Meg Mundy, later to become a soap opera regular, does an outstadinng job holding this show together. The rest of the cast has familiar faces (Gage Clarke and Ray Walston in small roles), but it's basically a one-woman show.
She's the wife of a schlump named Ray, introduced in flashback when she gets home and finds him unconscious, attempting suicide by turning the gas oven on. They're broke, with the building manager pestering Meg for back rent, threatening to throw them out. Hubby owes $500, has no job, and his ex-boss has blackballed him so that no one in New York will hire him.
Most of the action unfolds in flashback, with some solid Manhattan locations for atmosphere. Key element is that she keeps seeing a mysterious man, who also pesters her, played by Gage, a very familiar B movie veteran.
Mood is consistently downbeat, but while her husband's character is a pathetic loser, who murders his boss along the way, Meg must be the tower of strength, persevering so they can escape NY by a train out of Grand Central Station. Her paranoia, emphasized by her thoughts expressed in voiceover, escalates.
This one has a sudden ending, making the whole matter a shaggy-dog story, my least favorite type of drama (or comedy for that matter). Also, the credits are unforgably skimpy: even a central role like that of her husband goes uncredited. (Similarly, the writing credit is absent, just listing the story by Cornell Woolrich.)
She's the wife of a schlump named Ray, introduced in flashback when she gets home and finds him unconscious, attempting suicide by turning the gas oven on. They're broke, with the building manager pestering Meg for back rent, threatening to throw them out. Hubby owes $500, has no job, and his ex-boss has blackballed him so that no one in New York will hire him.
Most of the action unfolds in flashback, with some solid Manhattan locations for atmosphere. Key element is that she keeps seeing a mysterious man, who also pesters her, played by Gage, a very familiar B movie veteran.
Mood is consistently downbeat, but while her husband's character is a pathetic loser, who murders his boss along the way, Meg must be the tower of strength, persevering so they can escape NY by a train out of Grand Central Station. Her paranoia, emphasized by her thoughts expressed in voiceover, escalates.
This one has a sudden ending, making the whole matter a shaggy-dog story, my least favorite type of drama (or comedy for that matter). Also, the credits are unforgably skimpy: even a central role like that of her husband goes uncredited. (Similarly, the writing credit is absent, just listing the story by Cornell Woolrich.)