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ThP@`x(?/#O0p`0 _ht`` 0x _|8> #+  p 2@@@ ?%@`%B@)`a+{// *7g{GDO?@">@|( DogG`~@B ?$O {w@~c||@????||ww??@?~p@0????w??@P7+@?o >?8|?>?8p @>||??4?o/?|??/_poo?/???8H@7o? <p8x ~ pFRwgo?ÿ???!~@ǀ)?x?@`@` P||?|_y>w 80`?? `@ @π<0p ~ `@70X?x8`$  ??P??o?_~?????????????+???<@???T? ?@????????=p??? ??x? 0ns for 'Lump/Chunk/Normal Packing' | | Revision v3.0 | | (10th October 1991) | | | | For Automation Packer v5.0.1 | | | |by:- I Wonder Who Wrote This Trash Industries | +----------------------------------------------+ Once again, I've updated this document. The only reason for updating this documents/source is because I was bored !! If you distribute this source any further than yourself, please include all the source files (including the old Automation v5.01 sources !!) with this document. The files you should have are: SOURCES.OLD - contains the original Automation v5.01 sources 3F_ONLY.S - Standard Trap #1 loadB"lZ    !C:  (R" $,"9  /!# "  $} 9'    " ,BIOO& ("D  Q$9J4 +$ A C$f \T_X`QCM:B  #GOFG //:>^: >~?><>/ >; 8>?. >.8~8./ ><>.//>>? GAE'||p|px|a`|?~>??_7/-UB-?/O__o/~oܾooo_oO'G'A@/mmA-%x/%/-R%K[} @HH  鼥;i ~(?]+h}Ӑhx}@ Zڀ4ҀހP(  ,M~UE_7 _/ O_-=^/S-[@_Va )Z)$R!0  jt+#k=&Z꒛LĴ@@PP$JP@%@@@P=@6[,+[e{moCCwIO_K5K%WPZ-@ |0oZG֏AY IA'%/o-_-A)J@_eWK5 C@PC/%@[-[/BKAo^AI@Z H@@CPH@@@ :) {@k {޾] _[oKV_kk%R/R-@ G>(CBpP~~kڿ/I-_OK/V﷿_o[oOmiYV/T% AIlB@@-( ! {) -ڠ?+'{}?I-_o_JֶI{WORmХA@@ C|)a?  Xh!x(>  W ~%K?o{SKmK[m}O^m_M'A-Z@A@_C- K@B h@H`(A@@ E$!--|yJyS*Ye葑`I__>t4yb/W-[KRH I@S@KXL$I@B'9+&;W+kpj:5M\!tFw cY'OW?_E;ÁOA#I'G^׏#JGAaKx B Hh3*oo)H;JDQI}=A?-91#z<acQ 4Ky;7w8?od? ;_ooso g*}$$qA}.8byLpF]VE-,NUo~.8[xtk?O1Oм~֢/eTԀ0. 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A pain in the arse, but if you want to lump-pack, you'll have to persevere !! 7) Shove the (working) result onto your menu disk !!! 8) Release your menu. 9) This documentation MIGHT be updated, if and when, I ever get hold of the impending 'GEM-Version' of the Lump-Packer. Who knows, you might even get some PROPER documentation by the authors, instead of my ramblings !! +--------------- 0@P`ps)0/(                *4D (   .! & $    4     4=8  6`7.!& !   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J@jBn =n -nr?<2HnHnzHnrHnnND=nz0.N^,_ _\N/,HNVNWhAp-H/.BgHnHnHnHnNwBgBgBgBgBg?.?.?.?.N/.Bg?<?.?.?.?.Nu/.?. N(=@0.N^,_ _\N/,HNVNWhAB-H/. BgHnHnHnHnNw?<BgBgBgBg?.?.?.?.NRN^,_ _XN/,HNVtNWhA&-H-n x?<6HnHnHnxHntNDN^,_ _XN/,HNVNWhAR-HBn"n0.r1JAg*"n 0.R@$n2.t20.R@=@`"n 0.@N^. \&.. Bc\P1SULU 'P1MCCOY ,I1SCOTT 1*P1KIRK < P1SCOTT EP1SPOCK JBI1UHURA P P1CHEKOV YP2PICARD ^P2RIKER b P1KLAA fI2DATA hP1SAREK o/&P2DATA y P2FORGE } I1SPOCK 8P2YAR  P2WORF  P2BEVWES w I2PICARD oI1MCCOY P2TROI  I2BEV 8PI2PILLER RI1SYBOK >.I1SULU 81I2GENE 6I1CHEKOV I2WES p&QUIZ %K.S16C3 Profile .S4C2 George Takei/Commander Sulu .S0C1 "Two weeks after I received my star on the Hollywood Walk of Fame, I went into Hollywood to buy a white wig for Halloween. The store was not too far from the star, so I figured I would roam by and take a peek at it. I was walking, almost right by my star," says its proud owner, George Takei, "when this guy recongnized me and said, 'You're George Takei, you were on the news the other day getting a star. Where is it?' Well, I was all but standing on it. I said, 'It's right here.' So, this guy must have this horrible impression that I'm always hanging arould my star, protecting it and guiding people to it. That was embarrassing. Since then, I've been avoiding it a bit." .S0C2 However, the first Asian-American actor to receive a star on the famed walk isn't avoiding the role which earned him that honor, a role which has made him a familiar presence the world over. Sulu, the heroic commander who has manned the helm of the U.S.S. Enterprise for more than 20 years, returns to his post in Star Trek V: The Final Frontier. "It's like slipping on an old glove each time out. Believe me, I'm as familiar with Sulu as the fans, and just as happy to be back," says the actor. "Star Trek V will please the fans. It's an exciting, ripsnorting adventure." .S0C3 Takei finds it difficult to believe the popularity of Star Trek has spanned three decades, "but it's true, and we all have Gene Roddenberry to thank for that. He still believes in the ability of man and creature alike to work out their differences, to change," Takei says. "It's a message that stands as tall today as when Gene created Star Trek all those years ago. That's the beauty of Star Trek." .S0C1 While still enjoying his Star Trek connection, Takei displays his versatility through numerous appearances in plays, television and film. He guest-starred in episodes of Miami Vice and Murder, She Wrote. His long list of TV credits includes The Twilight Zone, The Six Million Dollar Man, Magnum, P.I. and Blacke's Magic. .S0C2 Takei took to the stage recently in Undertow, a two man drama which played to receptive crowds at Scotland's Edinburgh Festival before returning to his native Los Angeles to begin shooting Star Trek V. .S0C3 1990, was a big year for Takei. In addition to The Final Frontier, the actor's fans can see him play a role far removed from that of Sulu in Return From the River Kwai. "My image is that of Sulu from Star Trek, there's no denying that," Takei admits. "My character in River Kwai is named Lieutenant Tanaka. He's a driven, type-A personality, a really tough, brutal guy. I felt I had to take the risk and do the role. I like to stretch and play interesting characters." .S0C1 Takei intially planned to become an architect, but once at UCLA, he felt destined for acting. He first used his distinctive voice to dub such Japanese productions as Rodan and Amchitka into English. He later worked with classmate Francis Ford Coppola on a student film, Christopher. An appearance on Playhouse 90 marked his television debut and was followed shortly by his first role in a feature film, Ice Station Zebra. His other movies include The Green Berets and Walk, Don't Run. .S0C2 An avid health enthusiast, the actor runs daily, and zipped through a recent Los Angeles Marathon in a personal record time of three hours, 40 minutes and 48 seconds. Takei's equally involved in local politics, devoting much of his free time to various causes of interest. "I am a power of people to bring about change in society. I realized again what a privilege it is to be an American at a ceremony in New York, when I served as guest speaker before hundreds of recently naturalized American citizens," Takei says. "These people reconized me as Mr. Sulu, so I bear a responsibility to project a positive image, and to do my part in society." .S0C3 Takei is pleased that Star Trek continues to uphold its responsibility to it's fans, a tradition of streching the imagination and promoting creativity through the adventures of a group of men and women hurtling through space in the 23rd Century. "Star Trek II touched upon aging. The Search for Spock taught us about the strength of brotherhood. The Voyage Home pointed out the catastrophic consequences facing mankind if we don't respect our environment. And," George Takei notes, "The Final Frontier offers a metaphor to the plight of those in Africa today, of hunger and great suffering. These are the major issues we can confront in Star Trek, all the while providing our fans a sense of camaraderie, a great deal of humor and a rollicking good time. .S4C1 "I'm proud of Star Trek and of my part in it. It's a respected, historic show and series of movies. As long as there is Star Trek, I'll Be there." B D 0& J B Z.< @ P:   0 V .S16C3 Profile .S0C2 DeForest Kelley/Dr. Leonard McCoy .S0C1 DeForest Kelley is back in the saddle again, literally, in Star Trek V, but this time, he and other members of the Enterprise crew are riding some rather alien horses across The Final Froniter. .S0C2 "This is a fresh, clean start, with every bit of the humor of Star Trek IV and perhapes more. It has a little bit of everything going for it. There's drama, there's a lot of comedy and adventure, and I think it's a real fun film. We're quite pleased with the results. It will be a very interesting film for the fans." .S0C3 At the heart of Star Trek V is the relationship between Kirk, Spock and McCoy. .S0C1 "I think the public will have a greater insight into these three characters and their relationship to each other after seeing this picture," states Kelley. "In this film, they get down to some human basics, which I really don't think has been shown on screen before. It has always been the three of them going about their jobs in a very workmanlike manner in a very bizarre world." .S0C2 Shooting the scenes involving Shatner, Nimoy and himself was also as much fun as it has ever been. "We are three different personalities who joyously happen to meld together. We understand each other completely and, among the three of us, have a great deal of fun." .S0C3 On this Voyage, both film and starship are commanded by co-star William Shatner. Kelley has high praise for his old friend's feature directorial debut. According to Kelley, both Shatner and previous Star Trek director and co-star Leonard Nimoy performed magnificently. .S0C1 But, although he's in favor of the Star Trek series' use of co-stars as directors, Kelley confesses he doesn't have much desire to take over those chores on a future Star Trek. .S0C2 "It's very difficult to concentrate on the performance as well as to be sure the lighting is correct, the set is perfect, all the things that have to be in place, it's an enormous job," Kelley explains. "And to undertake a film of that size, that's reaching into the $30 million budget situation, I could never do it, and would never want to." .S0C3 At the same time, Kelley emphasizes that it is much easier to involve a director who is already familiar with the world of Star Trek. .S0C1 "Many people don't realize that Star Trek is one of the most difficult kinds of film to direct," says Kelley. "People who are used to it, such as all of us, who've been around it for years, naturally we're accustomed to it. But boy, for an outside director to come in and attempt to direct a Star Trek, it is a most difficult chore." .S0C2 The story of The Final Frontier does indeed take them to that location, to alien planets where no man has gone before. One sequence involves Kirk, Spock and "Bones" McCoy on horselike creatures, galloping across an earthly desert, a brief scene that Kelley had looked forward to shooting. In his pre-Star Trek days, Kelley made a name for himself as both heavy and hero in Western films and TV shows including Gunsmoke, Bonanza and Rawhide. .S0C3 Unfortunately, his saddle time on Star Trek V was less than he would have liked. A month before those scenes, among the first in the shooting schedule, were to be lensed, Kelley had just been discharged from the hospital, where he was treated for a collapsed colon. Because of his recent illness, a double was used in many of the horseback shots, but he notes, "They were long shots anyhow, with the exception of Bill and Leonard who have some dialogue: I never did." .S0C1 Despite the addition of many guest stars to the Star Trek series, the core group of seven actors has been performing together for more than 20 years. .S0C2 "It's very difficult for anything to survive as long as Star Trek has, without a kind of chemistry among the people," Kelley says. "That's what is important in a series: You must care for the people. If you don't care, why look at it? With our Star Trek, it was one of those things of a group of people falling together miraculously with a certain chemistry that seems to work wonderfully together on the screen. .S4C3 "Very few actors have experienced what we have experienced from Star Trek, our group. You call them 'The classic group,' I call them 'The old guys,' " he laughs. "I'm certain there are many people in this town who would love to be a part of a show that's such a phenomenal success all over the world and continues to be so. There has never been anything like it. And it will be a long time, I think, before anything comes on the horizon again with the impact of Star Trek." y - around 70 to 80%, but fast games are still playable, like Jetpac! The program runs in low res, and possibly in high res - in which case I think it uses grey scaling to simulate the colors. The joystick simulates Kempston and possibly Interface 2 pro.S16C3 Interview .S4C2 James Doohan/Chief Engineer Scott .S4C3 Q: Would you like to comment on the message "Star Trek brings to its audience? .S0C2 A: "Star Trek" is a morality play and a lot of people pick that up and I think that's proberly one of the reasons why "Star Trek" is as popular as it is. But I don't think it's the complete reason at all. As a matter of fact, I don't think anybody has really come up with the real reason why "Star Trek" has been as popular as it is. The only reason that I use is "Hey, it's got some kind of magic." You know, what else are you going to say because nobody even mentions a lot of the different things we had, like terrific scripts. I remember sitting arould a table way back, five or six of us, and somebody was reading this script, and somebody was reading the script that followed it, and somebody was reading another script. People would say, "wait until you read this one." Someone else would say, "Wait until you read this one." That was fabulous: actors don't normally get scripts like that, and we did on "Star Trek." .S4C3 Q: Do you have a favorite theme in Star Trek V? .S0C2 A: Well, I'm an engineer and all I care about is engineering really. Yet to get down to the brass tacks of engineering is really quite boring - for everybody, as far as I'm concerned. It's only when it breaks off into something else there for a second that I get to live a life other than the life of an engineer. That's when it's kind of fun. .S4C3 Q: Do you like Scotty? .S0C2 A: Oh yeah. Hell, I better. I'm so typecast now that I hardly do anything without a Scottish accent. .S4C3 Q: It that very frustrating to you? .S0C2 A: Yeah, it's very frustrating and in fact, to me the height of the frustration came about fifteen years ago when I first realized that I was typecast. Then it was hard. .S4C3 Q: When did you first realize this? .S0C2 A: I was doing a movie in Spain in 1971, and I came back after six months over there and went to read for another part. I walked into the offices and the secretaries said, "Hello, Scotty," you know, and then the producer said... "Well, Mr Scott." After the tenth time of not getting these jobs it was kind of like "Hey, this is tough, you know?" I would go up to people like John Conway... who had hired me thousands of times before because I was useful, and he would say, "Jimmy, you're know as Scotty."... I started in live television in New York... and I never played the same character twice... I did my hair the way the character was supposed to do it, and I did whatever the voice of the character had to do, because I'm not only good with accents, but I can change the tone of my voice in countless ways. So it really got bad... in 1972 and 1973, if it wasn't for personal appearances, which I started to do a hell of a lot, I would have been flat broke. .S4C3 Q: That's very ironic, isn't it? .S0C2 A: It was terrible, really. Then I got a play in San Francisco which I starred in with Rudy Solaris, and that ran for a year. So I met my wife and it was something to start with. Of course back in 1976 I did appearances at forty colleges, and in 1977 I did forty-two. And they just kept on going. Now my fee is so high the colleges can't afford me. So that's fine. .S4C3 Q: Do you feel like you've paid too high a price? .S0C2 A: Well, I'll tell you, it's become a different life. You know, I envisioned myself... [getting] large enough parts that I could of been like Jack Nicholson, you know, kind of like a character actor... the only time I ever did leading roles was when I went back to Canada and the only reason why I went back there is I happened to stop at New York on my way home for Christmas, stopped in to the CVC offices. I spent about two hours there and came out with six months work... It was beautiful because it's more than an actor wants than to be working and working and working. It wasn't untill the second year of "Star Trek" down here that I was making the kind of money that I was making in Toronto. .S4C3 Q: Do you feel that "Star Trek" may have helped you in a strange kind of way? .S0C2 A: Yes... as far as my career was concerned, it certainly has hurt me. But then again it has opened up something else. .S4C3 Q: I know you're interested in science. What kind of things have you done recently to satisfy your curiosity about it? .S0C2 A: Twice I've been to Lewis Research, the NASA Research base in Cleveland. I've seen two second blasts of rocket engines, and that's all they need to find out exactly what's going on. You sit and watch that on film. I've also seen on the zero g gravity experiments that go on, where they have a 500-foot chamber of concrete submerged into the ground and when they draw all the air out of that for the gravity experiments. They have to give the power company three weeks notice. The experiments are done at three in the morning. It's quite exciting. The first thing that they'll do is shoot up something which will stop just barely and then hang there for just a second at zero g and then it will plop down and the brakes to stop that pellet from going down - because it's traveling then at a tremendous rate of speed at 500 feet - is 20 feet of Styrofoam pellets. Those are the brakes. I also saw experiments with the new electric cars that will be coming out shortly. You know, [I] read in the paper recently that unless things change drastically in five or six years we have to go to electric cars. .S4C3 Q: Why are you doing this scientific research? .S0C2 A: Because I love to do it. I have been interested ever since. You know when they talk about Scotty reading technical journals? James Doohan has been doing that longer than Scotty's been alive. I was always very good in science at school... my father was a scientist and was the first man to invent high octane gasoline way back in 1924. He had three processes within two weeks time... I've been out to Ridgecrest - China Lake - about five times to go to the labs at China Lake. It's the Naval Weapons Center. Of course I wasn't able to see the Department of Defense stuff, but there's many other things that they're doing out there. One man, a scientist, asked for a bit, like a drill bit, to bore a hole through a human hair and they got it for him. .S4C3 Q: Do you use any of the feelings you have visting a place like that in playing Scotty? .S0C2 A: I'm sure that I tranfer some of it to Scotty, but you see, that's they way I am anyway. I guess I do it automatically. When people ask me, how much is Scotty and how much is you, I tell them he's really 99 percent James Doohan and 1 percent accent. .S4C3 Q: Is Scotty any different in this movie that the last one? .S0C2 A: No, I don't think so. All they have to do is give Scotty different things to do. That brings out different things. I don't really prepare at all. When I say that he's 99 percent James Doohan, [Scotty handles things] however James Doohan would handle them, because this is the closest that I ever come to playing myself. .S4C3 Q: Any challanges in this movie? .S0C2 A: No, not really. I'm working. I've been an actor for forty-three years. At the end of twenty years, you're supposed to be a complete actor. When I was about eighteen or nineteen, I started to feel that, because I'd been told that by my acting teacher. I said, "How long will it take?" And he said, "Well, depends on the type of work you get. It's about twenty years." And you know what? I started to feel that, a sort odd sense comes over you where you think, "Hey, I don't care what they ask me to do, I can do it." That's the thrilling part of it. And a powerful feeling, knowing full well that at this moment in the scene, even though you still have to rehearse it, they're either going to be laughing about you making just one face or sound. or they're going to be crying. Or all the feelings in between. That's why when people ask me if I want to be a director, I say, "No way!" I'm satisfied being an actor. The rest of the time I'm terribly interested in seeing the country. My wife doesn't understand why I want another motor home. Within twenty months, I drove 52,000 miles in one. I take trips to places like Phoenix and Portland and Sacramento, etc., and sometimes I'll bring the whole family. I have six children all together. Four boys, two girls. Two boys are living with me in the San Fernando Valley. .S4C3 Q: How do you feel about the script for Star Trek V? .S0C2 A: I didn't care for it too much at first, but when we first read through it at Bill's place, I liked it a lot better. I think it's going to turn out very well. To me the best one we've done was II: The Wrath of Khan. Four was fabulous... but I prefer a good drama. .S4C3 Q: Tell me about your gas company commercials. .S0C2 A: I did two different versions, both shot at Raleigh... In January I have to do a bunch of radio commercials for them. The television one has now been established with my voice and face, and it will carry over. Who knows, I may do a bunch of newspaper and magazine ads too. .S4C3 Q: Didn't you recently do a TV show in Canada? .S0C2 A: "Danger Bay," it's a Disney Channel half-hour show. And I did six episodes of the new "Liars Club," which is just a game show in Vancouver. That's a great show, created by a friend of mine, Bill Armstrong. He used to be a writer/producer for the "Hollywood Squares." .S4C3 Q: What other things would you like to do? You'd make a great King Lear. .S0C2 A: Oh, God... .S4C3 Q: Would you like to do that? .S0C2 A: Yeah. As a matter of fact, I played Kent in King Lear with Maber Moore doing King Lear... Maber is a famous Canadian actor. He was just superb. .S4C3 Q: Do you agree with the way they shaped Scotty's character in V? .S0C2 A: The only objection I have to my character, and that's proberly true of all actors, is that there's not enough to do... I think it's quite possible that he should be used not only as an engineer but as a human being. .S4C3 Q: Would you like to see that happen if they do another one? .S0C2 A: I think so. Of course, all the actors feel that way, but nevertheless that's the way I feel about it, you know. And that depends... Bill, Leonard, and Dee are the top stars, you know, what the heck. Right now, Star Trek has just become my way of life. eich_morestring ; %00 beq.s .length_2 ; %01 subq.w #1,d1 beq.s .length_3 ; %10 bsr.s .get_1_bit bcc.s .bitset ; %110 bsr.s .get_1_bit bcc.s .length_4 ; %1110 bra.s .length_5 ; %1111 .get_short_offset: moveq #1,d0 bsr.s .get_d0_bits ; d1: 0, 1, 2, 3 subq.w #1,d1 bpl.s .contoffs moveq #0,d0 ; Sonderfal.S16.C3 Profile .S4.C2 William Shatner / James T. Kirk .S0C1 Captain (formaly Admiral) James T. Kirk is, in the estimation of the man who knows him best, "courageous, brave and acts in a manner in which we all would like to act under duress." Kirk, accomplished at many skills, is a natural-born leader. .S0C2 That's all according to William Shatner, the man who has portrayed Kirk on screens large and small since 1966. The Canadian-born Shatner resembles his celluloid alter-ego more and more each day. With Star Trek V: The Final Frontier, the skillful actor, champion horsebreeder of American Saddlebreds and spokesman for charities and the environment faces another challenge as he takes the helm as director of his first feature-length motion picture. .S0C3 Although a challenge, it's not an unformiliar one. Shatner directed several episodes of the TV series T.J.Hooker, in which he starred. In 1981, he directed an acclaimed stage production of Cat on a Hot Tin Roof in Los Angeles, which featured his wife, actress Marcy Lafferty, as Maggie. .S0C1 Shatner also has the distinct advantage of working with a troupe of very familiar actors: Leonard Nimoy, DeForest Kelley, James Doohan and the rest of the Star Trek family. His co-workers speak of their director with a respect and admiration usually heard when a loyal ship's crew speaks of their captain. .S0C2 Even newcomers to the Star Trek saga give thier leader high praise. According to British actor David Warner (St. John Talbot - Star Trek V), Shatner is "an actor's director, enthusiastic, easy to communicate with, and very considerate of his fellow actors." .S0C3 The on-set happiness, the director insists, is quite natural. "After all, Star Trek is family," Shatner says. "We've all worked together for so long, we're all so close. Every movie is like a reunion." .S0C1 Yet, the many-faceted Shatner was not content to merely star in and direct Star Trek V. He also shares story credit with producer Harve Bennett. "To act, direct and have a hand in the writing of a major motion picture is almost unheard of." Shanter says. "To have been given that opportunity was so profound for me that I was determined to enjoy every moment." .S0C2 Everyone involved with the making of Star Trek V: The Final Frontier agrees that the director enjoyed himself. After Star Trek IV: The Voyage Home was filmed, Shatner told reporters of his aspirations for the next filmed voyage of the Enterprise: "I have two things that I would like to see. They're contrasted and yet unified. One is that I would like to see romance in the stories again. The second is that I would like to see gritty realism. You know, hand-held cameras, dirt under the finger-nails and real steel clanging doors." .S0C3 Shatner got his wish. He was tapped to direct Star Trek V. The actor was eager for his new challenge. "I've pushed the characters in a slightly different direction in this film, with things like tempo, vigor, animation, intention and truth. But I don't think there's any change in the relation- ships." .S0C1 And Star Trek V: The Final Frontier did indeed offer gritty realism, plus lots of action. "The film has to move," Shatner says. "It's a motion picture, you have to make it move. The characters themselves have to be in motion, as well as the camera being in motion. I think of it in terms of what entertainment balls I can keep in the air in a single shot." .S0C2 His cast members concur. "This is a Shatner film, which obviously means there has been more running and jumping than in all the previous Star Trek films put together," says Shatner's co-star Leonard Nimoy. "All the other films have been relatively contained. But in this, we're riding horses, stunt-flying on wires and rigs, and climbing mountains." .S0S3 Yes, climbing mountains. But not just any old mountain. Try the tallest unbroken cliff in the world, the 3,000-foot granite face of El Capitan in Yosemite National Park, California. After all, the "Captain" of the U.S.S. Enterprise could hardly settle for a second-rate mountain upon which to risk his life and those of his friends Spock and Dr. McCoy. .S0C1 "When we were developing the story for The Final Frontier," Shatner says, "I envisioned Captain Kirk free-climbing a mountain, aspiring to the top. And the only place he could be, was Yosemite, because this is the Mecca for climbers from all over the world." .S0C2 This sequence, which has the three Starfleet offices taking some much needed shore leave, also includes the singing of a traditional folk song in a decidedly untraditional fashion. The performance, which provoked a great deal of laughter from the crew, caused Shatner to dub himself, Nimoy and Kelley "musically dyslexic." .S0C3 From the forests of Yosemite, Shatner takes his crew to the planet Nimbus III and the desert city of Paradise, where Kirk gets himself into a "knock-down, drag-out" fight with a feline, female alien. Later, director Shatner orders the group of motley ragtags. stuntmen and actors to storm the city's walls. .S0C1 Climbing mountain faces, flying through space, attacking a fort, fighting girls, singing, William Shatner has his work cut out for him and that's just an actor. Direction and writing chores added to the mix, but Shatner relished and reveled in every challenge set in front of him. .S0C2 William Shatner has enjoyed every challenge he has encounted during his climb to worldwide success. Born in Montreal, the man who would be Kirk always had his sights set on an acting career. Through his teens, he worked profesionally at the Canadian Broadcasting Company. After receiving a business degree from McGill University, he took a job as assistant manager at Montreal's Mountain Playhouse. .S0C3 But Shatner quickly moved from the business office to the main stage, where he spent three years with the Canadian Repertory Company in Ottawa. From there, he became an understudy at the prestigious Stratford (Ontario) Shakespeare Festival, where his performance in Tamburlaine caught the eye of New York critics. These positive notices opened the door to several roles in New York on Broadway and in that odd new medium called "television." .S0C1 Shatner drew praise in memorable TV roles on Playhouse 90, The Twilight Zone and Studio One. On the stage , he starred in The World of Suzie Wong, A Shot in the Dark and L'Idiote. Hollywood soon beckoned, and Shatner appeared in such films as The Brothers Karamazov, Judgment at Nuremburg, The Intruder and The Explosive Generation. .S0C2 Then in 1965, Jeffery Hunter proved unavailable to reprise his role as Captain Christopher Pike in the Star Trek TV series pilot. The second tryout, with Shatner as Captain James Tiberius Kirk, was tapped by NBC to become a weekly series. .S0C3 After his initial stint at the helm of the Enterprise, Shatner went on to appear in TV series (Barbary Coast, T.J.Hooker), films (Kingdom of the Spiders, The Kidnapping of the President, The Devil's Rain, Visiting Hours and Airplane II), and specials (the critically acclaimed PBS drama Andersonville). Yet, throughout it all, Kirk was always on his mind. .S0C1 "Regardless of what I was doing, or where my career was taking me at the moment," he admits, "I knew Kirk was not behind me. He still would be very important in my future life and work." .S0C2 Indeed he has been. Shatner returned to the screen as Captain Kirk in Star Trek: The Motion Picture, and has played the Starfleet legend in five films. In Star Trek V, Shatner and Kirk do it all; acting, writing, directing, action, romance, comedy, thrills and excitement. .S0C3 And now that they have done it all, will the adventure continue? Will Shatner/Kirk and crew continue to excite and delight fans as they travel where no man has gone before? Or is the film's subtitle, The Final Frontier an epitaph for the popular film series? .S4C1 William Shatner smiles. "Don't worry," he says. `BBgff$ AfA`&n-K-K-n&"At0<rX0QE-JNu H[Nua Jo4" $IdLb&d d `    QjNudd `QjNubz`B$H$& K-KC"e a!D"d aA"ךf B &nNupNH>d d3 d# d# # d# # # # d ALH dAL H LH d AL`H L|0H>L|H>d~# # # # A`@ALH L|H>L|H>L|PH>L| H>L|H>L|H>L|H>L|`H>L|0H>L|H>QL|Nu$H$&"BA -KaXA"f B &nNuH>dd2d"d""d""""d LHC dLHLH C@d LHL|H| L|H|PCd~""""C`:LHL|H| L|H|PL|H|L|H|L|H|L|H|L|H|@L|H|pL|H|L|H|CQL|Nu`@a8A-Hhp apMa=@F?<NNT.S16C3 Profile .S4C2 James Doohan/Chief Engineer Scott .S0C1 James Doohan is fond of saying that the character of Scotty is "99 percent James Doohan and one-percent accent." But whatever his makeup, Montgomery Scott is already aboard to beam up the crew of the Enterprise for yet another adventure in Star Trek V: The Final Frontier. .S0C2 "You have to see the movie to understand that it does not mean that it's the last movie. You have have to see the movie before you can go on with that, and it's too darned long for me to explain!" Doohan laughs. .S0C3 Despite his expertise as a Starship's engineer, Doohan confesses that he isn't even sure of his character's rank this time around. .S0C1 "In Star Trek III, I was named a captian of engineering, and that still remains," he says. "I haven't even looked at the rings on my sleeve to check'em out, so I may be wrong." .S0C2 "But you know , I have fans telling me, 'Well, you were only a commander in Star Trek IV,' or something like that, And I say, 'Well, don't talk to me. Talk to the wardrobe department!'" he chuckles. .S0C3 "I think the wardrope department forgets how many rings are put on, what badges are put on, and everything else, but the fans love to be able to say those sort of things. And I love to be able to answer them with 'Picky, picky, picky!'" .S0C1 The Canadian-born verteran of more than 100 Hollywood films and TV shows, and a veteran of some 43 years in film, television, stage and radio prefers to focus his attention on his performances. .S0C2 According to Doohan, writer/producer Harve Bennett is very good about letting the cast contribute lines or ideas to the films. However, the actor says, "You have to understand that very little that isn't good gets by Harve, and when we read the script the first time, it's pretty well the way it's going to be done. The only thing that I said to him at this film's start was to please tell the writer not to put the Scottish terms in there, that I will do that. He said, 'Oh yeah, you do exactly what you want to do.' That's the attitude." .S0C3 And, when there's a question involving their individual characters, Bennett usually defers to the actors' intimate knowledge of their roles. .S0C1 "There would be no objection to us changing our lines arould, unless it had something to do with the plot. Then, we're wrong. I mean, if the plot is the accepted plot, then our characters have to say something different." Doohan notes. .S0C2 In addition to the serious aspects of Star Trek V, there are also as many humorous incidents, and Doohan has what may be the funniest moment in The Final Frontier. .S0C3 "It's the scene in the bowels of the ship," explains Doohan. "I'm with Kirk, Spock and McCoy and they ask me where to go, you know, and I tell them, 'Go down this way, and down that way, turn left and turn right' and Kirk says as they're leaving, 'Oh, you're amazing.' As I turn away from them, to walk in another direction, I say, 'There's nothing amazing about it. I know this ship like I know the back of my hand.' Clap! I hit a beam and I'm knocked out! When I looked at it, I laughed myself! I had forgotten that I had such a swagger to that little two-second scene. I looked at Bill and I said, 'God, look at that son-of-a-gun.'" .S0C1 Aside from contributing to the storyline, co-star William Shatner makes his directorial debut in this latest entry in the Star Trek series. Doohan found that his colleague helped make it an enjoyable set. .S0C2 "Bill treated everybody beautifully. He was after a very fast pace, and that's fine. Whatever the director wants, then the actors just have to give him." Doohan says. "Bill was very pleasant to work with, and I must say I'm very happy with that. I wouldn't mind if he directed number VI!" .S0C3 Fans will be happy to hear that Doohan's contract for Star Trek V, along with most of the other regular cast, includes an option for Star Trek VI. He is optimistic about the future. .S4C1 "We grabbed ahold of an extra million people in The Voyage Home, and who knows, maybe The Final Frontier will do exactly the same thing," James Doohan says. "And as long as that keeps going on, I think we're going to keep on doing them!" a4H@@Vҩ%Qn2LNupQNugNu%NurgAQNu%`paSAk0gTSAgXadBad\`dpaSAjpNupaAAL!a҅NupaSAkPAAL aAa0`Npap`.pap`>aJ@g p`2aJ@gp`(aJ@gp`p``"agQk`U@C!!Q`  UNSHIx,Lap FIREf`adKa^."Npw!Q&N%E<|HFzaLd raFd Jv aHH@@VҨ%QnFL'Sfpw%QLN[NurQNugNu%NurgAQNu%`paSAk0gTSAgXadBad\`dpaSAjpNupaAAL!a҅NupaSAkPAAL aAa0`Npap`.pap`>aJ@g p`2aJ@gp`(aJ@gp`p``"a.S16C3 Profile .S4C2 Leonard Nimoy/Spock .S0C1 During Star Trek III and IV, Leonard Nimoy divided his attentions between the comfortable role of Captain Spock and his grueling job of filmmaker. For Star Trek V, however, Nimoy has taken it easy, just portraying Spock and having fun watching his longtime comrade William Shatner face the challange of acting and directing simultaneously. .S0C2 "Spock has travelled along with me, side by side, for 23 years," Nimoy says. "When I first started playing him, I was much more interested in his severity, the containment and the sensibilities of the character. But we've done a lot of that, and now I'm more open to giving him a bit more of a twinkle. It's fun to let a little out and reign it back in again." .S0C3 For Nimoy, the path taken has been a busy one with many noteworthy detours. He was born in Boston and, attracted to the art of acting early on, studied drama at Boston College before moving to the West Coast. Once in Los Angeles, Nimoy joined the Pasadena Playhouse troupe. While in the area, he made his first foray into films, appearing briefly in Queen for a Day before going into the armed services. .S0C1 Throughout the 1950's and early 1960's, Nimoy divided his time among film, stage and television. It was then that Nimoy met a number of people who were to be influential in his life, people such as Star Trek creator Gene Roddenburry and William Shatner. In fact, Nimoy and Shatner guest starred together on an episode of the Man from U.N.C.L.E. before the signed aboard the U.S.S. Enterprise. .S0C2 By 1964, Nimoy had been cast as Spock and appeared in both pilots ("The Cage" and "Where No Man Has Gone Before") prior to NBC's commitment to Star Trek. He appeared in all 79 episodes and was nominated for an Emmy Award for each of the three seasons. After Star Trek left the air, Nimoy joined Mission: Impossible as Paris, the master of disguise. .S0C3 When Star Trek returned to television via syndication in the early 1970's a new generation of fans sprang up. Nimoy demonstrated the range of his talents by producing books of poetry and several records. His voice, if not his person, returned to Star Trek for the animated version of the series. Nimoy also made his Broadway debut in the play Equus to postive reviews. .S0C1 Over the past nine years, Nimoy has continued to act and direct. First he wrote, directed and starred in the acclaimed one-man show, Vincent: The Story of a Hero, about the life of artist Vincent Van Gogh (now on video). He directed an episode of The Powers of Matthew Star, produced by Star Trek's Harve Bennett, as well as a segment of William Shatner's cop series, T.J.Hooker (in which he later guest starred). All of this, however, was merely a prelude for Nimoy's feature debut with Star Trek III: The Search for Spock. .S0C2 Many fans had assumed Nimoy's association with Star Trek had come to an end with his character's death in Star Trek II: The Wrath of Khan. However, Nimoy has so much fun making that feature for director Nicholas Meyer that he admitted he didn't want to leave the Star Trek universe. Bennett asked Nimoy about appearing in the third feature, but to secure Nimoy's services, Paramount Pictures agreed to let him direct. When the film came in on time and on budget and turned out to be a blockbuster, he was quickly asked to helm Star Trek IV: The Voyage Home. .S0C3 After that film's smash success in 1987, the same executives at Paramount who had agreed to let Nimoy direct Star Trek III, asked him to direct Three Men and a Baby for Touchstone Pictures. An even bigger hit, it guaranteed Nimoy a career as a feature film director. .S0C1 He then looked for another type of film challange, deciding upon the drama The Good Mother, an adaptation of Sue Miller's successful novel. He fought to cast Diane Keaton in the title role and won. While the moive was not a giant moneymaker, Nimoy still enjoyed the process of making it. "Drama is where I stared, really," he observes. "When I was 17 and 18 years old, I was acting in Clifford Odets plays. When I was in my 20's, I was doing Tennessee Williams. I directed A Streetcar Named Desire, so I'm totally comfortable with it, much more so than I thought I would be with science fiction or comedy." After The Good Mother, he headed to Star Trek V: The FInal Frontier to rejoin all his old friends. .S0C2 As a director, "Bill Shatner's great," Nimoy observes. "Bill's much more physical than I. I had a good time, a real good time making the movie." .S4C3 Nimoy is weighing future directorial opportunities and planning a proposed sequel to Three Men and a Baby. He is also enjoying life with his new wife, Susan Bay, whom he married in late 1988. "Right now, I'm getting many more submissions for directing, a steady stream of scripts," Leonard Nimoy says happily. "I'm very luckly. I've really just backed into this amazinging new career." IRE-PACK ; Eingabe: a0 = Adresse gepackter Daten fire_decrunch_3: link a3,#-120 movem.l d0-a6,-(sp) move.l a0,a6 ; Arbeitsregister move.l a0,a4 ; a4 = Anfang der Originaldaten bsr.s .getinfo ; Kenn-Langwort holen cmp.l #'FIRE',d0 ; Kennung gefunden? bne.s .not_packed ; nein: nicht gepackt bsr.s .getinfo ; Kenn-Langwort holen move.l a3,a2 moveq #119,d1 ; 120 Bytes vor gepackten Daten .save: move.b -(a6),-(a2) ; in sicheren Bereich sichern dbf d1,.save move.l a6,a2 ; Anfang der gepackten Daten lea.l -8(a6,d0.l),a5 ; a5 = Ende der gepackten Daten .move move.b (a0)+,(a6)+ subq.l #1,d0 bne.s .move move.l a2,a0 bsr.s .getinfo ; Lnge holen move.l d0,(sp) ; Originallnge: spter nach d0 move.l a4,a6 ; a6 = Ende der Originaldaten add.l d0,a6 move.b -(a5),d7 ; erstes Informationslangwort lea .tabellen(pc),a2 ; a2 = Zeiger auf Datenbereich moveq #1,d6 swap d6 ; d6 = $10000 moveq #0,d5 ; .S16C3 Interview .S4C2 Nichelle Nichols/Commander Uhura .S4C3 Q: What is you opinion of the Star Trek V story? .S0C2 A: I think this is the perfect story to follow IV, with its humour and fun and the wonderful idea of saving the whales. Now we come to something dynamic and dramatic and exciting, and they very wisely kept some of the humour. We're on a very dangerous mission and it's no nonsense and high adventure again. But wisely thay let some of the humour from IV overlap, so IV doesn't stand out like a sore thumb. Somebody made the comment we're back to business as usual. But we have some sense of humour and much more interplay of the characters, which is really nice, more so even than in IV. So it's really moving towards what Star Trek is all about. What we, the fans, have been waiting for. I'm very excited, not only about V, bit about the prospects of the adventure continuing. Because if they can do this after IV, something as exciting as this, then they can continue this. It's just a matter of good writers and good story lines. .S4C3 Q: What did you first think of "Star Trek" when you originally got the part? .S0C2 A: Oh, I thought it was great. When I first did the TV series, I thought everything was coming up roses. I thought I'd do this and then go on and do a million other things. Maybe if we were lucky it would last five years or three years. Then I'd go and do other things, and somebody, someday would say, "Remember that show you used to do? We really liked that." .S4C3 Q: And? .S0C2 A: [She laughs] And the show refused to die. .S4C3 Q: Is that something that troubled you? .S0C2 A: Well, there's such a thing called typecasting. I never used to believe that, but of course it's true. I never realized it because I have a lot of other talents, my singing, my writing, and other things I do. I became involved with NASA, and I had my own business, a consulting firm to aerospace education... I was so busy that I didn't realize I wasn't acting, you know. Amd that was setting a precedent. I was being typecast in the meantime. So I wasn't sitting arould waiting for work. I was absolutely inundated with work and luckily I've always been very busy. But suddenly, you discover - and I enjoy and enjoyed at the time - the fans. I thought it was wonderful. What an exciting, lovely thing to have people who cared so much about it, they didn't want it to die. I still thought rather lightly about it. It was nice to get together once in a while, but then [that typecasting] became reality. .S4C3 Q: Is this a source of frustration on some level? .S0C2 A: Actually not; not the fandom and not the fact that the show has remained exciting. But the opposite of Hollywood - "The Industry" that sees you in one light - is not acknowledging your talents that got you to that point to begin with. And that can be frustrating. .S4C3 Q: If you could have ideally sketched it out, how would it be different? .S0C2 A: I proberly would have done everything I did. There also was a point in time, right after "Star Trek," when a lot of black exploitation films were being done... and I got, to be quite a fair to the industry, an awful lot of offers. Scripts sent to me to star in. And I did one... I played the role of a Madame... I put on twenty-five pounds to play the role. She was supposed to be a great, big gal, but I convinced them, and I was a size six... to come back down. [She laughs] It turned out very well for me, but then I was getting only those kind of roles, so I decided to wait. So I went back into musical comedy. I went back into singing, back into dancing, and I didn't attend to my film acting [or] television career... I thought, "It'll always be there." But you can't do that. And by that time, "Star Trek" was quickly becoming a legend. Then finally, of course, we started doing the films, and the die was cast. We were forever the "Star Trek" crew. No matter what we do, we'll always be Kirk, Spock, Uhura, Scotty, Chekov. And that's that. I take it as a great compliment. We created characters that simply will not die, whether we like it or not. [She laughs] And so the happy part is now doing the films. .S4C3 Q: Do you feel cheated somehow in you career? .S0C2 A: No, because life doesn't ever happen the way you think it will. You have to be ready for whatever it throws at you. If you sit and let yourself be daunted by what didn't happen, or what could happen or should have happened, you'll be a miserable, dried-up old prune somewhere, bitter and angry. .S4C3 Q: What else would you like to do, direct, produce...? .S0C2 A: I have directed in theater, but I'm not qualified to direct in film because I haven't studied it... it's a specialty and a craft just like anything else. It's not a matter of just saying, "Oh, it's my turn to direct a Star Trek film." You have to know what you're doing. It takes a special talent. I think Leonard has done a brilliant job, and working with Bill has been a pleasure... when Leonard first was directing, I thought, "Oh, no. Now my co-star becomes God," you know, because the director becomes God. But it was fantastic. He was a delight, came in prepared and talented. All my fears vanished because... [She laughs hard] he's always been directing us! But the funny thing about that is, so many times his ideas have been very good... In the series, if we had an insecure director, it scared the hell out of them. Good directors you could always help because they were very secure. They would not only discuss with him, but many times with most of us pertaining to our roles. But Bill had an edge on a lot of directors in that he's an actor. He knows the actor's plight, he knows our needs. .S4C3 Q: What would you say that plight is? .S0C2 A: The plight for the actor is you want to do your best. You're developing a character, you're putting you best foot forward, you hope to hell you're right. Many times you've got [your character] figured out and along comes another actor who's coming at it from a completely different point of view, and you go "Ooops." Or a director doesn't like your interpretation, so you say, "Ooops." There are so many frustrations. Everything that can go wrong does go wrong. An actor earms every penny he makes and then some. .S4C3 Q: Do you feel like you've been undercompensated for all these years? .S0C2 A: Yes, yes, yes. Yes. I would be lying if I didn't say so. .S4C3 Q: What made you want to become an actress? .S0C2 A: I was born. .S4C3 Q: But you were a dancer first? .S0C2 A: No, I was in theater. My first love was ballet, but I wanted to do it all. I came out of musical comedy primarily, as opposed to drama. .S4C3 Q: Is that how you see your future going? Do you want to create on your own? .S0C2 A: Excatly. I'm recording, I produce, I've written a couple of things, an operetta... So you just keep your creativity going. You have to. And if industry doesn't do it for you, you have to do it yourself. .S4C3 Q: Do you feel like being black hurt you? .S0C2 A: No. I think at the point in time that Gene Roddenberry did "Star Trek," certainly I wasn't up for as many roles as white actresses were up for. But also, Gene cast me. He specifically meant to cast a female and a black. So I'm just glad I was better than the rest of the gals who went up for it and got it. .S4C3 Q: What about now? .S0C2 A: Now, when I got that part, I was the first black actress to play a major role in a series. It opened up a lot of doors for black actresses afterwards. Like Diahann Carroll doing "Julia," which was a part they originally talked to me about doing. But I couldn't do it because I couldn't get out of "Star Trek"... and I still can't! [She laughs] n soon offer you the BEST packer. I will keep trying. Bye for now.... Axe IIII qI Ino lIl {| $'I I Ill{|ll ( no(  (I(.S16C3 Profile .S4C2 Walter Koenig/Commander Chekov .S0C1 "I feel comfortable with my place in Star Trek." explains Walter Koenig, who reprises his role as Commander Pavel Chekov in Star Trek V: The Final Frontier. "Chekov is a role that I've been having a lot of fun with. I'm very intuitive when it comes to preparing for the character, and I never have to do much work with him." .S0C2 "When I got the call to do the movie, I didn't see myself as punching a clock," he adds. "I really didn't see anything special except that it was time for me to get back to work." .S0C3 The Chicago-born actor has seen a great deal of work since his high school days, when his initial stage experiences came as Peer Gynt and as Dick Dudgeon in The Devil's Disciple. He attended Grinnel College in Iowa and later moved on to UCLA, where he graduated with a degree in psychology. During his collegiate years, Koenig continued to act, performing in summer stock in vermont. Upon graduation, he enrolled himself in New York's Neighbourhood Playhouse. He eventually returned to the West Coast, where he received his first acting job as "Irving da Dope" on Day in Court. From there Koenig made guest appearances on several TV series, including Ben Casey, Ironside and the Untouchables. It was while appearing in The Lieutenant, however, that he met producer Gene Roddenberry. That appearance, together with his role as a Russian defector in an episode of Mr. Novak, eeventually led to Koenig's being cast as Ensign Chekov in the second season of Star Trek. .S0C1 When the series was cancelled in 1969, Koenig went back to making guest appearances on shows such as Columbo, Mannix and Medical Center. He was featured in the TV movies The Questor Tapes and Goodbye Raggedy Ann. He also starred in the feature film The Deadly Honeymoon. Koenig has focused his talents on writing. He penned scripts for The Powers of Matthew Star, Family, The Incredible Hulk and the animated Star Trek series before returning as Chekov in Star Trek: The Motion Picture and it's four sequels. .S0C2 "I enjoy doing comedy," Koenig explains, noting he would like to do more comedy in the future with Chekov. "The character is most successful when he's in comedic situations. Star Trek II: The Wrath of Khan and Star Trek IV: The Voyage Home were the best opportunities for Chekov. Especially Star Trek IV; that was an absolute delight." .S0C3 "And I even have a couple of moments like that in Star Trek V," he adds. "In one scene, I get to masquerade as the Captain while everyone else is down on the planet. I'm running around trying to figure out what exactly is going on, which turns out nice in the movie. Then, there's another scene where Sulu (George Takei) comes on the bridge with Sybok (Laurence Luckinbill). Sybok has 'converted' him, and when I start to question Sulu, Sybok steps forward and bends me to his will." .S0C1 When he's not warping arould the galaxy with "Keptin Kirk," Koenig spends time with his wife, actress Judy Levitt, and their two children, Joshua and Danielle. Both children are following their parent's footsteps: Joshua had a regular role as Boner on ABC's Growing Pains, and Danielle appeared on Simon and Simon. .S0C2 Walter Koenig still finds the time to write and perform elsewhere. He has authored Chekov's Enterprise (Pocket Books), which cronicles his experiences making Star Trek: The Motion Picture, the satiric SF/fantasy Buck Alice and the Actor Robot, and an issue of DC Comics' Star Trek comic. On stage, Koenig has toured in Actors, a two-man, one-act play, and Boys in August, both with Star Trek IV co-star Mark Lenard (Sarek). In addition to Star Trek V, Koenig will reapper on the big screen in 1990, making a visit to a familiar science fiction landscape in Moontrap. .S0C3 "I'm much more recongnized since Star Trek," says Koenig. "I've also become a better actor and am more in control now. I'm even called 'Walter Koenig' on the streets, rather than Chekov." .S4C1 As always, there are vague plans for another adventure. But how does Walter Koenig feel about the possibility of it being the true "final frontier" for the crew of the NCC 1701-A? "If Star Trek VI was to be the last one, I would love to do a very dramatic death scene," he says. "Something touching and insightful. I feel that I'm up to any challenges that are presented to the character." $A0,$09 JMP (A4) L0018:DC.B $1B,$45,$00,$00 ZUEND: END .S16C3 Profile .S4C2 Patrick Stewart/Jean-Luc Picard .S0C1 The Captaincy of one of Starfleet's newest Galaxy Class starships, indeed the flagship of the Federation fleet, is a demanding post - but one which is ably filled by the presence of Captain Jean-Luc Picard (portrayed in inimitable style by British Shakespearean actor Patrick Stewart). .S0C2 Born in Paris some fifty years ago. Jean-Luc Picard still retains much of his European background - including a love of both French and English language and culture, and particularly their literature. He can often be found spending a few off-duty hours reading a Shakespearean play from an ancient leather-bound tome which takes pride of place in his Ready Room, just off the main Bridge. .S0C3 Captain Picard is a very different man from James T. Kirk; where Kirk was impulsive, Picard is reflective, where Kirk would charge into danger with all phasers firing, Picard prefers to weigh up the situation and attempt to find a peaceful solution. He actually pratices the Prime Directive of which Kirk often spoke, and on more than one occasion he has been torn between his duty to the Federation and his feelings on matters of injustice among other worlds. Much of this attiude must stem from the fact that Picard is more experienced and mature captain than Kirk, having previously commanded an incredible 22 year voyage of the legendary Deep Space charting vessel, the Stargazer. He has strong moral beliefs and rates honour and loyalty most highly, views which have occasionally been at odds with other members of his crew who are less inclined to trust the unknown so readily. .S0C1 Picard is very highly regarded by Starfleet, perhapes somewhat ironically for his tactical combat skills - he even has a standard text- book manoeuvre of his devising named in his honour. Early in the series we get a chance to see the' Picard Manoeuvre' exectued in battle, much to the consternation of the enemy ship! However, hostilities aside, his diplomatic abilities and negotiation skills probably carried far more weight at the time of his appointment as captain of the Enterprise - her mission is predominantly to make peaceful contact with new life and new civilisations, not to bombard them with Photon torpedoes! .S0C2 Picard, like Kirk before him, commands great respect from his crew, and he feels responsible for each and every one of them. Although he can sometimes seem a little aloof and unapproachable to those who do not know him, after a while you start to realise that this is partly a front to maintain discipline and aviod over-familiarity. .S0C3 His responsibility of the safety of the civillian portion of the ship's complement often weighs heavily upon his shoulders, and he is frequently led to question the wisdom of their inclusion in the mission. Not being a family man himself, Picard finds it very difficult to relate to the children aboard his ship - epecially to young Wesley Crusher, with whom he will have regular dealings as the series progresses. .S0C1 Picard's strength of character (ably supported by Patrick Stewart's fine acting abilities) will often take a pivotal role in the resolution of tricky situations, although he rarely leaves the ship except on purely diplomatic missions. This is not entirely to his liking, and he often complains of missing out on all the excitement, but his first officer (Commander Will Riker) belives very strongly that a captain's primary duty is to the ship and its crew - a fact with which Picard reluctantly agrees. TRAP #$E ADDQ.L #2,A7 ADD.L #$7D00,D0 LEA L001F(PC),A0 MOVE.L D0,(A0) MOVEA.L D0,A0 LEA L0020(PC),A1 LEA L0024(PC),A2 SUBA.L A1,A2 MOVE.L A2,D0 LSR.L #2,D0 ADDQ.L #2,D0 L001E:MOVE.L (A1)+,(A0)+ DBF D0,L001E PEA L0024(PC) MOVE.W .S16C3 Profile .S4C2 Johnathan Frakes/Commander William T. Riker .S0C1 Right from the beginning of the series it is obvious that much more thought has been given to the chain of command aboard a starship than in the original Star Trek series. It always seemed a little ludicrous that the Captain of such a vessel, proberly the single most indispensable member of her crew, spent so much of his time away from his ship on hazardous missions to unknow planets. .S0C2 In The Next Generation, the role previously undertaken by Captain Kirk has been neatly split into two logical elements; the captain, who always remains in direct command of his ship during any hostilities, and his first officer who is responsible for leading the potentially hazardous 'Away team' missions. .S0C3 While this situation might occasionally irk and frustrate Captain Picard, who often refers to his first officer as 'Number One', Commander William T. Riker positively revels in the danger and excitement which the job entails. Indeed, the scriptwriters sometimes seem to go out of thier way to provide Commander Riker (and of course actor Jonathan Frakes) with some nauseating situations. If there's something diabolically disgusting and messy in store for one of the characters, you could lay money on Riker. In various episodes he has been completely swallowed up by a large pool of oily black gloop, required to sample Klingon cuisine (and you thought the Klingons themselves looked distasteful?), and in one episode Riker is even forced to eat live maggots! .S0C1 Certainly the danger-man of the team, Riker also holds the postion of being the 'middle-man' between the captain and the rest of the crew of the Enterprise. He takes this duty extremely seriously, and it is his resonsibility to manage the routine running of the ship without troubling the captain unnecessarily. .S0C2 He tends to be very much more approachable than Picard, and may often be observed relaxing with his junior offices. In particular, he has a strong affinity with Wesley Crusher and Geordi La Forge, often treating the former in much the same way as he would a younger brother. Riker initially does not understand the ship's android crew member, Lieutenant Commander Data, but as the series progresses he develops a greater appreciation of Data's skills, and later even an understanding of the android's needs, as an amicable friendship develops. .S0C3 Another of Captain Kirk's traits which has been bestowed upon Riker is his healthy interest in the oposite sex... This is revealed almost as soon as Riker joins the Enterprise during the pilot story Encounter at Farpoint, when we discover that he and ship's counsellor Deanna troi have met before, and under somewhat less than formal circumstances! This old relationship is very much underplayed - after all, they are both professionals - but just occasionally, reminders will come to the surface, most noteably in the playful jealously exhibited by Deanna on those none-too- rare occasions when Will becomes involved with another woman. 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DC.B $13,$FC,$00,$08,$07,'@',$0A,'L' DC.B $DF,' ',$01,'N',$F9,$FF,$FF,$FF DC.B $FF,$09,'B',$10,'H',$F9,'' Dcb.W 1,0 DC.B $03,$E2,'4|',$FA,'!',$14,$BC DC.B $00,$FA,$05,$04,'00|',$82 DC.B $09,'2|',$82,'@6|',$82 DC.B '@<|',$82,'`p',$00,'r' DC.B $00,'t',$10,'v',$02,'x',$00,'|' DC.B $00,$1E,$12,$BE,$12,'g',$00,$FF DC.B $FC,$10,$10,'g',$FC,$94,'@',$E5 DC.B 'ir',$10,'*y',$0D,$80,$02 DC.B 'Nq',$80,$02,'*',$0A,'p',$10 DC.B 'NqQ',$C8,$FF,$FC,'I',$F9 DC.B ' @',$04,'0<',$00,$BD,$03 DC.B $86,$08,'r',$12,'NqQ',$C9 DC.B $FF,$FC,$01,.S16C3 Profile .S4C2 Todd Bryant/Captain Klaa .S0C1 A career that spans a gamut from a well-loved Dickens street urchin to a Klingon officer is a little unusual, but that's Todd Bryant's acting life. .S0C2 Bryant, who relentlessly pursues Kirk and company as Klingon Captain Klaa in Star Trek V: The Final Frontier, began acting at age 10. He dubuted in the title role of Oliver! at the Morgan Theater in Santa Monica, CA, Growing up added weight and height to Bryant's frame, turning him into a classic "heavy" type. After motion picture stunt school and acting classes, he found himself playing bad guys in such TV series as 21 Jump Street, Werewolf and Murder, She Wrote, as well as less villainous roles in The Hogan Family and Our House. .S0C3 For Star Trek V, his sixth motion picture, Bryant threw himself into the work of being a Klingon. "Spice Williams (Vixis) decided we should build up our bodies and stay on diets," he recalls. "We worked out and rehearsed. I practiced for weeks by riding arould on my bike listening to Klingon on my Walkman. Our whole lives were devoted to working out, and learning Klingon." 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Likewise, who would not be brave enough to lay odds that a super-intelligent android with Pseudo-emotions could eventually rival the Vulcan Spock in popularity? The character of Data in Star Trek: The Next Generation has taken the American fans by storm, while adult scripts ensure he is treated properly. .S0C2 Data is certainly a point of focus for many of the Next Generation episodes. "I can't think of any other character who has more to do than myself, with the exception of the Captain," notes Brent Spiner, the man who plays the machine. .S0C3 Winning the role presented him with his first long running television part and a chance for international recognition. "I had seen Star Trek before and I felt that it would be a nice job. I'm slightly worried about doing it for a number of years, but then I would worry about that with any show. I'm lucky in that I'm playing an extreme character, so that I'm not using up everything I could possibly do. It leaves me with the opportunity to surprise people later on." .S0C1 Spiner's career before Star Trek had varying degrees of success. He lived in New York for twelve years; "The last seven of which I made a living. I began as a serious actor, doing Chekov and such and ended up in several Broadway musicals, including The Three Musketeers and The Big River. I actually came to Los Angeles to do a play of Little Shop of Horrors. That was a few years ago. I got a fair amount of work for a while I was doing that and stayed. My agent put me up specifically for the part of Data." .S0C2 Initially the production team were unsure of how Data should look. It was Gene Roddenberry's belief that the android should not be flesh-toned, and so a number of different make-ups of various colours were tried out. A golden tint was finally agreed upon, with Spiner's own hair combed back into regulation Starfleet style. "The make-up is really two different colours as my hands are slightly diferent to my face. It is intentional because it is faster and it is not supposed to rub off onto anything. In reality, it does rub off - I have some notebooks which are covered in my golden fingerprints which I'm going to sell for two thousand dollers apiece one day! The make- up artist users an opalescent base which is then dusted with a golden powder. It is like the make-up in the silent movies - I can almost see myself as Rudolph Valentino! I also wear gold contact lenses, which do look very convincing." .S0C3 Some thought also had to be given to Data's speech patterns and body language. The actor must carefully tread a fine line between the human and machine qualities of the character. "Fortunately I don't have to do a mechanical voice but I do have a more formal delivery than most of the characters. I'm not allowed to use contractions like can't or won't, although I assume I will one day because I am synthesising human behaviour so quickly." .S0C1 As Science Officer, Data is frequently likened to Mr Spock by the critics. Brent Spiner, however, rejects any suggestions of a similarity. "I see Data as being on the operations side - he can handle everything, from security to flying the ship. This is because he can retain so much information." .S0C2 "I'd say that Deanna Troi (played by Marina Sirtis) is more like Spock. Marina tells everyone it's me, and I tell everyone it's her. Neither of us want the onus of that! She is actually half human, half alien, whereas Data is a machine. Spock was not a machine." .S0C3 Data's background is revealed in the excellant first season story Datalore. It gives Brent Spiner the chance to play two roles as we meet Data's android twin Lore. "Data was created to look after the people on a planet surviving a holocaust. He has been programmed with all of thier memories, and has a sensitivity for emotion. It is not real emotion he possesses - just an understanding for it on a certain level. He was programmed for things like wonder, and wonder often leads to emotion on it's own." .S0C1 With Star Trek: The Next Generation preparing for it's third season in America, it would appear that the series has been welcomed by the audience. The cast of the original Star Trek have been complimentary, and many have visited the set at Paramount Studios. Brent Spiner even had the chance to play opposite DeForest Kelley as Admiral McCoy in the opening episode, Encounter at Farpoint. "I've also seen William Shatner in the restaurant, and Leonard Nimoy had been arould the set. Walter Koenig was here one day, and george Takei. Scotty must still be in the engine room!" .S0C2 "The original crew are part of the history of the ship. Kirk was mentioned in The Naked Now because it was the same virus which attacked the old Enterprise. It is never mentioned what eventually happened to them all, and I doubt it ever will be. They will always be a point of reference, as Jeffery Hunter as Captain Pike was to them." .S0C3 The strong relationships between the original crew were certainly one of the reasons for Star Trek's success. Twenty years on the cast of The Next Generation are finding their own chemistry, and as the series progrsses the character interplay looks like becoming just as successful. Part of the reason for this is good scripts, the rest is the sense of camaraderie which permeates the studio. "The relationship between the cast is excellant - they're a good bunch of people. Everybody got on very quickly. When I'm not here I miss them. I could enjoy working with them for six years if it happens that way." .S0C1 With Star Trek - in all of it's forms - more popular than it has ever been, six series of The Next Generation looks almost guaranteed. When they will eventually make it to British screens is another matter entirely! .B $03,$02,$C0,'>',$00,'B',$00,$80 DC.B $8A,'F',$02,$FF,$FC,$00,'B',$00 DC.B $11,']',$01,$1E,$00,'B',$00,$89 DC.B $FB,$05,$00,$02,$03,$00,$11,'^' DC.B $01,$07,$00,'B',$02,$FE,$1C,$00 DC.B 'B',$00,$80,$8A,'%',$02,$C1,$C0 DC.B $00,'B',$00,$11,'\',$02,$E0,$1E DC.B $00,'B',$00,$11,']',$02,$E0,$07 DC.B $00,'B',$00,$80,$8A,'-',$02,$E1 DC.B $C0,$00,'B',$02,$07,$F1,$00,'B' DC.B $02,$15,$07,$1F,$E5,$00,$84,$F3 DC.B $04,$00,$10,$AD,$00,$9F,$87,$04 DC.B $00,$10,$A4,$00,$05,'$',$02,$FC DC.B $07,$00,'B',$00,$80,$85,'A',$01 DC.B $1C,$00,'B',$00,$0B,$84,$02,$F0 DC.B $0E,$00,'B',$00,$10,$AE,$00,$00 DC.B 'C',$00,$A0,'m',$04,$00,$10,$A4 DC.B $02,$FF,$0C,$00,'B',$00,$8E,'U' DC.B $0C,$00,$10,$AE,$00,$8B,'t',$04 DC.B .S16C3 Profile .S4C2 Mark Lenard/Sarek .S0C1 Apart from DeForest Kelley's brief cameo appearance in Encounter at Farpoint as an ageing Doctor McCoy, Mark Lenard is the only actor to continue his Star Trek role forward into the 24th Century. First seen on screen in the 1966 adventure Balance of Terror, in which he played the commander of a Romulan ship, Lenard went on to portray Mr Spock's Vulcan father, ambassador Sarek. Many years later he completed his 'alien trilogy' in Star Trek: The Motion Picture, playing the captain of a Klingon cruiser which is destroyed by the V'Ger craft - death by blue sparkles! .S0C2 Since then he has had the opportunity to recreate the role of Sarek in two movies and in The Next Generation. .S0C3 Lenard grew up in a small town in Michigan, attending a small one-room schoolhouse with all the grades in a single classroom. "I do remember being in a couple of shoes there, and at high school I was a speaker in oratorial contests and little plays. My mother wanted me to be a professional man, A lawyer or something that she thought was respectable, and would make a good living - and acting certainly wasn't that!" .S0C1 "I was always interested in history, and international affairs and so forth, so I studied for the foreign serivce (I've been playing ambassadors ever since... and I thought I'd dropped all that!). Eventually I decided to become a writer, went to Europe and got mixed up in a couple of plays. I had a loud voice and a lot of enthusiasm - I didn't know what the hell I was doing!" .S0C2 "I gave up acting several times to write, but I always had to start working again because I found acting was where I could make a little money! I still have commissions for a couple of books about myself, and about Star Trek. For thirty years I have been threatening to do this, so time is running short. Even though Vulcans are supposed to have a lifespan of 250 years, by The Next Generation I'm getting there. I think I'd like to get back and do more (Star Trek movies), then I'll be getting younger again!" .S0C3 From drama school, Lenard went to New York, but life was tough. "In order to make ends meet you had to work all day long - 10 til 6 rehearsing and taping television, then stagger over to get a bite to eat and then do a play in the evening. They did a lot of taped shows - like The Three Musketeers and The Prisoner of Zenda and I also did The Power and the Glory with Lawrence Olivier. .S0C1 "Eventually I reached a plateau - I did well in the theatre and I was know as... not quite a star, but as a 'distinguished New York actor'. Then I went to Hollywood, where they didn't give a damn! They just wanted to know if you were good looking!" .S0C2 After being considered, and ultimately turned down, for the part of Professor Carter in The Man Trap, Lenard landed his first Star Trek role as the Romulan commander in Balance of Terror. "I thought I'd found the promised land. There were two spaceships, but I never even saw the people from the other spaceship untill the following year. I was in every scene, and everything was shot in sequence. It was a great part, and I made about three of four times more than I had ever made before." .S0C3 However this wasn't necessarily the start of the proverbial gravy-train. "I did a Mission: Impossible, also for Desilu, and then I sat for four and a half months without a job - with two little daughters, a wife and two cats - waiting for something to happen." .S0C1 When he accepted the role of Sarek, Spock's Vulcan father, did he have any inkling of what he was letting himself in for? "No, not the slightest idea. Nowadays, I'm kind of used to it - but I couldn't belive it when I first started getting all this fan mail, because to me it was just another show. I did two shows; they were good scripts, but that's all I did on the series - and suddenly for a while I was getting more fan mail than anybody else in the show. Spock was so popular, and such a cult figure, and when they brought his parents in - especially a full Vulcan - it captured the imagination." .S0C2 Lenard almost had another Star Trek role in the third series tale The Savage Curtain - surprisingly not as the Vulcan statesman Surak, but rather in the more down to earth role of Abraham Lincoln. "I was doing the Here Comes The Brides series and we had a hiatus at Christmas time. I went in and read (for The Savage Curtain), and they wanted me to do it... I jumped at it - but we couldn't work it in. They needed six or seven days, and I only had four so I couldn't do it - otherwise I would have played a third role in the series." .S0C3 Lenard became involved with Science Fiction again when he played Urko, the militaristic gorilla, in the Planet of the Apes TV series. .S0C1 "They said 'forget about eating for the next five years.' You had to take milkshakes, but I discovered when they moulded these pieces to your face that you could eat all kinds of things. At first I had to sit in front of a mirror when I ate, so I knew where I was putting the food!" .S0C2 "They used spirit gum - it's most uncomfortable; it itches, it get's hot, and it burns. It's tough on your face, but it's flexible and it holds. In that heat you have to have a kind of serene emotional quality to be able to handle that. They had movie actors who would leap up out of their chairs in the middle of make-up and rip it off because they got claustrophobia." .S0C3 "It was a long, hard day and I never got home before 9.30 at night because I'd go to my dressing room and scrub myself down. You had to have your teeth blacked out because they would show behind the ape's teeth which were out front. At first they used to make up our hands and stick the hairs on, but later they made some silk gloves with the hair already in place which you could just slip on." .S0C1 The trials of the make-up schedule must have proved useful for his next Star Trek character - the Klingon commander in the first motion picture. This role required Lenard to have another full-head cast taken, which was a traumatic experience as the studio were using inexperienced make-up artists for the job! .S0C2 The third and fourth films called for the return of sarek, for which Lenard was a little unsure as to how the audiences after fifteen years. He need not have worried, as both his character and the films themselves were great successes, and indirectly resulted in Paramount's approval for the new TV series. .S0C3 When Gene Roddenberry approached Mark Lenard with a view to doing an episode of Next Generation, it didn't come completely out of the blue. "Gene had been talking about it for a year and a half. He said 'Well, Vulcans age very slowly', but the reason he put everything ahead about 89 years was that he didn't want any of the people from the other show in it - he wanted to be sure they (the characters!) were all dead. .S0C1 "Of course De Kelley, who was a friend of his, managed to sneak in there as an ancient mariner of some sort, but none of the others. I guess he's mellowed a little over the years and decided maybe they could use some." .S0C2 About a year and a half after the idea was first mooted, Mark Lenard was at a party with some of the production team and they discussed the concept further. "After about three weeks they called, and said 'Are you available to do a script called Sarek?' They came up with a really good script; Sarek is now a legend, all the Earth people he knew are gone, and those that are living only know him by reputation. He also has a new wife, another Earth woman. Although I think Gene Roddenberry proberly didn't want it originally, there is a kind of mad reference to Spock, but only in passing. I understand they have a script for Lenard Nimoy as Spock, but he wanted a million dollars, so they settled for somewhat less and got me!" .S0C3 Mark Lenard and Leonard Nimoy are strikinly similar in appearance, and it's easy to see why the producers first cast the pair as father and son - even though their respective ages are far closer in real life. "I was walking down Hollywood Boulevard when somebody called to me from a car 'Are you Leonard Nimoy?' and I said 'I'm his father!' The guy drove off, then came back and said 'Sorry, but did you say you were Leonard Nimoy's father, or Spock's father?'." .S0C1 Does Mark find much time these days for live theatrical work? "I do as much as I can - or as much as I have time for. Well, I appear at conventions - that's live, and I've been doing that for years! I've also done a couple of plays recently - last year I did The Beast, and a play called Actors with Walter Koenig. We're working on a new play called The Boys in Autumn - it's about Huckleberry Finn and Tom Sawyer, seeing what bizarre things may have happened to them in thier middle age. I had mixed feelings about it, but the audience seem to love it!" .S0C2 "I also do voice-overs, and I'm trying to make that my bread-and-butter job - I've got a good account lately for Saab cars - that's the kind of thing that keeps you independent so that you can do what you please." .S0C3 Hopefully, what pleases Mark Lenard will also please his fans - perhapes an appearance in the next Star Trek film, or maybe further adventures in the 24th Century in the fourth season of Star Trek: The Next Generation. 0 LEA 12(A7),A7 MOVEA.L A0,A6 ADDA.W #$1C,A6 LEA 2(A0),A0 MOVE.L 8(A5),D0 MOVE.L (A0),12(A5) ADD.L (A0),D0 MOVE.L D0,16(A5) MOVE.L 4(A0),20(A5) ADD.L 4(A0),D0 MOVE.L D0,24(A5) MOVE.L 8(A0),28(A5) MOVE.W #2,-(A7) TRAP #$E ADDQ.L #2,A7 ADD.L #$7D00,D0 LEA L001F(PC),A0 MOVE.L D0,(A0) MOVEA.L .S16C3 Profile .S4C2 Brent Spiner/Lt Commander Data .S0C1 Lieutenant Commander Data (as played be Brent Spiner) is proberly the most interesting single character in the series, Along with Lieutenant Worf, he serves to remind us that we are aboard a starship of the United Federation of Planets - and the crew are most certainly not limited to ordinary human beings! .S0C2 Data is an android, but one so accurately fabricated that he could easily pass for human if it were not for the slight golden tint to his artifial skin and his unusual yellow-tinted eyes. A number of stories centre arould Mr Data, and by the end of the first series we proberly know more about his background than we do about any of the other characters. .S0C3 Constructed by Docter Noonian Soong on the far-off world of Omicron Theta, Data was in fact the docter's second android creation. The first, Lore, was deemed by the colonists of the planet to be just too human - almost perfect, even down to skin colouration and emotional responses. Data was the result of these protests - noticeably less human in external appearances, and with a slightly more stilted speech parttern. Unfortunatly, Lore's responses were more human than even Dr Soong could have predicted, and rather than be shut down he appears to have brought about the destruction of the entire colony. This tale is elaborated upon in the first season episode Datalore. .S0C1 One human aspect which Data has retained is the curiosity and naivete of a child, and he constantly finds himself in awe of the simplest of things. he also has an insatiable desire for knowledge, although his computer-like application of some human concepts can be entertaining. Memorable occurrences include his hilarious encounter with Tasha Yar in the second episode, The Naked Now, his attempts to learn to paint (under the guidance of the blind navigator, Geordi La Forge), and his obsession with the Sherlock Holmes mysteries following a throw-away comment from Picard. This latter storyline even forms the basis for an entire episode early in the second series, in which Data spends some time portraying the great detective in a Holodeck based adventure (Elementary, Dear Data). .S0C2 Data initially finds friendship a difficult concept, but as the voyage continues he develops a strong relationship with navigator Geordi La Forge, and also with the young but extremely bright Wesley Crusher, with whom he can discuss endless technical matters. He has no preprogrammed feelings or emotional at all, but as time passes we see some of the emotional responses of those around him gradually rubbing off on the android, who desprately desires to be fully human and experience true emotions like his friends - just the opposite, in fact, of Mr Spock in the original Star Trek series. .S0C3 As an android, Data is immensely strong and has an enormous capacity to absorb information, indeed, he is often used as a kind of walking encyclopaedia by the rest of the bridge crew - although sometimes the incessant flow of information which even a simple question might generate can be counter-productive! He also has great difficulty understanding the human concept of humour, much to the amusement of the rest of the crew. Slang terminology also causes him problems, and occasionally it proves necessary to widen his education a little for him to be able to follow the conversation.... |bHEY@>`EY@.G o/HSzBR`/ / &HEJ"H JN-G?N78<A:B@ KN7\5|=%|J&_$_Nu/ EJ0BA0*N7CAt JN-XC JN-NHyJC@ JN8XO JN-`S@ 2\fB2"JAN-dCAxAN-C@AN-0*$_NuH&IB@N66l N6B@N4` K"9J0N6P(l0N6lpNp`0N6\ LNuH,O(H*I(EJ2*~g:"JAN,AN-&`SCJCm 7.0fJCoCAzA0N,C JN*,B@ LN626lB@N` M"0N5g LN)pNp`0N5B@OBL4Nu// $HNJ@fp` pN7"JAJN.S16C3 Profile .S4C2 LeVar Burton/Lieutenant Geordi La Forge .S0C1 Geordi La Forge is the blind navigator of the Enterprise, or to be more precise, he has been medically blind from birth. But 24th Century medicine has developed an ingenious device know as a VISOR (Visual Instrument and Senory Organ Replacement) which can mimic the functions of normal sight, and add a few other of it's own. The exact limits of the VISOR are unclear, but we know the Geordi can 'see' most of the electromagnetic spectrum, including x-rays, infra-red, ultra-violet and microwave. .S0C2 He can occasionally be a little sensitive if anyone who to sympathise with his 'handicap', as they see it. On a number of occasions he has been know to put down such comments with the observation that his sight is in fact better than ordinary human vision. That said, he freely admits that his wide range of vision facilities is not quite the same as human eyesight, and he sometimes yearns for the ability to see the subtle nuances of the world and the people arould him. This most often applies in his relationships with women, with whom he seems to have a great deal of trouble. .S0C3 On a number of occasions there has been talk of replacing his VISOR with something less obtrusive, but since that would also mean less effective vision he has turned down each offer on the grounds that it would make him a less useful officer. .S0C1 In Heart Of Glory, Geordi's VISOR is fitted with a device to allow his 'sight' to be relayed back to the Enterprise's main viewscreen. Picard in particular is fascinated with the wide range of frequencies which are available, and they spend some time enjoying the spectacle: "Look over at Data... there's an 'aura' arould him." "Well of course, he's an android." "You say that as if you think that's what we all see..." "Dont you?" .S0C2 Promoted at the end of the first series to Lieutenant Commander, Geordi was placed in charge of enineering (strange - he doesn't have a Scottish name) and it was in this post that his talent really began to show. He very quickly moved into the Wesley and Data league of high-tech miracle workers, devising a number of impressive solutions to problems, often with the help and assistance of those two close friends. .S0C3 Unfortunatly it can sometimes seem that Geordi is the token black member of the team - I don't know whether one can count Michael Dorn in that capacity; under all that Klingon make-up he could be almost any colour. Occasionally this attitude shows through in some of the appallingly hip and trendy dialogue which is written for him. In particular, prepare to cringe with embarrassment in The Last Outpost where poor LeVar Burton has to cope with "Ahhh, I see where you're going... we shift down, then kick hard into warp nine - yeah! - and come back fighting! Woowee!" I kid you not - and this from the ship's navigator while talking to the first officer. й .м RNj` AOpN*0N)ANBA0N*HL|NuH|o8f`|o8Hĉ8HĉHDİg$` SAJAl`fB/fct( rN'"؀vք "L JN!BI K b M ѹ .vD"L yvDN!lA NA 9 NTACDRNA/ / ? /09KRyK?AAN6O OL<NuH8(o &o$"< $BCEb` 8LB@RC|mx`BF:M|<RhRnBpBC`88L@l 2@8L@o $"2@`8L@o$2@RC|mLxNu`N&N&J@fNu/ EKB+`BfRRA<g`@a`r0gR<0g`$Hv&H$RSg f `R<g&H(c`жbc<b`@$$HSf¼Ƽa`9@g89@g.9@g$Ry<4 y<4eBy<4aH`B(fR(fRA.S16C3 Profile .S4C2 Gates McFadden/Dr Beverly Crusher & Wil Wheaton/Wesley Crusher .S0C1 Apart from the odd corridor scene and a couple of specific episodes, the only regular reminder of existence of family groups aboard the Enterprise is the case of Beverly Crusher (played by Gates McFadden) and her teenage son Wesley (Will Wheaton). Bev Crusher is the ship's Chief Medical Officer ('Doctor' to you and me!), and in keeping with current Federation thinking, her son has joined her aboard her tour of duty. .S0C2 Although Captain Picard approved her posting to the Enterprise, there is initially an air of tension between the two. It transpires early in the pilot story that Bev's late husband, Jack Crusher, had been serving under Picard's command aboard the Stargazer when he met his death. Torn by feelings of guilt, Picard felt that as an old friend of the family he should be the one to break the news to Beverly - and that memory still returns to haunt her occasionally, although she certainly doesn't blame Captain Picard for the accident. .S0C3 As time passes, Beverly seems to come to terms with the presence of Captain Picard, and there are even a few hints that if it weren't for their respective responsibilities, and the memory of Jack, a romance could quite easily develop between the captain and his doctor. This is emphasised in the first season story The Naked Now in which an alien disease infects the crew, causing a loss of inhibitions and the general inability to make rational judgements. while under the intoxicating influence of this virus, both try valiantly to maintain an air of dignity and professionalism - with varying degrees of success. .S0C1 Young Wesley Crusher, Bev's son, has accompanied his mother aboard the Enterprise with the aim of continuing his schooling and eventually of graduating into Starfleet Academy and then serving aboard a starship himself. Very early on we are shown that Wesley's greatest strenth, and ironically his most major hanicap in life, is his amazing intelligence. He has a special aptitude for starship design and engineering, and an ability to visualise and understand even the most complex elements of shipboard technology. Very early in the series he redesigns a tractor beam to act as a powerful directional deflector, and then adapts the ship's long range sensor array for greater effciency. .S0C2 His experiences with The Traveller in the episode Where No One Has Gone Before lead Picard to the conclusion that Wesley is a genius who is being actively held back by his largely theoretical schoolwork, and he appoints Wesley as an Acting Ensign, serving under his own watchful eye on the bridge. Following Jack Crusher's death, Picard feels partly responsible for the boy's upbringing, and perhapes this is just his way of showing it. .S0C3 Thankfully, Wesley's slightly annoying tendency to save the ship from disaster every other week is quickly dropped from the series, and he becomes simply a young, likeable junior officer who just happens to be extremely bright. 930<sNBG367|7|7y4 G4 Ibv~BD6WG4SG5 66"930<sNBG367|7|7y4 G4 Iv~BD6WG4SG5 66"930<sNBNu0/S@ C@ Qg$/ 0?)aT"_B 1?)aB TNuEY0)5iGqpJfNuSTARTING PASS 2CREATE TREEY->ELEMENT: 000 IN WORKCREATE CODE-MATRIXNOW HUFFING!Ry@C@49@SB 2UA E@"#j#j5y@5@C $)ժ4aS@NuHA!d0H@ 0H@0Hy!?< NA\LNuH"I|g`$BcT&AeH8 "H$I8 *)d(*"$*)#j%E*)#j%EA`RB`I`LNu <aA< 0000 <aC$/A;aj"9@ҹ<0 9<8dpd @aA$P!!aG367|7|7y4 G4 I$v~BD6WG4SG5 66"930<sNBG367|7|7y4 G4 .S16C3 Interview .S4C2 Patrick Stewart/Captain Jean-Luc Picard .S0C1 Before The Next Generation I had always remembered Patrick Stewart for his role as Karla, the head of the KGB, in the BBC productions Tinker, Tailor, Soldier Spy and Smiley's People. I was particularly fascinated that it was a non-speaking part and yet dominated the entire action. .S0C2 "It's ironic, and says a great deal about what the power of a role can be, that for a long time those two series brought me more notoriety, in the United States, untill of course this (Star Trek). I was perpetually being identified when I was there as Karla, and yet there are just two scenes; one scene in the first series, and one scene in the second. Admittedly the one in the first was a long scene, a 15, 20 minute scene. And I know, ironically, a lot of actors turned the part down. I was by no means first choice, except Robert Redford. It was a non speaking role, but when I saw it it was irresistible, the combination of having to play a long scene, remain silent, and yet to be the dominant force in the scene. And at that stage I had never worked with Alec Guiness. I don't understand how any actor could deny himself the opportunity of playing to Alec Guiness like that. The role interested me, and I'd been a Le Carre fan for years, and because Karla is a presence that never leaves you throughout both series. The man broods over the whole thing, and the next best thing to being on stage all the time is to have people talking about you all the time. And then of course two years later we did Smiley's People, and I appear only in the last minute and a half. The final scene of the crossing over, the walk across the bridge, is one of the best realised bits of television I've ever seen. I'm glad you remember that. They were favourites of mine." .S0C3 Patrick Stewart is not new to the worlds of Science Fiction and fantasy. Before The Next Generation he had appeared in Lifeforce, Excalibur and Dune. Was this a deliberate choice? .S0C1 "Accidential, entirely accidental. The fantasy part less so because John Boorman knew my work as a stage actor. Getting involved in Dune was almost as big an accident as getting involved in Star Trek. I replaced an actor, and the director, David Lynch, who I think is one of the very very finest Directors we have - he has made two of the best films of the second half of the 80's, of the 20th Century, Elephant Man and Blue Velvet, which I think is probably a masterpiece. I actually knew nothing al all of Frank Herbert's work. I picked up the script and the novel at the airport as I was flying out to Mexico City, and it wasn't untill I was sitting on my Pan- Am jumbo that I first came into contact with the world of the Dune planet." .S0C2 "I was fascinated by it. I have to confess I am not a Science Fiction 'fan', not because I dislike it but I never think of turning to that section of the bookshelves. Reading is severely limited anyway during the course of making Star Trek. It took me five months to wade through Spy Catcher, which of course I bought and read in the United States. I was, and I know this may be offensive to many Science Fiction fans, but I felt very ambivalent about Dune, and in fact I haven't read any of the subsequent ones. We were due to make more than that film of course. There was a sequel which was all lined up but sadly never got made." .S0C3 "I thought it took itself a little too seriously. I would have liked more irony in it, and more humour. Curiously I enjoyed filming it more than I'd enjoyed reading the book. The young actor who'd played the lead, Kyle MacLachlan, was a Frank Herbert fan, so he knew all the detailed tapestry, and was the one source of information we all had on the Dune background. It was also one of the most uncomfortable jobs I have ever had in my life. I spent 4 months in the heat of Mexico City in still-suits, you know, those quilted rubber suits, in temperatures of over 140 degrees in the desert." .S0C1 "The other was in Excalibur. We were in armour, perpetually. It was made of metal, aluminium, so it was not heavy, but it was very uncomfortable. We lived through an Irish early-spring, through some very cold and wet conditions. Until you have sat in an oak wood, waiting for the light to be right, on your horse, not able to get off because as soon as the light changes they have to roll the cameras, and you have to spur your horse forward, with the rain dripping off the trees down the back of your helmet into your armour, soaking the alleged chain-mail underneath, you don't know what discomfort is." .S0C2 So what had he seen of Star Trek before he was offered the part? .S0C3 "I suppose I knew just about as much as your average Brit knows about Star Trek. I knew that there was a cult series. Do you know what, I always thought it was in black and white! Isn't that curious? I saw it in black and white, I didn't have a colour television set, and so I'd assumed it had been made in black and white. It wasn't untill I saw it in living and livid colour that I realized it was very different. I didn't realize the T-shirts were all different colours!" .S0C1 "I suppose like many people here I regarded it as high camp fantasy. I watched it with my children mostly, and I enjoyed it. Once watching an episode I would see it through to the end. If I wanted to get up and move away there was an element which kept me in my seat to watch it through." .S0C2 "It had been many years since I had given Star Trek a thought. Although I was aware that the movies were being very successful, increasingly successful. And so when my agent was called in California, and rang me with a bemused voice saying 'Listen, the people from Star Trek have just been talking to me and they want to meet you'. Neither of us could quite understand it, because the leading role in an American TV series was perhapes that last thing I would expect to happen to my career at this stage, and certainly not a TV series that was going to be re- explored; the whole Star Trek legend. So it was mystifying to me, and actually remains so to this day. I still feel that somehow all of us, the producers, Gene Roddenberry, myself, are somehow still somewhat puzzled that I'm actually there doing this job." .S0C3 What of the Captain's character? Is he perhapes based on a Shakespearean character? .S0C1 "Oh! Not at all, no, no. There is nothing Shakespearean about him, except that, and I mean it seriously, in many respects the last 20 years have been an ideal preparation for flying the Enterprise. having spent a lot of years sitting in thrones, giving orders and assuming command. It's true, apart from the fact that I spent an awful lot of time acting in costumes which don't have pockets in them. Obviously I know how to act in a pocketless space suit. No, the Captain was created by Gene. You proberly know about Hornblower, don't you? The connection with Captain Hornblower?" .S0C2 Everything I did know flew out of the window at that point, so I just acted dumb, which wasn't too difficult! .S0C3 "Gene Roddenberry is a great Horatio Hornblower fan. When we first talked he gave me some of the Hornblower books to read and said 'There's a lot of Picard in Hornblower'. When at the beginning all I had was the pilot script to work on, it gave me an insight, although I don't directly use any details from Forester's books. That helped to enlarge the character for me, because in many respects the Captain is rather remote and a somewhat forbidding individual, and that was a conscious development." .S0C1 Yes, the interplays we saw in the original series are not there in the same way. The Captain is very much one step above everyone else. .S0C2 "Yes. Everyone has a slightly uneasy relationship with the Captain, and in a sense that's part of the off-screen life too in that I am older than any of the other principals. I'm from a different background, almost another generation older than anyone else, although the way that I am treated, abused and teased perpetually by my colleagues you would hardly think it. And I think that's worked very well for the show, nevertheless, as it has turned out, three of the characters do seem to be carrying the weight of most of the show, Riker, Data and myself. So a kind of trio of responsibility has grown up during all of that time." .S0C3 I'd noticed in the few episodes I'd managed to see that the cast was already becoming a unit. .S0C1 "All that's going to get better. There are many things I think we could do better on the show, and I think freeing the relationships between the characters on the ship is absolute number one. Perhapes the most common criticism of the show when we first aired, though strangely now that we are a success you hear this more often, is that the series was a little stiff when it began, and looking back at the pilot now with 25 episodes under our belt I think they're right. If does look stiff. We all look as though we're in our nicely pressed space suits and everyone's a little formal. There are things that we do now that I know we couldn't have done 9 months ago, in terms of things that simply grow out of relaxation on the set, familiarity with one another, respect and a liking for one another, and confidence in what we're doing. Mind you of course there's nothing like being told you're a success to boost your confidence, there's nothing like being told you have 30 million people watching you last week." .S0C2 Just as eager to find out what we think about the show Patrick Stewart suddenly turned the tables and asked what I had seen, and what I thought of it. In the course of this I mentioned the scene with Picard's mother (Where No One Has Gone Before) which I had particularly liked, feeling that it gave more depth to the Captain's character. .S0C3 "Gosh that was a good episode, one of our very best of the season. It's pleasing how successful that one individual scene has been. It seems to have made an impact with people. We very often forget that our heros have had things like mothers, and the actress did a marvellous job with that. and this whole idea of finding a rather kind of antiquated figure sitting in the corridor of the ship. All of that was wonderful. I loved for instance the scene of the girl dancing, and also the Mozart sequence. All that was pure Star Trek stuff." .S0C1 There was also a rather startling moment involving the turbo lift... .S0C2 "That was a very interesting shot, actually shot five days apart. I stepped out into the void late one evening in the studio and then did the scene in the turbo lift itself some five or six days later, when the doors closed. But that's the nature of filming." .S0C3 "We have an absolute pattern of the way it goes, un unbroken pattern. We alternate between 7 and 8 days to shoot them. The reason being that we cannot use alien worlds on everyshow, because it takes time to build them. We have the permanent ship, the bridge is on one, guest quarters, the Captains ready room, and the other studio has the rest of the ship, including the battle bridge. And also an area which is a cargo hold where they can build, occasionally, extra sets. There is stage 16 which has become known to all of us as 'Planet Hell', because on Stage 16 they build the alien worlds, and we're only there every other show, because it always takes twice as long to shoot on an alien planet than it does on the bridge, because the condidtions are always bad. And it's called 'Planet Hell' because we're always in either smoke or steam or water or snow or something uncomfortable. I say 'we are', I'm not often there." .S0C1 Yes. The impression seems to be that the Captain stays much more on the bridge. .S0C2 "Very much more than Captain Kirk. Kirk was forever down there muscling in. In that sense I have much more of an executive role on the ship. But I'm looking for it to be a happy mixture. I have been beaming down more frequently of late, because I complained I was too often absent from this. Also I was perpetually teased by my colleagues that I didn't really ever have to rough it down on 'Planet Hell'. I would get two or three days off while they were fighting alien forces in the mud. In fact I beam down alone, much to the outrage of Commander Riker and others who thought I should not be doing that, in the very last show of the season, called Conspiracy, which is a terrific show... to meet up with some renegade officers. The Captain does have much more of an executive position. For instance one of the things I have said is that unless I have something to do I should never be on the bridge even. I mean other people fly it. They don't need me there to fly the ship. The Captain doesn't fly the ship. Riker, Geordi La Forge, Data, they fly the ship. And so I won't just sit arould looking into Space. The Captain has other things to do. The day to day business of controlling and running the ship is the First Officer's responsibility. Picard is a negotiator, he is a talker, he's an intellect on the ship. He is also a pacifist, dedicated to the principal of the Prime Directive of non-interference and the use of non-violence. Passionately dedicated." .S0C3 "I had no idea, not even having accepted the job, that I was entering not into just an adventure TV series but a TV series that because of the kind of man Roddenberry is, he is prepared to take on 20th Century problems/ situations, reflected through the 24th Centuray camera, and deal with social matters, with politics, with questions of race, with prejudices and so on. It gives the show such substance. So, for instance, at the end of Symbiosis the Doctor and I are going up to a turbo lift somewhere and she's saying I don't agree with what you've just done. You've condemned these people here to suffer. To real suffering, for a long time. And surely there could be another way. And I stop the turbo lift, right where it is, right in the middle (and this was something I developed with the writers myself) and for the first time in the series the Captain articulates his own personal belief in the philosophy of non-interference, that history proves that whenever a society has interfered in the life of an apparently less civilised society, although it may produce some temporary benfit, in the long term it is always calamitous for the less civilised. Always, without exception. There is no proof that history gives us where interference has been of benefit to the non-civilised society, or the less civilised society. And so that's what I argue. Although these people are going to suffer in the short term, in the long term they will resolve their own problems in their own way and we are not here to impose our values on them. It's a philosophy I have come to belive in, passionately. I see it working, so it's something that I can lend myself to very strongly in the character of Jean Luc." .S0C1 This sounds as though Stewart has some control over his character. .S0C2 "This is always a contentious question when you are dealing with TV series, and different series and different actors will have different answers. From my first serious conversation with Gene Roddenberry, after I had accepted the job, and before we started work, he and I sat down to have dinner together, talk about the Captain. At that stage I made the point that I had been my practice as an actor throughout my career to be involved in every area of the work that went on. I can't keep out of it, not because I need power or I want to interfere, but because it's the desire to make something as good as possible. And that so far as the development of the character, the relationships and the scripts, were concerned I wanted to have input into that. It was for me to one of the attractions of the series, to be given the opportunity to create a character, not just in a three hour play or a sixty minute TV story, but over hours of television, to gradually coax a three-dimensional character into life. So although we've now done 25 shows you haven't yet seen anything more than a fragment of the Captain. It's one of the principals I think that with each episode something that is new, something that's unexpected should be introduced. Maybe it'll be a major element like Picard meeting his mother, or perhapes it's maybe learning that the Captain has a passion for detective stories, or that he has a sense of humour, even. Also the background of the kind of stage work that I've been involved with. I've spent years and years acting in Shakespeare but I've also spent a lot of time working with the best modern playwrights living in the United Kingdom today, and working along side them, having them in the rehearsal room with me, so I know what it's like to talk to writers, to discuss plots, who the character is. And I know that the best writers are the ones most prepared to listen to actors and to make adjustments. The better the writer the more prepared he is to." .S0C3 So is there much opportunity for this in Star Trek? .S0C1 "Very much so. I take every opportunity that I can to spend time with the writers, socially as well. Maurice Hurley who is now Co-executive Producer and principal writer on the series is a friend, and we talk. You would proberly be interested to hear that we are actually obsessive about the show. I mean that this is one of the things that realy surprised me. All of us who work on the show, we tend to be one-track minded when we are together, we talk about Star Trek. On the very last night of shooting, just two and a half weeks ago, I don't know why but curiously it was just all the male actors in the cast - myself, Jonathan Frakes, Brent Spiner, LeVar Burton and Michael Dorn, went to a restaurant for dinner. We were all going to do different things, someone was going to Jamaica, someone was getting married, I'm coming back to England. A whole lot of exciting things ahead of us, things that we might have talked about. For four hours we talked obsessively about Star Trek, even though it was over, done. Nobody was going to put on a space suit again for two and a half months, and I like that. I like the fact that people are engaged by it. We quarrel about it. We fight about what things should be. So far as the scripts are concerned we're luckly to have producers and writers who respect the actors involved, and I like to feel that either in the sense of taking a long-term view of how a character will develop. For instance, in one episode I am re-acquainted with someone from my past. Now for me that was going to be locking in a fact into the part's character construction, and therfore I was deeply concerned, because he was a very important person from Picard's past who had a great impact on him, by exactly just what kind of person that was. How it should be developed was of great significance to me. So from that right down to being on the set in the middle of shooting and finding that a line doesn't work and picking up a phone calling the producers, and saying, 'Please can we change this? Can we talk about this?'. We are blessed by having a group of people who are not remote, power crazed individuals who see themselves only there to obstruct the actors. They are always available, and that is because the enthusiasm for getting the show right exists at that level too. So we work, while respecting the particular talents of all the different departments, and we have some very clever people working on the show. We work in harmony. My hope is that as the months and episodes go by that will increase." .S0C2 What of the rest of the crew? Many people were quite worried when they heard that there was going to be a very clever boy (Wes Crusher) on board. .S0C3 "I'm very interested in the relationship with Wesley Crusher, because it was established at the beginning that the Captain felt uncomfortable with children, and yet here is this child genius on board. Well, that relationship develops. It won't surprise you to hear that in a future epsiode, because of something he does, the young man is actually made a junior ensign on the ship." .S0C1 "In fact, curiously, there's not a scene I haven't played with that young actor that doesn't rank amongst my favorites in the series. He's an extraordinarily gifted, over and above what you would expect from someone of his age, and round about episode 20, 22 he and I have a long scene together where he's deeply troubled by something and it's a cracking scene. He brings so much to it. I love working with him. But that relationship, and of course because it partly affects my relationship with the Doctor on the ship, is going to be quite important. The relationship with the Doctor is one that will become more interesting as the series goes on." .S0C2 When I saw the pilot it did cross my mind that Wesley would turn out to be the Captain's son. I'm not so sure now. .S0C3 "Not an unusual theory that, it has been voiced. No. He's not. I can tell you that, absolutely categorically. He is the son of Jack Crusher, but watch this space as far as all that is concerned." .S0C1 "But equally I feel that more contrast in the relationship between myself and First Officer Riker is something that should happen. I look forward, to, perhapes, more humour in the relatioship with Data, who is quite brilliantly played by Brent Spiner. That's an outstanding performance. There is an episode coming up called Datalore in which we happen to be passing by the planet where he was discovered. And so we say let's call in and have a look at this place. He's not remotely interested of course, because being an android he doesn't care where he came from. He has no feelings about it." .S0C2 "What happens is that they discover in this abandoned laboratory where he was made the dis-assembled bits of another android, which Data re- assembles on the ship, and it's a twin. Terrific episode that, and Spiner's work in that is superb, because, as you realise, he plays both roles." .S0C3 "I think there is much more to be done with the character of La Forge. LeVar is a fine actor. He has a kind of irreverence about him, about the whole thing, which should be developed more thoroughly. Have you seen Hide and Q?" .S0C1 No. .S0C2 "'Q' comes back to plague us again, and he gives Riker extraordinary powers, to grant people whatever they wish, and of course one of the things he gives to La Forge is his sight back, but La Forge doesn't want it back." .S0C3 "You proberly know by now that we have lost one of our principal cast members during the course of the season, 'though very very late. There are only a few episodes she doesn't appear in, Denise Crosby. She did leave the show during the season, sadly, but in a first season of what might prove to be a long series people discover wether it's something they really want to be doing or not, and Denise felt that she didn't quite have enough to do. But it would have been nice had we kept the original team together, because as a personality she is much missed." .S0C1 Could The Next Generation be a longterm project, or even lead into a cinema series in 20 years time? .S0C2 "It's always a mistake for any actor to think of anything being long term. You go day by day. I always have done, all of my life. I think it's quite possible I might be making a Star Trek movie in 20 years time. After all William Shatner and co. are, and so far as I can see enjoying it enormously and having a huge success at it. I don't see myself still doing a Star Trek TV series in 20 years time, nor, I would have thought, would anybody want to see me doing a Star Trek series in 20 years time. But at the moment there is nothing I would rather be doing. It is perpetually interesting, simulating, and challenging. I am working with a group of people who I like enormously. We have a lot of fun. Life on the Enterprise is... well sometimes it has to be restrained from being too much of a perpetual party. But it is the happiest working atmosphere I have ever been involved with. We work hard, long hours, and, curiously, even though we were all exhausted when the season finished just two or three weeks ago, and I'm back here now, briefly, in London, with my family and looking forward to a holiday next month, I miss it. I'm actually suffering withdrawal symptoms from all of that! Ironically enough, because when the season finished I thought 'My God I can't imagine ever starting up on all this', but already I'm thinking 'What will I be doing in June, what will our work be like?'" .S0C3 The only new aliens I'd seen at that point were the Ferengi, and I wasn't exactly sure what I thought of them. .S0C1 "The Last Outpost introduces you to the Ferengi and I think they are going to be interesting characters. We shall be seeing more of them. They do actually reappear. A major episode for me is called The Battle, which came about in the middle of the season, in which it's a kind of one-on-one confrontation between me and the Ferengi Starship Captain. They bring something from Picard's past, from a famous battle in which he carried out what has become know as the Picard Manoeuvre. I think they're great. I'm delighted with them. .S0C2 Of course the people who talk about Star Trek the most are the fans. What has been Patrick Stewart's reaction to them? .S0C3 "I was just puzzled, initially, about that whole subculture of fandom to do with Science Fiction, particularly Star Trek, because I had little first hand experience of it. Over the months, particularly with the kind of mail that I get, which is very interesting, from the real fans. They write most interesting letters, not without criticism. Often quite interesting criticsm. That sound's patronising. No, invariably quite justifiable criticsm of what we're doing. But they have an intelligent interest in the show, which I appreciate." .S0C1 "However, my first hand experience of them was when I attended my first Convention about a month ago in Denver, and came face to face with over three thousand of them. That was overwhelming. I've never had an experience like it in my life. It was awesome." .S0C2 Already the hour was up and it was time to let someone else ask all the old questions yet again, but I did manage to ask if there was any way Patrick Stewart would like to develop the Captain's character. .S0C3 "Oh we've talked about some of the things. I am anxious to become more involved actively in the stories so that I don't simply become a kind of geriatric pen pusher, and that's already happening. I've been doing a good deal more action. I have created an action-activity recreation for him, which we shall be seeing in one of the very last episodes. More than anything, and this is something we also discussed, I am very anxious, think it important for the success of the show, that the relationships between all the characters are made richer. At the moment I think there is a little stiffness still about them. For instance the nature of relaxation and interplay between Shatner and Nimoy and so on in The Voyage Home is the kind of ease and relaxation we should find in our show. I admire thier work so much in that film. I would like everyone to become much more idiosyncratic, much more 'characters' and it's gently moving in that direction. But for that we need the scripts to assist and aid that." f0007,$00070002,$00030001,$00030001 dc.l 270-1, 15-1, 8-1, 5-1, 2-1 .length_tab: dc.b 9,1,0,-1,-1 dc.b 8,4,2,1,0 .more_offset: dc.b 11, 4, 7, 0 ; Bits lesen dc.w $11f, -1, $1f ; Standard Offset e.S16C3 Interview .S4C2 DeForest Kelley/Dr. McCoy .S4C3 Q: What did you think of the script for Star Trek V? .S0C2 A: I think that V is interesting in that it's entirely different from any of the others, which is refreshing. Four was a wonderful motion picture, and you think, what are you going to do after IV? My feeling about [films] is that you can never tell about them untill they're strung together and scored and you look at it. Very seldom do you ever hear anyone come back from the daliles and say that the dailies look terrible. You don't know untill you see the final product. But in examining the script I thought that it had an awful lot of things going for it, and if it comes together the way we all hope it will, I think it's going to have a little bit of something for all the Star Trek fans, and hopefully that thirty-five percent of the audience that we picked up in IV will enjoy it. We have a great deal of the humour of IV once again, there's conflict, adventure, and some powerful drama. .S4C3 Q: We learn things about McCoy that we've never learned before. Did you agree with those things in the script? .S0C2 A: I was concered... I had to give the whole thing a lot of consideration. My discussions with David Loughery and Harve Bennett - we came to some conclusions concerning McCoy's character in this picture. Some things that had been done we tried to shape in a way so that those who know and love McCoy would have a better understanding. It was a matter of straightening certain situations out with him. I think it's likely to become a very controversial role, and one that is going to be very agreeable to some people and very disagreeable to others. You can't please everyone. .S4C3 Q: Is McCoy different at the the end of this movie? .S0C2 A: I don't think so... I think that the public will have a greater insight into these three characters and their relationship to each other and how they generally feel about each other, which I don't really think has been shown on screen before. It's always been the three of them going about their work in a very workmanlike manner... in this film they're going to get down to some more human basics. .S4C3 Q: Will McCoy and Spock get along better? .S0C2 A: I think so. I think that relationship will always be one of great irritability with McCoy at times. You sometimes get the feeling that in his smooth way, Spock is really trying to annoy McCoy. We each think we've got the other's number, so to speak. I don't think we'll ever truly get away from that, but I think that McCoy is looking at him with more of a feeling of "I've got your number too. You're not bothering me so much." .S4C3 Q: Can you summarize how do you feel about this movie? .S0C2 A: I think it has all the earmarks of a real entertaining movie. I really do. I have the highest hopes for it. Bill has worked awfully hard on it, and he's done a tremendous job. I don't know how he did it. It would kill me. .S4C3 Q: Do you have any desire to direct? .S0C2 A: None whatsoever. .S4C3 Q: Did you ever? .S0C2 A: No. I did a little bit during the series. I think we were all looking at it as a way to make some kind of move. But that never materialized; didn't materialize for Bill or Leonard. At that time neither one of them were ready to direct. I did have thoughts about it during that period, but it went right out the window. Then when I saw all the problems involved with Leonard directing, the long hours, the frustration, I just thought "I don't need that." [He laughs] There are a lot of things I don't need. .S4C3 Q: Are you happy with the way it all turned out? .S0C2 A: Oh sure. .S4C3 Q: Do you ever get sick of playing McCoy? .S0C2 A: Oh, sometimes, and then again I look at it and I think - I'm sure Bill does, too, and Leonard - "Gee, what a pain in the ass," you know. And than I look at it in another way and think how privileged we are to be part of this show and to be what and who we are together, and what comes with it, and the fact that Star Trek, unlike anything else, has a lot of class. A lot of class. It is so highly regarded in so many areas, all over the world, and you think, "What do you want out of this business? Do you want adulation?" Christ, how much can you have? You know, it gets to the point where you don't need any. What do you need? What do you want? Sure, we all would like to find something to just turn us over in the right kind of role. But I'm even more or less getting away from that. I'm looking at it and thinking, "Christ, we have great opportunities to do a lot of things on this show." .S4C3 Q: Do you see it going in a new direction? .S0C2 A: I think it would utilize us in an intelligent way, and remain cognizant always of the fact that we are getting older, but utilizing that age. .S4C3 Q: But haven't they done that? .S0C2 A: They have. You know, it started with my giving Bill a pair of glasses, and something, you know, is always being refered to. When McCoy on the ladder says to Jim, "I'll never make this," whatever it is. So those little things are put in there, because if we don't do that, the critics are going to pounce on us. When they can't find something to pick on in the story, they are going to start talking about pot bellies, wrinkles, and that sort of thing. We have to kind of fend for ourselves in these things, you know. I think it's working out wonderfully, really, for all of us. I mean, what more could anybody expect out of a show like that? .S4C3 Q: And your own career? Because I remember one day you were talking to me on the observation room set about you - after Star Trek. You weren't working as much, but you thought it was your fault because you hadn't pursued it. .S0C2 A: Yes. Bill and I and Leonard, as close as we are, we have a feeling. I know three of us have a feeling we're related when we see each other. We don't see each other a great deal on a social basis. But you don't need that. When you do see each other, that feeling, that deep feeling, is there. But unlike Bill and Leonard, I've never had that kind of drive in my career. I know this is a hackneyed statement, but I am, I guess, a lazy actor. I have not pursued my career to the extent I could have. .S4C3 Q: Is there a reason for that? .S0C2 A: I don't know exactly what it is. I started my career on this lot, under contract as a young player. In the glory days. And I've done a lot of things in my life. I've done a lot of bad things, and I've done a lot of good things. If I had not done what I had done in the past, and just gone into Star Trek - if I had done several TV shows, and then gotten Star Trek - I would be frustrated. But I have touched a little bit of fame before this, and I've left it, and picked it up again. I don't know, I guess inside of me I keep saying, "What do you really want?" .S4C3 Q: Have you come up with any answers? .S0C2 A: Peace. [He laughs] .S4C3 Q: I think you've got that. I think going down in history as Dr. McCoy isn't such a bad thing. .S0C2 A: Well, I don't know. None of us is six feet under yet. You never know what's going to happen to any of us. [He laughs again] .S16C3 Profile .S4C2 Marina Sirtis/Deanna Troi .S0C1 The character of Deanna Troi represents proberly the most radical departure from the established format of the original Star Trek series - her role as ship's counsellor would have been unthinkable in the Sixties; in Kirk's day, if you had a problem you either dealt with it yourself, or else Dr McCoy gave you a quick jab with his trusty tranquilliser hypo... .S0C2 Now that Star Trek: The Next Generation has moved us onward into the 24th Century, and the thinking behind the series has moved into the 'caring' Nineties, much more attention is being paid to the mental welfare of the crew - especially since there are now families and children aboard. Deanna's primary job is to provide psychological and emotional support for the crew - and especially for the captain and his senior officers. On more than one occasion she has felt it necessary to advise Picard on matters of shipboard policy, although she has enough tact and diplomacy not to do so in front of the crew! .S0C3 Deanna Troi is only half-human, her mother being a highly respected (or so she tells us!) member of the Betazoid race, know for their highly developed telepathic skills. Deanna has not inherited all of her mother's full-blown telepathy, but does have certain empathic skills which allow her to sense the emotional responses of those arould her - even via a viewscreen, across several million miles of Space, it seems! These empathic skills are ideally suited to her postion aboard the Enterprise, and she is often able to detect and tackle a problem before it turns into a crisis. .S0C1 In later episodes we get to meet Deanna's mother, Lwazana Troi, and find out much more about both of their backgrounds. From what we have seen in her three stories to date, Lwaxana (as played by Majel Barret, wife of Star Trek creator Gene Roddenberry) would seem to be one very good reason for Deanna's original decision to leave Betazoid and join Starfleet! .S0C2 The pilot story reveals that before they both joined the Enterprise, Deanna was involved in a short-lived, but highly passionate, affair with first officer Will Riker. They still have a very special relationship, although it is always kept firmly platonic and above board. As with the relationship between Picard and Beverly Crusher, it is frequently hinted that the pair secretly wish that circumstances had been a little different. .S0C3 One problem with the Deanna Troi character is that the writers don't seem to have decided quite why she's there; apart from the occasional comic relief, and the odd session of shoulder-crying, her main function seems to be to sit on the bridge and 'feel' what the advesary of the week is thinking, we've seen very little actual counselling from her. This is a great shame as the basic need for psychological counselling of the problems encountered on a Deep Space voyage is an intriguing one. HA2 0ƞ@BD`0f0RE PK <JFnPP B0PK|S6PHyHyHyY1 j"%YOj9OyKhP:_s@f?QbBg7Bg ԰hIU?,p0@ G"FE0$ma((μ.1@$qwN^qg*OĔ0p,oxloooooozohoVoDk5o#^.u,@*(gAv /8&//4/8F!ư*Ő,@݀1}àX0qʰ6̻o`.# }!W29Vh$ P1(|qo*XjqwA (((հ((((U(!/:p:h lLnNu NMXf&RL< x௰g =`LXpNuqoqoڐE/"PBE|a1Qr$80f2HB@CI&Ifb bR@ @fxo11LRAGW@2?A Ao.b avj]j` @?bada0!jz?A0PGfbREa< ǐA dRI2 x !I!Y!|Xߜ 8Nu`vcxsoHr_EBD``l`vK8`K4`YDgK6308Kri@D`@2`?o A@x `.8<`(`X08z,`D\D3PHriESD.S16C3 Interview .S4C2 Gates McFadden/Dr. Beverly Crusher .S0C1 As the Enterprise's Chief Medical Officer, Dr. Beverly Crusher, actress Gates McFadden explores the world of futuristic medicine every week. With so many new advancements in the medical field of the 24th century, it's difficult to keep up with them all - as well as the medical props designed for Star Trek: The Next Generation. .S0C2 "There are many medical props including: the tricoder, hypo-sprays, atomic analyzers, mini-computers which detect viruses, malignancies, rate and composition of the blood flow, and laser surgery equipment," says Gates. "There is a lovely collaboration between the designers of the props and the actors. The first day I shot in my office, I thought, 'OK, where are the files, pens and telephones?' Alan, who does props, said 'Paper's obsolete. It's in the computer, everything's in the computer.' So save those waste- baskets, they might become collector's items!" .S0C3 Last season, Dr. Crusher departed the Starship Enterprise to become head of Starfleet Medical. Now, assigned back aboard the Enterprise, she has resumed her postion as Chief Medical Officer, in charge of the medical units aboard the starship. It has also given her more time to spend with her son, Wesley, the brilliant young ensign, who chose to remain aboard the Enterprise when Dr. Crusher was reassigned. .S0C1 Prior to Star Trek: The Next Generation's first season, Gates, who lived in New York, worked in theater and film as an actress and as a director-choreographer. Her acting credits include leads in New York productions of Michael Brady's To Gillian on Her 37th Birthday, Mary Gallagher's How to Say Goodbye, Caryl Churchill's Cloud 9 and The LaJolla Playhouse production of The Matchmaker with Linda Hunt. Gates was also director of choreography and puppet movement for Jim Henson's Labrinth and assisted Gaven Milar in the staging of the fantasy sequences for Dreamchild. "Those films were my baptism by fire into the world of special effects and computerized props," the actress states. .S0C2 During her hiatus from The Next Generation, Gates made a cameo appearance in the future film The Hunt For Red October. She has recently completed work on a new Disney film entitled Taking Care of Business with Jim Belushi and Charles Grodin as well as Next Generation guest star John DeLancie. During hiatus this year she is performing at Los Angeles Theater Center in the new play be Derek Walcott, viva Detroit. .S0C3 Rasied in Ohio, Gates served on the faculties of several theater arts training programs arould the country, including New York University Graduate School of the Arts, the University of Pittsburgh and Brandeis University. Her own scholastic achievements included studying acting, dance and mime, and earning her B.A. in Theater from Brandeis University. .S4C3 Gates, what inspired your love for acting? .S0C2 Well, I was doing plays by the time I was 8 years old. It was just local theater but I loved it! I suppose it's because, for me, it was a fantasy life. I was the only girl in my immediate neighbourhood when I was growing up. I spent a lot of time playing by myself or playing with the one friend I had. So you make up games and so on. I was also taking dancing lessons. I continued dancing through a good portion of my life. But ever since I was about 8 years old, I really wanted to be an actress. It was just something I always knew I wanted to do. .S0C2 When I was ten, my brother and I attened back-to-back Shakespeare for eight days in a musty, nearly-emtpy theater. There were 12 actors who played all the parts. I couldn't get over it - the same people in costumes everyday, but playing new characters. It was like visiting somewhere and never wanting to leave. .S0C2 If I couldn't be an actress, I wanted to be an archaeologist. I've always been fascinated with history. I studied it in school and joined the History Book Club when I graduated. The Civil War, Greek and Roman history, German History, etc. I also love to read about historical events. I love dirigibles, the big ocean liners, the story of the Titanic and so on. .S0C2 I've always loved writing, too. I wish I could write more for myself. I wish I could find the time to do that. I just feel it's a wonderful way to clarify my thoughts. I'd love to write for the theater. Writing is something I clearly gravitate towards. You know, theater ties into so many things. Theater ties into history, and architecture and writing, etc. .S4C3 I understand that you have also been interested in studying architecture. .S0C2 I love architecture and, in fact, I've been working with a contractor in trying to refinish houses. I love doing that - not just because it might be a good investment but because it brings me a lot of joy to think about all the various possibilities. I think, "Well how can I change it? What would happen here if the ceiling were higher?" Shape and space interest me greatly. I studied acting at Jacque LeCoq's Ecole Mime and Theater, and Jacque also taught at the School of Architecture a class called "People and Space." It's a class that studies how people interact with their surrounding space. I've also worked with people who are sound architects. By sound waves, you can actually make a space seem vast or small, reagrdless of it's real size. It's all done by the way sound waves are hitting individual spots. So these are areas that interest me greatly. It seems to me, in my different travels with the theater, that I keep coming in contact with other subjects that I really love. They all overlap. .S4C3 You have so many activities and interests. How do you find time to do them all? .S0C2 I don't. I always feel like there are 300 things I haven't yet done! It keeps me engaged and out of trouble! (Laughter) .S4C3 Acting seems to be your primary passion in life. As a performer, do you prefer the theater over television? .S0C2 I haven't had any vast experience in television other than a job here and there. I did The Cosby Show and The Wizard, and a few others. While both theater and television are fun and very challenging, certainly working on a play where you have 4 to 6 weeks rehearsal time and you can actually calibrate where the role is going, is more rewarding. You can try every facet of the character that you want - you have more rehearsal time. I love that theater is live. There's time to explore, time to take it again and often it's magical. It's very exciting when you go out there on the stage and it's just you and the audience. There's something very electric that happens because anything can happen. Even the different directorial and playwriting ventures that I've been involved in through the years, the possibility of transformation and the relationship between the performer and the audience, is very exciting. It is sometimes the most basic relationship you can have in any performance field - when there is one spectator and one performer. I've had some of the most wonderful moments in my life in the theater - either on the stage or as a spectator. .S4C3 Tell us more about your interest in archaeology. .S0C2 I have many places I would love to visit - Machu Picchu, etc. There are a million histrical sites I want to see. When I lived in France, I was the first member of my family that had been out of the country and it was a very opening experience for me. There I was sitting in these baroque cathedrals listening to baroque music. It doesn't matter wether you're religious or not, it was a spirtual experience. I love that sense of history in Europe and I think I love it even more coming from the United States, which is such a new country compared to the rest of the world. Although we do have a remarkable Indian culture to study and learn from. But you can't go to every American city and find monuments with lists of all the dead from every war like you can in Europe where there is a much larger and older history. And there are monuments and plaques commemorating that. I truly believe that interests in other things can really colour your work. .S4C3 The character you play on Star Trek: The Next Generation, Beverly Crusher, is a very serious character. Whould you like to see that change at all? .S0C2 I think she should lighten up a bit. I think she needs more behavioral stuff. She doesn't always have to be serious just because she's a docter. For example, just because I've been trained as a dancer people often assume that I'm graceful. That is, except for Brent, who knows I'm not. But I'm so clumsy! I just tripped getting out of the car! When I am on stage, I'm concentrating so I can be very precise and somewhat graceful. But, otherwise, you just let it go. That's why somebody can be a brain surgeon and still be kind of clumsy when they are not performing surgery. I just made that up. As far as Beverly is concerned, I would like to see them add new elements that would bring out the different sides of her. You know, they just put this new eating dispenser in Sick Bay. But it's only been used once and I've thought, "Well, maybe Beverly is into junk food or something." There are things that are there, and you so want to use them. But usually there is so little time that it's tough to go really in-depth. There isn't much time to do that in television. It's tough for them to give Beverly a lot more to do because she's always needed in Sick Bay working on a patient who is about to die. You know, especially in the first year, I lost more patients than I saved! The running joke arould the set has always been, "Is Beverly on the ship because she's sleeping with the captain?! (Laughter) And the reason she doesn't have her medical diplomas up on the wall is because she didn't really get them!" Usually, when there's a guest star that, for whatever reason, is on the medical table, one member of the cast will say, "Listen, sorry you're being treated by Bev - you might not make it!" (Laughter) .S4C3 Would you like to see the romantic aspect between Beverly and Picard shown in more depth? .S0C2 I think both Patrick and I would both love to see that go further. Yes, that would be great. Mind you, I'm not talking about the two of them getting married but I would love to see more off-duty moments, where we're in situations where the question of "where does the line between being an officer and being someone who has a personal relationship begin and end?" It's a lot of fun to work with Patrick. The second episode we shot the first year, The Naked Now, was one of my favorites. I thought the character moments in the scrip were so wonderful. We were really put into situations where you could let stuff come out. I would love to see more romance in the show. It could go a number of ways because if you get closer to someone then you're also going to be able to spar with them more. I would love to see Beverly loosen up. Even though I haven't had a lot of large scenes in recent episodes, they have been a lot of fun to do. In the begining of the third season, I had hoped that there might be some explanation that Beverly was off doing some specific medical research during the second season episodes. Something where you actually find out more about who she is. I feel that sort of thing can still come out. What are her major concerns in her profession besides just tending the sick? What are her responsibilities in terms of the Federation? I'm also interested in exploring more about the medical field in the future. What are they doing to take care of the aged in the 24th century? It's a major problem now and it's going to become more of a problem in the future. There are proberly going to be cures in the 24th century for many, many diseases but, so far, in all the history of time, there has always been a disease that has replaced the ones we find cures for. What are those things going to be? Right now, we have such a media bombardment in terms of new information, and things happen so quickly in our lives. You can read the newspaper and all the magazines and you still don't neccessarily even begin to comprehend the scope of any situation. The exposure to so much information is one of the reasons for so much of the stress in our lives. It's like computer- overload - it comes at us so fast and furious that you can't take it all in. That's one of the reasons why I think television is so popular. It simplifies things in a way that people can handle. I don't know wether that's good or bad. I think sometimes people depend on it too much. Where is the line between real life and television life? For many people, the reality is TV. .S4C3 It sounds like you share Beverly's interest in medicine. .S0C2 Well, I've read some books on certain apsects of the medical field. I studied a lot of psychology in school and I've read a lot of psycology books. I have several friends who are doctors. A good friend of mine is a very maverick doctor. When he had just gotten out of medical school he was interested in trying to find a better way to deal with grief and dealing with the death of a loved one. He would allow himself to go through a bit of mourning process. He would actually attend the funerals of any of his patients that died. I remember speaking about this with him in great length. He said it really made him feel like a better doctor because he accepted the responsibility for doing the best he could do. He wanted to find a way to deal with the emotions. And I think that is very admirable. That's why a lot of people are wanting to get back to the country doctor. Someone who listens and cares. There is so much happening now in the medical field that many doctors have to specialize. I was talking with my doctor in LA and he said there are so many huge publications with new discoveries that he gets that he can't keep up with it all. I don't know all the technical things but I do try to keep up with the general trends that are happening in medicine. .S4C3 Has playing a doctor given you a new respect and understanding of the medical profession? .S0C2 I don't think it has developed that far for me yet. I don't think I have had enough specifically to really know the ins and outs of the medical field. It's not like I've been doing a Dr. Kildare series where I've been exploring all the permutations of patient care and hospitals. Remember, Bev has been working in the future. She gives shots with a hypo-spray. One thing I have felt in the past is that sometimes we were giving just too many hypo-sprays as if to say, "We're just going to give some drug relief to the problem." I do feel that has changed somewhat and now there is a more judicous use of the hypo-spray. What hasn't been explored much is a patient with a chronic illness that can't be cured and how it's dealt with; how that person has to continue to live knowing that they aren't going to die for a while but must live with the constant pain and disability. How do you treat these patients? What's the relationship between the doctor and the patient? .S4C3 Do you feel The Next Generation has realistically portrayed the future of medicine? .S0C2 How can I answer that? Let's see. I think that preventive medicine is where we should put a great deal more empasis in the show as well as right now in our own lives. I think that prevention needs to become part of our lives all the time in the same way that I think we have to become responsible to our environment and to what we put in our bodies. We need to develop our mental skills. The brain is unbelievable and it has powers that we have just begun to explore. I dont think that's only psychology either. It's medicine, too. .S4C3 How close is Beverly's personality to yours? .S0C2 It's hard to say. I have many friends who can't recognize me in the character and others who can. Some people say, "She is just not like you. You're so much more lighthearted." I certainly bring myself to every character I do. But it is much trickier in a TV series because I can't see the beginning, the middle and the end. I don't know where the character is going to go. She's evolving all the time. I feel that everything she does in each episode is going to have some bearing on her. Certainly there are things about the character that I'm sure echo things about me but she's not a carbon copy of me, not by a long shot. .S4C3 What is your working relationship with Wil Wheaton like? .S0C2 Well, there isn't anyone in this cast that I don't feel a connection with. I love the cast and I love Wil. I think he's a terrific actor and he's a lot of fun to work with. He's got a full career ahead of him. He and I would both like to explore other areas of our character's relationship with each other. I think a little conflict would be good. The more human we show them, the better. You can't have everybody on the ship being wise all the time. .S4C3 What have you found most difficult about working on the series? .S0C2 I think the only thing, and some days it bothers me and some days it doesn't, is that there has been a tremendous amount of technical jargon and technical gadgets to work with. When we show Beverly doing an operation, I have to try to work out what I'm actually doing. That's not neccessarily in the script either. Sometimes the script only says that "Beverly is working on the patient." There is so little time to actually work out your movements with the instruments and really be specific. That's proberly the most frustrating aspect of working on the show. If I were a real doctor the things I would perhapes be doing to a patient would be second-nature to me. But we don't have a lot of time to get down to specifics when I'm working on a patient in Sick Bay. Very different from working on a play. If I were doing a play I might spend a week one just blocking things like putting ice in the glass, pouring the liquid, etc. .S4C3 Do you feel the women on the show have been treated fairly? .S0C2 I really don't think it's a question of fair or not fair. If you look at the scripts, I don't think there have been as many parts and scenes for the female characters as there has been for the male characters. I truly am not clear on what the reasons for that are because, as a woman, I find in my life that many things that could be explored. I don't know why that is but I hope it will get better. I don't think there has been a conscious design to not use the female characters, I just think there perhapes needs to be a more concerted effort to try to explore their characters. And to not make it something where only the women do this and only the men do that and so on. For example, I think we should all know how to take over for the other person should it be required. I'm sure Doctor Crusher has had more experience in combat. She would have had to have had some training for combat situations, for example. Bev needs a little more James Bond in her life. That is reality. All the people who train at NASA have a myriad of things to do, even though they specialize in one area. .S4C3 Gates, in closing, what has been your impression of the fans? .S0C2 The fans have been really nice. I feel very grateful to the people who wrote letters to have me come back. It made me feel wonderful to read that people were enjoying the character and what I had done and wanting to see different things develop between Beverly and the captain. How can one not like that? I'm not particularly comfortable in being a public person but that has nothing to do with not appreciating the fans. I am very grateful that the fans cared enough to write in and say they wanted me back on the show. it's a wonderful feeling to know people care! d Size:Space Saved:OKFILENAME.Dp'29( 12345`Bytes99%sInfoEXITq8;pHV2qC MethodICELZWsVMulti}sFiletAhs.FlashHeadingUNqPrWrhFATFormatDisktA0;se`ot7NorCrOUnPACKp8e JAM Packer V4.0`hp*program i`Hp!WARE(c) p0,1991 by dand gZTo contact us write to:AndrewdZP.O. Box 369367 Collins StreetMelbourne`{000hdORwMaiden Gully RSDBendigo, 3551VictoriamSTRALIATim KnipeOkz2Ic$@8_>zrFZXz]UӪC^ze!.CHnzyJb *zz~_tz_XzDzJbUz_Jbj BpBÔHH TBߔM_uRXIc@LzO\NzZEKB$xz!quB$zH!]Qz&]&dcuT*Lpy: L: D]:<31eN:CDAENDCMP1xCMP2CMP3CMPRxCOM,COMPRS\CONB1pCONB2zCONB3CONBUFbCONININFILELLDERM1LDERM2LDERM3LDERRPLDERTXLOADF.S16C3 Interview .S4C2 Gene Roddenberry/Creator of Star Trek .S0C1 Star Trek is the creation of Gene Roddenberry, an ex-fighter pilot and policeman. From the original pilot episode to the first motion picture, Gene Roddenberry maintained his postion as one of the major guiding lights of the series. With The Next Generation, he's back at the helm. .S0C2 Star Trek is unique in that it had it's first pilot, The Cage, rejected but then was given permission to make a second one, Where No Man Has Gone Beofre. Both of these reflect one of Roddenberry's major themes; Man must face creatures with superior mental ability - creatures akin to gods - and somehow prove Man's worth. This is particularly true in the second pilot, where Gary Mitchell gains ESP abilities which raise him to godhood; but he is a god with human frailties, leading Kirk to explain that above all else a god must have compassion. The issue of god like beings is returned to again and again in the original series. In Who Mourns for Adonais the Greek god Apollo demands that the Enterprise crew worship him, however Kirk says of gods, "We find the One quite sufficient". Humanity has apparently not matured enough to control it's own destiny. Computer gods also raised their tired heads several times in the series; for example, Vaal in The Apple and Landru in The Return of the Archons. .S0C3 Star Trek reached the end of the original series in 1969. 1974, however, saw the first of 22 animated episodes reach the screen. Finally, the success of Star Trek in syndication could no longer be ignored, and plans were made for a new live action series, to be called Star Trek II. However, the success of big budget Science Fiction movies (such as Star Wars) could also not be ignored, and so Star Trek II became Star Trek: The Motion Picture. Roddenberry had been the executive producer of the proposed series, now he was the producer of a movie. .S0C1 The lost Generation (as Star Trek II has become know) had been extensively planned, a bible (writer's guide) written, characters cast and a number of scripts submitted. The most controverssial aspect was the lack of Spock, forced by Leonard Nimoy's unwillingness to commit to the rigours of another weekly series. The reaction of the fans to this news was so heated that Roddenberry had to issue a statement regarding Nimoy's absence. The crew, then would have see the return of Kirk, McCoy, Scotty, Uhura, Sulu, Chekov and Yeoman Janice Rand, but also the introduction of three new characters. .S0C2 Two of those characters ended up in The Motion Picture. Commander Will Decker, son of Commodore Matt Decker (killed off in the original Star Trek episode, The Doomsday Machine) was described in Star Trek II's bible as almost worshipping Kirk - he would 'literally rather die than fail him'. In the movie, it often looked as if Decker would have welcomed the chance to kill Admiral Kirk. This change in attitude is understandable as Decker would have been first officer in the series, but was a usurped captain of the Enterprise in the film. Star Trek II's Decker was to have been a 'young turk' version of Kirk, and a captain in training. It might have been interesting to watch Kirk give advice to the young Decker - advice that he himself would proberly not have followed. It was also intended that Decker should lead the landing parties, thus removing one of the flaws of the original series; that a starship captain would continually beam down into unknown, dangerous situations. .S0C3 The second addition to the crew was Lt Ilia, the Deltan. In The Motion Picture, Decker and Ilia had shared a romantic interlude before their posting to the Enterprise. Deltans posses a heightened sexuality, but "would never take advantage of a sexually immature species". To do so results in the enslavement of the sexual partner. As Roddenberry points out in his novelisation of the film, Decker is quick to take advantage of doing with the Ilia probe that which he could never allow himself to do with the real Ilia! .S0C1 Deltans are almost the inverse of Vulcans; emtional and sexually active (not just once every seven years!). In the bible of Star Trek II, Deltans are described as abnormally intelligent, and are gifted with ESP abilities; they are able to sense only images, never words or emotions, in other minds. This ability was not used in The Motion Picture. .S0C2 Star Trek II's third and final new crew member was Spock's replacement at the Science station, Lt Xon, a young full Vulcan. Xon was to be aware that he was trying to fill some pretty big shoes, and the rest of the old crew (especially Captain Kirk) were to be making comparisons between Spock and him. .S0C3 Spock, half-human and half-Vulcan, had to be in touch with his human half in order to function on a ship full of humans. Xon was to have no such human half and was to call upon his deeply repressed Vulcan emotions. Spock (as Selak) had once told himself, in the animated episode Yesteryear, that all Vulcans possess emtionas, but they must control them. Roddenberry wrote that 'we'll get some humour out of Xon trying to simulate [emtions]'. .S0C1 Decker and Xon, as first and Science officers replaced Spock's role. Mr Chekov was to become a full Lieutenant in charge of security. The stage had been set for Star Trek II, the series - Stephen Collins was cast as Decker, Persis Khambatta as Ilia and David Gautreaux as Xon... production was set to begin. Then Star Trek: The Motion Picture happened instead. .S0C2 For all its flaws and its generally bad reception among the fans, The Motion Picture was Gene Roddenberry's vision of how Star Trek should have been treated on the big screen - Star Trek with a big budget. It was also his idea of an epic premise; the whole issue of man and machine, machine intelligence, machines as a lifeform, the next step in evolution to god-like existence. A fusion of Roddenberry's 'God Themes' from the original series. .S0C3 Spock also faced a major crisis in his life; the realisation that emotions are valuable, and should not be needlessly suppressed. Spock was mirrored by V'ger, a machine-like intelligence which was seeking something more, something different, something which was missing. Spock could find his missing half be accepting his human half. V'ger obtained its human half by having the Ilia probe merge with Decker. In this sense, The Motion Picture was the culmination of Spock character. .S0C1 Roddenberry wanted to do his own 2001: a Star Trek. There are hints at this. The promotional text for the film included the phrase 'A 23rd Century Odyssey'. In his novelisation of The Motion Picture Roddenberry makes reference to the 'historical' events of 2001, placing it within the Star Trek universe. .S0C2 Perhapes some judicious cuts in The Motion Picture (mostly of V'ger fly- bys) and some added characters scenes would have made a world of difference to the film. Some of the scenes have been added since the initial release, but others may still exist (eg a scene between Scotty and the Ilia probe in Engineering; Kirk's interview with the Vulcan Nogura etc). .S0C3 Of course, the characters of Ilia and Decker survived the conversion from Star Trek II only as far as The Motion Picture's conclusion. However, with the change from TV series to motion picture, Nimoy had expressed a willingness to return as Spock, and the character of Xon was dropped. David Gautreaux had a small part in the movie as Commander Branch of the ill-fated Epsilon 9 space station. .S0C1 With the apparent failure of Star Trek: The Motion Picture, for the subsequent Star Trek films Roddenberry was replaced as producer by Harve Bennett - an established TV producer with credits such as The Six Million Doller Man under his belt. This was the beginning of a loss of involvement for Roddenberry in his original Enterprise crew. As for the fans, the Bennett movies were initially well received as being closer in character to the original TV series, but with Star Trek V: The Final Frontier it would appear that the honeymoon was over. .S0C2 While the movie series was on-going and Roddenberry's estrangement continued, he decided to bring a new generation of Star Trek to the TV screens. .S0C3 In Star Trek: The Next Generation Roddenberry has to some extent recycled both character traits and script ideas from the original Star Trek, the Star Trek II series and Star Trek: The Motion Picture. .S0C1 In the tradition of Star Trek II's double replacement for Spock, it seems Kirk has been split into two, in the shapes of Captain Jean-Luc Picard and Commander Will Riker. Part of Riker's function is to protect his Captain and lead the 'away teams' (new terminology for landing parties) - this follows the duties of Decker in Star Trek II. Also Riker is often referred to as 'Number One', a navel nomenclature harking back to a character of only that name in the first pilot, The Cage. [for trivia merchants! Note the similarity of the names Will Decker and Will Riker. Also, Riker is a partial anagram of Kirk, and Riker introduces himself in Encounter at Farpoint as W T Riker, thereby sharing a middle initial with Kirk!] .S0C2 Councillor Troi, like Spock, is halfbreed - her mother is Betazoid. Betazoids are empaths, able to sense the emtions of others. This idea was introduced to the Star Trek universe in the original series episode, The Empath. It was to be recycled in the Star Trek II series in the form of Ilia's limited empathic abilities. Also, like Ilia and Decker, Troi and Riker share a romantic past. In The Motion Picture Ilia accuses Decker of not saying goodbye; in the pilot episode of The Next Generation Troi admits in her thoughts that she could never say goodbye. .S0C3 Lt Commander Data, The Next Generation's android Science Officer, bears some similarity to Star Trek II's intended replacement for Mr Spock. Data is another flipside of Spock, he possesses no emtions, but he wants to be human - a parallel with the fairy story of Pinocchio. Following Roddenberry's intention for Star Trek II's Vulcan Lt Xon, Lt Data's attempts to simulate human emtions are a source of humour. .S0C1 Data can also be seen to have roots in another Roddenberry production, The Questor Tapes, the hero of which was an android. Of course, androids are no strangers to the Star Trek universe. From the world of androids in I, Mudd to the Ilia probe in The Motion Picture, the only mystery is why we have never had any on board before. .S0C2 Lt Geordi La Forge was initially a navigator in The Next Generation, but since the second season of the series he has become chief engineer and therefore something of a replacement for Scotty. The artificailly sighted La Forge is named after a long-time Star Trek fan George La Forge, who was blind. .S0C3 Another sign that The Next Generation is a return to Roddenberry's Star Trek is the look of the costumes, which hark back to both the original series and The Motion Picture. .S0C1 The Next Generation's costumes began life as one-piece jump suits, although they have since been changed to top and trousers (although with same design lines) because of actor-discomfort caused by the elasticated all- in-one garments. The new costume colours bear some resemblance to the colours in the original series. The jump-suit design had been previously adopted for The Motion Picture, although grey-blue was used because the bright reds and blues were thought not to translate well to the big screen. .S0C2 A further clue of The Next Generation's heritage can be found in it's theme tune, which is a pleasant amalgam of the original Star Trek fanfare by Alexander Courage, and Jerry Goldsmith's main title theme for The Motion Picture. .S0C3 In the original series, The Naked Time and the symptoms of an alien infection gave us a glimpse of the underlying motivations of the crew. It is no accident that the second episode of The Next Generation was a 'remake' in the shape of The Naked Now. It allowed Roddenberry to give early and deep insights into the new crew of the Enterprise. .S0C1 A story called Robot's Return was written for another Roddenberyy series, Genesis II. This was dusted off and passed over to Alan Dean Foster as an idea for a script for the Star Trek II series. In Thy Image told of a great god called N'sa which turns out to be a NASA Pionner Ten Space Probe. Sound familiar? .S0C2 The Child was written for Star Trek II by Jaron Summers and Jon Povill. It was finally filmed as The Next Generation's second season opener. In the original verson, Ilia mysteriously became pregnant; in the version as filmed, Deanna Troi faced an identical predicament. .S0C3 Roddenberry has also returned with a vengeance to his 'God Theme'. Encounter at Farpoint introduces yet another super race, the Q, a representative of which promptly places Humanity on trial. The Q has appeared in further episodes. .S0C1 Gene Roddenberry's star Trek consisted of the original series, the animated series, the first feature film and The Next Generation. He has now rejected all but The Next generation. The four late films bear Roddenberry's name only as executive consultant. Recent rumours of Harve Bennett's Police Academy-type comedy plans for Star Trek VI also included the willingness of Roddenberry to take legal action to prevent such a film being made. Perhapes this shows just how far removed from the fate of the original Star Trek Roddenberry now finds himself. Jp.Hwq f e|D9o39ei$/<XXܑ MtRZj=`dRq⋰n bedF 6"Ƽ(\8Ѓ$7 ("U-7/22?.?<6Nz9Hzg0A (4!\9ҍ.2/ !iJ]0"e]|Hӧ o m8B -SBQ()MV+ *m0[헀xb,Vl};AvA,mR%m|k)vsU|4X@pf@VPg!\L,m jO"L+`\`sMTev)i l6p\Xvvq3!@öՊj^l&,_п4us;~ ;@ w ,#!ɺ;J(cU=<8g&$  ._6=vXcYk61Tm.S16C3 Star Trek Quiz .S0C2 Test your knowledge to find out just how good a Trekker you are. .S0C1 1. When was Star Trek first shown on TV? .S0C2 (a) January 3, 1960 (b) March 15th, 1963 (c) Febuary 8, 1966. .S0C1 2. Why was an episode of the original Star Trek banned from British TV? .S0C2 (a) Captain Kirk kissed a black girl. (b) Leonard Nimoy used a rude word. (c) Spock was seen stripping off for a shower. .S0C1 3. Who was the original captain of the Starship Emterprise? .S0C2 (a) Henry Spike. (b) Christopher Pike. (c) Martin Kite. .S0C1 4. How many years is Star Trek: The Next Generation set? .S0C2 (a) 78. (b) 81. (c) 93. .S0C1 5. What famous cop did Shatner - Captain Kirk play on TV? .S0C2 (a) Steve MaGarratt. (b) T.J. Hooker. (c) Kojak. .S0C1 6. What is James T. Kirk's middle name? .S0C2 (a) Tiberius. (b) Terence. (c) Trooper. .S0C1 7. Which famous funny girl stars as a barmaid in Star Trek: The Next Generation? .S0C2 (a) Tracey Ulman. (b) Shelley Long. (c) Whoopi Goldberg. .S0C1 8. Who sang Star Trekking, the No. 1 chart hit which was based on the series? .S0C2 (a) The Firm. (b) The Factory. (c) The Company. .S0C1 9. Who walked out in 1964 before a single episode had been shot after the crew nicknamed him Jack Rabbit? .S0C2 (a) William Shatner. (b) Leonard Nimoy. (c) James Doohan. .S0C1 10. How many people can the new Enterprise hold? .S0C2 (a) 1,000. (b) 10,000. (c) 100,000. .S0C1 11. What famous phrase opened every episode of Star Trek? .S0C2 (a) Space, the Final Frontier. (b) Beam me up, Scotty. (c) To boldy go where no man has gone before. .S0C1 12. Which glamorous TV star appeared in one episode as a sex-mad space girl who drove Captain Kirk wild with lust but had to die to save the Earth? .S0C2 (a) Stephanie Beacham. (b) Joan Collins. (c) Debra Winger. .S0C1 13. The show was originally turned now by America's giant TV station NBC when they saw a pilot. They were afried religious groups would be furious because: .S0C2 (a) Mr. Spook's ears looked devilish. (b) Sexy beauty Queen Miss India, Persis Khambatta, made a play for Captian Kirk. (c) The cramped quarters meant girls had to share bathrooms with the male crew. .S0C1 14. Leonard Nimoy had to be put under round the clock guard after threats from fans. Why? .S0C2 (a) He accused William Shatner of being a dud actor. (b) He threatened to leave the show. (c) He lost his ears. .S0C1 15. How much did the first pilot series cost? .S0C2 (a) 250,000. (b) 300,000. (c) 350,000. .S0C1 16. How many episode's of the original TV series are there? .S0C2 (a) 79. (b) 81. (c) 83. .S0C1 17. Sexy former Miss India Persis Khambatta, who played shaven-headed navigator Ilia, had a famous catchphrase. What was it? .S0C2 (a) Bald women make the best lovers. (b) I never carry a hairdryer. (c) My oath of celibacy is on record. .S0C1 18. The show's creator was a former PanAm airline pilot. What was his name ? .S0C2 (a) Gene Roddenberry. (b) Henry Schickelgruber. (c) Howard Ravenscroft. .S0C1 19. One episode, The Enemy Within, was directed by the father of a famous American star. Who? .S0C2 (a) Leo Penn, father of Sean. (b) Kirk Douglas, father of Michael. (c) John Huston, father of Anjelica. .S0C1 20. There is only one original Star Trek cast member who has appeared in the new series. Who? .S0C2 (a) Sulu (George Takei). (b) Scotty (James Doohan). (c) Dr "Bones" McCoy (DeForest Kelley). .S1C3 ANSWERS: .S0C2 1 (c), 2 (a), 3 (b), 4 (a), 5 (b), 6 (a), 7 (c), 8 (a), 9 (b), 10 (a), 11 (a), 12 (b), 13 (a), 14 (b), 15 (b), 16 (a), 17 (c), 18 (a), 19 (a), 20 (c). .S1C3 How did you do? .S0C1 0 correct: Your not a Trekker, your a Gone with the Wind fan! 1-9 correct: Hmmm, not very good is it? I suggest you watch all 79 episode's of the original TV series and then try again. 10-14 correct: Now that's better! Still a bit unsure of the difference between a Klingon and a Romulan though! 15-19 correct: Weldone! Here we have true Captain material! All 20 correct: Blimey! Are you Gene Roddenberry!? 6ȏ8bR LiЅl$BCB`n[3f6< ˎfC6g[;uknV7n:- o>EkX>OGKGn|m n R>"ԙJTT2PO`&0+gUH@JGrG5R. cBAl d,>U QֆG0QJ:uB0R 2zmBw'QӱK+ Z"`;"9ngUf R&@fSE @yuoS0H$f ΰB`Jx~-VHiJlvVd`Bbd@e=d\-ALxwv\b&RJl (h͖as$T-rD -On.J"%VlfBL+9瀉m9pҳkrmG`ssNB لFFzX$Rm0 vjh2Xpim׬U,CrH,Bg,c3 B f J.k0g uH[ʥ u`k5I\[-c&\epnPٕrBPƼ&\LK:pm(,?fa0A"I2JONES +COMICS 3O'MERCHAND =* NEXT_GEN ASTARSHIP GFANCLUBS MdLISTINGS OvFACTS VP1UHURA XBIRTHDAY ]P1SYBOK ^AUNSEEN c.S16C3 Interview .S4C2 Ron Jones/Composer .S0C1 Silence is golden or so the saying goes, but on the other hand, life without music would be a horrible bore. There's a reason why Hollywood stopped making silent films when talkies were introduced; talkies were much more exciting, they were new, abd the public craved them. Now, imagine the Borg without music; they wouldn't be anywhere near as menacing, would they? Yet, when you add music to the onslaught of these relentless cyborgss, they become terrifying indeed. And you have composer Ron Jones to thank for that. .S0C2 "If you watch the show without music like I do when I first get it, you'll find every story has an undercurrent of emtions. What music is supposed to do is underscore. It's like a best supporting actor, a supporting role of the story. I don't try to change the script, I can't change the performances that are frozen in visual images, but I can influence the emotional content of what's there. I can make you sweat and I can make you feel like crying. For instance, when Tasha Yar died in the first season, I scored that big eulogy that she died at the end. It was like seven minutes long and the producers were very afraid that people were going to feel very, very depressed because here's an instance where a main member of the crew, that's a cast member, died. So I had to be emotional, yet somehow detached and somehow make it a statement of life rather than a statement of death. So translating that into musical terms is really what my craft is about. So I have all these concerns that the studio's involved with and the story's involved with and then my own emotional approach to each moment of the scene. For instance, when you see a battle, and there's a lot of battle scenes in the season finale that we just did, it's not like a silent film where the piano player sits over on the side and plays this little generic chase music. That would be generating a feeling that something's happening, but it's not specific. I break it down frame by frame into what I want to do emtionally and the rhythms come out of it and the different ranges of the orchestra will stimulate your brain and your guts. If I hit a bass drum hard, it's not going to hit you in the brain, it's going to hit you in the stomach, especially if it's in stereo. I know excatly where I'm going to hit you. I'm just sensitive as to where to put things, so it's not just a matter of composing a bunch of notes, it's the orchestrations and the overall sound design of the moment. To give you an example, on the last show of the season where this big climax is, there's so many sound effects going on and so much music, I had to not only watch out for the dialogue, but I had to make room for the 20-30 tracks of sound effects mixed in with all our music." .S0C3 "We used a big orchestra for The Best of Both Worlds. When I finally looked at the episode, I really felt that I needed to write a reuiem for the end of mankind, because that's really what the whole story is. It's not just an isolated event out in space somewhere, they're going to Earth and the Borg keep adapting and modifying their defences and offences, so that really two seconds later, once the Enterprise crew figures out something, they can't go any further. They figure out something to do, but it's suicidal and thier defences are down and I really thought about what typifies the Borg. I did the first Borg show, Q-Who, where Q takes them out and shows them what's coming, but now we're at the point where they have come and scooped up civilizations and just keep on going. But they're all interconnected, so I thought what would represent them musically and I thought of a choir. But it couldn't be a human choir, it had to half human and half machine. So I took sampled voices, a choir that sang into a machine and used that as the basis for the choir which represents the Borg. Then I just wrote a motif that is like the end of mankind. It's very super- dramatic, quasi-religious thing like the end of time, the end of man, so it's much more dramatic than any show we've done previously." .S0C1 Although Jones considers Star Trek: The Next Generation his most challenging work to date, he has also composed music for a number of Hanna- Barbera productions as well as Duck Tales, Mission: Impossible, Magnum P.I., The A-Team and many others. He has also recently aquired the half-million dollar Synclavier 9600, a computer so sophisticated that it is classified by the U.S. Government. With this device, musicians can have their compositions recorded without ever having to leave their homes. So what compelled Jones to compose for the visual medium? .S0C2 "I felt a connection to it," he says. "I used to write for marching groups. You know, when they're out on the field, there's an impact when they're playing the music toward the grandstand and they turn away. The visual is like ballet. It's music and dance movement and I feel like I'm the musical equivalent of the director. The director plans where the camera's going to move and how he's going to view the characters, like if he's going to film low and make the guy seem big. I enjoy making music to those kind of moves." .S0C3 As a composer for television and film, Jones has composed more hours of original music than most master composers have in their lifetimes. But how does Jones feel his fellow composers who don't work in film and television look upon his work? Do they look down at it? .S0C1 "I think they do. I take it very personally and I get bugged when other people don't. People who are involved on the show, if they don't dig it, I say, 'Why don't you find something you like to do and do it because everybody else wants to make this happen?.' Star Trek is what it is because it's over a thousand people every week working on the show to the maximum because they love doing what they do and it shows. If you don't love what they do, then who cares? It's not a matter of the money. So whenever I see or hear a composer do music for TV and I like what they're doing I go, 'Great.' You can tell that guy really put his balls on the line, really did it and belived in what he was doing. I can tell when people have copped out or they just didn't have the ability to pull it off. Maybe they were doing the best they could do, but they were the wrong choice for the job." .S0C2 Obviously, Jones has proven himself to be the right person for the job on Star Trek: The Next Generation, since he has been composing every other epsiode for the show since it began. According to Jones, there is no magic number of minutes of music that he tries to compose for each episode, but he does avoid dousing the enitre episode with music. He says it all depends upon the needs of the individual episode, with each episode averaging between 13 to 17 minutes. .S0C3 "When you think of it in terms of music for a symphony, a classical symphony is usually about 25 minutes. So you're writing almost a symphony, sometimes more or it's equivalant for each show. By the end of the season you have maybe eight hours of music you composed, which is pretty long. I'm not writing simple music, it's very involved music and symphony orchestras are performing a suite I just did for Star Trek: The Next Generation that's about twenty minutes long that just stands on it's own, aside from the show." .S0C1 "I don't think of Star Trek: The Next Generation as Star Trek. I come in and I say, 'This is a story about such and such'. I consider each episode as a different feature with a different name. You notice I don't use the Alexander Courage theme anymore, and I don't use Jerry Goldsmith's theme, whereas with the first season they were very concered that we brought the viewers of the old series into the new one." .S16C3 The Star Trek Comic Books .S0C1 The Star Trek universe is a success in almost every medium it's appeared in: television, movies, animated series, and novels. But in the comic book format, Star Trek has been a mixed bag. The first Star Trek comic book was published by Gold Key starting in mid 1967. Though the series ran for 61 issues until 1979, the stories never quite captured the Star Trek feel. (For instance, the Enterprise was shown sometimes with rocket flames erupting from her warp nacelles!) Another series began in 1980 from Marvel Comics, but again the fan response was lacking and the book was cancelled after 18 issues. .S0C2 Then DC Comics obtained the rights to publish a new comic book series in late 1983, and fans agreed it was faithful to the Star Trek vision. In 1987, DC released a six-issue mini-series based on Star Trek: The Next Generation. There was a two issue Who's Who series which covered the people, places and things of the Star Trek universe, and DC adapted the last three films in comic book format. But in 1988, DC suspened publication of the comic book because of contractual concerns with Paramount. .S0C3 Finally, DC was given the green light by Paramount and two new monthly books premiered in 1989: Star Trek and Star Trek: The Next Generation. A blend of both old and new talent have helped make these the most successful Star Trek comic books of all. .S0C1 Returning as editor of the books is Bob Greenberger, a seven-year veteran at DC Comics. His job is to coordinate between Paramount and the two writer/artist teams. Greenberger describes the process of getting stories approved as "never ending." Paramount first received brief outlines of each story to gauge the overall direction of the books. The writers then produce full scripts which also must be approved. Finally, the completed artwork is sent to Paramount for comments and corrections. .S0C2 Returning as Star Trek scribe is Peter David, who wrote 8 issues and a annual for the first DC series. David has a special affinity for Star Trek, since he met his wife at a Star Trek convention and he's written two Next Generation novels. "I love writing the comic book," says David. "I owe a great deal to Star Trek." To celebrate the new series, David wrote a 12- issue storyline which culminated in "The Trial of James T. Kirk." The springboard for this story was the statement made by the Klingon Ambassador in Star Trek IV: "There shall be no peace long as Kirk lives!" For the story-line David created another race, the Nasgul, who also wished Kirk dead. Eventually, Kirk submitted himself to a Federation hearing to answer the many charges against him, which included violating the Prime Directive. .S0C3 Both Greenberger and David remarked on thier efforts to maintain "the spirit of Star Trek." They have accomplished this by producing stories which explore the essence of the classic characters. David feels this can be best accomplished by the introduction of new characters to interact with the established crew. In the recent story-line Starfleet assigned a protocol officer named R.J. Blaise to monitor Kirk's actions aboard the Enterprise. When the officer is revealed to be an attractive woman, Kirk ramarks: "There is a God." But Blaise was no pushover and Kirk was forced to confornt his feelings about women. Other new characters included Vice-Admiral Tomlinson, who led the effort to censor Kirk, a mysterious security officer named Fouton, and two love interests for Sulu. .S0C1 Over on the Star Trek: The Next Generation comic book, a new writer is handling the new characters. Though Michael Jan Friedmen wrote a classic Star Trek novel in 1989 (Double, Double), this is his first monthly comic book series. Friedman also commented on his efforts to retain the vision of Gene Roddenberry's creation. "Everything's a tribute to him," says Friedman. Late 1989, Friedman's first Next Generation novel, A Call to Darkness, was published by Pocket Books. That story focused partly on William Riker, the character Friedman says he most identifies with. "But for the purposes of the comic book, I would have to say Geordi and Data are the ones I like to deal with most. Maybe it's because the artist, Pablo Marcos, does such a great job on them." .S0C2 Both the writers and editor praised the various artists working on the books. On The Next Generation, Pablo Marcos handles both the penciling and inking. "It's rare that he (Marcos) doesn't take my directions and do something better than what I had in mind," says Friedman. The writer also noted the contributions of both Julianna Ferriter and Bob Pinaha, the colorist and letterer respectively. On the Star Trek book, James Fry departed as penciller after issue 10 and was replaced by Gorden Purcell. Arne Starr will remain as inker for the series, with Tom McCraw as colorist and Bon Pinaha as letterer. .S0C3 The comic books are also fortunate to have Jerome Moore as the primary cover artist. Greenberger calls Moore "a really promising young talent... a top notch Star Trek fan who is a meticulous artist." In fact, his artwork is so detailed that Moore can contribute only two covers a month at the present time. The editor hopes to have Moore draw a future issue when the right script comes along. "I think a full story by him will thrill everybody," says Greenberger. Recent covers have also been drawn by Eric Peterson. .S0C1 The two writers of the comic books share many similarities in thier Backgrounds. Both were trained as journalists, both are big baseball fans, and both have had two Star Trek novels published. Each writer spoke at length on the differences between a Star Trek novel, the TV show, and the comic book. "The object of the comic book is to tell a story that people are going to want to pick up next month." David also notes that reading the comic book is a "much more involved act," since the reader must provide sound, pacing, and movement to the story, as opposed to watching the action take place on television. .S0C2 Friedman noted the difficulty of getting his storylines approved, because many of the ideas he presents to Paramount are in development for the TV series. Friedman came up with stories involving a Romulan defector and an altermate universe where Tasha Yar lives. It was sheer coincidence that both ideas were being written into teleplays for the third season (The Defector and Yesterday's Enterprise). .S0C3 In addition to maintaining continuity, Paramount also sends copies of the comic books to certain cast members for thier approval. "Patrick Stewart and Jonathan Frakes have 'likeness rights,'" says Greenberger, "and they get to review every issue to make sure they look right. Jonathan, more often than not, gives us a clean bill of health. In Patrick's case, he usually asks us to make him balder!" In general, the cast of the Star Trek films review only the movie adaptations. .S0C1 Several other Star Trek actors have commented favorably on the comic books. "Michael Dorn and Marina Sirtis have indicated pleasure with the comic," notes Greenberger. "Brent Spiner said he wanted us to use his REAL nose! Then he wanted a romance. And he wanted to know when the Data spin- off was coming out!" Actress Whoopi Goldberg receives extra copies of both series, which she autographs and gives to fans. .S0C2 Some of the Star Trek actors have gone one step further and actually help produce the comic books. The original DC series featured as issue written by Walter Koenig and this summer's Star Trek annuals involved the talents of two other actors. The Star Trek Annual 1 was written by George Takei and Peter David and fans naturally can expect to see a story focused on Sulu. Though Takei came up with the intial plot, it was David's idea to use Sulu as the lead character. "We've got the guy who is THE expert on Sulu," says David. "It would be silly to have a story co-written by George Takei and focus on, say, Uhura." .S0C3 The Star Trek: The Next Generation Annual 1 was written by actor John DeLancie, the man behind Q. As can be expected, the story featured the Q entity, but Greenberger warns that "fun and games are over. Rather than Q coming to be mischievous, he's coming with a real Malevolence." .S0C1 In the monthly Star Trek book, the "Trial of James T. Kirk" ended in issue 12. This will be followed with a three-issue story called "Return of the Worthy," Co-written by Bill Mumy and Peter David. Mumy (who played Will Robinson on the Lost In Space TV show) has written several comic book projects in recent years. .S0C2 On The Next Generation, issues 9-12 involved a Doppelganger Enterprise which wreaked havoc in the Federation. Issue 13 will focus on Transporter Chief O'Brien, a character whom Friedman calls "the sleeper of the cast." However, Friedman warns that fans will NOT learn O'Briens first name! Issues 14-15 will feature a classic shore leave story. .S0C3 Both authors have many other projects in the works. In addition to the Star Trek comic book, Peter David also writes The Incredible Hulk, Dreadstar, and the recently completed Atlantis Chronicles mini-series for DC. David has two Next Generation books published (Strike Zone and A Rock And A Hard Place) and he has begun his third book tentatively called Q-In-Law. Michael Jan Friedman has completed another Next Generation novel, Fortune's Light, and has two more Star Trek books to follow. Friedman also would like to expand his comic book writing for DC. Lastly, the two authors joined forces with Bob Greenberger and Carmen Carter to produce Doomsday World, the first "shared-universe" Star Trek novel which arrived in bookstores in June. :LHL|H| L|H|PL|H|L|H|L|H|L|H|L|H|@L|H|pL|H|L|H|CQL|Nua`Np?a a?<LNA``NuNu`aza`aat.S16C3 Star Trek Merchandise .S0C1 The following is a list of shops, stores and organisations that sell Star Trek related merchandise. All the products and services are available by mail order. It is recommend that you send a large Stamped Addressed Envelope (for main land) or several International Reply Coupons (for overseas) to receive their mail order catologue's. .S0C2 Sheffield Space Centre: 33 The Wicker, Sheffield. S3 8HS. Britain. .S0C1 Products available: Novels, books, paperbacks, technical manuals, supplements, blueprints, audio cassettes, role playing games, posters, T-shirts, button badges, stickers, plates, magazines, toys, model kits, uniform patterns, uniform insignias, patches, videos, cloisonne pins, mugs, and magic mugs. .S0C2 Forbiddon Planet: c/o 71 New Oxford Street, London. WC1A 1DG. Britain. .S0C1 Products available: Novels, books, videos, model kits, figures and posters. .S0C2 Star Trek: The Official Fan Club: P.O. Box 111000, Aurora, CO 80011. USA. .S0C1 Products available: T-Shirts, original series costumes, original series masks, walkie talkie communicators, minted watch, Japanses release posters, magic mugs, posters, toys, wall clocks, embroidered caps, calendars, sleepshirts, jackets, childrens pajamas, crystal Enterprise's, stickers and sticker albums, uniform patterns, action figures, albums and cassettes, animation cels, novels, books, model kits, lunchbox's, collectors pins, magazines, key rings, address book/cheque book cover, notebooks, role playing games, and data books. .S1C2 Freebie From The Author Of This Program: .S0C1 As you may or may not know, this program is Freeware. This means that you can copy and distribute this program to anyone, as often as you like and at no charge. But owners of this program are quite welcome to send donations of money for the authors work, time and effort. This of course is entirely volunetoury and you are not commited to do so whatsoever. However, owners of this program who do send a donation will receive a special gift from the author, which is not available from any of the above shops and organisations! Owners who send donations will receive a quality 6 x 4 black & white photograph of the original Star Trek crew (1960's TV show era) aboard the bridge of the Enterprise! Included in the photo are: Kirk, Spock, McCoy, Scotty, Sulu, Uhura, Chekov and even Nurse Chapel! The photo really is beautiful. Unfortunately, because of the cost's involved, only people who send a donation of 5 or more will receive one of these rare and beautiful photo's. (Overseas senders are advised to send donations in Pounds Sterling to avoid any delay). The address to send your donations to is: .S0C2 Steven J. Howlett. 1 Solva Road, Clase, Morriston. Swansea. SA6 7NX Wales. United Kingdom. .S0C1 All Goods will be sent by return post. (Overseas senders will proberly encounter a few weeks delay because of the distance involved). =B&<RF<>RG=GYfx-IC=C=C$tBft=B=B(tFJ=BBBB*Do>Eo:@l6Al2DDk =DVBnDEk =EnBn@cVo Acno,_NuAH`/=@a _a T]Ak024E$ Bb5B5A6CC5CK5C:8AB0000DkxEkt00A<:d>:bSFSGFn\GnXDDk0BhDEk1EBh Fchh Gchh0hb"0hbpmrt-|4^P-|4rT`&Nu-HN-?<NNT-@\DbDEbEBf=EX=DZ-|TBPBt n40(L=CN?=BbC=C`=Cn@drAdnED??RGRF=GJ=FLtGJ=BptBft=Bd=BrGOpЇЇ b na222-IjHVMJ,_Nup `T np`t??/ a, > _a4$FAJp_@[000][vx`* [g" ]g |g QSx` xQSrQ][vx`* [g" ]g |g Q.S16C3 Star Trek: The Next Generation .S0C1 The year - by our calendars at least - is 2364, some 78 years on from the times of Captain Kirk and his original five year mission commanding the Starship U.S.S. Enterprise. Now, at long last, we have boarded the brand new ship as a new group of heros introduce us to yet more "strange new worlds", and continue to "boldly go where no one has gone before", in Star Trek: The Next Generation. .S0C2 In those intervening 78 years, a lot of changes have taken place. If you are expecting gaudily colorful sets and costumes, along with liberal doses of "the engines can'na take it, Cap'n", think again. Barring the occasional passing reference to the original series, The Next Generation is just what it proclaims to be; here lies a future for the Nineties, not the future of the Sixties. .S0C3 Our new Starship Enterprise, and the fifth to bear that illustrious name, is an altogether sleeker, more comfortable craft boasting graceful sweeping lines - and the storylines are similarly aimed very firmly at today's more aware audiences. Over the following pages we'll introduce you to the new Captain and the members of his crew, but for now let's see just what has changed over the last few years within the United Federation of Planets... .S0C1 The completely redesigned Galaxy-class USS Enterprise is roughly twice the length (that's eight times the deck space) of the original, and is home to over 1,000 people - this time not just the essential crew but also their families and children. In the event of an emergency threatening the ship, it is possible to separate the saucer section (to return the 'civilians' to a habitable planet) under it's own power, rather like an enormous lifeboat. This leaves the Star Drive section, complete with battle bridge and the main warp drive nacelles, to handle the crisis. But in what form will that crisis present itself? .S0C2 Perhapes the most surprising revelation is that the Federation has at long last made peace with their old adversaries, the Klingons. Excatly how this came about isn't clear, although much later on in the series we get some clues that it may have resulted from joint actions against the Romulan empire. The sight of a Klingon officer working on the bridge of the Enterprise is a little unnerving at first, but you'll soon get used to it. Indeed, the stories in which we find out more about Worf's background are some of the most interesting of the series. .S0C3 Whatever else may have happened, the Romulans certainly weren't defeated and an uneasy truce based upon the infamous Neutral Zone still exists in the 24th Century. Indeed, as the series progresses we might even catch a glimpse of two of the Romulans - maybe even of their stunning new Warbird Starships... .S0C1 Amoung the other adversaries faced by our new crew is the mischievous and unpredictable 'Q' entity (protrayed by actor John DeLancie), encountered on the journey to the Farpoint outpost during the very first episode. Later we'll meet the Ferengi, a race of monkey-like traders for whom nothing must be allowed to stand in the way of a good profit. .S0C2 New alien races aside, perhapes the most fascinating development since the original series is the invention of the 'Holodeck'. This technological marvel is a result of the joining of transporter/replicator technology and holographic imaging (which, incidently, is also used instead of the old flat viewscreen on the bridge). Within the Holodeck, the computer can be programmed to create virtually any location or situation be generating three- dimensional background images, along with solid characters replicated by a transporter-like system. .S0C3 Within this fantasy environment the crew can act out role playing games, train against savage alien warriors, or simply spend their off-duty hours pursuing thier favorite outdoor pastimes. Captain Picard, for example, enjoys early-Twentieth Century detective fiction, and one of the first series' best episodes, The Big Goodbye, explores the possibility that someone might become inadvertently trapped within a simulation - in this case the seedy world of Dixon Hill, Private Investigator. The potential uses for the Holodeck are endless, and a number of others will be explored over the next few years - including the semi-narcotic effect which such fantasy-on-tap might have on members of the crew. .S0C1 Of course, there are certain elements of Star Trek which haven't changed. The crew still use the transporter to 'beam' up and down from the ship, although now they use an enhanced system which can beam directly from point to point, and automatically filter out dangerous contaminants in the process. .S0C2 The Federation boffins have also been working overtime on weaponry and communications equipment. Phaser guns have become smaller and more powerful, while the old hand held flip-open communicators have been miniaturised so that all the circuitry now fits into the touch-sensitive Federation badges worn by the crew. .S0C3 So, the ship's main phaser banks and photon torpedoes are on standby, and the main engines are fired up and ready to offer warp eight on command. The USS Enterprise is once again ready for action on our television screens, and with a new Captain and crew, we are promised some exciting adventures. ebѐA``-K x$ n($n$"HgD" &Akc(bѐ S`g(" k#&Ac(bё2+SAI3 Q&f-I$&n Nu-K x$&ր n($n$"Hg^" k&Ac(b b S` S`g:" k#&Ac(bbrkX`ؑ2+SAI3 Q&f-I$&n Nu$9"0g6ACm r2f`ef2f`#"0`Ƒ`a!@ NuAANua1 Nut`t`t`t`t`t `t`t`t`t`a ( Nua Nu@@Nura00HNur`r`r`r`r `r`r`r`r`zQ`z ` zn`z4=Aa-IHQB0al _JNuz"-A=Bal-I`n`HKa Ice!f@xar.Mx.S16C3 The Enterprise Starships .S0C2 U.S.S Enterprise NCC-1701 (Original 1960's TV series version): .S0C1 The "U.S.S. Enterprise" NCC 1701, in it's time was the largest man made vessel in Space. The Starship's component parts were built at the Starfleet division of what is still called the San Fancisco Navy Yards and assembled in space. The Enterprise was not designed to enter the planet's atmosphere. When an assignment would call her to a particular planet, the ship was commited to a standard orbit. Such an orbit would range from 1,600 kilometers to 11,300 kilometers from the planet's surface depending on the size, gravity, and atmospheric envelope of the planet, as well as the size and proximity of sun[s], moon[s] and other factors. Should it become necessary, the primary and secondary hulls can separate from each other, however; without the help of a starship or simular facilities, they cannot reconnect. Either hull is capable of housing an enitre ship's complement; and under emergency conditions, can operate as a life boat transporting the crew back to safety. Impulse engines are located at the bottom rear of the saucer which can propel the primary hull is separated, or the entire craft when not under warp speed. Engineering headquarters and control facilities are also located in this area. The nerve center of the Enterprise is found in the circular shaped "bridge," located on the bulge atop the center of the primary hull. It is from here that the famous Captain James T. Kirk commanded the crew through the many daring missions. .S0C2 U.S.S. Enterprise NCC-1701-A (Movie version): .S0C1 The U.S.S. Enterprise NCC-1701-A was the second starship to carry the name (following the self destruction of 1701 to protect the "Genesis" project from hostile Klingons). Like her sister ships in Starfleet, the Enterprise was primarily a scientific research vessel and could perform military duties as well. Like her predecessor, the primary and secondary hulls could seperate from each other in emergency, ferrying the crew to safety. A starbase is required to reconnect them. The normal ship's complement consisted of 136 medical and scientific research personnel, 132 engineering specialists, 15 communication specialists, a 90 member security force, and 55 officers of command rank (including at one time Captain James T. Kirk and Captain Spock). From her first shakedown cruise this mighty vessel served Starfleet proudly. Engaging in missions such as routine training, exploration/ research, and intercept, the Enterprise and her crew have always performed heroically. .S0C2 U.S.S. Enterprise NCC-1701-D (The Next Generation version): .S0C1 The newest and most advanced of the five starships to carry the name "U.S.S. Enterprise", the NCC-1701-D is over twice as long as her predecessor and contains about eight times the interior volume. Though retaining much of the familiar symmetry, including twin warp engine nacelles and a large saucer shaped command module, much is changed from her predecessors. Having less of the "Battleship Starility" associated with earlier ships, this gargantuan vessel (over 725 meters long) serves as more of a community and home to over 1,000 people, mainly crew and their families. Most of the technological advancements over the last 78 years, since the days of the ilustrious Admiral Kirk, have been centered on improving the QUALITY of life. No longer cluttered with a profusion of instruments, gauges and control switches, this newest Enterprise is equipped with black panels which, on touch or voice command, will become information displays. The "bridge" combines the features of ship wardroom, briefing room, information retrieval center, and officer's wardroom. From the moment the Starship's destination is selected and the journey begun, every detail of the voyage is guided and monitored by sophisticated 24th Century sensor'computer operations, "routine" emergencies are sensed, analyzed and counter measures implemented long before human help is possible or even desirable. Since missions routinely last up to ten years or longer, specialized areas called "holdecks" can be programmed to simulate almost any landscape, weather, and gravity condition with startling reality. Such facilities are useful for training and exercise, or just to take away that homesick feeling that deep space travel can produce. Though primarily designated for scientific research, the Enterprise is equipped with all the defensive capabilities necessary for deep space travel in uncharted quadrants. In the event of an attack from a hostile force, the primary hull can separate from the battle hull (secondary hull), and both can act independently. This allows the crew of the battle hull section to engage in battle without placing the crew and civilians of the primary hull in jeopardy. When all is well, the sections can reconnect and be on their way. With twelve individual phaser banks, two photon torpedo tubes, two tractor beam emitters and speed capabilities of well over warp 9, the Enterprise and it's crew are more than capable of completing any mission which Starfleet may dispatch. s doesn't !! Oh .. Because I've used differing|colour flashes in the depack|routines, when depacking|a file - shut your eyes !! Eh ?? Error occurred ?? Oh **** Continue or QUIT ?Carry On| QUIT This was a BAD ERROR (Bombs?) Bye Bye multi_v1.rsc RSC file not found! Oh! Are you positive ? Yes | NO pSelect packed file !!q*.*File not foundFile is much too small to|be a packed file !! Error !Not enough memory to load|in this particular file !! Oh ... Automation v2.4/2.51rAutomation v2.51 (Buffer)This is an Automation.S16C3 Star Trek Fan Clubs .S0C2 ..''''''''.. The following is a list of fan clubs and organisations .' '. related to Star Trek. . . : : Britain: @@@@@@@@@@@@e : "@@@@@@@@",e@. :@ Star Trek Fan Club, 30 Woodcote House, Queen Street, . @@@ . @@: .e@ Hitchin. Herts. FJ9 9TL. e@@@@@@@@@@@@@ @"@ @@@@@@@@@@@@@@ ;@ @ Starfleet Academy, College Rd, Ripon, N Yorks. HG2 4TX. @@@@@@"@@@@@@@ @@ @ @@@@eee@@@@@@@@@@@ Starfleet Command, co Arianus IV, Westmoor Houses, @@@@@@@@@@@@@@ : Matsen, Newcastle. NE20 0RG. @@@""""@@@@@@ .@ @@@@@@@@@@@ .@@e. STAG, 30 Kirkdale Green, Rye Hill, Newcastle. NE4 6HU. "@@ee@@@@" @@@" @e. "@@@@@" .@@" .@@@@e. America: -- e. @" .@@@@@@@@e e@. @e..' .e@@@@@@@@@@ William Shatner Fellowship, 10940 Moorpark St, .@@@@. .e@@@@@@@@@@@@ North Hollywood, California 91602. Star Trek: The Official Fan Club, P.O. Box 111000, Aurora, Colorado 80011. d file !!q Cancel was selected !! | | Quit to Desktop ?| Try another file ? Quit | Retry File already exists !!| | Overwrite or cancel ??? Continue| Quit Executable bytesi * D *8 "nHV "$ $2^  *h>R""L"""F(F(""""D,p$8 .*$, *~ f((@4 B$|  "*x<~?x<~?x<~?x<~?LJx?x?8?xxxxxx?x?x?x<<<<~<~>~?~?~?~?~?~?~????.S16C3 Star Trek: The Next Generation Episode Listings .S0C2 Season 1 .S0C2 Episode Production Episode Title Stardate Paramount Satellite Code Uplink date* .S0C1 0 721 Encounter at Farpoint 90mins 41153.7 26 Sep 1987 1 101 Encounter at Farpoint part 1 41153.7 5 Dec 1987 2 102 Encounter at Farpoint part 2 41153.8 12 Dec 1987 3 103 The Naked Now 41209.2 3 Oct 1987 4 104 Code of Honor 41235.25 10 Oct 1987 5 107 The Last Outpost 41386.4 17 Oct 1987 6 106 Where No One Has Gone Before 41263.1 24 Oct 1987 7 108 Lonely Amoung Us 41249.3 31 Oct 1987 8 109 Justice 41255.6 7 Nov 1987 9 110 The Battle 41723.9 14 Nov 1987 10 111 Hide And Q 41590.5 21 Nov 1987 11 105 Haven 41294.5 28 Nov 1987 12 113 The Big Goodbye 41997.7 9 Jan 1988 13 114 Datalore 41242.4 16 Jan 1988 14 115 Angel One 41636.9 23 Jan 1988 15 116 11001001 41365.9 30 Jan 1988 16 112 Too Short A Season 41309.5 6 Feb 1988 17 118 When The Bough Breaks 41509.1 13 Feb 1988 18 117 Home Soil 41463.9 20 Feb 1988 19 119 Coming of Age 41416.2 12 Mar 1988 20 120 Heart of Glory 41503.7 19 Mar 1988 21 121 The Arsenal of Freedom 41798.2 9 Apr 1988 22 123 Symbiosis Unknown 16 Apr 1988 23 122 Skin Of Evil 41601.3 23 Apr 1988 24 124 We'll Always Have Paris 41697.9 30 Apr 1988 25 125 Conspiracy 41775.5 7 May 1988 26 126 The Neutral Zone 41986 14 May 1988 .S0C2 Season 2 .S0C2 Episode Production Episode Title Stardate Paramount Satellite Code Uplink date* .S0C1 27 127 The Child 42073.1 19 Nov 1988 28 128 Where Silence Has lease 42193.6 26 Nov 1988 29 129 Elementary, Dear Data 42286.3 3 Dec 1988 30 130 The Outrageous Okona 42402.7 10 Dec 1988 31 132 Loud As A Whisper 42477.2 7 Jan 1989 32 131 The Schiziod Man 42437.5 21 Jan 1989 33 133 Unnatural Selection 42494.8 28 Jan 1989 34 134 A Matter Of Honor 42506.5 4 Feb 1989 35 135 The Measure Of A Man 42523.7 11 Feb 1989 36 136 The Dauphin 42568.8 18 Feb 1989 37 137 Contagion 42609.1 18 Mar 1989 38 138 The Royale 42625.4 25 Mar 1989 39 139 Time Squared 42679.2 1 Apr 1989 40 140 The Icarus Factor 42686.4 22 Apr 1989 41 141 Pen Pals 42695.3 29 Apr 1989 42 142 Q Who 42761.3 6 May 1989 43 143 Samaritan Snare 42779.1 13 May 1989 44 144 Up The Long Ladder 42823.2 20 May 1989 45 145 Manhunt 42859.2 17 Jun 1989 46 146 The Emissary 42901.3 24 Jun 1989 47 147 Peak Performance 42923.4 8 Jul 1989 48 148 Shades of Gray 42976.1 15 Jul 1989 .S0C2 Season 3 .S0C2 Episode Production Episode Title Stardate Paramount Satellite Code Uplink date* .S0C1 49 150 Evolution 43125.8 23 Sep 1989 50 149 The Ensigns of Command Unknown 30 Sep 1989 51 151 The Survivors 43152.4 7 Oct 1989 52 152 Who Watches The Watchers 43173.5 14 Oct 1989 53 153 The Bonding 43198.7 21 Oct 1989 54 154 Bobby Trap 43205.6 28 Oct 1989 55 155 The Enemy 43349.2 4 Nov 1989 56 156 The Price 43385.6 11 Nov 1989 57 157 The Vengeance Factor 43421.9 18 Nov 1989 58 158 The Defector 43462.5 30 Dec 1989 59 159 The Hunted 43489.2 6 Jan 1990 60 160 The High Ground 43510.7 27 Jan 1990 61 161 Deja Q 43539.1 3 Feb 1990 62 162 A Matter of Perspective 43610.4 10 Feb 1990 63 163 Yesterday's Enterprise 43625.2 17 Feb 1990 64 164 The Offspring 43657.0 10 Mar 1990 65 165 Sins of the Father 43685.2 17 Mar 1990 66 166 Allegiance 43714.1 24 Mar 1990 67 167 Captain's Holiday 43745.2 31 Mar 1990 68 168 Tin Man 43779.3 21 Apr 1990 69 169 Hollow Pursuits 43807.4 29 Apr 1990 70 170 The Most Toys 43872.2 5 May 1990 71 171 Sarek 43917.4 12 May 1990 72 172 Menage a Troi 43930.7 26 May 1990 73 173 Transfigurations 43957.2 2 Jun 1990 74 174 The Best of Both Worlds 43989.1 16 Jun 1990 .S4C3 * The date on which Paramount transmits episodes via satellite to TV stations throughout the US. This transmission is recorded by the stations and broadcast during the following week, usually on Saturdays. h packer was used ii) Executable or data file iii) The length of the file (in disk-space terms) iv) The length of the packed file (as the packer knew it as) v) The length of the unpacked file (as it will be AFTER it is unpacked) The reason for including both (iii) & (iv) on the screen, is that some files I found would be 20K in length, but the header would say it was only 18.5K .S16C3 Star Trek Facts .S0C1 1. Over 400,000 letters were sent to the White House in America asking for the first Space Shuttle to be named 'Enterprise'. .S0C2 2. The original TV series of Star Trek is the most successful and popular sydicated television show in the world. .S0C3 3. It took Gene Roddenberry's idea for Star Trek, 3 years to reach the screen. .S0C1 4. Leonard Nimoy is the only original cast member from the pilot episode to still be in Star Trek. .S0C2 5. The original TV series ended June 3rd 1969, shortly after which Neil Armstrong was the first man to land on the moon. .S0C3 6. It cost 44 million dollors to make Star Trek: The Motion Picture. And to date it has grossed 175 million dollors. .S0C1 7. Star Trek: The Next Generation is based 78 years (24th century) ahead of the original TV series. .S0C2 8. Leonard Nimoy directed Three Men and a Baby. .S0C3 9. James Doohan served as a pilot in the Royal Canadian Air Force during World War II. .S0C1 10. DeForrest Kelley appeared in Westerns. .S0C2 11. Nichelle Nichols after becoming familier with NASA, became active in the astronaut recuitment programme increasing the participation of women and minorities within NASA. .S0C3 12. In the original TV show episode 'Where no man has gone before', Captain Kirk's middle intitial appeared as a 'R' and not as a 'T' on a grave stone! a pair of Bitmap Shades before depacking a lot of files (colour systems OR monochrome), unless you're into flashing colours ??? Another file-selector will appear asking for the depacked file. You have the option of overwriting the program file (not very wise !!) if you require - or simply enter a new filename as it is up to you !! After this operation, you will be returned to the main menu, where you can carry on depacking more files, or quit and take a peek at the newly unpacked files. That's all there is to my litt.S16.C3 Profile .S4.C2 Nichelle Nichols/Commander Uhura .S0C1 "I thought I was going to be the next Lena Horne or Ella Fitzgerald," Nichelle Nichols says of her early singing career. "Space? Isn't that the thing that takes up room?" .S0C2 But for now, some 23 years after her first "Flight" aboard the U.S.S. Enterprise, Nichols knows how important space is not only because of her ongoing role as Commander Uhura, reprised once more in Star Trek V: The Final Frontier, but also because of her role as a spokesperson and recuiter for NASA. .S0C3 "I thought space travel was a bunch of fly-boys massaging their egos out in front of the Moon! It had nothing to do with me," she recalls. "But I found out it has everything to do with me. Women, men, blacks, every colour humanity." .S0C1 Nichols came to her NASA connection by a roundabout route. Born in Robbins, IL, near Chicago, she began her singing career at 16 with Duke Ellington in a ballet she created for one of his compositions. Later, she sang with Ellington's band. After switching to acting, Nichols was twice nominated for the Sarah Siddons Award for Best Actress in Jean Genet's The Blacks and Kicks and Company. .S0C2 Her early movie appearances include dancing with Sammy Davies Jr. in Porgy and Bess, as well as roles in Mister Buddwing with James Garner, Docter, You've Got to Be Kidding and Made in Paris. A guest shot on television's The Lieutenant opposite Gary Lockwood led to an offer from producer Gene Roddenberry to join the cast of his new science-fiction series Star Trek. She has played Uhura ever since, through three TV seasons, an animated series and five films. .S0C3 "I think, so far, this one is the best yet." says Nichols. "What I have done with Uhura to this point is to my satisfaction. In my mind, the character has matured. In Star Trek V, we're going to see a facet of Uhura that we have yet to see. In fact. we're going to see several facets. .S0C1 "I have a wonderful scene with scotty that will be a charmer," she reveals. "There's a bit of flirtation and the suggestion of a relationship with him that we're leaving for the audience to decide whether or not anything is going on." .S0C2 Some might say Nichols has been typecast, but she denies that. "I turned down maybe a dozen roles because I was involved in other things when Star Trek ended," she says. "I might have broken away from Uhura when I played a madam in Truck Turner. Had I continued doing roles like that, the casting mold would have been broken." .S0C3 "My father always told me. 'If you buy a lemmon, make lemoade,'" she continues. "So, I took what could have been a gift that tarnished, and I polished it and I discovered the space program." .S0C1 And NASA administrators discovered her when she attended a presentation on the agency's long-range plans at a Chicago-arena convention. Within a few years, Nichols was on the board of directors of the National Space Institute, and NASA asked her to participate in its astronaut recruitment program for the space shuttle project. While that participation has brought her great joy and great rewards, including NASA's distinguished Public Service Award, it has also brought Nichols some sorrow as well. .S0C2 "Three of my recruits were on the Challenger mission and I was in mourning for a long, long time," she notes. "Every member of that mission knew that some day, something like that probably would happen. Not one turned arould because of that Knowledge." .S0C3 Never one to turn arould in her own life either, Nichols started a consultant firm, Women in Motion, Inc. Through it, she produced and starred in the Smithsonian Institution's National Air and Space Museum film What's In It for Me? Her acting talents have been seen in Antony and Cleopatra, the film The Supernaturals, and a stage production of Horowitz and Mrs. Washington. .S0C1 "Doing the Star Trek films at this point is kind of like going to a party," she says, and this time, she'll be providing some of the music. While Nichols continues to keep her voice in tune for a series of video albums, the latest of which is Nichelle Nichols, Live at Disneyland, she'll be doing the same for an angagement out on The Final Frontier. .S0C2 "Uhura gets to sing, she gets to dance. What I do in those scenes is very sinuous, but there's also a lot of humor in these sequences," she explains. "I wanted the routine to be seductive but not too professional. I wanted it to appear that Uhura thought of something on the spur of the moment and this is what she thought of. .S4C3 "The Star Trek phenomena and the fans are what do it for me," admits Nichelle Nichols. "Uhura is a part of that phenomena and I've had a hand in creating that. So I'm very proud." ack - I can't help my surname !!). WQ?XQ@ YQ@(.S16C3 Star Trek Actors Birthdays .S0C2 January 20th - DeForest Kelley/Dr. "Bones" McCoy. March 3rd - James Doohan/ Mr Scott. March 22nd - William Shatner/Captain James T. Kirk March 26th - Leonard Nimoy/Mr Spock April 1st - Grace Lee Whitney/Yoeman Janice Rand. April 20th - George Takei/Mr Sulu. August 12th - Jane Wyatt/Amanda (Spock's mother).# August 17th - Harve Bennett/Writer,Producer,Starfleet Chief of Staff. August 19th - Gene Roddenberry/Creator and Executive Consultant. September 8th - 25th of First Network Telecast of Star Trek (1991). September 8th - Walter Koenig/Mr Chekov. October 15th - Mark Lennard/Sarek (Spock's father). December 28th - Nichelle Nichols/Uhura. File Length: Packed: Unpacked: Depack FileMain MenuJust In Case You Wanted To Know ..Free Memory: TOS Version: OKYet Another Useful P.D Utility !!.S16C3 Profile .S4C2 Larry Luckinbill/Sybok .S0C1 With each Star Trek film, a new character is added to the mythos. First, there was Captain Will Decker, then Lt. Saavik and David Marcus, Gillian Taylor and finally, Sybok, Spock's half-brother. Actors of rare talant have filled those roles and in this case, Sybok is brought to life by Laurence Luckinbill. .S0C2 Luckinbill was aware of Star Trek and its international popularity but had seen little more that two TV episodes before receiving a call about playing this rather unusual Vulcan. He read the script and then met with producer Harve Bennett and director William Shatner who offered him the role on the spot. Then, Luckinbill immersed himself in the world of Star Trek, watching the previous four feature films in one weekend. He liked what he saw and he liked the character he would portray. .S0C3 "Sybok is a very complex character," Luckinbill says. "He's not a villian. Quite the contrary. He's a dyed-in-the-wool good guy who basically goes a step too far in trying to make everybody in every galaxy experience God his way. .S0C1 "To get a real handle on him, I found myself asking many very basic questions like what is religious experience and what is ambition? Sybok is a character who has a holy vision and is consumed with his wants and desires. That enormous drive and ambition is what I focused on." .S0C2 Luckinbill himself has always been abitious, ever since he saw a Bomba the Jungle Boy film and decided immediately to become an actor in order to escape life in Fort Smith, Arkansas. However, he allowed reality to intrude and began his college career, preparing for a life in medicine. Failing grades encouraged him to switch majors and he found himself back in acting, making it his life's work. .S0C3 While studying at Catholic University's drama school, Luckinbill acted alongside fellow stars-to-be Jon Voight and Phillip Bosco. During the 1960's, he went from stage role to stage role, eventually debuting on Broadway in A Man for All Seasons. In 1967, Luckinbill was cast in Mart Crowley's play, The Boys in the Band, and after essaying his role in New York and London, he gained international acclaim for his work. He eventually played the role once more in William Friedkin's film adaptation. .S0C1 His theater credits are countless. He earned a New York Critics Circle Award for The Memory Bank and a Tony nomination for The Shadow Box. .S0C2 He has also notched nearly 20 films and numerous TV productions. He starred in one TV series, The Delphi Bureau, which lasted nine episodes but which still generates good memories. "We fought for that sucker!" he recalls. "We really wanted that thing to live! My power was based in reality. After all, there are people with photographic memories. The thing I liked about my character was that he was very real." .S0C3 An accomplished actor, Luckinbill has also written pieces for magazines ranging from American Theater to Esquire. He is married to actress Lucie Arnaz. The two have frequently performed on stage together, while raising five children. .S0C1 And now Luckinbill plays an entirely different type of Vulcan, totally expressive and completely unlike Spock. For Luckinbill, this created some interesting tension. "It was like your classic confrontation between brothers who had been apart for other than pleasant reasons," he explains. "To be brothers and yet be at opposite ends of the pole can be a terrible thing. .S0C2 "I belive my character had a definate edge on Leonard's because Sybok, despite being from Spock's family and being a full-blooded Vulcan, was able to be both human and non-human and to basically go off-the-wall. In fact, it was Sybok's basic unpredictability that was the basis of the struggle between our characters. My character in this movie may have had the greater freedom, but I think what we discovered in this movie was that Spock's character may have encompassed the greater truth." .S0C3 Certainly, playing Sybok has been a refreshing break for Luckinbill, who has spent the better part of the last two years portraying President Lydon Johnson in his acclaimed one man show, LBJ. "Sybok was certainly a cathartic role that emotionally sent me through the roof," Laurence Luckinbill admits. "Sybok worked his way into me. I immediately latched onto the potential of playing a character who was seriously pursuing something that meant so much to him. Here was someone who was basically putting everything on the line, making a decision that was more important than anything and then using that philosophy to reach a higher level. Just about everything about Sybok was appealing to me." are a few which might not work if packed so you should be sure to test your packed programs before removing the original. Pack only files with the following extensions: .PRG, .TOS, .TTP, .A.S16C3 Unseen Film .S0C1 The following is a scene from Star Trek 5: The Final Frontier, which was cut from the film because it was considered to effect the pace and time of the film!? .S0C2 INT. BACK ROOM .S0C1 The stranger lowers the breathing device from her face and is revealed to be a young woman. A Romulan. Her name is CAITHLIN DAR and she stands on the threshold of the room, trying to adjust her eyes to the murky surrondings. She's a little nervous and a long way from home. The back room is a storage area for unwanted odds and ends. A ceiling fan swishes overhead pushing hot air arould. TWO MEN are sprawled in chairs at opposite ends of a table. They're too busy drinking to notice Caithlin's entrance. .S0C2 Caithlin. Gentlemen, I'm Caithlin Dar. The man seated closest to Caithlin slowly swivels his head in her direction. He warily extracts himself from his chair and comes forward. He's a Terran (Specifically, an Englishman) named ST. JOHN TALBOT. Thin and dissipated, alcoholic, Talbot is a veteran of the diplomatic Corps. He pats down his unruly hair and straightens his soiled suit. He gives Caithlin a tired smile and extends a limp hand. .S0C1 Talbot. Ah, yes. Our new Romulan representative. Welcome to Paradise City, Miss Dar, capital of the so-called "Planet of Galactic Peace." I'm St. John Talbot, the Federation representative here on Nimbus Three and my charming companion is the Klingon consul, Korrd. Caithlin regards the hulking figure at the other end of the table. KORRD is an old, overweight Klingon, a once great warrior now past his prime. He doesn't rise to greet Caithlin. Instead, he takes a swig from a flagon and emits an earth-shaking belch. .S0C2 Caithlin. I expect that's Klingon for hello. Reacting to Korrd's stench, Caithlin holds her breathing device in front of her mouth. .S0C1 Talbot. He doesn't speak English. .S0C2 Caithlin. And I don't speak Klingon. .S0C1 Talbot. I'm relieved to hear that. Please sit down down, Miss Dar. Can I offer you a drink? Without warning, Korrd drunkenly lets loose with a barrage in his native tongue. (It is subtitled in English for those who don't speak Klingon). .S0C3 Korrd. (Romulan women belong on thier backs!) .S0C2 Caithlin. What did he say? .S0C1 Talbot. He says he hopes you'll enjoy your tour of duty here. Might I ask, Miss Dar, what terrible thing you did to get yourself banished to this armpit of the galaxy? .S0C2 Caithlin. I volunteered. .S0C1 Talbot. (Spewing grog) Volunteered? Talbot turns to Korrd and translates her answer into Klingon. Korrd chortles derisively. .S0C2 Caithlin. Nimbus Three is a great experiment. Twenty years ago, when our three governments agreed to develop this planet together, a new age was born. .S0C1 Talbot. Your new age died a quick death. The great drought put an end to it. And the settlers we conned into comming here - the dregs of the galaxy. They immediately took to fighting amongst themselves. We forbade them weapons - they fashioned thier own. .S0C2 Caithlin. Then it appears I've arrived just in time. The policies the three of us agree on will have far-reaching results... .S0C1 Talbot. My dear girl, we're not here to agree. We're here to disagree. This "great experiment" as you call it was instigated to satisfy a bunch of bleeding hearts whining for "galatic peace." It was intened to fail. .S0C2 Caithlin. I'm afraid I don't share that view. .S0C1 Talbot. (pleased) There, you see? We're disagreeing already. .S0C2 Caithlin. I'm here to open discussions for a solution to these problems. Korrd comes to life. He roars with laughter and spits back a disgusting mouthful of Klingon. Talbot winces. .S0C2 Caithlin. (losing patience) What did he say? I want his exact words. .S0C1 Talbot. He said the only thing he'd like to open is your blouse. He's heard Romulan women are different. Caithlin's embarrassment turns to anger. .S0C2 Caithlin. You tell Consul Korrd - never mind. I'll tell him muself in the only Klingon I know. Caithlin lets loose with a Klingon epithet. No translation necessary. Sputtering with rage. Korrd hurls his flagon aside and clambers to his feet. .S0C3 Korrd. (in perfect English) Screw you, too! .S0C2 Caithlin. He does speak English! .S0C1 Talbot. (surprised) Sly old bugger! Further argument is interrupted by shouts from outside and the whine of a warning Klaxon. .S0C1 The dialogue was later trimmed to contain only the most necessary exposition, since it became apparent the approaching battle sequence was slowed by the conversational tone of the scene. >0+ |gL0+ |f0<`l0+ |g?<B?+ NP?/+?+ N P @f0<`6k -K k o?<B?+ NP p  w The World of Star Trek v1.0 1990 title.tny 5 Profiles 1 10 Captain James T. Kirk p1kirk Spock p1spock Dr Leonard McCoy p1mccoy Chief Engineer Scott p1scott Commander Sulu p1sulu Commander Uhura p1uhura Commander Chekov p1chekov Sybok (Spock's Brother) p1sybok Sarek (Spock's Father) p1sarek Captain Klaa (Klingon) p1klaa Profiles 2 8 Captain Jean-Luc Picard p2picard Commander William T Riker p2riker Lt Commander Data p2data Counselor Deanna Troi p2troi Lt Geordi La Forge p2forge Lt Tasha Yar p2yar Lt Worf p2worf Beverly & Wesley Crusher p2bevwes Interview1 7 Leonard Nimoy (Spock) i1spock DeForest Kelly (McCoy) i1mccoy James Doohan (Scotty) i1scott George Takei (Sulu) i1sulu Nichelle Nichols (Uhura) i1uhura Walter Koenig (Chekov) i1chekov L. Luckinbill (Sybok) i1sybok Interview2 7 Patrick Stewart (Picard) i2picard Brent Spiner (Data) i2data Gates McFaddon (Beverly) i2bev Wil Wheaton (Wesley) i2wes G. Roddenberry (Creator) i2gene M. Piller (Exe.Producer) i2piller Ron Jones (Composer) i2jones Features 10 Facts FACTS Unseen Film UNSEEN Quiz QUIZ Fan Clubs FANCLUBS Comics COMICS Merchandise MERCHAND Starships STARSHIP The Next Gen NEXT_GEN Listings LISTINGS Birthdays BIRTHDAY 0`0<LN^NuNV/ &n/ N2XJ@g0<` k ?./. ?+ NP'@0<&_N^NuNVH0&n$KA HSh0( @mA H R @H|` HlNtXH|gH| f```BH|f <` L N^NuNVH$.". BnJlVnDJlRnDvd`Bbd nmDdD-@-A LN^NuNV nl <`?.?./. ?<BN -@ m .`?<?.B?<BN -@?<?.B?<BN -@ nf .Ю -@ `$ nf .Ю -@ `0.g <`b . oHn . /?.?<@Nl Bg?./. ?<BNV ]|9@g <` `Bl . N^NuNV/.?<HN\N^NuNV/.?<IN\N^NuNVBn nl80.Ax0f"0.Ax00.Az0 `Rn`N^NuNVBn nl(0.Ax0nf The World Of Star Trek Made By Steven J. Howlett (C) 1990 Airline Software This Program Is Freeware. Introduction: As Star Trek's 25th Anniversary approaches, I thought I would do some form of program to celebrate this marvellous event. This program is a collection of interviews, profiles, magazine and newspaper articles relating to 'The World Of Star Trek'. Some of the facts and storys within this program are quite controversial, so before you write and tell me that I got some facts wrong, I must make it quite clear that I did not write any of these articles etc. They are all from magazines and newspapers that I have collected over the years! That said, Please feel free to write to me if you fancy a Star Trek pen pal to discuss anything relating Star Trek. Instructions: The program is operated in a GEM based fashion, so most, if not all of the programs fuctions should be easy to operate. Simply move the mouse pointer to the pull down windows at the top of the screen and select an article to read, Simple! As well as over 300K of text articles, there is also a Picture Slide Show with some of the best Star Trek related pictures I could find. To view this slide show, simply pull down the 'options' window and select the Slideshow option with the mouse pointer. If you have a printer, you can print out any text article at any stage by first selecting the article from one of the windows and then selecting the 'Print' option from the 'option' window. Future Updates: Some of the major Star Trek actors/character sections are missing from this program, more noticable, an interview with William Shatner (Kirk). The reason for this is because I simply could not find any articles or material from any magazine or newspapers. If you have any magazine or newspaper artilces relating to Star Trek, then why not send me a copy and I will include them in an update. The same thing applies to any Star Trek related pictures you might have that are not included in this program. Send a copy of them to me and I will include them in a future update. I will return all disks and material that is sent to me after I have finished with them. Freebie From The Author Of This Program: As you may or may not know, this program is Freeware. This means that you can copy and distribute this program to anyone, as often as you like and at no charge. But owners of this program are quite welcome to send donations of money for the authors work, time and effort. This of course is entirely voluntary and you are not commited to do so whatsoever. However, owners of this program who do send a donation will receive a special gift from the author. Owners who send donations will receive a quality 6 x 4 black & white photograph of the original Star Trek crew (1960's TV show era) aboard the bridge of the Enterprise! Included in the photo are: Kirk, Spock, McCoy, Scotty, Sulu, Uhura, Chekov and even Nurse Chapel! The photo really is beautiful and a collector's item. Unfortunately, because of the cost's involved, only people who send a donation of 5 or more will receive one of these rare and beautiful photo's. (Overseas senders are advised to send donations in Pounds Sterling to avoid any delay). The address to send your donations (and letters) to is: Steven J. Howlett. 1 Solva Road, Clase, Morriston. Swansea. SA6 7NX Wales. United Kingdom. All Goods will be sent by return post. (Overseas senders will proberly encounter a few weeks delay because of the distance involved). ** STOP PRESS ** STOP PRESS ** STOP PRESS ** STOP PRESS ** STOP PRESS ** A recent magazine article has printed the following short piece of news regarding Star Trek VI: "In the final Star Trek film Mr Spock is to marry a fellow alien, while Captain Kirk becomes a monk!" Notice they report that it will be the final Star Trek film! I have personally learnt not to pay much attention to 'gossip' like this. Certainly interesting though. ou distribute the ARC file, rather than just the PRG file, and if you charge any price, that it only covers the cost of the disk. If you find this program useful, I would like to hear from you! Just drop me a line on GENIE ( My name there is B.GAFFORD1), or call the EnQue BBS at 816-353-0991. The BBS is currently up each weekday except for 5-10pm. If you want to chat, call 5-10pm weekdays or on the weekends! 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