Wednesday Comics

The Twilight Zone #16 (July, 1966)
"Nightmare for an Astronaut"
Script: Dick Wood
Pencils & Inks: Joe Orlando 
Letters: Ben Oda
Cover: George Wilson 

Reading Rod Serling’s The Twilight Zone Magazine, Part 22

In which we take a closer look at each issue. For our capsule history of the magazine, go here.

Volume 2, Number 11 (January/February, 1983)

Christmas issue

Cover art: Walter Velez

Note: TZ Magazine moves to a bi-monthly publication schedule.

TZ Publications, Inc.

President & Chairman: S. Edward Orenstein

Secretary/Treasurer: Sidney Z. Gellman

Executive Vice-Presidents: Leon Garry, Eric Protter

Executive Publisher: S. Edward Orenstein

Publisher: Eric Protter

Associate Publisher and Consulting Editor: Carol Serling

Editor: T.E.D. Klein

Managing Editor: Jane Bayer

Associate Editor: Robert Sabat

Contributing Editors: Thomas M. Disch, Gahan Wilson, Marc Scott Zicree

Design Director: Michael Monte

Art Director: Pat E. McQueen

Art Production: Susan Lindeman, Carol Sun

Typesetting: Marianna Turselli

Production Director: Stephen J. Fallon

Controller: Thomas Schiff

Ass’t to the Publisher: Judy Linden

Public Relations Manager: Jeffrey Nickora

Accounting Mgr.: Chris Grossman

Accounting Ass’t: Annemarie Pistilli

Office Ass’t: Miriam Wolf

Circulation Director: William D. Smith

Circulation Mgr.: Carole A. Harley

Circulation Ass’t: Karen Martorano

Newsstand Sales Manager: Karen Marks Goldberg

Eastern Circ. Mgr.: Hank Rosen

West Coast Circ. Mgr.: Gary Judy

Advertising Manager: Rachel Britapaja

Adv. Production Manager: Marina Despotakis

Advertising Representatives: Barney O’Hara & Associates

Contents:

--In the Twilight Zone: “Dahl’s house . . .” by T.E.D. Klein

--Other Dimensions: Books by Thomas M. Disch

--Other Dimensions: Screen by Gahan Wilson

--Other Dimensions: Etc.

--Dice-Wielding Warriors by Lawrence Schick

--“Crossing Over” by Jack McDevitt

--Optoshock! (photomontage) by Christopher Hoffman

--“Personality Problem” by Joe R. Lansdale

--“Tommy’s Christmas” by John R. Little

--“Recollections of Annie” by Charles L. Grant

--“There’s a Man Goin’ Round Takin’ Names” by Robert S. Reiser

--Fantasy Films ’82: A Critical Guide by TZ Magazine Staff

--“Below Zero” by John Kessel

--“Echoes” by Lawrence C. Connolly

--“A Chance Affair” by Mignon Glass

--TZ Interview: Roald Dahl by Lisa Tuttle

--Required Reading: “Royal Jelly” by Roald Dahl

--Other Dimensions: The ‘So Saying, He Vanished’ Quiz Revisited by Chet Williamson

--Rod Serling’s Lost ‘Christmas Carol’ by Sam Frank

--Show-By-Show Guide: TV’s Twilight Zone, Part Twenty-Two by Marc Scott Zicree

--TZ Classic Teleplay: “One for the Angels” by Rod Serling

--Looking Ahead: In April’s Anniversary Issue

--In the Twilight Zone: “Dahl’s house . . .” by T.E.D. Klein

-Klein highlights the issue’s interview with and story by Roald Dahl by presenting an excerpt from an article Dahl wrote for Architectural Digest which illustrates the ways in which Dahl mines his own life and interests to create his stories. The column is rounded out in the usual way, with capsule biographical information on the issue’s contributors along with thumbnail portraits. Klein attaches an addendum to the column explaining the magazine’s move to a bi-monthly schedule while also announcing an aggressive, national subscription drive. Klein laments a further shrinking of the genre fiction market but concludes: “it’s good to look forward to the expanded circulation, and to know that we’re going to be around for years to come, doing what we do best: publishing a magazine that’s right out of the Twilight Zone.”  

Max Ernst

--Other Dimensions: Books by Thomas M. Disch

-Thomas M. Disch returns after a month off to suggest buying books for those on your Christmas list. Disch begins his column by defining the types of books which are acceptable to purchase as Christmas gifts and those which are not (such as bestsellers, remainders, and books which are part of a trilogy). He proceeds to provide a list of Disch-approved titles with commentary. On Disch’s list are the following titles:

-Poetry Comics: A Cartooniverse of Poems by Dave Morice (Disch earlier praised Morice’s works in the July, 1982 issue of TZ)

-A Visit from St. Alphabet by Dave Morice

-A Little Girl Dreams of Taking the Veil by Max Ernst

-Alice’s Adventures in Wonderland by Lewis Carroll, illustrated by Barry Moser

-Collected Stories by Isaac Bashevis Singer (Singer will later be featured in the February, 1984 issue of TZ Magazine with a profile, interview, and story)

-Sixty Stories by Donald Barthelme

-Collected Fantasies by Avram Davidson

-Science Fiction Writers edited by E.F. Bleiler

-World Folktales by Atelia Clarkson and Gilbert B. Cross

-Disch points out that someone has to get coal for Christmas so he recommends Writing Science Fiction that Sells by Harvey L. Bilker and Audrey L. Bilker as the perfect lump of coal for the deserving person on your list.

--Other Dimensions: Screen by Gahan Wilson

Metropolis

-Wilson discusses what he views as the growing trend toward pessimism in science fiction films, tracing the trend from classic films such as Metropolis and Things to Come through Planet of the Apes, Alien, Outland, Escape from New York, Blade Runner, and The Road Warrior, the latter four of which were reviewed in the pages of TZ. Although Wilson acknowledges that science fiction films are generally highly moralistic and tend to view mankind’s folly through dark lenses, he finds that modern films are uniformly bleak in their view of the future of the human race. Still, he admits that this pessimistic view has likely not been taken as far as it could, predicting that the “Grapes of Wrath of absolute despair is still to come.”

--Other Dimensions: Etc.

-The miscellany column this issue provides a meaty update on Twilight Zone: The Movie, detailing the film’s format, directors, and stories, plus the spate of TZ cameos slated for director Joe Dante’s version of “It’s a Good Life.”  The column also looks at the rousing reception for Steven Spielberg’s E.T. when the film was shown at a special U.N. event.

--Dice-Wielding Warriors by Lawrence Schick

-Lawrence Schick, a game designer, provides a thorough look at the newly-burgeoning industry of tabletop role-playing games, focusing primarily on Dungeons & Dragons and Call of Cthulhu but also listing, and examining, several additional titles. Schick begins by providing a detailed, in-game scenario based on Call of Cthulhu before moving on to further detailed information about the history of role-playing games, the functional aspects of various game elements, and the place of role-playing games in the larger culture. Schick provides a list of suggested titles based on genre, game-play, and player experience. Schick also briefly comments on the “Satanic Panic” movement in the culture, which pulled some role-playing games, particularly Dungeons & Dragons, into its sphere and attempted to depict role-playing games and its players as unhealthy, dangerous, or outright evil. Schick concludes his article this way: “Will role-playing games fade, and be remembered only as a college fad of the early ‘80s? I don’t think so; for those of us who’ve grown adept at them, they’re just too much fun. Their exact future is anybody’s guess, but my bet is that they’re going to be with us for a long time.” Schick was correct in his prediction. The popularity of role-playing games exploded in the years after he wrote this article, successfully moving into video games, LARPing (live action role-playing), and streaming movies. The influence of role-playing games can be seen in films, music, art, and literature. Numerous books have been written on the subject, ranging from player’s guides to comic books to sociological texts to history to art books to memoirs.

--“Crossing Over” by Jack McDevitt

Illustrated by Harry Pincus

“She was going to remain with him till the end . . . and beyond. But what if there was nothing on the other side?”

-A woman with a gift (curse) for connecting with the minds of others is paid a large amount of money by a spiritual association to connect with a dying man and definitively discover whether or not there is life after death. The woman is left emotionally damaged by the experience but is later allowed to heal when a tragic accident grants her the opportunity to comfort a close friend at the point of dying.

-McDevitt returns to the pages of TZ after he appeared with his first published story, “The Emerson Effect,” in the December, 1981 issue. “Crossing Over” is a moody and emotionally resonant take on a familiar theme which, like McDevitt’s earlier contribution to the magazine, is rich in character and incident.

--Optoschock! by Christopher Hoffman

“Some have transformed the world with a sword, some with a pen, one New Yorker has transformed it with scissors, a jar of glue, and a bunch of photos rescued from the trash can. Some might call the resulting vision ‘twisted’ or ‘surreal.’ He calls it simply . . .”

-Hoffman curates a personal journey through his particular art form: grotesque collage photography. Hoffman gives some personal background on how he came to first create his unique photographs and provides humorous captions for several selected images.

--“Personality Problem” by Joe R. Lansdale

Illustrated by Yvonne Buchanan

“Just ‘cause a guy’s got bolts in his neck, don’t mean he ain’t got feelings.”

-Frankenstein’s Monster lies on the psychiatrist’s couch for a session in which he explains his never-ending battle with being misunderstood and attacked by people. The doctor listens quietly until he interrupts the session to try and light the Monster on fire.

-This humorous short-short marks Lansdale’s fourth appearance in the pages of TZ, preceded by the similarly humorous shorts “The Dump” in the July, 1981 issue, “The Pasture” in the December, 1981 issue, and “Chompers” in the July, 1982 issue. “Personality Problem” was collected in Bumper Crop (2004).

--“Tommy’s Christmas” by John R. Little

Illustrated by Randy Jones

“The stranger wasn’t very jolly – and he stuffed things in his bad instead of taking them out.”

-Santa Claus is interrupted while robbing a home on Christmas Eve by little Tommy, who wants to know why Santa is taking things rather than leaving gifts. When Tommy’s older brother also awakens and enters the room, Santa decides to kidnap Tommy as an apprentice (he’s getting too old for this job, anyway). He only hopes Prancer and Vixen get used to the boy.

-This humorous short Christmas tale was reprinted in 100 Great Fantasy Short Short Stories (1984), which reprinted several tales from the pages of TZ Magazine, including Joe Lansdale’s “Personality Problem” and Lawrence C. Connolly’s “Echoes” from this issue. “Tommy’s Christmas” was collected in Little Things (2010).

--“Recollections of Annie” by Charles L. Grant

Illustrated by David Klein

“There were two strong women in his life – and one of them was dead.”

-A talented carpenter and family man finds himself falling under the spell of his dead sister, Annie, who was a dominating influence over him when alive. On the suggestion of his son, he decides to build a snow sculpture of Annie rather than something more traditional. The closer he comes to finishing the snow sculpture, the more Annie’s negative influence takes over his life, altering his behavior and alienating his family.

-Charles L. Grant, a master of the suggestive horror story, returns to the pages of TZ with this stark, haunting meditation on the influence of the dead. The story is told in Grant’s typically economical style with a pleasantly downbeat ending. The story was reprinted in the limited-edition anthology Black Wine, edited by Douglas E. Winter (Dark Harvest, 1986) and posthumously collected in Scream Quietly: The Best of Charles L. Grant (2012).

-Grant previously appeared in the pages of TZ with “Silver” in the July, 1981 issue, and “Essence of Charlotte” in the February, 1982 issue. Grant also interviewed Stephen King for the April, 1981 issue.

--“There’s a Man Goin’ Round Takin’ Names” by Robert S. Reiser

Illustrated by Richard Basil Mock

“In what was left of Los Angeles, a census wasn’t quite the same as a head-count.”

-A census taker in the far future travels to a sparsely populated Los Angeles to try and record an accurate account of the city’s inhabitants. In this post-nuclear world mutants are the norm and the census taker must also record all the various mutations in each household.

-This was a light, enjoyable story with a neat twist in the tale. Reiser is described by T.E.D. Klein as the “writer of the off-Broadway comedy hit El Grande de Coca-Cola and a contributor to Fridays and other tv shows.”

--Fantasy Films ’82: A Critical Guide

-The TZ Magazine staff looks back at the major fantasy films of 1982. Accompanied by several color photographs from various movies, the feature is presented in two-column form, with the first column including what the TZ Magazine staff liked about the film and the accompanying column displaying what they did not like about the film. The films examined include: E.T., Star Trek II, Tron, The Thing, Cat People, Blade Runner, The Road Warrior, Quest for Fire, The Beast Within, Swamp Thing, Conan, and Poltergeist. Additional films, such as The Dark Crystal, Creepshow, and Halloween III are given snippet reviews in the color section. Although the TZ Magazine staff is particularly hard on many of the films, they were surprisingly down on John Carpenter’s The Thing and Ridley Scott’s Blade Runner, two films which were not particularly successful upon initial release but have since come to be considered classics. Several of the reviews contradict one another, as well. For instance, The Thing is criticized for its downbeat ending while Poltergeist is criticized for its happy ending. 

--“Below Zero” by John Kessel

Illustrated by D.W. Miller

“The chill was growing worse – and winter had nothing to do with it.”

-In an undisclosed time in the future, the world is extremely cold. Jennifer is a poor office worker whose life is a constant battle against the cold and the bureaucracy of her job. Her troubled coworker, Eleanor, arrives uninvited to Jennifer’s small apartment and complains that the cold she, Eleanor, constantly feels is not a result of the weather outside but something that follows her like a shadow. Jennifer gives Eleanor a place to sleep but in the morning finds that Eleanor has left the apartment and frozen to death in her car. Jennifer then begins to feel cold all the time, no matter how much she covers herself.

-This was an enjoyably bleak, downbeat story which reminded me a bit of the ending sequence in Rod Serling’s “The Midnight Sun.” Kessel does a great job creating the necessary atmosphere, which begins to creep up on the reader as the story moves towards its disturbing climax.

--“Echoes” by Lawrence C. Connolly

Illustrated by E.T. Steadman

“Billy’s mother understood exactly how he felt: when you missed someone, you conjured up a ghost and called it real.”

-A mother attempts to cope with her young son’s struggle to accept the death of his brother. Her husband’s return home from work reveals a larger picture of life in the house where both sons are revealed to be gone.

-This twisty short-short was reprinted in 100 Great Fantasy Short Short Stories (1984) as well as in Karl Edward Wagner’s The Year’s Best Horror Stories: Series XII (1984). It was collected in Visions: Short Fantasy & SF (2009). Connolly previously appeared in the pages of TZ with “Mrs. Halfbooger’s Basement” in the June, 1982 issue.

--“A Chance Affair” by Mignon Glass

Illustrated by Peter Kuper

“There were only a few things you could say about him: he was fat, overfriendly . . . and oddly forgettable.”

-A woman is forced to listen to a fat man’s babble in a café in which he subtly reveals his growing appetite for living things. The man exerts a strange effect on the woman’s mind, making her forget certain things about their encounter. Later that night, the woman looks out of her apartment window and sees the fat man standing in the street looking up at her.

-This strange, atmospheric story was reprinted in the first issue of Night Cry. Oddly, no biographical information on Mignon Glass is offered in T.E.D. Klein’s editorial at the front of the issue.

--TZ Interview: Roald Dahl: ‘It’s got to be bloody good!’ by Lisa Tuttle

His style is witty, his imagination’s nasty . . . and he also writes for children.”

-Lisa Tuttle, who previously appeared in the pages of TZ with the excellent story “A Friend in Need” (August, 1981 issue) conducts this interview with the celebrated short story writer and children’s author Roald Dahl. Tuttle begins with a concise essay on Dahl’s writing career and the ways in which his personal life has intersected with his writing. Tuttle focuses much of the interview on Dahl’s short stories for adults, written over the course of twenty-five years and mainly published in The New Yorker. These humorous and macabre stories, such as “The Landlady,” “Lamb to the Slaughter,” “William and Mary,” and “Man from the South,” were collected in Someone Like You (1953) and Kiss Kiss (1960) and have been adapted on such television programs as Alfred Hitchcock Presents and the Dahl-hosted ‘Way Out and Tales of the Unexpected.

-Dahl discusses his early writing career selling stories about his experiences as an RAF pilot as well as what prompted him to write short fiction and why he stuck to short stories for so long. He spends time on some of his favorite writers while lamenting the current state of the short story in English. Dahl reveals his level of participation in the television series Tales of the Unexpected (almost none) and his generally unpleasant experiences working on films, with the exception of the James Bond thriller You Only Live Twice. Dahl reveals the challenges he faced when moving from adult fiction to children’s fiction and discusses the challenges he currently faces putting together a collection of ghost stories, which appeared as Roald Dahl’s Book of Ghost Stories in October, 1983.  

--Required Reading: “Royal Jelly” by Roald Dahl

Illustrated by Frances Jetter

“A classic horror tale about the care and feeding of infants”

-A mother worries that her baby is not eating enough. She expresses her fears to the father, who assures her that he has the solution. He is an avid amateur entomologist and begins mixing royal jelly from bees in with the baby’s milk. Soon, the baby and the father, who has been ingesting royal jelly himself, begin to strangely resemble insects.

-“Royal Jelly” is one of Dahl’s most oft-reprinted tales and is one of the author’s few tales which uses strong elements of fantasy. Dahl’s stories for adults typically feature human cruelty or ironic twists of fate. He seldom used so bold an element as a father and child transforming into insects. “Royal Jelly” is taken from Dahl’s 1960 collection Kiss Kiss. The story has been reprinted in several anthologies, beginning with Edmund Crispin’s Best Tales of Terror (1962). It was adapted for television on Tales of the Unexpected by writer Robin Chapman and director Herbert Wise, broadcast March 1, 1980.

--Other Dimensions: The ‘So Saying, He Vanished’ Quiz Revisited by Chet Williamson

-This is a new collection of final lines from notable works of weird fiction, with the reader challenged to match the final lines with the story title and author. The quiz and answers are below. 

--Rod Serling’s Lost ‘Christmas Carol’ by Sam Frank

“Written by Serling for the United Nations, Carol for Another Christmas aired in 1964 amid controversy and outrage, then vanished forever. Now, at last, the program has been rescued from oblivion – and so has the story behind it.”

-Sam Frank definitively documents the genesis, production, and reception of Rod Serling’s television play, “Carol for Another Christmas,” which aired on ABC on December 28, 1964. The play was a modern take on Charles Dickens’ A Christmas Carol, with the characters and events updated for the Cold War era. It concerns a militant, right-wing millionaire played by Sterling Hayden who is visited by three spirits on Christmas Eve, played by Steve Lawrence, Pat Hingle, and Robert Shaw, who show the stone-hearted millionaire the devastation wrought by unchecked military aggression.

-Sam Frank details the events which led a newly-created production company, in partnership with the U.N., to develop television programs aimed at illustrating the U.N.’s peacekeeping goals. Frank details Rod Serling’s involvement with the program near the end of The Twilight Zone, the struggle to find a network willing to air the plays, the continuous effort to get approval from the U.N., the trouble caused by far-right groups who wrote thousands of letters in an attempt to get the network to back out, and describes the production troubles association with the ambitious project. Frank provides details on the all-star cast and crews who participated in the project, discusses the other plays created for the project, examines the critical reception of the play, and gives an honest and balanced assessment of Serling’s script. Lastly, Frank reports on the recent finding of a print of “Carol for Another Christmas,” which had not been seen since its original broadcast.

-This article is a highly detailed account of the creation and reception of “Carol for Another Christmas” and a brief summation here does not do justice to the amount of information Sam Frank includes in his article. The article contains quotes from the play and from interviews with Serling as well as several photographs. Although it was difficult to view the play for many years, “Carol for Another Christmas” is now widely available to own on DVD and occasionally appears on television. It remains a hidden gem in Rod Serling’s career and a testament to the type of positive social change Serling was constantly striving to create with his writings.

--Show-By-Show Guide: TV’s Twilight Zone, Part Twenty-Two by Marc Scott Zicree

-Marc Scott Zicree, author of The Twilight Zone Companion (now in a 3^rd edition), continues his guide to the original series by including cast and crew information, a summary, and Rod Serling’s opening and closing narrations for the fifth season episodes “Black Leather Jackets,” “Night Call,” and “From Agnes – with Love.”

--TZ Classic Teleplay: “One for the Angels” by Rod Serling

-Presented here is Rod Serling’s script for the second episode of The Twilight Zone, which featured Ed Wynn as Lew Bookman, a genial sidewalk salesman who must outwit Mr. Death (Murray Hamilton) to save the life of a young girl. This heartwarming fan favorite first aired on October 9, 1959 as the second episode of the first season. It was directed by Robert Parrish. For more information on the episode, see our review here.

--Looking Ahead: In April’s Anniversary Issue

-Next issue marks the second anniversary of the magazine. Behind a Rod Serling cover lies an issue full of interesting stories and articles. Highlights include Rod Serling’s notes for a Twilight Zone movie, an update on Twilight Zone: The Movie, the winning stories from the magazine’s annual story contest, an interview with Colin Wilson, Richard Matheson’s story which inspired his first season episode “A World of His Own” (also included), and much more. See you next month!

-JP

Wednesday Comics

The Twilight Zone #44 (July, 1972)
"The Camera Doesn't Lie"
Script: unknown
Art: unknown
Cover: George Wilson

"Passage on the Lady Anne"

L to R: Wilfrid Hyde-White, Gladys Cooper, Lee Philips, Joyce Van Patten

“Passage on the Lady Anne”

Season Four, Episode 119

Original Air Date: May 9, 1963

Cast:

(In alphabetical order)

Millie McKenzie: Gladys Cooper

Toby McKenzie: Wilfrid Hyde-White

Ian Burgess: Cecil Kellaway

Alan Ransome: Lee Philips

Eileen Ransome: Joyce Van Patten

(With)

Captain Protheroe: Alan Napier

Officers: Cyril Delevanti, Jack Raine

Addicott: Colin Campbell

Spierto: Don Keefer

Crew:

Writer: Charles Beaumont (based on his story “Song for a Lady”)

Director: Lamont Johnson

Producer: Bert Granet

Director of Photography: Robert Pittack

Production Manager: Ralph W. Nelson

Art Direction: George W. Davis, Paul Groesse

Film Editor: Everett Dodd

Set Decoration: Henry Grace, Frank R. McKelvy

Assistant to the Producer: John Conwell

Assistant Director: Ray De Camp

Music (composer): René Garriguenc

Music (conductor): Lud Gluskin

Sound: Franklin Milton, Joe Edmondson

Mr. Serling’s Wardrobe: Eagle Clothes

Filmed at MGM Studios

And Now, Mr. Serling:

“Next on Twilight Zone: an exercise from the typewriter of Charles Beaumont, a sea voyage into the darker regions of the Zone. Our stars in alphabetical order: Gladys Cooper, Wilfrid Hyde-White, Cecil Kellaway, Lee Philips, and Joyce Van Patten.”

Rod Serling’s Opening Narration:

“Portrait of a honeymoon couple getting ready for a journey, with a difference. These newlyweds have been married for six years and they’re not taking this honeymoon to start their life but rather to save it, or so Eileen Ransome thinks. She doesn’t know why she insisted on a ship for this voyage except that it would give them some time and she’d never been on one before, certainly never one like the Lady Anne. The tickets read ‘New York to Southampton,’ but this old liner is going somewhere else. Its destination: The Twilight Zone.”

Summary:

            Eileen Ransome convinces her workaholic husband Alan to allow her to accompany him on a business trip to London. Furthermore, Eileen is to decide their mode of transportation. She decides on travel by sea. She figures this will allow them to spend more time together. They have been married for six years and the overbearing strain on their marriage brought about by Alan’s dedication to business has reached a breaking point.

Mr. Spierto, the travel agent, regrettably informs the Ransomes that, as it is the off-season, most of the ships are not running their regular schedules. Upon viewing a list of available ships, Eileen selects the Lady Anne, an aging vessel embarking, unbeknownst to them, upon its final voyage. Against the strong protestations of Alan and Mr. Spierto, Eileen books two tickets for the Lady Anne.

The Lady Anne is a beautiful old ship and Eileen is excited to travel. Alan is gloomy and seems only grudgingly going along because he made a promise to Eileen. Shortly before boarding, the Ransomes encounter an elderly English gentleman named McKenzie who seems incredulous that the Ransomes have secured passage on the Lady Anne and insists that a mistake has been made. Alan shows their tickets and considers the matter settled. The Ransomes are confronted again, however, shortly before departure by McKenzie and his friend Burgess, who go so far as to offer the couple ten thousand dollars to leave the ship. The elderly men refer to the journey as a private cruise and insist they want to help the Ransomes by discouraging them from travelling along. The Ransomes remain adamant about their intention to stay on the ship.

Alan and Eileen make a startling discovery once the ship has departed. Everyone on board besides themselves is very old. Being the only young people draws attention to the Ransomes. This particularly works against them when they have a very public argument centered on Alan’s displeasure at being stuck on an old, slow ship filled with elderly people, as well as the damage his obsession with business is doing to their marriage. It appears as though the Ransomes have finally crossed the breaking point in their troubled relationship.

Eileen and Alan agree to a chilly truce to save face and endure the remaining journey to London. Although Alan does not desire to do so, Eileen accepts an invitation to tea for both of them from McKenzie and his wife. McKenzie invited the couple to tea in order to apologize for his earlier behavior and to ensure the couple that they will not have to leave the ship. Mrs. McKenzie informs the Ransomes that they won’t have to die after all. Alan and Eileen are understandably confused by this statement but McKenzie ensures them that it is only a figure of speech.

McKenzie further explains that the Lady Anne has not had any new passengers in several years and this journey is a gathering of all the people who have spent time on the Lady Anne in the past. The people on board consider their prior time on the Lady Anne to be among the happiest, most important times in their lives. Mrs. McKenzie speaks of the ship as an enchanted vessel and reveals that the Lady Anne is being retired. Those on board decided to take this final two-way journey with her, from London to New York and back again.  

Eileen becomes upset over the conversation and Alan takes her outside to get some fresh air. Alan notices that the ship is headed north rather than in the eastward direction they should be travelling. Alan looks out to sea and when he turns again he finds that Eileen has vanished. He frantically searches the ship but cannot find his wife anywhere. No one else seems concerned over Eileen’s disappearance. Hours pass and Alan is in a panic, fearful that Eileen may have fallen overboard.

McKenzie takes Alan to the bar for a drink in order to ease Alan’s mind, ensuring the younger man that Eileen has not really gone but that Alan has only missed her. Burgess, slightly drunk, joins the men to deliver a rant on the demise of the Lady Anne, blaming the modern condition of hurry and impatience for wanting to scrap the old ship, a symbol of the past.

Alan returns to their room and, incredibly, finds Eileen in bed waiting for him. Eileen has no memory of having disappeared. In that moment Alan realizes how much he loves his wife and vows never to forget the torment of losing her for even so brief a time.

The Ransomes are enjoying their newfound happiness the following night at a party with the rest of the passengers when Alan notices that the ship’s engines have stopped. A nasty surprise arrives with Captain Protheroe a short time later. The crew has gathered the Ransomes’ things and the couple are being put off the ship. Alan refuses, believing it to be a joke, prompting the First Officer to produce a gun to ensure the Ransomes that this is a serious affair.

Alan and Eileen are placed in a lifeboat along with their belongings, supplies, and the assurance that the authorities have been contacted and the Ransomes will be retrieved shortly. Alan and Eileen begin to understand why they were removed from the Lady Anne as they watch the old ship sail away and slowly disappear into the fog.

           

Rod Serling’s Closing Narration:

“The Lady Anne never reached port. After they were picked up by a cutter a few hours later, as Captain Protheroe had promised, the Ransomes searched the newspapers for news, but there wasn’t any news. The Lady Anne, with all her crew and all her passengers, vanished without a trace. But the Ransomes knew what had happened. They knew that the ship had sailed off to a better port, a placed called The Twilight Zone.”

Commentary:

            Charles Beaumont, to my mind, was the finest writer on the series during the fourth season. This is not to say the show’s other writers did not produce quality material for the much-derided hour-long format. Richard Matheson’s “Death Ship,” Earl Hamner’s “Jess-Belle,” and Rod Serling’s “On Thursday We Leave for Home” are episodes I feel stand with the best of the series. Charles Beaumont’s work on the fourth season, however, was consistently good from beginning to end, from the season premiere, “In His Image,” through to his midseason masterpiece, “Miniature,” and the moving and affecting penultimate episode, “Passage on the Lady Anne.” This trilogy of episodes represents a notable shift in Beaumont’s output from the potently effective introspective nightmares of the half-hour episodes to richer, more optimistic fare which still retained many of Beaumont’s familiar thematic traits. Beaumont also produced a fine satirical episode, “Printer’s Devil,” and provided the story for “The New Exhibit,” an episode ghost-written by Jerry Sohl and one which many viewers consider a highlight of the season. Beaumont’s single misstep was the ambitious but ultimately unsuccessful “Valley of the Shadow.”

            The six episodes (including “The New Exhibit”) Beaumont contributed during the fourth season constitute a greater output from the writer than on any other season. This feels significant when one considers that Beaumont, due to sudden and debilitating health issues previously discussed on this blog, wrote no additional episodes after “Passage on the Lady Anne.” Another Beaumont teleplay, “Gentlemen, Be Seated,” an adaptation of Beaumont’s 1960 story about a near future society in which laughter has been eliminated and a clandestine group of office workers who nightly celebrate politically incorrect humor, was completed and scheduled for the fifth season but was ultimately left unproduced by series end. The episodes credited to Beaumont during this final season were written by Jerry Sohl or John Tomerlin based on Beaumont’s ideas and stories.

The bitter irony which should not be lost on the viewer is that “Passage on the Lady Anne,” the final episode in this late outburst from Beaumont, figuratively mirrors the very real struggle which descended on him at this time. Generally speaking, “Passage on the Lady Anne” is about taking that final journey on one’s own terms, to see the journey through to the end by returning to a place of happiness and success. For Charles Beaumont, The Twilight Zone is the Lady Anne, and although his final passing was far less romantic than that portrayed in the episode, posterity has shown The Twilight Zone to be that which has done the most to keep Beaumont’s flame burning. His work on the series has come to be considered career defining. Fortunately, the world is not yet ready to scrap the old-fashioned television show the way in which the world is ready to scrap the old ship in “Passage on the Lady Anne.”

             

            “Passage on the Lady Anne” is Beaumont’s adaptation of his story “Song for a Lady,” a title indicating the final journey at the center of the story. It first appeared in Beaumont’s 1960 collection from Bantam Books, Night Ride and Other Journeys, which also contained The Twilight Zone stories “Perchance to Dream” and “The Howling Man.” Although the story structure remained essentially the same in its adaptation to television, Beaumont changed a number of internal story elements in addition to the more prosaic story title. The first differing element which jumps out at the reader is the situation of the two central characters, Alan and Eileen Ransome, who, in “Song for a Lady,” are truly newlyweds rather than the struggling married couple in “Passage on the Lady Anne.” In the story, the Ransomes book passage on the Lady Anne before they are married. Due to this essential change in the characters, there is no troubled marriage at the center of the story, which became an important element in the television episode. The story is narrated in the first person by Alan and the focus is less on the Ransomes than on the elderly passengers and their relationships to the Lady Anne. Alan and Eileen function primarily as a lens through which the reader views these relationships between the old people and the old ship taking them to their final rest.

            Another noticeable change from story to screen is in the condition of the Lady Anne. In the television episode, the Ransomes dread that the Lady Anne will be an old wreck, hardly capable of staying on the water, when in fact it reveals itself to be an old but beautiful pearl of a vessel, ornate and elegant in an old-fashioned style. In the original story the ship truly is a wreck, or close to it. Although the Ransomes believe the ship to be beautiful from afar, contrary to “descriptions of the ship had led us to expect something between a kayak and The Flying Dutchman,”* it is soon seen this way from Alan’s viewpoint: “Then we got a little closer. And the Lady Anne turned into one of those well-dressed women who look so fine a block away and then disintegrate as you approach them. The orange on the hull was bright, but it wasn’t paint. It was rust. Rust, like fungus, infecting every inch, trailing down from every port hole. Eating through the iron.”

            Other changes are largely superficial and generally concern minor incidents of character and dialogue. Jack McKenzie in the story becomes Toby McKenzie in the episode. Eileen, rather than Alan, speaks many of the confrontational lines to McKenzie and Burgess in the story. Burgess is also given a wife in the tale, Cynthia, whereas the element of his being a widower is given particular focus in the episode. Beaumont retains large amounts of dialogue from his story, much of it Alan’s internal dialogue, though the speaker often changes in the adaptation. Burgess’s memorable, drunken rant on the wretched state of modern society is, in the story, delivered by a character named Van Vlyman. This scene is powerful in both the story and the episode due largely to Beaumont’s spirited writing. The message behind the rant was likely close to Beaumont’s own thoughts on the issue as he, in collaboration with friends, wrote a number of nostalgic essays, collected in Remember? Remember? (1963), many of which lament the same sort of problems modern society creates for the lover of old things and the older ways of doing things.
          Beaumont seems to have much to say about the way in which modern society treats the elderly. The Lady Anne, and its passengers, are referred to as "relics" and "antiques." As Serling informs us in the closing monologue, the disappearance of the ship and its elderly passengers is not reported in any newspaper, suggesting that the old go largely unnoticed in the culture as they have outlived their usefulness. 

The ending of the story is also quite different from the episode. In the story, Alan and Eileen are placed in the lifeboat and observe as, in the distance, the Lady Anne first catches fire and then sinks into the water. This fiery ending was wisely changed to the more atmospheric ending seen in the episode, with the informative coda of Rod Serling’s closing narration to alleviate any ambiguity.

            Overall, the reader comes away from the story with a sense of speed and compression, especially compared to the measured pacing of the episode. The story moves very quickly with little of the nuances in character and incident which make the episode memorable and enjoyable. Beaumont likely selected this story from among his published tales for adaptation because he felt as though he could improve on the tale if given another run at it. He had a good idea in the original story but had not given the tale the attention to character and conflict which it warranted. Beaumont was given a wider canvas than normal and expertly utilized the hour-long format to deliver an episode which vastly improves upon the original story by retaining the essential hook but imbuing the tale with greater elements of conflict, wit, heartbreak, and redemption.

            Though it is easy to be charmed by displays of more demonstrative elements of fantasy, such as grotesque monsters, time travel, aliens, killer dolls, and the like, The Twilight Zone is somewhat underappreciated as a remarkably effective platform for powerful drama. This is largely due to its creator’s journeyman years in the dramatic anthology programs of the previous decade but also owes something to the writers Rod Serling surrounded himself with, writers such as Charles Beaumont, Richard Matheson, Ray Bradbury, Henry Slesar, Damon Knight, and Jerome Bixby who, alongside others, spearheaded a change in American science fiction and fantasy literature which injected the form with real people facing relatable problems in real situations. “Passage on the Lady Anne” is a very quiet fantasy but a very potent drama which contains further meditations on the recurring themes of Beaumont’s fiction (death and dying, memory and dreams, the fantastic intruding upon a normal course of events) and a powerful strain of conflict and resolve in relationships.

            A number of the scenes and incidents which remain in one’s memory after viewing the episode were created for the adaptation. Primary among these is the relationship between Alan and Eileen Ransome. The perspective lens is shifted from the passengers on the Lady Anne in the story to the troubled couple who find their way on board a death ship in the episode. Lee Philips as the quietly angry and stubbornly unhappy Alan Ransome and Joyce Van Patten as the vulnerable yet defiant Eileen Ransome are excellent in their sole appearances on The Twilight Zone. Alan is easy to dislike through most of the episode though not to the degree that the viewer does not empathize with his immense relief at finding Eileen after the vulnerability of her character manifests itself in a literal disappearance. This incident could have been the hook for a separate and very different Twilight Zone episode, but Beaumont uses it here for a brief sequence to bring together two characters we have previously watched growing apart.
          Depending on how one views Eileen's disappearance, "Passage on the Lady Anne" contains hardly any fantasy element at all. There is the vague notion that the Lady Anne possesses some supernatural aspect given the mythical status assigned to the ship by its aging crew and passengers. While several times Beaumont hints at the supernatural, particularly with the disappearance of the Lady Anne at the end of the episode, the writer never directly shows us anything supernatural. There are no aliens, no ghosts, no talking dolls, nor anything else fantastical. The hint of fantasy becomes, in Beaumont's hands, a way to give the audience a metaphor for Alan's relationship with Eileen. This aspect is particularly apparent when McKenzie tells Alan: "She hasn't gone anywhere. You've just missed her," and in the scene in which Alan recovers his vanished wife in their suite. He says to her: "Where have you been? I've been looking everywhere for you," to which she replies: "I've been here, Alan," the implication being that their relationship has always been there, waiting for him to discover it. 

The chemistry of Lee Philip’s and Joyce Van Patten’s performances, both during the period in which they are waging a silent war and in their later, redemptive moments, is the finest on the series since that of William Shatner and Patricia Breslin in Richard Matheson’s “Nick of Time.” Their argument in the Imperial Lounge is one of the most expertly written, authentically performed scenes in the entire series. It is genuinely uncomfortable for the viewer and Beaumont gives the scene a number of effective touches, such as Alan speaking less and in a lower voice the more Eileen speaks in an animated voice. He also writes Eileen destroying the cigarette package to end the sequence, as Eileen asking Alan for a cigarette had been shown as a petty annoyance to Alan in prior scenes. The episode liberally uses juxtaposition to define its conflicts and resolutions, from the young couple and the elderly passengers to specific scenes, such as the party in the Imperial Lounge and the sudden intrusion of the Captain with a demand for the Ransomes to be put off the ship.

            The episode is filled with small touches which are not in the original story and would likely have been left out or edited from a twenty-four minute episode. A scene not focused on Alan and Eileen, such as the brief sequence in which Millie McKenzie throws Toby’s old letters overboard, would surely not have made the cut of a half-hour episode. Viewers may see such scenes as needless padding but some stories benefit from a richer tapestry of character and incident.

            The supporting cast is a highlight of the episode. The episode gathers a charming collection of talented and familiar English performers to populate the Lady Anne, many of whom are making repeat performances on the series. The newcomers include genial Wilfrid Hyde-White as Toby McKenzie, who takes the Ransomes under his wing to educate them on the history and significance of the Lady Anne and its final voyage, and Alan Napier, best known as Alfred on television’s Batman, who makes a brief but effective appearance as the stony Captain Protheroe. The remainder of the supporting cast will likely be familiar to regular viewers of the series. Gladys Cooper, as Millie McKenzie, makes the second of three appearances on the series, sandwiched between outstanding performances in “Nothing in the Dark” and “Night Call.” Though Cooper did not work with Rod Serling’s material on the series, she elevated three very good scripts from the show’s other principal writers, George Clayton Johnson, Charles Beaumont, and Richard Matheson. Cecil Kellaway returns to the series as Burgess after his unforgettable appearance as the wily and dangerous Jeremy Wickwire in Charles Beaumont’s first season episode, “Elegy.” Cyril Delevanti gets to hold the gun in “Passage on the Lady Anne,” his fourth and final appearance on the series. Delevanti memorably portrayed the old man Smithers who dreams of robbing a bank in “A Penny for Your Thoughts,” and, unforgettable, as the stone-faced servant who hides a manic inner life in “A Piano in the House.” Finally, Don Keefer makes the second of his three appearances on the series as the smug travel agent Mr. Spierto. Keefer memorably portrayed Dan Hollis, whose bad thoughts get him transformed into a jack-in-the-box by little Anthony in “It’s a Good Life.”

            The episode also marks the return of director Lamont Johnson to the series. Johnson last sat behind the camera for the third season episode “Hocus-Pocus and Frisby,” and previously directed some of the finest episodes of the series, including “The Shelter,” “Five Characters In Search of an Exit,” and “Kick the Can.” Johnson’s presence on “Passage on the Lady Anne” may have been a draw for Gladys Cooper to appear in the episode as the two previously collaborated on the excellent third season episode, “Nothing in the Dark.” The atmospheric cinematography of Robert W. Pittack deserves mention, as well. Pittack arrived on The Twilight Zone late in the third season to photograph Charles Beaumont’s “Person or Persons Unknown.” He remained on the series through the fourth season to alternate with regular cinematographer George T. Clemens, due to the increased shooting time per episode for the hour-long format. Pittack’s talent was readily apparent and he was retained for the fifth season, photographing such memorable episodes as “Nightmare at 20,000 Feet,” “Living Doll,” and “Night Call.”

            Although “Passage on the Lady Anne” lacks that truly memorable element (a fantastic display, a clever ending, etc.) which might lift it among the company of the best episodes, it remains a powerful drama graced by outstanding lead performances, a charming collection of supporting players, the return of one of the finest directors on the series, and an eerie atmosphere complemented by excellent photography and a memorable musical score. It is a fine final episode from the typewriter of Charles Beaumont and comes recommended.

*“Passage on the Lady Anne” was one of several Twilight Zone episodes which directly or indirectly referenced or took inspiration from the legend of The Flying Dutchman, a ghostly vessel often portrayed as a portent of doom, aligning the episode with others such as “Judgment Night,” “King Nine Will Not Return,” “The Odyssey of Flight 33,” “The Arrival,” and “The Thirty-Fathom Grave.”

Grade: B

Grateful acknowledgement to:

-Night Ride and Other Journeys by Charles Beaumont (Bantam, 1960)

-The Internet Speculative Fiction Database (isfdb.org)

-The Internet Movie Database (imdb.com)

Notes:

--Charles Beaumont’s story, “Song for a Lady,” was first published in Night Ride and Other Journeys (Bantam, 1960). Beaumont’s final, unproduced episode for The Twilight Zone, “Gentlemen, Be Seated,” was published in the limited edition volume The Twilight Zone Scripts of Charles Beaumont, Volume One, ed. Roger Anker (Gauntlet Press, 2004). Volume two never appeared. Beaumont’s original story, “Gentlemen, Be Seated,” was first published in the April, 1960 issue of Rogue and collected in Charles Beaumont: Selected Stories, ed. Roger Anker (Dark Harvest, 1988).

--Lamont Johnson directed seven additional episodes of the series, including “The Shelter,” “Five Characters in Search of an Exit,” “Nothing in the Dark,” “One More Pallbearer,” “Kick the Can,” “Four O’Clock,” and “Hocus-Pocus and Frisby.”

--Composer René Garriguenc also provided the scores for “The Monsters Are Due on Maple Street,” “In Praise of Pip,” and “Spur of the Moment,” as well as stock music pieces for several additional episodes. Garriguenc worked closely with the head of the CBS music department, Lud Gluskin, who conducted all of Garriguenc’s scores for the series.  

--Gladys Cooper also appeared in “Nothing in the Dark” and “Night Call.”

--Cecil Kellaway also appeared in “Elegy.”

--Lee Philips also appeared in “Queen of the Nile.”

--Alan Napier was a regular performer on Rod Serling’s Night Gallery, appearing in the episode segments “House – with Ghost,” “The Sins of the Fathers,” and “Fright Night.”

--Cyril Delevanti also appeared in “A Penny for Your Thoughts,” “The Silence,” and “A Piano in the House.”

--Jack Raine appeared in an uncredited role in “Spur of the Moment.”

--Don Keefer also appeared in “It’s a Good Life” and “From Agnes – with Love.”

--Joyce Van Patten was divorced from fellow Twilight Zone performer Martin Balsam shortly before she appeared in this episode, which may have given the relationship at the center of “Passage on the Lady Anne” extra resonance for the actress.

--“Passage on the Lady Anne” was adapted as a Twilight Zone Radio Drama starring Martin Jarvis and Rosalind Ayres.

-JP & BD