Sunday, November 29, 2015

Zorro 2.3 - Horse of Another Color

Plot: Those bandits are still at it, as we open this week on them chasing down poor Lt. Santos. He's wounded, and has his papers and uniform stolen, despite the best efforts of his horse. Elsewhere, Diego's in conversation with Senor Verdugo, who is really committed to getting on a ship personally to run the blockades and reach Spain to get those supplies. And here's Senor Serrano, absent last week, and accompanied by the false Santos, who says there is a ship stopping over in San Francisco on its way to Spain, and Verdugo should prepare to depart immediately (with the money, naturally). Diego is surprised to learn Anna-Maria is going as well, but she's eager to see Spain.

Soon it's time to depart, and oh goody, Senor Serrano will be riding along as well. Garcia hands over the money to Verdugo, who promises to keep it with him at all times. And Diego bids farewell to Anna-Maria, to Serrano's consternation. Though the lieutenant appears to be alone, he assures them his men are waiting 10 miles down the road, to avoid raising suspicion. Even though the innkeeper and everyone else knows all about Verdugo's mission, but sure. And with that, Verdugo heads for San Francisco, and Diego and Bernardo leave Monterrey. Diego seems rather sad to be parted from Anna-Maria, seeing as they'd just started getting along, but there's no time for mushy stuff, because he's the true Santos' horse, playing at being Lassie to lead our intrepid duo to its master. Who is just able to give his name to Diego before dying. Realizing there's trouble afoot, Zorro rides on Verdugo's trail on the dead soldier's horse (named Phantom).

Good timing too, as Pablo and the other bandits make their move. Verdugo is able to kill on with his pistol, but there's the two other bad guys to contend with. It's about then Zorro creates a distraction with some gunpowder in the campfire. Santos tries to run, only to find his path barred by Phantom, who herds him back to the camp where Zorro prepares to interrogate him. Santos won't talk, and when he tries to run, Serrano shoots him. Serrano had chased Pablo, but lost him, and wanted to make certain Anna-Maria would be safe. That seems perfectly above suspicion, but Zorro is perhaps more interested in making time with Anna-Maria, who is quite enchanted with him. So a kiss, and then away he goes.

Quote of the Episode: Senor Verdugo - 'If we fail, then I am sorry. Many of you will have lost your money. I will have lost my life.'

Times Zorro marks a "Z": 0 (0 overall).

Other: Senor Verdugo was remarkably cool with a masked man kissing his daughter full-on the lips. I thought there were rules about that sort of thing in society back then? What has happened to the traditional values? *clutches pearls*

I can't decide if the innkeeper is part of all this or not. He recognized the false Santos, but raised no alarm, and they were conversing until Pablo came along and said the mysterious - OK, not so mysterious, it's almost certainly Serrano - boss wanted to talk to Santos. I just wonder if the innkeeper's strictly mercenary, and they pay him for what he hears, or if he's really part of the gang. Will Zorro have to stab an old man? If so, will I make jokes about Zorro's lack of respect for his elders? No to the first, but I would if he did.

Sergeant Garcia seemed pleased at Diego's farewell to Anna-Maria. Not that he was happy they were parting, that they seemed to like each other. Certainly, when Serrano puffed up his chest in irritation and rode over to butt in, Garcia had a moment where he scowled at the man. Sergeant Garcia: Quietly rooting for his best friend to meet a nice girl and settle down.

Diego said Phantom might have been faster than Tornado, which, eh, I doubt that. Wasn't fast enough to keep Santos from getting killed, was he? Check and mate. I have not idea why I'm being like this tonight. Just feeling silly.

Senor Verdugo says he has to risk his life running the blockade to get those supplies, because otherwise the people of California will lose faith in their country and their king, and turn to foreign countries for supplies and aid. I can admire his conviction, even if I think he's a sucker. Assuming this is within 3 years of Diego's return from Spain, which was in 1810, the king is Napoleon's brother, Joseph. I'm going to go out on a limb and guess that a ruler who couldn't even control the country he was in charge of, and couldn't stop Venezuela from declaring independence doesn't give a crap about California. It doesn't even sound like he wanted the job. But Verdugo wouldn't be the first to back the wrong horse.

Friday, November 27, 2015

Eating While Driving's A Distraction, But So Are Friends

UnCalvin: This is a dreadful idea.

Calvin: You've said that already. Pass the stuffing.

Clever Adolescent Panda (CAP): No! Do you want to get us all killed?

Calvin: For the 17th time, no. I just want some stuffing.

CAP: You are driving, in the middle of a rainstorm. This is not the time for foods that require utensils.

Deadpool: [I have a funnel. I normally use it for hot sauce, but if we use the opposite end of the serving spoon, we might be able to cram stuffing through it.]

Calvin: Hmm, sounds like it's worth a try. Funnel me!

UnCalvin and CAP: NO!

CAP: Why are we even doing this?

Calvin: Because I have to be on the road today, so there was no other way to do our day-after-Thanksgiving Thanksgiving.

Deadpool: [We could celebrate it in October, like we do in Canada. I'm Canadian, it would fit.]

Calvin: *turns to look back at Wade* You may have noticed this entire meal is leftovers from what my mom made, so unless you're going to cook, you can cram your Canuck holidays -

UnCalvin: Look out! *grabs wheel*

Calvin: Panda, UnCalvin's trying to kill us! Get her!

CAP: I think she was trying to keep you from killing us.

Calvin: Please, sideswiping a minivan wouldn't have killed us, and UnCalvin almost spilled the mashed potatoes.

Deadpool: [There are still mashed potatoes? Pass those over here.]

CAP: Sure, but let me get some of the pie.

UnCalvin: May I have the cranberries?

Calvin: Figures you'd like cranberries. At least that means plenty of dark meat for me, if someone will fork it over already.

UnCalvin: Not a chance, I hate white meat.

Calvin: What? Damn, normally those inconsistencies in the evil opposite thing work in my favor.

CAP: What is she doing here anyway?

Calvin: She's been living in my car for the last two months, 'cause she's too depressed to go back to the company she lost.

UnCalvin: That's a blatant falsehood! You called and invited me to this!

Calvin: Oh yeah.

Deadpool; [I could help you get your company back. It won't be cheap, but for an old friend, I'll sned my best stand-in.]

UnCalvin: I don't even rate the real Deadpool?

Calvin: At least don't give her Foolkiller.

CAP: Or Madcap.

UnCalvin: Or Solo.

Calvin: What happened to that guy? He used to be all, 'While I live, terror dies!' Now he's working for Wade.

Deadpool: [Higher visibility being linked to an A-list character like me. He's hoping to make an appearance in one of those Netflix series.]

CAP: *snorts*

Deadpool: [Yeah, he's delusional, but it works for me in the meantime. I'm a busy guy.]

Calvin: Killing zoning commissioners is time consuming.

CAP: Wade, you can't tamper with the zoning board!

Calvin: I dunno, we all want to kill zoning commissioners sometimes, especially crooked ones. Like that time they wouldn't let me build a 20-foot high brick wall with guard towers around my apartment building to keep the riffraff out.

UnCalvin: You never did that.

Calvin: Maybe I just dreamed doing it.

UnCalvin: Have a roll. *jams roll in Calvin's mouth* Now that he's shut up for a few minutes, let's discuss what we're thankful for. *pause* I've got nothing.

Deadpool: [I'm thankful for my meteoric rise to most beloved hero, a position I will never, ever lose in the hearts of the famously loyal citizens of the Marvel U - I'm completely screwed.]

Calvin: Like it was a demonstration at a Phillips convention.

CAP: At least you have us! We're your friends, right guys?

Calvin: Sure, why not? You haven't nerve struck me and stolen any of my stuff in years, that's close enough.

UnCalvin: I suppose, those that realization hardly improves my - AAAAAAAH!

Calvin: Sorry, that minivan cut me off. It doesn't even have its headlights on while using its wiper blades. Lawbreaker!

Deadpool: [Criminal activity? I'll handle it *draws machine pistol* Just let me lean out the window. . .]

CAP: No killing Wade!

Calvin: Let him, it's a minivan, they're only owned by devils, anyway.

Deadpool: [I'm just gonna shoot out a tire. They re-instituted that rule against Avengers killing with the reboot. Hawkeye wouldn't shut up about it.]

CAP: You don't think them going out of control when a tire blows on a wet highway at 65 miles an hour will kill them?

Deadpool: [Not if they know what they're doing!]

UnCalvin: Stop him, panda! I'm not trusting this buffoon driving to avoid a minivan careening out of control without wrecking us in the process!

Calvin: Hey, I'll have yo - *UnCalvin jams another roll in his mouth*

UnCalvin: Cram it.

*Much scuffling ensues. The panda has its teeth locked around Wade's trigger finger and is trying to use its bulk to pull him away from the window as it leans back. UnCalvin was trying to help drag Wade away by a leg, but was only succeeding in pulling his pants. Fortunately she decided to switch tactics before everyone went blind, but opted to reach across Calvin to roll up Wade's window, trapping his head outside. Wade, thinking Calvin was responsible, punched him in the back of the head, causing him to nearly choke on the roll. The coughing fit that followed sent the vehicle swerving about, making everyone stop fighting and start screaming. Well, Wade was already screaming about having a window closed on his neck, but you know what I mean. Calvin eventually gets the vehicle pulled over and under control.*

Calvin: All you jerks get the hell out or I'm busting your freakin' skulls!

*Brief pause, followed by incredulous laughter from all three of the passengers*

CAP: That's a good one.

UnCalvin: Indeed.

Deadpool: [Can someone open the window? My mask is getting soggy, and it's washing all the food stains out.]

Calvin: *grumbling* Fine, whatever. We're not moving now. Will someone pass me some food, that's not a roll?

CAP: Sure, have some pie.

Calvin: Great! Where's the Cool Whip?

CAP: *looks around* Er, splattered all over the back glass, and your wrench sets?

Calvin: What?! Aw, damn it. I should have just invited Makes Brakes Fail Lass and the Blender Furby.

UnCalvin: Here's an unopened container.

Calvin: *sniffs* That's, that's the nicest thing you've ever done for me.

CAP: I think your mom packed it.

Calvin: Yeah, but UnCalvin didn't hide it, which is pretty nice by her standards.

CAP: That's true.

Deadpool: [Yep.]

UnCalvin: I can be nice!

CAP: You rebuilt the Blender Furby as an assassination device.

UnCalvin: And positive reinforcement fitness machine!

Thursday, November 26, 2015

Bond Might Consider Putting Some Points Into Sneak

It's Thanksgiving, so let's talk about the new James Bond movie, Spectre! I know it doesn't have much to do with the holiday, but it's this or a review of another book about France in the interwar period. I'd say take your pick, but I haven't finished the book yet, so you're stuck with this. There will be spoilers, I suppose.

My dad wanted to see it, so we went. He thought it was OK, not as good as Skyfall or Casino Royale, with not enough plot, and falling prey to a "It's been three minutes, time for another explosion/fight/chase!", which he figured had something to do with the lack of story. He also gets annoyed that, even though the films are filling in Bond's backstory, they're set in the present day, rather than the past, before the time when all the past films were set. He understands why*, he just doesn't entirely like it. He liked Lea Seydoux as Dr. Swan, really thought she had "it", whatever that is.

So of the Craig Bond films, I've seen all of this one and Casino Royale, and bits and pieces of Skyfall (mostly during one of my dad's attempts to catch it on TV earlier this fall). So the reveal Blofeld had been behind everything thrown at James over the prior three films, fell a little flat (also I'd read a review at some point that alluded to that, because I didn't expect to watch the movie anytime soon). I kind of hate those reveals, having been soured on them by years of the Spider-Man comics playing, "Everything going wrong is the work of Norman Osborn!" over and over again. The significance of the reveal of the identity of the shadowy head of Spectre was completely lost on me, because I wasn't sure if I was supposed to recognize him or not. I was left wondering whether he was someone Bond had shot in an earlier one of the movies.

I wasn't as enamored of Seydoux as my dad. She fine (though I kept thinking it was Scarlett Johanssen and then thinking, no she wasn't in the credits), but I was curious to see if she had a character arc. I'm not sure she did. She was confronted with the sort of work that had distanced her from her father, and remained committed to staying away from it? There seemed to be a theme about choice, given M's speech to C about how a license to kill is also one to NOT kill, and Blofeld having made his decisions on how to handle certain events, so Swan's choices, in particular the one during the sequence where Blofeld tortures Bond, might play into that. Not sure if that counts as an arc, though. I didn't really buy the two of them falling for each other. It felt sort of perfunctory, it's a Bond movie, he and the attractive young woman have to sleep together. Similarly, the film wasted Monica Bellucci, I really expected her to have more of a role in things when she appeared, but no.

I liked the car chase sequence (the one on the mountain, with the plane was a bit much), even had a little humor in it, which I appreciate in action movies. The fight in the train was good. Not as good as some of the ones in John Wick, but for a Bond movie, pretty solid. Bautista as the physical threat was credible, though the metal thumbnails were dumb and unnecessary. He's a big dude, I'm pretty sure he doesn't need those to gouge someone's eyes out. I did keep expecting him to reappear at some tense moment, maybe as the base in the crater oasis was exploding, but he didn't.

I actually kept expecting a lot of gotcha surprises. I thought there'd be one about Swan somewhere near the end. She was actually behind SPECTRE all along, or had decided to use James partway through to take control. I don't know why. It was very convenient that C fell to his death, since he hadn't done anything illegal I know of, and even if he had, I don't believe they had any actual proof, what with Bond blowing the crater base to hell and back. Also, I expected Moneypenny and Q to do a bit more at the end. Especially Moneypenny, since she was an actual field agent, and more recently than M. And why did M think "grounding" Bond after the Mexico City incident would do anything? Bond had already been running around unauthorized, what was going to stop him from doing so again (the tracking bots in the bloodstream, obviously, but the grounding isn't required for that).

I don't have nearly the experience of fondness for the Bond films my dad does. The thing that most forms my opinion or image of Bond is still the N64 Goldeneye game. In my mind, he's supposed to be stealthy, sneaking around shooting people in the back of the head with a silenced weapon. Not blowing up buildings and having fistfights in helicopters in broad daylight in the middle of a Day of the Dead celebration. Kind of missing the "secret" part of "Her Majesty's Secret Service". I know he's been involved in big, flashy stuff in the past, but it seems to be this Bond's go-to move a lot of the time (my dad describes him as a "brute", which amuses me). It was notable to me that in the opening bit in Mexico City, while he does prevent an act of terrorism at a stadium (which is good), he does cause a building to explode and collapse, and when he eventually emerges on the street, there's smoke and dust and people running, and I thought about how he'd just created his own, smaller act of terrorism. Not intentionally, but he was kind of sloppy and/or unlucky, and there you are.

So it was OK, nothing I'd have gone to see on my own, nothing I'll likely feel compelled to watch again anytime soon. Or possibly ever.

* Though he says Bond keeps wearing suits that were fashionable in the '60s and doesn't understand that if you're going to set it in the present day. I'll take his word for it

Wednesday, November 25, 2015

Sometimes The Actors Can Carry It For Me

I'm still reviewing movies, because I haven't finished any books yet, so Designing Women. Lauren Bacall, Gregory Peck. Screwball comedy about a fashion designer and a sportswriter meeting and getting hitched, then experiencing problems because of the writer's past relationship with a dancer Played by Dolores Gray), who happens to be in a musical Bacall is designing the outfits for. And Peck's pissed off some big wheel in the fixing boxing matches, played by Ed Platt (who was the Chief on the TV version of Get Smart).

It's one of those movies where things would be simpler if people would just talk and listen reasonably, but they don't. By the time anyone is ready to talk, they're too worked up or suspicious to listen. That can be frustrating, but I enjoy both Bacall and Peck enough that it carried me through. And they're both a bit against type here, or what I associate as their type anyway. I tend to think of Bacall as playing characters who are very clever, very observant, they pretty much know the score, and won't let you see them sweat. Here she's more emotional, not ditzy exactly, but kind of unaware of things outside a narrow range. Peck's a little more rough around the edges than I'm used to. It's hard for me to picture him getting blackout drunk as he was at the start of the film (and the film amplifies all the sound effects for the first several minutes to play up the hangover).

Still, my favorite scene was the one when he breaks the news to his now ex-girlfriend Gray. They're at an Italian restaurant, she's taking things well, then she asks about Bacall, and Peck goes into great detail describing her, and Gray pushes his plate of ravioli in his lap. What I like is how much they downplay. There's no histrionics or shouting. It plays off that dignity Peck's characters usually have, with him being unwilling to react. So he sits quietly, tries to unobtrusively ask the waiter to find him some pants, and generally pretend nothing happened. Gray doesn't apologize profusely, but she also doesn't laugh. She seems slightly embarrassed she did it, which is why she doesn't want to bring attention to it. Something about how calm everyone is being made it funnier than if they'd started freaking out over it.

Tuesday, November 24, 2015

It's Not The Most Efficient Way To Rob A Bank

My dad and I had more fun at the expense of Experiment in Terror. Considering it's a film about a shadowy criminal with a raspy voice threatening to kill either Kelly (Lee Remick) or her sister if Kelly refuses to steal 100 grand from the bank she works at, with Glenn Ford as the lead FBI agent trying to catch the crook, it's hardly a film for jokes.

And yet, we were cracking wise throughout. The killer's voice is undoubtedly the result of smoking inferior, foreign cigarettes, rather than ones made with smooth Charleston tobacco. He makes Kelly attend a baseball game between the Giants and the Dodgers, and since it's in San Francisco, I said she'd be pissed because she's a Giants' fan. Then she showed up after the game was in progress, so it became clear she was a Dodgers' fan after all. There was a lot of commentary about how bad the FBI agents were at observing unobtrusively. Yep, just two guys in trench coats and snap-brim fedoras, sitting in an unmoving car at night. Nothing suspicious there. There's a reporter/snitch character played by Ned Glass, who was one of the three people who attended the funeral of Audrey Hepburn's husband in Charade, so we made jokes about that.

Jokes aside, it actually is a very tense movie, if a little long. There's a bit too much spinning tires in there. I think the Gordons, Gordon and Mildred, who wrote the story and the script I guess, wanted to show how the feds were trying to track this guy down from multiple angles, and trying to close the net before he slipped through. It's not a bad idea, but at a certain point, I kind of wanted the movie to get on with it. Just a little shorter, 10 minutes would have been enough.

As it is, Remick's quite good. She's aware enough to be scared, but not so much it keeps her from calling the feds. She's trying to protect her sister, which simultaneously gives her some extra courage, but is also a lever the killer can use against her. The interactions between Remick and Powers are strong, they sell the familial affection well.

It's a little late in the game to be worried about spoilers for a 1962 film, but I'll keep the killer's identity a secret, since that's how the film was done. You don't see his face until halfway through, and his name was kept out of the opening credits (at his suggestion). Even after that, he's mostly in shadow, or disguise, or extreme close-ups of his mouth while he's on the phone. There was one point late in the film, when I realized he'd been on screen in disguise earlier and I'd missed it, I kicked myself. So I guess it was effective makeup. Also, the scene was shot from a different angle than a lot of his others, and the focus wasn't really on him, so it was a good job all around by the crew.

My dad kept expecting Glenn Ford's character to either get rough with someone, or to get his wheels turning too fast and make a bad leap, but it never really happened. There's no romantic tension between his character and Kelly, and he's mostly very steady. A change of pace from thrillers where it's deeply personal for the investigator, or he gets too involved with the person in danger. Ford's character is just trying to do his job, best he can. He's a calm center for the movie, with the killer trying to apply pressure to Kelly while staying mostly out of sight, while Kelly's trying to hold it together herself.

Monday, November 23, 2015

Lee Marvin: Still Always Drunk And Violent

I felt sure I'd seen Point Blank at some point, but perhaps I've just seen people talking about it. It's based on the Richard Stark story The Hunter, like that Mel Gibson movie Payback, except this one stars Lee Marvin. So that's an upgrade right there at the start.

The broad outline of the plot is largely the same. Marvin's character (called Walker, rather than Porter in Gibson's version or Parker in Stark's novels) helps his friend Reese (John Vernon) steal a money pickup from a mob, then is betrayed by that friend who needs all the money to pay off a debt he owes to a different criminal organization he's a part of. Walker doesn't die, and is approached by a man (played by Keenan Wynn) who wants the Organization torn down, and since Walker would likely have to do that to get his share of the dough and his revenge, they agree to work together. Although in practice Wynn provides addresses and then stays out of the way.

It was interesting, the differences between this and Payback. In the latter film, Porter contends that if you go high enough up, eventually there's always one man in charge, and he ultimately runs up against Kris Krstofferson. Here, if there is one boss, they never make themselves known. Instead, there seems to be a trio of co-bosses, each handling different aspects of the organization. Here, there's no big denouement where all the bad guys end up dead. Which would have been tricky, since there aren't any good guys.

Walker's certainly no winner. He occasionally turns on the charm, but only briefly. He has no compunction about using anyone who is willing to help him to the limits of their patience, and beyond. That's usually where the charm comes in, mostly with Angie Dickinson playing his former sister-in-law, leading her on to help him just a little more in his vague quest. I suppose the fact he charms her rather than just hitting her like he does everyone else is the best indication he cares for her. Even so, it's immensely satisfying when she cracks him over the head with a pool cue.

I will say it was hard to buy this bunch as much of a criminal organization. Everyone we see is a complete moron, right up to the guys at the top, like Brewster and Carter. The goons are hapless, and they were a lousy enough bunch to let Reese join in the first place, then let him back in because he came up with the money (rather than just taking it and killing him), and then aren't smart enough to hang the guy out to dry when Walker shows up and starts causing problems. I suppose there was probably some idea that it was bad business to let a guy show up and kill one of your own, but I think there'd also be value in sending a message to others in your organization not to let your personal messes interfere with operations.

As it is, none of them seem to grasp the kind of person they're dealing with in Walker, maybe because even he isn't sure what's driving him on. He gets revenge, but that's not enough. He wants his money, but he also just seems angry in general. He hurts people who aren't his enemies, and maybe he regrets it after, but it doesn't stop him from doing it again. He's kind of stuck in a cycle of being bitter and wary of everyone, which is probably the right attitude for dealing with a bunch of crooks, but not so much for everyone else. So I'm not sure whether I feel bad for Walker or not. I'm not sure I'm supposed to. He seems haunted by some of the things that happens, there's times I think he's having traumatic flashbacks, but he's still a cold, person, who only seems to care after the fact, so it's kind of hard to give a damn about him.

Sunday, November 22, 2015

Zorro 2.2 - Zorro Rides Alone

Plot: We open on yet another courier trying to reach Senor Verdugo, only to be chased down and robbed by bandits. Fortunately, this one survives to reach the inn at Monterey, where his arrival interrupts Diego's attempts to come up with a plan to find the man he shot in the left arm in the last episode. Learning of the courier's plight, he rides to Verdugo's home, where he spies Verdugo talking to Lee van Cleef's buddy from last week about some matter. And Verdugo's left arm is in a sling. Diego's attempt to gain an audience with the man is stymied by Anna Marie, who claims her father is laid up with an old injury and can't see anyone. Diego refuses her demand he leave, and the two sit in silence in the parlor until the old man comes along. He seems surprisingly happy to see Diego, and is happier still when Diego tells him that not only did he arrange for two soldiers to deliver the money from Los Angeles, he told them to take the less traveled Guadalupe Valley Trail instead of El Camino Real. It's around that point Verdugo's servant, Pablo, brings the wine and the old man and Diego share a toast.

As it turns out, Diego was lying, and Sergeant Garcia and Corporal Reyes will be coming by the El Camino Real, while Zorro waits at the way station on the Guadalupe Trail in a trap. Sure enough, the bandits arrive at the way station, including Pablo, but Zorro opts to do nothing. Instead he heads for El Camino Real to ensure the money gets there safely. Unfortunately, Garcia had the bright idea to take the road less traveled to throw off any would-be robbers (and to pass by a famous winery), and so he's coming down the Guadalupe Trail. Zorro tries to warn him, but since he isn't on Tornado (since it would have been hard for Diego to bring him along), the soldiers book it for the way station, where they are promptly captured, and Reyes is wounded. Then the sergeant is forced to dig graves for both of them, as Zorro tries to signal him of a plan, which eventually succeeds, sort of. Before Zorro and Garcia can challenge the two remaining bandits, Verdugo arrives, and it turns out he's innocent. He had hired the bandit on Pablo's suggestion, to watch over the soldiers. He tries to fight them alone, but with only one good arm, he's having some trouble until Zorro crashes in through a window (the sergeant's attempt to follow is somewhat less successful). Pablo is able to escape, and Zorro takes off into the countryside.

Quote of the Episode: Diego - 'So even the innkeeper knows how much money Los Angeles is sending Senor Verdugo.'

Times Zorro marks a "Z": 0 (0 overall).

Other: We had one "baboso" this week, when Garcia asked Reyes what everyone expects them to do with this large sum of money they're delivering, and Reyes responds, 'Steal it?' Well, yes, Corporal, they probably do expect that, no more often than you guys gets paid, but that's not the point.

Pablo had some good turns of phrase. When he explained why they had to bury Garcia and Reyes, he said if it was known they killed soldiers, they'd hang like so many dried peppers. Whoever is behind this plot - and I'll just mention Anna Marie says Senor Romero of Santa Cruz is away on business this week - is hiring some erudite goons, to be sure.

In all the time Zorro wasted trying to pantomime his plan to Sergeant Garcia, he could have just snuck up and kayoed the bad guy 5 times over. That said, I laughed at the part where Zorro mimics hitting the guy over the head with the pommel of his sword, and Garcia responds out loud, 'But I haven't got a sword.' It's like, you cannot be that dumb, sergeant.

I have to assume it was because Zorro wasn't riding Tornado that Garcia and Reyes ran from him. Garcia actually mentions that Zorro rides a black horse, so the implication is he thinks it's a common robber impersonating Zorro, that's all I can figure.

Now that Senor Verdugo is cleared of suspicion, the search for the one behind the robberies will have to continue.