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The Elven Chronicles holds the secret of the Portal to Forever and must not fall into the hands of anyone who would use it gain power and domination over.
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View or edit your browsing history. Get to Know Us. Not Enabled Word Wise: Enabled Average Customer Review: Be the first to review this item Would you like to tell us about a lower price? Share your thoughts with other customers. Write a customer review. There was a problem filtering reviews right now. Please try again later. After the tragic loss of their father at an early age Josh and Silfa discover new abilities as they get older. Josh runs faster than the average kid. Silfa has the ability to attract animals and almost hear their thoughts. They soon find out their special abilities come from their father an Elf prince.
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They also find out that their father Leerec was not killed but rescued before his plane was hijacked to complete a mission. He must defeat and evil wizard and a blood thirsty demon before all is lost. He must also save his elf family from imprisonment. As years pass in the human world in the elf world time goes by much slower. Leerec is fatally injured and only his children can save both him, the rest of the royal family and their ancestral lands.
Once they cross the portal they are so introduced to amazing new creatures and fantasy-like lands. They quickly learn that things are not always as they appear in this new world! Silfa can now talk to creatures and has the ability to heal.
The City on the Edge of Forever
Josh can now change objects by just thinking about them. Special friends from the human world soon become valuable allies in the elf world. Can they save there family from the evil that plagues the Elf kingdom? You have to read it to find out! My favorite part of the book was when Cinder a shy coal black colored cat drinks a vial of magic potion to give him courage and defeats an almost indestructible demon.
After his brave deed he is returned to his pre-cursed state.
It just goes to show that everyone has a special job that only they can do! I thought this book was very well written. It was an easy and interesting read. Justman's initial glee at receiving the script was short lived. He realized quickly that it was unfilmable due to cost, and the characters were not behaving as per the writer's guide. One such exchange between Kirk and Spock had the Vulcan character accusing humans of being barbaric, while Kirk saying Spock was ungrateful because humans were more advanced than Vulcans.
Justman thought it was a good script, but could never be re-written and filmed in time for the first season. Ellison was asked to revise it once more,  with the issues blamed on requests from NBC,  and submitted a further version a week later. The production team was starting to lose patience, as he was not revising it in line with their requests, and he began arguing with Justman over the budget issues. Justman wrote a memo immediately to fellow producer Gene L. Coon , saying that after five months, Ellison had failed to reduce the budget requirements for the episode to something which could be filmed.
Roddenberry and Justman both spoke to Ellison, seeking further changes, but failed. William Shatner was sent to Ellison's house to try to get the writer to reconcile. Ellison suggested that Shatner had a personal interest in having the script revised because Leonard Nimoy had more lines than he did in Ellison's version, and had spent the time on the couch line counting. Carabatsos replaced the new characters with an accident involving McCoy and an overdose of adrenaline and removed the Guardians of Forever, replacing them with a time travel portal. Ellison subsequently accused him of "taking a chainsaw " to the script.
Roddenberry disliked the new version sufficiently that he convinced Ellison to come back and rewrite it again. On December 19 Ellison submitted a further revised teleplay, dated December 1. Justman suggested in a memo that Roddenberry might be able to rewrite the latest version to one which could be usable. Taking this advice in hand, Roddenberry rewrote the script over the Christmas—New Year period, handing in a new version on January 9, His changes included the elimination of the evil version of the Enterprise and the addition of some comedy elements.
Justman was pleased with Roddenberry's changes and told Coon that it was close to being filmable but that he still expected it to exceed the budget for a single episode. Dorothy Fontana was hired as a new story editor, replacing Carabatsos.
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She had previously been Roddenberry's secretary and was well aware of the script's problems from reading the previous versions. When she arrived at work for her first day in her new role, Roddenberry gave her a copy of his revision and told her to try rewriting it. She later referred to that day as "walking into a hornets' nest", and the script itself as a "live grenade". Among the changes in her version was the introduction of the drug cordrazine. Ellison specifically criticized this change, as his most recent version of the script called for an alien creature's venom to cause the symptoms in McCoy.
He said that "Gene [Roddenberry] preferred having an accomplished surgeon act in such a boneheaded manner that he injects himself with a deadly drug! Justman praised Fontana's version, saying that it was the version which was most likely to be shot. But he suggested that it had now lost the "beauty and mystery inherent in the screenplay as Harlan originally wrote it. Still unsatisfied with the script, Roddenberry set about rewriting it once more, entitling the result, dated February 1, the final draft.
Coon and only supervised by Roddenberry. In response, Roddenberry threatened to have Ellison blacklisted by the Writers Guild of America , and the writer was eventually convinced to be credited by name. None of the other writers involved in the work chose to seek credit for the script, since they agreed with Roddenberry that it was important for Star Trek to be associated with writers such as Ellison.
Joseph Pevney was assigned as the director of this episode. He had previous experience in directing full-length films, and later explained that "The City on the Edge of Forever" came the closest episode in Star Trek to that same level of work and challenge, stating that he treated it as a film. He praised Ellison's level of detail in the s setting, and for the general idea behind the episode. The crew were surprised when actress Joan Collins expressed an interest in appearing in the series.
When her oldest daughter was enthusiastic about the show, Collins decided to accept the offer from the studio.
Pevney said "Joan Collins was very good in it. She enjoyed working on the show and Bill and Leonard were both very good to her Using her was a good choice. Although some sources have credited the voice of the Guardian to James Doohan , it was actually performed by Bartell LaRue. The actor later appeared onscreen in the episode " Bread and Circuses ", and provided further voiceover work in " The Gamesters of Triskelion ", " Patterns of Force " and " The Savage Curtain ". Also returning to Star Trek in this episode, was David L.
Galloway and John Winston as Lt. Filming began on February 3, , with an expectation that it would take six days to film. The shoot was completed a day and a half behind schedule on February The shoot began on location at the Desilu Forty Acres , with Pevney aiming to complete all the location filming in a single day in order to complete the episode in the allocated six days. The site had been used previously for the episodes " Miri " and " The Return of the Archons ".
Extensive work was completed during the daylight hours, on the set which had been used for other series such as The Andy Griffith Show , with Floyd's barber shop appearing in some of the shots. The filming continued into the night, and with Pevney running out of time, he was not sure when to stop. The problem was that other series such as Rango and Gomer Pyle had the sets booked up for the next several days, and they were unsure whether they would have time to return and film the missing scenes.
These were used to represent the interior of the mission where Keeler nurses McCoy back to health. DeForest Kelley felt that McCoy should also fall for Keeler;  so Pevney shot the scenes with that element included but never included it in the final cut. The following two days were spent on the same sets, while on day 5 the action moved to the bridge set for the Enterprise. This day's shoot was meant to include scenes in the transporter room and in the Enterprise corridors, but by now the production was a full day behind and these were pushed to the following day.
Part way through day 6, the filming moved to a neighboring set for the exterior ruin shots and the Guardian of Forever, which was used for the next two and a half days. Harlan Ellison long maintained that the ancient ruins were the result of someone's misreading his description in the script of the city as "covered with runes. His work on Star Trek tended to focus on the use of violins and cellos to highlight romantic moments, and he did not use violas in any of his works on the series. It had been licensed to appear in the episode,  and at first, Steiner sought to use motifs from "Goodnight, Sweetheart" as the basis of his score.
He wanted this to be subtle and introduce the melody of the song over time, but Justman realized what Steiner was attempting and rejected it on the basis that he did not want the song introduced too early in the episode. Another work of Steiner's which was rejected for "The City on the Edge of Forever" was an alternative main title track using saxophone and celesta which he had hoped would set the episode in the tone of the s. This was rediscovered when a disc soundtrack of The Original Series was being compiled by La-La Land Records , which they hypothesized was because the accompanying vocals appeared on a separate track.
By the time "The City on the Edge of Forever" was released in the s for home media use, such as on VHS and Laserdisc , the licence for the use of "Goodnight, Sweetheart" had lapsed and was instead picked up by a different studio. Steiner was not contacted or informed of the changes to the soundtrack requirements,  and this was instead composed by J. Since the royalties had been paid, [ citation needed ] all subsequent releases have included the original "Goodnight, Sweetheart" music and with the s scores omitted.
During the second half-hour it remained in second place with A High Definition remastering of "The City on the Edge of Forever", which introduced new special effects and starship exteriors as well as enhanced music and audio, was shown for the first time on October 7, , in broadcast syndication in the United States. It was the fifth remastered episode to be shown. This episode has been held in high regard by those who have worked on Star Trek.
Roddenberry ranked it as one of his ten favorite episodes,  and said it was his favorite alongside " The Menagerie " and the second pilot, " Where No Man Has Gone Before ". Fontana said it was one of her two favorite episodes that she was not credited for, alongside " The Trouble with Tribbles ". The main cast have also said it was among their favorites. Shatner has often chosen either this, or " The Devil in the Dark " as the best episode, saying "'City' is my favorite of the original Star Trek series because of the fact it is a beautiful love story, well told.
They said that having Kirk allow Keeler to die was "horrifying and heart-rending, adding another dimension to his character. Zack Handlen of The A. Club gave the episode an 'A' rating in , describing it as "a justly revered classic". But he said that McCoy's accidental overdose was a "stretch" and gave the episode "a surprisingly awkward start, with little indication of the greatness that is to follow. Handlen suggested that it would have made a better final episode of the season, instead of "Operation: They were concerned that the episode might not live up to the memory when they re-watched it, but said "it remains an incredible episode, often imitated but rarely surpassed in science fiction in any medium.
Keith DeCandido gave the episode a rating of ten out of ten when he reviewed it for Tor. He said that the episode centered on people, which he saw as a common theme among the great episodes of Star Trek. DeCandido supported the view of Spock, that while Keeler's compassionate nature was to be applauded, it was at the wrong time and as war with Nazi Germany was the only way. However, he criticised it as well, saying "complete crock of pseudo-scientific claptrap.
But he felt that it was fearless in comparison to modern science fiction, in that there was no attempt to make it self-aware, nor introduce a comedic character to ground it. Franich said that the ending was "one of the all-time great moments in Star Trek history". The Wrath of Khan: Kirk's reaction before beaming up at the end of the episode is one of William Shatner's most moving moments in all of Trek.
TV included it on a list of ten episodes to watch prior to the launch of the television series , calling it "one of the most heartbreaking episodes" of the series. Justman later said that the submission of the original unfilmed version was out of spite,  and Roddenberry said in response to the victory "many people would get prizes if they wrote scripts that budgeted out to three times the show's cost. Coon reportedly said at the time: