August 3, 2025 • 29 mins
Please enjoy Yellow Wallpaper a great episode of the legendary Suspense - Old Time Radio show OTR - a Old Time Radio OTR classic.
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Episode Transcript
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Speaker 1 (00:00):
In Just a Moment suspense starring Agnes Moorehead.
Speaker 2 (00:05):
Hi half heroin our things.
Speaker 3 (00:07):
Wouldn't be better except walking twelve blocks to your own
service station just isn't for me.
Speaker 2 (00:12):
You got my new spark plugs.
Speaker 1 (00:14):
In, just finish putting those brand new auto light resistance
spark plugs in your car.
Speaker 2 (00:18):
Guess she takes a big load off your arches, he half.
Speaker 4 (00:20):
He sure my feet have the pepper not to pick up?
Speaker 2 (00:23):
And what are you listening to the name which Thursday happen?
I'm listening to the Auto Light Suspense Show Never Missing.
Speaker 3 (00:28):
Well, here's where I rest my weary booms and listen
to Agnes more Head.
Speaker 1 (00:33):
Hey Half, Here comes Frank Martin, the auto light salesman
to join us.
Speaker 2 (00:36):
Hello, Frank, meet half Heart.
Speaker 3 (00:38):
Order light spark plugs, batteries and ignition systems.
Speaker 2 (00:41):
The life flight of your car.
Speaker 1 (00:43):
Well like mister Horton for the assist, and wait until
I give you the real load almost brand new auto
light resistor spark plugs he just put in your car.
Speaker 2 (00:51):
Say they say it later, Frank, Here comes Agnes Moorehead Suspense.
Speaker 5 (01:08):
Auto Light and at sixty thousand dealers and service stations
bring you Radio's outstanding theater of Thrills, starring Tonight miss
Agnes Moorehead in a tale well calculated to keep you
in suspense.
Speaker 1 (01:24):
Today everybody's switching to auto light, and Tonight Autolite takes
pleasure in presenting.
Speaker 5 (01:29):
Anton Leader's production of the famous short story The Yellow Wallpaper,
starring Agnes Moorehead.
Speaker 6 (01:46):
I've never seen a worse wallpaper in my life, although
strangled heads in Bulba's eyes and fungus growth seem to
shriek with derision.
Speaker 7 (02:02):
When we came to this house.
Speaker 6 (02:03):
The minute I saw it, I made up my mind
secretly to start writing again in spite of them. But
I don't dare let John know I'm keeping this journal.
It's difficult being married to a doctor. John's an excellent doctor,
I'm sure, but he's so inconsistent about me. He says,
I'm not really sick, that I'm only a little run
down from caring for the baby, that I have a
temporary nervous depression. Yet he prescribes phosphates or phosphites, I
(02:26):
don't know which, and tonics and exercise.
Speaker 7 (02:29):
He absolutely forbids me.
Speaker 6 (02:30):
To work until I'm well again. He hates for me
to write a word. But writing is such a relief
to my mind. I can write down things, tell things
here that no John says. I'm not a boot about
those things. I confess they make me feel.
Speaker 7 (02:44):
Bad, So I'll only write about the house. I saw
it for the first time today. It's the most beautiful place.
Speaker 6 (02:52):
John rended it for the summer, and we drove up
to day a perfect June morning.
Speaker 7 (02:56):
The bay and the white.
Speaker 6 (02:57):
Sails and people already in swimming, and then the shade
of lane and the riotous old fashioned flowers and the
gnarley trees and the house, the house standing alone in
the summer stillness. I could never tell John, but you know,
the house spoke to me. It was only because he
rattled on so that I couldn't hear what.
Speaker 3 (03:17):
It reminded me of those English places you read about, gardeners,
cottages and everything, and had only two hundred.
Speaker 7 (03:22):
A month, hedges and walls and gates that lock, and
there's a ghostliness.
Speaker 3 (03:26):
Remember I rented it just for you, darling, and you're
gonna let Jenny do all the work while you live
like well, like a prince.
Speaker 2 (03:33):
Do you like it, Darling, speak of.
Speaker 6 (03:35):
Yes, John, Yes, it's lovely but it's strange, as though
it might be haunted.
Speaker 3 (03:41):
You've got that look in your face again, that dopey
luck Well in his home as a station wagon. And
if I know my dear sister, she's already turned the
place inside out and cleaned it top to bottom.
Speaker 7 (03:53):
John, is it haunted? Do you think the.
Speaker 2 (03:56):
House two hundred a month? My lad's asking too much
of faith? Come on, how about you always laugh.
Speaker 7 (04:02):
At anything you can't touch or see or put down
in figures. There is something strange about the house.
Speaker 3 (04:06):
I think if you weren't always imagining, I'm not imagining.
Speaker 8 (04:10):
One reason I don't get relive that you don't believe me.
Speaker 7 (04:12):
You don't even believe I'm sick. You tell my friends
and relatives. I've heard you. I've heard you that there's
nothing wrong.
Speaker 2 (04:18):
With there is nothing wrong.
Speaker 3 (04:21):
I'm sorry. Please don't cry, I'll come home. Let's go inside.
Speaker 7 (04:29):
And so I came into this house in tears. It
was wrong, it was all wrong.
Speaker 6 (04:34):
Maybe the house saw me crying, or this room.
Speaker 7 (04:38):
I got so unreasonably angry with John. I shouldn't. I know,
he's so careful and loving, and I repay him so badly.
Speaker 9 (04:44):
I should control myself, at least in front of him.
But it makes me so tired not to show what
I feel. Jenny met us at the door. Naturally she
saw I've been crying, but she took pains to ignore him.
Speaker 7 (04:55):
Well, hello, you two, you're early. You must have started
at the crack of dawn.
Speaker 2 (05:00):
How was the trip made in lessen two hours?
Speaker 7 (05:03):
Like his peas in a pod? Jenny and John? Both
efficient and kind? And how did you bear up?
Speaker 6 (05:08):
Pitt?
Speaker 7 (05:09):
Very well, thank you, Jenny.
Speaker 6 (05:11):
Both kind and both somehow cruel. But I don't really
think that.
Speaker 7 (05:16):
Well, you're just in time for lunch. I bought a
flounder down at the wharf and cooked it with capers
and creams.
Speaker 2 (05:21):
Sound good, wonderful, Jenny.
Speaker 7 (05:22):
May I see the house first, the whole grand tour
all Pitt, the flouneral cooked a dead well at least
my room, our room, all right, if you insist. But
if that fish is spoiled, don't blame me. Why would
I blame this, Jenny? Oh, it's small, but it's near
the door in the tell Oh John, John, Look, let's
take this one for you and me. I love those
(05:44):
roses over the winds. I've already put your things upstairs, pets. Well,
this has a little porch in such pretty old fashioned
chintz hands upstairs, and you can see there's no room
in here for two beds.
Speaker 3 (05:54):
And I won't hear of being in separate rooms. I'm
going to make you rest and take your tonic.
Speaker 7 (05:59):
John and I have talked at all all over. And
the room at the top of the house has so
many windows.
Speaker 3 (06:03):
And you know, darling, you must absorbed lots of fresh air.
Get your appetite back.
Speaker 7 (06:07):
They smother me with concern, that crush me with kind
Come along, there's a good girl, all right, you know
what's best. And you're going to like that nursery. It
gets loads of sunshine.
Speaker 6 (06:28):
Up the steep, narrow stairs, two stories up to the
very top of the house.
Speaker 7 (06:34):
There's a gate at the top of the flocks. I
wonder why. And beyond the gate is the nursery room.
Speaker 6 (06:42):
This room, it is big and airy, nearly a whole
floor with windows that look every way. They say it
was a nursery, but what was it really, Jenny? Why
why the windows barred the children otherwise?
Speaker 7 (07:01):
Yeah?
Speaker 6 (07:02):
Must children climb around, so don't they? What are those
rings and things in the walls?
Speaker 3 (07:09):
I expect they made it into a gymnasum when the
children got older.
Speaker 7 (07:12):
Playground. They must have hated the wallpaper.
Speaker 2 (07:15):
They were rough on it, that's for sure.
Speaker 7 (07:17):
Way they've stripped it off in patches. I don't blame them.
It's hitious. Who wants to look at the wallpaper with
this view? Why you can see the whole.
Speaker 6 (07:25):
Bit of revolting color. It's unclean, such a strange sickish
yellow there where the sun's faded it I never saw.
Speaker 4 (07:32):
Was paper mine.
Speaker 3 (07:32):
Don't dramatize it, darling. You must be hungry, and I
know you're tired.
Speaker 7 (07:36):
I'm not tired. Why do you both act this way?
I say the wallpaper's ugly, and you look at each other,
your eyes shuttle back and forth, and suddenly you both acted.
Speaker 3 (07:44):
Though it last night, Darling, that was something we weren't
going to say, be a good girl, Peck.
Speaker 10 (07:51):
We don't act anyway. We just don't want you to worry.
We want you to be well. It's true, that's all
they want.
Speaker 6 (08:06):
John last at me, of course, but one expects that
in marriage. And he says, I have foolish fancies, and
he sometimes can talk them away, but not this time. No,
matter what he says, it's a smoldering, sulfrous, unclean.
Speaker 7 (08:18):
It's hideous wallpaper. No one of the children scratched at
it and stripped it down.
Speaker 6 (08:24):
No wonder they gouge the plaster with their little fingernails.
Speaker 7 (08:27):
Don't wonder they hate it.
Speaker 11 (08:28):
I hate it myself, and somehow I feel it hates me.
Speaker 5 (08:50):
For suspense, Auto Light is bringing you miss Agnes Moorehead
in the yellow wallpaper. Auto Light's presentation of radio's outstanding
theater of thrill sells spends.
Speaker 6 (09:12):
Same.
Speaker 4 (09:13):
Isn't she terrific?
Speaker 2 (09:14):
Yes, sir, Agnes Moorehead is always terrific.
Speaker 4 (09:17):
She sures say. Car sure sounds good.
Speaker 3 (09:21):
I couldn't resist stepping on the starry and these new
auto light resistor spark plugs sure make this a contented car.
Speaker 2 (09:27):
Yep, And you got the first set in town.
Speaker 1 (09:29):
Well right now you can get auto light resistor spark
plugs almost anywhere in the United States. It's sensational. Why
no other spark plug will give and maintain such performance sounds.
Speaker 4 (09:38):
Like a good sale story. Where did the name resist
to come from?
Speaker 1 (09:41):
Mister Martin, Auto Life worked with leading car and truck
manufacturers and they ignission engineered a ten thousand m resistor
right into the Auto Light spark plug that permits a
wider spark gap setting and maintains it far longer than any.
Speaker 2 (09:53):
Other spark plugs.
Speaker 1 (09:55):
Actually, mister Horton, when you replace your narrow gap spark
plugs with a set of wide gap Auto Light resistors
spark plugs, you can tell the difference in your car.
Speaker 2 (10:02):
Name's right from the book I've been amish.
Speaker 1 (10:04):
Well, I guess so. But here's the simple lowdown. As
a result of the wide gap and the resistor spark plug,
you're engine idle, smoother, you have better luck with lean
gas mixtures and save gas, and within established limits, you
reduce spark plug interference with radio and television reception. Yes,
and today you can get the resistor spark plug from
almost any of Auto light sixty thousand dealers. That's the
(10:25):
biggest spark plug us in years.
Speaker 5 (10:30):
And now Auto Light brings back to our Hollywood sound stage.
Miss Agnes moorehead as Starr in the Yellow Wallpaper, The
tail well calculated to keep you in suspend.
Speaker 6 (10:55):
We've been here two weeks and I haven't felt like
writing again since that first day. I'm sitting by the
window now up in this frightful nursery room, there's nothing
to stop my writing as much as I please. John
is away all day and sometimes even at night if
he has a serious case. I'm glad my case is
not serious. These nervous troubles can be depressing all the same.
Speaker 8 (11:17):
I cry at nothing and cry most of the time.
Speaker 7 (11:21):
John doesn't know how much I suffer.
Speaker 8 (11:23):
He knows there's no reason to suffer, and that satisfies him.
Speaker 7 (11:26):
I suppose John was never nervous in his life. He
laughs at me. So about this wallpaper.
Speaker 2 (11:32):
No, I won't let you have your wear, you silly goose.
Speaker 3 (11:35):
If we'd taken the room downstairs, you'd be seeing faces
in the chin straight.
Speaker 7 (11:38):
Not faces. Look at that spot, John, and that one
over there.
Speaker 4 (11:43):
Yes, I see it's a repeating pattern.
Speaker 8 (11:45):
It's a broken neck with two bulging eyes staring at
me upside down.
Speaker 2 (11:50):
And to me it's a climbing ivy or some kind
of a vine. Take your choice, could be anything.
Speaker 4 (11:55):
Besides, I can't readpaper a room just for a three months, right.
Speaker 7 (11:58):
Well, then let's move downstairs. Take me away from it.
Speaker 12 (12:00):
Don't you see, Johnny, It hates me. I wish i'd
get well fast.
Speaker 2 (12:11):
You just use your will and your good sense. I'm afraid,
but you're so much better.
Speaker 4 (12:15):
And I marned you.
Speaker 7 (12:16):
I meant to be such a help.
Speaker 13 (12:17):
And I'm only a burden.
Speaker 4 (12:18):
You are a help to me. You're my comfort.
Speaker 7 (12:21):
I can't even be with my baby.
Speaker 6 (12:23):
It makes me so nervous.
Speaker 7 (12:26):
Will I ever be will enough to see him again?
Speaker 4 (12:28):
Of course you'll be well if you try, And I'll try, I.
Speaker 8 (12:33):
Promise no, And I won't look at the wallpaper, and
I'll stop seeing things out of the windows.
Speaker 4 (12:39):
Out the windows.
Speaker 7 (12:40):
Oh, I've seen people walking up and down the path
and in the arbors.
Speaker 8 (12:43):
I know it's silly, and it's only in certain lights
when I look at the wallpaper from the bed that
I see see what nothing, nothing, No, you're right, there's
nothing except a pattern, a front pattern and an underpattern,
(13:06):
and a different shade of yellow.
Speaker 6 (13:08):
It dwells in my mind. So I lie on that
great immovable bed. It's nailed down, I believe, and follow
that pattern about by the hour, and then where it
isn't faded, when the sun is just so, I see
a strange, faint form, a sort of figure lurking waiting behind.
Speaker 7 (13:22):
That front design. I don't know why I should write
like this day of to day. I don't want to.
Speaker 8 (13:34):
I don't feel able, and I know John would think
it absurd, But I must express what I feel and think.
Speaker 14 (13:39):
In some way.
Speaker 7 (13:40):
It's such a relief. There are things in.
Speaker 6 (13:44):
That wallpaper that nobody knows about.
Speaker 8 (13:45):
But need.
Speaker 7 (13:48):
You know there's a.
Speaker 6 (13:48):
Woman stooping down and creeping about behind that pattern. Last night,
it was light and the moon shines in all around,
just as the sun does. John was asleep, and I
hated to waken him, so I kept still and watched
the moonlight on the wall till I felt creepy.
Speaker 14 (14:12):
The woman behind the paper began to shake the pattern
as if she.
Speaker 7 (14:15):
Wanted to get out.
Speaker 14 (14:17):
I got up softly and went and felt the paper
to see if it did move. It moved, It moved
that short and the poor woman cried out as though
her voice came a long way over water.
Speaker 7 (14:33):
Still an look me, still.
Speaker 6 (14:37):
All the boor thing. Then I went back to the bed.
Speaker 7 (14:49):
John was awake.
Speaker 4 (14:50):
What is it, Ny, Why you are you shouldn't go
walking around night that you'll catch cold?
Speaker 7 (14:56):
The moonlight?
Speaker 4 (14:56):
Walk me?
Speaker 2 (14:58):
You are cold?
Speaker 7 (14:58):
You're shivering, John, I'm not really getting better? What'd you
take me away?
Speaker 3 (15:03):
At least you'll be up in three weeks, darling. I
don't see how we can leave before then. Of course,
if you were in any danger, I would, But you
really are better, dear, whether you see it or not.
I'm a doctor and I know.
Speaker 8 (15:15):
Oh my appetite may be better in the evening when
you are here, but it's worse in the morning when
you are.
Speaker 2 (15:19):
God, why you're gaining flesh.
Speaker 7 (15:21):
And got away a bit more, not even as much.
Speaker 4 (15:24):
Well, bless your little heart, you shall be as sick
as you please. But let's go to sleep and talk
about it in the morning.
Speaker 7 (15:31):
You won't go away, How can I, dear?
Speaker 4 (15:34):
And why should i?
Speaker 8 (15:35):
Since you're better, better in body, perhaps better.
Speaker 4 (15:38):
For my sake and your second, for the sake of
my child. I beg you not to let that idea
enter your head, not for an instant.
Speaker 3 (15:44):
Can't you trust me as a doctor when I tell
you it's a false and foolish idea?
Speaker 4 (15:51):
Answer me, darling. Don't you trust me?
Speaker 14 (15:53):
Yes?
Speaker 7 (15:54):
Of course I trust you only what Aha? I'm sleepy.
That's good to sleep, but I didn't sleep.
Speaker 6 (16:06):
I lay there for hours trying to decide if the
front pattern and the back pattern moved together or separately.
At night, in the moonlight, the front pattern becomes bars,
and the woman behind it shakes the bars.
Speaker 7 (16:27):
Yes, she shakes the bars as she creeps around. I
lie down ever so much now. John says it's good.
Speaker 6 (16:43):
For a man to sleep all I can, But you see,
I don't sleep, and that cultivates Decee for I don't tell.
Speaker 7 (16:49):
Them I'm away.
Speaker 2 (16:50):
Oh.
Speaker 6 (16:51):
No, fact is I'm getting a.
Speaker 7 (16:53):
Little afraid of John.
Speaker 6 (16:55):
He seems very odd sometimes, and it strikes me that
perhaps it's the yellow wallpaper.
Speaker 7 (17:00):
I like this room now, and life is much more
exciting than it used to be. I have something more
to expect, to look forward to, to watch, and I
really do eat better, and I'm quieter than I was.
John is pleased to see me improved.
Speaker 3 (17:23):
You see, you're flourishing like a weed in spite of
your wallpaper.
Speaker 7 (17:28):
Yes, in spite of the wallpaper, in spite of it.
Because of it.
Speaker 6 (17:39):
But I had no intention of telling him that he
might want to take me away, And I don't want
to leave now until I found out.
Speaker 7 (17:45):
There's one week more, and I think that will be enough.
There's a funny mark on the wall low down near the.
Speaker 13 (17:57):
Muffle, and a streak that runs around the room, goes
behind every piece of furniture except for bed, A long, straight,
even smudge, as if it had been rubbed.
Speaker 4 (18:09):
Over and over and over.
Speaker 7 (18:12):
How is it done? Who did it? What are they doing? Round? Round?
Round and wrong? Wrong makes me easy.
Speaker 6 (18:36):
I've really discovered something at last. There are great many
women behind the pattern, and sometimes only one. And she
creeps around fast, and her creeping shakes the pattern. She's
trying to climb through and pat because the pattern strangles everything.
But she does get out in the daytime. I know,
because I've seen her. When a car comes, she hides in.
Speaker 4 (18:55):
The BlackBerry, vinds.
Speaker 7 (18:56):
I don't blame her. I'd hide to I always lock
the door when I creep by daylight. Yea, there are
only two days left.
Speaker 6 (19:10):
To tear this paper off and let the woman out
in the room. And John's beginning to take notice. I
don't like to look in his eyes or the way
he talks with Jenny about me.
Speaker 7 (19:20):
I overheard them.
Speaker 4 (19:21):
She isn't sleeping nights, Jenny.
Speaker 7 (19:23):
She's quiet, but I know she's away a little wonder
she sleeps the whole blessed day.
Speaker 2 (19:30):
Maybe I ought to call in another doctor.
Speaker 7 (19:32):
No, it's just dumbin as John. She's determined to prove
you're wrong.
Speaker 2 (19:37):
I suppose you're right. Oh, I'm sure she can prove it.
Speaker 6 (19:40):
Oh, darling, Oh you creep about well, that's a funny
thing to say, Jenny. It isn't I who creeps.
Speaker 3 (19:49):
Jenny says, you stay in your room too much, you
don't take your exercise.
Speaker 7 (19:52):
You tell me to.
Speaker 8 (19:53):
Rest, and then you tell me to take exercise.
Speaker 7 (19:55):
I can't do both well, though I can't.
Speaker 3 (19:58):
See through them as I last be. Yeah, we'll talk
about exercise when I get you back to town.
Speaker 7 (20:03):
I'll have to rob you out of bed pretty early. Pad.
Speaker 10 (20:06):
You know, some of that furniture up there belongs downstairs,
and the movers will be here at night.
Speaker 3 (20:10):
Maybe maybe you'll sleep upstairs tonight, Jenny, and so you
won't be alone.
Speaker 7 (20:15):
Though you won't be here tonight, John.
Speaker 4 (20:16):
Or not until tomorrow evening. And there's a difficult case.
Speaker 6 (20:19):
If you're going to feel long long, Jenny. I'll rest
better alone, I'm sure of it. Thank you all the same.
Speaker 7 (20:28):
That was clean around me, A sly thing. I won't
be alone a bit. As soon as the moon shone in, the.
Speaker 6 (20:39):
Poor thing behind the paper began to crawl and shake
the pattern.
Speaker 7 (20:44):
I ran to her and I can't and she shooks.
Speaker 6 (20:48):
I shot, and she pulled me and my morning we'd
peeled off yards and yards us all paper, a strip
about as high as my hand, and half heru the room.
Speaker 7 (20:59):
When Jenny came in the morning, she looked at the wall, amazement.
You know why I did it, Jenny, just to spite
the vicious thing. Why are you so surprised?
Speaker 10 (21:09):
Oh, I'm not.
Speaker 7 (21:12):
Why. I wouldn't mind doing it myself, but you mustn't
tire yourself. She wouldn't mind doing it. Why don't you
come downstairs and lie down?
Speaker 6 (21:30):
How she betrayed herself, that Jenny, she wouldn't mind doing it.
But I'm hearing no person touches this paper but me
not alive. I locked the door and thrown the key
down into the front path. I don't want anybody to
come in till John comes.
Speaker 7 (21:50):
I want to.
Speaker 6 (21:50):
Surprise him, and I've got a rope up here. Even
Jenny doesn't know that if the woman gets out from
behind the patter and tries to run away, I can
tire her securely to one of the rings.
Speaker 7 (22:00):
There there, see how the pattern moves wallowing the seaweeds.
Speaker 2 (22:10):
Oh, it will.
Speaker 7 (22:11):
Strangle her on the side. Wait wait, wait, I'll help you.
Speaker 9 (22:16):
I'll peel off the paper or ten wait wait, be patient,
you you you push, you push it up?
Speaker 8 (22:24):
Oh? Is it sticks horribly to the plastic I've been
printing off when I oh, oh, what a hurt.
Speaker 7 (22:34):
Okay, I'm getting it. I'm getting it. That's a little more.
I'm getting I'm got more, a little bit more.
Speaker 6 (22:51):
I wonder if they all came out of the wallpaper
as I did.
Speaker 7 (22:58):
I think they did. But I have you securely tied
by my rope.
Speaker 6 (23:02):
Now you'll never get away.
Speaker 7 (23:07):
But I don't want to get away.
Speaker 6 (23:09):
It's so pleasant to be out in this great room,
to creep about as I please. So pleasant.
Speaker 7 (23:20):
But I suppose I'll have to get.
Speaker 6 (23:22):
Back behind the pattern when night comes.
Speaker 7 (23:27):
That will be hard to do.
Speaker 6 (23:35):
Well, it's better than going outside. I don't go outside,
even if Jenny asks me to. For outside, I have
to creep on the ground where everything is green instead
of yellow.
Speaker 7 (23:53):
And here I can creep smoothly on the floor. She's
coming now, you will hear me open the door. It's
John at the door and shout. It's so used to
(24:16):
doctor John. You can't open He'll break down a beautiful door.
John dere the keys down in front of the house,
under a plant and leaf down by the front door.
Speaker 11 (24:36):
John, I can't, I can't the keys downstairs.
Speaker 7 (24:42):
John hits under.
Speaker 6 (24:43):
A plant and leave by the front steps. It's under
a plant and leaf door. Go and see, go and
see you. You'll find it. You'll find.
Speaker 7 (24:58):
She's going to look.
Speaker 6 (25:01):
The wallpaper has stopped laughing the evil thing.
Speaker 7 (25:06):
Now I can creep slowly, sorry on the floor. Oh
hell and round.
Speaker 6 (25:17):
And my shoulder just fits under that long smudge on
the wall, so I can't lose my way.
Speaker 4 (25:25):
Oh he's coming back.
Speaker 7 (25:28):
He's running on the stairs. How astonished he will be?
Speaker 4 (25:34):
Sorry? Oh, dear, dear, what is it?
Speaker 2 (25:41):
What happened?
Speaker 6 (25:41):
I've got out at last year? He is out in
spite of you and Jenny. I pulled down the paper.
I shook the pattern and pushed and pulled it out.
It stuck horribly. You'll never you'll never put me back.
He'll never put me back. Yes, you're so pale, John,
(26:05):
Why do.
Speaker 7 (26:05):
You close your eyes?
Speaker 6 (26:07):
You watch watch how swiftly I creep around in this
lovely yellow.
Speaker 7 (26:13):
Room fainted nawa.
Speaker 6 (26:23):
Should that man have thank you? But he did and
right across my path by the wall, so that I
have to creep over him every time, crawled and robed.
Speaker 15 (27:02):
Thank you ad miss Morehead for a magnificent performance. Miss
Morehead will be back in just a moment.
Speaker 4 (27:09):
Oh what a shore man Agnes morehad? Is really some actress? Well,
I guess you better head for home and mother men.
Speaker 3 (27:17):
Oh say mister Martin, can you give me those simple
words of yours again? My boy Billy pestures me with slogan.
Speaker 2 (27:23):
You bad, mister Horton.
Speaker 1 (27:24):
When you replace your narrow gap spark plugs with a
set of wide gap auto life resistor spark plugs, you
can tell the difference in your car. For example, der
engine idle smoother. You have better luck with leaner gas
mixtures and save gas and within established limits, you reduce
spark plug interference with radio and television reception.
Speaker 2 (27:41):
So switch to auto light because auto LIGHTE.
Speaker 1 (27:45):
Means resistor spark plug, ignition engineered spark plugs.
Speaker 2 (27:50):
Auto light means batteries stay full. Batteries.
Speaker 1 (27:54):
Auto light means ignition system. The lifeline of your.
Speaker 15 (27:57):
Car, and now here again is miss Agnes Moorehead.
Speaker 6 (28:10):
It's always a great pleasure for me to appear on suspense.
I've thoroughly enjoyed disappearance this evening, and next week, when
I turned listener again, I'll join the rest of you
to welcome mister Charles Lawton's return to these microphones in
a role written especially for him. Next week, then an
Honest Man starring Charles Lawton on suspense.
Speaker 1 (28:43):
Agnes Morehead may soon be seen in the Warner Brothers
production Johnny Belinda. Tonight's suspense play was adapted for radio
by Sylvia Richards from an original story by Charlotte Perkins Gilman.
Music was composed by Lucian Morwick and conducted by lud Gluskin.
The entire production was under the direction of Antonym Leader.
(29:03):
Next Thursday, same time, you will hear mister Charles Lawton
in an Honest Man.
Speaker 7 (29:17):
This is the Autolite suspension saying good night. Switch to Autolite.
Speaker 1 (29:22):
This is CBS, where ninety nine million people gather every week.
The Columbia Broadcasting System
In Just a Moment suspense starring Agnes Moorehead.
Speaker 2 (00:05):
Hi half heroin our things.
Speaker 3 (00:07):
Wouldn't be better except walking twelve blocks to your own
service station just isn't for me.
Speaker 2 (00:12):
You got my new spark plugs.
Speaker 1 (00:14):
In, just finish putting those brand new auto light resistance
spark plugs in your car.
Speaker 2 (00:18):
Guess she takes a big load off your arches, he half.
Speaker 4 (00:20):
He sure my feet have the pepper not to pick up?
Speaker 2 (00:23):
And what are you listening to the name which Thursday happen?
I'm listening to the Auto Light Suspense Show Never Missing.
Speaker 3 (00:28):
Well, here's where I rest my weary booms and listen
to Agnes more Head.
Speaker 1 (00:33):
Hey Half, Here comes Frank Martin, the auto light salesman
to join us.
Speaker 2 (00:36):
Hello, Frank, meet half Heart.
Speaker 3 (00:38):
Order light spark plugs, batteries and ignition systems.
Speaker 2 (00:41):
The life flight of your car.
Speaker 1 (00:43):
Well like mister Horton for the assist, and wait until
I give you the real load almost brand new auto
light resistor spark plugs he just put in your car.
Speaker 2 (00:51):
Say they say it later, Frank, Here comes Agnes Moorehead Suspense.
Speaker 5 (01:08):
Auto Light and at sixty thousand dealers and service stations
bring you Radio's outstanding theater of Thrills, starring Tonight miss
Agnes Moorehead in a tale well calculated to keep you
in suspense.
Speaker 1 (01:24):
Today everybody's switching to auto light, and Tonight Autolite takes
pleasure in presenting.
Speaker 5 (01:29):
Anton Leader's production of the famous short story The Yellow Wallpaper,
starring Agnes Moorehead.
Speaker 6 (01:46):
I've never seen a worse wallpaper in my life, although
strangled heads in Bulba's eyes and fungus growth seem to
shriek with derision.
Speaker 7 (02:02):
When we came to this house.
Speaker 6 (02:03):
The minute I saw it, I made up my mind
secretly to start writing again in spite of them. But
I don't dare let John know I'm keeping this journal.
It's difficult being married to a doctor. John's an excellent doctor,
I'm sure, but he's so inconsistent about me. He says,
I'm not really sick, that I'm only a little run
down from caring for the baby, that I have a
temporary nervous depression. Yet he prescribes phosphates or phosphites, I
(02:26):
don't know which, and tonics and exercise.
Speaker 7 (02:29):
He absolutely forbids me.
Speaker 6 (02:30):
To work until I'm well again. He hates for me
to write a word. But writing is such a relief
to my mind. I can write down things, tell things
here that no John says. I'm not a boot about
those things. I confess they make me feel.
Speaker 7 (02:44):
Bad, So I'll only write about the house. I saw
it for the first time today. It's the most beautiful place.
Speaker 6 (02:52):
John rended it for the summer, and we drove up
to day a perfect June morning.
Speaker 7 (02:56):
The bay and the white.
Speaker 6 (02:57):
Sails and people already in swimming, and then the shade
of lane and the riotous old fashioned flowers and the
gnarley trees and the house, the house standing alone in
the summer stillness. I could never tell John, but you know,
the house spoke to me. It was only because he
rattled on so that I couldn't hear what.
Speaker 3 (03:17):
It reminded me of those English places you read about, gardeners,
cottages and everything, and had only two hundred.
Speaker 7 (03:22):
A month, hedges and walls and gates that lock, and
there's a ghostliness.
Speaker 3 (03:26):
Remember I rented it just for you, darling, and you're
gonna let Jenny do all the work while you live
like well, like a prince.
Speaker 2 (03:33):
Do you like it, Darling, speak of.
Speaker 6 (03:35):
Yes, John, Yes, it's lovely but it's strange, as though
it might be haunted.
Speaker 3 (03:41):
You've got that look in your face again, that dopey
luck Well in his home as a station wagon. And
if I know my dear sister, she's already turned the
place inside out and cleaned it top to bottom.
Speaker 7 (03:53):
John, is it haunted? Do you think the.
Speaker 2 (03:56):
House two hundred a month? My lad's asking too much
of faith? Come on, how about you always laugh.
Speaker 7 (04:02):
At anything you can't touch or see or put down
in figures. There is something strange about the house.
Speaker 3 (04:06):
I think if you weren't always imagining, I'm not imagining.
Speaker 8 (04:10):
One reason I don't get relive that you don't believe me.
Speaker 7 (04:12):
You don't even believe I'm sick. You tell my friends
and relatives. I've heard you. I've heard you that there's
nothing wrong.
Speaker 2 (04:18):
With there is nothing wrong.
Speaker 3 (04:21):
I'm sorry. Please don't cry, I'll come home. Let's go inside.
Speaker 7 (04:29):
And so I came into this house in tears. It
was wrong, it was all wrong.
Speaker 6 (04:34):
Maybe the house saw me crying, or this room.
Speaker 7 (04:38):
I got so unreasonably angry with John. I shouldn't. I know,
he's so careful and loving, and I repay him so badly.
Speaker 9 (04:44):
I should control myself, at least in front of him.
But it makes me so tired not to show what
I feel. Jenny met us at the door. Naturally she
saw I've been crying, but she took pains to ignore him.
Speaker 7 (04:55):
Well, hello, you two, you're early. You must have started
at the crack of dawn.
Speaker 2 (05:00):
How was the trip made in lessen two hours?
Speaker 7 (05:03):
Like his peas in a pod? Jenny and John? Both
efficient and kind? And how did you bear up?
Speaker 6 (05:08):
Pitt?
Speaker 7 (05:09):
Very well, thank you, Jenny.
Speaker 6 (05:11):
Both kind and both somehow cruel. But I don't really
think that.
Speaker 7 (05:16):
Well, you're just in time for lunch. I bought a
flounder down at the wharf and cooked it with capers
and creams.
Speaker 2 (05:21):
Sound good, wonderful, Jenny.
Speaker 7 (05:22):
May I see the house first, the whole grand tour
all Pitt, the flouneral cooked a dead well at least
my room, our room, all right, if you insist. But
if that fish is spoiled, don't blame me. Why would
I blame this, Jenny? Oh, it's small, but it's near
the door in the tell Oh John, John, Look, let's
take this one for you and me. I love those
(05:44):
roses over the winds. I've already put your things upstairs, pets. Well,
this has a little porch in such pretty old fashioned
chintz hands upstairs, and you can see there's no room
in here for two beds.
Speaker 3 (05:54):
And I won't hear of being in separate rooms. I'm
going to make you rest and take your tonic.
Speaker 7 (05:59):
John and I have talked at all all over. And
the room at the top of the house has so
many windows.
Speaker 3 (06:03):
And you know, darling, you must absorbed lots of fresh air.
Get your appetite back.
Speaker 7 (06:07):
They smother me with concern, that crush me with kind
Come along, there's a good girl, all right, you know
what's best. And you're going to like that nursery. It
gets loads of sunshine.
Speaker 6 (06:28):
Up the steep, narrow stairs, two stories up to the
very top of the house.
Speaker 7 (06:34):
There's a gate at the top of the flocks. I
wonder why. And beyond the gate is the nursery room.
Speaker 6 (06:42):
This room, it is big and airy, nearly a whole
floor with windows that look every way. They say it
was a nursery, but what was it really, Jenny? Why
why the windows barred the children otherwise?
Speaker 7 (07:01):
Yeah?
Speaker 6 (07:02):
Must children climb around, so don't they? What are those
rings and things in the walls?
Speaker 3 (07:09):
I expect they made it into a gymnasum when the
children got older.
Speaker 7 (07:12):
Playground. They must have hated the wallpaper.
Speaker 2 (07:15):
They were rough on it, that's for sure.
Speaker 7 (07:17):
Way they've stripped it off in patches. I don't blame them.
It's hitious. Who wants to look at the wallpaper with
this view? Why you can see the whole.
Speaker 6 (07:25):
Bit of revolting color. It's unclean, such a strange sickish
yellow there where the sun's faded it I never saw.
Speaker 4 (07:32):
Was paper mine.
Speaker 3 (07:32):
Don't dramatize it, darling. You must be hungry, and I
know you're tired.
Speaker 7 (07:36):
I'm not tired. Why do you both act this way?
I say the wallpaper's ugly, and you look at each other,
your eyes shuttle back and forth, and suddenly you both acted.
Speaker 3 (07:44):
Though it last night, Darling, that was something we weren't
going to say, be a good girl, Peck.
Speaker 10 (07:51):
We don't act anyway. We just don't want you to worry.
We want you to be well. It's true, that's all
they want.
Speaker 6 (08:06):
John last at me, of course, but one expects that
in marriage. And he says, I have foolish fancies, and
he sometimes can talk them away, but not this time. No,
matter what he says, it's a smoldering, sulfrous, unclean.
Speaker 7 (08:18):
It's hideous wallpaper. No one of the children scratched at
it and stripped it down.
Speaker 6 (08:24):
No wonder they gouge the plaster with their little fingernails.
Speaker 7 (08:27):
Don't wonder they hate it.
Speaker 11 (08:28):
I hate it myself, and somehow I feel it hates me.
Speaker 5 (08:50):
For suspense, Auto Light is bringing you miss Agnes Moorehead
in the yellow wallpaper. Auto Light's presentation of radio's outstanding
theater of thrill sells spends.
Speaker 6 (09:12):
Same.
Speaker 4 (09:13):
Isn't she terrific?
Speaker 2 (09:14):
Yes, sir, Agnes Moorehead is always terrific.
Speaker 4 (09:17):
She sures say. Car sure sounds good.
Speaker 3 (09:21):
I couldn't resist stepping on the starry and these new
auto light resistor spark plugs sure make this a contented car.
Speaker 2 (09:27):
Yep, And you got the first set in town.
Speaker 1 (09:29):
Well right now you can get auto light resistor spark
plugs almost anywhere in the United States. It's sensational. Why
no other spark plug will give and maintain such performance sounds.
Speaker 4 (09:38):
Like a good sale story. Where did the name resist
to come from?
Speaker 1 (09:41):
Mister Martin, Auto Life worked with leading car and truck
manufacturers and they ignission engineered a ten thousand m resistor
right into the Auto Light spark plug that permits a
wider spark gap setting and maintains it far longer than any.
Speaker 2 (09:53):
Other spark plugs.
Speaker 1 (09:55):
Actually, mister Horton, when you replace your narrow gap spark
plugs with a set of wide gap Auto Light resistors
spark plugs, you can tell the difference in your car.
Speaker 2 (10:02):
Name's right from the book I've been amish.
Speaker 1 (10:04):
Well, I guess so. But here's the simple lowdown. As
a result of the wide gap and the resistor spark plug,
you're engine idle, smoother, you have better luck with lean
gas mixtures and save gas, and within established limits, you
reduce spark plug interference with radio and television reception. Yes,
and today you can get the resistor spark plug from
almost any of Auto light sixty thousand dealers. That's the
(10:25):
biggest spark plug us in years.
Speaker 5 (10:30):
And now Auto Light brings back to our Hollywood sound stage.
Miss Agnes moorehead as Starr in the Yellow Wallpaper, The
tail well calculated to keep you in suspend.
Speaker 6 (10:55):
We've been here two weeks and I haven't felt like
writing again since that first day. I'm sitting by the
window now up in this frightful nursery room, there's nothing
to stop my writing as much as I please. John
is away all day and sometimes even at night if
he has a serious case. I'm glad my case is
not serious. These nervous troubles can be depressing all the same.
Speaker 8 (11:17):
I cry at nothing and cry most of the time.
Speaker 7 (11:21):
John doesn't know how much I suffer.
Speaker 8 (11:23):
He knows there's no reason to suffer, and that satisfies him.
Speaker 7 (11:26):
I suppose John was never nervous in his life. He
laughs at me. So about this wallpaper.
Speaker 2 (11:32):
No, I won't let you have your wear, you silly goose.
Speaker 3 (11:35):
If we'd taken the room downstairs, you'd be seeing faces
in the chin straight.
Speaker 7 (11:38):
Not faces. Look at that spot, John, and that one
over there.
Speaker 4 (11:43):
Yes, I see it's a repeating pattern.
Speaker 8 (11:45):
It's a broken neck with two bulging eyes staring at
me upside down.
Speaker 2 (11:50):
And to me it's a climbing ivy or some kind
of a vine. Take your choice, could be anything.
Speaker 4 (11:55):
Besides, I can't readpaper a room just for a three months, right.
Speaker 7 (11:58):
Well, then let's move downstairs. Take me away from it.
Speaker 12 (12:00):
Don't you see, Johnny, It hates me. I wish i'd
get well fast.
Speaker 2 (12:11):
You just use your will and your good sense. I'm afraid,
but you're so much better.
Speaker 4 (12:15):
And I marned you.
Speaker 7 (12:16):
I meant to be such a help.
Speaker 13 (12:17):
And I'm only a burden.
Speaker 4 (12:18):
You are a help to me. You're my comfort.
Speaker 7 (12:21):
I can't even be with my baby.
Speaker 6 (12:23):
It makes me so nervous.
Speaker 7 (12:26):
Will I ever be will enough to see him again?
Speaker 4 (12:28):
Of course you'll be well if you try, And I'll try, I.
Speaker 8 (12:33):
Promise no, And I won't look at the wallpaper, and
I'll stop seeing things out of the windows.
Speaker 4 (12:39):
Out the windows.
Speaker 7 (12:40):
Oh, I've seen people walking up and down the path
and in the arbors.
Speaker 8 (12:43):
I know it's silly, and it's only in certain lights
when I look at the wallpaper from the bed that
I see see what nothing, nothing, No, you're right, there's
nothing except a pattern, a front pattern and an underpattern,
(13:06):
and a different shade of yellow.
Speaker 6 (13:08):
It dwells in my mind. So I lie on that
great immovable bed. It's nailed down, I believe, and follow
that pattern about by the hour, and then where it
isn't faded, when the sun is just so, I see
a strange, faint form, a sort of figure lurking waiting behind.
Speaker 7 (13:22):
That front design. I don't know why I should write
like this day of to day. I don't want to.
Speaker 8 (13:34):
I don't feel able, and I know John would think
it absurd, But I must express what I feel and think.
Speaker 14 (13:39):
In some way.
Speaker 7 (13:40):
It's such a relief. There are things in.
Speaker 6 (13:44):
That wallpaper that nobody knows about.
Speaker 8 (13:45):
But need.
Speaker 7 (13:48):
You know there's a.
Speaker 6 (13:48):
Woman stooping down and creeping about behind that pattern. Last night,
it was light and the moon shines in all around,
just as the sun does. John was asleep, and I
hated to waken him, so I kept still and watched
the moonlight on the wall till I felt creepy.
Speaker 14 (14:12):
The woman behind the paper began to shake the pattern
as if she.
Speaker 7 (14:15):
Wanted to get out.
Speaker 14 (14:17):
I got up softly and went and felt the paper
to see if it did move. It moved, It moved
that short and the poor woman cried out as though
her voice came a long way over water.
Speaker 7 (14:33):
Still an look me, still.
Speaker 6 (14:37):
All the boor thing. Then I went back to the bed.
Speaker 7 (14:49):
John was awake.
Speaker 4 (14:50):
What is it, Ny, Why you are you shouldn't go
walking around night that you'll catch cold?
Speaker 7 (14:56):
The moonlight?
Speaker 4 (14:56):
Walk me?
Speaker 2 (14:58):
You are cold?
Speaker 7 (14:58):
You're shivering, John, I'm not really getting better? What'd you
take me away?
Speaker 3 (15:03):
At least you'll be up in three weeks, darling. I
don't see how we can leave before then. Of course,
if you were in any danger, I would, But you
really are better, dear, whether you see it or not.
I'm a doctor and I know.
Speaker 8 (15:15):
Oh my appetite may be better in the evening when
you are here, but it's worse in the morning when
you are.
Speaker 2 (15:19):
God, why you're gaining flesh.
Speaker 7 (15:21):
And got away a bit more, not even as much.
Speaker 4 (15:24):
Well, bless your little heart, you shall be as sick
as you please. But let's go to sleep and talk
about it in the morning.
Speaker 7 (15:31):
You won't go away, How can I, dear?
Speaker 4 (15:34):
And why should i?
Speaker 8 (15:35):
Since you're better, better in body, perhaps better.
Speaker 4 (15:38):
For my sake and your second, for the sake of
my child. I beg you not to let that idea
enter your head, not for an instant.
Speaker 3 (15:44):
Can't you trust me as a doctor when I tell
you it's a false and foolish idea?
Speaker 4 (15:51):
Answer me, darling. Don't you trust me?
Speaker 14 (15:53):
Yes?
Speaker 7 (15:54):
Of course I trust you only what Aha? I'm sleepy.
That's good to sleep, but I didn't sleep.
Speaker 6 (16:06):
I lay there for hours trying to decide if the
front pattern and the back pattern moved together or separately.
At night, in the moonlight, the front pattern becomes bars,
and the woman behind it shakes the bars.
Speaker 7 (16:27):
Yes, she shakes the bars as she creeps around. I
lie down ever so much now. John says it's good.
Speaker 6 (16:43):
For a man to sleep all I can, But you see,
I don't sleep, and that cultivates Decee for I don't tell.
Speaker 7 (16:49):
Them I'm away.
Speaker 2 (16:50):
Oh.
Speaker 6 (16:51):
No, fact is I'm getting a.
Speaker 7 (16:53):
Little afraid of John.
Speaker 6 (16:55):
He seems very odd sometimes, and it strikes me that
perhaps it's the yellow wallpaper.
Speaker 7 (17:00):
I like this room now, and life is much more
exciting than it used to be. I have something more
to expect, to look forward to, to watch, and I
really do eat better, and I'm quieter than I was.
John is pleased to see me improved.
Speaker 3 (17:23):
You see, you're flourishing like a weed in spite of
your wallpaper.
Speaker 7 (17:28):
Yes, in spite of the wallpaper, in spite of it.
Because of it.
Speaker 6 (17:39):
But I had no intention of telling him that he
might want to take me away, And I don't want
to leave now until I found out.
Speaker 7 (17:45):
There's one week more, and I think that will be enough.
There's a funny mark on the wall low down near the.
Speaker 13 (17:57):
Muffle, and a streak that runs around the room, goes
behind every piece of furniture except for bed, A long, straight,
even smudge, as if it had been rubbed.
Speaker 4 (18:09):
Over and over and over.
Speaker 7 (18:12):
How is it done? Who did it? What are they doing? Round? Round?
Round and wrong? Wrong makes me easy.
Speaker 6 (18:36):
I've really discovered something at last. There are great many
women behind the pattern, and sometimes only one. And she
creeps around fast, and her creeping shakes the pattern. She's
trying to climb through and pat because the pattern strangles everything.
But she does get out in the daytime. I know,
because I've seen her. When a car comes, she hides in.
Speaker 4 (18:55):
The BlackBerry, vinds.
Speaker 7 (18:56):
I don't blame her. I'd hide to I always lock
the door when I creep by daylight. Yea, there are
only two days left.
Speaker 6 (19:10):
To tear this paper off and let the woman out
in the room. And John's beginning to take notice. I
don't like to look in his eyes or the way
he talks with Jenny about me.
Speaker 7 (19:20):
I overheard them.
Speaker 4 (19:21):
She isn't sleeping nights, Jenny.
Speaker 7 (19:23):
She's quiet, but I know she's away a little wonder
she sleeps the whole blessed day.
Speaker 2 (19:30):
Maybe I ought to call in another doctor.
Speaker 7 (19:32):
No, it's just dumbin as John. She's determined to prove
you're wrong.
Speaker 2 (19:37):
I suppose you're right. Oh, I'm sure she can prove it.
Speaker 6 (19:40):
Oh, darling, Oh you creep about well, that's a funny
thing to say, Jenny. It isn't I who creeps.
Speaker 3 (19:49):
Jenny says, you stay in your room too much, you
don't take your exercise.
Speaker 7 (19:52):
You tell me to.
Speaker 8 (19:53):
Rest, and then you tell me to take exercise.
Speaker 7 (19:55):
I can't do both well, though I can't.
Speaker 3 (19:58):
See through them as I last be. Yeah, we'll talk
about exercise when I get you back to town.
Speaker 7 (20:03):
I'll have to rob you out of bed pretty early. Pad.
Speaker 10 (20:06):
You know, some of that furniture up there belongs downstairs,
and the movers will be here at night.
Speaker 3 (20:10):
Maybe maybe you'll sleep upstairs tonight, Jenny, and so you
won't be alone.
Speaker 7 (20:15):
Though you won't be here tonight, John.
Speaker 4 (20:16):
Or not until tomorrow evening. And there's a difficult case.
Speaker 6 (20:19):
If you're going to feel long long, Jenny. I'll rest
better alone, I'm sure of it. Thank you all the same.
Speaker 7 (20:28):
That was clean around me, A sly thing. I won't
be alone a bit. As soon as the moon shone in, the.
Speaker 6 (20:39):
Poor thing behind the paper began to crawl and shake
the pattern.
Speaker 7 (20:44):
I ran to her and I can't and she shooks.
Speaker 6 (20:48):
I shot, and she pulled me and my morning we'd
peeled off yards and yards us all paper, a strip
about as high as my hand, and half heru the room.
Speaker 7 (20:59):
When Jenny came in the morning, she looked at the wall, amazement.
You know why I did it, Jenny, just to spite
the vicious thing. Why are you so surprised?
Speaker 10 (21:09):
Oh, I'm not.
Speaker 7 (21:12):
Why. I wouldn't mind doing it myself, but you mustn't
tire yourself. She wouldn't mind doing it. Why don't you
come downstairs and lie down?
Speaker 6 (21:30):
How she betrayed herself, that Jenny, she wouldn't mind doing it.
But I'm hearing no person touches this paper but me
not alive. I locked the door and thrown the key
down into the front path. I don't want anybody to
come in till John comes.
Speaker 7 (21:50):
I want to.
Speaker 6 (21:50):
Surprise him, and I've got a rope up here. Even
Jenny doesn't know that if the woman gets out from
behind the patter and tries to run away, I can
tire her securely to one of the rings.
Speaker 7 (22:00):
There there, see how the pattern moves wallowing the seaweeds.
Speaker 2 (22:10):
Oh, it will.
Speaker 7 (22:11):
Strangle her on the side. Wait wait, wait, I'll help you.
Speaker 9 (22:16):
I'll peel off the paper or ten wait wait, be patient,
you you you push, you push it up?
Speaker 8 (22:24):
Oh? Is it sticks horribly to the plastic I've been
printing off when I oh, oh, what a hurt.
Speaker 7 (22:34):
Okay, I'm getting it. I'm getting it. That's a little more.
I'm getting I'm got more, a little bit more.
Speaker 6 (22:51):
I wonder if they all came out of the wallpaper
as I did.
Speaker 7 (22:58):
I think they did. But I have you securely tied
by my rope.
Speaker 6 (23:02):
Now you'll never get away.
Speaker 7 (23:07):
But I don't want to get away.
Speaker 6 (23:09):
It's so pleasant to be out in this great room,
to creep about as I please. So pleasant.
Speaker 7 (23:20):
But I suppose I'll have to get.
Speaker 6 (23:22):
Back behind the pattern when night comes.
Speaker 7 (23:27):
That will be hard to do.
Speaker 6 (23:35):
Well, it's better than going outside. I don't go outside,
even if Jenny asks me to. For outside, I have
to creep on the ground where everything is green instead
of yellow.
Speaker 7 (23:53):
And here I can creep smoothly on the floor. She's
coming now, you will hear me open the door. It's
John at the door and shout. It's so used to
(24:16):
doctor John. You can't open He'll break down a beautiful door.
John dere the keys down in front of the house,
under a plant and leaf down by the front door.
Speaker 11 (24:36):
John, I can't, I can't the keys downstairs.
Speaker 7 (24:42):
John hits under.
Speaker 6 (24:43):
A plant and leave by the front steps. It's under
a plant and leaf door. Go and see, go and
see you. You'll find it. You'll find.
Speaker 7 (24:58):
She's going to look.
Speaker 6 (25:01):
The wallpaper has stopped laughing the evil thing.
Speaker 7 (25:06):
Now I can creep slowly, sorry on the floor. Oh
hell and round.
Speaker 6 (25:17):
And my shoulder just fits under that long smudge on
the wall, so I can't lose my way.
Speaker 4 (25:25):
Oh he's coming back.
Speaker 7 (25:28):
He's running on the stairs. How astonished he will be?
Speaker 4 (25:34):
Sorry? Oh, dear, dear, what is it?
Speaker 2 (25:41):
What happened?
Speaker 6 (25:41):
I've got out at last year? He is out in
spite of you and Jenny. I pulled down the paper.
I shook the pattern and pushed and pulled it out.
It stuck horribly. You'll never you'll never put me back.
He'll never put me back. Yes, you're so pale, John,
(26:05):
Why do.
Speaker 7 (26:05):
You close your eyes?
Speaker 6 (26:07):
You watch watch how swiftly I creep around in this
lovely yellow.
Speaker 7 (26:13):
Room fainted nawa.
Speaker 6 (26:23):
Should that man have thank you? But he did and
right across my path by the wall, so that I
have to creep over him every time, crawled and robed.
Speaker 15 (27:02):
Thank you ad miss Morehead for a magnificent performance. Miss
Morehead will be back in just a moment.
Speaker 4 (27:09):
Oh what a shore man Agnes morehad? Is really some actress? Well,
I guess you better head for home and mother men.
Speaker 3 (27:17):
Oh say mister Martin, can you give me those simple
words of yours again? My boy Billy pestures me with slogan.
Speaker 2 (27:23):
You bad, mister Horton.
Speaker 1 (27:24):
When you replace your narrow gap spark plugs with a
set of wide gap auto life resistor spark plugs, you
can tell the difference in your car. For example, der
engine idle smoother. You have better luck with leaner gas
mixtures and save gas and within established limits, you reduce
spark plug interference with radio and television reception.
Speaker 2 (27:41):
So switch to auto light because auto LIGHTE.
Speaker 1 (27:45):
Means resistor spark plug, ignition engineered spark plugs.
Speaker 2 (27:50):
Auto light means batteries stay full. Batteries.
Speaker 1 (27:54):
Auto light means ignition system. The lifeline of your.
Speaker 15 (27:57):
Car, and now here again is miss Agnes Moorehead.
Speaker 6 (28:10):
It's always a great pleasure for me to appear on suspense.
I've thoroughly enjoyed disappearance this evening, and next week, when
I turned listener again, I'll join the rest of you
to welcome mister Charles Lawton's return to these microphones in
a role written especially for him. Next week, then an
Honest Man starring Charles Lawton on suspense.
Speaker 1 (28:43):
Agnes Morehead may soon be seen in the Warner Brothers
production Johnny Belinda. Tonight's suspense play was adapted for radio
by Sylvia Richards from an original story by Charlotte Perkins Gilman.
Music was composed by Lucian Morwick and conducted by lud Gluskin.
The entire production was under the direction of Antonym Leader.
(29:03):
Next Thursday, same time, you will hear mister Charles Lawton
in an Honest Man.
Speaker 7 (29:17):
This is the Autolite suspension saying good night. Switch to Autolite.
Speaker 1 (29:22):
This is CBS, where ninety nine million people gather every week.
The Columbia Broadcasting System
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