Racketeer Harney gives Derry (Kiley) a contract to hit Breech (Long), whose wife Connie (Francis) is a paraplegic. Derry meets Connie, helping her to play a bar jukebox. Sympathizing with ... See full summary »



, (story)




Episode credited cast:
... Himself - Host
... Jim Derry
... Eddie Breech
... Connie Breech
... Rupert Harney
... Lt. Geer
Anthony D. Call ... Earl (as Anthony Call)
... Figaro
Craig Duncan ... The Detective
Thomas Bellin ... The Bartender
Rest of cast listed alphabetically:
Beverly Holliday ... Cocktail Waitress


Racketeer Harney gives Derry (Kiley) a contract to hit Breech (Long), whose wife Connie (Francis) is a paraplegic. Derry meets Connie, helping her to play a bar jukebox. Sympathizing with Connie, Derry decides, for a price, to fake Breech's death by buying a mortuary corpse and staging an automobile smash-up. Derry expects Breech and Connie to abscond to Mexico City. Written by Lew Amack

Plot Summary | Add Synopsis




Release Date:

25 October 1963 (USA)  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?


Modigliani picture and set with nice stereo equipment is same as used in 'Dear Uncle George' (#1.30). See more »


References Six Black Horses (1962) See more »

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User Reviews

solid noirish episode
23 July 2013 | by See all my reviews

This episode works on all levels. Writer Henry Slesar's other hour episodes, I feel, are pretty weak not so this time around. The premise is good and the paths it follows interesting and compelling.

There's nothing too fancy from director B. Girard this time around compared to his other Hitchcock hour shows, but he does the job of moving the story and there are a couple of really effective angles on actors' faces at key moments. One involves a low angle with Francis's hair falling forward sort of into the lens, another is of the lead Kiley later on.

Kiley as the lead is really strong, reminds he looks wise of the recent film DRIVE's Ryan Gossling--the characters are a bit the same as well. Regardless Kiley as the hit-man is very very good and the part is well written with morbid humor coming naturally from the character and believable heart under his skin too.

Francis and Long and the whole cast are good too. There is drama and little or no padding to the episode. Lynn Murray's original score is also effective with some Herrmanesque touches an especially nice opening credit theme.

Hithcock's hand and then close up face starts the wrap around story while cleaning your window. Unusual memorable start too, but the rest of his bits are pretty dry and straight forward.

This isn't the best Hithcock hour episode, only because it's typical of the show's basic formula--where the best episodes break all the rules. But this is a perfect example of the show's formula working perfectly with the added depth you get with the longer running time to get into the characters which makes this one really work.

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