Creeps By Night 44-05-02 The Final Reckoning

Summary

Podcast Summary: "Creeps By Night 44-05-02 The Final Reckoning"

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harolds Old Time Radio
• Episode: Creeps By Night 44-05-02 The Final Reckoning
• Release Date: May 20, 2025

---

Introduction

In the episode titled "The Final Reckoning" from the series Creeps By Night, hosted by Harold's Old Time Radio, listeners are transported to the gripping world of suspense and vengeance reminiscent of the Golden Age of Radio. Voiced by the legendary Boris Karloff, the story delves deep into the dark recesses of the human psyche, exploring themes of justice, betrayal, and retribution.

Plot Overview

The narrative centers around George Miller, a man who has spent two agonizing decades incarcerated for a crime he insists he did not commit. As his release approaches, George meticulously plans his revenge against those who wronged him. The tension escalates in the final moments leading up to his release, culminating in a chilling confrontation that blurs the lines between justice and vengeance.

Key Characters

• George Miller (Boris Karloff): The protagonist who seeks to clear his name and avenge his wrongful imprisonment.
• Warden Gordon: The stern but concerned prison warden who grapples with George's determination to leave prison despite his fragile health.
• Ace Tim Miller: A figure from George's past, connected to the crime that led to George's wrongful conviction.
• Walter Danelli: The prison barber who becomes an unwitting accomplice in George's final plan.
• Ms. Carol: Ace's partner, who becomes entangled in the unfolding drama.

Detailed Breakdown

Confrontation in the Warden's Office ([02:13] - [08:00])

The episode opens in the warden's office at the state penitentiary, where George Miller confronts Warden Gordon about his impending release. George reveals his unwavering resolve to seek vengeance, stating:

"I've been sick for almost 20 years, warden. Ever since those iron gates out there closed behind me. I've waited a lifetime for the cure, planned for it. Now I'm going to get it."
— George Miller ([03:24])

Warden Gordon expresses concern over George's health, urging him to reconsider his decision. However, George remains steadfast, hinting at unfinished business that transcends his personal well-being.

Ace Miller’s Denial and Revelation ([08:00] - [16:24])

As George exits the penitentiary, the scene shifts to Ace Tim Miller's residence. Ace, initially dismissive of rumors about George's release, becomes paranoid upon discovering dead rats sent as warnings. The tension heightens when Ace makes contact with George, unaware of his true identity.

Meanwhile, Walter Danelli, the prison barber, interacts with Ace, revealing cracks in Ace's facade:

"You tell me one thing, Ace."
"What do you mean, George Miller's out?"
"He got out yesterday. What did I tell you? I spend 100 grand a year on smart lawyers."
— Ace Tim Miller ([09:00] - [09:16])

George's meticulous planning comes to fruition as he infiltrates Ace's sanctuary under the guise of needing a shave.

The Barber’s Chair – The Final Act ([16:24] - [26:53])

The climax unfolds in the intimate setting of the barber's chair. George, now revealed as the vengeful ex-prisoner, confronts Ace during a seemingly routine shave. The dialogue reaches a crescendo as George accuses Ace of framing him:

"I decided. Talk, I said. Spell it. I know your kind. I know them from way back."
— George Miller ([16:39] - [17:08])

A brutal exchange ensues, culminating in Ace's death, whether by George's hand or fate's design remains ambiguously sinister:

"You murdered him."
"I'm afraid I played rather a gruesome joke on him."
— George Miller & Ms. Carol ([25:30] - [25:35])

Ms. Carol's entrance adds a final twist, witnessing Ace's lifeless form and confronting George with the horrifying truth:

"My name is George Miller."
"He told me he was dead."
— George Miller & Ms. Carol ([24:58] - [25:21])

Resolution and Reflection ([26:53] - End)

As the dust settles, George contemplates the consequences of his actions, wrapped in a web of irony and unfinished vengeance. The episode concludes with an eerie calm, leaving listeners pondering the true nature of justice and retribution.

Notable Quotes

• George Miller:
  "There has nothing left for me to do here. The moment that noon whistle blows."
  — ([03:19])

• Warden Gordon:
  "Only one thing can pay for those 20 years, George."
  — ([23:27])

• Ms. Carol:
  "George Miller? You killed him."
  — ([25:15])

Themes and Insights

"The Final Reckoning" masterfully intertwines themes of wrongful imprisonment and the quest for vengeance. George Miller’s transformation from a wronged man to a calculated avenger raises questions about the morality of retribution. The episode also explores the psychological toll of long-term incarceration, evident in George's desire to hide his aged self and the warden's concern for his well-being.

The use of dramatic pauses and intense dialogues heightens the suspense, keeping listeners on edge until the very end. Boris Karloff's portrayal of George Miller adds depth and gravitas, embodying the pain, anger, and determination of a man scorned by the very system meant to protect him.

Conclusion

The Final Reckoning stands as a testament to the enduring allure of classic radio dramas. Through its compelling narrative and rich character development, the episode invites listeners to delve into the complexities of justice, identity, and the human spirit's capacity for revenge. Harold's Old Time Radio successfully revives the timeless essence of old-time radio storytelling, delivering an engaging and thought-provoking experience for both longtime fans and newcomers alike.

Transcript

[A]

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[B]

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[C]

We bring you CREEPS by Night. The Blue Network presents the international star of stage and screen, the master of mystery, Boris Karloff in Creeps by Night.

[D]

How do you do? This is Boris Karloff inviting you to join with us for another dramatic exploration into the unknown darkness of the human mind. Our theme tonight is revenge. We have chosen for you a story that plumbs the very depths of one of man's primary emotions. The eternal seeking of an eye for an eye and a tooth for a tooth. This is the story of a man who waited 20 long and heartbreaking years before the opportunity came to seek vengeance. But when it did, he stalked his prey with a coat cold and horrible health of a black panther.

[C]

Creep by Night presents Boris Carlos as George Miller in the final reckoning. Our scene is the warden's office at the state penitentiary. A middle aged man, his shoulders hunched and his hair prematurely gray, stands before the warden's desk, clothed in an ill fitting prison made suit. His face is yellowed with the pallor of long confinement.

[D]

But his eyes, set deeply in dark.

[C]

Shadowed hollows, are bright and clear. Looking at him, the warden speaks.

[E]

Well, I wish you'd reconsider, George. I don't like to see you walk out of here in your condition.

[D]

I'll be all right, Gordon.

[E]

Don't be a fool. You've just gotten over a bad case of pneumonia. Why not spend an extra week or so in the hospital? Let Doc Reed put you back on your feet.

[D]

My time is up at noon today, isn't it? Yes, but we'd glad to. That's when I'm leaving. The moment that noon whistle blows.

[E]

You're in no shape to travel.

[F]

Look at you.

[E]

You're still sick, man.

[F]

Deathly sick.

[D]

I've been sick for almost 20 years, warden. Ever since those iron gates out there closed behind me. I've waited a lifetime for the cure, planned for it. Now I'm going to get it.

[E]

You're just being stubborn, George. I don't understand it. You've been a model prisoner in every way. In the entire history of the penitentiary, only three men have had life sentences commuted. And you're one of them. And yet, in a matter that concerns your well being, you act like an obstinate fool. Why?

[D]

Because I've got something to do. Something very important.

[E]

What's more important than your health?

[D]

The thing I've got to do.

[E]

Wait a minute. Are you gonna do something that might land you back in here? Is that it?

[D]

Don't worry, Warden.

[E]

You know, come to think of it, Geor, there's something I've always wanted to ask you. Something personal.

[D]

Go ahead.

[E]

In all the years you've been here, why have you refused to see visitors or mail?

[F]

Why did you completely cut yourself off.

[E]

From the outside world?

[D]

Well, all boils down to this. A man ages a lot in 20 years. His voice changes and his way of talking. His features change. He becomes an entire different person. Especially in a place like this. Just knowing that you're hemmed in my four walls, it does something to you. Something? Well, that's the answer.

[E]

It's no answer at all.

[D]

Yes, it is. I didn't want anyone to see me age. To see the changes that were coming over me. The way it is now with the George Miller who's walking out of here at 44. Is nothing like the George Bella who was brought in at 25. They're two different people. No one outside this prison will ever recognize me.

[E]

And is that what you want?

[D]

That's exactly what I want. Why?

[E]

You've got nothing to be ashamed of. You've paid your debt to society.

[D]

There's another debt I have to pay to myself. It's been owing for a long time.

[E]

I don't like the way you're talking, George. What's behind all this?

[D]

20 years, warden. The best part of my life. A minute ago you asked me to look at myself. I don't have to look. I can feel it down inside. I'm an old man. An old man at 44.

[E]

Self pity is a bad thing, George.

[D]

I'm not pitying myself. I'm thinking about what brought me here. You've got the record right there in front of you. I said I was innocent then and it still holds. I'm innocent now.

[E]

That's a closed book. Why not let it stay closed?

[D]

Because there's an unfinished chapter still to be written.

[E]

Remember, you haven't served your full term. You'll be on probation for five years.

[D]

I remember. I've had a long time to think it over.

[E]

Incidentally, While we're at it, there's one more thing that's been puzzling me.

[D]

You better hurry. It's almost noon.

[E]

Six months ago, when it seemed pretty certain that your commutation was coming through, you made a strange request. You asked to be relieved of the job of running the prison library, a job you'd held as far back as I can remember. And you asked me to assign you as an apprentice to the prison barber. I granted that request, but I. I wondered about it at the time. Would you care to tell me why you suddenly decided to become a barber?

[D]

I thought it might be a good idea to learn the trade.

[E]

That's not true, George.

[D]

That the noon was hot. That means I'm a free man, doesn't it?

[F]

Yes.

[D]

Goodbye, warden. Take care of yourself.

[E]

You haven't answered my question, George.

[D]

You mean, why did I suddenly decide to become a barber? Yes, I told you. I wanted to learn a trade.

[E]

And I told you that's not the truth.

[D]

You're right, warden, it isn't.

[F]

I hear George Miller's arm. No kidding?

[D]

Yeah. Got his sentence committed.

[F]

If they know. If he does, he better start moving. Charlie, this is Duke.

[C]

I just got tipped off.

[F]

George Miller's out. Wonder what Ace will do.

[G]

You want to hear something, honey? George Miller's out. Boy, would I like to see Ace when he gets a news.

[D]

George Miller's out. George Miller's out.

[G]

George Miller.

[F]

George Miller. George Miller's out. Well, what you learned?

[G]

It's two, Ace.

[D]

They commuted his sentence.

[F]

He got out yesterday. What did I tell you? I spend 100 grand a year on smart lawyers. And where do I get my information? From a hothead. A bar fly.

[D]

What is.

[F]

Oh, sure, sure. I'm out of my mind. I don't know what I'm talking about. George Miller's dead. He died in prison 10 years ago.

[G]

Eh?

[D]

Well, that's what they told us.

[F]

Who told you?

[D]

Our sources of information.

[F]

Your sources of information? Don't make me laugh. Now look it and I'll get out before I lose my temper.

[D]

Get.

[F]

Only get out, I said. His sources of information. Vera, get me a drink.

[G]

Oh, Ace, honey, don't get yourself all upset.

[F]

Shut up.

[G]

Hey, shut up and stay out of this.

[F]

None of your business.

[G]

Is that a nice way to talk? Who is this George Miller?

[F]

I said it's none of your business. What's that?

[G]

Just a doorbell. I'll answer it.

[F]

Wait a minute.

[G]

Now what?

[F]

Don't open that door. You'll find out who it is.

[G]

A baller.

[F]

You heard me. Find out who it is first?

[G]

Okay, who is it? Who is it? No answer.

[F]

Ace Tim Miller. Trying to trick me.

[G]

Why does the heat.

[F]

Take it easy. Keep your voice down. Now listen to me. In case anything happens. He threatened me. I had to protect myself. Do you understand?

[G]

What are you doing with that gun?

[F]

Have a mind. You just follow orders. All right, open the door slowly. Open it, I said.

[G]

Nobody here.

[F]

Watch that on the floor. What is it?

[G]

Rat. A Bev rat.

[F]

Hello, Benny, this is Duke. You hear about Ace?

[D]

Yeah, somebody left a dead rat outside his door.

[F]

No, that was yesterday. I mean today.

[D]

What about today?

[F]

You get another one? Yeah, it came in a box in the mail. Holy smoke. Ace is ducking out of town. He's scared stiff. Where's he going? Up to his hideout in the mountains. All right, take the car around the back, Chuck. Okay, boss.

[G]

What about the bag face, Chuck?

[E]

I'll bring them.

[F]

Come on.

[G]

How long have you had this place in the mountain Faith?

[F]

Oh, a couple of years.

[G]

Sure is gloomy looking.

[F]

Hell, what did you expect, a summer resort? All I want is a place to hold up, lay low. The boys get Miller. There should be a bell around here.

[G]

Somebody in the house.

[F]

Don't you ever get tired of asking questions, Vera? I tells you on the way up, as a caretaker, the bell doesn't work.

[G]

Well, if you ask me, this is all a lot of crazy.

[F]

Nobody's asking you.

[G]

A nelly running away from a stir bomb.

[F]

Right down. Somebody's coming.

[D]

Good evening, Mr. Danelli.

[F]

Oh, good evening. Everything all set?

[D]

Yes, sir. The master bedroom is ready now.

[F]

We'll go right up. Is it Ms. Carroll?

[D]

How do you do?

[F]

Hello. You're not the same man was here last year, are you?

[D]

No, sir. That was Edward, my cousin. He's been ill and I've been substituting for him. My name is. Is Walter.

[F]

Okay, Bring up a couple of brandies. We'll be upstairs.

[D]

Yes, sir.

[G]

I sure hate to be holed up in a place like this for the rest of my life.

[F]

Now just say the word and chuckle. Drive you back into town. Well, Stop it right now. I'm not in a kid mood.

[G]

Okay.

[F]

Now there. What's wrong with this room, honey?

[G]

Very nice.

[F]

Plenty of space. Four closets, double exposures. What more do you want?

[G]

Nothing, darling. Just a kiss.

[F]

Now, wait a minute, wait a minute. Close the door.

[G]

Since when were you bashful?

[F]

Now, look, Baba, get one thing straight. I came up here to play safe. There's a guy gunning for me. Until he's out of the way, I'm not taking any Chances.

[G]

Sure, sure. I understand, honey. What I don't get is why you're so afraid to get this George Miller, whoever he is. What did you do to him?

[F]

Yeah, I sent him up. Put her behind bars, did you? You know, one of these days, Barry, you're gonna ask the wrong question.

[G]

I know.

[H]

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[D]

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[A]

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[F]

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[A]

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[B]

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[G]

None of my business.

[F]

That's the ticket.

[G]

You tell me one thing, Ace.

[F]

What?

[G]

Those dead whacks. One we found outside the apartment door and the one that came by partial post in that little wooden coffin. What do they mean?

[F]

What do you think they mean?

[G]

I don't know. It's got something to do with George Miller.

[F]

Well, you guessed right. Miller's trying to get me jittery. He knows I've got a bad heart planning these things that tell me think I'm a rat. I said one. If he has anything to do with it. Now, don't worry. I'm safe up here. The boys will get Miller. Yeah?

[D]

Ms. Walter. Sir? With your brandy. Okay.

[F]

Okay. Come in. Just. Just put the tray down on the table.

[D]

Yes, sir. Will that be all, sir?

[F]

I guess so.

[G]

What about our luggage, Ace?

[F]

Oh, yes. Did my man bring the bags up?

[D]

Yes, sir. They're in the hallway, sir.

[F]

Now bring them in, will you?

[D]

Yes, sir.

[G]

So, no water, eh?

[F]

I'll take it straight.

[D]

Where shall I put the bag, sir?

[F]

Just set him down any place.

[D]

Yes, sir. Will that be all, sir?

[F]

Yeah. And don't forget to lock up.

[D]

I won't, sir. Good night.

[F]

Night.

[G]

Night.

[F]

Oh, that yes and no, sir routine is gonna drive me nuts.

[G]

It talks like one of those fancy movie butlers.

[F]

Looks like a zombie.

[G]

Here's your drink, honey.

[F]

How about you?

[G]

No, I better get the bed unpacked first. All the stuff would be wrinkled.

[F]

Well, here's how I needed that drink. Yeah. Now maybe I can relax.

[G]

Sit down and take it easy, honey.

[F]

You know, it's not going to be so bad staying up here for a week or two.

[G]

Hey, how do you open this bag, ace?

[F]

Which one? Yours.

[G]

Black leather.

[F]

Oh, there's a little gadget on the lock. Just press it and it snaps open.

[E]

You got it?

[G]

Uhhuh.

[F]

And we'll get a good rest.

[D]

What's the matter?

[F]

Look, the bag. What?

[G]

Another dead rat. Talk, chuck.

[F]

Talk, you double dealing skunk, or I'll stretch us. Please believe me, I didn't do it. I decided. Talk, I said. Spell it. I know your kind. I know them from way back. Dude, tell your mother for cash on the line, George Mulligat to you. He paid you to slip that dead red into my suitcase. I don't trust you either. I don't trust anybody. They're all a bunch of blood sucking double crosses. You heard me. You'd like to see me dead, wouldn't you? Take.

[G]

Get out of your mind.

[F]

Now get off, all of you. No.

[G]

Get out.

[F]

I take you out of the house and stay out. Ah. Who is it?

[D]

It's Walter, sir, with your brandy.

[F]

Now bring it in.

[D]

This is the last bottle, sir.

[F]

Yeah, Put it down.

[D]

Yes, sir. Will that be all, sir?

[F]

Yeah.

[D]

Yeah, that's.

[F]

Who is it?

[D]

It's Walter, sir.

[F]

Come in.

[D]

I thought perhaps you'd like something to eat, sir. It's been three days since you've taken any solid food.

[F]

Yeah, three days.

[D]

I brought an omelette and some toast. Oh, thanks.

[F]

Thanks, Walter.

[D]

Quite all right, sir.

[F]

Hey, wait a minute.

[D]

Yes, sir.

[F]

Give him pretty nice to me, Waller.

[D]

Thank you, sir.

[F]

Yeah, pretty nice. And I'm the kind of a guy who don't forget. I don't forget if a guy's nice to me and I don't forget if he stabs me in the back.

[D]

Neither do I, sir.

[F]

Come in.

[D]

I'm sorry to disturb. Disturb you, sir. It's all right.

[F]

It's all right. Come on in and close the door.

[D]

Yes, sir.

[F]

What do you got there, Waller?

[D]

Well, I thought now that you're feeling a little better, sir, perhaps you'd like to be shaved. Been almost a week, you know.

[F]

Don't tell me you're a barber too.

[D]

I have been a barber, sir.

[F]

Well, I couldn't shave, I guess. All right.

[D]

If I may say so, sir, I think you'll find it very refreshing.

[F]

Okay, go ahead. Where do you want me?

[D]

The chair you're sitting in will be all right, sir. I'll get some warm water in the bathroom.

[F]

You know, Oliver, I've been thinking. When I go back into town, I'm gonna take you with. Yeah? I could use a man like you.

[D]

That's very kind of you, sir.

[F]

I like people like you around me. People who don't ask questions of get in your hair, take care of what you're supposed to, and that's the end of it.

[D]

I try to keep my place.

[F]

You've got the right idea what I do.

[D]

Lean back in just a moment, sir. I'll have to fasten the strap to the back of the chair. I want the razor good and sharp.

[F]

You'll need a sharp for this beard.

[D]

Yes, sir.

[F]

You must have been wondering about me these last few days, Juanna.

[D]

No, sir, not particularly.

[F]

You mean you wouldn't like to know why I've been hiding out here in the mountains?

[D]

Sure. You must have a good reason, sir.

[F]

Yeah, you can say that again. Someone's gunning for me.

[D]

Gunning for you?

[F]

Somebody trying to get me. Guy named Miller. George Miller.

[D]

The name sounds familiar.

[F]

He got a life sentence for murder about 20 years ago. Has quite a story out of the papers. He killed a girl.

[D]

Did he?

[F]

That's what the jury thought. She gave him first degree with a recommendation for mercy. I saved him from the chair.

[D]

What did you think?

[F]

I think about what?

[D]

Lean back, sir. I'm almost ready for you.

[F]

Hey, isn't that razor sharp enough yet?

[D]

Not quite. I haven't used it in some time. What did you think about George Miller's conviction, sir?

[F]

What's the difference what I thought? The jury cooked his goose.

[D]

Did they?

[F]

Yeah. Oh, come on. Come on, Walt. If you're gonna shave me, get to it.

[D]

I'm ready now. Lean back, sir. I'll soap you up.

[F]

Okay.

[D]

I assume this. This George Miller is out of prison now?

[F]

Yeah. Got a commutation. Hey, you sure you don't need a lawnmower to get this beard off?

[D]

I can do very well with a razor, sir.

[F]

You know, I'm gonna feel like a new man when you get through.

[D]

Yes. A completely new man.

[F]

Ah, you're a funny guy, Wallace. You talk like a college professor.

[D]

I've had a lot of time to read and study in the past 20 years. A lot of time.

[F]

Yeah.

[D]

That's enough soap. Now just relax. Does the razor pull? Nope.

[F]

Feels all right.

[D]

That's fine. Nothing like a Good sharp razor.

[F]

Yeah.

[D]

Now don't move. It's rather difficult shaving you in this chair. If you move, I may cut your throat.

[F]

That's not funny.

[D]

It wasn't meant to be funny, Ace.

[F]

What did you say? Sit back, Ace.

[D]

One slippin, your face. Finished.

[F]

You're a dead rat, George Miller. That's right.

[D]

It's been a long time, hasn't it, Ace?

[F]

George. George. You wouldn't kill me in cold blood. Wouldn't you?

[D]

This isn't cold blood, Ace. This is hot blood, heated for 20 years. That's how long I've waited.

[F]

Feel how sharp the razor is now, George.

[D]

Be careful. Doesn't take much to split a throat from ear to earth. You know that, George.

[F]

George, I'll give you anything you want. Maybe a price.

[D]

You couldn't meet it. Only one thing can pay for those 20 years, George.

[F]

I've got a bad heart, you know.

[D]

Yes, so I've heard.

[F]

All I'm asking for is a break.

[D]

Did you give me a break when you framed me and set me up for life?

[F]

I figured you'd beat the rap. I never thought they'd convict you. Then you admit framing me. Yeah. Yeah, but I never thought. You admit that you killed the Maguire.

[D]

Girl because she knew too much. Because you wanted her out of the way.

[F]

But that cannot be.

[D]

It's more than enough. I'll feel the razor on your throat. Cutting. No, George, no cutting.

[F]

Deeper down. Deeper.

[D]

You said you'd be a new man when this was over. But you're wrong, Ace. You're only a dead rat.

[E]

Who is it?

[G]

It's there, Ace. Have come back.

[D]

Come in, Miss Carol.

[G]

Oh, hello, Walter. Is Mr. Danelli. Oh, there he is.

[E]

He's shaving.

[G]

Ace, darling, I couldn't stand being away from you. I had to come back.

[D]

Back.

[G]

I. I couldn't wa. What the matter with him? Is he asleep or something?

[D]

I'm afraid not, Ms. Carol.

[G]

Why is he slump in the chair? Why his eyes staring that way? Why doesn't he move?

[D]

He can't move. He's dead. Oh, no, Walter. Yes, he's dead. And my name isn't Walter. Ms. Carol. My name is George Miller.

[G]

George Miller? George Miller?

[D]

Yes.

[G]

Then you. You killed him.

[D]

No, Miss Carol, I did not kill him. You don't see any blood to you.

[G]

But he did. He said he was dead.

[D]

I'm afraid I played rather a gruesome joke on him. You see, I was shaving him with a very sharp razor. After I told him who I was, I held the back of the blade the dull side against his throat. As you know, he. He had a bad heart. Unfortunately, it couldn't stand the strain. You murdered him.

[G]

You got the chair for them.

[D]

You're wrong, Miss Carol. Quite wrong. Ace Janelli died of a heart attack. That's what a medical autopsy will show.

[G]

You caused it. You brought it on.

[D]

That'll be very difficult to prove. I figured this out so carefully, Ms. Carol. I paid with 20 years of my life for a murder I did not commit. And now there's nothing the law can do to me. Or one that I did commit.

[C]

Creeps by Night has just brought you Boris Carlo, in the final reckoning. Be with us again next Tuesday night at the same time over most of these stations when Mr. Carlos will present another weird mystery of the mind. The Hunt Creeps by Night is directed by Dave Drummond. Original music is composed and conducted by Al Sack. The entire production is under the supervision.

[H]

Of Robert Maxwell at Amica Insurance. We know it's more than a life policy. It's about the promise and the responsibility that comes with being a new parent. Being there day and night and building a plan for tomorrow today for the ones you'll always look out for. Trust Amica Life Insurance. Amica Empathy is our best policy.

[B]

Step into the world of power, loyalty and luck.

[F]

I'm gonna make him an offer he.

[D]

Can'T refuse with family.

[B]

Canolies and spins mean everything.

[F]

Now you want to get mixed up in the family business.

[B]

Introducing the [e-mail] test your luck in the shadowy world of the Godfather slot.

[F]

Someday I will call upon you to do a service for me.

[B]

Play the Godfather [e-mail] Welcome to the family. No purchase necessary VGW Group void where prohibited by law, 21 plus terms and conditions apply.