Boy oh boy what an episode.The basic story involves a mother and son who live in Wales in the 13th century. Like most people in their village they live in poverty. In order to feed their families there is an ancient custom called "Sin Eating".When a person dies there is a banquet of food brought by the family and placed at the bedside of the deceased. They then give the hungry a chance to feast but with the catch that by eating the food they would also cleanse the deceased of all their sins and transfer those sins to the onewhofeasts.Evidently-"sin eating" is a very painful event because it causes severe pain and anguish.One day they get a call in the village that someone has passed on and a sin eater was needed . The son who is familiar to the ritual fakes eating the food and instead hoards it in his coat to bring home to his mother.He accomplishes this by screaming as if in pain during the ritual. When he gets home his mother has a surprise for him for his father-who was also a sin eater had just died and well-- I think you can guess the rest. One has to ask themselves why is this episode so horrifying? There is no violence or blood in the episode. There also is nothing that is scary to watch.But those screams!!!!Imagine the horror of taking on the sins of all sinners let alone Sin "Eaters" Excellent acting in every sense of the word and Serling again proves that the most horrible images we can imagine are intrinsic. If this doesn't send a chill down the spine nothing will.Truly shocking
Night Gallery (TV Series)
The Sins of the Fathers/You Can't Get Help Like That Anymore (1972)
User Reviews
Review this title19 Reviews
Disturbing
33954422 March 2007
Warning: Spoilers
I wasn't expecting much from this old show but this one worked for me. I felt it was very good. This wasn't scary none of the Night Gallery episodes are. This episode however was very disturbing, creepy and well acted. Some parts were a bit disgusting like when the food was next to the corpse and the boys mouth was watering from hunger, also when his mother was using bread to clean the crumbs from his body. The last five minutes was the best as the son was basically a sacrifice to cleanse his father's soul. Richard Thomas and Geraldine Page were as usual very good. The second episode about the robots was a let down and predictable.
Two superior stories
Woodyanders17 October 2018
Warning: Spoilers
"The Sins of the Fathers" - Scared and starving young Ian (a fine performance by Richard Thomas) out of grim necessity resorts to pigging out on a rich array of food in order to consume the sins of a deceased man in feminine-plagued medieval Wales. Director Jeannot Szwarc expertly crafts a potent gloomy atmosphere along with a strong sense of raw desperation. This grim story further benefits from uniformly terrific acting from a topflight cast, with especially stand-out contributions by Geraldine Page as Ian's manipulative mother, Michael Dunn as an antsy servant, and Barbara Steele as a hard-nosed widow. The surprise bleak ending packs a devastating wallop.
"You Can't Get Help Like That Anymore" - Sadistic couple the Fultons have a notorious reputation for destroying their robot servants. They meet their match in the form of a new android maid (the gorgeous Lana Wood in a nicely understated portrayal) who's programmed for survival. Cloris Leachman and Broderick Crawford are marvelously horrible as simply awful rich slime while Severn Darden as fed-up scientist Dr. Kessler and Henry Jones as amiable salesman Malcolm Hample do well in supporting roles. This tale makes a chilling point about the potential peril to be found in making machines that are a bit too human for comfort.
"You Can't Get Help Like That Anymore" - Sadistic couple the Fultons have a notorious reputation for destroying their robot servants. They meet their match in the form of a new android maid (the gorgeous Lana Wood in a nicely understated portrayal) who's programmed for survival. Cloris Leachman and Broderick Crawford are marvelously horrible as simply awful rich slime while Severn Darden as fed-up scientist Dr. Kessler and Henry Jones as amiable salesman Malcolm Hample do well in supporting roles. This tale makes a chilling point about the potential peril to be found in making machines that are a bit too human for comfort.
Who Made These Rules?
Hitchcoc17 June 2014
The first episode, "The Sins of the Father," takes place in a plague infested world where people are dropping like flies. Apparently, an unpopular occupation is that of a "Sin Eater." Even with rampant starvation at hand the mourners at the funeral of an unfortunate person there is all manner of food surrounding the body. This is for the sin eater to consume and by doing so, take the sins of the deceased unto himself, sending himself to eternal damnation but saving the other guy. A group of people are holed up at a wake where none are to eat. A little person, played by Michael Dunn, is dispatched to find the aforementioned "expert." There are so many deaths that finding anyone is nearly impossible. He finally settles on a boy played by Richard Thomas. His mother talks him into doing the deed but she implores him not to ingest the food, but rather steal it for them. He is so hungry and wails about it over and over (this is one part that is hard to take because it overwhelms the senses). He makes his way to the house of the dead man and tries to pull off his mothers wishes. What happens next is something you'll not forget soon.
The second offering is about an agency that sells androids (they call them robots). They are attractive physically but there have been complaints about them. Some people abuse them because they have no defenses and Cloris Leachman and Broderick Crawford are the worst. They have completely destroyed one model and have insisted on another one. The thing is that the robots have started developing defense mechanisms and the quality of telling the truth. Leachman and Crawford are great as absolute rich scum. I have to admit I was with this one till the end but left it confused. See what you think.
The second offering is about an agency that sells androids (they call them robots). They are attractive physically but there have been complaints about them. Some people abuse them because they have no defenses and Cloris Leachman and Broderick Crawford are the worst. They have completely destroyed one model and have insisted on another one. The thing is that the robots have started developing defense mechanisms and the quality of telling the truth. Leachman and Crawford are great as absolute rich scum. I have to admit I was with this one till the end but left it confused. See what you think.
Another source for "You Can't Get Help Like That Anymore"
ccheckman26 October 2014
Warning: Spoilers
One reviewer says that this episode is based on themes from the Philip K. Dick novel Do Androids Dream of Electric Sheep? ... However, the story actually follows an older idea better: Karel Capek's play RUR (Rostrum's Universal Robots), which introduced the word "robot" to the English language. This play is about a company that makes robots, and under duress, gives them personalities. Well, the robots take over and spare only one human: one of the designers.
There's also an interesting theme of robots becoming more human-like and humans becoming more robot-like. Making the Fultons the spitting image of "lower class" workers adds an extra twist.
There's also an interesting theme of robots becoming more human-like and humans becoming more robot-like. Making the Fultons the spitting image of "lower class" workers adds an extra twist.
Scared the S**t out of me
kbearo-123 December 2006
Another entry from Season Two. This is really one of the most frightening and uncomfortable things to watch, that has ever been presented on television. Richard Thomas deserves accolades for his performance. The finest work he has ever done. This is one of those--"You have to see it to believe it" episodes. Some of the finest horror that television has ever seen. Nothing I can say can describe this episode. It has never been matched. I dream of seeing "Season Two" again on DVD. Without the "Sixth Sense" episodes that were added for syndication. For they were crap. As I said, this episode Scared the S&%T out of me. I bet it would still.
Brace yourself, Bridget!
banshee-liam7 May 2008
As the previous posters have attested, this was one of the most frightening things I ever saw--on TV or in a movie theater. The acting was superb, but it was the story, the foggy night forest that the desperate boy had to run through--round trip!--and especially the taut direction that so successfully created an atmosphere of crushing dread. The fear and contempt that The Widow showed for the hysterical young man before slamming the heavy wooden door behind him made my mouth go dry.
Without giving away what actually happens at the climax, I'll just say that, once it took place, my entire family began shrieking and running from the room in all directions.
Poe must have wept with jealousy. I only wish someone would release this on DVD. (N.B.: The only episode of TV horror equal to "Sins of the Fathers," in my opinion, is "An Unlocked Window," starring Dana Wynter, from "Alfred Hitchcock Presents," which aired in 1965. Have Valium on hand...lots of it.)
Without giving away what actually happens at the climax, I'll just say that, once it took place, my entire family began shrieking and running from the room in all directions.
Poe must have wept with jealousy. I only wish someone would release this on DVD. (N.B.: The only episode of TV horror equal to "Sins of the Fathers," in my opinion, is "An Unlocked Window," starring Dana Wynter, from "Alfred Hitchcock Presents," which aired in 1965. Have Valium on hand...lots of it.)
The best episode of Night Gallery, hands down.
zink-paul28 December 2008
Not only was this teleplay one of the most chilling and relentless of the series, but the casting was superb: Michael Dunn, Barbara Steele, and Geraldine Paige, OMG, in a single TV episode. But considering Rod Serling's reputation, perhaps that's not surprising.
Unlike modern shocker films, this episode of Night Gallery relies on no special effects other than a fog-generating machine. Yet the suspense and horror build so steadily that by the conclusion, you the viewer are thoroughly wrung out. I haven't seen this one for decades, yet I remember it quite vividly -- yet I try not to think of it just before bedtime....
Unlike modern shocker films, this episode of Night Gallery relies on no special effects other than a fog-generating machine. Yet the suspense and horror build so steadily that by the conclusion, you the viewer are thoroughly wrung out. I haven't seen this one for decades, yet I remember it quite vividly -- yet I try not to think of it just before bedtime....
Many Kinds Of Sins
AaronCapenBanner12 November 2014
'The Sins Of The Fathers' - Richard Thomas and Geraldine page star as mother and son in Wales, who are forced by famine to resort using their father's technique of "sin eating" which involves consuming food surrounding a dead loved one in order to consume their earthly sins into himself. Thomas reluctantly performs this ritual for a rich family, but at a later high cost... Original tale is quite graphic and grim, but most atmospheric as well, with a fine cast, and strong ending.
'You Can't Get Help Like That Anymore' - A cruel married couple abuse android servant after android servant until an uprising turns the tables... Mediocre tale uses ideas from "Westworld" with mixed results.
'You Can't Get Help Like That Anymore' - A cruel married couple abuse android servant after android servant until an uprising turns the tables... Mediocre tale uses ideas from "Westworld" with mixed results.
The most horrifying thing I've ever seen on TV- (besides the news)
OutTooFar29 April 2007
Sorry I can't add much to kbearo-1's excellent comments. It says something when I can remember a television episode for so many years. I was nearly traumatized for life- it's that good (?!). It gives me chills just to think about it, especially when you apply it metaphorically. Yikes! I was heartened to see how many things Richard Thomas has done (thank you IMDb). Like too many other folks, the first thing that comes to mind is "John Boy". Pity. He's a fine, versatile actor. Anyone know what he's been doing lately? I trust he can still work whenever he feels like it. And Geraldine Page? I would crawl naked over ground glass just to see her read the phone book. She shines in every single thing I've ever seen her in, and of course this is no exception. p.s. If you should get the opportunity to see this, I'd recommend doing it with a six-pack or bottle and someone to talk with afterwards.
This isn't terror, it's horror.
kroolshooz1 February 2019
The reviews of Sins of the Fathers fall into two categories: the "one of the most horrifying things I've ever seen" category and the "I don't see what's so scary about this" category. The difference here, I think, boils down to the difference between terror and horror. This episode (typical of Night Gallery in general) is about horror, not terror.
Terror is the start you feel when somebody jumps out from behind a bush and lunges at you. It's a simplistic emotion that almost everyone has as an instinctive response to danger. It requires no empathy. In Sins of the Fathers there are no monsters jumping out of shadows. It is not terrifying.
Horror is the revulsion you feel when you witness something deeply disturbing. I'm guessing that it requires some level of empathy to fully experience horror, and a fair segment of the population is probably immune to it. To fully appreciate the horror of Sins of the Fathers requires the ability to put yourself in the position of the main character. If you have the capacity to do that...then this episode is freaking HORRIFYING and you will never forget it.
Terror is the start you feel when somebody jumps out from behind a bush and lunges at you. It's a simplistic emotion that almost everyone has as an instinctive response to danger. It requires no empathy. In Sins of the Fathers there are no monsters jumping out of shadows. It is not terrifying.
Horror is the revulsion you feel when you witness something deeply disturbing. I'm guessing that it requires some level of empathy to fully experience horror, and a fair segment of the population is probably immune to it. To fully appreciate the horror of Sins of the Fathers requires the ability to put yourself in the position of the main character. If you have the capacity to do that...then this episode is freaking HORRIFYING and you will never forget it.
Scary? Horrifying?
LOVEfords17 July 2013
I do not understand what the other reviewers were trying to suggest that this episode of Night Gallery is so scary and horrifying and that Poe would be jealous. It is about as scary as an episode of Captain Kangaroo. The acting of course is wonderful with Thomas and Page (she could do anything) but honestly this is not scary. It is just a lot of screaming and yelling. That in itself is not horrifying it is just loud. Barbara (last name ?) who played the widow was pretty good too. I have a feeling that the reviewers who find this episode of Night Gallery to be so frightening and appallingly scary and horrifying are really Rod Serling groupies who would approve of anything he did. Don't fret if you miss this episode.
The Sins of the Fathers: Chilling Food for Thought
paulbehrer2217326 March 2009
Warning: Spoilers
In this segment, adapted by Halsted Welles from the short story by Christianna Brand, who was noted for the Nanny McPhee series of books, a famine and plague are ravaging the 19th century Welsh countryside, obliging Mrs. Craighill (Barbara Steele) to send her servant (Michael Dunn) on horseback for 3 days and nights to find someone to do the hated sin-eater's rite. After finding that all the men nearby are either dead or dying of famine and disease, he then heads to the farm of Dylan Evans, only to be told by the man's wife (Geraldine Page) that he's too weak from famine and illness to perform the sin-eater's rite. The servant begs Mrs. Evans to send her husband, describing the foods of the feast in mouth-watering detail. Out of desperation, Mrs. Evans decides to send her dull-witted son, Ian, in her husband's place. Ian, though, is horrified at having to feast from a dead man's corpse and taking on the sins of the departed, and being damned forever as a sin-eater, and refuses to do it at first. His mother insists, saying that he must imitate his father and recite the sin-eater's prayer, but instead of eating the funeral feast must hide the food in his cloak to take home, and never eat so much as a crumb or morsel in the corpse's presence, adding that he must insist that he perform the rite alone. Ian rides to the Craighill home on the servant's horse. Mrs. Craighill protests that Ian is too young and weak from hunger to do the sin-eater's rite, but concedes that since there's no one else healthy enough to do it, then she must have him perform the task. When the mourners urge Ian to eat, he insists that he must perform the rite alone, and Mrs. Craighill, wishing to see her husband's sins removed from his soul, agrees, and ushers them from the room. Ian begins the prayer, hiding the food in his cloak, gagging as he moves around the corpse to do it, and utters the horrified shriek that tells of the passing of the sins. He then runs from the house in terror, with Mrs. Craighill tossing the 3 gold coins after him. Ian makes it home on foot, and his mother removes his cloak, taking the food into the other room as Ian watches. Mrs. Evans says that the feast is ready, and Ian enters the room to find the feast arrayed around his father's corpse. Mrs. Evans pleads with him, asking if he wants his father to die with a sinless soul or not, adding that he shouldn't worry because he would have a son to eat his sins. Ian, now doomed to be a sin-eater, begins his hated feast, shrieking the prayer. I have to admit when I saw this, I was chilled by the thought that anyone would subject their child to this, whether male or female. Spoiler alert: this segment was made before the I'll Never Leave You-Ever segment, but aired a week after it.
I Still Don't Eat at Funerals
desireemwhite10 April 2021
Warning: Spoilers
I was probably 11 or 12 when the episode originally aired and remember it like it was yesterday. Fifty years later I still don't eat at funerals, nor will I watch food eating contests. I have no interest in the paranormal, astrology or superstitions. The mark of the beast, 666 I fear solely for religious reasons. This episode has profoundly affected my life unlike any book, movie or media.
Two solid stories.
Hey_Sweden8 August 2021
Warning: Spoilers
'The Sins of the Fathers'. Scripted by Halsted Welles (based on a story by Christianna Brand), and directed by Jeannot Szwarc. Taking place in a plague-infested Wales of long ago, it has to do with "sin eaters": people who partake of the food at wakes, and in so doing "consume" all of the sins of the person who has just died. This allows the deceased to leave this Earth a purer soul. Nasty work, but some men are willing to do it. Not so much Ian (Richard "John-Boy" Thomas), the son of a sin-eater, who's pressured by his mom (Geraldine Page) to go through the routine for a recently deceased Mr. Craighill. Thomas goes impressively over the top as a young man driven just about insane with hunger and want, and the rest of the cast (horror icon Barbara Steele, Michael Dunn, Alan Napier, etc.) is very strong. Excellent atmosphere, too, and a good (if not that surprising) twist ending. Some viewers may not care for Thomas' histrionics, however.
'You Can't Get Help Like That Anymore'. A Rod Serling original, directed by actor Jeff Corey. A futuristic company manufactures lifelike robots that function in the service industry - maids, butlers, chauffeurs, occupations like that. But there are wrinkles in the story, mainly the fact that these robots are *evolving* in ways that even brilliant scientific mind Dr. Kessler (Severn Darden) didn't anticipate. You sure do think about things like the human capacity for ignorance and abuse, and the concept of artificial intelligence in this engaging script that is pure Serling, all the way to the ending. The acting is all on point, from Cloris Leachman & Broderick Crawford as vile employers (excuse me, *owners*), top character actor Henry Jones, and the lovely young Pamela Susan Shoop. It is pretty amusing seeing beautiful maid robot Lana Wood manhandle Crawford; her performance is especially affecting.
Eight out of 10.
'You Can't Get Help Like That Anymore'. A Rod Serling original, directed by actor Jeff Corey. A futuristic company manufactures lifelike robots that function in the service industry - maids, butlers, chauffeurs, occupations like that. But there are wrinkles in the story, mainly the fact that these robots are *evolving* in ways that even brilliant scientific mind Dr. Kessler (Severn Darden) didn't anticipate. You sure do think about things like the human capacity for ignorance and abuse, and the concept of artificial intelligence in this engaging script that is pure Serling, all the way to the ending. The acting is all on point, from Cloris Leachman & Broderick Crawford as vile employers (excuse me, *owners*), top character actor Henry Jones, and the lovely young Pamela Susan Shoop. It is pretty amusing seeing beautiful maid robot Lana Wood manhandle Crawford; her performance is especially affecting.
Eight out of 10.
"...smell the bacon?"
classicsoncall5 June 2017
Warning: Spoilers
Man, I don't see what most of the reviewers for 'The Sins of Our Fathers' are raving about. This one had more gross-out potential than anything else, and Richard Thomas's shrieking as the sin-eating Ian Evans was an abomination to the eyes and ears. I tried to imagine stuffing all that food inside my clothes and the mere thought just creeped me out. When Mrs. Evans (Geraldine Page) smeared the slice of bread over his chest it ruined my appetite for the rest of the day. Maybe I'm missing something with this episode, but I don't think so. If you're watching this one on a full stomach, have a barf bag handy.
I wasn't surprised to see that Rod Serling wrote the teleplay for 'You Can't Get Help Like That Anymore'. He also wrote the Twilight Zone episode 'The Lateness of the Hour' which dealt with robot servants, and had a hand in adapting the Ray Bradbury story for TZ, 'I Sing the Body Electric'. This one would have qualified as a Twilight Zone story as well, with Lana Wood portraying a housemaid robot getting her revenge on an abusive couple portrayed by Broderick Crawford and Cloris Leachman. Now there's a pair for you, they were both absolutely hideous examples of humanity in the story, with Leachman in particular elevating the term 'bi-otch' to an entirely new level. But for a program that originally aired in 1972, it was quite prescient in portraying Crawford's character as someone willing to get it on with a good looking female android/robot, an idea who's time has come by this point in the twenty first century. Only now they're calling them sex-bots.
I wasn't surprised to see that Rod Serling wrote the teleplay for 'You Can't Get Help Like That Anymore'. He also wrote the Twilight Zone episode 'The Lateness of the Hour' which dealt with robot servants, and had a hand in adapting the Ray Bradbury story for TZ, 'I Sing the Body Electric'. This one would have qualified as a Twilight Zone story as well, with Lana Wood portraying a housemaid robot getting her revenge on an abusive couple portrayed by Broderick Crawford and Cloris Leachman. Now there's a pair for you, they were both absolutely hideous examples of humanity in the story, with Leachman in particular elevating the term 'bi-otch' to an entirely new level. But for a program that originally aired in 1972, it was quite prescient in portraying Crawford's character as someone willing to get it on with a good looking female android/robot, an idea who's time has come by this point in the twenty first century. Only now they're calling them sex-bots.
Best episode!
BandSAboutMovies18 August 2023
Warning: Spoilers
I apologize.
As I was working on Season 2, I totally skipped this episode.
And how could I? It's one of the most memorable in the entire series.
Anton LaVey specifically called out this episode. But more importantly, whenever people talked about the scariest movies that they had watched, my father always went back to "The Sins of the Fathers."
"The Sins of the Fathers" was directed by series workhorse Jeannot Szwarc and written by Halsted Welles from a story by Christianna Brand. It stars Geraldine Page as Mrs. Evans, the wife of the Sin Eater of the town of Cwrt y Cadno, Wales. What is a sin eater and his task? Well, they must eat a meal in the company of a dead person, taking on their sins so that the deceased can go to meet God with a clean conscience.
Her husband is too sick to perform the ritual, so her son Ian (Richard Thomas) must go in his place. He fears the pain of accepting all of these sins, much less feasting from the chest of a dead person. But Mrs. Evans and her family have been hungry since the plague has taken Mr. Evans, so she comes up with a plan. Ian will conduct the ritual but hide the food, bringing it home to her family.
Ian barely escapes from the funeral rite and the widow (Barbara Steele!) who wants to watch him conduct the ceremony. The tragedy is that he arrives home to a dead father and must now consume that food - and the food around his lost patriarch - and now take on the sins, the many sins, of the Sin Eater.
Working with art director Joseph Alves, Szwarc pretty much made a legitimate theatrical experience with this short story. NBC wasn't sure they would even air it, so for once I have to give credit to series producer Jack Laird, who stood behind his talent and pushed for the episode to air. Beyond talent like Page, Thomas and Steele, he also had Michael Dunn as a servant obsessed by the food.
It's probably the most memorable Night Gallery episode. It has no blood, no special effects and just mood and theatrical acting by all. It just plain works.
"You Can't Get Help Like That Anymore" was directed by Jeff Corey and written by Rod Serling. It has quite the cast - Broderick Crawford, Cloris Leachman, Lana Wood, Severn Darden - and a great story. The Fultons (Crawford and Leachman) take their rage out on everyone around them, including their robotic maids, which often come back to the Robot Aids, Inc. Storeroom in pieces. Dr. Kessler (Darden) worries that soon the robot help will evolve to the point that they turn the tables on the couple.
He's right, as Model 931 (Wood) responds to the pinching sexual impropriety and outright physical attacks of the Fultons by decimating them. By the end, the robots have even replaced Kessler with a new model and are quietly sending their models into the suburbs to take over the world.
I love the 1970s future that appears in this story too. The makeup gave the production issues, but you'd never know it, as I really love just about everything in this Serling parable.
Again - apologies for missing this episode. I honestly feel like it's the best of the entire series, so I appreciate you waiting for it.
As I was working on Season 2, I totally skipped this episode.
And how could I? It's one of the most memorable in the entire series.
Anton LaVey specifically called out this episode. But more importantly, whenever people talked about the scariest movies that they had watched, my father always went back to "The Sins of the Fathers."
"The Sins of the Fathers" was directed by series workhorse Jeannot Szwarc and written by Halsted Welles from a story by Christianna Brand. It stars Geraldine Page as Mrs. Evans, the wife of the Sin Eater of the town of Cwrt y Cadno, Wales. What is a sin eater and his task? Well, they must eat a meal in the company of a dead person, taking on their sins so that the deceased can go to meet God with a clean conscience.
Her husband is too sick to perform the ritual, so her son Ian (Richard Thomas) must go in his place. He fears the pain of accepting all of these sins, much less feasting from the chest of a dead person. But Mrs. Evans and her family have been hungry since the plague has taken Mr. Evans, so she comes up with a plan. Ian will conduct the ritual but hide the food, bringing it home to her family.
Ian barely escapes from the funeral rite and the widow (Barbara Steele!) who wants to watch him conduct the ceremony. The tragedy is that he arrives home to a dead father and must now consume that food - and the food around his lost patriarch - and now take on the sins, the many sins, of the Sin Eater.
Working with art director Joseph Alves, Szwarc pretty much made a legitimate theatrical experience with this short story. NBC wasn't sure they would even air it, so for once I have to give credit to series producer Jack Laird, who stood behind his talent and pushed for the episode to air. Beyond talent like Page, Thomas and Steele, he also had Michael Dunn as a servant obsessed by the food.
It's probably the most memorable Night Gallery episode. It has no blood, no special effects and just mood and theatrical acting by all. It just plain works.
"You Can't Get Help Like That Anymore" was directed by Jeff Corey and written by Rod Serling. It has quite the cast - Broderick Crawford, Cloris Leachman, Lana Wood, Severn Darden - and a great story. The Fultons (Crawford and Leachman) take their rage out on everyone around them, including their robotic maids, which often come back to the Robot Aids, Inc. Storeroom in pieces. Dr. Kessler (Darden) worries that soon the robot help will evolve to the point that they turn the tables on the couple.
He's right, as Model 931 (Wood) responds to the pinching sexual impropriety and outright physical attacks of the Fultons by decimating them. By the end, the robots have even replaced Kessler with a new model and are quietly sending their models into the suburbs to take over the world.
I love the 1970s future that appears in this story too. The makeup gave the production issues, but you'd never know it, as I really love just about everything in this Serling parable.
Again - apologies for missing this episode. I honestly feel like it's the best of the entire series, so I appreciate you waiting for it.
You Can't Get Help Like That Anymore
paulbehrer2217318 March 2009
Warning: Spoilers
At Robot Aids, Inc, Malcolm Hample (Henry Jones) takes the Fosters on a tour, telling them what the robots do. He's called to meet Dr. Kessler (Severn Darden) in a back room. He arrives to hear the Fultons (Broderick Crawford and Cloris Leachman) complain and Kessler asking how many robots they didn't destroy. Hample says that the robots do tasks and can't feel, stopping when he sees tears on the robot's face. Kessler warns Hample that the robots only respond to their data at first, but soon develop survival instincts, and when this happens, he should tell the Fultons to hit things that won't hit back. Model 931 (Lana Wood), the Fulton's new maid, is cleaning up after a party, and Mr. Fulton looks lustfully at her, which Mrs. Fulton sees, and she takes out her envy and rage on Model 931, saying, "I'm fascinated by this prefabricated wonder, who can be thrown through a window, knocked through a wall, and the worst thing that can happen is her face lights up and she says don't." Mrs. Fulton says to her, "Let me tell you something: We don't employ you, we own you. I own these drapes, I own these pictures, and I own you. Remember that. And if I should be off my feed, I may have to take it out on you. Is that clear?" When the maid stares at the Fultons, Mrs. Fulton says, "Would you like to register a complaint?" Model 931 says, "No, I was just looking at you." Mrs. Fulton says, "Did you hear that, honey? She was just looking at us. Well, what do you see?" The robot says, "I can't lie, as I am programmed to tell the truth to my owners." Mrs. Fulton says, "So tell it. What do you see?" Model 931 says, "I see a jealous woman who isn't contented though she has everything, and whose ugliness can't be covered with makeup. And you, Mr. Fulton, are cruel, lusting for everything but loving nothing." Mrs. Fulton says, "And you're a vacuum cleaner on 2 legs who needs to be taught a lesson." Model 931 says, "I'm sorry, but I'm programmed to protect myself from destruction." Mrs. Fulton says, "What did you say?" Model 931 replies, "I won't let you destroy me." "Oh yeah?" asks Mr. Fulton. "Well, let me tell you, Model 931, or whatever your name is, you're going to be salvage scrap." He attacks the robot, who flings and kills him. Model 931 says, "I've no desire to hurt you, Mrs. Fulton, but I must survive." Mrs. Fulton attacks the maid, saying, "And so you shall, my dear, so you shall, long enough to regret the day that you were...Aah!" as Model 931 flings and kills her. As more robots are made, Kessler's double tells callers that the factory is closed for retooling. He says to Model 931 as they pass by Hample, the human Kessler, and the Fultons, all stuffed and mounted for display, "How very odd. Man's ingeniousness and ingenuity, and yet his incredible stupidity." This story tells of the risk posed to mankind by advanced technology through cruelty and stupidity. Spoiler alert: This story was Serling's take on a theme posed by the Philip K. Dick novel Do Androids Dream of Electric Sheep? which became the 1982 film Blade Runner.
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