DAYS: Behind the Scenes, Articles/Photos

[AbcNbc247]

Haha Billie could be in it with her ISA partner Jeremy Horton, who’s investigating a crime syndicate that’s Julie’s brother Steve got mixed up with. And the head of the crime syndicate could be Melissa’s ex and Nathan’s father

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[carolineg]

Jeremy isn't still trying to get Touch the Sky airlines off the ground?  With his super convenient flights from Salem to Las Vegas?

[AbcNbc247]

Maybe he tried, but the crime syndicate stole it out from under him

[carolineg]

Got it.  I would be fine if no one mentioned that story again though lol.   I wouldn't even care if Stephanie didn't bother to acknowledge they ever met or were together.  It was that wtf of a story.

[AbcNbc247]

I barely remember it. The airline was a front for a smuggling ring, right? 

[carolineg]

I think it was a counterfeit clothing/purse smuggling ring lol and Max lost all his money.

[Paul Raven]

I too like the idea of Beyond Salem with the Hortons involved.

So many ways you could craft a story that missing Hortons could be involved with.

Maybe Alex Marshall has died and left behind a secret that involves the DiMeras. 

Marie or Jessica unwittingly has possesion of that document.

Work in Steve and Spenser Olsen (fun to bring back Stephen Schnetzer) Sandy Horton and various others over the course of the episodes.

 

[JAS0N47]

FROM THE VAULT: EPISODE # 583: FEBRUARY 26, 1968  (CONCLUSION...FIRST FOUR PARTS POSTED EARLIER): WHO IS MARK BROOKS??...MARIE TELLS TOM HOW MUCH SHE LOVES MARK (NOT KNOWING HE IS HER BROTHER TOMMY)

 

ACT FOUR. FADE IN: INT. HORTON LIVING ROOM- SHORT TIME LATER. TAKE TOM IN PAJAMAS AND ROBE, WITH EITHER HIS PIPE OR A GLASS OF MILK. HE IS IN A DEEPLY THOUGHTFUL, SERIOUS FRAME OF MIND - THIS MARK THING IS BUGGING HIM REAL GOOD. ESTABLISH, THEN LET HIM BE HAUNTED BY MICKEY'S WORDS EARLIER THIS EVENING.

 

MICKEY (voice over): Dad, I'm telling you you can't let this girl go on loving a man knowing the relationship could blow sky high in a day or two without saying something to her. She's got to be told, Dad. She's got to.

 

HOLD, THEN ON THE HEELS OF THIS, HEAR KEY IN DOOR AND AS DOOR OPENS, HEAR CAR DRIVING OFF IN THE DISTANCE. TOM PUTS DOWN THE MILK, OR PIPE, GOES TO THE HALLWAY. MARIE IS NOW AND WILL CONTINUE TO BE INWARDLY RADIANT, A GIRL IN LOVE. IT WILL BE THIS QUALITY IN MARIE THAT WILL PREVENT TOM FROM TELLING HER ABOUT MARK TONIGHT. SHE'S TAKING OFF HER COAT AS HE COMES INTO PICTURE.

 

TOM: Hello,darling.

MARIE: Hello, Dad.

TOM (beat): How was your evening?

MARIE (from deep inside): It just couldn't have been more wonderful. We went to a little Chinese restaurant for dinner. And then Mark took me dancing. After which we had a soda.

 

TOM TAKES HER COAT FROM HER, PUTS IT DOWN, PUTS HIS ARM AROUND HER, AS THEY VERY SLOWLY WALK INTO LIVING ROOM.

 

TOM: You're home a little early, aren't you?

MARIE: Mark wanted to get back to the hospital, he had some cultures to take from the incubator and read. I wanted to go back with him but he said no, I needed my rest. (beat) I guess I am a little tired.

TOM: What is this...three nights in a row with Dr. Brooks?

MARIE: Um-hmm. That's why early to bed. The way he looks after me - just like you do. It's an exciting feeling for a girl to know there're two such wonderful men watching over her.

TOM (beat as he takes penetrating look father): You---you love him very much, don't you, darling?

MARIE (beat) He-- he's my whole world, Dad. When I wake up in the morning, I can't wait to get dresses, go to the hospital, see him. And when we're not together I...I find myself sort of day dreaming, re-living things we said together, did together. (beat) You, no one can really know how grateful I am for Mark, what he means to me, what he's...done for me. (beat) I just never thought that I'd ever know any kind of a life again after...after my divorce from Craig. I was so afraid of being hurt again that it didn't matter if I never went out with another man as long as I lived. I...I was so mixed up inside. Life had...been stripped of all its meaning. (beat) Until...until I met Mark.  (not above a whisper) Oh, Dad, I love him so very much.

 

HOLD ON TOM, HIS POSITION UNTENABLE

 

TOM: God love you, child.

 

MARIE LAYS NESTLED IN HER FATHER'S ARMS, REFLECTING HER UTTER HAPPINESS. TAKE TOM LOOKING DOWN AT HER, THEN HIS EYES SLOWLY MOVE STRAIGHT AHEAD, AS WE HEAR HIS TRAIN OF THOUGHT.

 

TOM: How...how do I tell her? (beat) How? (beat) I can't. (beat) But I've just got to do something. I just can't sit by and... (definite pause) No. (beat) Not Marie. (beat) Mark. (beat) The showdown will be with Mark...tomorrow.

 

HOLD AND MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK.

[JAS0N47]

FROM THE VAULT: 54TH ANNIVERSARY OF MIKE HORTON'S BIRTH: EPISODE # 758: NOVEMBER 8, 1968...

PROLOGUE: FADE IN: INT. WAITING ROOM ACROSS FROM LAURA'S ROOM. IMMEDIATELY AFTER CLOSE OF PRECEDING SCRIPT. OPEN WITH REACTIONS FROM BOTH BILL AND MICKEY, THE TWO FATHERS IF YOU WILL, TO WHAT TOM TOLD THEM IN THE TAG OF YESTERDAY'S SHOW. WE PLAY THE TWO FATHER THEME HERE. BILL OBVIOUSLY WILL BE THE MOST DRAMATIC FOCAL POINT, WHETHER HE HAS LINES OR NOT.

MICKEY: Dad, there's no question...
TOM: None in Dr. Bailey's mind. Laura is definitely in labor. The baby will be born sometime tonight.
BILL (beat, then rather soberly): So this is it.
MICKEY: There's nothing Dr. Bailey can do to stop labor?
TOM (beat, as he looks at Mickey, is sensitive to Mickey's concern): No, son.
MICKEY (beat, then): Dad...where do we stand? I want to know. I don't want any false hope, anything like that. Just give it to me straight.
TOM: Laura isn't strong enough for a normal delivery. So Dr. Bailey will take the baby by Caesarean section. As soon as they prepare her for surgery.
MICKEY: And the baby?
TOM (a long beat): As I told you earlier, Mickey, we're dealing with a large question mark here. All the baby's vital signs are good, normal.. But until the child is born, and examined by a pediatrician, we won't know for sure.

ALTHOUGH TOM AND MICKEY ARE CARRYING THIS IN DIALOGUE, TAKE BILL'S REACTION, SINCE HE REPRESENTS THE MOST IMPORTANT DRAMATIC FOCAL POIINT HERE. WE MUST REMEMBER HE IS THE CHILD'S FATHER.

MICKEY (with deep emotion): Possible E-ray damage. (beat) Instrument damage during Laura's surgery. Possibly injury during the accident itself. Plus...being born premature. (beat) Kind of a...stacked deck for the little guy, isn't it...?
BILL (ready to explode from his own guilts and pressures): Mick, lay off the panic button!
MICKEY (somewhat heated): Look, Bill, I didn't just grab these facts out of thin air. They were told to me by Dad. You're a doctor...Good Lord, you know what the risks are better than I do.
BILL (topping): Damn it all, Mickey, will you stop it! (beat while he tries to control himself) This is no time to fall apart.
MICKEY: I'm not falling apart...But we're talking about my wife...my wife and my baby! Bill, what is it with you?

THERE IS A LONG BEAT. MICKEY IS UPSET AND TOM STARES AT BILL, WHO MAKES THE SUPREME EFFORT TO CONTROL HIS EMOTIONS.

BILL: Just forget it, Mick. I'm sorry. Just forget it.

CUT TO: INT. LAURA"S HOSPITAL ROOM. WITH DR. BAILEY LEANING OVER HER, LISTENING TO THE BABY'S HEART TONES WITH THE FETUSCOPE. CAMERA MOVES IN CLOSE ON LAURA AS SHE EXPERIENCES ANOTHER LABOR PAIN. TAKE HER REACTIONS. MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. MUSIC: THEME. UP ON: HOUR GLASS. MATTE CARD. FADE TO: BLACK. UP ON: COMMERCIAL # 1.

The rest of the episode will post this week.

[JAS0N47]

FROM THE VAULT: 54TH ANNIVERSARY OF MIKE HORTON'S BIRTH: EPISODE # 758: NOVEMBER 8, 1968...(FIRST PART OF SCRIPT POSTED YESTERDAY)

ACT ONE: FADE IN: INT. LAURA'S HOSPITAL ROOM. TAKE IT UP IMMEDIATELY. AS TOM RE-ENTERS THE ROOM FROM THE CORRIDOR. DR. BAILEY IS FEELING FOR CONTRACTIONS WITH ONE HAND, LOOKING AT HIS WATCH, AS LAURA'S LABOR PAIN PASSES. SHE RELAXES, EXHAUSTED, IS SOMEWHAT WITHIN HERSELF DURING THE FOLLOWING. OUTWARDLY, SHE RETAINS HER PROFESSIONAL CALM, BUT SHE IS A WOMAN ABOUT TO HAVE A BABY, AND THIS EMOTION COMES FIRST. SHE ISN'T VERY MUCH AWARE OF TOM UNTIL HE APPROACHES THE BED, TOUCHES HER ARM REASSURINGLY, AND GIVES HER A WARM SMILE. DR. BAILEY GLANCES AT TOM AND NODS, THEN TURNS TO LAURA WITH A PLESANT, CHEERFUL DEMEANOR.

DR. BAILEY: Well, young lady, the waiting's almost over. I'm going to take you upstairs now.
LAURA: It's definitely...labor...?
DR. BAILEY (very gently): Yes, Laura. (beat) Don't fight it any longer. Try to go with the pains when they come. It'll help both now and later.
LAURA: Yes...I know. (beat) Is it all right if I see Mickey now?
DR. BAILEY: He can go up to the labor room with you.

HE TURNS AWAY, GOES TO THE BEDSIDE PHONE, DIALS. TOM TAKES LAURA'S HAND, AND THEY BOTH LISTEN AS. DR. BAILEY SPEAKS INTO THE PHONE.

DR. BAILEY: This is Dr. Bailey. I want a nurse and an orderly to take Dr. Laura Horton up to a labor room. (beat) That's right, I want them to move her in bed because of her recent surgery. (beat) All right, fine...

HE HANGS UP PHONE, TURNS BACK TO TOM AND LAURA

LAURA: That's all there is to it...?
TOM: What did you expect?
LAURA: I...guess...I'm like everyone else...this feels like the only...baby that's ever...been born...

TOM: It is... (very gently) All I can feel at the moment, is that I'm going to be a grandfather.
LAURA: Dr. Bailey...the baby...
DR. BAILEY (reassuringly): Laura, stop worrying. As far as we can tell the baby is in fine shape.
LAURA: As far as you can tell...
DR. BAILEY (very gentle): All we can do now is wait until the baby's born. And then get a complete report from the pediatrician.
LAURA (apprehension and tension underlying her words): The baby's got to be all right. Mel, he's...he's just got to be.

TOM AND DR. BAILEY EXCHANGE GLANCES, UNSEEN BY LAURA AS SHE EXPERIENCES ANOTHER LABOR PAIN. IT IS MORE PRONOUNCED THAN BEFORE, AND PLAY ALL OF THE PAIN.

LAURA (as soon as she recovers): Who...ever said...that this...doesn't hurt...?
TOM (continuing to hold her hand): Probably male doctors who've never had to give birth!

THIS BRINGS THE SHADOW OF A SMILE TO LAURA'S FACE.

LAURA: It's going to be worth it, Tom...
TOM (a special meaning for them both): Yes, it's all going to be worth it, Laura. (beat) Just keep holding onto that thought.
LAURA: I feel a little...nausea...
DR. BAILEY: Nothing to worry about. (glancing at her chart) You had some juice a few hours ago...that's why you feel the nausea... (beat, he checks her pressure and pulse during the above dialogue) You're doing just fine, Laura.
LAURA: I can...see Mickey...upstairs?
DR. BAILEY (nods): He can go up with you, stay until we're ready for the Caesarean.
LAURA: I don't want him...to worry....
TOM: He's your husband, Laura. He'll want to share this with you.
LAURA (to Tom): You...told him...about the baby...possible damage...
TOM (very gentle): I told him...

THERE'S A KNOCK ON THE DOOR, AND IT OPENS TO ADMIT A NURSE AND AN ORDERLY.

TOM (to Laura): I'll go tell Mickey we're about ready...

BENDING DOWN TO KISS LAURA ON THE FOREHEAD...TAKE THEM IN CLOSE

TOM: May God be with you, child.
LAURA (with deep, special meaning): Thank you, Tom. (beat) For everything.

TOM EXITS THE ROOM AS THE NURSE AND ORDERLY MOVE TOWARD THE BED, DR. BAILEY STAYING WITH LAURA. CAMERA GOES WITH TOM INTO CORRIDOR. BILL AND MICKEY ARE WAITING.

TOM (to Mickey): They're taking Laura up to O.B. now.
MICKEY: How is she? Can I see her?
TOM: So far...everything appears normal. You'll be able to come up, see her, talk to her.

AT THIS POINT, LET THE NURSE AND ORDERLY WHEEL LAURA'S BED INTO THE CORRIDOR. LET MICKEY TAKE LAURA'S HAND, LOOK AT HER AS THEY STOP MOVING BED MOMENTARILY OUT OF DEFERENCE TO HUSBAND AND WIFE. MICKEY GIVES HER A WARM, YES INWARDLY APPREHENSIVE, SMILE AS HE CONTINUES TO HOLD HER HAND.

MICKEY: Are you all right?
LAURA (trying for a small smile): Fine...I'm fine...
DR> BAILEY: You can come with us now, Mickey, if you'd like.

THEY ALL START OFF TOWARD THE ELEVATOR. TOM TURNS TO BILL (AND PLEASE, TAKE ALL OF HIS SILENT REACTIONS DURING THE ABOVE)

TOM: You coming, Bill?
BILL (beat, as we feel the weight of the moment for him): No...I'll be up later, Dad.

THEY ALL GO TO NEARBY ELEVATOR, WHEEL THE BED INSIDE, WITH BILL WATCHING SOMEWHAT TENSELY FROM THE DISTANCE. THE ELEVATOR DOOR CLOSES, AND BILL TURNS TO SIT DOWN IN WAITING ROOM AND BEGIN HIS VIGIL. HE LIGHTS A CIGARETTE, VERY ALONE, VERY SUBDUED.

BILL (to himself): So this is it...

MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 2.

More of the episode will be posted tomorrow!

[JAS0N47]

FROM THE VAULT: 54TH ANNIVERSARY OF MIKE HORTON'S BIRTH: EPISODE # 758: NOVEMBER 8, 1968...(FIRST PARTS OF SCRIPT POSTED EARLIER)

 

ACT TWO: FADE IN: INT. WAITING ROOM. TAKE IT UP ALMOST IMMEDIATELY. BILL, VERY TROUBLED AND TENSE AS HE SMOKES HIS CIGARETTE. ESTABLISH, THEN BRING SUSAN INTO SCENE, APPROACHING LAURA'S ROOM FROM THE CORRIDOR. SHE MIGHT BE CARRYING A SMALL BOUQUET FOR LAURA. SHE GOES TO THE DOORWAY OF LAURA'S ROOM, NOTICES THE ROOM IS EMPTY, AND HER SMILE TURNS TO DOUBT AS SHE LOOKS AGAIN AT THE ROOM NUMBER. THEN WE SEE DEEP CONCERN AS SHE STANDS THERE A MOMENT. FINALLY, HER EYES SEARCH OUT BILL IN THE WAITING ROOM. SHE GOES OVER TO HIM AND, UNTIL SHE COMES INTO HIS LINE OF VISION, BILL IS TOTALLY UNAWARE OF HER EXISTENCE. THIS IS AN IMPORTANT TIME IN HIS LIFE AND HE OBVIOULSY DOESN'T WANT TO TALK TO ANYONE JUST NOW. HE IS ABRUPT WITH SUSAN, BUT SHE DOES NOT TAKE IT PERSONALLY.

 

SUSAN: Bill? Is Laura all right?

BILL (glancing up, then away): Oh, hello, Susie...

SUSAN: She isn't in her room...

BILL (topping, wearily): They took her up to O.B.

SUSAN: You mean...she's going to have the baby?
BILL (rather irritated): Yeah, Susie, she's going to have the baby...that's what they take women up to O.B. for!
SUSAN (a bit subdued): Oh....I'm sorry... (beat) I didn't know (looking down at the bouquet) Maybe I shouldn't have come...

BILL: Susie, look...I'm tired, and a little jumpy...don't mind me.

SUSAN: It's all right, Bill.

 

BILL IS LOST IN HIS OWN THOUGHTS AGAIN, AND DOESN'T RESPOND. SUSAN STUDIES HIM A MOMENT, WONDERING IF THERE IS SOMETHING SHE DOESN'T KNOW, SOME NEW DEVELOPMENT THAT IS WORRYING HIM.

 

SUSAN: Laura is all right, isn't she? (beat) I mean, there won't be any problems with delivery, I mean.

BILL: What do you want, Susan? You want me to spell it out for you? You want me to go over it all again? Don't you think I'm sick of hearing the words? Possibly X-ray damage to the baby...possible instrument damage from surgery...possible damage from the accident...is that what you want to hear?

HIS VEHEMENCE HAS SHOCKED SUSAN, BUT SHE IMMEDIATELY BRINGS HER OWN RATIONALE TO BILL'S BEHAVIOR.

 

SUSAN: You're concerned about the baby...of course.

BILL: Yeah, I'm concerned about the baby!

 

THERE IS A MOMENT OF SILENCE AS SUSAN CONTINUES TO STUDY BILL. HE STUBS OUT HIS CIGARETTE, LIGHTS ANOTHER, TOTALLY UNAWARE OF WHAT HE IS DOING.

 

SUSAN: I understand, Bill.

BILL (with meaning only for himself): Do you, Susie?

SUSAN: Yes, I think I do...(beat) On account of the accident, you feel responsible for everything that's happened to Laura. (beat) You feel guilty, and angry, and frustrated. Because you've done everything humanly possible to help save both Laura and the baby. (beat) And now, all you can do is wait. (beat) There's nothing more you can do. Except pray. That's something we both can do, Bill. Pray for Laura and the baby...

 

TAKE BILL'S REACTION, HIS FRUSTRATION, HIS AGONY, IN CLOSE, THEN DISSOLVE TO: INT. SMALL LABOR ROOM. THE ROOM IS VERY SMALL, FOR THE MOST PART UNFURNISHED. LAURA LIES ON THE BED WHICH WILL BE WHEELED INTO DELIVERY. THERE IS A STAND BESIDE THE CAER, AND A STRAIGHT CHAIR. NO OTHER FURNISHINGS IN THE ROOM. OPEN ON LAURA, BREATHING A LITTLE HEAVILY, A SLIGHT DEW OF PERSPIRATION ON HER FOREHEAD. CAMERA PULLS BACK TO INCLUDE DR. BAILEY, WHO HAS BEEN LISTENING TO THE BABY'S HEARTBEATS WITH THE FETUSCOPE. HE TURNS TO SMILE AT LAURA,

 

DR. BAILEY: Heart tone strong and normal. (beat) How would you like to see that husband of yours?

 

LAURA TRIES A SMALL SMILE, A SLIGHT NOD OF HER HEAD. SHE HAS BEEN GIVEN SOMETHING TO RELAX HER, HELP WITH THE PAIN. DR. BAILEY EXITS THE ROOM, CAMERA GOING WITH HIM INTO THE HALLWAY, WHERE MICKEY AND TOM ARE WAITING. DR. BAILEY NODS TO MICKEY.

 

DR. BAILEY: You can go in now, Mickey.

 

GO WITH MICKEY AS HE ENTERS THE ROOM. THIS IS HIS FIRST REAL TIME ALONE WITH LAURA. HE STANDS FOR A MOMENT, JUST INSIDE THE DOOR, SMILING AT LAURA. IT IS A VERY SPECIAL MOMENT FOR BOTH OF THEM.

 

MICKEY: How are you feeling?

LAURA: Marvelous. They gave me something for the pain...

 

AND AT THIS MOMENT, LAURA HAS A LABOR PAIN OF SOMEWHAT GREATER INTENSITY THAN BEFORE THIS. MICKEY MOVES SWIFTLY TO HER SIDE, TAKING HER HAND IN HIS, HOLDING IT TIGHT. SHE LOOKS UP AT HIM, NEEDING HIM NOW SO MUCH, AND NO WORDS ARE NECESSARY AS HE TENDERLY BENDS DOWN TO STROKE HER HAIR AND GENTLY KISS HER ON THE FOREHEAD. MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 3. MUSIC: THEMRE. UP ON: HOUR GLASS. MATTE CARD. UP ON: COMMERCIAL # 4.

 

Tomorrow, on the 54th anniversary of the episode's airing, read about the birth of Mike Horton!

[Paul Raven]

Thanks Jason. Your dedication to Days is amazing!

Here's an article from 1968. I wonder how long Days stayed off the air?

Adirondack Daily  Enterprise April 30 1968

 SOAP OPERA FANS PHOENIX, Ariz. Arizona's decision to remain on standard time this summer has caused one major 'addition to the format'of a Phoenix television news broadcast—the soap opera report. Officials at KTAR-TV say the switch to daylight time in most of the nation led to  rejuggling of schedules, eliminating the NBC serial Days of our lives from the stations lineup. To provide some relief for the loyal fans who called to protest, the station expanded its evening news to include a report of the days events

Edited November 8, 2022 by Paul Raven

[JAS0N47]

Checking the archives, looks like "Romper Room" (in place of Days) aired at 11AM in Phoenix through the summer of 1968. "Days" is back in the listings of KTAR at 11AM by the end of August 1968.  

[JAS0N47]

FROM THE VAULT: 54TH ANNIVERSARY OF MIKE HORTON'S BIRTH: EPISODE # 758: NOVEMBER 8, 1968...(FIRST PARTS OF SCRIPT POSTED EARLIER)

ACT THREE: FADE IN: INT. SMALL LABOR ROOM. TAKE IT UP IMMEDIATELY. THE PAIN FADES AWAY, AND LAURA MANAGES A SHAKY SMILE.

MICKEY: All right?
LAURA: All right.
MICKEY (continuing to hold her hand): I wish I could take some of the pain for you.
LAURA: You are. Just by being here.
MICKEY: Isn't there...something else...they can give you?
LAURA: Darling, they want me...to have...some labor... (beat) I'll have...a more normal...recovery...after they take...the baby...
MICKEY (his concern showing through, despite his attempt at lightness): Dr. Bailey says you're doing very well!
LAURA: I don't have much...to do with it. (beat, a small smile) This baby of ours is trying very hard...to get himself born!
MICKEY: That's a good sign, isn't it? That he's kicking up such a fuss?
LAURA: All it means is...he'll have his father's stubbornness...
MICKEY: Don't worry. I'll have a talk with this young man...as soon as possible...and keep him in line...
LAURA: Oh, Mickey...

HE RAISES HER HAND TO HIS LIPS, KISSES HER FINGERS GENTLY ONE BY ONE. THEN HE SMILES AT HER.

MICKEY: Our baby,,,
LAURA: Our baby...
MICKEY: You said "he" before...
LAURA: I don't care what it is, do you?
MICKEY: Of course not. If it's a girl, she has a chance of being half as beautiful as her mother.
LAURA: Oh, darling, I love you so much.
MICKEY: And I love you, Laura. You...you're my whole life.
LAURA: Oh, Mickey...

A FEW TEARS SPILL FROM THE CORNERS OF LAURA'S EYES. MICKEY REACHES IN HIS POCKET FOR A HANDKERCHIEF TO WIPE AWAY THE TEARS.

MICKEY: Hey...this is a time to be happy...
LAURA: I am...so happy...(beat) We're...going to make it...Mickey...I know...we are...
MICKEY (very gently): We already have, darling. (beat) You've given me the world, Laura. What more can a man ask?
LAURA: I want...to give you...a perfect...baby...
MICKEY (with a confidence he doesn't truly feel): You will, darling...

LAURA HAS A SUDDEN LABOR PAIN, AND THIS TIME SHE CANNOT KEEP FROM GIVING A SMALL CRY. MICKEY TIGHTENS HIS GRIP ON HER HAND. THE INTENSITY OF THE PAIN LASTS LONGER, AND WHEN IT IS OVER, LAURA LOOKS UP AT MICKEY, EXHAUSTED AND A LITTLE AFRAID.

LAURA: That one...really hurt...

SHE IS BREATHING HEAVILY. DR. BAILEY COMES INTO THE ROOM, WEARING A SURGICAL GOWN. HE HASN'T SCRUBBED YET.

DR. BAILEY: How's the pain, Laura?
LAURA: This last time...very intense...
DR. BAILEY (beat, as he gives Laura a last-minute check, Mickey standing anxiously in the background. Finally, Dr. Bailey removes the fetuscope, smiles down at his patient): All right, Laura. The time has come. Any questions?
LAURA: No, Doctor.
DR. BAILEY (smiles at her, reassuringly): It doesn't help at all, now, does it? Being a doctor, I mean?
LAURA: No...No, it doesn't. (beat) I feel...like a woman...
DR. BAILEY: Of course you do. (beat) Trust me, Laura.
LAURA: I do...

DR. BAILEY RESUMES HIS BRISK MANNER

DR. BAILEY: I'm going to scrub now. I'll see you later, Mickey.

AND HE LEAVES THE ROOM, WITH MICKEY CALLING AFTER HIM.

MICKEY: All right, Doctor...

ANOTHER PAIN HITS LAURA, AND SHE REACHES FOR MICKEY'S HAND. HE HOLDS ON TIGHT UNTIL THE PAIN SUBSIDES.

LAURA: Oh, Mickey...
MICKEY: Darling, don't be afraid...

THE NURSES ENTER TO MOVE LAURA INTO THE DELIVERY ROOM. MICKEY FOLLOWS THEM OUT. LAURA LOOKS FOR HIM, ANXIOUS AND NEEDING HIM.

LAURA: Mickey?
MICKEY: I'm right here, darling, right behind you...

AND CAMERA GOES WITH THEM AS THEY MOVE OUT INTO THE CORRIDOR IN TIME FOR THEM TO INTERCEPT BILL AS HE ENTERS CORRIDOR THROUGH SWININGING DOORS. HE STOPS ABRUPTLY AT SIGHT OF LAURA. TAKE TIME FOR BOTH THEIR REACTIONS AS THE NURSES STOP THE FORWARD PROGRESS OF THE CHART, UNABLE TO CONTINUE UNTIL BILL GETS OUT OF THE WAY. BILL IS THE LAST PERSON LAURA WANTS TO SEE AT THIS MOMENT AND WE CAN TELL THAT FROM THE LOOK ON HER FACE.

BILL (subdued, very gently): Good luck, Laura...

SHE SAYS NOTHING. BILL GETS OUT OF THE WAY, AND THE NURSES WHEEL LAURA THROUGH THE SWINGING DOORS INTO THE DELIVERY ROOM. TAKE BILL, MICKEY AND TOM STANDING THERE IN THE CORRIDOR, LOOKING AFTER THEM. BEAT, THEN TOM TURNS TO STARE AT BILL, CURIOUS AS TO WHAT HE MUST BE FEELING. BILL'S FACE IS INSCRUTABLE. MICKEY IS UNAWARE OF ALL THIS, IN A DAZE, STARING OFF AFTER LAURA. TAKE MICKEY IN CLOSE, AS HE SAYS TO NO ONE IN PARTICULAR.

MICKEY: I guess there's nothing to do now...but wait...

TOM PATS MICKEY REASSURINGLY ON THE ARM.

TOM: I'm going to put on a gown and observe, Mickey. (beat) I'll keep you posted.
MICKEY: Thanks, Dad.

TOM TURNS TO EXIT TOWARD SCRUB ROOM, LEAVING MICKEY AND BILL ALONE...THE TWO FATHERS, ANXIOUSLY AWAITING THE BIRTH OF LAURA'S BABY. BOTH OF THEM ARE TENSE AND NERVOUS. BILL LIGHTS A CIGARETTE AS MICKEY TURNS TO STARE AT HIM.

BILL: It'll take a while, Mick. (beat) Try and relax. Simmer down.
MICKEY: With my wife in there? My wife and my baby...oh dear God, help them, watch over them (beat) Both Laura...and our baby.

TAKE BILL'S REACTION. MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 5.

ACT FOUR: FADE IN. INT. CORRIDOR OUTSIDE DELIVERY ROOM. SOME TIME LATER. OPEN ON CLOSE SHOT OF AN ASHTRAY FULL OF CIGARETTE BUTTS AS A HAND ENTERS SHOT TO STUB OUT ANOTHER CIGARETTE. CAMERA PULLS BACK TO REVEAL BILL, HIS HAIR RUMPLED, HIS FACE REFLECTING THE TENSION AND STRAIIN HE IS UNDER AT THIS MOMENT. MICKEY IN BACKGROUND, LOST IN HIS OWN THOUGHTS, AS WE HEAR BILL'S VOICEOVER.

BILL (voiceover): What's the matter in there? (beat) It's taking too long! (beat) Have they run into trouble? (beat) Is it the baby...has something gone wrong? They should have taken the baby by now. (beat) Dear God, let me hear him cry. Let me hear that baby cry...

BILL IS JOLTED OUT OF HIS TRAIN OF THOUGHT BU MICKEY, WHO STOPS FACING LONG ENOUGH TO TAKE BILL BY THE ARM.

MICKEY (his tension showing): How much longer, Bill? (beat) Haven't they been in there an awfully long time?
BILL (trying to reassure his brother): It just seems like it, Mick. (glancing at his watch) It won't be long now.
MICKEY: Will we be able to hear the baby? (beat) If he's all right, I mean.
BILL (after a beat): Yeah. We'll hear him. (beat) If all goes well.
MICKEY (long pause): I can't stand much more of this, Bill. (beat) Waiting out in the hall. Shut off from Laura. Waiting to hear if she's all right...if the baby...

HE CAN'T GO ON.

BILL: Take it easy, Mick.
MICKEY: That's easy for you to say. This isn't your wife in there...or your baby...

MICKEY, OF COURSE, IS RATTLING ON, TOTALLY UNAWARE OF THE IMPACT OF HIS WORDS UPON BILL. TAKE BILL'S REACTION. MICKEY HAS TURNED TO RESUME FACING THE FLOOR, SO HE DOESN'T SEE WHAT THE CAMERA SEES ON BILL'S FACE. BILL'S VOICEOVER CONTINUES.

BILL (voiceover): This isn't my wife in there...or my baby! (beat) My God, Mickey! Laura could have been my wife, should have been my wife! (beat) And that is my baby in there, no matter what you think! (beat) My baby. Mine and Laura's. (beat) Dear God, let them both be all right. Please. Let my baby be all right. Hurt me in some way. For everything I've done to Laura. But don't take it out on our baby...

THE PIERCING CRY...A REALLY LOUD CRY, OF A NEWBORN BABY, SHATTERS BILL'S TRAIN OF THOUGHT. HE WHIRLS TO FACE MICKEY, WHO HAS STOPPED PACING, TRANSFIXED BY THE OFFSCREEN SOUND OF THE BABY. TAKE BOTH MEN, IN CLOSE, FOR THEIR REACTIONS. A SLOW GRIN STARTS ON MICKEY'S FACE AND IN A MOMENT, THERE'S AN ANSWERING SMILE ON BILL'S FACE AS THEY BOTH STAND THERE, UNABLE TO SPEAK. THERE'S A LONG BEAT AS THE TWO MEN STAND SMILING AT EACH OTHER. THEN TOM, WEARING SURGICAL GOWN, CAP AND MASK, COMES OUT OF THE DELIVERY ROOM. HE LOWERS HIS MASK.

TOM (looking at Mickey, a half-smile on his face): It's a boy.
MICKEY: Dad, how is he?
TOM: He's a little fella. (beat) We won't be able to tell much of anything until the pediatrician examines him.
MICKEY: Laura...she's all right?
TOM: She's fine.

TAKE TIME FOR ALL THIS TO SINK INTO MICKEY'S CONSCIOUSNESS. THERE'S STILL CONCERN ABOUT THE BABY, OF COURSE, BUT THE STUNNED HAPPINESS IS THE OVERRIDING EMOTION.

MICKEY: I...I'm a father... (beat) I'm a father!

TOM WALKS OVER, SHAKES MICKEY'S HAND. THEN TAKE BILL. AND HOLD ON BILL AS WE AGAIN HEAR ANOTHER BURST OF CRYING FROM THE BABY. STILL HOLDING ON BILL...MUSIC: UP TO FINISH AND OUT. FADE TO: BLACK. UP ON: COMMERCIAL # 6.

[JAS0N47]

JOHN ANISTON'S "DAYS" DEBUT...

 

Here's a look at John Aniston's debut as Dr. Eric Richards, Episode # 1083, aired February 24, 1970.

 

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