And I felt so sorry for him, because I loved his reading, and he seemed like a real nice guy, dedicated and everything, but evidently he needed some help to get there. I had him in my dressing room, where I talked to him, I tried to reassure him that it’s a television show, it’s not the end of the world, let’s just do it, you know. He couldn’t come up with the lines, either. Now maybe this was something he’d never done, taking a swing at someone, but I had a stuntman there showing him what to do and when to do it, and he couldn’t even come close at doing that. I had him in a scene with Bill Shatner all he had to do was take a swing, and he had a couple lines. McEveety, more candid when interviewed for this book in 2012, said, “The problem in my opinion was drugs. This was the discreet way of stating the problem. The production notes from that day in 1968 read: But Reece, with his first significant role on television, was unable to handle the challenge. Reece had read for the part and made an impression on McEveety who, otherwise, had chosen to book seasoned western actors whom he had worked with before. That was one of only two times that I can remember where I had to replace an actor.” (117-4) The sweet talk between Chekov and Sylvia was kept, the shooting was not.ĭirector Vincent McEveety recalled, “I had a major problem on that show. And then he got shot dead by Morgan Earp (again, played by Reece). After this, Chekov sat on a bench outside the town store and flirted with Sylvia (Bonnie Beecher). Due to problems not yet apparent, Baxley would have to be shot dead again the next day. Reece, as Morgan Earp, threw Paul Baxley from the saloon, and then shot him dead. It was very surrealistic, because with all that red around, you didn’t know where you were.” (57-4)įirst up on the production roster, the landing party’s arrival in the fragmented, windy western town, where Kirk, Spock, McCoy, Scott, and Chekov encounter Sheriff Behan (Zuckert). And he did that and it was very tough to know where you were - to be distinctive - because we were using just little pieces of a wall here and there. And Jerry Finnerman decided he wanted a bunch of red light up on that. Set Decorator John Dwyer said, “We had this big cyc around the set, which is just a piece of cloth that you bounce light off of. It looked different, and it worked effectively.” (91-9) When you say ‘stylized limbo,’ you usually mean mis-balanced proportions, things hanging in space, etc. Shortly after the making of this episode, Jefferies said, “It wasn’t a true limbo - it was a stylized limbo only in what wasn’t there. It was Set Designer Matt Jefferies’ idea to have paintings and clocks suspended in space where a wall should have been. So I had the idea of just using false fronts for the buildings in this so-called western landscape, and I also specified that the color of the sky be red - an angry red.” (94-9)ĭirector of Photography Jerry Finnerman said, “I’ll tell you, I lit that backing with the most beautiful red colors.… I was even awestruck by the way it looked.… Visually, that really knocked me out.” (63-3)
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We couldn’t afford to go out on location in the third season, that was gone - so we had to figure out how to do a western town on stage and not make it cost too much. Bobby Justman and I thought about how we could help it some and therefore we did this surrealistic kind of town to try and give it an other-worldly approach.” (68-5)Ĭ-Producer Bob Justman said, “I knew we were short on construction money this was the first show of the third season and we were really trimmed down on budget by the studio, enormously, although our fixed expenses were going up due to casting escalations. Producer Fred Freiberger said, “When Gene Coon wrote the original script, it was set in an actual western town.
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