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"Return to Tomorrow"
Star Trek: The Original Series episode
Episode no.Season 2
Episode 20
Directed byRalph Senensky
Written byJohn T. Dugan
Featured musicGeorge Duning
Cinematography byJerry Finnerman
Production code051
Original air dateFebruary 9, 1968 (1968-02-09)
Guest appearances
  • Diana Muldaur – Lt. Cmdr/Dr. Ann Mulhall
  • Cindy Lou – Nurse
  • Frank da Vinci – Lt. Brent
  • Eddie Paskey – Lt. Leslie
  • William Blackburn – Lt. Hadley / Android
  • Roger Holloway – Lt. Lemli
  • James Doohan – Sargon (voice)
Episode chronology
← Previous
"A Private Little War" 		Next →
"Patterns of Force"
Star Trek: The Original Series season 2
List of episodes

"Return to Tomorrow" is the twentieth episode of the second season of the American science fiction television series Star Trek. Written by John T. Dugan (under the pen-name "John Kingsbridge") and directed by Ralph Senensky, it was first broadcast February 9, 1968.

In the episode, telepathic aliens take control of Captain Kirk, Dr. Ann Mulhall (Diana Muldaur), and First Officer Spock's bodies in order to construct android hosts.

This episode was the first appearance of Diana Muldaur in the Star Trek franchise. She appeared again as Dr. Miranda Jones in the third season episode, "Is There in Truth No Beauty?" and as Dr. Katherine Pulaski in the second season of Star Trek: The Next Generation.

Plot

[edit]

The starship Enterprise receives a distress call from an apparently lifeless planet. Upon arrival, a telepathic being named Sargon (voiced by James Doohan) addresses Kirk and Spock as his "children", and invites them to beam down to the planet. Kirk, Spock, Dr. McCoy, and Lt. Cmdr. Ann Mulhall beam to a subterranean vault where the voice of Sargon greets them from a luminous sphere on a pedestal.

Sargon explains that he and two others are the last survivors of their race; their minds, stored in these spheres, have existed here since their planet was devastated by war. Sargon then transfers his mind into Kirk's body and Kirk's mind into the sphere. Sargon explains that he and his companions will need human bodies temporarily, in order to construct android hosts for themselves, and then returns to his orb. Kirk, returned to his own body, declares his confidence in Sargon.

Back onboard the Enterprise, the four meet with Chief Engineer Scott to consider Sargon's request, and Kirk convinces the others with a rousing speech about risk. The spheres of Sargon, his wife Thalassa, and his former enemy Henoch, are brought up from the planet. McCoy supervises as Sargon takes Kirk's body again, and Thalassa and Henoch take Mulhall's and Spock's bodies, respectively. When Sargon and Thalassa become exhausted by the strain of the transference, Henoch instructs Nurse Chapel in preparing a serum that will strengthen the host bodies. Chapel notices that the serum in the hypospray designated for Kirk does not contain the correct formula. Henoch confesses that he intends to kill Kirk, and Sargon with him, in order to keep Spock's body. Henoch then erases Chapel's memory of the conversation.

Manufacture of the android hosts begins. Kirk's body weakens more quickly than the others, requiring additional doses of the serum. Henoch tries to tempt Thalassa into keeping their hosts' bodies, because the android forms will be incapable of sensuality. She in turn tries to convince Sargon, but he collapses. McCoy declares that Kirk's body has died and Sargon is gone. Back in sickbay, McCoy is able to revive Kirk's bodily functions, but has no way to restore Kirk's mind. Thalassa offers to restore Kirk in exchange for McCoy's help in keeping Mulhall's body. When McCoy refuses, she assaults him telepathically, but then has a change of heart and relents. The voice of Sargon commends her, and she realizes that Sargon is using the ship itself as a temporary body. She then informs McCoy that Sargon has a plan, and locks him out of the examination room, after which Chapel marches out of sickbay. McCoy re-enters the examination room and finds that Kirk and Mulhall have been returned to their bodies. However, the spheres have been destroyed, including the one that held Spock's mind. Kirk says that this was "necessary", and asks McCoy to prepare a lethal hypospray for Henoch.

Henoch, who has taken control of the bridge and is terrorizing the crew, reads McCoy's mind and prevents the injection. Henoch then commands Chapel to use the lethal compound on McCoy. She moves as if to comply, but then injects Henoch instead. Henoch boasts that he can just transfer to another body, but finds he cannot due to interference from Sargon. Henoch pleads for mercy, but Spock's body collapses, seemingly in death.

Sargon tells Kirk that he could not allow this. Spock's and Chapel's bodies glow, and Spock revives. Sargon reveals that the injection was not lethal; it was important for McCoy and Chapel to believe it was lethal so that Henoch would believe it also. Spock's mind had been temporarily placed in Chapel's body.

Sargon and Thalassa announce that they will not attempt to build host bodies, but will "depart into oblivion" instead. They make a final request, which is granted: to be allowed to use Kirk and Mulhall's bodies one last time to share a kiss.

Reception

[edit]

Michelle Erica Green of Trek Today writes that the story is "an entertaining and engaging episode about power, loyalty and the struggle between physical and mental pleasures... and because there's an alien in his body, Spock spends a lot of time smiling". Of the characterizations, she adds, "Nimoy appears to be having a wonderful time playing a relaxed, calculating villain, and Shatner portrays Sargon in an amplified booming benevolent voice that makes a nifty contrast to his would-be-Kennedyesque speechifying, expounding on the values that sent humans to the stars".[1]

Green observes, "The skepticism of godlike beings runs very deep on this series", and The A.V. Club's Zach Handlen says on the same theme, "we're dealing with another race of god-beings, but for once, they aren't here to torment Kirk and the rest. This time they actually need help, and it's not because they're bored". Like Green, he enjoys the acting: "Nimoy gets a chance to ham it up here, and it really pays off. He has a half-smirk on his face most of the time, and he makes a great contrast to the somewhat overplayed nobility of Sargon and Thalassa and their love". He gives the episode a B+.[2]

Melissa N. Hayes-Gehrke of the University of Maryland found it "a nearly classic TOS plot, with god-like aliens, beings made only of energy, promises of advanced technology, and the realization that god-like powers are absolutely corrupting". She argued, though, that a "big and frustrating plot hole" is Sargon's dismissal of the idea that Starfleet might build them android bodies. "After all, the Enterprise recently discovered a world populated by advanced androids ('I, Mudd'). In fact, those androids would make anyone a body that they could transfer their mind into. We don't know for sure that those bodies have senses, but it's hard to imagine a human wanting to transfer into one for the purposes of immortality if they were limited in that way. These android bodies seem perfectly suited to Sargon's people, and it's annoying that the lack of series continuity kept it from being mentioned".[3]

Eugene Myers ranked this as a superior example of "several bodyswap/alien possession episodes of the series" in terms of acting: Shatner has a "nuanced performance, walking jerkily as though unaccustomed to legs after eons without a body", while "Nimoy, of course, clearly enjoyed the opportunity to stretch his acting—and facial—muscles, playing out of character ... to smirk, smile, and scheme his way through his scenes".[4] He rated the episode "Warp 6 (on a scale of 1-6)".

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Return to Tomorrow

View on Grokipedia
from Grokipedia
"Return to Tomorrow" is the twentieth episode of the second season of the American science fiction television series Star Trek: The Original Series, created by Gene Roddenberry and produced by Desilu Productions for NBC. Originally aired on February 9, 1968, the episode was directed by Ralph Senensky and written by John T. Dugan, with guest star Diana Muldaur in her first of three Star Trek roles as astro-biologist Dr. Ann Mulhall. In the story, the USS Enterprise, commanded by Captain James T. Kirk (William Shatner), ventures into uncharted space and receives a telepathic guiding the ship to a barren planet destroyed half a million years earlier. There, the crew encounters three surviving energy beings—Sargon (voiced by ), his consort Thalassa (voiced by ), and the antagonistic Henoch (voiced by )—preserved as non-corporeal entities within indestructible spheres. These ancient beings, who once seeded life across galaxies including on , request temporary possession of the bodies of Kirk, (Leonard Nimoy), and Mulhall to construct durable android forms and resume their exploratory mission. Tensions escalate as Henoch, possessing , schemes to retain Vulcan physiology permanently and eliminate his rivals, endangering the Enterprise crew and forcing Sargon to intervene from the ship's computer core. The episode explores philosophical themes of creation, mortality, and calculated , culminating in Kirk's iconic defense of exploration: "Risk is our business. That's what this starship is all about. That's why we're aboard her." Produced during the series' challenging second season amid budget constraints and network pressures, "Return to Tomorrow" highlights innovative visual effects for the energy beings and features practical sets depicting the underground vault, contributing to its reputation as a thoughtful, character-driven installment in the franchise.

Background and production

Episode development

The development of the Star Trek episode "Return to Tomorrow" began with a story outline submitted by writer John T. Dugan in early May 1967, drawing inspiration from a magazine article on advancements in sophisticated and that sparked ideas about non-corporeal entities inhabiting mechanical or biological forms. Dugan expanded this into a full teleplay, but significant uncredited revisions by prompted Dugan—a devout Catholic who clashed with Roddenberry's atheistic worldview—to credit the script under the pseudonym to avoid shared authorship. Roddenberry's changes were most pronounced in the script's conclusion, where he shifted the focus from the aliens persisting indefinitely as benevolent energy entities to a resolution highlighting themes of and the human drive for exploration, ensuring the Enterprise crew's survival and aligning with the series' optimistic . This revision underscored philosophical tensions between spiritual immortality and scientific finality, reflecting broader creative debates during production. Produced as the 20th episode of the second season (production code 051), "Return to Tomorrow" came together amid the series' persistent budget constraints, with per-episode costs hovering around $187,500—pressures that necessitated efficient scripting to minimize expensive location shoots or effects while maintaining narrative ambition under and Roddenberry. The script's core elements, including the ancient Arretian race's existence as disembodied energy capable of possessing human hosts, were crafted to probe deep questions about humanity's origins, the essence of , and the ethical boundaries between organic life and technological augmentation.

Casting

The principal roles in "Return to Tomorrow" were filled by the core ensemble of Star Trek: The Original Series. portrayed , embodying the character's decisive leadership and moral resolve in the face of extraterrestrial threats. played Commander Spock, leveraging his established Vulcan stoicism to depict the logical yet vulnerable aspects of the role. served as , providing the emotional counterpoint through his portrayal of the compassionate physician grappling with ethical dilemmas. A key guest role was awarded to as Dr. Ann Mulhall, a xenobiologist whose character required intellectual authority and personal vulnerability; this marked Muldaur's debut in the franchise, selected to fulfill the script's need for a formidable female scientist capable of holding her own alongside the male leads. Her performance added depth to the episode's exploration of human-alien , influencing the portrayal of Mulhall as both a peer to and and a vessel for ancient consciousness.) Supporting positions featured series regulars George Takei as Hikaru Sulu, Nichelle Nichols as Nyota Uhura, and Walter Koenig as Pavel Chekov, whose brief appearances reinforced the Enterprise crew's operational cohesion without overshadowing the central conflict. Uncredited performers included William Blackburn, who appeared in android makeup as one of the Arretan constructs, enhancing the visual otherworldliness of the alien encounter.) Casting director Joseph D'Agosta opted to utilize existing cast members for alien vocalizations and possessions, such as James Doohan's uncredited voice work as the ancient being Sargon, to maintain narrative intimacy and leverage the actors' chemistry; this approach emphasized the episode's ensemble dynamics, allowing seamless transitions between human and extraterrestrial personas.

Filming and visual effects

The episode was directed by Ralph Senensky and filmed from November 20 to 28, , primarily on Stages 9 and 10 at what is now Paramount Studios in Hollywood. The illusionary possession sequences relied heavily on lighting and to convey the aliens' takeover of human hosts, with director of photography Gerald Finnerman employing cross-lighting techniques in color to highlight the characters' internal struggles and ethereal transformations. Challenges arose during the construction and portrayal of the android bodies intended for the aliens, featuring metallic headpieces and full-body suits that proved cumbersome for performers; William Blackburn, a frequent background player, portrayed one such android and endured extended makeup sessions, with test footage of his application appearing in of other episodes. were handled by prop designer , who created the glowing energy globe serving as Sargon's storage vessel—a large, translucent sphere illuminated from within to suggest contained consciousness—as well as models depicting the cataclysmic destruction of the ancient planet Arret. Budgetary constraints were addressed through innovations like reusing the existing Enterprise bridge set for interior scenes and building the alien vault as a practical interior with minimal external work, allowing the production to simulate the episode's otherworldly environments efficiently within the six-day shooting schedule.

Story and themes

Plot summary

The USS Enterprise detects a mysterious signal emanating from the long-dead planet Arret, a world destroyed half a million years prior with no detectable life signs, prompting Captain to assemble a landing party consisting of himself, , Dr. Leonard McCoy, and exobiologist Dr. Ann Mulhall to investigate. As the team beams down 112.37 miles beneath the surface to an ancient chamber, a telepathic voice identifies itself as Sargon, the sole survivor of Arret's advanced civilization, and hints at a possible ancestral link to humanity. Sargon materializes as a glowing sphere and reveals that two other survivors, his wife and Henoch from the opposing side, also persist as disembodied minds preserved in similar orbs after their race's catastrophic war exhausted their planet's resources. To communicate effectively and pursue their plan of transferring into durable android bodies, the aliens request temporary possession of human hosts; Sargon demonstrates by briefly inhabiting Kirk's body, showcasing immense power that nearly overwhelms the captain's physiology. After deliberation, Kirk, Spock, and Mulhall consent to host Sargon, Henoch, and respectively, allowing the aliens to manifest through them aboard the Enterprise. While Sargon and use their hosts benevolently—sharing visions of Arret's , including humanity's potential origins as their seeded —the strain on the human bodies becomes evident, with vital signs fluctuating dangerously. Henoch, however, harbors treacherous intentions, secretly plotting to permanently claim Spock's Vulcan for its superior strength and telepathic potential, and he manipulates a formula intended to stabilize the hosts in an attempt to assassinate Sargon within . Nurse intervenes by alerting McCoy, who administers a , but the effort causes Kirk's body to fail, leading Sargon to vacate and enter a near-death state. The Enterprise crew races to construct the requested android vessels using the ship's resources, including crystals, while Henoch's rebellion escalates as he assaults McCoy and attempts to eliminate opposition. Sargon, who has transferred Spock's consciousness to via a mind link, coordinates with to overpower Henoch, who is ultimately forced out of Spock's body and destroyed when denied re-entry to his orb. In a poignant reunion, Sargon and briefly repossess and Mulhall to share a final embrace, affirming their love before choosing voluntary oblivion rather than prolonging existence in imperfect forms, thus freeing the hosts. In the episode's conclusion, the Enterprise departs Arret as reflects to McCoy and Scott on the inherent of , declaring that such dangers are the essence of their mission to seek out new worlds and civilizations.

Themes and analysis

The episode "Return to Tomorrow" prominently explores the theme of as an essential component of , encapsulated in Captain 's impassioned monologue to his senior officers: " is our business. That's what this is all about. That's why we're aboard her." This declaration underscores the inherent dangers of venturing into uncharted , where calculated gambles propel human progress, reflecting broader motifs of bold discovery amid uncertainty. The narrative ties this to the spirit, portraying as a modern where pioneers like embody resilience and , much like historical settlers pushing westward in pursuit of —a recurring in the series that symbolizes and reimagined in a cosmic context. Central to the story is the examination of identity and possession, as ancient Arretan intelligences inhabit the bodies of personnel, blurring the lines between self and other. Sargon, the benevolent leader who temporarily possesses , uses the human form to pursue a selfless quest for renewal, demonstrating restraint and ethical consideration despite immense power. In contrast, Henoch's possession of reveals ambition and corruption, as he seeks permanent control and even contemplates murder, highlighting how external influences can erode personal agency and moral boundaries. This dynamic probes philosophical questions about the essence of individuality, particularly when superior minds override Vulcan logic or will, serving as a on the perils of unchecked dominance. Through the character of Dr. Ann Mulhall, an astrobiologist and , the episode advances discussions on gender roles in science during the , depicting her as a competent, high-ranking female officer who contributes decisively to the mission alongside male colleagues. Mulhall's willingness to lend her body to illustrates her professional valor and intellectual parity in a crew otherwise dominated by men, challenging contemporary stereotypes that confined women to supportive positions and foreshadowing greater female integration in STEM fields within the franchise's utopian vision. Her portrayal aligns with Star Trek's progressive yet imperfect efforts to normalize women as authoritative scientists, emphasizing collaboration over subservience in a field historically marked by gender exclusion. Philosophically, the Arretans' ultimate choice to embrace dissolution rather than prolong their ethereal existence evokes themes of mortality and legacy, aligning with the series' humanistic that values finite lives enriched by purpose over indefinite devoid of meaning. Sargon's race, having achieved technological pinnacles only to face planetary catastrophe, opts for peaceful after briefly tasting corporeal renewal, affirming that true legacy lies in ethical and interstellar benevolence rather than . This resolution mirrors Star Trek's core tenet of , where confronting death fosters growth and moral clarity, rejecting god-like aspirations in favor of empathetic, finite existence.

Release and distribution

Broadcast history

"Return to Tomorrow" premiered on in the United States on February 9, 1968, serving as the twentieth aired of the second season of : The Original Series, though it was the twenty-second produced of that season. The episode received a household rating of 18.1, translating to approximately 10.14 million viewing households at the time. International broadcasts of the episode commenced in 1969, with the in the airing it on 17 August 1970; some overseas markets applied minor edits to accommodate local time constraints and commercial breaks. After the series concluded its network run, "Return to Tomorrow" entered syndication in the United States starting in 1971, where standard rotations preserved its original runtime of approximately 51 minutes without significant cuts, thanks to fan advocacy for uncut presentations. The remastered edition, featuring enhanced CGI effects for planetary exteriors and energy manifestations, debuted in syndication during the fall of 2007 as part of the second season's rollout.

Home media releases

The episode "Return to Tomorrow" was first made available on home video in 1985 as part of Paramount Home Video's initial releases of : The Original Series episodes. These tapes featured the original broadcast versions without enhancements, distributed in collections that grouped multiple episodes. It followed with a release in 1991, included in Paramount's complete series sets that offered improved video quality over for collectors. The episode appeared on DVD in the 2004 Paramount Home Entertainment release of the : The Original Series Season 2 box set, containing all 26 episodes of the season in their original form. A remastered edition, featuring enhanced visuals and audio, was issued on DVD in 2008 as part of the Season 2 remastered collection, and on Blu-ray in the 2009 complete series set, which included all three seasons in high definition. These remastered versions incorporated updated visual effects while preserving the original footage. Since the 2021 launch of Paramount+, the episode has been available for streaming in its HD remastered edition, complete with English and bonus features such as deleted scenes and production commentaries from the series' archives. International home media options include Japanese DVD editions released in 2005 by Paramount , which bundled seasons with region-specific packaging and . Digital purchase and rental became available on platforms like starting in 2013, offering the remastered version for download or streaming.

Reception

Critical response

Upon its original broadcast in February 1968, "Return to Tomorrow" received praise for its philosophical exploration of , , and the perils of godlike power, with reviewers highlighting Sargon's ultimate as a poignant reflection on protecting lesser beings. The script was commended for its clever, personality-shifting dialogue evoking classic science fiction authors like , while guest performances—particularly Leonard Nimoy's portrayal of the influenced —were noted for adding emotional depth and variety. However, some critiques pointed to the possession scenes as overly talkative and slow-paced, contributing to a sense of the episode being entertaining yet not particularly memorable. Retrospective reviews have similarly lauded the episode's thematic ambition and strong character moments, such as Kirk's iconic speech on risk-taking, but often fault its execution amid the second season's inconsistencies. Jammer's Reviews awarded it 2.5 out of 4 stars, acclaiming the sensational performances by and as Ann Mulhall/Thalassa, alongside Nimoy's hilarious take on the villainous Henoch, while decrying the clumsy, hammy plot and dated . gave it a B+ grade, praising the balanced moral debates on advanced civilizations' interventions but criticizing Henoch's underdeveloped villainy as unconvincing and rushed, with pacing in suspenseful sequences feeling forced. Muldaur's debut as Mulhall was frequently highlighted as a standout, bringing professional poise and emotional range to the role of a grappling with possession and romance, marking her as a memorable guest star in the franchise. Reactor's rewatch rated the episode 6 out of 10, commending Nimoy's twisted villainy and DeForest Kelley's indignant McCoy for elevating the interpersonal drama, though it noted the plot's rushed resolution, underutilized Muldaur, and now-outdated effects as detracting from its potential. Fan consensus reflects this appreciation for the episode's bold ideas, with an average rating of 7.4 out of 10 based on over 3,700 user votes, positioning it as an underrated gem for its intellectual depth despite production limitations typical of the era.

Awards and nominations

"Return to Tomorrow" was nominated for the Award for Best Written Dramatic Episode at the 21st WGA Awards in 1969, for work aired in 1968, with the nomination credited to writer John T. Dugan. This marked the sole : The Original Series nomination in the category that year. The episode did not win, as the award went to "Hey, Landlord" from the series of the same name, written by Leo Solomon, Ben Gershman, and . The nomination underscored the script's innovative approach to themes of alien consciousness and human vulnerability within television. While the episode itself garnered no further formal awards, it benefited indirectly from the series' broader accolades, including three Emmy wins in for outstanding dramatic series and related categories. In later years, retrospective recognition came through fan-voted rankings for its philosophical depth.

Legacy

Cultural impact

The episode "Return to Tomorrow" has left a lasting mark on through its iconic dialogue and thematic explorations, influencing discussions on risk, tropes, and social issues. Captain Kirk's impassioned speech culminating in the line "Risk is our business. That's what this is all about. That's why we're aboard her" has been widely quoted in motivational and contexts, emphasizing the necessity of calculated risks in pursuit of discovery and . This declaration first appeared in analyses of in and articles on shortly after the episode's broadcast, and it continues to be referenced in modern scholarship on and . The storyline's depiction of ancient, disembodied intelligences possessing human bodies to achieve physical form pioneered body-possession motifs in science fiction, serving as a foundational example for later narratives involving mind transfer and identity crises. This trope is echoed in films like (1999), where interfaces with simulated realities, and episodes of Stargate SG-1, which feature symbiotic alien possessions altering host identities. Aired amid the era, the episode fueled and 1970s media conversations on , , and the of synthetic bodies, linking fictional beings seeking android vessels to contemporaneous real-world advancements and debates in , such as early research and concerns over machine autonomy. Within fan communities, "Return to Tomorrow" has inspired artwork and convention exhibits recreating the episode's android replicas, while scholarly and cultural analyses frequently cite Dr. Ann Mulhall—a and astrobiologist—as an early example of Star Trek's progressive gender representation, portraying a competent female officer in a command role during the .

Influence on Star Trek franchise

Diana Muldaur's portrayal of Dr. Ann Mulhall in "Return to Tomorrow" marked her first appearance in the franchise and directly paved the way for her subsequent roles, as contacted her personally for the part of Dr. in the second season of Star Trek: The Next Generation (1988–1989), where she temporarily replaced as the Enterprise's chief medical officer. This casting choice highlighted Muldaur's established rapport with the production, stemming from her earlier work on The Original Series, and helped set a precedent for actors returning in multiple capacities across the franchise's evolving series, allowing for continuity in guest performances without formal auditions. The episode's exploration of possession by non-corporeal energy beings and ancient alien entities influenced later narratives in the franchise, with similar themes of body takeover and evolved extraterrestrials appearing in Star Trek: The Next Generation's "Power Play" (1992), where ethereal entities possess the crew to escape imprisonment, and Star Trek: Voyager's "Coda" (1997), featuring alien beings who manipulate life-and-death cycles through invasive control. These episodes built upon the foundational concept from "Return to Tomorrow," evolving the motif of ancient, disembodied aliens seeking physical vessels into more complex examinations of ethics, identity, and interstellar intervention. Captain 's monologue on risk-taking in the episode—"Risk is our business. That's what this starship is all about"—encapsulated his bold leadership philosophy and resonated through his in subsequent productions, notably echoed in II: The Wrath of Khan (1982), where Kirk confronts his aversion to mortality and no-win scenarios, reinforcing the theme of calculated peril as central to human exploration. This perspective, first articulated amid the aliens' possession plot, underscored Kirk's willingness to gamble personal safety for greater discovery, a trait revisited in the film's narrative to highlight his growth. The 2007 remastering of The Original Series, which enhanced "Return to Tomorrow" with new CGI effects for the derelict planet, energy manifestations, and android construction sequences, modernized the episode's visual storytelling. The episode's themes continue to influence recent franchise entries, such as the 2025 Strange New Worlds episode "The Sehlat Who Ate Its Tail" (season 3, episode 6), where a young Kirk delivers a line—"Risk is why we're here, isn't it?"—as a prototype of his iconic "Risk is our business" speech from "Return to Tomorrow."

References

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