Strange Tales (Old Time Radio)
Jun 7, 2026 · 0 min · 6 segments
This time on Strange Tales, The Haunting Hour brings us its story titled, Date In The Dark. This episode originally aired sometime in 1945. Listen to more from The Haunting Hour…
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[dramatic music]
No.
No, stay where you are.
Do not break the stillness of this moment, for this is a time of mystery, a time when imagination is free, and moves forward swiftly, silently.
This is The Haunting Hour.
[dramatic music] Date in the Dark.
[eerie music] Midnight.
Midnight in the metropolis, town of a thousand moods and contrasts, of wealth and lightness and laughter, of poverty, heartbreak, and tears, of shadowy people and dark, dark things.
Big city, hard-boiled and tender, weak and mean and cheap, without dignity, and great and proud and powerful.
And the metropolis at midnight, filled with the high spirits of joy-seekers, revelers who give way to the goodness of living, or try to forget the badness of living.
Midnight that is brooding, sinister.
The sounds of the big city at midnight, the squeaks and roars of taxi cabs, the rumble of trucks, the moan of riverboats.
And underground, the subway.
And under and above, the sounds of the people, shrill, ribald, futile.
But there is quiet, too, in the teeming city at midnight, the quiet that is broken by the wail of a child, the rattle of a snore.
Or, as in the home of Earl Breton, a p- private detective, and his partner, Owen Bailey, called The Professor, [telephone ringing] the telephone rings.
[telephone clattering] And the Professor answers it.
Hello?
Earl Breton?
No, this is Mr. Bailey, Breton's partner.
Who's calling?
This is Bill Henderson.
Is Earl there?
Just a moment.
It's Bill Henderson, Earl.
[dramatic music]
No.
No, stay where you are.
Do not break the stillness of this moment, for this is a time of mystery, a time when imagination is free, and moves forward swiftly, silently.
This is The Haunting Hour.
[dramatic music] Date in the Dark.
[eerie music] Midnight.
Midnight in the metropolis, town of a thousand moods and contrasts, of wealth and lightness and laughter, of poverty, heartbreak, and tears, of shadowy people and dark, dark things.
Big city, hard-boiled and tender, weak and mean and cheap, without dignity, and great and proud and powerful.
And the metropolis at midnight, filled with the high spirits of joy-seekers, revelers who give way to the goodness of living, or try to forget the badness of living.
Midnight that is brooding, sinister.
The sounds of the big city at midnight, the squeaks and roars of taxi cabs, the rumble of trucks, the moan of riverboats.
And underground, the subway.
And under and above, the sounds of the people, shrill, ribald, futile.
But there is quiet, too, in the teeming city at midnight, the quiet that is broken by the wail of a child, the rattle of a snore.
Or, as in the home of Earl Breton, a p- private detective, and his partner, Owen Bailey, called The Professor, [telephone ringing] the telephone rings.
[telephone clattering] And the Professor answers it.
Hello?
Earl Breton?
No, this is Mr. Bailey, Breton's partner.
Who's calling?
This is Bill Henderson.
Is Earl there?
Just a moment.
It's Bill Henderson, Earl.
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