Star Trek: Phase II


by Shirley S. Maiweiski

adapted for Phase II by Patty Wright


I don't own Star Trek. I don't own Phase II (though, as a producer I put a lot of money into episodes 6-11 and a few never to be seen).

Shirley asked James Cawley to film her original version of this story because she was very angry with the edits that Bantam had made. I was a good friend of Shirley's. When Phase II wanted to go ahead and film this story, I got permission from her family for James to go ahead and film it, and permission for me to adapt the story. They also approved this adaptation for filming. I believe it's a very faithful adaptation which Shirley would be happy with. There are a few things I added, which I actually discussed with Shirley long before her death. I'll comment on them in the end.

Though Phase II began filming this script in June 2011 with James Cawley as Kirk, they are no longer using this script - which is why I can repost it here. The story will be filmed using a different script by a different author in June 2013 starring Brian Gross as Kirk. (per the productions PR) If you want to see pieced of the script filmed in 2011 you can find it on YouTube by searching for "Star Trek Mind Sifter".

James asked for this version of the script in his first request. I also did another version, with a different ending. You'll see why when you read this. This is the version I believe is faithful to the characters.

The following will give you an idea of how a script is formatted and written for television. Action and scenes are left justified. Diologue is centered, with the speakers name capitalized.




A sparse, depressed room with old carpeting and aging off-white paint. One desk sits in it's midst, where NURSE HAMLIN works on a newspaper crossword puzzle.

The distant, muffled sound of a man SCREAMING makes her head jerk up, startled. She rises hurriedly and moves toward...

The glass entrance door. Through it we SEE TWO 20TH CENTURY POLICEMEN struggling with a MAN in a filthy gold Starfleet uniform.

They drag the man through the door and into the lobby. He is fighting ferociously - because he's not a man. He's a being lost of all intellect: a hollow shell full of overpowering, primal terror and wrecked with unconscionable pain.

As they fight to control his twisting, contorting body, TWO ORDERLIES come running with a WHITE STRAIGHT-JACKET.

The four men wrestle him to the ground and force the jacket onto his arms. It's the only answer they have for his fear.

As they force him onto his stomach and fight to secure the jacket, it is now not just a struggle against the blackness within that terrifies the man, but the actions of the 4 men outside him. It becomes an animal's struggle for survival itself.

They don't get paid enough for this! Their needlessly rough treatment tell the man that.

The straight-jacket secure, the orderlies drag the still flailing man through the ENTRANCE DOOR to the inner hospital, which Hamlin is holding open for them.


A dimly lit passage, with walls covered with aged institutional green paint and nondescript linoleum tiles with black speckles and missing corner pieces. You can practically smell the overpowering stale medicine and lack of cleaning products right through the screen.

The orderlies alternately drag and carry the struggling man down the hallway. His terror is as painful for us at this point as it is to him. Can't they do something for God's sake?!

Nurse Hamlin moves past them and opens a door. It's interior surface coated with thick, dingy white quilted padding. She shrinks behind it, using it as a defensive shield as...

The orderlies throw the man through the door and into the room. This is what they do for him - their final solution.

Another angle - looking into the padded room

The man lands hard on the padded floor. He struggles. From one unknown horror to another: trapped by a mind empty of anything but the terror and pain. He finally manages to climb to his knees, and as he SPINS around to face the camera we SEE - FOR THE FIRST TIME - the tormented, tear-streaked face of CAPTAIN JAMES T. KIRK.

The door slams shut and we see only at the aged green paint on the outside of the door.

But we HEAR Kirk's screams transform as his mind finds one thought and he seizes on it...


Sp... Spock!

And it's gone again, taken over by pain. His screams echo as we...



A male figure in gold begins to MATERIALIZE on the platform.

SCOTT, at the controls, and MCCOY, standing next to him, watch. Their faces are drawn, weary from a long and emotionally difficult mission - the longest of their life.

As we HEAR the transporter SILENCE their faces register shock. Scott tries to address the man on the platform.



We hear Scott's voice falter as the man in gold steps down off the platform. Scott is wrong: not "mister".

Two and one half rows of gold braid gleam on the man's wrists: captain's stripes.

A WIDER ANGLE and wee see for the first time - SPOCK - as he approaches the control console.

Scott corrects his earlier mistake: but there's nothing in his voice that shows mental acceptance of his own words.


Captain Spock.


Have Lieutenant Uhura prepare for a ship-wide announcement.

Is that it?


(dead, flat)

Aye, sir.

as Spock moves to exit, McCoy's voice stops him. There's nothing dead in HIS tone.



You finally managed to get what you wanted, didn't you?

This is it. The final, ultimate climax to all their years of differences - and if there was ever any affection in it, it is gone now.

Spock stares at him: understanding completely that the gauntlet has been thrown down, a line drawn in the - cement.

He accepts it stoically, then EXITS without a word.





Space: the final frontier. These are the voyages of the Starship Enterprise. Her mission: to adequately supply and protect all colonies, outposts and stations as patrol the Klingon border.