Monkees vs. Macheen: “The Monkee’s Paw”

“You’ll never work in show business again!”

“The Monkees Paw” was directed by James Frawley, written by Coslough Johnson, and first aired January 29, 1968. I enjoy this episode; it’s good old fashioned storytelling, based loosely on the short story, “The Monkey’s Paw” by W. W. Jacobs. In that story, a married couple comes into possession of a mummified monkey’s paw that was cursed by a “holy man.” The couple tempts fate when they make an innocent wish that leads to a tragedy. The point being, I suppose, “don’t mess with fate.” There have been many adaptations of this story, including films and stage plays, an opera, an episode of The Alfred Hitchcock Hour, a radio play with Christopher Lee, and the short segment on The Simpsons “Treehouse of Horror II.”

The Monkees version begins at an empty nightclub where the band audition with “Goin’ Down.” The Manager of the club (played by Henry Beckman, the D.A. from “The Picture Frame”) rocks out awkwardly in appreciation. Davy plays drums and Micky sings up front, playing tambourine and maracas. Yeah, they should have set the band up that way the entire series. The nightclub’s current act, Mendrek the Magician, watches from the side, sensing that he’s about to be replaced.

After the song ends, the Manager immediately hires the Monkees. When Mendrek inquires about his own fate, the Manager calls him a has-been and fires him. The two older men argue. Mike intervenes, standing up for Mendrek and asking the Manager not to just “throw him out.” Mendrek thanks Mike by stomping on his foot. Mendrek is a sympathetic character, yet he’s also unsympathetic because, let’s face it, he’s kind of a jerk.

Now for a tangent about clothing styles. For the episodes filmed after the summer of 1967 tour, the Monkees everyday costumes changed from the interchangeable mix-and-match shirts to variations on tunics, mandarin collars, and love beads. Except Mike. Beginning with “Monkees on the Wheel” he wore a tucked in shirt and tie, which I suppose suits his on-screen personality. I suspect at this point the actors were choosing their own clothes and they all look terrific, but sometimes Mike looks like their older brother, chaperoning the band around town [Your pot-smoking accountant brother-in-law – Editor’s Note].

Mendrek assumes the Monkees are going to mock him. Instead they instead offer condolences. They are always supporters of the underdogs. Mendrek says, “Oh don’t be sorry. People don’t want to see Magicians anymore. They want to see reality. As it’s shown to them on television.” Wow. Replace “television” with “YouTube” and that line still works today! This theme of older entertainers threatened by young rock-n-rollers was also in “Monkees at the Circus” and “Captain Crocodile.” Micky finds the Monkey’s Paw in Mendrek’s things; he’s grossed-out, but curious. Mendrek tells the story of how he acquired it from a Lama while looking for “secrets of the unknown” in Tibet.

As told in flashback, Micky plays Young Mendrek, who has climbed a snowy mountain in a magician’s tux to see the High Lama. Instead, he finds the regular lama, known as “Reg.” Mike plays Reg with as broad a Texas accent as possible, comically smashing the expectations about how a lama would speak. Young Mendrek wants to see the High Lama, but Reg explains that he’s out back “sleeping it off.” That’s how he got his name. Nice subversive joke. Young Mendrek tells Reg he’s looking for “Tibetan Unknown Secrets.” Reg is resistant at first and even serves Mendrek papers for trespassing. Eventually, he gives Young Mendrek the Monkey’s Paw, claiming it will grant him three wishes.

Back in the present, Mendrek offers Micky the “priceless” Monkey’s Paw for a quarter. This is pretty nasty of Mendrek. Going by the source story, we can assume that he’s had misfortune because of it, and now he’s wishing this on Micky. I don’t think Micky’s after “mystic power” the way that Young Mendrek was. As Mendrek is leaving, Micky gives Mendrek the quarter, officially purchasing the paw out of pity so that Mendrek won’t be a “vagrant” as the manager calls him. After the Manager kicks Mendrek out, Mike, Davy and Peter look at the camera to tell us, “Well, that’s show business!” with a musical flourish. Recycled joke from “Monkees in a Ghost Town,” but it still works here.

Back at the Monkees pad, bad luck kicks in. Micky’s on the phone with the never-on-this-show-before mentioned “Musicians Union” asking how they can pay their dues if they don’t work? But they can’t work unless they pay their dues. Of course they haven’t worked for a long time. Peter gets in some deliberately out-of-character political commentary with a tongue-in-cheek delivery to the camera:

Micky wanders off holding the paw and distractedly wishes for a way they could get that money. I don’t think he intended to use Monkey’s Paw. (Although he knew about the wishes from Mendrek’s story.) There’s been nothing in Micky’s characterization to suggest he’s superstitious, but throughout every scene in the episode, he continues to hold on to the Monkey’s Paw. Out of the blue, the Manager walks in and says he’ll pay their dues and take it out of their salary, for a kickback of 142%. Later, Micky defends the Monkey’s Paw to Mike, Peter and Davy, as it got them their dues paid, despite the ridiculous interest rate.

Davy is starving and wonders if the Monkey’s Paw could get them some food. Micky wishes for a spaghetti dinner “big enough to feed all four of us.” Spaghetti noodles drop on his head. The others rush up and eat it right off of him. Notice that the Monkees are relatively innocent and don’t make any “Make us as popular as the Beatles” wishes. That’s true to the story where the poor couple involved only wishes for enough to pay their mortgage off, no more.

At his home, Mendrek’s daughter expresses her sympathies about his recent unemployment. He tells her he sold the Monkey’s Paw to one of those “long-haired weirdos.” Daughter worries, “Don’t you remember The Book of Mysteries said it was cursed?” The Book of Mysteries? Would that be Nancy Drew or The Hardy Boys? Mendrek says if that were the case, his luck would change immediately. Just then, he gets a call informing him that he won a million dollars. I can’t help but be a little happy for him. He looked so down and out in the earlier scene, and Hans Conried is so likable.

At the nightclub gig, Micky obsesses over the Monkey’s Paw and his final wish. The others tell him to let it go already. Peter complains that Micky hasn’t talked about anything else since he got the Monkey’s Paw. Micky starts to say, “I wish I could stop talking about it.” but only gets to “I wish I could stop talking…” before his voice vanishes. Someone announces the Monkees and they start playing “Goin’ Down.” It seems a little unfair that this happens to him, since he didn’t have any selfish intentions with his wishes.

Micky’s screwed since he can’t talk or sing. He stands on stage and mouths the words. The crowd boos them off the stage and the Manager demands an explanation. Mike bluffs that Micky’s singing with his feet, “Haven’t you ever heard of “A Young Man with a Corn,” which is a joke-reference to the 1950 movie, A Young Man with a Horn. Playing along, Peter suggests it’s like the jazz song, “Flat Foot Floogie with the Floy-Floy.” Davy makes the pun, “Sock it to me, baby.” Micky does some fast foot-work, but the Manager is unimpressed. He warns them that if Micky can’t sing by tomorrow the Monkees are, “Outta show business!” as he puts it. Does he have that kind of power?

At the pad, the Monkees huddle around Micky, who tries to say “Four Score and Seven Years ago.” Poor Micky. This is really hitting him in the worst place, his wonderful voice. Davy suggests that the Monkey’s Paw has no power, and the problem is all in his head. Did Davy forget the spaghetti ex machina? Mike reasons that the problem began with Mendrek. Well, duh.

The Monkees arrive at Mendrek’s house, where he has bags on his desk with dollar signs on them, as you do when you’re rich [Gene Simmons cashes another check! – Editor’s Note]. Mendrek is busy on the telephone. The Monkees, always eager to answer other people’s phones (See “Too Many Girls” and “Monkees in the Ring”),  answer some of Mendrek’s lines. There’s a Tonight Show reference when Peter tells a caller, “No, no Mr. Carson. Mendrek wants you on his show.” Mendrek pauses to give them his attention, and Mike brings up the Monkey’s Paw. Mendrek quickly brushes him off, claiming he’s too busy. Mendrek knows darn well the paw caused Micky’s problems.

I’m curious about Mendrek’s name. I wonder if it was inspired by the comic strip, Mandrake the Magician, which ran from 1934 to 2013. Mandrake was a hypnotist who used his powers to fight all kinds of villains and spies. It had a pulp-adventure feel, which is right up The Monkees’ writer’s alley.

Back home, the Monkees kid themselves that there’s some other cause for Micky’s sound of silence. They attempt to cure his “illness” with a cutaway gag, putting him in a boiling pot of chicken soup. Later, Micky silently chatters with Mr. Schneider, still holding the Monkey’s Paw. Mike, Peter, and Davy talk about him around the totem pole. Mike suggests that they need to re-teach Micky to talk. Davy makes a bad pun based on the totem pole, asking, “How?” With visibly red, stoned-looking eyes, he giggles uncontrollably at his own joke. I guess Davy Jones decided to play the “High Lama” himself in that scene.

Peter, Mike, and Davy dress in academic robes and give Micky lessons on talking. They use a blackboard that has a few inside jokes such as: “Save the Texas Prairie Chicken,” “Frodis,” and “legalize.” Mike wants to teach Micky to say “pencil,” but Micky still can’t speak. Peter tries to prompt him, using his p-popping trick. They give up, Mike holding the writing implement in question and pondering, “Do you suppose it has anything to do with the fact that this is a crayon?”

The Monkees hope that this is just a mental block. In a hilarious and memorable scene, they take Micky to a psychiatrist, played by Severn Darden (Guggins from “Monkee Vs. Machine.” They also use the same office set they used for Guggins. He gives Micky the ink-blot test, but the others keep piping in with their interpretations. Missing the point of the test, the shrink becomes furious, insisting that the only right answer is:

At the nightclub, Davy tells the Manager they’ve incorporated Micky’s silence into the act. By which he means, they’ve decided to imitate the Marx Brothers. Out on the stage comes Mike as Groucho, Micky as Harpo, and Peter as Chico. I guess Davy’s the Zeppo. Mike does bits from Groucho’s game show, You Bet Your Life. “Say the Magic Word, you get a hundred dollars.” There are other You Bet Your Life/Monkees connections. Joy Harmon, from the episodes “The Picture Frame” and “Monkees on the Wheel” and Pedro Gonzalez Gonzalez from “It’s a Nice Place to Visit” were both discovered on You Bet Your Life. Doodles Weaver from “Monkees Manhattan Style” appeared on the show as a comedian.

The Manager fires the Monkees and promises, “You’ll never work in show business again!” (Again, I doubt he has that power.) Back at the Monkees house, Mick-o mopes. Davy doesn’t blame the manager; he agrees an act like the Marx Brothers would never sell.

They wind up back at Mendrek’s. To his credit, he is now helping “the less fortunate.” That would include the Monkees. Davy and Mendrek’s cute daughter look through “The Book of Mysteries” to see if they can find a solution. Unfortunately she never gets a name; she’s listed on the IMDB as “Daughter.”

Mendrek hits the gong from “Monkees Chow Mein” to jumpstart Micky’s power of speech but only succeeds in freaking Peter out. Fortunately, Davy discovered that the solution is to sell the Monkey’s Paw to someone else. Mike suggests they only sell it to someone deserving and, with perfect timing, the Manager enters to re-hire Mendrek. They all get to work on selling the paw to the Manager. The Manager finds a quarter a bit steep and wants to know more about the “special powers.”

They demonstrate via the montage of magician’s tricks to “Words” (Boyce/Hart). Micky and Mendrek are the magicians who make the others vanish and reappear with “pop” sound effects. There’s also recycled footage of the Astonishing Pietro footage from “Too Many Girls.” Mendrek puts Micky in a giant cup of coffee, perhaps to accompany the giant phone from “Monkees on the Line.” Five Monkee points to whoever gets the reference in this picture:

After the romp, the Manager demands they sell him the Monkey’s Paw. They happily comply, and Mike suggests he go ahead and make a wish (with a look to the camera, inviting us in on the joke). The Manager wishes for a million dollars, which rains on him from above. Immediately the IRS shows up and arrests him for tax evasion.

Back at the Monkees pad, Micky talks a mile a minute to make up for lost time. The Monkees are once again right back where they started, no better or worse off, despite their ill-advised fling with the supernatural. They say goodbye, borrowing each other’s names, and sing the theme a capella. Overall, this was a fun adaptation of the original story. Lots of funny scenes and lines and I’m always happy when the plot revolves around them as musicians. The guest cast was terrific as usual, with the talented and engaging Hans Conried as Mendrek, walking the line between friend and foe to the Monkees.

There’s an interview clip, in which Peter talks about the death of the Hippie Movement, but more interesting is the outtake from the episode that follows. The Monkees are at Mendrek’s desk and do a brief Three Stooges “Hello, hello, hello.” Hans Conried breaks character and curses, “(whistle), I hate these kids.” According to this article on Something Else Review,  the actors playing the Monkees were encouraged by the producers to be energetic and goofy all the time, creating a spontaneous mood where “their madcap sensibilities could be captured with first-take efficiency.” Conried did not enjoy this environment. His expressed frustration was a moment that embarrassed Micky Dolenz because he was a fan of the older actor. Dolenz talks about this on Gilbert Gottfried’s Amazing Colossal Podcast.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

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Monkees vs Macheen: “Monkees in Texas”

“Welcome to Videoranch!”

“The Monkees in Texas” places the boys in familiar territory : The Western. The earlier season two episode, “It’s a Nice Place to Visit,” was an excellent parody of film Westerns. “Monkees in Texas,” written by Jack Winter, is aimed at the television Western, and parodies popular shows such as Bonanza and The Lone Ranger. This episode uses anachronisms for the story and comedy – the costumes on the guest cast especially, but also the set and the storyline, are designed as though the Monkees somehow drove back in time to the late 19th century, while they themselves maintain their psychedelic 1960’s style. This is in service of the parody, as TV shows like Gunsmoke  (which aired against The Monkees on the CBS Television Network) took place in the old west. This device also puts the Monkees in a situation where they’re out of place once again.

The Monkees pull up to a house in a desert setting, driving a golf cart instead of the Monkeemobile. For the most part, the sets used in this episode were on the Columbia Ranch. Zilch, A Monkees Podcast recently had an episode packed with information about The Monkees use of these Columbia Ranch sets in various episodes. This particular episode used a part of Columbia Ranch know as” the Berm.” More information can be found here.

Once they get out of the cart, Mike explains to Peter, and the audience, that they’re in Texas at his Aunt Kate’s house. (Michael Nesmith was born in Houston, Texas.) The Monkees hear gunfire and duck for cover. Two women in 19th-century Western costume ride up on horses, and Mike identifies one of them as his aunt. Three masked men in black arrive and shoot at the women while the Monkees run inside to help Mike’s aunt.

The women shoot rifles out the window at the bandits as the Monkees enter the little green house. Aunt Kate greets Mike briefly and tells the Monkees to “grab a rifle.” Of course they all try to grab the same rifle. Aunt Kate clarifies that there’s one for each of them on the rack. There’s a Marx-brothers type scramble when Peter keeps putting the guns back on the rack as the others try to hand them out. The Monkees wind up cocking invisible guns. The younger woman, Lucy, gives them one of those “funniest looks from everyone we meet.” They try again, and each shows off their weapon: Micky, “Winchester seventy-three,” Davy, “Colt forty-five,” Mike, “Smith and Wesson, thirty-eight.” It’s all very faux-manly, except Peter who takes an anti-violence stance with a bottle of champagne, “Vintage sixty-six.”

The Monkees help defend the house, except Peter uses a finger gun and “fires” by saying “bang-bang-bang!” Peter explains to Davy, “Well, I hate violence. Besides I have more shells than you.” (Peter also used a finger-gun in “Monkee See, Monkee Die.”) The lead bandit asks, “Have you had enough, nesters?” Mike corrects them, “The name is Nesmith!,” a callback gag to the times Mike’s name has been mispronounced (“I’ve Got a Little Song Here,” “Monkee Mayor”). Aunt Kate corrects Mike that “nester” means farmer, so Mike politely allows the bandit to go on.

The bandits open fire at the house and Micky comments, “they’re throwing everything at us but the kitchen sink,” setting up the site gag when the bandits roll a flaming sink at the house. After the opening titles, Davy solves the problem by turning on the faucet and letting the water put the flames out. They all cheer Davy. It is pretty amazing since the sink’s not connected to any pipes. The sexist bandits realize, “that ain’t just women” firing at them, and they retreat. The Monkees celebrate and the women stare at them incredulously.

This is the first of two Emmy jokes in the episode. The Emmy’s were given out on June 4, 1967, so by the time this was shot in October of 1967, James Frawley, who directed this episode, had already won the Outstanding Directorial Achievement in Comedy for “Royal Flush” and The Monkees won for outstanding comedy series.

Lucy halts their celebration, “I wouldn’t be too happy about that, they’ll be back.” (Lucy is played by Bonnie Dewberry, who was also Dr. Mendoza’s daughter in “I Was a Teenage Monster.”) Micky, Peter, and Davy are eager to leave Aunt Kate’s now that the gunfight is over. Mike insists that they stay for family loyalty and bravery etc. but mostly because the bandits “killed our golf cart.” They cut to a shot of the golf cart, turned over on its side. Maybe that’s why they didn’t use the Monkeemobile. Micky and Peter go to get some help. Kate advises them to look more “Western” so they’ll fit in better. They don’t like strangers here, and the young Monkees are pretty strange.

Kate explains that Black Bart and his men have been trying to drive her off her land for about a year. The name Black Bart is an allusion to a real life outlaw, who robbed stagecoaches in the late 19th-century. Mike introduces Kate to Davy and then realizes he doesn’t know Lucy, the younger woman. She takes off her bonnet and flusters Mike with a shake of her long blonde hair, giving Mike the setup to be comically awkward.

Mike: “I’m afraid I don’t know this lady here… oh my…”
Aunt Kate: “Don’t you remember your baby cousin Lucy?”
Mike: “Huh? Lu—Lucy! Are you Lu—well, what, well, whatever happened to the buck teeth, the knobby kneed, uh, stringy haired, bad complexion, little girl that I used to hang around with?”
Aunt Kate: “That’s your other cousin, Clara. She still looks the same.”

Micky and Peter’s idea of looking “Western” is a Lone Ranger and Tonto look, parodying the popular Texas Ranger and his Native American friend characters of radio, television, comic books, and films. Micky and Peter are “The Lone Stranger” and “Pronto.” (Looney Tunes also did a Lone Ranger parody, “The Lone Stranger and Porky” in 1939). Peter is unsure of his outfit, as he should be since they both look like they’re wearing little kid’s Halloween costumes. But Micky reassures Peter that he looks very “psychedelic” because of the peace symbol and beads. [“Dirty hippies!” – Editor’s Note]

Micky and Peter enter the Marshall’s office and explain the trouble at Nesmith’s ranch. The Marshall (played by actor James Griffith who appeared in many Western television shows) is unavailable to help because he’s shooting his own TV show, and then has an Emmy dinner—for Emmy reference #2. He suggests they go to a saloon and hire outlaws.

Back at the ranch, Davy spots three men riding towards the house and warns the others. However, Kate identifies the men as friends: The Cartwheels, Ben and his two sons, Mule and Little Moe. This is a parody of the Western TV show Bonanza and the main characters Ben Cartwright and his sons (“Hoss” and “Little Joe”). Cartwheel insists Kate should sell her ranch to him for her “protection” of course. Kate politely turns him down.

Fun dialog moment:

Ben Cartwheel (to Davy): “Hey, uh, water my horse, will you, son?”
Davy: “Water your horse? I’m not a stable boy!”
Ben Cartwheel: “I don’t care about your mental condition; water my horse!”

Micky and Peter enter the saloon as a Western-style version of “The Old Folks at Home” (Stephen Foster) plays. (Davy performed this song in “The Spy Who Came in from the Cool,” and “The Case of the Missing Monkee.”) They get another of those “funny” looks, this time from the bartender. Micky bumps into a mustachioed cowboy at the bar, who is clearly Davy. A saloon girl grabs Micky, who protests with, “Not now, this is a family show!” The bartender is skeptical of this, “Family show?” When Micky and Peter look for hired guns to fight Black Bart, they meet Sneak and Red. There’s a misunderstanding, and Red ends up recruiting Micky and Peter into Black Bart’s gang. (Red is played by Len Lesser, who played George in the Western/gangster-flavored episode “Monkees in a Ghost Town.”)

I’ve seen it noted that the “bubble gum” joke was meant to be a reference to the Monkees “bubble gum” image. Could be, but I’m going to take it a different way. The “family show” joke suggests that the writers/producers make many of the jokes subversive and aimed at adults. With the bubble gum vs. tobacco, Peter ordering milk from the bar, and Micky’s line about the “family show,” and all of the gun violence and the Monkees playing around with the guns pretty much consequence free, they’re making fun of the idea of what a kid’s show is supposed to be. Most recent kid’s shows I’ve watched with my daughter are sanitized and full of “lessons.” No thanks. (Please, no morals.) At the same time, the Monkees act like kids most of the time, and they put kid’s jokes in an adult context, such as real Westerns which tend to be violent and aimed at adults, etc. The contrast makes The Monkees an unusual show. Other shows that pull this off successfully tend to be cartoons like Looney Tunes or Animaniacs.

I’ve been really enjoying this episode so far. These scenes in the saloon are my favorite because of the parody of Western clichés, funny dialog and sight gags, and a brilliant “tough cowboy” performance from Micky. High points include Micky missing the whisky bottle the bartender slings at him, the men with “prices on their heads,” Micky proving that he’s “fast on the draw,” and the excellent straight men: Sneak, Red, and the Bartender.

Peter and Micky hang out in Black Bart’s shack, where Micky plays cards with Red. Sneak busts in and declares that now’s a good time to attack Nesmith’s ranch. Peter sneaks out of the hideout and rides a horse right into the front door of Aunt Kate’s house to announce that Black Bart and his men are coming. When Davy rushes to get help, he accidentally falls on the horse the wrong way and rides it backward. He finds Ben Cartwheel, who instructs Davy to tell Kate he’s coming with his men. Davy makes the return trip backwards too; cool trick on Davy Jones’s part.

Mike digs up a jar of dirt from Kate’s ranch and takes it to the saloon. He asks for the Assayer’s office. The bartender replies, “This is it” and a sign identifying him magically appears. The Assayer/Bartender looks in Mike’s jar with that oft-used giant magnifying glass and tells Mike that the gook in the jar is “crude.” Mike misunderstands and leans in, “Oh. That’s okay, go ahead and tell me anyway.” The Assayer explains that “crude” is oil. Before Mike can leave, the Assayer asks for payment, so Mike puts some of the oil on his hand. Mike was very much like Jimmy Stewart (who, among other films, was in many Westerns) with his polite, unassuming demeanor in that scene.

Black Bart walks into his hideout without his mask, and if the audience didn’t catch on before, he is Ben Cartwheel. Bart wants to know who betrayed them to Kate. Red identifies the “Injun” as the one who went to the ranch. Ignoring the pejorative term for moment, clearly the joke is that Peter looks nothing like a Native American. Micky pretends not to know Peter, but when Bart orders Micky to kill Peter, he admits Peter’s his best friend. Red and Sneak draw guns on Peter and Micky.

A narrator’s voice employs the cliché, “Meanwhile, back at the ranch…” Mike tells Kate she’s going to be rich because of the oil on her property. They wait for the Cartwheels to save the day, but in case they don’t arrive, Mike tries to get John Wayne on the phone, yelling at the operator because, as in “The Prince and the Paupers,” he has trouble working these antiquated phones. It’s also a callback gag to “Monkees in a Ghost Town” when Davy tried to call Marshall Dillon from Gunsmoke. Kate hands rifles to Mike and Davy.

Black Bart and his men arrive at Kate’s ranch. They have Micky and Peter tied up and dressed like part of the gang. Their hands are tied, but they ride the horses away from the bad guys anyway. Bart lets them escape, figuring they can simply “kill them on the other side.” That doesn’t make any sense, but whatever facilitates their escape, I suppose.

Micky and Peter ride up to the ranch and tell Kate and the others that Cartwheel and Black Bart are one in the same. She doesn’t believe it:

Aunt Kate: “Ben Cartwheel’s the kindest millionaire in the whole valley. He wouldn’t hurt a fly.”
Micky: “Flies, no, but if you’re a human, he’ll kill ya!”

Between not catching on to Black Bart’s true identity, and not noticing that she had oil on her ranch, Aunt Kate is not the sharpest Nesmith. It seems the cycle had been going on for a year before the Monkee arrived: Black Bart and the bandits shoot at the women, and then Ben Cartwheel comes by and offers to buy the ranch. However, Kate wasn’t scared off; she was shooting right back and determined to hold onto her property. The Monkees contribution to moving the story along was brains (and comedy), not tough-guy gun slinging; Mike discovered the oil, and Micky and Peter discovered Black Bart’s true identity.

The good guys run inside, Micky giving Bart a saucy British “two-fingered salute” gesture before he shuts the door. I doubt he meant that as a peace sign, though maybe it passed that way to the censors. The gunfight launches a romp to “Words” (Tommy Boyce/Bobby Hart). It’s a very cartoonish romp, with lots of knocking bad guys on the head. The somber song is pretty, but doesn’t suit the action. Other notable elements are: Davy kisses Lucy for no reason, there’s a cameo shot of photographer Nurit Wilde, and the gun with the “Bang” flag reappears. Once again, despite all the gunfire, the romp allows the Monkees to save the day without anyone getting hurt. Black Bart and his men retreat at the end of the song, riding away from the ranch in defeat.

Oddly, after the romp, the editors stick in the same shot from the beginning of Lucy saying, “I wouldn’t be too happy about that, they’ll be back.” After which, they immediately go into the performance clip of “Goin’ Down” (Dolenz, Jones, Tork, Nesmith, and Hildebrand). This creates an unsatisfying ending. The romp wrapped the story up when the bad guys left; we don’t really need a tag sequence. But it would have been nice if they had done some quick scene instead of repeating Lucy’s line. I wonder if some footage got lost or was unusable.

This is still mostly a fine episode though. The plot was tight and moved along nicely and the writers/producers knew their source material well enough to make it fun. It would almost fit in well with the first season; it’s relatively innocent compared to other Season two episodes as far as all four of the Monkees really committing to the episode. They each had a part to play in the story and they all engage with the plot and don’t mock what they’re doing. The guest cast plays it straight and lets the Monkees be the joke-makers. If it wasn’t for the lack of narrative closure, this might have been one of my favorites.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.