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Short Scenes
Presented here are a collection of scenes too short to require their own web page. Recent additions are at the top.

From the revised final draft, April 27, 1967. The scene was to include the character of Lt. DeSalle, but he is not shown in this deleted scene. Also of note the script mentions four security personnel but six are shown in the transporter chamber.


Transporter Chief at his post before Control Panel. Beside him, DeSalle and FOUR SECURITY GUARDS stand in the Transporter Chamber. We hear the HUMMING and see the LIGHTS FLASH as Transporter Chief manipulates dials. HUMMING RISES TO A ROAR, AND LIGHTS BLAZE UP.

(to Transporter Chief)

CAMERA PANS IN ON TRANSPORTER CHAMBER. The LIGHTS BLINK ON AND OFF -- but there is no dematerialization effect; the Crew Members are still visible. ROARING TURNS TO WHINING WAIL, then DWINDLES INTO SILENCE... PANEL LIGHTS GO OFF.

Transporter Chief twists dials frantically.


Something's holding us... we can't beam down!

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as Korob turns away from the table and moves up to Kirk and his companions, smiling confidently.


An impenetrable force field around your ship, captain. It will not hinder orbit... but your people are prisoners with in it.

A Taste of Armageddon
From the revised final draft, December 12, 1966. This deleted scene is interesting as we get to see more of Anan's quarters. Although it looks rather tacky by today's standards – '70's chic – the shag carpeting was just becoming in vogue and would last though the seventies. So in some ways the look and set dressing were ahead of its time – with the green window being the exception. Ugh!

The deleted scene takes place after the following dialog:

Well, Scotty, now you've done it.

Aye. The haggis is in the fire for sure, but I'll not lower my defenses on the word of that mealy mouthed gentleman down below, not until I know what happened to the captain.

Deleted scene:


This is a redress of the Detention Chambers, approximately the same size, shape, and so on, except that the furnishings are perhaps slightly more elaborate, as befitting a head of state.  After ESTABLISHING, the door opens and Anan and Sar come in, Anan looking very weary, shaking
his head.

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A game of war, my good friend. And these earthmen are very good at playing it.

Maintaining their protective screens must take a great deal of power.
Sooner or later they will have to lower them.

But time is running out. When Vendikar's computers show that more than five hundred people have not reported to the disintegrators...

Perhaps we could explain. The circumstances...

Do you really think Vendikar would listen?
Already the results of our counter attack are coming in.  We have killed almost
seven hundred thousand Vendikans... and their disintegration quota is on the norm. It is ours which is falling behind. We are at fault, Sar... not them.

Perhaps... we could ask for volunteers among our people.

No! The computers have made their selections. Those are the people who must die! 
(beat... shaking his head).
Leave me, Sar. I must think.

Of course, councilman. In the meantime, I shall increase efforts to find the earth captain.

Sar leaves.  Anan, looking very weary, crosses to a cabinet, breaks out a bottle and a glass, starts to pour himself a drink.

The script then returns to what was televised.

The Enemy Within
We recently discovered a clip showing part of the special effects process which would be combined with the existing "beaming" special effect.The clip shows Shatner standing in the tranporter set with areas surrounding him blocked off by black velour. Although never used we have conjectured on what it may have looked liked based on the following excerpt from the final draft script, June 8, 1966.


Kirk and the double on the platform in b.g. CAMERA MOVES IN. Kirk's face and the back of the doubles' head fill the screen. Kirk suddenly holds the double close, despite everything, aware, at that moment, of the unassailable kinship between them. He closes his eyes. The blue glow envelopes.

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As the two figures vanish and the light goes out. McCoy looks toward Spock.

McCoy in b.g. looking at him. He hesitates, then reverses the controls, turns.

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Watching the o.s. platform. A hum. The blue glow. Silence. The two men approach the platform. CAMERA PANNING with them, STOPPING as it includes Kirk standing alone, still in a state of shock, weaving a little, shaking his head. He looks at them dazedly.

The script then returns to what was televised.

Court Martial
This scene was replaced with a captain's log voice over. It was probably cut for time.

All right... you leave me no other place to go...
He takes a quick sudden lunge forward, straight at Finney... knocking the phaser from
his hand. They fight. Presently, Kirk wins.

JAME'S VOICE: Father -- !

as Jamie, with Cogley, rushes down the corridor.

FINNEY (totally confused)

JAMIE: (going into his arms) Oh, father. (moving her hand toward his tortured brow)
It's all right, father. It's all right.

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Don't, Jamie, you've got to understand... I had to do it... after what they did to me...

Ben... quickly... where'd you tap the energy circuits?

FINNEY (dull, blankly)
The circuits... (indicating) In there... the tube...

Kirk hands the phaser to Cogley, indicating he should guard Finney, and quickly exits.

Extreme tension.

Kirk works on instruments... desperate... in a cold sweat.

The script then returns to what was televised.

Operation: Annihilate!
Craig Hundley played Peter Kirk, Capt. Kirk's nephew. Hundley would appear again in the third season episode, "And the Children Shall Lead," playing Tommy Starnes.


The boy Peter is now bright and well, dressed in a small version of the Enterprise uniform. He is smiling up at Kirk as the Captain lays a hand on his shoulder.

You're sure you don't want to go back to Earth to live with your grandmother?

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I'm sure, sir.  Dad thought Deneva here is the best place in the whole galaxy.

Well, your father's partner said he and his wife always wanted a boy.

They're not like Mom and Dad... but...

No one ever is, Petey.
(pats on shoulder)
Run along; they're waiting for you in the Transporter Room.

The boy formally shakes hands with Kirk, exits to the elevator.

ANOTHER ANGLE - INCLUDING SCOTT The Engineer moves in beside Kirk.

He might want to go to the Academy later on, sir.  Looks like a bright lad.

I hope he decides not to.
(turns to Scott)
If there was no other choice, Scotty, I would have had to give the order to destroy this planet.
I don't want him to ever have to make that choice.

(nods, understanding)
Yes, sir.

The script then returns to what was televised.

I, Mudd
The script excerpt does not contain any dialog. Three scenes were deleted from this episode. The first is an extensive scene showing crew members enjoying themselves at a party. The androids apparently like to have a good time, too.

The next deleted scene is a special effects shot which shows what two Alice androids see when their logic circuits can't comprehend what the crew is doing. The scene shows the colored layers of the film (magenta, yellow, cyan) out of sync.

The third scene shows the androids shutting down after Norman blows a circuit.

Act 3


CAMERA OPENS TIGHT on Enterprise CREWMAN, stretched out on a Chaise lounge. He is eating grapes. CAMERA PULLS BACK as we see an ALICE #73 handling him a filled goblet of wine.

CAMERA PANS so we see an Enterprise CREW WOMEN, seated with an ecstatic look on her face, as back of her, a Male Android, with a shoulder badge #114, industriously massages her back.

There is a sound of gentle MUSIC and CAMERA CONTINUES TO PAN, and we see another Enterprise Crewman, leaning back with his eyes closed, as another Alice #500 plays a stringed instrument... and yet another Enterprise Crewman is being handed a plate of interesting looking food by a smiling, lovely member of the Barbara series #321 of Androids.

GOING TO A FULL SHOT, we get the impression that each and every one of the Enterprise crewmen is very, very happy. There will also be members of the Maisie series #88,the Trudy series #313, and the Anna belle series #007. Other male Androids #'s 27 and #444 are also present.

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Thanks to Christopher B. and Joe. L for the " I, Mudd" clips.

Thanks to Dave T. the "I, Mudd" script excerpt.

More deleted scenes.

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