Those Who Walk In Darkness by Creeps By Night

Summary

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The Horror! (Old Time Radio)

Episode Title: Those Who Walk in Darkness by Creeps by Night
Date: September 6, 2025
Host: RelicRadio.com
Original Air Date: April 25, 1944 (Mystery Playhouse, hosted by Peter Lorre)

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Episode Overview

This chilling episode, Those Who Walk in Darkness, delves deeply into the murky territory of medical ethics, jealousy, and supernatural vengeance. The story, presented as a dramatization by the legendary Boris Karloff and hosted by Peter Lorre, follows a desperate quest to restore sight to a man blinded by a laboratory explosion. As his wife and his doctor—who is also her former lover—seek out a solution for his blindness, moral boundaries are crossed, and sinister consequences unfold. The episode combines classic gothic and psychological horror elements with Old Time Radio’s signature atmosphere of dread.

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Key Discussion Points & Story Breakdown

1. Introduction and Scene Setting

Peter Lorre’s Opening Monologue (01:43–03:19)

• Lorre introduces the story, warning that horror often emerges from innocuous beginnings and ordinary people. The tone is foreboding, setting the audience up for an unsettling experience.
  • Quote: “The circumstances leading up to horror and tragedy are many times as innocent seeming as a Sunday school picnic…” —Peter Lorre [01:46]

2. Hospital and Marital Tension

Stephen Denton’s Plight (03:19–06:09)

• Stephen Denton, a scientist, lies in Bayside Hospital, bandaged and fearing blindness after an explosion. Valerie, his wife, is at his side, along with Dr. Paul Wade—her former fiancé.
• Dr. Wade examines Stephen and reassures him, but it is clear there is tension between Wade and Valerie, rooted in their past.

3. A Shocking Confession

Revelation Between Valerie and Paul (05:32–08:21)

• In a private conversation, Paul reminds Valerie of their broken engagement. The emotional dialogue reveals Paul’s bitterness and Valerie’s guilt.

• Valerie suspects Paul is not being honest about Stephen's prospects for recovery. Paul admits the chances are grim but introduces hope: a possible corneal transplant.

  • Quote: “It’s rather ironic that we should meet again at the bedside of my rival… a man who may forever walk in darkness.” —Dr. Wade [06:55]

4. The Quest for Sight

Desperate Measures and Moral Dilemma (08:21–15:36)

• Dr. Wade explains that corneas can only be transplanted from recently deceased donors. Lacking available tissue, he identifies a dying mystic, Chandra, who lives in squalor by the river. Valerie pleads with Chandra for the donation of his eyes.

• Chandra, fearing blindness in the afterlife, refuses with mystical defiance and then dies, leaving Valerie and Paul facing a moral crossroads.

  • Quote: “No, you are wrong. There is no death. I am going on a journey. I will need my eyes to see into the great beyond…” —Chandra [14:04]

• Despite Chandra’s refusal, Valerie urges Dr. Wade to take his eyes, prioritizing Stephen’s need over ethical qualms.

  • Quote: “A doctor’s first duty is to the living… What responsibility have you to this lifeless thing?” —Valerie [14:56]

5. The Return Home and Unsettling Hints

Anticipation and Suspicion (16:04–18:33)

• After surgery, Stephen returns home, hopeful to regain his sight once the bandages are removed. He expresses gratitude to Dr. Wade, unaware of the full truth.
• A tense conversation ensues between Stephen and Dr. Wade, filled with metaphor and innuendo about “borrowing” eyes.
  • Quote: “It must be very pleasant to see with the eyes of love, even though the eyes are borrowed.” —Dr. Wade [17:35]

6. The Supernatural Intrudes

Haunted by the Past (18:33–23:21)

• In the garden, Stephen begins to hear a ghostly voice demanding the return of his eyes. Dr. Wade tries to dismiss it, suggesting a brain injury, but the voice’s persistence rattles Stephen and Valerie.

  • Quote: “Give me back my eyes.” —(Ghostly Voice/Dr. Wade) [20:17, 20:21]

7. The Psychological Unravelling

Revelation of Betrayal (23:21–25:36)

• Valerie discovers, to her horror, that Dr. Wade was faking the ghostly voice to torment Stephen and drive him mad. She confronts Paul with rage and disgust.

  • Quote: “You unspeakable monster. Trying to drive Stephen mad. Playing on his superstitions, his fear of the dark, of the unknown.” —Valerie [25:23]

• In the midst of this revelation, a gunshot rings out—Stephen, driven by despair and terror, has taken his own life.

8. Retribution and the Final Irony

An Eye for an Eye (26:09–28:09)

• Paul, hoping Valerie will now be with him, is instead met with her condemnation and wrath. In a moment of poetic justice, Valerie grabs a bottle of sulfuric acid and flings it in his face, blinding him just as her husband had been.
  • Quote: “You’re going to know what it is to walk in darkness. Forever… Down my eyes.” —Valerie [28:01]

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Memorable Moments & Quotes (with Timestamps)

• “The eyes are the windows of the soul.” —Chandra [14:07]
• “Borrowed? What do you mean?” —Stephen [17:44]
• “Give me back my eyes.” —(Ghostly Voice/Dr. Wade) [20:17]
• “Trying to drive Stephen mad… To turn him into a raving maniac.” —Valerie [25:23]
• “You’re going to know what it is to walk in darkness. Forever…” —Valerie [28:01]
• “There, my friend, is a young lady who takes literally the old adage, an eye for an eye.” —Peter Lorre (outro narration) [28:09]

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Timestamps for Key Segments

• 00:06–01:43 — Atmospheric introduction and preview
• 03:19–06:09 — Hospital and diagnosis; Dr. Wade and Valerie’s emotional history
• 08:21–15:36 — Visit to Chandra, the dying mystic; ethical dilemma and decision to proceed with the transplant
• 16:04–18:33 — Stephen’s return home; hints of supernatural retribution
• 20:17–23:21 — Ghostly voices haunt Stephen; Dr. Wade’s psychological manipulation
• 25:09–25:56 — Valerie uncovers Dr. Wade’s betrayal; confrontation
• 26:09–28:09 — Stephen’s suicide and Valerie’s final revenge

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Tone and Style

The tone is consistently ominous and oppressive, heavy with the hallmarks of radio horror: shadowy scenes, emotionally fraught confrontations, and chilling sound effects. The characters speak in measured, dramatic cadence, and the supernatural is woven seamlessly into the psychological drama.

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Summary

Those Who Walk in Darkness is a masterful tale of horror and moral ambiguity, mixing medical drama with jealousy and a vengeance that extends beyond the grave. It asks chilling questions about what we owe to the living and the dead, and punishes hubris with poetic justice. The episode remains as gripping today as it was in 1944, its gothic atmosphere and psychological suspense undimmed by time.

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Transcript

[A]

Oh, stories. Real stories. And murder too. Turn out your legs. Turn them out. Good evening. Come in, won't you? What's the matter? Surely you're not nervous. For example, cast by telling a story, we are meant to call from out of the past. Stories strange, weird tales of mystery and terror by radio's masters of the macabre. Story of the supernatural, the supernova dramatized by fantasy, the mystery, the unknown. We tell you this Frank, frankly. So if you wish to avoid the excitement tension of these magnet play, refer in our latest theory to turn off your radio.

[B]

Welcome back to the Horror Old Fashioned Fear Every Saturday since 2008 on relicradio.com. you can find past episodes of this podcast there and all of the other relic radio shows, including more from the series we're going to hear from today. Creeps by Night. It aired over the Blue network for 23 episodes between February and August of 1944. The first 12 episodes were hosted by Boris Karloff. Our story today is an Armed Forces Radio Service rebroadcast over their Mystery Playhouse show hosted by Peter Lorre. This one aired April 25, 1944. It's titled those who Walk in Darkness.

[A]

The Mystery Playhouse, a rebroadcast for the service men and women of the United Nations. Good evening. This is Peter Loren. The circumstances leading up to horror and tragedy are many times as innocent seeming as a Sunday school picnic. And the perpetrators of evil appear often as ordinary, normal human beings. Yes, but they are capable of conceiving acts of diabolic destruction as you will hear tonight in the Mystery Playhouse. Listen now to Mr. Boris Karloff in those who Walk in Darkness. We look in on a scene taking place in a private room at Bayside Hospital. A man with heavily bandaged eyes lies restlessly in a bed. At his bedside are his wife, Valerie, a nurse and a famous eye surgeon, Dr. Paul Wade. Dr. Wade looks strangely and intently at his patient before his feet at midnight and again in the morning. Nurse.

[C]

Yes, Doctor.

[A]

Well, Doctor, what did you find? Will I be blind? Is it very bad? Now, now, take it easy, Mr. Denton. There's nothing to worry about. Nothing at all. You. You're sure you weren't just saying that? I'm quite sure. Valerie. Valerie, did you hear that? I. I'm not going to be blind.

[C]

Valerie.

[A]

Valerie, where are you?

[C]

Right here, darling.

[A]

Did you hear? I won't be blind. Isn't that wonderful?

[C]

Yes, darling, it's marvelous.

[A]

You don't sound very excited. Valerie, don't you realize I'm going to see again? She doesn't sound Excited? Because I don't want you to be excited, Mr. Denton. You've got to relax. Try to sleep. Sleep? With this ungodly pain? My eyes feel as though they were on fire. That will stop as soon as the opiate I gave you takes hold. You'll be comfortable, I'm sure. Good night.

[C]

You're going now, Doctor?

[A]

Yes. I'll. I'll look in on. On your husband in the morning.

[C]

Stephen.

[A]

Yes, Ralph?

[C]

Do you mind if I step out into the corridor for a moment?

[A]

But you. You promise not to leave me? I. I'm afraid, Valerie. Everything's so dark.

[C]

The nurse will be here, dear, if you want anything. I just want to ask Dr. Wabe some questions. Questions?

[A]

But he's already told us.

[C]

Yes, Stephen, I know. But I'd like to find out about the treatment and how I'm to take care of you when we get you home. You know, just little things.

[A]

All right, but hurry back. I. I want you near me.

[C]

I will, dear.

[A]

Good night, Mr. Denton. Good night, Doctor. And thank you. You're quite welcome. After you, Mrs. Denton.

[C]

Thank you.

[A]

I suggest we step into the consultation room across the hall. We'll have more privacy.

[C]

All right.

[A]

Here we are.

[C]

Thank you.

[A]

Well, it's been a long time, Valerie.

[C]

Yes, Paul, it has.

[A]

Almost 10 years, isn't it?

[C]

About that.

[A]

Strange that you should have called me of all people to treat your husband's eyes.

[C]

I was panicky, Paul. I didn't know what to do. It all happened so suddenly. Stephen was working in his laboratory at the house when suddenly I heard a violent explosion. I ran in and found him clutching his eyes and screaming. I'm blind. First thing I thought of was an ambulance. Then you.

[A]

Why didn't you think of me 10 years ago?

[C]

It's not fair, Paul.

[A]

Was it fair to turn your back on me and then to marry a man almost twice your age?

[C]

Paul, please. Why bring up ancient history?

[A]

Isn't ancient history to me. I've never forgotten you.

[C]

Paul. About Stephen's eyes.

[A]

What about them?

[C]

I have a feeling that you weren't telling him the truth.

[A]

You're right.

[C]

Oh, you mean he's not going to regain his sight? He's going to be blind. Oh, Paul.

[A]

You don't expect me to be. To be terribly concerned, do you, Valerie? After all, he did take you away from me.

[C]

Don't be vindictive, Paul. It wasn't Stephen's fault. He didn't even know of your existence.

[A]

And you never told him that we were on the point of being married?

[C]

No, never.

[A]

It's rather ironic that we should meet again at the bedside of my rival. Your husband. A man who may forever walk in darkness.

[C]

Don't say that, Paul.

[A]

Horrible, but unfortunately true. A moment ago you told me not to be vindictive. I'm not, really. But if I were, I could have my fill of vengeance. If I told him about us and then told him that, he'll be blind forever. You wouldn't, Pa. Or I might take another form of revealing. I could tell you that an operation is called, Paul. A very delicate operation.

[C]

Are you trying to say that there might be a chance?

[A]

Yes, but supposing I refuse to perform the operation?

[C]

Paul, you're joking. You can't mean that.

[A]

Perhaps not, but you call me vindictive. Suppose I operate and my scalpel slips? What if he dies?

[C]

That would be murder. You're not a murderer, Paul. You wouldn't risk your professional reputation. Why must you torment me this way?

[A]

You really love him, don't you?

[C]

Yes, I do.

[A]

Then forget the things that I've been saying. I want you to think of me as a friend. I want you to trust me.

[C]

I do trust you, Paul.

[A]

Thank you. Now, as to the possibility of surgery, here is the situation. The transparent film over your husband's eyes. The corneas were burned and torn by the explosion. They've been so damaged that blindness will result even though the eyes heal.

[C]

But you think an operation would cure that?

[A]

Possibly. Although it's a very delicate job. The injured cornea must be peeled away and replaced by a fresh, healthy one.

[C]

Where can you get healthy corneas?

[A]

From the eyes of the dead. It isn't quite as horrible as it sounds, Valerie. You know, dying, peace. People often will their eyes for just this purpose. We maintain what we call a corneal bank. It's much the same as a blood bank, only. But there's this difference. Corneal tissue can't be stored more than 48 hours. It must be fresh or it's no good.

[C]

You have some available in the bank?

[A]

No, that's the trouble. I'm afraid we haven't.

[C]

But there's got to be some. Paul.

[A]

I don't know where. Valerie. Unless.

[C]

Unless what?

[A]

I was just thinking. Last night, one of the interns asked me to look at a charity case that puzzled him. He lives in a dirty little shack near the water.

[C]

Yes, Paul.

[A]

I stopped by and examined him. I found him in curable condition. There's no way to save him. He won't live more than a day or two. But his eyes are healthy.

[C]

You mean you think he might.

[A]

I don't know. You'd have to have his consent.

[C]

Take me to him, Paul. I'm sure I can make him understand.

[A]

Oh, it may not be so easy, Valerie. He's a strange person. A mystic, spiritualist.

[C]

Let me try. Just take me to him.

[A]

All right. We can go there now.

[C]

How can anyone live down here, Paul, with streets and fog rolling in from the river shutter.

[A]

You'd be surprised where people are forced to live. That's the house over there, that. That gray shack.

[C]

Does he live alone?

[A]

No. There's a toothless old woman. I don't know where he picked her up. He keeps house for him. He's rather hideous, and I suspect, a bit demented. So don't be frightened when you see her.

[C]

I'll try not to be.

[A]

Here we are. There's no belonging.

[C]

Foghorns are giving me cold shivers.

[A]

Yes, they do sound eerie. Here comes the old woman.

[C]

Yes?

[A]

We'd like to see Chandra, please.

[C]

You can't. He's getting ready to go away. Chandra's going on a long journey.

[A]

Yes, we know. We'd like to see him before he leaves. We are friends of his.

[C]

Eh?

[A]

I said we are friends of Chandra. I was here last night. Don't you remember?

[C]

All right. Come in. His room's at the end of the hall. You know the way. I have to stay here by the stove. I am cooking something. Yes, Something for Chandra's journey.

[A]

I see. Come, Valerie.

[C]

Something for Chandra. Oh, she's ghastly.

[A]

But harmless, I'm sure. Here, this is the room.

[C]

Dark in there.

[A]

Yes, but there's a lap stone. But the wick is down. I'll turn it up. There, that's better.

[C]

Paul, they're on the cart. Is he alive?

[A]

Yes, still alive. Chandra. Chandra. Who calls? Chandra? It's Dr. Way. You remember me. I was here last night. Yes, Chandra remembers. But it is too late. I am going away on a journey. I know. That's why I've come. I brought a young lady with me. Chandra. She has a favor to ask. Chandra has no favors to grant. Soon I will start to the other side. Let her tell you what she wants. Chandra. Go ahead, Valerie.

[C]

Chandra. Well, Chandra, My husband suffered an accident. An explosion. It his eyes. Oh, Paul, I can't. You tell him, please.

[A]

All right. Can you hear me, Chandra? I hear you. This young lady's husband just lost the sight of both his eye. He'll be completely blind unless I perform an immediate operation. Unless I take part of two healthy eyes and place them on him. He's asking that you give her your eye. Do you understand? I understand. I am visited by those who would rob me.

[C]

But you're going to die anyway.

[A]

Die? No, you are wrong. There is no death. I am going on a journey.

[C]

Please. Please help me. Chandra.

[A]

No. They will need my eyes. I will need them to see into the great beyond, to guide me through eternity. The eyes are the windows of the soul.

[C]

I'll give you anything you ask.

[A]

No. No. I said no.

[C]

Something's happened.

[A]

He's dead.

[C]

And it's all right. You can take his eyes.

[A]

No, I can't. He refused you.

[C]

Paul, listen to me. A doctor's first duty is to the living. To heal them, to make them whole. What responsibility have you to this. This lifeless thing?

[A]

It's a matter of professional ethics, Valerie.

[C]

Paul, you've got to do it for me. Blindness would drive Stephen out of his mind. He's always hated the dark, like a little boy. Paul, please.

[A]

It wouldn't be right, Valerie.

[C]

It's a matter of life and death, not right or wrong. Paul. Paul. You have your surgical kit with you?

[A]

Yes, but.

[C]

Paul. Paul, please, I beg you.

[A]

All right. Close the door. Well, it's good to be home again, Bowery. That hospital room was beginning to get me down.

[C]

It's going to be even better once the bandages are taken off.

[A]

Yes, just another week. That's what Wade said. Oh, he's a good doctor, Valeria. I like him.

[C]

I'm glad.

[A]

Imagine being able to see again after all these weeks of darkness. I have never liked the dark. Why? It will be like coming into a new world. Yes. Tell me, what sort of an operation was it, Valerie?

[C]

Well, I don't know.

[A]

You sound like you're trying to hide something.

[C]

Don't be silly, Stephen. Oh, that must be Paul. Dr. Wade now. I'd better let him in. Stephen, I think Jenny's in dead. Good evening, Mrs. Benton. Good evening, Doctor.

[A]

Sorry I'm so late, but I had an emergency call.

[C]

Oh, it's quite all right.

[A]

Hello, Doctor. Well, how is the patient? Oh, fine. Fine, thank you. And anxious to get these bandages off. Patience is a virtue. Yes, but blindness is a curse.

[C]

Don't be so morbid, Stephen. You're very lucky.

[A]

Yes, I know I am. It's a warm night, isn't it, Doctor? Yes, a lovely night. Stars and a new moon. They say a new moon's a good omen if you look at it over your left shoulder. Did you know I was superstitious, Doctor? Well, I guess we all are in one way or another. Yes. Oh, would it Be all right if we took a short walk in the garden while Valerie makes some coffee? That is, if you have the time, Doctor. Yes, plenty of time.

[C]

Well, can't I come along?

[A]

Oh, no, this is a stag party. You fix some coffee for us like a good girl, and we'll be back shortly.

[C]

All right.

[A]

Here, we can go out through the terrace. Here, let me take your arm. Thank you, Daffy. What a gorgeous night. Yes, isn't it? See how the moon is? Oh, sorry, old fellow. I forgot for a moment. That's all right. I. I'll be seeing it soon enough, thanks to you. Now you're seeing it for me. Over my left shoulder, I hope. Why, no, it's the right one. That's bad luck. Oh, but you couldn't possibly bring me bad luck, Dr. Wade. Not after giving me back my sight. You'll never know what you've done for me. No, no, you can't possibly know how much it was because you're not in love with Valerie. Valerie is my life, doctor. So young, so beautiful. Without eyes. How can I see her beauty? I'm getting on in mirrors, you know. And then there'd be very little left for me if I couldn't look at Belrin, see the warmth of a smile. I don't expect you to understand that. Nobody can understand it except the one who's in love. Perhaps you're right. It must be very pleasant to see with the eyes of love, even though the eyes are borrowed. Borrowed? What do you mean? Nothing. Nothing, really. That's not the truth, Doctor. Shall we keep borrowing? No, no. I want you to explain what you meant when you said my eyes are borrowed. It had something to do with the operation you performed, did it not? Now, look, I won't be put off. I told you I was superstitious. Give me back my eyes. Who said that? Dr. Wade. Who said what? Give me back my eyes. There. A strange voice. I didn't hear anything. Yes. Yes, I heard a voice saying, give.

[C]

Me back my eyes.

[A]

Give me back my eyes.

[C]

Yes.

[A]

There it is again, doctor. Oh, for the love of heaven, whose voice is it?

[C]

Tell me.

[A]

Tell me. I'm blind.

[C]

I can't see.

[A]

I think perhaps we'd better go in.

[C]

No, no, no.

[A]

I tell you, I heard a voice. But you're tired now. Come.

[C]

But I. All right, I. I can't understand it.

[A]

I swear I heard a strange. There was no voice. At least none that I heard. Here we are. Step up. That's fine.

[C]

That's so soon.

[A]

I think you'd better Go right to bed, Mr. Denton. You're tired and unnerved. Yes. Yes, I will.

[C]

Sophie will be ready in just a few minutes.

[A]

Oh, I. I think I'll retire. Valerie.

[C]

Is something wrong? Stephen?

[A]

He's tired.

[C]

Oh. Oh, here, let me help.

[A]

No, no, don't bother, please. I can find my own way. You stay with Dr. Wahi. Doctor, are you sure we didn't hear? I'm positive. I see. Well, good night. Good night.

[C]

I'll be in shortly, Stephen.

[A]

All right.

[C]

What happened, Paul?

[A]

I'd rather not discuss it.

[C]

Please, you must tell me.

[A]

Well, it's something I've been worried about.

[C]

What do you mean?

[A]

I haven't brought this up before because I was hoping against hope that the thing I feared was not.

[C]

Paul, you don't have to hide anything from me. Is something wrong with Stephen?

[A]

I'm afraid so. I'm afraid the explosion injured his brain as well as his eyes. It isn't going to be easy to take.

[C]

Valerie, what happened?

[A]

In the garden, he said he heard a strange voice say, give me back my eyes. Oh, I shouldn't be telling you this. Valerie, you're trembling.

[C]

Oh, I'm thinking of that Hindu Chandra. You said he was a mystic, a spiritualist. Do you think it's possible that. Oh, no, it couldn't be.

[A]

No, Valerie, I'm afraid Stephen's brain has been affected. And the horrible part of it is that I'm convinced the complete insanity will set in eventually.

[C]

Stephen.

[A]

I heard what you said, Doctor.

[C]

Stephen.

[A]

It's all right, dear. Stephen, darling, come back into the bedroom. Mr. Benton, I want to talk with you. No, Valerie, you stay out here. Or better yet, go and get me some hot water.

[C]

Hot water?

[A]

Yes. I think I'll change these bandages. And I want the water boiled, so watch it for at least six minutes.

[C]

Very well. I'll go to the kitchen now.

[A]

Mr. Denton, shall we go into your room? It's no use, Doctor. Let me guide there. That's fine. I know you're trying to cheer me up, but I tell you it's no use. Dr. Wade, I understand. I'm going mad. I'm sorry you overheard. After all, I could be wrong. Although. Although you know it's true. I may as well be Frank with you, Mr. Denton. Give me back my life. That place. I tell you, Doctor, I keep hearing that voice. Your imagination is working overtime now. I'll get you a sedative. Valerie. Oh. Oh, here you are. I thought you were in the kitchen getting some water for me.

[C]

No, I didn't go. You didn't fool me, asking for hot water.

[A]

Fool you? I'm afraid I don't understand.

[C]

You monster. You horrible monster.

[A]

What are you talking about?

[C]

Get away from that door. Let me go into my husband. Let me tell him.

[A]

Just a moment.

[C]

Put your hand off me. Let me go. I should have known right from the beginning. He said, I trusted you, had faith.

[A]

Valerie.

[C]

Holding me to make my skin crack.

[A]

Valerie, I demand an explanation.

[C]

You'll get it. All the explanation you want. I suspected something wrong when you sent me for hot water. That was just to get rid of me. Get me out of the way for six minutes. But I didn't leave this front room.

[A]

Now, listen.

[C]

I did. Listen. Bedroom door didn't quite latch. I saw what you did. He couldn't see you because his poor eyes are bandaged. He's blind. But I saw your lips move and I heard you say the words, give me back my eyes.

[A]

Valerie, Will you please let me.

[C]

If you don't get your hands off me. You unspeakable monster. Trying to drive Stephen mad. Playing on his superstitions, his fear of the dark, of the unknown. To turn him into a raving maniac.

[A]

Valerie, be quiet.

[C]

Quiet. Frighten. Filthy. Despicable. What was that? He shot himself. He did. Oh, Stephen.

[A]

Valerie.

[C]

Go away. Go away.

[A]

Valerie, it was all for the best. Let me talk to you. Valerie. I can explain everything.

[C]

You murdered him.

[A]

I did it for you, darling. For us. Come into the living room and let me explain.

[C]

You murdered him just as if you'd held that gun to his head and pulled the trigger yourself.

[A]

Please, darling.

[C]

Where he. Leave me alone.

[A]

Mallory, believe me. I did it to free you from a man who didn't deserve you. I did it so that you could know happiness with me. You're young, Mallory. You have years ahead of you. You're entitled to everything in life. You understand? Come into the living room. Well, that's it. We're going to be so happy together that we close the door and shut out the last memory of what has gone before. Now our life is before. Here, sit down.

[C]

My head. Paul, I have a terrible headache.

[A]

I'll get you some aspirin. Where is it?

[C]

In Steven's laboratory. I'll get it.

[A]

Let me help you. There.

[C]

I think it's on the middle shelf. Turn the light on, Paul. The switch is on the right.

[A]

I have it. Let me get the aspirin for you.

[C]

I can find them more easily.

[A]

I've been thinking, Valerie. After this is all over, we are going away on a trip. Perhaps somewhere off in the mountains. Or you've got the wrong bottle, dear. That's not the aspirin.

[C]

No, it's one of Stephen's chemicals. It's acid, Paul. Sulfuric acid.

[A]

Valerie, put it back on the shelf. That stuff will burn.

[C]

No, Paul, no. You cold blooded murderer. You're going to know what Stephen knew before you force him to take his life. You're going to know what it is to walk in darkness. Whatever. Down my eyes.

[A]

There, my friend, is a young lady who takes Lee trimming the old adage, an eye for a knife. Thank you Boris, Carlos and cast for keeping our growing reputation for horror quite intact. And now, ladies and gentlemen, if you'll follow me please. I want you to visit the green room. The players are rehearsing our next performance. Come, come. Do you know about this man Dam? What dam? Lord Damie, of course. He sent his photograph in all the society weeklies. Well, naturally. The fellow's a household word in society. Yes, he's a man of the world with a natural turn to diplomacy. And he's asking me for a 4:30 appointment. Which I granted. You mean that Lord Jim is coming here?

[C]

But it's 4:30 now. Look at the mess.

[A]

Oh yes. Sherlock Holmes and the elementary Dr. Watson, played by Basil Rathbone and Nigel Bruce respectively will appear in our next tale of mystery. This is Peter Laurie closing the doors of the mystery playhouse. Good night. See you tight. This is the armed forces radio service.

[B]

Visit relicradio.com for more from creeps by night, the horror and all of the relic radio shows. And our shoutcast stream with even more old time radio. You'd like to help support this and all of that. Visit Donate relic. Your support makes all of this possible and has since the beginning. Thanks to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with Strange Tales and next Saturday with another episode of the horror.