7/21/23
Newsletter #403
The Crack of Dawn
I am not a Trekkie; not by a mile. I have never given a damn about anything regarding Star Trek beyond the three seasons of the original series, all of which I watched when it was originally aired back in 1967-69. I was 9-11 years old, which is the perfect age for that show. For you Trekkies out there, most of you don’t know and can never know what it was like seeing that show when it first aired. Even though color had been inexorably creeping into television for years, and by 1966 a couple of big shows were already broadcast in color, like Bonanza and The FBI (“in color” – the narrator actually said it like it was part of the title), most shows were in black & white, as were most TV sets.
The joke for this little change-over period was how long did it take you to realize that The Wizard of Oz (1939) – that showed annually and was always sort of a big deal – switched from black & white to color? Unless you bought a color TV set, or watched it at someone else’s house, you didn’t get that switch, and didn’t even know that it happened.
In 1967 the world changed and everything became color. On top of which, it all went psychedelic that year – Sgt. Pepper, Laugh-In, Peter Max – and all that was primarily composed of bright colors. In my little brain 1966 and back is one era; and 1967 forward is another. Of course, it’s not just me. That’s when the Academy Awards dropped the Best Black & White Cinematography category.
Up until 1967, serious science fiction was an aspect of other shows, like Twilight Zone or Outer Limits or One Step Beyond. But sci-fi on TV was really exemplified by Lost in Space, which was cheap, black & white, and stupid. Star Trek, however, was bright, colorful and intelligent – in other words, it was a complete mind fuck, and like a giant breath of fresh air. It was like nothing before it. It went where TV had never gone before. But why?
I say unto you, my friends, that although it was all of these things, ultimately, it wasn’t the bright colors, or the otherworldliness and pointed ears of Mr. Spock, or even the awesome bridge set, it was the writing. Yep, that again. I’m a one-trick pony. What the original Star Trek had, above and beyond everything else, was some really terrific writing, most of which was dialogue. The example that immediately jumped to my mind was Space Seed from season one with Ricardo Montalban as Khan. Khan is a genetic superman that the Enterprise finds floating in space in suspended animation. They wake him up, and the ship’s historian, Lt. Marla McGivers (Madlyn Rhue), immediately falls under his spell.
[Sickbay - medical ward]
(Khan is lounging, showing off his chest and calves.)
MARLA: Ship's historian, Lieutenant
KHAN: Marla McGivers.
MARLA: Yes.
KHAN: I am told you participated in my rebirth.
MARLA: In a small way.
KHAN: I've been reading up on starships, but they have one luxury not mentioned in the manuals.
MARLA: I don't understand.
KHAN: A beautiful woman. My name is Khan. Please sit and entertain me.
(She perches on another bed)
MARLA: I'd like some historical information about your ship, its purpose and
KHAN: And why do you wear your hair in such an uncomplimentary fashion?
MARLA: It's comfortable.
KHAN: But it's not attractive. (He takes her to a mirror and loosens a couple of strands at the back.) There. Soft. Natural. Simple.
MARLA: Mister Khan, I'm here on business.
KHAN: You find no pleasure here?
MARLA: My interest is scientific. Men of. That is, the world of the past. I'm sure you understand to actually talk to a man of your century.
KHAN: There. Simple, soft. Please remember.
MARLA: Perhaps some other time, when you feel more like talking about the past.
KHAN: I'm glad you came. Please do it again.
[Later in Khan's quarters]
(Khan is pacing when Marla enters.)
MARLA: I wanted to apologize. They had no right to treat you that way.
KHAN: Quite understandable, since I'm something of a mystery to them.
MARLA: You're no mystery to me. I know exactly who you are.
KHAN: Do you?
MARLA: Leif Ericson, Richard the Lion Heart, Napoleon. I don't know if you're going to like living in our time.
KHAN: Then I'll have to remold it to my liking.
(Embraces her)
MARLA: Please don't.
(Pushes her away.)
KHAN: Go. Or stay. But do it because it is what you wish to do. Well?
MARLA: I'll stay a little longer.
KHAN: How many minutes do you graciously offer?
MARLA: I only meant
KHAN: This grows tiresome. You must now ask to stay.
MARLA: I'd like to stay. Please.
(He takes her hand, then forces her down onto her knees.)
KHAN: Open your heart. Will you open your heart?
MARLA: Yes.
KHAN: I intend to take this ship. Do you agree?
MARLA: Oh, please don't ask me
KHAN: I need your help.
MARLA: You won't harm anyone?
KHAN: Now you question me?
MARLA: No.
KHAN: Will you assist me?
MARLA: Oh, please, Khan, don't ask me
KHAN: Leave me then. Go, I say.
MARLA: No. I promise. I'll do anything you ask.
[Officer's mess]
(After dinner, as liqueurs are being served.)
KIRK: Forgive my curiosity, Mister Khan, but my officers are anxious to know more about your extraordinary journey.
SPOCK: And how you managed to keep it out of the history books.
KHAN: Adventure, Captain. Adventure. There was little else left on Earth.
SPOCK: There was the war to end tyranny. Many considered that a noble effort.
KHAN: Tyranny, sir? Or an attempt to unify humanity?
SPOCK: Unify, sir? Like a team of animals under one whip?
KHAN: I know something of those years. Remember, it was a time of great dreams, of great aspiration.
SPOCK: Under dozens of petty dictatorships.
KHAN: One man would have ruled eventually. As Rome under Caesar. Think of its accomplishments.
SPOCK: Then your sympathies were with
KHAN: You are an excellent tactician, Captain. You let your second in command attack while you sit and watch for weakness.
KIRK: You have a tendency to express ideas in military terms, Mister Khan. This is a social occasion.
KHAN: It has been said that social occasions are only warfare concealed. Many prefer it more honest, more open.
KIRK: You fled. Why? Were you afraid?
KHAN: I've never been afraid.
KIRK: But you left at the very time mankind needed courage.
KHAN: We offered the world order!
KIRK: We?
KHAN: Excellent. Excellent. But if you will excuse me, gentlemen and ladies, I grow fatigued again. With your permission, Captain, I will return to my quarters.
(Kirk stands, and Khan leaves.)
*
These scenes are attributed to Gene L. Coon and Carey Wilber, but are strictly Gene L. Coon’s dialogue. I have a much earlier newsletter on Gene L. Coon. I have a poster in my kitchen for the 1964 remake of The Killers with John Cassavetes, Angie Dickinson, Lee Marvin and Ronald Reagan. The script, based on Ernest Hemingway’s short story, is by Gene L. Coon.
Alas! It’s 6:30 and the day has arrived.
Have a fine day.