This webpage is dedicated to The Cage, Star Trek's first pilot. Below are recently restored clips and artwork showing rare and deleted scenes. Although incomplete, it gives us yet another unique look into the production of Star Trek.
The cage was shot at culver studios in December of 1964 for the sum of $630,000. In today's dollars would have cost just over $4,000,000.
Test Shots
Leonard Nimoy's prosthetic ears were not yet perfected at the time this make-up test was filmed. The model next to Nimoy shows the contrast between his make-up and that of a fair complexion.
The last picture in this b/w sequence shows Majel Barrett testing the Orion green make-up which would later be used on Susan Oliver (Vina). If you click on "Play" you can see the effect in color.
This dramatic shot looked so nice I thought it would make a great desktop wallpaper or screensaver for the computer. Click here to download a 1064x768 picture for your computer.
The next series of clips are from an extensive scene which was cut from the Vina dance sequence. More of these clips will be shown as they become available and restored.
A very special thank you to contributors Dave T. of North Carolina and Jason M. of Rhode Island for providing these clips. These clips were on the cusp of being lost forever. An enormous amount of image manipulation was needed to restore these pictures.
Thanks to Dave E. and Audrey A. for providing the script excerpt.
From Roddenberry's script FINAL DRAFT, November 20, 1964:
VINA (continuing)
... he must wonder what it would be like to forget all that.
EXT. ORION COURTYARD - NIGHT - MATCHING Pike The transition catching him still
seated. He's startled by the SOUND of strange music and wild merriment. He is
now on a pillowed floor at a long low table piled high with exotic foods. His
attire is rich silk robes, almost like those of an Oriental potentate. And he
becomes aware he is being anxiously attended, even fawned upon, by two who have
something of the "slave" in their garb and manner. Their skin has
a color like Mr. Spock.
SPACE OFFICER'S VOICE
You used to be Captain of the Enterprise, didn't you?
CAMERA PULLS BACK to reveal the speaker is a uniformed space officer (not from
the Enterprise) seated at the table. The other man is an Earth trader dressed
similar to Pike but less luxuriously. Each of these men is being served by a
slave woman. Around all this, a scene of barbaric splendor with an almost Oriental
flavor. The MUSIC comes from a quartet seated near a fountain pool, playing
unusual instruments. Here and there in the courtyard are richly exotic plants
with unusual shapes.
EARTH TRADER
Matter of fact he was. Used to stop here now and then... (smiles at Pike) ...and
then send Earth a blistering report... (pretended report) "the Orion traders
taking shocking advantage of the natives..."
Good-natured laughter interrupting this.
SPACE OFFICER (to Pike)
Do any of you have a green one? They're dangerous, I hear. Razor claws, and
they attract a man like a sensation of irresistible hunger...
Pike is perceptible startled by the familiar term: "Irresistible hunger".
And why had Space Officer emphasized the words, and why is he giving Pike that
searching look? The Earth Trader is also giving Pike a knowing look. He indicates
Pike to the Space Officer.
EARTH TRADER
Now and then comes a man who tames one. (to Space Officer) He'd stumbled into
this dark corridor, and then he saw flickering light ahead. (to Pike) Almost
like secret dreams a bored ship captain might have, wasn't it? There she was,
holding a torch, glistening green...
Aware now the Talosians are definitely baiting him through the images of these
two men, Pike angrily rises. But his female servant has moved to sound a NOTE
on a hanging cymbal.
PIKE
Get out of my way, blast you!
The MUSIC changes now, louder, a slow throbbing rhythm. Pike's attention is
attracted by an exclamation of astonishment from the seated space officer. He
turns to see:
ANGLE - VINA Wild! Green skin, glistening as if oiled. Her fingertips are long
gleaming razor-edged scimitars, her hair not unattractive but suggesting a wild
animal mane. She is moving out to the open rectangle in front of the table,
eyes wild. We feel she's larger than before, immensely strong. The female slaves
have hurried off, frightened. But one is slower and Vina suddenly pivots with
a CAT SOUND, bars a frightened female slave's escape. Pike's male servant has
grabbed a whip, leaps out to intercede and Vina turns, snarling at him. The
man slave swings back to lash at her.
PIKE
No!
Vina turns at the voice, eyes Pike for a long moment.
CLOSE SHOT - Pike returning the look, fascinated.
ANGLE - VINA Now, her gaze riveted on Pike, she moves to the center of the rectangle,
lets the slow-powerful beat of the MUSIC reach her, the slow surging beat forcing
movement out of her as a reed flute takes possession of a cobra. She SHRIEKS
(dubbed wild animal cry) and the rhythm moves faster, her movements following
the barbaric MUSIC.
CLOSE SHOT - Pike unable to tear his eyes from her.
ANGLE - VINA now dancing wildly, animal beautiful.
EMPHASIZING Pike as the Earth Trader looks up toward Pike, again meaningfully:
EARTH TRADER
Wouldn't you say that's worth a man's soul?
Space Officer turns to eye Pike similarly.
SPACE OFFICER
It makes you believe she could be anything. Suppose, you had all of space to
choose from, and this was only one small sample of...
Pike tears himself from these words, turns and brushes past his retainers, hurrying
into the exit door behind.. .
NUMBER ONE
Nothing will be said if any volunteer wants to back out.
The group turns to the cubicle, as Number One turns to Colt.
NUMBER ONE
Colt, you're new to our ship...
COLT
I've had the same training as anyone. And I'm his yeoman.
Number One hesitates, then she and Colt move with the group into the transporter
cubicle. The Transporter Chief moves to his control panel.
Seen here for the first time is a clip showing a rejected transporter special effect.
This animation is made from salvaged, individual frames. Although not perfectly color corrected or match framed, it does give us an idea on what this effect looked like.
So why was this clip not used? A memo from Roddenberry to the optical effects company explains it all:
SPECIAL EFFECTS SCREENING COMMENTS 12-28-64
Roddenberry's feelings about the effects shots for the laser cannon appear to be the opposite. The first picture on the left shows a subdued, less colorful version. The effects were redone with a more vibrant, colorful version.Appearances and disappearances of crew:
Eliminate the thick line around the crew members as they are transported. Have a subtle suggestion of sparkle rather than the Peter Pan sparkle being used. Get rid of the colored outline. Have crew members slowly dissolve. Maintain whole image with slight flickering of color instead of present solid color. All the actors should have the same color effect instead of the present individual assortment of colors.
- G.R.
The b/w clips are dailies/rushes and are quickly cut together from the previous days work. The creation of a dissolve or special effect is time consuming and as rushes are needed to be viewed in a timely manner grease pencil marks are used to indicate where dissolves and effects are to be placed. This marking is known as a streamer, called so because when projected it resembles a streamer trailing across the screen. This trim is a film historical artifact. The streamer indicates where the illusion effect takes place preceding the Vina dance sequence. | This is the scene with Vina (Susan Oliver) being punished by the Talosians. This is pre-effects footage showing Oliver doing her being tortured bit, then leaving the camera frame. In the finished effects sequence she dissolves via a special effect and all that remains is her clothing, however you can still see her shadow as she sits up during the effect. |
Shown here are some of the steps taken creating a matte painting combined with live action.
Thanks to Christopher B. for the Vina "cat" clips
and matte painting clips.
Thanks to Dave T. for the deleted transporter room scene and
the Talos IV effects clip.