- 5 hours ago
CBS Radio Mystery Theater (a.k.a. Radio Mystery Theater and Mystery Theater) is a radio drama series created by Himan Brown that was broadcast on CBS Radio Network affiliates from 1974 to 1982, and later in the early 2000s was repeated by the NPR satellite feed.
Category
😹
FunTranscript
00:16Come in.
00:20Welcome.
00:22I'm E.G. Marshall.
00:24I'm afraid the chairs aren't very comfortable,
00:27but that doesn't matter because in just a moment
00:30you'll be sitting on the edge of them,
00:32for we'll be bringing you the tale of the thing inside,
00:37a strange and potent force sealed up and held in check
00:41that cried to be released,
00:44and once it was freed,
00:46brought terror and death to a whole countryside.
00:49Sergeant, what's this all about?
00:52Has there been any trouble over at Ezra's place?
00:55I guess you could call it trouble, Mrs. Farrar.
00:58He was killed last night.
01:01He was what?
01:02Killed.
01:03Murdered.
01:04His nephew went over there early this morning and found him.
01:07Oh, but that's awful.
01:10I thought he was a dreadful man, but...
01:12Well, have you any idea who did it?
01:14Not yet.
01:15That's why I stopped by here to find out
01:17if you'd seen or heard anything.
01:19Well, I'm sorry.
01:20I wish we could help you, but...
01:23Well, how was he killed?
01:24It was pretty bad.
01:26Whoever did it must have really hated him
01:28or else been out of his mind
01:30because it was done with an axe.
01:41Our mystery drama, The Thing Inside,
01:45was written especially for the Mystery Theater
01:48by Robert Newman
01:49and stars Ralph Bell and Bryna Rayburn.
01:58What is evil?
02:01Is it abstract or concrete?
02:04Does it seek us out or do we seek it?
02:09Either way, there is something in all of us
02:11that senses its presence.
02:13And when we do,
02:15most of us draw back from it in fear.
02:17But occasionally,
02:20for reasons we do not always understand,
02:23we are attracted to it
02:24and come under its spell,
02:26thus freeing it to work its destruction
02:29on an unsuspecting world.
02:32Our story begins
02:33as John and Sarah Farrar
02:35get out of their car
02:36and walk towards a rather shabby
02:38and run-down antique shop
02:40in a small New England village.
02:44Oh, that's not much of a place.
02:47No.
02:48Still, you never know.
02:50Paul's picked up some pretty nice things
02:52in places like this.
02:53That tavern sign for instance.
02:54That's true.
02:55Good afternoon.
02:56Oh, oh, good afternoon.
02:58Do you mind if we look around?
03:00Nope, not at all.
03:02You looking for anything in particular?
03:04Oh, no, not really.
03:06Possibly some dishes.
03:08Do you have any white iron stew?
03:11Nope, I'm afraid not.
03:12It doesn't matter.
03:15That's a rather nice painting there.
03:18It's good enough.
03:19Yes, it is.
03:20Do you know anything about it?
03:22Nope.
03:23Except that it's American.
03:25Early 19th century.
03:26John, look at this.
03:28What?
03:30Oh, yes.
03:32Did you say early 19th century?
03:33Yeah.
03:34Well, I don't think so.
03:37I'd say it wasn't more than 20 years old,
03:40a copy of something earlier.
03:42Why do you say that?
03:43Because of the condition of the canvas
03:45and the varnish.
03:47You a dealer?
03:48No, I'm a painter.
03:50Oh, well, you may be right.
03:53I'm sure I am.
03:55Oh, hello.
03:57Have you found something?
03:59Yes.
04:02Can you tell us anything about this?
04:05Oh, a glass paperweight?
04:07Oh, is that what it is?
04:09Yep.
04:10At least I think so.
04:12What do you think of it, Sarah?
04:13No, it's interesting.
04:15Yes, it is.
04:17Especially when you hold it up to the light.
04:20When you turn the ball, it, uh, it moves.
04:24I've never seen anything quite like it.
04:26Neither have I.
04:28Paul would probably know what it is.
04:30Oh, he might.
04:31How much do you want for it?
04:33Five dollars.
04:35What do you say, Sarah?
04:36Shall we buy it?
04:37Oh, I don't know, John.
04:38It just looks like a glass ball to me.
04:41Well, I like it.
04:42I like looking at it.
04:44Yes, but five dollars for something that may be nothing at all.
04:47Well, why do you say it's nothing when I say I like it?
04:50Well, because five dollars is a lot of money.
04:53For us, anyway.
04:54You don't have to rub it in.
04:56Oh, I'm sorry, darling.
04:57I just meant to say...
04:57I know what you meant.
04:58If you really want it, you can have it for three dollars.
05:02I do want it.
05:04I'll take it.
05:05John!
05:06I said, I'll take it.
05:15Hello?
05:16Anybody home?
05:17Is that you, Paul?
05:19Yes.
05:20I'll be right down.
05:25Hi.
05:26Hello, Sarah.
05:27Well, what's all this?
05:29Oh, my brother sent me a case of fruit from Florida,
05:31and I thought you and John might like some.
05:34That's awfully nice of you, Paul.
05:36No, not really.
05:37I'd never finish it all by myself.
05:38Well, I still think it's very nice of you.
05:41Well, you're very welcome.
05:42Where's John?
05:43In the studio.
05:44Oh.
05:45How is he?
05:46Oh, about the same.
05:47Not very good.
05:50Still not working, huh?
05:52No.
05:52Well, he's trying.
05:54He goes in there every day.
05:56Well, it's happened to almost every painter at some time or another.
05:59He hit a bad period.
06:00Just can't seem to do anything.
06:02Oh!
06:03Oh!
06:04I thought I heard your voice.
06:06How are you?
06:07Fine, John.
06:08And you?
06:08Okay.
06:10Where'd all this fruit come from?
06:12Paul brought it over.
06:13My brother sent me a whole case of it,
06:15and I thought you might like some.
06:16Oh.
06:17That's very nice of you.
06:19I was hoping you'd stop by.
06:21There's something I wanted to show you, ask you about.
06:23Oh, what's that?
06:26This glass ball.
06:28Oh, where'd you get it?
06:30In a crummy little antique shop in Preston.
06:32Oh, yes.
06:33I know the place.
06:34The guy said it was a paper red.
06:36No, it can't be.
06:37It doesn't have a base.
06:39It isn't even flat on one side.
06:41Well, that's what I thought.
06:43What do you think it is, then?
06:45Yeah.
06:46I have no idea.
06:47The only thing I've ever seen that's even vaguely like this are witch balls.
06:54Witch balls?
06:55Yeah, you sometimes find them down in Pennsylvania.
06:57They're like hex signs, supposed to keep witches away.
07:02Oh, yes.
07:03It's a very interesting thing.
07:06Beautiful piece of glass blowing.
07:08Yes, isn't it?
07:09Take it over the light and look at it more closely.
07:12There's something inside it.
07:14Kind of shadow.
07:16Oh.
07:18I don't see anything.
07:21Well, hold it up.
07:22Turn it.
07:23Oh, you mean that kind of a swirl?
07:25Mm-hmm.
07:27I think that's just an air bubble or maybe an imperfection in the glass.
07:31I don't.
07:33I think there's something inside it that the glass was blown around it.
07:38Here, give it a minute.
07:40Oh, John!
07:41It slipped out of my hands.
07:43It didn't break.
07:44Did it crack?
07:46No.
07:49Look at that.
07:51Dropped on the fireplace and there's not a mark or a scratch on it.
07:55Oh, that's impossible.
07:57Well, look at it.
07:59Oh, you're right.
08:01I've never seen anything like it.
08:03It can't be ordinary glass.
08:06I'll tell you what, John.
08:07I've got a friend who's an expert.
08:09Collects paperweights.
08:10If you like, I'll take it and show it to you.
08:13No, no.
08:14It's not leaving this house.
08:15John!
08:16Well, I just thought...
08:17I say it's not leaving this house.
08:19All right, John.
08:22I'm going back inside.
08:24I'll see you, Paul.
08:26Oh, yes, John.
08:30Well, he really has a thing about it, hasn't he?
08:33Yes.
08:34When did he get it?
08:35Oh, just yesterday.
08:36I don't like it.
08:38Why not?
08:38I don't know.
08:40I just have a funny feeling about it.
08:43I have had from the first time I saw it.
08:50John?
08:52Can you hear me?
08:56Yes.
08:57What?
08:58You can hear me.
09:01I know you can.
09:03I knew it's the first time you picked me up.
09:10Because you were the only one who could see me.
09:17Yes.
09:18You've got to help me.
09:22Save me.
09:25How?
09:26Break the ball and free me.
09:32Break?
09:33Yes, if you do, you won't be sorry.
09:40I'll do things for you, wonderful things.
09:46But how can I break it?
09:50I dropped it, and it didn't even crack.
09:56Fire and water, John.
09:59Fire and water.
10:03I don't understand.
10:06You will.
10:08I know you will.
10:10I know you'll help me.
10:22Just a second.
10:27Oh, hello, Paul.
10:29Sarah, can I come in for a few minutes?
10:31Oh, yes, of course.
10:34Well, how are you?
10:36A little down at the moment.
10:38Why?
10:39I just got some rather upsetting news.
10:43That's why I came over.
10:44Oh, I'm sorry, Paul.
10:46What's the news?
10:48Well, it'll affect you and John more than it does anyone else.
10:52You know those rumors that Ezra Tate was going to sell that 200-acre parcel of his to a developer?
10:59Well, apparently they're true.
11:01Oh, no.
11:03But how do you know?
11:05Well, I was just at the bank, and Peterson told me.
11:07Well, that's certainly not good, that Ezra's going to sell.
11:12But that doesn't mean that they can go ahead and build there.
11:16Well, they'd have to get the approval of the zoning board.
11:19Have you forgotten that Harry Walker, the board chairman, is his nephew?
11:22Yes, but he wouldn't dare.
11:25You mean you think it really may go through?
11:28I'm afraid so.
11:29Oh, but that's awful.
11:31You know, we bought this place, put every cent we have into it,
11:35mostly because of the location and the view, and...
11:38If the deal does go through, that will be the end of it.
11:41I know.
11:41And that's not all.
11:43But I...
11:44I wouldn't want to go on living here with a development right under our noses.
11:48And I don't think anyone else would want to either.
11:51Well, I'm afraid you'd take a bad licking if you tried to sell the place.
11:54Well, don't say anything about it to John until we really do know what's going to happen.
11:58And he hates Ezra Tate as it is.
12:00And when he hears about this, he...
12:02That's right.
12:02He has had a bit of trouble with him, hasn't he?
12:05Oh, from the day we moved in here.
12:08First about the boundary line, and then about...
12:10Sarah, deal.
12:12Oh.
12:13Hello.
12:14Hello.
12:15I didn't know you were here.
12:16I was just passing by, and I thought I'd drop in.
12:20Well, I'm glad you did.
12:21As a matter of fact, I was going to call you.
12:23Oh, by what?
12:24You know that glass board I showed you yesterday?
12:27Yes, of course.
12:28If you wanted to break it, really break it, how'd you go about it?
12:35Well, why on earth would you want to break it?
12:37It's a beautiful thing.
12:39Yes, it is.
12:41But suppose I did want to break it.
12:44I really don't know, John.
12:46Can you think of any way it can be done with fire and water?
12:53Fire and water?
12:55Yes.
12:57Well, um...
12:58I suppose if you put it in a fire and got it very hot, or close to its melting point,
13:04and then dropped it into cold water, that might do it.
13:08Of course.
13:10Thanks, Paul.
13:11John, wait.
13:12You mean you're really going to...
13:14Yes.
13:15Why?
13:16Because I've got to.
13:19I got a feeling that if I do break it...
13:23can break it out.
13:26What?
13:28Never mind.
13:30I'll see you, Paul.
13:34Don't look that way, Sarah.
13:36I know it doesn't make sense, but after all, there's no harm in it.
13:41I'm not so sure about that.
13:43Why do you say that?
13:44I told you.
13:45I had a funny feeling about the thing from the first time I saw it.
13:50Well, if he does break it, destroy it, that will be the end of it.
13:55I wonder.
14:05John.
14:06Yes.
14:07Why have you got the door locked?
14:09I didn't realize I had.
14:14Hi.
14:15May I come in?
14:16Of course.
14:18Oh, it's awfully hot in here.
14:21I know.
14:22It's the fire.
14:23Oh, yes.
14:25Then you're really going to do it?
14:27Yes.
14:28I've had the ball on the fire for about a half hour now.
14:31I was just about to take it out.
14:32Darling, I don't like this.
14:34I know you don't.
14:36What'd I do with the tongs?
14:38Over there.
14:40Oh, yes.
14:43Now, stand back.
14:44I'm going to take it out.
14:45And then drop it in the pail of water?
14:48Yes.
14:50Come on, now.
14:53There we are.
14:54Darling, be careful.
14:54I will.
14:56You ready?
14:57Yes.
14:59Here goes.
15:05Well, I really think I did it.
15:09What happened to the ball?
15:11Well, see for yourself.
15:13It practically exploded into a hundred pieces.
15:16Oh, yes.
15:19Well, are you satisfied now?
15:22Yes.
15:24Now, wait a minute.
15:27Look at this.
15:29This is what was inside it.
15:31It's center.
15:33Another ball.
15:35A small black one.
15:38Yes, but it wasn't black before.
15:40The heat must have turned it black.
15:43Well, what are you going to do with it?
15:46Keep it.
15:47Why?
15:48Just so.
15:50Now, stop looking so upset, Sarah.
15:54Things are going to be different now.
15:56What do you mean?
15:57Well, you'll see.
16:00Everything's going to be fine.
16:02Better than they've ever been before.
16:13With the help of fire and water,
16:16the mysterious glass ball has been broken.
16:20And though he should know better,
16:22John Farrar seems pleased about it.
16:25For there are some things that it is best to leave alone.
16:30Was he right in thinking there was something sealed in the ball?
16:34Will it give him the things he wants?
16:38And if so, at what cost?
16:50Dusk is a time of uncertainty.
16:54And though she could not have said why,
16:57Sarah Farrar was not just uncertain, but anxious.
17:01She stood beside her husband and saw the glass ball shatter.
17:06But now she's beginning to feel that perhaps she was mistaken.
17:10For when John woke this morning,
17:12he was in better spirits than he has been for months.
17:14He went into his studio early and has been in there all day.
17:18It's evening now, almost suppertime.
17:22And he still has not come out.
17:25Yes?
17:26Darling, it's almost six o'clock and I wondered if...
17:29It's what?
17:30Almost six o'clock.
17:32You're kidding, it can't be.
17:33But it is.
17:35Oh, good Lord, I had no idea.
17:37I kept thinking while I had it,
17:39I'd stay with it,
17:40keep on going for just a little while longer.
17:42You mean...
17:43You mean you've been working?
17:45Have I ever.
17:46Oh, can I look?
17:48Of course.
17:49It's not quite finished.
17:51I want to do a little more with the background,
17:53but, uh...
17:54What do you think?
17:56Oh.
17:57Oh, darling, it's gorgeous.
18:00It's terribly good.
18:01You really think so?
18:02Oh, yes.
18:02It's the best thing you've ever done.
18:05In some ways, like summer morning,
18:08but different, stronger.
18:11You're right.
18:13It is something like summer morning and it is different,
18:16but, uh...
18:17Well, it would have to be
18:19because I'm suddenly seeing everything differently.
18:23Feeling differently.
18:25It's as if I'd been handcuffed for months
18:27and I was suddenly free.
18:29Oh, darling, I'm so glad.
18:32Oh, six o'clock.
18:33No wonder I'm starving.
18:34But didn't you have any lunch?
18:36I went out around noon and...
18:37Oh, no, I forgot about it.
18:39What's the supper?
18:40Oh, beef stew.
18:42Oh, good.
18:43And wine?
18:45Well, there's that bottle we were saving for a special occasion.
18:48I think this is it, don't you?
18:50Oh, I certainly do.
18:52Oh, darling, why don't you wash up and...
18:54Oh, I'll get it.
18:58Hello?
18:59Hello, Sarah.
19:00Oh, Paul, hello.
19:02Well, you sound pretty good.
19:03Oh, I feel that way.
19:06John finally broke through and he's working.
19:08Working beautifully.
19:10Oh, I'm glad to hear it.
19:12Oh, you don't sound so good.
19:15Is anything wrong?
19:16I'm afraid so.
19:18I just heard that the deal on Ezra Tate's land
19:21is definitely going through.
19:23The closing's tomorrow.
19:24Oh, no.
19:26And there's no way of stopping it?
19:28None that I know of.
19:29Then I guess I'll have to tell John.
19:32Tell me what?
19:33Are you going to do it now?
19:35Yes.
19:36I'm sorry, Sarah.
19:37So am I, but it can't be helped.
19:40Goodbye, Paul.
19:42What was that all about?
19:43Oh, some...
19:45some rather bad news.
19:48Darling, you know that talk that
19:50Ezra Tate was going to sell the 200 acres
19:53across the road to a developer?
19:54Yes.
19:56Well, apparently it's true.
19:59What?
20:01It can't be.
20:02I'm afraid it is, John.
20:04The closing's tomorrow.
20:06But he can't do anything like that.
20:08It...
20:08It'd ruin the town.
20:11And not just the town.
20:12We couldn't go on living here
20:14with a couple of hundred
20:15ticky-tacky houses
20:16right across the road.
20:17I know.
20:19But I'm afraid
20:20nothing can be done about it.
20:21No?
20:22Well, we'll see about that.
20:24John, where are you going?
20:25To talk to him.
20:26No, John, wait!
20:27Don't!
20:27Wait!
20:37Ezra!
20:38Ezra Tate!
20:40Who's there?
20:41Who's there?
20:42John Farrar.
20:44What do you want?
20:45I want to talk to you.
20:47Well, you can't right now.
20:49I don't need to suffer.
20:50Ah, damn it all, Ezra!
20:51It's important.
20:53Okay.
20:54Okay, just a second.
21:00Now, what is all this?
21:02Is what I heard true.
21:04That you're sending the land
21:05across the road
21:06from us to a developer.
21:07It sure is.
21:09But you can't do that.
21:10Says who?
21:12It's my land.
21:13I can sell it
21:14to anyone I want.
21:16Haven't you any feeling
21:17at all for anyone else?
21:19Don't you realize
21:20what it'll do?
21:20Not just to me,
21:21my place,
21:22but the whole town.
21:23It can't take
21:24another couple of hundred people.
21:26The deal's set
21:26and that's that.
21:27But can't you see?
21:30Okay.
21:33Okay, how much
21:34are they offering you for it?
21:35Why do you want to know?
21:36Because I'll buy it from you.
21:37I'll give you
21:38a couple of thousand
21:38over their price.
21:39What?
21:42That's really funny.
21:44What's funny about it?
21:45Yeah, it just is.
21:46You haven't got a dime.
21:48You owe everyone
21:49in town money
21:50and you want to buy...
21:50Never mind about that.
21:51I'll get it somewhere.
21:53Yeah?
21:53Where?
21:54From your friend
21:55Paul Chandler?
21:57What's the deal
21:58where I get it?
21:59Well, like,
21:59no, that's all.
22:01Just because he's got
22:02a thing about your wife
22:04comes around with
22:05fruit and groceries
22:06for you,
22:07I imagine.
22:07Are you, old?
22:08You keep away
22:09from me for an hour.
22:10You think I'd let you
22:11in here without precautions?
22:13This gun's loaded.
22:15Come any closer
22:16and I'll let you
22:16have a load
22:17of birdshot.
22:18For two cents...
22:19Two cents is just
22:20about what you can afford.
22:21Now you get out of here.
22:24Okay.
22:26But this isn't
22:27the end of it, Ezra.
22:34Oh, John,
22:35thank heaven you're back.
22:36I was afraid.
22:38Well,
22:39what happened?
22:40He laughed at me.
22:41Oh, you should have
22:42known he would.
22:43He's a dreadful old man.
22:45He's a monster.
22:47He doesn't give a damn
22:48about anyone or anything.
22:51I'd like to see him
22:52drop dead.
22:53John!
22:54Well, I would.
22:56Well, just dropping dead
22:57would be too good for him.
23:00I'd like to have something
23:01really terrible
23:03happen to him.
23:13Just a second.
23:18Good morning.
23:19Mrs. Farrar?
23:20Yes?
23:21My name's Osborne.
23:23Sergeant Osborne,
23:24State Police.
23:25Oh.
23:26How do you do?
23:27Is your husband around?
23:28Yes.
23:29He's in his studio.
23:30Could I talk to him
23:31for a few minutes?
23:31Well, he's working,
23:33but I think so.
23:34Come in.
23:42Yes?
23:43John,
23:43could you come out
23:44here for a minute?
23:45Okay.
23:49What's up?
23:49Darling,
23:50this is Sergeant Osborne
23:52of the State Police.
23:53Oh.
23:54Good morning, Sergeant.
23:56Good morning,
23:57Mr. Farrar.
23:57I'm sorry to disturb you,
23:59but I wondered
24:00if you could help us.
24:01With what, Sergeant?
24:03Were you home last night?
24:05Yes, we were.
24:06We're here most nights.
24:08What time did you get to bed?
24:10Fairly early.
24:11About ten.
24:12Yes, that's right.
24:14And did you get up
24:15for any reason,
24:16or did you sleep
24:17right through the night?
24:18Well, we slept
24:19straight through.
24:20At least I did.
24:22What?
24:23I was hoping
24:24that maybe you'd gotten up,
24:25that you could tell me
24:26if you heard or saw
24:27anything unusual.
24:29A car going up the road
24:30to Ezra Tate's place,
24:32for instance.
24:33Well, I didn't.
24:35Did you, sir?
24:36No.
24:37We'd had a big day,
24:39and I slept like a log.
24:41You know Tate,
24:43don't you?
24:44Yeah, we sure do.
24:46I take it
24:46you don't like him
24:47very much.
24:48Well, that's the
24:49understatement
24:50of the year.
24:51We've had nothing
24:52but trouble with him
24:53since we moved up here.
24:54Sergeant,
24:54what's this all about?
24:57Has there been
24:58any trouble
24:58at his place?
25:00I guess you could
25:01call it trouble.
25:02He was killed
25:03last night.
25:05He was what?
25:07Killed.
25:08Murdered.
25:09His nephew
25:10went over there
25:10early this morning
25:11and found him.
25:13Oh, but that's awful.
25:16I thought he was
25:17a dreadful man,
25:17but have you any idea
25:20who did it?
25:21Not yet.
25:22That's why I stopped
25:23by here to find out
25:24if you'd seen
25:25or heard anything.
25:26I'm sorry.
25:27I wish we could
25:28help you, but
25:30how was he killed?
25:32It was pretty bad.
25:34Whoever did it
25:35must have really
25:36hated him
25:37or else been
25:37out of his mind
25:39because he was
25:40done with an axe.
25:48No, that's not
25:50a nice way
25:50to kill someone,
25:51not at all.
25:52and whoever
25:53or whatever
25:54did it
25:55didn't waste
25:56very much time.
25:57For it was only
25:59last night
25:59that John Farrar
26:00said,
26:01I'd like to see
26:02something really
26:03terrible happen
26:04to him.
26:05And what did
26:06happen was
26:06horrible enough
26:07to shock
26:08even him.
26:09The question is,
26:11was it a coincidence
26:13or is there
26:14more to it
26:15than that?
26:16Could it have
26:18something to do
26:19with the shattering
26:19of the glass
26:20ball?
26:26There is a
26:27finality to death.
26:29Even the death
26:30of the unloved
26:31and unmourned
26:32that we all
26:33find sobering.
26:35For it reminds us
26:37of our own
26:37mortality.
26:39It's late
26:39afternoon now
26:40and Sarah Farrar
26:41is in the kitchen
26:42of the old
26:43farmhouse
26:44when a car
26:44drives up,
26:45stops outside.
26:47She goes to
26:48the door,
26:49opens it.
26:52Hello, Paul.
26:53Hello, Sarah.
26:54How are you?
26:56Well, I've
26:57been better.
26:58I gather you
26:59heard the news
26:59then.
27:00About Ezra?
27:01Yes.
27:02Who'd you
27:02hear it from?
27:03The state
27:04police.
27:05One of them
27:06stopped by
27:06this morning.
27:07He wanted to
27:08know whether
27:08John or I
27:09had heard
27:09or seen
27:10anything
27:10last night.
27:11And had
27:12you?
27:12No.
27:13We were
27:14both pretty
27:14tired.
27:15John had
27:16been working
27:16like a
27:16maniac
27:17all day
27:17and we
27:19slept right
27:19through.
27:20I see.
27:21How was
27:22John?
27:22Well, of
27:22course, he's
27:23upset.
27:24It's a scary
27:25thing when
27:25something like
27:26that happens
27:26so close
27:27by and you
27:28don't know
27:29who did
27:29it or why.
27:31But he'll
27:32get up with it.
27:33I hope so.
27:34I've been
27:35worried about
27:35him.
27:36Why?
27:37Well, he
27:38certainly wasn't
27:39in very good
27:39shape the
27:39other day.
27:40That whole
27:41involvement of
27:42his with
27:42that glass
27:43ball.
27:44Oh, that.
27:44I was pretty
27:45worried about
27:46that myself,
27:46but once he
27:48broke it
27:49and snapped
27:50his painting
27:51block, it
27:51started working.
27:52He really
27:53feels there
27:53was some
27:54connection
27:54there.
27:55Apparently.
27:56Well, as
27:57long as he's
27:58working, I
27:59take it he
27:59still is.
28:00Oh, yes.
28:01He finished
28:02one painting.
28:02He's already
28:03started on
28:04another.
28:04Oh, good.
28:06The reason I
28:07stopped by was
28:07because I
28:08wanted to
28:08find out if
28:09the two of
28:10you were free
28:10Friday night.
28:11Oh, yes,
28:12we are.
28:13Then would
28:14you come over
28:14for dinner?
28:15Benson of
28:15the Benson
28:16Gallery is
28:17coming up
28:17from New
28:17York, and
28:18if John is
28:19working again,
28:20I thought he
28:21ought to meet
28:21him.
28:21Oh, Paul,
28:23you really are
28:24a very good
28:25friend.
28:26Oh, come on,
28:27Sarah.
28:28Now, you know
28:29how I feel about
28:29you, both of
28:30you.
28:31You've had a
28:32pretty rough
28:32time since you
28:33moved up here,
28:34and if I've
28:35done anything
28:35to help...
28:36Oh, Paul,
28:38hello.
28:39I didn't hear
28:40you cry.
28:41You been here
28:41long?
28:41No, just a
28:42few minutes.
28:43Oh, Paul stopped
28:44by to invite us
28:44over for dinner
28:45Friday night.
28:46Benson of the
28:47Benson Gallery
28:48is going to be
28:49there.
28:49Oh, that's
28:50nice.
28:51What do you
28:52think of our
28:52big local
28:53news?
28:54Ezra Tate's
28:55death?
28:56That's pretty
28:56shocking.
28:57Yes, it is.
28:58On the other
28:59hand, it did
28:59take care of a
29:00pretty serious
29:01problem for us.
29:02Oh, what do
29:03you mean?
29:04Well, now that
29:05he's gone, that's
29:05the end of that
29:06housing development.
29:07I'm afraid it
29:08isn't, John.
29:10Well, why not?
29:10Well, his nephew
29:11is his only
29:12living relative.
29:13He'll inherit
29:14everything Ezra
29:15had, including
29:16his land, and
29:17he's already
29:18telling people he
29:18intends to go
29:19through with the
29:20deal.
29:20Well, he can't
29:23do that.
29:24He's head of the
29:25town zoning board.
29:26Yes, he is, but
29:27he was willing to
29:28push the thing
29:29through when it
29:29meant money in
29:30his uncle's
29:31pocket.
29:31Don't you think
29:32he'll be even
29:32more anxious to
29:33do it when it
29:34means money in
29:34his own?
29:35But that's
29:35even worse.
29:36Well, a little
29:37more direct and
29:38obvious, but no
29:39worse.
29:41And nothing
29:41can be done
29:42about us?
29:43I'm afraid not.
29:45The zoning board
29:46is his baby, does
29:47just what he
29:48says.
29:51Well, it would
29:52serve him right if
29:53the same thing
29:54happened to him
29:55that happened to
29:55Ezra.
29:56John, that's a
29:57terrible thing to
29:58say.
29:58Is it?
30:00I don't like
30:01violence any more
30:01than you do, Sarah,
30:02but when a man is
30:03willing to destroy a
30:04whole community out
30:05of sheer greed, I
30:07say the world's
30:08better off without
30:09him.
30:15John?
30:17John?
30:20Oh, you are in
30:21here.
30:22Yes, of course I
30:22am.
30:23Why?
30:24Well, I couldn't
30:24imagine what had
30:25happened to you.
30:27You said you were
30:27going into work for
30:28just a half hour or
30:30so.
30:30That's all right.
30:30What time is it?
30:32Almost eleven.
30:34It's not.
30:35Yes, it is.
30:37I must have fallen
30:38asleep again.
30:39I worked for a
30:40while and started
30:41feeling tired and
30:42sat down here.
30:43Well, you've really
30:44been at it these
30:45last few days.
30:46I guess I have.
30:49John, why are you
30:51keeping this thing
30:52here?
30:53What thing?
30:54This black thing
30:55that was in the
30:56center of the glass
30:57bowl.
30:58I told you I was
30:59going to keep it.
30:59But why?
31:01Because I like it.
31:03I like looking at
31:04it.
31:04What?
31:06Was that what you
31:06were doing before
31:07you fell asleep?
31:09Yes.
31:10Oh, I wish you
31:11wouldn't.
31:12I wish you'd get
31:13rid of it.
31:14Oh, don't be silly,
31:15Sarah.
31:15The day I found
31:16the ball, or
31:18rather the day I
31:19broke it open, was
31:19one of the most
31:20important days of
31:21my life.
31:23Hasn't everything
31:24been different since
31:25then?
31:25Well, if you mean
31:26you've been working,
31:27working well, yes,
31:29but I...
31:29But what?
31:31Oh, never mind.
31:33Are you coming
31:34up to bed now?
31:35I guess so.
31:38Just let me clean
31:39my brushes and put
31:40them away.
31:42Oh, who on earth
31:43is that?
31:43I have no idea.
31:45I'll get it.
31:50Hello?
31:51Hello, Sarah.
31:52Did I wake you?
31:53No, Paul.
31:54I was upstairs
31:54reading.
31:55I just came down
31:56to see what was
31:56keeping John.
31:57Is he there with
31:58you?
31:58Oh, he's in the
31:59studio.
32:00Why?
32:01Well, I wasn't
32:01sure whether I
32:02should call or
32:03not, but I
32:03finally decided I
32:04would.
32:06Sarah, I've got
32:07some more news
32:07that's just as
32:08shocking as the
32:09last.
32:10Harry Walker was
32:11killed tonight.
32:12What?
32:13Where?
32:15And how?
32:16In his home.
32:17His wife was out,
32:18came back, and
32:19found him dead in
32:19the kitchen.
32:20Oh, no.
32:22And they don't
32:23know who did it?
32:24Not any more
32:25than they do
32:26who killed
32:26Ezra.
32:35Hi.
32:36Oh, good
32:36morning, darling.
32:37I couldn't decide
32:39whether to wake
32:39you or let you
32:40sleep.
32:41Oh, I haven't
32:41been asleep for
32:42some time.
32:43I'm just lying
32:44there, thinking.
32:45I know, but I
32:46thought you might
32:47doze off.
32:48You didn't sleep
32:49much last night.
32:51No.
32:52Well, how about
32:53some breakfast?
32:55I don't want
32:55any.
32:56John, you
32:56should eat
32:57something.
32:58I can't.
32:59I feel awful.
33:01Because of what
33:02you said when
33:02Paul was here
33:03about how Harry
33:05Walker deserved
33:05to die to?
33:07Partly.
33:08Well, you
33:08shouldn't.
33:10All right, it
33:10was a horrible
33:11thing to say, but
33:12you were angry,
33:13upset.
33:14Yes, I was, but
33:15don't you realize
33:17that the same
33:18thing happened
33:18before with
33:20Ezra?
33:21I said I
33:22hoped something
33:23terrible would
33:23happen to him,
33:24and it did.
33:25Yes, it did,
33:26but we often
33:27say things we
33:28don't really
33:28mean.
33:29But I did
33:29mean it.
33:31I meant it
33:32both times.
33:34That's what
33:35makes it so
33:35frightening.
33:36Why frightening?
33:38Look, you
33:39don't think that
33:39just saying it
33:41had anything to
33:41do with their
33:42depths, do you?
33:43Yes, I do.
33:44John!
33:45Well, I do.
33:47Do you remember
33:48what I told you
33:48about the glass
33:49ball?
33:50that there was
33:51something in
33:52it?
33:52Yes.
33:54What if there
33:55was?
33:57And what if
33:59when I
34:00released it,
34:02it began
34:03doing things
34:04for me in
34:04return?
34:05Oh, John,
34:05that's ridiculous.
34:06It was just a
34:08glass ball.
34:09Was it?
34:10I told you
34:11that I had to
34:12break it, that
34:13it was very
34:13important.
34:15And it was
34:16right after I
34:17did that I
34:17started working
34:18again.
34:19But that could
34:20have happened
34:20anyway.
34:21Maybe.
34:22But then twice
34:23after that, when
34:24I said I hoped
34:25something would
34:26happen to
34:26someone, it
34:28did.
34:29That was just
34:30a coincidence.
34:30When the same
34:31thing happens
34:32twice in the
34:33same way, it's
34:34not a coincidence.
34:35But that's not
34:36the worst of it.
34:39What if the
34:40same thing
34:40happens still
34:41again?
34:42Oh, John.
34:43John, that's
34:44insane.
34:45Things don't
34:46happen just
34:47because we
34:47want them
34:48to.
34:49There's no
34:50connection between
34:51what happened to
34:51either Ezra or
34:52Harry Walker.
34:53And even if
34:54there were, how
34:55could the same
34:55thing happen
34:56again?
34:57You don't feel
34:58the same way
34:59about anyone
35:00else.
35:01Don't I?
35:03Who?
35:06You've no
35:06idea?
35:07No.
35:08We don't know
35:09that many people
35:09up here.
35:10and you
35:12don't mean
35:14Paul.
35:15Yes.
35:17Good old
35:18Paul.
35:19Who's always
35:20doing things
35:21for us.
35:22Only it
35:23hasn't been
35:23for us.
35:25It's been
35:26for you.
35:28He's in love
35:28with you,
35:29isn't he?
35:29Oh, John.
35:31John, this is
35:31terrible.
35:33I've been
35:33concerned about
35:34you, worried
35:34about you for
35:35some time, but
35:36I never realized
35:39you really
35:40are sick.
35:41Are you
35:42saying it's
35:42not true?
35:43Of course
35:43it's not
35:44true.
35:45He's just
35:45a friend, a
35:46good friend.
35:47I wish I
35:47could believe
35:48you.
35:49Meaning you
35:50don't?
35:51I don't know.
35:54I'll have to
35:55think about it.
35:55But there's
35:56nothing to
35:56think about.
35:57I tell you.
35:58John, where
35:58are you going?
36:00I'll...
36:00John, wait a
36:01minute.
36:01You can't.
36:03John!
36:05John!
36:13Hello?
36:14Oh, Paul, it's
36:15me again.
36:16Any sign of him?
36:17No, sir.
36:18But it's been
36:18over two hours.
36:19Well, you said
36:20he didn't take
36:20the car.
36:21If he walked,
36:22it would take
36:22him some time
36:23to get over
36:23here.
36:24Not this long,
36:25Paul.
36:25I'm scared.
36:26I told you
36:27what he said.
36:27I know, but I
36:29don't think
36:29there's anything
36:30to be concerned
36:31about.
36:31The longer
36:32he has to
36:33think about,
36:33the more
36:34chance there
36:34is that he'll
36:35realize
36:35it's ridiculous.
36:36But suppose
36:37it's just
36:37the opposite.
36:38Now, don't
36:39do that, Sarah.
36:41I'm not worried.
36:42I hope he
36:43does come here.
36:44I told you
36:45there's something
36:45I want to
36:46tell him.
36:46What?
36:47I don't want
36:48to go into
36:49it now, but
36:49I think it
36:51may make a
36:51difference.
36:52Help him.
36:53All right,
36:54but if he
36:55does come to
36:56your place,
36:56will you
36:56call me?
36:57Let me
36:57know.
36:57Of course,
36:58Sarah.
37:00Thank you,
37:00Paul.
37:09a friend,
37:10she said.
37:12Just a good
37:13friend.
37:15Can I
37:16believe her?
37:17He's been
37:18there all the
37:19time, whenever
37:20we needed him.
37:22No, not just
37:24when we needed
37:25him.
37:26Whenever he
37:27could do
37:28anything to
37:28help.
37:30Why?
37:33there's only
37:34one way to
37:35find out.
37:50Hello,
37:50John.
37:51I've been
37:52expecting you.
37:53Have you?
37:54Yes,
37:55Sarah called.
37:56Twice, as a
37:57matter of fact,
37:57and said you
37:58might be coming
37:59over here.
37:59Come on
38:00in.
38:01Thanks.
38:06Can I get
38:07you something?
38:07Some coffee
38:08or a drink?
38:09No.
38:10Well, sit
38:10down.
38:11There's
38:12something I
38:12want to
38:12tell you.
38:14About you
38:15and Sarah?
38:16What?
38:17What could I
38:18tell you
38:18about that?
38:19How you
38:20feel about
38:21it?
38:21I feel the
38:22same way
38:23about her
38:23that I
38:23do about
38:24you.
38:24I like
38:25you both
38:25very much.
38:27What I
38:27wanted to
38:28talk to
38:28you about
38:29was that
38:29glass ball.
38:31What about
38:32it?
38:33Well, I'm
38:34afraid I
38:34was the
38:34one who
38:35got you
38:35started on
38:36it, saying
38:36it was
38:36something like
38:37a Pennsylvania
38:38Dutch
38:39witch ball.
38:40Well, I
38:40was wrong.
38:41There was
38:42nothing strange
38:43or mysterious
38:44about it.
38:44it wasn't
38:45even old.
38:46It was
38:46made seven
38:47or eight
38:47years ago
38:48by the
38:48New England
38:49Glass
38:49Company.
38:51That's
38:51impossible.
38:54How do
38:54you know
38:55that?
38:55Because I
38:56called a
38:56friend of
38:57mine, the
38:57man I
38:57wanted to
38:58show it
38:58to, and
38:59he told
38:59me.
39:00The
39:00company was
39:01trying to
39:01develop a
39:02new kind
39:02of glass,
39:03practically
39:04unbreakable
39:05and impervious
39:06to heat.
39:06They did
39:07it by bonding
39:08two kinds of
39:09glass together,
39:10and the ball
39:11was one of
39:11their samples.
39:12That's not
39:12true.
39:13It's a lie.
39:15You don't
39:16just want to
39:17take Sarah
39:18away from me,
39:19you want to
39:19take that
39:20away, too.
39:21The feeling
39:22that breaking
39:23it just gave
39:24me the
39:24freedom,
39:25the sense
39:26of power.
39:27Well, you're
39:28not going
39:29to.
39:30John, put
39:30down that
39:31poker.
39:31Now.
39:32John, put
39:33it down.
39:34I'm not
39:34finished yet.
39:35I'm not
39:36denying that
39:36something
39:37happened to
39:38you after
39:38you bought
39:39it, but I
39:40think I can
39:40explain that
39:41too.
39:41Now, look,
39:42when you
39:42brought it
39:43home, you
39:44used to sit
39:44and stare
39:45into it,
39:45didn't you?
39:46Yes.
39:47Well, don't
39:47you see what
39:48could have
39:48happened?
39:49When you
39:50stare into
39:50something clear
39:51or shiny,
39:52you can
39:53hypnotize
39:53yourself.
39:54But in
39:55your case,
39:56the self-hypnosis
39:58took a special
39:58form.
39:59You started
40:00identifying with
40:01it, and when
40:02you finally broke
40:03it, you
40:04released something,
40:06not in the
40:06ball, but in
40:08yourself.
40:09Released what?
40:10Lies?
40:12Everything
40:12you've been
40:13saying, it's
40:13been a lie.
40:14It hasn't,
40:15John.
40:16It's been the
40:17truth, John.
40:18Keep away
40:19from me.
40:19No, I came
40:20over here to
40:21find something
40:22out, and I
40:23have.
40:23You're no
40:24friend of
40:24mine.
40:25You never
40:25were.
40:28Who's that?
40:29I don't know.
40:30Well, don't
40:31open the door.
40:32John, now
40:32stop that.
40:33Whoever it is
40:34must know
40:35we're here.
40:35No, I've
40:36got to.
40:37Well, I'm
40:37warning you,
40:38don't...
40:39Mr. Chandler?
40:40Yes?
40:41I'm Osborne,
40:43State Police.
40:44Is Mr.
40:45Farrar...
40:45Oh, yes,
40:47yes, I see
40:47he is.
40:48Good morning,
40:49Mr.
40:49Farrar.
40:50Your wife
40:51said she
40:51thought you
40:51might be
40:52here.
40:53My wife?
40:55Yes, we
40:55stopped by at
40:56your place
40:56first.
40:57Mr.
40:58Farrar, would
40:58you come
40:59with me?
41:00Where?
41:01To headquarters.
41:02We'd like
41:02to talk
41:03to you.
41:04About what?
41:06Several things,
41:07but mostly
41:07about where
41:08you were
41:08last night
41:09about 10
41:09o'clock.
41:1010 o'clock?
41:12But that
41:13was...
41:13That was
41:14what?
41:15About when
41:16Harry Walker
41:16was murdered.
41:18How do you
41:18know that?
41:19Because Paul
41:21called us
41:21shortly after
41:22that and
41:22told us.
41:24You're all
41:25against me.
41:27Not just
41:28my wife
41:29and Paul,
41:30but everyone.
41:31Plotting
41:32against me.
41:33No one's
41:33against you,
41:34Mr.
41:34Farrar,
41:35and we're
41:35certainly not
41:35plotting against
41:36you.
41:37We just
41:37want to
41:38talk to
41:38you and
41:39then...
41:39Oh, no,
41:40no!
41:40Farrar, stop!
41:41Come back here,
41:42Farrar!
41:42Aren't you
41:43going after him?
41:43Oh, we'll
41:43catch up to him.
41:44I have another
41:45car and two
41:45more men out
41:46on the road
41:46there, just
41:47around the
41:47curve.
41:48Why did you
41:49want to talk
41:49to him?
41:50Well, someone
41:52saw him leaving
41:53Harry Walker's
41:54house last
41:54night shortly
41:55before Mrs.
41:56Walker came
41:57home.
41:58We just got a
41:58general description,
41:59weren't sure who
42:00it was at first,
42:01but...
42:01Farrar, look
42:02out!
42:02That truck!
42:03John!
42:07Good Lord.
42:15Seek, and you
42:17shall find.
42:18John Farrar came
42:20to his friend's
42:20house seeking...
42:22what?
42:23The truth, he
42:25tried to tell
42:25himself, but the
42:27truth was exactly
42:28what he did not
42:29want to hear, not
42:30when it stripped
42:31away his illusions
42:32and did not
42:33confirm his
42:34jealous imaginings.
42:36And so he
42:37found what we
42:37find so often
42:38when we reject
42:39the truth and
42:41everything else
42:42of value, death.
42:54Now we see
42:55through a glass
42:56darkly, says
42:57the Bible.
42:59That was what
43:00John Farrar was
43:01doing, seeing
43:02something in the
43:03strange glass ball
43:04that wasn't there.
43:06But he wasn't
43:07completely wrong.
43:08At least, it
43:09wasn't all
43:10imaginary.
43:11For as his
43:12friend Paul
43:13said, there
43:14was a thing
43:15inside, not
43:17inside the
43:18glass ball, but
43:19inside John
43:20himself, that
43:22never should have
43:23been tampered
43:23with.
43:24Our cast included
43:26Ralph Bell,
43:27Bryna Rayburn,
43:28Bob Caliban, and
43:29Leon Janney.
43:30The entire
43:32production was
43:32under the
43:33direction of
43:33Hyman Brown.
43:34This is E.G.
43:35Marshall inviting
43:36you to return to
43:37our mystery theater
43:38for another
43:39adventure in the
43:41macabre.
43:42Until next
43:43time, pleasant
43:46dreams.
43:47music.
43:48Ridely.
43:48O.ру
Comments