Ventriloquist Jerry Etherson is convinced that his dummy, Willie, is alive and evil. He locks Willie in a trunk and makes plans for a new act with a new dummy. Too bad he didn't clear those plans with Willie first.

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(teleplay by), (based on a story by) | 1 more credit »
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Cast

Episode complete credited cast:
...
Jerry Etherson
...
Frank
...
Willie
John Harmon ...
Georgie
Sandra Warner ...
Noreen
Ralph Manza ...
Doorkeeper
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Storyline

Jerry Etherson has a reasonably successful nightclub act as a ventriloquist but has one major problem: he believes his dummy Willie is a sentient being who speaks to him and manipulates his life. His agent Frank thinks Jerry needs psychiatric help and tells him he has no future in the business if he doesn't do something about his delusions. Jerry decides to lock Willie in a trunk and try his act with a different dummy. Willie has plans of his own however. Written by garykmcd

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Release Date:

4 May 1962 (USA)  »

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(Westrex Recording System)

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1.33 : 1
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Did You Know?

Trivia

The ventriloquist's dummy was later reused in The Twilight Zone: Caesar and Me (1964). See more »

Quotes

Jerry Etherson: Sweet dreams, Willie. Your next booking is in a fireplace.
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Connections

References Alfred Hitchcock Presents: The Glass Eye (1957) See more »

Soundtracks

I Only Have Eyes for You
(uncredited)
Music by Harry Warren
Lyrics by Al Dubin
Sung by Cliff Robertson
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User Reviews

 
Who's In Charge Here
17 July 2006 | by (Claremont,USA) – See all my reviews

Dipso Ventriloquist is haunted by his dummy.

Well staged variation on the familiar theme of diabolical dummies. Robertson is a tormented voice-thrower whose act is being ruined by drink, caused by what he thinks is a live dummy. The opening dressing room scene is excellent for its spooky subtleties and imaginative effects. It made me think this would be special. Unfortunately, the story line soon drops the ambiguities and becomes too obvious. Still, some imaginative camera work breathes life into Robertson's unusually low key-delirium, while the final scene amounts to a genuinely new and rather unnerving twist on the old idea.

In passing-- you can measure the sharp decline of quality in the series' final year (1964) by comparing this episode (a good but not remarkable one) with the derivative Caesar and Me, a jumbled and unimaginative entry from that last year that strongly indicates how the production crew had run out of fresh ideas, but still had an unrelenting schedule to meet. Of the two, this one, The Dummy, is definitely the more watchable.


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