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Introduction
Welcome to two months of my life. Actually, what you see here is the culmination of a year’s worth of watching and reading and picking up information, but it completely dominated the last two months. Why write another guide, you may ask? Isn’t that like reinventing the wheel? And indeed, I have been fortunate to find many other such works, informal guides and trivia collections and the like, to help me. But there are a couple of differences between those and this collection. One deficit I immediately discovered in everything I came across, was a decided lack of accuracy, particularly in spelling. Some names I actually found spelled four different ways in four different listings! So in doing mine, I went back to the source - the episodes themselves. Then I checked my notes to the other listings I had. Then I went back to the episodes... Well, you get the picture. Yes, occasionally the episodes were wrong, but I think I caught most of those, too. And the episodes were, of course, the final word on character names. As a result, every single item in these pages has been at least triple-checked, if not more.
I also went through every article and magazine and book and scrap of information I could beg, borrow, or buy, in order to compile what I believe to be the most complete collection of anecdotes, trivia, and information around. Almost a notebookful’s worth, condensed and sorted into these 60 pages. Which means that everyone, whether a brand new fan or someone who’s been with it since April 30, 1975, should be able to find something of interest here. This is not meant to be an episode synopsis guide - I figure if you haven’t actually seen the shows, there’s nothing I can tell you to take its place. Rather, consider it a companion to the series, a place to pick up an interesting fact or two about an episode, jog your memory, check on that familiar face, or just browse through.
A few notes about format. The dates are all US first-aired dates, completely different from British or any other foreign airdates. The numbering system is based on how the episodes originally aired; two-hour episodes originally shown together as two-hour specials share one number, two-parters that were split up as ‘to be continued’ have two numbers. Therefore, the total number comes to 88 even though 92 hours of film exist (plus the pilot). If this confuses, I apologize - everyone has a different numbering system and this one made the most sense to me. After the cast lists, WB (Written By) and DB (Directed By) are also listed, as well as music or choreography credit where applicable. And the criticism and favorite lines and scenes are my own, combined with responses culled from a year with the fandom. All blame for any errors or interpretations lies solely with me.
One last word, and that’s a word of appreciation for all those who have helped me make this compendium as complete and accurate as possible. My deepest gratitude and love to Cathee and Maria in particular, without whom I don’t think I’d even have started this, and also many thanks to Nanci Casad, Caroline Craig, Barbara Franjevic, Joan Hoyland, and Alison Wilson, and indirectly to Susan Burchfield, Monica Rose Kiesel, Jeanne Sullivan, and Dean Treadway. But most of all, to my family for letting me spend the Blizzard(s) of ‘96 in my room, buried in paper.
In The Beginning...
In the beginning was a scriptwriter named William Blinn. With the movie Brian’s Song already under his belt (and the award-winning script of Roots yet to come), he was already well known for his character-driven writing when he penned a script for a TV cop series. Two things set this script of his apart from the crowd. For one, it would be neither about uniformed policemen nor freewheeling detectives, but rather a compromise of detectives on the force. But even more importantly, in the age of Colombo and Kojak, this show would star two leads, two opposites who somehow worked together as a team. For the dark, wild one, Blinn used the name of a kid he played football with in high school, a kid named Starsky. And he came up with a crisp, ethnic first name to go with it: David. The second, the fair, more reserved member of the team was harder, and Blinn went through the alphabet to find a name that clicked with Starsky. He stopped at ‘H’, and Hutch wasn’t far behind, with Kenneth added to suggest a sophisticated, upperclass background. Complete opposites in everything but their humor, quick-mindedness, and loyalty to their job and to one another. So were born Starsky & Hutch.
It took producer Leonard Goldberg to develop the characters further. While working with Blinn to polish the rough script, Goldberg came across a newspaper article that intrigued him. It was about the success two detectives were having with an experiment of sticking to one neighborhood, dressing like the residents, and working at night. Even more, these two were best friends and spent much of their off-duty time together, knowing each other so well that they often seemed to communicate without words. With this in mind, Goldberg worked on the characters of Starsky and Hutch so that they would not only be loyal to and harmonious with one another, but would also be ‘blood brothers’, best friends who knew each other inside and out. Working with Blinn, he built a story around these two characters called Nightwork.
Nightwork might still have died a quiet death, but for two things. One was the new head of ABC, Fred Silverman, who detected a shift in public interest from rugged individualist pieces to buddy and ensemble shows. In Starsky & Hutch, he saw that quintessential element of “me & thee.” His only problem with it was the night setting, which would have quickly become stale and a technical nightmare to shoot. That was soon dispensed with. The show’s second coup was producer Joe Naar, who was sought after by the studio and willingly came on board. Also a man known for his work with developing relationships such as one of cinema’s greatest, Butch Cassidy and the Sundance Kid, he put the finishing touches on what was now fairly recognizable as the two characters Glaser and Soul brought to life on the screen.
How Soul was hired from Naar’s spotting him in Magnum Force, and Glaser’s infamous walnut audition are now legendary and needn’t be retold here. Antonio Fargas came a little later. It was Barry Shear, a director brought in to do the TV movie/pilot Starsky & Hutch, who recalled the bit actor he had directed in the movie Across 110th St back in 1973, and who recommended Antonio Fargas for the part of Huggy Bear.
Antonio Fargas, born August 14, 1946 in the Bronx, NY, rather fell into acting, starting at the Community Theatre of Haarlem, moving to off-Broadway productions of “A Dream of Monkey Mountain,” “Toilet,” and “The Amen Corner,” which toured Europe. One thing lead to another, and soon Fargas found himself playing bit roles in movies. His credits, pre- and post- S&H include Putney Swope (69), Shaft (71), Cleopatra Jones (73), Conrack and Busting and Foxy Brown (74), Cornbread, Earl, and Me (75), Car Wash (76), Pretty Baby (78), Nurse (80), Streetwalkin’ (85), Florida Straits (86), Shakedown (88), Night of the Sharks (89), Whore and Howling 6 and The Borrower (91), countless guest starring roles on TV, and the TV movies Escape, Mad Magazine Presents Up the Academy, A House Divided, and Milo, Milo. Starsky & Hutch is still one of his fondest memories, though, the show that garnered him an image award from the NAACP and made him internationally recognizable. (One little known fact about him is that he did the wardrobe for Huggy Bear throughout most of the series, perhaps with the help of his then-girl and wife-to-be, dress designer Taylor Hastie.) As of this writing, Fargas is a well-off and happy family man who still takes the occasional part, mostly on the stage, with plans for doing “The Sunshine Boys” someday with The Love Boat’s Ted Lange.
Bernie Hamilton only came along after the pilot was filmed. Richard Ward, who played Captain Dobey in the movie, was unavailable by the time the series went into development, but with the producers’ decision to go with Hamilton instead, they were hardly settling for second best. Bernie Hamilton (b. June 12 in LA, CA) and Ivan Dixon rode the coattails of Sidney Poitier into an new era of black sexuality in the 60’s. The movies Hamilton made, particularly in the 60’s, were among the first to take a good look at black America, and while never becoming really famous, he was a serious and respected actor. His list of credits include The Jackie Robinson Story (50), Let No Man Write My Epitaph (60), The Young One and The Devil at Four O’Clock (61), Captain Sinbad (63), One Potato, Two Potato (64), Synanon (65), The Swimmer (68), The Last Man (69), The Losers (70), Organization (71), Hammer (72), Scream, Blacula, Scream (73), and Bucktown (75). Due to wise investments early on, Hamilton was able to retire in the 80’s and now spends his time with charity work and personal interests.
Among the technical crew, close to twenty of them stayed on throughout the run of the show, a surprisingly large amount by flighty Hollywood’s standards. These persevering souls included producer Naar who was to be respected boss, cajoler, intercessor, and confidante for the actors, executive producers Aaron Spelling and Goldberg, executive production manager Norman Henry, special f/x man Dutch van Derbyl, make-up veteran Layne “Shotgun” Britton, producer’s assistant Amanda J Green (who also wrote a few scripts), art director Paul Sylos, (Glaser’s) stunt double and show stunt coordinator Charles Picerni, Soul’s stunt double Gary Epper (coming with him from the series Here Come the Brides), music supervisor Rocky Moriana, set decorator Dave Love, construction foreman Gordon Kirshbaum, location director Gene Fioremonte, editors Asa Boyd Clark (who edited all of Glaser’s and Soul’s directing work) and George Brooks, and (Glaser’s) stand-in, PV Picerni (Charlie’s nephew). (Soul’s stand-in, Chuck “Chuckles” Hollom from Magnum Force, was replaced midway by Jim Goodwin.)
In the show’s four year run, it was often panned by the critics, but was nevertheless a tremendous commercial and public success. While Glaser and Soul never received an Emmy, they won every kind of popular award possible, including the People’s Choice Award two years in a row, the Golden Globe Award for the show and both Glaser and Soul individually, Britain’s equivalent, the Sun Awards (which, for Best New Show in 76, was the first American show to win this award), and the Photoplay Gold Medal Awards three years in a row for Glaser and two for the show.
The show was set in the 9th Precinct of fictional Bay City, CA, a thinly-disguised Los Angeles (the police station was even universally accepted as LA’s Parker Center), where Starsky and Hutch worked in the Metro Division, usually in homicide, although with occasional cases in vice, rackets, narcotics, robbery, and even a few federal investigations. Hardly the model policemen (of their 225 arrests during the series, 3 were read their rights), they simply did what had to be done to let justice prevail, as long as it only bent the law without actually breaking it.
The rest... well, the rest is history...
The Episodes
The Pilot
First Season
1) Savage Sunday
2) Texas Longhorn
3) Death Ride
4) Snowstorm
5) The Fix
6) Death Notice
7) Pariah
8) Kill Huggy Bear
9) The Bait
10) Lady Blue
11) Captain Dobey, You’re Dead
12) Terror on the Docks
13) Deadly Imposter
14) Shootout
15) The Hostages
16) Losing Streak
17) Silence
18) Omaha Tiger
19) Jojo
20) Running
21) A Coffin for Starsky
22) Bounty Hunter
Second Season
23) The Las Vegas Strangler
24) Murder at Sea
25) Gillian
26) Bust Amboy
27) The Vampire
28) The Specialist
29) Tap Dancing Their Way RIght Back Into Your Hearts
30) Vendetta
31) Nightmare
32) Captain Mike Ferguson
33) Little Girl Lost
34) Bloodbath
35) The Psychic
36 & 37) The Set-Up
38) Survival
39) Starsky’s Lady
40) Huggy Bear and Turkey
41) The Committee
42) The Velvet Jungle
43) Long Walk Down a Short Dirt Road
44) Murder on Stage 17
45) Starsky & Hutch are Guilty
Third Season
46) Starsky & Hutch on Playboy Island
47) Fatal Charm
48) I Love You, Rosey Malone
49) Murder Ward
50) Death in a Different Place
51) The Crying Child
52) The Heroes
53 & 54) The Plague
55) The Collector
56) Manchild on the Streets
57) The Action
58) The Heavyweight
59) A Body Worth Guarding
60) The Trap
61) Satan’s Witches
62) Class in Crime
63) Hutchinson for Murder One
64) Foxy Lady
65) Partners
66) Quadromania
67) Deckwatch
Fourth Season
68) Discomania
69) The Game
70) Blindfold
71) Photo Finish
72) Moonshine
73) Strange Justice
74) The Avenger
75) Dandruff
76) Black and Blue
77) The Groupie
78) Covergirl
79) Starsky’s Brother
80) Golden Angel
81) Ballad for a Blue Lady
82) Birds of a Feather
83) Ninety Pounds of Trouble
84) Huggy Can’t Go Back
85) The Snitch
86) Targets without a Badge
87) Starsky v. Hutch
88) Sweet Revenge
First Season (1975-76)
The first season of any series is the training ground where one works out the kinks of a new show. With Starsky & Hutch, however, Glaser and Soul met lengthily beforehand to work out their respective characters and how the two characters should interact. David Soul typed a 10 page background for Ken Hutchinson, and Paul Michael Glaser’s was even longer. In the process, a lot of rough corners were knocked off the two detectives. Starsky, originally more of a sidekick to the suave Hutch, gained intelligence, a keen, if sometimes corny wit, a nearly photographic memory, and a deep love for his car (which was originally to be a Yellow Chevrolet Camero, but as Ford was providing the cars for the show, became the Ford equivalent, the beloved ‘75 Gran Torino). He also lost a lot of the toughness, meanness, and near gluttonous appetite originally written for him. Hutch, in turn, became less sophisticated, secure, aloof, and the snooty intellectual while gaining accessibility and perhaps becoming a bit more haunted. In other words, more human. Thus, when Glaser and Soul reported for their first day of work, Starsky and Hutch were already well-developed characters just waiting to be brought to life.
Over the course of the first few episodes, Hutch quickly lost a lot of his fashion plate looks for the sake of practicality for street action, while Glaser dropped the sweaters he loved that were simply too hot, as well as the boots that hurt his feet and the ridiculous knit cap, and introduced Starsky to leather jackets and Adidas’ (both particular favorites of Glaser’s). Hutch, in turn, began to wear the boots Soul prefers in real life, despite the fact that they accentuated the 2” height difference between him and Glaser.
Lalo Schifrin, famous for his scores for such productions as Mission: Impossible, provided the music for the pilot and the first season’s theme music. In the backstage shuffle during the first season, many came and went, but Glaser and Soul asked for and got Michael Fisher as story editor midway through the season. Fisher stayed until the fourth season and was responsible for stories such as Pariah, Deadly Imposter, and Running. Another midseason arrival who ended up staying till the end was post production supervisor Dick Reilly.
First season episodes are characterized by an almost lighthearted quality, a sense of two men enjoying their job, their life, their friendship to the fullest. Problems and disillusionments, when they arose, such as in Pariah and Lady Blue, could be overcome if tackled together, and were behind them by the tag. Hutch smiled a lot, Starsky was innocent and eager as a child, and the optimism and joy of the characters (and probably the actors) filtered into every scene. True moral dilemmas were usually skirted, all but one of the scripts having not even been originally written specifically for Starsky & Hutch, thus shootouts and car chases were abundant, something the critics never forgave or forgot despite the series’ change of pace in the following seasons. But even with the lack of depth, shows like A Coffin for Starsky and The Fix already ingrained into the audience the deep emotions of the characters and their relationship, and the rest was just a pleasurable opportunity to watch them enjoying and confirming that relationship in the trivialities of daily life.
Production ended on February 24th on a triumphant note of top ten ratings, assured renewal by ABC, and the almost cult popularity of the show and its two stars...
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STARSKY & HUTCH: THE MOVIE
Wednesday, April 30, 1975
After two college students in a red-and-white Torino are killed by the famous hitman team of Zane & Canelli (hired by a colleague of S&H’s, Henderson), S&H try to figure out if the hit was meant for them.
Hutch: David Soul, Starsky: Paul Michael Glaser, Captain Dobey: Richard Ward, Huggy Bear: Antonio Fargas, Fat Rolly: Michael Lerner, Zane: Richard Lynch, Canelli: Michael Conrad, Ass’t DA Mark Henderson: Albert Morgenstern, Patty: Karen Lamm, Frank Tallman: Gilbert Green, Steele: Don Billett, Coley: Buddy Lester, Vinnie/Frankie: Gordon Jump, ‘Lijah: Doug Fowley, Gretchen: Carole Ita White, Stan: Larry Manetti. WB: William Blinn, DB: Barry Shear.
Originally designed as a one-shot TV movie (which is the only reason Glaser signed on in the first place), the TV movie was so popular, it was sold as a series and became the 90-minute pilot episode. Glaser and Soul both look very young and happy, and the fun they have working together is obvious throughout the episode. The pilot introduces the two stars and goes out of its way to establish their contrasting personal-ities and the light approach they take to their work (such as taking a silent vote in a bar to find out why everyone was looking at them funny all day - the scene Glaser audi-tioned with). Among the details brought in: the car inventory we never see again (“S’all right?” “S’all right.”), opposite tastes in cars, food, and exercise (Hutch is introduced at his gym, Frankie’s, which became Vinnie’s on Figueroa St.), their total unity and trust in each other, their swinging bachelor lifestyles and hard-nosed reputations (“Hutch and me are willing to risk getting burned out on the street, but it would hurt like hell if we lost sittin’ on our tails.”), Hutch’s ex-wife Nancy (later changed to Vanessa - Starsky’s expression is worth noting at the mention of her name), their snitch, Huggy Bear, and their Captain, Harold C Dobey (played in the series by Bernie Hamilton), whom they don’t fully trust, a detail that was also changed in the series. Hutch’s idealism is also introduced, as in his giving ‘Lijah the bum a dollar and his sensitivity to death and killing, both unscripted details. Starsky mentions a kid he played football with in high school, Blinn’s inside joke about the origin of Starsky’s name. Glaser and Soul also did all their own stunts except for the Torino’s 450 degree turn. Abounding with clever one-liners, anecdotes, and a good foot chase at the end. The story is detailed in the first of the Max Franklin books. Gordon Jump went on to WKRP in Cincinatti, Larry Manetti to Baa Baa Black Sheep and Magnum PI, Richard Lynch to Galactica 1980, and Michael Conrad to win 2 Emmy’s for another great cop series, Hill St. Blues. Priceless scenes: S’s “Wanna share?”, sweating it out with a big hood, the very wet stake-out, the blue movie house meet, Hutch’s mean disappearing trick at the end. Best lines: S: “Who in the hell we s’posed to trust?” H: “Same people we always trust - us.” / S: “Even dying’s a living,” and “They tried to put holes in our bodies where our bodies were not intended to have holes.”
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SAVAGE SUNDAY
Wednesday, Sep. 10, 1975, No. 1
Morton and Sloan steal a car from the elderly Wilsons for a Sunday afternoon crime spree, unaware that it contains a trunkful of dynamite set to go off at 5 pm.
Gregg Morton: Bob Delegall, Wilbur Sloan: Edward Walsh, Henny Wilson: Arthur Peterson, Sarah Wilson: Hope Summers, Tony: Ray Vitte, Sally Ann: Suzanne Somers, Geoffrey: Dave Shelley, Marty: Tom Castronova, Ed: Dick Wesson, Huey: Eric Kilpatrick, Ted: Louis James Oliver, Billy: Skip Lowell, Diane Sills: Bobbie Mitchell. WB: Fred Freiberger, DB: Claude Ennis Starrett Jr.
The title comes from all the very strange events that come together while S&H are on duty one Sunday, the culmination being the discovery that a sweet old couple have loaded their car with dynamite with the intention of blowing up city hall in protest of their living conditions. Some more background facts are established as well, such as Starsky’s love for his car and his wild driving (their prisoner faints after being with them on a chase), their easy flaunting of Dobey, and Huggy as a restaurant owner. One small sticking point - Starsky ‘steals’ some food during an investigation in a food store. Suzanne Somers makes her first (and funniest) of three appearances, before she became famous for Three’s Company and Step by Step, and Bobbie Mitchell of MASH makes her first appearance as Diane Sills, Huggy’s head waitress. Eric Kilpatrick later appeared in White Shadow and Arthur Peterson in SOAP, and Hope Summers was already well-known for The Andy Griffith Show and The Rifleman. Priceless scenes: H reading the comics to S, dumping his partner’s lunch, and trying to borrow a pencil from S, S&H playing basketball for information, S stealing Dobey’s hamburger (Glaser’s ad lib), their expressions when they hear Henny’s bad news, then arguing about which one of them will cuff the old couple, talking to the ‘shy’ Sally Ann, tuning out Dobey. Best lines: H: (to S in strip joint) “I know what you’re thinking and you ought to be ashamed of yourself.” / S: “I think...” Dobey: “Don’t!”
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TEXAS LONGHORN
Wednesday, Sep. 17, 1975, No. 2
S&H try to catch Harris and Chaco, two rapist-murderers, before the victim’s bereaved husband, Texan car dealer Zack Tyler, can seek his own revenge.
Zack: Med Flory, Harris: Charles Napier, Chaco: George Loros, Fat Rolly: Michael Lerner, Angel: Ann Weldon, Emma Lou: Alta Christopher, Ray: Dodo Denney, Ass’t Coroner: Stafford Morgan, Marty: Bobby Hall, Wrestler: Butcher Brannigan, Nurse: Stefanie Auerbach. WB: Michael Mann, DB: Claude Ennis Starrett Jr.
Although the guys are busy playing ‘Cinderella’, trying to find the boot that matches a silver toe piece found at the crime scene, the real spotlight is on the soft-spoken Med Flory as Tyler, the grieving, devestated husband whose young wife was the victim of a violent crime. First script by Michael Mann, later to become famous for Miami Vice and known for his interest-ing secondary characters. Cute running gag of Starsky’s curse with machines. Flory’s character uses a 6” barrel Colt, which Soul liked better and took from then on instead of his 4” gun. In the shootout scene at end, one of the few f/x malfunctions on the series occurred when a window exploded in on Glaser but didn’t hurt him. Stefanie Auerbach makes her first appearance as the seriously dour ‘lady vampire’ nurse; she will play another grim nurse in the series finale, Sweet Revenge. Ass’t Dir. and Prod. Ass’t Eldon Burke has a hilarious cameo as the blood donor who stares dumbly at Hutch throughout the clinic scene. Second and last appearance of Fat Rolly character. Huggy’s barmaid, Diane Sills has a cameo. Price-less scenes: trying to stop a mountain of a cuckolded husband (played by real-life wrestler Butcher Brannigan), S’s creative report (“The fiery red Torino fishtails to a halt...”), the scene at the blood donation center. Best line: H: “I’m beginning to think that everybody in this town is crazy, except you and me.” S: “Funny, I was beginning to have serious doubts about you.”
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DEATH RIDE
Wednesday, Sep. 24, 1975, No. 3
S&H set out to safely escort protected witness Andrew Mello’s daughter, Joanne, to him, unaware that she is only a decoy and that someone is leaking their every move.
Det. Linda Williams/Joanne: Kathleen Miller, Andrew Mello: Jeff Corey, DA Coleman: Paul Hecht, Joanne Wells (Mello): Trish Mahoney, George: Joe Bova, Jenson: EJ Andre, Cook: Robert Nadder, Terry Evers: Mary Margaret Lewis, Phelps: Ben Marino. WB: Edward J Lakso, DB: Gene Nelson.
This episode, the second one filmed, is the first of many to introduce the idea that not everyone in law enforcement is on the same side. This time, it’s a DA who sends the guys out on risky escort duty without telling them they’re escorting a police-woman decoy (Ms. ‘Gee, you two are wonderful together.’). Nevertheless, S&H cleverly escape every bottleneck they’re forced into and arrive back in LA just in time to save the day by exposing Dobey’s informant secretary, Terry, and foiling a last ditch assassination attempt against Mello at the hospital. Second of the Max Franklin books. Great teamwork and a lot of cute bits dealing with Starsky’s iron stomach, daredevil driving, and love of expensive watches. Also the origin of one of the most loved and quoted S&H mottos, “Me & Thee.” Diane Sills again seen in the background. Joe Bova is particularly memorable in his brief role as the hapless cabbie, George, and Charlie Picerni, Glaser’s stunt double, has his first cameo in the series as one of the hitmen. EJ Andre went on to Dallas, and Paul Hecht to Kate & Allie. Priceless scenes: negotiating with a shrewd old man, S playing mechanic and his clever bust at the hospital, Huggy’s game show slip. Best line: H: “So who do we trust?” S: “Like always, me and thee.”
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SNOWSTORM
Wednesday, Oct. 1, 1975, No. 4
Cocaine missing from a bust and the murder of their informant, Crandell, lead S&H to suspect either Stryker, a drug lord... or two fellow officers, Burke and Corman.
Marty Crandell: George Dzundza, Phil Corman: Richard Venture, Burke: Paul Benjamin, Kalowitz: Bill Sorrells, Stryker: Gilbert Green, Rodgers: Eric Mason, Freddie: Jim Bohan. WB: Robert I Holt, DB: Bob Kelljan.
The title refers to the code name of the bust S&H take part in at the beginning - from which $1 million in coke disappears, and their trust in their fellow policemen almost blinds S&H to the fact that two vet-eran cops are dirty. In the meantime, they become suspects themselves, survive two assassination attempts, lose their inform-ant, and manage to finally catch Stryker, the man who killed Dobey’s former partner, Elmo Jackson. A lot of fun banter and perfect in-synchness. An interesting look at how the informant system works, and a touching reaction from Hutch when he is forced to kill one of the bad cops in self-defense. Also contains a bad breach of common sense as Hutch tastes an unknown white powder they find on the floor of a deserted building, and one of the best run-ning gags of the series, the dog that Hutch keeps seeing and Starsky doesn’t. Starsky mentions an uncle that sells used cars. George Dzundza also costarred with Soul in the movie Salem’s Lot. Priceless scenes: playing ‘push-and-shove’ with the bad guy and having fun doing it, S’s plaintive “buy me a beer” when they’ve just been told off by three senior detectives. Best lines: Huggy’s “Huggy Bear’s is where the elite meet and come to greet the deet (?) and fleet of feet who are so sweet with the finer things of life, beep, beep, bee-beep, beep.” - and S&H’s rejoinder at the end, H: “He can’t cut loose without his juice,” S: ”He’s fine as long as he does wine,” H: “Otherwise he’ll drink turpentine,” S: “And go blind!” / H: “Never pick on a man’s partner.”
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THE FIX
Wednesday, Oct. 8, 1975, No. 5
After mobster Forest kidnaps Hutch and addicts him to heroin in order to find his girl, Jeanie, Hutch escapes and is found by Starsky, who must help him go cold turkey.
Ben Forest: Robert Loggia, Monk: Geoffrey Lewis, Jeanie Walton: Leigh Christian, Mickey: Gene Conforti, Off. Bernie Glassman: Macon McCalman, Coney: Anthony Charnota. WB: Robert I Holt, DB: William Crain.
One of the classic episodes and perhaps the best-loved, Soul did a lot of research, used special eyedrops, went without sleep for days, and stayed to himself while filming to make his addiction and withdrawal scenes as wrenching and real as they are, to the point of worrying Glaser and the crew. The script also originally called for Hutch to be much worse off and meaner in withdrawal, even using racial slurs against Starsky and threatening to kill him, but Glaser and Soul softened the scenes to make this one of the best examples of the closeness of S&H’s friendship; Starsky is relentless in search-ing for Hutch and when he finds him, he takes it upon himself to help Hutch kick the addiction in private and seems to be in as much pain as his partner. (Incidentally, according to the script, Hutch was missing for 4 days.) Huggy is also shown for first time as being more than just their snitch. Hutch’s canalside cottage is shown for the first time, too. (Soul liked the driftwood that stretches over the bathroom door so much, he kept it after the season.) Diane Sills is seen but not heard in this episode. Veteran actors Robert Loggia and Geoffrey Lewis do fine turns, Loggia returning later in The Groupie, and Lewis, Soul’s friend, would be reunited with him in the movies Salem’s Lot and Swan Song. Best scenes: the classic alley scene and the days after at Huggy’s, S’s timely and smooth save - and the hug that follows. Best line: S (to a worn-out H) “You wanna drive my car?”
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DEATH NOTICE
Wednesday, Oct. 15, 1975, No. 6
S&H track down an old man who keeps warning strippers of their impending death, but when they find quiet Anton Rusz, they don’t think he’s the killer.
Anton Rusz: Ivor Francis, Manny: Milt Kogan, Kathi: Lenore Kasdorf, Ginger: Suzanne Charney, Jerry: Vincent Baggetta, Francine: Roz Kelly, Lou Posey: Vince Martorano, Arnold: Chuck Bergansky, Delano: Walter Brooke, Sonia: Rosanne Katon, Cronin: Chuck Hicks, Bodyguard: Todd Martin. WB: Robert C Dennis, DB: William Crain.
A fun episode with great back-and-forth between the guys, the classically stupid Arnold (or is it Albert?), a timid and like-able suspect, and a lot of girl-ogling (real strippers were used as extras), mixed with a sobering series of murders. Another impromptu game of push-and-shove leads them to the real culprit, a killer trying to silence Kathi, the stripper who’s black-mailing him. Only time both guys sing (“Black Bean Soup,” one of Soul’s songs). Starsky’s fear of heights introduced, as is Hutch’s lack thereof. While filming the golf course scene, one of the actors sneezed and sent his false teeth flying, and filming had to be stopped for a while because Glaser and Soul were both on the ground, in stitches. Walter Brooke was a veteran of The Green Hornet and the 50’s soap opera One Man’s Family, while Roz Kelly went on to Happy Days, Lenore Kasdorf to Guiding Light, and Vincent Baggetta to The Colbys and Chicago Story. Priceless scenes: the girls’ dressing room scene, trying to question Arnold, Lou, and oblivious Anton, confusing Dobey on the phone, and the party at the end. Best line: S: “I’m beginning to think there’s something really weird about the way you think.” H: “What’s wrong with the way I think?” S: “I don’t want to think about it.”
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PARIAH
Wednesday, Oct. 22, 1975, No. 7
After Starsky fatally shoots teenage felon Lonnie Craig during a hold-up, a man from his past, George Prudholm, begins killing cops in revenge.
George Prudholm: Stephen McNally, Joseph Tramaine: Gregory Rozakis, Eunice Craig: Hilda Haynes, Off. Edwards: David S Milton, Collins: Graham Jarvis, Cecil: John Alderman, Tidings: Jay Fletcher, Molly: Anitra Ford, Off. Lee: James R Parkes. WB: Michael Fisher, DB: Bob Kelljan.
A haunting, fan-favorite episode. George Prudholm is perhaps the most hated villain in the S&H universe, not only bringing a guilt-ridden Starsky to the brink of resign-ing and making him a pariah with his fellow cops, but also coming back in Starsky’s Lady to finish the job because he blames Starsky for the death of his son, Gary. A lot of unspoken dialogue and long exchanged looks as Hutch tries to help and defend his slowly unraveling partner, and a beautiful scene where Starsky goes to visit the family of the boy he killed, with Hutch standing by for moral support. Anitra Ford was a ‘73 Playboy centerfold. Priceless scenes: H’s trick on S in opening and his whispered thanks to Dobey for talking S out of resign-ing, the hug after the wake scene, H defend-ing S from the nasty cop, the interrogation room scene where the bond between S&H is almost tangible, the daiquiri bit in the tag.
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KILL HUGGY BEAR
Wednesday, Oct. 29, 1975, No. 8
When Huggy’s old friend Dewey asks him to deliver some stolen money back to the mob, Dewey’s girl Sarah and her beau rob Huggy, leaving him in dutch with the mob.
Harry Martin: Dick Anthony Williams, Dewey Hughes: Roger Robinson, Sarah Kingston: Gloria Edwards, Lou Malinda: Hamilton Camp, Angie: Wally Taylor, Roy: Ed Cambridge, Jennie: Marilyn B Coleman, Receptionist: Adina Ross, Jerry: Dan Howard, Sam: Don Peters, Tom: Craig Shreeve, Bill: Cal Haynes. WB: Fred Freiberger, DB: Michael Schultz.
Huggy’s loyalty to old friends, a quality he comes to regret more than once, this time gets him in trouble with both the mob and S&H, whom he’s trying to shut out. They lend a hand nevertheless. Smooth, basic detective story with a perfect mix of humor and action. (Glaser and Soul do their own stunt work in the fight with the muscle-bound giants, and are actually driving the Torino at high speed in the brakeless scene; a camera was mounted on the hood instead of using fake-looking rear projection.) An odd note - Starsky seems to be showing his car off to his partner, even though the ‘candy- apple’ red Torino has been around since the pilot. And although Huggy says his place closes at 2 am, the sign out front says ‘Open all Night’. Another of the Max Franklin books. Diane Sills again seen in background. Dick Anthony Williams and Gloria Edwards were married in real life, and Hamilton Camp went on to Too Close for Comfort. Priceless scenes: the ‘concerned citizen’ and her dime, the health spa, H’s theories on musclemen - all discarded when he has to fight one, S digging for clues, the brakeless scene. Best line: Dobey: “Don’t be cute.” S: “Hutch is cute. I’m careful.” H: “What does he want, a date?”
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THE BAIT
Wednesday, Nov. 5, 1975, No. 9
S&H go undercover as drug dealing pimps and spring Cheryl, a young drug courier, from jail to help them get to Danner, the head of a drug syndicate.
Cheryl: Lynne Marta, Danner: Charles McCaulay, Billy Harkness: Michael Delano, Connie: Akili Jones, Shockley: Dave Cass, Carter: James Karen, Goring: Sy Kramer, Saunders: Ken Scott, Moore: Marc Alaimo. WB: James Schmerer, Don Balluck & Edward J Lakso, DB: Ivan Dixon.
First of three roles for Lynne Marta, David Soul’s lady throughout the filming of the series. She - and a priceless stamp, are the bait when S&H try to lure out a major drug kingpin. Also their first undercover episode as S&H play badly-dressed dope-dealing pimps Rafferty and O’Brien, respectively. (Starsky: “Just ‘cause we’re dressed funny doesn’t mean we’re not nice guys!”) They had a lot of fun making the episode - Bernie Hamilton was even pushed into the pool, clothes and all, at the end, but Glaser did twist his ankle rather badly in the chase scene at the beginning and limped off-screen for the rest of the episode’s filming. Also introduces S&H’s sense of responsibility for the people who help them, setting Cheryl up in Hutch’s home after she’s attacked by her old boyfriend. Another example of strained interagency relationships, this time with FDA Agent Carter. Diane Sills’ last appearance. Dir. Ivan Dixon starred in Hogan’s Heroes, Michael Delano went on to Rhoda, and James Karen to The Powers of Matthew Star. Priceless scenes: hamming it up after being arrested, H’s diatribe on illegally-parked shopping carts, their undercover act, and “I’m O’Brien, he’s Rafferty.”
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LADY BLUE
Wednesday, Nov. 12, 1975, No. 10
When Starsky’s former girlfriend Helen Davisson, a cop, is brutally murdered, S&H suspect either Solenko, the thief she was investigating, or the insane Cmdr. Jim.
James March Wrightwood: James Keach, Cindy: Timothy Blake, Polly: Elisha Cook, Dr. Melford: Quinn Redeker, Wally: Tony Ballen, Fifth Avenue: Ed Bakey, Ruby Solenko: Victor Argo, Slow: Richard Karron, Touhy: Jim Gosa, Harvey Ritlin: Gene Borkan, Angie: Lee Pulford. WB: Michael Mann, DB: Don Weis.
In this classic episode, Starsky has to convince Dobey that he can do a good job of finding a murderer despite his intense emotional involvement in the case, with Hutch deeply supportive all the way. An unusual variety of bad guys, from the suave Fifth Avenue and the pitiful alien-fearing James “Cmdr. Jim” Wrightwood, to the delightfully nutty snitch Polly. Also introduces the joke of Starsky as the ‘Paul Muni-type’, an inside joke of Glaser and Soul’s that they played with often, and that was finally written into an episode. Hutch’s car collapses for the first time, and the telephone receiver in the Torino is seen for the last time, replaced by a radio receiver in future episodes. After filming the scene on the radio tower, Glaser who, like Starsky, is scared of heights, immediately scrambled down again, while Soul, who loves climbing, ascended to the top to check out the view until Glaser nervously yelled for him to come down. Veteran actor Elisha Cook, who was also in Salem’s Lot with Soul, has a wonderful bit part, and Ann Foster, seen here only briefly in a photo after her role was trimmed (she was to play Helen in flashbacks), would reappear later as Abigail Crabtree, Hutch’s girl. James Keach (Stacy’s brother) is exclusively a director now. Priceless scenes: H’s diatribe on numbers (and S’s response, “Look at it this way. They coulda made us, uh, 10904!”), H trying to comfort his partner at the coroner, terrorizing the used car salesman with a wild test drive, S’s repeated ribbings about H being a ‘pushover’ and H’s pep talk about not being the Rudolph Valentino-type, H making S his favorite dinner. Best line: S: (to H) “Take it, blue eyes!”
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CAPTAIN DOBEY, YOU’RE DEAD
Wednesday, Nov. 19, 1975, No. 11
S&H try to track down escaped felon Moon before he can get revenge on Dobey, the cop who put him away.
Leo Moon: William Watson, Edith Dobey: Lynn Hamilton, CJ Woodfield: Lester Rawlins, Rosie: Claire Touchstone, Cal: Eric Sutter, Lola: Taaffe O’Connell, Pommier: Kurt Grayson, Norris: Bill Traylor, Frisco Fats: Lee McLaughlin, Sheila: Marla Adams, Mechanic: Michael MacRae, Fry: Michael Durrell, Ethel: Robin Raymond, Doyle: Marty Davis, Crenshaw: Duncan McLeod. WB: Michael Fisher, DB: Michael Schultz.
This episode could be called ‘Meet the Dobey’s’: wife Edith, son Cal and adorable daughter Rosie are all introduced, already apparently quite good friends with S&H. Dobey is looking into an old murder case where the victim was a high profile civil rights leader - and a good friend of Dobey’s. But when the investigation begins to lead to millionaire CJ Woodfield, Woodfield breaks an old nemesis of Dobey’s out of jail to ‘take care of the problem’. The guys aren’t in this one too much, the emphasis being on Dobey, but their hard work and devotion to their Captain ends up saving the day. Cute running gag of Hutch giving Starsky grief for being left-handed, especially after “last night.” Starsky says his mother had a ‘47 Studebaker (not a poor family’s car), Hutch calls himself Starsky’s best friend and reveals that he was a cub scout. Glaser and Soul also did most of their own stuntwork in this episode, including Hutch’s 15 ft tackle and Starsky’s wild driving (Glaser is officially an excellent stuntdriver). William Watson later appeared in Roots, Lynn Hamilton (wife of Bernie) in its sequel, Roots: The Next Generation and in Sanford and Son, and Michael Durrell went on to Alice and Matlock. Priceless scenes: comforting Rosie, breakfast with Woodfield, S trying to catch an uncooperative Lola.
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TERROR ON THE DOCKS
Wednesday, Nov. 26, 1975, No. 12
Hutch’s childhood friend Nancy prepares to marry Billy, who might be behind a series of robberies and the murder of a cop.
Billy Desmond: Stephen McHattie, Nancy Blake: Sheila Larken, Maureen Blake: Sarah Cunningham, Hauser: Henry Olek, Earl Banks: Garry Walberg, Andy Wilkins: Kenneth Tobey, Ted Banks: Robert Redding, Father Delacourt: John J Fox, Ezra Beam: Marty Zagon, Hans Skyler: James Hourigan, Ed Jamieson: Joe Warfield, Jerry: William Martel, Wally: WT Zacha. WB: Fred Freiberger, DB: Randal Kleiser.
Alt title: (in Britain) Giveaway at the Docks. A nice, even episode with many good moments. Hutch’s former neighbor and honorary little sister asks him to give her away at her wedding, but Starsky has a growing suspicion that her fiance is not all he seems. The only problem is in telling that to Hutch, who, as in Gillian, is not very receptive to bad news about those he loves. Glaser had a cold and Soul had the flu while filming, but that didn’t keep them from going into the water themselves in one scene. Glaser also genuinely hurt his shoulder when Soul pushed him out of the truck’s way. While filming the dinner scene at the Blake’s, the set was so cold, people kept eating the warm stew, but by the time filming started, the stew was all gone, so they filled it with chili instead. And there’s one small mistake - the time of the wedding changes from 2 pm to 1 pm. A Max Franklin book. Garry Walberg had just finished a run on The Odd Couple and was about to go on to Quincy, ME, and Sarah Cunningham was later in Trapper John, MD. Priceless moments: the wedding rehearsal, the spooky house, S needlessly diving into the water (which he hates) to save his partner - and his subsequent cold, Mrs. Blake’s designs on S, and the cake tag.
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DEADLY IMPOSTER
Wednesday, Dec. 10, 1975, No. 13
S&H help John Colby, an old friend from their Academy days, find his ex-wife, Karen, unaware that he’s a hitman looking for her husband, a grand-jury witness.
John Colby: Art Hindle, Karen: Suzan Gailey, Warren Karpel: Peter Brandon, Jackie: Jana Bellan, Parouch: Raymond Singer, Agt. Buckland: Ned Wertimer, Superintendant: Bern Hoffman, Fifi: Louise Hoven, Nate Garvin: Gene Darcy, Cook: Wally Taylor, Abigail: Ann Foster, Maggie: Georgia Schmidt, Vinnie: Gordon Jump, Russo: Luke Andreas. WB: Michael Fisher, Parke Perine & Mann Rubin, DB: Dick Moder.
An old friend of S&H’s cons them into helping him by pushing all the right buttons - their friendship, loyalty, and generosity, their skills as detectives, and their sense of revenge after Colby stages a fight where Huggy is badly hurt. But the last backfires when, after being betrayed by Colby, S&H set out after him with a vengeance. A few facts about their past is revealed - S&H knew each other at the Academy (where, with Colby, they were known as the ‘Three Corsicans’), which was at least 7 years ago, and a glimpse of their social life is given in the party Hutch throws. This episode is also the origin of “Husky & Starch,” of Hutch and Abby’s relationship, and of Fifi’s intro-duction as Hutch’s love-struck maid. (She returns in the next season’s S&H are Guilty played by Mary Jo Catlett). The bar, Huggy Bear’s is seen for the last time in this episode; Huggy takes on a series of odd jobs for the next two seasons until he opens The Pits in The Collector. Vinnie also appears for the second and last time. Art Hindle went on to Dallas and Ned Wertimer was about to join The Jeffersons. Priceless scenes: S sweet-talking Maggie, the eccentric senior citizen, S&H playing with their old friend (and H demonstrates his 1st accent: German), their various escapades and dead ends as they look for Karen, S’s mother-henning when H gets knocked out, and H’s smooth takeover of Abby at the end.
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THE SHOOTOUT
Wednesday, Dec. 17, 1975, No. 14
Syndicate hitmen Tom and Joey take over a restaurant to wait for their victim, mob boss Vic Monty to arrive, holding captive Hutch and a critically wounded Starsky.
Joey Martin: Steven Keats, Tom Lockly: Albert Paulsen, Theresa: Jess Walton, Sammy Grovner: Norman Fell, Harry “Maharaji” Sample: Danny Wells, Robin Morton: Barbara Rhoades, Jimmy Lee: Steve Sandor, Mr. Durant: Jan Arvan, Mrs. Durant: Tresa Hughes. WB: David P Harmon, DB: Fernando Lamas.
A fan-favorite. One of the best suspense episodes and only one of two filmed in ‘real time’, as Hutch struggles to care for his badly-injured partner and stop two hitmen at the same time. It provides an interesting comparison of two sets of partners - Joey & Lockley and S&H, both with a hothead and a thinker, but while one is united by mutual love and caring, the other is full of disdain and suspicion. It was Soul’s idea to carry the limp Glaser the 30 ft into the back by himself (which he did twice, once to prove to the director he could do it, and once for the camera), and Glaser’s unscripted mumbling and twitching was so realistic, costar Keats’ startled reaction is quite real. The original script had a less-badly injured and more able Starsky, but was changed by Glaser and Soul to better emphasize the caring between S&H and the fact that one can be quite competent, if necessary, when on their own. Hutch’s beautiful pocket watch is Soul’s own. Full of veteran actors, most notably Norman Fell who had already played cops in Dan August and 87th Precinct and was about to do Three’s Company and its spin-off, The Ropers. Also Albert Paulsen, an Emmy-winner for The Bob Hope Theatre, Barbara Rhoades and Danny Wells (whose name is misspelled in the credits) who would soon have steady roles in Soap and The Jeffersons respectively, and Jan Arvan from Zorro and The Red Skelton Show. But novice Jess Walton from The Young and the Restless does perhaps the best job as the waitress Theresa, coerced initially to take part in the hit, but eventually helping Hutch. Priceless scenes: the routine S&H break the ‘Maharaji’ with, the guys’ attempt at vaudeville, and just about every scene with the two of them in between.
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THE HOSTAGES
Wednesday, Jan. 7, 1976, No. 15
S&H stumble across a plot to blackmail armored car driver Tom Cole by kidnapping his wife, Ellie.
Tom Cole: John Ritter, Ellie: Linda Kelsey, Sweet Alice: Nellie Bellflower, Belle: Jean Hagen, Mme. Yram: Susan Peretz, Meg: Kristy McNichol, Ames: Will Hare, Conrad: Clay Tanner, Amy: Melissa Newman, Tobin: Madison Arnold, Gibson: Richard Foronjy, Miller: Art Burns, Manager: Chuck Hollom. WB: Edward J Lakso, DB: George McCowan.
A nice, straightforward case with good old-fashioned detective work and a neat example of how well the two guys work together, as in their evaluation of the innocence of Tom Cole, which they each do on their own and then confer and agree on - all without a word. Also the only time Starsky uses a silencer. Full of familiar or soon-to-be-famous faces: veteran screen actress Jean Hagen (best known for the movie, Singin’ in the Rain), John Ritter of Three’s Company (for which he got an Emmy), The Waltons, and Hooperman, Lou Grant’s Linda Kelsey, who also appeared with Glaser in the movie Attack on Fear, and the first of three appearances by Kristy McNichol who went on to Family (which earned her 2 Emmy’s) and Empty Nest. Chuck Hollom, Soul’s stand-in, has a cameo. First show with Nellie Bellflower as Sweet Alice (yes, that’s her real accent). Priceless scenes: S and his horoscopes, driving the wrong way on a one-way street (H: “Ya’ didn’t see the arrow, huh?” S: “Didn’t even see the Indians.”), the amorous fortune-teller, and setting Dobey up at the end.
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LOSING STREAK
Wednesday, Jan. 14, 1976, No. 16
S&H try to find and help Vic Rankin, a pianist childhood hero of Hutch’s who gets in over his head when he steals counterfeit money from mobster club owner Gil White.
Vic Rankin: Dane Clark, Evelyn Rankin Jacqueline Scott, Garth (Gil) White: Arthur D Roberts, Belinda Williams: Madlyn Rhue, Foote: Zitto Kazann, Oscar: Henry Slate, Toby: Rozelle Gayle, Dealer: Don Sherman, Banker: Frank Geraci, Orange: Connie Lisa Marie, Olivia: Adina Ross, Lemke: Gene Labell. WB: Michael Fisher & Robert I Holt, DB: Don Weis.
Veteran 50’s live drama actor Dane Clark (later of Perry Mason) plays Vic Rankin, a man on a losing streak who unwittingly steals ‘queer’ money while trying to get money owed him, and is subsequently hunted, shot, and has his wife kidnapped. The guys want to help him, but between Starsky’s toothache and a burned out Mrs. Rankin, the whole thing turns into an elaborate game of hide-and-seek. Nice, well-rounded secondary characters, espe-cially the wrenching junkie Belinda who would sell her friend for a fix. Hutch’s expression is eloquently wistful when Belinda scathingly says that he doesn’t know what the craving is like. Hutch also again reveals a deep love and knowledge of music. Jacqueline Scott played opposite another man on the run in TV’s The Fugitive, and Madlyn Rhue later went on to Houston Knights. First of two appearances of character, Orange. The credits misspell Adina Ross’ name. Priceless scenes: S asking for whiskey at every crime scene, “You’re as cute as a teddy bear,” the eavesdropping poker dealer, S’s repeated run-ins with a water hose, fighting with H over ‘3 people being at 4 places at the same time’, getting the wrong tooth kicked out by the bad guy, and making a fool of himself at the end. Best lines: S: (to bad guy) “You know somethin’? When you lie, the hairs on the back of your neck curl up!”
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SILENCE
Wednesday, Jan. 21, 1976, No. 17
The phony Father Ignatius tries to pin a series of robberies on friendly deaf-mute ex-con Larry, but S&H aren’t buying it.
Father Jonathan Ignatius/Marty: Carl Betz, Larry Horvath: Chuck McCann, RC Turner: Jason Bernard, Jessie: Helena Carroll, Kim: Steve Kanaly, Bessinger: Jack DeLeon, Watchman: Russ Grieve. WB: Parke Perine & Donald R Boyle, DB: George McCowan
Chuck McCann does a fine job as loveable Larry Horvath, a sympathetic character right from the start as he sobs through Hutch’s booking him for petty theft. The guys soon befriend him, and so find it hard to believe when circumstances point to him being behind a murder and a string of safe-crackings. The true guilty party turns out to be an even more unlikely suspect - the (fake) Father Ignatius who runs the halfway house Larry lives in. Dobey makes a strange comment, not letting Starsky take his food with him because of, “the rule about eating on duty,” something both they and he do all the time. Carl Betz was already well-known for The Donna Reed Show and Judd for the Defense (for which he received an Emmy), Jason Bernard went on to fame in Cagney & Lacey and Herman’s Head, and Steve Kanaly to Dallas. All in all, a formula episode with some cute moments and a fun running gag as Starsky seems doomed never to eat. Ann Foster is listed in the credits as Abby, but her part was cut. Ass’t Dir. Eldon Burke also has a cameo as the bum polishing the Torino in one scene. Priceless scenes: the sarcastic waitress, another Paul Muni joke, Dobey sneaking S’s lunch - and S’s expression when he finds out, two kittens named S&H.
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OMAHA TIGER
Wednesday, Jan. 28, 1976, No. 18
When Mac Johnson, an old friend, dies under suspicious circumstances at a wrestling arena, S&H take on the case.
Eddie “The Omaha Tiger” Bell: Dennis Burkley, Ellen Forbes: Barbara Babcock, Tessie the Terrible: Mary Jo Catlett, Al Taft: Wynn Irwin, Carl Boyce: James Luisi, Mac Johnson: Bob Wilkie, Felton: Thayer David, Barnes: Nicholas Worth, Mummy: Richard Kiel, Harold: Christian Grey, Fireball: Robert Tessier. WB: Edward J Lakso, DB: Don Weis.
A straightforward case with the usual range of suspects, spiced up with S&H’s usual style and humor. When Johnson, an old friend and a former partner of Dobey’s turns up dead after voicing suspicions over the death of a man named Carnieri, S&H get suspicious themselves. Hutch, particular-ly, is upset over others’ insensitivity toward Johnson’s demise, leading to a nice scene where Starsky steps in to calm his partner down. The classic airtight room scene is also a neat example of their differ-ent styles; while Hutch sits down to calcu-late how much air they have left, Starsky gets to work and makes a battering ram. Huggy’s “Rodent Downs” makes its first appearance, returning in Tap Dancing. Hutch mentions having gone to college (as opposed to Starsky) and three years in collegiate wrestling. Barbara Babcock (Dr. Quinn: Medicine Woman, Emmy-winner for Hill Street Blues) starred in Salem’s Lot with Soul, and Richard Kiel played the infa-mous Bond villain “Jaws.” In TV, Mary Jo Catlett was also in Diff’rent Strokes, Dennis Burkley in Mary Hartman, Mary Hartman and Sanford, and James Luisi in Rockford Files. Robert Tessier would return in the final season as the much more dangerous bad guy, Soldier, in The Snitch. Priceless scenes: Tessie’s painful crush on S, S&H arguing about wrestling with H physically proving his point, and S’s challenge - which almost becomes deadly, the airtight room scene, “Soon, Henry,” and a Russian tradition S’s not too keen on. Best line: S: (to H) “You wanna tell me why we’re not talkin’ to each other?”
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JOJO
Wednesday, Feb. 18, 1976, No. 19
S&H try to put away a dangerous rapist despite his scared victims, who won’t testify, and the Feds, who are protecting him as an informant.
Jojo: Stephen Davies, Agt. Bettin: Alan Fudge, Linda: Linda Scruggs-Bogart, Stella: Fran Ryan, Dombarris: Robert Riesel, Molly: Terry Lumley, Elaine: Sherry Bain, Merl “The Earl”: Raymond Allen, Sulko: Brad Stuart, Dixie: Jude Farese. WB: Michael Mann, DB: George McCowan.
An intense look at rape, from the effect it has on the victims, to the difficulties of prosecution, especially when the one victim who is willing to speak up and has learned to defend herself becomes the lead suspect in the rapist’s murder. Another ‘us v. them’ episode, starting with S&H incurring a quintessential cardboard G-Man’s wrath when they interfere with a bust in order to stop a rape from occurring, backed up by Dobey all the way. Fun running gag about Hutch’s rapidly dying car. Starsky’s car-dealing Uncle (Al) mentioned again. First appearances of two repeated guest stars: Fran Ryan from Green Acres and Gunsmoke, and Sanford and Son’s Raymond Allen as the eccentric auto mechanic Merl “The Earl.” Priceless scenes: hemming in Jojo at a real ‘Mom’s cafe’, H trying to understand Merl’s street talk (“the short”), the “blueberry on wheels.” Best line: H: (re Bettin’s comment about Jojo’s orange paint fixation) “Do you think that murdering people and raping women is a sane occupation?!”
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RUNNING
Wednesday, Feb. 25, 1976, No. 20
Starsky risks his badge when he takes a witness and an old friend of his, Sharman, secretly home with him to dry her out.
Sharman Crane: Jan Smithers, Vernon DuBois: Robert Viharo, Ella: Lana Wood, Kiko: Guillermo San Juan, Texas Kid: Don Plumley, Packrat: Martin Azarow, Orange: Connie Lisa Marie. WB: Michael Fisher, DB: Don Weis.
A lesson in not giving up on people, as Hutch tries to make up with his ‘little brother’ Kiko (despite Starsky’s advice, who maybe finds rejecting Hutch’s friend-ship unforgiveable), and Starsky (with Hutch covering for him) takes charge of an alcoholic ex-model he went to school with, despite regs (a la The Fix). A good look at Starsky’s place.. and his soft heart; perhaps he can relate to someone for whom, “Every-one that she’s ever loved has either moved away or died.” Hutch’s girl Abby mentioned again, and Hutch would later take his part-ner camping, in Satan’s Witches. Orange’s last episode; Kiko would reappear in Little Girl Lost. The girl (and the episode) was originally named ‘Jennifer’, but the writers wanted an instantly recognizable name and ended up borrowing Joe Naar’s daughter’s, Sharman. Lana Wood (Natalie’s sister) was a veteran of Peyton Place, and Jan Smithers was just about to find fame in WKRP in Cincinnati. Priceless scenes: H’s bumper sticker, the gag S&H play on Dobey, S’s weekly phone call to his mom from H’s. Best line: H: (to S) “I sure as hell wish there was some way I could help.”
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A COFFIN FOR STARSKY
Wednesday, Mar. 3, 1976, No. 21
After someone injects Starsky with a deadly drug, S&H have 24 hours to find the ‘killer’ - and thus the antidote - among suspects Bellamy, Martini, and Wedell.
Cheryl: Jenny Sullivan, Vic Bellamy: Gene Dynarski, Sweet Alice: Nellie Bellflower, Janos Martini: Seth Allen, Prof. Jennings: John McLiam, Charlie Collins: Jack Griffin, Dr. Franklin: David Byrd, Sue Bellamy: Carole Mallory, Mrs. Haberman: Fritzi Burr. WB: Arthur Rowe, DB: George McCowan.
One of the best-loved episodes wherein Hutch suffers as much as his failing partner as they race the clock to find a masked man and an elusive antidote to a poison that’s slowly killing Starsky. Last filmed episode of the season and the first one written specifically for S&H. Replete with scenes of unabashed love and support between S&H, and the origin of perhaps the most famous quote from the series, “Who do we trust time.” In the alley, for the sake of realism, Glaser went down quicker and harder than Soul (who was to catch him) expected, bruising himself and genuinely startling his costar. Other original script details included Hutch’s realization that he was intended to be Prof. Jennings’ first victim, the revelation that Starsky’s toothpaste was drugged, and a lot of dialogue in the farewell scene (including Starsky making the con-nection about Bellamy’s education), which was replaced by the long look that couldn’t be scripted. To lighten the serious tone of the episode, practical jokes abounded more heavily than usual during filming, too, such as in the ambulance scene. As the camera pans up to Starsky’s head, first both Glaser and Soul were revealed on the gurney, then Starsky’s feet, resting on the pillow, and lastly, two crew members were shown. The director finally gave up and broke for lunch. The name ‘Bellamy’ was also an in-joke on quiet S&H director Earl Bellamy. Starsky’s Aunt Rosie mentioned, and the importance of his watch comes up again. A small mistake, too - each of the three suspects’ sheets seem to have the same address. John McLiam was a veteran of the series, The Virginian; second and last appearance of Sweet Alice. Priceless scenes: S calling H for help, in the ambulance, S tripping on the stairs, both scenes of support in Martini’s alley, S reaching out a hand for reassurance in the squadroom (Glaser provided the blue dog himself) and shooting his apparent last hope in order to save his partner (“It seemed like a good idea at the time.”), his invalid act in the tag. Best lines: S: “You mean you want me to hit the streets with no pants, no badge, no gun - no dignity?!” and “If this was a cowboy movie, I’d give you my boots.”
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THE BOUNTY HUNTER
Wednesday, April 21, 1976, No. 22
Extortionist bailbondsman Lola and her accomplice, Bo, kill off bailjumper Konig and try to keep S&H from finding out before they can silence Konig’s girl, Denise.
Lola Turkel: Lola Albright, Bo Rile: Ramon Bieri, Denise: Sherry Jackson, Monty: Stan Ross, Abby: Ann Foster, Jim Nedloe: John C Johnson, Dorothy Nedloe Rosalind Miles, Jerry Konig: Jon Cedar, Herman: Zale Kessler, Nancy: Muffi Durham, Eddie Hoyle: Doodles Weaver, Nina: Victoria Ann Berry, Off. Day: Jack Kirby. WB: Steve Fisher, DB: Don Weis.
When a cop friend of theirs gets shot, apparently by bailjumper Konig, it becomes personal and S&H do their best to find the felon. But the clues just don’t add up, and when the real culprit turns out to be two crooked bail bondsmen, Hutch’s usually well-heeled temper lets loose. (Starsky’s cooling response: “Do you have any idea how beautiful your eyes become when you are angry?”) Real strippers were used in the club scene. First appearance of Doodles Weaver (Sigourney’s uncle) as Eddie Hoyle (“I’m Starpy, he’s Hup!”). Another Max Franklin book. Lola Albright was in Peyton Place and Peter Gunn, Ramon Bieri in Bret Maverick, and Sherry Jackson in The Danny Thomas Show. Priceless scenes: Gaga in the go-go club (and S’s method for getting his partner’s attention), S’s trivia and H’s health obsessions, the messy paint factory fight, and the ‘subtle’ tag conversation.
Second Season (1976-77)
The second season saw many changes to both the world of Starsky & Hutch and the technical side of the show itself. On the business end, the show was moved from its favored spot on Wednesdays, to opposite stiff competition in The Mary Tyler Moore Show and The Bob Newhart Show on Saturday nights. The ratings wavered a little in face of the other two top ten shows, but it never fell considerably, and CBS ended up moving its darlings, which restored Starsky & Hutch to even higher ratings than before. Behind the scenes, many people arrived to stay till the end, including associate producer Michael Hiatt, script supervisor Doris DeHerdt, and casting supervisor Joel Thurm. Tom Scott introduced new theme music, too, a catchier piece that became the best-loved of the four season’s worth. Paul Michael Glaser, returning from a stint on the stage in Luther, and David Soul back from work on his first musical album, dove into the new season with enthusiasm. It helped, too, that this season also was to give Glaser and Soul their first tries at directing, as well as executive producer work for Soul, opportunities the two actors had pushed for from the beginning.
On the fictional side, the most obvious difference in this season was a change of address for the two main characters. Starsky moved from his wildly decorated pad in the house at 2000 Ridgeway to a more modest apartment somewhere between Gillian and Starsky’s Lady (not, as fan speculation usually has it, right after first season’s A Coffin for Starsky), and Hutch left his canalside yellow cottage for a flat over a restaurant in Venice Place at 1027 1/2 Ocean Ave, Venice (an upstairs apartment with a greenhouse!). This slightly sobered change reflected the somewhat more serious tone the show also took during the second season. With Gillian and Starsky’s Lady, true love (at least in Starsky’s case) and real tragedy entered the two heroes’ lives for the first time in the series, serving to bring the pair closer to each other and also to the audience. Paul Michael Glaser’s approach to this season was, “I tried to be less extroverted, more laid back,” and the ‘less outgoing’ take on policework and life showed in both Starsky and Hutch. Episodes such as The Las Vegas Strangler, The Monster, Nightmare, and Captain Mike Ferguson introduced deeper issues and questions, such as rape, justice, insanity, and right v. wrong. For balance, shows like Tap Dancing Their Way Right Back into Your Hearts and Murder on Stage 17 were a return to the lightness of before and kept things from getting too serious, but the general trend was away from the superficial and into more thought-provoking and grey areas. This ‘no easy answers’ angle was most obvious in the unusual double episode, The Set-Up, which left Starsky and Hutch questioning and unsure at the end whether or not they’d caught the bad guy, s bit of foreshadowing of a theme that would be later tackled more fully in the fourth season’s Targets without a Badge series. But instead of darkening the show, this shift was merely a move toward a little less flippancy and a little more thoughtfulness. The show was maturing.
The season’s shooting ended in limbo as Paul Michael Glaser declared that he wanted out of his five-year contract, a sentiment David Soul did not echo, and that left everyone unsure as to the future of Starsky & Hutch...
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THE LAS VEGAS STRANGLER
Saturday, Sep. 25, 1976, No. 23
On loan to the Las Vegas PD, S&H try to prove that Mitchell, Hutch’s old friend, is not behind a string of serial murders.
Jack Mitchell: Frank Converse, Vicky: Lynda Carter, Lt. Ted Cameron: Paul Burke, Eugene Pruitt: Darrell Fetty, Mrs. Pruitt: Joan Blondell, “Ace”: George Tobias, Comic: Foster Brooks, Iris Thayer: Roz Kelly, Sharon: Victoria Ann Berry, Glenda: Collette Bertrand, Duke: Stymie Beard, Gretchen: Jayne Kennedy, Dr. Cleveland: James Ray, Lantz: Seth Allen. WB: Michael Fisher, DB: George McCowan.
A double-episode (and featured movie special) that should be more fun than it is. A Las Vegas detective apparently known to (and disliked by) S&H asks for their help with a serial murder case, but doesn’t reveal that the main suspect is an old buddy of Hutch’s. There is a puzzling inequality between S&H this episode for some reason, even before Mitchell enters the mix. It is Starsky who keeps his mind on the case and makes all the connections, from the fight he has to start in the hotel, to the mirror in the holding cell, to the nut they arrest at one point (another example of Starsky’s good psychological intuition), to figuring out who the murderer is. In the meantime, Hutch patronizes his partner (leading to S’s plaintive, “Why won’t you let me have a little fun? You know, you’re mean.”), ignores him, and doesn’t even share his fears for Jack with Starsky. Both have their personal interest in the case, Hutch with his high school best friend and Starsky in the showgirl he’s sincerely falling for, but Starsky’s the only one who seems able to keep those feelings in check (except for one odd line said in frustration: “I’m sick of your stinkin’ loyalty to your friends,” to which Hutch ironically replies, “That present company included or excluded?”). The few times they do click are quite good, though, particularly when Starsky offers support and advice to Hutch about taking the case, and his being so in tune to Hutch’s feelings that he wakes out of exhausted sleep at Hutch’s soft, sad, “Oh, dammit.” Inter-esting revelations about the Hutch: he was class valedictorian, voted the boy most likely to succeed, a lifeguard with Jack one summer, and his family was fairly well off. He also shows for the first time a love of dancing, partying, and gambling. And, in contrast with Starsky (Running), he doesn’t seem to keep up with old friends (as in Terror on the Docks). Cute running gags of Starsky’s fatigue and of their not being able to lose money in gambling. Although Hutch claims a fear of heights, a contention belied by other episodes, Soul enjoyed it enough to do his own stuntwork, but Starsky - and Glaser, was truly petrified; Soul had to coax him down from the net at the end. Second episode to be written specifically for S&H. Includes perhaps the goriest murder scene in the series, with the blood splattered windshield, and a cute detail in the Torino-colored Edsel S&H drive while undercover. Glaser and Soul also did a Merv Griffin show together while they were in Vegas. Darrell Fetty wrote one of Soul’s songs (“Fools for Each Other”) with Lynne Marta. Screen legend Joan Blondell (Desk Set) starred with Soul in Here Come the Brides and was in The Real McCoys. Frank Converse had been in Movin’ On and N.Y.P.D. and the movie Anne of Avonlea, Paul Burke in Dynasty, The Naked City, and Twelve O’Clock High, established comic Foster Brooks in Mork & Mindy, George Tobias in Bewitched, and Lynda Carter was Wonder Woman and had a short-lived series Soul guest starred in, Partners in Crime. Priceless scenes: S&H’s poetry discussion (S: “Behold the prince of the desert.”), being outfitted by Huggy and Duke for Las Vegas - circa 1946, S’s childlike delight at the casinos while H is the one who catches the fever, S blushing in the girls’ dressing room, H attacking the wrong person in the pool, “He’s Henderson, I’m Starsky,” and the cute tag.
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MURDER AT SEA
Saturday, Oct. 2, 1976, No. 24
S&H go undercover on a cruise ship to investigate two drug-related murders, but find more than they planned when they stumble onto a meeting of syndicate bosses.
Helen: Lynne Marta, “Oxey”: Pepper Martin, Commodore Atwater: Will Geer, October Moss: Jennifer Shaw, Eric Snow: Timothy Himes, Edna Zelinka: Kay Medford, Bertha: Carole Ita White, Kitty: Devon Ericson, Harvey Schwab: Ed Begley Jr, First Officer Stafford: Ron Moody, Captain LaRue: Jean-Pierre Aumont, Patsy Cairo: Paul Picerni, Nicky Cairo: Charles Picerni, “Crazy” Joey Fortune: Jose Ferrer, Marty Simon: Robert Walden, Mr. Jensen: Burr DeBenning, Clint Takahashi: Richard Lee Sung, Lord Harry: Zakes Mokae, Tina: Marianne Bunch, Hubert Stuffy: Richard Hack, Lily: Gari Hardy. WB: Ron Friedman, DB: George McCowan.
An ambitious double-episode that starts with a murder but grows to include drug-dealing, multiple-murders, a mob head powerplay, five bombs, and a woman with a one-track mind for revenge. The trail leads S&H to the cruise ship Amopola, where they go undercover as Hack Tuppleman and Zack Sheckey (sp?) respectively, recreation directors. Hutch’s initial enthusiasm for the sea (he was a sea scout in land-locked Duluth, MN, where he was born) fades as Starsky gets ambushed, the captain’s killed, the two of them are forced into hiding after their cover is blown, and they have to find and get rid of four bombs. Some cute moments along the way, though, topped with one of the best chases in the series, Hutch (“I was raised in one of these”) driving a dune buggy and Starsky hanging on for dear life (a scene that they actually re-filmed on their day off after not being pleased with the first take). This episode was taped after Little Girl Lost, during which Soul broke his ankle, so he does all the running and jumping on only a taped ankle. The episode contains a lot of friends of Glaser and Soul - Soul’s mentor Will Geer (Emmy-winner for the Waltons; Soul was crushed when he died in ‘78 while Soul was in the hospital), his old pal Ron Moody (originator of the role of Fagin in the movie, Oliver!) who co-starred with him in Dogpound Shuffle, as the straight-laced Stafford, his love, Lynne Marta as the mysterious Nellie Brown/ Helen Carnahan (sp?)/Carnowski (sp?), show stunt coordinator and Glaser’s stunt double, Charlie Picerni, and his brother, Paul (The Untouchables), and even an unbilled cameo by Glaser’s love and wife-to-be, the then Elizabeth Meyer (sitting at Takahashi’s table during the talent show). The two-week shoot was a working vacation for Glaser and Soul and their ladies on a real cruise ship, with some of the passengers filling in as extras. It was not an easy shoot, though, particularly the bomb search scene which was filmed in tight quarters with boxes that were weighted for the sake of reality. One cute inside joke is Glaser and Soul’s smirk when Huggy says the line about being the “Houdini with soul” (Glaser had just finished playing Houdini in a TV movie). The sea explosion clip is from the movie Run Silent, Run Deep. Also contains roles by future movie actor Ed Begley Jr (best known on TV for St. Elsewhere), movie actor Jean-Pierre Aumont as the burned-out captain, and Oscar-winning (for Cyrano de Bergerac) movie legend Jose Ferrer. From TV: Robert Walden (Lou Grant), variety show performer Kay Medford, and TV columnist Richard Hack appear. Priceless scenes: Huggy’s magic obsession, the comic fight with over-eager ship security officer Oxey, cajoling the Commodore, insatiable Miss Kitty, the scavenger hunt, H trying to host a talent show (and getting tangled in his own sombrero), arguing about navy time, H’s concern when S gets knocked out, barricad-ing one bomb, and their brief pause before they split up to look for the others, the dune buggy ride, ‘the great Huggerini’. Best line: S calling H “Kemosabi.”
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GILLIAN
Saturday, Oct. 16, 1976, No. 25
Hutch doesn’t know that his new love, Gillian, is a call girl in the employ of Al and Olga Grossman, whom S&H are investigat-ing as suspects in a string of murders.
Gillian Ingram: Karen Carlson, Olga Grossman: Sylvia Sidney, Al Grossman: Mike Kellin, Eddie Hoyle: Doodles Weaver, Nancy Rogers: Diana Canova, Joy: Joanna DeVarona, Harry Blower: Richard Foronjy. WB: Ben Masselink & Amanda J Green, DB: George McCowan.
An affecting, fan-favorite episode in which Hutch falls hard for a girl whom Starsky comes to realize is not all she seems. Hutch is crushed by her subsequent death and attacks his partner when Starsky tries to tell him the truth, but ends up turning back to him for comfort (a scene that was mostly unscripted). Amanda J Green (Naar’s secretary and Prod. Ass’t-to-be), who wrote the script, was so moved during this scene that she had to leave, and both Glaser and Soul were really in tears, as was the director and some of the crew; they ended filming for the day afterwards because Soul was too worked up to continue. It helped that Gillian is played by Karen Carlson, Soul’s ex with whom he’s remained friends. Glaser was worried about whether he and Carlson would get along (much like in the episode, both had heard a lot of the other), but after they met, they hit it off so well that they changed the script which originally had them at odds, and developed the gentle confrontation scene between Starsky and Gillian themselves instead. Soul, ever the climber, really got up those drapes himself in the shootout finale, and he wears his own rodeo shirt at the end. Starsky also mentions his bad shoulder for the first time, the same shoulder that was shot up in Shootout and that he has often been seen favoring (Jojo, Murder at Sea). Screen legend Sylvia Sidney does a creepy turn as half of the twisted mother/son felon team. Karen Carlson, (whom Soul met on the set of Here Come the Brides), would show up again in The Heroes. Second and last appearance of Eddie Hoyle character (ep. 22). Diana Canova also went on to the sitcom Soap. Priceless scenes: S&H bowling with two airheads, the alley scene, and S at Gillian’s. Best line: Gillian: (to S) “He talks about you all the time.” / “Wouldn’t it be nice to be Hutch? In one lifetime you have two people love you so much?”
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BUST AMBOY
Saturday, Oct. 23, 1976, No. 26
S&H are determined to get their man, drug dealer Amboy.
Amboy: Art Metrano, Mickey: Lisa Mordente, Goose: Chuck Bergansky, Denny: Nicholas Worth, Francis Bacon Stockwood: Richard Derr, Itchy: Nathan Jung, Chuckles: Howard Honig, Rogier: Roger Etienne, Officer: Ned York, Mrs. DeHaven: Trudy Marshall, Undercover Officer: Fred Rolaf. WB: Ron Friedman, DB: George W Brooks.
Alternate title: Nightlight. No plot to speak of, but a cute series of sketches as S&H obviously enjoy harassing a known drug dealer into making a rash move so that they can catch him. Hutch is a little more involved than usual, though, as his heart aches for Mickey, one of Amboy’s victims, a teenage addict and prostitute. Another in the series of justice v. the system episodes, this time when they lose a case because they left the county during a pursuit, although they do win in the end out of sheer tenacity. This episode is the only one directed by film editor George W Brooks, and some blame his inexperience for the continuity problems in the episode, such as the newspaper that’s folded the wrong way and the ‘bank bag’ that changes from corn to celery. There are also two fun mishaps; the license plate falls off the Torino when it turns sharply into Amboy’s driveway at the end, and then there’s the door that refused to stay shut during the early fight scene at Amboy’s. It kept swinging open and the henchman guarding it kept pushing it shut with his foot. Maintenance came and tightened the door in between shots, but they overdid it and Soul has to noticeably tug at the door to open it when he leaves. Hutch again reveals his cultured side with his appreciation of gourmet food (although they drink on duty, a no-no), and his allergies and days as a collegiate dart champion are also mention-ed. Art Metrano had been in Movin’ On. Priceless scenes: the mortuary bust and tricking the stupid bad guy (Albert from Death Notice), the bicentennial bribe offer and H’s lectures to his partner about food, carefully spreading a napkin in his part-ner’s lap, the fixed dart game, the bee, the restaurant raid, S’s new culinary find, the sudden attack of ‘pig flu’, the overnight stake-out, and S eavesdropping at D’s door.
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THE VAMPIRE
Saturday, Oct. 30, 1976, No. 27
Dance instructor and cultist Nadasy is killing off young women for their blood, making it look like the work of a vampire.
Rene Nadasy: John Saxon, Slade: GW Bailey, Linda Offenbecker: Suzanne Somers, Guybo: Phil Leeds, Supergnat: Frank Corsentino, Suzette: Paula Sills, Jane: Lindsay Bloom, Bobette: Colleen Camp. WB: Michael Grais & Mark Victor, DB: Bob Kelljan.
A cute Halloween episode. Starsky believes wholly in vampires, even wearing garlic and consulting a medium, much to Hutch’s amusement. A lot of fun back-and-forth. The guitar shirt Hutch wears in this and other episodes is Soul’s own, and Soul and Glaser did do all that climbing at the end themselves. GW Bailey from MASH and St. Elsewhere makes his first of two appear-ances. John Saxon, the ghoulish vampire, went on to Falcon Crest and Scarecrow & Mrs. King, Lindsay Bloom, to become Mike Hammer’s girlfriend. Priceless scenes: S&H trying to pick up girls at Huggy’s, the garlic scene and H playing up S’s gullibility at the medium, interviews with prospective vampires. Best line: an all-time classic comeback from S: “Yeah? Well, fools and only greenhorns try to predict the weather!” which leaves even H speechless.
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THE SPECIALIST
Saturday, Nov. 6, 1976, No. 28
After a stray bullet kills retired special agent Alex Drew’s wife, he sets out to kill all the cops he thinks were in on the plot - including Starsky and Hutch.
Alex Drew: Joel Fabiani, Janice Drew: Melendy Britt, Arthur Cole: Charles Cyphers, Sally Hagen: Linda Scruggs- Bogart, Mr. McDermont: Jack Zoller, Carl: Michael Twain, “Flashy” Floyd: Anthony Ziggarelli, Hooker: Denise Gordy. WB: Robert Earll, DB: Fernando Lamas.
Another ‘against the system’ episode, but this time the gov’t enemy is also the victim, as secret agent Drew’s ingrained paranoia leads him to set out to kill the four cops involved in the shootout in which his wife was accidentally killed. He succeeds with the first two, prompting a moving scene between Hutch and the dead policeman’s father. The remaining two, S&H, manage to survive a bomb in the Torino and a shootout, even though they have to go into hiding at a hotel at one point. But in the end, all they feel for their hunter is pity for a man brainwashed by the system. When they filmed the fake-collapse scene, Glaser’s shirt rode up and an ass’t dir dashed over to tuck it in, but Glaser’s so ticklish, he collapsed for real, laughing. The rest of the day, Soul had to just wiggle his fingers at Glaser and he would burst out laughing. Joel Fabiani went on to Dallas (playing another Alex) and Dynasty. Priceless scenes: S’s “what if’s,” his collapsing act (which looks like they’ve done it many times before), S being harassed by a woman - and loving it, the boring and nerve-wracking hotel wait, and getting thrown by Sally at the end, literally. Best line: S: “Have you ever wondered, Hutch, what woulda happened if you’d been born charming and handsome, and I’d been born a dullard?” H: “Well, Starsk, there’s just some things in this world that you don’t have to wonder about.”
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TAP DANCING THEIR WAY RIGHT BACK INTO YOUR HEARTS
Saturday, Nov. 20, 1976, No. 29
S&H pose as an teacher and a student at Hollywood legend Evans’ dance studio, where instructors Stearns and Starger run an extortion ring.
Marsha Stearns: Sondra Currie, Carl Starger: Devren Bookwalter, Marianne Tustin: Veronica Hamel, AC Chambers: Liam Sullivan, Ginger Evans: Audrey Christie, Mrs. Dodsman: Dorothy Shay, Diedre: Nora Marlowe, Officer: Nicholas Stamos. WB: Edward J Lakso, DB: Fernando Lamas.
A complete romp of an episode and perhaps the most-liked non-crisis one. Starsky is charming as the heavily accented and mustachioed Ramon from South America, but Hutch steals the show as the gee-golly Texas boy, Charlie McCabe, who goes above and beyond the call of duty to trap his beautiful extortionist (although the script originally had him as much more willing, even downright eager). Not much story, but it’s never missed. Huggy’s “Mouse Downs” is also seen in The Omaha Tiger. Starsky also reveals a past job as a cabbie, and Hutch that his grandfather was a farmer. The original script also didn’t have the hot dog stand conversation, Starsky’s pinch, or the dip (the whole tag took place while they were seated at their desks). And while filming, ever in the spirit, Glaser more than once broke into a tango whenever the director called action. Veronica Hamel (Hill Street Blues), of course, became the ex-Mrs. Hutchinson in the third season, and Nora Marlowe was on The Waltons at the time. Priceless scenes: S wooing his students, H playing the yokel to the hilt, the incidental 211 bust by “a blond cowboy and an Arab in funny shoes,” using a forklift to extract the information they want, and the infamous dip scene in the tag. (“When you got it, flaunt it, boy.”).
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VENDETTA
Saturday, Nov. 27, 1976, No. 30
Solkin, a felon who recruits children for criminal acts, gets the imbalanced Tommy to terrorize Hutch as revenge for an imagined slight, to the extent of almost killing Abby.
Artie Solkin: Stefan Gierasch, Tommy Marlowe: Gary Sandy, Lloyd Herman Eckworth: M Emmet Walsh, Abigail Crabtree: Ann Foster, Jimmy Shannon: Gregory Elliot, Andrea: Ginny Golden, Sergeant: J Jay Saunders. WB: Don Patterson, DB: Bob Kelljan.
Alternate title: The Monster. One of the grittier episodes, as Hutch’s unknown stalker goes from leaving him a dead rat, to burning his hand, to attacking his girl for the sake of revenge. Also one of the more disturbing endings as the guys realize that the ‘monster’ who has been terrorizing Hutch is a deeply disturbed and scared kid. Some jarring points: why Starsky remains so unconcerned about the obvious danger Hutch is in, why he seems to be fasting, why Hutch is so offended by the “modern day Fagin” in the first place, why he’s taken up with Abby again at all (they did meet before Gillian, after all), and why he lets Abby make dinner at his home with his stalker still at large. The music also seems strangely playful throughout this serious episode, especially in the tag. Interesting symbolism of storm brewing literally and plot-wise when Hutch is first harassed. Also provides a cute look at another of Starsky’s passions, baseball cards, and how he uses it to put a scared victim at ease. Hutch’s green warm-up suit is Soul’s own, and Starsky wears a UMass shirt (Glaser has a degree from Boston U). Last appear-ance of Hutch’s long-time love interest, Abigail Crabtree, also seen in Death Notice and Bounty Hunter. Gary Sandy was just about to find fame in WKRP in Cincinnati, and M Emmet Walsh starred in Unsub with Soul. Priceless scenes: S trying to comfort his badly-burned partner, then attempting to divert him when Abby leaves.
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NIGHTMARE
Sunday, Nov. 28, 1976, No. 31
After Manning and Loomis attack and rape S&H’s young retarded friend Lisa, S&H are determined to bring the two to justice.
Lisa Graham: Diana Scarwid, Nick Manning: Gerrit Graham, Mitzi Graham: Karen Morrow, Mousy Loomis: Zachary Lewis, Ass’t DA Sims: David Knapp, DA: Jim Gruzalski, Al Martin: Carl Weathers, Mr. McDevlin: Jerome Guardino. WB: Steve Fisher, DB: Randal Kleiser.
Another episode where it becomes personal for S&H as they try to make charges stick against two men who rape a young friend of theirs, even barging into the DA’s office to make their case. Starsky also loses his temper in this episode, physically attacking the slick DA at one point, and Hutch gets frustrated enough to mention quitting. They again demonstrate their skill with children and the mentally-handicapped (soon to come up again in Starsky’s Lady), particularly as Starsky soothes the upset Lisa outside the courtroom. Diana Scarwid does a particularly convincing turn as the mentally handicapped Lisa. ‘Fioremonte Bail Bonds’ is an inside-joke on location director Gene Fioremonte’s name. Glaser and Soul reportedly went crazy while shooting the scene in the toy shop, putting rattlesnakes down people’s backs and having a peashooter war. Starsky is looking for a toy shop at the beginning, something from his youth, so he must have spent some of his childhood in LA. Jerome Guardino was already a veteran of a popular cop show, the comedy Car 54, Where are You?, and Carl Weathers was just about to gain fame as Rocky’s opponent, Apollo Creed, in the Rocky movies before going on to play another cop himself in the series, In the Heat of the Night. Priceless scenes: S’s half-naked laundromat bust, shopping for Lisa’s present, ‘Huggy’s Ark’, and “How about two children?”
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CAPTAIN MIKE FERGUSON
Saturday, Dec. 18, 1976, No. 32
S&H must reevaluate their definition of ‘justice’ when they discover a link between decorated police chief Ferguson and under-world kingpin Coyle.
“Iron” Mike Ferguson: Michael Conrad, Matt Coyle: Peter MacLean, Johnny Lonigan: Ric Mancini, “Skinny” Momo: Marc Alaimo, Laura Lonigan: Shannon Wilcox, Lucky Lester: Buddy Lester. WB: Ron Friedman & Arthur Norman, DB: Don Weis.
Alternate title: Iron Mike. This episode showcases a moral dilemma for S&H as a respected police chief and friend of Dobey’s turns out to have ‘looked the other way’ in exchange for information - and then they inherit his source. Also the only time Huggy is actually referred to as a pimp. Glaser and Soul put on wigs and hats and held mock interviews with the mannequins in the dep’t store scene. The bar S&H bust Lonigan in would become The Pits next season. Priceless scenes: the hilarious restaurant scene at the beginning, S shopping for a negligee for his ‘weird partner,’ H eating S’s sandwich and climbing on him to see over the fence, the chess game in the tag. Best line: H: “[Betrayal] won’t happen to us because we got something that Ferguson doesn’t have.” S: “Yeah? What’s that.” H: “Each other. You lucky devil.”
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LITTLE GIRL LOST
Saturday, Dec. 25, 1976, No. 33
Hutch’s heart and home open to skid-row orphan Molly after her father is killed by his two robbery accomplices, Flent & Duran
Molly Edwards: Kristy McNichol, Flent: Matt Bennett, Duran: Richard Dimitri, Kiko Ramos: Guillermo San Juan, Nick Edwards: King Moody, Mrs. Ramos: Milcha Scott, Perkowitz: Rebecca Balding, Mike: Lou Cutell, JJ: Paul Pepper, Mrs. Williams: Patricia Wilson, Roy: Ken Sidwell. WB: Ben Masselink, DB: Earl Bellamy.
The Christmas episode and a fan-favorite with interesting insight into Hutch. Fed up with the ‘euphoric sentimentalism’ of Christmas, he is ready to skip it all together until lonely Molly finds her way into his heart. S&H both try hard to help her, but each is at a loss of what to do, Starsky having the double problem of Molly and a grouchy partner. But he’s a joy to watch as a typical kid caught up in the season - with a Star of David on his dash and reindeer and bells on his mirror. Hutch demonstrates his piano-playing abilities and Starsky mentions his train set. Soul got a hairline fracture from tripping over an iron bar during the chase scene at the end, but gamely finished the scene nevertheless. Afterwards, Glaser had to almost threaten him to make him go to the hospital and get it taped, but as this episode was one of first taped in the season, Soul had to do all the running and jumping in Murder at Sea on that taped ankle. Rebecca Balding went on to SOAP and Lou Grant, and King Moody was a regular of Get Smart. Second and last appearance of Kiko. Priceless scenes: H sitting in the dark, heartbrokenly listening to Molly cry, S’s ‘candy cane money’, “Donder, Blitzkrieg, and Spritzen,” the toilet for Dobey, shopping for Molly, her talks with H, and the ant farm and the tree.
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BLOODBATH
Saturday, Jan. 1, 1977, No. 34
Followers of cult head Simon Marcus kidnap Starsky and threaten to kill him if their leader is not released from prison.
Simon Marcus: Aesop Aquarian, Gail: Patricia Pearcy, Luke: Anthony James, Matthew: Frank Doubleday, Peter: John Horn, Merl “The Earl”: Raymond Allen, RJ Crow: James Brown, Judge Yager: William Bowers. WB: Christopher Joy, & Wanda Coleman, Ron Friedman, DB: Paul Michael Glaser.
Hutch, Dobey, and Huggy combine forces to try and interpret a madman’s ‘dreams’ in order to find Starsky in time in this fan-favorite episode. A great last minute rescue at the old zoo is the result, the second time Hutch has gone there to save his partner (ep. 7). An interesting theme of distortion is wound throughout the episode starting with the very first shot, ranging from the obvious riddles and cultic practices, to the subtle, such as music and certain camera shots (the one of Hutch pulling up in front of a store, a triple reflection shot, is parti-cularly impressive). First of five episodes directed by Glaser, interesting to note in how Soul is filmed (case in point, the beautiful shot of him in Dobey’s office toward the end), usually from below to emphasize height and grace, and lighted from above to set off his golden hair (‘the White Knight’). This is especially pertinent in the scenes between Hutch and Simon where Simon is in shadows and Hutch in full light. But, as Soul once observed, Glaser is more interested in individual images than continuity of story, which leads to some choppy action scenes. Ever the perfectionist, in the final zoo scene, Glaser had himself really tied up and dangling, so that his hands were swollen and discolored by the end of the scene. The original script explained Gail’s presence as a brainwashed Patty Hearst-style kidnapee. It also provided another threat as Hutch’s mother is poisoned back home in MN (she survives) and had Starsky much worse off at the end, with a longer comfort scene (Perhaps one of the writers being a woman had something to do with it.) Naar kept the bloodied mirror as a souvenir. Some graphic torture scenes, and Aesop Aquarian does a fine job as a chilling Manson-like murderer. There are two errors: Merl’s name is spelled “Merle” on his shop, which contradicts the credits, and Simon tells Hutch something different than what’s later on the tape (“My dream is your fantasy” vs. “Your dream is my fantasy.”). James Brown, the aging star of Rin-Tin-Tin has a small role, and second appearance of Merl “the Earl.” Priceless scenes: S talking H into leaving his car with Merl - and then trying to calm him down when Merl lines the car with fur, S accidentally going into reverse and H’s commanding “Forward!” in response, a frustrated H pathetically begging first Marcus’ followers for S’s life, then pleading with the insane Marcus, S’s plaintive, “What took you so long?” Best line: H: (to Merl) “Even for free, it ain’t for me!”
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THE PSYCHIC
Saturday, Jan. 15, 1977, No. 35
Collandra, a psychic, reluctantly helps S&H locate Joanna, the kidnapped daughter of sports magnate Joe Haymes.
Joe “Collandra” Collins: Allan Miller, Moo-Moo: Cliff Emmich, Joe Haymes: Herb Voland, Earl Pola: George Loros, Joanna: Dianne Kay, Su Long: James Hong, Charlie Sireen: Sylvia Anderson, Julio: Edward James Olmos, Policeman: Larry Mitchell, Fireball: Robert Tessier, Cha-Cha: Charles Everett, De Meo: Michael Keenan, Ringo: Chris Peterson. WB: Michael Mann, DB: Don Weis.
For once, Hutch is the believer and Starsky is the one skeptical about a psychic, but as time grows short, they end up enlist-ing Collandra’s aid in trying to find a kidnapped girl. A lot of great moments, especially Hutch’s serious “You be careful now,” and Starsky’s terrified efficiency after he thinks his partner’s been killed. Soul ran the whole ransom route himself, and the teaser is borrowed from The Omaha Tiger. Dobey again mentions that S&H are his best. Also a Max Franklin book. A small procedural error - the FBI wouldn’t ignore a ransomed kidnapping on the account of 24 hours not having passed. Oscar nominee and Emmy-winner (for Miami Vice) Edward James Olmos’ name is misspelled in the credits. Allan Miller (Galactica 1980, Soap, Knots Landing) is an acting teacher now, Herb Voland was also in MASH and Love on a Rooftop, and Dianne Kay (also spelled incorrectly in the credits) went on to Eight is Enough. Priceless scenes: H’s diatribe on immaturity, deciphering Collandra’s lyric clues, the ‘little old lady’ 211, S&H asking each other in unison for a ‘hand up’, the two would-be juvenile delinquents, preparing for and running the ransom route and S’s crazed dash back to his partner’s side, and “I’m pickles, he’s onions.” Best line: H: (to a bigoted slob they’ve just questioned) “You know, your humanity is surpassed only by your honesty and good looks.”
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THE SET-UP
Sat., Jan. 22 & 29, 1977, No. 36 & 37
When Joe Durniak, the protected witness S&H are guarding, is killed, the guys uncover a plot much bigger than Terry Nash, a lone gunman seeking revenge.
Terry Nash: Jon Korkes, Joe Durniak: Michael V Gazzo, George Stegner: Eugene Roche, The Black Baron: Roger E Mosley, Thistleman: Darryl Zwerling, Debra: Heather MacRae, Dr. Hank Wachman: Jerry Hardin, Nun: Dawna Shove, Patty Nash: Katherine Dunfee Clarke, Wilson: Angus Duncan, Bumper: Richard Balin, Trucker: Bruce M Fischer, Bank Teller: Sandra George, Security Guard 1: Cedric Scott, Security Guard 2: Verne Rowe. WB: Joe Reb Moffly, DB: George McCowan.
This double-episode is second only to Targets without a Badge in ambitious scope (another Joe Reb Moffly, alias Jeffrey Bloom, script, incidentally). In fact, some fans speculate that the vague ‘them’ of this episode is lead by none other than Targets’ James Gunther. At any rate, ‘they’re’ a formidable enemy who not only manage to kill off S&H’s maximum security protected witness, but also seem to have unlimited resources, people everywhere, and a fortress in the desert. The only clue given to their identity is that Durniak, their target, was a danger to the mob. The farfetched ending that includes S&H’s Rambo-style raid on the fortress, is also one of the most ambiguous of the series, leaving S&H unsure about what they’ve achieved. The partnership is at its best throughout, though, from their obvious fun in playing truck driver, to the almost telepathic in-sychness of the raid. Joe Durniak is one of the most intriguing of figures from S&H’s past. His obvious affection for “Davy” demonstrates a long-time acquaintance, and yet Starsky seems to keep his distance, perhaps because Durniak “represented everything [Starsky’s] father fought against” (lending credence to specu-lation that Starsky’s dad was a cop), and yet Durniak paid for Mr. Starsky’s funeral. This is all also clearly not news to Hutch. Durniak also says that some of the names and dates he’d name, Starsky wouldn’t want to hear (?). There’s an unusual amount of race-related comments in this episode, too: Dobey’s response of “we all look alike” when Hutch mistakes him for Huggy, Hug’s imperious, “The English language is not the exclusive property of the white man,” and the Baron’s comment, “I’m not exactly your tap dancing stereotype, huh?” Hutch sings “Black Bean Soup” again. There was to be a tag where S&H discuss a replacement Torino’s paint job, which was perhaps to be orange and blue, an inside joke on the colors of Glaser and Soul’s BMW’s. As is, the Torino is just mysteriously replaced by the next episode. Two small sticking points: Hutch says that in that part of the city, “nobody has ever been murdered” (!), and also that he and Starsky have been partners for 7 years, a figure that doesn’t jive with the rest of the series. A Max Franklin book. Eugene Roche went on to Perfect Strangers, SOAP, and Webster, and Roger E Mosley to another role as a flier in Magnum PI, and to Roots: The Next Generation. Priceless scenes: S playing with the CB and ‘truck driver talk’, the birth of “the Puce Goose and the Blond Blintz,” H doing room service (S: “Who is it?” H: “It’s me.” S: “Who’s me?” H: “It’s your partner, dummy!”) and his morbid tale, S’s unique interrogation procedure, and flying with the Black Baron.
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SURVIVAL
Saturday, Feb. 5, 1977, No. 38
Starsky searches frantically for Hutch who is trapped under his car, near death, the victim of a hit man hired by Humphries.
Vic Humphries: John Quade, Sonny McPhearson: Tom Clancy, James Balford: Val Bisoglio, Roy Slater: Robert Raymond Sutton, Carla Iverson: Katharine Charles, Bigalow: Paul Pepper, Harry Trask: Robert Emhardt, Bobby Marsh: George Janek. WB: Tim Maschler, DB: David Soul.
A fan-favorite episode as Hutch struggles to survive, trapped under his overturned car, while Starsky desperately pieces clues together to find “someone very, very, very close to me.” An interesting running theme of people not listening to each other - Hutch not listening to Starsky at the beginning, bureaucratic clerk Bigalow not listening to either of them, the radio talk show topic, Sonny’s refusal to hear Hutch, and then Starsky not hearing Sonny. A fine perform-ance by Tom Clancy as WWII vet Sonny, torn between his fantasy world and helping Hutch. Also first, and some say best, episode directed by Soul, particularly the well-done climactic race at the end between Starsky and the killer to reach the helpless Hutch first. The crew had to push a backup car down cliffs three times before they got the right footage and positioning, then anchored it, a process that took most of a day. Soul then stayed in that realistic but unpleasant angle for the 1 1/2 days of shooting. In the original script, Hutch also deals with a scorpion while trapped, and is fully conscious when Starsky arrives with rescue helicopter. The red sweater Starsky wears in the tag is the same one Hutch wore in the tag to A Coffin for Starsky, now apparently Starsky’s property, as he also wears it in the next episode. Priceless scenes: Bigalow, H’s Larry Scanlon (sp?) act, S’s attempt at conversation with his woozy partner, the classic reuniting when S finally finds his partner, the “Hutchinson original.” Best line: H: “Oh, Starsky, you know I love you...”
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STARSKY’S LADY
Saturday, Feb. 12, 1977, No. 39
Prudholm returns to avenge himself on Starsky by fatally shooting his love, Terry.
Terry Roberts: Season Hubley, George Prudholm: Stephen McNally, Woody: Sandy Smith, Christine: Rita George, Dr. Quo: Beulah Quo, Freddie: Joey Viera, Sally: Angela McClelland, Clerk: Wayde Preston, Attendant: Rob Curtin. WB: Robert Earll, DB: Georg Stanford Brown.
Alternate title: Revenge. An eerily prophetic story as Starsky must watch his lover slowly die, much like Glaser later did in real life. One of the most wrenching and discussed episodes (Naar even cried through the whole thing), and the most sincere of all the romances portrayed on the series. Starsky and Terry seem perfect for each other (she’s even close to Hutch - she leaves both him and Starsky a gift) and well on their way to the altar when Prudholm returns with his twisted desire for revenge (ep. 7). What follows is a moving and well-acted story of grief and going on with life. Hutch is also at his perceptive and support-ive best (“This is ours, partner.”). The original script (entitled Snowball) was much different: in the opener, S&H discuss Starsky wanting to marry Terry (Hutch is delighted); Starsky also comes over to Hutch’s late one night to talk out his pain; Hutch is there to meet Starsky after Terry dies (no dialogue, just a long embrace), and the tag is about a basketball trophy renamed in Terry’s honor at Hutch’s request. Interesting sidebar of the guys’ volunteer activities, teaching phys. ed. to mentally-handicapped children. Glaser provided ‘Ollie’ himself. Hutch also mentions a brother-in-law, meaning he has a sister, and robbing banks in Bolivia is brought up for the second time. Season Hubley, who starred in the movie The Key to Rebecca with Soul, was also on Family and Kung Fu. Director Georg Stanford Brown starred in The Rookies, and Beulah Quo in General Hospital. Priceless scenes: most of the episode, but especially the tag with Monopoly and Terry’s note.
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HUGGY BEAR AND THE TURKEY
Saturday, Feb. 19, 1977, No. 40
Huggy Bear and his friend, Turkey, go into the private detective business.
JD “Turkey” Turquet: Dale Robinette, Foxy Baker: Emily Yancy, “Scorchy”: Carole Cook, Sonny: Richard Romanus, Lady Bessie: LaWanda Page, Walter T Baker: Fuddle Bagley, “Dad” Watson: RG Armstrong, Yank: Joe La Due, Sugar: Blackie Dammett, Moon: Mickey Morton, Man: Darryl Zwerling, Doc Rafferty: Eddie Lo Russo, Milo: Titus Napoleon, Leotis: Stan Shaw. WB: Ron Friedman, DB: Claude Ennis Starrett Jr.
This episode was a pilot-to-be for a spinoff series starring Huggy and Turkey, but the fans didn’t care for it, and it remains one of the least-liked episodes, mostly because S&H have only three scenes in it, at the beginning, middle and end. Their parts are fun; undercover as an old couple (S hides his handcuffs in his bra) and then as hairdressers Tyrone and Mr. Marlene (Hutch is Tyrone in this one; they switch alias’ in Dandruff), but Huggy’s is just plain silly and can’t carry the episode. And Turkey came out of nowhere for the show and is never seen again. Huggy’s anti-gun feelings from The Fix reappear. ‘Foxy Brown’ is an in-joke on a movie by the same name that Fargas starred in in ‘74. Blackie Dammett’s name is misspelled in the credits. LaWanda Page starred in the S&H copycat series B.A.D. Cats, and in three of Redd Foxx’s Sanford series’. Priceless scenes: S&H’s two undercover bits (“Huuutch!”), Huggy’s Olivier imitation, and the ‘heater’.
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THE COMMITTEE
Saturday, Feb. 26, 1977, No. 41
After Starsky apparently takes the law into his own hands - leading to a breakup with Hutch, he is invited to join a vigilante group of cops lead by IA’s own Lt. Fargo.
Lt. Fargo: Alex Rocco, “Dirty” Nellie: Helen Martin, Ginger: Angela May, Sam Garner: William Bogert, Willits: John Ashton, Billings: Michael MacRae, Off. Knight: Bill Cort, Off. Williams: Tony Young, Millie: Muffi Durham. WB: Robert I Holt, DB: George McCowan.
Another episode dealing with crooked cops, the insufferable IA, and the injustices of the system. It apparently gets to Starsky, who punches his partner out after an argu-ment about justice (Starsky’s expression at that moment is interesting to watch), but it’s really just an act to gain the interest of ‘the Committee’, a group of vigilante cops Dobey wants to bring down. Ironically, the theme of cops who take the law into their own hands is also the one explored in Soul’s movie of 4 years before, Magnum Force. Starsky’s photography hobby is introduced, and Dobey puts S&H in for a citation. Angela May filed a paternity suit against David Soul several months later, but it was disproved. Helen Martin went on to the sitcom 227, and Emmy-award winner (for The Famous Teddy Z) Alex Rocco would become the pivotal Callendar in the following season’s The Plague. Priceless scenes: S’s lifesaving pet rock, and his instructions to his victim: “Don’t MOVE!” Best line: H: “You know, Starsk, I just had a thought.” S: “Take an aspirin. It’ll go away.”
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THE VELVET JUNGLE
Saturday, Mar. 5, 1977, No. 42
S&H’s investigation into the murder of an illegal alien uncovers a smuggling ring lead by Sterling, an Immigration official.
Sterling: Biff McGuire, Paco Ortega: Jorge Cervera Jr, Harry Wheeling: Cliff Osmond, Laura Stevens: Sheila Lauritsen, Andrea Guiterrez: Silvana Gallardo, Danny: Timothy Carey, Ginny: Belinda Balaski, Lou: Susan Bay, Moreno: Frank Lugo, Miguelito: Robert Rodriguez. WB: Parke Perine, DB: Earl Bellamy.
One more case of a gov’t agency not communicating with the LAPD, this time involving a crooked Immigration agent. Hutch demonstrates his knowledge of the Spanish language. Glaser, ever the professional, refused to let them pad the dumpster he was to fall into, and did actually hurt himself a little when he fell. Soul, casually watching off-camera, straightened worriedly when he saw the fall - he was the only one who knew until the director cut. Picerni also broke his foot jumping off the escalator, the scene where Starsky supposedly sprains his ankle. Soul and Glaser already did a lot of miming together just for fun, so the park scene came easily for them. Priceless scenes: the ditzy Laura, S’s classic comic fall, then trying to speak Spanish and getting beaten up for it, H bringing his partner an aspirin and water and coaxing him to take it, H miming and S doing Chaplin (Glaser’s idol), S bringing his date to Hutch’s to show off.
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LONG WALK DOWN A SHORT DIRT ROAD
Saturday, Mar. 12, 1977, No. 43
S&H try to catch Tabor, the deranged murderer hounding country singer Grainger - whom he blames for his disability.
Sue Ann Grainger: Lynn Anderson, Jerry Tabor: Joshua Bryant, Cal Claybourne: Dick Haynes, “Fireball”: Scatman Crothers, Bartender: Skip Young, Hotel Clerk: Jack Grinnage, Redneck: Walter Scott. WB: Edward J Lakso, DB: George McCowan.
With a title presumably meant to remind of a country song (or ‘hillbilly’, as Starsky calls it), this lite episode is a little look at what the guys enjoy, as they play tennis together (a favorite sport of Glaser’s and one Soul likes as well, though he prefers golf) and Hutch indulges in country music, serapes (Soul’s own - it will show up again in The Snitch), and singing (that’s his own guitar he’s playing, too), while Starsky watches with pride and amusement - and sings along. Also, a cute in-joke when Starsky mentions that Hutch sounds like Dirty Harry, Soul having starred in the second Dirty Harry movie, Magnum Force. Country singer Lynn Anderson lent her acting, her songs, and her voice to the episode. Soul would later be reunited with Scatman Crothers in the short-lived series Casablanca, and Joshua Bryant in Salem’s Lot. Jack Grinnage also starred in Kolchak: The Night Stalker, and Skip Young in Ozzie & Harriet. Priceless scenes: Cap’t Dobey’s hero worship, playing ball with Fireball, H’s stage fright and S’s enthusiasm for his singing partner, ‘the Blond Blintz’.
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MURDER ON STAGE 17
Saturday, March 19, 1977, No. 44
S&H go undercover as stuntmen on a movie set where ‘Wolf Pack’ actor Hanson’s life is being threatened by Stone, an old comic friend believed dead.
Steve Hanson: Rory Calhoun, Wally Stone: Chuck McCann, Julie West: Susan Cotton, Harry Markham: Jeff Goldblum, Shotgun Casey: Layne Britton, Blackie: Read Morgan, Ruth Willoughby: Toni Lamond, Charlotte Rogers: Sandy Herdt. WB: Ben Masselink, DB: Earl Bellamy.
A truly fun episode. When someone begins to kill off the members of an old band of actors called the ‘Wolf Pack’, the last remaining member comes to S&H for help. The guys, dazzled by the idea of a movie set, are all too happy to agree. The sober revel-ation of the murderer as being a disgraced, tragic former member of the pack doesn’t dim the pleasure of this episode. Hutch also seems to be close to his mother - he told her about his part and she’s boasted about it to others. One unexplained question remains though - how does Starsky end up with his partner’s gun after they’ve caught up to Wally? Chuck McCann’s second terrific appearance, this time as washed-up comic Wally Stone, and the make-up supervisor for S&H, Layne “Shotgun” Britton, does his first of two cameos in the series, here as an ass’t director named ‘Shotgun’. Another inside joke is that S&H’s main sets were on ABC’s Stage 17. Jeff Goldblum, of course, went on to big screen stardom, and B-Western cowboy legend Rory Calhoun plays the old western star, Hanson. Priceless scenes: the two eager children’s, er, detectives’ intro to play fighting - which becomes real, ‘Spagetti & Meatballs’, S playing stuntman, H’s stagefright and “Here comes McCoy now,” and the hilarious trenchcoat and hat tag.
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STARSKY AND HUTCH ARE GUILTY
Saturday, April 16, 1977, No. 45
Lawyer Freemont hires S&H look-alikes Simmons and Hanson to go on a crime spree in order to discredit their testimony in an upcoming trial.
Sharon Freemont: Lauren Tewes, Chief Ryan: Val Avery, Nikki: Michele Carey, Judy Coppet: Shera Danese, Mr. Klemp: Henry Sutton, Mrs. Marlowe: Dorothy Meyer, Lennie Atkins: Sy Kramer, Hanson: Gary Epper, Simmons: Kipp Whitman, Fifi: Mary Jo Catlett, Kate: Jean Bell, Nurse: Suzanne Gormley, Eric Ronstan: Don Keefer. WB: David P Harmon, DB: Bob Kelljan.
S&H grow increasingly confused and paranoid as complaints keep coming in of their abuse - even of their killing someone, when they weren’t even there. They suspect Chief Ryan, Dobey’s boss, might be in on it, until they discover the unlikely villain, the lawyer Starsky’s been romancing. Rather incredible, as their look-alikes certainly aren’t their twins, but fun nevertheless. A third, privately-owned Torino had to be rented as backup for this episode (the owner was also invited to watch as a guest of the studio) as the ‘real’ and backup Torino’s were unleashed on the city. Interesting contrast of S&H’s styles vs. the copies’. Dobey says he’s been on the force for 27 yrs., and S&H were apparently invited to speak at an Academy graduation (!), where Starsky told them to forget everything they learned. Gary Epper, Soul’s stunt double, played Hutch’s ‘twin’. Hutch mentions that he doesn’t have a brother. Fifi (ep. 13) also shows up again, this time played by Mary Jo Catlett from The Omaha Tiger. Lauren Tewes went on to The Love Boat. Priceless scenes: S&H’s disguises as the two redneck bowlers and as janitors, the amorous Fifi lovingly washing Hutch’s shorts, breaking into the Chief’s office, the two Torino chase, and the tag. Best line: S: “Do you trust me?” H: “With my life, yes. With your choice of women, no.”
Third Season (1977-78)
The hiatus between the second and third season saw many ups and downs. Paul Michael Glaser was unhappy for many reasons, but predominantly because of the limits of a television series, and he wanted out of his five-year ironclad contract. Spelling and Goldberg said a firm no, and the matter ended up going to court. Throughout the summer, fans and the show’s crew alike were held in suspense as to the outcome of the disagreement. David Soul, while not agreeing with his costar, backed up Glaser unreservedly. Writers were told to start writing scripts that didn’t include Glaser, playing with different possibilities such as Roz Kelly’s streetwise cop Linda Baylor becoming Hutch’s new partner, despite Soul’s firm comment, “There’s no replacement for Paul... it would be the end of the show for me if he left.”
In the meantime, David Soul went off to England to film the movie, Mud. A month into filming he began to get ill, and the illness eventually became a serious case of pneumonia. Filming shut down as Soul ended up in the hospital’s intensive care with a raging fever. Glaser took some time from his talks to fly to England to be with his friend for a few days, and after several weeks, Soul was able to regain his health and finish filming. He returned to the Starsky & Hutch set only a month after his illness, still unsure himself as to the future of the show.
Talks were still going on the night before the first day of filming, and the crew reported to the set with the reluctant resolution of continuing without Glaser. It was only when Glaser reported to the set in the morning and received a long, crushing embrace from David Soul, that people began to relax. Glaser was back and ready to get down to work. He was deeply touched when crew members lined up to welcome him back, and the rumors of ill will soon vanished as things returned to normal.
There were several changes again with the turn of the season. Due to Glaser’s lawsuit, both he and Soul received substantial raises and a percentage of profits from the show, plus the promise of more directing and creative control opportunities (Glaser had demanded equal benefits for his costar). The theme music also changed again, this time swinging back to a more conservative piece by Mark Snow. Travers Hill departed as director of photography, Blake Wilcox became head sound engineer, and Bob Henderson finally received regular billing as prop master. The biggest change was the arrival of Rick Edelstein toward the middle of the season. A friend of David Soul’s and co-writer of one of Soul’s songs (“I Wish I Was”), Edelstein was eagerly received by both Glaser and Soul, and ended up having a large influence in the direction of the series, particularly in the fourth season (although as story consultant, he did write several third season episodes, including Manchild on the Streets, which Soul directed, A Body Worth Guarding, and the fan-favorite, Partners. The show also got a boost when ABC switched it back to Wednesday nights midseason, an easier time slot where the show continued to flourish.
The third season continued to see a move toward the more serious side of Starsky & Hutch and their job. Aaron Spelling, tired of battling critics and anti-violence advocates, made a deliberate shift in story topics. According to script consultant Michael Hiatt, “It’s still the good guys against the bad guys, but the bad guys this year is not the hardcore felon... [It’s] the swindler, the government, and the abusive parent. This year we’re dealing with social issues. Starsky & Hutch will do more investigative work,” as in episodes such as The Crying Child, and Manchild on the Streets. The season still had its decidedly fun moments, as in the fan-favorite Satan’s Witches, but, as David Soul said it, “The first two years, we were gonna change the world,” whereas in the third season, they learned to deal with some unpleasant truths in the world that they weren’t able to change. Still, they were making a difference, and that made it worthwhile, even in the small victories such as saving a child from an abusive home. And the affection and interaction between Starsky and Hutch, if anything, deepened with the trying times, as seen in the wrenching The Plague and Hutchinson for Murder One.
David Soul seriously hurt his back during a skiing break from the filming of Class in Crime, and although he was able to finish the season’s filming, he seriously risked paralyzation to do it. He immediately entered the hospital for surgery after production ended for the season, and once more the show’s future was in doubt as everyone waited to see the outcome...
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STARSKY & HUTCH ON PLAYBOY ISLAND
Saturday, Sep. 17, 1977, No. 46
S&H go undercover on Playboy Island to try and figure out the mysterious goings-on of its billionaire recluse owner, Thorne.
Charlotte Connery: Samantha Eggar, Walter Healey: Craig Stevens, Janice Regan: Joan Collins, Inspector Godfrey: Roscoe Lee Browne, Papa Theodore: Don Pedro Colley, Philippe: Tommy Madden, Johnny Doors: Paul Picerni, Phil: Dave Madden, Jerry: Louis Nye, William Thorne/Bert Regan: Lane Allan, Magic Minnie: Jinaki, Pussycat: Patricia L McGuire, Silky: Anitra Ford, Easy: Dana House, Meghan: Linda Thompson, Debbie: Debra Feuer, Baron: Jophrey Brown. WB: Ron Friedman, DB: George McCowan.
This double-episode features a continu-ation of S&H’s redneck undercover acts of the previous episode, this time as S.L.O.B.’s (Sanitation Lift Operators Brotherhood) Fred Night and Ed Day, respectively. When agent Healey asks them to give up their vacation (a trip to Pine Lake, which they get to take later in Satan’s Witches), in order to go to a tropical island and investigate a billionaire recluse, they reluctantly agree. But when Healey is apparently killed by voodoo and less and less things add up, even Hutch begins to believe the superstitions that have Starsky thoroughly spooked. Weak on story, but has its fun moments, and the guys do get to enjoy their idyllic trip a little. There was to be a scene that was later cut, of Papa Theodore actually catching Starsky’s thumb in a box, drugging him through the injury, which leads to Starsky turning on his partner. Hutch, of course, notices something is off from the start, and despite almost getting throttled by Starsky, his first concern upon his partner’s waken-ing is reassuring him that “Don’t worry, you didn’t hurt me.” The episode was filmed on the Hawaiian island of Kauai, and Glaser and Soul brought their ladies along for a mini-vacation. Soul, in fact, taught Glaser how to golf on the trip, much as Hutch seems to be teaching Starsky. Real playboy models were used, including Patti McGuire, Anitra Ford, and playmate of ‘76, Dana House. Many mishaps occurred while filming, though, including Soul wrenching his back while jumping from the boat, the car wind-shield shattering during the stunt dive and cutting Charlie Picerni’s hand badly, and a jeep overturning and injuring 2 stuntmen. Soul jumped into the moving car himself, but the crowd that had gathered to watch kept applauding and ruining the take, and in the beach scene, the waves were supposed to wash over Starsky, waking him up, but instead they began to wash him out, much to his and Soul’s amusement. The opening shot was borrowed from Bounty Hunter - S&H are wearing different clothes as they get out of the Torino. A Max Franklin book. TV and Dynasty grand dame Joan Collins (who found Glaser “charismatic”) has a part, as does Oscar nominee (The Collector) and big screen star Samantha Eggar. Craig Stevens was also on Dynasty, as well as being Peter Gunn, Don Pedro Colley was in Daniel Boone and The Dukes of Hazzard, Dave Madden in Alice, The Partridge Family, and Rowan & Martin’s Laugh-In, Louis Nye in The Steve Allen Show and The Beverly Hillbillies, and Emmy-winner (for guesting on The Cosby Show) Roscoe Lee Browne in Falcon Crest and SOAP. Priceless scenes: the setup pick-up, H’s luggage, Huggy’s islander driving, crossing the river in fear of crocodiles, visiting Minnie the griot, playing market sellers, S leaning on H emotionally and phy-sically after breaking out of the ‘spell’, the cigarette in H’s shorts, S’s trance and the “big green voodoo bird,” the wild car chase, and Rodan v. Godzilla.
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FATAL CHARM
Saturday, Sep. 24, 1977, No. 47
A possessive young woman becomes dangerous when Hutch tries to end their relationship.
Diana Harmon: Karen Valentine, Linda Baylor: Roz Kelly, Max Frost: Paul Lukather, Kathy Marshall: Janice Heiden, Salesman: Woody Skaggs, Benny: Michael Stipanich. WB: Jeff Kanter, DB: Earl Bellamy.
Emmy-award winner (for Room 222) Karen Valentine does a chilling turn as an obsessed, unbalanced woman who becomes murderous when Hutch realizes what she’s like and tries to distance himself from her. A bit too much of a quick-fix ending, but features a great shower/slasher scene a la Psycho and a very unique bust involving a jackhammer, a rope, and a tree. One of the few times Hutch seems to both dance well and enjoy it, too; Starsky’s penchant for model ship building is also revealed. Roz Kelly‘s Linda Baylor was to have become Hutch’s new partner if Glaser had not returned for the third season, and a version of the script was written without Starsky, but she was relegated to a supporting role upon Glaser’s agreement. As consolation, she was to have another big role later, but was unavailable when the opportunity came. As Soul had been out of the hospital for only 3 weeks when the episode was shot, Glaser was also very protective of him, bringing him coffee, finding him places to sit in be-tween shots, and urging him to let Epper do more of the stunts than usual (which Soul, stubborn as usual, refused, particularly after Epper was knocked down by a car during filming and had to go to the clinic). Priceless scenes: S ‘examining’ his partner at the hospital (“bite the bullet!”) and coming to the rescue at the end.
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I LOVE YOU, ROSEY MALONE
Saturday, Oct. 1, 1977, No. 48
Starsky finds true love and heartache in an undercover relationship with gangster Frank Malone’s daughter, Rosey.
Rosey Malone: Tracy Brooks Swope, Ed Chambers: James Keach, Bill Goodson: Paul Jenkins, Frank Malone: John P Ryan, Ray Shelby: John Dullaghan, Jogger: Theresa A Fagundes, Secretary: Mary Mercier. WB: Tim Maschler, DB: Rick Edelstein.
Starsky loses another love, this time when he falls for the woman he’s supposed to be investigating - and the Justice Dep’t starts manipulating them both. Hutch backs up his partner 100% throughout, at one point unleashing his wrath upon a tactless G-men. A fan-favorite episode and the first directed by Rick Edelstein, the story editor asked for by Glaser and Soul. In the original script, Starsky was about to tell Rosey about his job when her father called, and they have a long talk about her father (she convinces Starsky she must go by comparing her relationship with her dad to Starsky’s with his partner, “always being there when you need him.”). The merry-go-around scene was also unscripted. One interesting unanswered question - how much of Starsky’s knowledge of art & South America was just learned for Rosey’s sake? And a small oversight: the Torino is shown in front of the station when only Hutch is there; Starsky’s at Rosey’s. Priceless scenes: H trying to turn S on to jogging and giving him a smile and a ghost of a wink when S’s upset, telling off the G-Men, the merry-go-around at the end. Best line: S (to G-Man) “This here’s my captain, and I take orders from him. And this is my partner. What he says goes. But you...”
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MURDER WARD
Saturday, Oct. 8, 1977, No. 49
S&H go undercover to investigate a string of deaths at an insane asylum run by the unscrupulous Matwick, enlisting girl reporter Hutton’s help along the way
Jane Hutton: Suzanne Somers, Freddie Lyle: Joey Forman, Miss Bycroft: Fran Ryan, Dr. Matwick: Leon Charles, Bo: HB Haggerty, Switek: Ned York, Victor: Sam DeFazio, Charlie Deek: Blackie Dammett, Albert: J Christopher Sullivan, Jackson: DeWayne Jessie, Howard: Robert E Ball. WB: Anthony Yerkovich, DB: Earl Bellamy.
The amusement of Starsky as free-spirited “sex-maniac” inmate Rudy Skylar (sp?) quickly grows grim as Hutch (as orderly Hansen) has to help repeatedly sedate and restrain his partner - and then faces the same fate himself when their cover is blown. A small blooper: when Switek drops a bottle of pills, the close-up of his shoes don’t match the long shots. Dir. Anthony Yerkovich is a two-time Emmy-winner for writing for Hill St. Blues. Priceless scenes: S hamming it up with the other patients and saving his drugged partner (“Huuutch!”), the birthday party.
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DEATH IN A DIFFERENT PLACE
Saturday, Oct. 15, 1977, No. 50
S&H investigate why their old friend and colleague John Blaine was found dead in a sleazy hotel patronized by gays, and uncover a plot that involves another cop, Corday.
Alec Corday: Don Gordon, Nick Hunter: Gregory Rozakis, Orrin Lawford: Dick Davalos, “Sugar”: Charles Pierce, John Blaine: Art Fleming, Margaret Blaine: Virginia Leith, Peter Whitelaw: Colby Chester, Murph: Allen Joseph, Maxine: JoElla Deffenbaugh, LaVerne: Shelley St. Clair, ME Ginny Simpson: Adrien Royce. WB: Tom Bagen, DB: Sutton Roley.
A heavy “message” episode on gay equality, even though Starsky’s ambiguous on the subject when it becomes personal (the victim is a father figure from his childhood and a good friend). Also another instance of Dobey telling S&H to disappear while they solve a case (because of dep’t pressure). Strangely directed with many unusual shots, and a cute running gag about the heat wave. Charles Pierce is a profess-ional female impersonator, and Art Fleming was the original host of Jeopardy. Priceless scenes: the Torino overheats - overheating H, Huggy as a voter registrar, the classic tag. Best conversation: H: “Starsky, would you consider that a man who spends 75% of his time with another man has got certain tendencies?” S: “75 - you mean 3/4?” H: “Right.” S: “Yeah. Sure. Why not. You mean that was the case between John and...” H: “No, no, that’s the case between you and me.” S: “What?!” H: “Well, figure it out. In a 5-day week, there are about 80 waking hours, right?” S: “Yeah.” H: “We work, eat, and drink about 12 of those hours, right? That’s 60 hours a week, 75% of the time we spend together and you’re not even a good kisser.” S: “How do you know that?”
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THE CRYING CHILD
Saturday, Oct. 22, 1977, No. 51
Hutch’s lady, Carol, a schoolteacher, enlists their help to try and save battered little Guy from further parental abuse.
Carol Wade: Dee Wallace, Janet Mayer: Linda Dano, Sgt. Peterson: Rosalind Cash, Guy Mayer: Meeno Peluce, Eddie Mayer: Michael Lane, Franklin: Al White, Vikki Mayer: Nancy McKeon. WB: James Schmerer, DB: Georg Stanford Brown.
A fine performance by child actor Meeno Peluce showcases this serious episode dealing with the issue of child abuse, as a teacher friend of Hutch’s asks S&H to try to stop the parent who is beating an 8-year-old boy. The guys race to find the truth while dealing with their own revulsion at the act. While filming, one of the kids got emotionally involved in the scene, and Glaser ended up taking it upon himself to reassure them and make sure they were okay during the rough shoot. The original script included in the tag the bit S&H practice at the beginning, performed at a party for Guy where it’s also revealed that his father is engaged and will get custody of the children. There is a slight continuity error: Hutch’s jeans change color more than once. The teaser scene is taken from Night-mare. Dee Wallace (Stone) gained fame for the movie, ET. Nancy McKeon went on to The Facts of Life, Peluce to The Voyagers, and Linda Dano to the soap, Another World. Priceless scenes: Laurel & Hardy a la S&H, S trying to rehabilitate a needy shoplifting father (a venture left unresolved).
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THE HEROES
Saturday, Oct. 29, 1977, No. 52
Reporter CD Phelps writes an unfavor-able article about S&H after riding with them for a few days.
Christine “CD” Phelps: Karen Carlson, Paul Rizzo: Jerrold Ziman, Roxy: Lynn Borden, Karl Regan: Madison Arnold, Al: Lee McLaughlin, Freddy: Gary Graham, Frankie: Nick Holt, ME Ginny Simpson: Adrien Royce, Tony: Patrick Wright, Larry: Charles Picerni, Driver: Hope Newell. WB: Kathy Donnell & Madeline DiMaggio Wagner, DB: Georg Stanford Brown.
An episode that asks the question, are the methods S&H use justifiable - and answers it with a resounding ‘yes’. The guys get to act particularly sophomoric trying to please their lovely lady companion (it’s interest-ing that this script is the only one written solely by women). Second appearance of the ex-Mrs. Soul, Karen Carlson (ep. 25), and of Adrien Royce as the ME (Medical Exam-iner). Glaser’s stunt double Picerni has another small part, as does Gary Graham, who went on to become a cop in another cult hit, Alien Nation. Priceless scenes: the cute choreography as S enters the squadroom as H is pacing and reading the paper, S showing H the ‘fixer-upper’ he invested their money in. Best line: H: “Starsky, are you asking me to live with you?”
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THE PLAGUE
Sat., Nov. 19 & 26, 1977, No. 53 & 54
Starsky races the clock to find hitman Callendar who’s carrying a deadly virus that has infected Hutch and threatens the city, while Drs. Kaufman and Meredith work to find the answer and keep Hutch alive.
Dr. Judith Kaufman: Janet Margolin, Thomas Callendar: Alex Rocco, Dr. Meredith: Frank Marth, Helen Yeager: Jean Allison, Richie Yeager: Patrick Laborteaux, Roper: Al Ruscio, Jake Donner: Walter Mathews, Virginia Donner: Natalie Norwick, Lt. Anderson: Paul Kent, Doctor: David S Milton. WB: William Douglas Lansford, DB: Bob Kelljan
Taut suspense double-episode as Starsky even offers to “empty out my bank account [and] hock my Torino,” to save his partner. Truly wrenching scenes at hospital as they both try to deal with Hutch’s impending death, but somewhat detracted from by the quick-fix ending. Glaser is nevertheless a treat to watch in this fan-favorite episode as Starsky seems to be fading as much as his partner is. The hospital scenes genuinely upset Glaser as he watched Soul ‘get sicker’, his real-life visits with his friend when Soul had a dangerous bout with pneumonia still a recent memory. Soul, in turn, mother-henned his partner when the Torino skid on an oil slick while Glaser tried to make a U-turn, bumping him into a truck and giving him a knock on the head. Soul immediately ran up and got in with Glaser, then shut down filming for an hour to let him recuperate. Starsky mentions he was in the Army, which makes it probable he was in ’Nam, and Hutch notes that Starsky is a bad liar except when he’s undercover. Particularly good turns by Alex Rocco in his second appearance (ep. 41), as a hitman with a heart, and by Janet Margolin, the doctor who seems to know how much S&H mean to each other, and who gets emotion-ally attached to her patient. Patrick Laborteaux was also on Little House on the Prairie. Priceless scenes: H expounding on the joys of living to 148, and mucking up S’s car, S’s “Good partners are hard to come by” speech, then watching his sick partner sleep and the message he leaves in lipstick, the painful ‘Captain Marvel’ pep talk, S&H’s giddiness in the joy of living at the end. Best lines: S: “That’s next to impossible!” H: “Well, we can do that.” / S: “Hutch’ll be a dead man. Finished. Gone.” D: “I love Hutch as much as you do.” / S: (to H) “Come on, you big blond beauty, I’m gonna take you home and tuck you in. You ain’t ready for the big leagues yet.”
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THE COLLECTOR
Saturday, Dec. 3, 1977, No. 55
S&H try to track down vicious new collector Cunningham who works for loanshark Oates, before the indebted father of Hutch’s girl, Molly, gets hurt.
Jack Cunningham: Robert Viharo, Annie Oates: Susan Tyrrell, Molly Bristol: Toni Kalem, Lee Bristol: Dave Shelley, John “The Apple”: Danny DeVito, Joe Garras: Jack O’Leary, Frank Carroll: Richard LePore, Minnie Kaplan: Marki Bey, Mike Todesco: Robert Rodriguez. WB: Don Patterson, DB: Ivan Nagy.
A few unique qualities mark this episode: the opening of The Pits (temporarily delayed by an expired liquor license), the repeated emphasis on events happening in Hutch’s neighborhood, the introduction of Minnie Kaplan, and Hutch’s romantic interest in the case. His girl, Molly, comes to him when her father is threatened by the new loan collector in town - who’s not above murder to get what he wants. Hutch is reluctant to endanger his girl, but after some coaxing, agrees to let Molly help them catch the killer. Hutch plays with the Irish accent he also used in Iron Mike. Also includes cameo by Emmy-winner (for Taxi) and soon-to-be movie star and director Danny DeVito, plus enigmatic turns by Robert Viharo as the gentleman brute and Susan Tyrrell as the imbalanced and pitiful former child star, Annie Oates. There is a continuity error as S&H‘s clothing change in between the station and Annie’s place. Priceless scenes: S’s “Don’t walk on my car!”, the game of musical cups of water the guys play with Dobey, H pocketing S’s $50, S&H’s uneasy relationship with the guard dog, and the sandwich argument in the tag.
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MANCHILD ON THE STREETS
Saturday, Dec. 10, 1977, No. 56
S&H must keep Junior, the son of a friend, from avenging his father’s death at the hands of a racist rookie cop.
Junior: Brian Whitley, Jackson Walters: J Jay Saunders, Dr. Sammie Mason: Sheila Frazier, Mrs. Walters: Dorothy Meyer, Maurice: Maurice Sneed, Off. Raymond T Andrews: WK Stratton, Vivian Fellers: Helen Martin, Dewey: Fuddle Bagley, Mrs. Hong: Shizuko Hoshi, Clayborne: Chuck Hicks. WB: Rick Edelstein & Steve Fisher, DB: David Soul.
Touching and gritty episode as the guys lose an old friend and childhood pal of Starsky’s in a senseless shooting, and Starsky has to set aside his own personal feelings of deja vu, grief, and revenge to help guide his friend’s son (“When your daddy dies, it’s awful hard to see straight.”) Soul’s second directing attempt; while more choppy than the first (ep. 38), does a good job of conveying the intense emotions. Only episode to really look at the issue of racism as well as only one in which Hutch isn’t in the tag. The harmonica soundtrack is courtesy of Andy Kulberg, Soul’s friend and bandleader. WK Stratton was starring in the hit war show Baa Baa Black Sheep at the time. Priceless scenes: S&H relaxing with basketball (S and Glaser is a right-handed player), pushy witness Vivian supervising H as he types, and a brief moment of mutual consolation at news of their friend’s death.
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THE ACTION
Saturday, Jan. 7, 1978, No. 57
S&H set out to avenge their friend Ted, who’s badly beaten when he stops paying off crooked gambler Hilliard.
Freddie: M Emmet Walsh, Hobart: Ken White, Eberly: Carmine Caridi, Julie: Melanie Griffith, Daimier: Marc Alaimo, Ted McDermott: James B Sikking, Hilliard: Richard Venture, Professor: John Carradine, Ellen McDermott: Julienne Wells, Toni: Quinn Cummings, Ginger: Mary Steelsmith, Barmaid: Victoria Ann Berry. WB: Al Friedman & Robert Swanson, DB: Ivan Nagy.
A very personal case, as S&H become involved in a gambling investigation (much to the vice agent’s annoyance) to catch the man responsible for hospitalizing a friend. Another one of those friends of Starsky’s from childhood who seem to have adopted Hutch, too (as in the last episode), including an amusing ‘fix-up’ attempt. Lots of back-and-forth joking as S&H seem to enjoy their undercover gambling personas, and Hutch even gets to indulge in smoking (a major vice of Soul’s) and his exotic taste in clothing (Starsky’s reaction to Hutch’s sheep vest: “You look like you belong to the Himalayan Mounted Police”). Glaser and Soul learned how to palm dice from a real Las Vegas croupier for this episode. Ass’t Dir. Eldon Burke has another cameo as a gambler. Screen legend John Carradine has a brief role, as well as star-to-be Melanie Griffith, and James B Sikking went on to Hill Street Blues and Doogie Howser and Quinn Cummings to Family. Priceless scenes: S&H with eight-year-old Toni McDermott, Julie’s ‘icy’ comeback to S’s bluster, the “sweat race” in the sauna, cheering on Salty Bait, and arguing over digging their graves. Best lines: H: “Cap’n, you are looking at a couple of aces in a world full of jokers.” / Huggy: “Starsky, did Hutch slam the door on your head again?”
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THE HEAVYWEIGHT
Saturday, Jan. 14, 1978, No. 58
S&H try to help Spenser, a down-and-out boxer who gets in trouble with vicious hood Gavin when he refuses to throw a fight.
Jimmy Spenser: Gary Lockwood, Haley Gavin: Bernard Behrens, Jeeter: Whitman Mayo, Sharon: Susan Buckner, Stevie: JR Miller, Lillian Spenser: Laurel Adams, Booker Wayne: Shaka Cumbuka, Berl: Darryl B Smith, Jake: Layne Britton. WB: Norman Borisoff & Robert E Swanson, DB: Earl Bellamy.
Gary Lockwood turns in a good perform-ance as a has-been boxer who seems hopelessly trapped when first he witnesses a murder and then refuses to take a dive in the ring. Initially seeking him as a witness, S&H soon become involved as friends - even if it’s killing Starsky’s love life (leading to a cute running gag of Starsky worn-out by his energetic girlfriend. Hutch’s reaction? “You keep this pace up, one of these days you’re gonna wake up, you’re gonna look in the mirror and you’re gonna see a 60-year-old prune.”). Whitman Mayo is another veteran of Sanford and Son and Sharon Buckner played George in both the Nancy Drew and Hardy Boys Mysteries. Gary Lockwood is best known for his role in the movie 2001:A Space Odyssey. Priceless scenes: H’s nasty trick on the half-asleep S at the beginning, the little boy H doesn’t want to share his popcorn with, S’s ditzy girlfriend - and H’s reactions to her at the boxing match, the fight scene where, carried away, S&H almost punch each other out, S falling asleep while out drinking with H, H’s extreme delight at S’s sorrow at the end - and S’s revenge. Best line: H: (to S) “You know, if you’re gonna hoot with the owls all night, you gotta be up to soar with the eagles in the morning.”
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A BODY WORTH GUARDING
Wednesday, Jan. 25, 1978, No. 59
Hutch falls for the Russian ballerina he is assigned to protect, while Starsky works to find out who’s threatening her.
Anna Akhanatova: Monique Van De Ven, Miller: Michael Margotta, Steinmetz: John O’Leary, Masha Barovnika: Signe Hasso, Morty Kauffman: Allan Miller. WB: Rick Edelstein & Sam Paley, DB: Rick Edelstein.
A lovely little no-strings-attached love story that develops out of stormy begin-nings. Starsky, as always, is amused at his partner’s being in love, but perhaps never so much as in the classic ‘morning after’ scene as he gathers Hutch’s scattered accessories while Hutch plays innocent. A fan-favorite episode. Interesting mix of politics in the storyline, with communism, fascism, and Judaism coming to head. Hutch also asserts his patriotism while Starsky tries to play peacemaker. Hutch’s culture again surfaces in his knowledge and love of ballet, and Starsky refers to himself as Hutch’s ‘better half’. There’s one small editing error, as different shots show Hutch’s clothes in different states as he greets his partner in the morning. Soul plays (his own guitar) and sings an abbre-viated version of his song “I Wish I Was” to Anna, a song he co-wrote with episode dir. and writer Edelstein. Priceless scenes: H expounding on the meaning of life, walking into the glass door, “Starevsky and Hootch,” H and Anna getting to know each other with headstands and arm-wrestling, S charming the dance instructor - though he can’t pronounce her name, the ‘licorice gun’, H’s shy embarrassment in front of his partner when Anna comments about his eyes, and the unfair arm-wrestling bout in tag. Best line: Huggy: (to S) “[You look] a little lopsided. I know, ‘cause Starsky without a Hutch is like a pig without the poke.”
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THE TRAP
Wednesday, Feb. 1, 1978, No. 60
Young troublemaker Joey is trapped with S&H in a barn that’s about to be set ablaze by Bagley, an ex-con out to get Hutch.
Joey Carston: Kristy McNichol, Delano: Anthony Geary, Trayman: Antony Ponzini, Johnny Bagley: Bill McKinney, Clerk: Pat Morita, Mrs. Carston: Ann Prentiss. WB: Sid Green & Robert E Swanson, DB: Earl Bellamy.
Hutch once more demonstrates his cool-ness under pressure as he tends to Starsky, who’s been shot in the leg, and comes up with a plan to get them out of a no-win situation. Free-spirit Mrs. Carston and her daughter Joey, a young girl who has a crush on Starsky and stows away in the Torino, would come back the next season to cause more mischief in Ninety Pounds of Trouble. Huggy is also first seen with a mustache, and is again acknowledged as more of a friend than an informant with Hutch’s dub-bing of “Old buddy” and Huggy’s return of “Amigo.” Starsky mentions two more of his uncles, Alphonse and Myron. Another of Starsky’s watch fixations (the ‘Yamamoto Reflex’); the car chase scene is the only time in the series that rear projection is used. There is a brief clothing blooper as the tractor breaks out of the barn and the stunt men riding in it are clearly wearing slightly different clothing than S&H. Vete-ran actor Pat Morita of Happy Days, Sanford and Son, and the Karate Kid movies, has a small role, as does Anthony Geary of General Hospital. Priceless scenes: the chase into the flower shop, S’s morbid family stories, giving his precious watch to his partner ‘just in case’, H’s nasty tripping trick in tag. Best lines: Hug: “Starsky, if your other half is there, I’d like to meet with the whole package.” / (of a felon) “Definitely not one of your more attractive homo sapiens. Looking mean with a potential for ugly.” / (of H) “Mr. America.”
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SATAN’S WITCHES
Wednesday, Feb. 8, 1978, No. 61
Vacationing in the woods, S&H are caught between a coven of Satanists lead by Rodell, and the frightened locals, particularly angry sheriff Tyce.
Joe Tyce: Charles Napier, Hank Ward: Taylor Lacher, Cabot: Robert Raymond Sutton, Rodell: Joseph Ruskin, Rachel Tyce: Patricia Wilson, Julie: Deborah Zon, Tricia: Jeri Lea Ray, Ellie Ward: Bess Gatewood, Lizzie Tyce: Lark Geib. WB: Bob Barbash, DB: Nicholas Sgarro.
A fan-favorite episode, possibly because of its sheer fun. It’s the only episode where the guys are completely removed from duty and the city, even if they do have to go to work to save a young girl from a nasty cult. Hutch positively blooms in the open air, while Starsky’s a “virgin in these woods.” Also an interesting bit that shows their unity of thought; both of them separately say the same things about the woods at the same time. Priceless scenes: You name it, everything from H scaring his partner when the lights go out, to saving him from the rattlesnake, to S in his long johns, to “what’s a city?”, to “what tree?”, to a game of ‘blind man’s bluff’. Not to mention the bear at the end. Best line: S: (in response to H’s bear meat dinner) “You’re either putting me on, or you don’t want me for a friend anymore.”
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CLASS IN CRIME
Wednesday, Feb. 15, 1978, No. 62
Hutch goes undercover as a college student to investigate college professor Gage who teaches a class on the “philosophy of crime.”
Professor Gage: Peter MacLean, Mickie Marra: Rebecca Balding, Catlin: Michele Carey, Rachel: Gloria Torres, Ralph: Carl Anderson, Stanley: Robert Girard, Mary: Sherril L Katzman, Melanie: Susan Heldfond, Off Mike Todesco: Robert Rodriguez, Manager: Connie Sawyer. WB: Don Patterson, DB: Paul Michael Glaser.
A character-driven story, with Peter MacLean in his most charismatic role as the smooth Gage, his cold-blooded protege and partner Mickie, and the enigmatic Catlin, equal only to Minnie Kaplan in putting the guys in their place. The birth of ‘Dirtball’, and brings up the old lament of plumbers getting better hours and more money than cops, especially when the case interferes with S&H’s romancing (as in Vendetta). One of the victims is watching The Rookies when he’s killed, another Spelling-Goldberg show, and one Soul guested in. Soul had badly hurt himself while skiing right before this episode was shot, as evidenced by the make-up hidden bruise on his face, his wincing and stiff movements, and the little use of his right arm. The next five episodes were altered for his comfort, and he had surgery during the hiatus. Glaser’s second try at directing, with the usual odd angles and visually-oriented scenes, but there is a beautiful shot of the two of them in silhou-ette, walking down a hallway side by side. Second appearance of Off. Mike Todesco. Priceless scenes: verbal fencing with Catlin, S closing the door on H, fishing with the girls. Best line: S: “How do you expect to avoid the same fate as [the others]?” H: “I’m counting on you.” S: “Terrific.”
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HUTCHINSON FOR MURDER ONE
Wednesday, Feb. 22, 1978, No. 63
Hutch becomes IA’s prime suspect when his ex-wife Vanessa is murdered in his apartment.
Vanessa: Veronica Hamel, Simonetti: Alex Courtney, Dryden: Bill Duke, Boyle: Floyd Levine, Wheeler: Severn Darden, Cardwell: Dan Vadis, Dr. Morgan: Jo Anne Strauss. WB: Robert Swanson & Jackson Gillis, DB: Bob Kelljan.
Starsky risks his badge (“I’ll bring him in with my resignation,”) and his freedom when he sets out with his fugitive partner to prove Hutch’s innocence. Another anti-IA message, but a fan-favorite and one of the most affirming of S&H’s partnership and friendship. There are a few inconsistencies in the episode however - Nancy Hutchinson from the pilot is renamed Vanessa (for the sake of a more recognizable name), Starsky’s statement about the length of his partnership as 6 yrs. counters The Set-Up a year earlier when it was 7, and Hutch says The Pits is on 13th off Holland, when in next season’s The Game, its address is given as 1348 6th St. Some interesting notes: Hutch has been with Starsky ever since coming into the dep’t and he’s ticklish, and Hug doesn’t know about Vanessa, drives a white Caddy, and has a home laid out suspiciously like S’s former place (the only time his place is shown). Hutch’s flat is also torn up for the second time. Simonetti & Dryden’s dry and unequal partnership is an interesting counterpoint to S&H’s, a friendship clearly alien to the IA men. Bill Duke and Alex Courtney also were partnered in an episode of Charlie’s Angels. Veronica Hamel’s second appearance (ep. 29) is quite good as the conniving ex-Mrs. Hutchinson, and IA Off. Simonetti’s Courtney would turn up again as an even greater nemesis in Targets without a Badge. Priceless scenes: S’s “Otchicer Huffinson” greeting, then rushing over to H’s when Van is killed and defending him by punching out the IA man, the handcuff scene, Louise the ‘chinchilla’ and Dobey’s long last laugh. Best lines: S: “He’s my partner.” H: (an emphatic, unseen nod) / S: “They want me to bring in my partner; that’s like cuttin’ off my arm....If they can bring in my partner on a murder one, I want no part of this police department, this city, or this country.”
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FOXY LADY
Wednesday, Mar. 1, 1978, No. 64
Flighty murder witness Lisa Kendrick tries to outwit both gangsters and S&H to keep some stolen cash.
Lisa Kendrick: Priscilla Barnes, Clay Zachary: Morgan Woodward, Grover: John J Fox, John Carelli: Mark Gordon, Kevin Mackey: Chris Lofton, Stu Basset: Darryl Zwerling, Maggie: Maida Severn, Mr. Cavanaugh: Ed Vasgersian, Cabbie: Jaime Tirelli. WB: Robert Swanson, DB: Nicholas Sgarro.
The foxy lady manages to outfox S&H repeatedly as they fall for her charms - and her different stories. Amusing and typical rivalry between the guys for the girl, including a game of musical apartments, mistaken identities, and a ‘broken’ toilet, but the girl has other plans. Hutch’s place gets trashed for the third time and the second episode in a row due to the worst case of “I’m Hutch, he’s Starsky” in the whole series. Starsky will not take ‘no’ for an answer, even from Dobey, when his partner’s life is at stake after Hutch gets kidnapped, and he stares down Dobey. Interesting to note also, the only actual mention of Hutch’s bad back, a given in fandom. There’s a glaring continuity error at the watercooler scene when Hutch bends down in a brown jacket and comes up wearing a black one. Priscilla Barnes went on to become a regular on Three’s Company, andMorgan Woodward on Dallas. Priceless scenes: H and the pizza, then barging in on S to find the girl gone - and finding it tough to swallow, literally, and being left only with a handful of lingerie at the end. Best Line: S: “Trust [your buddy] with your life and look what he tries to do behind your back...”
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PARTNERS
Wednesday, May 3, 1978, No. 65
A high speed chase after two robbery suspects ends in a crash that apparently leaves Hutch with amnesia.
Bonnie Ackerman: Melissa Steinberg, Dr Greene: Ralph Nelson, Marsha Henry: Kathleen King, Henderson: Zachary Lewis, Billy Joe: Ronnie B Baker. WB: Rick Edelstein, DB: Charles Picerni.
A classic flashback episode (eps. used: 10, 5, 35, 24, 41, 25, and 39) as Starsky relates old memories to try to cure his partner’s amnesia. But there’s a twist: Hutch is faking it to pay Starsky back for his reckless driving. The amusing start of Hutch snubbing his old friends (although it’s puzzling why he’s so nasty to Huggy and Dobey) turns serious as Starsky becomes depressed and and the recounting gets more personal and painful. His enthusiasm and pride for the job and for his partner is evident throughout and, conversely, he only becomes angry with Hutch when his partner attacks the job. The original script was better for once: Starsky becomes despondant after a particularly cutting remark by Hutch, and leaves. Huggy and Dobey then lay into Hutch, and they’re the ones who tell him about Gillian, Dobey ending with, “If you forgot a friend like that, you’re in a lot worse shape than I thought.” That sets Hutch reconsidering, and leads to the filmed scene where he tries to make up with his partner and says that earlier he’d heard some stories about rough times he’d had where Starsky stuck by him. When he tells Starsky the truth, his partner first gets angry and begins to yell, but then the stage direction reads, “they recognize the mutual love that exists,” and Starsky forgives his partner with a gruff, “What did I do to deserve such a dirtball.” Contains a fun blooper, as the bandaid on Starsky’s head repeatedly switches sides. Other glitches include Hutch berating Starsky for breaking the law and running a red light when, while in pursuit, they have every right to do that, and the odd fact that Starsky tells a stranger about Hutch’s heroin addiction (quickly and reassuringly adding, “It wasn’t your fault.”) Also an amusing comparison between the two pairs of partners in the teaser, each with a hothead at the wheel and the other trying to slow him down. Charlie Picerni’s directorial debut. Priceless scenes: S panics when he realizes he doesn’t know what happened to his partner (“Huuutch!”), H’s barbs to ‘Mr. Starky’ and his friends, “Dr. Bear,” S’s sincerity - and good-hearted silence about Gillian.
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QUADROMANIA
Wednesday, May 10, 1978, No. 66
Starsky goes undercover as a cabdriver to catch serial killer Fitzgerald who’s murdering cabbies for revenge.
Lionel Fitzgerald: Richard Lynch, Gramps: John McLiam, Kingston St. Jacques: Philip Michael Thomas, KC McBride: Lynne Marta, Monique: Susan Kellerman, Danny Deveen: Freeman King Carboni: Jerome Guardino, Joe Benson: Bob Basso, Baker: Ric Carrott. WB: Anthony Yerkovich, DB: Rick Edelstein.
An episode full of familiar faces, and with an impressive turn by Richard Lynch as a demented actor seeking to avenge himself on the cabdriver who crippled him. Hutch’s mean joking almost costs Starsky his life this time when Hutch coerces his worn-out and off-guard partner to pick up the disguised murderer, and then has to race against time to save him. The title presum-ably refers to the four cabbies Fitzgerald kills. Lynch’s second of three killer roles (pilot, ep. 87), and John McLiam had vengeance on his mind himself in A Coffin for Starsky. Soul’s love, Lynne Marta, who wrote the song she sings in this episode (“Nobody Loves You Quite Like You Do”), makes her last of three appearances. And Philip Michael Thomas, of course, went on to another famous detective pair in Miami Vice. Priceless scenes: H trying to hold a conversation with “Jamaica’s answer to Wolfman Jack,” S’s “I don’t go that route” when he thinks KC is a male cabbie coming on to him, H’s desperate method to stop a cab (last seen performed by Callendar in The Plague), the last-minute save in the alley, and Buck “The Panhandle” Bear. Best line: S: “I hate my life.”
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DECKWATCH
Wednesday, May 17, 1978, No. 67
Hutch poses as a paramedic to get to a wounded killer, sailor Salidas, who’s holding Hutch’s friends Laura and Hannah Kanen hostage.
Hector Salidas: Michael Baseleon, Laura Kanen: Kathryn Harrold, Hannah Kanen: Susan French, Madelaine: Carole Mallory, Chicky: Will Walker. WB: Don Patterson, DB: Paul Michael Glaser.
A ‘deckwatch’ is a precision watch used on ships, and time is at the heart of this grim episode as S&H try to outmaneuver a wounded and trapped murdering seaman. Only one of two episodes in real time (ep. 14), and perhaps Glaser’s best directing job, with tight shots and a ticking clock in the background to convey the claustrophobia of the situation. Great example of how the two detectives are in-synch as they work together while apart, and interesting insight into Hutch through an old girlfriend and a surprisingly extensive knowledge of first aid. The tag was made up on the spot (as many were), and Glaser kept the maroon jacket he wears in the episode. He also insisted on doing some of the stunt work himself and managed to dislocate his should-er while diving to the ground at the end - he had to wear a sling off-camera for the rest of the shoot. Priceless scenes: Starsky looking on with ill-disguised worry as Hutch gets ready to go in, and a pie in the face at the end.
Fourth Season (1978-79)
Paul Michael Glaser was one of the first to realize how serious his friend’s back injury was, and desperately rewrote pages of scenes to help Soul move about as little as possible at the end of the third season. The consummate professional, David Soul refused to quit before filming ended, despite needing to miss whole days of filming due to excruciating pain. But immediately afterwards, after both Glaser and the studio begged him to do so, Soul entered the hospital on March 27 and had the delicate surgery done. Glaser postponed his vacation to be with his partner, but the operation went well and Soul was back on his feet earlier than even the best expectations. Despite needing a hand with rising from chairs (which Glaser always made sure he was around to lend) and being only 2/3 through his recovery, after a summer spent in rehab, Soul was ready to get back to work in the fall. Glaser, in the meantime, spent some time in Israel as a guest of the government with his parents and his lady, toured Europe, stayed with Roger Moore in England, and, back home, got a chance to fulfill a lifelong dream in conducting an orchestra at his sister’s invitation. He, too, returned in the fall refreshed and ready to go.
The fourth season contained the most extreme changes in all the series, and some consider it evidence of the show’s decline. Most noticeably, Hutch grew a mustache and seemed to lose interest in his health and appearance (although the change of wardrobe and wider middle were actually due to a back brace Soul was forced to wear all season), and Starsky lost most of his bounce and childlike wonder, somehow seeming to become older and more careworn. To give them more time off, the scripts had Starsky and Hutch separate more, and that was one factor that drastically affected the feeling of the show. The moments of humor such as in Dandruff and Moonshine were more forced and almost silly instead of the refreshing changes of pace as in the previous season. As for the heavy moments, they got heavier; Hutch’s former partner tarnished his badge in Birds of a Feather, as did a respected lieutenant in Strange Justice, Starsky’s brother turned out also to be involved in shady business, and even Huggy couldn’t go back. The job and life itself no longer seemed to contain the pleasure it had, and episodes such as Ballad for a Blue Lady and Starsky v. Hutch left fans scratching their heads and wondering if even the foundation of Starsky and Hutch’s relationship was firm. It took the extreme events of Targets without a Badge and Sweet Revenge to restore “me & thee” and their priorities, giving the series a fitting farewell.
When the crew broke up at the end of the season, there was still some possibility of a fifth season, as per Soul and Glaser’s contracts, but the new head of ABC finally decided not to renew the show, a move to late night Tuesday not having helped at all. Ironically, the fourth season saw the most settled crew of all four years, with very few people going and a couple of new, good people arriving. Edelstein became story editor and for the first time began accepting amateur scripts, as well as continuing to write scripts based on Naar’s ideas. Tom Scott returned to do a revamped version of his theme music from second season. And Minnie Kaplan, introduced in the previous season’s The Collector, returned in a well-received semi-regular role. Glaser and Soul were also slated to direct three episodes each, but Soul only ended up doing one and Glaser two, one of which he officially co-wrote.
There’s a lot of debate as to where a new season would have lead Starsky & Hutch. Starsky’s condition at the end of Sweet Revenge creates doubts of his ability to return to active policework, but if the series would have continued, he probably would have done just that. The only alternative seriously discussed was killing off Starsky in the season finale episode, and then bringing in his brother, introduced several shows earlier, to take his place. But few really believed that that would’ve worked, because the heart of the show, the chemistry between Glaser and Soul, between Starsky and Hutch, would’ve been gone. So, one final time, the two detectives rode off into the sunset - and the fans imaginations - together, really together again...
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DISCOMANIA
Tuesday, Sep. 12, 1978, No. 68
S&H go undercover with policewoman Lizzie Thorpe at a disco to try to catch serial killer Mariposa.
Sgt. Lizzie Thorpe: Amanda McBroom, Tony Mariposa: Pierrino Mascarino, Disc Jockey: Bruce Scott, Judith: Susan Duvall, Marty Decker: Adrian Zmed, Harding: Tom Tarpey, Mrs. Anderson: Bunny Summers, Rita: Deb-E Chaffin, Michelle: Paula Sills. Choreography: Eric Scott & Peter McIna, Music: Andrew Kulberg. WB: Rick Edelstein, DB: Arthur Marks.
Short on story and long on dancing, but at least Starsky does it wonderfully - which is more than can be said for his partner. (Soul, of course, is much better.) This was actually the sixth episode filmed for the season, but ABC liked it so much, they asked that it be shown first. Andy Kulberg, Soul’s bandleader and friend, chose all the music in the episode, some of it his own and played by Soul’s band. And very little choreography was necessary, as all the extra dancers were professionals. Glaser had the flu during filming, though it doesn’t show. Two small insights afforded here: S&H are confirmed as being from the 9th Precinct, and their amicable parting from homely Judith says a lot for their decency of character. Song-writer (“The Rose”) Amanda McBroom toured with Soul at one point as a backup singer. Adrian Zmed was soon to find fame as a cop in TJ Hooker. Priceless scenes: S trying to be assertive - but driving everyone away with his breath, S&H teaching the Captain the “salsa samba.” Best line: S: “Merrific.”
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THE GAME
Tuesday, Sep. 19, 1978, No. 69
A friendly game of hide-and-seek turns deadly when Starsky learns Hutch has botulism but is unable to locate him.
Ray Pardee: Jack Ging, Gina: Suzanne Charney, Anita: Liz Torres, Ernie Silvers: Joseph R Sicari, Babcock: Herbert S Braha, Simmons: CJ O’Neill, Merl “The Earl”: Raymond Allen. WB: Tim Maschler, DB: Leo Penn.
In a story directly lifted from I Spy, Hutch bets Starsky that he can hide from his partner for a whole weekend in order to prove he’s smarter, but he’s the one lacking in brains not to realize something’s wrong when Starsky goes through the trouble of faking his own shooting in order to lure his partner in. In fact, Hutch even drops him-self into the hands of the bad guy, necessita-ting an eleventh hour rescue by Starsky. Hutch was to be the seeker originally, which explains the unlikeliness of Hutch eating soup cold out of the can (and perhaps his sudden love of Buddy Holly and rare records), but they switched roles to accom-modate Soul’s healing back. Third and last appearance of Merl “The Earl.” Jack Ging went on to the cult hit Riptide, and Liz Torres, a regular on an assortment of variety shows for her wonderful voice, came from Phyllis and The Odd Couple, and would be on The John Larroquette Show. Suzanne Charney’s name is misspelled in the credits. Priceless scenes: S&H’s initial bantering, H’s disguises, S knowing H so thoroughly that he knows what kind of car his partner would rent and that fear for S would lure him in; the meditation scene at the end. Best lines: S: (to H) “I’ve done my homework for 7 years. I know how, where, when you eat, walk, sleep, talk and who you know, what you know, and how you know it,” / S: (to Ernie) “I mind ‘cause I’m fighting for my partner’s life.”
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BLINDFOLD
Tuesday, Sep. 26, 1978, No. 70
Starsky is overwhelmed with guilt when he accidentally shoots and blinds an appar-ently innocent bystander during a shootout, but the victim, Emily, isn’t all she seems.
Emily Harrison: Kim Cattrall, Sharon: Joan Pringle, Don Widdicombe: Gary Wood, Pinky: Howard George, Kenny: Robin Strand, Dr: Sheldon Allman. WB: Pat Fielder & Richard Bluel, DB: Leo Penn.
An episode that asks who’s really the blind one when Starsky loses his objectivity and the sense of where his duty as a cop ends after he accidentally shoots a bystander, shutting out even Hutch, who is desperate to help. Hutch ends up doing some fine detect-ive work solo while Starsky tries shooting of a different kind and helps the girl regain her life. Starsky’s strong side-interest in photography (a real love of Glaser’s) is re-affirmed. There is an error in a shot of the station that shows the Torino out front when Starsky is really back home. Film actress Kim Catrall guest stars, and Ironside and White Shadow’s Joan Pringle has a small role. Priceless scenes: S’s diatribe on crime on Sunday’s (complete with statistics that don’t quite add up), H’s unique method of arrest at Huggy’s, S’s nasty trick on an overconfident H at the end. Best line: H: (to S) “I love ya’ and I understand what you’re going through. I love your caring, but...”
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PHOTO FINISH
Tuesday, Oct. 10, 1978, No. 71
S&H mingle with high society to find a killer when their friend, photographer Marcie, is endangered after possibly having taken a picture of the killer at a party.
Marcie Fletcher: Brit Lind, Basil Monk: Graham Jarvis, Greta Wren/ Dora Pruitt: Sally Kirkland, Paula: Lois Areno, Nicole Monk: Shera Danese, Landlady: Fran Ryan, John Reinhart: Hank Brandt, Troy Braddock: Jayson Kane, Secretary: Anne O’Donnell. WB: Robert E Swanson & Michael Wagner, DB: Sutton Roley.
A strange episode full of odd characters, unusual shots, and double-entendre dia-logue. After S&H crash a high-society party at which the guest of honor is murdered, they take on the case. The guys look great in tuxedos, even if Starsky’s gets a little mangled, and the garish Hawaiian shirts and bowling shirt are Soul’s own (loose, to hide his back brace). This was the first episode filmed for the new season, and when Glaser and Soul exited their trailers in tuxedos for the first shot, they stared at each other for a moment and then spontaneously went into one of their Laurel & Hardy plays, with Glaser playing the awe-struck Laurel to Soul’s haughty Hardy, swinging an imagin-ary cane. Film actress Sally Kirkland plays a triple role, and Fran Ryan, always a delight, makes her last of three appearances here. Ass’t Dir. Eldon Burke has another cameo as a patrolman. Priceless scenes: S’s clothing misfortunes, trying to fit in at a high society party, the champagne party at The Pits in the tag.
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MOONSHINE
Tuesday, Oct. 17, 1978, No. 72
S&H try to track down some moonshiners responsible for a batch of bad whiskey.
Willy Hall: Billy Green Bush, Dolly Ivers: Mary Louise Weller, Sam Ivers: Shug Fisher, Melvin Hall: Zachary Lewis, Treasury Agt. Kendall: James Noble, Earl: Lee McLaughlin, Ben Meadows: Pat Corley, Rudy: Bruce M Fischer, Hank Munson: Bill Cort, Frank: Johnnie Collins III, Virgil: Dennis Fimple. WB: Fred Freiberger, DB: Reza Badiyi.
Not much of a story but a lot of fun as the guys become ‘good ole boys’ to find a charming Southern girl and her father, who happen to be bootleggers. Starsky’s cover is agent John Stonewall, and Hutch is a delight as his client, guitarist CW Jackson, looking completely at home on the stage (it helps that that’s Soul’s band backing him up) and playing a mean guitar in a country-style jam session (a good example of Soul’s true ability and, again, he plays his own guitar). In the bar scene, Lynne Marta’s song “Nobody Loves You” from Quadromania plays in the background, and the show’s country music is once again the work of Andy Kulberg, Soul’s bandleader and friend. George “Shug” Fisher was on The Beverly Hillbillies, and James Noble starred in Benson. Priceless scenes: S wiggling to Latin music, the classic drunk scene, S’s enthusiasm again when H sings, H riding to the rescue - spraining S’s ankle in the process and ‘forcing’ him to sub for S in a dance contest with his partner’s luscious date. Best line: H: (to a drunk S) “Maybe if you tried on your little black pumps, darlin’, you might feel better.”
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STRANGE JUSTICE
Tuesday, Oct. 24, 1978, No. 73
S&H try to keep a respected officer, Lt. Slate, from taking the law into his own hands after his daughter is raped by Biggs.
Lt. Dan Slate: Kenneth McMillan, Leslie Slate: Mary Frances Crosby, Dee O’Reilly: Lindsay Bloom, Lenny Biggs: Joseph Reale, Marsellus Cobb: Carl Anderson, Lori Prescott: Juli Andelman, Cassie: Susan Heldfond, Ed Myerson: John Zenda, Chuck Dobson: Tom Baker. WB: Richard Kelbaugh, DB: Reza Badiyi.
One of the more sober episodes, gritty and moving. On the question of what is justice, the guys are caught in the middle, sympathetic to Slate but unable to condone his seeking revenge. The expression of the policeman whom Slate tricks at the end into shooting the rapist, is particularly poignant and nicely sums up the painful issue. Even Hutch’s humorous battles with a meter maid (whom Starsky is secretly dating on the side) can’t much lighten the darkness. Carl Anderson and Susan Heldfond from Class in Crime are reunited. Mary Frances Crosby (daughter of Bing - her name is misspelled in the credits) went on to Dallas, and Ken McMillan starred in Salem’s Lot with Soul. Best line: S: (stepping in when H seems to be getting in trouble with IA) “Now wait a second, I gotta know who, where, what, how and why. I mean, after all, this man is my partner. I’ve had him on a close leash...”
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THE AVENGER
Tuesday, Oct. 31, 1978, No. 74
Monique, a woman who leaves a string of dead lovers in her wake, claims a jealous acquaintance is responsible.
Monique Travers: Joanna Cassidy, Phil: Tim Thomerson, Roger: Michael Delano, Bobbie: Hildy Brooks, Minnie: Marki Bey, ME Delaney: Charles Cyphers, Hotel Clerk: GW Bailey, Barman: Steve Mayne, Girl in Disco: Suzanne Kent. WB: Robert E Swanson, DB: Sutton Roley.
Another strange episode, badly-lit and utilizing odd angles and a lot of slow-motion photography, but it does cleverly succeed in keeping the murderer’s identity secret for a long time. Suspenseful as Hutch literally pieces the clues together and then races to save Starsky, who’s been drugged and is being stalked by this unusually disturbing killer. Film actress Joanna Cassidy plays the schizophrenic murderer. Only episode where Starsky plays the guitar (Soul’s, which is only fair as Glaser lent his to his friend when Soul recorded his first album) or sings solo (also a hobby of Glaser’s). Features Minnie’s kung fu hobby and a new New Age interest of Hutch’s (to go with the meditation and health food): biorhythms. Priceless scenes: H’s concern about S’s being in a ‘triple zero’ phase, Huggy and H babysitting S at the picnic at the end.
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DANDRUFF
Tuesday, Nov. 14, 1978, No. 75
S&H go undercover as hairdressers at a plush hotel to try to stop a jewel heist by the internationally infamous Baron.
The Baron: Rene Auberjonois, Hilda Zuckerman: Audrey Meadows, Buddy Owens: Norm Alden, Dinty: Madison Arnold, Ellis: Blackie Dammett, Leo: Tracey Walter, Davidowsky: Jacques Aubuchon, Vivian: Leigh Hamilton, Harry: F William Parker, Van Dam: Alex Rodine, Adachi: John Fujioka. WB: Ron Friedman, DB: Sutton Roley.
Most fans either love or hate this all out tongue-in-cheek episode that includes Starsky with a hilarious accent and an ever-present stepladder, both the guys in various interesting amorous situations, an enigmatic blind man, a shadowy jewel thief, and a hilarious diamond auction. S&H switch their covers as Tyrone and Mr. Marlene from ep. 40 (Starsky is ‘Tyrooone’ this time), and Huggy is particularly mem-orable as ‘Prince Nairobi’. Ass’t Dir. Eldon Burke has another cameo as a hotel guest. Contains two very familiar faces: veteran actor Rene Auberjonois (Star Trek: DS9, Benson) and Emmy-winner Audrey Meadows (The Honeymooners, Too Close for Comfort). Tracey Walter’s name is misspelled in the credits. Priceless scenes: You name it, but S’s “Whooo aaar yooo?”, their attempts at hairdressing, the explosion, H making out with the girl behind the door, and the auction are particularly fun. Best line: S: “And this is my friend and compatriot, Mr. Marlene.” H: (touched)“Thank you.” S: “You’re welcome.”
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BLACK & BLUE
Tuesday, Nov. 21, 1978, No. 76
When Hutch is shot by teenager Vivian during a robbery, Dobey pairs Starsky with black policewoman Meredith to catch the juvenile thieves ring.
Det. Joan Meredith: Vonetta McGee, Mrs. Greene: Lily Valenty, Vivian: Candace Bowen, Train: Rene Levant, Mary: Susan Kellerman, Elaine: Regie Baff, Bruce: Michael T Williamson, Mrs. Freemont: Judy Jean Berns, James: Maurice Sneed, ER Nurse: Mary Mercier. WB & DB: Rick Edelstein.
Starsky learns a lesson in chauvinism when Hutch is seriously injured and Dobey temporarily assigns Starsky a new partner - a black policewoman who quickly puts Starsky in his place. Many lighter touches despite the serious theme: Starsky’s tense waiting room vigil eased by the heaven-sent Mrs. Greene, romance blooms between the odd couple partners, and Hutch, apparently enjoying his stay in the hospital, releases himself in order to dash to a timely rescue. Another Edelstein baby, written and directed by him. Also first (and only) time Hutch is shot, Dobey does footwork, and first of two times Dobey’s car is seen. Glaser kept the blue robe he wears in the episode. Priceless scenes: S’s ESP test, calling the hospital to double-check on H because he “doesn’t trust doctors,” Philip the plant, and “Next time my partner gets shot, I’m gonna request you personally.” Best line: S: “My partner, Hutch, he’s closer to me than my brother.”
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THE GROUPIE
Tuesday, Nov. 28, 1978, No. 77
Cop groupie Rogers compromises S&H’s undercover investigation into a garment business racketeering ring lead by Parker.
Melinda Rogers: Caren Kaye, Jack Parker: Robert Loggia, Sears: John Ashton, Agt. Ed Ohlin: Arthur D Roberts, Agt. Bill Walters: David Knapp, Harold: Darryl McCullough, Barbara Wilson: Marianne Bunch, Mr. Marks: Gerald Hiken. WB: Robert Dellinger, DB: Nicholas Colasanto.
Another episode that doesn’t take itself very seriously, but the back-and-forth banter between the guys is at its best (and not too subtle). Starsky is cute as Renaldo (sp?), the eccentric Italian fashion photog, but Hutch is hilarious as the prissy Jack Ives, ogling swimsuits and making bad puns as a buyer from a Bloomington retail chain. It doesn’t take long for a cop-crazy girl to see through Hutch’s disguise, though, and... well, she later identifies him to Dobey as the one with a scar on his lower back. S&H make $22,000 a year. Dir. Nicholas Colasanto later starred in Cheers. Priceless scenes: playing ‘ping-pong’ with a suspect, the meeting with Mr. Marks where, both their outstretched hands barely touched, S&H emphatically shake hands with each other, S getting a girl’s number, and doing a cowboy imitation for the Feds, rescuing H (“Gobble, gobble!”), and playing peek-a-boo to draw the villain's fire, the cool take-over at the end. Best line: Huggy: “Well, you dipped and you sipped. We take cash, no lip. And if you dig what is hip, you’ll cough up a big tip.”
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COVERGIRL
Tuesday, Dec. 12, 1978, No. 78
Kate, a terminally ill model, arranges her own death with hitman “Angel,” then goes to her old friend Hutch for help to get out of it after she goes into remission.
Kate Larrabee: Maud Adams, Walter “Angel” Allen: Calvin Lockhart, James Brady: Allan Miller, Minnie: Marki Bey, Dr. Harriman: Russ Marin, Lindsay: Jerome Guardino, Richards: Bo Byers, Randy: Jeffrey Tambor, Big Ed: Ken Olfson. WB: Rick Edelstein, Dan Ullman, & Robert Dellinger, DB: Rick Edelstein.
Alternate title: No Deposit, No Return. Hutch stops at nothing to protect an old friend whose life is in danger, even moving in with her and rekindling some old sparks, but he nevertheless almost gets blown up twice. Meanwhile, Starsky, amused, does a lot of solo work, trying to track the elusive, quirky hitman and bouncing ideas (and some loaded banter) off Minnie. This show con-tains one of the most obvious of the series’ bloopers, as Kate’s Mercedes turns into a Mustang when it explodes. Maud Adams was a Bond girl in Octopussy; Jeffrey Tambor went on to three more hits (The Ropers, Max Headroom, and Hill St. Blues). Another Edelstein production. Priceless scenes: the chocolate chip cookie junkie, S’s post-dentist fussing, ‘Turkey Buzzard’ and ‘Chicken Little’ - and S’s concern when the faulty radio almost get H killed, taking a call for H on the seashell, the photo session at the end with ‘Beauty & the Beasts’. Best lines: S: “Hey, Bozo, the sky is falling and if you don’t answer me, I’m gonna come over there and mess up your roof.” / Minnie: “You’re a trashy boy, Starsky.”
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STARSKY’S BROTHER
Tuesday, Dec. 19, 1978, No. 79
Starsky learns that his visiting little brother might be involved with counterfeiter and drug dealer Stryker.
Nick Starsky: John Herzfeld, Frank Stryker: Antony Ponzini, Victor: John O’Leary, Al: Nicholas Worth, Jake: Eddie Fontaine, Weldon: Stanley Grover, Mrs. Krupp: Joan Shawlee, Bronson: David Moses, Marlene: Elizabeth Brooks, Katie: Liberty Godshall, Carol: Linda Lawrence. WB: Ralph Wallace Davenport & Robert Earll, DB: Arthur Marks.
The obvious affection and friendly rivalry between ‘the brothers Starsky’ is put to the test when Nick admits to dealing drugs and the FBI suspect him of even worse. Hutch worries about and tries to shield his partner from the heartache, but ultimately it is Nick who chooses his brother over the business. Interesting discussion between the brothers over why Starsky became a cop. Herzfeld was carefully chosen (some say by Glaser himself after he saw Herzfeld in a play) with the possibility of replacing Glaser if Starsky was killed off in Sweet Revenge; Nick was to reform and become a cop, but the plan was scrapped. Priceless scenes: H and the “husband beater,” the Starskys’ dancing at the disco and fleecing the sheep at pool. Best line: H: (to Nick) “I don’t give a damn what happens to you, but I do care what happens to your brother!”
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GOLDEN ANGEL
Tuesday, Jan. 16, 1979, No. 80
S&H investigate death threats wrestler Boone is receiving before a big match.
Buzzy “Angel” Boone: Steve Oliver, Candy Reese: Lynn Benesch, Tommy Reese: Ray Walston, Hammerlock Grange: Richard Karron, Camille Boone: Hilary Beane, Stella: Paula Victor. WB: Joe Reb Moffly, Robert Dellinger, & George Arthur Bloom, DB: Sutton Roley.
A very strange and uneven little episode going from the cute, like the running gag of Starsky’s big inheritance (all of $224.98), to some serious and graphic threats, to the almost campy staged wrestling bout (with Hutch as the clownish referee, Louie ‘The Nose’, complete with wig, padding, broad accent, and a bag of tricks, and Starsky as the jittery “Angel” stand-in who has to go to the bathroom). It has its moments, but even the real wrestlers used as extras, and TV and movie legend Ray Walston (My Favorite Martian, Picket Fences, the movie, The Sting) can’t save this plotless wonder that bears a striking resemblance to The Heavyweight. Starsky’s preoccupation with his inheritance seems to keep him busy, too; he’s not in the episode much. A cute detail - Starsky’s check is dated Jan. 16, 1979, the day the episode aired. Interesting directing, with long pan shots (like an interesting one of Starsky in Dobey’s office) and unique angles, but generally too dark and smoky. Priceless scenes: H’s sympathies for the death of the ‘old buzzard’, and his walk down memory lane at the gym (“Look at this! Look at this!”), S’s personal and painful replay of the shooting, courtesy of wrestler Hammerlock, Huggy as an ‘Angel’ groupie, H trying to talk to a New Age nut, and the zany wrestling bout (“Huuutch!”)
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BALLAD FOR A BLUE LADY
Tuesday, Jan. 23, 1979, No. 81
Hutch is involved with blues singer Marianne Owens, whose brother Harry has connections to underworld kingpin Fitch.
Marianne Owens: Jenny O’Hara, Harry Owens: Sandy Baron, Joe Fitch: Malachi Throne, Chicky: Stack Pierce, Casey O’Brien: Arell Blanton, Stanton: John Karlen, Charlie Baron: Dominic Barto. WB: Sidney Ellis & Paul Michael Glaser, DB: Paul Michael Glaser.
One would think that an episode written and directed by one of the stars would tend to be heavy on the relationship, the theme of the show. However, S&H spend most of this blue episode as virtual strangers - Hutch refuses to share with his partner or to even call in, and Starsky barely blinks an eye when his partner arrives battered and late. Starsky ends up trying to do both their jobs by himself and cover for his partner, while Hutch gets too involved for his own good with the lady he ought to be investigating. It’s Rosey Malone all over again, this time with Hutch and without any of the light-heartedness or pleasure. The unusually optimistic tag can’t cover for a dismally bleak episode, as even Hutch’s best intentions can’t save the lady from the lifestyle she’s trapped in. It’s not even clear whether he feels badly because he loves or, or because he doesn’t. Part of Soul’s song “1927 Kansas City” is recited. John Karlen would go on to win an Emmy for his role on Cagney & Lacey, and Jenny O’Hara (who does her own singing) had regular roles in The Facts of Life and My Sister Sam. Stack Pierce is a professional pianist. Priceless scene: the greenhouse tag.
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BIRDS OF A FEATHER
Tuesday, Jan. 30, 1979, No. 82
Hutch’s former partner, veteran cop Luke Huntley gets into trouble by seeking vengeance against Reuben, the gangster who pocketed his wife’s savings.
Luke Huntley: John P Ryan, Anthony Reuben: Allan Arbus, Jimmy: Martin Kove, Doris Huntley: Barbara Stuart, Det. Webster: Charles Cyphers, Gloria: Victoria Peters, Gertrude: Anne Ramsey, Minnie: Marki Bey, Palmer: Sy Kramer, Hotel Clerk: Ruth Forman. WB: Amanda J Green & Rick Edelstein, DB: Charles Picerni.
Hutch’s pleasure at a reunion with an old friend and mentor is short-lived as he sees his friend get deeper and deeper into trouble. A sad episode, depicting again the downward spiral of chronic gambling (the birds of a feather? - Luke ends up flocking with them instead of with the right side), and a good cop pushed over the edge after 25 illustrious years with the force, much like in Strange Justice. But good chemistry between the guys nevertheless, as Starsky worries about Hutch (perhaps Gillian writer Amanda J Green’s touch). Case in point, a cop is telling Hutch that Luke might be on the take, and Starsky watches his partner carefully, gauging when to step in and calm Hutch down. Barbara Stuart was in Gomer Pyle, USMC, Martin Kove in Cagney & Lacey, and Allan Arbus was a regular guest on MASH. Priceless scenes: Gertrude the ‘peeping Tom’, Dobey playing pool with S&H for “chump change” in tag. Best line: S: “I know you’re excited, but do you have to drool on my seat?” H: “Oh. Hey, what’s a little drool among friends?”
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NINETY POUNDS OF TROUBLE
Tuesday, Feb. 6, 1979, No. 83
Joey Carston’s continued infatuation with Starsky compromises his cover and endangers Hutch.
Joey Carston: Mare Winningham, Eddie Carlyle: Kaz Garas, Sid: Lana Wood, Mrs. Carston: Ann Prentiss, Schiller: Peter Mark Richman, Damon: Lenny Baker, Off. Kromack: Tom Jackman, Steve: James Vaughn, Minnie: Marki Bey. WB: Robert E Swanson, DB: Leo Penn.
Hutch once again revels in his ‘hoi-poloi’ side when he takes classy hitman Carlyle’s place to try and stop a killing, which even requires him to fake a hit on Starsky, but things go awry when the real hitman shows up. Meanwhile, Starsky’s got the tough job of seducing the pretty witness. The title refers to the return of Joey from The Trap, this time with Emmy-winning film actress Mare Winningham capably filling in as the lovestruck teen (Kristy McNichol was unavailable). Still seeking a date with Starsky, she interferes with his undercover work, but manages nevertheless to save the day at the end. Hutch mentions he’s a little younger than Starsky. Peter Mark Richman was also in Dynasty. Price-less scenes: Joey’s persistence in teaser, providing H with a few laughs at his partner’s expense, then dismissing both of them as ‘too old’ when a cute boy shows up.
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HUGGY CAN’T GO BACK
Tuesday, Feb. 13, 1979, No. 84
S&H find it difficult to believe that Huggy might be involved in a murder, even when Huggy, trying to protect his old mentor, Washington, tries to head them off.
JT Washington: Richard Ward, Big Red: Roger E Mosley, Dolphin: Royce D Applegate, Boseman: Lee Weaver, Cora Lee: Francesca Roberts, Junior: Bryan O’Dell, Newsboy: Al “Jocko” Fann, Lonnette: Candy Mobley. WB: Richard Kelbaugh & Rick Edelstein, DB: David Soul
The guys aren’t much in this episode that concentrates mostly on Huggy Bear. An interesting look at Huggy’s roots, from his mentor to his old neighborhood and girl, to how he started out. When an old friend he owes asks him for help, Huggy’s caught between a past he no longer fits in and a present that is still tied to the past, which forces him to evade even S&H. Dobey thinks he’s dirty, but S&H stick up for their friend despite knowing that Huggy is lying to them. Soul, directing his last of three episodes, copies Glaser’s style of odd angles and strong visual images. There’s even a music video that tracks Huggy as he takes a walk down memory lane through his old neighborhood, featuring the song, “Huggy Can’t Go Back” (written by Jac Murphy, a member of Soul’s band, and sung by Dr. John). Richard Ward was the original Capt. Dobey in the pilot. Bryan O’Dell was coming from What’s Happening and Lee Weaver from The Bill Cosby Show, while Francesca Roberts went on to Private Benjamin and Frank’s Place, and Royce D Applegate to seaQuest. Priceless scene: the male bonding and tall tale session at the end.
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THE SNITCH
Tuesday, Mar. 6, 1979, No. 85
When Rigger comes to S&H with inform-ation about a drug dealing Federal Judge, S&H put their honor and their informant on the line to catch Judge McClellan.
Lionel Rigger: Ted Neely, Dep. Dist. Att. Clayburn: Ken Kercheval, Soldier: Robert Tessier, Dep. Police Chief Reasonor: Quinn Redeker, Judge McClellan: Peter MacLean, Mardean Rigger: Troas Hayes, Jamie: Heather Hobbs, Gesslin: George Pentecost,
Judge Belin: Michelle Davison, Linda: Susan Kiger, Kathy: Linda Lawrence. WB: Richard Kelbaugh, DB: Earl Bellamy.
Alt title: Targets without a Badge, Pt.1. This is the first part of a four-hour story continuing in ep. 86 and concluding in ep. 88, as S&H set in motion a series of events that threaten a powerful man and will lead him to seek his revenge in Sweet Revenge. It’s among the most brutally realistic of episodes, all pretense of formula cop show melodrama gone. It follows a case from the first seed, S&H’s introduction to the snitch Lionel Rigger, through the investigation, to a court hearing that tests their dedication to their badge. When the job forces them to reveal their source, leading inevitably to Lionel’s death and almost to Hutch’s, it’s the last straw and they chuck their badges into the ocean, setting them up for the events of the following episodes. Ken Kercheval was soon to be on Dallas. Priceless scenes: S’s gut reaction when the LTD explodes by H, the infamous shore scene.
**********
TARGETS WITHOUT A BADGE
Sunday, Mar. 11, 1979, No. 86
After Lionel is killed and they resign from the force, S&H begin to look for work. But soon, a meeting with Allison, a girl from Starsky’s past, unwittingly involves them again with the same powers they had tried to bring down with Lionel’s help.
Allison May (Laura Anderson): Hilary Thompson, Thomas May (Uncle Frank): Bert Remsen, Judge McClellan: Peter MacLean, James Gunther (The Man): William Prince, Dep. DA Clayburn: Ken Kercheval, Agt. Smithers: Richard Herd, Agt. Waldheim: Angus Duncan, Soldier: Robert Tessier, Karen: Lee Bryant, Bates: Alex Courtney, Policewoman: Barbara Ann Walters, Mr. Gore: Darryl Zwerling, Miss Evers: Catherine Campbell, Flower Girl: Sandie Newton, Blaze: Gino Conforti, Nancy: Joan Roberts, Fred Oates: Peter Jason, Marty: Chuck Hicks, Alex: Charles Picerni, Mardean: Troas Hayes, Mayor: Dave Shelley, Mrs. Swayder: LaWanda Page, Dodds: Ben Young. WB: Joe Reb Moffly, Steven Nalevansky, & Jeffrey Bloom, DB: Earl Bellamy.
With this intense double-episode, the stage is set for Sweet Revenge. Continuing the events of The Snitch in the biggest, most serious, and difficult case of the series, S&H’s powerful and still unknown enemy, James Gunther, continues to call the shots as the guys unwittingly close in on him while trying to help Starsky’s old friend. Along the way, S&H keep crossing tracks with two suspicious FBI men, make peace with Huggy, try to enlist Dobey’s help, save Allison after her father is killed and she is kidnapped, and catch or eliminate most of the small players who brought about Lionel’s and Mr. May’s deaths. But while S&H are triumphantly reinstated into the department at the end, they continue to be bothered by the question of who’s at the top - a question only solved in the series finale. A real return to what the show was all about the pursuit of justice despite the system, protecting the innocent, and ‘me & thee’. Glaser got so carried away while filming this intense episode, that, “just trying to make it seem real,” he smashed Angus Duncan’s hand through a window during one scene, requiring 25 stitches. Starsky’s NY roots referred to again. Jeffrey Bloom wrote two movies Soul starred in, Dogpound Shuffle and The Stick-Up, and directed one of Glaser’s, Jealousy. Lee Bryant and Richard Herd would soon both be in TJ Hooker, and Herd also was in the mini-series, V. Priceless scenes: H’s new car, ‘Belle’, his comic fall in the unemployment office, unknowingly inquiring about work at a porn studio, competing for Allison, repeated rides on the bus, and the flowery ceremony at the end, where even the mayor mixes the two of them. Best line: FBI Agt: “You boys are beginning to try my patience.” H: “Really? Try mine.”
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STARSKY VS. HUTCH
Tuesday, May 8, 1979, No. 87
S&H’s jealous quarrel over policewoman Kira interferes with their case: finding serial killer Webster.
Kira: Joyce Ingalls, Joey Webster: Richard Lynch, Arlene: Topo Swope, Carol: Yvonne Craig, Madame Bouvet: Corinne Calvet, Susan: Susan Miller, Mr. Arnold: Frederic Cook, Minnie: Marki Bey. WB: Rick Edelstein, DB: Peter Levin
Many fans consider this episode an aberration, not fitting in with the “real” S&H universe, while others see it as the culmination of a relationship that’s been heading for a major conflict and reconsider-ation since the beginning of the 4th season. The latter is unlikely, however, as Hutch’s behavior is uncharacteristic and uniquely insensitive; knowing how deeply his partner feels for Kira, he still lets himself be dragged into a love triangle that brings them to actual blows. For once, Hutch is clearly in the wrong as he becomes ugly with his partner (while Starsky struggles to put up with him), neglects and even shirks his duty, and then betrays his partner with the girl Starsky had been falling in love with for over a month. The good-natured tag seems an all-too-easy fix for the major rift that develops between S&H during the episode, but in some ways it sets the stage for the drastic soul-searching of the series finale. At any rate, Kira is not only an inept policewoman, but also easily one of the most disliked woman in fandom, vying only with Vanessa Hutchinson. The placement of the episode is also unusual, in the middle of the on-going story of Targets Without a Badge. This is also the only episode to deal with the issue of Vietnam, as the serial killer is a veteran (Richard Lynch in another nutcase role) who thinks he’s still in country. Starsky again shown as a plant lover, and Hutch’s house is full of unframed paintings - a hobby of his? Yvonne Craig won cult fame as Batgirl in the Batman TV series, and William Sanderson of Newhart has a cameo as a dance hall patron. Priceless scene: S’s sweet attempt to make up with his partner when H comes over, brushing awkwardly at his partner’s sleeve and calling out “Thanks for dropping by” as H strides out.
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SWEET REVENGE
Tuesday, May 15, 1979, No. 88
Starsky lies dying in the hospital and Hutch vows revenge on the man who ordered his death, their old, still-unknown enemy.
James Gunther: William Prince, Bates: Alex Courtney, Doctor: Conrad Bachman, Jonathan Wells: Sean Griffin, Nurse: Stefanie Auerbach, Lancaster: Ivan Bonar, Schneider: Lou Felder, Jenny Brown: Beverly Hart. WB: Steven Nalevansky & Joe Reb Moffly, DB: Paul Michael Glaser.
A satisfying fan-favorite and series finale episode that still leaves more questions than it answers (perhaps part of the reason why it has inspired more fan fiction than any other episode). The twisted mastermind behind Targets without a Badge strikes back with the brutal shooting of Starsky, and David Soul gives an incredible performance as a man torn between focused revenge and intense grief as he seeks his sweet revenge. Huggy and Dobey are also a treat, the former subbing for Starsky as Hutch’s backup and mother-henning Dobey and Hutch, and the latter so disturbed, he actually loses his appetite. Starsky, of course, survives, but perhaps only because, at the time of filming, there was still a possibility of a fifth season. Fifth episode directed by Glaser, appropriately enough, and his style here beautifully highlights the strong bond between S&H. Case in point: the marvelous shot of Hutch alone in the elevator, replaying his last conversation with Starsky in his mind, and the only other thing visible in the shot is a sign next to his head that says “Maximum Load,” a consum-mate summary of Hutch’s mental state. Soul hung around for the shooting even when he wasn’t required, as they always did for each other when the other directed, while Glaser unfortunately had a bad cold and could only whisper off-camera. The music is a little too winsome, but otherwise a perfect episode; all the stops were pulled out - real hospital equipment was hired, an incredible three cameras were used for filming the tag, and Glaser spent a month editing the episode instead of the usual two weeks. Glaser and Soul also wrote much of the episode (or at least, more than usual, and uncredited as always). The one significant difference between the filmed episode and the original script is that in the script, Starsky is up and around on crutches in the tag. During the the first run-through on the tag, the champagne bottle Fargas stuffed into his pants exploded, soaking him (much to everyone’s amusement). By the time the scene was actually shot, the foursome (and the crew) were just about as drunk as they were playing, and when the water kept coming even after they cut, a food fight with the crew developed. They finally changed clothes and had an impromptu party. Glaser kept and still wears the bullet-holed jacket, and both he and Soul kept the champagne glasses they toast each other with in the tag. Priceless scenes: The trivia ping-pong game, twice a giddy H, the classic sprinkler tag. Best lines: H: “I already got a partner. I don’t need another one,” / “Tell me something I don’t know!” / and (to Gunther) “You gonna kill me? Try it.”
In Conclusion
Because of the long hours and intense devotion involved in creating a TV series, the cast and crew of a show become a lot like family, especially when a show runs for a long time, and practical jokes abound. During the shooting of Nightmare, for example, everyone bought gag toys and stuffed animals at the toy shop they were filming in. For months afterwards, the plas-tic knick-knacks turned up in cups (some say the reason why Starsky and Hutch always look in their mugs before pouring themselves coffee) and down people’s backs, and Glaser and Soul gave the animals to one another and others as ‘special condemnations’ (sic). In one scene, Starsky and Hutch were supposed to search a small room for a stolen article, but there was no place to look. They went crazy, looking under ashtrays and the phone, under the chair, whose leg fell off and under the coffeetable, sending its contents flying. Soul even peered behind a painting, then couldn’t replace it because Glaser had gone behind the wall and removed the nail. At one year’s wrap party, Glaser sung several songs and, encouraged by the response, began to do a striptease. Soul dragged him off the stage before he went too far. During another shoot, Soul was holding up filming while he dried his hair in his trailer. After a while, Glaser lined up everybody in two rows outside his trailer, so that when Soul came out, he had to walk the gauntlet of cheers.
Soul was usually more the practical joker, though. For example, he had a long, on-going pillow fight with special f/x man Dutch van Derbyl (using the camera dolly pillow), that ended unexpectedly one day when Soul whacked van Derbyl on the back with it and it burst open. Soul blushed a deep red. Another time, he was clowning around while sitting on a desk and managed to fall off of it, taking most of the desk’s contents and a potted plant with him and escaping with a few cuts and bruises. And in one of his most well-known tricks, Soul stuck toilet paper down his costar’s back once, then made a great show of trying to light it (he didn’t actually, though).
Glaser and Soul together were constantly playing tricks on everyone else, too, hand-cuffing people to things, breaking candy glass over their heads, loosening doorknobs and hinges. Perhaps their most publicized gag was making up a set of shirts for the crew bearing the name ‘Husky & Starch’. The tricks didn’t stop at others, though; they often locked each other into their trailers, switched car keys on each other (they both drove BMW’s, so the keys looked alike), or would wait till the other was taking a shower or had lain down in their trailer, and then called them up on the phone. They would also spontaneously break into miming routines.
Of course, all the good times were a result of who they were and how they got along. Even today, the most legendary fact about that set, and about Glaser and Soul themselves, was the good feelings between the two of them, which then rubbed off on everybody else. The set was a closed (except for special occasions, such as Princess Margaret’s well-publicized visit, the deaf children Glaser himself toured around the set, or people granted special privilege), which further lowered inhibitions and encouraged an unusual amount of openness. Paul Michael Glaser, already an intense and moody person, particularly showed a vulnerability in this setting. Stories are told of him such as of the time he punched a glass door in frustration with a scene that had not gone well, breaking it and cutting himself in the process.
But he didn’t always vent his feelings in such an unhealthy way. Once, upon finishing a take that he’d had a lot of trouble with, Glaser left and slammed the door behind him on cue, then reentered a few seconds later, singing “Hooray for Hollywood,” in sheer pleasure. Another time, when he wasn’t needed for a scene, he wandered around backstage singing “Someday my Prince will Come.” Soul, in the middle of filming, heard him and began to sing along in harmony. Even the director was in tears by the time they were done. One time Glaser flubbed a scene five times in a row, just not getting it. In frustration, he walked off the set and joined Soul, who had been quietly watching. They talked together softly for nearly half an hour, no one daring to disturb them. Finally, Glaser stood, came back, and nailed the scene in one take.
Glaser was quick to run interference for his friend, too. An interviewer once offered some painkillers to Soul for his headache. Glaser immediately pounced, demanding to know what the medicine was in one breath, and concernedly asking Soul if he was okay in the next. The fact that Glaser and Soul greeted and parted from each other every day with a sincere hug also emphasizes what is no secret, that Glaser and Soul did indeed have a special friendship that Starsky and Hutch only reflected. Even once the show was over, Glaser and Soul often got together for Christmas and each other’s birthdays, attended some of each other's and friend Antonio Fargas’ weddings, and were there to share in the other’s triumphs and tragedies.
The show was also unique in its accuracy and attention to detail. Every major set had working appliances, electricity and running water, and real food in the refrigerator and cupboards, whether any of it was used or not. Real, hot, and freshly prepared food was served in restaurant scenes. Glaser always set Starsky’s watch to a time appropriate for the scene they were shooting, and they both wore the same clothes over and over again. And, no matter what, whenever their characters would have been wearing their guns and holsters, Glaser and Soul did too, even if the gun was never seen in the scene. Glaser and Soul received many of their scripts an unheard of 3-5 episodes before filming, so that they could look for problems and continuity errors. Even filming errors were worked into the reality game; when Hutch’s phone rang in one scene and Soul picked it up, the propman didn’t get the cue and kept ringing. Soul smoothly pretended to have picked up the wrong line, pushed another button and repeated ‘Hutchinson’. In another scene, Glaser was to pour himself a cup of coffee, but the pot had been emptied. Glaser ad-libbed a comment about the coffee probably being rancid anyway, and went on with the scene. Everyday throwaways that added to the sense of real people in real life.
The length of Starsky and Hutch’s partnership was something that defied continuity and efforts to pin it down. Contradictory hints were given in several episodes, but the most that fit together had them in the Academy in ‘69 or ‘70 (Deadly Imposter, The Game, The Monster), partners from ‘72 (the Pilot, Hutchinson for Murder One), and detectives from ‘73 (Pariah). The only specific time reference that doesn’t fit with these is Starsky’s mention of their 7-year partnership in The Set-Up, but that could be re-interpreted as the length of their friendship, which would, again, fit. A meteoric rise through the ranks, but with Starsky & Hutch’s reputation as Dobey’s best detectives, perhaps not so far-fetched.
For the trivia buffs, the LTD’s license plate was 552 LOQ, and its replacement, introdu-ced in Survival was 018 MEL. The Torino’s was 537 ONN. Dobey’s phone number was given as 555-6772, The Pits’ was 555-3977, and Hutch’s appeared to be 445-6632. Parker Center, their station (or at least what was supposed to be their station - the real building is and was a municipal court building), was/is at 100 West 7th St. The mars light that they would attach to the hood of the car, was held on by suction cups and a powerful magnet, as in real life. Hutch’s gun, from Texas Longhorn on, was the Colt Python .357 Magnum with a 6” barrel, 11 1/2” total (the longest of the three sizes it comes in), an expensive, hand-built gun, one of the best revolvers, long lasting and extremely accurate with good stopping power. It was modified with a black-rubber grip, a typical modification for policemen, which gives it a better grip and cushions the recoil. It weighs 45 oz. empty, and 57 full with six rounds. Starsky’s gun from the pilot on, on the other hand, is a far less impressive weapon. The Smith & Wesson 59 9mm Automatic is only 8” long altogether, and is not often used by policemen because of its tendency to jam, as well as its more limited stopping power. It weighs 36 1/2 oz. fully loaded with a clip of 14 rounds. For the show, Starsky’s gun was modified to only be able to fire blanks, but Hutch’s was capable of shooting live ammo, too.
In conclusion, little can be said either of the show or it’s costars that isn’t redundant or obvious. Its uniqueness must be the reason why now, even 20 years later, Starsky & Hutch is still a popular and beloved, growing fandom, while many of its counterparts have faded into television history. It had something for everyone, from the car chases and interesting villians and action, to the handsome leads who weren’t afraid to show their feelings. But for whatever reason, whether the quality of the show that developed from the dedication of those who made it, or the once-in-a-lifetime chemistry of the stars involved, it continues to flourish as an example of not only what good television can be like, but also what we as people ought to strive for, selfless love and giving.
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Guest Actors/Actresses Index
Adams, Laurel (58)
Adams, Marla (11)
Adams, Maud (78)
Alaimo, Marc (9, 32, 57)
Albright, Lola (22)
Alden, Norm (75)
Alderman, John (7)
Allan, Lane (46)
Allen, Raymond (19, 34, 69)
Allen, Seth (21, 23)
Allison, Jean (53, 54)
Allman, Sheldon (70)
Andelman, Julie (73)
Anderson, Carl (62, 73)
Anderson, Lynn (43)
Anderson, Sylvia (35)
Andre, EJ (3)
Andreas, Luke (13)
Applegate, Royce D (84)
Aquarian, Aesop (34)
Arbus, Allan (82)
Areno, Lois (71)
Argo, Victor (10)
Armstrong, RG (40)
Arnold, Madison (15, 52, 75)
Arvan, Jan (14)
Ashton, John (41, 77)
Auberjonois, Rene (75)
Aubuchon, Jacques (75)
Auerbach, Stefanie (2, 88)
Aumont, Jean-Pierre (24)
Avery, Val (45)
Azarow, Martin (20)
Babcock, Barbara (18)
Bachman, Conrad (88)
Baff, Regie (76)
Baggetta, Vincent (6)
Bagley, Fuddle (40, 56)
Bailey, GW (27, 74)
Bain, Sherry (19)
Baker, Lenny (83)
Baker, Ronnie B (65)
Baker, Tom (73)
Bakey, Ed (10)
Balaski, Belinda (42)
Balding, Rebecca (33, 62)
Balin, Richard (36)
Ball, Robert E (49)
Ballen, Tony (10)
Barnes, Priscilla (64)
Baron, Sandy (81)
Barto, Dominic (81)
Baseleon, Michael (67)
Basso, Bob (66)
Bay, Susan (42)
Beane, Hilary (80)
Beard, Stymie (23)
Begley Jr, Ed (24)
Behrens, Bernard (58)
Bell, Jean (45)
Bellan, Jana (13)
Bellflower, Nellie (15, 21)
Benesch, Lynn (80)
Bennett, Matt (33)
Benjamin, Paul (4)
Bergansky, Chuck (6, 26)
Bernard, Jason (17)
Berns, Judy Jean (76)
Berry, Victoria Ann (22, 23, 57)
Bertrand, Collette (23)
Betz, Carl (17)
Bey, Marki (55, 74, 78, 82, 83, 87)
Bieri, Ramon (22)
Billett, Don (P)
Bisoglio, Val (38)
Blake, Timothy (10)
Blanton, Arell (81)
Blondell, Joan (23)
Bloom, Lindsay (27, 73)
Bogert, William (41)
Bohan, Jim (4)
Bonar, Ivan (88)
Bookwalter, Devren (29)
Borden, Lynn (52)
Borkan, Gene (10)
Bova, Joe (3)
Bowen, Candace (76)
Bowers, William (34)
Braha, Herbert S (69)
Brandon, Peter (13)
Brandt, Hank (71)
Brannigan, Butcher (2)
Britt, Melendy (28)
Britton, Layne (44, 58)
Brooke, Walter (6)
Brooks, Elizabeth (79)
Brooks, Foster (23)
Brooks, Hildy (74)
Brown, James (34)
Brown, Jophrey (46)
Browne, Roscoe Lee (46)
Bryant, Joshua (43)
Bryant, Lee (86)
Buckner, Susan (58)
Bunch, Marianne (24, 77)
Burke, Paul (23)
Burkley, Dennis (18)
Burns, Art (15)
Burr, Fritzi (21)
Bush, Billy Green (72)
Byers, Bo (78)
Byrd, David (21)
Calhoun, Rory (44)
Calvet, Corinne (87)
Cambridge, Ed (8)
Camp, Colleen (27)
Camp, Hamilton (8)
Campbell, Catherine (86)
Canova, Diana (25)
Carey, Michele (45, 62)
Carey, Timothy (42)
Caridi, Carmine (57)
Carlson, Karen (25, 52)
Carradine, John (57)
Carroll, Helena (17)
Carrott, Ric (66)
Carter, Lynda (23)
Cash, Rosalind (51)
Cass, Dave (9)
Cassidy, Joanna (74)
Castronova, Tom (1)
Catlett, Mary Jo (18, 45)
Cattrall, Kim (70)
Cedar, Jon (22)
Cervera Jr, Jorge (42)
Chaffin, Deb-E (68)
Charles, Katharine (38)
Charles, Leon (49)
Charney, Suzanne (6, 69)
Charnota, Anthony (5)
Chester, Colby (50)
Christian, Leigh (5)
Christie, Audrey (29)
Christopher, Alta (2)
Clancy, Tom (38)
Clark, Dane (16)
Clarke, Katherine Dunfee (36, 37)
Coleman, Marilyn B (8)
Colley, Don Pedro (46)
Collins, Joan (46)
Collins III, Johnnie (72)
Conforti, Gene/Gino (5, 86)
Conrad, Michael (P, 32)
Converse, Frank (23)
Cook, Carole (40)
Cook, Elisha (10)
Cook, Frederic (87)
Corey, Jeff (3)
Corley, Pat (72)
Corsentino, Frank (27)
Cort, Bill (41, 72)
Cotton, Susan (44)
Courtney, Alex (63, 86, 88)
Craig, Yvonne (87)
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Fowley, Doug (P)
Fox, John J (12, 64)
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Gormley, Suzanne (45)
Gosa, Jim (10)
Graham, Gary (52)
Graham, Gerrit (31)
Grayson, Kurt (11)
Green, Gilbert (P, 4)
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Griffin, Jack (21)
Griffin, Sean (88)
Griffith, Melanie (57)
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Grover, Stanley (79)
Gruzalski, Jim (31)
Guardino, Jerome (31, 66, 78)
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Hall, Bobby (2)
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Hart, Beverly (88)
Hasso, Signe (59)
Hayes, Troas (85, 86)
Haynes, Cal (8)
Haynes, Dick (43)
Haynes, Hilda (7)
Hecht, Paul (3)
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Herd, Richard (86)
Herdt, Sandy (44)
Herzfeld, John (79)
Hicks, Chuck (6, 56, 86)
Hiken, Gerald (77)
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Hindle, Art (13)
Hobbs, Heather (85)
Hoffman, Bern (13)
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Honig, Howard (26)
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Hourigan, James (12)
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Hoven, Louise (13)
Howard, Dan (8)
Hubley, Season (39)
Hughes, Tresa (14)
Ingalls, Joyce (87)
Irwin, Wynn (18)
Jackman, Tom (83)
Jackson, Sherry (22)
James, Anthony (34)
Janek, George (38)
Jason, Peter (86)
Jarvis, Graham (7, 71)
Jenkins, Paul (48)
Jessie, DeWayne (49)
Jinaki (46)
Johnson, John C (22)
Jones, Akili (9)
Joseph, Allen (50)
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Karron, Richard (10, 80)
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Katon, Rosanne (6)
Katzman, Sherril L (62)
Kay, Dianne (35)
Kaye, Caren (77)
Kazann, Zitto (16)
Keach, James (10, 48)
Keats, Steven (14)
Keefer, Don (45)
Keenan, Michael (35)
Kellerman, Susan (66, 76)
Kellin, Mike (25)
Kelly, Roz (6, 23, 47)
Kelsey, Linda (15)
Kennedy, Jayne (23)
Kent, Paul (53)
Kent, Suzanne (74)
Kercheval, Ken (85, 86)
Kessler, Zale (22)
Kiel, Richard (18)
Kiger, Susan (85)
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King, Freeman (66)
King, Kathleen (65)
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Kove, Martin (82)
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Laborteaux, Patrick (53, 54)
Lacher, Taylor (61)
La Due, Joe (40)
Lamm, Karen (P)
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LePore, Richard (55)
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Levine, Floyd (63)
Lewis, Geoffrey (5)
Lewis, Mary Margaret (3)
Lewis, Zachary (31, 65, 72)
Lind, Brit (71)
Lockhart, Calvin (78)
Lockwood, Gary (58)
Lofton, Chris (64)
Loggia, Robert (5, 77)
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Lo Russo, Eddie (40)
Lowell, Skip (1)
Lugo, Frank (42)
Luisi, James (18)
Lukather, Paul (47)
Lumley, Terry (19)
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MacRae, Heather (36, 37)
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Mallory, Carole (21, 67)
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Marie, Connie Lisa (16, 20)
Marin, Russ (78)
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Marlowe, Nora (29)
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Martin, Todd (6)
Martorano, Vince (6)
Mascarino, Pierrino (68)
Mason, Eric (4)
Mathews, Walter (53)
May, Angela (41)
Mayne, Steve (74)
Mayo, Whitman (58)
McBroom, Amanda (68)
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McCann, Chuck (17, 44)
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McCullough, Darryl (77)
McGee, Vonetta (76)
McGuire, Bill (42)
McGuire, Patricia L (46)
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McKeon, Nancy (51)
McKinney, Bill (60)
McLaughlin, Lee (11, 52, 72)
McLeod, Duncan (11)
McLiam, John (21, 66)
McMillan, Kenneth (73)
McNally, Stephen (7, 39)
McNichol, Kristy (15, 33, 60)
Meadows, Audrey (75)
Medford, Kay (24)
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Metrano, Art (26)
Meyer, Dorothy (45, 56)
Miles, Rosalind (22)
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Miller, Susan (87)
Milton, David S (7, 53)
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Mobley, Candy (84)
Mokae, Zakes (24)
Moody, King (33)
Moody, Ron (24)
Mordente, Lisa (26)
Morgan, Read (44)
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Moses, David (79)
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Nelson, Ralph (65)
Newell, Hope (52)
Newman, Melissa (15)
Newton, Sandie (86)
Noble, James (72)
Norwick, Natalie (53)
Nye, Louis (46)
O’Connell, Taaffe (11)
O’Dell, Bryan (84)
O’Donnell, Anne (71)
O’Hara, Jenny (81)
Olek, Henry (12)
O’Leary, Jack (55)
O’Leary, John (59, 79)
Olfson, Ken (78)
Oliver, Louis James (1)
Oliver, Steve (80)
Olmos, Edward James (35)
O’Neill, CJ (69)
Osmond, Cliff (42)
Page, LaWanda (40, 86)
Parker, F William (75)
Parkes, James R (7)
Paulsen, Albert (14)
Pearcy, Patricia (34)
Peluce, Meeno (51)
Pentecost, George (85)
Pepper, Paul (33, 38)
Peretz, Susan (15)
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Picerni, Charles (24, 52, 86)
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Pierce, Charles (50)
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Plumley, Don (20)
Ponzini, Antony (60, 79)
Prentiss, Ann (60, 83)
Preston, Wayde (39)
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Pringle, Joan (70)
Pulford, Lee (10)
Quade, John (38)
Quo, Beulah (39)
Ramsey, Anne (82)
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Ray, James (23)
Ray, Jeri Lea (61)
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Remsen, Bert (86)
Rhoades, Barbara (14)
Rhue, Madlyn (16)
Richman, Peter Mark (83)
Riesel, Robert (19)
Ritter, John (15)
Roberts, Arthur D (16, 77)
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Roberts, Francesca (84)
Robinette, Dale (40)
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Rodine, Alex (75)
Rodriguez, Robert (42, 55, 62)
Rolaf, Fred (26)
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Ross, Adina (8, 16)
Ross, Stan (22)
Rowe, Verne (37)
Royce, Adrien (50, 52)
Rozakis, Gregory (7, 50)
Ruscio, Al (54)
Ruskin, Joseph (61)
Ryan, Fran (19, 49, 71)
Ryan, John P (48, 82)
San Juan, Guillermo (20, 33)
Sandor, Steve (14)
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Saunders, J Jay (30, 56)
Sawyer, Connie (62)
Saxon, John (27)
Scarwid, Diana (31)
Schmidt, Georgia (13)
Scott, Bruce (68)
Scott, Cedric (36)
Scott, Jacqueline (16)
Scott, Ken (9)
Scott, Milcha (33)
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Scruggs-Bogart, Linda (19, 28)
Severn, Maida (64)
Shaw, Jennifer (24)
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Shawlee, Joan (79)
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Sikking, James B (57)
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Skaggs, Woody (47)
Slate, Henry (16)
Smith, Darryl B (58)
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Stevens, Craig (46)
Stipanich, Michael (47)
Strand, Robin (70)
Stratton, WK (56)
Strauss, Jo Anne (63)
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Sullivan, Jenny (21)
Sullivan, Liam (29)
Sullivan, J Christopher (49)
Summers, Bunny (68)
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Sung, Richard Lee (24)
Sutter, Eric (11)
Sutton, Henry (45)
Sutton, Robert Raymond (38, 61)
Swope, Topo (87)
Swope, Tracy Brooks (48)
Tambor, Jeffrey (78)
Tanner, Clay (15)
Tarpey, Tom (68)
Taylor, Wally (8, 13)
Tessier, Robert (18, 35, 85, 86)
Tewes, Lauren (45)
Thomas, Philip Michael (66)
Thomerson, Tim (74)
Thompson, Hilary (86)
Thompson, Linda (46)
Throne, Malachi (81)
Tirelli, Jaime (64)
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Tobias, George (23)
Torres, Gloria (62)
Torres, Liz (69)
Touchstone, Claire (11)
Traylor, Bill (11)
Twain, Michael (28)
Tyrrell, Susan (55)
Vadis, Dan (63)
Valentine, Karen (47)
Valenty, Lily (76)
Van De Ven, Monique (59)
Vasgersian, Ed (64)
Vaughn, James (83)
Venture, Richard (4, 57)
Victor, Paula (80)
Viera, Joey (39)
Viharo, Robert (20, 55)
Vitte, Ray (1)
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Walberg, Garry (12)
Walden, Robert (24)
Walker, Will (67)
Wallace, Dee (51)
Walsh, Edward (1)
Walsh, M Emmet (30, 57)
Walston, Ray (80)
Walter, Tracey (75)
Walters, Barbara Ann (86)
Walton, Jess (14)
Ward, Richard (P, 84)
Warfield, Joe (12)
Watson, William (11)
Weathers, Carl (31)
Weaver, Doodles (22, 25)
Weaver, Lee (84)
Weldon, Ann (2)
Weller, Mary Louise (72)
Wells, Danny (14)
Wells, Julienne (57)
Wertimer, Ned (13)
Wesson, Dick (1)
White, Al (51)
White, Carole Ita (P, 24)
White, Ken (57)
Whitley, Brian (56)
Whitman, Kipp (45)
Wilcox, Shannon (32)
Wilkie, Bob (18)
Williams, Dick Anthony (8)
Williamson, Michael T (76)
Wilson, Patricia (33, 61)
Winningham, Mare (83)
Wood, Gary (70)
Wood, Lana (20, 83)
Woodward, Morgan (64)
Worth, Nicholas (18, 26, 79)
Wright, Patrick (52)
Yancy, Emily (40)
York, Ned (26, 49)
Young, Ben (86)
Young, Skip (43)
Young, Tony (41)
Zacha, WT (12)
Zagon, Marty (12)
Zenda, John (73)
Ziggarelli, Anthony (28)
Ziman, Jerrold (52)
Zmed, Adrian (68)
Zoller, Jack (28)
Zon, Deborah (61)
Zwerling, Darryl (36, 37, 40, 64, 86)
The End