Obsession xx-xx-xx (xx) Death House Express

Summary

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Podcast Summary: "Obsession – Death House Express"

Harold’s Old Time Radio | Airdate: September 17, 2025
Starring: Vincent Price

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Episode Overview

This episode of Harold’s Old Time Radio presents an intense drama from the golden age of radio, titled "Death House Express" from the series Obsession. The story, starring Vincent Price, explores the psychological tension between an inspector and his prisoner on a grim train ride toward a prison city. It is a tale steeped in paranoia, psychological manipulation, and the inexorable presence of fate.

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Key Discussion Points & Story Breakdown

1. Setting the Scene: The Nature of Obsession and Paranoia

• Narrator Introduction (01:00–03:00):
  • The episode is framed by a psychiatrist’s reflection on the dangerous power of the human mind, particularly the proximity of violent obsession to the surface of ordinary lives.
  • Quote:

    "Too often, the human mind is a diabolically complex machine designed for murder. The lust to kill oftentimes lies closer to the surface, unrecognized, than is ever dreamed of. That lust is called paranoia." – Narrator [01:00]

2. Meeting the Passengers: Davis and Inspector Harwell

• Initial Dialogue (03:02–06:00):

  • Davis, the prisoner, and Inspector Harwell, his escort, are chained together, revealing tension and psychological gameplay. Davis reads about insanity, prompting a discussion.
  • Notable exchange:

    "Every one of us is supposed to have some kind of an insane streak... that's what makes insanity such an interesting subject—the element of uncertainty which surrounds it." – Davis [03:06]

• The backstory of Davis emerges: a tale of lost love, heartbreak, stalking, and eventual murder.

  "I couldn't stand it. I took the knife, and I killed her. Just like that, Inspector. I killed her." – Davis [06:15]

3. A Deadly Escape

• Turning Point (06:50–11:00):

  • Using psychological manipulation and a moment of distraction over an apple, Davis disarms and kills Inspector Harwell, revealing his cunning and increasingly unhinged personality.

  • Key moment:

    "You must be insane to try something like this."
    "That's one of your first profound observations." – Inspector and Davis [08:30]

  • Davis steals Harwell’s credentials, intent on assuming the inspector’s identity:

    "I plan on taking your credentials and representing you. Rather fortunate that we're quite, quite alike in stature, isn't it?" – Davis [08:48]

4. Assuming a New Identity and a Flaw in the Plan

• With the Conductor (11:00–16:00):

  • Davis, now posing as Inspector Harwell, is visited by the conductor and narrowly avoids detection. However, a hitch in his escape plan occurs: there are no stops until the destination, trapping him further.

  • Quote:

    "Well, I've never jumped from a moving train before, but, well, the sand should be of help. Wish me luck, Inspector." – Davis [16:33]

  • Davis discovers he can’t reach the handcuff key and becomes increasingly frantic, showing a crack in his usually calm exterior:

    "Without those keys the handcuffs won’t come off. If you were alive, Inspector, you’d think me a coward, wouldn’t you?" – Davis [17:00]

5. A New Passenger and the Unraveling

• Dorothy Jones Enters (18:15–22:00):

  • When a woman, Dorothy Jones, is ushered into the compartment, Davis’s veneer begins to falter. Dorothy is unaware of the danger, trusting Davis as an inspector.

    "You don’t mind being here with a murderer?"
    "Not as long as you’re here. I’ll just trust you to take care of the situation." – Davis and Dorothy [19:31-19:38]

  • As Dorothy becomes suspicious, she spots blood and eventually deduces the truth. Davis, in a desperate state, binds and gags her, revealing his deteriorating composure:

    "Of course, I shall need these strips of cloth to bind and gag you... I realize how unpleasant this must be for you. However, it would be considerably more unpleasant if I should be forced to pull this trigger." – Davis [22:28-22:39]

6. Fate Intervenes: The Final Escape and Irony

• Conclusion (23:00–24:36):
  • As the train slows for a signal, Davis attempts to escape — but in a cruel twist of dramatic irony, he is killed while trying to jump in front of an oncoming train.
  • The narrator closes with a poetic reflection:

    "Ironic, isn't it, that a man obsessed with the one thought of escape should find it under the wheels of an oncoming train? And in compartment B... death smiles as he ponders the inevitability of justice." – Narrator [24:20]

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Notable Quotes & Memorable Moments

• On Madness and Murder:

  "There are people who are insane that the finest psychiatrists are unable to detect... that's what makes them so dangerous."
  – Davis [03:31]

• The Inspector’s Fatal Underestimation:

  "You're exceedingly unobserving, Inspector. I didn't dream it would be quite so simple to knock the knife out of your hand." – Davis [06:58]

• The Unraveling of the Plan:

  "Even in death you're a hindrance to my escape. If it weren't for you, shackled to my wrist, I could reach those keys." – Davis [17:15]

• Irony of Obsession:

  "A man obsessed with the one thought of escape should find it under the wheels of an oncoming train." – Narrator [24:20]

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Major Segments and Timestamps

• Introduction & Psychological Framing: [01:00–03:00]
• Davis and Inspector Harwell’s Early Interaction: [03:02–06:15]
• The Story of Dorothy and Murder Confession: [06:15–08:20]
• Murder and Escape Plot Unfolds: [08:20–11:43]
• Conductor Interlude & Mounting Tension: [11:43–16:32]
• Davis’s Desperation and Handcuff Dilemma: [16:33–18:13]
• Dorothy Jones's Entrance and Confrontation: [18:15–22:49]
• Climax, Escape Attempt, and Final Irony: [22:50–24:36]

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Tone and Style

The dialogue-driven storytelling is taut and suspenseful, laced with psychological insight and classic noir tension. Vincent Price’s Davis is chillingly rational yet unhinged, with a dry, sardonic wit. The episode encapsulates Golden Age radio drama’s mastery of mood, misdirection, and moral reflection.

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Takeaway

"Death House Express" is a masterfully woven tale of obsession, deception, and the tragic irony of crime undone by fate itself. With outstanding performances and sharp dialogue, this episode stands as a hallmark of old time radio's legacy—where the darkness of the mind is just as ominous as anything in the outside world.

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Transcript

[Dorothy Jones]

Hey, this is Sarah. Look, I'm standing out front of a.m. p.m. Right now and, well, you're sweet and all, but I found something more fulfilling.

[Davis]

Even kind of cheesy. But I like it.

[Dorothy Jones]

Sure, you met some of my dietary needs, but they've just got it all.

[Davis]

So farewell, oatmeal. So long, you strange soggy. Break up with bland breakfasts and taste.

[Narrator]

AM PMs bacon, egg and cheese biscuit made with K tree eggs, smoked bacon and melty cheese on a buttery biscuit. AM PM Too much. Good stuff.

[Davis]

Obsession.

[Narrator]

In the words of a great psychiatrist, too often the human mind is a diabolically complex machine designed for murder. The lust to kill off times lies closer to the surface, unrecognized than is ever dreamed of. That lust is called paranoia. A word meaningless until a simple hairspring motivation turns this saying to insane. Cunning, crafty, calculating, held in the vice like grip of an overwhelming obsession. In a moment, you'll find a deeper meaning in that word paranoia. In the story starring Vincent Price. This is to be the story of a train ride. A train ride from Willett Falls to the prison city of Banning. We're to be concerned with only three passengers aboard this train. Two of them in compartment B, car 92. Their wrists locked together in close companionship by gleaming steel handcuffs. The third passenger, one that is always present when two such men ride the train from Willett Falls to Banning City. This third passenger watches keenly the building of the slow, hot fires of a terrible obsession.

[Davis]

Davis? Yes?

[Conductor]

Care to play a game of casino?

[Davis]

Oh, no thanks. I think I'll read. Okay. This is a very interesting article. You should read it yourself. What's it about? The various types of insanity. That's quite a thing to be reading. It's quite academic. Not the usual tripe at all. Academic or not, I don't go for that stuff. Screwballs and looms. But those are people too. After all, every one of us is supposed to have some kind of an insane streak. The majority subdue their manias. These weaker ones are the people who fill our asylums. Who told you that? It says so here in the article. Well, I don't believe it. That's what makes insanity such an interesting subject. The element of uncertainty which surrounds it. Would you believe that there are people who are insane that the finest psychiatrists are unable to detect? Yeah. Yes. A certain type are called paranoiacs. You see, many paranoiacs are fully aware of their deranged state of mind and they go to great lengths to conceal it. That's what makes them so dangerous? That's all very interesting, but I don't care. You can keep your. Yeah, and I'll take Dick Tracy. Well, everyone to their own taste. Inspector, if you intend to read the comics, would you be so good as to keep your right hand a bit closer to mine? I find it quite difficult to hold my magazine and turn the page with these handcuffs are. Want an apple, Davis? No, thank you, Inspector. Well, I'll slice it in half in case you change your mind later on. It's an attractive knife you have there, Inspector. The handle's mother of pearl, isn't it? Oh, yeah. What are you thinking about, Inspector? I was thinking of you, Davis. Me? You're a funny duck. I can't help but wonder about you. Wonder how? Why'd you do it, Davis? Well, now, wasn't it you who suggested we didn't think about it? Yeah. I'm sorry. Oh, you needn't be, because I don't mind. Not really. Matter of fact, I rather enjoy talking to you. Spectre. Have you ever been in love? Well, yes, certainly. But that's a funny question. So was yours. Yeah. See, I didn't tell the others that rooming house. I lived there myself. I took the room under an assumed name. Dorothy lived right above me. We were engaged once, Dorothy and I. Two years ago. We were going to be married. We were very much in love. Then suddenly she started to change toward me. I thought it was my imagination at first. Then all at once I knew it was true. She had changed. Someone else? No, there was no one. That's why I couldn't understand it. We had a date. One night she told me it was all over and she moved. I searched for her everywhere and finally I found she had taken a room in a boarding house. I called her many times, but she left word that she wasn't at home to me. That's when I moved there myself. Did you get her back?

[Narrator]

No.

[Davis]

No, I knew it was impossible, as she told me. I just wanted to be near her, to see her. I'd watch her go down the stairs to work in the morning. Then I'd hurry home in the evening so I'd be there first to see her come back to her room after work. And she never knew you'd lived there? No, never. That is, until the night before it happened. I met her on the stairs outside the house. Accidentally, she told me she was going to be married. I congratulated her. I remember that. And I went up to my room, but I couldn't sleep that night. Because I could hear her laughing and talking upstairs with some man. The following night, I heard the same man's voice up in her room. With the thought of him being there, I didn't like it. Then there was a. Put your knife laying on the kitchen table. I took it and I walked up the stairs. I knocked on the door. Dorothy answered and I found her alone. It was him that I wanted. And so I started to go. Then I looked at her face. She was laughing at me. At me. I couldn't stand it. I took the knife and I killed her. Just like that, Inspector. I killed her. Cigarette, Davis? No, thank you. But, Inspector, I believe I'll change my mind about that half of the apple. Could I have it now? Sure, dear. Well, would you be good enough to peel it for me? You know. Oh, yeah, yeah. Wait. Wait till I get my knife. Here you are. Oh, I dropped the apple. Would you? And you dropped your knife, Inspector. Davis, don't move. You're exceedingly unobserving, Inspector. I didn't dream it would be quite so simple to knock the knife out of your head and that over Davis. Really, Inspector. With his blade in your ribs, aren't you overlooking the fact that I am giving the orders? Now, what do you expect to get out of this? First, your key to these. These handcuffs. Give them to me. Be quick about it, please. Thank you. Now your revolver, please. Listen, Davis, you'll never get away with this. Your description will be wired to every police station or sheriff's office in the country. Ah, but you're mistaken. Who is going to wire my description?

[Narrator]

Wire you?

[Davis]

Oh, no, Inspector. I trust that at some time or other you have had the foresight to take out a life insurance policy payable on your death to your wife and children. It would be a shame to see your family left uncared for. You mean. I mean that at a propitious moment I intend to kill you, Inspector. Now give me all your credentials and identifications, please, Inspector. What do you want my papers for? You are dull, Inspector. But I suppose no more so than your law enforcement compatriots. You see, I plan on taking your credentials and representing you. Rather fortunate that we're quite, quite alike in stature, isn't it? You must be insane to try something like this. That's one of your first profound observations. Do you recall my mentioning paranoiacs a while ago? Yeah. I wouldn't confide this to anyone but you, Inspector. But in as much as you're unlikely to repeat anything you hear, I might as well tell you that for some time Now, I've been rather worried that I myself might possibly be mentally afflicted. You're not serious? Oh, but I am quite serious. You. You see, I've only recently become aware of a certain Machiavellian cleverness in my actions and plots. A cleverness that I must admit was not previously endowed in me. Further, although I like you exceptionally well, Inspector, I'll confess that, strangely enough, I'm going to rather enjoy killing you.

[Narrator]

You are crazy.

[Davis]

As I've said. Say nothing. Yes? Who's there? Conductor. What do you want?

[Conductor]

Open up, please.

[Davis]

What do you want?

[Conductor]

I have to have your ticket.

[Davis]

Oh, one moment. Conductor doesn't know you by sight, does he? Answer me. Does he know you? No. I'll unlock the door. Give me your wrist. Here, put one of these handcuffs on, quick. There. You stay beside me. And don't make a move, understand? Not one move. I'm sorry I was so long in answering, one has to be very. Yes?

[Conductor]

Inspector Harwell. We were told that you'd have a prisoner with you.

[Davis]

Oh. Oh, yes, you were told. Of course. I hear the ticket now.

[Conductor]

If there's anything you should want, Inspector, just press that button for the porter. I have him standing by.

[Davis]

Oh, thank you.

[Conductor]

Well, hope your trip comes off all right.

[Davis]

I'm sure it will, thank you.

[Conductor]

Well, then, I'll be getting along.

[Davis]

Conductor? Yes? How long before we reach Banning City?

[Conductor]

Oh, about an hour and a half, Inspector.

[Davis]

Oh, well, thank you again.

[Conductor]

Sure thing.

[Davis]

All right, Inspector, I. I think we'd better get these handcuffs off now. What do you intend to do now, Davis? Well, Inspector, you heard what the conductor said. One hour and a half until we reach Banning City. That doesn't leave us very much time, does it? What are you getting at? Well, if I'm going to make good my escape, I'll have to start making arrangements now, won't I? Davis.

[Conductor]

Davis, put that knife away.

[Davis]

Forgive me, Inspector, but I'm very afraid. Afraid? That propitious moment has arrived. Davis, wait. I'm sorry. I'm wake up.

[Narrator]

A blast of steam from the locomotive's whistle drowns out the last gurgling cry of Harwell the Inspector. The man with a pearl handled pocket knife who realized too late that the affability of his trained companion was but a camouflage to hide a razor edged obsession. In just a moment we continue our story. Returning now to Compartment B, Car 92 and 3 passengers bound from Willett Falls to the prison city of Fanning. In our story starring Vincent Price. As the speeding crane hurtles down the threads of steel that lead to the death house at Banning City. Davis stares thoughtfully into the glazed eyes of the man he's just murdered. His cunning insane mind carefully, analytically planning his next move with the same shrewd detachment of a chess player. Player moving upon. His eyes flicker down to his wrist still locked in the steel embrace with that of his.

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[Davis]

Fe.

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[Narrator]

And again his mind floods with the exhilaration of his master craftsmanship, the overpowering strength of his one obsession.

[Davis]

Well, Inspector, too bad you couldn't have stayed long enough to witness the last act of my little drama. For you see, now that I've come killed you, the rest becomes quite simple. I have sent for the conductor, Inspector. And do you know why? I'm going to ask him to stop the train so that I might make an important call to headquarters. Thereupon I will disappear. And by the time your body is discovered, I will undoubtedly be in another county, thanks to your credentials. Oh, but come now, you'd better straighten up a bit. There. There, that's better. Oh, here now. I hadn't noticed that you bleed quite profusely. Perhaps we'd better place my handkerchief inside your coat so you won't appear to be wounded. There you are. I'm sure you'll look. Yes, yes. Who's there?

[Conductor]

It's the conductor, Inspector Harwell.

[Davis]

Oh, wait a minute, please. Well, Inspector, I must be handcuffed to you again, unfortunately. Come in.

[Conductor]

The porter said you wanted to see me, Inspector.

[Davis]

Yes, indeed. It appears that I left some very important papers regarding my prisoner and Willett. Falls. This, I'm afraid, will necessitate an immediate phone call.

[Conductor]

Well, I could have the train stopped for you, Inspector.

[Davis]

Oh, fine.

[Conductor]

Only I don't know where you could make a call. This is desert we're passing through. The last stop where you could have got a phone was Cartwright when we picked up our last passenger.

[Davis]

Are you sure?

[Conductor]

Sure as taxes, Inspector. I'm sorry. However, we're on time being banning in an hour, if that'll do any good.

[Davis]

Of course it won't do me any good. I just finished telling you that.

[Conductor]

I'm sorry, Inspector.

[Davis]

Oh, yes, well, thank you.

[Conductor]

Say, what's wrong with your friend there?

[Davis]

What?

[Conductor]

Your pal, is he snoozing?

[Davis]

Oh, yes, yes he is. He's taking a little nap.

[Conductor]

How do you like that? A guy that can sleep on his way to the death house. Boy, some of these killers are sure cold blooded, aren't they?

[Davis]

Yes, yes, aren't they though?

[Conductor]

Well, Inspector, if that's all.

[Davis]

Yes, yes, thank you anyway.

[Conductor]

So long.

[Davis]

Yes, so long. Well now, what do you think of that, Inspector? It seems that fate has interceded momentarily, doesn't it? Well, I've never jumped from a moving train before, but, well, the sand should be of help. Wish me luck, Inspector. Now let's get these handcuffs off. Well, it's clumsy of me to drop your keys, eh? Should be under the seat here. Yes, there, way under the seat. I can't reach them. I'll try it with my foot. I can't reach the keys. I can't reach them. And the handcuffs won't come off. Without those keys the handcuffs won't come off. If you were alive, Inspector, you'd think me a coward, wouldn't you? To become frightened when I found myself unable to reach those handcuff keys. But you would admire me for realizing in time that frenzy must be exchanged for resourcefulness, wouldn't you? It's odd, isn't it, Inspector, that even in death you're a hindrance to my escape. If it weren't for you, shackle to my wrist I could reach those keys. However, as soon as I pick the lock with this knife, I shall be free again and quite ashamed of myself forever, letting my imagination run rampant. I estimate another 10 minutes on this and it will evaporate into thin air. Yes? Who's that?

[Conductor]

I'm sorry to bother you, Inspector.

[Davis]

Yes, Conductor, what is it?

[Conductor]

This lady here got on a cartwright and we can't find a place for her to sit in the chair car. Oh, she's only going as far as Banning and I suggested she might share your compartment if you don't mind.

[Davis]

Well, it so happens I do mind. This compartment is reserved by the police department of Willett Falls. And not for the convenience of wayward travelers.

[Conductor]

Now, just a minute, Halleck. It's all right, miss. Listen, inspector, this compartment is not reserved. It's a courtesy that the line shows to the police department whenever possible. You'll find that your ticket actually calls for a chair car in Coach 3. If you don't intend to cooperate with us, I'll have to ask you to.

[Davis]

Move to Coach 3.

[Conductor]

That is, if you can get in at all.

[Davis]

Well, under the circumstances, I don't seem to have much choice, do I? Show the lady in. All right.

[Conductor]

Here you are, miss. 40 minutes before we reach Banning. I'll call you.

[Dorothy Jones]

Thank you, Conductor.

[Davis]

Yes, conductor. By all means, call us when we reach Banning. City. City. We'll be waiting.

[Dorothy Jones]

Inspector, I'm really terribly sorry that my company was more or less forced upon you. I'd like to apologize.

[Davis]

It's all right. Trains are crowded these days. I suppose we just have to make the best of it.

[Dorothy Jones]

I can understand that you would have some hesitancy about having a woman in the same compartment with a murderer.

[Davis]

Murderer?

[Dorothy Jones]

Yes, the conductor told me all about your prisoner. But it really doesn't frighten me at all.

[Davis]

It doesn't?

[Dorothy Jones]

No.

[Davis]

You don't mind being here with a murderer?

[Dorothy Jones]

Not as long as you're here. I'll just trust you to take care of the situation.

[Davis]

You? You trust me?

[Dorothy Jones]

Of course.

[Davis]

But you don't know who I am.

[Dorothy Jones]

What difference does that make? And anyway, I do know who you are. You're Inspector Harwell of the Willett Falls Police Department. The conductor told me that.

[Davis]

What's your name?

[Dorothy Jones]

Dorothy. Dorothy Jones. I hate the name of Jones, don't you?

[Davis]

No. No, I like it. And I like Dorothy too. I used to know a Dorothy once.

[Dorothy Jones]

Did you?

[Davis]

Yes. She looked something like you. She was blond and tall and young and pretty like you.

[Dorothy Jones]

Thank you. Whatever happened to her?

[Davis]

What?

[Dorothy Jones]

Where is she now?

[Davis]

Oh, she went away. She took a long trip on a boat, I think.

[Dorothy Jones]

Oh, I've always wanted to go on a long trip. I never get the chance, though.

[Davis]

Maybe you will.

[Dorothy Jones]

Say, your prisoner, he's certainly a sound sleeper, isn't he?

[Davis]

Yes. Yes, he is that.

[Dorothy Jones]

He doesn't even look like he's breathing.

[Davis]

No. Now, some people sleep that way, I guess.

[Dorothy Jones]

He could be dead and you wouldn't even know it, would you?

[Davis]

Don't talk like that.

[Dorothy Jones]

What's wrong, Inspector? You seem worried.

[Davis]

I'm not worried. Why should I be worried? It's just that this job gets on my nerves. I'm not made of steel.

[Dorothy Jones]

You know. You're not much like a detective.

[Davis]

What makes you say that?

[Dorothy Jones]

I thought all detectives had nerves of steel. I. I didn't think any of you ever got bothered. But, Inspector, your coat.

[Davis]

What?

[Dorothy Jones]

Your coat. It's got blood on it.

[Davis]

Oh, well, I was. I was peeling an apple. I cut my hand. I. I cut my hand. You understand? What are you staring at?

[Dorothy Jones]

It's the other man who's bleeding. It's the other man.

[Davis]

Quiet. Quiet. You hear me? Don't raise your voice.

[Dorothy Jones]

You've got a gun.

[Davis]

Yes, his gun. And you may be assured that I'll use it unless you do exactly as I say. Now, listen closely, Miss Jones. On the floor beneath this seat, you'll find the keys to these handcuffs. Be good enough to get them for me, please. Quickly. Please.

[Dorothy Jones]

Here.

[Davis]

Thank you. There. That's better. Now. Why, Miss Jones, you appear to be shocked. Is something troubling you?

[Dorothy Jones]

You're not the Inspector. You. You're a murderer. You killed Inspector Harwell, didn't you?

[Davis]

I'm afraid so. Oh, but come now, let's not be morbid about it.

[Dorothy Jones]

They'll catch you. They will.

[Davis]

I hardly think so. You see, Miss Jones, since you've been been kind enough to help me dispense with these bracelets, the problem of escape really becomes quite simple once again.

[Dorothy Jones]

What are you going to do?

[Davis]

You're frightened of me, aren't you? You're thinking that I might kill you. That's an understandable emotion.

[Dorothy Jones]

Don't come any closer. Keep away from me.

[Davis]

I'll relieve you of your coat, please.

[Dorothy Jones]

What? What do you want with my coat? Are you tearing?

[Davis]

Of course, I shall need these strips of cloth to bind and gag you. Now, hold out your wrists and we'll slip these bracelets on. And I will bind your feet.

[Dorothy Jones]

No, no. Let me.

[Davis]

I have to ask you not to struggle, Miss Jones. I realize how unpleasant this must be for you. However, it would be considerably more unpleasant if I should be forced to pull this trigger.

[Dorothy Jones]

You must be out of your mind.

[Davis]

Oh, now, that's strange. Inspector Harwell said the same thing just before he died. Now, open your mouth, please. No. Yeah, that's fine. Well, now, I. I believe it's time for me to take my leave. I'll say goodbye and. Oh, wait. Wait a minute. The train is slowing down. Something's wrong. Of course. The train's taking a siding. I'll wait until we slow down a bit more, and then I shall. I shall leap from this window. In approximately 30 minutes, this train will be pulling into Banning City. But without me. Because, Ms. Jones, I'll be on my way to freedom. It's done. And I planned it all myself. Nothing could go wrong now. Nothing. Well, goodbye, Ms. Jones, Dorothy.

[Conductor]

Goodbye.

[Davis]

Charlie. Catch this wire from Contract.

[Conductor]

Holy smokes. So that's the delay. Let me have that phone, Mac.

[Davis]

Hello?

[Conductor]

Hello, this is the station agent, Banning City. You better send an ambulance to Centerville Junction. Some guy jumped in front of an eastbound special just as it was passing the local.

[Davis]

Huh?

[Narrator]

No, he's dead.

[Davis]

Goodbye.

[Narrator]

Ironic, isn't it, that a man obsessed with the one thought of escape should find it under the wheels of an oncoming train. And in compartment B, car 92, the third passenger, death smiles as he ponders the inevitability of justice. It's surety, it's finality that blocks the craftiest mind and the most merciless obsession. Obsession. This story, starring Vincent Price, was produced and transcribed by C.P. mcGregor in Hollywood.