Saturday, April 13, 2013

Don Winslow of the Navy (1942) – Chapter 8: The Chamber of Doom


OUR STORY SO FAR (taken directly from the “crawl” that opens Part the Eighth): Don Winslow determines to locate the secret under-sea hideout of the Scorpion’s agents by tracing their radio through “triangulation.”

Merlin tricks Winslow by setting up another station and sending fake messages which lure Don to the old sea mill.  Here waiting henchmen capture him, and he is putting up a desperate fight when a Scorpion airplane…

(Spitting iced tea all over monitor) Putting up a desperate fight?  Are the people writing these crawls watching the director’s cut or something?  Winslow (Don Terry) hits the ground like a sack of flour after about twenty seconds of having stuntmen throw punches at one another—and he lies unconscious while ace pilot Paul Barsac (John Holland) flies over ahead, dropping “eggs” (that’s airplane lingo for “bombs”) on the dwelling that’s housing the table Don’s under.  Now, normally…


…an explosion like that would have obliterated everyone inside—but as it turns out…


…this is but a mere optical illusion (thanks, generous use of stock footage!) because the end result resembles one of those Terminex ads with the gi-normous termites chewing on walls.  Red Pennington (Walter Sande) runs into the shack to see if there’s anything left of his buddy while Scorpion agents Prindle (Robert Barron), Spike (Ethan Laidlaw) and Corley (Lane Chandler) watch from a safe distance and add color commentary.

CORLEY: Pennington’s crazy if he expects to find Winslow alive in that old mill!

Is he?  Or is he so sane it blows your own mind?  Red continues to poke through the wreckage and calling out Don’s name.

PRINDLE: We’re going to have trouble explaining Winslow’s death to the Scorpion…
SPIKE: Oh, blame it on Barsac—we can say he didn’t give us warning enough before unloading those bombs!

Okay, this did sort of make me snarf out loud because in earlier chapters, Barsac was sort of presented as the model employee at Scorpion, LLC and it would now appear that his co-workers have had enough of this “Golden Boy” horsesh*t.

PRINDLE: It’d be Barsac’s word against ours…and the Scorpion’d believe him!

They should have inserted a brief shot of Barsac waving and saying: “Thanks, Uncle Scorpion!”

PRINDLE: We were told to take Winslow alive
CORLEY: Maybe it’s just possible he is still alive!
PRINDLE: If he is, Pennington will find him…we’ll wait right here and see…

There is then an abrupt cut (I’m guessing due to the sub-standard film print) to the inside of the bombed-out dwelling where we find Red helping Don to his feet because, if the opening crawl is to be believed, Don is shagged out after that desperate fight he put up.

RED: Boy, am I glad to see you!  I thought they had you for sure that time!
DON: What happened, Red?
RED: You were bombed, sailor—that’s what happened…a guy in a plane dumped eggs all over the place!

Don asks his pal about the three Scorpion agents who were in the shack with him, and Red says: “I took a couple of shots at ‘em when they ran into the jungle.”  Oh, you big fibber!  Unless my copy of this movie is missing footage, I think Red is padding his exploits a skosh.

RED: Hey…did you find out anything before the fireworks started?
DON: Well, those crooks were working a radio when I first came in…there’s nothing left of it now…

A bomb devastates a building and the radio inside…yet somehow a guy under the table emerges unscathed, save for a dirty uniform.  That is some damn protective furniture.  Don is also convinced that the rubble surrounding him and Red was not the secret radio headquarters, and as the two of them go outside to have a chinwag about it (there are very few walls left, so this is an easy task) they’re spotted by the three agents, who are overjoyed that Winslow is not dead.  (I know, it makes no sense to me either.)  The three goons plan to capture Don and Red since there are only two of them…but then John Blake (Ben Taggart), Mike Splendor (Wade Boteler) and Seaman Chapman (Peter Leeds) come running up and our henchmen decide that the wisest course of action would be to run away.

SPLENDOR: Ah, praise be, lad—you weren’t in there when that spalpeen in the plane bombed the place!

If I didn’t know better, I’d swear no one is watching the same serial as me…let’s synchronize our viewing habits, people, shall we?

DON: But I was!
SPLENDOR: Well, then how…
BLAKE: Well, why did they bomb it?
SPLENDOR: Oh, I know the answer to that one meself!  It was because Don was in there!
DON: I think you’re right, Mike…the Scorpion’s agents knew in some way that we were trying to triangulate their radio station…I believe they bombed this place to make it look as though the Scorpion was destroying his own hideout to keep it from falling into our hands…
RED: You mean…they wanted us to believe that this was their headquarters…
DON: Sure!  If they weren’t trying to put us off the track…why bomb it?

Because it blows up real good?  Don is convinced that there’s a mole somewhere on Team Winslow…but dismisses Blake’s suggestion that the bad guys are listening in via the microphone they planted in the radio room (since our hero took care of that in Chapter 5).  Meanwhile, tres hombres malos are plotting in another section of that thick, leafy jungle that’s always providing them adequate cover for getaways:

CORLEY: What’s your idea, Prindle?
PRINDLE: When Winslow and his men start gettin’ their car, we’ll break from cover…they’ll follow us to Sam’s house in the native village…with Butch and Sam helping us—we’ll take Winslow alive

Oh, well…there yuh go, as Dennis Weaver used to say.  If these three inept morons would only add Butch and Sam to the mix…we’d have five inept morons.  As Winslow and Company return to where they parked the car, Splendor gives out with an unintentionally funny bit of dialogue:

SPLENDOR: By golly—I can’t figure out where all them Scar-pian agents is hidin’ themselves on this island!
DON: They could be right out in the open, Mike…they might be miners working for Merlin, without him knowing it…

Well, if you’d let Red chase after those creeps every once in a while you might get an answer to that, Commander.

BLAKE: Yeah…they might even be working for me—I don’t have any way of knowing…

“E-Verify…Shme-verify…cheap, easily-exploited labor is the backbone of this business!”  Splendor has little need for all these undocumented worker niceties, either—he’s simply spoiling for a fight: “But once I get me two hands on the blatherskite…”

Mike gets interrupted when the car carrying Prindle, Spike and Corley emerges from a clearing and starts up the road—Don fires a few shots in its direction, and demonstrates why he was never asked to participate in any marksmanship contests at Annapolis.  So Winslow and his posse give chase, driving down the same stretch of Tangita highway that was featured in Chapter 2!


SPLENDOR: Sufferin’ snakes!  They’re layin’ down a dust trail to keep us away from them!  Can you see to drive, lad?
RED: I can drive this thing through a haystack and come out with a needle!

As you’ve already surmised, the car with Winslow and the crew stops at the edge of the village because “Haystack” Pennington has lost sight of the bad guys’ car.  But first…a quick screen cap of Tangita City


RED: Did you see which road they took through the village?
SPLENDOR: No…but there’s a couple of cars parked up there that look like the one they were in…
DON: Mike…give me your hat and coat!
SPLENDOR: And what would you be wantin’ with them?
DON: I’m going into the village and see if one of them is their car…and I don’t want to advertise my identity!
SPLENDOR: Well, maybe me hat and coat will get into a good fight…I can’t!

Irishmen in the movies are always spoiling for a scrap…or drinking.  I’m part Irish (on me sainted mother’s side) but let’s just say I avoid a donnybrook whenever possible.

DON: Blake…you won’t arouse any suspicion…you trail me in the distance…and if you see me go in one of those houses, you come back here and get the rest of them…
RED: Don…why don’t you let one of us go in your place this time?
DON: The Scorpion wants to get me alive…he’ll shoot the rest of you on sight!

“And besides—whose f**king serial is this, anyway?”  So Don rambles on into the village—you have to see this, by the way:


And from a nearby house, he’s watched by Spike, Prindle and Corey…who are not duped in the slightest by his disguise.

SPIKE: There’s Winslow now…
PRINDLE: Yeah…changed his clothes…thinks he’s trying to fool somebody…

“He’s apparently confused us with the Scorpion’s blind henchmen.”  Noticing that our hero is also alone (and dressed like that, it’s no wonder), Prindle issues orders (“You know what to do”) to second-string goons Butch and Sam while he and the others hide in an adjacent room.  Butch is played by Jack Rockwell, who was in scores of B-westerns and serials like Daredevils of the West (1943).  The role of Sam is essayed by serial-western henchman veteran Ken Terrell (Mysterious Doctor Satan, G-Men Never Forget)—who works twice as hard as Rockwell in this little epic since he also plays a henchman named Rocky later on.


Don reaches Sam’s crib and spying the car parked conveniently out front, gives Blake “the high sign,” prompting Blake to go back and fetch the rest of them.  Butch answers the door when Don comes a-knockin’…which, again, is sort of odd because it’s been established that Sam is the owner.

BUTCH: Yeah?  Whaddya want?
DON: Who owns this car out here?
BUTCH: Maybe me or maybe somebody else…what’s it to ya?
DON: Well, if you don’t mind I’d like to talk to you about it…
BUTCH: Come on in, if you think it’ll do you any good…

What an odd dialogue exchange.  Don comes inside as the three men he really wants to get his hands on watch from another room.  Meanwhile, Blake has returned to where the others are waiting, and tells them they need to move in.

SAM: You’re wastin’ your time askin’ us about that car, mister…what would a couple of miners be doin’ with a car like that?
DON: Oh…so you’re a couple of miners, eh?
BUTCH: Yeah…that’s right…you heard what we said—now get goin’!
DON: Wait a minute…just answer me a couple of civil questions first…
BUTCH: We’ll answer nothin’...now are you gonna get out of here or are we gonna have to throw you out?

Despite being a man claiming to be the poster boy for civility, Don shoves Butch toward Sam and both miners wind up on a couch on the other side of the room.  “You asked for it, mister!” growls Butch as his and Sam’s stunt man attacks Don—there is then a quick cut to the others hiding in the next room, and then when we return back to the front room Don’s stunt guy is mixing it up in his place.  There are countless unconvincing punches thrown and people flipping over tables until Spike emerges from the hidey hole…

SPIKE: Let him up, fellas!
(The two miners help Winslow to his feet)
DON (slightly out of breath): Oh…so there is a…connection between this house and that car outside…
SPIKE: Tie him in that chair!


As Spike is giving Don a lesson in etiquette (“You sure have a lot of nerve, bustin’ in and roughhousin’ my friends…”) Red, Blake and the rest come right through the front door and Splendor makes his presence known: “Hands in the clear, all of ya!”  The miners and Spike drop their weapons, and as Splendor and Blake untie Don, Corley and Prindle (in the adjacent room) decide that their mothers are calling them.  They somehow manage to reach their car outside and start it up, with the motor distracting the others long enough for Spike to duck into the adjacent room and lock the door behind him—then he manages to double back and jump into the back seat as the three men drive off, with Red firing ineffective shots after them.  Yes, it’s as lame as it sounds because—well, we can’t capture the bad guys just yet with four chapters left.  You think I’m making this up, don’t you?

RED: He’s getting away with his two men!
BLAKE: We’ll go after them, Commander!
DON: Let them go!  I want to question these two miners!

It’s all about pacing.  You know, Don…there are four of you there—you could do both, you know.  The miners, to no one’s surprise, lawyer up in a hurry:

DON: All right…what do you got to say for yourselves?
BUTCH: Sorry, Commander…I didn’t figure who you was, bustin’ in the way you did…

“My lawyer has advised me to pursue a Mistaken Identity defense.”

DON: What do you known about the men who just escaped?

“That you must be trying to prolong this serial, seein’ as how you let them go so easily…”

BUTCH: Oh—you mean Spike?  Not much…him and a couple of other guys named Prindle and Corley come over here sometimes…

“We kick back…guzzle some brews…order some ‘za…watch Game of Thrones…”

DON: Do they work in the mine?
BUTCH: Sometimes…not regular…why?  They deserters from the Navy?
DON: Hardly…we don’t have their kind in the Navy…

“Oh…gay, huh?”

BUTCH: Well…I figured if they was I’d help ya catch ‘em…
DON: You knew Merlin, of course?
BUTCH: Oh, sure—he’s the big shot of the mine…ask him about me…Butch Clint’s the name…this guy here’s Sam Munn…

“Former Democratic Senator from Georgia.”  (Okay, that’s Sam Nunn—but I couldn’t resist.)  Winslow shoots his friends a look that speaks volumes: “I really suck at this interrogation thing, don’t I?”  As our heroes file out of the cottage, Butch and Sam watch them leave.  “Smart guy,” editorializes Butch.  “But they can’t outsmart the Scorpion agents.”

They won’t need to—they’re plenty capable of outsmarting themselves.  Arriving back at the car, Splendor asks Don if he thinks Butch is on the level and Winslow’s not certain…so he suggests a trip over to the mine might be in order, and as they drive off, Prindle and the others are watching from their car.  (My theory is that Don and the others never see the bad guy’s car because they close their eyes tightly.)  Ordering Spike to contact Spencer Merlin (John Litel) at Scorpion headquarters, the henchman humorously breaks out a radio and headphones…


MERLIN: Okay, Prindle…go ahead…
PRINDLE: Winslow and his men are heading for the mine along the shore road…
MERLIN: All right…cut through on the jungle road and get here before them…
PRINDLE: Okay…looks like this is the time we get Winslow…
MERLIN: Now get this, Prindle…I don’t want anything to happen that will make Winslow suspicious of the mine…you carry out my orders—leave the rest to me…


Just before Don and the others arrive at the mine, Parker the radio operator lets Merlin know that The Scorpion (Kurt Katch) is signaling to give Spence his weekly butt-chewing.  I neglected to introduce the actor who plays the role of Parker back in Chapter 4—but now is as good a time as any, I suppose.  He’s character great Ray Teal, whom you’ve seen in scads of films and TV shows including Ace in the Hole (1951), The Wild One (1953) and Judgment at Nuremburg (1961).  Teal also graced a good many serials (he has an uncredited part in Raiders of Ghost City, currently in progress over at She Blogged by Night) but most folks remember him as no-nonsense lawman Roy Coffee on the venerable boob tube oater Bonanza.  (As coincidence would have it, I ran across Teal in a rerun of the short-lived cop show 87th Precinct just last night.)


SCORPION: I’m going to give you one more chance, M-22…with the plane Captain Jacklin brought you on the Z-40 submarine, Barsac should be able to bomb all the construction work Blake has done on the submarine base…

“For the uninformed…that’s my nephew Barsac.”  The Scorpion gripes at Merlin to carry out his orders, yadda yadda yadda, and then Prindle, Corley and Spike enter the radio room to let Spence know Don and his buddies are on their way.  Merlin tells his henchies to stick around because he may need them…”but keep out of sight.”  Just as he’s getting ready to go topside, Parker interrupts him with another request: a chemist who answers to “Taylor” requests an audience with him.

Yes, in addition to the big honkin’ sub base and underground oil well that the bad guys are always boasting about on a weekly basis, they apparently have Dr. Bunson Honeydew conducting important research—I wouldn’t be surprised if next week they’ve put in a spa and a Johnny Rockets.  Okay, I am being a little facetious—the lab is actually above ground (I learned this only because Don later confronts henchman Prindle near its entrance and it seems unlikely that they would let him go traipsing about down below)…and Taylor is played by Irving Mitchell, a thesp who played miniature roles in films like Citizen Kane (1941) and The Pride of the Yankees (1942)…but outside of the 1941 Little Tough Guys serial Sea Raiders I don’t remember him much.


TAYLOR: I wanted to explain why I can’t comply with your demand for more speed in my…vaporization and reduction process…
MERLIN: Go ahead…but make it as brief as possible…
TAYLOR: When I raise the temperature to 120 degrees in this room…it speeds up vaporization…but those vapors are so deadly that I lose time in ventilating this chamber…before it’s safe for anyone to get in here to reload the tanks…

“Um…Poindexter…why are you bothering me with all this nonsense?”  If you’re wondering what this vaporization and reduction stuff is, it apparently has something to do with the fake mining operation—because when Prindle interrupts the conversation to let Spence know Winslow has just pulled up, Merlin tells the nerdlinger to continue on with his experiments since “we have to ship some more gold out of here right away to keep up our front.”

The car with Winslow and the boys pulls up, and Don steps out in a dazzling white uniform—apparently somebody got some one-hour Martinizing done on the way over.  Splendor wants to do some snooping around but Don tells him this is purely a social call.

MERLIN: Well, Commander—this is an agreeable surprise!
DON: Thanks…I’d like a little information about some of your miners…
MERLIN: Why, of course, Winslow…I’m entirely at your service…
DON: Do you have three men by the name of Prindle, Spike and Corley working for you?

“Nope—see ya later down the road, ol’ buddy!”

MERLIN: Prindle…Spike and Corley…yes, I believe we have—but not regularly…

Who are these guys—Manpower hires?

MERLIN: Why do you ask?
DON: Those men are definitely Scorpion agents…

Dun dun DUN!!!

MERLIN: Well…now we’re getting somewhere!  Shouldn’t be difficult to round them up…

Spence starts out the door with Don, but is quickly interrupted by an identified flunky who tells Merlin he’s wanted at “Lateral Number Two.”  So Merlin suggests Don sit in the waiting room or wait in the sitting room…and with Don by his lonesome, he soon wanders past the entrance to the vaporization chamber (as I mentioned earlier) but stops when he sees Prindle down at the other end of the corridor.


DON: Hold it, Prindle!  (Pressing a gun to his back) There are a few questions I want answered…
PRINDLE: We can’t talk here…

I had a joke to insert here, but it’s bad luck to use two Firesign Theatre references in one write-up.

PRINDLE: …I don’t want Merlin to know I’m in the mine…
DON: Well, he’s going to know it…all right…start walking towards the elevator…move!

Don starts to march Prindle down the corridor…and behind him, a stuntman who looks nothing like Spike jumps our hero, bringing on a brief display of fisticuffs before Don is knocked senseless, falling back into the vaporization chamber where Merlin and Taylor were chatting earlier.  Inside the observation room, Taylor and his lab assistant Beaker (Eddie Polo) are “starting the vaporization process”—whatever the hell that is—which apparently turns the chamber where Don lays unconscious into a sauna.


“Close the reduction chamber door!” orders Taylor to his lackey.  You’ve guessed it—this is our cliffhanger for the week.

Thursday, April 11, 2013

The James Cagney Blogathon: Kiss Tomorrow Goodbye (1950)


The following is Thrilling Days of Yesteryear’s contribution to The James Cagney Blogathon, which is being sponsored from April 8-12 by The Movie ProjectorFor a list of the other participants and the films discussed, please click here.


In 1949, after several years of independent filmmaking with his producer brother William (which produced such duds as Johnny Come Lately [1943] and The Time of Your Life [1948]), actor James Cagney returned to Warner Bros., the studio that had made him famous with the moviegoing public.  His comeback film was White Heat (1949), a rip-snortin’ gangster saga directed by Raoul Walsh that stands today as one of Cagney’s greatest films.  Warner’s made the Cagney brothers an offer they couldn’t refuse: if Jimmy agreed to star in Heat, WB would give William Cagney Productions (their independent company) a sweetheart co-distribution deal that would allow them to pay off their losses (the previously mentioned Time of Your Life was in the hole to the tune of $500,000).

Cagney had played gangster and gangster-types in many movies since his film debut in Sinner’s Holiday in 1930.  But Jimmy wasn’t overly fond of being typecast as such (every actor enjoys the opportunity to flex his thespic muscles) despite the fact…well, he was so damn good at playing them.  In 1936, when Cagney left Warner’s for an abbreviated two-picture stint at studio upstart Grand National, one of his big box office successes upon his return to WB in 1938 was Angels with Dirty Faces…another well-acknowledged Cagney classic.

In between White Heat and the mostly forgettable musical The West Point Story (1950), Cagney made what was essentially his last true gangster flick (Jimmy plays a hood in 1955’s Love Me or Leave Me—but that’s primarily a vehicle for Doris Day), Kiss Tomorrow Goodbye (1950).  While the film as a whole doesn’t completely jell, the movie contains one of the actor’s most interesting performances…and since it rarely seems to turn up on TCM it’s definitely worth seeking out if you come across it.

Cagney plays sadistic gangster Ralph Cotter, who as the film opens is doin’ his boardin’ with the warden at a county work farm with his partner, a man named Carleton (played by an uncredited Neville Brand).  Ralph has arranged—with the help of a slightly crooked guard named Cobbett (John Halloran)—to take an extended leave of absence from the farm, and in his escape, Carleton is shot and wounded by the guards.  Cotter puts a bullet in Carleton’s brainpan to make sure he doesn’t talk, and when he reaches the area where the getaway car awaits finds Carleton’s sister Holiday (Barbara Payton) with rifle in hand, picking off the guards shooting at Ralph.  (Holiday is unaware that Ralph has plugged her brother, and Cotter is apparently too polite to volunteer the information.)

With the help of Holiday and getaway car driver Joe “Jinx” Raynor (Steve Brodie), Cotter continues his recidivist ways once on the outside; he robs a grocery store (shooting the store’s owner, who later joins Carleton in the Great Beyond) and earning the enmity of Vic Mason (Rhys Williams), the individual who bankrolled Ralph’s escape.  The weaselly Mason sics a pair of cops on Cotter—Inspector Charles Weber (Ward Bond) and Lt. John Reece (Barton MacLane)—and to Cotter’s dismay, Weber and Reece relieve him of his new ill-gotten gains because they are crookeder than a dog’s hind leg.  Drawing on Jinx’s expertise as a radio operator, Cotter arranges for Weber and Reece’s next shakedown to be recorded…and to keep the two corrupt flatfoots (flatfeet?) in line, he enlists the services of another grifter, a lawyer named Keith “Cherokee” Mandon (Luther Adler).  Ralph, Cherokee and Jinx engineer a heist in which they relieve a local racketeer named Romer of his substantial take from various criminal enterprises—something the crooked fuzz bemoan because they were originally on his payroll.

Though it seems that Ralph is on top of the world (ma), he makes that fatal mistake that all hoods make—he’s become infatuated with a socialite named Margaret Dobson (Helena Carter).  He’s been advised by his counsel (Cherokee) to run fast, run far because her father—industrialist Ezra Dobson (Herbert Hayes)—can make things mighty uncomfortable for all of them.  So Ralph, being a sensible chap, takes his lawyer’s advice.  No, of course he doesn’t—he winds up marrying Margaret, which naturally pisses her father off to the point where Daddy uses his influence to have the marriage annulled.  Because Ralph turned down some $25,000 in payoff money, however, Ezra has had second thoughts about his new son-in-law: he thinks Cotter is just the husband Margaret needs, and is going to allow him to manage her considerably substantial holdings.

Ralph does not get the chance to make the smooth transition into responsibility.  Holiday, with whom Cotter has been housekeeping since his prison break, has heard all about the Margaret situation…but what’s worse, she’s heard from Cobbett that Ralph was the guy what croaked her brother.   She deposits a bit of lead into Ralph in retribution, and the entire criminal enterprise comes a-crumblin’ down (Ralph’s tragic tale is told in flashback as Holiday and the rest of Cotter’s “gang” stand trial).

Because of the phenomenal success of White Heat, William Cagney purchased the rights to Horace McCoy’s 1948 novel Kiss Tomorrow Goodbye in the hopes that it, too, would achieve the same kind of positive b.o. as the earlier film.  Goodbye did very well on its initial release, despite the fact that it was banned in several states because—and this is one of the elements that makes the movie an interesting watch—of its hard-hitting subject matter and no-holds-barred violence for the time period.  The Buckeye State, for example, kept the movie out of sight from Ohio theatergoers by declaring it “a sordid, sadistic presentation of crime with explicit steps in commission.”  (Be sure to bring the kids for the matinee showing!)

McCoy’s best-known work is probably They Shoot Horses, Don’t They?—a 1935 Depression era novel that was brought to the big screen in 1969 by Sydney Pollack.  Both the worlds of Goodbye and Horses feature disreputable characters that are unabashedly on the take—in Goodbye, Ralph Cotter tells lawyer Mandon that he’s left a copy of the incriminating recording of Weber’s shakedown with his brother, “the only honest man in the world.”  (We get a glimpse of this paragon of virtue testifying at the trial shortly before the film calls it a wrap…and the brother is played by Cagney’s real brother William.)

The problems with the film have been attributed to both its direction and to the man who adapted McCoy’s book, screenwriter Harry Brown.  Gordon Douglas rode herd on the film, a journeyman known primarily for helming many of the Our Gang comedies and occasionally rising to the occasion with movies like Them! (1954) and Rio Conchos (1964) (Douglas also directed Cagney in 1951’s Come Fill the Cup, a movie that is also rarely seen but praised by a few as one of the actor’s best performances from the 1950s) but he doesn’t seem to be able to hold the material together the way an accomplished pro like Raoul Walsh could with White Heat.  (There are elements of Brown’s screenplay that don’t make a lot of sense—Cotter’s decision to marry Margaret seems to me more of a contrivance to hasten his downfall since it’s apparent the cops won’t get the job done.  Uneven shifts in the overall narrative and an unfortunately abrupt conclusion keep Goodbye from being a truly satisfying film.)

However, Cagney’s performance as the sociopath Cotter is extremely well-done; it’s intimated by several characters that Ralph is a bit cuckoo-for-Cocoa-Puffs though Cagney is much more nuanced in conveying this, refusing to go the giggly “They-haven’t-got-Cody-Jarrett” route.  Luther Adler, a character veteran from many fine noirs (House of Strangers, D.O.A.), gives one of his career performances as Jimmy’s shady mouthpiece, and it’s amusing to see Ward Bond and Barton MacLane, Humphrey Bogart’s cop nemeses from The Maltese Falcon, as the dishonest lawmen here.  There are other standout turns from Rhys Williams (as the greasy Mason—because he works in a garage), William Frawley, John Litel (not a lawyer in this one), and Frank “King Kong” Reicher.

Kiss Tomorrow Goodbye is remembered as actress Barbara Payton’s shining silver screen showcase—in fact, a biography of the tragic Payton by author John O’Dowd borrows the film’s title for the book.  The blonde starlet, after making a favorable impression alongside Richard Basehart in Trapped (1949), lobbied hard for the part that ultimately went to Marilyn Monroe in The Asphalt Jungle (1950) but was rebuffed.  Despite being untested as a screen presence Barbara held her own alongside the veteran Cagney; brother Bill even arranged for a weekly salary of $5,000 during filming.  But in the roles that followed—westerns like Dallas (1950) and Only the Valiant (1951)—Payton did not receive the opportunity to expand on the splendid work she did in Goodbye and soon found herself haunting B-flicks and programmers like Bride of the Gorilla (1951).  A series of failed relationships (Payton, married to actor Franchot Tone, started seeing Tom Neal on the sly…and that alone should clue you in on her bad choices in men) and a spiraling into substance abuse and prostitution shut the door on a promising career; Payton died of heart and liver failure in 1967.

Despite its Warner’s pedigree, Kiss Tomorrow Goodbye eventually found a home in the video library of Republic Pictures (now owned by Paramount), where it was released on VHS in the 1990s and to DVD in 2002 (from Artisan Films).  The disc has been OOP for some time now, but because Olive Films has acquired most of the titles from the Republic/Artisan stable and given them new releases, perhaps a re-release of Goodbye will soon be in the works.  In retrospect, it’s good that they’ve waited—the UCLA Film & Television Archive has restored the Cagney classic, presenting the film to the public in March of 2011.

Monday, April 8, 2013

Mayberry Mondays #75: “Mike’s Car” (03/08/71, prod. no. 0325)

You would think that with only four more installments to go (including this one) in this revolutionary blogging experiment that began back in May of 2010 (oh, we were so young then) I’d be a little more timely in getting them up in this ‘umble scrap of the blogosphere.  Alas, this week’s entry in Mayberry Mondays focuses on the cretinous prodigy of poor-but-honest-dirt-farmer-turned-town-council-head Sam Jones (Ken Berry)—whom we lovingly refer to here at TDOY as Mike the Idiot Boy (Buddy Foster).  Here’s the thing about child actors: they’re like puppies in that they’re cute when they’re young…and then they grow up.  Oh, sure—you have the occasional anomaly in kiddie thesps like Elizabeth Taylor or Natalie Wood (I’ll even generously throw in Roddy McDowall and Dean Stockwell), who got better as they matured…but they are the exception as opposed to the rule.  I guess what I’m trying to say is that because this week’s episode is very Mike-centric; it took a great deal of time to work up enthusiasm to do a write-up for it.

But since I already sent in the rent check for April, I will bravely press on with the beginning of “Mike’s Car”—which sort of made me laugh at the beginning with this establishing shot:


“Hidy-hi there, friends and neighbors—come on down to Mount Pilot Motors!  Just take the exit ramp and follow the signs for four miles…then pull into that Sunoco there on your left and ask the attendant ‘Where the hell am I, anyway?’”  We find Mayberry’s favorite faux farmer waiting on a new hubcap for his truck, and to pass the time, his doofus son sits at the wheel of a bitchin’ convertible pretending he’s Tod Stiles.


SAM: All right…pull over to the curb…
MIKE: Huh?
SAM: For driving over fifty-five in the showroom window
MIKE: Boy, I’d sure like to have this—wouldn’t you, Pa?
SAM: Well…I wouldn’t mind…
MIKE: Let’s get it—huh?
SAM: Wait a minute…hold it…hold it…I came in here to get a hubcap for the truck, not a blue convertible…
MIKE: But think how proud you’d be driving me to school in this…
SAM: Yeah…proud and broke
MIKE: Tommy Dean’s folks have a new car…

I was kind of hoping Sam would experience a psychotic episode similar to George Bailey (James Stewart) in It’s a Wonderful Life when his kid resorts to that same gambit.  Alas, I’m simply not that lucky.

SAM: Well, I’m very happy for them…
MIKE: Pa, if it’s the money…you could trade in the truck…and you wouldn’t even have to pay for that dumb ol’ hubcap
SAM: Uh…Mike…I think we’d better leave before some salesman hears you…

“Hidy-hi there, neighbor!  What do I have to do to put you and your idiot son behind the wheel of this little baby right here?”  Mike, ambitious if stupid, tells his father that he’s been dreaming all his life to own a car of that kind and Sam replies that there’s no reason why he can’t make that dream come true when he grows up.  Then Mike hits upon a devastatingly brilliant idea:

MIKE: Pa!  The tractor!
SAM: What…?
MIKE: The tractor’s getting kind of old—you could trade that in!
SAM: Oh…say, there’s a thought…I’d be the only farmer in Mayberry plowing his fields with a blue convertible

“Plowing his fields”…you are one funny dude, Farmer Jones.  After giving Mike the standard “work-hard-and-save-your-money” lecture, Mike instead falls in with a bad crowd and steals a car, thereby winding up in juvy.  No…half a tick—that’s from a never-telecast Afterschool Special, “Born Ignorant.”  Instead, there’s a scene change to the Mayberry City Council office, in which fix-it savant Emmett Clark (Paul Hartman) enters, carrying a table fan.


EMMETT: Brought your fan back…just a loose wire…

Loose wire.  This is what is known in the sitcom biz as “foreshadowing.”

SAM: Oh…
EMMETT: Heh…no charge…
SAM: Oh…great!  Thank you!  The, uh, the town of Mayberry appreciates it…
EMMETT: That fan belong to the town?
SAM: Yeah…mm-hmm…
EMMETT: Then that’ll be two-fifty
SAM: What?
EMMETT: Well, they gouge me enough for taxes—I got a right to gouge them back…

Ah, life in the Red States.  At this point in the conversation, Mike bursts into the council office to excitedly tell his father he’s got a part-time job…working at the establishment owned by the town’s idiot-in-residence, Goober Pyle (George Lindsey)!  (Yeah, all of you thought I was just being mean, cracking all those jokes about the kid having no future beyond being a gas pump jockey—well, who’s the nutcase now, Ray?  Who’s the nutcase now?)

MIKE: I got a job!  Working for Goober in the gas station!  If it’s okay with you…it’s just a part-time job…working after school…cleaning up and washing windshields…and it’d be good training!
SAM: Wait…wait…hold…hold it a minute, Mike…you-you-you got a job?

“With your scholastic aptitude and lack of formal learning?  It’s testing products, right?”

MIKE: Yeah!  Working for Goober!
SAM: Well…when did this all happen?
MIKE: Just now…I can take it, can’t I?
SAM: W-w-w-well, wait a minute…just give me a minute to think about this…what…what about your schoolwork?

“Pa, I’m already flunking three classes as it is—why would that matter?”  Okay, he doesn’t really say that…but he does tell Sam that he can do that at night and wants to know what Sam’s verdict is.  So here’s the kicker: Sam looks at Emmett, and Emmett gives him a nod of approval.  Knowing what he knows about Emmett and his history of idiocy and breathtakingly bad judgment in matters of marriage (and other things); Sam agrees to let Mike take the gig on Emmett’s say-so.

SAM: Why all this, uh, sudden interest in a job?
MIKE: So I can start saving my money to buy a car!
SAM: A car?
MIKE: A groovy convertible, like the one we saw…
EMMETT: You know…I’ll never forget my first car…

“I hope you’re not starting at Goober’s this afternoon, son…because we’re going to be here a spell…”

EMMETT: …the only Hupmobile in Chatham County with a rumble seat!

Now, I know Emmett is referring to the Chatham County in North Carolina…but I laughed out loud at this because as many of you are well aware, I lived in Savannah, Georgia (in the Peach State’s Chatham County) for many years—an area derisively referred to by many (and rightfully so, to be honest) as “The State of Chatham.”

SAM: W-w-we…how much is Goober paying you?

“Fifty cents an hour and all the motor oil I can drink!”

MIKE: I’m serious, Pa…you said if I wanted a nice car when I grow up, I ought to start saving for it now
SAM: Yeah…yeah, I guess I did say that, didn’t I…?

“I knew that wasn’t tobacco growing in that area by the rutabagas…and I should never have put it in my pipe.”  As you’ve probably surmised, Sam is quite proud of the fruit of his loins for taking on responsibility, and even curmudgeonly Emmett is pleased.  “You can never go wrong, son, if you save your money…and keep your hair short,” the fix-it contributes sagely.  (“Oh, never play cards with a man named ‘Doc’…never eat at a place called ‘Mom’s’…and never sleep with a woman who…well, that one you won’t have to worry about.”)


So in the next scene, we find Mike hard at work at Goober’s Gas ‘n’ Lube.  The Goobster is frustrated because he’s unable to figure out why a customer’s car no longer starts after he has completed a lube job, and Mike helpfully points out that it might be because “the key’s not on.”  (This is a quaint reference to those halcyon days when the ignition switch was a separate part of an automobile.)  Goober the Manchild does not take kindly to being upstaged by a junior version of himself, and snippily instructs Mike to take a tire propped up against a car to a pile near another part of the service station.  (Goober then tries the ignition switch key and the car roars to life, producing small chuckles from less discriminating viewers.)


While retrieving the tire, Mike falls in love for the first time in his life: with a beat-up convertible that Goober obtained in a tire trade…but which he has never got around to repairing.  Yes, you are probably thinking the same thing I did—if he spent less time jawing with Sam, Emmett and pedantic county clerk Howard Sprague (Jack Dodson, who’s MIA from this episode) he might have the luxury of being able to devote more time to these projects.  Mike eagerly asks Goober if a day might come when the car could be restored to its former glory, to which the only mechanic that county has replies: “Yeah…in time.”

Mike’s fascination with the dilapidated jalopy is crosscut with a couple of scenes in which his father can’t stop bragging about his son’s newfound sense of responsibility: first to Emmett, which really doesn’t matter much since he’s a jackass, and then to Cousin Alice Cooper (Alice Ghostley), to whom he reveals that he’s promised Mike he will match whatever amount of money the kid finally puts toward his dream of owning his own set of wheels.  Do I need to go any further with where this plot is headed?


GOOBER: …thirteen…fourteen…fifteen dollars…first week’s salary…

Technically, I didn’t need to transcribe that above line of dialogue—but I was sort of impressed that Goober can count to fifteen.

MIKE: Hey…tell me something, Goober—how much would you sell that old car for?
GOOBER: Oh, I don’t know…thirty dollars maybe…

And with a “Goob…can I talk to you a minute?” the cha-ching of a cash register can be faintly heard on the soundtrack…and this is what awaits Laird Samuel when he returns home to stately Jones Farm.


MIKE: Pa!  Pa!  How do you like my car?
SAM: Your c…your car?
MIKE: Yeah!  I bought it from Goober…isn’t it neat?
SAM: You…you bought it?
MIKE: It was a real steal!  Only fifteen dollars!
SAM: Mike…you paid fifteen dollars for this piece of ju…uh…you paid fifteen dollars?
MIKE: Yeah…for my half…you still owe fifteen…
SAM: What?
MIKE: You did promise…
SAM: Yeah…yeah, I know…what I promised, Mike…but I…I thought you were saving for a car…for in the future!
MIKE: Well, that was before I saw this one

Sam doesn’t understand why Mike needs a car since he’s only thirteen years old, so his idiot son tells him that he can work on the vehicle until such a time comes.  Mike then tells his dad he’s off to see his chums until Sam reminds him he’s got to go to work.  Au contraire, mon pere, Mike tells him—he’s got his car…so he quit!  And as Sam begins to reconsider if letting Mike eat paint chips as a child was a good idea in hindsight, he walks over to the passenger side and pulls on the door handle…which comes off in his hands.  Cue the sad trombone!

SAM: Goob…how could you sell Mike a car?  He-he’s not even old enough to drive!!

“Sam…do you know how many people in this town who are not only dumber than I am but have money burning a hole in their pocket?  What else was I supposed to do?”

GOOBER: Well, don’t get mad at me—you’re the one who’s been goin’ all over town braggin’ about him savin’ up for one!
SAM: Yeah, I know…but I didn’t expect it to happen in one week!
GOOBER (under his breath): It was just a lucky break…
SAM: What?!!
GOOBER: I might not have another bargain like that for a year…
SAM: Oh, boy—some lucky break…suppose Mike tries to drive that thing?!!
GOOBER: It won’t run
SAM: What?
GOOBER: I guarantee it!  I’ve been workin’ on it for a week… (He suddenly realizes he’s said something stupid, which is a rare occurrence for him) Well…I mean…let’s face it, Sam—some cars are just dogs, no matter how much…talent you put into ‘em…
SAM: If the car won’t run…what’s Mike going to do with it?
GOOBER: Tinker with it!  Take it apart…put it back together…
SAM: At his age?!!
GOOBER: He’s gotta start sometime

And there you have it.  The die has been cast.  Even Goober, a man of very little brain, has read the tea leaves and knows that Mike is destined to have grease under his fingernails for the rest of eternity.

GOOBER: …it’ll be a good education for him!  How do you think I got where I am today?

Send your answers to igsjrotr(at)gmail(dot)com.  The funniest response will probably make iced tea come out my nose.

SAM: Well…I suppose he could learn something at that…he always was pretty good with his hands…

Singular, not plural.  (Yes, Mr. Leal, I went there.)

GOOBER: Yeah, well, he showed a lot of promise around here…the other day I let him help me adjust a carburetor…he took right to it, didn’t drop the hammer or nothin’…

I wasn’t aware Goober mentored under Emmett.

GOOBER: You owe me seventeen dollars…
SAM: I thought it was fifteen
GOOBER: It’s two dollars more for changin’ the registration
SAM: Oh…well…okay…I never thought I’d be happy to buy a car that won’t run…heh heh…you sure it won’t run?
GOOBER: It hasn’t even got a battery, Sam!  It’s what we in the used car business call “a pusher”

So Sam reluctantly pays for the car.  In a scene dissolve, we find young Mike by his set of wheels, tinkering under the hood and grimy as all get out.  Enter the man whom his mother said was his father, and that’s good enough for him.


SAM: How’s it going?
MIKE: Oh…just great, Pa…boy, this sure is a lot of fun!
SAM (wiping some of the grease off Mike’s face): Yeah…so I see…
MIKE: Someday I might even get it to run!
SAM: Yeah…well…lots of luck with that…but even if that should happen, you’re not allowed to drive it…understand that?
MIKE: I know, Pa…not until I’m old enough…

Into this figurative Garden of Eden ride a couple of snakes on bicycles…and it is with their arrival that I must issue a correction here on the blog.  One of the characters that appeared on Mayberry R.F.D. on a semi-regular basis was Mike’s friend Harold Henderson, played by former child actor Richard Steele…whom was once confused by the (always reliable) IMDb for a boxer-thespian with the same name (which is why we humorously referred to him here as a “child pugilist”) and christened with the nickname “Fishface” by TDOY supporter and guest reviewer Phil Schweier (who remembered Steele from a recurring role on the 1968-71 sitcom Julia).  The Harold character started out as a rather bland sidekick for young Mike but in later episodes morphed into somebody whose pure dagnasty evil antics frequently got the younger Jones into trouble.

Steele’s last outing as Harold on R.F.D. was in the episode “Mike’s Project” (in which we are also introduced to Harold’s loathsome father Brian)…and at the time of that write-up, I should have made mention that the episode was Steele’s swan song.  But over at the (always reliable) IMDb, Steele is listed as appearing in this episode…and while I know this is going to cause more than a few of you to clutch pearls while staggering towards the fainting couch, this is wildly inaccurate.  Steele is not in this episode.  It’s as much my fault as it is the IMDb’s, however, because I should have remembered this, having seen the episode one time earlier.  I simply forgot.


Now, there is a character named “Harold” in this episode—but he is portrayed by kiddie thesp Michael Barbera, whose resume includes guest shots on shows like Family Affair, The Ghost & Mrs. Muir and Marcus Welby, MD—he’s also in that Brady Bunch episode (“Everybody Can’t Be George Washington”) where Peter has to essay the role of Benedict Arnold on stage and is taunted by his alleged friends for doing so.  The other mook in the above screen cap is identified as “Denny” and is played by Barbera’s colleague Sean Kelly (also billed on occasion as Sean Michael Kelly).  Kelly also has an impressive child actor c.v. (Lassie, Bonanza, Adam-12) but is probably better known for appearing in both the 1972 John Wayne film The Cowboys and the short-lived TV series it inspired two years later.  (In the movie, Kelly’s character is known as “Stuttering Bob,” while in the TV show that was changed to the less-objectionable “Jimmy.”)

As to why the R.F.D. people chose not to use the actor that usually plays Harold…well, that’s a question I cannot answer.  But it does sadden me to see this imposter taking on the role, particularly when what transpires is a real dick move that would have been so in keeping with the groundwork “Fishface” set down for the series.  Harold and Denny put on their best Eddie Haskell demeanors while greeting Sam and Mike, and then when Sam has to go into town “to pick up Cousin Alice” the shivs come out.

DENNY (looking at the windshield): Hey, look at this…it isn’t even his car…it says on the registration “Sam Jones”…
MIKE: That’s ‘cause I’m under age…they had to put it in my Pa’s name…how do you like it, Harold?
HAROLD: It’s great!  (Reacting to a look from Denny) I mean…well…it’s okay…we got a better car!
DENNY: Yeah…who wants a bunch of junk like this?

That “bunch of junk,” my young unemployable, cost thirty-two dollars…and I’ll thank you to get your grimy elbows off of it.  Still, we won’t need a group of MIT grad students to determine where this is headed…

MIKE: You guys are just jealous
DENNY: They got better cars at the dump
HAROLD: Betcha you don’t even know how to drive it!
MIKE: Well, sure I do!  Kinda…

You know, Mike…if you’re going to trash talk in front of your friends, you might want to put a little more confidence into it.

MIKE: …Pa won’t let me…
DENNY: Boy—how stupid can you get?  Spending money on a car you can’t even drive
MIKE: I can too drive it!  In three years and four months!

Mike…you really suck at this.

HAROLD: Will it run?
MIKE: Well, you don’t think I’d buy a car that wouldn’t run, do you?
DENNY: Aw, I bet it won’t even start
MIKE: It will, too!
DENNY: Prove it!
MIKE: Well…I-I would, but…it doesn’t have a battery…
HAROLD: There’s a battery in your Pa’s tractor…that would work…
DENNY: Yeah!

Mike, I think it’s time to disassociate yourself from these rough boys…tell them they will have to go home and that you’re not allowed to play with them anymore.

MIKE: Oh, gee…I couldn’t do that
DENNY: Why not…?
HAROLD: ‘Cause he’s chicken
MIKE: Well…I am not!
HAROLD: He’s chicken and his dumb car won’t work!
MIKE: It will too!
DENNY: Then let’s get the tractor battery and find out!
MIKE: I’m not sure where the tractor is…
HAROLD: Where it always is…right there in the barn

“It’s that vehicle covered with all the cobwebs…”  Mike is still not on board with this swiping the battery thing…so when Denny and Harold decide to mosey off to tell Mike’s other friends (and really—if these two jamokes are representative of the company that kid keeps, no wonder he’s a loser) that he’s made a bad automobile purchase Mike asks them: “Aren’t you going to give me a hand with the battery?”

We don’t learn the consequences of The Great Junker Car Experiment until after we return from a commercial break, and by that time Mike has upped the ante on his adolescent mischief by hooking up the tractor battery to his new ride.  He tries to start it up, but nothing happens…producing much jeering from his j.d. buddies.  “This must be the quietest motor in town,” cracks Denny, that well-honed wit.


Mike quickly surmises that the trouble is that one of the car’s wires “isn’t supposed to touch the metal”…so making that adjustment, he cranks ‘er up again and vee-ola!  The car is purring like a contented cat!

DENNY: Let’s drive it!
HAROLD: Yeah!
MIKE: Oh, no…I can’t…Pa said no…
HAROLD: Couldn’t we just go around the yard?
MIKE: I can’t!
HAROLD: Don’t you wanna drive it?
MIKE: Sure I do!
DENNY: Just go two feet…just two feetprove it will move!
HAROLD: How much is that gonna hurt?
DENNY: Come on, Mike…

Didn’t I tell you kids to go home!  Go away, you wild boys, you!  So Mike applies some gas, and the car goes zipping around Jones Acres.  Unfortunately, he is not able to apply some brake (I guess Goober was telling the truth about that heap), and so he plows into the mailbox…


…and eventually gets the car to stop by maneuvering it into a ditch.


MIKE (as they get out of the car): Oh, boy…
DENNY: You were right, Mike…it runs…I’ll see you around…
HAROLD: Yeah…me, too…
MIKE: Wait—you gotta help me!!!  Where are you going?!!
DENNY: I just remembered some homework I gotta do!
HAROLD: I think my Mom’s calling me…
DENNY: If anybody asks…we weren’t even here

Oh, those are great friends of yours, Mike.  Well, maybe you can take some solace in the knowledge that they’ll be the most popular of the new fish when they check into the juvenile detention center.  So Mike finds a way into town (the longest and saddest bike ride in history, no doubt) and enters the council office to tell his father the news in a scenario that, as much as I have ragged on Mike in the past, is not unlike the many times when I had to tell my dad about something I royally screwed up.

MIKE: Uh…say, Pa—are you having a good day today?
SAM: Yeah…yeah, I guess so…
MIKE: Oh…that’s good…oh…say, Pa—do you remember that old car I bought?
SAM: Uh…yeah…yeah, I seem to recall that…what about it?
MIKE: Uh…well…you always said if I had something to tell you…I’d feel better if I came right out and said it…
SAM: Mm-hmm…that’s right…
MIKE: Well…I sure hope it works out that way…

Every episode…one laugh-out-loud moment.

SAM: What happened to the car?
MIKE: Well…the motor kind of started up…
SAM: Uh-huh…?
MIKE: Well…the motor was running…and…and Denny and Harold called me chicken and…
SAM (slamming the file cabinet): You drove it!
MIKE: Only two feet…then it was sort of driving me
SAM (sharply): Mike!!!
MIKE: Okay, Pa—I missed the house…but I sort of creamed the mailbox…
SAM: Oh, great!  Great!!!
MIKE: Uh…don’t worry about the car—the car’s okay…most of it’s in the ditch
SAM: Most of it!
MIKE: The rest of it is kind of sticking out in the road…

Ah, I’m misty with nostalgia just thinking about how much this reminds me of similar situations with my dad…though there is a slight difference in that I generally ended up coming to about eighteen hours later with no memory as to what happened before.

SAM: Mike, didn’t I tell you not to drive…?
MIKE: Gee, Pa—they called me chicken!
SAM: I don’t care what they called you!
MIKE: And it wouldn’t have even started if you hadn’t told me about the wire…
SAM: Now, look, young man—don’t you try to shift the blame…

He’s kind of got a point, Samuel.  You should know by now that leaving that kid by his lonesome is an invitation to trouble.  Remember last time, when he forgot to breathe?  Be that as it may, Sam’s throttle is stuck in full parental damage control: “Now you get yourself down there and you make sure nobody runs into that car!  I’m going to get Goober and the tow truck…and then you and I are going to have a little talk, young man…”


As Sam marches Mike out of the council office, they almost collide with bakery doyenne Millie Swanson (Arlene Golonka), who’s stopped by for a quickie.  “Oh, hi, Mike,” she burbles.  “When are you going to take me for a ride in your new car?”

Never!” shouts Sam as the two of them head out the door.  Now, I personally feel Sam handled this situation as well as could be expected—particularly since the network probably would have frowned on footage of him giving his kid a thrashing…but no, Sam has to go for broke by soliciting advice from the two childless dinks in Mayberry:

EMMETT: What kind of a father are you, lettin’ a kid that age drive?
SAM: I didn’t let him drive…he just started it up and he drove it!
GOOBER: It could not have started—I checked it all over!
SAM: Except for a shorted ignition wire
GOOBER: Oh, well—nobody’s perfect
EMMETT: You gonna spank him, Sam?
GOOBER: Spank him?  Didn’t you ever do nothin’ as a kid?
EMMETT: Yeah…and I got walloped for it!

Yes, I am ashamed to admit I laughed out loud at this.

SAM: Well…I have to do something to teach him a lesson…boy, in one ear and out the other…uh…I… (An idea hits him) Hey… (To Goober) You could do it…
GOOBER: I’m not wallopin’ your kid!!!

I laughed out loud at that, too.  No, Sam’s solution is for Goober to get his tow truck and his deputy sheriff’s uniform.

SAM: You’re going to give Mike a traffic ticket…
GOOBER: For what?
SAM: Because he broke the law…
EMMETT: You’re gonna give your own kid a traffic ticket?!!
SAM: No…Goober is…
GOOBER: Why do I have to be the bad guy?
SAM: Because if I tell him he won’t learn as much of a lesson as if the law tells him…
EMMETT: Hey…he’s got a point there, Goob…
SAM: Yeah…
GOOBER: I cain’t do it…I never give a kid a ticket before…
SAM: It’s for his own good, Goob…now just be tough and make it as official as you can, huh?
GOOBER (sighing): All right…but he’s gonna hate me for it…every kid in town is gonna hate me!  They probably…won’t let me umpire their ballgames anymore…

“Boy—some cop we got,” Emmett editorializes…conveniently forgetting that he had the opportunity to relieve Goob of that post in “The Caper” and chose not to.  There’s a scene dissolve, and we find Goob surveying the scene of the accident wearing his deputy sheriff regalia…and I have to tell you, I was sort of disappointed that he didn’t say something like “There are only two kinds of lawmen, the quick and the dead…”


Goob really puts on a show—he writes Mike up for illegal parking, no brakes, no license plates, destruction of property (mailbox), no rear view mirror, no horn (“That’s a five dollar one right there,” Goob points out) and most importantly—no drivers’ license.  Mike starts to wet himself, and worries he’ll be put in jail.  His dad assures him that everything will be okay as long as he’s learned a lesson.  “Oh, gosh,” Mike mewls.  “I’ve learned my lesson all right—I don’t think I could learn it any better going to jail!”

Back at the council office, Millie learns what Sam and Goober have done and is not at all pleased with Sam’s approach to parental discipline.  Handing him the ticket, she snarls: “Here’s your ticket…I suppose you’ll want to frame it like you did your son.”

SAM: Oh…I think it has served its purpose… (He starts to tear up the ticket)
GOOBER: Hey, don’t do that!  You gotta take that into court!
SAM: Huh?
GOOBER: You gotta take it with you when you go in to see the judge
SAM: No, no, no…no judge…Goob, this ticket was just pretend
GOOBER: Whuh…you didn’t say nothin’ about that!  You said write a ticket, and make it as official as I can…
SAM: Uh-huh…and you did that, so just forget it…
GOOBER: Well, it ain’t gonna be that easy…I already mailed a copy in to the court…

“You mean Mike’s name is coming up before a judge?  A real judge?!!”  Sam asks incredulously.  The answer to this is no—it’s Sam who’ll be bowing and scraping before the magistrate, since he’s the registered owner of the car.  Millie takes perverse delight in rubbing this in, even at the risk of not getting any farmer lovin’ for the next week or so.  As she tapes the ticket back together she muses: “There’s one good thing—I work in a bakery; I can always bring you a cake with a file in it.”

Coda time!

We had a rather abbreviated appearance from Cousin Alice this week, so it’s only fitting that she’s bringing in a load of wash into the Jones kitchen as Sam enters from the back door, pulling at his tie.

ALICE: What’d the judge say?
SAM: Well…after I explained…he…let me off with a lecture on parental responsibility
ALICE: In other words, he chewed you out for letting Mike have the car…
SAM: If you must be blunt about it…yes…

Alice heads out the back to put the wash on the line, and as Sam grabs a cup of product placement Sanka, Mike comes in wearing a hair shirt.


MIKE: I came down to let you know I’m doing my homework…
SAM: Fine…fine…
MIKE: And I haven’t ridden my bike…except to go to school…and I did the extra chores…and I told Denny and Harold I couldn’t play with them…

“…and also that they had better watching their motherf**king backs…”

MIKE: …and I won’t watch television for a whole month…and I promise not to have any more fun until you say it’s okay…

Sam asks him about the car, and Mike hands him an envelope as he tells him he sold the Mikemobile back to Goober.  Sam notices that Mike has given him the entire amount of money they paid for the car, and Mike says he did that because he thought it might make up for the trouble he caused, as he’s realized how tough it is to be a parent.  (In other words, he’s kissing ass.)

Cousin Alice’s triumphant return to R.F.D. after a one episode absence means that we can fire up the old Thrilling Days of Yesteryear Alice-o-Meter™ and calibrate it so it measures twelve appearances for actress Alice Ghostley in the sitcom’s third and final season.  And speaking of finality—we’ve three more episodes left in Mayberry Mondays; next time, Goober fans will be able to revel in the Full Goobery as our favorite gas station owner breaks a new stupidity record in “Goober, the Hero.”  The episode will feature a pair of veteran character greats and the return of Mike’s less evil friend Richard…and if the Fates smile down on me, I hope to have it on the blog sooner than later.