Bob and Ruth

Bob Douglas was all chest high plaid pants, wild eyes and eager ears, working the police-fire scanner knobs and his telephone dial with savage efficiency in the darkened room at the back of his house. This was his war room, his command center. The Information Station.

Hey, down there at 1310 Hoyt! Get ready for the fire truck! You, up there at 706 Grand! The police cruiser's coming your way! Yo, over there at 925 Rockefeller! Domestic Squabble just down your alley at 918 Wetmore!

He was wired into it all, hooked into the information grid of nineteen hundred and seventy. Everett, Washington's emergency dispatch signals surfing across his brainwaves, his thoughts tuned into their frequencies. Forever clearing his throat of the perpetual phlegm of ignorance, he thirsted for the knowledge that these crises and misdemeanors washed down into him. But it wasn't enough to obtain the wisdom, he was compelled to impart it onto others. And not gently either - no, this education was delivered to his friends and neighbors with a vicious ruthlessness. Mr. Douglas, you see, was a man both supremely impatient and utterly mad. He suffered neither fools nor the rational gladly.

A call would come over the scanner and his shock of curly hair shot straight up, his hairy ears throbbing with the details of this latest catastrophe. Incessantly tuning the signal to clear the noise from the necessary, Bob would focus, waiting - until, Bam! He'd catch wind of a juicy one through the static and hone in on the location. A picture would form in his mind's eye as he zoomed in for a close up. His gnarled fingers would then start clawing down the phone book white pages, mapping the dispatch address to a neighborhood and the 'hood to his acquaintances, however vague the connection. Match! Yes! Now he would make with the telephone dial.

Ring, ring.

Ignorant Acquaintance: Hello?

Bob: Ummmrrgghhh. Hey, down there at 1215 Colby, you got a heart attack one block down, 1314 Wetmore. Ummmeegghh.

Click.

With that said, Bob would abruptly hang up. He needed no reply from his pupils and had no time for idle chit-chat. They didn't even have names to him, his friends; he referred to them only by their addresses.  There was serious work to do, removing the blinders from the beleaguered citizens of this jerk-water town. How little they knew of these moments of consequence taking place right under their noses! But Bob, he knew. Strokes, heart attacks, burglaries, peeping toms. Bob had total coverage. He was the master of this knowledge. The great and powerful Oz!

This man was a god to me growing up, a giant. Fueled by Antabuse and aggravation, he was nothing so much as a raw nerve personified. All work and no play was not in Bob's vocabulary, though the definition of 'play' is subjective. For instance, he 'played' his long-suffering dog Wolfy into a quivering nervous wreck until the poor thing could take no more, finally succumbing to a fatal heart attack. Not satisfied with simply schooling his own pet, he worked the neighborhood animals into frenetic basket cases as well (they were unable to sleep for days after one of his visits). But unlike Wolfy, at least the neighbor doggies had times of relief when 'uncle' Bob went home. None of these unfortunate side effects were intentional, of course. Mr. Douglas was simply being Mr. Douglas. Wass a gooodd dooggg?!? yessyouare, yessyouare, wass a good dog!?!?! eh? eh?!?!? Was a good dog!?!?! Ehh, ehh, ehh!! On and on and on, he'd go. Bob would have them chase their tails, tug on rags, run down Frisbees, play chop sticks on the piano, clean his garage, mainline meth, and tear their own tongues out. And that was for starters. Waasss a goood doogggie!?!? Yeah, yeah, yeah. Errrmmmdddhh!!

This was simply Bob's way.

His bright plaid pants weaving to and fro, manic voice booming and the constant gurgling of phlegm in his throat, Bob just couldn't stop, had no sense of boundaries or limits. Luckily he was clearing his throat so much of the time that you couldn't make out most of his psycho-babble. His affliction was Turrets Syndrome melded with an obsessive-compulsive disorder and manic tendencies all rolled into one fifty-something package. Or was he sixty-something? It doesn't matter: he was ageless, beyond time.

Bob would also visit upon children what he inflicted on the town's canine population. I cowered in terror upon his arrival at our doorstep. As I said, he was a god to me. Sort of like Loki, the Norse God of Mischief. Or Satan.

Bob stopped drinking years before I knew him, though it took a few trips through treatment before the "cure" took hold. His regiment of Antabuse and terminal psychosis remained the only vestige of a drunkard's past. I have no idea why as a child I was cognizant of his pharmaceutical intake, probably because my parents kept no secrets, as long as they weren't theirs. As though taking Antabuse was a scandalous thing, especially when compared to the unrestrained active alcoholism my folks reveled in.

I had always assumed that Bob and my Dad had been drinking buddies and that was how our families became friends. Those two may well have been boozing pals at some point; however, Mr. Douglas sold insurance back in the day - before he retired to his role as town crier - and that was how our families originally came together. (We had insurance?!?) A television commercial come to life with your broker as best buddy and trusted adviser. His friendship, though, was more akin to Jim Carey's Chip Douglas in The Cable Guy: you'd have to pry your relationship with him from his cold, dead hands. He mated for life in this regard.

Speaking of mating, Bob was not alone. He came as a package deal, wrapped up in a bow with his stubby chubby swinging 60s red headed whack job misses, Ruth. Ruth had the unfortunate habit of wearing skirts sans undergarments on occasion, but was not blessed with the body of Sharon Stone, nor was she of an age - she was somewhere north of fifty - when that behavior might have been viewed in a different light (a black light was too luminous for her particular horrors).

Mrs. D would readily cross and uncross her legs with a silly, knowing smirk as she visited with our folks making gabby small talk, always sounding and acting to me like Sue Ann Nivens from the Mary Tyler Moore show come to life with a dye job. I'd see red and go blind. The carpet matched the drapes, though neither of any shade nature could have conjured up. What nightmares these visuals would give me! ("Join me for a crimson bath! Red-dye #5 mixes well with Mr. Bubbles! Come on in, the water is fine!")

Errhhhhhh.

My Mom - also a Ruth - cut Mrs. Douglas's hair regularly, though she had no training or 'natural' talent in the tonsorial arts that I'm aware of (certainly the results bared that out). This ritual would take place in our kitchen, the two ladies enjoying a beer or two while my Mom took the scissors to that red fright wig atop Mrs. D's head. I had my first taste of the suds in this setting, though I'm not sure why I was offered (I couldn't place my age, maybe 10?). A first initiation into the alcoholic profession my parents saw as the family calling. I was strangely drawn to watching this beauty parlor ballet unfold, my Mom hacking at Ruth D's head while they both got toasted. I shutter when I think about this today. Now that I am thinking of it, my Mom's services to Ruth also included regular dye jobs (though they were, to my knowledge, all on the "up and up").

Bob and Ruth spawned one child, Lee. An odd kid who became a cop, he was by some accounts a sexual deviant. The girls in the neighborhood all dreaded Lee's approaching swagger, as he put his moves on them in his best 70s Disco Stu style.

Nature, nurture - Lee had both going against him and probably didn't stand much of a chance. But at least Father Douglas could follow his son's adventures from the comfort of his back room courtesy of the trusty police scanner. Sometimes his son would be dispatched, and sometimes his son would be dispatched upon. Sort of a one-man game of cops and robbers (or cops and flashers, to be more precise). Who would Bob call during these episodes? Himself? But the line's forever busy! I imagine that after episodes such as this, a confusion of sorts must have hung for a time over Bob's Rear Window lifestyle.

So these are my slanderous memories of just a couple of characters from my childhood.

An introduction. They will return. They were central to my upbringing in many ways.

It takes a village. Indeed.

[Postscript: my sister recalls once, back in the days when Bob had been drinking, he accidentally flushed his false teeth down the toilet. The mental picture of that event and the subsequent dental panic - Did they result in a clog? My dad was a handyman, did he break into the sewage pipes to retrieve the choppers? - was strong enough to me that I felt I needed to share.

My sister also recalled for me Bob's love of the pornographic (which explains his wife Ruth). For example, Bob liked to keep his extensive collection of Playboys piled high in plain view on top of his living room coffee table, in order to give all visitors the chance to peruse the interesting articles. He often left the mags open turned to the "article" spread. He went so far as to send my then teenage sister a fold out of a playmate pic because he thought it looked like her. He ratcheted up creepiness several notches in his day, claiming the word as his own. ]

Leave It To Bitcher

Maybe it's the nostalgia jag I'm on with Mad Men, maybe it's memories of the thrill I had as a kid getting my first typewriter (I was a wannabe writer geek as a boy, still am), but the thought of these obsolete machines brings with it powerful recollections.


I wish I'd kept at least a few pages of the reams of shit I knocked out on that thing. It was a little plastic-encased jobby, still a manual but not nearly so onerous to use as the 1950s metal Underwood monstrosity my Mom had.

I pecked out numerous "episodes" of a family sitcom entitled 'Leave it to Bitcher' on that little machine. My alternative 'Leave it to Beaver' universe had June turning tricks, Wally selling smack to Lumpy and Eddie at the local high school and Ward as an end-stage alcoholic (but ever the ham, he never quite leaves the stage). The Bitcher - Theodore - was a pyromaniac who was being sexually molested by Miss Landers. It was a merry romp, to be sure - shot through innocent eyes, framed in the Eisenhower age of the nuclear family. With a healthy dollop of my twisted worldview melting down its core.


Now to be sure, my mother was not a prostitute, though she always gave me the impression she wouldn't be opposed to the idea, liking to brag that her paternal grandmother was thought to be a turn-of-the-century hooker in Norway. The truth is that my maternal grandfather did not know his biological mother - it's just speculation, rumor, gossip. But the point is made. Anyway, my sister didn't sell black tar heroin at Everett High (at least not that I'm aware of) and I neither set fires nor screwed any of my grade school teachers (from what I recall of them, thank God for that).


That leaves dear ol' Dad. He was the real deal and a model for my Ward in the Bitcher series. But Ward was mainly a supporting character in my teleplays. Sure, he'd stumble in and out of scenes, vomit caking his 'business suit,' always with a slur and a "honey, I'm home, ya goddam whassa, don't tell me, Christ! Blahhh." Still, he didn't generally stay conscious long enough to figure into any of the main story lines.

Ward did have one memorable scene attempting to show the Bitcher some fatherly concern and support upon hearing the news that Miss Landers was pregnant and the fire marshal was gunning for the boy. The old man leaned over his son for a pat on the head and a hug, but he mismanaged the distance and lost the delicate balance of his equilibrium, weaving to and fro. The next thing you know, up came his liquid lunch all over the Bitcher's face. Whatta mess!

And Ward always seemed to be involved indirectly.

For example, there was the recurring 'coda' bit that took place in the boys' bedroom after June walks by the door with a john and pauses to remind the Bitcher to do his chores "or there will be no 'fireworks' for you tonight, young man" before heading off to the 'working' bedroom to ply her trade.

The Bitcher then usually turned to his older brother for advice, complaining about one chore in particular. Wally would be measuring out his baggies of heroin as he provided some perspective to 'the Bitch' during this Taster's Choice moment of brotherly affection.
Occasionally Eddie or Lumpy were there, having stopped by in need of a fix. But they were simply background fodder here, tying off and shooting up quietly or already on the nod in the corner.

The sappy Leave It To Bitcher theme music softly, slowly plays in 'there's a lesson to be taught here' style:

Bitcher: "I really hate emptying out Dad's vomit bowel, Wally"

Wally : "Gee, Bitcher, I know it's kinda nasty but shucks, I had to do it when I was your age. Just breathe through your mouth and look away from the puke. You're lucky, back when I was a little squirt like you, Dad could actually eat food and the stuff he heaved up was way more disgusting. I'll dump it out for you this time, I have to go down stairs anyway."

Bitcher: "Gosh, Thanks, Wally!"

Wally: "Sure. I remember what it was like to be a little goof your age. I gotta run down to the park now. Your pal Larry wants a taste and looks like he might be a potentially good customer of mine in the years ahead. Watch Lumpy, will ya? That's some potent stuff he's mainlining and Mom will clobber me if we have another O.D. in the house and have to call Dr. Bradley again. Remember that mess when Mary Ellen Rogers shot a speedball up here laced with fentanyl and died? Gosh, the medical examiner raised a stink and ol' Dr. Bradley almost lost his license!"

Bitcher: "Sure, Wally. Ya know, for a degenerate drug dealer, sometimes you're an okay big brother."

Wally : "Gee, thanks, Bitch."

Wally tassels his kid brother's hair with the usual goofy look on his face.
Roll Credits.


I'll admit, that particular scene wasn't taken whole cloth from my imagination - I have to tip my hat to Dad for some real life inspiration there. Thanks, Pops, I couldn't have done it without you.

The main story lines usually revolved around Bitcher's fires and trysts with Miss Landers or with June's burgeoning prostitution business. And boy was business booming, so to speak. Fred Rutherford served as her pimp and pretty much every other character regularly passing through Mayfield ended up as a client whether they be male or female, young or old.

I was 14/15 or thereabouts when pounding out these masterpieces. I miss the thrill of whacking the return/paper feed lever one last time and pulling the final sheet out of the machine, the mechanical moves putting an exclamation point on completion of my handiwork. Lots of strike overs and whiteout editing remained, of course, but still. I'd be all warm with either pride or the start of what became a peptic ulcer, my bare feet curled up under the desk in my room, toes lost in the orange shag carpet (hey, that was styling in the day and besides, I inherited the room and carpet from my sister).

I have no idea as to the quality of this shit. Somehow back then I was sure each piece was pure Gold, Jerry, Gold - goddamn genius in the eyes of this beholder. At least once I was done with the incessant editing, which I did to the point where you couldn't read the thing, with more whiteout visible than there was plain paper. Man what I could have done with a word processor.

Still, brilliant for sure. Had he started Inside the Actor's Studio (for you non-believers, not for actors only) back in the early 70s, I'm sure James Lipton would have killed for the privilege of asking me my favorite curse word. But alas, he was toiling on soap operas and I was a prodigy without a pedigree, destined not to be discovered.

Given I was the only one to ever see these masterpieces, and they are lost to the world now, we'll just assume I was right as to their worth and move on.


Lots of bad Dylan and Costello knock-off "lyrics" or "poems" also came off the Buzzard assembly line on the rat-a-tat-tat machine in the late 70s as I perfected my touch typing skills. I guess that typewriter and the work it produced represented my Ignatius Big Chief tablets through that period. The 'wisdom' of a teen locked in his thoughts, barricaded in his room, blasting out Costello and the Clash on the eight track, fingers emptying onto those clacking keys work that would rock the world. Or something along those lines.

In the end I'm pretty sure it was all pure dreck, but that's sort of beside the point.
BTW, if you don't get the 'Big Chief' reference above, shame on you: go out now, purchase a copy of A Confederacy of Dunces and read it at once.

Sense memory is a strange thing. All this from a glance at one of them sleek cling clang machines.