← Down These Mean Streets (Old Time Radio Detectives)
Down These Mean Streets (Old Time Radio Detectives)
BONUS - Night of the Living Halloween Hoopla!
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Get ready for thrills, chills, and spills with trick-or-treat tales both scary and silly in the annual Down These Mean Streets Halloween special! Ray Milland reprises his big screen role as The Screen Director's Playhouse presents...
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Bob Hope
How do you do? Mr. Carl Laemmle 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 wear. Sir, we warned you. Happy Halloween and welcome to the annual down these Mean Streets Halloween special. This is my favorite time of year and you're in luck because I'm the house on the block that gives out king sized episodes full of comedy, mystery and even some outright horror designed to get you in the trick or treating spirit. We're going to start things off today with Ray Milan reprising his role as the Screen Director's Playhouse presents the Uninvited, a radio recreation of a classic Hollywood ghost story. Then we'll hear as a pair of radio detectives the Saint and Barry Craig deal with ghost stories of their own. After that, J. Carroll Nash stars in a heartwarming Halloween installment of Life with Luigi. And William Conrad leads an expedition to capture a monster as Escape presents the Abominable Snowman. Then Ozzie and Harriet have an adventure in a haunted house. And Bob Hope has one of his own in a radio recreation of his horror comedy classic the Ghostbreakers. And finally, the Weird Circle dramatizes one of the all time great scary stories, Mary Shelley's Frankenstein. So now turn down the lights and grab your favorite candy as we kick off our old time radio Halloween celebration from Hollywood, the Screen Director's Playhouse. Screen Director's Playhouse Star Ray Milland the Uninvited. Director Lewis Allen. The Hollywood screen directors present a tale for troubled midnights. The motion picture drama the Uninvited. Starring Ray Milan in his original role of Rick Fitzgerald. I woke up five in the morning. My skin creeping, my scalp crawling. I listened. I heard the dim surge of the ocean at the foot of the Devonshire cliffs, not far from my window. Only 5:00. And then I was sure now I hadn't dreamed of appalling crying. Could it be my sister Pamela in the next bedroom? There was no electricity in this old house. I lit a candle. I went to the door leading into the upstairs hallway. Rick. What? Oh, Pamela, you heard it too. Then what in heaven's name is it? I don't know. It comes from downstairs. It comes from everywhere and nowhere. I'm going down and search the place. It's no use, Rick. There's never anything there. You mean this has happened before? All the time you were still in London. While I was getting the house ready for us to live in. But why didn't you call me or write me about it? It's our home now. It's all we've got to live in. Sounds so terribly heartbroken. But there must be some logical explanation. It'll stop soon now. It always dies away at dawn. No wonder we got the old place for such a low price. They tell me it stood empty for 10 years before shutter blue opens the dawn breeze. I must have forgotten to latch up. Listen. I know the sobbing is gone. Oh, is that all for tonight? Is that all? It's every night, Rick. And if I don't get some sleep, I'll die. No, no, no. Don't do that. It'll be different tomorrow night. You. Oh, hello. Aren't you the gentleman who bought this house for my grandfather? Why, yes. Good evening. Good evening. I'm Stella Meredith. It was my mother's house. Well, come in, Stella Meredith. Thank you. I haven't been in this house since I was. And I've wanted to come so many times. Then why didn't you? Oh, my grandfather forbids it. He has some silly idea that I'm in danger. Nonsense. You shall see the house, Stella Meredith, and I shall be your guide. And this is my old nursery. Like it? How pretty. Your sister has made it. That's very pretty perfume you're wearing. It's mimosa. Do you like it? Oh, very much. My mother always used mimosa. She died when I was three years old. Oh. May I see the studio now where my father painted? Only it's the studio where I play the piano. Now you may even persuade me to play something for you. Oh, don't stop playing, please. Very flattering. Thank you. Father painted my mother's picture in this very room. You don't remember that? No. But Mother would sit on this platform wearing her soft white dress. Sometimes, of course, he'd paint the other one. Other one? He had a model, you know, a Spanish girl. People seemed to get awfully hush, hush when I try to ask about her. Though you play beautifully. It's a serenade to Stella by starlight. You mean this Stella? Me and this candlelight. It's the most exciting thing that has ever happened to me. Is it? Yes. What's the matter? All at once, a cold wind. Yes. Suddenly it is cold in this room. And your music's gone so terribly sad. Why? I don't know. It just came out that way. And the candles grew dim. It was a Draught. Oh, Mother was so young and beautiful and she died so cruelly. Mother. Stella. Mother. Mother. Stella, come back. Stella. I gathered my scattered senses and jumped up and ran after her. I passed Pamela standing amazed, at the foot of the stairs. Request the. What's the matter? What's happened? There's something evil in that glass, Stella. But she was out the front door, her dark hair flying, running wildly in the darkness, heading for the cliffs. Stella. I shouted after her. Stella, come back. Shouted again, pleading with her. No, Stella, no. The cliffs, I thought. Stella. The cliffs. The cliffs and the boiling sea beneath. Stella. Whatever sinister force had driven her out of the house was now driving her to destruction on those killing rocks. The brink was only yards away. A few steps. I reached for her and my fingers caught in her belt and I pulled her back. Back from the very edge of that awful precipice. Stella, what's the matter? Matter? You were going over the edge. Was I? Why did you do it, Stella? What drove you toward death? Death? Why, nothing. I. I didn't feel I was in any danger. Oh, the sea. Yes. This is where my mother fell. Your mother fell here? By this dead tree? Sheep. Sheep. Are you all right? Help me, Stella. Will she be all right, Dr. Scott? She's resting nicely upstairs, Miss Pamela. Well, is Stella entirely safe up there alone? Why not? Well, in the light of what just happened, you're the one who sneers when I say this house is haunted. Well, everybody in the village knows the house is peculiar. Can you tell us anything about it, Doctor? Do you know about Carmel? Carmel? The Spanish model Stella's father painted? Oh, yes. Stella's father was in love with Carmel. It was an open scandal. But didn't Mrs. Meredith know about it? I suppose she just accepted the situation. Where's this Carmel now? She died in this very house. A week after Mary Meredith fell to her death from the cliff out there. Oh, she did fall, then. Ironically, she fell trying to save her rival from committing suicide. So they say. Rick. Dr. Scott, don't you notice a scent in the room? No. I do. Yes, it's heliotrope. No, it's mimosa. Stella's mother was fond of it. Stella tells me that. Pam, it's come back. Quatrick. Upstairs. Stella's not alone anymore. I know it. Come on. Stella. Stella, are you all right? She's gone. I'm here. Stella, darling. At the window. Oh, don't be frightened. I'm not frightened. Don't you know who it is in your house? It's my mother. Your mother? Did you see her? No. But when I woke up, I felt her in the room. Her scent, the mimosa. It was all around. I could feel her warm presence everywhere. And I felt something else. Something I've never known in my whole life. The knowledge that someone loved me very dearly. You'd better take her home, Rick. No. No. Mother is here. She wants me with her. Your mother is dead, Stella. I know. But your grandfather will miss you. He'll be furious if he finds you here. I know. But I love it here. I'll always come back. Another time, stella. Another time. 3, 4, 5. There it was again. Her grandfather was right. There was danger in this house for Stella. In the studio, when we'd first felt its presence, I had not smelled mimosa. But in that moment before dawn, with that awful sorrow in the house, I suddenly knew. I knew that there was a cold, cruel spirit which hated Stella. And a warm, scented spirit that loved her. There was not one G. You are listening to the screen Director's Playhouse presentation of the Uninvited, starring Ray Milan in his original role of Rick Fitzgerald. Pamela, I know this Stella Meredith is in danger in this house. She mustn't come here anymore. But she loves it, Rick. How can we possibly keep her away? By holding a seance. A seance? Only this seance will be rigged. We've got to fix it so that the ghost of Mary Meredith appears to say, in effect, stella, I'm your mother. Forget Windward House and I shall find peace and happiness. P. S. There is a tall, excruciatingly handsome man named Rick Fitzgerald who wants to marry you. Wrong, Rick. I won't agree to deceiving Stel. Stella. We've got to break Stella this attachment to the dead. We'll rig the sails. That very night, we held the sales. We all sat around a table. Stella, Pam, Dr. Scott and I. A single candle was burning on the table. I chalked the Alphabet in a big circle and the words yes and no opposite each other. An inverted wine glass stood in the center of the table. My stage was set. I think the room is dark enough to begin. The important thing is that we should all believe. Yes. Yes. So I understand. Well, what now? Everybody puts a finger on the glass. Now ask a question, Stella. Is there anybody here? Is any glasses moving? Yes. The glass is on. Yes. Go on, Stemma. Are you my mother? Yes. You don't want me to go away from Wynwood House, do you, Mother? They want me to stay away. Do you? Rick, let go. You're keeping the glass from moving. I'm not let go, I say. Better let matters take their course. Fitzgerald. All right. No. You see? She said no. She doesn't want me to stay away. Look. Look at the glasses moving. I g you a God. I God. Guard me from what, Father? What? C A R M. Carmel. That's enough. Who smashed the glass against the wall? You, Pamela? No one, Rick. No one was touching it. Stella. Stella. Stella's in a trance. Stella. Don't touch her. It may be dangerous. May I ask a question? No. It might help to try to reach her mind. Try it. Whoever you are. Are you Mary Meredith? Stella. This is awful. I won't ask her anything else. Is that Spanish Scott? I. I don't know. Stella. She's fainted. I'm afraid this has all been a dreadful mistake. It was wrong. But she'll never be cured until this house is cured. Until then, Stella must never come here again. I won't answer it. I'll answer it. I'll go. It was Stella's grandfather in a cold, bitter fury over her presence there and her condition. An outrage, you hear? An outrage. I'm very sorry, sir. It won't happen again. I warrant you it won't. My granddaughter will never enter this house again if I have to lock her up somewhere. Come, Stella. Stella was gone, but my work had just begun. I had to avert a tragedy. I had to solve the mystery of Windward House. But where to start? I went to see Dr. Scott. Any luck, Fitzgerald? Find anyone with a clue to what really happened here 17 years ago? No. Everyone was here with the Merediths then. Seems to be dead. The trained nurse isn't. Trained nurse. I've been looking through the old case book of my predecessor, Dr. Rudd. Oh? @ the time of the tragedy, the Merediths employed a nurse for their child. A certain Ms. Holloway. Holloway. Very, very much attached to Mary Meredith. Well, is she alive? How can we find her? She runs a place on Bodwin Moor called the Mary Meredith Retreat in honor of her long dead mistress. Hospital? No, mental institution. Strange woman. Strange place. Baldwin Moore. I think I'd better have a Serious talk with Ms. Holliday. I shall be happy, Mr. Fitzgerald, to assist in any way I can concerning these manifestations at Windward House. To begin with, Ms. Holloway, I know about the Meredith. Mary meredith. Carmel triangle. 17 years ago. Yes. It was the delight of the local gossips. What were Mary and Carmel like? Extraordinary women, both of them. But Mary Meredith, she was a goddess. Even her talk was lovely and sparkling. Oh, the night we sat before her fireplace. Planning our lives. Yes. She met her humiliation and her fate. Magnificently. About Carmel. A Spanish gypsy. Beautiful and crafty and cruel. Why did Mrs. Meredith stand for the situation? She felt the decision to end it must come from her husband. Did it? Finally, to make it easier for Carmel. They took her to Paris, Found a position for her and left her there. Then they came back here with their infant daughter. For a while, they were almost happy together. Then Carmel came back. She still wanted Mary's husband. Then, one stormy night. Carmel had been told that she must leave. This time for good. Oh, there was a ghastly scene. And finally, Carmel, in a rage for revenge. Ran to the child's room and snatched her up. And ran toward the cliff. Mary raced after her. In the struggle, Mary fell to the rocks below. The baby was unharmed. What happened to Carmel? She escaped in the storm. Next morning, she crawled back in the early stages of pneumonia. I had to nurse her. I see. And now? Please, I must be alone. Please. What you tell me about Ms. Holloway is very interesting, Fitzgerald. A fanatical. A dedicated woman. Doctor. Dr. Rudd before me disliked her intensely. Professionally. Personally. How? Listen to this entry from Dr. Rudd's case book for December 10, 1932. Called to Windward House. Meredith's model, Carmel Quesada. Double pneumonia. That tells what Ms. Holloway told me. December 12th, Carmel Quesada. Much worse. No attempt to warm her room. Found traces of snow in her bedroom. Snow? Spoke severely to Nurse Holloway. Absolutely criminal negligence. Well, isn't that a pretty serious charge, Doctor? When a man of Dr. Rudd's generation used it, it was very apt to mean murder. Ms. Holloway murdered Carmel. She was very fond of Mary Meredith. Perhaps that's why Stella's grandfather sent her to Ms. Holloway's for safekeeping this afternoon. You mean. You mean Stella's there now? In that genteel madhouse? Well, I venture she's safe with her mother's dearest friend. Who was also guilty of criminal negligence. Oh, no. Dr. Scott, I must hurry. Be good enough to call my sister Pamela at Windward House. Say I'll pick her up in 15 minutes. And call Ms. Holloway, will you? Tell her to expect us. I'm on my way. Ms. Holloway, when I was here before. Why didn't you tell me that Stella was here too? The presence of our guests is confidential. Please take us to her at once. She's no longer here. I sent her away when Dr. Scott called to say you'd be here. But why? She was the happiest person in the world when I told her she might return to Windward House. Windward House? But her grandfather sent her here to keep her away from Windward House. She loves it so. You knew we'd be away, and you sent her there. Mary will be there. Oh, you hate Stella. You sent her to her death. Mary is waiting for Stella. You're insane. Hurry, Pam. It may be too late even now. We drove headlong through the rain, racing the train to Windward House. We arrived in the early hours of the morning. The house was dark. We were on time. Stella hadn't arrived yet. And then, from the inside of the house. It's Stella. The front door flew open and Stella ran out screaming, fearfully, running to the cliffs. Stella, come back. Something she'd seen or heard or felt in that horribly sick house of ours was sending her screaming in the darkness toward the windy cliffs. I ran after her, but she was very young and lithe and driven by fear and drawn by demons. And I overtook her slowly. Oh, so very slowly, as in a terrible nightmare. And at the very brink of the cliffs, I dove for her and flung her to the ground. The very brink of death. The very edge of darkness. Nothing but a few bruises. Stella. You'll be fine, Dr. Scott. Rick, why would my own mother want to drive me to my death? Darling, whatever drove you from this house couldn't have been your mother. But it was. I. I saw her. It was a kind of a mist that glowed softly in the dark, coming toward me just as my father painted her. And why did you run away? I don't know. Something terrified me, drew me to the cliff. Could the company endure one more excerpt from the case book of Dr. Rudd? It's rather worthwhile. You've the air of a man with knowledge. Scott, this entry is dated a little more than three years before the final tragedy on the cliff. Meredith, consultation, my office. Mrs. Meredith, afraid she is going to have a child, assured her she was not a strange, cold, loveless woman refusing motherhood. But Meredith, poor man, wanting a child so desperately. But there's Stella. Now, listen. An extraordinary household. Carmel, this Spanish girl, worships Meredith. Lovely, pitiful creature. All love and womanhood. Pitiful. What does it all mean? I don't understand. Stella, where were you born? In Paris, where they took Carmel. They came back with their baby. Or at any rate, someone's baby. Rick, the Meredith stayed in Paris for a baby to be born. Yes, but I think to Carmel, not Mary. They took the baby as their own to avoid a scandal. That's why Carmel came back. To be near her baby. Near Stella. Then it was Mary Meredith who hated Stella, her rival's child. Mary Meredith who tried to throw the baby from the cliff and fell to her death. And that's what Carmel waited here to tell me all these years. That she was my mother. Not Mary Meredith. I'm Carmel's daughter. Blake, the mimosa. She's here. Oh, Mother. Mother. Never weep again, because now I know. Never cry again in this house where Father loved you. Carmel. Mother. She's happy. Mother's happy. She's at peace at last. Rick. Rick, look. That's the mist I saw. Mary Meredith. Dr. Scott. Pamela, get Stell out of here. I was alone. Alone with the thing that drifted and floated in menacing gesturing filaments in the open French doors. A luminous mist becoming a face that undulated horribly. A face filled with hatred and malevolence. Now lifted the candelabrum with its flickering guttering candles. Come on, you icy fraud. If it's Stella you want, you're too late. Mary Meredith. You've tried enough to destroy Carmel's child. So much for the legend of your saintiness. And you can go along with it. Rick. Here, darling. Are you all right? All right? I am magnificent. It's so dark, darling. Never brighter. Mary Meredith gone forever. And I always thought she was my mother. What good saints present. Preserve me from ghosties and ghoulies and long legged beasties. And a future mother in law like that Raymond will return in just a moment. Next week, as always, another great star recreates one of her most memorable roles on Screen Director's Playhouse. Our story is the Spiral Staircase and Our star, Dorothy McGuire with screen director Robert Ciodmak. Now here again is tonight star Ray Milan. Thank you. The film version of the Uninvited was distinguished by ghosts, gasps, moans, groans and a very brilliant gent named Lewis Allen. Lou directed the picture, furnishing the assorted horrors out of his bag of tricks. Since then, we've done three other films together. And his amazing know how still has me fascinated. Now, ladies and gentlemen, I'd like you to meet him, my director, Lewis Allen. Thanks, Lee, but I hardly think I deserve those compliments. Why not? Well, the Uninvited was the first picture I ever directed. But, Lou, you'd been directing stage plays for years. But when I sat behind those cameras for the first time, I was as scared as the audiences who saw the picture. Well, how do you feel about cameras after all the pictures you've made since then? They still scare me. You know what? What? They scare me too. Well, at least we weren't scared of the ghosts. And the Uninvited, well, you know, Lou, you made everything so real. For a while, I almost believed in them myself. But why? There's no such thing as ghosts, Lou. That's right. What did you just say about ghosts? I'd rather not talk about it. Good night, Ray. Good night, Lou. Good night, everyone. And good night to you, Ray Milan and Lewis Allen. Remember next week, Dorothy McGuire and Robert Siatmak. The Uninvited was presented through the courtesy of Paramount Pictures, whose current release is the William Wyler production the Heiress, starring Olivia de Havilland, Montgomery Clift and Ralph Richardson. Ray Milland will soon be seen in the Paramount picture Copper Canyon. Lewis Allen's current production for Paramount is Chicago Deadline. Included in tonight's cast were Alma Lotten as Stella Norman Field, Mary Shipped, John Dana, Georgia Backus, June Foray and Dan Ritz. The Uninvited 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 Carn. Portions of the program were transcribed. This is Jimmy Wallington speaking, inviting you to listen again at the same time next week when we present Screen Directors playhouse star Dorothy McGuire production Spiral Staircase. Director Robert Siotmak. Sunday on Hollywood Calling. You may be called by motion Picture stars Maureen O'Hara and Dan Daly to win a wonderful prize and crack the film a fortune jackpot. Make a note to stick close to your radio and your telephone. Sunday for Hollywood Calling. It might be your lucky day. Listen to Hollywood Calling Sunday on NBC. Stay tuned for Bill Stern and the sports news reel on NBC. The Adventures of the Saint, starring Vincent Price. The Saint. Based on characters created by Leslie Charteris and known to millions from books, magazines and motion pictures, the Robin Hood of modern crime now comes transcribed to radio starring Hollywood's brilliant and talented actor Vincent Price as the saint. Hey, Mr. Templer. Yes, Louie? Starting to rain. So it is. You couldn't get a dinner back in town. You had to travel all the way out here in the country to eat. Louie, I was invited to a dinner party. And Long island is hardly the country. It's full of trees. Ain't it true this does happen to be a rather lonely spot. But the rain is getting heavier, too. I should have stood in Brooklyn. Oh, I'm sorry, Louie. What is a cabby from Brooklyn doing out here in the middle of nature? He seems to be driving a cab. I. Hey, Louie. Yeah? Is it possible that the roof of your cab Leaks? It's possible it's leaking on you. On me? Well, after all, Mr. Temple, according to the chemistry books were composed of 98% water anyways. Perhaps I find the percentage high enough without any additions. However, there's no extra charge. We've got. Hey, Mr. Temple. The motor, it stopped. Yeah, so I notice. Discouragement. No, it's possible the hood leaks too. That's nice. No, don't blame the motor. After all, it ain't composed 98% water. It shortly will be while we sit here and calmly contract pneumonia. Who's calm? Look, Mr. Templer, you know something? This could be the beginning of, like a real horror story. It's the nighttime where two guys stuck out here in the wilderness. Long Island. The rain is raining, the thunder is thundering, and I'm scared. You know what ought to happen next if this was a horror story, that's what ought to happen next. It did. Sound came from the left through those trees. Yeah. Oh, hey, I see lights. It must be a house. Doesn't seem very far away. But that's where the dog yelled from, huh? Yes, except that judging from the sound, the dog was outside. That's strange. Why would a dog be out in this downpour? Maybe he read a book on chemistry. Or maybe he's just leading the dog's life. That was a joke, I think. Yeah, and I may laugh later. At this moment, there's someone running down the road. Yeah, from the direction of the house. Look, he's heading for us. I hope you don't mind, but can you give me a lift back to Glenville? We'd be glad to, except that we're stuck here ourselves. However, you can join us inside. It's slightly less damp. Thanks, but I won't stay long. I don't care for the neighborhood. How did you get here? I'm a camp driver. Well, where's your cab? Back there. That house? Yeah, the Hawthorne place. Well, why didn't you take your cab when you left? Because I was in a hurry. Because there was things closer to the cab than I was. What kind of things? Listen, young man, nobody lives in the Hawthorne house. Nobody's lived there for over a hundred years. So tonight, back in town, I picked up a fare. And where does he want to go? The Hawthorne house. I'm an old fool, so I take him there. He gets out at the house, tells me to wait, goes inside. I walk around to stretch my legs. Then I notice the house is all lit up. I think that's mighty queer. But I figure maybe somebody new Bought the place? Well, perhaps someone did. No, because I go around to the side and I look into the house through the big front window and I see who's in the house. It ain't anybody new. Who was it? It was the folks who used to live in that house a hundred years ago. And what was worse, they were sitting around a table eating dinner. Oh, I see. You say they were the people who lived there a hundred years ago. Well, how could you know that? Because of the way they was dressed? Because of the way they looked? Mister, I've lived in Glenville all my life. And there's pictures of the Hawthorns going way back in the Glenville town hall. Perhaps the people you saw were descendants of the original Hawthorns. Sure, sure. Except nobody dresses that way anymore. Except that one of them was bleeding onto the tablecloth with his throat cut open. And another was putting food into his mouth. Only he didn't have a face around that mouth. Look, you're positive you didn't imagine. All right, I imagined it. I'm crazy. Think whatever you like, but me, I'm getting out of here. So long. Lets us get out of here, too, Louie. Oh, that's swell with me. Are we going to walk to Glenville? No, I'd like to take a look at that house. Why? Well, we may still be in time for dinner. But, Mr. Templer, I ain't hungry. And besides, that guy might still maybe be bleeding. I doubt it. You do, huh? Why, you're forgetting we're 98% water, aren't you? Oh, that answer's supposed to cheer me up. The dog. I'm worrying about Louie. Why? Well, out here, a dog would be kept for companionship, protection. Therefore. Why was that dog put out in the rain? I just as soon forget the dog. Oh, somebody is busy not paying attention to me. Oh. Hey, that's the house, huh? Yeah, obviously. Colonial architecture. Large, rather pretty. Brilliantly lit with colonial electricity. Candles, Louis. You can see them through that large window. Chandeliers ablaze with candles. I can't see anything else except the ceiling. Well, that must be the dining room. Yeah, probably. Mr. Templer, is all this real? It seems to be. Hey, a bell pull on the door. A dog don't like her ring in the back. Look, Mr. Temple. Look, an elephant with teeth. It's a large dog. It's drenched. Look out for your hand because he swallow it. Oh, look, now he's heading for me. Mr. Temple, did I have to come all the way out here to feed a dog? Oh, don't be silly. He likes you. He's looking up at you. Yeah. Trying to decide which part to start on. Louie. There's positively a light in his eyes. For all you know, you may be his ideal. Yeah, sure. His ideal. Dog food. Get down, Mr. Temple. Leave us. Go inside. Huh? No one answered the bell. I wonder. It's open. Hey, look to pooch. He's leaving. It's strange. He sounds terrified. But of what? I didn't say a thing. Hallway seems empty. Let's go in. Oh. Kind of quiet. Yeah. Not even a chain clanking. Not even a creaking. Hey, Louie. There. What? There's a door down the hallway. It's probably the dining room. I ain't hungry. House is old, dusty, unused. But there is a light. Maybe they forgot to turn the gas off when they all died or something. It's the dining room. I ought to run out and buy some oil for the door. Large table in the center, chairs all around. White linen and polished silver on the table. They're plus dishes with food. Yeah, and food that's warm. Louis, look. Mr. Templer, I don't like this. A house in which nobody's lived for a hundred years, miles from anywheres, all lit up with candles in the middle of the night. A table with fresh cooked food on it. And there's no one, no one at all at the table. Unless. Unless we can't see them. Louie. Yeah. Found a lot of cobwebs, Mr. Templin. A lot of empty rooms, but nothing living. No. May as well head back to the dining room. Don't let your appetite tempt you. Probably by now all the food has vanished. Hey, listen to that sound. Yeah, like dishes rattling. Yeah. Come on. Maybe. Maybe the guests all come back. They were in the house. It would mean they'd all have to rush out into the rain. But why? They were thirsty. Maybe. I don't know what. The door's ajar. Perhaps we can look in without being seen. Yeah. I don't believe it. A butler. An old guy dressed in clothes that belong in a museum. Look at. He's got knee pants on with lace cuffs. And at that table where there's no one seated, he's serving dinner. May. May. Maybe he's just practicing. For what? I heard of ghost writers. Maybe he's a ghost butler. Suppose we go in and find out, huh? Yeah. Good evening. Be still. If you please. Be still. Afraid we might disturb the guests. He's gathering some of the dishes. Going to the swinging door. Probably leads to the pantry. Look, he's waving on us. Should we wave back? No, he wants us to join him. Come along. Uh huh. Serving pantry. I beg your pardon. Indeed you should. But you are Horton. Horton's the name, of course, but the footman must have told you that. The footman? Caleb. He let you in, didn't he? Shouldn't have directed you to the dining room, of course. But then he's getting old. You'd better go to your quarters at once. There, behind the main staircase. Glad you came along. We need you. Caleb isn't the man he used to be. But then he's been with the Hawthorns for so many years. I remember when he entered service. You do? It was the year old Boney got his toes toasted at Moscow. Old Boney can't stand around gossiping all evening. Guests might notice. Get to your quarters, men. I've work to do. Hey, look, he ducked out. Yeah, the door's locked. Probably a spring latch. Which means we may as well go back to the dining room. Look, you know something's wrong with this whole thing, Mr. Templer. Who is old Boney? Oh, that happens to be the nickname the English had for Napoleon Louis. Oh, fine. So Horton says he remembers the year old Boney got his toes toasted at Moscow. Look, my brother in law, Joey, you know, happens to be a very educated man. College man? No, no. Graduated from the United States Army. He's now a mechanical type engineer. Look, anyway, once he told me Napoleon was in Moscow in 1812. Yes, your brother in law was correct. But Mr. Temple, that would make this guy Horton over. Over 150 years old. I'm afraid it would. A guy over 150 years old is dead. So what's Horton doing walking around, huh? Well, he may have been too busy to lie down and die. That does not put a twinkle in my eye. Look, Mr. Temple, I want to go home. Louis, there's a pattern here of some kind. A pattern for horror. And if that pattern is to mean anything, I. Hey Louie, that closet there. Yeah, it's a closet. Yeah, yeah. Suppose we open it. Look, I don't like to mention this, but in all old families, you know what they keep in closets? They keep skeleton in closets. Templar. He. It fell down. Yeah. No skeleton however, that I can see for myself. Fortunate thing on the whole. Why, what's fortunate about it? With a skeleton you could never tell whether or not its throat had been cut. His throat has been cut. Yeah, thoroughly. Let's go take a trip someplace. Let's. Louie. What? Haven't you realized something else? I don't think I wanna. This man here is dressed just as we are. Not in the costume of a dead age. Well, it didn't help many. Oh, you found some? Yeah. Long brown hairs clinging to his clothes and, uh. Huh. Various papers. Yeah. In life, Louis. His name was Charles Gray. He was a lawyer. Oh, the Bar Association. England. Like this. Maybe something else. What? He was carrying this document, Louis. Now what is it? A copy of the last will of one Samuel Hawthorne. Hawthorne? Him we didn't meet yet. No. Lots of closets. We haven't opened yet either. Yeah, we're not going to if I can help it. Well, what does the will say? And you better read fast because all them candles, you know, they're beginning to give up. I, Samuel Hawthorne, being sound of mind and body, do hereby make this my last will and testament. It is my desire that all my heirs entail. Time to come. In order to inherit my vast fortunes, must at least once a year open Hawthorne House and there give a ceremonial dinner to the neighboring gentry in castle. Yes, at this dinner, everyone present must wear clothing of my time. My heirs must be of high moral repute and avoid divorces. Obviously, the dead man here, Mr. Charles Gray, was the lawyer in charge of the estate and presumably came here to make sure the terms of the will were met. Okay, so now we know the ghosts weren't really ghosts. Yeah, but what? We haven't seen any of them, it's true. Nor any neighboring gentry. However, that stipulation was probably way too. Yeah, look, Mr. Templer, you know, we better maybe get the police. Yeah, there aren't any phones around here. Lord, couldn't we walk to Glenville? No, Larry, I think we're here for the night. Oh, fine, fine. Fits right in with that pattern for horror you mentioned. Oh, all I personally need right now is for someone to scream good and loud. Mr. Templer, this makes the second time we've searched the house and found nothing. That was a woman screaming, Lou. Maybe it was a ghost. Ghosts aren't supposed to scream. They clank chains. Yeah, maybe this here ghost didn't know that. What? Back to the dining room, I suppose. Only room in the house with lights. Is that good? Maybe the corpse took a walk or. No, still here. Yeah, and still dead. Ah, fellas having fun? Dressed up like Napoleon too. Look, he ain't walking very straight. I hate to say him inquisitive, but. Oh, Mr. Gray. It starts in a bad way, isn't it? It's not especially normal. I'm Simon Templer. And you? James Hawthorne, sir. Besides Housebreaking? Your occupation is what? Hey, you're the saint, aren't you? Yes, I am. The slitting of larynxes. Rather an odd occupation for the saint. Well, it would be if I had cut Mr. Gray's throat, however. You're Samuel Hawthorne's heir? Yeah. The current one? Yes. You've been snooping. Well, there was a clause in the will about divorce. You've been overdoing that. Snooping? You're married, Mr. Hawthorne. Sorry. It would have helped supply a motive, I suppose. But I'm not, nor have I ever been fortunate or unfortunate enough to be married. A woman screamed a few moments ago. Who was she? I wasn't her. Well, you couldn't have failed to if you were in the house. But I wasn't. But you must have been. It's been raining out. Your clothes are dry and spotless. Well, to be honest, I wasn't in the house. And yet I was. You searched the house, I presume. Yes. You overlooked the cellar. I didn't find one. It's a tricky place to get to. The entrance is behind the chimney and the parlor. Has something to do with colonial politics, perhaps. At any rate, I was down there. You're fond of sallies. Well, when they were equipped with bottles and bottles and bottles of Napoleon brandy. Yes. Now, if you don't mind, I'll sit down. I have another few hours to remain in costume. And here in order to comply with the terms of the will. I'm sweet. I shall. Oh, that's polite. It's more probably brandy. So what do we do? Sit here and listen to him snore? Napoleon keeps cropping up all the time. Louie, suppose we go downstairs and have a look at his bottles. Oh, some staircase down to the cellar. Yeah, it's very narrow. My shoulders keep rubbing against the wall. And a dirty wall, too. Hey, look, the cellar's all lit up. Candles on barrels. Hey, and lots of barrels. Not to mention kegs and casks and everything. Hands up. Yeah, casks and blondes. And I said Hands up. With.42 caliber revolvers.42? You didn't expect me to be armed, did you? I'm afraid we didn't expect you at all, miss. You would say that. But this isn't going to work out the way you thought. I'm afraid I haven't had any thoughts recently. Look, Mr. Temple, she's running up the stairs. Yes. Hey, she folded the door behind her. Oh, Mr. Templer, that was a very solid type of door leading to the cellar. And the cellar is about six Miles underneath the ground. And we're locked in. Oh, don't worry, Louie. We'll be released in time. In time for what? A funeral? That girl was beautiful. She's on the other side of a locked door. So what good does it do you, huh? I can worry. Oh, this is an occupation for a grown man. Worry about what? The part she's playing in this entire mask. Mr. Temple. Yeah? Those were shots. Did they answer your question? Hardly. We don't know who shot at home. Girl had a revolver. Yeah, so she had. Still locked? Yeah, still locked. Don't bother, Louis. No one will answer. May as well go down again and make ourselves comfortable. Yeah, for how long? 20 years. That'll be silly, Louie. You got an optimistic thought. We'd never last 20 years down here. You know something, Mr. Templar? I'm beginning to feel aged in the wood. You better restrain yourself. We've only been down here half an hour. Perhaps. Hey. Hey. The marines have landed. I must get another bottle. Get another bottle. Definitely an amphibious operation. Oh, Mr. Templar. Tripling, huh? Well, not exactly. Ah. Very naughty of you. Don't mind admitting that's why I'm here myself. Need another pile of brandy. You know what happened to the one upstairs? It's all empty. Must have evaporated. Huh? Oh, perhaps those shots frightened it out of the bottle. Oh, you had them too. I had them myself, you know. Matter of fact, I'm violating no confidence when I tell you those shots were fired at me. Whoever shot at you couldn't have had very good aim. Fortunately for me, no. Carla, dear cousin Carla happens to be, and I permit myself to be vulgar, a lousy marksman. Should I say markswoman? Carla being blonde and beautiful. Oh, you've murdered. She's next in line for Samuel Hawthorne's pretty little fortune, you know. If I should happen to be disqualified or dead. Well, you have your bottle. Suppose we go upstairs. An idea. Then come out the staircase. Plaster walls exalt from one's shoulders, eh? You can't rub it off either. Backing the parlor, Mr. Temple. You have a reputation for these things. Who cut Mr. Gray's soaps? A murderer. Oh, very fortuitously. But why? It was Mr. Gray's task to see to it that the provisions of the will were observed. His death, therefore, must have had something to do with that. You're a bachelor? Indeed I am. Was he? No. Her pretty little wife. Oh, she'll be desolate. As a matter of fact, merely thinking about her grief makes me desolate. Therefore, touching this bottle and I hope you won't think me too terribly selfish. I shall toddle off to bedevi. A dusty bed, perhaps. But it's almost morning. Good. Lodge him. I am very glad to see go. But how about us? Now we go for the police, Louie. If your cab will start, however. Carla. Oh, let's not look for her, huh, Mr. Templar? A girl with all those calibers don't appeal to me. Oh, you're being narrow minded, Louie. After all those shots, how many calibers can she have left? It's wet out, it's cold, it's dark. But do I mind? No. Out here at least no ghosts. No corpses neither. Louie. What? Look. Oh, the other cab. Let's have a look, Louie. Oh, I didn't like that. Should I take a look, too? You might as well. Okay, I'll take. Wow. Wow. Wow. The frightened cab driver, Mr. Templer. Yes, except that nothing will frighten him anymore. Mr. Temple, this here's not a healthy neighborhood for throats. His has been cut, too. Yeah. Same technique is used on Gray. Louis, we've got to get back to the house. You don't like our throats the way they are. Come along, Louie. There's no time to go to Glenville. There's lots of time in which a murderer may kill again. Oh, let's change a few subjects, huh? Very well. Yeah. I've got three questions, Louie. Why did the cab driver whose body we've just seen lie to us? Why did Carla think she was in danger from us? And can a bachelor be divorced? The answer to the last one I know he can't. Right. Therefore, we know who the murderer is, don't we? Oh, hey, that dog. We know about him, too, don't we? What do we know about him? You remember I mentioned the long brown hairs clinging to Gray's clothes? Yeah. Those hairs must have come from the dog we saw. The dog, therefore, belonged to gray. Oh, Mr. Templer. Down the hall in that alcove. Yeah. If I move quickly. No. Help. Let go of me. Hello, Carla. Going to run away? No, but I won't let go. Go with the gun. Yes, you will. It's much too heavy for you now. Just come along with us. All right. You don't try anything. I won't. Except for catching a killer. A killer? But what? We want the dining room. Everybody back so soon? Nearly everyone. Mr. Hawthorne. Oh, I'm glad you got Carla's gun, Mr. Templar. She might not miss me again. We don't know that it was she who shot at you, do we, Carla? Why, it would be easy to discover if this gun has been fired recently. Well, maybe I did shoot at him, but I. There's something else that should come first. Charles Gray was murdered in this house earlier tonight. Why? Both you, Mr. Hawthorne, and Carla covet a fortune. That's why you're both here. Yeah. Mr. Temple. Louie. All Mr. Hawthorne had to do was spend the night here in appropriate costume. And also refrain from appearing in a divorce. A bachelor can appear in the divorce case, can't he? Mr. Hawthorne, you found the papers for the divorce suit on Gray. Amy Mia's correspondent, eh? He was always so touchy about his wife. I didn't find him. Doesn't matter. However, I knew they or something like them had to exist. On the other hand, if Horton, the ghost butler we found serving dinner earlier this evening, is really insane, you're trying to pin the murder on him. He left the house in time to have committed it. There's usually a motive, you know, Mr. Hawthorne. Which murder are you talking about? Gray's murder, naturally. No, because Horton wouldn't have had to leave the house to kill him. Gray was murdered in this room. But you accepted my statement about having to leave the house to murder. We're both talking about the cab driver's murder, aren't we? What cab driver? The one who brought Gray here. The one who saw Gray murdered. The one who fled and then thought things over and decided to return for a little exercise in blackmail. Mr. Templer, you said he lied to us. But what about you? Remember, Louie? He told us he looked into the dining room through the front window and had seen the ghosts at dinner. Do you also remember, however, that when we got to the house. Yeah. We looked in the front window, too? Yes. Yeah. And all we could see through it was the chandeliers in the ceiling. I said so myself. Uh huh. The cabby lied and died for it. Look, I haven't been outside the house all evening. You must have. You claimed you were in the cellar when we first met. That's why you didn't hear Carla scream. But the cellar stairway is narrow. It's impossible to avoid getting plaster on your shoulders. Plaster that can't be rubbed off. And yet, when we first met, I remarked that your clothes were spotless. They should have been wet. Nonsense. You'd had time to change from your ordinary clothes. You didn't think of rubbing plaster on the costume, however. Too bad. You might then have applied to the scarlet of murder a coat of whitewash. I was hiding in the cellar because James had threatened me. You see, I knew Mr. Gray was going to sue his wife for a divorce and name James. And if he did, you would inherit all the Hawthorne money? Yes. I was terrified that he would kill me. I see. Tell me about Horton, Carla. Poor Horton has been hired every year for the occasion. He's very, very old. Now tell me about you, Simon. Well, I. Mr. Templer, I don't mean to interrupt you and Ms. Carla, but it seems, Louie, you don't have the ghost of a chance. You have been listening to another transcribed Adventure of the Saint, the Robin Hood of modern crime. Now here is our star. Ladies and gentlemen, this is Vincent Price inviting you to join us again next week at this same time for another exciting adventure of the Saint. Good night. This script of the Saint was written by Louis Vitis. In the cast, you heard Adrian Martin as Carlo and Edmund McDonald as James Tudor. Owen was the butler, Fred Shields the cab driver. Louis is played by Larry Dodkin. The Saint, based on characters created by Leslie Charteris, is a James L. Safir production that is directed by Helen Mack. Vincent Price is soon to be seen co starring in RKO's production of his Kind of Woman. Your announcer, Don Stanley. Three chimes mean good times on NBC. Whether it's comedy, music or drama you're after, you'll find it on the big show today. And today also means a one hour adaptation of F. Scott Fitzgerald exciting novel, this side of paradise, presented by Theater Guild on the air and starring Richard Widmark and Nina Foch. April is cancer control month. Guard your family against cancer by joining the 1951 cancer crusade. May your generous contribution to cancer take care of your local post office. Hear the cast of Green Pastures today on NBC. Truth is stranger than fiction, and this is the proof. This is Ripley's Believe it or Not. A witch doctor in Angola, Africa, who wants to resign his profession must attain an entirely new identity by wearing a mask day and night for a whole year, Believe it or not. In a moment, I'll tell you the weird story of a man who staged his own execution. Some men have been known to do strange things in the face of death, and Giuseppe Carracci certainly was one of them. Giuseppe was an Italian sculptor who was sentenced to death in Paris for attempting to murder Napoleon. He persuaded authorities to permit him to travel to the guillotine in the purple robes of a Roman emperor. And he rode in a golden coach which he designed especially for his own execution. Believe it or not. William Gargan stars as Barry Craig. Confidential investigators. Murderers, by and large, probably lead very dull lives. But there's no doubt about the way most of them wind up. It's electrifying. The National Broadcasting Company presents William Gargan in another transcribed drama of mystery and adventure with America's number one detective, Barry Craig. Confidential investigator Barry Craig speaking. An office in a shabby old building on Madison Avenue isn't the ideal place to spend the summer. It isn't ideal for fall, winter and spring, either. But if you're a confidential investigator, you settle for considerably less than the ideal. When the phone rings, though, you hope nine times out of ten, it's only the phone call. Testing your reflexes. The tenth time. Craig. Barry Craig speaking. This is Mark Reed. Barry. Mark. I haven't heard from you. Listen, I don't have much time. Can you get down here right away? Well, get down where? My house. The old Tower house. It's right outside Dorning. That's upstate. Well, I've driven through Dawning. Don't drive. There's a train at midnight. Faster. Oh, what's my hurry? Take that train tonight. Please, Barry. But why? I can't say anymore. So long, Mark. I've known Marjorie for quite a few years. Nothing special. We've knocked over a few beers from time to time, discussed the state of the nation, admired sports cars. I'd never figured, in fact, an especially imaginative type. On my way over to the station, I tried to tell myself it was just a fancy way of inviting me to spend a weekend in the country. But then why had there been terror in his voice? Ticket, please. Here you are. Getting off at Dawning, huh? That's right. Now, why do conductors always punch tickets and then keep them? Well, we don't, actually. Except when the passenger is getting off at the next scheduled stop. That's me. How long before we get to Dorney? An hour or so. Hmm. Train's kind of empty. Late run. Don't get many people. Makes it nice and quiet and dull. Moon shining. Who does that help? Observation platform, back of the train. Well, that's nice. Gives you a better view of nothing. I wouldn't say that. Oh, Blonde girl back there, too. Been there ever since we pulled out of the city. I'll conduct it. Oh, I ain't trying to promote romance. I'm a little worried about her. Why? Way she looked. Frightened, sort of. In fact, she stayed out there all alone for hours now. Oh, it doesn't have to mean anything. Well, that's why I didn't take any official notice. But I'm still worried. Hmm. Maybe I'll go back and see if the moon looks the same from the observation platform, huh? I think that might be a good idea. Only one thing I maybe ought to tell you. What's that? She was carrying her ticket in her handbag. When she opened it to get the ticket, I noticed she was carrying something else in that handbag. What? A gun. A blonde and an observation platform sort of go together. Especially when there's a moon around. Blonde and a gun? Or something else again. Something not nearly so nice. I'm sorry. Don't move. Don't come any closer to me. Okay. You don't need a gun to keep me off. It's pointing right at you. I know how to use it. You might try using your brains instead. Don't try. I'm not trying anything. All I am is a passenger on this train. Sure, you'd have to say that. I never saw you before. I'm sure you never saw me before. I never saw the man who tried to kill me before either. Tried to kill you? Where? Back in town. But you did see him? Well, not really. It was dark. He was in a car. He shot at me. Well, what did the police say about it? I didn't. I had to make the train. Why am I telling you this? I inspire confidence in small children. I'm not a small child. You're acting like one. If you let me reach into my breast pocket, I'll show you my credentials. Credentials? Yeah. My name's Craig. I'm a confidential investigator. You get your credentials, but you be careful. Oh, I'll be very careful. There. Nothing lethal about a card case. Wallet. I'll dump them on the chair here and then I'll move away. Now, you could look at them without disturbing your aim. All right. Barry Craig. Yeah. I'm sorry. Forget it. Now put the gun away. Yes. Good. Now, what's your name? Ruth Adams. How do you do? And why would anyone be taking pot shots at you? I don't know. Any attempts on you before tonight? No. Well, what's special about tonight? This train trip, Maybe. I've never gone up before. Gone up to where? Dawning. The girl was small, but not skimmed. She was pleasant to look at, or would have been had she not been suffering from complete panic. The fact that she was getting off at Dawning might have been a coincidence. I found out back in the club car. Another drink? No. No, thanks. I feel a lot better already. Fine. Now, you're getting off at Dawning? Yes, and then you going on to the Tower House. Don't freeze up. My knowledge isn't necessarily guilty knowledge or why the old Tower House. My uncle lives there. It's his house. Mark Reed. You know him? Well, he's the reason I'm on this train. He phoned me, wanted me to come out immediately. Well, I got a telegram from him. It was surprising because I haven't seen him since I was a baby. He had a fight with my father. Your mother was his sister? Yes. Is she alive? No, she died years ago. And your father? He's dead too. Don't think I'm just being nosy. I'm trying to find a pattern. And you know if your uncle has any other relatives besides yourself? Alive? No. Uh huh. Have you found that pattern? The beginnings of one, maybe. The rest will have to wait until. Well, until we get to the house. Which won't be long now. We got off the train. It turned out we were the only people who got off the train. Maybe because Dawning turned out to be nothing but a decaying wooden shack by the side of the tracks. This can't be Dawning. Well, it is. Sign on that shack says so. Hiya, folks. Oh, easy, Ruth. It's a cabby. Buggy's all ready for you folks. Take you right into Dorning. I'd hoped we were in Dawning. No, no, this here's only the railroad station. Town's a couple of miles south. Uh huh. Well, lead the way. I don't have to ask you folks which hotel you'd like to stop at. Reason is there ain't but one in Dawning. We're not going to a hotel. Oh, visiting friends, huh? That's right. Mark Reed Reid. Yes, at the old Tower House. You know where it is? Yeah, I know where it is. It ain't south like the town. It's north a bit, not very far. Just walk up the road here about a mile and a half. Well, hold on. We're hiring you to take us there. No, you ain't. Why not? Well, the further I stay away from that place, the happier I am. Well, what's wrong with it? I don't know. I never investigated. Well, you could be wrong. I don't want to find out. Mister, would you and the young lady like some good advice? Trains back to the city coming through in an hour. Stay here and get on it. Well, I'm not that crazy about trains. You'll thank me for that advice someday. Well, I'll thank you right now. We're still going to the Tower House tonight. If you're afraid to drive us there, take us into Dorning. We can get another cab there or Maybe rent a car. Okay, mister. Get in. Ruth? Uh huh. I'll take you to the Tower House. Thank you. Didn't have to make no crack about my being afraid. But you are. Well, maybe I am. Maybe the reason you're so brave is because you don't know what you're getting into. I didn't know. But I didn't have to be brave about anything. I was going to visit an old friend in the country, that's all. All was it? Barry, I don't like this. Well, I've been in better cabs. There's a feeling about this. In the middle of the night to an old house. I love lights and people. Barry, I'll take it easy. Once we get to the house, it ought to be comfortable enough. Mark's a wonderful host. And it looks like we're practically there. Well, High stone wall gate. This is it, folks. Oh, that gate's open. Must lead to a private road. You can turn in. And the house is about a half a mile from the highway here. Well, this is where you get out. You were hired to take us to the house. This is as far as I go. I could make you change your mind. Please, Barry, don't. Okay, let's go. Oh, how much? Two bucks. Uh huh. One. Two. Two dollars. You can keep the change. What change? The tip is for your courtesy and cooperation. Think you're smart? Get out of the cab and we'll discuss it. You. You think you're smart? Somebody must love him. But it must be uphill work. Barry, I'm terrified. Oh, come on. There's nothing to be afraid of. No, nothing that we can see. It wasn't too pleasant. A half mile. The girl was frightened. The wind was blowing up. There'd be rain. Soon the darkness was complete. And I didn't have the beginning of an idea of what we might be walking into. I don't like that. The thunder. Oh, it was so loud. Who knows what it might wake up. No, no, no, no, no, no, no. That was only a dog. That was the Hound of the Baskervilles. And I want to go home. The house is right up ahead that rise. 50 yards more. And that dog is getting closer. That's a pet. Who's Draculas? There he is. There he is. He's going to jump at us. Doesn't look vicious. He's as big as a. Oh, here boy. Here, you're encouraging him. No, no, no. Easy boy, easy. Ah, that's a fine animal. He's more afraid of us than we are of him. We got a better reason. He's quieting down. That's a good boy. Come on. We'll take him to the house with us. I hope they like dogs there. Is that the house? Must be. I don't like it. It looks like a tomb. And Grant never was up here, so. Oh, it's just an old house. Architect had a lousy sense of humor. Hello, Barry. The dog. What's the matter, boy? What's the matter? He stopped dead, Barry. He's staring at that house as though. As though he didn't know it, that's all. Come on. He'll follow us. He's not following us. Well, he's running away, Barry, and panic. Well, he's a neurotic hound, that's all. Let's stop worrying about him. Your uncle asked us to come down H. The house maybe isn't pretty, but so far we haven't seen anything wrong. I'm sorry. Go ahead, Barry. Knock. There's a bell. Pull here. Oh, not exactly a happy tinkle, but I'm not sure for whom that bell's tolling, but I hope it's not for us. I hope somebody answers it soon. Somebody dressed in the latest enshrouds. I know I'm being silly, but if I weren't, I. I'd be screaming. Well, you stick to being silly while I stick to. Maybe everybody went to. Oh, but you aren't. Hello. I. I hope we haven't waked you, but. Well, I'm Barry Craig, and this is Ms. Ruth Adams. What about it? Mr. Reed asked us down. Who? Mr. Reed. Mark Reed. No Mr. Reed here. You better go. Here. Now, wait a minute. This is the old tower house, isn't it? It is. Then Mark Reed's here. You're insane. Now, that's my foot blocking your doorway. A Mark Reid's here. He owns the house. He phoned me earlier tonight, and he sent Miss Adams a telegram asking us both to come down here. He didn't phone. He didn't send a telegram. He doesn't live here. Well, maybe you don't know him. How long have you been. I've been a housekeeper here for 20 years. Never heard of any Mr. Reed. No Mr. Reed here. Go away. You could be making an honest mistake. You better step away from the door, though. We're coming in. I wouldn't be so sure of that. Oh, reinforcements. Got a gun, Barry. The complete householder. I have a gun, and I'm prepared to use it. Mrs. Dunn. What is all this? A story about a Mr. Reed Reid. I'll Spell it for you. That won't be needed. Why are you trying to force your way into my house? We were invited here. By whom? Reid. Oh, Maybe I'm getting monotonous, but it's still reed. That doesn't explain your presence on my doorstep. This is his home. Fiddlesticks. I purchased this house 21 years ago. It is mine. My name is Loomis. Barry. I don't know. My head's starting to spin. Now, Mr. Loomis, has this house always been known as the old Tower House? It is known by that name now. Always is a long time it has been called the old Tower House ever since I have lived here. Well, for a lead nickel, I'd buy the theory that Reid was a ghost. But ghosts don't make phone calls. They don't send telegrams. I'm not very well acquainted with the habits of ghosts. I suggest you carry on your investigation into their customs elsewhere. I should like to shut the door. Oh, sorry, but that rain's pretty strong now. Our cab's gone back to town. Mind our coming in and phoning for another one. We have no phone. Well, in that case, we'll accept your hospitality. I haven't offered it. You're not going to send a lady out in that rain. Well, come in, please. Thanks. Mrs. Dunn, will you prepare a couple of the guest rooms for Ms. Adams? For Ms. Adams and Mr. Mr. Craig. Yes, Mr. Loomis. You can wait here in this room. We'll wait. I don't care for guests in my house. Under the circumstances, I cannot help myself. I hope you will find your rooms comfortable. But I do not greatly care. Good night. Hmm. He's been taking lessons on how to become the perfect host. Thanks for trying to cheer me up. It's all so strange. Barry. Where is my uncle? I don't know. Do you have the telegram with you? The one he sent? Well, I think. No, not with me. It would be in my bag. In another purse. Oh, your bag. That reminds me. I left it outside on the doorstep. I better go get it before it gets drenched to the pig skin. Come back quick. Don't worry. Now, where did I put? For the second time that night, I was out on Mr. Loomis doorstep. I began to feel like little Eva heading the wrong way. That didn't work. It would have to be the bells again. Who the devil? Oh, you. Me? I was getting Miss Adams bag when the door blew shut. Come in, Come in. Thanks, Ruth. Not in the room I left her. That scream must have come from farther down the hallway. Now, what's this room? Yes. The library. Ruth. Ruth. The door's locked. Where's the key? I. I don't know. Mrs. Dunn looks after the keys. I. There's no time. Excuse me while I try to ruin a library door. No, look here. I'm so busy. The library's empty. Not exactly. On the floor near the fireplace. Ruth. Ruth's the size of a baseball on back of her head. She may have fallen. I've been struck. Ruth, take it easy. My head hurts. It should. What happened? Someone hit me from behind. I didn't see what made you come to this room. I heard groans and then the door was open. Groans from him. From who? The man in the chair near the desk. I can't look at him. He was grinning at me. Yeah. Let's get you up now. Come on. There. How's that? I'm all right. Fine. Now, which man? In what chair? Right there. In that? In that? There's nobody in that chair. Your rooms are ready. But there was someone. A man. A middle aged man. His eyes were staring and there was blood on his shirt. A lot of blood. Now, Donna, take a deep breath. There's no hurry. He died as I came in. I could feel the cold air of death on my skin. He grinned at me. And he died. Oh, this girl is hysterical. This room's always kept shut. The windows boarded up, only one door. Maybe it was your imagination, Ruth. No, she did see something. Juan. I've lived in the part of the country all my life. That's how I know. The man she saw was the former owner of this house. He died with a bullet through his heart in this room, in that chair. Then I was right. The only thing is, it all happened 80 years ago. That slowed conversation down to nothing. I took Ruth up to her room, checked it, made sure no one would be able to get in. Once she locked the door behind her. And then I started out. Barry. Yeah? Before I realized that man in the library was dead, I touched him. Then I wiped my hands on his handkerchief. Look at it, Barry. Okay. Yeah. It was blood I wiped off my hands. Do Ghosts who died 80 years ago still bleed? I didn't have a good answer for that. I just made sure she locked her door. And I went off to my room and tried to sleep. I had my troubles. I was glad when morning arrived, along with the eggs, bacon and coffee. That was a nice breakfast. Mrs. Dunn. Yes, sir. I trust you slept well, Miss Adams. Yes, I slept well. Good. Ah, that will be your taxi, Mr. Craig. Well, right on time. Glad he let us finish breakfast. You ready, Ruth? I'm ready all right. Thanks for your hospitality, Mr. Loomis. Not at all. We'll find our own way out. Well, how do you know Mr. Loomis was telling the truth? Let's take a taxi, huh? We got into the cab and drove away. Took a little longer for Ruth to start worrying about it than it had taken me. Barry, the cab driver. It's the same one as last night. Yes. Quite a happy coincidence. Coincidence? Keep your voice down. No coincidence at all. Our boy up front is working dirty hand and glove with dear Mr. Loomis. How do you know? We found out last night there was no phone at the house. How did Loomis manage to get a cab out here so early in the morning? Oh, then after he tried to frighten us away from the Tower house, the cab driver stayed here. Uh huh. What are you going to do with that gun? Apply the back end of it as soon as he slows up with his turn. Like this. I hadn't any choice. He disapproved of our low voice conversation. He was reaching for his own gun when I lent him. Mine behind the ear. The car stalled, which was nice. I tied him up, dumped him at the side of the road and went back to the old tower house. The dog. He's crying. Barry. Yeah. Around the side of the house at the cellar door. Oh, he's running away. Probably decided we're friends of Mr. Loomis. This is what he was listening to from the cellar. That sounds like. Like digging. Let's go down and check. Barry. It's Mr. Loomis. He's digging a hole. That body, the ghost you saw last night, that's Mark raider. And what Mr. Loomis is digging is a grave. Isn't it, Mr. Loomis? What, no comments? Or have you been working too hard? Get out of here. I don't think so. Why did you murder Reed? I didn't. He shot himself. And you're trying to protect his good name. Very well. I did murder Mr. Reed. A gentleman with a great deal of cash on hand. Cash he was going to leave to your charming companion. You reel it off so well. Keep going. I have better ideas for that money. Mark Reid became frightened of Mrs. Dunn and myself, who'd worked for him for so long. He sent for you. I tried to have the cabbie keep you from coming here, but such frankness on your part wouldn't be wise, would it? Unless something's changed. Your voice changed quality a few moments ago. Lots of changes. What happened? Mrs. Dunn show up at the head of the stairs with a gun in her hand? Quick shoot. She wasn't quick enough. Amateurs never are. They don't realize how heavy a pull you need on a trigger. Don't Worry about her, Mr. Loomis. I just winged her shoulder. I'm not worrying about her. I should have realized that courtesy stops outside the death cells, doesn't it? We got them all into the cab and drove to Dawning. It had a nice jail. And glad to welcome Mr. Loomis. Mrs. Dunn and the cab driver. Mark Reed went elsewhere. I wish he'd asked you to come to him earlier. You'd have liked him. But forget it if you can. I'll try. Barry. When we were in this cellar, Mrs. Dunn came in. But not from the outside. From a fake door in the library is where she came. I expected her. But how did. You yourself told me when you went into the library you felt a breath of cold air on your skin. But the windows were all boarded up as I mentioned. So you knew there had to be another door to the cellar. As it turned out, you know, this is a much nicer trip than the one yesterday. Mrs. Dunner just tried to kill you. Then you were traveling deeper into danger. Now about the only danger you are in, unless you get to the other side of the car, is danger of this. Sarah? Uh huh. Barry? Yeah? I got a secret. Why? I'm not afraid. Maybe. But I am. Next week's story is called the Corpse that Couldn't Swim. Of course, we didn't really know whether to swim or not. William Gargan. He was dead when we met. Transcribed Mystery drama from the Adventures of Barry Craig Confidential Investigator Tonight's story, Ghosts Don't Die in Bed, was written by Lewis Vitis. We regret that with the program you have just heard, we conclude the present Barry Craig series. We hope you have enjoyed them and we look forward to bringing them to you again sometime in the not too distant future. We would like to call your attention to the fact that next week Dragnet changes time of broadcast and also that next week Lux Radio Theater joins the NBC network on Tuesday night. For your better listening pleasure, consult your local newspaper for the time of broadcast of the Lux Radio Theater. Over this NBC radio station, the National Broadcasting Company has brought you an NBC Radio Network production with William Gargan starring as Barry Craig. Confidential Investigator directed by Arthur Jacobson. Also heard were Jack Moyles, Charles Lung, Betty Lou Gerson and Virginia Gregg. This is John Lang speaking. Here is some information that will help you to know More about CARE C A R E the letters stand for Cooperative for American Remittances Everywhere Incorporated. It is a nonprofit organization specifically set up by America's mass relief agencies to provide an effective, economical way for Americans to send food and other essentials to needy persons overseas on person to person basis. CARE is approved by the United States Government and works under favorable agreements with countries abroad. You may send a CARE package to a specific person or group. Simply give your name and address and the name and address of the recipient and you will receive a signed receipt upon delivery. If you do not know someone abroad you want to help, one of CARE's member agencies will choose a needy family for you. $5 delivers the new basic CARE food package containing 26 pounds of meat, beans, sugar and milk powder. $10 will send the larger standard package. Remember, freedom is threatened when starvation and suffering persist. Food will help whip communism in economically weak countries. Send your contribution today to CARE C A R E New York this is the NBC Radio Network. Wednesday it's a hair raising Halloween happening. First that Emmy winning it's the trick or Treat trail. I'm no security cat. It's all new. Garfield's Halloween Adventure. Then I hear the Great Pumpkins, the Halloween classic. It's the Great Pumpkin Charlie Brown right after Garfield. Wednesday the makers of Wrigley Spearmint Chewing Gum invites you to enjoy Life Life with Luigi a comedy show created by S. Howard and starring that celebrated actor Mr. J. Carroll Nash with Alan Reed as Pasquale. Friends, the makers of Wrigley's Pyramid Chewing Gum are glad to bring you Life with Luigi because they feel it's a friendly, good natured show that offers you relaxation and enjoyment. Now Wrigley's Spearmint Chewing Gum brings you Luigi as he writes another letter describing his adventures in America to his mama Vasco in Italy. Dear Mummy, Right now is to start the holiday season in America and for me it's bringing back a lot of nice memories. How many member My first Thanksgiving in America, November 1948 and Pasquale made a big 20 pound turkey to celebrate. I'm never going to forget how his daughter Rosa started nibbling on the turkey before dinner that night. Rosa was at 20 pounds heavy and we had a Thanksgiving and dinner spaghetti and a meatball here. I'm a feel the happiest in this great American holiday season and tonight I feel specially happy because now they're celebrating what's called Halloween and it's a holiday you don't celebrate to some big American, you just buy. You don't buy the presents for nobody. You don't eat a turkey. You just go around in a ring of the doorbells. Cats. If you're a little boy or a little girl, you should see how they dress up. Like clowns, witches and gypsies. Then they knock on your door and they say trick or treat. You give them a candy, I'd call it. And if you don't, that's a call a trick they'll have to break in the window. But that's never going to happen to me. Mamma mia. On my way to night school tonight, I'm going to buy whole big bag of candy and a chuna gum. And when I come to knock on my door tonight, I'm going to be regular Santa Claus. Well, first time I got to my night to school. America, I love you. You like a papa to me from. All right class, quiet please. I'll call the roll. Mr. Basco. Here. Mr. Harwig. Here. Mr. Olson. Mr. Schultz. Who are we in a. Ruth, why don't you call our names backwards sometimes? Oh, you mean Schultz. Olz and Horowitz and Vasco. No, no, no. Aksab, Schwitzer, Nelson. That is not funny, Mr. Schultz. Well, I'm very sorry, Ms. Dinglops. I mean Schwalding. And let's have no more interruption. We're studying capital cities today. Mr. Schultz, you may tell us the capital of Oklahoma. Oklahoma. Now let me see. Would that be Jackson? Jackson is the capital of Mississippi. Oh, naturally. Would that be Topeka? Topeka is the capital of Kansas. Ms. Faulkner. Don't interrupt her, Olson. She's got two rights so far. Never mind, Mr. Schultz. Mr. Basco. Present. I thought you weren't paying attention. Who's got there in your hands? It's a. Listen, Ms. Balding is a big package of chewing gum. Bigger package with a lot of package of chew gum. Then a jelly beans, a caramel peanuts, a peppermint, licorice sticks and other little candies. Ms. Pauling, if you keep him after class you can have a party. Be quiet please. Mr. Basco, I wish you would eat before you come to class. Oh no, Ms. Spaulding, this candy is not for me. Tonight is a Halloween and after class I'm gonna go home and give the candies to the little boys and the girls who one day knock on the door. Oh, I see. Drink or treat? Halloween. The lovable little beggars. You know, last year they kept knocking on the door of my delegates and all night. And did you give them anything? Charles the liver Was float like gumdrops. You have seen those kidneys eat. Bless their little heartburns. All right, all right. Hold that talk for after class, please. Now, where were we? You were asking for the capital of Oklahoma. Oh, yes, yes, you may tell us, Mr. Horowitz. Ms. Spaulding, you were asking, but I wasn't telling. Well, then tell us now. Oklahoma. Well, think, Mr. Horowitz. Where is Oklahoma? You mean where it is now? Well, of course. Oklahoma has never moved. That's funny. I read once that Oklahoma was going on the road for six months. I could kill myself for not saying that first. Ms. Falding, we are wasting precious time. Just call on me. I will give the right answer and then we can go on from there. All right. There he goes. Kukla, Fran und Olsen. Mr. Schultz, you're just impossible today. Now please try to control that tongue of yours. I'm sorry, Ms. Balding. It's the Halloween spirit bringing out the witch in me. Never mind. Go on, Mr. Olson. The capital of Oklahoma? Oklahoma City. Oh, of course. Oh, my. The ends of staring him right in the face. Oh, I could use tie there was right under the nose all the time. Is that a laugh of the meeting caller in Jackass. It takes a yakast to recognize the yak. Please, the both of you, stop acting so childish. Mr. Basco, we'll go on now. Tell us the capital of Florida. Capital of Florida? You're not gonna fool us twice. Run of the city. Wrong, Mr. Basco. It looks like we've lost you for the day. Lost me? How's it possible to lose me if I'm sitting right here? Well, I mean your ability to concentrate now, frankly it upsets the rest of the class. Count me out. I'm very happy to have a partner in ignorance. Please, please don't be angry. Miss spotting. It's Halloween and we all should be happy. No. Well, we should all know our work a little better. Mr. Basket, why don't you just leave? I know you'll be happier. Ms. Spalding. You angry? I'm not. You are. Please, I only want to feed the kiddies and make them happy. Please not be angry. Huh? I'm not. Well, you smile a little bit. Well, all right. And have fun. All right. Thank you and goodbye class and happy Halloween. Goodbye, kids. Come again and extra Halloween. I give you some more candy and a chum. Hard day. Nice. So nice. Sound of children is sweetest noise in the whole whole world. Must have been some more kids. I'm going to go. Trick or treat, little banana nose. Come on in. I've been watching you for my spaghetti palace, little cabbage pussy. You've been feeding those kids like you was the Marshall of plants. Well, how else am I going to celebrate the Halloween of Pasquale? Well, I always call you pumpkin Ahead. Why don't you stick a candle in your mouth, huh? I never seen anybody like you before. Every little American holiday comes around, you got to be the cheapest celebrator. See? Look, if you, Abraham Lincoln, didn't have 10 brothers, you'd be celebrating every day of the year. When you love a country like I love America, then you want to celebrate every day in the year. Sure, but why Halloween? What are you celebrating tonight? Did a Washington cross of the Hudson on Halloween? Did a Paul Revere ride as a horse on Halloween? Did Edison discover the electric cabill on Halloween? Well, I. I don't know, Pascal. It's just nice little kids. They knock on your door, you say hello. It's a good thing when we got excuses to be nice to people. Oh, Luigi, stop being such a big green horn. You gotta celebrate things. Why don't you celebrate a real big day like January 15th? Why is it January 15th, the bigger day? Cause that's when my daughter Rosa was aboard. That's a big day, all right. £250 big. Oh, stop. Look, Luigi, I know the real reason you celebrating the Halloween. That's because you crazy for little kids, right? That's right. In other words, Luigi, you think Americans should keep turning out the millions and millions of little bambinos, huh? I. Sure. All right, then how come you the bottleneck in America? They got a big saying little kids are today, they the big Americans of tomorrow. Now tell the truth, wouldn't you be the happiest man in the world if for 20 years from now you see four or five little Boscos all getting their citizen papers on the same day? Sure, but how are the. Pasquale? If I have a little kids, then they born Americans and they don't need a citizen paper. You wrong. No, I'm right. Okay. I bet you five bucks Mary Rose to have the kids and we find out. No, no, no, thanks, Pasquale. There must have been some easier way to find out and I've. Excuse me, Pasquale, must be some more kids for the Halloween. Go ahead, let the little vultures in. Trick or treat, sir. Don't be afraid. Come in, little boy. Thank you, sir. How am I gonna give you some? Some. Oh, I forgot, I'm gotta know more cunagam kind left. I'm sorry, little boy. That's quite all right, sir. Thanks just the same. All right, all right. So we got a no Chungam. You don't have to cry at Sanoka Tatsu free. Stop. Stop. Can you see how he's feel bad? I'm not so worried about this boy. Look at that beautiful overcoat he's wear. And the new shoes and that hat. This kid probably has a defense job on the side. That's just it, sir. I wanted to dress up as a cowboy, but my governess wouldn't let me. You're. You're a governess? That means the governor's a wife, stupid. No, she's the one who watches me. Well, anyway, I sneaked out of the house to go trick or treat. I went far away until I got up enough nerve to do it. You were the first one. Now you haven't got anything. Oh, no, no, no, no. Donna cry. That's something I'm never want to hear children cry. Hey, but wait. How am I going to make sure you get a plenty of treat? Sure, I'm going to go along with you. What? Why not the Pasquale? I want to be sure somebody takes good care of him. Lots of parents will go with the kids. How am I gonna go with Richard? That's my name, with Richard. Luigi, stop talking like a maroon. I warn you, stay in your own little backyard. And if you gotta go looking for trouble, marry Rosa. You can't stop me, Pascal. I'm gonna trick or treat. Come on, Richard. We're gonna have a plenty of fun. Yes, sir. Louis. Oh, that pump squeak. I can just see all that fun. Every time he tries to do somebody some good, he winds up in the trouble. Well, I might as well get ready. Soon he's going to need a bottle of iodine, $25 of bail money and a. Now let's turn to page two of Luigi Basco's letter to his mother in Italy. Well, I'm left to start and I'm with trick or treat to a little Richard. Soon I'm rang so many doorbells my thumb always got a headache. But it was late and most places we go to, they got nothing left. So I took him to one place where I'm a nurse. Sad little boy was going to get to something and have lots of things to laugh about. Schultz is a delicatesse in the style. Luigi, my fellow booble. Look. Come in, come in. Hello, Schultz. Trick or treat. What's your choice? Stop it. What? It's this cute little boy. Go on, Richard, you tell him Trick or treat. Something for Halloween. Schultz, this little boy is Richard. And I'm helping him with trick or treat. Like you, Luigi. But when will it be Richard? I got them salamis on bologna and knockwurst that's guaranteed to separate you from your appendix. We start you off as a little candy. Thank you, Mr. Schultz. Now go ahead. Stop it. In your pockets. Live. And here, take this. And this. And this too. Thank you, Shannon. Understand? Now, listen, Richard, I got a riddle for you, huh? Pinch me and punch me in my store. Yeah, punch me. When out. Who was left? Pinch me. What you said. Now I gotta pinch you. All right, here's one for you. Pinch me and punch me. We're together. Yeah, pinch me. One out. Who is left? Punch me. Okay, I gotta punch you. What an arm that kid has got. That's so funny. But, Schultz, we gotta go before they get too late. And thank you so much for your treats. Thank you very much, Mr. Schultz. You have been extremely kind indeed. Him with his sock and the way he talks. We're gonna have it another Gene Tunny. Goodbye, and thanks for coming in. And remember, smile. You be like me. Always happy, always laughing. My rheumatism is killing. Gee, Mr. Basco, I don't think I've had so much time in my life. How you had a good time. I heard it. You did? I'm glad you enjoyed Richard. Boy, don't you have good times with you, Papa and Mama like this? No, they're always too busy. They're either coming from someplace or going to some place. Mama, sounds to me like they're going to no place. Richard, who went over you last year? I didn't get to go last year, sir. Father and mother were too busy because sister had a coming out party. She had a what? Coming out party. What does she come out of her? I don't know. Anyway, the governess locked my door and I couldn't get out. Oh, but she didn't lock at the door tonight, huh? Sure, but she forgot the windows. Well, Richard, you. You better go home now before everybody's gonna start to worry about you. Oh, please, Mr. Basco, just this last clock. Well, it's. I'll. All right. It's a beautiful, rich street. Maybe you're gonna get a lot of candy, but we gotta make it quicker, huh? You take one side of the street, I'm gonna take you the other side. Oh, fine. I'll meet you at the end of this block. And whenever we get back, you can take half of it. Mr. Basketball. Oh, no. You gonna Take the whole thing of Richard. I'm never gonna be able to figure it up on my income. Attacks on a hundred of jelly. Yes. What? Don't you see that sign? Beggars or peddlers around the back way. What do you talk about? Who's a begging? This is Halloween. I'm ask a trick or a treat. You're bothering people, that's what. You've got your nerve, entering this quiet community and ringing doorbells. Mister, I'm. I'm not gonna argue with you. You don't wanna take a treat, I'm gonna go. Sure, you go. And just because it's some fool day like Halloween, you'll break my windows or destroy the gate. I think this could have happened to you any day of the year. Oh, now you're insulling people. Well, you won't get away with it. Please, please, mister, I'm. I'm no one to make a trouble. That's what they all say. Goodbye. He'll go back. How can a man be be so mad just because he's run out of candy? Well, it's one more battle and I'm on the end of the block. Then I'm gonna meet Richard and then I'm gonna go home. Hey, you. Huh? Are you calling me officer? Yeah. Come here. We've been following you for five minutes, mister. Hop in. We're taking you for a little ride. I've done about it. Thanks. I'm a little too far from here. But a street guy is only coming. Get in. We're taking you to the station. The trolley station? No, wise guy, the police station. We gotta complain on you, Mommy. Hey, buster, what'd they pull you in for? I'm gonna know. Must have been for ringing the doorbells. Gee, is that a crime? Everything's getting to be a crime. You know you shouldn't ring doorbell. You know what would happen if everybody went around ringing everybody else's doorbell? Maybe they would get to know each other a little better. Listen, pal, I sympathize with you. Stick up for your rights. When you get up before the lieutenant, just tell him you're in on a bum wrap. A bum wrap? Yeah, you tell them you won't talk without a mouthpiece. Without a mouthpiece? That's right. If you act smart, you'll be suspended. Suspended? They're gonna hang him if I ringing the doorbell. All right, Vasco, you're next. You're. No, Mama May Pascal is not come. Just stand in front of the bench in front of the lieutenant. Wait. The lieutenant. Before you do anything to me. I'm going to say something to you. What is it? I'm going never rap with this bum. What? And I'm going not talk until I get to my teeth. What? That's right. I demand them out to piss. Wait a minute. I never heard anything as crazy as this. Just a minute, Officer. Your Highness. I like to speak to my cabbage pussy. Countrymen. Pasquale, is this the man he called for? Phillips? Yes, sir. Well, the complainant's late in arriving, so you two can have a conference. Thank you, you, Judgeship. I'm so happy to see you helping me. Helping me. Save me, Pasquale, save me. Helping me save you. Every time you in trouble, you holler SOS louder than a scour in a pad. That's what. Luigi, the spot are you in now even the Salvation army couldn't save you. Oh, you in a terrible trouble. But. But the wipers call it, because already the police, they put your name on the bladder. My name on the bladder? What this means? Biggest disgrace. From now on, every kid who uses a blotter at school, he's going to see a picture of you behind bars saying don't let this happen to you. No, he's not. Baker shots wouldn't listen to Pasquale. He's got to celebrate Halloween. Yeah, but Pasquale, I'm param did the wrong. You went inside people's homes, right? Yes. All right. They got you out of charge of home. Inside. That's what I said. The guy you want to charge a home in a sight. Lucky for you, they can't give you a life of sentence because you already use up half of your life. But I wouldn't be a bit surprised if you got, well, 50 years. 50 years with 10% off of good behaviors of 40. You call yourself a friend? How can you stand in a. Let him put the man in jail. Waste the power of all. Luigi, you might lose your chance on your citizen papers. Oh, no, no, Pasquale. I'm in the most terrible trouble of my life. A lieutenant thinks I'm a crazy, you'd say that's it, Luigi, what you just said, that gives me a loop of holes to get you out. What the. Pasquale, what the loophole. You gotta plead insanity. That's going to get you. All right. I'm going to do anything together to help me. All right, I help you. But before I help you, you got a promise to marry my daughter. Rosa. Mama. From one loopahola to another. Come on, come on. The time is short. Ms. Cladding, to become. To become a citizen. I would. I wouldn't do anything. Even married us. Spoken like a true patriarch. All right, I'm going to call her in. Rosa. Rosa. Rosa. You call me Papa. Yes, my little Daisy. Rosa, say hello to Luigi. Hello, Luigi. Rosso. Luigi's are going to plead insanity. And he's going to go and save Asco. The Lieutenant wants to speak to you. Don't worry, Luigi. Just leave everything to me. I know how to handle lieutenancies. Lasco, I don't understand what's holding up the complainant. But to be fair to you, let's hear your side of it. How are you going to plead? Trick or treat. What? That's what I'm a plead all day. You're a. Majesty. Mr. Basco, are you pleading guilty or not guilty? Lieutenant, you, Majesty, we plead insanity. Just who are you? I'm a Mr. Pasquale. 23, north of Hallstatt Street. Countdown. Yes. See Luigi? I got him in the palm of my hand. Mr. Basker, will you stop wasting our time? Do you plead guilty or not guilty? Well, I'm. I'm a little mixed up. I'm. I'm not guilty because I wasn't asking anybody for no money. And just what were you asking for? Jelly beans. Jelly beans? Mr. Basco, are you serious? I told you, judge. We plead insanity. Sit down. Yes, Mr. Basket. You should be ashamed of yourself. A healthy, full grown man begging for money. Coming in here, making such a scene. How long have you been in this country? Three years. Have you applied for your first papers? He applied two hours after he came off of the boat. Yeah, but I could have made it in one hour. But the Pasquales it took me to get a haircut. I'm sorry I'm late. Mama, may I said that? The mean man. Now I'm in a little trouble. Oh, please, sir, don't say that. I'm here to apologize, not to press charges. What? Hey, wait a minute. Daddy, why didn't you wait for me? I'm. I'm sorry. I'm real sorry. Is this the man, Richard? Yes. Hello, Mr. Rascoe. Boy, I'm sure glad to see you. Well, I guess that settles the case. Oh, I'm very sorry, Lieutenant. There was a misunderstanding. Hey, so it was a big one. No, it wasn't so big. Was either $10 or 10 days. Mr. Basco, let me make it up to you. Here's $10 for your trouble. Well, Mr. Richards, Daddy is more things in this world that can't be fixed. For money. You keep your $10 or give it to some Boise club. But I'm sentenced to you for 10 days. 10 days? Yeah, 10 a days. Woody's son. I know what you mean. And I hope I can make it up to him. Why? Do you know when he couldn't find you and I scolded him for returning late, he said he wished you were his daddy. Oh, everybody loves Luigi. I wish he was my husband and I wish he was my son in law. Thank you, thank you. And I'm going wish everybody happy Halloween. Well, mama mia, Halloween is turned out pretty good for me. And I'm made up of my mind on one thing. Next year if I'm go trick or treat. I'm taking no chances. Am I going to dress up like a little boy? You love any son. Luigi Basker. A little immigrant Friends, the makers of Wrigley Spearmint Chewing Gum hope you enjoyed tonight's episode of Life with Luigi. And they want to remind you that Wrigley Spearmint Gum is an ideal treat to enjoy between meals. And remember, tomorrow is Halloween. Be sure to have plenty of Wrigley Spearmint Gum on hand for the youngsters who call out Trick or treat. The makers of Wrigley's Spearmint Chewing Gum invite you to listen next week at this time when Luigi Basco writes another letter to his mama. Bascom in Italy. Life with Luigi is a CY Howard production. Pat Burton is associate producer. The script is written by Mac Benoff and Lou German and directed by Mr. Benoff. J. Carol Nash is starred as Luigi Basco. With Alan Reed as Pasquale Huck. Con Rita Schultz, Rodney Gilbert as Rosa, Mary Shipp and Ms. Balding. Joel Forte as Horowitz and Ken Peters as Olsen. The music run with the direction of. This is Todd Gluskin. This is Charles Lyon. This is the CBS Radio Network. I Was a Teenage Werewolf. The most terrifying picture of our time. I Was a Teenage Werewolf. Fantastic. Bewildering. A motion picture to stand beside the greatest horror stories of all time. I Was a Teenage Werewolf. 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 corpse? Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you escape. Escape designed to free you from the four walls of today. For a half hour of high adventure. You are high on the frozen slopes of a great mountain. Terrified and caught in a blizzard. While the thing for which you've been hunting has suddenly become the hunter. And if it finds you, then for you and your companions, there can be no escape. So listen now as escape brings you. Antony Ellis. Exciting story. THE ABOMINABLE SNOWMAN Our first bit of luck was when we hired our Sherpa guide, Nasong. That was in Darjeeling. When I told Nasang what we were after, he hesitated for a moment. And then he said. The Saibs have not come to climb Shomolongma. Oh, no. We're a little late for that. It's already been done. The other two Saibs and myself are here for the reason I told you. Meto Kangmi. That's right. The Saibs always hire me to climb the mountain with them. But never this. Are you afraid of them? I have seen one. You've seen one? Yes. Many of us have seen them. Wait a minute. Alan. Ya, what's up? I'm interviewing a Sherpa in here. He says he's seen one of the things. Where's Frank? Went out to get some tobacco. All right. Come on in. I think this is our man. Nasong. This is Mr. Ferris Saab. Hello, Nasong. Nasong was telling me about what he'd seen. Go ahead, Nassang. It has a face that is evil. And when it saw me, it uttered a strange cry and bounded away. Sometimes leaping, sometimes running with great strides. It was dusk, and after a moment I lost sight of it in the snow. Where were you? With the French expedition. It was at 19,000ft on Shomolongma. How far were you from it? 30ft. Perhaps 35. You're sure it wasn't an ape? I am sure. There is no ape in Himalaya to make such a track. What about bears? This too. I have been asked, but does a bear walk always upon its hind legs? Well, that's enough for me, Alan. Yeah, he'll do. But if you want the job, Nissan, you're hired. You are going to try to capture a yeti? Yes. It will be a difficult thing, but I will serve with you. Yeti Wild MAN Netokangmi Abominable SNOWMAN that's the name the natives had for the things. And Alan Ferris, Frank Davis and I were going to try to get one. We'd all done some climbing, but climbing was secondary here. Expeditions since the beginning of the 20th century had heard of the above. Abominable Snowman observed their tracks and one or two white men claimed to have seen them. Great ape, bear, monkey. Wild men we didn't know, but we were going to find out. Four weeks later, we were in the wrong book valley for our interview at the monastery with a llama. The journey from our base had been uneventful. The weather was good and our spirits were high. From the llama's window, we could see the great peak of Everest in the distance. Why, gentlemen, do you desire to capture Met? Because, sir, we believe it will be an invaluable aid in our prehistoric research. That is, if these things are in any way human. And for this reason, then you have formed the expedition? Yes. You are all familiar with climbing? Yes, we are. You would need to be the yeti move at high places, dangerous places. So my people tell me. Also, the monsoons are arriving in a short time. I understand that. Then do we have your permission to investigate in the valley and beyond? You have my permission. Thank you. Appreciate it. There is one point, however. I must request that no wild animal or being in this valley be shot. Our religion does not allow it. We'll respect your wishes, sir. Now, may I ask you one more thing? Of course, my son. Do you believe in the existence of metokagmi? I myself have never seen them, but I know that they live here above the valley on the Goddess Mother of the World. It is also true that at least five and possibly more inhabit the upper Rongbuk and its glaciers. Thank you. Do you have portals? Our guide, Nasang is hiring them now. Ah. I trust that he meets with good fortune. The old man, with great dignity, bowed slightly to us and we were dismissed. But I thought I saw the shadow of a smile on his lips as he turned away. And it wasn't long before I found out why. Nsang returned to us in our quarters and his face warned of bad news. Sir, I am unable to hire any porters. Why not? They know the purpose of the expedition. They will not go. Why? They are afraid. Of the snowmen? Yes. They live in peace with them. They wish no trouble. They are afraid. Well, all right. It'll be rough, but we can't waste time talking them into it. The monsoons will be coming in a couple of weeks. It's not the same as climbing Everest. We'll travel light, just the four of us. Set up a base and start hunting. All right with you fellows? Yeah. Nassang, I will go with you. I am not afraid. Good. Well, let's take a look at the map. Now, we'll each carry a capacity load and we should be able to make this point below the glacier in two days. That's 16,000ft. And if our abominable snowmen are in the vicinity, we've got two weeks to find them. When do we start? Tomorrow. Good. Well, that's it. Paul. Yes, Frank? One thing. What do the natives mean when they say they don't want any trouble with the things? Superstition, probably. Oh, no, sir. It is not superstition. It is because the yeti are cannibals. That is why the porters are afraid. The weather turned ugly the day we left the village. A cold Tibetan wind blew down from the west. And with our heavy packs it took us much longer than we'd thought to arrive at the point just below the wrong glacier. We set up our camp and made ourselves as comfortable as we could. The next morning wasn't so bad. There was a heavy overcast, a promise of snow and the peak of Everest looming over us was shrouded in clouds. The four of us sat in the tent looking at our charts and drinking hot tea. I figured it'd be easiest if we started at the East Glacier. It's only about three miles from here and with the weather as stinking as it is, we won't run too much of a risk. What do you think, Paul? Well, it sounds all right. What do you say we split up? You and Nsung, Alan and me. We'll work up on either side of the ridge here. And if we spot any tracks, fire two shots. Yeah, Good enough. Now, the big thing, though. No matter what, don't shoot at the thing if you do see it. Okay? Okay. All right. If we lose touch with each other, we'll meet back here at 5. All right. Let's get going. We'd left the base at 6 that morning and the going was rough. Alan was pretty well shot by the time we got to the 17,000 foot mark. He was having a tough time breathing. And the wind had come up again and with it of fine, powdery snow that blinded and choked us. Hey, I gotta take five. All right? Yeah. Move over here. Might cut some of the wind. That's better. We might as well start back for the base. We couldn't see anything in this anyhow. You know, right now I don't care whether we do or not. This is good weather. Waiting till the monsoon start. No, no, not me. Oh, I'm cold. I never been so cold in all my. We stayed in the half shelter of an overhang for 10 minutes. And the wind was quieter and the snow had let up. I noticed that the tracks we'd made coming into the shelter were gone now. But we didn't have any worry finding our way back. I figured that Frank and Nassang had met pretty much the same thing on their side of the ridge and we'd meet them at the base. So Alan and I picked ourselves up and started off. Boy, I thought I was in pretty good shape. But up here, boy, I'm nothing. Paul, I'm tired again. We'll just take it easy going down. You haven't got frostbite, have you? No, no, not yet. But. What the. Left there? Yeah. They're not our tracks, are they? Not unless you took your boots off on the way up. Must have just passed by. It must have seen us. Yeah. Come on. We were looking at a set of tracks newly made in the fresh snow. And they'd passed so close to our shoulder that the thing must have known we were there. They weren't the tracks of a bear or an ape, but more like a splay footed naked foot. The tracks of the abominable snowman. We will return to Escape in just a moment. But first, 30 million schoolchildren make their way back to class. This year There are just 10 million too many for existing school facilities. Contact Better Schools, 2 West 45th Street, NY 19. For information on ending this menace to America's educational standards. And now back to Escape. We began to follow the tracks. And for a while, perhaps 150 yards, it was easy. And then the thing made a leftward traverse down a deep slope. We could see the Prince clearly angling with a sidestep as sure footed as a mountain goat. Except that it was walking on two legs. This way, Paul. Take it easy, Al. Getting steeper. Boy, that thing sure can climb. Hold up, Al, I think. And he dropped out of sight over the lip of the crevasse. We weren't roped together. I got as close as I dared to the edge. The loose snow crumbled away from my outstretched body. And I looked down into the blue black darkness below. Falling away into nothingness. He was gone. Finished. All I could think of was the noise he'd made when he went over. Surprised, angry. Then silence. The crevasse might have been 500ft or 5,000. Snow started to fall again. Big flakes this time, and wet. I stood up and across the gap, 20ft away, I saw the tracks of the thing continuing on and away until they became lost in the blank whiteness of the glacier. It had jumped and landed still upright on the opposite side. I went back to the base, and an hour later Frank and Nasang returned. I told them and we were quiet for a long time. Then. Paul, Are we going out again tomorrow? Why not? I just wanted to. We should go back. It is an omen, I tell you. He was going too fast. He didn't have a chance to see the crevasse. That's not an omen. It's bad sense. Meh to Kangmi cannot be caught. We'll catch him. But they're only three of us. If we had a few more men. I tell you, the thing was so close that we'd. If we'd looked up at the right time, we'd have seen it. You think I'm going to give up now? Next time we'll get it. There was no chance to get Alan out, huh? No. You think if we went back. Listen. You think I don't want to? He's gone. I tried, but he's gone. Okay. Okay. Wish that wind had let up. Maybe by morning. We'll try again tomorrow. It was cold that night. And somehow colder because Alan was gone. I heard Frank tossing around. And I knew he was thinking about a body. Broken and lonely, lost somewhere. And a deep and dark place. In the morning, the three of us packed our gear, camera, food. It was a light pack, and we started up again, this time to a crest above the ridge. It was tougher than it looked. And we weren't even halfway up before we had to rest. As I looked to the west, I saw clouds boiling up. Not white, but somber, threatening. And below, the valley looked grim, ugly, gray. And then the sun was gone. And we kept on going up. And then I had a strange feeling. It was nothing. I could see. Nothing I could hear. Only a sensation of being watched followed. Wait a minute. See something? No. I have felt it. To save something following us? Yes. It is me. To call me. How do you know? It can be nothing else. At this site, there is nothing else that lives. Maybe it's curious. No. Don't turn around. Frank. Listen. When we get up to the crest, you two flop down. Stay in sight of the slope. Here. What are you gonna do? Move around the hump and watch. If it thinks we're all together, it may come close enough to give Us a chance to get it. You better watch your step. It looks nasty. I will now. Come on. It took us another 15 minutes to get up to the crest. And then Frank and Nissan hunched down to rest. They were in clear view of the slope we just descended. I moved back out of sight and made my way toward Hump, which backed a long shelf on the north side of the crest. In a couple of minutes I lost sight of them and of the slope. The wind had increased and the clouds had spread now to become an iron gray canopy over the mountain. It was getting colder again, I don't think. It took over five minutes to reach my lookout point. And when I did, I had a perfect view of the ground we'd covered. There was nothing there. The men were out of sight. And I waited a minute, two. There was nothing until it came. Carried on the wind, a cry and then shots. I scrambled back to where I'd left them. And when I got there. When I got there, Frank was lying on his back and I couldn't look at what was left of his face. There were terrible deep rents on his clothing, and he was dead. Dasang lay huddled a few feet beyond, a gun in his hand. What is it? From behind us, before I could roll the gun. It has killed. And it sprang at me. It is strong side with the strength of 10 men. All right. All right. Can you sit up? My leg. It struck at me. My leg broken. I shot at it, but I missed. It jumped away and was gone. Okay. We'll have to figure out a way to get you down. We were four hours from camp, and with Ng practically helpless, it could well be four days or never. I buried Frank where he was lying, then began to work down the slope. Ng was in great pain. He half slid and crawled as best he could. That part of it wasn't too bad. Then we were at the bottom and there was a ledge to climb. It took well over two hours to do that and we still had three miles of difficult terrain to cover. The stops became more frequent. Stop. Leave me here. Go back. No. My leg is frozen. There is no feeling anymore. I shall not live much longer. Don't be a fool. After arrest, you'll be able to go. On Sunday night comes. If we are both caught here, we both die. There will be snow. Much snow. Leave me. Snow. No. We're going back together. Please let me sleep. Let me sleep here. I cannot go on. You've got Tona, son. No. No more. The ridge is only about a half mile from there. It won't be Too bad. No. No. Let me stay. Let me sleep. No. No. Come on. No. Song. Come on. You're not going to sleep. You'll be all right. I turned and for an instant I saw it outlined against the snow, crouching of medium height. It was covered with thick hair. The face was reddish and bare. A semi human face. And it was not an ape. The thing made a tremendous leap and was gone. But I'd hid it. I knew I hit it. That was he. Did you kill it? No, I don't think so. Then it will be back. It has tested blood. You must leave me. No. Get up. Get up. Come on. Let's go. God, not Song. I am very sorry. S Will you ask the llama to make a prayer for me? Sure. Sure I will, Masang. But give my pay to my wife. In their healing, I satisfy I. And the darkness came. And with its shadows in the snow, every hillock mound became the thing motionless, waiting in my mind. I kept seeing it. Its long arms powerful. And the dreadful claws it must have possessed. I carried my gun in my gloved hand. But I knew that I couldn't fire it unless I was barehanded. And that meant my hand would freeze to the gun. And then suddenly I felt myself slipping. It was a short incline, but when I reached the bottom, the gun was gone. I'd lost it. I've got to find it. I've got to find it. And I saw a glint of metal in the snow 10ft away. And at the same time, above me, at the top of the bank, the thing, it stood swaying a little, looking down at me. I moved slowly, slowly inch my way toward the gun. And as I drew closer, I kept my eyes looking up. But it didn't move, only stared down at me. And I thought I saw its little eyes glittering. I thought, if the gun's frozen now, if it's frozen, it doesn't fire. And I was nearer to it, near enough to take off my glove. But that moment in which I'd have to bend to pick it up. That's when it would leap down at me. Tear my throat out. Tear. And I had the gun. And I pulled the trigger. And it lay there, strange and terrifying, its blood staining the snow. And it looked at me, looked at me. Until the sound died away. It was dead. But the eyes kept on staring. It must have been the shots that loosened the snow and ice on the ridge above. I heard the sound and I ran, Ran it passed me and swept on down toward the valley. The thunder of it dying in the distance. And when I went back, there was nothing there. It was buried somewhere under tons of snow. I made my way back to the wrong book village. I don't remember how. I didn't remember anything for two weeks after. But I'm alive and I'm not going back there again. That's all I know or want to know about. The Abominable Snowmen. Escape has brought you the Abominable Snowman. Written and directed by Anthony Ellis, starring William Conrad as Lane. Featured in the cast were Anthony Barrett, High Averback, Jack Crucian and Edgar Barrier. The special music for Escape was composed and conducted by Leith Stevens. Next week you are a passenger aboard a submarine making its last peaceful voyage across the sea. While unknown to you, the captain has a plan which, if it succeeds, will mean for you and the entire crew a fate from which there can be no escape. So listen, next week when escape will bring you Marion Mosner and Frances Rosenwald's exciting story, the Log. You're headed in the right direction. The station is right. The network is right too. Check all time pieces and then check your local radio schedule. Let's have no slip ups. Everybody wants to hear the Jack Benny show right from the beginning when it returns to CBS Radio tonight. This is Roy Rowan, spe. This is the CBS Radio Network. 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. Did you know, Harriet, that There are over 320,000 men in the National Guard today? No, I didn't. And did you know that every member of the Guard reports for training with his unit at least once a week and receives pay for it? No, I didn't. And that they now have an aviation branch called the Air National Guard. Did you know that dinner is ready and it's time to go to work with our 1847 Rogers Brothers Silver plate? No, I didn't. And that America's finest silver plate is 1847 Rogers Brothers? That I did. America's finest silver plate is 1847 Rogers Brothers. From Hollywood International Silver Company, creators of 1847 Rogers Brothers Silver Plate, presents the Adventures of Ozzie and Harriet, starring America's favorite young couple, Ozzie Nelson and Harriet Hilliard. Say, there's excitement in the air. A mysterious change has taken place in the vicinity of 1847 Rogers Road. Remember the friendly old elm tree in front of the house? Well, it doesn't look Friendly anymore. The full moon shining through it. And on one of the bare branches, there's a big black owl and the old dependable weather vane on top of the garage. Gee, it looks different now. I'm not sure if it's a weather vane or not. The way the shadows fall could be a witch on a broomstick. Oh, it's spooky out tonight. In the Nelson kitchen, there's an atmosphere of feverish activity and excited preparations. What are you looking for, David? We're trying to find some paper bags. Big ones. Well, look in the bottom drawer there. There. That's a good one, Ricky. Yeah, but what do I do with the potatoes? No, not that drawer, Ricky. On the other side. Hey, what's going on out here? We're getting some paper bags. Sound like you were taking the kitchen apart. Halloween, boy. We're gonna have fun tonight, Pop. Yeah, looks plenty spooky out to me. What do you have there, dear? Oh, I was just rummaging around upstairs a bit, and I thought the boys might make a costume out of these old work pants. Gee, Pop, they're pretty dirty. Not only that, dear, they're covered with paint. Well, what do you expect, Harriet? I wore them when I painted the breakfast nook. I think you did a better job on the pants than you did on the breakfast nook. How about you, Ricky? Would you like to be a painter? Will you get your white cap and stick a couple of brushes in your belt? Golly, Pop, those pants are pretty big. Oh, I don't know. Let's see how they look on you. Here, step into them. Put your foot in there. Yeah. Now the other foot. Now pull him up. Oh, that's a wonderful costume, the headless painter. Anyhow, Pop, we don't need costumes. We got masks. That's enough. Well, you suit yourself. We used to wear costumes when I was a kid. Not just for little kids, Pop. Me and David are going trick or treat. Trick or treat? Sure. You ring a guy's doorbell and say, trick or treat. If he doesn't give us cookies or something, we let him have it. There you are, dear. That's Halloween, 1948. Sounds more like Chicago, 1925. It's a lot of fun, Pop. Didn't you used to do that when you were a kid? No, David. As I recall, we used to go in more for the real spirit of Halloween. You know, the spooky, scary stuff. What do you mean, Pop? Well, I. I mean, we'd find some old haunted. Haunted house and go prowling around looking for ghosts. And stuff. You sure were brave, Pop. Oh, not necessarily, David. Pop, did you ever see a ghost? Oh, I won't say I saw a ghost, but I will say I saw something. A spook? I don't know. It was white and shimmering. Indistinct it wavered back and forth. Sometimes it was there, sometimes it wasn't there. White and shimmering. Did they have television sets then, Pop? No, Ricky. This was right out in the center of the living room. I'm afraid Halloween's different nowadays. All the wonderful, spooky, hobgoblin atmosphere. That's all changed now. Can't help feeling a little sad. When you see the joys of your childhood disappearing in a changing world. Halloween just isn't exciting anymore. Are you gonna cry, Pop? No. Just the memories coming back. You sure must have had fun. Pop, do you think there's really such a thing as a ghost? A real ghost, I mean? No. I don't know. In a spooky old house with the moon shining through the broken shutters, you imagine you see some pretty strange things. I'd you like to see a ghost? Boy, would I run. Well, there's the old McAdams house up on the hill. That's a pretty spooky looking place. I wouldn't be at all surprised if there were a ghost or two lurking around in there. Do you think we could see one if we went up there, Pop? It's very possible. Oh, Ozzy. David, your father's just kidding. Oh, let the boys have a little fun, Harriet. After all, it's Halloween. Come on, grab the bags, Ricky. We gotta get going. Hey, wait for me. Don't you think a lot of the spirit of Halloween has been lost? Oh, I don't know, dear. The kids seem to have a good time. That's the important thing. Oh, they pretend to enjoy it, but where's the fun? Trick or treat. Where's the adventure? What danger is there in getting a handful of cookies from Mrs. Dunkle? You've never eaten Mrs. Dunkle's cookies. Have we had any callers yet? Oh, about a dozen of them. You should have seen little Julie Thornberry. She was also dressed up in one of Catherine's old dresses. And she had a stocking on her head. Really? I'm sorry I missed it. And little Georgie Dunkle. He had the cutest clown suit with skeleton sewed on it. We sure have some cute little kids in this neighborhood. I'll get it. Oh, wait a minute. Let me get it. I want to have some fun too. Yes. Trick or treat. Wait a minute. Aren't you a little big to be playing trick or treat? Trick or treat? How old are you? 53. Whoever heard of a grown man playing trick or treat? Well, my little boy's over on the next block. I'm just helping him out. You don't even have a costume. What do you think I am, a child? Come on. Trick or treat. A little unusual. What happens if I don't give you a treat? Well, I sneak back later and ring your doorbell. So what? Then when you answer it, I punch you in the nose. Come on. Trick or treat. Really funny. Here are some cookies. Only three. Well, they've got to go around their other children too, you know. Okay. Oh, they're chocolates. My kid likes chocolate cookies. Thanks. That's all right. How old is your little boy? 25. One of the kids in the neighborhood. One of the older kids. Say, would you do me a favor if you're not too busy? What is it? Would you stop down at the store and get some candies or something? The rate we're going, we're gonna run out of stuff. Okay. Hey, what are you doing? Just putting a couple of cookies in your pocket in case you got stopped for trick or treat. Some of the boys get pretty rough. Oh, Harriet, please. You don't think I'm afraid of a bunch of kids? Suit yourself. Last Halloween, Joe Randolph bumped into the backfield of the high school football team and came home minus his trousers. No kidding. I understand they have a pretty good team this year. Why don't you just take these four cookies just in case. You better give me two more. The ends might be with the cookies were in my pocket. They're very nice cookies. Wonderful cookies. What's this about cookies? Oh, it's you, Thor. What a cook. What a corny trick, hiding behind the head. Oh, just keeping in the spirit of Halloween. Used to see what I did to Dunk a little while ago. Did you scare him? What did you do? I sneaked up on his front porch, rang the doorbell and ran like the dickens. He didn't know what to think. Then when he went in the house, I went around to the back and started rattling the back door. Oh, boy, was he scared. What else did you do? Well, I waited a few minutes. Then I tapped on the window and moaned like this. I rattled the door again. I moaned some more clothes. I began pounding on the side of the house. And then what? Then the police came. That Dunk just has no sense of humor. Did the police do anything to you? No, just told me to Stop annoying people. They took my soap away, too. You're just a big kid at heart, aren't you, Thorny? That's all in fun, huh? What's Halloween nowadays? Nothing happens. My boy Will's out playing trick or treat. David and Ricky, too. Somehow Halloween sort of lost the old kick. Yeah, it sure isn't like it was when we were kids. You know, there was an old haunted house in our town, and every Halloween, us kids used to go prowling through it. Really spooky. Sure, that's the real spirit of Halloween. Now, you take the old macadams place up on Franklin Avenue. There's a perfect haunted house. Is there some way to sneak in there? You mean you go in there at night? Oh, sure. Why not? Oh, no reason. I just never cared for the looks of the place myself. Those grotesque chimneys, staring windows. Sort of gives me the creeps. Lorna, you're kidding. No, I'm not, Oz. There's something frightening about it, especially at night. What an imagination. Well, I've got to get down the drugstore. I promised Harry I'd get some candy and stuff. Okay, I'll see you later. Say, when you go by the McAdams place, don't let the ghosts get you. Well, that's right. I go right by there, don't I? Yes, sir. Not afraid, are you, Tharny? Cut it out. If you walk down the store with me, I'll buy you soda. Hey, Mom. Pop, we went over to the McAdams place and we saw a ghost. A real ghost. A ghost? A real ugly one with sharp teeth and a long nose and pointed ears and hair all over his face. And first we thought it was Pop. That's the nicest thing anybody's ever said about me. I mean, we thought it was you trying to scare us. Oh, boys, don't be silly. You guys probably saw the moon shining through the window and your imagination did the rest. Okay, go up and see for yourself. Yeah, why don't you, Pop? Yeah, why don't you, Pop? Well, I'd be glad to, except I take your mother to the movies. Since when? Well, that is, I. I've been thinking about it all day. There's a wonderful triple Halloween show at the Bijou. The Son of Frankenstein, Dracula's daughter, and a date with Judy. I wasn't counting on the movies, dear. In fact, I'd much rather you go up and give us a report on the ghost. Oh, it's so silly. Go ahead, Pop. Have some fun. Go ahead, dear. Well, okay, if it makes you happy. I'll go up and visit the haunted house. I thought for a minute there you were getting scared, Pop. Oh, David. Oh, just remember this, boys. There's not a cowardly bone in your father's body. Of course, every now and then, the meat around them gets a little jumpy. Meat around? What am I laughing at? You hear it over the back fence. You hear it on the bus. They talk about it at bridge clubs. And when they meet on Main Street. What is this topic of conversation? Why, just this. The four patterns created by 1847 Rogers brothers are the loveliest in town. Yep, it's true. The four patterns created by 1847 Rogers brothers are unexcelled. No other silver plate is designed with such imagination, such feeling for detail. And each of the beautiful 1847 patterns is designed with you in mind, designed to fit your tastes, your scheme of decoration, your dreams, if you like modern, dramatic things. For example, the 1847 pattern for you is eternally yours. Eternally yours is simple and sleek in line, and each piece is crowned with exquisite open work. Even the knives. That's a feature you'll find only in 1847 Rogers brothers. And in every way, eternally yours is proof that the beautiful silverware which bears the year mark 1847 is the finest in America. So see it tomorrow. Eternally yours. One of the four love patterns created by the one and only 1847 Rogers brothers. Warning to all ghosts, beware. Ozzie Nelson will get you if you don't watch out. Yes, indeed. Ozzie Nelson, arch enemy of all ghosts, goblins, spirits and similar supernatural phenomena, is on the march, target for tonight, the ghost that walks in the old McAdams house. See the courageous Aussie as he strides firmly across the porch of 1847 Rogers Road, Chin up, flashlights swinging at his side, down the steps, down the walk. And now he stops. Every muscle tense, eyes alert, nose twitching. A one filmy object moves out of the darkness. Who's there? It's me, Mr. Nelson. Oh. Oh, hello, Annie Lewis. I came over to show you my Halloween costume. I'm going to a party. Where are you going, Mr. Nelson? Oh, I'm on an errand for the boys. They went up to the old McAdams house tonight, and they think they saw a ghost. Really, Mr. Nelson? Yeah, I'm going up there, you know, to prove to them it was just their imagination. You're going in that spooky old house tonight alone? Well, of course. Evidently you haven't heard this story about the McAdams place. Well, I've Heard some silly rumor. It's supposed to be haunted or something. But it is, Mr. Nelson. I heard the whole story from the people who live next door. The story goes that years ago in Scotland, in the old Haggis Castle, the young and Beautiful lady Jane McAdams had a quarrel with her lover, Douglas McDingall McCampbell McTavish, a Scotchman. Well, anyway, Lady Jane pushed your lover, Douglas MacDingle McCampbell McTavish, down the stairs. Down, down, down he went, his head banging on each stone step. Thump, thump, crunch, crunch. His bagpipes mournfully playing. The candles are coming. As he lay at the bottom of the staircase, dying Douglas McDingall McCampbell McTavish, or as they called him, Mac. As he lay at the bottom of the staircase, he took an oath. I'd swear a little. My. He took an oath that he'd follow Lady Jane wherever she went. His spirit would always haunt her. Now, where did she go? She came here to the United States and built the old macabre's place. And they say that on nights of a full moon like tonight, the giant ghost of Lord McTavish returns. And while the eerie notes of bagpipes ring in the night air, he prowled the house in search of Lady Jane. It makes a good story, but nobody in his right mind would believe it. Well, you believe it, don't you, Mr. Nelson? Yes, but I'm not. I mean, of course it's a lot of nonsense. Okay, Mr. Nelson. But remember, if you go up there tonight and see the ghost and get a terrible fright and drop dead, don't come around saying I didn't warn you. Happy Halloween. Harriet. Harriet. Oh, hello, dear. You back so soon? No, I haven't gone yet. As a matter of fact, I've been thinking this over and I don't think I'll go. The whole idea seems sort of childish. What about the boys, dear? You promised them. I know, but I mean, after all, isn't it silly for a full grown man? It's only a wild goat goose, that's all it is. Well, if you'd like, dear, I'll go with you and the boys. What did you say? I said I'll go with you. There are times, Harriet, when a man likes to be alone. Well, all right, dear, get your coat. This isn't one of those times. Don't get nervous now, dear. Just keep cool. Oh, I'm cool, all right. Matter of fact, I'm shivering a little. Just hold my hand good and tight. I can't. You're Squeezing mine so hard, the fingers. You're asleep. Sorry. Is that better? It's better. How do we get through this iron fence? There's a gate here someplace. I think it'll probably be bolted. And spoil all our fun. They usually have a huge lock on these things. And thick chains. Now, here we are. Dark. Oh, Locked. No. Push it open. Here, will you take the flashlight a second? Thanks. And. And. And the baseball bat, too. Oh. Doesn't this place look weird? Yes, it is pretty. Shall I sing something to keep your nerve up? If you want to, dear. It'll keep you from getting scared. Did you ever think as the hearse goes by someday you are going to die? There's a spook in the meadow Dear, dear. It might frighten the ghost. Must be a haunted house. The door squeaks. I don't know why you insisted on coming along, Harriet. I could just as easily have come by myself. Ozzy, something has a hold of my coat. Yeah, that's who closed the door, didn't you? No. It must have been the wind. Gee, this place sure looks creepy with the moon streaming through the windows. What was that? Now, don't be frightened. I'm right beside you. Ozzie, there's something in this room. It's coming toward us. It's getting closer. Harry, quick, my baseball bat. Hang out. Careful with that. Hello, Harriet. Huh? You old trickster. Just thought I'd have a little fun with all the talk that's been going around about this place. So you're the ghost David and Ricky saw. I should have guessed by the description. You should have a bagpipe, though, Thorny. A bagpipe? Well, sure. Haven't you heard? This place is supposed to be haunted by a Scotch ghost who plays the bagpipe, and each night he comes down the stairs playing some old. You do have one, Barney. Where is it? Oh, you sure play awful. Worse than you think. I don't play at all. Did I hear a bagpipe? Listen. I can hear it plain as day. Ozzy. Up there. The head of the stairs. The ghost. The ghost of Lord McTavish. Well, we've seen it. Let's go. Now, let's all keep calm about this. Wheels would just be quiet. Oh, it's getting late, Dorney. Let's get out of here. You carrying my coat? Please. O, the door won't open. I keep turning the handle and it won't open. Stop it, Ary. You've got hold of my nose. This way, boy. Dorney, the door's over here. Follow me. I'll make one of my Own more coffee, dear? No, thanks. I can't understand it. There must be some scientific explanation. Did I seem very scared out there? No, not especially. I mean, did I act in any way that might give somebody the impression that this illusion we saw frightened me? No. You were very level headed about it, of course. Is the first time I've ever seen you jump a seven foot fence. I didn't think I could fool you. That thing, whatever it was, scared the daylights out of me. I was plenty scared myself. I can't figure out those bagpipes. No. And what about the ghost? Oh. Oh, well, yes, of course. The ghost too. Harriet, what are you stuffing behind the sofa pillow? Oh, nothing, dear. Just old papers and things. Wait a minute. Let me see that. It's only an old sheet. You'll get the couch dirty. It's got cobwebs. Cobwebs? How about a little more coffee? And there's Ricky's baseball bat, the one I. Harriet, if you'd like to make a little confession, I'll listen. But if you'd rather not. I'd rather you would. All right, dear. Just the boys and I thought it'd be nice if you could have a little fun on Halloween. You told them how much you enjoyed going to some haunted house. So we thought that if we could sort of. Ozzie, listen. I'm listening. Go on. No, listen. The bagpipes. Yeah, I hear the bagpipes again. So do I. Hey, Flop, can we have a dime? Boys, listen. Listen. Do you hear bagpipes playing? Sure. That's what we all design for. He's out front now. Who's out front? Mr. Campbell. Man with the Scotch plat ice cream truck. The Scotch Plat ice cream truck? Well, sure. Haven't you ever seen him? Can we have a dime, Pop? A dime? Here. Here's 50 cents. Stuff yourselves. Thanks, Pop. How about that? The. The bagpipes we heard at the McAdams place were from the Scotch Plant ice cream truck. What a coincidence. How remarkable. You see, the. The Scotch Plant ice cream truck happened to stop there. See, there are no other houses around and nobody lives there. But he happened to stop there. Played a different tune up there, too, didn't he? I don't remember. Harriet, believe me, it was only the Scotch Plant ice cream truck. Yes, I know, dear. I'll say it just once more. The back. The bagpipes we heard at the McAdams place were from the Scotch Plant ice cream truck. Okay, dear, you convinced me. I wish I could convince myself. I'd like to get some sleep tonight. Ozzie and Harriet will be back in just a moment. Well, I don't know how you feel about it, but I kind of hope the bagpipe music didn't come from the Scotch plaid ice cream truck, because that's the way Halloween ought to be. Lots of mysterious tapping at every window, witches riding through the air, spirits in every tree. I've already had a message from the Halloween spirits, Mr. Smith. Last night on my way down Rogers Road, a voice spoke to me suddenly out of nowhere. Honest. What did it say? Beware. If you don't give us a special treat on Halloween, we'll spirit your new set of 1847 Rogers brothers away from you. Beware. Hey, now, there's a smart ghost as there ever was one. You mean I have a smart son if there ever was one. He hasn't heard me raving about my new 1847 Rogers Brothers for nothing. Oh, nobody raves about 1847 Rogers Brothers for nothing. There are all kinds of good reasons for getting excited about it. 1847 is the finest silver plate in America. You know, no other silver plate in the world can match its beautiful features. Features like the exceptional height and depth of the pattern ornament and the extra luster, perfect weight and balance of each piece. Those are the features that make 1847 Rogers brothers really more like solid silver. And don't forget the price of 1847 Rogers Brothers, Mr. Smith. Oh, impossible to forget that because it's so unusual. 1847 prices haven't gone up since 1945. Not a single penny. So no matter how you look at it, 1847 Rogers Brothers is the silverware you want for your home. It's the best. The finest silver plate in America. Famous. 1847 Rogers brothers. Oh, come on, dear. Put out the light. Let's go to sleep. In a few minutes, Harriet. I just want to finish this article Debunking the Spook. Debunking the Spook? Yeah. The man who wrote it spent the night in a house that was supposed to be haunted, as I said. Sat there in the darkness. I could hear the clock in the village striking 12. Now was the witching hour. If ever the dead lived, now was the time they must rise from the grave. I stood up and dared the ghost to appear. I said, if you were a ghost, I dare you to strike me dead. Silly article. What happened next? Well, then, let's see. He goes on to. Yes, the article ends right there. Oh, come on, dear. I'm tired. I want to go to sleep. You know what might be fun? Let's sleep with the lights on tonight. Tune in next week for another adventure of Ozzie and Harriet, starring Ozzie Nelson and Harriet Hilliard. And remember, a America's finest silver plate is 1847 Rogers Brothers. Yes, Harriet. America's finest silver plate is 1847 Rogers Brothers. Appearing in support of Ozzie and Harriet were John Brown, Janet Waldo, Henry Blair, Tommy Bernard and Jack Kirkwood. Original music was composed and conducted by Billy May. This program originates in the Hollywood studios of the National Broadcasting Company and is also broadcast over the TransCanada network of the Canadian Broadcasting Corporation. This adventure of Ozzie and Harriet will be transmitted to our men and women overseas by shortwave and through the worldwide facilities of the Armed Forces Radio Service. The camels are coming. No. Lord McTavish. Ozzy. Ozzy, wake up. What's your racket? Mom, Daddy's having an nightmare. Is that what he's doing? I know. He's really scared us. Well, it frightened me, too. Okay, now we're even. Tuning again next week for the next adventure of Az and Harriet, starring Ozzie Nelson and Harriet Hidden. This is Byrne Smith speaking. This is NBC, the National Broadcasting Company. Now living flesh and blood terror. Blood spilling bone chilling towering terrors in one twin thrill show. The Crawling Thing. As clutching terror reaches toward you, the scream you hear will be your own. It's too awesome to describe, too terrifying to escape, too powerful to stop. The Crawling Thing. Plus, from another world, the Creature of Evil. Half man, half monster, but all horror. Feel your throat grow tight with terror. Watch. Listen. Shudder. Die. The Creature of Evil. Can you stand to see the most gruesome twosome ever made? The Crawling Thing and the Creature of Evil. Produced in Hollywood by maniacs Korean Directors Playhouse Star Bob Hope production the Ghost Breakers Director George Marshall. This is the Screen Director's Playhouse, one of the weekly features on NBC's All Star Festival of comedy, music, mystery and drama. Brought to you by Chesterfield. Always milder, better tasting, cooler smoking. Plus no unpleasant aftertaste. By the makers of Anderson. For fast relief from the pain of headache, neuritis and neuralgia. And by RCA Victor, world leader in radio, first in recorded music, first in television. Tonight, the Screen Director's Playhouse is pleased to present transcribed a comedy of terrors, the Ghostbreakers. Starring Bob Hope. But first, here's a tip for Father's Day, featuring one of Father's Day's most famous fathers. Say, Bing, how are you planning to spend Father's Day this Sunday? Oh, Ken, Father's Day is quite a deal, you know at the Crosby Minaj, I get to sleep as late as I want to. Then the kids bring me a big breakfast in bed. Ham and eggs, cereal, waffles, pancakes, sausage. Then what do you do when you get up? What else? I wash the dishes. Well, I know one gift that'll be on that breakfast tray. Bing. Right you are, Ken. A carton of Milder Chesterfield's. Folks, we have a fine new Chesterfield gift carton this year. And it's just the thing for dad on Father's Day. It's got a picture of Godfrey on it and a place to write your greetings. And inside, 200 of those milder Chesterfields. Remember, Chesterfields gives you mildness plus no unpleasant aftertaste. And that's the biggest plus in cigarette history. So drop around your favorite dealers and pick up a gift carton. Sure. Dad's a great guy, and Chesterfield's a great smoke. It's a natural for Father's Day. And any day, it's Chesterfield. Now, the first act of the Screen Director's Playhouse production of the Ghost breakers, starring Bob Hope in his original role of Larry Lawrence. With Shirley Mitchell as Mary Carter. If ever a name struck terror into the heart of the underworld, it's the name of Larry Lawrence, intrepid radio reporter and crime buster. Yet only his closest friends know that behind his simple, vacant, foolish smile hides the real Larry Lawrence. Simple, vacant and foolish. We find him now in his office. Prepare us before leaving on his vacation. Oh, so you clam up on Larry Lawrence, huh? Come on, open up. Open up, I say, or I'll drill a hole clear through you. Okay, you asked for it. Take this. And this. And this. Is there Something wrong, Mr. Lawrence? Yeah, I can't get this window open. Here, let me try. It's no use. Ms. Coles is stuck. I'm a strong man, but There you are. Ms. Coles, I thought I warned you about weightlifting on office hours. There's a Miss Mary Carter to see you, Mr. Lawrence. Miss Carter. Is she a redhead or are you wasting my time? You know I'm on the air in 15 minutes and I'm waiting for Raspy Kelly. Well, she says it's very important, Mr. Lawrence, and she's a blonde. Oh, then put her in category 7B. I'll see her when I get back from my vacation. Then tell her to leave her telephone number and waist measurement. Mr. Lawrence, please. Please. I'm Mary Carter. I'm sorry, miss, but I'm working on my secret invention. A real invention? Yep, it's a bottle preparation for women. Who want to get their face lifted. How does it work? I mix nitroglycerin with cold cream. That just goes to show how tough a woman has to be when she deals with Larry Lawrence. Oh, then you're really Larry Lawrence. The brave, strong, dashing Larry Lawrence I've always heard about. Well, what are you waiting for, Ms. Coles? Go somewhere and flex your muscles and tell me when Raspy Kelly comes in. Yes, Mr. Lawrence. Mr. Lawrence, I need your help. Ah, yes. Don't you all. Poor girl. You don't understand, Mr. Lawrence. You're famous. Is a crime breaker and gang breaker. And that was that wonderful week in Duluth when I was a home breaker. Now, I want to purchase your services. I want you to become a Ghost Breaker. Ghostbreaker. I'm sorry, but the only spirits I mess around with come equipped with olives, not shrouds. I'm serious, Mr. Lawrence. Ivan inherited an island off the coast of Cuba. Black Island. And there's a castle on it called Castillo Moldito. Oh, sure, I've heard of that. Isn't that where cougat raises little maracas? Now, Ms. Carter, you're not going to tell me that castle is haunted? Well, this afternoon the deed was turned over to me by a Senor Parada. He told me that no one who ever eats dinner in the castle ever lives until breakfast. You mean there's no Post Toasties because of the ghosties? Yes. Yes, there is a ghost. Senor Parada says it's the ghost of Don Santiago, my great, great grandfather. That's why I'm afraid, Mr. Lawrence. Now, if you'll come with me to Castillo Maldito, I'll see that your time is well paid for. Yeah, but why let a few ghost rumors frighten you? After all, what's a ghost? Just a Ku Klux that's lost his clan. What do you need me for? Here. I received this card in the mail today. Let's see. Death waits for you at Black Island. Well, here's your card, Ms. Carter. Thank you and good night. You mean you're afraid? You, Larry Lawrence? Afraid? Me? Listen, I'm one of the bravest gumshoes in the business. Well, you're acting like a child. Okay, so I'm one of the bravest bubble gum shoes in the business. It's just that I don't like spirits to send fan mail. And besides, tomorrow I'll be in the mountains. So take your ghost postage to somebody else. Ah, that mountain air. That's the life. You go to the window at 6:00 in the morning, open it, climb in and go to bed. Mr. Kelly is here, Mr. Lawrence. Oh, fine. I'll see him right away, Ms. Carter. If you want an expert in things that go boo, boo, boo. I've got a friend named Crosby. Why don't you see him? No one else will do. Mr. Lawrence, I'm sailing for Cuba tonight on the Recitania. If you change your mind, I'll be waiting for you in my state room. Hiya, Larry. What do you say? Well, hello, Raspy. Say, you sound better. Did you get the frog in your throat? A fresh lily pad. I got another Frenchie Doubt story for you. It's a killer. Yeah, and so is Frenchy Du say, does he know you're giving me these stories? Sure, he loves it. Good publicity. I know. I plug him or he plugs me. What have you got, French? He has himself a new racket. Here's how it works. Here's a last minute scoop. Frenchy Duval has a nice new racket. Baby laundries. You know the kind I mean, with a slogan. This is the little one's Laundromat. Frenchie discovered that There were about 2,000 of them in the state, all making money. Without even telling his closest pals, he moved in and three cornered the market. And so today, Frenchie is really cleaning up the hard way. This is Larry Lawrence saying good night. Larry Lawrence will return to the air two weeks from tonight with more lowdown on the underworld. Now work about Cronin's Coffee. Well, that's that. Hmm. One more week on the air without a rest and I'd begin to look like Bob Hope. Mr. Lawrence. Oh, hello, Ms. Cole. Did you hear the broadcast? Wasn't I great? Wasn't I terrific? Francie Duval is on the phone. Wasn't I just leaving? Wonder if he's sore. Courage, Camille. Hello, Frenchie. What's new? Got a tip for you, Larry boy. Shoot, I had to open my big mouth. What was that? That was Raspy Kelly saying goodbye. Raspy Kelly? But you're not mad at me, are you, Frenchie? Oh, no, no, no. I told you I got a tip for you. Here, get this. A Satan radio reporter was found in a ditch riddled with bullets. Yeah? When did it happen? Probably tomorrow. Wow. That's what I call hot news. Tell me. Hey, Frenchie. Oh, not me. Not little old Larry. Going to put somebody on the spot. Boy, Ms. Coles, hand me that bottle of spot remover. Lawrence, I've taken care of you myself personally. Oh, Frenchie. Frenchie boy, speak to me. Hello, Mort. Come to think of it. Hello, Mortician. Why did I bother paying this year's income tax? Where are you going? Cuba. Ms. Coles, when it comes to ghosts, I'd rather see one than be one. Oh, Larry, I'm so glad you decided to come. Some state room you got on the ship you ought to see. Mine is so far down I can use the propeller to whip up my shaving cream. Say, did you see President Truman in swimming when we passed Key West? No. Which one was he? The one in evening clothes? Yes. Radiogram for you, miss. And there's one for Mr. Lawrence, too. Oh, thank you, Stuart. Who'd know I was aboard? Here's your telegram. Well, isn't that nice. Mine must be from the Cuban Chamber of Commerce. What does it say? See Cuba and die. Hey, wait a minute. Signed, Frenchy Duval. Stop the ship. Man overboard. Stop the ship. Guzzle a maisel. Box the copper. Larry. Larry, please. Larry, look at my telegram. What are you excited about? It just says an empty coffin waits on Black Island. Gee, does Pierce brothers know about this? You think we should make the one friendly call that covers all? Larry, I'm scared. And a sign, Senor Murtis. Muerte. In Spanish, that means death. I know, I know. His brother. Rigor mortis. You poor kid. You really are in trouble, aren't you? I'd be in a lot more trouble without you to help me. Yeah, I'm brave. Two Gun Larry. Lawrence, when I find out who's threatening you, I'll break him in two and use half in the castle and half in the bathroom. Sure, that's me. Courage on the loose. Only there's and so. What do you mean, Larry, I'm running away from myself. From some gangsters in New York. Oh, I didn't know. Look, Mary, we're both in trouble. Let's play it together, huh? You stick by me, and I'll stick by me, too. Seriously, Mary, I. You know, you're beautiful. I'm frightened. Hello? Hello, this is Senor Parada. Mary, it's Parada. The guy you were telling me about. Who is this speaking? Never mind about me. What's the idea of scaring Ms. Carter with all that ghost stuff? Ghost? I'm sorry, but I must have the wrong stateroom. Hello? Hello? Hello, Senor Parada? That's strange. I wonder why he's on board. Yes? Oh, I noticed Ms. Carter's name on the passenger list. Is she here? Why, yes. I'm Ms. Carter. Who are you? Who are you? That's right, Jeff. Montgomery. May I come in? Oh, please do. We met at the store club a few weeks ago. Yes, of course. Mr. Montgomery, this is Mr. Lawrence. You traveling to Cuba, Mr. Montgomery? Yes, my home's in Havana. Oh, we're going to Havana too. And then on to Castillo Maldito on Black Island. I'd heard that jinx was wished off on. Not you, Mr. Carter. Mr. Carter. That that place is evil. There's the legends about the ghost. And there's said to be a zombie on the island. The son of a native woman who looks after the place. Zombie? Yes, some voodoo priest seem to have the power to bring the dead back to life. You see them once in a while walking around with despondent, hopeless staring eyes. You mean like Republicans? Please be careful, Ms. Carter. If you insist on going to Black island, be sure you go well protected. Well, what do I look like, an egg beater? There's nothing in that island but ghosts, evil spirits and zombies. Ghosts, evil spirits and zombies. When's the next boat back to New York? But what about Frenchy Duvall? Him? He's just trying to kill me, that's all. Between Black island and Frenchy Deval, I'll take. Yes, Larry, I'll take. Darling, Black island, here I come. The next time you suffer from pains of headache, neuritis or neuralgia, take Anacin. You'll bless the day you heard of this incredibly fast way to relieve these pains. Now the reason Anacin is so wonderfully fast acting and effective is this. Anacin is like a doctor's prescription. That is, anacin contains not just one, but a combination of medically proven active ingredients in easy to take tablet form. Thousands of people have received envelopes containing anison tablets from their own dentist or physician and in this way discovered the incredibly fast relief Anacin brings from pains of headache, neuritis or neuralgia. So the next time a headache strikes, take Anacin for this wonderfully fast relief. Anacin A N a C I N. Anacin comes in handy boxes of 12 and 30 economical family size bottles of 50 and 100 get anison at any drug counter. Now the second act of Ghostbreakers starring Bob Hope. Black Island. Its silhouette broken by the menacing outline of Castillo Maldito against the night sky. And approaching the island, a small rowboat carrying Larry Lawrence and Mary Carter. Boy, no wonder the native boatman won't come here at night. Look at the place. What a ruin. Looks like CBS pulled a raid on it. Just. Just a few more strokes, Larry. We're almost there. Here's the dock. Here Let me help you out. Oh, thank you. There. Lafayette, we are here. I think Lafayette's here too. It's probably the old woman caretaker that Jeff told us about. She may be just trying to scare us. She's wasting her time. We're scared already. Uh oh. There she is. Mother Zombie. The moon. The moon has risen. My sun is walking. The zombie walks. Taxi. Strike. Huh? Go away. Go away. Or is zombie get you what you want? Could we interest you in a subscription to Weird Stories magazine? This is my island now. I've inherited the castle. Maldito. No, my island sounds like Ron Monroe's mother. Gee, great night for a murder. Who told you? Oh, I jump. I just. I thought I was going to get the laugh, you know? You. You look for other men. What? One man? One man coming. Big plane. Other men come in boats. Two boats. Tell me, does the Greyhound bus make a rest stop? Here you go. Go. I get dummy. Give my regards to Boris Karloff. Come on, let's get into the castle. Hand me the flashlight, Mary. There. Oh, gosh. A place. The front porch is down on the sneeze. Larry. Larry, look over there. Turn your flashlight to the left. A suitcase. It's almost new. One of the people who came to the island must have left it here. Let's see. The initials. F.D. frenchie Duvall. Frenchie. Come on, let's get out of here. There he is. Put out the light. Okay. Here, behind the post. Let you get away from Frenchie Deval, did you? Where are you? Lawrence? Come out. I'm not here. I'm over there. Let's go. Here? In this room. Well, now we know who one of our guests was. What about the other two, huh? I don't know, but I think I could spit and hit one of them. Oh, it's just the wind. If it is, it's the first time I ever heard a breeze with adenoids. You strangers. I kill strangers. Larry. It's the zombie. It's the living dead. I never saw anything like it. You never played Philadelphia? Strangers die. Hey, strangers. That's us. Zombie kill. Sorry, but I gotta see your union card. Larry, you stunned him with your flashlight. Help me drag him into the closet. And you told me you were a coward. Yeah, what do you know? I'm brave. Come on, let's see what else is going on in Nightmare Alley. Sorry. Listen, if this is a short interlude of organ music, let's switch to another station. Come on, Larry. Let's find out who's playing that organ. The organ. There it is. Yeah, and those Things around it are either coffins or boxes of king size Cuban cigars. Nobody here now. Wonder who was playing. Larry, it's playing by itself. I don't like it. Petrillo won't like it either. Maybe somebody put a nickel in it. There's no one there. Well, that's. That's ridiculous. Only a ghost could do that. And there's no such thing. If there really are ghosts, I. I'd lose my mind. I'd end up in the snake pit. Move over, Olivia. Hey, do you see what I see on the organ bench? It's coming out of thin air. Too many reducing tablets. Larry, it's a ghost man. Marching Man. Find the key and Marching Man. Maybe they're drafting again. What's he talking about? I don't know. Ask him. You ask him. I feel too ghastly to be ghostly. Marching in. The key is marching. Look, it's getting up and floating toward that empty coffin. It's getting in. Gee, that ghost gave some performance. Yeah. Oh, wait. Did you see me in Hamlet? Come on. I'm going to find out what's really in that box. Look on the side. There's a plate. Wait. It's the coffin of Don Santiago, my ancestor who built the castle. Let's get the lid up. Larry, there's nothing but a skeleton. Yeah, Old man Mo sure is dead. Larry, I think he was trying to tell me something. Something about the Marching Men. He wants me to look for something. Look, if he forgot anything when he left, there's no sense looking for it now. Let's go. Don't forget that Frenchie Duval is looking for us. And there's two other characters around somewhere. Larry, turn your flashlight. Over there, above the organ. Isn't that an inscription? Can you make it out? I think yes. Let me see. God's treasures in abundance lie something. Heavenly key. Heavenly key. Before they die. There's more to this than meets the eye. The ghost. It said something about a key. Larry, how can we look for a key? We haven't even got a keyhole. Oh, keys. Keys could mean music. Look, let's keep moving around. If we stay in one spot, we're dead. Dead. I wonder who thought up that expression. The Marching Men must have something to do with it. We'll ask him on the 4th of July. Come on, Larry. There on the wall. Aren't those Marching man those little figures carved into the stone? Now if I draw a horizontal line through this Marching man and one parallel to it through this one and another one and two more. This is a Fine time to start playing tic tac toe. No. Don't you see? It becomes a bar of music. That's what the ghost was trying to tell. The key is a chord on this organ. Mary, keep playing. Look down Santiago's coffin. It's shifting off its base. And I don't feel so good myself. Keep playing. Higher, Higher. That's enough. Look. It's a secret opening with a flight of stairs. There's nothing down there but some dusty old dungeons. Let Jack Benny keep his money. Come on, Larry, you go first. Okay, but remember, I'm lead off man on the way back. Say, there's a lantern down here. Yes, and railroad tracks. Like in a mine. Yeah, railroad tracks. It reminds me of my hotel room in Scranton. Come on. Keep going. Look out. You'll trip over that rail. Oh. Oh, oh. Did you hurt yourself? What did you land on? This is a comedy. What do you think I'm. Mary, look at this. What is it? I've seen this stuff before. Silver ore. The real thing. Mary, you're rich. Congratulations, Ms. Carter. Senor Parado. So you're pirada. What's the gun for? You can't get away with it. I'll shoot. Now, listen, Prada. No, not you. Behind you. Look out, Flurry. It's Jeff. Jeff Montgomery. Yes, it's Jeff. It's too bad I had to wound you, Ferrara. But you'll soon be put out of your misery. Ms. Carter, I came here to warn you. He's mad. Insane. Against the wall, all three of you. I warned you, Mary, but you chose to ignore my messages. What's this all about? About a vein of silver as white as the island. I discovered it. And it's mine. You heard this? Mine is mine. And what's mine stays mine. Okay, so it's yours. But let Mary go. No. Nobody's going to carry any tails out of here. All right, come on out of there. I get you bottled up. Come on. Who's that, Frenchie? Dev, it's the police. They've got you trapped, Montgomery. They'll never get me. Not now. This is mine. They'll have to shoot it out. You tell them, kid. Get through. Finish. Never. Never. Oh, Larry. They killed each other. Frenchie and Jeff. I'll match you to see who faints first. Oh, Larry. Move over. Stop hogging the floor. Well, we're on our wayland. And a fond farewell to Cuba. We leave your castle to Mother Zombie and her bouncing baby boy. Yes, and with Parada taking care of the mine, we'll never have to come Back. And now that I'm rich, I'm gonna back you in a television show. Yeah. After all those ghosts, it'd be nice to try out a new medium. What in the world will we do with a hundred million dollars? What, honey? What will we do with a hundred million dollars? Well, we can always open another hotel in Texas. Larry, I still don't understand about the ghost. It must have been real. No, honey, it was just one of Montgomery's tricks. There's no such things as ghosts. Why didn't we have her sit in the audience? Thank you, Bob Hope. And now a word from RCA Victor. The RCA Victor Fairfield is better looking in every way. From the clear, bright pictures you'll see on the Fairfield's big 17 inch screen to the beautiful, sleek lines of its magnificent cabinet. Any way you look at it, the RCA Victor Fairfield is the last word in superb television consoles. For performance, for beauty, for quality, the Fairfield sets the pace. It's million proof television. RCA Victor television that has been proven in over 2 million homes. Yes, the Fairfield is better looking television. The pictures are the steadiest because they're locked in place by RCA Victor's exclusive eyewitness picture synchronizer. And the console cabinet looks like a million dollars. Every detail of the Fairfield's classic design reflects the artistry and craftsmanship that has made RCA Victor famous. So to make your life livelier, your living room lovelier, stop in at your RCA Victor dealers right away and choose the exciting new RCA Victor Fairfield dream. Director's Playhouse is brought to you by Chesterfield, always milder, better tasting, cooler smoking, plus no unpleasant aftertaste, by the makers of Anison for fast relief from the pain of headache, neuritis and neuralgia. And by RCA Victor, world leader in radio, first in recorded music, first in television. The Ghostbreakers was presented through the courtesy of Paramount Pictures, whose current release is Ace in the Hole, starring Kirk Douglas and Jan Sterling, which is having its world premiere in Albuquerque, New Mexico tonight. Bob Hope will soon be seen with Hedy Lamar in the Paramount picture My Favorite Spy. The Ghost breakers was adapted for radio by Richard Richard Allen Simmons. Screen Director's Playhouse is produced under the supervision of Howard Wiley. Portions of tonight's broadcast were transcribed. This is Jimmy Wallington speaking and inviting you to join Screen Directors Playhouse next week when we present DOA starring Edmund O'Brien with Peggy Castle and screen director Rudolph Mat. Tomorrow you too can live the life of Riley on NBC from the creative genius of Roger Corman, who brought to the screen Edgar Allan Poe's most Shocking horror tales comes the ultimate in blood chilling screen experiences. The Terror Starring the incomparable Boris Karloff. You think I'm mad, don't you? In the role he was born to play. The Terror Be deviled by his own mad, all consuming passions. With my own hands, I killed him. The Terror. His evil mystic powers go beyond man's wildest imaginings. If he resists, kill him. America, American International presents THE Terror Starring Boris Karloff, Dean of all horror demons. In this, his most demanding terrorization. THE Terror A Film Group production in color and vestascope THE WEIRD CIRCLE in this cave by the restless sea we are met to call from out of the past Stories strange and weird. Bell keeper, toll the bell so that all may know we are gathered again in the weird circle out of the past Phantoms of a world gone by speak again. The immortal tale Frankenstein. The wind howling outside My lonely home is my only companion. All else is quiet here As I sit for my window in the parlor, writing this document for the scientific world. Be warned, you doctors and scientists who come after me, be warned that man must not experiment with the secrets of life. My experiences started in the University of Manchester, where I was studying natural history. It was after class, May 22, 1818, that Professor Waldman, my close, dear friend Henry Clerval and myself were in the laboratory of the university. Victor Frankenstein, your persistence amazes me. Someday I shall sit at your feet and allow you to teach me. Thank you, Professor Walman, but the whole subject of the structure of man has always been too clouded in mysticism. Well, frankly, Victor, I prefer mysticism. That's because you're a mystic, Henry. Why, Henry's no more a mystic than I am. He just loves to avoid arduous work. Oh, translating that means I'm lazy, eh, Professor? Where have you prefer to put it that way? I rather think of you as a student whose nervous structure does not take kindly to natural history. The professor is kinder to you than you are to yourself, Henry. Well, if I worked as hard as you do, Victor, I should probably wear that same gaunt, sleepless look that you carry about. Well, my experiment will be finished tonight, and then I'll manage the eight hours sleep that other men manage. The secret experiment will be finished tonight. Huh? Well, then, will you tell us just exactly what you're doing in the basement at home? I'll tell the entire world. As a matter of fact, I. I stayed after class this afternoon, Professor Walman, to ask you to join me this evening in the basement of our place to watch the completion of my work. Well, how about me? I don't think I dare invite more than one, Henry. And the professor is more interested in this type of procedure than. Than you are. I shall be delighted. Victor. Just the best friend who never knows what's going on in his own home. That's all. It's not, Henry. But I thought you'd entertain Elizabeth for me while the professor and I were at work. Entertaining Elizabeth would be a delightful favor. Oh, boy. You know, I think you trust me too much with her. Have you ever met Victor's fiance, Professor Waldman? She's one of the most charming. Yes, Elizabeth was one of the most charming, beautiful women I'd ever known. I had been in love with her from childhood. But even my love for Elizabeth couldn't dim my passionate zeal for the work I was doing. It was 8:00 that evening, Henry, Elizabeth and I were seated in the parlor. Elizabeth was saying, I'll be so glad, Victor, darling, when all this is over. If you only knew how tired you look. The minute my work is done successfully or unsuccessfully, I promise you, Elizabeth, we'll be married in and off to Switzerland before Henry has time to lock up this place. But first we find out about the secret in the basement. Henry. Henry is being eaten up by curiosity. I don't blame him. I'm suffering pangs of what's it all about too. Well, you'll both know soon. I wonder where Professor Walman is. He's late. He'll be here soon. Victor, stop pacing the floor, sweetheart. I think I'll start my work downstairs. Send the professor down when he arrives, will you, darling? We'll come down ourselves and take a look around. Or will I turn into a pillar of salt for peeking? Nobody ever turned into a pillar of salt for peeking, Beth. It was for looking back. Oh, nothing like a good, practical working knowledge of the Bible for scientific experiments. It starts the night off, right? Yes. I thought jokingly of that paragraph from the Bible then. And she was turned into a pillar of salt. But what about a man who looks back? There is no ready reference for him or for me. I went downstairs to my laboratory at a little past eight, opened the door and started to tinker around to pass the time more quickly. My every sense was alive, taught, waiting with the sense of what was to come. I heard a knock on the side door which led me from my laboratory directly into the forest. Which border? Manchester. I looked out and. Good evening, Victor. Oh, did Elizabeth tell you to come down this way, Professor? No. I found the entrance to your Laboratory? Quite by myself. I help you with your coat, sir. No, no, no. You proceed with your work. Nothing like trivialities to annoy a scientist at work. There we are. Follow me, professor, into the back room and you'll see for yourself what this is all about. Well, I feel that I'm in for a most exhilarating evening. I wish I had more students. Fashioned in your mold, Victor. Well, professor, here is my. What's this? A full sized replica of a man? Yes, only he isn't full sized. He's fashioned on a grander scale, I should say. This creature standing up would be approximately 8ft 2 inches tall. Well, you should have been an artist, Victor. He's a perfect reproduction. What did you make him out of? Wood? Clay? Animal flesh. Flesh. Feel him. Oh, feels like the body of a dead man. Or the body of a man who hasn't as yet been brought to life. This body is complete in every detail. Heart, lungs, teeth, even the fine nervous system. Interesting. Yes, interesting. How about the brain cells? Yes, adult brain cells. I think he's quite handsome, don't you? Well, each man to his own taste. He's the. The best reproduction of a man I've ever seen. But actually, his face is hideous. As a plastic surgeon, my dear Victor, I'm afraid I can't give you much credit. Well, what do you intend to do with this? Hulk? Do you see this fluid here in the test tube? Yes. I filled the hypodermic needle with it. And now. Now I'm going to inject the full 8 ounces into the vein directly above his heart. But why? Watch. You see, professor, quite by accident, I stumbled on the secret of life. I've been bringing small one celled creatures to life for quite some time. The secret of life. Within 30 seconds after this injection, this creature will live. You're trying to play God, Victor. It's heresy. It's science. I'm making a new race by far. Finer than the present. One larger in structure, stronger, heavier, healthier. A race able to live on nuts and berries with a greater capacity for feeling. Victor, for the love of heaven, don't go through with this experiment. No man living has the right to tamper with the secret of life. You've created a monster on that floor. You've no idea what will happen if you go through with this. Watch, Professor. The injection. I only hope and pray this is a failure. It can't be. His eyes moved. Watch him, Professor. He's like a baby first realizing life. His hands touch the floor. His eyes are trying to focus on the world around him. He's hideous. Yes, he's hideous. I made the skin too much like parchment, I'm afraid. Victoria, get rid of that monster. Trying to stand up. If that mind which you've created is a twisted one. Have you any idea what kind of horror you've let loose in England? As a humanitarian, I feel it my Christian duty to do this. Now put that knife down, Professor. No, I can't let. Ooh. Oh, he's got me in the clutch of his hand. Command him to stop this victim. Stop fighting him, Professor. He's frightened. He has the same reactions as a child. Crabs. And won't let loose. Let me go, monster. Stop. Don't go out that door. Put the professor down. Don't go out that door. The monster left my laboratory through the side entrance into the forest, carrying the incredibly mangled body of the professor with him. I rushed out of my laboratory after him. But the creature was faster than I and he disappeared from view. I returned to my laboratory and destroyed all evidence of the creature's manufacture. I burned the blueprints from which I had made his body. Then, carefully, I locked my laboratory and went upstairs to join Henry Clerval and Elizabeth. I must have looked wild eyed as I. Henry, that's most amusing. You tell the best anecdotes in all of England. Oh, you flatter me, Elizabeth. Oh, Victor. You're through sooner than we expected. Darling, what's the matter? Didn't the professor show up? Nothing's the matter. My experiment was. Was a failure. But the professor, he never showed up. Beth. Henry, I want to go away. Of course, darling. We will. As soon as Henry can get the house locked up. I don't want to wait. I want to leave at once. Tonight, please. Tonight. Beth, we can get married before we cross the Channel and. And then go to Switzerland. But it's almost midnight now, darling. What's the difference? Please, Beth, if you love me. But why tonight? Victor. Henry, you've no idea what I've been through. I have to get away at once. Of course, darling, if you insist. Anything you want. And we'll be married before daylight. Darling. Darling. Beth. I know a little minister whom we can awaken. And so Beth and I were married that evening in a little chapel on the coast. Then the three of us fled to Bern, Switzerland. I refused to have anything to do with the civilized world. No newspapers, no word of home. Just the peace and quiet of the Swiss mountains. Henry and Elizabeth both tried to learn of the events which had occurred in my laboratory that evening. But I never broke my silence on that subject. After the first tries, they refrained from asking me about it again. It was in the middle of the fourth month of our visit, when Henry and I were sitting on the terrace of the little house in the mountain. Beth was out picking berries when Henry suddenly. Victor, I'm your closest friend. I've tried to keep silent about. Well, Victor, the day after we left England, I bought a newspaper. Did you, Henry? Yes. I saw this clipping on the front page. I couldn't very well miss it. What clipping? This one. The horribly mangled remains of Professor Waldman was found on Beekman Hill. The identity of the unknown murder is being sought by Scotland Yard. Poor Professor Waldman. I'd no idea. Hadn't you? No. What are you trying to say to me, Henry? You're leaving England so suddenly that very night. Your fear of being discovered, the secret experiment. Well, it all seemed to add up to some kind of strange connection with this clipping. Now, if you're in trouble, Victor, you can depend on me. I'll by your side. I'm not in trouble. I'm just tired. Terribly tired. And you know nothing of the professor? Absolutely nothing. He didn't come to our chateau that evening. I told you he didn't. Then stop questioning me. We're out here. Beth. Oh, I've just had a horrible experience. Oh, darling, I'm so glad to see you. Honey. Pale. Beth, sit down right here next to me. Why? What happened, Beth? Well, I was. I was walking not far from here when I looked up and saw. Well, I saw a man, sort of a man standing over me. Well, men aren't so bad. That is, if you happen to know the right ones. And you do? I. I'm not joshing, Henry. He wasn't exactly a man. He. He was twice the height of anyone I've ever seen. And his skin looked like dried parchment. It's. It's incredible. But I think I've seen a monster. Monster? Yes. I. I ran away. He didn't follow me. He just. Just stared after me, watching me. You do believe me, don't you? A monster stared after you? Look, Henry. Victor. Through the trees, right out there. Look there. He. Yes. The monster stood there, silhouetted against the trees. The monster which I had created, standing like an evil glut of flesh and blown, moved in the darkening twilight. And then suddenly, phantom like it disappeared. Beth and Henry both watched me as I started from the piazza after the disappearing creature in the backwoods. As I drew near to the heavily wooded section, giant Footprints in the soft mud about me showed the path ahead. The sun was sinking in the west, and the last orange pinpoints of light needled my flesh until every sense within me was tingling with the expectations of seeing my living horror. Then I realized I was unarmed. Every crooked tree, each twisted branch which obstructed my path appeared to be his form. I heard the crackling of a branch and the moving of a form on the velvet moss. I thought you'd come, Creator. You. Are you. You Frightened, Creator? You dare talk to me? Please don't turn away from me. Please let me go. I mean no harm to you. Listen to me, Victor Frankenstein. You must listen to me. You created me. You owe me that much. I owe you nothing. Murderer. Why am I a murderer? Because you created a form so horrible a face so distorted that no man can look upon me and call me friend. I'm an outcast. You can save me. Let me go. Not until you hear my story. Sit down. Creator, my arm. Let me go. I wandered through the streets of London that first day. Children screamed in the streets. People flocked together trying to kill me. And I was lonely and hungry. How did you follow me here? Not so long ago, I returned to my birthplace, the laboratory, broke in and discovered your identity. But first I fled to Scotland and lived outside of a cottage. That's how I learned to speak. An old blind man was teaching a young French girl to speak English. I listened to the lessons from the open windows. Now, what do you expect of me? A companion. A woman of the same species, with my defects. One who will be my friend. This. This being you must create. No. I'll not do it. You must. Every man's entitled to a wife. No. You must. If you create her for me, I'll take her with me into the far wastes. And no one will ever see either of us again. Ever. How will you live? On fruits and berries? We'll manage together. Please. You can't deny me this. A maid? A monster's maid. You will. You will. I swear I'll never harm another human. Never, Creator, if you'll only grant me just one companion. And if I refuse? If you refuse, even a brain that you have made, Creator, might become twisted and distorted. And so, that night in the forest, I made a devil's bargain. I bargained to create a monster's mate. Perhaps another murderer. How could I know? The monster swore to live in the forest and wait. Wait a year or two years if necessary. And upon completion of my work, he would take his companion away. But if I Broke my promise. He swore revenge. And so I started work. I searched Paris for the necessary equipment. Built a shack in the woods about a mile away from our chalet. Three months. I worked three solid months shaping her. Who was to be his mate. And then. Then one night, it was windy outside. I thought the wind had blown the door open when. Victor. Victor, I'm sorry I had to disturb you. Is it Beth? No, not Beth. She's fine and sends her love. It's the townspeople. Your activities have stirred up a lot of curiosity. Oh, the fools. Well, I can't blame them. Especially after the rumors which have been going around. Rumors? Of the Victor, you know the monster in these forests. You've known of them all along. People. People have seen him and connect them with you. Mothers in the village are frightened of their children. I know nothing. Look, I'm only trying to help you. I know nothing, I tell you. But the men have banded together. They're going to make a raid on you here, to burn your laboratory down and to find the monster who lives in these woods. They can't. They mustn't. Oh, what devil's work are you carrying on, man? I'm trying to help you. Oh, Victor, will you please let your friends be your friends? Henry, go back to Beth and leave me alone. Beth is safe at home. You're in danger. I won't leave your side this night, my friend. Then be prepared. Prepared for what? You've guessed many of the reasons for my secrecy. Then there is a monster. At school, I stumbled on the secret of life. I was trying to create a superior race. I was a fool and I created him instead. And he does live. Yes, he lives. Professor Waldman. What happened to Professor Waltman? The night I created the monster, Wolman became frightened. He screamed, attempted to kill the creature. The creature, like a child, warded him off and then tore him to pieces in front of me. I couldn't stop him. The monster had killed before it had really begun to live. Then what? The monster left the basement through the side entrance, carrying the professor's corpse. I had no choice. I had to leave the country. What are you doing with that creature now? Full fulfilling a promise. Follow me into my cabin and I'll show you. How soon do you think the townsfolk will be here? Oh, within two hours or so. They're meeting in the square. And Tom, Come in. What? A woman? Yes, a woman. The monster's mate. His friend. I promised him a friend. And in return he swears to hide himself forever from the world. A devil's Bargain, Victor. A bargain I must keep for all our sakes. But the monster proved himself a murderer time and time again. Why, in London, after the deaths of Professor Waldman, time and time again. But how do you know that the mate won't be even more vicious than he? You'll let loose an avalanche of hatred or destroy her before you bring her to life. Yes. Avalanche of hatred. Look, you've no time to waste. Set fire to this cabin. Quickly. Victor. Set fire to the cabin and come away. What? Man alive, you can't go through with this. But the promise. It's a promise to a fiend. He'll be your death and ours. Victor. Oh, hurry, man. Hurry. If you've any love for Beth. I've been insane with grief and fear for Beth. And you go back to Beth, Henrietta, at once and wait for me. And you? I. I'll set fire to the cabin as soon as I destroy my books. I'll join you later. Oh, hurry, friend. We'll meet you home as soon as you can make it. For one full hour, I worked feverishly. I soaked the shack in oil. And then, taking a taper from the vase, I lit the fire. The fire started quickly. I placed my books in the very center of the room and then opened the door of my shack. The experiment was at an end, and I felt free. The monster's mate would never live. I walked out. And then I saw him. His face contorted with rage. My wife, my only judge. I knew then what was in his mind as he raced through the forest in front of me. The blazing shack was a beacon of light, and I saw his huge, misshapen form outdistance me. Far out. He was faster than I, taller than I, and covered more territory. Racing, running blindly through the forest. I reached my home. The door of my home was flung open. Henry, mutilated and torn, stumbled blindly toward me. Victor. Victor. The monster. Henry. Henry, what? I. I tried to. Victor, I. Henry. You. Beth. Beth. Shalom. Stairs. There. Beth. I'm coming, darling. I'm coming. I'm coming. Upstairs. Somebody help me. I'm coming, darling. I'm coming. If you kill her. Beth. Beth. Beth. Oh, my darling. My darling. Oh, Beth. No. No. Both you and Henry, both dead. You two are alone, Creator. Yes, Both of them were dead. All my dear ones gone from me now. And I'm alone. The wind howling outside my window is my only companion. All else is quiet as I sit by my window, writing this document. I am dying of loneliness and fear. Shunned by the world, hated by everyone. I know I am waiting only for the monster's return. And he, having eluded the world, will return when I've suffered my full share of misery as he has suffered his. From the time worn pages of the past, we have brought you the story. Frankenstein. Bell keeper. Tol the bell. From the time worn pages of the past, we have heard another immortal tale in the weird circle. Bell keeper, toll the bell. Be here in this lonely cave by the restless sea. Once again, next time for another immortal tale in the weird circle. This is Orson 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 TR.