August 18, 2025 • 44 mins
CBS Radio Mystery Theater - The Deadly Double
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Episode Transcript
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Speaker 1 (00:04):
Wal CBS Radio Mystery Theater Presents, come in Welcome. I'm
(00:31):
e G.
Speaker 2 (00:32):
Marshall.
Speaker 1 (00:33):
Are you familiar with the old expression when they made you,
they threw away the mold? Or there's nobody else like
you in the whole world? What is it inside every
human being that makes him or her unique? One of
a kind?
Speaker 2 (00:53):
What kind of a doctor are you? What kind of
a place is this? Anyone to leave me.
Speaker 1 (01:00):
Now, Susan, this is the last time I'm going to
ask You'll calm yourself myself.
Speaker 2 (01:06):
I'm going to tell you I'm not I'm enough and
take her and stay.
Speaker 1 (01:12):
Susan, stop yelling you the truth.
Speaker 2 (01:14):
I'm a sea I.
Speaker 1 (01:16):
Need I'll see you, but tomorrow.
Speaker 2 (01:20):
I'm not do them.
Speaker 3 (01:23):
I'm not do them.
Speaker 1 (01:35):
Our mystery drama The Deadly Double was written especially for
the Mystery Theater by Vicky Dan and stars Marion Solda's.
It is sponsored in part by Buick Mortar Division. I'll
be back shortly with Act one. Her name is Anita
(02:03):
Gregory and she leads a quiet life, an almost solitary
life except for a single casual friendship. It isn't that
she likes being alone. She has her painting to keep
her occupied and a considerable sum of money in the
bank to ensure her independence. It's just that she prefers
a peaceful existence, for there are certain things that happened
(02:28):
long ago that she would prefer to forget. She has
no way of knowing all that tonight, those certain things
are about to intrude unexpectedly from the past and totally
disrupt the serenity of the present. Look, Anita, there's this
great old like on kerl N.
Speaker 2 (02:47):
I don't care, Max. Now, why don't you go home?
Speaker 1 (02:53):
Well, it's not even one o'clock.
Speaker 2 (02:55):
Not even one o'clock, Max, I want to go to sleep.
Speaker 1 (03:00):
Why you're mad at me?
Speaker 2 (03:01):
I'm not mad at you.
Speaker 1 (03:04):
You're using me as an excuse. What are you talking about.
Speaker 2 (03:08):
You haven't written so much as a sentence in the
past month.
Speaker 1 (03:12):
I've explained that to you. There comes a time in
every writer's creative life when he reaches an pass what
you might call a writer's block.
Speaker 2 (03:25):
Off a Max, you like the idea of being a writer,
but deep inside you are basically a bum.
Speaker 1 (03:33):
Huh.
Speaker 2 (03:34):
I'm your friend, so I can tell you why do
you delude yourself?
Speaker 1 (03:38):
Why I need fresh ideas? I need fresh ideas? To
rejuvenate me. Good night, Max. It's not like you and
you're painting. All you have to do is look out
the window at some tree and you're inspired.
Speaker 2 (03:55):
My pictures are good, Max, because I don't sit around
waiting to be in fired.
Speaker 1 (04:01):
I paint what I see, A face, a tree in
the wind, a leaf, Anita, You don't understand?
Speaker 2 (04:09):
Who would call asleep? Hello? What? What?
Speaker 1 (04:16):
What? How?
Speaker 2 (04:20):
Now?
Speaker 1 (04:22):
Would I? Yes? Where? Yes?
Speaker 2 (04:28):
All right?
Speaker 1 (04:30):
Yes, I promise, I promise, Alida you okay? Who was I?
I can't believe it? Who was that on the phone?
My sister, Your sister, Susan, Susan the not, Oh, don't
(04:50):
call that. She's just disturbed. Well, she's in an institution,
isn't she it's a rest home?
Speaker 2 (04:56):
Max? How many times do I have to tell you
it's a arrest?
Speaker 1 (05:00):
Well? Call her what you want. You're the one who
pays the bill. Hey, you really look shook up? What's
the matter? I haven't I haven't seen Susan.
Speaker 2 (05:15):
It's been five years, and now now she she walked.
Speaker 1 (05:20):
She's out. She's out. When they release her, they didn't,
they didn't wait a minute. You mean she escaped, she left.
I'll call a police don't do that.
Speaker 2 (05:33):
What No, police, No, No, they can't be anybody else.
I know where she is and I'll take care of.
Speaker 1 (05:39):
This in my own way. An I don't want to
be difficult, but you're the one who signed the commitment papers.
You're the one who had her declared insane. I never
even went up there to Westbrook. They couldn't. But five
years is a long time. People change.
Speaker 2 (05:57):
I need a lot of things can happen in five years.
She said. She was trying to get in touch with
me for a long time. They wouldn't let her write,
her phone or anything.
Speaker 1 (06:05):
Anita, where are you going?
Speaker 2 (06:06):
Lock the door when you leave, Max, Let.
Speaker 1 (06:08):
Me come with you. No, I have to go alone.
It'll be all right.
Speaker 2 (06:10):
I know what I'm doing.
Speaker 1 (06:12):
Call me when you get back. Sure, I'll be waiting
up for you. Remember, I'm just down the hole. Got
to go, Anita. What I hope you know what you're doing?
So do I? She said, there'd be a phone booth.
Speaker 2 (06:42):
God, where is she?
Speaker 4 (06:45):
Susan, Susan, it's me, Anita. Where are you, Susan?
Speaker 2 (06:56):
Is that you? Who's there? Susan?
Speaker 1 (07:00):
It? Yes, Anita, it's me, Susan. Thanks for being stupid.
Enough to come, miss taking a nap? Miss what what
(07:29):
am I? Well? You're a mile off Highway twenty five
at two o'clock in the morning. Oh oh, she must
have knocked me up. Oh where's my car? H what car? See?
You better get into my car. You must be freezing
in that thin dress.
Speaker 2 (07:47):
Dress could have sworn I was wearing.
Speaker 3 (07:52):
She did.
Speaker 1 (07:53):
She changed clothes with me on top of everything? What
are you talking about, miss sister?
Speaker 2 (07:58):
She took my car? Why walach't you even changed into
Are you a policeman?
Speaker 1 (08:05):
No, no, we don't have policemen here. Miss. I'm the sheriff.
My name's Tom Wiley.
Speaker 2 (08:10):
Oh I'm Anita Gregory.
Speaker 1 (08:13):
We'll please to meet you, Miss Gregory and allow us
you get in my car before you get a pneumonia.
Speaker 2 (08:19):
Are you taking me down to the station or whatever
it is that you call it around here?
Speaker 1 (08:24):
Well, actually we call it the sheriff's office.
Speaker 2 (08:27):
Well, I don't mean to inconvenience you or anything.
Speaker 1 (08:29):
Oh no, no, it's my job. Now suppose you start
all over again and tell me exactly what happened. Now
you say, Susan is your sister twin sister? Oh? Oh,
(08:50):
twin sister. Miss Gregory. I still don't understand how you
get agree to meet her on a deserted highway. Didn't
you know she was dangerous?
Speaker 2 (09:01):
No? I wasn't sure you were sure? Well, you see,
she sounded so upset, and I was so surprised to
hear from her in the first place. It's been five years.
How did I know she'd gotten better or not?
Speaker 1 (09:16):
Now, missus Gregory, don't call me Anita. I hate miss Gregory.
Speaker 2 (09:21):
That sounds so.
Speaker 1 (09:22):
Hard, eh. I never liked formality myself.
Speaker 2 (09:28):
Wait a minute, this this doesn't look like a sheriff's
so that sign says Westbrook. Why are we stopping here?
Speaker 1 (09:37):
He doc sir, where'd you find it? Well? You know
where that phone bos is off? Ex eleven? Oh she was.
She's frankly lying in the road. Lucky I came by
when I did shoes and Hugh might have gotten killed.
Speaker 2 (09:52):
My name is Anita Gregory. I don't think we've met,
and I don't see why it's any of your living.
Speaker 1 (09:58):
Do you realize it's big because of your little lesque
paid everybody's been up path the night trying to find you.
Speaker 2 (10:04):
Wait a minute, I don't think you heard me.
Speaker 1 (10:07):
I'm not I heard what you said. Eric, Take Susan
Gregory back to her room. I'm sorry, but I had
to bring you back, bring me back. We really appreciate
the sheriff saying back. This is all a mistake. I
think you need a satit. Who do you think you are?
That's not our problem. The problem is who do you
(10:30):
think you are? Susan.
Speaker 2 (10:32):
You think that I'm Susan err and you sheriff. You
brought me here deliberately. You don't believe me either. That
whole time in the car, you are playing along with me,
all the time thinking I'm somebody else.
Speaker 1 (10:45):
I'm sorry, but you might have gotten hurt.
Speaker 2 (10:47):
This is insane. It isn't really happening. Tomorrow, I'll wake
up and let's go of me.
Speaker 1 (10:54):
Take her to her room. Eric, restrain her if necessary.
Speaker 2 (10:57):
To please. This is all a mistake, at the horrible mistake.
If I'm here and Susan is out there somewhere miles away.
Now in my car, Susan, you must now look.
Speaker 1 (11:09):
Find her before she hurts.
Speaker 2 (11:10):
Somebody, please sheruff listen, Listen to me. My name is
Anita Gregory. I live at four twenty Oak Leaf Terrace. Look,
if you don't believe me. Ask Max. That's right. Max
knows he was there when Susan called. Max will tell you.
Speaker 1 (11:27):
Please believe me, Please please, h poor girl. It's really
a shame about people like her. In the car. She
seemed so normal. She's schizoon. Think she's two people? You
(11:48):
mean this Anita character. Oh that's a sad part. She
does have a sister or sister, Anita who putty here?
There is a sister, that's right, twin sister. As a
matter of fact, I think that's part of the reason
she has such a serious identity problem. Twin. Is it
(12:09):
remotely possible that the girl I brought back he is
the other sister? If you're not sious, I know I'm
no psychiatrists, But looking back on it, she didn't seem
that crazy to me. That girl was Susan. She couldn't
fool me for a minute. A perfect example of being
(12:35):
in the wrong place at the right time. As far
as doctor Cooper is concerned, Susan is back where she
can't harm anybody. As far as Sheriff Whiley is concerned,
he has just apprehended a dangerous lunatic. But what about Anita?
She is about to discover that while it is relatively
(12:55):
easy to prove a person is insane, it is quite
a different matter to prove that a person is sane.
I'll be back in a moment with that too. By
(13:17):
all physical appearances, Anita Gregory is identical to her sister Susan.
Same eyes, same hair, same voice, But the similarity ends there,
because no two minds can ever be the same. It
is merely logical that doctor Cooper will presently recognize her
for what she really is? Or is it the moy
(13:42):
is Susan? How is you? Huh?
Speaker 2 (13:48):
Oh? Is it morning?
Speaker 1 (13:50):
Yes? Morning? More or less, it's eleven thirty. She had
a rather late night.
Speaker 2 (13:59):
Oh no, oh, I thought I dreamt all this.
Speaker 1 (14:04):
Oh no, Susan. And that's why, after last night we
must make an even more determined effort to face reality.
Speaker 2 (14:14):
Call me Susan once more, and I'm gonna scream, go
right the head.
Speaker 1 (14:18):
It's good therapy. Let out all your hostilities.
Speaker 2 (14:21):
Isn't it at all conceivable to you that being identical twins,
Susan and I might have changed places?
Speaker 1 (14:29):
But yes, there is a possibility.
Speaker 2 (14:31):
Good, We're getting somewhere. Now, what about a phone call?
Speaker 1 (14:35):
I'm afraid that's our question.
Speaker 2 (14:37):
We could clear this matter up entirely with a single
phone call.
Speaker 1 (14:41):
You know the rules about phone calls. Besides, after last
night's escapade, you've had all privileges suspended. Doctor.
Speaker 2 (14:51):
When I get out of here, I'll make sure you
never practice again.
Speaker 1 (14:55):
Oh that's excellent. Redirected hostility must be calm.
Speaker 2 (14:58):
I must maintained my cool. Doctor, explain to me about
my case. You know all about your casees humor me.
Speaker 1 (15:16):
Very well. Your name is Susan Gregory. Five years ago,
following a series of incidents where you repeatedly attempted to
kill your sister, Anita, you were declared legally insane.
Speaker 2 (15:33):
Now those incidents, couldn't they have been merely frustration or
anger of the moment.
Speaker 1 (15:38):
Unfortunately, no, You see, it's been inside you since you
were a child. No matter what you did, your sister
did it better. The years went on and you watched
as Anita became a successful artist. You grew more and
more resentful. Your jealousy became. Even now you're often jealous
(16:03):
enough to try to be her. In this way, you
can have what she's always had.
Speaker 2 (16:10):
All right, now, taking this a step further, just pretend,
pretend now that the real Susan Gregory is out there,
living in Anita's apartment and driving her car pretending to
be her. How long do you suppose she'll be able
to carry it off before she gets caught?
Speaker 1 (16:30):
Not very long, of course, little things traits unique to
Anita would be missing close friends. Notice these things? That is,
if Anita has any close friends. Oh she has well
discuss it all later. It's time for your treatment. What
kind of treatment? Eric is waiting outside to take you
(16:52):
to therapy three?
Speaker 2 (16:55):
I asked you what kind of treatment are Eric?
Speaker 1 (16:59):
Would you take her? Pleaze be down in a few minutes.
Speaker 2 (17:02):
Look, I'm not stupid. I took psychology in college. I
know a little bit about behavior modification and the things
they do in places like this. Now, what is it?
Is it electric shock therapy?
Speaker 1 (17:11):
I don't know why you're sore, upset? You feel much
better you always do afterwards, is now listen? Staying here
for a few days is one thing.
Speaker 2 (17:21):
Now, I've tried discussing the whole thing rationally with you,
and what happens. You aren't going to give me any shot? Tree, Eric,
you call yourself a doctor, you're a shoot and you're
a quack.
Speaker 1 (17:30):
You see Susan, it's just a matter of time before
your true nature comes through you.
Speaker 2 (17:35):
His show way till I get out of here, I'm
gonna sue you up to this hospital at sue everybody. Well,
sister Nita, you've done all right for yourself. This is
a nice little apartment. I think I'm gonna like it here.
Speaker 1 (17:59):
Musn't get excited. I can pull this off. Just remember.
Speaker 2 (18:05):
I'm Anita, now, yes.
Speaker 1 (18:09):
Whoa, I'm just gonna let me in. Look, don't be mad.
I can explain why I didn't wait up for you.
I fell asleep. I just went out like I like
the minute I hit the couch. Anyhow, tell me what
happened with what? Well, Anita, don't keep me in suspense
(18:30):
like this, what happened with your crazy sister? I sent
her back to Westbrook.
Speaker 2 (18:36):
We had a long chat and then I.
Speaker 1 (18:40):
Drove her back and that was it. Yeah, she just
wanted to talk. So everything's all right now, everything's fine. Hey,
this is your old friend Max. If something's bothering you,
you can tell me, of course not. I'm just tired.
(19:02):
You're sure nothing's bothering you? You're not mad at me? Oh?
Speaker 2 (19:06):
Of course? Not?
Speaker 1 (19:09):
Come here here closer. I need I see. I'm not
mad at you. Why why did you kiss me? Why
(19:32):
you never kissed me before? You said I wasn't ready
for a serious relationship. You wanted to keep it platonic
I did.
Speaker 2 (19:44):
Oh well, sorry, Max, If you don't like it, I
won't do it again.
Speaker 1 (19:53):
Oh well, no, I'm I'm not sorry.
Speaker 2 (19:57):
Max.
Speaker 1 (19:57):
I have a headache. You asking me to leave? Anita?
Speaker 2 (20:03):
Yes, do you mind?
Speaker 1 (20:05):
No? No? Sure, sure, I understand.
Speaker 2 (20:08):
Maybe some other time, Okay, sure right now? By that
was closer.
Speaker 1 (20:21):
I hope that dummy swallowed it. Susan, how do we
feel today? We?
Speaker 2 (20:33):
How do we feel? I only wish you could feel
like I feel.
Speaker 1 (20:38):
Right now. I have a surprise for you. You have
a visitor. What did you say? Someone's here to see you?
He says he's an old friend Max.
Speaker 2 (20:50):
Hold Max, Max is here.
Speaker 1 (20:52):
You want to see him?
Speaker 2 (20:53):
Max A wonderful, beautiful Max.
Speaker 1 (20:56):
I send him in. You can come in this organ
be right outside, Max. Anita, oh so bad you came.
Speaker 2 (21:07):
I thought I was going.
Speaker 1 (21:08):
Crazy, Anita, it is you? Well, of course it's me
or I wasn't sure. Max. I've got to get out
of this place. Don't worry. Never hear Max is here. Wow,
this is.
Speaker 2 (21:24):
Wild and it isn't funny. Now, how did you figure
I was here?
Speaker 1 (21:28):
Give me credit, honey, I had her peg for Susan
the minute she opened the door. She's in my apartment,
sure making life. She's you. But she didn't fool me
for a minute. No, what really did it was when
she kissed me she was here. You see, you'd never
(21:51):
do that. I mean she assumed I was your boyfriend. Oh.
Speaker 2 (21:57):
I can't wait to see the look on that doctor's
face when you tell him Max. Would you get doctor
Cooper and tell them who I really am?
Speaker 1 (22:02):
He what an idea for a story? Two sisters, twin
sisters who change places. You have my permission to write
the story.
Speaker 2 (22:10):
Now get doctor Cooper and we can discuss it on
the way home.
Speaker 1 (22:13):
Sure, of course I have to go into greater depth,
take more time to evolve my characters.
Speaker 2 (22:19):
You want thinking what I think you're thinking.
Speaker 1 (22:23):
I could come up a couple of times a week
with a tape requided.
Speaker 2 (22:25):
Oh no, you can't be thinking.
Speaker 1 (22:27):
That, Anita. Please just give me a few weeks. That's
all I need know. But can't you see it's perfect?
I haven't been inspired for months. You said, so, You're
absolutely not, and the story would practically right itself. It's
a bestseller. We ripped the facade off metal institutions. What
an exposer?
Speaker 2 (22:46):
I said, No, Oh, how.
Speaker 1 (22:48):
Can you be so selfish? Selfish? I'm being selfish, as
you see. I'm thirty six years old and I've never
been published.
Speaker 2 (22:55):
You don't seem to understand that. Every day I'm in
this place, I lose a little bit more of my grip.
There's drugs, there's shock therapy. Do you know what that
can do to a person?
Speaker 1 (23:04):
Come on, it can't be that bad, do you.
Speaker 2 (23:06):
This place can drive anybody crazy. I thought that I
could live through anything.
Speaker 1 (23:11):
Nothing ever really moved me or excited me. Well, just
why you could pull it off?
Speaker 2 (23:15):
Yeah? But even if my mind was made of concrete,
this place would, he wrote it.
Speaker 1 (23:19):
We'd be rich, both of us. Hey, I'll tell you what.
I'll give you fifty percent and.
Speaker 2 (23:25):
You're forgetting something else.
Speaker 1 (23:26):
Susan, All right, she'll get a percentage too. I listen, Max,
forget about me for a minute.
Speaker 2 (23:33):
You can't let an insane person loose in the normal world.
Speaker 1 (23:38):
Why not? It's all relative, isn't It is the whole
world going crazy. Who are we to say? What is
and what is normal? What a thing? Listen, Hey, you
don't know, Susan.
Speaker 2 (23:51):
She's dangerous.
Speaker 1 (23:53):
She seemed all right. Besides, weren't you the one who
said that maybe the doctors were mad?
Speaker 2 (24:00):
As she hasn't changed at all. She's vicious, she could
even kill.
Speaker 1 (24:05):
Don't try to talk me out of them. Listen, take
me seriously.
Speaker 2 (24:08):
For once, when we were little, even then she did
vicious things. She broke the heads off all my dolls.
She took the goldfish out of the bowl, and she
watched them die.
Speaker 1 (24:17):
Typical, healthy Tom, don't want.
Speaker 2 (24:19):
To discuss it anymore. Get me out of here, please.
Speaker 1 (24:23):
All right, Anita, Sure that's how you wanted. Doctor. I'm
ready to go now, all right.
Speaker 2 (24:32):
Now tell him Max, tell the doctor Tom what who
I am? Doctor Max knows.
Speaker 1 (24:40):
I think this has been too much of a strain
for her. You'd better go immediately, of course, Doctor, goodbye.
Speaker 2 (24:54):
No, Ma, she'll kill you when she finds out that
you know. She'll kill you.
Speaker 1 (25:05):
We live in a world ravaged with fear, a world
where the voices of logic and common sense seldom find
a sympathetic listener. It is not so very unlike the
purgatory in which Anita Gregory is now imprisoned. Today, into
that dim world, a candle of hope has briefly flickered
(25:26):
and finally been extinguished. I'll be back shortly with Act
three japons, don't j suis? I think? Therefore? I am so,
(25:48):
said the great philosopher Rene Descartes. It was this brilliant
Frenchman who logically demonstrated that there is only one thing
of which a man can be sure of, and that
is his existence. After all, most people accept what they
see as truth. They do not question the obvious. They
(26:09):
leave that for the philosophers. Oh, doctor Shy, what brings
you here? Well? You know what happened was I was
typing up the week's report and I suddenly realized that
I never got you to sign this release for that
Gregory girl. It was such a hectic night it totally
(26:29):
slipped my mind. Of course. Also, could you fill in
her sister's full name in the dress I needed for
the records. I am glad you stopped by. She was
asking for you for me. If she says there's something
she'd like to tell you, now, you don't have to
see her if you don't want to, I'm sure it
isn't anything important all. Well, as long as I'm here. Oh,
(26:53):
I'd like to see how she's doing. Oh, Susan sheriff.
Oh how you been just wonderful?
Speaker 2 (27:05):
Can't you tell?
Speaker 1 (27:07):
Doc Cooper said you wanted to see me I did.
What was it you wanted to tell me? I forget?
I think there was something. Why can't I remember? I
take your time, and I want to tell you nice
(27:30):
paintings on the wall.
Speaker 2 (27:32):
Oh, that's the doctor's idea, he feels. By giving us
a creative outlet, it's releasing hostility.
Speaker 1 (27:42):
Very good.
Speaker 2 (27:43):
Well, I'm a professional artist. I mean, Anita is a
professional artist. I'm supposed to be Susan. Susan can't paints.
Susan cooks Anita paints.
Speaker 1 (27:56):
It's always been that way. Well I'm sure, no, that creak.
But I think you're very good. Yes, you know I am.
Look at that wall.
Speaker 2 (28:09):
Look at the girl in the picture. There, her hands,
her arms, there by her neck. Do you know how
many years of training it takes the discipline anatomy classes
live models to get the bones, the muscles, the skin
(28:30):
tones just right, to understand the shading.
Speaker 1 (28:36):
Well, like I said, it's very good. Would you say
I have a style? Style? Yeah, yeah, I say so.
Speaker 2 (28:45):
You see, it takes years to develop a style. I
spent two years in Paris. That's heaven for an artist,
and that's what influenced me, those early impressionists. But Max says,
I still have a distinctive stuff.
Speaker 1 (29:03):
Oh Max, Max, Max, That's what I wanted to tell you.
What about Max? She's going to kill Max? Who's going
to kill Max?
Speaker 2 (29:10):
Right now? Max is writing a book about us how
we changed places. And I warned him. I said, Max,
Susan hates to be tricked, and she hates people fooling her.
And when she finds out that you know who she is,
she's going to get really mad and she'll kill you.
Speaker 1 (29:27):
That's very interesting. You think I'm crazy, don't you. Oh no,
I didn't say that. That's all right, it's quite all right.
I tried. I did my best.
Speaker 2 (29:40):
I warned him, and he didn't believe me either. When
Max is found dead, maybe then you'll believe me.
Speaker 1 (29:50):
That's all I wanted to tell you.
Speaker 2 (29:54):
Thanks for coming.
Speaker 1 (29:55):
Oh, there's no trouble, Hi, I wanted to see how
you were doing. Now, excuse me, I'm very tired. Sure, sure,
I was just leaving. Bye, Susan.
Speaker 2 (30:12):
We'll wait a minute.
Speaker 1 (30:14):
Don't you want this bag? All the release for him? Thanks? Doc?
I don't know what's with me these days. Look, I
I want to ask you about Susan's sister, Nita Gregory.
What about her? I was wondering when you saw her
last last? Oh? Well, I really I don't think that's
(30:38):
very important. Well, what is your impression of the sister Anita?
I hear she's an excellent artist. You here? Yeah, well,
actually i've never met her. You what, there really wasn't
any need to. I mean, she pays the bills on time,
(31:00):
and she never comes to visit. When did Susan start painting?
Just recently? How recently? Well, I don't see why. Oh
about a week ago. She's in bad for a beginner.
Matter of fact, she's pretty good. Did it occur to
(31:20):
you that maybe she was too good? Chapter two? The
second week? Oh, that's good, and let's see what we've
got so far. Meanwhile, Susan Gregory, in the guise of Anita,
(31:44):
continued more and more to assume the identity of her sister.
The door wasn't locked, so I just thought i'd come in. Oh,
I never locked my door.
Speaker 2 (31:58):
What are you writing?
Speaker 1 (31:59):
Uh? Nothing, just the usual junk. Can I see? No,
I never show an unfinished work to anybody. Just isn't done. Why, well,
it's bad luck. Hey, hey, give me that back.
Speaker 2 (32:13):
I just want to see give it back. Just let
me see Hall.
Speaker 1 (32:22):
Now look what you've done. I'm sorry, Max, I'm really sorry. Sure,
I mean, you're so funny.
Speaker 2 (32:32):
You can get so excited about a silly piece of paper.
Speaker 1 (32:34):
I wouldn't expect you to understand.
Speaker 2 (32:36):
Why not, But it's.
Speaker 1 (32:39):
Very personal when a writer writes. But you did just now.
It was almost like like tearing me in half physically.
I don't see it so funny.
Speaker 2 (32:55):
It's very funny. It's a screat.
Speaker 5 (33:01):
It's a scream. You know it's no, that's a lot
of you're playing crazy me crazy?
Speaker 1 (33:18):
Look so shocked.
Speaker 2 (33:20):
Don't fight it. It's no crime to be crazy.
Speaker 1 (33:24):
It happens to the.
Speaker 2 (33:25):
Best of us.
Speaker 1 (33:26):
I know. Hey, you're not taking me seriously. Hi you Max,
I'm only kidding.
Speaker 2 (33:35):
Can't you take a joke?
Speaker 1 (33:36):
Sure?
Speaker 2 (33:37):
Sure, I tell you what you come over about six
and I'll make you some chili you like that? Wouldn't you, Yes,
I would, Okay, six them Max, just a minute, Max,
(34:02):
I told you what.
Speaker 1 (34:05):
Oh miss Anita Gregory. Yes, h's it's amazing. I beg
your pardon. Oh the resemblance, it's it's it's fantastic. Oh,
between you and your sister, I mean sister Susan Gregory,
I'm an acquaintance of hers. Oh I'm sorry. Let me
(34:28):
introduce myself. I wish you would. The name's Wiley, Tom Wiley.
I'm sheriff up in Clay County, near Westbrook, where your
sister is the staying sheriff. Could I come in for
a minute. Oh, well, of course. Please thank you. Here,
(34:49):
you have a very nice apartment. Miss Gregory, we thank
you well.
Speaker 2 (34:55):
Can I do for you?
Speaker 1 (34:56):
Sheriff? You see, I'm the officer who apprehended your sister
after she escaped from Westbrook, and I, uh, well, she
was really nice and likable and well, to be perfectly honest,
I am, yes, be perfectly honest. Well, I have to
admit there was a remote possibility that well, she might
(35:20):
have been a victim of mistaken identity. Oh you know
you're you're not at all what I expected you to be.
Speaker 2 (35:28):
Oh what were you expecting an ogre.
Speaker 1 (35:30):
Oh, I don't know, really disappointed, well kind of?
Speaker 2 (35:36):
Oh something wrong all these.
Speaker 1 (35:42):
Paintings? Yes, you were well.
Speaker 2 (35:51):
I almost hate to admit it, but look, I can't
expect everyone to love my word.
Speaker 1 (35:57):
Oh I didn't say that I didn't like them. It's
just a welly you have a style. It's it's very distinct.
I'll hear it comes.
Speaker 2 (36:08):
Everyone's a critic.
Speaker 1 (36:10):
I honestly like your work, Anita. Well, I I really
better get back. Thanks, thanks for everything. Yeah sure. Oh. Oh,
by the way, you wouldn't happen to know a guy
named Max.
Speaker 2 (36:29):
Max?
Speaker 1 (36:31):
Oh sure, he lives down the hall.
Speaker 2 (36:34):
I thought it was him at the door before. Why, Well,
I'm wondering it's uh, that's the same Max, the same Max.
Speaker 1 (36:45):
Your sister had a visitor the other day, a guy
named Max, and I was just wondering if it could
be this. No, I well, no, the Max that I
know never met Susan.
Speaker 2 (36:58):
You see, I don't I don't like to let new
friends know that my sister.
Speaker 1 (37:05):
You understand, I mean, oh, sure, sure, I understand. Sure,
Well it was just a thought. Heyes, anyway, bye, goodbye?
So Max does know all this time I trusted that idiot, and.
Speaker 2 (37:31):
He knew all along. That must have been when he
was writing about wanted to hide from me. It all
fits all this time. He made up fool of me.
Speaker 1 (37:46):
Tread me, Hey, I may why'd you lock your door?
Speaker 2 (37:53):
So? I all? Max? Well Max, just a minute?
Speaker 1 (37:59):
Hello? Why did you lock me out here? I brought
some wine. I thought we'd have a nice evening. Thank you, Max.
Speaker 2 (38:13):
I guarantee you this is going to be an evening
you'll never forget.
Speaker 1 (38:27):
Oh, I must say, and here you? Oh you really are?
Did you saw that chili was fantastic?
Speaker 2 (38:35):
How you certainly ate enough?
Speaker 1 (38:37):
Yeah? I'm positively stuffed. Let's have some more. Wife, But you.
Speaker 2 (38:42):
Finished it all either way, Max?
Speaker 1 (38:47):
How's your book coming? My book? Yeah? Your book?
Speaker 2 (38:53):
You never did tell me what it was about.
Speaker 1 (38:56):
Well, it's such all. Did you put me in it? You? Yeah? Me?
I'm your inspiration. I I what's gotten into you? Anita?
Don't call me Anita? I hate that name. You know
very well. I'm Susan. Oh, don't play dumb, Max.
Speaker 2 (39:18):
You knew all the time, didn't you, didn't you?
Speaker 1 (39:21):
I don't know what you're talking about.
Speaker 2 (39:23):
I'm Susan and you knew all about it. Oh, quit
playing dumb. I happen to know all about your little
visit to Westbrook, or I don't want to hear it.
I'm not interested. I'm more interested in this bookend. Did
you know Max, that they're only too like it in
the whole world, that they belonged to my grandfather, that
(39:43):
they came all away from Spain. They are made of mahogany.
They're hand carved. But look notice the base, that solid buny.
Speaker 1 (39:51):
What are you doing?
Speaker 2 (39:52):
I really thought you liked me, but you were just
using me, making a full of me.
Speaker 1 (39:58):
You drink me, sus Wait a second, let me scay mad.
Speaker 2 (40:02):
When people fool me, I get really.
Speaker 1 (40:04):
Mad, Susan's put that down. You could kill somebody with
an eye.
Speaker 2 (40:10):
Intend to kill you?
Speaker 1 (40:13):
No, mad, You're such an easy target. You're crazy. Kill you.
I care, please, sale you lie? Kill a little standil
don't love? Yeah? Too late.
Speaker 2 (40:37):
He's dead, I kill him.
Speaker 1 (40:40):
No he's not dead, he's just fainted. No, he's dead.
He's alive, Susan, not that I really care. After what
he did to your sister, I wanted.
Speaker 2 (40:49):
To kill him. I'm not sorry he kicked me.
Speaker 1 (40:53):
You know, I know I know. Now, are you ready
to go back now, Susan m hm m hm. Suonan,
you know how you told me with your paintings. You see,
(41:14):
your sister has a distinctive style. She tried to tell
me that in Westbrook, she duplicated from memory those three
paintings on that wall exactly.
Speaker 3 (41:33):
Is the artist.
Speaker 2 (41:34):
But I don't care.
Speaker 1 (41:38):
Max, I didn't really mean.
Speaker 2 (41:41):
To I heard him, I understand, but I'm I'm still
not sorry. I'm not sorry about anything.
Speaker 1 (41:52):
You can take me.
Speaker 2 (41:53):
Back now, all right, all right, Susan, Susan, m hm, Susan,
that's a nice name.
Speaker 1 (42:11):
The sheriff took Susan home to Westbrook, and Anita, after
many embarrassed apologies, is back at work. I understand she's
been commissioned to do a mural inside the Sheriff's office.
For those of you wondering about the unfortunate Max, it
seems doctor Cooper was very interested to learn of his book,
(42:33):
so interested, in fact, that he's made Max a permanent
fixture of at Westbrook. You could call him the resident author.
I'll be right back to any of you who are
(42:57):
asking if there is a moral a listen to be
learned from our little story. Let me assure you we
do not attempt to moralize, we do not presume to teach. However,
if you happen to be close friends with a writer
who is hard up for a story, I would just say,
be prepared for anything. Our cast included Marion Soltis, Robert Dryden,
(43:22):
and Leon Janney. The entire production was under the direction
of Hymon Brown. And now a preview of our next tale.
Speaker 2 (43:35):
I saw it happened. I saw it happened.
Speaker 1 (43:39):
Man, you must get a hold of your See.
Speaker 2 (43:41):
Was shot just as he turned the corner.
Speaker 1 (43:44):
His revolver was still in his holster.
Speaker 2 (43:46):
He never had a chest.
Speaker 1 (43:48):
Joe never read a chest. I know how hard it
is being. I saw it happened.
Speaker 4 (43:56):
Why Why did I see here it happened.
Speaker 6 (44:05):
I saw it happen as if I were sitting in
a theater and it was all taking place in the
giant's screen. And from that night on I saw it happen.
Every night, every night I was condemned.
Speaker 1 (44:18):
To relive it again and again and again. This is E. G.
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasants dreams,
Wal CBS Radio Mystery Theater Presents, come in Welcome. I'm
(00:31):
e G.
Speaker 2 (00:32):
Marshall.
Speaker 1 (00:33):
Are you familiar with the old expression when they made you,
they threw away the mold? Or there's nobody else like
you in the whole world? What is it inside every
human being that makes him or her unique? One of
a kind?
Speaker 2 (00:53):
What kind of a doctor are you? What kind of
a place is this? Anyone to leave me.
Speaker 1 (01:00):
Now, Susan, this is the last time I'm going to
ask You'll calm yourself myself.
Speaker 2 (01:06):
I'm going to tell you I'm not I'm enough and
take her and stay.
Speaker 1 (01:12):
Susan, stop yelling you the truth.
Speaker 2 (01:14):
I'm a sea I.
Speaker 1 (01:16):
Need I'll see you, but tomorrow.
Speaker 2 (01:20):
I'm not do them.
Speaker 3 (01:23):
I'm not do them.
Speaker 1 (01:35):
Our mystery drama The Deadly Double was written especially for
the Mystery Theater by Vicky Dan and stars Marion Solda's.
It is sponsored in part by Buick Mortar Division. I'll
be back shortly with Act one. Her name is Anita
(02:03):
Gregory and she leads a quiet life, an almost solitary
life except for a single casual friendship. It isn't that
she likes being alone. She has her painting to keep
her occupied and a considerable sum of money in the
bank to ensure her independence. It's just that she prefers
a peaceful existence, for there are certain things that happened
(02:28):
long ago that she would prefer to forget. She has
no way of knowing all that tonight, those certain things
are about to intrude unexpectedly from the past and totally
disrupt the serenity of the present. Look, Anita, there's this
great old like on kerl N.
Speaker 2 (02:47):
I don't care, Max. Now, why don't you go home?
Speaker 1 (02:53):
Well, it's not even one o'clock.
Speaker 2 (02:55):
Not even one o'clock, Max, I want to go to sleep.
Speaker 1 (03:00):
Why you're mad at me?
Speaker 2 (03:01):
I'm not mad at you.
Speaker 1 (03:04):
You're using me as an excuse. What are you talking about.
Speaker 2 (03:08):
You haven't written so much as a sentence in the
past month.
Speaker 1 (03:12):
I've explained that to you. There comes a time in
every writer's creative life when he reaches an pass what
you might call a writer's block.
Speaker 2 (03:25):
Off a Max, you like the idea of being a writer,
but deep inside you are basically a bum.
Speaker 1 (03:33):
Huh.
Speaker 2 (03:34):
I'm your friend, so I can tell you why do
you delude yourself?
Speaker 1 (03:38):
Why I need fresh ideas? I need fresh ideas? To
rejuvenate me. Good night, Max. It's not like you and
you're painting. All you have to do is look out
the window at some tree and you're inspired.
Speaker 2 (03:55):
My pictures are good, Max, because I don't sit around
waiting to be in fired.
Speaker 1 (04:01):
I paint what I see, A face, a tree in
the wind, a leaf, Anita, You don't understand?
Speaker 2 (04:09):
Who would call asleep? Hello? What? What?
Speaker 1 (04:16):
What? How?
Speaker 2 (04:20):
Now?
Speaker 1 (04:22):
Would I? Yes? Where? Yes?
Speaker 2 (04:28):
All right?
Speaker 1 (04:30):
Yes, I promise, I promise, Alida you okay? Who was I?
I can't believe it? Who was that on the phone?
My sister, Your sister, Susan, Susan the not, Oh, don't
(04:50):
call that. She's just disturbed. Well, she's in an institution,
isn't she it's a rest home?
Speaker 2 (04:56):
Max? How many times do I have to tell you
it's a arrest?
Speaker 1 (05:00):
Well? Call her what you want. You're the one who
pays the bill. Hey, you really look shook up? What's
the matter? I haven't I haven't seen Susan.
Speaker 2 (05:15):
It's been five years, and now now she she walked.
Speaker 1 (05:20):
She's out. She's out. When they release her, they didn't,
they didn't wait a minute. You mean she escaped, she left.
I'll call a police don't do that.
Speaker 2 (05:33):
What No, police, No, No, they can't be anybody else.
I know where she is and I'll take care of.
Speaker 1 (05:39):
This in my own way. An I don't want to
be difficult, but you're the one who signed the commitment papers.
You're the one who had her declared insane. I never
even went up there to Westbrook. They couldn't. But five
years is a long time. People change.
Speaker 2 (05:57):
I need a lot of things can happen in five years.
She said. She was trying to get in touch with
me for a long time. They wouldn't let her write,
her phone or anything.
Speaker 1 (06:05):
Anita, where are you going?
Speaker 2 (06:06):
Lock the door when you leave, Max, Let.
Speaker 1 (06:08):
Me come with you. No, I have to go alone.
It'll be all right.
Speaker 2 (06:10):
I know what I'm doing.
Speaker 1 (06:12):
Call me when you get back. Sure, I'll be waiting
up for you. Remember, I'm just down the hole. Got
to go, Anita. What I hope you know what you're doing?
So do I? She said, there'd be a phone booth.
Speaker 2 (06:42):
God, where is she?
Speaker 4 (06:45):
Susan, Susan, it's me, Anita. Where are you, Susan?
Speaker 2 (06:56):
Is that you? Who's there? Susan?
Speaker 1 (07:00):
It? Yes, Anita, it's me, Susan. Thanks for being stupid.
Enough to come, miss taking a nap? Miss what what
(07:29):
am I? Well? You're a mile off Highway twenty five
at two o'clock in the morning. Oh oh, she must
have knocked me up. Oh where's my car? H what car? See?
You better get into my car. You must be freezing
in that thin dress.
Speaker 2 (07:47):
Dress could have sworn I was wearing.
Speaker 3 (07:52):
She did.
Speaker 1 (07:53):
She changed clothes with me on top of everything? What
are you talking about, miss sister?
Speaker 2 (07:58):
She took my car? Why walach't you even changed into
Are you a policeman?
Speaker 1 (08:05):
No, no, we don't have policemen here. Miss. I'm the sheriff.
My name's Tom Wiley.
Speaker 2 (08:10):
Oh I'm Anita Gregory.
Speaker 1 (08:13):
We'll please to meet you, Miss Gregory and allow us
you get in my car before you get a pneumonia.
Speaker 2 (08:19):
Are you taking me down to the station or whatever
it is that you call it around here?
Speaker 1 (08:24):
Well, actually we call it the sheriff's office.
Speaker 2 (08:27):
Well, I don't mean to inconvenience you or anything.
Speaker 1 (08:29):
Oh no, no, it's my job. Now suppose you start
all over again and tell me exactly what happened. Now
you say, Susan is your sister twin sister? Oh? Oh,
(08:50):
twin sister. Miss Gregory. I still don't understand how you
get agree to meet her on a deserted highway. Didn't
you know she was dangerous?
Speaker 2 (09:01):
No? I wasn't sure you were sure? Well, you see,
she sounded so upset, and I was so surprised to
hear from her in the first place. It's been five years.
How did I know she'd gotten better or not?
Speaker 1 (09:16):
Now, missus Gregory, don't call me Anita. I hate miss Gregory.
Speaker 2 (09:21):
That sounds so.
Speaker 1 (09:22):
Hard, eh. I never liked formality myself.
Speaker 2 (09:28):
Wait a minute, this this doesn't look like a sheriff's
so that sign says Westbrook. Why are we stopping here?
Speaker 1 (09:37):
He doc sir, where'd you find it? Well? You know
where that phone bos is off? Ex eleven? Oh she was.
She's frankly lying in the road. Lucky I came by
when I did shoes and Hugh might have gotten killed.
Speaker 2 (09:52):
My name is Anita Gregory. I don't think we've met,
and I don't see why it's any of your living.
Speaker 1 (09:58):
Do you realize it's big because of your little lesque
paid everybody's been up path the night trying to find you.
Speaker 2 (10:04):
Wait a minute, I don't think you heard me.
Speaker 1 (10:07):
I'm not I heard what you said. Eric, Take Susan
Gregory back to her room. I'm sorry, but I had
to bring you back, bring me back. We really appreciate
the sheriff saying back. This is all a mistake. I
think you need a satit. Who do you think you are?
That's not our problem. The problem is who do you
(10:30):
think you are? Susan.
Speaker 2 (10:32):
You think that I'm Susan err and you sheriff. You
brought me here deliberately. You don't believe me either. That
whole time in the car, you are playing along with me,
all the time thinking I'm somebody else.
Speaker 1 (10:45):
I'm sorry, but you might have gotten hurt.
Speaker 2 (10:47):
This is insane. It isn't really happening. Tomorrow, I'll wake
up and let's go of me.
Speaker 1 (10:54):
Take her to her room. Eric, restrain her if necessary.
Speaker 2 (10:57):
To please. This is all a mistake, at the horrible mistake.
If I'm here and Susan is out there somewhere miles away.
Now in my car, Susan, you must now look.
Speaker 1 (11:09):
Find her before she hurts.
Speaker 2 (11:10):
Somebody, please sheruff listen, Listen to me. My name is
Anita Gregory. I live at four twenty Oak Leaf Terrace. Look,
if you don't believe me. Ask Max. That's right. Max
knows he was there when Susan called. Max will tell you.
Speaker 1 (11:27):
Please believe me, Please please, h poor girl. It's really
a shame about people like her. In the car. She
seemed so normal. She's schizoon. Think she's two people? You
(11:48):
mean this Anita character. Oh that's a sad part. She
does have a sister or sister, Anita who putty here?
There is a sister, that's right, twin sister. As a
matter of fact, I think that's part of the reason
she has such a serious identity problem. Twin. Is it
(12:09):
remotely possible that the girl I brought back he is
the other sister? If you're not sious, I know I'm
no psychiatrists, But looking back on it, she didn't seem
that crazy to me. That girl was Susan. She couldn't
fool me for a minute. A perfect example of being
(12:35):
in the wrong place at the right time. As far
as doctor Cooper is concerned, Susan is back where she
can't harm anybody. As far as Sheriff Whiley is concerned,
he has just apprehended a dangerous lunatic. But what about Anita?
She is about to discover that while it is relatively
(12:55):
easy to prove a person is insane, it is quite
a different matter to prove that a person is sane.
I'll be back in a moment with that too. By
(13:17):
all physical appearances, Anita Gregory is identical to her sister Susan.
Same eyes, same hair, same voice, But the similarity ends there,
because no two minds can ever be the same. It
is merely logical that doctor Cooper will presently recognize her
for what she really is? Or is it the moy
(13:42):
is Susan? How is you? Huh?
Speaker 2 (13:48):
Oh? Is it morning?
Speaker 1 (13:50):
Yes? Morning? More or less, it's eleven thirty. She had
a rather late night.
Speaker 2 (13:59):
Oh no, oh, I thought I dreamt all this.
Speaker 1 (14:04):
Oh no, Susan. And that's why, after last night we
must make an even more determined effort to face reality.
Speaker 2 (14:14):
Call me Susan once more, and I'm gonna scream, go
right the head.
Speaker 1 (14:18):
It's good therapy. Let out all your hostilities.
Speaker 2 (14:21):
Isn't it at all conceivable to you that being identical twins,
Susan and I might have changed places?
Speaker 1 (14:29):
But yes, there is a possibility.
Speaker 2 (14:31):
Good, We're getting somewhere. Now, what about a phone call?
Speaker 1 (14:35):
I'm afraid that's our question.
Speaker 2 (14:37):
We could clear this matter up entirely with a single
phone call.
Speaker 1 (14:41):
You know the rules about phone calls. Besides, after last
night's escapade, you've had all privileges suspended. Doctor.
Speaker 2 (14:51):
When I get out of here, I'll make sure you
never practice again.
Speaker 1 (14:55):
Oh that's excellent. Redirected hostility must be calm.
Speaker 2 (14:58):
I must maintained my cool. Doctor, explain to me about
my case. You know all about your casees humor me.
Speaker 1 (15:16):
Very well. Your name is Susan Gregory. Five years ago,
following a series of incidents where you repeatedly attempted to
kill your sister, Anita, you were declared legally insane.
Speaker 2 (15:33):
Now those incidents, couldn't they have been merely frustration or
anger of the moment.
Speaker 1 (15:38):
Unfortunately, no, You see, it's been inside you since you
were a child. No matter what you did, your sister
did it better. The years went on and you watched
as Anita became a successful artist. You grew more and
more resentful. Your jealousy became. Even now you're often jealous
(16:03):
enough to try to be her. In this way, you
can have what she's always had.
Speaker 2 (16:10):
All right, now, taking this a step further, just pretend,
pretend now that the real Susan Gregory is out there,
living in Anita's apartment and driving her car pretending to
be her. How long do you suppose she'll be able
to carry it off before she gets caught?
Speaker 1 (16:30):
Not very long, of course, little things traits unique to
Anita would be missing close friends. Notice these things? That is,
if Anita has any close friends. Oh she has well
discuss it all later. It's time for your treatment. What
kind of treatment? Eric is waiting outside to take you
(16:52):
to therapy three?
Speaker 2 (16:55):
I asked you what kind of treatment are Eric?
Speaker 1 (16:59):
Would you take her? Pleaze be down in a few minutes.
Speaker 2 (17:02):
Look, I'm not stupid. I took psychology in college. I
know a little bit about behavior modification and the things
they do in places like this. Now, what is it?
Is it electric shock therapy?
Speaker 1 (17:11):
I don't know why you're sore, upset? You feel much
better you always do afterwards, is now listen? Staying here
for a few days is one thing.
Speaker 2 (17:21):
Now, I've tried discussing the whole thing rationally with you,
and what happens. You aren't going to give me any shot? Tree, Eric,
you call yourself a doctor, you're a shoot and you're
a quack.
Speaker 1 (17:30):
You see Susan, it's just a matter of time before
your true nature comes through you.
Speaker 2 (17:35):
His show way till I get out of here, I'm
gonna sue you up to this hospital at sue everybody. Well,
sister Nita, you've done all right for yourself. This is
a nice little apartment. I think I'm gonna like it here.
Speaker 1 (17:59):
Musn't get excited. I can pull this off. Just remember.
Speaker 2 (18:05):
I'm Anita, now, yes.
Speaker 1 (18:09):
Whoa, I'm just gonna let me in. Look, don't be mad.
I can explain why I didn't wait up for you.
I fell asleep. I just went out like I like
the minute I hit the couch. Anyhow, tell me what
happened with what? Well, Anita, don't keep me in suspense
(18:30):
like this, what happened with your crazy sister? I sent
her back to Westbrook.
Speaker 2 (18:36):
We had a long chat and then I.
Speaker 1 (18:40):
Drove her back and that was it. Yeah, she just
wanted to talk. So everything's all right now, everything's fine. Hey,
this is your old friend Max. If something's bothering you,
you can tell me, of course not. I'm just tired.
(19:02):
You're sure nothing's bothering you? You're not mad at me? Oh?
Speaker 2 (19:06):
Of course? Not?
Speaker 1 (19:09):
Come here here closer. I need I see. I'm not
mad at you. Why why did you kiss me? Why
(19:32):
you never kissed me before? You said I wasn't ready
for a serious relationship. You wanted to keep it platonic
I did.
Speaker 2 (19:44):
Oh well, sorry, Max, If you don't like it, I
won't do it again.
Speaker 1 (19:53):
Oh well, no, I'm I'm not sorry.
Speaker 2 (19:57):
Max.
Speaker 1 (19:57):
I have a headache. You asking me to leave? Anita?
Speaker 2 (20:03):
Yes, do you mind?
Speaker 1 (20:05):
No? No? Sure, sure, I understand.
Speaker 2 (20:08):
Maybe some other time, Okay, sure right now? By that
was closer.
Speaker 1 (20:21):
I hope that dummy swallowed it. Susan, how do we
feel today? We?
Speaker 2 (20:33):
How do we feel? I only wish you could feel
like I feel.
Speaker 1 (20:38):
Right now. I have a surprise for you. You have
a visitor. What did you say? Someone's here to see you?
He says he's an old friend Max.
Speaker 2 (20:50):
Hold Max, Max is here.
Speaker 1 (20:52):
You want to see him?
Speaker 2 (20:53):
Max A wonderful, beautiful Max.
Speaker 1 (20:56):
I send him in. You can come in this organ
be right outside, Max. Anita, oh so bad you came.
Speaker 2 (21:07):
I thought I was going.
Speaker 1 (21:08):
Crazy, Anita, it is you? Well, of course it's me
or I wasn't sure. Max. I've got to get out
of this place. Don't worry. Never hear Max is here. Wow,
this is.
Speaker 2 (21:24):
Wild and it isn't funny. Now, how did you figure
I was here?
Speaker 1 (21:28):
Give me credit, honey, I had her peg for Susan
the minute she opened the door. She's in my apartment,
sure making life. She's you. But she didn't fool me
for a minute. No, what really did it was when
she kissed me she was here. You see, you'd never
(21:51):
do that. I mean she assumed I was your boyfriend. Oh.
Speaker 2 (21:57):
I can't wait to see the look on that doctor's
face when you tell him Max. Would you get doctor
Cooper and tell them who I really am?
Speaker 1 (22:02):
He what an idea for a story? Two sisters, twin
sisters who change places. You have my permission to write
the story.
Speaker 2 (22:10):
Now get doctor Cooper and we can discuss it on
the way home.
Speaker 1 (22:13):
Sure, of course I have to go into greater depth,
take more time to evolve my characters.
Speaker 2 (22:19):
You want thinking what I think you're thinking.
Speaker 1 (22:23):
I could come up a couple of times a week
with a tape requided.
Speaker 2 (22:25):
Oh no, you can't be thinking.
Speaker 1 (22:27):
That, Anita. Please just give me a few weeks. That's
all I need know. But can't you see it's perfect?
I haven't been inspired for months. You said, so, You're
absolutely not, and the story would practically right itself. It's
a bestseller. We ripped the facade off metal institutions. What
an exposer?
Speaker 2 (22:46):
I said, No, Oh, how.
Speaker 1 (22:48):
Can you be so selfish? Selfish? I'm being selfish, as
you see. I'm thirty six years old and I've never
been published.
Speaker 2 (22:55):
You don't seem to understand that. Every day I'm in
this place, I lose a little bit more of my grip.
There's drugs, there's shock therapy. Do you know what that
can do to a person?
Speaker 1 (23:04):
Come on, it can't be that bad, do you.
Speaker 2 (23:06):
This place can drive anybody crazy. I thought that I
could live through anything.
Speaker 1 (23:11):
Nothing ever really moved me or excited me. Well, just
why you could pull it off?
Speaker 2 (23:15):
Yeah? But even if my mind was made of concrete,
this place would, he wrote it.
Speaker 1 (23:19):
We'd be rich, both of us. Hey, I'll tell you what.
I'll give you fifty percent and.
Speaker 2 (23:25):
You're forgetting something else.
Speaker 1 (23:26):
Susan, All right, she'll get a percentage too. I listen, Max,
forget about me for a minute.
Speaker 2 (23:33):
You can't let an insane person loose in the normal world.
Speaker 1 (23:38):
Why not? It's all relative, isn't It is the whole
world going crazy. Who are we to say? What is
and what is normal? What a thing? Listen, Hey, you
don't know, Susan.
Speaker 2 (23:51):
She's dangerous.
Speaker 1 (23:53):
She seemed all right. Besides, weren't you the one who
said that maybe the doctors were mad?
Speaker 2 (24:00):
As she hasn't changed at all. She's vicious, she could
even kill.
Speaker 1 (24:05):
Don't try to talk me out of them. Listen, take
me seriously.
Speaker 2 (24:08):
For once, when we were little, even then she did
vicious things. She broke the heads off all my dolls.
She took the goldfish out of the bowl, and she
watched them die.
Speaker 1 (24:17):
Typical, healthy Tom, don't want.
Speaker 2 (24:19):
To discuss it anymore. Get me out of here, please.
Speaker 1 (24:23):
All right, Anita, Sure that's how you wanted. Doctor. I'm
ready to go now, all right.
Speaker 2 (24:32):
Now tell him Max, tell the doctor Tom what who
I am? Doctor Max knows.
Speaker 1 (24:40):
I think this has been too much of a strain
for her. You'd better go immediately, of course, Doctor, goodbye.
Speaker 2 (24:54):
No, Ma, she'll kill you when she finds out that
you know. She'll kill you.
Speaker 1 (25:05):
We live in a world ravaged with fear, a world
where the voices of logic and common sense seldom find
a sympathetic listener. It is not so very unlike the
purgatory in which Anita Gregory is now imprisoned. Today, into
that dim world, a candle of hope has briefly flickered
(25:26):
and finally been extinguished. I'll be back shortly with Act
three japons, don't j suis? I think? Therefore? I am so,
(25:48):
said the great philosopher Rene Descartes. It was this brilliant
Frenchman who logically demonstrated that there is only one thing
of which a man can be sure of, and that
is his existence. After all, most people accept what they
see as truth. They do not question the obvious. They
(26:09):
leave that for the philosophers. Oh, doctor Shy, what brings
you here? Well? You know what happened was I was
typing up the week's report and I suddenly realized that
I never got you to sign this release for that
Gregory girl. It was such a hectic night it totally
(26:29):
slipped my mind. Of course. Also, could you fill in
her sister's full name in the dress I needed for
the records. I am glad you stopped by. She was
asking for you for me. If she says there's something
she'd like to tell you, now, you don't have to
see her if you don't want to, I'm sure it
isn't anything important all. Well, as long as I'm here. Oh,
(26:53):
I'd like to see how she's doing. Oh, Susan sheriff.
Oh how you been just wonderful?
Speaker 2 (27:05):
Can't you tell?
Speaker 1 (27:07):
Doc Cooper said you wanted to see me I did.
What was it you wanted to tell me? I forget?
I think there was something. Why can't I remember? I
take your time, and I want to tell you nice
(27:30):
paintings on the wall.
Speaker 2 (27:32):
Oh, that's the doctor's idea, he feels. By giving us
a creative outlet, it's releasing hostility.
Speaker 1 (27:42):
Very good.
Speaker 2 (27:43):
Well, I'm a professional artist. I mean, Anita is a
professional artist. I'm supposed to be Susan. Susan can't paints.
Susan cooks Anita paints.
Speaker 1 (27:56):
It's always been that way. Well I'm sure, no, that creak.
But I think you're very good. Yes, you know I am.
Look at that wall.
Speaker 2 (28:09):
Look at the girl in the picture. There, her hands,
her arms, there by her neck. Do you know how
many years of training it takes the discipline anatomy classes
live models to get the bones, the muscles, the skin
(28:30):
tones just right, to understand the shading.
Speaker 1 (28:36):
Well, like I said, it's very good. Would you say
I have a style? Style? Yeah, yeah, I say so.
Speaker 2 (28:45):
You see, it takes years to develop a style. I
spent two years in Paris. That's heaven for an artist,
and that's what influenced me, those early impressionists. But Max says,
I still have a distinctive stuff.
Speaker 1 (29:03):
Oh Max, Max, Max, That's what I wanted to tell you.
What about Max? She's going to kill Max? Who's going
to kill Max?
Speaker 2 (29:10):
Right now? Max is writing a book about us how
we changed places. And I warned him. I said, Max,
Susan hates to be tricked, and she hates people fooling her.
And when she finds out that you know who she is,
she's going to get really mad and she'll kill you.
Speaker 1 (29:27):
That's very interesting. You think I'm crazy, don't you. Oh no,
I didn't say that. That's all right, it's quite all right.
I tried. I did my best.
Speaker 2 (29:40):
I warned him, and he didn't believe me either. When
Max is found dead, maybe then you'll believe me.
Speaker 1 (29:50):
That's all I wanted to tell you.
Speaker 2 (29:54):
Thanks for coming.
Speaker 1 (29:55):
Oh, there's no trouble, Hi, I wanted to see how
you were doing. Now, excuse me, I'm very tired. Sure, sure,
I was just leaving. Bye, Susan.
Speaker 2 (30:12):
We'll wait a minute.
Speaker 1 (30:14):
Don't you want this bag? All the release for him? Thanks? Doc?
I don't know what's with me these days. Look, I
I want to ask you about Susan's sister, Nita Gregory.
What about her? I was wondering when you saw her
last last? Oh? Well, I really I don't think that's
(30:38):
very important. Well, what is your impression of the sister Anita?
I hear she's an excellent artist. You here? Yeah, well,
actually i've never met her. You what, there really wasn't
any need to. I mean, she pays the bills on time,
(31:00):
and she never comes to visit. When did Susan start painting?
Just recently? How recently? Well, I don't see why. Oh
about a week ago. She's in bad for a beginner.
Matter of fact, she's pretty good. Did it occur to
(31:20):
you that maybe she was too good? Chapter two? The
second week? Oh, that's good, and let's see what we've
got so far. Meanwhile, Susan Gregory, in the guise of Anita,
(31:44):
continued more and more to assume the identity of her sister.
The door wasn't locked, so I just thought i'd come in. Oh,
I never locked my door.
Speaker 2 (31:58):
What are you writing?
Speaker 1 (31:59):
Uh? Nothing, just the usual junk. Can I see? No,
I never show an unfinished work to anybody. Just isn't done. Why, well,
it's bad luck. Hey, hey, give me that back.
Speaker 2 (32:13):
I just want to see give it back. Just let
me see Hall.
Speaker 1 (32:22):
Now look what you've done. I'm sorry, Max, I'm really sorry. Sure,
I mean, you're so funny.
Speaker 2 (32:32):
You can get so excited about a silly piece of paper.
Speaker 1 (32:34):
I wouldn't expect you to understand.
Speaker 2 (32:36):
Why not, But it's.
Speaker 1 (32:39):
Very personal when a writer writes. But you did just now.
It was almost like like tearing me in half physically.
I don't see it so funny.
Speaker 2 (32:55):
It's very funny. It's a screat.
Speaker 5 (33:01):
It's a scream. You know it's no, that's a lot
of you're playing crazy me crazy?
Speaker 1 (33:18):
Look so shocked.
Speaker 2 (33:20):
Don't fight it. It's no crime to be crazy.
Speaker 1 (33:24):
It happens to the.
Speaker 2 (33:25):
Best of us.
Speaker 1 (33:26):
I know. Hey, you're not taking me seriously. Hi you Max,
I'm only kidding.
Speaker 2 (33:35):
Can't you take a joke?
Speaker 1 (33:36):
Sure?
Speaker 2 (33:37):
Sure, I tell you what you come over about six
and I'll make you some chili you like that? Wouldn't you, Yes,
I would, Okay, six them Max, just a minute, Max,
(34:02):
I told you what.
Speaker 1 (34:05):
Oh miss Anita Gregory. Yes, h's it's amazing. I beg
your pardon. Oh the resemblance, it's it's it's fantastic. Oh,
between you and your sister, I mean sister Susan Gregory,
I'm an acquaintance of hers. Oh I'm sorry. Let me
(34:28):
introduce myself. I wish you would. The name's Wiley, Tom Wiley.
I'm sheriff up in Clay County, near Westbrook, where your
sister is the staying sheriff. Could I come in for
a minute. Oh, well, of course. Please thank you. Here,
(34:49):
you have a very nice apartment. Miss Gregory, we thank
you well.
Speaker 2 (34:55):
Can I do for you?
Speaker 1 (34:56):
Sheriff? You see, I'm the officer who apprehended your sister
after she escaped from Westbrook, and I, uh, well, she
was really nice and likable and well, to be perfectly honest,
I am, yes, be perfectly honest. Well, I have to
admit there was a remote possibility that well, she might
(35:20):
have been a victim of mistaken identity. Oh you know
you're you're not at all what I expected you to be.
Speaker 2 (35:28):
Oh what were you expecting an ogre.
Speaker 1 (35:30):
Oh, I don't know, really disappointed, well kind of?
Speaker 2 (35:36):
Oh something wrong all these.
Speaker 1 (35:42):
Paintings? Yes, you were well.
Speaker 2 (35:51):
I almost hate to admit it, but look, I can't
expect everyone to love my word.
Speaker 1 (35:57):
Oh I didn't say that I didn't like them. It's
just a welly you have a style. It's it's very distinct.
I'll hear it comes.
Speaker 2 (36:08):
Everyone's a critic.
Speaker 1 (36:10):
I honestly like your work, Anita. Well, I I really
better get back. Thanks, thanks for everything. Yeah sure. Oh. Oh,
by the way, you wouldn't happen to know a guy
named Max.
Speaker 2 (36:29):
Max?
Speaker 1 (36:31):
Oh sure, he lives down the hall.
Speaker 2 (36:34):
I thought it was him at the door before. Why, Well,
I'm wondering it's uh, that's the same Max, the same Max.
Speaker 1 (36:45):
Your sister had a visitor the other day, a guy
named Max, and I was just wondering if it could
be this. No, I well, no, the Max that I
know never met Susan.
Speaker 2 (36:58):
You see, I don't I don't like to let new
friends know that my sister.
Speaker 1 (37:05):
You understand, I mean, oh, sure, sure, I understand. Sure,
Well it was just a thought. Heyes, anyway, bye, goodbye?
So Max does know all this time I trusted that idiot, and.
Speaker 2 (37:31):
He knew all along. That must have been when he
was writing about wanted to hide from me. It all
fits all this time. He made up fool of me.
Speaker 1 (37:46):
Tread me, Hey, I may why'd you lock your door?
Speaker 2 (37:53):
So? I all? Max? Well Max, just a minute?
Speaker 1 (37:59):
Hello? Why did you lock me out here? I brought
some wine. I thought we'd have a nice evening. Thank you, Max.
Speaker 2 (38:13):
I guarantee you this is going to be an evening
you'll never forget.
Speaker 1 (38:27):
Oh, I must say, and here you? Oh you really are?
Did you saw that chili was fantastic?
Speaker 2 (38:35):
How you certainly ate enough?
Speaker 1 (38:37):
Yeah? I'm positively stuffed. Let's have some more. Wife, But you.
Speaker 2 (38:42):
Finished it all either way, Max?
Speaker 1 (38:47):
How's your book coming? My book? Yeah? Your book?
Speaker 2 (38:53):
You never did tell me what it was about.
Speaker 1 (38:56):
Well, it's such all. Did you put me in it? You? Yeah? Me?
I'm your inspiration. I I what's gotten into you? Anita?
Don't call me Anita? I hate that name. You know
very well. I'm Susan. Oh, don't play dumb, Max.
Speaker 2 (39:18):
You knew all the time, didn't you, didn't you?
Speaker 1 (39:21):
I don't know what you're talking about.
Speaker 2 (39:23):
I'm Susan and you knew all about it. Oh, quit
playing dumb. I happen to know all about your little
visit to Westbrook, or I don't want to hear it.
I'm not interested. I'm more interested in this bookend. Did
you know Max, that they're only too like it in
the whole world, that they belonged to my grandfather, that
(39:43):
they came all away from Spain. They are made of mahogany.
They're hand carved. But look notice the base, that solid buny.
Speaker 1 (39:51):
What are you doing?
Speaker 2 (39:52):
I really thought you liked me, but you were just
using me, making a full of me.
Speaker 1 (39:58):
You drink me, sus Wait a second, let me scay mad.
Speaker 2 (40:02):
When people fool me, I get really.
Speaker 1 (40:04):
Mad, Susan's put that down. You could kill somebody with
an eye.
Speaker 2 (40:10):
Intend to kill you?
Speaker 1 (40:13):
No, mad, You're such an easy target. You're crazy. Kill you.
I care, please, sale you lie? Kill a little standil
don't love? Yeah? Too late.
Speaker 2 (40:37):
He's dead, I kill him.
Speaker 1 (40:40):
No he's not dead, he's just fainted. No, he's dead.
He's alive, Susan, not that I really care. After what
he did to your sister, I wanted.
Speaker 2 (40:49):
To kill him. I'm not sorry he kicked me.
Speaker 1 (40:53):
You know, I know I know. Now, are you ready
to go back now, Susan m hm m hm. Suonan,
you know how you told me with your paintings. You see,
(41:14):
your sister has a distinctive style. She tried to tell
me that in Westbrook, she duplicated from memory those three
paintings on that wall exactly.
Speaker 3 (41:33):
Is the artist.
Speaker 2 (41:34):
But I don't care.
Speaker 1 (41:38):
Max, I didn't really mean.
Speaker 2 (41:41):
To I heard him, I understand, but I'm I'm still
not sorry. I'm not sorry about anything.
Speaker 1 (41:52):
You can take me.
Speaker 2 (41:53):
Back now, all right, all right, Susan, Susan, m hm, Susan,
that's a nice name.
Speaker 1 (42:11):
The sheriff took Susan home to Westbrook, and Anita, after
many embarrassed apologies, is back at work. I understand she's
been commissioned to do a mural inside the Sheriff's office.
For those of you wondering about the unfortunate Max, it
seems doctor Cooper was very interested to learn of his book,
(42:33):
so interested, in fact, that he's made Max a permanent
fixture of at Westbrook. You could call him the resident author.
I'll be right back to any of you who are
(42:57):
asking if there is a moral a listen to be
learned from our little story. Let me assure you we
do not attempt to moralize, we do not presume to teach. However,
if you happen to be close friends with a writer
who is hard up for a story, I would just say,
be prepared for anything. Our cast included Marion Soltis, Robert Dryden,
(43:22):
and Leon Janney. The entire production was under the direction
of Hymon Brown. And now a preview of our next tale.
Speaker 2 (43:35):
I saw it happened. I saw it happened.
Speaker 1 (43:39):
Man, you must get a hold of your See.
Speaker 2 (43:41):
Was shot just as he turned the corner.
Speaker 1 (43:44):
His revolver was still in his holster.
Speaker 2 (43:46):
He never had a chest.
Speaker 1 (43:48):
Joe never read a chest. I know how hard it
is being. I saw it happened.
Speaker 4 (43:56):
Why Why did I see here it happened.
Speaker 6 (44:05):
I saw it happen as if I were sitting in
a theater and it was all taking place in the
giant's screen. And from that night on I saw it happen.
Every night, every night I was condemned.
Speaker 1 (44:18):
To relive it again and again and again. This is E. G.
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasants dreams,
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