Spellbound

This is the Screen Director's Playhouse, the Thursday night feature on NBC's All-Star Festival of Comedy, Music, Mystery and Drama. Brought to you by the makers of Amazon for the fast relief from the pain of headache, youritis and youralgia, and RCA Victor, world leader in radio, first in recorded music, first in television.

And now, our host narrator for tonight, the distinguished director of Spellbound, the master of suspense, Mr. Alfred Hitchcock. Good evening ladies and gentlemen, this is Alfred Hitchcock. The prime desire of any motion picture may face to entertain his audience.

But occasionally an idea is presented to conclude to be both entertaining and instructive. When we achieve such a wedding of qualities, we feel we really have something. And this was the case in the story you are about to hear.

Spelldown was the first motion picture to deal with psychoanalysis, the method by which modern science treats the emotional problems of the same. The analyst seeks only to induce the patient to talk about his hidden problems, to open the locked doors of his mind. Once the complexes that are disturbing the patient are uncovered interpreted, the illness and confusion of the patient disappear. The

Devils of unreason are driven from the human soul. To portray the roles of Dr. Edwards and Dr. Constance Peterson, we are indeed fortunate to have Mr. Joseph Cotton and Miss Mercedes McChembridge, and now the first act of spellbound, which begins in the office of Dr. Constance Peterson, a psychiatrist on the staff of Green Manors in Vermont.

I've been watching your work for six months. It's brilliant, but lifeless.

There's no intuition in it. Your lack of human and emotional experience is bad for you as a doctor and fatal for you as a woman. Dr. Floral, I've heard that argument from a number of Amorous psychiatrists who all wanted to make a better doctor of me.