Directed by

Lou Lombardo
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Read the complete plot summary and ending explained for The Name of the Game Is Kill (1968). From turning points to emotional moments, uncover what really happened and why it matters.
A man resting in a rural southwest setting is bludgeoned with a replica Venus de Milo statue and his body dragged to an open fire.
Symcha Lipa is a Hungarian-born drifter who happens to be resting at the side of a dusty Arizona road. He is picked up by Mickey Terry, who drives him to her home and offers him a shower before he goes on his way. [Mickey Terry] lives with her mother and two sisters, but only the older sister, Diz Terry, is there at the time. The sisters have a brief argument, with Diz Terry implying that [Mickey Terry] picked up Lipa to be her latest sexual partner. They are joined by the youngest sister, Nan Terry, who has just been expelled from school for her latest incident of misbehavior, and the mother Mrs. Terry.
The next morning when Lipa leaves the Terry home, he is run down by a car coming up behind him. He is knocked unconscious and spends three days in hospital, but suffers no lasting injuries. The investigating sheriff, Sheriff Fred Kendall, cautions him about the Terry household, telling him mysterious things have happened there, including the disappearance of Julio Lamberto, a man who spent time with the Terry women.
Despite the warning, Lipa returns to the Terry home. Only Diz Terry is there at the time. They have a long talk and Diz Terry tells him about the time years before when her mother killed her abusive father. Later, greatly agitated, she tries to kiss Lipa, saying she wants to save him from Mickey. He easily moves away from her.
When the other three women return home, Lipa asks Mickey Terry if he can work in the family business in return for room and board. His offer is accepted. Mickey Terry goes to her lover and they too have a long conversation. Mickey tells him she has fallen in love with him, but he tells her his capacity for love was lost in the aftermath of the Hungarian Revolution of 1956. Mickey talks to Lipa about her father, and also mentions she had been involved with Julio Lamberto. Even though Lipa had previously told Mickey she was moving too fast in their relationship, they become lovers and decide to move to San Francisco.
When they tell the rest of the family their intentions, the mother wishes them luck. They plan to leave the next day. It is almost Halloween and it will soon be Nan’s birthday, so they decide to have a party that night to celebrate everything. Early in the festivities Nan Terry goes missing. But she is soon found, she and Diz Terry were merely working together to scare Lipa and Mickey.
That night Lipa chats, separately, with the mother and Nan. In all, the four women tell very different stories of what happened to the father. They all say he was artistically accomplished, specializing in Venus Di Milo replicas. The women also mention their interactions with Julio Lamberto.
The next day, Lipa and Mickey leave in the car, but have to return shortly after, as Diz had predicted they would, when Mickey realizes she does not have her money. When Mickey goes upstairs to look for it, Lipa is lured to a back room and knocked unconscious with a statue by Nan. She and Diz drag him to a furnace and open the grate and prepare to force his body in. Mickey and the mother arrive just in time to prevent it. As they struggle, Lipa regains consciousness. Nan, while calling out that Lipa must die, grasps at the mother’s head and pulls. The mother is wearing a wig which Nan yanks off, and she is revealed, to the shock of all the sisters, to actually be their father.
Diz Terry, overwhelmed, babbles that she told Nan to kill Lipa because he was going to cause the family to separate. Diz Terry then says that she hated her mother and killed her years ago. The father supports her version, saying that his wife was a wicked woman with low morals. Nan Terry confesses to having killed Julio Lamberto.
The father tells Mickey to go start her new life with Lipa in San Francisco. They drive off. The father returns to Diz and Nan and comforts then, and says they should have some tea. He removes three of the four pills he keeps in a locket around his neck, and drops one in each of the cups of tea he has prepared for them and for himself. While doing so he says, “It’s never too late to be a good father”.
Out on the highway, Lipa asks Mickey what actually happened to her mother. The camera freezes on Mickey’s face and her enigmatic, possibly sinister smile.
It’s never too late to be a good father.
Follow the complete movie timeline of The Name of the Game Is Kill (1968) with every major event in chronological order. Great for understanding complex plots and story progression.
Lipa picked up by Mickey on a dusty Arizona road
A Hungarian drifter, Symcha Lipa, rests along a dusty rural road in the southwest. Mickey Terry stops and offers him a ride to her home. He ends up at the Terry house, where a tense dynamic among the sisters and their mother begins to unfold.
First introductions and family tension
Mickey introduces Lipa to the Terry household, including Diz and Nan. The sisters exchange pointed remarks that hint at rough motives and a restless household. The warning sense around the family lingers.
Lipa knocked unconscious after leaving
The next morning, Lipa leaves the Terry home and is run down by a pursuing car. He spends three days in the hospital recovering with no lasting injuries. A sheriff's warning surrounds him as he contemplates what he has entered into.
Sheriff warns Lipa about the Terry household
The investigating sheriff cautions Lipa about the family, noting odd disappearances and rumors surrounding Julio Lamberto who spent time with the sisters. The warning lingers as Lipa weighs a return. This heightens the sense of danger around the Terry women.
Lipa returns and talks with Diz
Against the warning, Lipa returns to the Terry home and finds only Diz there. They reminisce about the past, including Diz's memory of her mother killing her abusive father. Diz's agitation builds as she tries to reach out to him.
Lipa offers to work for room and board
Lipa asks to work for the family in exchange for a place to stay, and the mother agrees. He meets Mickey again and their bond deepens as they discuss the future.
Lipa and Mickey become lovers; plan to move to SF
Mickey confesses she has fallen in love with Lipa, while he admits he carries heartbreak from the Hungarian Revolution. They decide to start a new life together in San Francisco, despite the family complexities.
Halloween party; Nan's birthday
The family hosts a party as Halloween approaches and Nan’s birthday nears. Nan and Diz use the occasion to test Lipa and Mickey, turning the gathering into a tense game that unsettles the couple.
Nan lures Lipa to back room; he is unconscious
Later that night, Nan lures Lipa to a back room and knocks him unconscious with a statue. Nan and Diz drag him toward a furnace, preparing to throw his body in.
Mickey and mother intervene; Lipa regains consciousness
Mickey and the mother arrive just in time to prevent the murder. Lipa regains consciousness as a struggle ensues, shifting the balance of danger back toward the family.
Twist revealed: mother is really the father
In the heat of the confrontation, Nan pulls off the wig from the supposed mother, revealing that the 'mother' is actually their father in disguise. The shock disrupts everyone as the true identity reshapes the family’s dynamics.
Diz and Nan's confessions and Julio Lamberto
Diz admits she urged Nan to kill Lipa to prevent the family from splitting, and claims she once hated their mother and killed her years ago. Nan confesses to having killed Julio Lamberto. The sisters’ dramatic admissions crystallize the family’s dark history.
Father consoles; Mickey and Lipa told to leave
The true father consoles Diz and Nan and urges them to move forward, while directing Mickey to depart with Lipa to begin a new life in San Francisco. The household remains tense, but a path outward is laid for the couple.
Departure; enigmatic smile on the highway
Mickey and Lipa drive off toward San Francisco, guided by the father's instruction. On the highway, Lipa asks what happened to her mother, and the camera lingers on Mickey's enigmatic smile, leaving the answer unresolved.
Explore all characters from The Name of the Game Is Kill (1968). Get detailed profiles with their roles, arcs, and key relationships explained.
Symcha Lipa (Jack Lord)
A Hungarian-born drifter who enters the Terry household and becomes entangled with Mickey. He questions the family’s stories while gradually finding himself drawn to Mickey and their plan to leave for San Francisco. His sense of love is tempered by the darkness surrounding the family.
Mickey Terry
A woman who invites Lipa into her home and becomes entangled in a complicated romance. She shares a painful past with the siblings and envisions a future in San Francisco. Her allure is shadowed by the family’s secrets.
Diz Terry
Older sister who appears protective of the family’s image and harbors fierce, unstable undertones. She participates in deception to influence Lipa and Mickey, revealing the darker dynamics within the family.
Nan Terry
Youngest sister whose impulsive behavior helps drive the plot. She schemes with Diz to unnerve Lipa and later confesses to killing Julio Lamberto, adding a brutal edge to the family’s web of lies.
Mrs. Terry
The mother who embodies warmth and domesticity while hiding a chilling truth: she is revealed to be the father in disguise. Her careful management of the family builds trust only to fracture it with a shocking revelation.
Sheriff Fred Kendall
A local lawman who warns Lipa about the Terry household and its suspicious history. He acts as an external counterpoint to the family’s internal deceptions and provides a sense of impending consequences.
Julio Lamberto
A man who spent time with the Terry women and later disappears, contributing to the mystery that surrounds the family. His fate is part of the tangled web of past events the sisters try to keep hidden.
Learn where and when The Name of the Game Is Kill (1968) takes place. Explore the film’s settings, era, and how they shape the narrative.
Location
Southwestern Arizona, Terry family home, San Francisco
Set in a remote corner of southwestern Arizona, the story unfolds along a dusty rural road and through the Terry family home. The stark landscape emphasizes the isolation that makes the family’s dark secrets easier to hide. As the characters plan to move to San Francisco, the sense of escape contrasts with the danger closing in.
Discover the main themes in The Name of the Game Is Kill (1968). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
🕵️
Hidden Identities
Characters wear lies like masks, masking true motives and pasts that won’t stay buried. The arrival of Lipa exposes the veneer of domestic normalcy surrounding Mickey and her sisters. As secrets surface—Julio’s disappearance, the mother’s past, and the father’s true identity—the tension escalates from suspicion to danger. The film uses misdirection to reveal how appearances can conceal deadly truths.
🗝️
Family Secrets
Generations of hidden histories haunt the Terry household. The sisters describe their father as an artist and their mother as virtuous, while the truth is far more diabolical. The revelation that the mother is the father wearing a wig shakes the family’s sense of identity and trust. The pursuit of truth becomes a catalyst for violence and revelation.
👪
Parental Control
The patriarchal undercurrent governs the family’s choices and loyalties, shaping how each member behaves. The father figure’s manipulation culminates in the chilling tea scene, where control becomes coercion and potential murder. The family’s loyalty is traded for safety and survival, while true affection is warped by fear. The ending suggests that the desire to protect family can exact a terrible price.

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In the quiet heat of the Southwest, a lone drifter pauses on a dusty road, his past a distant echo of revolution and exile. Symcha Lipa arrives at a modest homestead where the desert wind carries the scent of sage and the promise of a fleeting rest. The landscape, stark and expansive, sets a tone of both isolation and the unexpected possibility of connection, inviting the traveler into a world that feels removed from the bustle of any city.
Inside the modest house, Mickey Terry offers a warm, almost immediate hospitality, opening her home to the stranger with a kindness that feels almost ritualistic. She lives with a tight‑knit family: a matriarch whose presence holds the weight of generations, and two sisters whose interactions flicker between teasing rivalry and guarded affection. Diz Terry and Nan Terry each display their own blend of curiosity and wariness, hinting at histories that linger just below the surface of everyday conversation. The family dynamic is suffused with a quiet intensity, suggesting that the bonds that hold them together may also conceal deeper, unspoken currents.
As night settles, the household’s easy greetings give way to subtle undercurrents. Mickey and Lipa find themselves drawn together, their conversation wandering from the practical to the personal, each revealing fragments of their pasts while masking the truths they guard most closely. The desert night amplifies the sense that something uncharted lies just beyond the polite veneer, and the family’s generous welcome begins to feel layered with an enigmatic purpose that the newcomer cannot yet decipher.
The film hangs in a liminal space between hospitality and mystery, its tone a blend of slow‑burn tension and unsettling charm. The stark beauty of the Southwest mirrors the characters’ own rugged façades, while the quiet rhythm of daily life hints at secrets waiting to surface. As Lipa settles into this isolated world, the audience is left to wonder just how far the family’s kindness extends, and what hidden intentions may be stirring beneath the warm glow of their desert home.
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