1 00:00:00,000 --> 00:00:05,000 In just a moment, Suspense, starring Agnes Moorhead. 2 00:00:05,000 --> 00:00:06,000 Hi, Hap. 3 00:00:06,000 --> 00:00:07,000 Hello, Annie. 4 00:00:07,000 --> 00:00:08,000 How are things? 5 00:00:08,000 --> 00:00:13,000 Couldn't be better, Hap, except walking 12 blocks to your service station just isn't for me. 6 00:00:13,000 --> 00:00:14,000 You got my new spark plugs in? 7 00:00:14,000 --> 00:00:18,000 Just finished putting those brand new auto light resistor spark plugs in your car. 8 00:00:18,000 --> 00:00:20,000 Guess she takes a big load off your arches, eh, Hap? 9 00:00:20,000 --> 00:00:23,000 Sure does. My feet have the pep but not the pickup. 10 00:00:23,000 --> 00:00:25,000 What are you listening to tonight? 11 00:00:25,000 --> 00:00:28,000 It's Thursday, Hap. I'm listening to the auto light suspense show. Never miss it. 12 00:00:28,000 --> 00:00:32,000 Well, here's where I rest my weary bones. I'm listening to Agnes Moorhead. 13 00:00:32,000 --> 00:00:36,000 Hey, Hap, here comes Frank Martin, the auto light salesman, to join us. 14 00:00:36,000 --> 00:00:37,000 Hello, Frank. 15 00:00:36,000 --> 00:00:37,000 Hi, Ed. 16 00:00:37,000 --> 00:00:38,000 Meet Hap Horton. 17 00:00:38,000 --> 00:00:41,000 Auto light spark plugs, batteries and ignition systems. 18 00:00:41,000 --> 00:00:43,000 The lifeline of your car. 19 00:00:43,000 --> 00:00:45,000 Well, thanks, Mr. Horton, for the assist. 20 00:00:45,000 --> 00:00:49,000 And wait until I give you the real lowdown on those brand new auto light resistor spark plugs 21 00:00:49,000 --> 00:00:51,000 Ed just put in your car. Say they... 22 00:00:51,000 --> 00:01:01,000 Say it later, Frank. Here comes Agnes Moorhead. 23 00:01:01,000 --> 00:01:08,000 Suspense. 24 00:01:08,000 --> 00:01:15,000 Auto light and its 60,000 dealers and service stations bring you Radio's Outstanding Theatre of Thrills. 25 00:01:15,000 --> 00:01:24,000 Starring tonight, Miss Agnes Moorhead in a tale well calculated to keep you in suspense. 26 00:01:24,000 --> 00:01:29,000 Today, everybody's switching to auto light and tonight auto light takes pleasure in presenting 27 00:01:29,000 --> 00:01:46,000 Anton Leder's production of the famous short story, The Yellow Wallpaper, starring Agnes Moorhead. 28 00:01:46,000 --> 00:01:49,000 I've never seen a worse wallpaper in my life. 29 00:01:49,000 --> 00:01:58,000 All those strangled heads and bulbous eyes and fungus growth seem to shriek with derision. 30 00:01:58,000 --> 00:02:08,000 When we came to this house, the minute I saw it, I made up my mind secretly to start writing again in spite of them. 31 00:02:08,000 --> 00:02:11,000 But I don't dare let John know I'm keeping this journal. 32 00:02:11,000 --> 00:02:13,000 It's difficult being married to a doctor. 33 00:02:13,000 --> 00:02:17,000 John's an excellent doctor, I'm sure, but he's so inconsistent about me. 34 00:02:17,000 --> 00:02:21,000 He says I'm not really sick, that I'm only a little run down from caring for the baby. 35 00:02:21,000 --> 00:02:24,000 That I have a temporary nervous depression. 36 00:02:24,000 --> 00:02:29,000 Yet he prescribes phosphates or phosphites, I don't know which, and tonics and exercise. 37 00:02:29,000 --> 00:02:32,000 And he absolutely forbids me to work until I'm well again. 38 00:02:32,000 --> 00:02:34,000 He hates for me to write a word. 39 00:02:34,000 --> 00:02:37,000 But writing is such a relief to my mind. 40 00:02:37,000 --> 00:02:40,000 I can write down things, tell things here that... 41 00:02:40,000 --> 00:02:43,000 No, John says I'm not to brood about those things. 42 00:02:43,000 --> 00:02:48,000 I confess they make me feel bad, so I'll only write about the house. 43 00:02:48,000 --> 00:02:50,000 I saw it for the first time today. 44 00:02:50,000 --> 00:02:52,000 It's the most beautiful place. 45 00:02:52,000 --> 00:02:56,000 John rented it for the summer and we drove up today a perfect June morning. 46 00:02:56,000 --> 00:02:59,000 The bay and the white sails and people already in swimming. 47 00:02:59,000 --> 00:03:03,000 And then the shaded lane and the riotous old fashioned flowers and the gnarly trees. 48 00:03:03,000 --> 00:03:05,000 And the house. 49 00:03:05,000 --> 00:03:09,000 The house standing alone in the summer stillness. 50 00:03:09,000 --> 00:03:14,000 I could never tell John, but you know, the house spoke to me. 51 00:03:14,000 --> 00:03:17,000 It was only because he rattled on so that I couldn't hear what he... 52 00:03:17,000 --> 00:03:19,000 Reminded me of those English places you read about. 53 00:03:19,000 --> 00:03:22,000 Gardeners, cottages and everything and had only 200 a month. 54 00:03:22,000 --> 00:03:26,000 Hedges and walls and gates that lock and there's a ghostliness. 55 00:03:26,000 --> 00:03:28,000 Remember I rented it just for you, darling. 56 00:03:28,000 --> 00:03:33,000 And you're going to let Jenny do all the work while you live like a prince. 57 00:03:33,000 --> 00:03:35,000 You like it, darling? Speak up. 58 00:03:35,000 --> 00:03:40,000 Yes, John, yes it's lovely but it's strange as though it might be haunted. 59 00:03:40,000 --> 00:03:43,000 Darling, you've got that look on your face again. 60 00:03:43,000 --> 00:03:45,000 That dopey look. 61 00:03:45,000 --> 00:03:50,000 Well, Jenny's home, has a station wagon and if I know my dear sister... 62 00:03:50,000 --> 00:03:53,000 She's already turned the place inside out and cleaned it top to bottom. 63 00:03:53,000 --> 00:03:55,000 John, is it haunted, do you think? 64 00:03:55,000 --> 00:03:58,000 What, the house? At 200 a month? 65 00:03:58,000 --> 00:04:00,000 Well, that's asking too much of fate. 66 00:04:00,000 --> 00:04:01,000 Come on, how about... 67 00:04:01,000 --> 00:04:05,000 You always laugh at anything you can't touch or see or put down in figures. 68 00:04:05,000 --> 00:04:07,000 There is something strange about the house, I feel it. 69 00:04:07,000 --> 00:04:09,000 If you weren't always imagining things. 70 00:04:09,000 --> 00:04:10,000 I'm not imagining. 71 00:04:10,000 --> 00:04:12,000 One reason I don't get well is that you don't believe me. 72 00:04:12,000 --> 00:04:14,000 You don't even believe I'm sick. 73 00:04:14,000 --> 00:04:17,000 You tell my friends and relatives, I've heard you. 74 00:04:17,000 --> 00:04:19,000 I've heard you, that there's nothing wrong with it. 75 00:04:19,000 --> 00:04:20,000 There is nothing wrong with it. 76 00:04:20,000 --> 00:04:21,000 I see you saying it again. 77 00:04:21,000 --> 00:04:23,000 Oh, I'm sorry. Please don't cry. 78 00:04:23,000 --> 00:04:25,000 Now, come along. Let's go inside. 79 00:04:29,000 --> 00:04:32,000 And so I came into this house in tears. 80 00:04:32,000 --> 00:04:34,000 It was wrong. It was all wrong. 81 00:04:34,000 --> 00:04:38,000 Maybe the house saw me crying or this room. 82 00:04:38,000 --> 00:04:40,000 I got so unreasonably angry with John, I shouldn't. 83 00:04:40,000 --> 00:04:44,000 I know he's so careful and loving and I repay him so badly. 84 00:04:44,000 --> 00:04:46,000 I should control myself. 85 00:04:46,000 --> 00:04:47,000 At least in front of him. 86 00:04:47,000 --> 00:04:50,000 But it makes me so tired not to show what I feel. 87 00:04:50,000 --> 00:04:52,000 Jenny met us at the door. 88 00:04:52,000 --> 00:04:55,000 Naturally she saw I'd been crying, but she took pains to ignore it. 89 00:04:55,000 --> 00:04:58,000 Well, hello you two. You're early. 90 00:04:58,000 --> 00:05:00,000 You must have started at the crack of dawn. 91 00:05:00,000 --> 00:05:01,000 How was the trip? 92 00:05:01,000 --> 00:05:02,000 Made it in less than two hours. 93 00:05:02,000 --> 00:05:05,000 We were like his peas in a pod, Jenny and John. 94 00:05:05,000 --> 00:05:07,000 Both efficient and kind. 95 00:05:07,000 --> 00:05:09,000 And how did you bear up, Ted? 96 00:05:09,000 --> 00:05:11,000 Very well, thank you, Jenny. 97 00:05:11,000 --> 00:05:14,000 Both kind and both somehow cruel. 98 00:05:14,000 --> 00:05:16,000 But I don't really think that. 99 00:05:16,000 --> 00:05:18,000 Well, you're just in time for lunch. 100 00:05:18,000 --> 00:05:21,000 I bought a flounder down at the wharf and cooked it with capers and cream. 101 00:05:21,000 --> 00:05:22,000 Sound good? 102 00:05:22,000 --> 00:05:23,000 Wonderful, Jenny. 103 00:05:23,000 --> 00:05:24,000 May I see the house first? 104 00:05:24,000 --> 00:05:28,000 The whole grand tour? All pet. The flounder will cook to death. 105 00:05:28,000 --> 00:05:29,000 Well, at least my room. 106 00:05:29,000 --> 00:05:30,000 Our room. 107 00:05:30,000 --> 00:05:32,000 All right, if you insist. 108 00:05:32,000 --> 00:05:35,000 But if that fish is spoiled, don't blame me. 109 00:05:35,000 --> 00:05:36,000 Why would I blame her? 110 00:05:36,000 --> 00:05:38,000 Whose room is this, Jenny? Yours? 111 00:05:38,000 --> 00:05:40,000 Uh-huh, it's small, but it's near the door and the telephone. 112 00:05:40,000 --> 00:05:41,000 Oh, John, John, look. 113 00:05:41,000 --> 00:05:42,000 What? 114 00:05:42,000 --> 00:05:43,000 Let's take this one for you and me. 115 00:05:43,000 --> 00:05:45,000 I love those roses over the window. 116 00:05:45,000 --> 00:05:47,000 I've already put your things upstairs, pet. 117 00:05:47,000 --> 00:05:50,000 Well, this has a little porch and such pretty old fashioned chintz hanged. 118 00:05:50,000 --> 00:05:52,000 Well, you'll love the room upstairs, darling. 119 00:05:52,000 --> 00:05:54,000 And you can see there's no room in here for two beds. 120 00:05:54,000 --> 00:05:56,000 And I won't hear of being in separate rooms. 121 00:05:56,000 --> 00:05:58,000 I'm going to make you rest and take your tonic. 122 00:05:58,000 --> 00:06:00,000 John and I have talked it all over. 123 00:06:00,000 --> 00:06:03,000 And the room at the top of the house has so many windows. 124 00:06:03,000 --> 00:06:06,000 And you know, darling, you must absorb lots of fresh air. 125 00:06:06,000 --> 00:06:07,000 Get your appetite back. 126 00:06:07,000 --> 00:06:10,000 They smother me with concern. They crush me with kindness. 127 00:06:10,000 --> 00:06:11,000 Come along. 128 00:06:11,000 --> 00:06:13,000 Ha-ha, there's a good girl. 129 00:06:13,000 --> 00:06:15,000 All right, you know what's best. 130 00:06:15,000 --> 00:06:17,000 And you're going to like that nursery. 131 00:06:17,000 --> 00:06:19,000 It gets loads of sunshine. 132 00:06:28,000 --> 00:06:30,000 Up the steep, narrow stairs, 133 00:06:30,000 --> 00:06:33,000 two stories up to the very top of the house, 134 00:06:33,000 --> 00:06:36,000 there's a gate at the top that locks. 135 00:06:37,000 --> 00:06:39,000 I wonder why. 136 00:06:39,000 --> 00:06:41,000 And beyond the gate is the nursery room. 137 00:06:41,000 --> 00:06:42,000 This room. 138 00:06:42,000 --> 00:06:47,000 It is big and airy, nearly a whole floor with windows that look every way. 139 00:06:48,000 --> 00:06:50,000 They say it was a nursery. 140 00:06:51,000 --> 00:06:53,000 But what was it really? 141 00:06:53,000 --> 00:06:55,000 Open the door, Jenny. Wide. 142 00:06:55,000 --> 00:06:56,000 All right. 143 00:06:56,000 --> 00:06:57,000 Well, darling? 144 00:06:57,000 --> 00:06:58,000 Why the windows bar? 145 00:06:58,000 --> 00:07:00,000 For the little children. Otherwise it wouldn't be safe. 146 00:07:00,000 --> 00:07:02,000 Oh, yeah, I suppose. 147 00:07:02,000 --> 00:07:04,000 Children climb around, so don't they? 148 00:07:04,000 --> 00:07:08,000 What are those rings and things in the walls? 149 00:07:08,000 --> 00:07:11,000 Oh, I expect they made it into a gymnasium when the children got older. 150 00:07:11,000 --> 00:07:12,000 A sort of playground. 151 00:07:12,000 --> 00:07:14,000 Oh, they must have hated the wallpaper. 152 00:07:14,000 --> 00:07:16,000 Well, they were rough on it, that's for sure. 153 00:07:16,000 --> 00:07:19,000 They've stripped it off in patches. I don't blame them. It's hideous. 154 00:07:19,000 --> 00:07:23,000 Oh, who wants to look at the wallpaper with this view? 155 00:07:23,000 --> 00:07:25,000 My, you can see the whole bay. 156 00:07:25,000 --> 00:07:27,000 It's a revolting color. It's unclean. 157 00:07:27,000 --> 00:07:30,000 Such a strange, sickish yellow there where the sun's faded it. 158 00:07:30,000 --> 00:07:32,000 I never saw it was paper in my life. 159 00:07:32,000 --> 00:07:34,000 Don't dramatize it, darling. 160 00:07:34,000 --> 00:07:36,000 You must be hungry, and I know you're tired. 161 00:07:36,000 --> 00:07:39,000 I'm not tired. Why do you both act this way? 162 00:07:39,000 --> 00:07:41,000 I say the wallpaper's ugly and you look at each other. 163 00:07:41,000 --> 00:07:44,000 Your eyes shuttle back and forth, and suddenly you both act as though I'd lost my reach. 164 00:07:44,000 --> 00:07:48,000 Darling, that was something we weren't going to say. 165 00:07:48,000 --> 00:07:50,000 Be a good girl, pet. 166 00:07:50,000 --> 00:07:52,000 We don't act anyway. 167 00:07:52,000 --> 00:07:54,000 We just don't want you to worry. 168 00:07:54,000 --> 00:08:00,000 We want you to be well. 169 00:08:00,000 --> 00:08:04,000 It's true, that's all they want. 170 00:08:04,000 --> 00:08:07,000 John laughs at me, of course, but one expects that in marriage. 171 00:08:07,000 --> 00:08:13,000 And he says I have foolish fancies and he sometimes can talk them away, but not this time. 172 00:08:13,000 --> 00:08:19,000 No matter what he says, it's a smoldering, sulfurous, unclean, it's hideous wallpaper. 173 00:08:19,000 --> 00:08:22,000 No wonder the children scratched at it and stripped it down. 174 00:08:22,000 --> 00:08:26,000 No wonder they gouge the plaster with their little fingernails. 175 00:08:26,000 --> 00:08:29,000 No wonder they hate it. I hate it myself. 176 00:08:29,000 --> 00:08:34,000 And somehow I feel it hates me. 177 00:08:34,000 --> 00:08:56,000 For Suspense, Autolite is bringing you Miss Agnes Moorhead in the Yellow Wallpaper. 178 00:08:56,000 --> 00:09:12,000 Autolite's presentation of Radio's outstanding theater of thrills, Suspense. 179 00:09:12,000 --> 00:09:14,000 Say, isn't she terrific? 180 00:09:14,000 --> 00:09:17,000 Yes, sir, Agnes Moorhead is always terrific. 181 00:09:17,000 --> 00:09:19,000 She sure is. 182 00:09:19,000 --> 00:09:21,000 Say, car sure sounds good. 183 00:09:21,000 --> 00:09:23,000 Couldn't resist stepping on the starter. 184 00:09:23,000 --> 00:09:27,000 These new Autolite Resistor spark plugs sure make this a contented car. 185 00:09:27,000 --> 00:09:29,000 Yep, and you got the first set in town. 186 00:09:29,000 --> 00:09:33,000 Well, right now you can get Autolite Resistor spark plugs almost anywhere in the United States. 187 00:09:33,000 --> 00:09:37,000 It's sensational why no other spark plug will give and maintain such performance. 188 00:09:37,000 --> 00:09:39,000 Sounds like a good sales story. 189 00:09:39,000 --> 00:09:42,000 Where did the name Resistor come from, Mr. Martin? 190 00:09:42,000 --> 00:09:44,000 Autolite worked with leading car and truck manufacturers, 191 00:09:44,000 --> 00:09:49,000 and they ignition engineered a 10,000-ohm resistor right into the Autolite spark plug 192 00:09:49,000 --> 00:09:54,000 that permits a wider spark gap setting and maintains it far longer than any other spark plugs. 193 00:09:54,000 --> 00:09:57,000 Actually, Mr. Horton, when you replace your narrow gap spark plugs 194 00:09:57,000 --> 00:10:02,000 with a set of wide gap Autolite Resistor spark plugs, you can tell the difference in your car. 195 00:10:02,000 --> 00:10:04,000 It's right from the book, I'll bet, eh, Mr. Martin? 196 00:10:04,000 --> 00:10:07,000 Well, I'll guess so, but here's the simple lowdown. 197 00:10:07,000 --> 00:10:11,000 As a result of the wide gap in the Resistor spark plug, your engine idles smoother, 198 00:10:11,000 --> 00:10:14,000 you have better luck with lean gas mixtures and save gas, 199 00:10:14,000 --> 00:10:19,000 and within established limits you reduce spark plug interference with radio and television reception. 200 00:10:19,000 --> 00:10:25,000 Yes, and today you can get the Resistor spark plug from almost any of Autolite's 60,000 dealers. 201 00:10:25,000 --> 00:10:27,000 That's the biggest spark plug news in years. 202 00:10:27,000 --> 00:10:34,000 And now Autolite brings back to our Hollywood sound stage, Miss Agnes Moorhead, 203 00:10:34,000 --> 00:10:42,000 as star in The Yellow Wallpaper, a tale well calculated to keep you in suspense. 204 00:10:42,000 --> 00:10:59,000 We've been here two weeks and I haven't felt like riding again since that first day. 205 00:10:59,000 --> 00:11:03,000 I'm sitting by the window now, up in this frightful nursery room. 206 00:11:03,000 --> 00:11:06,000 There's nothing to stop my riding as much as I please. 207 00:11:06,000 --> 00:11:10,000 John is away all day and sometimes even at night if he has a serious case. 208 00:11:10,000 --> 00:11:17,000 I'm glad my case is not serious, but these nervous troubles can be depressing all the same. 209 00:11:17,000 --> 00:11:20,000 I cry at nothing and cry most of the time. 210 00:11:20,000 --> 00:11:25,000 John doesn't know how much I suffer. He knows there's no reason to suffer and that satisfies him. 211 00:11:25,000 --> 00:11:28,000 I suppose John was never nervous in his life. 212 00:11:28,000 --> 00:11:31,000 He laughs at me so about this wallpaper. 213 00:11:31,000 --> 00:11:34,000 No, I won't let you have your way, you silly goose. 214 00:11:34,000 --> 00:11:38,000 If we'd taken the room downstairs, you'd be seeing faces in the chinstrapes. 215 00:11:38,000 --> 00:11:42,000 Not faces. Look at that spot, John. And that one over there. 216 00:11:42,000 --> 00:11:45,000 Yes, I see. It's a repeating pattern. 217 00:11:45,000 --> 00:11:49,000 It's a broken neck with two bulging eyes staring at me upside down. 218 00:11:49,000 --> 00:11:53,000 And to me it's climbing ivy or some kind of a vine. 219 00:11:53,000 --> 00:11:55,000 Take your choice, could be anything. 220 00:11:55,000 --> 00:11:58,000 Besides, I can't re-paper a room just for a three months rental. 221 00:11:58,000 --> 00:12:09,000 Well, then let's move downstairs. Take me away from her. Don't you see, John, it hates me. 222 00:12:09,000 --> 00:12:11,000 I wish I'd get well faster. 223 00:12:11,000 --> 00:12:13,000 Yes, you. You're willing. You're good sensed, aren't you? 224 00:12:13,000 --> 00:12:14,000 I'm afraid. 225 00:12:14,000 --> 00:12:15,000 But you're so much better. 226 00:12:15,000 --> 00:12:18,000 When I married you, I meant to be such a help, but I'm only a burden. 227 00:12:18,000 --> 00:12:21,000 You are a help to me. You're my comfort. 228 00:12:21,000 --> 00:12:26,000 I can't even be with my baby. It makes me so nervous. 229 00:12:26,000 --> 00:12:28,000 Will I ever be well enough to see him again? 230 00:12:28,000 --> 00:12:31,000 Of course you'll be well. If you try. 231 00:12:31,000 --> 00:12:35,000 Then I'll try, I promise. 232 00:12:35,000 --> 00:12:39,000 But from now on I won't look at the wallpaper and I'll stop seeing things out of the windows. 233 00:12:39,000 --> 00:12:40,000 Out of the windows? 234 00:12:40,000 --> 00:12:43,000 I see people walking up and down the paths and in the arbors. 235 00:12:43,000 --> 00:12:48,000 I know it's silly and it's only in certain lights when I look at the wallpaper from the bed that I see. 236 00:12:48,000 --> 00:12:49,000 See what? 237 00:12:49,000 --> 00:12:55,000 Nothing. Nothing. No, you're right. 238 00:12:55,000 --> 00:13:04,000 There's nothing except a pattern. 239 00:13:04,000 --> 00:13:08,000 A front pattern and an under pattern in a different shade of yellow. 240 00:13:08,000 --> 00:13:10,000 It dwells in my mind so. 241 00:13:10,000 --> 00:13:15,000 I lie on that great immovable bed. It's nailed down, I believe, and follow that pattern about by the hour. 242 00:13:15,000 --> 00:13:18,000 And then where it isn't faded and when the sun is just so, 243 00:13:18,000 --> 00:13:30,000 I see a strange, faint, formless sort of figure lurking, waiting behind that front design. 244 00:13:30,000 --> 00:13:33,000 I don't know why I should write like this day after day. 245 00:13:33,000 --> 00:13:36,000 I don't want to. I don't feel able. 246 00:13:36,000 --> 00:13:43,000 And I know John would think it absurd, but I must express what I feel and think in some way. It's such a relief. 247 00:13:43,000 --> 00:13:48,000 There are things in that wallpaper that nobody knows about but me. 248 00:13:48,000 --> 00:13:59,000 You know, there's a woman stooping down and creeping about behind that pattern. 249 00:13:59,000 --> 00:14:03,000 Last night it was moonlight and the moon shines in all around just as the sun does. 250 00:14:03,000 --> 00:14:12,000 John was asleep and I hated to wake him, so I kept still and watched the moonlight on the wall until I felt creepy. 251 00:14:12,000 --> 00:14:18,000 The woman behind the paper began to shake the pattern as if she wanted to get out. 252 00:14:18,000 --> 00:14:26,000 I got up softly and went and felt the paper to see if it did move. 253 00:14:26,000 --> 00:14:29,000 It moved! It moved, I'm sure of it. 254 00:14:29,000 --> 00:14:33,000 And the poor woman cried out as though her voice came a long way over water. 255 00:14:33,000 --> 00:14:37,000 Charlie Bane, look me! Charlie Bane, look me! 256 00:14:37,000 --> 00:14:41,000 Charlie Bane, look me! 257 00:14:41,000 --> 00:14:46,000 Oh, the poor thing. 258 00:14:46,000 --> 00:14:51,000 Then I went back to the bed. John was awake. 259 00:14:51,000 --> 00:14:56,000 What is it, darling? Why are you up? You shouldn't go walking around like that. You'll catch cold. 260 00:14:56,000 --> 00:14:58,000 The moonlight woke me. 261 00:14:58,000 --> 00:15:00,000 You are cold. You're shivering. 262 00:15:00,000 --> 00:15:03,000 John, I'm not really getting better. Why don't you take me away? 263 00:15:03,000 --> 00:15:08,000 Our lease will be up in three weeks, darling. I don't see how we can leave before then. 264 00:15:08,000 --> 00:15:14,000 Of course, if you were in any danger, I would, but you really are better, dear, whether you see it or not. 265 00:15:14,000 --> 00:15:16,000 I'm a doctor and I know. 266 00:15:16,000 --> 00:15:20,000 Oh, my appetite may be better in the evening when you're here, but it's worse in the morning when you're gone. 267 00:15:20,000 --> 00:15:22,000 Why, you're gaining flesh and bone. 268 00:15:22,000 --> 00:15:24,000 I don't weigh a bit more, not even as much. 269 00:15:24,000 --> 00:15:28,000 Well, bless your little heart. You shall be as sick as you please. 270 00:15:28,000 --> 00:15:31,000 But let's go to sleep, huh? And talk about it in the morning. 271 00:15:31,000 --> 00:15:33,000 You won't go away? 272 00:15:33,000 --> 00:15:36,000 How can I, dear? And why should I, since you're better? 273 00:15:36,000 --> 00:15:38,000 Better in body, perhaps, but in mind. 274 00:15:38,000 --> 00:15:43,000 Darling, for my sake and your sake and for the sake of our child, I beg you not to let that idea enter your head. 275 00:15:43,000 --> 00:15:45,000 Not for an instant. 276 00:15:45,000 --> 00:15:51,000 Can't you trust me as a doctor when I tell you it's a false and foolish idea? 277 00:15:51,000 --> 00:15:54,000 Answer me, darling. Don't you trust me? 278 00:15:54,000 --> 00:15:56,000 Yes, of course I trust you only. 279 00:15:56,000 --> 00:15:58,000 What? 280 00:15:58,000 --> 00:16:01,000 I'm sleepy. Let's go to sleep. 281 00:16:01,000 --> 00:16:11,000 But I didn't sleep. I lay there for hours trying to decide if the front pattern and the back pattern move together or separately. 282 00:16:17,000 --> 00:16:26,000 At night, in the moonlight, the front pattern becomes bars, and the woman behind it shakes the bars. 283 00:16:26,000 --> 00:16:32,000 Yes, she shakes the bars as she creeps around. 284 00:16:39,000 --> 00:16:46,000 I lie down ever so much now. John says it's good for me and to sleep all I can, but you see I don't sleep. 285 00:16:46,000 --> 00:16:50,000 And that cultivates deceit, for I don't tell them I'm awake. 286 00:16:50,000 --> 00:16:52,000 Oh, no. 287 00:16:52,000 --> 00:17:00,000 Fact is, I'm getting a little afraid of John. He seems very odd sometimes, and it strikes me that perhaps it's the yellow wallpaper. 288 00:17:00,000 --> 00:17:05,000 I like this room now, and life is much more exciting than it used to be. 289 00:17:05,000 --> 00:17:11,000 I have something more to expect, to look forward to, to watch. 290 00:17:11,000 --> 00:17:14,000 And I really do eat better, and I'm quieter than I was. 291 00:17:14,000 --> 00:17:22,000 John is pleased to see me improve. 292 00:17:22,000 --> 00:17:28,000 You see, you're flourishing like a weed in spite of your wallpaper. 293 00:17:28,000 --> 00:17:35,000 Yes, in spite of the wallpaper. 294 00:17:35,000 --> 00:17:41,000 In spite of it, because of it. But I had no intention of telling him that. 295 00:17:41,000 --> 00:17:45,000 He might want to take me away, and I don't want to leave now until I've found out. 296 00:17:45,000 --> 00:17:54,000 There's one week more, and I think that will be enough. 297 00:17:54,000 --> 00:17:58,000 There's a funny mark on the wall low down near the mop board. 298 00:17:58,000 --> 00:18:05,000 A streak that runs around the room, goes behind every piece of furniture except the bed. 299 00:18:05,000 --> 00:18:12,000 A long, straight, even smudge, as if it had been rubbed over and over and over. 300 00:18:12,000 --> 00:18:18,000 How was it done? Who did it? What did they do to it? 301 00:18:18,000 --> 00:18:27,000 Round and round, round and round, round makes me dizzy. 302 00:18:27,000 --> 00:18:38,000 I've really discovered something at last. 303 00:18:38,000 --> 00:18:42,000 There are a great many women behind the pattern, and sometimes only one, 304 00:18:42,000 --> 00:18:46,000 and she creeps around fast, and her creeping shakes the pattern. 305 00:18:46,000 --> 00:18:50,000 She's trying to climb through and can't because the pattern strangles everything. 306 00:18:50,000 --> 00:18:53,000 But she does get out in the daytime, I know because I've seen her. 307 00:18:53,000 --> 00:18:59,000 When a car comes, she hides in the blackberry vines. I don't blame her, I'd hide too. 308 00:18:59,000 --> 00:19:08,000 I always lock the door when I creep by daylight. 309 00:19:08,000 --> 00:19:13,000 There are only two days left to tear this paper off and let the woman out in the room, 310 00:19:13,000 --> 00:19:15,000 and John's beginning to take notice. 311 00:19:15,000 --> 00:19:19,000 I don't like the look in his eyes or the way he talks with Jenny about me. 312 00:19:19,000 --> 00:19:21,000 I overheard them. 313 00:19:21,000 --> 00:19:26,000 She isn't sleeping nights, Jenny. She's quiet, but I know she's awake. 314 00:19:26,000 --> 00:19:29,000 Well, it's a little wonder she sleeps the whole blessed day. 315 00:19:29,000 --> 00:19:32,000 Maybe I ought to call in another doctor. 316 00:19:32,000 --> 00:19:36,000 No, it's just stubbornness, John. She's determined to prove you're wrong. 317 00:19:36,000 --> 00:19:42,000 I suppose you're right. Oh, I'm sure she'll improve. Oh, darling. 318 00:19:42,000 --> 00:19:45,000 Hello, Pet. How you creep about. 319 00:19:45,000 --> 00:19:49,000 That's a funny thing to say, Jenny. It isn't I who creeps. 320 00:19:49,000 --> 00:19:53,000 Jenny says you stay in your room too much. You don't take your exercise. 321 00:19:53,000 --> 00:19:57,000 You tell me to rest and then you tell me to take exercise. I can't do both. 322 00:19:57,000 --> 00:20:00,000 Well... As though I can't see through them. 323 00:20:00,000 --> 00:20:04,000 Tomorrow's our last day here. We'll talk about exercise when I get you back to town. 324 00:20:04,000 --> 00:20:06,000 I'll have to rouse you out of bed pretty early, Pet. 325 00:20:06,000 --> 00:20:10,000 You know, some of that furniture up there belongs downstairs, and the movers will be here at nine. 326 00:20:10,000 --> 00:20:15,000 Maybe, uh, maybe you'll sleep upstairs tonight, Jenny. So you won't be alone, darling. 327 00:20:15,000 --> 00:20:17,000 You won't be here tonight, John? 328 00:20:17,000 --> 00:20:20,000 Not until tomorrow evening, or there's a difficult case. 329 00:20:20,000 --> 00:20:24,000 If you're going to feel lonesome... Oh, no, Jenny. I'll rest better alone. I'm sure of it. 330 00:20:24,000 --> 00:20:26,000 Thank you all the same. 331 00:20:29,000 --> 00:20:34,000 That was clever of me. The sly thing. 332 00:20:34,000 --> 00:20:37,000 I won't be alone a bit. 333 00:20:37,000 --> 00:20:44,000 As soon as the moon shone in, the poor thing behind the paper began to crawl and shake the pattern. 334 00:20:44,000 --> 00:20:48,000 I ran to her. I pulled, and she shook. 335 00:20:48,000 --> 00:20:52,000 I shook, and she pulled. 336 00:20:52,000 --> 00:20:56,000 And that morning we peeled off yards and yards of yellow wallpaper, 337 00:20:56,000 --> 00:20:59,000 a strip about as high as my head and half around the room. 338 00:20:59,000 --> 00:21:03,000 When Jenny came up in the morning, she looked at the wall in amazement. 339 00:21:03,000 --> 00:21:07,000 You know why I did it, Jenny? Just to spite the vicious thing. 340 00:21:07,000 --> 00:21:09,000 Why are you so surprised? 341 00:21:09,000 --> 00:21:12,000 Oh, I... I'm not. 342 00:21:12,000 --> 00:21:16,000 Why, I wouldn't mind doing it myself. 343 00:21:16,000 --> 00:21:18,000 But you mustn't tire yourself, Pent. 344 00:21:18,000 --> 00:21:20,000 She wouldn't mind doing it. 345 00:21:20,000 --> 00:21:23,000 Why don't you come downstairs and lie down? 346 00:21:30,000 --> 00:21:35,000 How she betrayed herself, that Jenny. She wouldn't mind doing it. 347 00:21:35,000 --> 00:21:42,000 But I'm here and no person touches this paper but me, not a lie. 348 00:21:44,000 --> 00:21:48,000 I've locked the door and thrown the key down into the front path. 349 00:21:48,000 --> 00:21:52,000 I don't want anybody to come in till John comes. I want to surprise him. 350 00:21:52,000 --> 00:21:55,000 And I've got a rope up here. Even Jenny doesn't know that. 351 00:21:55,000 --> 00:21:58,000 If the woman gets out from behind the pattern and tries to run away, 352 00:21:58,000 --> 00:22:03,000 I can tie her securely to one of the rings in the wall. 353 00:22:03,000 --> 00:22:06,000 There. There she is. 354 00:22:06,000 --> 00:22:11,000 There, see how the pattern moves like wallowing seaweeds. 355 00:22:11,000 --> 00:22:13,000 Oh, it'll strangle her unless I help. 356 00:22:13,000 --> 00:22:18,000 Wait, wait, wait, I'll help you. I'll peel off the paper all I can. 357 00:22:18,000 --> 00:22:20,000 Wait, wait, be patient. 358 00:22:20,000 --> 00:22:24,000 You, you, you push. You push it out, Paul. 359 00:22:24,000 --> 00:22:28,000 Oh, it, it sticks horribly to the plaster. 360 00:22:28,000 --> 00:22:31,000 I can get it off with my teeth. 361 00:22:31,000 --> 00:22:34,000 Oh, it hurts. 362 00:22:34,000 --> 00:22:36,000 But I'm getting it. I'm getting it. 363 00:22:36,000 --> 00:22:39,000 Wait, wait, just a little bit more. 364 00:22:39,000 --> 00:22:41,000 I'm getting it. 365 00:22:41,000 --> 00:22:44,000 A little bit more. A little bit more. 366 00:22:44,000 --> 00:22:47,000 A little bit more. A little bit more. 367 00:22:51,000 --> 00:22:56,000 I wonder if they all came out of the wallpaper as I did. 368 00:22:56,000 --> 00:22:59,000 I think they did. 369 00:22:59,000 --> 00:23:03,000 But I have you securely tied by my rope now. 370 00:23:03,000 --> 00:23:06,000 You'll never get away. 371 00:23:06,000 --> 00:23:09,000 But I don't want to get away. 372 00:23:09,000 --> 00:23:14,000 It's so pleasant to be out in this great room to creep about as I please. 373 00:23:17,000 --> 00:23:19,000 It's so pleasant. 374 00:23:19,000 --> 00:23:26,000 But I suppose I'll, I'll have to get back behind the pattern when night comes. 375 00:23:26,000 --> 00:23:29,000 That will be hard to do. 376 00:23:35,000 --> 00:23:39,000 Well, it's, it's better than going outside. 377 00:23:39,000 --> 00:23:43,000 I won't go outside, even if Jenny asks me to. 378 00:23:43,000 --> 00:23:50,000 For outside, I have to creep on the ground where everything is green instead of yellow. 379 00:23:53,000 --> 00:23:58,000 And here I can creep smoothly on the floor. 380 00:23:59,000 --> 00:24:02,000 Listen. Listen, she's coming now. 381 00:24:02,000 --> 00:24:05,000 Darling. Darling, open the door. 382 00:24:05,000 --> 00:24:08,000 You hear me? Open the door. 383 00:24:08,000 --> 00:24:10,000 Oh, it's John at the door. 384 00:24:10,000 --> 00:24:13,000 Open the door, darling. Open it, please, dear. 385 00:24:13,000 --> 00:24:15,000 Oh, he does pound and shout. 386 00:24:15,000 --> 00:24:18,000 So use Dr. John. You can't open it. 387 00:24:18,000 --> 00:24:21,000 Open it, do you hear me, dear? Open it. 388 00:24:21,000 --> 00:24:23,000 Jenny, bring me the axe. 389 00:24:23,000 --> 00:24:26,000 Oh, no, he'll break down that beautiful door. 390 00:24:26,000 --> 00:24:31,000 John, dear, the key's down in front of the house under a plant and leaf. 391 00:24:33,000 --> 00:24:35,000 Please, my darling, please. 392 00:24:35,000 --> 00:24:37,000 It's down by the front door, John. 393 00:24:37,000 --> 00:24:39,000 Open the door, for heaven's sake. 394 00:24:39,000 --> 00:24:43,000 I can't. I can't. The key's downstairs, John. 395 00:24:43,000 --> 00:24:46,000 It's under a plant and leaf by the front steps. 396 00:24:46,000 --> 00:24:48,000 It's under a plant and leaf down. 397 00:24:48,000 --> 00:24:52,000 Go and see. Go and see. You'll find it if you look. 398 00:24:52,000 --> 00:24:54,000 You'll find it. 399 00:24:56,000 --> 00:24:58,000 There. There. 400 00:24:58,000 --> 00:25:00,000 He's gone to look. 401 00:25:00,000 --> 00:25:04,000 The wallpaper has stopped laughing. 402 00:25:04,000 --> 00:25:06,000 The evil thing. 403 00:25:06,000 --> 00:25:12,000 Now I can creep slowly, smoothly on the floor. 404 00:25:12,000 --> 00:25:18,000 Round and round and round and round and round. 405 00:25:18,000 --> 00:25:22,000 My shoulder just fits into that long smudge on the wall, 406 00:25:22,000 --> 00:25:25,000 so I can't lose my way. 407 00:25:25,000 --> 00:25:28,000 Oh, he's coming back. 408 00:25:28,000 --> 00:25:30,000 He's running on the stairs. 409 00:25:30,000 --> 00:25:32,000 How astonished he'll be. 410 00:25:32,000 --> 00:25:34,000 Darling. 411 00:25:34,000 --> 00:25:38,000 Oh, my dear. My dear, what is it? 412 00:25:38,000 --> 00:25:40,000 What's happened? 413 00:25:40,000 --> 00:25:42,000 I've got out at last, John. 414 00:25:42,000 --> 00:25:44,000 Out? Out from... 415 00:25:44,000 --> 00:25:46,000 Yes, out in spite of you and Jenny. 416 00:25:46,000 --> 00:25:48,000 I pulled down the paper. 417 00:25:48,000 --> 00:25:51,000 I shook the pattern and pushed and pulled it down. 418 00:25:51,000 --> 00:25:54,000 It stuck horribly. 419 00:25:54,000 --> 00:25:56,000 But you'll never... you'll never put me back. 420 00:25:56,000 --> 00:25:58,000 You'll never put me back. 421 00:25:58,000 --> 00:26:02,000 You'll never put me back. 422 00:26:02,000 --> 00:26:05,000 You're so pale, John. 423 00:26:05,000 --> 00:26:07,000 Why do you close your eyes? 424 00:26:07,000 --> 00:26:09,000 You watch. 425 00:26:09,000 --> 00:26:14,000 Watch how swiftly I creep around in this lovely yellow room. 426 00:26:19,000 --> 00:26:21,000 Fainted? 427 00:26:21,000 --> 00:26:26,000 Now why should that man have fainted? 428 00:26:26,000 --> 00:26:29,000 But he did. 429 00:26:29,000 --> 00:26:33,000 And right across my path by the wall, 430 00:26:33,000 --> 00:26:37,000 so that I have to creep over him every time. 431 00:26:37,000 --> 00:27:02,000 Round and round and round and round and round. 432 00:27:02,000 --> 00:27:05,000 Thank you, Agnes Moorhead, for a magnificent performance. 433 00:27:05,000 --> 00:27:08,000 Miss Moorhead will be back in just a moment. 434 00:27:08,000 --> 00:27:11,000 Oh, what a show. 435 00:27:11,000 --> 00:27:14,000 That Agnes Moorhead's really some actress. 436 00:27:14,000 --> 00:27:17,000 Well, I guess I better head for home, Motherland. 437 00:27:17,000 --> 00:27:20,000 Oh, say, Mr. Martin, can you give me those simple words of yours again? 438 00:27:20,000 --> 00:27:22,000 My boy Billy pesters me with slogans. 439 00:27:22,000 --> 00:27:24,000 You bet, Mr. Horton. 440 00:27:24,000 --> 00:27:26,000 When you replace your narrow-gap spark plugs 441 00:27:26,000 --> 00:27:28,000 with a set of wide-gap auto-light resistor spark plugs, 442 00:27:28,000 --> 00:27:30,000 you can tell the difference in your car. 443 00:27:30,000 --> 00:27:33,000 For example, your engine idles smoother. 444 00:27:33,000 --> 00:27:36,000 You have better luck with leaner gas mixtures and save gas. 445 00:27:36,000 --> 00:27:38,000 And within established limits, 446 00:27:38,000 --> 00:27:41,000 you reduce spark plug interference with radio and television reception. 447 00:27:41,000 --> 00:27:44,000 So, switch to auto-light, because... 448 00:27:44,000 --> 00:27:47,000 Auto-light means resistor spark plugs. 449 00:27:47,000 --> 00:27:49,000 Ignition engineered spark plugs. 450 00:27:49,000 --> 00:27:51,000 Auto-light means batteries. 451 00:27:51,000 --> 00:27:53,000 Stay full, batteries. 452 00:27:53,000 --> 00:27:56,000 Auto-light means ignition systems. 453 00:27:56,000 --> 00:28:07,000 The lifeline of your car. 454 00:28:07,000 --> 00:28:10,000 And now here again is Miss Agnes Moorhead. 455 00:28:10,000 --> 00:28:13,000 It's always a great pleasure for me to appear on Suspense. 456 00:28:13,000 --> 00:28:16,000 I've thoroughly enjoyed this appearance this evening. 457 00:28:16,000 --> 00:28:19,000 And next week, when I turn listener again, 458 00:28:19,000 --> 00:28:23,000 I'll join the rest of you to welcome Mr. Charles Lawton's return to these microphones 459 00:28:23,000 --> 00:28:26,000 in a role written especially for him. 460 00:28:26,000 --> 00:28:31,000 Next week, then, an honest man starring Charles Lawton on... 461 00:28:31,000 --> 00:28:43,000 Suspense. 462 00:28:43,000 --> 00:28:46,000 Agnes Moorhead may soon be seen in the Warner Brothers production, 463 00:28:46,000 --> 00:28:48,000 Johnny Belinda. 464 00:28:48,000 --> 00:28:52,000 Tonight's Suspense play was adapted for radio by Sylvia Richards 465 00:28:52,000 --> 00:28:56,000 from an original story by Charlotte Perkins Gilman. 466 00:28:56,000 --> 00:29:00,000 Music was composed by Lucian Morawick and conducted by Lud Bluskin. 467 00:29:00,000 --> 00:29:03,000 The entire production was under the direction of Anton M. Leeder. 468 00:29:03,000 --> 00:29:07,000 Next Thursday, same time, you will hear Mr. Charles Lawton in... 469 00:29:07,000 --> 00:29:13,000 An Honest Man. 470 00:29:13,000 --> 00:29:21,000 This is the auto-light Suspense show saying good night. 471 00:29:21,000 --> 00:29:23,000 Switch to auto-light. 472 00:29:23,000 --> 00:29:26,000 This is CBS where 99 million people gather every week 473 00:29:26,000 --> 00:29:53,000 to watch the show, and it can be a broadcasting system.