Unknown Broadcast | Christmas Horror Stories of Gifts, Ghosts & Snowbound Suspense - Weekly Spooky: Horror Stories & Scary Tales

Episode Transcript
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Speaker 1 (00:08):
Hello, my dear, So good to see you so close
to the holidays. I do so enjoy your visits. What
say tonight we stay up late, really late, and enjoy
something frightful together, try to make ourselves feel merry and bride.

(00:34):
Or it's that well, I suppose that wouldn't be much
of a difficulty. Just give me one moment. Hot tea
is our usual go to, but tonight, why not warm cocoa.
The fire's burning bright, it's so warm and inviting. Let's

(00:57):
gather around, because moments like these aren't the celebration, they're
the gift.

Speaker 2 (01:07):
Radio, mystery theater presents. Come in, Welcome. I'm a g Marshall.

(01:33):
The moving finger writes, and having writ moves on. Nor
all your piety nor wit shall lure it back again
to cancel half a line, Nor all your tears wash
out a word of it, or put it this way.

(01:54):
You can never erase nor rewrite what has been inscribed
in the book of your life, Or can you What
are you doing here?

Speaker 3 (02:04):
Water?

Speaker 2 (02:05):
I had to see you, reader, I had to see you.
Don't you know it's dangerous, Rita? After all, we killed him.

Speaker 4 (02:12):
Oh you've got that all wrong.

Speaker 2 (02:15):
You killed him no, no, we both planned it. We
both did it. Your fingerprints on the gun, Rita, you
were there. It was your idea.

Speaker 4 (02:26):
What was my idea?

Speaker 5 (02:29):
Walter?

Speaker 6 (02:30):
I don't know what you're talking about.

Speaker 2 (02:40):
Our mystery drama, The Gift was written especially for the
Mystery Theater by Sam Dan and stars Robert Dryden. It
is sponsored in part by a Bwick Motor division and
True Value Hardware stores. I'll be back shortly with that one.
And we have laws against it, both man made and divine,

(03:13):
practically all civilized and most uncivilized societies as well prohibited.
So then how do you account for the fact that
murder has flourished since the dim red dawn of history.
Murder by individuals, murdered by groups, murder at wholesale, murder
at retail, but murder everywhere and enough to spare. We

(03:38):
are in a pretty little cafe law. A man and
a woman are at a table, holding hands. They seem
to be very much in love, and yet as we listen,
the very first word we hear is murder.

Speaker 5 (03:56):
Now what brings the s.

Speaker 2 (04:00):
Plan to do it?

Speaker 7 (04:01):
Don't we?

Speaker 6 (04:02):
Of course time, but we don't have to talk about it.

Speaker 2 (04:06):
What do you mean we don't have to talk about it.

Speaker 6 (04:08):
But what I mean is we don't have to talk
about it anymore. Everything we have to say has already
been discussed. It only remains to be deaf.

Speaker 2 (04:17):
Yeah, maybe maybe, Walter, Are you beginning to have second thought?
I don't know.

Speaker 6 (04:29):
Well, for your information, you were the first to mention
it six months ago, didn't you say, if only Dennis
weren't around?

Speaker 2 (04:38):
Well? Yes, what did it mean?

Speaker 8 (04:42):
You have a way?

Speaker 6 (04:43):
I have a way of cutting through the months of
cracking the shell to get at the meat. Well, do
you want to call it Austin?

Speaker 9 (04:52):
Do you?

Speaker 7 (04:54):
Walter?

Speaker 6 (04:55):
The time has come for you to take a stand
and to stay there.

Speaker 2 (05:00):
Those were good court We're going through all that again. Oh,
it's something to think about.

Speaker 5 (05:04):
It was something to think about.

Speaker 6 (05:07):
It was one of a great many problems and dangers,
but we considered each one of them, arrive at a
decision and put them.

Speaker 5 (05:15):
All behind us.

Speaker 6 (05:16):
Yes, there's no guarantee we'll get.

Speaker 2 (05:19):
Away with you. Does it have to be done today?

Speaker 6 (05:23):
Will it be easier tomorrow?

Speaker 10 (05:27):
Yes, you're right.

Speaker 11 (05:28):
No, we're right.

Speaker 6 (05:31):
This is being done by the two of us.

Speaker 2 (05:35):
But five o'clock time to go. I don't see the
waitress around will have to.

Speaker 6 (05:39):
Leave a ten dollar bill on the table that will
more than cover it.

Speaker 12 (05:42):
Read I'm leaving now, Walters, with you or without you?

Speaker 2 (05:56):
Oh hello, yeah, uh war right, there's some time of contails. Oh,
I know how negative you feel about classical music. Walls,
Why I don't exactly got to tend here, And that's
your problem. Well, t have a thing Offred Angel Wilstein
for us. He's a little libation here. No, no, no, Dama,

(06:16):
you turn the other way. That's lobber now, reader, really
it's not the blasteria drops now water now? What water? Hey?

Speaker 13 (06:28):
What what you.

Speaker 2 (06:31):
We're gonna do with a gun? Oh?

Speaker 14 (06:34):
No?

Speaker 2 (06:34):
What water? Dog? I'm sorry missus Sollen, I'm all right
now in your own words. Can you tell us what happened? Well,

(06:55):
a little tenants savage, I've already Oh I know, mister Powers.
But another eye witness reported the same event. Usually add
some details.

Speaker 6 (07:02):
That I don't mind, Lieutenant. I want to help much.

Speaker 4 (07:07):
I can thank you, as Walter and mister Powers.

Speaker 6 (07:11):
Said, we came into the apartment. Well, it must have
been about four five fifteen. Dennis was listening to his
music in the study. I recently wanted paging a Thurday landscape.

Speaker 2 (07:27):
I heard of him, Yes, Missus Allen.

Speaker 5 (07:30):
Then you know.

Speaker 6 (07:32):
I had it hung in the living room. Walter hadn't
seen it yet, so he and I went inside.

Speaker 2 (07:38):
And yes, missus land.

Speaker 6 (07:43):
You know how you can get lost in a Thurday landscape.
So we must have been looking at it for all
of ten minutes. Then we went back to the study.

Speaker 12 (07:55):
And and.

Speaker 2 (07:58):
Would you careful drink of water, missus Holland.

Speaker 6 (08:01):
No, no, we saw Dennis flying on the floor. He
was very still, and you could see that dark stain
of blood on his shirt over his heart. You knew
you you could tell that he was.

Speaker 2 (08:19):
And what else did you see?

Speaker 6 (08:22):
What else did I see?

Speaker 2 (08:25):
Not very much? Nothing? Nothing? Well, did you notice that
the what did you call it, mister Powers, that tacitor
collection Louisiana. That's the task of a collection. Did you
notice that it was gone?

Speaker 6 (08:40):
I'm afraid the only thing I really saw was my
hus lying said, I tried to close my eyes against Lieutenant.

Speaker 2 (08:48):
Now, as I understand that your husband had these coins
called the Tastit collection.

Speaker 6 (08:54):
Yes, they were twelve English cold sovereigns, minted in sixty
sixty two by King Charles the second to honor one
of his friends, Lord Tacitus.

Speaker 2 (09:05):
And what was this collection worth?

Speaker 6 (09:09):
Or been insured for one hundred thousand dollars?

Speaker 2 (09:12):
And your husband wanted to sell?

Speaker 5 (09:14):
Yes?

Speaker 6 (09:15):
Why Dennis was aterial person killed with sudden whims, subject
to unpredictable moods. He was always buying, selling, changing his mind.
He was not a part of his charm.

Speaker 2 (09:30):
And where was the collection usually kept?

Speaker 5 (09:33):
In avolved?

Speaker 2 (09:35):
Then how was it he had these valuable coins in
the house.

Speaker 6 (09:40):
The word was out among collectors and in the trade people.

Speaker 5 (09:45):
Were coming to look.

Speaker 2 (09:46):
Well, isn't it usual or sell these things at auction?
To turn them over to a dealer.

Speaker 6 (09:51):
Benefiting his own way, he wanted to be sure that
the buyer would be someone who could appreciate the.

Speaker 2 (09:56):
Meaning of the collection. Then Dennis was whole all day.

Speaker 4 (10:02):
Yeah, he was expecting buyers.

Speaker 6 (10:06):
At about the three I went out for a walk
the night. I ran into mister Powers here. We stopped
for a drink and then decided to go home pick
up Dennis for dinner the theater.

Speaker 2 (10:21):
You came home, now you remember seeing the collection on
his desk?

Speaker 5 (10:26):
Yes, I'm sure I did.

Speaker 6 (10:29):
It would have to be there because if he'd already
sold it.

Speaker 5 (10:33):
He'd just said. So.

Speaker 2 (10:34):
Now you went into the other room to look at
the painting, and you were there for ten minutes. Now,
during these ten minutes, someone came in. I was a
person enter.

Speaker 6 (10:47):
The only way is through the front store.

Speaker 2 (10:50):
Money'd have to ring a bell. The door locks automatically,
and there's no sign of forced entry. You didn't hear
a bell.

Speaker 15 (10:57):
No, would you see?

Speaker 6 (10:58):
He had his music going.

Speaker 2 (11:00):
It was very loud, and this same somewhat then shoots
your husband. You didn't hear a shot. No, and you
didn't either, mister Powers. No, as she said, the music
was going full blast in the next room. Well, thank you,
missus Allen h Yes, that's out. Lieutenant Savage. Dennis Holland

(11:25):
was my closest friend. He was also a fine human being.
His murderer must not go unpunished. We'll do what we
can at Tom Mandy got your pictures ready, all right,
let's leave, Oh goodbye, missus Holland, mis Powers all A,
don't father. We can let ourselves out. We got away

(11:54):
with this. This detective bought the story. I could tell
he bought the story. We need it.

Speaker 6 (12:00):
Easy for him, A simple story.

Speaker 12 (12:03):
Snow frills.

Speaker 6 (12:05):
He had the coins on the desk.

Speaker 12 (12:06):
We were in the next room.

Speaker 6 (12:08):
Someone comes in to buy kills him. He's got the
music going. We don't hear a thing.

Speaker 5 (12:13):
We come back.

Speaker 9 (12:15):
That's all over beautiful.

Speaker 6 (12:17):
And do you want to know why? It's a good
story because it's built on a.

Speaker 4 (12:23):
Platform of facts.

Speaker 6 (12:24):
Each one can be readily verifast First, then it's did
on the Passier collection. I think he did want to
stop get taken out ads. Third, he did bring it
home from the vault.

Speaker 2 (12:37):
The clerk would remember, for people.

Speaker 6 (12:40):
Were coming in and out all day. It's I said,
we went into the living room to look at a
new Faraday painting, and there is a new Faraday painting.
Sixth We said we couldn't hear anything because the music
was so loud. The neighbors will be glad to tell
the police out Constantly they complained about that love music.

Speaker 2 (13:00):
Wait a minute, wait, good lord, what is it? Should
we be talking like this? What should we be saying
what we're saying? It just occurs to me. There were
two or three detectors spoking about the place while the
Lieutenant Savage was talking to us. What were they doing?

Speaker 6 (13:23):
What are the features looking for fingerprints and well anything
that might serve.

Speaker 11 (13:28):
As a pete.

Speaker 2 (13:28):
That's what they'd like us to think they were doing.
How do you know they weren't planting secret microphones whatever
for to record this very conversation.

Speaker 6 (13:41):
Oh what if they did it?

Speaker 2 (13:43):
They did it, then you admit they did it.

Speaker 6 (13:46):
Oh, come on, water, it's so far fat.

Speaker 2 (13:49):
Use anything far fits today. Look, a man is murdered,
the police automatically suspect his wife and his friend, not
when they're the.

Speaker 4 (13:57):
One hundred thousand dollars robbery.

Speaker 2 (14:00):
Robbery story is our story.

Speaker 6 (14:02):
Now, look, we have a lot to do. Birth and
hide the gun and the coin upon the farm.

Speaker 2 (14:07):
Take it like a.

Speaker 4 (14:08):
True and loyal for and make the funeral arrangements, will you?

Speaker 6 (14:11):
But before you do that, take me home to my
mother's and then you can return to your place and
I'll call you.

Speaker 2 (14:34):
What what's this music? Where's this music coming from?

Speaker 16 (14:41):
From?

Speaker 2 (14:41):
A record player? A record player? But I don't have
a record player. I bought you one, you book, Dennis, Yes, Dennis,
you're dead. You have to be dead, Dennis, He's dead,

(15:04):
and get your standing year. That's a pretty good declarative sentence,
isn't it. You're dead and you're standing here. It consists
of two independent faults, and you would think that one
negates the other. Well, grammar is grammar, and murder is murder.

(15:30):
But surely in this case something has to give. It
will give me a few minutes breathing space, and I
shall return shortly for that too. The basic drawback of

(15:54):
being dead is that it lasts forever. This bit of
wisdom was uttered by an anonymous character in a forgotten
novel by a completely undistinguished writer named T. Presley mcclello. However,
it does seem to have captured what was always considered
a fundamental human truth. Are we about to discover a

(16:18):
new vision? At five point fifteen pm, mister Walter Powers
shoots and kills his best friend, mister Dennis Holland. At
nine pm that same evening, mister Walter Powers returns to
his apartment and who is sitting there listening to a
Beethoven symphony by mister Dennis Collin? Dennis here, I'm there,

(16:47):
start with that. So you're dead? Who knows? I've better
new water? You kill me, but you're here? Will you
call be here? If I kill you? Less? You're imagining it?

Speaker 3 (17:02):
Yes, yes, that's it.

Speaker 2 (17:05):
It's all in my imagination. If it's your imagination, how
do you account for the music? I can account for it.
Turn ything off if you say so, woten, But still
you must account for it. You know you don't own
a record player? Did you subconsciously go out and buy one?

(17:29):
Why would I buy one? Because you're now in the
hands of your conscience. Remorse what I did, I would
do again. It's just that I have to expect a
few bad moments. I think I see what you do
see me. I'm here. The record player proves it. If

(17:53):
I'm just a creature of your guilty imagination, then how
do you account for the plan? And maybe you needed
it to help the name, But the fact is it's here.
How did you get here? Well, I must have gone
out and brought it myself. When you spent the afternoon
with Rita, you killed me exactly fourteen minutes out of five.

(18:15):
You were at the apartment with the police and one
thing or another till eight. Then you had to take
Rita to her mother's and here you are at nine o'clock.
But every minute to count it for if it's still
I don't know, no, no water, the record player is
here because I brought it, and I brought it as
a gift, A gift, I orwe you a present for

(18:36):
what for killing me? Well, you say, if you hadn't
done it, I'd have had to do it myself, and
I just wouldn't be able to summon the courage. So
let did begin by thanking you. Yeah, I don't understand.
I was very sick. Quarter for that percent. I'd be
lucky to live a here. Oh I didn't know. Well,
I just found out lucky to have a year, and

(19:00):
they said in a few weeks there might be some
very intense pain. Then you would have died. Yes, I
would have died anyway, but in terrible agony. That's one
reason I thank you, one reason, where the other is
I'm broke. You were broke, croustas, cleaned out, washed up.

(19:24):
Why do you think I was selling the Tacitor collection?
I don't know. I thought you were bored with all.
Never it had to go to meet my debts. In
about four or five months, the truth about my financial
juggling would come out. I'd be disgraced. There, I'd be
deathly illstone broke, and under indictment. You saved me from

(19:45):
that water. I thank you. That's what I came back
to tell you. But that the dead cannot come back.
You know, I used to think that myself. But the
deads do come back all the time. That so many
of the living are too blind, too insensitive to see them,
to feel them, to hear them. I hear you, I

(20:08):
see you so clearly. But it has to be my imagination.
I'll turn this on. Listen, that's not your imagination. I
want you to develop a taste for it. Water. You
fank me of what's going to happen. I'll go back
where I belong, where you belie don't belong here. I

(20:33):
just have some unfinished business. That's all unfinished business. I
have to take care of you me. You're my best friend.
Look at what you did for me. But I murdered you.
I murdered you in cold blood. You had that look
in your eyes just before I pull the trigger. Do

(20:54):
you think I'll ever forget that look? Or you're always
so metodramatic?

Speaker 10 (20:58):
Waldon.

Speaker 2 (20:58):
As I fired, there was a brilliant flash, you're telling me,
I thought i'd go blind for a second. Your eyes
became very bright, and then they started to become darker
and darker as the light has them flickered and slowly faded.
Then all the light went out of him.

Speaker 10 (21:21):
I was dead.

Speaker 2 (21:22):
Yes, that's exactly what it feels like. All the light
goes out of you and you're lost in a dark void.
I'm sorry. Then, Oh, you're not the blame. She puts
you up to it. I know she did. She knows
how to drive a man wild. Well, she'll go time
to you, not awhile. You'll sense it in her eyes,

(21:46):
her restless eyes. Already she's planning for your successor now
wait a minute, I unconscious. Then not all she has
the many men, but she will one day, and then
she'll be prepared driving it. What did you do with
the gun and the coins? I hid them? Why didn't

(22:06):
you destroy them? Because she said to hide them? Hide them?
Hide them where up at the farm? What for so
she can have that gun handy in case she'll need it.
Why would she need it? Why she needed a gun
for me?

Speaker 10 (22:21):
Didn't she?

Speaker 2 (22:23):
Are you? Are you saying she may not use it
to shoot you? She'll bring that gun to the police,
to the police, you know what you'll say? Come on, Dennis,
what can she say? She's in it up to her neck,
which is why she wants to get out. But ruttens,
She says, she is such a resourceful, inventive, creative woman.

(22:44):
Can't you imagine what she could say? Think, Walter, think.

Speaker 6 (22:56):
He did it? What power did it.

Speaker 5 (22:59):
Are you with?

Speaker 2 (23:00):
She's using water powers. Missus Holland, protect me, don't kill me.

Speaker 5 (23:05):
He's insane?

Speaker 12 (23:06):
What is insane?

Speaker 14 (23:08):
I'll tell you everything.

Speaker 6 (23:10):
We came back to the apartment, or to hateed Dennis.

Speaker 4 (23:15):
She shut Dennis, shut him in cold.

Speaker 2 (23:18):
Just a minute, please, missus Holland was.

Speaker 6 (23:20):
In one of those coins that ties to the collection.
He shut Dennis and he forced me to go along
with the story.

Speaker 5 (23:26):
Or ef you kill me.

Speaker 2 (23:28):
You don't know what he's like, missus Holland, have you
got any sort of proof?

Speaker 6 (23:35):
I know where he hit the coin, hit the cat?

Speaker 2 (23:43):
Could she play a scene like that? Is reader capable
of it?

Speaker 9 (23:47):
Walter?

Speaker 2 (23:48):
But she loves because she also loved me. It comes
and goes with herm Why cling to a dying tree?
Why treasure would no longer blessom? Those words those were?
How would I know those words? Oh foolish water? Didn't
she also speak them to me one day? And she

(24:08):
whispered them on a sailboat. We were running before a
freshening breeze. A long, honey color hair was flying straight
back in the wind, a wind that also held her
shirt taught against that beautiful curving line of the body.

Speaker 3 (24:23):
She didn't make her.

Speaker 2 (24:23):
Believe anything at a moment like that. Tell me where
and when did she whisper those words to you? It
can't be real, You can't be real. Listen to the
music again.

Speaker 3 (24:35):
The water.

Speaker 2 (24:38):
Only I could have brought it here. It proves this
is real. It proves I'm here to help you, here
to save you. Saved me from what.

Speaker 10 (24:50):
From her?

Speaker 2 (24:50):
Is that?

Speaker 5 (24:51):
It?

Speaker 2 (24:51):
Yes? Because she'll want to get rid of me one day?
Right now, there's something you forget. Sure there was another
guy before you, and she ditched him for you, and
she got rid of you for me, And you say
my turn's coming up exactly, Well, maybe it isn't. Maybe

(25:15):
there's something you can't face up to. Maybe you and
how many other guys before you simply weren't men enough
for her. Ah ha, mister Matchau, All right, let's assume
that's true. Then your whole theory flies out the window,
only to walk in again through the door. That little

(25:37):
scene in the police station. What little scene?

Speaker 17 (25:42):
You mean?

Speaker 2 (25:43):
That imaginary little episode will have to take place? You
know why? Because you say so? Of course, logic demands it.

Speaker 3 (25:49):
What rot it?

Speaker 2 (25:50):
The logic of reality? A man is shot to death
in the house at the time? Are his wife and
his best friend?

Speaker 5 (25:57):
Now?

Speaker 2 (25:58):
Woul't be investigating? Detictive asks himself at the very beginning,
is are these two having an affair? I would say
he's convinced they are. Why because he's trained, his experience
teaches him to look for those things. But how can
he tell people in love give themselves away? And any

(26:18):
one of an infinite number of little things? Walter A glance,
a gesture, smile, a frown. Who knows? And so we
begin with the old Lieutenant Savage. Do you think he's
adult podding policeman? Don't sell him shorts, Lieutenant Savage. What
do you think he's doing right now? Howard Diner? You

(26:39):
can fecture it. He's in his office at his desk,
Lieutennis Savage. Oh, yes, the inspector. I'm doing the report
right now. Well, Dennis Holland had these coins worth about
one hundred thousand, A court could have come in killed
them and grabbed him. So we have to run a

(27:01):
net among dealers, collectors, and so forth. On the other hand,
we got the wife and the best friend. Now they're
in the next room while a thirty eight caliber revolver
goes off and they claim they didn't hear a thing.
Well that's what they say. I think I get a
little bit of a clique there. Well, I want to
give it a play. Yeah, I'll get right on it.

(27:27):
And he's on it this very minute.

Speaker 10 (27:32):
What will we discover?

Speaker 2 (27:33):
Women, Why don't we discover nothing? Are you trying to
tell me there was nothing? We were very discreet, discreet.
Nobody knows about us, nobody. Let's check that out. We
are now in the area of routine, basic police routine.

(27:55):
The police are experts when it comes to routine, and
if it's a crime, it can be sound. The use
of routine. The police crank it every time. I know
what you're talking about. I wish you didn't know what
I was talking about. Tomorrow morning till it Savage is
going to ring Rita's doorbell, and do you know what

(28:15):
he's going to ask her? How could I call it?
It's a question. He couldn't ask her this afternoon. She
was upset. But it's a question both you and she
can very well expect. What is the question? What you
should know? It's the question that marks the beginning of
the routine, From the beginning of the routine, the end

(28:45):
of which leads to a lifetime in a cell or
just a fleeting moment on a scaffold. Neither is a
prospect which actually pleases. And what is this question that
can give birth to all the wolves and troubles that
threaten to engulf water Powers? Not to mention Weeta Holland, Well,

(29:09):
we'll give birth to Act three shortly.

Speaker 5 (29:14):
Me.

Speaker 2 (29:22):
Whoever it was that said we are a world of strangers.
We see each other dimly as flickering shadows in a
darkened room may have had something. What do we really
know about the next fellow? Water Powers and Dennis Holland
were lifelong friends. And yet did Walter know he'd be

(29:44):
doing Denis a favor by killing him? What question is
Lieutenant Savage going to ask? Can't you picture it? He
will ring the bell, Lita will answer the door. He
will apologize for a staving her. He will say, I
just have a few questions, missus Holland yes, you said

(30:04):
you were at home with your husband till three o'clock
yesterday afternoon.

Speaker 12 (30:08):
At three o'clock.

Speaker 6 (30:10):
Yes, that's about right.

Speaker 2 (30:12):
And then you went out for a walk. Yeah, and
then you said ken And I don't remember whether you
said you met mister Powers or you ran into mister Powers.
Oh well, it wasn't.

Speaker 6 (30:25):
A set appointment or anything. Yes, that would happen every day.

Speaker 2 (30:30):
I see. Now you said you went in for a drink.

Speaker 5 (30:34):
Yes, we generally worked.

Speaker 2 (30:37):
Where where do we go for a drink?

Speaker 13 (30:40):
Oh?

Speaker 6 (30:40):
Well, that little place is south the square.

Speaker 2 (30:43):
Miletti, I see Mileetti's. Thank you very much, Yes, missus Hollen.

Speaker 12 (30:50):
Is that important?

Speaker 2 (30:52):
It's just routine, rutee. That's the first routine question. I
wonder what do you suppose will be the second? I
don't know what are you supposed he's going to ask it?
Milettis of course, miletteis mil Lettis. You would sit at

(31:14):
the piano bar, wouldn't you? Yes? And Jerry the piano
player knew you, didn't he I had? Yeah, what's he
going to tell Lieutenant Savage?

Speaker 18 (31:25):
How would I know?

Speaker 5 (31:26):
Bar?

Speaker 2 (31:26):
Now you know this is a murder case. Jerry is
not about to lie to a come, Jerry's going to
tell Lieutenant Savage exactly what he saw.

Speaker 18 (31:36):
And you know what he saw?

Speaker 14 (31:38):
Well?

Speaker 2 (31:39):
The I mean they come in most the afternoon for
a happy hour. You know what would they do? What
would they do?

Speaker 3 (31:47):
Where?

Speaker 2 (31:48):
Well, a couple of grids to listen to me very piano?
I mean, what were I supposed to do? Did they
all hands? Well? Did you ever see them hold hands?
Now that's a direct question. Yeah, how often every time
they were here alone? I don't know. I don't come,

(32:09):
but they did hold hands? Play it you go out
for me. They could just be friendly. Did he ever
put his arm around her? You really might have? Once
a twice? They ever kiss? Maybe once a trice. All right, Jerry,
that's good enough. I'll let you off the hook.

Speaker 9 (32:31):
Now.

Speaker 2 (32:35):
Now that's where the routine pauses, gathers momentum, and moves ahead.
So what do you suppose Lieutenant Savage is going to do?
Now he knows that you wouldn't be her having an affair,
But he has no pro hole. He knows it in
his bones water. He has the building blocks. All he
has to do is put them in place. So he's

(32:56):
going to ask questions, many questions of men people. Think
of all the people who knew about or suspected that
you and Reader were having an affair. Think in particular
of medicent Webber. Milica. The name drains all the color
from your face, and rightly so. Now, when in the

(33:21):
course of his routine investigation, Lieutenant Savage talks to Medicine's Webber,
what do you suppose he's going to tell him? Would
I love to be there to hear it, But you
know perfectly well just exactly what she'll say. I would
rather not discuss Walter Power, missus Webb. This is a

(33:42):
murder investigation.

Speaker 19 (33:44):
What you want to know from me is was there
anything between Water and Rita Harland? Yes, ma'am, And let
me say that about some time I read this story
in the paper about poor Dennis how a lover shot him.

Speaker 5 (33:57):
I don't believe a word.

Speaker 2 (33:59):
You don't.

Speaker 4 (34:00):
No, and you don't either.

Speaker 2 (34:02):
Walter and Rita were happening in an affair, and you
would testify the Persian court.

Speaker 6 (34:07):
Not that only because my testimony would be prejudicial.

Speaker 2 (34:12):
We see, I have reason to get test Water Power.
Where are yes? For reasons?

Speaker 19 (34:17):
He was engaged to my younger sister. He broke it
off to run around.

Speaker 2 (34:22):
With that married woman. Dolls took it very hard. I
tried to tell her she was let her off out
of it.

Speaker 19 (34:30):
But she was a very romantic child. She was at
the beach last summer. There was an accident.

Speaker 2 (34:39):
She drowned.

Speaker 6 (34:41):
I think she did it deliberately.

Speaker 2 (34:44):
That's all I can tell you. You know of any
way we could prove reader Holland and water Powers were
having an affair. No, wait, of course I do your motel.
I want to twist with him.

Speaker 16 (35:01):
I had him shadowed.

Speaker 19 (35:03):
The detective reported that Walter and Rita had spent several
nights there. I presented the evidence to Doth. Yes, that
was the end of things between them. Was off at
the beginning of the end of everything for Dars.

Speaker 2 (35:21):
The Riverview Motel, Thank you, missus Webbin. The Riverview Motel.
Water That's what Medison will tell him. And how many
desk clerks, chambermaids and cocktail waitresses will remember the two
of you together there. What are you trying to convince
me of? Well, but you are getting closer and closer

(35:42):
to that little scene in the police station where she
sells you down the river. You don't know how much
she really loves me, she would never do that, which
she may have no charge water the routine, It's become
a juggernaut. It threatens the ride right over her. Now,
Lieutenant Savage is going to go back to her. Now,

(36:04):
Lieutenant Savage's arms, he's ready, and you can just picture
what he's going to say. You're crazy, You mean you
can't picture it? Water? You mean he isn't going to
ask missus Holland, are you having an affair with Water Powers?
Should I repeat the question? How care you?

Speaker 6 (36:26):
Would you have no right to ask such an indulting land.

Speaker 2 (36:30):
If I were to go to the Riverview Motel, di,
did you much? Would I find witnesses among the personnel
who could testify that you and mister Powers engage the
room there? Quite often? Would I? You can?

Speaker 15 (36:49):
Did Joseph Powers?

Speaker 5 (36:52):
Gee?

Speaker 14 (36:52):
Did so?

Speaker 2 (36:57):
You see water? The scene? We are ready for the scene.
You don't believe it. I don't believe any of this,
and I can't. I'm going crazy.

Speaker 17 (37:12):
I have this.

Speaker 2 (37:14):
Hallucination that you're here, that a dead man is talking
to me, that a man I killed is here in
this room targing to me for me. It were an hallucination.
All of this is Henria all of this is here
and phantom oh Rita, and I must do is not
lose our heads. He has to send you down the
river water. Now you're not really. All I have to

(37:38):
do is cut you out of my mind. I'm real water.
It's a reality you can't understand. Yes, in this room, however,
there is a reality that you can understand. It takes
up room. You can stub your toe against it, you
can touch it, try to switch on.

Speaker 11 (37:57):
You can hear it.

Speaker 2 (37:59):
The record player. I brought you the record player. You
left the house at three this afternoon. It wasn't here,
was it? No, Like he tells you why, I brought
it as a gift, so that you would believe me.

Speaker 6 (38:13):
Right.

Speaker 2 (38:14):
It's the finest you can buy water, exactly like the
one I have, or I had in my house. You see,
look at it, listen to it. Only I could have
brought it. Yes, Yes, place yourself in my hands. I'm
the only one who can help you.

Speaker 14 (38:34):
Really.

Speaker 2 (38:36):
She mustn't play that scene in the police station. She's
capable of it.

Speaker 18 (38:40):
Didn't he isn't he?

Speaker 2 (38:43):
Yes, one way or another, one day or another. You
have to be killed, just as I had to be killed.
Kill her first well, now you have to. But that
will surely I I I mean the police. U I'll
be arrested for murder. Know you won't.

Speaker 5 (39:06):
What do you mean?

Speaker 10 (39:07):
I won't?

Speaker 17 (39:08):
For her?

Speaker 2 (39:09):
I'm dead, which means I see things.

Speaker 10 (39:14):
Kill her.

Speaker 2 (39:15):
You won't be caught. Right now, she's asleep, all alone
at her mother's house. Go there, quietly, kill her quietly.
No one will know. Kill her. You'll get away with it.
Trust me, believe me, be believe you. Isn't this music

(39:43):
proof that you can believe me? Yes? Yes?

Speaker 14 (39:56):
Who?

Speaker 5 (40:00):
Ship? Who?

Speaker 6 (40:02):
No?

Speaker 14 (40:03):
No? Who? Want not?

Speaker 5 (40:04):
Even life?

Speaker 15 (40:06):
Oh?

Speaker 2 (40:12):
I hope you got rid of the nine? Through it
off the bridge? Good? No one will ever find it?
Well happen? Is now nothing? The police probe and try
and poke around, but proof not at all? Sit tip,

(40:35):
sack tie, sit tip and enjoy the music? Who who
could that be? Why don't you answer it?

Speaker 10 (40:49):
Oh?

Speaker 2 (40:50):
Hey, this is a break, I've glide. You're home? Well
who are you? Who do you think I am? I'm
glad you're enjoying the set. Maybe you want to buy one?

Speaker 7 (40:59):
Eh?

Speaker 2 (41:00):
Hey, maybe that's not such bad play to that size?
What he was talking about? This game? Wanted to give
her husband a surprise birthday present an apartment for E.
She bought him this year record player. What are you
saying on that stupid salesman the store wrote down tweet
on a ticket instead the super let me in here earlier.
You'll make a mistake. That's what I'm saying. I made

(41:21):
a mistakes this record player. If it's a idea from
Dennis to look fair, believe me. Explained it again, and
Dennis tell him. Tell him. You see this woman calls me, Dennis,
she's having a pit Where's that record player? I paid
for that record player, I said, lady. I delivered that
record player. I still live in the apartment three like

(41:42):
the ticket, Say Dennis, why don't you tell him free
she is? It's for E. Please tell him gunners. If
you don't mind, I'll just have to unhook you. What
are you doing? What am I doing? That's mine? Funny.
I just explained, Dennis gave it to me. You. Dennis
told me it would be all right. Look if I

(42:04):
have to get a cop, Dennis said, nothing's gonna happen
to me. Even after you killed her. He said, nothing's
gonna happen to you, Dennis. Dennis knows no, you know
how Dennis knows? Go ahead and asked me, how how
does Dennis no? Because Dennis his dad? Oh oh yeah, yeah,

(42:27):
I say, well, you look, I must have made a mistake.
Yeah of course he did, Yes, Dennis, who brought me
this wonderful record player? And oh sure, sure of course
he did? Well, yeah, yeah, sure, Why well, why don't
you just excuse me?

Speaker 9 (42:44):
Excuse me?

Speaker 2 (42:53):
The end of the story, it writes itself, that poor
frightened sound technician. Can't you see him hailing a police
cruiser or making a frantic call from the nearest phone booths.
Can't you see the police arrive and take our friend
Walter into custody. And you know perfectly well that poor
Water has had it one way or another. It's probably

(43:14):
a cell in an asylum for the rest of his life.
If he ever recovers, there'll be a cell in a prison.
Which would you choose? Choose neither. I'll be back shortly.

(43:37):
Can the dead? Do the dead ever come back? Of
course they do all the time. They come back in
what we do, in what we say, and even in
what we are. They are gone from our sight, their
voices are still, and we see them and hear them.

(44:00):
So clearly sometimes who was it that said to be
remembered is to live forever?

Speaker 20 (44:08):
Our cast included Ralph Bell, Robert Dryden, Evie Jester, and
Sam Gray. The entire production was under the direction of
I'mond Brown, My dear, I.

Speaker 1 (44:22):
Have to admit that was an excellent idea. Oh why
every sip is so comforting, so cherished? Ah. I don't
know about you, but I really needed this to have

(44:45):
a moment, to reflect, a moment too appreciate. Well, I'm
glad you're here to do it too. I suppose at
the end of the day we all have our own
Christmas Story.

Speaker 2 (45:20):
The Mutual Broadcasting System presents The Mysterious Traveler, written, produced
and directed by Robert A.

Speaker 10 (45:26):
Arthur and David Cogan.

Speaker 2 (45:28):
I'm starring two of radio's foremost personalities, Leon Jenny and
Anne Shepherd in Christmas Story.

Speaker 21 (45:45):
This is the Mysterious Traveler inviting you to join me
on another journey into the realm of the strange and
the terrifying. I hope you will enjoy the trip and
it will really woo and cheer you a little. So
settle back, get a good grip on your nerves, and

(46:05):
be comfortable. If you can as we hear the tale
of an enterprising young man. It's the drama called Christmas Story.

Speaker 22 (46:28):
The name is Steve Ferroll, and I've just gotten through
playing Santa Claus.

Speaker 10 (46:33):
Yeah, you're looking at a guy who really played.

Speaker 22 (46:35):
It to the hills. It all started last month in Seattle.
I was out of a job and down to my
last few bucks. I was looking through the morning paper
when I noticed this small ad in the personal column
Driving to New York November fifteenth, man wanted to assist
in driving free transportation.

Speaker 10 (46:54):
Paul Harris Hotel Royal.

Speaker 22 (46:56):
Well, I'd always wanted to see New York, and this
was as good as anyway getting there.

Speaker 10 (47:00):
So I went up to this Hotel Royal to see
this guy, Harris Harris. Yes, my name is Farrell. See Farrell.
I read your ad in the morning paper. Oh yes,
once you come in, think you.

Speaker 22 (47:17):
If you haven't already found someone to help you drive
in New York, I'd like them off of my services.

Speaker 21 (47:21):
Well, as a matter of fact, I haven't. Can you
leave for New York a day after tomorrow?

Speaker 10 (47:26):
Sure, anytime we're good.

Speaker 21 (47:28):
Then when I'd come around at nine in the morning
and we'll get off to an early stack.

Speaker 22 (47:32):
Okay, mister Harris nine it is. I mean, when you're

(47:52):
tired driving, mister Harrison.

Speaker 10 (47:53):
I'll take over.

Speaker 2 (47:54):
Thanks you will. Why not call me Paul?

Speaker 10 (47:58):
Okay, See it's my first name. Lewiston, thirty miles Lewiston.
That's Idaho is Yeah. We're just crossing the state line
into Idaho.

Speaker 21 (48:09):
This is all new to me. I was born and
raised in Alaska. It's my first trip to the state.

Speaker 10 (48:16):
Well, you're going to see a lot of scenery between
here and New York.

Speaker 21 (48:19):
Yes, I'm looking forward to it. Life must have been
pretty rugged and alast game.

Speaker 10 (48:23):
Oh it was.

Speaker 21 (48:25):
My parents were homestead and I never saw a city
until a week ago when I.

Speaker 10 (48:29):
Arrived in Seattle. How come here going to New York?

Speaker 21 (48:32):
Well, my parents died last year and my grandfather, whom
I've never seen, wrote asking me.

Speaker 16 (48:38):
To come visit him.

Speaker 10 (48:39):
You never seen him?

Speaker 22 (48:39):
There?

Speaker 21 (48:40):
No, No, There was some sort of squabble between my
parents and my grandfather before I was born and they
went to alash Gang and in all the years since then,
my grandfather never wrote to them.

Speaker 10 (48:52):
Sounds like a stubborn guy.

Speaker 2 (48:53):
Yeah, he sure died.

Speaker 3 (48:56):
What are you going to New York for?

Speaker 22 (48:58):
Oh, mainly to look for a job, job, and I've
always wanted to see you the big city.

Speaker 10 (49:02):
Sure, why uh do you mind taking over now, Steve?

Speaker 3 (49:06):
My eyes are getting tired.

Speaker 10 (49:07):
They glad to just pull over the side of their own.

Speaker 22 (49:13):
It's a long way from Seattle to New York, and
there wasn't the radio in the car, so we just talked,
and mostly we talked about Paul, his wife in Alaska,
his parents, his grandfather. By the time we hit Columbus, Ohio,
there wasn't the thing I didn't know about the guy.
And from what he told me, his grandfather was loaded.
And even more, he was the old man's only relative.

(49:35):
It was obvious the kid was walking into a fortune. Yeah,
some guys had all the luck.

Speaker 2 (49:42):
So these are the Alleghanium monks.

Speaker 10 (49:44):
Yeah, better take it easy, Paul. The roads a little flippery.

Speaker 2 (49:48):
Okay, how much further than New York two one.

Speaker 10 (49:51):
Hundred and fifty miles.

Speaker 22 (49:53):
It's getting dark. Better stop for the night at the
next tourist court.

Speaker 21 (49:57):
All right, Proways should be able to make New York
by tomorrow afternoon.

Speaker 10 (50:01):
Yeah, it's easy.

Speaker 3 (50:03):
What are you going to do.

Speaker 10 (50:04):
When we get there, Steve, start hunting for a job.

Speaker 21 (50:08):
Look, Steve, why don't you come to my grandfather's house
with me. I'm sure he won't mind putting up for
a few nights.

Speaker 10 (50:14):
Thanks, kid, but don't worry about me. I'll be all right.

Speaker 3 (50:18):
Hi, Steve, I don't want to lose track of Yeah,
I thought.

Speaker 10 (50:21):
We were friends. Sure we are.

Speaker 21 (50:23):
As soon as I get located, I'll let you know
where I am. You know, I thought this, being your
first visit to New York and mine, we might see
the town together. You know the Statue of Liberty that's
your liberty? Yeah, sure, yeah, while we're the same age,
I'm afraid I haven't been around very much.

Speaker 10 (50:44):
I guess it's like you said, strictly from the woods.

Speaker 22 (50:49):
Just one year in New York and you'll be hip
to everything. Your eyes bothering. Hell, you better let me
take over when you get to the bottom of this mountain.

Speaker 10 (50:57):
Okay, you know you want to see an eye doctor.
Her eyes seemed to get tired off a quake.

Speaker 2 (51:03):
Well, the truth of the matter out.

Speaker 10 (51:04):
We're shutting the shid.

Speaker 16 (51:05):
No, don't cam on the brakes, only make it work
the reverse your wheel I.

Speaker 23 (51:08):
Have, she was sitting the mountains wheel and do as
I shined out of control was going over.

Speaker 22 (51:24):
When I regained consciousness, I was lying a few feet
from the car. We'd rolled three hundred feet down the
side of the mountain, and the car was completely right.

Speaker 10 (51:34):
I crawled to my feet and felt for broken bones.

Speaker 22 (51:38):
Other than a bad gash on my head and the
massive bruises, I was okay. I limped the few feet
to the overturned car and looked in. Paul was still
behind the wheel. Even before I reached for his pulse,
I had a feeling he was dead. Paul's luck had
run out. He'd never see all that dough that was

(52:00):
waiting for him in New York.

Speaker 24 (52:03):
Yeah.

Speaker 10 (52:04):
It was then that it came to me.

Speaker 22 (52:06):
I hadn't wished the guy did, but now that he was,
and nobody in the state's Newpaul or what he looked like.
And on the other hand, I knew everything about him. Well,
it was a gamble, all right, but there was a
fortune in the kiddy. I went to work switching our
clothes and all identification. Just as I finished, the state

(52:28):
police patrol car came along the mountain road and spotted
the wreck. They took me to headquarters, where I made
a complete statement. A couple of hours later, I grabbed
the train for New York.

Speaker 21 (52:46):
Paul, I'm George Marlow, your grandfather's attorney.

Speaker 10 (52:49):
How'd you do it? Tomorrow?

Speaker 21 (52:51):
A Pennsylvania state police informed me of the dreadful accident
you had. I understand a man who was with you
was killed.

Speaker 22 (52:58):
Yes, filled by the name of Farrell. I met him
in Seattle. Hectickted me with the driving too bad, But
thank heavens it wasn't. Julie. Would have been your grandfather's
death floor.

Speaker 10 (53:10):
How is he week? Very weak but eagerly waiting to
see you?

Speaker 25 (53:15):
All right?

Speaker 10 (53:15):
Come along getting how's that cash on your head?

Speaker 5 (53:20):
Oh?

Speaker 10 (53:20):
Not too bad? It would freezed by a doctor. To
stay police headquarters.

Speaker 21 (53:24):
You can only spend a few minutes with your grandfather,
and the excitement must be avoided by all means.

Speaker 10 (53:30):
I understand, And here we are.

Speaker 14 (53:39):
How is he?

Speaker 10 (53:40):
John?

Speaker 5 (53:41):
He's much better this afternoon.

Speaker 21 (53:42):
Good Joan. Now, this is Paul Harris. Paul Joan Deetrich,
your grandfather's nurse.

Speaker 9 (53:48):
How do you do Hello?

Speaker 2 (53:50):
Oh is that you Paul guessing? Come over here where
I can see you.

Speaker 10 (54:01):
Yes, grandfamny, So you look for.

Speaker 2 (54:08):
My grandson.

Speaker 9 (54:10):
Hits him.

Speaker 10 (54:12):
Sit down by my bed. Let me look at you
all right, grand funny, how.

Speaker 25 (54:19):
Are you.

Speaker 3 (54:21):
So dog?

Speaker 10 (54:21):
Look like your mother.

Speaker 2 (54:24):
Must take after your father's side of the family.

Speaker 10 (54:28):
Yes, I do.

Speaker 14 (54:30):
That.

Speaker 10 (54:31):
That bandage.

Speaker 2 (54:34):
What what happened?

Speaker 10 (54:36):
For why I was in an accident? But it's nothing
to scratch.

Speaker 2 (54:39):
Yeah you're sure, yes, yes, of course I suppose you're
wondering why I said for you after after all these
years treutting off your mother father.

Speaker 10 (54:51):
As a matter, now, the main thing is I'm here, you.

Speaker 2 (54:55):
Know, lying here for months. I've had a great deal
of time to think things over. I was wrong, Paul.
Your mother she had a perfect right to marry any
one she wished. It is only my stubbornness that prevented

(55:16):
the reconcile.

Speaker 10 (55:18):
We all make mistakes.

Speaker 2 (55:19):
Yes, yes, thirty years I have not seen my own
flesh and blood. It's been lonely, Paul, so lonely. It's
all my fault.

Speaker 10 (55:36):
But you're not alone anymore, I mean, yes, yes.

Speaker 2 (55:41):
Boy, yeah, what what little time I have left we
must spend together.

Speaker 5 (55:48):
I think that's enough. And now mister Marshall Pope can
come and see you later, just a few more minutes,
yea after your nap.

Speaker 2 (55:58):
She's a wonderful girl. All but they're tired, and come
see me soon as I have away.

Speaker 5 (56:07):
All right, grandfather, let me take you.

Speaker 10 (56:12):
Just your being here seems to have helped him pull
What does the doctor see mis tomorrow? Week? Months? Several
months at the outside? That bad?

Speaker 21 (56:25):
Yes, well, you must be tired off your trip. I
had your suitcase taken to your room. If you have
any other luggage on the way.

Speaker 10 (56:34):
There's a small trunk coming, but he won't be here
for a week.

Speaker 21 (56:36):
You need any money, just let me know your grandfather's
place to considerable sum at your disposal.

Speaker 22 (56:41):
Says, But I still have two thousand left of the
five thousand he sent me.

Speaker 10 (56:46):
Never if there's anything at all you want, just let
me know. Yeah, I was in.

Speaker 22 (56:55):
There was no question that I had passed as Paul Harris,
and why not. I had all the answers, and I
was playing a careful I walked through a room after
a room of that Fifth Avenue mansion, knowing that within
a matter of months.

Speaker 14 (57:08):
It would be mine.

Speaker 22 (57:10):
In the weeks that followed, not a day passed and
I didn't spend a few hours with the old land.

Speaker 10 (57:15):
He liked me. I could see that. And the funny
thing is I liked him too.

Speaker 22 (57:21):
During our little chats, there were times I felt I
was his grandson, and sitting in at these little sessions,
not saying much, just watching with those gray eyes of hers.
With Joan Dietrich, she was one lovely dish and I
could feel things building between us. Whenever she got an
evening off, we went out together, having a good time.

Speaker 5 (57:48):
I love dancing. Well, mister Harris, what are we doing
out here on the Terrence music?

Speaker 14 (57:53):
In?

Speaker 2 (57:53):
There?

Speaker 21 (57:55):
Too many people in there. You know, if you don't
make a pass at me soon, I'm going to get.

Speaker 5 (58:00):
Girls of this shoulder quaint three weeks?

Speaker 2 (58:06):
What's the time I got to do with it?

Speaker 22 (58:08):
The day I walked into my grandfather's room first saw you.

Speaker 10 (58:13):
You knew this moment would come.

Speaker 26 (58:16):
Mm hmm, oh my gosh, you the same way, baby,
So I was flying love me, you know, I do?

Speaker 5 (58:29):
In my the tears, Oh, I do love you, and
I want to believe in I'm so confused, so.

Speaker 10 (58:36):
Confused back, Why go on? I want to you?

Speaker 5 (58:44):
Are you really poor?

Speaker 10 (58:47):
Hair? What makes you ask better?

Speaker 5 (58:51):
In your talks with mister Marshall, several things he said
seem strained such a well, your grandfather spoke of a
restaurant in San Francisco, and you said you knew it. Yeah,
if you are Paul Harris, how could you not Paul Harris.
He's never been to San Francisco.

Speaker 10 (59:13):
I might have taken in San Francisco on the way
to New York.

Speaker 9 (59:15):
You know.

Speaker 10 (59:17):
What else about it?

Speaker 5 (59:19):
You mentioned that television show you've seen six months ago.
There is no television in Alaska. If you're Paul Harris,
how could you have seen it?

Speaker 22 (59:30):
People up in Alaska see chemiscopes of television shows. Baby,
they shown like movies.

Speaker 5 (59:38):
Darling, Just tell me I'm wrong, That's all I wanted
to hear.

Speaker 22 (59:42):
I wish I could tell you I'm Paul Harris, but
I'm not.

Speaker 5 (59:48):
You're no.

Speaker 10 (59:49):
No. The name is Farrell, Steve Farrell, Steve har.

Speaker 5 (59:56):
Wasn't that the fellow that was chilled him? That it
was Paul Harris who was killed? You changed identity?

Speaker 10 (01:00:04):
Yes?

Speaker 13 (01:00:05):
How could you?

Speaker 5 (01:00:06):
How could you?

Speaker 22 (01:00:08):
I was tired of being broke, of going from one
lousy job to another. I saw a chance to grab
a fortune and took it.

Speaker 10 (01:00:20):
What are you gonna do?

Speaker 5 (01:00:22):
I should go to the police. I can't mister Marshall
thinks you're his grandson. He's extremely fond of you. If
the truth were to come out, kill him.

Speaker 10 (01:00:39):
Is that the only reason you can't go to the police.

Speaker 5 (01:00:42):
Steve, What are we gonna do?

Speaker 10 (01:00:44):
Nothing?

Speaker 5 (01:00:44):
Nothing?

Speaker 14 (01:00:46):
That's right.

Speaker 22 (01:00:47):
I'm going on being Paul Harris until the old man dies.

Speaker 10 (01:00:50):
Then I'm taking the estate.

Speaker 5 (01:00:53):
You can't?

Speaker 2 (01:00:54):
You can?

Speaker 3 (01:00:55):
Why not?

Speaker 22 (01:00:56):
While the old man's alive. I'm making him happy if
I get his estate when he dies? Who loses by it?

Speaker 9 (01:01:02):
Business?

Speaker 10 (01:01:03):
Though he has other relatives, Why shouldn't I get it?

Speaker 5 (01:01:06):
It's wrong, Steve, It's wrong.

Speaker 21 (01:01:08):
It's wrong only if you're a caught baby, Only if
you're caught.

Speaker 10 (01:01:26):
Hello baby, If you don't up here on the room.

Speaker 5 (01:01:30):
It's getting a little fresh air while mister Marshall's state.

Speaker 10 (01:01:33):
How is he?

Speaker 5 (01:01:35):
He can't last more than a few days?

Speaker 10 (01:01:40):
Who you playing for the old man? Oh me, Steve?

Speaker 5 (01:01:48):
Ever since the other night when you told me, I
haven't been able to think of anything else. It's wrong, Steve,
It's so wrong.

Speaker 10 (01:01:54):
Who am I hurting? If I get the estate? I
deserve it.

Speaker 22 (01:01:58):
If anyone does, at least I'm making the old man
happy in his life down What is your course.

Speaker 5 (01:02:03):
Do you realize I'd send you to prison?

Speaker 10 (01:02:05):
That's the chances you take, baby. Besides, who's going to
get wise to me?

Speaker 5 (01:02:08):
There's mister Marlowe and he's nobody's fool. Just one little slip, Steve,
and he'll be on to you.

Speaker 22 (01:02:13):
Marlow is a sharp citizen, all right, but I don't
intend to make that one slips.

Speaker 5 (01:02:18):
Someone's coming up on the door.

Speaker 10 (01:02:20):
Hello, you too, thought I find you up here? Hello?

Speaker 5 (01:02:24):
Oh are you mister Morrow?

Speaker 16 (01:02:25):
Right?

Speaker 10 (01:02:25):
Well, thank you, I'll stand there. Mister Marshall's asleep.

Speaker 5 (01:02:29):
Yes, I left missus Walker to look after him. He
should be waking up soon.

Speaker 10 (01:02:34):
May we better go down? My grandfather? And oh, what's
the matter shopping your eye?

Speaker 3 (01:02:39):
Paul?

Speaker 10 (01:02:39):
Yes, he's a cinder left eye.

Speaker 5 (01:02:41):
Huh, yes, stop rubbing it. Put your handkerchief over it.

Speaker 10 (01:02:46):
Yeah, things like the devil.

Speaker 5 (01:02:48):
Going over and sit on the chair and I'll try
to take it out for you.

Speaker 10 (01:02:53):
Want me to assist you to the chair, No, no,
I can still walk.

Speaker 5 (01:03:02):
Let's sit down and tilt your head back. Take the
handkerchief away, oh, I said, hope still, yeah, I got it,
Thanks John. I think we better go down. Okay, you
coming mister Marlow.

Speaker 21 (01:03:20):
Right, Oh, yes, yes, I'm coming.

Speaker 5 (01:03:38):
Missus Walker said that mister Marshall was asleep and she
looked in on him a few minutes.

Speaker 10 (01:03:42):
Ago, and she's still sleeping. Perhaps we'd better leave him
wait until he wakens.

Speaker 5 (01:03:47):
No, no, no, I'm waking. It's time for his medicine,
mister Marshall. Mister Marshall, time for your medicine. Mister Marshall,
What is it, John, Yes, no, pump is suet.

Speaker 2 (01:04:07):
Yes he did.

Speaker 21 (01:04:11):
At least the end came peacefully. He died in his sleep.
Joan took the old man's death hard, and I felt
pretty upset myself.

Speaker 10 (01:04:23):
Even with all that go awaiting.

Speaker 22 (01:04:25):
As for Marlow, he was his usual efficient self, looking
after all the tails of the funeralom Maybe it was
the tension I was on there, but Marlow seemed changed
to me.

Speaker 10 (01:04:36):
He wasn't quite so friendly.

Speaker 22 (01:04:38):
And sometimes I turned to find him watching me, giving
me the cold eye.

Speaker 10 (01:04:44):
I couldn't be sure whether it was my imagination or not.

Speaker 22 (01:04:48):
After we got back from the funeral, I was in
my room when there was a knock on the door.

Speaker 10 (01:04:53):
Come in, Ollo, Johnes, come in.

Speaker 5 (01:04:57):
Mister Mortows. Downstairs the library.

Speaker 10 (01:05:00):
To see you close the door.

Speaker 5 (01:05:01):
Yeah, anything wrong, plenty? Whose trunk is that you're going through?

Speaker 22 (01:05:07):
Paul had arrived this morning while we were at the
tune room. I've just been going through some of Paul's
personal papers. I knew, of course that he was four
F in the draft, but I.

Speaker 5 (01:05:17):
Never knew why what are you trying to tell me?

Speaker 10 (01:05:20):
Paul was for f in the draft because he was
blind in the right eye wind in the Yes, that's.

Speaker 22 (01:05:28):
Why I've been getting the cold shoulder from marlow on
these past three days, ever since the afternoon we were
on the roof.

Speaker 5 (01:05:33):
I don't understand.

Speaker 10 (01:05:35):
Somehow Marlowe knew that Paul was blind in the right eye.

Speaker 22 (01:05:38):
And when I got that cinder in my left eye
and I covered it with my handkerchief, you told me
to walk across the roof of the chair sit down.
I remember at that point Marlowe offered to lead me
to the chair.

Speaker 5 (01:05:49):
Knowing you were blind in the right eye and had
your left eye covered with the hack.

Speaker 10 (01:05:53):
Yes.

Speaker 22 (01:05:54):
When I walked over to the chair without hesitation, that
must have started him thinking, I don't get panicky, baby,
marlow can't be sure he's right at the moment, he's
just suspicious.

Speaker 5 (01:06:04):
But if he really investigates, you got.

Speaker 22 (01:06:06):
To kill the suspicion in his mind, stop him from
doing any check. But I don't know yet. On he's
waiting for it in the library. Sorry, who kept you waiting?

(01:06:27):
Mister Tomorrow?

Speaker 21 (01:06:28):
Quite all right, if you'll excuse me now, John, don't go.
No reason why you shouldn't hear what I have to say. Tomorrow,
Christmas Day, I'll officially read mister Marshall's will. However, I
don't think I'm violating a trust and telling you the
contents of the will. Two weeks ago, mister Marshall had

(01:06:48):
me draw up a new will, leaving his entire estate
to you will Paul.

Speaker 10 (01:06:54):
I see. He was quite taken by you, felt that
you were a credit to his name. Why are you crying? John?

Speaker 17 (01:07:03):
Not.

Speaker 21 (01:07:05):
As administrator mister Marshall's will, it is my duty to
see to it that the heirs or air receive their
just inheritances. This duty I shall fulfill. I understand I
am responsible. I'm the law for the awarding of the
huge estate left by mister Marshall. I shall have to

(01:07:28):
see your eye troubling you. You've been doing nothing but
rubbing it since you came into this room.

Speaker 10 (01:07:32):
Sorry tomorrow.

Speaker 22 (01:07:33):
As you know, I'm blind in my right eye, and
now and then my left eye feel quite trained, particularly
a time like this, my grandfather's death funeral. Understand right, yes, yes,
of course you're saying right.

Speaker 21 (01:07:51):
Oh, well, it's not important at the moment. I'll be
here tomorrow at three for the reading of the will.
See to it that all the servants are here very well.

Speaker 10 (01:08:00):
That Joan, Paul, good.

Speaker 5 (01:08:02):
Night tomorrow, good name. See he's confused, that's business to
the eye. He doesn't know what to think now.

Speaker 22 (01:08:15):
Yeah, it stopped him for the moment, but only for
a moment. Hard to tell, but I've got to do
something once and for all to convince him. I'm Paul Harris.
I didn't get to sleep that night. I just tossed
and turned, trying to come up with an angle that
would kill Marlowe's suspicions. Maybe that business of rubbing my

(01:08:37):
eyes it's satisfied in but I had to make sure
it was a difference between being handed a fortune and
the prison sentence.

Speaker 10 (01:08:45):
This afternoon, at three o'clock, the servants.

Speaker 22 (01:08:47):
Joan, Marlowe, and myself gathered in the library the whole
thing was over in an hour. The servants all congratulated
me and left the library, reading only the three of
us there.

Speaker 21 (01:09:00):
I should like to offer a toast to mister Marshall's memory,
if you'll permit me. Of course, Sir was his favorite
cherry John. Thank you, oh thanks. He is to Peter Marshall,
man who lived honorably, died honorably. May his air be

(01:09:22):
worthy of him. As the three of us raised our
glasses to our lips and drank, I could see Marlow
watching me over the brim of his glass, with those
cold blue eyes of his. We set down our glasses
and I turned to give Joan a cigarette. Out of
the corner of my eye, I saw Marlow pick up
one of the three wine glasses. Suddenly I realized it

(01:09:44):
was my glass he picked up. He held it casually,
almost as if he didn't know he was holding it.

Speaker 22 (01:09:53):
In that moment, I was going nuts trying to guess
whether he was satisfied that I was Paul Harris or
he was still suspicious and going out to me. My
fingerprints were on that glass, and the army had a
copy of those prints in Washington.

Speaker 10 (01:10:07):
This was it.

Speaker 2 (01:10:08):
Either I play my.

Speaker 10 (01:10:09):
And go for the fortune or throwing my hand.

Speaker 22 (01:10:13):
Suddenly I felt Jones hand in mine and say, mister
marlow yes, you say this will leaving me my grandfather's
estate is a new one.

Speaker 10 (01:10:22):
Yes, I drew it up only two weeks ago. What
was the old will?

Speaker 2 (01:10:27):
Like?

Speaker 21 (01:10:28):
Well, under the old will, your grandfather's of state went
to charity. I thought as much to marlow Joan and
I have been talking things over. I don't want the estate.
I wanted all to go to charity as originally intended.

Speaker 14 (01:10:45):
Me.

Speaker 10 (01:10:45):
I seem to drop my glass. You realize, of course,
what you would be giving up.

Speaker 22 (01:10:52):
I never really had it, mister Marlowe, so I hardly
think I'll miss it. Joan and I will get along,
won't We may be, Paul, Is that your considered decision?

Speaker 10 (01:11:05):
It is?

Speaker 21 (01:11:06):
It's a gesture worthy of Peter Marshall's grandson.

Speaker 10 (01:11:13):
Yes, and that little gesture did it.

Speaker 22 (01:11:16):
Any guy who gives up a two million dollar estate
can hardly be called an imposter, can he? You know, sir,
it's Christmas and I've just played Santa Claus to the
tune of two million bucks. The thing I keep wondering
about is what would have happened If I hadn't given
up the estate, would Marlow have gone after me?

Speaker 16 (01:11:38):
Or was he.

Speaker 10 (01:11:38):
Satisfied that I was Paul Harris? Yes, sir, that little puzzle.

Speaker 22 (01:11:44):
Is going to give me plenty of thought for a
long time to come.

Speaker 3 (01:12:00):
Yes, this is the mysterious traveler.

Speaker 14 (01:12:08):
Again.

Speaker 10 (01:12:09):
Did you enjoy our trip? Or what happened to Pearl Harris?
Or rather I should say Steve Tavel? He and John
were married.

Speaker 21 (01:12:19):
And the poor fellow is now working at an honest living. Yes,
sometimes he thinks it'd be two million dollars of stead
he gave up.

Speaker 10 (01:12:27):
But then, with taxes what they are, what could he
have kept? In any case?

Speaker 21 (01:12:32):
Only a fortune, which reminds me of the story in
which another enterprising young man allowed himself to be killed
for the sake of acquiring what.

Speaker 2 (01:12:43):
Oh, you'll have to get off here.

Speaker 27 (01:12:46):
I'm sorry, but allow me to wish you a merry
Christmas before you go, And remember I take this same
train every week at this same time.

Speaker 1 (01:13:13):
The snow is coming down rather intensely. No worry here,
the fire is so warm. In fact, I'll put another
log on just to just to be sure. Oh, what's that?

Speaker 28 (01:13:33):
Well?

Speaker 1 (01:13:34):
I suppose I suppose so, I don't know. It's not
something I like to think about it, but I appreciate
your concerns. No, no, all will be just fine. In
a way, my lot in life is kind of like

(01:14:01):
a delayed Christmas present.

Speaker 29 (01:14:06):
The Signal Oil Program. The Whistler. That whistle is your
signal for the Signal Oil Program.

Speaker 25 (01:14:27):
The whistler.

Speaker 2 (01:14:38):
M I am the whistler, and I know many things
before I walk by night. I know many strange tales
hidden in the hearts of men and women who have
stepped into the shadows. Yes, I know the nameless errors

(01:15:00):
of which they dare not speak.

Speaker 29 (01:15:07):
Yes, friends, it's now time for the Signal Oil Program.
The Whistler rated tops in popularity for a longer period
of time than any other West Coast program in radio history.
And here's an important announcement for whistler fans in California. Only,
Beginning next Sunday, January twod you to California's going off

(01:15:28):
daylight saving time. The Whistler will be heard in California
only one hour earlier, from eight thirty until nine. Remember
the change in time in California, only, the Whistler will
be heard at a new time from eight thirty till nine.
In other states, the whistler will be heard at the
same time as always, And now the whistler's strange story

(01:15:53):
delayed Christmas present.

Speaker 2 (01:15:58):
Christmas was really for it was one o'clock in the
morning at Pete's canteena a tough little night spot on
the outskirts of Panama City.

Speaker 9 (01:16:07):
But the melody lingered on.

Speaker 2 (01:16:09):
You could hear the chimes of the Big Church a
block away playing a death stay for daylis there was
practically no business. Four hostesses, all Americans, were sitting drearily
at the far end.

Speaker 9 (01:16:22):
Of the ballroom, near the bar.

Speaker 2 (01:16:24):
One of them, Merry Winslow, billed as Candy Porter, just
sat gazing drearily into space, thinking bitterly of a past
from which for a while he had seen no escape.
But for five months now she'd been relatively safe. No
one had been around asking any questions. As Candy Porter,
Blue Singer, Mary Winslow had found a kind of security,

(01:16:47):
not a happy security, for she was far away from home,
and as the chimes became silent, Mary wondered if it
was worthwhile her reverie was broken up. As she looked
up and saw Miss Pete, a fat, greedy owner of
the cantina approaching her table, Gondy candy.

Speaker 16 (01:17:06):
Look, this American general just came in.

Speaker 2 (01:17:08):
He wants to buy you some Champagne's champagne.

Speaker 12 (01:17:11):
You here, Pete, Not tonight, it's Christmas. I'd rather be alone,
if you don't mind.

Speaker 9 (01:17:15):
I don't mind.

Speaker 2 (01:17:16):
Look all right, all right, let.

Speaker 12 (01:17:18):
Him spend his money on champagne.

Speaker 25 (01:17:20):
Now, you smart baby?

Speaker 2 (01:17:22):
Here he goes.

Speaker 25 (01:17:27):
You turn.

Speaker 2 (01:17:27):
See the tall, heavy set American approach suddenly become tense.
You recognize the type, don't you. After a year of
running away, you've learned to spot his kind. In a moment,
you'll fight to remain calm as.

Speaker 9 (01:17:41):
He reaches your table.

Speaker 10 (01:17:43):
Sit down, sit down?

Speaker 25 (01:17:45):
Sure you don't mind?

Speaker 10 (01:17:48):
Nice?

Speaker 25 (01:17:49):
In that case, I guess it will.

Speaker 9 (01:17:50):
I'll go get this champagne. I keep him all nice.
Eleven years old, cool.

Speaker 12 (01:17:56):
Sire at mister Fontaine. In mind of Christmas?

Speaker 14 (01:18:03):
Right?

Speaker 25 (01:18:05):
Thanks strange spending Christmas are far away from home? How
come business?

Speaker 2 (01:18:15):
Important business, couldn't it?

Speaker 9 (01:18:17):
Wait?

Speaker 25 (01:18:18):
No, this business means a lot.

Speaker 14 (01:18:21):
To the.

Speaker 25 (01:18:24):
People I work for.

Speaker 2 (01:18:27):
Well, here's what you say for the water for Marseille.

Speaker 9 (01:18:31):
Thirteen years old?

Speaker 2 (01:18:33):
You said eleven that was from the harbor.

Speaker 9 (01:18:36):
This is even better now I put him back in
the ice.

Speaker 2 (01:18:39):
You had some more. You just called Peeve. I got
another one on ice.

Speaker 30 (01:18:43):
Just like you.

Speaker 25 (01:18:45):
Well, I guess it's kind of late to wish you
a merry Christmas, MIAs Porter, so I guess i'd better
just say season's greeting. Anyway.

Speaker 12 (01:18:56):
There's luck, here's helping you find whatever you can A year.

Speaker 25 (01:19:00):
After I've already found what I came after.

Speaker 12 (01:19:06):
I'm glad.

Speaker 25 (01:19:06):
I hope you will be.

Speaker 2 (01:19:09):
Why shouldn't I bee because I came after you.

Speaker 25 (01:19:13):
Mary Winslow.

Speaker 29 (01:19:24):
With the prologue of Delayed Christmas Present, the Signal Oil
Company brings you another strange story by the Whistler. But now,
since this is Christmas weekend, I want to thank you
for inviting us of the Whistler cast into your home
on this special occasion. During the six consecutive years that

(01:19:44):
The Whistler has been broadcast by Signal Oil Company, many
of us have had the pleasure of celebrating Christmas with
many of you a number of times, and believe me,
we feel it a real honor that you consider us
a part of your entertainment family. Tonight on behalf a
signal oil company and the independent signal dealers who serve
the states of California, Oregon, Washington, Idaho, Nevada, and Arizona.

(01:20:09):
I want to say we hope that your Christmas has
been a merry one. May your new year be filled
with peace, prosperity, and the good health with which to
enjoy these blessings.

Speaker 25 (01:20:23):
And now back to the whistler.

Speaker 2 (01:20:42):
After a year, it doesn't seem fair, does it, Mary Winslow,
After a year of hiding using one name and then another,
After five bitter months of singing at peace Canteena's candy
Porter blues singer, this man Fontaine has come to take
you back to the States to face the consequences of
one horrible night.

Speaker 9 (01:21:02):
You're sure he's the detective. It couldn't be anything else.
You can't run again. There's no place you could go.

Speaker 2 (01:21:08):
You've only one card left, and as you faced the
man across the table and listen to his even level voice,
you decide to play it.

Speaker 9 (01:21:16):
If you play it carefully, it might be an ace.

Speaker 25 (01:21:22):
I don't think you know why I'm here, and we're
leaving in the morning for Los Anglis.

Speaker 12 (01:21:26):
Miss Winslow, like the billing says, my name is Candy Porter.

Speaker 25 (01:21:30):
I know what the building says. I know what it
said in Brooklyn when you would build His Daughters Trent
in Denver, when you were building Gladys James. But when
you first took a potter out of los Anglish, who
were Mary Winslow.

Speaker 12 (01:21:43):
You know, it's almost funny you should call me Mary Windsor.
We used to work together, her.

Speaker 31 (01:21:49):
And me in the same floor share. We could have
been built as twin sisters. But the curitoments used to
mistake us for each other too.

Speaker 25 (01:21:55):
Look, miss Winslow, that's quit kidding, kidding.

Speaker 31 (01:21:59):
A lot of the people have made the same mistake
you had. And like I said, I knew Mary Winsol intimately.

Speaker 12 (01:22:08):
I think I could help you solve your case if
you let me tell you about her.

Speaker 25 (01:22:13):
Sure, sure, go ahead to make your feel any better.

Speaker 12 (01:22:17):
Thanks you See, Mary Winslow is really just a good
kid that got a bad break in love with a.

Speaker 31 (01:22:28):
Swell guy and scared the death of a hoodlum. She
told me all about it. It's quite a story.

Speaker 25 (01:22:45):
Yes, this was quite a story, wasn't it, Mary?

Speaker 2 (01:22:48):
And it all began a year ago Christmas Eve, at
the Christmas party given by your employers in the pink
room of the slank Welchister Hotel. You really enjoyed yourself
that night, didn't you? And you were quite the hit
of the evening. You sang three numbers and went over bag.
Your fellow workers didn't know your many talents. Everyone told

(01:23:09):
you what a fine singer you were, and when you left,
you were feeling good, so good you decided to drop
into the cocktail lounge, make a phone call and have
a nightcap before going home.

Speaker 12 (01:23:21):
Scotch and said, Mike.

Speaker 2 (01:23:22):
It make mine the same girl.

Speaker 25 (01:23:24):
Gotcha?

Speaker 2 (01:23:26):
I heard you sing tonight.

Speaker 9 (01:23:29):
You were terrific. Thanks.

Speaker 2 (01:23:33):
What's the matter? Did he stand here? Who the guy
you were just talking to on the phone. No, I
guess he didn't stand here, didn't he? And he's on
his way here right now. Yep, that's the answer, lucky gay.
I want to take it out of here. Bill. Now
look here, let's make it easy. It's practically Christmas. At

(01:23:55):
the harm of my buying you one drink. Like I said,
I write your voices.

Speaker 10 (01:24:00):
It's a change.

Speaker 2 (01:24:01):
Oh thanks, boy, you must be a detective.

Speaker 12 (01:24:04):
You know my name and everything?

Speaker 2 (01:24:06):
No, no, not everything, but if it wasn't any picked
to find out your name. I just asked one of
the boys I you're dancing with. My name is Joe Clark.
I see you've never heard of me. Should I have
a lot of people? Have most of the boys and
girls around on nights plots?

Speaker 17 (01:24:22):
No?

Speaker 12 (01:24:23):
Well, and that accounts for my ignorance. You see I
seldom haunt a night spot.

Speaker 2 (01:24:27):
Well you should. With a voice like yours, you could
be packing them in in a good night club.

Speaker 31 (01:24:31):
Oh no, I get it.

Speaker 12 (01:24:32):
You're a professional talent scout and you want to get
me into the movies.

Speaker 2 (01:24:36):
No, no, I'm a gambler. Shocking.

Speaker 31 (01:24:40):
Well, I should have lived and let live is my mother,
and that's exactly what I'm gonna do right now, live
my life and let you live here as good night,
mister Clark, my mim. I just think tomorrow I can
tell all the girls at the office I met a
real live gambler.

Speaker 2 (01:24:55):
You could tell them all a lot more than that,
if you believed in your voice as much as I do. Huh, Really,
you've heard of Domingo's on Sunset out near the ocean.

Speaker 12 (01:25:07):
It's an undercovered gambling club.

Speaker 2 (01:25:09):
It's more than a gambling club. There swall floor show.
A lot of big people are out there, people.

Speaker 12 (01:25:14):
That count, and they're all intimate friends of yours.

Speaker 2 (01:25:17):
I'm sure not all, but I know quite a few
to push. You're right to the top with that voice.

Speaker 12 (01:25:22):
Oh that's the oldest line I've ever heard.

Speaker 9 (01:25:24):
Not a line, but skip it.

Speaker 2 (01:25:28):
Go on home, listen to the radio, eat candy. You're
gonna have a terrific time. Got a Domingos with me.
You can't tell what might happen. They might have to
meet a couple of show producers. So play it safe
and go home. It's maybe dull, but you'll always get
to work on that.

Speaker 12 (01:25:45):
That's all you have to say.

Speaker 2 (01:25:46):
That's home. Ninety ninety Quit.

Speaker 12 (01:25:49):
A minute, Yeah, could we here? Could we be back
fairly early?

Speaker 2 (01:25:57):
Believe?

Speaker 12 (01:25:57):
Then you say, well, what are we waiting for?

Speaker 6 (01:26:01):
It?

Speaker 2 (01:26:01):
Now you're making sense off all.

Speaker 12 (01:26:02):
The care never mind, I have a car. It's pract
that on the corner.

Speaker 9 (01:26:10):
Clark Us, just the right approach. Didn't be married. You
realize you're being a fool, But.

Speaker 2 (01:26:16):
As the hours pass, you tell yourself your fears are groundless.

Speaker 9 (01:26:19):
Joe treats you with perfect courtesy.

Speaker 2 (01:26:22):
You watch the gambling for a while, then proceed to
the Silver Room and enjoy the floor show.

Speaker 9 (01:26:27):
Afterwards, you have a little food and watch the dancer.

Speaker 2 (01:26:49):
Suddenly you've had.

Speaker 12 (01:26:50):
Enough, Joe, do you mind if we leave now?

Speaker 2 (01:26:55):
I said we'd leave anytime. You said, but it's is amusing.

Speaker 12 (01:27:00):
Yeah, I guess that's it. Another guy, Another guy, my
fancy what happened to him? The Philippines research Dennis doctor
doctor Frank was an. That was his car we drove
out here.

Speaker 3 (01:27:21):
He told me to keep it warm for him.

Speaker 9 (01:27:24):
Well't too bad.

Speaker 2 (01:27:25):
We could have had a lot of fun right now
we go?

Speaker 9 (01:27:36):
Was it just a song?

Speaker 10 (01:27:37):
Mary?

Speaker 2 (01:27:38):
Well, wasn't that uneasy feeling you have about Joe that
made you want to leave? So suddenly it must.

Speaker 9 (01:27:44):
Have been the song.

Speaker 2 (01:27:45):
Well, as you're ready to leave the club grounds, Joe
is still a considerate escort hopping Oh, unless you want
me to drive?

Speaker 12 (01:27:57):
Drive, unless your mind too much?

Speaker 2 (01:28:00):
I don't mind. Probably can be safer too. For several miles,
Joe says, little seems preoccupied, and you feel relieved when
he breaks it rather strange silence. Oh, say, Mary, would
you mind stopping from? And I said, drive in. Out

(01:28:22):
of a sudden, I have an awful, heady. Maybe I
can get some ask for my daughter, but we'll give
it a try. You can keep the model running while
I'm gone. I've already gone a few.

Speaker 12 (01:28:34):
Seconds, okay, dreaming of a way Christmas?

Speaker 2 (01:28:49):
Get gone? You shot him, it's get gone. Pass there's
a gun any roots. Baby, you just saw what happened
to one guy that crossed me.

Speaker 14 (01:29:05):
It is it?

Speaker 25 (01:29:08):
I don't know you you?

Speaker 9 (01:29:11):
Oh?

Speaker 6 (01:29:11):
Why was I such a fool?

Speaker 2 (01:29:13):
At the next corner, car's been tail.

Speaker 12 (01:29:14):
And God, I hope it's a pro card to take me.

Speaker 9 (01:29:17):
The trouble a phone and the police.

Speaker 2 (01:29:23):
He didn't turn Baby, You shouldn't have said what you
did about phone and the cops. You had better pull
over and Clark. We got a couple of things to
talk over.

Speaker 10 (01:29:35):
I pull over.

Speaker 9 (01:29:42):
That's better.

Speaker 12 (01:29:44):
Please, please, Joe, don't kill me. I know you can
do it easy. But I'll never talk about tonight.

Speaker 2 (01:29:50):
That's the way you feel now. An hour from now,
you'll know I won't have a word about.

Speaker 12 (01:29:54):
I'm making a deal with you, Joe. I'm taking in
my silence for my life.

Speaker 19 (01:29:57):
I smell.

Speaker 12 (01:29:57):
I won't talk about it ever.

Speaker 2 (01:30:00):
Okay, I'll take a chance. You drove the getaway console.
We're partners now. Anyway, we're gonna have a lot of
fun together, you and me. Now, I'll about dropping me
off in my own place.

Speaker 12 (01:30:17):
Any way to come.

Speaker 2 (01:30:18):
I love about. After you drop Joe and you reach
your apartment, you're so weak you can hardly stand. Your
senses are real and your brain is spinning. You practically
fall into bed. You try to snatch a little sleep,
but sleep is impossible. Finally, at six o'clock in the morning,

(01:30:41):
the newspaper is shoved under your apartment door. The headline
sicken you.

Speaker 12 (01:30:50):
Driving operators shot and pulled up dies.

Speaker 2 (01:30:55):
The subheadings are even worse.

Speaker 31 (01:30:58):
I'm identified man and I've seen saying from Santa Krant
in dark green forty seven model Chevrolet pedestrian believes you
can identify.

Speaker 12 (01:31:08):
It both car and woman.

Speaker 9 (01:31:11):
There it is Mary, hopeless, isn't it?

Speaker 2 (01:31:15):
Even if you call the police your story what sounds phony?
Now it's closing in on you, isn't it, Mary?

Speaker 25 (01:31:21):
Yet?

Speaker 2 (01:31:21):
Frightened as you are, you're certain of two things that
you're not going to become further involved with Joe Clark,
and you won't allow any unfavorable publicity to fall on
your absent feance doctor Frank Wilson.

Speaker 9 (01:31:35):
You are foolish to risk a life.

Speaker 2 (01:31:37):
Of happiness with him, weren't you for a few moments
of excitement with a gambler.

Speaker 9 (01:31:41):
A murderer like Joe Clark.

Speaker 2 (01:31:44):
But you decide there's only one thing you can do. Mary,
leave town, disappear and never see Clark again. You address hurriedly,
packing only a few belongings, and then spend Christmas day
and night at the home of a girlfriend. The next morning,
you're on an eastbound Three months later, you're singing in
the Golden Lion, a prosperous little nightclub in Brooklyn, New York,

(01:32:08):
where you become a featured performer under the name.

Speaker 9 (01:32:10):
Of Doris Trent.

Speaker 2 (01:32:13):
You're a great success under your new name, and then
one night you have a visitor. You're sure it's mister
Vern Shield's London musical comedy producer.

Speaker 16 (01:32:24):
Comn I'm.

Speaker 9 (01:32:28):
Whoa what do you know?

Speaker 2 (01:32:31):
Long time no see Miss Trent doors Trant, It says
on the program.

Speaker 12 (01:32:39):
All right, Joe, now that you've prom me what's.

Speaker 2 (01:32:41):
On your mind, you double cross me.

Speaker 12 (01:32:42):
Baby, You're crazy. That's why I left town so I
wouldn't have to talk to anybody.

Speaker 2 (01:32:45):
But you could still, right, couldn't you. I don't get
you that anonymous note to the police written just after
you left, telling all about that driving job. Give the
exact time, my name, where I live, what I head on, everything,
but not a word about the girl with me. Funny Huh,
you're the.

Speaker 17 (01:33:04):
Only one that know all of that.

Speaker 9 (01:33:06):
Baby.

Speaker 5 (01:33:06):
Oh no, Joel, you're wrong.

Speaker 17 (01:33:07):
Believe me.

Speaker 5 (01:33:07):
I didn't write me note.

Speaker 2 (01:33:08):
Couldn't have been anyone else. Two days after you left,
they picked me up for question.

Speaker 31 (01:33:13):
Anybody could have written a note like that, But one
of your enemies might have wanted you out of speculation
and tried to frame you.

Speaker 9 (01:33:18):
Maybe, but I dined sure, I didn't write it.

Speaker 12 (01:33:21):
I've kept my bargain with you one hundred percent.

Speaker 2 (01:33:23):
There is one way you can convince how marry me tonight?

Speaker 9 (01:33:30):
Chase.

Speaker 2 (01:33:31):
Yeah, that way I'll be sure of you. Wives don't
testify against their husbands. Besides, I don't know what you're
doing all the time.

Speaker 12 (01:33:41):
So I gotta go through my show.

Speaker 2 (01:33:43):
Let's talk this an else from hunt up to Connecticut.
But go ahead, do your show. If you've got any
ideas about calling in the cops, don't forget you drove
the getaway car. And in case anything's serious should happened
to me, is a written confession my pocket, telling exactly
how you help me pull the job. I will use

(01:34:04):
your boyfriend's car. I kept the motor around waiting for me.
Your doctor would love reading about that, wouldn't he. Well,
and don't get funny b heading on to your show.

Speaker 25 (01:34:19):
I'll wait for you here.

Speaker 2 (01:34:26):
Do you start down the hallway toward the powder of offstage.
Suddenly you realize what a fool you've been, But you're
not going to keep on being a fool.

Speaker 9 (01:34:35):
Are you married?

Speaker 5 (01:34:36):
Not?

Speaker 2 (01:34:37):
With that wall telephone just five steps ahead.

Speaker 12 (01:34:40):
Of it, get me police headquarters.

Speaker 2 (01:34:49):
I mean quick. I mean you should have looked around
before you're called. They don't want you to try to
doublecross me. Now I know for sure said no to
that car. I didn't call him, didn't you All of
a sudden, I've lost interest in getting married. We're just

(01:35:10):
going for a little ride. Come on, babe, start, won't Joe.

Speaker 12 (01:35:16):
I'm not moving a foot up and inch. If I
have to be shot, I'll take it right here.

Speaker 28 (01:35:19):
Let's go on my arm.

Speaker 25 (01:35:20):
What's going on here?

Speaker 2 (01:35:22):
Something wrong? Dars? This guy bothering you.

Speaker 12 (01:35:24):
Yes, he wants to date me. Tell him to leave.
We heady.

Speaker 13 (01:35:28):
Maybe i'd better take him into the office and call
the no.

Speaker 12 (01:35:32):
No, thank said he. There's no need to Daddy. He's
just another wolf.

Speaker 9 (01:35:36):
Tell him to believe.

Speaker 12 (01:35:37):
That's good enough.

Speaker 25 (01:35:38):
You heard what the lady said, Bud, start traveling, okay, Jim,
anything you say.

Speaker 2 (01:35:46):
I'll see the lady later.

Speaker 17 (01:35:48):
He parked right across the street.

Speaker 2 (01:35:51):
It's trengthful.

Speaker 25 (01:35:52):
You should have let me call the cops.

Speaker 12 (01:35:54):
I would have it he hadn't had you covered with
his gun.

Speaker 2 (01:35:57):
Oh thanks, kid, Hetty.

Speaker 12 (01:36:01):
I gotta get out of town fast after what you just.

Speaker 2 (01:36:03):
Did for me. That's a cinch. Grab some clothes while
I sold my wife.

Speaker 25 (01:36:07):
I'm bringing you home. We'll go out the rear entrance.

Speaker 2 (01:36:10):
My car's on the lot next door. Tomorrow, I'll call
a friend of mine in Denver. It'll put you to
work right away.

Speaker 25 (01:36:15):
Yeah, you better change your name.

Speaker 32 (01:36:17):
Though, that'll be easy. I'm getting used to it, so.

Speaker 12 (01:36:37):
That's sir. I met Mary Winsom in Denver, the high
head come Builders, gladess chains. She lumined me about two months,
and then she she.

Speaker 9 (01:36:49):
Left, just like that.

Speaker 31 (01:36:50):
One night when I went away to told to some guy,
one of the interviewers for a magazine, that's.

Speaker 12 (01:36:58):
That's the last day.

Speaker 25 (01:37:01):
That's the end of the story.

Speaker 2 (01:37:03):
Vaccine and Mary Winslow told you, who are very close friends, I'll.

Speaker 25 (01:37:12):
Say your word. You expect me to believe.

Speaker 12 (01:37:16):
That it's true, every word of it.

Speaker 25 (01:37:18):
You know something you ought to.

Speaker 29 (01:37:20):
Be writing stories for the movies. The whistler will return
in just a moment with a strange ending to tonight's story.
Now the Christmas shopping is out of the way for

(01:37:41):
another year, most of us are figuring ways to get
our badly stretched budgets back into shape, which makes now
a mighty appropriate time to talk about Signal. The famous
go farther gasoline. My age, of course, is only one
of the reasons that folks who insist on getting the
most from each gasoline dollar choose. In addition, they like

(01:38:02):
the superior performance that goes hand in hand with mile age.
You see, the only way today's signal gasoline can give
you such good mile age is by helping your motor
run more efficiently. And when your motor runs more efficiently,
you also enjoy quicker starting, faster pickup, smoother power. The
things that make driving more pleasures.

Speaker 3 (01:38:24):
So among your.

Speaker 29 (01:38:25):
Resolutions for the new year, how about resolving to put
signal gasoline to the test in your car. See for
yourself why drivers who insist on quality as well as
those with an eye for economy are both switching to
signal the famous go farther gasoline. And now back to

(01:38:46):
the whistler.

Speaker 2 (01:38:51):
Well, Mary, it let's as though you've lost, that your
one card wasn't enough. The man across the table, the
man you're sure of, the detective, him who has come
to take you back to Los Angeles to stand trial
for a hold up and murder you had nothing to
do with, doesn't believe you, does it? And but jury
in Los Angeles won't believe you either. Yes, Mary, it

(01:39:14):
looks as though you've lost. But you're going to play
the game to the end anyway. And as the piano
player across the floor plays the tune he's played a
thousand times in the last two weeks, you quietly watched
Fontaine and await his next word.

Speaker 25 (01:39:33):
How long did you say you've been here?

Speaker 12 (01:39:35):
I didn't say I got here about five months ago.

Speaker 24 (01:39:42):
Here no.

Speaker 25 (01:39:47):
Figure looks, Thanks night, Thanks again, Miss Porter.

Speaker 12 (01:40:05):
Did you say, Miss Porter?

Speaker 25 (01:40:09):
That's what you said your name was, didn't you. That's
what the building says too, isn't it.

Speaker 12 (01:40:13):
Thanks for believing.

Speaker 25 (01:40:16):
There's just one thing I'd like to ask you ask
me anything? Uh blowing windslow as well as you do.
Do you think she might come back to Los Angeles
sometime sort of clear things up?

Speaker 12 (01:40:33):
I think she might someday.

Speaker 31 (01:40:37):
You see, a girl like Mary Winds will get to
feel kind of soiled, have to work in around in
joints like this.

Speaker 12 (01:40:48):
She'd probably want to spend a little time.

Speaker 32 (01:40:51):
Maybe up in the desert in the sunshine, sort of.

Speaker 12 (01:40:58):
Freshening up before any buddy she cared about.

Speaker 25 (01:41:03):
Yeah, came the shoe and this was a pretty long
trip for nothing.

Speaker 14 (01:41:10):
You mightst say, just.

Speaker 25 (01:41:12):
One more bum stair, But I'm glad I came. I
always figured that confessionally found on Joe Clark was a phony.

Speaker 12 (01:41:21):
It is Joe Clark in jail.

Speaker 25 (01:41:24):
He's dead. The Brooklyn police got him one night, about
five months ago. You know how they got the tip.
A woman called the police one knife from the Little
Knife Club, the Golden Lion Club. She hung out before
they answered the phone. But the Brooklyn boy decided to
investigate anyway, one of them spotted Clark parking the car
across the street and he got triggered. Happy what was

(01:41:45):
that joke?

Speaker 5 (01:41:47):
Clark fished?

Speaker 25 (01:41:50):
Call a Porter if you ever run into I wouldn't.

Speaker 31 (01:41:53):
Tell her all about the Christmas present I got from
a swell cop named Front Team.

Speaker 25 (01:42:00):
I'm not a cop, miss, but you're not then, And
who are you? I'm a private investigator working for a
guy named Who's doctor Frank Wis.

Speaker 5 (01:42:15):
Frank Wos.

Speaker 25 (01:42:16):
That's right, he's in love with Mary Winsbo. Doesn't care
where she's been, just wants her to come back and
marry him. Well, it's a long miss, Porter, and New Year.

Speaker 12 (01:42:33):
It's a fun thing.

Speaker 17 (01:42:35):
Yes, do you.

Speaker 12 (01:42:38):
Do you think you could arrange for me to go
back to the States with you?

Speaker 25 (01:42:42):
I guess I could, and I was figuring on taking
one lady back. Are you going on through the laws? Angons?

Speaker 17 (01:42:49):
Not true?

Speaker 31 (01:42:50):
While I kind of like to spend a little time
in the country somewhere, but I think maybe before next Christmas, Well,
I think outside, Mary wins Lack.

Speaker 24 (01:43:29):
Let that whistle be your signal for the Signal oil program.
The whistler.

Speaker 29 (01:43:33):
Now let me repeat an important announcement for whistler fans
in California only beginning next Sunday, January two, due to
California's going off Daylight Saving time, the whistler will be
heard in California only one hour earlier from eight thirty
until nine. Remember the change in time. In California only,
the whistler will be heard at a new time from
eight thirty till nine. In other states, the whistler will

(01:43:55):
be heard at the same time as always featured in
tonight's story where Joan Banks and Jack Petruzzie. The Whistler
was produced by George w Allen and directed by Gordon Hughes,
with story by Edward Bludworth and music by Wilbur Hatch,
and was transmitted to our troops overseas by the Armed

(01:44:17):
Forces Radio Service. This is Marvin Miller speaking. This is CBS,
the Columbia Broadcasting System.

Speaker 1 (01:44:47):
Why you shouldn't have?

Speaker 9 (01:44:50):
May? I?

Speaker 1 (01:44:52):
May I rap it?

Speaker 16 (01:44:53):
Now?

Speaker 10 (01:45:00):
Why?

Speaker 2 (01:45:02):
How?

Speaker 1 (01:45:03):
How on earth did you know? Thank you so much? I? Well,
it's rare. I'm ever speechless. I'm sure you've noticed that.
But my dear I I'm simply so grateful. Your gift

(01:45:25):
will be ready in just a moment, but for now,
how about a present for Benny.

Speaker 33 (01:45:41):
And now tonight's presentation of radio's outstanding theater of thrills, Suspence.
Tonight we bring you a story of Christmas shopping and
a present that went astray. We call it a present

(01:46:02):
for Benny. So now, starring Jack Krusian, here is tonight's
suspense play, A present for Benny.

Speaker 15 (01:46:32):
Honey, lamb They got a gorgeous ermine on sale at Halgrim.
Just gorgeous.

Speaker 16 (01:46:40):
Love later be the rest of the male and not
the bills.

Speaker 34 (01:46:44):
Sure, baby doll, Oh honeypot it's gorgeous like the stuff
you got in atric job last month.

Speaker 4 (01:47:01):
Something wrong, lover, shut up?

Speaker 10 (01:47:05):
You call me boss, He'll call you.

Speaker 16 (01:47:06):
You want to get thrown out the window.

Speaker 15 (01:47:08):
He's all upsets with the unaccount of a letter.

Speaker 16 (01:47:11):
Sure, I'm upset you're listening to this there, Ricky.

Speaker 35 (01:47:17):
I'm sending you this letter like kind of Xmas greeting.
I got a holiday feeling on me, So I'm gonna
give you the new straight. Me and my boys is
the ones who hijacked that load of first from you
last month because you were a thirty note good fake.
I'm stating to you that there ain't no room for
the two of us in this town, So me and

(01:47:37):
the boys is moving you out.

Speaker 16 (01:47:39):
You were a big chiseler.

Speaker 35 (01:47:41):
And if you don't drop that when you read this
for me and the boys will pump you full of
letter next time we see you. Yours truly, and a
merry Xmas machine gun, Benny, he's a dirty run.

Speaker 15 (01:47:54):
Baby, Honey. You could give it to me for Christmas.
It's only two.

Speaker 16 (01:47:58):
Geez, and it's just will you shut your trap? I
got enough trouble.

Speaker 3 (01:48:03):
What's what are you going to do?

Speaker 9 (01:48:06):
What do you think?

Speaker 16 (01:48:07):
Where do you think?

Speaker 14 (01:48:09):
Go?

Speaker 16 (01:48:09):
Call the boys?

Speaker 3 (01:48:10):
Sure?

Speaker 16 (01:48:11):
No, wait a minute, we got to do this careful.
We don't want no open war. You know what I mean?

Speaker 3 (01:48:20):
Yeah, yeah, I know what you mean. Boss.

Speaker 16 (01:48:22):
Just a couple of us, see, two good heads and
you and me. That's the best.

Speaker 3 (01:48:29):
Yeah, yeah, sure, that's the best.

Speaker 35 (01:48:33):
Ardi the Grunt, Yeah yeah, Addie. And no one knows fibers,
that's it, just him.

Speaker 3 (01:48:40):
Arey the grunt? And no one knows fire bus Okay, Rick.

Speaker 16 (01:48:43):
That's small time things. Sure is room for only one
of us, and he's gonna find out.

Speaker 11 (01:48:47):
Which one it is.

Speaker 15 (01:48:48):
You tell him, honey, Lamb, didn't I.

Speaker 16 (01:48:51):
Tell you to make me a drink. No, you calling
me a liar?

Speaker 15 (01:48:56):
Honey, lamb, I calling you a liar. You never told
me to make you drink? He did, he swiftly.

Speaker 16 (01:49:01):
I told you to make me a drink a minute ago.

Speaker 36 (01:49:02):
I got it.

Speaker 16 (01:49:03):
You never said calling you again, gonna make me a drink?

Speaker 15 (01:49:06):
Okay, okay, big thing giving it. It's like a general.

Speaker 16 (01:49:11):
And don't get so smart, dumb dame.

Speaker 35 (01:49:18):
Okay, swifty, you get the boys over here. We gotta
have us a conference, all right. Not the way I
see it. It's machine gun bunny on me, see, and

(01:49:39):
it's gonna be me right. Sure, he wants trouble. I
find the right party you want to?

Speaker 16 (01:49:44):
You want we should go over and rubble mouth bulls?
What's the matter Wi? You know knows he may be stupid,
but he ain't dumb. Yeah, that's what he figures. Who
will go gunning on him? That's what he figures.

Speaker 35 (01:49:54):
See, so we ain't gonna We're gonna play it smart,
adi m you got any ideas, no nose, cheap bush.

Speaker 3 (01:50:06):
You don't want to use, no choppers?

Speaker 16 (01:50:09):
O Gee, how about a good old ride? Are you
gonna get at him for a ride?

Speaker 10 (01:50:16):
What a dope.

Speaker 16 (01:50:18):
Why what don't bother me?

Speaker 5 (01:50:22):
By?

Speaker 16 (01:50:22):
Good good? That's good Now, shut up, boss.

Speaker 3 (01:50:25):
I gotta thought maybe we could send this bomb a bomb? Maybe?

Speaker 22 (01:50:28):
Huh?

Speaker 16 (01:50:28):
You can't send no bomb through the mail. You know
that it's against the law, ain't you guys?

Speaker 35 (01:50:33):
Got any whoa wait a minute, yeah, I got some
What boss, how's about we could send them a little present?

Speaker 10 (01:50:43):
Huh?

Speaker 2 (01:50:43):
What do you want?

Speaker 3 (01:50:44):
You should send them a present.

Speaker 35 (01:50:46):
For Xmas presidency, all wrapped up with paper, ribbon and everything,
ice box?

Speaker 16 (01:50:51):
About Oh about this big and this wide and when
he opens it?

Speaker 37 (01:50:55):
Boom, boss, you just said we couldn't through the mail
from the store from Hey, mil mil what's the name
of that store you always buying that?

Speaker 15 (01:51:08):
Hey, you're gonna buy me that almond?

Speaker 35 (01:51:10):
Go make me a drink, make for the boys too
with okay hell grums. Yeah that's the place, real high class.

Speaker 3 (01:51:18):
Yeah, I liked it.

Speaker 16 (01:51:20):
I like that. Merry Christmas, Benny.

Speaker 3 (01:51:24):
Boom, Boss? You figure here far for this?

Speaker 16 (01:51:29):
You figure sure you would we get the store to
deliver it. How's he gonna suspect? But how are we
going to get him to deliverate?

Speaker 28 (01:51:35):
Boys?

Speaker 35 (01:51:36):
We don't worry about now it gets delivered. Addie, you
got to make us for a bomb shoe, the old
fashioned card. You know a lot of broken glass and
nails shoe.

Speaker 14 (01:51:46):
What do you say?

Speaker 3 (01:51:47):
Yeah? Yeah, he says he can make it.

Speaker 16 (01:51:49):
Oh okay, now you take care of that. And now
I want to day after tomorrow and you make it
a ticker seat. But don't say nothing until already.

Speaker 3 (01:51:56):
Rick, I got a handle to you. You're a genius.

Speaker 24 (01:51:58):
You are.

Speaker 38 (01:52:02):
She's got the Christmas spirit too.

Speaker 16 (01:52:04):
It's better to give and to receive. Okay, can I
shut up? I gotta figure out a plan for the
store of delivery.

Speaker 3 (01:52:12):
Yeah, we gotta.

Speaker 38 (01:52:14):
Figure honey, Lamb.

Speaker 15 (01:52:33):
Ain't you coming to bed?

Speaker 16 (01:52:35):
No, I ain't coming to bed.

Speaker 15 (01:52:36):
But it's two o'clock am. I'm hired.

Speaker 16 (01:52:40):
Go make some coffee, honey, sandwich is too. I'm hungry.

Speaker 15 (01:52:43):
What did you thinksh thinking tomorrow so I can get
some sleep.

Speaker 16 (01:52:47):
Don't you never think about nothing else but sleeping?

Speaker 15 (01:52:50):
Sure, I've been thinking all day about that Ermin and halguns.

Speaker 16 (01:52:54):
I was telling you, babe, feel baby.

Speaker 3 (01:52:58):
I love your baby.

Speaker 15 (01:53:00):
I love you too, honey, Lamb.

Speaker 38 (01:53:02):
So why don't boy.

Speaker 2 (01:53:07):
Fullis?

Speaker 3 (01:53:08):
I got it?

Speaker 16 (01:53:10):
Mill is going to get a nymen from halb.

Speaker 2 (01:53:12):
Oh, baby lover, and make some coffee.

Speaker 16 (01:53:19):
Now, listen, boys, here's how we do it.

Speaker 15 (01:53:36):
Hey, gorgeous, honey, just simply gorgeous.

Speaker 16 (01:53:40):
Feel the pelsa notice the she I felt that I
seen it to Jesus too much. I'll give you fifteen
hundred cuie. Sorry, sir, it's been mocked down from thirty two.

Speaker 10 (01:53:48):
We positively cannot sell it for under two thousand.

Speaker 16 (01:53:51):
Now we have a nice mink for fifteen.

Speaker 15 (01:53:54):
Oh wrecky, honey, don't be chancy.

Speaker 2 (01:53:56):
It's Christmas.

Speaker 16 (01:53:57):
Will you shut your mouth and go buy your old
lady some then I'll see at the house.

Speaker 15 (01:54:01):
Ain't you going to buy it?

Speaker 35 (01:54:02):
It's so gorgeous for fifteen hundred, I'll buy it for two.
I'm interested and I'll beat it.

Speaker 15 (01:54:07):
Oh gee, okay, but don't go buy me no lousy mink.
You know it gives me the hive.

Speaker 25 (01:54:18):
She'll live it dow.

Speaker 39 (01:54:19):
Okay, wrap it up, you'll you'll take the ermens sure
I'm taking. I want to surprise it fifth one too. Geez, yes, sir,
thank you, sir. Would you like it wrap as a
gift for the lady?

Speaker 35 (01:54:33):
Yeah, I want it in a box with lots of
ribbons and experts junk all over, you know, and I
want you should give me another box the same size,
ribbons and everything.

Speaker 16 (01:54:42):
It's going to be kind of an experts joke on
a pile.

Speaker 25 (01:54:44):
You get what I mean?

Speaker 17 (01:54:45):
You box?

Speaker 16 (01:54:47):
Oh, and give me a couple of cards to ride.
I think yes, sir, Will you have them? Say no,
I'll take them both with me. We'll just take a
few minutes, sir. So I'll wait, heydie, when you got

(01:55:07):
the time of set forth to go off to do?
What do you say?

Speaker 40 (01:55:13):
He says he got except for twenty three hours. It'll
go off at four o'clock tomorrow afternoon.

Speaker 16 (01:55:18):
What happens if he opens it before?

Speaker 3 (01:55:21):
Because he says it'll go off anywhere. That's good.

Speaker 16 (01:55:28):
Nice work, got a nice work. Hey, I bet you
he opens it. Don't worry. I bet he ain't got
no patience.

Speaker 35 (01:55:34):
For instance, he gets a big tree beginning of December,
all the trimings, his pals around him, a couple of
cases of old stag Christmas presents means something.

Speaker 41 (01:55:42):
To a guy like that, it is going to do
this year, that is for Sureuse you all right now,
you carry swifty and I'll take the ermine home. Sure, boys,
now you know what you got to do.

Speaker 3 (01:55:55):
I am to take the farm back to the store. There,
I'm the final guy. What sold you to earn?

Speaker 16 (01:55:59):
Yeah? And I missed the minchi minschi.

Speaker 3 (01:56:01):
Yeah, then I give him the boy. I'm gonna tell
him that he's to send it on to Benue.

Speaker 16 (01:56:04):
And you tell him it's the gag that I was
talking about, and you give him a C note for
doing you the favor. I got it, okay, Audi, when
you get through clean enough, come over to my place
with place of poker and I okay. Yeah, see Audie,
he's a good boy at Audi. You know I'm gonna
get him one of the.

Speaker 3 (01:56:23):
New forty five's Rex pers Hey, i'd be an ice spots.
He should like some me. I like a thirty eight better.
Don't make this big a hole, but it don't weigh
get on so much.

Speaker 16 (01:56:31):
You know what I mean?

Speaker 28 (01:56:32):
I know what you mean.

Speaker 16 (01:56:38):
Here, Well, you hold my box a minute. I want
to get a citarette. Sure, boss, boss, look out at Minnie.

Speaker 9 (01:56:49):
Get on.

Speaker 33 (01:57:03):
You are listening to a present for Benny Tonight's presentation
in Radio's Outstanding Theater of Thrills Suspense.

Speaker 36 (01:57:20):
Let's look ahead to nineteen sixty six, and there you
are in your beautiful new home. You've got automatic gadgets everywhere.
There's a sparkling new dream car in your garage. The
youngsters are in a fine college. All's right with the world.
Is this just an idle dream?

Speaker 24 (01:57:35):
Now?

Speaker 36 (01:57:35):
This is a real future that you can start building
right now, A secure, carefree, prosperous future built with the
United States Savings bonds. In ten years, you will get
back four dollars for every three dollars you've invested. Join
the payroll savings plan where you work, or buy bonds
where you bank. Start in nineteen fifty six. To make
nineteen sixty six the beginning.

Speaker 33 (01:57:56):
Of the Golden years. How we bring back to our
Hollywood soundstage. Jack Krucian starring in tonight's production A Pleasant
for Benny, A tail well calculated to keep you in Suspin.

Speaker 3 (01:58:25):
Boss, that was close, no good, dirty note Benny.

Speaker 16 (01:58:29):
He was not kidding about his kidding, and me I
wasn't kidding about getting him.

Speaker 35 (01:58:35):
I wait five minutes and you take the bomb down
the store like I said, Uh, Boss, which one do
you got?

Speaker 3 (01:58:45):
You got the bomb of mills Erman?

Speaker 16 (01:58:47):
Yeah?

Speaker 10 (01:58:48):
Oh?

Speaker 16 (01:58:48):
Should I know you were holding them when we hit
the dirt. I just picked one up. We come back
in here.

Speaker 3 (01:58:57):
They sure do look alike.

Speaker 16 (01:59:00):
Stupid dope.

Speaker 3 (01:59:01):
You gotta mixed up the packages, Boss, What would that
chop are going? I just didn't notice they give you
such a hit?

Speaker 42 (01:59:08):
What are we gonna do?

Speaker 10 (01:59:09):
Now?

Speaker 3 (01:59:10):
You got me?

Speaker 37 (01:59:11):
Boy?

Speaker 40 (01:59:11):
I guess they're way about the same. We cannot tell
that way, Boss. Maybe we should have put different colored
ribbons on him so as we could tell No, now
you're getting smart.

Speaker 16 (01:59:22):
No, now he thinks of it.

Speaker 3 (01:59:24):
Uh, come on, we're going back up the arties.

Speaker 16 (01:59:28):
Yeah, he'll open them up, find him on with the bomb,
and then we'll wrap him up again.

Speaker 10 (01:59:32):
Oh sure, Rick, Sure that's Benny.

Speaker 40 (01:59:35):
I should have rupped him out a long time ago,
you know, Boss, I sure wish I could be there
and see his face when he opens up the bomber.

Speaker 3 (01:59:43):
You know, it's too bad. He will not get time
to read the guards to hold his problem.

Speaker 2 (01:59:48):
Are they open up?

Speaker 16 (01:59:48):
It's Rick, because that's the true.

Speaker 3 (01:59:54):
Yeah, we had some trouble Benny and some of his boys.
As we was walking out.

Speaker 16 (01:59:59):
They missed we ain't gonna jerk your here. Got the
packages mixed up though, you gotta open up to see
which is which. Well, come on, come on, the rule,
so opening up so it don't blow up.

Speaker 10 (02:00:14):
You can't.

Speaker 16 (02:00:15):
What do you mean you can't? What are your nuts?
How am I gonna know which one you send that rat?

Speaker 3 (02:00:20):
Boss? Boss? Maybe we could have thrown a bomb in
the river, then it would be okay.

Speaker 16 (02:00:24):
Oh sure boy, what a shnook we throw to ermine
and the river too? What you know which is the bomb?
I forgot that on account of you. I'm gonna be
too gees.

Speaker 35 (02:00:34):
And you know what it comes out of your cut
in the next job we do, we gotta send boat
boxes to Betty.

Speaker 40 (02:00:39):
Now, Boss, maybe the Ermine one blow up when he does,
and then we can take it back from his tomato
after he is buried.

Speaker 43 (02:00:47):
Swifty, do me a favor. Stop making me feel so
good before they kick your brains in. Now, look you
take them boxes back to the store. Get him sent
out right away, you here, I don't want to know
when some people hurt when.

Speaker 16 (02:01:01):
It goes off.

Speaker 3 (02:01:02):
Just look at me, Bottles.

Speaker 16 (02:01:05):
What do you say?

Speaker 3 (02:01:06):
He says? You really got a heart?

Speaker 35 (02:01:08):
Well, and don't either you say nothing about the arm
and the mill see or I'll have to get another one.

Speaker 8 (02:01:13):
I won't say nothing. Okay, swifty, I'll get gone. I'll
see you both back in my place, bet you honey, baby?

Speaker 34 (02:01:32):
Yeah me, no, no, just having a game in gee,
And I couldn't wait for to get back to you.

Speaker 44 (02:01:36):
I love you.

Speaker 14 (02:01:37):
Did you get it?

Speaker 16 (02:01:38):
Why say i'mond no, go make me a drink?

Speaker 38 (02:01:42):
Oh, baby, limb, you didn't really?

Speaker 15 (02:01:46):
Oh your kidd and you're gonna make it a surprise.

Speaker 16 (02:01:49):
Ain't gonna be no surprise on the kind of I
didn't get it? And go make me a drink?

Speaker 28 (02:01:53):
Hey, no, nos yere boss, Gee.

Speaker 15 (02:01:56):
I bought you were pretty Oh well, you're sure gonna
look like something in it?

Speaker 38 (02:02:01):
Well do you see?

Speaker 5 (02:02:02):
Okay, okay, yes, what I got to get.

Speaker 16 (02:02:05):
Look, I don't feel like no games. It's been a
tough day.

Speaker 3 (02:02:07):
I'm tired.

Speaker 16 (02:02:08):
Do me a favor, Make me a drink, then go
to a movie or something. Will you see here? Rick?
Where was I?

Speaker 45 (02:02:14):
Oh?

Speaker 2 (02:02:14):
Oh? Yeah?

Speaker 16 (02:02:15):
Look, you better call the rest of the boys and
tell him that Bennie's out gunning for us. Tell him
to stay head out until they hear from me. See
you know, I don't want no trouble with the da,
he's up for reelection.

Speaker 3 (02:02:25):
You got Benny's president? Say awful?

Speaker 16 (02:02:26):
Okay, huh yeah, Well when he croaks he'll die to laugh.
And if he opens the other box first, another box,
I'll tell you about it when mill gone out.

Speaker 40 (02:02:36):
Oh yeah, Boss is a swifty Yeah, you've got nothing
to worry about.

Speaker 3 (02:02:43):
Everything is taken care of. The stuff goes off the
first thing in the morning.

Speaker 16 (02:02:47):
Okay, come on back, sure, Rick, I.

Speaker 3 (02:02:49):
Just thought that you should like to know.

Speaker 28 (02:02:51):
So on, Alrtie, what do you call these?

Speaker 16 (02:03:09):
I asked for three minute boiled? HeSE ain't even born yet.
Ain't you never going to learn how to boil an egg?

Speaker 15 (02:03:16):
I'll take you some more.

Speaker 16 (02:03:18):
I ain't hungry, forget it, Hardie. What time is it? Look?

Speaker 3 (02:03:24):
No, it ain't aardi. It's one thirty, boss, and.

Speaker 16 (02:03:27):
He should have got the bomb by now.

Speaker 2 (02:03:30):
What do you want?

Speaker 3 (02:03:31):
I should call him and kind of ask after his help.

Speaker 16 (02:03:33):
No, no, if he ain't got it jet, he might
get suspicious. Oh boy, it's waiting, you know. It's making
a nervous wretch out of me.

Speaker 3 (02:03:41):
Take it Easier'll go up.

Speaker 15 (02:03:43):
If you don't want eggs, honey, how about a nice hot.

Speaker 3 (02:03:45):
Coffee, lover, okay, okay, you'll.

Speaker 15 (02:03:48):
Feel good when when you see what I've got for you.
They're sending it today.

Speaker 3 (02:03:52):
Yeah, okay, should I open a boss, Yeah.

Speaker 9 (02:03:58):
I'll cove here.

Speaker 15 (02:03:59):
Oh you should nervous all of a sudden this morning, honey, Right,
all right.

Speaker 16 (02:04:02):
I'm nervous.

Speaker 3 (02:04:04):
So who is it?

Speaker 2 (02:04:06):
No nose?

Speaker 16 (02:04:08):
I let him in? What do you say, Bosh? What's
in the package?

Speaker 24 (02:04:17):
Oh?

Speaker 2 (02:04:19):
This?

Speaker 3 (02:04:19):
Will it just come up for your from Holgrams elevator
was bringing.

Speaker 15 (02:04:23):
It up on I don't just spoil it, honey, lamb
that's my present to you. You can take the wrapping
paper up, but you can't open the box. We got
to put it under the tree when we get the tree.

Speaker 3 (02:04:39):
Hey, boss, that box looks awful familiar.

Speaker 16 (02:04:45):
Yeah, mil you sure you bought this yesterday?

Speaker 15 (02:04:49):
Sure, I'm sure.

Speaker 3 (02:04:50):
Looks just like the ones we sent to Benny. Don't it?
Same size, same rebon, same everything. Kind of makes you wonder.

Speaker 15 (02:04:59):
Don't be silly. They got millions of boxes like this.
Oh it happens. There's something very special in there for
my sweete.

Speaker 38 (02:05:07):
Go ahead and open it.

Speaker 16 (02:05:09):
Go ahead, No, no, I'll wait. I ain't like Benny.
I can wait.

Speaker 15 (02:05:12):
Oh, honey, you open it. It's okay, I'll get you
something else to open on Christmas.

Speaker 3 (02:05:17):
I'm sure. Why not, boss, you need something to make
you feel I feel good?

Speaker 16 (02:05:22):
No, I don't want to feel no better.

Speaker 15 (02:05:23):
Oh and I thought you'd like it so much you'd
go with me and maybe buye chin chilla they got
on sale at Hogrooms. It's only fifteen hundred, just what
you wanted to play for the omond.

Speaker 38 (02:05:34):
I like chinchilla?

Speaker 15 (02:05:36):
Open it?

Speaker 16 (02:05:38):
All right, all right, I'll open it, hey, Swifty, go
get it.

Speaker 38 (02:05:46):
Oh I can't wait for the lid to come up.

Speaker 21 (02:05:50):
Oh yeah, yeah, now, well wait a minute, Wait a minute.

Speaker 3 (02:05:57):
What it's a a guy at the store.

Speaker 46 (02:06:02):
Yeah, do you want me to no, yeah, mister McQueen,
this is mister Minch in the third apartment at Halgrims. So,
mister McQueen, I'm terribly sorry, but I think there's been
a mistake.

Speaker 16 (02:06:18):
Well what kind of stake?

Speaker 10 (02:06:20):
What do you mean a little confusion? But I'm sure
it can be easily rectified.

Speaker 46 (02:06:23):
Your wife bought something for you yesterday which was to be.

Speaker 47 (02:06:26):
Delivered this morning.

Speaker 16 (02:06:27):
Yeah, yeah, it's already come.

Speaker 2 (02:06:29):
Yes, Well, there.

Speaker 46 (02:06:30):
Seems to have been an error made in the shipping
department a matter of mislaided dress slips. Now, I wonder
if you'd mind opening the package which you just received,
or perhaps since it's a Christmas parcel and a surprise
which you no doubt your wife would rather do it.

Speaker 16 (02:06:44):
Why what's wrong with it?

Speaker 24 (02:06:46):
Well?

Speaker 46 (02:06:46):
You see those two boxes which your your man brought
in yesterday afternoon haven't gone out yet. They were to
be sent to mister Benjamin Mollusk.

Speaker 2 (02:06:55):
I believe it is.

Speaker 46 (02:06:57):
I think the gift which you have is one of those,
and well yours is his.

Speaker 48 (02:07:02):
And that is if you follow me, now, if you
open it, I'm sure, boss, there's something wrong.

Speaker 49 (02:07:13):
Hey, you're pail.

Speaker 16 (02:07:15):
You seek what's the time?

Speaker 3 (02:07:18):
That's a quarter to two?

Speaker 2 (02:07:21):
Your present?

Speaker 16 (02:07:21):
Nobody touched that boxes? Loaded the bomb?

Speaker 45 (02:07:26):
Yeah?

Speaker 3 (02:07:27):
The bomb? Well, of course a quarterbacks.

Speaker 16 (02:07:31):
You shut up swiftly. I got enough trouble without her
hair and that.

Speaker 3 (02:07:35):
Oh oh yeah, I get you.

Speaker 15 (02:07:37):
Are you talking about me?

Speaker 9 (02:07:39):
Oh?

Speaker 16 (02:07:39):
You get that thing out of here, get it.

Speaker 28 (02:07:40):
Down to the store.

Speaker 35 (02:07:41):
I gotta send a special messenger. Let him send all
three boxes to that punk Benny.

Speaker 16 (02:07:45):
Well, what do I care? Maybe I should send him
a Cadillac to go with it, you.

Speaker 2 (02:07:50):
Know, what I think.

Speaker 16 (02:07:51):
I think it'll be cheaper to kill myself.

Speaker 10 (02:08:11):
Hey, what's the time for a baby?

Speaker 16 (02:08:14):
Where is that swift yet here?

Speaker 3 (02:08:17):
Maybe Benny got him?

Speaker 16 (02:08:19):
Hereeah, maybe I should have sent you an Artie with him.
Get it, Otie? You don't know's the meal cover here?

Speaker 13 (02:08:29):
Eh?

Speaker 2 (02:08:32):
It's me Artie?

Speaker 17 (02:08:33):
Sway over up?

Speaker 3 (02:08:38):
What I have got it all straightened out? Everything is
okay for some dope. Those guys down at the store.

Speaker 10 (02:08:45):
What's that this?

Speaker 24 (02:08:47):
Oh?

Speaker 40 (02:08:48):
This is your president of mill got for you. I
told you they have got it all straightened out. Okay,
now you know it's Christmas rush. Everybody's sure, guy, you know?
So now I have found the right slips, wrapped up
the boxes again, and Benny's presence have been delivered right now.

Speaker 3 (02:09:02):
And this one this is yours.

Speaker 16 (02:09:04):
You're sure this time? I sure?

Speaker 3 (02:09:06):
Boss? Would I make a loud on myself. There's part
you can open.

Speaker 10 (02:09:09):
I guarantee it, yeah.

Speaker 15 (02:09:11):
Because you might not like the color I got you,
so I wish you would open it. And if right,
we can take it back this afternoon and you can
change it and maybe take a look at Chinchilla.

Speaker 35 (02:09:19):
As I was telling you about this time, I'm gonna
wait when Benny blows up, I open it.

Speaker 16 (02:09:26):
What's the time?

Speaker 3 (02:09:27):
That's uh two minutes to four?

Speaker 16 (02:09:30):
You should is your what's right?

Speaker 14 (02:09:32):
Well?

Speaker 3 (02:09:32):
Boss, I just call it tomato and a telephone that gives.

Speaker 16 (02:09:34):
You the time.

Speaker 15 (02:09:35):
Honey, Pat, you're too nervous. This ain't like you.

Speaker 5 (02:09:38):
Here, I'll open it for you.

Speaker 16 (02:09:39):
Mil you quit that? Oh sure, turn of easy sports.

Speaker 2 (02:09:43):
You're all right?

Speaker 15 (02:09:44):
Oh, I guess you're just gonna love it.

Speaker 3 (02:09:46):
I just bet it's about Benny. He opened it.

Speaker 16 (02:09:50):
What are your bet?

Speaker 2 (02:09:51):
Sam?

Speaker 3 (02:09:51):
Right through the wall?

Speaker 21 (02:09:56):
Yeah? Rick is the machine gun?

Speaker 16 (02:09:58):
Benny, Benny, listen, I feel like a diary rat.

Speaker 50 (02:10:02):
That's what I feel like a didy rat when I
think what I try to do to you yesterday, and
all the time you was making never minds with the
presence which I am my gyl right now wearing.

Speaker 10 (02:10:13):
I think I could eat one.

Speaker 50 (02:10:15):
Yeah, she says she never sees such an oymon and
the raw Bart's the greatest.

Speaker 10 (02:10:21):
Oh, Paul, I am a heel. But it ain't too
late to change.

Speaker 2 (02:10:25):
Hey, what do you say we bury the Hatchetay?

Speaker 3 (02:10:27):
Yeah, I'll speak with you, and first I hijack from
you and we're potting this.

Speaker 47 (02:10:32):
You and me run the town together.

Speaker 13 (02:10:34):
What are you saying?

Speaker 9 (02:10:36):
All right?

Speaker 47 (02:10:36):
So your and mil and your boys come on over and.

Speaker 21 (02:10:39):
Pot take him some excellence.

Speaker 37 (02:10:41):
Cheer you hear me?

Speaker 2 (02:10:42):
Boy, you're great guy, Rick the greatest.

Speaker 47 (02:10:46):
So long, Poul, Merry Xmas.

Speaker 14 (02:10:50):
So long.

Speaker 3 (02:11:00):
Benny. Yeah, this one's the bomb?

Speaker 28 (02:11:08):
Yeah, too bad.

Speaker 3 (02:11:13):
What's the time? It's three minutes after four?

Speaker 2 (02:11:18):
We asked.

Speaker 16 (02:11:21):
Adi. The time has come and gone.

Speaker 28 (02:11:23):
How come it didn't go off?

Speaker 25 (02:11:25):
Look up over the.

Speaker 10 (02:11:29):
What do you say?

Speaker 3 (02:11:32):
He says he did not want to blow nobody up?
Sun there to Christmas?

Speaker 16 (02:11:36):
Then what's in the box of curci?

Speaker 28 (02:11:40):
Huh?

Speaker 3 (02:11:40):
It's gonna show it?

Speaker 33 (02:12:22):
Suspense, in which Jack Crusian starred into Night's presentation of
a present for Benny. Suspense is produced and directed by

(02:12:46):
Anthony Ellis, who also wrote Tonight's script. The music was
composed by Renee Garagang and conducted by Wilbur Hatch. Featured
in the cast were Stacy Harris, Eve McVeigh, Benny Ruben,
Junius Matthews, and Joseph Kerns.

Speaker 36 (02:13:01):
Times growing short for the youngsters to write to Bing Crosby.
The deadline for postmarked letters is Thursday, December fifteenth, midnight.
All your youngster has to do is write a letter
to Bing telling what Christmas means to me, then mail
it to Bing Crosby, CBS Radio, Hollywood, twenty eight, California.

Speaker 10 (02:13:18):
The winner will read his letter in.

Speaker 36 (02:13:19):
Person when America sings with Bing Christmas Eve on CBS Radio.
All youngsters twelve years of age and under are eligible.
That address once again, Bing Crosby, CBS Radio, Hollywood, twenty eight, California.
Be sure the young letter writer puts his name and
address on the letter. Stay tuned now for five minutes
of CBS Radio News to be followed on most of

(02:13:42):
these same stations.

Speaker 51 (02:13:43):
By the Jack Carson Show.

Speaker 36 (02:13:58):
Thrill to Gun Smoke every Saturday and Sunday on the
CBS Radio Network.

Speaker 1 (02:14:56):
The suspenses is well is palpable? My dear?

Speaker 10 (02:15:02):
Do you like it?

Speaker 1 (02:15:04):
It wasn't exactly easy for me to obtain, but I
knew you would appreciate it. Oh what's that? Oh no, no,
just regular water well and absolutely no sunlight. Well, I

(02:15:26):
assure you it's easier than it sounds like.

Speaker 25 (02:15:30):
I do.

Speaker 1 (02:15:30):
Hope this brings you a very happy holiday. What's that? Well?
I suppose we could also have a present for Ricky.

Speaker 2 (02:15:58):
I'm there and I know many things.

Speaker 18 (02:16:02):
For I walked by night.

Speaker 3 (02:16:04):
I know many strange.

Speaker 2 (02:16:05):
Tales hidden in the hearts of men and women who
had stepped into the shadows. Yet I know the nameless
terrors of which they dare not speak to night. It's
the whisper's strange story are present for Ricky dressed. The

(02:16:33):
spotlight subtly changed from white to a delicate blue, and
the small nightclub orchestra slid into three quarter times as
the dance team began their waltz. The Croydons, Clyde and
Marie had held top filling at the club for almost
a year, and it was well deserved. Drinks stood unnoticed
on the table, conversation stumped. Everyone now was watching the Croydon,

(02:16:57):
or rather Marie kreud slim, graceful blue velvet, Marie smiling
as she spun across the floor, poised for a moment,
and floated effortlessly back to Clyde, waiting on. The customers
loved felt that there was a first time look about it,
even in the way they murmured to each other as

(02:17:17):
they swayed gently together in three quarter times and your
chose tonight?

Speaker 5 (02:17:22):
Each are you why did it long for a change?

Speaker 2 (02:17:26):
To take it easy?

Speaker 52 (02:17:28):
If I have to prop you up on another ternnel spot.

Speaker 2 (02:17:36):
Yes, the customer's love. Clyde and Marie husband and wife,
quiet maturity and breathless youths. And at the same time,
on the other side of the room, a theatrical agent
named Stanley Craig appraised the Croydon's a little more critically.
You like her Asian girl's good. He just needs a

(02:17:56):
younger partner. The old boy slows her up. Let me
see what I mean? Well, that's been that's.

Speaker 25 (02:18:07):
Just the old boy.

Speaker 7 (02:18:08):
He's killing me act.

Speaker 2 (02:18:10):
You wouldn't be fiction to cut him off at the ankles.

Speaker 45 (02:18:12):
What do you mean?

Speaker 7 (02:18:14):
You just might be promoting the rumber expert you just picked.

Speaker 2 (02:18:17):
Up as a new partner names Ricky.

Speaker 25 (02:18:21):
What if I am?

Speaker 2 (02:18:23):
He's the boy who can do it. He's young, Mike,
he's got looks and you you see what I mean?

(02:18:46):
All right, Marie, let's get it over with.

Speaker 5 (02:18:49):
Get what over with?

Speaker 7 (02:18:50):
You're likely speech that.

Speaker 2 (02:18:52):
Fact you made out on the floor.

Speaker 21 (02:18:54):
Oh yes, that.

Speaker 4 (02:18:58):
My head is quick hard.

Speaker 7 (02:19:00):
I'm waiting, Marie, don't forget it.

Speaker 52 (02:19:04):
I don't want to go through it all again.

Speaker 7 (02:19:06):
Now I think it's time we had it out.

Speaker 53 (02:19:08):
Listen, Clyde, why you tiny kids yoursel?

Speaker 2 (02:19:12):
You know it can't go on like this.

Speaker 7 (02:19:13):
I don't know, just got a pretty good hand.

Speaker 24 (02:19:17):
You mean I got a good hand.

Speaker 54 (02:19:18):
You might as well admit it.

Speaker 7 (02:19:19):
I don't think that's quite fair, but.

Speaker 5 (02:19:21):
That's true, Clyde.

Speaker 53 (02:19:23):
You'reting tired of popping you up, covering up your fumbles, Harry,
my hair, my mouth every time, it's going to it.

Speaker 3 (02:19:29):
Now, wait a minute, you wait.

Speaker 5 (02:19:30):
A minute, maybe you might maybe we better have it
out right now.

Speaker 2 (02:19:36):
When I picked you up, you were nothing jitterbug camp
you know, West Washington Heights. Why in five years, don't
give me that loyalty?

Speaker 54 (02:19:43):
Kid, I've heard it before.

Speaker 2 (02:19:46):
If you really want to talk about loyalty, let's talk about.

Speaker 5 (02:19:49):
Your first wife.

Speaker 17 (02:19:50):
You forgot about her in a hurry.

Speaker 52 (02:19:52):
Didn't you sure she was too old?

Speaker 5 (02:19:53):
Throwing up the ass? Didn't let if you then?

Speaker 21 (02:19:56):
Did it?

Speaker 2 (02:19:57):
No?

Speaker 12 (02:19:58):
Sorry, baby, I got to get rid of you.

Speaker 52 (02:20:00):
I know it's tough for the show business.

Speaker 5 (02:20:02):
Off you go to Reno.

Speaker 7 (02:20:04):
What makes you think I'm old?

Speaker 2 (02:20:05):
You're forty.

Speaker 5 (02:20:07):
That's too old for me, and it's not just my opinion.

Speaker 2 (02:20:12):
Talk about who's talking about it?

Speaker 17 (02:20:15):
People who ought to.

Speaker 2 (02:20:15):
Know telling each other. I'd be on top.

Speaker 12 (02:20:19):
I had a partner, boon didn't creak.

Speaker 2 (02:20:22):
You got somebody in mind, we'll forget it. I have
no intention of letting you go. There's a partner, or
as a wife, yes.

Speaker 53 (02:20:31):
Much without me, you would be right bottom, billing at
our third rate, by less than Jersey City.

Speaker 2 (02:20:38):
That has nothing to do with it, all right, give
me a better reason over there.

Speaker 13 (02:20:42):
On the table.

Speaker 10 (02:20:45):
Roses.

Speaker 2 (02:20:48):
It's the reason Marie, these roses night after night, the
same card.

Speaker 10 (02:20:54):
Ricky?

Speaker 25 (02:20:59):
Who is Ricky?

Speaker 52 (02:21:01):
One of the customers?

Speaker 12 (02:21:02):
He likes my dance?

Speaker 2 (02:21:02):
Is that all so far? I think you're in love
with him? That's what's behind all of it. Stuck about
my dancing?

Speaker 25 (02:21:08):
Isn't it?

Speaker 2 (02:21:09):
You love this guy and my dancing is as good
an excuse as any that.

Speaker 7 (02:21:15):
Who is.

Speaker 5 (02:21:18):
The name is?

Speaker 7 (02:21:19):
What's his last name?

Speaker 2 (02:21:20):
It's not yours at the moment I think it is.
He's a dancer, isn't it? Yes?

Speaker 5 (02:21:26):
Imstor he's the dancer.

Speaker 53 (02:21:30):
You might as well end the third degree right here.

Speaker 7 (02:21:32):
You're planning to team up with a mart won't get
away with him.

Speaker 5 (02:21:38):
In my career?

Speaker 53 (02:21:40):
Doesn't mean anything you doesn't only when it affects mine.

Speaker 5 (02:21:44):
That's why you married me, isn't it for the effect
I have on your career?

Speaker 7 (02:21:47):
You married me for the same reason.

Speaker 5 (02:21:49):
Well, maybe I did, but the reason is gone now.
I don't need you any more, pride. I need Ricky now,
you know.

Speaker 53 (02:22:02):
Let's handle the whole thing reasonably. Shall we wind up
here in another week? How come you sh up with you?

Speaker 18 (02:22:10):
Then I can find myself another clues.

Speaker 2 (02:22:14):
Now that has take too long. I can't start all
over again now, I guess I'll have to start at
the other end with Ricky. I'll look him up tomorrow.

Speaker 52 (02:22:25):
I don't even know who.

Speaker 2 (02:22:27):
I have a pretty good idea who his agent is
that ought to get me somewhere? Stan Ley Craig, isn't
it Marine? How did you know dan Ley Craig theatrical agent?
You shouldn't have left his card on your desk yesterday,
Darling Ry, Why if you do anything to you do

(02:22:47):
love him? Don't you?

Speaker 22 (02:22:49):
All right?

Speaker 2 (02:22:49):
I love him for the last time?

Speaker 7 (02:22:50):
What's it gonna be, Ricky on me?

Speaker 5 (02:22:53):
I've already told you nothing can change his card.

Speaker 4 (02:22:57):
This is our last week, all right?

Speaker 18 (02:23:04):
That's all I wanted to miss.

Speaker 2 (02:23:20):
In just thirty seconds. The whistler will continue to night story.

Speaker 11 (02:23:24):
Don't be half right, use U Staffe.

Speaker 36 (02:23:27):
For example, would you say that the use of calendars
goes back twelve hundred years. No, that's only half right.
Brush up on your ancient history. Tell your I and
E officer you want to study with the United States
Armed Forces Institute U Staffy. It's easy, it's simple. If
you don't want to be half right, use Usafie.

Speaker 2 (02:23:51):
Now back to no whistler, Well, Clyde, it's all over.
Her mind is made up, and you know Marie well

(02:24:13):
enough to realize that nothing you can do or say
will change it now and everything she said was truth.
Without her, you're nothing. There'll be no more top billings
at one thousand a week, in expensive nightbocks, no more
polite applause from the cafe society crowd, no more penthouse apartments,
nothing but a seat on the sidelines while Marie and

(02:24:35):
Ricky drifts across ballroom floors, on and up to the top.
It's early the next morning when you leave your apartment
by the private elevator, and twenty minutes later you walk
up a flight of creaky stairs to Stanley Craig Hawk
in the West forties. Here, sir, what can I do

(02:24:58):
for it? Stanley Craig, that's name?

Speaker 25 (02:25:02):
Pull up a chair.

Speaker 2 (02:25:03):
Thank you.

Speaker 7 (02:25:06):
I thought I might be a little early.

Speaker 2 (02:25:09):
Hey, I didn't recognize you from you're Clyde Crowdon.

Speaker 18 (02:25:13):
I saw you act again last night.

Speaker 55 (02:25:15):
Really yeah, good act too.

Speaker 2 (02:25:18):
Thank you?

Speaker 17 (02:25:20):
What can I do for it?

Speaker 7 (02:25:21):
Answer a few questions?

Speaker 2 (02:25:23):
Yeah, glad to you manage a dancer named Ray. I
see what you get, man.

Speaker 7 (02:25:31):
Yeah, I'm managing new.

Speaker 2 (02:25:33):
Boy specialist numbers and time goes.

Speaker 18 (02:25:35):
If i'd dancers.

Speaker 2 (02:25:36):
That's what Marine tells me. Make a great team, mister
c Reggy and Marie. She's not at liberty, mister Craig.
She's my popul and my wife. I'm amid this sort
of thing going behind my back, but I'm sure she
resents it too. That's not what Ricky tell me. Well,

(02:25:58):
mister Croydon, you've been in the game long enough to
know what youth means.

Speaker 9 (02:26:01):
In a dance ing.

Speaker 7 (02:26:03):
I don't think you're being very fair to me.

Speaker 2 (02:26:08):
If she goes for it, I guess Ricky'll be a
new apartment.

Speaker 25 (02:26:11):
There's just nothing you can do.

Speaker 2 (02:26:13):
I would like to talk to him if you don't mind, sure,
just say when today? Where is he not out in
the park somewhere? He walks for two hours every morning,
good for the legs, you know, alone. So I had
to find another guy who'd knock off eight miles in
the park before lunch. Don't you think, hey, he's a

(02:26:36):
long well does he come here after his walk? Sometimes yes, sometimes.

Speaker 10 (02:26:40):
No, It might be a couple hours.

Speaker 2 (02:26:42):
I have all morning.

Speaker 55 (02:26:44):
Okay, the new variety's on the desk.

Speaker 7 (02:26:48):
You'll be alone here now in the bottom.

Speaker 2 (02:26:50):
Thanks. H Sure I met the card?

Speaker 18 (02:26:58):
Yeah, no, i'd feel right.

Speaker 7 (02:27:01):
No hard feelings, Why.

Speaker 2 (02:27:12):
No, Clyde, no hard feelings at all. That's the amazing
realization that, not one minute ago, as you talked to
Stanley Craig, you calmly, unemotionally, coldly decided to murder your
wife Marie.

Speaker 10 (02:27:33):
There was no shock to it at all.

Speaker 2 (02:27:34):
If it is that it had been there all the
time in the back of your mind, waiting to be
formulated in the thought, Yes, Clyde, here you are. I'll
stand at Craig's office alone. Ricky is walking in the
Marie is at home alone. You realizement that he likes
it might not happen in a thousand years. If you're

(02:27:56):
going to do it at all, Clyd, you've got to.

Speaker 10 (02:27:59):
Do it now.

Speaker 2 (02:28:02):
On the top of the file cabinet you find a
package of Stanley Craig's letterhead on his desk about her typewriter.
In your pocket, the cards signed Ricky that came with
the flowers, and most important in your mind, an idea, Marie,
my darling. It is useless to try to put this

(02:28:24):
into words. I've told no one of your decisions to
stay with Clyde, because I know it isn't final, but you.

Speaker 25 (02:28:34):
Love me and always will.

Speaker 2 (02:28:37):
That's the only future for either of our feet together.
You finish the note, and at the bottom of it,
after all my love, you'll carefully copy Ricky's signature from
the card on the desk is a sharp letter opener
with Stanley Craig's naman.

Speaker 18 (02:28:55):
That's part of it too.

Speaker 5 (02:28:56):
Card.

Speaker 2 (02:28:57):
You put it in your coat pocket ready when you
need it.

Speaker 10 (02:29:01):
Now back to your departet. You still have over an
hour and.

Speaker 18 (02:29:06):
You know Marie will be alone. Hello, Marie, Oh, how.

Speaker 52 (02:29:21):
Are you ben?

Speaker 18 (02:29:22):
You know where I went?

Speaker 2 (02:29:24):
Did you see him? Ricky?

Speaker 10 (02:29:26):
Who else?

Speaker 2 (02:29:27):
He wasn't there? I think he was taking his morning
walk in the park. Remember when we used to walk
in the park together, Marie yet breaking my heart? All right,
all right, I want to show you a letter.

Speaker 5 (02:29:46):
Huh.

Speaker 2 (02:29:47):
Yes, really, it's addressed to you, Marie.

Speaker 5 (02:29:54):
My dying.

Speaker 12 (02:29:55):
It's useless to try to put this into woods.

Speaker 53 (02:29:58):
I've told no one of your decision to stay with Clyde,
because I know it is in final.

Speaker 12 (02:30:05):
But you love me and always, oh God, go.

Speaker 14 (02:30:09):
On, Marie.

Speaker 2 (02:30:10):
Read the rest of it.

Speaker 53 (02:30:12):
True, always will that the only future for either of
us is together. You must believe me, Darling. I'd rather
die than have it any other way. I'm coming to
your apartment tomorrow morning at eleven. We must decide this
one thing for all all my love Ricky.

Speaker 2 (02:30:33):
That the Madame Marie.

Speaker 5 (02:30:36):
Clyde.

Speaker 54 (02:30:37):
That's the funniest thing I've ever read in my life.

Speaker 52 (02:30:40):
You're doing, if you're doing this, play okness.

Speaker 2 (02:30:53):
He's going for the chair, Marie, for your murder.

Speaker 15 (02:31:00):
Try please please.

Speaker 2 (02:31:03):
No? Oh still aromas a cr yes, Still around, beginning
to wonder if Ricky will show up at all? Anybody call,

(02:31:27):
not unless they called. While I was out stretching my legs,
walked around the block a couple of times.

Speaker 18 (02:31:32):
Sorry had to wait so long.

Speaker 7 (02:31:33):
Oh that's all right.

Speaker 2 (02:31:36):
It gave me a chance to think things over. That's
good or bad. I think it's good. I decided it's
wrong for me to try to stand in her way.
This looks like a break for her and Ricky. I
think they deserve a chance. I was hoping you see

(02:31:57):
it that way.

Speaker 14 (02:31:58):
Thanks a lot.

Speaker 2 (02:32:00):
Well, i'd better be going tell Ricky about that when
he comes. Sure the gun home? Yes, I think i'd
better tell Marie. Police headquartered. This is Clyde Croydon. I

(02:32:34):
live in the penthouse at twelve thirty two Warwick Place,
twelve thirty two. That's time. Please send somebody up here
as quickly as you can. My wife has been murdered.
Feel better, mister Cruden, I think so. Sidon, there's quite

(02:32:58):
a letter we found on the waist bash get what
do you think of it? I don't know what to think.
You knew what was going on between this man and
your way? There was nothing going on. It was all
in his mind.

Speaker 14 (02:33:11):
What do you mean?

Speaker 2 (02:33:12):
Well, look, I've never seen this Ricky.

Speaker 7 (02:33:16):
I don't know who he is.

Speaker 2 (02:33:17):
All I know is that he started sending Marie flowers
after every performance. He had some crazy idea she was
in love with him. It was ridiculous. She hardly knew him,
and what about the dance business that was part of
it too. He thought she'd leave me and team up
with him.

Speaker 10 (02:33:37):
Don't ask me.

Speaker 2 (02:33:38):
Why, but she laughed at him. H that's as good
a motive as I've seen in twenty years, you know.

Speaker 45 (02:33:46):
So?

Speaker 2 (02:33:46):
I wonder he didn't leave a confession note.

Speaker 18 (02:33:48):
Right on the table.

Speaker 2 (02:33:49):
He left e anything else? First class motive letter In
the waist past is the knife for his manager's name
on it, and the butcher's outside. Yet, after practically shouting
from the housetops said he'd killed her, he carefully wipes
his punch off the knife. Funny how a murderer's mind works,

(02:34:12):
isn't it? Yes, it's hard to understand, by the way,
missus Croydon, this is only a formality, of course. What
were you yesterday morning? In Craig's office, waiting for Ricky
to show up?

Speaker 7 (02:34:27):
Craig seemed to think she'd go for him as a.

Speaker 2 (02:34:30):
New partner, and I finally decided to go down and
settle it. Have any words, No, I just told him
if it was all right, with Marie. It was all
right with me. I knew, of course, how she felt
about him. Where it was Ricky at the time, walking
in the park, exercising his leg alone.

Speaker 18 (02:34:49):
I yes, here it is again.

Speaker 25 (02:34:53):
I bet the guy hasn't even.

Speaker 2 (02:34:54):
Got himself an alibi. Have you talked to him yet?
The boys are looking him up now, they ask me,
mister Croydon, that guy's a dead pigeon.

Speaker 33 (02:35:14):
All of us are proud of our hometowns, and rightly so.
In this brief moment, before we continue with our program,
we'd like to offer a salute to one of our
hometowns in America.

Speaker 2 (02:35:23):
Cleveland, Ohio, the seventh largest city in the United States.

Speaker 33 (02:35:28):
Cleveland was founded in seventeen ninety six by General Moses Cleveland,
chief surveyor for a land company. His employers bought three
million acres in what is now northern Ohio, paying forty
cents an acre. Just by way of comparison, an acre
in downtown Cleveland today would bring some two million dollars.
It is an important great Lake shipping point in the

(02:35:50):
sight of iron and steel manufacturings. Other Cleveland products include paints, varnishes,
electrical appliances, chemicals, and automobile and airplane parts. It is
well known for its cultural developments. Also, the city owns
and operates its own dramatic theater, and the Cleveland Symphony
Orchestra is widely acclaimed. In the Cleveland Cultural Gardens, a

(02:36:11):
mile long strip of park area, more than thirty nationality
groups represented in Cleveland's population are creating gardens as memorials
to peace. One hundred and twenty years is a short
time in the world's history, but during that time, Cleveland
has taken its honored place in the building of America.
Now back to the whistlers, well cried.

Speaker 2 (02:36:49):
All it took was a little nerve. You're over the hunts,
now all ready to act as number one witness for
the prosecution in the case against break. Tomorrow the story
will break in the paper and the notoriety. The public
sympathy over your bereavement should make it easy to pick
up a new party, one who'll keep you in the
top spot in penthouse apartment with private elevators. Yes, God,

(02:37:15):
you can relax now you've decided it's all. Oh, Rogeant,
I'm sorry to disturb you, mister Croydon. I was about
to go to bed. Anything wrong we've got Ricky. Oh good, yeah,

(02:37:36):
just finished questioning him. Mind a recommend not at all. Well,
we check the note against Greg's typewriter. That's where it
came from, all right, And then it looks like you've
got a kick. No throws a curve for a while,
mean for a while, until we found Ricky. He claims,

(02:37:58):
you didn't write it. Good lord, what did you expecting
to say? In just a minute? Show you what I mean? Whatever,
cluden missus. Ricardo Montez, also known as Ricky.

Speaker 16 (02:38:15):
He did it.

Speaker 7 (02:38:15):
He killed my wife.

Speaker 2 (02:38:16):
He wrote the note, said the Carolina said, wait a minute,
that's what I mean about the note. Croydon. The boy
doesn't know a word of English, he said, fake. We
checked that too, But there was another thing about that
note that really tied it up, Croydon. If he could
have written it, he'd have signed it in his own handwriting.

(02:38:38):
But it was his handwriting, it was his name, but
the florist's handwriting. Featured in Tonight's Story, where Bill Foreman

(02:39:11):
is the whistler, Vic Karnjeene Bates, Kerry Bartel and Jack
Moyles the Whistler, directed by Gordon T. Hughes, the music
by wilbra Hatch is produced by Joel Malone and transmitted
overseas by the Armed Forces Radio Service. The Whistler was
entirely fictional, and all characters portrayed on the Whistler are
also fictional. Any similarities of names or resemblances to persons

(02:39:33):
living or dead is purely coincidental. This is Dan Cubberley
speaking and reminding you to listen again next week for
another strange tale by the Whistler. This is the United

(02:39:55):
States Armed Forces Radio and Television Service.

Speaker 1 (02:39:59):
Well, I'm glad you seem to have warmed up to
your gift.

Speaker 10 (02:40:06):
Ah.

Speaker 1 (02:40:09):
I think this calls for even more hot cocoa and
another log on the fire. These walls are thick and stone.
They do hold a chill if they want to, and
believe me, their mood is well unpredictable, to say the least.

(02:40:34):
I don't know about you, but sometimes I like to
let the temperature drop. I like to feel the chill,
like I'm some kind of abominable snowman.

Speaker 23 (02:40:46):
Tired of the everyday grind, ever dream of a life
of romantic adventure, want to.

Speaker 47 (02:40:56):
Get away from it all.

Speaker 25 (02:40:58):
We offer you.

Speaker 56 (02:41:01):
Escape, escape designed to free you from the four walls
of today for a half hour of high adventure.

Speaker 23 (02:41:26):
You are high on the frozen slopes of a great mountain,
terrified and caught in a blizzard, while the thing for
which you've been hunting has suddenly become the hunter. And
if it finds you, then for you and your companions
there can be no escape.

Speaker 57 (02:41:47):
So listen now as escape brings you Anthony Ellis's exciting
story The Abominable Snowman.

Speaker 23 (02:42:17):
Our first bit of luck was when we hired our
shepherd guide, Nassang, that was in Darjiling. When I told
Nasang what we were after, he hesitated for a moment,
and then he said.

Speaker 49 (02:42:29):
These shybes have not come to climb Shomolongma.

Speaker 23 (02:42:32):
Oh no, we're a little late for that. It's already
been done. The other two sibs and myself are here
for the reason I.

Speaker 2 (02:42:38):
Told you met to Kungmy.

Speaker 10 (02:42:40):
That's right.

Speaker 49 (02:42:42):
These sibs always hired me to climb the mountain with them,
but never this.

Speaker 14 (02:42:47):
Are you afraid of them?

Speaker 42 (02:42:49):
I have seen one.

Speaker 47 (02:42:51):
You've seen one.

Speaker 42 (02:42:52):
Yes, many of us have seen them.

Speaker 23 (02:42:55):
Wait a minute, Alan, yeah, what's up? I meant of
viewing a sherpa and here he says he's seen one
of the things. He was Frank, we'll have to give
some tobacco, all right, Come on in.

Speaker 14 (02:43:10):
I think this is our man.

Speaker 47 (02:43:14):
Nasan.

Speaker 23 (02:43:15):
This is mister Ferris sad Helona San Nasan was telling
me about what it's seen.

Speaker 47 (02:43:21):
Go ahead, Nassan.

Speaker 42 (02:43:22):
It has a face that is evil.

Speaker 49 (02:43:25):
And when it saw me, it uttered a strange cry
and bounded away, sometimes leaping, sometimes running with great strides.
It was dusk, and after a moment I lost sight
of it in this snow. Where were you with the
French expedition? It was at nineteen thousand feet a show Maluma.

Speaker 47 (02:43:47):
How far were you from it?

Speaker 23 (02:43:49):
Thirty feet perhaps thirty five? You're sure it wasn't an ape?

Speaker 49 (02:43:53):
I am sure there is no ape in Imaria to
make such a track for about bears two I have
been asked. But does a bear walk always upon its
hind legs?

Speaker 10 (02:44:06):
Wow?

Speaker 23 (02:44:07):
That's enough for me, Alan, Yeah, he'll do. If you
want the job. In the song, you're hired.

Speaker 49 (02:44:16):
You are going to try to capture a Yetty. Yes
it will be a difficult thing, but I will serve with.

Speaker 23 (02:44:25):
You Yetty wild man network Kung me abominable snowman. That's
the name the natives had for the things, and Alan Ferris,

(02:44:46):
Frank Davis and I were going to try to get one.
We've all done some climbing, but climbing was secondary here.
Expeditions since the beginning of the twentieth century had heard
of the abominable snowmen, observed their tracks, and one or
two white men claim to have seen them great ape, bear, monkey,
wild men. We didn't know, but we were going to

(02:45:10):
find out. Four weeks later, we were in the Wrong
Book Valley for our interview at the monastery with a lama.
The journey from our base had been uneventful. The weather
was good and our spirits were high. From the lama's
window we could see the great Peak of Everest in
the distance.

Speaker 58 (02:45:34):
Why, gentlemen, do you desire to capture metal Kung.

Speaker 23 (02:45:38):
Because we believe it will be an invaluable aid in
our prehistoric research, that is, if these things are in
any way human.

Speaker 58 (02:45:44):
And for this reason, then you have formed the expedition. Yes,
you are all familiar with climbing, Yes we are. You
would need to be the YETI move at high places dangerous,
so my people tell me. Also the monsoons are arriving

(02:46:04):
in a short time.

Speaker 23 (02:46:06):
I understand that. Then do we have your permission to
investigate in the valet and beyond?

Speaker 10 (02:46:11):
You have my.

Speaker 14 (02:46:12):
Permission now I appreciate it.

Speaker 58 (02:46:14):
There is one point, however, I must request that no
wild animal or being in this valley be shocked.

Speaker 23 (02:46:22):
Our religion does not allow it. Well respect your wishes, sir.
Now may I ask you one more thing? Of course,
my son, do you believe in the existence of matter?

Speaker 25 (02:46:33):
Kangli?

Speaker 58 (02:46:36):
I myself have never seen them, but I know that
they live here above the value on the Goddess Mother
of the world. It is also true that at least
five and possibly more inhabit the upper Wrong Book and
its glaciers.

Speaker 10 (02:46:54):
Thank you?

Speaker 14 (02:46:56):
Do you have portons?

Speaker 47 (02:46:57):
Our guide in Masan is hiring them now.

Speaker 2 (02:47:00):
Yeah, I trust that he meets with good fortune.

Speaker 23 (02:47:11):
The old man with great dignity about slightly to us,
and we were dismissed.

Speaker 47 (02:47:16):
But I thought I saw the shadow.

Speaker 23 (02:47:17):
Of a smile on his lips as he turned away.
And it wasn't long before I found out why. Nasang
returned to us in our quarters, and his face warned
of bad news.

Speaker 49 (02:47:27):
So I am unable to hire any porters why not.
They know the purpose of the expedition.

Speaker 10 (02:47:34):
They will not go.

Speaker 47 (02:47:36):
Why they are afraid the snowmen.

Speaker 42 (02:47:40):
Yes, they live in peace with them. They wish no trouble.

Speaker 2 (02:47:45):
They are afraid.

Speaker 23 (02:47:47):
Well, all right, it'll be rough, but we can't waste
time talking them into it. The monsoons will be coming
in a couple of weeks. It's not the same as climbing.
Everest will travel light. Just the four of us, set
up a base and start hunting, all right with fellows. Yeah, sure, Nassan, I.

Speaker 10 (02:48:02):
Will go with you.

Speaker 42 (02:48:04):
I am not afraid.

Speaker 25 (02:48:05):
God.

Speaker 23 (02:48:06):
Well, let's take a look at the map. I will
each carry a capacity load. We should be able to
make this point below the glacier in two days. That's
sixteen thousand feet. And if are abominable snowmen are in
the vicinity, we've got two weeks.

Speaker 47 (02:48:25):
To find them when we start tomorrow.

Speaker 10 (02:48:27):
Good.

Speaker 47 (02:48:28):
Well, that's it, that's right.

Speaker 55 (02:48:33):
One thing, or what do the natives mean when they
say they don't want any trouble with the things?

Speaker 47 (02:48:37):
Superstition?

Speaker 25 (02:48:37):
Probably?

Speaker 49 (02:48:38):
Oh no, sir, it is not superstition. It is because
the Yetti are cannibals. That is why reporters are afraid.

Speaker 23 (02:49:01):
The weather turned ugly that day we left the village.
A cold Tibetan wind blew down from the west, and
with our heavy packs, it took us much longer than
we'd thought to arrive at the point just below the
Wrong Book Glacier. We set up a camp and made
ourselves as comfortable as we could. The next morning wasn't
so bad. There was a heavy overcast, a promise of snow,

(02:49:21):
and the peak of Everest looming over us was shrouded
in clouds. The four of us sat in the tent,
looking at our charts and drinking hot tea.

Speaker 55 (02:49:30):
I figured it'd be easiest if we started at the
East Glacier. It's only about three miles from here, and
where the weather is stinking as it is, we won't
run too much of a risk. How do you think, boy, Well, that.

Speaker 47 (02:49:39):
Sounds all right. What do you say we split up,
you and Na sung Alan and me.

Speaker 23 (02:49:50):
We'll work up on either side of the ridge here,
and if we spot any tracks, fire two shots. Now
the big thing, though, No matter what, don't shoot at
the thing if you do see it. Okay, okay, all right.
If we lose touch with each other, we'll meet back here.

Speaker 14 (02:50:06):
At five.

Speaker 23 (02:50:08):
All right, let's get going. We'd left the base at
six that morning, and the going was rough. Alan was
pretty well shot by the time we got to the

(02:50:29):
seventeen thousand foot mark. He was having a tough time breathing,
and the wind had come up again, and with it
a fine, powdery snow that blinded choked us.

Speaker 47 (02:50:44):
Hey, I gotta take five all right, yeah, I'm move
over here. It might cut some of the wind.

Speaker 42 (02:50:54):
Oh oh, oh, oh.

Speaker 2 (02:50:57):
That's better.

Speaker 23 (02:51:00):
We might as well start back for the bass. We
couldn't see anything in this anyhow.

Speaker 47 (02:51:04):
You know right now, I don't care whether we're doing that.
This is good weather, waiting until the monsoon start.

Speaker 14 (02:51:12):
Not me.

Speaker 44 (02:51:14):
Oh cool, I have been so cool in all my life.

Speaker 23 (02:51:33):
We stayed in the half shelter of an overhang for
ten minutes, and the wind was quieter and the snow
at letter. I noticed that the tracks we'd made coming
into the shelter were gone now, but we didn't have
any worry finding our way back.

Speaker 47 (02:51:46):
I figured that.

Speaker 23 (02:51:46):
Frank and Nassang had met pretty much the same thing
on their side of the ridge, and we'd meet them
at the base.

Speaker 47 (02:51:52):
So Alan and I picked ourselves up and started off.

Speaker 3 (02:51:58):
Boy, I thought I was in pretty good shape. But
up here, boy, I'm nothing.

Speaker 16 (02:52:06):
Well, I'm tired again.

Speaker 47 (02:52:07):
We'll just take it easy going down. You haven't got frostbined,
have you?

Speaker 17 (02:52:12):
No?

Speaker 47 (02:52:13):
No, not yet.

Speaker 7 (02:52:13):
But what.

Speaker 9 (02:52:17):
The left there?

Speaker 23 (02:52:22):
Yeah, they're not our tracks, not unless you took your
boots off on the way up.

Speaker 47 (02:52:31):
Must have just passed by, must have seen us.

Speaker 23 (02:52:36):
Yeah, come on, we were looking at a set of tracks,
newly made in the fresh snow, and they'd passed so
close to our shoulder that the thing must have known
we were there. They weren't the tracks of a bear
or an ape, but more like a splay footed, naked foot,

(02:52:58):
the tracks of the Abomina snowmen.

Speaker 57 (02:53:11):
We will return to escape in just a moment, but first,
thirty million school children make their way back to class
this year. There are just ten million too many for
existing school facilities. Contact Better Schools to West forty fifth Street,
New York, nineteen for information on ending this menace to
America's educational standards. And now back to escape.

Speaker 23 (02:53:57):
We began to follow the tracks, and for a while,
perhaps one hundred and fifty yards, it was easy. And
then the thing made a left wood traverse down a
deep slope. We could see the prince clearly, angling with
a side step, as share footed as a mountain goat,
except that it was walking on two lages.

Speaker 47 (02:54:16):
His way walk Take it easy, I'll get any staper.
What that thinks your cat climb?

Speaker 23 (02:54:24):
Hold up all, I think, and he dropped out of
sight over the lip of the crevasse. We went roped together.
I got as close as I dared to the edge.
The low snow crumbled away from my outstretched body, and
I looked down into the blue black darkness below, falling
away into nothingness.

Speaker 47 (02:54:45):
He was gone, finished.

Speaker 23 (02:54:48):
All I could think of was the noise he'd made
when he went over, Surprise, angry, then silence. The crevass
might have been five hundred feet The snow started to
fall again, big flakes this time, and wet. I stood
up and across the gap, twenty feet away. I saw

(02:55:09):
the tracks of the thing continuing on and away until
they became lost in the blank whiteness of the glacier.
It had jumped and landed still upright on the opposite side.
I went back to the base, and an hour later
Frank and the Song returned. I told them, and we
were quiet for a long time.

Speaker 55 (02:55:32):
Then all, are we going on again tomorrow?

Speaker 10 (02:55:37):
Why not?

Speaker 2 (02:55:38):
I just wanted to We should go back.

Speaker 42 (02:55:41):
It is an omen, I tell you.

Speaker 23 (02:55:42):
It was going too fast. He didn't have a chance
to see the cravas. That's not an omen. It's bad
sense made to Kung.

Speaker 42 (02:55:47):
We cannot be got.

Speaker 47 (02:55:48):
We'll catch him up.

Speaker 55 (02:55:49):
But there are only three of us. If we had
a few more men.

Speaker 47 (02:55:51):
I tell you, the thing was so close that if
we'd looked up at the right time, we'd have seen it.
You think I'm going to give up now? Next time
we'll get it.

Speaker 55 (02:55:59):
There was not chance to get Alan out. No, you
think if we went back.

Speaker 47 (02:56:03):
Listen, you think I don't want to. He's gone. I tried,
but he's gone.

Speaker 55 (02:56:06):
Okay, okay, I wish that winded letter.

Speaker 47 (02:56:12):
Maybe by morning we'll try again tomorrow.

Speaker 23 (02:56:29):
It was cold that night, and somehow colder because Alan
was gone. I heard Frank tossing around, and I knew
he was thinking about a body, broken and lonely, lost
somewhere in a deep and dark place. In the morning,
the three of us packed our gear, camera, food, and
there was a light pack. We started up again, this

(02:56:52):
time to a crest above the ridge, it was tougher
than it looked, and we weren't even halfway up before we.

Speaker 47 (02:57:00):
Had to rest. As a look to the west, I
saw clouds.

Speaker 23 (02:57:03):
Boiling up, not white but somber, threatening, and below the
valley looked grim, ugly gray.

Speaker 47 (02:57:13):
And then the sun was gone, and we kept on
going up. And then I had a strange feeling. And
there's nothing I could see, nothing I could hear, only
a sensation of being watched followed. Wait a minute, see something? No,

(02:57:34):
I have filled it to sade something following us.

Speaker 42 (02:57:38):
Yes, it is me to cull me. How do you
know it came to be nothing else? At the sight?
There is nothing else that there is.

Speaker 47 (02:57:48):
Maybe it's curious. No, don't turn a roughing. Listen.

Speaker 23 (02:57:53):
When we got up to the crest, you two flopped down.
Stay in side of the slope here, what are you
gonna do? Move around the hump and watch. If it
thinks we're all together, it may come close enough to
give us a.

Speaker 47 (02:58:03):
Chance to get it.

Speaker 55 (02:58:05):
You better watch a step.

Speaker 47 (02:58:08):
It looks nasty.

Speaker 51 (02:58:09):
I will now come on.

Speaker 47 (02:58:14):
It took us another fifteen minutes to get up to
the crest, and then Frank and Nassang hunched down to rest.
They were in clear view of the slope we just descended.

Speaker 23 (02:58:23):
I moved back out of sight and made my way
toward the hump, which backed a long shelf on the
north side of the crest.

Speaker 47 (02:58:29):
In a couple of minutes I lost sight of them
and of the slope.

Speaker 23 (02:58:33):
The wind had increased and the clouds had spread. No
who become an iron gray canopy over the mountain. It
was getting colder again.

Speaker 47 (02:58:42):
I don't think. It took over five.

Speaker 23 (02:58:43):
Minutes to reach my lookout point, and when I did,
I had a perfect view of the ground we'd covered.

Speaker 47 (02:58:50):
There was nothing there. The men were out of sight,
and I waited a minute two.

Speaker 14 (02:59:00):
There was nothing.

Speaker 23 (02:59:03):
Until it came, carried on the wind to cry, and
then shots. I scrambled back to where I left them,
and when I got there. When I got there, Frank
was lying on his back and I couldn't look at

(02:59:25):
what was left of his face. There were terrible, deep
rents in his clothing, and he was dead. The song
lay huddled a few feet beyond a gun in his hand.

Speaker 28 (02:59:36):
So what is it?

Speaker 42 (02:59:39):
But metter cuny. It came from behind us. Before I
could the good killed, and it sprang it to me.

(03:00:00):
It is strongside, Hugh, the strain of ten men.

Speaker 47 (03:00:04):
All right, all reight, can you sit up.

Speaker 42 (03:00:08):
My leg?

Speaker 59 (03:00:09):
It is SKay to be my leg broken. I shut
at it, but I missed it jumped away and who's gone.

Speaker 47 (03:00:21):
Okay, we'll have to figure out a way to get
you done.

Speaker 23 (03:00:27):
We were four hours from camp, and with the song
practically helpless, it could well be four days or never.
I buried Frank where he was lying, then began to
work down the slope. The song was in great pain.
He half slid and crawled as best he could. That
part of it wasn't too bad. Then we were at
the bottom and there was a ledge to climb. It

(03:00:48):
took well over two hours to do that, and we
still had three miles of difficult to rain to cover.

Speaker 47 (03:00:54):
The stops became more frequent.

Speaker 42 (03:00:57):
Go back, No, my leggi'es fersen. There is no feeling anymore.
I shall not leave much longer.

Speaker 47 (03:01:07):
Therefore, after the rest, you'll be able to go.

Speaker 59 (03:01:09):
On Soonday night comes, if we are both caught here,
we both die, there will be snow.

Speaker 42 (03:01:17):
Much snow.

Speaker 45 (03:01:19):
Leave me.

Speaker 3 (03:01:19):
No, we're going back together.

Speaker 42 (03:01:21):
Please let me sleep. Let me sleep here. I cannot
go on.

Speaker 47 (03:01:27):
You've got tons no.

Speaker 30 (03:01:30):
More.

Speaker 47 (03:01:30):
The ridge is only about a half mile from there.
It won't be too bad. No, no, come on, come on,
you're not going to spell all right, sir?

Speaker 23 (03:01:45):
I turned, and for an instance I saw it outlined
against the snow, crouching of medium height. It was covered
with thick hair. The face was reddish and bare, a
semi human face. And it was not an ape.

Speaker 47 (03:02:02):
Nothing made it from into sleep and was gone.

Speaker 10 (03:02:04):
But I hit it.

Speaker 47 (03:02:05):
I knew I hit it.

Speaker 16 (03:02:07):
Was he did you kill it?

Speaker 60 (03:02:09):
No?

Speaker 9 (03:02:09):
I don't think so.

Speaker 42 (03:02:10):
Then it will be back. It has tisted blood. You
must leave me.

Speaker 47 (03:02:14):
Get up, Get up, Come up, let's go.

Speaker 2 (03:02:26):
That song?

Speaker 42 (03:02:27):
M very sorry, sad. Will you ask Hell to make
a prayer for me?

Speaker 7 (03:02:35):
Sure?

Speaker 9 (03:02:37):
Sure?

Speaker 42 (03:02:37):
I well my song, but my pay to my wife
and dairy healing. Sorry, Sad, I uh.

Speaker 25 (03:02:49):
That song?

Speaker 23 (03:02:53):
That song, and the darkness came, and with its shadows

(03:03:17):
in the snow, every hillock mound became the thing, motionless
waiting in my mind. I kept seeing it, its long arms, powerful,
and the dreadful clause it must have possessed. I carried
my gun and my gloved hand, but I knew that
I couldn't fire it unless I was bare handed, and

(03:03:37):
that met my hand would freeze to the gun. And
then suddenly I felt myself slipping. It was a short incline,
but when I reached the bottom, the gun was gone.

Speaker 47 (03:03:53):
I'd lost it.

Speaker 51 (03:03:56):
I've got to find it.

Speaker 3 (03:03:57):
I've got to find.

Speaker 23 (03:04:01):
And I saw a glitter of metal in the snow
ten feet away, and at the same time, above me,
at the top of the bank, the thing.

Speaker 47 (03:04:09):
It stood swaying a little, looking down at me.

Speaker 23 (03:04:14):
I moved slowly, slowly, inch my way toward the gun,
and as I drew closer, I kept my eyes looking up,
but it didn't move, only stared down at me. And
I thought I saw its little eyes glittering, and I thought,
if the gun's frozen. Now, if it's frozen, it doesn't fire.

(03:04:36):
And I was nearer to it, near enough to tick
off my glove.

Speaker 47 (03:04:40):
But that moment in which i'd have to bend to
pick it up, that's when it would leap down at me,
tear my throat out terror.

Speaker 10 (03:04:47):
And I had the gun, and I pulled the ticker.

Speaker 25 (03:04:58):
And lay there.

Speaker 23 (03:05:00):
Yeah, strange, terrifying. It's blood staining the snow It looked
at me, looked at me until the sound died away.

(03:05:23):
It was dead, but the eyes kept on staring.

Speaker 47 (03:05:32):
It must have been the shots that loosened the snow
and ice on the ridge above.

Speaker 24 (03:05:36):
I heard the sound and I ran rahm.

Speaker 47 (03:05:53):
It passed me and swept on down toward the valley,
the thunder of it dying in the distance.

Speaker 23 (03:06:01):
And when I went back, there was nothing there. It
was buried somewhere under tons of snow.

Speaker 47 (03:06:17):
I made my way back to the Wrong Book village.
I don't remember how. I didn't remember anything for two
weeks after. But I'm alive and I'm not going back
there again. That's all I know. I want to know

(03:06:43):
about the Abominable snow Men.

Speaker 57 (03:07:00):
Escape has brought you The Abominable Snowman, written and directed
by Anthony Ellis, starring William conrad Is Lane. Featured in
the cast were Anthony Barrett, high have Herbach, Jack Krushian,
and Edgar Barrier. The special music for Escape was composed
and conducted by Leith Stevens.

Speaker 1 (03:07:22):
Next week, Well, my dear, the hour is getting late,
and the chill in the air is well, it's gotten
more intense, I suppose, Ah, No matter more wood on

(03:07:45):
the fire, more hot in your cup. I'm starting to
feel even more Julie. Is that a term, Julie, Well
it is now. I haven't felt this jovial since all Saints. Usually.

(03:08:11):
I feel like a kind of cold canvas.

Speaker 51 (03:08:17):
Another tale, well calculated to keep you in.

Speaker 2 (03:08:23):
Suspense in just a Moment's cold canvas, written for Suspence
by Walter Black. Yeah, oh bad, Come in, sir.

Speaker 11 (03:08:44):
I thought i'd better check with you before I went out.

Speaker 2 (03:08:46):
Fine, fine, Oh the big day, isn't it?

Speaker 5 (03:08:51):
Sure is?

Speaker 2 (03:08:52):
I remember my first day in the field. I was
really champing at the bit, couldn't wait to get out
there and sell all those prospects. What's on the agenda?

Speaker 11 (03:09:01):
Well, I thought, maybe I just get out and knock
on some doors.

Speaker 25 (03:09:04):
Good good.

Speaker 2 (03:09:05):
A lot of men in this business near at cold canvassing,
but not me. But you can sell a lot of
insurance just by going around knocking on doors. Just remember
one thing, don't be discouraged. Don't ever give up.

Speaker 11 (03:09:29):
Well I get thrown out of here, it'll probably be
bare Butler. Even the door shines round rich Yes, Oh,
good afternoon, madam. Are you the mistress of this beautiful establishment?

Speaker 4 (03:09:41):
Aren't you a little fancy. I thought the praise was
lady of the house.

Speaker 11 (03:09:44):
Oh yes, ma'am, it is usually. But someone as attractive
as you with such a magnificent home deserves nothing but
the best.

Speaker 2 (03:09:50):
Whatever you're selling.

Speaker 4 (03:09:51):
You're probably very successful at it, aren't.

Speaker 11 (03:09:53):
You, well, ma'am? If I am, it's only because I'm
lucky enough to have the right kind of client. Client
for what piece of mind and security? Madam?

Speaker 4 (03:10:01):
Yes, I have not heard before.

Speaker 2 (03:10:03):
This is new.

Speaker 4 (03:10:04):
All right, mister bones, you've piqued my interest.

Speaker 61 (03:10:07):
Exactly what little gadget in that shiny new briefcase of
yours is going to provide me with peace of mind
and security?

Speaker 11 (03:10:14):
Life insurance man, you should have known. Oh no, please, ma'am,
don't be too hasty. Let me ask you something.

Speaker 2 (03:10:20):
When mister the name is Fouchet, f ouc h.

Speaker 11 (03:10:25):
E oh, thank you. Well, when mister Fouchet brought you
this beautiful home, he wasn't just buying lumber and bricks,
He was also buying shelter and comfort. And when he
bought your television said he was buying entertainment and pleasure.

Speaker 4 (03:10:37):
Have you watched television lakers?

Speaker 11 (03:10:39):
Well, but his intent was to provide pleasure. And now
wasn't that missus Fouchet so so? A good provider doesn't
just buy life insurance. He buys peace of mind for
himself and security for you. I mean, in case anything
should happen to him.

Speaker 4 (03:10:53):
Your elliptical phrasing is so comforting. You mean if he dies, well.

Speaker 2 (03:10:58):
Yes, ma'am he's only forty one.

Speaker 11 (03:11:00):
Well, but can he guarantee how long he's going to live? No, ma'am,
no one can guarantee that. But I can guarantee that,
no matter what happens, whether he lives or dies, his
and your future will be provided for life insurance.

Speaker 2 (03:11:13):
Ma'am.

Speaker 11 (03:11:13):
It's the only answer, you know. We have an old
saying in our business, someone always pays for life insurance,
whether it's bought or not.

Speaker 2 (03:11:22):
The breadwinner pays in premiums, or the widow in privation
and suffering. What's your name, uh Phillips?

Speaker 11 (03:11:29):
Eugene J. Phillips. My friends call me Bud.

Speaker 2 (03:11:33):
I'll bet they do.

Speaker 4 (03:11:35):
Would you care for a cup of coffee, mister Eugene J.

Speaker 11 (03:11:37):
Phillips, Well, if you're sure it's no trouble.

Speaker 61 (03:11:39):
And I almost never go to trouble for other people
mister Phillips, come on in and meet my husband. You
can tell us both all about this peace of mind
and security.

Speaker 11 (03:11:54):
Well that's pretty much the story, mister Fouchet. You're a
successful business man. I don't have to tell you the
value of sound investing.

Speaker 2 (03:12:00):
Okay, okay, I get the pitch. If I dropped dead,
I'm worth one hundred thousand dollars.

Speaker 7 (03:12:06):
You want me to buy this home.

Speaker 4 (03:12:07):
I want you to do what you feel is right.

Speaker 2 (03:12:10):
How much does a one hundred thousand costs?

Speaker 11 (03:12:13):
Let me see now with a double indemnity in the
event of accidental death and fifty seven dollars annually out
of the question forgetting Well, that's all right, sir. I
mean what could you conveniently afford.

Speaker 2 (03:12:26):
Maybe at the outside, maybe a thousand years?

Speaker 17 (03:12:30):
All right?

Speaker 11 (03:12:31):
When would it be convenient for you to be examined
by our doctor?

Speaker 2 (03:12:33):
I haven't said yes yet.

Speaker 11 (03:12:35):
Well no, sir, but you see, regardless of whether you
put a thousand or one hundred into the plan, you're
going to have to have a medical examination. So at
least we'll find out if you can qualify. It can't
hurt you to have a physical Where do I have
to go to get it. Oh, nowhere, sir. I'll have
the doctor here at the house house tomorrow evening around
eight thirty.

Speaker 2 (03:12:53):
Can tomorrow make it Friday?

Speaker 11 (03:12:56):
All right, sir, Friday at eight thirty. Now, if you'll
just sign this up application and give me.

Speaker 2 (03:13:01):
I haven't definitely made up my mind yet. I don't
sign papers until I'm sure I'm ready to go ahead.

Speaker 11 (03:13:06):
Well, this is just an application, sir. It doesn't bind
you or the company, which you see. We must have
it in order for you to be examined by the day.

Speaker 2 (03:13:13):
I have no intention of giving you any money tonight.

Speaker 11 (03:13:15):
You don't have to, mister Fouchet. You can pay the
first premium when the policy is issued. Now, what is
your exact date of birth?

Speaker 51 (03:13:33):
In just a moment we will return for the second
act of.

Speaker 2 (03:13:39):
Suspense.

Speaker 11 (03:13:49):
Well, of course he kept throwing in arguments, but I
just said uh huh and yes, sir, and kept right
on filling out the application.

Speaker 2 (03:13:56):
And when does he take his physical Friday night?

Speaker 14 (03:13:59):
So you go through it?

Speaker 2 (03:14:00):
Oh, why sure, Howard, don't get your hopes up too high.

Speaker 11 (03:14:03):
Well, now, this is a business of the law of averages.

Speaker 29 (03:14:06):
You told me.

Speaker 11 (03:14:06):
If I can knock off one hundred thousand dollar case
every week. A lot of them are bound to stick,
aren't they?

Speaker 2 (03:14:13):
And I wish i'd had you as spurred when I
was your age. Sure, Bud, you keep on knocking them off,
and you will be rolling in though, only don't concentrate
on the big ones. It's the fives and tens that
pay the freight.

Speaker 10 (03:14:26):
Yeah, oh yes, yes, for you.

Speaker 14 (03:14:31):
But a woman?

Speaker 11 (03:14:32):
Oh thanks?

Speaker 25 (03:14:33):
Hello?

Speaker 47 (03:14:34):
Is that Phillips?

Speaker 11 (03:14:35):
It sure is?

Speaker 4 (03:14:37):
Oh yes, ma'am, about that insurance for my husband?

Speaker 11 (03:14:40):
Oh well, there's nothing wrong, is that, ma'am? I mean
it's it's a fine policy, Missus Fouchet. Believe me, I
wouldn't have recommended it.

Speaker 62 (03:14:46):
Upset mister Phillips. Mister Fouchet wants to go through with it.
But after you left last night we got to talking
about it.

Speaker 61 (03:14:53):
He's figured out a way that his cooperation can pay
the premiums and they'll be tax deductible.

Speaker 11 (03:14:58):
Oh yes, ma'am.

Speaker 62 (03:15:00):
You know we've decided to increase the size of the policy.

Speaker 61 (03:15:04):
Oh how much would it cost for two hundred and
fifty thousand dollars the least expensive kind of insurance?

Speaker 11 (03:15:10):
Well, one second, missus Fouche, Howard, look up the rate
for two hundred and fifty thousand convertible term age forty one.

Speaker 9 (03:15:18):
What you're kidding, I'm on the.

Speaker 11 (03:15:19):
Level by the year, Missus Fouchet.

Speaker 62 (03:15:23):
Oh no, mister Fouchet was very explicit on that point.

Speaker 11 (03:15:26):
He said, monthly, yes, ma'am, monthly. Okay, let's see we've
doubled and down the two three hundred and fifty five,
three hundred and fifty five dollars per month, Missus Fouchet.

Speaker 2 (03:15:39):
All right.

Speaker 62 (03:15:40):
Oh, by the way, will this also provide for my
husband's retirement?

Speaker 11 (03:15:44):
Oh well, no, don't worry about that. We'll convert it
at a later date to the right kind of plan.
But meanwhile, you'll be protected in the event of his premature.

Speaker 62 (03:15:51):
Yes, yes, mister Phillips, all right, I'll put the check
in the nail tonight.

Speaker 11 (03:15:55):
Make it out to the company, Missus Fouchet.

Speaker 62 (03:15:57):
Yes, and i'll market to your attention.

Speaker 11 (03:15:58):
Well, thank you very much. Oh, don't forget that the
doctor's coming on Friday.

Speaker 62 (03:16:03):
I haven't forgotten. Good times hill, Oh.

Speaker 2 (03:16:08):
One hundred and fifty thousand, Yeah, well, I'll be in
no good Three toad tree climbing South American sloth. What
did I tell you?

Speaker 11 (03:16:17):
Hey, Howard, what is my first year commission?

Speaker 2 (03:16:20):
Fifty five percent, you lucky boy, fifty five percent of
three fifty five And let me see, that's close to
two hundred a month, twenty four hundred bucks for.

Speaker 11 (03:16:29):
One hour's work. Oh, I think I'm going to like
the insurance business. You wanted me, Howard, Yes, come on in, Buddons.
You see the paper this morning? Oh no, I didn't

(03:16:51):
even take time out for a real breakfast. My first
appointment was at eight fifteen, all the way on the
other side of town. Why here, huh?

Speaker 2 (03:16:58):
What is it on the front page down at the
right hand side.

Speaker 11 (03:17:03):
Oh, we're Howard. I don't see anything. Oh no, oh no,
it couldn't be.

Speaker 2 (03:17:12):
Yes, that's what I said when I first read it.

Speaker 10 (03:17:15):
Victor L.

Speaker 11 (03:17:16):
Fouchet, forty one, a local contractor residing at eleven Edgewood Terrace,
was the victim of a hit and run accident early
this morning on South Wearing Boulevard. According to his wife,
Fouchet was on his way home from a business conference
when he was struck by the speeding car. He died
at Mercy Hospital without regaining consciousness. Police say no clues.

(03:17:39):
Early developments. One lousy monthly premium two thousand bucks right
out the window. Yes, I shouldn't say that, Howard, But
well I only met him that once, and after all,
it was my first big case. I suppose I ought
to be thinking of her, missus Fouchet.

Speaker 14 (03:17:59):
I mean she is pretty rough on her.

Speaker 2 (03:18:02):
Yes, well she'll have the money to console her. Half
a million dollars can be very soothing, that's right.

Speaker 11 (03:18:07):
Double indemnity in case of accidental debt. Wow, listen, how
maybe it sounds crazy, but do you think she could have,
you know.

Speaker 2 (03:18:19):
Run over it. It wouldn't be the first time. Don't worry.
The company will check in, double check, and then triple check.
They don't just hand out all that money without really investigating.

Speaker 10 (03:18:31):
Yeah.

Speaker 11 (03:18:32):
See, I wish I'd been able to wangle the whole
annual premium out of him.

Speaker 2 (03:18:35):
First, though, Ill cheer up. There are lots more prospects
where he came from. Come on, I'll buy a lunch.

Speaker 11 (03:18:49):
M I was sure a good meal. How I thanked
a lot.

Speaker 2 (03:18:53):
Feeling a little better now?

Speaker 11 (03:18:54):
Yeah, sure, just just a little.

Speaker 10 (03:18:58):
That's great.

Speaker 2 (03:18:59):
I think Now what you got to do now, kid,
is simply forget all about Fouchet and settle down to
making up the difference in other policies. Yeah, four or
five medium sized cases.

Speaker 11 (03:19:08):
Will make it all back for you.

Speaker 2 (03:19:10):
Never look back, but always ahead.

Speaker 11 (03:19:12):
Well, hey, Howard, over there just coming in.

Speaker 2 (03:19:17):
It's not there, not bad at all, that's missus fouchet.

Speaker 9 (03:19:22):
Oh look the guy with her?

Speaker 2 (03:19:24):
And what about Why.

Speaker 11 (03:19:26):
Would she be going out to lunch with some guy
the day after her husband is run over?

Speaker 2 (03:19:30):
Don't go leave into a lot of conclusions, son, A
man could be her brother, or her lawyer, or her
husband's lawyer, or just somebody who's taking you out to
get her mind off her troubles. No loss, the widow
has to go into hiding. Come on, come on, drink
your coffee. I have to get back to the office.

Speaker 11 (03:19:46):
Howard, would you do me a favor? I mean, go
pay a call on her later today with me?

Speaker 5 (03:19:52):
What for?

Speaker 11 (03:19:53):
Well, you're more experienced about people than I am. I
just like you to meet her and see what you're
think of it.

Speaker 2 (03:20:01):
Well, I will make you feel any better.

Speaker 9 (03:20:03):
Okay.

Speaker 2 (03:20:04):
Besides, and every day I get to meet someone as
good looking as you is.

Speaker 51 (03:20:16):
In a moment, we will return for the third act of.

Speaker 25 (03:20:22):
Suspense.

Speaker 2 (03:20:36):
Its flankly neighborhood.

Speaker 63 (03:20:37):
You know what do you see the inside of the house, Oh,
mister Phillips, Yes, ma'am, I'd like you to meet my associate,
mister Wigley, Missus Bouchet alone.

Speaker 2 (03:20:49):
You've seen the.

Speaker 12 (03:20:50):
Paper, yes, I still don't believe it.

Speaker 4 (03:20:54):
I only last night at supper we were discussing our
vacation and.

Speaker 64 (03:20:58):
Now you must excuse me hopefully Please don't apologize, man,
That's that's why we came to offer our condolences.

Speaker 42 (03:21:07):
That's very kind of you.

Speaker 52 (03:21:09):
I feel so so laws.

Speaker 4 (03:21:13):
If it weren't for my husband's lawyer, Roger, what your
I don't know what I'd do. He even insisted on
taking me out for lunch today to get my mind up.

Speaker 25 (03:21:23):
What did I tell me?

Speaker 11 (03:21:25):
And we won't bother you anymore, Missus say. If there's
anything we can do, just let us know.

Speaker 4 (03:21:29):
I come on, buddy, would you like to come in
for a moment?

Speaker 2 (03:21:33):
No, man, no, we wouldn't even imposing goodbye goodbye. What
do you think she's a fine woman taking me like
a soldier? Like I said, budd, you're leaving to a
lot of wrong conclusions.

Speaker 5 (03:22:02):
Oh, mister Philli, h I hope.

Speaker 18 (03:22:05):
I'm not interrupting anything.

Speaker 4 (03:22:06):
No, I was just doing my separatatious This is a
maze nine house.

Speaker 11 (03:22:10):
I just thought, well, it's been almost three weeks now,
and I was passing by, and well I thought maybe
there was something I.

Speaker 4 (03:22:16):
Could do to have And that's very kind of mister Phillips.

Speaker 61 (03:22:19):
But really there isn't anything all But now that you've stuck,
why don't you come in for a moment?

Speaker 2 (03:22:25):
Oh? Are you sure it's all right?

Speaker 12 (03:22:27):
Perfectly all right?

Speaker 14 (03:22:28):
Thank you?

Speaker 12 (03:22:30):
Won't you come into the living room?

Speaker 10 (03:22:34):
Were alone?

Speaker 4 (03:22:36):
No, there's a spy from.

Speaker 11 (03:22:37):
Your insurance company.

Speaker 2 (03:22:38):
End of the piano. Of course we're alone.

Speaker 4 (03:22:40):
You get to check it's already deposited. Angel, five hundred
thousand dollars. I keep saying it over and over again,
the most beautiful words in the English language.

Speaker 11 (03:22:49):
No one's going to run.

Speaker 5 (03:22:49):
Do you mean to invest me?

Speaker 2 (03:22:51):
No?

Speaker 12 (03:22:51):
Not since right after the act?

Speaker 16 (03:22:53):
Oh you know what that means?

Speaker 11 (03:22:54):
Maybe we are in the clear.

Speaker 17 (03:22:55):
Nobody's got a thing to go on.

Speaker 9 (03:22:56):
We're in the clear.

Speaker 5 (03:22:57):
Oh I never thought we wouldn't the Angel.

Speaker 11 (03:23:02):
I can't wait much longer for you sneaking in and
out like this. It's been driving me crazy. When do
we go well, then I think up a good story
for Rigby, something that will give us two or three
weeks head start off, be a vacation, and then we
just take off from Extao from there down to top
of America. But the spect we'll be long gone and

(03:23:24):
we'll be where they can't extra di us either. You've
gotten rid of the current, drifted it down in my
own garage and.

Speaker 2 (03:23:30):
Sold it for junk, pis bipe.

Speaker 47 (03:23:33):
Don't you worried, baby, You've got it made.

Speaker 4 (03:23:35):
I'm not worried as long as I happy.

Speaker 11 (03:23:38):
Hello, call you tomorrow the next day. That the whole time,
so long, gorgeous, take care of my going to bed.

Speaker 2 (03:23:46):
I love my sofa.

Speaker 9 (03:23:49):
Good night.

Speaker 11 (03:23:49):
Say there's anything else, mister Rigby.

Speaker 24 (03:23:52):
Or I can do for you?

Speaker 2 (03:23:53):
Please just say the word.

Speaker 12 (03:23:59):
Much got step down?

Speaker 2 (03:24:01):
Were your bags? Okay, let's get going on back doors?
But what about your bag? How fin would I need
in Mexico? Soon we're across the border.

Speaker 14 (03:24:09):
The better.

Speaker 2 (03:24:11):
We picked a good night, Madeline pitch Black.

Speaker 12 (03:24:18):
The garage doors are already open though.

Speaker 2 (03:24:21):
Of everything, gas tanks, boot shout, of everything, you guy?

Speaker 42 (03:24:37):
Are you thinking?

Speaker 21 (03:24:39):
I am?

Speaker 2 (03:24:39):
Your dear mister Eugene J. Phillips job on him, and
so he calls you when tomorrow and the next day
you're gone?

Speaker 25 (03:24:51):
And what can we do?

Speaker 2 (03:24:52):
Nothing?

Speaker 9 (03:24:53):
Absolutely nothing.

Speaker 2 (03:24:54):
He's left pulling up big every bag.

Speaker 21 (03:24:56):
Well he couldn't go to the police and welcome into.

Speaker 2 (03:24:59):
The gas m anyway. Give us one week and who cares?
There is no extradition where we're going.

Speaker 4 (03:25:06):
That's funny he mentioned that too.

Speaker 2 (03:25:08):
No, it only goes to show that he's a very
intelligent stooge.

Speaker 11 (03:25:13):
Tell me something. Is this a private joke or can
I get in on it? I will just call me
stooge for sure.

Speaker 10 (03:25:20):
How are you mister?

Speaker 2 (03:25:21):
Uh, mister Whittier. Isn't that you such a fallen for us?

Speaker 11 (03:25:24):
Once he thought I had, didn't you maddle any lovely
little double crosser?

Speaker 34 (03:25:28):
Well, Bud, listen to.

Speaker 2 (03:25:28):
Me, Donnie, you won't believe this, but you're right, I won't.

Speaker 11 (03:25:31):
Believe it, So save your breath.

Speaker 14 (03:25:32):
Angel.

Speaker 45 (03:25:33):
You got a gun, mister Whittier.

Speaker 2 (03:25:35):
You're a lawyer.

Speaker 11 (03:25:36):
You know the penalty for carrying a deadly weapon. I
don't need a gun that Oh no, you see, I
have a lawyer too, and I left a letter with him.
If he doesn't get a phone call or a cable
from me every three days. He gives the letter to
the police. They may not be able to extradite us
for Cluchet's murder, but they wouldn't be too happy about
one committed right under their noses, now, would they. You

(03:25:59):
can around, Angel, I figured you were planning summer, so
I just took some natural precaution.

Speaker 4 (03:26:06):
Roger, we've got to kill him before we reach Mexico.

Speaker 13 (03:26:08):
Sure, take a chance from being seen.

Speaker 47 (03:26:10):
And what do we do with a body ticket with us?

Speaker 2 (03:26:12):
He's right, Angel, You see between here and the border,
it's it's.

Speaker 11 (03:26:15):
Kind of open, pretty well traveled too. Why don't you
just relax? Even after I take my third you and
Clarence Darrow, there still have three hundred and thirty three
thousand bucks left.

Speaker 2 (03:26:26):
And that's not hey, shut up, such a poor sportsmanship.

Speaker 9 (03:26:31):
Who will we go take a little.

Speaker 11 (03:26:33):
Map back here with a border, James Senor, Well, we've
just come across the border, my friend, and we're celebrating
Bueno Senor. See my two friends here on their honeymoon,

(03:26:54):
and I'm the best man, and we're all going on
the trips together.

Speaker 2 (03:26:57):
You you joke, Signo, Yeah, I joke.

Speaker 11 (03:27:02):
Three double scouts come on now, don't look so grounty
you too. I think of all the fun we're going
to have together. Who knows, maybe I can tell Old
Roger here a nice fat insurance policy, and then Madeline can.

Speaker 17 (03:27:17):
Run him down.

Speaker 11 (03:27:19):
I thought, anyway, what's the matter?

Speaker 14 (03:27:23):
What are you say?

Speaker 2 (03:27:24):
I guess you's surprised to see me, bun.

Speaker 62 (03:27:28):
How alright?

Speaker 2 (03:27:31):
How did you? Wasn't too hot? Kids, you weren't quite
as smart as you thought. Don't bottoms a cliche? The
place of the place around, okay, Captain Gomez. But I'm
sorry for you. I try to tell you it was
a small cases that paid off if you were too greedy.

(03:27:54):
Suspensing to Cold Canvas written or suspend by water Black
in a moment, the names of our players, and a
word about next week's story of stuff ben heard in
tonight's story, where William Redfield as Bud Phillip's Ginger Jones
as Madeline Bouchet, Less, Damon as Hard Rigby, and Guy

(03:28:16):
Repp as Victor Fouchet. Listen again next week when we'll
return with Endgame by David Carr. Another tale well calculated
to keep you in.

Speaker 14 (03:28:28):
Suspense.

Speaker 1 (03:28:32):
Well, my dear, I know it's about time for us
to part, at least for now, but I hope to
catch you once more before well a new year downs.
This is one more kind of gift. We listened so
often to these disembodied voices, these distant stories. It's rare

(03:28:57):
there's a familiar voice among them. But tonight, well, this
one's it's extra special. I hope you enjoy it as
much as I do. I hope it means as much
to you as it does to me. The open end wrench.

Speaker 64 (03:29:19):
This is Awson Weld speaking from London, the Black Museum.
Here in the Grimstone structure on the Thames, which houses
Gartland Yard, is a warehouse of homicide, where everyday objects,

(03:29:41):
an ink bottle, a child's raincoat, of sofa pillow.

Speaker 14 (03:29:46):
All are touched by murder. Is an open end wrench.

Speaker 25 (03:30:00):
Familiar object.

Speaker 45 (03:30:01):
If you own an automobile, you own one of these.

Speaker 14 (03:30:04):
Very least you've seen a mechanic used one.

Speaker 64 (03:30:06):
The steel shaft about eight inches long, the shaft bulging
into a curve shaped like a horseshoe, which fits a
bold exactly simple tool, almost beautiful in its slim efficiency.

Speaker 21 (03:30:20):
Well made, isn't it?

Speaker 65 (03:30:21):
Inspector We're familiar with these things dot com quite common
as weapons.

Speaker 60 (03:30:26):
Yes, of course one skull could be cracked rather efficaciously
if this were brought down hard on it.

Speaker 45 (03:30:40):
And today this open end wrench can be seen in
the Black Museum.

Speaker 66 (03:30:55):
From the annals of the Criminal Investigation Department of the
London Police. We bring you the dramatic stories of the
crimes recorded by the objects in Scotland Yards Gallery of Death,
the Black Museum.

Speaker 64 (03:31:23):
Here we are the Black Museum, Scotland Yards Museum of Murder.

Speaker 14 (03:31:30):
Yes here lies death.

Speaker 64 (03:31:33):
Here in silent Rows is the orded catalog of the
violence wreaked by.

Speaker 45 (03:31:38):
Man or fellow man. He is an empty cardboard match cover.

Speaker 64 (03:31:43):
Perhaps you've tossed one into your own waistbasket at this
very moment, but not like this. Let's hope now from
this one. The sulfur headed matches were ripped to start
a fire. A woman died in the burning building. Later
Amanda the end of a rope trapped by the printed advertisement.

Speaker 14 (03:32:04):
On this match cover. Ah.

Speaker 64 (03:32:06):
Yes, here we are at the open end wrench, at
the common tool among mechanics, even among non mechanical types.

Speaker 45 (03:32:14):
Bookkeepers clerks teaches.

Speaker 64 (03:32:16):
No sign of violence or death upon it, merely a
bit of shaped patterned steel produced for use in the
manufacturing repair of modern machines. Look at it in ordinary circumstances,
and it will evoke no thought of tragedy in you,
or even in the motorists. To travel an English highway
one quiet spring morning, going at a normal speed, enjoying

(03:32:37):
the fresh sunlight, a new, clean green of fields and
rising hills.

Speaker 14 (03:32:42):
The road curved ahead.

Speaker 45 (03:32:44):
White posts mark the edge of the endankment.

Speaker 14 (03:32:47):
The road heels slightly, turning to the left.

Speaker 13 (03:32:50):
Ah, quite a view. Get god, it's a nasty curve.
It's not awake. That fence it flashed. God hemns, there's.

Speaker 2 (03:33:03):
A car down there.

Speaker 64 (03:33:12):
Minutes only until he's back in his own car, speeding
toward the nearest town, toward the nearest police station.

Speaker 67 (03:33:20):
There, Constable, there's a wreck on the curve about a
mile south of here.

Speaker 13 (03:33:27):
You have anything to do with it, mister, No, no, no,
of course not.

Speaker 67 (03:33:29):
I noticed the broken fence and saw the car down
the hill. I say there seemed to be a woman
in it. Look, you better come and bring help.

Speaker 64 (03:33:40):
The doctor, who was also the local coroner, needed little
time to determine which of his functions were called for.

Speaker 14 (03:33:45):
It the wreck.

Speaker 21 (03:33:50):
He's been past help for hours.

Speaker 13 (03:33:52):
Must have gone off the road during the night.

Speaker 17 (03:33:54):
I've notified the superintendent about the extent.

Speaker 16 (03:33:56):
Doctor.

Speaker 60 (03:33:57):
Yes, well, you fellows will want to trace the car
identification on the body.

Speaker 44 (03:34:01):
Nothing in the woman's purson, It ought to be laundry
or dry cleanness marks. It's pretty hard to stay identified
these days, doctor.

Speaker 60 (03:34:09):
Yes, of course, you can show the ambulance men to
take her to the hospital. Hospital, say or a topsy
I can't just cibe a certificate accidental death.

Speaker 21 (03:34:16):
You know, Constable is very well, sir.

Speaker 64 (03:34:25):
The ambulance drove off to the local hospital. Doctor Mason
followed in his own car.

Speaker 14 (03:34:30):
At the wreck. The constable saluted a newcomer.

Speaker 21 (03:34:33):
Good morning, sir, Good morning Johnson turn Turtle.

Speaker 44 (03:34:37):
I see, yes, sir, this is the man who discovered
the excerpt, mister Frisbee.

Speaker 17 (03:34:42):
Superintendent fostered, Oh how.

Speaker 25 (03:34:43):
Do you do, sir?

Speaker 21 (03:34:44):
Mister Frisbee. Yeah, you left your name and address.

Speaker 13 (03:34:50):
With the constable. Sir, If I may I have a
business appointment.

Speaker 21 (03:34:54):
Yes, youme go ahead. We will send for you if
we need you for the inquest.

Speaker 13 (03:34:57):
Oh, thank you, sir. Well, just let me know if
you want me I'll be available any time, sir.

Speaker 21 (03:35:02):
Anything extraordinary, Johnson, nothing is as fast we've seen no fire, No, sir,
I'll never look at it a little.

Speaker 64 (03:35:09):
To Superintendent Foster poked around in the twisted metal and
point Gonne's attention.

Speaker 21 (03:35:15):
Johnson, any idea which way she was traveling?

Speaker 17 (03:35:18):
Downgrade?

Speaker 14 (03:35:19):
Sir?

Speaker 44 (03:35:20):
There are rather clear tire marks on the roadway leading
to the break of a fencer.

Speaker 21 (03:35:24):
Down grade Strange. The gear shift levers in second position,
second gear. Apparently that grade isn't that steep? Just the point? Well,
a woman driver strange road at night.

Speaker 17 (03:35:39):
She wasn't in the driver's seater.

Speaker 21 (03:35:41):
Oh, tossed over as the car Feddle.

Speaker 17 (03:35:44):
I can't say, sir. I'd have expected, sir, that she'd
have been pinned behind the steering wheel.

Speaker 21 (03:35:51):
May be right about that. Well, we'll leave things as
they are. The insurance people usually want to see these ricks. Hello,
what's this open end register? Probably from the years Constable
I was going to say, the toolboxer. The toolbox was locked,
no other tools around. We'll bring it along to the

(03:36:11):
station house. There's ense leaving it out here to rust
and the usual routine trace the registration of the car
locate the owner or the extra kin and check if
it was the woman's car.

Speaker 64 (03:36:41):
The usual routine for another auto accident, another careless, sleepy driver.
The usual telegrams were sent, the usual telephone calls were made.
The same afternoon, Comfortable Johnston reported to a superintendent.

Speaker 21 (03:36:56):
Yeas Johnson papers on the extracer. Hum, I see owner
Martin beach avon MWS, London. Has he been not divide?

Speaker 44 (03:37:09):
Yes, sir, he's on his way down. The woman was
his wife's, Sir asked Ben a shock I took the cars.
He kept saying he couldn't understand what she was doing.

Speaker 17 (03:37:18):
All the way out here.

Speaker 21 (03:37:19):
Well, we'll deal gently with him, doctor Mason reported.

Speaker 17 (03:37:23):
Yet, no, sir, nothing on the autopsy is yet.

Speaker 21 (03:37:25):
Taking him a long time. Let's see, kept me, doctor
Mason pears at the hospital. Did you make certain on
the tire tracks, Johnson.

Speaker 25 (03:37:36):
We did, sir.

Speaker 44 (03:37:37):
They metch perfectly. The car was coming down, sir, on
the side of the road away from the fence. It
seems to have swerved suddenly just above the curve and
made rather a bee line for the edge.

Speaker 21 (03:37:48):
Are you suggesting she went over purposely? Johnson?

Speaker 44 (03:37:50):
No, sir, it seemed like a point, sir, Most cars
at least tried to follow the road.

Speaker 16 (03:37:55):
Sir.

Speaker 17 (03:37:55):
I notice you keep referring to the car and not
to the woman.

Speaker 21 (03:37:59):
She wasn't in the driver's seats when we found her
stickler for detail, aren't you constable? Ah, I'll both yere good.
I just put a call through to you.

Speaker 2 (03:38:13):
Doctor.

Speaker 21 (03:38:16):
Yeah, he is thinking, yes, he's ad to arrive. Well,
what did you find, doctor? You asked that as if
you knew asked the deduction. You don't usually take this
long time on these jobs.

Speaker 60 (03:38:28):
I didn't expect you until I found alcohol in her stomach.

Speaker 21 (03:38:31):
Drunken driver, I.

Speaker 60 (03:38:32):
Wouldn't know about that. In any case, she wasn't driving
when the car went through that fence.

Speaker 21 (03:38:37):
Johnson's been suggesting that rather stubbornly, he couldn't be more
right faster? Why not? The dead don't drive?

Speaker 14 (03:38:44):
Hello?

Speaker 21 (03:38:45):
Anything else?

Speaker 25 (03:38:46):
Quite a bit.

Speaker 60 (03:38:46):
In the first place, death was not caused by the accident.
She was dead well before the car went over. You
told us that stangredation choked, probably unconscious of the time.

Speaker 21 (03:38:57):
What do you base that conclusion on? Four uses?

Speaker 17 (03:39:00):
Pay the neck pose?

Speaker 60 (03:39:02):
I thought the extent, the dead don't drive, and they
don't bruise, Constable, those marks were made while she was
still alive.

Speaker 21 (03:39:10):
I see definitely murder, doctor, definitely, I'd like to see
the body. Come along, Constable, your instinct.

Speaker 64 (03:39:20):
Three men enter the morgue at the small country hospital.
Three grim faces betray no emotion as they view the
woman's body.

Speaker 60 (03:39:28):
The doctor says, you'll notice the marks the strangler's thumbs
made there.

Speaker 17 (03:39:33):
The obvious bruise is here, just below her hairline on
her forehead.

Speaker 14 (03:39:37):
The superintendent of police says.

Speaker 21 (03:39:39):
I see interesting in the shape of that bruise, almost
like a small horseshoe.

Speaker 64 (03:39:46):
Diffidently, the constable clears his throat, inquiring glance from his superintendent.

Speaker 14 (03:39:52):
The young officer says.

Speaker 17 (03:39:55):
We might dry for actual size, Sir.

Speaker 44 (03:39:57):
That kind of mark could have been made by that
end wrench.

Speaker 45 (03:40:06):
Today at open end wrench is to be seen in
the Black Museum.

Speaker 64 (03:40:21):
The doctor placed the bulged end of the two against
the woman's forehead.

Speaker 14 (03:40:26):
The three men stood there silently a moment.

Speaker 21 (03:40:29):
The constable spoke no question about it, as they say,
not as far as I can see, Johnson. When the
speech fellow arrived, say nothing about any of this, and
I don't want a trunk call plays immediate day. I
want to speak with Inspector Hall at Scotland Yard.

Speaker 64 (03:40:49):
The ponderous, inevitable juggernaut that his police work began to
move gained momentum. A fast car brought Inspector Hall and
Sergeant Williams from the yard before train connections permitted the
arrival of Martin Beach. The inspector listened intently as Superintendent
Foster outlined the details, then quietly, no fuss, no newspaper headlines.

(03:41:12):
Detectives were dispatched to run a check. Shortly thereafter, a
grief stricken husband arrived at the station house in the
company of doctor Mason.

Speaker 44 (03:41:20):
There's no question about my identification, Superintendent Doctor.

Speaker 17 (03:41:24):
Mason will bear me out. I knew her the moment.

Speaker 25 (03:41:27):
That is darkner.

Speaker 10 (03:41:29):
Yes, it's missus Beech.

Speaker 17 (03:41:31):
I can't understand it. I simply can't. She was a
good driver, better than I.

Speaker 21 (03:41:36):
How did it happen that she was out alone?

Speaker 44 (03:41:39):
We lived a quiet life, even Moses in the suburb
of London. Really, she'd often take the car for a drive.
I'd go to sleep. I had to get up early.
My business is in the city. She said she wanted
some pressure last night. I didn't miss her until I
woke this morning. I can't understand it.

Speaker 64 (03:41:57):
Why did you be a simple story? Quite commonplace, quite honest.
One question seemed to puzzle a husband more than it
disturbed him.

Speaker 44 (03:42:07):
Liquor whisky? You mean, no, an occasional drink of friends placed,
that was all. Why are you suggesting Louise was a
drunken driver?

Speaker 64 (03:42:17):
Now they were suggesting nothing, merely asking a routine question. Yes,
they would release the body shortly.

Speaker 44 (03:42:23):
We have no relations, no one, We had only each other.
I shall have to notify our friends.

Speaker 14 (03:42:30):
Yes.

Speaker 64 (03:42:30):
The police agreed sympathetically, and Superintendent First turned doctor Mason
escorted him to his London train.

Speaker 14 (03:42:37):
Meanwhile, on the Middlebury Road.

Speaker 67 (03:42:46):
Your name Carrie, yes, sir, my name's williams C. I
d my identification, yes, Sorgian.

Speaker 17 (03:42:52):
Shall we go wrong?

Speaker 13 (03:42:53):
You heard of the accident down the hill?

Speaker 25 (03:42:57):
Yes, of course.

Speaker 13 (03:42:58):
How late do you keep this petro station open? Twelve
one o'clock?

Speaker 67 (03:43:02):
You paint her a tterffic and last night I closed
up about one, locked the tanks and any customers around
that time, whether there was your.

Speaker 60 (03:43:11):
Dog, sedan men or woman, you got a good look
at the woman. He was driving, bought five gallons. She
was asleep at the front seat. Any sign of whiskey, well,
he had a breath on him, Sergeant seemed in a
Larry too agy.

Speaker 13 (03:43:24):
Now look this photo mean anything to you?

Speaker 60 (03:43:28):
Yes, it looks a little chary to tell at night
that the light's beard. Is she sleeping there in a picture?

Speaker 13 (03:43:35):
No, she's dead.

Speaker 45 (03:43:40):
They call it backtracking. They tried to trace the car
along the road.

Speaker 14 (03:43:45):
It traveled the.

Speaker 64 (03:43:47):
Gas stations first, in this case where whiskey was present.
The taverns and the inns were checked as well.

Speaker 30 (03:43:54):
You're the landlord here, yes, sir, my wife siddy, you're
the police, Yes, trying to trace the man and a woman.

Speaker 17 (03:44:04):
This picture mean anything to you, Yes, sir?

Speaker 30 (03:44:09):
She was here last night till closing time, had a
bit too much arm afraidser.

Speaker 14 (03:44:18):
Was she alone?

Speaker 30 (03:44:19):
No, sir, now with a shortish fellow, dark quiet in
a nervous sort of way.

Speaker 2 (03:44:27):
I remember, because well he wanted to buy a bottle.

Speaker 14 (03:44:31):
But I'd none despair, and I rather.

Speaker 21 (03:44:34):
Thought what was driving? And all laid already had enough.

Speaker 14 (03:44:43):
That evening.

Speaker 64 (03:44:44):
Sergeant Williams gave the inspector his own reports from that
of the men assigned to the railroad portion of the inquiry.

Speaker 67 (03:44:49):
They routed the conductor out of his bed. He remembers
the fellow all right, bought his ticket on the train.
Complete stranger, shortish and dark.

Speaker 17 (03:45:00):
Yes, she was with a man, all right. Seems to
me we'd better break the news to Beach. It won't
be pleasant.

Speaker 45 (03:45:07):
It wasn't pleasant, Martin. Beach took it quietly. But will
it not be a shock?

Speaker 17 (03:45:14):
Who is with another man?

Speaker 14 (03:45:17):
Spector?

Speaker 17 (03:45:17):
You can't be serious. I'm afraid i am.

Speaker 65 (03:45:20):
Your wife's picture has been tentatively identified by a petrol
station owner, by.

Speaker 17 (03:45:25):
An innkeeper on the Middlebury Road. We'll be taken over
to the hospital to check tomorrow.

Speaker 2 (03:45:32):
And she was with the man.

Speaker 44 (03:45:34):
No, it's not possible. No one could have been that secreted.
And why we just lived for each other?

Speaker 17 (03:45:41):
It's an old story to us, mister Beach, you're a
busy man. Your my wife was alone a good deal.
But when how you told yourself? She used the car alone,
and quite often at night. If I could get my
hands on him, Oh what fools we mortal to be.
We want him to the beach now.

Speaker 14 (03:46:02):
Will you help us, of.

Speaker 17 (03:46:03):
Course, anything, anything at all? Then maybe search your wife's effects.

Speaker 44 (03:46:09):
Of course, Inspector, search the whole house if you think.

Speaker 45 (03:46:12):
They were quite thorough, of course, and very quickly they
were successful.

Speaker 67 (03:46:17):
I found these in the stocking box at the rear
of the bureau draw Inspector, I.

Speaker 17 (03:46:21):
See, hmm letters, mister Beach, do you know of Fred Hennessy?

Speaker 2 (03:46:30):
No? May I?

Speaker 14 (03:46:32):
May?

Speaker 17 (03:46:32):
I see the letters?

Speaker 45 (03:46:33):
Right?

Speaker 17 (03:46:34):
Well, I I think you'd rather not, and we'll be
checking them. The fingerprints.

Speaker 65 (03:46:38):
Of course, they're all addressed to your wife. The last
one makes arrangements for a meeting place with the car.

Speaker 44 (03:46:49):
Is there is there a return addressed, Inspector? There is
good luck, Inspector.

Speaker 64 (03:46:59):
The Inspector and Sergeant Williams had luck. However, it was
not exactly good luck.

Speaker 5 (03:47:11):
Fred Annessey. No, there's no Nercy living here.

Speaker 17 (03:47:15):
Well now, perhaps he use another name, a shortish dark
pillow with the flare of a letter writing.

Speaker 54 (03:47:21):
No, haven't heard any shortish men staying here in months.

Speaker 17 (03:47:24):
Well, this is three four six Greenville Street, isn't it.

Speaker 54 (03:47:27):
Well, there's nowhere else, Inspector. Once more, I don't have
any letter writers here. Every one of my men roomors
except one, works at the car factory. They're a tough crowd, inspector,
but they're nice enough to me.

Speaker 5 (03:47:39):
I take good care of him.

Speaker 21 (03:47:40):
I do.

Speaker 17 (03:47:40):
And the one who doesn't build automobiles, how is it?

Speaker 13 (03:47:43):
Constably is?

Speaker 17 (03:47:45):
Now?

Speaker 45 (03:47:45):
What would you want to see him for a good
question and a big disappointment.

Speaker 64 (03:47:51):
Still, the machinery ground on the reports came in to the.

Speaker 14 (03:47:55):
Small bear office of the Arron.

Speaker 67 (03:47:57):
Here we are fingerprint reports, inspector. Now, the prints on
the letters matched those they found on the gear shift
lever in the wrecked car. The ridge patterns conformed to
the smudges on the wrench touser.

Speaker 14 (03:48:10):
The conclusion is obvious.

Speaker 45 (03:48:12):
At the very least, it placed the maker of those
finger prints in contact with.

Speaker 14 (03:48:15):
A murdered woman in the murder car with the murder weapon.

Speaker 67 (03:48:20):
It looks so as if he pulled off the road,
did the job, then started the car down grade and
jumped hers.

Speaker 17 (03:48:29):
Probably the unlocked door on the driver's side would indicate that.
But what about this prince? I told her try and
get we have'm sir lifted him neatly. I was saving
that for the last, sir. You see they match? Yes,
very good, Oliver is clever well. Murders usual in amateur's crime,
isn't it, Sergeant? What about the men to identify him?

Speaker 13 (03:48:51):
They'll be in London in the morning, Sir.

Speaker 14 (03:49:00):
To Sergeant Williams.

Speaker 45 (03:49:01):
The case seemed complete, the inspector was still somewhat cautious.

Speaker 13 (03:49:06):
It will stick, sir, in any court.

Speaker 17 (03:49:09):
I'll feel better if we have the motive, Sergeant. I
like a complete case.

Speaker 65 (03:49:14):
Identifications have been upset before, and even fingerprints give him
a good motive.

Speaker 17 (03:49:20):
We'll hang the gentleman. In fact, we may be able
to see he hung himself with his own cleverness. Inspector
all here, hmm, I see very good, Davis. Oh, I'll

(03:49:40):
just keep your eye on the place, Williams, and I
will be along directly.

Speaker 21 (03:49:44):
Get your head, sergeant, Very good, sir.

Speaker 17 (03:49:46):
Our quarry has gone calling on.

Speaker 10 (03:49:47):
My lady, and so we.

Speaker 64 (03:49:51):
The police car sped silently through the London streets out
to a pleasant suburb. He drew up to the curb,
near a small house detached from its neighbors, wanted by
a hedge and trees. A man stepped out of the
shadows spoke softly to the inspector. He remained at the
car as the inspector in the searcheant walked to the
front door of the house and rang the bill.

Speaker 65 (03:50:12):
Yes, Miss Jeffrey, missus Dorothy Jeffrey, that's right. My name
is hall Cee, I D identification. Maybe come in, I
hear why not hang you?

Speaker 5 (03:50:27):
What can I do for you?

Speaker 65 (03:50:29):
Well, as a matter of fact, Miss Jeffrey, we stopped
by to see your caller, a mister Marchin Beach.

Speaker 17 (03:50:35):
I believe, inspector. Well, this is a pleasure to see
all the way out here, is it, mister Beach. Of
course you know why they heard, don't you. I assume
you saw me come by.

Speaker 5 (03:50:45):
Wait a minute, what's going on here?

Speaker 10 (03:50:47):
Don't you know?

Speaker 17 (03:50:48):
Miss Jeffrey, I know.

Speaker 5 (03:50:49):
The idea inspectors dust, don't drop in or come by, Martin?
Have you been up to something? I'll not stay out
of it.

Speaker 17 (03:50:57):
If we're to be married, I've a right to know
to tell mister Beach about his wife.

Speaker 2 (03:51:02):
Wife.

Speaker 5 (03:51:04):
You never mentioned a wife, Martin.

Speaker 17 (03:51:06):
You're not arresting the inspector have his home and asleep
when she was killed?

Speaker 65 (03:51:09):
Inn keeper says not, Beach. So does the petrol station owner.
So does a conduct with the train you took back
to London for Middlebury.

Speaker 17 (03:51:16):
I said, you're not taking me in.

Speaker 3 (03:51:17):
You're not, You're not.

Speaker 17 (03:51:21):
There are prince DAWs into the garden, well covered front
from back, Miss Jeffrey, he won't get far. It's his warning.
He'll stop running now. This is not the expected way
to break an engagement, to be mad. Yes, I understand, miss,
but you'll get over it.

Speaker 65 (03:51:38):
This manner of ending or relationship is far less permanent
than the one your fans used to gain his freedom.

Speaker 17 (03:51:44):
From his wife. You know, miss, the chances are quite good,
but they've got a way of it.

Speaker 65 (03:51:51):
If you hadn't written some fake love letters, I'm forgotten
to hide a certain open end wrench.

Speaker 64 (03:52:02):
And today the open end wrench can be seen in
its special place in the Black Museum.

Speaker 17 (03:52:15):
Orson Wells will be back with you in just a moment.

Speaker 64 (03:52:20):
It's an old guard, of course, may have worked many times.
Commit a murder, wreck an automobile to cover its traces.
It might have worked this time if Martin Beech had
known that dead bodies do not bruise. If he'd been
really clever, and it succeeded in burning the car.

Speaker 14 (03:52:38):
And the body. If if if, But he was not
really clever.

Speaker 64 (03:52:46):
His cleverness failed him failed him at eight o'clock one
morning in Dartmoor Prison. As for Dorothy Jeffrey, she disappeared
when she had come into the great anonymity, which is London.

Speaker 14 (03:53:01):
That's until next time we meet in the same.

Speaker 64 (03:53:04):
Place for another story about the Black Museum.

Speaker 45 (03:53:08):
I remain, as always obediently yours.

Speaker 1 (03:53:27):
Oh well, it certainly is almost early. I suppose you
should get home, and I should prepare to go to
wherever it is I come from. Hopefully it'll be as

(03:53:48):
holly and jolly as you've been. I do hope to
see you here again. I'll be right here at the
same time and same place. But if you could do
me one favor. As you make your way home, as
you eye the bright lights and wonderful smells baking cookies

(03:54:12):
and incense, as you lay your head on your pillow
waiting for the tap tap tap on the roof, one moment,
just one moment, be thankful for what you have. I'll
be seeing you

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Unknown Broadcast | Christmas Horror Stories of Gifts, Ghosts & Snowbound Suspense

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Unknown Broadcast | Christmas Horror Stories of Gifts, Ghosts & Snowbound Suspense