The Sears Radio Theatre and The Strange Dr. Weird

Summary

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The Relic Radio Show - January 27, 2026

Featuring "Improvisation" (Sears Radio Theatre, 1979) & "Beauty and the Beast" (The Strange Dr. Weird, 1945)

Host: RelicRadio.com
Theme: Showcasing classics of old time radio with a focus on mystery, suspense, drama, and the unexpected.

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Episode Overview

This week’s Relic Radio Show presents two vintage radio gems:

1. Sears Radio Theatre – "Improvisation" (1979): A darkly comic tale of struggling actors concocting an elaborate scheme that blurs performance and reality.
2. The Strange Dr. Weird – "Beauty and the Beast" (1945): A gothic tale of murder, jealousy, and a shocking twist, set on a windswept New England cliff.

Both stories explore the tension between appearances and reality, questioning what is genuine and what is merely performative in both life and death.

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"Improvisation" – Sears Radio Theatre

Host/Intro by Vincent Price

• [01:17]: "Of all professions, none seems more glamorous than show business... But once a part of that special society, glamour and fortune most often seem far away indeed."
• Tone: A witty, meta-mystery about actors desperate for meaning, money, and escape.

Key Discussion Points & Plot

1. The Actor’s Life and Desperation

• Main Characters:

  • Tom Miller: Out-of-work actor, idealist, proud.
  • Anne: Tom’s pregnant wife, practical, overwhelmed.
  • Bill: Tom’s friend and fellow actor, pragmatic, sarcastic.
  • Maggie: Lab technician, nurse, actress, resourceful.

• Opening Scene:
  [01:45–03:00]
  Anne pleads with Tom to find any work for the sake of their future child. Tom refuses to give up acting.

  • Anne: "Working once every six months for union minimum doesn't pay bills."
  • Tom: "I am an actor. I will always be an actor."

2. Improvisation and Descent into a Scheme

• [04:00–08:14]
  Tom and Bill joke—then seriously consider—faking Tom’s death to claim his life insurance after watching Tom's ability to convincingly play dead thanks to yoga.

  • Bill: “What would happen if something happened to you and you found yourself auditioning for St. Peter?”
  • Tom: “Anna would collect $120,000. That's pretty good.”

• Tom demonstrates his ability to slow his body to appear lifeless
  [12:00–14:03]

  • Maggie: "I'm a trained nurse...you'd have sworn Tom was dead."
  • Maggie: "Look at me. I'm still shaking."

3. The Scheme Takes Shape

• [14:10–16:09]
  The friends plot logistics—faking death, procuring a dummy, forging documents.
  • Maggie: “I can get a death certificate and sign Dr. Richards’ name. I do it all the time.”
  • Anne (joking): “You’re all crazy.”

4. Planning: The ‘Heist’ of a Lifetime

• [21:00–23:54]
  Arguments about shares, risks, and morality. They call a mortuary to check burial procedures.

  • Bill: "If we split 120,000, we each get 30,000, which isn't a heck of a lot of money in today's market."
  • Tom: “What if I… materialize two days later looking for a job as an actor?”

• Plot Hole Discovered:
  The group realizes Tom’s reappearance would blow the con, so suggest ‘Bradford Fleming’ as a new identity in New York.

5. Execution: Break-In at the Mortuary

• [28:55–34:00]
  The plan is set into motion: swapping Tom with the dummy at the mortuary. Hiccups abound—security locks, comedic misadventures, and sand leaking from the dummy.

  • Maggie: “I brought a sweater for Tom. He might get cold when he wakes up.”
  • Anne: "How am I supposed to get through there? My stomach’s bigger than the opening."

6. The Courtroom Farce and Collapse of the Plan

• [33:11–38:00]
  They’re caught by an insurance investigator and swept into a surreal, improvised courtroom dialogue—chaotic, farcical, and meta-theatrical.

  • Investigator: “You are all under arrest anyway. On what grounds? You falsely claimed $120,000 for the life of Tom Miller.”
  • Tom (satirizing): “I couldn’t have made an insurance claim because I was dead.”

  The plan unravels but, in a twist, the mortician offers Tom a job as a hearse driver, allowing him to keep acting—with flexibility.

7. Resolution

• [37:51-end]
  • Mortician: “We always have an opening, so to speak, as a hearse driver.”
  • Bill: “You could be dead all over the world.”

Memorable Quotes:

• [14:15] Maggie: “Oh, he was gone. I had no doubts. Look at me. I’m still shaking.”
• [23:59] Tom: “How is Tom Miller, namely me, gonna materialize two days later looking for a job as an actor? The money just isn’t worth it, Bill.”
• [37:36] Mortician: “I hope you’re not allergic to flowers. Only to refrigerators.”

Notable Moments & Timestamps

• [12:00]: Tom’s lifeless yoga demonstration shocks even a trained nurse.
• [23:54–25:18]: Realization of their scheme’s flaw and quick-witted improvisation.
• [33:11–36:19]: The group’s attempt to “act” their way out of legal peril.
• [37:51–38:04]: Tom is offered a job fitting his schedule and skills.

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"Beauty and the Beast" – The Strange Dr. Weird

Host: Dr. Weird (eerie, theatrical narrator in a house by a cemetery)

Plot Summary

A classic gothic-noir tale set on an Atlantic cliff, following Kathy, her much older and controlling husband Jason, and her lover Alan.

1. Setup: Jealousy and Suspicion

• [41:06]
  Kathy, trapped in a loveless marriage, confides in Alan about her controlling husband and her suspicions that he murdered his secretary, George Davis.

2. Murder and Mystery

• [43:10]
  The sheriff investigates two deaths: George Davis (supposedly fallen from the cliff) and Sam Arnold, the chauffeur (stabbed months earlier). Jason is suspected, but evidence is thin.

3. Confrontation and Confession

• [46:22–48:49]
  On the eve of the coroner’s inquest, Jason claims Kathy herself is a murderess, prone to dissociative states where she kills and forgets, covering his own crimes with psychological manipulation.

• Jason: "She's insane... There are times when she loses control... and then she kills."

• Alan and Kathy fight back, but Jason’s allegations plant seeds of doubt.

4. Twist Ending

• [49:04–50:41]
  Alan suddenly remembers that Jason couldn’t have killed Sam Arnold—they were together in Canada. The dreadful realization: Kathy is in fact the murderer, afflicted by mental illness.

  • Kathy: "At times like this I can remember. I killed Sam Arnold with a knife. And I pushed George Davis over the cliff. Would you like to know how I did it, Alan?"
  • Narrator: "She was the murderer. And nobody dreamed of suspecting her because she was so beautiful."

5. Dr. Weird’s Moral

• [51:01–51:27]
  "Beauty is only skin deep. So be careful about walking on clifftops with lovely young women. One of them might be another Kathy..."

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Notable Quotes & Classic Moments

• [41:15] Kathy (on marrying Jason): "After my father died, I was all alone. Jason kept after me... Something in his eyes forced me to say yes."
• [43:19] Sheriff: "Because his body was washed ashore this afternoon 20 miles down the coast... It may be suicide. And it may be murder."
• [48:06] Jason: "She’s insane. A homicidal maniac... When she loses control... she kills, and then she comes to and has no memory of it."
• [50:14] Kathy: "At times like this I can remember... Would you like to know how I did it, Alan?"
• [51:01] Dr. Weird: "You see how handy a pretty face can be sometimes. But there’s an old saying: Beauty is only skin deep..."

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Summary Table of Important Segments

| Timestamp | Segment | Content Highlight | | -------------- | -------------------------------------------------------------- | ------------------------------------------------------ | | 01:17 | Sears Radio Theatre intro (Vincent Price) | Glamour vs. reality of showbiz | | 04:00–14:03 | Tom and friends conceive & rehearse insurance scam | Yoga "death", improvisation, planning | | 21:00–23:54 | Scrutiny of the plan; Mortuary/insurance logistics | Practical/comedic dialogue | | 33:11–36:19 | Break-in and courtroom farce | Caper unravels, pointed satire | | 37:36–38:04 | Resolution: Tom’s new “actor-appropriate” gig | Hearse driver job offered | | 41:06–43:10 | Dr. Weird: "Beauty and the Beast" setup | Kathy’s fear, suspicions, Alan’s love | | 46:22–48:49 | Confrontation: crime accusations, psychological drama | Jason’s claim: Kathy’s dissociative murder cycles | | 49:04–50:41 | Final twist: Kathy confesses to murders, falls from the cliff | Unpredictable ending | | 51:01–51:27 | Dr. Weird’s closing moral | "Beauty is only skin deep..." |

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Overall Tone

• "Improvisation": Dark comedy, satirical, full of theatrical in-jokes and existential weariness found in show business.
• "Beauty and the Beast": Atmospheric, suspenseful, with a classic gothic twist and a pervasive sense of dread.

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For New Listeners

This episode showcases the range and subtlety of mid-20th-century radio drama—from the sly, self-referential humor of actors desperate for a break to the haunting psychology of classic American suspense. Perfect for anyone intrigued by the blurred lines between reality and fiction—or those who just love a good twist in the dark.

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Transcript

[A]

This is the relic radio show, Old time radio entertainment still standing the test of time from relicradio.com. welcome back to the relic radio show. Thanks for joining me this Tuesday. We're going to begin with the Sears radio theater this week and hear their story from April 4, 1979, titled Improvisation. After that, the Strange Doctor weird and Beauty and the Beast. His story from January 16, 1945. That's the theme from the sears radio theater. Tonight, a program of mystery with Vincent price as your host. Here's a preview.

[B]

What wonderful things I see happening.

[A]

You're smiling. Well, yes.

[B]

Always loved money. Washington, Jefferson, Hamilton. They look so great in green. The only thing is, I don't know.

[A]

How long I can keep myself looking like a corp. You'll have plenty of time to practice. The Sears radio theater will begin after this message from your local station. This is Vincent Price. Of all professions, none seems more glamorous than show business. The appeal of being able to express innermost feelings and fantasies with audience approval is so strong that the call to be an actor or an actress has never been greater. But once a part of that special society, glamour and fortune most often seem far away indeed. And the actor is faced with the everyday realities of life. Every time we have the least disagreement, the same thing comes up.

[B]

It's not the least disagreement. It's the only disagreement I wish you'd get off your head. It's very difficult talking to you when you're upside down.

[A]

Yoga clears the brain. You might try it sometime.

[B]

Oh, Tom, don't you go out on me now. I'm not getting furious here just so you can go to sleep on me. And I wish you'd get off your head so we don't have to talk to each other upside down.

[A]

I am an actor. I will always be an actor.

[B]

I don't want to shake you up, but time does go by. And you should be told that working once every six months for union minimum doesn't pay bills. Also, it's obvious I won't be able to keep my job much longer. In another month, I'll be out to here.

[A]

Listen, by the time the baby's born, we won't have to worry about money. Something good's gonna happen. I can feel it.

[B]

You'll be a father in three months. Maybe that's what you're feeling. Why can't you get a job until I can help out again?

[A]

Don't you think I'm trying? I'm not exactly sitting around waiting for the phone to ring.

[B]

No, you're standing on your head, waiting for the phone to ring. I'm asking you to forget acting until the baby's born. Go out and get a job, any job.

[A]

I will not be made to feel guilty. You will not shame me into menial employment. Now, it may seem strange for most of us to hear a man discuss some of his most intimate problems while standing on his head. In this case, you will soon learn that a man who engages in arguments while standing on his head may quite easily become unbalanced. An upside down mind thinks of odd solutions, deadly, dangerous solutions. And that's just the beginning of our. Sears Radio Theater. A new adventure in radio listening. Five nights of exceptional entertainment every week. Brought to you in Elliot Lewis production of the Sears Radio Theater. Our story Improvisation by Shepard Mencken. Our stars, Shepard Mencken, William Shallard, Janet Waldo and Mary Jane Cross. The Sears Radio Theater is brought to you by Sears, Roebuck Company. Sears. Where America shops for value. A man whose profession is expressing feelings, observing people, creating high moments in strange circumstances, in lives that spring quite often from his own imagination. This is the skill of actor Tom Miller. A man using his body and mind in carefree searching each day practicing the art of make. The A man whose services, for the present at least, nobody wants. I don't know what to do, Bill. I never figured she'd ask me to get a job just because she's going to have a baby. Sounds like she's become totally irrational. But I warned you when you asked me to be best man at your wedding. No, don't tell me. I don't want to hear anything you have. Look, Tom, we're both actors. We're both sitting around an empty rehearsal hall. We're both unemployed. And we both know about women outside of show business. If I give up now, even for a little while, do you know what I'd lose? Your psychic freedom. Your art, Your self respect. Three years of trying. When the agent calls, I won't be home. If the phone rings, I can't answer it and I won't be able to call back. What do people think an actor who doesn't pick up a ringing phone has got to be dead. Bill. What am I gonna do with Anne, Killer? Oh, that's no good. I'd miss her. Probably not a good idea then. If you got caught, they wouldn't give you a phone in jail either. If I can't get a phone, I ain't going to jail. Hey, maybe we can find answers in an improvisation. I'll be the warden. I don't see that you have much choice, Tom. I can't give you a phone and a leave of absence. Well, that's out of the question.

[B]

You're honest.

[A]

Word. And if you let me out just this once, I might get the part and be a big star. I'm sorry, son, but you killed your wife and unborn child. You gotta pay the price. No more auditions. Oh, you don't know what you're saying, Warden. My agent will drop me. I'll lose my Screen Actors Guild card. Other actors won't accept. You should have thought of that when you brutally murdered that poor girl. What do you mean, brutally murdered? She hardly felt a thing. That's irrelevant, son. I injected her with truth serum. I don't want to hear the details. But it wasn't the truth serum that killed her. Please, son, spare yourself this agony. No, no. She had to tell the truth. That's what killed her. It was the truth that killed her. How horrible. Did you know her mother was a tuna fisherman? A tuna fisherman? What am I gonna do? You could leave her. What can she do to you? Leave her? Don't be ridiculous. Things are bad enough between us. I've got it. Move to England. Anybody in England loves actors. And they got a heck of a welfare system. Let's go back to murder. What if I murder you? No sense of humor. Okay, what do we got here? You will only be an actor and you need big money right away. You've tried legitimate ways, but not. You should. Excuse me. Illegitimate. The hell are you talking about? I got an idea. About three months ago, you said you couldn't make payments on a life insurance policy you had. What if you borrowed the money and got yourself reinstated? Where am I gonna borrow money? Never mind that now. Remember that little shtick you did that nearly scared the pants off me a couple of days ago? There was no shtick. I do these things. Well, what would happen, let's say, if something happened to you and you found yourself auditioning for St. Peter? Well, Anna would collect $120,000. That's pretty good. As a matter of fact, it's very good indeed. I think maybe as soon as we can make all the arrangements, you're gonna.

[C]

Hi.

[B]

Anything about to explode in this fancy lab? I am. Go on in. Just watch the test tubes there. You okay? Yeah. Had another round with Tom again this morning. You gonna see him today? Yeah, I'm meeting him at the studio in about an hour. How do you do it, Maggie? How do I work? How can you act and still do your work in the lab? You do commercials, you make auditions. I saw you on the Charlie Edwards show last week. Why couldn't Tom find something to do on the side? Because, my dear, your Tom has a one track brain. A career in the theater isn't just an ego trip with him. And I really think it is with me. Anyway, how can a person speak for anybody but himself? I was a science major in school, so being a lab technician just came naturally. Not only that, I have Dr. Richards on my side. He lets me get away with murder. I can leave here anytime I want. Just as long as I get all the tests finished for tomorrow. Been a registered nurse for three years. That's what I started out to be, you know. So how can you make comparisons between Tom and me? Whatever made you want to become an actress? Oh, I don't know. There's something crazy in all of us, I guess. You know, I never told this to another living soul, but my existence is so dull. Sometimes I think I'm going to go crazy with boredom. I'd do anything to put a little excitement in my life. Then all the boys kept telling me how gorgeous I am. Must have gone to my head. Anyway, I saw the rest of my life as a companion to some old man in a wheelchair. And I simply made up my mind to try to wiggle free. There must be something Tom can do besides act. Oh, I'm sure there is. But even working part time, no employer is willing to let you get up and walk away whenever your first love calls. I don't know what to do, Maggie. We're so in debt. I'm afraid we're gonna lose our apartment. And we don't have a place to live when the baby.

[A]

No, that's not gonna happen.

[B]

Anne, I've known Tom longer than you and I know he will not let that happen. I keep thinking and thinking of how we can get some money. Anything. I swear, if I thought I could get away with robbing a bank, I'd do it. You might just get away with it. Who'd believe a lonely child in her six months would pull a heist? I thought I'd take that cloth shopping bag I have. You know, the one that says save a tree on it, Walk up to the teller's cage and tell him to fill it with tens and fifties. What's the matter with hundreds? I had no experience with hundred dollar bills. I'd look guilty and someone had called a cop. You're wacky, you know that? Then all I'd have to do is walk slowly and quietly out of the bank, get on a bus and go home. One of the best deals I ever heard. I don't know how you can lose. You like it, huh? Like it? I'll finance it. How much is bus fare? Don't be so free with your money. If I get caught, you'll lose your investment.

[A]

Oh, listen.

[B]

Come on. Things are going to work out. I promise you. Maybe something good will happen. With Tom? I kind of doubt it after all this time. But as far as I'm concerned, there's nothing I won't do. Hi, guys. Am I interrupting?

[A]

Come on in, Maggie.

[B]

What's going on?

[A]

We're planning an improvisation in survival.

[B]

Any parts for women?

[A]

We were just talking about you. It looks like you're the perfect type.

[B]

Well, I'm a survivor.

[A]

What's the plot? We're gonna stage a funeral.

[B]

Sounds good. What do I play? The grieving widow.

[A]

You play yourself.

[B]

Great. Maybe I'll find out who I really am.

[A]

Tom's gonna be the corpse.

[B]

Typecasting?

[A]

I don't think that's very funny. Okay, Tom, do it.

[B]

I was just kidding about the typecasting.

[A]

He'll be sorry when he's dead. Now just watch. He's doing it.

[B]

Listen, I only got a couple of hours. I didn't come up here to watch Tom do his yoga exercise.

[A]

Did he spill?

[B]

For a minute.

[A]

Okay, take his pulse.

[C]

What?

[A]

I said, take his pulse.

[B]

Wait a minute. I can't find it.

[A]

Keep trying, huh?

[B]

I can't find his pulse. He had no pulse.

[A]

Put your hand on his forehead. He's cold.

[B]

Hey, come on now. What's going on here? Nobody can do that.

[A]

Well, you're looking at it.

[B]

I don't believe this. He's dead. I don't know how he's doing it, but this man's dead.

[A]

Bill and Maggie stand frozen, watching Tom as he lies motionless on an old daybed. In a corner of the almost bare rehearsal. What they are witnessing far surpasses anything that might be labeled mere talent. Through concentration and absolute muscular relaxation, Tom has caused himself to appear lifeless. The two stare in astonishment. A small sideward twitch of the mouth breaks the statue stillness. Tom's frozen face an eyeless flicker. A moving finger brings attention to his right hand. Suddenly, as if attached by strings, both eyes open at once and stare vacantly at the ceiling.

[B]

Oh, he's all right.

[A]

He's gonna be all right.

[B]

It's incredible. I've never seen anything like it.

[A]

Hi there. What time's it getting to be? 2:30. You were out about 10 minutes. Very refreshing.

[B]

Refreshing? You were dead.

[A]

Well, that's not a very nice thing to say about a person. Maggie. I want an absolutely. Hon, honest answer. You're a trained nurse. You felt and listened for his heartbeat. You saw his color. Would you have sworn Tom was dead?

[B]

Oh, he was gone. I had no doubts. Look at me. I'm still shaking.

[A]

Okay, I want you to listen to me carefully because I've never been more serious in my life. We have an opportunity right now we'll never see again. How would you like to do a little scene in real life, an improvisation, and take a one third cut of $120,000? $40,000 for each of us for just a few hours.

[B]

Seems like a fair wage. How about residuals?

[A]

Look, Tom almost let a life insurance policy lapse three months ago. Because he couldn't make the payments. We scraped together the money, so it's still in effect. He's worth 120,000 big bucks dead.

[B]

My goodness, what wonderful things I see happening.

[A]

You're smiling.

[B]

Well, yes. Always loved money. Washington, Jefferson, Hamilton. They look so great in green.

[A]

The only thing is, I don't know how long I can keep myself looking like a corp, you know, Plenty of time to practice. But there's some obvious problems we're going to have to solve. Yeah, like me getting embalmed. Uh oh. I'll take care of it. I tell you, nobody's going to touch you. All you got to do is stay in your trance until we come and get you. What about Anne? How's she going to find out?

[B]

Why don't you let me talk to Ann? I think she'll probably be able to handle this better than any of us. Now wait.

[A]

Will you wait just a darn minute? What? I just thought of something. What? What if somebody makes a mistake and they decide to cremate me? That can't happen. Beside be enough time. The way I've got it figured, we can do the whole stunt in less than eight hours. You sure? Absolutely. You can bet your life on it.

[B]

Tommy.

[A]

Maggie.

[B]

Wow. What a surprise. What are you doing here this time of day? Come on in. How do you feel? I feel fine. Don't tell me you came over just to ask me how I feel. What's up? I haven't been so excited about anything since I got caught in the turnstile with Robert Redford. Oh, tell me, tell me. Well, you know Bill. He's got an imagination like Edgar Allan Poe. What started it off was that your Tom and Bill were doing an improvisation. They play a situation where Bill was a doctor who had to tell Tom? Who was the patient? He had a terminal disease. Bill has to tell Tom he's gonna die, right? So they go through the scene and finally, after a lot of philosophy about how we all have to go sometime and so on, Bill blurts out, you haven't got long, Tom. Now, according to Bill, Tom turned white, looked funny for a second, took a couple of deep breaths and said, holding his heart. Don't feel very well, Doctor. Bill said, just lie down on the bed For a moment, Mr. Miller, can I get you some water? Tom didn't answer and closed his eyes. Well, to make a long story short, your crazy husband has been practicing his yoga exercises so long he can actually look as though he's dead. So what else is new? You mean? No, he can do things like that. Every time we have an argument, every time he doesn't get the part. Whenever anything happens that isn't the greatest, he just goes into his yoga thing and disappears from the world. Well, my dear Bill has come up with a little true to life play wherein Tom pays the premium on his life insurance policy, drops dead shortly thereafter, and is buried very quickly so his poor pregnant wife won't have to undergo unnecessary grief. You're crazy. You're all crazy. First of all, what if he get caught? You'll all go to genial. And second, how do I get visiting rights to a guy who's six feet under? I can't even dig up a begonia. We're gonna get a dummy from the studio prop department and substitute it for Tom. I can't believe you guys. Do you think you can actually get away with this? Well, it's worth a try, isn't it? $120,000. We could sure use the money. Of course you can. That's why Bill came up with the plan in the first place. I can get a death certificate and sign Dr. Richard's name. I do it all the time. As a matter of fact, I do all the purchasing at the lab. And he expects me to sign the checks. You're awful, Maggie. You really are. Come on, play with us, Annie. It'll be so much fun. Well, I don't know.

[A]

Look, I don't want anything to go wrong anymore more than you do. I'm not convinced it's me that's going to get buried. I. What I? It's I who am going to get buried. Oh, what the hell's the difference? How can you correct my grammar at a time like this? There's always time for good grammar, Tom. I suspect your Problem is that you have a fear of depth. How do you know I won't suffocate in that box? They don't put you in a box. Well, how do you know? My Uncle Max was a mortician. Well, I'm scared. Okay, I'll tell you what we can do. Let's go to where there are two phones with the same number and you listen in while I call a mortuary somewhere in. And let's say Palm Springs. Why Palm Springs? Because it's closer than Miami beach and almost as many people die there anyway. Let's play it safe and not ask any stupid questions. Locally, Morticians talk, you know. What are you gonna ask? I'm gonna relieve your mind so you won't be nervous and can die in peace.

[B]

I don't think it's fair, that's all. But the idea is they're all that's worth.

[A]

Almost everything.

[B]

That's not the point. All right, I might just as well come right out with it. I know all about you and Bill. What about Bill and me? I know you've been dating at least. And what does that mean, at least? It means that if you two decide to get legal, you come out with 80,000 and Tom, who's taking all the risk, only gets 40. Now, wait a minute. I resent your implication that Bill and I are lovers. I don't care if you resent what I said. The fact is that at the end of your rainbow, there are two pots of gold. And another thing. Whose insurance policy is it anyway? Yeah, okay, all right, I see your point. I'll talk to the boys about it.

[A]

It's outrageous. I can't believe believe she'd be that way. Well, she's got a point. After all, it is my insurance policy.

[B]

She won't go along with us unless we change the percentages. And my tendency is to agree she's not a professional. But she is taking part in this, and she ought to get paid.

[A]

All right, all right. We'll all have equal shares. But let me get everybody's word on this. Nobody does anything stupid like go out and blow their whole share at once. Oh, what do you take us for? It could happen. To begin with, if we split 120,000, we each get 30,000, which isn't a heck of a lot of money in today's market.

[B]

What market do you go to?

[A]

Well, it isn't. I mean. Well, you're not exactly gonna retire on 30 grand. No, but Ann can have her baby in a private room, right? And that's Fine, but don't go blowing the rest of it on a new Mercedes.

[B]

Oh, come on, Bill, give us credit for a little more intelligence than that.

[A]

Take the money, put it in the bank and forget you've got it.

[B]

What a life.

[A]

I got a wild idea.

[B]

Tell, tell.

[A]

If this cable works out for us, we could all go up to Canada and do the same bit all over again. Think of it, we could play the provinces. Yeah, you could be dead all over the world. Okay, it's ringing. You can pick up the other phone now. Can you hear okay? Yeah, fine, fine. Put your hand over it. I can hear you breathing. Price Mortuary. Hello, is this Price Mortuary? Yes, it is. To whom am I speaking? My name is Dobbs, sir. Alvin Dobbs. Fine, Mr. Dobbs, my name is Fleming, Bradford Fleming. I'm a writer, great name. And I'm doing research on a book. I wonder if you could help me for a moment. Oh, yes, good, good. I know it's not usual, but could a person request that you do not embalm a loved one? Providing, of course, the loved one was dece. What you're asking is if we can conduct our services without embalming. And what happens if the corpse wakes up and tries to run away? No embalming, right? Yes, that's possible. What do you mean it's possible? Well, after 36 hours the law requires that we embalm the remains. Aha, but if a man dies and is buried the next day, you don't have to touch him, right? If the family requests that. Yes, we request it. Honest, we request it. Now, if it's request, can the body be placed in a coffin immediately? Oh, no. I believe you'll find most mortuaries will place the loved one in a waiting room. What if nobody likes the loved one?

[B]

Will you shut up?

[A]

In a case of imminent burial, he would be placed in a casket just prior to interment. Well, thank you very much, Mr. Dobbs, you've been most helpful. Oh, it was my pleasure, I assure you. Thanks for em, Mr. Dobbs. Bye bye. Hang up, will you? Well, that answer all your questions? No. What now?

[B]

What?

[A]

It just occurred to me that if I go through with this cockamamie scheme.

[B]

Of yours, if I die, get buried, collect insurance.

[A]

How is Tom Miller, namely me, gonna materialize two days later looking for a job as an actor? When you tell me that you never thought of that, did you? The money just isn't worth it, Bill. I'll find another way out of the mess. And as far as playing dead, well, you can Just forget it. I'm out. Well, folks, folks, folks. Perhaps you've wondered why I've asked you all here. Well, it seems our friend Tom has a problem. And after great deliberation on my part, I have come to the conclusion that he is indeed faced with a dilemma.

[B]

Cut the baloney, Bill. I'm a little edgy myself. Now, how is Tom suddenly going to come to life and not be noticed? Now, if all of us overlook such an obvious mistake, what else are we missing?

[A]

Let's be solution oriented, dear. Tom and Anne will move to New York. What?

[B]

I like it.

[A]

You can get experience in New York and you won't be starving while you're doing it. You'll change your name. Bradford Fleming. Yeah, the great name. In two or three years, you'll be a star on Broadway. New York will put lines in your face you never thought were there. You'll have character. You'll no longer be a locks. And you return to Hollywood and name your own price in films.

[C]

Wow.

[A]

I'll bet I could do it. And best of all, no one will know who you are, Tom. You're only a shadow of your future, Sel. I know it.

[B]

I feel it.

[A]

It's settled then. Maggie, my love, will you rip off a death certificate from Dr. Richards, your trusting employer, and sign it with a reasonable facsimile of his name? I will shortly thereafter assume the identity of dear Dr. Richards, bearing legal document and corpse to the mortuary of our choice. Children, I do believe we have begun our charade. This has been comprised with a concluding act of improvisation. Take his pulse, mate. Maggie, it's getting very slow and weak.

[B]

I can hardly feel it.

[A]

Okay, I'll make the call. Well, they're all down the mortuary. Yeah, this is Dr. Hamilton Richards. I'm at 9463 Carrington Avenue. It's a rehearsal hall, room two. Patients suffered a massive coronary occlusion. I wonder if you could make a pickup here as soon as possible. Of course, Doctor. I have the address as 9463 Carrington, Room 2. Yes, I have that. We'll send someone over right away. Now, I'll bring the death certificate over this afternoon myself. Man was a close personal friend of mine. Oh, I'm sorry, Doctor. Yeah, I'd like to make the final arrangements at that time, if I may. Incidentally, to whom am I speaking? This is Oliver Witherall. Oh, yeah, Mr. Witherall. I'd like to assure myself one thing. Yes? There are extenuating circumstances here. The deceased was a Close friend, as I said. And it was his wish that I assume the position of executor of a very meager estate. I know my friend's widow hadn't learned of this yet and I'd like to keep it from her until the very last moment. She's carrying the child of the deceased and her pregnancy has been a very difficult one. I quite understand. Well, I'd like internment to take place as soon as possible. I think it'd be best for everyone. When would you like to schedule the services, Dr. Richards? Ah. Well, would it be possible to make all your arrangements for nine o' clock tomorrow morning? See, I'll take care of the casket and the finances later this afternoon. Certainly, Doctor. See you later, Lamb. I'll get two of my men over there right away. All right? Fine, fine. Goodbye, sir. Mr. Witherhof, just one more thing. Yes? Almost forgot. No embalming. Absolutely no embalming or chemicals of any kind. I'm glad you mentioned that, Doctor. We generally do embalm the remains, but since burial will be taking place first thing tomorrow and since your request is not to. Well, of course we won't. Let me write that down, so I won't forget. Do not embalm remains. Okay. Now, look, I thought it would be good if the three of us met at this bar. We can't do anything until it gets dark, but I figured since we're right across the street from the mortuary, you'd feel better at.

[B]

Thanks, Bill.

[A]

We all like to be close to our loved ones.

[B]

Bill, Will you stop that?

[A]

May I bring you something? Yeah, I'd like a vodka and tonic, please.

[B]

Make mine Scotch, straight up. Me too. Make that, too.

[A]

Thank you. Right. Is the dummy okay?

[B]

We had to put sand in the arms, feet to make it weigh enough.

[A]

The tools are in my trunk. That's all we need.

[B]

I brought a sweater for Tom. He might be cold when he wakes up. That's sweet, Anne.

[A]

Here he drinks, you know. 6:15. Here you are. Cheap change. Oh, thank you. Okay. Now, in just one hour and five minutes, we'll break in the side door. There's no burglar alarm or anything. Who'd want to rip off a mortuary?

[B]

Unless you're a formaldehyde freak. You people are sick.

[A]

Once inside, we find the right coffin, wake up Tom, substitute the dummy and we're home free.

[B]

When do I call the insurance company?

[A]

All taken care of. Dr. Richards called and told them to expedite the claim since he was a personal friend of the family and the poor pregnant Widow was without help or funds of any kind.

[B]

What did it say?

[A]

What could he say? My performance was flawless.

[B]

Oh, my Lord.

[A]

He said he'd get things moving as quickly as possible.

[B]

What's so funny?

[A]

I wonder if Tom's gonna want to go to his own funeral. That's all.

[B]

You sure had this job beautifully planned.

[A]

How was I to know they put a security lock on the door?

[B]

We're tiny, but it's almost midnight. What would happen if we just broke one of the little glasses on the back window? Then you could put your hand in and unlock it. Good idea.

[A]

Let's try it. Maggie, you go around back to where we parked the car. When I give you the signal, blow the horn for about two seconds. It'll cover the noise of the window breaking so no one will hear it.

[B]

Gotcha.

[A]

Okay. Right there. Give me the hammer.

[C]

And.

[B]

Here.

[A]

Now, Come on. Come on. Don't forget the dummy.

[B]

How am I supposed to get through there? My stomach's bigger than the opening.

[A]

Come on.

[B]

Hey, I'll give you a boost. I think I'm stuck. Well, just roll with it. Okay, I'm in.

[A]

All right. Now, I'll boost you up, Maggie, and then I'll pass up the dummy.

[B]

Okay, give me the dummy. Dummy.

[A]

You've spoken to me with great endearment lately. Why don't you marry me and give me a chance to fight back?

[B]

Is this a proposal?

[A]

What better time?

[B]

Oh, the arm broke on the dummy. We're beginning to leak sand.

[A]

Try not to let that happen.

[B]

I feel like I'm baking a cake and spilled the sugar.

[A]

Let me get this flashlight working here.

[B]

I may faint.

[A]

Coffins. Nothing but coffins. Here's a pretty one. Satin frills.

[B]

They're all open.

[A]

Yeah. I wonder where they keep the stiffs. I mean. Tom.

[B]

Tom. Tom, It's Anne. No good. Anne. If he's still in his trance, he won't hear you.

[A]

Where are you people going in here? Why, nothing, sir. Dr. Richard. Yeah. You see, Mrs. Miller here learned about the death of her husband after you locked up for the night. Yes. When? When? When she heard about the morning arrangements for burial, she insisted on seeing the body tonight. What's that thing you're carrying? Well, actually, that's a dummy. See? He's leaking sand. His arm broke open. Nasty cut there. You're a liar. No, no. Actually, it is a dummy. Say, wait a minute. Who are you, anyway? I'm an investigator for the Borderline Insurance Company. That's who I. I am. This is Mr. Shankley, Dr. Richards. Dr. Indeed. Is this the man who signed the death certificate? Yes, it is. I want to see the body. Where is the body? We always chill the remains before internment. It's in the refrigerator. Of course.

[B]

In the refrigerator.

[A]

Quick. Somebody get some water or something. Mrs. Miller's fainted. I got another blanket. I'm freezing. You're lucky you're still alive, young man. You are all under arrest anyway. On what grounds, sir, if I may ask? You make this arrest on the grounds that you falsely made a claim on our company for $120,000. For the life of one Tom Miller, I'm innocent. I couldn't have made an insurance claim because I was dead. You see? There you go again. Well, now, if the man says he was dead, he was dead. He ought to know. I feel terrible. Excellent. This court now recognizes the corpus delicti.

[B]

And there we have the heart of the matter. Your honor, there is nobody. This man never had much of a body. But what there is is a lie.

[A]

I resent that.

[B]

So do I.

[A]

Your resentment is overruled, my dear sir.

[B]

Do you have anything in writing that says a claim was made against your company for the sum in question? I don't need anything.

[A]

You falsified the name of a Dr. Richards on a death certificate. Which you must have gotten by illegal means. Hey, where's that hammer?

[B]

We broke in with hearings, your honor.

[A]

You are in contempt, sir.

[B]

How dare you accuse the judge of forgery. I think you people are insane. Silence.

[A]

As a doctor and judge, I think I know more about insanity than you.

[B]

Your honor, this dummy is falling apart. There's sand all over the floor.

[A]

That's all right, counselor.

[B]

We'll get it all cleaned up.

[A]

Thank you, babe. I think it's just wonderful how you people can just act at a moment's notice. Yeah, I thought I might be an actor once. But there's so much to do. Life is so short. Isn't there that trick of yours, young man. Amazing. We nearly buried you.

[B]

No person, living or dead, would ever have been buried. Your honor, it was the defendant's wish that a lovely ceremony be conducted over this dummy here.

[A]

I don't see a dummy, counselor. What you're holding there appears to be an old rag.

[B]

And that's another thing, your honor. There isn't even a dummy delicti.

[A]

This is madness. Witherow, if you don't mind, I would like that death certificate.

[B]

May I approach the bench, your honor?

[A]

Certainly, Counselor.

[B]

Mr. Witherl, you almost buried a living man.

[A]

That would be terrible publicity for Wither.

[B]

All down's mortuary.

[A]

Yes, it would indeed. See, the thing people fear most is being buried alive. You should have known Tom over there wasn't dead. Well, how was I? You said he was dead.

[B]

But I'm not a doctor.

[A]

I have trouble separating black beetles from raisins. What's going on over there? What's all that talking? I want that death certificate, Mr. Witherow. Well, actually I. It'll be in all the papers. Mr. Witherow, I don't believe there was a death certificate. Mr. Shakley. I think you're mistaken about this whole affair. I see what you people are trying to do. Well, you'll never get away with it. You're out of order there, Shakely.

[B]

Your honor, the plaintiff has no doctor, nothing in writing, no corpus delicti, no nothing. It's his word against ours. I mean the defendant.

[A]

That's right, Shakely. Sounds like you're trying to cover up in an open shut case. I see your point, young woman. And yours too, your honor. Just call me Bill. Now you've got me doing it. What am I doing here? I must be going crazy like the rest of you. Just let me get out of here. Bailiff, would you open the door for the plaintiff? Yes. You're honoring. I thought he'd never leave. Hey, counselor.

[B]

Yes, your honor?

[A]

While I'm a judge, you want to get married?

[B]

Sure, but I gotta change my overalls. So you see, Mr. Witherall, the whole thing happened because Tom here couldn't get a part time job that had allowed him to be an actor too.

[A]

Well, I have an idea, if you have no objection. You see, I have always fancied myself an actor in a drama of life. That is so. I feel sympathetic with your cause.

[B]

What's your point, Mr. Witheroff?

[A]

Well, Mr. Miller here has no objection. We always have an opening, so to speak, as a hearse driver.

[B]

Fantastic.

[A]

I hope you're not allergic to flowers. Only to refrigerators. You could drive whenever the need arises. And if occasionally you are absent, well, I could arrange for someone else to fill in, so to speak. Dynamite.

[B]

You mean we're not going to New York? You wouldn't have liked New York anyway.

[A]

Tom can make more money here driving a hearse.

[B]

And I'd miss you, Anne. You're the only one of us who isn't insane. Besides, Bill and I will probably get married. And I won't have anyone to talk to.

[A]

Be of good cheer, my friends. It was an exercise well executed, so to speak. Which we will never again repair. Feet. Everyone performed his part well, so let us all bow our heads in gratitude to our dear departed dummy who poured his life sand on the family room floor so that it may serve as a reminder to others of what we have here endured. Let us pray. The Sears Radio Theater has been brought to you by Sears, Roebuck and Company, where our policy is satisfaction guaranteed or your money back. Sears. Where America shops for value. Improvisation was written by Shepard Mencken, produced and directed by Fletcher Marshall. Your host was Vincent Price. Our stars were Shepard Menken, William Charlotte, Janet Waldo and Mary Jane Cross. Also heard were Dawes Butler, Harley Bear and Don Diamond. The music for Sears Radio Theater was composed and conducted by Nelson Riddle. Art Gilmore speaking. The Elliot Lewis production of Sears Radio Theater is a presentation of CBS.

[C]

The strange doctor weird. Good evening.

[D]

Come in, won't you? Well, what's the matter? You seem a bit nervous. Perhaps the cemetery outside this house has upset you. But there are things far worse than cemeteries. For instance, the feeling of being cut off from the world by an insanely jealous man is in the story I want to tell you tonight. The story I call Beauty and the Beast. My story begins in New England, on a lonely, desolate cliff overlooking the Atlantic Ocean. Near the edge of the cliff, which towers 200ft above the rocks below, a young man stands, a mere shadow in the darkness of the night. Time and time again, he impatiently turns to look at the huge, foreboding old manor house which is perched near the cliff's edge. Suddenly, out of the darkness, a beautiful girl appears and runs to his outstretched arms.

[C]

Kathy, darling, why are you so late?

[E]

I couldn't slip out of the house any sooner, Alan. Jason was watching my every move.

[C]

Oh, Kathy, he's twice your age.

[E]

I know.

[C]

The ugliest man I've ever known. Whatever made you marry him?

[E]

I don't know. After my father died, I was all alone. Jason kept after me to marry him. Something in his eyes forced me to say yes.

[A]

Yes.

[E]

I was afraid to refuse.

[C]

Well, you're not going on living with him. I'm going to take you away.

[E]

Oh, Alan, you don't know what you're saying. I can't leave.

[C]

Why not?

[E]

If I were to run away, Jason would follow you and kill you. He'd kill you the way he killed.

[C]

The way he killed whom?

[E]

You remember George Davis, don't you?

[C]

Of course. He was Jason's secretary.

[E]

Well, one evening two weeks ago, Jason found me talking to George in the library. A thing he'd forbidden me to go do. The next morning, Jason told me he discharged George and that he'd already left. But then I discovered that all of George's clothes were still in his room.

[C]

His clothes were in his room? Yes.

[E]

Surely if he'd been discharged, he'd have taken them with him.

[C]

Then you think that?

[E]

I'm sure of it. He must have killed George that very night. He'll kill anyone. He thinks he's trying to take me away from him. Oh, darling, I couldn't stand to have anything happen to you.

[C]

Darling, nothing's going to happen to me, nor to you. I'm taking you away from here. What time can you meet me here tomorrow night?

[E]

I think I can manage to slip away around 9 o'. Clock.

[C]

All right, darling. 9 o' clock it is. Now. You better return to the house before Jason misses you. Katherine.

[E]

Jason.

[C]

Where were you, Katherine?

[E]

I was just out getting some fresh air.

[C]

You're lying. You slipped out to meet someone.

[E]

No, Jason, really. Oh, my arm. You're hurting me.

[A]

Who was it?

[C]

Alan. What is Alan?

[A]

Tell me, or.

[C]

I beg pardon, sir, but Sheriff Rogers is here to see you. Very well, Charles. Show him in. I'll do all the talking.

[A]

Catherine.

[C]

Good evening, Mr. Winthrop. Ms. Winthrop. Sorry to intrude, but I must. What can I do for you, Sheriff? Understand you have a secretary, George Davis.

[A]

I did.

[C]

I discharged him two weeks ago. Why are you so interested, Sheriff? Because his body was washed ashore this afternoon 20 miles down the coast. Well, there were deep gashes on the body as though it had fallen from a great height onto the rocks and the sea. It may be suicide. And it may be murder. You say it may be murder? Yeah. Surely you don't suspect I had anything.

[A]

To do with it, do you?

[C]

I don't know. There've been some mighty strange things happening around here. Four months ago, Sam Arnold, your chauffeur, was murdered and now Sam Arnold.

[E]

Murdered?

[C]

You seem surprised, Ms. Winthrop. Don't you know he was murdered? I'm afraid she doesn't, Sheriff. She's been ill for quite some time, so I kept the news from her. Then she doesn't know that Arnold was stabbed to death less than 100 yards from this house? No.

[E]

No. I thought he'd been discharged.

[B]

Who?

[E]

Who did it?

[C]

Well, we haven't found Sam's murder yet, Ms. Winthrop. Now we have another mystery on our hands. The death of George Davis. Mr. Winthrop, I want you and your wife to be at the coroner's inquest in the village day after tomorrow. Quite a few questions we want to ask you about the deaths of both Sam Arnold and George Davis. There's a lot More going on around here than meets the eye, Doctor. Weird story will continue in a little while.

[A]

And now I'd like young men before.

[D]

You go on, remember where you are. You know what happens on this program to people who aren't careful what they say.

[C]

Oh, I'll be careful. I'm always careful, careful with my facts whenever I talk about atom hats. You see, atom hats are so downright good looking. I have to be careful about my enthusiasm. And the makers of atom hats are careful too careful to see that every atom is well made.

[E]

Made.

[C]

Look at Emmy Adam and you can see for yourself the quality workmanship that goes into the designing of Adam's smart styling, perfect fit and correct details. Care, too is taken in the choice of material and color. That's why only genuine all fur felt in the newest shades is used in atom hats. So if you're a careful dresser and a careful spender, choose an atom still priced at $3.45 to $10, still America's outstanding hat value. Now back to Dr. Weir.

[D]

And now I'll finish my story. Beauty and the beast. 24 hours have passed, each one of which has been an eternity to Kathy. Try as she would, she couldn't forget the deaths of Sam Arnold and Joy. One thing seemed perfectly clear to her. Jason had murdered the two men in a jealous rage. He would stop at nothing in his madness. Her mind in a turmoil, Kathy waited tensely for nine o' clock and her meeting with Alan Katherine.

[C]

Why do you keep looking at the clock every other minute?

[E]

I'm not aware that I am.

[C]

Is it because you have some secret rendezvous with someone?

[E]

No. No, I haven't.

[C]

Your life. Whom are you going to meet?

[B]

Tell me.

[E]

Oh, Jason, I. Tell me. No one. No one.

[B]

You're lying.

[C]

I ought to kill you.

[A]

Yes, kill me.

[E]

Get rid of me so I can't testify tomorrow at the coroner's inquest.

[C]

What are you talking about?

[E]

You want to kill me because you're afraid of what I might tell them. You. I know you killed Sam Arnold and George Davis.

[C]

Is that what you intend to tell them tomorrow?

[E]

Yes. You're nothing but a murderer. J. Jason. Jason. Don't look at me that way, Jason. I'm not gonna let you kill me. Stay away from me, Jason. I won't let you kill me.

[C]

Put down that poker, Catherine. Put it down, I say.

[A]

No.

[E]

If you come any closer, Jason, I'll use it. Jason, don't or I'll use it. I warned you, Jason. I warned you.

[C]

Kathy. Kathy, you mustn't cry. You struck Jason. In self defense.

[E]

Oh. What are we gonna do?

[C]

We're going through with the plans I've made. I have two tickets and a plane for Mexico, and we're going tonight. Kathy.

[E]

Jason.

[C]

There you are.

[E]

You're not dead. I didn't kill you.

[C]

No. The blow you struck me only. Helen. What are you doing here? I've come to take Kathy away, Jason. Helen, you don't know what you're saying. I'm warning you, Jason. Don't try to stop me. You don't understand, Ellen. She's a murderess. She killed two men.

[E]

What are you saying? I never killed anyone.

[C]

Ellen, I'm telling you the truth. She killed Sam Arland and George A. Davis.

[A]

You're lying.

[B]

You're lying.

[E]

I didn't.

[C]

How could she possibly kill two men and not know it? Because she's insane.

[E]

Insane?

[C]

A homicidal maniac. There are times when she loses control of her mind, and when she does, she kills. And then she comes to and has no memory of it, I suppose. Yes, yes, that's it exactly. Just a minute before she pushed George Davis off this very cliff we're standing on, I heard her talking to him. Her voice was low, excited. The voice of a homicidal maniac. Before I could reach them, she'd pushed him off this cliff. And then she fainted. And when she regained consciousness, she had no memory of what had happened.

[E]

No, no, it isn't true, Alan. He's trying to blame me for murders he's committed.

[C]

Yes, I know.

[A]

I know, dear.

[C]

Your story is very clever. Jason would account rather nicely for the deaths of those two men, wouldn't that? I'm telling you the truth, dear, and I'm going to tell it to the coroner's jury tomorrow. I protected her as long as I can. You're not going to tell the coroner's jury anything tomorrow. Alan, she's insane.

[E]

No.

[C]

She has to be exposed. For both her sakes, Ellen, let go of me. You don't deserve to live trying to make Kathy pay for your crimes.

[B]

Oh, no.

[C]

Ellen, you must listen to me.

[B]

Ellen, don't.

[C]

There was no other way out. Kathy. It was insane, utterly insane. Trying to make it appear that you murdered Sam Arnold and George Davis when he did it himself.

[E]

Alan, what is it? What's wrong?

[C]

I just remembered something. When Sam Arnold was murdered four months ago, Jason and I were on a hunting trip in Canada. Why, we heard the news together over Jason's portable radio.

[E]

You mean Jason didn't kill Sam Arnold?

[C]

I know he couldn't have. But.

[E]

But If Jason didn't murder him. Who?

[A]

Daddy?

[E]

Now, why are you looking at me like that? You don't think that I did it, do you?

[A]

Kathy?

[C]

If Jason didn't do it, then what he said about you might have been true.

[E]

You believe that it is true, don't you? I can see it in your eyes. You do believe I murdered Sam Arnold and George Davis, don't you?

[C]

Kathy, the boy voice, it's different.

[E]

You do believe I murdered them, don't you?

[C]

Your voice is just the way Jason said it was before you pushed George Davis off the cliff. It's true. You did kill him, didn't you?

[E]

Yes. Yes, I did. At times like this I can remember, I killed Sam Arnold with a knife. And I pushed George Davis over the cliff. Would you like to know how I did it, Alan?

[C]

Kathy, your voice, your eyes. Kathy, what are you up to?

[E]

I pushed him off the cliff. Like this, Alan. Like this. Kathy. Look out, Alan, I'm slipping.

[C]

She's gone. She was trying to kill me and she fell over herself. She was the murderer. And nobody dreamed of suspecting her because she was so beautif.

[D]

Alan was right. Nobody dreamed of suspecting Kathy because she was so beautiful. But her husband, who was ugly, well, he was suspected right away. You see how handy a pretty face can be sometimes. But there's an old saying, beauty is only skin deep. So be careful about walking on clifftops with lovely young women. One of them might be another.

[A]

Cathy.

[D]

Oh, you have to go now? Well, perhaps you'll drop in on me again soon. Just look for the house on the other side of the cemetery. The House of Dr. Weird.

[A]

There's more from the Sears Radio theater, the strange Dr. Weird, this podcast and all of the other Relic Radio shows at the website relicradio.com you can donate through that website if you'd like to help support us or click on one of the support links in the show notes. Thanks those who have helped out. Thanks for joining me this week. I'll be back tomorrow with an hour of mystery and crime on Case Closed and next Tuesday with our next episode of the Relic Radio Show.