1.37.
Sticking up for a married woman he likes, our protagonist goes to confront her abusive husband. Weird series of events leads to him being the obvious suspect in a murder he did not commit.
Along the way, he runs into a hip DJ ( “Hey, I don’t dig you, man.”). Along with cowboys and gangsters, this becomes our plays-for-laughs-today character type. The main story itself isn't bad, but the ending doesn't twist tightly enough for me.
1.38.
Entitled The Creeper, this one's good.
We're in a working class environment on a (predictably) hot day. There's a killer on the loose. An older woman is a moralist (“They probably asked for it. Decent women don’t get themselves killed”). Our protagonist is frazzled lady, perhaps too much so for contemporary tastes. The story throws suspicion on 3-4 people. The ending is good.
Period detail: Her husband has a beer at the bar before going in for the night shift. Well, maybe that still happens today.
1.39.
AH: “ It seems to me that television is exactly like a gun. Your enjoyment of it is determined by which end of it you're on.”
Joanne Woodward stars (one of the few fromm the series who is still alive and kicking), but no Paul Newman. A man desperate for money. There’s an old style montage where they put the man large in the foreground, looking around, and the city images are the backdrop.
The story involves theft and murder and has a ironic twist. Not a bad ending, but they didn't save the best for last.
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