The Traveler

Written by Jameel Saleem

Based on the life of Gene Roddenberry, creator of Star Trek

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“We are on a journey to keep an appointment, with whatever we are.” - Gene Roddenberry 2.

EXT. WHITE PLANET - NIGHT We open on a vast and barren expanse of desert. Mountains of white sands in every direction. The sky is nothing like we’ve ever seen on Earth. A burned out SUN covered in white ash. TWO MOONS appearing close enough to touch, lighting up the sky with a grey tint. In the distance, a FIERY OBJECT is rapidly falling toward the surface. We follow this UFO as it burns through the atmosphere and crashes out of sight, behind a giant sand dune.

EXT. CRASH SITE - MOMENTS LATER Through the billows of smoke, a silhouetted figure climbs from the wreckage. As the figure staggers away from the ship, the moonlight hits, revealing the figure of a HUMAN BOY. CLOSE UP on the boy’s face as he peers out at the expansive desert -- MATCH CUT TO:

EXT. BACKYARD/LOS ANGELES - DAY C/U on a YOUNG GENE RODDENBERRY, 8, golden blonde hair. The same boy from the UFO, except here he looks pale and sickly. We pull out to reveal Gene standing in the middle of a small perennial GARDEN in a backyard. CHYRON: 1929 Gene looks around as if he’s exploring a new world. He speaks into an old tin cigarette case: GENE This is a distress call from Captain Gene Roddenberry of the United States Galactic Squadron. I’m stranded on an unknown planet somewhere in the Andromeda Galaxy. Requesting immediate evac. Over. (no response) Is anyone there? Over. Gene anxiously awaits a response. Nothing. He deliberates. 3.

GENE (CONT'D) I gotta repair my ship. But I’ll need to search for materials first. Over. Gene pulls a toy Buck Rogers phaser gun from his waist. GENE (CONT'D) There may be hostile life forms. I’ll proceed with caution. Over. Gene steels himself, preparing for the danger that lies ahead. WOMAN’S VOICE (O.S.) Gene! A hand reaches out and grips Gene, pulling him out of the garden. This hand belongs to -- MAMA RODDENBERRY, 34, a delicate but stern woman, dressed in her Sunday best. MAMA What are you doing out here? Mama pulls Gene away from the garden, towards a modest TWO- STORY HOUSE with white peeling paint and floral curtains. GENE (into the cigarette case) Hostile life form! Hostile life form! Mama stops, turns to Gene. MAMA Stop it. I’m no more hostile than the next mother. Especially one with a son who should be in bed getting well. GENE But I feel better now. MAMA Good. And we’re going to church to ask God to keep you that way. GENE Church? Aw! 4.

MAMA (teasing) Aw. Mama smiles. Gene tries to resist, but it’s infectious, he smiles too. MAMA (CONT'D) Come on. We don’t want to be late. She grabs his hand. C/U on Gene’s face as he lets go of her hand and looks around, confused, scared. MAMA (CONT'D) Gene’s what’s wrong? (then) Gene... MAN’S VOICE (O.S.) Gene? MATCH CUT TO:

INT. OFFICE/CBS TELEVISION - DAY C/U on the much older face of GENE RODDENBERRY (53) golden blonde hair mixed with some grey, staring blankly. MAN (O.S.) Gene? Did you hear what I said? Gene snaps out of his daze and peers up to a serious-looking man sitting behind a desk -- This is FRED SILVERMAN (40) old school Hollywood producer. CHRYON: 1973 Gene looks around the room as if trying to remember where he is. On the walls, posters of CBS Network programming: M.A.S.H., All in the Family, The Carol Burnett Show, etc. A NAME PLATE on the desk reads: Fred Silverman, VP of Programming. FRED SILVERMAN Gene? GENE Yes? 5.

FRED SILVERMAN We’re not moving forward with the show. Gene reacts, more confused than upset. GENE But, I thought... I was told that uh, they assured me we were getting picked up. FRED SILVERMAN We just don’t think there’s a market for it anymore. GENE You don’t think there’s a market for science fiction? A beat. Fred chooses his words carefully -- FRED SILVERMAN We’re just looking to go in a different direction -- and your show Genesis II isn’t that. GENE Okay. Okay, then tell me which direction you’re going. Fred gives it some thought, decides to throw Gene a bone-- FRED SILVERMAN You know, Gene, I’m a big fan of your writing. Gene rolls his eyes. This is not what he wants to hear right now. FRED SILVERMAN (CONT'D) I may be able to help you get something else going. But it has to be... very specific. GENE What? FRED SILVERMAN Can you give me a show more like Planet of the Apes? GENE Planet of the Apes? 6.

FRED SILVERMAN Twentieth’s making boatloads off that franchise. They’re already on their third movie. We need a commercial success like that -- something with a fun concept, big action. Gene studies Fred to determine if he’s serious. He is. GENE (incredulous) You’re serious? FRED SILVERMAN Would you be willing to do it? Gene deliberates. GENE Look, Fred, I’ll admit. I’ve put some strange creatures in my scripts, but Planet of the Apes -- what kind of writer do you think I am? FRED SILVERMAN I thought you were a writer who needed work. Gene deflates. Fred’s right. FRED SILVERMAN (CONT'D) Gene. Star Trek was cancelled years ago. What have you done since then? A couple failed pilots? A TV movie that didn’t go anywhere. Just how many chances do you think you’re gonna get? A beat as Gene takes this in. A hard pill to swallow.

EXT. WARNER BROS. STUDIOS - A COUPLE MINUTES LATER Gene storms out of the building and onto a studio lot bustling with the business of TV and movie production. He stops at the top of the steps to light a cigarette. As he smokes, Gene look up and sees a group of backround actors dressed as MEDIEVAL NUNS in veils and coifs and a PRIEST, making their way to set. As Gene follows the priest with his eyes, we CUT TO -- 7.

INT. CHURCH/SANCTUARY - A SHORT TIME LATER (1929) A sweaty PREACHER (50’s) grey hair, burly, is mid-sermon. He’s an angry man wearing a permanent scowl. The kind of preacher who loves talking about damnation. PREACHER If you do not bend to the will of the LORD! The LORD will break you! He will break you, until you bow at his heavenly feet. Amen! Shouts of agreement and praise from the pews. Young Gene looks around, incredulous. Mama whispers to Gene’s little brother and sister, BOB (6) and DORIS (4) to stop fidgeting. PREACHER (CONT'D) God has brought down his hammer called the great depression on us because of the wickedness of this world. A world run and controlled by nonbelievers and sinners. Your only salvation in this life and the next is to surrender to will of the Lord and be his slave and holy servant. AMEN! A collective “Amen” from the parishioners, including Mama. Gene furrows his a brow at her. PREACHER (CONT'D) God is going to destroy this world and every God forsaken sinner in it! There is no future here on this Earth, only in the Heavens above. God’s wrath will be swift and severe. He will rain fire and brimstone down on this terrible place and it will become a living hell for the wicked! The end is coming! Amen! Another collective “Amen.” The church ORGAN begins to play as the DEACONS walk around with communion trays. Gene shakes his head. GENE (sotto) Where have you taken me? MAMA Shhh! 8.

A Deacon approaches the isle with a tray of crackers and thimbles-of-wine. GENE (re: tray) What’s that? DEACON It’s the body and blood of Christ, young man. Gene stares at the Deacon in disbelief. GENE Geeze, you’re a bunch of cannibals! MAMA Gene! Mama smacks Gene on the head. MAMA (CONT'D) (to the Deacon) Sorry. The Deacon feigns a smile, moves on. MAMA (CONT'D) Keep talking like that and God’s going to strike you down. GENE Strike me down? He oughta strike this church down. They’re crazy. MAMA It’s not crazy to believe in something other than those alien you read about in the magazines. God is real. And if you believe in him, he’s going to help you grow up to be big and strong. Now pay attention. Moments later, the room starts TREMBLING violently. A small stained glass window BREAKS. The ground beneath their feet is SHAKING. GENE See! He’s doing it! He’s striking them down! 9.

MAMA No he’s not. It’s just an earthquake. As Gene and the entire church violently shakes, we-- FLASH CUT TO:

EXT. WARNER BROS. STUDIOS - CONTINUED (1973) Gene is in the road, stumbling as if he’s still in that earthquake. His cigarette falls from his lips. A he gains his footing, a TOUR BUS honks. Gene jumps out the way just in time to avoid getting hit by it. Some tourists riding the bus snap pictures of Gene as they pass by. A little shaken, Gene walks forward. As he walks, he passes movie more background actors dressed in various costumes: Army soldiers, Cowboys, Beach girls, Roman Soldiers, etc.

INT. WARNER BROS./LOBBY - A FEW MINUTES LATER As Gene ambles into the lobby of an office building, he passes ROGER (30’s) Caucasian, security guard, friendly. ROGER Hey, Mr. Roddenberry. Gene stops, his thoughts somewhere else but he tries to be polite. GENE Hey, uh... Randy? ROGER Roger. GENE Right. Roger. Sorry. ROGER It’s okay. At least you got the R part. Gene smiles and nods, then heads down a hallway and into--

INT. GENE’S PRODUCTION OFFICE - CONTINUOUS Gene quickly walks past his ASSISTANT, sitting at her desk. He feigns a smile as he passes. 10.

IRENE, 20’s, blonde, aspiring actress. She watches Gene beeline into his office and shut the door.

INT. GENE’S OFFICE - MOMENTS LATER Gene steps behind his desk and falls into his desk chair, defeated. He looks up at a WALL OF POSTERS for failed shows he created: Genesis II. The Lieutenant. A.P.O. 923. Planet Earth. The Questor Tapes. Behind his desk, posters for Star Trek The Original Series and Star Trek The Animated Series. Gene opens a drawer, pulls out a bottle of whiskey. It’s empty. He sinks deeper in his chair. This day keeps getting worse. After a beat, he picks up the phone and dials -- INTERCUT WITH:

INT. LIVING ROOM/SANTA MONICA - CONTINUOUS A couple rings and the phone is picked up by -- MAJEL RODDENBERRY (41) tall, dark hair, strikingly beautiful and PREGNANT. She’s standing in the living room of an upscale home on the West side of Los Angeles. MAJEL Hello? (lighting up) Gene. What time are you coming home tonight? I was thinking we could go to the movies. GENE I’m sorry darling. It’s going to be another late night. I’ve got some writing to do. MAJEL Oh. Any word on the show? GENE They... (thinks) (MORE) 11. GENE (CONT'D) They want me to do some rewrites before they make their final decision. And I have to get them done by tonight. MAJEL Well. That sounds like good news. Right? GENE Sure. (beat, then) I better get to it. I’ll be home as soon as I can. MAJEL Okay... I love you. GENE Love you too. Gene hangs up, leans back in his chair, bearing the guilt of his lie.

INT. LIVING ROOM - CONTINUOUS Majel hangs up the phone. She’s heard this lie from Gene before. She angrily picks the phone back up and dials, but then hesitates and stops herself short of finishing the number. She hangs up and walks away.

INT. GENE’S OFFICE - CONTINUOUS Gene looks to a FRAMED PICTURE on his desk: a photo of himself and Majel dressed in traditional Japanese robes at their Shinto-Buddhist wedding ceremony in Japan. He stares at it for a moment, then shifts his attention back to the empty whiskey bottle. Moments later, Irene strolls in -- GENE I’m out of whiskey. IRENE Hello to you, too. 12.

GENE Hello, Irene. I’m out of whiskey. IRENE I bought you a new bottle two days ago. Gene waves the empty bottle in his hand. GENE It’s gone. Irene walks over, takes the bottle from Gene and haphazardly sits it on the desk. IRENE That’s a lot of drinking. Even for you. Wanna talk about it? Gene shoots her a look: that’s gonna be a no. IRENE (CONT'D) Well then. Irene falls seductively into Gene’s lap as the bottle tips over and rolls onto the carpeted floor. IRENE (CONT'D) I have a half-full bottle at home. They kiss passionately, like they’ve been intimate many times before. Irene stops. IRENE (CONT'D) Okay, seriously, what’s wrong? Gene nudges her off his lap. They both stand. After a beat: GENE Some bad news. IRENE (beat) The show? GENE It’s not getting picked up. The network said they’re going in a different direction. IRENE Oh Gene, I’m so sorry. 13.

GENE Yeah. I’m sorry too. IRENE What do you mean? GENE Irene. I can’t afford an assistant anymore. IRENE That’s okay. I can just find something else until you get things running again. GENE It’s not just that. I can’t afford the apartment either. I have to get rid of it. Irene’s face drops. IRENE Our apartment? GENE I’m broke. (before she can respond) I’m sorry but I need you to be out by the end of the month. IRENE (beat) But where... What about us? GENE I have a wife. She shoots him a look: are you kidding? IRENE That never mattered to you before. Gene casts his head down. A low blow, but she’s right. IRENE (CONT'D) You know, you got this Hollywood producer thing down. You’re all the same. You want people to worship the ground you walk on, but when you get bored-- Irene stiffens up, keeps her dignity. 14.

IRENE (CONT'D) Don’t worry about me. There are plenty of Gene Roddenberrys to go around. And they can get shows on the air. Irene walks out. Her words sit with Gene. As he thinks, his gaze floats over to a signed picture of William Shatner as Captain Kirk holding a Phaser Gun. MATCH CUT TO:

INT. LIVING ROOM - NIGHT (1929) Eight-year-old Gene is standing in the middle of the floor looking somewhat confused. His eyes go to his hand, gripping a Buck Rogers phaser gun, resembling the one in the Captain Kirk photo. The sound of rain smacking against the window and Mama, cooking dinner in the kitchen are drowned out when Gene’s brother Bob (6) turns on a RADIO. BOB Come on, Gene! GENE Bob? Gene goes to Bob, who’s sitting in front of a large floor model RADIO, waiting for his favorite program to come on. Gene, still confused and disoriented. BOB (RECITING W/ THE RADIO ANNOUNCER) Buck! Rogers! In the 25th Century!

INT. KITCHEN - CONTINUOUS In the kitchen with Doris, Mama hears Buck Rogers blasting from the living room. She calls out: MAMA Turn that radio down! You won’t be able to hear your father coming home. Bob turns the volume down, moves closer to the speakers. Gene watches him, curiously. 15.

RADIO ANNOUNCER All right now, without wasting any time, we’re going to pick up our story on the surface of the Moon. Just as Buck and Wilma discovered that they’d been tricked by Killer Kane and Ardela. Here we go, five hundred years into the future... A car HORN honks from outside. Bob perks up. BOB (to Gene) Papa’s home. Can you let him in? GENE (incredulous) Papa’s dead. Bob turns around, tears welling. BOB What? GENE Aw shit. Don’t cry. Bob starts crying. Gene kneels down, tries to console him. MAMA (O.S.) What’s going on in there? GENE (covering) Jeeze, Bob. I didn’t mean it. Can’t you take a joke? Another long HONK from Papa’s car. Gene heads out.

I/E. GARAGE - MOMENTS LATER Gene steps inside, looks around. He can’t believe his eyes. More honking. Gene hurriedly tugs on a rope to pull the garage door open. When it opens, a rain-soaked car slowly pulls in. Gene blocks his eyes from the blinding headlights. The car comes to a stop. The engine shuts off. Gene yanks on a string, turning on a single bulb hanging from the ceiling. He steps back as the door opens on a 1929 Ford Model T POLICE CAR. 16.

A TALL MAN steps out in front of the light, giving him an ominous silhouette. He almost looks like an alien. The man steps forward, unblocking the light, revealing his face: PAPA RODDENBERRY (32) police uniform, intimidating but affable when he wants to be. He approaches Gene. PAPA Did you hear me honking? Gene is nonplussed. It’s like he’s seeing a ghost. PAPA (CONT'D) I said, did you hear me honking? GENE Yes sir. Papa senses something off with Gene. PAPA What’s wrong? Gene hesitates, then-- GENE Am I dreaming? PAPA (beat) Well, let’s see. Papa leans in, looks in Gene’s eyes. After a beat, he slaps him on the side of the head. GENE Ow! PAPA (wryly) Guess you’re not dreaming. Papa walks off.

INT. GENE'S OFFICE - CONTINUED Gene jolts awake, finding himself standing in his office. He rubs the side of his head and winces, weirdly still feeling the effects of Papa’s slap. 17.

INT. PRIVATE MEDICAL CLINIC/EXAMINATION ROOM - LATER THAT DAY Gene is sitting on an examination table, buttoning up his shirt. As the DOCTOR exits the room, Gene shoots a flirtatious wink to the NURSE. She smiles politely, then tries to get out of there as quick as possible.

INT. VALENTINO’S RESTAURANT - NIGHT Gene’s at a table with his wife, Majel, sipping on post- dinner wine. She watches him, a glass of water in front of her. She sips the water, not enjoying it. MAJEL (to Gene) Is it okay to drink wine when you’re pregnant? Asking for a friend. GENE (why not?) It is good for your heart. MAJEL You’ve been acting strange today. First you tell me your working late, then you come home early, and now water and wine. GENE I just didn’t want to disappoint you again. MAJEL It’s not the end of the world. You’ll get another show. GENE I’d prefer the end of the world. Maybe a big earthquake to destroy it all. Majel looks down at her pregnant belly, talks to it-- MAJEL You hear that? I think your dad wants to be alone. GENE (beat) I saw Dr. Patel today. I’ve been having those dreams again. (MORE) 18. GENE (CONT'D) You know, the ones that started after the crash. MAJEL And you’re just telling me? How long? GENE Couple days now. MAJEL What’d the doctor say? GENE Oh you know, same old script. A severe case of maladaptive daydreaming brought on by extreme levels of stress. He thinks I should take a break from work. MAJEL Maybe you should. If this obsession with getting another TV show on the air is affecting your health-- GENE (indignant) Oh yeah, my obsession. Right. There’s also that obsession I have with paying the overdue bills, making sure we have a roof over our heads-- maybe I should just give it all up, huh? MAJEL You know that’s not what I meant. GENE (pointed) Well maybe you should start saying what you mean. Majel glares for a tense beat. Gene looks away to avoid her gaze. MAJEL I want to go home. Majel stands up, walks out. People at nearby tables stare daggers at Gene as he drinks his last bit of wine, unbothered. 19.

GENE (calling out to Majel) What about the movie? MATCH CUT TO:

INT. GENE’S LIVING ROOM - LATER THAT NIGHT Sitting in the dark, with only the glow of the TV, Gene downs more wine as he flips channels. He stops at a rerun of Star Trek. ON THE TV: Real footage of Star Trek The Original Series, Season one, episode seven, “What Are Little Girls Made Of?” WILLIAM SHATNER (as Captain Kirk) in a scene with MICHAEL BROWN (as Dr. Roger Korby) and Gene’s wife, MAJEL (as Nurse Chapel). MICHAEL BROWN (showing off an android woman) Notice the life-like pigmentation. The flesh -- the flesh has warmth. There’s even a pulse. C/U on Majel. Blonde hair. Technicolor blue eyes. Gorgeous. MAJEL How convenient. Michael walks over to Majel. MICHAEL BROWN Christine. You must realize. An android is like a computer. It does only what I program. As a trained scientist yourself, you must realize-- MAJEL --That given a mechanical Dr. Brown, a mechanical geisha would be no more difficult? GENE (scoff) Mechanical geisha. Gene’s smile quickly fades. He drinks more, changes the channel. Switching to footage of the Vietnam war. It shows bomber planes taking off from an air field. This is unsettling to Gene. He turns the TV off. 20.

INT. KITCHEN - MOMENTS LATER Gene turns on the light as he enters. He drunkenly stumbles to the frig, pulls out a can of beer. Then, he sits at the kitchen table, guzzles the beer, belches. C/U on his face as he sits there, staring blankly. SMASH CUT TO:

EXT. AIR FIELD - DAY A single-engine PLANE quickly pulls up and zips through the open sky.

I/E. PLANE - CONTINUOUS Gene (19) tall, handsome, is piloting the plane. Gene stares blankly as the plane starts to dip. CHYRON: 1940 His flight instructor, CAPTAIN HOGAN (43) a scruffy and unkempt man, is beside him. CAPTAIN HOGAN Gene! Gene startles, looks around, panicked. Where am I? CAPTAIN HOGAN (CONT'D) Wake up, Gene! Gene suddenly realizes he’s flying the plane. He grips the steering stick, rights the plane’s position. GENE (incredulous) Captain Hogan? CAPTAIN HOGAN Well. What are you waiting for? Gene looks down at his hand on the steering stick, then out the window at the open sky. Is this really happening? His confusion slowly fades into a smile. It’s been ages since he’s flown. CAPTAIN HOGAN (CONT'D) Now don’t hold back on me, Gene. Show me what you got. 21.

GENE Yes sir. Gene performs two barrel rolls in a row, then levels out. CAPTAIN HOGAN Not bad. But too easy. Give me something difficult. Gene thinks. GENE Okay. It’s been a while since I’ve done this. Hold on to something. Gene jerks the stick back. The plane quickly climbs in altitude. ON THE FIELD Other FLIGHT STUDENTS watch from the ground as Gene’s plane ascends higher and higher. INSIDE THE PLANE Gene looks relaxed. Hogan begins to show worry. CAPTAIN HOGAN This plane isn’t made to go higher than eighteen thousand feet. You just hit sixteen. Gene grins, keeps climbing. Hogan watches the airspeed indicator like a hawk. ON THE FIELD Students get nervous when Gene’s plane disappears into the clouds. INSIDE THE PLANE Hogan’s sweating bullets. CAPTAIN HOGAN (CONT'D) Seventeen thousand. ON THE FIELD Students are watching the clouds intently. INSIDE THE PLANE Warning lights come on. 22.

CAPTAIN HOGAN (CONT'D) Eighteen thousand. Gene! This ain’t a rocket ship! Gene smiles, then performs a backwards roll, maneuvering into a descending position. Hogan breathes a sigh of relief. Gene smiles. GENE How was that? Hogan laughs nervously. CAPTAIN HOGAN You passed. (then) You’ll make a fine pilot one day. But don’t ever do that again. Now take me down, so I can pull my balls out of my stomach. The Students on the ground all breathe easier when they see the plane descending from the clouds.

INT. CAPTAIN HOGAN’S OFFICE - LATER Gene is sitting across from Hogan who’s behind his desk looking through a file. Gene observes a wall of framed photos of a younger Captain Hogan in World War I. A name plate on his desk reads: “Captain Hogan. Flight Instructor.” GENE (to himself) This can’t be real. CAPTAIN HOGAN What? GENE Nothing. CAPTAIN HOGAN You’re going to be graduating soon, Gene. What do you plan on doing after that? Gene thinks. GENE What was my plan? (chuckle) My plan. Well. (MORE) 23. GENE (CONT'D) It was to work until I saved up enough money to transfer to a four- year college. And then study to be a writer. CAPTAIN HOGAN A writer? GENE Yes sir. CAPTAIN HOGAN What are you going to write? GENE (beat) Oh, you know. Science fiction. Flash Gordon. Buck Rogers. Something like that. CAPTAIN HOGAN Okay. Well, in order to be a decent writer. You need to have good stories to tell. And the best stories come from real life experiences. All the great authors traveled the world, met people, learned about new cultures. Hogan gives Gene an Army Air Corps recruitment brochure. CAPTAIN HOGAN (CONT'D) You ever think about joining the Air Corps? C/U on the brochure as Gene reads it. An illustration of a waving American flag and a pilot standing in front of a fighter plane. “U.S. Army Air Corps - First Class Fighting Men Needed!”

INT. KITCHEN - MORNING C/U on Gene’s eyes opening. We pull out to reveal that he’s in his kitchen, still gripping that can of beer. But now it’s morning and Majel is at the counter preparing breakfast. MAJEL You fell asleep with a beer in your hands. Gene thinks about it for a beat. No, that’s not what happened. 24.

GENE I didn’t fall asleep. I was sitting here. And then... I was piloting a plane. MAJEL You were drunk. And you fell asleep. With a beer in your hand. Majel replaces the beer still in Gene’s hand with a cup of coffee. Then, she puts a plate of eggs and bacon in front of him. GENE It was another daydream. Except it was at night. But it was, I’m sure it was... Majel sits down with her plate. She’s still pissed at Gene, but her curiosity gets the best of her. MAJEL Okay, I’ll play along. Where were you this time? GENE Pilot school. MAJEL A flying dream? That doesn’t sound so bad. Majel quickly loses interest and opens up the LA Times, reads while she eats. GENE It felt was like I was really there. Especially when I was flying. MAJEL Well there you go. Write a show about a fifty-year old pilot searching for his glory days. Majel turns a page on the newspaper. She sees something that interests her, but we don’t see it. MAJEL (CONT'D) Eileen called. You’re late on the payments. 25.

GENE I’ll take care of it. And doesn’t she have my office number? Why’s she always calling you -- is she your ex-wife or mine? MAJEL If her and I got married, we’d definitely still be together. (then) Maybe I could get a job. Something I could do from home. To help out with the bills. GENE No. No. Genesis is just a set back. I’ll do a couple freelance scripts. It’ll be fine. Eileen will get her child support and alimony, and all our bills will be paid in full. MAJEL What about Harry Epstein? Doesn’t he have a bunch of shows on the air right now? GENE Harry? I’m not asking Harry for a job. I can find one just fine on my own. All I need to do is make some calls. MAJEL You know, I don’t think it’s fair. Star Trek comes on every night. Twice a day sometimes. You should be getting royalties. GENE The studio says they haven’t made a profit yet. MAJEL They’re lying. GENE Of course they are. But how much money could there be really? Who’s even watching it? A handful of folks too lazy to turn the channel after Gunsmoke goes off. MAJEL More than a handful. Look at this. 26.

Majel passes Gene the LA Times. Points at the bottom. Now we see what she was looking at earlier: an article about a Star Trek convention. MAJEL (CONT'D) It says some fans of the show put together a little convention in New York. GENE (scoff) A Star Trek convention? MAJEL We should go. (then) I’m sure they’d be thrilled to meet you. And you could use the break. Might help with the daydreaming. GENE And after that I’ll dress up as Spock and do children’s birthday parties. No thank you. I’m not that over the hill. MAJEL Gene, I know you’re not proud it, but if you saw all the people you inspired, you feel differently. GENE You think too much of it. It’s a novelty. Star Trek ruined my career. It’s the reason no one will take me seriously as a writer anymore... It’s the reason we’re broke. (stands up) I’m going to the office. He stalks off.

INT. HALLWAY - LATER THAT NIGHT Gene walks to his office door, turns the knob, it’s locked. Roger the security guard emerges from an office across the hall. ROGER Mr. Roddenberry. 27.

GENE What’s going on? ROGER Bosses said your show was over and they needed the space. GENE Where are my things? ROGER Right this way. Gene follow Roger to another office down the hall. He opens the door, revealing a room the size of a small storage locker. A cheap metal desk takes up half the room. Gene’s posters and other belongings are stacked up against the wall. ROGER (CONT'D) You can stay here, but they want you to pay rent. Three months up front. By tomorrow. (then) Sorry. Roger ambles off as Gene steps in his new walk-in closet office.

INT. GENE’S NEW OFFICE - A SHORT TIME LATER Gene works at his tiny desk, on the phone. Sweating. Rolled up sleeves, unbuttoned shirt, half-empty whiskey bottle by his side. GENE (into the phone) Hey, Paul, it’s Gene. How the hell are ya? (pause) Good. That’s good. (pause) No, I’m fine. Just calling because my schedule has opened up a bit and I’m thinking about doing some freelance work to kill the time. I can take as many assignments as you can throw at me -- (pause) I see. Well, give me a call if things change. Okay. Bye. Gene hangs up. He crosses out Paul’s name on a long list of producers listed on a notepad. They’re all crossed out. 28.

Defeated, Gene writes in one final name at the bottom: Harry Epstein.

INT. HARRY EPSTEIN’S OFFICE - A SHORT TIME LATER HARRY EPSTEIN (60’s, unassuming, even-keeled) sits at large desk, typing. There’s a knock at the door. HARRY EPSTEIN Come in. Harry’s ASSISTANT (20’s) peers in. She’s a conservative looking girl, not the typical eye candy. ASSISTANT Mr. Epstein. Gene Roddenberry’s here to see you. Harry stops typing, not surprised and slightly annoyed. HARRY EPSTEIN All right. Send him in. She exits. Moments later, Gene walks in and closes the door behind him. HARRY EPSTEIN (CONT'D) Hi, Gene. How are you? GENE Oh I’m fine, Harry. Just fine. HARRY EPSTEIN Good. Awkward silence. Gene hesitates. HARRY EPSTEIN (CONT'D) What can I do for you? GENE Well. I just came by to catch up. Sorry to drop by unannounced. HARRY EPSTEIN It’s okay. GENE You know Majel’s pregnant. HARRY EPSTEIN Yeah, I think I heard that. 29.

GENE I’da came by and told you sooner. Just those long production days, you know? I’m really hoping for a boy this time, but Maje thinks it’s gonna be a girl. Just my luck, huh? Three girls. How’s Roger, by the way? He’s gotta be about ten now. HARRY EPSTEIN Eleven. Gene... I know you’ve been calling around. I know you’re looking for work. I’m sorry. I don’t have anything right now. (then) But... I can lend you some money if you need it. Gene pauses for a moment, then laughs it off. GENE Sure, I made a few calls here and there. But things are fine. Really. I just had some free time, that’s all. Just wanted to see how you were doing. HARRY EPSTEIN I’m fine. GENE Good. Good. Well, I don’t want to keep you from your work. HARRY EPSTEIN I really don’t have any open assignments -- or I’d give you one. You know I would. GENE Sure. But it’s okay. I’ve got some things in the works. As Gene goes to leave, Harry stands up -- HARRY EPSTEIN Gene. Wait. Gene turns back. HARRY EPSTEIN (CONT'D) God, I just feel like somebody should be straight with you for a change. 30.

GENE Straight with me? HARRY EPSTEIN Gene, you were one of the best writers I’ve ever worked with. And you carved out a really good career for yourself as a script man. You were fast and you were good. But... No one’s gonna hire you now. GENE (chuckle) Okay, Harry. HARRY EPSTEIN After Star Trek, the studios starting saying things, unkind things. Everyone had their opinion. Most of them wrote you off as this hack with silly ideas that cost way too much money. Fair or not, that’s what got around. And in this business your reputation is everything. GENE So what? My reputation is shit now, is that what you’re saying? HARRY EPSTEIN Your ideas were interesting, I’ll give you that. Even revolutionary at times. But making a Russian, an Oriental and Black woman the stars of your show. And then showing an interracial kiss on TV. What did you think was going to happen? Harry stops. He regrets that last part. Gene smiles politely. GENE I’ll tell Maje you said hello. HARRY EPSTEIN Gene. I didn’t mean-- Gene walks out.

INT. LIQUOR STORE - LATER THAT DAY Gene is at the counter paying for a bottle of whiskey. 31.

The CLERK sits down a magazine that he’s reading. On it, Gene notices another ad for the New York Star Trek convention. GENE (re: magazine) Do you have anymore of those?

EXT. LIQUOR STORE/PARKING LOT - CONTINUOUS Gene walks out of the store with whiskey and the magazine. As he approaches his car, he notices a demonstration on the corner, PROTESTORS waving signs against the Vietnam War. C/U on Gene’s face, watching the Protestors, as we-- MATCH CUT TO:

INT. UNION STATION/TRAIN CAR - DAY A train full of rowdy YOUNG SOLDIERS, all anxious to fight for their country, stow their bags and take seats. Gene finds himself on this train with a line of soldiers behind him waiting for him to clear the row. IMPATIENT SOLDIER (to Gene) Hey, buddy. Move it along. Gene scans for an empty seat, finds one next to SAM PRICKETT (22, clean cut, small town kid). He’s staring out the window, pensive. Gene looks around, takes in his new environment. He sits back in his chair, takes a deep breath to calm himself. SAM (not looking up) Sam Prickett. Gene looks at Sam, nonplussed. By the looks of it, Gene knows him. GENE Sam. SAM (looks up) That’s right. And you are? GENE (beat) Gene. Roddenberry. 32.

SAM Good to meet you, Gene. OUT THE WINDOW -- ACROSS THE TRACKS ARMED SOLDIERS escort groups of JAPANESE-AMERICAN CITIZENS onto a train bound for an internment camp. Sam is especially focused on the children, some of them crying. SAM (CONT'D) (to Gene) American citizens... They’re sending them to internment camps just because of the way they look. IN THE TRAIN -- ACROSS THE ROW A young man opens a prescription bottle and pops a couple pills. This is DUTTON C. DUTTON (19, wiry, barely passed the Army’s physical exam). Dutton and Gene make eye contact. Gene smiles he recognizes this guy too. Dutton offers him the pill bottle. DUTTON Want some? GENE What is it? DUTTON Scopolomine. It’s a tropane alkaloid drug. (off Gene’s look) For motion sickness. I get it sometimes. All the time, actually. Gene shoots him a look: no thanks. Dutton extends his hand, they shake. DUTTON (CONT'D) Dutton C. Dutton. Pleasure to meet you. GENE Gene Roddenberry. DUTTON You didn’t ask me if my first name is really the same as my last name. People usually ask me that. Anyway, it is. Gene smiles, knowingly. 33.

GENE Yeah. I know. Dutton pulls out another prescription bottle. DUTTON (off Gene’s look) Sleeping pill? GENE No thanks. Sam retrieves a book from below his seat. Gene observes this. GENE (CONT'D) (re: Sam’s book) John Carter of Mars. DUTTON Science fiction, huh? How about Flash Gordon -- you like that one? I used to read every Flash Gordon comic in the pulps. But if you ask me, it all went downhill after Prince Barin married Ming’s daughter Princess Aura. Although I did enjoy the story line with Azura the Witch Queen, I just wish -- SAM (interrupting) Hey, Dutton. Why don’t you hurry up and take that sleeping pill already. DUTTON What’s wrong -- not a science fiction fan? SAM No, I like science fiction. I’m not a you talking fan. Gene chuckles, but stifles his laughter for Dutton’s sake. DUTTON (laughs) That’s funny. I’m gonna like you. Dutton pops his pills, lays back in his seat. Sam looks back at the Japanese-Americans across the tracks. 34.

SAM (mocking) “Land of the free.” Gene watches them as well. An uneasy feeling comes over him. GENE (beat) I thought we were being sent out there to fix things like this. I thought the future would be different. I wanted it to be. Dutton start snoring across the row. Gene and Sam look to him. SAM There’s your future right there. SMASH CUT TO:

EXT. SANTA MONICA/LIQUOR STORE - CONTINUED (1973) Gene snaps out of it. He’s outside the liquor store. He looks around, disoriented. The protest still happening across the street. Gene watches it for a beat, then gets in his car. He puts the whiskey and magazine on the seat, sticks the key in the ignition, then hesitates to turn it. Instead, he picks up the magazine, reads the ad for the Star Trek convention. SFX (PRE-LAP): A commercial airplane takes off. C/U on the ad, as we-- CUT TO:

INT. COMMERCIAL AIRPLANE/FLYING - DAY Gene and Majel are in their seats, on their way to New York. Gene is visibly nervous, sweating. TURBULENCE hits. Off the turbulence, Gene looks around the plane anxiously, then to the cockpit. He’s uneasy. Majel puts her hand on his to calm him. MAJEL We’re okay. GENE It’s funny. I wasn’t scared in my dream. 35.

MAJEL That’s because you were flying the plane. Gene manages a forced smile, then settles a bit. Majel closes her eyes to go to sleep. A FLIGHT ATTENDANT approaches. FLIGHT ATTENDANT You look like you could use a drink. GENE (beat) Whiskey. As the Attendant walks away, Gene sneaks a look at her backside. Majel opens her eyes and Gene quickly looks away.

EXT. COMMODORE HOTEL/NEW YORK CITY - LATER THAT DAY A BANNER reads: Star Trek Convention. Hundreds of Star Trek FANS of all ages and races are lined up outside the hotel, waiting to get in. More than half of them are colorfully dressed as characters from the show: Captain Kirk, Spock, Command and Science Officers, Klingons, Vulcans, Romulans, Rigelian Cabaret Girls, etc.

INT. COMMODORE HOTEL - CONTINUOUS Gene, wearing a nice sports coat and tie walks with Majel. MAJEL (teasing) You wore a tie. GENE What’s wrong with a tie? MAJEL Nothing. Maybe you’re more excited than you’d like to admit. They walk to the front of a LINE that extends all the way outside. As they pass the queuing fans, an incredulous Gene is shocked to see all the elaborate Star Trek costumes. He stops in his tracks when he sees someone crudely dressed as GORD: the reptilian alien. 36.

GENE (re: Gord) Wow. That’s Gord. Honey, that’s Gord! Majel keeps walking, approaching a guy dressed as THE SALT VAMPIRE (from “The Man Trap” episode of the Original Series). He’s working behind the CHECK IN TABLE and can barely see out of his uneven eye holes. MAJEL Hi, we’re the-- SALT VAMPIRE (rote) Back of the line please. MAJEL But we’re with the show. SALT VAMPIRE Yeah, like I haven’t heard that a hundred times today. Who were you, the coffee girl? Majel takes off her sunglasses. MAJEL Actually, I played Nurse Chapel. The Salt Vampire perks up. He tries to get a closer look, but his clunky head piece is obstructing his view. He pulls it off, revealing a sweaty-faced college kid. SALT VAMPIRE Oh shit, you’re Nurse Chapel! Oh shit, I said sorry! I mean, sorry, I said shit! Ah shit! Gene approaches. MAJEL (re: Gene) This is my husband. He also had a little something to do with the show. A beat as it registers to the Salt Vampire kid. SALT VAMPIRE No way! You’re Gene Roddenberry! (to the fans) (MORE) 37. SALT VAMPIRE (CONT'D) Hey! It’s Gene Roddenberry! And Nurse Chapel! Cheers and applause erupt from the queuing fans. It’s a bit awkward and sudden, but Gene and Majel smile politely and wave. A couple of the fans approach Gene and Majel for autographs -- they oblige. Then, a WOMAN in plain clothes approaches from behind the check in table -- This is JANE WINSTON (38), life-long science fiction nerd, wearing an official badge around her neck. JANE WINSTON Mr. and Mrs. Roddenberry. It is such an honor to meet you. I’m Jane Winston. A science professor at UCLA and one of the organizers of this event. She shakes their hands, adoringly. GENE The honor is all ours. This is quite a show you’ve put on. I really didn’t expect all this. I’m impressed. JANE WINSTON Thank you. That means so much coming from -- (takes a nervously breath) -- the creator of Star Trek. She turns to Majel. JANE WINSTON (CONT'D) And Nurse Chapel! MAJEL Call me Majel. JANE WINSTON Well. Majel. And Gene. GENE (joking) Call me Mr. Roddenberry. 38.

JANE WINSTON (laughs) Follow me. I’ll take you inside. As he follows, Gene passes a POSTER, advertising a Q&A with famed science fiction writer Isaac Asimov, accompanied by a headshot of Asimov in the corner.

INT. BANQUET HALL - MOMENTS LATER Gene and Majel follow Jane into the main room. They walk through rows of booths and tables displaying fan art, fan fiction, handmade Enterprise models and other Star Trek related works. Gene is in awe. GENE This is really something. JANE WINSTON We were expecting only a few hundred people to show up this weekend. Now the projections are in the thousands. GENE All of this, just for an old science fiction TV show? JANE WINSTON We think it’s much more than just an old TV show. It’s become a very important piece of work in the science fiction community. It’s taken on a life of its own. They walk past a woman dressed as a DENEBIAN SLIME DEVIL. MAJEL It sure has. JANE WINSTON Before your show came on the air -- it was all just kiddie space programs like Captain Video telling silly stories. You were the first television writer to take science fiction seriously. Gene blushes, a nice thing to hear. 39.

JANE WINSTON (CONT'D) And that’s why we don’t want it to end. We’re still holding out for another show. GENE Another Star Trek show? It’s a nice idea, but I’m afraid it’s not something the studios would go for. JANE WINSTON Are you sure? You got them to put it on the air the first time. Who says you can’t do it again? MAJEL She has a point. JANE WINSTON Right through here. Majel and Gene follow Jane through a doorway leading into --

INT. BACK STAGE - CONTINUOUS -- a dark room behind the stage. Through the curtains, we hear sounds of a speaker with intermittent audience laughter. MAJEL (curious) What’s happening here? JANE WINSTON We scheduled a few speakers. I thought Gene would like to say a few things to the fans. GENE I didn’t really come here to give a speech. I wouldn’t know what to say. Majel and I are just observing. JANE WINSTON Please. Just a few minutes. I know they would really love to hear from you. MAJEL Go on, Gene. (off his look) It’ll be fun. 40.

C/U on Gene, deliberating.

INT. STAGE - MOMENTS LATER Jane, Gene and Majel step out onto the side of a stage overlooking a large banquet hall, packed with over four hundred seats. Every row filled with costumed and plain-clothed Star Trek fans, with more filling out the back and side standing areas. Behind the podium, ISAAC ASIMOV (52) is wrapping up. ISAAC ASIMOV They speak about the mission of the Enterprise being: “To boldy go...” A split infinitive I heard ever single time. Laughter from the audience. ISAAC ASIMOV (CONT'D) “To boldly go where no man has ever gone before.” (then) What Star Trek really presented was the brotherhood of intelligence. It mattered not what form the intelligence took. Or what kind of universe the intelligence built for it. If it was intelligent. If it was intelligent enough to build a culture. Then it had the right to live in that culture. It had the right to exist and be. As Isaac continues, Gene whispers to Majel: GENE I don’t think I can top this. MAJEL (teasing) You’re right. You should have wore a whole suit. Applause from the audience. Jane steps out and shakes Isaac’s hand and then walks to the podium. Isaac approaches Gene and Majel. 41.

ISAAC ASIMOV Gene. What are you doing here? Shouldn’t you be in Hollywood selling out? GENE Oh they own me out right now, Isaac. There’s nothing left to sell. Isaac and Gene have a laugh and a hug. ISAAC ASIMOV It’s good to see you, Gene. (beat; then) Majel. I can never think of the proper words to describe your beauty. MAJEL Thank you, Isaac. That was a wonderful speech. ISAAC ASIMOV (re: Majel’s stomach) Ah, the baby... (then; leaning in) Are you sure it’s Gene’s? MAJEL Well I did spend a magical weekend with an Orion pirate in the Beta Quadrant. If the baby comes out green we’ll know for sure. Isaac and Majel share a laugh. ISAAC ASIMOV (to Gene) I haven’t gotten a letter from you in quite some time. The new show keeping you busy? GENE There is no show. The network decided not to pick it up. I’ve just been busy working on some other things. Isaac senses the uncertainty in Gene’s voice. 42.

ISAAC ASIMOV You know, Gene, there’s good money to be made doing college lecture tours. I can tell you from personal experience, they love talking about Star Trek. Why don’t I introduce you to my booking agent? MAJEL That’s a great idea. GENE (no thanks) Thanks for the offer, Isaac. I’ll keep that in mind. ISAAC ASIMOV Is that your polite way of declining? MAJEL Don’t take offense. It’s too much traveling for Gene. He hasn’t flown much since the crash. He’s just-- GENE (rudely cutting Majel off) Maybe another time Isaac. A tense beat, then Gene feigns a smile to lighten the mood. ON STAGE -- Jane speaks at the podium. JANE WINSTON (into the microphone) We have a special treat for you. Ladies and Gentlemen. Trekkies and Trekkers. Allow me to introduce a true visionary -- Gene lowers his head, embarrassed by the term “visionary.” JANE WINSTON (CONT'D) -- the creator of Star Trek... Gene Roddenberry! The room fills with CHEERS and APPLAUSE. GENE (trepidation) I guess I’m up. Gene stands there for a moment, intimidated. Then, he walks out onto the stage. 43.

Standing at the podium, he’s in awe of the hundred of fans applauding. Gene looks back at Majel, she smiles. He turns back to the audience. Their cheers not waning. They even give him a standing ovation. C/U on Gene’s face, maybe believing for the first time that there may still be some life in Star Trek after all.

EXT. PARAMOUNT STUDIOS/MELROSE AVE - DAY Across the street from Paramount Studios, workers are putting up a billboard for a new Planet of the Apes movie.

INT. PARAMOUNT STUDIOS/WAITING ROOM - CONTINUOUS Gene, wearing his best suit, waits anxiously. The SECRETARY smiles at Gene. He returns a polite smile, too preoccupied to give her a second glance. Moments later, her phone RINGS. SECRETARY (INTO THE PHONE) (pause) Yes sir.

INT. PIKE’S OFFICE - A FEW MINUTES LATER Gene is sitting across from JOHN PIKE (38) surprisingly affable for a TV exec. The name plate on his desk reads: “John Pike, President of Television.” Gene sits silent as Pike deliberates. After a beat: PIKE I’m sorry, Gene. A new Star Trek series would be too risky. And we’d be cutting into the small audience we already have watching the reruns. We’d lose syndication. GENE The audience may be small, but they’re dedicated. They’ll watch the new show and the reruns. I’m telling you, these people are unlike any television audience I’ve ever seen. They really believe in Star Trek’s ideals and principals. (MORE) 44. GENE (CONT'D) They don’t just watch it, they live it. You should see them, John. They’re wonderful people. PIKE That’s great, Gene, but those people didn’t stop the show from getting cancelled the first time. What’s different now? GENE What’s different? (thinks) Well. It’s the seventies. People are thinking more for themselves. They’re fed up with petty governments and visionless leaders. They’re protesting on the streets, fighting for a better future. The kind of future that Star Trek represents. PIKE I admire your passion. I really do. And I respect your show and its fans. But advertisers don’t care about a better future. They care about viewers. And you just don’t bring in enough of them. Gene’s face drops. He sits there, defeated once again. SMASH CUT TO:

INT. B-17 - SAME Gene jolts awake to find him piloting a B-17 bomber plan with MILLER, his co-pilot, and Dutton. Gene’s wearing an aviation headset. MILLER Hey. You okay? GENE Where are we? MILLER Right now? (duh) The Pacific Ocean. 45.

Gene looks around, unsettled. MILLER (CONT'D) You been taking Dutton’s drugs again? DUTTON I didn’t give him anything. (to Gene) Hey, did you steal my drugs? Miller observes Gene, trying to get a handle on things. MILLER Our target is the Kahili airport, remember? The primary airfield supporting fighter operations over the Southern Solomons. (then) It’s okay to be nervous.

EXT. NORTH PACIFIC OCEAN - DAWN (1944) THREE B-17’s bomber planes move through the cover of storm clouds, accompanied by FIGHTER PLANES. CHYRON: 1944

INT. GENE’S PLANE Gene, in disbelief, is starting to understand where he is. GENE I’m dreaming. This is a dream. MILLER I wish it was a dream. Then, I’d actually wake up in bed with my wife, instead of some dirty playing cards.

INT. SAM'S PLANE - CONTINUOUS Sam, overwhelmed by nerves, speaks into his headset microphone. SAM Speaking of dreams, I keep having one where my plane goes down. (then) (MORE) 46. SAM (CONT'D) You know, they say when you’re about to die, your whole life flashes before your eyes. You see every choice you ever made. Every person you loved. (pensive) But how could you fit all that in a few flashes?

INT. GENE’S PLANE Gene processes what Sam just said. He’s heard it before, long ago, but now it has more resonance.

INT. WILLIAMS’ PLANE Williams speaks into his radio. WILLIAMS I don’t know, Sam, but I don’t want to hear about your depressing plane crash dreams right now. How about we talk about something fun? (then) Tell us Private Dutton C. Dutton -- why is it your parents felt obliged to make your first name the same as your last name.

INT. GENE’S PLANE Dutton rolls his eyes. He speaks into his headset. DUTTON (sigh) It’s stupid. WILLIAMS Of course it’s stupid, that is precisely why we want to know. Dutton deliberates. DUTTON Okay. Fine. For posterity, in case I don’t make it. WILLIAMS Go on. 47.

DUTTON (beat) Well. My family’s original name wasn’t Dutton. It was... He pauses. WILLIAMS What? DUTTON (hesitating) It was Hitler. Eyes go wide in all the B-17s. SAM Hitler. Your last name was Hitler? As in-- DUTTON Adolf Hitler. Leader of the Nazis. Mass murderer. Yes. HICK Wow. DUTTON There was no way my family could share a name with a monster like that, so -- MILLER So you changed it to Dutton? WILLIAMS That still doesn’t explain why your first name is Dutton. DUTTON Well that’s the thing. My first name was already Dutton. (then) When my father went to change our last name. He was very drunk. They asked him what last name he wanted. So, he said he always liked the name “Dutton.” He forgot that he had already named one of his sons Dutton. (then) So then -- because they wouldn’t let him change it a second time -- my first name became our last name. 48.

A long beat. Then, LAUGHTER erupts. WILLIAMS That is the stupidest and funniest thing I’ve ever heard. SAM All right, that’s enough. Let’s focus on the mission.

I/E. GENE’S PLANE TOP TURRET GUNNER: Johnson readies his 50 caliber machine gun. BOMBARDIER’S BUBBLE: Dutton pops a handful of motion sickness pills. COCKPIT: Gene and Miller navigate through the turbulence.

I/E. GENE’S PLANE Gene, more nervous than before, steels himself. Miller grins to cover his own anxiety. MILLER (to Gene) If this is a dream, hopefully we all wake up. COCKPIT: MILLER (CONT'D) Pilot to navigator. How much further? INTERCUT with NAVIGATOR STATION. JOE Not sure. I lost visual contact. Can’t see through the clouds. They’re too thick. We’re maybe fifty miles out. Give or take. Gene absorbs everything -- the sound of the engine, the feel of the steering sticks in his hand. It’s starting to come back to him. MILLER Gene? 49.

GENE (hesitating) Pilot... Pilot to bombardier. Dutton, what do you see? BOMBARDIER’S BUBBLE -- DUTTON’S POV: The clouds are thick, with pockets of ocean visible between them. Dutton scans for land. DUTTON Nothing yet. He keeps looking. After a couple beats, a SILHOUETTE appears between the clouds. DUTTON (CONT'D) Wait. I see something. I think it’s land. The silhouette gets bigger, closer. He looks again, it’s moving. Wait a minute. DUTTON (CONT'D) Oh, shit! Multiple SILHOUETTES appear to be moving toward them. When the clouds break, we see a group of JAPANESE FIGHTERS heading to their position. DUTTON (CONT'D) Fighters! Jap fighters, coming this way! At least a dozen. MILLER Keep pushing forward. We have to be closer. We need visual confirmation. GENE (into the radio) Get ready, --

I/E. WILLIAMS’ PLANE GENE (RADIO) -- we got a dozen fighters approaching fast. WILLIAMS Let’s light them bastards up! Williams’ Turret Gunners get in position. 50.

I/E. SAM’S PLANE SAM (INTO THE RADIO) All right. Get those guns up. Everything gets quiet and eerily calm... NOSE TURRET GUNNER: Scans the sky. TOP TURRET GUNNER: Gets in position. BALL TURRET GUNNER: Looks around, nervously. Sees nothing. Sam’s POV -- SAM (INTO THE RADIO) (CONT'D) I’m not seeing anything. Where are they?!

I/E. GENE’S PLANE Gene and Miller scan the sky, nothing. MILLER Dutton. Where’d those fighters go? Dutton’s POV: He looks below, nothing. DUTTON I don't know. They’re gone. GENE They’ll be back. All is quiet, except for the buzz of plane engines. They wait... After a moment, Miller squints his eyes. He sees something straight ahead -- storm clouds moving forward. Japanese fighters break through those clouds -- a dozen of them, in attack formation, closing in. MILLER They’re coming straight at us!

I/E. WILLIAMS’ PLANE Williams spots them. WILLIAMS Two ‘o clock high! 51.

Turret Gunners reposition themselves.

I/E. SAM’S PLANE Sam and Schifani take cover as Japanese fighters belly roll in and let loose a barrage of MACHINE GUN FIRE, hitting their plane -- TAT-TAT-TAT-TAT-TAT!

I/E. GENE’S PLANE The fighters converge from the left side. GENE Johnson! TOP TURRET GUNNER POV: JOHNSON I see him. Johnson fires RAPID SHOTS from his 50 cal. machine gun. He TAGS the nose of a Japanese fighter causing an explosion. It goes down. GENE Where’s that target, Dutton? BOMBARDIER’S BUBBLE POV: Dutton scans through the water and clouds below. DUTTON I don't see it! I don't see any land. GENE Keep looking. I know it’s there. BOMBARDIER’S BUBBLE POV: Dutton sees something through a break in the clouds. DUTTON Wait a minute... He looks closer -- it’s land -- THE KAHILI AIRPORT. DUTTON (CONT'D) There it is! I see it. Straight ahead. About twenty miles. MILLER Okay. Let’s get this done. 52.

I/E. WILLIAMS’ PLANE GENE (RADIO) We have a visual on the target.

I/E. SAM’S PLANE Sam’s machine gunners are trading bullets with the fighters. TAT-TAT-TAT-TAT!! Bullets from the fighter hit the side of the plane again. GENE (RADIO) (concerned) Stay with me Sam. TAT-TAT-TAT-TAT!! More bullets pierce the side of Sam’s plan. He maneuvers. NAVIGATOR’S POV: They’re closing in on the Kahili airport. JOE We’re getting close. TOP GUNNER TURRET: Johnson exchanges fire with a Japanese Fighter coming straight at him. Then, another one approaches from the opposite side. JOHNSON I need help over here! Off Johnson’s cry for help, Joe moves over to the STARBOARD MACHINE GUN. He starts firing at the second Fighter but the gun malfunctions -- a MUZZLE BLASTS throws him back. Joe picks himself up. He wipes his eyes, squints. JOE I can’t see. (louder) I can’t see! JOHNSON It’s just flash blindness, it’ll wear off! Off this, Joe steels himself and feels his way back to the machine gun. He grips the gun and fires blindly in the same direction. By a miracle, he hits the Japanese fighter -- it EXPLODES! TOP GUNNER POV: Johnson takes out the other fighter, DIRECT HIT to the engine. It goes down, flaming. 53.

JOHNSON (INTO THE RADIO) (CONT'D) (to Joe) Good job, kid. Joe smiles. His sight slowly returning. BOMBARDIER’S BUBBLE: Dutton’s sweating profusely. DUTTON We must be close. But I can’t see the target. It’s too dark. And my motion sickness pills are wearing off. The storms clouds have overtaken the sky -- it’s completely dark. WILLIAMS’ POV: WILLIAMS What do we do now? MILLER I don't know. We can’t see ‘em, we can’t hit ‘em. GENE From the ground they can’t see us. If we lay blind ground fire, we’re bound to hit something. Then, they’ll turn on their searchlights to return fire with their gun turrets. WILLIAMS (getting it) Lighting up the sky. MILLER It’s worth a shot. Everyone target your fire to the ground. Johnson climbs down to the bubble turret beneath the plane. He starts firing the machine gun blindly at the ground.

I/E. WILLIAMS’ PLANE Hick climbs into the bubble turret and fires. 54.

I/E. SAM’S PLANE Schifani nods to Sam, then leaves the cockpit, climbs into the bubble turret.

I/E. GENE’S PLANE Johnson fires from the bubble.

I/E. SAM’S PLANE Schifani FIRES.

EXT. BEACH/KAHILI AIRPORT GROUND POV: From the darkness of the sky, bullets rain down from the B-17s -- hitting the ground, some ricocheting off metal. We hear JAPANESE SOLDIERS shouting. Under attack, they scramble to their anti-aircraft turrets. They turn on the SEARCHLIGHTS.

I/E. GENE’S PLANE The sky LIGHTS UP. The Kahili airfield is completely visible now. GENE It worked! MILLER Wooohoo!

I/E. SAM’S PLANE SAM Let’s take ‘em down.

I/E. WILLIAMS’ PLANE WILLIAMS Rain holy hell on those bastards. 55.

I/E. GENE’S PLANE MILLER All right. They put the spotlight on us. Let’s take a bow. JOE All clear. Target’s right in front of us. DUTTON I see it. MILLER It’s on you, Dutton. A little turbulence shakes up Dutton. The motion sickness is getting to him, but he powers through it. DUTTON Hold it still. I’m gonna be sick. MILLER Just drop those bombs, then you can be sick. Dutton checks his target... a beat... he releases the bombs. DUTTON Watch ‘em fly! A dozen bombs float down below. One after another, they HIT their target. The Kahili airport erupts in EXPLOSIONS and SMOKE. SAM Direct hit. Our heroes celebrate.

INT. SAM’S PLANE Schifani climbs back up to the cockpit. SCHIFANI (to Sam) Let’s go home.

INT. GENE’S PLANE Gene stops celebrating. He furrows his brow and looks around. All this is beginning to seem very familiar. 56.

Then, Gene’s eyes go wide when he remembers something -- GENE Wait... No... Sam! Sam!!

INT. SAM’S PLANE SAM I’m right here. As Sam turns around, a half dozen Japanese fighters close in from the east. They fire at him relentlessly. SAM (CONT'D) Shit! SCHIFANI We’re under attack!

INT. GENE’S PLANE GENE Sam! Get the hell out of there!

INT. SAM’S PLANE SAM I can’t shake ‘em! The top turret gunner returns fire -- TAT-TAT-TAT-TAT-TAT! Shots from a Japanese Fighter break through the glass, hitting Schifani. He’s dead. SAM (CONT'D) Schifani! Sam steels himself, keeps flying. He attempts to maneuver an escape... But it’s too late.... BULLETS hit the frontal fuselage -- it EXPLODES! Japanese Fighters focus all their fire on one wing of the plane. The fighters destroy Sam’s wing. The imbalance causes the plane to corkscrew down to the ground. SAM (CONT'D) I’m going down! 57.

INT. GENE’S PLANE GENE Sam! They all watch as Sam’s fiery plane plummets into the ocean. C/U on Gene’s face, horrified. The LIGHT from the fire illuminating the sky. Then, in a flash--

INT. GENE’S CAR/PARKED - DAY Gene is sitting in his car, gripping the steering wheel, screaming: GENE Sam!! He’s breathing short and fast. Sweating. Gradually, he calms himself. The nightmare is over.

INT. WARNER BROS./HALLWAY - DAY Gene ambles to his smaller office, still reeling his “nightmare.” He tries the knob. It’s locked. Again. There’s a NOTE taped to the door: Didn’t received payment. Had to lock you out. Sorry. - Roger Gene stands still for a moment, emotionally exhausted. Frustrated. After a few beats, he violently punches and kicks the door. He continues banging on it, until Roger steps into the hallway. ROGER Mr. Roddenberry. GENE Screw you!

EXT. WARNER BROS/FRONT GATE - LATER Gene is being escorted out by Roger and another security guard. They take him out the front gate, send him on his way. Gene stops, turns back. Roger offers a sympathetic look. ROGER I’m just doing my job, sir. (then) My wife and I love Star Trek. (MORE) 58. ROGER (CONT'D) It got us through a lot of tough times. Roger smiles, then walks back onto the lot. Gene stands there, pensive. Then, lights a cigarette and looks up at the Warner Brothers studio sign. MATCH CUT TO:

EXT. ABC STUDIOS - DAY C/U on the ABC STUDIOS entrance sign. Then, down as a police car with SIRENS on, barrels through the gate and pulls to a screeching stop. CHYRON: 1954 Gene (33, police uniform) quickly opens the trunk of his car, pulls out a sports jacket and puts it on over his police shirt. He takes off his badge, tosses it in the trunk.

INT. PRODUCTION OFFICE - DAY Gene rushes up to a RECEPTION DESK. The RECEPTIONIST is watching a television. On the TV: a children’s science fiction show called Captain Video. GENE (out of breath) Gene Roddenberry. I have an appointment with Phillips Lord. The Receptionist checks her books. RECEPTIONIST One moment please. Gene sees Captain Video on the TV. It’s crude and silly. RECEPTIONIST (CONT'D) Mr. Roddenberry. You can go in that door right over there. GENE Thank you. 59.

INT. PHILLIPS LORD’S OFFICE - MOMENTS LATER A nervous Gene enters and greets PHILLIPS LORD (50’s) a top TV producer who hasn’t missed a meal since the 20’s, and two nebbishy sycophants who call themselves his associates, HERBERT (44) and FREDERICK (38). PHILLIPS LORD You must be Gene. GENE Yes sir. They shake hands. PHILLIPS LORD Have a seat. Gene sits. He nods at Herbert and Frederick. PHILLIPS LORD (CONT'D) Those are my associates, Herbert and Frederick. Herbert and Frederick respond with unwelcoming stares. PHILLIPS LORD (CONT'D) Gene, let’s not waste any time. I agreed to take this meeting out of favor for a friend -- but I’ll be frank. I don’t usually meet with writers I’ve never worked with or heard of before. Do you even have any TV writing experience? GENE Well, I’ve really only written speeches and articles for a local newspaper. But I am working on an idea for a science fiction show -- PHILLIPS LORD (interrupting) All right. I’m doing a program called, Mr. District Attorney. It’s a police crime-drama airing on ABC in the fall. Our mutual friend said you were uniquely qualified for this project but I just don’t see how. GENE Well, I think it’s because I -- 60.

PHILLIPS LORD It’s because you’re tall and good- looking. And for some reason people think that equates to talent in this business. It doesn’t. Have you seen Clint Walker? He’s awful. Gene wipes sweat from his brow. He’s nervous and perspiring. PHILLIPS LORD (CONT'D) Something wrong? GENE Just a little hot. PHILLIPS LORD Take off your jacket. Why in the world are you wearing all black anyway? Gene takes off his jacket and drapes it around his chair. C/U on Gene’s department-issued HANDGUN, holstered on his belt. He doesn’t realize he’s still wearing it. Phillips, Herbert and Frederick’s eyes go wide when they see the gun. Their trepidation goes unnoticed by Gene. GENE Is there anything at all I can do on the show? I’m really just trying to get my foot in the door. Gene’s gun is very visible. Herbert, Frederick and Phillips tense up. PHILLIPS LORD You know what, uh -- we do have one opening. GENE Really? That’s great. I’ll do anything. What is it? PHILLIPS LORD Uh... Herbert. Tell him what it is. Phillips looks to Herbert. HERBERT Uh... Frederick? FREDERICK (nervous; unsure) We have, uh -- an internship. (MORE) 61. FREDERICK (CONT'D) As a, uh -- script supervisor and consultant. PHILLIPS LORD That’s right. Gene, how would you like that? Help out with the scripts, give us some insights on the -- (re: gun) -- criminal underworld. Phillips, Herbert and Frederick anxiously await his response. After a tense beat: GENE Sure. I think I’d like that. Thank you. They breath a sigh of relief. You’d think the gun was pointed at their heads.

EXT. PARKING LOT - A FEW MINUTES LATER Gene opens the trunk, tosses his jacket in. Then, he notices that he’s still wearing his gun. He thinks about it for a moment, then LAUGHS. MATCH CUT TO:

INT. BAR - NIGHT Gene, still LAUGHING, sitting at a bar with a glass of whiskey in his hands. Bar Patrons watch Gene, laughing at nothing. He looks crazy. BAR PATRON (to Gene) What the hell are you laughing at? SMASH CUT TO:

INT. TV SET/”MR. DISTRICT ATTORNEY” - DAY (1954) Gene is standing in the back of a bustling TV set, watching a DIRECTOR talk with ACTORS. Herbert and Frederick approach Gene cautiously. They’re surprisingly affable. HERBERT Gene! How’s everything working out? 62.

FREDERICK Yes. Can we get you anything? GENE No, thank you. Things are just fine. Frederick and Herbert scan Gene’s waist looking for a gun. FREDERICK Good. We’ll just be going then. HERBERT Yes. Nice to see you again. Frederick and Herbert shuffle away quickly. DIRECTOR Action! Gene watches the camera monitors as a scene is filmed. Actor DAVID BRIAN is questioning a GUEST ACTOR on the witness stand. DAVID BRIAN (AS PAUL GARRETT) And now Mr. Turner, I’d like to review a certain phase of the police investigation, of the murder of your wife... When the police arrived, after you had called them. You said in front of the two officers -- You said-- David turns to camera. DAVID BRIAN (CONT'D) Shit. What did he say? Line! GENE (reading the line) “You said in front of the two officers: I killed her. She had it coming.” DAVID BRIAN Hold that thought. I’m taking a piss. David walks off the set. A younger HARRY EPSTEIN (45), approaches. Gene doesn’t seem to recognize him. HARRY EPSTEIN I guess the lines aren’t compelling enough for him to hold it in. 63.

GENE Well, the scene is a bit heavy- handed and repetitive. HARRY EPSTEIN I’m sure you could write something better than this crap, right? GENE That’s right. Harry grins for a beat. HARRY EPSTEIN What’s your name? GENE Gene Roddenberry. HARRY EPSTEIN I’m Harry Epstein. I’m the writer of this episode. Gene attempts to remove the foot from his mouth: GENE Oh. Well, I didn’t mean -- it’s a fine episode. Really. I was just -- HARRY EPSTEIN It’s okay. I’m not one of those writers. They’re just words on a paper. Gene relaxes. HARRY EPSTEIN (CONT'D) So, I assume you have an interest in getting your hands on a script assignment... Why don’t you give it a shot? GENE How do you mean? HARRY EPSTEIN Write an episode. On spec. That means you write it without the promise of getting paid. GENE And what do I do with it after that? 64.

HARRY EPSTEIN I’ll read it. If it’s halfway decent, I’ll give it to the producers to see what they think. GENE Why would you do that? HARRY EPSTEIN Because someone did it for me. Thought I’d return the favor. GENE Thank you. HARRY EPSTEIN Just make it good. There’s no shortage of writers in Hollywood. But ninety-five percent of them are even more heavy-handed than me. Harry nods and walks off. Gene stands there, incredulous.

INT. BAR - NIGHT (1973) Gene jolts awake, peels his head off the bar. Another empty whiskey glass in front of him. It’s closing time and everyone’s heading out the bar. BARTENDER I called you a taxi, Gene. It’s out front.

EXT. BAR - A COUPLE MINUTES LATER Gene staggers out the front door. It’s raining. He sees the taxi waiting, but heads to his parked car instead. He reaches his car, pulls out his keys, drops them on the ground. As he kneels down to get them, we FLASH TO--

INT. STAGE/”MR. DISTRICT ATTORNEY” SET - ANOTHER NIGHT End of another day of shooting. Crew Members are closing up the set, wrapping up cords, taking down lights. Gene is lingering, wandering around the court room set. Taking it all in. Enamored by the magic of television. He runs his hands over a faux wood bench, admires the craftsmanship -- almost looks real. 65.

When everyone is out of sight, he walks behind the JUDGES DESK and sits down. GENE (mimicking a judge) Order in the court! You’re out of order! Harry Epstein appears from the side, applauding. HARRY EPSTEIN Bravo. Gene steps out from desk, embarrassed. GENE Sorry. HARRY EPSTEIN It’s okay. We’ve all done it. But, I’d stick to writing if I were you. Harry pulls a script from his back pocket: HARRY EPSTEIN (CONT'D) How long did you say it took you to write this? GENE One night. HARRY EPSTEIN One night? You wrote a sixty page script in one night? I can see a vet doing that, but how did you pull it off? GENE I guess I’m just used to it. I write a thousand words a day. HARRY EPSTEIN Every day? GENE Most days. (beat; then) So... What do you think? A long beat. HARRY EPSTEIN (minimal) It’s good. 66.

Gene stares, expectantly. He needs more. Harry lets him sweat for a bit. HARRY EPSTEIN (CONT'D) Really good. Maybe even better than a few of mine. (then) Do you have a day job? I doubt part- time script supervising is paying the bills. GENE I’m a police officer. HARRY EPSTEIN A police officer, huh? Herbert and Frederick had you pegged as some sort of Mafia hit man. GENE I liked how nice they were being to me so I never bothered to tell them. Harry and Gene share an amused smile. HARRY EPSTEIN Well I hope you’re not attached to that job. Because something tells me you’ll be too busy writing television to be chasing muggers. GENE Are you gonna give my script to the producers? HARRY EPSTEIN Already did. They read it this morning. And they liked it just as much as I did. (then) They’re going to produce it, Gene. GENE (lights up) They’re going to make my script? HARRY EPSTEIN Congratulations, Gene. You just became a working TV writer. They shake hands. 67.

HARRY EPSTEIN (CONT'D) That was the easy part. GENE What’s the hard part? HARRY EPSTEIN Staying employed as a TV writer. (then) Just remember. If you want to survive this business. You have to be worth more than just the words you put on paper.

EXT. BAR - CONTINUED Gene wakes up beside his car. He retrieves his keys from the ground. Struggles to open the driver side door, then falls into the seat.

I/E. GENE’S CAR/DRIVING - NIGHT Gene’s car swerves slightly, as he navigates the slippery rain-drenched road.

EXT. GENE AND MAJEL'S HOUSE - SAME Gene’s recklessly drives the car onto his front lawn. He opens the door, stumbles out.

INT. FOYER - MOMENTS LATER The lights are off. We hear sounds of keys trying a lock, then falling to the ground. GENE (O.S.) Damn it! Off screen, Gene picks up the keys, unlocks the door and stumbles inside. In the dark, he drunkenly feels around for the light switch. The lights flick on revealing Majel (nightgown) standing at the bottom of the steps. GENE (CONT'D) Hi, Maje. MAJEL Who were you with? 68.

GENE What do you mean? Who would I be with? MAJEL I don’t know. Have you gotten a new secretary yet? GENE Maje, you know I wouldn’t-- MAJEL Don’t... Don’t. GENE (beat) The daydreams are happening more often. I can’t stop them. And when I’m in it, I don’t even know I’m dreaming until I wake up. Majel wants to comfort Gene, but he doesn’t deserve it right now. She turns and walks up the steps. MAJEL Eileen called again.

INT. GENE’S HOME OFFICE - THE NEXT DAY Gene anxiously dials a number. It rings. INTERCUT WITH:

INT. ISAAC ASIMOV’S HOME - DAY Isaac answers. ISAAC ASIMOV Hello? GENE Isaac. It’s Gene. Listen. If the offer’s still open, I want you to introduce me to that booking agent of yours. I’d like to do some of those lectures if I can. ISAAC ASIMOV Sure. But why the change of heart? 69.

GENE I just remembered something an old friend said to me. I’m worth more than just the words I put on paper. And it’s about time I get what I’m worth.

INT. COLLEGE LECTURE HALL - DAY As we slowly PAN across a full classroom of eager students, we hear: GENE (O.S.) That’s the philosophy of Star Trek. Science fiction, like any other story, should be about the people -- not the hardware. Gene stands at a podium. GENE (CONT'D) I wanted to show what the human race could grow to become if we moved past our prejudices, petty nationalism and secular beliefs -- if humanity didn’t just tolerate, but took special delight in all the differences in ideas and differences in life forms that the universe has to offer. A brief silence, then applause. A PROFESSOR approaches Gene. PROFESSOR Thank you, Mr. Roddenberry. Gene hurriedly shakes the professor’s hand, waves to the students and tries to leave. PROFESSOR (CONT'D) Would you mind sticking around for a few questions? GENE I’d love to. PROFESSOR Great. GENE But I have a plane to catch. Sorry. Gene gives one last wave to the room and exits. 70.

INT. LIVING ROOM - NIGHT Majel is sitting on the couch reading a book when she hears the front door open. Moments later, Gene comes in carrying a suitcase. He sits the suitcase down and hands Majel an envelope. MAJEL What’s this? GENE A check. Majel opens the envelope, reads the check. Eyes wide, she looks up at Gene. MAJEL They paid you this much to talk about Star Trek? Gene grins. GENE That should be enough for the child support and alimony. MAJEL What about the mortgage? GENE I’m working on it.

I/E. LECTURE MONTAGE - DAY/NIGHT - Gene speaks in front of a group delighted college students. - Gene asleep on an evening commercial flight. - Gene looks uninterested as he gives a another lecture. - Gene collects a check from his booking agent. - Gene gives the check to Majel. - Gene finishes off a glass of whisky on his flight, orders another one. - Gene is at another lecture, slightly intoxicated. He exchanges a look with a college girl who seems more than interested. - Gene flirts with the college girl post lecture. 71.

- Gene escorts that same college girl out of his hotel room the next morning. - Gene is on another evening flight. - Gene arrives home, climbs in bed with Majel. She pretends to be asleep. - Gene takes photos with fan, post lecture. He clearly doesn’t want to be there. - Gene pulls up in a taxi outside of another airport. - Gene, on the plane, exhausted, takes a sleeping pill and chases it with a shot of whiskey. - Gene exits the plane, chatting it up with a pretty FLIGHT ATTENDANT. - A flirtatious Gene and the Flight Attendant have a few drinks at a bar. - Gene, tired and disheveled, climbs out of a taxi with his suitcase in tow. He walks toward his house. It late, but the lights are on. (CHYRON: 1974)

INT. DINING ROOM - CONTINUOUS Majel is sitting at the table, finishing off her dinner. Her stomach is bigger. She’s days away from giving birth. There’s place set for Gene. He enters the room, puts his suitcase off to the side, sits down. He starts eating. MAJEL It’s cold. You’re late. GENE Those damn airlines, never arrive on time. MAJEL I called the airline. Your flight arrived a few minutes early. Gene knows he’s caught, decides to fess up-- GENE I stopped at a bar on the way home. Lost track of time. MAJEL Well. She must’ve been quite the conversationalist. 72.

GENE I talked to some people at the bar, if that’s what you mean. Gene takes a bite of his cold food. MAJEL Are you happy, Gene? GENE Am I happy about what? MAJEL About anything? GENE What kind of question is that? MAJEL We used to talk about the future. You were so excited about the possibilities. You had a vision. You cared about the message you were putting out in the world. That’s what made them fall in love with Star Trek. That’s what made me fall in love with you. Gene looks to Majel. He softens, manages a smile. MAJEL (CONT'D) After the baby’s born, I’m leaving you. Majel stands, ambles into the hallway. Gene smile fades. He follows her. GENE You want to talk about the future? All the possibilities? Well. Look at where we are. Nothing’s changed. There’s still hunger, wars. Kids dying for no reason. And there always will be. I was a fool to think any other way. And that’s why Star Trek didn’t work. Because it was a cild’s fantasy. And you know what -- maybe if I hadn’t created it, my name would still mean something in Hollywood. But it doesn’t. So this is who I am now. Just a drunk, has-been writer who’s doing whatever it takes to feed his family. (MORE) 73. GENE (CONT'D) Even if they don’t want him. (then) That’s my vision for the future. Gene stalks off.

EXT. UCLA/SCIENCE BUIDLING - DAY Establishing shot of the UCLA campus.

INT. LECTURE HALL - CONTINUOUS Camera slowly PANS across a classroom full of uncomfortable- looking students. One of the MALE STUDENTS is standing up, waiting for something. In the front row is their professor, Jane Winston (from the Star Trek convention). Gene leans on the podium as if it’s the only thing holding him up. He appears to be daydreaming again. But this time, we don’t see when or where he is. After a moment, he comes back-- GENE Sorry. What was the question? The standing Male Student hesitates, then responds. MALE STUDENT Uh... If molecular-disassembly and reassembly is possible if in the future. Why can’t the Enterprise transport matter through energy shields? GENE Well... You know, it just... doesn’t work like that. It never did. MALE STUDENT But my friends and I did the math and it should be-- GENE (interrupting) It should be whatever I made it to be. That’s it. That’s what it should be. The Male Student deflates. Jane takes offense to Gene’s aggressive tone toward her student. 74.

GENE (CONT'D) Look, you all seem to be under the impression that I made this show for you. I didn’t. I made it for me. Sure, you’ve seen every episode and you think you’re an expert. You want to tell me how to make a television show. You want to tell me what’s wrong with my work. Just like the studios and the executives and the critics. Well guess what? I don’t give a shit! Jane stands, walks over to Gene. JANE WINSTON (sotto) Mr. Roddenberry. Please. Don’t let them see you like this. She peers into Gene’s eyes. Her look of disappointment has a calming effect on him. He settles down. After a beat, he stumbles away from the podium, and out the door -- GENE (O.S.) Live long and prosper!

INT. BAR - NIGHT Gene is sitting at the bar, drunk. Staring into an empty glass. The Bartender brings him another drink. BARTENDER Are you okay, Mr. Roddenberry? Gene looks up, smiling. GENE I’m fine. Just having a nervous breakdown. BARTENDER Anything I can do? GENE You can tell me what year it is. BARTENDER Oh. Um. Nineteen Seventy-four. GENE That’s weird. It felt like nineteen forty-four a couple hours ago. 75.

BARTENDER Yeah. That is weird. IRENE (O.S.) Gene? Gene turns, sees his former assistant Irene. She gives Gene a once over -- seems concerned that Gene is looking worse for the wear. GENE Irene. She approaches him. IRENE Gene, you look-- GENE Amazing? Because that’s how I feel. IRENE You look tired. GENE Sit down. I’ll buy you a drink. IRENE I don’t think that’s a good idea. GENE You’re probably right. Gene and Irene share a look. There’s still something there between them.

INT. MOTEL ROOM - LATER THAT NIGHT Gene and Irene push through the door, kissing passionately. They make their way over to the bed. Irene shoves Gene off of her, making him fall back on the mattress. She starts taking her clothes off. Motions for him to do the same. IRENE Come on, you can’t be that drunk. (regretful) Oh my god, you’re that drunk. What am I doing here? GENE No, no. I got it. I got it. 76.

Gene clumsily removes his clothes. He struggles, his mind is somewhere else. When he finally gets them off, he looks up-- GENE (CONT'D) (sigh) Irene. Do you believe in time travel? IRENE What? (removing her stockings) I don’t know. If I did, I’d go back and tell myself to stay in school. Why? GENE I don’t know. Guess I was thinking of idea for a show. IRENE I’m going to go freshen up. Irene goes into the bathroom. Gene lays back on the bed. CLOSE ON Gene’s face. He slowly closes his eyes.

INT. MOTEL ROOM - THE NEXT MORNING Gene wakes up, finds himself naked, lying in bed next to Irene. He turns away, regretfully.

EXT. GENE AND MAJEL’S HOUSE - A SHORT TIME LATER Gene pulls up the driveway in his car. He exits the car and approaches the house with a bouquet of roses. When he reaches the front door, he sees a NOTE taped to the doorbell. The note reads: “Tried to call your office. Having the baby. - Majel.” Gene’s eyes go wide. He drops the roses, runs back to his car, gets in and peels off.

INT. CAR/DRIVING - DAY Gene is racing through the streets, swerving in and out of lanes. 77.

INT. HOSPITAL - DAY A disheveled Gene runs through the hospital halls, desperately calling out for his wife. GENE Majel! Majel! Where’s Majel?! Patients and Staff watch Gene causing a commotion. A NURSE stops him in his tracks. NURSE Sir. Please stop shouting. GENE Take me to my wife. Please. She’s having a baby.

INT. RECEPTION DESK - MOMENTS LATER The Nurse is behind the desk, looking at her files. NURSE Majel. And the last name is Roddenberry? GENE Yes. Hurry! NURSE I’m sorry, she’s not here. GENE What?! NURSE She’s not at this hospital. Do you know what hospital your wife’s primary care physician works out of? Gene’s face drops, devastated. GENE No. I don’t. NURSE (sympathetic) Just hold on. I’ll call around for you. CLOSE ON Gene, distraught. 78.

INT. MAJEL’S ROOM/HOSPITAL - A SHORT TIME LATER Majel is in bed, lovingly watching her newborn baby asleep in her arms. Gene steps to the threshold. Too ashamed to go any further. Tear-filled eyes. He struggles to even make eye contact with Majel. GENE (whisper) I’m sorry. Majel looks up, sees Gene staring at her and the baby. MAJEL (smiles) Gene. Gene doesn’t respond. He just stares blankly, almost frozen in place. His mind in another place. MAJEL (CONT'D) Gene? As a single tear rolls down Gene’s face, we SMASH CUT TO --

INT. PAN AM FLIGHT 121/COCKPIT - IN THE AIR -- the cockpit of a commercial aircraft. Gene (26, Pan Am pilot uniform). He’s co-piloting for CAPTAIN SMITH (50’s). The tear from 1974 inexplicably still rolling down Gene’s face. CHYRON: 1947 HEAVY TURBULENCE. Captain Smith turns to Gene -- CAPTAIN SMITH Don’t worry. We’re fine. MORE TURBULENCE. A SMALL EXPLOSION. GENE What was that? CAPTAIN SMITH Engine number one. Exhaust rocker’s down. Feather the engine and take it offline. We’ll fly on three. ANOTHER EXPLOSION! MAIN CABIN -- A FLIGHT ATTENDANT is thrown to the wall. She hits her head and falls unconscious. 79.

More TURBULENCE. Passengers panic. FLIGHT ATTENDANT #2 sees #1 knocked out, tries to get to her. COCKPIT GENE Engine two just exploded! Three and four are overheating. A BIGGER EXPLOSION. GAS TANK RUPTURE. THE COCKPIT ALARM SOUNDS. MAIN CABIN A WALL OF FLAMES envelops in the main cabin, swallowing the unconscious Flight Attendant. Passengers seated near the flames, flee to the back. COCKPIT Captain Smith shoots Gene a look. Gene understands. They’re going down. Flight Attendant #2 bursts through the cockpit door-- FLIGHT ATTENDANT #2 We’re on fire! CAPTAIN SMITH (to Gene) Go! I’ll try to land this thing. Gene follows the Attendant into the main cabin. They grab fire extinguishers and attempt to fight the fire. HEAVY TURBULENCE! They get tossed around from side to side. Gene makes a decision. He grabs the Attendant, puts her in a seat, sits down next to her. FLIGHT ATTENDANT #2 What are you doing? GENE We’re going down. We have to brace for impact. Hold tight. The Attendant grips the seat, then -- THE PLANE TAKES A SUDDEN DIVE -- FALLING FAST! The Attendant loses her grip and FLOATS UP, hitting her head on the ceiling of the cabin. 80.

EXT. SYRIAN DESERT/WHITE PLANET - NIGHT This is very similar to the opening scene -- a fiery spaceship falling toward the surface of strange white planet.

INT. PAN AM FLIGHT 121 - CONTINUOUS Gene watches the Flight Attendant’s limp body get lodged in between the seats. Then, in SLOW MOTION -- Gene looks around at other passengers, screaming, crying, bracing for impact, preparing to die. Just then, Gene FLASHES TO --

EXT. AIR FIELD/HANGER - DAY (1944) Gene finds himself back in the war, once again, standing next to a B-17 Bomber plane. Sam Pricket, standing on a ladder, is doing some maintenance to the engine. SAM Hey, Gene. I ever tell you about this crazy dream I had? My plane wen down over the ocean. Just plopped right in there. How about that? (then) You know, they say when you’re about to die, your whole life flashes before your eyes. GENE What did you say? SAM I said your whole life flashes before your eyes. Gene’s eyes widen. Something clicks. GENE No, it can’t be. Can it? (to himself) Your whole life flashes before your eyes. Sam climbs down from the ladder. SAM Yeah, that’s what I said. 81.

GENE (thinks) What if you’re not just remembering things that happened in your life -- what if you’re experiencing them. What if it’s not just flashing moments, what if you’re really there? SAM Really there? GENE You travel. In your mind. Through different events in your life. Moments that shaped who you are. Maybe some that you wished you could do over again. SAM What the hell are you talking about, Gene? GENE What if at the moment, when you you’re about to die, you tap into something powerful, some kind of astral energy that allows you to move through time and space, to any place you’ve ever been. SAM Sorry. You lost me. GENE I’m talking about time travel. SAM Ohh. Right. Of course. GENE I’ve been going back in time. (beat, the)n But I haven’t gone forward yet. SAM Forward -- in time? GENE Time can’t be linear. It can’t be a straight line. It’s gotta be more like, like a page in a book. (MORE) 82. GENE (CONT'D) You can read from left to right if you want, but the words are all there for you to see. You just have to learn to look at them in a different way. SAM (sarcastic) Left to right, right to left. Of course. You’ve cracked the code. Flash Gordon would be proud. GENE If I can go back. Then, I must be able go forward. I-- I need go. I need to see what happens. I need to see how it ends. SAM O-kay. Gene abruptly hugs Sam, who looks very confused. GENE Thank, Sam. I’ll come and see you again sometime. SMASH CUT TO:

EXT. SONY PICTURES STUDIO - DAY Gene (44) suddenly finds himself standing in a courtyard. He looks around at lunch tables brimming with TV and film executives, producers and costumed actors gathered to eat and gossip. He wanders between the tables. CHYRON: 1964 HARRY EPSTEIN (O.S.) Hey, Gene. Harry Epstein approaches. Gene’s face drops. GENE No. I wanted to go forward. HARRY EPSTEIN What do you mean, “go forward?” (then) So, you ready? GENE Ready for what? 83.

HARRY EPSTEIN The meetings. GENE What meetings? HARRY EPSTEIN You’re joking, right? The pitch meetings? (off Gene’s look) For Star Trek? The dream project you’ve been talking about nonstop for a year. Why do I get the feeling like I’m more excited about it than you? Gene looks around. GENE It’s nineteen sixty-four. HARRY EPSTEIN Yeah, last I checked. Look, Gene, you gotta-- GENE No. This is wrong. I have to go forward. Gene suddenly FLASHES TO --

INT. MGM STUDIOS/OFFICE - DAY -- an office where he’s sitting across from three TV EXECUTIVES with quizzical looks on their faces. Harry is sitting next to Gene. EXECUTIVE #1 I don't get it. Gene looks around, mystified. He just teleported to one of the pitch meetings. Harry waits for Gene to respond, then chimes in himself: HARRY EPSTEIN It’s quite simple, they explore new worlds and seek out new life and civilizations. Like humanitarian space travelers. (then) Right, Gene? 84.

Taking in the bizarreness of the situation, Gene lets out a chuckle. GENE Right. EXECUTIVE #2 In a future with no wars, no religion and peace on Earth? HARRY EPSTEIN Doesn’t that sound wonderful? Gene really is a visionary. The Executives look at each other, then back to Gene and Harry. EXECUTIVE #1 Have you ever thought about writing a western? We’re looking for something more like Wagon Train. But different, of course. EXECUTIVE #2 But not so different that it’s not like Wagon Train. The Executives smile wide. Gene FLASHES TO --

INT. CBS TELEVISION/OFFICE - DAY -- another pitch meeting with Harry. Across from Gene and Harry are five EXECUTIVES who all look very attentive and interested. CBS EXECUTIVE #1 How is this spaceship -- the Enterprise -- how is it capable of traveling those great distances from planet to planet in such a short time? They anxiously await a response, ready to take notes. Harry is delighted by their enthusiasm. Gene is dubious, but decides to play along. GENE (beat) It uses something called warp speed. CBS EXECUTIVE #1 War speed? 85.

GENE Warp speed. It doesn’t matter what it’s called. Theoretically, a spacecraft with that kind of future technology would be more than capable of traveling at the speed of light. CBS EXECUTIVE #1 Fascinating. HARRY EPSTEIN So you’re interested in Gene’s idea? GENE No, they’re not interested. They’re stealing ideas for a show they’re making called Lost In Space. CBS EXECUTIVE #2 How did you know that? I mean, no. That’s not what we’re doing. Another FLASH TO --

INT. DESILU STUDIOS/OFFICE - DAY -- Gene and Harry sitting across from OSCAR KATZ, 50’s, an eager businessman who’s new to TV. Oscar sits in front of a framed POSTER of one his shows, I Love Lucy. OSCAR I haven’t been in the TV business long, but I know a big risk when I hear one. HARRY EPSTEIN Oscar. Trust me. Gene can give you a hit show. He’s a brilliant writer. OSCAR So what? Every time I fart another brilliant writer knocks on my door. What else you got? HARRY EPSTEIN Well. He’s a man with strong moral fiber. (off Oscar’s blank stare) Brave too. He was a pilot in the war. Flew over eighty missions. (MORE) 86. HARRY EPSTEIN (CONT'D) And after that, he was a commercial pilot. For Pan Am. Survived a terrible crash in the Syrian desert too. OSCAR Still doesn’t mean he can make a hit show. Harry falls back in his chair, giving up. Gene deliberates for a moment, then sees an opportunity. He grins. GENE You’re right. OSCAR What? HARRY EPSTEIN What? GENE Maybe Star Trek is too big of a risk. I’m starting to think I should take my career in a different direction. HARRY EPSTEIN Gene... GENE Sorry we wasted your time, Mr. Katz. After a beat, Gene walks off and we FLASH TO --

INT. STUDIO SET/STAR TREK TNG - DAY/NIGHT (1989) -- Gene, as a 68 year old man, stepping onto the set of Star Trek The Next Generation. Gene’s wrinkled face lights up at this magnificent sight. He can’t believe his eyes. Gene slowly steps into THE BRIDGE of the Starship Enterprise. He runs his hands along the control panel and gazes around the room with amazement. GENE (happily) It didn’t work. I couldn’t change it. 87.

Then, he looks to the CAPTAIN’S CHAIR. He walks to it, sits down. Sitting in the chair, his eyes well up with tears. After a few moments -- MAN VOICE (O.S.) Gene. Gene looks up to see a figure stepping out of the shadows of the sound stage. It’s PATRICK STEWART (49) dressed as Captain Jean-Luc Picard. He walks up to Gene, smiles. PATRICK (British accent) That chair suits you. Gene stands. He looks at the captain’s insignia on Patrick’s uniform. GENE No, I believe it belongs to you... Captain. Gene stands there with an odd grin on his face. He looks down at his wrinkly hands. PATRICK Are you all right, Gene? GENE I’m fine. (looking around) Just fine. Gene turns a walks back to the captain’s chair. He stands beside it and looks around at the bridge. After a few beats -- GENE (CONT'D) I was wrong. PATRICK About what? GENE The future. There’s still hope. PATRICK Of course there is. You showed us that. Hopelessness doesn’t come from fear of the future. It comes from forgetting the past and how far we’ve gotten. GENE Well said. Who told you that? 88.

PATRICK You did. PATRICK (CONT'D) You gave people hope. In the form of a ship. And a crew. And a society that became better than it’s predecessors. GENE It still feels like a dream. PATRICK Of course it does. It’s all a dream. The dream of a collective consciousness. Everything and everyone that’s ever existed. (then) What is it you always say? Infinite diversity and infinite possibilities. GENE That’s right. I’m getting old. Sometimes I forget. PATRICK If you ever forget. If you ever lose your happy place. Your Shangri- La. All you have to do is gaze upon the eyes of the millions of people you inspired. Their faces will remind you. Gene smiles, tears welling. GENE Thank you, Captain. Suddenly, another FLASH and Gene is --

INT. HOSPITAL Majel calls out from her bed-- MAJEL Gene? Gene snaps out of his daze. He slowly walks over to her bed, with a renewed faith and understanding of his purpose. MAJEL (CONT'D) Look at your son. 89.

Gene peers down at his newborn son and lights up. GENE (tears) He’s beautiful. MAJEL You’re not the worst husband in the world, you know. You’re kind. You have a good heart... But that’s not enough. (then) You’re going to give me more. And give your son more. And Eileen’s girls. If you don’t do that. I will leave. GENE (softly) Okay.

EXT. PARAMOUNT STUDIOS/FRONT GATE - DAY A group TREKKIES, costumed and plain-clothed are chanting and waving PICKET SIGNS calling for the return of Star Trek.

INT. PIKE’S OFFICE - CONTINUED Gene sits across from John Pike, who looks a bit stressed. PIKE They’re calling non-stop. Hundreds of letter are arriving every day. Gene, you have to stop this. It’s driving me crazy. GENE I’m afraid it’s not up to me. I go around the country, speaking at colleges and science fiction conventions. And the fans have made it pretty that they won’t stop until they get more Star Trek. Pike rolls his eyes. PIKE Okay, what do you want? 90.

GENE John. You and I know the studio owes me an obscene amount of money in royalty fees. Over five years of syndication. International sales. Merchandising. Paramount may own Star Trek but it still has my name on it. It’s still mine. PIKE Gene -- GENE (interrupting) Now I’m willing to let things take their natural course and not cause a fuss, but you’ve got to give me something. (then) Just read the papers. They’re planning Star Trek conventions all over the country. The audience may have been small during the original run, but it never stopped growing. The advertisers want viewers -- I can get them. Just give me a chance. The studio owes me that much. Pike considers this for a moment. GENE (CONT'D) You want more action, excitement, I’ll give you that. But you’re going to have to get over this idea that the people out there watching your shows don’t want to think, or be challenged. There’s more to adventure than just conflict and violence. Science fiction above all should be about ideals. It should be a vision of hope. PIKE Hope? (scoffs) Okay. We’ll order a pilot for a new script. And go from there. Pike and Gene stand and shake hands. 91.

PIKE (CONT'D) Now can you get rid of those protestors? They’re scaring my actors.

EXT. PARAMOUNT STUDIOS/FRONT GATE - DAY Gene exits the front gate where protestors are still chanting and waving signs. Through the crowd, Jane Winston steps to the front and makes eye contact with Gene. Roger the security guard is there, happily waving a protest sign with his African-American wife. CLOSE ON Gene and Jane sharing a smile.

EXT. SHRINE AUDITORIUM - NIGHT CHYRON: Shrine Auditorium. Los Angeles, CA. 1991. A sea of cars and people are lined up on the street and sidewalk, outside of auditorium. Banners and lights celebrate the “25th Anniversary of Star Trek.” A few hardcore fans are wearing costumes: Klingons, Starfleet officers.

INT. SHRINE AUDITORIUM/STAGE - SAME The Star Trek theme plays behind a montage of clips from various Star Trek episodes: including Star Trek: The Original Series with William Shatner and Star Trek: The Next Generation with Patrick Stewart. Gene (wheelchair) is wheeled onto the center of the stage. Behind him stands, Majel and their son: GENE RODDENBERRY JR. (17). The adoring Star Trek fans give him a STANDING OVATION. As the applause settle, Gene is handed a microphone by William Shatner (60). Gene speaks from his wheel chair, slowly bringing the microphone to his lips. 92.

GENE (INTO THE MICROPHONE) My voice... could break now... But a writer’s voice never truly breaks. Over the following dialogue, we CUT TO-- Shots of Star Trek fans in the audience. All ages and races. Some wearing costumes, some in tears. All of them are smiling. GENE (CONT'D) The truth is... I’ve enjoyed the time I spent on this planet, in this dream we call life... And all the strange creatures I’ve met along the way. They gave me stories. And perspective. And most importantly, they gave me the best gift a human can give -- connection. (then) You all have given me that gift today. And all of my career. And I love you for it. -- And when the time comes for me to leave this planet, I’ll be glad it’s in all of your hands. Applause. Standing ovation. CLOSE ON Gene’s face. He couldn’t feel more loved and connected than he does right now. FADE TO BLACK. FADE IN:

EXT. WHITE PLANET - DAY We’re back on a vast and barren expanse of desert. And the mountains of white sands. TWO MOONS, appearing close enough to touch, lighting up the sky with a grey tint. The following dialogue plays over this scene, an actual recording of Gene Roddenberry speaking in his own words: GENE (V.O.) I am an alien. And so are you. And yet -- and this is the loveliest thing of all. Somehow, we’re also part of each other, and part of everything that is. 93.

In the distance, we see a space ship taking off into the sky. FADE TO BLACK. OVER BLACK: Live long and prosper.

THE END.