A writer demonstrates he can control reality simply by dictating changes.

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Mary LaRoche ...
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Storyline

Peeking into the window of her husband Gregory's study, Victoria West sees him with a beautiful woman. When she finally gets into the room however, the woman is nowhere to be found. His explanation is preposterous - he claims that when he speaks into his dictation machine, the characters for his play come to life before his eyes. Victoria's first reaction is that her husband should be committed and a demonstration still doesn't quite convince her. Gregory has something else to show her. Written by garykmcd

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1 July 1960 (USA)  »

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(Westrex Recording System)

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1.33 : 1
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Trivia

Gregory West's method of working, by using a recorder which would later be transcribed by a secretary, was how Rod Serling produced all of his scripts, although he preferred to do his dictating while lounging beside his pool. See more »

Quotes

Narrator: [Opening Narration] The home of Mr. Gregory West, one of America's most noted playwrights. The office of Mr. Gregory West. Mr. Gregory West - shy, quiet, and at the moment, very happy. Mary - warm, affectionate.
[narration continues subsequent to character first lines]
Narrator: And the final ingredient - Mrs. Gregory West.
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Connections

Referenced in Ruby Sparks (2012) See more »

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User Reviews

 
A Writer's Pipe Dream
29 June 2006 | by (Claremont,USA) – See all my reviews

So who wouldn't want to conjure up the perfect wife or husband on command. Keenan Wynn is a writer whose imagination can mold fictional characters, bring them to life, and make them disappear at will. The trouble is the characters can become so vivid, they assume a will of their own and act independently of their creator. A clever idea from the brilliant pen of real life writer Richard Matheson. I expect some such power has been a secret wish of many authors over the centuries.

Unfortunately, the idea has more suggestive value than entertainment value in this very slender half-hour, filmed on a single set with three characters. It's vaguely amusing to watch Wynn's rather shrewish wife (Phyllis Kirk) react to his adoring and adorable fictional wife (Mary La Roche), when she catches them together. However, the premise goes little beyond this rather trite situation, despite a surprise or two. Perhaps most distinctive is the segment where Wynn breaks character to converse with Serling, the only time, I believe, when this occurs in the series. There seems so much more that could have been done with this premise than creating a rather pedestrian marital triangle.


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