Instead of the series' regular director, Paul Landres piloted this episode and got plenty of overwrought melodramatic performances. He wasn't helped by a terrible script that reminds me of Silent era melodramas made 30 or 40 years ago (now a full century back).
Simon Scott is the mad killer/thief carrying a pitchfork no less, though Chuck has two, count 'em fights with him in which that pitchfork is no match for our hero's fists. Oddball story features exaggerated pantomime by deaf-mute damsel (with a pixie haircut) in distress Sue George, who is being treated with experimental "photography therapy" to help her communicate, by a doctor who's murdered at the outset of the episode.
She ends up bonding with Chuck her savior in a quite old-fashioned plot line that has Bronson matched with a completely non-sexual heroine -she's young and there's no hint of sex whatsoever. I was struck that a decade later he co-starred with the great British actress/producer Susan George (what a coincidence!) in Richard Donner's "Twinky" (a/k/a "Lola"), an obscure romance I saw in the '70s at a Cleveland drive-in. It was a quite impressive example of an older man/young girl movie, which was a favorite of mine alongside the similar "Breezy" by Clint Eastwood (which memorably paired Wiliam Holden with Kay Lenz) a couple of years later.
Simon Scott is the mad killer/thief carrying a pitchfork no less, though Chuck has two, count 'em fights with him in which that pitchfork is no match for our hero's fists. Oddball story features exaggerated pantomime by deaf-mute damsel (with a pixie haircut) in distress Sue George, who is being treated with experimental "photography therapy" to help her communicate, by a doctor who's murdered at the outset of the episode.
She ends up bonding with Chuck her savior in a quite old-fashioned plot line that has Bronson matched with a completely non-sexual heroine -she's young and there's no hint of sex whatsoever. I was struck that a decade later he co-starred with the great British actress/producer Susan George (what a coincidence!) in Richard Donner's "Twinky" (a/k/a "Lola"), an obscure romance I saw in the '70s at a Cleveland drive-in. It was a quite impressive example of an older man/young girl movie, which was a favorite of mine alongside the similar "Breezy" by Clint Eastwood (which memorably paired Wiliam Holden with Kay Lenz) a couple of years later.