 Welcome, Weirdos, I'm Darren Marlar and this is Retro Radio Sunday on Weird Darkness. Each week I bring you a show from the golden age of radio, but still in the genre of Weird Darkness. I'll have stories of the macabre and horror, mysteries and crime, and even some dark science fiction. If you're new here, welcome to the show and be sure to subscribe or follow the podcast so you don't miss future episodes. And if you're already a member of this Weirdo family, please take a moment and invite someone else to listen in with you. Spreading the word about the show helps it to grow. If you're here because you're already a fan of nostalgic audio and print, you'll want to email WeirdDarkness at RadioArchives.com. When you do that, you'll get an instant reply with links to download full-length pulp audio books, pulp e-books and old-time radio shows for free. That email address again is WeirdDarkness at RadioArchives.com. Coming up in this episode, it's Death in the Bayous from The Hall of Fantasy. There is some conflicting information about the show itself in that some sources say it ran on the mutual broadcasting system from August 22, 1952 until September 28, 1953. But another source says the episode that we're about to hear ran on March 9, 1947 on the CBS network. Either way, it stars Michael Bruce, Beth Coulter, Carol Moser, Ken Jensen, Richard Thorne, who was also the producer and director of the episode, Mel Wyman is the announcer. The story was written by Robert Olson and the original music for the episode is by Earl Donaldson. It's the story of a new bride who returns to her friend's old mansion down south on her honeymoon and finds quicksand, murder and madness. Now, bolt your doors, lock your windows, turn off your lights and join me as we listen to Death in the Bayous from The Hall of Fantasy on Weird Darkness. Ladies and gentlemen, the Granite Furniture Company with stores in Sugarhouse, Murray and Provo presents The Hall of Fantasy. Welcome to The Hall of Fantasy. Welcome to the series of radio dramas dedicated to the supernatural, the unusual and the unknown. Come with me, my friends. We should ascend to the world of the unknown and forbidden. Down to the depth where the veil of time is lifted and the supernatural reigns as king. Come with me and listen to the tale of Death in the Bayous. The Granite Furniture Company brings you The Hall of Fantasy. Listen now to original tales of the imagination and some of the classics of the supernatural as we take you down the corridors of The Hall of Fantasy to the mysterious realms of the unknown. These are stories of eerie and fantastic thrills brought to you by your friends at the Granite Furniture Stores. You know, spring is practically here and the centennial summer is not far away, so now's the time to cheer up your home with something new from the Granite Furniture Company. You'll be amazed at how easily you can improve the beauty and comfort of your home with small items here and there, such as a new floor lamp, a new lounge chair, a table or so, or some other seemingly unimportant item. The Granite Furniture Stores in Sugarhouse, Murray and Provo are daily receiving new stocks for spring home redecoration and now you may choose from these delightful new things at prices well within your budget. Go in tomorrow and see for yourself and be sure to listen a little later in tonight's program for an important announcement from the Granite Furniture Stores in Sugarhouse, Murray and Provo. And now for tonight's story. An original radio drama by Robert Olson entitled Death in the Bios. Death strikes quickly along the bayou. Who's to say the deed was murder? According to this map we should be nearing that plantation. Oh I'll be glad to get there in a chance to freshen up a bit. It's a long drive from New York. Very true, Mrs. Crane, a long ride and a dull one. That is, as far as the scenery is concerned. I think it's been lovely. No, if you say so, is at the Henpeck Groom, but the Adirondacks have this beat a million ways. Look at this swamp land. What ever made you want to spend a honeymoon down here anyway? Oh Tom would have been hurt if we'd refused his invitation. He'd have been hurt? Well whose honeymoon is this anyway? Oh now Reggie, it's really charming and you'll like Tommy. You've been down here quite a lot? I spent two summers with the Bonds and they're really wonderful friends and Tom is... The Thomas Bonds, the fifth? Yes, he's a dear. He wanted me to marry him once. Oh fine, we spend our honeymoon with one of your old suitors and we'll probably sit around the family hearth and gloar at each other. Oh no, that's over now. He's nothing more than a friend, a very dear, very rich and I'm afraid a very lonely one. I must be a fool to be able to forget you, Mad. I know I never could. Don't you dare ever try. No danger, beautiful. Ah, but me thinks I see a sign of life in this, uh, forsaken waist. Where? Oh, you see those lights ahead? Reggie, this is it. This is Tynotes. Ah, the welcoming committee. Say that Mastiff looks as if he'd like a pound or two of leg. Now take it easy, Hound. We've been invited. Hello there, would you let us in please? Who's there? Oh, it's Amos. Amos, this is Miss Madeline. Why, Miss Madeline, hello child. Of course, Master Tom's expecting you all. He's pacing the floor right now, he is. Amos, this is my husband, Master Reginald Crane. Yes, Master Reginald, welcome to Tynotes. You're just drive up to the house. Master Tom is powerful, anxious to see you all. Well, Mad, this is wonderful, really wonderful. I thought you'd never get here. And this is, I presume, the lucky gentleman. Yes, Tommy, this is Reggie. Of course, Reggie. Well, take your things off and join me in the drawing room for a little drink. Lena, take Mrs. Crane's things. Yes, Master Tom. Thank you, Lena. I'd very much like to clean up. Let me see now. That's one and another. There's your drinks. Amos, take our guest things to their rooms. Their rooms? This is a honeymoon, old man. I believe it's legal to... Oh, of course, it seems strange to think of Mad as being married. Forgive me, please. Oh, sure thing. I'm a little dazed about it myself. Fabulous luck, you know. Have you ever seen anybody so lovely in your life? No, Reggie, please. No. Never have I seen a more lovely creature. Never. Too lovely for you, old fella, much too lovely for anybody. Well, excuse me. It's getting a little self-conscious in here. Tom, how are things at dear old Tynoke? Well, that's not what it used to be, Mad. Echoes of the old days. Since the Colonel and my dear mother died, well, it's a lonely old place. Now it's yours, Mad. Well, thank you, Tom. It was nice of you to ask us down here. Well, I'll be going now. Where are you going? I moved to the guest house this morning. Do you mean this entire house? It's a bridal, sweetheart. Pardon me, Master Reggie, but do all these things come in? I'll be right with you, Amos. Excuse me for a minute, will you, Mad? Don't forget my black overnight case. Okay, I won't. So you did it anyway? Did what, Tom? Married that... Tom. I told you I'd never let anyone else have you. Tom, what are you saying? You're pardoned, Mad. I forgot myself. I thought you'd forgotten, Mad, and it's all over. Forgotten? No, not forgotten. Good night. Forgotten. Forgotten, is it? Mad, you should never have let me love you so much. Well, my pretty, here's your precious black case. Thank you, Reginald. Oh, why so formal? Well, during our courtship you called me Reggie. Now we're married, it's Reginald. I'm going home to father. Oh, please, Reggie, don't joke. Maybe we should have gone to the Adirondack. No, nonsense. All I had to offer you there was a rustic little three-room cabin, but this plantation, all to ourselves. It's like something out of Garner the Wind. That cabin sounds heavenly to me, Reggie. Now, wait a minute, beautiful. A honeymoon is no time to start second guessing. This is it. This is what we dreamed about. Yes, sir, by golly, I'm going to make our honeymoon a tinox the best either of us ever had. You expect more, then? Oh, I certainly do. Well, mighty square of you to tell me about it. We shall have as many honeymoons as there are days in the year. Oh, Reggie, you're a nitwit, but a charming one. What is it? Now, I'll see you a minute, Miss Madeline. Yes, Lena, come in. Excuse me, I didn't know the master was here. Oh, don't be shy, Lena. This is Master Reggie, my husband. How are you, Lena? Nobody the same at tinox. You shouldn't have come down here, Miss Madeline. Lena, what do you say that for? Tinox has always been my second home. That, when tinox was a home for everybody, it changed since the kennel and Mass' bond died. Mass' Tom changed. He'd get crazy drunken beers. Beat you? Why? They ain't no why, Miss Madeline. He just mean. I'd get scared of him. And tonight, Miss Madeline, he's acting awful. Lena, I won't have you saying such things. Now, you run along or I'll tell Master Tom. Oh, no, please don't tell Master Tom. Tom, please, it... He'd what? Please don't tell him. Then don't let me hear you talking like that again. I'm ashamed of you. Yes, and Lena, Madison, ooh, Lena should be dead. Well, Mad, what do you make of that? Lena never did like Tommy. Now, Tommy sounds to me like a problem child. He was. Oh, but he settled down now to this quiet life of a plantation owner. And who knows the smoldering hates that lie in the souls of men? Well, Reggie, what do you mean? Only that he still loves you and hates me. Now, I can see that right away. He wanted to put us in separate rooms. Can you imagine it? Yes, Reggie, I think you're right. Well, that's what I was going to tell you while you were out there. He said something very strange and frightened me. What did he say? He talked as if he's forbidden me to marry you. Oh, he did, huh? Have you ever said anything to you about our marriage? Nothing, whatever. That's what startled me. Well, it strikes me, my pretty, that we're... Well, skip it. What, Reggie? No, nothing. Nothing at all. Say, come on out here in the balcony, Mad. Oh, there's that moon again. And the jasmine. Oh, Reggie, isn't it lovely? Oh, I don't know. You don't? No. Anything lovely outside of you is just too dull to attract my attention right now. Then you retract your threat to go home to father? Home was never like this. What do you say we stop reading weird meanings into Tom's words and give him credit for this beautiful honeymoon mansion? This is really something, Mad. It's got that cabin beat a mile. I'll bet that little cabin is wonderful. Well, I built it. What was that? That sounds like the dog that greeted us at the front gate. Now, what's he doing out in the swamps this time of night? Well, the prince is in the swamps. Tom's there, too. Well, then I'll revise the question. What's Tom doing out in the swamp this time of night? What's that? There's something wrong out there, Mad. I'm going to see what it is. No, Reggie, don't go out there. I've got to see. Reggie, come back! No! Oh, Reggie, you fool. You don't even have a gun. Go on back. Go back to your bride, you nitwit. Go back. Uh-oh. The sentry. Nice, doggie. Rich, come here. Down, Rich. Tom. What was that screen? I thought maybe I might help. It's Lena. She's dead. Dead? But we were... By only a few minutes ago, we were... It strikes quickly in the bar, is Reggie? Now will you help me get her out of here? Oh, sure. But I want you to tell me what happened to her. Later, Reggie. Stay on the way. Now, come on out here. Just like that. Well, it looks pretty muddy to me. Is there some way around? No, Reggie. There's no way around. Are you afraid of getting your feet wet? No. Well, okay. Here goes. Hey. Hey, I went down to my waist. I seem to be stuck. You'll have to give me a hand, Tom. A hand? I don't dare give you a hand, Reggie. You're in a pit of quicksand. Quicksand? Why didn't you ruin me? I... forgot, Reggie. Tom, I can't get loose. Help me. I felt sorry for you when Madeline got word that you were a German prisoner. Then when word came through that you'd been killed, tried to escape, Madeline was broken hearted. Tom, get me out of this. It was I who tried to tears, Reggie. Madeline finally promised to marry me. They set the date, even sent out the invitations. Then you came back from your grave. That Reggie was very inconsiderate of you. I'm sinking, Tom. Do something. Do something? When you were dead, I headed the list with Madeline. When you're rid of dead, I'll head it again. Tom, Tom, get me out of here. Madeline's bound and oh, she'll hate you for the rest of your life. Hate me? Perhaps, but she'll be mine, Reggie. She'll be mine. No. Reggie, you're in pretty deep. You're in pretty deep, Reggie. Almost to your chin. Tom! Tom, you won't get away with... Oh, Madeline! Reggie. No, Madeline. It's Tom. Oh, Tom, where's Reggie? Reggie? I thought he was with you. That's where I'd be if you were my bride. He came out here to... Oh, help me find him, Tom. I'm afraid to have him out in the swamps alone. Sure, Mad. I'll have you hunt for him. But don't come out here. Why not? I'll come to you. There. You almost stepped in a quicksand pit. Quicksand? Yeah. They're very treacherous, you know. You are listening to Death in the Bayou in tonight's journey down the corridors of the Hall of Fantasy, presented by the Granite Furniture Company with stores in Sugarhouse, Murray and Provo. Well, here's the special announcement we mentioned a few minutes ago from the Granite Furniture stores in Sugarhouse, Murray and Provo. Just received another new shipment of 9 by 12 rugs. Yes, you heard correctly. Another new shipment of 9 by 12 rugs at the Granite Furniture Company. You may choose from a wide variety of colors and patterns. And in addition to these new 9 by 12 rugs, you may now choose from an excellent selection of Wilton and X-Military. Excellent selection of Wilton and X-Minster wall-to-wall carpeting. Choose from more than 20 rows. And you know that rugs and carpeting have been very difficult to get. And because of better buying connections, the Granite Furniture stores have scooped the market. So buy early tomorrow. Rugs and carpeting just received at the Granite Furniture stores in Sugarhouse, Murray and Provo. Now back to tonight's story. An original radio drama by Robert Olson entitled Death in the Bayou. Who is it? It's Tom Madeline. May I come in? Oh yes, Tom. Please do. Madeline, is there anything I can do? Oh Tom, help me find Reggie. Where could he have gone? The Bayou's have many hiding places. If he's lost, we do our best to find him. What happened out there tonight? What happened? What do you mean? There was a scream. That's why Reggie went out. He thought someone was in trouble. Now both Reggie and Lina are missing. What happened? These are treacherous swamps, Madeline. Maybe Lina was caught in a quicksand pit. It wouldn't be the first time it happened, even at Tarnoaks. It's no place for anyone who isn't acquainted with every foot of it. Then you think Reggie was... I don't know, Madeline. Quicksand leaves no traces. Where were you when Lina cried out? I must have been in my shower. The first thing I heard was Princess Barking. What did you see when you reached the quicks pit? Just Prince raising up an awful clamor about something. Is there anything we could do? Well, make sure about... About the pit? Hmm. We've never been able to find out how deep that pit really is. I'm afraid it would be a heart-breaking task in proofless, Madeline. Oh, then what can we do? You have some hounds, don't you? Blood hounds? They went out with slavery. I have some hunting hounds, but well, we could try it, I guess. Oh, then let's do it, Tom. First thing in the morning. Get a good night's sleep. Bright and early we'll start. No, I want to start right now. Oh, I couldn't sleep knowing I was doing nothing. You really loved him, didn't you? Love. Oh, I do love him, Tom. I don't want to live without him. You know, all I have asked of life is to be loved that much. Get your rest, Mad. I'll take the dogs and see what I can dig up. Tom! I'm sorry, Mad. I didn't drink. We both need a drink. Here, poor one. Drink this, Mad. You'll feel better and sleep better. Well, thank you, Tommy. You're sweet. I can get light in the east. I'll soon be able to see where I'm going. Let me go with you. No, Mad. There's nothing you could do when I don't want something happening to you, too. You stay here. Oh, I guess you're right. I'm getting a bit drowsy already. I know. I'll put a little sleeping pod in your drink. It'll calm your nerves. All right, you are. Oh, my arms feel like window-weight. I'm so sleepy. So very sleepy. That's right, Mad. Sleep. Sleep, Mad. Sleep. The Adirondacks, Reggie. Or it would have been a lovely honeymoon. Madeline. Madeline, what have I done to you? If you've only loved me, I couldn't expect you to know what a difference it always made to this old place to have you here, and how desolate it became the moment you left. Even now, as you sleep, Tinoaks has an enchantment that charm would never have had at any other time. Is it my fault if I love you too much? What are the rules, Madden? Is it all right for me to go mad with longing and these tinkering swamps where you and some other man live life like a musical comedy? I couldn't do it, Mad. Not because you love me too little, but because I love you far too much. Oh, forgive me, Madden. Loneliness is too bitter. As long as Reggie lived, I could never hope to be anything better than half-dead. Poor old Lina. That was never meant to be, but she tried to warn you and drive you away forever. That I could never lot of happen. Yes, Madden, I killed for you, but I'll do it again and again until I know your mind. One over the bi-use. Now the day will soon be here. What will it bring for you and me, Madden? How can I still the heartbreak that weeps inside you, the longing for the lost one? Reggie's gone, it's true. Reggie will never come back. I've destroyed him. But how can I destroy the memory of him? How, unless I destroy the mind in which that memory is embedded? Open your eyes, Madden. Oh, where am I? In your room. You thought you were asleep. You weren't. I put nothing in your drink. I only suggested that. But I have been asleep. A sleep I suggested to you only that. You act in my suggestion now, don't you? Yes. You believe in me, don't you? Yes. Then listen carefully to what I have to say. This is what is known as post-hypnotic suggestion. You will obey me, you know that, don't you? Yes, I know that. Then listen and don't forget. But that light, it hurts my eye. You see a light. Eye on that light, Madden, eye on the light. If that light ever bothers you, all you have to do is come closer to it. Does it bother you now? Yes. Then come closer. That's it, closer yet. Now does it bother you? Yes, it hurts my eyes. It's too bright. Then come closer. Now what do you see? You. I see you. You're very close. Then the light is what? The light is you. If the light bothers you, what do you do? Come to the light. Come to you. That's it. You come closer to me. Now remember this. That light is all the pain you know. There is no other, no other. Now what is that light? Pain. It's all the pain. And what do you do if you feel pain? I come closer to you. Right. You won't forget that. No, I won't forget. All right, Madeline. Now listen carefully. Reggie is pain. Every time you think of Reggie, you'll come to me. Do you hear that? Come to me. I am Reggie. I am pain. I am the light. Remember that. Yes. Good. Now, Madeline. Wake up. Oh, hello, Tom. How long have I been asleep? Not long. How do you feel? Oh, I feel a little strange, Tom. Well, how do you mean strange? I feel as if I've forgotten something, but I don't know what it could be. Well, I'll be downstairs, Matt. Join me as soon as possible. Tom, wait. What is it? I couldn't see you for a moment. What do you mean? Just then, when I looked at you, I... I saw nothing but a blinding glare of light. I must be going mad. I can't seem to think. I have the feeling that, now more than any time in my life, I must think. I must think. What is it? I've forgotten. Oh, think, Madeline. Think. I've never felt like this before in my life, but then how have I felt in my life? I just can't remember that. What happened to me? I want to do something. I must know. What is it? What is it? Who is it? It's Amos, Miss Madeline. Amos, could I talk to you a minute? Amos? Who's Amos? Maybe you can help me. Come in. Miss Madeline, I can't find Lena. Lena disappeared last night. Do you know where she is? Lena? Who's Lena? Who is she? What's she? Lena, Miss Madeline. Amos, what am I doing here? What's that? What am I doing here? I'm... I'm sick. I can't seem to remember. Amos, where's that light coming from? What light, Miss Madeline? That light behind you. It's blinding. Amos, what are you doing here? I looked for Lena, Massenton. She's gone. She didn't come to the house last night. Do you know where she is? Of course not. But if Lena is lost, we'll find her. Now, don't bother Miss Madeline about it. She isn't feeding well. Oh, I don't mind, Tom. Stay here, Amos, and talk to me. I told you not to bother Miss Madeline. Now, get out of here. Yes, Massenton. Amos, go, but Amos, find Lena. Amos, find Lena. Get out, you tramp. Get out of here before I hit you. Yes, Amos, go, but Amos, find Lena. Tom, will you help me? I can't seem to remember anything. You need a lot of rest. Look at me, Madeline. Yes? What do you see? Why, your face is... It's what? It's the face I've been trying to remember. Who are you? Come closer. Yes? Now, what do you see? Why, your Tom. Good. Now, sleep, Madeline, sleep. Put that face, I've got a moment to go. Or would you let me see it again? I said, sleep. Yes, I'm asleep. But I must remember, too. I must remember. Good. I must act quickly. Tonight, we'll sleep away from here. We're going a long trip. You never have need to remember. I'll give her a completely new life. Tonight, we'll drive out of here. We'll go to Cuba. That shit will go to Cuba and keep her ongoing. Reggie. Reggie, where are you? She's talking in her sleep. She remembers everything I told her for debt. But she doesn't know it. Reggie. Reggie, I can't hear you very well. What is it? What are you trying to tell me? She's talking to someone. She's sitting up. Her eyes... Her eyes are wide open. Reggie, where are you? I can't hear you. I didn't hear you, Reggie. Madeline, wake up, Madeline. Take that light out of my eyes. Look, Madeline, look. Oh, Tom. Oh, Tom, I was dreaming. You were? That's strange. You haven't been asleep. I haven't. No, Madeline. You've been right here talking to me all the time. But, Tom... Oh, what's the matter with me? I'd sooner be dead than this way. Why can't I remember anything? You have no memory, Madeline. It's been taken away from you. Who took it away? Why? Just when I need to remember. I took it away, Madeline. You? Why? Because you're about to learn something that will have killed us both. What was it? You'll know soon enough. Until then, don't try to remember. Miss Madeline, Miss Madeline. Who is it? It's Amos, Miss Madeline. I must see you right away. Come in, Amos. Miss Madeline, you've got to get out of here. Get out? Why? Master Tom's in the killer mood. He just tried to kill me. Oh, Amos, what are you saying? Tom wouldn't kill you. Yes, he would, Miss Madeline. I followed him out in the bayou. I saw him with Lena. Who's Lena? You remember Lena, Miss Madeline? She's Lena. She's my Lena. I seem to remember, yet I don't. Oh, tell me, Lena. Tell me more about her. Why should I remember her? You should remember Lena because, well, Lena's your friend. Lena tried to help you. Now she's dead by Lena. Dead, Miss Madeline. Master Tom killer. I see him withered down in the bayou. I can't see you. It's that light again. Amos, be careful. The light is behind you. Amos, I told you to stay away from Miss Madeline. Why are you here? I saw you, Master Tom. I saw you bury Lena in the bayou. You killed my Lena. I warned you. Now you're going to come back here, you Babylon fool. Come back here. Amos, Amos, be back. But Amos, come back for Lena. Miss Madeline, run away. Run away, Miss Madeline. Get that, Medlin fool. Amos, Amos, I'm coming to get you. The light is going away. I must follow it. I must follow the light. Medlin, stay back. Don't come out here. The light is going away. I must follow the light. Medlin, Medlin, turn back. Without the light, there's nothing. I can't lose the light. Medlin, I command you to go back to the house. It's gone. Where did the light go? Amos, Madeline, duck behind this tree. It's Amos. Master Tom, don't see us here. Amos, take you back to the house. Master Tom, I feel crazy. You've got to get out of here. Where are you, Madeline? Answer me. Down low, Miss Madeline. He's coming. Madeline. Madeline, don't move, Captain. Don't move an inch. The light. There's the light. Forget the light, Madeline. Freeze. Don't move a muscle. That snake isn't two feet from your face. Tom, bring the light closer. I want, I want pain. That's what I want, Tom. I want pain. I'm Reggie. Madeline. That's it. I must find Reggie. Reggie. Quiet, you little fool. That snake will strike at anything moves. Madeline, look out. Reggie. I lost Reggie. She remembers after all. Please, Miss Madeline. Listen to Master Tom. Madeline. The snake. It's Madeline. Snake. Snake. Rot in the mouth. Amos, grab her. Miss Madeline. Miss Madeline. Give her to me. Madeline, speak. Tom, you did this. Don't talk, Madeline. I'll get you back to the house. You killed Reggie. No. Reggie died in the quicksand pit. You killed him. Oh, Reggie, it would have been lovely and... Madeline. Madeline, speak to me. Good heavens, she's dead. Madeline's dead. Master Tom. Go away, Miss. Go away, Madeline. What have I done? Master Tom, you killed Master Reggie. I didn't mean to, Amos. Amos, I didn't mean to. And you killed my Lena, too. I must have been mad. Now, Amos, kill you, Master Tom. Go away, Amos. What? Now, old Amos, kill you, Master Tom. It's right. Amos must kill you now. Stand back, you fool. Get away from me. Amos gonna kill you, Master Tom. May the good Lord help me do it. Amos, give me that gun. I'll have your weapon. No, Master Tom. You won't whip, Amos. You won't whip anybody anymore. Amos. Amos, don't. Master Tom. God. This Madeline's gone. Nothing but the bubbles in the bayou. Ain't nobody left the tinopes anymore. The bayou got us all. Now, Amos, go. Amos, hear the voices. So runs the tale of death in the bayou. Well, friends, heave a big sigh and then listen to this. Another new shipment of 9x12 rugs in wall-to-wall carboning has just arrived at the Granite Furniture Company. You may choose from a wide variety of 9x12 rugs in choice, colors, and patterns. In carboning, the Granite Furniture Company is now able to offer you a choice from more than 20 rolls in Wilton or Axminster grades. This is hard to get, merchandise, and the Granite Furniture Company through its bigger buying power and better wholesale connections has scooped the market. Buy early tomorrow on easy terms rugs and carboning at the Granite Furniture Company. There is a store near you in Sugarhouse, Murray, and Provo. Remember to join us next week at the same time for another journey down the corridors of the Hall of Fantasy to hear the tale of the Doctor of Terror. Tonight's story was written by Robert Olsen. Heard in tonight's program were Michael Bruce as Reginald Crane, Beth Calder as Madeleine, Dick Thorn as Tom, Carol Moser as Lena, and Ken Jensen as Amos. Musical background was provided by Earl Dowlson. The technical supervisor was Nephi Sorensen. Your announcer is Mal Waman. These programs are produced and directed by Richard Thorn. Remember, be with us again next Sunday night on call at 8.30pm when the Granite Furniture Store in Sugarhouse, Murray, and Provo will take you on another journey down the corridors of the Hall of Fantasy to hear the tale of the Doctor of Terror. Thanks for listening to this week's Retro Radio Sunday episode of Weird Darkness. If you haven't done so yet, be sure to subscribe or follow the podcast so you don't miss future episodes. And if you like the show, please share it with someone you know who also loves old-time radio and pulp audio. If you want to hear even more, drop an email to weirddarkness at radioarchives.com and get an instant reply with links to download full-length pulp audio books, pulp e-books, and old-time radio shows absolutely free. That's weirddarkness at radioarchives.com Weird Darkness is a production and trademark of Marlar House Productions. Copyright, Weird Darkness 2023. I'm Darren Marlar and I'll see you next week for Weird Darkness' Retro Radio Sunday. Find the darkness by sharing this video with someone you know who loves all things strange and macabre. If you want to listen to the podcast, you can find it at weirddarkness.com.