Some writers blossom under certain producers or story editors, who presumably can cover their shortcomings better than others. The first Jay Simm-scripted Have Gun - Will Travel episodes I saw were "Caravan" and "The Black Bull" from season 6. I also hated Simms' sequel to "The Naked Gun." For a while, I've thought "The Black Hankerchief" was Jay Simms' best episode (and possibly by a fluke), but after having seen "Brother's Keeper" recently and "Unforgiven" this morning, I may be forced to reevaluate my estimation of Simms as a writer.
Paladin is summoned to the death bed of a colonel who had Paladin court-martialed during the Civil War. There's no love lost between the men, but for a (negotiated) price, Paladin agrees to deliver a message to a ex-partner of the colonel now living in a small town.
This is early season three, so Simms not only has Frank Pierson as the associate producer overseeing him, but producer Sam Rolfe as well, two very good writers in their own right, and the script showcases the best elements of Simms' HGHT's: Paladin coming into a small, isolated community and meeting several eccentric characters, chief among them this time, Hank Patterson as hired gunman Ronson.
Speaking of having first impressions changed, Patterson's appearances on this show are a revelation if all you know him from is Green Acres. Ronson is a simultaneously menacing, funny, and ultimately sad character. And at the risk of sounding like Donald Trump, the cinematography in the final scene, both in the lighting and the framing, is terrific, probably more impressive than anything directed Andrew McLaglen managed in any of his feature films.
I don't know why I've never watched this episode before, but having seen it now, it immediately shoots up into the pantheon of my top five favorite episodes (along with "The Man Who Lost," "The Outlaw," "El Paso Stage," and "The Man-Hunter"). It gets my highest recommendation.
Paladin is summoned to the death bed of a colonel who had Paladin court-martialed during the Civil War. There's no love lost between the men, but for a (negotiated) price, Paladin agrees to deliver a message to a ex-partner of the colonel now living in a small town.
This is early season three, so Simms not only has Frank Pierson as the associate producer overseeing him, but producer Sam Rolfe as well, two very good writers in their own right, and the script showcases the best elements of Simms' HGHT's: Paladin coming into a small, isolated community and meeting several eccentric characters, chief among them this time, Hank Patterson as hired gunman Ronson.
Speaking of having first impressions changed, Patterson's appearances on this show are a revelation if all you know him from is Green Acres. Ronson is a simultaneously menacing, funny, and ultimately sad character. And at the risk of sounding like Donald Trump, the cinematography in the final scene, both in the lighting and the framing, is terrific, probably more impressive than anything directed Andrew McLaglen managed in any of his feature films.
I don't know why I've never watched this episode before, but having seen it now, it immediately shoots up into the pantheon of my top five favorite episodes (along with "The Man Who Lost," "The Outlaw," "El Paso Stage," and "The Man-Hunter"). It gets my highest recommendation.
