The House Of The Voodoo Queen by The CBS Radio Mystery Theater

Summary

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Podcast Summary: The Horror! – "The House Of The Voodoo Queen"

Podcast: The Horror! (Old Time Radio)
Host: RelicRadio.com
Episode Featured: The House Of The Voodoo Queen (CBS Radio Mystery Theater)
Air Date: November 22, 2025
Original CBS Air Date: December 19, 1974

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Episode Overview

In this week’s episode, The Horror! revisits a chilling tale from the CBS Radio Mystery Theater: “The House of the Voodoo Queen.” Set against the mystical backdrop of New Orleans, this supernatural drama intertwines themes of haunted legacy, the dark allure of voodoo, and the destructive price of ambition. Listeners are drawn into Douglas and Helen Fenton's struggle as their dreams sour when the “perfect” house they inherit becomes a gateway to ancestral curses and supernatural threats.

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Key Discussion Points and Story Breakdown

1. Introduction to Voodoo and Setting the Stage

• Host Context: E.G. Marshall (the original Radio Mystery Theater host) sets the mood by explaining voodoo’s roots, its association with New Orleans, and its “conjurers”—noting the most powerful were often women.
  • (01:38)

  “Voodoo is a word to conjure with...the high priest of voodooism was called a conjure man...its most powerful conjurers were women.”

2. Douglas and Helen’s Dream Home—or Nightmare?

• The story opens as Doug and Helen Fenton are shown their newly inherited New Orleans home, rumored to be haunted. Initial excitement quickly gives way to unease when supernatural activities begin—unexplainable sounds, foul odors, and an atmosphere of dread.
  • (04:19)

  Helen: “Oh, I can just see it, can’t you, Doug?”

  • (05:28)

  Helen (in distress): “I guess I’m just a big coward.”

3. The House’s Dark Reputation

• The Fentons' growing discomfort leads them to local real estate agents who confirm the house’s disrepute and reveal its stigma in the community.
  • (07:35)

  Agent: “Yes, yes, I know the house...it has a bad reputation.”

4. Supernatural Disturbances Escalate

• Repeated sightings, noises, and atmospheric unease unsettle the couple. Ghostly phenomena, including screams, chain-rattling, and the stench of decay, become regular occurrences.
  • (09:24)

  Helen: “Doug, wake up...The water. Don’t you hear it?”
  Doug: “It seems to be right over the bed.”

5. Mysterious Buyer: Zoe Lemaitre

• After failing to sell the house traditionally, the Fentons receive a late-night visit from Zoe Lemaitre, an enigmatic woman well-versed in the home’s history. Zoe wants to buy the house for a price far below market value, citing its dark legacy.
  • (12:23)

  Doug: “$7,800? That’s just a fair offer considering the reputation of the house.”

  • (13:46)

  Zoe: “That house was stolen from the daughter of Marie Laveau...the voodoo queen of New Orleans.”

6. Voodoo Warnings and Threats

• Zoe warns Doug that the house doesn’t truly belong to him, but to the descendants of Marie Laveau—a legendary real-life voodoo queen. When Doug mocks this, Zoe predicts dire consequences for his skepticism.
  • (15:44)

  Zoe: “You must be ignorant—or a fool. But in the night when your blood runs cold and a nameless terror shakes your bones, remember me.”

7. Spells, Omens, and the Price of Defiance

• The Fentons are targeted by voodoo spells left at their door—chickens with wrung necks and symbols indicating death. Zoe and Doug enter into a complicated flirtation, tempting Doug further into danger.

  • (18:08)

  Doug: “Looks like a chicken...neck wrung.”
  Helen: “According to the police, these are voodoo symbols.”

• Zoe reveals to Doug that voodoo spells are potent, and dismissing them comes with a price.

  • (21:07)

  Zoe: “The chicken with its neck wrung means death.”

8. Tensions and Betrayals

• Doug’s marital fidelity wanes as he grows closer to Zoe, who represents both seduction and danger. Helen, increasingly isolated, begs Doug to give up Zoe to end the supernatural torment.

  • (22:09)

  Helen: “Will you…stop seeing Zoe Lemaitre?”

• Zoe pressures Doug to sell the house or make a more sinister bargain—pledging another’s soul in exchange for wealth.

  • (26:29)

  Doug: “I can’t sell what I don’t own. As far as I know, I only have one soul.”
  Zoe: “You can pledge other souls…anyone near and dear to you. Like Helen.”

9. Faustian Bargain and Catastrophe

• Doug agrees, reluctantly, to a bloody voodoo pact. Zoe draws his blood with a ceremonial knife and demands Helen’s name for her dark ritual—promising Doug a year of boundless wealth in return for his wife’s soul.

  • (30:01)

  Zoe: “This paper…won’t be blank after you write your wife’s name on it.”

  • (30:37)

  Doug (dryly): “Yeah, I know. I’m pledging her immortal soul.”

• Helen is soon struck by a mysterious, fatal illness.

  • (31:23)

  Helen: “I’m dying, Doug...when I die…get rid of [the house]. Promise me.”

10. Aftermath: Riches and Remorse

• Doug enjoys newfound wealth and luxury with Zoe. Society, however, whispers about his wife’s untimely death and his rapid ascent.
  • (33:09)

  Zoe: "That you became very rich very suddenly. That your wife died mysteriously. That I’m a witch."

11. Warning from the Wise: The Bayou Encounter

• Mr. Lamours, the original real estate agent, confesses his own fear of the voodoo society and urges Doug to seek out wisdom from Louis Castan, an elderly Cajun familiar with voodoo’s true dangers. Castan warns him:

  • (36:48)

  Castan: “If [the gold knife] has drawn you, that is very bad...my wife sold my soul to Damballa Odeo.”

• Castan gives Doug a gold ceremonial knife for protection, warning that Zoe’s final goal is to claim Doug’s soul via a ritualistic “marriage.”

  • (38:03)

  Castan: “Damballa Udeo and I, we will fight...She will not marry you. She will want to destroy you and take your soul.”

12. Climax: The Voodoo Marriage and the Final Confrontation

• Zoe insists on performing a native wedding in the old house before their legal marriage. As the ceremony commences, she offers Doug a poisoned goblet, intending for him to complete the ritual and seal his fate. Doug turns the ritual against her using the gold knife.
  • (42:01–42:42)

  Zoe: “Drink this and you’ll feel better…just a little ceremonial wine.”
  Doug: “If you come into my arms and hold the goblet to my lips…drink?...Look, you’re holding me too tight. Dog, the knife! No! Damballa, help me!”

Final Twist:

Doug survives, but the ending is laced with ambiguity and lingering dread—has he truly escaped the house’s curse or merely traded one fate for another? The narrative closes with a reflection on superstition’s persistence and voodoo’s feared legacy.

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Notable Quotes and Memorable Moments

• E.G. Marshall, on voodoo:
  (01:32)

  “Stories...strange and weird tales of mystery and terror by radio’s masters of the macabre.”

• Zoe’s warning:
  (15:44)

  “Go home, Douglas...when a nameless terror shakes your bones, remember me.”

• On the voodoo death omen:
  (21:10)

  Zoe: “The chicken with its neck wrung means death.”

• Bargaining for souls:
  (26:34)

  Zoe: “You can pledge...other souls you can speak for.”
  (30:33)
  Zoe: “We’ll cross that bridge when we come to it.”

• On Helen’s fate:
  (31:54)

  Helen: “I’m beginning to think that death might be the best thing for me.”

• Louis Castan’s warning:
  (36:53)

  “A very bad person. One who knows the darkest secrets of voodoo and uses them for evil ends.”

• Ultimately, the ending’s ambiguity:
  (44:49)

  “A friend of mine told me the story of an investigative reporter who…photographed real voodoo ceremonies…the pictures ruined…and the journalist developed an unfortunate tick...”

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Important Timestamps

• 01:32–02:32: E.G. Marshall’s introduction to voodoo and the conjurers of New Orleans
• 04:19–05:28: The Fentons first experience strange happenings in their new house
• 07:23–08:23: Real estate agent confesses the house’s bad reputation
• 09:24: Nocturnal disturbances intensify
• 11:01–12:23: Zoe Lemaitre makes her first dramatic entrance
• 13:46: Zoe drops the bombshell: the house belongs to Marie Laveau's descendants
• 15:44: Zoe’s chilling prediction for Doug
• 18:08: Voodoo warning—death omen at the doorstep
• 26:34–30:37: The bargain for Helen’s soul is struck in blood
• 31:23: Helen's premonition and tragic decline
• 33:09: The couple’s transformation and societal suspicion after Helen’s death
• 36:48: Doug is warned by Louis Castan about Zoe’s true aims
• 42:01–42:42: The voodoo marriage ceremony—Doug’s last stand

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Tone and Language

The episode sustains an atmosphere of mounting dread, laced with skepticism, seduction, and creeping doom. Dialogues range from Helen’s plaintive desperation, Doug’s bravado-tinged disbelief, Zoe’s sly allure, and the wise but foreboding warnings of supporting characters steeped in New Orleans’ traditions.

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Summary

“The House of the Voodoo Queen” is a masterful blend of gothic horror and folkloric suspense, anchored by a deadly love triangle and the intoxicating danger of voodoo. Listeners are treated to a richly atmospheric story that explores how the past—especially when combined with ancient, unresolved powers—can claim the present with terrifying consequences. The episode stands as both a cautionary tale against hubris and greed and a chilling tribute to the enduring mystique of old-time radio horror.

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Transcript

[A]

Oh, stories, real stories and murders do.

[B]

Turn out your legs.

[A]

Turn them out. Good evening. Come in, won't you? What's the matter? Surely you're not nervous. For example, car, I think restored.

[B]

We are meant to call from out of the past.

[A]

Stories strange and weird tales of mystery and terror by radio's masters of the maa. Stories of a supernatural the supernova dramatized the mysteries the unknown. We tell you this. Frank. Frank. So if you wish to avoid the excitement tension of these magic play ladies, we urge you our latest seriously to turn off your way down. Welcome back to the horror Old fashioned fear. Since 2007. Every Saturday at relicradio.com our story comes from the CBS Radio Mystery Theater. This week, a series that debuted in 1974 aired until 1982 seven days a week for its first six years, 1,399 original stories in all. The story we'll hear Today is from December 19, 1974. It's titled the House of the Voodoo Queen. The CBS Radio Mystery Theater presents. Come in. Welcome. I'm Eg Marshall. Voodoo is a word to conjure with. And conjure is the right word because the high priest of voodooism was called a conjure man. It was he to whom the practitioners of voodoo turned when they wanted spells cast or lifted, enemies punished or love affairs promoted. As voodoo spread northward from the island of Haiti to the Americas and particularly to New Orleans, it should be noted that its most powerful conjurers were women.

[B]

Damballa, all powerful one. See your knife. The sacred knife of our ancient gods. See, Damballa. The knife has drawn blood. And you, Damballa, you will now have another soul. Look with mercy and kindness upon this servant who will continue to serve you faithfully, now and forever.

[A]

Our mystery drama, the House of the Voodoo Queen, was written especially for the Mystery Theater by Murray Burnett and stars Jordan Charney and Joan Loring. It is sponsored in part by Buick Motor Division and Anheuser Busch Incorporated, brewers of Budweiser. I'll be back shortly with act one. All of us have pictured in our imagination the perfect dream house. The castle in Spain, or the little cottage on the mountaintop overlooking that green blue lake in the Green Valley. But few of us are ever fortunate enough to have our dream come true. Douglas and Helen Fenton were two young people who had that good fortune. And as we first meet them, they're having the happy experience of being shown through their perfect house in New Orleans, which they've acquired through the death of an uncle Douglas Fenton never knew existed. And this was used As a music room in the old days.

[B]

Oh, I can just see it, can't you, Doug?

[A]

It's a beautiful room. Nice and sunny. I think I have given you a thorough tour of your new home. And unless you have any questions, I should be getting back to the office.

[B]

I promise you'll be our first dinner guest. Won't he duck?

[A]

Oh, you bet. There are still a lot of questions I have about Uncle Timmy that I'll want answered. I am at your service. Good day and good luck and good health. Hey, don't bother, Mr. Fenton. I know the way out.

[B]

Oh, Doug, I'm so happy. I just love this house. Wait till you see what I do with it. What was that?

[A]

The movers.

[B]

Don't be silly, darling. They left hours ago, remember?

[A]

Probably something fell.

[B]

Didn't sound like something falling. Who's that? Oh, Doug, I'm so glad you're home.

[A]

How did it go today, darling? Any better?

[B]

I really can't tell you, Doug, because I'm so ashamed. But I didn't stay home. I guess I'm just a big coward.

[A]

Don't be silly. Anyone would be frightened by what goes on in this place.

[B]

Doug. Oh, what are we gonna do?

[A]

I told you. Sell the house and find another.

[B]

Did you reach Mr. Lamours?

[A]

No, no luck. When I called, he was out. And when he called me back, I was in a meeting and couldn't take the call. But he promised to. Oh, that must be him now. Hello, Mr. Fenton? Lemurs here. Sorry we missed connections all day. What can I do for you, Mr. Lemurs? I don't know how to tell you this, but. Well, Helen and I think the house is haunted. If you don't like the house, you can always put it on the market. We love the house. That is, we thought we loved it. Well, you can't live in a house where all night long you hear screams and chain rattlings. And during the day thumpings and. Well, there's an odor, an indescribable odor of rot and decay that sweeps through the house from time to time. It's here now, as a matter of fact, and we wanted to know if you had had any complaints. The house has been empty for years. Well, maybe that's the reason. Have you heard anything that. Well, about the house being haunted? You're serious?

[B]

Of course.

[A]

Then I can only tell you that feeling the way you do, you shouldn't stay in the house. I'll give you the names of some real estate agents who might be willing to handle it. Have a seat, Ms. Fenton, tell me how I can help you.

[B]

Well, we have a house we'd like to put on the market. Of course.

[A]

Would you give me the location?

[B]

It's in an old neighborhood. 66 Delacourt Street.

[A]

Yes, yes, I. I know the house. I. I thought it was vacant.

[B]

We just moved in. My husband's uncle left him the house and we decided to move to New Orleans and live here.

[A]

Ms. Fenton, I'll be honest with you. The house has a bad reputation.

[B]

I don't understand.

[A]

I think you do. Any honest real estate agent would have to warn a prospective buyer that there are definite problems connected with your house.

[B]

Of course, I understand that.

[A]

Well, then you also understand I'd have to offer the house way below the market value.

[B]

How far below?

[A]

I don't think I could ask more than $20,000.

[B]

$20,000? My husband and I wouldn't be interested at that figure. Thank you for your time.

[A]

Not at all. If you change your mind, you know where to find me. Now, how can a pretty girl look so unhappy after a dinner like this?

[B]

When the girl is thinking of going home to a house that scares her and that no real estate agent wants to handle?

[A]

Relax. Look, we'll put an ad in all the papers and sell it ourselves. You know, it might be better. That way. We save a commission.

[B]

Darling, that's why I love you. He takes a chip big load off my shoulders and make everything seem so easy.

[A]

Isn't that what husbands are for?

[B]

I can think of a few other uses.

[A]

And that's one reason why I love you.

[B]

When are we going to put the ads in?

[A]

First thing tomorrow.

[B]

Doug. Doug, wake up. What? Doug, did you leave a faucet on? What? The water. Don't you hear it?

[A]

Yes. Yes, I hear it. Did you check the bathroom?

[B]

I was afraid to anyway. It certainly doesn't sound as if it's coming from the bathroom.

[A]

No, no. It seems to be right over the bed.

[B]

Oh, I can't stand it. Dog. Can't she do something?

[A]

I don't know what to tell her to go away, whatever it is. Do you think that would work?

[B]

We should call the police.

[A]

I would. I would if I felt they could help. Whatever it is hasn't hurt us, although only annoyed us. So I think maybe if we show women not bothered, the noises and the smells will stop.

[B]

I don't think I can do that, Doug.

[A]

I know, I know. That's why we put the ads in the papers.

[B]

Doug, hold me. Hold me close. What's that?

[A]

If it's ghosts, they've come to the front door.

[B]

But who could come at this time of night?

[A]

You talk as if it were three in the morning. It's only 10:30, and this is a late town. I suppose I'd better see who it is.

[B]

I'll come with you.

[A]

Be right with you.

[B]

Oh, I'm so sorry. I never dreamed I'd be waking you. I'll come back some other time. Oh, no. We weren't asleep. Come on in. Come in. It was the advertisement in the Picayune. The house is for sale. Oh, yes, it is.

[A]

I'm Doug Fenton and this is my wife, Helen.

[B]

I'm Zoe Lemaitre. You're interested in the house? I am.

[A]

Are you married?

[B]

No, I'm quite alone.

[A]

But this is a large house. The ad described how many.

[B]

Darling, I'm sure Ms. Lemaitre knows how large the house is. She's interested. I know the house is large, but I'm hooked on antiquities. Um, I think before we actually get down to business, I should tell you I know all about the reputation this house has in this city. You do? I do.

[A]

And you still want to buy it?

[B]

I can afford it. And I think that the only way you're going to dispose of it is to sell it very cheaply.

[A]

Ah, Ms. Lemaitre, just how cheaply are you thinking? Or aren't you prepared to make an offer?

[B]

Oh, I'm not only prepared. I brought this certified check along.

[A]

You've made up your mind.

[B]

Here it is.

[A]

Oh, wow.

[B]

Massey. $7,800. Why, that's. That's just a fair offer, considering the reputation of the house. Doug. Doug Fenton. Ms. Lemaitre, are you too angry with me to join me in a cafe seat?

[A]

It's my wife who's angry. Oh, I never can stay mad at girls as pretty as you.

[B]

Thank you. Do you find me fascinating, Mr. Fenton?

[A]

Completely. I trust I have the same effect on you.

[B]

Oh, it's not you who interests me. It's your house.

[A]

Why?

[B]

I can't tell you.

[A]

Everyone in this town seems to know what's wrong with my house. Except Helen and me.

[B]

They know there's something wrong. That's all they know.

[A]

Oh, and you know more. Beautiful Zoe. Ah, yes. Behind those beautiful green eyes lies secrets.

[B]

And your attitude as well. One reason why I can't tell you. You wouldn't believe me anyway.

[A]

Try me.

[B]

All right. The house you're living in doesn't really belong to you.

[A]

I have a deed that says it does.

[B]

That house was stolen from the daughter of Marie Laveau.

[A]

Marie Laveau. Who?

[B]

She the most powerful bokor in the history of voodoo. The beautiful black woman who ruled as the voodoo queen of New Orleans for half a century. You, Douglas Fenton, are living in the house of the voodoo queen, and she wants you out.

[A]

When a landlord wants to evict a tenant, the tenant can always find, take his case to court. But when the fanciful notion is advanced that the landlord is really a voodoo queen who lived back in the 19th century, that tenant has a problem. I'll be back shortly. With a terrifying solution found by Doug Fenton in Act 2. Voodoo is an African religion which has been variously described and downgraded by such descriptive phrases as black magic, mumbo jumbo, or a mess of meaningless ritualistic incantations practiced and believed in only by the ignorant and superstitious. Nevertheless, it survives. Douglas Fenton has been told that voodoo presents a very real and serious threat to his living in a house he inherited in New Orleans. But Douglas Fenton is a skeptic. You're too much, Zoe. Oh, but you must really think I'm the biggest sucker you ever saw if you expect me to sell you a $60,000 house for 7,800 because of some crazy story about a boost. Voodoo queen. Wait. Where. Where are you going?

[B]

Before, I called you ignorant. Now I know you're a fool. And I don't like fools.

[A]

Sit down.

[B]

Go home, Douglas. Go home to your pretty, silly wife. And the two of you can sit and laugh at Marie Laveau. But in the night, when your blood runs cold and a nameless terror shakes your bones, remain me. And if you can, remember to call on the kosher and pray they show you mercy.

[A]

Hey. You think this stuff is for real, don't you?

[B]

I was born in New Orleans, as were my mother and grandmother. We know the power of the cochon gris.

[A]

If I apologize, will you sit down?

[B]

I will sit. But it's useless. You will still disbelieve.

[A]

Can you blame me? I'm a product of the 20th century. You tell me a pretty wild story and mention things I've never even heard of. Like this. This Koshangree.

[B]

The Koshangri are an ancient society of voodoo priests.

[A]

And what's your connection with them?

[B]

They ask me for a favor. It's not wise to oppose them.

[A]

And the favor was to buy my house. Why? Why do they want it?

[B]

Because it was the home of Marie Loveau. Because it really belongs to her. And they want it as a shrine and their headquarters. What are you doing at this cafe this afternoon? What Took you out of your office.

[A]

The problem? I've always found that a walk and some fresh air helps me.

[B]

Don't you find it strange that your walk should lead to the back streets and this particular cafe?

[A]

I wanted to get away from crowds.

[B]

And how was it that I happened to be here?

[A]

You can answer that better than I.

[B]

Yes, I can. Read this note. I received it at noon.

[A]

Cafe Lafitte, 3:30. Fenton will be there. Helen. Helen, darling. Helen, what's the matter?

[B]

Oh, Doc. So glad you're home. So glad. Look.

[A]

Look.

[B]

There on the floor.

[A]

What the devil is it?

[B]

What does it look like?

[A]

Like a chicken that has had its.

[B]

Neck wrung, that's what it is. I found it on our doorstep. Along with the chicken, I found this.

[A]

This looks like a child's drawing of some kind of snake.

[B]

No, not dog. Not a child. According to the police, these are voodoo symbols. Have you ever heard of voodoo?

[A]

Strange that you should mention that. I had a crash course earlier today.

[B]

What?

[A]

The girl who came here to buy our house. I ran into her today at a sidewalk cafe. She seemed to know a lot about it. She told me.

[B]

Yes.

[A]

No, it's. It's not important. What did the police say?

[B]

Well, that these were voodoo symbols. That they may be the work of a prankster, or it might be a believer. Someone who thinks voodoo magic actually works. Someone with a grudge against us, The Koshangui.

[A]

I hoped I'd find you here.

[B]

Why, Mr. Fenton, what a surprise.

[A]

Don't. Don't try to put me on. You probably have a piece of paper on you somewhere that reads Cafe Lafitte, 822. Fenton will be there.

[B]

You're really rather charming, you know, Doug.

[A]

Well, I try. Particularly when someone looks like you. I've never met a girl who even came close to you. And looks. I think you've bewitched me.

[B]

Of course. But what have you done to me? Put a love spell on me?

[A]

I think you're trying to tell me something.

[B]

And if I am, we should find.

[A]

A more private place.

[B]

I shouldn't tell you this. Oh, Doug, darling. I never felt like this before in my life. Never with anyone.

[A]

Oh, you're a beautiful liar. But I love to hear it.

[B]

I mean it, Doc.

[A]

Oh, you're an astonishing girl. Really? We've been here for two hours and you've never once mentioned my wife.

[B]

Oh, should I have?

[A]

Let's just say it's unusual.

[B]

Oh, you're an experienced adulterer.

[A]

Ouch. Now, why did I bring her name up?

[B]

I don't know.

[A]

I do. It's because I'm worried about the things she finds on our doorstep.

[B]

What sort of things?

[A]

Well, a chicken with its neck wrung. A piece of cardboard with a crudely drawn snake. Oh, yes, that. That means something to you, doesn't it?

[B]

Spells they're put in or near people's houses for a purpose.

[A]

And they mean something.

[B]

Of course.

[A]

I'm almost afraid to ask.

[B]

You should be. The chicken with its neck wrung means death.

[A]

Helen. Helen, are you all right?

[B]

Yes, Doc, darling, I'm fine.

[A]

How. How was today? Huh? I mean, if.

[B]

You mean, were there any other little presents left on our doorstep. No.

[A]

Well, that's good news. Maybe they've stopped.

[B]

I won't complain. After all, you're home early tonight.

[A]

What does that mean?

[B]

Oh, nothing, really. It's just that you've been working so late at the office so often, and I realize that I'm not as attractive as I used to be. And. Although I guess I'm not much.

[A]

I hate to hear you talk like that.

[B]

I hate to talk like that. That maybe I wouldn't if.

[A]

If what?

[B]

I know how attractive you are, and there are a lot of beautiful women in the world and.

[A]

Oh, please, please. This isn't necessary, Helen.

[B]

I'm afraid it. It's very necessary. Will you. Will you stop seeing Zoe Le.

[A]

I'm as mad as anyone can get and still not commit murder. It's your associates. Those voodoo priests you tell me are called the Koshan Greeks.

[B]

They're not my associates. Sometimes they ask me to do favors for them, and I know it's not wise to refuse.

[A]

They must really be grateful to you. They've rewarded you by telling Helen every time we met. Tell them to lay off.

[B]

I won't.

[A]

You won't? What do you want to do, break us up?

[B]

You know better than that, Doug. It's just that I don't want to make a fool of myself. If I go to the Cochon Gris with this request, they will simply tell me what I've been telling you all along. If you wanted to stop, sell the.

[A]

House, we would gladly, if we could get anywhere near what it's worth.

[B]

What is it worth, really, Duck? You can't find a buyer who'll even make an offer. Except the Gojong Gris. And they think they're being very generous.

[A]

I won't be taken.

[B]

You inherited the house. Whatever you get is pure profit.

[A]

You really don't understand, do you?

[B]

I know that if you won't sell, then Helen will have to suffer.

[A]

Not if I Stop seeing you.

[B]

That would be your choice, and I'm.

[A]

Making it right now. If you can let me walk away rather than ask a simple favor of people who owe you, then I'll walk.

[B]

Goodbye, my love. Have I told you it's nice having you home for dinners again?

[A]

You have.

[B]

You're bored with me.

[A]

No, no, no, no. With myself. And you're going to have me home a lot more from now on.

[B]

That's very good news.

[A]

I'm not so sure about that. I've lost my job.

[B]

You're kidding.

[A]

I wish I were. But they called me in yesterday with all sorts of excuses about cutbacks and economies and. Well, I'm out. I was the last man in and now I'm the first man out.

[B]

Let's sell the house and get out of New Orleans. Oh, Doug, don't you see? It will be wonderful. We'll be starting all over again.

[A]

I'm back.

[B]

So I see.

[A]

May I come in?

[B]

What happened to your key?

[A]

I threw it away so I wouldn't be tempted to use it. But I couldn't stay away.

[B]

I'm glad.

[A]

Did you miss me?

[B]

Oh, Doug.

[A]

Oh, Zoe, Zoe, Zoe, my love, my darling.

[B]

You don't know how much I missed hearing those words the last two weeks.

[A]

Well, I'm afraid you're going to miss them a lot more.

[B]

What?

[A]

I've lost my job and Helen's at me to sell the house and get away from this city. And incidentally, you. Oh, she no longer cares how little we get for it. She's completely fed up.

[B]

And you, Duck.

[A]

It's very tough to put up a decent argument for staying.

[B]

If you could, would you stay?

[A]

How can I stay without money?

[B]

If it's money that separates us, you don't have to say goodbye at all.

[A]

Excuse me, love. I didn't know I was talking to a wealthy plantation owner.

[B]

I only meant I might be able to get you all the money you want.

[A]

The only friends I know you have are the tightwad Koshangris who only want to pay $7,800 for a sixty thousand dollar house.

[B]

They've been known to put a higher price on other things.

[A]

Like what?

[B]

Souls.

[A]

You know. You know, you're really too much with that voodoo business. If there were anything to it, which you know, I don't believe for a minute. I'd have to be crazy to be willing to sell my soul.

[B]

I didn't mention your soul, did I?

[A]

I can't sell what I don't own. And as far as I know, I only have one Soul There are others.

[B]

You can pledge, Other souls you can speak for.

[A]

Would you care to put a name to that soul?

[B]

Anyone near and dear to you.

[A]

Like Helen?

[B]

She would be one.

[A]

I don't know whether to laugh or just walk out of here.

[B]

I'd never hurt you.

[A]

I mean, just what kind of a man do you think I am?

[B]

A man I can love.

[A]

Love? That word sounds very strange on your lips. The same lips that can talk about me selling my wife's soul.

[B]

Oh, go away. You're just like everyone else. Crying about not having any money and not willing to pay the price for getting all you want. Everything you want, including me.

[A]

Helen. Helen. What are you doing?

[B]

Packing. You can't seem to make up your mind, so I'm making it up for you.

[A]

For you.

[B]

I told Mr. Vincent, the real estate agent, to take whatever he can for the house, and we're getting out tonight. Oh, I've been expecting you. There's a cafe filter on the coffee table.

[A]

How did you know I'd come back?

[B]

Because I chose you. I couldn't make a mistake about the man I chose to love.

[A]

Well, when you stop patting yourself on the back, I'd better tell you that the only reason reason I'm back is because I don't believe any of this voodoo stuff. And that's why I'm willing to go along.

[B]

Of course.

[A]

And to prove it, I'm not going to make any deal where I have to shoot, stab, poison, or in any way do anything that's going to cause physical harm to Helen.

[B]

No one's going to ask that of you. All that's required is this knife and your blood.

[A]

If you're in love with a beautiful girl who practices voodoo and believes that a drop of your blood drawn from you by a sacred knife will bring you luck, why not? And from there, it's just a short step to making deals about souls, yours and even others. Because, after all, it doesn't really work. Or does it? I'll be back in a moment with Act 3. This is WBBM Chicago News, Radio 78. I think all of us feel some small twinges of apprehension when we sit in the doctor's office waiting for the injection we know we must have? But how do you describe the feelings of a young man sitting opposite a girl he adores who's wielding a ceremonial knife preparatory to drawing some blood? Zoe, my love, you're beautiful and an enchantress. But somehow you look different with that knife in your hand. May I see it?

[B]

Be careful.

[A]

It's very Sharp and heavy.

[B]

It's pure gold.

[A]

I don't suppose you could use something smaller than this? It really looks lethal.

[B]

I could use a lot of different things, but then this paper would be meaningless. It's blank at the moment. It won't be after you write your wife's name on it.

[A]

But before I do that, what am I supposed to get?

[B]

As much money as you need, or what?

[A]

Suppose I said I want a million dollars.

[B]

The amount isn't important. Just trust me, and for one year, money will rain on your head in a golden shower.

[A]

And what happens after the year's up?

[B]

We'll cross that bridge when we come to it.

[A]

What have I got to lose?

[B]

Nothing. But before you write your wife's name, you know, of course, what she is losing.

[A]

Yeah, I know. I'm pledging her immortal soul. How is she, doctor? I'm afraid I don't have very good news for you, Mr. Fenton. Haven't you found out yet what's wrong? The tests are inconclusive. And none of the medication we've been giving her seems to be able to help. What is it? Is it a bug or a virus? We just don't know. She's been asking for you. Helen. Helen, I'm here.

[B]

Oh, doc, you didn't have any trouble getting away from the office.

[A]

I keep telling you, darling, I'm my own boss now. And if things keep going the way they are, I may even turn out to be a tycoon.

[B]

I'm dying, Doug.

[A]

Helen, please. Now, you mustn't even.

[B]

It's all right. You mustn't feel badly. The way things went since we came to New Orleans, I'm beginning to think that death might be the best thing for me.

[A]

Helen, I don't want you to talk that way, Doug.

[B]

I want you to promise me one thing. Just one thing, please.

[A]

Anything.

[B]

When I die.

[A]

Now, will you stop talking about dying, please?

[B]

Doug, listen to me. You must get out of that house. Get rid of it. Promise me, Doug, you'll never set foot again in that horrible house. Delicious. I do adore champagne.

[A]

Well, when are we gonna make it all legal?

[B]

You mean with a wedding and everything like that?

[A]

Oh, and what a wedding. What a reception. And what a honeymoon. The biggest, most expensive.

[B]

Helen has been dead only three months. Not a very long period of mourning.

[A]

Who says?

[B]

A lot of people. Nasty, gossipy people.

[A]

Dull, stodgy people. Who cares about them or what they say?

[B]

To your business associates, what can they say? That you became very rich very suddenly. That your wife died mysteriously. That I'M a witch. And that perhaps people should be careful about doing business with you.

[A]

No, I'd almost forgotten. It's all because of that voodoo group you fool around with.

[B]

You'll have to admit that everything happened after we went through the ceremony they told me to perform.

[A]

Right. I'll admit that first sugar deal on the commodities market was lucky. But after that. Give me a little credit. I got smart about commodities and now I know what I'm doing. So when do we get married?

[B]

Why is marriage so important to you?

[A]

You wouldn't be stalling me, would you, my love?

[B]

Don't be silly, Doug. Shouldn't you. Shouldn't you wait and see when your one year contract is up that your luck doesn't change?

[A]

Come in. Come in, Lamour. Sit down. Your offices are most impressive, Fenton. Most impressive. You said that you wanted to see me on a matter of utmost urgency. That's right. First I owe you an apology. For what? For my cowardice. I don't know what you're talking about. The facts about your uncle's house. Which I knew and withheld from you deliberately. No, no, no. Forget it. Forget it. I am. I'm out of the house and you have nothing to reproach yourself for. I had heard you sold the house. And I also know the price. That suggested to me that you still had your reasons for. I just didn't want the trouble of looking around for buyers. I grabbed the first offer I got from Ms. Lemaitre. Something wrong with that? I will be brief. I didn't tell you and your wife the history of the house because I was afraid. Afraid of the Koshangre. Afraid of the power of voodoo. Fenton, you're in danger. Me? Yes. How did your wife die? Some unknown virus. Some kind of fluke, the doctor said. Don't you think that strange? An unknown disease in this day and age? Look, Lamours, you can believe what you want, but leave me out. I can't. Because of your relationship with Ms. Lemaitre, I beg of you one favor. Tonight, come with me and meet Louis Castan. It may be your only chance to save yourself. I don't feel any need for salvation now. If you. You've heard of Luis? Never. Louis castan is a 90 year old Cajun who's lived all his life in the bayous. He knows more about voodoo than any other human being. What are you doing? Helping you out of my office. Since you won't leave when I ask you to, I'll gladly go if you'll tell me you haven't let her talk you into making some kind of silly bargain. Why did you say that? So you have. You've sold your soul. Fenton, for the love of God, come with me to the bio tonight. Lewis, this is Douglas Fenton. I hope we meet in time. No, I'm here only because Mr. L' Amours practically kidnapped me. Mr. Lumours has lived in Louisiana a long time. He knows much about voodoo and Cajuns. All right, all right. What do you have to tell me? First you tell me what you have done with the bokor. What the devil is a bokor?

[B]

A very bad person. One who knows the darkest secrets of.

[A]

Voodoo and uses them for evil ends. One who is pledged to Tambala Udeo, the great snake God. This all sounds like something out of the middle ages. No, Mr. Fenton.

[B]

It is much old. Have you ever seen a knife like this?

[A]

Maybe. I don't know. I've seen a lot of knives, but one like this, you would remember, no? A pure gold knife with these writings. What if I have? If you have only seen it, Mr. Fenton, that is well. But if it has drawn you, that is very bad. How come you know so much about all this voodoo ritual? I had a wife. I loved her much.

[B]

Yes.

[A]

She loved other things more. She sold my soul, Mr. Fenton. Sold my soul to Damballa Odeo. I found her just in time and I defeated her and her bo core.

[B]

But I paid a price.

[A]

I cannot use my limbs. You see, Mr. Fenton, I must sit.

[B]

Here until the end. But Damballa Udayo and I, we will fight.

[A]

You understand? And that's why you brought me here, Lamour. Because you think I've fallen somehow under the spell of the beaucour le maitre. We are going to be married. When? We haven't set the date, but she has agreed to marry me. She will not marry you. If, as I believe, she is Beaucourt, she will want to destroy you and take your soul. She will never marry. I know you're wrong, but. Well, as long as I came here, what must I do? If you're right, she must follow the ritual. For the sacrifice. She will ask you to perform some ancient marriage rite to strengthen the vows.

[B]

It will be a powerful voodoo and.

[A]

She will need a drug.

[B]

And she will ask you to drink. If you drink, nothing can save you.

[A]

If she does ask me to go through this ceremony, is there anything I can do? You can use this knife. I give it to you. The gold knife.

[B]

It is easily concealed in your clothing, as you see, and you will use it.

[A]

But I thought you said that this knife could only be used by a bokor. Oh, une bo cor.

[B]

Where were you last night, my love? You're not the only one who's jealous, you know.

[A]

You never have to worry about me. You should know by now that I'm yours, my love for life. Zoe, are we going to get married?

[B]

Of course.

[A]

When?

[B]

Whenever you like.

[A]

You mean that? You really mean that?

[B]

You set the date today? Really, Duck. You've got to give a girl a.

[A]

Chance to get ready. All right, all right. How about Saturday?

[B]

Saturday? Saturday sounds lovely. There's just one silly favor I'd like to ask.

[A]

Oh, anything. What?

[B]

Before the real wedding with the minister and everything. I know it's superstitious, but, you know, you're. Zoe, I just wouldn't feel that we were truly married unless we went through a little native ceremony that my family has observed in every remarriage.

[A]

A native ceremony?

[B]

It's nothing, really. Just the two of us before an ancient altar. I know you'll think it's nonsense, but it means so much to me. So much that I don't think I can marry you unless you go through with.

[A]

This is my old house. Why do we have to come?

[B]

Shh. Don't ask so many questions. Just pretend we're playing some childish game. It will seem that way to you, Doug, but to me it's. Well, the way we've always done things.

[A]

What's that?

[B]

The altar.

[A]

But that statue, it's.

[B]

He looks frightening. But it's just an old statue of a snake God that blesses every marriage.

[A]

Zoe. Zoe, please. You know I don't believe all this. Maybe you're used to the darkness and the candles and the drums.

[B]

But here, drink this and you'll feel better.

[A]

What's that?

[B]

A little ceremonial wine, darling. It was left on the altar for us. Drink it.

[A]

Do you really want me to drink from that goblet?

[B]

Yes.

[A]

You insist.

[B]

Darling, it's the only way.

[A]

You will drink from me if you come into my arms and hold the gauntlet to my lips.

[B]

Now who's acting childishly?

[A]

It's the only way.

[B]

All right. Here, dearest.

[A]

Drink.

[B]

Look, you're holding me too tight. Dog, the knife. No. No. Dumble, help me.

[A]

I drank my love. And now. Now we'll be together always.

[B]

Just.

[A]

Just the way you want. A friend of mine told me the story of an investigative reporter who penetrated some real voodoo ceremonies and photographed the strictly forbidden rites. The pictures somehow were ruined in development, and the journalist developed an unfortunate tick. His right hand. The hand that operates a camera now moved ceaselessly in the air, completely out of control. The doctors diagnose it as a nervous disorder, but of course they don't practice voodoo. I'll be back in a moment. It's amazing how many of us invest inanimate objects with supernatural powers. On the other hand, perhaps our superstitions are only faint memory traces, throwbacks to our ancestors who prayed to rocks and trees and mountains. Today we've progressed beyond those beliefs. We're sure that inanimate objects are powerless. On the other hand, we're told that nothing is sure except death and taxes. And, of course, the fact I'll be here tomorrow. Our cast included Joan Loring, Jordan Charney, Rene Roy, Dan Ako and Gilbert Mack. The entire production was under the direction of Hyman Brown. And now, a preview of our next tale. After last night and today, I'm taking no chances. Maybe with your superior intelligence you have no worries about our abortive attempt at Satanism. But I have. Look, I was the victim. And since a crack on the head denied me any knowledge of what happened, I'm only hoping you can give me the straight goods.

[B]

The straight goods?

[A]

A peculiarly inept term for what we are engaged in, my brother.

[B]

In Satan, dammit.

[A]

It's not a deal in semantics, Antimony. Now, what happened after I summoned up the fiend? I mean, how did you escape? And how could I have been harmed? As long as I was safe in the magic triangle within the circle? I warned you to keep your feet still. If you touch any part of the.

[B]

Circle itself or the triangle within it.

[A]

You are at the mercy of all the devils in hell. Radio Mystery Theater was sponsored in part by Anheuser Busch Incorporated, brewers of Budweiser and Buick Muher division. This is E. G. Marshall inviting you to return to our mystery theater for another adventure in the macabre. Until next time, pleasant dreams.

[B]

Sat.

[A]

There's more from the CBS Radio Mystery Theater at relicradio.com in fact, there'll be more from the CBS Radio Mystery Theater tomorrow on Strange Tales. But in between now and then, you can find more Old Time radio at the website relicradio.com and our shout cast stream streaming 24 hours a day, seven days a week, with even more to listen to. If you'd like to help make it all possible, visit donate.Relicradio.com or click on one of the support links in the show notes. You make it all possible. Thanks to those who have helped out over the years. Thanks for joining me this week. Be back tomorrow with strange tales next Saturday with our next episode of the Horror.