Route 66 Come Out, Come Out, Wherever You Are! (1960–1964) Online

"Come Out, Come Out, Wherever You Are!" is set in Poland Spring, Maine, where pretty young Marie Duplessis (Diane Baker) strikes the fancy of a smitten Linc (Glenn Corbett), as they prepare for her birthday party. She confesses to Tod (Martin Milner) that she doesn't know who she is, trying to be what every man wants her to be. Lon Chaney co-stars as Poppa Duplessis, Marie's father, who only began paying attention to his daughter after his wife left them both when the girl was only 9 years old. Linc really takes a beating on her behalf, but starts to understand her doubts after she abruptly leaves her own birthday party with another man (Alex Cord). This was Chaney's third episode of ROUTE 66, following "The Mud Nest" and "Lizard's Leg and Owlet's Wing," and one of his last television appearances anywhere. His alcoholic character has a European accent, lost his left hand (shades of "The Alligator Man") working at the saw mill, and bitterly resents his lost wife, but still engenders sympathy at the prospect of losing his daughter, hoping she doesn't turn out like her 'no good' mother.

Diane Baker is back, no longer a mermaid but still alluring. Improbably, she's the daughter of widower Lon Chaney Jr., who is reminded of her vixenish mother. Diane shows some of the same traits, getting involved with Linc and then with a sailor played by Alex Vespi, (better known as Alex Cord- the first of three appearances this season). To quote James Rosin in his book on the series, "in the same manner as in which he sails from port to port, she drifts from man to man. Marie realizes she must find herself." Somehow that involves going on the road like- or with- Tod and Linc. But she's persuaded to stay home to care for her crippled father and try to find herself there.

To be honest, I really didn't get it. She needed to anchor herself and I didn't see why leaving home would give her that anchor. Also, the tepid love triangle in this story didn't suggest that she was all that promiscuous, although maybe they had to just imply it in those days. And Diane Baker, as lovely as she is, isn't really the vixen type.

Linc gets involved with a mixed up girl who can't seem to locate a real self because of a father who despised her mother.

The series amazingly had few stumbles in its 5-year run. In my view, however, this is one of them. There's little or no storyline, the characters are unconvincing, while Baker, Chaney, and Cord spread it on with a shovel. Much of the time is spent with guys punching one another, suggesting that padding was needed to fill out run time. Looks to me as though the murky screenplay should have been sent back to rewrite, or at least for better character set-ups. Unfortunately, the result is a narrative that more or less muddles along. On the other hand, Milner, an always reliable actor, is around to pick up the thespic pieces, while Baker is truly lovely. Then too, live footage from the timber mill is almost scary, with its whirling saws and bark strippers. I hope those workers are paid well. Anyway, every series has its ups and downs. Sorry to say this is one of R66's downs.