May 17, 2026
Unknown Broadcast | Deadly Writers, Haunted Doctors & Classic Radio Terror: Four Old-Time Horror Stories

Unknown Broadcast returns to the Weekly Spooky feed with another strange cargo of old-time radio horror stories, classic OTR suspense, vintage radio mystery, gothic terror, and shadowy tales where love curdles, death lingers, and fate seems to have a key to every locked door.
Tonight’s transmission brings four eerie classics from the darker corners of the dial: a writer haunted by the women he created, a sinister door in old Paris, a doctor’s final confession, and a waiting man whose patience may be the most dangerous thing in the room. The signal is warm. The fire is bright. The host is smiling. And yet, somehow, the room keeps getting darker.
🖋️ Three Women — A struggling writer creates a woman too vivid to stay safely on the page, but when fiction begins demanding blood, the ending may no longer belong to him.
🚪 Sire de Maletroit’s Door — In old Paris, one wrong step through one wrong door becomes a trap of honor, marriage, and menace, where escape may depend on accepting the impossible.
💉 The Last Letter of Dr. Bronson — A doctor leaves behind a chilling confession of ambition, murder, madness, and revenge, written as though the dead still have one final diagnosis to deliver.
🕰️ The Man Who Waited — A quiet household hides jealousy, illness, and betrayal, while one patient watcher waits for the perfect moment to turn love into something fatal.
Four classic OTR horror stories pass through Unknown Broadcast tonight… and whether it begins with a book, a door, a letter, or a man who simply waits, the ending may already be written somewhere in the static.
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
🎉 Unlock exclusive bonus episodes and support the show on Patreon!
👉 WeeklySpooky.com/Join
📬 Contact Us / Submit Your Horror Story!
🎵 Music by Ray Mattis 👉 Check out Ray’s incredible work here !
👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
🌐 Explore more terrifying tales at: WeeklySpooky.com
Tonight’s transmission brings four eerie classics from the darker corners of the dial: a writer haunted by the women he created, a sinister door in old Paris, a doctor’s final confession, and a waiting man whose patience may be the most dangerous thing in the room. The signal is warm. The fire is bright. The host is smiling. And yet, somehow, the room keeps getting darker.
🖋️ Three Women — A struggling writer creates a woman too vivid to stay safely on the page, but when fiction begins demanding blood, the ending may no longer belong to him.
🚪 Sire de Maletroit’s Door — In old Paris, one wrong step through one wrong door becomes a trap of honor, marriage, and menace, where escape may depend on accepting the impossible.
💉 The Last Letter of Dr. Bronson — A doctor leaves behind a chilling confession of ambition, murder, madness, and revenge, written as though the dead still have one final diagnosis to deliver.
🕰️ The Man Who Waited — A quiet household hides jealousy, illness, and betrayal, while one patient watcher waits for the perfect moment to turn love into something fatal.
Four classic OTR horror stories pass through Unknown Broadcast tonight… and whether it begins with a book, a door, a letter, or a man who simply waits, the ending may already be written somewhere in the static.
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
🎉 Unlock exclusive bonus episodes and support the show on Patreon!
👉 WeeklySpooky.com/Join
📬 Contact Us / Submit Your Horror Story!
- Twitter: @WeeklySpooky
- Facebook: facebook.com/WeeklySpooky
- Email: WeeklySpooky@gmail.com
🎵 Music by Ray Mattis 👉 Check out Ray’s incredible work here !
👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
🌐 Explore more terrifying tales at: WeeklySpooky.com
WEBVTT
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Ah, my dear, so good to see you again, always
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happy when you make your way to my little place here.
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Please have a seat. It's getting darker and darker, but
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the fire is plenty bright, and I'll get something warm
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for us to drink as we try to chill ourselves
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back down. Oh what's that? Well, I suppose I wouldn't
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be a very good host if I let that happen. No, No,
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take your mind off of such frivolous and deadly concerns.
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Try instead to focus on three women.
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Come in. Welcome, I'm e. G. Marshall.
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Welcome to the sounds of suspense, to the fear you
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can hear. I have a story for you about a writer,
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a writer of books.
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We all know what it is to read a book.
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We all read sometimes to learn, sometimes to pass the time,
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sometimes to experience a life unrelated to our own, and
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sometimes to surrender ourselves to the fantasies of a person.
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And we have never met, and we'll never meet. But
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what is it to write a book?
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Ah?
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That's another thing altogether. But what difference does it make?
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All the difference in the world. Well, it's not as
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if it.
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Were read, don't you see that? I mean, it's not
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real life.
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It is real life. It's a life more real than
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yours or mine, or any life.
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Than anyone will ever live.
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How can you say that it's just a book.
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And our mystery drama Three Women was written especially for
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the Mystery Theater by Elspeth Eric and stars Ruth Ford.
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It is sponsored in part by Anheuser Busch Incorporated brewers
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a Budweiser. Our return shortly with that one?
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What is a book?
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Two?
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Three four hundred pages of words lying side by side
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in rows.
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That's all words. We all know, many of them. We use.
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Nothing mysterious about the words themselves. But they are not
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thrown helter skelter on the pages.
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Are they? Oh?
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They lie there in a certain order, each one following
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on the one before. And who prescribed that order? Who
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put this word here and that word there?
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A writer?
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And this is the story of a writer named Stephen
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Lake and the book he wrote.
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Yeah, does mister Lake live here?
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Yeah?
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Is her home? And could I see him?
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Well, he's worked king.
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Could you tell him please?
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It's mister Higgins to see him. Higgins, I'm a publisher.
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Look could I step inside?
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It's terribly cold out here. I guess.
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So he really is working, isn't he. I mean I
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hear him. He's typewriter.
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You're a publisher, you say, yes, that's right. If you
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just tell him you can go on up up, yup
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that ladder.
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That's where he works.
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Up there. Oh, thank you.
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You get to the top, just bang on the trap door.
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Well, yes, thank you.
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Bang hard. She'll hear you.
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Yes, all right, he heard you, mister Lake.
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I'm Albert Higgins, Albert Higgins, not from.
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Yes, from Higgins and heart. All right to come up
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the rest of the way.
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All right, Well I should say, can you make it?
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Can I?
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I think I can't. Yes, here we are. I can't
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believe it, mister Albert Higgins. Very same this where you work. Yes,
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it's the only place I can get away.
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I live with my wife and my mother in law.
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That was my mother in law who lets you in. Well,
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it's nice and secluded up here. Anyway, I may I
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take your cold mister Higgins, Oh thank you? No, actually,
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I think i'll keep it on.
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You're cold.
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Well, it's awfully cold outside.
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Well, I think it's even colder in here. I get
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where I don't notice it. You have a stove.
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I see, yes, but sometimes I forget to put wood.
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In just a second, I'll get it going again. That's
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a real old Franklin stove, isn't it? Genuine article?
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I haven't seen a Franklin stove in years.
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They're great if you remember to keep them lighted. A
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place it down, Miss Higgins.
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All right, well, now i'd better explain what I'm doing here.
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I truly like to know.
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My secretary handed me your manuscript just as I was leaving.
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The office for the weekend. We have a little ski.
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Lodge up here, my wife and I right up the
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road from you, as a matter of fact.
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Because I think maybe I've seen it right off Route
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seven about a mile north.
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Yes, that's it.
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Well, I was coming up by myself, and on the
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train I read your book.
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When I got to the lodge.
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I read it again.
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I like it a lot, except for one thing. What's
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that You've made one grievous error, mister Lake, or may
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I call you Stephen, call me anything?
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What's the mistake?
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You've killed off the most attractive character in the book.
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You mean, Clarissa.
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You can't do that, my boy.
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Why nine tenths of the book's appeal is the charm
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of that girl. She's another scarlet o'fer.
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You can't spend.
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Two hundred pages making us fall in love with this
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marvelous creature and then poof just like that, have a
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die on us, go out of our lives.
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You just can't do that. But I have to.
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You don't have to at all, Stephen. You've written a
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marvelous book. I want to publish it.
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All I want from you is ten new pages, the
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last ten.
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Write me ten new pages at the end and let
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Clarissa live. I can't. I can't now, Steven. That isn't
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asking mine. It's everything. I can't do it. She has
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to die. She has to. Why does she have to die?
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Because because if she doesn't die, I don't know what
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will happen to me?
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Mama, me forget your.
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Books, get her ready, just about because Stephen, he gets
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so wrapped up in his writing.
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Oh he's not wrapped up now.
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Listen to him. He's thinking, Mama.
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He's walking up and down to help him think. But
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he can't be putting words down every single minute.
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He's been walking up and down like that ever since
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that man left.
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Well man, what was somebody here from?
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Mister Higgins?
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Higgins, Albert Higgins from Higgins in Heart.
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I believe he did say was a publisher.
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Oh, Mama, it was our last hope.
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You know, every other publisher turned down Steve's novel, and
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he sent it to Higgins and heart.
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Mister Higgins was here.
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They're up there together for about fifteen minutes, and then
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the great mister Higgins came tumbling down the letter like
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the devil himself was after him, very red in the face,
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looked at me like everything was my fault, and catapulled
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it out of here.
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You didn't ask Steve what happened?
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Retther, When have I ever asked mister genius type novel
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writer Stephen Lake anything he feels like telling me.
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He'll tell me what she never does.
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I'm going to find out.
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Good luck is all I can say, Steven.
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It's impossible, absolutely impossible, Steve.
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Impossible.
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Chris Darling, are you all right?
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Oh? You just get home?
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Missus McGinnis. Want of the windows washed, Darling? Mama said,
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don't want you washing windows, Stephen. Mamma said, there was
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a man here today.
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Mister Higgins, Albert Higgins. He really was here. He has
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a ski lodge up the road.
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He didn't just drop in, diddy, what did he want?
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He read my book?
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He wants to publish, Oh, Steven, why didn't you say so?
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He wants me to change it? Well?
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Does he want you to change it a lot completely?
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Oh?
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But would that be a lot of work the.
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Last ten pages? He wants me. He wants me to
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let Clarissa live? Is that all, oh, Steven mean? Is
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that all?
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Clarissa is supposed to die? It's all been decided, she
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has to die. I can't better go on living just
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to please mister Higgins.
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But it's not just mister Higgins. Oh, Stephen, I wasn't
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going to tell you yet, not for a while, but
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I can't go on doing housework for other people much longer.
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I never wanted you to do housework for other people,
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but pretty soon I.
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Won't be able to. I'm I'm going to have a baby, Stephen.
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You're not. Yeah, you must be wrong.
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Oh no, I'm not wrong, not about this. You must
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be with Stephen too, Glad.
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That's a little bit and coming right now? What with
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mister Higgins wanting to publish your book?
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When the spring we'll both be having babies.
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You'd be having your book and i'd be having it.
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I can't let Clarissa live.
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I can't do it. She has to die, just the
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way I wrote it. She has got to die.
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Stephen, you're frightening me.
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I'm sorry.
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What difference would it make if you let Clarissa live?
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All the difference in the world, Just not as if
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it were real.
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It's just a book.
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It's not just a book, Loretta. I can't talk about
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it anymore right now.
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When you think about it, won't you about rewriting it.
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I'll think about it, well.
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Mama says, dinner's almost ready.
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I'll be right down when don't belong. I won't Clarissa, Clarissa,
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I can't let you live.
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Yes, I can't die.
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I can't.
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Just can do anything you put your mind to, Stephen,
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anything at all. Ye're such a great man. You can
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do anything, absolutely anything at all.
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You know you can, mister Higgins, missus Stephen Lake. I
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have to see you, sir, No, right away, if that's possible.
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I'll come to your place. Yes, yes, it's better that way.
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In an hour, all right, sir, I'll be there.
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Oh that's my sweet Stephen, my dear lost by old
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brilliant boy, my Stephen.
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I'm glad you've called me, Stephen.
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I must say I was a trifle perturbed that you're
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out first this afternoon.
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It seems such a little thing.
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I was asking to kill off a character like Clarissa
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in the last ten pages, when you've spent the entire
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book and instructing her her magnetic personality.
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It's not right. I have to do it, sir.
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It's cheating meeting your readers up the garden bath.
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I'll tell you something which perhaps I shouldn't, but anyway,
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I discussed with my wife the possibility of a sequel
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to this book using the same central character, Clarissa. It's
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a shame to waste a character like that on one book.
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There should be another, and perhaps another. How can we
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do that if you kill her off at the end
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of your first.
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Book, mister Higgins, I've been writing for seven years steadily.
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I've never sold anything. Six years ago I got married.
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My wife, Loretta, has been working as a domestic all
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these years, and her mother goes out every day to
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do other people's lundry. I haven't brought in one red
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scent in all that time, but now you will lots
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of reds at the house We're living in one room schoolhouse.
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