The Enemy Within

DVD, TOS S1 (The Enemy Within)

"I'M Captain Kirk! I'M CAPTAIN KIRK!" The most infamous line of this episode (but not the most famous, I'll come to that later), evokes exactly the kind of hammy William Shatner acting some people deride him for. But it's actually well in character for the 'negative' side of Kirk he's playing, much more in character than, say, Mr. Spock's snide Janice Rand-baiting in the final scene where, in place of the usual wry moment between Kirk and others of his officers, Spock appears to try and goad her into admitting she found the bad Kirk attractive in some way! It was way out of tone for the episode, which dealt frighteningly, but seriously with the difficult issue of sexual discrimination in the workplace, Rand clearly unsure of where she stands after Kirk has attacked and forced himself upon her in a most un-Kirk-like manner. We see that she's drawn to the Captain (as Yeomans from the start of the series have been, though before, Rand had been the most businesslike and professional, without a hint of anything else), but reacts in understandable fear and shock when he makes his violent advances in the fraught scene, which could have become much worse if Geological Technician Fisher hadn't happened past the Captain's Quarters at the moment Rand manages to open the door. It's a terrifying ordeal for her, as Kirk has only ever been portrayed as fully in command of himself and his crew, yet here he is dropping any pretence of professionalism and abusing his position in the most abominable way.

What could a lowly Yeoman do if a ship's Captain decided to take advantage of her? It's an uncomfortable question, because its parallel exists in the real world, in any business or situation where someone in authority could abuse it in such a way, leaving the abused without power and wondering if they'll be believed. Rand isn't dismissed, but everyone is bewildered by her tearful statement, and it's an excellent performance from Grace Lee Whitney in the her first starring role, having appeared before as merely a minor part of the story. Her bravery comes through again, and her reaction gives the episode its reality, where we see firsthand what the animal impulses and 'negative' side of the human personality, when not held in check by the gentler, more disciplined half, can be. If it had just been nasty Kirk roaring and raging round the corridors, beating up each crewman that he came across until he was caught, it would have lived up to the melodramatic opening line of this review, but with the personal attack on Janice it brings home in sharp contrast the difference between the two parts of Kirk's mind. All of which doesn't make up for Spock's insensitivity to her at the end when it appears the episode is making light of Rand's horrible experience. To be fair to Spock, he did earlier explain to Kirk that if he appears to be insensitive, it is just the way he is, though I think he meant the appearance of insensitivity, not that he genuinely has no sympathy or understanding of another's pain.

It's just that at this time Spock was still being fleshed out, he hadn't yet been entirely pegged as a character, though he's almost there. There are still the occasional lapses where he almost smiles, or when he was seemingly baiting Rand, he has a kind of grin on his face, and when he's successful in combining the two Kirk's back together in the Transporter, we see a brief expression of relief, something that hadn't earned its moment - when you think of the incredible transformation in bearing he has in 'Amok Time' when he thinks he's killed his Captain, only to discover Kirk alive, that had so much more impact because of his stoic, unemotional exterior. If Spock isn't acting as we'd fully expect him to, and Kirk certainly isn't after being split in two by the Transporter, in our first ever Transporter Accident Story, Dr. McCoy, yet to become the third in the triumvirate, is fully formed and starts to take his rightful position arguing against Spock for the benefit of Kirk. Back to the most famous line: "He's dead, Jim," spoken about the poor alien pooch lying dead on the (nicely carpeted - who says 'TNG' introduced comfortable floor coverings to Trek?), Transporter pad, having its rabid rhino poodle half merged back with the docile half. It was inherently amusing, just like Frieda's cat from 'Peanuts' - especially when Kirk's holding it, it looks so comfortable and relaxed, despite all this alien paraphernalia of spikes and pink perm, I couldn't help chuckling! It gets the first utterance from McCoy that would become a staple of the series.

Talking of staples, that's what the body double, duplicate or doppelgänger story is in TV - name just about any sci-fi series and they'll have at least one episode using this device, obviously inspired by 'Dr. Jekyll and Mr. Hyde.' It wouldn't be the last time we'd see an alternate version of Kirk, culminating in a complete double of the entire ship and crew in Season 2's 'Mirror Mirror,' in turn the genesis of an entire Mirror Universe arc through 'DS9' and 'Enterprise.' Kirk himself would be doubled multiple times (and I'm not talking about the stuntman or stand-in that portrays him, a little obviously, in this episode), split-screen used to great effect when it was used here, though I only noticed it in the Sickbay scene where bad Kirk lies on the biobed with good Kirk gripping his hand, Memory Alpha mentions the nerve pinch moment as using the same technique (the first time Spock performs this simple, but ingenious method of subduing an enemy!). It would be easier to point out which characters in all of Trek had not been doubled in at least one episode, simply due to the prevalence and popularity in the writing of using such a tantalising device. Of course, as tantalising devices go, none more than the Transporter could claim to have had the highest number of malfunction-based episodes (only the Holodeck coming close), so much so that you'd wonder why anyone would use it. At least we have a solid explanation for the bizarre result in this episode, as Fisher goes through with ore-stained overalls after falling down a rocky hill and cutting his hand.

The incident tells us something about the state of Transporter technology of the time, because we hear Scotty tell Fisher to go and decontaminate his uniform, whereas by the 24th Century there were all kinds of bio-filters and failsafes to prevent contamination (even if it didn't stop many other bad things from happening!), and I like that on 'Enterprise' they had a special room just for decon (though not so much the salacious rubbing on of gel, something fortunately absent from 'TOS'!). While Transporter etiquette may not be fully fleshed out, neither are other common Trek staples such as Spock having to announce his presence outside Kirk's quarters with an old-fashioned knock, then calling through the door. It had happened in previous episodes, but it continues to stand out as a surprisingly low-tech, rough around the edges solution when the Enterprise is so streamlined in every other area (witness the cool turning of the Turbolift handle to activate it, with a white light coming on, or the beautifully futuristic coloured rectangles on black that constitute many of the computer input displays - I hope they keep these aesthetics with 'Star Trek Discovery,' as that's one thing that could be used to wonderful effect).

There seems to be a lack of door locks, too, as Kirk walks right into Rand's quarters without any 'security protocol overrides' you'd see on the other series', and she does the same - it makes sense for her to have access to the Captain's Quarters since she has business there, but you'd think there'd be a sign of bypassing a lock or chiming an announcement! I heard the Transporter set creak once when Kirk steps down at the beginning, though that was the only sound that took me out of it (that and Spock's knock - that sounds like a joke: Spock knock. Who's there? Spock. No need to knock again, just come right in), along with a shot of Kirk where his command tunic's zip shows at the neck again! We see the green tunic for the first time, surprisingly early, the best uniform colour on 'TOS' (though it might have been better with a neck piece). I love the Delta Shield chevron as a kind of belt buckle, it's really nice design, as are the gold rank braids that have moved from cuffs to shoulders. I associate it most with episodes like 'The Apple' or 'The Trouble With Tribbles' (mainly for specific photos I have as postcards!), but you can see they introduced it purely as a way to differentiate between the two Kirks, if Rand's face-scratching, the eyeshadow, and bad disposition weren't enough - incidentally, it seemed odd to me that Kirk would have makeup in his quarters ideal for covering scratches! Maybe he suffers from skin complaints from time to time… And since it was so easy to heal Fisher's cut hand, it would be just as easy to do the same to Kirk's scratches, so it wasn't proof at all when good Kirk shows Rand he has nothing on his cheek.

One thing I did notice was the ergonomic, touch-activated dresser in Rand's quarters, hidden from view until she wants it, it swivels round to reveal the mirror and drawers. In the future, furniture is functional, but also doesn't impinge upon the look of a room, especially in the relatively tight quarters of a starship where space is at a premium, such design ethic highly likely, adding  to the impression of being in a future, the style continued and augmented in 'TNG' where things folded away neatly (such as the square stool seats at the back of the Bridge). We also have our first use of the smaller, more compact, and definitely more attractive Communicators. Gone is the wide grille flip-up lid, to be replaced with a slimmer variation (I wonder if they were made by Apple?), the one we know and love. The Phasers continue to be attached to gold belts, which date the early episodes, and the Tricorder remains absent.

The biggest and most exciting addition to the series has to be the Engineering section, an empty, sterile area without any chairs, populated by large pipes and mysterious compartments, as well as the iconic tubes behind a protective grille, evoking the long shape of the nacelles and the cigar-shaped Engineering hull. It feels like it's at the bottom of the ship, a slightly eerie place for its dinginess compared to the bright corridors and areas above, its sparseness, and only the constant, echoey humming of machinery for company, as if much of it is automated. No wonder Scotty prefers Transporter Room or Bridge to hang out! We get to see behind and further in, and it's fantastic that they had the resources to build such a big set. I'm sure the fact it's rather basic was due to the money constraints, but it actually adds to the mood of the place, making it feel like the basement of a large building where nobody goes unless they have to. Plus it's exciting whenever we get to see more of this huge starship, and they make full use of so many sets, being as it is a bottle episode.

The only time we're off the Enterprise is on the planet, the place where Sulu and his men are stuck when the Transporter becomes unreliable (when Kirk says 'we just can't leave those poor men down there,' I was reminded of Sisko and the tragic loss of his wife: 'we just can't leave her here!'). I assume it was because of storms or suchlike that they couldn't take down a shuttle to rescue the Landing Party (nothing to do with not having built one yet!). The scenes on the planet remain closed in and closeup, partially to add to the claustrophobic sense of desperation as the temperature drops, but also to disguise the effect of a basic rocky planet set that nevertheless fulfils its purpose. Two things strike me with this B-story (if it can be called that). One is that it adds a useful ticking clock to Kirk's predicament and forces him to make decisions, and the other is Sulu's brave good humour in the face of adversity, making jokes even in his evident discomfort, but also continuing to do his duty and update the Captain on their status. It's the most important role he's yet had on the series. He also has the distinction of being the first person we see using Phasers to heat rocks, an ingenious use of the device, which in actual fact was more of a tool than a weapon, its versatility one reason why it's such an incredible piece of technology, much like the other Star franchise's lightsaber. We see three beams spray out in a spread, something rare on 'TOS,' although a variety of outputs was seen in the spinoffs. And we find out that the lowest Phaser setting is designated 'base cycle.'

I wonder if Sulu's expanded role and Rand's greater involvement led to Uhura being sidelined? Even lanky Lieutenant Farrell from the previous episode, 'Mudd's Women' gets his moments (and it looked like Leslie was part of the Landing Party). She only gets one line, and that's over the comm system, never seen on screen. If Grace Lee Whitney hadn't been unceremoniously dumped from the series would that have meant Uhura would have receded into the background more, did they only have room for one main female character? We'd find out soon that that wasn't the case as both Uhura and Nurse Chapel, yet to be introduced, both played their part in the series, but the balance between characters in this episode is very good. Take Spock, Kirk and McCoy - for the first time we get a true representation of the trio's function. Kirk is dithering, not wanting to make a decision because he doesn't have the strong emotions of his other half, and both Spock and McCoy have plenty to say and advise. The normal, self-assured Kirk would have been able to weigh up their advice, but this one almost wants to abnegate his responsibility onto them, but as McCoy says, they can't make the choice for him.

Spock is making the logical argument, McCoy the emotional, and it is indeed fascinating to see this familiar facet in early development, possibly the greatest hook they stumbled onto (or purposely wrote, I'm undecided - maybe my 'negative' half has gone walkies?). Spock becomes wrapped up in the scientific and philosophical avenues this problem throws up. It's all about intelligence preventing fear from taking over. I'm not sure how much I agree with the sixties psychology of needing a bad side, it sounds a bit yin-yang to me, but the attitudes of what constitutes the negative is interesting: is anger a negative emotion? It can be righteous, and properly channeled can lead to greater strength. If anything, I wished they'd delved deeper into the concept: Spock brings up the fact that he has two halves himself, which I think is the first time he discusses it properly after hinting at it before, but we don't get a satisfying parallel between his experiences and Kirk's, which could have rounded the episode out into a more fulfilling character story. But it's a little much to ask, and was probably quite advanced for its time - when you think of the other series' on TV then, mostly melodramatic and silly (at least in terms of sci-fi TV), this must have been incredibly grownup and deep, and it's only because we've had many subsequent seasons of Trek to explore the issues in greater complexity that this comes across a little lighter. But it remains an object study of man and what his various sides (divided into two categories), mean for him, as well as what it means if he's without a facet of himself.

It seems McCoy has a reputation for practical jokes, as Kirk is quick to suggest the Doctor's request for Spock to check on the Captain after his bizarre behaviour in Sickbay, was just that. Maybe it's that wry good humour of McCoy, and the fact that you can tell, even this early in their association, the pair of them like to bait each other, so we can surmise that even though we haven't seen much of it as yet on the series, it has been happening in the parts we don't see. Spock's so taken aback with the apparent practical joke, and that the Doctor would waste his time in that way, he doesn't even refute that he is annoyed when Kirk says he'll let McCoy know that he was suitably galled, instead nodding curtly and leaving! Even McCoy isn't that slapdash and inappropriate, but although I often think whenever something weird happens to characters, that they should instantly, or at least quickly, sense that something out of the ordinary is happening, to them it's just a normal day and they have their duties and normal life to get on with, it's just that we're watching this part of that life, and despite strange things seemingly common in space, you can't go through life immediately taking every little odd fact or incongruity as impetus to explore further - you'd never get anything done! Saying that, it's all Scotty's fault in the first place: if he hadn't been so kind to the Captain and walked him to his quarters, but had instead stayed at his post as Kirk wished, the whole situation would have come to a head instantly as he'd have met the second Kirk beaming in!

Scotty does have a heart though, and leaving aside the ridiculously comical interpretation he was given in the 'Kelvin Timeline' films, in which he's merely a genius-level buffoon, he's a dedicated officer and exactly the kind of man you want in any situation, whether that's operating the Transporter or holding down rabid rhino poodles for Spock to sedate, he's a professional space Engineer and the guy that keeps everything running smoothly. Saying that, it was reassuring to have Spock man (Vulcan?), the controls when merging the Kirks together (a scene that reminded me of Dax accepting the Joran part of herself at the end of 'Equilibrium' on 'DS9'), as his quicker alien reactions and deep scientific knowledge might be more dependable in such a bizarre situation. But it's a close one, and if anything, this episode proves that Kirk has a strong team around him. I'd love to know if he handpicked the senior officers or how he came to command them. Who knows, perhaps if 'Discovery' hits its stride it will one day show us the early coming together of the Constitution-class Enterprise, though I imagine that, like Clark Kent becoming Superman, it's an endgame that would signify the end of the series. I'm not sure how I feel about the possibility, since in one respect I'd love to know about this crew's earlier lives and how they formed, but on the other, it would be so easy to retcon something annoying or out of place into these legendary characters, and I still don't like anyone playing the roles apart from the original actors. Still, one of my big problems with 'Star Trek XI' was that it effectively wiped out all chance for us to see the real origins of our beloved crew, and now those chances have improved exponentially!

What stays with me after watching this episode is how absorbing the world is. They continue to build the blocks of this contained universe, long before extraneous additions such as recurring aliens would expand it outwards beyond the starship and its artificial environment. They may not do a lot of exploring space this time, but they do make a good start on exploring the human condition, not to mention the space-borne habitat they inhabit, and these things are what make it remain watchable, and not just some curio from another century of television production. Once again you can't help but admire how much they were able to invent and create a believable future. There are anachronistic things, sure (the cabling in the Phaser-blasted conduit, for example), and their survival procedures leave much to be desired (why not beam down warm clothing, shelters, etc, when they had the chance - they note that heaters they sent down don't work, but that's because they're complicated machinery. Blankets would have been a better bet!), as does their treatment of people (Spock's sneering at Rand; the fact that no one bothers to call the ship for Fisher after he's ordered back aboard to have his lacerated hand repaired - he has to operate the Communicator himself!). And it's out of place to have a one-off retroactive Captain's log telling us that this was a double, but they didn't know it at the time, although that was for the audience's benefit. But it is these inconsistencies that make it such fun to pore over these very old episodes, and to continue to do so, all these years later.

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