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"MIND SIFTER" STAR TREK PHASE II Introduction from our screenwriter Rick Chambers: I have many great memories related to "Mind-Sifter," from the moment I was asked to create the teleplay from Shirley's magnificent story to the long hours and unflagging enthusiasm of the shoot. One memory that's especially dear to me is linked to the memorial service. While I was working on the teleplay in December 2013, my mother was dying. She was in hospice as I wrote the chapel scene and passed away as I finished the script. So the words I gave to McCoy, about the need to mourn, how it's part of life, and how we move on from grief and despair to hope, all were themes I was dealing with personally at the time. Then, when we shot the scene months later, and Jeff Bond delivered that powerful performance, I was in tears because those words were so right, so true. They resonate in the next scene, too, when Kirk makes his escape from the Klingons ; with his life seemingly about to end, he finds that window of hope, where "grace will lead me home," as the song goes at that moment he leaps through the Guardian. All of this was very meaningful for me personally -- and, I hope, meaningful for those who watch the episode. We shot all asylum shots at Ticonderoga High School. Our producer, Rob Mauro did extensive research and the architecture is period correct! TEASER FADE IN: 1 INT. ASYLUM HALLWAY--NIGHT 1 A dimly lit hallway, old and rough at the edges, a facility operating on a shoestring. Walking toward us with determination are two orderlies, FRANK and FRED. Clad in 1950s WHITE SCRUBS, they are burly, a little scruffy and a whole lot of angry. Fred carries a wadded-up STRAITJACKET in one hand. The two men pause at a door marked "Chapel: First of many unforeseen challenges on set. This straitjacket did not arrive as expected. James Cawley took a pattern from a sports coat made the one seen here in about two hours! Beyond the door, we hear an indiscernible SCREAM. The orderlies exchange a look.FRANK (resigned) All right. Let's do it. FRED (reluctant) Aw hell, Frank. Can’t we just leave him? He’ll come out when he’s hungry. It's gonna be another fight. FRANK I’m done cutting “superman” a break. I’m gonna... Ron Gates, (left) as Frank FRED Troy Bernier as Fred I still got bruises from last time-- HAMLIN Gentlemen... JAN HAMLIN, dressed in a 1950s DOCTOR'S UNIFORM, emerges from the shadows. She has the inevitable stethoscope draped around her shoulders. She does this as a way of advertising that she is a doctor in a male-dominated field. HAMLIN (CONT’D) Let me. FRED I don't think so, Doctor. He's dangerous... HAMLIN He knows me. Rivkah Raven Wood, who plays Hamlin was a great surprise! She did an incredible job. 2. Fred sighs and does as he's told, cautiously opening the door... 2 INT. ASYLUM CHAPEL--NIGHT(high school auditorium) 2 Auditorium Hamlin ENTERS quietly, looking around at the tiny, darkened chapel. A few CHAIRS are lined up in the room, facing the was front, where a SMALL OVERHEAD LIGHT illuminates a TABLE, a redressed to BIBLE, a CRUCIFIX and a RELIGIOUS BANNER on the wall. look like chapel. The room appears empty. But we hear someone BREATHING in quick, fearful gasps. Hamlin hears it, too. Her gaze is drawn to a MAN near the front, huddled in shadow, his back turned to us. He trembles in fear. HAMLIN (quietly) Jimmy? The man catches his breath, then whimpers. HAMLIN (CONT'D) Jimmy, it's me! It's Hamlin! Hamlin walks slowly toward the frightened man, careful not to disturb him further. HAMLIN (CONT'D) You're not hurt, are you? I was worried! Why did you run away? MAN (O.S.) They took it! She reaches him. We still cannot see his face. Hamlin touches him, and the man stops trembling. Hamlin then wraps her arms around him, comforting him as he cries into her shoulder. HAMLIN It's okay, Jimmy. It's okay. (back to him) But you can't stay here. It's late. And you haven't eaten in hours. Aren't you hungry? MAN (O.S.) I can't remember. They took it... The man pulls back a little. We still can't see his face. HAMLIN (CONT’D) Come on. I'll take you to the dining hall, get you some food. 3. She starts to help the man to his feet when Frank suddenly APPEARS behind her. FRANK Get away from her, you nut! Frank pushes Hamlin aside and moves toward the man. The man reacts instinctively, blocking Frank and throwing a right cross that staggers the orderly, knocking him backwards. Suddenly, Fred APPEARS behind the man and grabs him. Frank slowly BLOOD trickles from his lip. FRANK (CONT’D) You son of a bitch! Frank punches the man in the stomach, then follows with an uppercut that snaps the man's head backward. HAMLIN Stop it! You're killing him! FRANK Get out of the way! Frank punches the man again, and he slumps in Fred's arms. [not sure we need this] FRANK (CONT’D) Ron, who is a corrections officer, had a Gotta get the jacket on this nutball hard time getting "angry" at Kirk in this before he wakes up. scene. The director, Mark Edward Lewis, (to Hamlin) had him do push up after push up in He was pawing you. Why didn't you between takes! Needless to say, Ron got call? mad! HAMLIN Ron had done maybe 50 push He wasn't -- ups by now! Note how sweaty he is in the scene! Brian Gross "taking direction" from FRANK James Cawley. Brian is an (leering) accomplished martial artist. Notice Yeah. Don’t let him fool you. These not a hair out of place for James! guys are all alike. Fred finishes putting the man in the straitjacket. Frank grabs the man's chin and lifts his face for Hamlin to see, though we still cannot. FRANK (CONT’D) Not so pretty now, is he? Report me, and next time I won’t be so gentle. (to Fred) Lock him up. James, happy with the filming so far. Our invaluable dolly we used for shooting. To rent this dolly for our 10 day shoot was over $2500.00! 4. They pick him up. Frank and Fred drag the man from the chapel while a distraught Hamlin watches them go. 3 INT. ASYLUM HALLWAY--NIGHT 3 Frank and Fred continue to drag the man down the hallway. His head hangs down so we still can't see his face. We put tape across Brian's feet so he wouldn't get all scratched! 4 INT. KIRK'S ROOM--NIGHT An old nurses office beside the gym! 4 The door bursts open, and we see Frank and Fred drag the man inside. The room is sparse, with a SMALL BED, a WASH BASIN on an END TABLE, a DRESSER and a BEDPAN. Instead of putting the man on the bed, Frank and Fred drop him to the floor. Then our view switches to the floor just as the man falls. We see his face at last, bruised and bloodied ... and it's JAMES T. KIRK. FADEOUT END TEASER Publicity shot of Kirk in asylum room. Note the beam of light on his face. It became known as the "Kirk Light." Our Director Of Photography, Jeff Barklage, was a genius in getting the "TOS" feel in lighting this episode. Jeff worked with TOS original D.P. Jerry Finnerman. Brian and Rivkah rehearsing in the Transporter Room. Reveal of Kirk in his asylum room. Note Kirk's beard, and makeup. It became a concern as we continued filming. All about continuity. More later... Blue (mm/dd/yyyy)5. ACT ONE FADE IN: 5 DARKNESS 5 We hear VOICES--a mix of whispers, cries and shouts--echoing in the darkness, bits of conversations between Kirk, SPOCK, KOR, the GUARDIAN OF FOREVER, and others, overlapping until one voice gradually rises from the cacophony: KIRK (V.O.) Help me! Help me! (screaming) Spock! SPOCK! CUT TO: 6 INT. SPOCK'S CABIN 6 Spock's eyes snap open in the dim light of his cabin, hands folded, deep in concentration. A great weight flushes the light from his eyes...distant... UHURA (V.O.) Bridge to Mister Spock. Mister Spock, please respond. Spock rises from the bed and approaches his DESK and VIEWER. He toggles a switch. SPOCK Spock here. UHURA Sir, the USS Lexington has arrived. Admiral Whithrow wants to see you * immediately. SPOCK Acknowledged. Please inform the admiral I'm on my way. Spock toggles off. He stands motionless for a moment. * This scene, while we were filming it, didn't make much sense to the crew. Watching Brandon sit there and "listen" to Kirk cry out to him was dry. This is where an actor has to trust the director. Mark Lewis, our director, is an accomplished composer and sound supervisor as well. The final product after it was edited with sound helped start the tension for Spock in this episode. Also, while filming this, Brandon came up with an idea to help explain the physchic link between Kirk and Spock. Blue (mm/dd/yyyy)6. 7 EXT. SPACE--ENTERPRISE AND LEXINGTON IN ORBIT (OPTICAL) 7 The two starships orbit a planet that appears to be largely desert around its equatorial and sub-tropical regions, bit with small patches of blue and green clustered near its poles.

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