Murder at Midnight 46xxxx (001) The Dead Hand

Summary

Murder at Midnight 46xxxx (001) The Dead Hand

Release Date: May 5, 2025
Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Description: Radio shows from the Golden Age of Radio. The time before television and the family all sat around the radio and listened to the shows of the time like The Shadow, Abbott & Costello, Amos & Andy, Dragnet and many more.

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Introduction

Murder at Midnight opens with an atmospheric narration that sets the stage for a chilling tale of obsession, retribution, and supernatural elements. The story unfolds in a small studio cottage on Dr. Martin Trent's estate, introducing listeners to a gripping narrative inspired by the Golden Age of Radio's mystery and horror genres.

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Plot Summary

The episode centers around Roger Blaine, a renowned pianist whose life spirals into darkness following a tragic accident that results in the loss of his left hand. Desperate to continue his musical career, Roger becomes obsessed with reclaiming his ability to play the piano, leading him down a path of madness and murder.

Act 1: The Obsession Begins

Roger's interaction with Lorna, his confidante, reveals his deep longing to regain his musical prowess. Their conversation underscores his reliance on music as the essence of his existence.

• Roger Blaine (00:38): "Murder at Midnight. Tales of terror and retribution by one of radio's best known mystery writers, Robert Newman."

As Roger grapples with his loss, he meets Joe Harris, a pickpocket with a mysterious aura, also known as "The Hook."

Act 2: The Proposition

Roger, now confined to a hospital after an accident, encounters Joe Harris, who becomes instrumental in Roger's quest for a new hand. Their dialogue highlights the sinister nature of Joe's intentions.

• Joe Harris (09:25): "No, no, don't."
• Roger Blaine (13:21): "You don't have to do anything. Just sell me something. Your left hand."

Roger's desperation leads him to a macabre proposal: to trade his own hand for Joe's, ensuring his return to musical greatness. The tension escalates as Roger refuses to let go, culminating in a violent confrontation that results in Joe's death.

Act 3: The Dead Hand

Following Joe's demise, Roger returns to Dr. Martin Trent, who reveals the horrifying truth about Roger's new hand. It's not an ordinary prosthetic but a living entity with its own will, leading to a nightmarish struggle between Roger and the possessed hand.

• Roger Blaine (18:44): "When fingers learn something, a special skill, they don't forget it, ever."
• Joe Harris (20:14): "Just a little closer."

The narrative delves into psychological horror as Roger battles the supernatural influence of his new hand, ultimately leading to his tragic end. The episode concludes with the revelation of Dr. Trent's involvement and the chilling finality of Roger's fate.

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Characters

• Roger Blaine: A gifted pianist whose obsession with music drives him to madness.
• Lorna: Roger's confidante, torn between loyalty and the consequences of Roger's actions.
• Dr. Martin Trent: A compassionate doctor with a dark secret, complicit in Roger's fate.
• Joe Harris (The Hook): A suave pickpocket whose fate intertwines fatally with Roger's quest.

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Notable Quotes with Timestamps

• Roger Blaine (03:03): "Hello, Roger. Am I disturbing you?"
• Narrator (01:06): "Midnight, the witching hour. When the night is darkest, our fears the strongest and our strength at its lowest ebb."
• Roger Blaine (07:35): "And what is my life without my music? Nothing. Worse than nothing. A living death."
• Joe Harris (10:07): "My name's Harris. Joe Harris. You usually call me the Hook."
• Narrator (22:53): "Her eyes wide with awful comprehension, Lorna stares at her husband, then down at Roger Blaine's body."

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Themes and Insights

Murder at Midnight explores themes of obsession, the fine line between genius and madness, and the supernatural consequences of tampering with fate. Roger Blaine's relentless pursuit of musical perfection at the cost of his humanity serves as a cautionary tale about the dangers of unchecked ambition and the ethical boundaries of scientific intervention.

The character dynamics, especially the tragic interplay between Roger, Lorna, and Dr. Trent, highlight the complexities of human relationships under duress. The introduction of Joe Harris adds a layer of unpredictability, emphasizing the unforeseen repercussions of desperate actions.

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Conclusion

Murder at Midnight masterfully blends classic radio storytelling with modern elements of horror and mystery. The detailed narrative, enriched by atmospheric dialogue and suspenseful twists, captivates listeners from start to finish. Through Roger Blaine's tragic journey, the episode underscores the timeless allure of tales that explore the depths of human emotion and the supernatural.

For fans of old-time radio dramas, Murder at Midnight offers a compelling blend of nostalgia and thrilling entertainment, capturing the essence of the Golden Age of Radio while delivering a fresh and engaging story.

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Note: This summary excludes all advertisements, intros, outros, and non-content sections to focus solely on the narrative and its elements.

Transcript

[Nicole Byer]

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[Roger Blaine]

Wayfair, every style.

[Joe Harris]

Every home.

[Narrator]

Murder at Midnight.

[Roger Blaine]

Hook, Wait. Come back here.

[Joe Harris]

Wait, nothing. I said you were nuts. Crazy and. No. No, don't.

[Roger Blaine]

I'm sorry, Hook. Very sorry. But I had to have it. I'm going to have it. And once you're dead, you'll never miss it.

[Narrator]

Midnight, the witching hour. When the night is darkest, our fears the strongest and our strength at its lowest ebb. Midnight, when the graves gape open and death strikes.

[Joe Harris]

How?

[Narrator]

You'll learn the answer in just a minute. In the Dead Hand. And now, Murder at Midnight. Tales of terror and retribution by one of radio's best known mystery writers, Robert Newman. Its title, the Dead Hand. A small studio cottage on Dr. Martin Trent's estate. Seated at the piano, alone in the gathering darkness, is Roger Blaine, the famous pianist, and playing as only he can play.

[Roger Blaine]

Can't you hear me, Lorna? You must hear me. And you must come here now to me. I'm calling you, Lorna. Calling to you in a way you could never resist. With my music making your heart beat faster, your breath come quicker. Lorna.

[Lorna]

Hello, Roger. Am I disturbing you?

[Roger Blaine]

Always, Lorna.

[Lorna]

Martin's out at the hospital and I heard you playing.

[Roger Blaine]

That's not why you came, Lorna. You came because I called you. Because you promised you'd come and give me your answer.

[Lorna]

What we talked about last night, my going away with you. Roger, I must have been mad. I don't know what got into me.

[Roger Blaine]

Don't you, Lorna? This is what got into you. My music telling you things I never could tell you in words.

[Lorna]

Roger, stop. I can't think when you play like that. I can't leave him. He's my husband. I love him, respect him.

[Roger Blaine]

Can you love a surgical instrument? Can you compare what you feel towards him with what you feel to now, this minute?

[Lorna]

No. No, it is different, Roger. How can we? He's your friend. It was he that brought you here, gave you the cottage.

[Roger Blaine]

And haven't I given him anything? Music like this. Music such as no one has ever heard before.

[Lorna]

Roger.

[Roger Blaine]

Lorna, listen to me. Do what I'm saying here. I love you. I need you. It was you who helped me find depths within myself I never knew existed. You've got to come away with me. You owe it to me, to yourself, to the world. Please, Roger. Please. You know you want to. And you're going to.

[Lorna]

Roger. No, I. I can't. I tell you, I.

[Roger Blaine]

You are.

[Lorna]

All right.

[Roger Blaine]

Lorna.

[Lorna]

We can talk to Martin when he gets home tonight. Tell him I. I think he.

[Roger Blaine]

No, Lorna. There'll be no talking, no explaining. My car's outside and we're leaving. Music. My music was still with me as we drove out through the gates, down the highway. Pulsing, throbbing. Yes, I could hear it. But could Lorna? I glanced at her, sitting there beside me. Happy, dearest?

[Lorna]

What? I don't know, Roger.

[Roger Blaine]

You don't know? Don't you realize what this means, Lorna? I'm playing better than I ever played before. And this is only the beginning. After my New York concert, South America, then Europe.

[Lorna]

Roger, are you sure you love me? Me as a person?

[Roger Blaine]

My sho. What do you mean, Lorna?

[Lorna]

I know you've said you do, but whenever you've talked about it, Roger, about us, you've talked in terms of your music. Roger, are you sure that's not what you love?

[Roger Blaine]

Of course I'm sure. If I didn't have my music, if I couldn't play, I don't think I could live.

[Lorna]

I know it was you.

[Roger Blaine]

You who lifted me to heights I never dreamed of. Technically, emotionally.

[Lorna]

Roger, stop the car. Turn around. Take me back.

[Roger Blaine]

What?

[Lorna]

Take me back.

[Roger Blaine]

I don't understand.

[Lorna]

I do. For the first time with Martin away so much, I was lonely, flattered by your attention. And your music was like a drug, keeping me from thinking. But now I can think. And I know you don't love me. And I don't love you. So please, Roger, take me back.

[Roger Blaine]

No.

[Lorna]

But, Roger, can't you see this whole thing was a mistake.

[Roger Blaine]

It was not a mistake.

[Dr. Martin Trent]

And I won't take you back.

[Lorna]

Well, I'm going back whether you take me or not. And if you won't. Stop the car.

[Joe Harris]

No.

[Roger Blaine]

Let go.

[Lorna]

That break down. We're going.

[Roger Blaine]

When I opened my eyes, I was in a bare white room in a hospital, standing next to the bed. Lorna and Martin.

[Dr. Martin Trent]

Hello, Roger. How are you feeling?

[Roger Blaine]

What? I don't know what happened.

[Dr. Martin Trent]

You were out driving with Lorna. The car got out of control and you had a smash up. They rushed you here to the hospital and, well, you've been here for two days.

[Roger Blaine]

Smash. Yes, I remember. Are you all right, Lorna?

[Lorna]

Yes, Roger. I was shaken up.

[Roger Blaine]

Cut it off. My hand hurts, especially the fingers. Nothing happened to her, did it, Martin? I've got a concert in a few weeks, you know.

[Lorna]

Roger, don't. Stop it.

[Roger Blaine]

What? Why are you looking at me like that? Oh, I.

[Dr. Martin Trent]

Don't worry about it, Roger.

[Roger Blaine]

Not now. Well, I've got to know. I've got to.

[Lorna]

Roger, please. It's gone.

[Roger Blaine]

Gone?

[Lorna]

My hand. My left hand.

[Roger Blaine]

Martin, what did you do to me?

[Dr. Martin Trent]

Roger, I think you know how I feel about you, about your music. You've got to believe me when I tell you there was nothing I could do about it. Nothing. It was your hand or your life.

[Roger Blaine]

My life. And what is my life without my music? Nothing. Worse than nothing. A living death. Why didn't you let me die?

[Lorna]

Don't say that, Roger. We'll do anything we can. There must be something.

[Roger Blaine]

Something. There's just one. You've got to get me another hand. We will, Roger.

[Dr. Martin Trent]

There have been some wonderful developments in prosthetics as a result of the wall.

[Roger Blaine]

I don't mean an artificial hand. I mean a real hand. What?

[Dr. Martin Trent]

Roger, you're mad.

[Roger Blaine]

No. No, I'm not. You took my hand and you'll get me another one.

[Dr. Martin Trent]

We'll talk about it some other time.

[Roger Blaine]

You think I'll forget about it, don't you? Don't you? Oh, I won't. I say I'm going to have another hand. And I will have one. And what's more, you're going to help me get it. You're here. You're going to. I was able to get up and around a few days later. I didn't talk to anyone if I could help it. Because somehow I couldn't ever. Look at their faces. Only their hands. Big hands and little ones. Long fingered ones and stubby ones. Yes, they each had two hands. And I. I, to whom my piano meant more than life, had only one. Then, sitting alone one evening, I met a hook. I looked up and there he was. A small, slight, sharp featured man.

[Joe Harris]

Hello. Nice evening.

[Roger Blaine]

Yes, I suppose it is.

[Joe Harris]

You mind if I sit down for a couple of minutes?

[Dr. Martin Trent]

No.

[Joe Harris]

I wasn't usually bust in on anybody except. Well, I'm getting out of here tomorrow and I feel pretty good about it.

[Roger Blaine]

Oh, what was wrong with you?

[Joe Harris]

Bad heart. We're gonna have to take it easy from now on. It's gonna make it kind of tough in some ways, but. You don't happen to have a cigarette on you, do you?

[Roger Blaine]

Well, yes, I Do have. Except there, at least I did have. Silver Cigarette caser. Cancer.

[Joe Harris]

Yes.

[Roger Blaine]

Find this it? What? Oh, yeah. Where did you find it?

[Joe Harris]

In your pocket.

[Roger Blaine]

Your pocket? You mean you. You took it?

[Joe Harris]

My name's Harris. Joe Harris. You usually call me the Hook. This is my racket. Rather, it was until.

[Roger Blaine]

Like, you're a pickpocket.

[Joe Harris]

Well, one of the best in the business. But now with my ticket going bad, I guess I'll have to lay off. Except, like, now for a gag. You didn't mind, did you?

[Roger Blaine]

Mine? Certainly not. I'm. I'm very impressed. As a matter of fact, do you mind if I look at your hands?

[Narrator]

Look at them.

[Joe Harris]

What for?

[Roger Blaine]

They're beautiful. As beautiful a pair of hands as I've ever seen. It occurs to me that you. You say that you don't know what you're going to do when you leave the hospital here.

[Joe Harris]

Well, I just hadn't thought about it much. Why?

[Roger Blaine]

I've got a proposition that might. It just might possibly interest you.

[Joe Harris]

No kidding?

[Dr. Martin Trent]

What?

[Roger Blaine]

Well, I'd rather not discuss it with you here and now, but I expect to be leaving here myself on Friday if you'd like to come and see me sometime.

[Joe Harris]

Afternoon, you say. Where and when?

[Roger Blaine]

Well, I've been staying at a little cottage on the Dr. Martin. I'll probably be going back there. How about Saturday night? Late around 11:30?

[Joe Harris]

Fine. Okay with me.

[Roger Blaine]

Then it's a date. I left him there, hurried back to my room. I wanted to be alone, had to be alone, for I was afraid that what was on my mind might show in my face. It certainly was a date. A date with death.

[Narrator]

A man obsessed, half mad, and his unsuspecting victim. Will both of them still be alive to hear it when the clock strikes 12:4?

[Dr. Martin Trent]

Murder.

[Narrator]

At midnight. And now here is Roger Blaine to continue. Murder at Midnight.

[Roger Blaine]

I did leave the hospital on Friday. Went back to the little studio cottage. By Saturday night, my arrangements were completed. They weren't very complicated. I made it clear to Lorna and Martin that I wanted to be alone. And I picked up a length of iron pipe, the pipe I hid inside the piano. When I heard footsteps coming down the path, there was a knock on the door. Come in.

[Joe Harris]

Hi. Not too late, am I?

[Roger Blaine]

No, you're not too late.

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[Roger Blaine]

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[Joe Harris]

Pretty nice place you got here.

[Roger Blaine]

Yes, it is quite nice. Sit down.

[Joe Harris]

Thanks. Now, what's this here proposition you want to talk to me about?

[Roger Blaine]

It's a very simple one. How would you like to make $10,000?

[Joe Harris]

What do I have to do?

[Roger Blaine]

You don't have to do anything. Just sell me something. Your left hand.

[Joe Harris]

What? You're nuts.

[Roger Blaine]

No, I'm serious. I've got the money right here.

[Joe Harris]

In cash. I don't get it. I just don't understand.

[Roger Blaine]

Look, I'm a musician. I'm a pianist. Or I was until I lost my hand. If I can't go on playing, then life doesn't mean anything to me. My own life or anyone else's. But you. How important is your hand to you now? An artificial one will do almost as well. And you can live for quite a while on $10,000.

[Joe Harris]

You mean you really thought I'd sell you my hand? Let you cut it off? I'm getting out of here.

[Roger Blaine]

Look.

[Joe Harris]

Wait, wait, nothing. I said you was nuts, but I didn't really think. What are you gonna do with that?

[Roger Blaine]

No, no, don't.

[Joe Harris]

You can't. Some way, somehow, I'll get you with this, I swear.

[Roger Blaine]

I'm sorry, Hook. Very sorry. But I have to have it. I rather not go into what happened after that. I. I got rid of the body. And then I went to see Martin.

[Dr. Martin Trent]

You don't look well, Roger. Anything the matter?

[Roger Blaine]

No. I just came to see you about your promise.

[Dr. Martin Trent]

My promise?

[Roger Blaine]

Or your debt. Whichever you choose to call it. I told you I wanted another hand. That I was going to get another hand. And that you were going to help me. Well, now you can help me.

[Dr. Martin Trent]

What? What do you mean?

[Roger Blaine]

Look in here. In this package. See? Good Lord.

[Dr. Martin Trent]

Where did you get this?

[Roger Blaine]

It might be better if you didn't ask too many questions. I'm fighting for my life. For more than my life. You took my hand away from me. Well, now you can give me this one.

[Dr. Martin Trent]

You mean you honestly seriously think that I can perform an operation of this sort? Do a graft, and that after I'm finished, you'll be able to use the hand?

[Roger Blaine]

Why not? Operations of this sort have been done, haven't they? With other parts of the body.

[Dr. Martin Trent]

The eye, the cornea, not the eye. And some nerve grafting has been done. But this. Look, Roger, I know what a shock this whole thing has been to. You know it better than you. You're. You're not a well man.

[Roger Blaine]

A well man? I'm only half alive. And I'd rather be dead than go on living this way. But if I do die, I won't die alone. That's why I brought this along. Roger. Quick, easy, painless. If you won't do what I want, you die.

[Dr. Martin Trent]

And so does Lorna.

[Roger Blaine]

Both of you, along with me.

[Dr. Martin Trent]

You. You don't give me very much choice.

[Roger Blaine]

No.

[Dr. Martin Trent]

All right. You in? Get me the hospital.

[Roger Blaine]

Even before I became fully conscious, before I opened my eyes, I knew. Knew that it had been done. That it wasn't his hand anymore, but mine. Still, there was something wrong. I couldn't analyze what it was at first, but it was there. A feeling that something wasn't quite right. That perhaps it wasn't entirely my hand. I sat up. The hand was a mass of bandages, stiffened with splints. And inside the bandages.

[Dr. Martin Trent]

Careful, Roger. Don't touch them.

[Roger Blaine]

Oh, Martin, I didn't see you.

[Dr. Martin Trent]

I've been here with you ever since last night.

[Roger Blaine]

Last night? You mean I. I've been out that long? 24 hours.

[Dr. Martin Trent]

It was very important that you keep quiet. You've been under sedation.

[Roger Blaine]

Oh. Oh, yes, of course. But this isn't the hospital.

[Dr. Martin Trent]

No. I brought you home with me, back to the house. Oh, I thought it would be best for several reasons.

[Roger Blaine]

That's very smart, Martin. We don't want any questions, do we? Not yet. You did do it, didn't you?

[Dr. Martin Trent]

What? Oh. Oh, yes.

[Roger Blaine]

I knew you would and could. And it's going to work. It is working. I can feel it.

[Dr. Martin Trent]

Please, Roger, you must be careful with that bandage. You can't touch it, move it, disturb it in any way.

[Roger Blaine]

I won't mind, but I don't have to. I tell you, I can feel the fingers moving even inside this. And in another week or so, we'll see. Yes, we'll see. Got a cigarette, Martin?

[Dr. Martin Trent]

Of course. I have it. Right. That's funny.

[Roger Blaine]

Hmm. What is?

[Dr. Martin Trent]

My cigarette case. It was right here in my breast pocket. I must have left it downstairs at the hospital.

[Roger Blaine]

It doesn't matter. I can do. But, Martin.

[Dr. Martin Trent]

Yes?

[Roger Blaine]

I think here. Here it is. Under my pillow.

[Narrator]

What?

[Dr. Martin Trent]

How did it get there?

[Roger Blaine]

I don't know. It must have fallen out when you bent over. But no.

[Dr. Martin Trent]

Why are you looking like that?

[Roger Blaine]

Because I think I know how it did get under my pillow.

[Dr. Martin Trent]

What do you mean?

[Roger Blaine]

When fingers learn something, a special skill, they don't forget it, ever. Mine never have. Even when I'm not thinking of what I'm doing. They go on playing by themselves. These fingers here, they haven't forgotten either. Do you understand?

[Dr. Martin Trent]

I'm afraid.

[Roger Blaine]

I'm awfully tired all of a sudden. Martin, would you mind?

[Dr. Martin Trent]

No, Roger. I'd like you to get as much rest as possible. There's a friend of mine coming here tomorrow to see you. Another doctor.

[Roger Blaine]

That's fine, Martin. I'll see you in the morning. Yes, I was tired. But that wasn't why I asked Martin to go. Is it because I wanted to be alone? Because I had to be alone. Because I knew now what it was that I'd only sensed before. The hand, Hook's hand, had a will of its own. It had picked Martin's pocket without my even being aware of it. I lay there alone in the darkness after Martin went. Not touching the bandages, but flexing the fingers. Forcing them to obey my will. I had to do that. I knew I had to do it because I suspected what might happen. And what did happen proved that I was right. I fell asleep finally. And while I was asleep, I dreamed. I dreamed I was walking down a dark, labyrinthine corridor. Somewhere under the earth.

[Joe Harris]

Then a little closer, Roger.

[Roger Blaine]

Huh?

[Joe Harris]

Just a little closer.

[Roger Blaine]

Who's that? Who's there?

[Joe Harris]

Just me. Waiting for you. Yeah, Hook. I said it. Get you well.

[Roger Blaine]

Out of the darkness came a hand that clutched me by the throat, gripped it tighter, tied her tighter. I fought against it, tried to scream. And woke up. Yes, I woke up. And my waking was more horrible than the dream. For the hand was there, gripping me by the throat, moaning, exerting every ounce of my strength and will. I fought it off and pulled down. I lay there, bathed in a cold sweat, staring at it, feeling the fingers quivering inside the bandages. My hand or his? I was tied to it now. Tied to a thing that was seeking to destroy me. Shaking convulsively, I leaped out of bed. I ran out into the hall and down the stairs to the living room, the piano. That was the one thing that might save me, save my reason. Seating myself at the piano, I started to play, using only my right hand at first. But I tried to force. Left hand, his hand to join in. Then suddenly.

[Joe Harris]

No, Roger, that won't work. No.

[Roger Blaine]

Stop it. Do you hear it? It's my hand. Now it's mine.

[Joe Harris]

No, Roger, Never.

[Roger Blaine]

But it is. I'm Stronger than you are.

[Joe Harris]

Nothing is stronger than I am. Nothing in the world. And there's no escape. Because we're one now, Roger. And wherever you go, I'll be there too.

[Roger Blaine]

It's not true. It's not. What? What are you doing?

[Joe Harris]

Just a little closer to the desk, Roger. A little closer. That paper knife.

[Roger Blaine]

You can't.

[Joe Harris]

But I can. I told you I'd get you somehow, some way.

[Roger Blaine]

Put it down. Drop.

[Joe Harris]

You can't fight against me, Roger. I told you. I'm too strong.

[Roger Blaine]

Martha. Larda Craig.

[Lorna]

Sake. The head.

[Roger Blaine]

Ah. Is.

[Lorna]

Where is he, Martin?

[Dr. Martin Trent]

The living room. I heard the piano and. Good. Good Lord. He's dead.

[Lorna]

Why? How? He was saying something about a hand.

[Dr. Martin Trent]

He was in a completely psychotic state. As a result of shock and a sense of guilt, the state psychiatrist was coming tomorrow to commit him.

[Lorna]

Oh, Martin.

[Dr. Martin Trent]

That hand he brought me wanted me to graft on. I don't know where he got it, but I suspect that was behind the whole thing.

[Lorna]

Behind it?

[Dr. Martin Trent]

Yes.

[Lorna]

What do you mean?

[Dr. Martin Trent]

You don't really think I did graft it on, do you?

[Lorna]

Why?

[Dr. Martin Trent]

He was desperate and I had to do something to quiet him. I splintered his left wrist, wrapped it in bandages and told him not to touch them.

[Lorna]

Martin, that paper knife in his chest.

[Dr. Martin Trent]

Which hand is holding it?

[Lorna]

His right one. His good one?

[Dr. Martin Trent]

Yes. And still, in a way, it's possible that the dead hand, the one he was so concerned about, did guide it.

[Narrator]

Her eyes wide with awful comprehension, Lorna stares at her husband, then down at Roger Blaine's body. As somewhere in the silent house, a clock starts chiming for Murder at Midnight. Remember to be with us again when death stretches out his bony hand and the clocks strike 12. 4. Murder at midnight with music by Charles Paul. Murder at Midnight is directed by Anton M. Leader.

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[Roger Blaine]

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