Satan's Triangle (1975)

"Within the last thirty years just off the east coast of the United States, more than a thousand men, women and children have vanished from the face of the Earth. No one knows how. Or why. This is one explanation..."

Thus and lo, the poop has already hit the propeller as our latest feature opens with a ship at stormy sea, obviously under duress, punctuated by an emergency beacon that has just been activated.

Cut to the shore somewhere along the coast of Florida, where the local Coast Guard unit is scrambling to respond to the very same distress signal. Well, some more scrambling than others as one of the two rescue helicopters remains on the ground, much to the consternation of the pilot, Lt. Commander Pagnolini, and those in the control tower, wondering why he hasn't lifted off yet?

Turns out the reason for this delay is Pagnolini’s co-pilot, Lt. Haig , who is running a little slow, nursing another in a long line of hangovers in his eternal chase of the skirt and the contents found therein.

Once he’s finally aboard, the chopper and its two-man crew takes off. Once airborne, they receive coordinates to where they’re headed, which Haig (McClure) notes is smack dab in the middle of The Devil’s Triangle, where a lot of strange things happen, including several unexplained disappearances of both boats and planes that are never seen again.

Now, while in route, we also learn Pagnolini (Conrad) is a devoutly religious man, who frowns on his friend’s lustful behavior. Thus, a firm believer in both God and the Devil, Pagnolini thinks there might just be something supernatural going on inside the confines of the Triangle, while Haig is slightly more pessimistic on such things and scoffs, feeling there is a rational explanation for just about anything.

This rationale includes the sudden icing-up and engine malfunction of the accompanying helicopter -- despite the otherwise balmy tropical conditions, which is forced to turn back, leaving these two to run the rescue mission solo. Here, they soon spot a flare and trace its trajectory back to the ship that’s emitting the distress beacon. And while it’s still afloat, the large yacht has been beaten up pretty badly by the rough seas -- the sails are shredded and the booms are not secured.

Worse yet, as they circle the boat, closer inspection shows a body hanging upside down from the main mast, and another body is spotted stuck in a shattered hatch, as if propelled through it from below. Then, Haig swears he saw something moving inside the cabin; and since someone had to have shot off the emergency flare, Pagnolini lowers him onto the deck with the chopper’s winch to look for survivors.

Maintaining radio contact with the chopper, Haig checks on the two bodies first, confirming they are both dead -- and notes the one hanging from the mast appears to be a priest. 

He then heads below deck and makes the strangest discovery yet: another body, only this one appears to be suspended in midair. (And I cannot stress enough how eerie this discovery is.)

Sufficiently creeped-out, with no other signs of life, Haig is about to bail and leave it to the Coast Guard cutter, due to arrive in about 8-hours, to sort it all out, when he hears someone moaning. This leads to the discovery of a woman buried under several boxes of supplies. Her name is Eva (Novak), and she claims to be the only survivor on the vessel -- a vessel she claims is cursed.

Reporting all this to Pagnolini, who is barely keeping the helicopter under control in the harsh crosswinds, he lowers the rescue basket to the deck for retrieval. Unfortunately, after Haig and Eva strap in, and he starts to reel them up, the cable suddenly snaps, sending both into the ocean. 

But they quickly surface and manage to swim to the boat and safely get back on board. With that, with his fuel nearly expended, Pagnolini radios he must return to the base and finally peels away once assured Haig and the woman will be fine until that cutter finally arrives sometime the following morning.

Now strangely enough, when the chopper leaves, the choppy weather calms down considerably. And after finding some dry clothes, and salvaging what they can from the wet bar, with nothing but time on their hands, Haig tries to coax Eva into explaining what happened to her and the others.

Again, the woman insists the boat is cursed by the Devil’s Triangle itself, and was the root cause of all the death and destruction surrounding them. And so, when Eva calls it the Devil’s Triangle -- stress on the first part, she means that quite literally... 

As a child of the 1970s, I still bear a plethora of psychological scars from many a Made for TV Movie encounter -- looking at you, A Cold Night’s Death (1973) and Don’t Go to Sleep (1982). But one of the biggest emotional traumas came courtesy of Sutton Roley’s Satan’s Triangle (1975).

I first encountered this film when I was five or six, not quite yet able to properly process what I just saw. But as I’ve gotten older, and six or seven things seem to be wiped from my memory to make room for one single addition, there are still several images and scenarios from this thing still permanently etched in my brain -- most notably that inexplicably floating body in the hold, and the completely bonkers ending that gave me a bad case of the night-drizzles for at least a week.

The Los Angeles Times (February 2, 1974).

Now, the Made for TV Movie really found its legs when Barry Diller set up a specific time-slot for them in 1969 on the ABC network as The Movie of the Week. And since his network was getting absolutely pasted in the ratings by their competitors at the time, with nothing to lose, Diller let his producers run wild with less traditional fair, resulting in tales of horror, science fiction and suspense, concerning sentient homicidal earth-moving equipment -- Killdozer (1974), ancient spirits of evil hijacking airplanes -- The Horror at 37,000 Feet (1973), were-spiders -- Curse of the Black Widow (1978), lovesick alien invaders -- The Love War (1970) or Night Slaves (1970), vampires in Vegas -- The Night Stalker (1972), and psychic race car driving occult detectives -- Baffled (1973), finding their way into living rooms across the country.

Thus, I remember many a night, gathering in the living room with the rest of my family unit, nestling into the shag carpet in that cocoon of wood-paneling and Naugahyde, and tuning in the old Zenith to watch and boggle at these things -- once the set warmed up, ‘natch.

The Los Angeles Times (February 13, 1973).

As we watched, one of the things you could always count on in a major, Made for TV movie event was for them to cash in on trends or current fads. And in 1975, there was no fad more current trending than unraveling the mysteries of The Bermuda Triangle.

We already took a deep dive into this phenomenon when we reviewed the ‘documentary’ The Bermuda Triangle (1979) a while back, so here, we’ll just give you the bullet points:

The first allegations that something screwy was going on in the waters southeast of Florida first saw print in 1950, when an article by Edward Jones was picked up by the AP, which tied together several maritime disasters to the area. Then in 1952, Fate Magazine published an article by George Sand, which was the first to note the (now standard) triangular shape of the troubled area, which stretched from the southern tip of Florida, to Puerto Rico, to Bermuda, then back to Florida; and it was also the first to suggest a supernatural element was involved in all these strange disappearances.

A decade later, Vincent Gaddis' The Deadly Bermuda Triangle saw print in the February, 1964, edition of Argosy, which further expanded on the pattern and causes of these disappearances. And though Gaddis would later publish his theories in a book, Invisible Horizons (1969), The Bermuda Triangle didn't really strike a chord with the masses until Charles Berlitz came along.

As the legend goes, gonzo author Berlitz first became interested in the Triangle phenomenon at a travel agency in the late 1960s, when he became intrigued by several customers who adamantly refused any mode of travel through the dreaded demarcated area. Berlitz was already pretty gung-ho on extraterrestrial influences on ancient civilizations, underwater archeology, and the paranormal; more specifically, locating and proving the existence of the lost continent of Atlantis; and now, after this fateful encounter, getting to the bottom of the deadly occurrences inside the Bermuda Triangle.

After compiling all of his research, Berlitz concluded that "the people and planes and ships that have reportedly disappeared in the Bermuda Triangle have been victims of some sort of electromagnetic disturbances that cause them to disintegrate and fall into the sea." And his speculative exposé on this theory, The Bermuda Triangle (1974), sold more than 14 million copies worldwide, feeding the voracious appetite of the cryptid-addled public of the 1970s, who had gone completely bonkers over UFOs, Bigfoot, lake monsters, ghosts, and psychic whammies, just like me, and almost single-handedly made the notorious area of water a household name and caused a massive dip in Bermuda's tourist trade.

And so, producers Paul Junger Witt and Tony Thomas, no strangers to telefilms, having already produced televised classics like Brian’s Song (1971) and Home for the Holidays (1972), decided to use The Bermuda Triangle -- alias The Devil’s Triangle, as a backdrop for their next feature.

To direct, they hired Sutton Roley, a prolific director on the small screen, with series credits on Combat!, Mission Impossible, and Mannix. Roley had also already done a rather spiffy telefilm on the occult, Sweet, Sweet Rachel (1971), as well as the post-nuke, rats trapped in a maze think-piece, Chosen Survivors (1974). (I highly recommend both.)

The Los Angeles Times (October 2, 1971).

The script fell to William Read Woodfield, a prolific TV screenwriter, whose sole feature film credit was the gritty and gruesome and gimmicky The Hypnotic Eye (1960). Woodfield apparently worked with Roley before on a couple of those TV series -- including winning an Emmy for his work on Mission: Impossible in 1968. And together, with cinematographer Leonard South, coupled with an eerie score by Johnny Pate, they delivered a haunting film with some surprising punch and a lot of teeth that it sinks into you and won’t let go -- because just when you think you’ve got this plot locked down, trust me, you do not.

As actor Jim Davis (Bancroft) stated in an interview with the AP (Longview News Journal, January 12, 1975), “In my first reading of the script I liked my role of a sports fisherman with Kim Novak as my girlfriend. But what began to interest me was the constant reference to the Devil’s Triangle, where the story takes place. I had heard about it, the strange things that were supposed to have happened there, but just brushed it off. Sounds like something out of science fiction. But I began to read everything on the subject before the movie started. I still can’t believe some of the things I’ve read, but then again, all the disappearances are documented. In 1945, an incident made headlines around the world when five Navy Avenger dive bombers and one Mariner flying boat disappeared without a trace in one day. Airliners have been completely swallowed up. Large ships, like the Navy tanker Cyclops of World War I, have entered the Triangle. They were never heard from again.”

The Los Angeles Times (January 14, 1975).

Davis, still a few years away from taking on the role of the patriarch of the Ewing clan on Dallas (1978-1991), then continued, saying, “What amazed me and the rest of the cast and crew, all of whom became interested in the subject during filming, was that a recent news story about an expert on the Triangle, Charles Berlitz, states that one boat a week and two planes a month are disappearing within the Triangle. Shocking statistics. Unbelievable. And you know what? The Coast Guard agrees the estimate was ‘not out of bounds.’ I’m a scoffer at UFOs and things like that. But I must admit something strange happens in that area. Our movie presents a theory that may be pretty far out, but when you know what’s been happening in the Triangle for years, without satisfactory explanation, you can pick your own theory.”

I will assume the title-shift to Satan’s Triangle was chosen to avoid any legal hassles with the recently released documentary on the same subject matter, The Devil’s Triangle (1974). Again, Satan or the Devil, either way, the makers of this telefilm decided to interpret that literally, mixing in another popular trend at the time: demon possession, thanks to William Peter Blatty, William Friedken, and The Exorcist (1973).

That’s right, Fellow Programs. According to this movie, the reason all of those people and ships have disappeared was due to Satan himself out to consume unsuspecting souls. Think, “The Devil Went Down to Bermuda” instead of Georgia. No. I am so not making that up.

See, as the night wears on, Eva, convinced they’re both gonna die on this jinxed boat, just like all the others, finally opens up about what happened. 

Here, we discover she’s a high-end escort hired to accompany Hal Bancroft (Davis) on a boat trip this rich businessman had chartered with a guy named Strickland (Lauter). And the reason for this expedition was so Bancroft could land a bigger striped marlin than his brother-in-law, with whom he is apparently having a huge pissing contest with.

Apparently, according to Eva, this brother-in-law was supposed to be an even bigger asshole than Bancroft, though from what we’ve seen I have trouble buying this. Anyhoo, Bancroft is about to land his prized fish when one of Strickland’s crew spies a man afloat on some wreckage. And over the fisherman's protest, his line is cut so they can execute a rescue.

The man they pull from the water is a priest, Father Peter Martin (Rey), who claims to be the sole survivor of a plane crash that was transporting one of his parishioners to Miami for emergency surgery -- a crash he blames on, of course, and sticking with the theme, the Devil.

Then things start to get a little weird when the majority of Strickland’s crew gets so freaked-out by the priest’s arrival and his ardent proselytizing they abandon ship, running off with the sole lifeboat. Meanwhile, even though there is a massive storm brewing, Bancroft still has a fish to catch. And seeing his fat bonus going up in smoke unless they land one, Strickland and his last remaining crew-member, Salao (Vandis), try to get the boat started to pursue a spotted marlin. When it refuses to start, they raise the sails.

Then, the storm officially breaks wide open, tossing the ship around like a toy. Still, Bancroft manages to catch the marlin, which is then hauled below deck into a special refrigerated compartment. All the while, Eva has become quite infatuated with Father Martin as she listens raptly to his rapturous tales of the evil -- with a capital E -- they’re currently surrounded by. And as the weather continues to worsen, a short-handed Strickland tells Martin to take the wheel while he and Salao go on deck to get the sails down before the boat capsizes and drowns them all -- but it’s already too late.

In short order, as the boat is rocked violently by the wind and the waves, Strickland is shot out of the front hold like a cannonball through the closed hatch, killing him instantly. And then, in a flash of lightning, Salao disappears off the deck. From below, Bancroft, who had been admiring his catch, starts screaming. But by the time Martin gets the door knocked down, he and Eva find Bancroft dead, his face contorted in pain, free-floating in the air! As if caught in some kind of stasis field!

This is all too much for Eva, who swoons. Never fear, though, for Martin had managed to turn on the distress signal. (Wait? How did he know where that was? And how it worked?) Come the dawn, hearing the approaching rescue helicopter, the priest grabs a flare gun and bolts for the deck, climbs the main mast as high as he can, and fires the flare. Alas, the recoil causes him to lose his balance; and as Martin falls, his feet get tangled up in the ropes, bringing his free-fall to a quick, neck-snapping end, leaving his corpse to swing in the breeze.

Thus and so, that is how Eva wound up being the last survivor of this doomed fishing expedition.

Now, at some point during the night, Eva and Haig connected -- in a *ahem* ‘biblical sense’, which is why they wind up sleeping together after Haig takes her by the hand and proves what happened to all of her shipmates was not due to the malignant supernatural forces of the Triangle. No. Instead, he insists Strickland was jettisoned through the hatch due to the crashing waves; and Salao was most probably knocked off the deck by the unsecured boom, which she couldn’t see due to the lightning flash; and poor Father Martin just lost his balance and got hung up in the ropes.

As for Bancroft’s seemingly preternatural fate, there’s a rational explanation for that, too. Seems he got himself harpooned on the beak of that swordfish he caught, which was hung from the ceiling. During the storm, its ersatz sword rammed through the door and stabbed Bancroft, which blocked it from view, leaving the body to wobble back and forth like a pinwheel; and so, it just appeared the body was floating in mid-air. Quite the illusion, I might add. And I do. I know it sounds silly written down, but in execution? Just look.

Once all these rational explanations are in order and the ‘horizontal deed’ is done, after the couple get dressed, Eva suddenly grows very curious about Pagnolini, when Haig mentions a hope he made it back safely. Told he is a righteous and pious man, and the complete polar opposite of Haig, Eva hopes to meet this Pagnolini someday.

Turns out she’ll get her wish as the Coast Guard has now returned in force, including Pagnolini in the circling chopper. Here, as an investigation team boards and starts working the scene and policing the bodies, Haig and Eva are once again hauled into the waiting helicopter, where Eva suddenly becomes very belligerent, adamantly refusing to don the proper safety equipment.

And it’s here, my Fellow Programs, where Satan’s Triangle goes completely bonkers in the best way possible. So for those not wanting it spoiled, and want to experience something that put the bonk in bonkers for themselves, skip the next six paragraphs.

OK, then, here we go, as the helicopter flies back to the coast. On the way, they receive a call from the commanding officer back on the boat. Seems he wants confirmation the body hanging from the mast was a priest. When Haig confirms this, he’s told that’s not what they found.

Cut to the boat, where we see them lowering the body, obscured by the tattered sail, until it reveals this was Eva, dead, hanging there all along! 

Told they found a woman hanging from the mast, both pilot and co-pilot look back in the hold to see Eva gone, replaced by Father Martin, who, turns out, is the freakin’ Devil! 

And while Haig tries to compute what he just slept with, the Devil claims he already has his soul and casts him out of the vehicle, from which Haig plummets to his death.

The Devil then turns his attention to the more devote Pagnolini, thinking he will make a much more impressive notch on his belt than the horny Haig. The Epitome of Evil then futches with the helicopter, killing the engines, sending it rocketing toward the sea. And all Pagnolini must do to save himself is renounce God and pledge allegiance to the Devil. He refuses, even though the Devil claims after he’s dead he will assume his form and take his wife and children. (There’s even a less than subtle implication that he will rape them all.) 

But Pagnolini still refuses, saying they will see through his deceptions. And with that, the Devil proclaims, “Then go to your God, Pagnolini,” and jumps out of the helicopter moments before it crashes!

Bobbing to the surface, the Devil spots Haig’s body floating nearby. He also spots a vessel heading toward them, having seen the crash. He then jumps bodies again, taking over and reanimating Haig, who gives a smile and a friendly wave to the folks on the approaching ship, who have no idea what’s about to hit them.

Hole. Lee. She. It. And Cheese and Rice. Wow. Now this is what I’m talking about when I say these old Made for TV Movies tended to screw with your head! 

I just love how this is all adamantly set-up that something supernatural is going on, only to have Haig ease Eva and the audience into a sense of relieved comfort. I mean, I know I was expecting some paranormal explanation, be it UFOs, ancient Atlantean Death-Rays, sea-monsters, or some kind of time-vortex, but nope. Rational explanations all around.

Yup. At that point, we are fools for buying into this nonsense, lulled into what would be a brief and false sense of security only to get walloped over the head with that ending and true explanation! 

This. This is why I love these telefilms so much. That took some courage and some balls to pull that off -- not to mention getting it by Standards and Practices. And they pulled it off quite brilliantly, as that climax is genuinely kinda frightening and still packs quite the punch -- especially if you don’t know it’s coming. Don’t look at me! I warned ya!

 The Los Angeles Times (May 18, 1980).

“With the current fascination with supernatural phenomena, it’s understandable why that mysterious, lethal area of the Atlantic Ocean best known as the Bermuda Triangle has been much discussed lately,” said Kevin Thomas in his review of Satan’s Triangle (Los Angeles Times, January 14, 1975). “It’s been the subject of a recent documentary film (The Devil’s Triangle), a bestselling book (by Berlitz) and now it’s inspired the ABC Movie of the Week.”

And while “The Coast Guard and various oceanographers” contend that everything can be explained by magnetic disturbances and unstable weather patterns, “the makers of Satan’s Triangle, like so many others, aren’t about to buy -- or rather sell -- such a rational explanation. It’s a good thing they don’t, for otherwise this Danny Thomas production couldn’t be the outrageous fun that it is.”

The Sunday News (January 12, 1975).

It truly is. As to why it works, as Thomas continues, “Very wisely director Sutton Roley has taken a light but not calculatedly campy touch with William Read Woodfield’s fairly straight-face script. The often underrated Doug McClure and the still-sleek Miss Novak -- her movie star aura intact and ever willing to go all the way with the most preposterous of material -- are both poised, and together they ably sustain the film.”

And sustain it they do as the cast skillfully hammers out the kinks of an otherwise cockeyed plot. And Kim Novak tops that list, here. You knew all along there’s something not quite right about her character, seemingly caught in a perpetual trance-like state. And yet, there is something truly evil lurking behind those vacant eyes.

Probably best known for her roles in Vertigo (1958) and Bell Book and Candle (1958), Novak first came to Hollywood from Chicago as a model and floor demonstrator for a brand of refrigerators. Her first film role was as an uncredited chorus girl in the Jane Russell vehicle The French Line (1953). Here, she caught the eye of someone at Columbia, who signed her and plugged Novak into the nifty little hard-boiled noir Pushover (1954), and Phil Karlson’s Five Against the House (1955), which was a paired-down version of Ocean’s 11 (1960) before that was even a thing.

Not long after, Harry Cohn, the notorious head of Columbia Pictures, started pushing Novak into A-pictures like Picnic (1955) and Pal Joey (1957) as leverage to get a rebelling Rita Hayworth back in line. But this would end up backfiring on the mogul because Novak would prove equally stubborn. Thus, branded as troublesome, Novak’s career kinda stalled a bit as the 1960s played out. And by the 1970s, things got even worse, following a depressing pattern for all actresses who age out of specified roles, causing her to purposefully fall off the map, cinematically speaking.

“I haven’t found anything that really appeals to me,” Novak told the AP’s Bob Thomas (The Odessa American, January 12, 1975). “So many of the scripts nowadays are simply offensive. I’m not trying to say I’m prudish, but I don’t like the unnecessary sex that is in the scripts today.”

In a separate interview with Harry Harris (The Philadelphia Inquirer, January 14, 1975), Novak expanded on these notions and her desire to star in a Disney film. Said Novak, “I consider myself semi-retired, but every once in a while you feel like doing something just to let people know you’re still around. I certainly don’t think this is a good time for actresses of my generation. I see very few scripts. Mostly my agent screens them, but the things they send are usually depressing. I don’t know if everyone gets the X-rated things that are sent to me, but what I would love to do is a film with animals. I love fantasy, animals, the beautiful things. That’s what I feel best at. That’s where I am. What I would love to do is a film with animals. But when I asked my agent to mention that to the Disney people, he laughed. He said, ‘I’m not seen that way.’”

In the interview, Harris gushed about “the green-eyed platinum blonde,” who confided in him with a “throaty, seductive whisper that converts a 3000-mile telephone call into an intimate rendezvous," saying at this point in her career she’s stuck between offers filled with “violence and sex” and TV melodramas -- like Satan’s Triangle. 

“You get to the point where you just accept the lesser of evils,” concluded Novak. “It’s nothing special. It’s not an actor’s piece. But at least it doesn’t have 20 rapes in it.”

 The Odessa American (January 12, 1975).

One of the reasons Novak was available for Satan’s Triangle was because she turned down a role in Airport ‘75 (1974). “Sometimes the timing isn’t right,” said Novak. As to why she chose to accept the role in the supernatural telefilm: “I like the subject matter,” said Novak. “It’s a little bit on the serious side, but it's set on the ocean. I’ve always been in love with the ocean. It has an interesting idea. I don’t know if I totally agree with the concept, but it deals with the occult, and that interests me."

Novak then clarified, "I don’t belong to any occult group, but I don’t like anybody to look in only one direction [for a possible solution]. I believe you can expand your mind in different ways.”

As for her co-star, Doug McClure was another one of those guys who didn’t quite make it in features, usually playing second or third banana in films like The Unforgiven (1960) and Shenandoah (1965); but he flourished on television in long running series like Checkmate (1960-1962) and The Virginian (1962-1971). And then his film career had a bit of a mini-revival in the 1970s with a series of crackerjack British fantasy films like The Land that Time Forgot (1974), At the Earth’s Core (1976) and Warlords of the Deep (1978), where he put a meaty fist to many a monster’s rubber face. 

McClure is pretty solid as the nominal hero of our piece, who is played rather badly by the villain, always thinking with that bulge in his pants instead of his head. You also buy his fear during the big reveal, and that final shot of him smiling and waving will send shivers down your spine.

Filling out the cast, Jim Davis, Michael Conrad, Titos Vandis, and Ed Lauter are all rock-solid character actors, who do nothing to tarnish their reputations here. And while Alejandro Rey appears to be overdoing things just a bit, turns out he was just getting warmed up for that final confrontation; and his tete-a-tete with Conrad, as they both take it to eleven in a duel of faiths, is just incredible.

“Visually, the film is a stunner,” said Thomas, concluding his caveat-filled but overall positive review. “Taking place entirely at sea and thus allowing for much constant rugged action. Such context permits Roley to maintain a lively pace and set a witty tone that makes Satan’s Triangle work. In other words: it’s quite enjoyable if you don’t take it too seriously.” It’s also quite enjoyable when taken seriously as a definitive piece of televised terror.

Now, what’s always been amazing to me about these old telefilms from the 1970s era is how well they age -- even better than most of their same vintage cinematic counterparts, I’d argue. Remember, Spielberg got his start here, too, with things like Duel (1971) and Something Evil (1972). And with nothing to lose, they went for broke and always struck a raw nerve -- and somehow skirted around the censors. I’ve seen things they could never, ever, get away with today. 

I know some folks get hung up on the fashions, the lingo, outdated social mores, and avocado-flavored decor of the time and can’t get past it. This … is too bad. You’re missing some pretty great stuff.

What I know for sure is, it’s over fifty years later and we’re still talking about them. And I still wish that someone, anyone, would usher these old telefilms into the digital age instead of having to rely on old and worn out VHS-rips on YouTube.

To be fair, Satan’s Triangle is probably an apex example of the genre I’m talking about. And it’s probably a toss up between this and A Cold Night’s Death as to which one freaked me out the most as a kid when the film premiered as one of those ABC Movies of the Week on January 14, 1975. It’s unique. It’s different. And it’s all kinds of creepy. I know it scared the piss out of me way back when. And honestly, it still kinda freaks me out a bit today.

Originally published on October 24, 2017, at Micro-Brewed Reviews.

Satan's Triangle (1975) Danny Thomas Productions :: American Broadcasting Company (ABC) / EP: Paul Junger Witt, Tony Thomas / P: James R. Rokos / AP: Judith Craig Marlin, David M. Shapiro / D: Sutton Roley / W: William Read Woodfield / C: Leonard J. South / E: Bud Molin, Dennis Virkler / M: Johnny Pate / S: Kim Novak, Doug McClure, Alejandro Rey, Michael Conrad, Ed Lauter, Jim Davis, Titos Vandis