The Hitchcock Project-Frank Gabrielson, Part Two-The Foghorn [3.24]

by Jack Seabrook

Frank Gabrielson's second and last teleplay for Alfred Hitchcock Presents was "The Foghorn," which aired on CBS on Sunday, March 16, 1958. Based on a short story of the same title by Gertrude Atherton that had been published in the November 1933 issue of Good House-keeping, Gabrielson's script is a fine example of how to adapt an old story with very little dialogue for television and the show succeeds in large part due to clever direction by Robert Stevens.

The cover of Good Housekeeping calls "The Foghorn" "an unforgettable short story" and, on the story's first page, the editor writes that it is "a story that will make you exclaim, 'Have you read Gertrude Atherton's story in Good Housekeeping?'" The readers' response in 1933 is unknown, but the story has been collected in many anthologies in the ensuing 90 years. Writer Somerset Maugham later praised "The Foghorn" as a powerful story and it has been compared to Charlotte Perkins Gilman's The Yellow Wallpaper, which tells of a woman's descent into madness when forced by her husband to stay in her room and stare at the wallpaper.

"The Foghorn" was
first published here

As the story begins, a woman lies in bed, having trouble waking up, and recalls her coming-out party six years before and the young men who were attentive to her beauty. After a series of heartbreaks and a broken engagement to a man named John St. Rogers, she fell in love with a married man who did not mind that she studied classics at a university. She recalls slowly getting to know him at formal dinners in San Francisco, where she loved to hear the foghorn echo across the bay. During a party, they stood together and gazed across the water at Alcatraz and the Golden Gate; he remarked on the fog.

They continued to meet in secret in the months that followed in a series of public places but were never seen. After dinner at a party in the spring, they wandered off into the woods, where they finally declared their love to each other. The next day, she told him that she would not "enter upon a secret intrigue," and he admitted that his wife would not give him a divorce although he had told her that he loved another woman. They agreed to run away to Europe together.

Barbara Bel Geddes as Lucia Clay

She recalls a boat ride on the bay where they were suddenly engulfed in dense fog, their small boat crashed into a large ship and her lover was killed. She sits up in bed and realizes that she is in a hospital and that her long hair has been cut short. She thinks that she must have been ill for weeks or months and wonders if there were scandalous reports in the newspaper after the accident, which involved a young woman out rowing at night with a married man. She notices her "old hands" and begins to mumble, then feels her toothless mouth. Finally understanding her plight, she drops back on the pillow, closes her eyes, and lies still. A doctor and a nurse enter the room and agree that she will soon die. She has not known reason or rational thought for many years--"'It's a long time now since she was stark raving,'" says the doctor. "'That was before my time.'" He and the nurse leave her alone in her hospital bed.

"The Foghorn" is a clever story with a surprise ending, but it is written in the style of women's magazine fiction from nearly a century ago that makes it less effective when read today. None of the main characters is given a name, though the location is given as San Francisco. It's not clear when the events take place, but one may assume that the love affair and tragic boating accident occurred in the nineteenth century. The plot is simple: a young woman falls for a married man and they meet in secret until he is killed in a boating accident. She then loses her mind and spends the rest of her life in a hospital; the story represents her recollections not long before she dies. There are two shocking moments: first, the accident, where the author writes: "Her own voice shrieking as she saw his head almost severed--the very fog turn red..." and second, the final revelation that she is not a young woman but rather a toothless old crone near death.

Michael Rennie as Allen Bliss

This was a challenging story to adapt for television, since it required the audience to be tricked into thinking the woman's recollections were not occurring very many years ago and to be kept in the dark about her real appearance until the very end. Director Robert Stevens was adept at visual trickery and, when Douglas Heyes directed "Eye of the Beholder" for The Twilight Zone  in 1960, he may have borrowed some of the techniques Stevens used to conceal the truth in "The Foghorn."

The show is structured as a series of flashbacks interspersed with scenes set in the present as a woman recalls past events. It opens with a shot of fog on the water with her face and torso superimposed on the picture; her eyes are closed, she is wet, and she wears a boating shirt. She narrates in voiceover and it becomes apparent that she is dreaming as there is a dissolve to her figure lying in bed in a dark, shadowy room. As she tosses and turns, we cannot see her face or get a clear look at her. She identifies herself as Lucia Clay, age 26, and mentions Allen, her lover. A clock chimes and she recalls the night they first met. The camera slowly dollies in on her but we still can't see her face and the shot dissolves to a party, where men and women dressed in formal attire waltz around a room.

The short story briefly mentions an engagement to a man named John St. Rogers, but he never appears; in the TV show, Frank Gabrielson expands his role so that he and Lucia dance together and he introduces her to Allen Bliss. John is a man focused on the world of finance, remarking that he would like to spend their honeymoon visiting "'every single one of the stock exchanges in Europe.'" When Lucia and Allen meet, it's a case of love at first sight. They dance and then go out onto a balcony together in dense fog where he foreshadows his own demise when he says that "'what fascinates me is the unexpectedness of it.'" "The Anniversary Waltz" plays as they chat and begin to fall in love; he is a romantic in contrast with the more pragmatic Rogers and mentions his love of sailing, another moment of foreshadowing.

Bartlett Robinson as John St. Rogers

Their reverie is shattered when a servant tells Allen that his wife is on the telephone from Boston. There is more voiceover and the scene dissolves back to Lucia in bed in the shadowy room, as she recalls that the foghorn sounded "'strange and dreadful.'" The long, slow courtship between the lovers in the short story is condensed in the TV show to a few scenes, the first of which takes place in the fog in Chinatown, as Chinese people pass through the street with sparklers and fireworks. Lucia meets Allen by chance and he suggests dining together at a Chinese restaurant, where she reveals that her engagement to John is over. In this scene, as in the party scene, the year in which events occur is unclear. Lucia wears old-fashioned clothes but the restaurant seems contemporary and, at the party, a telephone is mentioned.

A short scene in a library follows, where Lucia reads a short section of a poem to Allen and there is more foreshadowing as the lines she quotes mention both love and death. The scene dissolves to the couple on a sailboat and more voiceover by Lucia foreshadows the fatal crash that will occur later. There is another shared meal in the same Chinese restaurant eight weeks later and Lucia tells Allen that she can no longer see him because she fears that she will fall in love with him. He responds that he asked his lawyer to arrange for a divorce and he proposes marriage; in the story, he tells Lucia that his wife will never divorce him. The scene then dissolves back to the dark hospital room, where Lucia, in voiceover, recalls some "'dreadful'" event and yells out Allen's name over and over until a nun rushes into the room.

Jennifer Howard

The nun tells Lucia that there was an accident and she will bring the doctor; the nun leaves and Lucia's voiceover resumes as she tries to remember the accident. The scene dissolves back to the Chinese restaurant, where Allen arrives late due to the "'wretched fog'" and she replies, "'How dare you call our fog wretched!'" He explains that his wife won't grant him a divorce and, with more voiceover by Lucia, the scene dissolves to them out on the sailboat again, where he tells her that he bought two tickets for a ship the next day to sail to Canton, a plan similar to that in the story where they agree to run off to Europe together.

Allen gives Lucia a Chinese wishing ring that is said to guarantee happiness and there is a closeup of her young, pretty hands as she puts the ring on her finger; this sets up a shot later in the show when she sees her old, wrinkled hands. Lucia is at her peak moment of happiness as she and Allen exchange expressions of love, but just then he remarks on the dead calm that will make it harder to return to shore. The fog rolls in, they hear a foghorn in the distance, and suddenly a huge ship appears out of nowhere and their sailboat capsizes. There is no depiction of the moment in the short story where Allen is nearly decapitated and the fog seems to turn red; instead, Lucia is shown swimming alone toward the wreckage of the sailboat, with Allen nowhere in sight.

William Yip

The scene dissolves back to her bedroom for the show's conclusion, where she realizes that Allen was killed and she is in a hospital. The camera pans around the room and back to another closeup of her hands; she still wears the wishing ring but now her hands appear aged. She feels her hair, which has been cut off. Director Robert Stevens delays the inevitable shot of her face even more at this point by means of an angled closeup of a mirror in the room that shows just her legs as she gets out of bed. There is a cut to the nurse and doctor approaching her room in the hall outside and he reveals that "'it's been fifty years since she recognized anything or anybody.'"

The doctor and the nun enter Lucia's room to find her lying dead on the floor, and this is the first clear shot of her old face in the entire episode. The show ends with the nun making the sign of the cross (similar to one of the final shots in the bell tower in Vertigo) and the show ends. The doctor's comment clears up the mystery of when the flashbacks were taking place throughout the show. It aired in 1958, so fifty years before would be 1908, which seems about right for Lucia's clothing, though some of the sets don't seem that old, the mention of the telephone is a bit misleading, and "The Anniversary Waltz," which plays at the party when Lucia meets Allen, was recorded in 1941. Still, the episode successfully hides the final secret from the viewer and Gabrielson's teleplay adapts a short story that is almost entirely narration into a TV show filled with dialogue, albeit with a healthy use of voiceover.

Selmer Jackson,
obscured by fog

"The Foghorn" also has a number of similarities to "Never Again," a 1956 episode of Alfred Hitchcock Presents that was based on a short story that was first published in the April 1934 issue of Cosmopolitan, five months after "The Foghorn" was published. In "Never Again," a woman awakens and struggles to remember what happened to her and where she is. She begins to think that she is in a hospital but in the end discovers that she is in prison after having killed her boyfriend in a drunken rage. Unlike "The Foghorn," there is no concealment of her identity, yet both stories feature as their main character a woman who has trouble recalling a traumatic, violent event and who does not immediately understand where she is at present.

Robert Stevens (1920-1989) worked in television from 1948 to 1987 and directed 44 episodes of Alfred Hitchcock Presents and five episodes of The Alfred Hitchcock Hour. He won an Emmy for "The Glass Eye." He also directed 105 episodes of Suspense in the early 1950s.

Mark Henry

Barbara Bel Geddes (1922-2005) stars as Lucia, the first in a series of women who are unlucky in love that the actress played around this time in Hitchcock projects.  In Vertigo, which opened in San Francisco two months after "The Foghorn" aired, she plays Midge, doomed to be disappointed in her love for Scottie, who is besotted with the gorgeous Madeleine. "The Foghorn" was her first role on the Hitchcock TV show; it would be followed a month later by "Lamb to the Slaughter," where she plays a woman who takes culinary revenge on her unfaithful husband; by "The Morning of the Bride," in 1959, where she waits years to marry a man with an unhealthy fixation on his mother; and by "Sybilla," in 1960, where her husband tries to kill her. Bel Geddes started as a stage actress in 1941, moving into film in 1947 and TV in 1950. She later starred in the television series Dallas from 1978 to 1990, winning an Emmy in 1980. A website devoted to her career may be found here.

Suave as always in the role of Allen is Michael Rennie (1909-1971), who was born Eric Alexander Rennie in England. He started acting late, at age 26, and his first film role was as a stand-in for Robert Young in Hitchcock's Secret Agent (1936). He became a star after WWII and his best-remembered role is in The Day the Earth Stood Still (1951). He acted on TV starting in 1956 and appeared on Batman, as well as in two episodes of Alfred Hitchcock Presents and "The Long Silence" on The Alfred Hitchcock Hour.

In smaller roles:

• Bartlett Robinson (1912-1986) as John St. Rogers; Robinson was on screen from 1949 to 1982 and was in 11 episodes of the Hitchcock show; including "Man With a Problem."
• Jennifer Howard (1925-1993) as the nun; she began her career as a stage actress and was a founding member of the Actors Studio. She was married to Sam Goldwyn, Jr., from 1950 to 1968 and appeared on TV from 1948 to 1962 and in a handful of films in 1961 and 1962. Her most notable role was as the nurse whose deformed features are kept in shadow throughout most of the famous episode, "Eye of the Beholder" on The Twilight Zone; that episode is similar to "The Foghorn" in that faces are hidden from the viewer until the end.
• William Yip (1895-1968) as Wong, who waits on Allen and Lucia in the Chinese restaurant; born in San Francisco, he was on screen from 1942 to 1967 and appeared in an episode of Thriller.
• Selmer Jackson (1888-1971) as the servant at the party who tells Allen that his wife is on the telephone; he often played small, uncredited roles in film or on TV from 1921 to 1963. He appeared in Hitchcock's Saboteur (1942) and was in six episodes of the Hitchcock show; his last credited role was in "Starring the Defense."
• Mark Henry as the doctor; he had a brief TV career from 1958 to 1960.

The last moment of happiness.

Gertrude Atherton (1857-1948), who wrote the short story, was born in San Francisco. Her first published work appeared in 1882 and her first novel was published in 1888. Her husband died at sea, like Allen in "The Foghorn," and she had a long career writing fiction and non-fiction. A number of films were adapted from her fiction between 1917 and 1933 but only two TV shows have been made from her works--one in 1952 and this episode of the Hitchcock show.

Read "The Foghorn" here, buy the DVD here, or watch it online here. Read the GenreSnaps review of this episode here. 

Sources:

Atherton, Gertrude. "The Foghorn." Good Housekeeping, November 1933, 16-17, 129-30, 132.

The FICTIONMAGS Index, www.philsp.com/homeville/FMI/0start.htm.

"The Foghorn." Alfred Hitchcock Presents, season 3, episode 24, CBS, 16 March 1958.

Galactic Central, www.philsp.com/index.html.

Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. OTR Pub., 2001.

IBDB, www.ibdb.com/.

IMDb, www.imdb.com/.

Wikipedia, www.wikipedia.org/.


Listen to Al Sjoerdsma discuss "My Brother Richard" here!

In two weeks: Our series on Allan Gordon begins with a look at "A Very Moral Theft," starring Betty Field and Walter Matthau!

The Hitchcock Project-Frank Gabrielson Part One-Reward to Finder [3.6]

by Jack Seabrook

Frank Gabrielson (1910-1980) wrote two teleplays for Alfred Hitchcock Presents during the show's third season. Born in New York City, he began performing on the Broadway stage and writing shows in 1934. He continued on Broadway until 1941, then in 1944 he switched to writing for the movies and worked on screenplays until 1946. By 1949, he had begun writing for television, where he had the most success. He was the head writer for Mama, a popular series adapted from the 1948 film, I Remember Mama, and he wrote for various other series through 1962. Among his teleplays were four for Suspense, adapting short stories that later turned up, adapted by other writers, on Alfred Hitchcock Presents: "The Creeper," "Post Mortem," "The Monkey's Paw," and "The Hands of Mr. Ottermole." Gabrielson wrote one more screenplay for a film that was released in 1971 and he died in 1980.

*   *   *   *   *

"The love of money is the root of all evil."--1 Timothy 6:10

Frank Gabrielson

Frank Gabrielson's first teleplay for Alfred Hitchcock Presents was "Reward to Finder," which aired on CBS on Sunday, November 10, 1957. The show was based on a short story called "Dangerous Money," by F. J. Smith, which was first published in the October 1956 issue of Manhunt.

The story begins as John, who works as a mechanic at a processing plant, comes home to Minnie, his wife of twenty-six years, with a surprise: he found an expensive wallet on the way home from work. She opens it to find thirty-two $100 bills and imagines the things she could buy with this windfall. A driver's license identifies the owner as a Mr. Crukshank from Rhode Island and Minnie wonders if there is a reward for returning the wallet to its owner.

After supper, John sees an ad in the newspaper offering a reward and Minnie imagines buying a new dress, but her husband tells her that she would be arrested on the spot if she paid with a $100 bill. John hides the wallet and grows "more sullen, secretive and short-tempered"; he is determined to keep the money and enjoys counting it in private, certain that it will ensure a secure future. Minnie walks in on him while he is counting and demands her share; she grabs a bill and he roughly grabs her wrist.

John tells Minnie to make a pot of coffee and she realizes that he has no intention of spending any of their newfound wealth. She mixes almost half a bottle of sleeping pills in with the coffee, aware of the label's warning that an overdose may be fatal. He arrives in the kitchen and kills her with a blow to the back of her head from a heavy, iron paperweight. He puts her body in the bathtub to make it look like she fell, hit her head, and drowned, then settles down to drink his coffee, unaware that it will kill him.

"Reward to Finder" was
first published here

"Dangerous Money" is a simple, two-character story that shows the effect that greed can have on poor, desperate people. John and Minnie are believable and the conclusion is satisfying; they are each rewarded for their greed.

Retitled "Reward to Finder" for television, the short story is transformed into an outstanding half-hour by a great script, superb direction, and fine performances. John and Minnie have been rechristened Carl and Anna Gaminsky. The TV show opens with a scene not in the short story: there is a closeup of Carl's legs as he walks along the sidewalk, his pants filthy and worn. He stops at a sewer grate to pick up a used newspaper and sees the wallet, which he also picks up. We see him open it and glance around furtively before tucking it inside his coat. The scene then dissolves to a shot of Anna doing the laundry by hand in their dark, dirty home; these initial shots make it clear that the couple are poor and desperate.

Anna notices right away that Carl seems unusually cheerful; she asks if it's due to the bottles he picked up on the way home (he can turn them in for four cents) or if he stopped off at the bar. He laughs and she self-consciously smooths her hair, afraid that he is laughing at her. Kaminsky works as a janitor and resents his boss and the tenants where he works; he is casually cruel to his wife, barking at her to "shut up," and the unspoken message is that this treatment is not unusual. Carl pulls out the wallet and shows it to Anna; now there are fifty-two $100 bills inside. Unlike the story, there is no driver's license in the wallet to identify its owner.

Anna wistfully talks about the "'beautiful things'" she sees in stores and desires a manicure set, but Carl is unsympathetic to her dreams. She seems honest, suggesting that they go to the police station or read the papers, looking for an ad to identify the wallet's owner. The Anna of the TV show is more sympathetic than her counterpart in the short story, at least in the early scenes. Anna's final act is foreshadowed when she takes a spoonful of medicine to calm her suddenly nervous stomach. She tells him that it would not be right to keep the money and makes a pathetic plea to buy a manicure set for $5.95 with the reward money.

Oscar Homolka as Carl

Unlike the story, where there are only two characters, a third person now enters the TV show: a policeman rings the doorbell and asks for money. Carl reaches into his pocket and begins to pull out the wallet until the policeman says that he's raising money for the Policeman's Benevolent Fund. In a closeup, we see Carl's hand quickly put the wallet back in his pocket and reach into another pocket for a donation.

Anna asks the policeman what to do if you find a lost item, but Carl interrupts and says that it was someone else who found something. The policeman says that failure to return a lost item is against the law and, while Carl responds that he'll tell the other man, we suspect that he has no intention to give back the wallet or the money. In the next scene, Anna is reading the paper and finds an ad offering a "generous reward to finder." Carl is not moved, insisting that the reward will be inadequate. As they sit together at the kitchen table, Carl says something that foreshadows the show's tragic conclusion: "'One thing I'll say about you, Anna--you make a good cup of coffee.'"

The next day, Anna waits for Carl to come home and admires her hand, thinking of the manicure set that she will buy with the reward, but when he comes home, he tells her that he got no reward. After talking Anna out of calling the wallet's owner to complain, Carl sneaks up the shadowy stairs to the attic, a look of fear and mistrust on his face. He locks himself in the attic, which is cluttered with junk and lit by a small, overhead lamp, and tiptoes over to a spot where he hides the wallet beneath a floorboard, chuckling to himself.

Jo Van Fleet as Anna

Carl arrives home one day over two weeks later carrying his usual stack of newspapers (which he saves to turn in for a few pennies--there are piles of them tied up with string in the attic) and what looks like a wheel from a baby carriage. It is details like this, which are not spotlighted but which appear in the background, that lend an air of authenticity to the scenes in "Reward to Finder." Carl and Anna are in the same socio-economic class as Ralph and Alice Kramden on The Honeymooners, which ended its run a year before this episode, but they are miserable. Anna complains about their home, her dirty stove, and her rough hands; they yell at each other and he retreats to his attic room.

Carl angrily gives Anna a piece of newspaper to clean the stove, unaware that it contains another ad offering a reward for the wallet's return. Suddenly realizing that Carl lied to her, Anna quietly mounts the stairs in another shadowy shot and looks through the keyhole, where she sees Carl counting the money. They argue through the closed door and she insists on her share of the money before he admits her.

In the next scene, Anna is painting her nails with her new manicure set and Carl is upset when she reveals that she opened a charge account at the store. In the following scene, Anna is overcome with excitement when Carl comes home and she shows him her new dress and the furniture she bought. Perhaps most pathetic is the price tag that still hangs from her dress! Carl angrily slaps her hand and leaves the house.

Claude Akins

Things go from bad to worse in the following scene, where Anna displays the new fur coat she bought. Unlike the short story, in the TV show Anna begins to purchase things on credit, determined at last to enjoy what she considers the good things in life. While Carl wants to live like a miser and save the money, Anna wants to live for today and spend it. He insists she return the coat and she responds by threatening to call the wallet's owner or the police. A screaming fight ensues, but when Anna tells Carl that he does not have the nerve to hit her, she slaps him in the face. She picks up the phone to call the police and he escapes to his attic sanctuary; Anna caresses her fur coat and hangs up the phone before turning Carl in to the police.

She walks into the kitchen, still wearing the fur, and spikes Carl's coffee with a fatal dose of medicine while he frantically counts the money in the attic and holds a heavy statue that Anna bought, the expression on his face making his intent clear. She brings the coffee to him in the attic and, among the shadows, he murders her in a brutal shot, bringing the statue down several times on her head. There is no attempt to cover up his crime by putting her body in the bathtub; instead, he takes a crumpled $100 bill from her hand, smooths it, and picks up the cup of coffee she brought him, taking a sip and repeating his earlier line: "'One thing I got to say about you, Anna--you sure make a good cup of coffee.'" The scene fades out on his face as he smiles to himself, unaware that he is about to die.

"Reward to Finder" improves on its source by making good use of the medium of television. Oscar Homolka, as Carl, is a poor, hardworking man who has never seen money like this before and who is loath to give it up. His performance is superb and he is utterly convincing as a man who has been down on his luck for so long that it has become routine. Even better is Jo Van Fleet as Anna, especially in the show's early scenes, where she makes the viewer sympathize with her downtrodden character. Later in the show, when she begins to buy clothes and furnishings on credit, her character becomes less sympathetic, and her final decision to poison her husband is understandable.

The direction by James Neilson is outstanding, keeping the story moving along briskly even though it mostly involves only two characters and limited settings. Claude Akins makes a brief appearance as the policeman who comes to the door to raise funds.

As Carl, Oscar Homolka (1898-1978) makes his first of three appearances on Alfred Hitchcock Presents. Born in Vienna, Homolka served in the Austro-Hungarian Army in WWI and began his career on the Austrian stage before leaving Germany when Hitler came to power. He was on screen from 1926 to 1976 and his films included Hitchcock's Sabotage (1936), Ball of Fire (1941), and I Remember Mama (1948). He was on TV from 1951 to 1976 and he was also seen on Thriller.

Jo Van Fleet (1914-1996) plays Anna. She was only 43 years old at the time, sixteen years younger than Oscar Homolka, though in her career she often played characters who were older than she was. She won a Tony Award in 1954 for "The Trip to Bountiful" and an Oscar in 1956 for East of Eden. She was a member of the Actors Studio, appeared in many TV episodes and movies, including Cool Hand Luke (1967), and has a star on the Hollywood Walk of Fame. She appeared in three episodes of Alfred Hitchcock Presents, including "Shopping for Death."

Claude Akins (1926-1994) plays the policeman. Akins served in the Army in WWII and acted on screen from 1953 to 1994, appearing in such films as Rio Bravo (1959) and on TV in shows including The Twilight Zone and The Night Stalker. He was also another episode of Alfred Hitchcock Presents, "Place of Shadows," but he was best-known as Sheriff Lobo in the TV series B.J. and the Bear (1978-1979) and The Misadventures of Sheriff Lobo (1979-1981).

The author of the short story, F. J. Smith, had one other story adapted for Alfred Hitchcock Presents ("One More Mile to Go," broadcast earlier in 1957) and the FictionMags Index lists 15 short stories that he wrote, but I have not found any biographical details about the author. The fifteen stories appeared mostly in mystery magazines between 1956 to 1960, with two more in 1966 and 1967; "One More Mile to Go" is the earliest one listed. In Patrick McGilligan's Hitchcock bio, he lists Smith as "George F. J. Smith," and this is also reflected in The Alfred Hitchcock Presents Companion, but I have found no other source for this added first name--both the short story in Manhunt and the onscreen credit for the television adaptation list the author as "F. J. Smith."

"Reward to Finder" may be viewed online here, or the DVD may be purchased here. Read the GenreSnaps review of this episode here. Listen to Annie and Kathryn's discussion of the episode here. Thanks to Peter Enfantino for providing a copy of the short story, "Dangerous Money"!

Sources:

The FICTIONMAGS Index, www.philsp.com/homeville/FMI/0start.htm.

Galactic Central, www.philsp.com/index.html.

Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. OTR Pub., 2001.

IBDB, www.ibdb.com/.

IMDb, www.imdb.com/.

"Reward to Finder." Alfred Hitchcock Presents, season 3, episode 6, CBS, 10 Nov. 1957.

Smith, F. J. "Dangerous Money." Manhunt, October 1956, 122-128.

Wikipedia, www.wikipedia.org/.


Listen to Al Sjoerdsma discuss "My Brother Richard" here!


In two weeks: Our series on Frank Gabrielson concludes with a look at "The Foghorn," starring Barbara Bel Geddes and Michael Rennie!