Original subtitles

("Alfred Hitchcock" theme music)

- Good evening.

This interesting object

was found at the sight

of an ancient Hittite civilization.

Fortunately, it was very clearly labeled.

It's a plowshare.

It was made during the period

when the Hittites had signed a disarmament pact

with their neighbors.

I can see other uses for it.

But of course, I'm rather imaginative

and my mind sometimes moves in disturbing directions.

You see, I have been challenged to a duel

with my sponsor.

And being allowed to choose the weapons,

I selected this for him.

For myself, I've chosen a hand grenade.

I have dispensed with the second.

However, my opponent has 60 of them

during which he shall state his case.

Following that, we bring you tonight's play.

It is the story of a modern day Lady Godiva

and her peeping Tom.

(dramatic music)

(phone rings)

- Hello?

No, I can't.

No, I'd love to, darling,

but I can't.

(suspenseful music)

He's due back today.

(laughs)

What do you mean?

That's the best excuse there is.

No, I'm alone.

Trying to get a tan all over.

Fresh.

No, you shouldn't say things like that.

No, I am alone.

Stevie?

Oh, he's out with some kids

for a swimming lesson or something.

No, you can't come over.

I told you.

Jack will be here soon.

Mm, four or five days maybe.

(laughs)

Well, he didn't travel so much

when I married him.

Oh, you're terrible.

No, I haven't forgotten.

I think you're forgetting something though.

I'm married.

All right.

Call me, uh, no.

I'll call you.

What?

Oh, that's nice.

That's very nice.

Bye.

(leaves rustling)

Who are you?

What are you doing here?

Go on, go away from here!

Go away!

Snooping and staring at people like that.

Go away, I said!

If you don't go away, I'll call my husband.

- Your husband's not here.

I just heard you on the telephone.

There's nobody here but you.

Don't be afraid of me.

Don't be frightened.

I mean, all I'm doing is looking.

- If you don't go this instant,

I'll call the police.

(dramatic music)

Hello, operator,

get me the police quick.

He must have come along the ditch down there.

It runs in back of these houses.

He scared me half to death,

peering through at a person like that.

I was lying in the sun.

I had a swimsuit on.

- Yes ma'am.

- He wouldn't go.

I asked him to go and he wouldn't

until I ran in the house to call you

and then he disappeared.

- Did he actually come onto your property, ma'am?

- Well, no.

- Or threaten you or anything?

- Not with words

but it was the way he looked at me

and the way he told me he knew

I was alone and that my husband wasn't home.

I was talking on the phone.

I guess he heard me.

- Talking to your husband?

- No, a friend.

My husband's in Chicago on business.

He'll be home tonight.

What's that got to do with it?

- How old would you say

that this boy was, ma'am?

- 19, 20 maybe.

He was six feet.

Wearing light blue jeans and a T-shirt.

- Have you ever seen him before?

- No, never.

- You'd know him again, though?

- Oh, sure I would.

Standing there just staring.

I was holding towel in front of me

but he just looked me.

I felt like I wasn't wearing anything.

Look, you've got to find this boy

and tell him to stay away from here.

- Well, maybe he didn't mean any harm, ma'am.

He just looked over your fence,

didn't try to come on the property,

and didn't actually threaten you in any way.

- He scared me.

Isn't that enough?

Look, I'm alone here most of the time,

except for my stepson.

- How old's he?

- 12.

- Is he here now?

- No, he's at a swimming lesson or something.

Please find this boy

and tell him to stay away from here.

- Well, we can see if he's a neighborhood boy, ma'am.

Maybe you'd like to go along with us

while we make a few inquiries

and you can identify him if we find him.

- Well, if you'll wait, I'll change into something.

- Pardon me, ma'am.

- Huh?

- Just like to ask a question.

- Oh, they know me down at the market.

They let me take the basket home.

I always return it.

- Sure ma'am, that's okay.

We're looking for a young man

might live around here.

Over six feet, big, dark hair,

wearing light blue jeans and a T-shirt,

about 19 or 20 years old.

- Oh.

Oh, sure, wait a minute.

There is a boy like that

with the Master's family.

The new people,

on Maple Avenue.

A house at the far end.

White house, needs painting.

Why?

What's he done?

- Nothing, ma'am.

Thanks.

(gentle music)

- Yes?

What's the matter?

What do you want?

- Does a young man live here?

Dark hair, over six feet, 19 or 20 years old?

- That was him!

- [Aunt] What's the trouble?

- Is that your son, ma'am?

- No, it's my nephew, Roy,

Roy Bullock.

Why, what's he done?

- I want a word with him.

- What for?

Roy's a good boy.

He never gives any trouble.

He doesn't party and tear around like some.

- That's all right, ma'am.

I just want to talk to him for a minute.

- Well, we just moved in here last week

and we're not straightened yet.

- Sure, ma'am, that's all right.

- Police coming here for everybody to see.

- You want something?

- Yeah, ask you a few questions.

- Well, you better come inside.

- This is your room?

- Uh-huh.

What's the matter?

- Improving your mind, huh?

- Is there some kind of law

that says what you got to read?

- There's a law against bothering people

and making yourself a nuisance.

- What, you mean the lady outside in your car?

- Yeah, she turned a complaint against you.

- What, for looking over her fence?

Officer, I was standing on city property.

I wasn't on her property.

She was sunbathing and I was looking at her, that's all.

- Why?

- Well now, wait a minute.

There's no law against looking.

I mean, she was sunbathing

and I was looking at her.

I mean, she got mad and went in the house

and that's all that happened, believe me.

- Well that's not the way she tells it.

My advice to you, son,

is to cut out this peeping Tom act

with her or anybody else.

For your own good.

Okay?

- Okay.

But it wasn't a peeping Tom act.

But I will bare in mind what you said.

I wish you'd tell her that for me, too.

Is that all?

- Yeah.

That's all, I hope.

For your own sake.

(dramatic music)

Thank you, ma'am.

It was him.

But I warned him

and he won't bother you again.

(peaceful music)

(doorbell buzzes)

- Hi, Jack. - Hello, Lucy.

- I saw your taxi drive up.

I brought these cookies over for Stevie.

I just made them.

- Where is Marsha and Stevie?

Do you know?

Marsha knew what plane I was coming in on.

I thought she was going to meet me.

- I don't know where Stevie is

but Marsha went off in a police car.

- Police car?

- Yes, she told me all about it

while she was waiting for them to come.

- About what?

- Oh, about this peeping Tom

peering through her at the fence

while she was sunbathing with no clothes on.

- With no clothes on?

- Well, almost.

- Come on, Lucy, what happened?

- Actually, nothing happened.

This boy sneaked up to stare at her

and Marsha got panicky and called the police.

Of course, it's not for me to say,

but Marsha does kind of like to make everything dramatic.

And after all, if a person lies around almost naked--

- What Marsha does is her business.

- Marsha confides in me

and I try to give her good advice.

Advice you should be grateful for.

- What do you mean?

- Nevermind.

I try to be a good neighbor and--

- Okay.

Okay, I'm sorry, Lucy.

Thanks for the cookies.

I'd better call the police

and see what this is all about.

- I'll give you some advice too, Jack.

You oughtn't to leave Marsha alone so much.

ShShe's told me.s.

Not that I think there's anything wrong

with her going out when you're away.

I'm sure Marsha isn't the type

to do anything stupid.

- What do you mean by that?

- Nothing.

I guess Marsha can look after herself.

But she's an attractive woman

and she doesn't mind letting the whole world

see that she thinks so.

And a woman alone in this town.

You know what men are.

It's small wonder peeping Toms come around.

- That's about enough, Lucy.

I think you've made your--

- Dad!

Hi, Mrs Phillips, hi Dad!

- Hello Stevie. - Hello Stevie.

How have you been, Stevie?

- Fine.

- I thought you were gonna be at the airport.

- Well, I didn't know you were coming today.

Hey, what's the matter with Mrs Phillips?

I don't like her.

She's always asking questions.

- Now didn't Marsha...

Didn't your mother tell you I was coming home today?

- Uh-uh.

Hey, cookies!

Gee, I'm hungry.

- You act like you're starving.

- Well, I didn't have any lunch.

- [Jack] Why not?

- Well, Mom was busy.

- Yeah.

Too busy even to tell you

I was coming home today.

- [Stevie] What'd you say?

- Nothing.

Come on.

You can bring the cookies.

I brought you a present.

- Oh!

Gee, that's neat!

- How's that, huh?

- Gee, it's great, Dad!

Thanks a lot.

- You can fly it in the park.

- Hey, can we go there now?

- Oh I'm sorry, Stevie.

Not right now.

Why don't you take it up to your room,

study the instructions?

- Okay Dad.

Hey, I seen Jimmy fly his

and I think I know how it works.

(Jack laughs)

- Off you go.

- [Stevie] Gee, thanks a lot!

(peaceful music)

(car door clicks)

- Hello Jack, darling!

- Big welcome home.

Nobody at the airport.

Nobody here.

You didn't even tell Stevie I was coming.

- Oh, I thought I'd surprise him.

- And what's all this about the police?

- Who told you about the police?

- Lucy, your friend from next door.

And that isn't all she told me, either.

Or hinted at.

- I called the police because--

- I know why you called the police.

Because you were lying around sunning yourself

and some kid bothered you.

If it was a kid.

- We found him.

The kid is called Roy Bullock on Maple Avenue.

Oh Jack, please don't fight me.

He scared me so.

- Okay.

Okay, I'm sorry, Marsha.

- I'm so glad you're back.

I hate it so when you're not here.

And this afternoon upset me so much.

But everything's all right, now you're here.

- Yeah.

It will be.

- The police were awful.

They made me feel like

I was just making a big fuss about nothing.

(sighs)

That boy scared me.

I don't care what they say.

There's something bad, something weird about him.

- Well, I'll scare him.

When we've had dinner

I'll go over and see that punk myself.

Stevie!

Stevie, come on down!

(phone rings)

- Hello?

Hello?

- [Mysterious Man] Alone.

- Who was that?

- Nobody.

Wrong number, I guess.

I'll get out some ice

if you'll fix us a drink before dinner.

(upbeat music)

- Come on, give me a drink. - Wait a minute.

- Now, just one drink. - Ow, stop it.

Get off me. - I'm not gonna hurt you.

Don't hit me. - Stop it!

Come on. (door slams)

- Were you looking for somebody?

My aunt and uncle aren't here.

They went out to a movie.

- I'm looking for Roy Bullock.

Is that you?

- Yes, sir, that's me.

Cut it out.

Nancy, cut it out.

Look, this is my girlfriend.

Nancy Willis.

She's been my steady for quite a long, long time.

About a week.

- You gnat!

- I'd like a word with you in private.

My name's Fowler.

- Mr. Fowler?

About this afternoon.

Yes sir, well I'd like to talk to you too.

Look, why don't y'all take off?

- What do you mean just take off?

- What do you mean?

Just take off.

Go away, stop!

Go on.

- Yeah.

- Take your radio, that's right.

I guess you wanna talk to me

about my looking over your fence this afternoon?

- And scaring my wife to death, yes.

- Wait a minute, Mr. Fowler.

I didn't know that I scared her to death

until she brought the cops here herself.

Now my aunt and uncle and I

haven't lived here very long.

Matter of fact, we just moved in here

and I was just exploring this afternoon.

- [Jack] Along the ditch behind people's backyards?

- Well sir, I didn't even know where I was.

I was trying to find a shortcut home, that's all.

Really, and I saw your wife in her backyard

and I was gonna go ask her what--

- That's not the way she tells it.

Now look, young man, I'm warning you--

- Mr. Fowler, wait a second.

Now, I don't wanna harm anybody.

I didn't mean to scare your wife.

I don't wanna scare anybody.

- Snooping through the back fence at her?

My wife's highly strung.

- Of course she is.

She must be.

Mr. Fowler, look.

If I upset her, I'm sorry.

Please tell her that for me.

- Okay.

Okay, we'll forget it.

But don't do it again, see?

- No sir, I won't.

And thank you for being so nice about it.

And I am sorry I upset her, really.

- Okay.

I believe you.

Forget about it.

- Okay.

(gentle music)

(Roy whistles)

(peaceful music)

That's a nice plane you got there.

Why don't you try cutting down on the mixture intake?

I think that's the problem.

I think you're flooding it a little bit.

Would you like me to help you?

- Yeah, okay.

- All right, on the battery.

There we go.

Okay.

- Okay.

(plane roars)

Hey, you did it.

- You know, this is actually a two man operation.

Take the plane

and go over there.

- Okay, thanks a lot.

- [Roy] Okay, let it go.

- Gee, thanks a lot.

I don't think I could've done it.

- Yeah, you could've done it.

You learn fast.

Now, give me your hand.

All right.

Grab it, got it?

There you go.

Up, up, up.

That's it.

How 'bout that?

You're the Fowler boy, aren't you?

You live over there on Orange Drive?

- Yeah, how'd you know?

- Oh, I've seen you around.

You're kind of a loner, huh?

- Yeah, I suppose so.

- I met your dad the other day.

Boy, he's a nice guy.

- Yeah.

- Oh.

- My name's Stevie.

What's yours?

- I know, mine's Roy.

You wanna shake?

(chuckles)

- You live around here?

- Yeah, I live with my aunt.

We're always moving around, you know?

- Yeah.

- Seems like we're never able

to settle down in one place.

- Yeah, I know what you mean.

We always move around too.

- I've seen you around a lot though.

Yeah, I notice people.

Let's see.

On Tuesdays and Thursdays

you have your swimming lessons, right?

(chuckles)

And Saturday afternoon you go off somewhere.

- Yeah, Saturdays I go to gym class.

My mom wants me to.

- What time do you get home?

- Around 6:00 usually.

I usually walk home.

- You walk home?

Isn't it a long way?

- No.

- Doesn't your mother come pick you up?

- Oh, she isn't my real mom.

She's my stepmother.

And she's usually out Saturday evenings,

except when Dad's home.

- She leaves you alone right?

- Well, I don't mind.

- You don't mind.

Well you ought to mind.

- What's the matter?

- Nothing's the matter, man.

Nothing.

(chuckles)

(car horn honks)

- Stevie, over here!

- That's your dad.

- Yeah.

Hi Dad.

- Hop in the car, Stevie,

and I'll drive you home.

- No, not yet.

Roy's been helping me fly my plane.

- [Roy] Hi Mr. Fowler.

- Hello.

- Aren't you a little early tonight?

I mean, usually I don't see you coming home

until a little after 6:00.

It's only a quarter of.

- Yeah.

- Your boy here's really learning

how to fly that plane good, I tell you that.

- Do you wanna watch me?

- Ah, we'd better run along, Stevie.

Hop in the car.

- Aw, can't I stay with Roy?

Please?

- I don't mind, Mr. Fowler.

I'd be glad to walk him home.

I'd like to look after him.

- Well, if he's having fun, okay.

Don't be long now, Stevie.

(gentle music)

- I'll walk him home, Mr. Fowler.

- As the gentlemen said

who was in the process of administering the coup de grace,

"We are halfway through."

In television, we hesitate at this point

in order to savor the moment

and indulge in a station break.

Granted, the victim suffers a bit,

but rules are rules.

We shall continue after the following.

(dramatic music)

- Don't keep on about it.

I promised Ken I'd be there early tonight, period.

- [Marsha] You told me you were

playing poker there tomorrow evening.

- We changed it.

- And where does that leave me?

- Here.

Right here without getting anybody in

to stay with Stevie while you go out.

- What do you mean by that crack?

- You know what I mean.

I mean like when I'm away.

- So sometimes I go out

to Lucy's next door or to a movie.

What am I supposed to be?

A prisoner or something?

- You're supposed to be my wife,

a mother to Stevie.

- Stevie.

- Hi Dad, hi Mom.

- Stevie.

- What are you doing here?

- So long, Stevie.

You left your oil can over at my house.

So I'll bring it over to you some night, okay?

We stopped by my house for a little while, Mr. Fowler.

Night.

- Goodnight. - Goodnight Roy.

- Night Mrs. Fowler.

(Roy whistling) - Where did you meet him?

- Well, gee what's the matter?

- It's all right, Stevie.

Go on up and wash.

I said it was all right.

Off you go.

- Okay Dad.

- You knew he was with that boy?

- Yeah, I saw him at the park

at the end of Maple.

Stevie wanted to stay awhile

and the Bullock kid said he'd see him home.

- [Marsha] And you said yes?

That boy after what he did to me?

- You know, I think Lucy's right.

You get yourself all upset about nothing.

Here's your drink.

- Upset about nothing?

I tell you, that boy is no good.

He gives me the creeps.

- Oh, come on.

He's just a good natured boy.

Stevie sure took to him

and kids know.

- And I'm a woman and I know.

He's no good.

He scares me the way he looks at me.

- I've never known you

to object to being looked at before

by anything in pants!

And I can say that again.

- Now you listen to me!

- Later!

And nevermind about dinner.

I'll get a bite to eat at Ken's.

Goodnight.

(Marsha sighs)

(dramatic music)

- Jack!

Jack!

Jack!

Jack!

(gentle music)

(phone rings)

Hello?

Hello?

- [Mysterious Man] You're in the dark, aren't you?

Lying in bed.

- Who is this?

- [Mysterious Man] Don't you know?

What are you wearing?

Tell me what you're wearing.

You know, you're very pretty.

(phone clicks)

(phone rings)

- [Ken] Hello?

- Hello, Ken?

Is this Ken?

- [Ken] Marsha?

- Is Jack still there?

- [Ken] What's the matter?

- I'm--

(door rustling)

Wait.

(tense music)

- [Ken] What's the matter?

You still there?

Is something wrong?

Marsha?

Marsha, are you still there?

- Oh, Jack.

Oh Jack.

- Hey, hey there, take it easy.

What's wrong, honey?

- I thought, I thought--

- Well honey, you locked the front door

and the kitchen door.

I had to go around to the side.

I didn't want to waken you.

What's the matter, honey?

Everything's okay. - Marsha?

- Huh?

- [Ken] Marsha, are you still there?

- Hello, who is this?

- [Ken] What's going on?

- Oh Ken.

No, no.

It's all right, I just got in.

- [Ken] Is something wrong?

- What?

No, no, everything's okay.

- I called you at Ken's.

I was lying in the dark

and the phone rang

and it was him.

It was Roy, that boy,

whispering, saying terrible things.

Then he hung up.

Then I thought it was him breaking in.

- Honey, what are you talking about?

- It was him, I tell you,

whispering awful things.

- But why should it be that boy?

- Because he knew you weren't here.

- How?

- You drove away after he left, remember?

And then there was somebody out there watching.

It was him.

- Oh, come on, honey.

It could be anybody that called you.

There are all kinds of weird people in the world.

- You've got to believe me.

It was Roy Bullock.

He scares me.

Please listen to me.

- Okay, okay, honey.

I'll go over to his house

and put it to him straight.

I don'tI'll go there. it is.

Now, will you be all right?

I'll hurry back.

(suspenseful music)

- No, don't, don't!

Keep away from me!

For pity's sake, don't!

I'll talk.

I'll tell you anything you wanna know.

Only don't!

(banging on window)

- Mr. Fowler.

I was watching the late show on TV.

What's the matter?

- I wanna speak with you, young man.

- Well, sure.

Come on in.

Right there.

My aunt and uncle are asleep though.

So, shh.

Now what's this all about, Mr. Fowler?

- Look, you can cut out the innocent bit.

You telephone my home again

and scared my wife.

- [Roy] I did not.

Now, why would I do a thing like that?

- Why?

Why'd you snoop through the fence at her?

- Mr. Fowler, I already explained that to you.

I never did snoop through the fence at her.

I've been out on a date tonight

with Nancy Willis, my girlfriend.

Remember her?

The girl on the porch that danced and twisted,

the crazy kid?

She's a cook.

Well I just got home.

- Maybe you're a cook too.

The nasty voice on the phone type.

Calling people up to scare them, shock them.

My wife swears it was you.

- Why would she do that, Mr. Fowler?

What does she got against me?

Huh?

Look, Mr. Fowler, I have heard about

guys calling up women on the phone

and saying things to them on the phone.

Guys on some kind of a kick.

You really think I would do something like that?

Now, I mean, why?

Because I got these magazines in my room?

Does that make me a cook?

(chuckles)

Mr. Fowler, now let's face it

you mean to tell me

that when you were my age

you didn't have any of these kind of magazines

in your room, huh?

(laughs)

- My wife swears it was you that phoned.

Okay, so you've been out.

There's a telephone booth at the end of our street.

And whoever called said "You just turned out the light"

or "You're lying there in the dark"

or something like that.

So it must've been within sight of the house.

And he hung up the phone when my car turned in the driveway.

Now you've had time to get home here before I got here.

- Now Mr. Fowler, you're getting me all wrong

and you are starting to get me sore.

- Get you sore?

- That's right, get me sore.

And if your wife's gonna sling accusations around,

maybe there's a few accusations I could make about her.

- Why, you punk!

What do you mean?

- [Roy] Nothing!

So forget it.

I mean, your wife sends you around here late at night

saying all sorts of crazy things about me.

What does it matter with her?

- Now you look here.

- I am looking.

I am looking.

Mr. Fowler, look.

I have no quarrel with you.

Believe me, I don't.

I'm not interested in any woman

who's older than me.

It's late, she sent you here,

you said what you have to say,

and I've said what I wanted to say.

Now please, let me go to sleep, okay?

Look.

I don't claim to know

a whole lot about women, you know?

But maybe all your wife wants

is some attention drawn to her.

Your attention.

- Okay.

I don't know, maybe you're right.

But if it was you that phoned.

Okay.

Well, goodnight.

- Don't slam the door on your way out.

My folks are still sleeping.

- Yeah.

Goodnight.

(gentle music)

(Roy whistling)

(phone ringing)

- Hello?

- [Mysterious Man] Waiting for my call, huh?

- Jack.

Jack, come here.

- [Mysterious Man] Who are you kidding?

He's not there.

You're all alone.

I know.

- Go away.

Stop this.

Stop it!

- [Mysterious Man] What are you wearing?

Tell me what you're wearing.

What kind of nightgown?

You're very exciting.

- Stop it.

Stop it.

(dramatic music)

(suspenseful music)

- Come on, give it to me. - Comes behind him.

Fakes around, he's up!

And he scores!

- Ra, ra, ra!

I'm going down to the drugstore.

You wanna come down and buy me a soda, huh?

- No, I'm gonna watch the kid.

- What are you, some kind of camp counselor suddenly

or something? - Yes, that's right, dear.

Suddenly I'm a camp counselor.

That's exactly what I am.

I'll see you around.

- Yeah, like a...

I don't need you, brother.

- No, but you sure need

a little bit of new dialogue.

Let's go, it's your shot.

- Didn't you wanna go with her?

I don't mind.

- Come on, shoot it up.

Come on.

- Gee, look it, Roy.

- Yeah. - How 'bout that?

- Very good.

Come on, I'll buy you a soda.

- Oh boy!

You bet!

- Why sure, Mr. Wilson.

Sure, I can.

No.

I didn't think they'd accept the estimate this early.

That's right, Mr. Wilson.

Sure.

No, no I can drive up there.

I'll check with you after I've seen him.

Okay, bye Mr. Wilson.

You bet.

How 'bout that?

- What's wrong?

- Well, I just get back from Chicago

and they want me to go to San Francisco.

- Oh yeah?

- Look, why don't we do this?

We'll all three drive up there,

you and Stevie and me,

and I'll take care of my business.

We'll have some fun for a few days

and drive back.

- Jack, you know I hate driving all day.

- Oh, come on, honey.

The trip will do you good.

- Sitting in a car getting all creased?

- Oh, come on, Marsha.

- Look, why don't you fly up?

Then you can make your deal

and come back in the same day.

It only takes an hour or something.

Tell you what.

You say you wanna give Stevie a treat.

You know, he's crazy about planes.

Why don't you take him with you?

- You sound like you wanna get rid of us.

- For a whole day, yes.

Then I can take up the hem

on the new dress you bought me.

- Take Stevie, huh?

Yeah.

Yeah, why not?

He'd get a real kick out of it.

Why not?

(peaceful music)

- Oh hi, Dad.

- Oh hi there.

- Hi Mr. Fowler. - Hello Roy.

- We were practicing our basketball

and Roy bought me this.

- Yeah?

Well I've got a surprise for you.

We're going to San Francisco tomorrow,

just you and me, by plane for the whole day.

How do you like that?

We'll leave early in the morning,

get back late at night.

- In a plane, honest?

Oh boy, in a plane!

Oh Dad!

- Take it easy.

You go in and wash up.

About time for lunch.

- Okay.

So long, Roy.

- Take your ball with you.

Well, he sure is a good kid, Mr. Fowler.

- He thinks the world of you, Roy.

You take a lot of trouble with him.

- Well, it's really nothing.

I guess when I was his age,

I was pretty shy of people too.

Just the two of you going up to San Francisco tomorrow or?

- Yeah.

Well, I'll see you.

- Take care.

Have a good trip.

(Roy whistles)

(playful music)

(Roy whistling)

(suspenseful music)

(phone rings)

- Hello?

- [Mysterious Man] You've been out,

haven't you?

Your husband's not there.

You're all alone, aren't you?

You don't want to be alone, do you?

You never want to be alone.

- Lucy.

(phone rings)

Lucy, please answer.

Lucy.

(suspenseful music)

(knocking on door)

You.

What do you want?

- I just wanna talk to you, Mrs. Fowler,

while you're still alone.

I waited all day.

- Get out of here.

My husband will be home in a few minutes.

- He won't be home for quite a while.

- Breaking into a person's house.

I'll tell my husband.

I'll tell the police!

- No, no, Mrs. Fowler.

I didn't break in.

You let me in.

And I brought a present for Stevie.

I wouldn't break in to do that, would I?

I've had this since I was a kid

about Stevie's age, myself.

He saw it at my house the other night.

I thought he'd like to have it.

- Get out of here.

- Not until I've told you something, Mrs. Fowler.

You are doing to Stevie

exactly what my stepmother did to me

and that's what killed my father.

The way that she went on all the time,

all the time she went on.

Sure it was an accident.

That's what the papers said, an accident.

It's an accident that a man drives over a cliff

on a clear blue day?

- What's that got to do with me?

You're crazy! - A string of men friends

all the time, Mrs. Fowler.

A string of men friends all the time.

Shh, don't tell anybody, Roy.

This is your Uncle Joe from Kokomo, Roy.

Why don't you go outside

in the yard for a little bit, Roy, huh?

Why don't you go away to camp for one week, Roy?

- Stop it!

- That's the way you talk to Stevie, isn't it?

Yeah, I know.

He's told me, Mrs. Fowler.

Look, Mrs. Fowler,

don't you understand

kids don't like to be gotten rid of?

They want a home that's a home to them.

That's all.

- If you don't stop this--

- Listen to me and let me finish.

You are just exactly like she was.

Vain and selfish and conceited.

You wanna have your cake

and eat it too, don't you?

You know, your husband's an all right guy

but that's not enough for you, is it?

Oh no.

You've got to have a bunch of people

admiring you all the time.

Men looking at you all the time.

Well, he's gonna find out about you

and Stevie will find out about you.

Just exactly what you are.

The same way I found out.

- I suppose you'll whisper it to them on the phone.

- Telling them won't help them, Mrs. Fowler.

I'm telling you.

There's a smell of death about women like you.

Death and corruption.

You corrupt people the way you go on all the time.

So you better cut it out, you understand that?

- [Marsha] Now will you get out?

- Now just put the gun down, Mrs. Fowler.

My rotten stepmother killed my father and me

without any gun.

Put the gun down.

How many people do you want to kill, Mrs. Fowler?

- Get away from me.

You're out of your mind.

- You sure are out of your mind, Mrs. Fowler.

Trying to mess up a nice guy

and an innocent kid.

- Nobody'd blamed me if I shot you now

with your filthy phone calls,

breaking in here like this.

How exciting am I now with a gun pointing at you?

- You're very exciting, Mrs. Fowler,

just like she was.

And you're rotten just like she was.

I think it's time that your husband

found out about you.

(gun bangs)

(dramatic music)

- Oh, no.

I didn't mean to kill you.

(phone ringing)

- [Mysterious Man] What are you doing?

I bet you'd like to have me come over there.

(Marsha gasps)

You're exciting.

- That concludes our story.

At least it concludes Mr. Roy Bullock.

It was not the end of Mrs. Fowler, however.

The jury recommended mercy.

As for the anonymous caller,

he was permitted one more call

to his attorney.

You see, a policeman happened to be waiting

to use the payphone at the time of that last call.

I have traded my sword for a much more practical instrument.

I feel much better.

This is more my style.

Now it is time to hear from my worthy opponent.

He seems to have forgotten about our duel.

So I imagine I can relax now.