Operation Nightmare 54-02-03 (19) Hollow Footsteps

Summary

Podcast Summary: "Operation Nightmare 54-02-03 (19) Hollow Footsteps"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Original Air Date: February 3, 1954 (re-broadcast November 10, 2025)
Featuring: Peter Lorre

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Episode Overview

This episode of Nightmare is a suspenseful psychological thriller from radio's Golden Age, featuring a chilling tale of guilt, haunting, and the power of the mind. Peter Lorre guides listeners through the story of Jeff Martin, a man plagued by an inescapable sense that he is being followed — not just by any person, but by Gloria, a woman from his past who has been dead for 15 years. As paranoia grows and reality blurs, Jeff is driven to desperation, seeking help from both friends and a dubious “scientific” medium, only for the truth to shatter perceptions at the story's conclusion.

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Key Discussion Points & Insights

1. Peter Lorre's Introduction to Fear & Dreaming

• Peter Lorre opens the episode with a reflection on the nature of nightmares and the mind’s inability to let go of certain memories, setting a moody, introspective tone.
  • Quote: “The eye of the mind never closes in slumber. It never tires of seeing things, thoughts and ideas. Some of these things seen by the mind are in turn caught by the memory. And we awake with a start. Did it really happen? Or was I dreaming?” (00:30)

2. Jeff’s Haunted Existence

• Jeff Martin awakens deeply unhappy and cannot shake the feeling he is being followed.
• His marriage to Ellen is strained by his preoccupation with Gloria, his former fiancée, whom he accidentally mentions in conversation, escalating Ellen’s suspicions and jealousy.
  • Memorable Moment: Jeff accidentally says “Gloria” to Ellen, leading to a tense confrontation. (02:40–03:01)
  • Quote:
    • Ellen: “She’s in your mind, isn’t she?” (03:06)
    • Jeff: “Yes.” (03:08)

3. The Specter of Gloria

• Jeff’s experiences intensify: he sees Gloria in the street and tries to chase her with Sam, his friend, but she always vanishes.
• He confides in Sam about his suspicions and the feeling of being pursued by a ghost, further fueling his own anxiety and sense of guilt.
  • Quote:
    • Jeff: “It seems so real when she comes.” (04:39)
    • Sam: “You're being followed by a woman?” (04:52)

4. Struggling with Reality at Home

• At home, the haunting continues; Jeff questions Ellen about ghosts, and then receives a chilling phone call — the voice claims to be Gloria.
  • Quote:
    • Jeff (after the call): “Gloria. It was Gloria.” (09:31)
    • Ellen: “Stop it. Don’t tell me it was Gloria or Gloria’s ghost. Ghosts don’t use the telephone, Jeff.” (09:39)

5. Seeking Science in the Supernatural

• Sam recommends Jeff visit Gerald Cole, a “scientific” investigator of paranormal phenomena.
• Cole engages Jeff in a highly expensive and dubious diagnostic process, using pseudo-scientific jargon (e.g., “electrophonic ectoplasmic phenomena”).
  • Quote:
    • Cole: “Obviously an electrophonic ectoplasmic phenomena... Cases of electrophonic ectoplasm are difficult.” (11:58, 12:25)
  • The financial exploitation of Cole ($500, $700, $4,000 for his services) adds a layer of skepticism.

6. The Truth Comes Out — Shattering Illusions

• In a dramatic confrontation during the séance, Gloria seemingly materializes and reveals herself.
  • Ellen and Sam, frustrated with the charade, expose that Gloria is alive, and the entire experience was engineered to shock Jeff to his senses.
  • Quote:
    • Ellen: “There’s your ghost, Jeff. She’s as alive as I am.” (21:03)

7. The Final Twist and Reflection

• The scam is revealed: Cole’s apparatus is fake, and Gloria is very much alive.
• Ellen demands the return of the money, and Jeff is left in a state of disarray, with Ellen’s sardonic remark closing the confrontation.
  • Quote:
    • Ellen: “The laugh’s on you.” (21:41)
• Peter Lorre’s epilogue reflects on nightmares, doppelgängers, and the lasting impact of guilt:
  • Quote:
    • Peter Lorre: “Confession is always good for a soul. Poor her. So I’m told. Jeff Martin. The guilt became too much for you, didn’t it? Like a stone around your neck. What are you going to do, huh?” (14:53)

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Memorable Quotes & Moments

• On guilt and nightmares:
  • Peter Lorre: “You are listening to Peter Laurie tell you of the hollow footsteps. Another transcribed story of nightmare.” (00:30)
• Jeff’s confession:
  • Jeff: “All right. All right. I killed her. Is that what you want to hear? Did you? Yes. Yes, Yes. I killed her that night. I killed Gloria Denham. Now are you satisfied? I killed her. I killed her. And that’s why she’s come back after 15 years.” (14:54)
• The exposure of the scheme:
  • Ellen: “There’s your ghost, Jeff. She’s as alive as I am.” (21:03)

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Important Segment Timestamps

• Peter Lorre’s Introduction to Nightmares: 00:30–01:30
• Tense Breakfast / The Name Slip: 02:40–03:10
• Jeff Chasing Gloria: 04:05–05:59
• First Appearance of 'Gloria’s Ghost' Call: 09:06–09:31
• Consultation With Cole: 10:03–13:50
• Séance and The Big Reveal: 18:32–21:18
• Peter Lorre’s Closing Reflection: 21:44–22:42

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Tone & Style

The episode maintains a moody, suspenseful, and slightly surreal tone throughout. Peter Lorre's narration is menacing and philosophical, while the dialogue between characters is tense, direct, and laced with both desperation and irony. The climactic confrontation is laced with black humor and bitter revelation.

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Conclusion

“Hollow Footsteps” stands as a classic example of radio’s power to blend psychological horror with noir mystery, using the threat of the supernatural as a metaphor for guilt and unresolved emotion. With engaging narration, suspense, and a clever twist ending, it captures the spirit and entertainment of the Golden Age of radio storytelling.

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For fans of vintage suspense and lovers of stories about the inescapable past, this episode is a haunting delight.

Transcript

[A]

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[B]

Limu. Is that guy with the binoculars watching us?

[A]

Cut the camera. They see us. Only pay for what you [e-mail] Liberty.

[B]

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[A]

Liberty Mutual Insurance Co. Affiliates excludes Massachusetts.

[B]

Out of the dark of night, from the shadows of the senses comes this the fantasy of fear. Nightmare starring as your exciting guide to terror. Peter Laurie, you know, sleep is an interesting thing. Of course, you are aware that the eye of the mind never closes in slumber. It never tires of seeing things, thoughts and ideas. Some of these things seen by the mind are in turn caught by the memory. And we awake with a start. Did it really happen? Or was I dreaming? And sometimes. Sometimes you're never sure. There is Jeff. Jeff, who awoke one morning from a somewhat fitful sleep, awoke to find that he was a very unhappy man. And he searched to find a reason for that unhappiness in those first moments of waking. And the weight of worry and suspicion fell upon his shoulders like a well tailored coat. You are listening to Peter Laurie tell you of the hollow footsteps. Another transcribed story of nightmare. Now, about this man, Jeff Martin. Really very ordinary fellow, I know. But something happened to Jeff Martin. He awoke unhappy. Not the normal unhappiness of a gloomy, knowing, but a deep, bleak kind of unhappiness that reaches down into the crevices of the soul. I wonder just what could be causing all this sudden distress. Yeah, it's almost like a man is being followed up. Let's find out.

[C]

Jess, that new Cinemascope is playing at the Grand. Like to see it this week, would you?

[B]

Guess. What did you say? Ellen?

[C]

You didn't hear a word I said.

[B]

I'm sorry, dear.

[C]

Look, what's the matter?

[B]

I don't know.

[C]

Jasmine.

[B]

You're coming down with one of those viruses. What?

[C]

You want to run to Dr. Parsons?

[B]

Yes.

[C]

Tomorrow?

[B]

Yes.

[C]

Promise?

[B]

I promise, Gloria. Good.

[C]

Because I think what I sent a promise to Gloria.

[B]

Huh?

[C]

You said, I promise, Glory. No, no, no, I didn't. She's in your mind again, isn't she? Oh, it's in your mind again, Ellen. You can't forget it. You'll just never forget. Ellen was only a slip.

[B]

Sleaze. Ellen.

[C]

Flip. You're always making a slip.

[B]

Always.

[C]

That same thing always.

[B]

Doesn't happen often anymore.

[C]

It doesn't happen at all.

[B]

I'm sorry, Ellen.

[C]

She's in your mind, isn't she?

[B]

Yes.

[C]

Get her out, Jeff.

[B]

How?

[C]

Well, then, where you going?

[B]

Out for a walk. Maybe drop in, see Sam.

[C]

Sorry I've lost my temper, Jeff.

[B]

It's all right. Try it. Try it again. You've got to find out. You got to make sure. There. There they are. There she is. Don't turn your. Don't turn your head. Faster. Faster. See, this is howling. You just slow down. The store window. Now. Now look. Turn your head slowly and look carefully. Now. There she is up the street. Get closer, Jeff. Get closer to Stack.

[C]

Now.

[B]

She'S going away. Want her to go away? Catch her. Now, come here. Gloria. Gloria gone. Thanks. Now, what's it all about? Nothing, Sam. I'll be all right. Look, Jeff, I'm your friend. I know, I know. I don't want to pry, but if there's something the matter, is some way I can tell. Sam. Thanks. Well, I'm listening. Did you ever think you were being followed? Followed? What do you mean? Well, I mean, did you ever have the feeling that somebody was following you? Not Jeff. After all, I told you you'd think I was. I didn't say anything like that. Wait a minute, would you? I'm sorry. Matter of fact, I've experienced that feeling at times. I think everybody. Yes, I do. You got another drink? Sure. Something that doesn't amount to anything. You're sure doing a lot of drinking about it. I'll be all right. Well, how's Ellen these days? Ellen? Ellen's fine. Which reminds me, I better get back. I told her I wouldn't be long. Thanks for the drink, Sam. Don't mention it. I left my coat here someplace. Yeah, here it is. Oh, look, you want some company on the way home? I can use some air. Huh? Yeah. Yeah, that's. That's an idea. Walk back with me, Sam. That's a good idea. Well, I think you'll be all right, Jeff. Probably just nervous, like you said. Working too hard, that's all. You have a slow dad. Yeah, maybe. Lots of people have feelings like this every once in a while. It's so real. Yeah. So real. It seems so real when she comes. She Who? A woman. See? You're being followed by a woman. Yeah. Let's see what you're so worried about if you take my advice. Wait a minute. Wait. You. Here. Here. What? Listen. I don't hear a thing. Walk a few steps. You hear her? She's there. She's there behind us. Yep. I can't turn around. Quick. There she is. There she goes. Around that corner.

[A]

I'll get her.

[B]

You wait here. You saw her? You saw her? Santa, I can't understand it. What's the matter? I just can't understand it. What, Sam, what? She was gone. No place to go. No place to hide. Gloria. What? I saw her face this time. It was Gloria. Gloria? But it can't be, Sam. It couldn't be, could it? Gloria's dead. Been dead for 15 years. You see? Now. Now you have part of the answer. Jazz is being followed. And? And by a woman. Man should not mind too much if he's being followed by a woman. There's no such thing as an uninteresting female. Women are so. What is the word? Well, let's see. Where was I? Oh, yes, yes. So Jeff Martin is being followed by a woman. Being followed till he finds himself trapped. Trapped in a living nightmare. Now, let's see. Where were we? Oh, yes, yes. There must be a reason why some strange female so interested in you. Hey, I know of a way to stop that woman's constant pursuit. You know, women are always so fond of pretty kerchiefs. Yes, but why would a woman follow such a plain man as Jeff Martin? Well, let's find out.

[C]

Ready for coffee? Are you ready for coffee, Jeff? Do you want coffee or don't?

[B]

Oh, yes. Yes, thanks.

[C]

What's the matter, Jeff?

[B]

Do you believe in ghosts, Ellen? Ghosts? That people can come back. Come back from death to haunt. To follow you until.

[C]

Jeff, I think you better see a doctor.

[B]

You don't believe me?

[C]

Do you believe you? How could I just say there's aren't any things like ghosts? You know that as well as I.

[B]

No. No, I don't. You do.

[C]

I know you do. It's not that you're upset, that's all. You're upset and you won't face what's really upsetting you. And so you think that's not true.

[B]

Ellen, I know it's not true because I'm being followed by one. Followed by a ghost. Jeff. She's back, Ellen. She's come back to haunt me.

[C]

Who, Jeff?

[B]

Gloria.

[C]

You're thinking of her again. You just won't let it alone, will you? You won't let her be dead. You have to be thinking about her, reminding yourself about her and reminding me.

[B]

That's not it, Ellen.

[C]

Don't tell me what's true and not true staring us in the face.

[B]

Jess.

[C]

You still love her. You want her.

[B]

Ellen, please.

[C]

You don't stand her. But that's a grandfather back. She's dead. She's dead, Jesse's dead, and the dead don't come back.

[B]

Ellen, please. Ellen. Oh, I'm sorry.

[C]

I lost control. It won't happen again. How can I be jealous of a dead woman? It's impossible.

[B]

Isn't it, silly?

[C]

I just wish you'd stop saying your name in front of me. Jeff. I wish you'd stop.

[B]

Ellen, believe me, I'm not doing this deliberately. She's come back, I tell you. She follows me on the street. Ellen.

[C]

It's true, Jeff. I don't want to hear any more about it. Please.

[B]

Huh?

[C]

Oh.

[B]

Oh. I'll get it. Hello? Jess? Jess. Hello, Jeff. Who is this? Jeff, darling, who is this? Who is this? Jeff.

[C]

Jeff, what's the matter?

[B]

Nothing. Who was it?

[C]

Who was on the phone?

[B]

Gloria. It was Gloria.

[C]

Stop it.

[B]

Stop it. Stop. It was Gloria. She's come back.

[C]

Stop it. Don't tell me it was Gloria or Gloria's ghost. Ghosts don't use the telephone, Jeff. They don't have to.

[B]

Listen. Listen to me, Ellen.

[C]

Listening. Why, you're doing this to me, Jeff. I don't know why, but I won't take it much longer.

[B]

Ellen.

[C]

I'll leave. Do you hear? I'll leave you, Jeff.

[B]

I don't know what to do, Sam. I just don't know what to do. Well, the only suggestion I have is this man Cole. Gerald Cole? I don't know. Why don't you try him? He's a. He's a medium, something like that. No, not exactly. I wouldn't call him a medium. He deals with the same problem, so he approaches them from different angles. He's a scientist, Jeff. Very scientific. No phony. I think he'd be able to help. I think so. But there aren't any such things as ghosts, Sam. I know it. I know there can't be ghosts. Then what's the explanation? I don't know. You think there are ghosts, Sam? Do you believe in them? Well, let's put it this way. I don't disbelieve. Remember what Shakespeare said? There's stranger things in heaven and earth. Yeah. Yeah. You want to see Cole? I can set up an appointment. All right. All right. I'll try anything once. I have to do something expensive. Money doesn't matter, Sam. Nothing matters now but my peace of mind, my marriage. I've got to do something. Tell Cole I'll see him the same. Always been the same. Footsteps following me. When I turn around, she's there. Just for a second. I see her and she's gone. You've tried to follow Her? Yes, yes. Never successful, is she? She just seems to disappear into thin air. I see. And she's called you on the phone. Hey, this is Sarah.

[C]

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[B]

But I like it.

[C]

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[B]

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[A]

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[B]

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[A]

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[B]

You recognize the voice from the state? I see. Obviously an electrophonic ectoplasmic phenomena. What's that? Well, you needn't understand the terms. Ghost is good enough. What can I do? Cole, what can I do? We mustn't rush it. This requires careful consideration. Will you take the case? Well, I'm not sure yet. But you've got to. You've got to help me. Of course. Of course, Mr. Martin. I'll try. But there are a number of things to do. First, we'll have to have one or two more consultations. Full history detailed on the basis of the fact. I'll know better how to approach it or whether to approach it at all. Sometimes this procedure can be, well, dangerous. If the person had the severely aggressive nature, for example, I'll have to know all about it. What do you want to know? Everything. In cases of electronic ectoplasmic phenomena, we need to know everything. If there are complications of nuclear nature, we must proceed carefully. Very carefully. How much. How much will all this cost? That depends on what we find in the preliminary consultations. This interview will be $500. The next, perhaps 700. Twelve hundred dollars. A heavy drain on my powers. Mr. Martin, you must understand that cases of electrophonic ectoplasm are difficult. All right, I'll go through with it. Good. I think you've made a wise decision. But you must tell me everything. Yes, yes. Now, let's get started, shall we? The woman's name? Gloria. Gloria Denham. Denham. And when did she die? 15 years ago. Now, Mr. Martin, what exactly was your relationship to her? We were engaged to be married. I see. And, of course, you must have had disagreements, fights at times. Will you tell me the exact nature of such arguments?

[C]

$500 sit in stake.

[B]

Jess.

[C]

Have you lost all your reasons?

[B]

It's the only way, Ellen. Believe me, it's the only way. I've got to beat this thing. I can't let Gloria go out.

[C]

Oh, but stop it. Sick and tired of hearing about Gloria and Gloria's ghost. You're just trying to hurt me, Jeff.

[B]

No.

[C]

You're trying to hurt me and ruin yourself. Let me.

[B]

Hello, Jeff. Jeff, darling.

[C]

Who is it? Who is it? Who is it?

[B]

There. Ella.

[C]

Gloria. With Gloria. I heard her voice. But that's impossible, Jeff. It's impossible, isn't it?

[B]

And then what happened? I. I left. Yes. I just left, that's all. I have a feeling there's more to it, Mr. Martin, and you must tell. No, no, there's no more to it. I told you, I left. I just left. I never saw her after that. Now, come, come, Mr. Martin. There must be something you're holding back.

[C]

Robert, will you.

[B]

I'll have to drop this case if you don't tell me. All right. All right. I killed her. Is that what you want to hear? Did you? Yes. Yes, Yes. I killed her that night. I killed Gloria Denham. Now are you satisfied? I killed her. I killed her. And that's why she's come back after 15 years. Confession is always good for a soul. Poor her. So I'm told. Jeff Martin. The guilt became too much for you, didn't it? Like a stone around your neck. What are you going to do, huh? Oh, poor Jeff. Poor Jeff. He's being followed. Followed by guilt, followed by. Until he's found himself trapped. Trapped in a living nightmare. People. People. Oh, there are so many different kinds of them. And so many of them look like so many of the rest of them. And a few look exactly alike. Have you ever come face to face with someone in a crowd who looks exactly like you? Perhaps you've met someone who looks like a person. Who? Someone you knew the world. Person very close to you. For a split second, you are. You're gripped with terror. It cannot be true. And you know why? It may be for the same reason Jeff Martin has. That person is not alive. I wonder what poor Jeff will do. And then proceed. She travels so hard. At first I thought she was only unconscious. But then when I couldn't bring her to, I knew. I knew she was dead. That was when I left. I left the apartment. Nobody ever questioned me. I was in the clear. I thought. I never heard about her. Again? Have a drink. This mountain. Here you are. Thanks. In a way, it's a relief. Relief? It's a tough party. It's been bottled up all these years. That's why I feel better, of course. Well, I guess you better call the police. Now, Mr. Martin, please don't be so hasty. There may not be any need to call the police. I killed her. I'm a murderer. Yes, yes, I know, I know. But we must recognize the real. The police haven't bothered you for 15 years. Why invite trouble now? Gloria's back. That's the trouble. Gloria, we can deal this. We can. A difficult case, but I think I can do it. Yes, we must conduct a seance and put this ghost to bed once and for all. How much will it be? $4,000. $4,000? Oh, no, no, I can't. You're a man of means. That's all the money I have in the world. It's more than I've got. All right, all right. I won't press you, Mr. Martin. If you feel you can't afford it, you know best. But I feel it my duty to point out the risks you are running, the possible danger. You see, these cases of electrophonic ectoplasm are unique. And there are definitely nuclear photon complications. The woman Gloria has achieved after 15 years of sonic and visual representation. She's obviously a strong positron framework, an exceptional amount of beta gamma omega energy reserves. She will attain a material representation. And then. Well, then what? She has the power to kill. But if you can't afford to say, aunt. Mr. Martin, I understand these things. I'm sorry I can't be of any more help, but my time is. Oh, wait, wait, wait, wait. I'll go through with it. Say yes. Yes. When can you do it? Tomorrow, if you like. We'll need a strong life energy frame to resist the power. All right. See you tomorrow, then. Now, if you'll all be seated in any particular place. Are you over there, Mr. Lacey? Mr. Martin will take the central seat. Yes, yes, Mrs. Martin.

[C]

Thank you.

[B]

Now, I think we're about ready.

[C]

Do we hold hands or anything?

[B]

As I've informed your husband, Mrs. Martin, I'm not a medium. My work is scientific. No, we don't hold hands. Oh. If you just place your palms on the electrodes, we'll have the contact we need. I sit here, you see, next to the controls. It's by means of these controls that we achieve the contact with the electrophonic ectoplasmic being.

[C]

I see.

[B]

Gloria has succeeded in rearranging her Energies into a representation of the life form once again. A remarkable seat, if I do say so. But on the other hand, she's put herself in danger. We can trap her by means of this machinery, see? A complicated circuit, but essentially an arrangement of cathodes and anodes. That'll create a magnetic flux and draw her into our sight. Trapped. I can't go through it. No, I can't. Let me out of here.

[C]

Sit down, Ellen.

[B]

Ellen, I can't.

[C]

And sit down.

[B]

Sit down. All right. All right. Now, I think we're ready. Mr. Lay, will you turn out the light? Sure. Good. Now I'll set the controls. Now, please don't be frightened. What's that? Just adjusting the frequency, Ms. Mar. She can vary her wavelength too, you know. That way she tries to evade us. But we don't get that. What's that? We've met her. She can't escape now. Let me out of here.

[C]

Sit down. Sit down. I want to see.

[B]

There she is. Yes. Yes. It's Gloria. She's fluorescent. She. Gloria. So what do you want? Why don't you leave me alone? Why? Why do you.

[C]

Don't you dare call my husband.

[B]

Darling. Be quiet, Ellen. Oh, poor darling. Jeff. I'm sorry. That's why I came back, Jeff. I didn't want you to.

[C]

You certainly succeeded. The poor man hasn't had a great piece of money.

[B]

I've mean it. I know that. That's why I came back to kill you. I know.

[C]

You couldn't hold him, but I. Did you hear that? You, you hurt me.

[B]

Oh, dear. Darling, I feel so sorry for you. Oh, if I could only come back completely and make this happen. Go. Ella, don't. Sit down. Ella Mountain.

[C]

Destroy the image. That's what I intend to do once and for all. Ella, don't. Don't say anything to me. You'll turn in. The lights are going to show you what I.

[B]

No, no, no, don't. She'll go away. Stupid. Kill me. Let go, you. Hurry.

[C]

Oh, with pleasure. Now you can turn off that fake machinery, Mr. Cole, and disconnect that microphone.

[B]

Microphone? Yes, Yes. I, I don't need it any longer. Do we, Gloria?

[C]

Yes. There's your ghost chef. She's as alive as I am.

[B]

Well, you're alive.

[C]

It's questionable.

[B]

Shut up, Gloria. I, I, I, I don't understand. You're not dead.

[C]

All right, Mr. CO. Now you can return my husband's $4,000.

[B]

Well, now.

[C]

Well, what?

[B]

Nothing. Of course I'll return it. This was your fault. Lately you suggest his wife be here. I don't blame Eco. I did my best. You were in on it, too.

[C]

You. You.

[B]

Now, wait a minute, Jeff.

[C]

There's a better way to wind this opera. Go on, Jeff. Don't just stand there.

[B]

Oh, yeah. No, no, no, no, really, Mrs. Martin. Is this Mrs. A? It was only little J.

[C]

But the laugh's on you. Oh, for heaven's sake. Look what you did to my nylon.

[B]

Oh, good. Hello? Hello? Police. And so it was an awful dream the poor man had one that left him running crazy mad. Do not be afraid or harbor doubts about the mind Unless the eye of the mind goes blind Go your way and see quite free. These things never happen to you or me. Well, I do hope you'll sleep tonight. No, I will. I think I have something warm before I retire. And then off to some pleasant dream.

[A]

And Doug, here we have the Limu emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.

[B]

Limu is that guy with the binoculars watching us.

[A]

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[B]

Liberty. Liberty Savings.

[A]

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