Tributes To Your Favorite Classic TV Stars (5 Viewers)

[The 1960's]

Ron Howard (March 1, 1954 -) 70th Birthday Tribute ​

Ronald William Howard (born March 1, 1954) is an American director, producer, screenwriter, and actor. Howard first came to prominence as a child actor, guest-starring in several television series, including an episode of The Twilight Zone. He gained national attention for playing young Opie Taylor, the son of Sheriff Andy Taylor (played by Andy Griffith) in the sitcom The Andy Griffith Show from 1960 through 1968. During this time, he also appeared in the musical film The Music Man (1962), a critical and commercial success. He was credited as Ronny Howard in his film and television appearances from 1959 to 1973. Howard was cast in one of the lead roles in the influential coming-of-age film American Graffiti (1973), and became a household name for playing Richie Cunningham in the sitcom Happy Days (1974–1980). He starred alongside Lee Marvin in 1974 in “The Spikes Gang” and played the second lead in John Wayne's final film, The Shootist (1976)… Continue @ Wikipedia

There isn’t enough room on these pages to say how important and beloved The Andy Griffith Show was and is in the scheme and in the annals of classic television history. Sure Leave It To Beaver, Father Knows Best and many others were great, but The Andy Griffith Show is just so exceptional it could not be touched!

Right in the pulse and heartbeat of the series was Opie Taylor played by Ronny Howard, son of Andy Taylor played by Andy Griffith. He portrayed this role from age six to age fourteen and he was a helluva good actor! We grew up with Opie and loved him, his character, and the relationship between father and son brought about by the fabulous writers. There were 249 episodes in this glorious series and quite a few which highlighted the father-son relationship between Andy and Opie. The very First Episode in Season Three entitled, Mr. McBeevee from (1962) is among my favorites and will be the focus of my Tribute to Ron Howard in honor of his 70th Birthday! It is filmed with stunning on-location outdoor scenery in California. So Happy 70th Birthday to that cute little kid we all loved as Opie Taylor and to the man, his many accomplishments and future good health!

The Andy Griffith Show (1960-1968)

Opening Theme

S03E01 Mr. McBeevee (Oct.01.1962)

Directed by
Bob Sweeney
Writing Credits
R.S. Allen, Harvey Bullock Writers
Sheldon Leonard Aaron Ruben Danny Thomas Creators

Stars
Andy Griffith - Andy Taylor
Ron Howard - Opie Taylor
Don Knotts - Barney Fife
Frances Bavier - Aunt Bee Taylor
Karl Swenson - Mr. McBeevee
Thurston Holmes - Charlie

Produced by
Sheldon Leonard executive producer
Richard O. Linke associate producer
Aaron Ruben producer
Music by
Earle Hagen
Cinematography by
Sidney Hickox
Casting By
Ruth Burch
Art Direction by
Kenneth A. Reid
Set Decoration by
Ken Swartz
Costume Design by
Robert O'Dell
Makeup Department
Lee Greenway Eva Kryger
Production Management
Frank E. Myers
Second Unit Director or Assistant Director
Robert Saunders
Art Department
Reggie Smith
Sound Department
Charles David Forrest Robert Reeve
Editorial Department
Joseph Gluck
Music Department
Alan Jaggs Herbert W. Spencer
Script and Continuity Department
Hazel W. Hall
Transportation Department
Frank Khoury
Additional Crew
Doris Hartley Aaron Ruben Jay Sandrich​

Now it’s time to take a trip into Mayberry for a dissection of this historic tale. The script so clever and inspiring that I’ve included just about all the transcript.

It’s in the nature of many young children to exaggerate by making up people or places that don’t really exist. Sometimes they do and other times they don’t. Opie is talking about his new horse Blackie, and even gullible adults will believe those tall-tales told by children. Like the master of all, expert of none, Barney Fife. That’s what this story is all about.

Andy: Howdy, Barn. Have some coffee?
Barney: Thought you'd never ask.
Opie: Can I have a lump of sugar to take out to Blackie?
Barney: Who's Blackie?
Opie: That's my horse.
Barney: Your horse?
Opie: Yeah. He's tied up out outside.
Barney: Are you kiddin' me? How long you had a horse?
Opie: Oh, not long.
Barney: Well, ain't that something. Andy, you never said anything. You got the boy a horse. Is it a full-size horse or just a pony?
Opie: He's big like cowboys have and he's black all over with a white spot on his nose and he's got a silver saddle and a long tail. And you should see him jump over fences.
Barney: Jumps over fences. Well, Andy, ain't he kind of young? I mean, that's quite a responsibility taking care of a big animal like that. Where do you keep him anyways?

Blackie

​

Andy: Barn, actually...
Barney: Let's go outside and have a look. Wait till you see the way he'll nuzzle up to me. I got kind of a way with these critters. In a sense, I'm a master, you know? Well, there feller... Blackie. Blackie! Blackie, come on, boy. Come on.
Opie: He's tied up at the hitchin' post.
Barney: Huh?
Andy: Hitchin' post, right there. Actually, Barn, Blackie's a little on the invisible side.
Barney: Invisible, huh? You mean, there ain't no horse.
Aunt Bee: Come on in, Opie. Finish your breakfast.
Opie: Comin'.
Barney: Why'd you let the boy lead me on like that?
Andy: Oh, come on, Barn...
Barney: No, it's all right, it's all right. I can take a joke as good as the next fella. I just don't think you ought to let the boy get started in that direction.
Andy: I'm, uh... I'm sorry.
Barney: It's all right. Why don't we just, uh... Just forget it.
Andy: Okay. Now you see, Blackie, what a mess you got me into?

In the courthouse Opie tells Andy and Barney about a man walking around in the treetops.

Opie: Hi, Paw.
Andy: Oh, hi, Ope, what you got there?
Opie: These letters came for you at the house. Aunt bee thought you might want 'em.
Andy: Oh. While you're here how'd you like the top executive training job of taking the trash out back here?
Opie: Gee, I can't right now, Paw. I told Mr. Mcbeevee I’d be right back.
Andy: Who?
Opie: Mr. Mcbeevee. You don't know him. He's new around here. I just met him this morning.
Andy: Oh.
Barney: Oh, newcomer in town, eh? Where's he live at?
Opie: I met him in the woods.
Barney: What's he doin' in the woods?
Opie: Well, mostly he walks around up in the treetops.
Barney: He walks in the tree...? Mm-hmm. I suppose he's invisible, too.
Opie: No. Mr. Mcbeevee's easy to see. Especially his hat. He wears a great big, shiny, silver hat.
Barney: That does it!

Opie comes home with a real hatchet, “blade's genuine steel”, which he claims was given to him by his friend, Mr. McBeevee.

Andy: Uh, you say, uh... Mr. McBeevee give it to ya?
Opie: Uh Yeah. He said I could keep it, too.
Andy: Uh... Ope, uh, a hatchet is a mighty fine thing to have and it's extra special fun thinkin' that your friend Mr. Mcbeevee give it to you. 'Course now, I imagine if you was to think real hard you might remember that it come from some place else. Maybe you just picked it up along the road. More'n likely, it come from Mr. Edinger's carpenter shop.
Opie: No, paw, I got it from Mr. McBeevee.
Andy: You, uh... you did get this in the woods?
Opie: Uh-huh.
Andy: Well, somebody probably left it there for a reason which means that they'll be comin' by to pick it up. Now, you do know where you got it? Good. Then... then you just take it back and put it right where you got it.
Opie: Do I have to take it back?
Andy: Uh, it seems like the best idea. Now, you just skedaddle right along. Hurry back.
Barney: It's a good idea you stopped him. Sooner or later, he's got to find out he's living in a real world, and there just ain't any Mr. Mcbeevees.

Opie finds Mr. McBeevee (Karl Swenson, who is just fabulous), and returns the hachet. Mr. McBeevee and his twelve extra hands does a magic trick for Opie.

Opie: Mr. Mcbeevee! Mr. Mcbeevee!
Mr. McBeevee: Well, Opie, me lad, what is it?
Opie: I brought your hatchet back.
Mr. McBeevee: Well, now, is there somethin' wrong with it?
Opie: My Paw told me I should bring it back.
Mr. McBeevee: Oh, well, now he's probably thinkin' that it's too dangerous for ya and he may be right at that, too, you know. Parents usually are. It's a pity that I can't spare anything else for ya. I need these. These are me extra hands. I have 12 extra hands.
Opie: Well, that's all right. Thanks just the same. Well, I guess I'd better be gettin' home.
Mr. McBeevee: Hey, wait, wait, now. I can't let you go now with that long face on you. Did... did I ever show you the trick that I learned from the Heathen Cannibals to make smoke come out of me ears?
Opie: Can you really?
[Opie huge smile]
Mr. McBeevee: Oh... That's better now. Look. I think I have somethin' here that you can use. This is an old, old quarter that's just beggin' to be turned into gum and ice cream.
Opie: I couldn't take money.
Mr. McBeevee: Well, you earned it. Well, the berries you picked for me and the fresh springwater and the apples you brought for me. And bein' that you can't take the hatchet you take the coin.
Opie: Gee, thanks!
Mr. McBeevee: Hey, wait! I'll see ya later.
Opie: Probably tomorrow. I have to work for my Paw this afternoon.
Mr. McBeevee: Anytime, my boy, anytime at all.
Opie: Bye, Mr. McBeevee.
Mr. McBeevee: Good-bye.

 

[The 1960's]

Opie and Mr. McBeevee

​

Good ‘ole Barney gets a brainstorm. He’s been doing some thinking and he’s sure that Mr. McBeevee really exists so he decides to grill Opie for some evidence.

Barney: I think I know what'll turn the trick for us. We'll call into play one of the basic tools of our profession.
Opie: What's that?
Barney: The eyewitness identification.
Andy: What are you talking about?
Barney: I can get Opie to give us a description of this fella. I'm going to prove I know your boy better than you do.
Andy: Oh, Barney...
Barney: Say, Ope, uh... Uh, sit down here for a second, will ya? J-J-Just sit down there. Attaboy. A Good, good. You know, Ope, I was just gonna, uh... Just gonna practice fillin' out an identification form and I thought maybe you could help me out by, uh, oh, givin' me a description of somebody.
Opie: Okay.
Barney: Good. Just anybody at all, uh... Let's see who could it be, uh...? Say, I have an idea. How about Mr. Mcbeevee?
Opie: Okay.
Barney: Good, good. I'll just get the form here and we'll just, uh, start right in, okay? All rightey. First, uh, height. How tall is he?
Opie: Oh, 'bout as tall as Paw.
Barney: Uh-huh. And weight. Is he fat, or is he skinny, or...?
Opie: He's just ordinary.
Barney: “Average." Now, color of eyes?
Opie: I don't remember. Probably brown.
Barney: "Brown." uh-huh. Doin' fine, hey, Andy? Gettin' a line on him. Now, color of, uh, hair?
Opie: I don't know. He always wears his hat.

Detective Barney

​

Barney: Oh, the hat, yeah, well, uh, w-we'll get back to that. Uh, does he have any, uh, any peculiarities? Does he walk with a limp, or...?
Opie: He just walks regular.
Barney: "Just regular." Uh-huh. You hear that, Andy? Just regular. Yes sirree. I mean, he doesn't, uh... He doesn't fly or anything like that?
Opie: Course he doesn't fly.
Barney: Better and better, no trouble finding him.
Opie: Uh, the only thing is when he walks, he sorta jingles.
Barney: He jingles?
Opie: Like he had rings on his fingers and bells on his toes.
Barney: Well, uh, course he don't really have rings on his fingers and bells on his toes, now does he, Ope?
Opie: No. It just sounds that way.
Barney: That's right.
Opie: The jinglin' is really from all the things hangin' on his belt.
Barney: What things?
Opie: His hands... his 12 extra hands. He has 12 extra hands, and they... jingle. And he makes smoke come out of his ears. You can put that down.
Barney: "Smoke comes out of his ears."
Opie: He learned it from the cannibals.
Barney: "...and from cannibals."
Opie: Do you want to ask me about his silver hat?
Barney: No. I think that does it.
Andy: Yeah. I'd say that does it, Ope.

Opie shows Andy and Barney the old quarter given to him by Mr. McBeevee.

Andy and Opie go looking for Mr. McBeevee to find proof that he actually exists. Unfortunately, Mr. McBeevee leaves just before their arrival.

Andy tells Aunt Bee it’s time to give Opie a whipping. A father and son conversation ensues.

The heartfelt transcript follows …

Andy: Ope, uh... 'Member the fun you was havin' this mornin' gallopin' around the back yard on...Blackie? We was both enjoyin' that little game. Course, now... now the truth is th-there never was any real Blackie. That's just somethin' that you made up. Ain't that right? Well, about, uh... About this Mr. McBeevee... Maybe the same thing happened there. Maybe you, uh, made him up, too, just for fun, and... Th-there's nothin' wrong with that. What's wrong is usin' a Mr. McBeevee to get outta work and to explain thing that seem to come from nowhere. Ope, they, uh, they comes a time when you have to stop the playactin' and tell the truth. And that time's now. Right now. Ope, I want you to be man enough to tell me that Mr. McBeevee is just make-believe. That's all you have to say and it'll all be forgotten. But if you don't then somethin' else is gonna happen. I believe you know what I mean, don't you?
Opie: Yes, Paw.
Andy: All right tell the truth. Just go ahead and say right out Mr. McBeevee is just make-believe. Well? Go ahead.
Opie: Mr. McBeevee is just...
Andy: Say it.
Opie: I can't, Paw. Mr. McBeevee isn't make-believe. He's real.
Andy: Opie...
Opie: Don't you believe me, paw? Don't you, Paw?
Andy: I believe you.

 

[The 1960's]

Aunt Bea: Well, what's wrong with the boy making up an imaginary character?
Barney: Well, what about the hatchet and the coin?
Aunt Bea: Well, still, that's not rea... Andy?

Andy & Opie

​

Andy: No... I didn't spank him.
Barney: Oh, well, that's good. Just not necessary. He learned his lesson. A good talkin'-to is the best thing.. Makin' him stay in his room.
Andy: I didn't do that either.
Barney: Well, what did you do?
Andy: I told him I believed him.
Barney: You told him you beli... But, Andy, what he told you's impossible.
Andy: Well, a whole lotta times 've asked him to believe things that to his mind musta seemed just as impossible.
Barney: Oh, but Andy, this silver hat and the jinglin' and the smoke from the ears, what about all that?
Andy: Oh, I don't know, Barn. I guess it's a time like this when you're asked to believe somethin' that just don't seem possible... That's the moment that decides whether you got faith in somebody or not.
Barney: Yeah, but how can you explain it all?
Andy: I can't.
Barney: But you do believe in Mr. Mcbeevee?
Andy: No. No. No. I do believe in Opie.

Andy goes back in the woods to do some deep thinking.

Andy: Mr. McBeevee.
Mr. McBeevee: Hello. McBeevee at your service. What can I do for you, Mister?
Andy: You walk around in the trees... Silver hat an-an-and you jingle and... You can make smoke come out of your ears, can't you?
Mr. McBeevee: Uh-huh.
Andy: Mr. McBeevee, I can't tell you how glad I am to meet you.
Mr. McBeevee: Well, are ya, now?
Andy: I certainly am.
Mr. McBeevee: I didn't catch the name.
Andy: Oh, I'm Andy Taylor, Opie's dad.
Mr. McBeevee: Oh, are ya, now? That's a wonderful boy.
Andy: Oh, he's a fine boy.

Andy Meets Mr. McBeevee

​

Hearing that Andy claims to have met Mr. McBeeve, Barney feels he needs psychiatric help.

Andy: Hey, Barn? Guess who I just met.
Barney: Who?
Andy: Mr. Mcbeevee. He was right out there in the woods, right where Opie said he was.
Barney: You seen him with your own eyes?
Andy: You better know I did... Shiny silver hat and everything. I never was as glad to shake hands with anybody in my life.
Barney: You shook hands with him?
Andy: I sure did. See, where we went wrong, Barn...
Barney: Oh, Andy, you know something? You been working too hard. No, now, listen... you been working too hard, Andy. Just take it easy. When... when Opie said... Just sit down there and relax, now. I'm gonna make a phone call, and you just take it easy while I make it. Just let your mind go blank. Don't even think of anything. Hello, Sarah? This is Barney Fife. Uh, I wonder if you could get me Doc Harvey, would you? There just ain't no job more demanding than the high sheriff. I always did say that. Hello, doc? Uh, this is Barney Fife. I wonder if you could come over to the office. Uh, well, no. It's just for a... for a regular check-up. It's an emergency. Hurry. Just relax. Just... Just let your mind go blank. Don't even think. Just let her go. You know, don't even think of anything. Just... just let yourself go. Just... just relax.

Barney Gets Help

Andy: He's a real nice fella.
Barney: Oh, yeah. He's a... he's a... Nice. Nice.
Andy: He's comin' over to the house to eat supper tonight.
Barney: Supper?
Andy: Uh-huh. Wonderful.
Barney: If he gets through in time.
Andy: Oh, he'll get through. Why don't you come, too?
Barney: Oh, yes, I will. I'll come. I'll even wear my... my shiny hat. I have a shiny hat. I do. You didn't know that.
Andy: No, no, no!
Barney: No, I'll get that. You just... just relax and let me answer the phone. And just... just let the mind go blank. Hello? Barney Fife. The Sheriff's off... Uh, well, uh, yeah, he's here, but, uh, he's not taking any calls right now.
Mr. McBeevee: Tell the sheriff that I can make it to his house for supper tonight.

Barney: Y-Y-You'll be there for supper. I didn't get the name. B-b... uh... Um…MBbeevee? Uh-huh. Uh-huh.

Closing Credits

Final thoughts. The loving and tender relationship between Andy and Opie is so present, but Andy shows that it isn’t easy being a father. He certainly isn’t fallible, and yet, no matter what, he believes in Opie. It hits home. I remember how my dad always had my back even when he knew I was wrong. Then there was Barney, who talked tough and yet loved Opie almost as much as Andy and Aunt Bea. You can see that here, when he showed relief after Andy said he didn’t give Opie a whipping. We were so very lucky to have been brought up in an era with most of the greatest television series of all-time!! Thanks for watching and reading.

Episode Notes:

1. The kitchen door leading to the outside of the Taylor house is on the driveway side of the house. Yet in this episode, once Andy, Barney, and Opie go out this door, it's to the back yard. In season 6, the layout of the kitchen was corrected by moving the door from the side of the house to the back of the house.

2. This episode features a rare look at the Taylor's back yard.

3. Mr. McBeevee has 12 extra hands.

4. All the Season Episode One titles contain Opie's name except the S01.E01 and this season, S03.E01.

Ron Howard Related Media

Opie Taylor (Ron Howard) for Post Toasties and Sanka Coffee (1962)



MeTV Presents The Best of Opie Taylor



Ron Howard 1980 - Bobbie Wygant Archive



Ron Howard for "Night Shift" 1982 - Bobbie Wygant Archive



Daryl Hannah & Ron Howard "Splash" 2/26/84 - Bobbie Wygant Archive



Ron Howard for "Gung Ho" 1986 - Bobbie Wygant Archive



Ron Howard "Parenthood" 1989 - Bobbie Wygant Archive



Ron Howard "Backdraft" 5/11/91 - Bobbie Wygant Archive



Ron Howard "Far And Away" 1992 - Bobbie Wygant Archive



Ron Howard "Ransom" 10/96 - Bobbie Wygant Archive



Ron Howard "Inventing The Abbotts" 3/10/97 - Bobbie Wygant Archive



Biography - Ron Howard



Ron Howard Interview - TelevisionAcademy.com/Interviews



Andy Griffith on early "Andy Griffith Show" episodes - EMMYTVLEGENDS.ORG



Happy 70th Birthday Ron Howard!!

​

Thank you Randall for saluting our group for their recent Tributes far more elequently than I.

Thank you Doug, John and Scott for your Tributes over the past couple of days to James Wong, Robert Conrad and Vitina Marcus!! And to Scott for his Magical Images!

Upcoming Tributes March 2024

March 2nd BarBara Luna 87th Birthday Tribute
February 24th Gary Lockwood 87th Birthday Tribute (Delayed)
March 6th Ron Reiner 77th Birthday Tribute
March 12th Jon Provost 74th Birthday Tribute
March 18th Peter Graves Birthday Memorial
March 23rd Barbara Rhoades 78th Birthday Tribute
March 31st Richard Chamberlain 90th Birthday Tribute

 

[Jeff Flugel]

Happy 86th Birthday, BarBara Luna!​

Sultry actress Barbara Luna (now spelled BarBara) was born in New York City 86 years ago today. Having a mix of Hungarian-Jewish, Italian, Filipino, Portuguese and Spanish ancestry resulted in the striking actress frequently being cast in various ethnic roles on both stage and screen. Before Hollywood came calling, Luna (as she apparently prefers to be called) earned her stripes on Broadway, appearing in various musical productions, beginning with South Pacific, The King and I and Teahouse of the August Moon. Luna scored quite a few film roles throughout her career, as well, ranging from smaller uncredited parts in films such as Elmer Gantry to larger ones in The Devil at Four O'Clock, Five Weeks in a Balloon, West of Montana, Ship of Fools, Firecreek, Che! and The Gatling Gun.

However, most of her 107 screen credits were garnered from her extensive work on television, across multiple genres. Luna is perhaps most well known among sci-fi fans for her co-starring role as Marlena, savvy "captain's woman" to the alternate universe Kirk, in the iconic "Mirror, Mirror" episode of the original Star Trek...but she also appeared in what seems like virtually every TV series available during the 1960s, '70s and '80s, including Perry Mason, Disney's Zorro, The Texan, Bonanza, Overland Trail, Tales of Wells Fargo, Death Valley Days, Adventures in Paradise, Lock Up, Stagecoach West, Gunsmoke, Hawaiian Eye, The Real McCoys, The Outer Limits, The Wild Wild West, Amos Burke, Secret Agent, The Wackiest Ship in the Army, Laredo, Cimarron Strip, The Man from U.N.C.L.E., The High Chaparral, The Big Valley, Mission: Impossible (both the original and '80s versions), Lancer, The Young Lawyers, Marcus Welby, M.D., Mannix, Kung Fu, Petrocelli, The Six Million Dollar Man, Switch, Police Story, The Amazing Spider-Man, CHiPs, Buck Rogers in the 25th Century, Charlie's Angels, Fantasy Island, T.J. Hooker, Airwolf, Hunter, Dallas and many more.

I've always found Luna an enchanting screen presence, equal parts seductive, dangerous and vulnerable. Aside from the impressive list of programs mentioned above, Luna added much needed glamor and style to the following shows:

Mike Hammer - 1.5 "So That's Who That Was"
I'm a big Darrin McGavin fan, and quite enjoy this energetic late '50s private eye series, where he gets to play tougher than usual, delivering plenty of well-deserved knees to the face of many a crumbum badguy. This one is set in Chinatown and has a pretty impressive guest cast for a low-budget Revue show. Besides Luna (who, in one of her earliest roles, gets one scene as a hot secretary who flirts with Mike), we also get brief appearances by a couple of classic Asian-American acting greats, Keye Luke and Anna May Wong.

Ripcord - 2.27 "A Present for Felipe"
I really like most of the ZIV shows I've seen, but I must admit I've had a hard time getting into this one. Being a amateur scuba diver myself, the long scuba scenes in Sea Hunt don't bother me at all, but all the sky diving stuff here drags a bit. Perhaps it's the juxtaposition of the color-drained, virtually B & W skydiving footage mixed with the brighter color of everything else that I find distracting. That said, this was an entertaining enough episode, with Luna switching gears from Asian to Mexican to play a vivacious diamond smuggler that takes our rugged leads, Larry Pennell and Ken Curtis, for a bit of a ride.

Have Gun – Will Travel – 1.37 “Silver Convoy”
Having barely survived a two-day ordeal crossing the Sonora Desert without water, Paladin (Richard Boone) arrives at the hacienda of Don Francisco (Donald Randolph) and immediately mixes it up with the Don’s spoiled son, Pablo (Nico Minardos) and cruel henchman Regaldo (George Keymas). Even in his exhausted state, Paladin wipes the floor with the two bullies and impresses Don Francisco enough to hire him to escort the family’s next shipment of silver. But once Paladin learns that the Francisco family are greedy predators, using and abusing prisoners long past when their sentences are up to mine the silver, he decides to bring the whole evil enterprise down, with the help of some fed-up locals led by Carlos (Mario Alcalde). Barbara Luna co-stars as Lupita, a fiery senorita held captive by Pablo to lure Carlos into a trap. Typically well-written entry in this, one of the finest of all classic TV westerns, with Boone on commanding form as the principled mercenary who brooks no nonsense from anyone. Also with Rodolfo Hoyas, Jr. and Abel Fernandez.

The Untouchables – 1.7 “Mexican Stake-out”
Is this, like, the most violent classic TV show ever, or what? The Untouchables crew dishes out the beatings as well as receives them, complete with pretty gruesome (by early ‘60s TV standards) make-up effects to add to the realism. When a key witness who can put mobster Newberry (Ken Lynch) behind bars goes missing south of the border, Elliot Ness (no-nonsense Robert Stack) heads down to retrieve him, with full knowledge that he’s being lured into a trap. Vince “Ben Casey” Edwards plays a Spanish-speaking agent who accompanies Ness and promptly gets in deep doo-doo. Martin Landau goes a bit over-the-top as a twitchy trigger man, and a very young, fresh-faced Barbara Luna has a short but memorable scene in this early episode, which builds to a nicely tense conclusion. Also with Roy Engel, Alex Montoya and Rodolfo Hoyos Jr.

Wide Country - 1.24 "Farewell to Margarita"
A fine, heartfelt episode of this drama series, starring Earl Holliman and Andrew Prine as Mitch and Andy Guthrie, brothers on the rodeo circuit. This one starts with Mitch getting hit by a car while partying it up in a seedy Mexican border town. He's helped by a young woman he meets on a bus (driven by Pedro Gonzalez Gonzalez!), who lives with her grandfather and little brother, and harbors a secret - she's actually a bar girl who dances at one of the local nightspots, and is kept on a tight leash by her slimeball boss (Vito Scotti). Mitch understandably falls for her and tries to help her (not hard to believe, since she's played by a young and extremely beautiful Barbara Luna, who gives a very good performance). Engrossing drama about personal redemption, pretty frank for the time. And did I mention Barbara Luna?

The Invaders - 1.12 "Storm"
A terrific series overall, but this was not one of the better entries, IMO. The premise is good, but this is an example of one of those episodes where the hero spends most of the story in a drugged and helpless state (not one of my favorite storylines). This sidelines the usually very capable David Vincent (Roy Thinnes) from most of the action. Luckily, the wonderful Joseph Campanella is there to pick up the slack, as a kindly priest being used as a cover by the evil aliens (including Luna), while they plot to wipe out the eastern seaboard with their high-tech hurricane-generating machine.

Tarzan - 2.6 "The Mugumba Curse"
I confess to finding this show a bit juvenile sometimes, but overall, it's a pretty entertaining take on Edgar Rice Burrough's Ape Man character, and benefits from some memorable guest stars and lots of outdoor location work in Mexico and Brazil. Ron Ely makes for a fine Lord of the Jungle and it's diverting enough watching him run all over the place (including around bubbling lava pools!) in his bare feet. Luna gets somewhat thankless role here as Frankie, a young woman with a chip on her shoulder who is set to inherit a diamond mine from her long-absentee father, but invests the part with her customary sass. In the end, Tarzan must save her from a tribal curse by besting slimy con man Simon Oakland in a sequence of death-defying challenges. Oakland is always a very welcome presence on my TV screen, and enlivens this episode considerably.

The FBI – 2.19 “The Gray Passenger”
A former president of a South American country is murdered on a ship sailing off the Carolina coast, en route to South America with much-needed medical supplies. The victim’s mistress (Barbara Luna) is a witness to the crime, and keeps alive by aligning herself with the killer, a ruthless revolutionary leader with delusions of grandeur named Carlos Avila (Alejandro Ray), who plots to take over the ship along with several of his men, posing as crew members. Inspector Erskine (Efrem Zimbalist, Jr.) lands on the ship as lead investigator while special agent Rhodes (Stephen Brooks) goes undercover as a sailor. The two agents soon find themselves in a tricky situation and must singlehandedly overthrow a mutiny. Builds to an exciting shootout climax, with Rhodes wielding a machine gun against a number of pirates. The gorgeous Ms. Luna does fine work as an opportunistic survivor who must choose between doing what’s expedient or what’s right. It might just be me, but it seems that the video quality of the transfers on the Warner Archive S2 DVD sets are less crisp than those on S1, though they are definitely watchable. Also with Carlos Romero and Henry Wilcoxon as the captain.

Hawaii Five-O - 2.1 "A Thousand Pardons - You're Dead"
This second series premiere features Harry Guardino as a G.I. murdering prostitutes involved in an insurance scam. The vivacious Barbara Luna plays a bar girl who an undercover Danno gets close to during the investigation. The ubiquitous James Hong also shows up. A pretty solid entry in the series, with Jack Lord's McGarrett's verbal fencing with Guardino a highlight. Hard as it might be for others here to believe, I never really watched Hawaii Five-O back when it was on, despite being a massive TV nut growing up in the 70s - so watching it on DVD has been a new experience for me. Knowing that the first few years of it were filmed at the tail-end of the 1960s led me to pick up the first two seasons on DVD several years back, and I have to say, I'm getting a kick out of the show. All the location filming helps a lot, and Lord oozes cool charisma as McGarrett. Luna returned in the premiere episode of the series' twelfth and final season ("A Lion in the Streets").

Cannon – 1.14 “Flight Plan”
Posing as a Cuban refugee doctor being hunted by political enemies, Sandoval (Cesare Danova) hires Cannon to plan a foolproof escape route out of the country for him. But Sandoval is actually a cold-blooded casual killer who has embezzled a group of Cuban activists out of $250,000, and once he has Cannon’s escape plan in hand, cold cocks him and leaves unconscious in a locked garage to die from exhaust fumes, and goes on the lam with his lover (Barbra Luna). But hard-headed Cannon is a tough nut to crack, and soon he’s down in Mexico, one P.O’d hombre hot on the Sandoval’s trail. A crackerjack episode, fast-paced and tense, marred only by an unlikely stunt during the climax, as our portly private eye somehow manages to pursue and jump aboard a hijacked bus as it speeds away. You gotta love those opening credit announcements in Quinn-Martin productions, which always manage to educate viewers on how best to pronounce guest star names (now I know Danova’s first name is pronounced “Chez-er-ay”). Luna’s part is fairly small here but she's always a sight for sore eyes (though I must say, I prefer her with long hair).

Luna has been married three times, including a brief union with well-loved Hollywood party animal Doug McLure, whom she still talks about with great fondness in the following Word on Westerns YouTube video below (endearingly, she refers to him as "Dougie"):

 

[Flashgear]

John Hopper...awesome tribute to Robert Conrad, and an enormous amount of work there, thank you! Fine review, caps and clips from that S1 Wild Wild West episode! A couple years ago, I got the Mission Impossible complete series Blu-ray and because of your post, I watched that episode last night, which was damn good and a fine tough guy outing for Bob (though it ends badly for his character, you can't win against the IMF)...when you come up on their target list, it's game over!

I enjoyed revisiting Robert Conrad's Baa Baa Blacksheep/Blacksheep Squadron not long ago in the what did you watch thread...

Scott...great tribute to Vitina Marcus and some of her most memorable work!
In my mind, I always associate her with Susan Oliver and Yvonne Craig as the fantasy 'green girls' of my TV fever-dream youth! VTTBOTS's Return of the Phantom really is a treasured memory for me, as a then-nine year old I never missed an episode, and even to the callow kid I was at the time, I knew this one was hauntingly romantic, and very special in my memory.

Neal...wonderful tribute to Ron Howard! Doesn't matter to me what his many achievements of the last 50 years are, he'll always be Opie and several other cute kids who popped in and out of my vast TV and movie collection! You rightfully showcased one of his best episodes, the superb Mr. McBeevee! The fact that this sweet and funny episode first aired during the tense Cuban Missile Crisis of October 1962, when many families were putting together supplies for imminent evacuation of their homes in likely nuclear weapon target cities (my hometown Calgary Civil Defense pamphlet with evacuation map that I still have shows a target map of my hometown with the blast radius and radioactive fallout for an expected Soviet 5-Megaton H Bomb attack!) Mr. McBeevee must have represented a pleasant respite for terrorized families during that terribly risky confrontation between the USA and Soviet Nuclear forces on the brink of war (and things were actually far worse than we knew at the time!).

I love this casual on-set photo of Ronnie Howard with Peter Breck and Nancy Olson while filming The Big Valley's season one episode Night of the Wolf (Dec.1, 1965)...

Jeff...magnificent tribute to Barbara Luna, one of our prime fantasy dream girls of our youth! I remember 1967's night of first broadcast of Star Trek's Mirror, Mirror, and she definitely made an impression on my pre-pubescent self...the 'tinglies' that I only got around pretty girls, as my fevered imagination formulated what 'sexy' really was... And when really given the chance to shine, she proved herself as a fine actress! As I showcased in the 'what did you watch...' thread not long ago, she really delivered a powerfully touching performance as a street girl/hitman's moll with a self-sacrificing moral fortitude that forbids murder (specifically, the murder of Joe Mannix) in Mannix S7E7 Silent Target (Oct. 28, 1973), here's a few of my screen caps again from her brilliant performance in that episode...

 

[JohnHopper]

John Hopper...awesome tribute to Robert Conrad, and an enormous amount of work there, thank you! Fine review, caps and clips from that S1 Wild Wild West episode! A couple years ago, I got the Mission Impossible complete series Blu-ray and because of your post, I watched that episode last night, which was damn good and a fine tough guy outing for Bob (though it ends badly for his character, you can't win against the IMF)...when you come up on their target list, it's game over!

Thanks. Much appreciated. I'm glad that you returned to Mission: Impossible.
“The Killer” was so good that the new series did it again.
My three favorite series with Conrad remain:
The Wild Wild West
Baa Baa Black Sheep
Centennial

 

[The 1960's]

Gary Lockwood 87th Birthday Tribute​

Gary Lockwood (born John Gary Yurosek; February 21, 1937) is an American actor. Lockwood is best known for his roles as astronaut Frank Poole in the film 2001: A Space Odyssey (1968), and as Lieutenant Commander Gary Mitchell in the Star Trek second pilot episode "Where No Man Has Gone Before" (1966). He starred in the only American film by French New Wave director Jacques Demy, Model Shop. He played numerous guest television roles from the early 1960s into the mid 1990s, and played the title role in The Lieutenant (1963–1964)… Continue @ Wikipedia

Gunsmoke (1955-1975) HD Stream

Series Theme

S11E18 The Raid: Part 1 (Jan.22.1966)

Directed by
Vincent McEveety
Writing Credits
Clyde Ware
Norman MacDonnell
John Meston
Charles Marquis Warren

Stars
James Arness - Milburn Stone
John Anderson - Les McConnell
Gary Lockwood - Jim Stark
Milburn Stone - Doc
Jeremy Slate - Web Fraley
Richard Jaeckel - Pence Fraley
Milburn Stone - Doc
Jim Davis - Clell Williams
Amanda Blake - Kitty
Ken Curtis - Festus
John Kellogg - T.R. Stark
Michael Conrad - Cash McLean
Percy Helton - Mr. Early
Preston Pierce - Jeff Fraley
Ted Jordan - Shiloh
Edmund Hashim - Johnny Barnes
Glenn Strange - Sam
Dee Pollock - Tom Carlyle
Roy Engel - Sheriff
Tony Haig - Billy
Olan Soule - Barber
Charles Seel - Barney
Michael Fox - Hotel Clerk
Arthur Peterson - Banker
Gregg Palmer - Bartender

Rest of cast listed alphabetically:
Walter Bacon Jimmie Booth John Bose John Breen Michelle Breeze Ralph Brooks Loren Brown Dick Cherney Fred Dale George DeNormand Pete Dunn Ruth Foster Bill Hart Bert Madrid Alan Marston Billy McCoy Ed McCready Mathew McCue Hal Needham Jimmy Noel James Nusser Paul Power Robert Robinson Chick Sheridan Cap Somers Rudy Sooter George Sowards

Produced by
Philip Leacock
John Mantley
Music by
Franz Waxman
Cinematography by
Harry Stradling Jr.
Editing by
Albrecht Joseph
Casting By
James Lister
Art Direction by
Raymond Beal
Set Decoration by
Herman N. Schoenbrun
Makeup Department
Glen Alden
Kay Shea
Production Management
Robert M. Beche
Second Unit Director or Assistant Director
Christopher N. Seiter
Art Department
Clem Widrig
Sound Department
Jack A. Finlay
Vernon W. Kramer
Camera and Electrical Department
Richard Craig Meinardus
Costume and Wardrobe Department
Alexander Velcoff
Music Department
Gene Feldman
Script and Continuity Department
Edle Bakke
Additional Crew
Herbert DuFine
George Walsh​

As stunning as the CBS Gunsmoke DVD’s are, the HD masters currently streaming takes this series to a whole new level. They are breathtaking and it’s not just the image quality but the audio as well, which is so sharp and crisp it just thunders. This TWO-PART television adventure from 1966 is the absolute peak of this great series and plays out like a motion picture cinema experience! The enormous cast is rich with talent. The powerful story was written by Clyde Ware who penned 17 Gunsmoke episodes between the 10th and 13th seasons, (1965-1967).

Twenty months after his signature role as Lt. William Rice in The Lieutenant concluded, 29 year-old Gary Lockwood co-stars here in his 20th screen credit as cowboy tough-guy Jim Stark, the leader of a very dangerous gang of bank robbers.

It’s a quiet morning in Sedalia, Missouri. Front men gun-saleman Les McConnell (John Anderson) and Clell Williams (Jim Davis) have long since completed casing out the Sedalia, MO. Merchants Bank. Three groups of men on horse (three per group) ride slowly into Sedalia right on time. Bank robbers. The soundtrack accompanying this passage is superb and thus must be heard here.

The First Raid

In this Eleventh Season, Gunsmoke oddly begins using a second theme song with each episode. The second theme followed the episode prologue and the original preceded it. This practice would continue until the Eighteenth Season when the first was dropped.

New Series Theme

​

Doc is trying to read about the bank robbery in the Dodge City Times but Festus, who can’t read, keeps interrupting him.

Festus: What are you reading about, Doc? Doc?
Doc: Huh?
Festus: What are you reading about?
Doc: I'm reading about that raid in Sedalia.
Festus: Where's Sedalia at?
Doc: Well, the last time I looked, it was in Missouri. Now, hush up.
Festus: Well, golly Bill, Doc, what are you reading about Missouri for? Ain't there nothin' worth reading about here in Kansas? Well, what happened in Sedalia? Doc? Doc what? What happened in Sedalia?
Doc: Well, I told you, there was a raid!
Festus: Now, I'm trying to find...
Doc: They... 15 or 20 fellas rode in there and... and robbed the bank, and they got... let's see, I don't know... $20,000, I guess.
Festus: Where in thunder was that?
Doc: Hush up, will you.
Festus: Where was the marshal at while all this was going on?
Doc: Huh?
Festus: Maybe they didn't have no Marshal. Anybody hurt, was they?
Doc: Huh? Huh what?
Festus: Well, anybody hurt?
Doc: I haven't got that far yet.
Festus: Well, when did they do it?
Doc: Three days ago!
Festus: Well, did they catch any fellers that did it?
Doc: Why don't you read it yourself?!
Festus: That ain't fair. Now, you know I can't read.
Doc: Well, by thunder, you can certainly talk. Worse than anybody I ever saw. You'd talk the hind legs right off a jackass.
Festus: All right. Just let me tell you this, Doc. 'Bout this raid in Sedalia, if they was a raid, it ain't never gonna happen in this town, 'cause they ain't no gang no place in this whole country that's got nerve enough to hit Dodge.

Plans to move on to Kansas and another bank heist by The Stark Gang are in the works. McConnell once again staking out a layout of Dodge.

Jim Stark: Anybody here ever been in Dodge?
Les McConnell: I have. At least I've been through there once or twice. It won't be as easy as other towns we've hit.
Gang Member: Oh? How come?
Les McConnell: Well, for one thing, it's bigger. Be harder to get out of.
Jim Stark: Which means we'll be less conspicuous moving in.
Les McConnell: There's another problem, too... There's a U.S. Marshal, name of Matt Dillon. Word is, he's far from being a pushover.
Jim Stark: We'll worry about this Dillon later.

At the local bar, Clell Williams (Jim Davis) is drunk as a skunk and he won’t listen to anybody in that condition. There’s no telling what he might say about their plans for Dodge. Jim Stark, Web Fraley (Jeremy Slate), along with Tom Carlyle (Dee Pollack) and Johnny Barnes (Edmund Hashim) head over there to clean things up.

The gang is awaiting signs of the local doc, and they tell Stark they won’t go anywhere without the injured Cash McLean (Michael Conrad). Web Fraley and Pence Fraley (Richard Jaeckle), go head to head with Stark until cooler heads prevail when McConnell suggests they take Mclean along with them to Dodge.

 

[The 1960's]

In Dodge, Doc gives McLean a clean bill of health. At the Long Branch gun-saleman Les McConnell buys Kitty a glass of her best Tennessee Walking Whiskey while showing off his huge selection of merchandise.

In comes Cash McLean who was ordered by Stark to stay out of sight. Just at that moment Matt returns from Hays City and heads to the Long Branch with Doc to investigate.

Stark’s gang has beat him to the punch, literally.

(slapping continues)
Shiloh: No more!
Web Fraley: He's right, Jim! that's enough!
Jim Stark: I ought to kill him!
Les McConnell: Well, somebody ought to. You know how close he came? Marshal walked into that saloon not two minutes after I put him on his horse.
Web Fraley: All right, so he did a stupid thing, but there's no harm done.
Les McConnell: Well, luck. Sheer luck. If I hadn't happened to be in that saloon, there might be a posse after us right now.
Jeff Fraley: We've had posses after us before.
Jim Stark: (panting): Yeah. When we had something to show for the risk! Not because somebody disobeyed orders! Now, get him out of here. Now, what about Dodge?
Les McConnell: All right, bank's here. Saloon's here. Livery stable over here. The way I figure it, we can put three or four men in the livery stable without raising suspicion, one man in the Blacksmith shop if necessary, and in this alley, we'll have one man to cover our flank.
Jim Stark: What about the safe in the bank?
Les McConnell: Ah, it's a good one. We'll have to get him to open it.
Jim Stark: Hm. You, uh... you think the Marshal's back in town for good?
Les McConnell: It looks that way. It seems he went into Hays City for a trial, and it ended before anyone expected it to.
Jim Stark: Well, what are we fussing about? He's only one man.
Les McConnell: He's a man you can't underestimate. He's buried a lot of fellas who did.
Jim Stark: All right. All right, we send a half a dozen men into town, we cut him down. Than we hit the bank. What's wrong with that?
Les McConnell: Not much, except it's not very smart. We've been successful so far because we've been smart. Moved fast; we haven't
Jim Stark: Meaning?
Les McConnell: If we cut down a U.S. Marshal in cold blood, we'll have every gun in Kansas out against us.
Web Fraley: Yeah, he, uh... he may be right, Jim. You know, up to now, nobody but the law has give us much trouble.
Jim Stark: Suppose we make it look like a grudge killing?
Les McConnell: Mm-hmm. How?
Jim Stark: We send our fastest gun in against this Dillon, and we'll cut him down. Back him up with a rifle, just so we stay on top.
Web Fraley: Who's that?
Jim Stark: Well, Johnny's always bragging about how fast he is. How about it, Johnny? You want to tackle a U.S. Marshal?
Johnny Barnes: Why not?
Web Fraley: All right, what about the man with the rifle?
Jim Stark: I was thinking about my brother, uh...Tommy here.
T.R. Stark: He's just a kid, Jim.
Tom Carlyle: I'm old enough.
Jim Stark: Sure. And you got to get your feet wet sometime, don't you, boy?
Tom Carlyle: Sure.
Jim Stark: (quietly): Sure. All right, then it's settled. We set it up for tomorrow.
(crickets chirping)

Johnny Barnes and Tom Carlyle ride into town. The grudge match is about to go into play on the streets of Dodge.

​

Johnny Barnes: Dillon! I'm calling you, Marshal! Come on out!
(cocks rifle)
(door opens)
Johnny Barnes: I'm gonna count to three, Marshal.
Matt Dillon: Mister, if you're thinking of drawing that gun, there's not much point in counting.
Johnny Barnes: I just want everyone to see you're getting’ a fair shake. One...
Matt Dillon: Mister, you're crazy. I don't even know you.
Johnny Barnes: I know you, Marshal, and that's all that matters. Two...
[Gunshot]
(horses neighing)
[Gunshots]
Tom Carlyle: (whispering): McConnell! I'm hurt! What am I gonna do? Help me!
(Gunshot)

Grudge Match Draw

Festus: Dead.
Matt Dillon: That's pretty good shooting, mister.
Les McConnell: Thanks. Guns are my business, Marshal, but I never figured on having to use one on a man.
Festus: This here'n ain't quite a man. I reckon he's just as dangerous, though.
Matt Dillon: That's funny, I never saw him before in my life, either.
Les McConnell: If you don't need me any further, Marshal, I think I'll go to my hotel. I feel a bit shaky.
Matt Dillon: Well, fine. If you wouldn't mind stopping by the office later and making a statement, Mr...?
Les McConnell: And I'll be glad to.
Matt Dillon: There. Look at that.
Festus: You sure knowed what you was talking about, Matthew. That's the same feller, ain't it?
Matt Dillon: It sure is. I knew I'd seen that face somewhere before.
Festus: Wanted for robbery, is he?
Matt Dillon: Yeah, and murder, too. The only thing I can't figure out is, why was he after me?
Festus: Well, maybe he had a grudge agin you.
Matt Dillon: Well, I don't know why... I'd never met the man.
Festus: What about that young feller?
Matt Dillon: Well, there's nothing here on him at all.
Festus: Hm. Well, it do beat all, don't it?
Matt Dillon: Let me see that poster again. Missouri. I'll tell you what, Festus. Go down to the telegraph office and send a wire to Saint Joe. See if there's any further information on this man since this poster was issued.
Festus: When was that?
Matt Dillon: Well, that was a year ago last September. And don't forget the name, John Barnes.
Festus: John Barnes. I'll do 'er, Matthew.

 

[The 1960's]

When word spreads about Les McConnell shooting Tom Carlyle in cold blood, Stark and the gang wants revenge.

- (crickets chirping)
Web Fraley: Keeping kind of late hours, ain't you, McConnell?
Les McConnell: What are you doing here?
Shiloh: We come for you.
Les McConnell: But you made a mistake; you might have been seen.
T.R. Stark: It was worth the risk.
Les McConnell: I was, uh... coming out myself, tomorrow.
T.R. Stark: Yeah? We didn't feel like waiting.
Les McConnell: Huh.
T.R. Stark: Now... move!
Jim Stark: So, you shot him?
Les McConnell: I had to shoot him; I had no choice. He was screaming my name.
T.R. Stark: You dirty yellow-b...
Les McConnell: Oh, figure it out for yourself! The Marshal was in the... middle of a setup. Two men are trying to gun him down, one of them runs for help to another guy who's been around town for a week. He'd be an idiot not to know that something was building up.
T.R. Stark: He was just a kid... 18 years old.
Les McConnell: Well, you sent him out to do a man's job, so don't be crying in your beer when he couldn't handle it.
T.R. Stark: You always had a smart mouth, McConnell, but you ain't never been one of us!
Les McConnell: Now, don't be a fool, Stark. If you want to kill me, go ahead, but, uh... if you go into Dodge without me and without taking care of Dillon first... I'm gonna have a lot of company.
T.R. Stark: I say let's kill him. Anybody got any objections? All right, McConnell. (hammer cocks) I figure to... put the first slug in your belly so that, uh... you take a long time to die.
Les McConnell: You might... talk me to death before you get around to shooting me.
Jim Stark: Put your gun away, Ted.
T.R. Stark: What?
Jim Stark: You heard me. Put your gun away. Put it away.
T.R. Stark: He killed Tommy.
Jim Stark: He killed him because he didn't have any choice.
T.R. Stark: What are you talking about? That kid was your brother!
Jim Stark: The only brother I have is you, and if'n you was as dumb as that kid, I'd have killed you long ago. Now...we let him go.
Les McConnell: Thanks.
Jim Stark: Save it. If we're gonna hit Dodge, we've wasted enough time already.
Les McConnell: We don't need much time. We go in like we planned, we'll get rid of Dillon, take the bank and be halfway to Oklahoma before he knows it.
Jim Stark: I thought you said he was too smart to trick.
Les McConnell: Oh, he is, so we don't try to trick him. We give him a... real problem, the kind of a problem no good lawman can turn his back on. If it times out, we'll be in the clear.
Jim Stark: Could be.
Les McConnell: I'll need another man, like always, just to make sure.
Jim Stark: Anybody in particular?
Les McConnell: So long as it isn't your brother.
Jim Stark: Don't you ever mention my brother's name again.
Les McConnell: Uh... Pence might do.
Jim Stark: When do we move?
Les McConnell: Why not tomorrow?
(whistling a tune)

Preparations begin. It’s close to noon. Time pieces syncronized. Clell Williams and Cash McLean are ready with a diversion, and a little unscheduled fun. Something has gone wrong. Meanwhile, word comes in via telegram that Johnny Barnes is not just a killer but a member of The Stark Gang!

T.R. Stark: Clell and McLean ought to be moving in just about now.
Jim Stark: Yeah.
Clell Williams: It's right on 11:00.
Cash McLean: Best be getting on out of here.
Clell Williams: Well I don't like it. Cuts things mighty fine for us, I can tell you that.
Cash McLean: McConnell got it all figured out, long as we get out of there by ten minutes to 2:00.
Clell Williams: All I know is, we'll be heading out of that ranch just ten minutes before Dillon's supposed to ride in, and that's too close for comfort.
Cash McLean: Well, we can't leave no earlier. Something might go wrong.
Clell Williams: We just might be able to have ourselves a little fun while we're working... and still not take any chances. (Clell chuckles softly) Well, are you coming or ain'tcha?

Pence Fraley: I wasn't expecting to see you till after.
Les McConnell: Well, the Long Branch was easier than I thought. Little early to go to the bank.
Pence Fraley: I sure wish we could stay here. I can cover the bank real good from this window.
Les McConnell: You get in the alley like I told you. If you have to shoot anybody, stay put. In all the excitement, nobody'll know where the bullet came from.
Pence Fraley: Look, I don't like that part of it. I'd just as soon be out there with the boys.
Les McConnell: Hey.
Pence Fraley: Hm?
Les McConnell: Couldn't... It's only 1:00.
Pence Fraley: Well, maybe that time has been changed.
Les McConnell: No, Jimmy wouldn't change a time, not like this.
Pence Fraley: What do we do?
Les McConnell: Something has gone wrong, or that boy wouldn't be in Dodge till 1:30.

Billy: Marshall! I got to talk to the Marshal. Marshal!
Sam: All right.
Matt Dillon: Billy, what's happened? Somebody get Doc.
Billy: (crying): They killed Pa! You got to get 'em, Marshal. They-they killed Pa.
Matt Dillon: Who you talking about?
Billy: Two men. They come in this morning. They're still out there with my two sisters. I-I tried to stop 'em. I couldn't do anything. They beat me and... threw me out of the house. I... I didn't have no gun. I had to come.
Matt Dillon: All right, now, take it easy, Billy. Get him inside, will you? Festus.
Festus: I’ll get the horse before you can get the rifles.
(telegraph machine clacking)
Billy: (crying): You don't know what it was like, Doc. They just shot Pa... for no reason at all. And then...
Doc: Now, you just... just hold still. Be quiet. Just stay still...
Telegraph Man: Where's the Marshal? What happened to him?
Sam: Well, he got hurt. What do you want the Marshal for?
Telegraph Man: I just got an answer to that telegram he sent to Saint Joe. That feller he was asking about, that John Barnes.
Sam: Well, what about him?
Telegraph Man: He ain't only wanted for robbery and murder... He's a member of that gang of outlaws that hit the bank at Sedalia.

The robbery commences. Unaware there’s a hitch, the remainder of The Stark Gang heads to Dodge.

Les McConnell: It's time to go.
Pence Fraley: Yeah?
Les McConnell: The Marshal's had plenty of time to get out there and back.
Les McConnell: I realize that. It's too late to stop things now. Well, now, you might prefer a lighter model. See, this .45 of yours, that's a whole lot of gun for a gentleman to fool with.
Banker: I never carry it. It's just a precautionary measure for the bank, you know.
Les McConnell: Oh, of course, of course. But I, uh... really would question its effectiveness. Now, these cartridges ought to be changed once a month. You're gonna get a whole lot of misfires out of that batch. I've got a new lightweight army issue...

Jim Stark: All you customers, down on the floor!
Web Fraley: Get down! Come on, move! Drop it.
Jim Stark: And, you, you open that safe.
Banker: There's no money in the safe; it's all out here.
Jim Stark: Shiloh!
Shiloh Yeah?
Jim Stark: You kill him when I count three. That's one... two... All right! All right, don't shoot.
T.R. Stark: Nobody gets hurt if you do like we say.
(two gunshots) (woman screams)
Web Fraley: Shiloh! Give me a hand! Come on!
T.R. Stark: All right, don't a-one of you move, you hear me?
(gunshot)
Townsman: It's a hold-up! The bank's been robbed!
Festus: Hyah!
(gunfire)
Jim Stark: All right, let's get out of here!
(gunfire continues)
(excited chatter)
Festus: You know any of them fellers, Matthew?
Matt Dillon: It was the Stark gang, Festus. I recognized Jim Stark and two of the Fraleys.
Billy: Marshall... Marshall...
Matt Dillon: What is it, boy?
Billy: Doc's gone! He's gone!
Matt Dillon: Gone? What are you talking about?
Billy: (panting): Two men... they took him. Doc called one of them by name. I... I think it was McConnell.
(Billy groans)
Matt Dillon: McConnell? Get the horses, Festus. Now, boys, listen to me, all of you. Get your horses, every man that can ride, and meet me back here right away. We're going after 'em!

​

The Stark Gang endures heavy casualities. Doc is taken hostage!

The Second Raid / Closing Credits

The Raid: Part 2 Continues on July 5th 2024 as part of The Milburn Stone Birthday Memorial

Gary Lockwood Related Media

The Magic Sword (1962)
Stars Basil Rathbone Estelle Winwood Gary Lockwood​

---

The son of a sorceress, armed with weapons, armour and six magically summoned knights, embarks on a quest to save a princess from a vengeful wizard.



The Lieutenant (1963-1964)

S01E03 The Proud and the Angry (Sep.28.1963)
Stars Gary Lockwood Rip Torn Richard Rust​

---

Rice goes undercover at a boot camp as a private to investigate charges that Sgt. Karl Kasten (Rip Torn) is brutal in his training of new recruits.




Sally and Sam (1965) Unsold Pilot (CBS)
Stars Cynthia Pepper Gary Lockwood Bernie Kopell Nancy Jeris John Qualen Jay Strong Phyllis Douglas​

---

Newlyweds planning to marry despite problems that often seem insurmountable. This is the extended unaired version of the episode, with a "pitch" for the series by creator/producer Hal Kanter afterwards. An edited version was telecast on CBS' "GENERAL FOODS SUMMER PLAYHOUSE" on July 5, 1965. (Barry I. Grauman)




They Came To Rob Las Vegas (1968)
Stars Gary Lockwood Elke Sommer Lee J. Cobb​

---

A casino blackjack dealer plots with his girlfriend and a group of criminals to hijack and rob an armored car carrying a $7 million in cash while it's in route between Las Vegas and Los Angeles.



Project Kill (1976)
Stars Leslie Nielsen Gary Lockwood Nancy Kwan​

---

A former government assassin flees a mind-control program in the Philippines, pursued by his ex-partner, the local police and Asian gangsters




Star Trek - Where No Man Has Gone Before (2009)



2001: A Space Odyssey with Brian Cox, Keir Dullea, Gary Lockwood and Chris Frayling (2014)



Keir Dullea and Gary Lockwood: 2001 A Space Odyssey (2017)



San Diego Comic Con - Gary Lockwood Interview: From 2001 A Space Odyssey (2019)



Happy Birthday To Another Living Icon, Gary Lockwood!​

 

[The 1960's]

Rob Reiner (March 6, 1947) 77th Birthday Tribute​

Robert Reiner (born March 6, 1947) is an American actor and filmmaker. As an actor, Reiner first came to national prominence with the role of Michael "Meathead" Stivic on the CBS sitcom All in the Family (1971–1979), a performance that earned him two Primetime Emmy Awards. Reiner made his directorial film debut with heavy metal mockumentary This Is Spinal Tap (1984). He then earned acclaim directing the romantic comedy The Sure Thing (1985), coming of age drama Stand by Me (1986), fantasy adventure The Princess Bride (1987), romantic comedy When Harry Met Sally... (1989), psychological horror-thriller Misery (1990), his military courtroom drama A Few Good Men (1992) which was nominated for the Academy Award for Best Picture, and romantic comedy-drama The American President (1995). He has earned nominations for four Golden Globe Awards for Best Director, and for three Directors Guild of America Awards… Continue @ Wikipedia

Despite all the incredible accomplishments by Rob Reiner listed above, and though he might not like to hear this, he will always be Mike (The Meathead) Stivic to me! Happy 77th Birthday you MEATHEAD you!!

All in the Family (1971-1979)



S04E08 The Games Bunkers Play (Nov.03.1973)

Directed by
Bob LaHendro
John Rich
Writing Credits
Norman Lear Developer
Michael Ross Teleplay
Bernard West Teleplay
Story
Susan Perkis Haven
Dan Klein
Michael Ross
Bernard West

Stars
Carroll O'Connor … Archie Bunker
Jean Stapleton … Edith Bunker
Rob Reiner … Michael 'Meathead' Stivic
Sally Struthers … Gloria Bunker-Stivic
Vincent Gardenia … Frank Lorenzo
Betty Garrett … Irene Lorenzo
Mike Evans … Lionel Jefferson​

In this standout All In The Family episode, Rob Reiner takes a front seat. Normally, Caroll O’Conner would dominate most episodes and rightfully so got the majority of the laughs. But not this time as Reiner puts on a whale of an acting performance. With Archie absent for the majority of the story, it gave the other cast members, particularly Rob Reiner as Mike Stivic, an opprortunity to shine.

The liberal, well educated, confident Mike Stivic, (The Meat Head), invites Archie to play a board game called “Group Therapy” along with Gloria, Lionel and the Lorenzo’s.

​

Open minded Archie replies.

​

Mike: Arch you wanna play?
Archie: Naaa, what is it?
Mike : It’s a new game called Group Therapy
Archie: Is it anything like Monopoly?
Mike: No no no no no, it’s adult game.
Archie: I ain’t playing nothing dirty
Mike: It’s not dirty Arch, It’s a phychological game and if you play this thing right you can really learn a lot about yourself and the people you’re playing with.
Archie: Ahhh the people the people sounds left-wing to me.
Mike: Anything after George The III is left wing to you. Arch it's a very simple game. You pick a card, when it comes to your turn you read it and do what it says.
Gloria: I think you’re gonna like the game Daddy it can get very exciting.
Archie: Ahhh, I doubt it, look, there ain’t no dice dere, no money, no boardwalk, no nuthin’ dere. A little card with writin’ on it.
Mike: Oh that’s right I forgot to tell you Arch, that’s the hard part, you have to know how to read.
Archie: Let’s see what it says, now, do an interpretative dance to show the way you feel, oh geez, listen to this, to show the way you feel “when you think nobody likes you” Get outta here!
Gloria: Daddy the dance is just a device to show your true feelings instead of talking.
Archie: Oh I can show my true feelings instead of talking, look …

Raspberry

Edith: Archie you used to like to dance
Archie: With girls Edith, not with myself. What else you got over here? It says ugh discuss the part of your body you are most proud of. Oh ALRIGHT!
Edith: Where are you going?
Archie: I ain’t playing, that’s where I’m going.
Gloria: C’mon Daddy, don’t be a party pooper, stay and play the game with us.
Archie: I tell you what I’ll do for you litte girl, I’ll give you my interpretative of a guy going down to Kelsey’s for a couple of beers, Ta-do ta-do Ta-do, doo.

​

With Archie now gone, “Group Therapy” begins. The contestants either vote “with it” or “cop out”. Overly confident Mike is about to take some lumps.

Lionel reads a card.

Lionel: Chose a member of the group, now standing back to back and pushing each other, tell him why it is hard for you to be direct with him.
Mike: It’s too bad Lionel, Archie’s not here, you’ll have to pass.
Lionel: No, no I choose you.
Mike: Me?
Lionel: Ya, ya come on.
Mike: What the heck I’m game. Alright lets see standing back to back, here we are, now ahhh tell me why it’s hard for you to be direct with me?
Lionel: Well look what’s happening, the card said push, you’re not pushing.
Mike: Well I I don’t wanna knock you off balance.
Lionel: Well would you push harder if was white?
Mike: What?
Lionel: Why I mean you’re always bending over backwards for me Mike, I can’t even get into a good argument with you you’re so quick to agree with me
Mike: Well Lionel we’re supposed to be friends.
Lionel: Yeah well that’s why I’m telling you this. You gonna push?
Mike: Fine, I’ll push.
Lionel: Yeah man just once I’d like for you to talk to me like I was Lionel Jefferson and not a representitive of the whole black race.
Mike: Oh come on Lionel, I don’t do that.
Lionel: What’s the first thing you say whenever I see you? Always something about the black problem right?
Mike: What do you want me to talk about, the weather?
Lionel: Sometimes yeah, I mean black people have weather too you know? We get rained on and everything.

​

Mike: Now look Lionel. I’m sorry. Geez you really had me faked out there. What an what an act. But I didn’t believe it Lionel, no sir, I didn’t believe one word you said. I vote cop out, what does everybody else vote.
Group: With it, with it.
Mike: Come on?
Gloria: Michael it’s four “with its”
Mike: Alright fine, four with its. 1 2 3 4, but I vote cop out. I can’t believe you bought that!

Gloria reads a card.

Gloria: Pick the person closest in the group to you and tell them something you think will help them. Mom I don’t want to embarrass you but ..
Mike: Uhh uhh uhh uhh Gloria what you doing?
Gloria: Talking to Ma.
Mike: I know, but you should be talking to me.
Gloria: Why?
Mike: The card said pick the person closest in the group to you, that’s me your husband.
Gloria: Michael don’t be silly you’re both very close to me.
Mike: Gloria you’re missing the point. The card says you see, closest in the group, closest, closest.
Edith: Gloria, Mike, please don’t fight over me .
Mike: I’m not fighting ma I’m just trying to get your daughter to play the game right, that’s all.
Gloria: But Michael don’t be ridiculous.
Mike: I’m not being ridiculous Gloria. I am your husband, I am in this group, I am the closest. If you have anything to say you say it to me.
Gloria: Alright I’m sorry. Michael I think the dresses you’ve been wearing make you look older. You satisfied.
Mike: No, I’m not satisfied Gloria because you should have come to me first, am I right ma?
Edith: Gloria do you really think this dress makes me look older?
Mike: Maa I’m trying to make a point here.
Gloria: Oh Michael you made your point, I’ll pass my turn.
Mike: Why are you acting like this for, c’mon Gloria! Will you excuse me please?
Gloria: Ohh I beg your pardon.
Mike: Gee, I can’t believe the way you’re acting Gloria, terrible!
Gloria: Who’s turn is it?
Mike: It's my turn.
Edith: Gloria does my hair look old too?
Gloria: Pick a card Michael.
Mike: Gloria just because I’m trying to play the game by the rules as long as …
Gloria: Michael, will you pick a card dammit!
Mike: Bad attitude Gloria, very bad.
Frank Lorenzo: Hey, come on kids, we're getting away from the game.
Mike: I’m sorry, I’m sorry it’s my turn.

Mike picks a card.

Mike: Stand up and tell the group what makes you mature.

​

Mike: I’ll ignore that Gloria. I’ll ignore that because that is part of my answer. I feel that I’m mature because I’m open-minded. I’m tolerant of the other guy’s opinions.

​

Mike: That I’m not going to ignore.
Frank Lorenzo: She gave you a little zingeroo there huh?
Mike: Frank, what are you egging her on for. What’s so funny Gloria?
Gloria: Tolerant of the other guys opinion. I was thinking of you and daddy.
Mike: Gloria how do you expect me to be tolerant of Archie, the man’s a walking monument of intolerance.
Mike: I’m sorry mom, I’m just trying be honest which is another part of maturity. How many “with it’s” do I get?
Lionel: Hey wait wait wait wait. Now, a 5-year old kid can be honest, but does that make him mature?
Mike: Lionel, are you calling me a 5-year old kid? Hey don’t take your hostilities out on me just cause your mad at Archie.
Lionel: What are you talking about he’s not even here!
Mike: Just remember Lionel, he’s the one who doesn’t want Blacks in this neighborhood. I’m not the bigot in this house, he is.
Lionel: Yeah but he doesn’t know any better.
Mike: I don’t accept that kind of reasoning, I don’t accept that at all.
Gloria: Oh boy now there’s a show of tolerance. You sound just like daddy.
Mike: Ok ok fine that’s it alright I pass. I’m tolerant enough to know you’re all dead wrong but I’m not going to spoil the game.
Lionel: What do you men it’s just a game?
Mike: Forget it Lionel let’s play the game. Are we going to have fun or not? Irene, it’s your turn, let’s have fun.

Edith reads a card.

Edith Bunker who brilliantly played Jean Stapleton, was always assumed to be stupid, a “Dingbat”, as Archie dubbed her, but more often than not her sensitivity, her wisdom, and her advice was greater, more sound and clever than anyone else. This following passage will not be included because it’s a major spoiler.

​

In a number of episodes of this series we learn that Mike Stivic can dish out criticism but most certainly could not take it. All In The Family was a thinking man’s series. So many of it’s relevant topics from over 50 years ago are still just as relevant today in the 2020’s. That in itself is a saddening reality to come to terms with, and doesn’t reflect too kindly on today’s society. I’ve known a few folks who don’t care for this series and it’s political humor, specifically Norman Lear’s poking fun at conservative Archie Bunker and his lack of intellect. But don’t sign off just yet because this one has little political humor in it.

I feel the greatest message shown here is our ability to be tolerant and understanding of one another and that there are deeper reasons for someone’s behavior that we may not be aware of. It’s kind of funny that it took me nearly 50 years to completely realize what this episode was trying to say and what the great Norman Lear was attempting to accomplish. Mike Stivic could not easily admit he was wrong but utimately he did. On the other hand, Archie Bunker was hardly ever able to admit he was wrong about anything, though we knew down deep he knew he really was.

​

Visually this is far from the most effective photo commentary I’ve ever done, but from a moralistic and emotional standpoint it’s packed with life’s lessons. Take 25 minutes and watch it below or better yet stream it, (but do not buy the terrible DVD's.)

You can watch it here.

Rob Reiner Related Media

Rob Reiner & Norman Lear "The Princess Bride" 1987 - Bobbie Wygant Archive



Rob Reiner "When Harry Met Sally" 1989 - Bobbie Wygant Archive



Rob Reiner "A Few Good Men" 1992 - Bobbie Wygant Archive



Rob Reiner "North" 1994 - Bobbie Wygant Archive



Rob Reiner "Ghosts of Mississippi" 1996 - Bobbie Wygant Archive



Rob Reiner "The Story of Us" 9/19/99 - Bobbie Wygant Archive



A.C.E. Eddie Awards 2010: Tribute to Rob Reiner



USAFF Tribute - Rob ReinerNot Yet Rated



Rob Reiner Interview - EMMYTVLEGENDS.ORG (2010)



Rob Reiner on the creative process on "All in the Family" - TelevisionAcademy.com/Interviews



Rob Reiner on his "All in the Family" character "Mike Stivic" - EMMYTVLEGENDS.ORG



Rob Reiner Interview Uncut Not Yet Rated (2019)



Happy 77th Birthday to yet another living Icon, Rob Reiner!​

 

[ponset]

Once again my fellow posters you all have done a wonderful job paying Tributes to our favorite actors.

Like most things with me, I first saw Reiner on BATMAN. In the 3 part Joker and Penguin team up.

Barbara Luna.

Robert Conard.

Ronny Howard.

BTS photo of Ron with John Wayne on The Shootist.

 

[Doug Wallen]

Daniel J. Travanti
March 6, 1940​

As I have stated before, one of my favorite genres of television are the procedural type. I have had a fondness for them since The Man From U.N.C.L.E, Mission: Impossible, Dragnet, Peter Gunn, Hawaii Five-O; you get the drift. I began my work career with DFCS (Georgia's Human Services Dept.) in April 1980. I would relax as usual in front of the tv. I began to read that there would be a new police show on NBC. I was excited when the show premiered on January 15th, 1981. I had never seen anything like it. The world I worked in and the people I came in contact with were just like the folks at the Hill. At DFCS, we came in contact with people from all backgrounds, educational levels, sober and drunk. Our lobby at many times was just as confused and exciting as the precinct. I eagerly awaited each new adventure.

I enjoyed the antics of Hill and Renko, the beauty and elegance of Joyce, but I was in awe of the man in charge – Captain Francis Xavier Furillo, most superbly portrayed by Daniel J. Travanti. The following is from wikipedia:

Daniel J. Travanti (born Danielo Giovanni Travanti; March 7, 1940) is an American actor. He is best known for playing police captain Frank Furillo in the television drama series Hill Street Blues (1981–1987) for which he received a Golden Globe Award from five nominations, and two consecutive Primetime Emmy Awards from five nominations.

As you can tell from his awards, I was not the only one who favored his characterization. He was the perfect boss. He always backed his employees but was not afraid to give them “guidance” when it was needed. Don't we all remember that revelation when J. D. had reached bottom and turned up at AA, only to hear Capt. Furillo welcome him.



Furillo had a style that allowed him to negotiate with the local gangs, keep his racist gung ho Lt. Hunter in line, push Henry Goldblume to be a better Detective, have a father confessor in Sgt. Esterhaus, have the patience of Job with his kooky ex-wife and get to head home and cuddle with the sexiest public defender. Wow, what a leader. His employees always had his back.

Travanti discusses Frank Furillo:

Look at the Captains of the other precincts. Did Chief Daniels respect anyone as much as he did Frank? Even Jesus Martinez (Yo, Frankie???) respected and trusted Furillo. This is the role I always think of when I think of the actor.

I was stunned when I was viewing Perry Mason and heard a familiar voice and realized he was playing a radio talk show host. Very interesting premise and a great scene when the cover up for murder was displayed in the courtroom (Perry Mason – The Case Of The Midnight Howler). Imagine my next surprise while viewing Lost In Space, he turned up as the leader of space hippies (cloud of smoke and POOF, they appear, more smoke and they disappear) in Collision Of Planets. Well, he was showing his range. I also remember him from The Outer Limits – The Voice Of Reason, a reasonably well done clip show to end the first season with a special committee examining evidence of extraterrestrial invasion.

At the height of his popularity and the award winning ways of Hill Street Blues, he was cast as John Walsh in the made for television film – Adam. If you tuned in that night, you witnessed a powerfully impressive performance. Didn't we all feel his anger and grief. His performance as well as JoBeth Williams as Reve just kept me an emotional mess as I viewed this film.



IMDB shows him appearing in may long running series, but I will always see him as the nearly perfect precinct commander, Captain Furillo. After I was promoted to a supervisory position at DFCS, I always tried to be the type of supervisor who had my units best interest in supporting them. His character embodied the best “boss” you could ever work for and that is how I wanted my employees to feel when they were under fire. A great example and Travanti nailed that role.

Travanti discussing his early childhood and fame with Barbara Walters:




When searching for information, I discovered his website and uncovered the fact that he has written a collection of short stories. http://danieljtravanti.com/

Happy 84th Birthday. Thanks for the performances you have gifted me throughout the years.

Just for fun:

 

[timk1041]

I am surprised there is nothing posted for Lou Costello, whose birthday would have been yesterday March 6th. Even though he was primarily in movies, The Abbott & Costello Show was a TV show.

 

[ScottRE]

ALAN HALE, Jr. BIRTHDAY TRIBUTE​

From Wikipedia, the free encyclopedia

Alan Hale Jr. (born Alan Hale MacKahan; March 8, 1921 – January 2, 1990) was an American actor and restaurateur.[1] He was the son of actor Alan Hale Sr.[1] His television career spanned four decades, but he was best known for his secondary lead role as Captain Jonas Grumby, better known as The Skipper, on the 1960s CBS comedy series Gilligan's Island (1964–1967),[1] a role he reprised in three Gilligan's Island television films and two spin-off cartoon series.

GILLIGAN’S ISLAND
“Court Martial”
Season 3
Episode 17​

Gilligan (Bob Denver) and The Skipper (Alan Hale) hear a new report over their eternally charged transistor radio that the Maritime Board has ruled the loss of the boat was due to the Skipper’s incompetence. Depressed that he is to blame, Skipper looks for ways to kill himself, but is thwarted each time, first by Gilligan and then by Ginger (Tina Louise) and Mary Ann (Dawn Wells). Thanks to a suggestion by Ginger, the Professor gests they build a mockup of the Minnow and recreate the circumstance that got them lost. While the Professor can’t build a boat, he sure can whip up a great facsimile of one, complete with Gimble rig for rocking it to simulate the ocean waves. At the end of the experiment, they determine that Gilligan threw an anchor overboard without securing it to a tie line, causing them to be lost at sea.


Both men now depressed over getting everyone lost, they decide the best thing to do is to live apart from the others forever. While sleeping in a makeshift lean-to, Gilligan dreams of being lord Admirl Gilligan, English sea captain, protecting the Queen/Lovey (Natalie Schaeffer) and the other two girls from a gang of bloodthirsty pirates (Hale, Russel Johnson, and Jim Backus). Gilligan awakes to the Professor (Johnson) coming to the men with the radio. A follow up report reveals the weather bureau mistakenly gave the wrong weather report the day the Minnow was lost and the Maritime Board states there was no way for the crew to know the sudden storm was approaching. Happiness ensues.


In order for one to enjoy Gilligan’s Island, I think two things are required: first, an enjoyment of the ridiculous and second, you had to have discovered it at just the right age. For me, that was when I was in the single digits when it reran daily on Channel 5. I grew up watching he series along with others which aired during that time of mid to late 1960’s absurdity, such as I Dream of Jeannie, F Troop, Batman, The Munsters, The Monkees, Lost in Space, and so forth. If you didn’t like this kind of show, then the humor and characters would be lost on you. For me, these “seven stranded castaways” are part of my DNA. My generation didn’t necessarily watch it because it was good, we watched it because it was on. And we watched it every damned day.

Of all the characters on the series, my favorite was always The Skipper. This is how I roll: I always gravitate towards the main authority figure. So my favorite characters tended to be Captain Kirk, Admiral Nelson, Commander Koenig, John Robinson, Steve McGarrett, and the Skipper. In fact, ol’ Jonas Grumby was one of the three “father figures” I had on TV (Jim Kirk and John Robinson being the other two). A great deal of this was due to the charm and warmth of Alan Hale.


Hale had a tremendous career spanning four decades with a list of credits as long as my arm, but to me and legions of ex-kids, he was The Skipper. When the series started, Hale’s portrayal was gruff and somewhat bellicose, but over the course of the series, Hale’s natural charm and good-natured spirit overtook the characterization. Hale and Bob Denver had excellent chemistry, but Hale worked well with everyone in the cast. His massive frame and deep baritone helped him create a lovable bear of a man with an easy laugh and obsession with “thick juicy steaks.”

 

[ScottRE]

“Court-Martial” focuses mostly on the Skipper as he hears of how the Maritime Board placed the blame of the wreck squarely on his shoulders. Nobody else on the island feels he did anything wrong and when they realize he’s suicidal over the news, they galvanize into action to find him. Hale’s performance is subdued in these scenes. It’s somewhat off-putting to see an episode of Gilligan’s Island address suicidal intentions, but it’s carried off well, not with gaffaws, but with gentle, sympathetic humor. It takes the attention of the two lovely ladies to convince him to stay alive and they only snap him out of his funk when they go to the trouble of making a mock up of the S.S. Minnow. The love everyone has for the Skipper, even the Howells, is a sweet touch. Later, after Gilligan also seems to be at fault, the two sailors leave the group to live on their own, which leads us to on of the series’ classic dream sequences, which became more common as the series wore on.

1960’s TV seemed fascinated by pirates as a number of series had “pirate episodes.” Perhaps because the sets and costumes were easy to dig out of storage since practically every studio had done a pirate film at some point. This sequence is fun with some fabulous background music (regular composer Gerald Fried did amazing work on this series) and it’s always great to see the cast out of character. Hale eats up his part, as they all do, and while it’s all naturally silly, it’s still great fun.

In the end, the Skipper is cleared (but not Gilligan – he’s still a schmuck) and all is well.

Hale's habit of fourth wall breaking always - and I mean always - makes me laugh.

As we all know, the series exploded in popularity in reruns, leading to a Saturday Morning Cartoon version with most of the original cast. Yeah, I watched it every week.



There was also another animated series by Filmation called Gilligan’s Planet. Same concept just, you know, in space.

Also, the reunion movie “Rescue from Gilligan’s Island” was a massive ratings bonanza and huge news. The scene of the castaways escorted and arriving in Hawaii was filled with cheering onlookers, which wound up in the film.



The success of this reunion led to two additional movies of dubious quality.

Just for giggles, I recreated the end credits "syndication style" with one word edited out....

Alan Hale wasn’t bothered by the typecasting. He loved being known as the Skipper, even opening a restaurant, and greeting patrons in character. By all accounts, Alan Hale was an incredibly sweet and gracious person, never one to complain or commiserate. He would love to tell stories about his father, whom he closely resembled, his face lighting up when asked.

Hale died on January 2, 1990, of thymus cancer at St. Vincent Medical Center in Los Angeles at age 68. His body was cremated, and his ashes were sprinkled into the Pacific Ocean. Dawn Wells was in attendance, representing the surviving members of the cast.







Happy Birthday, Mr. Hale!

 

[ScottRE]

Tremendous Tributes the last few days, guys!

@Doug Wallen - Daniel Travanti was wonderfully covered and you snuck in his Lost in Space appearance! I wonder if he kept that on his resume?

@The 1960's Neal, hitting home runs with the lovely Marta Kristen whose shining eyes enlivened many of the most dire episodes of Lost in Space. Ron Howard's tribute was incredibly sweet and Gary Lockwood's was a really great showcase of one of my favorite Gunsmoke's so far.

@Jeff Flugel BarBara Luna is another icon of TV and sci-fi having appeared in two of my favorite shows. Star Trek, naturally, and also in the second season of Buck Rogers as Koori, new regular Hawk's tragic love. Fantastic write up there.

And @JohnHopper had me running back to my DVDs of The Wild Wild West. Y

All of you are killing it.

We've never had so many living legends in a single month!

Upcoming Tributes through March ...

March 12th Jon Provost 74th Birthday Tribute
March 12th Barbara Feldon 91st Birthday Tribute
March 17th Kurt Russell 73rd Birthday Tribute
March 18th Peter Graves Birthday Memorial
March 20th Ozzie Nelson Birthday Memorial
March 22nd William Shatner 93rd Birthday Tribute
March 23rd Barbara Rhoades 78th Birthday Tribute
March 31st Richard Chamberlain 90th Birthday Tribute

 

[Jeff Flugel]

Happy 89th birthday, Nancy Kovack!​

It probably won't shock anyone to learn that stunning, curvaceous actress Nancy Kovack won 8 beauty contest titles before the age of 20, but it might be a bit of a surprise that she began studying at the University of Michigan at the tender age of 15, graduating at 19. She got her start in showbiz as one of Jackie Gleason’s “Glea Girls,” and enjoyed a busy career throughout the ‘60s in both films - including Jason and the Argonauts, Frankie and Johnny (with Elvis), and Tarzan and the Valley of Gold (with Mike Henry) - as well as multiple roles on various television shows. Kovack married Indian classical music conductor Zubin Mehta in 1969, and worked less and less frequently in the early-to-mid ‘70s, finally retiring in 1976. Her final role was in the Cannon episode “Blood Lines” (see below). The fact that she's still with us today, at age 89, is a wonderful thing. So, here's a tip of the hat to a beautiful lady, and a fine actress.

12 O’Clock High – 1.9 “Appointment at Liege”
General Savage (brooding, beetle-browed Robert Lansing), prepping for a risky bombing raid, has misgivings about one of his squadron leaders, Major Gus Denver (Gary Lockwood), who seems rarin’ to go on the surface, but is in reality harboring a death wish, wracked with guilt and anguish after his previous squad was wiped out by German artillery while he was on temporary duty Stateside. A smokin' hot Nancy Kovack co-stars as a WAC lieutenant who falls for the troubled young pilot. Unfortunately, most of Ms. Kovack’s scenes seem to have been hacked out of the 46 minute syndicated cut print that’s on YouTube, leaving their characters' burgeoning relationship feeling rather truncated.

Otherwise, this is a powerful slice of WWII military drama, as well as an early and welcome televisual focus on the PTSD suffered by many of the men and women who served. Hazel Court, no slouch in the looks department herself, shows up briefly, in her second of four appearances, as Gen. Savage’s English widow girlfriend. After watching this one, I sampled a few scenes from the second and third seasons, in which Paul Burke replaced an unjustly fired Lansing as series’ lead. I like Burke well enough in other things, but he sadly hasn’t a 10th of the charisma of the compellingly intense Lansing. I’ll happily watch more of the Lansing-led first season, though…just wish we had access to an official – and uncut – DVD release.

I Dream of Jeannie – 1.9 “The Moving Finger”
Tony (Larry Hagman) is sent to Hollywood as an advisor on a high-concept sci-fi movie, starring sultry movie star Rita Mitchell (Kovack). A jealous Jeannie, posing as Tony’s secretary and worried about his going on a date with the six-times-married Rita, tries to compete for his affections by becoming a movie star herself...even getting as far as filming a screen test with manly hunk actor Jason Huberts ("Marlboro Man" David McLean, formerly of Tate). But she is shocked to discover that a genie's likeness apparently can’t be captured on film. Not much of Ms. Kovack here, as most of the focus is on the delectable Barbara Eden - compensation enough, I'd wager. Woodrow Parfrey is amusing as a producer who has the hots for Jeannie.

Honey West – 1.13 “The Gray Lady”
A snappy script (courtesy of Columbo creators Richard Levinson and William Link) and clever editing make this one a heck of a lot of fun. When a debonair jewel thief (Cesare Danova) pulls one over on glamorous private eye Honey West (Anne Francis) and her right-hand man, Sam (John Ericson), she’s determined to nab him during his next caper, to steal a priceless necklace called "the Gray Lady," belonging to a spoiled socialite (Pat Collins). Nancy Kovack has a brief bit at the beginning, doing her best Zsa Zsa Gabor impression as Honey and Sam’s European film star client. Again, the lack of Kovack is no biggie, as voluptuous Anne Francis (and her adorable beauty mark) brings the va-va-voom, holding center stage in the story with elegant poise, scaling down the outside of a high-rise hotel in a catsuit and judo flipping baddies all over the place. Also with smug, smirking Kevin McCarthy (up to no good, per usual) and a cameo appearance by Bert Parks (as himself).

The FBI – 1.23 “Flight to Harbin”
Inspector Erskine (Efrem Zimbalist, Jr.), dallying whilst on vacation in San Fran with a pretty blonde, is summoned to emergency duty when a disgruntled nuclear scientist (Arthur Hill) hijacks a flight bound for Seattle at gunpoint, demanding that the pilot plot a new course...for Communist China. Nancy Kovack and Jessica Walter, looking mighty fetching in their stewardess uniforms, are on hand as part of the harassed flight crew. Passengers include: Jason Evers (as another pilot hitching a ride); Milton Selzer as a nervous jewelry salesman; Robert F. Lyons as a young man reluctantly called up for the draft; and a young couple (Julie Parrish and Robert Doyle) obviously forced into a shotgun wedding. Bert Remsen also shows up briefly as a flight controller. Well done, tense take on the standard airplane hijack scenario, helped especially by a finely-tuned performance by Hill, a terrific if unsung character actor who always brings the goods. The ease with which passengers seem able to smuggle handguns on board airplanes leads one to wonder just how lax airport security must have been back in the day.

I Spy – 3.10 “Apollo”
Kelly Robinson (the great Robert Culp) and Alexander Scott (the once-great and now forever disgraced Bill Cosby) stage a mock falling-out...all part of a ruse that enables Scotty to undertake a new gig as a guide leading VIPs around a NASA aerospace facility, in hopes of luring out enemy agents trying to sabotage the rocket program. Their well-crafted plan soon backfires, however, leaving Scotty and the lounge singer civilian posing as his ex-wife (Charlene Jones), locked and left to freeze to death in a refrigerated freight car by the baddies – who include Kovack, H.M. Wynant, Ron Rich and leader Bobby (Pippa Scott, playing a right beyotch, 100% the brains and cast-iron balls of the operation).

Now in possession of Scotty’s ID badge and clearance papers, Bobby and co. pose as a senator and her aides to infiltrate the jet propulsion facility at Rockadyne. Events culminate in an exciting final showdown, as Kelly must clamber over a precariously high array of pipes and girders to cut the power to the complex before the enemy agents blow up the whole shebang. (Culp's stunt double gets a workout in this sequence, although it's plainly Culp himself doing some of his own, less-death defying stunts in some scenes). Cold-hearted killer Bobby and most of her crew get what's coming to them, the traitorous bastards, mowed down in the ensuing gunfight courtesy of our two heroes. Producer Sheldon Leonard received unprecedented access to the Rockadyne jet propulsion facility in the Santa Susanna Mountains, plus the aerospace center in Downey, CA., both of which really add massive production value to the show. As always, Culp and Cosby’s camaraderie both on and off camera is readily apparent. Ms. Kovack is somewhat sidelined once Pippa Scott takes over, but gets some good scenes with Culp and especially Cosby early on.

Star Trek: The Original Series – 2.19 “A Private Little War”
This second season episode is easily one of most famous roles in Ms. Kovack’s career. She plays Nona, ambitious witch-woman wife of peaceful tribal leader (and Captain Kirk’s old friend), Tyree (Michael Witney). Kirk – who had spent time on the planet 13 years before and earmarked it as a veritable Eden, peaceful and idyllic, and not to be tampered with - is dismayed to find that Klingon interference, arming a rival tribe with flintlock rifles, has upset the delicate balance of power on the planet. Kirk must grudgingly violate the Prime Directive and arm Tyree’s people, in order to prevent a one-sided slaughter. Our main Enterprise trio come in for some serious punishment in this one: Spock is shot in the back during the pre-credits sequence; later, Kirk is attacked and mauled by a one-horned ape-like monster called a mugato, soon to die from its poisoned bite until he is cured by Nona (who in return wants the Captain to give her “knowledge of the stars”); and Bones gets winged in a climactic skirmish. Kovack vamps it up magnificently here, seductively plotting, scheming and trying to claw - and kiss - her way to the top, her splendid figure barely contained by yet another super sexy William Theiss costume creation. Gene Roddenberry’s script is notable for keeping the politics messy and the resolution realistically downbeat. Ned Romero turns up as a Klingon interloper.

Hawaii Five-O – 1.15 “Face of the Dragon”
McGarrett (Jack Lord) and team must work quickly to track down a mysterious masked motorcycle rider who is spreading the bubonic plague around the islands – and who also happens to be a Red Chinese agent, out to snatch top secret plans for a military infrared detection device. A young Soon Tek-Oh (billed here as Soon Taik-Oh), in his second of eight Five-O appearances, portrays the murderous enemy agent with his usual tightly-controlled, implacable menace. It’s fun to watch stone-faced McGarrett’s eyes nearly pop out of his head when he gets a gander at sexy Nancy Kovack (as perhaps the world's most bodacious epidemiologist). But they are both far too busy trying to control the epidemic and nabbing the baddie to engage in more than mildly subdued flirting. There’s another amusing scene, as Danno, Kono and Chin Ho give each other a hard time, each tough guy wincing in pain as they are forced to endure a vaccine jab. Also with David Opatashu (heavily made up as a venerable Chinese grandfather type), Herb Jeffries, Jackie Cooper and legitimately Chinese actor Victor Sen Yung.

Mannix – 2.17 “The Girl Who Came in with the Tide”
When two boys discover the body of a drowned young woman on the beach, Joe “iron skull” Mannix is back on the case…this time pro bono, as he is convinced that the arrogant flash attorney (Lloyd Bochner) who once got his P.I. license revoked is behind the apparent murder-suicide of the dead woman and her wealthy business mogul boyfriend. Joe soon finds himself captivated by the dead man’s seductive, albeit alcoholic, wife (Nancy Kovack)…could it be that Joe’s animosity toward the lawyer – and attraction to the widow - is clouding his judgment? Well, let's just say, when reliable smarm-ball Bochner is in the cast, you can pretty much guarantee that he’s up to no good.

Robert Reed (in his first of 22 appearances, and looking happy to have escaped the shackles of The Brady Bunch, however briefly,) debuts here as Mannix’s level-headed police sergeant (soon to be Lieutenant) pal. Salli Sasche continues her "Beach Party" association, slinking around Bochner’s yacht in a teeny bikini. Ms. Kovack received an 1969 Emmy nomination for her work here…a bit surprising, really...I mean, she's good, certainly, but it's not exactly an earth-shattering performance. Nonetheless, it’s cool that she received such an accolade...and she looks gobsmackingly gorgeous here, radiating glamour, poise and slightly-worn elegance. This must be one of the few episodes where Mannix doesn't get cold-cocked, shot or otherwise grievously wounded...one for the record books, I guess. As always, Joe's lovely, loyal secretary, Peggy (Gail Fisher), is there to ply him with coffee and help him keep his head straight.

Bronk – 1.18 “Long Time Dying”
Jack Palance is surprisingly effective as cerebral, pipe-smoking Lt. Alex Bronkov, a police detective solving crimes in Ocean City, California, in this one-season wonder, yet another in the litany of cool cop shows that proliferated the airwaves in the 1970s. In this episode, a mentally disturbed young woman (Britt Lind, believably deranged) is systematically killing the men she holds responsible for sending her brother to prison…and Bronk is on the hit list. Lloyd Bochner is on hand as the girl’s shifty shrink. In her next-to-last screen work, Nancy Kovack plays a wealthy neighbor who witnessed the killer leaving the scene of the first murder, and who gives Bronk the full court press. Kovack, just shy of 41-years-old here but still looking great, has fun making the moves on a rather bemused Palance.

Despite his gentle demeanor here, the 6’3”, hulking Palance (reputed to be one of the honest-to-God toughest men in Hollywood, along with Robert Mitchum, Lawrence Tierney and Broderick Crawford) remains one scary-looking mo-fo, his scarred face, with its slightly-crazed rictus grin, enough to theoretically make any crook wet themselves in fear. This is my first sampling of this series, and I liked it enough to add the Warner Archive Complete Series DVD set to personal collection. An interesting sidenote: Carroll O'Connor - yes, Archie Bunker himself - co-created this series, and also co-wrote the pilot movie.

Cannon – 5.23 “Blood Lines”
Ms. Kovack ended her acting career early in 1976 with this middling episode of the reliably entertaining Quinn-Martin crime drama, starring the great William Conrad (looking increasingly – and worryingly - rotund here, near the end of the series’ run) as ace P.I. Frank Cannon. Cannon is hired by an autocratic Mexican-American tycoon (Titos Vandis) to investigate the apparent suicide of his son (Robert Hays), who took a drunken dive off a cliff down in Acapulco. Kovack plays the dead man’s estranged wife, a rather unsympathetic, self-centered actress who was with her husband the night of his death. An OK plot, nothing special, and not much action to speak of…but even a so-so episode of Cannon remains watchable meat-and-potatoes fare, thanks to Conrad’s gruff presence. Also featuring Robert Drivas, Pepe Serna and Frank Aletter.

Nancy in later years, with husband Zubin Mehta:

 

[Sky King]

Jon Provost 74th Birthday Tribute
March 12, 1950​

Jon Provost was born in on March 12, 1950 in Los Angeles. At the age of four, Provost was cast at the .in the film The Country Girl (1954), starring Bing Crosby and Grace Kelly. He then appeared in Back from Eternity (1956) with Anita Ekberg and Escapade in Japan (1957), with Teresa Wright, Cameron Mitchell, and an then unknown actor, Clint Eastwood.
In 1957, Provost won the role of Timmy Martin in the CBS television series Lassie. He joined the show during the fourth season as co-star with Tommy Rettig, Jan Clayton, and George Cleveland. Midway through this season, George Cleveland died from a heart attack. Rettig and Clayton then departed. The show was retooled to focus on Provost as Timmy Martin. In 1958 Provost met June Lockhart on the set, who would play his mother, Ruth Martin. They remain close friends to this day. Hugh Reilly died in 1998.

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On December 25, 1958, Provost and Lassie were holiday guests on NBC's The Ford Show, starring Tennessee Ernie Ford.

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From 1957–1964, Provost played Timmy Martin with his canine companion Lassie. Hugh Reilly and June Lockhart joined the show in 1958 as Timmy’s parents, Ruth and Paul Martin. Lassie was played by three dogs that were all descendants of Pal, the original Lassie from the MGM films. Pal's son Lassie Jr. and his grandsons Baby and Spook. In a 2014 interview, Provost said: "I worked with Baby for five years straight. Obviously, he and I really bonded. He was my favorite and I also thought he was the most intelligent of the ones I worked with, however they were all great dogs."



In 1964, however, Provost was 14 and chose not to renew his contract, even though Campbell's Soup Company, the sponsor, wanted three more years. With Provost’s decision to leave the series, the format of the series was changed. The story has the Martins being sent to Australia to teach agriculture while Lassie was forced to remain in the States due to quarantine regulations. Robert Bray was then cast as forest ranger Corey Stuart, Lassie’s new owner from 1964-1968.
Provost continued working in television and films for a while, including This Property is Condemned with Natalie Wood and Robert Redford and The Computer Wore Tennis Shoes with Kurt Russell.
Soon after, Jon left Hollywood for college at Sonoma State University and chose to remain there, acting only occasionally. He eventually received a bachelor of arts degree in psychology and worked for a time in the field of special education. Later, he sold real estate in Sonoma County, California and donated his time to various causes such as the Humane Society, Easter Seals, Canine Companions for Independence and other local charities.
In 1989, he returned to television with a recurring role on The New Lassie series as real estate agent Steve McCullough. In 1990, Provost was honored by the Young Artist Foundation for his role as Timmy Martin on the original Lassie series.
In 1994, Provost received a star on the Hollywood Walk of Fame at 7080 Hollywood Blvd. His memoir, Timmy's in the Well: The Jon Provost Story, was released in December In August 2008, Provost was honored with a "Lifetime Achievement Award" at the Pocono Mountains.
The check shirt and jeans he wore for seven years as Timmy on "Lassie" hangs in The Smithsonian next to Archie Bunker's chair. "Lassie" continues to air in 50 countries and Jon still receives letters and email from fans of all ages, around the world..
Jon has been married twice and has two children Ryan and Katie. He continues to attend celebrity conventions and autograph shows and works for other animal causes.



In 2005 I was lucky enough to meet Jon at Noel Neill’s 85th Birthday party. He was very personable and in addition to his work on Lassie, we also discussed his work with special needs individuals. I worked with this population for 38 years. When I asked him what it was like to view Timmy and Lassie years later as a adult, he told me it was like watching home movies.



Jon has also earned a nationwide reputation as a philanthropist, giving his time to: children's hospitals, animal shelters, and humane societies and, closest to his heart, Canine Companions for Independence, providing service dogs to the handicapped. He served on their Board of Governors for close to 25 years. And he's received many awards, among them, The Motion Picture Council's award for Outstanding Contribution as a Humanitarian for his dedication in helping the physically challenged, the Allen Ludden Humanitarian Award presented by Betty White and the Lifetime Achievement Award from the Youth in Film Association.

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Happy Birthday Jon !!!



Sources: Wikipedia, The Jon Provost Website, Hollywood Walk Of Fame, Canine Companions.

 

[The 1960's]

Thank you John for your fabulous Birthday Tribute to Mr. Provost!!

Jon Provost (March 12, 1950) 74th Birthday Tribute​

A few ground rules apply before taking part in this photo commentary. If you don’t like animals, specfically if you’re not a dog-lover, you’d best skip this one. You see, the star of the show is Lassie, and Lassie understands everything. That’s why everyone is talking to her in each and every episode. Really, the only thing that Lassie cannot do, is speak English.

I get very emotional when I think about Lassie and every Sunday night at 7pm when a troubled 8-year old boy would gather in front of the living room television with his mother, his father and younger brother eagerly awaiting that touching theme song soon to begin. Jon Provost, as well as June Lockhart, had a special place in my heart as Timmy and Ruth Martin and of course Lassie, (along with Hugh Reilly as Paul Martin), as their adventures would serve as the ultimate distraction from the real world of 1962, for a mere 30 minutes.

Series Theme

Timmy and Lassie as it was called in syndication, was not only very special to me, it was my last escape before a full week at elementary school followed by 3 times a week at a conservative Hebrew school.

Lassie (1954-1974)

S08E23 The Odyssey: Part 1 (Feb.18.1962)



Directed by
William Beaudine
Writing Credits
Eric Knight

Stars
Jon Provost … Timmy Martin
June Lockhart … Ruth Martin
Hugh Reilly … Paul Martin
Richard Reeves … 1st Truck Driver
Leonard P. Geer … 2nd Truck Driver
Rusty Lane … Mike Finch
Lassie … Henry DeShaw
Stars (in Part 2 & 3)
Alan Hale Jr. … Hunter
Andy Clyde … Cully Wilson

Produced by
Don Castle
Robert Golden
Bonita Granville
Jack Wrather
Cinematography by
Charles Van Enger
Editing by
Monica Collingwood
Casting By
Harvey Clermont
Art Direction by
George Troast
Makeup Department
Ruby Felker
Don Schoenfeld
Production Management
William Beaudine Jr.
Second Unit Director or Assistant Director
James E. Casey
Art Department
Marvin Tomasino
Sound Department
Bill Anderson
Wallace Nogle
Special Effects by
Harold Murphy
Costume and Wardrobe Department
Grace Kuhn
Editorial Department
James Blakeley
Music Department
Sid Sidney
Les Baxter
Script and Continuity Department
Mercy Weireter
Additional Crew
Lionel Comport
Maria Little
Lloyd Nelson’Ivan A. Peterson
Rudd Weatherwax​

This magnificent 3-Part Trilogy begins with Timmy making a pact with Lassie. It exemplifies the love between a little boy and his dog.

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Timmy: There it is Lassie, that’s me and that’s you. How do you like it?
Lassie: Ruff!
Timmy: Let’s bury the bone.
Timmy: Ok let’s cover it up.
Timmy: Lassie, now this is our secret special place and no one else’s and we have to take a vow to promise that we won’t tell anyone else about this place.
Lassie: Ruff!
Timmy: Give me your paw. Now we swear never to tell a soul about his place. Do you swear?
Lassie: Ruff!
Timmy: C’mon Lassie, we better get home. Dad’s probably ready to go to market.

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Paul Martin explains that since this is the first time Timmy’s going along to the market, that the best way to learn is just listen and not ask any questions. He’s introduced to Mike Finch (Rusty Lane), the Market Mngr.

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While playing with Scratch, the market mascot, Lassie gets locked in a Ramsey Bros. Produce truck which drives away to make deliveries hundreds of miles away.

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Panic overcomes Timmy when he realizes Lassie is missing.

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Paul and Timmy meet Henry Deshew, editor of the Calverton Chronical who tells them it’s circulation isn’t large enough to reach all the truck drivers countryside. He tries to get a national news service to carry the good human interest story which would reach all the big newspapers and might even make the radio newscasters.

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News Service Report ….

TODAY AN ANXIOUS LITTLE BOY AWAITS WORD ABOUT

HIS PET COLLIE DOG WHICH IS LOCKED IN A

PRODUCE TRUCK SPEEDING HIM M ...

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As the truck approaches Lexington, it’s drivers hear a news flash about Lassie on the radio. When they stop to investigate, half starved Lassie escapes. (Where is Calverton and Lexington? No one knows for sure?)

Now free, for her first time, Lassie experiences life in the wild having to fend for her meals.

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Paul and Ruth Martin talk about how dire the situation is and that Lassie was spotted 650 miles away near a town called Lexington. They wonder how they will break the news to Timmy that she might never be found.

 

[The 1960's]

Timmy arrives home with a gift for Lassie, a coming home present.

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Lassie roams the streets of Lexington, then heads towards the outskirts of town and the railroad station.

End Part 1

S08E24 The Odyssey: Part 2 (Feb.25.1962)​

Part 2 begins with Lassie all alone roaming the countryside. She comes close to losing her life on the railway. So hungry that she traps a rabbit but is ultimately too gentle and domesticated to kill for food.

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Timmy awaits word, any word at all about Lassie’s whereabouts. Lassie cries from hunger and loneliness.

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Back home Ruth and Paul worry for Timmy who is hopeful Lassie will be found in Lexington.

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Lassie considers hitching a ride home. Finally, she hops a ride a top a farm truck.

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Coming face to face with a vicious wolf, a Hunter, (Alan Hale Jr.) intervenes and saves her life killing the wolf with his rifle.

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On their way back from Lexington, Paul and Timmy sleepover in the woods. With time to ponder his loss, crying, Timmy recites an extra-special prayer for Lassie.

Timmy’s Extra Special Prayer

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Timmy: Dear father in heaven, this is an extra-special prayer. I know miracles are hard to make and I know you’re the only one that can make ‘em. Please help Lassie find her way home. She’s probably the best dog that ever lived. Can. Thank you for listening. Amen. [Timmy crying]
Paul: Amen (silent]

Injured Lassie finds the Hunter, who cares for her wounds and feeds her. The Hunter has grown fond of Lassie. They go fishing together. As he plays his Harmonica Lassie joins in.

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