Nightfall - CBC 80-08-01 (05) The Telltale Heart

Summary

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Podcast Summary: "Nightfall - CBC 80-08-01 (05) The Telltale Heart"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Episode Air Date: August 20, 2025
Source Dramatization: CBC’s "Nightfall" presents Edgar Allan Poe’s “The Telltale Heart"
Duration Covered: ~[00:07]–[28:24]

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Overview

This episode of "Harold's Old Time Radio" features a gripping audio drama adaptation of Edgar Allan Poe's classic tale, "The Telltale Heart," as performed on CBC’s "Nightfall." The story is presented as a first-person confession of obsession, murder, and mounting guilt, brought to life through chilling performances and evocative sound design.

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Key Discussion Points & Narrative Arc

1. Setting the Tone and Introducing the Protagonist

• Opening Monologue ([00:07]): The story begins with Alfred Bain (the narrator) sharing the disjointed, fever-pitch state of his nerves—"True. Nervous. Very, very dreadfully nervous I had been, and am. But why will you say that I am mad?"—immediately immersing listeners in an unreliable, disturbed mind.
• Meeting Mr. Weatherby ([01:42]): Bain, a wanderer, asks the old farmer Weatherby for water and is offered work and hospitality. The mood is set for their unfolding relationship, filled with subtle tension and growing unease.

2. Building Suspense and Obsession

• The Vulture Eye ([03:24]): Alfred reveals his obsession: "I loved the old man...I think it was his eye. Yes, it was this. He had the eye of a vulture. His left eye. A pale blue eye with a film over it." His fixation is irrational, yet it becomes his driving motive for murder.
• Daily Life and Relationship ([04:12–06:29]): The men share meals and farm chores. Their conversations drift into existential musings and quiet loneliness:
  • "With a man's wife dead and buried last winter, his three daughters married and gone...a man needs work to keep his thoughts from growing heavy." — Mr. Weatherby ([02:38])
  • Some dialogue probes concepts of innocence and evil, as Bain ominously suggests: "Some innocent people should be treated badly too...They should be treated the worst of all." — Bain ([06:32, 06:40])

3. The Murder Plot Unfolds

• Stalking the Old Man ([07:48]): Over seven nights, Bain sneaks into Weatherby’s room, intent on killing him but waiting for the ‘vulture eye’ to open.
• The Eighth Night ([11:04]): Suspense peaks as Bain’s obsession turns fatal. He is teased by Weatherby’s restlessness and terror:
  • “I knew what the old man felt and pitied him, although I chuckled at heart.” ([12:14])

4. The Murder and Its Concealment

• The Act ([15:31–16:38]): When the eye finally opens, Bain kills the old man in a frenzy, smothering him under the bed.
  • “For many minutes the heart beat on with a muffled sigh. At length it ceased. The old man was dead.” — Bain ([16:43])
• Dismemberment and Hiding the Body ([17:32]): Bain describes his “wise precautions” in exacting detail, taking pride in his cunning.

5. Confrontation with Authority

• Police Arrival ([19:27]): Police officers, summoned by a neighbor who heard a shriek, appear at Weatherby’s door. Bain masks his guilt with forced composure.
  • “Is something the matter?” — Bain feigns innocence ([19:33])
• Inspection & Bain’s Performance ([20:28–23:05]): Bain escorts officers through the house, sitting (with ironic bravado) directly above the corpse. The officers engage in mild banter, unaware.

6. Descent into Madness and Confession

• Mounting Guilt ([24:07–27:13]): While the officers sit and chat, Bain is tormented by the sound of the beating heart — a powerful auditory hallucination signaling his waning sanity.
• Climactic Breakdown ([27:13–27:53]): Overcome by guilt and the phantom heartbeat, Bain erupts:
  • “Is it possible you don’t hear that?...It’s the beating of his hideous heart!” ([27:17, 27:37])
• Confession and Discovery ([27:53–28:00]): Bain confesses, directing the officers to “tear up the planks,” as the sound ceases.

7. Epilogue and Credits ([28:24])

• The cast and production team are acknowledged, concluding the dramatization.

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Notable Quotes & Memorable Moments

• “True. Nervous. Very, very dreadfully nervous I had been, and am. But why will you say that I am mad?” — Alfred Bain ([00:09])
• “It was not the old man who vexed me, but his evil eye.” — Bain ([04:55])
• “Some innocent people should be treated badly too…They should be treated the worst of all.” — Bain ([06:32; 06:40])
• “I have told you that I am nervous. So I am.” — Bain ([15:42])
• “For many minutes the heart beat on with a muffled sigh. At length it ceased. The old man was dead.” — Bain ([16:43])
• “His left eye?…He’s blind in that left eye…That’s why it stares that way and sometimes wanders on its own.” — Police Officer ([25:10–25:28])
• “You suspect you know—you’re making a mockery of my horror. I cannot bear your hypocritical smiles any longer. I must scream or die…It’s the beating of his hideous heart!” — Bain ([27:17; 27:37])
• “Here, let’s see what is under those planks.” — Police Officer ([27:53])

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Timestamps for Key Segments

• 00:07 — Alfred Bain's opening monologue: setting the narrative mood
• 01:42 — Bain meets Mr. Weatherby, establishing their relationship
• 03:24 — Bain’s obsession with the ‘vulture eye’ revealed
• 07:48 — Bain's nightly ritual of entering Weatherby's room
• 11:04 — The eighth and fatal night
• 15:25–16:43 — The murder and description of the killing act
• 19:27 — Police officers arrive for investigation
• 23:29–24:39 — Bain's internal unraveling and growing agitation
• 27:13–27:53 — Bain’s confession and climactic breakdown

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Style and Tone

• Language & Delivery: The narrative maintains a fevered, intimate tone true to Poe’s original, with Bain oscillating between rationality and mania. The dialogue is spare but layered, revealing more through subtext and vocal inflection than through exposition.
• Audio Design: The use of silence, heartbeats, and environmental sound heightens tension, immersing listeners in the protagonist’s paranoid psyche.
• Performances: The cast’s performances are nuanced—Weatherby’s world-weariness, Bain’s internal turbulence, and the matter-of-fact police officers all ground the drama realistically, making the final breakdown all the more explosive.

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In Summary

This episode is a masterful radio adaptation of a gothic classic, remaining faithful to Poe’s psychological horror while situating the drama in a grounded, rural setting. The slow build of suspense, unraveling of the protagonist’s mind, and iconic confession scene deliver both chills and insight into guilt, obsession, and madness.

Recommended for: Fans of classic literature, lovers of audio drama, and anyone drawn to psychological suspense.

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Transcript

[Alfred Bain]

In the dream you are falling, lost in the listening distance as dark locks in nightfall. Good evening. Tonight, let's join the master dreamer, Edgar Allan Poe. The listener who first heard the telltale heart. True. Nervous. Very, very dreadfully nervous. I had been, and am. But why will you say that I am mad? The disease had sharpened my senses. Not destroyed, not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. Now then, am I mad? Observe how healthily, how calmly I can tell you the whole story. I was wandering on my way to nowhere, away from. That's my secret. We all have secrets. And I came to the old man's place on the edge of this town and asked for a dipper of water.

[Mr. Weatherby]

There you are, fella. Best spring water around here.

[Alfred Bain]

Oh, that's good. And cold. I needed that.

[Mr. Weatherby]

Shall I fill the dipper again?

[Alfred Bain]

I could drink another.

[Mr. Weatherby]

Have you come far?

[Alfred Bain]

Yes, far.

[Mr. Weatherby]

Much further to go.

[Alfred Bain]

Don't know.

[Mr. Weatherby]

You're thin, fella. The sun's burnt your skin to a bark.

[Alfred Bain]

Here, but.

[Mr. Weatherby]

But don't drown yourself drinking it.

[Alfred Bain]

That's good.

[Mr. Weatherby]

I should give you something solid. A meal. I eat late, after the chores. If you don't mind waiting.

[Alfred Bain]

I'm used to long waits for meals. I'll give you a hand.

[Mr. Weatherby]

Oh, no need.

[Alfred Bain]

I'm not afraid to work for a meal.

[Mr. Weatherby]

All right, if you wish.

[Alfred Bain]

It'll feel good to have a hay fork in my hands again.

[Mr. Weatherby]

I've been needing a man around here.

[Alfred Bain]

You need a man.

[Mr. Weatherby]

I can do a full day's work, but toward night it gets heavy. Still. With a man's wife dead and buried last winter, his three daughters married and gone to their husband's farms, his two sons off to seek more than this small farm can promise, a man needs work to keep his thoughts from growing heavy.

[Alfred Bain]

Yes, I know.

[Mr. Weatherby]

What's your name?

[Alfred Bain]

Alfred Bain.

[Mr. Weatherby]

Wetherby's mine. The pigs and chickens haven't been fed, nor the team. And I've six cows to milk and the seventh freshening shortly. Come along into the barn.

[Alfred Bain]

I stayed on and worked for the old man. It is impossible to say how first the idea entered my brain. But once conceived, it haunted me day and night. Object, there was none. Passion there was none. I loved the old man. He had never wronged me for his gold. I had no desire. I think it was his eye. Yes, it was this. He had the eye of a vulture. His left eye. A pale blue eye with a film over it.

[Mr. Weatherby]

Shall we cut hay tomorrow, Alfred.

[Alfred Bain]

Hay? Yes, we can cut hay. But doesn't the sky say rain?

[Mr. Weatherby]

No, that's not a rain sky for around here.

[Alfred Bain]

Here's where I come from.

[Mr. Weatherby]

That'll clear by the morning. I can feel rain when it's on its way. I have a way of feeling what's ahead.

[Alfred Bain]

Do you? Of what's ahead? What is? No, I don't want to know. And you can't know everything, far from it. The weather's enough.

[Mr. Weatherby]

Go sharpen the scythe.

[Alfred Bain]

Whenever his pale blue eye fell on me, my blood ran cold. And so, by degrees, very gradually, I made up my mind to take the life of the old man. And thus rid myself of the eye forever. It was an evil eye. But Wetherby was very kind to me. No one had been this kind. It was too much to bear. You fancy me mad? Mad men know nothing. But you should have seen how wisely I proceeded. With what caution, with what foresight, with what dissimulation I went to work. I was never kinder to the old man than during the whole week before I killed him. Let me carry those horse collars and harnesses, Mr. Weatherby. I'll hook up the team.

[Mr. Weatherby]

Oh, no, no. Why should you?

[Alfred Bain]

Yes, let me. Here, let go the traces.

[Mr. Weatherby]

You've more than earned your keep today. And your wages.

[Alfred Bain]

But not your kindness.

[Mr. Weatherby]

Ha. How else should one treat a hired man? My sons thought I was a tyrant.

[Alfred Bain]

A tyrant?

[Mr. Weatherby]

Perhaps I do treat you better than I treated the boys. Now that is strange.

[Alfred Bain]

Why do you?

[Mr. Weatherby]

I don't know. Because you're not afraid of work. My sons thought they were too clever to work, but I didn't treat them so badly.

[Alfred Bain]

Some people should be treated badly.

[Mr. Weatherby]

Scoundrels. I've never met a real scoundrel.

[Alfred Bain]

Some innocent people should be treated badly too.

[Mr. Weatherby]

What an idea.

[Police Officer]

They.

[Alfred Bain]

They should be treated the worst of all.

[Mr. Weatherby]

Why do you say that, Alfred?

[Alfred Bain]

Isn't that the way life is?

[Mr. Weatherby]

Toss that line over. No, no. I'll snap the buckle on here. I'm not an invalid, Alfred. I'm not that old yet.

[Alfred Bain]

I'd hate to see you an invalid. I wouldn't want that for you. Nor I. I'd like to do something for you. You would like, Mr. Weatherby. What?

[Mr. Weatherby]

What for?

[Alfred Bain]

You admired this knife. Could I give you this knife? No, no, no.

[Mr. Weatherby]

Keep it. There's no reason you should give it to me.

[Alfred Bain]

I've been insulted by people I respected. You haven't insulted me yet.

[Mr. Weatherby]

Why should I? I must get on to the elders meeting There.

[Alfred Bain]

Horse is all hooked up. Up you go.

[Mr. Weatherby]

How did I manage without you, Alfred? Yep. I hope I persuaded you to stay on.

[Alfred Bain]

Every night about midnight, I turned the latch of Wetherby's chamber door and opened it oh, so gently. And then, when I had made an opening sufficient for my head, I put in a dark lantern. All closed, closed, so that no light shone out. And then I thrust in my head. When I was well in the room, I undid the lantern cautiously. Oh, so cautiously, just so much that a single thin ray fell upon the vulture hide. And this I did for seven long nights. Every night just at midnight. But I found the eye always closed, so that it was impossible to do the work. For it was not the old man who vexed me, but his evil eye. And every morning, when the day broke, I went boldly into the chamber and spoke courageously to him. Good morning, sir. Do you want the shutters open?

[Mr. Weatherby]

What manner of day is it?

[Alfred Bain]

Fine day. Warm sun and a little breeze from the east.

[Mr. Weatherby]

Yes. Open the shutters.

[Alfred Bain]

You slept well?

[Mr. Weatherby]

Yes, I slept well.

[Alfred Bain]

Happy to hear that. We start repairing the stone wall to the Westfield this morning.

[Mr. Weatherby]

Yes, I suppose so.

[Alfred Bain]

Porridge is ready. And the coffee.

[Mr. Weatherby]

Hand me my boots. There. Alfred, I do not understand you.

[Alfred Bain]

Understand me?

[Mr. Weatherby]

A hard working, reliable man like you drifting about.

[Alfred Bain]

Oh. Oh, my back.

[Mr. Weatherby]

I'm an old man. I fear not.

[Alfred Bain]

Long. I feel you're not feeling up to yourself.

[Mr. Weatherby]

I don't know. More than likely it was only a bad dream that left me liverish.

[Alfred Bain]

What did you dream?

[Mr. Weatherby]

Oh, it is gone now. It's good I have you around, Alfred. When Amelia went to her rest last winter, I was willing to go to mine. But lately her face has grown vague to me. We had a long life together, she and I. And it was good till these last few years when some mold crept in. Which way should I face? Toward rest or restlessness? What am I waiting for?

[Alfred Bain]

I wish I knew. Breakfast. Breakfast. Get up and everything will look different.

[Mr. Weatherby]

Ah, it is easy to make the days look different. The nights are always the same. The same.

[Alfred Bain]

Upon the eighth day, I was more than usually cautious in opening the door. Never before that night had I felt the extent of my own power of my sagacity. I could scarcely contain my feeling of triumph to think that there I was, opening the door little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea. And perhaps he heard me, for he moved on the bed suddenly, as if startled. Now, you may think that I drew back. But no, his Room was as black as pitch with the thick darkness. And so I knew he could not see the opening of the door. And I kept pushing on steadily, steadily. I had my head in and was about to open the lantern. Who's there?

[Mr. Weatherby]

Who is there?

[Alfred Bain]

I kept still and said nothing for a whole hour. I did not move a muscle. I did not hear him lie down. No, he sat up in bed, listening, just as I have done, night after night, harkening to the death watches in the wall. It was not a groan of pain or grief the old man made. Oh, no. It was a low, stifled sound that arises from the bottom of the soul. A groan of mortal terror. I knew the sound well. Many a night when all the world slept, it has welled up from my own bosom, deepening with its dreadful echo the terrors that distracted me. I knew what the old man felt and pitied him, although I chuckled at heart.

[Mr. Weatherby]

Is it the wind? No, there's no one.

[Alfred Bain]

What is it?

[Mr. Weatherby]

Who is there? No, there's nothing to see but to hear.

[Alfred Bain]

But I feel, feel the presence.

[Mr. Weatherby]

I've known you were coming for me, Death. The dark shadow. It's the wrong time before the crops are in. And while I've still some business to arrange with people in the town.

[Alfred Bain]

My house is not in order. Do not surround me this way. I opened a little, a very, very little crevice in the lantern. You cannot imagine how stealth until a single dim ray, like the thread of a spider, shot from the crevice and fell full upon the vulture eye. Ah, it was open wide, wide open. And I grew furious as I gazed upon it, all dull blue with a hideous veil over it that chilled the marrow in my bones. But I could see nothing else of the old man's face or person, for I had directed the ray as if by instinct, precisely upon the damned spot. Have I not told you that what you mistake for madness is but over acuteness of the senses? Now there came to my ears a low, dull, quick sound such as watch makes when enveloped in cotton. I knew that sound well. It was the beating of the old man's heart. It increased my fury as the beating of a drum stimulates the soldier into courage.

[Mr. Weatherby]

Why do you wait, Death?

[Alfred Bain]

Why do you wait?

[Mr. Weatherby]

You didn't hesitate with Amelia. She had a shawl half knitted. I have much half done and less than half.

[Alfred Bain]

I scarcely breathed. I held the lantern motionless. I tried to see how steadily I could maintain the ray upon the eye. Meanwhile, the hellish tattoo of the heart increased. It grew quicker and quicker and Louder and louder, every instant. The old man's terror must have been extreme. I have told you that I am nervous. So I am. And now, at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet for some minutes longer I refrained and stood still. But the beating grew louder, louder. I thought the heart must burst. And a new anxiety seized me. The sound would be heard by a neighbor. Stop it. Stop it.

[Mr. Weatherby]

What?

[Alfred Bain]

Go away.

[Mr. Weatherby]

No.

[Alfred Bain]

I threw open the lantern, dragged him to the floor and pulled the heavy bed over him. For many minutes the heart beat on with a muffled sigh. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more. If you still think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. First of all, I dismembered the corpse. I then took up three planks from the flooring of the chamber and deposited all between the scantlings. I replaced the board so cleverly, so cunningly, that no human eye, not even his, could have detected anything wrong. There was nothing to wash out, no stain of any kind, no blood, spot whatever. I had been too wary for that. A tub had caught all old man under the planks. You were a good man. If I could have plucked out the evil eye without killing you, that is what I would have done. Don't think badly of me, Mr. Weatherby. I did you a good turn too, ridding you of that evil eye. But if I've done any wrong, it's because of that evil eye looking at me. Giving me thoughts no man should have. But I haven't done wrong. I've done good. A great deal of good. And everything. Is who at the door at 4 in the morning? But what have I now to fear? Nothing. The eye is closed and the heart is still.

[Police Officer]

Sorry to bother you at this hour.

[Alfred Bain]

Yes.

[Police Officer]

We are officers of the town's night watch.

[Alfred Bain]

Is something the matter?

[Mr. Weatherby]

We'd like to speak to Mr. Weatherby.

[Alfred Bain]

Mr. Weatherby? You would like to speak to him? But he is not here.

[Police Officer]

Where is he?

[Alfred Bain]

The old gentleman has gone visiting in the country. Where? That he didn't say when he left. Perhaps to one of his daughters, but he didn't say.

[Police Officer]

His buggy is in the yard and his horses in the Barn?

[Alfred Bain]

Ah, yes. He took a ride with some friends of his who were traveling the same way. What friends? That I don't know. I don't know all his friends. Mr. Weatherby has so many.

[Police Officer]

You're his hired man?

[Alfred Bain]

Yes.

[Mr. Weatherby]

Yeah, I've seen him about the town.

[Alfred Bain]

What brought you here? A rainbow.

[Police Officer]

What's that?

[Alfred Bain]

Isn't everyone looking for a rainbow? Yeah.

[Mr. Weatherby]

One of the neighbors heard a shriek that sounded like trouble and came to the police office to tell us about it.

[Police Officer]

And we've been ordered to investigate and search the house.

[Alfred Bain]

The shriek? Yes. The shriek was from a dream. A nightmare I was having. I dreamt a light from a lantern was shining in my eyes. But do come in. Mr. Weatherby will be pleased to learn the police give him such good protection. He has some valuable plate and coins in his cupboards. Come in.

[Police Officer]

We shall. Why is it you're dressed already?

[Alfred Bain]

I start my chores soon.

[Mr. Weatherby]

Your name is?

[Alfred Bain]

Alfred.

[Police Officer]

Alfred what?

[Alfred Bain]

Bain. Alfred Bain. Search everywhere. Go ahead. I don't know what you're looking for or what you expect. Robbers? Then you must make a careful search. Let me show you Mr. Wetherby's treasures. Perhaps you'd like to see his chamber, too. Come with me. I'll show you. I'd hate to have trouble here while Mr. Weatherby's away.

[Police Officer]

There is nothing wrong here.

[Mr. Weatherby]

Everything seems in order.

[Alfred Bain]

I'm glad you came and looked around. And is there anywhere else you'd wish to look?

[Police Officer]

No, I think not.

[Alfred Bain]

Sit down. Don't go yet. Rest yourselves. Sit there. And here, I'll fetch a chair for myself. How well you've done your duty. I must commend you. No. The light of that lamp will be in my eyes. There. I'll put my chair here. How fine it must be working as a police officer. Protecting the townspeople from theft and robbery and violence. Oh, it's a living. I've often wanted to be a police officer.

[Police Officer]

Have you?

[Alfred Bain]

Well, my senses are very cute. I hear the most minute sounds around me. I'm very sensitive to everything. Perhaps I shall still end up as a police officer. That would suit me admirably.

[Police Officer]

When will Mr. Weatherby be returning?

[Alfred Bain]

I don't know. Shortly, I hope. There's the oats to cut if this hot sun stays with us.

[Mr. Weatherby]

The crops are good this year hereabouts.

[Alfred Bain]

Excellent. Mr. Weatherby is very pleased with his. He says I brought him luck.

[Police Officer]

A hired man does that sometimes.

[Alfred Bain]

Oh, but I can't take credit for that.

[Police Officer]

Mr. Weatherby speaks well of you, I hear.

[Alfred Bain]

Does he? Does he?

[Police Officer]

And wetherby in the past has been hard to please. Yeah. Take a pipe full of tobacco from my pouch.

[Alfred Bain]

No, no.

[Police Officer]

Yes, please do.

[Alfred Bain]

Thank you.

[Police Officer]

We are not supposed to smoke on.

[Alfred Bain]

Duty, but the full watch without a pipe is a long time.

[Police Officer]

We'll have to trust you not to inform the captain.

[Alfred Bain]

The officers were satisfied. My manner had convinced them I was singularly at ease with my chair upon the very spot beneath which reposed the corpse of the victim. The officers sat and chatted of familiar things. But ere long I felt myself getting pale and wished them gone. My head ached and I fancied a ringing in my ears. But still they sat and chatted. The ringing became more distinct. It continued and became.

[Mr. Weatherby]

The new street lamps in the town have made our job a little easier and more pleasant.

[Alfred Bain]

Especially on very dark nights. Oh, I'm sure, I'm sure. But out here on the edge of town, there are not many lamps. And there should be more. Several more, at least.

[Police Officer]

Oh, someday.

[Alfred Bain]

People are always stumbling into holes and hurting themselves. One day someone will break a leg.

[Police Officer]

But these things take time.

[Mr. Weatherby]

The town has come a long way indeed.

[Alfred Bain]

Yes. I like this town. I hope I can settle down here.

[Mr. Weatherby]

Well, why not?

[Alfred Bain]

Yes. Well, why not?

[Mr. Weatherby]

Mr. Weatherby certainly needs a good man. He's grown too old to do much of the work around here himself.

[Alfred Bain]

That's exactly what I feel. Exactly. Mr. Weatherby needs someone. And why not me?

[Mr. Weatherby]

He and his sons couldn't get along.

[Alfred Bain]

Oh, the fighting that went on.

[Police Officer]

A difficult man.

[Alfred Bain]

I. I don't understand that. He and I have never had an argument. We've gotten along very well. Scarcely a cross word.

[Mr. Weatherby]

You must be a rare fella.

[Alfred Bain]

No, it's Mr. Weatherby who's the exceptional man.

[Police Officer]

He's had his troubles. His old family leaving and his wife dying. The aches and pains of old age and losing the sight of his left eye.

[Alfred Bain]

His left eye? He's blind in that left eye. You didn't know? No, no, no, I did not.

[Police Officer]

That's why it stares that way and sometimes wanders on its own.

[Alfred Bain]

He can't see out of it. His left eye? Not a speck. No doubt I grew very pale. I realized the noise was not within my ears. It increased. It was a low, dull, quick sound. Such a sound as a watch makes when enveloped in cotton. I gasped for breath. I talked more quickly, more vehemently, but the noise steadily increased. I rose and argued about trifles in a high key and with violent gestures. Why would they not be gone, those officers? I paced the floor to and Fro with heavy strides, as if excited to fury by the observations of the men. But the noise steadily increased.

[Police Officer]

Sit down. I'm not going to argue with you over which line of thoroughbred has produced the better horse.

[Alfred Bain]

No, no. Don't give it. Argue with me. Argue what? I I. Whatever. You made a statement and now you won't stand by it. You won't back it up for my life.

[Police Officer]

I can't remember what the statement was I made that started this whole thing.

[Mr. Weatherby]

Nor can I.

[Alfred Bain]

The two of you. Then I'm being made a fool alone. No, we're simply talking. Can't we talk?

[Police Officer]

Talk?

[Alfred Bain]

Talk? Yes, talk. Say anything you like, and I won't disagree with you. I can be as sociable as anyone else and agree no matter what is said. You do not need to convince me either. What do you wish to say?

[Police Officer]

Oh, come now. One doesn't go at talk as boldly as that one slips in the wood. I like talk to slide in of its own accord. Don't you?

[Alfred Bain]

Do I?

[Mr. Weatherby]

I don't like talk.

[Alfred Bain]

That's too careful either. Or touchy. Easy talk is what I like.

[Police Officer]

Ah, and the fire and smoke.

[Alfred Bain]

Oh, stop it. This chatter and the smiles. Oh, smiles. Yours and yours. Is it possible you don't hear that? Hear what? Listen to it. Louder. Louder, Louder. What you hear, both of you. You suspect you know you're making a mockery of my horror. I cannot bear your hypocritical smiles any longer. I must scream or die.

[Police Officer]

What's taken hold of you?

[Alfred Bain]

What's wrong with you? Villains? No more pretense. I admit the deed. Tear up the planks. Here, here. It's the beating of his hideous heart has stopped.

[Police Officer]

Here, let's see what is under those planks.

[Alfred Bain]

It has stop.

[Narrator]

You have just heard Edgar Allan Poe's the Telltale Heart, dramatized for radio by Len Peterson. The narrator, Alfred Baines, was played by Richard Monet and old man Weatherby was Frank Perry. The two policemen were Sean Mulcahy and Sandy Webster. Our recording engineer is John Jessup with sound effects by Bill Robinson. The senior script editor is John Douglas, and our production assistant is Nina Callahan. Nightfall is produced and directed for CBC Radio by Bill Howell.