Who exactly would go to Dad's creepy museum? And. And, who would want to go to that museum anyway? Skip this episode. Even after the Detective goes to the museum on behalf on an official investigation and nobody connects his disappearance with the sudden appearance of yet another skeleton. A.'s office who have to put up with incompetent law enforcement who can't seem to solve the mysterious disappearances of the head D. If anyone in the movie has a legitimate beef, it is the D. I don't know that he had a whole lot of choice but to prosecute the kid. Ep 131h 7mThe Cheney VaseWhen Lyle Endicott is fired from his job at an art museum, he comes up with a. There's some flashbacks of his son being harassed by a son of a wealthy man and how he accidentally shoots him. He tells a visitor that the human skeleton in the museum is actually that of his son. He's professional from start to finish and doesn't seem to have any sort of political agenda. Note: This content is displayed in its original format. Alfred Hitchcock Presents Weeknights at 1 AM & 1:30 AM eastern (on most MeTV stations) Add to Favorites Remind Me The Master of Suspense hosts this diabolical collection of 30-minute tales that runs the gamut from crime and mystery to horror and the supernatural. Hollister who runs a small museum that is actually something of a shrine to his late son, Ben. As far as I can tell Ed Platt's character is just doing his job. I've seen the episode twice and for the life of me I just don't see what the Dad's beef is with the D. The characters are unlikable which admittedly is not unusual for the show, but poor writing a complete lack of logic sink the episode. The only compelling thing about this episode is seeing Ed Platt, the Chief from Get Smart, with hair. All in all, it's an offbeat premise that unfortunately fails to gel. Another note of interest is a question-is Ed Platt's DA acting out of political interest or the requirements of justice? Hollister suspects the former however, in a really cagey performance, actor Platt gives no underlying hint either way. It's beautifully shaded, and notice how we're led to side with him no matter what he's done, a Hitchcock trademark- (it's the ironic clash between justice on one side and the law on the other). As the grieving father, 1950's veteran Larry Gates delivers an especially moving performance for half-hour TV. The story works best as an exercise in human interest. We wonder how the story will play out-both Hollister (Larry Gates) and Clovis (Myron McCormick) are odd ducks, musing in flashback over a museum skeleton that Hollister says is that of his son (Bert Convy)! It's an interesting premise, but unfortunately the development is also shot full of holes-the barn scene is especially contrived, while the climax is almost wildly implausible when you think about it.
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