Die, Monster, Die!

The strange mineral fallen from space destroys butler, maid, mistress and master, breeds sickly howling creatures, and raises larger greenhouse vegetables than ever seen before, this the master (Boris Karloff) hopes will be a prosperous future for generations to come.

The American (Nick Adams) takes the daughter away from all that.


I’ll Never Leave You—Ever
Night Gallery

Moira has a lover on the hay, and a husband dying in bed. She goes to see a witch, there on the moors, who does a thriving business in dolls. “The likeness must be perfect,” says the dollmaker, taking the particulars of the husband’s description.

The doll turns its head to observe Moira in the kitchen, she thrusts it into an empty flour bag. “I’m blind,” the husband screams. Out of the bag and into the fire it goes, the husband roars in pain, the doll squirms and falls onto the floor. She picks it up in her skirt and carries it out to the quarry, where she tosses it.

Her lover beholds the billowing, smoldering wreckage of her husband and rides to the quarry. Moira stands on the rim, her husband is below, almost unrecognizable, stretching up his arms to her. The ground crumbles under her feet, she plummets into his waiting arms.

The foggy, luminous mise en scène is heightened appreciably to create an effect comparable to The Illustrated Man (dir. Jack Smight), for example.


Face of Ice
The Sixth Sense

Rod Serling introduces this for Night Gallery as “a tale of disembodied love in search of traumatic truth,” the painting is red below and blue above, a faceless man rises into the blue, behind him in the red a woman approaches a body.

An amnesiac comes to Dr. Rhodes with astral visions of falling and a murder witnessed on a road, a motorcyclist shot with a rifle. The Chinese hexagram here called “The Traveling Stranger” is a love token from the motorcyclist with a guitar on his back, the man with a rifle is her husband. She and her dead lover are locked in an icehouse, whence she is rescued by Dr. Rhodes and her brother, who “thought the marriage would be a good one for her.”

A companion piece to “Once Upon a Chilling” (dir. Sutton Roley).



A Souvenir from Atlantic City

The piece begins with the homemade-bombing destruction of a bowling alley, killing two off-duty police officers and just missing the target, a police informant on a radical Puerto Rican group called El Compadre. He makes a feverish escape to his sister’s seaside home near the Boardwalk, not knowing she is a prominent member of the organization.

One of several extraordinary performances given by Jaime Sanchez for the series, as a man caught somewhere behind the lines, or else in no man’s land.

This prescient work anticipates Louis Malle’s Atlantic City.


Money Back Guarantee

Unfortunate turn of events, cop stumbles on repo swindle, cars in default “stolen”, repainted, transported, resold.

Cop dies, Kojak mobilizes.