- 1 day ago
A corporate executive's colleagues think he is losing his mind when he begins to claim to hear strange voices coming from an old crystal radio.
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00:17Come in.
00:20Welcome.
00:21I'm E.G. Marshall.
00:23And perhaps you've come to look upon me as the master of the macabre.
00:28Your escort into the eerie.
00:31And in all honesty, I can say that I am happy you have this opinion of me.
00:37I'll admit to an affinity for tales of the supernatural.
00:40And even a sneaking fondness for ghosts.
00:44Some ghosts, that is.
00:46I cannot say that I have liked every ghost I have met.
00:50Because in my experience, there can be some very unpleasant ghosts.
00:56Our mystery drama, Voices of Death, was written especially for the Mystery Theater by Murray Burnett.
01:03And stars Mandel Kramer and Ralph Bell.
01:07It is sponsored in part by Sinoff, the Sinus Medicines.
01:12And Anheuser-Busch Incorporated, Brewers of Budweiser.
01:16I'll be back shortly with Act One.
01:28There are many stories about faceless voices that speak to lonely people.
01:34Voices that come from nowhere.
01:36That threaten, cajole, terrify, or madden the mortals who hear them.
01:43Our story is about such a voice.
01:46But it is a voice that has a face.
01:49The face of a dead man.
01:51Most of us know what to expect when we turn on a television set.
01:55But the last thing Jason Phillips expected was to have the face of a dead man appear on his television
02:02tube.
02:02How did the face of Peter Truro get on my TV screen?
02:07Peter, I'm sure if you were alive, you'd understand why yours is the last face I'd want to look at.
02:13So forgive me for switching stations.
02:17What is this, Peter again? I'll try another channel.
02:20On every channel?
02:22Peter Truro? That's ridiculous.
02:24And no sound. What's wrong with the sound?
02:27Nothing, Jason.
02:29What?
02:29Well, this isn't the normal way to return.
02:32Well, I'm seeing things.
02:34And hearing them.
02:35Peter Truro is dead and buried.
02:37He couldn't be talking to me from my TV screen.
02:42Everything, everything happened so suddenly with Peter and Claire and that lousy limpilla.
02:49Put the TV back on.
02:52Relax, Jason.
02:54I'm not a delusion.
02:55I realize that my talking to you this way must be quite a shock.
02:59But, uh, you're really seeing and talking with Peter Truro.
03:03Oh, sure.
03:04Sure.
03:05Peter Truro, who's been dead and cremated for ten days.
03:08The body.
03:09Yes, Jason.
03:10But, uh, nothing else.
03:13Now, just as soon as we complete our business, you'll be rid of me.
03:17And you'll be happy.
03:18You keep talking about business.
03:20What kind of business can we have?
03:22You're going to do a little job for me, Jason.
03:26You're going to kill my wife.
03:30There's absolutely no point in your turning off the television, Jason.
03:33You're a fraud, Peter.
03:34I don't know how you got into my set, but you're a fraud.
03:36Oh, come on now.
03:37You're not going to claim that you're still upset because, after all, I am a ghost?
03:42Well, of course.
03:44It's a perfectly natural occurrence, isn't it?
03:46Everyone who watches television sooner or later finds himself face to face and talking with a ghost every time he
03:51turns on his set.
03:52What you're really telling me is that you're afraid I'm not a ghost at all, but a figment of your
03:57imagination.
03:58And you'll find that strange.
04:00You don't think that that's enough to upset me?
04:02Of course.
04:03Of course it is, Jason.
04:06Like Hamlet, you're wondering about your brain.
04:08Yes, I am.
04:10Well, I can take that worry off your shoulders.
04:13How?
04:14Suppose Claire comes to see you.
04:18Claire?
04:19What would she want?
04:20An attack of conscience.
04:22Guilt.
04:23Whatever you may want to call it.
04:25But, Jason, I will make Claire visit you.
04:28And then we will talk again.
04:35What in the world am I doing here, anyway?
04:38Can you tell me, Jason?
04:39Putting on a marvelous act as usual, Claire.
04:42Why do I feel cold?
04:44Why do I have this feeling that Peter's watching?
04:48Which question would you like me to answer?
04:51Do you believe in ghosts?
04:52Of course not.
04:54You sound so sure.
04:55So very.
04:56And you're not.
04:57I remember how you used to make fun of the whole spiritual scene.
05:00I said it was impossible.
05:01Claire, why this discussion?
05:03What made you phone me and come here to talk about...
05:06I've been having dreams.
05:08Dreams?
05:09Well, I'm no psychiatrist.
05:10Yes, dreams about Peter.
05:12He keeps telling me to come to you and explain about...
05:16Well, you know.
05:17How you lost the part in the play and...
05:19I'm not making very much sense, am I?
05:21No, you're not.
05:23I don't know why you came here, but I know damn well you'd better leave.
05:32Are you convinced, Jason?
05:34Do you believe now that I'm a ghost?
05:37Well, you heard Claire.
05:39You know I sent her to you.
05:41So she says.
05:42I don't know whether it was smart to throw her out so abruptly.
05:46She may become suspicious.
05:48About what?
05:49About your wanting to kill her.
05:51You're out of your mind.
05:52You're crazy.
05:54Remember how you felt when Claire told you...
05:56That she was replacing you in the part that I had picked for you in...
06:00Cries of dissent?
06:02Remember how you raised because you knew that Claire was throwing you out.
06:05Not because of your lack of ability.
06:07But because she wanted the part for her lover.
06:11Edward Linville.
06:13You even threatened to kill her.
06:14I don't have to listen to any more of this.
06:17Right now I could cheerfully have murdered you if you'd been alive.
06:23Hello.
06:24Jason, this is Claire.
06:26Darling, I do think you owe me some sort of explanation...
06:28for almost throwing me out of your place a while ago.
06:31Claire, my love, the only thing I owe you is a punch in the mouth.
06:34And if you were a man, I'd be happy to give it to you.
06:40Are you going to be with us long, Mr. Phillips?
06:42Well, that depends.
06:43You'll find all sports and great weather at the Clarkstown Inn.
06:46You will be in 445.
06:49If there's anything you want, don't hesitate to ask.
06:56Now, before I call Alita, I think I'd better see if Peter is still with me.
07:01Here I am, Jason.
07:03You didn't think you could run away from me, did you?
07:06I wasn't sure, but I was hoping.
07:08I'm curious about one thing.
07:11Why did you pick this godforsaken little town as a place of refuge?
07:15Because I happen to have been born right here in Clarkstown.
07:18Ah, then this is an attempt to recapture the safety of your childhood.
07:23That's very touching, Jason.
07:25I've had enough of you tonight, Peter.
07:27Time for me to do what I came here for in the first place.
07:30Talk to an old friend.
07:36Hello?
07:37Alita, what a delight to hear your voice after all these years.
07:40And it is a pleasure to hear yours, Jason.
07:43Oh, Alita, you're too much.
07:45After all these years, you hear me say your name and immediately you know my voice.
07:48It is a distinctive voice, Jason.
07:51Are you calling from New York?
07:52No, I'm at the inn right here in Clarkstown.
07:54Matter of fact, I came here just to see you.
07:56How nice.
07:58But, Jason, there's been a lot of years since we last spoke.
08:01And right now it's almost past my bedtime.
08:04How about breakfast with me tomorrow?
08:12More coffee, Jason.
08:14No, thanks, Alita.
08:17Alita, I'm being haunted.
08:19I think I'm going crazy.
08:20I don't know where to turn or what to do.
08:22That's when I came to see you.
08:24Do you think you can help me?
08:25If you'll calm down, maybe.
08:27Well, you just don't know what it's like.
08:28And I can't find out unless you tell me.
08:31Do you know this ghost?
08:33Of course.
08:34It's the famous Broadway producer, Peter Truro.
08:37I read about his death.
08:39It was only a short time ago.
08:41That's right.
08:42And he's been after me for the past two weeks.
08:44How does this haunting manifest itself?
08:48Through television.
08:50Every time I turn on a TV set, it's Peter's face that appears.
08:54I can't get any other programs, just Peter Truro.
08:58What does he say to you?
09:00Well, that's what's got me scared.
09:01And he's asking me to kill his wife.
09:05What frightened you, Alita?
09:06Why?
09:08Well, Jason, as I remember you, when you were a boy, you were not particularly psychic or even sympathetic to
09:15psychic phenomena.
09:16That's right.
09:17In order to help you, I must find out why the ghost of Peter Truro shows you as his instrument
09:23in the first place.
09:24Can you?
09:25I can try.
09:27But not this morning.
09:29Can you come back tonight for another seance?
09:31Like the one you remembered as a boy?
09:33That's why I came.
09:35I'll be here, Alita.
09:40I can't promise anything will come out of this.
09:43I can't even promise to make contact.
09:46But if I do, you will have to keep absolutely quiet.
09:50Understand?
09:51Yes.
09:51Yes, I do.
09:52All right.
09:53Now, hold my hands.
09:56Tighter.
09:58Yes, that's it.
10:00The light.
10:02The light is too bright.
10:04That's my eyes.
10:05I can't see.
10:08Ah.
10:10Better, yes.
10:12That's better.
10:14Now, I see.
10:17I see you quite clearly.
10:21Jason.
10:23Jason, why did you do this?
10:25Just when we two were getting along so well, you went and brought this stranger in.
10:30Well, Peter, I...
10:30Jason, you must keep quiet.
10:33You promised.
10:34Let him talk for himself.
10:36We have some wonderful chats when we're alone.
10:39Jason is a friend of mine.
10:41He has asked my help.
10:43Why did you choose him to torment?
10:47It is I who am in torment.
10:50You must know that.
10:51It is I who cannot rest until a vow has been kept.
10:55What vow?
10:58The marriage vow.
11:00Has it not been kept?
11:02Did you not plight love till death do us part?
11:06No.
11:08Our vow was to remain faithful and loving forever.
11:11Forever.
11:12We changed the marriage ceremony.
11:15And the vow has not been kept.
11:18And I seek revenge.
11:21I will have revenge.
11:24I will.
11:27Alita.
11:27Alita, are you all right?
11:30Yes.
11:33Yes.
11:34I will be fine.
11:36Just give me a moment.
11:38You sure you're going to be all right?
11:39Yes.
11:41I am sure about me.
11:43But I am worried about you, Jason.
11:46I am not sure about you.
12:03The question of whether ghosts can have anything to do with dreams is one that has occupied the thoughts of
12:10psychics since people first began to talk about ghosts.
12:14Jason Phillips was haunted by a ghost, not in his dreams, but one who took over his TV set.
12:22Jason is seeking help, not from an analyst, but from an old and respected medium whom he had known since
12:30childhood.
12:30All right.
12:31All right, Alita.
12:32I don't mean to start a discussion.
12:33All I want to know is how do I get rid of the ghost of Peter Truro.
12:36I wish I could tell you.
12:38You mean I can't get any help?
12:39I'll have to spend the rest of my life listening to Peter insisting that I kill Claire for him?
12:44You can turn off your television, can't you?
12:46Oh, great.
12:47I'll never look at a TV set again.
12:48Is that your solution?
12:50How deeply was Peter devoted to his wife?
12:53What kind of question is that?
12:54A very important question.
12:55Well, there was a jealousy act that Peter was putting on.
12:59What made you think it was, as you put it, an act?
13:03Because nobody could have been that jealous.
13:06What about the relationship?
13:08Was it a good one?
13:09I don't know.
13:09I never stopped to think about it.
13:11There was the difference in age.
13:14I mean, Peter was some 18 years older than Claire, and he was Broadway's outstanding producer, and she was an
13:20actress.
13:21Are you trying to say that Claire married Truro to advance her career?
13:24That she didn't love him?
13:25Well, there was no question that Truro worshipped Claire, that he'd do anything for her.
13:30She liked Peter, but, well, I think the feeling was deeper on his side than hers.
13:36And how did you feel about Claire?
13:39Alita, I don't see the point of all this.
13:41Ghosts do not choose people to haunt, unless by design.
13:45In order even to begin to help you, we must try to find out why Peter Truro chose you as
13:52an instrument for his vengeance.
13:54How do you feel about Claire?
13:56Well, I'm certainly not fond of her.
13:59After all, she was responsible for my losing the part in cries of dissent.
14:03You wanted to kill her.
14:04Don't be ridiculous.
14:05You sound just like Peter.
14:06You won't admit it to yourself.
14:08But you're secretly delighted with the idea of punishing Claire Truro.
14:12And there is no way you can get rid of Peter Truro until you do.
14:21Welcome home, Jason.
14:23So nice to be back with you.
14:25Cut it, Peter.
14:26I liked your friend Alita.
14:28Oh, I'm glad.
14:30Well, now that your investigation has proved that I'm really a ghost and not something your imagination cooked up, we
14:36can get down to specifics about killing Claire.
14:38Now, let's get this straight.
14:40I evidently can't stop you from appearing on my TV screen.
14:44But I am not going to kill anyone.
14:47Not even Claire.
14:48Claire, I'll show you how you can get away with it.
14:51I'm not interested.
14:53What can you lose by sitting down and picking up a piece of paper and a pen?
14:58I don't know.
15:00Admit you're curious.
15:02All right, I'm curious.
15:04Oh, come on.
15:05Jason, you know we both burn for revenge.
15:08You because Claire fired you from cries of dissent to replace you with her lover, Edward Linville, who is awful.
15:16Have you seen him?
15:17Oh, I don't have to.
15:18I know he's terrible.
15:19But he's playing the part.
15:23And he's sleeping with my wife.
15:25So, uh, get the paper and pen, eh?
15:30All right.
15:31Now write the following.
15:34My darling, this should not come as a surprise since we talked about your unfaithfulness.
15:47Now, wait a minute, Peter.
15:48There's not much more.
15:50Unfaithfulness many times.
15:53And you know that I said I would kill you.
15:59My dearest.
16:01Prepare to die.
16:04And sign it, Peter.
16:07What do you think she'll say when she finds that in her desk drawer, hmm?
16:11Well, I think she'll laugh because she'll know it's an obvious forgery.
16:14Well, take another look, Jason.
16:16And then tell me if you'll recognize the writing.
16:19What?
16:22How did you do it?
16:24This is your handwriting.
16:31Please.
16:32Please, Edward, don't make me look again.
16:34Darling, you must.
16:36This thing has gone too far for you to give in to it now.
16:39Now, please open the drawer.
16:40What if I find another of those horrible notes?
16:43You won't find any more.
16:45I've had the only key to the drawer in my pocket for the past two days.
16:48Oh, can't we just let it go for now?
16:50Open the drawer.
16:52Now, here's the key, darling.
16:58What was it?
17:00Another note.
17:02Another one.
17:02Well, that's impossible.
17:04Let me see.
17:05No, don't.
17:08It's impossible, you said.
17:10Impossible.
17:12All right, Edward, read what it says.
17:14Read it.
17:15And tell me it's impossible.
17:19I think we should go to the police.
17:20And tell them what?
17:22That you're getting notes from a dead man?
17:24Well, haven't you been telling me all along that that was impossible?
17:26Of course I have.
17:28That we could go to the police
17:31and tell them that some vicious, practical joker is blackmailing me.
17:35He hasn't asked for anything.
17:36Oh, he's building up to it.
17:37I know he's building up to it.
17:38Who is he?
17:39That's the big question.
17:41Who is doing this and how?
17:43I'll swear that the notes are in Peter's handwriting
17:45and any handwriting expert will swear to the same thing.
17:48Then maybe we should ask the police to begin looking for a master forger?
17:52I thought you said we shouldn't go to the police.
17:54Well, I have an idea.
17:56Now, it may be crazy and I don't know whether or not it'll help,
17:59but it's an idea.
18:00I'll do anything, anything to stop this nonsense.
18:03Well, maybe we should find a spiritualist
18:06and have a consultation.
18:12Who is it?
18:14Ed Linville.
18:17Well, if I say I'm surprised, I'm sure you'll understand.
18:20Completely.
18:23And I'm sure that you'll understand
18:25that I wouldn't be here in your apartment
18:27unless I thought it was very important.
18:29Granted.
18:30I'm here because I can't help feeling
18:31there's some connection between you
18:33and some crazy notes Claire's been getting.
18:36Notes?
18:37Don't think I understand.
18:38Somebody has started a systematic campaign
18:41of persecution against Claire.
18:43Well, why don't you go to the police?
18:44Because I'm afraid of the publicity.
18:46Claire will look silly
18:47because the persecution is seemingly directed by Peter Truro.
18:52Well, she can't be serious.
18:53How could Peter possibly...
18:54That's what everyone's reaction is
18:56because I can't explain the notes.
18:57That's the second time you've mentioned notes.
18:59They're vicious, handwritten little jottings.
19:02All reminding her of some silly vows
19:05that she had made with Truro before they were married.
19:08And they threaten her life.
19:10They're all signed by Peter Truro.
19:13Well, it's impossible.
19:13That's what I said.
19:15Claire insists that the handwriting is Peter's.
19:18It's been checked by three handwriting experts.
19:20All three say Claire's right.
19:22The handwriting is Peter's.
19:23Well, that still doesn't explain
19:24what brings you here to see me.
19:26I told you, Claire's sense there's a connection.
19:30She told me she came to see you.
19:32Yes, she did.
19:33And she told me you behaved rather strangely.
19:35Look, I know you're worried about Claire,
19:37so I'm giving you a lot of latitude,
19:38but you're really beginning to annoy me, Linville.
19:40I'm just trying to find out
19:41why you got so angry with her
19:43when she was only talking about her dreams.
19:47She came here, I thought,
19:48to ask my forgiveness
19:50for the raw deal she gave me
19:51in cries of dissent,
19:53a deal which you were part of.
19:55Now, why should I sympathize
19:56with Claire and her problems?
19:57We were never that close before Peter died.
19:59And as far as you're concerned...
20:00Can you forget that I replaced you?
20:02You don't have a right to ask me to forget.
20:04Oh, yes, I have.
20:06And I'm going to get some answers
20:07or the cops are going to get some information,
20:09even if it means bad publicity.
20:11The cops?
20:12Claire and I went to a medium.
20:13We showed her the notes.
20:15We told her all we knew.
20:17She held a seance
20:19and she came up with your name.
20:20And that's what you're going to tell the cops?
20:23That and the fact that you're mad
20:24because I replaced you in cries of dissent.
20:26You've had this coming
20:27and now you're going to get...
20:29I'll kill you.
20:30So help me, I'll kill you.
20:38So, Jason,
20:40we made quite a spectacle of ourselves
20:42with Edward Linville, didn't we?
20:43How did that medium get my name?
20:45She must have been extraordinarily perceptive.
20:48You know that it was a she.
20:50You're in on this.
20:51Oh, really, Jason?
20:52You're becoming paranoid.
20:54Since I'm obviously depending on you
20:56to kill Claire for me,
20:57it would be extraordinarily stupid
20:59for me to have you suspected
21:01even before the crime.
21:03Nobody is going to be suspected
21:04because there isn't going to be any crime.
21:06Oh, you're a Drenman
21:07still working overtime
21:08because of that scrap with Linville.
21:10When you calm down,
21:11you'll realize what a fool
21:13you're making of yourself.
21:14No need to remind me.
21:15I realized that the minute Linville
21:16said he'd been given my name.
21:18What story can Linville take to the police?
21:21He can accuse me
21:22of writing poison pen letters to Claire.
21:24He can?
21:25On what evidence?
21:27The word of a medium?
21:30According to Linville himself,
21:32Claire had the notes checked
21:33with a handwriting expert
21:34who swore that the handwriting
21:36was mine.
21:38Now, how does that point to you?
21:41Why can't you leave me alone?
21:43Oh, come, Jason.
21:45You were having a ball
21:47with the notes
21:47and watching the effect
21:49they had on Claire.
21:50All right, I'll admit that,
21:51but writing nasty little notes
21:53is a lot different than killing.
21:55Well, of course it is.
21:56And you want me to guarantee
21:57that no one will ever connect you
21:59with a killing.
22:00That's what you really want,
22:01isn't it, Jason?
22:02Look, you're too smug
22:03for me to argue with.
22:04There's no point
22:05in any further discussion, so...
22:06Now, now, hold on a minute, Jason.
22:07Hold on.
22:09I want to tell you
22:10how I can guarantee
22:11your being in the Claire.
22:13Like promising me
22:14you won't give the police my name?
22:15I offer you complete safety.
22:18How?
22:20A suicide note.
22:22Suicide?
22:23Exactly.
22:25Claire will commit suicide.
22:28Take an overdose
22:29of sleeping pills
22:30and leave a completely
22:31authentic suicide note
22:33to prove it.
22:34You mean you're really
22:35going to drive Claire
22:36to suicide?
22:38Don't you think Claire
22:39is the suicidal type?
22:40No.
22:41I agree.
22:43That's why we must
22:44have the note.
22:46Do you want to write it now?
22:48Are you out of your mind?
22:50Just write what I dictate.
22:51No way.
22:53We are going to say
22:54that she just couldn't stand
22:56the idea of betraying me
22:59and breaking her
23:00solemn marriage vow.
23:01Now, you're not going
23:02to mention me, are you?
23:03Of course not.
23:04Somebody will remember
23:05that the earlier notes
23:06dealt with me in Linville.
23:07That's why we'll just
23:08stick with her guilt
23:09about betraying me.
23:11You see how careful
23:12I'm being about involving you?
23:14Yes, but you want me
23:15to write the note.
23:16You must.
23:17I guarantee
23:18the handwriting experts
23:19will all swear
23:20the handwriting is genuine.
23:22In addition,
23:22it will be on her
23:23special stationery,
23:25of course.
23:25And how are you
23:26going to arrange that?
23:27You are.
23:29You are going to be
23:30invited to a party.
23:32A bash that Claire
23:34will be giving next week.
23:35And while you're there,
23:37I'll arrange to show you
23:38the room where Claire
23:39keeps her stationery
23:40and the desk.
23:41Oh, forget it.
23:43Haven't you ever heard
23:43of fingerprints?
23:44Mine will be all over the place.
23:48Pick it up, Jason.
23:51That's Claire calling
23:53with your invitation.
23:58Congratulations, Jason.
24:00You accepted Claire's invitation
24:01with just the right
24:02amount of reluctance.
24:04How did you know
24:04that Claire would call?
24:06Oh, you must grab me
24:06certain ghostly secrets
24:08of the trade.
24:09It should reassure you
24:10about our chances
24:11of pulling off
24:12a successful murder.
24:13I thought you said suicide.
24:14Yes, I did.
24:15But to be quite accurate,
24:16I should have said
24:17apparent suicide.
24:19We both agreed
24:20that Claire
24:20wasn't the suicidal type.
24:22Then what was all that talk
24:23about sleeping pills
24:23in a suicide note?
24:25Just talk?
24:25By no means.
24:26Well, she's not going
24:27to take an overdose
24:27of her own free will.
24:29That is where
24:30you come in, Jason.
24:32You'll have to see to it
24:34that she takes them.
24:35We'll work that out somehow.
24:37The devil, we will.
24:38This is where I get off, Peter.
24:40I'm finishing with you
24:40once and for all,
24:41even if I have to
24:42smash the set.
24:43We're past that, Jason,
24:45old boy.
24:46What?
24:47Wait a minute.
24:47The set's off.
24:48If I hear you,
24:49why can't I see you?
24:50Of course the set is off, Jason.
24:53But now we have
24:54such a close relationship
24:55that I don't have to depend
24:56on a mechanical device
24:58to communicate with you.
25:00From now on, Jason,
25:02I'm your friend
25:04and faithful companion.
25:11Who was it who first said,
25:12with a friend like that,
25:14who needs enemies?
25:16Ah, well.
25:17It really doesn't matter.
25:19What matters is
25:20that a ghostly voice
25:21has taken control
25:22of Jason Phillips.
25:24All of us are driven
25:25sometimes by forces
25:27we don't clearly see
25:28or understand.
25:29But how many of you
25:30have ever obeyed
25:31the commands of a ghost?
25:33And what happened
25:35when you did?
25:36Don't answer that.
25:48People who hear voices
25:50either tell no one
25:52or lay themselves open
25:53to all sorts of risks,
25:55not the least of which
25:57is ending up on a couch.
25:59Actor Jason Phillips
26:00has been hearing
26:01the same voice for weeks,
26:03a voice of a Broadway producer
26:05who keeps urging Jason
26:07to kill the producer's
26:09actress wife.
26:11Jason is now disturbed enough
26:13to seek help
26:14from a distinguished
26:15and brilliant psychiatrist.
26:16The whole purpose
26:17of our talks, Jason,
26:19depends on your deciding
26:20what is important.
26:22Now, obviously,
26:23your losing the part
26:25in cries of dissent
26:26was a real shock to you.
26:28Well, it would be to anybody.
26:29Of course,
26:30but what about Claire Truro?
26:33What was your relationship
26:34with her before that?
26:36It was friendly,
26:38casual.
26:39I mean, after all,
26:40she was Peter's wife,
26:41and he made no bones
26:41about how he felt about her.
26:43Were you attracted to her?
26:45She's a very good-looking woman.
26:46That's not what I asked.
26:49Oh, I guess maybe,
26:52but nothing earth-shaking.
26:54And how did she feel about you?
26:56I don't know.
26:57I mean, I...
26:58I think it might be wise
27:00if you could recreate
27:01the day she told you
27:02she was replacing you
27:04in cries of dissent.
27:06Well, I don't know
27:06if I can remember all of it.
27:08I came to the theater that day
27:09about the same time as usual.
27:11Rehearsal was scheduled for 11.
27:13I got there about 10.50.
27:15I was sitting in my dressing room
27:16when I heard a knock on the door.
27:20Come in.
27:22I'm glad you're early, Jason.
27:24There's something
27:25I want to talk to you about.
27:26Fine.
27:27Will I need the script?
27:27No.
27:30Jason, darling,
27:31this isn't going to be very pleasant.
27:33Well, the last few weeks
27:34haven't been very pleasant.
27:35This is something I know
27:37is going to hurt you
27:38and I wish
27:40how I wish...
27:41You're not making sense.
27:43I've never done this before.
27:45I've never fired an actor before.
27:47Fired an actor?
27:51You mean I'm out of the play?
27:53I'm afraid so.
27:55But why?
27:58Why?
27:58You know I'm good in the part.
28:00You know what the part means to me.
28:01Why would...
28:02I think you're beginning to understand.
28:05Believe me, Jason, I...
28:08Does Linville mean that much to you?
28:11Well, you knew I...
28:13I knew you were seeing a lot of him,
28:14but I didn't think that...
28:17Well, isn't this very sudden?
28:19Peter's only been dead a few days.
28:21Edward Linville and I...
28:24Well, we go back a long way.
28:26Claire...
28:27I don't want to hear any stories
28:28of old love affairs.
28:30It's not going to make me feel
28:31any differently about
28:32the kind of deal you're giving me.
28:33I don't suppose I could expect you
28:35to feel any other way.
28:36Come off it, Claire.
28:38You cut my heart out
28:39and you want to be forgiven?
28:40You'll get your full salary
28:41for the run of the game.
28:42I don't need it.
28:43I'll take my two weeks' notice.
28:44I'll be in touch with your agent.
28:47Goodbye, G.
28:48And that's about the way it was, Doctor.
28:51Oh, a traumatic experience.
28:54It has left a deep scar.
28:55Well, I knew that before I came to you.
28:57Now, help me.
28:59Well, the help must come from within you.
29:02You don't believe in this ghost of mine.
29:04Do you?
29:06We keep going around in circles, Doctor.
29:08Not quite.
29:10The first day you came to me,
29:12you wanted to know whether or not
29:13you could actually hear a voice
29:15and be perfectly sane.
29:17You remember I gave you an answer.
29:19Yes, you said it was possible.
29:20And then?
29:21Then I told you the voice I heard
29:22belonged to a dead man
29:23and asked if you believed in ghosts.
29:25And do you remember my answer?
29:27Yes, you said for some people,
29:29ghosts are a way of life.
29:31That's right.
29:32Doesn't that apply to you?
29:34No, and I don't know anyone
29:35it does apply to.
29:36Doctor, if you're trying to confuse me,
29:38you're doing a great job.
29:39I'm trying to lead you to a conclusion.
29:42You'd only kill someone who did you harm.
29:46Does that seem so strange?
29:48Someone like Claire Truro?
29:50There you go again, Doctor,
29:51trying to prove something.
29:52Prove what?
29:53That I'd really like to kill Claire.
29:54Wouldn't you?
29:57Yes.
29:58Yes, I would.
29:59I'd like to get my hands around her throat.
30:02Yes, I want to kill her.
30:07What in the world have you done, Jason?
30:10Made a purchase, Peter.
30:11A mannequin.
30:12Don't you recognize her?
30:13Should I?
30:15Well, she's a lady very close to your heart.
30:17To me, she just looks like
30:19any other window dummy
30:20they use in dress shots.
30:21Ah, but this one is different, Peter.
30:23Don't you recognize your beloved wife, Claire?
30:27What kind of foolishness is this?
30:30Expensive, made-to-order therapy
30:32for a man who talks to ghosts.
30:33A ghost who wants him to kill his wife.
30:36Now, I prop Claire up here
30:39in the corner of this couch,
30:41and I hear!
30:42And I hear again!
30:44And again!
30:45And again!
30:46And again!
30:47You feel better?
30:49Much better, Peter.
30:50You see, I'm willing to admit to you now
30:53that I am aggressive towards Claire,
30:55and I would like to see her dead.
30:57That is progress.
30:59That's what my doctor says.
31:01Now that I've admitted the terrible thought
31:02and acknowledge it,
31:03I can get rid of my aggression.
31:05By hitting that department store dummy
31:08on the head?
31:09You go ahead and laugh.
31:10But it's going to work.
31:15Jason?
31:16Jason, over here!
31:17Oh, great party, Claire!
31:19Thank you, Jason.
31:21I want you and Edward to shake hands
31:23right here and now.
31:24Of course.
31:25Go on, Edward.
31:26Go on, shake hands.
31:27Well, I think I made a fool of myself, Jason.
31:29Well, you don't have a monopoly on foolishness.
31:31I kind of lost my head, too.
31:33Well, it's all over now.
31:34And even though Edward said I shouldn't,
31:37I have to ask a favor, Jason.
31:38Go right ahead.
31:39Well, you know that little church
31:40around the corner from your apartment?
31:42You mean St. Anthony's?
31:43Mm-hmm, that's it.
31:44They have a theatrical about this time every year,
31:46and I've known Father Kinsolving
31:48for years and years, and...
31:49Well, I...
31:50I always donate some costumes,
31:52and I was wondering if you'd be kind enough
31:55to drop them off for me.
31:56No trouble at all.
31:57I'd be happy to.
31:58You see, Edward,
31:59what you called my silly brainstorm
32:01turned out to be not such a bad idea at all.
32:08Welcome home, Jason.
32:10Did you enjoy the party?
32:11Matter of fact, I had a ball.
32:13I see you have the clothes
32:14with which you can dress
32:15that ridiculous dummy,
32:16so it looks even more like Claire.
32:19These are costumes
32:19that I have to give to St. Anthony's.
32:21Well, try one of them on the dummy.
32:23You'll find it will make
32:25your therapy more effective.
32:27Go on.
32:28I like that blue dress.
32:29Wait a minute.
32:31Did you have anything to do with this?
32:34Of course I put the idea
32:35into Claire's head
32:36of asking you to deliver the costumes.
32:39I think it's going to please me
32:41to see a more lifelike Claire
32:43in your living room
32:44and give you
32:45a good deal more of satisfaction.
32:50All right, Doctor,
32:51I'll admit I do feel better.
32:53But all that pummeling
32:54and smashing at the model of Claire
32:55hasn't stopped me
32:56from hearing Peter's voice.
32:57Do you also see him?
32:59Only when I turn on the TV.
33:02I don't bother with that anymore.
33:03But I am still confused.
33:06You and I have these long conversations
33:08and...
33:09You were about to say.
33:12Well, I don't know.
33:13I, um...
33:14There are too many things
33:15that can't be explained away
33:16because of my aggressiveness.
33:18Those notes
33:19and the fact that they were judged
33:20to be in Peter's handwriting.
33:21Which you've often seen enough
33:22on checks and letters.
33:24I'm not that good a forger.
33:25All right, Jason.
33:27What is the alternative?
33:30I don't understand.
33:32We've come a long way
33:33since you first came here.
33:35Let's assume
33:35that you didn't forge the notes.
33:37You know who wrote them,
33:38but someone else dictated them.
33:41And the same person
33:42guided your hand.
33:43Now,
33:44who could that person
33:45possibly be?
33:47I've been telling you.
33:48The ghost of Peter Truro.
33:50And this same ghost
33:51influenced his wife
33:53to give you costumes
33:54to deliver to a church
33:55or a theatrical.
33:56He says he did.
33:57This, then,
33:59is the alternative
33:59you must face.
34:01That there is a ghost.
34:04That he is the ghost
34:05of Peter Truro.
34:07And that he is haunting you.
34:09And that I believe
34:09in that ghost?
34:11Don't you?
34:14I'm afraid
34:14I don't have any choice.
34:21Who is it?
34:22A leader.
34:23Oh, come in.
34:25Thank you for coming
34:26so soon after I called.
34:28I'd never forgive myself
34:29if I hadn't.
34:32Who's that?
34:33It's just a dummy
34:34dressed in Claire's clothes.
34:35You must get rid of it.
34:37Well, I will,
34:37but I asked you
34:38to visit with me.
34:39Get rid of it?
34:39No.
34:40What do you want me to do?
34:40Throw it out the window?
34:41It doesn't matter.
34:43Don't you realize
34:43how dangerous it is
34:45for you to have her here?
34:46Oh, come on, Alita.
34:47It was my doctor's idea.
34:48He said I could use the dummy
34:49to take out my aggression.
34:50Indeed.
34:51And where did you
34:52get the clothes?
34:53Claire gave them to me.
34:54Does she know
34:55how you're using them?
34:56She gave me a lot of stuff
34:57to give to a church theatrical.
34:58I kept this one dress out.
35:00Are you so friendly
35:01that she would ask you
35:02to do her a favor like that?
35:04Look, I'm afraid
35:04I've gone as far as I can
35:06with the doctor.
35:07He feels that it's
35:08all my subconscious.
35:10My urge to kill Claire
35:12that accounts for everything.
35:13Your wish to kill Claire
35:14does not mean
35:15there are no ghosts.
35:17There is evil
35:18all around you.
35:19Either you or Claire
35:20must leave New York.
35:21I don't see how running away
35:22will get rid of Peter.
35:23I'm not so much concerned
35:24now with your getting rid of Peter
35:26as I am with saving your life.
35:28You really mean that,
35:29don't you?
35:30You're really frightened.
35:31There was only one other time
35:32in my life
35:33when I've been this frightened.
35:34When was that?
35:35No.
35:36No.
35:36Now, Jason,
35:37please come away with me.
35:38Come back with me
35:39to Clarkstown until...
35:40Until?
35:41Until the restless thirst
35:42for revenge
35:43has left the ghost
35:44of Peter Truro.
35:53You were sensational
35:55with the night,
35:55Claire, my life.
35:57Thank you, Edward.
35:58Shall we eat something
35:59before we go home?
35:59No, no.
36:00I'll meet you at the house.
36:01I have to go someplace first.
36:03Oh, very mysterious.
36:05Well, it's important.
36:06Will you care to tell me?
36:08I'm afraid you'll disapprove.
36:10Well, if it's what I think it is,
36:12I certainly will do more
36:13than disapprove.
36:14Oh, be a darling
36:15and don't ask any questions.
36:17I'll tell you all about it
36:18when I get home.
36:19Now, Claire, I'm not going...
36:20I have to get this makeup off
36:21and I...
36:22You're not going.
36:23Now, don't be silly, Edward.
36:25You don't even know
36:26where I'm going.
36:26Stop prettying me
36:27like a child, Claire.
36:28It's obvious that you're
36:29taking that last note seriously.
36:32I want these notes to end.
36:34I want this whole situation
36:36to end.
36:37Can you promise me
36:38that you can stop it, Edward?
36:40No, but...
36:40But this last note says
36:41I'll have all the answers
36:43if I go alone
36:45to Jason's apartment.
36:46And you believe that?
36:47It also says
36:48I'll find the door open.
36:50I'm going there.
36:51And if the door's open,
36:52I'll go in.
36:53But, Claire...
36:53You know where I'll be.
36:55And if I'm not home in an hour,
36:57you can come after me.
36:58Call the police
36:59or do anything you want.
37:07Oh, darn,
37:07I just remembered something, Alita.
37:09What?
37:10I left something important
37:10in the apartment.
37:11Oh, but, Jason,
37:12our bus leaves in half an hour.
37:13You promised to go home with me.
37:14There's plenty of time.
37:15My apartment's only a short distance.
37:17I'll grab a cab
37:17and be back in plenty of time.
37:19Meet you at gate number five.
37:22You're doing the right thing, Jason.
37:24I promise a stunning surprise
37:26awaits you in your apartment.
37:28And after tonight,
37:30it will be all over.
37:31Cab!
37:32You'll like what I've done
37:33with the mannequin, Jason.
37:35That's a promise.
37:41The door's open.
37:43That part of the note is right.
37:45Jason?
37:46Jason, are you home?
37:48Oh, darn.
37:51Oh, where are the lights?
37:54Oh!
37:56What's this?
37:57Jason, you're not playing
37:58some silly game, are you?
38:00Oh.
38:02Oh.
38:03A dummy.
38:04Some kind of store figure.
38:07Jason, whatever you're up to,
38:09get this thing away from me.
38:12It's just where a dummy belongs.
38:14On the floor.
38:16Jason?
38:17I'm too old to be afraid of the dark.
38:20I'll just sit and wait for you.
38:23And if you don't come soon,
38:24Edward will be here.
38:25I'm warning you.
38:27Oh.
38:28Oh.
38:30I thought mentioning Edward
38:31would do it.
38:32Switch on the light, Jason.
38:36Oh, Peter.
38:37This is what your surprise is.
38:40You've made the mannequin talk.
38:43Marvelous, Peter.
38:44Who are you talking to, Jason?
38:46Please turn on the light.
38:47Thank you, Peter.
38:48This is really wonderful.
38:57I don't know how you did it, Peter.
39:04Jason, you're killing me.
39:06Jason, stop.
39:11That finishes you once and for all.
39:17Now, a little light.
39:21Claire.
39:23Claire.
39:25It's really Claire.
39:27Of course, Jason.
39:30I've kept my promise,
39:32and you've done the job.
39:33Now, you're rid of me forever.
39:38Goodbye, Jason.
39:41Claire.
39:43Claire, I've really killed you.
39:46No.
39:48No.
39:49Oh, no.
39:56Well, that's one way to rid yourself of a ghost.
40:00Jason Phillips was no longer haunted.
40:03However, I certainly don't recommend it, the rule.
40:07I do recommend, however,
40:09a more generous system of disbelief.
40:11One tells you he's hearing voices he can't explain.
40:16Our cast included Mandel Kramer,
40:18Ralph Bell,
40:19E.V.
40:20Jester,
40:20and Bob Caliban.
40:21The entire production was under the direction of Hyman Brown.
40:25Radio Mystery Theater was sponsored in part by
40:28Buick Motor Division,
40:30the Kellogg Company,
40:31makers of Kellogg's Special K cereal,
40:34and new sugar-free Diet 7-Up.
40:37This is E.G. Marshall inviting you to return to our mystery theater
40:41for another adventure in the macabre.
40:44Until next time,
40:47pleasant dreams.
40:51The end of the day is the end of the day is the end of the day is the end
40:53of the day is the end of the day is the end of the day is the end of the
40:53day is the end of the day is the end of the day is the end of the day is
40:54the end of the day is the end of the day is the end of the day is the end
40:55of the day is the end of the day is the end of the day is the end of the
40:55day is the end of the day is the end of the day is the end of the day is
40:55the end of the day is the end of the day is the end of the day is the end
40:55of the day is the end of the day is the end of the day is the end of the
40:55day is the end of the day is the end of the day is the end of the day is
40:55the end of the day is the end of the day is the end of the day is the end
40:55of the day is the end of the day is the end of the day is the end of the
40:55day
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