December 29, 2023 • 29 mins
The Sealed Book was a radio series of mystery and terror tales, produced and directed by Jock MacGregor for the Mutual network. Between March 18 and September 9, 1945, the melodramatic anthology series was broadcast on Sundays from 10:30 pm to 11:00 pm.Each week, after "the sound of the great gong," host Philip Clarke observed that the mysteriously silent "keeper of the book has opened the ponderous door to the secret vault wherein is kept the great sealed book, in which is recorded all the secrets and mysteries of mankind through the ages.
Here are tales of every kind, tales of murder, of madness, of dark deeds strange and terrible beyond all belief." After this introduction, the dramas began, with three organ solo breaks for inserting the commercials of local stations carrying the program. Although this anthology series did not have recurring characters (other than the Narrator and the Keeper of the Book), the writers often used the same names for different characters from week to week, including "Hester", "Drake", and most especially "Roger".
Here are tales of every kind, tales of murder, of madness, of dark deeds strange and terrible beyond all belief." After this introduction, the dramas began, with three organ solo breaks for inserting the commercials of local stations carrying the program. Although this anthology series did not have recurring characters (other than the Narrator and the Keeper of the Book), the writers often used the same names for different characters from week to week, including "Hester", "Drake", and most especially "Roger".
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:09):
The seal book. Once again.The keeper of the Book has opened the
(00:34):
ponderous door to the secret vault,wherein has kept the great sealed Book,
in which has recorded all the secretsand mysteries of mankind through the ages.
Here are tales of every kind,tales of murder, of madness, of
dark deeds, strange and terrible,beyond all belief. Keeper of the Book,
(00:59):
I would know what tale we tellthis time. Open the great book
and let us read. Slowly.The great book opens one by one.
The keeper of the book turns thepages and stops. Ah the strange story
(01:22):
of an old lady who for fortyyears lived alone in a huge, old
New England mansion, a mansion inwhich death was the master. The tale
is titled to Have and to Hold. Here is the tale to have and
(02:32):
to Hold, as it is writtenin the pages of the stealed book.
Our story begins at a small NewEngland railroad station as a train stops to
discharge a lone passenger. The passenger, a young attractive girl of twenty,
looks about the station with an airof uncertainty, meals, oh yes,
(02:55):
please there get rid in here takeyou back. Eh. There too is
the Bradley Estate. Please did yousay at Bradley Estate? Why? Yes,
you know where it is, don'tyou. Ah sure everyone does.
(03:15):
In fact, I was just gettingready to go out there to deliver these
packages. Oh good, missy.Are you sure you want to go out
to the Bradley Estate? But theyain't had a visitor in me in forty
years. Why that's funny, youwere Bradley. Yes, my family lives
(03:37):
in California and none of us haveever seen our relatives here in the East.
I'm attending college nearby and thought i'dpay my out a surprise visits.
Oh for miss I'd forget the idea. If I were you to take the
next train back, Oh no,not after I've come seventy miles. I'm
not going back to college until I'veseen my aunt. Driver, Please tell
(04:09):
me what you know about my aunt. H Just about the time I come
to the village ten years ago todrive this cab, the old servant your
aunt used to send for supplies died. Yes, she didn't get another servant,
but hired me to bring supplies outof the estate once a week.
I see, what does my auntlook like? I don't know, miss,
(04:33):
I ain't never seen her. Noone has seen her for forty years.
But you just said she'd hired you. Well she did, but not
directly. A banker fellaw come downfrom Boston and hired me. Didn't he
go out to the estate to seeher, No, he just range sings
(04:54):
in the village and took the firsttrain back to Boston once in a while.
Your aunt writes to him, Oh, well, what are in these
packages you have for my aunt?Well, some of them have food,
but mostly it sings. She's orderedfor her husband, clothes, cigars,
and books. And where in factyou got a new suit for him right
(05:15):
here? Best that money can buytoo. I ain't never seen him.
Neither. Just doesn't make sense,does it, No, ma'am, It
certainly don't. Jane stared into thefast falling dusk, seeking her first glimpse
(05:38):
of her father's birthplace. As theyturned into a private road, she was
able to make out the many towersof the old mansion and the hundreds of
windows, behind which was the unknownand the secrets of forty years. I
have no idea it'd be so large. There's over eighty rooms in it used
(05:58):
to be a show place forty yearsago, and the two of them live
in that mansion all alone. Yeah, there isn't a light showing in the
whole house. No, hardly everis Well, come on, we're going
the back entrance here. Just followme, right, that's it now,
(06:20):
just set these packages up, broughtright down here in the porge there.
What's in that box? You're pickingup a note from your aunt telling me
what to bring for next week.Eh, seems your uncle is running out
of cigars, showed me order more. You going to knock? H well?
(06:44):
All right now, surely she heardthe car approach the house. It
ain't no use, miss You bettercome back to the village with me.
No, no, Perhaps she'd openthe door if you were to leave me
here alone. Won't you please go? Well? Just as you say,
miss it. I just hope you'llbe all right. Oh I will getting
(07:17):
cold. I do wish she she'sunknocking it. As the door slowly swung
open, Jane saw her aunt,Olivia for the first time. Olivia stood
with one hand white and tense,gripping the door, while the other hand
(07:41):
shakily held a lamp. The lightrevealed deep savage lines in her strong face.
Her voice trembled as she spoke,what do you want? I'm Jane
Bradley, your brother, Richard's daughter, Richard's daughter. Yes may I come
in? Yes, yes do,but we must be very quiet. I
(08:07):
don't want to wake my husband.Oh yes, of course, we'll go
into the drawing room so as notto disturb him. The light of the
lamp castaniery glow in the great hallway. As June followed her aunt into what
had once been the most beautiful drawingroom in New England, Jane's eye was
(08:31):
caught by a faded portrait over thefireplace. Whose portrait is that? Ad
Olivia? He's so handsome? That'smy husband, Christopher. Oh and he's
just as handsome to day as hewas then. Everyone's always loved and admired
him. I'm sure of that.That costume he's wedding, it's the one
(08:56):
he wore the night of the NewYear's Eve masquerade ball. Come, my
dear, I'll show you the ballroom. And now to continue the story,
(10:50):
to have and to hold, asit is written in the Sealed Book,
Jane, a look of wonder onher face, followed her aunt Olivia down
a long, dark hall, ahall that was musty with decay. Olivia
stopped and opened a large door.This is the ballroom. Why it's it's
(11:13):
so huge? Shore of five hundredpeople here that New Year's Eve. Oh,
I can remember how beautiful and Oliviathe lamp held high, stood,
entranced, as though listening to strainsof music of long ago at that gay
(11:37):
New Year's Eve ball, listening toa younger and happier Olivia. Oh,
Chris, there's never been a balllike this, and I've never been so
heavy. Do you like my costume? Your costume? Oh yes, it's
very lovely, Thank you, darling. Oh, Chris, you look wonderful
(11:58):
as a Spanish cabinet. The womencan't keep their eyes off of you.
Where's your cousin, Amy, Amy? Ah, the child is around somewhere,
Chris, Chris, why don't weannounce our engagement tonight? It would
be a wonderful way to welcome inthe year nineteen hundred. No, I
mean not tonight, Olivia. Whywait? I want everyone to know your
(12:20):
mind, Olivia, Chris. Oh, Amy, Oh, you look like
a dream in that custume. Thankyou, Chris, Olivia. Judge Parker
want to see you for a moment. Oh very well. Will you excuse
me, Chris? Of course,I'll be back in a minute. Will
you excuse me? Chris? Ihave to say me. Wait, why
have you been avoiding me lately?I haven't been avoiding you, Chris.
(12:41):
Please let me go. You knowthat I love you, don't you?
Amy? No, Chris, it'sOlivia you love and are going to marry.
Olivia and I will never be married. You don't know what Olivia's like,
what you can't get what she wantsand she wants you. You do
love me, don't you, Amy? Yes? Yes, but it's no
use, Chris. Why Olivia ismy cousin? Her family brought me up.
Just leave everything to me. I'dnever break away from Judge park At
(13:03):
Chris, Darling. He wanted toknow when you and I were going to
announce our engagement. Why why?Amy? There's anything wrong? You look
ill? No, I'm all right. I must see the housekeeper now,
please excuse me, Olivia. Iwant to talk to you where we won't
be disturbed. Can't we go intothe drawing room? Of course, Darling,
(13:26):
come along, we won't be disturbedhere. Now. What did you
want to talk to me about?Olivia? I can't go through with our
marriage. Oh, darling, don'tsay that even as a joke. I'm
not joking, Olivia. I've neverloved you. If I've spoken of marriage,
it was because there wasn't anyone else. But now there is someone else
(13:52):
who Amy Amy, So that's it. Well, she can't have you,
do you hear? And you alwayswill be And I'm not giving you up.
You haven't done a choice. Amyand I love each other and we're
going to know. If I can'thave you, no one else shall.
Olivia, you're hysterical. Put thatletter open your mind, and no one
else is going to get you.No one, No one shall have you.
(14:15):
No one will bring you to yoursenses. Look at Olivia, Olivia,
Olivia, speak to me. Howis she? Doctor? She will
(14:37):
be all right, won't she.Well, there was quite a serious blow
she got in the back of herhead. Doctor. She's regaining consciousness.
Chris, Chris, where are youhere? I am where? Why don't
you put the lights on? Sodark in here? But the lights are
Chris. Why is it so dark? Why can't I see? Oh?
(15:00):
Olivia, You're going to be allright. You've just lost your sight temporarily.
You you mean, I'm blind,Chris, Chris, where are you?
Don't leave me? I'm here,Olivia. Oh, Chris, don't
leave me. I'm frightened, terriblyfrightened. Oh no, No, you
mustn't worry. You heard what doctorMarshall said. You've only lost her sight
(15:22):
temporarily. Oh, you're just sayingthat to make me feel better. I
know you are. I had bettergive you a sedative so that you can
sleep. You two had better leavenow, you must, You must get
some rest, Olivia. I'll beback later, Chris. You will come
back. You will, won't you? Yes, of course? Good night,
good night, Olivia. Good nightChris, Chris. What's happened is
(15:46):
all my fault? No, Amy, it's mine. It was I struck
her and caused her blindness. Chris. No matter how we feel about each
other, you can't leave her nowthat she's blind. Yes, Amy,
I know. Olivia and I willbe married as as possible. A few
(16:10):
weeks past. Then, one day, a small group gathered in the dining
room to see Chris and Olivia married. The guests all remarked our radiant and
happy the bride appeared as the ministerasked the time honor question do you take
this man to love and honor,to have and to hold as long as
(16:30):
you both shall live? The bridesmiled happily as she agreed. Is that
you, Chris? Oh? It'sgetting so that I can recognize everyone's footsteps,
particularly yours. Where were you,Darling? I've missed you. So.
(16:51):
I was in the library trying towork on my note book, but
you weren't in the library when Isent my maid down to find you.
Where were you then? No,probably walking in the garden. You will
spend the afternoon with me, won'tyou, Chris? But I was planning
to go back to work on mybook this afternoon. Oh, darling,
can't you let it go until tomorrow? I'm so lonely without you? All
(17:14):
right, Olivia? Thank you,darling. I seem to be doing less
and less work as time goes on. Please don't be angry. It's two
months to day since we were married, two months today. Oh, and
they've been the happiest months in mywhole life. Oh, Chris, I
couldn't live without you. Hello,Chris, where's Olivia? She's in her
(17:45):
room. Oh, Chris, youdon't look well. Is anything wrong?
Amy? I can't go on thisway anymore. I've had about as much
of Olivia in these past two monthsas I can stand. Please, Chris,
you mustn't talk like that. Youdon't know what it's like. She
always wants to know where I've been, who I've seeing, what I've been
doing. She doesn't let me alonefor a moment. You mustn't feel that
way about it, Chris. Whyshe loves you? I love It's an
(18:07):
insane love. She smothered me todeath with her constant attention. Why I
haven't been able to work on mybook for two weeks now? Yes,
I know I can't escape from herfor a moment, and I am not
whether she has the servant spying onher. Oh no, Chris, you
must be mistaken. I'm not.I tell you, I can't go on
this way much longer. I justcan't. Is that you Amy? Yes,
(18:33):
Olivia, I've come to read toyou. Where's Chris? What's he
doing? He's in the library writing, but I wanted him to read to
me this evening. Now, Olivia, you know how anxious Chris is to
finish his book. With all themoney I have, he doesn't need to
waste his time writing books. It'smore than just money, Olivia, Chris
writes, because he has a desireto yes, and you encourage him,
(18:55):
don't you, Amy, Well,I won't have it. I why Amy
wearing my brooch? This brooch isn'tyours. It's a duplicate I had,
Olivia. How did you know Iwas wearing this brooch? Oh, Olivia,
you can see you're no longer blind? Well what if I can?
(19:15):
It's none of your business. Allthis time, you've been pretending keeping it
a secret from Chris and all ofus. I suppose now you're going to
tell him, Then he won't feelobligated to me anymore, and the two
of you can go away together.That's what you're going to do, isn't
it. I am going to tellChris, but I'm not going away with
him. Oliver. You're lying.You've always wanted him always. You hate
me because I'm married to you.Olivia, you're becoming hysterical. You must
(19:37):
control yourself. If it weren't foryou, he'd loved me. He was
mine until you came along. Butyou aren't going to come between us any
longer, Olivia, what's wrong withyou? Stay away from me? With
you gone, he'll be mine Olivia. You musn't, Olivia, I'll strangle
you with my own two heads,and with you gone out, always have
(20:00):
Chris, always, always air.I didn't want to kill you, Amy,
but you try to take Chris fromme. Oh, if they find
her body, you'll like this helpwith me in prison, and then I'll
(20:22):
lose Chris. Well, I mustdo something if her, if her body
were badly burned, they couldn't tellI'd murdered her. Yes, yes,
that's it. I could say Iheard a lighting the lamp, and there
was an accident and a clothes caughton fire. I was helpless. Yes,
yes that's it. We must burnher body, and then they'll never
(20:47):
know I killed her. And nowto continue the story, to have and
(22:33):
to hold, as it is writtenin the Sealed Book. The weeks that
followed Amy's accidental death were full ofanguish for Chris. More and more he
took to drink, trying to forgetthe death of the girl he loved.
Oh, darling, you've been drinkingso much lately. What Chris, You
(22:56):
mustn't talk like that? Why nots? What difference can it make? Oh,
Chris, Please? The only wayI can bear to live with you
is drink. Chris, How canyou be so cruel? You know I
do anything for you, anything You'vedone enough. I'm through. I'm leaving
you to understand. No, Chris, you can't. You're lying. Do
you hear? You can't leave me. You've done nothing to make me love
(23:18):
you. Now we're through. No, No, you can't say that,
not after I kill to keep you, killed to keep me. I see
Amy's burning to death wasn't an accident. Was it wasn't my arm? You're
ard It wasn't an accident, wasn't. No, don't know that. I
(23:41):
wasn't blind anymore, that I'd recoveredmy eyes. I couldn't let her tell
you and spoil everything. I onlydid it because I love you. It's
insane love, love that destroyers everything. I did it all for you,
Chris. Why one thing left forme to do? Chris, Chris,
No, you needn't be afraid ofthis. Koind Olivia. I'm not going
(24:03):
to kill you. Yes, thisis the only escape I have for my
memories and from you. Oh no, Chris, you can't you know how
much I love you. As AuntOlivia stood there, entranced, reliving memories
(24:25):
forty years old, the lamp castanieryglow on her face. Lost in the
memories of the past, she forgotabout her visitor and Olivia. Oh,
yes, you seemed so far away, as though you were recalling memories of
long ago. Oh, I'm sorry. With a moment, I forgot you
(24:48):
were here. Yes, yes,Chris and I still talk about that and
it's great party. You think Imight see Uncle Christopher? Yes, yes,
but we mustn't wake him if he'sasleep. Oh no, of course,
not here. I'll I'll carry thelamp out, Olivia. His room
(25:10):
is at the head of these stairson the right. Don't you think you
ought to have the house cleaned?And Olivia, everything's so old and dusty.
Chris won't hear of anything being changed. I do hope he likes this
new seal divoted for him. He'salways been so particular. This is room.
(25:36):
Yes, now, be very quietwhile I open the door. Chris,
Chris, are you awake we havea visit. Is it all right
for me to come in out Olivia? Yes, yes, but you mustn't
disturb him. I won't. Sodark in hands, lamp doesn't give much
(26:02):
light. I hope Uncle Christopher doesn't. Ah, you dropped the lamp.
He's awake now I'm shreadly storry Chris. I told her not to make any
noise. You all right, Lis? Sorry when they come in, it's
(26:30):
kind of hard to find my wayaround this small flashlight. What's wrong?
Why'd you scream over there in thatcorner of the room and it's not there?
But oh, it can't be.It was horrible, horrible, a
glass coffin. We're a skeleton minute. It's a lovely suit. Christ Just
(27:00):
escape and I also ordered some freshyguys for you, darling. Is there
anything else you want? And soends the tale to have and to hold,
as it is written in the sealedBook. The body of Christopher Drake,
(27:26):
which for forty years had been encasedby a glass coffin, was removed
from the old mansion and buried.Shortly afterwards, Olivia died. Her last
words were I'm coming, Chris,and now keeper of the book, before
(28:51):
you close the great volume, showus the tale we tell next time?
This one? Ah, yes,that's the brain story of a scoundrel who
became wealthy through swindling hundreds of innocentpeople, only to discover that all his
money couldn't protect him from justice.A tale title Murderer Unknown. Be sure
(29:27):
to be with us again next timewhen the sound of the Great Gong heralds
another strange and exciting tale from theSeal Book. The Sealed Book, produced
and directed by Jock McGregor, iswritten by Bob Arthur and David Cogan.
The seal book. Once again.The keeper of the Book has opened the
(00:34):
ponderous door to the secret vault,wherein has kept the great sealed Book,
in which has recorded all the secretsand mysteries of mankind through the ages.
Here are tales of every kind,tales of murder, of madness, of
dark deeds, strange and terrible,beyond all belief. Keeper of the Book,
(00:59):
I would know what tale we tellthis time. Open the great book
and let us read. Slowly.The great book opens one by one.
The keeper of the book turns thepages and stops. Ah the strange story
(01:22):
of an old lady who for fortyyears lived alone in a huge, old
New England mansion, a mansion inwhich death was the master. The tale
is titled to Have and to Hold. Here is the tale to have and
(02:32):
to Hold, as it is writtenin the pages of the stealed book.
Our story begins at a small NewEngland railroad station as a train stops to
discharge a lone passenger. The passenger, a young attractive girl of twenty,
looks about the station with an airof uncertainty, meals, oh yes,
(02:55):
please there get rid in here takeyou back. Eh. There too is
the Bradley Estate. Please did yousay at Bradley Estate? Why? Yes,
you know where it is, don'tyou. Ah sure everyone does.
(03:15):
In fact, I was just gettingready to go out there to deliver these
packages. Oh good, missy.Are you sure you want to go out
to the Bradley Estate? But theyain't had a visitor in me in forty
years. Why that's funny, youwere Bradley. Yes, my family lives
(03:37):
in California and none of us haveever seen our relatives here in the East.
I'm attending college nearby and thought i'dpay my out a surprise visits.
Oh for miss I'd forget the idea. If I were you to take the
next train back, Oh no,not after I've come seventy miles. I'm
not going back to college until I'veseen my aunt. Driver, Please tell
(04:09):
me what you know about my aunt. H Just about the time I come
to the village ten years ago todrive this cab, the old servant your
aunt used to send for supplies died. Yes, she didn't get another servant,
but hired me to bring supplies outof the estate once a week.
I see, what does my auntlook like? I don't know, miss,
(04:33):
I ain't never seen her. Noone has seen her for forty years.
But you just said she'd hired you. Well she did, but not
directly. A banker fellaw come downfrom Boston and hired me. Didn't he
go out to the estate to seeher, No, he just range sings
(04:54):
in the village and took the firsttrain back to Boston once in a while.
Your aunt writes to him, Oh, well, what are in these
packages you have for my aunt?Well, some of them have food,
but mostly it sings. She's orderedfor her husband, clothes, cigars,
and books. And where in factyou got a new suit for him right
(05:15):
here? Best that money can buytoo. I ain't never seen him.
Neither. Just doesn't make sense,does it, No, ma'am, It
certainly don't. Jane stared into thefast falling dusk, seeking her first glimpse
(05:38):
of her father's birthplace. As theyturned into a private road, she was
able to make out the many towersof the old mansion and the hundreds of
windows, behind which was the unknownand the secrets of forty years. I
have no idea it'd be so large. There's over eighty rooms in it used
(05:58):
to be a show place forty yearsago, and the two of them live
in that mansion all alone. Yeah, there isn't a light showing in the
whole house. No, hardly everis Well, come on, we're going
the back entrance here. Just followme, right, that's it now,
(06:20):
just set these packages up, broughtright down here in the porge there.
What's in that box? You're pickingup a note from your aunt telling me
what to bring for next week.Eh, seems your uncle is running out
of cigars, showed me order more. You going to knock? H well?
(06:44):
All right now, surely she heardthe car approach the house. It
ain't no use, miss You bettercome back to the village with me.
No, no, Perhaps she'd openthe door if you were to leave me
here alone. Won't you please go? Well? Just as you say,
miss it. I just hope you'llbe all right. Oh I will getting
(07:17):
cold. I do wish she she'sunknocking it. As the door slowly swung
open, Jane saw her aunt,Olivia for the first time. Olivia stood
with one hand white and tense,gripping the door, while the other hand
(07:41):
shakily held a lamp. The lightrevealed deep savage lines in her strong face.
Her voice trembled as she spoke,what do you want? I'm Jane
Bradley, your brother, Richard's daughter, Richard's daughter. Yes may I come
in? Yes, yes do,but we must be very quiet. I
(08:07):
don't want to wake my husband.Oh yes, of course, we'll go
into the drawing room so as notto disturb him. The light of the
lamp castaniery glow in the great hallway. As June followed her aunt into what
had once been the most beautiful drawingroom in New England, Jane's eye was
(08:31):
caught by a faded portrait over thefireplace. Whose portrait is that? Ad
Olivia? He's so handsome? That'smy husband, Christopher. Oh and he's
just as handsome to day as hewas then. Everyone's always loved and admired
him. I'm sure of that.That costume he's wedding, it's the one
(08:56):
he wore the night of the NewYear's Eve masquerade ball. Come, my
dear, I'll show you the ballroom. And now to continue the story,
(10:50):
to have and to hold, asit is written in the Sealed Book,
Jane, a look of wonder onher face, followed her aunt Olivia down
a long, dark hall, ahall that was musty with decay. Olivia
stopped and opened a large door.This is the ballroom. Why it's it's
(11:13):
so huge? Shore of five hundredpeople here that New Year's Eve. Oh,
I can remember how beautiful and Oliviathe lamp held high, stood,
entranced, as though listening to strainsof music of long ago at that gay
(11:37):
New Year's Eve ball, listening toa younger and happier Olivia. Oh,
Chris, there's never been a balllike this, and I've never been so
heavy. Do you like my costume? Your costume? Oh yes, it's
very lovely, Thank you, darling. Oh, Chris, you look wonderful
(11:58):
as a Spanish cabinet. The womencan't keep their eyes off of you.
Where's your cousin, Amy, Amy? Ah, the child is around somewhere,
Chris, Chris, why don't weannounce our engagement tonight? It would
be a wonderful way to welcome inthe year nineteen hundred. No, I
mean not tonight, Olivia. Whywait? I want everyone to know your
(12:20):
mind, Olivia, Chris. Oh, Amy, Oh, you look like
a dream in that custume. Thankyou, Chris, Olivia. Judge Parker
want to see you for a moment. Oh very well. Will you excuse
me, Chris? Of course,I'll be back in a minute. Will
you excuse me? Chris? Ihave to say me. Wait, why
have you been avoiding me lately?I haven't been avoiding you, Chris.
(12:41):
Please let me go. You knowthat I love you, don't you?
Amy? No, Chris, it'sOlivia you love and are going to marry.
Olivia and I will never be married. You don't know what Olivia's like,
what you can't get what she wantsand she wants you. You do
love me, don't you, Amy? Yes? Yes, but it's no
use, Chris. Why Olivia ismy cousin? Her family brought me up.
Just leave everything to me. I'dnever break away from Judge park At
(13:03):
Chris, Darling. He wanted toknow when you and I were going to
announce our engagement. Why why?Amy? There's anything wrong? You look
ill? No, I'm all right. I must see the housekeeper now,
please excuse me, Olivia. Iwant to talk to you where we won't
be disturbed. Can't we go intothe drawing room? Of course, Darling,
(13:26):
come along, we won't be disturbedhere. Now. What did you
want to talk to me about?Olivia? I can't go through with our
marriage. Oh, darling, don'tsay that even as a joke. I'm
not joking, Olivia. I've neverloved you. If I've spoken of marriage,
it was because there wasn't anyone else. But now there is someone else
(13:52):
who Amy Amy, So that's it. Well, she can't have you,
do you hear? And you alwayswill be And I'm not giving you up.
You haven't done a choice. Amyand I love each other and we're
going to know. If I can'thave you, no one else shall.
Olivia, you're hysterical. Put thatletter open your mind, and no one
else is going to get you.No one, No one shall have you.
(14:15):
No one will bring you to yoursenses. Look at Olivia, Olivia,
Olivia, speak to me. Howis she? Doctor? She will
(14:37):
be all right, won't she.Well, there was quite a serious blow
she got in the back of herhead. Doctor. She's regaining consciousness.
Chris, Chris, where are youhere? I am where? Why don't
you put the lights on? Sodark in here? But the lights are
Chris. Why is it so dark? Why can't I see? Oh?
(15:00):
Olivia, You're going to be allright. You've just lost your sight temporarily.
You you mean, I'm blind,Chris, Chris, where are you?
Don't leave me? I'm here,Olivia. Oh, Chris, don't
leave me. I'm frightened, terriblyfrightened. Oh no, No, you
mustn't worry. You heard what doctorMarshall said. You've only lost her sight
(15:22):
temporarily. Oh, you're just sayingthat to make me feel better. I
know you are. I had bettergive you a sedative so that you can
sleep. You two had better leavenow, you must, You must get
some rest, Olivia. I'll beback later, Chris. You will come
back. You will, won't you? Yes, of course? Good night,
good night, Olivia. Good nightChris, Chris. What's happened is
(15:46):
all my fault? No, Amy, it's mine. It was I struck
her and caused her blindness. Chris. No matter how we feel about each
other, you can't leave her nowthat she's blind. Yes, Amy,
I know. Olivia and I willbe married as as possible. A few
(16:10):
weeks past. Then, one day, a small group gathered in the dining
room to see Chris and Olivia married. The guests all remarked our radiant and
happy the bride appeared as the ministerasked the time honor question do you take
this man to love and honor,to have and to hold as long as
(16:30):
you both shall live? The bridesmiled happily as she agreed. Is that
you, Chris? Oh? It'sgetting so that I can recognize everyone's footsteps,
particularly yours. Where were you,Darling? I've missed you. So.
(16:51):
I was in the library trying towork on my note book, but
you weren't in the library when Isent my maid down to find you.
Where were you then? No,probably walking in the garden. You will
spend the afternoon with me, won'tyou, Chris? But I was planning
to go back to work on mybook this afternoon. Oh, darling,
can't you let it go until tomorrow? I'm so lonely without you? All
(17:14):
right, Olivia? Thank you,darling. I seem to be doing less
and less work as time goes on. Please don't be angry. It's two
months to day since we were married, two months today. Oh, and
they've been the happiest months in mywhole life. Oh, Chris, I
couldn't live without you. Hello,Chris, where's Olivia? She's in her
(17:45):
room. Oh, Chris, youdon't look well. Is anything wrong?
Amy? I can't go on thisway anymore. I've had about as much
of Olivia in these past two monthsas I can stand. Please, Chris,
you mustn't talk like that. Youdon't know what it's like. She
always wants to know where I've been, who I've seeing, what I've been
doing. She doesn't let me alonefor a moment. You mustn't feel that
way about it, Chris. Whyshe loves you? I love It's an
(18:07):
insane love. She smothered me todeath with her constant attention. Why I
haven't been able to work on mybook for two weeks now? Yes,
I know I can't escape from herfor a moment, and I am not
whether she has the servant spying onher. Oh no, Chris, you
must be mistaken. I'm not.I tell you, I can't go on
this way much longer. I justcan't. Is that you Amy? Yes,
(18:33):
Olivia, I've come to read toyou. Where's Chris? What's he
doing? He's in the library writing, but I wanted him to read to
me this evening. Now, Olivia, you know how anxious Chris is to
finish his book. With all themoney I have, he doesn't need to
waste his time writing books. It'smore than just money, Olivia, Chris
writes, because he has a desireto yes, and you encourage him,
(18:55):
don't you, Amy, Well,I won't have it. I why Amy
wearing my brooch? This brooch isn'tyours. It's a duplicate I had,
Olivia. How did you know Iwas wearing this brooch? Oh, Olivia,
you can see you're no longer blind? Well what if I can?
(19:15):
It's none of your business. Allthis time, you've been pretending keeping it
a secret from Chris and all ofus. I suppose now you're going to
tell him, Then he won't feelobligated to me anymore, and the two
of you can go away together.That's what you're going to do, isn't
it. I am going to tellChris, but I'm not going away with
him. Oliver. You're lying.You've always wanted him always. You hate
me because I'm married to you.Olivia, you're becoming hysterical. You must
(19:37):
control yourself. If it weren't foryou, he'd loved me. He was
mine until you came along. Butyou aren't going to come between us any
longer, Olivia, what's wrong withyou? Stay away from me? With
you gone, he'll be mine Olivia. You musn't, Olivia, I'll strangle
you with my own two heads,and with you gone out, always have
(20:00):
Chris, always, always air.I didn't want to kill you, Amy,
but you try to take Chris fromme. Oh, if they find
her body, you'll like this helpwith me in prison, and then I'll
(20:22):
lose Chris. Well, I mustdo something if her, if her body
were badly burned, they couldn't tellI'd murdered her. Yes, yes,
that's it. I could say Iheard a lighting the lamp, and there
was an accident and a clothes caughton fire. I was helpless. Yes,
yes that's it. We must burnher body, and then they'll never
(20:47):
know I killed her. And nowto continue the story, to have and
(22:33):
to hold, as it is writtenin the Sealed Book. The weeks that
followed Amy's accidental death were full ofanguish for Chris. More and more he
took to drink, trying to forgetthe death of the girl he loved.
Oh, darling, you've been drinkingso much lately. What Chris, You
(22:56):
mustn't talk like that? Why nots? What difference can it make? Oh,
Chris, Please? The only wayI can bear to live with you
is drink. Chris, How canyou be so cruel? You know I
do anything for you, anything You'vedone enough. I'm through. I'm leaving
you to understand. No, Chris, you can't. You're lying. Do
you hear? You can't leave me. You've done nothing to make me love
(23:18):
you. Now we're through. No, No, you can't say that,
not after I kill to keep you, killed to keep me. I see
Amy's burning to death wasn't an accident. Was it wasn't my arm? You're
ard It wasn't an accident, wasn't. No, don't know that. I
(23:41):
wasn't blind anymore, that I'd recoveredmy eyes. I couldn't let her tell
you and spoil everything. I onlydid it because I love you. It's
insane love, love that destroyers everything. I did it all for you,
Chris. Why one thing left forme to do? Chris, Chris,
No, you needn't be afraid ofthis. Koind Olivia. I'm not going
(24:03):
to kill you. Yes, thisis the only escape I have for my
memories and from you. Oh no, Chris, you can't you know how
much I love you. As AuntOlivia stood there, entranced, reliving memories
(24:25):
forty years old, the lamp castanieryglow on her face. Lost in the
memories of the past, she forgotabout her visitor and Olivia. Oh,
yes, you seemed so far away, as though you were recalling memories of
long ago. Oh, I'm sorry. With a moment, I forgot you
(24:48):
were here. Yes, yes,Chris and I still talk about that and
it's great party. You think Imight see Uncle Christopher? Yes, yes,
but we mustn't wake him if he'sasleep. Oh no, of course,
not here. I'll I'll carry thelamp out, Olivia. His room
(25:10):
is at the head of these stairson the right. Don't you think you
ought to have the house cleaned?And Olivia, everything's so old and dusty.
Chris won't hear of anything being changed. I do hope he likes this
new seal divoted for him. He'salways been so particular. This is room.
(25:36):
Yes, now, be very quietwhile I open the door. Chris,
Chris, are you awake we havea visit. Is it all right
for me to come in out Olivia? Yes, yes, but you mustn't
disturb him. I won't. Sodark in hands, lamp doesn't give much
(26:02):
light. I hope Uncle Christopher doesn't. Ah, you dropped the lamp.
He's awake now I'm shreadly storry Chris. I told her not to make any
noise. You all right, Lis? Sorry when they come in, it's
(26:30):
kind of hard to find my wayaround this small flashlight. What's wrong?
Why'd you scream over there in thatcorner of the room and it's not there?
But oh, it can't be.It was horrible, horrible, a
glass coffin. We're a skeleton minute. It's a lovely suit. Christ Just
(27:00):
escape and I also ordered some freshyguys for you, darling. Is there
anything else you want? And soends the tale to have and to hold,
as it is written in the sealedBook. The body of Christopher Drake,
(27:26):
which for forty years had been encasedby a glass coffin, was removed
from the old mansion and buried.Shortly afterwards, Olivia died. Her last
words were I'm coming, Chris,and now keeper of the book, before
(28:51):
you close the great volume, showus the tale we tell next time?
This one? Ah, yes,that's the brain story of a scoundrel who
became wealthy through swindling hundreds of innocentpeople, only to discover that all his
money couldn't protect him from justice.A tale title Murderer Unknown. Be sure
(29:27):
to be with us again next timewhen the sound of the Great Gong heralds
another strange and exciting tale from theSeal Book. The Sealed Book, produced
and directed by Jock McGregor, iswritten by Bob Arthur and David Cogan.
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