Return to Fantasy Island Telefilm

RETURN TO FANTASY ISLAND (second pilot film)


The success of the original TV movie brought on this sequel, complete with Tattoo (after Aaron Spelling put his foot down in the face of ABC’s protests).  Airing on Friday, January 20, 1978, it led directly to the series, which began airing eight days later.

On the 2005 DVD of Season 1, Sony committed several errors, one of which was not restoring the second pilot film quite as well as the first.  The picture quality is not as sharp and the sound, while good, suffers a bit too (we couldn’t make out a murmured word of dialogue fairly late in the film, despite going over and over it in the attempt to decipher it).  Moreover, where the first film can be either heard or subtitled in Spanish, the second film has only English audio and no subtitles at all.  If they ever do come out with the rest of the series on DVD, that’s one oversight they really need to correct.  Where are all the outraged fans, anyway?  Why haven’t they petitioned for the other six seasons?  (Hello, folks, it’s been almost six years.  What’re we waiting for, Aaron Spelling’s ghost to start haunting some suit at Sony?)  Still, this is a reasonably good restoration; it certainly beats the stand-alone DVD of the film that pops up on eBay now and then.  The stand-alone is so dark that, during some scenes that take place in a cave near the end of the film, you can’t see anything at all.  So this is a definite improvement.

In this film, Roarke and Tattoo are closer to the characters we’re all familiar with.  When Roarke remarks that he does in fact enjoy bringing fantasies to life, Tattoo retorts, “And I’m the Easter Bunny.”  But Roarke’s sharp and occasionally almost sadistic demeanor from the first film has softened considerably here.  He still gets stern with Tattoo, but you can tell there’s a friendship there, not just boss and employee.  Later in the film, they’re playing Monopoly during a free moment, and Roarke lands on Boardwalk, which must be a habit of his, as Tattoo remarks sourly that he’s hit that space 117 games in a row.  (Is he sure Roarke isn’t cheating?)

As to the fantasies, you sometimes wonder what Roarke’s trying to do.  Brian and Lucy Faber want to meet the daughter they put up for adoption back in 1965.  When Lucy is impressed at his locating the girl, Roarke snaps, “Of course I found her, that’s my job!”  Then he smiles and says in the very next breath that it’s his “main pleasure in life” to make others’ wishes come true.  Okay, he could’ve been having a bad day, but still…it makes you wonder a few scenes later when he makes them promise not to tell their daughter that they’re her birth parents — and then presents them with three girls: all brunette, all the same age, all born on April 10, and all three adopted.  They end up playing a bizarre version of “To Tell the Truth” all weekend, and still leave the island not knowing which girl is theirs.  At the end, the Fabers go home feeling as if all three girls are their daughters, which seems to have been Roarke’s aim all along.  That’s all quite nice and sweet, but I’m sure I’m not the only one who really wanted to know which girl was The One.

Slightly more straightforward is the fantasy of Lowell Benson, right-hand man secretly in love with uber-successful cosmetics queen Margo Dean.  She’s so all-business in this man’s world that she apparently thinks of literally nothing else.  She thinks she’s here for a business merger, but when she’s told about Benson’s fantasy, she goes ballistic.  She yells at Roarke to get her out of this, but he won’t take the bait, even when she offers triple what Benson paid.  Having failed with him, she proceeds to spend the next hour or so of the movie alternately chewing Benson out and taunting him.  She’s such a tough nut to crack that you have a hard time feeling sorry for her when she’s kidnapped by a huge, mute brute named Dorf (anyone else wonder if the scriptwriter ever saw Tim Conway?) and tortured by Dorf’s keeper and his pearl-diving girlfriend.  Benson has to charge in the next day and rescue her when the latter two have left, leading to a fight with Dorf and Benson’s and Margo’s escape.  Dorf, of course, turns out to be Roarke in disguise, complete with wig and false facial hair, chest padding, and a fake scar on his throat.  (Roarke’s warm side comes out again when he tells the couple to go on home and give their kids a big kiss from him, and you have to laugh when he rubs the jaw Benson socked in their fight.  Immortal, huh?)  However, in the end Margo softens up enough to show Benson the way out of a cave, and even chips in a check for half of the ten grand he paid Roarke for his fantasy, showing us at last what the heck it was Benson saw in her.

The least satisfying of the three fantasies, at least for the viewer, is that of Charles and Janet Fleming.  They’re here for their fourth wedding anniversary and want to recreate the events of their honeymoon that gave Janet amnesia.  She seems to have had it ever since then, and that in itself isn’t especially strange.  It’s that, according to Roarke, she doesn’t know anyone at all, even herself.  You’d think that after four years of this, either Charles or Janet would have dissolved the marriage, or scoured the country trying to find a cure, or something.  The way it’s presented, it sounds like they’ve just lived with it all this time.  Makes you think maybe Charles married Janet for her money — after all, as Roarke tells us, he went to law school on a GI bill, and though he knew Janet from childhood, all of a sudden he decided to marry her after untold years of platonic friendship and the two of them being in love with other people.  Suspicious, no?

Charles tries to change his mind about the fantasy, but Roarke won’t have it; and here we realize that he, like Arnold Greenwood in the first film, wants to know what the heck Roarke really is.  Roarke recounts the events of Charles’ meeting with Janet’s doctors, and Charles wants to know how Roarke knew that, since he wasn’t there.  Roarke responds with a broad smile, “Wasn’t I?”  He then goes on to suggest that Charles is afraid of losing control of Janet’s money, should she get her memory back and tattle some unsavory things.  This must hit a nerve, since Charles gives in.  But he still can’t leave the subject alone; later he asks Tattoo who Roarke really is, and Tattoo is beautifully evasive.  (See quotes on Mr. Roarke’s page.)

Soon Janet goes through a bunch of nasty little nightmares.  In the mirror she sees a monster’s face in place of her own; at night she sees Charles’ drowned corpse in the bathtub.  Both times, when she rushes to get others to show them, everything is normal — her reflection is of her own face, Charles himself is alive and there’s no body in a tubful of water.  Charles, though, has troubles of his own, in the form of notes from his late previous fiancée, Rosemary.  Why did he dump her?  Again, Roarke suggests Charles married Janet for her money, and we all have a hard time believing otherwise.

Later on, Janet finds a bloody knife in the grass and races to Pierre, the gardener she once had a big crush on, for sanctuary.  He’s the first person she remembers other than Charles, but Pierre thinks she’s coming onto him and is cold and brusque as a result.  Before Janet can explain, they’re attacked by some unseen knife-thrower in Pierre’s cottage, and when they find all the window shutters locked, they have to break out of an upstairs window to escape.  Oddly, that’s the last we see of Pierre.  Having knives thrown at you in your own home, and being trapped inside with all the windows and shutters locked, would be enough to make anybody bail out without leaving a goodbye note.  Or maybe he was just tired of what he saw as Janet’s making passes at him.  Either way, we see no more of him for the rest of the film.

It all starts to unravel when Mrs. Grant, servant in the Fleming household along with her husband Simon, sees Janet’s drowned corpse in the estate’s fountain.  She brings back Simon, only to find that, like Charles’ corpse before, it was a mirage.  Then she sees Charles’ corpse in the cellar, except that it isn’t actually his dead body at all; it’s a trick so that she and Simon will talk freely, thinking they’re alone.  That’s how he finds out that Rosemary was the Grants’ daughter, who killed herself when he jilted her, and they were looking for some sort of payback.  Charles wonders aloud why they took it out on Janet and not him…a very good question indeed.  It turns out they were responsible for all the tricks played on Janet.  Most of them can probably be explained easily enough — the attack in the cottage, the bloody knife, even the bathtub corpse (perhaps a wax dummy that was hastily removed after Janet ran off to find her husband, though it’s amazing how fast they managed to drain the tub).  But how on earth did they pull off the monster-face reflection? Either the Grants are accomplished at sleight of hand, or else Roarke…but naaaaah, Roarke would never do a thing like that…would he?

In short, there are a lot of loose ends that remain unresolved: Pierre’s disappearance (and indeed, his significance in the story at all); the accomplishment of that one illusion; why Charles left Rosemary; and what happened to the Grants (they’re seen wandering out of the cellar at the end, never to return).  At least we end up convinced that Charles and Janet are truly in love.  Oh well, one out of four ain’t bad.

There are a couple of odd continuity issues here as well.  After Margo and Benson escape from Roarke’s “Dorf” and his “keepers”, they hole up for the night in a small, tumbledown cottage.  Margo says she’s freezing and Benson builds a fire.  As my mother said once when we watched this together, “Why do they need a fire on a tropical island?”  (Who knows, maybe it’s just Roarke playing with the weather in a moment of boredom.)  And when Fleming first receives his note from Rosemary in the mail, you get enough of a glimpse at the envelope that you can see there’s no postmark at all, and the stamp has been canceled by the method of hand-drawing wavy lines through it.  There’s no zip code, either.  What, nobody could borrow an old-fashioned rubber stamp from the post office?  And yes, we had zip codes in 1978…

Sharp-eyed viewers will notice any number of return guests in this one.  George Maharis (Benson) came back for several episodes, as did Adrienne Barbeau (Margo), Joseph Cotten and Laraine Day (the Grants).  Cotten and Day in particular bear noting; they played a married couple here, just as they did when they portrayed Helena Marsh’s parents in “The Wedding”.  And while the film has its flaws, there’s an advantage to having all this take place where it does.  If you can’t explain it, just blame it on Roarke!



Return to Fantasy Island…begins with the credit ‘Starring Ricardo Montalban’.

Then we have an interesting bit of dialogue between Roarke and Tattoo that seemingly reinforces the pseudo-greed of Tattoo we occasionally see in the series, but also seems to indicate Roarke’s own greed at times:

Tattoo:  You are always so happy every time they come.
Roarke: They pay a lot of money for a weekend visit.
Tattoo: Not all of them pay a lot of money.
Roarke: Don’t be so mercenary, Tattoo. I only cut the price when a fantasy is particularly intriguing or I feel a personal sympathy. I think it is only fair they pay what they can afford.
Tattoo: You enjoy making their fantasies come true?
Roarke: Precisely.
Tattoo: (sarcastically) And I’m the Easter Bunny…

Tattoo: You enjoy when the fantasies don’t turn out to be what the people expect.
Roarke: Perhaps…but you know we are such stuff as dreams are made of.
Tattoo: Hemingway!
Roarke: Close — Shakespeare.

So again Roarke comes off as mysterious, and possibly slightly sadistic. On the other hand, Tattoo’s wrongful belief that Hemingway wrote the quote from Shakespeare shows continuity to the first pilot, when Tattoo didn’t even know who Hemingway was. The series was largely stand-alone, with little continuity beyond the episodes with Helena Marsh, Mephistopheles, and Nyah the Mermaid. (That isn’t really a surprise, since this is largely an anthology series like those classics from 1950s and 60s, such as “Letter to Loretta”, aka “The Loretta Young Show”, hosted by Señor Montalbán’s sister-in-law Loretta Young, that he himself appeared in on several occasions.) But here again, we see Tattoo knows current popular culture but not literature: while not knowing the origin of the aforementioned quote, he does know who Margo Dean is. Tattoo will often know about current popular culture in several episodes every season.

More indication of Tattoo’s greed, when Roarke introduces Margo Dean and Lowell Benson…
Tattoo: She’s rich then, she can afford to pay full price.
Roarke: Ah yes, Miss Dean could well afford the price…if she knew she was here for a fantasy.

And later, the Fabers:

Roarke: They have no children themselves.
Tattoo: Not much money, either.
Roarke: Oh, be quiet, Tattoo.

Then, Roarke and Tattoo ride off in a jeep, with a driver in the white outfit we see often in the series, towards the seaplane dock.

After arriving, Roarke says “Smiles, everyone, smiles. We want our guests to feel welcome.” He then looks to his assistant and says, “Music, Tattoo.” Tattoo pushes the button on his remote control, and music starts playing over a loudspeaker. (Obviously, Roarke makes a change here by adding a live band before the first episode. This is another bit of continuity: every once in a while, Roarke makes changes to how things are done.)

Then, they button their jackets and we meet our guests.

Once again, we do see the marvelous work Roarke does in his planning for his guests: planning the ranch encounter for the  Dean/Benson fantasy; all of the efforts for finding the girls and arranging to get them to the island for the fantasy of Mr. & Mrs. Faber; and perfectly recreating the old family home in the country and its grounds for the Fleming fantasy.  Fleming states, ‘Mr. Roarke is a regular magician recreating the whole thing on this island,’ a throwback line to the first film when Roarke was also described as a magician for his efforts.

Lowell Benson is in love with his boss, Margo Dean, a cosmetics queen, and wants to spend some time alone with her, and have her fall in love with him.
Brian and Lucy Faber gave up their baby daughter when they were quite young and couldn’t afford to keep her, and now want the chance to see her again…now that they can no longer have children of their own.
Charles and Janet Fleming were married four years ago, and on their honeymoon, Janet lost her memory and has not regained it yet; they are here to help her get her memory back.

Adrienne Barbeau is cosmetics queen Margo Dean with an office in the World Trade Center in New York
Horst Buchholz is Charles Fleming, a corporate attorney and husband to Janet
Joseph Campanella is Brian Faber, a moderately successful lawyer in Santa Barbara and husband of Lucy
George Chakiris is Pierre, the French-Canadian gardener and handyman at the Fleming house in Illinois
Joseph Cotten is Simon Grant, butler to the Flemings
Pat Crowley is Lucy Faber, President of the Children’s Aid Society of Santa Barbara and wife of Brian
Laraine Day is Mrs. Grant, maid to the Flemings
George Maharis is Lowell Benson, the right-hand man and assistant to cosmetics magnate Margo Dean
Cameron Mitchell is Raoul, a resident of the island and husband to Kita and father to kids
France Nuyen is Kita, a pearl diver who lives on the island, wife of Raoul and mother to kids
Karen Valentine is Janet Fleming, husband of Charles and amnesia victim


The Shakespeare quote is a line of Prospero’s in The Tempest.

There’s another welcoming brunch in this episode.

When the Fabers ask Roarke if they found the baby they’d given up for adoption, he says, “Of course I found her — it’s my job and my main pleasure in life, to find other people’s wishes.”  Later, after he reminds them of a condition he made, he tells them, “That’s the prerogative of having your own island.”

When Margo tries to pay him double or triple to get out of the fantasy, Roarke says, “Sorry, Miss Dean, I don’t accept bribes.”

Roarke tells Margo and Lowell they have to cross the island to the other side, 12 miles across jungle and over a mountain to the west. So at one point, the island has a measurement of 12 miles across, east-to-west.

When Fleming questions how Roarke knew about a meeting with doctors where they discussed getting Janet’s memory back, saying “You weren’t there at the meeting!”, Roarke responded, “Wasn’t I?”

While crossing a stream on a log, Margo and Lowell went over the same log that Paul Henley and Michelle crossed a year earlier.

Roarke first reveals his abilities at disguise by dressing as a farmer named Dorf, a mute with a big scar on his throat, a beard and mustache, and long black hair.

“Dorf’s” ranch will later be seen in the series.

For the first time, we see Roarke’s office.

Roarke and Tattoo have played Monopoly at least 117 times, and Roarke landed on Boardwalk first in every game. Roarke says it is ‘just luck of the dice’, but Tattoo calls it ‘a lotta luck’.

A message on a tape recorder for Margo and Lowell from Roarke says that “On this island, you have to take the consequences for your fantasy.”

After Margo and Lowell emerge from the cave, they can see off the edge of the hill, where the Main House should be down below (but it is farther than that, as the Main House isn’t close to a hill). But you can look across the view and see Los Angeles in the distant background of the shot…

Miss Margo Dean is big in cosmetics: lipstick, facial cremes, eye shadow… all part of the complete Margo Dean line of cosmetics. She believes that she is here for discussing a merger with businessman Roy Maxwell (although we don’t know what his line of work is). Margo describes the merger as ‘extremely important’ and that it could change her entire life. Well, certainly, this visit will change her entire life. Lowell states that Margo would ‘eat, sleep, and think business deals 24 hours a day’, to which she responds “That’s life.” In the boat ride to take them to the side of the island, there are a lot of people: Margo and Lowell, Roarke and Tattoo (who was wearing a life vest), the driver of the boat, someone who worked the engine, and a third helper, a luggage attendant. After he drops them off, that’s when Roarke tells her about Lowell’s fantasy. She tries to get out of it by paying double or triple, but he refuses. Margo, upset, comments that she’d ‘signed his salary checks for years’. Lowell replied, “I thought about you for years, your hidden side.” To which Margo replied that his mother had said ‘you kept dirty pictures hidden under your mattress’. Margo can’t wait to get back to New York. She’d worked her way from West Virginia to an office in the World Trade Center. She fires Benson on the spot.  After crossing the stream, Lowell reveals he spent $10,000 on this fantasy. Shortly after this, in a worse mood and not paying attention to her path, Margo trips over a rock and gets stuck under it, and is menaced by a large-bodied spider until he rescues her. She leaves him and runs into a farmer, Roarke in disguise, who promptly ‘kidnaps’ her and takes her to his farm. Kita calls Roarke’s character ‘Dorf’ a greedy pig, eliciting laughter from Roarke/Dorf and her husband Raoul; they all know he’s a nice, sensitive guy. Kita claims his last woman was Pota or Ota or Jota (never quite understand what name she said, due to the actress’ accent), a good diver who went too deep for pearls. She claims to have been with Raoul for two or three years, and that “I don’t need any money, Raoul gives me everything I need”. Later, Raoul tells ‘Dorf’ that ‘American ladies have to be broken, like horses’ in a clear insult to Margo. Raoul and Margo ride off, and Margo attempts to make an escape. ‘Dorf’ wakes up and chases her. He has a bullwhip. Luckily, Lowell comes to her rescue and fights him off (during which you can tell there‘s a stuntman for Señor Montalbán), giving ‘Dorf’ a good sock on the jaw. After the fight, Lowell and Margo run off. Once they are gone, Raoul and Kita come back to talk to Dorf, who pulls off the makeup and shows that he is really Roarke (for anyone who hadn’t realized it at this point). Obviously grateful for their help in this fantasy, when they ask if he needs help, should they go after the guests, he says ‘Go home, give your kids a big kiss’. Well, they did spend the night away from the kids to help Roarke… After they ride off, presumably to go home this time, Roarke rubs his jaw, showing that Lowell had gotten a good sock in on him. Holing up in a cabin for the night, Lowell starts a fire (on a tropical island???). They place a tape recorder with a message Roarke left them about consequences. Lowell is an old New England name. He is from Lowell, Massachusetts, originally. Margo calls him a ‘proper Bostonian’.  Lowell responds, “Some of the time. I’m a long way from Beacon Street.” They finally got to the tunnel through the mountains. He went left, with the matches. She went right, with the flashlight. Margo found the way out…thought for a minute…then went back in to get Lowell. Roarke teleported in to the cave to tell them the Main House was just down the hill. Wrapping things up, Roarke tells Margo she has a real appointment with Roy Maxwell in New York City. Margo decides to write Lowell a check for $5,000. He expects it to be a severance check. But she surprises him, because it will be for her half of the fantasy. She acknowledges it was a very interesting experience and a very interesting start. Tattoo asks, “What did he start?” Roarke responds, “He didn’t start anything Tattoo, it’s as old as time, a man and a woman, different and the same, equal and unequal, doomed to go on fighting and loving each other for as long as they live.” Tattoo asks, “What do they have to fight about?” And Roarke finishes, “Why, equality, Tattoo. I wonder if they’ll recognize it, if they’ll ever find it.”

Brian Faber is described by Roarke as a ‘moderately successful lawyer’ and his wife, Lucy, is the President of the Children’s Aid Society of Santa Barbara, although they have no children themselves. At the brunch, a young girl named Aki appears, which was probably one of Roarke’s special touches to dramatically heighten the fantasy. It’s been 12 years since they gave up their daughter for adoption. They were young, unmarried, and couldn’t give her a life. They wouldn’t adopt, because it would be like an exchange. Roarke responds sagely, “Life is nothing but exchanges.” After personally driving them in a jeep to the bungalow or house they will share with their now-12-year-old daughter, he restates the condition that he had: they could not tell her they were the ones who gave her up for adoption. Lucy protests, but they agree to the condition in the end. Roarke surprises them with three girls–Ann, Carol, and Pat–but it wasn’t a trick, is was to make sure nobody gets hurt; not any of the girls or the Fabers, either. Pat has brown hair and braids. Carol has brown hair and pony tails with blue yarn. Ann has straight brown hair. The Fabers first meet them while the girls have been riding through the surf on horseback. Ann mentions she has another sister who was also adopted. The girls were all ‘interviewed at their schools to win a weekend-on-Fantasy-Island contest’, showing that Roarke had someone thoroughly check the adoption records in California for girls born on  April 10, 1965. We find that Carol can play the piano, and Ann loves to read, and drew a poster or posters for a school play. Pat is healthy and intelligent and full of spirit. Lucy wonders where Carol’s musical skill came from, thinking she’s their daughter, although in reality all the girls could be theirs. Pat thinks her mother was a girl in a bus station, about to give birth, all dirty and drunk; she’s read about young women being paid thousands to give up their babies. (This news article was probably about the case that Charlie’s Angels investigated in the second-season episode “Angel Baby”, which I have pegged as happening in 1976, but would have taken a while to work through the California court system, so that Pat would have read about it in 1977.) Clearly, Pat has a real chip on her shoulder about the parents who gave her up for adoption. Lucy thinks Ann is their daughter, because of her hands. Brian thinks Carol is their daughter; because of her body, he thinks Carol is a ‘mini you’, he tells Lucy. Carol tells us she likes to read Dickens, and Jack London, and mentions two specific books—Dickens’ David Copperfield, and Tales of the South Seas, which is probably a mis-remembrance of London’s South Sea Tales. Brian tells us he likes Dickens and Nathaniel Hawthorne. We find out that Ann has ridden horses before this trip and lives in Sacramento. Ann has never been to Santa Barbara and has never sailed. Lucy invites her down, with her parents. Pat, swimming out too far, nearly drowns, but Brian and Lucy rescue her and Lucy performs rescue breathing on the wayward child. Now, Lucy thinks that Ann isn’t their daughter, but that Pat is. Wrapping up, Brian says that “Life is a series of exchanges. Maybe we are ready now.”

The lovely young Janet Fleming was the last person off the seaplane. Sadly, she doesn’t know who she is.  In fact, today is their fourth anniversary. Something horrible happened on her honeymoon with Charles to his family’s house in the country. When Tattoo asks what happened, Roarke responds ominously, “What happened, indeed?” After a jeep drops off Roarke, he tells Charles that everything is ready…but Fleming changes his mind (a clear case of cold feet). Roarke reminds him of the meeting at the Lakeside Sanitarium about getting Janet’s memory back, with Dr. Croyden and several other doctors. Janet wanted this fantasy, but Roarke thinks Fleming is afraid of how this looked…and that he’s afraid of losing control of her money. Going ahead with it, everything will be EXACTLY as it was four years earlier; they will relive the honeymoon. Pierre is the gardener and ‘handyman’, who does what needs doing. He’s worked for Fleming since Charles was a boy. Also present are the butler, Simon Grant, and his wife, who is the Fleming maid. Simon states they are happy to try to help her. He informs Charles that the mail is in the drawing room and announces dinner for 7:30. Charles finds a letter from ‘Your Rosemary’ sent to the house’s address, 1 Alder Manor Road (or Olde Manor Road, can’t be sure because of the writer’s handwriting), Lake Forest, Illinois. (It had no zip code and the Jefferson Memorial 10¢ stamp was hand-canceled, which should have been a tip-off that something was up. ) Apparently, Rosemary hadn’t finished addressing the letter and had not mailed it before she killed herself (as we later learn in the story), and the Grants kept it as part of their scheme.  Rosemary must have written an earlier letter to him, threatening to kill herself because he’d left her. Charles described their relationship as an ‘infatuation’. Rosemary was a cocktail waitress and he’d gone to school on the GI Bill. He had no family money, just the house. Roarke stated that Charles nearly lost the house if not for marrying ‘such a wealthy girl’ as Janet, to which Charles retorted “I told you, I fell in love with her!” Roarke told Charles that he ‘knew her since they were children’. As Kim said, how did the Grants pull off the death mask in the mirror trick? How did they pull off the body in the tub, but the tub was fully drained and dry before Charles saw the tub? Looking in a photo album of the year Charles turned 12, we find that her came to her house on the shore to play tennis, and it wasn’t that far from the Fleming country house. We see a photo from 4 years earlier showing Karen and Charles and Pierre, and it turns out that Pierre loves her.  Roarke calls, saying that Dr. Croyden arrived.  Roarke sends a jeep to bring Fleming to the Main House, and then sends the jeep back to the replica country house with Dr. Croyden. He won’t make any vehicle available for Fleming to get back to the house until he says so. To pass the time, Tattoo invites him to play Monopoly. This is to replicate the two hours that he left Janet alone. He says he went to the police station. It turns out that a detective on the case has flown from Chicago, about Charles’ ex-fiancée Rosemary. The police found a letter in her room, attached to the mirror, and Roarke knows it matched the one in Charles’ pocket. Roarke notes how the women that Charles loves come to tragic ends. After Janet found the knife, bloody, she remembers Pierre. At 12, he taught her to sail, and saved her from capsizing. They were lovers at 16. But at 17, she acted like she didn’t know him; he was just the French-Canadian kid who looked out for the boats. The knife is thrown at her and Pierre while they are in his caretaker’s quarters. The doors were locked and the windows shut, but they manage to escape.  We discover Rosemary is the Grants’ daughter. She met him at school when she was 8 and he was 10. He went off to the Navy, and then went to college on the GI Bill. Rosemary had loved him all this time — but he said that he wasn’t good enough for her.

Opening Credits:
Starring Ricardo Montalbán

And Guest Stars Alphabetically:
Adrienne Barbeau
Horst Buchholz
Joseph Campanella
George Chakiris
Joseph Cotten
Pat Crowley
Laraine Day
George Maharis
Cameron Mitchell
France Nuyen
Karen Valentine

And Hervé Villechaize as Tattoo.

Director of Photography: Arch Dalzell
Executive Producers: Aaron Spelling and Leonard Goldberg
Produced by Michael Fisher
Written by Marc Brandel
Directed by George McCowan

Ending credits, broken down by screen:
Associate Producer: Shelley Hull

Co-starring John Zaremba as Dr. Croyden

Kevi Kendall as Pat
Kristine Ritzke as Carol
Nancy McKeon as Ann

Music by Laurence Rosenthal

Executive Production Manager Norman Henry

Supervising Production Manager Al Kraus
Supervising Art Director Paul Sylos
Supervising Construction Co-ordinator Gordon Kirschbaum

Art Director Alfeo Bocchicchio

Film Editor John Woodcock A.C.E.

Production Manager Floyd Joyer
Assistant Director Jim Nicholson
Script Supervisor Hazel Hall
Post Production Supervisor Dick Reilly
Casting Supervisor Susan Newell

Set Decorator Tony Mondello
Property Master Jerry McFarland
Costumes Chad Harwood, Andrea Weaver
Make-Up Joe DiBella
Hair Stylist June Miggins

Music Supervisor Rocky Moriana
Sound Engineer Dean Hodges
Construction Co-Ordinator Fred Collins
Sound Editors Dick Le Grand, Don Higgins

Women’s Wardrobe Supervisor Nolan Miller

Automobiles furnished by Ford Motor Co.

Filmed at 20th Century Fox Studios

A Spelling-Goldberg Production

Copyright 1977 Spelling-Goldberg Productions
All Rights Reserved

Uncredited credits listed at the Internet Movie Database website:

France Nuyen’s character is listed as Kito at IMDB, although I heard it as Kita

Larry Moran as Runner #2 (scene unknown)

Second Assistant Director Lindsley Parsons III
Painter Claudia Gilligan Ivanjack
Lead Man Claude Lipscomb
ADR Mixer Lionel Strutt
Special Effects Coordinator Larry L. Fuentes
Stunts Richard Epper
Stunt Diver Marneen Fields
Stunt Double Charlie Picerni
Grip Ron Veto
Assistant Post-Production Supervisor Arnold Baker
Post-Production Virgil E. Hammond III

Running time: 1 hour 36 minutes 47 seconds on DVD


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