ELLERY QUEEN – The Last Man Club. Pyramid R-1835, paperback; 1st printing thus, July 1968. Both stories were originally published as Better Little Books in 1940 and 1942, respectively. Both are novelizations of radio plays.

   Not all of the recent assortment of EQ reprints, of which this is one, are listed with rest of Ellery Queen’s works, and it is not surprising. The writing is distinctly substandard, although the first story does have appeal as a problem in deduction. The print is large, and there aren’t many pages [127], so 50¢ is an exceeding high price for this book.

Overall rating: **½
      —-
“The Adventure of the Last Man Club.” A hit-and-run accident witnessed by Ellery and Nikki leads them to believe a murderer is striking the survivors of an unusual club formed twenty years before. A trust fund of $120,000 to be divided equally if the killer’s obvious goal. A poisoned cordial bottle provides Ellery with the necessary clue.

   A clever and unexpected twist that occurs as the would-be killer is revealed makes the story better than it would otherwise be. Color-blindness is the key, but mailboxes are no longer painted green.    ***½
      —-
“The Adventure of the Murdered Millionaire.” A murdered stockbroker’s gum-chewing habit gives away the killer’s identity in this one, as a baseball scorecard pinpoints his whereabouts the previous afternoon.

   It’s too simple a puzzle, and bad writing shows too clearly. Did EQ actually write this? On page 98, Doc Prouty is dusting for fingerprints. Since he is the medical examiner, what indeed is going on?    *½

   PulpFest 2024 got underway early on Wednesday evening, July 31, when the convention’s chairperson, Jack Cullers, opened the dealers’ room at the DoubleTree by Hilton Pittsburgh — Cranberry for vendors to set up for the convention. Many PulpFest dealers took advantage of this early setup to load in their wares and socialize with friends whom they see but once, twice, or thrice each year.

   According to PulpFest’s marketing and programming director, Mike Chomko, the DoubleTree staff went above and beyond to have the hotel’s exhibition hall ready and waiting for the convention’s dealers. He recommends that all PulpFest vendors take advantage of the convention’s early set-up hours to prepare their exhibits for the convention’s official opening the next day.

   PulpFest 2024 officially opened on Thursday morning, August 1, with the arrival of more dealers for unloading and setup. Early-bird shopping began around 9 a.m. and continued until 4:45 p.m. Although there were no feeding frenzies noted on opening day, most dealers reported brisk sales at the convention.

   Dealers with substantial pulp offerings included Adventure House, Ray Walsh’s Archives Book Shop, Steve Erickson’s Books from the Crypt, Doug Ellis & Deb Fulton, Heartwood Books & Art, Paul Herman, Mark Hickman, John McMahan, Peter Macuga, Phil Nelson, Steranko, Sheila Vanderbeek, and Todd & Ross Warren. You could also find original artwork offered by Doug Ellis & Deb Fulton, George Hagenauer, Craig Poole, and others.

   In addition to pulps and original artwork, you could find digests, vintage paperbacks, men’s adventure and true crime magazines, first-edition hardcovers, genre fiction, series books, Golden Age, Silver Age, Bronze Age, and pulp-related comic books, and more.

   Additionally, one could find pulp reprints and contemporary creations including artwork, new fiction, and fanzines produced by Age of Aces, Edgar Rice Burroughs, Inc., Flinch! Books, Doug Klauba, Craig McDonald, Meteor House, Charles F. Millhouse, Brian K. Morris, Will Murray, Stark House, Steeger Books, Mark Wheatley, and others.

   With more than 80 dealers registered for PulpFest 2024, the dealers’ room was a sell-out. One dealer who came on board late had to set up outside the dealers’ room, near the back entrance to the hotel.

   Henry G. Franke III — the co-host of ERBFest 2024 (with PulpFest) — also set up outside the dealers’ room. His table was near the main entrance to the dealers’ room where he provided information about Edgar Rice Burroughs, ERBFest, and the 2024 Dum-Dum banquet.

   The fourth annual PulpFest Pizza Party followed the closure of the dealers’ room at 5 p.m. Almost 70 pizzas were baked for the convention’s members, thanks to the generosity of PulpFest’s dealers. In fact, so many pizzas were made that the hotel ran out of some ingredients. Since it was started in 2021, the annual pizza gathering has become a very popular fixture at PulpFest. The convention’s advertising director, Bill Lampkin, promises more “Pizza at PulpFest” gatherings in the years to come.

   Following opening remarks by chairman Cullers, the convention’s admirable programming line-up began with a look at the early years of Black Mask, presented by Blood ’n Thunder editor and publisher Ed Hulse and his dear friend and pulp authority, Walker Martin.

   Afterward, Will Murray and John Wooley — who appeared in no less than three presentations at this year’s PulpFest — discussed the gumshoes and writers for Spicy Detective Stories. Later in the night, pulp art expert David Saunders explored the Spicy artists, including an in-depth look at Adolphe Barreaux, creator of “Sally the Sleuth.”

   Tim King — a former investigator for the Department of Defense and US Intelligence Services — offered a very entertaining and well-received look at spy heroes in the pulp magazines, creating a “Mission: Impossible” task force made up of the great spy heroes.

   Closing out the night were Bernice Jones & Cathy Mann Wilbanks discussing “The Women of Edgar Rice Burroughs,” one of several talks on ERB and his creations at this year’s PulpFest/ERBFest. Unfortunately, a showing of The Land That Time Forgot had to be canceled due to technical difficulties. The film, directed by Kevin Connor, turned fifty this year.

   Despite a long day of buying and selling and an evening packed with programming, many conventioneers gathered in the hotel lounge to talk and reminisce about their favorite authors, cover artists, and pulp characters long into the night.

   There was more buying and selling on Friday, August 2. Competing for attendees’ attention were three afternoon presentations. Starting shortly after noon, filmmaker Ron Hill offered one of two special showings of his documentary on pulp fandom, We Are Doc Savage. Questions and comments followed the showing. Afterward came the 2024 “Flinch! Fest,” hosted by John C. Bruening & Jim Beard of Flinch! Books. Joining them was Flinch writer Brian Morris.

   Closing out the afternoon programming was “The Universe According to Edgar Rice Burroughs,” a panel led by Christopher Paul Carey — director of publishing for Edgar Rice Burroughs, Inc. — and Cathy Wilbanks, the organization’s Vice President of Operations. Joining them was Joe Ferrante from Pocket Universe Productions — creators of John Carter of Mars: The Audio Series — and Doug Simms of Heroes and Games.

   After the dinner break came more evening programming, beginning with a look at the spicy influence on the men’s adventure magazines, presented by Bob Deis and Wyatt Doyle — co-editors of “The Men’s Adventure Library.” Next came a look at the Popular Publications years of Black Mask, presented by John Gunnison, John McMahan, and John Wooley.

   Afterward, writer and illustrator Mark Schultz and PulpFest programming director Mike Chomko teamed up for a look at dinosaurs in the pulps. This in-depth presentation on the topic ran quite a bit over its allotted time as the two discussed paleontology and the pulps. It was part of the 2024 salute to the centennial of the first book publication of The Land That Time Forgot.

   Tom Krabacher and Kurt Shoemaker came next with a look at America’s Secret Service Ace — Operator #5 — while Morgan Holmes, a leading expert on sword and sorcery and the work of Robert E. Howard, finished up the evening’s programming with a discussion of Culture Publications’ Spicy- Adventure Stories. The “Spicy” pulps turned 90 years old in 2024.

   Rather than show the evening’s planned film — The People That Time Forgot — the convention screened the previously canceled The Land That Time Forgot. The audience was asked to turn off the lights and make sure the doors were locked if they decided to watch the movie’s sequel during the wee hours of Sunday morning.

   On Saturday, August 3, the dealers’ room opened again at 9 a.m. and brisk business continued. All told, 436 people passed through the entrance to the PulpFest 2024 dealers’ room where they were tempted by more than 150 tables filled with thousands of pulp magazines, digests, vintage paperbacks, original art, and much more.

   Ron Hill started off the afternoon programming with another showing of We Are Doc Savage, a documentary on fandom. Afterward, Win Scott Eckert, Sean Lee Levin, & Paul Spiteri, with Keith Howell, celebrated Farmercon XIX with a discussion about the latest offerings from Meteor House.

   Closing out the afternoon programming, author and journalist Craig McDonald interviewed artist Douglas C. Klauba, whose work covers the interests of the three conventions held annually at the DoubleTree in Mars, PA: Burroughs, Farmer, & pulp.

   This was the third time that PulpFest had hosted both Farmercon — which has been coming to PulpFest almost annually since 2011 — and ERBFest — a “convention within a convention” that began at PulpFest in 2021. They’ll both be returning next year, along with a third convention — Doc Con, a gathering of the fans of “The Man of Bronze.” It has been nearly a decade since the last Doc Con.

   After the close of the dealers’ room on Saturday, The Burroughs Bibliophiles and fans of the author’s work gathered at the nearby Bravo! Italian Kitchen for the 2024 Dum-Dum Banquet. Named for the special gatherings of the great apes as described in Burroughs’ Tarzan of the Apes, the banquet was hosted by Henry G. Franke III and Jason Aiken, a local member of The Bibliophiles. Attended by nearly fifty people, the banquet featured door prizes, a free program book with an autographs page, and a driving-tour map of Mars, Pennsylvania, and its vicinity.

   Speaking at the event was author and illustrator Mark Schultz — who was also presented with the 2024 Golden Lion Award — and Mike Conran, Vice Chairman of the Bibliophiles Board of Directors. Frankie Frazetta also provided a video recorded at the Frazetta Art Museum in East Stroudsburg, Pennsylvania, made especially for the banquet. Jim Goodwin was presented with the Outstanding Achievement Award at the banquet.

   After Saturday’s dinner break came more evening programming, beginning with a look at PulpFest 2025, presented by committee members Cullers and Chomko. Afterward, the 2024 Munsey Award was presented to researcher and editor, Gene Christie. The Munsey Award recognizes an individual or organization that has bettered the pulp community — be it through disseminating knowledge about the pulps or through publishing or other efforts to preserve and foster interest in the pulp magazines we all love and enjoy.

   Finishing off this year’s programming at PulpFest was an interview with Peter Wolson, the son of hardboiled detective writer Morton Wolson (who wrote as Peter Paige). The tireless John Wooley conducted the interview.

   Closing out the evening was the convention’s Saturday night auction. It featured over 300 lots of material including nearly 250 lots of science fiction books, magazines, and reference materials from the estate of Charles Danowski, a former school superintendent with a love for the genre. Perhaps the highlight of the auction was a copy of the October 1933 issue of Weird Tales, featuring the iconic “Bat Woman” cover of Margaret Brundage. It sold to a silent bidder for $2000.

   The remainder of the lots consisted of several groupings of The Shadow, Doc Savage, and The Phantom Detective, about ten issues of Weird Tales — mostly from the 1930s — Edgar Rice Burroughs first editions, and a half-dozen or so number one pulps, including South Sea Stories, The Skipper, and Jungle Stories.

   Although the dealers’ room opened a final time again on Sunday, August 4, buying and selling opportunities were limited as dealers packed up and prepared for the drive home.

   PulpFest 2025 will take place August 7 – 10 at the DoubleTree by Hilton Pittsburgh — Cranberry in Mars, Pennsylvania. The convention will be celebrating “Masters of Blood and Thunder” in 2025. The 150th anniversary of the births of Edgar Rice Burroughs, Rafael Sabatini, and Edgar Wallace will happen next year.

   You can learn more by visiting http://www.pulpfest.com. I hope to see you at the convention.

         —

EDITORIAL UPDATE: August 26th. I’ve just added photos sent to me by Bill Lampkin. Thanks, Bill!

ROBERT L. FISH – The Incredible Schlock Homes: 12 Stories from Bagel Street. Simon & Schuster, hardcover, 1966. Avon, softcover, 1976.

   Only the most humorless Sherlockians could object to the way their hero is treated in these enormously funny parodies, all twelve of which were originally published in Ellery Queen’s Mystery Magazine. Because Fish clearly knew the canon, these stories arc also excellent pastiches of the works of Sir Arthur Conan Doyle. He has captured Doyle’s style in having a Dr. Watson narrate the events, and the cases generally start with the same time-tested devices used to begin the Sherlock Holmes tales. A distressed potential client appears, and Homes, who has never seen him or her before, uses his best deductive methods to guess pertinent facts. He is totally wrong, but hilariously so.

   Starting with a decidedly cockeyed chronology, “Watson” proceeds to refer to past successes of Homes’s, and these are merely excuses for some of the most outrageous puns ever to appear in the mystery genre. For example, Homes’s efforts on behalf of a Polish group are included as “The Adventure of the Danzig Men.” The detective’s involvement with a British lord who, because of dishonesty, had to resign from his clubs is called “The Adventure of the Dismembered Peer.”

   Obviously, nothing is to be sacred here, including the names of the famous characters. Watson goes under the name “Watney,” Mrs. Hudson becomes “Mrs. Essex,” and Professor Moriarty operates as “Professor Marty.” The action starts at 221B Bagel Street.

   “The Adventure of the Ascot Tie,” Fish’s first published story, is probably the best in the collection, but it is only minutely superior to “The Adventure of the Stockbroker’s Clark,” “The Adventure of the Artist’s Mottle,” and “The Adventure of the Snared Drummer.”

   Another group of stories, almost as good, was collected and published as The Memoirs of Schlock Homes (1974). All are delightful to read as they lovingly spoof the methods and idiosyncrasies of the most famous character in all of literature, exposing the frequently tenuous reasoning by which Sir Arthur’s hero came up with his solutions. Schlock’s methods are very similar-except he is always wrong, to our comic delight.

   It is proof of the permanent appeal of Sherlock Holmes that a talented writer like Robert L. Fish can take him apart, giving us great pleasure. and yet at the same time make us anxious to read the original stories once again.

         ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

JEROME ODLUM – Each Dawn I Die.  Bobbs-Merrill, hardcover, 1938. To be published by Stark House Press as a Staccato Books imprint edition in September. (See comment #4.) Film: First National/Warner Brothers, 1939, withe James Cagney, George Raft.

   Frank Ross is a reporter digging up dirt on the corrupt local administration when he gets sapped by some goons and set up on a phony vehicular homicide rap. And sent up to prison for 20 years.

   “When you first came here, you imagined that every day would bring your release. Then you started figuring in weeks, then months. And now you’re beginning to feel it’s nearly hopeless. And you hate all the world and God and Jesus Christ for letting you in for a mess like this. You don’t want any part of them….  When you came here, you had no intention of adopting the code of the convict. But now you’re not only a convict by number and garb; you’re also a convict at heart. That’s what the dumb taxpayers and yard sprinklers and grass mowers and God and Jesus Christ and all the rest of the world have done for you. That’s what prison has made of you. The hell with all of them.”

   It’s a good prison yarn with plenty of gory details. Then the ending goes all Hollywood on you and everything’s smiles, rainbows and cotton candy. But until that point you’ve got a solid story of prisoners, the weasels running the prison and their succubae. But for the ending, I liked it.

PHILIP JOSE FARMER – The Felled Star. Serialized in If SF, July-August, 1967. Combined with the serial “The Fabulous Riverboat” (If SF, May-June 1971) into the second Riverworld novel, The Fabulous Riverboat (Putnam, hardcover, 1971).

   Continuing the Riverworld series, we now follow the adventures and dreams of Sam Clemens as he and a shipful of Viking warriors [as they] sail upstream in search of a mysterious tower reportedly seen in the polar regions. One of the Ethicals intervenes again, to cause a meteorite to fall, promising a source of much-needed iron.

   The story does not end, and cannot stand by itself; hence the low rating. Who couldn’t it be told at once? Farmer’s Sam Clemens has only faint resemblance to the historical Mark Twain, though no doubt the facts of his life are correct. Some comments [are included] on the human condition, reflections on life by Clemens, etc.

Rating: ** ½.

RIDE THE PINK HORSE. Universal, 1947. Robert Montgomery, Wanda Hendrix, Andrea King, Thomas Gomez, Fred Clark, Art Smith, Martin Garralaga and John Doucette. Screenplay by Ben Hecht and Charles Lederer, based on the novel by Dorothy B. Hughes. Directed by Robert Montgomery.

   The one non-Boston Blackie film I’ve seen on TV lately was Ride the Pink Horse, starring and directed by Robert Montgomery. Not a great film by any means, but interesting throughout. Montgomery had, by all accounts, an unusually high IQ, and it has always seemed to me that his films are all marked by an almost intangible quality of Intelligence. The failures as well as the successes seem to presuppose a certain degree of of the movie-going audience (a classically underestimated group) and work from there.

   The well-known extended subjective camerawork in Lady in the Lake, for example, is hardly an unqualified triumph, but it’s the sort of thing somebody had to try sooner or later; All it took  was a director who had some confidence in his audience.

   Likewise the sly references in Montgomery’s autobiographical daydream-movie Once More, My Darling, where Ann Blyth conveys a hitherto-unsuspected and startling sensuality while we wait for things to get funny, which they never really do.

   Montgomery’s intelligence often showed itself even in films he didn’t direct but merely acted in. There’s his effete quisling in The Big House, the blandly ingenuous psycho in Night Must Fall,  the Detective/Prince in Trouble for Two, and the memorable Here Comes Mr. Jordan   and They Were Expendable,   all films marked by much more thoughtfulness than is common in movies of their sort.

   Oddly enough, it’s this very intelligence that mitigates against Ride the Pink Horse,  in which Montgomery portrays Lucky Gagin, a not-too-bright petty crook out for revenge against Fred Clark as a murderous Political Boss; He just never convinces us that he’s as dumb as his character is supposed to be. Montgomery walks and talks just like a pug throughout the film, but every so often he visibly relaxes and just listens while another character talks, and in these moments his face betrays him with a perceptive, alert expression that all the Dis ‘n’ Dats in his dialogue just can’t hide.

   What we have here is an educated man playing a Dummy, and for all his brains, Montgomery just ain’t a good enough actor to hide it.

   I should go on to add, though, that except for this, Ride the Pink Horse is just about everything you could want in a film noir and more, with moody lighting, long, expressive takes, a host of skillfully limned minor characters, and the showy stylistic flourishes one expects from this genre.

   Yet even the standard film noir brutality takes an oddly thoughtful turn here: for though the Good Guys in this movie take an awful lot of physical abuse — very graphically portrayed — the Baddies get their lumps off-camera, if at all. And this is not a small point when you’re talking about film noir.

   One of the staples of Classic noirs no one ever mentions is that grin of Guilty Pleasure lighting the features of Bogart, Powell, et. al. as they prepare to deliver a well-deserved ass-kicking to their erstwhile tormentors. Nothing like that ever happens in Ride the Pink Horse, as if Montgomery were trying to subtly convey that violence is, after all, the province of the Bad Guys, and we grown-ups must look elsewhere for catharsis.

   Hmm. Bob Montgomery may not be the best moviemaker ever, but he maybe deserves more attention than he’s been getting.

DAVID GOODIS – Retreat from Oblivion. E.P. Dutton, hardcover, 1939. To be published in paperback by Stark House Press, paperback, October, 2024. (See comments.)

   Peyton Place meets WWII. Extramarital affairs between friends and neighbors in the rising middle bracket of Manhattan, circa 1939.

   Herb and wife Jean, they’re a pretty bad scene. Jean’s screwing Herb’s friend Paul. And frankly, Jean dear, he don’t give a damn.

   Then Jean gets preggers and Paul heads with her to China to become a fighter pilot against the Japanese. Which is good for the reader because Goodis can really write a good pulpy aviation yarn (given his record of selling air adventure stories to the aviation pulps).

   As Jean absconds with Paul, Herb’s on the make. He’s feeling reckless (was just at a go-kart track with a list of rules including ‘no wreckless driving’. The ‘w’ in ‘wreckless’ still visible through the white-out). Herb heads to Harlem and starts following a very attractive Italian looking girl. She stops and recommends the prostitutes one street over. He says he just needs someone to talk to. And it turns out, so does she.

   Her name’s Dorothy. Her husband is fighting the fascists in Spain. So now Herb feels guilty and can’t sleep with her. Even though she first tells him it’s okay and later begs for it.

   More good news for the reader. Dorothy’s hubbie being in the Spanish Civil War allows Goodis to write alternating chapters teleporting the reader from Peyton Place to the war in Spain with plenty of battle scenes for the losing cause.

   So that’s the picture. Peyton Place melodrama montaged with wartime atrocities.

   What it could have amounted is a critique of the hypocritical Manhattan high-life where everybody’s trying to screw their neighbor in every way they can, whilst elsewhere people are heroically facing death and destruction.

   Yet when the time comes to hammer this point home, Goodis settles for the Hollywood ending. Perhaps seeking a Hollywood ending for himself, picturing himself in pictures, retreating from the existential oblivion that would hound him til the end.

IF SCIENCE FICTION. August 1967. Editor: Frederik Pohl. Cover artist: Gray Morrow. Overall rating: ***

JAMES BLISH “Faust Aleph-Null.” Serial: part 1 of 3. See report following that of the October 1967 (yet to come).

ROGER DEELEY “The Trouble with Vegans.” First story. They are very clever smugglers. An old joke retold. (3)

KEITH LAUMER “Clear As Mud.” Novelette. Retief and Magnan are Terran representatives on a planet where mud volcanoes are a bad problem. And the complications arise. Fun. (3)

FRED SABERHAGEN “The Winged Helmet.” Novelette. Sequel to “Stone Man” in the May issue of Worlds of Tomorrow. The berserkers’ attacks through time are concentrated on individuals who control a great deal of the planet’s destiny. King Ay of pre-civilized times is killed, and a replacement has to be sent to maintain history. The ending is not satisfying; there may be more to come. (3)

BURT K. FILER “Paint ’em Green.” The search of “effects machines” by Terran governments brings about interference by outside interests, for a second time. (3)

PHILIP JOSE FARMER “The Felled Star.” Serial; part 2 of 2. Report on complete story to appear here soon.

E. X. FERRARS – Frog in the Throat.  Virginia Freer #2. Doubleday Crime Club, hardcover, 1980. Bantam, paperback, 1981. Felony & Mayhem Press, softcover, 2021.

   Virginia Freer, heroine of Frog in the Throat, is staying with craftsmen friends Helen and Andrew Boscott (he’s a furniture restorer, she’s a weaver and tapestry worker) for a much-needed holiday. On a quiet afternoon, in walks the big mistake of Virginia’s life — Felix Freer, her estranged husband. Felix is one of those charming people who have few scruples and an overwhelming capacity for lying-even when he thinks he’s telling the truth. He is now lying about his reasons for dropping in at the Boscott house, and Virginia wonders why.

   The events of the evening only complicate matters. At a neighbor’s cocktail party, novelist Carleen Fyffe (half of a famous sister team of historical-romance writers) announces her engagement to poet Basil Deering (whom Felix has expressed an interest in meeting). Shortly after the Freers and Boscotts return home, Olivia Fyffe arrives, saying she has found her sister on the floor of their den, murdered. When they all go to the Fyffe cottage, however, there is no body.

   Almost everyone thinks Olivia is being dramatic for some reason of her own, or perhaps hysterical. It takes a second body and the discovery of her sister’s corpse to prove otherwise, and a certain amount of detection on Virginia’s part to determine Felix’s connection with the murders.

   The pace of this novel is slow, with good characterization of all participants except the heroine. The plot unfolds in the best tradition of the British country-house mystery, with plenty of suspicion and all ends tied up nicely at the conclusion. One wishes, however, that Virginia Freer were as well characterized as her enigmatic and complex husband and hosts. It is a little hard to care what happens to any of them when the viewpoint character is so lacking in substance.

   Ferrars has been writing mysteries for over forty years; many of her tales are set in such locales as Greece, Africa, Mexico, and Australia, as well as in England. Other notable titles include Give the Corpse a Bad Name (1940), Hunt the Tortoise (1950), The Busy Body (1962), The Seven Sleepers (1970), The Cup and the Lip ( 1976 ), and Crime and the Crystal (1985).

     ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

   Following Gambit (1962), covered in my post on “Booby Trap” (1944), Rex Stout’s The Mother Hunt (1963) finds Nero Wolfe hired by the widow of drowned novelist Richard Valdon, whose later book His Own Image he had preferred to the million-copy bestseller Never Dream Again. Somebody has left a baby in Lucy’s vestibule with a note reading, “THIS BABY IS FOR YOU BECAUSE A BOY SHOULD LIVE IN HIS FATHERS [sic] HOUSE.” She is understandably eager to learn the mother’s identity, hoping that will be “close enough” to proving that the baby—whom she smilingly says she might name Moses if she decides to keep him, “because no one knew for sure who Moses’ father was”—really is Dick’s son.

   His overalls yield a clue, handmade horsehair buttons that baffle “button fiend” Nicholas Losseff of the Exclusive Novelty Button Co.; a Times ad nets a reward for Beatrice Epps, whose temporary colleague at realtor Quinn and Collins, secretary Anne Tenzer, said hers were made by her aunt. Archie is directed by Anne to Ellen Tenzer in Mahopac, and gets the bum’s rush, but when he spots the Times open to that page, he knows she knows more than she’s telling. She leaves while he’s phoning in, and in her absence he enters through an open window to find evidence—later confirmed—that, while obviously not the mother of the child, whom she called Buster, she did have the boy there until three weeks earlier.

   Watching the house, Orrie reports seeing Purley arrive with the local law and Lon reveals that Ellen was found in her car in Manhattan, strangled with a piece of cord; Archie feels responsible, and knows it won’t be long before Cramer learns of his visit. Alerting Lucy, he is hauled in and gives A.D.A. Mandel et al. an edited version of the truth—not naming her—before Parker bails him out. Confident that his remit will encompass identifying the killer, Wolfe leaves Ellen to the police and starts at the other end, asking Lucy to convene Parthenon Press president Julian Haft, agent Willis Krug, TV producer Leo Bingham, and Distaff editor Manuel Upton, who knew most about Dick’s broad circle of acquaintances.

   Lucy and all but Upton provide lists totaling 148 women, fruitlessly investigated over 26 days at the cost of $8,674.30 to the client, suddenly confronted by Purley with knowledge of both the baby and Wolfe’s hiring, but staying clammed up. Stage three of this mother hunt entails having Lon trumpet the fact that a “nurse”—actually Dol Bonner’s employee Sally Corbett, last seen in Plot It Yourself (1959)—wheels Buster around in Washington Square twice a day. The carriage is rigged with cameras, so that Sally can snap candids of anyone who takes a look, as it is presumed the mother would do; Saul sees a woman take a taxi there, pegged by Lucy as Distaff fiction editor Carol Mardus…Krug’s ex-wife.

   Saul verifies that in January, “Clara Waldron” bore a baby boy in Sarasota, Florida, but before Wolfe, risking charges of withholding evidence or conspiring to obstruct justice, can plan his next move, she comes to him. Determined to ask and not answer questions, she admits merely that neither Haft, Krug nor Bingham—all of whom denied recognizing her photo, even her ex—is the father, then decamps, only to be found strangled like Ellen.

   Learning of this, a piqued Wolfe actually throws his suit jacket at Archie, who fortunately survives this assault with a deadly garment; also unusually, he gets romantically involved with someone besides Lily, and the client to boot, mixing personal and business relations.

   After Wolfe questions the Three Stooges about Carol’s history, including earlier liaisons with Dick—reportedly first among equals—Upton, and many others, he and Archie duck out the back, dodging Cramer. Having providentially obtained a key from Lucy, Archie hides them in her house while she is at her Long Island beach cottage, getting provisions from a deli en route; when she returns, he explains that Krug and Bingham have satisfied them as to Dick’s paternity. Wolfe has Lucy summon Upton, held by force, followed by Cramer and the others, and Saul brings Anne, whose temporary positions included one as Haft’s private secretary, in the course of which she mentioned that Ellen boarded babies.

   The inexplicably retitled “Motherhunt” (5/12 & 19/02), a two-part second-season episode of A Nero Wolfe Mystery, bears the credit “Alan Smithee,” the generic Directors Guild of America pseudonym. It here conceals the sole directorial effort of Charles B. Wessler, a prolific producer of lowbrow comedies such as the Farrelly Brothers’ Dumb and Dumber (1994) and There’s Something About Mary (1998). Adapted by that season’s consulting producer, Sharon Elizabeth Doyle, it features several name guest-stars—Carrie Fisher (as Ellen), Griffin Dunne (Lossoff [sic]), and Penelope Ann Miller (Lucy)—and two newbies making their sole series appearances: Brooke Burns (Beatrice) and Erinn Bartlett (Anne).

   Doyle gives Lucy a secretary, Miss Mimm (Shannon Jobe); a pet cause, killer fog (caused by coal smoke, and claiming 4,000 Londoners in 1952), on which she is shown delivering a lecture; and a varied musical proficiency. Fisher’s close friend, Dunne makes Lossoff suitably colorful, the first link in a chain that leads Archie (Timothy Hutton) to the sultry Beatrice and Anne and—via directions from a “local sage,” i.e., a Garage Attendant (Jim Davis)—the ill-fated Ellen. Her cottage is covered in shifts by Saul (Conrad Dunn), Fred (Fulvio Cecere), and Orrie (Trent McMullen), who sees the arrival of Purley (R.D. Reid), and her murder is outlined to Archie and Wolfe (Maury Chaykin) by Lon (Saul Rubinek).

   In a typically heated confrontation, Wolfe tells Cramer (Bill Smitrovich), “I would sleep under a bridge and eat scraps before I would submit a client to official harassment,” said client directing Wolfe to Bingham (James Tolkan)—now in radio—Haft (Steve Cumyn), Krug (Boyd Banks), and sole holdout Upton (Richard Waugh). A nice montage intercuts the ’teers eliminating potential mothers from Arizona to the Riviera and Fritz (Colin Fox) crossing off their names on a huge chart. Warned that she might wind up at headquarters, Lucy tells Purley, “I’ve always wanted to see them. My grandfather’s company poured the foundations”; Archie deems her a good enough dancer to take to the Flamingo Club.

   Doyle adds a flirtatious quality to Archie’s relationship with Sally (Manon von Gerkan), “who had made it necessary to revise my prejudice against female ops,” and is portrayed as a smoldering blonde before being deglamorized in her role as nurse. Rounding out this profusion of pulchritude, Carol (Kathryn Zenna) learns that Wolfe has inquired about her, seeking to find out why; Lucy displays undue interest in her visit, and the jacket-thrower calls Theodore—invoked but unseen on Chaykin’s series—on the house phone to cancel their 9:00 session with the orchids. Wolfe repays Lucy’s hospitality by scrambling eggs for them all, a process that according to him requires 40 minutes to be done to perfection.

            — Copyright © 2024 by Matthew R. Bradley.
   

Up next: “Murder Is Corny”

Edition cited:  The Mother Hunt: Bantam (1964)

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