Operation Nightmare 54-04-07 (28) The Leech

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Operation Nightmare 54-04-07 (28) The Leech
Date: August 18, 2025
Host: Harold's Old Time Radio
Featured Star: Peter Lorre

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Episode Overview

This episode of Harold's Old Time Radio dives into a chilling tale from the golden age of radio drama: "The Leech," starring Peter Lorre. The story immerses listeners in a tense, psychological nightmare of guilt and paranoia following a crime of passion. With atmospheric narration and sharply written dialogue, the episode explores themes of fear, consequence, and the inescapability of guilt, all delivered in the haunting style that made radio thrillers classics.

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Key Discussion Points & Plot Breakdown

1. Introduction and The Nature of Nightmares

• [00:32–01:59] Peter Lorre’s character opens with an evocative monologue about nightmares—the kind where something horrific chases you and there’s no escape, even after waking.
  • Notable Quote:
    “Did you ever have a dream… you’re running… away from some grotesque, horrible thing… and you wake up and… you know you've been dreaming, but the sweat's over your body… even though you're awake, that thing's still there in the room with you. It clings. It clings like a leech.” — Peter Lorre ([00:42])

2. Setting the Scene: A Forbidden Love

• [02:09–03:27] The protagonist, Tom Fell, is introduced as a likable young man whose nightmare begins when he falls for Iris, a married woman.
  • Their conversations are laced with secrecy and anxiety as they plan to confront Iris’s husband, Peter.

3. Confrontation and Murder

• [03:36–06:44]
  • Tom and Iris go to Peter’s office intending to confess and request a divorce.
  • Peter coolly reveals he already knows about the affair and refuses the divorce, threatening to ruin Tom professionally instead.
  • The situation devolves into violence. In a chaotic moment, Peter is killed.
  • Notable Quotes:
    “I'm going to do everything in my power to ruin you… I'll have you disbarred, disgraced, talked about…” — Peter ([05:21])
    “He’s dead. And we're free now, Iris… We’re free.” — Tom ([06:51])

4. Guilt, Panic, and The Problem of the Body

• [06:56–09:49]
  • Panic sets in as Tom and Iris debate what to do with Peter's corpse.
  • They realize simply leaving or calling the police is not an option; hiding the body seems to be their only chance.
  • The narrative voice (Peter Lorre) paints the act of murder as something impossible to escape, with the dead body likened to a leech.

5. Complications: Unexpected Visitors

• [09:50–14:39]
  • A cleaning woman enters, nearly discovering the crime, adding to their anxiety and confusion.
  • Later, a package deliveryman arrives. Tom and Iris, with the body hidden in the closet, narrowly avoid detection but are visibly unraveling.
  • Notable Moments:
    • The cleaning woman's oblivious chatter contrasts with the tense mood, creating dark humor and suspense.
      “Now, don't be telling me how to do my job… 10 dollars, that's what he usually gives you, isn't it?” — Cleaning Woman ([11:20])

6. The Corpse as a Living Nightmare

• [14:39–17:23]
  • Tom and Iris experience deep paranoia, feeling haunted by Peter’s corpse.
  • They become trapped in the office, unable to leave as the closet door (with the corpse inside) mysteriously locks.
  • The narration underlines their helplessness and the corpse’s oppressive presence.
  • Notable Quote:
    “It's like a leech, isn't it? This dead body, this corpse that won't go away. … Like an indestructible leech slowly sucking fear and … terror from the heart of the killers.” — Narrator ([17:41])

7. Desperation and Apparitions

• [18:08–20:41]
  • Trapped for hours, Tom and Iris edge toward hysteria—debating how to dispose of the body and whether the dead Peter is somehow still alive.
  • In a surreal, terrifying moment, rigor mortis or fear causes the corpse to move, further unhinging them.
  • They ultimately decide to throw the body out the window, staging a suicide.

8. Tragic Conclusion

• [21:09–22:38]
  • As they attempt to stage Peter’s “suicide” by throwing him from the window, a physical struggle ensues. In the chaos, both Tom and Iris plummet to their deaths.
  • Police arrive to survey the grisly scene: two bodies on the street, a woman in the office hysterical over “the dead coming to life.”
  • Notable Quote:
    “You see, it's never simple, this job of killing… Suppose the corpse hangs on, grinning, leering, clinging, like a leech that won't be gone.” — Narrator ([22:38])

9. The Narrator’s Final Word

• [23:13–End]
  • Peter Lorre returns to gently break the tension, reminding listeners it was only a story—but warning that nightmares can begin in the most innocent places, even among the flowers.
  • Memorable Closing:
    “Well, have a good night's sleep and remember it was only a story… when you're out in the garden… watch out for the irises… it might be the beginning of a nightmare.” — Peter Lorre ([23:13])

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Notable Quotes & Moments (with Timestamps)

• About Nightmares:
  “It clings like a leech.” — Peter Lorre ([00:42])
• Rejection, Threats, and Murder:
  “There’ll be no divorce… I’ll have you disbarred, disgraced, talked about…” — Peter ([05:21])
• On the Problem of the Corpse:
  “Men kill for many different reasons… But whatever the reason, when murder is done, there is always the corpse. The corpus delicti.” — Narrator ([08:13])
• Paranoia Mounts:
  “This dead body, this corpse that won't go away… Like an indestructible leech slowly sucking fear and terror from the heart of the killers.” — Narrator ([17:41])
• Haunted by Guilt:
  “He's dead, Iris. I'll show you… Look and see. He's dead.” — Tom ([19:28])
• Ironic Afterword:
  “Suppose the corpse hangs on, grinning… clinging, like a leech that won't be gone.” — Narrator ([22:38])
• Closing Reminder:
  “Have a good night's sleep and remember it was only a story… watch out for the irises… it might be the beginning of a nightmare.” — Peter Lorre ([23:13])

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Structural Highlights & Atmospheric Tone

• The episode masterfully builds tension using dialogue, narration, and a sense of claustrophobic entrapment.
• Peter Lorre’s hosting and performance create a chilling, omnipresent feel, blurring lines between reality and nightmare.
• Strong use of metaphor (the “leech”) deepens the theme of guilt as something that cannot simply be slain or hidden.

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Conclusion

“Operation Nightmare: The Leech” is a dramatic meditation on guilt, inevitability, and the impossibility of escaping one’s actions. Listeners are drawn into a fraught tale where, no matter how the crime is concealed, its consequences latch on “like a leech.” The episode’s measured pace, atmospheric dread, and Peter Lorre’s inimitable voice make it a lasting example of old-time radio suspense at its best.

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Transcript

[A]

Oh, what you eating?

[B]

The new banana split cookie from AM PM all freshly baked with real butter with banana, chocolate and strawberry flavors.

[A]

That sounds amazing. Can I have a bite?

[B]

I'm sorry, but no. But you can't split the banana split.

[A]

Not even a little.

[B]

Not even a crumb.

[A]

What if.

[B]

No, please.

[C]

Mine.

[D]

When it's too legit to split. That's cravenience. Get a 3 pack for 99 cents with our app amp too much good stuff. Plus tax where applicable. Prices and participation may vary in terms of conditions apply.

[C]

Out of the dark of night, from.

[B]

The shadows of the senses, comes this. The fantasy of fear. Nightmare starring as your exciting guide to terror.

[C]

Peter Lore. Did you ever have a dream? A dream in which you were running and running and running away from some grotesque, horrible things that were after you to kill you? Oh, yes. And you scream and you keep running, but yet it runs too. And. And no matter how you run or how fast you run, it's still after you. This thing. This thing runs fast. And you enter and you can get away from it. No matter where you turn, you can't get away from it. And you wake up and. And you know you've been dreaming. But the sweat's over your body like a wet shroud. And your heart, it beats wildly and. And you find that you're still screaming. Because even though you're awake, that thing's still there in the room with you. It clings. It clings like a leech. I know the story of a man and. And a leech he couldn't get away from. But in this story, the leech was dead. And he was human.

[B]

You are listening to Peter Laurie tell you of the leech. Another transcribed story of nightmare.

[C]

How about this man? His name was Tom. Tom Fell. Nice young man. Ordinarily likable. His nightmare started the day he fell in love. Oh, Iris. She was beautiful.

[B]

What?

[C]

The flower she was named after. But this iris, she had thorns attached.

[A]

Yes.

[C]

Iris was married.

[B]

Out the window.

[A]

Well, why take a chair?

[C]

Oh, I take a chance.

[B]

Always looking over the shoulder to see if we're being watched.

[A]

Oh, don't.

[B]

Another cigarette in another doorway. A few quiet puffs, a weak smile and another separation.

[A]

Well, what can I do about it?

[B]

You could break it clean one way or the other.

[A]

What are you talking about?

[B]

You know what I mean. Iris, you can tell him or tell me.

[C]

Oh, Todd. Iris, there's just no sense in.

[A]

Well, what could I tell him?

[B]

Tell him the truth, that's what. Tell him you're in love with me. Tell him we want to make our lives together. Mom, tell him you want a divorce.

[A]

All right, I'll tell him.

[C]

When?

[A]

Tonight. Now come on, let's go upstairs.

[B]

Both of us. Me?

[A]

Well, why not?

[B]

You're part of it, aren't you? Or are you afraid? No, no, I'm not afraid. Come on, we'll see him now.

[A]

I hate those self service elevators. I'm always afraid of getting stuck. But they're too cheap around here to have any operators at night.

[B]

Well, are you sure now? Yes, yes, I'm sure. Go on, open the door. Yeah. No, no, no. I think I better try to get a postponement. Yeah, yeah, I'll let you know. Yeah. Bye. Hello, Peter. Well, well, this is a surprise.

[A]

Surprise.

[B]

Didn't expect to see you here, Tom. Well, I happened to meet Iris on the street. Uh huh. Well, as long as you're here, how about a drink? Yeah, it's a good.

[A]

No, we don't want a drink, Peter.

[B]

I've got some good scotch. What do you say, Tom?

[A]

No, Tom doesn't want a drink.

[B]

Oh, well. Guess this is the first time you've seen my office. Tomorrow. Yes, yes. Nice place. Burning the midnight oil, huh? Well, you know how it is, busy season. I work a lot at night during the busy season. Yeah, sure. Well, sure you won't have a drink? Sure.

[A]

Peter. Thomas. Something to tell you.

[B]

Me? You said you.

[A]

All right, I'll do it. Just keep quiet. Peter, I think it's about time we stop playing hide and seek. It's about time you knew, Peter. Tom and I. Tom. Well, what's the funny.

[B]

You can't tell me a thing, Iris. Either of you. You can't tell me a thing I don't already know. Peter, I. I want to say that you came here to tell me you're in love. You want a divorce. You want me to step aside. You don't want to hurt me. But don't you think I've known. Now look, Peter, don't you think I've known for a long time? About the meetings, the cocktail hours, the trip, the.

[A]

All right, so you've known. Maybe it's better this way. We don't have to talk about it now.

[B]

That's right, we don't have to talk about it. Only one or two things. First, there'll be no divorce. Now hold on, Peter. You can't do this to Iris. You can't hold her in prisoner when she doesn't want you. Don't tell me to shut up. I love her. I want to give her the things that she deserves. You want. You want. Shut your eyes. Yeah, well, maybe that's a good idea, too. I said, tom, there's not going to be any divorce. Second. I'm going to ruin you. What? I said I'm going to do everything in my power to ruin you. I'll use every ruse I can think of, every trick, take advantage of every influence I can muster. I'll have you disbarred, disgraced, talked about it. With no chance of practicing in this state. You're insane. Am I? You know I can do it, don't you? You know I've got the power. Why, you weak Pete. Coward. Trying to take my wife away from me. You think that's an achievement? You pig out of that way. You. No, no. You dip.

[A]

You.

[B]

No, no, it's. It's iron. It's heavy like. No, no, don't. Don't laugh at me. Laugh at me. No, you won't laugh at me. Laugh at me. You won't laugh at me anymore. You won't stand in my way anymore. You. No, you won't.

[A]

You won't stand. That's enough. That's enough.

[C]

Yeah, that's enough.

[B]

Let him go.

[C]

Easy.

[B]

Easy, Iris.

[C]

Easy.

[B]

Easy. It's all right. Easy now.

[A]

I gotta sit down.

[B]

Sit down.

[C]

Here. Sit down.

[A]

Oh, Tom. Cover him. Cover him with something. Please.

[B]

Take it easy. Here.

[A]

Tom. Tom is dead.

[C]

Yes. Yes. And we're free now, Iris.

[B]

We're free. You feeling any better?

[A]

Yes, I'm all right now.

[B]

We've been here too long. 15 minutes.

[A]

Well, let's leave. Let's leave now.

[B]

Leave it like it is. No.

[A]

What do you mean?

[B]

If they can't find the body, there's no murder. It's the only way. Nobody saw us come in. That's in our favor. But if we leave him here, we're in for it. No, we'll have to take him.

[C]

Do something with him.

[B]

Something.

[A]

His eyes are still open.

[C]

Stop looking at him.

[B]

Iris, will you pull out of this?

[A]

I'm sorry. Only 18. Said. He's smiling.

[B]

Call the police now and get it over with.

[A]

Go. All right, we'll do it your way. But for cheap sake, let's do it. Just.

[B]

I've been thinking. If we just take him out between us as though he were drunk. Wait. Somebody outside. The cleaning woman. It's the cleaning woman. She's coming this way. About that. Right. Of course, she's got her own key. I forgot. She's got her own key.

[C]

Yes, just a simple little thing like a key. Ordinary, commonplace. But now. Now it Takes on a new shape. The shape of a weapon. A weapon turned against Tom and Iris. Key or key is used to open doors. House doors, office doors. And sometimes. Sometimes the doors of a cell. Poor Tom. Poor Iris. Yes, the door is opening. But the door. The open door is a trap. The trap of a living nightmare. Men kill for many different reasons. For money, for love, for power. But whatever the reason, when murder is done, there is always the corpse. The corpus delicti. The body of the crime. You know, it's. It's not easy to hide a dead body to get rid of a corpse. Tom knows this. Iris knows. But they took a chance. They ran risk. And the running isn't over yet. No, they. They have to get rid of the body. They can't leave it there, slumped over the office desk. Cleaning women have eyes, too. Eyes with which to see the shadows cast by a corpse. The shadow that lies over the lives of Tom and Iris. Darkening. Darkening their ill gotten freedom.

[A]

What are we gonna do?

[B]

Turn on the light.

[A]

Who's that?

[B]

Yes?

[A]

Somebody in here.

[B]

We just came in.

[A]

Huh? Didn't see you in the hall. What are you doing here?

[C]

Well, you ain't Mr. Howard.

[A]

I'm Mrs. Howard. We are.

[B]

Are you?

[A]

Well, I'm waiting. I'm waiting for my husband. That's all right, dear. You just sit down. I'll be finished here in a few minutes.

[B]

I wonder if you might come back later.

[A]

All the work they put on a soul around here. 20 offices to clean every night. For what wages they call them pittance, says I.

[B]

There's no need to clean in here, Mr. Howard. There is.

[A]

A sweet soul. Always tips me when he's working nights. He's coming back here. We expect him.

[B]

Look, I wonder if you could come back later.

[A]

Later? Look at this mess. I'll just pick up around that desk.

[B]

Stay. Where can I catch.

[A]

Here now. What's the matter with you?

[B]

I. Nothing's the matter. Just that Mrs. Howard and I have some business to discuss and we'd rather be alone.

[A]

You'll be alone as soon as I finish up here.

[B]

Just a minute.

[A]

Not that I have to work in this life. Barney can't see it.

[B]

There's that light.

[A]

But I've got.

[B]

I said no way. Do you hear?

[A]

Now. Now see what you've gone and done? Turn my tail.

[B]

Never mind that.

[A]

Never mind, he says. Never mind. The management will be sure of mine if I leave it there.

[B]

I'll clean it up and be quick about it.

[A]

You'll understand if I don't. I told you my Husband would be back. Don't worry about the tip. I'll tell him to leave it if you're not. He thinks the tip I'm worried about.

[B]

All right, all right. Nothing to be cleaned behind that desk.

[A]

Now, don't be telling me how to do my job. If you please, just in case. Just in case he doesn't arrive here. 10. $10. That's what he usually gives you, isn't it?

[B]

No.

[A]

I mean, yes, ma'.

[B]

Am.

[A]

10 is what he usually gives me. Now we got to be left alone. We have something to discuss. All right.

[B]

All right. What are you laughing at?

[A]

Something to discuss. All right, Mom.

[B]

I understand.

[A]

Mom. I won't be coming back later. Mom.

[D]

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[C]

That old head.

[A]

We've got to get out of here.

[B]

Sure.

[C]

Sure, we have to.

[A]

Well, let's go.

[B]

I want to leave him here.

[C]

Iris, think, will you? She's seen us.

[B]

You gave her your name. Why on earth did you tell her your name?

[A]

I didn't.

[B]

Well, we've certainly got some thinking to do now.

[C]

We can't leave him here, that's for sure.

[A]

Well, how are we going to get him out?

[B]

I don't know yet. But if we go without him, we're sure to be just as dead as.

[C]

He is sooner or later.

[A]

Any ideas yet?

[B]

No.

[A]

Stop walking up and down like this.

[B]

I'm thinking.

[A]

Well, sit down and think.

[C]

Listen, it's a cleaning woman.

[B]

She's still on this floor.

[A]

You can't get out if she's in the hall. Not with him.

[B]

I know. I know. Oh, Iris, what's the matter with you?

[A]

Tom. Tom. His eyes. They follow me all around.

[B]

I can't. Will you stop looking at it?

[A]

I can't.

[B]

Will you stop at all?

[A]

Right.

[B]

I'm all right. Turn the other way.

[A]

All right.

[C]

A cleaning woman.

[B]

She'll be going down to the next floor soon. Then we can take him out, hold him between us as if he were drunk. All right. Anything.

[A]

Anything. Now, just so long as we do something with him. Get away from him.

[B]

Wait. Somebody coming in here. Oh, I know that.

[C]

Come on, grab his feet.

[A]

What?

[B]

We'll put him in the closet. Come on. Will you push in?

[A]

I'm fine.

[B]

Wait a Minute, I'll drag him in.

[A]

I'm fine.

[B]

Look at you. If you only would. Package, Mr. Howard. All right, close the door.

[A]

Well, come out. Never mind I.

[B]

Close the door, for Pete's sake. Thanks, Mr. Howard. Close it. I'm all right in here.

[C]

Get rid of him fast.

[A]

I know, Ms. Howard.

[B]

Hanging. Steve, open up, will you?

[A]

I'm coming. Yes, Mr. Howard here. No.

[B]

Well, I got a.

[A]

Well, I'll take it.

[B]

Sorry, ma'. Am. I need a signature.

[A]

Well, if you come back later.

[B]

Sure, I'll wait.

[A]

But you can't wait in here.

[B]

Look, lady, this is an important package.

[C]

That's why delivery so late at night.

[A]

But, Mr. Howard, they told me.

[B]

Get a signature. They said wait around if you have to, but make sure he gets it.

[A]

Steve, I'm sure it'll be all right.

[B]

If I signed it, and I ain't so sure. No, lady, no go now. Look, I'll wait.

[A]

It's funny.

[C]

In time.

[B]

Look. Hey, what was that?

[A]

What?

[B]

I thought I heard something.

[A]

I didn't hear a thing.

[B]

Just sounds funny. Why you come from that closet as though.

[A]

Look, will you let me sign for that package, please?

[B]

I told you, lady, I got orders. Oh, strange woman's face.

[A]

But I'm Mrs. Howard.

[B]

Oh, are you Mrs. Howard? Oh, that's different. Why didn't you say so before? Okay, Mrs. Howard.

[A]

Time.

[B]

I heard.

[C]

Okay, thanks. Sorry, Ms. Pirates.

[B]

Iris. Let me out. For heaven's sake, let me out.

[A]

All right, I'm coming. Hurry, please. I can't.

[B]

I just let the alpha.

[A]

I'm trying. No, no, no. What's the matter, Tom?

[B]

I'm all right. I'm all right. Only. Only. Something grabbed my ankle. Something grabbed my ankle. No, no, no. I'm all right. Let me get my breath. Imagination. Just my imagination. I'm all right. I'm all right. The cleaning woman going. Yes. All right. We've got to act now. Get him out of here.

[C]

Come on.

[A]

What's the matter?

[B]

I don't know. What is this?

[A]

Locked?

[B]

It's not stuff. It's locked.

[A]

What?

[B]

It's locked.

[A]

But it can't be locked. I didn't look.

[B]

Of course you didn't. There isn't any lock on this side. The lock is.

[C]

It's inside.

[B]

Inside the closet.

[C]

Oh, really?

[B]

Really.

[C]

This. This isn't possible. Is it a dead body locking the door behind him? Or is it Seemed so simple at first, didn't it, Tom? Didn't it, Iris? He stood between you, blocking the way of your love, and all you had to do is get rid of him. And you did, or thought you did. But you only got rid of his life. He. He's still there. And he. Him. His body is still dangerous. You have to get rid of it. Him, don't you? And now he's frustrated you again. That's silly, isn't it? A dead man can't lock a door. Poor Tom. Poor Iris. They're trapped. Trapped in a living nightmare. Now, where were we? Oh, yes, yes, yes. Tom and Iris have murdered.

[B]

And.

[C]

And now. Now they must get rid of the body. But everything seems to be going wrong, doesn't it? First a cleaning woman, and then a messenger and. And now the door is locked. Who locked the door? Certainly not Peter. What did he?

[A]

Huh?

[C]

You know, it's like a leech, isn't it?

[B]

This dead body, this.

[C]

This corpse that won't go away.

[B]

That.

[C]

That won't be gotten rid of, that stares and grins and. And persists in remaining on the scene. Yes, yes. Like an indestructible leech slowly sucking fear and. And terror from the heart of the killers.

[A]

What time is it?

[B]

After three.

[A]

Six hours. We've been here almost six hours, Tom. Why don't we leave?

[B]

We can't leave with him in the closet.

[A]

We'll get him out.

[B]

Oh, clock, I tell you.

[A]

Well, try again. Try it again.

[B]

No. Go. What are we gonna do? I don't know.

[A]

We can't sit here like this.

[C]

I'm thinking.

[A]

That's all you do is think. Why don't you do something? For heaven's sake, do something.

[B]

All right. We'll just have to do it that way.

[A]

What way?

[B]

Force the closet door. It'll be evidence. It'll point to something wrong. But there's no other way.

[A]

Why didn't you think of it before?

[B]

But I didn't want to leave a forced door. That's why I didn't say it. Don't you understand?

[A]

All right, but let's do it. It's the only way. Now.

[B]

Ought to be something around here. I can.

[A]

Well, there's a screw drive on the top desk drawer.

[B]

Yeah. Yeah. This will do. Tom.

[A]

Tom, Look. Tom, the drove.

[C]

No, it can't be.

[A]

Yes, it is. Tom. It's opening. It's opening. He's alive.

[B]

He can't be alive. No, he can't be. If he is, he won't be much longer. Brother. You're not alive. Not after I.

[A]

What is it?

[B]

Same position. She's dead. It's been dead for hours.

[A]

What about the door?

[B]

The door, Tom. I don't know about the door.

[C]

It got Stuck or something.

[B]

Moisture. I don't know. Just stuck.

[A]

No, he locked it. Tommy locked it behind him.

[B]

Wouldn't have locked it. He's dead.

[A]

He's not dead. He's alive, I tell you.

[B]

He's dead, Iris. I'll show you. He said here. Here, I'll show you. There. Look at him. Look and see. He's dead.

[C]

Irish.

[B]

Look at him and tell me he's alive. Go on, tell me. He's alive. You see? You see? He's dead. He's got to be dead. No heart. No breath. Look. Look.

[A]

I can't look. Please.

[B]

Please, I. I'm sorry, Iris.

[A]

What are you. What are you sitting down for?

[B]

I'm tired.

[C]

I'm so tired.

[B]

Tom.

[A]

Tom, we've got to do it now. Do it now. We can't do it here till morning. People won't be coming here.

[B]

I know.

[A]

We've got to get out and take him with us.

[B]

I'm so tired.

[A]

Please.

[C]

All right, all right.

[B]

I know. I know, Iris.

[C]

Look. But we won't take him.

[A]

What?

[B]

There's another way. Maybe a better way. I don't know why I didn't think of it before.

[A]

What do you mean?

[B]

A window.

[A]

Window.

[B]

That way.

[C]

That way it'll look like suicide.

[B]

We can say he came in. He looked strange, got panicky.

[A]

Do you think it'll work?

[B]

We have to do something, Iris. We have to take the chance. All right.

[A]

I'm tired too.

[B]

Do it. Do it.

[A]

Get it over.

[B]

Let me rest a minute. Tom.

[C]

Huh?

[A]

Tom, he moved.

[B]

Don't be crazy.

[A]

I tell you, he moved his arm.

[B]

There.

[A]

There again. You thought I repeated. I told you he's alive.

[B]

Doc, he's not alive.

[A]

What do you mean?

[B]

Oh, rigor. I tell you, it's rigor, that's all. There's an explanation for it. It happened. I tell you, it's rigor. Now shut up. All right.

[C]

Help me.

[A]

I can't.

[C]

I didn't ask you to.

[B]

Just. Just. Just open the window.

[A]

All right.

[B]

All right. Stand away.

[A]

Huh?

[B]

Stand aside to stop staring. 25 floors. That'll be good. I don't have to get him up, don't I? Now, just the shout. He's got his hand on my lapel, holding. Get him off.

[A]

Off. Get him off. Come back. Oh. Oh, no, no, no.

[B]

All right, stand back there. Stand back one side. Come on. Don't deep. What's the matter? Ain't you never seen dead people before? One sunny there. Harrison Bauer here. No, no, not a check in. Oh, wait a minute. We got a double jump on Verne street out of an office building? Yeah, 25 floors. Oh, brother. I better get us an ambulance too. No, no, it's a third party. Woman up in the office screaming her head off. Now completely gone. Keep screaming about the dead coming to life or something. Okay, Harrison.

[C]

Check. So, you see, it's never simple, this job of killing. First of all, the victim is often less than willing. And when it's done, suppose the corpse hangs on, grinning, leering, clinging, like a leech that won't be gone. Oh, yes, there's time to think before the act. But who can predict corpse with so little tact?

[B]

You are listening to Peter Laurie in nightmare.

[C]

Well, have a good night's sleep and remember it was only a story. But tomorrow, by tomorrow, you have forgotten all about the whole thing. When you're out in the garden twinning the flowers, the rose bush, the seniors, the irises, only as iris. Oh, yes, watch out for the diaries. She. I. I mean, it might be the beginning of a nightmare.