BONUS - Curse of Halloween Hoopla!

Summary

Down These Mean Streets (Old Time Radio Detectives) BONUS – Curse of Halloween Hoopla! October 29, 2025

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Episode Overview

This special Halloween bonus episode is a festive marathon of some of the most chilling and entertaining radio mysteries from the golden age of radio. The episode weaves together iconic old-time radio programs with a distinctly spooky flavor, featuring classic episodes from Inner Sanctum Mysteries, The Great Gildersleeve, The Aldrich Family, Michael Shane Private Detective, Boston Blackie, Favorite Story (Legend of Sleepy Hollow), Screen Directors Playhouse (Spiral Staircase), and Suspense (Frankenstein). The result is a three-hour-plus journey through haunted corridors, Halloween mischief, grisly murders, superstitious origins, and legendary ghost stories.

Throughout, the host maintains a tongue-in-cheek and playful tone in setting up stories alongside classic advertisements and Halloween greetings, celebrating the best of vintage radio’s approach to Halloween and horror.

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Key Segments, Stories & Highlights

1. Inner Sanctum Mysteries – “Corridor of Doom”

[00:01 – 14:41, 15:32 – 22:00, 22:01 – 26:28]

Summary:

• The episode opens with the sinister sounds of Inner Sanctum Mysteries, complete with the host’s famous squeaking door. The show stars Boris Karloff as John Clay, who awakens after an operation and finds himself in a strange, unnamed hospital where nothing seems right.
• Clay is confronted with surreal, nightmarish experiences – from ominous staff to the arrival (and death) of his dog, to a recurring dream or vision of walking a “corridor of doom” lined with doors bearing the names of the dead.
• The blending of the real and the unreal, and the play with fear and the threat of death, culminate in a twist: John Clay’s brush with death was orchestrated by his greedy son-in-law, exposed thanks to a detective's intervention.

Notable Quotes:

• “Suppose we let Boris Karloff in the role of John Clay, tell you about it himself. If your blood pressure will take it, put out the lights and come on a little trip down the corridor of doom.” – Host [02:24]
• "My first sensation was one of cold. Numbing cold, creeping up my limbs... Then I opened my eyes and I was there again. Back there in that awful, endless passage..." – John Clay (Boris Karloff) [16:17]

Memorable Moment:

• The chilling use of the “dust on the soles” of John’s feet as proof he actually walked in the corridor of death.

Tone:

• Creepy, macabre, but playful; the host banters with his “sponsor” about the Lipton tea tie-in: “Would a ghost appreciate Lipton’s? Indeed he would not...” [01:44]

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2. The Great Gildersleeve – Halloween Party

[31:05 – 58:03]

Summary:

• Gildersleeve prepares for his own Halloween party, hoping for a cozy evening with Mrs. Dalrymple, only to have it become a full-blown community bash when several partygoers show up uninvited.
• Comic interactions abound: Gildersleeve’s nephew Leroy tries to negotiate his Halloween curfew, Birdie the housekeeper gets into party preparations, and the adults regress into childhood traditions, like ringing doorbells and bobbing for apples.

Notable Quotes:

• “Well, Mrs. Dalrymple, isn’t this a coincidence?” – Gildersleeve, awkwardly delivering flowers and a water bill [35:46]
• “Why don’t we all go out and ring doorbells?” – Partygoers, repeatedly [53:24]

Memorable Moment:

• The comedy of Gildersleeve fleeing his own party, only to end up trick-or-treating with Mrs. Dalrymple.

Tone:

• Warm, homespun humor; highlights innocent Halloween mischief.

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3. The Aldrich Family – Halloween Mischief

[61:15 – 87:00]

Summary:

• Henry and his friend Toby lament being broke on Halloween night and try to find some harmless fun. Their plans escalate from ringing a single doorbell to a series of mishaps involving a missing car battery, falling down a well, and outwitting police, while their parents fret about Halloween pranks.
• The episode is a time capsule of small-town adolescent mischief, with only the mildest consequences for their shenanigans.

Notable Quotes:

• “Gee whiz, am I bored. Same here, Henry. How could a thing like this happen?” [63:11]
• “If it’ll make you any happier, go out and ring one bell.” – Mrs. Aldrich' resigned solution to Halloween mischief [65:30]

Memorable Moment:

• The escalating absurdity as Henry and Toby try to return the car battery they never meant to take.

Tone:

• Lighthearted, family-friendly, peppered with authentic period slang and gentle moralizing.

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4. Michael Shane, Private Detective – “The Haunted Estate”

[89:12 – 117:26]

Summary:

• Det. Mike Shayne and his partner are asked to investigate a supposed haunting and string of deaths at the Kilgallen estate. The plot thickens with secret rooms, hidden treasures, greedy relatives, and a classic country manor murder.

Notable Quotes:

• “You know, it's funny, but this room seems much more worn and older than the living room.” – Mike Shane [93:05]
• “Somebody’s putting on a spooked act to frighten people away from here. Even if it means killing people.” – Mike Shane [105:36]

Memorable Moment:

• The discovery of poppy seeds as the murderer’s signature clue.

Tone:

• Mystery with a spooky Halloween flavor and a hard-boiled detective edge.

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5. Boston Blackie – “The Ghost of Worthington Mansion”

[120:17 – 144:21]

Summary:

• A maid flees a mansion, convinced she’s seen a ghost. Boston Blackie investigates, only to stumbled upon a murder and a web of intrigue involving greedy heirs and feigned madness, all playing upon ghostly fears.

Notable Quotes:

• “She thinks she saw a ghost. She came screaming out of the Worthington mansion and dashed down the street like a ghost was chasing after her with a pitchfork.” – Shorty [122:01]

Memorable Moment:

• The ghost “speaks” via radio transmission, pushing the suspects to confession.

Tone:

• Fast-paced detective staple, with a campy supernatural twist for Halloween.

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6. Favorite Story – “The Legend of Sleepy Hollow”

[158:22 – 183:11]

Summary:

• A delightfully full-cast performance of the classic Washington Irving tale, complete with Ichabod Crane, Brom Bones, Katrina, and the famous Headless Horseman. The show milks atmosphere, local lore, and genuine ghost-story chills.

Notable Quotes:

• “Honesty is the best policy. Why? Because the honest man sleeps at night with no ghost to haunt him.” – Ichabod Crane in class [163:40]

Memorable Moment:

• Ichabod’s frantic flight from the Headless Horseman, culminating in his mysterious disappearance (and a squashed pumpkin).

Tone:

• Theatrical, atmospheric, perfectly pitched for listeners’ Halloween imaginations.

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7. Screen Directors Playhouse – “The Spiral Staircase”

[186:21 – 212:22]

Summary:

• Dorothy McGuire reprises her film role as Helen, a mute servant stalked by a killer who preys on women with perceived "imperfections" in a shadow-drenched mansion. The adaptation is chilling, psychological, and poetic, relying on inner monologue and sound for suspense.

Notable Quotes:

• “From that day on, I was never able to speak again. Whenever I tried, I'd hear my mother's voice again. My mother who had died in the fire. Saying, hush, child, hush.” – Helen [188:48]
• “Let me hear thy voice. For sweet, sweet is thy voice, and thy countenance is comely.” – (Biblical quotation, thematic refrain) [201:28]

Memorable Moment:

• Helen’s triumphant regaining of speech in the climax, calling for help.

Tone:

• Gothic suspense; lyrical and introspective, with psychological depth.

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8. Suspense – “Frankenstein”

[217:37 – 245:42]

Summary:

• A harrowing adaptation of Mary Shelley’s classic. Victor Frankenstein anxiously confides in a minister about his experiments, culminating in the creature’s awakening, inadvertent escape, and realization of the disastrous consequences of "playing God."

Notable Quotes:

• "I've made something. It's tremendous. It's impossible, but I think I've done it. And it goes against everything you believe, James. What have you done? I've... made a thing." – Victor [219:15]
• "Victor, what have you done? The thing’s alive." – James Gibson [232:16]

Memorable Moment:

• Victor confronting his creation, awed and horrified at what he's done.

Tone:

• Dark, intense, philosophical horror – faithful to the source’s moral questions.

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Notable Halloween-Themed Interludes and Superstitions

• Origin of the Bogeyman ([147:01]): A folklore lesson connecting the European “bog” with the word bogey/boogeyman.
• Advertisements and Halloween greetings: Classic sponsors weave in product plugs for Lipton Tea, Kraft Cheese, Jello Pudding, and Autolite spark plugs, harmonizing commerce and Halloween nostalgia.
• Ripley’s Believe It or Not segments: Interspersed tales of strange deaths and macabre facts.

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Thematic Threads

• Haunted Houses & Corridors: From literal Gothic mansions (Spiral Staircase) to metaphorical ones (Corridor of Doom).
• Halloween Mischief & Doorbells: Comic vignettes featuring trick-or-treating, doorbell-ringing, and boyish pranks (The Great Gildersleeve, The Aldrich Family).
• Supernatural vs. Rational Explanations: Ghost stories get revealed as murder coverups or psychological trauma.
• Classic Monsters: Frankenstein’s creature, Headless Horseman, and the boogeyman all make appearances.
• Murder & Mystery: Murder in locked rooms and among family – classic whodunits for a spooky night.

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Best Quotes & Moments with Timestamps

• "If your blood pressure will take it, put out the lights and come on a little trip down the corridor of doom." – Inner Sanctum Host [02:24]
• “The first sensation was one of cold. Numbing cold…” – John Clay (Boris Karloff) [16:13]
• “Why don’t we all go out and ring doorbells?” – Partygoers, The Great Gildersleeve [53:24]
• “Gee whiz, am I bored. Same here, Henry.” – The Aldrich Family [63:11]
• “You see, Helen, you have no mouth.” – Prof. Warren, Spiral Staircase [206:20]
• "Victor, what have you done? The thing's alive." – Frankenstein [232:16]

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Overall Tone

Celebratory, spooky, and nostalgic. The entire episode balances fun and frights, spiriting listeners away to the golden age of radio with treats both comedic and chilling, perfect for Halloween night.

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Suggested Listening Plan

• To get in the Halloween mood: Listen to Inner Sanctum Mysteries, Favorite Story – Legend of Sleepy Hollow, and Suspense – Frankenstein for chills.
• For laughs and classic Halloween pranks: The Great Gildersleeve and The Aldrich Family.
• For detective/mystery fans: Michael Shane, Boston Blackie, and Spiral Staircase.

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Final Note

This Down These Mean Streets bonus episode is a rare treat – a haunted house party across radio’s supernatural and mysterious legacy, with beloved characters inviting you to linger in the shadows, tiptoe down forbidden corridors, and ring a few doorbells for a trick, a treat, or a ghostly surprise.

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Happy Halloween – and remember, if your doorbell rings and no one is there, it's probably just the spirit of Old Time Radio!

Transcript

[A]

How do you do? Mr. Carl feels it would be a little unkind to present this picture without just a word of friendly warning. I think it will thrill you. It may shock you. It might even horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now is your chance to listen. We warned you. Lipton Tea and Lipton Soup Present Inner Sanctum Mysteries starring Boris Carlos. Good evening, friends of the Inner sanctum. This is your host. Welcome again through the squeaking door to another session of mystery murder and madness. Oh, excuse me if I don't get up, but I'm all worn out. Yes, I've had a hectic few days with an old friend who just blew into town. He's one of those earnest souls who insists on doing everything for himself. Consultations with the monument makers, the grave diggers, fittings of the coffin maker. Yes, quite a busy body. But then we only die once. You know.

[B]

These friends of yours, they're such unhappy people. They never seem to enjoy life, never seem interested in any of the quiet, peaceful, God, good things of life. For instance, what's the use of telling one of your spooky characters about Lipton Tea? They wouldn't like it. But other people enjoy that brisk Lipton flavor. They settle back in an easy chair and say to themselves, mmm, Lipton certainly has a rich, hearty flavor. Never the least bit wishy washy. No siree. But would a ghost appreciate Lipton's? Indeed he would not. And it's lucky Lipton's is made for real live folks who like good things, or else it wouldn't be the world's largest selling brand of tea.

[A]

Mary, you've been very hard on my friends. Very. And they won't like it. But then most live folks don't enjoy being scared to death. And that's just what's going to happen to you tonight. Our story is called the Corridor of Doom. It's an original radio play written by Robert Newman. And our star tonight is a man who gives even me, the Shakespeare. The famous star of stage, screen and radio, Boris Karloff. Have you thought about death lately? Not the fact that it's inevitable that it must come to all of us someday, but rather how it will come. Do you think of it as a sleep and awaking of a sudden transition from one state of being to another or to a state of non being? John Clay was one of those people who never thought about it at all until he found himself walking down that dim and endless passage which but Suppose we let Boris Carloff in the role of John Clay, tell you about it himself. If your blood pressure will take it, put out the lights and come on a little trip down the corridor of doom. When I woke up, I had no idea of where I was or how I'd gotten there. I was lying on a hard white bed in a clean white room. There was a dull pain in my abdomen. Touching it tentatively, I felt a bandage. So that was it, an operation.

[B]

But for what?

[A]

And where was I? At that moment, the door opened and she came in. Good afternoon. Or is it evening?

[B]

Whichever you prefer. It doesn't matter.

[A]

My name's Clay. John Clay. Yes, and yours?

[B]

You can call me Nada.

[A]

Exactly where am I? In what hospital?

[B]

It has no name.

[A]

What? That's ridiculous. I'd like to speak to Dr. Rogers, if you'll get him for me, please.

[B]

There is no Dr. Rogers, at least not here.

[A]

Then who operated on me? And for what? Listen, I'm not a well man. I have a very bad heart. Will you get someone who can talk to me?

[B]

If you wish, I'll call Dr. Stone.

[A]

A chill crept through my bones. It wasn't cold. It was fear. Unreasoning and abysmal fear. The door opened again and there stood a heavy set man, his hair flecked with grey. And with him, my son in law, Alex Bartlett. Alec, I can't tell you how glad I am to see you. Hello, Father. But why are you standing out there? Why don't you come in? Oh, no, no, I shouldn't advise it, Mr. Clay. And why not? And why was it you who operated on me? Yes, I'm Dr. Stone. Why wasn't Dr. Rogers called in? He's taken care of me for years. There wasn't time. It happened during the night. Acute appendicitis. And even as it was. Even as it was what? And why are you dressed that way, Alec, all in black? Well, it's customary. After all, you are my father in law. Of course I am, but. Now look, Alec, you've got to stop being so mysterious. You know about my heart, what any sudden shock will do. I don't think you need worry about that anymore, Mr. Clay. And as far as the mystery is concerned, this initial period of adjustment is always a little difficult. Difficult? Do you realize what it's like lying here helpless, completely isolated? As if I were all alone in the world? Or isn't there someone I can talk to? Some of the other patients? Not just yet. When the time comes, you'll meet them. But look, doctor, I Can't stand much more of this. I can't. If I don't find someone who really cares about me, who'll treat me like a normal human being. My dog. How about my dog? What do you think, Doctor? Yes, that's possible. We'll see what we can do, Mr. Clay. Come along, Bartlett. Goodbye, Father. You. You'll be back, won't you, Alec? I don't know. I'll try, but it's difficult. Very difficult. Then. Then don't go, Alec. Don't leave me here all alone. Come back. Come back. I waited and watched. Watched and waited. Then the door opened and there was the doctor again. There was a small, thin faced man with him this time, wearing the white coat of an orderly and carrying a black box with a handle. My dog. You brought my dog. All right, Martin, give it to him. Yes, sir. Thank heaven. Now at least. Come on, Carrie. Come on, boy. Get up. Wake up, boy. What's the matter, Carrie? He. He's not asleep. He's dead. You wanted him, Mr. Clay, but. But why didn't you tell me? When did he die? How. How old was he? 11 and a half, maybe 12. Pretty old for a dog. That's probably why he could come. What do you mean? What are you trying to do to me? Don't you realize I'm a sick man? Easy. Easy, mister. I won't take it easy. I won't stay here another minute. I'm leaving right now. Sorry, but I. I don't think we can permit. Oh, well, we'll see about that. You're getting yourself all upset for no reason, Mr. Clay, making it very difficult for the rest of us. Martin, you'd better let me have some of that. That bottle there. About 10 cc's. The red medicine. Yes. I. I don't want any medicine. I won't take it. Now, please, Mr. Clay. I won't. I tell you. No, I. I don't want the. I. Oh, it's awful salty. Tastes like. Yes, but I think you'll find that it will make things much easier for you. Very much easier. You're doping me up. That's what you're doing. Putting me to sleep. You think that when I wake up I'll forget about everything. Yes, Mr. Clay, you forget about everything. Everything. I was somewhere deep down under the earth. It was a passageway. Stone flagged and with stone walls. And I was walking slowly down it in my bare feet. I could feel the chill of the coal stones through the thick layer of dust. The passageway stretched ahead of me endlessly. And suddenly I Noticed that there were doors set into the walls on either side. Closed doors. And on each door there was a name. Abel Abercrombie Abington. Where was I? What was this place? What was behind those awful, ominously closed doors? Something seemed to be drawing me on, on down the terrible passageway. Addison. Aga. Alan. I could feel the cold creeping up my legs higher and higher, my heart pounding faster and faster. Then suddenly I knew. Knew where I was and where I was going. Knew what was waiting for me there ahead of me down the passage. Exerting all my will, I turned, tried to go back with a roaring in my ears. I was falling through the darkness. When I opened my eyes, I was in that cold, white room again, clutching the blankets with trembling hands.

[B]

How do you feel now, Mr. Clay?

[A]

You cried out, sir, as if a dream. The most awful, horrible nightmare I ever had. A dream?

[B]

The doctor will be very interested. Would you care to tell me all about it?

[A]

Oh, I don't even want to think about it.

[B]

It was about your former life.

[A]

Former life?

[B]

Oh, I'm sorry. I shouldn't have said that. I meant here. Where are you going?

[A]

Get my clothes to get out of here. I won't stay here any longer.

[B]

You can't go. You can't. Martin, help me, please.

[A]

Don't you realize that if I do stay, if I dreamed that dream again. Listen. I was in a passageway. An endless, eternal passageway. Like a corridor of doom. It stretched on and on to infinity, with doors, closed doors on either side. And on each one of the doors, in alphabetical, all of them, is a name. The name of all those who had died since the beginning of time. I was walking down that corridor on my bare feet. And why? Why are you looking at me that way?

[B]

You mustn't talk about that. You mustn't, do you hear? But you ask me, you didn't dream that dream. You couldn't have. And you've got to get it out of your mind. We'll help you. We'll give you a massage that should make you relax. The alcohol, Martin.

[A]

Right over there. A massage? You think that'll help?

[B]

If it doesn't, we'll call Dr. Stone. Try something else.

[A]

Now what? What are you staring at? Your feet on the soles. Dust. Thick gray dust. Dust like the dust in the passage. The corridor of doom. And that means it wasn't the dream. It means I was really there. Dirty feet on those nice, clean sheets. No wonder our friend the nurse seemed so upset. Or was that the reason? Maybe she was just disappointed that he still hadn't told her about his operation, as that always has them in stitches. Great big stitches like the ones they take in a shroud.

[B]

Mr. Host, I'm afraid I just can't believe this story. I can't believe that it really happened.

[A]

Is that so, mary? You think Mr. Clay got that gray dust in his feet because he has feet of clay?

[B]

There you go again. Always looking on the discouraging side of things. I really do believe I'd rather talk to cheerful folk like those nice young men and women who sang that new Lipton tea song when I was at the studio. Sing a song of Lipton's? Yes, that's the way people ought to feel about tea. Because you know when you're feeling discouraged or tired, there's nothing quite like that brisk flavor of Lipton tea to perk you up. Yes, brisk means that Lipton's is never wishy washy. No, no, no, siree, as they say in the song. So when you've had a busy afternoon, or maybe when friends drop in for a little talk, pour yourself a cup of cheer with brisk flavored Lipton tea. It's got a special flavor that always tastes like home. And it always tastes like more, too.

[A]

Well, now I think it's about time to take another little walk. Yes, down the Corridor of Doom with our star, Boris Kollen. And by the way, don't be concerned about getting too tired because you'll only have to walk one way. That's the nice part of a trip like that. You don't have to worry about coming back. I lay there staring down at my feet. No, it had not been a dream, for there on my feet was the thick, heavy dust from the Corridor of Doom. I had been there, walking down its awful silence, not in my mind, but in the flesh. My heart clenched like a dicey fist that I threw the blankets aside, started to get up.

[B]

Mr. Clay, what are you doing? Where are you going?

[A]

Let me go.

[B]

But you can't get up. You can't leave.

[A]

Oh, let me go. Quick.

[B]

Help me.

[A]

Please, Mr. Clay. For heaven's sake, let me go. Don't you realize what this means? If it wasn't a dream, and if I stay here, go down to that horrible place again.

[B]

Make him quiet down. Some more of that medicine, Martin. Another 10cc.

[A]

Oh, no. No more of that. It's here, Mr. Clay.

[B]

You must take it. You must. It will make you sleep. Sleep so soundly that you won't be able to go down there again.

[A]

No, but. All right, give it to me.

[B]

You stay Here, Martin. I'll go get Dr. Stone and tell him.

[A]

Better, Mr. Clay? I don't know. The color. Dark red. The taste. It's like. Yes, I know. And it makes me sleepy. My eyes get heavy and. Have you been here for a long time, Martin? No, not long. What. What is it like outside of this room? It's strange. Like no place else. And the other patients, what are they like? They're strange, too. Listen, Martin, I'm a rich man. You're the only friend I've got here. You. You've got to help me. Whether you're rich or poor doesn't matter. As for helping you, that's what I'm here for. You've got to stay here. Watch me every minute. My heart. I don't think it'll stand like that. My first sensation was one of cold. Numbing cold, creeping up my limbs. I reached for the blankets, couldn't find them. Then I opened my eyes and I was there again. Back there in that awful, endless passage. That corridor of doom. The same stone wall, stone floor covered with a thick layer of dust. The same doors with a name on each one on both sides of me. But now. Now I was up to the bees. That one there. Baba next with Babbitt, and then Backer. I tried to cry out, but I couldn't utter a sound. I tried to stop, check myself. My muscles didn't respond. Slowly, heavily, I continued walking on down their endless path. Passage past Badger, Baffin, Bagley, past the Bees and towards the seas. Towards a door with my name on it. My heart pulsed, pounding with terror. My breath rasped in my throat. Convulsively. I clutched at the walls, forced myself completely around. Then, as if I were fighting against a roaring gale, I drove myself back one step. I took two, three. And I stumbled. I was falling again. Falling through darkness. Complete, absolute, unending. Even before I opened my eyes, I knew where I was. Back in my room, the sheets crumpled in my sweating hands. I lay there for a moment. I knew that this was my last chance. I knew where I was. Back in my room, the sheets crumpled in my sweating hands. Slipped out of bed, tiptoed to the door of the room, opened at a crack and peered out a hospital corridor. And sitting at a desk halfway down at the nurse, could I slip past her. Then, at a table next to the door, I saw the telephone. The telephone. Now I could get help. Was it someone who would save me, take me out of this place? Picking it up quietly, I dial my daughter's number. Alec Bartlett's wife.

[B]

Hello?

[A]

Jane. Oh, thank.

[B]

Hello?

[A]

Jane, it's your father. Listen, you've got to help me. You've got to come and get me. I'm at the hospital. Alec knows where.

[B]

Yes.

[A]

Can't you hear me? Didn't you hear what I said? It's your father and Jane. Jane hung up. I heard her, but she couldn't hear me. Something wrong with the phone. Her phone? I've got to get hold of somebody. Somebody? But who? Dr. Rogers might be out. If they come in while I'm phoning. Oh, I know, of course. Police headquarters. Ryan Speaky. Hello, police? This is John Clay of Riverside Road. I'm at a hospital. I don't know where. Can't you hear me? Officer, for heaven's sake, listen. It's a matter of life and death. John Clay at a hospital. My son in law, Alec Bartlett, can tell you. Well, hello, Officer.

[B]

Officer, listen, don't hang up. Don't. Office.

[A]

Officer.

[B]

Hello?

[A]

Anything the matter, Mr. Clay? Dr. Stone, your telephone is. There's something wrong with it. No, Mr. Clay, there's nothing wrong. Not with the telephone. But I tried to make two calls. Two different numbers and. I know. And you should have known, nurse. Should have known what? Why couldn't they hear me when I could hear them? Why.

[B]

Yes, Dr. Stone, will you put Mr.

[A]

Clay back into bed? No, I'm awfully sorry, sir. I only went out for a minute. Come on, Mr. Clay.

[B]

No.

[A]

No. Leave me alone. Please, let go. No. You're struggling. You know that, don't you? Yes, I know, Doctor. I won't have to go back down there again, will I? Down to the corridor. That's not up to me. All right, Nurse. I think we're ready for another dose. The final one.

[B]

Yes, Doctor.

[A]

No, Doctor, no. Not that red medicine. Not again. I'm sorry, but you've had a lot of time. All the time we can give you.

[B]

All right, Mr. Clay.

[A]

Oh, I won't take it. You know what it means, Doctor. I go back down there again to the corridor. It'll be to the letter C, to the place where my name is. If he won't take it by himself. Perhaps you'd better help her, Martin. Yes. No, no, no, I won't again. I knew where I was before I opened my eyes. I could feel the dust under my bare feet. And through the dust, the biting chill of the coal stones. I was there, back in the corridor, walking down its silent length past the blank closed doors. For the names on the doors now, they were All Seas, Cabot, Cadden, Cahoon, On I Walked the beating of my heart, the pounding of my pulse, loud in my ears, on down the passage, no longer even trying to fight against what I knew was a threat. On past Cameron, Chelsea, Chiswick. And then, suddenly, terribly, one door. A door with my name on it, gaping, waiting for me. I tried to stop, to turn, but my legs carried me forward. I was but two doors away. I could see into it now, see that it contained nothing. Absolutely nothing. Not even a coffin. Just stone walls and a flat stone stab. I was turning. Turning to step over the threshold. I made a last convulsive effort. Merciful heaven. All right, Martin, pick him up. Yes, sir. Is it all over? Hello, Bartlett. In at the death, eh? I'll see if there's any pulse, of course, but I should think it is all over. It is Stone, but not the way you think. Clay. He's not dead. No thanks to you. I'll get him up, both of you. Here, Mr. Clay, let me help you. It's all right, Martin. I'll be fine from now on. But how? Don't look so surprised, Alec. Mr. Martin is a detective. I hired him some time ago. You see, I had a feeling that something was wrong when that railing broke accidentally and I took that bad fall. So I decided I should investigate. You can't prove it. You can't prove anything. The first results of Martin's investigation showed me what bad financial shape you were in. And it was then that I realized that you had actually been trying to murder me to get hold of my money. So I faked that story of having a very bad heart. You mean it? I thought it would give you the idea of trying something more subtle and less dangerous. And it certainly did. But you still can't prove anything. Not a thing. No. Don't you worry about that. Don't forget. Come back here, Bartlett. You'll never have a chance to prove it. Come back, Bartlett. You shot him. Killed him. Well, I have. I couldn't have. I fired up in the air to get him to stop. Come on. I don't understand it. Not a mark on him. But he is dead. He was the one who had the bad heart. That's what gave me the idea of preten. Good heavens. Look at what this hallway was supposed to be. The corridor of doom. When I reached the door with my name on it, I was supposed to die. Look. Look at the name on that door there. The one right next to him. Bartlett. His name. So what? Nothing, Martin. Nothing at all. Now, where do you think old Dr. Stone got the idea for that little Alphabetical graveyard. That's right for me. Huh? You don't believe me? Then come on home with me tonight and I'll show you the one in the cellar of my house. What's more, I'll show you a door and a neat stone slab with your name on it.

[B]

Nonsense, Mr. Host, Mr. Clay just explained that the whole thing was a hoax and I'm not going to sit here and hear you say otherwise.

[A]

Well, then don't sit. Stand up and we'll take a walk. Mary Bennet. Yes? Back to your name. Back to the bees. Baker Bartlett. Bennet.

[B]

You don't scare me.

[A]

Yeah, well, how would you like it if we went to the Earls and found a door marked Lipton?

[B]

Oh, why, that's fine. Inside we'd find a wonderful friendly beverage. Lipton's, the tea with the brisk flavor. The tea that's welcome at all hours of the day. Yes, the largest selling brand of tea in the whole world, Lipton tea.

[A]

And now a word of advice. If you should wake up tonight with a sudden chill, find yourself walking barefoot down a dusty stone corridor with doors on both sides of it, don't get excited. Just insist on a doom with a view. By the way, this month's Inner Sanctum mystery novel is the Whistling legs by Roman McDougall. Yes. In next week's Inner Sanctum story, directed by Hyman Brown and brought to you by Lipton Tea and Lipton Soup. Next week's story is about women. Yes, two women who like to be treated rough. Choke them to death. Shoot em, murder em. They love you for it. And who do you think is going to be their boyfriend? Hmm? That's right. Boris Karloff. Boris Kalif will be with us again next week because who else could love such women? So if you're in a tender mood, tune in next Tuesday. Until then, good night. Pleasant dream.

[B]

Folks. It's wonderful how quick and easy cooking can be these days. I guess some of you remember when it used to take half a day to make a pot of chicken noodle soup, but now we have Lipton's noodle soup mix. You might say Lipton's takes no time at all to prepare. And yet it has a fresh cooked chickeny taste. A real old fashioned homemade flavor. Yes, and it's brimful of tender golden egg noodles. Lipton's is grand for quick meals and it's also a perfect beginning for the most elaborate dinner. So don't forget to serve Lipton's noodle soup and don't forget to tune in next Tuesday. Night for for another inner sanctum mystery.

[A]

This is cbs, the Columbia Broadcasting System. Truth is stranger than fiction. And this is the proof. This is Ripley. Believe it or not, the 7th Earl of Crichton, while entertaining King James 1st of England, guided the monarch to his bedchamber by ignorance parchment recording a $1,500,000 loan he had made to the king. Believe it or not. In a moment I'll tell you about the dancing corpses. One of the strangest funeral rites in the world is carried on by the Kapsiki tribe of Africa. When a wealthy native of the tribe dies, he's prepared after death for the gay life a person of standing is expected to lead when he goes on into the next world. This is done by hoisting his corpse onto the shoulders of the village blacksmith. The cadaver is then given dancing lessons that last for hours. As a result, they are known as the dancing corpses. Believe it or not. Wednesday, it's a hair raising Halloween happening. First that Emmy winning fat pal. It's a trickle or treat trail. I'm no scaredy cat. It's all new. Garfield's Halloween adventure.

[B]

Then I hear the Great Pumpkin.

[A]

The Halloween classic. It's the Great Pumpkin, Charlie Brown. Right after Garfield. Wednesday, the Craft Foods Company presents Harold Perry as the Great Gilder Sleeve. The Great Gilder Sleeve is brought to you by the Kraft Foods Company. Tonight we have special news for you. Kraft presents a new cheddar cheese. It's called K Brand Natural. K Brand is cheddar cheese at its best. Finest quality cheese from the standpoint of both flavor and texture. Listen for the exciting story of K Brand Natural later in the program. It is written that men of genius have that capacity for losing themselves in their work. At the end of each month, the Great Gildersleeb loses himself in the pile of water bills. And helping him get lost is his secretary. Bessie. Bessie, come in here.

[B]

Did you call me, Mr. Gildersleeve?

[A]

Your name's Bessie, isn't it?

[B]

Yes, sir. Oh, then you did call me Bessie.

[A]

I've been looking high and low for that list of turn ons. Where is it?

[B]

Chernon?

[A]

Yes. You made it out this very morning.

[B]

I did?

[A]

I'll say one thing for you, Bessie. You've made a place for yourself here in the water department.

[B]

Oh, thank you, Mr. Galdesleeve.

[A]

You've misplaced so many reports since you've been here. You've made yourself indispensable.

[B]

Thank you, Mr. Galdeslee.

[A]

Don't mention it. Now think, Bessie. Where is the list of turn ons New customers.

[B]

Oh, new customers. It's right here on your desk, Mr. Gildersleeve. Do you want me to read them?

[A]

Yes, I'll check.

[B]

Ready?

[A]

Go right ahead.

[B]

I'll start with the A's.

[A]

Now you're thinking.

[B]

Bessie Atkins. James Atkins, James Clausen, Henry L. Clawson, Henry l. Dal Rimple. Mrs. J.W.

[A]

Dalrymple. Doris.

[B]

Doris.

[A]

Doris. Oh, did I say Doris?

[B]

Yes, sir. That's where we got stopped before. Should I try to call Mrs. Dalrymple again, Mr. Gildersley?

[A]

No, no, Bessie. Probably out joy riding with Judge Hooker while I work.

[B]

Is there something wrong with her statement, Mr. Gilderslee?

[A]

No, no, her statement's fine. Lovely.

[B]

I'll mail it then with the others.

[A]

Mail it? Wait a minute, Bessie. I may be passing that way and so I'll drop it by myself right now as a service to a new customer.

[B]

But, Mr. Gildersleep, isn't that out of your way?

[A]

Save a stamp, Bessie. Save a stamp. And, Bessie, call the florist and have him make up two dozen roses.

[B]

Yes, sir. To whom should I have the roses sent?

[A]

I'll pick them up. I'll deliver them myself.

[B]

To Mrs. Dalrymple.

[A]

Yeah, to Mrs. Dalrymple. Well, she's a new customer. Sure is a long way to Mrs. Dalrymples. She would live over here by the school grounds. And how she stands, those noisy kids.

[B]

Hi, Unc.

[A]

Leroy. Hasn't he left for home yet?

[B]

Hi, Elk. You come for me? I'm just going.

[A]

Leroy, put in your shirt tail.

[B]

But school's out.

[A]

So's your shirt tail. Put it in.

[B]

Well, I have to pull right out again when I change the for dinner. Why stick it in one right away? I have to pull it up. Okay, now I'm ready. Let's go. She ain't nice here to come so far out of your way just to walk home with me.

[A]

Well, I have a water bill to deliver, Leroy.

[B]

Okay, I'll help you.

[A]

I don't need any help, young man. There's only one bill, see? Isn't that Mrs. Dalrymple exercising her dog?

[B]

Yeah. Let's go deliver the bill.

[A]

Unknown. The bill happens to be for Mrs. Dalrymple.

[B]

Oh, I get it. And the flowers happen to be for a dog.

[A]

Leroy, don't try to be smart. It's very unlike you around the schoolhouse. Well, hello, Mrs. Dalrymple.

[B]

Why, Mr. Gildersleeve. And Leroy. Well, I didn't expect to see you here, Mr. Gildersleeve.

[A]

Well, I didn't expect to see you either. Just on my Way home. You may go home now.

[B]

I want to watch you give her the flowers.

[A]

Run along, young man, and tell Birdie I'll be right behind you.

[B]

Okay.

[A]

Well, Mrs. Dalrymple, isn't this a coincidence?

[B]

But, say, Unk.

[A]

What is it now, Leroy, you didn't.

[B]

Mean what you said this morning, did you? That I have to be in by 9 o'clock tomorrow night. All the kids are going. Halloween.

[A]

Leroy, I gave you my answer.

[B]

Okay. I think I'll stick around and wait for you then. Oh, isn't that cute? What about Halloween? Still 9 o'. Clock.

[A]

All right, 10 o'.

[B]

Clock.

[A]

Ye gods.

[B]

Oh, boy. Thanks, Unc. Glad I saw you, Mrs. My, what a spirited young boy. He's charming, Mr. Gildersleeve.

[A]

Well, I do get a boot out the of Leroy. And he gets a few out of me, too. Oh, the flowers.

[B]

Oh, flowers.

[A]

Yeah, from the water department. New customer, you know.

[B]

Oh, they're perfectly lovely, Mr. Gilderslee. They're just peachy.

[A]

Peachy. And there's your water bill, too.

[B]

Water bill. Isn't that cute?

[A]

Think so?

[B]

Oh, Mr. Gildersleeve, do you bring flowers to all of your new customers?

[A]

Well.

[B]

And deliver all of your water bills in person.

[A]

Well. Care to sit down for a minute on the bench?

[B]

Oh, I really should be going.

[A]

Take a load off those dainty little feet.

[B]

All righty. But what did I do with Duke?

[A]

Duke? Oh, the dog. Tie him to the flag pole. That'll hold him. Here, I'll do it for you. Yeah, nice, Duke. Maybe you better do it. I'd hate to upset him.

[B]

Well, I'll unsnap his leash and let him romp. He won't go far unless he sees a cat or something. There you are, Duke.

[A]

Big elephant. I hope he flushes a greyhound bus and chases it all the way to Dallas.

[B]

What was that, mister?

[A]

Yeah, I said I had a greyhound once, name of Alice. Yeah. Look at him romp off. Frisky. Must be the weather. Nothing like autumn air.

[B]

Oh, I love the fall season. And it's especially nice here in Summerfield.

[A]

You'll get to like it even better. Yes, sir. Just look at those trees. Wonderful time of the year. See? Tomorrow's Halloween. Let's have a little party at your house. Too many people at mine.

[B]

A Halloween party?

[A]

Sure, Bob. For apples, toast, marshmallows. I'll get candy. Pumpkins. Noise makers.

[B]

That's a marvelous idea. Oh, but Mr. Gildersleeve, I don't know anybody in Summerfield. I wouldn't know who to invite.

[A]

You know Me?

[B]

All right. You're invited.

[A]

I am?

[B]

I'll be expecting you early. Well, I'd better go get the do t. Mrs. Dalrymple.

[A]

Well, a cozy little Halloween just for two, tea for two and two for jeans. Good morning, Bernie. Good morning, Marty.

[B]

Mr. Gilslee. Coming with the coffee?

[A]

Smells good, Birdie.

[B]

Yes, sir. Oh, Mr. Gillslee. Chief of Police Mr. Gates called up this morning early.

[A]

Well, well, what did he say?

[B]

Nothing. The first time when I heard it was the police, I hung up.

[A]

You hung up? Why'd you do that?

[B]

I don't know. I guess I've been going to too many gangster pictures.

[A]

Oh, my God. I better call him.

[B]

Oh, he called back. He said to remind you of the annual Jolly Boys Halloween party tonight.

[A]

Oh, by George, I forgot that Birdie. Well, if he calls again, tell him I have a little party of my own. With a little party? Yes, and when you go to the market, Bertie, remember to pick up two pumpkins for me, will you?

[B]

I'll try to remember, Mr. Gilsey. Two pumpkins? Yeah, but everybody else around here has asked me to remember things, too.

[A]

I know, Birdie, but this is very.

[B]

Ms. Marjorie wants birdie to remember the. The Halloween candy. And Leroy wants Birdie to remember his teacher's birthday. And the city wants Birdie to remember to put out the candy.

[A]

All right, Birdie, but I'll try.

[B]

There's one thing you got to say for Birdie. She tries to remember.

[A]

And now, what would be for you, sir? Two pumpkins. Those two funny hats she'd like. The one with the feather. Give me two apples, Joe. That float, give me two horns. Pey, give me two cigars. Your usual brand, Mr. G. Say, Pey, I see you have Halloween masks. Let me have a couple of them. One for me and one for a lady. We have quite a selection. What kind did you have in mind? Well, I don't know. Now, here's one that covers the whole face. I'm taking one of Those home for Mrs. P.E. also have them with funny black mustaches. No, thanks, P.E. and then we have the type that just covers the eyes. Oh, fine, fine. Give me two of those, PE Come to think of it, you better have the lips free. We're bobbing for apples, P.B. what's wrong with that? You're nothing, Mr. Galley's man. You care to try on some of the masks? Just give me two, Pee Wee. Any two. I'll reach two of these El Lobo cigars you have on the counter here. The El Lobos. Well, I spent a lot of money today, Pete. Little Black. But they look fresh. Well, the customer is always right, Mr. Geldersley. El Lobos it is. That'll be 50 cents for the masks and 8 cents for the tutor garden. ARPV58. Think I'll light one. I guess the boys will be out raising old Ned tonight. Had quite a nice run on Chope today. Oh, well, I hope my share. When I was a kid. But tonight I'm looking forward to a quiet, cozy Halloween. Well, cigar went out. PB Smoke up a liner, man, kid. Yes, sir, Peavey. I'm really looking forward to this evening with a charming little lady. Halloween for two. Ta da. P.B. we're gonna have a wonderful time. Oh, I'm sure we will. Yes. That news, huh? Mrs. Peavey and I may be a little late. Have to close up, you know. But we'll join in in the spirit of things when we get there. Get where, Peevey? To Mrs. Dalrymple's party. Mrs. Dalrymple? She isn't having a party. Nobody else has been invited. Just me. Well, wouldn't say that. According to Judge Hooker, there's going to be quite a gathering. Hooker? The Jolly Boys. Matthew Willagan. That old goat. What does he have to do with this? I don't know, Mr. Gildersley. All I know is that when I get a chance to get out of the house with Mrs. Beebe on Halloween, I take it. Yes. Yes. Well, I hope you'll all have a happy Halloween peeve. Goodbye. Oh, Mr. Gunderslee. Is something wrong, Mr. Gilney? Clean. That's peculiar. First he turned pale and then pink. I didn't think those El Lobos were that bad. Do you like natural cheese? Especially a mellow, rich flavored cheddar. Well, then, here's news to make your mouth water. Craft experts now can give you a natural cheddar cheese with uniform fine flavor and texture and made from pasteurized milk. It's called K Brand Natural. That's K A Y Brand Natural. Just think of the mellow goodness of natural golden cheddar. But made from milk pasteurized as carefully as the milk your children drink.

[B]

Excuse me, but I don't quite understand. You mean all the milk in K Brand cheese is pasteurized?

[A]

Absolutely. Every drop is wholesome pasteurized milk. K Brand is aged differently, too. Natural cheese ordinarily is cured in cheesecloth and forms a rind. But each big ten pound bar of K Brand has no rind because it ages in its own transparent wrapper. And it comes to your dealers with all its golden Goodness. Still protected by this spick and span wrapper.

[B]

How do I buy K Brand Natural?

[A]

Your dealer will cut as much as you wish. A portion, thick slices or a wedge. You'll use it in sandwiches and on your cheese tray.

[B]

I better get enough. My family will love it for snacks and with pie, too.

[A]

Tomorrow, folks, when you shop, look for the big Golden Bar with K Brand Natural. K Brand Natural down the top and sides. It's the wonderful new natural cheddar made from pasteurized milk. Now it's late afternoon, and if we hurry, we can catch the great Gildersleeve as he pulls up in front of his house, his car like Noah's ark, loaded with two of everything. And he like Noah very much at sea. Fine friend Hooker turned out to be inviting everybody to my party.

[B]

Oop.

[A]

What's his car doing in front of my house? Well, this is one time I'm glad my brakes aren't too good. Well, my brakes were even worse than I thought. Yeah, that'll teach him. What was that, Hope? It was Hooker's muffler. Oh, my license plate. Oh, well, it was nearly a year old anyway. Anyway.

[B]

What's the matter, Gilder?

[A]

Steve, don't you know how to park a car? You're the one who doesn't know how to park, Hooker. Right next to a fire plug. I didn't park next to the fire plug. Well, you're next to it now. It's a little early for Halloween pranks, isn't it, Gilder Sleeve? You started them, Hooker. You've got a lot of nerve coming over to my house after what you did. Get off the property now, gelding. I'm Mrs. Dalrymple's legal advisor. She decides to give a party, so I help her. And if I do say so, it's a very carefully prepared guest list. The Jolly Boys. We were going to have a party anyway. And Floyd and Mrs. Munson are always good for laughs. Ye Gods, Hooker. Not lovey Munson. Mrs. Munson has a heart of gold. And I invited Mayor Terwilliger for dignity. It's time Mrs. Dal Ripple met some of the important people of Summerfield. I don't suppose I am important.

[B]

I didn't say you weren't.

[A]

But she's met you. Not afraid of a little competition, are you?

[B]

Guilty.

[A]

Go move your car before I call the police, Hooker. Well, if you're going to be stubborn.

[B]

I'll run along get you for the party. By the way, Gildy.

[A]

Yes? I left your invitation on the mantle. No H. House.

[B]

Hooker.

[A]

Didn'T even offer to help me take these things inside. Darn pumpkins seem a lot heavier than when I bought them. Hope I step on one of Leroy's roller skates and break the whole shebang.

[B]

Hello, Anki. Here, let me help you.

[A]

Hello, Marjorie. Thank you, my dear.

[B]

I'll take the horns. Looks like your party's gonna be.

[A]

I don't know. I may not even go.

[B]

What's wrong, Uncle Morris?

[A]

Who wants to go to a party with people there?

[B]

Unki, don't be silly. I have 20 kids coming over here. What's a party without a big crowd?

[A]

Well, this is one time I don't want to be crowded. By George, I don't think I'll go.

[B]

Oh, go ahead, Uncle. You have a good time.

[A]

I refuse to have a good time. I'll stay home.

[B]

But, Uncle Mort, you won't have any fun here. Kids will be all over the house.

[A]

I won't be in their way. I'll go upstairs and spend Halloween in my room. Leroy will let me use his little radio, probably.

[B]

Poor old donkey.

[A]

That's all right. Mrs. Dalrymple wants a lot of people around her. Why should I care? But I don't want to be there.

[B]

Oh, I'll get it. Got. Must be Francie calling about the favors.

[A]

You can have the favors. I bought whole day shot. I'd have had more fun down at the office working. I wouldn't be nearly so tired. Seemed to tire more easily since my birthday last week. Read an ad someplace that said I would.

[B]

Somebody get the telephone. Oh, good evening, Ms. Gilbert. I didn't know you were home.

[A]

Yes, Birdie. Yip. Bruni, why are you wearing that witch's hat? You should have warned me.

[B]

Sorry, Mr. Gil.

[A]

Sleep.

[B]

I'm just in the process of dressing for a party in the church basement. I'm going as a witch.

[A]

Huh? Taking the bus or going to fly.

[B]

Me fly, Miss Goose Lee.

[A]

Don't expect too much of Halloween stuff.

[B]

Is a nice box, Mr. Gilson.

[A]

I'm off. Yeah, go have your fun while you're young, Birdie. And don't ring too many doorbells. No, sir.

[B]

Won't get me ringing no doorbells. My girlfriend met a fella at a.

[A]

Party and they went out ringing doorbells and they ended up ringing wedding bells.

[B]

What you going to do at your party, Mr. Gilson?

[A]

My party? Well, I just about given up the idea, but yes. By George, Birdie. You know what? I think we'll go out ringing. Who wants to bob for apples next, Mrs. Munson?

[B]

Sure. Might as well judge My makeup's coming off anyway.

[A]

Silly game. Hey, I got a wonderful idea, folks. Let's all go out and ring doorbell.

[B]

Quiet. Can't you see a lady's bobbing for apples? Well, Here goes.

[A]

Congratulations, Mrs. Munson. What do you know? Lovey come up with a knackle. Her and her big mouth.

[B]

You were wonderful, Mrs. Munson. Ah, thanks, Mrs. Dalrymple. You throw swell parties, honey. Everybody's Bob but you.

[A]

Phoebe better join in the film. Oh, I don't think I should judge. I didn't bring along my earplugs. Well, what'll we play now? Hey, why don't we go out and ring doorbells? Look at Lovey. Look at Lovey. She should have worn a bathing suit. She bob so deep, she's got water on the knee. Hey, Peeve, where's the missus? She come, didn't she? Oh, yeah. She's in the other room watching the aquarium. Mrs. Peebe likes goldfish. She's not bobbing for him, is she? Only kidding, Pete. Well, what will we play now? Quiet, chief. Hey, everybody, I've got a wonderful idea. Why don't we all go out and ring doorbell? What's the matter, commish? Ain't you having any fun?

[B]

Hey, who brought the two horns? Mr. Gildersleeve.

[A]

I believe the party's on him. You'll see, you old goat.

[B]

Oh, come on, Floydy. Let's play a duet. Oh, do. Let's have some music. Mr. Gilder, sleeve. You sing, don't you?

[A]

Well, Yes, I do. Mrs. Dallas Ripple. What would you like to hear?

[B]

Well, I'd like to hear the Chief thing. He has a deep voice.

[A]

Now, Mrs. Munson. Oh, brother.

[B]

Come on, keep it over by the fire.

[A]

But I'm strictly a quartet man. Come on, Jolly. Boys, I need a little help. What about going out and ringing doorbells? I would say it. Command, huh?

[B]

Okay.

[A]

Well, it be fellas. There is just tavern in the town. Easy peasy. Remember where we are. Oh, pardon me. How about It's Always fair Weather, gentlemen? We do that.

[B]

Well, yeah.

[A]

Here we go now. You take the solo, chief, Just like down at the club. Come on, join in. Come here. Well, if I'm not intruding at my own party. All together. Oh, it's always fair weather Together. With a sign. Our apologies, Mrs. Dalrymple. On paper. And a song ring. Clear. Good song. Ringing clear. Well, I wasn't bad. Not bad. Bed, chief. Well, what'll we play now? I have a wonderful little suggestion. Listen, everybody.

[B]

Hey, I just got another great idea. All right, everybody.

[A]

Mrs. Munson has an idea.

[B]

Yeah? Why don't we all go out, ring doorbells? Why didn't we think of that before?

[A]

Yeah, why didn't we think of that before? It's a great idea, lovey. Well, let's go ring doorbells, Everybody. Great idea, Mrs. Munson. Sorry, I didn't think of it. Drink. Drink. But Fowlers, I can't go ringing doorbells. You forgot my position. I'm chief of police.

[B]

Isn't that cute?

[A]

Ah, come on, Chief.

[B]

Come on.

[A]

I got a reputation uphold too. Let's all pair up two by two. Come along, Mrs. D. But follow. Come on, Phoebe. Let's go ring the school bell. Well, you ring and Mrs. Peebe and I'll just listen. Great. We'll go the other way. Come on, Mrs. Dalrymple.

[B]

Well, all righty. Just a minute. Yell there.

[A]

Don't go sneaking off without me. I feel personally responsible for the safety of our charming hostess this evening.

[B]

Isn't that cute?

[A]

Well, then, come on, you old goat. Hey, there's a light in that window. Go ahead, Judge. Ring the doorbell. We'll get ready to run.

[B]

Why should I go up and ring it? Guilty. Why don't you?

[A]

You're faster on your feet than I am, Judge. Remember, you're thinner. Go ahead. Well, I'm not prayed either. Come on, Mrs. Dalrymple. We better get a head start.

[B]

But what about the judge?

[A]

The judge? Oh, he'll find us. He has the nose of a bloodhound. Let's duck behind this hedge. We'll go up through this alley. I know a doorbell we could ring.

[B]

But Mr. Gilder sleeve, what about the judge?

[A]

Isn't he right behind us? Well, he got lost, didn't he?

[B]

Mr. Gilder sleeve, I think you did that on purpose.

[A]

Oh, here's the house. Let's sneak around inside, huh?

[B]

But it's so dark.

[A]

Yeah, it is. I better take your hand. Oh, gloves. Well, follow me. Hurry up on the porch. Watch your step there. Now why don't you raise?

[B]

Alrighty. Mr. Gildersleeve. We don't want to ring this bell. This is my house. It is?

[A]

Well, then I'd better ring the bell, huh? You get inside and answer the door. Trick or treat.

[B]

You are fun.

[A]

On second thought, I think I'll come in with you. A little chilly out here. Well, Mrs. Dalrymple.

[B]

Yes?

[A]

Trick or treat. How about a kiss?

[B]

Don't you think we better turn on the lights?

[A]

Lights? Well, let's go in the living room. Plenty of light from the fireplace. We'll wait for the others. Sit down, Mrs. Dalrymple. Doris.

[B]

Doris. Isn't that cute?

[A]

Care to take off your gloves?

[B]

All righty.

[A]

Hi, George. Doris, I didn't think I was going to have any fun tonight, all those people here. But now I'm having a wonderful time. Yes, sir.

[B]

Oh, I'm glad you are, Mr. Gilder sleeve, because I'm having a wonderful time, too.

[A]

You are, Doris?

[B]

Yes.

[A]

It's Halloween.

[B]

I know, but.

[A]

Trick or treat.

[B]

Mr. Gelder. Sleep.

[A]

What was that? Does your dog snore?

[B]

He does, but he's not here. He's over at my mother's house tonight with Baby.

[A]

Stand back. I'll strike a match.

[B]

It's Chief Gates.

[A]

Oh. Oh, you're back. Well, good. What do we play now?

[B]

Isn't that cute? Good morning, Mr. Gallesley.

[A]

Good morning, Bessie. Well, glad to see you here on time.

[B]

Did you have a nice Halloween, Mr. Gilders?

[A]

Yeah, rather disappointing. Bessie, did you have a good time?

[B]

Oh, I stayed home and people were ringing our doorbell all night. Father got awfully mad. She went upstairs and dumped a bucket of water. Water on one of them.

[A]

Oh.

[B]

And when he saw who it was, he threw the bucket at him.

[A]

He did? Well, who was it?

[B]

Judge Hooker.

[A]

Well, it wasn't such a bad Halloween after all. But, Bessie, tell your father not to dump any more water out the window because I may be ringing his doorbell tonight.

[B]

Really? But, Mr. Gilder. Sleeve.

[A]

Halloween's over for the Community Chest.

[B]

Oh, Father has a check all ready for you.

[A]

Yeah, fine, Bessie. Folks, when a volunteer worker from the Community Chest rings your doorbell, don't give him a big argument. Give him a big check. The more you give, the better you'll feel. Good night. I got to go ring doorbells. The Great Guilders League was played by Harold Ferris. It was written by John Elliott and Andy White, with music by Jack Meekins. Included in the cast are Walter Tetley, Louise Erickson, William Randolph, Earl Ross and Richard Legrand. This is John Wald saying good night for the Kraft Foods Company, makers of the famous line of Kraft quality food products. Me, too. Good night. Tomorrow night, William Bendix will be Al Jolson's guest on the Kraft Music hall, heard over this NBC station. Don't miss this great pair. Remember, tomorrow night for exact time, see your local paper and listen in next Wednesday and every Wednesday for the further adventures of the great Guildersley. Do the folks at your house like their macaroni and cheese? Fluffy light with cheddar cheese goodness through and through well, let me tell you how to cook that splendid dish in just 7 minutes. Minutes. Ask your grocer for a box of craft dinner. In that package, you'll find a special macaroni that cooks fluffy light in just seven minutes. Also Kraft grated to add that delicious cheddar cheese flavor. Seven minutes and you have a delicious main dish. If you wish, add a little leftover meat or chicken or vegetables. The famine family will probably say it's the best macaroni and cheese they've ever tasted. Remember the name craft dinner. This is NBC, the National Broadcasting Company, the Aldrich Family, written by Clifford Goldsmith and starring Ezra Stone.

[B]

Henry. Henry Osley. Coming, mother.

[A]

You know, ladies and gentlemen, scarcely a day passes that doesn't bring us a letter from some housewife praising Jello butterscotch pudding. Many of these letters read somewhat as follows. I've tried just about every ready prepared pudding on the market, and Jello butterscotch pudding is the one for me. Other letters, of course, speak of how easy Jello butterscotch pudding is to make because you simply add milk, cook for a few minutes and cool. And still other letters tell us how grateful housewives are for the many ways you can serve Jello butterscotch pudding. But the big point is its flavor. The warm, buttery, brown sugar flavor of creamy golden butterscotch. Just the way you like it. Full of rich homemade goodness. Yes, friends, you like Jell O butterscotch pudding a lot. So just try it and let your own taste tell you why. Jello butterscotch pudding is the pudding that thousands call the best of all. If your doorbell rings tonight, when you answer it and find no one there, you remember that this is Halloween and that you too were youngster yourself. And you might suspect Henry Aldrich of having something to do with the prank because he's a real boy from your own neighborhood. Tonight we find Henry in the Aldrich living room with his friend Toby.

[B]

Gee whiz, am I bored. Same here, Henry. How could a thing like this happen? Toby, it's Halloween and the two of us are dead broke. Gee, I thought I'd never live to see a thing like this happen. Wouldn't you think, Toby, that there'd be at least one thing a person could do on Halloween without its costing money? That's what you'd think. How about going over and getting even with Mr. Tarbell for what he did a year ago?

[A]

How?

[B]

Well, we could think of something. I'll tell you what. If we could get his front steps loose from the porch, we could hide them. No, Toby. But Henry. Then when he comes out and starts to go down the steps, you'll wonder where they are.

[A]

Who will wonder where what is?

[B]

Oh, is that you, Father?

[A]

You are not going to touch anyone's front steps.

[B]

How do you know about that?

[A]

I'm psychic. Halloween or no Halloween, you boys are not to touch any private property.

[B]

Henry, are you in the living room? Yes, Mother. Gee whiz, Father. Toby and I don't want to just sit around and look at each other all evening. How would you like to have me make some candy, Mother? Candy? Everybody else is out doing things and we sit home and make candy. Well, if you'd planned ahead, you'd have enough money to go to a dance. I did plan ahead. I told you several weeks ago that my allowance is inadequate.

[A]

Yeah.

[B]

Henry, what do you say we get our hats and go out for a little stroll? All right.

[A]

You aren't going to play any practical jokes on anyone, are you? Oh.

[B]

Oh, no, Mr. Aldrich. We're just going out for the fresh air and maybe ring one or two doorbells. Henry, you are not going to ring any doorbells. But, Mother, what harm can come from innocently ringing just one doorbell that's wrong 50 million times in the year anyway because most people don't like it.

[A]

Henry, the minute you begin to trespass, you're liable to run into trouble.

[B]

Father, name one thing that could happen from sticking a pin into a doorbell. Aside from the fact that it's going to ring for a while.

[A]

I'm not going to argue, Toby.

[B]

I don't think I'll go out. No. Oh, dear. Ever since way back, I've been looking forward to tonight. And now it's here, and I can't even stick a penny, a pin and a doorbell. Sam, if Henry didn't actually stick a pin in it, couldn't he ring just one bell?

[A]

It's entirely up to you, Alice.

[B]

All we do is ring it and run. Father.

[A]

Don't look at me, son. I'm only your father.

[B]

I don't see what fun there could be in it. At least my whole year wouldn't be ruined. Well, could you ring a bell where no one is home, Mother.

[A]

All right. If it'll make you any happier, go out and ring one bell.

[B]

We can, Father. We can. Toby, come on. Okay.

[A]

I don't see what fun you'll get from it.

[B]

At least we can say we've done it. Henry, I've got an idea. What? My folks didn't say I couldn't ring more than one. I'll tell you. I'll do the ringing and you do the running. Okay. Let's ring Mr. Edwards Bell. John? John Edwards, Are you out there on the porch without any hat on?

[A]

I am. I was just out to look at the car. Someone has taken the battery out of it.

[B]

Who do you suppose could have done a thing like that?

[A]

Oh, some Halloween hood. Em. I tell you, Phoebe, this town has reached a nice state of affairs.

[B]

Well, come in and close the door before you catch pneumonia.

[A]

Do you know what I think think I'll do? I'll just wait inside the door and.

[B]

See whether anyone comes back.

[A]

I'll get my cane, too. The next boy that comes up on this porch is going to get the.

[B]

Tanning of his life. Yes, dear. Toby. Toby. Why, he's going in. Come on up on the porch. What were they talking about, Henry? Search me. Let's write a note and pin it to the door. Okay. Got a pencil? No. Here's my fountain pen. Listen, Toby, let's just ring the bell and run. Let me ring it. No, Toby, this is the only one I can ring. You can ring the next one. No. Besides, Mr. Edwards was my idea. Here we go, Toby. I'm going to ring it. Do you hear anyone coming? No, I better ring it again. Somebody's coming. Run till we run. I am. Quick till we duck around the side of the house here with your hand. You hear me?

[A]

Stop. Nothing. Oh, boy.

[B]

Oh, boy. What was that? I'm all right. I just knocked over an ash can. Come on back here. Throw this great robber. There goes Mr. Edwards over it. Toby, that'll help. If I catch you. Where can you go? Come on out through these trees, Toby. If he catches you, Henry, don't give your right name. Whose name should I give? Take one up. What was that? That? That was Mrs. Edwards. Look, Toby, here's a hole or something we can hide in. Yeah? Where? Right here in the ground. Oh, gee. Liz, wait. Toby, what's the matter? It's an old.

[A]

Old.

[B]

It's an old.

[A]

Well.

[B]

Well, this is a nice time to tell me what's the matter. I dropped my fountain pen in it. Toby, he's coming toward us. He went right on. Boy, that was close. And get out of here. But, Henry, I dropped my fountain pen. That's so important. My mother just bought it for me. Gee whiz, I can't go home without my fountain pen. Henry, how are we going to get it? It's way down at the bottom of the well. There's an old chain here. It's hanging right straight down. Is it fastened here at the top? Sure. Right to this piece of iron. Wait a second. I'll roll up my trousers. You better take them off, Toby. Then you won't get them wet. Sure. And hold my coat. John. John.

[A]

Yes, what is it?

[B]

Did you find them? No, not yet, Toby. Did you look in the shed out beyond the well?

[A]

I'm just coming from there.

[B]

Well, come back in the house then.

[A]

All I can say is they must have disappeared right into the ground.

[B]

It's okay, Toby. You can go down now. Look out while I go over the edge. Are you sure you can get up again? Why not? All I have to do is hang on to this chain and climb right up the side. So long, Henry. Hang on. Hang on tight, old boy. Gee wins. What's the matter, Toby? What's the matter? There's something tied part way down on the chain. What is it? It's an automobile battery. A battery? What's it doing down there? How should I know? And the chain ends right here. It does? Can you jump the rest of the way? What do you mean, jump? It's so dark down here, I wouldn't know when I got to the bottom. Oh, here's the trouble. It's up here. Some of the slack is hooked onto a bolt. I'll see whether I can loosen it. Let it out easy, Henry. Don't worry. Toby. You don't think I'd let you fall, do you? Toby. Oh, Toby. Toby, where are you? I'm Thought you were my friend. I couldn't help it. Toby, can you float? How can you float in four inches of water? Oh, gee. Get your pen and come on up. You're crazy. There's nothing to take a hold of. Stand on the battery and reach. I can. Toby. I'll have to get you out somehow. I wonder whether I can find a ladder any place. Ask Mr. Edwards whether he has one. Sure. Do you think I'm crazy? Well, hurry up and get a ladder someplace. Look, there's a the lid to the well up here. Well, what about it? Do you want me to put it over the top so you won't get cold? No, just get me a ladder. Do you want your pants and coat? Just throw down my coat. Okay, here it comes. I'll get the ladder that's in our garage, Toby. And if anybody speaks to you, don't answer. Sam, has Henry come in yet?

[A]

Not yet.

[B]

It seems as though it's taking him an awfully long time to ring one doorbell.

[A]

Do you realize, Alice, this is the first Halloween no one has bothered us?

[B]

Certainly do. Did you put all the ash cans in?

[A]

I put them in the basement.

[B]

What was that?

[A]

Something out and back.

[B]

Stan, stand. It sounds like one of the garage doors.

[A]

You suppose anyone's getting in there?

[B]

Listen, dear, Come with me. Where?

[A]

Let's go out to the kitchen and look through the window.

[B]

Is the kitchen light on? No, no one can see us. Sam, someone is in the garage.

[A]

Stand back from the window.

[B]

Can you see them?

[A]

Alice, someone is coming out of the garage with our big ladder.

[B]

Sam Holdrich. I think that's the limit.

[A]

I'm going down the cellar stairs here and slip out to the basement door.

[B]

Why not go out the back door? This way I can head him off in the driveway. Shall I turn the light on?

[A]

No, no, don't turn the light on. I can see quite all right.

[B]

Sam, what have you done?

[A]

I forgot. I put the ash cans down here.

[B]

Well, my goodness, dear. Are the ashes all over my cellar floor?

[A]

Yes, and so am I. Turn on the lights.

[B]

Sam, you better come back up here and get your hat and coat.

[A]

You want whoever it is to get away?

[B]

Is that ladder more important than your health? Now come back up here, Al, if.

[A]

He'S already gone out toward the street.

[B]

In a town this size, Sam, you can certainly track down someone with a ladder.

[A]

You say the battery was taken right out of your car, Mr. Edward? Yes, officer. But you didn't see anyone? Not until a few minutes later. Two boys come up on the porch and rang the bell. And I chased them right around here through the grape harbor. Were they carrying the batteries? Well, I couldn't say. Well, whoever stole it is going to be apprehended and punished. The young fellows here have got to respect private property. Oh, they don't stop at anything. I even found a pair of somebody's trousers back here. You better take them down to headquarters. Why? Hey, one minute. What's up?

[B]

Stand back there under this tree. You see out there toward the street?

[A]

Somebody coming.

[B]

Somebody with a ladder is coming right this way.

[A]

All right.

[B]

No, keep quiet. Keep quiet.

[A]

When he passes, I nap him. Just a minute there, young man.

[B]

Don't you whiz? Who said that?

[A]

One minute, I said.

[B]

Yes, sir. So, was there something you wanted?

[A]

Where did you get that ladder? At home, I asked you. Where did you get it?

[B]

I brought it from home. Sure I did. I give you my word, I did. I did.

[A]

Oh, so we're going to have trouble with you. Where's the battery?

[B]

The battery? What battery?

[A]

The battery has disappeared from my car.

[B]

I haven't even seen any battery.

[A]

What's your name? Why, what is it?

[B]

It's Harry.

[A]

Harry what? Harry Ambrose, where are you taking that ladder?

[B]

Well, not any place in particular. I just. Just happen to be carrying it with me.

[A]

Just giving it an airing, eh? Taking it out for a walk?

[B]

Yes, sir.

[A]

Well, Mr. Edwards, what do you think we ought to do with them? It's 90 days for larceny, isn't it officer?

[B]

90 days in jail for taking my own father's ladder.

[A]

That's what it is.

[B]

But I've got a friend, see and I. I see.

[A]

And he has the battle?

[B]

No sir, he's in a terrible predicament.

[A]

Where is he?

[B]

Where is he? I don't know. I'm looking for him.

[A]

Oh, you're just going around with the ladder looking for a friend.

[B]

I know that seems hard to believe, officer, but that's what I'm doing.

[A]

Well, suppose you leave that ladder here.

[B]

But I'll get the deuce if I don't take it back home.

[A]

You'll get 90 days, Harry Ambrose, if you don't put it down.

[B]

Yes, sir.

[A]

Now get home with you. Should have been in bed an hour ago.

[B]

Yes, only I don't know what my friend will do without me.

[A]

Now, ladies and gentlemen, this being Halloween, I'd like to tell you a ghost story. The story of Edgar the gloomy ghost. Edgar, it seems, was very fond of nice desserts at dinner. But his wife Phyllis the Phantom kept serving him just ordinary desserts. As a result, Edgar went around moaning and groaning like this. Then one day Edgar's wife bought some Jello vanilla pudding at the ghostery store. And now Edgar is just as cheerful as can be. No longer does he go around moaning, now he has a warm likable laugh like this. So you see, just in case Edgar might drop in, ladies and gentlemen, always keep Jello vanilla pudding on hand. It's brim full of tempting flavor, as smooth as rich cream and extra good when garnished with nuts, marshmallows or fruit. My own favorite is Jello vanilla pudding with sliced bananas but served any way at all at brand. Order this delightful ready prepared dessert and start right away to enjoy the luscious flavor of Jell o vanilla pudding. Now getting back to the troubles of Henry Aldrich. It being Halloween, Henry and his friend Toby set out to ring just one doorbell and come home. However, one thing leads to another until Toby was left stranded at the bottom of a well and Henry is attempting to rescue it.

[B]

Good evening. Oh, is that you out there, Henry aldridge? Good evening, Mrs. Lockwood. Could I borrow a real strong Rope? From you. A real strong. What, dear? A rope. I need about 15ft of very strong rope. Oh, well, would a piece of clothesline help any? No, ma'.

[A]

Am.

[B]

I have a friend that's in a. Well, that's quite a Halloween joke, isn't it? No, ma'. Am. I'm trying to get my friend. Well, how did he get in it? He was looking for his fountain pen. Well, why don't you try one of the other houses in the neighborhood? I have, I have. But every doorbell I've rung so far, the people chased me. You don't say so. Yes, ma'.

[A]

Am.

[B]

That's how I got all wet like this. Goodness gracious. How did you get that wet? They poured a bucket of water on me from the second floor window. Well, come to think of it, Henry, we have a good long tow rope out in the car. You have? Yes, sir. You'll find the car right out there in front. Right down the curb away. That's right. Oh, okay. If I remember, the rope's a little bit frayed in the middle. That's all right. It can certainly hold. Toby. Will I find it in the front or the rear of the car? You'll have to look, dear. Guess this is the car. My gosh, that's funny.

[A]

All right, young fellow, what are you trying to get away with?

[B]

What's that?

[A]

Did you think I didn't see you?

[B]

She was let go of my collar.

[A]

What are you doing in my car?

[B]

I've got a friend that's in a well. Yeah, but you see, Mrs. Lockbridge gave me permission to open this car.

[A]

Mrs. Lockbridge did?

[B]

It's her husband.

[A]

Well, it just happens to be my car. And I live right here in this house.

[B]

You do? You mean this other car here is Lock Bridges?

[A]

And I suppose you're going to tell me Mrs. Lockbridge gave you permission to let all the air out of my tires.

[B]

Are they flat?

[A]

What do you think I was watching out the window for?

[B]

Well, you certainly have my sympathy.

[A]

Here you are.

[B]

What's that?

[A]

It's a pump. Get to work.

[B]

But gee, was. I give you my word. All I was looking for was a piece of rope so I could pull my friend out.

[A]

Maybe you'd like to have me turn you over to the police, my boy. Oh, no. Are you going to hook that pump onto the valve?

[B]

Yes, sir.

[A]

What's your name?

[B]

Why, it's. It's. Which tire do you want me to pump up first?

[A]

I asked you your name.

[B]

What's that? Harry Ambrose.

[A]

Harry Ambrose, eh?

[B]

Yes, sir.

[A]

Well, your family ought to be ashamed of you.

[B]

Yes, sir, they certainly ought to be.

[A]

I'm going in and keep an eye on you from the house. And don't forget, there's a street lamp right here and I can see every move you make.

[B]

Yes, sir. If I hadn't been a boy once.

[A]

My c. I'd turn you over to the law.

[B]

Yes, sir. I'll be with.

[A]

You.

[B]

Well, I'll be dorm. Henry.

[A]

Henry, is that you pumping up those tires, Father?

[B]

Where did you come from?

[A]

I'm looking for our ladder. And may I first ask what you're doing, Father?

[B]

I wish you'd go in and tell the man that owns this car that he has no right making me do this.

[A]

How did he happen to ask you to?

[B]

I was opening his car, See?

[A]

None. Didn't you promise to ring just one doorbell?

[B]

That's all I did have an excellent excuses.

[A]

Pump those tires up and take your punishment.

[B]

Where are you going to find a.

[A]

Family by the name of Ambrose?

[B]

Of Ambrose? Ambrose.

[A]

I tracked a boy by that name as far as Mr. Edwards house. You don't happen to know him, do you?

[B]

Harry Ambrose?

[A]

You know him?

[B]

Well, I think I've heard of him, but he's no friend of mine, Father.

[A]

Well, hurry up and finish those tires.

[B]

And then get off. But listen, Father. Hey, there, let me hide behind your car. Who's back? It's that you, you, Henry. But you. Move. Here, Henry, hold it. What is it? It's a red lantern. What am I to do with it? Just hold it, Henry. I'm in a hurry. But I don't want this, Homer. So there you are.

[A]

Who? You with the lantern.

[B]

Come along with me, my boy. You wait until I get even with you, huh, Homer? He got away from him, didn't you, Henry? Away from him? But look at what he did in my coat. How am I going to get this sleeve back on? Aren't I going to help you get Toby out of the well? Yes, and didn't I get this rope for you? Where did you get it? Isn't it a beauty, Henry? I found it over here on Walnut Street. What I mean, Homer, is. Whose was it? Nobody. It was just roping off a new sidewalk that had been laid this afternoon. Listen, Homer, I'm not going to use it. We aren't going to keep it, Henry. It's just to get Toby out. But, Homer, I don't think we should should use it. All right, then. All right. Not so loud, Homer. Do you see somebody? We're right here by Mr. Edwards's house. Oh, come on now, Homer, and follow me back to the well. Why don't you want to disturb Mr. Edwards, Henry? Well, if he's going to sleep, there's no sense in waking him up, is there? Come on back through this great barber. I'm coming. Where is the well? It's right ahead here someplace. Can't you find it? Isn't it strange? She was. Don't fall in the window. Oh, here it is. Hey, Toby. Toby. Are you all right, Toby? Who is that? It's Henry and Homer. Well, you're the only ones that haven't been here before. Who else has been here? Everybody. And they all threw something down. The last time it was a bushel of apples. Are you all right, Toby? How could I be? Get me out of here. We're letting the rope down now, Toby. Here, Henry, I'll help you. Is it down yet, Toby? No. It's coming. Homer, have you got the end? What end, Henry?

[A]

Of the rope.

[B]

The end's down here. Which end? Both ends. Well, gee whiz, Homer. If you are in a house, Toby, throw one end up here. How am I going to do that? Just throw it right straight up. Here it comes. Where is it? Around my neck. Henry, I've got an idea. Look out. What are you going to do? How about dropping this rock down and letting him tie the rope to it? And then throw it up? Now, listen, don't throw anything more down here. There isn't any more room. Henry, do you think you could hold my hand while I go down part way? How would you get the rope? Well, Toby could tie it to my foot. Sure, and then I'll pull you back up. Take it easy now. We like it over the edge. Okay. Have you got a good hold? Yeah. What's that coming down? Don't worry. It's Homer. Don't jump, Homer. What do you think I am? Are you sure you got a hold of me, Henry? Sure. Easy, now, easy. I only had something to hang on to. This is a nice time to think of that. Don't worry, Homer. I've got you. Boy, my arm's coming right out. How much lower is it? Wait a second and I'll tie the rope on Homer's foot. You got it. Come on.

[A]

Officer, I think they're off this way. I'm coming. Oh, she was.

[B]

Keep quiet. Oh, boy. Oh, boy.

[A]

See?

[B]

If they had come two feet closer, they would have fallen out right in with us. That would have been good. Well, we got you out, Toby, even if we did have a hard time Finding my father's ladder and. Toby, we got you away from Mr. Edward's house. But I still haven't got any pants, Henry. Well, just walk along as though you were coming home from a party. Boy, is this heavy. Is what heavy? Listen, Toby, what are you carrying? This battery. Oh, gee whiz, Toby. What'd you bring that for? I didn't even know I had it. Well, we've got to take that right back to Mr. Edwards. All the way? Sure. What do you think we hold it out for? We get caught with it, we'll get six months in jail. Here, Homer, how would you like to carry it? I don't want to let Henry carry it. Toby, don't try to shirk responsibility. Well, you fellas, I got to go back with me. I'm not going alone. Come on. Who's that coming? Where? Down there on the corner. He's coming right towards us. Isn't that a policeman? I think it is. Henry. Let's turn around and go the other way. And that's what I think.

[A]

No, we'll walk right along as though.

[B]

We were heading for a garage. Sure. Oh, sure. Now, our battery ran down and we're going to get it recharged. But I still haven't got any pants. Listen, fellas, look ahead there where there's another policeman and he's walking right toward us. So long, Toby. Now, wait, Henry. You can't leave me flat like this. I've got to get rid of this battery. Well, put it down someplace.

[A]

Sure.

[B]

And supposing he sees me? I've got an idea. You see that car parked there by the curb? Yeah. Well, put it inside. Just dump it through the window. Henry, you've got a head on you. Come on. Now, we'll hide behind between these two houses. Boy, if they see it. Okay. Wait for me. Well, hurry up. Quiet. The police are going by. Do you think they saw us? No. They're not even looking this way. Say, fellas, do you know what I just happened to think? What? I left my fountain pen down in the well st. Gee whiz. What's the matter? That car we put the battery in. What about it? Somebody just drove off in it. Is that you, Henry? Yes, Mother. Will you please tell me where you've been all evening? Just out with Toby falling around. We'll come into the living room. I've got to make a phone call first, Mother. Hello, operator? Then I'll be right there. Operator, could you get me. It's right here in the book. It's. It's Elm 36. Mother, Father isn't in yet, is he? No, he isn't. Oh. Hello? Hello, is this Mr. Edwards? Well, Mr. Edwards, this is to inform you that if you will notify the police to look for a car number T7, I think. Or maybe it was T5 something. Anyhow, in it you'll find your battery. What's that? This is just a friend, Mr. Edwards, who happened to be passing by your house a little while ago. Henry. Goodbye, Henry. I'm coming, Mother. Where's your coat? There, I just hung it up in the closet. Well, did you ring your doorbell? Yes, Mother, I rang it. Did you find it worthwhile? Well, to be honest, I think I'm getting a little too old to be doing things like that. Where's my Latin? Is Henry in? Yes, Sam. He's sitting here studying. Where have you been?

[A]

I found the ladder, but not the boy.

[B]

Sam, what on earth you have all over your shoes?

[A]

That is cement. They laid a new sidewalk over town and didn't even bother to rope it off.

[B]

Well, don't get it all over the carpet.

[A]

And what do you think I found a few minutes ago?

[B]

What?

[A]

A battery in the back seat of my car.

[B]

A battery? Phone.

[A]

Tomorrow morning, Henry, you call up the police and find out who lost it.

[B]

Fine, Father.

[A]

And then after you've done that, you can go over to Mr. Edwards and get our ladder.

[B]

Yes, Father. I wonder why people think Halloween is a time for fun.

[A]

Henry Aldrich will be back in just a moment. And when you make out the grocery list for tomorrow, friends, be sure to include several packages of Jell O Puddings. They're easy to make, inexpensive and really delicious. Ask your grocer for all three flavors. Jello chocolate pudding, Jello vanilla pudding and Jello butterscotch pudding. Jello puddings are made by the makers of Jello, so you know they're. Good.

[B]

Night, folks. Be seeing you next week, I hope.

[A]

Listen in again next Thursday evening to the Aldridge family into the Maxwell House Coffee Time program, which is immediately precedes it on most of these stations. A solid hour of sparkling radio entertainment every Thursday night. The Aldrich Family, starring Ezra Stone is written by Clifford Goldsmith. Original music is composed and conducted by Jack Miller. Now this is Harry Von Zel bidding you all good night. It's your grocer folks calling up to let you know about our special this week on Bird's Eye. Quick frozen haddock fillets. Say what? Really good haddock it is too chock full of that fresh tasting deep sea flavor. And don't Bother to look for any bones because birdseye haddock is all clean and bone for you. Ready for the pan. Buy Birds Eye haddock fillets tomorrow. They're especially low price all this week. Truth is stranger than fiction.

[B]

And this is the proof.

[A]

This is Ripley's Believe it or Not. The tombstone of Margaret Johnston and her six children in Trenate, Scotland. Was erected over an empty grave. The family vanished in the 17th century without a trace. Believe it or not. In a moment I'll tell you about the man who paid for his own assassination. When a man lends another man money. He certainly does not intend that it should be used to pay for his own assassination. But such was the case with William, the silent father of Dutch independence. Who advanced 12 crowns to a man by the name of Balthazar Gerard. Gerard had requested an audience with William. And the money was given to him to pay for his transportation. But the money was used by Gerard to buy a gun with which he shot William dead. Believe it or not. THE Adventures of Michael Shane Private Detective the people who make 76 Gasoline and Triton Motor Oil Union Oil Company present the adventures of Michael Shane Private Detectives. Starring Wally Mayer and Kathy Lewis. As a loyal native of San Francisco. Mike Shane would like to solve all his cases right inside the city limits. However, this is not one of those times. Right now, Mike and his assistant Phyllis Knight. Are a two hours drive east of the city by the Golden Gate. Also right now, Mike is on the long distance phone talking to. You guessed it, Inspector Faraday. No, no Faraday. Moccasin Hill. It's a little town on the highway east of Stockton. Oh, I remember it now. That's where a rich old man, Kilgallen died last month, right? Right. They said his house was haunted and somebody frightened him to death. Yeah, that's what his daughter said. She tried to get us to investigate. Listen, Mike, you're not getting roped into that, are you? Inspector? Right now I'm sitting in the chair where they found the corpse. Oh, Mike, you're not dizzy enough to think a ghost killed him. It was heart failure. Maybe. I've just been talking to the daughter. It looks like somebody's been trying to give her the business too. Like dropping a flower pot on her head. So you call long distance to tell me that? No, no, Inspector. Look, I want you to find out if a Mr. John Himes of Boston, Mass. Was in San Francisco four weeks ago. One of your boys can check the hotel's trains and airlines. John Himes, Boston. Well, it's a waste of time. But for You, Mike. Okay. And look, phone me back at Moccasin Hill 193. Got it. Oh, Mike. Yeah? Don't look now, but I think there's a ghost behind you. What? Oh, that guy.

[B]

The inspector giving you the Bronx cheer. Mike.

[A]

Yeah, darling? Oh, Miss Kilgallan, one thing more about your cousin John Hymes. Did you two ever quarrel about your father's estate?

[B]

Why, no, Mr. Shane. There's no reason for you to suspect John. He's the only other heir. But he'd never kill Father or try to remove me. I'm sure of it. Besides, Mike, he lives in Boston, 3,000.

[A]

Miles away, but he makes frequent visits to the coast. Ms. Kilgallen just finished telling us.

[B]

I'm sorry.

[A]

Well, what do you say we have a look around the house now, huh? I want to know where the ghost hangs out.

[B]

Well, As I said, Mr. Shane, they found my father here in the living room. In the chair you were just using.

[A]

Mm. What's this next room?

[B]

Father's hobby room. Oh, he kept his photographs and guns and hunting trophies in here. Oh, jeepers. He had plenty of them. Deer heads, mountain lions, fox. They're terribly old. Father wasn't strong enough to hunt in his last years. He had to content himself with his guns.

[A]

Mm. The collection covers a whole wall. You know, it's funny, but this room seems much more worn and older than the living room.

[B]

It is. Granddad built the house back in the 1860s. The other rooms were added on ronded. Father tried to keep the old part as it was. Mike, look, look. Here's a souvenir of early California poster giving the schedules of the Wells Fargo stages. Yes. Moccasin Hill was right on the old stage roof. That long pistol you see above the fireplace that was used by Black Miguel to hold up the stages.

[A]

Oh.

[B]

Hey. What in heaven's name is that? Sounds like a lost soul, doesn't it? Scared me the first time I heard it. It's just an owl in the chimney up in the attic.

[A]

Atmosphere. Angel atmosphere. Every well run haunted house has an owl in the attic. Now, Ms. Kilgan, I was just noticing the odd shape of this room. Half of the ceiling is so much lower than.

[B]

That's because Father tore down the partition on the other side. It was a secret room. We had several secret rooms, just like a movie set. Last year, Father tore out all the sliding panels and made them into perfectly honest rooms.

[A]

My dear Granddad must have been a queer old duck. Somehow I can't picture a girl like you living in this curiosity.

[B]

I Don't intend to. Especially not after Father's. Well, anyway, it's too far from college. Uh, Ms. Gilgallen, you said you were away at school when your father died, huh? Yes. I'll sell the place as soon as I get a fair bid. I don't know. Maybe Cousin John will take it. He wrote me that he'd like to if I'd sell for $20,000. 20? Oh, well, that's ridiculous. It's worth much more than that.

[A]

Which is why I suspect cousin John. Well, now, come on. Let's go outside again. I want to take another look at that busted flower pot.

[B]

All right. You can go through the terrace door here. Look, look, Mike. Who's the old character in the straw hat?

[A]

Hey, wait a minute. He's sweeping up the flower pot. Hold on, hold on.

[B]

Where's the gardener? Hole? Dick?

[A]

You talking to me, young feller?

[B]

Yes, sir.

[A]

Yes, sir. Just leave the pieces of the flower pot right there, huh? We want them for sentimental reasons. Ms. Kilgallan always told me to keep things spruce.

[B]

It's all right this time, Dick. You weren't here yesterday and you don't understand.

[A]

By the way, sir, how long have you been gardening here? Three, four months, I reckon. You wanting a handyman? No, no. I was just wondering. Do you know anything strange about this house? I mean, like being haunted? Of course it's haunted. Dunno hoop I, but I vomit. Ain't no place I'd hanker to live. I told Mr. Kilgat.

[B]

Did he think it was haunted?

[A]

Course he did. The hant's got him too. They'll get everybody. You just listen to spell. You'll hear footsteps without no feet and moanings and things.

[B]

That's true enough, but they're not from the spiritual world.

[A]

Ah, let me see. The flower pot fell from this balcony directly overhead.

[B]

Yes. It couldn't have just happened. The pot was too big and heavy to jiggle off the railing. Yeah, but you saw no one push it. I wasn't looking up. It was warm yesterday afternoon and I was watering the geraniums here. Just as I stooped over, it came down. Crashed.

[A]

Two seconds earlier, it would have crushed your skull. I think I'll climb these stairs and give the balcony a once over.

[B]

Hey, hey. You be careful, Mike. Don't push another pot down on us, huh?

[A]

You're giving me ideas. My dog.

[B]

Mike. What did I tell you?

[A]

What did I tell you? Mike.

[B]

Oh, Mike. Are you hurt, baby?

[A]

I was called. If I hadn't grabbed the railing.

[B]

Oh, Mike. The steps just gave way. Under you there.

[A]

Rotten. No, no, Angel. No, sir. They were meant to give way. Look at the underside of this next step, huh, Mike?

[B]

Why, that sawed halfway through.

[A]

Yes. Evidently, the ghost of Moccasin Hill wants in Just a moment, we'll rejoin Mike Shane and Phyllis Knight in their adventures. As your car gets older, its bearings wear down, the bushings enlarge and the joints and fittings loosen up and rattle. This means that lubrication becomes increasingly important. In relieving friction. And protecting worn parts against extra shock and strain. And since even the latest cars are now almost four years old, no one can afford to take a chance on a careless grease job. That is why the Union Oil Minutemen take such pride in stop wear lubrication. Each job of stopwear lubrication is performed so carefully and accurately, it is guaranteed in writing. When your car receives stop wear lubrication, you can be sure that only the finest high quality greases are used throughout. And you can also be sure that each fitting and bearing will be thoroughly lubricated according to the manufacturer's specifications. While your car is on the hoist, the Minuteman will inspect out of sight points and check them for danger signs. So, ladies and gentlemen, for smoother, safer driving, ask your Union Oil Minuteman for Stop Wear guaranteed lubrication. Stopware is an exclusive process available only at Union Oil Minuteman stations. Remember, stopware lubrication is guaranteed. Mike and Phyllis are still searching through the ancient house on Moccasin Hill, stalking the ghost who throws flower pots and designs collapsing staircases. Right now, they are interrupted by a new arrival.

[B]

Why, Mr. Patton, won't you come in?

[A]

Thank you. Ms. Kilgallen, I happen to see your car in the driveway, and I thought I'd stop in a moment.

[B]

I'm glad you did. Oh, I want you to meet some friends. This is Mr. Shane and Ms. Knight from San Francisco.

[A]

Oh, how do you do?

[B]

How do you do, sir? Patton. Mr. Patton was my father's attorney. He's handling the estate.

[A]

Yes. It's in that regard, Ms. Kilgallan, that I'd like to talk to you. Could we go into the living room?

[B]

Certainly. You too, Mr. Shane and Ms. Knight.

[A]

All right. I thought it might be better if we talked alone.

[B]

I have no secrets, Mr. Patton. And I think Mr. Shane may want to ask you some questions about Father.

[A]

Strictly in the line of duty, Mr. Patton. I've been retained to investigate Mr. Kilgallen's death. Oh, my dear girl, you're wasting your money. Your father died of heart disease.

[B]

Perhaps, but what was it you wished to see me about?

[A]

Oh, yes. Oh, yes, Ms. Kilgallan. I've thought it over, and I'm now prepared to offer you $22,500. I think that's a generous sum indeed for this property.

[B]

I'm sorry, Mr. Patton. You know that Father put over twice that much money into the place. And it has historic value.

[A]

May I ask why you want to buy it? Why, that's obvious, sir. To live in it won't be easy to dispose of. With her father's death and certain rumors about the property. I think I'm doing her a kindness.

[B]

I'll answer it.

[A]

These are rumors, Mr. Patton. Did this girl's father tell you anything that would bear them out? Well, Mr. Kilgallen was an ill man, sir. He had a rather morbid turn of mind. Of course.

[B]

It's for you, Mr. Shane. San Francisco.

[A]

Oh, that's Faraday. Excuse me, please. Hello, Inspector. You did well. Well, a pat on the old back, me boy. Uh huh. Right now. Okay, hold him there. Or better still, bring him out here. Oh, I see. And I guess he's out of reach by now. No, no, no. Nothing much is back there. Except that you almost lost your best Pinocchio, partner. Well, the ghost pulled the staircase out from under me. Don't worry. I'm watching out. Thanks for trying, Faraday.

[B]

No hits, no runs, no ball game, huh?

[A]

Mr. John Himes was registered at the Palace Hotel at or about the time the old man died. He also registered there just two days ago. Mike, you were right and checked out this morning. Destination unknown.

[B]

Even so, I'm sure you're wrong, Mr.

[A]

Ms. Kilgallen, I take it you're rejecting my offer.

[B]

I'm afraid I must.

[A]

Well, very well. It's been a pleasure to meet you, sir. Thank you. And Ms. Knight, thank you. Oh, I almost forgot. I found you a new gardener. His name is Fred Norman. I brought him along with me. He's right outside.

[B]

But I can't park for old Dick.

[A]

You won't have to for a day or two. I'll need both men to help me on a little job. Oh, very well. You'll find Fred waiting at the back door. Good day. Mike.

[B]

Mike, what are you up to? What, are we staying here?

[A]

Not so loud, honey. I haven't any job for him. But I think Mr. Patton has.

[B]

Oh, you mean this new gardener is a spy, huh?

[A]

I mean. Well, we'll give him something to prick up his ears about.

[B]

Okay.

[A]

Ms. Kilgallen, I want a tape measure, the longest you can find, please.

[B]

What on earth for?

[A]

Something tells me your ghost haunts a very secret room. We're going to find that room by yard, feet and inches.

[B]

Oh, darn it. I dropped it again.

[A]

Well, hold on to it, honey. It's a tape measure, not a snake.

[B]

Oh, quiet. I'm tired. Mike, we've spent over two hours measuring this house. Every room, every hall, every closet. We haven't found a thing.

[A]

Uh huh huh. Well, the hall is 50ft, three 53ft long. Now, Ms. Kilgallen, what did we find in the living room?

[B]

Let's see. It's on this other paper. It says here 30ft.

[A]

30Ft. And the gun room next to it.

[B]

14Ft each way.

[A]

That totals 44ft. Plus one foot for the wall. That's it. Yeah. Sir, there's eight feet missing.

[B]

Fine, fine. How do we get into this secret room? By pickaxe.

[A]

Come on. Come on. Into the gun room.

[B]

But, Mr. Shane, Father knew all our secret rooms. He had them all open. Well, he didn't know about this one. Or maybe he just lost count.

[A]

Okay, now, honey, you take the fire under the wall, and I'll start at this end. There's got to be a hidden spring or something. Now, pound every inch of the woodwork.

[B]

All right. It doesn't sound hollow.

[A]

Well, that's why nobody suspected it. Come on. Use some muscle, honey. You're just playing patty cake.

[B]

Listen, Mike Shane, I haven't got calluses on my knuckles. Mike.

[A]

Huh?

[B]

Mike, this panel, it moved.

[A]

What? This is it, kids.

[B]

It only moved an inch or so.

[A]

I'll pull it open. There you are.

[B]

It's dark as a coal bin inside.

[A]

I'll strike a match.

[B]

Good.

[A]

Now we shall see what we shall see.

[B]

Look. Isn't that an old table and a chair?

[A]

Well, what's more important, A candle? We can get some real light.

[B]

Yeah, that's better. Oh, honey, it's dusty in here.

[A]

Well, sneeze the other way. You almost blew these off the table.

[B]

Blew what off?

[A]

These. These papers here. Newspaper clippings. They're so old, they're brown.

[B]

What on earth are they doing in here?

[A]

I don't know. They printed an old fashioned type. Must be 60 or 70 years old. Hold on here. Hold on. Ms. Gilgallan, what did you say the name was of that stage barber?

[B]

You mean Black Miguel?

[A]

Yeah. Here, read this. Maybe this will mean something to you.

[B]

Driver Billy Pringle reported to the sheriff that on Wednesday night his stage broke down at Moccasin Hill. Pringle took the express box to the Kilgallan house. Hey, that's your grandfather. I remember hearing some sort of story.

[A]

Go on reading.

[B]

During the night, Black Miguel assaulted the driver as he attempted to flee with a small fortune. Mr. Pringle shot and killed him. The express box, however, was not recovered. The authorities are not searching. You know, this sounds like something out of Treasure Island.

[A]

You can say that again, honey. Here. Here's a diagram with everything on it except dig at the foot of the crooked pine tree.

[B]

Yeah. Hey, Mike, that paper's almost new. Well, it would have to be. The handwriting is my father's. Well, then he did know about this room.

[A]

Yes, and he must have spent plenty of time in here. Candle drippings all over the table.

[B]

You know, there's something funny about them. You notice how heavy the dust and grit is on the table? Yet when I rub my finger over the wax box, there's no dust on them. They're fresh change.

[A]

It's the living room wall.

[B]

Somebody else wants in.

[A]

Blow out the candle. We'll leave it.

[B]

I don't see anybody.

[A]

Wait till I push this panel back.

[B]

Mike. Mike, you're not going to use your gun.

[A]

Come on, follow me into the living room. Quietly. Hands in the air, mister. Huh? What?

[B]

Well, Fred Norman, the gardener.

[A]

Get that gun away. You ain't got no call up. We heard you pounding that wall. What if it was? Felt like I knocked the ashes out of his pipe. Can he?

[B]

Yeah, but you're a gardener. What are you doing in here?

[A]

I was looking for my skill gown. Wanted to know about the rose bushes. But I guess I don't want to work here at all. What was that?

[B]

The front door.

[A]

Hey, don't you answer the door in this house?

[B]

That's Faraday.

[A]

Inspector Faraday. Well, since when is Moccasin Hilliard bailiwick? I guess I'm just an old maid got to worrying about your neck. Not that I wouldn't like to bust it myself sometimes. Well, I'll save it for you. Just for you, Daddy.

[B]

Here, here.

[A]

All kidding aside, Faraday, there's something going on here which ain't done with mirrors.

[B]

I'll say not. We found a secret room. Papers telling of a stagecoach robbery 70 years ago. A map of where the treasures buried.

[A]

Plus rapping noises, hot and cold running spooks. Anything you want, we got it. Uh huh. Yes. Has your cigarette tasted different lately? No, we mean it, Inspector. Somebody's putting on a spooked act to frighten people away from here. Even if it means killing people.

[B]

Somebody wants the old express box and he's willing to kill people to get it?

[A]

Yeah, right out of this morning's comic strip. Ghost turns out to be an ex pirate with a peg leg. All right, don't take our word for it. Come on, we'll show you the secret room. Now watch. I'll press this wall panel here and, well, I'll be. See, Inspector, stoop as you go in or you'll bump your noggin. Any light switch in here? No. There's a candle on the table. I'll light it. Well, you weren't kidding. No, not this trip. Now, here are the papers I was talking about, Mike. Hey, wait a minute.

[B]

The papers, Mike, they're gone.

[A]

All right, come on, now. We mean business. Ben. Come on. Hand over those papers. We know where you got them. I don't know nothing about any papers. And I don't know nothing about any secret room. You're lying. Patience brought you here. He hired you to steal them for him. What's more, you ain't no gardener. Old Dick can tell you that. Don't know a shovel from a hole. I'm leaving right now. I wouldn't work here for no kind of money. You're staying right here. You're not to leave this property, you understand? Maybe I won't and maybe I will. Don't trust that feller. It's all right with you folks. I'll kind of follow him around, keep my eye on him. Good idea. But let him do anything he wants. He'll tip his hands yet.

[B]

But I don't see why you didn't search him for the missing papers.

[A]

It's useless. Honey, he's smart. He's already hidden them somewhere.

[B]

Seems to be. Mr. Shane, this is all beside the point. I wanted you to find out if my father was murdered.

[A]

That's impossible for any detective, miss. No one saw him die. He's been dead for days. When he was found, Karn only made a rough guess when it happened. I think we can establish the time. Faraday. We were looking at the old gentleman's diary. It's here on the desk.

[B]

Father was very religious in keeping up his diary. He wrote down everything he did.

[A]

The final entry was made on the 17th of last month. Here it is. Quote, rained all day afternoon, spent cleaning and oiling all my guns. Had to fix the pin on the derringer. Ah.

[B]

That's a pistol, isn't it, Mike?

[A]

Mm. It's a short barrel. Heavy caliber.

[B]

Darling, just a minute. The derringer.

[A]

Well, what about it?

[B]

Well, Father always kept it on top of the bookcase. It's gone.

[A]

Probably Forgot to put it back after he fixed it. Yes, but getting back to the diary. These are his last sentences. Heard the noises again. It laughed and moaned. Next time it happens, I'll. And there he stopped, right in the middle of a sentence.

[B]

Oh, that front door. You'd think this was a housewarming.

[A]

As I see it, Faraday, the old fellow heard something again. He stopped writing. Gutter went into the living room to check up. Whatever he saw or heard stopped his heart. He was found in the chair by the telephone. I thought you were acting for me. What goes on?

[B]

Well, I'm just as surprised as you are. This is John Hines, my cousin.

[A]

The fellow from Boston. Well, sir, I'm very happy to meet you. My name is Mike shane. Oh, yes. Mr. Patton said you were investigating, looking me up. I understand you were in California last month about the time Mr. Kilgallen died. Yes, I was. And you're here now, why? On business. I came up to see Patton about buying this property. I wrote to my cousin and to him as her attorney made an offer. Now I find Patton is trying to buy the place himself.

[B]

And in case you didn't succeed, Mr. Patton, you hired Fred Norman, the fake gardener, to steal those papers from the secret room.

[A]

I don't know what you're talking about. Mr. Himes, what is your interest in this property? We understand you live in Boston. Well, my firm is transferring me to San Francisco. I'd like to have a country home. Just what is your business? I can see you're suspicious. Perhaps you'd rather look at one of my cards. Well, it wouldn't hurt. Here you are. Thank you. Investment banking.

[B]

Michael. Inspector, could I see you alone a moment?

[A]

Can't it wait, honey?

[B]

It'll just take a minute.

[A]

Oh, all right. Excuse us, please.

[B]

Come on. Let's go into the living room, huh?

[A]

You look as wise as the Sphinx. Phil. You solved the case.

[B]

Maybe. Now this is it. I was standing right next to him's Mike when he took out his wallet to give you that card. Well, there was an envelope tucked into a pocket of the wallet. Airline tickets. But the name written on the envelope said Gene Powers.

[A]

Jean Powers?

[B]

Mm.

[A]

But that doesn't add up, honey. The girl introduced him as her cousin. She said, John Himes, she said.

[B]

Do we have to believe her?

[A]

I'm gonna phone headquarters. Gene Powers may have a record.

[B]

No.

[A]

No. What's that?

[B]

Oh, heavens.

[A]

It's outside. Come on, quick. Front door's open. Yeah?

[B]

Mike.

[A]

Mike.

[B]

Look, Mike, in the driveway.

[A]

Yeah. Well, cross off one suspect. Attorney at Law Stephen Patton. And add another. I just saw somebody on the balcony.

[B]

Who? Who did you see?

[A]

Alan Kilgallan. We'll rejoin Mike and Phyllis in just a moment. If you ever had a jack slip when you were changing a tire, you get a pretty forceful demonstration of how much a car weighs. Now, all that weight rests directly on the wheel bearings. And as you travel, those wheel bearings must revolve rapidly and still support the heavy weight of the car. Because of this concentrated pressure and because they're also liable to damage from brake dust, grit and water, front wheel bearings need the best possible lubrication. Failure to keep these bearings properly lubricated may result in expensive repairs requiring parts now hard to get. Your neighborhood Union Oil minuteman knows this. That's why he takes such pains to do a thorough job of lubricating front wheel bearings. First, he washes out all the old grease and dirt with solvent. Then the bearings and races are individually cleaned until they are dry and shiny. Finally, the clean, polished bearings are replaced in the races. Then with special equipment, every surface is snugly packed in a thick coating of Union Oil wheel bearing grease. Then your front wheels are all set for months of well lubricated easy rolling. The cost for the entire service of your front wheel bearing assembly is nominal. So for safer, easier driving, just stop in wherever you see the sign of the big orange and blue 76 and ask for Union Oil's front wheel bearing service. Thank you. A second man has died at the strange old house in Moccasin Hill. While Phyllis telephones to the local police, Mike and Inspector Faraday are in the gun room questioning four uneasy people. Now we know what we're talking about. One of you here in this room killed Steve Patton because he knew too much or because he was double crossing you. Ms. Kilgallum, we'll start with you. What were you doing upstairs in that balcony?

[B]

Why, I. I heard the shot and I ran out to see what happened.

[A]

Ah, that's no answer. When we left this room, you and your cousin were with Patton. Now, why did you go upstairs?

[B]

To get father's old watch for John. Father left it to him in his will. Does that satisfy you?

[A]

Maybe. And you, Mr. Hymn, where were you when the shot was fired? Well, I was following Ellen upstairs to get the watch. Is there anything wrong with that?

[B]

No.

[A]

No. I guess her cousin is entitled to the heirloom, but not a guy named Jean Powers. So that's it. Sharp eyes, Mr. Shane. The credit goes to Ms. Knight. Well, it's quite innocent really. Gene Powers is a friend of mine. And he had a plane ticket for New York tonight. He couldn't get away, so I'm using his priority. We'll check on that. You Fred Norman? I was in the kitchen eating. Can't send a man to jail for swiping a chicken wing. You were watching him, Dick? Yes, sir. He wasn't even in the room. Oh, I was watching you through the hall door. Just waiting for you to do something. Okay, okay, okay. Now, we're going to ask all of you to empty your pockets. Each one put his stuff in the pile on this table. What for? We're asking the questions. Stop digging. I know what you're up to. Looking for the gunpowder killed him? No, the murderer saved us. He put it right back where he got it. The derringer there in the bookcase.

[B]

Why, yes, it's back.

[A]

All right, Mr. Hines. Now, let's see what you've dished out. Handkerchief, pen knife, bill, fold, notebook, small change. And you, Dick. I ain't got much. Old oil rag, a knife, a busted pack of seeds and four bits. Fred. Handkerchief, knife, pencil. And some money. Yes, Too much money for a gardener. $50.

[B]

Well, that's Patton's money. He bribed him.

[A]

Obviously. Any pockets in your dress, Ms. Coogan?

[B]

No, if you tell us what you want, I'm sure.

[A]

All right. Now, after the three of us ran out and found Patton, we did a quick circle around the outside of the house. We tried to come back in through this terrace door. It was locked and the key gone.

[B]

That's odd. We used the door a little earlier.

[A]

Yes, so did the murderer a little later. Fired a shot from the terrace, ducked back in, locked the door and went to another part of the house.

[B]

I'm sorry to spoil the game, kiddies, but is this what you want? I found it by the door.

[A]

What are you.

[B]

It had slipped under the carpet, Mike.

[A]

All right, folks, you can put your stuff back in your pockets. Too bad, Mike. It almost worked. Ah, but it did work in a way we hadn't counted on.

[B]

Now, wait a minute. Wait a minute, Mike. You know the killer?

[A]

Positively, darling. The confession is right on top that table in the secret room. I don't get it, Mike. There's nothing on this table.

[B]

Just a candle. Dust and grit and splotches of wax.

[A]

That's all, angel. But it's enough to convict the murderer. Oh, Folly, Dawdle. Nobody ain't ever hanged a ghost. Take more than a smart, big city detective. Well, I can't believe the movin. I don't think there's any buried Treasure? It's quite possible. But Patton and his killer thought otherwise. They wanted no one on this property wanted while they were hunting. So, the haunted house routine.

[B]

But how could Mr. Patton be so cold blooded? Father's friend and attorney deliberately scaring him to death? Well, he probably didn't intend to go that far, Ms. Gilgall. Hey, come on, Mike. Who gave Patton the tit for tat?

[A]

All right, all right. Now, as you notice from these candle dippings, somebody spent plenty of time at this table going over the papers about Black Miguel and the express box.

[B]

Father, we found that diagram in his handwriting.

[A]

And somebody else in just the last day or so. Somebody who emptied his pockets onto this table. Perhaps searching for a pencil and notepaper. Mike, there's a limit to crystal gazing. You can't. Can't I? Brush your hand over the tabletop. That's it. Now, what have you got in your palm? Dust and grit. All right. Now pick out some of that grit and eat it. Go on. Go on. It's not dirt. Seems to me. Yeah, I'm sure I've tasted this before. Yes, in restaurants on rolls. It's poppy seed.

[B]

This is the end.

[A]

And in whose pockets did we find a broken package of poppy seed?

[B]

Hey, Dick's the garden.

[A]

All right, maybe I was in there. I used to play in this house when I was a kid. It was all busted down. I knew every inch of it. That don't spell nothing. Oh, it does. You were very careful not to tell us about this room. Not even Mr. Patton. All right. Mr. Patton hired me to watch thick. And you folks figured Dick was cheating. Then in chain, I killed him. Nobody can change that. A dead man's diary can. Dick, the day Mr. Kilgallen died, he wrote that he cleaned all his guns, including the old derringer. You mean there are only two sets of fingerprints on the gun? Yes. Kilgallan and the man who fired. Yes, Dick, that's exactly what I mean.

[B]

You know something? That was very sweet of you, Faraday. Coming clear out to Moccasin Hill just to be Mike's bodyguard.

[A]

Yes, sir. And driving us back home in a police car. Sure beats that. Bus trip was doggone nice of you, Faraday. I cut the sentiment. Maybe I just want to sell a couple of extra tickets to the Policeman's ball.

[B]

We need those as a policeman, Mr. Inspector, and as a detective. Mr. Shane, there's one thing you did in this case which I don't understand.

[A]

Only one, Ms. Knight. You are improving, smarty.

[B]

You and Mike knew you could catch old Dick by His fingerprints on the derringer. So why'd you bother to look for a missing door key? And Mike, act so big and brainy about the poppy seeds.

[A]

Honey, never put all your money on one horse. We were both afraid Dick had already wiped his fingerprints off the gun. But we didn't tell him that time was a wasting. And it was a good shortcut. Uhuh.

[B]

Just as I thought. The big city boys had to crack it fast before the local hay seeds took over the case. And your glory.

[A]

Why, Phyllis, how can you say such a. Tune in again next week at 8:30 for another adventure with Michael Shane Private Detective. Starring Wally Mayer and Kathy Lewis. With Joe Forte. Tonight's story was written by Richard DeGraff and based on the character created created by Brett Halliday. Music was composed and directed by Bernard Katz. This is John Lang saying good night for the people who make 76 gasoline and Triton motor oil. Union Oil Company. This is the mutual Don Lee Broadcasting estimate.

[B]

Hello, Wacky Shorty, how are you?

[A]

Why don't you get back in town? About an hour ago I was going to call you from the station but all the phones were busy. Where are you now, Shorty? I'm in Delaney's Drugstore on the corner of Sunset Parkway in Oak Lane. Well, say, that's not far from here. Grab a cab and come on up. I'll bring you up to date on what's happened since you've been gone. You all right, Shorty? Sure, boss. I've gone straight. I'm gonna go straight. Well, go straight out of that drugstore, get straight into a cab and come straight up here to my apartment.

[B]

I will be seeing you, boss. So long. Help me. Help me. I saw it. I saw it.

[A]

Help.

[B]

Hey. Hey, lady. Lady, let call me. I don't know you. I saw it. I saw it. You're so hot, lady saw a ghost. I saw a ghost and came right after me in that house. Dad. Get the police. Get the police. No. No. Yet you talking to the wrong guy.

[A]

For getting the police.

[B]

Lady. You better get back in the house. No, no, no, no. I won't go back in the house. Not ever. I go. Please. Please. Please help me. I can't help you, lady, but I know a guy who can. I'll take you to Boston Blacky, and let him take it from there.

[A]

And now back to Boston Blackie. Enemy to those who make him an enemy. Friend to those who have no friend.

[B]

Gee, Blackie, what do you figure is this dame on the level about seeing a ghost?

[A]

I don't know, Shorty, but I'm glad you brought her up to my apartment. She's hysterical enough to need medical attention.

[B]

Gosh, she sure is, boss.

[A]

Will Ms. Wesley fix her up okay again? I hope so. She said she'd be right over and have a look at him. This gal really thinks she saw a ghost, huh, boss? Yeah, she does. Which house did you say she came out of, Shorty? The great big joint right.

[B]

Right next to Delaney's Drugstore.

[A]

Oh, yeah, I know the place. Wealthy old woman. Alone too. I think her name is Worthington.

[B]

Who's this ghost seeing?

[A]

Dame Blackie, obviously. Mrs. Worthington's maid. She's wearing a maid's apron under a coat. Oh, at last, there's Mary. Come in.

[B]

Hello, Blackie.

[A]

Hello, Mary.

[B]

Hi, Ms. Wesley. Hello, Shorty. Oh, welcome back. Thanks.

[A]

Save all that for later, will you? Take a look at our patient here, Mary, and make some use of your training as a nurse, will you?

[B]

Well, I'll do my best. Oh, golly, she looks as if she's had a terrible scare.

[A]

She has had a scare. She thinks she saw a ghost.

[B]

A ghost? Yeah, Ms. Wesley. She came screaming out of the Worthington.

[A]

Mansion and died down the street like.

[B]

A ghost was chasing after with a pitchfork. Well, I don't believe in ghosts, Shorty, but whatever this girl saw, I think she saw. She's certainly frightened. I think we better put her to bed here just. Just for a little while, Blackie, until she's rational enough to talk to. She's really only semi conscious now.

[A]

Okay, anything you say.

[B]

Help me carry him into the bedroom, will you?

[A]

Shorty, you help her. Sure. I'm going to call Faraday. I don't believe in ghosts, but something frightened this girl and maybe we ought to find out what it was.

[B]

Now lift your K, Shorty.

[A]

Yeah.

[B]

Don't worry, Ms. Wesley. I got her. Open the bedroom door and I'll carry you right here. Right.

[A]

Take.

[B]

For a little thing, she sure is happy.

[A]

Finally speaking. Hello, Inspector, this is Blackie. Well, here comes the end of a perfect day. I like that line better when it's sung. But listen, I have a girl here in my apartment who's frightened half to death. What'd she do, get a good look at you? No, at a ghost. I see. Well, in that case, a ghost. Faraday, listen, I don't want. I'll tell you what you don't. You don't have anything to talk to me about. And even if you did, I don't want to listen to you. Goodbye. Faraday, don't be a cluck, Faraday.

[B]

Hey, Blackie, did you get inspected? Faraday, huh?

[A]

Yeah, Shorty, I got him, but he got sore. I guess we'll have to investigate this alone. How's the patient? Ms. Wesley's gonna put her to bed. Good. We'll leave Mary here with her and go down to the Worthington mansion together and see what's what. Okay. Ms. Wesley. Got her to talk a little, Blackie. Her name's Madeline.

[B]

And you were right, boss.

[A]

She is the maid in old Lady Worrington's joint.

[B]

Blackie, I. Oh, Mary.

[A]

Everything all right?

[B]

Yeah, yeah, I think so. The minute I got her to bed, she fell asleep. I think she'll be all right when she wakes up.

[A]

Good. Look, do you mind staying here while Shorty and I go to the Worthington mansion and find out what frightened our friend Madeline?

[B]

All right. I'll just sit out here and read till she wakes up. Darling, be careful at the Worthington house, will you? Just the thought of ghosts terrifies me.

[A]

Not me, Mary. I'm a member of the Spook of the Month Club. Gee, Blackie, old lady Worthington sure lives in one swell joint, huh? Not one swell joint, Shorty. Three of them. She has this house, a place at Bar harbor, and a quarter million dollar shack at Palm Beach.

[B]

No wonder nobody else has got any money. She's got it all.

[A]

I would. Yes, Mrs. Worthington?

[B]

Yes?

[A]

We'd like to talk to you. May we come in?

[B]

Why, yes, of course.

[A]

Thank you. Come on, Charlie. Sure.

[B]

You gentlemen are here for some Special reason?

[A]

Yes, Mrs. Worthington. Oh, by the way, aren't you the famous concert pianist?

[B]

Well, I was in my younger days. But it's been a good 15 years since I was on the concert stage.

[A]

Has it been that long? Really, I remember you very well.

[B]

Well, why, thank you, Mr. Oh, forgive me.

[A]

I'm Boston Blackie and this is Shorty.

[B]

And how do you do? Boston Blackie and Shorty. Mr. Shorty.

[A]

Hey, I'm getting up in the world, boys. Mrs. Worthington, I hope we're not imposing on you.

[B]

You see, Imposing?

[A]

We're.

[B]

Nonsense.

[A]

I'm.

[B]

I'm quite alone here and quite happy to have company. Especially the famous Boston Blackie. Thank you, Mrs. Worthington, but forgive me when I. I say I'm quite alone. I'm not telling the truth. My maid, Madeline Burns, lives here with me, but she's out just now. She's out like a light. She said she saw a real life ghost here.

[A]

Lady, that's why we're here as a matter of fact, Ms. Worthington, we wondered if you.

[B]

You wondered if I saw the ghost that frightened Madeline?

[A]

Don't tell me you did.

[B]

Oh, dear me, no. Madeline is a very nice girl, but she's not too bright. She's always hearing and seeing things.

[A]

Well, she's in good hands. And I imagine she'll be all right again a little while. You're not alone here now, are you, Mrs. Willington?

[B]

Yes, I am.

[A]

Well, perhaps you'd better get someone to stay with you tonight.

[B]

Oh, no, I'm quite all right alone.

[A]

I think it'd be wiser if you'd get someone over for one of your family, perhaps.

[B]

I have no family except for Ernest, my nephew. And I'll be much more comfortable alone with a ghost than with him.

[A]

All right, Mrs. Worthington. We'll get your maid back to you as soon as possible.

[B]

Oh, well, you needn't worry about rushing her back. There are no ghosts here except my memories. And they're the kind of ghosts I like.

[A]

Hello, Mary.

[B]

Oh. Oh, that's so soon, lassie.

[A]

Yes, and it's just as I thought. Our friend Madeleine Burns has been frightened by one of her own hallucinations.

[B]

No ghosts, huh?

[A]

No ghosts.

[B]

Good. Good. Oh, where's Shorty?

[A]

He'll be up soon. He stopped in the delicatessen for a few things. Hungry? Mm.

[B]

I'm tired too. I was trying to read while you were gone, but the words began to get fuzzy.

[A]

Our frightened friend cause you any trouble?

[B]

No, no, she's still asleep, I guess. I haven't been in to see her since you left. I've been sitting out here.

[A]

Well, let's take a look at her, huh? If she's all right, I'd like to send her back to Mrs. Worthington.

[B]

Oh, I think she should be all right by now.

[A]

Wait. I'll open the door.

[B]

Blackie, we better go in quietly. I don't think she'd be able to take another scare tonight.

[A]

You think it's all right to turn on the light?

[B]

Yeah, I think so. You are turning on.

[A]

Thanks. And you think we ought to wake her up?

[B]

Well, I don't. I don't think it'll do her any harm.

[A]

Say, why aren't the windows open in here? Room's awfully stuffy.

[B]

I thought I better keep them closed and locked until she went to sleep. You know, just in case. And then I forgot to come in and open them.

[A]

Well, I'll open one of them now while you white wake our frightened beauty.

[B]

All right. Madeline. Madeline, what's the matter, Mary?

[A]

Why are you feeling your pulse?

[B]

I'm not feeling it because there isn't any.

[A]

What?

[B]

Blackie, this girl is dead.

[A]

Wow. Mary, you know about these things. Can you tell how she died?

[B]

No, but. No, can't. There doesn't seem to be a mark on it.

[A]

Well, I don't see how she could have been murdered. You were sitting in the room outside and the windows in here are locked.

[B]

Yeah, well, she. She might have.

[A]

I'll get the phone. Mary, don't touch anything in here just yet.

[B]

I won't. Don't worry. Hello, Mr. Boston, Blackie? Yes, this is Mrs. Worthington.

[A]

Oh, yes, Mrs. Worthington. I have.

[B]

I may. Please send her back to me quickly.

[A]

There. There are ghosts here.

[B]

I. I saw one.

[A]

Look.

[B]

Now it came nearer and nearer.

[A]

Mrs. Worthington, if you'll just. Well, I can't send Madeline back, Ms. Worthington, but take it easy. I'll get the police down there right away.

[B]

Oh, no, no, no. Not.

[A]

Not the police.

[B]

Please. You come.

[A]

You come.

[B]

But hurry.

[A]

I will, I will, Mrs. Worthington. Just be calm. I will. Goodbye.

[B]

What's the matter with Mrs. W.H.

[A]

Now? She's seeing ghosts.

[B]

What?

[A]

Well, she's seeing something.

[B]

Oh, but not a ghost. That's. That's impossible.

[A]

I know, but something's going on in that house and I think it's about time somebody did. So. Finally speaking. Finally. This is Blackie. What? With another ghost story? Not this time. I've got a dead body for you. Oh, killed by a ghost, I suppose. Maybe. So it's here in my apartment, dead, without a mark on it, and in a locked room. What? In your apartment? Yes, and don't say I did it because I didn't see where you. I'm coming right out. Look, Faraday, I think you better investigate the Worthington home before you come up here. What for? Mrs. Worthington just called me and she's seeing ghosts. Well, of all the. And look, Blankie, don't bother me about ghosts. Just stay there in your apartment and don't touch anything. I'll be up there right away.

[B]

What'd he say, Blankie?

[A]

He said he'd for us to stay here. So get your hat and coat, Mary. We're going to the Worthington mansion to find out what it's like to either speak to or spite of Spook. And now back to Boston Blackie. Madeline Burns, the maid in the home of Mrs. Worthington, one time concert pianist, is frightened by what she claims is a ghost. Blackie has the hysterical girl put to bed by his friend Mary Wesley. Then Blackie and his pal Shorty go to the Worthington home to see Mrs. Worthington. The kind old lady informs them that there are no ghosts in her home and that the maid suffers from hallucinations. Black returns to see how the maid is getting along, and he and Mary find her dead. Mrs. Worthington phones her hysterically for Blackie to come to her house. And as we return to our story, Blackie and Mary are at her door.

[B]

Oh, Blackie, maybe Mrs. Weing isn't home.

[A]

Well, Mary, we've knocked on the door enough times to be the police. Let's try going in and see.

[B]

W. Nice try.

[A]

Harry.

[B]

Listen.

[A]

That is.

[B]

That sounds like a little child at the piano.

[A]

Yes, it does. Guess Mrs. Worthington isn't alone after all. The music is coming from in there. Let's go in.

[B]

Hey. Hey, wait for me. I. I just don't want the ghost to think I came in on his gorses.

[A]

Sorry. Gee, whoever's playing that piano semi has a lot to learn.

[B]

Yeah, but whoever it is said better.

[A]

Mary, look who's at the keyboard. Who? Mrs. Wellington Mrs.

[B]

Playing that thing over and over again. Oh, no.

[A]

Oh, yes. Mrs. Worthington.

[B]

Mrs. Worthington. Oh, hello, Mrs. Worthington.

[A]

We've come to speak to you.

[B]

Later. I can't just now. I'm practicing. I play rather well. Don't you think it should be a successful concert? But forgive me, I can't talk anymore. I must practice. Oh, Blackie.

[A]

Not here, Mary. Come over this way.

[B]

She's going out of her mind.

[A]

I know it. When I saw her a few hours ago, she was as rational as you.

[B]

And I. Blackie seeing something would. Would do this to her. May. Maybe it was a ghost. Yes, but we don't believe in ghosts. Or do we?

[A]

I don't know. You tell me. Apparently, Meline Burns was frightened to death by a ghost. Mrs. Worthington has lost her mind because of a ghost. Maybe.

[B]

Thank goodness she stopped playing.

[A]

But look at him, Mary. She's staring at the door as if she sees something.

[B]

And there's nothing to see except maybe a ghost.

[A]

Yes, Mary. And if that door opens for the first time in my life, I hope it's only Faraday. I'll get it, Mary.

[B]

Oh, it may maybe. Mrs. Worthington's nephew.

[A]

You.

[B]

You called him, didn't you?

[A]

You know I did. You held my hand so tight I hardly could dial the number.

[B]

Oh, there she goes again.

[A]

And here's Faraday. Come in, Inspector. What's going on here, Blankie? You'll find out. What about the Girl in my apartment. How did she die? Plain case of heart failure. Then that proves it. Proves what? She was frightened to death by a ghost. Sure, she. Are you still yapping about ghosts? I quit believing in ghosts when I was. Hey, who's playing the piano in the other room? Margaret Worthington. The one who used to be a famous concert pianist? Yes. And Faraday. She's completely out of her mind. Crazy. Driven crazy by a ghost blankie. One more crack out of you about. Come inside and talk to her. You'll find out for yourself. I sure will. Let's go.

[B]

Oh, hello.

[A]

Now, Ms. Wesley. Don't you give me any crazy talk about ghost.

[B]

I don't think it'll be very crazy if I do infect her. Listen, I.

[A]

Well, that's the door. I'll get it and I'll talk to Mrs. Worthington. Mrs. Worthington?

[B]

Yes?

[A]

May I talk to you a minute? Yes, I'm coming. Yes? I'm Ernest Cleland, Mrs. Worthington's nephew. Oh, yes. Thank you for coming over. Come in, will you? Who are you? Boston Blackie. Yeah. What's going on? I don't know. One of the reasons I wanted to see you is that I thought maybe you could tell me. Yeah, what? Who would frighten your aunt's maid to death and pull a stunt that has frightened your aunt out of her mind? The maid's dead. My aunt's out of her mind? Yes. And apparently both because of ghosts. You must be a little out of your mind, too. No, just a little out of my class. I don't know how to fight ghosts. Don't look at me. I don't either. I don't want to have anything to do with my aunt because she has nothing to do with. She kept me out of her will about 10 years ago. Now, what's that? Your aunt practicing for the concert she's going to give tonight. I wish I were. Come on in and have a look at it. Yeah. I want to see this. Mrs. Worthington, please don't start that all over again. I can't stand it. It's no use trying. Faraday. Huh? No, it's you again. Yes, Faraday. And this is Ernest Cleland. Mrs. Worthington's next. You. How are you, Inspector? Ms. Wesley, Mr. Quinn.

[B]

How do you do, Mr. How do.

[A]

You do, Ms. Wesley? You live here? Cleveland? No, not in this place. It gives me the creeps. Just a minute, Mikey. I'll take that. But it's probably Shorty for me. I'll take it just the same. Hello, Mr. Far? Yeah. This is Rollins at headquarters. Yeah? I have some information, Inspector. House Mrs. Worthington lives in is on property that belongs to the Matthews Realty Company. So what? Quit wasting your time, British inspector. The Matthews Realty Company wanted to buy Mrs. Worthington's house. She wouldn't sell. You know who owns the Matthews Company? Who? Joe Ghost? No. Charlie Kingston. Boston Blackie's best friend. Uh. Oh, thanks, Rollins. This is beginning to make sense. Bang. Bryant. All right, blankie. Come on. Quietly. Come along. Where? What for? To headquarters. I'll worry about the charge later. I thought you were at the bottom of this. Your pal Charlie Kingston wants this house. And dreaming up ghosts is your way of getting Mrs. Worthington to sell it. Come on.

[B]

Oh, Blackie.

[A]

I said get going. Blackie. Stop nudging me with that gun. I'll go stay here with Cleland and Mrs. Worthington. Mary. I'll be back inside an hour. Yeah, in an hour you'll be inside a cell, Blackie, and you have to.

[B]

Oh, dear. I was afraid this would happen.

[A]

This fellow Blackie, always getting into trouble.

[B]

Always Mr. Cleland. And it's always because he's helping others, too.

[A]

Teacher him mind his own business. Excuse me. I'll be back soon. There's something I want from upstairs. I left it here the other day.

[B]

Yes, of course. Mrs. Worthington. Mrs. Worthington, couldn't you please stop playing those same notes over and over again? I have to practice, my dear. The conference is tonight, you know. Yes, I know, but. But if you just.

[A]

I am the. Of the Worthington house.

[B]

I heard it. Oh, yes, I heard it too, Ms. Wesley.

[A]

I am the Worthington.

[B]

Where is that voice coming from? I can't see anything. I don't either. But there is a ghost. This time I hear it. This time I really hear it.

[A]

I am the invisible ghost of the Worthington home. I am Ralph behind August.

[B]

This time it's real. It's real. I do hear it. I do hear it. I never should have. There really are. Now, now, now, Mrs. Worthington. Oh, my gosh. Oh, my gosh.

[A]

She's fainted. Mary. Blackie.

[B]

Blackie. Blackie, where are you?

[A]

Mary, this is Blackie. Remember everything Mrs. Worthington says or has already said. If she said anything, I'll be right in.

[B]

Well, all right, but where are you? Blackie. Blackie, I've got to revive Mrs. Worthington first. I can't. Mrs. Worthington. Mrs. Worthington, please. Please.

[A]

Here I am. Mary, what happened to Mrs. Worthington?

[B]

She's all right. She just fainted, that's all.

[A]

What did she say when she heard my voice come over the radio set?

[B]

Your voice come over the radio set? Now. Now, just what, Auntie?

[A]

Well, I left here with Faraday, but as soon as we got outside, I grabbed him, tied him up and put him under the front steps.

[B]

Oh, Blackie, you didn't.

[A]

No, but I did. I came back here, turned on the hall radio and dialed the police wavelength. Then I went outside Faraday's police car and used the microphone.

[B]

Well, I'll tell you this. Yes, you certainly sounded like a ghost, all right.

[A]

Enough to make Mrs. Worthington talk.

[B]

Yes, Blackie. She said that this time she could really hear the ghost voice. And that before she was responsible for making up all the ghost. Oh, look, look, she's a VI. That's good. Mrs. Worthington. Mrs. Worthington, you. You never really heard or saw a ghost in here before for. Did you? Oh, no, No, I. I didn't.

[A]

You pretended to see one, and you pretended to be insane. Why.

[B]

I can't tell you that. I can't, or. I'll be.

[A]

Just a minute. Faraday speaking. Faraday, this is Blackie. Blankie, stay where you are. You're under arrest. Oh, no, Faraday. And I'm going to keep moving. But there's something up in my apartment that will stay where it is if you get there. What now? Same old thing. Are they a body? A body, yes, but not the same old body. This one belongs to Ernest Cleland, and he's been murdered. You ought to know. You probably killed him. Where are you now, blankie? I'm at Mrs. Willington. All right, Blankie, you stay there, you understand? But what about the body? You can't arrest me until after you find Cleveland's body. I'll send Rollins up to see the body. I want to see you.

[B]

No, Inspector Faraday. Blackie is. Did you expect to meet him here, Inspector?

[A]

Yes. Well, he'll probably be here in a few minutes. Usually keeps his word. Mrs. Worthington, I'm afraid I have some bad news for you about your nephew, Ernest Cleland. He's. He's dead.

[B]

He's dead.

[A]

Murdered.

[B]

Oh, well, I'm sorry, of course, for him. Him, but. Well, it makes things a lot easier for me. You see, there never have been any ghosts in this house, Inspector, and I. I was never out of my mind. I was pretending.

[A]

You were? Why?

[B]

Oh, well, now that Ernest is dead, I. I can tell you. I had cut him out of my will, and he threatened to kill me unless I changed my will and left a large sum of money to Him.

[A]

Oh, I see. So you pretended to be out of your mind because if you were declared insane, you couldn't legally change your will. Huh.

[B]

It was a clever stunt, wasn't it?

[A]

Yeah, but it cost the life of Madeleine Burns.

[B]

I know. I had no idea that I would cause her.

[A]

You didn't cause her death, Mrs. Worthing. Frankie. How do I look coming out from behind curtains? Inspector? You look better going behind bars. I'm not going behind bars, Faraday. And if you think Mrs. Worthington is responsible for a maid's death, you're wrong again. What caused Madeline's death was a guilty conscience. A guilty conscience about what? What she and Ernest Cleland were plotting to do to Mrs. Worthington. They were going to kill her together. And when Mrs. Worthington told her about seeing a ghost, the maid's imagination ran away with her. And she thought she really saw ghosts herself.

[B]

The were going to kill me, Blackie.

[A]

How do you know Madeline? And Inspector, look what we found. Ernest Cleland.

[B]

Oh, my goodness.

[A]

Pushing me, will you? You mean he's not dead? Where'd you find him? Alan's in Blackie's apartment, tied up like a birthday present. I did that to him, Faraday, and told you he was dead, hoping that you'd tell Mrs. Worthing.

[B]

Well, why did you want me to think he was dead?

[A]

Well, when you wouldn't explain why you were afraid you'd be killed, I remembered what Ernest had said about being cut out of your will. So I grabbed Ernest and made him tell me about his deal with the maid. Tied him up and left him for the police. And is that all there is to this whole ghost business? That's all, Inspector. There are no such things as ghosts.

[B]

What's that.

[A]

Like? It's ghosts. Ghosts, I tell you. What are you laughing about? It's ghosts. We've been surrounded by ghosts. No, we're not, Inspector. Yes. Yes, we are. I saw one of your cops in your police car. When I came in. He probably fell asleep. The radio in here is still on. And right now he's snoring right into the police microphone. That's what that noise is, I hope. If homicide is your hobby, may I recommend a surgical knife for a nice, clean, quiet murder? I'm William Castle, and this wheelchair is just to rest my tired nerves after producing a picture like this one. We are so sure you will find it such a shocking and startling experience that we are offering a money back guarantee. At the height of the suspense, there will be a fright break, an interval during which you can quiet Your nerves. If you are too frightened to see the end of the picture, your full admission price will be refunded. Time to go downstairs now. Got a date to carve a corner, pops. Superstition on the Air SA Ladies and gentlemen, it is our pleasure to offer you another short short story in a series designed to disclose the origins of superstition. This time, we invade the nursery and reveal the origin of the terror of children. The boogeyman.

[B]

Betty, stop. I'll never get this scarf finished if you keep pulling at it. Now, if you don't stop bothering me, I'll tell the boogeyman to get you when you're in the dark by yourself. Oh, no, Dorothy, please don't tell the boogeyman. Why, Dorothy, you shouldn't frighten your little sister like that. Auntie Helen, please ask Dorothy not to let a boogeyman get. No, no, Betty, dear. There's no such thing as a bogeyman. Don't think about it anymore. Now run along to Grandma's room and visit with her. All right, Aunt Helen. Dorothy, dear, I'm surprised at you. You're old enough to know better than to put such a dreadful thought on your little sister's mind. Do you realize that it makes a deep impression on a sensitive child, instilling a fear of the dark that sometimes takes years to eradicate. But it's the only thing that'll make her stop annoying me, Aunt Helene. Well, you should try some other means of making her behave. For it was just such a thought as that that frightened a child to death hundreds of years ago and started that belief in the boogeyman. Why, how is that, Aunt Helene? Well, it has to do with an incident that took place in a little village in Serbia. Oh, about the latter part of the 9th century, I should think. It was soon after the majority of the people had been converted to Christianity. However, before that, they had believed in their own gods of nature. But when they accepted the supreme God that the Christ had proclaimed, they discarded their old gods, or bogs, as they called them. Bugs. Why, that's almost like boogie. Yes, that's what the word boogie is derived from. Or, as the belief was taken spread into different countries, the word changed slightly from time to time to bug, boogal, boo, boogie and various other forms. Why, how interesting, Aunt Helene. Yes, isn't it? But to go on. Among the people were some who were not converted to the new faith. They continued to believe in the old God of their ancestors, the God of the sun, the bog, as he was called. These people used to Meet secretly in the mountains to worship him. They even sacrificed innocent victims to gratify the demands of Debog. Hoping to secure his favor and bring good to themselves. You mean they killed human beings as a sacrifice, Aunt Helene? That's right, Dorothy. Now, it so happened that there had been a storm that had lasted for some days. And the sun had been hidden from view. The worshippers of Dabog believed that he was angry with them and demanded a sacrifice. So one night their leader, whose name was Dushan, called them to meet in their secret place in the mountains. So that they might offer up a sacrifice to appease the wrath of their God.

[A]

And listen, my people, the mighty wrath of the Bog is upon us. For days he has not shown us his face. He is displeased with us. We must make sacrifice or he will forsake us. Nay, Dushan. What shall we do? To appease the powerful Bog of the Sun? We must sacrifice one who is innocent and pure. A child of tender years. Ay, Dushan and I know of such a child. Stand for Thara. Speak. Tell us where we may find her. She is Molina, the youngest daughter of Stefan, a devout Christian. The wealthiest man in the village of Kuva. That is at the foot of these mountains. Ah, the child of Stefan. You hate Stefan, eh, Cara? Ever since he caught you in dishonest bargaining with him. Aye. And I hate him because. Because he's a Christian too, Dushar. Good, Kara. Then Stefan's child shall be our sacrifice. I, Dushar Yukara, shall go after her. For you know how the interior of the house is arranged. Cloyan and Bukhan will assist you. But, Ducharne, what if all doth not go well and the Christians should recognize me? Do not fear, Kara. I have prepared for that. You shall wear the horrible mask of the Bug of Darkness. Then, should anything go amiss, you have only to pretend that you are the Bug himself. Ay, thou art wise, Dushan. At last I will have my revenge. Now, this is what you three must do. When you are certain that the child isn't ready to sleep, Yukara, climb through the window into the child's room. Seize her and pass her out the window into the arms of Kaloyan and Bukhan. Then secure the girl in this goatskin and hurry back so we can make sacrifice to Da Bag at break of day. Tis well, Dushan. Take care, Kara, that no suspicion fall upon us. Away then. And make haste for our wrath. And Dabag doth grow more great. We must gratify him. We go, Dusharne. To the house of Steffan for our sacrifice. And may the Pug assist you.

[B]

Stefan, my husband.

[A]

Yes, Gregor, what is it?

[B]

Our little one Molina will not go to bed.

[A]

It is long past her bedtime. What is the matter with her?

[B]

She is afraid of the dark, Stefan.

[A]

Such nonsense. Come, Alina, Tell your father and mother why you are afraid of the dark.

[B]

When Mara and I were playing in the pasture today, Father, the old woman militia stopped us and told us if we did not pray to Debog, he would send the Bog of Darkness to punish us.

[A]

What? That old sorceress Milita said that. Then it is true what they say in the village. That old Milita does not believe in the God of the Christ.

[B]

Yes, and she said he'd eat us up with his big mouth that covers most of his face if we did. No, no, Milena, my child, you must.

[A]

Not believe that what old Militza has told you, my daughter is not true. Do not think of it anymore. Put it a bed dragger. Come, Melina.

[B]

Say good night to your father and to the rest of the family. Good night, father. Good night, all of you.

[A]

Good night, Melina. Good night, little sister. Good night, Melina.

[B]

Oh, how cold it is in this bedroom, Mother dear. Well, hurry. Let me undress you quickly and tuck you into bed. Then you'll be snug and warm. How much noise a sky makes, Mother. Oh, I'm afraid. Don't leave me be close by you, darling, in the room right next to you. But it will be so dark when you go. And I'm afraid of the bow. Nonsense, Melina. You have never been like this before. Now stop talking of such a thing. Into bed with you. There now, let me tuck you in. Now isn't that nice? Oh, but I don't want you to leave me, Mother, please. I'm so afraid. Mother has work to do yet to prepare for the the feast tomorrow. Besides, if you just say your prayers, the supreme God will protect you from any harm. Now kiss me. Be a good girl and go to sleep. Oh, I'm so afraid, Mother. The bug might hurt me. Hush now. Go to sleep, Melina. Good night, dear.

[A]

At last, brothers, the mother has left the room. The child is now in bed. Here's our chance. Help me to get through the window. But Kara, it is too soon. Why not wait till the child falls asleep? She may scream if she sees you. Nay, Kaloyan, we must hurry. Do not fear, for I will be careful. Come, help me. Very well, Kara. Vukan and I will stand close to the window and seize the child as you pass her out. Come, Vukan, let us lift Kara through the window. There Hercalion is in. I hope he hurries. If we should get caught by these Christians, it would mean death to us. Nay, do not fear, Vukan. We have the power of Dubog with us. Malik Debug.

[B]

What is it, Melina? Stefan. Stefan, look. That horrible creature.

[A]

Where?

[B]

Where?

[A]

Oh, I see it. I saw it again in the flash of lightning near the window. It's a bulk of darkness. Draga, quick bicycle of light.

[B]

Mileena. Mileena, child, speak to me. Speak.

[A]

Here's the light. Stefan. The bog is gone. Michael. Nicholas, Venta, hurry. Search the ground to see if you can find any trace of him. Yes, Stefan.

[B]

Melina.

[A]

What's the matter, Draga?

[B]

Oh, Stefan, I cannot rouse Melina. She is dead.

[A]

Dead? Alas. Then the bug of darkness has left his mark. Oh.

[B]

And so, because of the storm that washed away any trace of the footprints of Kara and his companions, the people believed that it had been the bog of darkness that had been there and killed the child, then vanished into thin air. Whereas in reality the child had died of fright. So gradually the belief in the boogeyman was spread about into other countries and has remained even unto this day. Now you see how ridiculous it is to say such a thing, Dorothy. Ridiculous? But I don't see anything ridiculous in that. After all, the little child died. Yes, but Dorothy, don't you see? If that old woman had not told Melina that the bog would get her, she wouldn't have been so terrified of the dark. But because that thought possessed her mind so strongly, anything that had come into her room would have affected her in the same way. For she was worked up to such a terrific pitch that the strain was too much for her delicate heart and she died of fright. Yes, Aunt Helena, that's true. But I. Aunt Helene, Mother says I gotta go to bed now and I don't want to because I'm afraid of the boogeyman. That's nonsense, Betty. Now you go up to bed like a good girl. I won't go unless Dorothy comes too. Well, I'm not coming. I'm going out with Tom this evening. Well, I'll come with you, Betty. No, no, I want Dorothy. She knows the boogeyman and you don't. And she can tell him to leave me alone. I won't go without Dorothy. Oh, good heavens, you're a perfect nuisance. You see, Dorothy, now will you ever tell Betty about the boogeyman again? My dear, I should say Not.

[A]

And so, ladies and gentlemen, Dorothy probably means what she says and will not tell little Betty about the boogeyman anymore. That is, not until she gets provoked again. Well, au revoir and good luck to you. This is Ronald Coleman inviting you to radio's most dramatic half hour favorite story. We're going to take you for a ride. No, not the kind of ride you might get from a gangster. That could be a very relaxing experience compared with what happens on this ride. You'll be accompanied by a headless horseman, the woman in white, and every moaning and groaning ghost of the eastern seaboard. As you may have guessed, our favorite story this week is Washington Irving's Legend of Sleepy Hollow. Before this half hour is over, Ichabod Crane will again shiver through the Sleepy Hollow graveyard on the most frightful mission of his life. Yes, the Adventure of Ichabod Crane is one of the finest stories from the early days of this republic. And we were very happy when our good friend Walter Houston chose it as his favorite story. Walter has brought to life many of the characters of colonial days. Among them, Rip Van Winkle and Peter Stuyvesant in Knickerbocker Holiday. Now, are you ready? We're going to the one spot in these United States which is a collector's item for lovers of good nightmares. Its name is Sleepy Hollow. It's a small glen on the east bank of the Hudson river. Not far from Tarrytown, New York. One of the quietest places in the world. And on summer afternoons, one of the loveliest. But on dark nights, it changes. You can hear strange music and voices in the air. Stars fall, and meteors shoot more often across this valley than in any other part of the country. Listen. Maybe it's the wind. Maybe not. But folks from Tarrytown will tell you it's a British major, Andre by name, who was caught by the Americans with the wrong papers in his boots on the wrong side of the lines. He's there to this day, all bloody, with a great rent in his uniform. Hanging from a tulip tree in Sleepy Hollow. Or that it might be the sound the brook makes as it eddies past that rock. Or it might be the woman in white who perished a century ago in the snow, in the dark, in Sleepy Hollow. Why don't you visit there some nights when the sky is black? It's at Raven Rock you'll find her. And if you listen well, you'll hear her soft voice wailing in the darkness. You'll hear her soft voice wailing in the darkness. But the most Famous of all the legends of Sleepy Hollow. Concerns a Hessian soldier who for three pounds ten a month, came to this quiet valley to fight for King George iii. And that sound. Well, maybe it's thunder. Maybe. Or it could be an ancient echo of a cannonball. A blast which hit that Hessian trooper in the days of the great revolution and carried away his. His head. And anybody, anybody who's been within 100 miles of this famous hollow will tell you that the Hessian trooper, the headless horseman, Rides in search of his head. Not far from Sleepy Hollow there's a schoolhouse. And early in our country's history, it had a schoolmaster name of Ichabod Crane.

[B]

All right, children, repeat after me. A penny saved is a penny earned. A penny saved is a penny earned. Very good. Very good.

[A]

Next.

[B]

A stitch in time saves nine. A stitch in time. Excellent. Now, honesty is the best policy. Why? Why is honesty the best policy? Why, young man? Why, indeed? Because the honest man sleeps at night with no ghost to haunt him. Now, let us have this maxim, and all together now. Honesty is the best policy. That was very good. Very good. Now, if you'll turn. Hey, give me that.

[A]

Aha.

[B]

Ow. No spitballs in my classroom. You'll remember that, boy and thank me for it the longest day you live. Now, class, we will. Yes, yes. Who is it?

[A]

Mr. Ichabod. Can I see you, Mr. Ichabod?

[B]

Certainly. Certainly. Children, I'm stepping out of the room for a moment. You will turn to page 74 in your book of maxims and begin to memorize the first three on the page in silence. You're the hired man over at the Van Tassels, aren't you? Has Katrina sent me a love message?

[A]

Ms. Katrina and her papa sent me over to tell you that you were supposed to come over to their house tonight.

[B]

They do? I mean, I am.

[A]

They'd be holding the quilt and frolic.

[B]

How lovely. How perfectly lovely. Who else is invited? Well, let's see.

[A]

There'd be the Mullers and crosses and Mr. Van Ripper and Mr. Brown his lady.

[B]

Anyone else? Any other men?

[A]

If you mean Mr. Brown Bones, is he coming?

[B]

Yes. Is Brom Bones coming too?

[A]

He'll be there. Sure saw him Kern as horse a little while ago. Sure looks good on that horse. Don't he, though? He's the handsomest fellow I ever did see.

[B]

That's all. That's enough. I know all about Brown Bones. Katrina and her father want to see us both together. That's so they can proceed. Perceive how much more desirable I Would be for a husband and son in law than Brown bones. Yes, that's it. That's exactly. It.

[A]

Starts early, by the sundown. Ms. Katrina said you shouldn't be late.

[B]

Oh, I'll be there on time in plenty of time. And ahead of brom bones, too. Mr. Van Ripper.

[A]

Huh? Oh, you startled me, Ichabod.

[B]

Oh, I'm sorry.

[A]

What do you want, you scarecrow? Whatever you want, the answer is no.

[B]

Mr. Van Ritter, I'm going to a quilting frolic this evening.

[A]

Where?

[B]

At Mr. Van Tassel's farm.

[A]

And the old boy invited you? Must be crazier than I thought.

[B]

I fancy he's invited me for his daughter, Katrina Van Tassel.

[A]

Then he has gone crazy.

[B]

There's one favor I want to ask you, Mr. Van Ripper. I'll be returning rather late this evening, and Van Tassels is quite. And I. I should like to borrow a horse.

[A]

Oh, you would?

[B]

Yes.

[A]

Well, my first answer would be no. But if I lend you a horse, there is the possibility that you might fall out of the saddle and break your neck, which would end the plague of Ichabod Crane and the whole countryside. So, for the possible betterment of the community, I will lend you a horse, Ichabod.

[B]

You will? That's very generous of you, Mr. Van Ripper. What horse am I to use? The large roan with a white forehead? The gray mare?

[A]

Oh, no, no. I have a much better horse in mind for you, Ichabod. Really? Gunpowder is the horse for you.

[B]

Gunpowder?

[A]

That's right.

[B]

But he's slightly swayback, isn't he?

[A]

Better for speed and a little blind. Sharp ears, that horse.

[B]

Doesn't he limp?

[A]

Best for riding in hilly country. Knows his way around.

[B]

Oh, yes. But perhaps if you could let me have a different horse.

[A]

You mean you don't want to accept Gunpowder?

[B]

No, no, no, no, no. Certainly not. Indeed. No, I.

[A]

Well, then, it's all settled. You ride Gunpowder?

[B]

Yes, I ride gun. A beautiful afternoon, Gunpowder. A beautiful afternoon tonight. Oh, tonight, Katrina Van Tassel and I will dance and eat. And do you know what else? Oh, but of course you couldn't.

[A]

Oh, no.

[B]

You're just a horse. Tonight, Gunpowder, I'm going to kiss Katrina. Oh, you're wrong, Grandpa.

[A]

I am.

[B]

I definitely am going to kiss Katrina tonight. Oh, Katrina and I will be married. Married. Married. Katrina and I will be married before the winter's up. Before the winter's up, Katrina and I will be married. And I will be rich. Yes. Nice. Nice. Yes, very nice.

[A]

Welcome, welcome. Welcome, everyone. Welcome. One and a party, Mr. Benteto.

[B]

That's a nice party. Very nice of you.

[A]

Just enjoy yourself, my friends.

[B]

Everyone have a good time.

[A]

What broil, Shad and quin shake and ham and smoked beef and sweet cakes.

[B]

And joy cakes and ginger cakes and.

[A]

Ani cakes and apple pies and peach.

[B]

Pie and pumpkin pie. F yourself, friends. F to everyone. Help yourself. Oh, Father.

[A]

Yes?

[B]

Has everyone arrived? Are all the guests here?

[A]

Why, I believe so. Yes. Yes, yes, yes, I think so.

[B]

Oh, you mean. I'm worried he wouldn't be late. Especially for the food. Ah, my greetings, Mr. Van Tassel. And a sweet good evening to you, Katrina. Oh, Ichabod. You're here at last. Yes, I'm. I'm here.

[A]

Welcome, schoolmaster.

[B]

Welcome.

[A]

Help yourself to anything.

[B]

Oh, thank you. Thank you. Thank you very much. I believe I shall. I, I. Katrina, would you join me at the table? Of course. Say goodbye. Thank you, Katrina. Thank you. Thank you.

[A]

Hello, Katrina.

[B]

Well, Mr. Brambone. Good evening, Brahm. Good evening.

[A]

Say, Ichabod, is that yours? That thing in the stable?

[B]

You mean. Gunpowder?

[A]

Gunpowder. Gunpowder. Is that what you call him?

[B]

That's right.

[A]

Careful he doesn't explode. School teacher. That horse should be stuffed and put in a museum. Did he really get you here?

[B]

He certainly did. He most very certainly brought me here. I'm glad you're here, Ichabod.

[A]

Miracle. Absolute miracle.

[B]

Ram bones. You can't talk that way about Ichabod's horse. Hans von Ripper says there's more lucking devil in gunpowder than in any young filly in the country. And I believe him.

[A]

Well, Katrina, are we going to eat?

[B]

Ichabod and I are eating together.

[A]

Yes.

[B]

Katrina and I are eating together. Together.

[A]

Dance, Katrina.

[B]

Ichabod is just asking me to dance with you. He's a very good dancer. It's a boss. This is our dance. Oh, yes.

[A]

Yes.

[B]

This is our dance. Come along, Katrina. See you later, Mr. Bones.

[A]

Schoolmaster is doing pretty well, Bron. No offense. Wonder how that undernourished little suckling could dance off with the prettiest girl here. Undernourished? That school teacher has the appetite of a baby elephant. I watched him at the table and he didn't stop until he completely demolished one whole hind quarter of the two year sow. Plump as a partridge, she is. Fresh 18. Prettiest foot and ankle in the country around. Father's rich too. Any man marry her, do himself fine for.

[B]

Ah.

[A]

She's taken a fancy to that goose of a schoolmaster. Why don't you get rid of Ichabod? Kill him. I couldn't do that. There are less drastic ways of getting rid of people. But just as permanent prime. I wonder if the schoolmaster believes in ghost stories. What if he does? Seen him hurrying home a night scared of his own shadow? Trembles. Always trembles. Yeah. What does that to do with me? There's one answer for you, Brom boy. Scare him out of town. Think it over, Brom. Scare him out of town. Scare him out of town. Yeah. The rest of the boys help you? We'll all help you. Scaring out of town. We're bringing you Walter Houston's favorite story this week. Washington Irving's Legend of Sleepy Hollow. And it brings us into intimate acquaintance. With this slightly objectionable story. Schoolmaster Ichabod Crane. And since Ichabod is making eyes at one of the most beautiful young ladies in the neighborhood. Certain envious young gentlemen from thereabouts would like to get rid of Ichabod. And they're going to work on him right now. In the sitting room of the Van Tassels. Here's favorite story. Act two.

[B]

Now, now, now.

[A]

You know it's all right to be with women for food and dancing and singing. But when it comes to storytelling. No, women don't need women for storytelling. You, Hans, you always have a good tale to tell. Yes, Van Ripper, tell us.

[B]

Yes, tell us, Mr. Van Ripper.

[A]

Well, that tulip tree in the center of Hollow Road. Major Andre's tree. You know it? Ichabod.

[B]

Major Andre's tree.

[A]

Yes, I've seen him all bloody with a great rent in his uniform. Hanging on that tulip tree. And some nights, if the wind's just right, the air's cool and you haven't your wits about you. You'll hear his great voice throwing out his mighty curse. Stay. Stay here with me forever.

[B]

Forever. That's a long time.

[A]

But what about the lost woman?

[B]

The lost woman? Yes.

[A]

Yes, At Raven Rock you'll find her of an evening.

[B]

Just as she was that night when.

[A]

She perished in the snow.

[B]

And she comes back. Oh, yes.

[A]

And you'll hear a soft voice wailing in the darkness.

[B]

Wailing in the dark. My, what an unpleasant thing to do.

[A]

Isn't it, gentlemen? There's no story to compare with the one about the headless Hessian.

[B]

Headless Hessian?

[A]

His body was buried in the churchyard. But every night he goes riding, looking for his head. Gallops all over the countryside. Galloping Hessian.

[B]

Galloping Hessian.

[A]

Headless horseman.

[B]

Headless horseman.

[A]

Been seen lately, too, on his black horse. All in black and no head.

[B]

No Head?

[A]

My no head. Just moonlight where his head should have been. Wasn't more than 2 months ago I met this galloping Hessian. You did? Brahm. He had his head with him, but he was carrying it under his arm.

[B]

What did you do?

[A]

Do? Why, I just looked right at him and where his head wasn't. And I told him my horse Daredevil could outrun any horse in the valley. And I offered to race him.

[B]

You actually race the Headless Horseman?

[A]

Sure, I raced him. But he gave up cuz he knew he couldn't beat my horse. Daredevil. Weren't you frightened, Mr. Brown Bones frightened me. I'm not scared of anything.

[B]

Not even of ghost without head?

[A]

With or without a head, no ghost can scare me.

[B]

I, I, I don't think I'd be frightened either.

[A]

Katrina and I are very glad you could come again. Maybe soon we'll do the same thing for a special occasion.

[B]

Good night, my friends.

[A]

Good night.

[B]

Katrina. Katrina. Oh, Katrina, I must see you. I thought you'd left. Katrina. I heard your father speaking and I. Katrina, could we get away from the others? Just a moment, Ichabod. I'm surprised. Please, I have something very important to say to you before I leave here tonight. Please. Well, in the cloakroom. No one can see us here. Oh, good. Fine. Excellent. Oh, now, ichabod, we're alone, Ms. Katrina. Alone. You and I, for the first time this evening. You said you had something very important to say to me, Ichabod. What is it? Oh, it's very difficult to speak when you're so near to me, Katrina. Very difficult. Ichabod Crane. You aren't going to take advantage of me, are you? Oh, no, no, no, no, no indeed. Night by the. Katrina. I should say not. No, indeedy. No, no, no, no. But I can kiss you. Kiss me? Oh, after tonight, I know it is only a matter of a very short while until you and I are married. Ichabod Crane. Don't you come a step nearer. And now I know that you love me. And I. Katrina. Katrina, my love. I'm not your love. I never was and I never shall be. But, but tonight you. Actually, you were invited tonight only to help Mr. Brom Bones make up his mind about me. And I never. Bones, you only wanted me here to make him jealous. Now, Mr. Fantastic.

[A]

Oh, this is what you're doing about.

[B]

Now, now, Mr. Van Tassel. Katrine and I were only out.

[A]

Mr. Ichaban, please.

[B]

I only. Mr. Van Tassel. And here is your hat and your coat. But I only was.

[A]

And Your umbrella.

[B]

Oh, but I only.

[A]

And would never come near my daughter again. Oh.

[B]

Oh, and get that broken down old.

[A]

Plow horse out of my barn.

[B]

Come on, you old flea bitten nag. We're leaving here. Well, horse, come, come. Move, move. Spend all your time dreaming of mountains of corn and oats and whole valleys of timothy and clover. Oh, move. We must get home sometime tonight. What is that? What? Oh, just. Just a hoot howl, I guess. Gunpowder, don't waste time. Let's get home. We must get home. Oh, Katrina and I won't be married. Won't be married. Why do you stop? Horse? Move.

[A]

It's.

[B]

It's Major Andre's tree. Oh.

[A]

I've seen him. All bloody with a great rent in his uniform, hanging on that tree.

[B]

Oh, gracious me.

[A]

And some nights, if the wind's just right and the air's cool. You'll hear his great voice throwing out his mighty curse. Oh, dear. Stay.

[B]

Stay.

[A]

All you souls. Stay here with me forever.

[B]

Oh, my goodness. Move, Gunpowder. Get a move on.

[A]

Oh, what. What would. It's a Draven rock. You find her of a winter evening. Just as she was that night she perished at the stove. Merciful heaven.

[B]

And she comes back.

[A]

And you hear her soft voice. Wailing in the darkness. Wailing in the darkness. Oh, move.

[B]

Move, horse. Move. Oh, my goodness. We're at the churchyard.

[A]

His body was buried in the churchyard. But every night he goes riding, looking for his head. Lord protect me. I look right at him where his head was. And I told him that my horse, Daredevil, could outrun any horse in the valley. And I offered to race him.

[B]

Gracious.

[A]

No head. Just moonlight where his head should have been. Headless horsemen of Sleepy Hollow.

[B]

Oh, dear.

[A]

Galloping, golping. No head.

[B]

No head.

[A]

No head at all.

[B]

No head at all. Headless, Headless.

[A]

Headless horseman of Sleepy Hollow.

[B]

Oh.

[A]

Oh, there he is.

[B]

Gunpowder. If you ever lived up to your name, do it now. Gunpowder. This is no time to stand still.

[A]

Move, you old bone bag.

[B]

Oh, he's coming closer. Closer, closer. He. He has no head. It's the Headless Horseman. He's carrying his head under his arm. No, no, no, no. Don't throw it. If you ever were a human being. Don't throw your head at me.

[A]

Don't throw your. He didn't come home from your party the other night, Ichabod.

[B]

He left in a great hurry, too.

[A]

Funny thing. Found Gunpowder, the horse I lent him. Grazing in my far pasture the next morning.

[B]

I wonder what became of Ichabod.

[A]

Well. Oh, hello, Brom. Hello. Hello. Just telling Katrina I haven't seen Hide and a hair of Ichabod Crane since the party the other night. No. Telling her how I found his hat in the pasture by the church. Oh, yes. And a squashed pumpkin. Hat and squashed pumpkin? Yeah. Well, Brahma, I don't understand. Hat and squash, pumpkin and no Ichabod Crane. No Ichabod Crane. Guess we'll have to get a new schoolmaster. Yeah. Yes, I. I guess we will. Katrina and I will want our children to be educated.

[B]

Brahm, no one is supposed to know we're going to be married.

[A]

Well, I. I think it's all right. Did you say squashed pumpkin? About the size of a man's head? Why, yes. Now, do you suppose that that had anything to do with the strange disappearance of Mr. Ichabod Crane? To this day, legend has it in Tarrytown, New York, that Mr. Ichabod Crane took a very sudden trip. When last seen, he was headed west in a great hurry. Nobody knows just where he stopped traveling west. But if you should drop into a schoolroom in the city of San Francisco, you might hear the children to this.

[B]

Day saying, honesty is the best policy.

[A]

And in a school in Hawaii, an island that lies far to the west of Sleepy Hollow and Tarrytown, New York, you can hear other children say, a penny saved.

[B]

It's a penny earned.

[A]

And travellers will tell you on good authority that somewhere in a mission school in central China, about as far west as you can go. Before you start heading back towards Sleepy Hollow again, certain Chinese children recite this. Ma. And so we take our leave of the legended schoolmaster of Sleepy Hollow. The young man who played Ichabod in our favorite story is not only one of Hollywood's best young character actors, but also a famous songwriter whose popular tunes you've heard many times over your radio. His name is Sydney Miller. Claude Sweeten conducted the Favorite Story orchestra. And Walter Houston chose the Legend of Sleepy Hollow as his particular favorite story. Next week, cloak and dagger. Yes, we have a real swashbuckler. For our next favorite story broadcast. The Three Musketeers of Alexandra Dumas. Chosen as the favorite story of the former heavyweight boxing champion of the world, Mr. Gene Tunney. If you tune this way next week you'll meet the indestructible d' Artagnan and many other old friends from the pages of the Three Musketeers. We hope you'll be listening.

[B]

Sam.

[A]

From Hollywood, the Screen Director's Playhouse. Screen Directors playhouse star Dorothy McGuire production Spiral Staircase Director Robert Siotmax the Hollywood screen directors present a play on silent words, the motion picture drama Spiral Staircase, starring Dorothy Maguire in her original role of Helen.

[B]

Golly. Helen. Sunday school is all right, but I wish they'd treat us like women. My Golly. They make us skip the Book of Ruth and the Song of Songs, which is Solomon's. Especially that. My Golly. It's in the Bible. Oh, it's beautiful. My beloved spoke and said unto me. Rise up, my love, my fair one, and come away. For lo, the winter is past. The rain is over and gone. What's wrong with that? I'd like to know. Oh, it's beautiful. And St. Elmo. What's wrong? Reading St. Elmo now? If you ask me, I think that the. My golly. A fire on Sunday. Yes. Let's follow it. Helen. Run, Helen. It's your house. There's Mother in the window.

[A]

Mother. Daddy. It's no use.

[B]

I'm going. I'm going inside.

[A]

It's no use.

[B]

Let me go. Let me help you.

[A]

Nothing. Mother.

[B]

She goes.

[A]

Mother.

[B]

Harsh child. Mother. Don't cry out. Don't speak. There's no need to speak now. It's all over, my daughter. So hush, hush, hush. From that day on, I was never able to speak again. Whenever I tried, I'd hear my mother's voice again. My mother who had died in the fire. Saying, hush, child, hush. I could make people understand me with simple signs. A nod, a shake of my head, pad and pencil. Later, I left my hometown to take domestic work with the Warren family. Professor Albert Warren, his half brother, Stephen, and his stepmother, Mrs. Warren. It was all I wanted. Then one Friday evening, I was coming home from the village where I'd gone to see that newfangled amusement, motion pictures. It was a bleak November dusk. And there'd been some mysterious excitement in town. Something quite terrible. I didn't know what.

[A]

Ellen? Ellen, is that you in the road?

[B]

It's Dr. Perry. It's the young doctor who likes me, I think.

[A]

Helen. Oh. Oh, it is.

[B]

You nod and smile, Helen, as though you could speak, but choose to nod and smile as ladies do by choice.

[A]

It's good to see you smile. Well, hop in, and I'll drive you right onto the Warren's gatehouse. Here. Here's a hand. You go. Yep. Gillen. Well, I've missed you, Helen. How have you been, Helen?

[B]

Smile and nod. Good, good. He's missed me.

[A]

He says it wasn't a very nice thing happened in town on your day off.

[B]

Oh, what was it? I.

[A]

Young woman, rather pretty. Young cripple was murdered, you know that.

[B]

Another one.

[A]

I'm telling you because I want you to be very careful about going out after nightfall, that's all.

[B]

He's kind. Could he really light me?

[A]

No. Now, tell me, how much longer are you going to stay on at the Warrens?

[B]

I know what he means, you know.

[A]

You've got to make an effort to get back your voice, Helen.

[B]

Oh, he mustn't.

[A]

I know. Much rather. I wouldn't talk about it.

[B]

I would rather not.

[A]

That there isn't a certain beauty and grace in your stillness. You're not mute. You're still, but somehow eloquent.

[B]

Oh, I love him so.

[A]

And everything you think is in your eyes, Helen. Good night. Helen. Be careful.

[B]

Thunder. Hurry. Only a few more yards to the house. Rattle a stick on the picket fence. My kind of whistling in the dark. Crippled girl murdered. Why? Faster. Faster. Run.

[A]

Oh, it's you, Helen.

[B]

Professor Warren, he looks worried.

[A]

Or angry. I'm glad you're here, Helen. I wonder if you'll go up to see my stepmother. She's feeling worse again. Thank you, Helen. Thank you.

[B]

You. Where have you been, Helen? It's late. She never remembers my night out. Oh, put that eternal pencil and pad away. Never mind. She doesn't mean to hurt. I hoped you were never coming back tonight.

[A]

Why?

[B]

What can she mean? Helen, Run away if you know what's good for you. Run away. What'd she say? Leave this house tonight, Helen.

[A]

Mother.

[B]

Oh, don't call me Mother. Albert.

[A]

The most shocking thing has happened in town.

[B]

There's been another murder.

[A]

Why? How would you know?

[B]

Yes, how. How do you know, Albert?

[A]

Well, the constable was just here. Very curious. I'm mentioning this in Helen's presence for good reasons. Every one of those murdered girls had some kind of affliction.

[B]

Affliction? Yes. The servant girl had a bad scar. Second one was wrong in the head.

[A]

This one limped.

[B]

Albert, where is Stephen?

[A]

Stephen?

[B]

Has Stephen come in yet?

[A]

Why?

[B]

Answer me.

[A]

No. Why? Because.

[B]

There'S the rain. He'll be drenched. That's why.

[A]

I want Helen to be especially careful for the next few days.

[B]

He's good, too. Kind and thoughtful and good.

[A]

Helen, if you see anything at all outside this house that makes you suspicious, I want you to tell me.

[B]

Yes. Not yes, thank you.

[A]

I have some dictation to give blanche on my book. Remember what I told you, Helen, and don't trust anyone.

[B]

Helen, pack your things and leave. Leave? No. Why? Where? No. Just shake your head off if you like, but Leave tomorrow. Meanwhile, there's a gun in my dressing. No, I'm afraid of God. Stop shaking your head at me, girl. Stop contradicting me. You're in danger here.

[A]

Do you want.

[B]

It's an attack. Dr. Perry. Get me Dr. Perry. Hurry. Stephen.

[A]

Yes, Mother. I just got in.

[B]

Drenched. His shoes coated with mud. Where's Dr. Parry?

[A]

On the way.

[B]

Mother, there's been another murder.

[A]

Oh, has there?

[B]

Oh, why didn't you stay in Paris?

[A]

Don't you want me with you? Mother?

[B]

Where were you tonight?

[A]

If you must know.

[B]

I must know? Yes. She knows something.

[A]

Something I. I was out walking. With Blanche?

[B]

No, Blanche. Professor Warren's secretary. They both like. I think the professor will want to talk to you, Stephen.

[A]

About the murder.

[B]

Why, no Stephen. About Blanche, his secretary.

[A]

Very well, Mother.

[B]

It's quiet now. We're waiting for Dr. Perry to arrive. Quiet now? But the professor and Stephen have had a dreadful quarrel about Blanche. She's very pretty and no afflictions, and so men quarrel over her. Stephen and the professor hate each other, and it's so terrible. Both, after all, had the same father. Dr. Perry. You know, Dr. Perry, you look a little like my husband.

[A]

Oh, really, Mrs. Warren.

[B]

Yes. Was he kind too? Hesitant, gentle and kind to girls with afflictions.

[A]

Well, I'm flattered. Thank you.

[B]

He always told me I wasn't as beautiful as his first wife, but that I was a much better shot. He has a gun in this very room. Yes. The beauty my husband admired was the beauty of strength and of character. Both of his sons were weaklings, Stephen and the professor. I'm Weak too. Afflicted. Dr. Perry, you love Helen, Mrs. Warren. If you love her, and I know you do, get her out of this house now.

[A]

You're upsetting yourself again.

[B]

Get her out of this house while there's still time. Do you hear me? Do you? Do you? Do you?

[A]

Helen. Helen. Brandy. Quickly.

[B]

Brandy. Brandy. I've looked everywhere. None. None in the pantry, none in the closet. I'll run into the study to find Professor Warren. Brandy. Brandy.

[A]

Write it out here, will you?

[B]

Yes. B, R, A, N, D. Yes. Brandy. Yes.

[A]

I'll have to fetch a bottle from the cellar. Get Mrs. Oates out of the kitchen. Tell her to come with me. And bring a candle. Hurry, girl.

[B]

Mrs. Warren is resting again. Mrs. Oates is back in the kitchen in a stupor from the brandy she managed to steal when she went down into the wine cell cellar with Professor Warren. Blanche stays in her room. I wait in the parlor while Dr. Perry gives Professor Warren some instructions. Helen, oh, Dr. Perry, looking so very tired.

[A]

I. I want to talk to you.

[B]

Oh, you mustn't apologize.

[A]

Sit next to me here.

[B]

Oh, he mustn't try to explain that it was Mrs. Warren and not he who said he loves me. I understand.

[A]

I've been thinking things over. Helen, Mrs. Warren is right.

[B]

He says Mrs. Warren is right.

[A]

You should come away with me tonight.

[B]

Oh, he does love me.

[A]

Stay at my mother's house until I take you to Boston to see a specialist.

[B]

Oh. Afflicted.

[A]

Helen, the favors on Pepper street have an out of town guest. Betty Lindstrom.

[B]

Betty Lindstrom?

[A]

She went to Sunday school with you years ago.

[B]

Sunday school? Betty Lindstrom.

[A]

She tells a story about a young girl walking home from school. Sunday school. One day when she wasn't far from home, she heard a fire engine rushing down the street. It was her own home wrapped in flames, her mother and father trapped inside. She tried to scream.

[B]

Mother.

[A]

Scream. Helen. I can't scream.

[B]

I'm trying.

[A]

Trying. Trying. Trying.

[B]

Trying. Trying.

[A]

Helen, you can speak. Speak. Helen. Helen, I'm sorry. I was trying to help you.

[B]

I know. He's so good.

[A]

That must be for me. Helen, I left this number with the Wilsons there. Boy is very sick. Here. I'll write the Wilson telephone number on your notepad. 189189. Yes. And have Mrs. Oates call me there if you need me. Now, if you'll go to the door with me, I'll take it as a sign that you forgive me. Ah, it's a wretched night. But the rain's over.

[B]

Nod. Yes.

[A]

Smile, Helen, please.

[B]

Smile.

[A]

That's better. Thank you.

[B]

Thank me.

[A]

Now, be sure and lock the door, won't you? And don't open it for anyone but me.

[B]

But before he went.

[A]

Good night, Helen.

[B]

He kissed me. He kissed me. He wants me to come away with him. He kissed me. How was it? Long ago in the Bible, in the Song of Songs, which is Solomon's, my beloved spoke and said unto me, rise up, my love, my fair one, and come away with me. For lo, the winter is past.

[A]

Wretched night, but the rain's over.

[B]

The rain is over and gone. The flowers appear on the earth, and the time of singing has come.

[A]

Arise, my love, and let me see thy countenance.

[B]

He loves me.

[A]

Let me see thy countenance. Let me hear thy voice. Voice. For sweet, sweet is thy voice. And thy countenance is comely voice. Let me hear thy voice. Let me hear thy voice. Let me hear thy voice.

[B]

Hush, daughter, hush. Hush.

[A]

You are listening. To the screen. Director's Playhouse presentation of the Spiral staircase. Starring Dorothy McGuire in her original role of Helen, the mute girl, and John Dana as Dr. Faring.

[B]

Dr. Perry has been gone almost an hour. And now a second bitter quarrel in the house. Stephen in Blanche's room next to mine, raising their voices. Blanche crying. Stephen taunting her, laughing. Enter my room. Especially the professor crying.

[A]

My dear, Blanche makes no impression on me whatever. I like to see women cry. It makes me feel so superior.

[B]

I'm not going on with you anymore, Stephen. We can't hide our feelings from the professor any longer.

[A]

And just why should we hide our feelings from my stepbrother? Oh, I forget. You did have a certain interest in him.

[B]

You are a pagan.

[A]

How? Blanche, get out.

[B]

I'm leaving tonight, the better to wash my hands of you.

[A]

As you wish, Blanche. But you'll regret this. I honestly think you're going to regret this most seriously.

[B]

Blanche has left her room and gone down to get her suitcases out of the cellar. I'd be afraid to go down there alone. It's very dark in the cellar. There's a spiral staircase that goes round and round into the dust and the damp and the darkness. Round and round into darkness.

[A]

Oh, I'm sorry if I disturbed you. Helen. You know where Blanche is?

[B]

Blanche? Isn't she up from the cellar yet?

[A]

Helen, I'm speaking to you. You please find Blanche. I want her to take some dictation in my study at once.

[B]

Spiral staircase going round and round, down into darkness, into the dark, the damp, the shadows. Blanche. Where's Blanche? It's been almost an hour. Blanche Dead. Murdered. Who could have? Stephen.

[A]

Dead.

[B]

Nod. Yes. Yes. Nod. Yes. Yes. Yes. Dead. Yes.

[A]

All right, let me handle this. Helen. You understand what I mean?

[B]

I could dash for the door.

[A]

Helen, answer me. Do you understand what I say for the door?

[B]

Open it, slam it, bolt it outside.

[A]

Helen. Helen. Helen. Helen, what happened? You're terrified.

[B]

Pencil. Lost. Pencil. Pencil.

[A]

What are you trying to pencil? Yeah, right.

[B]

Right. Yes, right.

[A]

Blanche.

[B]

Yes. M U R D E R. Heavens, name are you.

[A]

Do you know who did it?

[B]

S T E P A T. Yes, of course. Why does he say of course?

[A]

Ellen, where is Stephen now?

[B]

Locked in cellar. Oh, Ellen, why does he look at me like that?

[A]

Ellen, look there in the mirror.

[B]

Mirror, mirror.

[A]

Go on. Look at yourself.

[B]

Helen, why does he do this?

[A]

You see, Helen, you have no mouth.

[B]

No mouth. I know what he means, but why should he say it so cruelly?

[A]

No mouth, Helen. And in all this world, there's no room for imperfection.

[B]

He's so strange.

[A]

We're alone, Helen. Mrs. Oates is very drunk because I purposely let her steal a bottle of brandy when we went downstairs before. My stepmother is helpless in her bed. You have just locked Stephen in the cellar. Blanche is dead. He.

[B]

He is the killer.

[A]

Blanche, whom I loved and who betrayed me with Steven, is dead or I killed her.

[B]

He's mad.

[A]

What a pity Father didn't live to see me become strong. To see me dispose of the weak and the imperfect in this world. Escape. I put on these leather gloves. Escape where Father would admire me for what I'm about to do.

[B]

I know. The gun. The gun in Mrs. Warren's room. Escape. I'm not so imperfect as he thinks I. Run. Run like the wind. Climb the stairs to Mrs. Warren's room. Like a cat, slam the door and fold it in his face. Gun. Pad and pencil. Right. Gun. Wake up, Mrs. Warren. Wake up. Wake up. Oh, please wake up. Her eyes are opening now. Read. Gun. The gun. Where is the gun? Gun?

[A]

What gun?

[B]

Ellen, she knows where the gun is. She must know. Oh, it's no use. It's no use. She's drugged or poisoned. Someone at the door downstairs? Someone's outside. The professor will have to answer, and then I can steal. Downstairs again. Down the spiral staircase. Free Stephen. Get Stephen to help me. Yes. Round and down, down and round. Into the darkness, into the shadows. Softly, softly, soft.

[A]

A foot.

[B]

I saw a shoe. Draw back into the shadows under the last spiral. The professor waiting. Turn softly, go back softly. Step, step, step and run. Will it. I want to help you. Stop. Thank God. Mrs. Warren, at the top of the steps.

[A]

Stop where you are.

[B]

Stop. Mrs. Warren. Both of you. She has the gun. Why does she point it at both of us?

[A]

Mother? No.

[B]

Only your stepmother, whom your father always taught never to waste a single shot. You murderer. It was you who killed all those girls.

[A]

I thought it was Stephen.

[B]

You always waited until Stephen came home to cast suspicion on him.

[A]

Never waste a shot.

[B]

Your father taught me. Never a shot. Helen.

[A]

Girl.

[B]

Better get me Dr. Perry. Number, please. Number, please. I start here. Number, please.

[A]

You see, Helen, you have no mouth.

[B]

You must leave this house. Helen.

[A]

Let me see thy countenance. Let me hear thy voice.

[B]

Number three.

[A]

You have no mouth. Let me hear thy voice.

[B]

Number, please.

[A]

Thy voice. No mouth. Thy voice. No mouth. Thy voice. No mouth. No mouth.

[B]

Number, please. Number, please. Eight, nine. Thank you.

[A]

Hello? Hello?

[B]

Dr. Perry.

[A]

This is Dr. Perry. Who is this?

[B]

It's me.

[A]

Who?

[B]

Helen.

[A]

Helen. Oh, Helen, darling. What's happened? What? Wait. Let me run that over.

[B]

Darling, he said, darling, my beloved spoke and said unto me, Arise, my love, my fair one, and come away with me. Arise and let me hear thy voice.

[A]

Dorothy McGuire will return in just a moment next week. As always, another great star repeats a brilliant performance on Screen Director's Playhouse. Our story is All My Sons. And recreating his original role will be Edward G. Robinson with screen director Irving Reese. Now here again is Tonight's star, Dorothy McGuire.

[B]

Thank you so much. The part of the mute girl in the picture Spiral Staircase was a pretty frightening assignment until I found out my director was to be Robert Siodmak. Robert is a kind of super talented elf who directs his pictures with a magnificent mixture of skill and gaiety. As a result, he says he has only one regret about Spiral Staircase. The studio wouldn't let him slide down the banister. And now, ladies and gentlemen, I'd like you to meet Robert Siodnak.

[A]

Thank you, Dorothy, but I was listening to Spirit Staircase tonight. I must make a confession about what, Robert? Well, I thought it would be impossible to do a radio drama in which the central character was a girl without a voice, but it was done beautifully.

[B]

Well, thank you. My part was a little larger than the three or four lines I had in the picture.

[A]

Mm. This picture business, you know, before Spiral Staircase, the producer said to me, robert, what do you think of Dorothy McGuire? She's wonderful. I told him she has the most magnificent voice. And he said, that's fine. We put on a picture with nothing to say. Well, you know how producer behaves sometimes.

[B]

And Robert, I loved every minute of it.

[A]

Well, next time they ask me about Doherty McGuire, I won't mention your voice. I say, she's so beautiful and a great dramatic actress. Well, then they probably tell me to direct you in the Invisible Woman just.

[B]

So you don't play the part of an invisible director. Robert. And seeing you behind those cameras again is something I'm looking forward to.

[A]

Well, I know I'm a beauty. Thank you, Dorothy.

[B]

Thank you, Robert. Good night.

[A]

Good night.

[B]

Good night, everyone.

[A]

Good night and good night to you, Dorothy Maguire and Robert Seotak. Remember, next week, Edward G. Robinson and Irving Reese with Jeff Chandler. Spiral Staircase was presented through the courtesy of RKO Radio Pictures, producers of that hilarious comedy Bride for Sale, starring Claudette Colbert, Robert Young and George Brent. Dorothy Maguire will soon be seen as the star of the 20th Century Fox production. Oh, Doctor. Robert Siotmak's latest production for Universal International Pictures is Deported, starring Marta Torren and Jeff Chandler. Included in tonight's cast were John Danar, Stephen Dunn, Georgia Backus, David Ellis, Jane Webb, Betty Moran, Jane Morgan and Dan Riss. Spiral Staircase, based on a novel by Ethel Le Lena White, was adapted for radio by Milton Geiger, and original music was composed and conducted by Henry Russell. Screen Director's Playhouse is produced by Howard Wiley with dramatic direction by Bill Karn. This is Jimmy Wallington speaking and inviting you to listen again next week when we present Screen Directors Playhouse star Edward G. Robinson. Production All My Sons Director Irving Reese. What's on NBC Sunday? Sunday on Hollywood Calling. You may be called by motion picture stars June Haver and Richard Widmark to win a wonderful prize and crack the film of fortune Jackpot. Make a note to stick close to your radio and your telephone Sunday for Hollywood Calling. It might be your lucky day, so listen to Hollywood Calling Sunday on NBC. Stay tuned for Bill Stern and the sports newsreel on NBC. Witches and owls make the scene when Charlie Brown and his Peanuts playmates go on a haunting spree in a Happy Halloween special that's filled with delightful, heartwarming adventures from their wonderful cartoon world. It's the Great Pumpkin, Charlie Brown. AutoLight and its 98,000 dealers bring you Mr. Herbert Marshall in tonight's presentation of suspense. Tonight, Autolight presents a new radio adaptation of one of the most famous suspense stories ever written, Mary Godwin Shelley's Frankenstein. Our star, Mr. Herbert Marshall. Hello there, Harlow. Well, mend my fences if it's not the senator. How's it look for you, Senator? Going to cast your ballot tomorrow, Harlow? Why, Senator, I'd no more forget to vote than forget to winterize my car. And now's the time to do it. Get the oil and grease changed, put in antifreeze, inspect the battery cable and.

[B]

Check the spark plugs too.

[A]

Right, Johnny Plug Check. The spark plugs are the very heart of your car's ignition system. And when they're right, your chances of starting even in coldest weather are better than ever. Well, I'll visit my auto light spark plug dealer, Harlow. Do that, Senator, because he's the expert on cleaning and adjustment. And if replacements are needed, he'll recommend those world famous ignition engineered auto light spark plugs, either standard or resistor type. To quickly learn the location of your nearest Autolite spark plug dealer, phone Western Union by number and ask for operator 25. And remember, from bumper to tail light, you're always right with Autolight. And now Autolight presents transcribed Frankenstein, starring Mr. Herbert Marshall. And hoping once again to keep you in suspense.

[B]

Oh, hello, Victor.

[A]

Hello, Mary. The Reverend In.

[B]

Out in the garden as usual. Do you want me to call him?

[A]

No, thanks. I'll go out.

[B]

Well, all right. Tell him not to get too dirty. We're supposed to play croquet with the McDonald's at 5.

[A]

I'll tell him.

[B]

When's Elizabeth coming home?

[A]

Tomorrow or Tuesday.

[B]

I think you'll both have to come over for dinner.

[A]

Love to Mary.

[B]

See you later.

[A]

Hi. Oh, you're just in time to give me a hand. These Indian summers. Hot, too. Sticky. James, I gotta talk to you. Well, of course. What? Anything wrong? You know, you haven't looked too good for the past month or so. Something on your mind? Yes. Oh. Well, then, let's go in the house. I'll get you a beer. We can talk. No, not in the house. Do you mind if we walk? Oh, of course not. Oh, wait a moment. I. My pipe. Over here. There we are. Might get some rain. Hope so. I won't have to play croquet. Asinine game, James. Oh, look, now we're friends. You know you can speak to me. What's the matter? One of your patients die? You made a mistake, perhaps? No, nothing like that. Perhaps it's worse. I'm not sure. Has it anything to do with Elizabeth going away? In a way, yes. Ah. My favorite place. You know, Victor, I think of most of my sermons standing here, looking across the valley. Lovely, isn't it? Got a match? Thanks. Listen, I've been doing an experiment. It's very complicated, and I've almost finished. That's wonderful. I think I'm a little afraid of it. I don't know. I've tried to think it out myself. I can't find the answer. Go on. You believe in God, don't you? I mean, because I don't go to church. You don't think that I don't believe, do you? I don't think that at all. You're a good man. I want you to promise me something. You've got to promise that you'll never breathe a word of what I'm about to tell you. You have my word. You swear? I don't usually break my word. Oh, I'm sorry. Look, I. I've made something. It's tremendous. It's impossible, but I think I've done it. And it goes against everything you believe. James, what. What have you done? I've made a. A thing. I don't understand. I put it together. Heart, brain, nerves, muscle. Everything. I've done it. Now do you understand? A complete body. And you're upset because of that? You think that you've done something wrong. But you're a surgeon. What you've done will help to save a life. If you've learned more about the human body. This experiment can't be wrong. It can only do good. Oh, I shouldn't worry. Last night I made it move. I'm not certain, but I think I can give it life. Absolute life. Now do you see why I'm afraid? I've created a man. I. I'd better call Mary. She'll be worried. All right, but. All right, I won't say anything. Hello, Mary? No, I'm with Victor. Now, listen, dear, I'm afraid we'll have to put off the McDonald's, as I know. Well, Mary, I. I have something very important to discuss with Victor. It can't wait. Yes, dear. No, no, don't wait supper. I'll have something over here. Yes, I will. Good. You don't have to see this thing if you don't want to, James. Where is it? In my lab. I had an addition built on. I'm the only one has a key. I don't say I believe what you've told me. But how do you know you can make it live? I mean, is it anything more than Galvanic action? You'll see. I lock it. I always do. Is that the addition over there? Yes. Dark. There aren't any windows. It's better that way. Before I show you, I want to explain. This is what started it. It was mostly an accident. One of the kids brought in his dog. It had been run over, killed. He wouldn't believe it was dead. Expected me to bring it back. I gave it a shot in the heart and then another with this stuff. A compound I fooled with for a long time. Yes. The dog came back to life. Just for a moment. How do you know the dog was dead? It was. It had been for two hours. All that happened three years ago. You've been experimenting on things ever since. Yes. It's wrong. I don't know. No, it's wrong. You run off the stage, James. What are you going to do? Try to bring it to life. I've got to. I've got to try. Then why did you come to me? I wanted to tell you. I had to tell someone. You're my friend. I'm a minister. I preach and believe in the word of God. Do you want to see it? No. No, I don't. But I. It's not terrible to look at. I've done a pretty good job on it, but it isn't quite Finished. I'm not quite done with the face. Oh, my. Well. No. No, Victor. Bury it. Let it be a true peace. Don't do it. Even if you can and I can't imagine it possible. Don't. Don't. Don't even try. Do you realize what it would mean to me, to the world? Standing here with you looking at that? It's easy to imagine anything. I don't want to put it to rest, Victor. Forget it. That's just it. I can't. Not until I find out one way or the other. Watch. What are you going to do? I'm going to show you what happened last night. I don't want to see. I don't care. I know better. Listen to me, Victor. This mustn't go on. You've got to stop it. Not yet. Not until I find out. Does Elizabeth know what you're doing? No. Why did you send her away? I didn't want her here when I made the last test. Because you're ashamed. You know it's wrong. You know what she'd think? I'm not ashamed. I think I'm a little frightened. At the incredible greatness of what I've done. It's bigger than anything since the world began. If it moves. If you prove your point to me, will you. Will you stop then? Will you destroy it? The formulas, whatever papers you have. Destroy all of it? Will you? I don't know. Hand me that hypodermic, will you? No. All right. There. If I say I believe you, Victor, if. You don't have to be afraid of. Couldn't hurt you. You know. There's only enough of this stuff to stimulate a small portion of its brain. I'm not afraid of it. I'm afraid for us all. I've never preached to you, Victor. It moved its left foot last night. Then the right. I'm gonna try the arm now. Move the light over, please. Thanks. Watch carefully. Only takes a few seconds. Now, look. Look. It's hand. I know. That's the way it was yesterday. Movement only lasts for a moment, though. That's all. I. I don't know what to say. I don't even think I understand what I've seen. Except that it's terrible. Because you don't understand or because of what it means. I'm afraid. If you like. I'm afraid for you. For what you. You've done. That thing lying there. You. You've got no right. I won't allow. What's that? What? Listen. Stethoscope. It's impossible. There Wasn't enough. It's breathing. Victor, what have you done? The thing's alive. Autolite is bringing you Mr. Herbert Marshall in Frankenstein. Tonight's presentation in radio's outstanding theater of thrills. Suspense. Harlow, who's this Johnny Plugcheck who's always electioneering about spark plug? Why, Senator, Johnny is a helpful hinter. Fighting old man Winter. He's the blythe. Reminder to wise motorists that now's the time to visit your Autolite spark plug dealer. To get ready for the cold driving days ahead. Change the oil and grease, put in antifreeze, inspect the battery cable.

[B]

And check those important spark plugs too.

[A]

Because when your spark plugs are right, your chances of starting even in coldest weather are better than ever. And if my auto light spark plug dealer finds my spark plugs need replacing. Harlow. Why if they're worn out, he'll recommend a set of the world famous ignition engineered Autolite spark plug Senator. Like the amazing Autolite resistor spark plug. It's one of the greatest advancements in spark plugs for automotive use in the past 20 years. When you have a set installed in your car, you'll get double spark plug life. Smoother engine performance and quick starts. As compared to spark plugs without a built in resistor. So friends, visit your Autolite spark plug dealer soon. And remember, from bumper to tail light, you're always right with Autolight. And now Autolight brings back to our Hollywood soundstage. Mr. Herbert Marshall in Elliot Lewis's production of Frankenstein. A tale well calculated to keep you in suspense. It didn't have enough. It couldn't have. 10cc 10 yesterday. Unless the drugs accumulative. Maybe that's it. His eyes are open. What are you going to do now? Listen to his heart again. It's got to be destroyed. You've got to put an end to it. It's inhuman. Don't you see what you're doing? You can't give it a solid. You can't give it. How do you know what I can give it? I've given it life, haven't I? It sees. It breathes. Moves, perhaps. Hears. Yes. Does it hear? Look. Did you see that? It blinked. The head jerked. It hears. It's aware of sound. Does it feel pain? Don't, Victor. It's not an animal. You formed it like a man. Give it the dignity of one. I won't let you do that to it. I've gone this far. James. Put down the scalpel. What are you going to prove by that? I think you must be Mad? I don't interfere with your work, James. Why, there's someone at the door. Yes, I think I better strap it down on the table. You won't forget your promise, will you? I'm sorry I gave my word. I'm sorry you ever told me about this. I feel I'm as guilty as you are now.

[B]

Well, whatever took you so long? Hello, James.

[A]

Hello, Elizabeth, darling.

[B]

I tried to call from the station, but the line's out of order.

[A]

Oh, I'm sorry, dear. Did you have a nice time?

[B]

Lovely. Everybody sends their love.

[A]

That's good.

[B]

What have you two been up to? How's Mary, James?

[A]

Oh, very well, thank you.

[B]

What a fine pair of sober sides you are. What did you do, darling? Break one of my good dishes? I knew I shouldn't have left you alone. Well, what are we standing in the hall for? Let's go, Elizabeth.

[A]

I must be going. Mary will be wondering, particularly if the phone's out of order.

[B]

It's raining very hard.

[A]

No, no, I'll be all right.

[B]

You'll take an umbrella? There's one in the kitchen.

[A]

Are you going to tell? No. You won't unstrap it from the table, will you? Not yet. All right. I'll try to come back later. I want to think about what you've changed since you came to see me this afternoon. You really don't care what I think now, do you? I suppose not. Thanks anyway. James. Are you going to let it live? That's funny. From you. Have I the right to kill it? You've already done something. You had no right to do something that you don't even understand. The creation of man isn't your job. It isn't mine. Oh, I know your bright, scientific mind's laughing at me.

[B]

That's the umbrella, James. But I wish you'd wait until the storm blows over.

[A]

No, I. I really must get back. Thank you, Elizabeth. I. I'll return it tomorrow. Goodbye.

[B]

Well, what's the matter with him? Have you been arguing religion again, Victor?

[A]

No, dear. Look, I'm doing a little work in the lab. It's rather important. Do you mind?

[B]

What is going on, Victor? There's something.

[A]

No, dear. Nothing at all. There isn't.

[B]

I know there is. What's the matter?

[A]

Nothing, dear. Really. I. I've got to get back to work. It broke the straps. It got off the table. It broke the straps. It's just standing there looking at me. What do I do? Talk to it? What do I say? Can it understand? I've done it. I've done it. It's almost perfect. Muscular control, coordination. I wish I'd finished the face, though. It must be terribly strong. That's odd. It's not over average size. Now what? Can you understand what I say? Do you feel any pain? Are you hungry? I'm a man like you. You are a man. Do you understand? Here. This is a mirror. You can see yourself in it. Look. It's all right. It's all right. It's angry, but it doesn't show anger. In its face, there's emotion. It sees ugliness and is afraid. I'll have to get it back on the table. Put it to sleep. That's the best way. Then use a stronger strap or chain. The eyes. Just staring. They seem watery. What a marvel it is, though. I want you to come over here and sit down. Do you hear me? Come here and sit down. Come here. No, don't touch that. No. Stop it. Stop it. Put it down. It.

[B]

Victor. Victor. Oh, Victor. Victor.

[A]

Huh?

[B]

Victor. Victor. Victor. I heard some noise upstairs.

[A]

What?

[B]

What's happened to you? Who broke the window?

[A]

The window?

[B]

Oh, Victor. What's the matter, dear? What's happened?

[A]

Did you see anyone?

[B]

No. Did someone break in?

[A]

Elizabeth, don't ask me any questions. Just do what I ask. Get your coat on.

[B]

Why?

[A]

I'm taking you over to the Gibsons. I want you to stay there.

[B]

Oh, why? Why? What is it? Oh, Victor, please.

[A]

I can't. I can't tell you about it now. You may have to stay there all night. Hurry, please. We've got to call the police. No. They'll shoot it. I don't want that. It's just frightened, that's all. You're being a fool, Victor. Do you realize what it means? That thing roaming about the country? What about the children? Everybody in the village. I'm going to get the police. No, please, James. Give me a chance to find it first. Then what? You do a few more experiments, give it speech, perhaps, and it happens again. It's mine. I made it. I'm not thinking of that now. It's Mary and your wife. We don't even know where it is. If it wants to kill, how do you know where it will start? All right. Just give me an hour. Let me try to find it before we call the police. If I do, I'll take it back and destroy it myself. Do you give me your word? Yes. All right. I'll go with you. Thanks, James. I'll get my rifle. Do you have a gun? Yes, but I'm not going to use it unless it. Yes, unless that's why I'll take mine. Shanbi Mont. It's getting dark. Where do you think it might have gone? It's hard to tell. It's afraid of thunder. It might be hiding in the barn. The old Hamilton place? Yeah. How are you going to capture it? Have you thought of that? I brought along a hypodermic. You're not afraid anymore, are you? No. It's strange because I am not of what it might do to me. Because of the fact that I've seen it, I know it exists. There's the barn. If it's in there, there's no way out. The back way. It was boarded up, wasn't it? Yes. I'll go in. Wait out here, will you? No, I'm coming with you. No. If it's in there, if it tries to escape, shoot it as it comes out. Don't take the chance. It won't let you get near. I'm going to try. Thanks, James. I lied. I am afraid. And if it's in here hiding, waiting for me, I am afraid. I should have destroyed it. James was right. What's the matter with this flashlight? Wet. Ah, that's better. What's that in the corner? I won't hurt you. It's all right. I understand. I won't hurt you. Don't be frightened. Going to be all right. You'll hardly feel this. It won't hurt. Victor. Victor. Did you shoot it? I'm not sure. I might have hit it. I don't know. It's gone. Yes. Are you Victor? Victor. Oh, Victor. He never recovered consciousness again. Outside, I looked for the thing I'd shot at. But there was no sign of it. I returned to the lab and burnt every paper, destroyed every single evidence of Victor Frankenstein's terrible experiment. But the result of that experiment has never been found. Nor have I been able yet to convince the earth authorities that such a thing ever existed. Suspense presented by autolite. Tonight's star, Mr. Herbert Marshall. This is Harlow Wilcox speaking for Autolite, World's largest independent manufacturer of automotive electrical equipment. Autolite is proud to serve the greatest names in the industry. They are members of the Autolite family, as well as other 98,000 autolite distributors and dealers in the United States and thousands more in Canada and throughout the world. Our family also includes the nearly 30,000 men and women in 28 great autolite plants from coast to coast, and Autolite plants in many foreign countries, as well as the 18,000 people who have invested a portion of their savings in Autolite. Every Autolite product Is backed by constant research and precision. Built to the highest standards of quality performance. So remember, from bumper to tail light, you're always right with Auto Light. Next week, a story based on fact, terrifying in its truth. The dramatic report of a man returning home to find he now lives in a frightened city. Our star, Mr. Frank Lovejoy. The program will be heard on suspense. Tonight's story was adapted for suspense by Anthony Ellis. Suspense is transcribed and directed by Elliot Lewis. Music was written by Lucian Morowic and conducted by Lud Gluskin. In tonight's cast, Joseph Kearns was heard as James Gibson. Paula Winslow was Elizabeth and Paul Freeze. The monster. Herbert Marshall is soon to be seen in the RKO radio picture the Bystander. Remember next week, Mr. Frank Lovejoy. In the frightened city.

[B]

You can buy Auto Light resistor or standard type spark plugs. Auto Light stay full batteries and Autolite electrical parts at your neighborhood Auto Light dealers. Switch to Auto Light.

[A]

Your vote is important to you and your country. If you are eligible, don't forget or neglect to vote tomorrow. Remember, one vote can make the difference. This is the CBS Radio Network. This is Austin Welles. Ladies and gentlemen, out of character to assure you that the War of the Worlds has no further significance than as the holiday offering it was intended to be. The Mercury Theater's own radio version. Of dressing up in a sheet. And jumping out of a bush and saying boo. Starting now, we couldn't soap all your windows. And steal all your garden gates by tomorrow night. So we did the best. Next thing. We annihilated the world before your very ears. And utterly destroyed the cbs. You will be relieved. I hope to learn that we didn't mean it. And that both institutions are still open for business. So goodbye, everybody, and remember, please, for the next day or so. The terrible lesson you learned tonight. That grinning, glowing, globular invader of your living room. Is an inhabitant of the pumpkin patch. And if your doorbell rings and nobody's there, that was no Martian. It's Halloween. So when ghosts and goblins buy the score Ring your bell or pound your door Better not be stingy or your nightmares will come true. Sat.