Originally, the four main roles were to be played by one man with makeup changes. However, after timing the transition, the production crew realized the actor would be in makeup longer than he would be on stage. Therefore, the parts were cast with four different men.

Ross Martin also stars in ''Death Ship.''

Beverly Garland is probably best known for playing Barbara Douglas on My Three Sons.

Bernard Fein returns in ''He's Alive.''

Don Gordon returns in ''The Self-Improvement of Salvadore Ross.''

Harry Townes also appears in ''Shadow Play.''

Peter Brocco is also in ''Hocus-Pocus and Frisby.''

Phillip Pine also appears in ''The Incredible World of Horace Ford.''

Opening Narration
Narrator: His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel and dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack of all trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives.

Hammer as Foster: If you don't drink well, don't drink.
Maggie: Johnny! Johnny, are you a ghost?
Hammer as Foster: Sure, a ghost. I just came down to check the mourners, read the obituaries. How'd they feel about the deceased, huh? What kind of tears?
Maggie: You came to the right place, Johnny. I have a room full of buckets. I heard it on the radio one night, just like that. "Death as it must come to all men came to talented musician Johnny Foster. Tragic accident, train hitting car." I just sat there and I cried, and then I...and then I...I washed my face and put on some makeup and went to work. But everything had changed for me. My repertoire became very limited. Only blues. Only sad songs for piano and bourbon. Oh, Johnny, I don't care if you are a ghost!

Hammer as Sterig: It's me, Mr. Penell! (Penell breaks his TV set when his can of beer smashes into the screen) Picture tubes are very expensive...you can always get yourself another beer. Imported, isn't it? I always liked your taste, Mr. Penell. You always had the taste of a very rich man. Neat, but not gaudy. (Penell heads towards the desk, probably to pull out a gun) Please, don't. Just sit down there and we'll talk, eh?
Penell: Virg, Virg, this is the happiest day of my life!
Hammer as Sterig: (laughs; Penell's face drops confusedly) If this is the happiest day of your life, how come you look like somebody just stuck lemon juice in your beer? No, Mr. Penell. You're not so happy. You got no reason to be happy. Believe me, Mr. Penell, I know. You got no reason to be happy. No reason at all. Now, if you could have kept me in the river, a cold clammy little item without a voice, then you could have been happy. But this is one double cross, Mr. Penell, that came back to bite you!

Pop Marshak: Andy? (a beat) Andy.
Hammer as Marshak: Who?
Pop Marshak: Andy. What's the matter with you?
Hammer as Marshak: (still doesn't recognize him) Oh, Andy, I get it. Uh, what's new with you? How's the journalism business?
Pop Marshak: (tugging on his shoulder) Andy? What's the matter with ya? Somethin' wrong with your mind? Ya punchy, Andy?
Hammer as Marshak: (shrugging him off) Yeah … I'm punchy. Heh. Why, am I supposed to recognize you?
Pop Marshak: Yeah, I guess you would.
Hammer as Marshak: We … we met someplace before, huh?
Pop Marshak: (coldly) That's right.
Hammer as Marshak: But it was a long time ago, right? I don't remember you, old man. Now how do I know you?
Pop Marshak: (more disgusted) How do you know me? As a son should know his father! What kinda game are ya playin', Andy?
Hammer as Marshak: I'm your son?
Pop Marshak: (bitter) You were. You were before you ran out! You were before you broke your mother's heart! You were before you did dirt to a decent little girl who woulda cut off an arm for ya! But now ya ain't my son. Now ya ain't nothin' to me. Now ya ain't nothin'. I hate your guts. Do you hear me? I … hate … your … guts. Things go down hard, you just walk away, huh Andy? People get in your way, you just step on them, just kick 'em away, eh? Look what we got here! Andy Marshak, a dirty little punk! Look, everybody look! Spit in his mother's eye, this one! Ruined a girl's life, this one! Hurt people, all the time, hurt people! Look, everybody, look! (Andy pushes him down on the curb) Look at him. Look at the punk. Look at Andy Marshak! Look at the monster! Look at … my son! (he starts to cry)

(Hammer whirls out of the revolving door, as Marshak again. Pop Marshak is pointing a gun at him)
Hammer as Marshak: Hey old man …
Pop Marshak: You got such a debt, Andy. Ya owe for so many years, ya owe for so many things. And now, you pay off, son.
Hammer as Marshak: Wait a minute, you got the wrong guy!
Pop Marshak: (emotionless) I got the right guy.
Hammer as Marshak: Please. Put the gun down. I'll show ya. Honest. But I gotta think! I gotta concentrate! Please!
(Pop Marshak fires the gun at his chest; he drops over, dead)

Closing Narration
Narrator: He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak - and all four of them were dying.