Joker Goes to School
The Joker’s buttonhole, spraying high school students right through a film lecture attended by Richard Grayson, sometimes called in criminal circles the “Boy Blunder”.
Semple’s writing is the “chicken shit made chocolate” of Billy Wilder’s Ernst Lubitsch.
Meets His Match, the Grisly Ghoul
A heavy bet against Disko Tech, the favorites, is covered by blackmailing the basketball squad, the Joker’s jukeboxes rob the joint.
Paul Playdon’s meditation on Art is about as Baudelairean as it gets, exacerbated by Golden in the timeswept conclusion into a nightmare vision of Beckett’s grandfather clock striking “six of the best on the brain every hour”.
An American agent undercover at a nuclear reactor complex in the Federated People’s Republic is dying, and conceives a plan to start World War III. Wai Lee comes to him, emerald-browed and wearing a sari like a cloud of pink, as it were out of a stained-glass portrait installed in the complex by an artist impersonated by Phelps in the manner of Fred Astaire’s Russian artiste. General Brenner says, “I have not the time to discuss Abstract Art,” and Phelps’ comeback is, “is not Abstract, is Cubist!”
The Globe Repertory Company re-create the complex after a structural failure, and the agent is persuaded to dismantle the weapon, with Barney at the real controls duplicating his every move.
A campaign manager (Gary Collins) finds his client intractable, supplies him with a mistress and kills her, then finds himself a new candidate. The former client is sent to prison, his wife (Vera Miles) breaks down and is hospitalized in California.
Upon her release, she initiates a re-examination of the case with manufactured and inflated evidence that is discredited by Five-O not before an eyewitness is killed for additional documents not in his possession.
The witness is lured to the docks at night on a promise of payment, he has been scrounging up Australian land deals since the murder, when he was the victim’s apartment manager.
McGarrett is the man in the title, so called by the prison widow. Golden’s naturalism is the crux of two perpendicular shots at the climax in a hotel room, over the balcony and through the glass doors to the lady tranquilized on a sofa, across to the next balcony where a tourist couple enchanted by the view interrupt the campaign manager’s murder plan.