Original subtitles

("Alfred Hitchcock" theme music)

- Good evening.

How do you do, ladies, and gentleman,

and peeping Tom's the world over?

I think you deserve an explanation

of my new, tall, slim look.

This is not entirely the result of vertical stripes.

I had my face lifted and neglected to say when.

Seriously, I innocently stepped into

a pair of elevator shoes and pressed the wrong button.

However, there is nothing to worry about.

I shall simply take the next pair going down.

This evening, in addition to our sideshow,

we are bringing you a bizarre little drama called,

"The Evil of Adelaide Winters."

It is about a woman with a strange talent,

which she used to bring happiness

to people, particularly, herself.

I would tell you more about the story but it might frighten

you off and then you would miss all the commercials.

This little gem for example.

(dark dramatic music)

(intriguing music)

- Invasion of Europe, this is a momentous day

to attempt to contact someone killed in the war.

- Can you, can you really?

- Please, dear.

- Soon enough we shall know if your son's spirit lives on.

Let us begin.

A bayonet, a helmet, and a gun,

these have become the objects of man's faith.

- What happened to him?

What happened?

- I'm sorry, I try to do this as quickly as I can,

but contacting a departed spirit is not easy.

- We know that.

We appreciate what you're doing.

- Nor is it guaranteed.

I guarantee nothing, only my willingness to try.

I need your willingness to trust me.

- We do, we wouldn't be here if we didn't.

- Do I still sense some hostility in you?

- Oh no, none, he wants it too, don't you dear?

He believes in you.

- I cannot help anyone who doesn't want to be helped.

Mrs. Thompson, on my right.

Mr. Thompson, on my left.

These are the objects of invocation, the presence

of things common to last moments of the deceased,

helps in contacting the departed spirit.

We shall fill this room with the kind of things

that surrounded your son's last living moments.

(film rolls)

- Oh must you, must you?

- There is no easy way, I'm sorry, we can stop.

- No, please, go ahead.

- In a moment you will hear the sounds of battle.

They will come from a record player.

There is no deception, no magic, no fraudulent means.

These sounds are only recorded.

(gunfire)

We use the objects of war, the sounds of war,

image of death in war, to invoke the medium

of contact with Private Harry Thompson.

How did he die?

He was missing in action.

He was gone suddenly from this time,

and that place, nothing to recall him.

(bombs explode)

Was it by knife?

Or, was it by this weapon?

(bombs explode)

There was a sudden pressure, a light,

a light filled the eye, and flooded the brain,

a sound, a terrible sound.

I feel the pain in my arms.

The moment was then and he will speak.

He will speak.

I do not handle money, sir.

Mr. McBain.

- I am so grateful, it was my son.

You found my son.

- Give it to my assistant.

- May we come again, please?

- Well please telephone for an appointment.

I'll help you as I can, but there's so many others.

You must wait your turn.

- Thank you.

- Thank you.

- Look at that man, he came in despising me

and he goes out like a clod.

I can't stand weak people.

I can't stand them.

- These people are different from the ones

we used to work with, they have the worst unhappiness.

- Did you get all the newspapers?

- [McBain] Yeah, I got 'em all.

- Then read me the lists.

- For this week's casualties, the War Department

announces the following members of the Army

listed as dead, PFC Thomas H. Donne.

- Only those missing in action.

- I still don't like using that kind.

- It doesn't make much difference if you like it or not.

- Don't you treat me like a servant.

- But you are.

- I taught you everything about this racket.

- Profession, Robert.

- That's what you like to pretend,

but it is a racket, a swindle,

a con game as any I ever did.

- I only obtained the more crude aspects

of the profession from you.

- Everything, and I want you to stop pushing me around.

- You taught me a series of Halloween tricks,

carnival mumbo-jumbo, I made it pay.

- There'll still carny tricks.

- They're science.

- And you took them from me.

- How could I possibly take from you?

I have insight, you don't.

I know about people's superstitions, desperation.

I can read their weakness and fortify their strength.

- Haven't we made enough?

All the people we've taken already?

- [Adelaide] Helped.

- Taken, conned.

- We haven't taken or used anyone.

We've helped them.

- Used to be wealthy old dowagers

who were on their last legs anyway, people with time

to waste, that was different from this stuff--

- Bereaved and despairing, we give them hope.

Widows and weeping mothers, we bring them their loved ones

who've died on remote battlefields.

We put their shattered bodies together.

- I wish I understood you.

I wish I knew what you want.

- I want money.

I want happiness.

They're the same.

- You've got money.

- Not enough, the war will be over one day.

This is our last chance to cash in.

Now read me the list of those missing in action.

- PFC Timothy Arlington, 927 North Queens Avenue.

- That's not a good neighborhood.

- Wouldn't it be simpler to go back to the relatives

of the men who've been killed,

wouldn't it be easier to work them?

- I told you, no.

I am through being caught up on so many details,

struggling to keep ahead of idiots

who don't even know their own desperate need to be helped.

- The War Department has investigators.

- With a man missing in action, who's to say

whether my information about how he died is right or wrong?

Not even the War Department.

Not even the men who are supposed to know.

Now go on with the list.

- First Lieutenant, John Porter, 1438 Williamsburg Road.

- Which end of Williamsburg Road is that?

- [Robert] I don't know.

- Find out.

(rotary dials)

(phone rings)

- Operator, would you give me the phone number

of a Mr. Porter, 1438 Williamsburg Road?

Yes.

Brighton, 24599, thank you.

Brighton, that's the north end above Sunset.

That's a rich section.

- Call him.

Call him, you know what to say.

(rotary dials)

(phone rings)

- [Porter] Hello.

- This is Mr. Porter?

- [Porter] Yes, this is Mr. Porter.

- This is the father of Lieutenant of John F. Porter?

- I am his father, what is it?

- This is the War Department.

- You found him?

Oh, I'd almost given up hope.

You found my son alive?

- I regret to inform you sir that your son is dead.

(dark dramatic music)

(moody dramatic music)

- Ah, Ms. Winters, I'm sorry I wasn't here

to receive you, but I was detained.

I had some business to attend to.

- I have more than business to attend to, Mr. Porter.

I have other people's feelings.

- I said, I'm sorry, please sit down.

- Thank you.

When I first called you I thought you said, you would want

to talk and then make your decision about going ahead.

- I wanted to.

- Well this is my third visit to discuss it.

My third trip to help you decide

if you wish to contact your son.

- It takes time.

- Time to admit what I do is legitimate and worth a try?

Or, time to admit you need my help?

- To trust what you do, Ms. Winters, requires faith.

I need time to have that.

- There's no reason to have faith

in anything until it's proven itself.

- I have never been to one of those things.

- You said that the first visit, and the second,

now this one, goodbye, Mr. Porter.

- [Porter] Wait, please.

- You've lost your only son.

You've turned to friends, work, to your money.

Have any of those things helped?

- [Porter] Nothing helped, nothing.

- You wife is gone, many years.

You raised a son yourself.

You made a world for him he'll never have.

You did all that, and this one last hope

to ever know the sound of him,

the reality of him, you toss aside.

Let me try to help you.

At least let me try to find out how he died and where.

- Ms. Winters, I have been a realist all my life.

- This is real.

- Maybe.

- What you mean is you hope so.

You hope it's true.

You hope it's real.

- You're a very compassionate woman

and an honest human being.

- We'll start, now...

Here, here in this room,

with daylight flooding it,

where you can see everything I do,

among the familiar objects of his life,

the place in which he grew, objects can be a medium.

In this room where the sound of a child's laughter,

but of a father and son playing in loving roughness.

From these sights and sounds of the past,

we will, we must, we shall invoke your son's spirit.

I hear a sound.

I can't, a distant sound, I don't know.

It's not a familiar sound.

Your son flew a plane, bomber?

- Yes, he did.

- I hear, I don't know.

I'm sorry, it's gone, it's lost.

- And now?

- I've failed, it won't come back now.

- Will you try again?

- Whenever you wish.

- I want you to, just one more time.

- But at my home, this is a place of the past,

distant past, it doesn't let in the present.

- All right, your home.

(planes roar)

- We invoke the sounds, the objects of a lost spirit,

a young man, lost, lost where?

Where?

(plane buzzes)

(gun fire)

I don't understand.

I don't.

- What is it?

What is wrong?

- It's so close, an imminent thing so close,

so near, I sense it, but, but beyond me,

just out of my reach.

- You're not going to give up?

- Perhaps someone else can help you more.

- No, but I've tried three times.

- And each time, closer.

- To what?

- To...

To my son, yes, closer to my son.

- Not if I can't break through.

- [Porter] You must try again and again.

- And if I fail?

- [Porter] Then again, until you succeed.

(plane buzzes)

(bombs explode)

- The image is vague, it's not clear.

The things of his death, they are wrong.

No, no it was not in the sky or the earth.

I hear a voice.

It comes from the seas, from the water,

from the deepest waters of the oceans.

I call you, I beg you, I beseech you,

through love of your father to ease his pain,

to end his anguish, give a sign of love to your father,

that you love him, show you love him.

(plane explodes)

- [John] The way I died, I was afraid.

- Who, who is it?

John, is it you?

Who is it?

- [John] Afraid of dying, but now it is beautiful,

the water, the peaceful water, we sailed you and I.

The sea, the quietest sea, below the quiet sea

there is rest and beauty, death is not terrible.

- Oh, thank God.

- [John] Do not lose me, father.

Do not lose me.

(plane hums)

- Stay, please stay.

- [John] Do not lose me.

- Oh my son, my dear son.

(dramatic music)

Ms. Winters?

Ms. Winters?

Ms. Winters?

- We did, we reached him.

- Yes, thank you, thank you.

(dramatic music)

- He's out there again.

- Really, for who long?

- About half an hour, maybe.

He wasn't there when I let our last client in.

- His appointment is next.

- No it isn't, he's a couple hours early.

I don't like it.

- Well, he has nothing else to do.

- Yeah, but this has been going on for over a week.

- Only because this is where's he found a greater happiness.

(doorbell rings)

- Think that's Porter?

- You'll let him in.

- You've sort of taking on a personal

feeling for him, aren't you?

- Answer the door.

- You're gonna take him before his regular appointment?

- Will you answer the door?

(doorbell rings)

- I'm early, again.

- Come in, come in.

I'm flattered that you've come so early.

- Well, to see you as well.

- That's most gracious.

We've been having wonderful success, haven't we?

And I'm always delighted when the gift I have is successful.

It's a good feeling.

- You're a fine person.

- Well, I try to be.

Sometimes I'm not.

Sometimes I fail myself.

And that's when astral communication is impossible,

when I concentrate only on myself.

- You're a rare human being.

- Why, thank you.

- I recognize them.

- How?

- They're truly aware of other people's needs.

- I try to be of help to everyone.

- Maybe too many.

- Why too many?

How could I possibly help too many?

- Well, never mind, let's begin.

- You're acting unusual today, Mr. Porter.

Is something wrong?

- I said begin, no talk, just begin.

- We'll see here, I offer my services but that doesn't

give license to you or anyone else to--

- Yes, you're right, I have no special prerogatives.

- Well, even you, considering the number

of sessions we've had, it doesn't even give you that right.

Did you hear me?

Mr. Porter?

- I can't stand you spending so much time with others.

- [Adelaide] But it's my work.

- I have offered your money, double you fee for extra time.

- My work is very exhausting.

I can just manage so many hours a day,

just so many and no more.

- I want all your time.

- Impossible.

- Why?

- Well, just the expense alone.

- I can afford it.

- I've never worked that way.

- Any fee you name.

- I don't know if it can be done.

- Triple your fee.

- I mean, I don't even know if it would count for much.

- I must be with my son more, I must.

- Oh, but we'd be pestered all day long by other clients.

They'd keep coming here demanding that I give them time.

It's just as important to them as it is to you, Mr. Porter.

- I know, I realize that.

So you must come and stay at my home.

- But McBain, my assistant.

- Well, why do you want him?

- Because he's always been with me.

- Bring him, the both of you, come, live in my home.

It's a huge house.

Since my wife died years ago, since she died,

and now my son, I need your help.

You can bring my son to me, you can, you can.

Please, please, I need you.

(dramatic music)

- Of course, of course.

(suspenseful music)

- There can be serious disadvantages to being 10 feet tall.

For one thing I just dropped a quarter on the sidewalk.

We shall continue our story after how local stations

advise you who is bringing you our show.

(moody dramatic music)

- I put everything in your rooms.

- [Adelaide] Thank You.

- [Porter] Did they show you to your quarters?

- Yes.

- Are they satisfactory?

- And if they're not?

- Well, we can always change the.

- Oh no, no, no, it's okay.

It's just that I've never had rooms over a garage before.

- Oh, it is magnificent.

- Yes, you will be happy here.

- I know.

- I'd like to show you your suite.

- A suite?

- Yes, I remodeled two rooms for you.

- Well, you're the most thoughtful man I've ever known.

(dark dramatic music)

Is it all set up?

- Nope, I checked every electric circuit I could find.

Our speaker system doesn't fit into any of them.

- Well, if you need more time,

I'll get him out of the house.

- There are servants, remember?

- All right, and servants too.

- And it still won't work.

- We'll think of something.

- Oh, what for?

- So we can get what we want.

- So you can get what you want.

- All right, if you choose.

- Well, it's true isn't it?

- I don't owe you anything.

We stopped being more than business

associates a long time ago.

- You did, I didn't.

- And I still like you, you know that.

- Yeah, but not enough, huh?

- Help me get what I want and you'll see.

We'll be comfortable for the rest of our lives.

- Together?

- Maybe.

- For good?

- For a while, at least for a while.

- I can get a portable sending-receiving radio.

- Couldn't anyone pick it up on its set?

- No, no it's a wireless intercom system.

I can fix it so it fixes to only broadcasts about 100 feet.

We could put one anywhere in the house.

- What if you get several units?

- Well what for?

We only need one for sending, one for receiving.

- Not if you put one in the living room,

one in the garden, and one in the study.

- Yeah, that's a good move, if he can take it.

- It's what he wants.

- I still say, only if he can take it.

- I'll take care of him, you take care of the radio sets.

- [Porter] The servants are in their quarters.

- Well, that wasn't necessary, Edward.

I don't mind if they're about.

- Oh, but I do.

This is an experience meant just

for the two of us, and for my son.

- The three of us.

- None for you?

- No, not now.

To this place, John, this place, your father's house

that you knew so well, and lived in with love.

I bring you to this house of loving memory.

Can you hear us?

We invoke no objects of war, but to forget war,

to destroy death, we call you to the living.

- [John] To my father's house?

- This is a place you return to for your father.

- [John] For my father, for you.

- These rooms, to share with you,

to share the place and time in which we move.

- [John] To share.

- [Adelaide] And to share that place with you.

- [John] This place, to share, with me.

- [Adelaide] For this moment, to be remembered,

is your new world, as peaceful, as peaceful and contented.

- [John] More peaceful, more than the world I left.

More than the world.

(dramatic music)

- As if he were alive?

- He is.

- In that dress?

- And this one.

- I was so right to bring you here to stay, to stay always.

- As long as I can.

- As long as I need you?

- Yes.

- Each day my life becomes more wonderful

because you make it possible,

and more beautiful because you bring us together again.

- Because this is a home of love.

There is nothing hostile, nothing antagonistic

to send him from us.

- Nor to keep us from him.

(dramatic music)

- Or to keep us from him.

- I picked up the mail.

- The servants do that.

- Yeah, well I've been doing it for the past few weeks.

There's a letter for you.

It's addressed to Porter, but it's really

meant for you, from the War Department.

I heard they were sending letters to relatives

of servicemen killed in action.

So, I've been watching for it.

- What did it say?

- Warning against people like us,

who contact the parents of casualty.

- Who could've told them?

- Nobody had to, it's routine.

(birds chirp)

- There's nothing to worry about.

- He's given enough, or shall I say taken enough.

I can see it in his eyes when you walk past him.

- You're jealous.

- You know, he sits up most of the night.

I've looked in and watched.

He sits downstairs and he looks up at your room,

and sometimes he even takes a chair,

and sits next to your door.

- What of it?

- He talks about you and his son,

like the three of you were a family.

- Your jealousy is dangerous.

- I'm telling you it's the time to lay off.

It's time to clear out.

- You would like me to run, to leave all this?

Well, I won't and you'll have

to wait for me longer than you thought, much longer.

- Oh, I can wait, I've waited a long time already.

- I'm going to marry him.

- But, I've helped you.

I've worked for you.

I've risked everything for you.

- [Adelaide] You've been repaid.

- I'd have made that kind of money working my on pitch.

I love you.

I stayed with you because I loved you.

- You can still stay around.

- Oh no, no, no, not now I won't.

- Getting brave again, huh?

This is a comfortable life.

You'd throw it over for love?

I'm not marrying for love.

Why should you throw all this away for love?

- Did he ask you to marry him?

- Speak up, Robert, I can't hear you.

- Did he ask you to marry him?

- No, but he will.

- You're so awful sure of everything, aren't you?

- Because I read people's needs.

I read his needs and supplied them, supply and demand.

Now he must hold on to me, because I'm the only person

who can bring his son to him every day, like a clock.

(sinister music)

(moody dramatic music)

(door knocks)

What, who is it?

- It's Edward, may I come in, please?

(uneasy dramatic music)

I'm sorry, Adelaide, I know it's the middle

of the night but I had to talk to you.

- Oh please come in, don't apologize.

- Thank you.

- [Edward] Do you always lock your door?

- Well yes, usually.

- Nothing could harm you in this house as long as I'm here.

- Then I shan't lock it again.

- I couldn't sleep because I kept thinking

about this wonderful month that we have spent.

- It has been wonderful.

- Thinking how happy my son sounds.

- He is in a world more peaceful than any he's known.

- Yes, that's it, happier than I've ever heard him,

even more than--

- What are you thinking?

- That I feel like a younger man

since we've begun our life together.

- Time turns back when we're with our loved ones.

Time turns back.

- And we become more hopeful.

- To share your life with someone.

- I have been sharing my life with you.

- We've only worked together.

- More than that.

- Because I wanted to help.

- Adelaide, do you remember what my son said?

- Why, yes.

- He seems to know so much about you.

- Well, in astral telepathy there

is communication beyond words.

- My son is becoming very fond of you, I know it.

I can tell by the sound of his voice.

- You speak as if he were alive, like us.

- Isn't he?

- Well, yes of course he's like us.

We're all as one, but we have a life

in this world to live before the other,

so much to live for.

- Can it compare to his world beyond the grave?

- Well, no, but we must wait our time.

We cannot ignore this life, we're in it.

We must live as best we can.

- I've tried, with all my money,

my time, my position, I have tried.

It doesn't mean anything.

It can't compare to his happiness.

- Well, but he would want you to enjoy all of this.

He was cheated of it.

He was cheated and you must enjoy it for him.

- All this was for my son.

- But you haven't lost him, through me you've regained him.

- That's why all of this belongs to you now.

- I'm only a kind of employee.

- Don't say that!

- I'm paid a salary.

- You're like a member of the family.

- Like, but not actually.

There's a great difference.

- You are the family, you, and John, and I.

- John is a spirit now.

- You, John, and I, one family again.

- You speak as if I were your wife.

I'm not, Edward, I'm not at all.

- You will be my wife.

My dear, my wonderful wife.

- Kind, sweet, Edward.

(ominous music)

What's wrong?

- I sensed something, just now, odd.

Someone with us.

- [Adelaide] There's no one with us.

- Not as if we were in this room at all.

- But we're here, here in this room, look about you,

the table, the chairs, you know them.

We've never left this room.

- We were with my son.

For the first time we were with my son.

- No Edward, no, it's not--

- As if he wanted us to be with him,

to share our happiness.

(sinister music)

- I tell you, he's dangerous.

- Oh, I've seen many like this before.

It's the shock of belief, the shock

of faith and then it subsides.

- Will you stop talking like we're a religion.

We're racketeers, honey, we're con artists.

- You are.

- He doesn't know what's real, or not.

- Look, you're jealous.

- [Edward] He is dangerous.

- How?

- I don't know how, exactly.

- Would he turn me over to the police?

- More, there's something more.

- Maybe he'll demand his money back?

- He's losing his reason.

It's like he can't hear anything else, like--

- Don't generalize, be specific.

For once in your life be exact.

- I don't know, I told you, I'm no doctor.

- And you're frightened?

- Those are the ones who stay alive,

the ones who know when to get scared.

- It's incredible that I once thought you were not only

smarter but much braver than I was.

- If you're as smart as you think you are,

you should get scared enough to run.

- Not until I have all this.

- We could walk out that front door now.

- Don't you understand?

I have to stay until I get

what I worked for, just until them.

- You are scared.

- I'm going to marry him.

(laughs)

- You're really frightened.

You're putting on an act!

- Nothing's gonna make me leave.

(laughs)

- You know I'm right!

- Coward.

(slapping)

Coward.

(dark suspenseful music)

(wind gusts)

(unnerving music)

(door handle twists)

(suspenseful music)

- Adelaide?

- [Adelaide] I'm not a sleep.

- I've been thinking about you for hours.

- I've been thinking about you too, I couldn't sleep.

- Adelaide, what does all this mean to you?

- Our marriage?

- This house?

- Nothing without you.

- My money?

- Only something to share, together.

- [Edward] Nothing more?

- You're my life.

- You are my life, you and John.

- Why do you keep saying it, that way?

- Because it's true.

- John is dead, he's waiting,

but he's not with us, not really.

- What is John to you?

- A son, your son, and mine.

- You love him as I do?

- I've told you that I--

- Why must we wait?

- Wait?

- Why must we keep him waiting?

- [Adelaide] You can't be serious?

- But you said, you said, this world,

this material world meant nothing without me.

- No, no, Edward, no, this is our world.

- What is there to wait for?

This place of evil, of corruption, you've said so.

You've shown me that.

- Look, Under strain and upset, things get distorted.

- You have shown me the beautiful world

that lies beyond the grave.

- No, I didn't, I didn't.

- You taught me faith, you taught me about the life beyond.

Don't lose that faith.

Don't be afraid of losing this world.

John is waiting for us.

(suspenseful music)

- Oh, this is the only world, the only one.

There is no astral world beyond.

None, it was a lie.

- John's voice, a lie, my own son's voice?

I would know his voice in a crowd, in eternity.

- I'll show you, I'll show you it was a lie.

Robert McBain, in his room, come, come to his room.

- Don't leave.

Adelaide, wait.

(suspenseful music)

(intense harrowing music)

- Robert, Robert you've got to!

(Adelaide whimpers)

(footsteps approach)

- It was a lie, it was a lie.

(gunshot fires)

(dark dramatic music)

- There's nothing to be afraid of anymore.

(gun shot fires)

(dark dramatic music)

- I finally had to come down.

I became tired telling people how the weather was up there.

Next week I shall remain the proper height.

Scenes of next week's commercials will be shown in a moment,

a small segment of our next story follow that.