In the previous installment, I mentioned how they made a trio of three-part(ish) stories in the final season of Batman. So far, there I have not noticed any continuity blunders like the props in the Egghead episodes to suggest that the producers might have run these in the wrong order, but I could be wrong. It’s possible that they intended to introduce Eartha Kitt here, driving a very ridiculous car, and “kidnapping” the paroled Joker, or they intended to introduce her in episode 14. Either way seems to work.
Two huge missed opportunities occur to me: the last time Cesar Romero got to sink his teeth in a really good script was the previous season’s “Pop Goes the Joker” two-parter, where, among other things, he got to really demonstrate a complete contempt for Bruce Wayne. Here, Wayne is the chairman of the parole board – now hang on a minute, he captures all the criminals and he decides whether they’re fit to rejoin society?! – and he gets to wish the Joker well and see him off in a new suit and a crisp new $10 bill, but since Romero is playing the Joker as pretending he’s gone straight and owes his freedom to Wayne, he doesn’t get to sneer at him. That’s a darn shame; that menacing contempt was a real highlight of that story.
Another is that there isn’t any kind of deathtrap this week, which, in a completely surprising development, annoyed my son! Considering how often he’s become annoyed or upset at the traps, I’m frankly shocked that he’d rather have seen another one than seen the baddies waiting outside in the bushes. According to my very badly beat-up copy of Joel Eisner’s Official Batman Batbook, a cliffhanger trap was planned and cut. It doesn’t say whether it was filmed, or if it was cut from the script.
A couple of interesting cameo walk-ons in this episode: Dick Kallman, a pop star who starred in a single season sitcom called Hank on NBC in 1965, plays a pop star hitmaker, and Joe E. Ross has about three lines as his agent. One of those lines, naturally, starts with “Ooh, ooh!”