![]() She fails to notice that it is the handyman trying to get back in. Later, Stella sees a man outside and panics when there is knocking at the door. Growing paranoid, Stella locks all the windows in the house but neglects to lock the one in the basement. When a patient's oxygen begins to run low, Stella sends the handyman out to get some. She grows more uneasy when the lights go out. Stella becomes worried when she hears that a nurse killer is in the area. The only other people in the house are a house keeper named Maude and her handyman husband Sam. Stella is pleased when another nurse named Betty Ames arrives to assist her in the work. Glendon Baker is an invalid who is being taken care of by a nurse named Stella Crosson. The hour series has not yet appeared on home video, but the series is still available to local stations in the U.S.A."An Unlocked Window" was originally broadcast on 15/Feb/1965 as part of the third season of The Alfred Hitchcock Hour. These programs may have lost a little of their punch over the last 30 years, but I find many of them still enjoyable and unpredictable. Much of the scoring episodic TV has always been repetitious, but the anthology series provided a different characters and situations each week, so that the original scores really were original each week. Sometimes the music seems dubbed a little carelessly, often a little too loud, but a Herrmann score is hard to ignore. ![]() The Jar, the one episode everyone my age remembers, uses a circus caliope, alternating a grim merry-go-round tune with “Dies Irae,” as people contemplated what was in the jar.Įach episode had a theme or motif which formed the basis of the score. The Life Work of Juaz Diaz uses the habanera, as in Vertigo‘s nightmare sequence. ![]() The McGregor Affair, a macabre comedy, set in Scotland takes on a distinct Scot flavor. Nothing Ever Happens In Linvale, basically a comedy, resembles Herrmann’s score for The Trouble with Harry. Terror In Northfield features some morbid and chilling bassoons. ![]() The music scores were chamber sized, employing fewer instruments than film scores, but utilizing typical Herrmann effects, such as muted trumpets and harps. Herrmann got the majority of the genre episodes (some stories by Ray Bradbury, Robert Bloch, and John Wyndham). During the second season, fantasy elements and macabre humor were introduced, perhaps due to the influence of Thriller, an out-and-out horror series. Many of the series episodes, especially during the first season, were relatively straight-forward murder mysteries, often with an unexpected “twist” ending. Aside from introducing the programs, Hitchcock had relatively little to do with the TV series, so Herrmann’s music should probably not be considered part of the Hitchcock/Herrmann collaboration. Herrmann also scored Hitchcock’s Marnie during this period, and perhaps some episodes of The Twilight Zone. Herrmann’s last episode, Death Scene, was aired in March 1965. Herrmann also re-arranged the theme for creepy bassoons, and his version was used for the rest of the series. The first Herrmann scored episode, A Home Away from Home, opened the second season of the hour series in the Fall of 1963.
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