From: "Jim Alexander" Date: Sat Feb 5, 2000 5:09 pm Subject: [probe_control] SEARCH TV Guide For any of you who might be interested... There's a 'Search' cover TV GUIDE on eBay right now. No bidders, currently. Price is under $2. Shipping label has been torn off the cover; it could be in nicer shape, but for those of who who don't have one... Just wanted to give you all a 'heads up'! Jim jima@wevv.com From: "Jim Alexander" Date: Wed Feb 9, 2000 6:50 pm Subject: [probe_control] New SEARCH Episodes? Hey, group!!! I just had a great time speaking with a really nice gentleman named Don Harden. Great News! He has the following episodes, on video, which, to the best of my knowledge 'we' do not have copies of: COUNTDOWN TO PANIC GODDESS OF DESTRUCTION and SUFFER MY CHILD Also-- Video collector Stephen Russo has contacted me, and mentioned that he has a SIXTH 'Search" Volume, too. I expect that he is probably duplicating the three episodes that Mr. Harden has, so I'm not holding my breath (pessimist!). He hasn't written me since he mentioned that he had a 'Volume 6', so I don't know WHICH episodes are contained on it... Back to Mr. Harden-- he is not 'on line' yet, but hopes to be within the next week or two. He's a very pleasant individual, with GREAT memories of SEARCH!!! He also has scripts of: THE GOLD MACHINE IN SEARCH OF MIDAS THE ADONIS FILE THE BULLET FLIGHT TO NOWHERE A HONEYMOON TO KILL 24-CARAT HIT NUMBERED FOR DEATH and COUNTDOWN TO PANIC He also has truckloads of Lincoln Enterprises film-clip frames that he has categorized, episode-by-episode... and says that he can 'almost' reconstruct many of the episodes by using them. He also has audio-cassettes of: ONE OF OUR PROBES IS MISSING LIVE MEN TELL TALES OPERATION: ICEMAN THE BULLET A HONEYMOON TO KILL SUFFER MY CHILD ENDS OF THE EARTH FLIGHT TO NOWHERE THE CLAYTON LEWIS DOCUMENT THE PACKAGERS THE MURROW DISAPPEARANCE MOONROCK SHORT CIRCUIT LET US PREY MOMENT OF MADNESS a 'fair' audio copy of GODDESS OF DESTRUCTION portions of Acts 1,2 and 3 only of THE 24-CARAT HIT portions of Acts 3 and 4 only of NUMBERED FOR DEATH a 'fair' copy of THE MATTSON PAPERS and a copy of the syndicated SEARCH pilot All of Don's audiocassette recordings were done off of WSB-Channel 2 in Atlanta, and he says they include Ed McMahon's 'Tonight Show' voiceovers, 'Scenes From Next Week's SEARCH', and 'teasers'. He has kindly mentioned that he desires to make all of our collections more 'complete'! Wottaguy!!! I am in the process of dubbing copies of NUMBERED FOR DEATH, IN SEARCH OF MIDAS, SHORT CIRCUIT, and THE MURROW DISAPPEARANCE for him, in return for the episodes I mentioned at the beginning of the letter. I just accepted a new job, for substantially better money; I begin in a week-and-a-half... and I don't know which is BETTER news. My great new job, or Don's 'new' SEARCH episodes... :) I'll keep y'all posted. Look towards hearing from Mr. Harden himself here, soon! Jim Alexander jima@wevv.com From: "Jim Alexander" Date: Mon Feb 14, 2000 3:11 pm Subject: [probe_control] COUNTDOWN TO PANIC and GODDESS OF DESTRUCTION Gentlemen, I have in my hands, through the courtesy of Mr. Don Harden, copies of 'Search' episodes: COUNTDOWN TO PANIC and GODDESS OF DESTRUCTION. Good news is: An intitial glance tells me that they appear to me superior quality episodes, dub-wise. Someone has even taken the trouble to 'tack on' an early-70's 'NBC' logo. It does not appear, however, that the 'opening teaser' is complete... but like I said, I just glanced. The 'reception' of the video is relatively sharp, and the colors are relatively vivid. Mr. Harden has indicated that he would be pleased to make copies of the three episodes that 'we' do not have, for interested parties (do I hear any 'takers' out there???). I will double-check with him, and make sure that it'd be okay to list his address, here. I am positive he will say 'yes'. P.S. He is sending a copy of SUFFER MY CHILD, soon. I have copies of the PROBE Pilot, THE ADONIS FILE, IN SEARCH OF MIDAS, SHORT CIRCUIT, NUMBERED FOR DEATH, and THE MURROW DISAPPEARANCE ready to send out to him. He says that of the nine 'Search' episodes he has, they were all obtained them in 1986 on Beta-format tapes. These are all from The Armed Forces Network (except for his copy of LET US PREY, which is the 16mm-to-VHS copy that we all have). Any other questions (before Mr. Harden signs-on, himself)??? Jim Alexander jima@wevv.com From: actingman-jc@worldnet.att.net Date: Mon Feb 14, 2000 3:21 pm Subject: [probe_control] Re: COUNTDOWN TO PANIC and GODDESS OF DESTRUCTION We should double check and see exactly what episodes he has all together. > He says that of the nine 'Search' episodes he has, they were all obtained them > in 1986 on Beta-format tapes. These are all from The Armed Forces Network > (except for his copy of LET US PREY, which is the 16mm-to-VHS copy that we all > have). > > Any other questions (before Mr. Harden signs-on, himself)??? > > Jim Alexander > jima@wevv.com > From: "Jim Alexander" Date: Mon Feb 14, 2000 4:16 pm Subject: [probe_control] Don Harden Episode List John wrote: >... We should double check and see exactly what episodes he >has all together. ------------------------------- He has: COUNTDOWN TO PANIC (aka THE CARRIER) GODDESS OF DESTRUCTION THE 24-CARAT HIT THE MATTSON PAPERS FLIGHT TO NOWHERE SUFFER MY CHILD MOMENT OF MADNESS THE CLAYTON-LEWIS DOCUMENT THE PACKAGERS LET US PREY Jim Alexander jima@wevv.com From: "Don Harden" Date: Tue Feb 22, 2000 1:29 am Subject: [probe_control] New Member Hello SEARCH fans. New SEARCH e-mail group member Don Harden reporting in. I was a teenager when the series first aired and enjoyed it enough to audiotape it (which was the only choice we had back then). My brother and I also collected scripts and film clips from Lincoln Enterprises. I contacted member Jim Alexander previously and had a nice discussion with him. He suggested I go ahead and join the group. Just wanted to say "hi" and let everyone know that I would be pleased to receive e-mail from any SEARCH fans! Don Harden dghprobe3@aol.com From: Bryan D. Date: Tue Feb 22, 2000 1:45 pm Subject: [probe_control] (Off Topic Post) to Adam Adam, Sorry to post a message to you here, tried to contact you at your email address and did not get a reply. I am having trouble with an address that you gave me, and mail has been returned. Could you contact me (bryankd@mac.com) to discuss. Thanks. Bryan From: "James Taylor" Date: Tue Feb 22, 2000 7:38 pm Subject: [probe_control] Is now the right time? Back in college a friend and I surmised that the reason for the brevity of "Search" was that it was between its times: too far after the James Bond/Man from Uncle/Wild Wild West era and too soon before the Star Wars/Six Million Dollar Man era. But with the current love affair with technology in various sectors of society, perhaps it is time again to try this wonderful concept and show. Is there anyone you would cast for a television incarnation? Movie version? And has technology gone to far to make it interesting anymore? From: actingman-jc@att.net Date: Wed Feb 23, 2000 9:24 am Subject: [probe_control] Re: Is now the right time? I would cast Tony Franciosa as Bianco, now holding Cameron's job. He has the strong personality to carry those scenes and make them his own, and you would have the interesting aspect of him putting up with the things Cameron had to put up with when supervising Bianco and company. I think the things the scanner can do, as well as the neural and dental implants can still carry. The only thing that may seem common place is the idea of hitting the computer to tie in to info banks to get what you need. I do that every day when I should be working. > But with the current love affair with technology in various sectors of > society, perhaps it is time again to try this wonderful concept and show. > > Is there anyone you would cast for a television incarnation? Movie version? > And has technology gone to far to make it interesting anymore? From: actingman-jc@att.net Date: Wed Feb 23, 2000 3:03 pm Subject: [probe_control] Search Conversation Sometimes I find myself having Search conversations on one of the instant message programs, which keeps it from being held here on the list, and getting a discussion going. Below is part of a discussion I had with Don on various Search aspects, and I reprint it here with his kind permission. -snip- actingman6: At some point I would like to compare scripts with you. Some of the Lincoln Enterprises scripts were missing pages. But I found that Jim's copy of the pilot was missing a different page then mine. So two trips to the copy machine and we now both have complete copies of the pilot script. Dghprobe3: I have nine Search scripts and Jim Alexander listed them in one of the last e-mail group postings. I'd be glad to repeat a list of them if you want. Let me know. Dghprobe3: As far as I know, there are no missing pages in the scripts. However, some of them did not include an outside Cover Page. I'll have to double check. actingman6: As we get the episodes I recognize the scenes in my clips. I don't suppose you ever got any shots of the second Probe set did you? Or ever learned the reason they changed it? Dghprobe3: I never saw any filmclips of the second Probe set. I read the e-mails from the navy commander discussing how Leslie Stevens apparently quit the show. My speculation is that NBC put Search before test audiences and some folks might have complained that they didn't "get" the Probe Control setup, so NBC decided to light everything up. I always preferred the first set--it had a mystery to it that I liked. The second set was okay, but it just looked more like a regular office somewhere! And there's more... actingman6: I always wondered if it was a way to test, or link their Newscenter look they were developing for their NBC news broadcasts...designed by the same person...Fred Harpman. actingman6: They must have decided that quickly...the set change came in the scripts dated Nov 1972. Dghprobe3: I met Majel Barrett at one of the Trek cons back in 1986 and the reason they were selling Search stuff was because of Roddenberry's connection to Robert Justman. As you know, after the first 15 shows, Stevens left and Justman probably left because he didn't want to do it without Stevens being there. actingman6: I guessed Justman was the reason...thanks for confirming that. actingman6: I wonder about the timing. Angel Tompkins says it was at the time she left, which was after only two episodes...yet Justman was there for 15. Dghprobe3: I always wondered about the Probe set change. I don't know why they did it. The shows were never aired in filmed order, so it looked like the set changed from week to week! It had to be confusing for the casual viewer as well. actingman6: Yes, the last new episode run was Grover's The Packagers...a set one show. actingman6: I also wondered if the last 8 were also a way to get further away from the dependence on the electronics, and concentrate on the agents...more typical stories in other words...but now I'm not sure. Dghprobe3: I'm not sure what happened to Angel Tompkins. Roddenberry once said that NBC ran his "Cage" pilot before test audiences and he was a bit rankled to find that the reaction to his female second in command (Majel as Number One) was not what he expected. Women in the test audience said, "who does she think SHE is?" Angel might have gotten a similar reaction from the test audience--who knows? actingman6: Not sure. I got an email awhile back from a friend of Deanna Lund. She was in one episode, and (this is thrid hand) she was supposed to be Angel's replacement, but that she did not want to date somebody on the show, and so she was kicked. My emailer would not identify who that was. Dghprobe3: I wrote an article for myself about Search awhile back and one of the things I noticed about the last 8 shows is that they are for the most part what I call "mobster shows." At about this time, "The Godfather" was released in theatres. Did the Search producers feel that the audience would respond better to Godfather or mobster-oriented stories? I don't know, but I have wondered about that. actingman6: May be coincidence becasue of the way it timed out. Lockwood only had one episode left to make. So you have Bianco and Grover. Bianco was the organized crime expert, so his stories went in that direction anyway. Grover touched it in Goddess. Dghprobe3: We will have to get some more info through interviews on some of these interesting backstage stories. Another thing I notice about the last 8 shows is that they are less humorous. Leslie Steven's earlier scripts emphasized the fun aspect of Probe Control wherever he could and generally gave Cameron some pretty funny bits in his comments to the Probe agents. The later episodes had less of that. What do you think? actingman6: I'll have to think about that...but that may be right. Certainly there were no interested techs to make their work hell by making comments while they were working. Dghprobe3: One of the things I liked about the pilot and the early episodes were the quick "double meaning" exchanges between Cameron and Harding and directed to the Probes. It was like the audience was "in" on something. But there seemed to be less of that as they went on. Maybe they felt that the point was made, let's focus more on the cases, etc. Maybe someone decided, "hey--this is not a comedy." Until we can get some interviews with more behind the scenes people we can only guess by what we see in the shows. actingman6: Anthony Spinner is the one to talk to. Exec story consultant on the first 15...line producer for the last 8. Dghprobe3: Yes, Anthony Spinner would be an excellent interview. I heard that Leslie Stevens passed on back in 1998. Did anyone in the group ever have any communication with Stevens? Are there any interviews with Stevens in which he comments on Search? actingman6: I have never seen any comments from him. Jim wrote to him and got a response, but though Jim mentioned Search, Stevens did not in his reply. Dghprobe3: Does everyone in the group have the review of Search by Cleveland Amory which ran in TV Guide Jan. 20, 1973? If not, I can scan it or OCR it and make the text available. actingman6: I don't...and would love to see it. We will add it to the web site, or parts of it so as not to get sued. actingman6: Bryan has some old TV Guides with listings, and the picture feature when they were shooting the pilot. I have to run to the Post Office. If you are still on, we can continue, or pop on anytime, or start posting to the list to continue this sort of thing. Back in a few. Dghprobe3: Okay. Best to run excerpts of it on the web site. But I could make the text available to group members. He made quick reviews of "The Adonis File," "Operation Iceman" and "In Search of Midas." He didn't think too much of the show, although he sort of grudgingly seemed to like "Midas." actingman6: Funny, I think Iceman was the best of the three. But yes, please submit. From: actingman-jc@att.net Date: Wed Feb 23, 2000 3:27 pm Subject: [probe_control] Cleveland Amory SEARCH Review (TV Guide 1973) (fwd) Don has come through and provided us the searing TV Guide review of Search from 1973. "...keep in mind that Cleveland Amory didn't seem to really like ANYTHING on TV! He tended to write reviews not for the Joe Average viewer, but for other reviewers.)" REVIEW by Cleveland Amory SEARCH This program was originally entitled Probe. However, shortly before it went on the air they found out that the title was already owned by someone else. So they immediately initiated an all-out search for a new one. They searched and searched, until suddenly one of them had an inspiration. "I think I've got it, boys," he said modestly. "Why don't we call it Search?" So much for what's good about this show. What's bad about it is that it is just one more of those revolving-trio things in which, in alternating weeks, three different zeroes - we mean heroes - strong-arm and brainstorm their way through muscle-bound plots. Only this time there is a gimmick. Wherever our terrific trio (Hugh O'Brian, Tony Franciosa, Doug McClure) roam, they are still electronically connected to home. There, at Probe Control, Cameron (Burgess Meredith) runs them, complete with screens, scanners, computers, etc., as well as a great group of tokens - you know, blacks, Orientals, women, etc. You can tell the good guys from the bad guys in Search because the good guys wear implants - they stick 'em in their ear. This enables Cameron and his assistants to talk to them wherever they are. And also to tell them about the people they run into. "Adrenalin surge," they will bark. "Probable lie." Or, when one of the agents is sneaking around, he will be warned: "Body signals off presence." No, we're not making it up. If we did, it would be funnier. Anyway, Cameron and his assistants get very involved. All of this might work if the plots did. But they don't. So you're left with enjoying some bits by Mr. Meredith and some interesting scenery. Mr. O'Brian, who's in this show more than the others, often has the ability to make his part rise above the plot - something which is made considerably easier by the fact that he's often in a helicopter. Once, he and a girl are put in a helicopter programmed to crash. "Here," he says. "Here's a dime. Unscrew the control panel. Maybe we can deactivate the drone." The dialogue in Mr. Franciosa's shows is no better. Once, suspecting somebody in Probe, he decides to go it alone. This make his fellow agent, Stephanie Burnside (Mary Frann) very sad. "I'm sorry," she sobs. "I just hate to see the Probe team torn apart like this." In short order, though, she pulls her socks up. "I may wear this magic gizmo," she says, "but I'm not a puppet. And, speaking as a sheer girl, I don't want you to take chances." For sheer-girl dialogue, though, we give you Barbara Feldon, in a Doug McClure episode. When she discovers that his name, C. R. Grover, stands for Christopher Robin Grover, she says, "I think it's winsome. I wish I had a cuddly name." This episode, incidentally, involved the appearance of a Howard Hughes type. Not in person, but on TV. Cameron was furious. "Our scanner," he groaned, "can't pick up pulse, respiration and temperature from a second-generation image." Second generation! On our set the Howard Hughes plot is now in its 44th generation. (Copyrighted) TV GUIDE JANUARY 20, 1973 (Page 35) From: "CDR R. A. Benson, USNR" Date: Wed Feb 23, 2000 6:20 pm Subject: [probe_control] Re: (Off topic) to Adam Bryan, I answered you at eight o'clock this morning (your time)at the E-mail address in your posting on the message board, and it came back undeliverable; so I sent one to you five minutes ago at the bryankd@transport.com address. I guessed the problem, called the subject, got permission to give you THE address, and included it in my E-mail. If for some reason your transport.com E-mail address won't work anymore, please let me know here. Sorry for the confusion. Adam From: actingman-jc@att.net Date: Thu Feb 24, 2000 9:09 am Subject: [probe_control] 1972 Review of Probe--Atlanta Constitution (fwd) (Note from Don: I thought the group might enjoy reading a review of the Probe pilot that ran when it premiered. This gives a nice contrast to TV Guide's somewhat negative review. It's difficult to believe it all began about 28 years ago! ) THE ATLANTA CONSTITUTION, Monday, February 21, 1972 (page 10-A) O'Brian's Pilot Show Should Click as Series By PAUL JONES (AS I SEE IT) Hugh O'Brian, erstwhile Wyatt Earp of TV, returns to the electronic theater Monday at 9 p.m. on NBC-TV and Channel 2 in an original movie, "Probe," which is a shoo-in for a new TV series. "Probe" is super-Bond, Dick Tracy, fantasy, derring-do. It has a fascinating premise, full of gadgetry and good fun. Probe is an organization dedicated to finding things--big things, like a missing diamond collection--and it uses a man in the field (O'Brian) who is hooked-up electronically to a team back in the office. The "office" looks like Mission Control in Houston. Probe Control sees and hears what Probe One--read "operative" or "agent"--sees and hears and are able to give him instantaneous translations and computerized data. But he is out there where the action is and he does the fighting and loving. When Probe One, O'Brian, is on the job his every movement is monitored constantly by Probe Control via modern miracles of miniaturized systems: one is a TV scanner-camera the size of a postage stamp. Magnetized to lock-on, it is worn as a tie-tack, cuff link. wrist watch, hand-held or whatever. It picks up picture, sound, infra-red heat, ultra sonics, chemical reaction - the full spectrum. Too, Probe One has a-tiny receiving set neuro implant behind his ear which can be heard only by him. He can communicate silently with Probe Control by tooth radio implants: tightening the jaw once signals affirmative, twice, negative. A twitch calls for "more information." A continuing clampdown signals "emergency!" In the pilot film, O'Brian's search for "that which is missing" involves the $20 million Entourage Collection - nine premium gems looted by Reichsmarshal Herman Goering, but which disappeared after the Nuremberg Trials. O'Brian is joined by Elke Sommer, Sir John Gielgud, Burgess Meredith, Lilia Skala and Angel Tompkins, who was featured recently in Playboy. She plays a medical telemetry expert whose interest in O'Brian isn't solely scientific. Meredith and Angel are among those at headquarters and Elke, Gielgud and Lilia are present in the actual case. The case about the diamonds is well-constructed, but it is the gadgetry that is the real star of the show. To really appreciate the show you must know that the set piece cost a cool $100,000. No one would have spent that kind of dough on a set for a TV film had he not known that it would be used over and over again in a series. A SUPER BOND (Photo of Hugh O'Brian) From: Dghprobe3@aol.com Date: Thu Feb 24, 2000 4:35 pm Subject: [probe_control] 1975 Tony Franciosa interview - Search mentioned (Note: I thought the group might enjoy reading an interview of Tony Franciosa from 1975. "Search" is discussed, but his comments on his other roles and Hollywood in general are interesting also. His comments on "Search" tend toward the negative, but I think actors in general don't like to discuss one-season "failures," so from that point of view his attitude is more understandable. Also, his "Search" comments are better read in context with the rest of the interview.) THE ATLANTA JOURNAL, Saturday, August 9, 1975 Interview of the Week: Franciosa in Fourth Series By Bob Goodman, Journal TV-Radio Editor Tony Franciosa will be starring in his fourth television series this fall, ABCs "Matt Helm." And, for trivia buffs, can you name his previous three? Chances are that you cannot. ("Valentine's Day," back in 1964, was the first. Then came "The Name of the Game" and the short-lived "Search.") "Matt Helm," you may guess, is patterned after the several movies in which Dean Martin portrayed the high-living, easy-going private investigator who always had a bevy of beautiful girls around him. And, even in this day of liberated women, this is still the same theme. As a network press release describes the series, "With elan, wry humor and an eye for attractive women, Matt Helm is a private detective operating out of Los Angeles on top-level cases beyond the scope of the usual operative. The former government agent is a reluctant hero, but once committed, faces danger with a whimsical confidence. It is not readily apparent because of his easy-going mien, but Matt has empathy for his clients, a depth of understanding and a sense of morality." The release goes on to describe Helm's private life, noting that while he "is sought by interesting women, his only real romantic involvement is with Claire Kronski, gorgeous, liberated and a brilliant lawyer. She is sometimes instrumental in the hiring of Helm on cases." (Miss Kronski is played by Laraine Stephens.) Franciosa, now pushing 50, is a native of New York's East Harlem. At age 18 he made his dramatic debut in a YWCA production of Noel Coward's "Brief Encounter." He toiled in various stage-plays without much recognition until, in 1955, his performance as Polo in "A Hatful of Rain" won the New York Drama Critics Award for Outstanding Performance in a Supporting Dramatic Role. It wasn't long before he headed for the bright lights of Hollywood. He had roles in such films over the years as "A Face in the Crowd," "The Long Hot Summer," "Career," "Rio Concho," "Across 110th Street," and the current "The Drowning Pool," in which he costars with longtime pal Paul Newman. He has appeared in countless television specials in addition to his three previous series. A recent interview session in California opened with Franciosa saying, "Well, hello again. I haven't talked with you since 'Search' went on the air." "You didn't do much then," I replied. "Your costar, Angel Tompkins, did all the talking-even when the questions were addressed to you." He chuckled as he recalled the situation. Things went on from there, and here's what the debonair performer had to say: Q: Speaking of "Search," that series didn't last very long. Do you have any thoughts on why it failed? A: I never quite understood that show. I signed for only a year and was to do eight shows. It was very strange. I felt that the over-all premise just didn't work. Everyone went into it with the very best of intentions, but the execution was bad. As the programs turned out, I was not surprised--nor very disappointed--that they were not very popular. I thought they were pretty bad, to be perfectly honest. Q: There's a lot of hard work connected with a television series. Why did you agree to do another one? A: To a certain degree, I like working in a series-if the results are anywhere near our expectations. If that's the case, then it's very satisfying. I'm hopeful we have a good entertainment piece in "Matt Helm." If we do, then I won't mind the long hours I'll have to put in. Q: As you doubtless know, Dean Martin starred in several "Helm" movies. Have you seen them, and, secondly, do you feel strange in taking over a character associated with another actor? A: I haven't read any of the Matt Helm books and I haven't seen any of the movies. And let me say that I don't feel we are disturbing "literature" by altering the character the way we have for the series. And, what's more, I don't think Dean Martin's character of the movies is limiting me in the series. Our character is very different-he takes things much more seriously than did the Matt Helm of the movies. As for my feeling strange in taking over the role associated with Martin, I don't. Dean and I are good friends and he feels no animosity toward me because of this role. Q: I saw the first episode of "Matt Helm" and must admit that I rather enjoyed it. It was entertaining although a bit far-fetched in places. Agree? A: Oh, yes. The situations and the character will be larger than life in many instances. The show is not intended as realism-it's strictly meant to be entertainment. Q: I suspect that some viewers will be upset by your "chauvinistic" attitude toward women. Any comments? A: Well, the character of Kronsky is very interesting, I think. We'll try to show that she is a very good attorney and not just a beautiful woman who has no brains. Obviously, Helm and Kronsky are having an affair, but I would hope that's not such a bad thing from her point of view. Q: None of the movies you have appeared in in recent years can really be called "biggies." And you are not noted as a movie "superstar." Why? A: To begin with, I'm not doing many big features because this is a very star-oriented business. There are 12 or 14 people who are doing all the movies-just think about it and you'll agree with me. These performers could do fives movies each a year and that would be the entire production from Hollywood. My attitude is that many producers are missing out on my talent. I could do a lot for the movies, I believe, but no one is asking me. Movies are so expensive to make, producers are hedging their bets by putting top names in them. U. S. films are directed toward making an enormous profit. They won't settle for a little profit-they want a tremendous profit or the whole thing's meaningless for them. That's an unhealthy situation, I believe. Q: "The Name of the Game" was a classy series, but it brought you the reputation of being a "nasty" guy to work with. Any truth to the charges? A: After that series ended there were long periods of time during which I could not get much work. And I suppose it was because of the "bad guy" reputation I got at Universal. I was hurt by the treatment I received there. The main problem I faced was that at Universal you didn't know who to talk to about your troubles. Universal is like a giant factory-it's the richest studio in town and has enormous power. We had our disagreements, though. Q: Speaking of contracts and agreements, are the terms of your "Matt Helm" pact suitable and do you intend to abide by them? A: Certainly, I'll abide by them-to the very letter. And the terms are acceptable. My salary is on an ascending scale-the longer the show runs, the more per episode I shall receive. I'll be delighted if the show runs for, say, five or six years. It's kind of boring to play one character for that long, but the money certainly is good. From: actingman-jc@att.net Date: Thu Feb 24, 2000 5:30 pm Subject: [probe_control] Way to go Don. Love the Franciosa article. Have to think about it before we start ripping it apart. But you are probably right that he, in 1975, didn't want to discuss a "one year failure." It would be interesting to hear any thoughts he has on it today. (And didn't Matt Helm end even quicker then Search did?) Don't know where you came from Don, but keep the postings coming...you are putting me to shame as far as Search tidbits go. From: ProbeControl@aol.com Date: Thu Feb 24, 2000 10:11 pm Subject: [probe_control] Re: 1972 Review of Probe--Atlanta Constitution (fwd) Thanks for sending along the ATLANTA CONSITUTION, Don! You're our FAVORITE 'new member'!!! It WAS a nice contrast from the TV GUIDE article! $100,000 for a set is small-potatoes these days. That figure (almost as much as anything else) helps us remember the 28-year age of the pilot... Jim Alexander probecontrol@aol.com From: Dghprobe3@aol.com Date: Thu Feb 24, 2000 10:41 pm Subject: [probe_control] Search episodes--Production Sequence "SEARCH" Episodes: When They Were Filmed Film Clip CLAPBOARD Dates: (0. "Probe" - "Search" pilot film ......................?-71) 1. "The Murrow Disappearance"..............~06-08-72 2. "Moonrock".......................................~06-13-72 3. "The Gold Machine"...........................~06-25-72 4. "One of Our PROBEs is Missing"…....~07-....-72 5. "Operation Iceman".......................….~07-17-72 6. "Short Circuit"..............................….~07-24-72 7. "In Search of Midas".........................~08-07-72 8. "Live Men Tell Tales"..................…...~08-17-72 9. "The Bullet".....................................~08-....-72 10. "The Adonis File"...........................~09-08-72 11. "Suffer My Child"............................~09-14-72 12. "Flight to Nowhere".........................~09-21-72 13. "Let Us Prey".................................~10-06-72 14. "A Honeymoon to Kill"....................~10-17-72 15. "The Packagers"............................~10-....-72 Obviously, the episodes were not aired in this order. By the time the series premiered on 9-13-72, eleven episodes had been filmed. Notice that the episodes tend to be bunched together by actor. At one point, Hugh O'Brian filmed four shows back to back. Franciosa and McClure generally filmed two shows back to back. Apparently this was done in order to accommodate everyone's schedule. These are the episodes that Robert H. Justman line produced. Also, each of the 15 episodes feature the first Probe Control set (the darkened "airplane cockpit" look) and tech crew (Kuroda, Griffin, et al). I have no production order information from clapboards on the next eight midseason renewal episodes with Anthony Spinner as line producer. These were the episodes with the new Probe Control set (with a more brightly lit office look) and tech crew (Harris, Miss James, et al). What we can do is check the above dates with the dates on all of the scripts. The scripts should have been readied just about the time they were to be filmed. I don't have all of the scripts, so maybe John can do a list of episodes in order of script date and compare to the above adding, of course, the eight additional episodes. SCRIPT dates (at least the ones I have): The Gold Machine--------------------------06-06-72 In Search of Midas-------------------------07-19-72 The Bullet-------------------------------------08-15-72 Adonis File--------------(my script has no date) Flight to Nowhere--------------------------09-19-72 A Honeymoon to Kill---------------------10-03-72 The 24 Carat Hit----------------------------11-22-72 Numbered for Death-----------------------11-30-72 Countdown to Panic (The Carrier)----12-11-72 You can see that the pattern basically repeats here. John, can you add your script dates to mine and complete my list? We should then have the complete production sequence (i.e. filmed order) of all the episodes. Don From: Bryan D. Date: Thu Feb 24, 2000 6:47 pm Subject: [probe_control] Thanks Don Very interesting article. I bought some clippings of Tony Franciosa's that someone was selling on eBay about 6 months ago. One of the articles were after the failure of Matt Helm, he talked about how his temper had been a problem in the past, and that it was now under control. With the passage of time he was much kinder towards Search than he was in 1975. From: actingman-jc@att.net Date: Fri Feb 25, 2000 9:31 am Subject: [probe_control] Re: Search episodes--Production Sequence It's an interesting idea. Not one hundred percent dependable of course. I'm not sure about the date for Adonis. At first I thought the clapboard shot said September, but then I decided it said July. The way they wrote the number is just not clear. Also, if you definitly have clap shots from Moonrock and Gold Machine (or if I do and don't realize it) then I will have to accept it. But I always assumed that Moonrock came after Gold Machine because in Moonrock they are already making excuses as to why Harding is not there (she has a cold...this is her cousin...) My script copy of Adonis also has no date...it says "revised final draft." With Ms. Tompkins departure, and lots of Linda Harte's dialogue making more sense if it came from Gloria Harding (and the fact that the medical telemetrist goes on the mission) as well as the comments from Deanna Lund's friend that she was told she would be Tompkins' replacement, all leads me to believe that it was the fourth Lockwood episode, filmed in July. I just don't see them, by September, worrying about having a female foil for Lockwood. I do see them scrambling at the last minute to make it possible to shoot a script that is all set and scheduled to go (Adonis). Another trick to figure out the approximate order, is to look at the other control personel. Keach disappears at some point...Murdock disappears at some point...Cheryl Stopplemore (Ladd) shows up at some point (and maybe disappears as well...and the other ladies that just sit there and stare at the screen becasue they were given no business at all. This will require having all the episodes...but do we really require a justification for that? My two cents on all this...and that's about what it's worth. I will try and chart the dates on the scripts..always meant to. > "SEARCH" Episodes: When They Were Filmed > > Film Clip CLAPBOARD Dates: > > (0. "Probe" - "Search" pilot film ......................?-71) > 1. "The Murrow Disappearance"..............~06-08-72 > 2. "Moonrock".......................................~06-13-72 > 3. "The Gold Machine"...........................~06-25-72 > 4. "One of Our PROBEs is Missing"…....~07-....-72 > 5. "Operation Iceman".......................….~07-17-72 > 6. "Short Circuit"..............................….~07-24-72 > 7. "In Search of Midas".........................~08-07-72 > 8. "Live Men Tell Tales"..................…...~08-17-72 > 9. "The Bullet".....................................~08-....-72 > 10. "The Adonis File"...........................~09-08-72 > 11. "Suffer My Child"............................~09-14-72 > 12. "Flight to Nowhere".........................~09-21-72 > 13. "Let Us Prey".................................~10-06-72 > 14. "A Honeymoon to Kill"....................~10-17-72 > 15. "The Packagers"............................~10-....-72 > > Obviously, the episodes were not aired in this order. By the time the series > premiered on 9-13-72, eleven episodes had been filmed. Notice that the > episodes tend to be bunched together by actor. At one point, Hugh O'Brian > filmed four shows back to back. Franciosa and McClure generally filmed two > shows back to back. Apparently this was done in order to accommodate > everyone's schedule. These are the episodes that Robert H. Justman line > produced. Also, each of the 15 episodes feature the first Probe Control set > (the darkened "airplane cockpit" look) and tech crew (Kuroda, Griffin, et al). > > I have no production order information from clapboards on the next eight > midseason renewal episodes with Anthony Spinner as line producer. These were > the episodes with the new Probe Control set (with a more brightly lit office > look) and tech crew (Harris, Miss James, et al). What we can do is check the > above dates with the dates on all of the scripts. The scripts should have > been readied just about the time they were to be filmed. I don't have all of > the scripts, so maybe John can do a list of episodes in order of script date > and compare to the above adding, of course, the eight additional episodes. > > SCRIPT dates (at least the ones I have): > > The Gold Machine--------------------------06-06-72 > In Search of Midas-------------------------07-19-72 > The Bullet-------------------------------------08-15-72 > Adonis File--------------(my script has no date) > Flight to Nowhere--------------------------09-19-72 > A Honeymoon to Kill---------------------10-03-72 > The 24 Carat Hit----------------------------11-22-72 > Numbered for Death-----------------------11-30-72 > Countdown to Panic (The Carrier)----12-11-72 > > You can see that the pattern basically repeats here. John, can you add your > script dates to mine and complete my list? We should then have the complete > production sequence (i.e. filmed order) of all the episodes. > > Don > From: Dghprobe3@aol.com Date: Fri Feb 25, 2000 6:00 pm Subject: [probe_control] 1972 - New York Times Review of Search (Note: Here is a review of "Search" at the time of the series premiere. It originally included a review of the NBC Wednesday Mystery Movie. Here I quote, with opening context, the portion that pertained to "Search." They didn't think much of the show either, but it's presented here for historical content.) The New York Times, Wednesday, September 20, 1972 TV: NBC PRESENTS TWO NEW SERIES OF TRIPLE-PLAY ROUTINE By John J. O'Connor "This Fall," proclaim the ads, "NBC week has it all." Well, let's not look at that one too closely. But Wednesday evenings, the National Broadcasting Company certainly comes close to have all the policeman-detective-private eye action in television town. After "Adam-12" at 8 o'clock, returning the two familiar police buddies to their trusty patrol car, the network is presenting two new weekly series: The 90-minute "NBC Wednesday Mystery Movie" (as opposed to "NBC Sunday Mystery Movie") at 8:30, and the hour-long "Search" at 10. Both series use a form of what might be called "triple play"… …"Banacek" has a severe credibility problem that deserves investigation. Credibility is more ignored than strained on "Search," which uses the setting of a highly computerized "mission control" center belonging to the World Securities Corporation, a super-sleuth agency towering above even the F. B. I. and the C. I. A. Every other week Hugh O'Brian plays the investigator lead, a former astronaut transformed into command pilot. On other weeks, Tony Franciosa or Doug McClure will be given a chance to head the fun and games. Meanwhile, at mission control, Burgess Meredith supervises the electronic gadgetry, hovering over a panel of dials and buttons and summoning all sorts of information on a bank of TV monitors. Mr. Meredith concentrates fiercely on his job, apparently not wanting to spare a moment's thought on the basic plot line. Carefully wired for remote-control monitoring and wearing a ring that contains a TV camera, the heroes venture forth on their appointed rounds. A car chase, a fistfight or two, a thoroughly impressed and glamorous woman-and the formula begins to take on a depressingly familiar shape. For all of the flash electronics, the plots are drably standard. The core of last week's episode, as Mr. O'Brian employed his fashion-page brand of virility to subdue an international blackmailing operation, provided a rigged poker game. Tonight Mr. Franciosa goes after a hundred-dollar-bill racket that is "threatening the world's economy." Wednesday evening's triple-play routine shows distinct signs of becoming a triple threat--to the viewer. From: ProbeControl@aol.com Date: Fri Feb 25, 2000 10:20 pm Subject: [probe_control] SEARCH tribute???? I'm sure I'm reading too much into it, but did anyone see this week's episode of CBS' 'Now and Again'??? If I didn't know any better, I'd think that show creator Glenn Gordon Caron was giving a slight nod to our favorite show. The plot had the show's protagonist at a swanky black-tie party, where he was in communication with his Cameron-like superior. They were speaking to each other with the aid of a hidden microphone and an audio-only ear-plug (no video), but the clever double-entendre' banter... with Wiseman saying one thing to his boss, and everyone else in earshot believing that he's speaking to them... well, it just reminded me (a LOT) of SEARCH. And that reminds me... speaking of SEARCH rip-offs (of a sort), does anyone remember a short-lived series about 5 or 6 years ago, called FORTUNE HUNTER? I could be very wrong, but that's the name that I remember. I taped most of the episodes, but I can't find any of them right now. I remember an agent (one of many) who went out on missions. Of course, this man was much younger (to appeal to a wider TV audience), but the set-up was almost exactly the same. A single indiviual (in this case, kind of a computer-nerd) sat behind a kind of big-screen tv, in a small room. He had internet computer access, which he used to help the star get out of his weekly jam. There was a female lead, but I don't remember much about her. Lastly, I don't remember how the techie 'saw' through the lead's eyes. I seem to remember a contact-lens camera. Sound familiar to anyone? Frankly, at the time, I considered writing Stevens and asking him what he thought of the 'theft'... :) Jim Alexander probecontrol@aol.com From: Dghprobe3@aol.com Date: Sat Feb 26, 2000 12:35 am Subject: [probe_control] Search similarities Thanks, Jim, for your post on "Search" tributes. While on the subject, I have noticed the following: The first season of "Mannix" in 1966-67 had Mike Connors working for a private-eye firm called INTERTECT, which was not unlike World Securities. There were no scanners and such, but they did have a room full of computers, similar to Probe Control. Joe Mannix would trade notes on cases over the phone with his boss Lou, played by Joe Campanella. Sometimes their exchanges were pretty humorous, not unlike Cameron's exchanges with the Probe agents. The 1968 "Star Trek" episode "Assignment Earth" (which was the pilot for a proposed series) had Robert Lansing as Gary Seven, a sort of James Bond in space. I mention it because Mr. Seven had plenty of gadgets and a room-sized computer. I also mention it because of the Robert Justman connection to "Search." And, of course, another example is "Knight Rider," which contained some similar elements and included a "Search" guest star--Edward Mulhare (of "Operation Iceman"). Thanks again, Jim, for reminding me. I'm sure there are other similitudes out there. From: actingman-jc@worldnet.att.com Date: Sat Feb 26, 2000 12:37 am Subject: [probe_control] Re: SEARCH tribute???? I couldn't watch that show because I can't see it three years from now when the doctor is still weekly threatening Mr. Wiseman with death if he sees his family, and by the end of the episode, he is with his wife again. Having said that, I wish it were a tribute, but the unseen-but-by-one is an old one..."I'm dead and only you can see and hear me"..."Al! Stop sneaking in and out...let me hear the imaging chamber door open and close"...etc. Never saw Fortune Hunter, but I do know someone somewhere said there was a tv-movie on Fox awhile back that was a direct ripoff...but didn't see that either. At 10:20 PM 2/25/2000 -0500, you wrote: >I'm sure I'm reading too much into it, but did anyone see this week's episode >of CBS' 'Now and Again'??? If I didn't know any better, I'd think that show >creator Glenn Gordon Caron was giving a slight nod to our favorite show. > > > >And that reminds me... speaking of SEARCH rip-offs (of a sort), does anyone >remember a short-lived series about 5 or 6 years ago, called FORTUNE HUNTER? From: actingman@iname.com Date: Sun Feb 27, 2000 5:18 am Subject: [probe_control] Script dates PILOT 11/16/71 MURROW 5/19/72 MOONROCK 6/1/72 GOLD MACHINE 6/6/72 ONE OF OUR 6/22/72 OPERATION ICEMAN 6/26/72 SHORT CIRCUIT 7/14/72 IN SEARCH OF 7/19/72 LIVE MEN TELL 8/2/72 THE BULLET 8/15/72 SUFFER MY 9/7/72 FLIGHT TO 9/19/72 LET US PREY 9/26/72 HONYMOON 10/3/72 PACKAGERS 10/16/72 24 CARAT 11/22/72 NUMBERED FOR 11/30/72 COUNTDOWN TO 12/11/72 MATTSON 1/4/73 GODDESS 1/4/73 MOMENT OF 1/23/73 ENDS OF THE 1/26/73 ADONIS FILE NO DATE From: Dghprobe3@aol.com Date: Mon Feb 28, 2000 2:05 am Subject: [probe_control] SEARCH items on eBay--not much time left! The group might want to check out eBay, one of the internet auction sites, which has some SEARCH items up for bids: Check under "Viewmaster - Search (NBC-TV)" These are the View-Master reels of "The Gold Machine" episode with Hugh O'Brian and Angel Tompkins. So far bidding starts at $9.99 w/$2.00 postage. No bids so far. Time apparently runs out by mid-day Tuesday Feb. 29, 2000, so those interested should move fast on this. Check under "TV GUIDE Nov 25 1972 Hugh O Brian NR!" This is the TV Guide issue with Bob Peak's cover art of the three lead actors in "Search." When I checked on this, the bidding was up to at least $8.26, so it may actually be higher than this. If you want to try for this one, move VERY fast. Time runs out early Monday morning Feb. 28, 2000! If you search under the names Hugh O'Brian, Tony Franciosa, Doug McClure, and Burgess Meredith, you'll find a fair amount of material devoted to their roles outside of "Search." However, if you missed these, don't worry. These and similar items tend to show up again every so often. Keep checking eBay because you never know what "Search" item they'll be offering next. From: actingman-jc@att.net Date: Tue Feb 29, 2000 11:59 am Subject: [probe_control] Re: Search scripts & Leslie Stevens Don't know if we have seen the same scripts, but Trek's "This Side Of Paradise" has different act breaks. Search's "Let Us Prey" also has different act breaks. My own feeling is it is more of an arrogance, although it could be born out of not bothering to include them if he figured the producers were just going to put the breaks where they wanted, or where the network wanted them. I'm not sure how much the networks influence this past a certain point. Murrow has a much shorter first act then the other episodes. On the dates, I will double check, but I am sure I had it correct, becasue I had to decide which one to put first on the list. I don't think the dates necessarily show that specific an order. I don't have the list in front of me, but notice gaps of weeks in between some scripts, that we know had to be in the middle of the filming process. Hour television shows in the U.S. shoot roughly one episode per week. That doesn't mean that two weeks between script dates meant no shooting. It just meant that they didn't finalize one of the scripts that week. So it is also possible for stories to come in at the same time. Also, with a show like Search, that required many one time and location sets, you had to have your schedule set ahead of time, and know what you were shooting, when and where, so you had your crews at the right place, or had the right sets built. You can work around illness, weather, family deaths etc, within the filming of one episode, but I don't think you can suddenly decide to bypass one story for another, especially since you don't have the same lead every week. It is possible in some cases of course (Galactica apparently passed out scripts for an episode called "Two For Twilly"...and may have even started shooting, but then quickly stopped and started another episode. Of course that show did in fact on one occassion finish shooting and deliver an episode to ABC the same day it aired. But they could switch gears becasue they could concentrate on the standing ship sets while getting ready other sets or locations. Search did not have that luxery.) I haven't read it in 27 years, but David Gerrold's chronicle of his writing The Trouble With Tribbles might shed some light on this. I remember him mentioning the episodes that were shooting while he was getting his script ready. I know there are situations where companies are behind schedule, and writing as they are shooting, and companies where they are on or ahead of schedule. So I am firmly convinced that ultimatlely I have no idea. > On the matter of Act closings. Here's my speculation and let me know whether > you agree (I may be completely wrong here, but here goes): I think Leslie > Stevens basically left the act closings to the post-production people. I > notice that on other writers' scripts, sometimes they wrote in act closings > which did not air that way. If I remember right, I believe I've seen a > couple of "Star Trek" scripts where the act closings were different from what > aired. I'd have to recheck. > > If anything, I think this was more the perview of network time requirements > than anything else. I think Stevens' attitude was also based on the > exigencies of time. He had been at the TV writing game for a long time > before "Search" and he probably spent/wasted a lot of time in his early days > plotting out exactly where act endings should go, only to find them changed > due to production considerations. > > I think he wrote his scripts in such a way as to give post-production a > couple of places to fade out every fifteen minutes or so. The other thing is > that there probably wasn't a whole lot of time all the way around. He wrote > the pilot, sold the series, then wrote all of the characters' first episodes > plus a few others, one after the other. He probably also did rewriting on > some of the later scripts up until his departure. > > Anyway, this is my surmise based on reviewing some of the scripts again, as > well as reading up on aspects of Stevens' background. But, as Jay Leno says, > "I might be WAY out of line with all this." :) > > P.S.: By the way--thanks for the SCRIPT DATE list! Very interesting. > However, I notice that "Mattson" and "Goddess" show the same date (1-4-73). > Could you check them again? I think maybe one of them could actually be > 1-14-73? I don't know. Maybe they weren't sure if Franciosa would be able > to do his that week and had a McClure one ready as a backup? I had > speculated that "Ends of the Earth" was the last episode because of the > title. The production people might have jokingly called it the "Ends of the > Series." > > Don From: Dghprobe3@aol.com Date: Tue Feb 29, 2000 3:56 pm Subject: [probe_control] Search scripts - another possibility Thanks, John, for that last message! Thanks for mentioning the David Gerrold book. There were indeed some twists and turns in the production of the old "Star Trek" series. With "Search," since there is so little production information available, we're reduced to shooting in the dark at bit. But here's yet another possibility. With "Mattson" and "Goddess" having the same script date, which one was filmed first? This brings to mind one of the books I read a while back about the production of the old "Maverick" series and the filming order for that series is not what one might think. That series had James Garner generally filming his episodes with one unit, while Jack Kelly filmed his episodes at the same time with another unit. Then there were the episodes where they appeared together. I'm not saying that this was ever done with "Search," but as you say, "Galactica" and others had some overlaps and some last-minute changes, etc. My only point was that they had two scripts for different characters ready at the same time. My speculation was that it could have been early enough in pre-production to have gone with either one if someone wasn't available. I'm aware that once pre-production goes past a certain point, they are basically committed to that episode. Clapboard dates on film clips help clinch this sort of thing, but as you have noted, none are apparently available on those last 8 shows. This brings up a point my brother brought up which I hadn't considered. He took a look at "Numbered for Death," a Grover episode. He wondered if it might not have originally been written for Bianco but later changed for Grover? Who knows? We're probably not going to get the answers to a lot of these questions until we get to interview people "in the know" like Anthony Spinner, Robert Justman, etc. Another good interview might be Russ Mayberry, who directed the most episodes--five shows plus the pilot. Don >I don't think the dates necessarily show that specific an >order. I don't have the list in front of me, but notice >gaps of weeks in between some scripts, that we know had >to be in the middle of the filming process. Hour >television shows in the U.S. shoot roughly one episode >per week. That doesn't mean that two weeks between >script dates meant no shooting. It just meant that they >didn't finalize one of the scripts that week. So it is >also possible for stories to come in at the same time. >Also, with a show like Search, that required many one >time and location sets, you had to have your schedule set >ahead of time, and know what you were shooting, when and >where, so you had your crews at the right place, or had >the right sets built. You can work around illness, >weather, family deaths etc, within the filming of one >episode, but I don't think you can suddenly decide to >bypass one story for another, especially since you don't >have the same lead every week. It is possible in some >cases of course (Galactica apparently passed out scripts >for an episode called "Two For Twilly"...and may have >even started shooting, but then quickly stopped and >started another episode. Of course that show did in fact >on one occassion finish shooting and deliver an episode >to ABC the same day it aired. But they could switch gears >becasue they could concentrate on the standing ship sets >while getting ready other sets or locations. Search did >not have that luxery.) > >I haven't read it in 27 years, but David Gerrold's >chronicle of his writing The Trouble With Tribbles might >shed some light on this. I remember him mentioning the >episodes that were shooting while he was getting his >script ready. > >I know there are situations where companies are behind >schedule, and writing as they are shooting, and companies >where they are on or ahead of schedule. > >So I am firmly convinced that ultimatlely I have no idea. From: actingman-jc@att.net Date: Tue Feb 29, 2000 5:16 pm Subject: [probe_control] Re: Search scripts - another possibility Interestng about Maverick. During the secnd year of Space:1999, they had a late renewal date so four times they filmed two episodes at the same time. It's interesting to watch those episodes, comparing who appears in each. One thing I realized looking at the clapboard shots in control is that they had more then one camera going at once. that is very unusual for a one camera show filming in the controled enviornment of the studio. Maybe Ms Tompkins can shed light on that. They either did that for time considerations (maybe they were behind) or for artistic considerations. On Numbered for Death, I don't see what would make it a Bianco episode, since his were the organized crime episodes, and this episode ended up pointing to a crime figure, but they didn't know that starting out. It's always possible, in which case they grafted on the beginning that got the Stand By Probe involved. What I find interesting is a couple of Bianco scripts in one place each refer to the agent involved as "Lockwood". Whether that was an error on the part of the story editor writing the wrong name during late night revisions, or the stories were changed for Lockwood, we don't know. As for Mattson and Goddess, we may never know. I would like to have all the second set episodes, so I can compare them and look for clues that might indicate in what order they were filmed. > Thanks, John, for that last message! Thanks for mentioning the David Gerrold > book. There were indeed some twists and turns in the production of the old > "Star Trek" series. With "Search," since there is so little production > information available, we're reduced to shooting in the dark at bit. But > here's yet another possibility. > > With "Mattson" and "Goddess" having the same script date, which one was > filmed first? This brings to mind one of the books I read a while back about > the production of the old "Maverick" series and the filming order for that > series is not what one might think. > > That series had James Garner generally filming his episodes with one unit, > while Jack Kelly filmed his episodes at the same time with another unit. > Then there were the episodes where they appeared together. I'm not saying > that this was ever done with "Search," but as you say, "Galactica" and others > had some overlaps and some last-minute changes, etc. My only point was that > they had two scripts for different characters ready at the same time. My > speculation was that it could have been early enough in pre-production to > have gone with either one if someone wasn't available. I'm aware that once > pre-production goes past a certain point, they are basically committed to > that episode. Clapboard dates on film clips help clinch this sort of thing, > but as you have noted, none are apparently available on those last 8 shows. > > This brings up a point my brother brought up which I hadn't considered. He > took a look at "Numbered for Death," a Grover episode. He wondered if it > might not have originally been written for Bianco but later changed for > Grover? Who knows? We're probably not going to get the answers to a lot of > these questions until we get to interview people "in the know" like Anthony > Spinner, Robert Justman, etc. Another good interview might be Russ Mayberry, > who directed the most episodes--five shows plus the pilot. > > Don > > > >I don't think the dates necessarily show that specific an > >order. I don't have the list in front of me, but notice > >gaps of weeks in between some scripts, that we know had > >to be in the middle of the filming process. Hour > >television shows in the U.S. shoot roughly one episode > >per week. That doesn't mean that two weeks between > >script dates meant no shooting. It just meant that they > >didn't finalize one of the scripts that week. So it is > >also possible for stories to come in at the same time. > >Also, with a show like Search, that required many one > >time and location sets, you had to have your schedule set > >ahead of time, and know what you were shooting, when and > >where, so you had your crews at the right place, or had > >the right sets built. You can work around illness, > >weather, family deaths etc, within the filming of one > >episode, but I don't think you can suddenly decide to > >bypass one story for another, especially since you don't > >have the same lead every week. It is possible in some > >cases of course (Galactica apparently passed out scripts > >for an episode called "Two For Twilly"...and may have > >even started shooting, but then quickly stopped and > >started another episode. Of course that show did in fact > >on one occassion finish shooting and deliver an episode > >to ABC the same day it aired. But they could switch gears > >becasue they could concentrate on the standing ship sets > >while getting ready other sets or locations. Search did > >not have that luxery.) > > > >I haven't read it in 27 years, but David Gerrold's > >chronicle of his writing The Trouble With Tribbles might > >shed some light on this. I remember him mentioning the > >episodes that were shooting while he was getting his > >script ready. > > > >I know there are situations where companies are behind > >schedule, and writing as they are shooting, and companies > >where they are on or ahead of schedule. > > > >So I am firmly convinced that ultimatlely I have no idea. From: Dghprobe3@aol.com Date: Tue Feb 29, 2000 7:49 pm Subject: [probe_control] The Directors of SEARCH The Directors of "SEARCH" "Probe" (Pilot)-----------------------Russell Mayberry "The Murrow Disappearance"------------Russ Mayberry "Moonrock"----------------------------William Wiard "The Gold Machine"--------------------Russ Mayberry "One of Our Probes is Missing"--------Philip Leacock "Operation Iceman"--------------------Robert Friend "Short Circuit"-----------------------Allen Reisner "In Search of Midas"------------------Nicholas Colasanto "Live Men Tell Tales"-----------------Marc Daniels "The Bullet"--------------------------William Wiard "The Adonis File"---------------------Joseph Pevney "Suffer My Child"---------------------Russ Mayberry "Flight to Nowhere"-------------------Paul Stanley "Let Us Prey"-------------------------Russ Mayberry "A Honeymoon to Kill"-----------------Russ Mayberry "The Packagers"-----------------------Michael Caffey "The 24 Carat Hit"--------------------Barry Shear "Numbered for Death"------------------Allan Reisner "Countdown to Panic"------------------Jerry Jameson "The Clayton Lewis Document"----------William Wiard "The Mattson Papers"------------------William Wiard "Goddess of Destruction"--------------Jerry Jameson "Moment of Madness"-------------------George McCowan "Ends of the Earth"-------------------Ralph Senensky The most prolific director was Russell Mayberry, who directed six episodes, which includes the pilot movie. The next prolific were William Wiard (three episodes), Allan Reisner and Jerry Jameson (each did two). Some of these names might be familiar. Marc Daniels, Joseph Pevney and Ralph Senensky directed some of the classic "Star Trek" shows. Was their presence due to the Bob Justman connection? Maybe. Nicholas Colasanto was also an actor and would be more familiar to fans of "Cheers." He played Ernie Pantusso. He also directed Tony Franciosa in the 1966 pilot for "The Name of the Game." How did I find all of these names? Beyond the episodes we have on videotape, for the episodes we don't have, I read their names off the film clip clapboards. And most of these fellows are listed in a book on TV directors called "The American Vein," by Christopher Wicking and Tise Vahimagi (E. P. Dutton Paperback, New York, 1979). This book was written in London in the late 1970's, so it is about American TV from a British perspective. I found it at a second hand bookstore a few years ago. Don dghprobe3@aol.com From: ProbeControl@aol.com Date: Tue Feb 29, 2000 10:24 pm Subject: [probe_control] Re: The Directors of SEARCH GREAT piece about SEARCH directors, Don! I knew most of the names (didn't Wiard do some BATMAN episodes?), but you sure filled in the gaps! EXCELLENT! Jim probecontrol@aol.com From: Dghprobe3@aol.com Date: Tue Feb 29, 2000 11:00 pm Subject: [probe_control] Leslie Stevens Credits & SEARCH Connections LESLIE STEVENS - LIST OF CREDITS (born in 1924, died 24 April 1998) Birth name: Leslie A. Stevens III This is not meant to be an exhaustive list, it's just meant to help us see some connections and make us more familiar with the background of the man who created SEARCH. From 1956 to 1959, he wrote for the following series: FOUR STAR PLAYHOUSE, PRODUCERS SHOWCASE, KRAFT THEATRE, and PLAYHOUSE 90. Allen Reisner (director of "Short Circuit") directed many episodes of PLAYHOUSE 90. 1958: THE LEFT-HANDED GUN (writer). 1960: PRIVATE PROPERTY (writer). 1960: MARRIAGE-GO-ROUND [play] (producer). 1962: HERO'S ISLAND [aka THE LAND WE LOVE] (producer). 1962: STONEY BURKE (creator, producer & director). 1963: THE OUTER LIMITS (creator, executive producer, writer & director). Bob Justman's association apparently started here. Dominic Frontiere composed the music for this series. Paul Stanley (director of "Flight to Nowhere") directed some episodes. 1964: FANFARE FOR A DEATH SCENE (director). 1965: INCUBUS (director & filmed in Esperanto with William Shatner - Stevens' fascination for languages is hinted at in his SEARCH episode "Short Circuit." Lelia Moen was a teacher of modern languages at a university.) 1965: THE WAR LORD [play - THE LOVERS]. 1966: I LOVE A MYSTERY (director), SOMETHING FOR A LONELY MAN. 1967: MI MUJER, LA SUECA Y YO (story). 1967: THE VIRGINIAN (executive producer 5th season & writer). Doug McClure's connection seems to have started here. Russ Mayberry, Paul Stanley, and Joseph Pevney directed some episodes. 1968: THE NAME OF THE GAME (producer, writer & director). Tony Franciosa's connection seems to have started here. Barry Shear (director of "24 Carat Hit") was also a producer and writer for this series. Joe Pevney directed an episode. 1968: IT TAKES A THIEF (writer, producer & director). McClure had a cameo in the pilot. Allen Reisner (director of "Numbered for Death") directed an episode, as did Paul Stanley, Michael T. Caffey, and Marc Daniels. 1970: MEN FROM SHILOH (executive producer of the Doug McClure segments, producer & writer). Philip Leacock (director of "One of Our Probe's is Missing") directed an episode, as did Marc Daniels. 1970: FOUR IN ONE: McCLOUD (executive producer). The Terry Carter connection ("The Mattson Papers") may have started here. This association may have also led to his appearance in "Galactica." Russ Mayberry, Barry Shear, and Jerry Jameson directed some episodes. 1970: THE AQUARIANS (writer). 1972: SEARCH (executive producer & writer). 1974: FER-DE-LANCE (writer). This movie was directed by Russ Mayberry. 1975: THE INVISIBLE MAN (producer, writer & director). 1976: GEMINI MAN (producer & writer). Michael Caffey (director of "The Packagers") directed some episodes. 1976: STONESTREET: WHO KILLED THE CENTERFOLD MODEL? (executive producer & writer). This movie was directed by Russ Mayberry. 1978: BATTLESTAR GALACTICA (series co-creator & co-producer). 1978: BUCK ROGERS IN THE 25TH CENTURY (supervising producer). Tim O'Connor ("The Mattson Papers") appeared as Dr. Huer. 1984: SHEENA (story). 1987: THREE KINDS OF HEAT (writer & director). 1995: THE OUTER LIMITS (program consultant). 1995: GORDY (writer). I'm sure there are many other items and connections I may have missed! If anyone sees something that can be corrected or added to this list, please do so. :) Don dghprobe3@aol.com From: actingman@iname.com Date: Tue Feb 29, 2000 11:33 pm Subject: [probe_control] Re: The Directors of SEARCH Don: You are making our job of site building a whole lot easier. Much less research to do.