Studying and collecting original scripts

[Eddie Roth]

My search for this topic yielded no results except some extremely old stuff, so I thought I'd just start a new thread here.

For a long time now - and especially after reading the Marc Cushman books - I've become interested in the development of the scripts that eventually became our classic 79 episodes. (I would love a similarly detailed record for TNG and the other shows too, but apparently that doesn't exist yet...) Clearly, there are people out there who own copies of the various drafts and thus know what was on the page at various stages, but all I can ever find are summaries or comments by others, never the opportunity to read these scripts first-hand.

At the same time, my collecting habits have evolved towards getting less stuff, but focusing my resources on getting original stuff. I own some props and costumes, and I recently got a TNG script, which by all indications is indeed production-made. And I loved reading it and seeing (through comparison with the aired episode) the minute differences in dialogue that emerged even after this revised final draft that I have.

Of course, I'd love to get my hands on an original TOS script to do the same (and to be able to boast that I own such a treasure), but I find myself having trouble ascertaining which of the (many) offers on e.g. eBay are indeed the real deal and which are copies disseminated by Lincoln Enterprises back in the day (let alone straight-up fakes). This startrek.com article sheds some light on this...

https://intl.startrek.com/article/tos-original-scripts

... but not enough light for me to ever be sure. Is anybody out there who is knowledgeable on these things and can provide some insight concerning what to look for? Some of my questions include:

• Is all white paper always an indicator of reproduction or can this be indicative of a file copy, e.g. for archival purposes internal to Desilu?
• Are colored revision pages by contrast always a reliable indicator of the script's authenticity? Or have you come across reproductions/fakes that included colored pages to pass themselves off as the real thing?
• Are there any other 'tells' beyond the ones mentioned in the article (e.g. printed vs. handwritten numbers on the cover) that indicate whether what you're looking at is an original or a reproduction?

I'd be thankful for any tips here - and of course any other input by those of you who are likewise interested in the nuts-and-bolts of ST production.

 

[Methuselah Flint]

I have a few, plus a story outline, but they're not easy to get hold of. There are a lot of Lincoln Enterprise out there on Ebay. The article you linked to, is a good indication. As is the buyer's feedback rating etc. If you're US based it's less hassle to buy off Ebay; I'm in the UK, so there's always that risk of extra customs charges.

Some are stored better than others, so condition (good or poor) isn't always a sign of authenticity. Especially as the Lincoln Enterprise are almost as old.

 

[Daddy Todd]

Original, production-used scripts from TOS, TAS or the TOS movies are vanishingly rare. And worth thousands of dollars each, if they can be authenticated.

Studio copies were mimeographed, and an actual set-used copy would include multicolored pages for rewrites. So, the popular conception of a “first draft” and a “final draft” is not how TV writing works. There are small running changes all the way through production, even after principal photography wraps, each new version of a particular page on a different color paper.

But fear not! From very early on (shortly after the show was canceled) Roddenberry was hawking script copies (xeroxes, as far as I can determine.) through Lincoln Enterprises, for $5.50 each (in 1970 dollars, equivalent to almost $30 in 2022 dollars). Lincoln Enterprises eventually evolved into Roddenberry.com, which was selling scripts at least as late as 2006, when the scripts were bundled into 14 print on demand trade paperback volumes.

Lincoln continued the lucrative practice of hawking scripts for decades (which, technically, they had no right to sell, since the WGA contracts signed during the 60’s specifically granted ownership of the scripts to the credited writers, not to the network, the studio or the producer(s) of the show. I think it was eventually the fearsome Harlan Ellison that sued Roddenberry’s estate to end the practice.)

Anyway, these script copies turn up on eBay fairly regularly. But don’t pay insane money for them!

 

[Eddie Roth]

What I found particularly interesting about the whole Lincoln Enterprises deal was that they sold off actual production assets, i.e. scripts as they were used in production (which I believe was the illegal part). Which would mean that among the reproductions, some copies that actually included colored revision pages must have found their way into the market in this manner also.

 

[alchemist]

• Is all white paper always an indicator of reproduction or can this be indicative of a file copy, e.g. for archival purposes internal to Desilu?
• Are colored revision pages by contrast always a reliable indicator of the script's authenticity? Or have you come across reproductions/fakes that included colored pages to pass themselves off as the real thing?
• Are there any other 'tells' beyond the ones mentioned in the article (e.g. printed vs. handwritten numbers on the cover) that indicate whether what you're looking at is an original or a reproduction?

The article you referenced was abbreviated due to space reasons. To address your bullets:

• Initial studio drafts have all white pages and the dates at the tops of their pages are all the same. This pertains to first drafts, final drafts, etc. The exception to this is that some third season scripts started with light blue pages. Also, a few very early studio scripts did not have dates on their white pages. When revisions were made to final and subsequent drafts, white pages (or third season blue pages) were replaced with colored pages marked with the date of the revision. Different colors were used for different revisions.
• I have never seen a reproduction script with colored pages but that doesn't mean they don't exist.
• Another “tell” is that early Lincoln scripts were retyped from the original studio scripts and some of them do not have scene numbers.

Note that the above refers to studio scripts. The scripts that the writers submitted to the studio are a whole other conversation.

What I found particularly interesting about the whole Lincoln Enterprises deal was that they sold off actual production assets, i.e. scripts as they were used in production (which I believe was the illegal part). Which would mean that among the reproductions, some copies that actually included colored revision pages must have found their way into the market in this manner also.

Yes, Lincoln sold some studio-produced scripts, mainly (but not exclusively) third season ones.

 

[Eddie Roth]

The article you referenced was abbreviated due to space reasons. To address your bullets:

• Initial studio drafts have all white pages and the dates at the tops of their pages are all the same. This pertains to first drafts, final drafts, etc. The exception to this is that some third season scripts started with light blue pages. Also, a few very early studio scripts did not have dates on their white pages. When revisions were made to final and subsequent drafts, white pages (or third season blue pages) were replaced with colored pages marked with the date of the revision. Different colors were used for different revisions.
• I have never seen a reproduction script with colored pages but that doesn't mean they don't exist.
• Another “tell” is that early Lincoln scripts were retyped from the original studio scripts and some of them do not have scene numbers.

Note that the above refers to studio scripts. The scripts that the writers submitted to the studio are a whole other conversation.

Thanks, @alchemist that's very interesting info. What I find fascinating with regard to revision pages etc. is that there must be a nearly endless variety of versions for each script out there (where they survive to this day of course). Because if I understand the process right, a final draft - initially assumed to become the shooting script and thus distributed to cast and crew - in most cases receive page revisions, sometimes on the same day that the "Final Draft" is printed. Then you get separate blue, yellow, salmon, whatever-color pages to insert into your copy of the script, replacing corresponding (white) pages you've already received.

So at some point, the writer or story editor (most rewrites were done by Roddenberry, Coon, Fontana, Black, Singer, etc. to my knowledge) decides that revisions have become so many that one may as well call it a "Revised Final Draft". At which point, I would imagine that the first edition of this rev. final draft will be printed on white paper only, right? (Because if you call it an entirely new draft, the dates and sequence of previous changes becomes irrrelevant, I imagine.)

You seem to have a lot of experience with these things: Have you ever come across a copy of a draft like this which 'preserved' that moment of all-white-pages and into which further revision pages were not inserted?

 

[alchemist]

Thanks, @alchemist that's very interesting info. What I find fascinating with regard to revision pages etc. is that there must be a nearly endless variety of versions for each script out there (where they survive to this day of course). Because if I understand the process right, a final draft - initially assumed to become the shooting script and thus distributed to cast and crew - in most cases receive page revisions, sometimes on the same day that the "Final Draft" is printed. Then you get separate blue, yellow, salmon, whatever-color pages to insert into your copy of the script, replacing corresponding (white) pages you've already received.

You’re welcome!

Yes, you’re correct, typically there were a lot of versions if you account for the various change pages.

I also have change pages that were handed down while shooting was underway. Interestingly, OTOH, I know of one scene that was deleted but inadvertently shot because the deletion came down the same day as the shooting and was missed.

At which point, I would imagine that the first edition of this rev. final draft will be printed on white paper only, right? (Because if you call it an entirely new draft, the dates and sequence of previous changes becomes irrrelevant, I imagine.)

Yes.

You seem to have a lot of experience with these things: Have you ever come across a copy of a draft like this which 'preserved' that moment of all-white-pages and into which further revision pages were not inserted?

Thanks, I’ve been collecting for a long time.

I’ve come across many final and higher versions with all white pages. I’ve also come across a lot of scripts with various change pages but not final ones. These are all interesting to read because, as you say, they preserve the history.

 

[Methuselah Flint]

All sounds fascinating! Do you recall the scene that was shot that ended up being deleted?

 

[Sir Rhosis]

I probably have about a hundred and fifty scripts and outlines (mostly TOS and TOS films, but some TNG and DS9) collected over the years. All are copies, so no colored sheets. Some from Roddenberry.com back in the early 00s, some from ebay, some from other collectors.

Sir Rhosis

 

[Commishsleer]

So how did making a Star Trek TOS script work? Was it like this?
1. Writer submits a synopsis - Eg. Balance of Terror - The Enterprise encounters some destroyed bases at the edge of the border. Enterprise pursues attacking ship, fights them and wins. The writer gets $200 and an invitation to write a script.
2. Writer creates a script and submits it. GR says its runs too long, replace Ensign Ricky with Dr McCoy, etc.
3. Writer redoes script and GR says OK and gives them $ 1 000 and says thanks.
4. Some one rewrites script with stage directions and Acts etc.
5. A secretary mimeographs 50 copies of the script and gives them out to cast, lighting guys, music guys, wardrobe etc and these are the "production scripts"
6. The director looks at script and says lets have meeting on bridge instead of Meeting Room, Shatner looks at script and says Kirk would not say that and script is changed.
7. 50 copies of the changed pages are made in red and given to everyone who has the script.
Is this right?
So the scripts they're selling on ebay are most probably photocopies of the first or last version of the script.?
In order for a script to be regarded as a "production script it would have to be one that was typed or mimeographed and distributed on set?
Gee not having a computer in the 1960s is a pain.

 

[Maurice]

The process was often:

1. Established writer wishes to write for the show so...
   1. Either
      1. pitches an idea or
      2. is given a "story springboard" created by the staff
2. Writer delivers a Story Outline

• Staff reviews Outline and...
  1. Occasionally Writer is asked to revise the Outline
  2. If disapproved, Story get cut off with no further payment
  3. If approved, Story goes to script

• If Writer get script order they are expected to deliver two drafts:
  1. First Draft (yellow cover)
  2. Final Draft (blue cover)

• If Writer is cut off but Story/Script is not killed, another writer (usually staff) does any further drafts

• Star Trek Staff offers feedback on each draft at each step

• Per WGAw rules, Writer has payments associated with each delivery
  1. If the Staff asks for more drafts than WGAw minimum basic agreement permits, additional payments are required

• Writer can be cut off at any time, paid only for the step they were on

• Directors don't get to change the script, though they can request changes from the Producer. But as Directors begin to prep only a week before filming is to start, it's too late to request substantive changes

• Page revisions are typically made by the Staff, and may come down at any point. This is where the color pages come in

• If a script gets heavily rewritten they will often just do a "new white" reset and give everyone a new script with no color pages

• If screen credit is in dispute, all drafts must be submitted the the WGAw for arbitration

 

[Eddie Roth]

• If Writer get script order they are expected to deliver two drafts:
  1. First Draft (yellow cover)
  2. Final Draft (blue cover)

Although at least in the case of TOS, the original (freelance) writer's final contribution, i.e. before staff make revisions and/or heavy rewrites, as happened frequently enough, would then be called "Yellow Cover 1st Draft". Meaning: most of them had written several drafts already; some of them, according to anecdotes in the book, even defiantly called their second or third version "Final Draft" because they were frustrated having to make so many changes with staff still not satisfied. (Don't remember off the top of my head who that was.) But at whatever point this writer had submitted a satisfactory-enough draft, their "final" became the official "first" draft with a yellow cover.

Am I right, @Maurice or did I get that wrong in my reading?

@Commishsleer : I know there is some debate about some inaccuracies in them, but the These Are The Voyages series of books by Marc Cushman are, to my mind, an excellent resource and the most in-depth look at the making of TOS imaginable. For each episode, the most intriguing part is indeed about the script development. The process is illustrated very nicely there - and for every episode individually.

 

[Maurice]

Book? Cash Markman's books? I wouldn't trust those as doorstops. He's a terrible historian who makes shit up.

As to the process I believe I outlined how it was generally supposed to work, but I may be misremembering if each draft had one revision built in (many screenplay orders include a draft and a polish).

I've read a lot of memos in the Roddenberry papers and in a number of them they discuss how a writer has bamboozled them by barely addressing the staff comments when submitting a "Final Draft" and they have to either press the writer to do as asked or suggest cutting them off or doing a staff rewrite.

 

[alchemist]

All sounds fascinating! Do you recall the scene that was shot that ended up being deleted?

Mr. Robot Spock on the bridge from "Spock's Brain." After checking my records, however, I need to make a small correction. That scene was omitted from the script on the (working) day before it was shot, not on the day of. Evidently, the change page didn't trickle down.

• If Writer get script order they are expected to deliver two drafts:
  1. First Draft (yellow cover)
  2. Final Draft (blue cover)

The vast majority of studio-mimeographed final drafts had gray covers.

 

[Maurice]

Mr. Robot Spock on the bridge from "Spock's Brain." After checking my records, however, I need to make a small correction. That scene was omitted from the script on the (working) day before it was shot, not on the day of. Evidently, the change page didn't trickle down.


The vast majority of studio-mimeographed final drafts had gray covers.

I'm perhaps confusing blue with gray. Are there any blue covers?

Example of gray: this REVISED FINAL DRAFT, sent to Heinlein after he "okeydoked" the "sob story" Coon gave without seeing the script first. As he wrote to Harlan in 1975, "Well, that's one that did 'larn me.'"

 

[alchemist]

Yes, there were a few blue covers. OTOH, one of them was an early Assignment: Earth script… or two.

 

[mb22]

I can't make out what Heinlein wrote on the cover, does it say 'condoned' or 'condemned'? Looks more like the former.

 

[Ssosmcin]

Condoned. He allowed it.

 

[Maurice]

Condoned. He allowed it.

And lived to regret it.

 

[Ssosmcin]

And lived to regret it.

He probably figured it would come and go like most TV episodes.