Saturday, August 3, 2013

Riders of Death Valley – Chapter 5: The Avalanche of Doom





OUR STORY SO FAR: Jim Benton, by a clever maneuver, rescues Mary Morgan, his partner in Chuckawalla’s mine, from the notorious bandit, Wolf Reade.

But they are so closely pursued by “The Wolf” and his pack that they are forced to take refuge in a miner’s cabin to fight it out.

“The Wolf,” determined to capture Benton and wrest from him the map locating Chuckawalla’s mine, attempts to smoke them out of the cabin, unaware the cabin contains a store of explosives…


…which, if we apply simple laws of physics, means said cabin blows up real good.  By the way, these chapter recaps—I’m not entirely unconvinced that Benton (Dick Foran) isn’t writing them himself…only because there’s a little too much back patting going on in them.  (”Clever maneuver”…hmmph!)


Now, before you start getting weepy about never seeing Jim and Mary (Jeanne Kelly) alive again—you should know that the two of them fortuitously found a cellar underneath the cabin and they quickly hopped down into it before the dwelling went all splintery willy-nilly.  (Oh, and the bit in the previous chapter where Jim fired at the rope on the wagon in the hopes that it would split, thus causing it to swerve and miss them?  Well, to borrow the ServPro slogan: “Like it never even happened®.”)

Wolf (Charles Bickford) and his gang looked stunned at the remains of the explosion, and for a second it reminded me of what my nephew used to say whenever he tore down one of our Lincoln Logs projects: “Uncle Ivan, I never seen ‘struction like that before!”  The men, led by Wolf and second-in-command Butch (Lon Chaney, Jr.) ride over to the once-proudly-standing cabin and dismount to get a better look.


BUTCH: They never could have lived through this blast…
WOLF: See if you can find what’s left of them…

“Hey, Wolf!  I found a thumb!”  As the gang members start throwing timbers around, it’s eagle-eyed henchie Rusty (Ethan Laidlaw) who spots the cellar underneath.  “Get down there—take a look!” orders his boss. 


Descending into the cellar, Rusty calls out: “Give me a hand—they’re down here!”  Wolf orders Trigger (Jack Rockwell) to do what Rusty asks, and pretty soon the outlaw gang are bringing the unconscious bodies of Mary and Jim to the surface.  (Mighty thoughty of them.)  Our heroes are then placed on horses and the “pack” heads back to their hideout at Hank’s.

The scene then shifts back to Superstition Pass, where the “Riders of Death Valley” have set up camp.  Rance Davis (Monte Blue), the villainous dinkerplatz who’s only along to do the evil bidding of his partner, Joseph Kirby (James Blaine), is in a particularly scowly mood—I can’t do the screen cap justice but he’s poured a cup of coffee by Tombstone (Buck Jones) and Tomb looks at him as if he’s saying: “I can’t believe we brought out the Arabica beans for this dillweed…”


DAVIS: Well, gents…it’s beginning to look like Jim Benton never intended to come back…
TOMBSTONE: Whaddya mean, never intended to?  Maybe he can’t…
DAVIS: All right—maybe he can’t…well, we’re wasting a lot of time sittin’ around here…meantime, we might as well break camp and head back to Panamint…

“I’ve got orphanages I could be foreclosing on, you know.”  Now it’s time for Pancho Lopez (Leo Carrillo), he of the broken English that apparently had the Riders of Death Valley scribes frequently gasping with laughter in the writing room, to weigh in:

PANCHO: Senor Davis forget to remember that we sent Smokey and Tex to find Mr. Jim and Senorita Maria…
DAVIS: Well, if they found anything they’d be back by now…
PANCHO: Wait—what do you call those?

Pancho is referring to two men riding up—who turn out to be Smokey (Noah Beery, Jr.) and Tex (Glenn Strange).  “There it is!” exclaims Pancho, as Fingal’s Cave continues to play in the background.

TOMBSTONE: Find anything?
SMOKEY: Aw no, Tombstone…we…we followed that trail clear to the rock mesa and it just disappeared…
TEX: We looked three hours for a sign but there just wasn’t any…
TOMBSTONE: Well, that’s tough luck…Pancho and I will try our hand… (To Davis) You still figgerin’ on leavin’?
DAVIS: Well, I…I’m with this outfit to protect Miss Morgan’s interests!  If you think she and Benton will be back, why I’ll…
TOMBSTONE (interrupting): They’ll be back, all right…

Tombstone throws the rest of his coffee into the fire as he gives Rance the stinkeye.  “Give me that plate, Borax,” mutters Tex, addressing Borax Bill (Guinn “Big Boy” Williams).  “I’m hungry as a wolf.”  (“Smell like I sound/I’m lost in a crowd…”—half a tick…that’s Hungry Like the Wolf.)  In the meantime, Tombstone has called Smokey and Pancho over to the side for a secret powwow.

TOMBSTONE (to Smokey): Keep your eye on Davis…
SMOKEY: Is he in on this?
TOMBSTONE: You can never tell…

“Well…surely it would be okay to tell Bill and Tex…?”  Smokey assures Tomb he’ll do so, and Tombstone and Pancho saddle up and head off in search of Jim and Mary.

Speaking of which, the two mine owners are being held captive at the hideout known as “Hank’s.”  Wolf and Butch have apparently rifled through Benton’s clothing and found nada in the map department.


WOLF: He ain’t got it…
BUTCH: I’m still bettin’ Kate’ll find it on the girl…

But Kate (Ruth Rickaby)—a.k.a. “Mrs. Hank” emerges from the other room in the cabin to announce “she ain’t got it either.”  “And she says Benton’s the only one who knows where it is,” the harridan tells Wolf.

WOLF: Get back in there and keep an eye on her!
(Kate, looking slightly hurt, goes back into the other room; Butch then motions Wolf to join him in the corner as a close-up shows Jim is only pretending to be unconscious)
BUTCH: I got a hunch he’s playin’ possum…
WOLF (turning in the direction of where Benton is laying on the bed): We’ll find out…


Just wanted to stop the action here for a second to point out that the man (Ted Adams) seated in front of Butch, playing cards with Rusty, is the previously-referred-to “Hank”…appearing for the first time in this chapter.  Wolf draws his gun and barks: “Well, if he ain’t got the map we might as well finish him and chuck him down a mine shaft!”  He then fires a round right at the bedpost near Jim’s head, enough to send little splinters of wood flying.  Jim does not move a muscle; he’s confident only because he’s seen Wolf shoot before and has first-hand knowledge of his poor marksmanship.  Mary emerges from the other room, upset that her partner is being used for target practice.


MARY: What are you trying to do?
WOLF: Just trying to see how close I can come to him without hittin’ him…well, anyway—he ain’t playin’ possum…I shot one pretty close…
MARY: But he isn’t playing possum—he’s dying!  He needs a doctor!
WOLF: Maybe she’s right…Rusty!
RUSTY: Yeah?
WOLF: Tell Pete to hightail it into town and get Doc Hedges out here…

“Take ‘er back in there and keep an eye on her,” orders Wolf to Kate as he grabs Mary and shoves her in Kate’s direction.  Outside the cabin, Rusty issues Wolf’s directive to Pete (Richard Alexander):

RUSTY: Wolf says for you to hightail it into town and fetch Doc Hedges…looks like Benton’s gonna kick off…
PETE (as he heads toward his horse): Is it safe to bring him to this place?
RUSTY: Why not?  Hedges knows we run things in this district…

“And if he doesn’t, he soon will, bwah!”  So Pete rides off for the doc as the scene shifts to Tombstone and Pancho as they continue their search of Jim and Mary.

PANCHO: Too many wild horse feet prints here…I don’t see no tracks…
TOMBSTONE: Whaddya mean?  There’s a trail goin’ right along there, Pancho…
PANCHO: I don’t see no trails—and I don’t think you see some, too…
TOMBSTONE: It’s not always what you see—it’s sometimes what you don’t see, Pancho…
PANCHO: What you see…what you don’t see…what… (He trails off in indecipherable Spanish)

With Pete riding hard to get to town and Pancho & Tombstone heading in the direction towards Hank’s, it’s not long before Tombstone spots Wolf’s goon a-ridin’…and we learn that unlike the others, Pete actually has a surname—it’s “Gump.”

TOMBSTONE: Pete Gump…one of Wolf’s men…
PANCHO: How you know that?
TOMBSTONE: I’d recognize that horse anywhere…
PANCHO: Heh…you think the horse, he know you?
TOMBSTONE: He used to…now you got me talking that way!  Let’s drop a rope on him, Pancho!

Fortunately for me, the serial eats up a couple of minutes with a sequence of Pete trying to outrun Tombstone and Pancho with ridin’ and a-shootin’…but alas, Pancho soon lassos the hombre and jerks him off his steed.

TOMBSTONE: Slack off, Pancho—he’ll behave now…where’s Wolf got Benton?
PETE: I don’t know where he is!
PANCHO: Ah…you know where Senor Jim is, no?
PETE: No, I tell ya!
PANCHO: You know—we didn’t kill you before because we think you know where he is…now that he don’t know where he is, there’s no reason for him to live, no?
PETE: You just try and find out where he is!


Well, they’re not going to disappoint their prisoner—Tombstone puts his thumb and forefinger together to form a hole and he asks Pancho if he thinks he could put a bullet through it.  Pancho is game, and so Tombstone places the thumb-forefinger combo on various parts of Pete’s anatomy before the thug finally spills the beans.

PETE: Don’t shoot!  I’ll tell ya…Wolf’s got Benton over at the Yellow Horse Pass…
PANCHO: Yellow Horse?
TOMBSTONE: Tie him up, Pancho…
(Both Tomb and Pancho start to rough Pete up by tying him with the rope)
PANCHO: You tell the truth…and if you don’t tell the truth we’re gonna come back and tear you limb from limb…one to a time…
PETE: Hold on—wait a minute!
PANCHO: Yeah?  What now—what you want now?
PETE: I lied to ya…

He lied.  He lied a lot.  Pete reveals that Jim and Mary are being held at Hank’s mine.

PANCHO: Is that the whole truth?  And everything but the truth?  It better be!
TOMBSTONE: How many men does Wolf got?
PETE: Oh, nine or ten maybe…

“I’ve lost track—he’s stopped doing employee orientations months ago…”  Pete is trussed up firmly and dropped to the ground, whereupon he pleads “Don’t leave me out here—the coyotes will get me!”

“Don’t worry about the coyotes,” Pancho assures him.  “They’re pretty particular about who they associate with.”  Our heroes saddle up and…let’s went!

Back at Reade Enterprises, Wolf, Butch, Rusty, Trigger and Dirk (Roy Barcroft) sit outside the cabin waiting for Pete to return with the Doc.

BUTCH: You suppose Benton left that chart with one of his men before he came here?
WOLF: Maybe…after Doc Hedges brings him round, I’ll make him talk…

Inside the cabin, Jim thinks up another one of his “clever maneuvers”—he starts to rave in his “sleep,” calling out for Chuckawalla and telling him he’s got “his map.”  Hank, on guard duty, gets a funny look in his eye that essentially says “Here’s where I put the screws to Wolf and get the mine for myself.”  He goes over to the bed where Jim lays and when Benton asks for water, Hank is only too happy to get him a dipper full of H2O.  Naturally, this is what results:


The old-take-your-gun-while-I-give-you-a-hug trick…and you fell for it.  “Make a sound and you’re a dead man,” warns Jim as he orders Hank to get Kate…quietly.  (How someone as dumb as Hank has kept from perishing in a mine cave-in all these years is a question I can’t answer.)

JIM: Call your wife in here…but make it natural…

“Oh, bunny biscuit!  Angel drawers!  Could you come in here a moment?”  With the help of Mary, Benton soon has Mr. and Mrs. Hank tied up like a telephone party line as the action shifts outside.

DIRK (coming back from lookout duty): No sign of the Doc yet…
BUTCH: Yeah…Benton might up and die on us before the Doc gets here…

So Wolf orders Rusty—who was having a little siesta, so I found that a bit rude—to go inside and check on Benton.  Mary, peering out the door, sees Rusty headed in their direction and alerts Jim, who connects with a rabbit punch that sends Rusty down for the full count.  Jim and Mary then sneak out the back door…and though there are horses conveniently parked outside, they do have to take the time to saddle two of them.  Back inside, the tied-up Kate managed to tip the table over on top of Rusty, bringing him to—and so he alerts Wolf and the others that once again there’s been a breach of the perimeter.  By this time, Jim and Mary are a-ridin’.

Here’s the great thing about western serials: most of the action basically involves people chasing one another on horses, which eats up a lot of running time and helps me out in the long run—since I don’t have to transcribe too much dialogue.  As Wolf and his pack go after Jim and Mary, the whole kit and kaboodle of them ride past Tombstone and Pancho, who observe from high upon a ridge: “Look—there goes Mr. Jim and Senorita Maria!”

TOMBSTONE (seeing only one rider chasing his friend): Benton riding away from one man?  That don’t make sense…
PANCHO (as several others follow): Hey—look!  Look!  There’s plenty more men—that do make senses!
TOMBSTONE: Pancho…
PANCHO: Yes?
TOMBSTONE: …go back to camp and get the rest of the men—I’ll follow that gang!

Pancho rides off, and we have more riding.  The lone man that was following Jim was Henchman Dirk, who stops to allow Wolf and the others to catch up.

BUTCH (pointing off into the distance): They’re headed for Needle-Eye Cut at the end of the valley…
WOLF: Fine…Rusty—you and Trigger ride to the top of that ridge…throw down enough boulders to block the cut…

Yeah, you should know by now—never send a henchman to do a master villain’s work.  Because with more riding, Jim and Mary—followed by Wolf and the rest of his posse—are headed for the cut with breakneck speed as Rusty and Trigger start an avalanche (of doom, no less) that is guaranteed to crush the two of them and keep the Lost Aztec Mine a secret forever!


Thursday, August 1, 2013

The William Castle Blogathon: I Saw What You Did (1965)




The following essay is the second of two Thrilling Days of Yesteryear contributions to The William Castle Blogathon, currently underway from July 29-August 2 and sponsored by The Last Drive-In and Goregirl’s Dungeon.  For a full list of the participants and the films under discussion, click here.


In an early trailer for the William Castle film I Saw What You Did (1965), the esteemed schlockmeister warned audiences that a section of the motion picture theater would be equipped with seat belts for the benefit of those audience members “who might be scared out of their seats!”  After all, ISWYD “is a motion picture about UXORCIDE!”—and there’s nothing more terrifying than that.

Well, I might be engaging in a little levity there.  “Uxorcide” is just a fancy term for killing one’s wife—which, if what my parents watch religiously on WSB-TV’s newscast is true, is apparently a common occurrence in the city of Atlanta.  As for the seat belt idea…somebody scratched that shortly before the release of the film.  This is a good thing, because the (relatively) gimmick-free ISWYD is one of the director’s best films—not that it doesn’t have its weaknesses.

Teenager Libby Mannering (Andi Garrett) has invited her best friend Kit Austin (Sara Lane) over to Mannering Manor for dinner on the same night her parents (Leif Erickson, Patricia Breslin) have an appointment to sup with friends in Santa Barbara.  The Mannerings have hired a sitter—not for Libby, but for her younger sister Tess (Sharyl Locke)—but the woman calls up at the last minute to cancel and so the parents are faced with a decision: should they go ahead with their plans and allow Libby to be in charge or no?  Well, what the hey—she’s old enough!

The Mannering house is located out in the middle of what we West Virginians affectionately call “B.F.E.”—and after getting the grand tour of the grounds, and the horse stable, and the goat, Libby and Kit are predictably bored.  They decide to prank people at random by telephone, which is falling-down hysterical when you’re twelve years old but sort of loses its novelty as you mature into adulthood.  At one point during the evening, the targets of the girls’ tomfoolery are told: “I know who you are…and I saw what you did…”

"Do you have Prince Albert in a can...?"

One of these phone calls is made to Steve Marek (John Ireland)—though it’s his wife Judith (Joyce Meadows) who initially takes the call.  As movie luck would have it, the Mareks’ marital counseling hasn’t yet quite taken hold and in a psychotic fit of rage, Steve kills Judith in the shower (a none-too-subtle homage to one of Castle’s idols, Alfred Hitchcock).  Now Steve is saddled with the task of dumping his wife’s body…and this is complicated by the arrival at his doorstep of his neighbor, Amy Nelson (Joan Crawford), who makes no secret of the fact that she’s been carrying a torch for the Stevester for quite some time now.

Though Libby and Kit lost interest in calling the Marek house about the time Mrs. M told them their husband was in the shower, they return to their fun when they remember his phone number…with the help of a generous dollop of peanut-butter-and-jelly residue Tess left on the phone book page.  Steve answers the phone just as he’s returned from depositing the ball-and-chain in a shallow grave.  “I know who you are…and I saw what you did,” Libby tells him breathlessly—words she will soon regret.

A precursor to teen slasher genre of films like Halloween, I Saw What You Did was scripted by William McGivern—based on a 1964 novel entitled Out of the Dark by Ursula Curtiss.  It’s a taut little thriller that I think holds up rather well despite a musical score by Van Alexander and Jerry Keller that’s more fitting for a 60s sitcom (think Gidget Meets Richard Speck).  The movie also spotlights some real nail-biting moments of “reach-out-and-grab-ya” suspense, and there are several sequences that demonstrate how much of a Hitchcock devotee William Castle was.  I’ve already mentioned the Psycho-influenced shower scene, but there’s an additional Hitch-like moment where Ireland’s killer is burying his wife’s corpse and is distracted by a dog who barks at him…alerting the canine’s owner that something is not kosher about the situation.  Our sympathy is with Ireland—though it shouldn’t be; if he had been discovered at that moment, the tragic events that follow might not have taken place.  It’s always reminded me of the scene in Psycho where we wait anxiously with Anthony Perkins’s Norman Bates as he’s sinking Marion Crane’s car in the swamp behind the motel.  (There was a time when I would dismiss stuff like this from Castle as derivative…but seeing as how Hitchcock was inspired in the first place to make Psycho after the success of Bill’s and Roger Corman’s films I’ve done a complete one-eighty.)

Granted, ISWYD is not perfect by any means—the plot hinges on a few coinky-dinks; Howard Thompson of The New York Times humorously pointed out in his review: “As for why the children's parents…would leave them alone in a wide-open house miles out in the country, we'll never know.”  I also agree with Thompson that the film’s running time should have been tightened somewhat; the middle portion of the film, featuring La Crawford, is most unnecessary—at times it’s difficult to discern who’s the greater menace, Joan or the killer.

Joan reportedly got $50,000 for four days work on this film—and though her performance in the film was originally supposed to be merely a cameo (she had worked with Castle previously on the lovingly demented Strait-Jacket) she wound up with top billing (which I’m sure Universal was only too happy to promote, goosing the box office take and all).  By this point in her career, Joanie was trading in on her What Ever Happened to Baby Jane? notoriety (she was originally supposed to appear in Hush…Hush, Sweet Charlotte but bowed out to illness…or what was diagnosed in medical circles as “refusing to work with Bette Davis ever again”) and sadly, ISWYD would be Crawford’s last American feature film.  (I bow to no one in my respect for Joan, but in a match between her and a serial killer I’d bet on Crawford.)

The performances of ingénues Andi Garrett and Sara Lane have come under a lot of criticism from reviewers mostly due to their inexperience (the actresses, not the reviewers)—I honestly don’t have a problem with the two neophyte thespians (even the kidlet who plays Tess doesn’t get on my nerves, and that’s saying a lot for me) because I think they accomplish what Castle set out to do: convey a fresh-faced, squeaky-clean innocence while The Big Bad Wolf (Ireland) is on the prowl.  The two girls’ relationship with the killer they’ve yet to meet is to me one of the fascinating aspects of the film; they’re attracted to the savage brutishness of Steve Marek, with Libby (Garrett) going on and on about how “sexy” he sounds.  (Libby even gussies up for a potential meet-up with Marek by putting on a new dress and makeup.)  I guesstimate that I’ve seen ISWYD maybe a half-dozen times over the past several decades (I first viewed it on TBS eons ago, and at one time owned a copy of the DVD that’s now OOP) and when I watched it again a few weeks ago on Me-TV’s Svengoolie it was the first time that I recognized Lane as the actress who played Elizabeth Granger on The Virginian from 1966 to 1970.  (Garrett wasn’t as fortunate: a smattering of bit parts on The Wild Wild West and Black Sheep Squadron and that was it.  Robert Conrad must have been looking out for her.)

Ireland and Crawford got to work together a second time (they were in Queen Bee together), and there’s first-rate support from TV veterans Leif Erickson (The High Chaparral), Patricia Breslin (The People’s Choice), Joyce Meadows (Two Faces West) and kiddie-show host Tom Hatten.  I also tend to chortle at the presence of B-movie great John Archer (who plays Kit’s father), whom OTR fans know was a one time “Shadow” while the regular Lamont Cranston, Bret Morrison, was doing his bit for WW2.

I Saw What You Did got a reboot in 1988 as a TV-movie with Shawnee Smith and Tammy Lauren as the prankish teens and Robert Carradine as the killer who just wants to be left alone to off his girlfriend.  It wasn’t particularly well-received (though it did manage to win an Emmy Award for its cinematography) and I think some of that might be due to its over-the-top finale (which I’ll keep mum about for those who haven’t seen it).  I’ll also put a tick-a-lock on my mouth about the 1965 original ends…only to say that if your eyes didn’t roll back in your head like mine did you are a tolerant, tolerant individual.  Despite its weak ending (and Patty Duke Show-esque score), I Saw What You Did is one of my favorites of William Castle’s extensive cinematic oeuvre.  The man did not know the definition of the word “restraint” (“That's it, baby—when you've got it, flaunt it…flaunt it!”) but he left us with a legacy of wonderful movie entertainments, and that’s not bad for government work.