The Creaking Door xx-xx-xx (02) I See Ghosts

Summary

Podcast Title: Harold's Old Time Radio
Episode: The Creaking Door xx-xx-xx (02) I See Ghosts
Release Date: May 20, 2025

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Episode Summary: "I See Ghosts"

"I See Ghosts" is a gripping installment of Harold's Old Time Radio series, delving deep into mystery, suspense, and the supernatural. Set against the backdrop of the Golden Age of Radio, this episode masterfully intertwines a noir detective narrative with eerie paranormal elements, keeping listeners on the edge of their seats from start to finish.

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1. Introduction to Harry Logan

The episode opens with a tense atmosphere as Harry Logan, portrayed by Speaker B, finds himself entangled in a perplexing murder case. Accused of murdering Marion Hollister, Logan maintains his innocence, baffled by his own lack of memories surrounding the incident.

Notable Quote:
"I woke up in this girl's apartment. It was a nicely furnished place. I'd been sleeping in a chair." — Harry Logan [03:42]

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2. Police Interrogation and Suspicion

As the story unfolds, Lieutenant Carly (Speaker G) confronts Logan, skeptical of his claims. The interrogation reveals inconsistencies in Logan's story and points out that the fingerprints found on Hollister's neck belong to a man of larger stature, suggesting Logan might not be the true culprit.

Notable Quote:
"You got time. I'm paid by the police department, so I got time." — Lieutenant Carly [04:02]

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3. Logan's Quest for Truth

Determined to uncover the truth, Logan begins his investigation. He grapples with fragmented memories, recalling an encounter with a girl in the subway before the murder. His confusion deepens as he struggles to piece together the events leading up to finding Hollister dead in her apartment.

Notable Quote:
"The last I remember is getting off a subway train at City Central. I was walking up the escalator and... there was a girl." — Harry Logan [05:00]

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4. Encounter with Chief H

Chief H (Speaker H) introduces a glimmer of hope, suggesting that Logan might be telling the truth. He shares insights about similar cases where Logan's defense has been successful, hinting at a possible pattern that could explain Logan's situation.

Notable Quote:
"From the Hollister case, I hate to say this at my time in life, but I have a sneaking feeling this guy Henry Logan is telling the truth." — Chief H [06:21]

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5. Delving into Marion Hollister's Past

Logan's investigation leads him to uncover Marion Hollister's troubled history. Through conversations with Mr. Parsons (Speaker H), he learns about Hollister's tumultuous lifestyle, including previous arrests for drunk driving and involvement in criminal activities, painting her as a complex character with hidden depths.

Notable Quote:
"Between you and me, strictly a hot rod. A poor little rich girl." — Mr. Parsons [13:37]

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6. The Mysterious Death of Duke Fellini

The plot thickens with the discovery of Duke Fellini's death. Logan visits Fellini's club, only to find it closed and Fellini himself dead from gunshot wounds. This revelation propels Logan further into the maze of deceit and danger surrounding Marion Hollister.

Notable Quote:
"This is Fellini's club. Where's Fellini?" — Harry Logan [17:46]

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7. The Dual Identity Unveiled

In a climactic turn, Mary Ellis (Speaker C) confronts Logan, revealing herself to be both Marion Hollister and her maid, who orchestrated the impersonation to frame Logan. She confesses to killing Carlo Fellini and manipulating events to cover her tracks, explaining the supernatural elements as manifestations of her guilt and desperation.

Notable Quotes:
"I was Marion Hollister. I was Mary Ellis too." — **Mary Ellis/Marion Hollister [25:40]
"I shot Carlo because he was through with me. All he ever wanted was money and more money." — Mary Ellis/Marion Hollister [26:30]

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8. The Confrontation and Resolution

The episode reaches its peak as Logan confronts Mary/Marion, leading to a dramatic showdown. Mary admits her crimes and the lengths she went to manipulate the investigation, ultimately choosing to end her life to evade justice. Logan grapples with the reality of the ghostly apparitions, realizing the true story behind the murder.

Notable Quote:
"I hate you. I hate everybody." — Mary Ellis/Marion Hollister [28:06]

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9. Final Reflections

As the dust settles, Logan reflects on the events, acknowledging the blurred lines between reality and the supernatural. The episode concludes with a haunting reminder of the elusive nature of truth and the shadows that linger beyond the known.

Notable Quote:
"Dear me, what sort of a world is it when you can't even trust a ghost?" — Speaker F [28:33]

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Notable Quotes Compilation

• "I woke up in this girl's apartment. It was a nicely furnished place. I'd been sleeping in a chair." — Harry Logan [03:42]
• "You got time. I'm paid by the police department, so I got time." — Lieutenant Carly [04:02]
• "The last I remember is getting off a subway train at City Central. I was walking up the escalator and... there was a girl." — Harry Logan [05:00]
• "From the Hollister case, I hate to say this at my time in life, but I have a sneaking feeling this guy Henry Logan is telling the truth." — Chief H [06:21]
• "Between you and me, strictly a hot rod. A poor little rich girl." — Mr. Parsons [13:37]
• "This is Fellini's club. Where's Fellini?" — Harry Logan [17:46]
• "I was Marion Hollister. I was Mary Ellis too." — Mary Ellis/Marion Hollister [25:40]
• "I shot Carlo because he was through with me. All he ever wanted was money and more money." — Mary Ellis/Marion Hollister [26:30]
• "I hate you. I hate everybody." — Mary Ellis/Marion Hollister [28:06]
• "Dear me, what sort of a world is it when you can't even trust a ghost?" — Speaker F [28:33]

---

Conclusion

"I See Ghosts" expertly weaves a tale of mystery and the supernatural, showcasing the complexities of human emotions and the haunting remnants of past sins. Through compelling dialogue and intricate plot developments, the episode invites listeners to ponder the thin veil between the living and the dead, and the secrets that lie beneath the surface of seemingly ordinary lives.

For fans of classic radio dramas infused with modern twists, "I See Ghosts" stands as a testament to the enduring appeal of storytelling that transcends time and medium.

Transcript

[A]

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[F]

Harry Logan is a nice young man. Just the sort of person you'd like to invite for a weekend at home. If only the nasty, suspicious police weren't convinced that he's a murderer.

[G]

Go through it again, Logan.

[B]

There's nothing to add. Nothing.

[G]

Who cares? You got time. I'm paid by the police department, so I got time.

[B]

Let's hear it again, Lieutenant.

[G]

I don't want to go through it again, baby. You might even convince me. How'd you like that?

[B]

But I know so little. I woke up in this girl's apartment.

[G]

Logan. How'd you get to the apartment?

[B]

I told you, I don't know. It's all a blank.

[G]

I wonder if a grand jury will believe you. Go on.

[B]

Well, I woke up in this apartment. It was a nicely furnished place. I'd been sleeping in a chair.

[G]

Been there before?

[B]

Never. I swear it.

[G]

You don't know how you got there. You've never been there before. But you were sleeping in a chair. And Ms. Hallister.

[B]

Is that her name?

[G]

You wouldn't know, would you? You only killed her. That's a lie. Okay, okay. Tell it nicely.

[B]

I walked through the apartment and. Well, I found her. She was lying on the bed.

[G]

But when the doctor got there, she was on the floor.

[B]

I explained.

[G]

You know, I explained that better than the move a dead body.

[B]

I didn't know she was Dead, I tell you. But she was lying there as if she was sleeping.

[G]

And you've never seen her before? Never been there before in this Dallas strangle. While you're sleeping in a chair, she's wearing a night dress. And she was strangled. Logan Tango.

[B]

And her name is Hollister.

[G]

Marion Hollister. As if you didn't know. A rich girl with rich parents and they have enough full of City hall to put you away for life just for being there. Want to change your story?

[B]

I can't change it. That's the way it happened.

[G]

What do you remember immediately before you found yourself in this apartment?

[B]

The last I remember is getting off a subway train at City Central. I was walking up the escalator and. Oh. Oh, there was a girl.

[G]

Oh, there was a girl, was there? You missed that bit out. Where was she?

[B]

She seemed to be sick. She was leaning against the wall of the station just beyond the escalator. And I think I stopped and asked her if I could help.

[G]

And you remembered nothing more?

[B]

No, not a thing.

[G]

This is a highly likely story. Let me tell you. Logan and me. Jer has been put forward as a defense in a score of murder cases in the city. It has succeeded twice. Most times with girls so pretty that they'd have got away with it if they'd been caught with a smoking gun in one hand.

[B]

I can't help it. I'm telling you the truth.

[G]

Okay. I'm gonna put you back in the cell. Maybe you can remember a little more. Officer, take this man away. Coming, Chief. I hate to say this at my time in life, but I have a sneaking feeling this guy Henry Logan is telling the truth. From the Hollister case.

[H]

I just happened to get in this apartment where she was killed, and he can't remember a thing.

[G]

He says he saw a girl in the subway.

[B]

She was so.

[G]

Or so he thinks.

[H]

Or so he thinks. Yeah. How did he get to the apartment? How did he get in?

[G]

We don't know yet. But there's something we do know. Logan's hands don't fit the prints on the Hollister girl's neck. She was strangled by a much larger man.

[H]

I tell you what, Carly. If you can't tie this guy Logan with a kill, let him run for a while and we can find out how he goes. Haven't followed. None of it makes sense. None of it. How did he get into that apartment?

[G]

Well, maybe, Chief, if we follow them long enough to find out.

[H]

Have you asked him to identify the body?

[G]

No, but we'll do that before we turn him Loose. Maybe we can learn something from his reaction down here.

[B]

Logan, is this the morgue? That's not the art museum. Over here.

[F]

Now.

[B]

Did you ever see her before?

[H]

Well, it's horrible.

[G]

Horrible. I'm inclined to agree with you. I asked her if you'd ever seen her before.

[B]

No. Never. Not to my knowledge.

[G]

Sure.

[C]

Sure.

[B]

I can be.

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[B]

LUCANA COUNTY this is like a nightmare.

[G]

Okay, son. Come upstairs to my office. I want to show you pictures of how she was when she was still alive. Well? Recognize it?

[H]

No.

[B]

No, I'm sorry to say I don't.

[G]

Why she the woman in the suburbs?

[B]

I don't know. You know how it is there, all darks and lights. I just don't know.

[G]

Don't worry. Then. Maybe we'll discover something. You're in the clear sun. Just go on your way.

[E]

What?

[B]

Why? Thanks. I. I don't understand. What happened. I don't understand at all. It's a mystery to me.

[G]

Yeah, me too, son. Maybe one of those cases now, but he can ever explain. We'll see. Yeah, we'll see.

[B]

Give me a beer and a sandwich.

[H]

Coming up, buddy.

[B]

Thanks. Send it over the table there.

[C]

Hello.

[B]

Beat it, sister.

[C]

I only wanted to thank you for what you did for me that night in the subway.

[B]

In. In the subway?

[C]

Yeah. I fainted and you helped me.

[B]

Who are you?

[C]

Her name doesn't matter.

[B]

Sit down. Have a drink.

[C]

Not now, thank you.

[B]

The hat's hiding your face. I don't recognize you.

[C]

I'll take it off. Is that better?

[B]

You're Marion Hollister.

[C]

Why not?

[B]

Why not? The girl here. Where did you go?

[G]

What girl?

[E]

I don't see no girl.

[G]

Ms.

[B]

Lieutenant. Carly, I know you think I'm crazy, but this is on the level. I saw her. I spoke to her.

[G]

Marion Hollister is being buried today.

[B]

How did you identify it?

[G]

Her father made the identification, but we checked her fingerprints. They're on record. She knocked a guy over with her car three years back. Got away with a rap. Although I think she should have got to jail. I'll just take it easy, son.

[B]

What happened then?

[G]

You've been under a bad strain, boy. Been in jail, accused of murder. Well, you got a dream or a hallucination or something, that's all.

[B]

Well, somebody was impersonating her. She was exactly like our photograph.

[G]

Just take it easy, son. Where was the spar?

[B]

You were at Murphy's on the corner of Main and 60th.

[G]

I can't see a girl like Mar and Hollister going in a place like that. Now, we're busy on the case. I'll talk to the bartender later. Just you go home and relax.

[B]

But it was her. I, I I tell you it was her. And if you aren't going to do anything about it, then.

[E]

Hey, you. Okay?

[G]

Have a drink on the house.

[E]

Beer?

[G]

No. Chica Scotson. I don't want a drink.

[E]

What is this, Mr. Holder? Oh, I get it. I pay you or you raid them place. Your business is lousy. The most I could go is 50 bucks.

[G]

Look, I want information. A guy named Logan was in here the other night.

[B]

Yeah, that's right.

[G]

How'd you know his name's Logan?

[E]

Wait.

[B]

One of the reporters told me.

[H]

One of the newsmen.

[G]

You served him a beer at his table. Was a dame with him?

[E]

I never saw a d. Sure.

[H]

Sure, I sure. Get your jacket, buster.

[G]

I'm taking you in.

[C]

Say, say.

[H]

What is it?

[G]

Ask for questioning. Are you coming quietly or in too?

[E]

I'll come quiet.

[G]

Cup.

[E]

You can't win with cup.

[B]

Mr. Parsons.

[H]

Ask me, son.

[B]

You're the crime editor of the Banner.

[H]

Yeah, I know your face. You're the guy that was picked up as a suspect in the Hollister case. Then you're released. I'm sorry. You were yesterday's dude.

[B]

I want to know something about Marion Hollister. What kind of a woman she was.

[H]

Come in my office. Take a seat. Got anything to tell me? We don't know.

[B]

What kind of person was she? The Hollister girl?

[H]

Between you and me, strictly a hot rod. A poor little rich girl.

[B]

Could you be more specific?

[H]

I'd lose my job. Her dad owns half this city and half this newspaper. Now, look, she lived for the kicks. Drink or Drugged or anything else. It was all the same as a sweet little Marion.

[B]

She didn't look that kind of girl. Oh, so you did see her own your picture.

[H]

She was arrested once for driving stinking drunk. And she killed a guy. Her old man even sprung her on that one. She had a sweet face. No heart.

[B]

Was there anywhere specific that she used.

[H]

To frequent Fellini's gambling club on the east side. Duke Fellini was said to be her special boyfriend. But don't quote me. Say, what is this anyway?

[B]

Oh, it's only that I saw her ghost. I'll let you know if I hear anything.

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[F]

I don't think Logan believes in ghost, do you? But after all, he saw the girl dead. The fingerprints checked. The fingerprints don't lie. But ghosts do. They lie uneasily in their grave.

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[B]

That's Fellini's club.

[G]

Sure.

[B]

Where's Fellini?

[G]

Not here. We're closed.

[B]

Where does Fellini live? How should I know? I'm a friend of his.

[G]

Who cares?

[B]

How much?

[G]

50 bucks.

[B]

I'll spring a ten spot.

[G]

Hand it over.

[B]

There. Now talk.

[E]

13 Wilshire Chambers.

[G]

That's an unlucky number.

[H]

Come on.

[G]

Come on.

[B]

What do you know? Wasn't even lucky.

[G]

What?

[B]

Police. Give me Lieutenant. Carly. Hello, Carly. I'm in the apartment of Carlo Fellini at 13 Wiltshire Chambers. Come over quick. Fellini's dead.

[G]

Okay, but in future, you don't play cops and robbers, Logan. That's my job.

[B]

How did he die?

[G]

Shots, about three days back. Know the guy?

[B]

Of course not.

[G]

You don't know anybody, do. No.

[B]

No, I don't know anybody.

[H]

That beats me. No kidding. Police have identified her by a prince. You say you saw her or her goat.

[B]

And now they find Fellini death.

[H]

Let's go down to the library, check everything we've got on this barrel. Here we are. This is the driving case, just like I said. Oh, here's an item, though.

[G]

Have you found something?

[H]

Probably nothing. It's just an item about her personal maid being arrested for possessing drugs. Released. Released in the custody of Ms. Hollister. And there's a note to say the maid appeared in court in a mink coat and crocodile shoes.

[B]

Suppose the maid is posing at her now she's dead.

[H]

Why should she do that?

[B]

Well, how do I know? Have you got the maid's home address?

[H]

Oh, for you. Anything? Here it is. 7 Links Boulevard. That's Ann Konoski in the stick.

[B]

Thanks.

[H]

Her name is Ellis. Mary Ellis. Well, thanks for the Fellini story. Let's know if you come across anything.

[B]

Right. I owe you that much. Perhaps you've laid a ghost for me.

[C]

What do you want?

[B]

I want to discover the whereabouts of Ms. Mary Ellis. I understand she is about to inherit some money under Ms. Hollister's will.

[C]

Don't lie to me. Marion wouldn't have left Mary a red fence. Mary was fired long since. What is it, Beth?

[B]

No, not death. Is Mary Ellis here?

[C]

Yeah, looking at her. Come in.

[B]

Thanks.

[C]

Now then. What is it?

[B]

You look rather like Marion Hollister, don't you?

[C]

I bet.

[B]

Where's the mink coat?

[C]

Down to the pawn shop.

[H]

What?

[B]

Did you marry who killed Carlo Fellini?

[C]

Oh, is that rat dead?

[H]

Good riddance.

[B]

I think Mary Hollister killed him, don't you? And then she was killed herself by one of Fellini's gangsters. And you've been impersonating her for some reason.

[C]

Now, why go fry an egg?

[B]

Would you rather tell me other police? Listen?

[C]

What's the difference? I don't know a thing about it. I got nothing to hide.

[B]

I'm going home now. If you want me, my telephone Number is CHANEL337. Make a note of it.

[C]

I'll write it on the Hudson rope and forget it.

[B]

That might be your hard luck. I live at the Harvey Hotel, room 61. That's in MEA.

[C]

I don't care if it's in the Bronx.

[B]

Someday you may just care. Someday you may wake up dead the way Mary Hollister did. Now you just think about it.

[C]

I'll give you two seconds consideration. Now beat it.

[B]

Thanks for nothing.

[C]

You can see yourself out, but don't scratch the woodwork.

[B]

Logan here, room 61.

[C]

This is Marion Hollister. Mr. Logan.

[B]

I don't know what the game is, honey, but Marion Hollister is dead and I don't believe in ghosts.

[C]

Don't you, honey? Perhaps you.

[B]

Sure, whoever you are. What do you want?

[C]

To talk to me? Come over to the apartment where you found.

[B]

Sure, sure. And I'll bring the police with me.

[C]

Oh, I wouldn't do that, darling, if I were you.

[B]

Why not?

[C]

Because they wouldn't find anything there. Are you coming?

[H]

Oh, okay.

[B]

I'll be alone.

[C]

I'll leave the doors at the last.

[B]

I'll be seeing you. Police. Give me lieutenant. Carly. Hello, Carly. I just wanted to tell you that. That I've got a date with a dead.

[G]

Nice all mister.

[B]

Thanks. Anybody there? Where are you, Marion? Where are you?

[C]

I'm here, darling.

[G]

Where?

[C]

There I was before.

[B]

No.

[C]

Don't you like me the same?

[B]

The same black neglish.

[E]

Ain't a bruise.

[C]

Darling. I want you to forget me. Please. I can't rest while this goes on. Please let me sleep in tea.

[E]

Come on, boy.

[B]

Where's the light switch? Oh, here. She was here, I tell you. She was here. Just like it was that night. She was here and she was dead.

[G]

Look, I don't know what this is all about, but I'm going to find out. Satin. Well, if you search this place, find out how that can escape.

[H]

I'll take these.

[G]

Logan, if this is all a figment of your imagination, will be trouble.

[H]

I'm wanting you.

[B]

I don't know anymore. I just don't know. Maybe I'm going mad.

[G]

Go back to your hotel, Logan. Keep us the streets. You may be in danger.

[B]

I'm in danger. What's going on in my mind? Hey, what is this? What are you doing here?

[C]

Don't you like me? Even Elizabeth?

[B]

You're real. You want a ghost.

[C]

No, I'm not a ghost. Slogan. I'm Marion Hollis.

[B]

That's impossible and you know it.

[C]

I was Mary Ellis too. See yourself out and don't scratch the paintwork.

[B]

What? The Hollister girl's fingerprints were checked.

[C]

Oh, surely. But you See, I was on a drunken driving charge. My maid looks a lot like I do. That's why I chose her. She could always give me an alibi. Well, I paid her well to stand in for me. It was her fingerprints they took, not mine.

[B]

Then the real Mary Ellis was the dead girl in your apartment.

[C]

That's right. My money comes from my dad. When I went to Fellini's place, Mary was seen around with me. I'd been forbidden to visit Fellini. Poor Carlo. I killed him. I killed him with this gun.

[B]

Put that thing away.

[C]

I shot Carlo because he was through with me. All he ever wanted was money and more money. He called me names that night. Carlo has a brother. Carlo's brother had three hands. Poor, poor Mary Ellis. She did look like me.

[B]

Give yourself up.

[C]

If you explain, it won't help now. I was going home by subway and I suddenly felt fainter. After all, I just shot Carlo. He wanted to help me and that was all. But I couldn't let you give evidence later that you'd seen me. That would have placed me too near to Fellini's place.

[B]

What happened to me?

[C]

I asked you to take me home. Then I rang a certain doctor. I know. He just hypnotized you, that's all. Told you to forget and sleep. Logan, if I'd have gone into my bedroom, I'd have seen Marielle dead. I didn't. Not till later. Then I couldn't move you and I had to leave you there.

[E]

And now I tried to make you.

[C]

Think I was my own ghost and shake you off the trail I made up of Mary Ellis in case the police went to question her. They didn't. You turned up. But you didn't really believe in ghosts, did you?

[B]

I began to at the end. How did you get out of the bedroom?

[C]

I just slipped past the police. In the dark? Well, I decided to shoot myself. But the game isn't played out yet. It might be easier to shoot you.

[B]

You're only making it harder for yourself, you know that? I don't think there's too much to you for shooting a rat like Fellini.

[C]

Sorry, Logan. You were good to me. You like me, Eden. But I'm rotten and I always was. And I'm going to do the selfish thing to the end.

[B]

Put it down.

[G]

Yeah, put it down, Alistair. You see, Logan's been close to her level since we let him out.

[C]

Well, here goes nothing. He stopped me doing the only decent thing I ever tried in my whole life. I hate you. I hate everybody.

[B]

It'll pass, Marion. Everything does. Things can get better for you, believe me.

[F]

Dear me, what sort of a world is it when you can't even trust a ghost? It isn't the sort of thing we'd stand for. Behind the creaking door.

[E]

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[F]

This is your host back again. Just a reminder of our rendezvous next week. Where are we going? Through the creaking door, of course.

[E]

The manufacturer of State Express 35 filter King cigarettes invite you to listen next Saturday at 9 o' clock when they will again present.

[F]

The creaking door.

[B]

SA.

[D]

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[I]

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[A]

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