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1 Convict Town
The introduction explains about the forced deportation of convicts from London.
After one of his workers is beaten up, Chris Cobb is warned to "take his stage road somewhere else," by the men who inhabit a town of
ex-convicts. However one, Dan, the son of Big Tom, is more conciliatory. "He doesn't like the sight of blood," sneer his more unpleasant partners.
Big Tom takes the whip to his offspring, disowning him. So leaving behind his girl Sally, Dan approaches "decent fellow" Chris for a job.
Nice Mr Cobb offers him work in Bathurst, but his fellow workers recognise him and beat him up. Then his old buddies beat him up too, as he's
transporting materials for Cobb, and Dan is forced to return to the convict town.
When Chris hears the talk that Dan has done a bunk, he finds it hard to accept. "Dan's only a kid." So, alone, Chris ("are you out of your head?") rides into the convict town.
Armed only with a brooch that Dan had set his eyes on for Sally, he faces up to Big Tom. Chris challenges him to a fight. As he calls Tom a miserable
coward, the fight is on, and Chris almost wins, until another convict strikes him down.
It's clear Chris is going to be murdered. But Dan jumps in to save him, and rather suddenly
Big Tom, appreciating his son's bravery, comes round. In return Cobb offers all the men there
jobs to help build the stage line. Hurrah they all cheer.
There are some fine moments in this first story that introduces the character of Cobb's helper Dan. It's one of the few surviving stories produced by the ill fated Maurice Geraghty.
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Rider on the Hill
Introduction- "the uncivilised wilderness peopled by outlaws."
Whoa! A chain dragged across the road causes the Cobb stage to crash, another bushranger attack.
Arrived finally in Bathurst, Chris receives a Debt Stick, an aborigine warning of his impending death.
"I've seen it work," Dan warns the recipient. Or could it be from some white man, imitating the native custom for his own end?
That's what this story is all about, though when Chris and Dan set off next day with the stage, the usual motley of passengers are all rather suspicious. As is an aborigine, whom Chris kindly picks up en route.
An overnight stop by the camp fire. Chris speculates on who might be his enemy. Later, as he sleeps, someone shoots at him, but misses.
Back on the road, one passenger, a condemned convict escapes from his guard, but Chris rounds him up, only for him to make another attempt and this time he is shot dead.
So the weary journey reaches the next night's resting place. Dan and Chris are still eyeing their passengers, but not well enough to prevent another murderous attack "with bare hands."
There's a conclusive fight, Chris' life only saved by one of his passengers. But the yawning drama isn't finished yet.
"I can't stand any more killing." I couldn't stand any more full stop.
"I'm very sorry," concludes Chris, but not half as sorry as myself. But at least he apologised like a gentleman, maybe for this rotten script. Why, Chris Cobb never seems at all
perturbed by these threats to his life!
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The Legacy
Adam is mighty unfriendly towards Chris Cobb, not interested in the great man's proposal of leasing some of Adam's land.
But then Adam doesn't own the land, "he's a little odd," he's only caretaker awaiting the arrival of absentee landlord Joe Acton.
Acton inherited this large ranch after Ian, son of owner Neil mysteriously disappeared years back.
But when Acton finally arrives it seems she is actually Jo Anne Acton, and Chris Cobb quickly adjusts his manners.
Her solicitor shows her round her inheritance, but she is a trifle disappointed with her inheritance. She had ditched her Alfred and her post as an upstairs maid for this!
She decides she will sell up. Chris can buy it, and she starts making eyes at him.
But an aborigine boy, Malumba, tells Chris, "that's my place." 'Twould be "a bit sticky" if Ian who had been declared legally dead,
were actually this lad! The key to the mystery might be Adam- he can and eventually does identify Malumba as the missing Ian.
But Miss Jo is not so pleased to see her inheritance possibly slipping away from her. Chris however, ever upright, even though he has signed the papers to buy the ranch,
helps Ian adjust to the life of a white man. Adam however, attempts to bump the lad off. It seems he was Neil's brother, Ian's uncle,
but had been excluded from Neil's will and had shot his brother.
But it all ends happily as Chris has got out of any advances from Jo by getting Alfred to come and court his old flame.
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4
Barbed Wire
Introduction- "Sheep squatters lived in regal splendour, a law unto themselves."
Such a one is Dundee (Grant Taylor) who owns 40,000 sheep and claims as his, 400,000 acres. He don't take kindly to folks who put barbed wire around their own territory,
such as Pearce, who is beaten up for this reason. His young son Bobby can only watch on.
Chris Cobb is transporting more barbed wire when he's stopped by Dundee's men who order him to turn round. The dispute ends in a gunfight, Dan wounded in the leg, but two of Dundee's men shot dead.
Chris calls at the nearest homestead to get help for Dan. But it's Pearce's ranch and he's too injured to help. The only doc in the vicinity is in the pay of Dundee. But he does at least treat the two
patients. The doc warns Chris that Dundee will be out for revenge.
It's soon here. Two of Dundee's henchmen, including Walt, who once had his life saved by Chris, come to order him to get out.
It ends in a fight with whips, a variation on the usual, but the result is what you'd expect, Chris is the winner.
"There's been enough blood already," sighs Pearce as Chris prepares for another attack from Dundee's men.
Chris is given one last chance to save his own skin, but on a matter of principle refuses to leave Pearce on his own.
In fact Bobby settles things by riding off to try and shoot Dundee.
In this of course, he fails, and anyway Chris stops him. Now Chris is face to face with Dundee. Pearce is alongside and spells out the dispute to Dundee,
"it's my few acres against the thousands you have."
Dundee attempts to scare Chris off with aborigine magic. The bone is pointed at Chris. It should disable his trigger finger.
But Chris resists, and there is a tense stand off. Walt is ordered to shoot Chris, but cannot. Walt is shot for his disloyalty.
So Dundee prepares to shoot Chris himself. But the aborigine has discerned the good and the evil, and it is Dundee's shooting arm that is paralysed
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5
Episode at Bathurst
The introduction is a general one for the series about Australia and Chris Cobb's
arrival there in 1840.
This is a prime example of a story with stock characters in a script that a child could have written.
Some mighty unpleasant gunslingers have ridden into town. "Don't step into the path
of your betters, old man," one local is warned. At the Royal Mail Hotel, Matt Denvers picks a fight with one innocent sap who is shot dead.
The Denvers boys have come here from the States to offer the citizens protection. Anyone not in favour? No sir.
The original bullies need a lesson, and who better than Chris Cobb? "They're not so tough," he claims, as he rides into town with no gun.
In the saloon an argument is raging over cheatin' at cards. "The town smells so bad," Chris remarks to Matt, adding he's a phoney. Chris wins a punchup and makes an enemy.
In the dark the Denvers boys try and shoot him. Chris uses a boomerang to good effect to thwart them.
He wants to persuade the townsfolk to stand up to the bullies, yet they are far too scared. Then he tries to get Tim Perkins, son of the local agent of
Cobb & Co, not to side with the gunslingers. Chris teaches him border fighting, "only for very brave men," and Tim learns a useful lesson,
"I guess wearing a gun doesn't make me a man."
So Tim helps Chris by telling him where the Denvers hang out. In the saloon he says. Anyone could have guessed that much!
It is High Noon as Chris stands in the main street of town: "come out Denvers." No gun has Chris, but a whip. That whip removes Matt's two guns even as he draws. As Tim prevents the other brothers from intervening,
Chris teaches the cowering Matt a lesson, to the accompanying laughter from the relieved locals. The Denvers boys are driven out of town. Laughter and cheers.
Plus catcalls from this viewer.
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6
Twisted Road
Introduction: medical missionaries had "a thankless task" in seeking to treat the native population.
Edward, valued helper of the celebrated Dr Inigo Table, has been arrested on a charge of murder. Chris Cobb is ordered to transport him to Brisbane, the good doctor agreeing to go with him to testify on Ted's behalf. The fact is Ted has a police record, though according to Table, has reformed and proved himself a valuable assistant.
On the journey Chris is told how a scoundrel called Sam who had found a gold strike, had been treated at the primitive mission hospital for knife wounds. Ted was the one who had found him, and after Sam's death was accused of killing him.
"Young lady, are you in the habit of picking up strange coaches?" Chris asks Felicity, who needs a ride urgently to get away from something. She is allowed on board. "I wish all our cargo was so pretty," smiles Chris.
The coach makes a second stop, more abrupt this time, when the road is blocked. In turning the stage round, the doctor falls into a stream. In the confusion, Felicity spots he has a nugget of gold. It was Sam's strike, donated, according to the doctor, to his hospital.
Chris is mystified. Is the famous celebrity Dr Table lying?
Next morning, the coach has gone and so have the doctor and Ted. Chris gives chase and comes on Ted, the doctor has fallen into another river, this one with sharks! Before Chris rescues him, he rather meanly forces him to tell the truth. And he is right to wait to rescue, for the waiting elicits Table's confession that he was the actual killer, not Ted. A fallen saint.
"I wanted to have a little fun, to make up for all those empty years of sacrifice." A sad speech, with excuses, sad excuses. At least Felicity sees running away doesn't solve anything and she resolves to return home, a wiser young lady
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7
Dutchman's Reef -
The introduction is about the sometimes mysterious rites of the aborigine.
All dressed in their Sunday best, Chris and Dan present themselves at Milton House to be received by rich Mrs Culbert.
Her son 'Teddy Bear' Norton has been reported dead, but she believes he is still alive as rumours have come from somewhere that he has been seen in the Simpson Desert.
This is a bleak landscape, though the legendary area known as Dutchman's Reef is reputed to be rich in gold, but its location is unknown. An aborigine steals Chris and Dan's water, and the pair need water quickly. The only place near
is a waterhole, but to use such a place guarded by aborigines is very dangerous. However Chris notes that one set of footprints suggest that Teddy Bear may well be one of them.
Cautiously the two men approach the water, Dan speaking in pidgin English. Norton, if he be Norton, makes no response.
As they start to drink a spear is aimed at them. From the language, it is Norton, who chases after Chris with his spears. "Teddy Bear," shouts Chris to remind him of their past association. As Chris had helped Norton in the old days, they do get to drink.
As they do so, Teddy Bear tells how he was befriended by the aborigines. "Your mother'd never recognise you now," admits Chris. Dan meanwhile has spotted some gold, but it is agreed that money makes noone happy, as witness Mrs Culbert, so the secret remains hidden from the white man.
Chris lets the rich lady know Norton is dead. I suppose he was in one sense. "Any trace of Dutchman's Reef?" she adds. Ah, so it was the gold that she had really been after
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The Actress
Another relic from producer M Geraghty.
Introduction: Short written tribute to a fine line of Aussie actors, including "the late Errol Flynn."
Right on time, the stage arrives in town. Locals are restless as bushranger Mike Upton has been robbing their valuable cargoes being transported on Chris Cobb's line.
Before riding off to round up Upton, Chris finds time to relax with his girl friend Clara watching a local amateur dramatics production of The Stockman's Daughter, very hammily performed.
Next day the company are travelling on the Cobb stage, Chris himself keeping watch in case Upton strikes.
He does! He takes a fancy not just for the loot, but for "tuppeny" stage actress Jenny
(Jennifer Jayne). "She's worth any risk," and he gallops off with her- "don't be too nice to me," Mike warns her. But he falls
for her and her mind is rather filled with the romantic notion of his life of adventure too.
In his shack, they share their broken-down life stories until Cobb bursts in to rescue her.
Cobb brings Upton in, en route the pair continue to chat and she tries to stop him putting her on a pedestal, before
a lynch mob from the town want to string Upton up.
Jenny puts on a bravura performance to save his neck, by convincing the mob that he's not Upton but her rancher husband.
She's rather taken with her performacne and heads for the bright lights, while Upton is taken by Cobb to face justice. However the kindly Cobb offers
him a job when he's served his time.
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Divide and Conquer
Sir John Wickert, Her Majesty's Inspector, has engaged Chris Cobb to see if a pass in the mountains can be found. Tracker Billy Jo is the man to find it, if it exists.
It does, but it's known only to Bill Fry's gang of bushrangers, the way to their secret hideout. Patrick Cowan, wanted for armed robbery, with the rest of his gang behind bars, has joined up with Fry's mob, and is threatening to take over.
From Kuwala, Chris' expedition has reached the weigh station of agent Jake, but find he has been killed. Fry's men have done it, and they are in the mood to finish Cobb's party off too. "If you're the prayin' sort, start."
Chris, Billy Jo and Sir John are strung up, "at least we'll make your widow happy, Sir John." But Bill Fry's revenge is cut short by Patrick, who sees here the opportunity to use Sir John as a bargaining tool for them to obtain free pardons. So Bill has to back down, lives are spared, and the trio are taken to Fry's secret cave. This at least shows the whereabouts of the secret pass.
Noone in Fry's gang can read, so Chris tricks them when they make him write a ransom note. Free Pardons for life is what they demand. Billy Jo is entrusted for the important letter, which however is actually addressed to Chris' sidekick Dan Ledward.
Later Billy Jo returns with the 'pardon.' which Chris kindly reads to them. But he uses that old ploy, divide and conquer, announcing that while some are granted a pardon, Fry
will only be given a fair trial.
The inevitable follows. The gang are divided. One is shot, "four to go." Patrick does see through the trick. but too late, for Chris & Co are free, but still inside the cave. They are trapped when at the entrance Patrick starts a fire of malawa, deadly poisonous fumes.
Luckily Billy Jo spots a kind of primitive 'fire exit,' and Chris gets out that way and gains the upper hand, polishing off the remainder of the gang
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The Remittance Man
The introduction explains how the British Aristocracy would send their young wastrel sons away from London's temptations, sending regular remittances
for their upkeep.
Chris receives a very cheeky letter from a thief who would like to know the time his coach will be in the Tarenya Valley. Jimmy Quicksilver is his name.
An elderly couple Enid and Sir Alex are two of the passengers on this stagecoach, when it is held up by Quicksilver. "One of these days, we're going to wipe that smile off your face," cries Dan.
But Quicksilver seeing the passengers, suddenly decides to abandon the robbery, and rides off. We can surmise quite easily why. "You scared the wits out of Quicksilver," says a surprised Chris Cobb.
Sir Alex is to see his nephew Jeremy who runs the 60,000 acre Narrandali ranch- but where exactly is it? No local seems to know. Asking for directions, Dan is knocked out and taken away.
Then a smart gent encounters Chris and claims to be Jeremy. It's obvious he is also Quicksilver. The "funny man" asks Chris to help him, in return he will return everything he's every robbed from Chris.
So Chris takes the couple to meet him at his ranch. "He's changed," Enid believes. She thinks he's made his fortune and gained self respect, and it is certainly true that now it is he who is sending a remittance back to his family in England.
Enid and Sir Alex are introduced to Jeremy's son Martin who they want to take back to England so he can get a proper education. "It's the best thing," agrees Quicksilver, reluctantly.
Dan is being held hostage in the cellar, to ensure Chris keeps his bargain and takes Martin to the ship. But Dan escapes and calls the police.
Guns start firing, and some devious thinking by Chris enables him to get the lad safely away with his great aunt and uncle, without them ever realising their nephew is a wanted man.
Technically, Quicksilver keeps his side of the bargain and gives himself up, though only for a second because he eludes the law, Chris apparently thinking it quite amusing that the crook has shown such cunning. But he did return all he ever stole from Chris.
Almost good, almost a comedy, nearly a drama
Quicksilver returns in story #21.
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11 The Sarong
Introduction- about Bond Girls, not what you might guess, but indentured servants to the rich Australian colonizers.
Oscar gives Cobb the bad news, twelve of these girls have disappeared on the Brisbane run. Ed and Sam have been on this route, so Chris asks Dan to take Sam's place, while he poses as a rough prospector,
and has a nice time in the carriage smiling with the latest batch of
servant girls. They are looking forward to their lucrative new jobs. But their chaperon Hennessy is less friendly and at an unscheduled watering stop, a wagon draws up to collect the girls and Chris is shot dead. Though as it's by Dan, it's only a ruse.
Chris follows the trail of the girls to the seashore, where fierce dogs chase him away. He watches a lot of women in a small boat; they are panning for pearls in the shallow waters. At night, he is able to get to the house where a lot of the girls are imprisoned, but he is captured.
Lucien is the smarmy rich owner of the place, more a harem. But it is run by brute force. "We must have a long discussion on morality," sneers Lucien. "All the philosophy in the world cannot excuse brutality," retorts Chris, who is disgusted by the opulence and evil of the man. So it's Chris' turn for violence.
He is knocked out and dumped into shark infested waters.
But Lucien's henchmen don't quite succeed in this, instead it is they who are tipped into the sea and deservedly end up as shark food.
Such heroism stirs the workers to rebellion. "We have lost fear" (as well as some of their guards). In a body they drag the repulsive Lucien to throw him to his own dogs. Although it's a fate he has merited, Chris persuades them to hand him over to stand trial.
They remain at the mansion, to run this business on 'equal shares.'
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Solid Gold Brigade
Directed by Maury Geraghty, the introduction tells of The Banker on Horseback, who collected the gold during the 1851 Rush to deposit in Sydney.
Strickland and Logan shoot banker Fenton Dodworth, who had been on his way to Fury Creek. Also going there is Chris Cobb to transport the miners'gold, and they shoot him also.
Then the two villains impersonate the banker and Cobb, and on his stagecoach ride in to Fury Creek. It's all too easy for them to give receipts for the gold, they are to transport.
However by some miracle, Chris has been rescued by a Scotsman Adam Douglas, and with his help and the loan of a horse, Chris rides in to Fury Creek to prevent the thieves from leaving.
But they allege Chris is the impersonator, a bushranger, and an angry mob surround the stranger. The stage with all the gold departs, as Chris is strung up, with a noose round his neck.
He is asked for his dying request, but luckily someone vouches that he really is Chris Cobb and Chris (for some reason on his own) chases after Strickland and Logan.
They are resting their horses by the sea shore, where they shoot dead the miners' guard who are accompanying them. But Strickland then shoots his partner, and now the odds are one on one when Chris rides up.
"By George, you're a hard man to kill," utters the surprised crook. In a gunfight, it's Chris who is the victor and he can now take "all that gold" safely to the bank.
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13
Stage for Two
A new employee reports for duty at a bank, and his first job is to rob it!
Driving his stage on his ownsome, Chris Cobb picks up this robber, Wallace, without of course realising he is a crook.
But he soon finds out, when they set camp that evening. Wallace's three partners, whom he double crossed, have caught up with him, and they demand their share of the loot. However, Wallace draws his gun first, shoots Babson and leaves 'em behind, driven away speedily by Chris Cobb, at point of his gun. The rest of the story is about the gang chasing after them.
As they ride off, Wallace is shot in the arm, but Chris kindly tends to him, and learns the "sad story" of Wallace's wasted life.
At the station where Cobb's horses are changed there's another shootout, in which gunman Meadows fails to shoot his ex-partner.
There's get another gun battle as the gang attempt to prevent Wallace getting away with the loot. One last ambush ("let 'em come") but Chris has persuaded Wallace to loan him a gun to even up the odds, "that makes our chance to get through a lot better." It works, for in this final hail of bullets Chris is naturally victorious. Time now to return the gun. Each has saved the other's life. Will Chris allow Wallace to get away? You know the answer to that, but in fact the crisis never comes, for the last dying gang member summons just enough strength to kill Wallace. There's a dying gurgle or two before Chris is left alone once more
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The Bone that Whispered
A 'Wells Fargo' story, only for Red Indians substitute Aborigines.
The natives are restless thanks to the forked tongue of one white man.
But at least there's a twist - Forked tongue is straight after all.
Aborigines with boomerangs hold up Dan's stage.
News is brought by Billy Joe to Chris Cobb that Dan has not arrived at MacIntyre's Station. As his route had been across lands of a tribe hostile to white men, they fear the worst.
Sweet little Mary Ann is the daughter of an outcast white man who has taught this tribe to be so antagonistic towards the white men. Her mother has died and she wants to meet the father she has never known.
"I want you to find him," pleads Mary Ann to Chris. Her father is Edwin Regnor who had been convicted of murder, hence his bitterness, especially as it seems he could have been framed.
Chris starts his search at Barrow, where the locals are auctioning off the contents of a stagecoach that has been found. It's Dan's stage!
No sign of Dan- that short cut acorss aborigine territory must have been fatal.
Following the route, Chris finds Regnor and demands his missing driver. "You better get out while you can," warns Regnor. The chief of the tribe is about to point the Magic Bone towards Chris, but Regnor prevents him.
Regnor becomes a little more amenable as Chris shows him the picture of his late wife Jane and his little daughter. Mary Ann needs a father, Chris tells him.
But thinking that they have been betrayed by Regnor's friendly overtures towards Chris, the aborigines turn nasty. "We haven't much time." The Bone is pointed at Regnor, and now he's a marked man, a doomed man. "Doesn't sound very
dangerous to me," scoffs Chris, but Regnor believes in the folklore as they debate the pros and cons of black magic. Edwin Regnor also recounts how he had becomes blood brothers with the tribe.
Only one way to remove the power of The Bone, in which Regnor believes so strongly. As his strength fails, they search for the only aborigine who has a power greater than The Bone. On the way, they find Dan, but all around them aborigines are gathering like vultures,
waiting for Regnor to expire. But in time the chief removes the curse and Regnor is taken back to civilisation, and united with his daughter Mary Ann.
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16
Canoomba Incident
Chris and Dan ride in to the town of Canoomba which "doesn't look much," but soon it'll be the gateway to the south west.
But there are no men to be seen, they are all away on a gold rush. "We don't miss them," Bessie Parker tells Chris, for she now has taken over her hsuband's job of seeing to Cobb business.
Dan suddenly takes a liking to the place when he chats up Joan (Janette Craig), pretty good with the horses, pretty too. But he has to leave to collect a £2,000 consignment of gold. For such a trip he must needs find an escort, and only help at hand is the short sighted old timer Peebles.
6am they set off, but en route Dan falls for that old trick, the dying man in the road, and the dying man suddenly awakes to ambush the gold. The second thief is a woman.
We can all guess who she is (except Dan and Chris).
Back in town, Dan enjoys his wooden romance, "I've never met anyone like you before." He's right there! However the truth finally dawns on Chris.
"The biggest piece of gold I've ever seen," worth £5,000 is Cobb's next assignment. This time, Chris wisely rides shotgun, along with the two prospector owners.
Joan has fallen out with her brother Rick over their stealing, and he rides alone to hold up the stage. His dodge this time is to set fire to a cabin. In the smoke, both prospectors are shot during the gun battle. Joan rides up to try and stop the shooting but is shot for her troubles. So is Rick. Joan is still alive, and she has to go for trial.
Thus the gold reaches Canoomba safely. Chris spouts to the disconsolate Dan some encouraging lines about love
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Rushing Sands
The introduction tells of the Aussie antipathy towards police.
Driver Petey, one of the best, is resigning, because, he tells a surprised Chris Cobb, he is ill.
But the real reason is that he has got "to kill a man," one Chad who some years back had robbed him and killed his son.
Chris learns this from the police deputy Colby, who is also the local bank manager. The regular policeman in Duranga, Sgt Bennett is away on honeymoon.
Into town rides a stranger. Chad? Petey has to be restrained from launching an attack on the man, Colby is knocked out attempting to restrain him, but Chris does stop any killing.
He puts Petey behind bars for his own safety, along with Colby, as he seems untrustworthy.
Then Chris learns the awful truth when he meets Chad. Chris is supposed to be an intermediary to reconcile father and son, for Chad is actually Petey's estranged son.
But Colby has spare keys to his cell, and he gets out, as does Petey, and Petey interrupts Chad's talk with Chris to shoot his enemy. Chris prevents the tragedy, but apparently Chris has been duped all along, Chad real aim is to rob
a shipment of currency due at the bank.
That brings on a shootout and some trickery from the slippery Colby, before Chad is gunned down by Petey saving Chris Cobb's life. Petey will never know Chad was his own son, because his eyesight has deteriorated.
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Fire Rock
The introduction contains geological data about Australia's bubbling hot springs.
A white man enters a sacred cave, full of primitive paintings on the walls. He never comes out alive.
He turns out to be David Clauson, one of Cobb's finest agents, so Chris Cobb rides in to Kuwala to help his wife Ella. On her hand is her wedding present, an opal ring.
Apparently David and his brother Walter had been in search of treasure in The Turumba, but the legend almost holds true, "no white man that's been there has ever got back alive."
So you can't blame Walter for not wanting to go there in quest of David. But he does, along with Ella, Chris and Dan reluctantly agreeing to their joining in the search.
An aborigine tracker leads the way, at a shilling a day.
There are some impressive sights and sounds of The Burning Land, it's "like looking at The Pit of Hell."
"We stay here, we die," warns our tracker. That night they camp by trees, Dan rightly perceiving that Ella is "trouble."
But Chris must guess, for there she is, making eyes at him!
After some scouting alone, Chris finds David's body. End of quest. But Walter meanwhile has entered the cave and greedily snatched a giant opal. That will anger the aborigines, though for the moment
Walter has got out successfully despite the legend. But he soon falls ill, is it superstition? Or as Chris suspects, poisoning?
"Spirit people punish," explains the tracker, in support of the former theory. But Chris is searching for berries, antidote to the suspected poison.
While he's gone, Ella exposes her true motives, she poisoned Walter so she can get rich. She only married her husband for similar reasons. She gallops off with her prize, but
meets a poetic end as she drops her opal, and trying to recover it in quicksand, is gobbled up herself, "a horrible way to die."
"Spirit people punish," repeats our tracker.
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The Hunters
Introduction- Australia is the oldest continent. The aborigines "even today" have "strange superstitions, tribal customs."
The ceremonial killing of whiteman's cattle is one such custom. One rancher, Dillon, is injured when he tries to prevent one of his
herd being taken for such a purpose.
His wife Mary is awaiting his return to celebrate their anniversary. Instead, in rides Chris Cobb, on a surveying mission for a possible stage line.
She invites him to stay, and after a philosophical chat, they turn in, Dillon still not back home.
His horse rides in during the night, and next
morning Chris institutes a search, with help from ranch hand Billy Jo. Mary tags along too.
Whoa! There's a sign of a struggle. "Your husband interrupted a ritual killing- he has to be killed too," Chris explains rather coldly to Mary.
In fact we have watched Dillon struggling round the "strange naked" country, an arrow in his back. After hours he succeeds in pulling it out, but kite hawks circle overhead, ready for the kill.
Billy Jo is helpful: "he go that way." As night falls, Dillon hides in the swamp, and Chris has to make camp also.
Mary is a sorry case, it seems she was contemplating leaving her husband, and she fears he is already dead.
Miraculously, that arrow wound can't have been so deep as he has that morn hidden in a cave. A relentless aborigine has trailed him, cornered him as the chase, never exciting, never matching the over dramatic background music,
reaches its climax.
Inside the sacred cave, which is at least visually impressive, "dark as the tomb," there is a fight to the finish.
Chris arrives too late, but Dillon is still alive, and he is treated, his wife cradling Dillon in her arms.
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Stage Freight
Introduction- about "sly grogging," bootlegging that is.
To Chris and Dan, Joseph Scammell introduces his travelling companion, a coffin. He's an undertaker.
Others passengers on today's journey include actress Miss Rosie London, the sour Irving, plus Margaret and her estranged husband.
The heavily laden stage must reach its destination on time, in order for Cobb & Co to win a government mail contract. Chris surmises that one of
his passenegrs is likely to be a government inspector riding incognito. To spice the action up further, there's a possibility that
a man and woman wanted for an "unsavoury" murder might also be on board. Apparently their victim's body has not yet been discovered....
There are tiresome delays, firstly at a lunch stop all the newspapers are burned by someone, presumably so noone can read the descriptions of the
wanted criminals. Dan and Chris speculate on their passengers- Rosie must be the murderer, decides Dan. His basis for this is she's "the least likely."
A bolt of lightning interrupts Chris as he is questioning Scammell about his coffin. Chris manages to stop the runaway horses but the road is blocked by a fallen tree and everyone is obliged to help remove the obstacle. Sabotage!
The rope pulling the tree snaps. Eventually the way is cleared. But Chris wants the coffin opened before moving off. "Isn't that nice!" It is full of rum.
Martin's Creek is reached to time. An overnight stop, and more sabotage as Chris' horses gallop away. Everyone has to round them up.
On the tedious road again next morning. There are arguments over who knows who, and who is what. The air is cleared by the time their destination is reached, who cares for the explanations?
Whiplash menu
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21 Portrait in Gunpowder -
Perhaps the best of the series.
The opening sequence explains about Aussie bushrangers, highwaymen.
In Bathurst "one of the world's most distinguished painters" Denise du Mornay (Therese Talbert) hires Cobb's coach.
She's not quite The Old Bat Chris is expecting, and Chris finds her rather disarming. Her destination is secret and she only reveals it when there's a lunch stop.
Macdonald Scott is her wealthy patron, though Chris can't help puzzling why there's so much mystery surrounding this trip.
En route Denise sketches the scenery, and Coach and Five at a Spanking Pace isn't all she gives Chris. Romance is in the air as she agrees to paint him a picture for the princely sum of 500 guineas.
The deal is sealed with a kiss.
After petting a koala, the journey is resumed to Scott's magnificent but isolated mansion.
It's a treasure trove of Rubens, Reynolds and other old masters, though Chris quickly discerns the owner is Jimmy Quicksilver (Stuart Wagstaff), a gentleman bushranger.
Denise has been commissioned to paint for his portrait!
Chris is all for a quick departure, but she is charmed by Jimmy. And anyway, at the point of a gun, Jimmy insists Chris stays. "You can't help liking him," comments Dan, and one is inclined to agree. Even though they are all loosely prisoners, they are well treated.
An interruption to the jollity as guns are fired. Rival bushrangers attack the mansion and Jimmy has to surrender. But it turns out it's all a joke by Jimmy's men- "very funny," says Chris. However Chris has persuaded Jimmy to renounce his life of crime,
and return the fortune he has stolen, in return for a pardon. Though Jimmy's men are handsomely paid off, they can't accept Jimmy's reform and it takes Diane as well as Chris, Dan and Jimmy to teach them that honesty is the best policy.
Chris returns to base with Denise, whilst Jimmy, his debt paid, disappears into the night.
And Denise promises Chris she will come back some day....
To Whiplash details
. . . . . .
Ribbons and Wheels
A quite exciting story that begins with the introduction telling us that thoroughbred horse racing dates back to the days when Cobb stage lines raced against competition to secure valuable route franchises.
In between singing, Chris tells Dan how he had had to let his best driver Bunyip Joe leave, because he wanted to start his own Western Coach Lines. Now Joe's planning to expand, offering cheaper fares than Chris to Brinda Bella. It's not old pal Bunyip himself who is for this "healthy competition," his daughter Kate explains, but his partner and financial backer Horton.
£3 is the current fare, Cobb's. £2.10/- is the Western price, so Chris retaliates with a new fare of £2.5/- plus a free turkey lunch!
Western undercut again, a champagne ride for £1.19/-, to which as customers gather, Chris counters with £1.10/-
plus French perfume. Soon the price is down to a mere £1.2/6, so Western challenge Cobb to a coach race, "winner gets the run."
Challenge accepted. "When honesty fails," admits Horton," never hesitate," as he instigates some dirty dealing.
Passengers assemble on the day of the race. It's almost neck and neck, right up to the time to change horses. Bunyip tells Horton the back axle needs changing, but Horton orders him not to waste time. Horton has got one of his cronies to nobble Chris Cobb's back wheel, but Bunyip Joe witnesses the action and tries to prevent sabotage. He's knocked out as reward for his desire for fair play. In fact Chris is now accused of dirty tricks himself, did he knock out Bunyip? As the race continues, the inevitable.... his wheel falls off and Western lines, coach now driven by Kate, takes the lead. Chris however incredibly proceeds on three wheels and, improbably, it's neck and neck to the finish, Western just winning. Sportingly, Chris offers his congratulations, but faces a lynching, accused of knocking out Bunyip. But Joe rides up to save Chris and explain all. "I've been a stupid old fool," he apologises, and we finish with Joe back driving for Chris, and singing heartily. Horton's lot are in jail
To Whiplash details
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The Wreckers
The Cobb & Co's offices at Wallabelle are robbed, and with the cash, the thief Norris (Guy Doleman) offers to buy a share in Cobb's business.
When Chris declines, Norris' gang wreck Chris' new coach and steal another. This they use to rob a shipment of gold. But Chris is on their trail! They hurt Chris, whose wounds are bound up by an aborigine. But Norris is now relieving
a bank of their "gold dust," and he's actually posing as Christopher Cobb! Poor Gillespie the local manager is locked in his own safe.
Thus folks demand to see Cobb "swinging from a gum tree," after several more robberies using Cobb's stage as a getaway vehicle.
More danger for Chris when he encounters a tiger snake. Nearly as dangerous as Norris. Finally Norris' hideout is discovered, and a plot to rob the foundry is overheard.
Chris calls at the Brisbane Constabulary to enlist police help, but notices a poster offering a reward for himself, Wanted for Murder and Robbery.
So a change of plan, he and Dan break into the foundry themselves, to steal some chain. This is strategically placed outside the foundry, thus when the stage draws up outside the foundry, Chris ties the chain to the coach, cutting off any means of escape.
"In the Queen's name- halt!" shout the police. Dan has called them in, though Norris nearly gets away, but Chris stops him with a hefty and well deserved punch.
However when the police hear his name is Cobb, he is locked away too!
Whiplash menu
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24
Storm Rider
The Introduction explains about Australia's rivers which used to flood frequently.
A rider is robbed, then given shelter by a young damsel not in distress. He's Chris Cobb, she's Cassie (Annette Andre), and the house
Cobb finds himself in, belongs to her guardian John. He's a writer. She dreams of being a fashion designer.. But the son of the house, Cloy, is a real boor.
It becomes obvious that he was the one who robbed Cobb.
With so much recent rain, Cobb's only route back to Sydney is by canoe, an outrigger. Cassie has begged in vain to go with him. But she follows anyway, leaving behind an explanation stating
she'd never met anyone like Chris before, the usual cliches. He's "a real man," declares this farewell note. When she catches up with Chris, he properly starts to take her back, but his boat has been
sabotaged by the evil Cloy, thus she falls into the river, dangerous water snakes and all. Chris of course saves her.
After a lot of unexciting shots of paddling canoes, Cloy finds them and starts a-firing. Luckily dad has had wind of the feud between Cloy and Cobb and stops the shooting.
But a fight is unavoidable. It rages whilst Cassie pleads with her guardian about Cobb being just the sort of hero John writes about in his novels. "I've failed them both," admits the discouraged John
after Chris wins the battle. He gives his blessing on Cassie travelling with Chris to learn more about dressmaking.
Dad is left to give Cloy a little "understanding," as
Chris paddles Cassie downstream into the distance.
To Whiplash menu
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25
Flood Tide
Chris Cobb has only one female passenger, Miss Sarah Bartley (Shirley Broadway) on the journey
to Kerrytown. But the river is flooding and with night falling the pair are forced to seek shelter.
They find it in an isolated house on the hill. It's a well furnished place, but empty, and they settle down for the evening.
She however has a sense of "something yet to come," and she's justified in her fears when she spots a face at the window.
Chris braves the stormy weather but finds noone.
"I'm going to pray tonight," she says. Then a stranger knocks. He's Jess Beldon (Barry Linehan) and Chris soon sees that the couple
had planned to meet here - quite how is never explained. Sarah says Jess, "who can be difficult," has escaped from prison, but he was inncoent of the murder for which
he was convicted. "He didn't know what he was doing," for he's mentally unstable.
She recounts the very dull story as lightning flashes mechanically in the night sky. She asks Chris to help them escape the country, but he refuses.
So Jess attempts to force Chris and there's a struggle in which Chris comes out on top. Then Jess admits it's Sarah who who has escaped from the asylum!
As she disintegrates along with this story, she tries to leave, somehow shoots Jess and wounds him. But they are reconciled and
returned to the madhouse along with us who have sat through this nonsense. Chris looks on sombrely in this truly dreadful story
To Whiplash
. . . . . .
26 Dilemma in Wool
Introduction: the most famous breed of Aussie sheep- the Merino.
At the Menangle crossroads, Chris has been ordered to report with his coach. Nina has hired him, with her husband Carlos, and their little baby. Drive me immediately to Sydney. she orders. On the journey she explains they are fleeing to New Zealand from her wealthy guardian who had opposed their marriage. "Just like Romeo and Juliet," sighs Dan.
Chris spots a road block and gets his passengers to avoid it on foot, while he continues down the road. A Spaniard stops the carriage, claiming to be searching for a 20 year old girl and her brother. But as Chris has no passengers, Dan is allowed to proceed. But when his passengers are picked up again, Chris rightly wants to know who the couple really are. Nina admits they are indeed brother and sister, but who is the baby? When Chris examines it closely, it turns out to be a lamb. Their deception is all to do with smuggling this Merino sheep back to their poor home in Spain. But since the lamb was stolen, Chris cannot agree to take them any further. Uncle Jose had in fact been trying to prevent them being arrested for sheep stealing.
Dan persuades Nina to return the lamb to Dyson, its owner, but Carlos hides the valuable animal. But Jose and Chris combine to persuade them to do the right thing and the only problem, the Dilemma of the title, is that the lamb had been hidden in a nearby herd. "Forgive us, Mr Cobb." It takes a very intelligent sheepdog to pick out the stolen one, but the viewer requires little or no brains to swallow this trite stuff
To Whiplash menu
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28
Dark Runs the Sea -
It's very hot as Chris Cobb's well-to-do passenger, Fiona Merrick (a barely recognisable Annette Andre)
is kidnapped by the smooth talking Dartner (Guy Doleman).
Her uncle, local magistrate Lufton blames Cobb, muttering about criminal negligence, so, threatened with
the cancellation of his local contracts, Chris sets out on a search for the gang who have taken Fiona.
An eccentric with a pet cockatoo on his head, Bradley Bradley, was eyewitness to the snatch. He identifies the leader of the gang as Dartner,
wanted for murder. All the while with the parrot on his head, Bradley leads Chris and Dan to Dartner's hideout.
Cautiously they approach his hut. "Drop your guns, Cobb." Dartner locks Chris and Dan in a giant bird cage. Their breakfast is served by Fiona who calls Dartner "darling."
"A silly romantic schoolgirl adventure," is how Chris sees it. He tries to prove to her that the villainous Dartner is only after her ransom money, but she prefers to look on it as a kind of dowry.
Her uncle brings the demanded cash, and Chris is right, Dartner now gives her the push. "Get her out of here." And it seems uncle is in on the deal.
Dartner's real evil character comes out as he gets angry with the poor cockatoo, and when his owner protests, Bradley is shot. That forces Fiona to see Chris had been right, and she releases the prisoners from their cage
and Chris chases after the now fleeing Dartner. There is a desperate fight by a picturesque waterfall, and we all know who will fall, sodden, into the raging torrent.
A grateful Fiona makes eyes at Chris. But all he can wisely recommend is that she gets "the back of a hairbrush."
Whiplash Menu
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29 Haunted Valley -
The Introduction refers to bushrangers who were "among the most dangerous outlaws the world has ever seen," hiding in remote places far from the law.
At Wallaby Junction, Chris is to meet old prospector Wallaby Dick.
Chris interrupts a birthday celebration for Catha Cameron, a nice philanthropist, though her hosts Col Macready and his shifty son Robbie are less impressive.
Chris asks Wallaby Dick's whereabouts, only to be told he's dead.
He'd lived in a haunted house two miles out of town, and Chris meets Catha there,
and tells her Dick had found a waterhole by an important secret pass which Chris
must now search for, to enable him to set up a new freight line.
In return, she explains her father had been murdered at this house, when she had been a child. She kisses a surprised Chris. A gunshot interrupts their romance.
Someone is stealing cattle, probably using this secret pass to make good his escape.
It's in Chris' interests to find the pass, and in local landowners, Macready and Kilcain too, to stop the rustling, so Chris proposes to keep watch for the thief.
It works a treat and the pass is revealed, to Chris' satisfaction. And the thief is caught, a "vicious child" whose father had killed Catha's father. Rough justice is meted out when the thief is shot.
There's a mini-dying speech from Catha, cut short by her death.
Thoroughly uninspired
Whiplash Menu
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Love Story in Gold
The introduction is another preamble about convicts being sent down under.
Smithy retains Chris Cobb to deliver his goods in person. Apart from the usual items like brandy, he has ordered a trousseau and two coffins.
Chris has to be blindfolded so he cannot identify the exact location of Smithy's wealthy home, where he resides with a gang of ex-convicts ruled over by the aged Tamros. She tells Chris one of the coffins is for her.
The other is for Chris, unless he agrees to be married. Chris looks rather bemused as she admires her own coffin, "best in the world."
But he is a little more than puzzled when he is introduced to his bride-to-be Toria. It's a stark choice, marry her or go into the second coffin.
He tries to dissuade the pretty young girl from going through with such an arrangement.
Tamros explains why it must be so, for she is on her last legs. She recounts her sad life as an outcast convict.
So it is marriage tomorrow, at sun up! Snithy would marry her himself, only he ain't respectable like Chris Cobb. There's a celebration this night, Chris using his chance to slip away. Tamros is dancing her heart away, and her life, as she collapses, and Chris has to cut short his departure.
He promises the dying woman, "I'll do everything I can... I'll look after her."
On that happy note, Tamros expires, and the preacher comes in useful for the burial service. He is really here for the wedding and it's time to start, Chris with a knife at his throat:
Minister: You can't marry a man in that position.
Smithy: Where's it say that in the Bible?
After the marriage, time for the honeymoon as Chris takes her away. "I'm all confused," Toria admits. But Chris gets her to see she should stay at the home she knows, and look after
her 'family.' The minister confirms that the marriage was not binding.
What Smithy says when she returns is never told
To Whiplash menu
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Secret of the Screaming Hills
Introduction: The rainless deserts of Australia. Here the Frog Man is the aborigine symbol that prays for water to be given.
On horseback, Chris is held up, yet again, mistaken for someone else called Ryan by Wooster (not Bertie of course). But Wooster then collapses. Please take this map to my wife, with his dying words he begs Chris. A treasure map.
Chris takes the man's body to the town of Screaming Hills, where a tracker named Jo agrees to show Chris the location of Mrs Wooster's homestead. 'Tis a parched lonely place where she lives with her son Tad and daughter Miranda. She despairs of her flat wasted existence. The map she is given doesn't exactly cheer her up. It contains a mysterious sign, yet what can it mean?
Wooster's ex partner, Ryan, grabs the map, but Chris can remember enough of it to start a search with Frank, Miranda's boyfriend. Frank's dad, rich local businessman Garrett forbids him, but Frank disobeys him.
Jo recognises the symbol on the map as the Frog Man and knows where the place is; "there's a kinda sense to all this," muses Chris, though I couldn't see any myself.
Ryan is already at the sign of the Frog Man with his shovel, a diggin' like mad, but a storm brews up, the wind starts a-howlin', and he gets scared of the aborigine superstition surrounding the place.
Chris is made of sterner stuff and uses dynamite to uncover the secret of those hills, it's a gushing spring o' water. In between all this, Frank learns his father has been rather naughty, but everyone else is mighty glad now that water is flowing in abundance.
So the treasure is unearthed, though
there are too many cliches to make the tale genuinely exciting
To Whiplash menu
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32
Act of Courage
A muddle of a story on the tarnished hero theme, maybe some kinda Christmas Special, since Guy Doleman hums and plays
God Rest Ye Merry Gentlemen.
The well laden stage has arrived at Cross Creek Station. Beautiful Terry McKenna (Margo Lee) is having trouble here, in keeping control of her impressionable son Mike, who "needs a man
to help him." The two faced Sundowner (Guy Doleman) is willing and able and has wormed his way into the lad's affections.
Chris has come with the stage to testify against Jamie Stewart, who had shot one of Cobb's drivers. The Stewart gang ride into town and, guns at the ready, insist noone's gonna leave town until after the trial.
But one brave soul, Bill, has to, as his wife is expecting. He's beaten up, Chris joins in the fight to even up the score and Sundowner is proved to be in league with the Stewart mob. But his is an ambivalent character, much ado about nothing I would call it. He's "a good man who went wrong,"
and Chris appeals to his better nature not to take Mike with him when he leaves. But Mike sees him as a god.
The story drifts along and Bill's wife is now clearly in need of medical help. Chris Cobb to the rescue. He is going for help. Margo hands him a gun, and Chris is face to face with Sundowner: "I'm going thru that door," warns Chris. Mike watches
to see if his hero will shoot. Peacable-like, Sundowner acts the gent and yields. But the rest of the gang won't let Chris depart so easily.
Guns blaze as Chris single-handedly shoots at em, before Sundowner interrupts proceedings pleading the humanitarian cause, but is shot for his trouble.
His dying breath is very philosophical. "Tell Terry, I gave her a gift for Christmas- her son."
Get the hankies out, as a smiling Terry and Mike hug each other. Actually Mike was his son. Me, it ruined my Christmas
To Whiplash
. . . . .
Adelaide Arabs
The introduction tells of the Aussie obsession with horseracing.
At Wallenbridge, two Arab mares and a colt are being auctioned. Short of a horse after he has been robbed, Chris puts in a bid. The very thieves who have robbed him counterbid, but Chris seems to have beaten them when three thousand is reached. However young Miss Jessop then continues the bidding but eventually the three horses are knocked down to "the man with the upturned hat," Chris for £4,000. However as he can't immediately pay, as he has no cash, Miss Jessop quickly seals the deal.
She takes them to her Glenmore Stud, and there Chris meets his rival bidder Sorrel (Chips Rafferty), who still has designs on the Arabs himself- for free.
So that night Sorrel's gang steal the horses, and plant Chris' wallet, implicating him in the theft.
The gang plan to use the horses as lightning getaways after they rob a new bank, "with these Arabs we can outride anyone."
An "up-to-date strongroom" is the main asset of this new bank, boasts its proud manager, but the two gunmen neatly relieve the boxes of their contents. The under suspicion Chris with a policeman gallops in hot pursuit. The robbers grab their Arab steeds from their accomplice waiting nearby, and off they rush. Surprisingly, Sorrel orders the gang to stop and prepare to ambush Chris, but after gunplay the crooks are rounded up.
Sorrel explains to a puzzled Chris why he hadn't galloped off into the distance as they could have done. His horse had pulled a tendon, and as a horse lover he couldn't endanger such a thoroughbred horse. A nice little twist.
Chris returns to Glenmore for thanks, and something more practical, an Arab horse
To Whiplash
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Other Side of Swan
The Introduction explains that Melbourne was a modern city by 1840, only the news from Britain was three months behind the times.
The governor, Sir John, requests Chris Cobb to find a man thought dead for the past seven years. This man, Elliott, is the governor's brother, and someone says they have seen him in a post office in Melbourne. He's wanted in London for murder.
At this post office he'd been collecting mail from Box 24, so Chris pretends to be the man's estranged son, Fagin Jr, to elicit information as to where his 'dad' lives.
Wilfred Swan is a bank messenger who regularly takes payments to this box number.
It seems that Mr Fagin had struck it rich in the gold rush. But the bank has no contact address for this man.
Chris leaves a note in the box, stating he will go to the police unless he is contacted. He is- knocked unconscious! "He came, he saw, he conquered," Chris moans ruefully to Dan.
Sir John's niece, Miss Anne Eddington (Margo Lee) invites Chris to dinner. He's the only guest. And she is no niece. She's the wife of Elliott. He works at the bank as Swan (why, as he's so rich?!).
Chris is locked in an upstairs room. Elliott's wife tells Chris her husband was innocent of the murder. She should know, as she did it. She had killed her guardian, "a vicious drunkard," but her husband wanted to shield her. Will Chris keep quiet? She promises to leave Australia if he will. But Chris can't do
such a dishonourable act, and so Elliott plans to drug him and deport him as the wanted criminal.
Dan has been searching for his boss, and finally spots him, tottering on the roof of the house! He's got out of his room, but the drugs seem certain to send him forty feet down to his death. Bravely, Elliott steps on to the roof to the rescue, but we all know he will fall to the ground himself.
Amazingly all he gets is a broken arm, and he is reunited with his brother with honour, voluntarily agreeing to return to Britain to stand trial.
After Richard Denning had spent a little time down under filming with producer David Macdonald (though co-star Jill Adams did not make the trip),
filming the series proper started on the Elstree production floor in October 1958 and was ten months in the making. Celebrations were in the air "as they neared completion of the last story- "little flags were waving over cameras, dolly, boom...."
Apparently this story was "all about a secret missile... a huge thing, an upturned battered truck, and even Patrick Holt all gory with studio blood."
September 11th 1959 saw the series previewed at the plush Viewing Theatre at The Mayfair Hotel with a screening of episode 1. Guest of Honour naturally enough was the High Commissioner for Australia (Sir Eric Harrison).
No sign of the star although supporting cast Alan White and Jill Adams were there.
A critic wrote of this episode 1: "Star Richard Denning emerged as an extremely sympathetic personality. It is too early yet to judge whether the several hundred feet of location
shooting in the outback will show up sufficiently brilliantly to lift it out of the ordinary."
Let's be honest, this wasn't a masterpiece. However I rally to its cause when I read what another snooty contemporary critic wrote:
Guy Taylor (9 June 1960) -"hackneyed, corny, cliched, scenes opening up with actors obviously waiting for their cue, cardboard sets and cardboard characters."
Two weeks later he recanted, just slightly.... " I was staggered at the low standard of the material. I wrote a searing review because I thought it an insult to the intelligence of a British audience
to screen such banal rubbish. (Rather a cliched review don't you think?) To be absolutely fair (my bold type!) however I took another look at The Flying Doctor to see
whether there was a glimpse of improvement. The script of 'The Secret' was written by Philip Levene... and while it was better than the previous one I had seen, the standard was still low."
7The Hideout-
Across the studio desert crawls a battered man. He's in luck for Dr Greg Graham is flying overhead and rescues Barney Mason
36 The Conspiracy-
"Sell him the wool," a wife orders her stubborn husband, "or next time they'll kill you."
Sheep farmer Mason (Bill Kerr) needs treatment by Dr Graham
38 A Call to London -
Grubber Evans (Robert Beatty) makes an urgent phone call for help- his mate 'Windmill Wilson' has been in a coma for days. Only Dr James Harrison knows how to cure him, but he's away in London
Film Drama Menu
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Theatre Royal (1955)
aka Lilli Palmer Theater
Lilli Palmer introduced these 25 minute playlets.
On film, I have these filmed introductions
and links
but not the complete stories
by her for these:
3 The Door
with Sam Wanamaker as Denis,
Finlay Currie, and
Renee Asherson
8 The Little Black Book
With Wilfred Hyde-White and Flora Robson
20 Just Off Picadilly
with
Pauline Jamieson as Marjorie and
Michael Gough
Film Drama Menu
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African Patrol (1957)
starring John Bentley
|
Much as I like John Bentley, I have to confess this is probably the worst filmed series of the era. I think what's worst is his forced American accent, which he rather enjoyably for us, occasionally forgets.
John Bentley later claimed:
"We had far more adventure behind the camera than we ever recorded on film. African Patrol
is one of the most dangerous assignments I have ever had."
One example was when filming was close by a herd of elephants.
"One of the bulls started to trumpet. With my gun in my hand, I had to time
it just long enough for the camera to get a shot of the elephant charging,
but still leaving me time to jump into the car. And then the engine stalled!"
The company Gross-Kasne filmed all the stories on location in Kenya.
However one viewer complained to TV Times (edition 146 Midlands region) that a van was seen in the series with a Nottingham
registration KAL. He was rather mystified, in view of the statement that the series was filmed entirely in Africa.
The answer is given that this KAL registration was also a local one in Kenya.
The location shooting gives the series the merit of authenticity, unlike its counterpart, White Hunter, but it conveys an atmosphere of amateurishness, that might be acceptable if the acting were more enthusiastic- as it is you feel the burden of having to produce 39 stories
was all too much for the production crew and the actors, not to mention the banal scriptwriters.
My favourite episode of ones I've seen: #29 Hell Hath No Fury
It's nice to know real-life romance blossomed on African Patrol, when Dorinda Stevens (in The Baboon Laughed, and Man and Beast) got engaged to producer George Breakston's personal assistant Michael Boultbee. They married on April 8th 1957 at St Francis's Church Karen, near Nairobi.
Question: Seen here in story #37 with Colin Croft (right) and Honor Blackman (left) is which familiar face?
Answer
Drama Menu
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17 "Shooting Star"
Inspector Derek is at the airport to oversee the arrival of Zodiac Films' big star Ray Gilbert (David Oxley), an obnoxious feller who "takes pleasure in needling people," even the illustrious inspector whom he addresses as a "boy policeman." Remarks Collins, his press agent, "someday, someone's going to kill him." How right he is!
The big star is united with his team- director Victor Bennett introduces his leading lady Miss Susan Barry (Monica Stevenson). "I am the star of this picture," he pompously tells her, in his long flowing satin dressing gown.
On location there's an "explosive" atmosphere as Derek pays a casual visit. A large light from a gantry drops almost on top of Gilbert, who accuses the director of trying to kill him. Motive- Bennett's wife left him for Gilbert. "I'd like to see him dead," admits Bennett, whilst denying he had anything to do with the falling lighting.
Another accident, as a runaway truck demolishes Gilbert's tent. Luckily, at least for Gilbert, he wasn't inside. Another suspect might be Frank Vincent, an old pal of Susan's, who regards the star as "a bighead with no brains." But then, nobody seems to like him at all.
Gilbert is shooting a scene on a lake, paddling his canoe as we see film of some crocodiles- "he's not going to be lonely-" even though they never ever seem to get anywhere near him. "The boat's sinking!" Bullets rain across the lake at the distant crocs whilst Inspector Derek paddles furiously to the floundering star. Gilbert moves ne'er a muscle he's so calm, it's done extremely unconvincingly.
Shooting has to cease on the film as Derek examines the canoe. It doesn't need a Sherlock Holmes to notice the six holes drilled in it. Film of the proceedings shows everyone on shore exhibiting concern except for one person, and that's sufficient for Inspector Derek to make his arrest
African Patrol Menu
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5 "The Baboon Laughed"
“Lay off my wife,” Raymond Larsen (Conrad Phillips) is warned by bully Robert Gibson (Peter Dynely-sic-). Safari hunt leader Alan Tarleton is so worried for the safety of his expedition, that he phones Inspector Derek to tell him he's sitting on a "case of gunpowder that's about ready to explode."
Derek drives his jeep up country, but before he arrives, the feud has reached its crisis point. “He should be strung up by the thumbs and left to the cats,” Larsen is telling Gibson’s wife Helen (Dorinda Stevens) about her obnoxious husband. “We’re gonna make Bwana Gibson a very unhappy man,” Conrad Phillips utters in his best American accent. But that’s the last of his dialogue, for he is shot dead.
Rather late, Inspector Derek arrives to interrogate Gibson and his wife. As Helen has an aversion to guns, surely there is only one suspect?… As John Bentley summarises very succinctly, and very cornily, “the big question was, who fired the rifle?”
Gibson seems to have a watertight alibi, as he was with Alan Tarleton at the time. “You don’t like him do you?” Derek asks Alan. “As much as I do a cobra,” Alan replies.
The men’s animosity had centred on Helen, who is suddenly chased by a ferocious leopard. She ends up in its jaws (presumbaly it’s a tame one actually!) but Robert strangles it. Later she is quite open with Inspector Derek, explaining that Larsen had been Gibson’s ‘secretary’ but more than that, as his boss had sought to best him at every opportunity, giving him “unmerciful beatings.”
After examining the area where Larsen had been shot, Derek tells us “I was ready to make my arrest.” The killer would have had to be a pretty competent marksman. But when Derek discusses it with Alan Tarleton, he learns Gibson, whatever he liked to boast, was not much good with a rifle. So Derek returns to the scene of the crime with Helen. By a simple trick, he gets her to shoot, despite her proclaimed abhorrence of guns, at a charging lioness. As a dummy is chucked at their feet she kills the studio prop. That persuades her to admit she killed Larsen, it was because he was threatening to leave. Unlikely, you must admit!
African Patrol Menu
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7 "Bad Samaritan"
There’s poor Inspector Derek trudging through the lonely bush country. He’s all in. Then he is aided by the man he is pursuing, Brooks Todd (Peter Dyneley). When Derek regains consciousness, he’s lying in the European Hospital.
”I owe him my life,” breathes Derek to Alan Tarleton sadly. And the policeman’s repaying that kindness by sending Todd to the gallows! In his bed, the inspector relates how he had been called to an up-country trading post to investigate the murder of a man named Ward. Todd had had a feud with him, and it was “inevitable” that such bad blood would end in death. Todd had since disappeared, but where to?
In the Massai Basin area, Derek learns Todd’s buddy, pilot Basil Jones has been seen. So Derek drives there, and finds Todd clearing a landing strip. He’s arrested and taken back to Nairobi. But that is not possible, for there’s some bad luck, Derek’s jeep has conked out. It’s a matter of an 82 mile cross country hike. With Todd handcuffed they walk on, past rhino and elephant, until a snake bites Derek on his leg. Todd removes the poison and bandages Derek up, and doesn’t even escape. He insists on sticking around to ensure the injured Derek returns safely to Nairobi, and doesn’t fall victim to any prowling lion.
In the heat they continue slowly on, at night they rest. The “noble” Todd admits he will get away, once he knows Derek is safely back at base. Thus Derek ends up willing his prisoner to run away, but as he won’t, it is Derek who totters away one morning by himself. Yet “the decency of the man” rescues the ailing Derek from a rather skinny looking leopard.
Now from his hospital bed, Derek is resolved to testify in Brooks Todd’s favour at his trial. But that’s no use, for he learns Todd has died from the snake venom he sucked out of Derek’s leg. Here's an absurd cop-out for an ending, as Alan Tarleton consoles our inspector, "as I see it, the whole decision was made by Somebody much bigger and wiser than all of us."
African Patrol Menu
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29 "Hell hath no Fury"
At a swish outdoor cocktail party, Inspector Derek congratulates Delphia Collins (Gene Anderson -here credited as Jean Anderson) on her engagement to Teddy.
One of her four previous fiances Tom (Raymond Young) doesn't believe she loves this "stuffed shirt." He shouts at her "you're not going to marry anyone but me."
Del's sister Anne (Nancy Poe) is so worried, she asks Paul Derek to help: "she doesn't care about anything or anybody." It's not just Del's recurring headaches, she's been involved in two traffic accidents recently. But Del's widowed father (Kenneth Edwards) puts it all down to youthful high spirits, though he's evidently over indulging her.
Inspector Derek becomes professionally involved when he sees Del, alone on safari, a lion charging at her. She seems oblivious of any danger, and after Derek rescues her, she explains, "just wasn't my time." They chat about her latest fiance to get the push, Teddy. "Del, why don't you tell me what's bothering you?" She won't talk.
But Tom recounts to Derek how she'd broken off their engagement after a trip to London. No explanation. "Everything she's done lately, makes me think she doesn't care about anything or anybody."
On Route 79, there's an automobile accident. Del is killed. Her car had been doing over 100, but it's murder! Derek spots a tyre with a bullet hole. "Why should anyone want to hurt her?" asks Tom.
The tragic truth now comes out. Her father wearily explains that when in London Del had been diagnosed with an incurable brain tumour, "speed took away the pain which steadily was growing stronger." Finally that pain had been unbearable: "I pray every night I won't wake up in the morning." As she'd "suffered enough," her father had fired the bullet at that tyre. (A good shot he must have been at that speed.) "Now she's where there's no such thing as pain."
Here's a sombre tale of mercy killing. Derek has to arrest him, though he confidently affirms to Anne that her father won't end up in jail.
Footnote- Gene Anderson flew from London to Kenya for two weeks on Sunday 29th December 1957 to make this story and one other. The report also refers to her appearing in The Adventures of the Jungle Boy, but this may not be correct.
African Patrol Menu
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30 "No Place to Hide"
Farmers are facing an economic crisis as a result of a virus, and flocks are having to be culled. One of those suffering is Jim Stevens (Kevin Miles) who can't repay his loan from moneylender Charles Sidram. He is foreclosing on Jim's farm amongst others. Despite Jim's plea for an extension, Sidram's "associate" Philip Gynos (Raymond Young) warns "if you can't repay when due, there's no sense in prolonging the inevitable."
Jim gets so angry he utters rash threats against Sidram, a very stupid thing to do, for Sidram is later found murdered. It's Glynos who discovers the body of his employer.
Inspector Derek is quick to spot the likely link of the foreclosures and Sidram's death- it doesn't need a Sherlock Holmes to do that. First to be interviewed is Jim, except he's not at home. His wife Stella admits she knows Jim is the murderer. But she doesn't seem that distraught- either she's a poor actress or she has something to hide. The actress is a very young Zena Marshall, so let's assume it's the latter.
The case because less clear when Inspector Derek learns Sidram had been suffering from an incurable disease. He had only a month at most to live. A doctor tells the puzzled inspector: "his loss will be felt for many years." The philanthropic Sidram had donated generously to a hospital, and Sidram's attorney likewise sings his praises. Perhaps Inspector Derek will need to emulate Sherlock after all!
It turns out that it was Glynos who was enforcing the foreclosures, behind his boss' back. Derek takes a dislike to this smooth shark and finds out he had once been engaged to Stella. In fact she is still in love with him.
Jim is having a showdown with the two of them. Glynos stands by smiling, as Stella draws a gun on her husband. "I don't understand," says poor Jim. They enlighten him.
"Drop that gun!" interrupts Inspector Derek, just in time. Unlike Sherlock, he needs that gun.
African Patrol Menu
Drama Menu
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White Hunter
starring Rhodes Reason
The producer was Bernard L Schubert, and the series was distribued by ITP, later to become ITC.
This announcement began each episode:
"True stories that actually happened, as told by the greatest of the African white hunters."
It was claimed that all the scripts were submitted to the Kenyan government
because of the political and social problems current in that country (TV Times No 151 p15).
In Film Review for 1953/4 there is a reference to Herman Blaser who "with Brunel and Bartley, is making a series of Jungle films in their well-known series The White Hunter." However all the tv stories I have seen are dated 1957, but the fact that some were made at Twickenham and others at Halliford Studios might suggest the films were made in 2 batches.
Also in 1957, Rhodes Reason made a feature film Man-Eater in which he played a white hunter named John Hunter, as in this series, although the personnel on the film were otherwise entirely different.
Film Drama Menu
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3 "Inside Story"
Hunter is asked to take ace journalist and photographer Sherman Wick (Phil Brown) and his assistant Martha (Barbara Shelley) to interview a tribal chief Arusha (Cy Grant) who is a Cambridge graduate. It’s a long journey to the foot of mountains where Mao Mao terrorists still hide out.
There’s some ‘previous’ between Wick and Arusha, for the reporter had written a rather unbalanced report earlier, about Arusha whilst an undergraduate, and it’s evident that this time it’s going to be similar. At the village, he is determined to see the place as a concentration camp, refusing to accept Hunter’s explanation that the fence round the village is to keep out any marauding lions, and those who wield guns are there to protect tribesmen from the wild beasts. He also photographs a lion hunt in which the animal is hunted and killed.
Feelings against Wick are running high in the tribe, and one breaks in to his tent to steal the camera, but Hunter stops him. Wick blackmails this man into taking him into the mountains so he can get some good pictures. This sparks off a full scale search for the idiot, whom they eventually locate. “You’ve worn out your welcome,” Hunter warns him. This leads to a fight, and Wick gets what he deserves.
”Wait till this story gets to the stands,” the vengeful Wick promises. His slant will be “Cambridge education chief amuses himself killing a senile lion,” and other misrepresentations of photos he has taken. “And you’re supposed to be reporting the facts,” comments John Hunter ironically.
In his epilogue, Hunter informs us that “fortunately…. Martha gave the true inside story of Arusha.” In her account, she exposes Wick’s hypocrisy.
White Hunter Menu
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12 "The Trophy"
Atimbu, John Hunter's gun bearer, is beaten up by a white man who adds the warning "I'll settle with John Hunter later." He's a rival hunter, Doug Gordon (Robert Cawdron) who has sworn vengeance on the pair because they had testified against him in court. He does indeed follow up his threat and attacks John, right in front of his latest clients, Bill and Laurie West (Charles Stapley and Jill Melford).
Hunter is taking them to photograph African wild life, "at least it's a change from shooting them with a gun." Gordon trails them, having been commissioned by the slippery Kern to find a big trophy. The pair bide their time following Hunter's group, until there's something decent to shoot.
Rufus, a giant elderly lion is their game. Whilst Bill prepares his camera to shoot, Gordon and Kern ready their guns. Luckily Hunter spots them and fires in the air to frighten what they jibe is "his pet lion." They try several times more to no avail, and decide to use more drastic methods. A deer caracase is bait for Rufus, and to lure Hunter's men away, Gordon ties up Laurie, who's left behind in camp, and hides her in the bush. Hunter finds her just in time to prevent her being bitten by a snake, but with the field clear, Kern purrs "there's the lion now...." His shot only wounds the poor animal, so they follow him ready to claim their trophy when it's too weak to attack them.
Hunter catches up with them and orders them to put the lion out of its misery. Scared of yet approaching the wounded beast, Gordon runs and it's left to Hunter to perform the last sad rites.
Epilogue- Bill West's footage becomes celebrated, and it is used as proof against Gordon and Kern, ensuring they will never hunt again
White Hunter Menu
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13 "Web of Death"
There were these two uranium prospectors, Dr Elvin and Jack Palmer (Peter Illing and Peter Reynolds). Their target is a disused copper mine in West Tanginyka, abandoned for fifty years, which they believe might contain pitchblend.
They enlist John Hunter's services, planning to kill him when they have found the mine.
En route Maria Conti (Jeanette Sterke) joins the group. She had been walking from coast to coast on foot, alone, and Hunter knows she is in great danger from the wildlife so he orders her “you’re coming with me.”
Palmer falls for her, but then disappears, and is found dead.
The rest of the group travel on, and find the overgrown mine. Inside, a geiger counter helps find some uranium.
Suspecting Dr Elvin’s foul plan, John Hunter and Maria agree to keep a close watch on Elvin. Except when they are kissing of course.
Whilst John sleeps, Elvin creeps up with a knife. Maria shoots him “through the heart.” Then this “smart girl” proposes she and Hunter keep quiet about their discovery, and the deal is sealed with a kiss. But he’s not that daft, knowing she intends to keep that mine for herself, and Hunter finally sees through her loving advances, and realises she has planned the death of both the prospectors. He promises her “I’m taking you back myself.” She won’t allow that, and draws her gun. A spider happens to drop on her to thwart her well and truly. Sudden end to story.
In his pompous conclusion, Hunter tells us: "The justice of the jungle takes many forms. I would never have thought my life would be saved by a spider."
White Hunter Menu
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14 "Pegasus"
After four months on safari, John Hunter can now sleep "in a real bed." But he's immediately awoken by Trevor Harrison (Trevor Reid) with orders to be in his office in ten minutes. There, Hunter is introduced to Dr Howard Sheldon (Arthur Lawrence) who had masterminded the Pegasus satellite project, which has now made a forced landing somewhere in the Aberdare Forest. Hunter is needed to help Sheldon locate the satellite urgently.
Sheldon is a determined man, but also a sick one, and he nearly falls victim to a raging river, but not, thanks to Hunter's quick action. Journalist Marge Wilson (Patricia Roc) barges in to the expedition, and after a tiring search the three are taken prisoner by a tribe who threaten to land their captives "in the cooking pot." These benighted savages have found Pegasus, worshipping it as "their god who came out of the sky." (Just remember that this series is, allegedly, based on true happenings!)
When a tribesman dies, evidently after exposure to a dangerous chemical on board the satellite, it looks black for the trio. But whilst the dead man is being buried, Hunter breaks out of their makeshift prison and with Sheldon, retrieves top secret equipment on board Pegasus. The tribesmen spot they have escaped, but the superstitious fools believe their prisoners have been devoured by their god. (Another reminder- these stories are supposed to be based on true tales.)
White Hunter Menu
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17 "The Lonely Place"
In Somali country, "a world of desolate and lonely places," District Officer Rankin (Andre Morell) is preparing for a siege. The heat has clearly got to him, as, when John Hunter and his survey exploration team draw near, they're greeted by a volley of machine gun fire. Anyone who comes near his waterhole gets similar treatment.
Hunter dodges the bullets, climbing into the fort. He tries reasoning with Rankin who's there alone with his daughter Margaret, but it's impossible. "Mr Hunter is the man who killed your mother," Rankin tells her. "You're insane," responds Hunter. After a fight, Hunter tries to make Margaret see the truth.
Local tribesmen, deprived of their waterhole, are getting restless. They gather outside the fort, taking prisoner the man left in charge of Hunter's party. Hunter parleys with them- he has until High Noon to hand Rankin over to them in exchange for their prisoner. The deadline passes, Rankin rambling on, reliving the day his wife died in an earlier siege. "His mind's gone," Hunter tells Margaret sadly.
Hunter decides to play along with Rankin's fantasy. The two walk out of the fort to face up to the tribemen. In a nice twist, the natives see he's gone bonkers, and now worship Rankin as "a holy man." Thus the stand-off ends peacefully.
"It wasn't easy to take their holy one away from the Somalis," Hunter explains in his epilogue. But surely no harder than swallowing this story.
White Hunter Menu
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31 "Moment of Truth"
After three months with two "shoot-'em-up-boys," John Hunter is so pleased to be able to relax with his girl Carol Rutledge (Dorinda Stevens). "You look awful" she tells him, so he smartens himself up in the bath, only to be interrupted there by Andy Stevenson with a request to help a tribe who are being attacked by lions.
John just has time for a mamba with Carol, but even this is interrupted by old colleage Pete, who insists on introducing John to his son Denny (Tim Turner) and Barbara his fiancee (Jennifer Jayne). Denny is now ready to take over his father's safari business, though Barbara would rather have him closer to her.
For the experience, Denny joins John on the quest for the Man-Eater. He kisses Barbara goodbye, and she repeats her desire for him to stop hunting: "I don't want a hunter, I want a full time husband." She knows a farm where they could settle together. As he can't give up hunting, she returns his engagement ring.
That afternoon the expedition reaches the decimated village. It's been a nightmare ever since this man-eating lion has lead a pack which has been attacking villagers. "He's a big one," Hunter notes, after examining the paw marks.
Three of the lions are shot by nightfall: "a good day's work," says John. But Denny hasn't enjoyed the thrill of the kill.
There's more shooting next morning before the tracks of "the big boy" are spotted. Denny shoots, but only wounds the beast. It's up to him to finish it off. "You got 'im!"
Yet Denny admits to John he "was scared stiff." Advises Hunter by way of encouragement: "a careful hunter stays alive." However, Denny has now realised hunting is not for him, he's going to turn his hand to farming.
Safari over, Carol greets John Hunter with a kiss. Oh dear, Pete's still there, to interrupt! But they do see Denny and Barbara reunited. Perhaps the story could have been titled Girls of Two Hunters.
White Hunter Menu
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Marked Man
Steve Porter (Jack Hedley) manages a game lodge in Northern Kenya.
The Royal Society for the Preservation of Wild Animal Life is sending three men to survey the wild life, John
Hunter to lead the safari. But one of the three is being paid £5,000 to kill Porter.
The members of the expedition are Dr Richardson, an anthropologist, Mr Smedley, a vet, and Dr Martin (Carl Jaffe).
At the ungodly hour of 5.30am, they set off, to an interesting lecture from Rhodes Reason, blaming farming, not hunting,
for the diminishing number of wild animals.But his prophecy seems accurate enough, "white hunter hasn't much of a future in Africa."
Atimbu, the government game reserve, is reached. The group are welcomed by their host Steve Porter, and his new wife Helen (Kay Callard). But Steve receives a
worrying note, "you've been on borrowed time."
Next day the group start work. We watch them tag a lion. That night, Steve shows John Hunter the threat.
Steve knows who's behind this. Ten years ago, he had married the daughter of wealthy Clive Atherton. She had died six years ago, hounded, Steve believes,
by her father who could never accept their marriage.
John Hunter questions the guests, and confiscates their guns. "I won't be treated as a criminal," protests Dr Martin. "He's hardly the killer type."
But who is? That night, Sadi, a native, interrupting the potential killer, is shot himself. "It had to be Martin," decides Steve. But it's only a guess.
John dresses in Steve's clothing to draw the killer. Twice round the studios he darts, before a shadowy figure shoots. "Come out Porter, you can't run for ever."
But good old John Hunter catches the would-be assassin in the net lately used to trap the lion. "He'll be safe in that net until morning"
White Hunter Menu
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35 "Voodoo Wedding"
John Hunter is taking his pal Bob (Robert Shaw) out on a stag night, even though his wedding to Sally (Gene Anderson) isn’t for two weeks. Her “rejected suitor” Fred (Edward Judd), is her oldest friend, but she has now found true love with dear Bob.
”There can be no wedding,” her servant tells her. He says she is married already. Actually, he has misinterpreted her childhood friendship with Fred, but the fact is “you make the witch doctor’s spirit angry.”
With Bob away in Los Angeles collecting an elephant, Sally has a nasty experience one night, as smoke pours into her bedroom. She collapses. Bob is rushed to her hospital bed. Apart from diagnosing “she’s pretty sick,” the baffled doctor can’t explain what’s wrong with her. But Hunter has “just an idea” it’s voodoo. Dr Waring however is quite unconvinced.
So John Hunter knows what to do. He orders a search be made for the servant, who has disappeared. He is eventually found and states Fred is himself a witch doctor! Why? “He wears beads.” Jealousy of Bob would seem to be a big part of it too. It’s enough to start Bob and Fred on a fight, which ends with a fatal stabbing. Accidental of course.
Bob returns to Sally’s beside. She’s now being fed intravenously. “Another authority” is brought in, to exorcise her, a genuine witch doctor who performs his chants despite opposition from Dr Waring. Soon the spell is broken.
”You’ll be all right.”
”Bob, what happened?”
”Nothing at all,” replies Bob.
”I can’t believe it,” gasps the doctor. Nuff said.
White Hunter Menu
To Film Drama Menu
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O.S.S.(Office of Strategic Services)
starring Ron Randell as Frank Hawthorn, who described the stories thus: "a violent series. Those spy guys didn't play games. It was life or death for them every time."
A successful pilot was completed in January 1957, leading to the complete series being filmed later that year.
It was about "the exploits of the Office of Strategic Services in Axis-dominated Europe."
The stories were based on true incidents and all the characters, apart ironically from Randell's, were based on actual people.
The producers were given as American 'Buckeye Corp' (LSQ Prods & Flamingo), and eventually OSS was distributed by ITC.
26 films were made:
13 "Operation Pigeonhole" - Frank has to learn sign language in order to infiltrate into Italy ahead of the Allied troops invasion at Anzio. In Rome he stays with Mario (Peter Illing) who promises to help him obtain details of German military movements. Police official Vittorio holds all the important documents, but how to break into his closely guarded building? The answer, says Frank, lies with a friend of his sign language teacher. With the aid of binoculars he lip reads the conversations at police hq and by substituting Allied carrier pigeons for the German ones, the secrets are flown to Allied command
23 "Operation Choppingblock" - A double agent brings a booby trap camera to the OSS in an attempt to lure agents to capture the cameras from the Stuttgart factory that makes them. But hip hip hooray, MI5 know it's a trap. However Frank goes on the dangerous mission anyway, accompanied by Foxy (Leslie Phillips no less): "Fraulein's takes cover!" warns Frank about him. Actually Foxy's not too overwhelmed about going himself: "I had a table for four booked ... just me and three girls!" He gives a look of bliss.
So to Germany where they are captured, but luckily only by a fugitive from the Nazis (John Gabriel). He's "nutty as a fruitcake," decides Frank, but he proves rather useful when he blows up the approaching enemy soldiers. There's a rather tedious interlude before our heroes reach their goal, the factory, alias Elstree Studios! Fortunately the relevant script has "Actung, Explosiv" written on the door which saves a lot of searching. A truck, conveniently departing the site helps the getaway. A final flourish for Foxy as he orders three red roses for the three women whom, he hopes, are still waiting for him
To Drama
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Sailor of Fortune
This British filmed series starred Lorne Greene as Grant Mitchell, the skipper of the vessel Shipwreck, which plies the Mediterranean and Middle East ports. Her cargo is "anything that is profitable and not too illegal." The producer was Michael Sadlier. Main supporting cast, crew of the Shipwreck were Alphonso, an Italian inventor turned ship's engineer (Rupert Davies), and Sean, an Irish deckhand (Jack MacGowran).
It was screened on ITV in 1956. In the Granada TV region, the first story was transmitted on September 17th 1956.
On film:
1 Cargo of Dynamite
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With Reginald Beckwith, Eric Pohlmann and Ferdy Mayne. TV Times synopsis: While Mitch is relaxing in a small Algerian port, he is asked by an old Italian to take a cargo to Rome. Now the 'Shipwreck' sometimes transports some strange things, so when there is some mystery about the nature of the cargo, Mitch goes up to the hills to examine it.
4 A Case for Murder
15 Desert Tomb
20 The Diamond Chips -
Mitch tries to sell the jewels belonging to Madame Mostovo, a Russian Lady (Nora Swinburne) who is down on her luck. Also with Esmond Knight
Here is part of a contemporary review by Eric Johns of
#24 Castle for Sale.
The story was "better suited to a boys' paper or children's hour. Lorne Greene starred... but the play was stolen by Raymond Huntley as the sinister owner of an Italian castle, which has been sold by the caretaker to an American sailor for $450."
There is a young Contessa, played by Jeanette Hutchinson, who loots the castle and sells ill-gotten treasures to help the unfortunate inhabitants of the adjoining Mediterranean fishing village.
"Gloomy dungeons, and a well with a body at the bottom of it help to colour the story to the right degree of luridness."
"Vernon Sewell directed as convincingly as the melodramatic story permitted."
For fascinating episode details of this series, please go to the Classic TV archive
Menu
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THE ADVENTURES OF TUGBOAT ANNIE
Below are the titles of the 39 episodes of this series planned in Canada from 1954, but only finally filmed there in 1957.
As it was mysteriously backed by A-R, I include details here, though the extent of A-R's involvement is unclear. But certainly
A-R's drama director John Moxey travelled to Canada for about 6 months in 1957 to
work on this series. His wife Gwen went with him.
In the title role was the exotically named Minerva Urecal with Walter Sande as Captain Bullwinkle, who enjoy a good rapport and really make the series.
The titles of the stories were kindly taken from actual film prints by Ray Aguilar, and are listed alphabetically, with thanks to Des Martin for the numbers of the US running order.
Made by TPA, the current trade distributor is given as ITC Entertainment Group. Why not ask 'em at their Head Office in Studio City, California? "Tugboat who...?!"
|
3 Annie's Chicken Farm
12 Annie and the Admiral
16 Annie finds a Baby Tug
13 Annie is a Lady
7 Annie meets a Texan
20 Annie plays Cupid
19 Annie the Smuggler
33 Annie's Big Deal
27 Annie's Inheritance
11 Annie's Retirement
35 Annie's Treasure Hunt
- Annie's Wedding
14 Ballot and Ballast
|
30 Bullwinkle's Folly
23 Butler did it
22 Chinese Formula
18 Cold Congo
9 Commodore Bullwinkle
25 Community Chest Drive
28 Dedicated Delinquent
21 Getting Annie's Pig
29 Golden Fleece
15 Happy Birthday
26 High Blonde Pressure
1 Home is the Sailor
34 Lord H Bullwinkle
|
- Matter of Principle
36 Medal for Annie
24 Operation Hot Cakes
8 Pizza Romance
5 Psychologist
2 Queen Annie
10 Racehorse
31 Reformation of Bullwinkle
17 Romance of Bullwinkle
37 Sixth Santa
32 Smokescreen
4 Sophisticated Annie
6 Stowaway
| Note: Des Martins' site also lists 38 Pinto's Pancake Heaven
Review of the only story I have seen:
17 Romance of Bullwinkle - "Knock-kneed baboon" Bullwinkle rams Annie's boat, but, unusually, apologises. With a tie, a clean shirt, it must be love- Lydia (Charmion King) is "just the greatest." But Annie spots she's a phoney, she's a smuggler working in cahoots her real lover. So Annie decides to help Bullwinkle and "excavate him from trouble" by ramming his raft to save him from the cops ... and himself. But as they are rumbled, Annie and Bullwinkle face "a load of cement round their necks" before Annie's neat trick as she exploits their Achilles heel. The punchline is Annie's to the ex-lover: "Next time you start out with a flame, be sure you don't end up with a hot cargo!"
To Drama
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The Adventures of the Seahawk (1958)
The star was John Howard, commander of a floating electronics lab, that sailed the Caribbean.
Also starring was John Lee. One of the main directors was Pennington Richards who directed stories about his first love, sailing.
The series was an independent production by Eugene Solow and Brewster Morgan and was only shown in Britain in a few ITV regions.
Thanks to Classic TV archive's informative site for a lot of this information.
In view of the personnel involved I think that this is deemed to be a UK production, though filming was done at Film Studios, Bermuda.
26 stories were made and were still being advertised in the 1990's for tv syndication. Perhaps they still are?
Review of Fiery Opal
- "The hottest show on the island" delays the sailing of the Seahawk, or more specifically it's the dance and singing act of Fiery Opal (Jeanne Bal) that distracts our captain. She asks Pliny Hawk to give her young son Jamie a lift to see his estranged dad. "She spells trouble," Pliny is warned, and so it proves as Pliny is left with "hot potato" Jamie, before Opal oddly snatches him back. They flee to San Leandro island, under quarantine from yellow fever. Pliny braves all in a chase across the interior, where he discovers mother and father bickering over the boy. Dad collapses with the fever, and maybe this brings about a happy ending- as if you really wanted to know
To Drama
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Overseas Press Club - Exclusive!
"I'm the President of the Overseas Press Club of America, and this building is our headquarters, the gathering place of the top foreign correspondents of our time, who cover every corner of the globe in their search to bring the truth to you. From their personal files, we tell the stories behind the headlines. What you are about to see really happened and the people portrayed really lived."
According to a TV Times report, the series of 13 did so well in USA
that 26 further films were planned- what happened?
The 13 films that were actually made, were first screened in Britain in from June to September 1957.
Here are brief synopses of each story:
1 The Man Who Changed Faces-
Lars Hensen (Kieron Moore) is a young handsome Norwegian who submits to plastic
surgery
in order to impersonate a scar-faced Nazi officer.
2 The General's War with Scotland-
Screenplay by Leigh Vance.
In the 1930's Miss MacPherson, a missionary at Sangchow (Dorothy Alison), woos
and weds a Chinese warlord
(Eric Pohlmann) to save the lives of twelve children whom the tyrant was
going to execute to prove to the townsfolk his absolute power.
Also featuring: Ewan Roberts, John Laurie, Stanley van Beers, Michael Mellinger,
Michael Peake, Cyril Luckham
and Lee Montague.
3 The Monk of Chimay-
Screenplay by Guy Morgan.
The story of WW1 air ace Rene Fonck who by the time of the second war is a monk,
Brother Joachim (Claude Dauphin) in a small Belgian town.
Others appearing included Richard Thorp, Jack McNaughton and Ferdy Mayne.
4 Father Tiger-
see review below.
Note- At an advance showing of the film Father Mario Borelli himself
was guest of honour.
5 My Favourite Kidnapper-
An American officer (Ron Randell) gets so far ahead of General Patch's troops
in April 1945 that he ends up in Munich, looking for Hitler himself, but ending up
surrounded by Nazis.
With Ferdy Mayne, Robert Brown, Iris Russell, and Bill Nagy.
6 The Billion Franc Mystery-
Set in the 1930's, the Nazis attempt to create a monetary scandal
to throw France off the scent of their rearmament plans. They nearly
persuade an American correspondent to spread the story that France
was double printing the numbers of six billion francs.
7 Santa in a Jeep-
Col Morgan fights the Greek Communist guerillas by distributing
socks and candy bars.
8 The Millionth Frenchman-
The millionth Frenchman to be repatriated in France after the war
(Serge Reggiani), refuses to be released from his POW camp! When he does
he insists on coming on his own terms.
With Eugene Deckers, Lionel Murton and Austin Trevor.
9 The George Polk Story-
Correspondent Helen Zotos has to fight to prove her innocence
when an American she knows is led to his death by a Greek journalist as he attempts to
interview
the Greek Communist guerilla leader.
10 The Littlest Sergeant-
A parachutist, 10 year old Ukranian boy stowaway wearing a USAF sergeant's uniform
is taken prisoner,
and adopted by an American sergeant.
With Eddie Byrne, David Hannaford, Patrick Allen, Alan Gifford, Betty McDowall,
Lionel Murton and Robert Ayres
11 The Unknown Man-
A Polish journalist (Kieron Moore) enables an imprisoned Pole to be
rescued from a Communist ship moored in the Port of London.
Also with Karel Stepanek, Leonard Sachs, Robert Raglan,
Jack McGowran and Stratford Johns.
12 Tatiana- The Tsar's Daughter-
Newsman George Herald (Paul Carpenter) meets a hospital matron (Phyllis Calvert) in
Germany who claims to be the Tsar's
youngest daughter.
With Leonard Sachs and Helen Haye.
13 Two Against the Kremlin-
Eddy Gilmore's fight to secure exit visas for his Russian ballerina wife
and children. With Ralph Bellamy and Julia Arnall.
My review of: 4 'Father Tiger' - Naples: abandoned kids in the slums after the war, and the story of a priest's mission to reform them.
Peter Arne plays the Father, nicknamed Father Tiger, who first tries to live amongst them and then to convert a derelict church for them to live in.
"Children will always warm to open arms and open hearts," he remarks. "High pulpits are not the only ones. There is another pulpit, the sidewalk."
In amongst the gang is a young Richard O'Sullivan. Also with Harry Landis, Mark Mileham and Alaric Cotter.
Anthology Menu
. . . . . . . . .
One Step Beyond
Introduced by John Newland.
Titles of some of the 15 British made stories. Click title for a full review.
To Anthology Menu
These below in this series, all hosted by John Newland, were American made-
2 "Night of April 14th" - The Titanic story, starring Patrick MacNee as Eric engaged to Grace, who has an "old fashioned" nightmare, feeling she is drowning.
Others share her premonition, and we know they are right, though we can't be sure of Grace and Eric's fate as we watch the Titanic crash into that iceberg. John Newland ends
by showing us an 1898 novel called Futility that uncannily foreshadowed the event
7 "The Dream" - 1940, "bottom of the barrel" Home Guard men keep watch with lots of 'bloomins' and 'ruddys' as this is the American conception of British speech.
Old Herbert (Reginald Owen) is awoken from a dream to stop of boat load of 5 Germans and their officer. The dream was about a bomb landing on his house, and Ethel his wife.
Back home later, he finds his bombed out home, no sign of Ethel, but she had been warned by Herbert in a dream and escaped death
9 "The Dead Part of The House" - With her father Paul, Anne comes to stay with her Aunt Minna, after her mother is killed in a car crash.
Anne can't understand her dad: "sometimes I wish daddy and I could get divorced." In the nursery Anne hears the voices of her three dolls Jennifer, Rose and Mary, but also three girls who used to live in the mansion and who died there after a gas leak
10 "The Vision" - In 1915, four French soldiers are accused of cowardice after running away from a dazzling light. Their lawyer learns Germans had seen the same sight
11 "The Devil's Laughter" - Convicted murderer John (Alfred Ryder) is being hanged, but the rope snaps. "It's never happened before." When a second attempt fails, John believes himself invincible, The Man Who Could Not be Hanged.
He has a vision that he will meet his "remarkable" death by a lion
12 "The Return of Mitchell Campion" - Intriguing account of Mitchell Campion on his first visit to a Mediterranean island. However locals recognise him claiming he has been there before. It's nonsense, he is sure, until he encounters someone he vaguely recalls, Francesca. But
he couldn't have been there before, his passport would have indicated that much. Besides, he was lying in an American hospital after a car crash. Yet, here's a photo of him on his previous trip.
There's "no logical answer," except maybe that Mitchell had been officially dead for four minutes
14 "The Secret" - Not Who is Sylvia?- but Where is Sylvia? On her birthday, Sylvia uses her ouija board to contact Jeremy, and she senses his presence even though noone else can see him.
He becomes so real to her that her husband is sure she's ill. But she blames him for "stopping her living." Mad, she is taken away by a doctor, but is the doctor really Jeremy?
And where is Sylvia now? Vanished from the earth, claims John Newland
15 "The Aerialist" - Trapeze act The Flying Patruzzios' death defying act ends in disaster for Papa Gino, paralysed, "better if he'd died, he's like a mummy or something."
Did Mario (Michael Connors) drop him because they'd argued? We see Mario crack up, all quite understandable, until he revisits the scene of the accident, jumps off the trapeze, but an invisible hand saves him
19 "The Captain's Guest" - For rent: "unfriendly" New England house, "this is what we've been dreaming about," Andy tells his wife Ellen. "I wouldn't fool with it," advises the agent, "don't go to house, not a
happy place," advises a local. But they do move in, and Andy starts to take on the character of the previous occupant, a sea captain who'd lost one leg, until fire ravages the mansion destroying the captain's body, or
is it Andy's? "Not entirely satisfactory," admits John Newland at the end, and for once I agreed
21 Front Runner- Jockey Ronnie Watson, in intensive care, relates how he had nobbled his friend and rival jockey Sam Berry who had bet a fortune on winning his last race. Then Ronnie has his final race, and Sam, aged over sixty, is in the race too and causes Ronnie to swerve and miss his final moment of triumph. But cine film shows that Sam was never in that race
23 "Delusion" - Harold (Norman Lloyd) has a very rare blood group, but refuses to donate his blood to save a dying girl. "What kind of crumb are you?" He explains that when he has donated blood previously, he has affected the recipients' lives.
But finally he is persuaded to help Marta (Suzanne Pleshette), who does recover.
But then Harold has this premonition Marta will die a violent death. He saves her but then a handsome young man rescues her from more danger, and Harold's resulting jealousy can lead to only one thing, death
24 "Ordeal on Locust Street" - Jason is afflicted with a rare ailment of unknown origin. In desperation Margaret his mother turns to Dr Edward Brown, who first helps Jason's sister Anna (Suzanne Lloyd) who has been jilted by Danny after he has met the unseen Jason.
After several month's treating Jason, Dr Brown's method is proved a success. The first use of hypnosis
25 "Brainwave" - In 1944 Commander Bill Fielding is injured on his ship, only man who can operate is a busted drunken rating, Harris, who has to remove the shrapnel from Fielding's neck. Harris has to follow detailed radio instructions from the doctor on another ship, Your Life in Their Hands, but when radio contact is lost, is the commander's life also lost?
26 "Doomsday"
28 "The Inheritance"
29 "The Open Window"
30 "Message from Clara"
31 "Forked Lighning"
33 "Dead Ringer" - What's the connection between lady firebug Emily and her twin sister Esther's unaccountable fevers at the time of the arson attacks? JN explains it is Bilocation, "Emily is evil," Esther explains to her husband Bill, since she's started another conflagration at St Anne's School. Esther wills her sister to come to her, with tragic consequences
36 "Make Me Not A Witch"
37 "The Hand" - After a crime passionelle, a jazz pianist (Robert Loggia) catches Lady Macbeth's disease - anything his hand touches is smeared with blood!
44 "The Lovers" - A "nice story" (says Newland) of a retired Viennese postman who falls for a young maid. But whenever they try to kiss a poltergeist seems to interrupt them
45 "Vanishing Point" - "Where are you?" After another argument a wife disappears "into thin air" in the family home. Suspected of her murder, the husband sees a vision of another woman trapped in their home a century earlier. "The screwiest alibi I have ever heard!" admits the cop. When the husband also disappears Newland asks us "how can that be?"
46 "The Mask" - How come a wounded American flyer in WW2 can suddenly write and speak ancient Egyptian? And how come, after his bandages are removed, does he look like a different man? Out of his African hospital bed he leads an archaeologist to the tomb of an Egyptian prince. Or is it his own tomb?
47 "The Haunting" - In the Alps, Colin (Ronald Howard) fails to help his best man Peter who has broken his leg in a skiing accident. He leaves him to die in the cold, believing Peter was too "devoted" to his bride-to-be. Now it's just before Colin's marriage. Are his old withdrawal symptoms whch started in the war returning? No, but things start freezing, the wedding bouquet, even the bridesmaid at the wedding. A rather thin storyline, with Peter's poltergeist coming literally between bride and groom. "There will be no honeymoon," announces Newland blandly
49 "The Clown"
54 "Delia" - Newland tells us this, an "unforgettable" story of instant romance between er ... and ... er
62 "Tidalwave" - So many dead in the Chilean earthquakes of 1960. Volcanoes and tidal waves follow. Over in Honolulu evacuation warnings can't be heard by dead retired Commander Powers, and wheelchair bound Margaret North can't get anyone to come and rescue her. Hopelessly lost, Powers asks his way at her house, "come on, let's get out of here." A miracle, the real Mrs North tells John Newland, for two lives were saved
63 "Anniversary of a Murder" - Businessman Gerald Simms has a guilty conscience. "I can't see," cries his dictaphone at him. A year previously, on a stormy night, he had been driving his car alongside his lover Fran, when he had knocked a cyclist down. They had concocted alibis and nothing had happened until this anniversary. Simms replaces the dictaphone record, but the new one produces the same playback, "it's all black. I want to go home," the very words of the dying cyclist. Fran hears it too, and is scared. She goes to the police, but Simms has now crashed his car at the very scene of the accident. "Conscience is a potent enemy," John Newland concludes grimly. Interesting
67 "Moment of Hate"- Depressing story of a woman who is depressed because she wished her hated business rival dead, and it was so. Hypnotism reveals a
childhood trauma in an even more depressing ending
68 "To Know the End" - In wartorn France Emily sees a wounded man (Alex Davion) whose dying words are "Emily, I love you." But the war hasn't started as yet, when she next meets Harry, as though for the first time. As romance blossoms she warns him, "it doesn't turn out all right," for she knows the date and the place he is to die. To prevent the tragedy, she tries crashing their car, but Fate cannot be foiled, and the only question is, how could she know about it all beforehand? John Newland ponders the answer
69 "The Trap" - Florence and Dom are happily married, but as he awakes he screams out Edna, whoever she is. He becomes claustrophobic, dehydrated but medically "completely well." The last rites are pronounced in this fascinating story, which is amazingly connected with the fact that Dom had, unknowns, a twin brother, and away in Nevada he is trapped underground
72 "Tonight at 12.17" - a pregnant woman believes a plane will crash into her home
74 "The Legacy of Love"- A woman takes the wrong train and finds herself stranded at Seaside. She keeps on staring at this married man, Norman, she knows him, he her, though they've never met. Ingrid Bergman might have made this a memorable role, as it is Norma Crane makes do. Is this a romance? "This is something else," Norman explains to his naturally sceptical wife, for he is also John, in the eyes of the girl's mother. Deja vu or something is the only explanation. Asks John Newland, "is there a deeper memory in every cell?"
76 "The Executioner"
77 "The Last Round" - Yank Dawson (Charles Bronson) is haunted by an ex-boxer, the Ghost of East End Arena, Paddy. Sanderson, manager of his next opponent, admits to trickery, but then during the actual fight Yank really sees the apparition. Legend has it that all who see it will die. It's September 17th 1944, night of another air raid...
78 "Dead Man's Tale" - Jan and Phil book into a hotel, broke, end of the line, "we'll make out." Maybe a book left behind in their room will help, The Gold Miners' Handbook. That night, Phil writes a "fascinating" tale of prospector Larry Barton who falls out with his brother Robert over a gold strike. But how on earth does Phil know that what he was writing was actually true? He traces the feuding brothers and finds it is so
81 "Persons Unknown" - John Newland is in Mexico City to talk to a doctor who back in 1920 had been on the run and had hidden one night in a convent. A policeman who came to arrest him was overcome by some supernatural force. The doctor was charged with murder but was acquitted. Newland wants to know more of this death "by someone or something not seen by the eye"
82 "Night of Decision" - "When will spring ever come?" a crisis in the American War of Independence, General Washington's dispirited troops are short of provisions in the freezing cold, morale is at zero. When an allegedly dead Red Indian renews "the stubbornness to continue against the most impossible obstacles," he furnishes Washington (Robert Douglas) with a vision of a "nation victorious," and also in the future, "a major force for good." But has this prediction come true?
To Anthology Menu
. . . . .
83 The Stranger
An earthquake reduces a city to "a graveyard without limit."
A city of 50,000 one minute - the next "wallop!"
In the rubble, twelve days on, two workmen (Peter Dyneley, Graham Stark) break into an underground vault where they find a man and three children barely alive. Against the odds, they had always believed they were going to be rescued. For an American (Bill Nagy), now dead, had promised them that rescue would come. This dead man cannot be moved, but one workman takes his fingerprints to help identify him later.
The prints belong to Jerome S Cole, a man who had been sentenced to be executed for murder twenty years previously.
The warden at his prison (Patrick McAlliney) relates how Cole had several times successfully appealed for a reprieve, one time agreeing to donate his body to the less fortunate. One potential beneficiary, Emily a 17 year old blind girl, had written to Cole, via her mother, thanking him for his generosity, for, until Cole's reprieve, she had been due to receive his cornea. The letter tears at Cole's elastic conscience for his offer had only been a publicity stunt to save his life, not an act of philanthropy. This letter bugs him so much he even asks the warden if he can give his eye to Emily anyway.
Then we learn that this was not the first time Cole had appeared "as a stranger" to aid those in peril. But how could it be he? For in January 1938, in attempting to break prison, he had fallen from a height and been electrocuted.
"Explain it?" concludes Newland, "we couldn't possibly even try.
To One Step Beyond
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84 Justice
One of the most intriguing of this series.
English law is, John Newland tells us, "the essence of all that is solid and substantial and practical." It may have been true in those days.
His story starts in a Welsh coal mining village on a sabbath morn. Libanus Chapel is full, echoing to the sound of Bread of Heaven- what else?- sung of course in Welsh. The preacher's theme is judgement, hellfire and damnation-kind, and as he drones on, the chimes of noon ring out. At least one member of the congregation, Wyndham Roberts
(Meredith Edwards) dozes off.
Yet a mile and a half away in a derelict warehouse, he's showing a policeman PC Josh Jones (Clifford Evans) the body of Rosie. "I killed her," the reason blackmail, he'd been having an affair with her.
Before Jones can take him in custody, he's vanished.
But Jones sees him emerging from the service, and promptly takes the bewildered Roberts down to the police station. "I was in chapel all the time," Roberts protests.
His alibi is confirmed by the congregation that he was in the chapel for the whole meeting. The minister adds that he noticed Roberts even fell asleep during his sermon.
Jones is suspended from duty, and his wife (Barbara Mullen) tries to comfort him, for he is full of self pity. But one thing he won't be shaken from, is his account of the events of that Sunday. But he has to concede that Roberts cannot have left that chapel. Gossip, rather encouraged by Mrs Roberts, hints that Jones might have thrown suspicion on Roberts to deflect it from himself.
Certainly no other suspects to Rosie's murder suggest themselves to the police. Stubbornly Jones states to his superior officer, "I am saying what I heard and saw is the truth." It seems to be an impasse. Officially, Jones has suffered an "unfortunate hallucination."
But there is a development to the case. Roberts announces himself at the police station and leads Jones and his colleagues to the warehouse. Some digging uncovers the murder weapon. Now Roberts is under real suspicion, but he disappears at once.
Police are banging on his door. He's asleep, says Mrs Roberts. He has not been out of the house all day. But, she continues, he had been having "a most frightful dream," then he fell into a deep sleep, "as though a weight had been lifted from his very soul."
John Newland ponders on the role of conscience and suggests this is a case of teleportation (as also in #12). He adds the result of Roberts' trial and concludes with the solemn words of the preacher. Indeed to goodness yes
To One Step Beyond
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86 The Room Upstairs
Will (David Knight) returns to his lovely Georgian house to find a strange man with his new wife Esther (Lois Maxwell).
"I'm a doctor!" is his explanation and apparently it's true. For she is ranting, terrified his first baby will turn out to be insane. Yet the screaming child she can hear and see is real enough. It's in the sewing room upstairs: "don't scream," she cries as the voice is driving her mad.
"Mama help," the voice continues to cry out, but Will's only comfort is to tell Esther, "it's all nonsense," for he hears nothing.
Again the voice calls, "do something please mama." Now Esther sees this girl as well as hears her wailing. Will sees nothing and can only attempt to calm her.
In the light of day, things look better, at least for the moment. "I can't bear this," as the voice sounds again, this time Esther sees a husband and wife arguing. "Who are they?" asks Will, for even he can see them. He believes now.
They question the agent from whom they are renting the property. He can't shed any light, yet the names of the owners are soon discovered, the Morrisons.
"How did you know about Judy?" they ask. The Morrisons are in the house again, this time in the flesh. Again the voice cries out. "It was her voice." Mrs Morrison (Jane Hylton) can explain it all. She recounts the sad story of their daughter who was wasting away. In modern parlance, this was a kind of assisted suicide.
So the Morrisons are put on trial. John Newland sums up their "crime of omission," and more improbably speculates how Esther and Will could have seen and heard the dead girl
To One Step Beyond
. . . . .
88 The Confession
Those penetrating eyes and husky voice of Donald Pleasence, acting as only he knows how, start off this story, as an even more way out than usual DP at Hyde Park Speaker's Corner confesses to murder.
In the crowd is no less than our host John Newland himself. A bystander (Robert Raglan) tells Newland that this pathetic figure was once a great legal mind. "He just went to pieces overnight."
In a flashback, we meet barrister Harvey Lawrence, "a rising star" in the legal world,
who obtained the conviction of Frank Malone who had murdered his wife, despite her body never having been discovered. On Harvey's brilliant closing speech, Malone had been convicted.
But Harvey knew that a woman claiming to be his wife Sarah (Adrienne Corri) had announced herself in his office before this sensational speech. Her story is that she had disappeared to teach her husband a good lesson.
So Harvey had to face a dilemma, should he sacrifice his speech? "If you want to save him, you'll have to testify," he tells Sarah. But that she will not do, so he convinces himself she is a fraud. Even though the woman shows him a sample of her handwriting, which looks very similar to Sarah's. What's more, she says, she knows his pet name for her, it's Ginger.
Harvey's glittering career culminates in his appointment as a judge. He's to be sworn in today, but on this of all days he is painfully reminded of Sarah Malone's appearance to him, and doubts start to haunt him. He mulls over the old case, beside the Thames, the Tower of London in the moody background. Her handwriting seems to follow him round. He recalls that brilliant closing speech in a fine scene as he paces the empty courtroom, "justice must never be thwarted by mere legal cleverness." He attempts to introduce that handwriting evidence into the nightmare trial, but all his ranting cannot alter Frank Malone's fate and we see Harvey keep on repeating those final fateful words, altered to fit his own case, "may the Lord have mercy on my soul."
Yes, Pleasence does his usual fine
study of a descent into degeneration.
John Newland enters this courtroom, to reflect on this strange story. Evidence of Sarah's handwriting that haunted Harvey seems well documented. As a final coup, Newland quotes from a 1924 newspaper report on Malone's hanging. His final words had been "Goodbye Ginger"
To One Step Beyond
. . . . .
89 The Avengers
The date is 1943. In a French chateau, once the glory of the French aristocracy, a German general (Andre Morell) is to throw a party in the manner of the last Marquis just prior to the French Revolution. This general the first inhabitant of the place since that date, for it's reputed to be haunted.
The general has orders to send 50 workers to a factory in Silesia, and his idea is to ply his guests with drink at his party, and while they are under the influence, transport them away.
All is ready for the big night. The general and his floosie (Lisa Gastoni) dress in the style of the old aristos.
But like the guests in the parable, the invited fail to appear. Only the local priest. Despite his floosie's protests, the general makes the priest sit down to the feast. She is haunted by the voice of Fleur, the marquis' young daughter. Assuming someone is playing "games" with them the General flies into a rage, and promises that he will shoot the priest if any more "miracles" take place.
A window is smashed. Marianne, to protect the priest, takes the blames for it herself. The general shoots her in cold blood.
The mob masses outside the chateau, echoing the alarming events of the Revolution when the marquis was trampled to death, in protest at his tyranny. And in similar fashion, the general is attacked.
He shoots and shoots, but none of the mob are killed, for they are invisible.
It is officially a heart attack. But John Newland adds in his understated way, "every bone in his body was broken."
To One Step Beyond
. . . . .
90 The Prisoner
1945 Warsaw, a city in ruins.
The remains of a palace is being used to house refugees.
One is 19 year old Ruth (Catherine Feller), a survivor of the concentration camps, and she will hate for ever. She's not made that welcome by Daniel, a partisan who is proud to have killed 14 Nazis. More sympathetic is the reception nurse, "you break my heart."
In the darkest days of interment, Ruth had only kept herself going with dreams of winning the lottery. She promised herself that
she would use the cash to have all those that stood by watching her suffering, shot dead. "You can't hate for ever," the nurse tells her.
So her encounter with a wounded German Wilhelm Essler (the archetypal Anton Diffring) is bound to end in her shooting him.
He begs her to send a message to his wife Frieda.
"I want to kill him," Ruth tells Daniel, as she steals his gun. She toys with Essler, and then agrees to write the letter to Frieda. The note he dictates reads simply, "I am hidden under the ruins in the Radinsky Palace."
Surprisingly, she does post the letter, But then she returns and produces her gun. He doesn't seem to be aware of it, as he talks on about his family, about his role in the war. Then she fires, but all she shoots is his reflection in a mirror.
A doctor arranges for her to be sent to a hospital, for noone believes she ever saw this Nazi. That is, until Frau Essler turns up, in response to the letter. According to her, her husband had been reported missing at the start of the war.
Was he a figment of her tortured mind? There's no corpse in evidence, but how come he dictated a letter to her? The contents of this letter leads to the discovery by Daniel of the body, which had died six years previously.
John Newland concludes by giving the credentials to these events
To One Step Beyond
. . . . .
92 The Sorceror
On February 3rd 1915 officer Wilhelm Reitlinger of the 23rd Signals Unit (Christopher Lee) demands Farmer Klaus (Martin Benson) give permission for telegraph poles to be erected across his land. The farmer says he wants to consult his animals before agreeing!
Reitlinger becomes fascinated by the pacifist Klaus and his alleged ability to see the future. "Have nothing to do with that man, he is dangerous," warns the landlord of the local pub.
But Reitlinger wants to ask Klaus more about Klaus' supernatural powers. What Reitlinger wants most of all, is to know his girlfriend really cares for him.
Go to her address, advises Klaus, but how can he go to Berlin 800km away when he is an officer on duty? "You can go," insists Klaus as he seems to push the sceptic through a wall.
In his "dream" Reitlinger sees his girl (Gabrielle Licudi) kissing young soldier Johann. Reitlinger stares at her in silence. It seems she had written to him, giving him the push anyway. She now sees him as comical. His only answer is to shoot her.
Then "like a dream" he finds himself back at the farm. Replies Klaus, "I only helped you."
When in the cold light of day he learns she has indeed been shot, and he then discovers a bullet missing from his gun, he confesses to the crime. But how could he be guilty, as he was 800km from the scene of the crime? A trial finds him not guilty, even though he says he is the killer.
Reitlinger resolves to prove he is not insane. He returns to the farmhouse and shoots Klaus, "this they will believe."
John Newland sums it up, as best he possibly can
To One Step Beyond
. . . . .
93 The Villa
Their marriage on the rocks, Jim Lowe (Ronald Lewis) and his wife Mary (Elizabeth Sellars) attend the cocktail party of industrialist Richard Hudson (David Horne). His son student doctor Tony (Michael Crawford) has developed a strobe light that affects the brain so you "go off into another world." Says his brother Lionel (Kenneth Cope), "it's unbelievable - it's not like seeing things at all!" Mary Lowe has a go on it to get some "peace of mind."
But what she sees is a terrifying vision of a house with a man trapped in a lift, "knowing they were going to die." Her husband tries to convince her not to believe it. "It was real, it was happening," she insists.
Jim takes her on a buying trip to Milan, but while there, carries on his affair with Stella, a fashion buyer at his work. "We ought to start thinking about a divorce." Mary is aware of the affair.
The remembrance of that prisoner beating on the lift door haunts her, "it's you that's caught in that lift," Jim warns her. He advises she consult a doctor.
Instead, when she spots an advert for the Villa Orlando on the Via Garibaldi for sale, she takes a taxi to that villa. 'Tis just like her nightmare. She has, of course, to enter the empty place, and of course enter the impressive giant lift. Up and up she travels. But nothing untoward happens and she departs.
Her husband follows on, and upstairs he goes.... by the stairs. Then down he comes, using that lift. And you've guessed it, the lift gets stuck. No-one to hear his cries for help.
Mary is still haunted by those cries as John Newland adds his epilogue. She has a breakdown. Jim disappears
To One Step Beyond
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97 Eye Witness
The last story in the series is about Henry Soames (John Meillon) night editor of the Boston Star, who reports on the 1883 Krakatoa eruption, but how did he get this scoop?
In his office, alone, he's felled to the ground by a series of explosions. In a dazed state he writes down a story, and then wires his report to the main editor.
An amazed colleague, Mark (Anton Rodgers) congratulates him, "nobody else got the story... every newspaper in the country'll be carrying it."
"I wrote it?" queries Soames, but his boss (John Phillips) is too busy praising him. But praise soon turns to condemnation as no other paper does carry the story, and questions are asked about Soames' source. Doubters force the story to be killed.
Soames is sacked. Back at his digs, he tells young Danny that he must have made the whole tale up.
Then news comes of the explosions on the other side of the world. Soames is vindicated, for "from a scientific point of view, your report seems absolutely accurate." Now Soames is a hero, "the miracle man of journalism." People start requesting his predictions for the future, but all Soames can see clearly is the parlous state of humanity and its greed and its fear of the future. "The carnival freak" quits his reinstated job.
In a bar he receives a more practical demand for his gift, for young Danny has gone missing. Where has he gone? "I don't know," is all the honest Soames can reply, but then Danny returns home anyway.
Many years later, Soames does go back to his old job. "Welcome back," Mark greets him.
President McKinley has been assassinated in Buffalo. For a second time, it seems Soames has foreseen the event. To conclude, John Newland asks was he a prophet, freak or ordinary man?
To One Step Beyond
. . . . .
Errol Flynn Theatre
Click highlighted titles for my review:
3 The Fortunes of War
5 Strange Auction
7 The Girl in the Blue Jeans
10 The 1,000 Night of Don Juan
14 The Duel
15 The Sealed Room
19 Rescued
22 Wife for the Czar
23 The Kinsman (aka Royal Flush)
24 Declassee
26 films were made in 1956 at Bray Studios.
According to a 1956 report, Flynn and his partners invested $1,200,000 in this project. "We aim to make a film in six days," he told reporters. "Sometimes I've taken a little longer, but this is the first series and we're getting better as we go along."
Errol Flynn himself stars in some of the stories (eg Strange Auction, Fortunes of War, The Duel etc) and his wife also stars in several tales
(eg Strange Auction, The Model, The Ordeals of Carol Kennedy).
Other minor Hollywood stars also have starring roles, eg June Havoc, Phyllis Kirk, though the behind-the-scenes personnel on the series were British. Some British stars also appear, Christopher Lee notably, but others
in more than one story include Peter Reynolds, Glynis Johns and Philip Friend.
Anthology Menu
To Main TV Menu
. . . . . . . . .
10 The 1000th Night of Don Juan
Frou Frou is what Errol is reading as the camera lights on him. Hastily discarding it, he discusses the various notions of who the real Don Juan was. In this story, he's at a seventeenth century inn on the Venice to Padua road.
The landlord (Alexander Gauge) welcomes the ageing Don Juan to his inn, with his manservant Leporello (Reginald Beckwith). They're looking for his latest conquest, which will be his thousandth.
Here's one lady he has never yet conquered Countess Henrietta (Jean Kent), but she is more concerned at just having been overthrown by Marquesi Luigi in favour of the younger Maddelena. This couple are both enjoying themseves at this inn also.
Don Juan toys with the Contessa, and she with him. She challenges him "to send on their way" both Luigi and the "stupid" young Maddelena. "I want to punish him," she tells Don Juan, and there's a reward for him if he succeeds.
So having tricked Luigi off the scene, Don Juan tries his usual charms on the girl, "a lover should be devoted, selfless," he tells her, "your lips your eyes... " and so on. But she only laughs, for she thinks him too old. Rather a facer for the ageing Romeo! But the old roue persists, yet she resists.
"I'm not defeated yet, "Don Juan claims to Henrietta, while Maddelena gazes lovingly into the eyes of Luigi. In marches a highwayman to rob the guests. However Luigi is no fop and snatches the villain's gun, and the whole devious plot is exposed, the robber is Leporello, resulting in Luigi challenging Don Juan to a duel.
This however never takes place, for as they gather at the crack of dawn, news comes that Maddelena has run off with another. Thus Don Juan is ready now to claim Henrietta's reward. Come to my balcony at midnight, she whispers. He smiles.
At the appointed hour, he climbs the ivy to her balcony. The door won't open. She pushes it open for him, but it opens outwards and he tumbles over the edge.
His "humiliating" bruises are attended to by Leporello. Surely now he'll admit he's "too old to be Don Juan."
A role up Errol Flynn's street, but he looks tired and lacklustre, rather, indeed, like the character he is portraying, so let's credit him with some perceptive acting
Errol Flynn Theatre Menu
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The Man Who Walks By Night
The 1949 pilot film below, directed by Eric Fawcett, was the first ever filmed British television drama.
Introduced by 'Mr BBC' himself, Roy Plomley, complete with large hat, darkly shading his face. Shooting began at Marylebone Studios on July 11th that year.
The Man Who Kept a Dinner Date with Death
(one screening was on the BBC on Thursday Sept 28th 1950 at 3.30pm)
Rich Baron Lakenoff (Sir Campbell Cotts) "enjoys the thrill of being hated" so much that he's invited his worst enemies to dinner. Bill Rian (Robert Ayres) has been hired for the baron's protection, "I think you're nuts," Bill tells him.
But he's a good bodyguard: "I trust nobody." Even butler Smith (Fletcher Lightfoot) and Janet the maid (Alicia Marlowe) come under Bill's scrutiny.
The invitees are
1 Frieda, the baron's ex-wife (Patricia Jessel), now wanting to remarry: "you never loved me."
2 James Harding (Denis Cowles) the baron's old business partner, just out of prison- "I came here for my money." Bill finds a gun in his coat pocket.
3 Dr Cameron (James Cairncross) a young scientist, whose father committed suicide, because of the baron.
As they sip cocktails the baron deliberately shows off his diamond necklace worth nearly £100,000. Looking straight at Frieda he exclaims "I'd like to put it round your little throat."
As she hands the baron his drink, Bill interrupts- that smells suspicious!
Dinner is served, after which we learn why Cameron is so bitter, for the baron is alleged to have stolen his father's research and sold it to the Nazis.
But the baron, he doesn't care. Now rather the worse for drink, he nearly trips down the lift shaft. "You've all played your cards," he shrieks. Unsuccessfully, he's positive, for all the guests depart. "None of them tried to kill you," observes Bill blandly. But the baron has started gasping. Slowly he utters his death speech.
"There ain't no such thing as the perfect crime," Bill tells the audience. This nearly was, but as Bill explains all, we learn the accomplice Janet the maid has given the killer away to the police
A series of 26 films were planned in this series by Vizio Films. Scripts were drawn up and American support agreed, but according to Roy Plomley, "the FCC 'freeze' on the opening of new TV stations in the United States caused our project to be abandoned."
However one further film was definitely made, titled Scotland Yard Reporter, directed by Malcolm Baker-Smith, and produced by Edgar Blatt. James Carter was executive producer for the series.
To menu for other pilot programmes . . . . . . . Anthology Menu
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Tales from Dickens
Where highlighted, click for reviews:
2 The Runaways
3 A Christmas Carol
8 David and His Mother
10 David and Mr Micawber
11 David and Dora
15 Miss Havisham, from a film print
A series from Towers of London (Coronet Films), with extracts from some of Dickens' famous stories.
39 half hour films were originally planned, although this was eventually reduced to only 15.
St John Roberts wrote in August 1959, "I should think poor Dickens must have turned in his grave. There was no atmosphere and the narrative voice of Frederic March did a great deal to damage it. Little Martin Stephens could have been an excellent David if directed differently. Robert Morley was certainly no Mr Micawber though he came very near to be Mr Robert Morley. In fact this was the case with much of the cast with the exception of Alan Wheatley and Patricia Jessel as Mr and Mrs Murdstone."
Pictured- the two children seen in Miss Havisham
Film Dramas Menu
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2
The Runaways
At the Holly Tree Inn it's Christmas Eve, though there's never any more evidence of this in the story. The Rochester coach draws up, and various passengers descend to stop the night here. They include The Admiral (Campbell Cotts) and a Thin Lady (Totti Truman Taylor).
Then there are two young children, unaccompanied, Harry (Martin Stephens) and Flora (Caroline Sheldon). The receptionist Mrs Piff (Athene Seyler) never bats an eyelid as she books them in to Room 7. "His Lordship" is "en route," but where to he cannot divulge.
Sausages and a pot of jam, that's what young Harry orders for tea. The general servant Boots (Bobby Howes) does venture to inquire what is Lordship is "hup to," but is gently rebuffed. With Mrs Piff, he speculates what the youngsters are doing here. Then Boots places the order for tea below stairs and scoffs his muffin, to questioning from Lettie the maid. She has her eyes on Boots, even though he knows he is not the marrying kind, "single I mean to remain."
Over their meal, Harry takes the kindly Boots into his confidence. When's the next coach for Gretna Green? "Our parents don't approve." Yes, they are eloping, Harry admits. "It's like a fairy story," smiles Lettie who is a-listening at the keyhole.
Regretfully Mrs Piff and Boots agree they must tell the authorities, though Lettie, who knows all about love, opposes the idea.
Next morning the pair are given right royal treatment, decorations brighten up their room and a slap up meal is provided. Harry proposes a toast to kind Mrs Piff and she in turn raises a glass to Mr and Mrs Harry Walmers. Lettie is volunteered to accompany the couple to Gretna to act as a witness, and that touches even the hardened Boots.
He has "a victim" in mind too.
But joy is not to be unconfined for Harry's guardian announces himself at the inn. With Flora hiding under the table, Harry faces the stern man, who has come to take them home.
Mrs Piff is so upset that she treats the other guests most badly. Finally she decides to confront the angry guardian. "That boy's an angel," she tells him. "You'll never find another like him," she adds to Flora, in tears.
Yet the two children must depart with their softened guardian, and at least Boots has now learned that there is a good side to love and is resolved to marry his Lettie.
This is a touching story, beautifully made by Athene Seyler's charm and Bobby Howes' gruff but kind Boots, and the story ends with Fredric March thanking them and young Martin Stephens for their "wonderful characterisations"
Tales of Dickens menu
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3 A Christmas Carol-
Simple sets and some simple yet pleasing trick effects, with only Frederic March's narration intrusive.
Dickens' "most famous story," March informs us, about the "squeezing grasping Scrooge."
In the title role, Basil Rathbone's understated Scrooge is neither cowering nor evil, but at least neither does he look anything like Basil Rathbone.
Grudgingly he gives Bob Crachitt (Toke Townley) the day off for Christmas. That eve, as he mutters Humbug perhaps just once too often, Jacob Marley's ghost warns him of his fate, though Scrooge ne'er looks surprised, perhaps like us he knew the lines too well.
The first spirit bears the miser away to his birthplace, an unusually well done scene through swirling mist through childhood to manhood, "you are not what you were."
After more wooden narrative from March, the jovial second spirit
(instantly recognisable Alexander Gauge) announces himself.
He shows Scrooge Bob's happy home with its Christmas festivity and Tiny Tim, "God bless us everyone." Nephew Fred's house is jolly also, as the background organ music gets a little louder. "Mark what you have seen," the rotund spirit cries as the mist swirls.
The Ghost of Christmas Yet To Come reveals the sadness at Bob's house, as Scrooge stifles a tear on seeing Tiny Tim's coffin, then more mist, and Scrooge eavesdrops his own funeral. He is shown his own gravestone, but these are things "that may be," for he resolves to reform.
The morning indeed sees a new Scrooge, renewed in hope as the organ swells its happy strain. No, he's not missed Christmas Day, and the following day back at work he even jokes with the baffled Bob
Tales of Dickens
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8 David and His Mother
(1959)
David's first memory is of his mother Clara happily dancing in the parlour. Edward Murdstone (Alan Wheatley) provides a less joyful memory, "you and I must be the best friends in the world," he darkly says to young David.
"The very handsome man" clearly has intentions towards Clara, not all romantic. David tells his mother that Murdstone described her as "a pretty little widow."
After a fortnight with Peggoty in Yarmouth, David returns home to find the old order changeth. "I don't want to see him," David cries vainly. His new father is the archetypal Victorian parent. The stern husband also is he. Jane, his sister (Patricia Jessel), is introduced to the household, "generally speaking, I don't like boys."
With Murdstone's approval Jane becomes mistress despite one feeble protest from the weak Clara, David watches the scene impassively, as his mother is put down.
Home tuition, but David doesn't know his lesson 100%. Stockholm is the capital of.... The cane is readied in case of wrong answer. "I am not quite well," faints Clara. The cane doesn't descend immediately however for David resists by biting his stepfather. But there can only be one winner, as we watch Clara listen to David's screams. Then it is bread and water for five days, a tearful farewell to mother and a boarding school in London.
Salem House is no advanced seat of learning. With the evident approval of Mr Creakle (Peter Bull) and his tutor (Anton Rogers) a placard is hung on the poor lad, Take Care Of Him He Bites. It is evident Dickens was no lover of scholastic establishments.
On his birthday, David is told by Mrs Creakle, the crushing news that his mother has died. David goes home and apologises to his stepfather. Received in cold tones. Only the face of Peggoty is comforting. She tells David the sad story of his mother's final days. It is not terribly well done.
At the funeral, the bereft David recalls his pretty young mother, "in her death she winged her way back to her calm untroubled youth"
Tales of Dickens
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10
David and Mr Micawber
Frederick March reveals to us that the character of Mr Micawber was based on Dickens' own father.
Sent to London, David Copperfield is employed at six shillings a week in a filthy warehouse. At the end of the long day, 8pm, he is collected by kindly Mr Micawber (Robert Morley) who takes him home and introduces the young lad to his wife and family. His wife (Irene Handl) explains her husband has had to take a lodger as he is in "difficulties." "Temporary," adds Micawber, admitting that he is expecting something soon to turn up.
David's own room is comfortable enough, but in his heart he is at "the rock bottom of despair." However Micawber's persistent creditors are some kind of distraction. Copperfield volunteers to inform them Micawber is not available. They depart, to the head of the house's grateful thanks.
Thus David becomes like one of the family. The impending crisis is always just about averted as David helps by selling the family treasures at the bookshop, or pawning them. But finally "the blow has fallen... in short I am about to be arrested."
Only temporary he assures his distraught wife, for he is hourly expecting. His children remain silent, but to Copperfield he imparts his renowned advice about annual income £20, annual expenditure etc.
In Fleet Prison he gives more thoughts on avoiding debt, as David visits him each night after work, but with Mrs Micawber joining her husband inside, David has to be posted into new digs, a small garret.
Insolvent debtor Micawber is finally released, and heads to Plymouth for work. An hysterical wife (overacting Irene Handl) assures him she will never desert him. So the family depart leaving David alone once more. More of the famous advice to Copperfield afore Micawber departs. "I'll remember all you've told me, Mr Micawber"
To Tales of Dickens
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11
David and Dora
Now a lawyer, David Copperfield is invited by Mr Spendlow his boss to his home in Norwood. There David is introduced to his boss' charming daughter Dora, though less enticing is the reacquaintance with Dora's companion Miss Murdstone, "I have met Mr Copperfield before." That lady's unfavourable impression is not improved by David's honest appraisal of her and Mr Murdstone's treatment of David and his mother.
But in the rose garden, romance blossoms with a rather stilted dialogue, "I should treasure it always." But the shadow of Miss Murdstone is always in the way.
On Dora's birthday, a carefree David "canters down to Norwood" dressed to the nines. He gives Dora a bouquet, "their beauty is quite outshone by yours Miss Spendlow." But the sunny picnic is crowded with other admirers. A tiff, but Dora's best friend, Julia Mills, proves to be just that when she brings them together again. At Julia's home, David is able to declare his love, "I love you to distraction," to the barking of Dora's dog Jip.
The remainder of this story contracts too much of Dickens' original, rendering the story rather inexplicable. Financial difficulties face David's aunt. "You're ruined David." He explains to his beloved but she is not the stuff to face such difficulties. "A crust well earned," he tells her, "is sweeter than a feast inherited." But she wants no talk of crusts, but though Julia's kindly advice soothes everything, Miss Murdstone puts her spoke in by telling Spendlow of the affair. David stands up to him, but is forbidden to ever see Dora again. But his boss' sudden death changes everything. "After a decent lapse of time," David requests Dora's guardian aunts for permission to see Dora. But Dora's fortune is an insurmountable obstacle, it cannot be, driving David "into the depth of despair."
Yet it transpires Spendlow had his own financial problems so Dora is not so rich after all and "so Dora and I were married," in this version rather suddenly in fact
Tales of Dickens
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15 Miss Havisham
Quite a nice little film! In the title role was Florence Elridge. As she was Frederic March's wife, you can imagine how she landed this plum role! She plays the part with a dark evil, rather nearly in the manner of a silent film.
"Pip, get yer 'at," Pip's sister takes him to old Miss Havisham's crumbling mansion. The lad is introduced to the lady's cobwebby room and in an American voice, she bids Pip (John Skinner) draw near and orders him to play with young Estella (the photogenic Jill Haworth). Pip looks puzzled. "Come boy, "goads the well groomed young girl, a contrast to the rough hewn boy, "what coarse hands he has." They play cards as Miss Havisham asks him what he thinks of Estella. "She's very pretty," he says diplomatically.
Pip confides in the daughter of the local schoolmaster, Biddie (Fiona Duncan), and she advises the shy lad.
On Pip's second visit, two old ladies, Carmella and Sarah, are there also. Pip is shown Miss Havisham's wedding cake, untouched, covered in cobwebs. Even though today's her birthday, the talk is all about her death.
Young Herbert Pocket, another relation of Miss Havisham's, has a friendly scrap with Pip, Estella watching on. "You may kiss me if you like, "she teases the victor. From that moment Pip is under her spell, as Miss Havisham has planned. Yet he cannot fathom her. "Break hearts," the old lady screams savagely at Estella. "She's beautiful Pip," she goads the boy, "love her," she screeches, as Pip stares, barely comprehending.
Miss Havisham interviews Joe Gargery (Michael Aldridge) - a deal for 25 guineas, and Pip is now bound to Gargery. "Gargery is your master," Biddie reflects to the tearful Pip, who's not allowed to visit Miss Havisham's house again, though he does just once more.
"She's gone abroad," the old lady tells him of the fair Estella. "You've lost her. She's turned into a fine lady." Not a rough boy at a forge. She's lost to you, Pip."
Fred March adds a footnote that years later they do meet again and she breaks his heart as the old lady had intended. March also promises another instalment, though this never came about in this series.
Also in the cast: Joan Hickson ever enjoyable as Mrs Gargery.
Tales of Dickens
Anthology Menu
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Strange Experiences (1955)
Mysterious tales introduced by Peter Williams, and produced by Derick Williams, that were screened on ATV London from the very first week it was broadcasting.
ATV Midlands repeated the series in 1962 at 8.55pm to fill in a five minute slot before the nine o'clock news. ATV London were also still repeating them on Sunday afternoons in the 1960's.
In all, 28 films were made. They were dramatised film reconstructions lasting only three and a half minutes each. Nevertheless they contain some fascinating material, a gallant attempt to create the shortest of short stories.
Pauline
Grandpa's Portrait
Mrs Gilson's Murderer
The Fortune Teller
Vengeance
Death by Ticking
Other known titles I have not seen:
1 The Pickpocket (first shown Sat Sept 24th 1955, 7.10pm)/
2 Identical Twins (Oct 1st 1955)/
10 Queer Customer (Nov 26th 1955) with Anna Turner, John Wood and Hugh Latimer/
19 Old Silas (Sun Jan 29th 1956, 7.40pm)/
20 The Well (Feb 5th 1956)/
Safe and Sound/
The Knife Thrower/
The Ventriloquist with Kenneth Hyde/
Hallowe'en with Elspeth Gray/
The Comet with Jack Lambert/
Dunkirk with David Oxley, Sally Newland.
(If you can add any more details, or any of the approx ten missing titles, please email me)
Anthology Menu
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Pauline
Peter Williams: "Is it possible to cure a kleptomaniac?" His story shows the answer is yes.
He cites the case of "charming, wealthy" Pauline, "she had everything." Despite this, she can't resist shoplifting.
But her parents discover her guilty secret. Shock Treatment of the Human Mind by an eminent psychiatrist fails to cure her. What does work, is a practical shock.
On her holidays in Brighton, she gets in her worst ever scrape. In her hotel, the compulsion comes over her again, when she sees another guest's case that is standing in the foyer. Quietly, she takes it away to her room and opens it. Inside...... human remains!
"An effective cure," concludes the wise Peter Williams
Strange Experiences
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The Sea Captain's Portrait
Just before the last war, Peter Williams informs us, he inherited a portrait of his grandfather, a patriotic sea captain of a clipper that used to race from Australia to Britain. Hung in his sitting room in his London apartment in 1940, it survived the Blitz, making him realise "there must be something special about my picture."
Despite a direct buzz bomb hit on his flat in 1944, Granpa somehow survived in one piece.
Thus it became a mascot, accompanying Peter everywhere, even on board ship to New York. Yet on the return journey, the ship The United States on her maiden voyage won the coveted Blue Riband, and Granpa's portrait was found smashed, falling off the ship's wall.
"Did my grandfather, that staunch old British seaman find the loss of the Blue Riband too much to take?"
to Strange Experiences
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Mrs Gilson's Murderer
A rich widow has been murdered in her bed, and Mary Gray her nurse has disappeared. She seeks refuge in the home of Dr George Laking (Arthur Howard), who is forced at gunpoint to help her. She's no beauty for she had been disfigured by smallpox (though we never see her like this), and she forces him, as a leading plastic surgeon, to remodel her face.
"Do you think it's a matter of minutes?" asks the doctor. But though it takes three weeks, the task is completed, "I'm beautiful!"
Now she must kill him, but he has had this cunning plan- he has made Mary the splitting image of one Daisy Vernon, "wanted for murder too, three children." Knowing his fate, the doctor has taken this fatal injection. She has nothing left but to shoot herself.
However, the doctor has only feigned his own death. A neat little vignette
Strange Experiences
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The Fortune Teller
A senior Scotland Yard Officer (Patrick Barr) tells Peter Williams about Hazel Marriott, "an attractive woman" who had a weakness for fortune tellers.
After she 'lost' her husband in an accident, she consulted Madame Zaza (Irene Handl) about whether her new boyfriend is a suitable match. But Zaza doesn't answer this query, she looks into her crystal ball and sees a workbench in a garage. It's where her husband had worked. Then in the crystal ball a car is seen, its brakes have failed, it crashes into the garage, the husband is killed. "It wasn't an accident Mrs Marriott," declares Madame Zaza.
Hazel admits she was the driver who knocked her husband down deliberately. The Yard are waiting in the wings and hear this confession
Strange Experiences
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Revenge of Silas
John Sullivan invited Peter Williams to his country home to tell him about a man he had killed a year ago. It wasn't deliberate, but this man Silas was "terrifyingly evil," a poacher and a thief who had broken into this house.
"I meant to shoot low," John explains, "but I got him in the back."
Before his death, Silas had put a curse on his killer, promising vengeance in exactly one year.
Now John has his gun at his side, "I'm taking no chances," he breathes, as footsteps approach the door. A knocking. It is only a policeman, but somehow the petrified John has gone up in a puff of smoke
Strange Experiences
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The Ticking
A nice little vignette.
Andrew Johnson, clockmaker and jeweller, runs a shop in Westminster.
He tells Peter Williams about the night one petty jewel thief (Michael Balfour) got locked in his shop. The poor man found himself trapped by the shop's security measures, "every exit barred."
Despite his trying to crack the locks, he fails. But the ticking of the innumerable clocks has a deteriorating effect on him, and by 9pm he is going mad.
Yes, he can stop many of them, but some just refuse to obey him, "let me out!" he cries, sinking into his deepest nightmare.
Improbable, but effective
Strange Experiences
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The Veil (1958)
Boris Karloff introduced the stories, in his usual dry deadpan style.
Nine were filmed at Hal Roach Studios in Hollywood, however one was made at
the AB Studios Elstree England. This was:
10 Jack the Ripper -
Clairvoyant Walter (Niall MacGuinnis) has a vision of a murder.
In Bucks Row he 'sees' a woman killed. His wife Judith (Dorothy Alison) dismisses it as a nightmare, and the police dismiss him as another crank.
But as he walks down the street in broad daylight he 'sees' another woman murdered: "he cut an ear off." And there is blood on Walter's hand.
This time, a convinced Judith accompanies her husband to the police station. But on the way there he senses the killer is "here on the bus." A man alights, they follow.
But the trail fades, so they continue on to Scotland Yard.
Inspector McWilliams (Clifford Evans) arrests Walter on suspicion of being Jack the Ripper. But Walter's innocence is established after the killing that Walter had foreseen.
"I can find Jack the Ripper," announces the clairvoyant, so that night Walter guides the inspector to "where the Ripper lives."
A doctor in Harley Street. There they learn the doctor's wife Myra (Nora Swinburne) had suspected the truth and that the doctor has been certified, beyond the reach of the law.
"I wonder what made him do those things." A neat if unspectactular possible solution to the Ripper murders
Here are reviews of the American-made stories:
1 Vision of Crime - An early TV appearance for Robert Hardy as George Bosworth, who sees, from on board ship, in a vision,
his brother's murder 150 miles away.
But the illustrious cast which also includes Boris Karloff as a useless sergeant and Patrick MacNee as his assistant,
can't do anything about the wooden dialogue, which contains an American producer's usual
misconception about Cockney speech. The bumbling policemen arrest Albert (Terence de Marney) on the testimony of Mrs Clink (Betty Fairfax), but what
George doesn't know, is that his fiancee Julie (Jennifer Raine) is the guilty party. Note- despite most of the cast being British, this was filmed in USA!
2 Girl on the Road - Tod Andrews plays a man who dates a girl he meets on the roadside, only she died 3 years ago. Explain that one Boris!
3 Food on the Table - irritating story about a sea captain (Karloff) who poisons his wife, but she comes back to haunt him.
4 The Doctors - A little girl lies dying, but the local doctor (BK) is out, so his son, recently qualified as a medic, attends.
But the parents stubbornly insist the old doctor treats their child, who is dying of diptheria. Finally the old man arrives, but later claims he never did.
5 The Crystal Ball - Marie is marrying rich publisher Charles, leaving a crystal ball to her ex-lover Edmund.
Uncle Andre (Boris) advises Edmund not to cling to his old affair, but in his crystal the young man sees visions of his old flame, with a new lover, Philippe.
Edmund shows Charles what he has seen, but to the latter the ball is blank
6 Genesis- Too late Jamie has come home to visit his dying father.
He's a kind of prodigal son for he went away ten years back leaving his mother and brother
Johnny to run their farm. Result: "Pa dies, you get nothing." Yet both parties claim to have wills - "which
is the legal one?" Johnny's lawyer (BK) disputes Jamie's claim but in a vision Johnny sees his pa
who advises him to look in Genesis 27. An effective story of brotherly hate
7 Destination Nightmare - Pete the Pilot crashes his plane after having a vision of the face of Wally, his father's co-pilot in the war, and who had jumped
from their B17 to his death, when his parachute failed to open. On a second flight, Wally orders Pete to bale out. He obeys, landing near a wrecked plane.
His father tells him the truth about Wally's death
9 The Return of Madam Vernoy - Perhaps the most supernatural and most fascinating of this series- Rama cannot marry Santha as she was married in a previous
existence. She has a son too, who is living: "he could be older than you are," complains the baffled Rama. But it is revealed to her where her husband Armand still lives
with their son Krishna, "is it all "a silly schoolboy joke?" Her explanation is "I have been reborn," and she perceives the reason, so she can help pay for her son's education in America,
as she shows Armand where to find jewels long since thought lost
Anthology Menu
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Michael Noonan
Wing your way back to Flying Doctor
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Eric Pohlmann
back
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Ingeborg Wells
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