September 27, 2025 • 23 mins
Obsession was an early 1950s syndicated anthology of thriller and suspense radio programs featuring some of Hollywood's best radio talent. The scripts are unfortunately inconsistent, but most are good listening. Among radio collectors, this series is not well-documented and does not appear in all radio reference directories. It was, however, a fairly big budget program. Had it appeared earlier, it might have attracted a larger audience.
Hope you enjoy this episode of Obsession! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. Podcasts @ Apple | Spreaker | YouTube | Spotify | iHeart | Amazon
The Armed Forces Radio Service (AFRS) was the chief means of providing popular radio network programs to military forces outside the U.S. Begun during World War II, it later expanded to include television and continues to operate today.
Hope you enjoy this episode of Obsession! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. Podcasts @ Apple | Spreaker | YouTube | Spotify | iHeart | Amazon
The Armed Forces Radio Service (AFRS) was the chief means of providing popular radio network programs to military forces outside the U.S. Begun during World War II, it later expanded to include television and continues to operate today.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
Obsession to the murder. Death is so permanent. But to
(00:34):
the murderer, the glaring memory of living red blood oozing
its ghastly stain, the dying eyes that hold a look
of shock, bewilderment, the grotesque sprawling of the body becomes
a growing terror.
Speaker 2 (00:52):
The murdered do haunt their murderers.
Speaker 1 (00:55):
Diabolically, filling each moment waking or sleeping with an ever building,
distorted desire that mounts into an ball encompassing obsession. And
so this is our story, starring John Loder. This story
(01:30):
began when the red sun of autumn was purpling the
hills with an eerie light, and a skein of swirling
mist was.
Speaker 2 (01:39):
Weaving a silken web in the forest.
Speaker 1 (01:42):
A hunting party consisting of two men and a woman
was returning homeward from a day of hunting, A hunting
party that had set out that morning with the express
desire to legally kill, a desire that all times becomes
an obsession. Here come on, boy, right, yeah, I wonder
(02:12):
we're laughing. He went ahead to say, if we can
locate that path that leads out of here.
Speaker 3 (02:17):
Now, do you think we'll ever bag anything?
Speaker 1 (02:19):
Of course, we just had to run a bad luck
while last winter. Hold on there, ahead, did you see
those branches?
Speaker 2 (02:27):
Move?
Speaker 1 (02:28):
Is a gunloaded? Christine, it's that shot we've been waiting for.
Go ahead, you take first, crack the bush, that bush
to the left of the big tree.
Speaker 2 (02:38):
Hurry up, good shot.
Speaker 1 (02:43):
I think you got it.
Speaker 2 (02:44):
Come on, I'm wait for his lie. Come on, Christine,
here we are we Oh lie, it's button. Yeah, good afternoon.
Speaker 1 (03:10):
I came to inquire about I'm sorry we're not interviewing reporters.
This has all been a terrible shock to missus Holliday
and she's unable to see anyone.
Speaker 2 (03:17):
Wait a minute, I'm not a reporter.
Speaker 1 (03:19):
No oh, I'm answering the ad the newspaper regard you're
selling the house. Oh oh, come in, thank you. We've
been swamped with snoopers and reporters all week long. It's
been rather difficult. I'm doctor Foster, Missus Holliday's physician.
Speaker 2 (03:33):
I didn't know you, doctor Foster. I'm Norman Marshall, not
Norman Marshall, the writer. I'm afraid so well.
Speaker 1 (03:39):
This is a pleasure, mister Marshall. I'm one of your
most devoted readers.
Speaker 2 (03:43):
Thank you very much.
Speaker 1 (03:44):
Now as to the estate, I believe I can tell
you all you wish to know. There is scarcely much
I need. No, I've seen innumerable pictures of a holiday
house and the Sunday Rotter reviewer.
Speaker 2 (03:54):
Now regarding price.
Speaker 1 (03:55):
The price is as advertised and servants, would they be
available to a new one?
Speaker 2 (04:00):
I'm sorry no.
Speaker 1 (04:00):
You see, since Martin Holliday's death, I've had to discharge them.
Missus Holliday is in a very delicate condition, requiring absolute quiet.
It was imperative that no one remained in the house
who might disturb her in any way. Oh, breakdown something
of the sort. Yes, Oh, that's a shame. The entire
affair has been quite tragic. But to get back mister Marshall, Oh, yes, God,
(04:24):
the library here doctor post This was mister Holliday.
Speaker 2 (04:28):
Yes, appears to.
Speaker 1 (04:29):
Have quite a number of rare works, this one.
Speaker 2 (04:32):
Here, for example. I don't believe I've seen this. See
I should prefer you not to handle the books, please,
mister Marshall. Oh, I'm sorry. I think the library is
not for sale. None of the furnishings.
Speaker 1 (04:42):
Perhaps we discussed the satisfactory price and a few of
these editions. I've just told you, mister Marshall, the furnishings
are not for sale.
Speaker 2 (04:50):
The missus Holliday's instructions.
Speaker 3 (04:51):
Would you call me life?
Speaker 2 (04:53):
Christine? What are you doing here?
Speaker 1 (04:56):
You're not well enough to be up and around just yet.
Don't you think you better go back to your room?
Speaker 3 (05:00):
No, no, it's a warm there. I wanted some fresh air.
Who is this?
Speaker 2 (05:08):
This is Norman Marshall, Christine.
Speaker 3 (05:10):
How do you do, mister Marshall. I'm missus Holiday.
Speaker 1 (05:16):
Mister Marshall is considering buying these states.
Speaker 2 (05:18):
Ye seems to be an ideal place for a person
in my line of work.
Speaker 3 (05:21):
Line of work.
Speaker 2 (05:23):
I'm a writer.
Speaker 3 (05:24):
A writer. Oh that's very nice. You know. It's funny.
I used to wish I were a writer. I think
I still do. There's so many things I could write about.
Speaker 1 (05:35):
Christine, Christina, I'll help you back to your room.
Speaker 3 (05:39):
No, no, it's quite all right. I can manage day,
mister Marshall.
Speaker 2 (05:44):
Good day, Missus Hanley.
Speaker 1 (05:46):
You must forget some of the things, she says, mister Marshall.
She she doesn't realize. Well, she didn't seem to say
anything wrong. Yes, well, nevertheless, now about the house.
Speaker 2 (05:58):
Uh huh, oh, yes, well I'll take it.
Speaker 1 (06:01):
Oh well, fine.
Speaker 2 (06:04):
I'll draw you up a check. And by the way,
I'll have to ask a favor of you, certainly. What
is it? I had a bit of car trouble down
the road.
Speaker 1 (06:10):
It doesn't seem to be any service stations out this way.
I won If you'd mind driving me back into town.
I'd like to, but I'm afraid I can't. We haven't
a car on the estate. No, no, they're in storage.
Speaker 2 (06:19):
Oh I see, well, I hate to ask, but do
you think you could put me up someplace for the night.
I'm afraid it's impossible.
Speaker 1 (06:26):
Oh well, I'm sorry then. Oh that is I didn't
quite mean it in the way I said. After all,
we couldn't very well turn you out when you practical
learn the house, could we?
Speaker 2 (06:34):
I don't know? Could you?
Speaker 1 (06:36):
You will find a guest room at the head of sairs,
mister Marshall, you're welcome to stay. Good evening, Good evening
to you.
Speaker 2 (06:56):
Oh good morning? Is holiday?
Speaker 3 (06:58):
Good morning? Oh I'm sorry it's.
Speaker 1 (07:01):
Marshall, nor Iman marshcause forgive me, that's one of my
words habits. I never can remember her name. Fine morning,
isn't it.
Speaker 4 (07:09):
Yes, it's beautiful. I thought i'd pick some roses for
my room. Do you like roses, mister Marshall very much?
I'm lund it to myself. Martin used to like roses.
Speaker 2 (07:22):
Martin, can I can I help them?
Speaker 3 (07:24):
No? No, thank you, I'm unfinished. I think I'll go
in now.
Speaker 2 (07:28):
Oh wait, this is holiday?
Speaker 3 (07:31):
What is it?
Speaker 2 (07:33):
I wanted to talk to you. There was something.
Speaker 3 (07:35):
I'm sorry. Lloyd says I'm not well enough to talk
to anyone yet. Lloyd's my position.
Speaker 1 (07:41):
Yes, I know that's one of the things I wanted
to ask you about. Uh, couldn't we take a little stroll?
Speaker 3 (07:47):
Lloyd might not approve, you, might say it's.
Speaker 2 (07:50):
Bad for I'm sure it'll be all right.
Speaker 3 (07:53):
Well, all right, Henry, I can walk in the garden
if you like.
Speaker 1 (07:58):
It's a very attractive garden. I like the forest out there, too.
Seems to add something.
Speaker 3 (08:05):
I despised the forest. Oh, hunting over hunting, cried, said
it was there and a cup of trees. Wasn't that
I meant to No, I didn't mean to. Disney kept barking.
Speaker 2 (08:18):
Look, missus Harvey, I wouldn't.
Speaker 1 (08:21):
And of course it's a drawin.
Speaker 5 (08:24):
I can't hear.
Speaker 3 (08:25):
Miss don't run off, Miss is.
Speaker 2 (08:40):
Mister Marshall. Oh, doctor Parster. Hello, mister Marshall.
Speaker 1 (08:44):
I've tried to show you every courtesy, and I'd appreciate
it if you would at least grant me the same consideration.
Something wrong, Missus Holliday and I have made arrangements to
turn over the estate to you by the end of
the week at the latest.
Speaker 2 (08:56):
Until then, I must ask you to leave.
Speaker 1 (08:58):
Well, pardon me for asking, but were the bum's worsh
if you mean the reasons am I asking you to leave?
I think that's pretty obvious. I've already explained to you
that missus Holliday is a very sick woman, desperately in
need of complete rest and relaxation. Doesn't seem so terribly ill? Confused,
I believe is a better word. I believe as a
physician I'm better qualified to diagnose Missus Holliday's condition. It
(09:21):
so happens that she is suffering from a rather complex
neurosis brought about by the shock of her husband's death.
I don't know what you were discussing with her in
the garden this morning, However, I do know that since
then she has suffered a complete relapse.
Speaker 2 (09:34):
Oh, I'm sorry to hear that. I didn't mean to
upset her.
Speaker 1 (09:37):
It's my duty to see that you don't have another opportunity.
Speaker 2 (09:51):
Come on, come on, sight, go to sleep now, just
go to sleep.
Speaker 1 (10:11):
Hello, Cedar Grove Sanitarium. May I speak to doctor Cameron please?
Speaker 2 (10:16):
Hello?
Speaker 1 (10:17):
Oh hello, I'm sorry to bother you this time of night. Yes,
I'm afraid it's happened. I'm bringing Missus Holliday to Cedar
Grove tomorrow evening. You can expect us at six. Thank you, Arthur.
I knew you would. Good night, Walster. What are you
doing here? You wouldn't take her to Cedar Grove. I've
just made the arrangement. That's an asylum. We doctors prefer
(10:41):
to call it our rest home. Good night, mister Marshall.
In the best of definitions, the word asylum means a
place of rest of But in the case of Missus Holliday,
(11:04):
we can only wonder about Dr Foster's definition of the world.
Speaker 5 (11:08):
And yet he has made no outward move that could
imply anything but the best of the intentions. And Yet
in the mind of Norman Marshall, and in that holiday.
Speaker 2 (11:22):
House, there is.
Speaker 1 (11:23):
A static, something, a strange undercurrent that can only result
from some sort of an obsession. Returning now to the
Mystery starring John moder dormand Marshall spent a wakeful night
(11:51):
in the guest room of Holiday House, a night through
which march the parade of disturbing thoughts like tickets and effects,
and always the question, like.
Speaker 2 (12:02):
The beat of a house. Why why why? And as the.
Speaker 1 (12:10):
Gray shroud of dawn presaged the coming light of day,
Norman Marshall watched Doctor Forrest drive away from the Holiday
House in a car that should not have been there,
a car that was in storage. And again thoughts raced
through his mind, and he knew that somewhere within this
(12:31):
house was the answer to some terrifying problem of obsession.
Speaker 3 (12:37):
And will night come in? But I didn't think they
were last night.
Speaker 1 (12:45):
I was, Oh, mister Marshall, this is holiday.
Speaker 3 (12:48):
I'm not supposed to talk to you, mister Marshall.
Speaker 1 (12:51):
I'll only take a moment of your times at holiday.
There's something I'd like to ask you.
Speaker 3 (12:55):
There's nothing I can say to you. I'm not well.
I wish you girl who.
Speaker 2 (12:59):
Said you weren't well?
Speaker 3 (13:00):
Lloyd's trying to help me. You're not trying to help
me at all.
Speaker 2 (13:03):
This is holiday.
Speaker 1 (13:05):
Where did doctor Foster get the car he drove away
in this morning car?
Speaker 3 (13:09):
Lloyd has his own car.
Speaker 1 (13:11):
Has he had it on the estate? Did he have
it the day before yesterday?
Speaker 3 (13:14):
Of course he uses it to go into towns, the groceries,
and to get medicine for me.
Speaker 2 (13:19):
But what medicine these tablets? Heres?
Speaker 1 (13:22):
Yes, they're strange looking sedatives.
Speaker 3 (13:26):
You can't take those? Why are you tasting them?
Speaker 2 (13:29):
But for me?
Speaker 1 (13:29):
Lloyd?
Speaker 3 (13:29):
Give them to me to quiet my ome?
Speaker 1 (13:31):
Really these are soda tablets, Missus Holliday.
Speaker 3 (13:35):
I don't understand.
Speaker 1 (13:36):
Neither do I, but I believe I'm beginning to what
do you mean, Frankly, Missus Holliday, I'm inclined to think
that your doctor Foster is doing you considerably more harm
than good.
Speaker 2 (13:47):
I wouldn't say that, mister Marshall.
Speaker 1 (13:48):
Foster, Oh, Lloyd, I wish I believe that will be
enough company for you this morning. Christine, you had better
go back to bed, yes, Lloyd. As for you, mister Marshall,
it appears to be getting quite a habit with us.
Speaker 2 (14:00):
My asking you to leave, Yes, I suppose it is.
Get out, please a.
Speaker 1 (14:04):
Foster, get out, mister Marshall, what are you doing in here?
And what are you doing with that gun? I've just
(14:27):
been looking for room mister Holliday's collection. He seems to
have been quite a kind of serve firearms. This is
a fine gun here, yes, now, will you be good
enough to put it back where you've got it? Now?
This wouldn't happen to be the gun that caused the accident.
I couldn't say. It has Missus Holiday's initials on it, really,
(14:49):
for surely you should remember my memory is excellent, mister Marshall.
Thank you, and if it will help to satisfy your curiosity, Yes,
that was the gun used by missus Holliday when the
track it occurred.
Speaker 2 (15:01):
WHOA, how interesting?
Speaker 1 (15:02):
Perhaps this will interest you more Missus Holiday and I
are leaving this afternoon, cedar girl. Yes, And in regard
to your purchase of the estate, what about it? I'm
afraid I'm going to be rather.
Speaker 2 (15:15):
Tied up for the next few days.
Speaker 1 (15:17):
I doubt if I'll have the opportunity to draw you
up a bill of sale, and so I thought you'd
like to have your check back until we can work
out the details. All right, Well, I'd better go along
upstairs and get a few things together. I trust you've
been able to have your car repair. Yes, yes I have.
Oh what I noticed this morning that you get yours
out of story? Yes, yes, I'll have to drive missus Holliday.
(15:39):
Well drop back after the weekend, mister Marshall, I believe
we'll have the house in order for you then. Oh
and please don't forget to replace that gun before you leave.
Speaker 2 (15:49):
Goodbye, goodbye, Fasted. This is holiday, this is holiday.
Speaker 3 (16:07):
Who's there?
Speaker 1 (16:08):
It is high and mister Marshall, open the door.
Speaker 2 (16:10):
Please, it's very important. Please open the door.
Speaker 3 (16:13):
I can't Lloyd locked it.
Speaker 1 (16:14):
I'll come around for the guard met me at the window.
Speaker 2 (16:28):
Can't you understand I'm trying to.
Speaker 3 (16:29):
Help you in the silence and say I'm not insane?
Speaker 1 (16:34):
Oh of course not. But he's a physician. He'll say
things about you that well, they'll be difficult to deny.
Speaker 3 (16:40):
Why would Lloyd want to do a thing like that
to me? He's been so kind and understanding.
Speaker 2 (16:46):
Hm, except why Well, some.
Speaker 3 (16:49):
Nights he comes to my room and talks to me
about Martin in the accident. I'd that's him not to
because I don't know. I just go out to pieces.
But Lloyd says. It does me good to hear, but
it dontulie or make me forget.
Speaker 1 (17:02):
Is that why you screamed last night?
Speaker 3 (17:04):
Did I scream? Oh? I didn't know. I never know
anything of Grease finished talking. He talks about the dog
barking and the way Martin looked, and then I can
hear the shots again.
Speaker 1 (17:15):
Just shot? Yes, there was more than one shot?
Speaker 2 (17:20):
This is holiday? This is holiday? How many shots were.
Speaker 1 (17:24):
Here to your certain event?
Speaker 3 (17:26):
Yes?
Speaker 2 (17:26):
You have more than one gun with your initials? Ye?
Were you using that.
Speaker 1 (17:30):
Particular gun at the time, Yes, yes, I was. Why
do you I was just looking at that gun. Only
one barrel's been discharged. That was the shot you fired?
Speaker 2 (17:40):
One shot?
Speaker 1 (17:41):
Yet you heard too? Where was the other shot from? Oh?
I don't know.
Speaker 3 (17:44):
Lloyd was standing noise? Where was he standing behind? I think?
Speaker 2 (17:52):
How is your marksmanship?
Speaker 3 (17:53):
This is holiday?
Speaker 1 (17:54):
Well?
Speaker 3 (17:54):
I was just learning. It was my second time out.
Speaker 1 (17:56):
I see, May I use your telephone?
Speaker 2 (18:13):
Marshall? I thought your gun? Well, I was waiting for you.
I wanted to talk to you.
Speaker 1 (18:19):
I'm sorry I haven't time, missus Holliday, and I are late.
Now I see you've taken that gun down again. Will
you kindly put it back, not just yet. You know,
I have a suspicion, or it's only a suspicion, you understand,
But this may not have been the gun after all
that caused the untimely death of mister Holliday.
Speaker 2 (18:38):
Mister Marshall, I'd like to stay in chat with you.
Speaker 1 (18:41):
But then again, there's the possibility that mister Holliday's untimely
death wasn't untimely at all.
Speaker 2 (18:47):
That's very interesting, I'm sure.
Speaker 1 (18:49):
And now, mister Marshall, if you will forgive me, I'm
afraid I'm only young. Barrel's been discharged from this gun.
There's another shot left. You wouldn't happen by any chance,
to be threatened me, I might say, doctor Foster, I
believe you kill Martin Holliday. Well, of all the ridiculouses,
Holiday tells me two shots were fired. She only fired
(19:11):
one of the shots. Who fired the other? Missus Holliday
is not responsible for what she Perhaps you might give
her a soda tabit to help her remember how did you.
Perhaps you might reconstruct the accident for her every detail,
remind her the way Martina Holliday looked after he was
shirely mist the master who don't. I don't think anything, Foster.
I'm ready to leave that to the police. The police,
they're on the way here now. Oh, I see you've
(19:32):
been quite sirr about this thing, haven't you. I hope
so hum And as much as I'm being held captive,
wouldn't meet with your approval if I smoked, certainly?
Speaker 2 (19:43):
Thank you?
Speaker 1 (19:45):
Do you happen to have a match here? Thank you again?
Tell me, mister Mershall, with your evidence, do you believe
the police will be able to convict me of murder?
I think, sir, that's dud so do I you? You
did quality? I'm afraid so? Why it's rather a long story. Well,
(20:10):
we have plenty of time, all right. This house here,
it was once mine. I built it. Every dollar I
could get my hands on went into the building of it,
the library, the collections, everything I bought them. By the
time it was finished, most of my money was gone.
But I had what I wanted, something I'd worked all
(20:32):
my life for.
Speaker 2 (20:32):
The Foster House.
Speaker 1 (20:34):
It was mine, every inch of it, the only thing
I'd ever owned. Then I met Martin Holiday. He was
in charge of a stock and bond company. We became
great friends. I had a little money. The market was
doing exceptionally well at the time, and he advised you
to invest. Yes, I used my savings to buy some
shares of stock at his suggestion. Stockfield Martin assured me
(20:57):
I'd be able to recover my losses if I bought
on margin. I took his advice, borrowed on my house
and everything in it, but to no avail. The stock
was worthless. How did he come to buy the house?
He took it in exchange from my debts.
Speaker 2 (21:08):
My house.
Speaker 1 (21:09):
I was penniless and it hadn't custom a thing.
Speaker 2 (21:11):
He told the house from me. That's why I killed him.
Speaker 1 (21:14):
Here, what are you doing past it?
Speaker 2 (21:15):
Give me that no muscles, stand back.
Speaker 1 (21:19):
There's one more shot. Remember your cigarette. You've set fire
to the breakers with it, Yes, a moment ago, and
you're going to give that power chance. Mushl do you
hear No?
Speaker 2 (21:27):
Let me put it out.
Speaker 1 (21:29):
Stop it.
Speaker 2 (21:29):
You can't stop it. He's love you.
Speaker 1 (21:31):
I'd rather see my house burned to the ground to
let anyone else have it.
Speaker 2 (21:54):
Well, there it goes up in the smoke.
Speaker 3 (21:58):
Yes. No, we've been lucky to escape her. What's that?
Speaker 1 (22:04):
Oh, it's just a scrap of paper with an idea
for a story, The Holiday House by Norman Marshall. Oh well,
it couldn't have been a very happy story anyway.
Speaker 3 (22:18):
Is that what you wanna write about? Something with happiness
in it?
Speaker 2 (22:23):
Yes?
Speaker 3 (22:24):
Where would you go to find it?
Speaker 1 (22:27):
I knew a place once, almost halfway around the world
from where we are now. It's a beautiful place, the
most beautiful I've ever seen. I'd like to show it
to you. Fire it's gone out m forever. Come along, Christine,
(22:49):
Please don't ever look back. You have been listening to Obsession.
(23:37):
Obsession has come to you through the worldwide facilities of
the United States Armed Forces Radio and Television Service.
Obsession to the murder. Death is so permanent. But to
(00:34):
the murderer, the glaring memory of living red blood oozing
its ghastly stain, the dying eyes that hold a look
of shock, bewilderment, the grotesque sprawling of the body becomes
a growing terror.
Speaker 2 (00:52):
The murdered do haunt their murderers.
Speaker 1 (00:55):
Diabolically, filling each moment waking or sleeping with an ever building,
distorted desire that mounts into an ball encompassing obsession. And
so this is our story, starring John Loder. This story
(01:30):
began when the red sun of autumn was purpling the
hills with an eerie light, and a skein of swirling
mist was.
Speaker 2 (01:39):
Weaving a silken web in the forest.
Speaker 1 (01:42):
A hunting party consisting of two men and a woman
was returning homeward from a day of hunting, A hunting
party that had set out that morning with the express
desire to legally kill, a desire that all times becomes
an obsession. Here come on, boy, right, yeah, I wonder
(02:12):
we're laughing. He went ahead to say, if we can
locate that path that leads out of here.
Speaker 3 (02:17):
Now, do you think we'll ever bag anything?
Speaker 1 (02:19):
Of course, we just had to run a bad luck
while last winter. Hold on there, ahead, did you see
those branches?
Speaker 2 (02:27):
Move?
Speaker 1 (02:28):
Is a gunloaded? Christine, it's that shot we've been waiting for.
Go ahead, you take first, crack the bush, that bush
to the left of the big tree.
Speaker 2 (02:38):
Hurry up, good shot.
Speaker 1 (02:43):
I think you got it.
Speaker 2 (02:44):
Come on, I'm wait for his lie. Come on, Christine,
here we are we Oh lie, it's button. Yeah, good afternoon.
Speaker 1 (03:10):
I came to inquire about I'm sorry we're not interviewing reporters.
This has all been a terrible shock to missus Holliday
and she's unable to see anyone.
Speaker 2 (03:17):
Wait a minute, I'm not a reporter.
Speaker 1 (03:19):
No oh, I'm answering the ad the newspaper regard you're
selling the house. Oh oh, come in, thank you. We've
been swamped with snoopers and reporters all week long. It's
been rather difficult. I'm doctor Foster, Missus Holliday's physician.
Speaker 2 (03:33):
I didn't know you, doctor Foster. I'm Norman Marshall, not
Norman Marshall, the writer. I'm afraid so well.
Speaker 1 (03:39):
This is a pleasure, mister Marshall. I'm one of your
most devoted readers.
Speaker 2 (03:43):
Thank you very much.
Speaker 1 (03:44):
Now as to the estate, I believe I can tell
you all you wish to know. There is scarcely much
I need. No, I've seen innumerable pictures of a holiday
house and the Sunday Rotter reviewer.
Speaker 2 (03:54):
Now regarding price.
Speaker 1 (03:55):
The price is as advertised and servants, would they be
available to a new one?
Speaker 2 (04:00):
I'm sorry no.
Speaker 1 (04:00):
You see, since Martin Holliday's death, I've had to discharge them.
Missus Holliday is in a very delicate condition, requiring absolute quiet.
It was imperative that no one remained in the house
who might disturb her in any way. Oh, breakdown something
of the sort. Yes, Oh, that's a shame. The entire
affair has been quite tragic. But to get back mister Marshall, Oh, yes, God,
(04:24):
the library here doctor post This was mister Holliday.
Speaker 2 (04:28):
Yes, appears to.
Speaker 1 (04:29):
Have quite a number of rare works, this one.
Speaker 2 (04:32):
Here, for example. I don't believe I've seen this. See
I should prefer you not to handle the books, please,
mister Marshall. Oh, I'm sorry. I think the library is
not for sale. None of the furnishings.
Speaker 1 (04:42):
Perhaps we discussed the satisfactory price and a few of
these editions. I've just told you, mister Marshall, the furnishings
are not for sale.
Speaker 2 (04:50):
The missus Holliday's instructions.
Speaker 3 (04:51):
Would you call me life?
Speaker 2 (04:53):
Christine? What are you doing here?
Speaker 1 (04:56):
You're not well enough to be up and around just yet.
Don't you think you better go back to your room?
Speaker 3 (05:00):
No, no, it's a warm there. I wanted some fresh air.
Who is this?
Speaker 2 (05:08):
This is Norman Marshall, Christine.
Speaker 3 (05:10):
How do you do, mister Marshall. I'm missus Holiday.
Speaker 1 (05:16):
Mister Marshall is considering buying these states.
Speaker 2 (05:18):
Ye seems to be an ideal place for a person
in my line of work.
Speaker 3 (05:21):
Line of work.
Speaker 2 (05:23):
I'm a writer.
Speaker 3 (05:24):
A writer. Oh that's very nice. You know. It's funny.
I used to wish I were a writer. I think
I still do. There's so many things I could write about.
Speaker 1 (05:35):
Christine, Christina, I'll help you back to your room.
Speaker 3 (05:39):
No, no, it's quite all right. I can manage day,
mister Marshall.
Speaker 2 (05:44):
Good day, Missus Hanley.
Speaker 1 (05:46):
You must forget some of the things, she says, mister Marshall.
She she doesn't realize. Well, she didn't seem to say
anything wrong. Yes, well, nevertheless, now about the house.
Speaker 2 (05:58):
Uh huh, oh, yes, well I'll take it.
Speaker 1 (06:01):
Oh well, fine.
Speaker 2 (06:04):
I'll draw you up a check. And by the way,
I'll have to ask a favor of you, certainly. What
is it? I had a bit of car trouble down
the road.
Speaker 1 (06:10):
It doesn't seem to be any service stations out this way.
I won If you'd mind driving me back into town.
I'd like to, but I'm afraid I can't. We haven't
a car on the estate. No, no, they're in storage.
Speaker 2 (06:19):
Oh I see, well, I hate to ask, but do
you think you could put me up someplace for the night.
I'm afraid it's impossible.
Speaker 1 (06:26):
Oh well, I'm sorry then. Oh that is I didn't
quite mean it in the way I said. After all,
we couldn't very well turn you out when you practical
learn the house, could we?
Speaker 2 (06:34):
I don't know? Could you?
Speaker 1 (06:36):
You will find a guest room at the head of sairs,
mister Marshall, you're welcome to stay. Good evening, Good evening
to you.
Speaker 2 (06:56):
Oh good morning? Is holiday?
Speaker 3 (06:58):
Good morning? Oh I'm sorry it's.
Speaker 1 (07:01):
Marshall, nor Iman marshcause forgive me, that's one of my
words habits. I never can remember her name. Fine morning,
isn't it.
Speaker 4 (07:09):
Yes, it's beautiful. I thought i'd pick some roses for
my room. Do you like roses, mister Marshall very much?
I'm lund it to myself. Martin used to like roses.
Speaker 2 (07:22):
Martin, can I can I help them?
Speaker 3 (07:24):
No? No, thank you, I'm unfinished. I think I'll go
in now.
Speaker 2 (07:28):
Oh wait, this is holiday?
Speaker 3 (07:31):
What is it?
Speaker 2 (07:33):
I wanted to talk to you. There was something.
Speaker 3 (07:35):
I'm sorry. Lloyd says I'm not well enough to talk
to anyone yet. Lloyd's my position.
Speaker 1 (07:41):
Yes, I know that's one of the things I wanted
to ask you about. Uh, couldn't we take a little stroll?
Speaker 3 (07:47):
Lloyd might not approve, you, might say it's.
Speaker 2 (07:50):
Bad for I'm sure it'll be all right.
Speaker 3 (07:53):
Well, all right, Henry, I can walk in the garden
if you like.
Speaker 1 (07:58):
It's a very attractive garden. I like the forest out there, too.
Seems to add something.
Speaker 3 (08:05):
I despised the forest. Oh, hunting over hunting, cried, said
it was there and a cup of trees. Wasn't that
I meant to No, I didn't mean to. Disney kept barking.
Speaker 2 (08:18):
Look, missus Harvey, I wouldn't.
Speaker 1 (08:21):
And of course it's a drawin.
Speaker 5 (08:24):
I can't hear.
Speaker 3 (08:25):
Miss don't run off, Miss is.
Speaker 2 (08:40):
Mister Marshall. Oh, doctor Parster. Hello, mister Marshall.
Speaker 1 (08:44):
I've tried to show you every courtesy, and I'd appreciate
it if you would at least grant me the same consideration.
Something wrong, Missus Holliday and I have made arrangements to
turn over the estate to you by the end of
the week at the latest.
Speaker 2 (08:56):
Until then, I must ask you to leave.
Speaker 1 (08:58):
Well, pardon me for asking, but were the bum's worsh
if you mean the reasons am I asking you to leave?
I think that's pretty obvious. I've already explained to you
that missus Holliday is a very sick woman, desperately in
need of complete rest and relaxation. Doesn't seem so terribly ill? Confused,
I believe is a better word. I believe as a
physician I'm better qualified to diagnose Missus Holliday's condition. It
(09:21):
so happens that she is suffering from a rather complex
neurosis brought about by the shock of her husband's death.
I don't know what you were discussing with her in
the garden this morning, However, I do know that since
then she has suffered a complete relapse.
Speaker 2 (09:34):
Oh, I'm sorry to hear that. I didn't mean to
upset her.
Speaker 1 (09:37):
It's my duty to see that you don't have another opportunity.
Speaker 2 (09:51):
Come on, come on, sight, go to sleep now, just
go to sleep.
Speaker 1 (10:11):
Hello, Cedar Grove Sanitarium. May I speak to doctor Cameron please?
Speaker 2 (10:16):
Hello?
Speaker 1 (10:17):
Oh hello, I'm sorry to bother you this time of night. Yes,
I'm afraid it's happened. I'm bringing Missus Holliday to Cedar
Grove tomorrow evening. You can expect us at six. Thank you, Arthur.
I knew you would. Good night, Walster. What are you
doing here? You wouldn't take her to Cedar Grove. I've
just made the arrangement. That's an asylum. We doctors prefer
(10:41):
to call it our rest home. Good night, mister Marshall.
In the best of definitions, the word asylum means a
place of rest of But in the case of Missus Holliday,
(11:04):
we can only wonder about Dr Foster's definition of the world.
Speaker 5 (11:08):
And yet he has made no outward move that could
imply anything but the best of the intentions. And Yet
in the mind of Norman Marshall, and in that holiday.
Speaker 2 (11:22):
House, there is.
Speaker 1 (11:23):
A static, something, a strange undercurrent that can only result
from some sort of an obsession. Returning now to the
Mystery starring John moder dormand Marshall spent a wakeful night
(11:51):
in the guest room of Holiday House, a night through
which march the parade of disturbing thoughts like tickets and effects,
and always the question, like.
Speaker 2 (12:02):
The beat of a house. Why why why? And as the.
Speaker 1 (12:10):
Gray shroud of dawn presaged the coming light of day,
Norman Marshall watched Doctor Forrest drive away from the Holiday
House in a car that should not have been there,
a car that was in storage. And again thoughts raced
through his mind, and he knew that somewhere within this
(12:31):
house was the answer to some terrifying problem of obsession.
Speaker 3 (12:37):
And will night come in? But I didn't think they
were last night.
Speaker 1 (12:45):
I was, Oh, mister Marshall, this is holiday.
Speaker 3 (12:48):
I'm not supposed to talk to you, mister Marshall.
Speaker 1 (12:51):
I'll only take a moment of your times at holiday.
There's something I'd like to ask you.
Speaker 3 (12:55):
There's nothing I can say to you. I'm not well.
I wish you girl who.
Speaker 2 (12:59):
Said you weren't well?
Speaker 3 (13:00):
Lloyd's trying to help me. You're not trying to help
me at all.
Speaker 2 (13:03):
This is holiday.
Speaker 1 (13:05):
Where did doctor Foster get the car he drove away
in this morning car?
Speaker 3 (13:09):
Lloyd has his own car.
Speaker 1 (13:11):
Has he had it on the estate? Did he have
it the day before yesterday?
Speaker 3 (13:14):
Of course he uses it to go into towns, the groceries,
and to get medicine for me.
Speaker 2 (13:19):
But what medicine these tablets? Heres?
Speaker 1 (13:22):
Yes, they're strange looking sedatives.
Speaker 3 (13:26):
You can't take those? Why are you tasting them?
Speaker 2 (13:29):
But for me?
Speaker 1 (13:29):
Lloyd?
Speaker 3 (13:29):
Give them to me to quiet my ome?
Speaker 1 (13:31):
Really these are soda tablets, Missus Holliday.
Speaker 3 (13:35):
I don't understand.
Speaker 1 (13:36):
Neither do I, but I believe I'm beginning to what
do you mean, Frankly, Missus Holliday, I'm inclined to think
that your doctor Foster is doing you considerably more harm
than good.
Speaker 2 (13:47):
I wouldn't say that, mister Marshall.
Speaker 1 (13:48):
Foster, Oh, Lloyd, I wish I believe that will be
enough company for you this morning. Christine, you had better
go back to bed, yes, Lloyd. As for you, mister Marshall,
it appears to be getting quite a habit with us.
Speaker 2 (14:00):
My asking you to leave, Yes, I suppose it is.
Get out, please a.
Speaker 1 (14:04):
Foster, get out, mister Marshall, what are you doing in here?
And what are you doing with that gun? I've just
(14:27):
been looking for room mister Holliday's collection. He seems to
have been quite a kind of serve firearms. This is
a fine gun here, yes, now, will you be good
enough to put it back where you've got it? Now?
This wouldn't happen to be the gun that caused the accident.
I couldn't say. It has Missus Holiday's initials on it, really,
(14:49):
for surely you should remember my memory is excellent, mister Marshall.
Thank you, and if it will help to satisfy your curiosity, Yes,
that was the gun used by missus Holliday when the
track it occurred.
Speaker 2 (15:01):
WHOA, how interesting?
Speaker 1 (15:02):
Perhaps this will interest you more Missus Holiday and I
are leaving this afternoon, cedar girl. Yes, And in regard
to your purchase of the estate, what about it? I'm
afraid I'm going to be rather.
Speaker 2 (15:15):
Tied up for the next few days.
Speaker 1 (15:17):
I doubt if I'll have the opportunity to draw you
up a bill of sale, and so I thought you'd
like to have your check back until we can work
out the details. All right, Well, I'd better go along
upstairs and get a few things together. I trust you've
been able to have your car repair. Yes, yes I have.
Oh what I noticed this morning that you get yours
out of story? Yes, yes, I'll have to drive missus Holliday.
(15:39):
Well drop back after the weekend, mister Marshall, I believe
we'll have the house in order for you then. Oh
and please don't forget to replace that gun before you leave.
Speaker 2 (15:49):
Goodbye, goodbye, Fasted. This is holiday, this is holiday.
Speaker 3 (16:07):
Who's there?
Speaker 1 (16:08):
It is high and mister Marshall, open the door.
Speaker 2 (16:10):
Please, it's very important. Please open the door.
Speaker 3 (16:13):
I can't Lloyd locked it.
Speaker 1 (16:14):
I'll come around for the guard met me at the window.
Speaker 2 (16:28):
Can't you understand I'm trying to.
Speaker 3 (16:29):
Help you in the silence and say I'm not insane?
Speaker 1 (16:34):
Oh of course not. But he's a physician. He'll say
things about you that well, they'll be difficult to deny.
Speaker 3 (16:40):
Why would Lloyd want to do a thing like that
to me? He's been so kind and understanding.
Speaker 2 (16:46):
Hm, except why Well, some.
Speaker 3 (16:49):
Nights he comes to my room and talks to me
about Martin in the accident. I'd that's him not to
because I don't know. I just go out to pieces.
But Lloyd says. It does me good to hear, but
it dontulie or make me forget.
Speaker 1 (17:02):
Is that why you screamed last night?
Speaker 3 (17:04):
Did I scream? Oh? I didn't know. I never know
anything of Grease finished talking. He talks about the dog
barking and the way Martin looked, and then I can
hear the shots again.
Speaker 1 (17:15):
Just shot? Yes, there was more than one shot?
Speaker 2 (17:20):
This is holiday? This is holiday? How many shots were.
Speaker 1 (17:24):
Here to your certain event?
Speaker 3 (17:26):
Yes?
Speaker 2 (17:26):
You have more than one gun with your initials? Ye?
Were you using that.
Speaker 1 (17:30):
Particular gun at the time, Yes, yes, I was. Why
do you I was just looking at that gun. Only
one barrel's been discharged. That was the shot you fired?
Speaker 2 (17:40):
One shot?
Speaker 1 (17:41):
Yet you heard too? Where was the other shot from? Oh?
I don't know.
Speaker 3 (17:44):
Lloyd was standing noise? Where was he standing behind? I think?
Speaker 2 (17:52):
How is your marksmanship?
Speaker 3 (17:53):
This is holiday?
Speaker 1 (17:54):
Well?
Speaker 3 (17:54):
I was just learning. It was my second time out.
Speaker 1 (17:56):
I see, May I use your telephone?
Speaker 2 (18:13):
Marshall? I thought your gun? Well, I was waiting for you.
I wanted to talk to you.
Speaker 1 (18:19):
I'm sorry I haven't time, missus Holliday, and I are late.
Now I see you've taken that gun down again. Will
you kindly put it back, not just yet. You know,
I have a suspicion, or it's only a suspicion, you understand,
But this may not have been the gun after all
that caused the untimely death of mister Holliday.
Speaker 2 (18:38):
Mister Marshall, I'd like to stay in chat with you.
Speaker 1 (18:41):
But then again, there's the possibility that mister Holliday's untimely
death wasn't untimely at all.
Speaker 2 (18:47):
That's very interesting, I'm sure.
Speaker 1 (18:49):
And now, mister Marshall, if you will forgive me, I'm
afraid I'm only young. Barrel's been discharged from this gun.
There's another shot left. You wouldn't happen by any chance,
to be threatened me, I might say, doctor Foster, I
believe you kill Martin Holliday. Well, of all the ridiculouses,
Holiday tells me two shots were fired. She only fired
(19:11):
one of the shots. Who fired the other? Missus Holliday
is not responsible for what she Perhaps you might give
her a soda tabit to help her remember how did you.
Perhaps you might reconstruct the accident for her every detail,
remind her the way Martina Holliday looked after he was
shirely mist the master who don't. I don't think anything, Foster.
I'm ready to leave that to the police. The police,
they're on the way here now. Oh, I see you've
(19:32):
been quite sirr about this thing, haven't you. I hope
so hum And as much as I'm being held captive,
wouldn't meet with your approval if I smoked, certainly?
Speaker 2 (19:43):
Thank you?
Speaker 1 (19:45):
Do you happen to have a match here? Thank you again?
Tell me, mister Mershall, with your evidence, do you believe
the police will be able to convict me of murder?
I think, sir, that's dud so do I you? You
did quality? I'm afraid so? Why it's rather a long story. Well,
(20:10):
we have plenty of time, all right. This house here,
it was once mine. I built it. Every dollar I
could get my hands on went into the building of it,
the library, the collections, everything I bought them. By the
time it was finished, most of my money was gone.
But I had what I wanted, something I'd worked all
(20:32):
my life for.
Speaker 2 (20:32):
The Foster House.
Speaker 1 (20:34):
It was mine, every inch of it, the only thing
I'd ever owned. Then I met Martin Holiday. He was
in charge of a stock and bond company. We became
great friends. I had a little money. The market was
doing exceptionally well at the time, and he advised you
to invest. Yes, I used my savings to buy some
shares of stock at his suggestion. Stockfield Martin assured me
(20:57):
I'd be able to recover my losses if I bought
on margin. I took his advice, borrowed on my house
and everything in it, but to no avail. The stock
was worthless. How did he come to buy the house?
He took it in exchange from my debts.
Speaker 2 (21:08):
My house.
Speaker 1 (21:09):
I was penniless and it hadn't custom a thing.
Speaker 2 (21:11):
He told the house from me. That's why I killed him.
Speaker 1 (21:14):
Here, what are you doing past it?
Speaker 2 (21:15):
Give me that no muscles, stand back.
Speaker 1 (21:19):
There's one more shot. Remember your cigarette. You've set fire
to the breakers with it, Yes, a moment ago, and
you're going to give that power chance. Mushl do you
hear No?
Speaker 2 (21:27):
Let me put it out.
Speaker 1 (21:29):
Stop it.
Speaker 2 (21:29):
You can't stop it. He's love you.
Speaker 1 (21:31):
I'd rather see my house burned to the ground to
let anyone else have it.
Speaker 2 (21:54):
Well, there it goes up in the smoke.
Speaker 3 (21:58):
Yes. No, we've been lucky to escape her. What's that?
Speaker 1 (22:04):
Oh, it's just a scrap of paper with an idea
for a story, The Holiday House by Norman Marshall. Oh well,
it couldn't have been a very happy story anyway.
Speaker 3 (22:18):
Is that what you wanna write about? Something with happiness
in it?
Speaker 2 (22:23):
Yes?
Speaker 3 (22:24):
Where would you go to find it?
Speaker 1 (22:27):
I knew a place once, almost halfway around the world
from where we are now. It's a beautiful place, the
most beautiful I've ever seen. I'd like to show it
to you. Fire it's gone out m forever. Come along, Christine,
(22:49):
Please don't ever look back. You have been listening to Obsession.
(23:37):
Obsession has come to you through the worldwide facilities of
the United States Armed Forces Radio and Television Service.
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