For those keeping score, this is the 6th out of 12 episodes of this American series to be set in a foreign country. ^[1] Host John Newland tells us we are on the Mediterranean island of Cabri Horma.  There is no such island, but I’m sure all the other facts in this based-on-true-life paranormal tale are accurate.  Kudos to the show for giving a Longitude and Latitude that are actually in the Mediterranean Sea.  Even The Twilight Zone struggled with navigation.  I’m not sure Science Fiction Theatre would have put it on the right planet.

Mitchell Campion ^[3] of the Ohio Campions is visiting Cabri Horma solo since the Thailand flight was booked.  He goes into the Hotel du Sud and the desk clerk seems to know him, calling him by name.  A waitress also recognizes him, calling him by name, and even remembering his favorite dish which is a puta who also recognizes him, but as señor Smith. He tells all of them he has never visited the island, and one of them his room number.

Baffled, he goes out for a walk.  He stops in a bar called Mario’s which is like going to a pizza joint called Miguel’s.  He is also remembered there, but less fondly.  A young man punches him in the face.  But he went to an island bar wearing a suit & tie and ordered a cognac.  He was really asking for it.

He goes back to the hotel and demands that the clerk show him his name in the register and how a Snickers costs $6 in the mini-bar.  A señorita followed him from the bar.  While the clerk is doctoring Snickers invoices like they were “original” factory auto dealership invoices during the Labor Day Sale ^[2], she also calls Campion by name.  He seems to recognize her and she runs away in tears.  He says, “Francesca”.

John Newland, you were the Spielberg of 1950s TV!

He runs outside, but loses her. He is drawn to a nearby house.  As frequently happens in every series I’ve watched in the past 5 years, he feels fine opening the door and looking around.  Before he gets into anything interesting, the woman returns.  She asks, “Is it true, Mitchell?  You really do not remember?  Or do you prefer not to remember?”  She says, “I release you!  You have no responsibility here!  Just go!”  I’m getting turned just hearing that from a woman.

Mitchell says he thought everyone was playing a joke on him, but he does remember her.  He goes back to the hotel and looks at the register.  He is utterly baffled that his name is not in the book that he earlier swore it could not possibly be in.  Then he realizes that his passport was only issued 10 days ago so he could not possibly have been here before that.  

An old man shows Mitchell a photo taken on the island a month ago (left to right: old man, Mitchell, Francesca).  Mitchell says that was not possible because he was in the hospital in a coma after a car crash at that time.  Turns out his heart stopped for four minutes and he apparently teleported — their word — to the island. In fact it was more like Astral Projection (AP), a Near Death Experience (NDE), an Out of Body Experience (OBE), or the Jimi Hendrix Experience (LSD).

He was drawn to the island when the doctor told him the best treatment was a long vacation now that his insurance ran out.  I’m still stumped how he teleported there, then 1) rented a room, 2) bought meals, and 3) banged this chick — yet his name was not in the register.  All three of these tasks require a physical presence and, in my case, cash.  So why would signing the register be a problem?  

I’m sure it was explained in the press.  Host John Newland says it was covered in every newspaper in the country.  You know, if they weren’t too busy calling Eisenhower Hitler, and covering for the Democratic Party to steal the election from Nixon in 19 months.

Other Stuff:

• [1]  Unlike CNN, I use the word “foreign”.  Also “riot”.
• [2]  This has always sounded like a scam.  They advertise selling cars at cost, but has anyone ever taken this to court?  Seems pretty easy to fake an invoice.
• [3] Campion was also the name of the soldier who spread the plague outside the lab in The Stand.  No relevancy here except I hope they don’t screw up the new adaption.  At least the Hollywood standard of casting only dudes with beard stubble and 2% body fat will make sense in a post-apocalyptic world.  Although, unlike the COVID world, I suspect hair salons opened in The Stand the next day.

We open in with John Marriott in prison, so we know this is another episode set outside of the United States where assault, looting, vandalism, and arson are now legal.  Before I digress there, let me digress here:  This is now 5 out of 11 OSB episodes that are set overseas.  Am I missing something?  I didn’t catch-on that Ray Bradbury Theatre had moved production to New Zealand until I noticed 2 Orcs in the 3rd season credits.

Also, I notice that the foreign locations (which will be 6 out of 12 next week) are always in Western Europe.  No paranormal activity in Africa or Asia, fellas?  Even host John Newland tries to come off like a Brit, pronouncing “human record” as “human hhre-KORD“.  John, dude, you were born in Cincinatti! ^[1]  Give it up!

Anyhoo, Marriott is scheduled to be hanged in London that afternoon.  I’d like to think his trial was that morning.  From his cell, he can see the gallows being prepared for the big event.  No, wait, I hope his trial was yesterday so the hammering kept him up all night.  Marriott is nervous and jumpy about the hanging which is in about half an hour.  In a very obnoxious few minutes, he describes his life and crime.  He ends up crying and screaming, “I don’t want to die!”  

The good guys enter the cell and waste a swig of brandy on him.  They walk him up the stairs of the gallows, and put a sack over his head to prevent COVID-19.  Then the noose is tightened around his neck.  The trap door is opened, and his body falls through, thus ending the comedy portion of our program.  Sadly the rope has broken, and more sadlier, he has survived the fall.

Marriott wakes up in the infirmary instead of Hell.  The warden, my kind of guy, is ready to try again right away.  Marriott says, “You’re wasting your time, guvnuh.”  He confidently tells the men they can’t kill him no matter what they do.  Inexplicably they let him eat breakfast before the next try.  At least they don’t waste any more brandy.  

Once again, they escort Marriott through the prison, but this time he is arrogant in his certainty that he will not die.  He even does a little dance.  They march him up the steps to the high platform.  They put the noose around his neck, and he tells them they are wasting their time.  The executioner pulls the switch, but the trap door is stuck.  Marriott laughs at them.  Loudly, mockingly, jeeringly.

Throw him off the side!!!  It’s really high — just throw him off the side!!!

But no, they take him back to his cell, and the House of Lords decide to release him.  He is even more emboldened and obnoxious after his 2nd reprieve.  He later explains that when they put the sack over his head, he had a vision; or maybe it was that garlic omelet. ^[2] “The devil himself” told Marriott that he would “die at the feet of a lion”.  Even when his murder victim’s brother tries to shoot him in a pub, the gun jams.

Inexplicably, except for being extremely drunk, Marriott goes to the zoo.  He goes directly to the lion’s cage and begins taunting the beast.  The zookeepers chase him off and he falls down a long flight of steps.  The camera pans up to show a statue of a lion above him.

As always, this is a fantastic-looking show.  The shot of the gallows through Marriott’s window is magnificent. ^[3] My other frequent comment about the weakness of OSB stories doesn’t really apply here.  This feels more like an urban legend.  It is served up with the requisite three incidents to establish it, and even throws in little twist.

Alfred Ryder as Marriott is excruciating, though.   Whether Panicky Pierre ^[4] in the beginning, or laughing maniacally at his luck, or hamming it up arrogantly in later scenes, he is brutal to watch.  Most others, including John Newland, think this is one of OSB’s best, so I’m willing to blame my own general misanthropy.  

I rate it 7.5 steps beyond.

Other Stuff:

• [1] More likely it is a Transatlantic Accent.
• [2] Advice to future pandemic survivors:  Don’t have chili dogs for lunch and plan on wearing that same mask all afternoon.
• [3] Two words I have never spoken aloud: Fantastic and Magnificent.  If I ever even write “marvelous”, just shoot me (unless referring to Marvin Hagler.)
• [4] I thought this was London.  Forget it, he’s rolling.
• Alfred Ryder (Marriott) was in the first episode of Star Trek.
• My Marriott memories.

OK, the network inexplicably allowed Alfred Hitchcock to set several AHP episodes in England.  Maybe that was a demand he made to stay in touch with his mother country.  What is the excuse with One Step Beyond?  Creator / Director John Newland was born in freakin’ Cincinnati!  Four out of ten episodes have been set in Europe.  Well, you say, maybe that’s just where these real-life, documented, fact-based incidents of the paranormal occurred.  That might be a legit point if they were actually true.  The USA has the best ghosts in the world, and the government is making sure we produce more every day!  F*** yeah, Team America!  Oh, wait . . . ^[1]

At 10:30 pm on 11/14/15, a phenomenon was seen in the skies over Flanders, the East Prussian Front, Italy, and the English Channel.  Again, OSB astounds with its production.  We are dropped into the merde in WWI France.  I suspect it begins with footage from a movie, but is perfectly used and the live action flows naturally from it.  We are introduced to 4 Frenchmen on “a trivial mission” at the front.  The men lament that they are doing this rather than watching the ballet, playing the piano, enjoying vintage wines, or making love.

They see a flare in the sky.  A private asks what will happen if they are spotted.  His sergeant says, “If they kill enough of us, an extra ration of Schnapps.  If we kill enough of them, perhaps they let us take a bath.”  The French private is horrified by both possibilities.

They finally realize that the flare is not descending.  They are entranced by the heavenly light.  All 4 stand and begin walking back to their base.  Soon, they are charged with cowardice and deserting their post because no one has ever heard of Frenchmen retreating. ^[2]  It’s unheard of, I tells ya.

Captain Tremaine arrives to act as their council.  One of the men describes being “blinded by the light”, then being at home with his mother making him pancakes.  He was so at peace that he dropped his rifle and began walking back.  His pal was cut loose like a deuce, another runner in the night.  All 4 have similar tales of being in a peaceful settings — at home, at sea, in a fragrant meadow, and at the Ponderosa Ranch.^[3]

At their trial, Sgt. Vaill says that he also heard a heavenly choir.  Tremaine’s defense hinges largely on the fact that the men walked back from the front.  Or was it walked  front from the back?  No, walked back from the front.  He insists that is the act of brave men.  Cowards would have run.

Naturally, our boys are sentenced to death seconds later.  Thanks, Perry Mason!  [That really only works if you pronounce it like Paul Masson wine.  And are drinking Paul Masson wine.]

The next day, Tremaine goes to the dungeon where the 4 are being held and literally says, “Good Morning.”  To the 4 guys sentenced to death.  That he represented.  He says is going to appeal the decision.

While in town, after giving a 10 year old kid a pack of cigarettes (seriously), Tremaine encounters a German soldier.  The weary man says, “for me the war is finished”.  He too dropped his rifle and walked away.  His comrades also saw something in the sky.  John Newland says there were sightings all over Europe by a thousand soldiers.  The General finally believes and the men are saved.

Again, kind of a thin story but, mon dieu, can these guys put on a show!

Other Stuff:

• [1]  Actually, I have no real beef with the foreign settings — they add a little pizzazz.  However, I do subscribe to the Rod Serling / Richard Matheson / Stephen King model that stories in a relatable setting are more effective.  Also Cat Fancy.
• [2] The closed caption refers to their Court Marshal [sic].
• [3] For some reason, Pernell Roberts, of Bonanza, is playing one of the French soldiers.

Trigger Warning:  There be Asian stereotypes here. ^[1]

Minna Boswell, described as attractive and a bit earthbound, calls out to her Chinese servant Song to see if he remembered the milk.  From off-screen, he replies, “Yes, Miss.  Plenty milk for young person in refligerator.”  I’ll be the first to agree that English uses entirely too many prepositions, but he really punches that middle L while being cool with the other three Rs.

Song is set up as a Magical Asian, and described as not so earthbound because he was born in Peking “where people have been around long enough not to disbelieve merely because they don’t understand.”  However, this story takes place in America just outside stodgy old 1959 San Francisco which, in the next 10 years, will surely never fall for far-out concepts like spirits, karma, auras, and free speech.

Minna has purchased the house for her brother Paul and his daughter Ann to live in after the death of his wife.  Alfred Hitchcock Presents has more brothers and sisters shacking up than Pornhub.  Paul and Ann arrive by cab.  Minna introduces Song by saying he was with the previous owners.  So he came with the house?

While Paul and Minna discuss the size of the house and what a good deal she got on it, Ann is distracted.  She slowly walks to the stairs accompanied by some genuinely creepy music.  Song sees her on the stairs, and she asks him who is up there.  He says, “No one.  Empty looms.”  She says they are not empty.  Minna calls Ann back into the living room and we learn what a hot-head jerk Paul is when she is too slow answering.

Minna presents Ann with three dolls.  Then she and Paul hit the scotch.  Ann pours herself some lemonade but accidentally knocks over a picture of her dead mother.  Paul goes nutz and accuses her of doing it on purpose.  What?  There has been zero indication that Ann didn’t love her mother. He shakes Ann very roughly and says, “She hates her!  She hates her!”  Minna pulls Ann away.  Paul says to his dead wife’s picture, “Why did it have to be you?”  Considering the asshole she was stuck with, she could say, “Just lucky, I guess.”

Later, Minna tells Ann she needs to be patient with her father who, after all, just lost his wife.  Of course she is an 11 year old who lost her mother and a delicious glass of lemonade, so she is the rock in that family.  Ann says she knows her father wishes she had died in the accident instead of her mother.

Ann asks for a tour of the upstairs which is not being used.  Song is giving her and Minna a tour when she hears her name called from one of the bedrooms.  Song says it was a nursery.  Ann insists that it be her bedroom.

A few oddball things happen, which Ann attributes to Jennifer, Rose and Mary.  The episode makes a huge blunder by having Ann point to the dolls as being Jennifer, Rose and Mary.  It would have been much more effective, just having the audience assume that, because the force behind the weird events is actually three ghosts living in the room. They are nice ghosts, though, encouraging Ann to be nice to her father so he will stop being such a dick.

Ann actually is very lucky because the ghosts in the house next door are Lewis, Jeffrey, and Ghislaine.  Although Ghislaine’s ghost won’t show up until her suicide next week. ^[2]

Of course, the magical Song cracks the case.  He tells Paul that Ann just pretended Jennifer, Rose and Mary were the dolls to wrap her head around the fact she was living with dead people.  “Nursery occupied by something other than dolls,” he explains.  In the 1920’s, three girls died from a gas leak in that room.  They too had a nasty father, so they are guiding Ann to soften Paul up.

Well, it’s a happy ending as Paul, Ann and Minna move back to Denver.  I guess they will just foist the house on some sucker who doesn’t realize it comes with three mystical entities, not understood by Americans, and bound to the house forever.  Four if you count Song.

Sure, the episode could be nitpicked to death, but who has the energy?  OK, Paul’s anger at his daughter was inexplicable and pre-dated his wife’s death.  Is he really capable of redemption?  What was the point of Minna being divorced?  Couldn’t she have just been single?  Which was the bigger shame for a 31 year old woman in 1959?

On the other hand, the series continues to surprise with its direction.  There are a couple of truly chilling scenes here.  The score is appropriately eerie.  And, thank God, John Newland is finally learning to direct children.  Unlike the screeching kids in Premonition and Epilogue, Ann’s performance is entirely tolerable.  Quite good, actually.  The one time she does threaten to become obnoxious, he has her run out of the room.  Well-played!

A good week for One Step Beyond.

Misc:

• [1] Well, actually only one — this ain’t no Charlie Chan movie.  Although a Charlie Chan movie might actually have none.
• [2] I guess it is a good sign that I had to reach back almost 200 years for the 3rd name.
• Song also displays his otherness by claiming to listen to plants.
• Maybe his accent was entirely appropriate.  I must admit I don’t talk to many 1959 Chinese people.  Just seemed a little exaggerated.

Oh, One Step Beyond, every week I find something to compliment you on.  It might be the direction, the set design, the use of stock footage, or Cloris Leachman’s slinky dress.  But the visual triumphs are always in service of a slice of the genre pie that is shrinking every week.  Honestly, after this week’s slight entry, I don’t know how much lower OSB can go.

Dude, you never go full-Biden!

In 1901, rambunctious 11-year old Lisa is being hunted down for her ballet lesson.  The maid and her French personal ballet instructor find her on the veranda.  So, yeah, her widowed father has money.  When Lisa sees her father watching, she runs to him and he goes full-Biden, hugging her and picking her up.  It is a little strange because the 11 year old is played by a 15 year old who is a little too curvy for the part and a little too chunky for the ballet.  Oh well, in 5 years, Hollywood will be casting her as the mother.

She shows off her skillz for her father, ending up with a series of pirouettes.  Frenchie implores her to go faster, faster.  When she is about to burst into flames, the teacher tells her to slow down.  But Lisa seems to be in a trance.  She continues spinning and can’t stop even as she sees the ceiling begin to crumble and a large chandelier crashes down on her.  This is one of those visual touches that make the series bearable — really well-done.

As the title of the episode might spoil, this did not really happen — it was the titular premonition.  And it is the only premonition in the episode.  It ain’t exactly a train derailment or the Titanic.  See what I mean?  Lisa collapses, and a doctor is called.  He asks her father if she suffers from Vertigo.  I know it left me unconscious the first time I sat through it.

Lisa awakens and begins screaming that the chandelier fell on her.  This is a high-pitched killer of a scream like the kid in the OSB episode Epilogue.  And this caterwauling goes on for almost a full minute.  John Newland, who directed both Epilogue and this episode had no idea how to restrain kids.  I find a 6 mm nylon line perfectly adequate.

That night, Lisa goes to see the chandelier and gets hysterical at the sight of it.  Any time she must enter the room, she will not walk under it.  The sight or her father or maid walking under it gives her a conniption.

Ten years later — I repeat, ten years later — her caring father has a carpenter finally examine the chandelier fixture.  The carpenter says it could withstand an earthquake.  He calls Lisa in so she can hear that for herself.  She is still terrified of it, though.  Her fiance tries to convince her that they can safely dance under it because he was not in her vision.  He’s really a dick about it, reducing her to tears.  But he finally waltzes her beneath it and she is even able smile about it.

We skip ahead to 1947 — I repeat, 1947 — and Lisa is having a coming-out party for her grand-daughter, which meant something completely different back then.  She seems very happy with life until she hears the chandelier rattling in the ballroom.  Lisa rushes into the ballroom, but we just get a shot of the back of John Newland’s head.  We hear a scream and the sound of the chandelier crashing to the floor.

But who was killed?  Lisa’s grand-daughter was pointlessly also named Lisa.  So was that old Lisa screaming or young Lisa?  Was the premonition 46 years ago just that someone named Lisa would die?  Newland even f*cks with us, delivering his usual, “We know to whom it happened, we know when it happened . . . ” spiel.  Well, spill it dude — who was killed?

Again, there were great elements to the episode.  An Analytical Guide to Television’s One Step Beyond (AGOSB) discusses how cleverly the chandelier is photographed much better than I can.  On the other hand, the book also says this is a high point of the 1st season.  I just find it hard to get excited about a premonition that comes true 46 years later.  She could have predicted a World War and been right twice.  A lot of things can happen in almost half a century.

So, well-presented, but these stories need work.

Miscellaneous

The real mystery is, who is Debbie?

• The episode description on Amazon says, “Debbie is haunted by the fear of her own demise at the hands of a chandelier in her home.” ^[1]
• AGOSB refer’s to Debbie’s vision of the ceiling cracking.
• The cast list in AGOSB includes “Pamela Lincoln (Debbie).”  Strangely, none of the other actors have their character name included.
• Per IMDB, Pamela Lincoln plays “Older Lisa Garrick.”
• There is no question that the girl with the visions and her name-sake grand-daughter are both named Lisa.  So where is this Debbie coming from?
• [1]  Hands of a chandelier?