Climax! (1954) s02e10 Episode Script
A Promise to Murder
NARRATOR: Live from Television City in Hollywood, Chrysler Corporation, maker of these five great cars.
Plymouth.
Dodge.
DeSoto.
Chrysler.
And the exclusive Imperial.
The five great cars of The Forward Look.
Chrysler Corporation presents "Climax!" Tonight starring Louis Hayward, Peter Lorre, Ann Harding.
And now your host for Chrysler Corporation, Bill Lundigan.
-Good evening.
You know, our story tonight is from the pen of one of the great storytellers of all time, a man who seemed to know that he was predestined to live a tragic life.
And he did.
In many of his works, Oscar Wilde seemed always to ask, "Do you believe in faith? Do you believe that there's a pattern in your life, a pattern that maps your future and all your travels that lie ahead?" Well, maybe you do and maybe you don't, that's up to you.
But this is the premise of our story tonight, from the pen of Oscar Wilde as adapted by John Kneubuhl, "A Promise To Murder," now on "Climax!" VORHEES: Yes, the fates they weave the strands of our lives.
And here's the pattern.
The pattern of the great design, a simple copy, so to speak, here in the palms of our hands.
It is as if nature said, pitying us in our loneliness, "Don't be afraid.
You're not alone.
You're not lost.
" Right here, etched in your hand-- etched in your hands is a map, a map of the travels that lie ahead.
-Oh, good afternoon, Mr.
Townsend.
-Hello, Charles.
-Permit me to offer my congratulations, sir.
-Thank you, Charles.
Oh, Mrs.
Wetherby has a little parcel she wants me to pick up.
-Oh yes sir, I have it ready.
-Thank you.
-Randy.
How nice to see you.
-[INAUDIBLE.]
.
How are you, sir? -My heartiest congratulations, Randy.
She's a wonderful girl, Marsha.
Getting herself a wonderful husband too, if you ask me.
-Thanks very much.
Am I interrupting something? -Bertha has found the most remarkable man.
A Mr.
Vorhees.
-Another of her protegees, eh? -But this really is remarkable.
Come along, see for yourself.
-Sure.
-The width in your hands, Mrs.
Weatherby, is not only the future in this life, but your future in eternal life.
And there, there your dear husband is waiting for you.
And an eternity of happiness waits with him.
-Oh, when? When will that be? -When? [CHUCKLES.]
Your lifeline here, as I told you before, is-- it's a long one.
Long as-- as this world reckons time.
So it'll be a while, but what are a few years more of separation compared-- compared to an eternity of happiness together? -He told us the day Bertha's Gerald passed on, right to the day, Randy.
-Surely you don't believe in this sort of fraud.
Hello, Aunt Bertha.
-Congratulations, Randy.
-Congratulations.
-Oh, Randolph, I am so glad that you could come.
And how is your darling Marsha? -She's fine.
I'm meeting her shortly for cocktails.
The Prier's are joining us.
I thought I'd give her your little gift.
Charles is fetching it.
-It's my mother's old shawl, the lace one.
It will go so beautifully with her lovely blonde hair.
-You're sweet, darling.
-Now come dear, I want you to meet Mr.
Vorhees.
Mr.
Vorhees, this is my dear nephew Randolph.
Randolph Townsend.
-It's an honor to meet you, Mr.
Townsend.
-How do you do? -Mr.
Vorhees is the most extraordinary man.
-You have the gift of seeing into the future, Mr.
Vorhees? -No, I-- I merely read what's written in your hands.
-Oh.
Well, may I try? -This is not for a skeptic, [INAUDIBLE.]
.
-Oh, you mustn't pay any attention to him, Mr.
Vorhees.
Randy is a lawyer, so he's quite devoid of imagination.
But do, do please try his hand.
-Yes, Mr.
Vorhees, please try.
-Do.
Please, Mr.
Vorhees.
-All right.
Would you be seated, please? -Thank you.
-There's trouble.
There will be trouble with a young lady.
-Oh, not with Marsha! -A dark haired lady.
A lady with dark hair will come between you and your marriage.
-Tired of blondes so soon, Randy? [LAUGHTER.]
[CLOCK CHIMING.]
-Go ahead, Mr.
Vorhees.
-A precious link of your past will be shattered.
You shall suffer considerable loss of money and-- and a great loss of love.
-Oh, there's that dark haired lady again.
-And then-- -What is it, Mr.
Vorhees? -Your gift failing you, Mr.
Vorhees? -No.
-Oh please, please don't be upset, Mr.
Vorhees.
Randolph, I'd like to speak with you.
-Sure.
Goodbye, Mr.
Vorhees.
-Now what is the meaning of this behavior, Randy? -Aunt Bertha, I wish when you picked yourself protegees to sponsor you'll be a little more careful.
This man's obviously a fraud.
-But I don't see how you can speak like that of Mr.
Vorhees.
He's told us all the most astonishing things.
-I know.
Uncle Gerald waiting for you in heaven.
My coat please, Charles.
-Yes, sir.
-Have you ever given him any money? -I offered him his fee, of course.
-I thought so.
How much? -Well, it doesn't matter.
He wouldn't take it.
-Oh, thanks, Charles.
Thank you.
-And Mrs.
Wetherby's gift, sir.
-Oh yes.
Marsha will love it, Aunt Bertha.
Very sweet of you.
You know, you're awfully kind hearted.
Don't let other people take advantage of it, huh? -Oh, dear Mr.
Vorhees, I'm so sorry.
I don't know what came over him.
He's never really rude.
-I don't think he was rude.
I think he was only afraid.
-Afraid, Mr.
Vorhees? -Yes.
Afraid of believing.
But you see, destiny, destiny is-- it's like death.
Whether we believe in it or not, it-- it does not matter.
It-- it just happens.
[LAUGHTER.]
-Really, the most amusing part of the whole thing was when he came to the fifth prophecy.
His eyes popped out, his mouth fell open.
He looked like he'd seen a ghost.
Really quite a performance.
-What was the fifth prophecy? -Oh, does it matter? Oh, Arthur, why don't we take these out on the terrace? Marsha will be here soon.
-Of course.
-Yes, Arthur, it's lovely and warm today.
May I help? -Well, sure.
Would you mind taking out the hors d'oeuvres? -Love to.
Oh, don't they look delicious? Randy, it's all very well you're teasing your Aunt Bertha's latest find, but well, you can't just put that sort of thing down as nonsense.
-Georgina, Bring the tray, dear.
-Coming, Arthur.
-Georgina, don't tell me you think there's any truth to it.
-If there isn't, then why do so many people believe in it? -Superstition.
-Now that's where you're wrong.
It isn't superstition.
-You're quite sure you want to go through with your marriage, Randy? Be forewarned.
-Don't be rude, Arthur.
What I mean Randy is, well, these people predict the future for you, don't they? -Yes.
-Well then, if it doesn't come true, you don't believe in it.
-That's right.
-Then it stands to reason that a lot of their predictions do come true because so many people believe in them.
Oh, is that the shawl from Mrs.
Wetherby? -Yeah.
-Marsha will look lovely in it with her blonde hair.
[BUZZING.]
-There she is now.
Marsha, darling-- -What's the matter? RANDY (VOICEOVER): A dark haired lady will come between you and your marriage.
-What is it? -It's nothing, really.
Come and have your cocktail.
It's waiting for you.
I like you as a brunette.
-I always wanted it done.
Fall in love with a blonde, marry a brunette.
That way you won't grow tired of me.
-You never said anything about dying your hair.
-No, it was a sudden whim.
Just this afternoon I was wandering along, passing the time.
Suddenly I found myself in front of a beauty shop.
I thought, well, why not? Do it now.
-What time was this? -Oh, as a matter of fact, it was exactly 3:00.
I remember because they just happened to have a cancellation at that time.
Why? -Oh, it's nothing.
Just I'm not used to it yet.
It's really very nice.
Oh, Aunt Bertha sent you a little gift.
An old lace shawl.
-Oh.
Oh, she's sweet.
And so are you.
Hello, Arthur.
-Marsha, what have you done to your hair? -I changed it.
-I say, I wouldn't tell Mrs.
Wetherby about this little coincidence if I were you.
She'd never get rid of that Vorhees.
-Of course not.
I've forgotten all about Vorhees.
Come on.
-Here it is, Mr.
Vorhees.
-Oh, look.
-This was Randy's room when he was a little boy.
-Look.
Oh.
Oh.
[MUSIC BOX PLAYING.]
-What a-- what a happy childhood he must have had.
-My husband, God rest him, and I tried to make it so.
After what happened to his parents.
He was my sister Angela's boy, you know.
Poor Angela.
She and her darling Tony.
They had left their baby little Randy with us while they were vacationing in the Alps.
They were both so very fond of winter sports.
Then it must have been about 10 nights after they left.
I awoke in the most desperate state of-- of anxiety.
I can't explain the feeling.
An insistent sense of loss.
The very next morning the telegram came about the ski train accident.
After that, Randy became my baby.
You know, sometimes I think it is a shame that they have to grow up.
-I don't believe we really grow up.
I-- I mean yes, our bodies grow up, but the inside will remain the same.
Do you know something, I-- huh.
I-- I don't think I-- I don't think I've ever been in a playroom before.
No, not excepting dreams.
And I never had any toys.
Why, I was promised.
Yes, always.
Next week, next week, next month.
But it never happened.
No, it was-- it was always promised, but just promised.
-Let me-- let me show you some of the other things.
My husband gave him this little puppet theater on his second birthday.
-Oh, look.
-Always such fun on those-- those long, rainy afternoons, you know.
And oh, this, this of course is the prize of them all.
-Oh, look at that beautiful canon.
-Well, I think we must have defeated Napoleon a thousand times on this table.
-Oh, this is beautiful.
-It's really very powerful.
Do you know what that little monkey used to do? He would stuff little pebbles in there for bullets.
The things hurt frightfully.
-I imagine they would.
-Oh, and those little ships.
They actually belonged to my husband when he was a little boy.
-Oh, look.
-It is such a pleasure to find someone else who-- who enjoys these things as I do.
-It's more than enjoying.
It's-- oh, it's much more.
It's almost as if-- as if life begins anew, only-- only now all the-- all the promises are fulfilled and-- and all of a sudden there's magic in this world and-- and for a brief moment the loneliness-- all the loneliness is gone.
-And it may never return.
-I'll tell Mrs.
Wetherby you're here.
She and Mr.
Vorhees are at breakfast.
-Charles.
-Yes, sir? -When did he move in, Mr.
Vorhees? -The day before yesterday, sir.
-Thank you, Charles.
-Yes, sir.
-Oh, I can't understand why it should upset you so, Randy.
She's sponsored people before.
-To the extent of having them move in as if they were part of the family? -Well, she has no family now and she's lonely.
What harm is there in her having a companion? -Even if that companion is such a charlatan? -Assuming that he is-- -Assuming? Don't tell me you believe this nonsense now just because by coincidence you dye your hair black.
-Very well.
You've been upset all morning and now you're upsetting me too.
-Sorry.
-Good morning, Randy and Marsha, dear.
-Good morning, Aunt Bertha.
Oh, I can't thank you enough for the lovely shawl.
-Oh, I'm so glad you like it.
Come sit by me, dear.
Well, to what do I owe the pleasure of this early morning call? -Aunt Bertha, I simply won't let you do it.
-Do what, dear? -Let yourself be victimized by this Vorhees.
-Oh, but I told you, Randy, he hasn't asked me for money, not ever.
And it wasn't his suggestion that he come here to stay with me, it was mine.
-He's more subtle than you realize.
-Oh, you're really being insufferable about this, Randy.
It's not like you.
And yet he did say that you would act like this out of fear.
-Fear? -And you know it's true.
As a little boy, because of my dream about your parents' accident, you always did believe in prophecies and portents.
The fear of them used to keep you awake.
-Nonsense.
What have I to fear from him? It's you I'm worried about.
I won't let him-- -After all, Randy, it is my house.
And I'm very happy to have the playroom occupied again.
-You mean you've given him my room? -Well you've moved out of this house.
Whatever it might have meant to you in the past, it's become now merely a room for my friend Mr.
Vorhees.
RANDY (VOICEOVER): A precious link with your past will be broken.
NARRATOR: In just a moment we'll return to the second act of "A Promise to Murder.
" And now your host, Bill Lundigan.
-I'd like to give you some straight talk about a very important decision you may be faced with.
Let me start by saying that the biggest investment you're likely to making your whole life is your house.
But you may not have considered that the second biggest investment you're likely to make is your new car.
Now, when a family sets out to buy a house, they spend weeks, maybe months looking around, visiting model homes, comparing the differences.
But strangely enough, research indicates that 58% of people buy the same make car they bought the last time without even comparing it with any other make.
Compare all for style.
Look at the brilliant white sweep styling seen in the cars of The Forward Look '56.
Lines that move cleanly and boldly from the sharply up-swept tail fins to the forward thrusting headlights.
Compare this years ahead styling with the styling of other cars and you'll know the flight sweep is for you.
See if you too don't buy into the greatest new feature in years as push button power flight.
A fingertip touch sets you in motion smoothly, effortlessly.
You can't get it in any car but a Chrysler Corporation car.
So compare and you will find all other methods of drive selection already out of date.
Here's another important comparison.
Power steering.
Only on Chrysler Corporation cars can you have the tremendous advantage of full time safety touch power steering, power steering that works for you all the time instead of cutting in and out.
Even if you now drive with a part time system, you can discover there's a better way by comparing.
So if you're planning, thinking, or only just dreaming of a new 1956 car, compare them all feature by feature and I'll bet you'll choose one of the cars of The Forward Look '56.
Plymouth, Dodge, DeSoto, Chrysler, or the exclusive Imperial.
And now we return to "Climax!" tonight starring Louis Hayward, Peter Lorre, and Ann Harding.
[KNOCKING ON DOOR.]
-Come in.
-Randy.
If you're through drafting the Johnson will, Ms.
Williams is ready to type it.
I believe Johnson wants to go over it with us at 5:00.
-No, I'm not through with it yet.
Tell him to come in a few days.
-Randy, we've put him off twice.
He won't like a third postponement.
-I'm not ready to see him.
Thank you, Arthur.
-Oh, Georgina wanted me to remind you.
Our theater date tonight.
-Oh, yes.
Why don't you, Georgina, and Marsha go? I don't feel very well.
-Randy, have you and Marsha had a quarrel? Georgina thinks so.
-No.
What gave her that idea? -Well you've canceled so many dates.
[PHONE RINGING.]
-Yes? Yes, Ms.
Williams.
Oh.
Yes, I see.
No.
There's little we can do about it now, I suppose.
That was about the McDowell account.
They are canceling.
-Why? -They didn't like the way we drew up their first papers.
-You mean the way I drew them up.
-Randy, it'll mean a considerable loss to us.
-How much? -20,000.
-I'm sorry, Arthur.
I guess my mind just hasn't been on my work.
RANDY (VOICEOVER): You will suffer a considerable loss of money.
-Well, one thing about that news, it's always a wonderful excuse for a party.
Change your mind and come along tonight.
-All right, Arthur.
Marsha and I will meet you at the theater.
-Good.
And Randy, if it's your Aunt Bertha worrying you, I'm sure a little talk could clear up whatever troubles you may have had in the past week.
-It'll take more than a little talk to get rid of Vorhees.
-Hang Vorhees.
Forget him.
-I simply can't understand it, Randy.
One minute you're taking me to the theater and the next minute you're not.
Simply because you're bound and determined to pursue this nonsense about Vorhees.
-Marsha, all I'm asking you to do is to go to the theater with the Prier's.
I want to see Aunt Bertha and after that Mr.
Vorhees, that's all.
-Randy, please don't drink any more.
-That's all right.
-Please.
What possible good can seeing Vorhees do? -I'll get rid of him.
-But how? -Money.
That's obviously what he's after.
I'll make it worth his while to go away.
-Isn't that rather extreme? -It's the only way.
-I'm beginning to believe Aunt Bertha was right.
You do believe.
Half believe, anyway.
And you don't want to admit it, not even to yourself.
-It's like believing in witchcraft.
Why should I believe in him? -I don't know.
Unless perhaps it has something to do what Aunt Bertha said about your parents.
-What about them? -She dreamed.
Dreamt that they would die.
And it happened.
You knew that as a little boy.
-Marsha, this is becoming perfectly ridiculous.
Look, I-- I just think that Aunt Bertha's been a victim of a cheap little charlatan.
I want to get rid of him before he hurts her.
That's all.
That's all, Marsha.
-All right, then.
I'll try to explain to Arthur and Georgina.
-I'll go down with you.
-Don't bother.
[SCREECHING.]
[KNOCKING ON DOOR.]
-Come in.
-Hello, Mr.
Vorhees.
-Mr.
Townsend.
-You seem to like this room.
-Oh, I like it very much.
And your Aunt Bertha told me that it used to be yours.
-Oh, it's Aunt Bertha now, huh? -Oh, I wouldn't have dared to be so forward, except she allowed me the honor.
-Things are going rather well then, aren't they? -Huh? [MUSIC BOX PLAYING.]
-Tell me.
How do you and Mrs.
Wetherby pass the time of day? -How? -Yes.
-Well, in the mornings we-- we take a walk in the garden.
And then sometimes after lunch I play the piano or I read to her.
She's-- she's very lonely, I think.
-When did the seances begin? -Seances? -You know what I mean.
Contacting the dead.
Her husband waiting for her in a heaven of eternal happiness and all.
-I told you I don't contact the dead.
-It amounts to the same thing.
-No, I merely read what's written in her hands.
You see, on certain evenings they gather in the salon.
But they are all very, very nice people.
-I'm glad you feel that way about them.
Too nice for me or anyone else to stand by and see their kindness get them into trouble.
-No one wants to get them into trouble.
-Then why don't you get out of here and leave them alone? -Why? Because-- because Aunt Bertha asked me to stay as a guest and as her companion.
Besides, I-- I couldn't very well leave her alone and-- and I couldn't really go without thanking her for her kindness and I don't think she would let me go.
-If you're not out of here by tomorrow morning I'm sending for the police.
They'll get you out.
-Why? -There are laws against extorting money.
-I've never taken money from them.
Money means nothing to me.
-Doesn't it? -No.
-There are $5,000 there Mr.
Vorhees.
-For what? -Don't pretend you don't understand.
It's what you came for, isn't it? Well, take it and get out.
-Please, take it back, Mr.
Townsend.
-Go on.
Take it.
It's yours.
And leave my aunt and her friends alone.
-Why can't you believe me? -Because you're a fraud, that's why.
-A fraud? -Yes.
-Look, Mr.
Townsend.
When I read your hands, I predicted certain things and they came true.
-How do you know they came true? -Because they always do.
-Coincidences, that's all.
[INAUDIBLE.]
.
-Aunt Bertha told me about your fiancee's hair.
That came true.
And this room, this was your link with your past, huh? When Aunt Bertha moved me in here my second prediction came true.
Now this, this is a considerable amount of money, isn't it? If I were to take it, my third prediction would come true.
-Yes, but you say you aren't going to take it, so it won't come true.
-So all right, so it happened some other way.
Come on.
be fair.
You lost some money.
Considerable money.
This week, huh? -A lawyer often loses clients and money.
Naturally.
-Ah, you see? And your relationship with Aunt Bertha.
Remember my fourth prediction? You remember I told you, you would suffer heartbreak and loss of love? That has happened.
-If you're not out of here by tomorrow morning, I'm sending for the police.
Good night.
-And the fifth prediction.
-What was it? -Perhaps if you-- perhaps if you leave town it might not happen and you could avoid a tragedy.
-What was it? -That you would kill someone.
-Well, I for one, Randy, am very glad he told you that, fantastic as it is.
It's very obvious what the man is trying to do.
He's trying to get you out of town for a while, trying to scare you away.
With you out of town, Mrs.
Wetherby is his for whatever game he's playing.
-But I offered him money, a lot of money.
He wouldn't take it.
-Well then what is it that he wants? -I don't know.
-Of course it's only a guess, but he may have all that he wants already.
He's got Aunt Bertha's affection, her home, her friends, what does he need money for? Oh, I know how you feel, Randy, but-- well, if it's what Aunt Bertha wants then why not? She's happy and she can afford it.
[KNOCKING ON DOOR.]
-Excuse me, Mrs.
Wetherby is here to see Mr.
Townsend.
-What do you suppose she wants? -I don't know.
-Perhaps she just wants to make up your differences.
Now please.
Please, Randy, be civil to her when she comes in.
-All right.
Hello, Aunt Bertha.
-Marsha.
Arthur.
-Good morning, Aunt Bertha.
How are you? -Aunt Bertha, why don't you-- why don't you sit down? -Thank you.
I'd like to come straight to the point, Randy.
Mr.
Vorhees told me of your surprise visit to him last night.
-I only did what anyone with any decency would have done.
-Blackmailing my friends and intimidating them into leaving me behind my back hardly comes under the heading of decency, Randy.
However, I didn't come up here to talk about that.
-Aunt Bertha, I'm sure that if you and Randy had-- -I've said Marsha that I am not here to discuss Randy's disgraceful behavior of last night.
Arthur, you and Randy have been handling my legal affairs for some time now and that is why I am here.
Do you wish to continue in that capacity? -Of course, Mrs.
Wetherby.
-Good.
Then I must ask you both to comply with my wishes without argument and without interruption.
I really think I'm past the age of having to justify my wishes to anyone.
-And what is it you wish? -I want my will altered.
-Altered? -Mr.
Vorhees is to be included amongst my beneficiaries.
-That's just what he's been after! -It is my money, Randy.
-You let him wheedle anything he wants out of you! -This is my idea, not his, and I will thank you to stop interfering in my affairs.
Of course my old friend Mr.
Croyden will be very glad to draw up a new will for me if you prefer that I go elsewhere.
-Well, we have no other choice of course but to comply with your wishes-- -Arthur may have no choice, but I have.
I won't be a party to it.
-Please forgive him, Aunt Bertha.
He's terribly upset.
-Now Arthur, I want to leave to Mr.
Vorhees, Maximilian Vorhees, the sum of $50,000.
-$50,000.
-I am leaving money to charities that don't interest me one bit.
This does.
I want to make very sure that Mr.
Vorhees will be free to go on with his work.
-Very well.
I'll have Ms.
Williams bring in the necessary papers.
-You lied to her.
You made her change her will.
You're nothing but a dirty crook.
And when I'm proven you'll be sorry you ever set foot in this house.
-Never asked Bertha for money.
Never once.
-Stop calling her Bertha.
You made her change her will.
-I did not.
She believes in my work and she wants it to go on.
-Your work.
Your work's a fake.
-A fake, huh? After all that has happened to you, you call it a fake? Then tell me something.
Have you given her as much happiness? Have you? -Get out of here.
-You are the one that isn't wanted! -I said get out of here! Once and for all, you'll leave her alone, you understand me? Once and for all! -Don't-- don't do it! Don't! RANDY (VOICEOVER): You are going to kill someone.
NARRATOR: In just a moment we'll return to the third act of "A Promise to Murder.
" And now once again, your host, Bill Lundigan.
-The flight sweep Chrysler Corporation's aerodynamic style concept.
New, fresh, imaginative.
Tonight Mary Costa will show you how the flight sweep makes these cars stand out from any others on the road.
-From high upswept tail fins surging forward to the front, you get a feeling of power, of motion even when standing still.
For Chrysler Corporation has broken the style barrier with the flight sweep.
Inspired by the jet plane that sweeps the skies, this is the look of motion and of perfectly controlled power.
This is the styling that talks the language of today.
And I know it's a language you will understand.
These cars have a young look, an eager look, the look of go.
The flight sweep.
Unmistakable when you drive the cars that have it.
New this year with the style of tomorrow to lead the way for others.
Just look at those sweeping lines and then ask yourself why you should buy last year's styling when Chrysler Corporation can put you so far ahead.
Yes, inspired by the very latest swept wing jet planes, these are the cars that have broken the style barrier.
The newest, finest cars on the road.
Plymouth, Dodge, DeSoto, Chrysler, and the exclusive Imperial.
-Thank you, Mary.
And now we'll return to "A Promise to Murder" from a story by Oscar Wilde, adapted for "Climax!" by John Kneubuhl.
RANDY (VOICEOVER): You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
[KNOCKING ON DOOR.]
MARSHA: Randy.
Randy, let me in.
It's Marsha, Randy.
Will you please let me in? Oh, please, I know you're in there.
Open the door.
-Go away.
I don't want to see you.
MARSHA: But I've got to see you.
I've got to talk to you.
-I said go away.
I don't want to see anyone.
MARSHA: Only let me talk to you.
-What is it? MARSHA: I wanted to tell you I love you.
I love you.
-Marsha.
-Oh.
-You shouldn't have come here.
I-- I mustn't see anyone.
-Why? Please tell me what it is.
-I can't.
I can't tell anyone.
-Is it anything I've done? -No, it's something I might do.
I don't want to hurt you.
-Do you love me? -You know I do.
-That's all I wanted to know.
Oh, Randy, you need someone to look after you.
After the wedding we'll go away.
But please.
Please, you must go and see Aunt Bertha.
It isn't much fun, you know, for all of us going into a marriage with Aunt Bertha let down.
It'd be almost as if you excluded your own mother.
She's [INAUDIBLE.]
and she's very lonely.
I'm sure if you could see you'd find that she's just as anxious to make up as you are.
Randy.
I think we'd make her terribly happy if we'd go and stay with her for a little while after the wedding.
Just a little while.
Just until we can find a place of our own.
-Marsha, if ever I do anything to hurt you-- -You can't hurt me.
Do you love me? -I do.
I do.
[DOORBELL RINGS.]
-Charles.
Is Mrs.
Wetherby at home? -I'm sorry, sir, she's at her [INAUDIBLE.]
.
-Mr.
Vorhees? -Oh, yes sir.
-I'd like to see him for a few moments.
-Yes, sir.
And if you'll pardon the liberty, sir, it's good to see you calling here again.
-Thank you, Charles.
-Yes, sir.
[PLAYING PIANO.]
-That's very beautiful Mr.
Vorhees.
-Randy, it's very, very nice of you.
But Randy, why didn't you call? I'm sure Aunt Bertha would have liked to stay.
Pardon me.
Won't you sit down? You look very tired.
How about a little sherry, huh? -No thank you.
-Well, I'm sure Aunt Bertha will be very cross when she finds she missed you.
Cigarette? -No.
There's something I want to say to you, Mr.
Vorhees.
-Yes? -Well, I-- -Randy, not everything has to be said between friends.
I know Aunt Bertha will be so relieved.
-Well, I hope so.
I want to make up with her.
In fact, we have a little surprise for her.
After the wedding we're going to move in here with her.
-You are? Oh, I'm sure that'll make Aunt Bertha very, very happy.
-It was Marsha's idea.
We thought it might make her little less lonely.
-I have an idea.
Why don't you and Marsha come tomorrow night for dinner, huh? I'll have Charles set it up in the playroom, all right? -You sure Aunt Bertha won't mind? -Oh, I'm sure.
Just leave it up to me.
Just leave it up to me.
[LAUGHTER.]
-Judy! -All right.
-Come on, Judy.
-[INAUDIBLE.]
.
I got [INAUDIBLE.]
.
[LAUGHTER.]
-Come on, Judy.
-[INAUDIBLE.]
.
-Oh, Judy.
-[INAUDIBLE.]
.
-I want a nice big kiss.
[LAUGHTER.]
-[INAUDIBLE.]
.
[LAUGHTER.]
-I'll go here.
-Let go of my [INAUDIBLE.]
.
Where's the baby? -Oh, the baby? The baby took a walk.
-Baby took a walk.
-Yeah, baby ran away and took a walk.
-Get the baby.
-I don't want to get the baby.
-Get the baby.
-You get the baby.
-You get the baby.
-I won't do it.
-You will.
-I won't.
[APPLAUSE.]
-Thank you and thank you, Judy.
And thank you, Punch.
-Isn't he funny, Randy? And so clever.
Oh, well now-- now we must have some wine.
-No, no, no Aunt Bertha, please.
Please, don't move.
Don't you move.
I'll get it for you.
We, uh, we must have some music.
Randy, how about some music, all right? -I haven't played for a long time.
You know you asked for it.
-I'll get the wine.
You play the music.
-I'll do my best.
-All right.
That's it.
Now, music.
[MUSIC PLAYING.]
-Thank you, my Lord.
Oh, Marsha, do you remember when you were all children? The little entertainments that you used to put on up here when you'd come to play with Randy? Remember the time that you did the play scene from Midsummer Night's Dream? -Oh no.
-[INAUDIBLE.]
.
And he made his golden feathers out of corn tassels.
And then when Phoebe Banks told you what a lovely girl you made, you hauled off and punched her in the eye.
[LAUGHTER.]
-And Mrs.
Banks made such a fuss that Aunt Bertha threatened to punch her in the eye, you remember? -Oh, Aunt Bertha.
Oh, I wouldn't think that of you.
-I was stronger in those days.
-She was stronger? [LAUGHS.]
That's funny.
Oh, well, some wine, some wine.
Not only for Aunt Bertha, but for everybody.
You have it.
And oh no, the lady first, please.
The lady first.
-Thank you, sir.
-Here Marsha.
And for you, Randy.
-Thank you.
-And for me too, huh? I need some wine.
And oh yes, and now, now a toast.
-Give a toast.
-A toast to a happy party.
And a toast to a happy couple.
And a toast to happy me.
And a toast to my precious lady.
-Aw.
-Oh, yes, and a toast to Mr.
Morgan.
-Mr.
Morgan.
-Yes.
And to Ms.
[INAUDIBLE.]
.
-Ms.
[INAUDIBLE.]
.
-And to Sir Eggbert.
-Sir Eggbert.
-No, no, no, no.
To Aunt Bertha.
All right.
I want music, I want fanfare.
And oh yes, I want a salvo.
I want a salvo.
A 21 gun salute to my precious lady.
All right.
All right, Marsha, you-- you make the music and you fire the salvo.
But just a moment.
Wait, wait, wait, I have some-- now I'll-- I'll do the commander.
I am the general-- no, I am the general here.
Come on, Randy, come on.
Come on.
-All right.
-All right, everything ready? A fanfare, Marsha please? [FANFARE.]
-Oh, that's lovely.
-Now you ready? -No, not yet.
No, the salvo comes after the toast.
-Of course.
-Well, our precious lady is basking in the radiance of our love.
-Radiance of our love.
Oh, my, that's very pretty.
-Very.
-All right.
Now another fanfare, please.
[FANFARE.]
-And now, now a toast to our lady precious.
-To our lady precious.
-I'm afraid I'm going to cry.
-All right.
And now the salvo.
-Yes sir.
[KNOCKING ON DOOR.]
-Oh yes, what is it? -Dinner is served, Mrs.
Wetherby.
-Oh, thank you, Charles.
We'll be down very shortly.
-Yes ma'am.
-Well anyway, and now the salvo.
-No, not yet.
-Oh, let's have another salvo.
-I'll play another salute.
-I'll reset it.
-What is it Mr.
Vorhees? What's the matter? -What's wrong? What's happened? Oh! -Marsha, tell Charles to get a doctor, quickly.
-What's happened, Randy? -I don't know how it could have happened.
He said I'd kill.
-Oh no, dear.
No.
No, you didn't.
It was entirely an accident.
We all saw it.
-Charles is calling Dr.
[INAUDIBLE.]
.
-Won't do any good now.
-But how did it happen? -I don't know.
I don't.
-What is it Randy? What are you doing? -If it had worked the way he'd planned it, he could have blamed me.
-Blamed you for what? -Nothing, Marsha.
Aunt Bertha, come away from here.
Come on.
[SOBBING.]
-30 years ago, this early Chrysler built car pioneered four wheel hydraulic brakes in American production motor cars.
In today's down through the years, Chrysler Corporation brings you more advanced braking features, more important differences than you'll find in the brakes of any other cars.
Now, here's one important difference.
These two cylinders in every front wheel brake, one for each shoe.
This means smoother, safer, straight line stops every time.
Yet if you drive any other car than a Chrysler Corporation car, no matter what you pay, you get only one brake cylinder.
Now here's another important difference.
The brake lining.
You'll find most cars still use rivets to fasten brake linings to brake shoes.
But Chrysler Corporation developed an exclusive process called cycle bond that welds the lining to the shoe, eliminating the old fashioned rivets.
It means you get 50% more brake lining length and more braking surface.
Now, let me show you Chrysler Corporation's newest advance.
In other brakes the shoes are pressed against the brake drum in this way, causing hot spots and uneven wear.
Only on our new floating shoe center plane brakes is the pressure applied evenly on all braking services.
You see the difference on a new DeSoto Chrysler and Imperial, this reduces pedal pressure by 25% and your linings will give you up to 20,000 miles more of surface.
Yes, these are some of the important differences of typical in the engineering advantages of a Forward Look '56 from Chrysler Corporation.
You know, ladies and gentleman, next week on "Climax!" we're pleased to announce "Portrait in Celluloid" written especially for "Climax!" by Rod Serling, the author of "Patterns" and many other unique and exciting original stories.
And right now I'd like to have you meet our cast.
Here's an old golfing buddy of mine, Jack Carson, who's going to play the part of Art Shaddick.
Will you tell the audience a little bit about the role, Jack? -Certainly, Bill.
Art Shaddick is a product of the only city of its kind of the world, Hollywood, California.
He's a literary agent.
Unfortunately, unsuccessful.
However, he did manage to win an award some years ago for writing a screenplay.
-Well, it sounds like an interesting role.
-It is, Bill, I'm looking forward to playing it.
-Be seeing you next week.
Bye, Jack.
And now playing the part of Barbara Williams is lovely Kim Hunter.
Hi, Kim.
-Hi, Bill.
I play Art Shaddick's secretary.
I've been with him five years, and in that length of time you get to know a person pretty well.
-Thank you, Kim.
And I have a couple more folks that I want to introduce.
Here is another old friend, Don Taylor, who plays the role of John Appleby.
-Hello, Bill.
John Appleby is a young screenwriter whose career starts the way Art Shaddick ended 20 years ago.
-Mm-hmm.
And as you well know, Don, here is Audrey Totter, who is making her live television debut on "Climax!" We're delighted to have you with us, Audrey.
-Thank you, Bill.
I'm very happy that my debut will be on "Climax!" -You know, we are too.
-Thank you.
-See you all, all of you next week.
Well, there's our cast for next week's story, behind the scenes in Hollywood, "Portrait in Celluloid" written especially by Rod Serling on "Climax!" This is Bill Lundigan saying thank you and don't miss it.
NARRATOR: Be sure to visit your Dodge dealer and enter the big Dodge contest.
You may win a brand new Dodge every year for life.
And don't miss the Thanksgiving parade telecast next Thursday morning from Detroit on another network.
See your newspaper for time and station.
"Climax!" has been presented by Chrysler Corporation.
The Forward Look.
Tens of thousands of children between the ages of three and 13 are victims of muscular dystrophy.
You can help support the research that is bringing new hope to these youngsters.
Send your contribution to MDAA care of your local post master.
Art Gilmore speaking.
Portions of this program were pre-recorded.
"Climax!" is a CBS Television Network production.
Plymouth.
Dodge.
DeSoto.
Chrysler.
And the exclusive Imperial.
The five great cars of The Forward Look.
Chrysler Corporation presents "Climax!" Tonight starring Louis Hayward, Peter Lorre, Ann Harding.
And now your host for Chrysler Corporation, Bill Lundigan.
-Good evening.
You know, our story tonight is from the pen of one of the great storytellers of all time, a man who seemed to know that he was predestined to live a tragic life.
And he did.
In many of his works, Oscar Wilde seemed always to ask, "Do you believe in faith? Do you believe that there's a pattern in your life, a pattern that maps your future and all your travels that lie ahead?" Well, maybe you do and maybe you don't, that's up to you.
But this is the premise of our story tonight, from the pen of Oscar Wilde as adapted by John Kneubuhl, "A Promise To Murder," now on "Climax!" VORHEES: Yes, the fates they weave the strands of our lives.
And here's the pattern.
The pattern of the great design, a simple copy, so to speak, here in the palms of our hands.
It is as if nature said, pitying us in our loneliness, "Don't be afraid.
You're not alone.
You're not lost.
" Right here, etched in your hand-- etched in your hands is a map, a map of the travels that lie ahead.
-Oh, good afternoon, Mr.
Townsend.
-Hello, Charles.
-Permit me to offer my congratulations, sir.
-Thank you, Charles.
Oh, Mrs.
Wetherby has a little parcel she wants me to pick up.
-Oh yes sir, I have it ready.
-Thank you.
-Randy.
How nice to see you.
-[INAUDIBLE.]
.
How are you, sir? -My heartiest congratulations, Randy.
She's a wonderful girl, Marsha.
Getting herself a wonderful husband too, if you ask me.
-Thanks very much.
Am I interrupting something? -Bertha has found the most remarkable man.
A Mr.
Vorhees.
-Another of her protegees, eh? -But this really is remarkable.
Come along, see for yourself.
-Sure.
-The width in your hands, Mrs.
Weatherby, is not only the future in this life, but your future in eternal life.
And there, there your dear husband is waiting for you.
And an eternity of happiness waits with him.
-Oh, when? When will that be? -When? [CHUCKLES.]
Your lifeline here, as I told you before, is-- it's a long one.
Long as-- as this world reckons time.
So it'll be a while, but what are a few years more of separation compared-- compared to an eternity of happiness together? -He told us the day Bertha's Gerald passed on, right to the day, Randy.
-Surely you don't believe in this sort of fraud.
Hello, Aunt Bertha.
-Congratulations, Randy.
-Congratulations.
-Oh, Randolph, I am so glad that you could come.
And how is your darling Marsha? -She's fine.
I'm meeting her shortly for cocktails.
The Prier's are joining us.
I thought I'd give her your little gift.
Charles is fetching it.
-It's my mother's old shawl, the lace one.
It will go so beautifully with her lovely blonde hair.
-You're sweet, darling.
-Now come dear, I want you to meet Mr.
Vorhees.
Mr.
Vorhees, this is my dear nephew Randolph.
Randolph Townsend.
-It's an honor to meet you, Mr.
Townsend.
-How do you do? -Mr.
Vorhees is the most extraordinary man.
-You have the gift of seeing into the future, Mr.
Vorhees? -No, I-- I merely read what's written in your hands.
-Oh.
Well, may I try? -This is not for a skeptic, [INAUDIBLE.]
.
-Oh, you mustn't pay any attention to him, Mr.
Vorhees.
Randy is a lawyer, so he's quite devoid of imagination.
But do, do please try his hand.
-Yes, Mr.
Vorhees, please try.
-Do.
Please, Mr.
Vorhees.
-All right.
Would you be seated, please? -Thank you.
-There's trouble.
There will be trouble with a young lady.
-Oh, not with Marsha! -A dark haired lady.
A lady with dark hair will come between you and your marriage.
-Tired of blondes so soon, Randy? [LAUGHTER.]
[CLOCK CHIMING.]
-Go ahead, Mr.
Vorhees.
-A precious link of your past will be shattered.
You shall suffer considerable loss of money and-- and a great loss of love.
-Oh, there's that dark haired lady again.
-And then-- -What is it, Mr.
Vorhees? -Your gift failing you, Mr.
Vorhees? -No.
-Oh please, please don't be upset, Mr.
Vorhees.
Randolph, I'd like to speak with you.
-Sure.
Goodbye, Mr.
Vorhees.
-Now what is the meaning of this behavior, Randy? -Aunt Bertha, I wish when you picked yourself protegees to sponsor you'll be a little more careful.
This man's obviously a fraud.
-But I don't see how you can speak like that of Mr.
Vorhees.
He's told us all the most astonishing things.
-I know.
Uncle Gerald waiting for you in heaven.
My coat please, Charles.
-Yes, sir.
-Have you ever given him any money? -I offered him his fee, of course.
-I thought so.
How much? -Well, it doesn't matter.
He wouldn't take it.
-Oh, thanks, Charles.
Thank you.
-And Mrs.
Wetherby's gift, sir.
-Oh yes.
Marsha will love it, Aunt Bertha.
Very sweet of you.
You know, you're awfully kind hearted.
Don't let other people take advantage of it, huh? -Oh, dear Mr.
Vorhees, I'm so sorry.
I don't know what came over him.
He's never really rude.
-I don't think he was rude.
I think he was only afraid.
-Afraid, Mr.
Vorhees? -Yes.
Afraid of believing.
But you see, destiny, destiny is-- it's like death.
Whether we believe in it or not, it-- it does not matter.
It-- it just happens.
[LAUGHTER.]
-Really, the most amusing part of the whole thing was when he came to the fifth prophecy.
His eyes popped out, his mouth fell open.
He looked like he'd seen a ghost.
Really quite a performance.
-What was the fifth prophecy? -Oh, does it matter? Oh, Arthur, why don't we take these out on the terrace? Marsha will be here soon.
-Of course.
-Yes, Arthur, it's lovely and warm today.
May I help? -Well, sure.
Would you mind taking out the hors d'oeuvres? -Love to.
Oh, don't they look delicious? Randy, it's all very well you're teasing your Aunt Bertha's latest find, but well, you can't just put that sort of thing down as nonsense.
-Georgina, Bring the tray, dear.
-Coming, Arthur.
-Georgina, don't tell me you think there's any truth to it.
-If there isn't, then why do so many people believe in it? -Superstition.
-Now that's where you're wrong.
It isn't superstition.
-You're quite sure you want to go through with your marriage, Randy? Be forewarned.
-Don't be rude, Arthur.
What I mean Randy is, well, these people predict the future for you, don't they? -Yes.
-Well then, if it doesn't come true, you don't believe in it.
-That's right.
-Then it stands to reason that a lot of their predictions do come true because so many people believe in them.
Oh, is that the shawl from Mrs.
Wetherby? -Yeah.
-Marsha will look lovely in it with her blonde hair.
[BUZZING.]
-There she is now.
Marsha, darling-- -What's the matter? RANDY (VOICEOVER): A dark haired lady will come between you and your marriage.
-What is it? -It's nothing, really.
Come and have your cocktail.
It's waiting for you.
I like you as a brunette.
-I always wanted it done.
Fall in love with a blonde, marry a brunette.
That way you won't grow tired of me.
-You never said anything about dying your hair.
-No, it was a sudden whim.
Just this afternoon I was wandering along, passing the time.
Suddenly I found myself in front of a beauty shop.
I thought, well, why not? Do it now.
-What time was this? -Oh, as a matter of fact, it was exactly 3:00.
I remember because they just happened to have a cancellation at that time.
Why? -Oh, it's nothing.
Just I'm not used to it yet.
It's really very nice.
Oh, Aunt Bertha sent you a little gift.
An old lace shawl.
-Oh.
Oh, she's sweet.
And so are you.
Hello, Arthur.
-Marsha, what have you done to your hair? -I changed it.
-I say, I wouldn't tell Mrs.
Wetherby about this little coincidence if I were you.
She'd never get rid of that Vorhees.
-Of course not.
I've forgotten all about Vorhees.
Come on.
-Here it is, Mr.
Vorhees.
-Oh, look.
-This was Randy's room when he was a little boy.
-Look.
Oh.
Oh.
[MUSIC BOX PLAYING.]
-What a-- what a happy childhood he must have had.
-My husband, God rest him, and I tried to make it so.
After what happened to his parents.
He was my sister Angela's boy, you know.
Poor Angela.
She and her darling Tony.
They had left their baby little Randy with us while they were vacationing in the Alps.
They were both so very fond of winter sports.
Then it must have been about 10 nights after they left.
I awoke in the most desperate state of-- of anxiety.
I can't explain the feeling.
An insistent sense of loss.
The very next morning the telegram came about the ski train accident.
After that, Randy became my baby.
You know, sometimes I think it is a shame that they have to grow up.
-I don't believe we really grow up.
I-- I mean yes, our bodies grow up, but the inside will remain the same.
Do you know something, I-- huh.
I-- I don't think I-- I don't think I've ever been in a playroom before.
No, not excepting dreams.
And I never had any toys.
Why, I was promised.
Yes, always.
Next week, next week, next month.
But it never happened.
No, it was-- it was always promised, but just promised.
-Let me-- let me show you some of the other things.
My husband gave him this little puppet theater on his second birthday.
-Oh, look.
-Always such fun on those-- those long, rainy afternoons, you know.
And oh, this, this of course is the prize of them all.
-Oh, look at that beautiful canon.
-Well, I think we must have defeated Napoleon a thousand times on this table.
-Oh, this is beautiful.
-It's really very powerful.
Do you know what that little monkey used to do? He would stuff little pebbles in there for bullets.
The things hurt frightfully.
-I imagine they would.
-Oh, and those little ships.
They actually belonged to my husband when he was a little boy.
-Oh, look.
-It is such a pleasure to find someone else who-- who enjoys these things as I do.
-It's more than enjoying.
It's-- oh, it's much more.
It's almost as if-- as if life begins anew, only-- only now all the-- all the promises are fulfilled and-- and all of a sudden there's magic in this world and-- and for a brief moment the loneliness-- all the loneliness is gone.
-And it may never return.
-I'll tell Mrs.
Wetherby you're here.
She and Mr.
Vorhees are at breakfast.
-Charles.
-Yes, sir? -When did he move in, Mr.
Vorhees? -The day before yesterday, sir.
-Thank you, Charles.
-Yes, sir.
-Oh, I can't understand why it should upset you so, Randy.
She's sponsored people before.
-To the extent of having them move in as if they were part of the family? -Well, she has no family now and she's lonely.
What harm is there in her having a companion? -Even if that companion is such a charlatan? -Assuming that he is-- -Assuming? Don't tell me you believe this nonsense now just because by coincidence you dye your hair black.
-Very well.
You've been upset all morning and now you're upsetting me too.
-Sorry.
-Good morning, Randy and Marsha, dear.
-Good morning, Aunt Bertha.
Oh, I can't thank you enough for the lovely shawl.
-Oh, I'm so glad you like it.
Come sit by me, dear.
Well, to what do I owe the pleasure of this early morning call? -Aunt Bertha, I simply won't let you do it.
-Do what, dear? -Let yourself be victimized by this Vorhees.
-Oh, but I told you, Randy, he hasn't asked me for money, not ever.
And it wasn't his suggestion that he come here to stay with me, it was mine.
-He's more subtle than you realize.
-Oh, you're really being insufferable about this, Randy.
It's not like you.
And yet he did say that you would act like this out of fear.
-Fear? -And you know it's true.
As a little boy, because of my dream about your parents' accident, you always did believe in prophecies and portents.
The fear of them used to keep you awake.
-Nonsense.
What have I to fear from him? It's you I'm worried about.
I won't let him-- -After all, Randy, it is my house.
And I'm very happy to have the playroom occupied again.
-You mean you've given him my room? -Well you've moved out of this house.
Whatever it might have meant to you in the past, it's become now merely a room for my friend Mr.
Vorhees.
RANDY (VOICEOVER): A precious link with your past will be broken.
NARRATOR: In just a moment we'll return to the second act of "A Promise to Murder.
" And now your host, Bill Lundigan.
-I'd like to give you some straight talk about a very important decision you may be faced with.
Let me start by saying that the biggest investment you're likely to making your whole life is your house.
But you may not have considered that the second biggest investment you're likely to make is your new car.
Now, when a family sets out to buy a house, they spend weeks, maybe months looking around, visiting model homes, comparing the differences.
But strangely enough, research indicates that 58% of people buy the same make car they bought the last time without even comparing it with any other make.
Compare all for style.
Look at the brilliant white sweep styling seen in the cars of The Forward Look '56.
Lines that move cleanly and boldly from the sharply up-swept tail fins to the forward thrusting headlights.
Compare this years ahead styling with the styling of other cars and you'll know the flight sweep is for you.
See if you too don't buy into the greatest new feature in years as push button power flight.
A fingertip touch sets you in motion smoothly, effortlessly.
You can't get it in any car but a Chrysler Corporation car.
So compare and you will find all other methods of drive selection already out of date.
Here's another important comparison.
Power steering.
Only on Chrysler Corporation cars can you have the tremendous advantage of full time safety touch power steering, power steering that works for you all the time instead of cutting in and out.
Even if you now drive with a part time system, you can discover there's a better way by comparing.
So if you're planning, thinking, or only just dreaming of a new 1956 car, compare them all feature by feature and I'll bet you'll choose one of the cars of The Forward Look '56.
Plymouth, Dodge, DeSoto, Chrysler, or the exclusive Imperial.
And now we return to "Climax!" tonight starring Louis Hayward, Peter Lorre, and Ann Harding.
[KNOCKING ON DOOR.]
-Come in.
-Randy.
If you're through drafting the Johnson will, Ms.
Williams is ready to type it.
I believe Johnson wants to go over it with us at 5:00.
-No, I'm not through with it yet.
Tell him to come in a few days.
-Randy, we've put him off twice.
He won't like a third postponement.
-I'm not ready to see him.
Thank you, Arthur.
-Oh, Georgina wanted me to remind you.
Our theater date tonight.
-Oh, yes.
Why don't you, Georgina, and Marsha go? I don't feel very well.
-Randy, have you and Marsha had a quarrel? Georgina thinks so.
-No.
What gave her that idea? -Well you've canceled so many dates.
[PHONE RINGING.]
-Yes? Yes, Ms.
Williams.
Oh.
Yes, I see.
No.
There's little we can do about it now, I suppose.
That was about the McDowell account.
They are canceling.
-Why? -They didn't like the way we drew up their first papers.
-You mean the way I drew them up.
-Randy, it'll mean a considerable loss to us.
-How much? -20,000.
-I'm sorry, Arthur.
I guess my mind just hasn't been on my work.
RANDY (VOICEOVER): You will suffer a considerable loss of money.
-Well, one thing about that news, it's always a wonderful excuse for a party.
Change your mind and come along tonight.
-All right, Arthur.
Marsha and I will meet you at the theater.
-Good.
And Randy, if it's your Aunt Bertha worrying you, I'm sure a little talk could clear up whatever troubles you may have had in the past week.
-It'll take more than a little talk to get rid of Vorhees.
-Hang Vorhees.
Forget him.
-I simply can't understand it, Randy.
One minute you're taking me to the theater and the next minute you're not.
Simply because you're bound and determined to pursue this nonsense about Vorhees.
-Marsha, all I'm asking you to do is to go to the theater with the Prier's.
I want to see Aunt Bertha and after that Mr.
Vorhees, that's all.
-Randy, please don't drink any more.
-That's all right.
-Please.
What possible good can seeing Vorhees do? -I'll get rid of him.
-But how? -Money.
That's obviously what he's after.
I'll make it worth his while to go away.
-Isn't that rather extreme? -It's the only way.
-I'm beginning to believe Aunt Bertha was right.
You do believe.
Half believe, anyway.
And you don't want to admit it, not even to yourself.
-It's like believing in witchcraft.
Why should I believe in him? -I don't know.
Unless perhaps it has something to do what Aunt Bertha said about your parents.
-What about them? -She dreamed.
Dreamt that they would die.
And it happened.
You knew that as a little boy.
-Marsha, this is becoming perfectly ridiculous.
Look, I-- I just think that Aunt Bertha's been a victim of a cheap little charlatan.
I want to get rid of him before he hurts her.
That's all.
That's all, Marsha.
-All right, then.
I'll try to explain to Arthur and Georgina.
-I'll go down with you.
-Don't bother.
[SCREECHING.]
[KNOCKING ON DOOR.]
-Come in.
-Hello, Mr.
Vorhees.
-Mr.
Townsend.
-You seem to like this room.
-Oh, I like it very much.
And your Aunt Bertha told me that it used to be yours.
-Oh, it's Aunt Bertha now, huh? -Oh, I wouldn't have dared to be so forward, except she allowed me the honor.
-Things are going rather well then, aren't they? -Huh? [MUSIC BOX PLAYING.]
-Tell me.
How do you and Mrs.
Wetherby pass the time of day? -How? -Yes.
-Well, in the mornings we-- we take a walk in the garden.
And then sometimes after lunch I play the piano or I read to her.
She's-- she's very lonely, I think.
-When did the seances begin? -Seances? -You know what I mean.
Contacting the dead.
Her husband waiting for her in a heaven of eternal happiness and all.
-I told you I don't contact the dead.
-It amounts to the same thing.
-No, I merely read what's written in her hands.
You see, on certain evenings they gather in the salon.
But they are all very, very nice people.
-I'm glad you feel that way about them.
Too nice for me or anyone else to stand by and see their kindness get them into trouble.
-No one wants to get them into trouble.
-Then why don't you get out of here and leave them alone? -Why? Because-- because Aunt Bertha asked me to stay as a guest and as her companion.
Besides, I-- I couldn't very well leave her alone and-- and I couldn't really go without thanking her for her kindness and I don't think she would let me go.
-If you're not out of here by tomorrow morning I'm sending for the police.
They'll get you out.
-Why? -There are laws against extorting money.
-I've never taken money from them.
Money means nothing to me.
-Doesn't it? -No.
-There are $5,000 there Mr.
Vorhees.
-For what? -Don't pretend you don't understand.
It's what you came for, isn't it? Well, take it and get out.
-Please, take it back, Mr.
Townsend.
-Go on.
Take it.
It's yours.
And leave my aunt and her friends alone.
-Why can't you believe me? -Because you're a fraud, that's why.
-A fraud? -Yes.
-Look, Mr.
Townsend.
When I read your hands, I predicted certain things and they came true.
-How do you know they came true? -Because they always do.
-Coincidences, that's all.
[INAUDIBLE.]
.
-Aunt Bertha told me about your fiancee's hair.
That came true.
And this room, this was your link with your past, huh? When Aunt Bertha moved me in here my second prediction came true.
Now this, this is a considerable amount of money, isn't it? If I were to take it, my third prediction would come true.
-Yes, but you say you aren't going to take it, so it won't come true.
-So all right, so it happened some other way.
Come on.
be fair.
You lost some money.
Considerable money.
This week, huh? -A lawyer often loses clients and money.
Naturally.
-Ah, you see? And your relationship with Aunt Bertha.
Remember my fourth prediction? You remember I told you, you would suffer heartbreak and loss of love? That has happened.
-If you're not out of here by tomorrow morning, I'm sending for the police.
Good night.
-And the fifth prediction.
-What was it? -Perhaps if you-- perhaps if you leave town it might not happen and you could avoid a tragedy.
-What was it? -That you would kill someone.
-Well, I for one, Randy, am very glad he told you that, fantastic as it is.
It's very obvious what the man is trying to do.
He's trying to get you out of town for a while, trying to scare you away.
With you out of town, Mrs.
Wetherby is his for whatever game he's playing.
-But I offered him money, a lot of money.
He wouldn't take it.
-Well then what is it that he wants? -I don't know.
-Of course it's only a guess, but he may have all that he wants already.
He's got Aunt Bertha's affection, her home, her friends, what does he need money for? Oh, I know how you feel, Randy, but-- well, if it's what Aunt Bertha wants then why not? She's happy and she can afford it.
[KNOCKING ON DOOR.]
-Excuse me, Mrs.
Wetherby is here to see Mr.
Townsend.
-What do you suppose she wants? -I don't know.
-Perhaps she just wants to make up your differences.
Now please.
Please, Randy, be civil to her when she comes in.
-All right.
Hello, Aunt Bertha.
-Marsha.
Arthur.
-Good morning, Aunt Bertha.
How are you? -Aunt Bertha, why don't you-- why don't you sit down? -Thank you.
I'd like to come straight to the point, Randy.
Mr.
Vorhees told me of your surprise visit to him last night.
-I only did what anyone with any decency would have done.
-Blackmailing my friends and intimidating them into leaving me behind my back hardly comes under the heading of decency, Randy.
However, I didn't come up here to talk about that.
-Aunt Bertha, I'm sure that if you and Randy had-- -I've said Marsha that I am not here to discuss Randy's disgraceful behavior of last night.
Arthur, you and Randy have been handling my legal affairs for some time now and that is why I am here.
Do you wish to continue in that capacity? -Of course, Mrs.
Wetherby.
-Good.
Then I must ask you both to comply with my wishes without argument and without interruption.
I really think I'm past the age of having to justify my wishes to anyone.
-And what is it you wish? -I want my will altered.
-Altered? -Mr.
Vorhees is to be included amongst my beneficiaries.
-That's just what he's been after! -It is my money, Randy.
-You let him wheedle anything he wants out of you! -This is my idea, not his, and I will thank you to stop interfering in my affairs.
Of course my old friend Mr.
Croyden will be very glad to draw up a new will for me if you prefer that I go elsewhere.
-Well, we have no other choice of course but to comply with your wishes-- -Arthur may have no choice, but I have.
I won't be a party to it.
-Please forgive him, Aunt Bertha.
He's terribly upset.
-Now Arthur, I want to leave to Mr.
Vorhees, Maximilian Vorhees, the sum of $50,000.
-$50,000.
-I am leaving money to charities that don't interest me one bit.
This does.
I want to make very sure that Mr.
Vorhees will be free to go on with his work.
-Very well.
I'll have Ms.
Williams bring in the necessary papers.
-You lied to her.
You made her change her will.
You're nothing but a dirty crook.
And when I'm proven you'll be sorry you ever set foot in this house.
-Never asked Bertha for money.
Never once.
-Stop calling her Bertha.
You made her change her will.
-I did not.
She believes in my work and she wants it to go on.
-Your work.
Your work's a fake.
-A fake, huh? After all that has happened to you, you call it a fake? Then tell me something.
Have you given her as much happiness? Have you? -Get out of here.
-You are the one that isn't wanted! -I said get out of here! Once and for all, you'll leave her alone, you understand me? Once and for all! -Don't-- don't do it! Don't! RANDY (VOICEOVER): You are going to kill someone.
NARRATOR: In just a moment we'll return to the third act of "A Promise to Murder.
" And now once again, your host, Bill Lundigan.
-The flight sweep Chrysler Corporation's aerodynamic style concept.
New, fresh, imaginative.
Tonight Mary Costa will show you how the flight sweep makes these cars stand out from any others on the road.
-From high upswept tail fins surging forward to the front, you get a feeling of power, of motion even when standing still.
For Chrysler Corporation has broken the style barrier with the flight sweep.
Inspired by the jet plane that sweeps the skies, this is the look of motion and of perfectly controlled power.
This is the styling that talks the language of today.
And I know it's a language you will understand.
These cars have a young look, an eager look, the look of go.
The flight sweep.
Unmistakable when you drive the cars that have it.
New this year with the style of tomorrow to lead the way for others.
Just look at those sweeping lines and then ask yourself why you should buy last year's styling when Chrysler Corporation can put you so far ahead.
Yes, inspired by the very latest swept wing jet planes, these are the cars that have broken the style barrier.
The newest, finest cars on the road.
Plymouth, Dodge, DeSoto, Chrysler, and the exclusive Imperial.
-Thank you, Mary.
And now we'll return to "A Promise to Murder" from a story by Oscar Wilde, adapted for "Climax!" by John Kneubuhl.
RANDY (VOICEOVER): You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
You're going to kill someone.
[KNOCKING ON DOOR.]
MARSHA: Randy.
Randy, let me in.
It's Marsha, Randy.
Will you please let me in? Oh, please, I know you're in there.
Open the door.
-Go away.
I don't want to see you.
MARSHA: But I've got to see you.
I've got to talk to you.
-I said go away.
I don't want to see anyone.
MARSHA: Only let me talk to you.
-What is it? MARSHA: I wanted to tell you I love you.
I love you.
-Marsha.
-Oh.
-You shouldn't have come here.
I-- I mustn't see anyone.
-Why? Please tell me what it is.
-I can't.
I can't tell anyone.
-Is it anything I've done? -No, it's something I might do.
I don't want to hurt you.
-Do you love me? -You know I do.
-That's all I wanted to know.
Oh, Randy, you need someone to look after you.
After the wedding we'll go away.
But please.
Please, you must go and see Aunt Bertha.
It isn't much fun, you know, for all of us going into a marriage with Aunt Bertha let down.
It'd be almost as if you excluded your own mother.
She's [INAUDIBLE.]
and she's very lonely.
I'm sure if you could see you'd find that she's just as anxious to make up as you are.
Randy.
I think we'd make her terribly happy if we'd go and stay with her for a little while after the wedding.
Just a little while.
Just until we can find a place of our own.
-Marsha, if ever I do anything to hurt you-- -You can't hurt me.
Do you love me? -I do.
I do.
[DOORBELL RINGS.]
-Charles.
Is Mrs.
Wetherby at home? -I'm sorry, sir, she's at her [INAUDIBLE.]
.
-Mr.
Vorhees? -Oh, yes sir.
-I'd like to see him for a few moments.
-Yes, sir.
And if you'll pardon the liberty, sir, it's good to see you calling here again.
-Thank you, Charles.
-Yes, sir.
[PLAYING PIANO.]
-That's very beautiful Mr.
Vorhees.
-Randy, it's very, very nice of you.
But Randy, why didn't you call? I'm sure Aunt Bertha would have liked to stay.
Pardon me.
Won't you sit down? You look very tired.
How about a little sherry, huh? -No thank you.
-Well, I'm sure Aunt Bertha will be very cross when she finds she missed you.
Cigarette? -No.
There's something I want to say to you, Mr.
Vorhees.
-Yes? -Well, I-- -Randy, not everything has to be said between friends.
I know Aunt Bertha will be so relieved.
-Well, I hope so.
I want to make up with her.
In fact, we have a little surprise for her.
After the wedding we're going to move in here with her.
-You are? Oh, I'm sure that'll make Aunt Bertha very, very happy.
-It was Marsha's idea.
We thought it might make her little less lonely.
-I have an idea.
Why don't you and Marsha come tomorrow night for dinner, huh? I'll have Charles set it up in the playroom, all right? -You sure Aunt Bertha won't mind? -Oh, I'm sure.
Just leave it up to me.
Just leave it up to me.
[LAUGHTER.]
-Judy! -All right.
-Come on, Judy.
-[INAUDIBLE.]
.
I got [INAUDIBLE.]
.
[LAUGHTER.]
-Come on, Judy.
-[INAUDIBLE.]
.
-Oh, Judy.
-[INAUDIBLE.]
.
-I want a nice big kiss.
[LAUGHTER.]
-[INAUDIBLE.]
.
[LAUGHTER.]
-I'll go here.
-Let go of my [INAUDIBLE.]
.
Where's the baby? -Oh, the baby? The baby took a walk.
-Baby took a walk.
-Yeah, baby ran away and took a walk.
-Get the baby.
-I don't want to get the baby.
-Get the baby.
-You get the baby.
-You get the baby.
-I won't do it.
-You will.
-I won't.
[APPLAUSE.]
-Thank you and thank you, Judy.
And thank you, Punch.
-Isn't he funny, Randy? And so clever.
Oh, well now-- now we must have some wine.
-No, no, no Aunt Bertha, please.
Please, don't move.
Don't you move.
I'll get it for you.
We, uh, we must have some music.
Randy, how about some music, all right? -I haven't played for a long time.
You know you asked for it.
-I'll get the wine.
You play the music.
-I'll do my best.
-All right.
That's it.
Now, music.
[MUSIC PLAYING.]
-Thank you, my Lord.
Oh, Marsha, do you remember when you were all children? The little entertainments that you used to put on up here when you'd come to play with Randy? Remember the time that you did the play scene from Midsummer Night's Dream? -Oh no.
-[INAUDIBLE.]
.
And he made his golden feathers out of corn tassels.
And then when Phoebe Banks told you what a lovely girl you made, you hauled off and punched her in the eye.
[LAUGHTER.]
-And Mrs.
Banks made such a fuss that Aunt Bertha threatened to punch her in the eye, you remember? -Oh, Aunt Bertha.
Oh, I wouldn't think that of you.
-I was stronger in those days.
-She was stronger? [LAUGHS.]
That's funny.
Oh, well, some wine, some wine.
Not only for Aunt Bertha, but for everybody.
You have it.
And oh no, the lady first, please.
The lady first.
-Thank you, sir.
-Here Marsha.
And for you, Randy.
-Thank you.
-And for me too, huh? I need some wine.
And oh yes, and now, now a toast.
-Give a toast.
-A toast to a happy party.
And a toast to a happy couple.
And a toast to happy me.
And a toast to my precious lady.
-Aw.
-Oh, yes, and a toast to Mr.
Morgan.
-Mr.
Morgan.
-Yes.
And to Ms.
[INAUDIBLE.]
.
-Ms.
[INAUDIBLE.]
.
-And to Sir Eggbert.
-Sir Eggbert.
-No, no, no, no.
To Aunt Bertha.
All right.
I want music, I want fanfare.
And oh yes, I want a salvo.
I want a salvo.
A 21 gun salute to my precious lady.
All right.
All right, Marsha, you-- you make the music and you fire the salvo.
But just a moment.
Wait, wait, wait, I have some-- now I'll-- I'll do the commander.
I am the general-- no, I am the general here.
Come on, Randy, come on.
Come on.
-All right.
-All right, everything ready? A fanfare, Marsha please? [FANFARE.]
-Oh, that's lovely.
-Now you ready? -No, not yet.
No, the salvo comes after the toast.
-Of course.
-Well, our precious lady is basking in the radiance of our love.
-Radiance of our love.
Oh, my, that's very pretty.
-Very.
-All right.
Now another fanfare, please.
[FANFARE.]
-And now, now a toast to our lady precious.
-To our lady precious.
-I'm afraid I'm going to cry.
-All right.
And now the salvo.
-Yes sir.
[KNOCKING ON DOOR.]
-Oh yes, what is it? -Dinner is served, Mrs.
Wetherby.
-Oh, thank you, Charles.
We'll be down very shortly.
-Yes ma'am.
-Well anyway, and now the salvo.
-No, not yet.
-Oh, let's have another salvo.
-I'll play another salute.
-I'll reset it.
-What is it Mr.
Vorhees? What's the matter? -What's wrong? What's happened? Oh! -Marsha, tell Charles to get a doctor, quickly.
-What's happened, Randy? -I don't know how it could have happened.
He said I'd kill.
-Oh no, dear.
No.
No, you didn't.
It was entirely an accident.
We all saw it.
-Charles is calling Dr.
[INAUDIBLE.]
.
-Won't do any good now.
-But how did it happen? -I don't know.
I don't.
-What is it Randy? What are you doing? -If it had worked the way he'd planned it, he could have blamed me.
-Blamed you for what? -Nothing, Marsha.
Aunt Bertha, come away from here.
Come on.
[SOBBING.]
-30 years ago, this early Chrysler built car pioneered four wheel hydraulic brakes in American production motor cars.
In today's down through the years, Chrysler Corporation brings you more advanced braking features, more important differences than you'll find in the brakes of any other cars.
Now, here's one important difference.
These two cylinders in every front wheel brake, one for each shoe.
This means smoother, safer, straight line stops every time.
Yet if you drive any other car than a Chrysler Corporation car, no matter what you pay, you get only one brake cylinder.
Now here's another important difference.
The brake lining.
You'll find most cars still use rivets to fasten brake linings to brake shoes.
But Chrysler Corporation developed an exclusive process called cycle bond that welds the lining to the shoe, eliminating the old fashioned rivets.
It means you get 50% more brake lining length and more braking surface.
Now, let me show you Chrysler Corporation's newest advance.
In other brakes the shoes are pressed against the brake drum in this way, causing hot spots and uneven wear.
Only on our new floating shoe center plane brakes is the pressure applied evenly on all braking services.
You see the difference on a new DeSoto Chrysler and Imperial, this reduces pedal pressure by 25% and your linings will give you up to 20,000 miles more of surface.
Yes, these are some of the important differences of typical in the engineering advantages of a Forward Look '56 from Chrysler Corporation.
You know, ladies and gentleman, next week on "Climax!" we're pleased to announce "Portrait in Celluloid" written especially for "Climax!" by Rod Serling, the author of "Patterns" and many other unique and exciting original stories.
And right now I'd like to have you meet our cast.
Here's an old golfing buddy of mine, Jack Carson, who's going to play the part of Art Shaddick.
Will you tell the audience a little bit about the role, Jack? -Certainly, Bill.
Art Shaddick is a product of the only city of its kind of the world, Hollywood, California.
He's a literary agent.
Unfortunately, unsuccessful.
However, he did manage to win an award some years ago for writing a screenplay.
-Well, it sounds like an interesting role.
-It is, Bill, I'm looking forward to playing it.
-Be seeing you next week.
Bye, Jack.
And now playing the part of Barbara Williams is lovely Kim Hunter.
Hi, Kim.
-Hi, Bill.
I play Art Shaddick's secretary.
I've been with him five years, and in that length of time you get to know a person pretty well.
-Thank you, Kim.
And I have a couple more folks that I want to introduce.
Here is another old friend, Don Taylor, who plays the role of John Appleby.
-Hello, Bill.
John Appleby is a young screenwriter whose career starts the way Art Shaddick ended 20 years ago.
-Mm-hmm.
And as you well know, Don, here is Audrey Totter, who is making her live television debut on "Climax!" We're delighted to have you with us, Audrey.
-Thank you, Bill.
I'm very happy that my debut will be on "Climax!" -You know, we are too.
-Thank you.
-See you all, all of you next week.
Well, there's our cast for next week's story, behind the scenes in Hollywood, "Portrait in Celluloid" written especially by Rod Serling on "Climax!" This is Bill Lundigan saying thank you and don't miss it.
NARRATOR: Be sure to visit your Dodge dealer and enter the big Dodge contest.
You may win a brand new Dodge every year for life.
And don't miss the Thanksgiving parade telecast next Thursday morning from Detroit on another network.
See your newspaper for time and station.
"Climax!" has been presented by Chrysler Corporation.
The Forward Look.
Tens of thousands of children between the ages of three and 13 are victims of muscular dystrophy.
You can help support the research that is bringing new hope to these youngsters.
Send your contribution to MDAA care of your local post master.
Art Gilmore speaking.
Portions of this program were pre-recorded.
"Climax!" is a CBS Television Network production.