Matt

I remember "For Love & Honor". I didn't watch it, though. It wasn't on very long at all (September 23, 1983 - December 27, 1983). The networks had prime time soaps out the wazoo in '83. The same season, CBS premiered the short-lived "Emerald Point, N.A.S." (which lasted just about as long) and NBC also premiered "The Yellow Rose" (which also didn't make it past that season, but did warrant a weird repeat run during the summer of 1990. Also on the air during the 1983-1984 season were the standard bearers "Dallas", "Dynasty", "Knots Landing", & "Falcon Crest". "For Love & Honor" aired at 10pm on Fridays and was up against "Falcon Crest" on CBS and "Matt Houston" on ABC. It's lead-in was "Manimal". NBC has never had much success with their Friday schedule. lol

I am SO TOALLY stealing that gif where Dominique slaps Alexis.

I'm in mourning. FortuneCity ditched all their free webpages and switched to being a paid dotster. Lost in the wipe out is the legendary Edge of Night Homepage as well as Daytime Soap Opera Theme Song & Main Titles site. Although neither one had been updated in YEARS, I still found them to be a deep treasure trove of information and both are a GREAT loss to soap opera history.

This biography of Claire Lawrence surprises me because it states that she and husband Jonathan McNeal moved to Selby Flats in CA from Five Points in 1946 -- BEFORE the show left the air in November 1946 (thanks to General Mills dropping the show because of that pesky lawsuit between Irna & Emmons Carlson over creator credit). Considering the biography states that Claire & Jonathan married in October 1946, the move had to have occured right before the cancellation. I had always presumed that the shift in locale coincided with the show's return (under P&G sponsorship/ownership) in June 1947 on CBS (it had previously aired on NBC). Dr. Matthews was still a part of the show's cast, but nothing is mentioned of Claire & Jonathan after the November 1946 cancellation. Interestingly, the 1990s GL Family Album cast list only lists Charles Matthews as being part of the show from 1947-1949. I do know that part of the original 1946 plan for GL was to move produciton of the series from Chicago to California along with the productions of the other block of NBC serials it was a part of, but it was cancelled before it happened. I've heard that when it returned in 1947, it was broadcast out of California for a brief time but then moved to NYC, but I've also heard that the P&G version of GL always broadcast from NYC.

We Love Soaps is reporting that Linda Cook (Laurie Ann Karr) has died.

http://www.welovesoaps.net/2012/04/lindacook.html

We Love Soaps is reporting that Linda Cook (Egypt Masters) has died.

http://www.welovesoaps.net/2012/04/lindacook.html

I LOVED the Capwell Zone episode. That reminds me of a little running thing the show did with replacing its theme song over the opening from time to time with a different song. Quite often, they'd use a Christmas song at Christmas. They used the "Twilight Zone" theme over the Capwell Zone. And the one that I'll always remember (because it always makes me tear up) is that the opening for the episode that began Cruz & Eden's actual wedding ceremony had the bridal march.

In other news: I just discovered that the late Joe Harnell (who wrote the Santa Barbara theme song along with numerous OTHER TV themes including "The Bionic Woman" & "The Incredible Hulk") has quite a bit of his stuff available for puchase on itunes -- including his version of the full SB theme song as well as a piano version!

Dr. Abel Marsh & Leo Mars

Brigette Wilson's Lisa Fenimore was, quite possibly, my FAVORITE part of this era of "Santa Barbara". I still believe that if the show had continued, she could've been the breakout star & character and I'm always surprised that she never turned up on another soap.

Now how did I never know that Julie Mannix was Danielle Von Zerneck's (ex-Lou Swenson, GH) mother?

It always amazes me that Joe Harnell who wrote the Santa Barbara theme song also did the themes to "The Bionic Woman", "The Incredible Hulk", and the original "V". Harnell also did all the background music for Bionic Woman & Hulk included the famed "Lonely Man" closing theme from Incredible Hulk.

I've always wondered what the new opening/theme song for 'Santa Barbara' was going to be like. It was announced that it was in the works and was happening, but then the cancellation was announced & the new opening never appeared.

I always find it amusing to think that Kendall is supposed to be older than Charlie since she was born before the show went on the air and he was born several years after

I've heard/read (although I can't accurately remember the exact source) that one of the doctors in the cast who worked at Cedars in LA (which was supposed to be the in-show analog to Cedars of Lebanon (now Cedars-Sinai). When the hospital opened a branch in the town of Springfield, the doctor (or a couple) moved to work there and other members of the cast gradually followed along until Springfield had completely supplanted Selby Flats as the setting of the show. I've also read that TPTB picked the name "Springfield" because there are more towns named "Springfield" in the US than any other name. I've also heard that the show simply stopped referring to the location as Selby Flats & just morphed the setting into Springfield without any actual explanation. I do know from having read numerous accounts that when Mike & Hope Bauer were transplanted to Another World that they NEVER made any reference to the town the were from mainly do to the fact that the show was, at the time, in the process of changing locales. Whether this was during the transitionary phase where the characters are physically moving or the didn't mention the location because TGL had stopped mentioned the location in prepartion to simply rename the setting Springfield, I don't know.

Ah..okay, makes a bit more sense. Interesting that Irna, who based Edith on herself (some say her daughter was a product of an affair with a married guy) punished someone for the affair, but it was the guy. Can you imagine anyone writing two good people having an affair today, with out one of them being evil or trying to escape an evil wife, etc.

Well, Irna didn't exactly punish them. Irna's original plan was to have Jim divorce Claire and marry Edith, but P&G had a fit because that would've been like awarding the adulterers with happiness and they wouldn't stand for that. Irna pretty much killed off Jim (who was quite popular with the audience) out of spite.

Judge Lowell wasn't Claire's father. He was her father-in-law. Claire was married to Judge Lowell's son Jim (their daughter is Ellen Lowell Stewart). Jim died early on in the show after that scandalous affair with Chris Hughes' sister Edith.

How did you get that script?

ebay, timing, and luck can be lovely things lol

A 1970 script from my collection...

ACT I

CASSEN DEN. MORNING. AT OPENING, JUDGE LOWELL IS TALKING ON THE PHONE. HE HOLDS AN OPENED NEWSPAPER. CLAIRE, LOOKING VERY ANXIOUS, IS STANDING NEAR HIM.

JUDGE

(INTO PHONE) ... Oh? When did Mr. Hughes get my message? I see. Fine. Thank you. (HANGS UP, TURNS TO CLAIRE) Don left his apartment (hotel?) half an hour ago, he's on his way here.

CLAIRE

(INDICATES THE NEWSPAPER) Good. I hope he can tell us more about Tom and the murder than that confused story in the newspaper.

JUDGE

I presume he can tell us a great deal more. He and Chris have been the attorneys on the case almost from the moment the boy was arrested. (LOOKS AT NEWSPAPER, SHAKES HIS HEAD) "Stepson Held for Doctor's Murder". Incredible, absolutely incredible.

CLAIRE

That someone decided to murder Michael Shea? No, Father Lowell, it isn't incredible at all. He was a cruel, hateful man. I'm surprised that someone didn't do it long before this.

JUDGE

Now, now, Claire, you're prejudiced -- you can't judge Michael Shea fairly.

CLAIRE

After the wretched experiences I went through with him, I -- yes, you're right. I can't judge him fairly. I feel nothing but contempt at the very mention of his name.

JUDGE

However, I did not mean that it is incredible that someone murdered him -- I meant that it is incredible that Tom Hughes is the one the police are convinced is the murderer.

CLAIRE

But he's not. Father Lowell. Nothing has been proven... the police only have suspicions.

JUDGE

Claire, I am one hundred percent behind Tom -- our law firm will conduct his defense to the utmost of our ability -- but we must be aware that those police suspicions are based on very solid evidence.

CLAIRE

Solid evidence?

JUDGE

(INDICATES PAPER AGAIN) Tom's record with drugs -- his incriminating confession letter -- the janitor's clear and precise description of the murderer. Yes, I'm afraid they have a most substantial case -- and we will have to put up the fight of our lives if we're going to get the boy cleared.

CLAIRE

(LOOKS AT WATCH, IMPATIENTLY) Where on earth is Don? Maybe he's found something that will make Tom's case look a little more hopeful.

JUDGE

While we're waiting, I could call Chris. He and Don have been working together on this.

CLAIRE

Oh, yes, Father Lowell, call him -- please. Maybe he -- no, wait -- you better not. He's sure to be home with Nancy -- and I can imagine how she must feel right now.

JUDGE

Why not call Lisa?

CLAIRE

She won't be home. I'm sure she and her mother are down at the police station to see Tom. They -- (THE DOORBELL RINGS, FROM THE FRONT OF THE HOUSE)

CLAIRE

Oh, there's Don. _________ (NAME OF MAID, IF ESTABLISHED) will let him in. Father Lowell, you said that Don has been working with his father on Tom's defense. Does that mean he's decided to come back into the firm?

JUDGE

No. Chris and Nancy have been trying to persuade him to do it, but he's just going to be with us on this one case -- and that's only because of his personal interest in his nephew. Then he'll go back to his own -- (BRING IN DON. HE IS WEARING A COAT AND CARRYING A BRIEF CASE)

CLAIRE

Good morning, Don.

JUDGE

Hello, Don.

DON

(REMOVING THE COAT, PLACING THE BRIEF CASE ON THE TABLE) Morning, Claire -- Judge Lowell. Sorry it took me so long to get here -- I stopped by the County Jail to make sure Tom had everything he needed. (FROWNS) It was hardly the most cheerful way to start a day.

JUDGE

(SURPRISED) Tom is in the County Jail? So soon?

DON

(NODDING) They moved him from Central Police Station first thing this morning. Along with nine other prisoners, in one of those ugly black trucks. It looked like a hearse.

CLAIRE

Oh, the poor boy. How was he?

DON

Quiet. Very quiet. (BEAT) On the outside. (BEAT) Inside, he's scared to death.

JUDGE

A pity --

DON

I've known him all his life -- he couldn't hide it from me.

JUDGE

I suggest that we get started, counselor -- we have work to do. And we face a serious problem.

DON

A serious problem?

JUDGE

(INDICATING THE NEWSPAPER AND DON'S BRIEF CASE) The mass of evidence against Thomas Christopher Hughes.

DON

We have a far more serious problem than that.

JUDGE

Oh? What?

DON

(BEAT) Thomas Christopher Hughes himself.

TAKE DON, MORE DEEPLY CONCERNED THAN WE HAVE SEEN HIM BEFORE. TAKE CLAIRE. TAKE JUDGE LOWELL. AND TAKE THEM OUT.

MUSIC: BRIDGE

ACT II

CASSEN DEN. MORNING. A FEW SECONDS AFTER THE PRECEDING SCENE. DON IS CONTINUING HIS TALK WITH THE JUDGE AND CLAIRE.

DON

He simply refused to communicate. With any of us -- on any level.

CLAIRE

Not even with Bob?

DON

Especially not with Bob. He just sat there -- polite, well-mannered, pleasant -- like a polite, well-mannered, pleasant tree trunk -- and wouldn't tell us a thing -- not a blessed thing -- about what happened last night -- where he was -- what he was doing -- who might have seen him at the time of Shea's murder.

JUDGE

Didn't you explain to him that it's almost impossible for an attorney to set up a workable defense unless the accused parties are willing to cooperate?

DON

A dozen times. With absolutely no response -- except to say that what he did, he had to do in his own way. Bob was furious.

JUDGE

He had a right to be. The boy is facing a murder charge and he makes no effort to defend himself. Why, it's the most infuriating thing I ever heard of.

CLAIRE

Yes, it is infuriating. But it's so terribly pathetic, too. When someone has so little need for living that he doesn't even bother trying to survive. Oh, Tom -- that dear, sweet -- hopeless boy.

DON

(BRISKLY, OPENING HIS BRIEF CASE, PULLING OUT LEGAL BOOKS AND PAPERS) Well, it's our job to save his hide -- even if he doesn't want it saved. (SPREADING THE BOOKS AND PAPERS ON A TABLE) I pulled everything out of the law library I thought would help.

JUDGE

Good. Don. The boy is entitled to the best defense we can possibly give him

CLAIRE

(STARTS TOWARD DOOR) I hear coffee sharpens the mind -- I'll go bring some.

TAKE HER OUT. TAKE DON AND THE JUDGE AS THEY START TO LOOK THROUGH THE BOOKS.

JUDGE

(PICKING UP A BOOK) -- The latest rulings on search and seizure. Do you think the police might have been a little over-anxious when they came into Tom's apartment?

DON

(MAKES A NOTE ON A PAD) I'll check on it. But with Lieutenant Robinson on the case, I'd bet that every letter of every law was observed dow to the last semi-colon. He's the sort of fellow who reads the fine print.

JUDGE

What about this janitor -- in case he positively identifies the boy? Is there any new ways we can challenge the validity of that identification?

DON

I was up half the night trying to find an answer to that one.

JUDGE

And...?

DON

And -- nothing. If the janitor picks him out of a legally assembled lineup, he's stuck. The identification is admissible evidence in court. Of course, we can always question the janitor's eyesight -- or his depth perception -- or his -- state of mind at the time.

JUDGE

None of those legal niceties is going to give us any real help, Don, you know that.

DON

I'm afraid I do. What we need most is what he just can't get: the right words from Tom Hughes.

TAKE HIS DEFEATED EXPRESSION,

DISSOLVE TO:

TOM'S JAIL CELL. MORNING. TOM SITS ALONE, HUNCHED FORLORNLY IN A CORNER.

ED'S VOICE

(CALLING FROM THE ADJOINING CELL) Hey! (TOM DOESN'T REACT) Hey, you -- in number 27. (STILL NO REACTION) Hey!

TOM

(FINALLY NOTICES, SITS UP) Me?

ED'S VOICE

You're the only one in 27, they got a policy here of no roommates.

TOM

Hi.

CUT TO ED IN THE ADJOINING CELL. INTERCUT THROUGHOUT THE FOLLOWING, AS REQUIRED.

ED

What's your name?

TOM

Tom.

ED

Mine's Ed.

TOM

Pleased to meet you, Ed.

ED

Same here. Welcome to our exclusive club. Not everybody can get in, you know.

TAKE TOM AS HIS FACE CLOUDS OVER. AND TAKE IT OUT.

MUSIC: BRIDGE

ACT III

TOM'S JAIL CELL AND ADJOINING CELL. MORNING. CONTINUATION OF PRECEDING SCENE.

ED

Hey, Tom -- you like peanut butter sandwiches?

TOM

Peanut butter sandwiches?

ED

Yeah.

TOM

Well, I can take them or leave them alone.

ED

Good.

TOM

Good. Why?

ED

I'll tell you why. When they bring us lunch in a couple of hours, ask for an extra peanut butter sandwich. They'll give it to you -- they're very big on peanut butter sandwiches around here.

TOM

But I don't even like them.

ED

That's the point: I'm crazy about them -- and when you get that extra one, I'll trade you for three candy bars I saved from last week. Okay, Tom?

TOM

Okay, Ed.

ED

Hey, you're all right, kid. I like you.

TOM

Thanks.

ED

(BEAT) You married, Tom?

TOM

No. Are you?

ED

No, I never had the time for it.

TOM

Good for you, Ed.

ED

Yeah. (BEAT) Hey, Tom --

TOM

Yeah.

ED

I'm in here for breaking and entering. I'll be out in a month. What'd they get you on? When'll you be out?

(TOM TENSES. FROWNS, RELAXED MOOD GONE AS HE AGAIN SLUMPS FORLORNLY IN THE CORNER OF HIS CELL)

ED

With some luck, I could be gone in two weeks -- why don't we meet then and I'll buy you a couple of peanut butter sandwiches. (LAUGHS) Tom? (NO ANSWER) Tom? ...Hey, Tom, what's the matter, did I say something wrong? ... Tom? ...

TAKE TOM'S DESPERATE, UNHAPPY EXPRESSION AND TAKE IT OUT.

MUSIC: BRIDGE

ACT IV

BOOKSHOP LIVING ROOM. MORNING, SHORTLY AFTER BREAKFAST. LIZ IS READING A NEWSPAPER ARTICLE ABOUT THE MURDER. BRING IN PAUL FROM THE BEDROOM AREA. HE IS PUTTING ON HIS COAT AND TIE.

LIZ

-- I must have read this article about Tom and Michael Shea a dozen times -- the words are all running together -- and I still can't believe it. (READS) "Grandson of Prominent Attorney Held for Stepfather's Murder." Oh, no, Paul -- it just couldn't happen. (BEAT) But it did.

PAUL

I feel the same way about it. Working in a hospital, you keep seeing strange behavior by people you'd never expect it from -- but after a while you learn to accept it -- to believe that almost anybody is capable of doing almost anything. It's a terrifying thought, but -- (POINTS TO NEWSPAPER) -- well, you're right -- it did happen. (KISSES HER CHEEK) 'Bye, dear. Unless one of my patients decides to germinate a new and previously undiscovered disease, I should be home by five o'clock.

LIZ

Oh, wonderful. I'll pick up some steaks and fix us a lovely --

PAUL

You will do nothing of the kind. When a young lady achieves your condition, she is required only to eat dinners -- not to fix them. Tonight I will prepare the gourmet delights.

LIZ

We'll starve.

PAUL

Now just a minute. My reputation as a chef -- (THERE IS AN ANXIOUS KNOCKING ON THE DOOR, PAUL OPENS IT. BRING IN AMANDA. SHE HOLDS AN OPENED NEWSPAPER)

AMANDA

Liz -- Paul -- did you see this? About --

LIZ

Yes, we saw it. How tragic.

AMANDA

The Hughes family -- they -- they've become my family. They've been so good to me. How -- how could this happen to them? (LOOKS AT THE PAPER) -- "Held for Stepfather's Muder." (TO PAUL) Can they print that? They don't know he did it, do they?

PAUL

They can print the news. If Tom has been arrested on suspicion of murder, they can print that.

LIZ

How is Nancy? The Hughes? When did you hear about this?

AMANDA

Last night. Don brought me home from dinner. We were all in the kitchen -- the family -- having such a nice time when Bob called.

LIZ

Grandpa Hughes? How is he taking it?

AMANDA

I don't know. He'd gone to bed when Bob called. They decided not to tell him last night. I guess he must know by now.

PAUL

You didn't see the family this morning?

AMANDA

No. I left the house early, and had breakfast at the coffee shop. I -- didn't want to be in the way there.

LIZ

I know how you felt. When you're a guest -- no matter how close you are to the family -- there are times when you just don't want to intrude on their private grief.

PAUL

(LOOKS AT HIS WATCH. PATS AMANDA SYMPATHETICALLY) I'm terribly sorry, Amanda. If there's anything I can do -- I'll be at the hospital. (TO LIZ, KISSING HER AGAIN TENDERLY) Have a good day, Liz.

LIZ

You, too, dear. (PAUL EXITS) Sit down, Amanda. You don't have to open the bookshop for a few minutes. Could I fix you a cup of tea? (AMANDA SHAKES HER HEAD AS SHE SITS DOWN) In England, we believe a cup of tea solves everything. (A BEAT) Do you think I should call Nancy? Or do you think every time the telephone rings in the Hughes house they feel a stab of fear?

AMANDA

They might.

LIZ

A note would be better. You could take it when you go home tonight, couldn't you?

AMANDA

Yes. (A BEAT) Imagine -- arresting Tom Hughes. He's the least violent person I've ever met.

LIZ

Well, they say that under certain conditions anyone is capable of violence. How do we know what pressures Tom may have been under?

AMANDA

Liz, are you implying he really did this? (INDICATES THE PAPER)

LIZ

No, of course not, I'm just saying that you can't rule it out. (A BEAT) I've known for some time now that all wasn't well with Tom -- so has his family.

AMANDA

Well -- yes. I knew that, too.

LIZ

Ever since I first came to America and stayed at teh Hughes' home there have been problems with him. When I moved in, he moved out, you know. He refused to share a room with his father.

AMANDA

But that doesn't mean --

LIZ

It means that he could be a very disturbed young man. And he was in Vietnam and he was wounded. Who knows what the war may have done to him?

AMANDA

In many ways, he and Donald are so much alike. Nancy calls them the "different" ones in the Hughes family.

LIZ

Yes, they're "different" all right. Don is the only one of Nancy's children who really broke away.

AMANDA

I don't think any of them have ever felt it necessary to "break away". They're adults. They can accept their parents as friends -- and love them as equals. You only run away from a family when you've never learned to accept them as people -- not just authority. I think Chris and Nancy have been strong, wise parents.

LIZ

Their strength didn't work with Tom.

AMANDA

Well, in Tom's case they're only his grandparents. I guess Tom is the product of a broken home, wouldn't you say?

LIZ

And a broken home has produced -- this -- ? (INDICATES NEWSPAPER. AMANDA FROWNS, SAYS NOTHING) My goodness, look at the time.

AMANDA

Didn't you say you have an appointment?

LIZ

I do indeed -- for two-thirty. I don't think I can make it.

AMANDA

Certainly you can, if you hurry. I'll get your coat. (AS AMANDA GOES FOR LIZ'S COAT, LIZ LOOKS UNEASY AND CONCERNED. AMANDA BRINGS BACK THE COAT, HOLDS IT FOR HER) Here, now take a cab and you'll be fine.

LIZ

Frankly, Mandy, I'm not sure I want to keep the appointment.

AMANDA

Why? Isn't it important to you?

LIZ

(BEAT) I really don't know whether it has any value for me or not. (BEAT) I really don't know. (MAKES HER DECISION) Well, at least it's a nice day to get out in the fresh air -- so sure, I'll go.

TAKE HER. TAKE AMANDA, PUZZLED. AND TAKE IT OUT.

MUSIC: BRIDGE

ACT V

BOB'S OFFICE. MORNING. BOB AND DAVID ARE GOING THROUGH A STACK OF MEDICAL HISTORY FOLDERS ON THE DESK. BOB LOOKS VERY TIRED.

DAVID

... Dr. Dixon has offered to look out for all of Dr. Shea's office patients until other arrangements are made. He's familiar with many of them anyhow.

BOB

(INDICATING A GROUP OF FOLDERS) Fine. And I'll take over this batch -- A through G. (A GRIM SMILE) A pretty cold-blooded way for a doctor to parcel out responsibility for a lot of human lives, isn't it? Alphabetically.

DAVID

Why not? If a patient is lucky and keeps getting the right doctor, he could live forever. (INDICATING ANOTHER GROUP OF FOLDERS) I'll take these -- H through R.

BOB

You know, David, I wonder how the patients feel when the doctor they've always believed in and counted on turns out to be just as mortal -- and weak and vulnerable -- as they are.

DAVID

If you're asking me what they're going to think about Dr. Shea's murder --

BOB

That's exactly what I'm asking you.

DAVID

Well, I'm sure they're going to be quite upset and disillusioned, more than if he had died a -- more conventional death. It will have a depressing effect on morale here in the hospital and we may even lose a few patients. But --

BOB

But?

DAVID

In a couple of months it will all be forgotten and everything will be back to normal, because deep down, the patients knew all the time that doctors die just like everyone else. They just didn't want to admit it. It's simply a matter of -- (THE TELEPHONE RINGS. BOB PICKS IT UP, ANSWERS)

BOB

Dr. Hughes... Oh? ... Miss Thompson? How long ago? All right, put in a call for the emergency oxygen equipment, I'll be right down. (HANGS UP, STARTS TO EXIT. IN HIS FATIGUE, HE TRIPS, ALMOST FALLS, RECOVERS)

DAVID

(HELPS HIM) Bob, you haven't had any sleep since -- Shea was killed. Go home and get to bed, I'll follow up with your patient.

BOB

Thanks, David -- but no. Miss Thompson is my patient. I have to follow up with her myself.

DAVID

I'm a pretty good doctor.

BOB

(GRINS) Would you let me do it for you -- even if you were twice as tired as I am?

DAVID

(BEAT, THEN GRINS) Come on, Doctor -- I'll help you in case you try to fall down again.

TAKE THEM AS THEY EXIT.

DISSOLVE TO:

MISS THOMPSON'S HOSPITAL ROOM. A COUPLE OF MINUTES LATER. MISS THOMPSON IS IN BED, BREATHING HEAVILY. BOB STANDS BESIDE HER, LISTENING THROUGH HIS STETHOSCOPE, DAVID NEARBY.

DAVID

What do you think?

BOB

I don't know -- it's strange. She's terminal -- and she knew it. But for weeks she's been fighting to stay alive, as though she had some unfinished business in life. (BEAT) But now she seems different -- I almost feel that she's somehow reached her goal and has no more reason to keep on fighting.

TAKE MISS THOMPSON. TAKE BOB. AND TAKE IT OUT.

Wish this was in English, but still a cool entrance for Eden!

Ha ha! I *knew* I remembered that Eden's first appearance was parachuting into Santa Barbara (a short bit after the premiere because Marcy was still tied to AMC). I kept telling people and telling people but NO ONE would believe me! I've been dying to see this ever since just to be certain that I'd seen it and I hadn't made it all up in my head!

you should check ebay. I know there's a seller on there who often has NEW t-shirts with the Santa Barbara and 70s Another World logos on them.

Here is a transcription of the vintage "The Doctors" script I have in my collection...

On the Cover Page:

EASTERLY PRODUCTIONS

Production #1365

THE DOCTORS

WRITTEN BY: RITA LAKIN

DIRECTED BY: ROBERT MYHRUM

PRODUCED BY: ALLEN POTTER

TAPE DATE: WEDNESDAY, FEBRUARY 21, 1968

AIR DATE: Friday, FEBRUARY 23, 1968

Page 2...

CAST

DR. MATT POWERS

DR. MAGGIE POWERS

DR. NICK BELLINI

DR. ALTHEA DAVIS

PHILIP TOWNSEND III

NATHAN BUNKER

POWELL

SETS

1. BOARD ROOM

2. ANTEROOM

3. PERMANENT

The actual script...

FADE IN:

MAIN TITLE

ANNCR: (VO)

And now... THE DOCTORS... dedicated to the brotherhood of healing...

FADE OUT:

COMM. #1

ACT ONE

FADE IN:

PERMANENT

SHORT TIME LATER

(NICK IS AT THE DESK, TALKING INTO THE PHONE. HE HOLDS A WRITTEN MESSAGE)

NICK:

...I'm sorry I didn't get back to you sooner, Dr. Crawford, but I've been.. in a meeting. Look, I got your message here about the research seminar. I'll be glad to attend. Yeah, thanks -- Put me down for that date. (FROWNS) Yeah -- things are just great around here. Bye!

(MAGGIE ENTERS)

(HANGS UP PHONE) Maggie.

MAGGIE:

Hello, Nick.

(DEEPLY CONCERNED)

How is the hearing going? Is Matt all right?

NICK:

Matt's okay, but the hearing's miserable.

MAGGIE:

(ALARMED) Why? What happened? What went wrong?

NICK:

What went wrong was me. I blew the lid off everything. Between Bunker and that stiff-necked Philip Townsend, I got so mad I told everybody off.

MAGGIE:

O.K. Break it to me gently. What did you say?

NICK:

I told them that what happened with me and Althea was our own doing and how could they blame Matt for it?

MAGGIE:

But that's the truth. (PAUSE) I know. It wasn't what you said -- it was how you said it.

NICK:

(FORLORNLY) I owe you and Mat an apology. If Bunker wins out and Matt gets fired, I'm the one to blame.

MAGGIE:

No, Nick. Give the board the benefit of the doubt. They're good when they have no axe to grind. They'll realize that one one -- not Matt or you or Althea... ought to be punished for what happened.

NICK:

(NOT CONVINCED) Sure -- but Bunker is out for blood and I don't think truth or plain horse sense is going to sidetrack him.

MAGGIE:

Who's testifying now?

NICK:

Althea, I guess. She went in right after me and she hasn't come out yet. I don't envy her -- that seat she's in is a hot seat!

CUT TO:

BOARD ROOM

SAME TIME

(ALTHEA IS BEING QUESTIONED BY THE BOARD. BUNKER IS WATCHING CONFIDENTLY, MATT IS OBVIOUSLY WORRIED)

PHILIP:

... Dr. Davis, do you know why Elizabeth Wilson moved out of your apartment so abruptly -- after all those months of a pleasant, congenial relationship?

ALTHEA:

Yes. (SHE STOPS)

PHILIP:

Go on, Dr. Davis.

ALTHEA:

You know the facts. She was angry and hurt. Her engagement was broken off because of my pregnancy.

PHILIP:

How did you feel about that, Dr. Davis?

ALTHEA:

How was I supposed to feel? Rotten! I never intended to hurt her.

POWELL:

But you did, didn't you. By your questionable behavior, another person was driven to destructive acts.

MATT:

Just a minute. Aren't you taking this a little far?

PHILIP:

I see where Mr. Powell is going.

MATT:

Well, I don't.

PHILIP:

No action stands by itself. What Dr. Davis did affected Miss Wilson. What Miss Wilson did in running away and ending up on a twelfth story ledge affected all of Hope Memorial.

ALTHEA:

That's not fair. What I do is my own business. Liz...

PHILIP:

(OVERRIDING) Is it, Dr. Davis? You are employed by this hospital. This hospital is here for one purpose and one purpose only. To serve the people of this city.

ALTHEA:

But I'm a good doctor....

PHILIP:

No one has questioned your ability.

ALTHEA:

But you are... By innuendo.

PHILIP:

I am merely saying that your behavior with Dr. Bellini was not in the interests of this hospital.

ALTHEA:

And I say again, what I do in my private life is my business.

BUNKER:

May I, Mr. Townsend?

(PHILIP NODS)

(TO ALTHEA) People in public service have no private lives. People look to you for help and solace. How can they look up to you if your emotional behavior is tarnished... Sordid by all moral standards.

ALTHEA:

How dare you say that to me...

MATT:

Easy, Althea... Take it easy.

ALTHEA:

How dare he twist my actions like that. What Nick and I had... No, you have no right to say those things to me. You have no right to sit in judgment of us. Are you so noble? Is your life so perfect... Have you never made any mistakes...?

PHILIP:

(RAPS GAVEL) Dr. Davis. We have already been through the histrionics of your colleague, Dr. Bellini. You might spare us more of the same.

MATT:

Now look here, Philip.

PHILIP:

(LOOKS AT WATCH) Can it wait, Matt? We've been in session for almost two hours. I suggest that we take a short break. We'll meet back here in exactly ten minutes.

(RAPS GAVEL AGAIN, RISES, STARTS TO EXIT)

(THE OTHERS ALSO EXIT. MATT GOES TO ALTHEA, PATS HER COMFORTINGLY ON THE ARM)

ALTHEA:

(WITH A WAN SMILE) How am I doing, Coach?

MATT:

Fine -- just fine.

ALTHEA:

Sure.

(MATT FORCES AN ENCOURAGING SMILE AT HER)

FADE OUT

COMM. #2

ACT TWO

FADE IN:

SHORT TIME LATER

(BACK END OF PERMANENT)

(MAGGIE IS WAITING FOR ELEVATOR. MATT ENTERS AND CROSSES TO WATER COOLER)

MAGGIE:

Oh -- Matt! Is it over?

MATT:

No, we're just taking a break. I thought I'd better come out and check my messages.

(LEAFS THROUGH THE MESSAGES HE TAKES FROM THE DESK)

They haven't even got to me yet, they're still working on Althea.

MAGGIE:

How's she doing?

MATT:

Bunker and Philip Townsend are putting the pressure on her. They're rough.

MAGGIE:

Where is she now?

MATT:

She went to the lounge -- said she wanted to be alone with her thoughts for a few moments.

MAGGIE:

Poor Althea. I can understand why Bunker is doing it -- if he breaks her down, it's a way of getting at you. But Philip Townsend -- why would he want to give her a bad time?

MATT:

We both know that Philip Townsend the Third is the most moral, straight-laced, self-righteous individual in town.

MAGGIE:

(GLUM) Yes.

MATT:

And since Althea hasn't lived up to his idea of what's right -- therefore she's all wrong.

MAGGIE:

But it's so unfair! Nothing is all that black or white. Where are the shades of grey?

MATT:

I'm afraid he won't allow for them. Look -- he's not the chairman of the hospital board by coincidence -- As the grandson of the founder of Hope Memorial his word is law.

MAGGIE:

But he's not the only member of the board -- won't some of those other men stand up against him?

MATT:

It's the Townsend money that keeps this hospital going. When he talks, they listen.

MAGGIE:

Then Bunker is bound to win.

MATT:

Maybe not. Whatever his faults Philip Townsend has a strong sense of justice. It's part of what he calls his "moral fibre". He'll always listen to both sides of a question and he'll never reach a decision unless he's absolutely convinced that it's the right one.

MAGGIE:

Do you think we still have a chance?

(PHILIP ENTERS)

PHILIP:

Matt, we'll be ready to reconvene --

(CHECKS HIS WATCH AGAIN)

-- in exactly a minute. Please don't be late -- you know how I feel about starting my meetings on time.

MATT:

Right, Philip -- I'll be there.

PHILIP:

Thank you.

(TO MAGGIE, VERY FORMAL AND COURTLY)

Good afternoon, Dr. Powers. How nice to see you.

MAGGIE:

It's nice to see you,Mr. Townsend.

(PHILIP STARTING TO EXIT, LOOKS AT HIS WATCH AGAIN)

(HE EXITS. MATT AND MAGGIE GRIN AT ONE ANOTHER)

MATT:

See what I mean? A very precise man.

MAGGIE:

(GRINS) Precisely! (THOUGHTFULLY) And you're right, Matt -- maybe we do have a chance.

(MATT HURRIES TOWARD THE BOARD ROOM)

CUT TO:

BOARD ROOM

SAME TIME

(THE PARTICIPANTS, INCLUDING BUNKER AND ALTHEA, ARE TAKING THEIR PLACES. PHILIP ENTERS, GOES TO HIS CHAIR AT THE HEAD OF THE TABLE. MATT AND A COUPLE OF THE BOARD MEMBERS ENTER, SIT DOWN)

PHILIP:

(CHECKS HIS WATCH, WAITS AN INSTANT, THEN RAPS HIS GAVEL)

This hearing is now in session again. (TURNS TO ALTHEA) Are you ready to resume, Dr. Davis?

ALTHEA:

Yes.

PHILIP:

Very well then.

(CONSULTING A SMALL NOTE PAD)

According to my notes, before we broke Dr. Powers was about to make a statement. Matt?

MATT:

No, that's all right -- I'll save it for later.

PHILIP:

Are there any other questions for Dr. Davis?

BUNKER:

Yes, a very brief one, if I may.

PHILIP:

Go ahead.

BUNKER:

Thank you. (TO ALTHEA) Dr. Davis --

ALTHEA:

(WARILY) Yes, Mr. Bunker?

BUNKER:

When you found that you were pregnant, did you know immediately that Dr. Bellini was the father?

ALTHEA:

(ANGRILY) Of course!

BUNKER:

Knowing this, did you ever consider marrying him?

ALTHEA:

(A PAUSE, THEN)

No. No, I didn't.

BUNKER:

Could you have married him?

ALTHEA:

Yes, I could have. But I didn't want to.

BUNKER:

Why not?

ALTHEA:

That's my business. Not yours.

BUNKER:

Dr. Bellini wished to do the right thing for you and the child, yet you preferred being an unmarried mother and allowing your baby to be born with the stigma of being illegitimate!

ALTHEA:

Stop it. This is the twentieth century. People don't feel that way any more. People shouldn't marry because they have to. There's love... and feelings... and needs...

(SHE BREAKS OFF)

BUNKER:

Weren't you being selfish, Dr. Davis? You were only thinking about yourself... how you felt about it -- what you wanted to do -- not the inevitably harmful effect on the child!

(BEFORE ALTHEA CAN ANSWER, TO PHILIP)

That's all the questions I have at the moment, Mr. Townsend.

(TO ALTHEA, PLEASANTLY)

Thank you, Dr. Davis, you've been most informative.

FADE OUT

COMM. #3

MIDDLE BREAK

ANNCR: (VO)

The second half of THE DOCTORS is brought to you by...

(DISSOLVE TO COMMERCIAL CARD AND TEN-SECOND BILLBOARD)

COMM. #4

ACT THREE

FADE IN:

BOARD ROOM

CONTINUOUS

(ALTHEA FACES THE BOARD, WAITING FOR MORE QUESTIONS)

POWELL:

Dr. Davis, when you found that your pregnancy was becoming a difficult one and that you needed treatment, why did you choose to go to the Medical Center at Harrington?

ALTHEA:

I couldn't very well come here to Hope Memorial.

POWELL:

(OVERRIDING) No you certainly couldn't. I would just like to comment on Dr. Davis' choice of words -- revealing her own recognition that her situation was indeed an indication of the shame she felt --

MATT:

That's unfair. It was out of consideration for Hope Memorial that she went elsewhere.

ALTHEA:

(FURIOUSLY) Harrington has an excellent reputation. We weren't going to some shady underhanded place. We were merely going some place other than Hope. That's why we picked it.

POWELL:

I see. Thank you -- that answers my question.

BUNKER:

(RAISING HIS HAND)

Mr. Townsend --

PHILIP

Yes, Mr. Bunker?

BUNKER:

I'm a little surprised that Mr. Powell didn't pursue his question further. Dr. Davis' answer contained some interesting implications.

PHILIP:

For example?

BUNKER:

For one thing, did you notice that she said "I guess that's why we chose that particular hospital." To whom does she "we" refer to, Dr. Davis?

ALTHEA:

I -- I didn't realize I'd said "we".

BUNKER:

Oh, yes, you said "we," Dr. Davis, I assure you. We all heard it over and over again. And "we" implies that you didn't make your choice of a hospital alone. Now, who was the other party who helped you with the decision?

(ALTHEA REFUSES TO ANSWER)

Could it have been Dr. Bellini? No -- he knew nothing about the problems you were having. Elizabeth Wilson? No -- she had already moved out of the apartment and the two of you were hardly on the friendliest of terms.

PHILIP:

Mr. Bunker, I assume you have a purpose in this line of questioning.

BUNKER:

I certainly do, Mr. Townsend. I'm getting to it now.

(TURNS TO ALTHEA)

Dr. Davis, who was the person who helped you with this choice -- who worked, so to speak, in collusion with you to shield your condition from the people with whom you normally associated?

ALTHEA:

Why do you keep harping on that? I told you -- I went to Harrington because it's a fine hospital, that's all there is to it!

BUNKER:

Not quite, Dr. Davis. I submit that your confederate in this scheme to prevent your pregnancy from becoming public information was Dr. Matthew Powers!

(AS SHE REMAINS SILENT)

Was it, Dr. Davis? Was it Dr. Powers who helped you to find a small, private, out-of-the-way hospital where what you ahd done could be successfully hushed up? Answer me, Dr. Davis!

MATT:

(JUMPING TO HIS FEET)

Leave her alone, Bunker! Stop badgering her.

PHILIP:

(RAPPING HIS GAVEL)

Matt, sit down!

BUNKER:

(IGNORING THE GAVEL)

All I want from her is the truth!

PHILIP:

(POUNDS THE GAVEL HARDER)

Gentlemen -- quiet! Gentlemen!

MATT:

(DOESN'T REALLY HEAR HIM)

Your kind of truth!

PHILIP:

(POUNDING THE GAVEL STILL HARDER)

Dr. Powers! Mr. Bunker! Let's not turn this hearing into a brawl! Now quiet down -- both of you!

MATT:

(SITTING DOWN) I'm sorry, Philip. It won't happen again.

BUNKER:

Yes, I appologize, Mr. Townsend. I'm afraid I lost my temper.

(TURNS TOWARD MATT)

I hope you will accept my apology, too, Dr. Powers.

(AS MATT NODS, GRUDGINGLY)

Thank you. Sometimes I get carried away.

(MATT REACTS ANGRILY, STARTS TO ANSWER, THEN THINKS BETTER OF IT AND REMAINS SILENT)

PHILIP:

Can we get on with the hearing now? Quietly and orderly? And with no further demonstrations?

(MATT AND BUNKER NOD THEIR AGREEMENT)

Mr. Bunker, you were making a point in reference to Dr. Davis and the Medical Center at Harrington.

BUNKER:

Yes. I would like to repeat my original question. Dr. Davis, was Dr. Powers a party to your decision to go to Harrington?

(ALTHEA, AN UNHAPPY GLANCE AT MATT, THEN:)

MATT:

I'll answer your question -- yes.

BUNKER:

You see how simple it was?

(TURNS TO PHILIP) I have no further questions in this area, Mr. Townsend. I merely point out that Dr. Powers' collaboration with all the cloak-and-dagger maneuverings, is clear proof that he was well appraised of, in fact -- a party to -- the illicit activites that were taking place at Hope Memorial.

PHILIP:

Anything else, Mr. Bunker?

BUNKER:

No -- nothing. I've heard everything from Dr. Davis that I need to hear.

PHILIP:

Do the members of the board have any more questions?

(THEY SHAKE THEIR HEADS)

Then that will be all, Dr. Davis. Thank you for coming.

(ALTHEA GLANCES FORLORNLY AT MATT, WHO TRIES TO SMILE ENCOURAGINGLY AT HER. THEN SHE EXITS)

PHILIP:

Who is your next witness, Matt?

MATT:

(RISING, MOVING TOWARD THE WITNESS CHAIR)

I am.

(CAMERA MOVES IN ON MATT AS WE:)

FADE OUT

COMM. #5

ACT FOUR

FADE IN:

ANTEROOM

SAME TIME

(ALTHEA IS STANDING IN FRONT OF THE DOOR TO THE BOARD ROOM, FROM WHICH SHE HAS JUST EXITED, MAGGIE ENTERS, HURRIES TO HER)

MAGGIE:

Althea, I was worried about you. Are you all right?

ALTHEA:

I -- I guess so. Oh, Maggie, what a shambles -- I said something then they twisted it around and then I lost my temper and made it worse. I know I hurt Matt, I'm sure of it... and Nick and Liz and myself and the whole hospital --

MAGGIE:

(HER ARM AROUND ALTHEA, TO COMFORT HER)

If you told the truth, that's all anybody could ask of you.

ALTHEA:

(IRONIC) Truth... It's like the old story of the 5 blind men who were asked to describe an elephant -- each one "saw" a different kind of truth! Townsend -- Bunker -- they made everything I said sound tawdry. Why?

MAGGIE:

I don't know. Maybe it's because they see so much cheapness and dishonesty around them so they see it even when it isn't there. (PAUSE) Come on, old friend. Let me get you a cup of coffee.

(THEY GO OFF TOGETHER -- BOTH VERY DOWN)

CUT TO:

BOARD ROOM

SAME TIME

(MATT IS SEATED IN THE WITNESS CHAIR, FACING THE BOARD)

PHILIP:

Matt, I'd like to say something before you begin. From what I heard from Dr. Bellini and Dr. Davis, I see no recourse other than to have them both dismissed.

MATT:

Philip...

PHILIP:

Hear me out. These two doctors, members of the staff of Hope Memorial engaged in illicit physical acts which brought about the pregnancy of Dr. Davis. It was fortunate -- and I regret having to say such a thing -- but it was fortunate for Hope Memorial that Dr. Davis lost her child.

MATT:

I must protest...

PHILIP:

Wait, Matt. Fortunate in that the hospital was spared the embarrassment of having one of its staff ministering to her patients in an advanced state of pregnancy. Dr. Davis commented on this being the twentieth century. Yes, it is the twentieth century and we have with us threat of atomic annihilation and space flights to the moon, but in the area of morality, we are still, perhaps in your eyes, primitive people. But old fashioned morality still exists with most of us. And I say, thank heaven for it. I believe it is all we have to save our civilization form ruin. I would like to ask you what you would have done if Dr. Davis had not lost her child.

MATT:

I had Dr. Davis' resignation in my desk drawer. I would have brought it to you and asked that you not accept it.

PHILIP:

But we would have. Would you have let her go?

MATT:

I would have fought you on it.

PHILIP:

At the risk of your own job?

MATT:

Yes.

PHILIP:

Why, Matt?

MATT:

You talked a moment ago about atomic annihilation and space flights. Oh, yes indeed we live in an advanced civilization and you say morality is our only hope. I say it is not so much morality, it is the right of each individual to live his life in the best manner he knows how. I say the hope of the world lies with the individual. He must be his own judge of his own acts and he must be responsible for these acts. You spoke, too, of Dr. Davis' acts affecting Liz Wilson's behavior. No, I don't agree with this. Liz Wilson made her own choices -- right or wrong. Althea Davis cannot be condemned for what Liz Wilson chose to do to herself.

(PAUSE) Yes, I kenw about Dr. Davis' pregnancy and I concealed this information from you. But I too was behaving as an individual responsible for my own decisions. These two doctors are fine people and fine physicians. There is no way to measure the amount of care and service they have given unstintingly to their patients over the years. And not once when they administered aid to a patient did they sit in judgment of that patient... They did not say to the man at the edge of death on an operating table -- but do you deserve to live? What kind of citizen have you been? Whom have you harmed? What kind of morality do you practice? They worked efficiently to save his life. Who are we to make any value judgments about other people? There is an almighty God to sit in final judgment. It is not for mortals. Surely I don't have to remind you of the words in the Bible -- "Who that is without sin among you, let him first cast a stone..." Bunker. This hearing came about because you wanted me to lose my job. In so doing you were willing to let two fine doctors lose their life's work. Surely that is a sin in itself. A kind of immorality. You are without charity or humility. Wanting revenge is also an immoral act. How many more things have you done through these years in the name of your newspaper, have been cruel, immoral, mindless destructive acts? And who is to stand in judgment of you? So, what you say here today in essence is this -- Dr. Althea Davis and Dr. Nick Bellini were caught. Therefore they should be punished. Like the motorcycle policeman who let five others speed by, but ticketed the one he caught. No I won't go by these arbitrary rules of right and wrong you set up here today. I will not easily let you sacrifice the careers of two fine doctors. I will not let you throw down the drain years of selfless dedication to medicine. Not without a fight. And if you feel they deserve to go, then so do I. I do not condone whatever they did in their private lives, but nor will I condemn them. I have no more to say. Do what you will.

(MATT STEPS DOWN AND WALKS OUT. ALL LOOK AFTER HIM, DEEPLY MOVED)

FADE OUT

COMM. #6

I've only seen it going for big amounts of money.

Is there anything interesting in it?

To be honest, not much. What was cool about it was that it was a collection of all the SOD synopses for the full year with (I think) a few other interviews and features mixed in (I'd have to dig my copy up and look at it since it's been awhile since I've read it). SOD did those with several other series, but I *think* the only ones I've actually seen are ATWT, AW, and DAYS. The ATWT seems to pop up on ebay far more often than any of the other series, though. I don't think I really paid that much for mine (definitely not more than $20 and I really doubt it was even that much, probably in the $10 range or under).

I never realized that 1977 ATWT SOD Special was that hard to get. I've had my copy for a few years now. lol

I've read several times (although I forget the exact sources) that the original plan for the ending of AW was supposed to have included Rachel opening the front door to McKinsey's Iris, returning to Bay City, but McKinsey was too ill at the time to appear (as it was around the time of her kidney transplant), so the idea was scrapped.

From what I've read, Pam was never actually ment to come back. It was just the code TPTB used when they were recasting Iris. All of the auditions for Pam were really for Iris.