This is Part 2 in a series. See also Part 1 and Part 3.
💥 SPOILER ALERT!
*FINAL VOW: s1e5 aired Oct 25, 1962- Carol Lynley and Isobel Elsom
Carol Lynley Bio:
Carol was born Carol Anne Jones on Feb. 13, 1942, in New York City. Lynley worked as a model and in television from her teen years and performed on numerous early live dramatic television shows. After appearing in the 1958 Broadway play, she delivered a moving performance in the controversial screen version of Blue Denim in 1959, co-starring cutie Brandon De Wilde. She was nominated for a Golden Globe Award for Most Promising Newcomer! She then co-starred with Clifton Webb and Jane Wyman in Holiday For Lovers (1959).
Afterward, she appeared in a variety of popular films, Return to Peyton Place (1961), and Under the Yum Yum Tree (1963)with Jack Lemmon. Carol Lynley appeared in the Otto Preminger film The Cardinal (1963). She was also in The Stripper (1963), and Shock Treatment 1964 where she plays a very disturbed young girl with hyper-sexual tendencies. In the same year, she played Maggie Williams in The Pleasure Seekers. Lynley also took the role of Jean Harlow in the biopic Harlow (1965).
Her performance as Ann Lake is superb playing a mother who claims her little girl has vanished after dropping her off at her school in Otto Preminger’s Bunny Lake is Missing (1965). She also appeared in the very dark and twisted The Shuttered Room (1965) co-starring Gig Young. The film is based on a story by horror writer August Derleth. In the same year, she played Maggie Williams in The Pleasure Seekers. Lynley also took the role of Jean Harlow in the biopic Harlow (1965).
Lynley appeared in Once You Kiss a Stranger… (1969) and In the pilot episode that launched the iconic television series “The Night Stalker” (1972), the cult chiller directed by John Llewellyn Moxey, Lynely plays the character of Gail Foster, who was portrayed as the girlfriend of Darren McGavin’s journalist of the bizarre and the occult. As the stalwart reporter investigating the uncanny and supernatural, Carl Kolchak, often puts Gail through the wringer. This groundbreaking classic television series developed by Dan Curtis went on to inspire popular shows like “The X Files”.
Carol Lynley appeared in various television shows, Alfred Hitchcock Presents, The Alfred Hitchcock Hour, It Takes a Thief, Night Gallery, The Invaders, Kojak, The Man from U.N.C.L.E, Journey to the Unknown, The Sixth Sense, The Magician, The Evil Touch, Quincy M.E. and Police Woman.
British actress Isobel Elsom embodied the epitome of pretentious, grande dame vanity in her acting roles, fashioning her persona as the elegant society woman and piqued upper-class sophisticates in both comedies and drama, with character names like Charlotte Chattle, Genevieve Clivieden-Banks, Auntie Loo-Loo, and Mrs. Eynsford- Hill in My Fair Lady 1964. Elsom was also well-disposed to playing head nuns.
She began her prolific career on stage making her debut in the chorus of a London production of “The Quaker Girl” in 1911 and her Broadway debut in “The Ghost Train” in 1926, and went on to appear in supporting roles in both silent and talking pictures in England and Hollywood that spanned over 50 years. She maintained her leading status with early British talkies in films such as The Other Woman in 1931, Stranglehold in 1931, The Crooked Lady in 1932, The Thirteenth Candle in 1933, and The Primrose Pathin 1934.
Elsom moved on to the New York stage in such plays as The Mulberry Bush (1927), People Don’t Do Such Things (1927), The Silver Box (1928), The Behavior of Mrs. Crane (1928) and The Outsider (1928).
Having settled in America in the 1930s, she established herself as a great character actress with one of her most notable Broadway roles, that of retired actress Leonora Fiske for whom Flora Robson kept house in Ladies in Retirement. Miss Elsom also appeared in Charles Vidor’s film adaptation of the play in 1941 starring Ida Lupino as Ellen Creed, the one Creed sister who is not veritably insane like sisters Elsa Lanchester and Edith Barrett.
Throughout her career, Miss Elsom appeared in numerous Hollywood films, including the supernatural drama Between Two Worlds 1944 with John Garfield, Paul Henreid, and Sydney Greenstreet, Edmund Goulding’s Of Human Bondage 1946 starring Eleanor Parker and The Two Mrs. Carrolls 1947starring Humphrey Bogart.
Isobel Elsom would swing between doing film and acting on the Broadway stage for the following two decades in productions of Hand in Glove (1944), The Innocents (1950), Romeo and Juliet as Lady Capulet) (1951), The Climate in Eden (1952), The Burning Glass (1954), and The First Gentleman (1957).
Image from the Chaplin Archives, Monsieur Verdoux 1947.
Elsom commanded the screen as the intended victim Marie Grosnay in the offbeat black comedy Monsieur Verdoux 1947 with Charlie Chaplin, Love From a Stranger 1947, The Ghost and Mrs. Muir 1947, in The Paradine Case in 1947, playing the Governess in The Secret Garden 1949, as Mother Superior in The Miracle 1959 starring Kim Stanley, and Love Is a Many Splendored Thing with William Holden and Jennifer Jones.
She made her foray into television in the early 1950s in such shows as The Chevrolet Tele-Theatre, Kraft Theatre, Armstrong Circle Theatre, Suspense, Climax!, Studio 57, Playhouse 90, and in 8 episodes of Robert Montgomery Presents. She was not only cast as Reverend Mother in Final Vow for The Alfred Hitchcock Hour she plays Sister Marie Theresa in season 1 episode The Dark Pool. And she plays John William’s shrewish wife in Alfred Hitchcock Presents, Back for Christmas.
Dialogue-
Sister Pamela-“Sorry Sister Jem, I have only myself to blame.”
Sister Jem-“You’re not thinking of… what we spoke of the other day?”
Sister Pamela-“I haven’t been thinking of anything Sister. I’ve tried not to think.”
Sister Jem-“Have you prayed?”
Sister Pamela-“Sister… I’ve prayed for humility and obedience. But there was no answer in my heartSister Jem… only silence! If I truly belonged here wouldn’t I know wouldn’t I feel it inside?
Sister Jem- “You must give yourself time child. These things can’t be hurried.”
———
Sister Pamela (Lynley) –“I wish to leave the order reverend mother.”
Reverend Mother –“But you’re not a child sister Pamela. You mustn’t respond to trouble like a child.”
Sister Pamela –“I’ve thought about it reverend mother, I’ve thought and I’ve prayed.”
Reverend Mother –“When a child is naughty it wants to run away from home- but your home is with God. You cannot run away from him.”
Sister Pamela –“I’m not running away from God. I wish to leave the order, Reverend Mother. I’m not suited I’ve known it for some time. Mr. Downey was right about me.”
Reverend Mother –“Why should anything that Mr. Downey says effect you?”
Sister Pamela –“Because he knew the truth. Some people retreat to God, not advance toward him and that’s what I’ve done. I’ve hidden myself away from the world for what I know to be selfish reasons.”
Reverend Mother –“But is that so bad sister?”
Sister Pamela –“I haven’t been honest not with myself, not with you, and not with God.”
Cinematographer John L. Russell’s camerawork – sets up the solitary landscape of Final Vow.
On the eve of her taking her final vows, Sister Pamela suffers a crisis of confidence and faith feeling like she is merely hiding from the outside world. And soon finds herself in the deep end as she tumbles unwisely into the sleazy circle of violent thugs who stole it.
Doe-eyed and guileless Lynley puts forth the purity of a young novitiate who has lived an insulated life now, in search of answers is suddenly confronted with evil resembling a violent low-life, thereby from the safekeeping of the convent, Pamela begins her harrowing descent into Hell.
While gentle and wide-eyed in manner, Lynley still conveys a miraculous balance of fortitude and grace when holding her own in a hostile environment. An unravished bride of Christ, Sister Pamela learns along her journey outside the sanctuary beyond the walls of the convent, how this story warns of how men treat women.
During her lunch break at work, Jimmy (Gulagher) grabs her wrists looking for a wedding ring, insulting her by mocking her prudish ways, and finally manhandling her suggestively at the party. He also knocks his girlfriend Bess around. And worst and most dangerous of all, he assaults and threatens to kill her at the pawnshop, even after he realizes that she’s a nun.
Synopsis:
The episode opens with a solemn meal at a convent, as Sister Pamela drops a pitcher of milk that smashes on the floor and unsettles everyone at the table, especially Pamela who is a coiled spring. Like the fragmented glass pitcher, Pamela’s innocence is yet to be shattered when she enters the outside world.
Sister Gem (Charity Grace) –“Oh Sister, not tears again, you’ve cried a whole river these past weeks.” Pamela- Sister Gem, I only have myself to blame.”
Note: The wonderful Charity Grace was a very busy character actress on television. You might recognize her as one of the Morrison sisters on The Andy Griffith Show episode Alcohol and Old Lace where she and her sister run a secret moonshine still operation. It’s one of the most hilarious episodes of the series, especially getting to watch Barney Fife muster such zeal in busting up the still with his axe ‘Pow, pow, pow!’
The older Sister Jem consoles Sister Pamela through her doubts and The Reverend Mother Isobel Elsom believes that Sister Pamela Wiley’s crisis will disappear in time.
At the request of the Reverend Mother, Sister Pamela is sent to see Sister Lydia in the infirmary, who tells her that she too, once had the same uncertainty as a young novice.
Sister Lydia tasks Sister Pamela with a very special mission to meet the once young hooligan now a reformed gangster, William Michael Downey (R.G. Armstrong) from the early days of parochial school – the failed protégé of the Abbess sister Lydia. Sister Lydia never stopped writing to him for over thirty years. She asks Pamela to go in her place in order to “I want you to see what faith and prayer will do.”
Downey has invited Sister Lydia to his mansion after thirty years of silence to give her a very special statue of St Francis to the convent. It’s a gesture of thanks and a very sacred piece of art.
Sister Jem accompanies Sister Pamela by train to Downey’s opulent penthouse that commands a spectacular view of the city.
“I suppose you think her prayers have helped me.” “Yes, I do.”Have all your prayers been successful too?”
She admires his art collection. Downey makes a joke, “Funny isn’t it, an old heathen like me.”
While the old gal Sister Jem is out like a light on the balcony in an almost fairytale-like slumber. Lyn Murray’s music underscores Gem’s sleep momentarily with an almost childlike lullaby hinting that her drowse is otherworldly. Sister Pamela and Downey begin a heated dialogue about faith and prayer. And though he wears a classy suit, it cannot disguise his coarse, boorish, and unpolished nature. She rebukes him – “Prayers aren’t business deals.” Still, his words strike at the heart of Sister Pamela’s conflict that she has been living in isolation at the convent in order to hide from the world. Downey is like the serpent’s temptation of Eve, who sows the seed of doubt in Pamela that the convent is not a place of ceremony and service for her but a convenient refuge from life.
Downey enlightens Sister Pamela about the history of the St. Francis statue which is five centuries old, which lived at the Medici Palace and was created by the Italian Renaissance artist Donatello. He hands over the statue of St. Francis to Sister Pamela so that she can take give it to his benefactress Sister Lydia. “I hope this’ll make it up to her.”
Now at the train station, a young man emerges out of the hum of the crowd and offers to help the sisters with their suitcases, one which holds the irreplaceable icon. He quickly vanishes. The sisters go to the police and Pamela notices petty crook Jimmy Bresson in the lineup, who runs a slick little scheme lifting luggage from unsuspecting travelers.
But Jimmy has an alibi for his whereabouts claiming he was with his girlfriend at the time of the theft. Pamela takes note of his job and his girlfriend’s address and will later track him down at the Gramercy Appliance Co.
Sister Pamela returns to the convent and confesses to Reverend Mother that the theft of the statue is a sign that she cannot be trusted and that it is time to leave the order and stop hiding from the world for selfish reasons. The statue was valuable because-“It was a reward for a lifetime of work.”
The Reverend Mother tells her to take hold of herself but that she’ll have a place there if she should return.
Determined to recover the priceless statue, the guilt-ridden Pamela leaves the convent. She applies for a job at the Gramercy Appliance Co as a typist where she can follow Jimmy who works in the shipping department, and moves into a modest apartment. Then she injects herself into the small group of friends in order to get closer to Jimmy Bresson.
Jimmy -“Princess you’re a nice kid, you gotta relax, you gotta have fun, you gotta have some games, and I know the rules, I’m just the guy to show ya.”
As Pamela eats her lunch by herself on the loading dock, Jimmy begins to make the moves on her and invites her to a party, which she agrees to. But Jimmy’s girlfriend Bess (Carmen Phillips) gets jealous when he pays too much attention to the lovely Pamela, when he tries to persuade her to come with him, she decides to stay with Bess.
While inside the apartment Bess leaves the room for a moment and Pamela soon finds a pawn ticket from Wormer Pawn Ship. Bess tells Pamela that Jimmy does his business out of the shop.
Under the guise of looking for religious statues, Wormer shows her the stolen statue of St. Francis and asks $20 for it, but calls Jimmy to come because he becomes suspicious of Pamela.
Jimmy shows up and finally recognizes her from the train station, realizing that she’s a nun.
After roughing her up he and Wormer conspire to do away with her. Though Wormer is superstitious and tells Jimmy that it is “bad luck–robbing a nun.” Before they kill Pamela Jimmy shoves her into the back room and tells Wormer to call Mike the Broker to appraise the value of the statue.
Unbeknownst to them, Mike turns out to be Downey who signals to Pamela to keep quiet. He tells Jimmy and Wormer that the religious relic is a piece of junk. Downey clarifies to the bumbling pair of thugs that what has no material value can be priceless to the religious who consider the objects to be blessed and convinces them to let Pamela go. Downey gives her the statue and tells her to go and throws Wormer the $20.
Escaping her ordeal, she hurries out into the bright light of day breaking free of the darkness. Out into the open streets holding onto the small treasure with her life when Downey pulls up and drives her back to the convent. He expresses regret for the things he said to her and sees that she is not hiding from the world at all. “Sister I said some rough things to you that day you came to see me. I just wanted you to know I was wrong. You’re not hiding from anything.”
As he leaves she journeys back inside the convent with her quest in hand, her questions answered, and faith in herself restored.
Credits
* Final Vow was directed by Norman Lloyd and written by Henry Slesar and was first broadcast on The Alfred Hitchcock Hour on CBS on Thursday, October 25, 1962. * Lyn Murray’s evocative arrangement is heard frequently throughout the series. Including Hitchcock’s feature-length crime thriller, To Catch a Thief (1955), he scored 35 episodes of The Alfred Hitchcock Hour including The Paragon and What Really Happened.
*RIDE THE NIGHTMARE s1e11- Gena Rowlands aired Nov. 29, 1962
GENA ROWLAND’S BIO
The alchemy of Gena Rowland’s acting style is how she integrates her craft with an indescribable beauty and presence that is reminiscent of Hollywood’s Golden Age.
Before the emotionally distilled and complex actress emerged as an icon, Gena Rowlands set out with her husband John Cassavetes to create a new naturalistic landscape of independent American movies in the 1970s, that inspired generations of filmmakers. She began showing the attractive pull of her strength in dramatic teleplays for early television programming.
Shows like Robert Montgomery Presents, Ponds Theater Armstrong Circle Theatre Studio One The United States Steel Hour Goodyear Playhouse General Electric Theater, and of course Alfred Hitchcock Presents and The Alfred Hitchcock Hour. She had a regular stint on the television police procedural series, 87th Precinct playing cop Robert Lansing’s deaf wife. In 1975 she starred alongside Peter Falk (One of Cassavete’s inner sanctum of actors along with Ben Gazzara) in Columbo’s season 4 episode Playback.
In feature films, she was cast as Jerry Bondi in Lonely Are the Brave in 1962, in Cassavetes’ A Child is Waiting in 1963, and in Gordon Douglas’ Tony Rome 1967 starring friend Frank Sinatra and Richard Conte.
Working since the mid-1950s Rowlands began to give shades of the forceful performances to come in the three episodes of Hitchcock’s series, in particular, The Lonely Hours playing off veteran stage actress Nancy Kelly.
Gena Rowlands was nominated for two Academy Awards for her performances in director/actor husband John Cassavetes’ films. In 1974 for A Woman Under the Influenceand in 1980 for her gutsy portrait of one tough broad in Gloria 1980.
She was also nominated for eight Golden Globes having won two, and eight Emmys winning three. On November 14th, Gena Rowlands was finally given an Honorary Oscar at the Governors Awards ceremony.
“With her bold bone structure and the curtain of her wheat=gold Jackie O coif, Gena Rowlands is the classic Hollywood icon that got away…. Had she been born into the Studio ear of the 1930s or 1940s, one suspects that she would have sured up a career running across the grand roles, from the tough boots molls through to the stoic others and peppery femme fatales. She has the angular hardness which typifies the best of them in that period- one can imagine her, as easily as Crawford, Davis, Stanwyck or Bacall.”-bfi.org.uk
“I’d never seen anyone that beautiful with a certain gravitas. It was particularly unique in that time, when many women were trying to be girlish, affecting a superficial, ‘I’m a pretty girl’ attitude. It seemed to be the best way to succeed, but Gena did none of that. There was a directness—not that she wasn’t fun and didn’t smolder—but it came from a place that was both genuine and deep.”– Mia Farrow
Director Sidney Lumet in an interview with critic James Grissom, said: “The highest compliment I can pay to her—to anyone—is that the talent frightens me, making me aware of the lack of it in so many and the power that accrues to those who have it and use it well. And the talent educates and illuminates. She is admirable, which can be said of only a few of us.”
In Faces 1968, nominated for 3 Oscars, Rowlands plays prostitute Jeannie with director Cassavetes with something like steel and fearlessness behind her eyes asserting a challenge to try and reach her after being crushed by men. Rowland manifests a performance ‘aching with wordless solitude’ (Ebert)
In the visual poem about loneliness and the feeling of isolation, Minnie & Moskowitz 1971 stars Rowland as the edgy blonde Minnie who perceptively flickers with co-star Seymour Cassel and displays her captivating sensuality under Cyclopean sunglasses.
Rowlands garnered her first Oscar nomination for her unforgettable performance as Mabel Longhetti in A Woman Under the Influence 1974 co-starring Peter Falk who is in the grips of Mabel’s mental illness.
“It left me exhausted and depressed-feeling. Some of the time, when you’re walking out there where the air is thin, you just hope you can walk back again.” -Gena Rowlands
As Myrtle Gordon, Rowlands gives another masterful performance in Cassavetes’ Opening Nightportraying a successful stage actress rehearsing a production of The Second Woman in New Haven, whose life is turned upside down after she witnesses a 17-year-old fan’s death outside the theater. She captures the restless energy that imbues the behind-the-scenes world of the theater and the ‘dreary perspective of Myrtle’s uninspiring production she stars in.’ (Chris Wiegand- The Guardian).
“All while descending into a prolonged crack-up involving binge drinking, consultations with mediums, and a repeat hallucination of a young girl… Early on, when Myrtle is first confronted with the hallucination/girl, there’s a closeup of Rowlands’ face that is an example of her unique genius. Even very talented actors feel the need to show an audience “what a moment is about.” Not Rowlands. In that closeup, Myrtle stares at the girl, wondering if she has finally lost her mind, and then she puts an almost welcoming expression on her face, before mouthing the word, “Hello!” It’s hair-raising.” Ebert)
Nipping at booze, Myrtle trips between reality on and off stage, drenched in an alcoholic delirium – “Rowlands’ drunkenness in “Opening Night” is in the pantheon of Great Drunks onscreen.” (Roger Ebert).
Myrtle drifts in and out of character conjuring visions of two women who do not exist. Virginia the role for which she is wary of, struggles to portray an older woman for the first time, a character who is aesthetically defined by her age. And embracing the phantom of Nancy, the young girl who died, whose youthful receptiveness is what she seeks to direct, all within an oppressive environment driven by the men she works with, director (Ben Gazzara) and ex-lover co-star (Cassavetes).
How can you bring a character alive if you don’t believe in them – Myrtle asks playwright Sarah Goode played by Joan Blondell. Myrtle needs to reclaim her identity on stage and for herself.
Gena Rowland in Gordon Douglas’ Tony Rome 1967.
In Gloria 1980 directed by John Cassavetes, Rowlands gets to play the hard-edged gun moll she would have perfected in the best film noirs of the 1940s. Gloria Swenson becomes the reluctant guardian of a little boy whose family is murdered by the mob. The two go on the run in the gritty streets of New York City in possession of a book that the mob wants. Rowland is never fake while she roars and swears at the thugs chasing her on the subway, moving like the wind down the sidewalks of New York in her silk suits, handling her gun like an uncompromising pro.
Source Andrew Key
Source Chris Wiegand The Guardian
Source: Roger Ebert
SYNOPSIS
Ride the Nightmare is a noirish crime drama with low-lighting, William Marguiles frames Rowlands as if she’s outside looking in on a nightmare.
Helen – ”I’ve been awake all night I’ve been trying to visualize going on… to what?… I can’t Chris. All the meaning seems to have gone out of it… It’s not the same She shakes her head faintly puffing on a cigarette. It’s just not the same”
Chris -“We’re the same people Helen.”
Helen -“Are we? I don’t even know who I am. Am I Helen Martin, Am I Helen Philips Or am I married at all? I just don’t know anything, Chris. Least of all the man I’ve been married to for seven years.”
Christopher Martin (Hugh O’Brian) is a successful businessman who has just moved to a new town with his wife Helen (Gena Rowlands). However, their new life is shattered when 3 of Christopher’s old acquaintances, Adam (John Anderson) Steve, and Fred (Jay Lanin), escape from prison. They come looking for Chris after he runs out, leaving them to take the rap for a holdup. They’re dangerous and determined to get revenge.
”What’d he say?” “He said he was coming here and that he was going to kill me.”
He’s been afraid to tell his wife Helen about his past, fearing she would leave him, he realizes that the moment of truth is at hand.
It starts out with the Martins receiving threatening phone calls until Chris and Helen frantically begin to lock all the doors and windows. Someone is outside watching them.
Chris begins to panic, yelling at Helen to shut off all the lights “Do like I tell you!” The quiet house turns into a threateningly dark space.
All the time, Helen switches into survival mode, confused but unrattled when a stranger with a gun breaks into the house and confronts Chris accusing him of being someone else she doesn’t know.
After a scuffle in the dark, the gunman reveals that he found ‘Philips’ O’Brian’s real name.
Helen “You’re making a mistake. Can’t you see he’s not the man your after. Our name is Martin.”
Fred – “Martin hah, Philips is the name I know him by. You thought you could change your name and we wouldn’t find ya That’s right baby… we. For a while there I thought you did get away. Then I saw that picture of ya in that magazine. You know a picture of you in that bowling thing when you won the state championship. And I said to myself – there’s a picture of my old friend Chrissy boy. And I just got to stop in and say hello.”
Helen –“You’d better get out of here, my husband has called the police.”
Fred- “No you didn’t do that did ya? No, you wouldn’t do that would you Chrissy boy? Cause if you called the police they’d send you to jail and you don’t want to go to jail do you Chrissy boy?”
Helen Martin “You did call them (the police) didn’t you Chris?”
Fred “You mean you didn’t tell her Chris, ah that wasn’t nice. You should have told her about your wicked past.”
Chris- “Shut up! Don’t move.”
Fred “Yeah that’s right lady, I’m gonna kill him just like I said I would.”
The two men struggle in the kitchen. She picks up a knife and is about to come and help Chris fight off Fred, but he shoots and kills him. The life she knew changed in one crazy moment and all she thought she knew was gone. She wanders for a moment in the dark room.
the ice in the tray the dead body in the kitchen…
Though it’s late in the evening, Olan Soulé, Martin’s drunk neighbor comes over and pushes himself on them, making a nuisance out of himself in order to borrow ice cubes. He almost wanders into the kitchen where Fred lies dead. They manage to get him out of the house. The second time there is an annoyance thrown in as beveling distractions thrown in their way as an obstacle is while at the bank trying to get the money for ransom, one of their neighbors hounds him for the canopy dish Helen had borrowed. The intrusion of the neighbors acts as a narrative mechanism to frustrate all of us.
Chris relates the story to Helen: He didn’t tell her because she was so young when they got married after 7 years he figured he might not have to
He was young, 19 years old working for a bank, picking up deposits from all the big stores in the area. He didn’t get along with his father, so he started hanging around some of the local bars. That’s where he met Fred. He looks toward the kitchen. Later on, he met Steve and Adam the other two who escaped prison.
They planned a robbery, stealing the deposits from a jewelry store. Chris was a lookout and he was supposed to warn them, but the old security guard triggered the alarm, and he ran when he heard the police. The three armed men killed the old man.
Chris – “I drove away til the car ran out of gas came to LA changed his name Met her and that was it.”
Helen –“Chris if you think you can put him someplace where they won’t find him Then do it. Do it!”
They drive to Topanga Canyon, where Chris buries Cliff’s body by the side of the road.
When the other two thugs show up John Anderson as Adam and Richard Shannon as Steve, they make Chris go to the bank to get them money in exchange for Helen who they’ve kidnapped and are holding in a shack.
Since Helen is being held hostage at the shack, Chris must drive there alone. After he shoots Steve, Chris and Helen run off into the brush together as Adam chases them deeper into the canyon.
When the couple are cornered Chris sets fire to some brush, Adam becomes trapped by the blaze engulfed in flames, and Chris and Helen climb to safety as fire trucks and police pass them on the road.
CREDITS
Ride the Nightmare was directed by Bernard Gerard, and it aired on CBS on November 29, 1962.
Richard Matheson was hired to adapt a teleplay from his story for The Alfred Hitchcock Hour, though he found it challenging to condense it to a one-hour television slot. Ride the Nightmare, a paperback original released by Ballantine in 1959, was adapted from Matheson’s short story “Now Die In It.” The story had been previously published in the debut issue of Mystery Tales in December 1958.
Matheson has written some of the most compelling mystery/science fiction & fantasy stories and screenplays – in 1957 with The Incredible Shrinking Man, based on his own novel, The Last Man on Earth 1964 starring Vincent Price and The Omega Man 1971 are both based on his novel I Am Legend.
In 1959, he expanded his repertoire to include teleplays, and throughout the subsequent decades, he accumulated numerous credits, including writing for The Twilight Zone and receiving an Edgar Award for his teleplay The Night Stalker (1972). As his career progressed, he garnered increasing recognition and was honored with numerous accolades, including the World Fantasy Award for Life Achievement, the Bram Stoker Award for Lifetime Achievement, and induction into the Science Fiction Hall of Fame.
Omnipresent character actor Olan Soulé who plays the drunken neighbor looking for ice cubes was on the Hitchcock show eight times and is best known for his voice acting, which began in the 1930s on the radio and lasted through the 1980s. In particular for his work as the voice of Batman in several cartoon series. He can be remembered as the prissy Mr. Masters who directs the choral and cringes at Barney Fife’s tone-deaf caterwauling in The Andy Griffith Show’s The Song Festers and Barney and the Chorus.
John Anderson’s extensive credits on TV and in the movies span from 1950 until his death, having appeared in Hitchcock’s Psycho (1960) as well as in three episodes of his TV series.
I am so thrilled to be joining CMBA’s Hidden Classics Blogathon!There are many great contributions this year– so many unsung gems for the offering! Thank you CMBA for allowing me to share this little obscure suspense yarn with all of you!
The Great Broadway Melodrama Comes to Flaming Life on the Screen!
Ladies in Retirement, with its play-bound vibe and all its macabre thought processes, is directed by Charles Vidor who did not shy away from films that manifested a gutsy imagination. Vidor is known for films that bordered on the edge of their genres, such as the 1930s horror classic The Mask of Fu Manchu 1932, the sinister obscurity Double Door 1934, and the symbol of unforgettable film noirs like the tension-filled Blind Alley 1939 and the seductively arousing Gilda 1946.
While it’s been referred to as film noir, I believe it meets the criteria of the 1940s suspense genre with a trace of — I don’t know — ‘Gothic melodrama noir’ for its use of light and shadow and familiar noir tropes like the focus on class, scandal (Fiske was a courtesan, Albert -thief and blackmailer, Ellen -murderess, Emily-dangerously unstable), and of course by the end fate steps in. In addition, there’s the use of noir iconography, with its visual interest in staircases.
It’s also an old-fashioned horror story– not vampires or ghouls– but the haunting feeling you’d get from fog-filled marshes off the Thames River, the tinny sound of a not quite tuned piano, a body behind the wall, or the disorder of insanity vs a murder of desperation and opportunity. Whereas with all of Val Lewton’s startling contributions, the “unspoken and the unseen were the true sources of dread.” (Judith Crist)
The lighting particularly accents the player’s expressions as they emerge from the dark edges around their form, with merely an aureole on their face or eyes– like a lit mask. This is truly effective in bringing out the intense concentration of Ida Lupino’s beautiful eyes and Ellen’s inner turmoil. The angles in the set up of the interior are odd and sharp, once again the source of light, Lupino’s face lit from underneath used to provoke the contrast between black and a deathly pale white.
Columbia Pictures studio purchased the rights to Denham and Percy’s story with Rosalind Russell in mind for the starring role of Ellen Creed. Russell was featured as the lead Olivia Grayne in another psychological thriller Night Must Fall in 1937. But, Ida Lupino, as always, was worthy of the role and had a remarkably innate grasp of a woman torn by her strong sense of preservation. She was also married to Louis Hayward at the time of filming.
Lux Radio Theater broadcast a 60-minute radio adaptation of the movie on September 27, 1943 with Ida Lupino reprising her film role. According to contemporary articles in The Hollywood Reporter, Lillian GIsh Judith Anderson, Pauline Lord, Laurette Taylor and Helen Chandler were all considered for roles as one of the demented Creed sisters.
Though the film is stage-bound, it preserves the feel of the original play and has a visual moodiness thanks to distinguished and skillful cinematographer George Barnes (Footlight Parade 1933, Marked Woman 1937, Rebecca 1940, Meet John Doe, Jane Eyre 1943, Spellbound 1945, Force of Evil 1948, The File on Thelma Jordan 1949, The War of the Worlds 1953). Barnes started as a still photographer which explains the aesthetic of framing scenes like an arrangement of still lifes. He was nominated 7 times, one for his work on Ladies in Retirement, with over 200 films to his credit, he was a hard-working cinematographer from 1935- 1949.
Responsible for the art direction and interior design that won him an Academy Award isLionel Banks(The Awful Truth 1937, Holiday 1938, Golden Boy 1939, His Gal Friday 1940, The Boogie Man Will Get You 1942, The Soul of a Monster 1944, Cry of the Werewolf 1944. He designed the South American set for Only Angels Have Wings 1939, and conjured up the turn of the century for the fantasy Here Comes Mr. Jordan 1941 and again for Charles Vidor’s lavish A Song to Remember 1945. Banks added to the stage play atmosphere of the film with its collection of sparse surreal, gnarled trees that look fake, fog-shrouded heaths, and a heaviness to the interior as a suffocatingly enclosed space. The entire exterior scenes have a look of unreality, the outside appears like a murky dreamscape with painted clouds floating in a painted sky, where there is no departure.
Filmed mostly as a set piece in the parlor of a slowly waning old house on the marshes of the Thames Estuary some ten miles to the east of Gravesend, in 1885. The shots are set up with odd angles and the shadows create a sense of confined spaces with unseen rooms and staircases that go nowhere. Barnes and Banks even made a low stone wall of the cottage, which seems to constrain the borderline of the house.
The actors are positioned as the primary focus on the screen backdropped by the scenery that hints only at the suggestion of dank marshes, melancholy trees, and craggy rocks surrounding the house. Much of the set pieces remind me strongly of an episode of Boris Karloff’s anthology series THRILLER, titled ‘THE LAST OF THE SOMMERVILLES’released in 1961. Elements that are similar are the exterior shots that seem unreal, depicting an obscuring fog with fake trees and pale grays, with the interiors also as closed-in spaces of an antiquated house owned by an equally flitty old dowager (Martita Hunt) like Leonora, who preens and is prone to theatrics. She is taken care of by her dutiful companion played by Phyllis Thaxter who plans to murder the old gal. This perfectly macabre installment of the series happened to be directed by Ida Lupino! Perhaps she drew her inspiration from Ladies in Retirement. The art direction for that episode is done by Howard E Johnson, set by Julia Heron and John McCarthy Jr.
Martita Hunt and Phyllis Thaxter in The Last of the Summervilles 1961.
Ladies in Retirement flourishes from its tense and stodgy narrative more than the dark humor that Denham could have chosen. Unlike the brisk screwball comedy of Arsenic and Old Lace 1943, by director Frank Capra and screenwriter Julius Epstein which was also based on a play by Joseph Kesserling. That play inspired Denham and Percy to write their own story about a pair of eccentric older women.
The stage play in 1939 went on to receive rave reviews with 151 performances at the Henry Miller’s Theatre. The story was written by Reginald Denham who spent the main part of his career directing Broadway theater, and Edward Percy. The play starred Flora Robson in the role of Ellen. Director Bernard Girard’s psycho-sexual and often grotesque The Mad Room 1969 is a modern re-working of Denham and Percy’s play. The film stars Shelley Winters, and Stella Stevens with Michael Burns and Barbara Sammeth replacing the mentally ill Creed sisters. Denham also wrote the screenplay for the 1969 movie. He penned 2 episodes of Lux Video Theatre, ‘Help Wanted’ episode of Alfred Hitchcock Presents 1956, 4 episodes of Suspense 1949-1950-‘Help Wanted’, ‘The Suicide Club’, ‘Murder Through the Looking Glass’, and ‘Dead Ernest.’ Denham also directed films from 1934-1940.
Some of these episodes have been revised and updated to more extensive overviews including biographies of the big-screen actresses who transitioned from Hollywood the television! May 14, 2023, Please visit the links below!
Hitchcock: “To be quite honest, I am not interested in content at all. I don’t give a damn what the film is about. I am more interested in how to handle the material to create an emotion in an audience.”
As a child of the 60s, as soon as the emblematic theme song and opening credits started to play, I would feel chills running up my spine. I remember the reruns were still broadcast late at night, I understood that each story had something foul afoot, a shadow of the uncanny loomed over my tiny shoulders, and the room filled up with a sinister quiver. Even with its smart-alecky delivery and Hitchcock’s well-placed tongue-in-cheek humor to offset some of the more gruesome aspects of the show, I couldn’t wait til 10 pm, and the idea of watching a dreadfully good mystery even for such a young impressionable mind as my own! The timpani is intermezzo between each thrilling scene to raise the goose bumps and keep the heart pounding!
Alfred Hitchcock transported his brand of cheeky suspense narratives from the big screen to the advent of the intimate living-room television experience of the 60s where tv stations were fertile with playhouse theater melodramas, stage play-esque stories featuring some of the most emotive and original character actors who’s careers were vibrant with possibility.
Using some of the most well-known mystery writers, seriously cutting-edge and unorthodox directors, and the best actors who could bring forth the most nuanced performances from the riveting scripts.
The show premiered on Thursday, September 20, 1962, from 10 pm-11 pm on CBS. It ran opposite Alcoa Premier Theater on ABC and The Andy Williams Showon NBC. From 1963 -1964 it moved to Friday nites and then from 1964-1965 it found its slot on Monday nites opposite Ben Casey on ABC.
The Alfred Hitchcock Hour ranks among the top fifty longest-running series in television history!
Robert Bloch talks about his years working with Hitch, starting out on the program in 1959. He was summoned to Shamley Productions’ office and offered an assignment to write a script based on Frank Mace’s story “The Cukoo Clock.” Bloch began adapting his own published stories alongside the other writers on staff. Bloch’s work was only dramatized by other writers when his commitment to the competing anthology show wasn’t calling for his time. That show was Boris Karloff’s Thriller. Bloch recalls producer and part of the creative team Joan Harrison as a remarkable lady who went from secretary to screenwriter to independent producer with a unique vision.
Norman Lloydhad a certain style of speech and mannerisms which might designate him an Englishman when in fact–he was born in Jersey City, New Jersey! Starting out as an unbelievably talented actor who worked several times with Hitchcock in film. Lloyd played Fry in Hitch’sSaboteur 1942,& Mr. Garmes in Spellbound 1945.
Lloyd had been blacklisted and hadn’t been able to work in television for four or five years.
“Around 1955 they got Hitchcock to say he’d do television which was a big thing. And in ’57 the order for the half hour show was amplified, with a new series called Suspicion. I think Suspicion had many shows. Hour shows. And MCA took ten of them. New York took ten and so forth. And with the ten he was adding on they used to do 39 half hour shows a series. It was his producer Joan Harrison, is how I really learned how to be a producer. Divine. She was beautiful, exquisitely dressed, in perfect taste for the set. She was divine. She was a writer for him, and she was now his producer. And they needed someone else to come in an help her because of the quantity of the work not for the half hours, but now the hour. So she and Hitch decided, they wanted me to do it. Cause I also knew Joan very well. And so they presented my name… however… And this was told to me by Alan Miller who headed television at MCA, he came back, Alan Miller from the network and says ‘there seems to be a problem about Lloyd’ and Hitch said, ‘I want him!’ that was the end of the blacklist!” -Norman Lloyd
“Hitch was a world-figure. He was a man of great humor, had a very definite view of the world. He saw the world a certain way and we have as a result what is known as the Hitchcock film. It became the Hitchcock story, so to speak, almost like an Edgar Allen Poe story.” Directors try to imitate him but they never get the mixture right. Only Hitch had the mixture of the romance, the suspense, the humor, the twists” -Norman Lloyd
Joan Harrison started out as Hitchcock’s secretary, and began reading scripts, writing synopses, and actually contributing to the scripts. She followed Hitchcock to Hollywood in 1939 working as his assistant and then was hired by MGM in 1941 as a scriptwriter. In 1943 she became a producer for Universal Studios. To her film credits, she produced some of the most compelling film noir/ mysteries. One of my personal favorites is Phantom Lady 1944, and then… The Strange Affair of Uncle Harry 1945, Nocturne 1946 They Won’t Believe Me 1947, Ride the Pink Horse 1947, Eye Witness 1950, and Circle of Danger 1951.
Director Robert Siodmak, producer Joan Harrison, Ella Raines and Franchot Tone on the set of Phantom Lady 1944
The cinematographers who worked on various episodes included Stanley Cortez, Benjamin Kline, Lionel Linden, WilliamMargulies, Richard Rawlings, John L. Russell, and John F. Warren. With art direction by John J Lloyd and Martin Obzina.
The magnificent musical contributions were offered by Hitchcock veteranBernard Herrmannand a personal favorite of mine,Lyn Murray, whose stirring melodies recycle themselves in several of the most poignant episodes. The brilliant and prolific Pete Rugolo can be heard as well as Stanley Wilson.
Florence Bush was the hairstylist for the show, and she was very active during the 60s! You’ll spot her name listed in the credits on so many television programs of that era. Including Leave it to Beaver and Hitchcock’s film Psycho!
THE DIRECTORS-Bernard Girard, John Brahm, Alan Crosland Jr., Alf Kjellin, Norman Lloyd, Sydney Pollack, Jerry Hopper, Joseph Pevney, Leonard Horn, Jack Smight, Charles F. Haas, David Lowell Rich, James Sheldon, Herschel Daugherty, Robert Douglas, Joseph Newman, Harvey Hart, Laslo Benedek, William Whitney, Leo Penn, Harry Morgan, Philip Leacock, Lewis Teague, Arnold Laven, David Friedkin, James H. Brown, Alex March, Herbert Coleman, William Friedkin, and Alfred Hitchcock…
THE WRITERS–Ray Bradbury, Robert Bloch, Henry Slesar, Cornell Woolrich, Richard Matheson, Gilbert Ralston, Clark Howard, Richard Deming, Morton S. Fine, David Friedkin, Lewis Davidson, Larry M Harris, James Bridges, Selwyn Jepson, Andrew Benedict, Anthony Terpiloff, Avram Davidson, Alfred Hayes, James Holding, Helen Nielsen, Arthur A Ross, Stanley Abbott, Lee Kalcheim, Ethel Lina White, Oscar Millard, James Yaffe, Andre Maurois, Clyde Ware, Davis Grubb, Nigel Elliston, John Wyndham, Harlan Ellison, Robert Branson, C.B Gilford, Francis Gwaltney, Harold Swanton, Margaret Manners, William Fay, S.B. Hough, Emily Neff, Barré Lyndon, Jack Ritchie, Alvin Sargent, Hugh Wheeler, Veronica Parker Jones, Boris Sobelman, Joel Murcott, Margaret Millar, Richard Levinson, William Link, Thomas H Cannon Jr., Randall Hood, Gabrielle Upton, Robert Westerby, Miriam Allen DeFord, William D Gordon, John Collier, James Parish, Kenneth Fearing, Robert Gould, Robert Arthur, William Fay, George Bellak, Robert Twohy, Leigh Brackett, Frederick Dannay, Manfred Lee, Mann Rubin, Douglas Warner, Henry Kane, Alec Coppel, Amber Dean, Lou Rambeau, Edith Pargeter, Charles Beaumont, Francis Didelot, Celia Fremlin, Roland Kibbee, Lukas Heller, Elizabeth Hely, Rebecca West, Richard Fielder, Nicholas Blake, Lee Erwin, Marie Belloc Lowndes, Julian Symons, John Bingham, V.S.Pritchett, John D MacDonald, John Garden, Andrew Garve, Marc Brandell, Patricia Highsmith, Samuel Rogers, Oliver H. P. Garrett
Writer Robert Bloch- was a contributor to many of the shows spine chilling narratives!
Hitchcock first managed to develop an anthology series that drew from his magazine and radio stories of the macabre, suspenseful, crime drama and cheeky thriller, often lensed with a noir style. This show was of course Alfred Hitchcock Presents. Eventually in order to compete with the growing market of 50-minute teleplays, like Playhouse 90, Boris Karloff’s Thriller, The Twilight Zone etc, Hitchcock changed his format to meet an hour’s worth of programming, still employing Hitch’s classic introductory droll prologue. And where Karloff’sThriller painted the stories with a more macabre brush stroke, Hitchcock’s anthology show presented these criminal acts in two parts in a most ironic and irreverent manner…
According to John McCarty,Hitchcock made the shift from half hour show to an hour format without much issue. “When we had a half-hour show, we could do short stories…{…} Now, in an hour, we have to go to novels.”His staff read through thousands of crime novels to find the right script. Yet frequently it became necessary to utilize a short story and expand it, in order to fill out the hour.
While Boris Karloff’s Thriller was pervasive with its stories of the macabre and the uncanny, Rod Serling’sThe Twilight Zone with its more sociological morality with a heavy science fiction spin, Alfred Hitchcock maintained an ironic lens on very suspense/crime-oriented material that kept the focus on human nature as perilous. He always provided the same sort of ‘twist’ at the end as in its pithy precedent Alfred Hitchcock Presents!
While Alfred Hitchcock Presents might have provided a shorter more enlivened ride to the turn of the plot because it had to deliver the lightning in a more synoptic amount of time, the hour format allowed for more psychological background, with room to build the character study of the players involved.
Alfred Hitchcock is still the larger-than-life, Aesopsian voice of modern crime-infused with foul deeds springing from human nature and the darker sides of the mortal mind and how far it can reach when working under a compulsion, obsession or pathology. His vision created some of the most compelling little dramas for a ’60s audience to digest, still relevant after all these years.
Hitchcock’s brand of humor was dry and witty, ironic and fablist. Drawing from some of the finest mystery writers of the day, his little tour-de-force dramatizations showcased some of the best examples of theatre and acting even on the small screen. His first show which gave us a 25-minute sequence that the series featured premiered on October 2, 1955, after Alfred Hitchcock had been directing mesmerizing films for over three decades!
“GOOD EVENING…..”
The iconic opening title sequence for the show has become unforgettably imposed in our psyches and in popular culture, as the simplistic yet mirthful intro possesses the camera fading upon an easily recognizable caricature of Hitchcock’s porcine yet endearing profile. Set against one of the most memorable musical themes written by Charles Gounod’s– the piece is called Funeral March of a Marionette. A type of adult nursery song that tickles the funny bone’s comparable curious bone… the one that gets triggered when there’s a marvelous mystery afoot! The theme– suggested by Hitchcock’s musical collaborator, the brilliant Bernard Hermann.
As if it couldn’t get any more smashingly wicked and alluring, Hitchcock himself takes shape behind the silhouette from the right of screen, then in grand theatrical style walks center stage to eclipse the drawing. He commences with his nightly, “Good evening…” and we are in for an irresistibly gripping treat!
The opening set of each episode, Hitchcock is given props against an empty stage. At times he himself becomes the prop, or main focal point where he imparts either sage elucidation, comical warning or sardonic advice. A witty prelude to the evening’s tale or just a frivolous bit of shenanigans to put one in the mood for the evening’s program. As he drolly introduces the night’s story, his monologues were conceived of by James B Allardice. Many of his missives took shots at the sponsors, spoofing the popular American fixation on commercials and commercialism.
Always at the end of the show, Hitchcock would re-appear to lead the audience out of the evening’s events. To either enlighten them on the aftermath of a story, the scenes they did not see, and to reassure us that the criminals featured did get their comeuppance. To tie up any loose ends within the question of morality’s swift hand.
Originally 25 minutes per episode, the series was expanded to 50 minutes in 1962. The show was then renamed The Alfred Hitchcock Hour. Hitchcock directed 17 of the 268 filmed episodes of Alfred Hitchcock Presents.
Hitchcock did direct one of the hour long episodes called “I Saw the Whole Thing” starring John Forsyth who is accused of hit and run, while several witnesses swear they saw him leave the scene of the accident.
Here is how the show was syndicated back in the 60s:
Sunday at 9:30-10 p.m. on CBS: October 2, 1955—September 1960
Tuesday at 8:30-9 p.m. on NBC: September 1960—September 1962
Thursday at 10-11 p.m. on CBS: September—December 1962
Friday at 9:30-10:30 p.m.on CBS: January— September 1963
Friday at 10-11 p.m. on CBS: September 1963—September 1964
Monday at 10-11 p.m. on NBC: October 1964—September 1965
The Alfred Hitchcock Hour, lasted three seasons from September 1962 to June 1965, There were 93 episodes in total. Alfred Hitchcock Presents had a total of 268 episodes.
Hitchcock directed two episodes of Presents that were nominated for Emmy Awards–“The Case of Mr. Pelham (1955) and one of the most popular stories with it’s fabulous dark humor, “Lamb to the Slaughter” (1958) starring Barbara Bel Geddes.
The episode that won an Emmy Award was one of my particular favorites as it is both poignant and eerie, “The Glass Eye” (1957) starring Jessica Tandy, Tom Conway and Billy Barty.Robert Stevens won for his direction.
Cinematographer John L. Russell’s incredible shots of Jessica Tandy in The Glass Eye
“An Unlocked Window” (1965) is one of the most starkly intense and transgressive in nature of The Alfred Hitchcock Hour and won an Edgar Award for James Bridges writing in 1966. The episode stars Dana Wynter and Louise Latham, both wonderful unsung actresses!
Dana Wynter and T.C. Jones in An Unlocked Window–nurses in peril oh my!Louise Latham in An Unlocked Window
THE ACTRESSES— Martha Hyer, Vera Miles, Patricia Breslin, Angie Dickinson, Carol Lynley, Carmen Phillips, Isobel Elsom, Charity Grace, Susan Oliver, Kathleen Nolan, Peggy McCay, Adele Mara, Lola Albright, Dee Hartford, Gena Rowlands, Jayne Mansfield, Dina Merrill, Patricia Collinge, Jan Sterling, Elizabeth Allen, Anne Francis, Ruth Roman, Gladys Cooper, Inger Stevens, Zohra Lampert, Diana Hyland, Joan Fontaine, Irene Tedrow, Sarah Marshall, Nancy Kelly, Betty Field, Katherine Squire, Martine Bartlett, Phyllis Thaxter, Natalie Trundy, Linda Christian, Laraine Day, Anna Lee, Lois Nettleton, Madlyn Rhue, Patricia Donahue, Diana Dors, Claire Griswold, Mary LaRoche, Virginia Gregg, Anne Baxter, Jacqueline Scott, Sondra Blake, Ruth McDevitt, Katharine Ross, Patricia Barry, Jane Withers, Joyce Jameson, Teresa Wright, Linda Lawson, Jean Hale, Mildred Dunnock, Felicia Farr, Kim Hunter, Collin Wilcox, Jane Darwell, Jocelyn Brando, Joan Hackett, Gloria Swanson, Lynn Loring, Pat Crowley, Juanita Moore, Naomi Stevens, Marjorie Bennett, Jessica Walter, Gia Scala, Joanna Moore, Kathie Browne, Ethel Griffies, Sharon Farrell, Nancy Kovack, Barbara Barrie, Doris Lloyd, Lillian Gish, Maggie McNamara, Josie Lloyd, Tisha Sterling, Ann Sothern, Patricia Medina, Elsa Lanchester, Jeannette Nolan, Ellen Corby, Julie London, Margaret Leighton, Lilia Skala, Olive Deering, Kathryn Hays, Dana Wynter, Louise Latham, Sally Kellerman, Geraldine Fitzgerald, Fay Bainter, Jane Wyatt, June Lockhart, Colleen Dewhurst…
MY SELECTED EPISODES THAT FEATURE THE HITCHCOCK LADIES OF THE EVENING!….
Vera Miles as Daphne and devilishly handsome Jeff Hunter in Don’t Look Behind YouFear grips the campus and Vera Miles… Abraham Sofaer watches Daphne go out into the dangerous night woods
A small college campus is gripped by fear when a maniac is on the loose. Two young female students are slaughtered while walking home through the surrounding nefarious night time woods. All eyes are on several members of the faculty, though the police have no clues to go on. Alf Kjellin plays Edwin Volck an intense pianist/composer who seems very tightly wound, especially around women. Handsome Jeffrey Hunter is Harold the psychology professor who dabbles in abnormal behavior. Harold convinces his fiancée Daphne (the lovely Vera Miles) to act as bait to lure the killer out. Vera Miles is always possessed of a smart and inquisitive sensuality. In this episode she’s perfect as an academic who doesn’t shy from the idea of hunting a serial killer.
Harold-“Daphne, I know this man’s secret. I’ve studied these people, I know how they think!”
Daphne-“It’s frightening sometimes… how you know people.”
Actors Ed Nelson and Arnold Moss listen to the recordings sent by the plagued Warren Barrow. Is he a murderer? Angie Dickinson is the seductress and James Mason the tormented man
This episode is directed by actor turned director Alf Kjellin, based on the teleplay by Richard Levinson andWilliam Link of Columbo! from a story by John Bingham.
James Mason plays mystery writer Warren Barrow a pseudonym he uses to contact his publisher with a series of tape recordings describing what is either the outline for his latest murder mystery or the details of an actual murder he himself is planning to commit. Barrow describes a relationship with an alluring woman named Janet West (the sexyAngie Dickinson) who wants Warren to kill her husband so they can be together. Ed Nelsonplays another writer Tom Keller whom the publisher Victor Hartman (Arnold Moss) asks to review the tapes with him in order to help determine whether the impending murder is real or fictional. Angie Dickinson is so perfect as Janet West, the femme fatale Warren Barrow can’t resist.
Janet West- “You know there’s one part of the Bible I know by heart. I saw unto the sun, that the race is not too swift nor the battle too strong, but time and chance happen to them all. Means you can be as clever as you like but you gotta have luck. You gotta work for it and grab it when it comes. I was very poor when I was young. Very poor…”
“Oh sister not tears again… you’ve cried a whole river these past weeks”-Sister Jem
Directed by Norman Lloyd, story and teleplay by mystery writer Henry Slesar (Alfred Hitchcock Presents, The Twilight Zone, Two on a Guillotine 1965, The Man From U.N.C.L.E. 1966, Batman 1966, Run For Your Life ’66-67 Circle of Fear 1972, McMillan & Wife 1974, Tales of the Unexpected 1981-1984) co-starring Clu Gulager Isobel ElsomCarmine Phillips, Charity Grace.
Carol Lynley is Sister Pamela who on the eve of taking her final vows has a crisis of faith. Sister Pamela fears that she might just be hiding from the world. The Reverend Mother (Isobel Elsom) sends Pamela and Sister Jem (Charity Grace) on a mission to collect a valuable statue of Saint Francis that is being donated to the convent by reformed gangster William Downey (R.G. Armstrong).
On the way back to the convent, the lovely young novice is fooled by slick hoodlum/loser Jimmy Bresson (Clu Galager who is terrific at being smarmy) who stalks train stations stealing bags. Pamela is filled with guilt having let down her dying mentor Sister Lydia (Sara Taft) She leaves the order and submerges herself in the sleazy jungle where Jimmy works and socializes in order to find the statue and redeem herself. Lynley is another underrated actress who delivers an extremely poignant performance as a girl at the crossroads of her life. She has an endearing innocent beauty that is genuine and charismatic.
Sister Pamela-“Sorry Sister Jem, I have only myself to blame.”
Sister Jem-“You’re not thinking of… what we spoke of the other day?”
Sister Pamela-“I haven’t been thinking of anything Sister. I’ve tried not to think.”
Sister Jem-“Have you prayed?”
Sister Pamela-“Sister… I’ve prayed for humility and obedience. But there was no answer in my heart Sister Jem… only silence!
Dense browed Dean Stockwell plays research chemist David Kelsey who is hopelessly in love and obsessively fixated on Annabel (the wonderfulSusan Oliver). But Annabel is married Gerald Delaney (Hank Brandt) Kelsey assumes a phony identity William Newmaster and pursues Annabel with a blind devotion that is downright creepy. He purchases a beautiful home that he has filled like a shrine to his great love, a place tucked away in the country where they can sojourn in their own private world. Trouble is Annabel isn’t in on the romance. But David isn’t taking no for an answer. Added to the web of obsessive love is the fact that Linda Brennan (Kathleen Nolan) is as fixated on David as he is on Annabel. What a mess!
Directed by Joseph PevneyteleplayWilliam D Gordonand Alfred Hayesbased on a story by V.S.Pritchett as published in The New Yorker and co-starring Peter Falk in one of his most impressive roles as the psychotic revivalist Robert Evans.
Falk plays a fire and brimstone fanatic who yearns for his own church and will kill in order to achieve his life’s dream. First he woos Patricia Collinge(The Little Foxes 1941, Shadow of a Doubt 1943, The Nuns Story 1959) as the wealthy Naomi Freshwater, murdering her one night in order to take over her large house he claims she promised to him in order to help him build his tabernacle. The scene is quite disturbing and fierce. a well done scene that predates many psycho-sexual narratives to follow.
When her niece, the world traveling Laura (Dina Merrill) comes to get her aunts things in order, Robert begins to romance her with the same bombastic fervor as he did her aunt Naomi. As Robert discloses his past to Laura, she discovers that he might have killed his first wife as well and that he has visions of his calling to be a great evangelist. Evans is a deranged ego-maniacal woman hater who mistakes his visions of glory for the need to be in control!
Robbie-“Sure the whole world is filled with problems Miss Naomi. We’ve all got to puzzle over what we’re supposed to think. None of us. There’s nobody that’s gotta puzzle over what we’re supposed to do!”
Naomi-“Oh that’s so clear to me Robbie, you know what to do and you do it… I feel so free! No more aches and pains.”
Robert- “Burn it… burn it. Take your whole past and burn it out there in that fire pit. Start a new life with me” Laura- “I don’t have your faith in new lives Robert.” Robert-“But I told you once… I’ve got the faith.”
Mrs Raydon (Gladys Cooper) ” I think he’s dead you’ve always wanted this to happen. You’ve done this to him. You’ve killed him!”
Directed by Jack Smightwith a teleplay by Henry Slesar, based on the story byMary Belloc Lowndes who wrote the novelette The Lodger, which was the inspiration for Hitchcock’s first suspense film in 1927 and of course the version with Jack Palance in 1953 called The Man in the Attic.
One of my favorite episodes due to the presence of Ann Francisas Eve Raydon and Ruth Roman as her companion Adelaide ‘Addie’ Strain. Eve is framed as a jezebel by her nasty vicious old mother in law.The storyline has a definite undertone of lesbian desire, akin to Lillian Hellman’sA Children’s Hour. Eve is married to a stuffed shirt named Howard ( Gene Lyons–the commissioner -Ironside) who resents Addie’s presence and is still tied to his mommy’s (the great Gladys Cooper Rebecca 1940, Now, Voyager 1942, The Song of Bernadette 1943) apron strings. Howard fires Addie who has been hanging around Eve in the position as ‘maid’ who also happens to have a little boy name Gilly who breaks a valuable antique sending Howard into a rage and prompting him to fire her. Addie who is desperate to stay with her mistress, poisons Howard’s night time glass of milk by spiking it with some K9 liniment. But Eve is accused of the murder instead and her intolerable mother-in-law is all too happy to see her pay for the crime. co-starring Michael Strong as defense attorney Malloy, Stephen Dunn as Jack Wentworth, Tim O’Connor as Prosecutor Halstead.
Addy talks to Eve about Howard finally firing her-“He means it this time… things could have been so different!”
Addy Strain to Molloy- “I can’t believe that all this is happening it’s all that woman’s fault. That awful old woman… Mrs Raydon. She hates Eve. She’s always hated her. She hates Eve just because she married her son. That’s why she accused Eve of killing him.”
Gertrude Flynn as Ethel Chesterman “I heard you David. You’re going to marry the maid. At least this afternoon you’re going to marry the maid. My wedding present to you will be my absence.”
Marie-“Your eyes shine in the dark David. I think you are part Cat”. David –“A tiger a leopard ready to pounce.”Marie-“I’m going to have to get a wonderful cage to put you in.” David-“Nobody is going to put me in a cage!! Marie-“Stop David you’re hurting me…”
Directed by Alf Kjellin, with a teleplay by writer/director James Bridges (When Michael Calls 1972, The China Syndrome 1979) based on a story by Nicholas Blake.
Zohra Lampertplays Marie a naÏve french maid who runs off with the wealthy son David (Robert Redford) who is actually a compulsive cat burgler/jewel thief. David’s wealthy mother throws a few coins at them to buy a toaster, goes to Europe and changes the locks on the door. And so for money David runs to his partner in crime Karl.And so begins a queer struggle with David’s odd accomplice, a flamboyant wig designer Karl Gault played to the hilt by Barry Morse.
David cannot change the way he is, although he is truly in love with Marie he only knows how to steal and scheme. Karl falls in love with Marie creating the immortal triangle. In order to get his rival out of the way, Karl creates an elaborate ruse in order to trap David in a robbery gone wrong and have him arrested for the murder of a guard. Co-starring Gertrude Flynn as David’s mother Ethel Chesterman.
Marie-“Your eyes shine in the dark David… I think you are part cat.”
John-“Alice have you ever read any fairy tales? There’s one about a princess. She was very beautiful. She lived in a beautiful castle. Had a beautiful garden. But her fairy godmother warned her not to do one thing. There was a particular flower in that garden that she wasn’t to pick. If she did… she’d lose everything. Her beauty, her castle… everything. Alice– “I don’t get the point”. John –“Alice princess… don’t touch that flower please” Alice- “oh please don’t be silly they only write fairy stories to keep children out of mischief.”
Directed by Jack Smight with a teleplay by Alfred Hayes and a story by Rebecca West.The Paragon allows screen legend Joan Fontaine to give what I feel is perhaps one of the most extraordinary performances of her career. As the infuriating perfectionist who meddles in everyone’s lives Alice Pemberton married to the beaten down John Pemberton played by the always wonderful Gary Merrill.
John loves his wife but is beginning to feel the strain from years of Alice’s intruding and dictating moral codes and her ideals to anyone within reach even the maid Ethel played with fabulous scorn byIrene Tedrow. All her friends and relatives cringe at the sight of Alice, for they know she will inject some sort of righteous advice and admonition. Alice is like a child who cannot see the damage she has done, or how she hurts the people around her. She believes that she is helping to improve themselves, though she alienates herself instead. John urges with a tender yet firm clue that she must stop her behavior before it’s too late. Even relating a fairy tale to her with a warning… Alice is very much like a character in a fable who does not heed the warnings or the signs that she is tempting the shadows to converge upon her!
Vera-“Michael and I are leaving now Mrs Henderson, I’m taking him home with me. Oh I am sorry for you because I think in your own way, you’ve grown really fond of my baby. But you see Michael is my child. I’ve known that from the very beginning….”
Directed by Jack Smight with a teleplay by William D Gordon based on a story by Celia Fremlin.
Louise (Gena Rowlands) is a busy mother of two precocious young girls Jennifer Gillespie (What Ever Happened to Baby Jane? young Jane) and a small infant boy. She rents the room upstairs to the mysterious Vera Bradley (Nancy Kelly) who is supposedly working on her thesis paper, but in fact has her eyes on Louise’s baby boy. She secrets him off each day to another room she is renting, that she has decorated for the little guy. She also calls him Michael. The child looks more like Vera as he has dark curly hair and both Louise and her husband are blonde. Is Vera there to steal the boy and claim him as her own? This is an extremely taut and well acted little story. The performances by both Kelly and Rowlands are stellar. The interplay between the two women brought me to tears, it was so poignantly played without being melodramatic or contrived. A truly heart wrenching experience, especially for fans of these fine actresses as well as one of the most effectively dramatic of all the episodes. Also watch for an appearance by the wonderful Juanita Moore as Mrs. McFarland and Joyce Van Patten as best friend Grace.
Dean Jagger tries to quiet Jennifer West after he tries to steal more than a kiss from the town hussy Alice.Betty Field plays George’s flakey nagging wife.Slamming the fridge door and shuffling her feet. Jenny confronts George’s peculiar behavior on the jury Jenny – “Would the star juror care to give me some justification for his behavior? George- “What behavior?” Jenny-“ What behavior! The behavior that has brought down ridicule and scandal over our heads!” George-“ What you talkin’ bout Jenny? Jenny- “Have you gone deaf and blind?… Unplug your ears… open your eyes! George Davies the most respected highly thought-of citizen in this town protecting this infidel, this murderer… No wonder you get indigestion.”
Although this is very much Dean Jagger’svehicle, Betty Fieldwho is a wonderful actress stands out as the blowsy, whiney wife to George Davies, who becomes so aroused by the town hussy Alice (Jennifer West) while out at the lake during a picnic. When she rebuffs his advances he strangles her and allows her boyfriend JJ Fenton (Will Hutchins) to take the rap for her murder. JJ has been known to knock Alice around, and soon the town is out for his blood. But the guilt of what he has done drives George to try and defend JJ to exasperating results. This is a quirky dark comedic episode that just seems to want to be kind to George. The show also co-stars Martine Bartlett as Flossie and the wonderful Crahan Denton as Sheriff Walter Watson who just won’t take George’s confessions seriously.
Nora’s inner monologue- “In heaven’s name Jean, don’t leave us here alone.”
Directed by Robert Douglas with a teleplay by William D. Gordon & Charles Beaumont based on a story by Hilda Lawrence.
Michael Rennie plays a con man Ralph Manson who marries Nora, (Phyllis Thaxter) for her money. When he screws up an elaborate scheme to embezzle funds from the bank, trying to pin it on her eldest son, he accidentally kills the boy. While trying to make it look like the young man hangs himself, Nora stumbles into this horrific deed she winds up taking a fall down the stairs that paralyzes her and leaves her in an apparent catatonic state. Which is good for Ralph, as he needs this witness to be silent. But Nora, might not stay silent for long… The well-crafted suspense yarn utilizes Nora’s inner monologue to help guide us through the tense narrative cues. This is such a tautly played suspense piece as Nora is conscious of her husband’s murderous nature, and his desperation to keep Nora quiet. It’s only a matter of time before he finds of way of making it look like she dies of natural causes. Enter the pretty Natalie Trundy as her attending nurse Jean Dekker who senses something is wrong and stays close by! This one’s a nail-biter!
Dianne-“Oh Nanny it’s wrong, I didn’t think he’d blame you” Nanny-“The important thing is that he isn’t blaming you” Dianne– “Oh I’m letting you be hurt and I can’t do that.. I didn’t think he’d react this way. Nanny I”m going to tell him the truth” Nanny-“What are ya going to tell him. That you were with the baby holding a drink!” Dianne-“But you’re not the guilty one, he mustn’t blame you Nanny-“Dear in the past when things went badly you know what happened. You don’t want that now You promised him that you’d give it up. Oh, when the baby was here it was better… but better’s not what you promised!”Lois Nettleton as Dianne and Doris Lloyd as Nurse Andrina Gibbs
Consuela- “She feels guilty, she feels responsible for the baby’s death. and the drinking helps her to forget. so we’ll see that she continues to drink. And when the bottle is all gone. We’ll get more Vodka. Or whiskey or whatever she likes. She can hide it from Victor for a while I suppose. But he will find out and then he’ll be terribly hurt. and disappointed in her. He’ll need help and sympathy from someone else!”
Directed by Jack Smight with a teleplay by Alec Coppel and William D. Gordon, based on a story by William D. Gordon.
Lois Nettleton plays Dianne Castillejo who adopts a little boy, who drowns in their swimming pool while she is sitting out in the sun with a cocktail. Dianne is a recovering alcoholic and there is a question as to whether she was intoxicated when the tragic accident occurred. Dianne is visited by a mysterious woman, (Madlyn Rhue) Consuela Sandino who claims to be the little boy’s birth mother. She proceeds to blackmail Dianne about the circumstances of the little boy’s death. She convinces Dianne to allow to her stay in the house as a guest being an old-school friend. Here she plans on helping Dianne submerge herself in booze so she’ll pay out loads of money and eventually have to be taken away to a sanatorium where she can then work on the handsome (Anthony George) Victor. Co-starringDoris Lloyd as Nanny.
John Gavin as Dr. Don Reed and Tom Skerritt as friend Dr. Frank Farmer… Don is just smitten.Scott Brady as Nickie’s stands by her boyfriend BillNickie-singing Just One of Those Things-“So goodbye dear and amen… Bill- “Where you going?” Nickie-“Maybe California. You know I came back just to have a look at you. You got really weak eyes Bill. Here’s hoping we meet now and then.” Bill- “But you haven’t asked me to come along “Nickie-“Well I came here thinking I’d have to, but I don’t need you anymore the boomerang’s broken baby’ Bill-“You wanna bet!” Nickie “Uhuh, It was great fun, but it was just one of those things.”
Directed by Bernard Girard with a teleplay by James Bridges and a story by Henry Kane.
Doctor Don Reed (John Gavin) falls head over heels for a sexy nightclub singer, the slinky Nickie Carole,(Diana Dors) who is just no good. Both his father and Nickie’s own band leader boyfriend try to warn Don. Nickie accepts Don’s proposal of marriage, and then his father drops dead after hearing the news. The newlyweds use the inheritance money to take a honeymoon cruise, in which Don stumbles upon his bride getting all snuggly with another passenger. In a rage, Don causes the man to fall overboard. Of course, Nickie urges Don to keep his mouth shut. And he is now a murderer. Soon after Nickie grows tired of Don, as her old lover Bill warned would happen, and this hard-edged old boyfriend (Scott Brady) Bill Floyd of the Bill Floyd Trio shows up in the picture again… What will happen to this dangerous triangle of lust and obsession…
Natalie-“I understand, they’re patients aren’t they? Permissive therapy?” Dr. Fennick-“Yes that’s it exactly. A new method, an experiment. I wanted to prove that my patients would act normally if treated like normal human beings.”
Sarah-“Oh I feel fine doctor just fine. I always feel fine talking to you.” Dr. Fennick-“That’s what I’m here for’ Sarah-“Yes I know but… what am I here for? Beatrice Kay as Sarah Sanders the aging film star.inmates Virginia Gregg as Miss Gibson and Ronald Long as The MajorThe real doctors are locked up in the attic!the deranged Ray Milland as Dr. Fennick who menaces Natalie (Claire Griswold ) in Home Away from Home- The Alfred Hitchcock Hour
Virginia Gregg as Miss Gibson-“The doctors told everyone about you. I know they’re just CRAZY to meet you!!!”
Directed by Herschel Daugherty with a teleplay based on his story by Robert Bloch from Alfred Hitchcock’s Mystery Magazine.
This is one of those great ‘the inmates have taken over the Asylum’ narratives starring Ray Milland. Milland plays Dr. Fenwick a mentally disturbed doctor who believes in role-playing as a therapeutic means to unlocking a patient’s identity crisis and finding happiness. After he kills the director of the sanitarium, he assumes his identity! of course. He locks away the staff in the attic and allows the inmates to pick roles that would suit their desires. Things are going pretty well until the director’s niece Claire shows up to visit her uncle. At least she has never seen her uncle before so she quickly assumes that Milland is who he says he is. Unfortunately, Claire discovers the dead body of her real uncle and urges Fennick to call the police. Uh oh! What mayhem will ensue.
There are great little parts by Virginia Gregg as Miss Gibson roleplaying the nurse, Connie Gilchrist as Martha, Mary La Roche as Ruth… and Beatrice Kay as Sarah Sanders!
That’s actor Harry Townes lying dead under that shiny star pillow…
Janice referring to Larry (George Segal) –“He’s the kind of man who could make you do anything… anything at all…”
This episode is directed by Joseph Pevney with a teleplay by Mann Rubin
George Segal plays the young ambitious actor who wins over casting agent Anne Baxteras Janice Brandt. Janice falls deeply in love with Larry the cocky and short-tempered actor with whom she gets a screen test in Hollywood and turns him into an upcoming male lead.
She has given up everything for this strong-willed actor, including her career, and even sacrificed her marriage.
While back in New York, Janice calls Larry desperately telling him that her ex-husband Ed (Harry Townes) has tracked her down completely drunk and is now unconscious on the floor. Larry calming coaches Janice into finishing off the job by smothering him with a pillow, so she can finally be free and join him in Hollywood… But is that all there is to it?
Sheriff Will- “You can’t think of anyone at all who might have had a grudge against Frenchie?” Katherine Squire as Mrs. La Font- “Only one person Will, Myself. He was my son, I loved him … there was no harm in him he never hurt anyone but he was lazy. He would not accept responsibility. That’s why he wanted me at the restaurant so I could do all the work of running it, while he’d play Frenchie La Font for the public. I used to get so angry with him. So angry… (crying)The creepy custodian of the library terrorized poor Susan with his tales of working the slaughterhouses
In Northfield, a rural community in northern California a teenage boy Tommy Cooley is found brutally murdered. His father R.G. Armstrong, who is a religious fanatic goes on a mission to avenge his boy’s murder. There is only one piece of evidence, a broken-off part of the car’s headlight found a the murder scene. First, believing that he is getting signs from God, he murders Frenchie La Font (Dennis Patrick) the person who owned the car. Then the car falls into the hands of an elderly librarian who considered purchasing the car and might have had access to it. The residents of Northfield become terrorized by the events and demand that (Dick York) Sheriff Will Pearce do something about it. Jacqueline Scott who plays Susan March a librarian and the Sheriff’s girlfriend is now the one who wound up with La Font’s car. Cooley now suspects her. He is on a mission from the lord to avenge his son’s death. Will Susan be next? Co-stars Katherine Squire as Mrs.La Font who turns out a tremendous performance as the mother of a good-for-nothing son who winds up being the victim of Cooley’s wrath.
Carol-“You don’t talk much do you?” Terry-“I guess not” Carol –“Is the rest of your family like that? Quiet I mean? Terry- I don’t know. I don’t even know who they were. I was raised in a county home” Carol-“You mean like an Orphanage? Terry“Now what else could it mean? I’m sorry maybe we oughta start back, it’s a long way” Carol -“We can take the subway Terry –“I wanna walk-you wanna take the subway go ahead if that’s the way you feel about it “Carol-“Why did you come with me?” Terry– “I didn’t mean it like that. It’s just that it’s the rush hour now…. Look I gotta thing about being closed up in places is all.” Carol- “Claustrophobia?” Terry- “Yeah” Carol- “So does Mr. Calucci… He was a prisoner of war” Terry– “I was a prisoner once… No war though.” Carol –“You mean the home.” “Terry- “Home reformatory, state prison, take your pick. Anything else you’d like to know? Carol– “Some date huh?”Terry-Bet you don’t have any boyfriends like me.” Carol-” I don’t have any boyfriends”Terry– “Come on” Carol- “I haven’t dated since high school.” Terry- “Girl like you why not? Carol-“What do you know about me?” Terry–“I could learn.”
Three paroled ex-convicts stage a heist but inadvertently unleash radioactive cobalt on a small urban city street. Actors Chris Robinson,Norman Fell, and James Gregorywho are now garage mechanics decide to rob the payroll office. When they can’t crack open the safe, they take it to their garage, which is adjoined to the little shop next store run by Carol.
Terry who is acutely claustrophobic (Chris Robinson) begins a romance with Carol, as he struggles between self-preservation and his sense of humanity and love for this beautiful young woman. Katherine Rossis a particularly seductive pixie in this episode. Ross’s presence brings an element of realism and humanist equilibrium to the very nihilist tone of the story.
Lana/Peaches-“You and Snakebite are among the very few things that fail me in that respect.”
Directed by Robert Stevens with a teleplay byWilliam Fayand a story by Robert Arthur.
This is one of the cheeky mystery installments of the show, and Patricia Barryis just superb as the brassy dame with a secret past who’s looking out for number one. The night she wins the Oscar, movie star Lana Layne is visited by her old ex-convict husband George (Stubby Kaye), who, she thought had died in a prison fight. Rosemary ‘Peaches’ Cassidy had married the bum when she was only seventeen and didn’t know any better. But George has plans of letting Lana remain his wife since she’s so successful and wealthy, and if they did get divorced she’d owe him half of anything that was hers. She wants to marry handsome manager Harry Lawrence (Robert Culp). Lana clocks George on the head and accidentally kills him. Now Lana and Harry must try to hide the body while finding a place to have their honeymoon, assailed by gossip columnist Baila French (Alice Pearce- Bewitched’s neurotic neighbor Gladys Kravitz). It’s a comedy of errors!
Rosie “You’ve had a narrow escape. Well, life’s given you another chance. And you should take it… You should free yourself. When something’s over it’s over” The always delightful Joyce Jameson as Rosie Feather the ‘dancer’
Directed by Alf Kjellin story and teleplay by Robert Gould
Withers plays Edith Swinney the consummate nagging harpy who dominates her husband Gerald’s (Bob Newhart) mundane life. Gerald concocts a very elaborate plan to drive Edith mad using paranoia as he digs a grave-like hole for a fish tank, leaving empty boxes of rat poison around the kitchen. Edith is so convinced that Gerald is out to kill her that she shares her fears with her friends and neighbors. Gerald purchases a pair of rats from a pet shop and plants them in the kitchen. She falls for the bait and puts rat poisoning in his cocoa making it look like murder made to look like suicide. She calls the police the next morning, but they find a very alive Gerald. Edith is arrested for attempted murder… but is that the end of the story. Joyce Jameson stars as dancer Rosie Feather, always fabulous, perhaps playing the featherbrained blonde bombshell –but always endearing!
Marion Brown tells her husband- “You have been a bigamist 4 times. Now you can stay alive with me or be dead away from me!”
Directed by Joseph Newman with a teleplay by Arthur Ross and a story by Kenneth Fearing.
Dan Duryeais a gambler and a proud bigamist name Raymond Brown. He truly loves his wife… I mean all four of them. But something is going quite wrong. One by one his wealthy meal tickets are all turning up dead. At first, it appears that they are suicides. But the police start to suspect Brown of murder. Marion, (Teresa Wright) has been the long-time dutiful wife who has waited and suffered through heartache to finally have her philandering husband all to herself. Could she be the one who is bumping off all of Ray’s wives? Wright takes a much different approach from the gentle farm wife Stella and shows herself off to be quite resourceful when holding onto a cheating husband!
Grace Renford- “All men are rotten aren’t they Minnie, as soon as they’re interested in me they’re no good!
Aunt Minnie-“If he’s a doctor at all he should be giving out pills not talking to dead people!”
Directed by Alf Kjellin with a teleplay by Alfred Hayes and William Gordon. Story by Miriam Allen de Ford.
Grace Renford (the haunting Diana Hyland) plays a wealthy and beautiful socialite who longs to meet the man of her dreams. Someone who will love her for who she is and not the money and status that is her legacy. The lonely Grace answers an ad in a spiritualist magazine where she begins to correspond with a young man named Keith Holloway (Jeremy Slate).
He is an engineer who does his work in Bolivia, or so he says. When he comes to the States to meet Grace for the first time, she has rented a modest apartment and pretends that she is just an ordinary working-class girl. Minnie (Mildred Dunnock) acts as guardian to the lost waif and knows something isn’t quite right with this man. But when Grace and Keith get engaged, she tells him about her true identity. Keith insists that he is not interested in her money and that he has his own business ventures in Bolivia. Keith returns to South America, planning on having Grace join him soon. But Grace gets a telegram saying that he has been killed in a mining accident.
Sent into the world of spreading grief, Grace turns to spiritualism and mysticism to find a way to contact her lost love. Thus appears Dr.Shankara (Abraham Sofaer) who can connect Grace with her dead love. Wanting to shed her worldly goods, she gives away her possessions to the Dr and his temple. But Minnie suspects that Keith is very much alive and that a scam has been going on with the doctor for years. Minnie tries to intervene with disastrous results!
Roy- “A string of men friends all the time Mrs. Fowler, a string of men friends, a string of men friends all the time ssh don’t tell anybody Roy this is your Uncle Joe from Kokomo Roy, why don’t you go outside in the yard for a little Roy huh!… {…} There’s a smell of death around women like you. Death and corruption. You corrupt people the way you go on all the time. So you better cut it out you understand that” Marcia Fowler-“Get away from me you’re out of your mind. Nobody would blame me now if I shot you now with your filthy phone calls, breaking in here like this. How exciting am I now with a gun pointing at you?”
Felicia Farrplays the sexy Marcia Fowler who accuses the neighborhood thug Roy Bullock (Bruce Dern) of not only playing peeping tom but sexually harassing her. Roy is a tightly wound teen filled with angst and rage and could possibly be a psychopath while we’re at it. He denies it when confronted by Marcia’s husband. (David White)
Marcia does appear to be self-absorbed, neglecting to pay enough attention to her stepson. But when the obscene phone calls begin, Marcia convinces her hubby to confront Roy about it, who tells him she’s just looking for attention. When Roy Fowler goes away on a business trip he challenges Marcia calling her a tease and a lousy wife and mother, the way his own mother had failed. Okay, so the angry boy has mother issues. Things get out of hand when Marcia begins to feel threatened and takes out a gun. But is everything as it seems!
Kim Hunter is stunning as a ruthless woman who has no conscience and borders on the sociopathic. At the end of WWII, Adelaide exploits the grief and loss of surviving members of the family to act as a spiritual medium. She earns a nice living by taking money from these grieving people, claiming to ease their suffering by connecting them with their lost loved ones. Gene Lyons plays Adelaide’s bunko buddy Robert who helps set up the patsies for the taking.
The is nothing more heinous than bilking grieving families of soldiers killed in battle out of their money pretending that she can communicate with them.
Enter the wealthy widower Edward Porter (John Larkin) who has just lost his son in the war. Adelaide convinces him to join her in a séance. Desperately lonely and longing for his son’s return Edward begins to come around and embrace Adelaide’s powers. Edward has also fallen in love with Adelaide and wishes the three of them to be together…!
Robert (Gene Lyons)- “I taught you everything there is to know about this racket..” Adelaide “Profession Robert.” Robert – “That’s what you’d like to pretend, but it is a racket, a swindle a con game as any I ever did.” Adelaide-“ I only obtain the more crude aspects of the profession from you.” Robert-“Everything and I want you to stop pushing me around.” Adelaide-“You taught me a series of Halloween tricks. Carnival mumbo jumbo… I made it pay.” Robert –“They’re still carny tricks.” Adelaide-“Science!” Robert- ‘And you took them from me…”
Directed by Joseph Newman with a teleplay by James Bridges and a story byMargaret Millar (Rose’s Last Summer-Boris Karloff’s Thriller starring Mary Astor).
Joan Hackett,(The Group 1966) a very underrated actress of the 60s & 70s plays Helen Clarvoe a woman who is being tormented by phone calls from a menacing woman named Dorothy who is threatening her life. Kevin McCarthyis lawyer Paul Blackshear who agrees to investigate and track the maniacal Dorothy down. The crazy woman blames Helen for the break up of her wedding engagement. Paul finds a photographer for whom Dorothy recently posed, though she has destroyed any negatives and photos of herself. Then the photographer is murdered! While in the midst of his investigation, Paul receives a frantic call from Helen that Dorothy has broken into her apartment and is holding her at gunpoint!
Directed by Robert Douglas with a teleplay by Henry Slesar and Joel Murcott. Story by Slesar.
When Dave Snowden (James MacArthur) and his new bride Bonnie (the lovely and underrated Lynn Loring) visit the estate owned by Bonnie’s late father, Dave finds a mysterious locked door and surmises that there must be something of value hidden there. Bonnie tells her mother (Gloria Swanson) that they’ve just been married, who instantly assumes that Dave is after her inheritance. Mrs.Daniels tries to give the young man money to go away and annul the marriage. Dave is hungry for money and gets Bonnie to go along with a plan for her to fake a suicide attempt by overdosing on sleeping pills. This they hope will get the mother’s sympathy. Things go badly when a childhood illness leaves Bonnie allergic to sleeping pills. The climax is stunning as the great ironic natural law of justice is served. Swanson is marvelous as always as the elegant and protective Mrs. Daniels!
Miss Emmy Rice –“I was just thinking of how awful it is when people are so mean to each other. That’s one thing when you get to be seventy five, you see clearer than anything else. How mean people are to each other.”
Directed by Joseph Newman with a teleplay by James Bridges and a story by Veronica Johns.
The delightfulRuth McDevittplays Miss Emmy Wright, an elderly lady who sits in the park and is befriended by Gerald Musgrove (Roddy McDowall) who with his wife has just successfully robbed $100,000 but needs a good place to hide the doe ’til the heat is off.
Emmy is a known pack rat, who invites the couple over to her cluttered and quirky place for many social dinners. Gerald gets the bright idea of stashing the loot inside the old dust-covered magazines that Emmy has collected over the years. Gerald also convinces Emmy to draw up a will leaving him the beneficiary so that they can later kill her off and claim the clutter that holds their stolen cash. This is a dark comedic episode with stellar performances by both McDevitt playing off McDowell’s usual droll manner. Co-starring Juanita Moore as Mrs. Jones and Naomi Stevens as Mrs. Goldy.
Directed by Robert Stevens with a teleplay byAlvin Sargent and a story by Patrick Quentin.
Patricia Collingeis one of my favorite character actors. Here she turns in quite a moving performance as a woman trapped in a safe with time running out. And in this episode I’m particularly fond of her doting on her two Siamese cats, being a staunch advocate for cats, and someone who shares their home with let’s say a variety of pussycats, a Siamese rescue being just one of them!
In The Ordeal of Mrs. Snow Aunt Adelaide Snow is at the mercy of her scheming niece’s husband Bruce (Don Chastain) who is afraid that Auntie will go to the police about his check forging. While away on a weekend vacation, he locks Mrs. Snow inside the bank vault in her house, hoping she’ll suffocate and it will look like an accident. But he has also locked one of her cats inside as well. Thank god, because these little felines are very smart indeed. Mrs. Snow’s niece Lorna, (Jessica Walter) tries to call her aunt, worried that something is wrong, not realizing what her sneaky murderous husband has done… Don’t worry, the cats come to the rescue! Also co-staring George Macreadyas Adelaide’s dear friend Hillary Prine.
Sharon Farrell plays the seductive Melanie Rydell who doesn’t intentionally get men chasing after her. But her psychotic husband Lew Rydell (Frank Gorshin) gets off on a murder charge after Ned Murray (Martin Landau) successfully gets him an innocent verdict. To Ned’s horror, he learns that Lew is in fact a hot-headed jealous nutcase who was guilty of murder and is now accusing him of going after his sexy wife. Ned is conflicted by law, but wants to bring this loaded canon to justice but can’t get him prosecuted for the same crime twice. He solicits the help of an old gangster friend who owes him one but realizes that he has inadvertently put a hit out on the unstable Lew.
Directed by Alf Kjellin Teleplay by William Fay and Henry Slesar, from a story by S.B. Hough.
Again, the highly underrated Barbara Barrie, who has always given her all in any performance, notably several of The Naked City. Here she plays a very timid and unstable single woman, (I will not use the word spinster here, though most analysis makes use of the word, I find it offensive) Isabel wrongly accuses Howard Clemens (Bradford Dillman) of sexual assault. Howard Clemens is sentenced to two years in prison for a crime he didn’t commit. Once he is released, the first thing he does is steal a large amount of money. $13,000 which is the amount he would have drawn as a salary had he not been thrown in jail.
He comes back to the same town where Isabel teaches, and opens up a record shop. He purposefully manages to bump into Isabel until he finally gains her confidence. Eventually, the pair become engaged. While on their honeymoon, Howard tampers with the fuel ignition switch on the boat which will cause the boat to explode. He tells Isabel to take the boat out alone. A bit later he hears the blast and is finally satisfied that he has gotten his revenge on her at last.
Directed by Joseph Newman (The Outcasts of Poker Flats 1952, The Human Jungle 1954, This Island Earth 1955, The Twilight Zone ’63-’64) with a teleplay byHarold Swantonand story by Margaret Manners.
I’ve written about this marvelous episode for Movie Silently’s The Gish Sisters Blogathon! Here Lillian Gishplays the sassy Bessie who lives with her daughter Camilla (Maggie McNamara) Bessie is a staple of the town, and when her handyman falls to his death because of the arrogance of her neighbor Samantha Wilkins (Patricia Cutts-The Tingler 1959) and her whipped husband Henry (Peter Lind Hayes) Bessie goes on a mission to try and bridge the feud with the couple by inviting them over for supper.
Samantha refuses to break bread with the Carnbys, but Henry starts to insinuate himself into Bessie and Camilla’s life. One night Henry disappears and Bessie sees Samantha digging a hole in the barn. She accuses the woman of murder and eventually, Samantha is executed for killing her husband. But… Henry unexpectedly returns, claiming to have been on a long sea voyage not able to hear about his wife’s trial. Bessie suspects that Henry has staged the whole thing and begins to feel terrible guilt about what she has done. Will she be able to rectify the awful mistake she has made and bring Henry to justice?
Bessie-“To bring to the light of day the two lies that together make a truth. “
Elsa –“There’s something wrong with this house, I lye awake at night and I can feel it. There’s is something wrong with this house Something we don’t know about.”Elsa-“That’s the girl I saw at the beach, she’s lovely” Keith- “What I want, what I really want. What I’m sure as sitting here want… uh.” Elsa –“Keith it may be, it just very well maybe I want the same thing”. Keith- “What are you talking about baby? What you were talking about… Elsa-“How we rid ourselves of each other… and when! Me of you and you of me.”
Michael Blodgett and Tisha Sterling do some mod dancing in Change of AddressElsa… do you really need to go down to the basement to see what your adolescent husband wants to show you? Can’t you guess!!!!
Elsa Hollands (Phyllis Thaxter) hates the new beach house. Keith Hollands (Arthur Kennedy) refuses to grow older and chases after the local beach hottie Tisha Sterling. The house gives Elsa the chills, and it doesn’t help that Keith starts digging a hole in the basement floor that he claims is for the new boiler. Elsa and Keith keep clashing over the strain in their marriage. She just wants to go back to her old apartment and senses something terribly wrong with the damp place.
While Keith is playing around with the young blonde beauty, Elsa contacts the ex-owners wife to discourage her from selling and perhaps finds out the truth about the place. When Keith can’t take Elsa’s complaints anymore, finding her an obstruction into his world of newfound vitamins, jumping jacks, young beach bunnies, hair dye, turtle necks, late nites out at the disco dancing alongside the dreamy blued-eyed Michael Blodgett, he kills her and buries her in that nice big hole he’s been digging. But will Elsa’s investigation come back to bite Keith in those awfully ugly jogging shorts?
Helen-“Funny you dreaming’ about me and here we are. Life’s a big surprise.”
Directed by Bernard Girardwith a teleplay by Alfred Hayes and a story by the great Robert Bloch!
Rusty Connors (John Cassavetes) is newly released from prison. While in prison his mate Mike Krause (Rayford Barnes) talks incessantly about the perfect blonde he left behind. Krause dies in prison, and so while Rusty gets out he decides to look up this gorgeous dish that was married to his former cellmate. Krause had been in prison for robbery and murder, but neither the money nor the body of his partner have ever been found. Could Krause’s wife Helen know where the loot is stashed?
Rusty comes to find Helen (Ann Sothern) slinging hash at a greasy spoon, but she is far from the pin-up that Mike Krause crooned about. Still Rusty plays up to her, thinking that she can lead him to the stolen money. The pair form a tumultuous sexual relationship, greedy to find the hidden cash. They stumble onto an abandoned boat house infested with starving rats. The two might just turn on each other, but you’ll have to see the episode and find out for yourself! This is a macabre and gritty story by the master of the suspense genre Robert Bloch author of Psycho…
Stella “I”m scared of Jesse… You scared of him too. You scared too. talking don’t help Emery I heard you talking to Jessie in the orchard. You told him you married me to have someone to feed ya. Is that why we ain’t ever have any children?”
Teresa Wrightis outstanding as poor Stella married to a horrible dolt of a husband who doesn’t appreciate her. Emory (Pat Buttram is a weak and unloving bumpkin who owns a peach farm. This is a dark Americana tale about a quiet woman named Stella who suffers in silence but has a few joys, like the love of animals, in particular her little pet squirrel. One day an ominous drifter asks if he can work the farm for a bit. Bruce Dernplays Jesse, in a role that surpasses so many of the psychopaths he’s had the opportunity to play. Jesse has a particular viciousness that is spine-tingling. While he helps harvest the peach crop, he secretly torments Stella with his fondness for his sharp knife. Stella feels threatened but her husband acts clueless, while at times we see that he is very aware of what is going on, he just chooses not to intervene out of cowardice. The episode is perhaps one of the most psychologically enthralling, and its climax will leave you breathless. The performances are absolutely stunning. Just as frightening as any modern thriller on the screen today! And Wright turns in a performance that tugs at your heart with so many levels of emotional reflection as a woman trapped by her circumstances. John F. Warren’s cinematography portrays a rural hinterland that is otherworldly and melancholy.
Eva-“You crying? You are crying Ha! What do you’ve got to cry about? If anybody’s gonna cry it should be me. Although I must say… You are a most unusual gasman!”
Directed by Joseph Newman with a story and teleplay by Lewis Davidson.
Eva (Lola Albright) is an adulterous wife to an unsuspecting businessman (George Kennedy) who is a penny pincher though he is quite well-to-do. One day a mysterious stranger (Barry Nelson) manages to work his way into the house by claiming to be the gas man. He acts very peculiarly, until finally, he gets her into bed. Colin convinces Eva that it would be easy to kill her husband… This zany and interesting episode has a lot of twists so I won’t give anything away! Just watch for great performances by Nelson and in particular the lovely Lola Albright who can do comedic mystery thrillers with ease!
Mary-“You are a vain man.” Brother Thomas- “A minor vice.” Mary-“There is no such thing as a minor vice.” Brother Thomas “trimming a mustache harms no one.” Mary-“It’s so difficult for you to be the kind of missionary you should be.” Brother Thomas-“I have a good reputation.” Mary-“Because I have made sure of it.” Brother Thomas–“Yes you have.” Mary-“You begrudge me that recognition.” Brother Thomas-“I’m the first to admit it.” Mary-“I have loved you.”
Mary- “I don’t know if I still do. I’ve had to forget my needs and devote myself to your work.”
Directed by Harvey Hart with a teleplay by Arthur Ross and a story by Robert Branson.
This is a particularly intense addition to The Alfred Hitchcock Hour due to the fine performances by Ed Begley and one of my favorites Jeanette Nolan.Nolan plays Mary the enigmatic wife of a missionary medical man (Begley). The strong woman behind the man so to speak. Begley plays Brother Thomas Fitzgibbons who in actuality is an incompetent surgeon living in a primal world in the rugged terrain of India. Mary is ambitious and wants all the glory for her and her weak husband. When Tom Simcoxand Maggie Pierce –Brother John Sprague and his wife Lucy come to help the mission, Mary fears they will expose the truth about Brother Thomas’ work, as well as usurp their position there. Oh, what a tangled web we weave. Nolan almost reignites her Lady Macbeth with her role as the conniving and treacherous Mary Fitzgibbons– Her silver-tongued laments as always put her at the top of my favorite character actors!
“would you like to meet Mingo when she comes? She’s not very big. She’s big enough to live in a bird cage and big enough to have a frog for a horse!”“Do you believe me about Mingo?”
Eva-“Is it dark where daddy is?”-Nell ” I hope not… I don’t know.” -Eva “Numa knows… Mingo says it’s brighter than day!… they have bumble bees there too.”-Nell- “Who’s Mingo honey?”-Eva- “My best friend!”
This is one of Alfred Hitchcock Hour’s most supernatural tales that breaks the mold of the crime/suspense drama. Along with The Sign of Satan, The Monkey’s Paw, and The Magic Shop by H.G Wells. Where the Woodbine Twineth could have fit nicely into Boris Karloff’sThriller anthology series. A haunting tale that will stay with you for a long time. Margaret Leighton is mesmerizing as Aunt Nell, a woman who just cant embrace her little niece’s wild imaginative tales. I’ve recently become acquainted with Leighton’s work and have fallen in love with the actress!
Directed by Alf Kjellin with a teleplay by James Bridges and a story by Davis Grubb (who wrote Night of the Hunter, The Cheyenne Social Club, and a few short stories for Rod Serling’s Night Gallery 1971.
Leighton is marvelous as she coldly, rigidly lacks understanding of her recently orphaned niece who talks about fey people who live under the Davenport and visit her at night. When Eva comes to live with the elderly Mississippi riverboat Captain Snyder, her grandfather, her aunt Nell just can’t break through.
Nell just believes the child to be willful and lazy trying to blame things on her imaginary friends like Mr. Peppercorn and Mingo… Aunt Nell just can’t handle the role of caretaker to a wily and free-spirited child and begins to crack under pressure. The conflict becomes very real when Nell challenges Eva at every turn.
When Eva (Eileen Baral) gets a wonderful Creole doll she names Numa from her riverboat King grandfather, tensions ignite and Nell comes face to face with the mystical world where the woodbine twineth. A nether region between life, death, and the realms you cannot see with the naked eye. To balance out the constant struggle between the suffering Nell and the precocious Eva is the calming and level-headed presence of Juanita Moore as Suse, who understands Eva and is more like a mother to the young girl than Nell can possibly manifest from her rigid identity.
Nell is obsessed with controlling Eva and catching her in lies. She fears the child’s freedom and resents how happy she can be. When she hears Eva chatting and playing with Numa, the doll her grandfather had given Nell suspects that it is a child from the neighborhood.
Eva warns that if Nell takes Numa away, Eva will have to trade places with Numa and go to dwell in “Where the Woodbine Twineth.”
But obstinate Aunt Nell defies Eva and puts Numa on top of the player piano, Eva steals Numa away and runs into the woods. Suddenly in an eerie haunting manner the player piano mysteriously starts up by itself. Nell desperately stumbles onto Eva in the backyard playing with a little black girl –they are dancing.
Nell chases the girl away, warning her to stay away but then Eva disappears. When Nell finds a doll in Numa’s box it looks exactly like a porcelain version of little Eva, Nell realizes that the magic was real and that she has lost her little niece forever to the ether world beyond the trees… A changeling in her place, never to return.
One of my all-time favorite episodes. Just effectively creepy yet magical stuff… with a haunting quality that lingers…
This piece was directed byJohn Brahmfrom a teleplay byClyde Ware& Lee Kalcheim. (Let’s Scare Jessica To Death 1971, All in the Family 1972) is a story based on Robert Bloch.
Roger Perryplays Cliff Allen a television writer on his way to Hollywood who picks up a pretty hitchhiker named Rosie. (Sharon Farrell) Later Rosie accuses Cliff of abducting her when he is stopped by the local police. Of course, Cliff denies the charges but the sheriff orders him to come back to town with him. Cliff’s car breaks down, and so he is forced to stay over in a very run-down motel.
Off-the-beaten-path Motels already smack of creepy so as you can imagine when it turns out that it is run by a washed-up vaudeville actor name Rudolph Bitzner or Rudolph the Great ( great –for what you’ll find out! )
Rudolph is played by the wonderful Franchot Tone, who dreams of a comeback someday, and Rosie is the daughter of his dead wife who used to be his partner. Now Rosie not only works at the cafe/motel but she’s being groomed to be part of the comeback act.
Rosie sneaks off to apologize to Cliff for lying but she is terrified of Rudolph who is forcing her to marry him once she turns 18 which is in a few days. Cliff agrees to help Rosie escape once his car is fixed. But when he goes to her cabin she is not there. Rudolph convinces him to sit out in the audience and watch his great comeback act with Rosie before he leaves for Hollywood.
One of the most subtly grotesque and atmospheric relics of the early 60s before psycho-sexual cinema hit the proverbial fan!
I won’t give it away, you must see this macabre and eerie installation in The Alfred Hitchcock Hour collection.
Dexter and Joyce Daily (Jeremy Slate and Kathryn Hays) hire Dexter’s old German nanny named Frieda (the inimitableLilia Skala) to come and take care of their newborn baby boy. She did such a good job with Dexter when he was just a tot. But Joyce becomes suspicious when she hears a radio broadcast about a nurse who is wanted in the poisoning death of an infant in San Francisco. Frieda does have some peculiar ways, but Joyce goes as far as to contact the murdered baby’s aunt played byOlive Deering. Christine Callendar only confirms Joyce’s greatest fears that Frieda is the one the police are looking for and that she is a dangerous baby killer!
As Maude’s husband reads the newspaper about the recent strangulation murders –she comments-“I read a book about a man who only killed trombone players, he beat them to death with their own trombones.”
Directed by Joseph Newman with a teleplay by James Bridges and a story by Ethel Lina White
Stella Crosson (Dana Wynter) is the nurse to an invalid heart patient (John Kerr) Stella needs help and is very happy to get some relief when Nurse Betty Ames (T.C. Jones) shows up to help. The large house is also inhabited by an alcoholic housekeeper Maude played by the wonderful Louise Latham. The night is fret-filled with storms and the news has reported that a maniacal nurse killer is on the loose! Oh, and the power has gone out, so they’re all in the dark.
Maude sends her husband out in the storm to get some medicine, and Stella goes around the house locking all the windows and doors. Except she fails to secure one that is in the creepy basement. The shocking ending will catch you off guard.
Directed by David Friedkin with a teleplay by Morton Fine and David Friedkin and a story by Avram Davidson
American Sally Benner is soon to marry London policeman Tommy Bonn (Ron Randall) While on a transatlantic cruise, they announce their engagement, but four hours before they are to be wed, Sally has pangs of doubt and goes out into the London fog. There have been a series of murders and her family grows weary for her safety. Tommy and his partner Stephen Leslie (Michael Pate) go in search of Sally.
They eventually stumble on an odd young man named Edward Clarke (David Carradine) who they suspect might be the strangler, and with the description of the woman he confesses to murdering they fear Sally’s fate. The episode also stars Kent Smith and Edith Atwater as Sally’s parents. This episode is very atmospheric andKellermanas usual does a wonderful job of manifesting a languid sensuality and longing that hangs like dew on the petal.
Directed by Harvey Hart with a teleplay by James Bridges and a story by Selwyn Jepson (Stage Fright! 1950)
Richard Johnsonis a smooth con artist Jarvis Smith posing as a stock expert who insinuates himself into the lives of the wealthy Mary Caulfield and her suspicious companion Agatha. It’s always wonderful to see Geraldine Fitzgeraldin any performance, and here is no exception. She has an elegant and stayed sensibility that can be as poignant as it is sophisticated. She works well againstFay Bainterwho is always enigmatic like a fine bit of silverware that is timeless and sturdy. Johnson sheds his kindly Dr. Marquay (The Haunting) persona here and plays the perfect cad. Jarvis eventually romances Agatha and takes over the handling of Mary’s sizable fortune, pretending that he is investing it for her. When it comes to light what Jarvis has done, the drama becomes a taut little mystery melodrama.
Directed by Joseph Newman with a teleplay by Robert Bloch from a story by Richard Deming
June Lockhartplays Martha Peters. Martha has answered a lonely hearts and becomes a mail-order bride she finally meets Luke Hunter (John Anderson) a miserly reserved sort of man who seems to have no joy in his life. Married once before, his first wife was a mail-order bride as well who died under mysterious circumstances. When Luke goes to visit his relatives, Martha’s fears begin to build when she finds a coffin-shaped box hidden in the garage. She also hears her husband digging all night down in the locked cellar.
Suddenly Luke insists that they go on vacation for the Christmas Holidays, and urges her to start packing so they can go visit his relatives. Before they leave the house, Luke unlocks the cellar door and insists that Martha go downstairs and see what he’s been working on!
Directed by Herbert Coleman with a teleplay by Gilbert Ralston and a story by Clark Howard, this is a stand-out story, with a sublime performance by the always-compelling Dewhurst.
Here Dewhurst plays a very compassionate nurse Ellen Hatch who is taking care of a cop-killer Jerry Walsh (Tom Simcox) on his way to death row. Jerry manages to melt Ellen’s tough yet kind exterior and lure her into believing that he’s fallen in love with her so that she can help engineer his escape.
Superb black comedy directed by Charlie Chaplinabout an urbane cynical vegetarian, cat-loving bigamist Bluebeard who supports his invalid wife Mona (Mady Correll) and little boy by committing amorous adventures with women whom he then kills and takes their fortunes. Having lost his job of thirty years during a financial depression, he moralizes that this is the only way he can serve to take care of his family.
Chaplin is brilliant as he travels between the ‘object’ of his next bit of income as Henri Verdoux, Alias Varnay, Bonheur, and Floray. The ladies are hilariously diverse and not without ridicule… The rowboat scene is a riot!
I’ll be doing an extensive post on this film as it has caught my heart like the delirious flu… Co-stars Isobel Elsom as Marie Grosnay, Martha Raye is absolutely priceless as his lottery-winning dame Annabella Bonheur, Audrey Betz as the stodgy Martha his other wife, Marjorie Bennett as Marie’s maid, and Marilyn Nash as the young homeless girl…
Charlie Chaplin and Marilyn Nash- Monsieur Verdoux ’47
The Girl- “It’s a blundering world and a very sad one yet a little kindness can make it beautiful…”
THIS PIECE HAS BEEN UPDATED AND REVISED TO BE MORE EXTENSIVE: DOES NOT INCLUDE ALL OF THE EPISODES BELOW-PLEASE VISIT THESE LINKS INSTEAD AS PART OF MY ONGOING SERIES FOR THE ALFRED HITCHCOCK HOUR.
I’ve chosen these particular episodes for various reasons. I’m very fond of the actors portraying these very nuanced roles. The stories directed by some of the best, themselves are quite compelling, and the musical compositions by Lyn Murray just left a poignant hole in my heart afterward. I hope you get to see at least a few of them. Very special, very fraught with edge-of-your-seat thrills, and some outstanding performances by some of your favorites who deserve to be showcased here! Without any further adieu —Good Evening…!
Carol LynleyRuth RomanAnne FrancisDina MerrillCharity GraceTim O’ConnorEileen BaralFranchot ToneGary MerrillGena RowlandsClu GulagerGladys CooperIsobel Elsom Joan FontaineJoyce van PattenJuanita Moore Margaret LeightonNancy Kelly Roger PerryR. G. ArmstrongJesslyn Fax
William Downey-“Have all your prayers been answered, sister?”
Sister Pamela- “Prayers aren’t business deals Mr. Downey, they can’t be judged by successes or failures.”
Sister Gem tells Sister Pamela “Oh sister… not tears again… you’ve cried a whole river these past weeks.”
Sister Lydia says ” I want you to see what faith and prayer will do.”
Norman Lloyd directs this Henry Slesar story starring the lovely Carol Lynleywho plays Sister Pamela Wiley, a gentle soul who has come to the crossroads of her faith. It is a simplistically beautiful tale about faith and finding one’s place on Earth.
The Reverend Mother portrayed by the wonderful Isobel Elsombelieves that Sister Pamela’s crisis will disappear in time. Sister Pamela is sent on a very special mission to meet the once young hooligan named William Downey from the parochial school she’d tried to change for the better. He has invited sister Lydia to his mansion after thirty years of silence to give her a very special statue of St Francis. It’s a gesture of thank you and a very sacred piece of art. On the way back to the convent the statue is stolen at the train station.
Sister Pamela- “some people retreat to god and not advance toward him, and that’s what i have done.”Isobel Elsom as the commanding Reverend MotherSister Pamela tries on her new clothes, looking in the mirror she sees a pretty young lady and not a sister of the convent anymore. She is struck still.Pamela takes a job as a secretary where Jimmy the no-good thief works on the loading docks as part of his parole. Now she’s just one of the girls…
Pamela finds the statue of St Francis at a Pawn shop.
The bronze statue falls into the wrong hands by a petty thief (Clu Gulager as schemer Jimmy Bresson) and so Sister Pamela puts herself in harm’s way in order to set things right!
With Sara Taft as Sister Lydia and Charity Grace as Sister Gem (Jennifer Morrison from Andy Griffith’sAlcohol & Old Lace), Clu Gulager is perfect as the ruthless Jimmy K Bresson and R.G. Armstrong as the imposing William Downey.
Laura- “Would you mind opening a window, this house smells of…” Robbie breaks in “Death!” Laura-“No, the past, which is even worse!”
Cinematographer William Margulies (The Girl in Black Stockings 1957) photographs Falk’s murderous fevers by somehow closing in around his face with a dark aureole that speaks of madness.
The wonderful Patricia Collinge ( The Little Foxes 1941, Shadow of a Doubt 1943) plays an old-fashioned lady Naomi Freshwater, who has been befriended by a fire & brimstone preacher spouting scripture who charms Naomi with doting affection. The enigmatic Peter Falkisthe cab-driving preacher Robbie Evans who comes from the coal mines of Pennsylvania, had a revelatory vision during a cave-in that changed his womanizing ways. Did he possibly kill his wife who wanted to force him back into the mines?…
Now as a seemingly kind companion to sweet old Naomi, he spends time with her reading bible verses and hoping to gain her trust so he can build his grand temple on the money she’ll leave him in her will. The dear and sheltered Naomi has a bad heart and suffers a fatal heart attack one night when Robbie forces her to dance too rigorously. She collapses on the settee begging for her little pills as Robbie coldly watches her die. The scene is absolutely brutal in its heartlessness. Quite a powerful scene for just a one-hour anthology show. I myself was left speechless and stunned by its ruthlessness. Adding to the grisly atmosphere was the nonstop record spinning a bedazzling swing melody while the tortured old woman clutches at her chest. I don’t know if it was the lighting or just Falk’s cold-blooded unwavering expression that left me chilled to the bone.
Falk plays the perfect sociopath, with only one nearly over-the-top performance during a bible-thumping sermon under the tent. When the classy worldly niece Laura (Dina Merrill) shows up, Robbie tries to woo her into marriage hoping to hang onto the old Victorian mansion that he feels is owed to him. Laura hires Robbie to clean out the attic and create a big old bonfire to burn the remnants of her life there.
At first, Laura believes his ‘Man of God’ acts as Naomi did, but Laura is a wild roaming sort who doesn’t wish to be tied down. This brings out the psychopath in Robbie, as he relates in detail how his first wife tried to hold him back, she was a sinner and he had the calling.
Does Merrill wind up in that trunk? it’s a real tent stomper of a mystery, with a twisted psycho-sexual undercurrent, delusional religious fanaticism, unspoken old-style misogyny, and plenty of menacing mayhem afoot lead by an all-star cast of actors. Bonfire is directed by Joseph Pevney and based on a story by V.S. Pritchett as published in The New Yorker.
The evocative score by the great Pete Rugulo helps the entire episode come together to create one hell of a grand mystery hour.
Fantasy Melodrama based on Sutton Vane’s play Outward Bound. with a stellar ensemble cast directed by Edward A. Blatt starring John Garfield, Paul Henreid, Sydney Greenstreet, Eleanor Parker, Edmund Gwenn, George Tobias, George Coulouris Faye Emerson, Sara Algood, and Isobel Elsom.
A group of passengers aboard a ship are bound toward their destinies as they come to realize that they are all recently deceased…
When I found out that Rachel from The Girl With the White Parasol was hosting a Barbara Stanwyck Blogathon, I chomped at the bit to participate. I love Stanny, pure and simple. She not only changed the way women demonstrated their power in the film, but she’s also gutsy, gorgeous, and persuasive in a very unconventional way.
Barbara Stanwyck, unlike some of her other vice-ridden murderous roles, plays Sally Morton an archetypal woman in peril, although not as individuated as ‘hysterical’ or pathetic like Leona Stevenson in Anatole Litvak’sSorry, Wrong Number 1948.
The consummate Woman-in-Peril is Stanny as Leonora Stevenson in Anatole Litvak’s Sorry, Wrong Number 1948.
Stanny brought a unique kind of dynamism to the Suspense & Noir landscape. She’s got a face bred with burning spirit and animal coolness, that exudes a subtle psychology ferocious independence, and dramatic intelligence.
The Stanwyck role was originally performed by Elisabeth Bergner in Martin Vale’s stage play. A suspense-thriller that fits within the realm of noir with Gothic tinges of horror. Humphrey Bogart appeared in the classic horror film The Return of Doctor X 1939. Bogart plays the subdued, yet sinister malefactor Geoffrey Carroll. He’s a cynical, eccentric, and alienated artist. Stanny plays Sally the woman he kills his first wife for, poisoning her with glasses of milk just like in Hitch’sSuspicion 1941.
The Two Mrs. Carrolls is also the second pairing of Humphrey Bogart and Alexis Smith, who plays Cecily Latham the ‘other woman.’ She first acted opposite Bogie in Conflict1945 where he played Richard Mason pursuing his wife’s sister Alexis Smith’s Evelyn Turner.
Bogart and Smith in Conflict 1945.
Produced by Mark Hellingerfor Jack Warner and directed by Peter Godfrey (Cry Wolf 1947 also starring Stanny & The Woman in White 1948) The Two Mrs.Carrolls is a woman in peril, female victim story à la Hitchcock.
Barbara Stanwyck in Peter Godfrey’s noir thriller Cry Wolf 1947
Stanwyck’s role diverges from some of her more famous female villains, the noir femme fatale who embodies the unacceptable archetype of the sexually aggressive woman. In this film she plays the more marginalized ‘good woman’ who is worthy of being a wife and often the victim, contrasted by the lustful and conniving Cecily (Alexis Smith) who embodies treachery and a freely expressed sexuality.
The film co-stars Nigel Bruce as Dr. Tuttle, Isobel Elsom (Ladies in Retirement 1941, Monsieur Verdoux 1947) as Mrs. Latham Patrick O’Moore as Charles Pennington (Penny), Ann Carter as Beatrice Carroll, Anita Bolster (The Lost Weekend, Scarlet Street 1945) as Christine the maid, and Barry Bernard as the blackmailing chemist Horace Blagdon. There’s a welter of melodramatic music by Franz Waxman, plenty of Gothic shadows by cinematographerJ.Peverell Marley (Hound of the Baskervilles 1939, House of Wax 1953) & gorgeous fashions by Edith Head.
Barbara Stanwyck looks stunning throughout the film, in the costumes envisioned by Edith Head.
Made in 1945 Warner Bros. most likely held back the release of this film as it was very close to Bogart’s role in Conflict that same year. Bogart the quintessential scruffy cigarette smoking everyman equipped with a trench coat fedora and gritty sneer is very capable of playing complex characters with a disturbed pathology of inner turmoil. I think of his role as the controlling and ill-tempered script writer Dixon Steele in Nicholas Ray’sIn a Lonely Place 1950, or Captain Queeg in The Cain Mutiny 1954.
Humphrey Bogart as the unstable Dix and Gloria Grahame in Nicholas Ray’s 1950 psychological noir In A Lonely Place.
In The Two Mrs. Carrolls,Bogart is cast as Geoffrey Carroll a Bluebeardesque psychotic who first feels driven to paint his muse, the object of his desire, only to feel compelled to destroy her once he’s done exalting her essence using poisoned milk as his method of murder. He is not unlike Vincent Price’s anachronism of a Hudson Valley nobleman driven by an insane need for an heir in Dragonwyck 1946, in an extension of the Bluebeard mythos as he kills his wives who are incapable of giving him, sons.
Michael Redgrave as the deranged architect married to the object of his desire/destructive force Joan Bennett in Fritz Lang’s The Secret Beyond the Door 1948.
Certain Noir films are the manifestation of psychosis, emerging in the form of the ‘mad artist’ most notably Edgar Ulmer’sBluebeard 1944.Franchot Tone was the obsessively deranged sculptor in Phantom Lady 1944, and Architect Michael Redgrave in Fritz Lang’s incredible depiction of noir psychosis in The Secret Beyond the Door 1947 which had suggestive imagery of a dream-like atmosphere with its overt Freudian fairy tale patterns tied to psychoanalytical interpretations of childhood trauma and sexual significance. Joan Bennett refers to her own ability to purge these ‘repressed poisons’ because she is so chatty and exorcizes her demons by talking too much.
Joan Bennett gazes at her own image in Fritz Lang’s The Secret Beyond the Door- the iconic mirror!
Peter Godfrey’sThe Two Mrs. Carrolls and Fritz Lang’sThe Secret Beyond the Door 1948 are ideal examples of a leading man portraying creativity and obsessiveness driven to madness. In the former Barbara Stanwyck plays Sally Morton who has a whirlwind romance with painter Geoffrey Carroll (Humphrey Bogart) only to learn that he is actually married to an invalid wife. Though Carroll is desperate to possess Sally as he claims she has ‘saved’ him so that he can now paint again. Before they had met, his work suffered. When Sally finds out that Geoffrey is married she flees their romantic sojourn leaving Carroll in a cave showing dismay and turbulence on his face. Carroll goes to London and sees a chemist, signing a fictitious name. After several glasses of milk, the first Mrs. Carroll is dead, and Sally becomes the second Mrs. Carroll.
Sally becomes his new ‘subject,’ a replacement as the artist’s inspiration and love object. But once the wealthy and decadent tigress Cecily Latham (she wears animal print) aggressively pursues him to paint her and become her lover, Sally’s fate is sealed. Carroll transfers his fixation to his new object, Cecily Latham, played by the gorgeous Alexis Smith (I saw her on Broadway in the 70s. She won a Tony award for her performance in the hit Broadway musical Follies… what a treat!)
The film is an odd and edgy thriller that opens in a pastoral setting in Scotland where Sally and Geoffrey are having a quaint picnic by the lake, while Geoffrey sits upon a rock and sketches her. The initial loveliness and serene atmosphere sets out to misdirect us as a place much like Eden. The couple we learn have been dating for two weeks. Everything bares the most ordinary of appearances, as Geoffrey and Sally’s budding romance seems filled with a lighthearted joyfulness in alliance with the surrounding paradisal scenery.
McGregor tells him he’s caught a fish, and Geoffrey yells to him, “Well from this distance that takes real talent. Throw that whale back, the way I feel today I don’t want even a fish to be unhappy!”
Geoffrey Carroll tells Sally, “Two weeks of the only real happiness I’ve ever known… I love you Sally, I love you.” As soon as Geoffrey utters these words and the couple embraces, the sky begins to well up with uneasy clouds. Accompanied by old man McGregor who has the typified Scottish accent warning them of the rough weather brewing.
As the opening serenity is quickly broken by the foreboding torrential rainstorm, this symbol of strife and disturbance oppresses the joy and becomes a metaphor as the film ends with a similar rainstorm that besets Sally’s world.
This will inevitably turn into a nightmarish landscape for Sally but the serene local diverts us from the darkness to come, as we soon discover that Carroll is a disturbed artist who constantly needs fresh female inspiration in order for his art and sexual gratification to thrive. His art depends on it, and he is willing to kill the women he once desired to sustain himself.
The couple seeks refuge from the rain in a nearby cave. As Geoffrey goes to get his fishing gear and picnic basket from McGregor, Sally remains behind holding his jacket. As she calls after him, a letter falls out of her pocket. She picks up the small white envelope and is horrified to see it is addressed to Mrs. Carroll. The extraordinary range of emotions Stanwyck is capable of reflecting within a single frame is cogent and palpable, as she shifts from content glances to an interior that aches. Her eyes glimmer with a crushed spirit. Franz Waxman’s dramatic score confronts the moment as Sally is framed by the dark outline of the cave.
Once Geoffrey returns to the cave he finds Sally suddenly unyielding and in emotional distress.
“This fell out of your pocket you evidently forgot to mail it when we left the inn. It’s addressed to a Mrs. Geoffrey Carroll.” “My wife.” “Why didn’t you tell me?” ” I tried to from the first day but I couldn’t. There’s a child too.” “Are you separated?” “No, that letter was to ask for a divorce.” “Have you been married long?” “We’ve been together for ten years, my wife’s been an invalid ever since the child was born.”“Do you think I’d marry you now? I’m afraid you don’t know me very well.” “I know I love you.” “I don’t want that kind of love… why didn’t you tell me before, why?” “I didn’t want to lose you.” “But it would have saved so much hurt, and now it’s no use.” “I don’t believe that… ” “Before I found you I was finished. There was nothing. I couldn’t work I couldn’t think I didn’t care. We mustn’t lose each other Sally, ever. We couldn’t if we tried because our love is…”
Sally breaks down and flees the cover of the cave crying ‘No… no’ Not wanting to hear Geoffrey’s excuses she runs out into the pouring rain.
“Miss Morton, do you hear me, you’ll catch your death,” McGregor calls out to Sally his words echo within the walls of the cave, reverberating in Geoffrey’s mind.
He gives a tortured look as symbolic bars of rain obfuscate his figure. As Waxman’s music acts like a buzz saw in his twisted psyche he looks down at the letter lying at his muddied feet he grips his head.
The scene switches to Blagdon (Barry Bernard) the cash chemist sealing up a package with wax. He’s an unsavory character with a scar that gives him an added edge of sleaziness. Bladgon hands Geoffrey the register, “You’ll have to sign for this sir.” Blogdan answers the phone, he’s lost a bet on the horses.
“You see this scar, Mr. Fleming, is it?… well I got this scar when I was 9 years old I was kicked by a horse and I been trying to get even with the ‘orses ever since but it ain’t quite worked out.”The two walk over to an easel holding a painting. Bea tells her father, “You’re a genius… wait until you finish this one father, The Angel of Death.” “You think it’s good huh?” “I should say I do. It’s frightening of course, and makes me shiver sometimes, but so definitely mother. Do you think she’ll live until we finish the picture?”
Geoffrey Carroll returns home to his London flat where he greets his daughter Beatrice. He takes the little white package from the chemist and puts it in his pocket. Geoffrey asks how her mother is doing, and she tells him about the same.
He says, “What are you talking about, well of course she’ll live. What do you mean?” “Don’t get excited father. We both want her to live because we love her so much. That doesn’t mean she will live does it?”
Bea tells her father that although she spends more time with her mother she adores him… “I love you too, and I admire you tremendously.”
A bell rings, it is time for Mrs. Carroll’s milk. Beatrice goes into the kitchen to prepare the hot white liquid for her mother. Geoffrey enters the room and takes the saucepan and glass from his daughter pouring the milk himself. Standing outside the bedroom door, holding the glass of warm milk a queer look sploshes over his face like waves of disequilibrium. He suddenly tells Bea that starting tomorrow she’ll be going away to school.
Carroll lurks outside his wife’s door like a fiendish vampire.
Christine the maid greets Mr.Pennington at the door, her angular face always an expression of joy!
Bea-“I said it was tremendous. “ Penny-“Yes but it’s a bit creepy don’t you think?” “That’s only at first. You get accustomed to it. Then you think it’s wonderful. She was my mother. Died a little less than two years ago.” “I’m sorry.” “You needn’t be. We all die sooner or later.” Bea’s comment is calm and canny. Penny says, “I’ve heard a rumor to that effect.” “It isn’t exactly as Mother was, because it isn’t a portrait. Yet it is like her too. Father says it’s representational.” “Your father took the very word right out of my mouth.”
Two years later, Sally now the second Mrs.Carroll and Geoffrey are living in Ashton in Sally’s Gothic manor house inherited from her father.
Charles Pennington (Patrick O’Moore) or Penny is greeted at the door by Christine (Anita Bolster) the housemaid. As he waits for Sally, he studies the painting of the first Mrs. Carroll, not noticing Beatrice sitting in the armchair. She tells him the painting is tremendous.
Ann Carter as Carroll’s precocious daughter Bea figures prominently in the film as sort of the lens in which the conscience of the story reveals its moral code. Ann Carter exudes a mature seriousness reminiscent of Curse of the Cat People 1944 with her otherworldly air. She possesses a no-nonsense touch to the mixed-up morality she’s surrounded by that contributes to the pervasive despair and instability.
Barbara Stanwyck looks stunning as she enters the room. Sally tells Bea she needn’t leave, that Penny is a dear old friend. Bea tells her they’ve already met, and he’s ‘nice, quite nice.’Penny asks how old she is ’45 or 50?’“She does give that impression, but she’s sweet.”
Penny is kind and obviously still very much in love with Sally. In a very evolved and civil manner, he hasn’t forgiven her for running out on him. She feels terrible about it and says she should have given him some words. But when she met Geoffrey, when he came back it was as if nothing else mattered. He tells her that all a disappointed suitor needs do is look at her. He asks if she’s as happy as she looks. Sally tells him “he’s good to me.”“He better be. Purely out of morbid curiosity, I should like to meet him.”
She tells him that Geoffrey is working upstairs in his studio and that she’ll call on him. Penny tells her that he’s not the only visitor. Mrs. Latham and her daughter Cecily are expected any minute. They’re friends and clients of his.
“And Penny in case I didn’t make myself clear. It’s grand to see you again really grand.”“Thanks in case I didn’t make myself clear… Oh, Sally.”
Sally runs up the staircase excited about her guests, she addresses the vinegary Christine.
“Christine there’ll be other visitors take them straight to the garden. Tea for five.” “Tea for five! Bread and butter?” “Yes and some cucumber sandwiches.” “Some cakes too?” “Well if there are any.” “We haven’t got any cakes.” “Well then don’t serve them.” “I will.”
Waxman’s dynamically turbulent score breaks the witty moment, as Geoffrey paces his studio. Throwing down his paintbrush and grabbing the canvas, he begins to rub the oil with turpentine wiping away what he has painted with hostility.
Several frames show Geoffrey bisected by the large paintbrushes. This might be a visual indication of his fractured personality.Sally enters the room and sees him “What are you doing.” “Something I should have done weeks ago, I’m sick of looking at it. A phony.” “You can’t always paint masterpieces.” “Well, I can always try… I don’t understand it Sally, this fine old house, the most beautiful surrounding I’ve ever known, and You. I have everything here. Then why isn’t my work better, what’s wrong?”
Produced by Jack L Warner and Mark Hellinger and directed by Edward A.Blatt, with a screenplay by Daniel Fuchs and based on Sutton Vanes play “Outward Bound” this story is a journey with an extraordinary ensemble cast, featuring John Garfield, Paul Henreid, Sydney Greenstreet, Eleanor. Parker, Edmund Gwenn, George Tobias, George Coulouris, Faye Emerson, and Isobel Elsom.
With an beautifully evocative score by Erich Wolfgang Korngold (Kings Row 1942,The Sea Wolf 1941)
The film begins with an air raid during WWII, in which several people are unable to seek shelter. As the film transcends it’s earthly boundaries, it emerges as a mystical and melancholy tale of lost souls thrown together on a mysterious ship, trying to grasp the meanings of their lives, as they reflect and react to each other.
Aboard this strange ship which acts as a traveling Pergatory the players must wait and see if their final destination will either be heaven or hell, as their paths become clear to them, and they awaken to their final destinies.
Tom Prior: I read a great epitaph once, I’m gonna steal it for myself. Scrubby: Sir? Tom Prior: Here lies Prior, died a bachelor. Wifeless. Childless. Wish his father’d died the same.
