Creeps by Night 44-05-23 (14) The Strange Burial of Alexander Jordan

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Creeps by Night 44-05-23 (14) — The Strange Burial of Alexander Jordan

Original Air Date (Rebroadcast): January 31, 2026
Host/Curator: Harold’s Old Time Radio

Overview

This episode features a classic radio drama, The Strange Burial of Alexander Jordan, originally broadcast as part of the Creeps by Night series. Introduced by the mysterious “Dr. X” (the show’s anonymous host), the story delves into chilling themes of fear, premature burial, greed, and betrayal, set within a brooding country estate and told with richly atmospheric performances. Notably, the episode stars Edmund Gwen as Ramsay.

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Key Discussion Points & Story Breakdown

1. Introduction and Framing (00:05–02:17)

• Dr. X opens the episode, maintaining his anonymity and thanking listeners for their engagement. He introduces the night's theme—fear, particularly the primal, paralyzing fear of premature burial.
  • Notable Quote:

    “Yes, we are all slaves to fear in one form or another. But the fear that forms the basis for our dramatization tonight is undoubtedly the most horrible of them all...fear of [being buried alive].” (01:51, Dr. X)

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2. Alexander Jordan’s Fear and Last Request (03:12–06:43)

• Alexander Jordan, elderly and suffering from cataleptic fits, confides in his physician, Dr. Rutledge, about his terror of being declared dead while cataleptic and buried alive.
• Alexander recalls a near miss 38 years prior and insists on elaborate precautions for his burial:
  • Only Dr. Rutledge to pronounce him dead,
  • No embalming,
  • Interment in a vault (not underground),
  • A wired bell from the vault to the house, with a push button in his hands to signal if he wakes.
  • Notable Quote:

    “All my life that scared me. The idea of somebody mistaking one of those fits for death. The only nightmares I ever have. I wake up in a coffin...I have to have air. Panic grips me. I try to shout, but no one can hear me.” (04:00, Alexander)

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3. Martha and Ramsay: Seeds of Conflict (07:10–12:34)

• Ramsay (Alexander’s nephew) is suspicious, antagonistic toward his wife Martha and preoccupied with his inheritance.
• Martha is favored by Alexander for her loyalty; he informs her that the estate will go to her, trusting her far more than his nephew.
  • Notable Quote:

    “Whatever made you marry him, Martha? Never mind, none of my business, but I could have told you he was no good.” (09:27, Alexander)

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4. Alexander’s Death – The Fear Come True? (13:36–15:33)

• Alexander is found dead. His strict burial instructions are observed, including the bell system wired to the vault.
• Dr. Rutledge reminds Ramsay and Martha that for seven days, one of them must remain by the bell in case Alexander should ring it.

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5. A House Divided: Discontent and Conspiracies (17:01–20:47)

• Isolation and the macabre burial arrangement fray nerves; sleepless nights, the oppressive bell, and Ramsay’s growing resentment.
• Ramsay considers murder, planning to overdose Martha on her prescribed sedative to claim the estate.
  • Notable Quote:

    “If she dies, I get the place.” (21:07, Ramsay)

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6. The Bell Rings – Panic and Revelation (21:18–22:22)

• The bell suddenly rings, shocking both; Martha panics, convinced Alexander is alive, but Ramsay is skeptical and maneuvers to investigate the vault alone.

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7. In the Vault: Greed and Violence (23:10–26:43)

• Ramsay finds Alexander immobile, apparently dead; he rationalizes the bell's ringing as a fluke (lightning/short circuit).
• Ramsay is caught by Martha attempting to pierce Alexander’s heart with a needle to “make sure” he is dead.
• A physical and psychological confrontation erupts; Ramsay threatens Martha, contemplates murder, and ultimately attempts to dispose of her.

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8. Poetic Justice: Trapped with the Dead (26:43–27:56)

• In his rush for violence, Ramsay accidentally locks himself and the unconscious Martha in the vault.
• Realizing his error, Ramsay tries to ring the bell for help but discovers the wires have been ripped out—their signaling system is useless.
  • Notable Quote:

    “The wires! In the break room I rip… The bell won't ring. Look out. A trap attracted here. A trap threat.” (27:22, Ramsay, in panic)

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Memorable Moments & Quotes

• On Paranoia & Fear:

  “...The idea of somebody mistaking one of those fits for death. The only nightmares I ever have.”
  (04:00–04:40, Alexander)

• On Inheritance & Distrust:

  “I want my coffin put in the vault...so that nobody would ever bury me underground.”
  (05:25–05:55, Alexander)

• Dramatic Irony:

  “If she dies, I get the place.”
  (21:07, Ramsay)

• Twist Ending:

  “I'm locked in here. Can't get out... There are no windows nowhere.”
  (26:43–27:00, Ramsay)

• Justice Served:

  “The bell won't ring. Look out. A trap attracted here. A trap threat.”
  (27:25–27:56, Ramsay, realizing his fate)

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Timestamps for Key Segments

• 00:05-02:17 – Dr. X’s atmospheric introduction and theme setup
• 03:12-06:43 – Alexander’s fears and specific burial instructions
• 09:00-11:00 – Heart-to-heart: Alexander announces his will to Martha
• 13:36-15:33 – Alexander is found dead, funeral preparations, bell system setup
• 17:01-20:47 – Ramsay’s insomnia, mounting tension, and murder plot
• 21:18-22:22 – The bell rings; chaos erupts
• 23:10-26:43 – Vault confrontation: attempted murder and accidental entrapment
• 26:43-27:56 – Ramsay’s panic and realization of doom

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Tone and Atmosphere

The episode unfolds with mounting dread, suspense, and a sense of gothic inevitability, marked by morally ambiguous characters and their sharply etched dialogue. The performances, sprinkled with authentic fear, suspicion, and opportunism, create a tense atmosphere befitting its place in classic radio horror.

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Closing Note

The Strange Burial of Alexander Jordan is a masterful study in fear, human frailty, and poetic justice, leveraging suspenseful pacing and haunting radio craft. For fans of Golden Age radio, this episode stands out for its chilling premise, tight plotting, and the fitting comeuppance delivered to its villain.

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Next Episode Teaser:
Dr. X hints at a future episode featuring the renowned Peter Lorre for yet another shadowy tale.

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This summary omits advertisements, show credits, and non-content material for brevity and focus.

Transcript

[A]

We bring you creeps by night. Tonight, once again, we introduce the man who has agreed to serve as your guide and companion on these sometimes terrifying pilgrimages into the world beyond the realm of human understanding. The man who, for reasons that cannot be presently explained, must keep his identity a secret. Creeps by Night brings you its anonymous master of mystery.

[B]

Dr. X.

[A]

Good evening. This is Dr. X joining with you for further research into the shadowy darkness of the unexplored, the darkness of the human mind. I wish first, however, to thank you for your letters commenting on last week's broadcast, the Walking Dead. Many of you requested that I reveal my identity and a few of you hazarded a guess as to who I am. In due time, perhaps, I will be able to step out from under my cloak of mystery. But for the present, I ask you to bear with me, since I shall have to be known only as Dr. X. Tonight. I have a rare treat in store for you, Mr. Edmund Gwen, the celebrated English actor, is our guest. The story I have chosen is drawn from the casebook of medical science and concerns itself with the often ghastly power of fear. Yes, we are all slaves to fear in one form or another. But the fear that forms the basis for our dramatization tonight is undoubtedly the most horrible of them all. It is the fear of.

[B]

But wait.

[A]

Let me draw aside the curtain and bring you Mr. Edmund Gwen as Ramsay in the strange burial of Alexander Jordan. For more than a century, the old Jordan house has stood on a gentle slope, mistress of the surrounding 400 acres of birch woods and pasture lands. And now, inevitably, death seems near to the last of the strong men who have always owned it. Aged, irascible Alexander Jordan in his faded, musty bedroom. The shades are drawn against the hot morning sun, and in the half darkness, his pale, hollow cheeks blend into the color of the pillowcase. He stirs as the door opens and his doctor enters.

[B]

That you, Rutledge? Yes. Come in and sit down. Close the door. What's the trouble? Alex had one of my cataleptic fits last night. A bad one. I'm going to die pretty soon, Lutridge.

[A]

Suppose you let me do the guessing.

[B]

Don't interrupt. I'm not afraid to die, mind you, I've never told anyone this, but my greatest fear is that it won't be death and they'll bury me alive.

[A]

Oh, I think we can be pretty sure if it comes to that.

[B]

Don't be so positive. 38 years ago, a young butcher who called himself a doctor pronounced me dead when I had a cataleptic fit. He got me buried, too. If I hadn't come out of it on time.

[A]

That was 38 years ago.

[B]

Could happen again, Rutledge. I don't care if I sound like an old fool. All my life that scared me. The idea of somebody mistaking one of those fits for death. The only nightmares I ever have. I wake up in a coffin. I put my hands up and I feel the lid there. Sometimes it's wood, sometimes it's cold glass, but there's no room to turn around. I put my hands down and I can feel the silk lining. They have me dressed in a swallow tail. They have a stiff collar on me. I reach up to tear it away. I can't breathe. I have to have air. Panic grips me. I try to shout, but no one can hear me. I beat on the carpet leg with my fists. I try to break the glass, but.

[C]

I can't do it.

[B]

I haven't enough room. And pretty soon I know that I'm dying, really dying in the cold horror of the grave because somebody mistook one of my cataleptic fits for death. I don't want that to happen, Rutledge. And that's why I called you.

[A]

Oh, you're just getting worked up over nothing.

[B]

Alice, listen to me. When the day comes and my nephew Ramsay or his wife Martha calls you, I want nobody but you to come, Rutledge. I don't want any other doctor to pronounce me dead. Is that clear?

[A]

Don't worry.

[B]

I want you to go over me very carefully. If you are absolutely satisfied that I'm dead, you can go ahead with the funeral. But I don't want my body embalmed. I don't want anything done to me except to put me in a coffin. I'm getting a lawyer here to write all this down this afternoon, Rutledge. But I wanted you to hear it, too. I want my coffin put in the vault down by the birch woods. That's why I built the vault right on this property. So that nobody would ever bury me underground.

[A]

All right. It'll be done just as you said.

[B]

Now, wait a minute. I missed it. This is the most important part. I want a large brass bell placed on the wall over the bed where Ramsay and Martha sleep. I want wires connected from that bell to the vault. Electric wires? What for? I want a push button attached to the ends of those wires. And I want the button placed in my hands as I lie in the coffin. So that in case I'm not dead, in case I awaken, I can ring the Bell and let them know.

[A]

Well, I must say, Alex, I don't.

[B]

Care what you say. I don't care what anyone says. That's the way I want it.

[A]

All right, Alex. That's the way you'll get it.

[B]

Hand and make sure I do.

[A]

Well, I've got to run over to the Pritchards. Nor is having another baby taking that digitalis faithfully.

[B]

Yeah, foolishness. But I'm taking.

[A]

That's good. Goodbye, Alex. Get out and soak up some of that sunshine. I'll see you Thursday.

[B]

Send Martha in. Lone all. Just a minute there, Dr. Rutledge.

[A]

Oh, hello, Ramsey.

[B]

I'd like to know why you came this morning, Doctor.

[A]

I came because I was sent for.

[B]

Why doesn't somebody tell me when the doctor's been sent for? Is my uncle all right?

[A]

He's not dead. That's what you want to know. Not quite yet. See that he keeps on taking that prescription I left. He wants to see your wife alone, Martha. You heard me. Goodbye, Ramsay. I know the way out without your help.

[B]

Goodbye, Dr. Rutledge. Martha, wipe your hands.

[A]

He wants to see you.

[C]

What did you say, dear?

[B]

I said wipe your hands. He wants to see you.

[C]

Is the doctor still in there? Is he all right?

[A]

The doctor's gone.

[B]

He wants you in there alone.

[C]

Oh, for goodness sake. Now what?

[B]

Just a minute. Why is he asking to see you alone?

[C]

Why, Ramsay? How should I know?

[B]

Something's up. Rutledge was in there a long time. Why wasn't I told he was sent for?

[C]

Why he. Well, you were in the fields this morning when he asked me to call the doctor.

[B]

Next time, you tell me when he's sent for.

[C]

Before.

[B]

Listen, when you get in there, watch what you say.

[C]

Why, Ramsay, I don't know what you mean.

[B]

You know very well what I mean. Just listen and don't babble. He mightn't like my ideas about what to do with this place after he's dead. Go on in there now. You've already wiped your hands six times.

[C]

Yes, Ramsay, dear. You want me, Uncle Alex?

[B]

Yes. Come in and shut the door. Martha.

[C]

Yes, Uncle Alex? Was the coffee all right this morning?

[B]

Yes, fine, Ms. Ramsey.

[C]

He's. He's in the kitchen.

[B]

Sit down, Martha. Yes, Uncle Alec want to talk to you. Martha, Lawyer Gaines will be here sometime this afternoon to fix up my will.

[C]

Oh, Uncle Alec.

[B]

Got a feeling my time is drawing near, Martha. And I just want to make sure that worthless nephew of mine doesn't get his hands on the Jordan place. Whatever made you marry him, Martha? Never mind none of my business, but I could have told you he was no good. Never has been. I wouldn't trust him with the farm. He'd sell it before my body turned cold. But I trust you, Martha.

[C]

Thank you, Uncle Alice.

[B]

Yes? I've thought it all over. I'm going to leave the place to you. At least you'll have a roof over your head and some land you can call your own. You like it here, don't you?

[C]

Oh, yes, I do. I'd be perfectly happy to stay here the rest of my life.

[B]

That's fine, because it's going to be yours. All of it.

[C]

Oh, Uncle Alice, you make me more cry.

[B]

No, no, none of that.

[C]

I'm sorry.

[B]

There's one more thing, Martha. One important thing.

[C]

Yes, uncle alec?

[B]

I've given Dr. Rutledge some very careful instructions about my burial.

[C]

Oh, please, Uncle Alex.

[B]

Nothing to be afraid of, Martha. When it comes, it'll come, and that's all. Rutledge knows what to do. He'll tell you. And I want you to promise me that you follow the instructions.

[C]

Yes, of course, Uncle Alex. On my word of honor, as God is my witness.

[B]

Thank you, Martha. By Job, you've made me feel a good deal better knowing I have someone around I can trust. Matter of fact, I think I'll get up for supper tonight. Tell Ramsay to come in and help me dress after Lawyer Gaines leaves. Tell him I don't want him in here before then.

[C]

Yes, Uncle Alex.

[B]

And don't breathe a word about this to Ramsay.

[C]

I won't. If you need anything, Uncle Alex, call me.

[B]

Yes, I will.

[A]

Oh, what did the old buzzard want?

[C]

His lawyer's coming this afternoon. Here to go in and help him dress after the lawyer leaves.

[B]

He's having supper at the table?

[C]

Yes. Bring in one of the special hams. I'll bake it with pineapple.

[B]

Did it take you 10 minutes in there to decide on baked ham with pineapple for supper?

[C]

What we decided is none of your business.

[B]

What do you mean, what you decided?

[C]

I said it was none of your business. Better get out and feed the chickens.

[B]

When did you start giving me orders?

[C]

Oh, go on. Out of my kitchen. I've got work to do.

[B]

What did you talk about in there?

[C]

Ramsey, you're hurting my arm.

[B]

I'll hurt more than Beck before I'm through. What's the lawyer coming for?

[C]

Would you like me to tell him you haven't fed chickens yet?

[B]

Something suddenly made you awfully cocky, it seems to me. Tell me what it is right now, Ramsay. Tell me.

[C]

I Said Ramsay.

[B]

Let go of her, Ramsey. I was only. Get out of the house before I lose my chipper.

[C]

Go on, kid.

[B]

I'm going. If this ever happens again, Martha, you let me know.

[C]

Yes, Uncle Alex. But you shouldn't have gotten out of bed this way.

[B]

Oh, don't worry about me, Martha. I'm all right. Bacon and eggs for his breakfast?

[C]

And why not? Did you fix the fence post over on the west pasture?

[B]

Never mind the fence post.

[A]

Give me that tray.

[C]

You tend to your own business. I'll take the tray into him. Your breakfast, uncle alec. Hmm. That's funny. Uncle alec.

[B]

Uncle alex. Oh, my lord.

[C]

Francie. Oh, Dr. Lutri. Francis.

[A]

I am the resurrection and the life. He that believeth in me, though he were dead, yet shall he have everlasting life. And whosoever liveth and believeth in me shall never die. What's the matter with Martha, Doctor? The funeral was evidently too much for her. I gave her a sedative and put her to bed upstairs. Where's the undertaker? Down at the vault with the electrician.

[B]

They're waiting for you so we can close the coffin. Of all the stupid things. He's dead, isn't he?

[A]

Yes, but we're observing his wishes to the letter. Brass bells and electric push buttons rot. Perhaps it is. That's how he wanted it. And incidentally, as administrator of the estate, let me remind you that according to the terms of the will, either you or Martha must remain within earshot of that bell upstairs for seven days. You understand that? Yes.

[B]

To my life. I'm beholden to a woman.

[A]

That you could do worse, Ramsay. This is a nice place. I wish it were mine.

[B]

If I had my way, you could bite in a minute.

[A]

Well, that's neither here nor there. See that Martha gets some rest. I left a bottle of medicine on the small table beside the bed. She's to take it according to directions if she has trouble sleeping.

[B]

Good Lord.

[C]

What's that?

[A]

Her uncle wanted a bell loud enough to be heard.

[B]

Except.

[A]

Certainly got it. The undertaker or the electrician at the crib. Touch the push button.

[C]

Dancy. Dancing.

[B]

Good Lord. I forgot.

[A]

The bell hung right above the bed.

[B]

Where she was asleep. Come on.

[C]

Oh, Nancy. Dr. Rutledge. Sit down.

[A]

It doesn't mean anything. Martha, don't be frightened.

[C]

Oh, thank goodness. I was asleep. It hit me like a blow. When it rains. I couldn't even move. I felt paralyzed, like in a dream.

[A]

There, there. That's all right.

[B]

Go on back to bed.

[A]

Fall asleep again with the stuff I gave you. The bell Won't ring anymore. I'll go right on down to the vault and see if the cotton's closed. Get her back in the bed, Ramsey, and let her have another teaspoonful of that medicine tonight. You just get over to the vault.

[B]

And stop there, monkey. I'll tend to her.

[A]

See that you do. And remember, don't leave this place for seven days.

[B]

Oh, what's the use?

[C]

Is it morning? No, thank you. Go to sleep.

[B]

No.

[C]

I. I must be sure.

[B]

You've got things your own way, Dawn. Sleep. Don't mind me. I'm just a hired man around here. Just a hired man? Can't you at least make a cup of coffee? A man can drink it. Slop, that's what it is. Filthy slop.

[C]

I haven't been able to get into town and get anything fresh, Ramsay, and you know it. It's just that you're nervous and not sleeping.

[B]

I'll drive it to town.

[C]

No, Ramsay. We've still got five days to go.

[B]

Four clock. Why can't I sleep? Why three nights of it now. Three nights with that bell hanging over my head. Oh, Martha, you asleep? It must be that stuff worth lich gave her. I'll take some. I can't stand it any longer. I. Now maybe. Maybe I'll sleep. I tell you, Martha, there's only one thing to do with the place. Sell it.

[C]

You're wasting your time, Ramsay. I will not sell it. I'm not getting any younger. I want a roof over my head. That's what Uncle Alex intended.

[B]

But now's the time to sell farmers. We can get a good price to begin with.

[C]

Ramsay, it doesn't even belong to me.

[B]

Well, it will have two more days, won't it?

[C]

Yes, if that bell doesn't ring.

[B]

Oh. Oh, I got to sleep tonight. It's. It's not last night. Tomorrow the place is ours. I'll take some of that medicine that worked before.

[C]

I won't. I won't. I will.

[B]

Talking in her sleep. She's dreaming. Having a nightmare. Too much of this dope, maybe. You must wake up, Martha. She is dead to the world. The stuff Ruggins gave her must be powerful. That gives me an idea.

[C]

Don't trust you, then. No, I did.

[B]

You won't have to trust me much longer, you dried up old fool. Let's have a look at this model. I guess it's all right to turn the lamp on. She won't wake up. There. Now let's see what the label says. Maximum dose. 1 teaspoonful every 12 hours. Caution. Overdosing may be fatal. Overdosing may be fatal. Eh?

[C]

Sound.

[B]

We'll see about this. Maximum dose. One teaspoonful. I shall put three in her coffee tomorrow morning. She'd never know the difference. That stale coffee's bitter as gore anywhere, and that inflicts everything. Yes. I'm her only relative. If she dies, I get the place.

[C]

Ah.

[B]

Why didn't I think of this before? Why did I wait six days and nights with that bell hanging over my head?

[C]

Why did I. Oh, good Lord.

[B]

Am I dreaming?

[C]

No. No, it can't be. It can't. Stop.

[A]

Stop it.

[C]

Ringing. Sandy.

[B]

Ramsey.

[C]

The bell. I can hear it, you fool.

[B]

Quick.

[C]

Ramsey. Stay where you are. I'll stop it. Ramsay, what did you do?

[B]

What do you think I did?

[C]

The wires. You pulled out the wires.

[B]

Get back into bed.

[C]

Are you out of your mind? The key to the vault. Where is it?

[B]

What?

[C]

The key. Uncle Alex must be.

[B]

You're crazy.

[C]

He rang the bell, didn't he? You were dreaming.

[B]

Get back to.

[C]

Give me that false key, Ramsay. Give it to me.

[B]

Now take it easy.

[C]

Don't stand there telling me to take it easy. Uncle Alex may be fighting for breath. Breathing? About the coffin. Get the key.

[B]

All right, all right. I'll go down now.

[C]

I'll go with you.

[B]

Doesn't need two people. Just let me get into my clothes.

[C]

I don't trust you, Alex.

[B]

You've got no right to say a thing like that. Martha, what difference does it make to me whether Alex is alive or dead? I don't stand again anything. He left the Jordan place to you.

[A]

Ah.

[B]

Now, where did I put that key? Must be in this drawer.

[C]

Sorry, Randy.

[B]

I'm hurrying.

[C]

There.

[B]

Here it is.

[C]

You took something else out of that drawer, Rams.

[B]

I did not. Just the tea. What's the matter with you anyway? Where am I feeling?

[C]

Under the bed. I'll be watching from the window. Ramsey, if Uncle Alice is alive, yell to me And I'll phone Dr. Rutledge.

[A]

There's a storm coming up.

[B]

That wind's from the east. Now, let's see if this key fits. Fits all right, but. But it won't turn.

[A]

Ah, here we are.

[B]

Where's that light switch? Here it is. Yeah, that's better. Phew. Oh, it's foul in here. Even smells dead. There's the coffin. Hope they didn't screw down the lid. No, no. It comes right up. Yeah. He hasn't moved. He's dead. Yes. Just the way he was when they put him in there. With his hands folded over the bow. Button. He didn't ring that bell. Who did? Now I know. A storm. Lightning shorted the wire. Sure that's what it was? It must have been. Still, I. I think I'd better make sure while I'm down here. Yes, Martha. Almost caught me taking this darning needle.

[A]

Out of the drawer.

[B]

I'll work it under his shirt and jab it through his heart. You're going to stay dead, Uncle Alex, no matter what happens.

[C]

Something, Father.

[B]

You followed me?

[C]

I told you I didn't trust you. What are you doing with that darning needle in your hand?

[B]

Nothing.

[C]

Get out of the way. Let me look at him.

[B]

Dead. Stone dead.

[C]

Who rang the bell?

[B]

How did I know? Maybe his ghost.

[C]

You were about to do something with that needle.

[B]

What? You really want to know? All right, I'll tell you. I was going to jab it through his black heart. I was going to make sure he will get her. And I'm still going to do it.

[C]

Random.

[B]

See?

[C]

You're out with your mind.

[B]

Am I? We'll see.

[C]

Keep away from that coffin.

[B]

Shut up.

[C]

Ask Queen Ramsay. The Fastians will hear me.

[B]

No, you won't.

[C]

Yes, I will. Help. Help.

[B]

Oh, so that's who it is. Wait till I close this door.

[C]

Now scream your lungs out, Ramsay. Don't do anything you'll regret.

[B]

Regret?

[C]

That's not fair.

[B]

Why waste this needle on old dead Alex? I might do much better using it on you.

[C]

Jab into your heart, Ramsay.

[B]

Why not? Then I get to own the place and sell it.

[C]

Ramsay, listen to me.

[B]

I listen to you plenty these last few weeks. Ever since he made you the high and mighty boss. But now it's my turn.

[C]

Randy.

[B]

I'll never find you down here. No, no, you'll dry up and rot. Just like he's rotting in that oven.

[C]

No.

[B]

Fainted before I could touch her. Wait a minute. That gives me an idea. There's a better way of doing it. Carry her up to the house. Pour that medicine down her throat. Give her an overdose. She'll be dead by morning and no one can put it on me. Oh, this is beautiful. Everything's working out fine.

[A]

You're going to be rich by Miguel.

[B]

Rich. Get the door open first and then. Lord. The key's on the outside and it's a snap lock.

[C]

No, no.

[B]

What am I going to do?

[C]

I'm locked in here. Can't get out. The door has solid open, 6 inches thick. There are no windows nowhere.

[B]

Well, the push button's in his hands. I keep ringing.

[C]

Yes.

[B]

Sooner or later someone will hear it.

[A]

There.

[B]

Yeah, they should do it. The questions or the matas they're bounded here it can investigate I'll keep bringing.

[C]

It all night while I.

[B]

Oh no.

[C]

Myers.

[B]

Wires in the break room I rip.

[C]

Them out the bell won't ring. Look out. A trap attracted here A trap threat.

[A]

That was the strange burial of Alexander Jordan starring Mr. Edmund Gwen. For our next exploration into the darkness of the human mind, I have invited the celebrated exponent of the mysterio, Peter Laura to be our guest. So join with us when once again we raise the shadowy curtain of the unknown and look deep into the souls of men. Until then, this is your master of mystery, Dr. X, leaving you with Creeps by Night. Creeps by Night is produced by Robert Maxwell. Original music composed by Paul Creston. Conducted by Joseph Stilpack. Supporting Mr. Gwen in tonight's presentation were Everett Sloan as Alexander Jordan, Abby Lewis as Martha, Gregory Morton as Dr. Rutledge and Dr. X as himself. Edmund Gwen appeared to be courtesy of Metro golden Mayer, whose 20 year anniversary picture, the white clips of Dover is currently being released. George G. Speaking. This is the Blue Network.