Captivated by the actor's physical beauty, an aging spinster pulls up stakes to follow a ventriloquist and his dummy from performance to performance; finally, the man consents to a much-wanted meeting.



(teleplay), (story)

On Disc

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Episode complete credited cast:
Himself - Host
Julia Lester
Max Collodi
Dorothy Whitely
Jim Whitely
Saleslady (as Pat Hitchcock)
Arthur Gould-Porter ...
Hotel Manager (as A.E. Gould-Porter)
Nelson Welch ...
Colin Campbell ...
Old Man
Paul Playdon ...


While cleaning out the apartment of his dead cousin Julia, Jim Whitely comes across a strange glass eye and tells to his wife the story of how his cousin acquired it. Julia had fallen in love with a famous ventriloquist named Max Collodi. She had been to all his performances and had sent letters requesting to meet him. One day, Max agrees to meet her. She arrives to his hotel room to find him sitting in darkness with his dummy George. As they talk, Julia gives in to an impulse to touch Max. Written by Anonymous

Plot Summary | Add Synopsis





Release Date:

6 October 1957 (USA)  »

Company Credits

Production Co:

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Technical Specs

Sound Mix:

(RCA Sound Recording)

Aspect Ratio:

1.33 : 1
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Did You Know?


According to Jim's narration, Julia was in her thirties when she met Max Collodi. Jessica Tandy, the actress playing Julia, was forty-eight years old at the time this episode was first broadcast. See more »


Referenced in The Twilight Zone: The Dummy (1962) See more »

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User Reviews

A lonely spinster falls in love with a ventriloquist
21 September 2008 | by (United States) – See all my reviews

I think this is the best episode of "Alfred Hitchcock Presents." It shows Hitchcock's mastery with lighting and staging. Unlike the previous reviewer, I did not find Jessica Tandy too attractive for the part of a lonely spinster. The ventriloquist, Tom Conway, is managed so that he becomes a plausible object onto which a lonely woman might project her romantic illusions. As the narrative builds, the point of view is quietly shifted to conceal the reversal on which the climax depends. The framed tale-within-a-tale tacitly contrasts to the bizarre love story in the main plot and unobtrusively negotiates the distance between the viewer and the upsetting revelation that effects the turn. My one quarrel is the facile attempt by voice over at pathos in the last scene, but this brief coda does not detract from the power of the main sequence.

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