Matt

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.

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.

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.

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

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.

Well, the new comics should be very true to the show because they are considered "in continuity" and a direct continuation of the show, set in (I think) 1972. Also, if I'm not mistaken, the writer also wrote a series of in continuity DS books or radio dramas (I forget which), which helps to show his deep background with the property.

The comic book version of Dark Shadows is being produced by Dynamite Comics who has a TON of official licenses for comics (Green Hornet, Bionic Man & Bionic Woman, Lone Ranger, etc.) and is only up to issue #2. I don't particular care for the art style, myself (it's a bit too "scratchy/sketchy" for my tastes), but the characters look DEAD ON the actors. You can instantly tell who's who. The series is written by Stuart Manning who actually RUNS collinwood.net with art by Aaron Campbell. Personally, I'm all about the Francesco Francavilla variant covers because they look so awesomely retro.

I have a script for a 1968 episode (#1365) in my collection that I pulled out and looked at recently and I noticed something I've never noticed (nor ever heard reference to) before. Right above the production number on the cover page in the upper right hand corner is "Easterly Productions". I've never heard of them. I wonder if it's the specific production company who produced the show for Colgate-Palmolive. I wonder what happened to them. Oh, and for the record, Episode #1365 was taped on Wednesday, February 21, 1968, and aired on Friday, February 23, 1968. Rita Lakin is listed as the writer. Robert Myhrum is the director. Allen Potter is the producer.

I have a question and I'm not sure what thread to stick it in, so this seems as good as any. Does anyone know when the soaps (in general) or P&G (in particular) began to produce their soaps on their own? Everyone knows that ATWT, AW, SFT, etc. are P&G soaps, but for years they (and other "sponsored owned" soaps & TV shows) were produced by the advertising agencies FOR the sponsors. I have a 1970 ATWT script and on the cover page it lists the agency as Young & Rubicam, Inc (as does the script for the 1st episode of AW). P&G is mentioned no where on either script.

Well, clearly all of this Connie story is before she married Carolyn's ex-husband Dwight Kramer and then stood by him as he sued Carolyn for custody of their son Skippy. It is obviously before Carolyn married attorney Miles Nelson (who represented her in the custody suit) and moved to Maridian prior to Miles being elected governor.

I don't know how I've never seen this before, but I just found it the other day and it was new to me, so I thought I'd share. It's a fanvid montage of the entire history of the show (loaded with clips) set the an orchestrated medley of nearly all the important theme songs (it's missing the early 70s one). Apparently, it was done by the Italian fansite of "Sentieri" (a.k.a. GL in Italy). I literally wept several times while watching.

WoST only had the FRFP opening. As luck would have it, I actually have the entire theme song for FRFP. Here's an mp3 to download from mediafire --- http://www.mediafire.com/?mricll53r0yjb57

Nope. I've never seen a single episode of either it or For Richer, For Poorer.

Weekly newspaper synopses... Week of January 3 - 7, 1977 (Debut Week) The middle-class Saxton family moved next door to the wealthy Cushing clan. The Saxtons include mother and father Josie and Lester (a reformed alcoholic), their children Rhett (who has an old flame, Connie Ferguson), Jason, Bentley, Tessa, and Eleanor (who is married to George Kimball, who financed the Saxton move and secured a job for Les). The Cushings include Edith and Richard (who's having an affair with secretary Barbara Manners), their children Megan (who's engaged to rich Desmond Hamilton) and bohemian dropout Austin (who had a disastrous love affair with former neighbor Laurie Brewster). Week of January 10 - 14, 1977 Megan admitted to Austin she's marrying Desmond because she's bored. Edith was distressed that mother Sophia was neighborly with the Saxtons. Ellie was upset that Les counseled Austin on alcoholism. Week of January 17 - 21, 1977 Amy was crushed to learn that Austin is working and laying off the booze to win back Laurie's love. Megan refused to set an earlier wedding date, then invited Connie and Rhett to double date with her and Desmond. Week of January 24 - 28, 1977 Austin agreed to help Jason find a job, then was miffed when Jason made a heavy play for Laurie and began drinking again. Rhett agreed to help Megan with her thesis and Jason needled him about fooling around behind Connie's back. Week of January 31 - February 4, 1977 Edith offered to introduce Ellie to society. In return, Ellie warned Amy not to chase Austin. Megan sanctioned Richard's liason with Barbara. Connie grew increasingly jealous of Rhett and Megan. Austin accused Jason of trying to steal Laurie from him. Jason refused a factory job Les had set up. Week of February 7 - 11, 1977 Jason set up Rhett and Megan in a compromising situation. Desmond found them and ordered her to stop seeing Rhett. Austin admitted he had a drinking problem and wanted Les to help him, but Richard insisted he go to an expensive sanitarium. Week of February 14 - 18, 1977 Richard hired Jason to replace Austin who refused to be admitted to a private sanitarium. Les offered Austin a job at the plant that Jason had turned down. Megan asked Rhett to find a job for Laurie so she can stay in town. Rhett blew up at Connie and Ellie for suggesting hanky-panky between him and Megan. Week of February 21 - 25, 1977 Richard advised Megan to consider whether she wants to lose Desmond. George claimed that Ellie was being used as a pawn by Edith. Amy congratulated Austin on his new job by falling into his arms. Week of February 28 - March 4, 1977 Connie and Rhett announced their formal engagement. Desmond told Megan that Edith had been in love with his fatehr before she married Richard. Week of March 7 - 11, 1977 While Megan and Desmond went off on a secret weekend, Edith and Richard accused Rhett, then Jason, of running off with their daughter. When Megan returned, Edith was appalled that the couple couldn't wait until after the wedding, but Megan admitted to Laurie that i was a platonic weekend. Austin begged Amy to stay and help him with his drinking problem. Week of March 14 - 18, 1977 Laurie warned Amy to prepare for a fight to win Austin, then convinced him she loved him. Ellie was frantic to learn she's pregnant, but overjoyed when Richard consulted with George for legal advice. Afraid that his job was in jeopardy, Jason told Rhett to lay Megan off. Rhett insisted there's no cause for alarm, and threw Jason out. Week of March 21 - 25, 1977 Laurie didn't resist Jason's advances. When they were caught by Austin, he wouldn't believe she was being forced. In retaliation, Austin ran to Amy's arms. Megan was miffed with Desmond after he'd consulted with Connie about getting Megan away from Rhett. Week of March 28 - April 1, 1977 To win Austin back, Laurie plotted to make it look as though Amy was interested in Desmond. Week of April 4 - 8, 1977 Megan admitted to Richard she's in love with Rhett and must break her engagement to Desmond, then learned of Laurie's schemes. Ellie told George she doesn't want a child. Desmond assured Laurie he'll help her stay in town. Week of April 11 - 15, 1977 Desmond refused to accept Megan's decision to break their engagement. Everyone tried to convince Rhett not to "steal" Megan, and Ellie had a miscarriage after a confrontation with Him. Josie and Les worried about Connie. Week of April 18 - 22, 1977 George blamed Edith for setting Ellie up for the confrontation with Rhett which ended in Ellie's miscarriage. Week of April 25 - 29, 1977 Jason told Megan that Laurie wants to marry Desmond, then he tried to convince Laurie she could have both him and Desmond at the same time. Laurie's mother, Viola, threatened to drag Laurie back to Paris, because Viola is running out of money. Week of May 2 - May 6, 1977 Connie and Jason made a pact: He won't reveal that she might be pregnant if she won't tell Rhett that Jason wrecked the studio. Ellie left George and moved home. Edith accused Rhett of being after Megan's money. (Friday was the show's final episode. It goes on a summer hiatus to return in the fall.)

You can find the weirdest & most unexpected stuff on youtube sometimes. Buried into this demo reel for actress Lynn Lowry is a very short (maybe 30 seconds?) clip of Lowry & Ken Kercheval in a scene from How to Survive a Marriage. This clip begins at the 3:18 mark. Most everything else is from her low budget horror film work.