Episode 425 - Horror's Heavy Hitters

Summary

Stars on Suspense (Old Time Radio): "Horror’s Heavy Hitters" – Episode 425

Date: October 30, 2025
Host: Mean Streets Podcasts
Theme: A Halloween celebration of classic radio horror, showcasing legendary monsters as played by Hollywood’s greatest in old time radio adaptations.
Structure: The episode presents six iconic horror stories:

1. Dracula (Orson Welles & Mercury Theatre)
2. Frankenstein (Suspense)
3. Dr. Jekyll & Mr. Hyde (The Weird Circle)
4. The Abominable Snowman (Escape)
5. W is for Werewolf (Dark Fantasy)
6. The Phantom of the Opera (Lux Radio Theatre)

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Episode Overview

This special Halloween episode gathers vintage radio chillers starring some of the "big screen’s most legendary monsters" and their Hollywood interpreters. The stories whisk listeners from Transylvanian castles and foggy London to the Parisian opera and the snowy Himalayas, blending atmosphere, suspense, and classic horror.

Host Introduction:
“Happy Halloween and welcome to a special episode of Stars on Suspense, where this week our leading men are actually leading monsters … So grab your favorite candy, turn down the lights and join me for a Halloween monster party.” (00:38)

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Key Discussion Points and Story Highlights

1. Dracula (Orson Welles & Mercury Theatre)

Starts: 03:32
Highlights:

• Orson Welles performs dual roles as Count Dracula and Dr. Seward, presenting a moody, close adaptation of Stoker’s novel.
• The adaptation plunges into Jonathan Harker’s diary, his arrival at Castle Dracula, the chilling hospitality of the Count, and iconic moments like Dracula’s lack of reflection.
• The story tracks the unfolding horror as Dracula pursues his prey to England, devastates Lucy Westenra, and is ultimately hunted by Van Helsing’s group.
• Notable Quote:
  “You hear them, Mr. Harker? The wolves. The children of the night. As you say, Mr. Harker. The wolves. Listen.” — (Count Dracula/Orson Welles, 11:02)
• The adaptation ends with Mina Harker’s agency in Dracula’s final destruction, a twist from the original.

Memorable Moments:

• The atmospheric descriptions of Transylvania and Dracula’s castle (07:49–14:37).
• The slow intensification as Dracula’s influence spreads in England, culminating in Lucy’s death and the chilling “Beautiful Lady” scene with the children (30:41).
• The supernatural abilities and mythos explained by Van Helsing (37:06–38:54).
• Mina’s psychic link to Dracula and the climactic final pursuit (44:15–54:45).
• The destruction of Dracula and restoration of Mina (56:03–58:22).

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2. Frankenstein (Suspense—Stacy Harris and Herb Butterfield)

Starts: 59:24
Highlights:

• A “modernized” retelling featuring Victor Frankenstein’s crisis of conscience as he experiments to create life.
• Focus on Victor’s confession to his friend James, themes of science vs. ethics, and the horror of responsibility for his creation.
• The creature is brought to life, escapes, and tragedy ensues.
• Notable Quote:
  “You’re doing something you have no right to do. Something that you don’t even understand. The creation of man isn’t your job. It isn’t mine.” — (James, 72:14)

Memorable Moments:

• The eerie lab scene and the awakening (67:21 onward).
• Tension between Victor and James as the monster escapes and the growing danger to the local village (76:49–78:48).
• Victor's tragic confrontation and ambiguous ending: "The result of that experiment has never been found." (79:59)

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3. Dr. Jekyll & Mr. Hyde (The Weird Circle)

Starts: 80:51
Highlights:

• The classic tale of duality, as Jekyll’s potion brings forth his evil doppelganger, Hyde.
• Focus on London atmospherics, the swelling horror of Hyde's crimes, and Jekyll’s inability to control his darker half.
• Notable Quote:
  “Every man is truly two beings cursed with the struggle of good and evil within him … The miracle of consummate evil come to life. The hidden soul of Jekyll. I am Mr. Hyde.” — (Dr. Jekyll, 88:26)

Memorable Moments:

• The transformation sequence and chilling sound design (91:21).
• Jekyll's torment and Hyde’s increasingly violent episodes (94:34–99:43).
• The final confrontation: “The sword breaks to hide. Mix it well. Pour the powder in slowly. Drink it … The unclouding, straightening of your crooked, evil soul.” (102:06)
• Hyde’s death and his form reverting to Jekyll: “It’s Dr. Jekyll … The evil man is deadpool. For here lies the better half of his duality triumphant.” (107:19)

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4. The Abominable Snowman (Escape—William Conrad, et al)

Starts: 110:15
Highlights:

• An American-led Himalayan expedition goes in search of the yeti, facing both native superstition and the unexplainable horrors in the high snows.
• The story is structured as a doomed adventure narrative, focusing on fear, survival, and the confrontation with the unknown.
• Notable Quote:
  “Yeti … Wild man … The porters are afraid. It is because the yeti are cannibals. That is why …” — (Nassang, 118:07)

Memorable Moments:

• Chilling discovery of tracks and the growing sense of the team's peril (121:44–123:26).
• Deaths of team members and encounters with the beast (128:29–131:56).
• The ambiguous, tragic conclusion—nature and legend both claiming the victors and the vanquished.

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5. W is for Werewolf (Dark Fantasy)

Starts: 139:54
Highlights:

• A moody, psychological werewolf tale set on an isolated island, involving family secrets, lycanthropy, and a child’s supernatural affliction.
• Heavy use of atmosphere: howling at night, bloodstains, and superstition among the islanders.
• Notable Quote:
  “The palm of Johnny’s hand—Good Lord, man, it’s all covered with a thick growth of hair …” (145:55)

Memorable Moments:

• The unveiling of the family’s hereditary curse (157:24–161:14).
• Discovery of a wolfish corpse in the child’s grave (159:49).
• The tense final confrontation: “Young Johnny is dead. … Bill Jr. died a werewolf. His great-grandfather before him had the same disease.” (160:11)

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6. The Phantom of the Opera (Lux Radio Theatre—Basil Rathbone, Nelson Eddy, Susanna Foster)

Starts: 164:10
Highlights:

• A star-studded adaptation centered on the haunting of the Paris Opera House by Claudin (the Phantom), obsessed with the young soprano Christine.
• Tension between Claudin’s longing and the horror he inspires, including logo motifs from the original film.
• Notable Quote:
  “You will sing for me and only for me, my darling. … I made the chandelier fall. For you, Christine. … Nothing can kill me!” — (Claudin/Phantom, ~213:28–216:39)

Memorable Moments:

• The jealousy and sabotage among rival prima donnas (174:37).
• The chandelier crash and Christine’s abduction (204:08–206:52).
• Final confrontation in the catacombs: Christine unmasks Claudin, leading to his death and the coda of her musical triumph.

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Notable Quotes and Timestamps

• Host (Opening):
  “Happy Halloween and welcome … this week our leading men are actually leading monsters …” (00:38)
• Dracula/Orson Welles:
  “You hear them, Mr. Harker? The wolves. The children of the night …” (11:02)
• Van Helsing:
  “My friends, there are such things as vampires. Had I known at first … many of us who love her.” (37:06)
• Frankenstein/James:
  “You’re doing something you have no right to do. … The creation of man isn’t your job.” (72:14)
• Jekyll:
  “Every man is truly two beings cursed with the struggle of good and evil within him … I am Mr. Hyde.” (88:26)
• Hyde:
  “You cannot kill me. Nothing can kill me.” (216:33)
• Abominable Snowman/Nassang:
  “It is because the yeti are cannibals. That is why the porters are afraid.” (118:07)
• Werewolf/Bill:
  “The palm of Johnny’s hand—Good Lord, man, it’s all covered with a thick growth of hair.” (145:55)
• Phantom/Claudin:
  “You’re not afraid anymore, are you? … You’ll sing and want to, won’t you, my darling?” (211:30)

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The Halloween Atmosphere & Curation

The episode’s host, with a mix of warmth and retro Halloween showman flair, guides listeners through each segment with historical notes and voice actor credits, lending context and a sense of occasion.

Host (Intro to Dracula):
“We’re starting off tonight with the best story of its kind ever written … Orson Welles as Count Dracula in his own version of Bram Stoker’s great novel.” (04:24)

Host (Closing):
Summarizes all featured monsters: “We just heard Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, the Abominable Snowman, the Werewolf, and the Phantom of the Opera. That will do it for this show. … Each of them a tale well calculated to keep you in suspense.” (224:37)

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Flow and Value

This episode serves as an anthology of iconic horror, faithfully capturing the chills, pathos, and mythic stature these stories hold in popular culture. For newcomers, it is an accessible way into golden age radio; for fans, it is a nostalgic treat.

Listeners will find a rich selection of archetypal horror tales, outstanding performances, and a festive Halloween mood—perfect for a night of thrills, mystery, and classic radio storytelling.

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End of Summary

Transcript

[Narrator/Host]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense. Happy Halloween and welcome to a special episode of Stars on Suspense, where this week our leading men are actually leading monsters. In honor of Halloween, I've assembled a set of old time radio thrillers starring some of the big screen's most legendary monsters in stories that take us from a castle in Transylvania to the fog shrouded streets of London to a dazzling Paris opera house. So grab your favorite candy, turn down the lights and join me for a Halloween monster party. First up is Dracula, as Bram Stoker's novel is brought to radio life by Orson Welles and the Mercury Theater. On the air. It will probably surprise no one to hear that Orson Welles plays the Count. He also doubles as Dr. Arthur Seward. We'll also hear past stars on Suspense, George Caloris as Jonathan Harker and Agnes Moorehead as Mina Harker. Then it's Frankenstein in a modernized but very good adaptation from Suspense.

[Co-host/Interviewer]

Mary Shelley's novel was adapted for radio.

[Narrator/Host]

By Antony Ellis, and the script was presented twice on the show, first in 1952 with Herbert Marshall. But today we'll hear the second version from 1955 with Stacy Harris as the good doctor and Herb Ellis is the friend who learns his shocking secret. Up next are Dr. Jekyll and Mr. Hyde in an adaptation of the classic novel from the syndicated horror anthology the Weird Circle, with Barry Kroger, the one time man in black on suspense as our title characters. Then William Conrad leads an expedition into the Himalayas in search of the abominable snowman. A few years before, Peter Cushing chased the creature in a terrific hammer horror film. This episode aired on escape in 1953. Speaking of strange creatures, we'll hear W is for Werewolf, an episode of the horror series dark fantasy from February 13, 1942. And finally, Basil Rathbone trades Sherlock Holmes deerstalker cap for a mask and a cape as the Lux Radio Theater presents its version of the Phantom of the Opera.

[Orson Welles/Narrator (Dracula segment)]

The Columbia network takes pride in presenting Orson Welles in the first production of a unique new summer series by the Mercury Theater on the air.

[Narrator/Host]

In a.

[Orson Welles/Narrator (Dracula segment)]

Single year, the first in the life of the Mercury Theatre. Orson Welles has come to be the most famous name of our time in the American drama, says Collier's magazine. 23 year old Orson Welles threw a bombshell into Broadway. Robert Benchley writes in the New Yorker, the production of the Mercury is, I.

[Narrator/Host]

Should say, just about perfect.

[Orson Welles/Narrator (Dracula segment)]

Time magazine declares the brightest moon that has risen over Broadway in years. Wells should feel at home in the sky, for the sky is the only limit which his ambitions recognize. And finally, the United Press remark meteoric rise of Orson Welles. Mercury Theater continues unabated. With four hit shows in its first year. The Mercury might well close its door on a season unparalleled in Broadway history. But Mr. Wells has long been working on a project for a greater audience. The Broadways of the entire United States. The Columbia network is proud to give Orson Welles the opportunity to bring to the air those same qualities of vitality and imagination that have made him the most talked of theatrical director in America today. And it is this project which Columbia brings you this summer, the first time in its history that radio has ever extended such an invitation to an entire theatrical institution. But here is Orson Welles himself to tell you about it. The director of the Mercury Theatre, the star and producer of these programs, Orson Welles. Good evening. We're starting off tonight with the best story of its kind ever written. You will find it in every representative library of classic English narratives. This Bram Stoker's Dracula the next time.

[Narrator/Host]

I speak to you.

[Orson Welles/Narrator (Dracula segment)]

I am Dr. Arthur Seward. George Galuris plays Jonathan Harker and Martin Gable plays Dr. Van Helsing is Dr. Seward who tells the story. And so for the moment, goodbye ladies and gentlemen. I'll see you in Transylvania. The Mercury Theater on the Air presents Orson Welles as Count Dracula in his own version of Bram Stoker's great novel Dracula. Ladies and gentlemen, my name is Arthur Seward. I'm here tonight to bear witness to the truth of certain events which you may find it hard to believe, but I ask you to believe them. I have here certain documents, telegrams, clippings from the press of the day, memoranda and letters in various hands. All needless matters have been eliminated so that a history almost at variance with the possibilities of contemporary belief may stand forth as simple fact. I present you first with excerpts from the private journal of Jonathan Harker. I, Jonathan Harker, lawyer's clerk Article to Peter Hawkins, Esq. Of Exeter, England, am writing this journal in the hope that if misfortune overtakes me, it may one day come to the eyes of those who love me. I set out from London on the last day of April to visit one of our clients In Eastern Europe. On May 3rd I arrived in Budapest and came after nightfall to Klausenborg on the borders of Transylvania. At Bistritz there was a letter of welcome for me from our client, informing me that his courage would await me at the Borgo prison class. It was signed Dracula.

[Narrator/Host]

Buina Couch.

[Orson Welles/Narrator (Dracula segment)]

Horrible. But still we seemed to fly over it with feverish hate. When it grew dark, there seemed to be some excitement among the passengers. They kept speaking to the driver and looking at me and urging him on to greater speed. The crazy coach rocks on its great leather string. The mountains seem to come nearer to us on either side. Horseman. Horseman. What is it? Where are we? You're nearing your destination, young hare. This is the Borga.

[Narrator/Host]

Her.

[Orson Welles/Narrator (Dracula segment)]

There were black rolling clouds overhead and in the air the heavy, oppressive sense of thunder. Now we will do the part. Young hair is not expected after all. You are early tonight, my friend. A calesh with four horses had drawn up beside us. Let me help you, sir. The coachman smiled and the lamplight fell on a hard looking mouth with very red lips and sharp looking teeth as white as ivory. We began to move. I looked back. The coach and its load of passengers had vanished from sight. We swept the into the darkness of the pass. I struck a match. It was within a few minutes of midnight. And then a dog began to howl Somewhere far down the road. The wind was rising, moaned and whistled through the rocks and the branching of the trees clashed together as we swept along. Grew colder and colder still and fine powdery snow began to fall. The baying of wolves sounded nearer and nearer, as though they were closing round us for every side. We kept on ascending, always ascending. The howling of wolves was growing less. Presently it ceased altogether. And just then the moon broke through the black clouds. I saw round as a ring of wolves running alongside the carriage in silence. With white teeth and lolling red tongues, with long sinewy limbs and shaggy hair.

[Narrator/Host]

There.

[Orson Welles/Narrator (Dracula segment)]

Welcome to my house. I must have fallen asleep. A carriage had pulled up in the courtyard of a vast ruined castle. The coachman was nowhere to be seen. Welcome to my house. Come freely, go safely and leave something of the happiness you bring. Count Dracula. I am Dracula. Face was strong, very strong. Aquiline. The mouth, so far as I could see under the heavy mustache, was fixed and rather cruel looking, with peculiarly sharp white teeth. You hear them, Mr. Harker? The wolves. The children of the night. As you say, Mr. Harker. The wolves. Listen.

[Narrator/Host]

Come now.

[Orson Welles/Narrator (Dracula segment)]

There are many things you must tell me tomorrow of England and of the Estate there you have purchased for me. The estate is called Carfax, I believe. Yes, that is so. But now I will detain you no longer. You will find your room in readiness and I advise you not to leave it during the night. This castle is on the very edge of a terrible precipice. A stone falling from the window would fall a thousand feet without touching anything. I explored. There are doors, doors, doors everywhere. All of them locked. The door to the great hall, the door to the courtyard. Every door in the castle is closed, bolted against me. The castle Dracula is a prisoner. And I am a prisoner. The next night I couldn't sleep. So after a few hours I got up and lighting my candle, I placed my shaving mirror on the dressing table. And was just beginning to shave. You seem restless, Mr. Harker. I hadn't seen him, although the reflection of the glass covered the whole room behind me. I turned to the glass again. I could see him over my shoulder. But there was no reflection of him in the mirror. It was blank. I started and cut myself on the side of the throat. The blood was trickling down my neck. My mirror. The blood. The blood. Wipe the blood from your face, Mr. Harker. And take care how you cut yourself. It is more dangerous than you think in this country. When I awoke, I found most of my things were gone. My passport, my notes, my letter of credit. I could find no trace of them anywhere. And my door is locked from the outside. June 20. There is work of some kind going on in the castle. Now and then I hear the far away muffling sound of matter, conspiracy. And last night, the second of the predated letters which Dracula made me write. The second of that series, which is to blot out the very traces of my existence. From the earth went forth. Congratula. Yes, my young friend? Well, what of me? When am I free? When can I leave this place free? Mr. Harker, you're always free. You want to leave? Would you like to leave tonight? Yes. Yes. In God's name, My dear young friend. Not an hour should you wait in my house against your will. Come, follow me. The door seems to be bolted. Hustle. Strange, the door is locked. Well, in God's name, open it as you will, Mr. Harker. You English have a proverb which is very close to my heart. Welcome the coming speed departing guest. Good night, Mr. Harker.

[Narrator/Host]

Shut the door.

[Character voices/Actors]

Shut the door, I tell you.

[Narrator/Host]

Shut the door.

[Character voices/Actors]

Shut it.

[Orson Welles/Narrator (Dracula segment)]

The door is shut, Mr. Harker. I take it we will remain. Morning, June 30th. These may be the last words I ever write in this diary. Oh, God preserve my sanity. I have never seen Count Dracula by day, at sunrise, at the first cock crow, he's gone. I. I do not understand these things. I only know that the wolves obey him and that he is a man with hair on the palm of his hands, with sharp teeth and no blood in his face. He cast no shadow. He cannot be seen in a glass. And he moves like a bat across the sheer face of the castle walls, eats no food and is mortally afraid of the crucifix. Have I right this? I hear in the courtyard the rolling of heavy wheels and the cracking of whips. And there is in the passageway below a sound of heavy boxes being set down. Boxes shaped like coffins, and I know what they hold. Boxes are filled with holy earth. From the chapel beneath the castle.

[Narrator/Host]

Is.

[Orson Welles/Narrator (Dracula segment)]

The last box being nailed down. And now I hear the heavy feet tramping again. The door shut, the chains rattle in the courtyard. And down the rocky way. The roll of heavy wheels, the crack of whips. Help.

[Character voices/Actors]

Help.

[Orson Welles/Narrator (Dracula segment)]

Help. The white house have gone. I'm alone in the castle. I'm alone in the castle. I'm alone in the castle. I'm alone. I'm alone.

[Character voices/Actors]

I'm alone.

[Orson Welles/Narrator (Dracula segment)]

Ladies and Gentlemen, this is Dr. Seward. Mr. Harker's journal terminates at this point. I now present in evidence a clipping dated August 8th of that year from the Yorkshire Telegraph. From our correspondent in Whitby. One of the greatest and suddenness storms on record is experienced here today. The weather has been somewhat sultry, but Saturday evening was fine. The band was playing. The piers were crowded with holiday makers. The wind fell away entirely during the evening, and there was a dead calm. There were but few lights at sea. The only sail noticeable was a foreign schooner under foot canvas, which was seemingly going westward. A little after midnight came a strange sound from over the sea. And high overhead the air began to carry a strange, faint, hollow booming. Then, without warning, the tempest broke. And there, with all sails set, was the foreign schooner rushing with terrific speed toward the shore. A searchlight was turned on her, and there, lashed to the helm, was a corpse with drooping head, which swayed horribly to and fro at each motion of the ship. A moment later, she crashed. And then a strange thing was seen. At the very instant she touched a huge dog, sprang up on deck from below and, running forward, jumped from the bow onto the sand and making straight up the east cliff toward the graveyard, vanished into the night. The coast guard going aboard the at dawn found the dead man fastened to a spoke of the wheel. Tightly clutched in one hand was a crucifix. The man must have been dead for quite two days. The pocket of the dead man's coat was found a bottle, carefully corked, containing a roll of paper. This proved to be an addendum to the ship's log. There was found on board only a small amount of cargo and that of a most unusual nature. Apparently the ship carried nothing but earth. Commoner packed away in wooden boxes shaped much like coffins. Log of the Demeter, July 6th. Finish taking in car a queer cargo. Boxes of earth. At noon set sail east wind fresh crew forehands. Two mates, Cook and myself. Captain. July 11. Entered Bosporus at dark. Passed through Dardanelle. Mate reported in morning that one of crew Valjoden was missing. Took larp at watch eight bells last night. He was relieved by Chilegian who came to his funk. Something aboard this ship? No, no, don't laugh. In the rain.

[Narrator/Host]

Last night.

[Orson Welles/Narrator (Dracula segment)]

A tall thin man go up companion way and along the deck forward and disappear when I go to the bow. No one and the hatchways all close. July 22nd. Rough weather last three days. All hands busy with sails. No time be frightened. Past Gibraltar and out through straits. All well.

[Narrator/Host]

July 24th.

[Orson Welles/Narrator (Dracula segment)]

Last night another hand was lost. Disappeared. Leave all watch midnight. Then we never see him again. Double watch now. I don't take watch alone no more.

[Narrator/Host]

Double watch.

[Orson Welles/Narrator (Dracula segment)]

Oral watch. July 29th. Had single watch tonight. As crew too tired to double when morning come. Hey, Milo. Banishin. Banoitin is banishin below. Balanchi is gone. Banishing star like the arm, like all the others. The mate and I have agreed to go armed henceforth. July 30th. Last night. We are nearing England.

[Narrator/Host]

Weather fine.

[Orson Welles/Narrator (Dracula segment)]

All sail set, Captain.

[Narrator/Host]

Captain.

[Orson Welles/Narrator (Dracula segment)]

The men in the Washington sails were missing for meeting. Now only self and mate and one hand left to work ship. August 3rd. Two days of fog and not a sail sighted. At midnight. I went to relieve the man at wheel and when I got to it.

[Narrator/Host]

Found no one there. It's he.

[Orson Welles/Narrator (Dracula segment)]

I know it now. I saw it. Like a man. Tall and thin and ghastly pale. It was in the vase looking out. I gave us the knife and my knife went through it.

[Narrator/Host]

What? Empty as air. What is it?

[Orson Welles/Narrator (Dracula segment)]

What are you talking about? It's here and I'll find it.

[Narrator/Host]

It's been.

[Orson Welles/Narrator (Dracula segment)]

Behold the monotone boxes of earth. I'll unscrew them one by one and see and see. He is mad. Star Craving mad. It's no use my trying to stop him. He can't hurt those big boxes. They are invoiced as common earth. I know the secret now the sea will save me from him. That's all that's left. That's all that's left. August 4th. I am all alone on my ship. And still the fog. I dared not go below. I dared not leave the helm. So here all night I stayed. And in the dimness of the night I saw it. I saw him. God forgive me, but the mate was right to jump overboard. It was better to die like a sailor in the blue water. But I am captain and I must not leave my ship. I shall tie my hands to the wheel when my strength begins to fail. And along with them I shall tie that which it dare not touch. My crucifix. I am growing weaker and the night is coming on. God and the Blessed Virgin help a poor ignorant soul trying to do his duty. Telegram, Seward.

[Narrator/Host]

Perfect.

[Orson Welles/Narrator (Dracula segment)]

To Van Helsing, Amsterdam. Lucy West, Tenerife in alarming condition. Cannot diagnose. Come at once, Seward. Telegram Van Helsing, Amsterdam. To Stuart Purchase. I'm on my way to you. Please arrange the examination immediately. My arrival, Von Helsing. Ladies and gentlemen, I must now explain that six months before the events recorded here, I had become engaged to a young lady, Lucy Westenra. We were to have been married in the spring. My old teacher, Professor Van Helsing, arrived at Ferrari the next afternoon. I took him at once to Lucy's house. She lay in a bed, asleep. She was ghastly chocolate pale. The red seemed to have gone even from her lips and gums, and the bones of her face stood out. Young miss is bad, very bad. She must have blood or she will die. Yet she is not anemic. The qualitative analysis of her blood gives quite normal condition. It is strange. I do not like to think how strange. Look.

[Narrator/Host]

My gut. Her throat. Look.

[Orson Welles/Narrator (Dracula segment)]

The black velvet band that she always wore had dragged up a little and showed a red mark on her throat. Just over the external jugular vein were two punctures. Not large, but not wholesome looking. The edges were white and worn looking.

[Narrator/Host]

Hello.

[Orson Welles/Narrator (Dracula segment)]

What is it, Professor? What's wrong with her? Speak frankly. You can tell me the worst. I wish I could, Seward. I wish I could, but I do not dare. Won't you tell me any anything? I will tell you this. Your young lady is in a danger greater than death. You must believe me. If you leave her for one moment and harm befalls you will not sleep easy thereafter. September 8th. I sat up all night with Lucy.

[Character voices/Actors]

Arthur, I'm afraid.

[Orson Welles/Narrator (Dracula segment)]

Night, dear. You can sleep tonight. I'm here watching you. Nothing can happen. And I promise, if any sign of bad dreams, if I see anything, I'll wake you at once.

[Character voices/Actors]

You will, will you really? Then I'll sleep.

[Orson Welles/Narrator (Dracula segment)]

I sat all night by her bedside. She did not wake once during the night, although her brows or a bat or something flapped almost angrily against the window panes. September 11th. Still quoting from my private journals at this time that I received a message from Purfleet. Read. 10:20pm St. John's Hospital. Serious complications. Case 891. Your immediate presence. London imperative. I had no choice. Sometime later, a paper was found among Lucy Westenra's belongings.

[Character voices/Actors]

I write this and leave it to be seen so that no one may, by any chance, get into trouble through me. I went to bed as usual, taking care that the window was closed, as Dr. Van Helsing had directed. About two in the morning, I awakened. I went to the door, called out, arthur.

[Narrator/Host]

Arthur.

[Orson Welles/Narrator (Dracula segment)]

There was no answer.

[Character voices/Actors]

Something's broken the window. I'm in the room alone. I dare not go out. House seems empty. The air is full of specks, floating, circling in the draft from the window. The light burns blue, dim. Quite a night of do. Something very sweet. There is bitter all around me. Nothing sinking into deep water.

[Orson Welles/Narrator (Dracula segment)]

You shall be flesh of my flesh, blood of my blood. September 12th.

[Narrator/Host]

Late.

[Orson Welles/Narrator (Dracula segment)]

Only resolution and habit can let me make an entry tonight. We found her sprawled on the floor. There was a draft in the room from the broken window. Her throat was bare, showing the two wounds looking horribly white and mangled. We are too late, my friend. We have failed. God's will be done. She's dying. Yes, she's dying. Stay beside her. It will make much difference, Mari, whether she dies conscious or in her sleep. It was late in the afternoon before she opened her eyes.

[Character voices/Actors]

Arthur. Oh, my love. I'm so glad you've come.

[Orson Welles/Narrator (Dracula segment)]

I took her hand and knelt beside her. Her breath came and went like a tired, peaceful child. And then the light from the setting sun fell on her face. And then, insensibly, a strange change came over her. Her eyes grew suddenly dull and hard. Her breathing was heavy. The mouth opened and the pale gums drawn back made the teeth look large and sharp. Arthur.

[Character voices/Actors]

Oh, my love. I'm so glad you've come.

[Orson Welles/Narrator (Dracula segment)]

Kissed me.

[Character voices/Actors]

Bent down and kissed me.

[Orson Welles/Narrator (Dracula segment)]

Not for your life. Not for your living soul.

[Co-host/Interviewer]

And her?

[Character voices/Actors]

Lucy? She is dead.

[Orson Welles/Narrator (Dracula segment)]

Poor girl. Most Peaceful at last. The end.

[Narrator/Host]

Not so.

[Orson Welles/Narrator (Dracula segment)]

It is only the beginning. Wait and see. The Westminster Gazette. September 25th. A Hempstead mystery. The Kensington Horror. The stabbing woman and the woman in black. Are vividly recalled to mind by a.

[Narrator/Host]

Series of events that have taken place recently in the neighborhood of Hempstead.

[Orson Welles/Narrator (Dracula segment)]

Several cases have occurred of young children straying from home. Or failing to return from their playing on the heath. In all these cases, the children have.

[Narrator/Host]

Given us their excuse.

[Orson Welles/Narrator (Dracula segment)]

That they have been with a beautiful.

[Narrator/Host]

Lady who offered them chocolates.

[Orson Welles/Narrator (Dracula segment)]

In each case, the child was found.

[Narrator/Host]

To be slightly torn or wounded in the throat.

[Orson Welles/Narrator (Dracula segment)]

The wound seemed such as might be made by a rat or a small dog. Another child injured by the beautiful lady. We have just received intelligence that another child, missed last night. Was only discovered late in the morning. It has the same tiny wound in the throat. Well, Seward, what do you think of that? You mean to tell me, my friend, that you still have no suspicion as to what? Poor Lucy died of nervous prostration. Following great loss and waste of blood. And how was the blood lost or wasted? You are a clever man, my friend, and a good doctor. But you do not believe that there are things that you cannot understand. You are wrong, Stuart. Are you aware of all the mysteries of life and death? Can you tell me why in the pampas there are bats that come at night. And open the veins of cattle and horses. And suck dry those veins.

[Narrator/Host]

How?

[Orson Welles/Narrator (Dracula segment)]

In some islands of the western seas there are bats which hang on trees all day. And then when the sailors sleep on deck because it is hot, flip down on them. And then in the morning are found dead men as white as Miss Lucy was. I understand none of these things. After tonight, Schuart, if you dare to come with me, perhaps then you will understand. September 29th. Before dawn. Now it is done. And I would sooner die a thousand deaths Than live again through what I did this night. We will spend the night, you and I. Here in this churchyard where Miss Lucy is buried. We enter the tomb. Then we open the coffin. You shall yet be convicted. Take care then. Helsing. Miss Lucy is dead. Is it not so? Then there can be no wrong to her. But if she's not dead. With some difficulty we found the western tomb. I took up my place behind a yew tree on one side of the tomb, Van Helsing on the other. I was chilled and frightened. Suddenly I saw something moving between two yew trees. A dim white figure which held something at its breast. The figure stopped. I could not see the face where it Was bent down over what I saw to be a fair haired child. There was a sharp little cry. Such as a child gives in sleep. A red dog as it lies before the fire. And dreams. Then the thing saw us. She drew back with an angry snarl. The lovely blood stained mouth grew to an open square. If ever a face meant death, I saw it at that moment. Then suddenly she turned and vanished in the direction of the tomb. The child is not harmed. We leave him in a safe place where the police find him. There's more to do now. We were in the tomb. Then in the coffin the thing lay like a nightmare of Lucy. The pointed teeth. A blood stained mouth. Then Helsing never looked up. From his bag he took out a book, his operating knives. A heavy hammer. And a round wooden stake, some 2 or 3 inches thick. Sharpened to a fine point and hardened over a fire.

[Character voices/Actors]

Do it.

[Orson Welles/Narrator (Dracula segment)]

The life of this unhappy woman is just begun. When she become what you call undead, there comes with a change. The curse of immortality. She cannot die, but must go on age after age. Adding new victims. Because all that die from the preying of the undead. Become themselves undead. And prey on others. So the circle goes on ever widening. As the ripples from a stone turn into water. But. But if this lady. This un. Dead. Be made to rest as true dead. Then the soul of the poor lady whom we love. Shall be again free. Tell me, what am I to do? Take this stake in your left hand. The hammer in your right. Yes. Place the point over the heart.

[Narrator/Host]

Yes.

[Orson Welles/Narrator (Dracula segment)]

Then when I begin the prayer for the dead. In God's name. Strive. Are you ready?

[Narrator/Host]

Now.

[Orson Welles/Narrator (Dracula segment)]

Domini Jesu Christe ville de vivi cleom manus tuas ex voluntary patri. On the morning of July 11. A man was found on the border of Transylvania. He talked wildly of wolves and foxes. Of earth and blood. He gave his name as Jonathan Harker. In the hospital at Klausenberg. He improved sufficiently to make possible his removal to England. I'm still quoting from my own personal papers. But there his condition remained so serious. That he was committed for observation to a private ward in my hospital at Perthfleet. Here he did so well that in three weeks he was completely recovered. It was during this time that his wife Minnehake. Brought to the attention of Dr. Van Helsing and myself. The journal that her husband had kept. While a prisoner in the castle of a certain Count Dracula in Transylvania. I have before me the record of a meeting that took place in my study in Perthleet. Transcribed By Mina Harker October 1st meeting.

[Character voices/Actors]

Began soon after 8. Jonathan next to me. Dr. Seward opposite to Van Helsing at the head of the table.

[Orson Welles/Narrator (Dracula segment)]

My friends, there are such things as vampires. Had I known at first. What Now I know One so precious life had been spared to many of us who love her. The vampire which is amongst us is of himself so strong that he can direct all the elements. The storm, the fog, the thunder. He can command all the meaner things. The morten bat, the owl and the fox and the wolf. How then are we to begin our strike to destroy him? How shall we find his place? And having found it, how can we destroy? My friends, it is a terrible task that we undertake. To fail here is not mere life or death. If we fail, we become as him. Thou thinks of the night as him. What do you say?

[Character voices/Actors]

I answer for myself.

[Orson Welles/Narrator (Dracula segment)]

Come me in.

[Narrator/Host]

I'm with you.

[Character voices/Actors]

The professor laid a small golden crucifix on the table. We took hands and our solemn pact was made.

[Orson Welles/Narrator (Dracula segment)]

My friends, we too are not without strength. The vampire flourishes on the blood of the living. Without this, he cannot live. He throws no shadow. He makes no reflection in a mirror. He can transform himself to a wolf, to a bat. He can come on moonlight rays as elemental dust. He can see in the dark. He can do all these things.

[Narrator/Host]

Yet.

[Orson Welles/Narrator (Dracula segment)]

He is not free. His power ceases at the coming of the day. Then, until night he must remain in the shape in which he finds himself. And except in his coffin, home in those earth boxes, he cannot rest. When we can confine him in his coffin, then, my friends, if we obey what we know, we will destroy him.

[Character voices/Actors]

At that moment, something slapped wildly against the window.

[Narrator/Host]

Then.

[Orson Welles/Narrator (Dracula segment)]

Did you hit it? I don't know.

[Character voices/Actors]

We looked out of the window. Against the black sky, we could see nothing.

[Orson Welles/Narrator (Dracula segment)]

Data on our position. From the town's castle in Transylvania to Whitby came 50 boxes of birth. All of these, to our certain knowledge, were delivered at Carfax. Recently, 12 of these boxes have been removed. First step, ascertain whether all the rest remain in the deserted house next door or whether any more have been removed. We must trace each of these boxes and sterilize the earth with holy water so that he can no longer seek safety in it. And we must hurry. The events of the next few days are described in Jonathan Harker's journal. October 2, 5am Just returned from the empty house. Left Mina here at home. Well, we've done our work at Carfax. The place was filthy, the air stagnant and foul and alive.

[Narrator/Host]

With rats.

[Orson Welles/Narrator (Dracula segment)]

We counted the boxes. Only 38 of them. And over each one the professor went through his same mysterious work. It was dawn when we got back. I found Mina sleep. She looks paler than usual.

[Character voices/Actors]

October 2nd. Soon after they left, I fell asleep. I remember hearing the sudden barking of the dog. And then there was silence. I got up and looked out of the window. There was a thin streak of white.

[Orson Welles/Narrator (Dracula segment)]

Mist moving across the grass along the wall of the house.

[Character voices/Actors]

It dawned on me that the air, the air in the room, was heavy.

[Orson Welles/Narrator (Dracula segment)]

And dank and cold.

[Character voices/Actors]

The gaslight came only like a tiny red spark through the fog. I could see through my eyelids. The mist grew thicker and thicker. Then, as I looked, the spark divided and seemed to shine on me through the fog like two red eyes.

[Orson Welles/Narrator (Dracula segment)]

You shave me fresh of my flesh. Blood of my blood. Blood of my blood. October 2nd, 8pm we're on the track. 12 boxes were delivered last week to an empty house.

[Narrator/Host]

347 figure.

[Orson Welles/Narrator (Dracula segment)]

Delay, my dear friends, until the sun sets tonight. Dracula must retain whatever form he now has. We have this day to hunt out all his lairs and sterilize them. Then he will have no place where he can move and hide. But we have only until sunset. The house in Piccadilly was empty. I could run it perfect. The same sickening smell was in the air. On a table we found a clothes brush. A brush and a comb and a basin, the latter containing dirty water, which was reddened as if with blood. The boxes are back here. 8, 9, 10, 11. Only 11. There's a 12th box somewhere. Gentlemen, it is after 6. The sun is setting. We have no time to lose. He will return at any moment. Open the boxes. Quiet.

[Narrator/Host]

Listen.

[Orson Welles/Narrator (Dracula segment)]

Here it is. It is he. The window. You waste your bullets, gentlemen. You think you baffle me. You with your pale faces, all in a row, like sheep in a butcher's. You think you've left me without a place to rest. But I have more. And time is on my side. The one you love is mine. Already I have known her. Already my mark is on her throat. Flesh of my flesh. Blood of my blood. She is with me always. Over land or sea.

[Character voices/Actors]

October 4th. Morning. Another meeting in the study of purchase.

[Orson Welles/Narrator (Dracula segment)]

We must find that last remaining box, gentlemen. We must find it. As long as that earth exists, impure. As long as there remains one place of refuge for Dracula. There is no safety and no peace for any soul in England.

[Character voices/Actors]

And for the undead, never peace so long as he lives.

[Orson Welles/Narrator (Dracula segment)]

Blood of my blood.

[Character voices/Actors]

Blood of my blood.

[Orson Welles/Narrator (Dracula segment)]

Mina, how do you know that Quest with me.

[Character voices/Actors]

With me always. Overland.

[Orson Welles/Narrator (Dracula segment)]

Mina, darling. How did you know that Dracula said those?

[Character voices/Actors]

I don't know. The words just came. Strange. There are times when somehow I feel that I'm with him.

[Orson Welles/Narrator (Dracula segment)]

At sunset?

[Character voices/Actors]

Yes, just at sunset. And again at sunrise. Dr. Van Helsing, if I could.

[Orson Welles/Narrator (Dracula segment)]

If at that time you have you the carriage. Carriage for what? What do you mean?

[Character voices/Actors]

Dr. Van Helsing here will question me.

[Orson Welles/Narrator (Dracula segment)]

I will question her. Yes. In a state of hypnosis. The one you love is already mine, he said. She is with me always. Over land or sea. I can't, Dracula. Perhaps she will betray you if she is really with you. This one we love. Who knows if she is really with you over land or sea.

[Character voices/Actors]

Blood of my blood.

[Orson Welles/Narrator (Dracula segment)]

Mina.

[Character voices/Actors]

Yes?

[Orson Welles/Narrator (Dracula segment)]

Answer me.

[Narrator/Host]

Mina.

[Orson Welles/Narrator (Dracula segment)]

Are you with him?

[Character voices/Actors]

Yes, I am with him.

[Orson Welles/Narrator (Dracula segment)]

Where are you?

[Character voices/Actors]

I do not know. It is all dark.

[Orson Welles/Narrator (Dracula segment)]

But you hear the lapping of water?

[Character voices/Actors]

I can hear it on the outside.

[Orson Welles/Narrator (Dracula segment)]

Then you are on a ship?

[Character voices/Actors]

Yes.

[Orson Welles/Narrator (Dracula segment)]

What else do you hear?

[Character voices/Actors]

There is the creaking of an anchor.

[Orson Welles/Narrator (Dracula segment)]

What you doing?

[Character voices/Actors]

Still. Oh, so still. It is like death. It's like death.

[Orson Welles/Narrator (Dracula segment)]

Here's a report from Matson Peabody ship Brokers, dated October 5th. According to Lloyd's list, the only sailing ship had left for the Black Sea yesterday was the Tsarina Katrina Alvarvana. Some hours before she sailed, a man came alongside, all in black, driving a cart with a great box in it. This he lifted down single handed and carried below. No one remembers having seen him after that. As heavy mist came up over Doolittle Dock. Until sailing time, the rest of London harbor remained completely clear. Our plans are made. The average sailing time from London to the Black Sea is three weeks. We can travel overland to the same place. In three days we shall be there waiting for him when he arrives. October 15th. Arrive barn about 5 o'.

[Narrator/Host]

Clock.

[Orson Welles/Narrator (Dracula segment)]

Mina seems stronger every morning before sunrise. And just before sunset she speaks to Van Helsing with Tran. Are you with him? Mina, tell me, are you with him?

[Character voices/Actors]

I am with him.

[Orson Welles/Narrator (Dracula segment)]

What can you see?

[Character voices/Actors]

Nothing.

[Orson Welles/Narrator (Dracula segment)]

All is dark. What can you hear?

[Character voices/Actors]

I can hear the waves flapping against the ship and the water rushing by. The wind is high. I can hear it in the shrouds. And the bow throws back the foam.

[Orson Welles/Narrator (Dracula segment)]

So the Tsarina Katrina is still at sea, hastening on her way to Vana. The Count cannot cross running water, so he cannot leave the ship without being observed. What do you hear, Mina?

[Character voices/Actors]

Water. Darkness. Darkness and waiting.

[Orson Welles/Narrator (Dracula segment)]

A whole week of waiting. Daily telegrams from Lloyds.

[Character voices/Actors]

Rushing water and Creaking M. Darkness. Darkness and wind.

[Orson Welles/Narrator (Dracula segment)]

October 24th. Telegram, Roy London. Torino reported this morning from Dardanelle. Lloy London to Hara. October 28. Darina, Katrina in heavy fog. Reported entering Galap harbor at 1 o' clock today. G is 38 hours from here and the first train for g leaves at 6:30 tomorrow morning. My friends, we have lost. I am with you.

[Character voices/Actors]

I can feel nothing.

[Orson Welles/Narrator (Dracula segment)]

Nothing.

[Character voices/Actors]

I can hear men's voices calling and they're all impregable. I can feel the air blowing upon.

[Orson Welles/Narrator (Dracula segment)]

October 29th. Evening. We are due between 2 and 3 in the morning. But already at Bucharest we are 3 hours late.

[Character voices/Actors]

Something is going on. I can see. It parts me like a clear wind.

[Narrator/Host]

I can hear air far off in the clear sound.

[Character voices/Actors]

Men talking in strange tongues. Ears falling water and a howling wall.

[Orson Welles/Narrator (Dracula segment)]

There's another sound. A queer sound.

[Narrator/Host]

Night.

[Character voices/Actors]

Night.

[Orson Welles/Narrator (Dracula segment)]

Like what? Speak me now.

[Character voices/Actors]

Speak.

[Orson Welles/Narrator (Dracula segment)]

I commend you.

[Character voices/Actors]

I command you to spe.

[Orson Welles/Narrator (Dracula segment)]

Arriving Garrets, sir. Captain Zarina, Katrina. A man come aboard with an order. An hour before sunup receive a box for a party by the name of Dracula. That is, peppers are Emmanuel H. His name was Mr. Hine?

[Narrator/Host]

Yes.

[Orson Welles/Narrator (Dracula segment)]

You went out of the box yesterday. I gave the Kyloff by order. Kyloff? Mr. Kailov. This morning they find him dead inside the churchyard of St. Peter.

[Narrator/Host]

They find him dead with his truth torn open.

[Orson Welles/Narrator (Dracula segment)]

October 30th. Evening. There are two ways in which Dracula can get back to his own place. By land or by water. We've examined the map and find the most likely river is the Serat. You and I, Seward, will charter a steam launch and follow him up the river. Van Helsing and Mina will take the train to Veresti. And from there they will. There we shall go in the track where Haaka went from district over to Porvo. If you have not caught him before, we shall be awaiting Dracula.

[Narrator/Host]

D.

[Orson Welles/Narrator (Dracula segment)]

October 31st.

[Character voices/Actors]

We arrived at Veres at noon. Then Helen and I bought a carriage here and we start in an hour. Our enemy is still on the river.

[Orson Welles/Narrator (Dracula segment)]

October 31st. We can run a good speed up the river at night. There's plenty of water and the banks are wide apart. September 1st. Evening. No news all day. We hear that a big boat went up the river before us, going at more than usual speed.

[Character voices/Actors]

November 4th. All day driving. The country gets wilder as we go. By morning we shall reach the board. Go.

[Orson Welles/Narrator (Dracula segment)]

November 4th. Evening. We've left the launch. We've got horses and we follow on the track along the river. We are Armed.

[Character voices/Actors]

Look. Quick.

[Orson Welles/Narrator (Dracula segment)]

There they are now heading west. With the dawn we could see the Slovak some miles before us, dashing along the river with their wagons. On it is the great box. Late in the afternoon we reach to Burgos.

[Character voices/Actors]

Then help me look. Look.

[Orson Welles/Narrator (Dracula segment)]

We could see a long way. All around us, far off beyond the white waste of snow, was the river like a black ribbon curling between us and the river. Not afar off, came a group of men, mounted Slovaks, hurrying along. In the midst of them was a wagon which swept from side to side. On the wagon was a great box. Look, we see two horsemen following fires coming up from the south. Now the horsemen are not more than a mile behind. Now wagon is quite close to us. We can see the great bucks weighing gracefully now they are almost upon us. Now has happened a strange thing. The wagon smashed into a great rock, dead in the snow, lost its front wheels and turned over on its side, jammed against the stone. The horses tore loose from their traces and bolted. And the Slovak scattered and vanish after him. Then silence. Silence like comes after ringing a bell.

[Character voices/Actors]

Look, his face.

[Orson Welles/Narrator (Dracula segment)]

It is Dracula sprawled out stiff and twisted in the smear of his own holy earth. The box in falling, has emptied the dirt onto the snow. His face is old looking. The skin is like paper. Dr. Stewart, there's no time. Look at the sun. In one minute there is darkness and he is forever lost to us. Have you the stake of wood and the hammer?

[Narrator/Host]

Yeah.

[Orson Welles/Narrator (Dracula segment)]

Now, Stuart, pray for us. Kneel down and pray.

[Character voices/Actors]

Harker.

[Orson Welles/Narrator (Dracula segment)]

The stake of wood over his heart. Be not afraid, Haka. Do not look into his eyes. The hammer. Now, Haka. Strike. Strike. Flesh. Flesh of my flesh. Guilt of my guilt. Death of my death. Speak and be manifest in instant of your master's peril. Elements of darkness, rain, evil winds. Mist and mold and tempest.

[Character voices/Actors]

The others couldn't, but somehow I can hear him speaking behind his eyes.

[Orson Welles/Narrator (Dracula segment)]

Gnaw. Wing, tooth, scale. Tis your flesh. Death of my death. Death and undead. The hand of the living is over your master. Console him, my children. This instant is no longer in the space between two heartbeats. But the night is not here and I am lonely. Come to your master, my children. Beguile him now in the instant of his peril. Beguile him with the sound of your names. Claw, wing, tooth, scale. Tissue of flesh. There is one very dear to me who has not answered. My love. Mina. There is less than a minute between me and the night. You must speak for me. You must speak with my art.

[Character voices/Actors]

Give them to me, Jonathan. Give them to me. They're staked of wood.

[Narrator/Host]

And the hammer.

[Orson Welles/Narrator (Dracula segment)]

I shall never forget that moment. The look on poor Mina's face as she stood there. The angry scars pounding out on her throat. Her eyes like living coals in the last red of the sunset. She had torn the stake and the hammer out of my hands with the strength of an animal.

[Narrator/Host]

Dana.

[Orson Welles/Narrator (Dracula segment)]

Do you know what you've done, woman? You know what you've done to us? You've released him, the evilest being.

[Character voices/Actors]

Look.

[Narrator/Host]

The sun.

[Orson Welles/Narrator (Dracula segment)]

As we looked down at Dracula, the eyes saw the seething sun. And the hate in them turned to triumph. Bridge of my flesh. Come to me, my love. Come into the night from the darkness. You have served me well, my love. My bride. My ladies and gentlemen, all the evidence in this case is now before you. I've added nothing, and to the best of my knowledge, I've admitted nothing that might help to throw light on the extraordinary events of the year 1891 which culminated on that terrible evening in the Borgo Pass. There remains only this one last report. When Mina Hager seized the stake and hammer from her husband, I believe she was under some form of hypnosis. She herself remembers nothing. But whatever influence was at work on her, she must, at the last moment, have rejected it. For at the exact instant the sun disappeared. It was Mina Harker who drove the stake through the heart of the thing that caused itself Dracula. At that same instant, even as we looked, the wound on the side of her throat was no more. As for Dracula, before the scream of the creature had died from our ears, the whole body crumbled into dust and passed from our side. In the final moment of dissolution, there was in the face a look of peace such as I never could have imagined might have rested there. Tonight's production of Dracula by Orson Welles and the Mercury Theatre was the first of nine CBS broadcasts in which this brilliant group will bring to life a series of great narratives. In the cast tonight, Dr. Van Helsing was played by Martin Gable, Jonathan Harker by George Caloris. Dr. Seward by Orson Welles. The Russian Captain by Ray Collins. The Mate by Carl Swenson. Mina Harker by Agnes Moorhead, Lucy Westenra by Elizabeth Farah and Count Dracula by Orson Welles. Bernard Herman composed the original music and conducted Dan Seymour speaking.

[Narrator/Host]

And now, tonight's presentation of radio's outstanding theater of thrills, suspense. Tonight, the story of Frankenstein, written by Mary shelley and starring Mr. Tracy Harris and Mr. Herb Butterfield. James. Hi, Victor. Here, just in time to give me a hand. These Indian summers Hot, too. Sticky. James, I'd like to talk to you. Well, of course. Anything wrong? Yes. Oh, well, then let's go in the house. I'll get you a beer. We can talk. Oh, not in the house. Do you mind if we just walk? Oh, of course not. Hmm. Might get some rain. When's Elizabeth coming home? Tomorrow or Tuesday, I think. James, I. Oh, look, now we're friends. You know you can speak to me. What's the matter? One of your patients die? You made a mistake, perhaps? No, no, nothing like that. Perhaps it's worse. I'm not sure. Has it anything to do with Elizabeth going away? In a way, yes. Oh. My favorite place. You know, Victor, I think up most of my sermons here. Listen, I've been doing an experiment. It's very complicated. I'm almost finished. That's wonderful. I think I'm a little afraid of it. I don't know. I've tried to think it out myself. I can't find the answer. Go on. You've got to promise that you'll never breathe a word of what I'm about to tell you. You have my word. You swear? I don't usually break my word. I'm sorry. Look, I've. I've made something. It's tremendous. It's impossible, but I think I've done it. And it goes against everything you believe. James, what. What have you done? I put it together. Heart, brain, nerves, muscle. Everything. I. I've done it. Do you understand? A complete body. And you're upset because of that? You. You think you've done something wrong. Last night I made it move. I'm not certain, but I think I can give it life. Don't you see why I'm afraid? James? I've created a man. You don't have to see this thing if you don't want to. Where is it? In my lab. I'm the only one who has a key. Nobody else ever goes in there. I don't say I believe what you've told me. But how do you know you can make it live? I mean, is it anything more than Galvanic action? You'll see. Go ahead. Why lock it? I always do. No windows. It's better that way. Now, before I show you, I want to explain. Here. This is what started was mostly an accident. One of the kids brought me his dog. Been run over, killed. You wouldn't believe it was dead. And he expected me to bring it back. So I gave it a shot in the heart. Then another with this stuff. A compound I fooled with for A long time. Yeah, well, the dog came back to life just for a moment. How do you know the dog was dead? It was. It had been for two hours. Now. All this happened three years ago. You've been experimenting on things ever since. Yes. It's wrong. I don't know. It's wrong. What are you going to do? Try to bring it to life. I've got to try. If you've known that all the time, why did you come to me? Why are you unsure about it? I wanted to tell you. I had to tell someone. You're my friend. I'm a minister. I preach and believe in the word of God. What about science? One doesn't believe in science. One accepts it as a power given to man by his creator. I'm not arguing, James. I'm only saying that if this thing can live. Haven't I accomplished a thing Tremendous work for science? I. I don't know. Do you want to see it? No. No, I don't. But I must. Oh, it's not terrible to look at. I've done a pretty good job on. Isn't quite finished the well. No. No, Victor. Bury it. Let it be at peace. Don't do it. Even if you can and I can't imagine it possible. Don't. Don't try. Do you realize what it would mean? I don't want to put it to rest, man. Forget it. It's just it. I can't. Not until I find out one way or the other. What are you going to do? Show you what happened last night. I don't want to see. I don't care. I know better. Listen to me, Victor. This mustn't go on. You can stop it. Not yet. Not until I find out. Does Elizabeth know what you're doing? No. Why did you send her away? I didn't want her here when I made the last test. Because you're ashamed. You know it's wrong. You know what she think. Oh, I'm not ashamed. I think I'm a little frightened. This is bigger than anything since the world began. Perhaps that's why I wanted you here. If it moves, if you prove your point to me, will you stop then? Will you destroy it? The formulas, whatever papers you have. Destroy all of it? Will you? I don't know. Hand me that hypodermic there, William. No. If I say I believe you, Victor, you don't have to be afraid of it. It couldn't hurt you, you know. There's only enough of this stuff to stimulate a very small portion of its brain. I'm not afraid of it. I'm afraid for us all. I. I've never preached to you, Victor, but it moved left foot last night. Then the right. I'm going to try the arm now. Will you move the light over here? Will you, please? Thanks. Now watch carefully. It only takes a few seconds. Now, look. Look. It's hand. I know. I know. That's the way it was yesterday. The movement only lasts for a moment, though. That's all. I don't know what to say. I don't even think I understand what I've seen. Except that it's terrible. Why? Because you don't understand. I'm afraid. If you like afraid for you. For what you've done. That thing lying there. You.

[Co-host/Interviewer]

You've got no right.

[Narrator/Host]

I won't allow. What's that? What? What's what? Listen. Where's my stethoscope? It's impossible. It wasn't enough. It's breathing. Victor, what have you done? The thing's alive. You are listening to Frankenstein. Tonight's presentation in radio's outstanding theater of Thrills. Suspense Alert. Americans will heed history's lessons. Throughout history, surprise has had a leading role in military disasters. Today, an enemy capable of surprise air attack could leave chaos in his wake. That's why you should be in the Civilian Ground Observer Corps, volunteering a few hours a week to guard our skies. Be a ground observer. Contact your local civilian defense office and join immediately. And now we bring back to our Hollywood soundstage Mr. Stacy Harris and Mr. Herb Butterfield, starring in tonight's production of Frankenstein a tale well calculated to keep you in suspense. But it didn't have enough. It couldn't have. 10 cc's 10 yesterday. Unless the drugs are cumulative. Maybe that's it. Has it moved again? No, his eyes are open. What are you going to do now? Listen to its heart again. It's got to be destroyed. We've got to put an end to it. It's inhuman. Don't you see what you're doing? You can't give it a soul. You can't. How do you know? How do you know what I can give it? I've given it life, haven't I? It sees, breathes, moves. Perhaps it hears. Yes, I. I wonder, does it hear? Hey, look. Did you see that blink? The head jerked, James. It hears. It's aware of sound. Does it feel pain? Don't. Don't. Is not an animal. You formed it like a man. Give it the dignity of one. I won't let you do that to me. I've gone this far. Put down the scalpel. What are you going to prove by that? I think you must be mad. I didn't interfere with your work. I. There's something at the door. Yes, I. I know. Better strap it down on the table. James, you won't forget your promise, will you? I'm sorry. I gave you my word. I'm sorry you ever told me about this. I feel I'm as guilty as you are.

[Character voices/Actors]

Darling, whatever took you so long?

[Narrator/Host]

Hello, James. Hello, Elizabeth.

[Character voices/Actors]

I tried to call you from the.

[Narrator/Host]

Station, dear, but the line's out of order. Oh, I. I'm sorry. Did you have a nice time? Lovely.

[Character voices/Actors]

Everybody sends their love.

[Narrator/Host]

That's good.

[Character voices/Actors]

What a fine pair of sober sides you are. What did you do, darling?

[Narrator/Host]

Break one of my good dishes?

[Character voices/Actors]

I knew I shouldn't have left you alone. Well, why are we all standing in the hall for? Come on, let's go.

[Narrator/Host]

Elizabeth, I must be going.

[Character voices/Actors]

Well, it's raining very hard.

[Narrator/Host]

I hope you're right.

[Character voices/Actors]

Well, then you'll have to take an umbrella. There's one in the kitchen.

[Narrator/Host]

Are you going to tell her? No. You won't unstrap it from the table, will you? Not yet. I'll try to come back later. I want to think about what you've changed since you came to see me this afternoon. You don't really care what I think now, do you? I suppose not. Thanks anyway, James. Are you going to let it live? Well, that's funny coming from you. Have I the right to kill it? I'll tell you this, Victor. You're doing something you have no right to do. Something that you don't even understand. The creation of man isn't your job. It isn't mine. I know your bright, scientific mind's laughing at me.

[Character voices/Actors]

Here's the umbrella, James. But I wish you'd wait until the storm blows up.

[Narrator/Host]

I really must get back. Thank you, Elizabeth. I'll return it tomorrow. Goodbye.

[Character voices/Actors]

Well, what's the matter with him? Have you been arguing religion again, Victor?

[Narrator/Host]

No, no, dear, no. I'm doing a little work in the lab. It's rather important. Do you mind?

[Character voices/Actors]

What is going on, dear? There's something.

[Narrator/Host]

No, dear, nothing at all. There isn't.

[Character voices/Actors]

I know there is.

[Narrator/Host]

What's the matter? I've told you, nothing. I've got to get back to work now. It broke the straps. Got up off the table. It broke the straps. It's just standing there looking at me. What do I do? Talk to it? What do I say? Cannot understand. I've Done it. I've done it. It's almost perfect. Muscular control, coordination. I wish I'd finished the face, though. Break those straps. Must be terribly strong. And that's odd. It's not over average sized. Allow what? Can you understand what I say? Do you feel any pain? Are you hungry? I'm a man like you. You are a man. Do you understand? This is a mirror. You can see yourself in it. Look. It's all right. It's all right. It's angry, but it doesn't show anger in its face. There's emotion there, though. It sees ugliness. And it's afraid. I'll have to get it back on the table. Put it to sleep. That's the best way. Then use a stronger strap or a chain. His eyes, just staring, seem watery. Oh, what a marvel it is, though. I want you to come over here and sit down. Do you hear me? Come here and sit down. Come here. No, don't touch that. No. No. Stop it. Stop it. Put that down.

[Character voices/Actors]

No.

[Narrator/Host]

Victor.

[Character voices/Actors]

Victor, darling.

[Narrator/Host]

Elizabeth. How did you get in here?

[Character voices/Actors]

I heard some noise and came down. The lab door was open.

[Narrator/Host]

I. I locked it.

[Character voices/Actors]

The lock was broken.

[Orson Welles/Narrator (Dracula segment)]

What's the matter?

[Narrator/Host]

What's happened? Did you see anyone?

[Character voices/Actors]

No.

[Narrator/Host]

Did someone break in? Elizabeth, don't ask me any questions. Just do what I ask. Go get your coat. I'm taking you over to James House. I want you to stay there.

[Character voices/Actors]

Why?

[Narrator/Host]

Why?

[Character voices/Actors]

What is it, Victor?

[Narrator/Host]

I'm going to tell you about it now. You may have to stay there all night. Now, hur. We've got to call the police. No, no, James. They'll shoot it. I don't want that. It's just frightened, that's all. You're being a fool, Victor. Do you realize what it means? That thing roaming about the country? What about the children? Everybody in the village. I'm going to get the police. No, no, James, please listen. Give me a chance to find it first. Then what? You do a few more experiments, give it speech perhaps, and it happens again. It's mine. I made it. I'm not thinking of that now. It's the village and your wife. We don't even know where it is. If it wants to kill, how do you know where it will stop? All right. All right then. Just give me an hour. Please, James. Let me try to find it before we call the police. If I do, I'll take it back. I'll. I'll destroy it myself. You give me your word? Yes. Yes, all right. I'll go with you. Thanks, James. Now get My rifle. Do you have a gun? Yes, but I'm not going to use it. Unless. Yes, unless. That's why I'll take mine. I shan't be a moment. It's getting dark. Where do you think it might have gone? That's hard to tell. If it's afraid of thunder, it might be hiding in a barn. That's where I'm heading now. The old Hamilton place. That's right. How are you going to capture it? Have you thought of that? I brought along a hypodermic. You're not afraid anymore, are you? No. Strange, because I am. Not of what it might do to me, but because of the fact that I've seen it.

[Co-host/Interviewer]

I know it exists.

[Narrator/Host]

Listen. There. The dog might have seen it. Sounds as though it's coming from around the Hamilton place. If it is in there, there's no way out. The back supported up, wasn't it? Yes, but it broke out of your lab. Then I'll go in. Wait out here, will you? I'm coming with you. No, no. If it tries to escape. If it does, do something to me. Shoot it as it comes out. Don't take the chance. It won't let you get near it. I'm going to try. I lie. I am afraid it's somewhere in here. Hiding, waiting for me. I am afraid. I should have destroyed it. James was right. Oh. What's the matter with this flashlight? That's better. What? Where's that? There. There in the corner. There it is. I won't hurt you. It's all right. I understand. I won't hurt you. Don't be frightened. It's going to be all right. Victor. You shoot it? I might have hit it. I don't know. Is it. Is it gone? Yes. Are you Victor? He never recovered consciousness again. Outside, I looked for the thing I'd shot at, but there was was no sign of it. I returned to the lab and burned every paper, destroyed every single evidence of Victor Frankenstein's terrible experiment. But the result of that experiment has never been found. Nor have I been able yet to convince the authorities that such a thing ever existed. Suspense, in which Mr. Stacey Harris and Mr. Herb Butterfield starred in tonight's presentation of Frankenstein. Next week, the story of terror in the streets. We call it the whole Town Sleeping. That's next week on suspense. Suspense is produced and directed by Anthony Ellis. Frankenstein was written by Mary Shelley. The music was composed by Lucian Morowic and conducted by Wilbur Hatch. Featured in the cast were Vivy Janis and Barney Phillips. Join the FBI in Peace and war. Wednesday nights on the CBS radio network. Sam. Weird circle. In this cave by the restless sea we are met to call from out of the past Stories strange and weird. Bell keeper, toll the bell so that all may know we are gathered again in the weird circumstances. Sam. Out of the past phantoms of a world gone by speak again. The immortal tale Dr. Jekyll and Mr. Hyde. Every man is truly two beings cursed with the struggle of good and evil within him. What would this duality be like? Separated each part living alone. The good companion. And then the pure and ugly evil of a man. That you, Poole? Yes, Dr. Jekyll. Then come in, come in. Did you get the salt? Yes, sir, finally, sir. But only three pounds of it. It was all the chemist had. Good. It will suffice. Thank you, Poole. Anything else, sir? Oh, no, no, Poole. Good night. I beg pardon, sir, if I may ask. Is the experiment nearly done? I think so, Poole. This time I think it's really nearly done. Ah, splendid, sir. Cook will be glad to hear it too. Good night, sir. Good night. Good night. Yes, and a gram of salt. Now, where's your courage, Jekyll? Drink it. Drink it. Your face. Your face. The essence of evil within you, growing before your eyes. His breath in your other half. Jekyll. You've given him the miracle of life. The essence of the hidden evil in a man. Dr. Jekyll. The miracle of consummate evil come to life. The hidden soul of Jekyll. I am Mr. Hyde. That night, like a shadow from an evil place, a stooped figure walked alone in the London streets. About him was a feeling of deformity and decay. He had come from the by street door of Dr. Henry Jekyll's house, from his laboratory. And it was the same door he entered again when the first light of dawn dispelled the night. But during the day, the house and the laboratory were quiet while the master slept. That evening, Mr. Utterson, the lawyer stood before the bright fire in the library. Dr. Jekyll had sent for him. This will is preposterous, Jekyll. I'm your lawyer. Yes, but nothing to be so concerned about. Artisan Edward Hyde is a new friend of mine. I want to be sure he's provided for in case something happens to me, that's all. But nothing's going to happen to you. How could you just disappear as you've stated in this testament? How could I know that, Utterson? Well, it's strange, Jekyll. But if this is the way you want it. Hyde has captured my Interest, Utterson, his well being is the one thing uppermost in my mind. I want to be certain, in case something does happen to me. That Hyde will be financially secure to carry on. I see. Well, all right, Jekyll, as you wish. The will be ready for your signature in a few days. I'll bring it around myself. Splendid, Utterson. Now, what about that spot of wine? Thanks, no. Dr. Lanyon's expecting me. He was only asking about you the other evening. Jekyll, we see you so seldom these days. Well, I've been rather hard at it in the laboratory. Sure you can't stay? Another time. Good night, General. Good night. Wonder who the devil this Edward Hyde is. Mr. Utterson was the first of many Londoners who were to wonder about the hideous spectre like Mr. Hyde. Who were to fear the shadows of night. Because of him, one evening, nearly a week later.

[Character voices/Actors]

Help me, sir. Help me.

[Narrator/Host]

Here, here, here, young fellow. What's the matter?

[Character voices/Actors]

It's a monster, sir. He struck me with his cane. Help me, sir, please.

[Narrator/Host]

There, there, there, there. Nobody's going to hurt you. Now, where is this monster you speak of?

[Character voices/Actors]

He was right behind me, sir. All the way from Clement Street.

[Narrator/Host]

Look.

[Character voices/Actors]

There, under the corner light. You'll not let him come at me again, will you, sir?

[Narrator/Host]

Will you? No, no, my lad. No harm will come to you. No, sir. He's seen us. Now. Wait. By George, it is a monster.

[Character voices/Actors]

Look, sir, he's making for that doorway. The small one in the shadow just there.

[Narrator/Host]

So he is. Hey. Here, fellow. Wait a minute. There. Come along, my lad.

[Character voices/Actors]

But, sir, don't let him.

[Narrator/Host]

It's all right. Now, don't be afraid, Leo. There. Did you strike this child? If the ruffian molests me again, I'll strike him again. What kind of a devil are you? There's no gentleman that wishes to avoid a scene. It was an accident. Maybe this pound note will ease the boy's pain.

[Character voices/Actors]

Oh, no, no.

[Narrator/Host]

Take it, lad. Now, if you'll excuse me. Wait a moment. In this door. Isn't this Jekyll's laboratory? You must be Mr. Hyde. I'm an old friend of the doctor's. Utterson of Gaunt Street. You must have heard of me. I was just on my way to see Jekyll. How did you know I'm Mr. Hyde? We have common friends. Who are they? Jekyll, for one. Come, let me see your face. Mr. Hyde. How well shall I know you when we meet again? We shall not meet again, Mr. Utter. Well, so that is Hyde. Now, my lad, run along I've got a call to make.

[Character voices/Actors]

In this house, sir?

[Narrator/Host]

Yes, but at the front door. I want to see if Mr. Jekyll's in. Now, my lad, you run along home. And don't let me catch you out in the dark streets like this again.

[Character voices/Actors]

Yes, sir. You won't, sir. Thank you. Thank you.

[Narrator/Host]

Good evening, poole. Good evening, Mr. Utterson. Like to Jekyll home, Paul? I'm afraid not, sir. Thought you he'd be here this late hour. Only most gently he is, sir. I just saw that Hyde fellow go in by the laboratory door. Is that right when Dr. Jekyll's away from home? Quite right, Mr. Utterson. Mr. Hyde has a key. Your master seems to put a great deal of trust in him. Yes, sir, he does indeed. We all have orders to obey him, though we see him seldom. He mostly comes and goes by the street door. And at night, Sir? Well, tell Dr. Jekyll I'd like to see him as soon as possible. And give him these papers, will you, Pool? Yes, I was talking with him about them a few days ago. Yes, sir. Good night, Paul. Good night, Mr. Utterson. Now the sword breaks to hide. Hurry. Mix it well. Pour the powder in slowly. No. Drink it. Look. The strength of good, Mr. Hyde. The triumphant strength of good face. The terror of your eyes. Unclouding straightening of your crooked, evil soul. The masking of an ugly idol in the glass. It's the last of you, Mr. Hyde. You'll never exist again. Is that you, Dr. Jekyll? Yes, Poole. I'm so sorry, sir. I only just told Mr. Utterson that you were not at home. I came in by the laboratory door, pooh. But Mr. Hyde, sir. Mr. Hyde is gone. Oh, I see. Mr. Utterson left this paper envelope. Said he asked also to see you as soon as possible. Thank you, Pooh. Put it there. Shall I bring you some chocolate, sir? No, no, I'll go to bed. I'm very tired, Pooh. Been alone too much lately. What do you say to my taking your advice and having the dinner party? Oh, that would be like old times, sir. We'll talk it over tomorrow. Splendid, sir, and cool. I don't think Mr. Hyde will be back again. Good evening. Come right in, sir. Dr. Lanyon and Ms. Julie. Come in. Hello, Jekyll. Good to see you out of that shell after all these months. This isn't going to be one of those stuffy dinner parties, is it?

[Character voices/Actors]

Pay no attention to him.

[Narrator/Host]

Dr. Jekyll, your hats and coats up tonight. Oh, yes, Poole. By the way, Jekyll Yes. This is your walking stick, isn't it? Why, so it is. You went off with mine the last time you were over and left yours. Did I? I am sorry. Look for Dr. Lanyon's cane, will you, Poole? Yes, sir. Of course, I'd rather have this one. I'm fond of canes and cherry. A little dog's head is nicely carved. Perhaps we'll arrange a swap someday. Well, Dr. Jekyll, good evening, Good. Sir Andrew. Hello there. Where have you been hiding all these weeks? Hiding Right here, Sir Andrew. Right here. Well, we've missed you. Mrs. Fielding's dinners aren't the same without Dr. Jekyll. Thank you, sir. It's good to see you, Jekyll. You're not evading me this time. Been trying to see you all week. Why? Something on your mind? Not here, old fellow.

[Co-host/Interviewer]

Come along.

[Narrator/Host]

We can steal out a few minutes before dinner. But only a few. I've got a house full of guests, remember? Look, there's nobody here in the laboratory. Sit down by the fire. My word, it does look like you've been working. Well, it takes a lot of equipment for chemical experiments. Now, what's up? You should know without asking. That will, of course. Oh, Bet I don't like it, Jekyll. You never did. And especially since I've met your Mr. Hyde. He's a hyperbole jackal the other night. Let's not talk about it, Utterson. It's not as you fancy. I can be rid of Hyde the moment I choose. What? What's the matter? Oh, I was just going to say, let's leave the will as it is. And will you promise me one thing? What's that? I still take a great interest in Hyde. And I only ask for justice for you to help him if the time comes when I'm no longer here. The whole thing's preposterous. But it's a promise. I'll do my best. Well, look here, Jekyll. Are you ill? No, no, I. But your face, man. Your face. Don't look at me, Allison. Jekyll, wait a minute. He saw you. Mr. Hyde. My eyes. Let me alone. Let me alone. You've got to die and stay dead forever. You're afraid, Mr. Hyde. Afraid of him? Can you kill the strongest force in the world? You've got to have the strength of Hyde to murder the inordinate strength of Hyde. You can't kill me, Jekyll. The good in you can never kill. And I shall never die. Not as long as you can.

[Character voices/Actors]

Hannah. What's the Matter? Oh, Miss Julie, close the window. Close the window, quick. What happened? That hideous creature we heard about, ma'. Am. That Mr. Heidi. I just saw him kill a man. Kill a man? Where? In the street just outside. I screame. He looked up at me like a wild man, he was. Oh, no, no, don't go out there, Mr. Anna, get yourself in hand.

[Narrator/Host]

What's going on here?

[Character voices/Actors]

There's nothing on the street, Father. You better go out and see what's happened. Oh, the creature was about to come up to the balcony, Dr. Lanyon. It was stooped and hideous and.

[Narrator/Host]

Put her on the bed. Julia, I'll be right back.

[Character voices/Actors]

I've just been sitting here. Peaceful life watching the moonlight ever since you and Dr. Lanyon came back from Dr. Jekyll's party. Then the white haired gentleman came along and this monster home. It's all right, Hannah. And the white haired gen just asked about the post. And this monster struck him with his cane and then kicked him again. It was that Hyde monster, Miss Julia. But where'd he go? When I screamed, some people came out from the houses and he looked round like an animal and then ran away. Oh, he might come back, Ms. Julia. Don't let him come back. Don't let him come.

[Narrator/Host]

Here. Here. Get back there. What's happened? The poor blighter. Such an old man. He's been murdered. Dr. Lanyon. Good Lord. It's Sir Andrew Carew. Looks like he was on his way to the post and some madman attacked him. Here are you call an officer. Already been called. Look at this. What is it? A walking cane.

[Character voices/Actors]

What?

[Narrator/Host]

The murder was done with, most likely. It's broke plumbing, too. Here, let me see that. Heavy sort of cane. Easy to do a murder with that. How terrible. Some maniac's done this.

[Character voices/Actors]

That Mr. Hyde we've heard so much about. And some folks have seen that too. Stunning Hyde.

[Narrator/Host]

Cherry cane with a dog's head carved in a handle. Why, this is Dr. Jekylls. Doc Clark. Let me have a room, any room, quick. Yes, right away. And I want a note delivered immediately. Will you register, sir? There's a time I tell you, give me a room and send me a mess to quit. Do you want these fingers around your throat or will you do as I say? Yes. Yeah. Yes. Yeah. Sam, show this gentleman up to 210 and wait for a note he wants delivered. Oh, my word. Fingers around my throat. And by God, I really meant it. I cannot impress upon you too strongly the importance of this note. Dr. Lanyon, you have been a dear friend and now my life is in your hands. Go immediately to my house. Poole will admit you from my laboratory cabinet. Remove the fourth drawer from the top with all its contents intact, and take it to your house, where a man will present himself in my name at exactly midnight tonight. You must not fail me. Henry Jekyll. What an extraordinary thing. Well, I've done as Jekyll said. Now we'll see. Oh, right on the dot. Who's there? Are you from Jekyll? Yes. Let me. Gladly. You got. I have. But look here. It's in my study, through that door there. Where is it? There, on the table. We've got a graduated glass on the shelf beside you. But what are you going to do? I. I am going to perform a miracle. Now, look here. Jekyll didn't say anything about. If this is some fiendish thing Jekyll's cooked up, I'll be no partner to it. Crystal. Who are you, anyway? Look.

[Orson Welles/Narrator (Dracula segment)]

Look at it, Doctor.

[Narrator/Host]

Lying man. Answer me. Who are you? You already guessed, haven't you? I am Mr. Hyde. Hyde? Is your curiosity great enough to watch me drink this potion? What are you talking about? Get out of here, you. You devil. If you watch me, a new knowledge will be opened to you, Dr. Lenyon. And in this room this instant, your sight will be blasted by a prodigy that would stagger the unbelief of Satan himself. You're a madman. Get out of my house. Dr. Lanyon. What? Jekyll. Jekyll. In heaven's name, it's you. The birth of a good man before your eyes. Now you see why I hid myself. Get away. All those weeks. Dr. Lanyon. Jekyll, what are you saying? First it took a strong draught on the formula to bring him to life. Weeks ago that was. But now he's too strong. Now, the Jekyll you see before you hasn't the power to keep him back. Two hours from now, Dr. Lanyon, I'll be Mr. Hyde again. No strength of my will can stop it. Jekyll, you're mad. Leave me alone. Alone. More of the powder, Dr. Lanyon? In heaven's name, don't you see? I've got to find more of the powder. This was the last coming jackal. Have mercy. Let an old man alone. Together we can do it. Dr. Lanyon. Poole got the powder for me, but the shop where he got it has no more. It must have contained some impurity that did the trick. You've got to help me find out what that impurity was. Dr. Lanyon, you've got to help me murder this evil hide in my soul. Jack.

[Character voices/Actors]

Stop.

[Narrator/Host]

Stop. Dr. Lanyard. Dr. Lanyon, no. His heart cannot stand the wonder of your miracle, Dr. Vicker. You have killed him. The one man who could save your life is dead. Oh, God bless you, Mr. Atherson, for coming so quickly. What on earth's happened, Paul? I'm sorely afraid Dr. Jekyll's been murdered, sir. What? Murdered? Come with me, sir. Don't make a noise. We mustn't be heard. But where are you taking me? He is a cat. Handles her to Dr. Jekyll's laboratory. And if by any chance he asks you in. Don't go, Mr. Hutcheson. Don't go. But how could Jekyll be dead? Quiet, sir, I beg of you. You see, he's been in the laboratory all day and he won't come out. And every time I knock, you wait and you shall see. Here's the dog. Mr. Edison, sir, asking to see you. As you like. Yes, sir. Pool. That isn't. Well, that doesn't sound like Jekyll to me. No, sir, I'm glad to hear you say so. Because, Mr. Utterson, whatever is in there cries to heaven for help. And Wales. And so what's driving at Pool? Well, sir, it all began early this morning after they'd found Dr. Lanyard dead. Yes. Yes, I saw him. Such terror in his face. Well, sir, it was sometimes Dr. Jekyll's way to leave orders on a sheet of paper outside this door. And since early this morning, sir, we've had no things else except notes at a closed door and food left outside to be smuggled in when nobody was looking. A dozen times, Mr. Letterson, those notes were sent me flying all over London to wholesale chemists for a certain powder. But every time soon after I brought it back, there'd be another paper telling me to return it. Because it wasn't right, sir. And this drug, sir, is wanted very badly. Then maybe it is jackal hole. Maybe. Oh, sir, do you think I wouldn't know my master after 20 years? That thing in there, Mr. Utterson had done away with Dr. Jekyll. Then who do you think it is in there? I give you my Bible word, Mr. Utterson. It's that monster Mr. Hyde. That's what I thought. Come on, we've got to break in. Yes, sir. We need an axe, something to pry the door with. Well, I have the tools here. I've also taken the liberty of sending a footman with the boy around the by street entrance just in case. And I have a gun here, sir. Good. Can they catch him if he tries to escape? They can, sir. Here's the exit. Here. Here, hold the candle. I'm going to knock first. Mr. Hyde, will you let me in? I can't see anybody. Go away. If you don't open the door, I'm going to break it down. In heaven's name, have mercy. Leave me alone. Stand back if you value your life.

[Character voices/Actors]

Straight away.

[Narrator/Host]

We're coming in there, Mr. Hyde. No. Will you break down the door? I'll kill you.

[Character voices/Actors]

Do you hear me?

[Narrator/Host]

I'll kill you. No, Mr. Anderson, wait. I unlock the door. Give me the gun. Who? The door is unlocked. Open it and come in if you dare. Stand behind me, Poole. I'm going to push it open. Oh, it's the monster. Mr. Anderson has got a knife. Stay back from us, Mr. Hyde. Here. You see? Evil incarnate, Mr. Utterson. And murder is my forte. So you have murdered Dr. Jacob because he wished me day. Now both of you shall die. Coming at us. Stay back. Look out now. Is he dead, sir? He's dead, Paul. Then we must find Dr. Jekyll. His body must be here somewhere in the laboratory. Wait. Look. His face is changing, sir. It's. You're looking at the shell of an evil soul pool dissolving, turning back to the form of its creator. But it's. It's Dr. Jekyll. What does it mean, Mr. Utterson? It means the evil man is deadpool. For here lies the better half of his duality triumphant. From the time worn pages of the past we have brought you the story Dr. Jekyll and Mr. Hyde. Bell Keeper, hold the bell. Sat in time worn pages of the past we have heard another immortal tale in the weird circle. Bell keeper, toll the bell. Be here in this lonely cave by the restless sea once again Next time for another immortal tale in the weird circumstances.

[Co-host/Interviewer]

Tired of the everyday grind. Ever dream of a life of romantic adventure? Want to get away from it all? We offer you escape. Escape designed to free you from the four walls of today for a half hour of high adventure. You are high on the frozen slopes of a great mountain, terrified and caught in a blizzard. While the thing from which you've been hunting has suddenly become the hunter. And if it finds you, then for you and your companions, there can be no escape.

[Narrator/Host]

So listen now as escape brings you Anthony Ellis's exciting story.

[Co-host/Interviewer]

The Abominable Snow. Our first bit of luck was when we hired our Sherpa guide, Nassang. That was in Darjeeling when I told Nassang what we were after. He hesitated it for a moment. And then he said.

[Narrator/Host]

The Sabes have not come to climb Shomolungma.

[Co-host/Interviewer]

Oh, no. We're a little late for that. It's already been done. The other two sides and myself are here for the reason I told you.

[Narrator/Host]

Meto Kangme.

[Co-host/Interviewer]

That's right.

[Narrator/Host]

The Saibes always hire me to climb the mountain with them. But never this.

[Co-host/Interviewer]

Are you afraid of them?

[Narrator/Host]

I have seen one.

[Co-host/Interviewer]

You've seen one?

[Narrator/Host]

Yes. Many of us have seen them.

[Co-host/Interviewer]

Wait a minute. Alan. Yeah, what's up? I'm interviewing a Sherpa in here. He says he's seen one of the things. Where's Frank? Went out to get some tobacco.

[Narrator/Host]

All right.

[Co-host/Interviewer]

Come on in. I think this is our man.

[Narrator/Host]

All right.

[Co-host/Interviewer]

Nassang, this is Mr. Ferris, sir. Hello, Nassang. Nassang was telling me about what he'd seen. Go ahead, Nassang.

[Narrator/Host]

It has a face that is evil. And when it saw me, it uttered a strange cry and bounded away. Sometimes leaping, sometimes running with great strides. It was dusk, and after a moment I lost sight of it in the snow.

[Co-host/Interviewer]

Where were you?

[Narrator/Host]

With the French expedition? It was at 19,000ft on Shomolungma.

[Co-host/Interviewer]

How far were you from it?

[Narrator/Host]

30Ft, perhaps 35.

[Co-host/Interviewer]

You're sure it wasn't an ape?

[Narrator/Host]

I am sure. There is no ape in Himalaya to make such a track. What about bears? This too, I have been asked. But does a bear walk always upon its hind legs?

[Co-host/Interviewer]

Well, that's enough for me, Alan. Yeah, he'll do. But if you want the job, Nassang, you're hired.

[Narrator/Host]

You are going to try to capture a yeti? Yes. It will be a difficult thing, but I will serve with you.

[Co-host/Interviewer]

Yeti, Wild Man. Netokongmi. Abominable Snowman. That's the name the natives had for the things. And Alan Ferris, Frank Davis and I were going to try to get one. We'd all done some climbing, but climbing was secondary here. Expeditions since the beginning of the 20th century had heard of the Abominable Snowman, observed their tracks, and one or two white men claimed to have seen them. Great ape, bear, monkey. Wild men. We didn't know. But we were going to find out. Four weeks later, we were in the wrong book valley for our interview at the monastery with the llama. The journey from our base had been uneventful. The weather was good and our spirits were high. From the llama's window, we could could see the great peak of Everest in the distance.

[Narrator/Host]

Why, gentlemen, do you desire to capture Meto Kangi?

[Co-host/Interviewer]

Because, sir, we believe it will be an invaluable aid in our prehistoric research. That is, if these things are in any way human.

[Narrator/Host]

And for this reason, then you have formed the expedition?

[Co-host/Interviewer]

Yes.

[Narrator/Host]

You are all familiar with climbing?

[Co-host/Interviewer]

Yes, we are.

[Narrator/Host]

You would need to be. The yeti move at high places. Dangerous places. So my people tell me. Also, the monsoons are arriving in a short time.

[Co-host/Interviewer]

I understand that. Then do we have your permission to investigate in the valley and beyond?

[Orson Welles/Narrator (Dracula segment)]

You have my permission.

[Narrator/Host]

Thank you. Appreciate it. There is one point, however. I must request that no wild animal or be being in this valley be shot. Our religion does not allow it.

[Co-host/Interviewer]

We'll respect your wishes, sir. Now, may I ask you one more thing?

[Narrator/Host]

Of course, my son.

[Co-host/Interviewer]

Do you believe in the existence of Meto Kangme?

[Narrator/Host]

I myself have never seen them. But I know that they live here above the valley. On the Goddess Mother of the World. It is also true that at least five and possibly more inhabit the upper Rongbuk and its glaciers.

[Co-host/Interviewer]

Thank you.

[Narrator/Host]

Do you have portals?

[Co-host/Interviewer]

Our guide, Nassang, is hiring them now.

[Narrator/Host]

Yes. I trust that he meets with good fortune.

[Co-host/Interviewer]

The old man, with great dignity, bowed slightly to us, and we were dismissed. But I thought I saw the shadow of a smile on his lips as he turned away. And it wasn't long before I found out why. Nassang returned to us in our quarters. And his face warned of bad news.

[Narrator/Host]

Sahib, I am unable to hire any porters.

[Co-host/Interviewer]

Why not?

[Narrator/Host]

They know the purpose of the expedition. They will not go. Why? They are afraid.

[Co-host/Interviewer]

The snowmen?

[Narrator/Host]

Yes. They live in peace with them. They wish no trouble. They are afraid.

[Co-host/Interviewer]

Well, all right, it'll be rough. But we can't waste time talking them into it. The monsoons will be coming in a couple of weeks. It's not the same as climbing Everest. We'll travel light, just the four of us. Set up a base and start hunting. All right with you fellows?

[Narrator/Host]

Yeah, sure.

[Co-host/Interviewer]

Nassang, I will go with you.

[Narrator/Host]

I am not afraid. Good.

[Co-host/Interviewer]

Well, let's take a look at the map. Now, we'll each carry a capacity load. We should be able to make this point below the glacier in two days. That's 16,000ft. And if our abominable snowmen are in the vicinity, we've got two weeks to find them. When will we start? Tomorrow.

[Narrator/Host]

Good.

[Co-host/Interviewer]

Well, that's it.

[Narrator/Host]

Paul.

[Co-host/Interviewer]

Yes, Frank?

[Narrator/Host]

One thing. What do the natives mean when they say they don't want any trouble with the things?

[Co-host/Interviewer]

Superstition, probably.

[Narrator/Host]

Oh, no, sir. It is not superstition. It is because the yeti are cannibals. That is why the porters are afraid.

[Co-host/Interviewer]

The weather turned ugly the day we left the village. A cold Tibetan wind blew down from the west. And with our heavy packs, it took us much longer than we'd thought to arrive at the point just below the Rangbuk Glacier. We set up our camp and made ourselves as comfortable as we could. The next morning wasn't so bad. There was a heavy overcast, a promise of snow. And the peak of Everest looming over us was shrouded in clouds. The four of us sat in the tent looking at our charts and drinking hot tea.

[Narrator/Host]

I figured it'd be easiest if we started at the East Glacier. It's only about three miles from here. And with the weather as stinking as it is, we won't run too much of a risk. What do you think, Paul?

[Co-host/Interviewer]

Well, that sounds all right. What do you say we split up? You and Song, Alan and me. We'll work up on either side of the ridge here. And if we spot any tracks, fire two shots.

[Narrator/Host]

Yeah, good enough.

[Co-host/Interviewer]

Now, the big thing, though. No matter what, don't shoot at the thing if you do see it, okay?

[Narrator/Host]

Okay.

[Co-host/Interviewer]

All right. If we lose touch with each other, we'll meet back here at 5.

[Narrator/Host]

All right.

[Co-host/Interviewer]

Let's get going. We'd left the base at 6 that morning, and the going was rough. Alan was pretty well shot. By the time we got to the 17,000 foot mark. He was having a tough time breathing. And the wind had come up again. And with it, a fine, powdery snow that blinded and choked us. Hey, I gotta take five.

[Narrator/Host]

All right. Here.

[Co-host/Interviewer]

Move over here. Might cut some of the wind.

[Narrator/Host]

That's better.

[Co-host/Interviewer]

We might as well start back for the base. We couldn't see anything this anyhow. You know, right now I don't care whether we do or not. This is good weather. Wait until the monsoon starts. No, no, not me.

[Narrator/Host]

Oh, cool.

[Co-host/Interviewer]

I never been so cold in all my. We stayed in the half shelter of an overhang for 10 minutes. And the wind was quieter and the snow had lit up. I noticed that the tracks we'd made coming into the shelter were gone now. But we didn't have any worry finding our way back. I figured that Frank and Nassang had met pretty much the same thing on their side of the ridge. And we'd meet them at the base. So Alan and I picked ourselves up and stopped it off. Boy, I thought I was in pretty good shape.

[Narrator/Host]

But up here, boy.

[Co-host/Interviewer]

I'm nothing, Paul. I'm tired again. We'll just take it easy going down. You haven't got frostbite, have you? No, no, not yet, but.

[Narrator/Host]

What the. Left there? Yeah.

[Co-host/Interviewer]

They're not our tracks, are they? Not unless you took your boots off on the way up. Must have just passed by. It must have seen us.

[Narrator/Host]

Yeah.

[Co-host/Interviewer]

Come on. We were looking at a set of tracks, newly made in the fresh snow. And they'd passed so close to our shelter that the thing must have known we were there. They weren't the tracks of a bear or an ape, but more like a splay footed naked foot. The tracks of the abominable snowman. We will return to Escape in just a moment.

[Narrator/Host]

But first, 30 million school children make their way back to class. This year There are just 10 million too many for existing school facilities.

[Co-host/Interviewer]

Contact Better Schools, 2 West 45th Street.

[Narrator/Host]

NY 19 for information on ending this menace to America's educational standards. And now back to Escape.

[Co-host/Interviewer]

We began to follow the tracks and for a while, perhaps 150 yards, it was easy. And then the thing made a leftward traverse down a deep slope. We could see the Prince clearly angling with a side step as sure footed as a mountain goat. Except that it was walking on two legs.

[Narrator/Host]

This way, Paul.

[Co-host/Interviewer]

Take it easy, Al.

[Narrator/Host]

Getting steeper. Boy, that thing sure can climb.

[Co-host/Interviewer]

Hold up.

[Narrator/Host]

Allah, I think.

[Co-host/Interviewer]

And he dropped out of sight over the lip of the crevasse. We weren't roped again. I got as close as I dared to the edge. The loose snow crumbled away from my outstretched body and I looked down into the blue black darkness below. Falling away into nothingness. He was gone, Finished. All I could think of was the noise he'd made when he went over. Surprised, angry. Then silence. The crevasse might have been 500ft or 5,000. Snow started to fall again, big flakes this time, and wet. I stood up and across the gap, 20ft away, I saw the tracks of the thing continuing on and away until they became lost in the blank whiteness of the glacier. It had jumped and landed still upright on the opposite side. I went back to the base and an hour later Frank and the song returned. I told them. And we were quiet for a long time. Then.

[Narrator/Host]

Paul, are we going out again tomorrow?

[Co-host/Interviewer]

Why not?

[Narrator/Host]

I just wanted him. We should go back. It is an omen, I tell you.

[Co-host/Interviewer]

He was going too fast. He didn't have a chance to see the crevasse. That's not an omen. It's bad sense.

[Narrator/Host]

Meto Kong. Me Cannot be caught.

[Co-host/Interviewer]

We'll catch him.

[Narrator/Host]

But there are only three of us.

[Co-host/Interviewer]

If we had a few more men. I tell you, the thing was so close that if we'd looked up at the right time, we'd have seen it. You think I'm going to give up now? Next time we'll get it.

[Narrator/Host]

There was no chance to get Alan out. No. You think if we went back.

[Co-host/Interviewer]

Listen. You think I don't want to? He's gone. I tried, but he's gone.

[Narrator/Host]

Okay. Okay. Wish that wind had let up.

[Co-host/Interviewer]

Maybe by morning. We'll try again tomorrow. It was cold that night. And somehow colder because Alan was gone. I heard Frank tossing around. And I knew he was thinking about a body. Broken and lonely, lost somewhere in a deep and dark place. In the morning, the three of us packed our gear, camera, food. It was a light pack. We started up again, this time to a crest above the ridge. It was tougher than it looked, and we weren't even halfway up before we had to rest. As I looked to the west, I saw clouds boiling up. Not white, but somber threat. And below, the valley looked grim, ugly, gray. And then the sun was gone. And we kept on going up. And then I had a strange feeling. It was nothing. I could see. Nothing. I could hear. Only a sensation of being watched, followed. Wait a minute. See something? No.

[Narrator/Host]

I have felt it. Too sad.

[Co-host/Interviewer]

Something following us?

[Narrator/Host]

Yes, it is Met economy.

[Co-host/Interviewer]

How do you know?

[Narrator/Host]

It can be nothing else. At this site, there is nothing else that lives.

[Co-host/Interviewer]

Maybe it's curious.

[Narrator/Host]

No.

[Co-host/Interviewer]

Don't turn around. Frank. Listen. When we get up to the crest, you two flop down, stay inside of the slope.

[Narrator/Host]

What are you gonna do?

[Co-host/Interviewer]

Move around the hump and watch. If it thinks we're all together, it may come close enough to give us a chance to get it.

[Narrator/Host]

You better watch your step. It looks nasty.

[Co-host/Interviewer]

I will now. Come on. It took us another 15 minutes to get up to the crest. And then Frank and Nang hunched down to rest. They were in clear view of the slope we just ascended. I moved back out of sight and made my way toward the hump, which backed a long shelf on the north side of the crest. In a couple of minutes, I lost sight of them and of the slope. The wind had increased and the clouds had spread now to become an iron gray canopy over the mountain. It was getting colder again. I don't think. It took over five minutes to reach my lookout point. And when I did, I had a perfect view of the ground we'd covered. There was nothing there. The Men were out of sight. And I waited a minute.

[Narrator/Host]

Two.

[Co-host/Interviewer]

There was nothing until.

[Narrator/Host]

It came.

[Co-host/Interviewer]

Carried on the wind. A cry and then shots. I scrambled back to where I'd left them. And when I got there. When I got there, Frank was lying on his back. And I couldn't look at what was left of his face. There were terrible deep rents on his clothing. And he was dead. Da Song lay huddled a few feet beyond, a gun in his hand.

[Narrator/Host]

Saab, what is it? What? Metal kami came from behind us before I could throw the gun. It has killed. Then it sprang at me. It is strong, sahib. With the strength of 10 men.

[Co-host/Interviewer]

All right.

[Narrator/Host]

All right.

[Co-host/Interviewer]

Can you sit up?

[Narrator/Host]

My leg. It struck at me. My leg broken. I shot at it, but I missed. It jumped away and was gone.

[Co-host/Interviewer]

Okay. We'll have to figure out a way to get you down. We were four hours from camp, and with Nassang practically helpless, it could well be four days or never. I buried Frank where he was lying, then began to work down the slope. Nang was in great pain. He half slid and crawled as best he could. That part of it wasn't too bad. Then we were at the bottom and there was a ledge to climb. It took well over two hours to do that. And we still had three miles of difficult terrain to cover. The stops became more frequent.

[Narrator/Host]

Leave me here. Go back. Back.

[Co-host/Interviewer]

No.

[Narrator/Host]

My leg is frozen. There is no feeling anymore. I shall not live much longer.

[Co-host/Interviewer]

Don't be a fool. After a rest, you'll be able to go on.

[Narrator/Host]

Sunday night comes. If we are both caught here, we both die. There will be snow. Much snow. Leave me. No.

[Co-host/Interviewer]

We're going back together.

[Narrator/Host]

Please, let me sleep. Let me sleep here. I cannot go on.

[Co-host/Interviewer]

You've got to, Nasan.

[Narrator/Host]

No. No more.

[Co-host/Interviewer]

The ridge is only about a half mile from there. It won't be too bad.

[Narrator/Host]

No. No. Let me stay. Let me sleep.

[Co-host/Interviewer]

No.

[Narrator/Host]

No.

[Co-host/Interviewer]

Come on, Lahsan. Come on. You're not going to sleep.

[Narrator/Host]

You'll be all right.

[Co-host/Interviewer]

I turned and for an instant I saw it outlined against the snow, crouching of medium height. It was covered with thick hair. The face was reddish and bare. A semi human face. And it was not an ape. The thing made a tremendous leap and was gone. But I'd hid it. I knew I hit it.

[Narrator/Host]

Did you kill it?

[Co-host/Interviewer]

No, I don't think so.

[Narrator/Host]

Then it will be back. It has tasted blood. You must leave me.

[Co-host/Interviewer]

Get up. Get up. Come on, let's go. No. Song.

[Narrator/Host]

I am very sorry, sir. Will you ask the llama to Make.

[Co-host/Interviewer]

A prayer for me sure, sure I weld no song but give my pay.

[Narrator/Host]

To my wife Life in daddy healing I satisfied, I die.

[Co-host/Interviewer]

And the darkness came. And with its shadows in the snow, every hillock mound became the thing. Motionless, waiting in my mind. I kept seeing it. Its long arms powerful in the dreadful claws it must have possessed. I carried my gun in my gloved hand, but I knew that I couldn't fire it unless I was barehanded. And that meant my hand would freeze to the gun. And then suddenly I felt myself slipping. It was a short incline, but when I reached the bottom, the gun was gone. I'd lost it. I've got to find it. I've got to find. And I saw a glint of metal in the snow 10ft away. And at the same time, above me, at the top of the bank, the thing, it stood swaying a little, looking down at me. I moved slowly, slowly, inched my way toward the gun. And as I drew closer, I kept my eyes looking up. But it didn't move, only stared down at me. And I thought I saw its little eyes glittering. And I thought, if the gun's frozen now, if it's frozen, doesn't fire. And I was nearer to it, near enough to take off my glove. But that moment in which I'd have to bend to pick it up, that's when it would leap down at me, tear my throat out. Terran had the gun. And I pulled the trigger. And it lay there, strange and terrifying, its blood staining the snow. And it looked at me, looked at me. Until the sound died away. It was dead. But the eyes kept on staring. It must have been the shots that loosened the snow and ice on the ridge above. I heard the sound and I ran. Ran it passed me and swept on down toward the valley, the thunder of it dying in the distance. And when I went back, there was nothing. Nothing there. It was buried somewhere under tons of snow. I made my way back to the wrong book village. I don't remember how. I didn't remember anything for two weeks after. But I'm al and I'm not going back there again. That's all I know or want to.

[Narrator/Host]

Know.

[Co-host/Interviewer]

About the Abominable Snowmen.

[Narrator/Host]

Escape has brought you the Abominable Snowman.

[Co-host/Interviewer]

Written and directed by Anthony Ellis, starring.

[Narrator/Host]

William Conrad as Lane. Featured in the cast were Anthony Barrett, High Averback, Jack Cruchen and Edgar Barrier. The special music for Escape was composed and conducted by Leith Stevens. Next week.

[Co-host/Interviewer]

You are a passenger aboard a submarine making its last peaceful voyage across the sea. While unknown to you, the captain has a plan which, if it succeeds, will mean for you and the entire crew a fate from which there can be no escape.

[Narrator/Host]

So listen, next week, when escape will.

[Co-host/Interviewer]

Bring you Marion Mosner and Frances Rosenwald's.

[Narrator/Host]

Exciting story, the Log. You're headed in the right direction. The station is right. The network is right, too. Check all timepieces and then check your local radio schedule.

[Co-host/Interviewer]

Let's have no slip ups. Everybody wants to hear the Jack Benny.

[Narrator/Host]

Show right from the beginning when it.

[Co-host/Interviewer]

Returns to CBS Radio tonight.

[Narrator/Host]

This is Roy Rowan speaking.

[Co-host/Interviewer]

This is the CBS Radio Network.

[Character voices/Actors]

RAM Sad.

[Narrator/Host]

Friday the 13th and the 13th. Dark fantasy story by Scott Bishop. W.

[Orson Welles/Narrator (Dracula segment)]

Is werewolves.

[Narrator/Host]

Jim. Jim Howard. Over this way.

[Character voices/Actors]

Bill.

[Narrator/Host]

Bill Andrews, you old pill roller. Golly, am I glad to see. Well, Jim Howard, welcome to Cape. How. You're just the medicine the doctor ordered. And you're the doctor. How are you, Bill? Never better. Say, am I glad to shake hands with you again. You're the same old gem. Five years haven't changed you a single bit. Well, I'm sorry I can't say the same thing about you. You look tired, almost sick. I say, you aren't ill, are you? Ill? Oh, no, no. I've just been working hard. That much sleep lately? Come on, I've got a wagon waiting right over here. Wagon? Sure. Nothing fancy about us. We'll take the wagon for the boat landing and then we'll row over to my island. Say, now, wait a minute, Bill. Are you trying to rib me? What do you mean, your island? Oh, didn't I tell you I hadn't lived in Cape Howe for three years? I. Well, I find it more pleasant and comfortable out on the island. But what island? Folks around here have another name for it, but don't mind them if you hear it. I call it a chape. Hmm. Say that again, Bill. A chape. What's that, Scandinavian or Esperano? French. Come on. Here's the wagon over here. Young John's waiting on the boat landing. Oh, I say, how is young John, Jim? I. I don't know. I'm. I'm worried about him. He's having trouble with his studies. Doesn't seem to like books and hates company. Well, I'd say he's more lonesome than anything else. It's more than lonesomeness, Bill. Ever since Bill Jr. Died, he hasn't been the same. Angela and I were sorry to hear about Bill Jr pretty sudden, wasn't it? Yes, pretty sudden. That's the way it is in this country, though. So much fever, so few conveniences. Oh, by the way, you say Angela and the child will be along in a few days? Oh, yes, you got. My wife got it yesterday. I didn't know your sister lived at Lowston. Oh, yeah, she has for years. Angela wants to visit about a week, and then she'll come on down here to Cape Howe by steamer. Incidentally, old man, do you think this country's all right for the baby? Had her shots, has she? Oh, yes, as I did everything you suggested in your letter. You know, that letter you wrote almost scared Angela out of coming. Oh? She said if it's that dangerous here, she doesn't think we should risk the child's life by bringing her here. Well, there's no danger at all if the child's been inoculated against the three diseases I mentioned. Well, I took care of that, all right. You're sure there's no other danger? I've taken care of any other danger there might be. Hmm? What do you mean? Just that. There's nothing in the world for you or Angela to worry about. Please believe me, James. All right. Old map. All right, huh? Angela and I are on the first vacation we've had since we've been married. And believe you me, we're here to make the best of it. Good. That's fine. Come on. The wagon's waiting. See? Right over there. Fine country, eh? What, Jim? Oh, marvelous. We've enjoyed the whole trip so far. Didn't even get seasick on the way across. Not even the baby. And she only a year old. Say, I'm anxious to see that girl. How come you named her Sandra? Well, that's one of Angela's favorite names. Pretty name. I like it. Oh, this is the blameless means of transportation I've ever had to endure. I thought you would at least have your own limousine. No, Jim, I haven't been doing so well lately. I hope you'll be able to put up with what I have to offer you on the island. Rough and rugged, is it? Quite. I built the cabin myself. It's not much, but it's comfortable. Oh, by the way, did you bring the books I wrote you about? Books? Oh, yes. They're in the trunk. Good. I must say, that's the strangest collection of books I've ever heard of. What kind of experimenting are you doing on that island anyway? It's pretty serious, Jim. I assure you it must be. I read your books on the way across you. You did? Yes, indeed. Dr. Helgen Woodward's book on lycanthropy and Henry Joseph McClure's pamphlet on the disease Lumpus Vulgaris. And Guy Ender's story, Werewolf of Paris and two other books on werewolves. Can't for the life of me imagine, Andrews, what you want with books like that out here in this wilderness? All right, Jim. Here we are. Oh, John, here's Jim Howard. You remember Mr. Howard, don't you, Johnny? Well, sure he does. How are you, John, old boy? All right. Glad to see you, sir, I see. Where's that old smile I used to see? Here, let me shake your hand. No, sir, I don't want to shake hand. Oh, come on now. We're old friends, aren't we? No, Mr. Howard. Oh, I say, now, Jim, just a minute. Let go, Mr. Howard. There, Jim. Oh, there now, shake just like old friends. Let go. Let go my hands. Let go, Jim, please. I see the boy's hand, Bill. Come on, Jim, into the boat with you. Come along, Johnny. Johnny, get into the boat, son.

[Orson Welles/Narrator (Dracula segment)]

Yes, sir.

[Narrator/Host]

Come along, Jim. All right, I'm. I'm shoving off. All right, Johnny, you want to take the oars for the exercise or you want me to row? Well, son, I told him not to shake my hand. I told him, didn't I, Johnny? Can I help us? Is it my fault if my hands are. Johnny, you want to row or not? Yes, sir, I'll row. Okay, son, up to it. Johnny. Sonny, if I did something. Come on down to the other end of the boat, will you? Here, sit here. I say, Andrews, that boy's hand. Quiet. He's upset enough. But, Bill, the palm of Johnny's hand. Good Lord, man. It's all covered with a thick growth of hair. Okay, Jim, this is your room. Say, this is fine. You say you built this yourself, Bill? Yep, every bit of it. How do you like my island? I think it's perfect, but pretty inconvenient. Oh, I don't mind. Sorry we had to arrive here so late. I'll show you around in the morning. Yes, I'm anxious to see the rest of your place, Bill. I want to talk to you more about your work. Yes, of course. Tomorrow. It's pretty late now. Yes, it is late. I'm afraid I rather bored you, old man, with my chatter at the dinner table. Oh, Jim, you heathen. You've never bored me a minute in all the time I've known you. Oh, that man Rayfield of yours is certainly an excellent cook. Yes, he's an excellent tutor for young Johnny, too. You'll find him quite helpful if you want anything Fine. Oh, by the way, the people in this potter are superstitious lot, Jim. Don't let them bother you with any of their nonsense. Nonsense? Yeah, a silly rot about. Well, things in the night. What things? Oh, there's nothing, of course, but they take all sorts of means to ward off, well, the evil spirits. Oh. Oh, I see. Here, I'll set this charm here on your desk. You won't be using the desk. Charm? What charm? Well, it's just a simple thing that the people hereabouts always insist on putting in the room in which a person sleeps. Here, these three bits of green twigs, two of them standing upright like this. There we have it. Hey, what is this? One cross piece on the uprights like this. Then a lakeshore pebble. This little bit of charred wood. There you are. Now you're fully protected. Protected against what? Why, those evil spirits I was telling you about. And now just forget about them, James. I just put the charm here in case Raphael comes in. He's very superstitious and he'll never rest until he's made a charm for you himself. Well, all right, but. I see. Now just forget all about it. Just a whim of Rayfield's. Good night, Jim. Good night, old man. See you in the morning. Right. Bright and early. You need a spare blanket. There's one in the closet there. Right, Bill. Good night. Pleasant dream. Hmm. A whim of Rayfield's, huh? Three bits of green twig. Make sure pebble a piece of charred wood. That's a strange combination to ward off evil spirits. So Bill claims. But what evil spirits? Great horn toads. What's that? What in the world is that? Bill. Bill. I say, Bill, what's that howling? It is nothing, mister. Huh? Oh, you Raphael. Nothing but a wild animal howling in the night. What? That sounded like a wolf. Wolf, mister? Yes. It couldn't have been evolved. There are no such animals in this country, you know. I know that, but there, you hear. Will be all right, sir. Did Mr. Andrews give you the charm? Charm? Oh, yes, the charm. It will protect you, sir, from. And eating. Wait a minute, Rayfield, don't go. Just what is this thing I'm being protected from? Oh, nothing, nothing, sir. Nothing at all. People around these parts are curious lot, that's all. Superstitious, you know, and all that sort of thing. So we humor him by always keeping it charm in the sleeping rooms of our robes. Yes, but I don't see why you should worry about humoring anybody way out here alone like this on this island. Well, sorry is just the habit of Mr. Andrews Arako. But he said it was you he was satisfying by placing the charm in my bedroom. Yes, sir. That is well what I mean, sir. I'll best be going. Young John isn't feeling so well tonight. I hope you Sleep good, Mr. Owl. And don't worry about the howling. Nothing will harm you. Don't worry about the howling. Strange. That howl's coming from the east wing of this cabin. Right over there. By George, I'm going to skirt this place and have a look. Quite. Now, the sound. A light just went on in that room. The sound's coming from. That window's heavily barred. And the window glass is frosted and curtained so no one can see inside. The howl is coming from inside that room. There's the door to the place. Oh. Bill. Bill, are you in there? Bill? Some animal in there, all right. Bill Andrews, are you in there? Whatever it is, it's trying to get out. Bill. Bill, are you all right? Are you in there, old man? Bill, are you in there? Bill? Yes, James, what is it? I. I just wondered if you were all right. I heard that animal howling and I thought. That animal? What animal? James, don't tell me you didn't hear it. You weren't by any chance dreaming already, were you, old boy? But the howling came from inside that room. Say, you have been hearing things. I certainly have. Just before you opened the door, I heard an animal sniffing and whining and scratching at the door. Oh, now, Jim, a joke's a joke. But I'm not joking. Well, come on inside and look for yourself, then. Does anybody use this room? Certainly. It's young Johnny's. He and Bill Jr. Had the room together before. Before we lost Bill Jr. Bill, I'd swear there was an animal in here a moment ago. Normally, Jim, I'd be a little confused by what you're saying. Well, the long trip. Worry about your baby daughter. Look there on the door. Long, deep scratches like an animal's nails would make. Oh. Oh, those. Jim, those marks are ancient. The boys used to own a collie dog. We don't have him anymore. We used to shut him up in here sometimes and he'd scratch on the door for someone to let him out. What's this, Bill? What is this? A long, heavy chain securely fastened to the metal bedpost. And a huge leather collar on the other end. Yes, that was the collar's chain and collar. We. Well, we've never removed it from the bed. We'd chain the dog here at night to protect the boys. But look here. Fresh blood stains on the collar and little wisps of grayish fur. Jim, forget it. Those stains aren't fresh. That dog hair has probably been there for ages. Yeah, I suppose so. But why the bars on the windows, Andrew? Just a protection for the children. Come on, the living room, old man, and let me get you a drink. Call it a night, shall we? Yes, I suppose we'd better. Maybe a little sleep will do everybody.

[Orson Welles/Narrator (Dracula segment)]

A lot of good.

[Narrator/Host]

Angela, I can't tell you how happy I am to have you and Jim here to visit me.

[Character voices/Actors]

We've looked forward to this for six months, Bill. I envy Jim for having a week's head start on me.

[Narrator/Host]

Oh, we really like it here, Bill. Baby asleep, dear?

[Character voices/Actors]

Yes, and it's time we had some rest, too.

[Narrator/Host]

And that's my hint to clear out.

[Character voices/Actors]

Oh, no.

[Narrator/Host]

Oh, I forgot. I'm going over to the mainland. I'll be back by morning. Anything wrong, Bill? Oh, no, not a thing. Jim, may I ask a favor? Certainly. That watch charm you're wearing. Solid silver, isn't it? Why, yes, it is. Do you think you could give it to me? Give it to you? Why, of course. I have a very special reason for wanting it. I wouldn't ask for it if I didn't have. There you are. Thanks, old man. I. I hope I can return it to you. Well, good night. See you tomorrow. Good night, Bill.

[Character voices/Actors]

Jim, why does Bill act so strangely?

[Narrator/Host]

I. I don't know, dear. Hmm. I wonder why he wanted that silver watch charm. Odd. Oh. Oh, by the way, you said you had that wire for me.

[Character voices/Actors]

Oh, yes. It's here in my purse. I'll get it for you. Would you cover Sandra, dear? She's kicked her blanket off.

[Narrator/Host]

Oh, sure.

[Character voices/Actors]

Here you are, darling.

[Narrator/Host]

Thanks. Say, Angela.

[Character voices/Actors]

Yes, dear?

[Narrator/Host]

Listen, in answer to your cable, I have been able to learn that the grandfather of William J. Andrews was shot in France almost half a century ago by an angered mob. His grave was recently opened, and instead of the remains of a man, investigators found the almost perfectly intact body of a strange beast, somewhat resembling a wolf. Jim. No. Just what I thought.

[Character voices/Actors]

Oh, Jim. What's that?

[Narrator/Host]

Something's wrong. Come on, hurry. Oh, look. Look.

[Character voices/Actors]

I'm the doorway of that room with the bars at the windows.

[Narrator/Host]

Some animal running out there near the edge.

[Character voices/Actors]

Jim.

[Narrator/Host]

I hit that creature three times. I couldn't have missed him. And yet the bullets didn't even slow him down. Jim.

[Character voices/Actors]

There. The doorway. It's Raytheo. Look at him. Oh, his throat.

[Narrator/Host]

Only an animal could have done a thing like that.

[Character voices/Actors]

Where's young Johnny? Look, Jim. That heavy chain hanging from the bedpost.

[Narrator/Host]

The collar's gone. Chain snapped right in two. Angela, you and I have a job to do. I. I hate to ask you to do this, but I think you've got the courage.

[Character voices/Actors]

To do what, dear?

[Narrator/Host]

Come along with me, you will. You about ready to get the lid off the box now? Oh, steady, Angela, steady.

[Character voices/Actors]

Oh, this thing's terrible. Desecrating Bill Junior's grave like this. Digging up the casket.

[Narrator/Host]

If I'm wrong about this, all we see. Hand me that bar. That's it. Now, hold the light over here. Now, Angela, just another nail or two.

[Orson Welles/Narrator (Dracula segment)]

Jim.

[Narrator/Host]

Just exactly what I thought.

[Character voices/Actors]

That's not a boy's body in that casket.

[Narrator/Host]

It. It's what was Bill junior.

[Character voices/Actors]

But look. Woolly fur all over it. And that head and face like a dog's.

[Narrator/Host]

Like a wolf's. Oh, Jim. Young Bill Jr. Died a werewolf. His great grandfather before him had the same disease. That's why Bill Jr. Died so mysteriously. That's why Andrews had to leave the mainland to move out here. And all the while he's been studying, trying to affect a cure. The hair on the palms of young Johnny's hands. Not wanting me to shake hands with him. Now I see why Bill was so insistent about the charm of twigs. Stone. Charcoal. My watch. Charm. A silver bullet. Jim, that howled again.

[Character voices/Actors]

That's coming from our room. Jim.

[Orson Welles/Narrator (Dracula segment)]

Come on, honey.

[Narrator/Host]

Look. There's no light in the room. We left it on, didn't we?

[Character voices/Actors]

Oh, yes, we did. Oh, Jim, hurry.

[Narrator/Host]

There. The light went on. Look out, dear. Let me in there.

[Orson Welles/Narrator (Dracula segment)]

Oh, locked.

[Narrator/Host]

This door's locked. Who's in there? Open this door. Open up.

[Character voices/Actors]

Oh, dear.

[Narrator/Host]

Jim, open up this door. Open up, I say. Well, everything's finished now. Young Johnny is dead. SA Friday the 13th and you have heard Scott Bishop's 13th original tale of dark fantasy. W is for werewolf. Ben Morris was heard tonight as Jim Howard. Garland Moss was Bill Andrews. Eleanor Naylor Coren took the part of Angela Howard. Fred Wayne was Raphael and Don Stoltz played young Johnny. Next Friday night at the same time, listen to the 14th in this series of dark fantasy dramas. An intriguing, exciting story called A Delicate Case of Murder. Written by Scott Bishop. A strange, weird tale of a spiritualistic medium who suddenly finds herself in the midst of a vicious and well planned murder. Plot with herself, the victim. Murder and fantasy combine to produce one of the most eerie adventures you have ever heard in A Delicate Case of Murder.

[Orson Welles/Narrator (Dracula segment)]

Tom Paxton speaking. Dark fantasy comes to you each Friday.

[Narrator/Host]

Night, from WKY Oklahoma City, this is the National Broadcasting Company, Lux presents Hollywood. The Lux Radio Theater brings you Nelson Eddy, Susanna Foster and Basil Rathbone in the Phantom of the Opera with Edgar Barrier. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. A Broadway first night thrills the few hundred people who can enjoy the play. A Hollywood premiere is exciting for the few thousands who gather to see the stars. But opening night in the Lux Radio Theater belongs to the millions. The millions in American homes and camps from coast to coast. And it belongs to our boys in uniform beyond the seas who join us for the first performance of our 10th season. The real adventure is not in the lights or the crowds. But in the historic privileges of the theater. In hearing a famous star score again in a brand new role. And in the joy of discovering a new star. All that is yours tonight when we present Nelson Eddy and Susanna Foster in their new universal Technicolor success, the Phantom of the Opera. And with them, in one of the theater's most interesting parts, we bring you Basil Rathbone. It's the first of a big parade of stars and plays that will challenge your attention and our ingenuity. Tonight's play has the thrill of mystery, the gaiety of comedy. And to stop everything else, one of the great singing voices of our day. The romantic baritone of Nelson Eddy. And if that isn't the right way to start the Lux Radio Theater off on another season, I don't know how to find it. We hope to make this season the best in our history. And we're counting on you to help us make it the best. By help, I don't mean just buying luxe toilet soap. I think you'll do that anyway because you know how good it is. But backstage in this theater, we need your help in selecting plays. We want you to tell us what stars you'd like to hear. Everybody has a personal preference. And you give all the orders for our command performances. Your loyalty to luxe toilet soap has kept this curtain going up for nine years. Your award has been a fine product and the finest plays and stars we could discover. And now the thrill of another opening night as the curtain rises on the first act of the Phantom of the Opera. Starring Nelson Eddy as Anatole. Susanna Foster as Christine. And Basil Rathbun as Tordin. With Edgar Barrier as Raoul. In the year 1880, the old Paris Opera stood like a giant torch in the heart of the city. A thousand windows ablaze with light. But there were shadows too Shadows that flitted high in the gallery over the great stage. Shadows that lingered in the sub cellars far beneath the street where the black sewers of Paris ran sluggishly in the dark. But we were not concerned with these things. Or so we thought at the time. We of the opera knew only the light of the dressing rooms, the bright gaiety of the stage. I suppose it all began the night we sang Martha. The house was crowded, enthusiastic. There were no shadows for us that night. Deserve all the modern sa. No. There was no warning that night, no hint of the strange things that were about to happen. But I noticed at the finale that Christine was not on stage for the curtain call. Christine Dubois, who sang the role of Nancy. It was not like her to miss the finale of the act. Ra. Backstage, when the curtain had fallen, I saw Christine hurrying to her dressing room. Christine. Christine, wait. Yes?

[Character voices/Actors]

Anna told. What is it?

[Narrator/Host]

What happened to you? You weren't on stage.

[Character voices/Actors]

Why, I.

[Narrator/Host]

You weren't ill, were you?

[Character voices/Actors]

Oh, no, no.

[Narrator/Host]

You're all right. You sure?

[Character voices/Actors]

Of course. Anatole, do I look all right?

[Narrator/Host]

Oh, you look lovely. What happened?

[Character voices/Actors]

Well, I had a visitor. Somebody wanted to see me.

[Narrator/Host]

Oh, Mademoiselle Dubois.

[Character voices/Actors]

Oh, good evening, Maestro.

[Narrator/Host]

Mademoiselle, I understand that you were entertaining a gentleman backstage during a performance. Is that true?

[Character voices/Actors]

Yes, Maestro.

[Narrator/Host]

You are not the greatest soprano in the world, mademoiselle. Not yet. So you please not take liberties. See me later in my office.

[Character voices/Actors]

Yes, Maestro. Anatole, what will he do?

[Narrator/Host]

Don't worry. He's just barking again. Who was the gentleman?

[Character voices/Actors]

Well, he. He's an old friend of mine.

[Narrator/Host]

But not so very old.

[Character voices/Actors]

No, he's Inspector Daubert.

[Narrator/Host]

The Suret inspector? You mean a policeman?

[Character voices/Actors]

Well, he's not an ordinary policeman.

[Narrator/Host]

Oh, did he sing?

[Character voices/Actors]

No, he's a graduate of the Military Academy at Sancerre.

[Narrator/Host]

How much does this man mean to you?

[Character voices/Actors]

Well, I'm not sure.

[Narrator/Host]

Christine, it's not like me to preach. But someday you'll have to choose between your career and what's called a normal life. You can't do justice to both. I think you'll find that music has its compensations.

[Character voices/Actors]

In other words, you don't think I ought to have supper tonight with Raul?

[Narrator/Host]

No.

[Character voices/Actors]

But you on a toll. That would be all right.

[Narrator/Host]

Definitely. We'll. There was another man that night who missed Christine's appearance during the finale. His name was Eric Claudin, a violinist. He was a strange man, this Claudin. Quiet, almost shy, but a brilliant musician. When Christine came from Villeneuve's office. Claudin was waiting in the passage. Good evening, mademoiselle.

[Character voices/Actors]

Good evening, Claudin. Monsieur Villeneuve will see you now.

[Narrator/Host]

Thank you, mademoiselle.

[Character voices/Actors]

Good night.

[Narrator/Host]

Mademoiselle, may I speak to you for a moment?

[Character voices/Actors]

Certainly.

[Narrator/Host]

You. You weren't on the stage tonight for the curtain call.

[Character voices/Actors]

Everyone in the theater seems to have noticed that. It's really quite flattering.

[Narrator/Host]

Why weren't you there?

[Character voices/Actors]

What?

[Narrator/Host]

Oh, please forgive me, but I. I've been here so long that you. That everybody, everything connected with the opera is so much a part of my life.

[Character voices/Actors]

Of course. But Monsieur Villeneuve is waiting.

[Narrator/Host]

Yes. You weren't ill, were you? You're not in any trouble. Oh, it's impertinent of me, I know, but.

[Character voices/Actors]

No, it isn't. You're very kind, and I'm not in trouble.

[Narrator/Host]

Good night, Christine.

[Character voices/Actors]

Monsieur. Oh.

[Narrator/Host]

Oh, I'm so sorry. I. I shouldn't have called you, Christine. I'm sorry.

[Character voices/Actors]

Good night.

[Narrator/Host]

Good night, mademoiselle. Come in. Oh, Claudette. Yes, Maestro? Close the door, please. You know why I sent for you, Claudin? I think so, Maestro. I have brought my violin. Take it out of the case, please. Claudin, for some time now, I have sensed discord in the violin section. It was not until tonight that I definitely located the source of the trouble. Let me hear you play, Claudin. Yes, Maestro? What shall I play? Anything you please. Yes, Maestro. Wait a moment. What is that? A little song. A lullaby from Provence, where I was born. Oh, it is very nice. Very charming. I've written a concerto on the theme. Yes, yes, charming, Claudin, but too simple. Suppose instead, you let me hear the opening movement in the third act of Martha. Well? It's no use, Maestro. Something's happened to the. The fingers of my left hand. I see. Perhaps it's only temporary, Maestro. Perhaps it will get better. I hope so. In the meantime. I'm sorry, Claudette. I'm very sorry. You've been with us a long time. 20 years. What am I to do, Maestro? I know it's hard, but no doubt you've saved enough to retire on. Yes, yes, of course. And in appreciation of your long service, I shall arrange with the directors to have a season ticket issued to you. Thank you. My, there are things I can tell you now, things I didn't learn until months, even years later. Laudan had no money put aside. He lived in a miserable garret in the Paris slums. He was cold in the winter and often hungry. What money he earned was Used for just one purpose. To provide singing lessons for Christine Dubois. She knew nothing of his sacrifice for her. It was a secret, known only to Claudin himself and Signor Ferretti, the singing master. My dear Claudin, if you don't mind my saying so, you're a fool, Signor Ferretti. For three years, I've taught Christine Dubois, and you have paid. Why? How can a man of your age hope to interest a girl as young as. Signor, please. We agreed never to discuss my motives. Very well. So now you have been dismissed from the orchestra, you can no longer pay for her lessons, is that it? Yes, senor, But I. I hoped that you would continue to instruct her. Just for a while. I'll have money soon. A concerto I've written. I've taken it to Monsieur Pleyel. It's going to be published. Yes, yes, I know. Every violinist has written a concert. Then you'll go on with the lesson, senor? Why should I? Why should I assume your burden? The girl means nothing to me. But her career means a great deal to me, senor. More than anything else. I'm sorry, Claudin. Really sorry. I will let her come a few times. Then I will tell her she no longer needs me. But that isn't true. Perhaps not, senor. If you will give me just a little more time. You will have time, Claudin. When you have money, come back when Monsieur Pleyel has brought you on here. For weeks, Claudin haunted the publisher's office, but always it was the same story. Monsieur Pleyel was too busy to see him. One evening, just at dusk, Claudin forced his way past the manager, up the stairs into Pleyel's study. Who's that? Mr. Playa. What are you doing here? I've been waiting to see you since this morning. Didn't I tell you I was busy? Georgette, more acid, please.

[Character voices/Actors]

Is this the bottle?

[Narrator/Host]

The blue one, dear. Pour it in the tray. And be careful, dear. Monsieur, this should be the best etching I've ever made.

[Orson Welles/Narrator (Dracula segment)]

Georgette.

[Narrator/Host]

Monsieur, you please be careful. Those trays contain etching acid. Would you like to burn the skin from your hands? I'm sorry, monsieur, but my manuscript. I must find out about my concerto. Georgette, would you mind giving the fellow his manuscript? You will find it on the table of it anywhere.

[Character voices/Actors]

What is your name?

[Narrator/Host]

Claudin.

[Character voices/Actors]

I don't see it.

[Narrator/Host]

No, no, no, it wouldn't be there. It's a large manuscript in a portfolio.

[Character voices/Actors]

Well, I'm sorry, but I Don't know where it is.

[Narrator/Host]

Oh, but it must be here.

[Character voices/Actors]

Well, if it isn't to turn up, you might call again in a few days.

[Narrator/Host]

But you don't understand, mademoiselle. It's the only copy I have. It represents two years work. You heard what the lady said. Get out. But it was brought into this office. It must be here. It must be found. Did we ask you to bring your manuscript to us, Claudia? Perhaps some employee has thrown it into the wastepaper basket where it probably belongs. Good night. Listen. That piano. That's my music. Someone's playing my music. I thought I told you to get. Thief. You stole on my music. Thief.

[Character voices/Actors]

Help. Let him go. Let him go. Stolen.

[Narrator/Host]

My music.

[Character voices/Actors]

Thief. Thief. You're choking him.

[Narrator/Host]

Do you hear?

[Character voices/Actors]

Let him alone. I'll burn you if you don't let him go. This is acid.

[Narrator/Host]

Out. Virgin Thief. My work. My music. My music. It was mine. He had no rights. You killed him.

[Character voices/Actors]

My eyes. My eyes.

[Narrator/Host]

In that room, a man lay dead on the floor. And Claudine stumbled down the steps, screaming in agony, the acid burning into his face. Into the street he ran with his hands before him, groping his way blindly through the darkness. He was seen once on the Rue du Jardin, and again in a dim street near the Opera. And then he was gone, lost in the black of the night. There was a search, of course, but he was never found. It was not a thing that was close to any one of us. It was something you read about in the newspaper, shudder over for a moment and then try to forget. In a few days, it was out of our minds completely. For Christine and I were rehearsing a new opera. One morning we were sitting at the piano in her home. That's very nice. What is it, Christine?

[Character voices/Actors]

It's a lullaby of Provence.

[Narrator/Host]

Provence?

[Character voices/Actors]

I was born there, you know. I've known it for years, ever since I can remember.

[Narrator/Host]

Sing it for me if you like.

[Character voices/Actors]

Hear those bells ringing Soft and low Breathe, bringing peace through the twilight glow Calling to everyone Night has begun Turn from the weary Toil its working Hear.

[Narrator/Host]

Them ring While my love and I.

[Character voices/Actors]

Drift and dream to their love well.

[Narrator/Host]

Oh, it's lovely. Christine.

[Character voices/Actors]

Christine. Yes, Aunt Bertha? Didn't you hear the door? Monsieur Daubert is here.

[Narrator/Host]

Good morning, Christine.

[Character voices/Actors]

Raoul. Good morning. You see, monsieur, they call this rehearsing. Rehearsing?

[Narrator/Host]

Well, I'm sorry to intrude, but I must speak to you, Christine. But.

[Character voices/Actors]

But you see, I'm busy right now, Raoul. Anatole has been helping me.

[Narrator/Host]

Yes, to rehearse yes. Monsieur is very kind. Oh, not at all, monsieur. I find it a pleasure. I'm Anatole Garon of the Opera.

[Character voices/Actors]

Oh, I'm so sorry. This is Inspector Daubert. The Suret.

[Narrator/Host]

Oh, the policeman. Police inspector, monsieur. Yes, of course. I've heard of you, Inspector. Your work must be very exciting. Oh, not half so exciting as yours, monsieur. It doesn't lend itself to self expression. Christine, I'd like to see you alone, please. I'm here on business.

[Character voices/Actors]

With me?

[Narrator/Host]

What business could mademoiselle have with a siewet?

[Character voices/Actors]

What is it, Raoul? If you don't mind, I'd rather Anatole stayed.

[Narrator/Host]

Very well. Christine, do you know Eric Claudin?

[Character voices/Actors]

Why, yes.

[Narrator/Host]

How well?

[Character voices/Actors]

I knew him as the violinist in the orchestra. I met him a few times in the foyer, on the stage or outside the opera, but that's all.

[Narrator/Host]

He.

[Character voices/Actors]

He acted a little strangely.

[Narrator/Host]

Strangely? How do you mean?

[Character voices/Actors]

I don't know. He just. He just seemed eccentric. But harmless. I thought he was a rather kindly fellow until I read of the murder. What is it, Raoul?

[Narrator/Host]

He was a kindly fellow until he thought Pleyel was robbing him of his work. Then something snapped and he became a homicidal maniac.

[Character voices/Actors]

But what has all this to do with me?

[Narrator/Host]

Well, we found something in his room, Christine, that connects you with him. No doubt you can explain.

[Character voices/Actors]

What is it?

[Narrator/Host]

This statuette. As you can see, Christine, it's the image of you. So that's what became of it. Be good enough to explain yourself, monsieur. Certainly. That statuette is mine. Yours? Definitely. I made it. I intended to make you a present of it, Christine.

[Character voices/Actors]

How nice of you, Anatole.

[Narrator/Host]

Unfortunately, it disappeared from my dressing room. It's an extraordinary likeness. My compliments on your versatility, monsieur. Christine must have posed for this many times.

[Character voices/Actors]

I never posed for it. Not once.

[Narrator/Host]

You did this from drawings, monsieur, and from memory, monsieur. Extraordinary memory. Thank you. But it's a simple matter to recall Christine's face and figure. I'm sure you have found it so, monsieur. Mm. But what was the statuette doing in Claudin's room? He must have stolen it. It's obvious. Is it? Speaking purely as an inspector of the Surete, I'm afraid even the obvious needs confirmation. But as a man, monsieur, I'm sure you can understand. Sitting there in the orchestra pit, night after night, looking at Christine. Claudin probably fell in love with her. You admit that is possible? No. Mm. Christine, did Claudin ever seek more than a casual acquaintance with you?

[Character voices/Actors]

No, never.

[Narrator/Host]

Can you imagine so diffident a lover? Monsieur Claudin was barely 50. No doubt he lacked fire. No doubt. Christine, this statuette is yours. I give it to you. You'll give it to her? Yes. Well, that's interesting.

[Character voices/Actors]

I'll accept it as a gift from both of you. Thank you.

[Narrator/Host]

Oh, you're quite welcome. It seems I have the worst of this bar. In the future, Monsieur Inspector, I detect you model. In any case, that was a bad clue. Oh, not so bad as it seems it enabled me to recover. Mademoiselle Statuette. Is that your carriage at the door, monsieur? Yes. Would you be good enough to give me a lift? Well, which way are you going? Oh, it doesn't matter. As inspector of police, I have business all over Paris as well. In that case, au revoir, Christine.

[Character voices/Actors]

Au revoir.

[Narrator/Host]

You've been most helpful, Christine. Most helpful.

[Character voices/Actors]

I. I hope you catch Claudin.

[Narrator/Host]

Thank you. Well, you ready, monsieur? At your service. After you, monsieur. After you, monsieur. Thank you, monsieur. We could laugh then, because the horror had not touched. We didn't know that in the caverns of the sewer beneath the opera, there was a shadow darker than the surrounding gloom. The shadow of a man in a black cloak, his face hidden behind a mask. This was the man whose features had been burned and whose mind was on fire. Before long, that shadow was to envelop all of us. In a few moments, Mr. DeMille and our stars, Nelson Eddy, Susanna Foster, Basil Rathbone and Edgar Barrier will return in Act 2 of the Phantom of the Opera. One way you can be sure of having the last word in an argument is to have an argument with yourself, as this young lady is doing. For instance.

[Character voices/Actors]

I don't see anything the matter with my skin. Really doesn't look as nice as it used to look. It does so. It's just that the light over this mirror is so bright. Hmm. Well, doesn't Johnny Brooks always tell me I have a complexion like a million? Hasn't said so for a good long time. Well, he's been away at camp, smarty. That's why he's due for a furlough most any time now. Maybe you'd better start doing something about your skin. How about some real beauty care instead of that dip, dab, lick and promise kind of treatment you've been giving it lately? Maybe I'd better. Yes, I will. I'll try. Those beauty facial screen stars use active lather facials with luxe toilet soap every single day. If it works for the screen stars, it ought to work for me, too.

[Narrator/Host]

Well, she'll find it does work, this gentle complexion care used by nine out of 10 Hollywood stars. You see, luxe toilet soap is a real beauty soap with lather so rich and smooth and super fine. It feels like a caress on the skin. Lovely screen stars tell you they take their Lux soap beautifacials this way. They smooth lots of the creamy, active lather well in. They rinse with warm water and splash with cold. Then they pat their skin dry with a soft towel. Now, that's a very simple, easy care. But if you use it every day, you'll find that soon your skin feels softer, smoother, takes on a fresher, lovelier look. Why not get some Lux toilet soap? Tomorrow? You'll notice each satiny white cake is hard milled. That means it lasts and lasts. And remember, it's patriotic not to waste soap. Use only what you need. Don't leave your cake of luxe toilet soap standing in water. And be sure always to put it in a soap dish that's dry. And now Mr. DeMille returns to the microphone. Act two of the Phantom of the Opera. Starring Nelson Eddy as Anatole, Susanna Foster as Christine and Basil Rathbun as Claudine. With Edgar Barrier as Raul. There was a master key at the Opera house. And the night we were to sing Amour Egloire, the key disappeared. Other things had been stolen. Costumes, masks. But now the shadow had entrance to 2500 doors. He could roam at will from the sub cellars to the very top of the auditorium where the great chandelier swung over the audience. There were some who swore they had seen this shadow flung on the walls of dim corridors or crouching like a griffon on the high balconies over the street. And there were some who swore they had heard mutterings in the deep cellars where the sewers ran black. And tonight. So tonight it is Amour e Groise. Amour et Loire with Anatole Garon and the soprano Biancaroli. Biancaroli sings tonight, not Christine Dubois. Well, we shall see. We shall see. It was strange the way it happened. In the third act, the libretto called for me to give Bianca Roli a cup of wine. When she had drunk it, I thought for a moment that her face paled. She finished her aria and left the stage. But she was late for her next entrance. There was a wait, and then came the cadenza from off stage. I knew that voice. But it was not Bianca Roli who was making the entrance. It was her understudy, Christine Dubois. Baby.

[Character voices/Actors]

You.

[Narrator/Host]

Sam.

[Character voices/Actors]

I was perfectly well, during the second act, you saw me, my stroke.

[Narrator/Host]

Madame Biancaroli, we realized.

[Character voices/Actors]

You realize I was drugged. Then tell that police inspector there to arrest the man who did it. We all know who it was. Lana Togarron.

[Narrator/Host]

I know nothing of the sort, madame. I am a police officer, not a psychic. It is my duty to collect evidence without prejudice.

[Character voices/Actors]

Haven't you evidence enough? Everyone knows, madame.

[Narrator/Host]

Will you be seated, please? Monsieur Garon, is it true that you had the opportunity during tonight's performance to place the drug in Madame Biancaroli's glass? Certainly, Monsieur Inspector. We all did. It becomes then a question of motive.

[Character voices/Actors]

The motive is very simple. Baron wanted to get me out of the way to make room for that.

[Narrator/Host]

Are you referring to Christine Dubb?

[Character voices/Actors]

I am.

[Narrator/Host]

Have you heard, Monsieur Garon? Oh, yes. Madame is in good voice and most explicit. Have you anything to say, monsieur? I deny madame's accusation. Do you deny, monsieur, that you had any motive in drugging Madame? I deny that I drugged her.

[Character voices/Actors]

Monsieur Inspector, I do not understand your reluctance to make an arrest. You are not an examining magistrate.

[Narrator/Host]

Can you substantiate your charge that Anatole Garand had a motive in drugging you and that the motive was Christine Dubois?

[Character voices/Actors]

Why anybody with half an eye would.

[Narrator/Host]

Be to able hearsay is not evident.

[Character voices/Actors]

Then I'll go over your head. I have influence at the suret. I was drugged tonight to the point of death. And I insist upon the arrest of the criminal and his accomplice. And if you don't.

[Narrator/Host]

One moment, madame, please. You've heard Garon deny that he drugged you. As the Inspector says, there is no evidence to warrant an arrest. If you insist upon it and fail to gain a conviction, you will find yourself in a very difficult predicament. Yes, quite right. And no matter what the outcome, don't forget that your career is bound to the Paris Opera. Whatever scandal injures us or any member of the company will injure you as well.

[Character voices/Actors]

Are you suggesting that I forget the whole affair?

[Narrator/Host]

Yes. For your own sake as well as ours.

[Character voices/Actors]

Very well. That is, under certain conditions. I want a new understudy. Christine dubois goes back to the course and stays for the two years my contract has to run.

[Narrator/Host]

No, I won't permit it. If any such arrangement is made, I'll do.

[Character voices/Actors]

Anatole, I have not finished. I go a step farther. I suggest that we all forget that anything happened afterwards.

[Narrator/Host]

For once, madame, I don't understand you.

[Character voices/Actors]

Oh, but it's so simple. Nothing happened tonight. I was not drugged and Christine Dubois did not sing what, madame?

[Narrator/Host]

There are always critics in the house.

[Character voices/Actors]

You will send word to the papers that no mention of her is to be made.

[Narrator/Host]

You'll do nothing of the sort. It's ridiculous. Besides, what about the public? Shall we send word to the public to forget that Mademoiselle Dubois was a sensation?

[Character voices/Actors]

If you are willing to ruin the opera for the sake of Christine Dubois, that's your affair. But you'll either do as I say or I will charge both of you with trying to murder me. Do you understand that? Murder. Ah, Madame Biancaroli. Good evening, Maria. Oh, madame, you were magnificent tonight. My dress, please. You really thought so, Maria? Oh, yes, madame. The best I've ever heard you. Especially in the part with Garon. The cadenza from off stage. It was so. Oh, you liked that, did you? Why, yes, madame. It. Yes, Yes, I was very good tonight. My dressing gown, Maria. Yes, madame. Maria.

[Narrator/Host]

Madame.

[Character voices/Actors]

Madame. What's the matter with you? A man, madame, Outside the window on the balcony. Oh, don't be a fool. How could a metal. Madame.

[Narrator/Host]

Good evening.

[Character voices/Actors]

What do you want here?

[Narrator/Host]

I'm sorry, I cannot let you see my face. You would not be pleased.

[Character voices/Actors]

Take off that mask, Anatol Garon. You do not frighten me, madame. It is not Anatol Garon.

[Narrator/Host]

I did not come here to frighten you unnecessarily. Only to tell you that Christine Dubois will sing tomorrow night.

[Character voices/Actors]

Oh, yes.

[Narrator/Host]

You will leave Paris, madame.

[Character voices/Actors]

Leave Paris? You will see to it, of course.

[Narrator/Host]

Yes, I will see to it, madame.

[Character voices/Actors]

Get back, Madame.

[Narrator/Host]

Do you force me to reason with you, madame?

[Character voices/Actors]

I will not leave. Get away from me.

[Narrator/Host]

I am sorry, madame. I am very sorry. Anatole. Anatole. What is it? Madame Biancaroli and her maid, they have been murdered. The opera was closed for almost a week. And then from somewhere within the darkened building, a note was written to the directors. Gentlemen, the opera must open very soon. Christine Dubois will replace Bianca Rolle, who chose to ignore my advice. Good morning.

[Character voices/Actors]

Yes?

[Narrator/Host]

Is Christine at home?

[Character voices/Actors]

Yes.

[Narrator/Host]

Well, may I see her? Please?

[Character voices/Actors]

Come in. I'll tell her you're here.

[Narrator/Host]

Thank you, monsieur. Beautiful. Oh, I didn't see you, Inspector. Good morning. How's the opera business, monsieur? Well, very poor at the moment. How's the inspecting? Very good. Splendid. Glad to hear it. Thank you. Not at all.

[Character voices/Actors]

Good morning.

[Narrator/Host]

Oh, good morning. Good morning, Christina.

[Character voices/Actors]

Aunt Berta told me you were waiting together. Did you amuse each other?

[Narrator/Host]

Good. May I have a word? I wonder if I. Sorry, monsieur. After you, monsieur. After you. Thank you. What?

[Character voices/Actors]

I want you and I'm a dime. Please, Anatole.

[Narrator/Host]

They're going to open the opera, Christine. You and I are going to sing together. You are wrong, monsieur. I'm sorry. Christine. They are going to reopen the opera, but without you. Circumstances connected with the murder of Bianca Rolli demand that someone else sing the leading role in your place. Really? You may be interested to know, Monsieur Daubert, that circumstances connected with the murder of Bianca Rolli demand that Christine does sing. Well, the police have changed that plan somewhat. We are going to draw the murderer out into the open by defying his warning. My men will be posted at every entrance and exit and probably miss him. Monsieur, I am aware that your profession requires a certain self assurance, but aren't you going too far? Not at all. I happen to have a plan of my own for trapping the murderer. So you've turned detective, monsieur? I have. Well, very well. If it amuses you, I might add that my plan is strictly confidential. All I can tell you is that Lorenzi is to sing the role, and I am not in the least interested in your plan. May I have a word with you alone, Christine? Yes, that's what I came for. May I speak to you alone, Christine?

[Character voices/Actors]

But I. I'm going out.

[Narrator/Host]

My carriage is just outside.

[Character voices/Actors]

I'm not going right now. I mean, I'm going later.

[Narrator/Host]

I'll wait. Yes, yes, we'll both wait. We were certain now that the murderer was Eric Claudin. The plan I had worked out took me to the home of a great pianist and composer. On the night before we were to open, I went to see Franz Liszt. Very nice. But do you really think this blood d could be tempted to leave his hiding place and risk his life merely to hear his own concerto, played by Franz List himself? Do you doubt it, Maestro? Now, my plan is for you to play the concerto between the second and third acts. And then. So many crimes have been committed in the name of music, it seems only fair to use it now to avert one. I am at your service, monsieur. Oh, thank you, Maestro. Most exciting, this detective work. Most exciting. Well, it's more than exciting to me. I have the honor of being suspected of the crime. Gentlemen, I have been very patient. Now I learn that Christine dubois will not sing. Gentlemen, if Madame Lorenzi sings in her place, you will be restored, responsible. Two are dead now. Only two. There will be more, gentlemen. Many, many more. Lorenzi sang that night through two acts. We waited and nothing happened. An old worker at the opera house thought he saw a figure on the catwalk leading to the dome of the theater. It was the old man's duty to light the monster chandelier, a great heavy thing of glass and bronze, held in place by chains. When the police searched the catwalk high over the audience, there was no one there. We began to feel secure. Christine had come to the theater, but she was safe in her dressing room. When I entered from the wings of the finale of the second act, I was thinking only of the opera.

[Orson Welles/Narrator (Dracula segment)]

Ruby.

[Narrator/Host]

Sami Sa. And then it happened. I saw the great chandelier begin to sway high above. It swung to and fro like a giant pendulum. Others had seen it, too. A woman in the audience screamed. There was no time to get out of the way. The audience below was frozen, staring up at the monster of glass and bronze. And then it came hurtling down through space. Get doctors. Doctors. Get every doctor you can find in Paris. Watch every entrance. Let no one in or out except doctors and the injured. Christine. Christine, where are you? She's in her dressing room. No, she's not in her dressing room. I've been there.

[Character voices/Actors]

I saw her, monsieur.

[Narrator/Host]

She went down the steps. You saw Christine Dubois? Yes, monsieur. Yes, monsieur.

[Character voices/Actors]

She was going down the steps beneath the storeroom.

[Narrator/Host]

I called to her, but she did not answer. Which way are the steps? Over there, monsieur. And there was a man with her.

[Character voices/Actors]

A man in a cloak with a.

[Narrator/Host]

Mask covering his face. It's Claudin. She's with Claudin. Christine, where are you? We pause now for station identification. This is the Columbia Broadcasting System. After a brief intermission, Mr. DeMille presents Nelson Eddy, Susanna Foster and Basil rathbone in Act 3 of the Phantom of the Opera. And now, our Hollywood reporter, Libby Collins with a fashion tip.

[Character voices/Actors]

Why, Mr. Kennedy, I thought our listeners would be interested in this little example of resourcefulness on the part of one of our famous dogs. Screen stars must look chic and glamorous always, you know. But they're subject to the same wartime limitations as the rest of us. Take hairpins, for instance.

[Narrator/Host]

Why, Libby, even a mere man has heard that hairpins are almost as scarce as nylons.

[Character voices/Actors]

Alas, that's true, Mr. Kennedy. But Ida Lupino found some wooden ones that were lacquered in bright colors. Much too pretty to cover up, Ida thought. So she parted her hair and back, pulled it up on top of her head, and on each side of the part, set a row of the colored pins to make a criss cross pattern look. Cute as could be, too.

[Narrator/Host]

That sounds like Ida Libby. She's as smart and bright as quicksilver.

[Character voices/Actors]

Yes, Mr. Kennedy. And she darts around Hollywood almost as fast she has to. What with her studio work and the hours of war work she puts in. Not much time for beauty care either. That's why she depends more than ever on luxe toilet soap for complexion loveliness. My daily active lather facials are such a wonderful beauty aid.

[Narrator/Host]

She said busy women everywhere find. That's true, Libby. Those luxe soap beauty facials take just a few minutes a day. Yet the creamy lather gives skin gentle, thorough care. It must have to be soft and lovely.

[Character voices/Actors]

Yes, a few minutes every day to smooth the rich lather in. And you can just feel your skin taking on new freshness and beauty. No wonder luxe toilet soap is the beauty soap of the stars.

[Narrator/Host]

Reason enough why every woman owes it to herself to try it. Lux toilet soap is as fine a soap as money can buy. It's hard milled. That means it lasts and lasts. Each cake is satin smooth and fine. And if your dealer is temporarily out of stock due to wartime conditions, please be patient. He'll have more very shortly. Remember, luxe toilet soap is worth waiting for. Start your Hollywood beauty care soon. Now, our producer, Mr. DeMille. There's always excitement backstage after an opening, and you're invited to join us for a chat with our stars when the curtain falls. But now, here's Act 3 of the Phantom of the Opera, starring Nelson Eddy, Susanna Foster and Basil Rathbone, with Edgar Barrier. Christine had gone with the chorus that night, had worn masks, and Daubert had arranged for the police to wear masks, too, so they might mingle with the crowd backstage. That was the way Claudin had enticed her. Thinking he was one of Daubert's men who had come to protect her, Christine followed him down the steps to the cavernous cellars. This way, mademoiselle. Hold tight to my hand. The steps are quite steep.

[Character voices/Actors]

Are you one of the police? Where is Inspector Daubert?

[Narrator/Host]

He's investigating the cause of the accident. I'll look after you.

[Character voices/Actors]

But why do we have to come down here?

[Narrator/Host]

Why? Don't you like it down here? It's very lovely once you get used to it.

[Character voices/Actors]

Wait, please.

[Narrator/Host]

Yes.

[Character voices/Actors]

Let me see your face. Take off your mask.

[Narrator/Host]

Oh, no, no, no, my dear. I must never do that. Never. You.

[Character voices/Actors]

You're not one of the police.

[Narrator/Host]

Don't be frightened. I'll watch over you. Oh, I've always watched over you, Christine. No, no, no. You must not do that. You'll stay here with me, child, won't you? It's Been so lonely without you. But you've come to me at last, haven't you? Sing to me and I'll play. We'll be together forever. It's beautiful down here. Beautiful.

[Orson Welles/Narrator (Dracula segment)]

Come now.

[Narrator/Host]

I'll show you. Come with me. This is the last turn, just through the tunnel. You're not frightened, are you? You know I'll not harm you, don't you? How could I harm you? I've always helped you, haven't I?

[Character voices/Actors]

Yes.

[Narrator/Host]

Yes, once. You.

[Character voices/Actors]

You helped me?

[Narrator/Host]

Of course I have. Bianca rolling you. She wouldn't let you sing. She didn't know how much I love you. But now she knows. But it doesn't matter anymore. Nothing matters except you and me now. You'll sing all you want to, but only for me. You will sing and want to, won't you, my darling?

[Character voices/Actors]

There's a piano in the opera for you. We'll go up then if you. You can play and I'll sing for you.

[Narrator/Host]

But you don't understand. We can't go back. Ever. It was I who made the chandelier fall. I. For you, Christine. Well, I warned them. I told them the bite and destruction. That they wouldn't let you sing. Oh, come, come, my child. Isn't far now. Look there. Look. Didn't I tell you it was beautiful here? You didn't know we had a lake all to ourselves? Look at your lake, Christine. You'll love it. You'll love it when you get used to the dark. It's friendly and peaceful. Peaceful. Brings rest and relief from pain. It's right under the opera house. And the music comes down and the darkness distills it, cleanses it of the suffering that made it Then. It's all beauty. And life here is like a resurrection. I came here when my face was on fire. I found calmness in that dark water and comfort in the blackness over it. Then I heard you sing. I thought I died and that you'd come to me. And the others sang and destroyed my heaven. So I destroyed them.

[Character voices/Actors]

You heard me from here?

[Narrator/Host]

Oh, yes. Why, this is my. My private auditorium. Strange air currents circle these passages. They catch the music as it flutters down like a living bird in a net. You can hear the opera almost as well as from the highest balcony. I heard it, yes. Just as I heard it well when I first came to Paris. You're not afraid anymore, are you? No, of course you're not. Then come with me. Come. Christine. Christine. Where Are you? Sure? Bring a lantern. Here. Yes, Monsieur Inspector. Here, monsieur. Christine. Dante. Take four men. Search the passage to the left. Be careful. You have another lantern, Inspector? This is the only one left. You better stay with me. We seem to have come to the end of the passage. No, we haven't. Isn't that an opening in the wall there to our left? Yes. Yes, it's a tunnel. Keep close to the wall. Feel your way along. There's just a narrow ledge. The sewer must run through here. There it is, just ahead of us. Do you suppose he might have doubled back? He might be upstairs. Why should he be? Liszt will be playing the concerto he should be starting now. Oh, yes, yes. That brilliant plan of yours.

[Character voices/Actors]

Christine, look out.

[Narrator/Host]

What happened? I touched the side of the wall. The rock came away in my hands. The whole place down here is ready to crumble. Look. Look up there, just ahead. Yeah, it looks almost like a lake. Amal. Pristine. Pristine. Christine, my child. This is my home. Furniture from this tor room. Even a piano. Do you like it, my dear? Come give me your cake, my child. And then I'll show you where you will see. Listen. Do you hear my concerto? They're playing my concerto on the stage of the opera. My concerto. I'll pay two. Listen, child. It's for you. Here's cheers for you. Do you like it, my child? I wrote it only for you.

[Character voices/Actors]

How are you?

[Narrator/Host]

Everything I have done has been fueled. You understand that, don't you?

[Character voices/Actors]

Who are you? Take off your mask.

[Narrator/Host]

No, child, no. Listen to that music. Listen.

[Character voices/Actors]

Take off the mask. I'll take it off for you.

[Narrator/Host]

Why did you do it? Now you see my face.

[Orson Welles/Narrator (Dracula segment)]

Oh, look at it.

[Narrator/Host]

Look. No. No. You'll never live here now, will you? You'll hate me. A loathsome creature. Hateful, repulsive. And I wanted you to love me. I can't have it, you see? You've spoiled everything. Go away.

[Character voices/Actors]

Go away.

[Narrator/Host]

Christy. There he is. Get back, Christie. Stand back, you fools. You cannot kill me. Nothing can kill me.

[Character voices/Actors]

I'm all.

[Narrator/Host]

They're coming. They're going to fall. Come over here, quick. Look out.

[Character voices/Actors]

Get out.

[Narrator/Host]

In the passage. Under the archway. In the passage. Christine. Are you all right, Inspector? All right, Claudine. He's still in there, under the rock. My shot must have started to cave in. Come, Christine. We'd better start back. But, Claudin, it's no use. It would take days to get him out. He's dead, Christine.

[Character voices/Actors]

It's so strange. He said. He said he wrote the concerto for me. A song I've known since I was a child. Who was he?

[Narrator/Host]

He came from your district in Provence. Everybody there must have known that old folk song.

[Character voices/Actors]

He. He was almost a stranger to me. And yet, somehow I. I always felt drawn to him with. With a kind of pity and understanding.

[Narrator/Host]

His suffering and his madness will be forgotten, but his music, his concerto, that will remain. Christine went on to a great career and great fame. The night we sang together for the first time, the corridor outside of a dressing room was jammed with admirers. I had to force my way to a door.

[Orson Welles/Narrator (Dracula segment)]

Excuse me.

[Narrator/Host]

Excuse me. Thank you.

[Character voices/Actors]

Anatole.

[Narrator/Host]

Oh, you were magnificent, Christine. Incomparable. Beautiful. A sensation.

[Character voices/Actors]

Is that all?

[Narrator/Host]

I've just begun. It would take days and years to tell you how wonderful you were. We're having supper tonight at the Cafe de l'. Opera.

[Character voices/Actors]

Well, I'm terribly sorry, Anatole, but. But I can't tonight.

[Narrator/Host]

Why not? Have you another engagement?

[Character voices/Actors]

Well, yes.

[Narrator/Host]

With whom? With me, monsieur. Oh, that policeman. Inspector of police, monsieur. How soon will you be ready? Christine, the carriage is waiting. I know. Monsieur Garon will excuse me. How do you know?

[Character voices/Actors]

I have an idea. Why can't we three have supper together?

[Narrator/Host]

I am not in the habit of taking baritones to supper and I don't care to be seen in public with the police. Christine, you'll have to make up your mind finally and irrevocably between the two of us. Exactly.

[Character voices/Actors]

Very well. Will you gentlemen excuse me?

[Narrator/Host]

Of course.

[Character voices/Actors]

Thank you. Good night.

[Narrator/Host]

What? What did she mean, good night? Well, something tells me, monsieur, that she has gone to meet her public. Hmm. Monsieur Garland, would you join me for a bit of supper at the Cafe de l'? Opera? With pleasure, monsieur. Think we can get through that crowd? Certainly. After all, who'd pay any attention to a baritone and a detective? Quite right. Should we go? Oh, after you, monsieur. Oh, no, after you, monsieur. A new season of the Lux Radio Theater has had a gala launching. And the first curtain calls of this season have been beautifully earned by Nelson Eddy, Susanna Foster and Basil rathborne. Thank you, CB our congratulations to you on the beginning of the 10th year of this theater. Remember what Tennyson wrote. Men may come and men may go, but the mill goes on forever. My recollection ended with a brook, but as long as we have stars like you three, I'd like to go out forever.

[Character voices/Actors]

Let's hope luck soap does the same. See, I really couldn't get along without it, Mr. DeMille. It's a wonderful complexion.

[Narrator/Host]

Care and luck certainly cares for a lovely complexion in your case, Susanna.

[Character voices/Actors]

Thank you. Incidentally, Mr. DeMille, has Nelson told you about the chicken? He has that lays the golden eggs?

[Narrator/Host]

No, but I like about a dozen. That'll be a hundred and twenty dollars, please. That's pretty high for just ordinary old golden eggs, isn't it? What kind of hens are these houdons? Who? What? Houdons. They're a rather scarce breed. Someone gave me two hens and a rooster and now they're all over the place.

[Character voices/Actors]

The eggs are worth $10 a piece. Doesn't it kind of choke you to eat one for breakfast?

[Narrator/Host]

Eat them? Say the hens won't let an egg out of their sight. They want to set right away. No, I hardly blame them. At that price, even a radio comedian wouldn't mind laying an egg. Where'd the hens come from, Nelson? Somewhere around New Orleans. I plan to cross breed the Houdans with my New Hampshire reds and see what happens. And when you become the Houdini of the Houdin's, I suppose you'll give up singing. The way those hens are eating now, I'm going to have to sing loud and often. What's your play next week, CB well, it's a drama of adventure in the air. The RKO screenplay, Flight for Freedom. And our stars will be Rosalind Russell, George Brent and Chester Morris. Rosalind Russell played the same part on the screen with brilliant success. A world famous woman flyer whose career comes to a climax in a mysterious trip across the Pacific. So don't miss Flight for Freedom with the takeoff at our usual time next Monday. Sounds like a direct hit, CB Good night. Good night. Good night. Music at the box office tonight. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Rosalind Russell, George Brent and Chester Morris in Flight for Freedom. This is Cecil B. DeMille saying good night to you from Hollywood. The universal spirit. The screen production of the Phantom of the Opera in Technicolor starring Nelson Eddy, Susanna Foster and Claude Rains with Edgar Barrier will have its New York premiere on October 14th. Basil Rathbone appeared tonight through the courtesy of Metro Goldwyn Mayer Studio. Our music was directed by Louis Silvers. And this is your announcer, John M. Kennedy reminding you to tune in next Monday night to hear Rosalind Russell, George Brent and Chester Morris in Flight for Freedom. Food shortages need not deprive your family of their vitamins and minerals. Just get Vims. They're new and different. Vims are pleasant to taste, whether chewed or swallowed whole. Vims give you all the vitamins government experts say are essential, balanced in the formula. Doctors endorse three vital minerals too. Get vims from your druggist, the qualified vitamin dealer, VI for vitamins, double Ms. For minerals. Get that vims feeling. This is the Columbia Broadcasting System. We just heard Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, the Abominable Snowman, the Werewolf, and the Phantom of the Opera. That will do it for this show. Thanks so much for joining me. I'll be back next week with more Old time Radio thriller. In the meantime, you can check out down these Mean Streets, my old time Radio Detective podcast. New episodes of that show are out on Sundays. You can also check out my annual down these Mean Streets Halloween special if you're looking for some more radio shows to get you in the trick or treating spirit. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com Meansts OTR now, good night until next time when I'll be back with more radio thrillers. Each of them a tale well calculated to keep you in suspense. Sam.

[Co-host/Interviewer]

Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us.

[Narrator/Host]

Let's not spread prejudice.

[Co-host/Interviewer]

A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better.

[Narrator/Host]

Neighbors to all races and religions. Remind them that being good neighbors has.

[Co-host/Interviewer]

Helped make our country great and kept her free. Thank you.