In a burst of overwhelming humanity, Kirk could not find it in himself to allow Edith Keeler to be condemned to death. So Spock did it for him. He took his captain off the hook, seized the initiative and saved the day when Kirk’s humanity would not let he himself do the job. Kirk never expresses any appreciation for what Spock has done. Maybe he doesn’t understand. Maybe the man of action is embarrassed at his own inaction. Maybe he’s pissed at Spock’s letting Edith die. But Spock, in his closing speech, makes it clear that he understands Kirk; nor does he endeavor to judge or issue recriminations. We simply have the eloquent observation that “No woman was ever offered the universe for love.”

And that element was excised. No examination of Kirk’s human hesitations or Spock’s alien single-mindedness. No great romantic ideal. The aired version gave the impression that Kirk had two choices, but in fact he only had one. He wasn’t allowed to do the thing that the script hinged upon. When we see the aired episode, we feel for Kirk when he stops McCoy. We share his loss. It’s a poignant moment. But that’s it; it’s over. Business as usual. “Let’s get the hell out of here.” There’s none of the carryover that would have given the aired episode that extra depth.

The point has been lost, the meaning obscured in the overwhelming compulsion to play it safe. The last time anyone took real chances with Kirk’s character was “The Enemy Within,” revealing Kirk’s rape fantasies of Janice Rand. Now that was daring…and unduplicated.

(Speaking of Rand, the roles that female crewmembers play between the unaired and aired scripts is intriguing. Granted that time considerations might have prompted them to lose scenes 30 to 40 anyway, but nevertheless I find it interesting that Ellison’s script portrays Yeoman Rand left behind to hold the fort; by the time the episode aired, Rand was gone and we were left with Uhura, whose contribution was limited to almost saying “Captain, I’m frightened.”)

We see, with the rewriting of Ellison’s script, that limits were set early-on as to just how far and how realistic Star Trek would be allowed to be in its themes; just how human (or alien) the characters would be allowed to be perceived.

Now, it is easily argued—and not without merit—that Star Trek was Gene Roddenberry’s baby, and he had final say. Fair enough. If Roddenberry felt it wasn’t what he wanted to see on his show, that was his right.