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Jerome Henley (I. Stanford Holley) makes a curious remark. As he is showing Mason and his escort some fancy hi-fi equipment, he assures them it is “discophonic, of course.” From what I can tell, there is no such word used at the time (or now), even among audiophiles. Perhaps he meant “stereophonic” as that would have been novel in the early 1960s. Submitted by gracep 11/4/2010.
+ The stereo salesman should also know better than lift the tone arm with the speaker volume turned up. In real life, it would blow speakers if the stylus drags, etc. Submitted by Perry Baby 10/27/15

William Talman is missing again from this episode and the next episode. Perhaps there were filmed before he was rehired? Submitted by gracep 11/4/2010.

In this episode we see Perry lounging on his couch in his apartment clad in pajamas, slippers, and some sort of bath robe or jacket, doing paperwork. The doorbell rings. Perry, who presumeably has no idea who it is, simply saunters over and opens the door (there is no peephole). In walk two unsavory characters. Why would Perry open the door not knowing who it was? How did they find out where he lived? Didn't Perry try to keep his address a secret (you would think Paul Drake could have given him some tips on that)? Surely a modern Perry Mason would do everything he could to keep his home address a secret. (You'd also think he would live in a higher-security building.) We see this constantly in Perry Mason and other shows of the era. Someone is at home or in their hotel room, there is a knock on the door, and they simply open it up having no idea who's on the other side. In strolls a bad person (or Lt. Tragg with a warrant for their arrest!). I realize that to some extent this is a plot device necessary to keep the story moving. But I also think it reflects how much less wary and suspicious people were back then. I think most of us now would not open the door if we didn't know who was there. Submitted by 65tosspowertrap, 9/24/2013

+The Door: I've mentioned before the door at Perry's apartment seemed to have no lock. There was a good view of the door after Perry ended his call with Paul and turned to see that the two men were gone. Submitted by H. Mason 11/6/14

Does anyone else find it odd that we never even see Loring Lamont's father? Lamont's father is mentioned more than once and it is his company, but Lamont's father never even shows up at the trial. I would hope if I was murdered that my dad would at least show up for the trial. Submitted by Neil Van Zile, 2/24/2014

A delicious moment occurs in this episode's courtroom scene when the judge, hearing of Lt. Tragg's attempt to influence a witness, glares at him, causing the detective to squirm in his seat. Submitted by francis, 9/12/14.

Perry and Della remain remarkably calm during their ride in that convertible -- considering there's a jerk behind them who squeezes into their lane, cutting off another driver, and then rides their bumper for a few seconds before swerving back to the other lane. If that's the way everyone drives in LA, I'm glad I don't live there. Submitted by scarter 9-23-14

Forgot her lines?: When Lt. Tragg and Sgt. Brice were at the Lamont Engineering Corp. office was Madge holding a page of the script? It sure looked like it by the way the lettering was spaced. Submitted by H. Mason 11/6/14
ALSO
Why didn't Lt. Tragg or Sgt. Brice recognize Madge Elwood in the Hi-Fi store? She was in the office when they examined Arlene's desk. Submitted by H. Mason 11/6/14

"Heaven has no rage like love to hatred turned, Nor hell a fury like a woman scorned." Submitted by 65tosspowertrap, 9/24/2013.

The recent allegations against Bill Cosby put this episode in an interesting light, at least for me .. I guess a psychologist could explain what anyone, male or female, gets out of forcing someone into a sexual act. Even if the victim relents and 'agrees', they really haven't, now have they? Submitted by MikeReese, 11/27/14

Running a Straight Line Television is often not very realistic in how if depicts the effects of drinking, with characters bouncing back and forth between sobriety and inebriation with lightning speed; case and point: here the (soon to be) defendant and her pursuer, after (what I believe were) four rounds of martinis, scamper over the dunes with remarkable agility. Submitted by Notcom, 120115.

Spoiler Warning! Do Not Read Below If You Have Not Seen The Episode

The Red Convertible. In the last courtroom scene, Background Car (b), a '57 T-Bird with Porthole HardTop, gets promoted to Cast Car, color Red, owner Edith Bristol:

  • Perry, apparently thinking that Madge's Car (5) was at the scene, rather than Arlene's Car (1), asks Oolong Kim ("O.K.") if he saw "an inexpensive 2-door sedan" behind the beach-house.
  • O.K. surprises Perry by answering "no, there was a red convertible" (!),
  • With that, Perry gets Police Officer Lyons back on the stand and asks him to "describe this other car that was double-parked?''"
  • Lyons : "uh . . a red convertible." BINGO! Exit Edith.

All '55-'57 T-Birds were convertibles. Removable Hardtop was standard and the soft-top an optional extra. Submitted by Gary Woloski, 15 Oct 2012.