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Chapters (31)
  1. Publisher's Note
  2. Acknowledgments
  3. Epigraph
  4. Photo
  5. Epigraph
  6. Would You Buy a Used Galaxy From This Man?
  7. Introductory Essay
  8. Author's Note
  9. Perils of the "City"
  10. Endnotes
  11. Treatments
  12. March 21, 1966
  13. May 13, 1966
  14. Prologue
  15. Act One
  16. Act Two
  17. Act Three
  18. Act Four
  19. Epilogue
  20. Appendix
  21. Act One
  22. Afterwords
  23. WHO ARE THESE PEOPLE AND WHY ARE THEY IN THIS BOOK...
  24. Peter David
  25. D.C. Fontana
  26. David Gerrold
  27. DeForest Kelley
  28. Walter Koenig
  29. Leonard Nimoy
  30. Melinda M. Snodgrass
  31. George Takei

Unfortunately, it was not best suited to a series format. As the reader readily can see, the plot problem (the change in history) is brought about by characters who are strangers to the audience, LeBeque and Beckwith. The result of Beckwith’s meddling with the past is that the USS Enterprise is now the Condor, a raider ship with a crew of renegades. Once this situation is established, it is seen again only once, in a flash cut, leaving the audience to wonder how the few defenders in the transporter room are doing while Kirk and Spock are in the past. It is almost the end of the second act before Kirk and Spock see Edith Keeler—and at that moment, Spock realizes Edith is the focal point of the time change because of clues the Guardian of Forever gave them. Kirk does not meet Edith face to face until Act Three, so their personal relationship is short (though no less deep). Kirk loves her despite the fact he knows she must die. He loves her despite the even more cruel fact that he knows he cannot lift a hand to save her. At the climax of the story, it is Beckwith who reaches out to save Edith and Spock who stops him while Kirk looks on in his grief.

While it was masterfully written, full of passion and emotion, in Gene Roddenberry’s opinion, the script wasn’t Star Trek enough. It would have to be rewritten. At that time, the rumor had not yet emerged that the reason it had to be rewritten was because “Harlan had Scotty pushing drugs on the Enterprise.” That came later, and possibly it came because Roddenberry felt he had to justify the rewrite. I know the explanation has been heard at a number of Star Trek conventions over the years. Well, the addictive Jewels of Sound were interesting “drugs” all right; but as the reader can see, Scotty isn’t even in the script!

In the Star Trek offices, however, the immediate question was—who would rewrite “The City on the Edge of Forever”? Now the story can be told because Harlan has mellowed over the years. Used to be, his temper burned at such a low firing point and with such high explosivity that it devastated buildings for ten square miles around ground zero when it went off. (You’ve heard of the “H Bomb”?) There are still places on the Paramount lot where nothing will grow. Now, however, it’s maybe only three square miles around that are leveled—and I live at least six miles from Harlan.