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The Evil of Adelaide Winters 

A woman runs a psychic scam with hidden speakers to make people believe she can contact their dead love ones, and one man believes she has contacted his dead son, so he becomes dangerously obsessed with her sessions.



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Episode cast overview:
... Himself - Host
... Adelaide Winters
John Larkin ... Edward Porter
... Robert McBain
... Mrs. Thompson
... Mr. Thompson


A woman and her accomplice scan the news for the names of the war's recent dead or missing. She contacts those families whose addresses indicate wealth, assuring them that she can communicate with their lost loved ones. One rich man is so appreciative of the medium's ability to "speak" with his dead son that he invites her to move into his home so that she can be available for sessions at any time. While her accomplice presses her to finish milking the man so that they can move on, the scam artist decides to urge the man to thoughts of marriage. The grieving father does indeed have in mind a more permanent union of the medium, himself, and his son. Written by Morganalee

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Release Date:

7 February 1964 (USA)  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?


When Edward and Adelaide are looking at the projection, the view from behind shows him looking straight ahead. There is a quick cut to their faces in the middle of her monologue but he is looking directly to his left, at her. See more »

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User Reviews

Mixed Result
5 January 2016 | by See all my reviews

Adelaide (Hunter) is a calculating little phony with a spiritualist con-game. Worse, she scans newspapers for men listed as MIA's during WWII. Then she contacts bereaved families and sets up spirit contact sessions. And that's after her confederate Robert (Lyons) poses as a war department official telling families their loved one is dead. It's a particularly nasty rip-off and a long way from Hunter's gamin roles of the 40's.

The acting's first-rate, while the séance sessions are imaginative. However, given the preternatural subject matter, the filming lacks needed atmosphere that would have unified an often patchy screenplay. No one in the screenplay appears in particular danger, so the premise generates more interest than suspense. But the characters are vividly drawn so the audience is rapidly drawn in. The screenplay is spotty at times— e.g. did wealthy Edward (Larkin) marry Adelaide or not. Nonetheless, the upshot's deliciously ironic and well worthy of the series trademark.

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