"The Self-Improvement of Salvadore Ross"

Mr. Maitland (Vaughn Taylor) listens to an offer from Salvadore Ross (Don Gordon)

“The Self-Improvement of Salvadore Ross”
Season Five, Episode 136
Original Air Date: January 17, 1964

Cast:
Salvadore Ross: Don Gordon
Leah Maitland: Gail Kobe
Mr. Maitland: Vaughn Taylor
Old Man: J. Pat O’Malley
Mr. Halpert: Douglass Dumbrille
Albert: Doug Lambert
Jerry: Seymour Cassel (uncredited)
Nurse: Kathleen O’Malley (uncredited)

Crew:
Writer: Jerry McNeely (based on the story by Henry Slesar)
Director: Don Siegel
Producer: Bert Granet
Director of Photography: George T. Clemens
Production Manager: Ralph W. Nelson
Art Direction: George W. Davis & Walter Holscher
Film Editor: Richard Heermance, a.c.e.
Set Decoration: Robert R. Benton & Henry Grace
Assistant Director: Charles Bonniwell, Jr.
Casting: Patricia Rose
Music: stock
Sound: Franklin Milton & Philip N. Mitchell
Mr. Serling’s Wardrobe: Eagle Clothes

Filmed at MGM Studios

And Now, Mr. Serling:

“Next time out on The Twilight Zone, an unusual little item from the pen of Jerry McNeely, based on a story by Henry Slesar, and called, intriguingly enough, ‘The Self-Improvement of Salvadore Ross.’ This one poses a question. If you don’t like what you are, how do you go about changing? Don Gordon portrays a man who really goes the route when it comes to some basic changing, and the results are most unexpected.” 

Rod Serling’s Opening Narration:

“Confidential personnel file on Salvadore Ross. Personality: a volatile mixture of fury and frustration. Distinguishing physical characteristic: a badly broken hand which will require emergency treatment at the nearest hospital. Ambition: shows great determination toward self-improvement. Estimate of potential success: a sure bet for a listing in ‘Who’s Who,’ in The Twilight Zone.” 

Summary: 

Salvadore Ross is an uneducated and crude laborer with the single-minded obsession of winning the affection of pretty and refined social worker Leah Maitland. Sal arrives on Leah’s street driving a fancy car he “borrowed” from old Mr. Halpert, for whom Sal occasionally performs odd jobs. Despite Sal’s attempts to impress Leah with the car, she quickly sees through his deception. Leah tells him they are simply too different to be together. Sal, believing her rejection stems from his low social status, vows to win her over. When Leah’s invalid father intervenes on her behalf and Sal insults him, Leah tells Sal she now sees him exactly as her father does. They close the door on Sal and he punches the door in a fit of rage, breaking his hand and landing himself an overnight stay at the hospital.

During his hospital stay, Sal discovers an astonishing ability. He meets an old man afflicted with a cold and jokingly offers to trade his broken hand for the old man’s ailment. To their surprise, the exchange works! The old man wakes up in the night with a painful broken hand, while Sal is left with a cold. When the old man begs to trade back, Sal cruelly refuses, telling him “all deals are final.” Realizing the incredible potential of his new power, Sal decides to improve himself in a big way. He trades old Mr. Halpert years of his life for a million of Halpert’s dollars and possession of Halpert’s luxurious penthouse apartment. He then restores his youth by buying years from the building’s young bellboys and elevator operators. With his youth regained and his wealth assured, Sal sets his sights on Leah once more.

When Sal returns to Leah’s apartment, he’s a changed man on the surface. His speech and appearance have improved, impressing Leah but arousing suspicion in Mr. Maitland. Sal, still arrogant, insults Mr. Maitland’s career and military service. Leah, however, is curious about Sal’s transformation and agrees to a date. At his penthouse, Sal makes a clumsy and aggressive attempt to show Leah affection. When she rejects him, he angrily demands to know what more he could possibly do to please her. Leah’s response is simple and damning: Sal lacks kindness and compassion, qualities that can’t be bought and sold. 

Undeterred, Sal believes his unique power can acquire these qualities. He offers Mr. Maitland $100,000 for his compassion. The next day finds Sal truly transformed. He is kind, caring, and considerate. Leah responds affectionately to this change in him, and they return to her apartment. While Leah is in another room, Sal apologizes to Mr. Maitland and asks for his forgiveness. But Mr. Maitland reminds Sal of their deal. Revealing a pistol from beneath his quilt, he explains that he will never let Sal marry his daughter. Despite Sal’s protests, Mr. Maitland shoots him dead without compassion.

Rod Serling’s Closing Narration:

“The Salvadore Ross program for self-improvement, the all-in-one, sure-fire success course that lets you lick the bully, learn the language, dance the Tango, and anything else you want to do or think you want to do. Money back guarantee. Offer limited to The Twilight Zone.”

Commentary: 

Illustration by Ed Emshwiller

“The Self-Improvement of Salvadore Ross” by Henry Slesar was first published in the May, 1961 issue of The Magazine of Fantasy and Science Fiction. The editorial introduction read: “Salvadore Ross had a driving urge to improve himself, and literally fell into a talent for doing so. The problem then became one of knowing where the stop . . .” In the story, Salvadore Ross is a laborer at a bottling plant who breaks his leg in a work accident. Recovering in the hospital, he discovers an astonishing ability when he trades his broken leg for an old man’s pneumonia. No explanation is given for Sal’s amazing talent. Slesar writes: “He laughed to himself, remembering the swap they had made, and the situation tickled him so much that he didn’t even marvel over the mysterious transaction. He was too pleased.” Leah Maitland is a local beauty Sal has coveted since high school. Realizing his newfound ability might offer a path to Leah’s affections, Sal works on improving his station in life. He trades his hair to the bald bartender Phil for the bar's cash takings that day. Again, the miraculous exchange works. This scene was filmed for the episode, with Ted Jacques in the role of the bartender, renamed Stan, but was left on the cutting room floor. Sal regains a head of hair from a derelict for the price of a bottle and realizes he shouldn’t sell his talent so cheaply. Sal trades a friend his talent at billiards for a meeting with rich, old Mr. Halpert and is on the path to his ironic demise. 

Slesar later adapted his story for CBS Radio Mystery Theater. Retitled “A Bargain in Blood,” the episode aired on June 10, 1974 with Tony Roberts as Salvadore Ross, Evelyn Juster as Ruth Maitland, and Mandel Kramer as Mr. Maitland. Slesar was a staff writer on the radio series and used the opportunity to adapt several of his previously published stories. For more on Henry Slesar’s life and career, see our review of “The Old Man in the Cave.”

 Slesar’s story is an entertaining, breezily written tale, with moments of humor that primarily serve its ironic twist ending. As a result, the characters are only hazily sketched, particularly Leah and Mr. Maitland. Jerry McNeely’s adaptation removes the humor and focuses on the psychological realism of the characters. By creating more nuanced depictions of Sal, Leah, and Mr. Maitland, the episode’s central conflict feels more impactful and heightens the shock ending. 

The aging makeup applied to Don Gordon

The episode has its shortcomings, however. The aging makeup applied to Don Gordon was criticized by series historian Marc Scott Zicree in The Twilight Zone Companion, who likened it to “something out of a high school play.” Another sloppy moment occurs during the hospital sequence, when a prop malfunctions and Gordon pulls the switch cord completely off the light fixture above the old man’s bed. The mysterious origin of Sal’s power to exchange attributes remains unexplained, and McNeely’s script, like that of the previous episode, “The Long Morrow,” suffers from a compressed time frame. This is acutely felt in the scene in which Sal regains his youth during an elevator ride, and especially in the instantaneous change in Leah’s feelings for Sal after his transformation into a compassionate man. Another aspect that challenges logic is the shock ending. It is difficult to accept that Mr. Maitland would resort to murder even when lacking his quality of compassion. This moral leap can feel jarring. 

The episode ultimately succeeds due to its excellent performances and the quality of McNeely’s script, particularly its unflinching depiction of domestic abuse. Don Gordon’s portrayal of Sal is physically and verbally abusive, and the fear etched on the face of Gail Kobe in multiple scenes is a testament to the effectiveness of their performances. This element adds a layer of disturbing realism that is both uncomfortable and impactful. 

via The Hollywood Reporter

Jerry McNeely (1928-2014) was a fascinating figure who successfully straddled two demanding careers in higher education and writing for television. Born in Missouri, McNeely earned his undergraduate degree from Southeast Missouri State University and his master’s from the University of Wisconsin. After Army service in the Korean War, McNeely returned to the University of Wisconsin and earned a PhD in Speech. McNeely joined the faculty at the university in 1956 and earned a full professorship. McNeely remained at the university, producing and directing productions for the Wisconsin Players, until 1975 when he left for California to focus full-time on writing for television.

McNeely began writing for television while teaching at the university, only occasionally traveling to Los Angeles for production meetings. His first work appeared near the end of the live anthology era, with McNeely selling his script “The Starting Match” to Studio One in 1957. The script won McNeely a Writers Guild Award. McNeely frequently collaborated with Norman Felton, a producer on Studio One, who bought McNeely’s scripts for The Man from U.N.C.L.E., The Girl from U.N.C.L.E., and Dr. Kildare. Known for his work on medical and education dramas, McNeely's credits include writing for Marcus Welby, M.D. and Mr. Novak, and creating the series Trauma Center and Lucas Tanner. He also created Owen Marshall, Counselor at Law and the family drama Three for the Road. McNeely was nominated for an Emmy for his teleplay for the biographical TV movie Something for Joey (1977).

In collaboration with University of Wisconsin student Michael D. Rosenthal, McNeely developed the story for the earlier fifth season episode “A Kind of Stopwatch,” scripted by Rod Serling. Although writing for the series did not spark a lasting friendship between the writers, Serling was intrigued by McNeely’s dual career as an academic. McNeely invited Serling to speak at the University of Wisconsin, which Serling accepted. McNeely later recalled that Serling was something of a celebrity at the time and lectured to a sold out crowd at the Union Theatre on campus. In 1963, Serling was contacted by David Knauf, then-director of the University of Wisconsin’s Center for Film and Television Research. Serling was inspired by Knauf’s suggestion that students could learn from his writings for television, and Serling donated his voluminous papers and manuscripts to the center. 

Don Gordon (1926-2017) was born Donald Guadagno in Los Angeles and later anglicized his name at the suggestion of a fellow actor. Gordon became known for playing tough guys on both sides of the law in numerous films and television series. He was a close friend of Steve McQueen, appearing alongside him in such films as Bullitt (1968), Papillon (1973), and The Towering Inferno (1974). Gordon was nominated for an Emmy in 1963 for his appearance in a two-part episode of The Defenders. Other television appearances include Alfred Hitchcock Presents, The Outer Limits, Voyage to the Bottom of the Sea, and The Invaders. Gordon previously appeared on The Twilight Zone in the first season episode “The Four of Us Are Dying,” in which he was also shot dead by an elderly father in an ironic, shock ending. 

Gail Kobe (1932-2013), born in Michigan as Gabriella Kieliszewski, makes her third and final appearance on the series. Kobe previously appeared in the first season episode “A World of Difference,” and gave an excellent performance in the fourth season opener “In His Image.” Kobe is equally excellent here in her portrayal of a woman torn between a desire for affection and a loyalty to personal convictions. Kobe was a familiar face on 1960s television, appearing in numerous western and detective series, as well as in episodes of Alfred Hitchcock Presents, The Alfred Hitchcock Hour, and The Outer Limits. Kobe moved behind the scenes in the 1970s, serving as producer on a number of daytime drama series. Kobe received an Emmy nomination for producing Guiding Light, and also served as producer on Return to Peyton Place, The Bold and the Beautiful, and The Edge of Night, a series for which Henry Slesar wrote thousands of episodes.

Boston-born Vaughn Taylor (1911-1983) is a familiar face on the series, here making his fifth and final appearance on The Twilight Zone. Taylor’s most memorable role on the series is perhaps as the “witch man” Teague in Rod Serling’s adaptation of Manly Wade Wellman’s “Still Valley.” Vaughn also appeared in “Time Enough at Last,” “I Sing the Body Electric,” and “The Incredible World of Horace Ford.” Educated at Northeastern University and a certified public accountant, Taylor found his true calling in acting. He struggled early on, working in radio and repertory companies. Taylor landed small but memorable roles in such films as Cat on a Hot Tin Roof (1958) and Psycho (1960). Taylor was a hugely prolific television actor, beginning in the live anthology era. He also appeared on Tales of Tomorrow, Lights Out, Inner Sanctum, Boris Karloff’s Thriller, The Alfred Hitchcock Hour, and The Outer Limits.

J. Pat O’Malley (1904-1985), the British-born actor, appeared in four episodes of the series, most memorably as Old Ben in Charles Beaumont’s “The Fugitive.” O’Malley also appeared in “The Chaser” and “Mr. Garrity and the Graves.” O’Malley is often confused with American actor Pat O’Malley (Patrick H. O’Malley (1890-1966)), who also appeared multiple times on the series. The American O’Malley appeared in “Walking Distance,” “Back There,” and “Static.” Ironically, the American O’Malley’s daughter, Kathleen O’Malley (1924-2019), who often worked with director Don Siegel, appears in the episode as the nurse alongside J. Pat O’Malley. Kathleen O’Malley also appeared in The Alfred Hitchcock Hour episode “The Thirty-First of February,” scripted by Richard Matheson from the novel by Julian Symons.

 Douglass Dumbrille (1889-1974), whose acting career began in the silent era, plays rich, old Mr. Halpert. He was known for his roles as historical figures, often of a villainous nature, in such films as The Ten Commandments (1956), as well as his occasional turns as the comedic foil in slapstick films.

Doug Lambert (1936-1986), a role player in such films as Scorpio (1973), Mooonraker (1979), and The Hunger (1983), plays the young and naïve bellboy Albert.

The episode also includes an appearance by a young, uncredited Seymour Cassel (1935-2019), seen here in aging makeup. Cassel was a staple of independent cinema remembered for his appearances in films by his friend John Cassavetes. He was nominated for an Academy Award for Best Supporting Actor for Cassavetes’ Faces (1969). Cassel also appeared alongside Casavetes in director Don Siegel’s remake of Hemingway’s The Killers (1964), a film that also featured Kathleen O’Malley and Ted Jacques.

Director Don Siegel (1912-1991), previously profiled in our review of “Uncle Simon,” was best-known for directing Invasion of the Body Snatchers (1956) and for his collaborations with Clint Eastwood, including Dirty Harry (1971) and Escape from Alcatraz (1979). Siegel also directed The Shootist (1976), John Wayne’s final film.

While “The Self-Improvement of Salvadore Ross” lacks the enduring qualities of the finest episodes, the excellent performances and the depth of the characters elevate the episode above its relatively minor flaws. Don Gordon, in particular, crafts one of the more repugnant characters on the series, and his brutal demise retains its shock value, ensuring the episode remains a solid, if unremarkable, entry in the uneven fifth season.

Grade: C

Next Time in the Vortex: A look at a dystopian classic from writers Charles Beaumont and John Tomerlin: “Number 12 Looks Just Like You.”

Acknowledgements:

--A Critical History of Television’s The Twilight Zone, 1959-1964 by Don Presnell and Marty McGee (McFarland & Co., 1998)
 
--The Twilight Zone: Unlocking the Door to a Television Classic by Martin Grams, Jr. (OTR, 2008)
 
--The Twilight Zone Companion (3^rd ed.) by Marc Scott Zicree (Silman-James, 2018)

--Commentary by Martin Grams, Jr. for "The Self-Improvement of Salvadore Ross" (The Twilight Zone: The 5th Dimension (CBS DVD/Image Entertainment, 2014))
 
--“Jerry McNeely” Television Academy (televisionacademy.com)
 
--“Obituary: Jerry McNeely” by Stephen Bowie (The Classic TV History Blog (classictvhistory.wordpress.com))
 
--“The Self-Improvement of Salvadore Ross” by Henry Slesar (The Magazine of Fantasy and Science Fiction, May, 1961)
 
--The Internet Movie Database (imdb.com)
 
--Wikipedia (Wikipedia.org)

Notes: 

--Henry Slesar’s story first appeared in the May, 1961 issue of The Magazine of Fantasy and Science Fiction.
 
--Jerry McNeely, in collaboration with Michael D. Rosenthal, provided the story for the earlier fifth season episode “A Kind of Stopwatch.”
 
--Don Siegel also directed the earlier fifth season episode “Uncle Simon.”
 
--Don Gordon also appeared in the first season episode “The Four of Us Are Dying.”
 
--Gail Kobe also appeared in the first season episode “A World of Difference,” and the fourth season episode “In His Image.”
 
--Vaughn Taylor also appeared in the first season episode “Time Enough at Last,” the third season episodes “Still Valley” and “I Sing the Body Electric,” and the fourth season episode “The Incredible World of Horace Ford.”
 
--J. Pat O’Malley also appeared in the first season episode “The Chaser,” the third season episode “The Fugitive,” and the later fifth season episode “Mr. Garrity and the Graves.”
 
--“The Self-Improvement of Salvadore Ross” was adapted as a Twilight Zone Radio Drama starring Luke Perry.

-JP