G. O. D. speak back to him, he is intrigued. When Thunderbird leaves, he sneaks into the chamber and discovers that G. O. D. (General Organizational Directivatator) is a sophisticated master computer, linked to all of Thunderbird's finances and operations. He talks with G. O. D. and reads the Bible to it, giving it morality and a conscience. G. O. D. decides to give all of Thunderbird's money away and tells Ambrose what to do to accomplish this, which results in bags of money being poured out of the office's window. Thunderbird discovers someone has been interfering with the computer and rushes back to headquarters where he tries to capture Ambrose and destroys the computer. Ambrose grabs the paid monastery mortgage certificate from Thunderbird's office and escapes in a chase through the city. While Mary and Dr. Melmoth look for Ambrose during his escape, she learns that Melmoth is her father that left her family when she was a child, due to a distinctive tattoo she sees on his leg. They eventually find Ambrose and rescue him from the people chasing him. Ambrose goes back to the monastery and gives the abbot the mortgage certificate, then leaves and marries Mary, who is pregnant from their single night together. The end titles show Melmoth's bus traveling down the road, saying they "all lived happily hereafter". Cast Marty Feldman as Brother Ambrose Peter Boyle as Dr. Sebastian Melmoth Andy Kaufman as Armageddon T. Thunderbird Louise Lasser as Mary Richard Pryor as G.O.D Wilfrid Hyde-White as Abbot Thelonious Severn Darden as The Priest John Koshel as Twin Bodyguard Peter Koshel as Twin Bodyguard The name "Sebastian Melmoth" was a pseudonym used by Oscar Wilde. Production Principal photography occurred in Downtown San Diego. This was the second film in a five-film agreement between Universal and Feldman, following the moderate success of The Last Remake of Beau Geste. Feldman died in 1982, before the other three films could be made. Reception Roger Ebert gave the film 1.5 stars out of 4. Ebert criticizes the film for apparently believing Feldman himself is inherently funny, and for failing to have the necessary material to build on. Washington Post critic Gary Arnold criticized both the film and its studio: "In God We Trust" is an unmitigated disgrace. What recommended material this conceptually stupid in the first place? The occasional editorializing, like the scene in which Thunderbird modulates his