmed, and he died the next year. He was the second-oldest actor ever to appear on Star Trek (1966) and the first to pass away.
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This is the first of six Star Trek instances in which Leonard Nimoy appeared without William Shatner, the other five being Star Trek: The Animated Series: The Slaver Weapon (1973), Star Trek: The Next Generation: Unification I (1991) and Star Trek: The Next Generation: Unification II (1991), and the series reboot films Star Trek (2009) and Star Trek Into Darkness (2013).
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The title of this episode was changed in production from "The Cage" to "The Menagerie". However, when the two-part episode Star Trek: The Menagerie: Part I (1966) and Star Trek: The Menagerie: Part II (1966) (which reused almost all the footage from this episode) went into production, the title of this installment reverted to "The Cage".
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Harvey P. Lynn Jr. recommended that Talos IV be stated to be in either Sigma Draconis, Eta Cassiopeiae, or HR 8832 (aka Gliese 892), owing to both their proximity to our solar system and the fact that it is unknown whether any of them have any Earth-type planets. Other astral names that Lynn requested be changed were Epsilon VII, Orion, and Rigel 113, which he suggested substituting with Draconis, HR 8832, and Vega 113, respectively. A similar idea that he presented was changing Orion traders to Centaurian traders. In his reply on 24 September, Gene Roddenberry expressed an interest in having the names of the stars in this episode be ones that were familiar to the audience. "This is why I've avoided such terms as 'HR8832,' etc," he explained. On the other hand, he conceded that the continued use of Rigel and Orion could still be substituted, in the final shooting script, with names such as Vega, admitting that such names - while being more appropriate from a scientific perspective - were also possibly just as familiar. Comparing the second revised final draft script (dated 20 September 1964) to the episode's final draft indicates that Roddenberry ultimately replaced Rigel 113 with Rigel VII. Neither the same script draft nor the actual episode contain reference to Epsilon VII, though they also evidence that Roddenberry ultimately excluded not only HR 8832 but also Draconis and Vega 113.
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Due to Harvey P. Lynn Jr.'s influence, the SS Columbia is said to have been lost in the same "region" as the Talos star group, rather than the same "quadrant" as that star system, and the gravity of Talos IV was altered from "1.3 of Earth" to less than Earth's gravity. Lynn submitted the latter suggestion on the basis of the Talosians' appearance and proposed that Talos IV have a gravity that was 85% as powerful as Earth's. In the episode's final version, it is said to be "0.9 of Earth."
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The character of Geologist was known as Astroscientist in the first draft script, but this was also changed on the recommendation of Harvey P. Lynn Jr., who opted for "Geologist" because he believed it was a more specific title.
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Because Jeffrey Hunter was playing a very controlled, internalized character, Leonard Nimoy felt the need to bring in some energy and animation onto the set.
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The making of this episode despite the fact that best estimates for the pilot originally placed its production cost as more than US$500,000 represented a considerable gamble for Desilu, which was a small, ill-equipped studio at the time. Nervous about this situation, NBC set out to monitor the progress of the pilot, keeping a check on the project's schedule and cost.
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Only a short stretch of corridor was built for this episode. This set can be seen, in its entirety, during the scene in which Pike heads through a passageway into his "cabin" (or quarters), passing a young couple.
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At first, it was uncertain how a production crew could be assembled to handle such an ambitious and complex episode as this, though Gene Roddenberry and Herbert F. Solow immediately ruled out the crew that regularly produced Desilu's The Lucy Show (1962)', which starred Desilu President Lucille Ball. "As professional as the crew was, most of them would be of little help when confronted with the overwhelming demands and technical requirements of the planned Star Trek pilot," explained Solow. "Basically, Gene and I were faced with the job of building a production unit from scratch at a time when the availability lists from the unions were scant or empty."
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The weirdness of Gene Roddenberry's requirements startled some of the advisors he attempted to consult. "Well, it was all so new and strange to them," Roddenberry observed. "Like you call some unsuspecting production man on the phone, and he says, 'Hello,' and you say, 'What does it cost to paint a girl green?' You get a long silence!"
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One of the first occasions on which word of this episode reached the press was following NBC's approval of the pilot script; while Gene Roddenberry and Herbert F. Solow were celebrating the confirmation during lunch with their daily Cobb salad at the Hollywood Brown Derby on Vine Street, Dave Kaufman - a television reporter and columnist for Daily Variety - passed by their table on his way back to his office and Solow notified him of the news. However, the cheerful Kaufman replied, "I knew it before you did." After leaning over to engage Roddenberry in a handshake, Kaufman repeatedly asked who would be producing the pilot, doubting that Desilu was up to the task. Roddenberry and Solow acknowledged Kaufman's remarks and he wished them good luck before exiting.
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Landing party jackets vanished after this, but returned in Star Trek: The Motion Picture (1979), also appearing in Star Trek II: The Wrath of Khan (1982), Star Trek III: The Search for Spock (1984), and Star Trek V: The Final Frontier (1989). Star Trek: Enterprise (2001) was the only other television Star Trek that depicted hats and a variety of environment-specific outerwear being regularly issued to crew members.
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In 1987, film archivist Bob Furmanek discovered the missing trims from the color 35 mm negative of "The Cage" at a Hollywood film laboratory, and saw that they were returned to Paramount. However, the soundtrack trims were not found. When restoring "The Cage", Paramount used the soundtrack from "The Menagerie" for most scenes, and the soundtrack of Gene Roddenberry's 16 mm print (which was of lower audio quality) for the restored trims. The mixing of sound and picture quality for the episode caused controversy in some fan circles, in that some viewers believed that the existing black-and-white footage had simply been colourized, even though this was not the case.
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With the death of Leonard Nimoy (Spock) on February 27, 2015, Laurel Goodwin (Yeoman J.M. Colt) is the last surviving credited cast member.
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The genesis of this episode was the first of twenty-five proposed stories in Gene Roddenberry's series outline Star Trek is.... The description of the plot concept that became this episode (preliminarily entitled "The Next Cage") read, "The desperation of our series lead, caged and on exhibition like an animal, then offered a mate."

This episode's premise was not the only concept that NBC considered for the series' pilot. Herbert F. Solow explained, "They wanted to hear more stories before one of them was chosen for the pilot script. We had more meetings, and Gene gave them more stories."

The episode's story outline consisted of 26 pages. In those pages, the name of the Enterprise's captain was Robert April (as it was in the series outline Star Trek is...). He was the only one of his crew whose name was to be changed, as the episode continued to evolve. Also, the Talosians were crab-like aliens (their species remaining unnamed, though they were commonly referred to as "crab-creatures"), and their planet was "Sirius IV".

Some of Gene Roddenberry's initial thoughts for the episode's illusory scenarios had to be altered or scaled back due to production and budgetary realities.

Gene Roddenberry cared about the believability of the script. To this end, he initiated a period of intensive scientific research and began an acquaintance with Harvey P. Lynn, a physicist from the RAND Corporation who served as Roddenberry's unofficial technical adviser on the pilot.

According to Majel Barrett, the first character introduced in the script was Number One. "That was the first character Gene wrote into the script," Barrett stated. "Captain April was not an afterthought because he knew he had to have a captain, but the first character that was described was Number One."

While scripting the episode, Gene Roddenberry developed a habit of being somewhat possessive about story ideas, to such a degree that Herbert F. Solow considered this quality to be excessive. "As Gene completed the first-draft pilot script," Solow remarked, "he unfortunately became overly protective of his new baby." Furthermore, Roddenberry began to frequently lay claim to the input of others. "A new side of Gene slowly appeared: ownership of ideas," commented Solow. "If a good story or series point came from anyone, be it NBC, [Desilu's agent] Ashley-Famous, or Desilu, Gene Roddenberry appropriated it."

In the first draft script, the illusory Columbia survivors had more dialogue than they do in the episode's final edit. For instance, it was established that the survivors' distress call had been a directional beam. Harvey P. Lynn Jr., however, proposed that it would be more likely for the survivors' signal to have been a broadcast beam, owing to the increased probability that such a beam would be intercepted. Solar batteries were mentioned by at least one of the survivors too, but Lynn opposed this by suggesting that the illusory Human instead say, "After we could no longer use the ship's power, we switched to automatic batteries and started praying." This dialogue was evidently later cut or omitted entirely.

Harvey P. Lynn Jr. made some notes on the specifics of several elements that were intended to continue to be featured in the forthcoming series (such as lasers, for which he submitted four alternative names, though Gene Roddenberry maintained that he wanted the name to stay as it was, due to the high odds that it would be recognizable to viewers).

The second revised final draft script indicates, as does the episode, that Spock, José Tyler, and others had been wounded in the fighting on Rigel VII - events which took place just prior to the action in the pilot. The script includes stage directions for Spock to be limping and for Tyler to have a bandaged hand.

Robert Butler was happy with the casting of Peter Duryea, Majel Barrett, and Susan Oliver as Vina but had some difficulty with Jeffrey Hunter playing Pike. "I certainly knew of him and found him to be a real co-operative good guy," stated Butler. "He was a little heroic and a little stiff, and I tried to modify that a little bit."

In his introduction for the 1986 VHS release, (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he refused to cast his crew what the network dubbed "sensibly," which according to Roddenberry meant "all white." This was indirectly contested by Herbert F. Solow in the book Inside Star Trek: The Real Story, in which he states that Mort Werner deliberately encouraged NBC to show racial diversity and integration in its programs.

Clegg Hoyt played the transporter chief, Pitcairn, but his voice was dubbed in by Bob Johnson.

Malachi Throne (Voice of The Keeper) featured not only in this episode, Leonard Nimoy's first Star Trek appearance, but also appeared during Nimoy's final TV Star Trek appearance, Star Trek: The Next Generation: Unification II (1991).

The first filmed scene - the sequence with Dr. Boyce and Captain Pike sharing a martini - was filmed on Friday, 27 November 1964.

Oscar Katz announced NBC's go-ahead to produce the pilot at a Desilu board meeting, after which Herbert F. Solow fielded questions from the board. He explained that, although the pilot was going to cost more than NBC gave the studio, Desilu had no way of knowing how much more until after the revised script had been budgeted. Solow later mused, "The board was nervous. Production of a ninety-minute science-fiction pilot was an expensive business move, a risky business move." As the meeting went on, Solow gave assurances that it was possible for Desilu to produce the show and tried to maintain a positive demeanor as he answered more questions about the imminent pilot.

Besides Gene Roddenberry and Herbert F. Solow, the first production staffer to be assigned to this episode was Robert Butler. He was chosen by Roddenberry and Solow, following extensive talks with both NBC Programming and Alden Schwimmer, the boss of Ashley-Famous. NBC was satisfied with the decision, Butler having established himself as a director on numerous television series in the 1960s. It was Gene Roddenberry who asked Butler to helm the episode. Both Roddenberry and Solow regarded Butler as highly dependable. However, Roddenberry's extreme protectiveness over the episode clashed with Butler's impression of the script as being somewhat obscure. Butler later reflected, "I discussed whether or not people would get it. I could tell at that point that Gene was so consumed with it that he couldn't have heard any objections." Butler also wanted Roddenberry to change the title of the show from Star Trek to Star Track, feeling that the former was too pretentious, tedious, inert and boring. "In that discussion, and others regarding the story's obscurity, Gene was not in the mood to receive any such input," remembered the director.

In early October 1964, Robert H. Justman was interviewed for the post of associate producer on the pilot but turned it down, fearing that his post-production knowledge was not as extensive as it had to be for the episode, a response that lead to Byron Haskin instead being recruited as the pilot's associate producer. Justman meanwhile went back to working on _The Outer Limits_, on which he had worked with Haskin.

Purchasing a laser cannon for this episode was of some difficulty. Herbert F. Solow once commented that it was "tough to go down to the local hardware store or gun shop and buy one." The laser cannon prop was ultimately a modified camera dolly.

One of the imprisoned species is seen only by its shadow; the last cage in the zoo contains a large crab-like creature with huge claws. This was a shadow puppet, rendered with several fingers silhouetted against a lit background.

The Talosian seen down the corridor as Pike looks at all the imprisoned creatures was a dwarf. This gave the appearance of great length to what was actually a short, forced-perspective hallway. Robert H. Justman came up with this idea when they realized the budget wouldn't allow them to build a large hallway.

The Talosians' elevator landing was built on a platform, allowing room for the lift to descend without having to excavate below the soundstage's floor.

A matte painting created by noted matte artist Albert Whitlock was used to portray the Rigel VII fortress, though these exterior shots also involved the filming of live-action footage on the Metro-Goldwyn-Mayer back lot.

The spearhead Pike uses to kill the Kalar on Rigel VII was a recycled prop from RKO Pictures. It measured approximately thirty inches in length and was seven and a half inches wide.

Robert Butler said in an interview with Star Trek Monthly that he wanted some dirt and rust on the sets, but Gene Roddenberry vetoed this idea, claiming that everything must be clean and shiny. In another interview, Butler claimed that this was his basic reason for disliking Star Trek overall, calling it "too square-jawed, heroic" and "too worthy and clean" for his taste.

The landing party jackets in this episode were fastened by long strips of black Velcro running down the entire length of the inside flap, visible in some of the scenes.

The belts were grey-colored elastic-type bands that had metal hook/clip fasteners at the front which held the communicator and hand weapon. They were worn over the shirt but under the jacket, at the waist.

When indicating the region of the Talos group on his viewscreen, Spock calls up a photograph of the Pleiades Cluster.

The scene inside the Rigel fortress was one of the last scenes to be shot for this episode. It was filmed on 14 December 1964. Gene Roddenberry was present during the filming and model maker Richard C. Datin, Jr. also payed a visit to the set, presenting the three-foot Enterprise study model to Roddenberry.

Howard Anderson Company, the company responsible for all visual effects or "opticals" as they were called at the time, subcontracted the build of the Enterprise studio model to Richard Datin. Datin himself built the above-mentioned small three-foot that was originally intended to serve as a study model, but which ended up being used for filming nevertheless. The actual large eleven-foot filming model he himself had to sub-contract to Production Models Shop due to time pressure and lack of space in his workshop.

The opening shot of this episode was filmed with the use of frame-by-frame stop-motion animation, in order to allow for the transition between the footage of the Enterprise model and the shot that was taken on the set for the starship's bridge. Due to the movement of the space vessel, the shot was necessarily very intricate and extraordinarily difficult to produce. It was created by the Howard Anderson Company. The shot used the eleven-foot model of the Enterprise, while the other ship shots of this episode involved the three-foot miniature of the spacecraft. The shot was the very last to be produced and the only one where the large model was utilized, as it was only delivered to Anderson's on 29 December 1964, after all other footage had approximately been completed a week earlier.

The effect of the laser cannon firing was an animation produced by the Howard Anderson Company.

NBC was not satisfied with the majority of the actors. They wrote, "We also think you can do better with the ship's doctor, the yeoman and other members of the crew". Herbert F. Solow decided to hire a full-time casting director for the next pilot, and eventually the series.

Oscar Katz was pleased with this pilot episode. However, Lucille Ball was seemingly uninterested in it. Herbert F. Solow offered, "The day the completed pilot was screened for NBC on the West Coast, I walked into Lucy's dressing room to tell her NBC's reaction. The pilot script was still there, apparently untouched."

After Jeffrey Hunter's wife convinced the actor that science fiction was "beneath him," Gene Roddenberry - planning to cast William Shatner for the second pilot - arranged for himself and Shatner to watch this episode in Los Angeles. "When I walked out [of the viewing] I remember thinking it was a very imaginative and vital idea," Shatner recalled. "I thought everybody took themselves a little too seriously." Shatner not only thought that the episode lacked humor but was also of the opinion that its cast had overacted their parts, to the point of being unrealistic. "That was my impression," he admitted, "and we spoke about that."

In her 1994 autobiography Beyond Uhura, Nichelle Nichols comments on this instalment, stating, "Viewing it today [...] the show stands as the purest earliest representation of what Gene hoped Star Trek (1966) would achieve." She also characterizes the episode as "not only the basic pattern for countless future Star Trek (1966) episodes, but a blueprint for the future of civilization" and describes the episode's conclusion as "an intelligent, peaceful resolution."

In 1996, Grace Lee Whitney cited this as one of her favourite TOS episodes (along with Star Trek: Charlie X (1966), Star Trek: The Devil in the Dark (1967) and Star Trek: The City on the Edge of Forever (1967)).

In 1997, Majel Barrett similarly named this as one of her two favourite episodes of TOS (the other being Star Trek: The City on the Edge of Forever (1967)) and said that she thought both of them "are more Star Trek than anything else that has been conceived." Of this episode specifically, she enthused, "I thought it was beautiful. People still ask me, 'What is your favorite episode? no question, it would have to be 'The Cage' [....] [It] was pure Star Trek."

A black-and-white 16mm print of this episode was owned by Gene Roddenberry and was shown by him at speaking engagements and conventions. One of these events was "Tricon" - 1966's World Science Fiction Convention in Cleveland, Ohio - whose attendees included Allan Asherman, a future writer of Star Trek reference works. Due to popular demand, the black-and-white version of this episode was shown after Star Trek: Where No Man Has Gone Before (1966). The event was the first convention that Roddenberry took the Star Trek pilots to. Asherman later wrote how he had been impressed by the "serious and imaginative detail" in this episode, a facet he believed it shared with the later pilot. He went on to comment, "In addition there were the laser cannon opticals, the superb Talosian makeups, and another interesting musical score. Its most outstanding characteristics were the intelligence of its story, its polished production values, and the performances of its actors."

The master color 35 mm negative was cut into the master negative of "The Menagerie" in 1966, and the trims not used were subsequently lost. No color or 35mm print of "The Cage" was known to exist, only the black-and-white print owned by Gene Roddenberry, who continued to exhibit the footage at various Star Trek conventions throughout the '70s and early '80s.

This episode is difficult to reconcile with canon in many instances. For example, Spock smiles and uses several Human expressions (for example, "buzzing about down there"), which he seldom does in subsequent episodes and films. In the series, he instead has the emotional control and genius level intellect present in the character of Number One here. This change was actually due to the fact that, in contrast to Jeffrey Hunter's portrayal of Captain Pike, Leonard Nimoy found 'William Shatner as Captain Kirk had his own energy, animation and exuberance, so Nimoy felt like he was able to be more reserved and internalized in the series than in this pilot.

Pike tells the Talosians that he's from a stellar group "at the other end of this galaxy," which, in modern Star Trek parlance, implies that Talos IV is deep in the Beta, Gamma, or Delta Quadrants. This does not seem likely, especially because the SS Columbia was lost for only eighteen years and, having travelled at less than light speed, must be relatively close to Earth. In fact, Harvey P. Lynn Jr., who served as Gene Roddenberry's unofficial technical adviser on the pilot, told him that travelling from one end of the galaxy to the other would take an impossibly long time.

Tyler implies that faster-than-light (FTL) travel is relatively new. He tells one of the scientists that they can get back to Earth quickly. "The time barrier's been broken! Our new ships can..." Earlier, with an expression used only once in the series, Pike orders FTL speed to Talos IV by saying, "Our time warp, factor 7." Basically, this establishes that warp speed is not only FTL, but also "negates" the time dilation effect about which Einstein theorized in his Special Theory of Relativity. Of course, later Star Trek canon establishes that Zefram Cochrane "discovered" the space warp in the mid-21st century. "The Cage" takes place two centuries later, in 2254.

Dwight D. Eisenhower, John F. Kennedy, and Lyndon Johnson make the only contemporary presidential appearances in an original series episode here, as images in the Talosian download of the ship's computer.

As opposed to the electronic clipboards used in the regular series, Pike uses a very 20th century metal clipboard. A television also appears in his quarters.

A "captain's hat" can be glimpsed, in passing, on top of that television, although Pike never wears it, and after this pilot, the hat was never seen again.

Judging by the shape of the wall and the window, Pike's quarters seem to be directly below the bridge; there are no other curved windows on the saucer section of the model.

The sign next to the door of the captain's quarters reads simply "Captain." When the series went into production, Captain Kirk's name was put on the nameplate outside his quarters.

Star Trek: The Menagerie: Part II (1966) establishes that, following the events of this episode, the Federation imposed General Order 7 on the Talos system, preventing anyone from ever approaching the planet again, under penalty of death.

This episode's depiction of a parkland near Mojave is the only time that 23rd century Earth is ever seen in the entirety of Star Trek (1966). Given that this is merely an illusion created by the Talosians, the first appearance of the real Earth of the 23rd century was in Star Trek: The Motion Picture (1979).

In his introduction for the 1986 VHS release (which can now be seen on the DVD version in the third season set), Gene Roddenberry noted that he wanted no one aboard the Enterprise to smoke. This was despite the fact that tobacco advertising was a major revenue source for the television networks in 1964. Even one of Star Trek (1966)'s sponsors, during its first season, was Viceroy cigarettes. (All tobacco advertising was banned from television and radio on 1 January 1971). Seventeen years later, Patrick Stewart would appear on-screen smoking a cigarette in Star Trek: The Next Generation: The Big Goodbye (1988), although Picard was shown choking on it.

Throughout most of the first and second seasons, the "singing plant" sound heard on Talos IV became the standard background noise on various planets. Beginning with Star Trek: Spectre of the Gun (1968), a different, warbly sound was used for a number of the remaining shows. The sound was used as the transporter beam sound effect in the series proper.

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