Pathetic. Inept. Like a bad high-school play. Almost as bad as Thriller's "Mark of the Hand"; at least here we got some scenic variety in the cheesy rear-projection scenes out on the high seas.
I assume that Maxwell Shayne---the savior/producer of Thriller's future crime episodes, was JUST brought on board for this one. So this turkey was already in production, probably with cast and director already hired. Pitiful script AND direction; at least a competent director could have given the episode some sense of style (Mitchell Leisen's work in "Girl with a Secret" now becomes that much more impressive).
Jack Carson, whom I usually like in his light comedy roles (he was always fun in his late 40's films with Doris Day) simply can't stop his stupid face-scrunching, grimacing and silly double takes; THEY DON"T WORK HERE, JACK---SAVE 'EM FOR YOUR NEXT COMEDY ROLE! A recitation of the outrageous plot holes and contrivances in this show would bore everyone almost as much as this episode itself.
Pete Rugolo's score is particularly annoying---all brass and winds, with some percussion. I find it dreary and intrusive (just wait 'til Goldsmith and Stevens start writing their STRING-based scores...)
CHECK OUT 23:21' in "Big Blackout"---the cops have just left the house, and Carson spots the liquor bottle on the table. Rugolo actually quotes "How Dry I Am"--I kid you not--- in a somewhat "freaky, far-out" distorted version, played by the vibraphone and clarinet, while the cellos provide some "hallucinagenic" chromatic scales underneath; I almost burst out laughing.
And how about the beat-up girl friend at the end? They all just let her lie there with big old welts, bruises, cuts, etc---not even a band-aid in sight---while she provides the show's boffo conclusion.
With moldy turkeys like this one, It's a miracle that THRILLER was able to survive long enough on the air for the big turn-around in format--from wimpy, lifeless, no-style crime duds to magnificent, landmark tales of horror.
LR