Unknown Broadcast | Six Horror Stories of Fate, Hubris, and the Crawling Night - Weekly Spooky: Scary Christmas Stories | Terrifying Tales to Creep Your Holiday

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:09):
Ah, my dear, so good to see you. What's that well,
I'm trying to get a bit holly and maybe even
a bit jolly, but I'm not sure if I'm doing
it right or not. No matter how many times I've
been through this joyous time of year, I did manage

(00:32):
to obtain a bit of peppermint. So no matter how
macabre our night becomes, your tea will of course be
festive and bright. I try, and I try to celebrate
this time of cold and darkness and ghosts, and I do,

(00:57):
though it's hard to shake the feeling, the constant feeling
of being a child of misfortune.

Speaker 2 (01:24):
Come in.

Speaker 3 (01:27):
Or welcome, i'my G. Marshall. Most people, although they are
fascinated by the prospect, simply do not believe in the supernatural.

Speaker 4 (01:37):
They consider that witches in.

Speaker 3 (01:39):
Vampires, demons, and all the other myriad spirits of the
nether world have gone out of style, but they no
longer exist except as figments of the diseased mind. Maybe,
although they would never admit to practicing black magic, there
are witches covens all over.

Speaker 5 (01:57):
The world, even in our own in America. I take
no stand in the matter.

Speaker 3 (02:03):
I leave you with this story to decide for yourself.

Speaker 5 (02:07):
Don't talk about it if you don't want to, Jenny,
But what happened?

Speaker 6 (02:12):
We were driving back to the hospital after she after
Sharon died, and he was like a wild man.

Speaker 4 (02:19):
She was driving too fast, he was.

Speaker 6 (02:21):
Burning rubber, like it had gone out of style. But
why maybe he wanted to commit suicide?

Speaker 5 (02:28):
Not my brother and not review in the car. But
such a terrible accident. How did you get out of
it alive?

Speaker 7 (02:36):
It?

Speaker 8 (02:37):
It wasn't my time yet.

Speaker 3 (02:47):
Our mystery drama Child of Misfortune was written especially for
the Mystery Theater by Ian Martin and stars Norman Rose.
It is sponsored in part by a Buick Motor division
and contact the twelve hour Cold Capsule. I'll be back
shortly with that one. The home is a pleasant one

(03:18):
on the outskirts of a small town, not large or
too expensive, but with a feeling of being well lived in.
By the farthest stretch of imagination, no one could even
accept the idea of any ghost haunting this bright little villa,
or any skeletons skulking in closets. It's a house that

(03:40):
suggests nothing but life and its occupants. Doctor Sam Taylor,
his wife Jane and their son Bucky, just beginning his
thirteenth year, are just.

Speaker 4 (03:50):
The sort of people you would expect.

Speaker 3 (03:51):
To find living in it, except for one thing. Doctor
Taylor is a general practitioner, but his specialized interest is
in pathology, the surgical dissection of the dead.

Speaker 8 (04:08):
Sam about you.

Speaker 4 (04:09):
Sure, honey, I take it easy, Go back to sleep.
I'll be right with you.

Speaker 8 (04:14):
No, I wasn't asleep. I'm always so scared when you're
out these days.

Speaker 4 (04:18):
Scared. Now, come on, I don't have that many late nights.

Speaker 8 (04:21):
Well, even one a week is more than enough for me.

Speaker 4 (04:24):
God, sorry, Dolly, my life. You've got to live it too,
remember for better, for words, etc.

Speaker 8 (04:32):
I don't really mind, it's Sam, except for except for
what I'll forget it, just what my mother used to
call night qualms. I guess well, I'm a city girl
who doesn't adapt too well to the country.

Speaker 4 (04:48):
This is scarcely the country. And what's to be afraid of?

Speaker 8 (04:51):
I don't know, squeaks, squeals, rustlings, just being alone. I
suppose I mean this so much crime.

Speaker 4 (05:00):
And that's the second time you hung up on saying something.
They better say it, honey, get it out of your thoughts.
It's about me.

Speaker 8 (05:07):
Huh, so silly.

Speaker 4 (05:11):
I just wish that I hadn't taken the job in
medical examiner. Yes, but it's my field.

Speaker 8 (05:16):
Jane, cutting up dead bodies.

Speaker 5 (05:19):
That's what I get paid for, so I deliver. But
there are secondary benefits. What do we have to talk
about it tonight? It's only an understanding the causes of
death that we can make any attempt to keep it
from happening. Oh, come on, not at three in the morning.
What a crazy discussion with a woman I love.

Speaker 8 (05:37):
I'm sorry, I'm a mope.

Speaker 5 (05:40):
Well, I work too hard at more than one job.
We owe ourselves some time off. Like Tim, he lives
it up all the way with Sharon. Why didn't I
decide to be an actor like my older brother?

Speaker 8 (05:54):
Why didn't you?

Speaker 5 (05:55):
Because I wanted permanency, continuity, endurance.

Speaker 4 (06:00):
I hope I bought it.

Speaker 5 (06:02):
I had this crazy feeling hovering over me all the time.
It was all an illusionment when it please assumed ready
results from tonight unless we've got another da damn.

Speaker 4 (06:15):
Oh, I'd love not to answer it.

Speaker 8 (06:17):
Well, then you just just take it off the hook
and forget it.

Speaker 5 (06:19):
I wish my bump of whatever it is morality conformity
was just a little smaller.

Speaker 4 (06:24):
I had to Jamee.

Speaker 5 (06:26):
Hello, yes, yes, this is doctor Sam Taylor who this
of course it's about my brother's wife.

Speaker 2 (06:35):
Oh, she.

Speaker 5 (06:38):
But it was impossible. Have you any idea what caused it?
That's incredible, Look doctor, I'd like to discuss it with
you further, but first let me talk to my brother.

Speaker 4 (06:49):
Of them, what did I die?

Speaker 9 (06:55):
Got Jim too?

Speaker 4 (06:57):
How? Huh? Yes? Yes, I see.

Speaker 5 (07:03):
Well, well for the moment, I don't quite know what
to say. Yeah, of course I'll be there to make
arrangements for the funeral. Excuse me, funerals. I can't believe it.
What about the girl, the daughter? Yes, of course I see.
Well look just hohole everything, and I'll be out there
by tomorrow night. Yes, I should make it before dinner. Yes,

(07:24):
that's fine, and thank you.

Speaker 4 (07:25):
What is it, sarm It's crazy, Jane, It's just crazy.
Sharon had the mumps, and certainly she's dead, and so
is Jim.

Speaker 8 (07:34):
How could both of them?

Speaker 5 (07:35):
I can't explain about his wife one of these things medically,
which shouldn't happen this day and age, but does.

Speaker 4 (07:42):
But Jim is something else again, Now, are you not.

Speaker 8 (07:44):
Making any sense. Sharon died for months or complications, and Jim, I.

Speaker 5 (07:50):
Don't know complications there. He was driving to the hospital
and went off the road into the canyon. Has burned
to a crisp and a car car on fire. It's
an absolute miracle that Jenny escaped.

Speaker 8 (08:00):
Their daughter was with him. Yes, how badly is she here?

Speaker 5 (08:04):
According to doctor Holcombe, whom I talked to, she was
thrown clear and came out unscathed. Of Jane, I've got
to go out there first thing tomorrow, of course.

Speaker 2 (08:12):
You do.

Speaker 4 (08:12):
You want to go along?

Speaker 8 (08:13):
You know?

Speaker 10 (08:13):
I do?

Speaker 11 (08:14):
Well?

Speaker 8 (08:14):
What about Bucky?

Speaker 5 (08:16):
I could call mom and no, no, no, no, forget it.
Jim and I were never very close, you know, I
never even met his wife. I'll fly out there and
handle it. There's only one thing, dear Jenny. I don't
know if she has anywhere else to go. You might
end up having a daughter more or less in the house.

Speaker 8 (08:31):
I can't leave a child alone, of course you can't.
You know she's welcomed here, dine. Oh, your poor brother
and his new wife. What a terrible cagedy.

Speaker 4 (08:48):
From the Los Angeles airport. I went straight to the
hospital since there was no answer at my brother's home
in Beverly Hills. The physician in charge, a doctor Holcombe,
met me.

Speaker 12 (08:57):
How are you doing after dinner? Sorry to meet you
on us as tragic circumstances.

Speaker 5 (09:01):
We're doctors and particularly in my case, should be inured
to the fact of death. A mean, sometimes it never
quite happens that way, does it, no matter if it's
in the immediate family or not.

Speaker 12 (09:11):
Well, I'd hope that most of us are still human beings.

Speaker 5 (09:15):
What happened to my sister in law? First of all,
I don't know, but she had mumps, right doctor Taylor,
She had glandular swellings. The whole lymph system was invaded
by something. But what it was, I haven't the faintest idea.
But because of death, massive vedema, lunge, heart failure.

Speaker 4 (09:36):
What did the autopsy show? Nothing? Nothing.

Speaker 12 (09:40):
I'm a toxicologist myself. We had a neurosurgeon, a pathologist,
so mentioned any speciality you want, but had any relation
to this. None of us could even estimate what caused
her death. Then it wasn't momps.

Speaker 4 (09:54):
I can't even tell you that. But weren't serum specimens taken.

Speaker 12 (09:58):
All the way after she was brought to the hospital
shortly before a death. So since we have no epidemic here,
as you can realize, diagnosis is often difficult.

Speaker 5 (10:08):
Of course, the symptoms, especially in an adult, could could
be anything, but tests, even post mortar must have shown.

Speaker 3 (10:15):
Something nothing up to Taylor, and believe me, they were
done exhaustibly. All of us here just as puzzled as
you must be. I've already told you how your sister
in law died almost literally smothered, choked to death, as
if by some evil force.

Speaker 12 (10:34):
But why what caused it? Well, our records are all
open to you for studying.

Speaker 5 (10:41):
I'm sure I couldn't find out any more than all
the distinguished men who've already tried.

Speaker 4 (10:45):
Let's leave that for the moment.

Speaker 12 (10:48):
My brother I can be more specific about that. When
I have notified him of his wife's death, he well,
quite frankly as action was almost what shall I say,
paranoid paranoidas he screamed something on the phone about well again, he.

Speaker 4 (11:09):
Was so distraught. I thought that the word was witch,
but of course it could have been a more familiar one.
Witch in what connection do.

Speaker 9 (11:18):
We use it?

Speaker 12 (11:19):
I can't exactly say it was something about so the
witch has had her way and then he slammed up
the telephone. I tried to call him back, but the
next contact I had with him, with you, brother, was
when they brought him or his remains.

Speaker 4 (11:37):
To the hospital after the accident.

Speaker 12 (11:40):
Yes, we can only presume that he was on his
way over from the valley on Benedict Canyon and somehow
lost control and went through the guardrail. The car was totaled,
and your brother.

Speaker 4 (11:53):
You don't have to go through that.

Speaker 5 (11:55):
I know that he was caught in the car and
Burnedlew Crisp with him, But what happened He couldn't have
tried to kill himself.

Speaker 12 (12:05):
Well, it's one reason that I was called in. There
are some who thought he might, under the circumstances, not
have been quite himself.

Speaker 4 (12:13):
Oh sure, what was the alcohol in the blood?

Speaker 13 (12:16):
Normle?

Speaker 12 (12:17):
No other evidence of any drug. Under ordinary circumstances, I
might have guessed at a suicide attempt, except for the
fact that he had Jenny in the car with him,
and so that rules that out. We use our comfortable
little phrase death by misadventure, right, doctor, all right, which
completes the role of the.

Speaker 4 (12:37):
Dead, now the living.

Speaker 5 (12:39):
I called the house as soon as I landed, but
there was no answer. Do you know where my niece is?

Speaker 12 (12:44):
I most certainly do, although she was and I must
say that there's only one word for it, miraculously unharmed.
I was afraid of post factum shock. I kept her
here in the hospital since she seemed to have no
no one else to care for her. May accept yourself,
how is she.

Speaker 2 (13:06):
Well?

Speaker 4 (13:07):
I can only say.

Speaker 3 (13:08):
That from any point of view, she's the most remarkable
and completely beguiling young woman.

Speaker 4 (13:15):
Young woman because she's only sixteen, so.

Speaker 12 (13:18):
I've been informed, and it's hard to believe her self.
Possession and what shall I say in her strength quite formidable,
only matched by her general appeal.

Speaker 4 (13:30):
She's very hard to resist.

Speaker 3 (13:32):
I might mention also that she is quite incredibly beautiful.

Speaker 4 (13:37):
May I see her now?

Speaker 2 (13:38):
Yes?

Speaker 12 (13:38):
Yes, of course She's been waiting anxiously to meet her
only surviving relative.

Speaker 4 (13:46):
I followed doctor Holcombe.

Speaker 5 (13:48):
I was conscious of a strange aura of mystery hanging
over my brother.

Speaker 4 (13:52):
And his wife's death. Somehow both seem so unnatural.

Speaker 5 (13:57):
How I don't, at the moment mean that I had
any pre coodn of the fact that there was anything
supernatural about them or the niece I was about to meet.
But I did have an uneasy premonition of but I
don't know exactly what, and at any rate, it was
banished momentarily. The moment I met my niece or I
must say, she was the most beautiful woman I've ever

(14:18):
met in my life, the woman a sixteen year old child,
looking at her, listening to her, falling under her spell.
She was as lovely and compelling as any of the
great beauties of all the ages.

Speaker 4 (14:31):
Well, Jenny, how do we feel today?

Speaker 8 (14:34):
Oh so much better?

Speaker 7 (14:35):
Doctors?

Speaker 2 (14:36):
Thank you?

Speaker 4 (14:37):
I brought you a visitor. I know something more than that.
A relative. Yes, I'm your father's brother, Jenny, Uncle Sam.

Speaker 14 (14:47):
No, that sounds funny, doesn't it Maybe?

Speaker 4 (14:50):
But I don't mind the comparison. Jenny.

Speaker 5 (14:53):
I I'm sorry about everything.

Speaker 4 (14:56):
Are you all right?

Speaker 6 (14:58):
I guess only what's going to happen to me?

Speaker 4 (15:03):
Now? Why? You're coming to live with me and my wife?

Speaker 6 (15:06):
If you want to, I think that would be super
Aren't you going to give me a kiss to let
me know I'm welcome?

Speaker 8 (15:12):
Uncle Sam?

Speaker 4 (15:13):
I'd be glad to do that little thing.

Speaker 15 (15:16):
Hmm.

Speaker 16 (15:17):
That was nice, And I think I'll just leave out
the uncle, all right, with you, Sam.

Speaker 5 (15:28):
Should I have known right then? How could I possibly
have guessed? The dark violet eyes, pools of strange and
infinite wisdom, the voice half child, half woman, and that
ravishing body all women, or.

Speaker 4 (15:45):
Most of all, the kiss far less a.

Speaker 5 (15:48):
Welcome than an invitation to and promise of forbidden things
to come. I should have taken to my heels and run,
as though the hounds of hell were at them. I
didn't know. I didn't, Yes, And so I see you?
My doom intriguing?

Speaker 4 (16:10):
What doom?

Speaker 3 (16:12):
What threat can a sixteen year old girl oppose to
a doctor in his late thirties, no matter how precocious
she may seem.

Speaker 4 (16:21):
Precocious?

Speaker 3 (16:22):
No, that is not exactly the word for Jenny, as
I think you will agree when I return to continue
this story shortly with that two?

Speaker 4 (16:41):
Where were we? Oh?

Speaker 3 (16:43):
Yes, precocious an adjective usually applied to a child, meaning,
of course, exceptionally early development, the ripening of something or
someone before its time. Well, that would apply to Jenny, naturally,
but it would be only part of this, the tiniest part.
For the rest Lias submerged in dark layers of history

(17:05):
that are timeless and beyond boundaries few would dare or
nohow to cross, but which we will cross as we
dig for the rest of this fascinating story.

Speaker 5 (17:17):
Flying home in the plane with Jenny a few days
later after the funerals, looking sideways as she peered out
a hegrew fascination at the ground far below. Like any
other young girl, I was ashamed of myself for other
thoughts that had clouded my head.

Speaker 7 (17:31):
Oh look, look is that luck Vega?

Speaker 17 (17:33):
Yeah, that's it.

Speaker 4 (17:34):
Oh, sodom and gomorrah.

Speaker 7 (17:36):
Oh, I don't think it could be that wicked.

Speaker 8 (17:37):
I'd love to be able to go.

Speaker 4 (17:39):
There and gamble, tell the percentages that all go with
the house. You can't win, No, the luck.

Speaker 7 (17:43):
Couldn't run against me.

Speaker 4 (17:44):
I'd win. What's that mean?

Speaker 8 (17:46):
Just that I always do well?

Speaker 2 (17:48):
I want to well.

Speaker 4 (17:49):
I'm afraid it'll be a couple of years yet till
you can prove that out.

Speaker 7 (17:53):
You mean because I'm not of age.

Speaker 4 (17:54):
That's right.

Speaker 7 (17:56):
I don't think that's fair.

Speaker 4 (17:57):
Lots of things in life don't seem fair. Jenny, Yes, he.

Speaker 7 (18:03):
Could have worked out if only.

Speaker 4 (18:06):
Oh, poor kid, trying not to think about your mother.

Speaker 8 (18:10):
Oh it isn't her.

Speaker 7 (18:11):
Sharon was my real mother. Anyway, she died when I
was born.

Speaker 6 (18:16):
Then my father married her, Sharon, and then when he died,
your brother came along.

Speaker 15 (18:24):
He's the one I was thinking about.

Speaker 2 (18:30):
Crazy.

Speaker 5 (18:31):
I don't talk about it if you don't want to, Jenny.
But what happened.

Speaker 6 (18:38):
We were driving to the hospital after she Sharon died,
and he it was like a wild man.

Speaker 7 (18:47):
I asked him to let me drive.

Speaker 8 (18:48):
But he wouldn't.

Speaker 4 (18:49):
He was driving too fast.

Speaker 7 (18:51):
It was burning rubber, like it had gone out of style.

Speaker 2 (18:53):
But why, I don't know.

Speaker 8 (18:57):
He was real gone on her, Sharon. Maybe you wanted
to commit suicide.

Speaker 5 (19:02):
Oh no, No matter how frantic he was with grief,
Jim would never do that. I know my older brother
too well, and certainly not with you in the car. No,
it was just a terrible accident. But how did you
get out of it like you did?

Speaker 8 (19:18):
It wasn't my time yet.

Speaker 5 (19:20):
He sounded like a combat soldier. You know you are
quite a fatalist, young lady, if.

Speaker 7 (19:26):
You want to call it that. Oh man, Oh, you're
not old at.

Speaker 6 (19:30):
All, So like Jim, when we're younger, I'm really going
to dig living of you.

Speaker 4 (19:37):
Sam and Jane. Jane was my wife.

Speaker 7 (19:41):
Oh, yes, your wife. I wonder how she's going to
feel about me.

Speaker 4 (19:51):
Like footsteps over my grave, a far away icy draft
in a back layer of the mind.

Speaker 5 (19:57):
Why her statement was innocent, But it was only the
way she said it, as if as if Jenny had
already made up her mind how she felt about someone
she'd never met.

Speaker 4 (20:10):
Jane Jane were here.

Speaker 8 (20:12):
Oh I'm sorry, dying and near the car. M I
missed you every minute though.

Speaker 4 (20:19):
Oh Jane Darling. This is Jenny.

Speaker 8 (20:22):
Hello, Jenny, Hello missus, Aunt Jane. That's nice to hear
you know. I hope you'll be one of the family.

Speaker 11 (20:30):
I hope I can.

Speaker 4 (20:30):
Where's the other member?

Speaker 13 (20:32):
Oh?

Speaker 8 (20:32):
Bucky was all in a dit that he was dying
to meet his new cousin or sisters. I hope you'll
beat Jenny. But Peter Timmans's father had tickets for some
Big League baseball games, so he took them up to
Kansas City for lunch first and then not back yet.
He hoped you wouldn't mind, Jenny. Why should I? How
old is Bucky?

Speaker 6 (20:50):
He's thirteen g I never would have thought you were
that old, Aunt Jane.

Speaker 8 (20:56):
She doesn't look at does she? Sam?

Speaker 4 (20:58):
Well, I don't think she looks old at all.

Speaker 8 (21:00):
Well, anyway, she's not like Sharon. I'll painted up and
hair dyed.

Speaker 18 (21:03):
Now.

Speaker 6 (21:03):
It's nice to see someone not afraid to look her age.

Speaker 8 (21:08):
I guess I should take that as a compliment. Come on, Jenny,
I'll take you upstairs and show you your room.

Speaker 5 (21:17):
I carried off the bags and then went downstairs to
make myself a drink.

Speaker 4 (21:22):
It was a little early in the day for one.

Speaker 5 (21:24):
But of course Jenny hadn't meant anything by her remarks,
or had she.

Speaker 4 (21:30):
Yeah, I could tell it.

Speaker 5 (21:32):
Jane was a bit miffed, which isn't like her, And
damn it, she had made me glance at her wife
I loved and noticed that she had a few strands of.

Speaker 4 (21:40):
Gray hair, and the wrinkles were beginning to show.

Speaker 5 (21:43):
But with unpacking, Bucky's arrival home, full of the game,
and the excitement at meeting Jenny, dinner, and one thing
or another, it wasn't until we were in bed that.

Speaker 4 (21:53):
Jane and I had any chance to talk privately.

Speaker 8 (21:55):
I'm surprised about Sharon not being Jenny's mother.

Speaker 4 (21:58):
Yes, it's a mixed up history. The whole marriage was
a mix up.

Speaker 19 (22:02):
You know.

Speaker 5 (22:03):
Imagine not being at your own brother's wedding and never
even having a chance to meet his wife. My other
brother Ted was fit to be tined about it too.

Speaker 8 (22:11):
You were laid up with him on you. But the
police department could have let Ted go on no way.

Speaker 5 (22:16):
He was on subpoena to the court as a witness
on that murder case. And you know, my oldest brother,
even if he could have gotten out of it, duty
always comes first, Oh, older brother.

Speaker 4 (22:26):
There are only two of us left.

Speaker 8 (22:28):
Now, Oh, my poor Sam, it's.

Speaker 4 (22:30):
Easier on me, have you? Ted has nobody thanks to me?

Speaker 8 (22:36):
No, we're not going to rake up that ancient history.

Speaker 4 (22:39):
Well, I did steal you away from him.

Speaker 8 (22:41):
Nothing of the kind. I made the choice. Now, come on,
that's enough agonizing for tonight. You need some.

Speaker 5 (22:49):
Sleep, eh, Look, dear, if it's asking too much of
you to bring Jenny into the house, Oh, don't be silly.

Speaker 8 (22:56):
I'm sure she'll be out. Bucky's crazy about her already
and nothing. She's a strange girl, though, My.

Speaker 6 (23:07):
Lord, how beautiful a little.

Speaker 7 (23:08):
Sex god is can you be?

Speaker 2 (23:10):
At sixteen?

Speaker 8 (23:12):
She really put me in the shade, didn't she.

Speaker 4 (23:14):
You mean you remark about not mind being showing your age?

Speaker 8 (23:20):
Well, yes, if you want to know, do I well,
not to me, I do to myself. I looked in
a narrow down her or.

Speaker 4 (23:28):
She couldn't have met anything.

Speaker 8 (23:30):
Of course not. It was just an innocent remark. Except what, dear,
I have I don't know. I have the queerest feeling
that for some reason she she's antagonistic to me.

Speaker 4 (23:43):
Not that it's dumb, right ridiculous. Everyone loves you.

Speaker 8 (23:47):
I don't know about that.

Speaker 4 (23:48):
What reason in the world could Jenny have for disliking you?

Speaker 8 (23:50):
None in the world that I know of.

Speaker 4 (23:52):
Woman. Look, let's just call this all off, baby and
get some sleep. Good night. But it wasn't a good night.

Speaker 5 (24:02):
There weren't to be that many good nights left, although
I didn't know that yet. And all through my half waking,
half sleeping state, I was haunted in my dreams by
violet eyes promising ancient wisdom and tight young flesh.

Speaker 4 (24:17):
And then it was morning. Then something like the old
familiar life began all over again, and the days went
wheeling by.

Speaker 8 (24:25):
I don't mean to complain, dear, Well.

Speaker 4 (24:27):
What is it Jenny again?

Speaker 8 (24:29):
Well, I have to spend most of the days with her.

Speaker 4 (24:32):
You are out working, of course, so what is it
that she's done.

Speaker 8 (24:36):
Well, nothing really, check little things that somehow I don't know,
they raffle me.

Speaker 4 (24:43):
Oh I'm tired, so all right? For example, well, I.

Speaker 8 (24:48):
Know it's kind to seem silly, but she's forever after
me to cut my hair or give me a manic.

Speaker 4 (24:53):
What's wrong with that? She just wants to do something nice.

Speaker 8 (24:56):
All right, do the washing, clean up after dinner, anything,
But why does it have to be so personal?

Speaker 4 (25:01):
You never think she might be trying to sort of
heal the breach between you.

Speaker 8 (25:05):
There isn't any breach. We've just never gotten together. And
another thing, several times I found her in my room,
crawling around my dresser, and she says she's looking for
a nail file or a powder or some ordinary thing
repet's sake.

Speaker 4 (25:19):
What else do you think she's trying to steal?

Speaker 2 (25:21):
No than what.

Speaker 8 (25:23):
He's sam don't let's quarrel. It's happening more and more.

Speaker 4 (25:27):
I'll have a talk with her. Okay.

Speaker 8 (25:30):
I was thinking of taking Bucky up to see my
parents this weekend. But what I'd rather have us do
is just get away together.

Speaker 4 (25:38):
There isn't a chance, dear, I'm tied down on a
couple of cases. But why don't you two go and
that'll give me a chance to set up some ground
rules with a Jenny.

Speaker 8 (25:47):
All right, dear, can you manage alone?

Speaker 4 (25:50):
I think we'll make out, Jane. Are you all right?
I mean physically well? I think so.

Speaker 2 (25:58):
I'm just I'm very tired.

Speaker 4 (26:00):
Why let me feel your neck? Why glandry is a
little swollen. There's a pop in this under the eyes that.

Speaker 8 (26:10):
Oh please, I feel quite old and unattractive enough as
it is, a couple of good nights. Sleep in the
mountain there and I'll be fine, and maybe you can
get Jenny straightened away. Now, I'm sure this is best
and it will.

Speaker 7 (26:22):
All work out.

Speaker 4 (26:27):
Famous last words, best.

Speaker 5 (26:30):
But I suppose in a sense it was the real
beginning of the eventual solution. The first night that Jane
was gone, I had worked late, and I hadn't the
slightest notion of working anything out, except that when I
got home.

Speaker 6 (26:44):
Hello, Sam, I thought you'd never get home. What are
you doing up waiting for you?

Speaker 14 (26:49):
You look beat?

Speaker 6 (26:50):
Sit down the couch, kick off your shoes and let
me get you a drink.

Speaker 4 (26:54):
No, I don't think I want to drink.

Speaker 7 (26:55):
Jenny, you won't join me.

Speaker 4 (26:57):
Well, who said that you.

Speaker 9 (26:58):
Could have one.

Speaker 7 (27:01):
Alone? A blast?

Speaker 8 (27:02):
Sam?

Speaker 4 (27:05):
H Jenny, I think that you're.

Speaker 8 (27:07):
A little drunk only with power.

Speaker 4 (27:10):
What are you talking about?

Speaker 6 (27:12):
You've known it from the very beginning, Sam, you me,
don't tell me I didn't get to you and you're
just what I want.

Speaker 5 (27:22):
Now you listen, youngster, we'll just forget this. You've had
a drink and you don't know what you're saying or suggesting.

Speaker 6 (27:31):
What I do and I'm not suggesting. And don't tell
me you are not buying.

Speaker 4 (27:36):
I can't believe that I hear what you're saying to me.

Speaker 6 (27:39):
You better believe you're under my spell. Now there's no escape,
just as there was none for your brother.

Speaker 7 (27:48):
Except the road he took.

Speaker 4 (27:49):
Why you, little witch? I want to just.

Speaker 8 (27:53):
Saved by the bell. Don't count on it.

Speaker 6 (27:57):
Go ahead, pick it up, Sam, pick it up, and
after you listen, you tell me who holds the whippand.

Speaker 4 (28:05):
Pick it up.

Speaker 5 (28:08):
Doctor Taylor here, Oh Jane Darling, I didn't expect you.
What Yes, but what are your symptoms? Mm hmm mm hmm.

Speaker 4 (28:21):
But how on what about Bucky? I see no signs?
Huh yes?

Speaker 5 (28:27):
Well well well look we'll take no chances, can Bucky
stay on with your mother and father?

Speaker 4 (28:32):
Goodness?

Speaker 5 (28:33):
Fine, then you go straight to the hospital from there
and I'll be over to join you. Okay, No, no, no,
there's no no question. It sounds like mumps, but we'll
know as soon as we can run some tests. I'll
see at the hospital dying by.

Speaker 6 (28:46):
Isn't she a little old for momps? Doctor Sam, you'll
be quiet. Oh no, you're the one who's going to
be quiet and listen to me. What Sharon had mumps too, remember,
and she died because I.

Speaker 7 (28:58):
Wanted her to.

Speaker 4 (28:59):
You are a little witch on you.

Speaker 6 (29:03):
And this time I don't want any mistakes. I'm going
to get just what.

Speaker 3 (29:09):
I want, Jenny revealed at last. Or is she Is
this just a girl shocked by a succession of tragedies
in her life who has lost contact with reality? Or
is it doctor Sam Taylor whose preoccupation with the dead

(29:29):
and whose story we're listening to, Who is the man
who breeds fantasies? I will return shortly with Act three.

(29:50):
A vibrant, beautiful, sixteen year old, sensual beyond her years, who.

Speaker 4 (29:55):
May be the epitome of all evil. The girl who
may be.

Speaker 3 (29:59):
As psychiatrically distressed child or a witch and drawn to her,
fighting desperately against her enchantments. A relatively young doctor who,
by his own admission, fights to escape her physical allure,
and who himself is overtired and wrecked by several emotional shocks.

Speaker 4 (30:21):
What are you trying to say, Jenny? What is it
you want? It's very simple, Sam, you oh, stop talking
like a silly child.

Speaker 6 (30:28):
But I'm not silly, not at all, nor am I
a child. I want you, and what I want I take.

Speaker 4 (30:35):
I'm afraid that Jane would take a rather dim view
of that.

Speaker 8 (30:38):
Jane doesn't matter. She's out of this.

Speaker 4 (30:39):
What.

Speaker 6 (30:40):
Oh, come on now, Sam, you're the one who's being childish.
You really think your wife has the mumps?

Speaker 4 (30:46):
What else could it be?

Speaker 20 (30:48):
A hex my charming lover, a fetish doll, stabbed and
stabbed again. A poison drips into its veins until it
swells beneath the skin of the unwonted as the cursed
one feels the thorns and.

Speaker 8 (31:03):
Spears pierce it to the soul.

Speaker 20 (31:06):
D rise in agony, knowing the body will die and
it will be lost, lost to scream down through all
the night years hung between heaven and hell, never to
find a home.

Speaker 8 (31:21):
How do you think Sharon died?

Speaker 6 (31:23):
I wanted Jim for my lover, but she stolen from me.

Speaker 14 (31:28):
So I made her image and I made her dead.

Speaker 4 (31:32):
Mad Jenny, you're sick. How can a child dream such fantasies?

Speaker 8 (31:36):
No child, no fantasies. Come.

Speaker 11 (31:41):
I'll prove it.

Speaker 8 (31:42):
To you.

Speaker 4 (31:46):
As is hypnotized.

Speaker 5 (31:47):
I follow Jenny upstairs to her room, my conscious mind
operating as a doctor. At one level, I was accepting
the fact that somehow the trauma of this girl's past
had ended in paranoia, and I was thinking how.

Speaker 4 (32:01):
Best to handle her.

Speaker 5 (32:03):
But underneath, writhing like some tethered snake, and the morass
of sense, memory and superstition and fearably unknown, was a
voice warning me what I had known from the beginning.
I was trapped in something beyond my comprehension or control.

Speaker 4 (32:19):
And then in her bedroom, Jenny wrenched open the door to.

Speaker 5 (32:23):
Her closet and pushed aside her clothes to reveal draped
over her suitcase stood upon end, a black cloth on it.
Between two guttering voted candles lay a dog, A figure
with long, real red hair and tiny fingernails on the
modeled hands crossed over its breast, and effigy of Jane

(32:48):
with revulsion. I remembered her laughing about Jenny's wanting to
trim her hair, give her a mancue, skulking in her bedroom.

Speaker 4 (32:56):
Most of all, what made my blood run literally who
was the sight of the two shining silver.

Speaker 5 (33:04):
Bright skewers driven down through the doll's neck on both sides,
heading into the marck catafalque, and the rest of the
slender stilettos, which waited neatly laid out, ready for some
future foulness.

Speaker 4 (33:19):
I wanted to be physically sick. Now do you believe
you really think that you killed your mother?

Speaker 8 (33:30):
My foster mother, not my real mother.

Speaker 14 (33:33):
My real mother made me.

Speaker 20 (33:34):
Oh I am she was me and I am her
in one body, inseparable, and I will be with my child.

Speaker 2 (33:43):
But you must give me.

Speaker 4 (33:45):
Jenny, Jenny, what am I going to say to you? Nothing?

Speaker 8 (33:49):
I will talk and you will listen.

Speaker 6 (33:51):
It could have been your brother, but he wouldn't.

Speaker 8 (33:55):
But there was this difference.

Speaker 6 (33:57):
He believed he saw me drive the last second official
knife home and knew that at that same moment, Sharon died,
and he turned from me to seek revenge instead.

Speaker 20 (34:09):
Ha ha ah.

Speaker 8 (34:11):
He thought he could kill me.

Speaker 4 (34:12):
Jimmy, what is it that you want?

Speaker 14 (34:15):
I've told you you, but why me?

Speaker 6 (34:19):
Because you are in your brother's image, and because I
need a girl child to be there to carry on
my human guys.

Speaker 7 (34:28):
When I am called.

Speaker 4 (34:29):
Home, you're mad.

Speaker 5 (34:32):
And even though I don't know if I am absolutely saying,
I just don't know how to talk to you.

Speaker 7 (34:37):
No need.

Speaker 6 (34:38):
Just promise me to give me my girl child if
you want to save your wife, and if I don't,
the next pin shall pierce her heart like Sharon.

Speaker 20 (34:49):
After that, I take your son if necessary. You have
no choice. No weapons are all mine.

Speaker 4 (34:58):
I don't think so.

Speaker 5 (35:00):
A gun eh as medical examiner, I have a license
to carry it, and it is loaded.

Speaker 8 (35:06):
There's nothing you can do about it.

Speaker 5 (35:07):
You try to stick the pin in your hand into
the door, and you might be surprised at my reaction.

Speaker 14 (35:13):
I didn't believe you.

Speaker 4 (35:19):
I hope I'm right in believing you.

Speaker 8 (35:24):
What difference will that make? No one else?

Speaker 6 (35:27):
Will I am an instrument of distruction. I didn't expect
to be destroyed myself.

Speaker 8 (35:36):
At least you are destroyed with.

Speaker 5 (35:37):
The Oh no, you little witch, you can't have it
all your way. Let me tell you something, But your
body is found, it won't be near this house. And
as medical examiner, I will do the autopsey and remove
the bullet.

Speaker 4 (35:50):
Be very sure the bullet that is filed and the
police records will not be the one for my gun.

Speaker 7 (35:55):
You won't get away with it.

Speaker 4 (35:57):
I can try. I don't care for myself, holy.

Speaker 9 (35:59):
For the innocent onesself?

Speaker 15 (36:02):
What not?

Speaker 5 (36:03):
After knowing you, I can never be the same again.
And Heaven alone knows where I belong. It was relatively easy.
It was so simple for me when extracting the bullet
to exchange it for any one of the slugs in
the Morgue file of unsolved murders. Who's going to look further.
So it seemed as if I had committed the perfect crime.

(36:25):
I had gotten away with murder. I hadn't gotten away
with murder. As long as one person knows dead or alive,
you'll fail. And it wasn't just one person. It was
sheer irony, sheer ironic coincidence that the homicide detective called
in was my brother Ted.

Speaker 12 (36:48):
Well, whatever was the matter with Jane? Looks like she's
out of the woods.

Speaker 5 (36:51):
Huh Yeah, Ted, the infection's gone, just a matter of recuperation.

Speaker 13 (36:56):
Oh what is.

Speaker 4 (36:58):
It, Teddy, brother? The only one I have left?

Speaker 12 (37:03):
I'm a cop, and my profession, myself, me, my honor,
whatever you want to call it is something that can't
be invaded. It's all I've got in my life to
give it a meaning.

Speaker 4 (37:13):
You're an honest man. Everyone knows that.

Speaker 12 (37:17):
You knocked her off, Sam, And I can guess why if.

Speaker 3 (37:21):
You mean Jenny? Yeah, how'd you know the bullets you switched?
Why'd you have to pick one of my cases? And
Feldman in particular. It's funny the way life is. I
just found his gun after all these years, too late
to use against him because he just died. But no
bullet from that gun could have been fired to kill Jenny.

(37:42):
So then I checked and the bullet I found in
the files came from Well, guess who's gun?

Speaker 4 (37:49):
Mine? Heyl with a wife like Jane. How could you
have done it? Sam? How could that little triumph be
with it? And what am I going to do now?

Speaker 5 (38:03):
So I told my brother ted about it from the
very beginning.

Speaker 4 (38:06):
I think you've gone right off the track. You ought
to see a psychiatrist.

Speaker 9 (38:11):
Maybe a lawyer.

Speaker 4 (38:12):
What do you mean a lawyer? All right?

Speaker 17 (38:14):
At the moment, it's less that you're my brother and
that you happen.

Speaker 3 (38:17):
To be married to a woman I love, and I
have a kid who deserves every decent break you ought
to get.

Speaker 2 (38:21):
That's holding me and my conscience back.

Speaker 3 (38:23):
Every top instinct I have tells me to go looking
for a warrant for your.

Speaker 4 (38:28):
Right let's ed, Wait, don't do that to jam and Bucky.

Speaker 2 (38:31):
It wasn't me, did it? It was you?

Speaker 4 (38:33):
Or what are you going to do?

Speaker 17 (38:34):
I don't know.

Speaker 4 (38:36):
It's something I got to think of.

Speaker 5 (38:41):
How would I have solved that problem? Don't ask me?
Because Jane handed me a far bigger one when she
came home from the hospital.

Speaker 4 (38:49):
Where your husband? Can I come in? Why not? Or
the door seems to be locked?

Speaker 8 (38:56):
I'm sorry, I forgot.

Speaker 4 (38:58):
It's never been locked before in all our marriage.

Speaker 8 (39:02):
And then I selt quite this way before in all
our marriage.

Speaker 4 (39:06):
Like how like? I don't know you, Sam, after two
weeks in the hospital that kept us apart.

Speaker 8 (39:12):
No, since Jenny came into this house and was alone
with you while I was gone and died, you think
that I killed I don't know. I think she killed
our love What did you do Sam get her pregnant?
We could have worked that out maybe, But why didn't
you answer?

Speaker 4 (39:32):
Jane? Did you honestly think that I could lie?

Speaker 21 (39:34):
Please?

Speaker 8 (39:35):
Don't lie? If there were any rational explanation, why a
child that age? Can you give me any.

Speaker 4 (39:43):
I don't know, Jane. I don't see how I could.

Speaker 5 (39:45):
I don't think I could tell.

Speaker 4 (39:46):
Anyone anything that they would do. Where are you going?

Speaker 5 (39:49):
Uh?

Speaker 14 (39:49):
Not?

Speaker 4 (39:49):
Just for a drive? Think? Maybe find some way out
of this. I put the top.

Speaker 5 (39:59):
Down and groove over my old quarry, wrenching the convertible around.

Speaker 4 (40:03):
The turns until the tires screeched.

Speaker 5 (40:05):
The wind rushed by me, the wind that I hoped
would clear my head, but instead it brought a ghost
voice whispering.

Speaker 4 (40:12):
In my ears.

Speaker 6 (40:13):
Where are you going now?

Speaker 4 (40:15):
I don't know? No place left for me to go in.

Speaker 22 (40:19):
Your lady, how about die?

Speaker 4 (40:25):
I don't belong there, You no longer belong in your home.

Speaker 2 (40:31):
You're long just as long.

Speaker 4 (40:35):
As I leave me alone.

Speaker 22 (40:39):
Never you have to die, You sin down, You come in,
and you can't get away with long.

Speaker 4 (40:52):
You deserve to die, perhaps.

Speaker 11 (40:56):
But now so do you?

Speaker 13 (41:01):
Justice must be served? Come to me, Come to me,
don't let me wonder.

Speaker 18 (41:15):
You know you want me?

Speaker 11 (41:18):
You're all watch.

Speaker 13 (41:20):
Me come all right? Damn you you win?

Speaker 22 (41:34):
I know I always did whenever I wanted to.

Speaker 3 (41:50):
As I said in the beginning, few people really and
truly believe in the supernatural.

Speaker 4 (41:56):
Certainly Jane and Ted could never have accepted any such
world to them.

Speaker 3 (42:01):
Sam's unfortunate accident was fortunate for Jane it closed a
chapter in her life in terrible sadness, and for Ted
it was in a sense of relief since it solved
a problem that lay on his conscience, and in the
long run it was the beginning of his real life.
For eventually he and Jane married. I'll be back shortly

(42:35):
once again, looking back, we have threaded our way through
the maze.

Speaker 4 (42:40):
It winds back and.

Speaker 3 (42:41):
Forth across the border of real life and shadow life,
And as always it seems we end would not answers.

Speaker 4 (42:49):
But questions. Are there truly creatures beyond our kin?

Speaker 3 (42:54):
Or is everything just in the mind? To tell the
basic truth? There's nothing either good or bad. It's thinking
makes it so. Our cast included Norman Rose, Chaddo Rowland,
John Copeland, and Court Benson. The entire production was under
the direction of Hymond Brown, missus E. G. Marshall, inviting

(43:16):
you to return to our mystery theater for another adventure
in the macabre until next time.

Speaker 13 (43:24):
Pleasant stream, Ah.

Speaker 1 (44:07):
Tastes pretty good, huh. I know how cold it is
out there, so there'll be no shortage of warm drink
and a hot fire. I'll put another log on in
just a moment once we start our next piece. Or
what's that? Well, I suppose I could try to adjust

(44:29):
my apparel to be more holly and jolly. I'll see
what I can come up with. Oh, sometimes, when I
get a taste of this peppermint and a breath of
cool air, well, I'm the king of the world.

Speaker 18 (44:56):
That sale book.

Speaker 23 (45:06):
Once again. The keeper of the book is ready to
open the ponderous volume in which has recorded all the
secrets and mysteries of mankind through the ages, all the
strange and mystifying stories of the past, present and the future.

(46:59):
Keep part of the book. What tale will you tell
us this time?

Speaker 24 (47:04):
What tales shall I tell you?

Speaker 25 (47:06):
I have here tales of every kind, tales of murder,
of madness, of dark deeds and events strange beyond all belief.

Speaker 26 (47:19):
Let me she, Yes, here's a tale for you. The
tale of a man who stole by force the secret
of immortality, of life everlasting, and entered into a mad
adventure the title of the.

Speaker 27 (47:40):
Tales King of the World.

Speaker 26 (47:48):
Here is the tale that it is written in the
sealed book. It is late at night, and the wind
howls over the desolate countryside. In the darkness. A man
unfriendically through the woods, trying to elude his pursures.

Speaker 28 (48:05):
I've got to shake him. Hurdle me in a ten
years stretch.

Speaker 18 (48:08):
Stop.

Speaker 28 (48:09):
Oh, sir, twice they got me in the same arm. Oh,
here's a house with a light in it. My only chance.
If I stick to these trees, they won't be able
to see me. And I'm almost there.

Speaker 27 (48:24):
Here's a door. If it's only a lot, it is.

Speaker 29 (48:33):
Good evening.

Speaker 28 (48:34):
I listen, I listen close. A couple of guards from
the hort and Estate are after me. I'll be behind
this door covering you with a rod. So you haven't
seen me. You understand, I understand. That must be them.
Remember any tricks, and I'll start blasting.

Speaker 30 (48:49):
I have no intention of being foolish. Okay, go ahead,
then open the door.

Speaker 29 (48:55):
Yes, what is it?

Speaker 27 (48:56):
There's been an attempted theft of the heartened diamond Sir,
we chase the crooked way.

Speaker 30 (49:00):
If you seen anything of him, well no, there hasn't
been anyone here Tonight.

Speaker 27 (49:05):
We'll keep on going.

Speaker 29 (49:06):
Good night, they're going. Now you did all right? Then, plaid?
You're satisfied.

Speaker 28 (49:12):
Hey, what kind of a place is this? All those machines,
bottles and things.

Speaker 29 (49:17):
This is my laboratory.

Speaker 27 (49:19):
What are you a professor?

Speaker 29 (49:21):
Yes? You? Yes?

Speaker 19 (49:24):
Hey?

Speaker 27 (49:24):
What's that? Hey?

Speaker 30 (49:26):
Your nerves are on edge? It's only my great day
in Caesar, Come in, Caesar, we have a visitor.

Speaker 27 (49:33):
Hey, what's he growled with me for?

Speaker 29 (49:36):
I'm sorry, he always growls. It's strangers.

Speaker 28 (49:38):
Don't like him coming towards me that way. Keep my
weight with you.

Speaker 29 (49:41):
Come me here, Caesar.

Speaker 27 (49:43):
He won't listen to me. He's on the spring.

Speaker 19 (49:45):
Well, this will stop it.

Speaker 18 (49:49):
Anymore.

Speaker 30 (49:50):
Take him away here, Caesar. Yeah, stop it, I say,
stop it. Yeah, that's better. I think i'd better put
the chain on you. Caesar, did he hurt you?

Speaker 28 (50:02):
Look? I put three slugs into that dog. Why isn't
he dead? He hasn't even wounded.

Speaker 29 (50:09):
You must have missed you?

Speaker 28 (50:11):
Say I missed him to you. I won't miss he
missed time. I suppose I missed him that time?

Speaker 18 (50:17):
Eh?

Speaker 27 (50:18):
Why is he dead?

Speaker 18 (50:20):
Well?

Speaker 30 (50:20):
The truth is in this laboratory, I've created a serum
that has the power to defeat death.

Speaker 29 (50:26):
I call it serum l L for life.

Speaker 30 (50:29):
You mean the stuff protect you from a bullet or
a knife wound in a way. Yes, swifter than the
eye can see. It heals our wounds. The damage is
repaired in a fraction of a second. My serum is
what protected sson.

Speaker 27 (50:42):
A shot of that stuff and you can't be killed.

Speaker 28 (50:45):
It sounds screwy, but that dog four slugs and not
a mark on him. Look, professor, I'm gonna make a
deal with you, Dean. Yeah, I'll let you keep on
living if you'll give me a shot of that serum.

Speaker 27 (50:58):
But that's impossible that it hasn't been perfected.

Speaker 28 (51:00):
What do you mean it hasn't been perfected at saved
the dog, didn't it?

Speaker 30 (51:03):
Yes, of course, But I'm still in the experimental stage.
I don't know how long the serum is effective, or
the condition in which it leaves the body after it
is worn off.

Speaker 28 (51:12):
You're wasting time, Professor. I'd hate to have to persuade you.

Speaker 30 (51:17):
I see, do you understand. The responsibility is all yours.

Speaker 28 (51:22):
It's all right, professor. You let me do the warrior.
I'll come on, let's have a shot of that stuff.

Speaker 29 (51:29):
Roll up your sleeve.

Speaker 28 (51:30):
Sure, I don't try pulling a fast one, Professor, it
won't be healthy. Yes, koy, you're so anxious to have
my serum. Any guy in my rocket who can take
a slug and not feel.

Speaker 27 (51:40):
It but be top man?

Speaker 30 (51:42):
I see, Just holdsted a moment and I go ahead. Eh,
that's all.

Speaker 28 (51:50):
Hey, my wounds they're gone. Why there isn't even a
mark on my arm to show where they were.

Speaker 27 (51:56):
I told you it healed faster than the eye could see.

Speaker 28 (52:00):
Yeah, it's like a miracle, think of it.

Speaker 27 (52:04):
I can't be killed.

Speaker 28 (52:06):
Nothing can stop me. Now I can move in on
all the rackets and take them all over. Yes, sir,
I'll be king of the world.

Speaker 19 (52:27):
All duke, what do you want to see me about?
I'm kind of busy.

Speaker 28 (52:30):
I won't take up much of your time.

Speaker 27 (52:32):
I'm after a job.

Speaker 19 (52:34):
I like to give you one when I have a
room for another man.

Speaker 28 (52:37):
You're wrong, there's one job in your racket that's going
to be opened soon.

Speaker 31 (52:41):
Yours, min Yeah, duke, you've got a funny sense of humor.

Speaker 28 (52:48):
Yeah, I know, but this is one time I'm not kidding.

Speaker 19 (52:51):
You better be kidding or it might not be healthy
for you.

Speaker 28 (52:54):
I don't have to worry about my health anymore.

Speaker 19 (52:56):
You'd better go while I goran's good.

Speaker 28 (52:58):
I like it here. You're the one who's leaving right now.

Speaker 31 (53:03):
You haven't got a gun, Duke. The boys sort of that,
and I have. You're a little nervous an' you, Williams.
Stay where you are. I'll let you have it.

Speaker 27 (53:11):
I don't scare reasonably nothing anymore.

Speaker 19 (53:13):
You ask her h couldn't have missed. I want this time.

Speaker 28 (53:21):
Don't seem to be able to stop me, Williams.

Speaker 27 (53:23):
I shut you.

Speaker 19 (53:23):
I tell you, I shut your watched your fall.

Speaker 28 (53:29):
Put six pulits into your watched your fall. Your gun
is empty now, Williams, it's just you and me.

Speaker 27 (53:36):
You can say st.

Speaker 28 (53:46):
To bad Williams. You should have resigned when I gave
you the chance, but you would be stubborn. That's what
they all get if they stand in my way. Hello, Mike,

(54:09):
come on in. I'm just totaling up the take for
the last month. Gonna be quite a hole.

Speaker 24 (54:16):
Duke you're headed for travel. You've been expanding too fast,
stepping on too many people's toes.

Speaker 28 (54:21):
They don't want to get stepped on. They better stay
out of my road. They've tried to bump me off
a half a dozen times in the past month, and
I'm still alive.

Speaker 24 (54:29):
Duke, What is it that keeps you up even after
they put a dozen slugs into you?

Speaker 27 (54:34):
Your job's to carry out my orders, not to ask questions.

Speaker 24 (54:37):
I didn't mean anything by it.

Speaker 28 (54:38):
I hope you didn't look. I want you to pick
up a fast car. We're going after the Horton Diamond
a night.

Speaker 24 (54:44):
The Hert and Diamond. H I'll do that suicide. We're
cleaning up right here. Why risk our necks on a
dangerous John.

Speaker 28 (54:52):
Because I want the Horton Stone the way I got
it figured. We can't miss. Remember, their guns can't stop me. Hey,

(55:14):
is seventy the best you can get out of this car?

Speaker 24 (55:16):
I got my foot down to the floor.

Speaker 28 (55:18):
Now, Hey, look at that diamond. Mike ended up, beauty.

Speaker 18 (55:21):
Think of it.

Speaker 28 (55:22):
I got a half a million bucks right my head.

Speaker 24 (55:24):
A lot of good it's gonna do us if we
don't shake that police car.

Speaker 28 (55:27):
Yeah, you're right, there hanging on. We gotta shake them.

Speaker 24 (55:30):
There's nothing more I can do. I'm pushing this crate
as fast as it'll go.

Speaker 27 (55:33):
All right, look out for this curve.

Speaker 28 (55:35):
We're taking it too fast.

Speaker 24 (55:36):
Hey, I can't control like out we're going over.

Speaker 27 (55:54):
Look at that car with you. They must have been
doing all of seventy when they crash.

Speaker 30 (55:57):
Yeah, didn't sure have a hard time identify this guy
behind the wheel?

Speaker 29 (56:01):
What a mess?

Speaker 30 (56:02):
What about the other guy? Let's have a look saying.
There isn't a mark on him. He's unconscious, but he
doesn't appear to be hurt at all, but he must be.

Speaker 27 (56:10):
You have to crash like this. Take a look for yourself.
I tell you this guy is gonna live a lot
of good.

Speaker 29 (56:16):
It'll do him.

Speaker 9 (56:17):
You have to kill him.

Speaker 27 (56:17):
Two guards of the hoard in the state. He's headed
to the electric chair.

Speaker 13 (57:00):
For control.

Speaker 18 (57:05):
Cons people.

Speaker 26 (58:39):
And now to go on with the story of the
King of the World as it is written here in
the Sealed book. Duke Fashion, having been duly trained in
sentenced for the murders, he committed his being strapped into
the electric chair.

Speaker 28 (58:57):
One you're wasting your time. There's a the last mile
from me I'm one guy. You can't fry.

Speaker 24 (59:04):
All right, Richards, we can proceed now, really examined the body.

Speaker 29 (59:17):
Doctor.

Speaker 28 (59:18):
Sorry to disappoint your warden, but I'm not dead, but
you must be.

Speaker 19 (59:24):
No man has ever lived through it.

Speaker 28 (59:25):
I'm not like other men.

Speaker 27 (59:27):
Warden. You can't kill me.

Speaker 24 (59:29):
Richards unstrapped the prisoner from the chair. What's happened must
be due to the mechanical defect.

Speaker 29 (59:34):
That must be.

Speaker 28 (59:35):
You look a little pale, Warden. It's good to get
out of that chair. It's not very comfortable. Why you're
backing away from me? You afraid I'll hurt you. I'll
just take this gun.

Speaker 9 (59:48):
Eh, that's better.

Speaker 28 (59:49):
Now all right, Warden, start marching. You're gonna lead me
to the freedom if you want to live, Duke, let

(01:00:14):
me and Joe quick.

Speaker 27 (01:00:17):
That's better.

Speaker 28 (01:00:18):
Hey, you look as though you'd seen a ghost.

Speaker 4 (01:00:19):
Joe.

Speaker 31 (01:00:20):
The papers are full of stories, but your escape. They
say the juice was turned on, and yet when it
was over you got up and walked away.

Speaker 28 (01:00:25):
Yeah, yeah, that's right. I told him I was one guy,
too big to be killed.

Speaker 19 (01:00:30):
Look, I can't afford any trouble with the cops. You know,
I'm a trade time lose.

Speaker 27 (01:00:34):
Shut up.

Speaker 28 (01:00:35):
I'm still giving orders. You'll do as I say. The
cops can only send you up for life. I can
do worse.

Speaker 19 (01:00:40):
Don't talk like that. Don't you know you can count
on me. I'll do anything you say.

Speaker 27 (01:00:44):
You're better.

Speaker 28 (01:00:46):
I'm gonna hold up here for a couple of weeks
until the heat's off. Meanwhile, I'm gonna make plans, big plans.
I'm bigger than just being the king of the underworld.
If I organize things right, there's no reason I can't
use the underworld to take over the rest of the world. Yeah,
that would make me keen of the world. It wouldn't

(01:01:07):
be hard to either way. Why is that clock so loud?
I can't even hear myself talk?

Speaker 11 (01:01:13):
What clock?

Speaker 28 (01:01:14):
There isn't any in this apartment?

Speaker 27 (01:01:16):
Are your deaf?

Speaker 28 (01:01:16):
Can't you hear it?

Speaker 9 (01:01:18):
No?

Speaker 19 (01:01:18):
Do godness, I don't hear a thing. It must be
imagining things.

Speaker 28 (01:01:22):
I don't know. I don't hear it so loud now either, Yeah,
I guess maybe it was my imagination. Yet I could
have sworn well, never mind, I got other things to
think of, big things.

Speaker 19 (01:01:45):
Why don't you sit down, don't and take it easy.

Speaker 28 (01:01:48):
I'm tired of sitting three weeks in this rat trap
is enough for anyone.

Speaker 27 (01:01:53):
I've had about enough.

Speaker 31 (01:01:54):
It hates on as big as ever do if I
sort them as anxious to get anyone. Every time I
go out, I expect some dick to trail me back
to this higher I.

Speaker 27 (01:02:02):
Suppose you let me do the warrior? Sure?

Speaker 19 (01:02:04):
Sure, I was only talking. And if you been having
any more those attacks slately.

Speaker 28 (01:02:14):
I'm okay. Stop talking about it. It's bad enough without
having to be reminded about it. I don't want to hear.

Speaker 19 (01:02:22):
Hey, what's that?

Speaker 13 (01:02:23):
What?

Speaker 18 (01:02:23):
Duke?

Speaker 27 (01:02:24):
That buzzn't sound keeps growing louder and louder.

Speaker 19 (01:02:29):
I don't hear nothing.

Speaker 27 (01:02:30):
Listen, you must hear it. It's a fly, yeah, and
it's getting louder.

Speaker 19 (01:02:36):
I'll tell you.

Speaker 28 (01:02:36):
I can't stand it.

Speaker 18 (01:02:37):
Fly.

Speaker 19 (01:02:38):
Yeah, I don't hear it. Wait, there's one over there
flying around us.

Speaker 27 (01:02:42):
Crank, well, do something well. I can't stand the noise.

Speaker 28 (01:02:45):
That's drive me crazy.

Speaker 27 (01:02:46):
Take it easy, doing my best tell it?

Speaker 28 (01:02:50):
Yeah, Oh thanks, Joe, that's gone now. For a while
I thought i'd blow him the top.

Speaker 31 (01:02:58):
Maybe you'd better see it, doctor duke, you've been getting
these attacks more and more, these passed three weeks.

Speaker 28 (01:03:03):
I know doctor can do me any good.

Speaker 27 (01:03:06):
There's only one man that can help me.

Speaker 19 (01:03:07):
Who's that?

Speaker 27 (01:03:08):
That's the professor.

Speaker 13 (01:03:23):
You.

Speaker 27 (01:03:24):
Uh you remember me, don't you? Professor?

Speaker 30 (01:03:27):
Yes, of course, I've been reading quite a bit about
you in the papers lately, mister fast Eh.

Speaker 28 (01:03:33):
You'r serum is all right, Professor saved me from being
an electrocuter. But I don't know. These last three weeks,
something's happened and I.

Speaker 18 (01:03:41):
Don't like it.

Speaker 29 (01:03:42):
Suppose you tell me about it.

Speaker 28 (01:03:44):
I keep getting attacks. Maybe I'm listening to the radio.
Everything's fine. Then all of a sudden it grows louder,
as though someone was turning it on full blast. It
pounds on my head until I think I'm going crazy. Professor,
I can't stand it. You gotta help me.

Speaker 30 (01:04:01):
You recall that when you asked for my serum, I
told you it hadn't been perfected well, that I didn't
know what effect it would have on the human body.

Speaker 28 (01:04:09):
Yeah, yeah, I know, but you gotta help me now.
I can't go on this way. I keep waiting for
the next attack. Each one is worse than the last.

Speaker 27 (01:04:18):
You remember my great Dane Caesar, don't.

Speaker 28 (01:04:20):
You sure he tried to take a piece out of
my throat, didn't he?

Speaker 30 (01:04:25):
I opened this trap door. You see him in the cellar. Eh,
there he is, mister Fearsten. Well, what's wrong with him?
Why does he keep whining like that? Caesar too received
an injection of the serum, mister Fasten, six months before
you received yours. Now every sound he hears is one
hundredfold greater. I'm speaking to you in normal tone of voice,

(01:04:49):
yet to Caesar, I'm shouting unbearably loud. You mean that
Caesar is passed into a condition where every sound is
she a torment. To be quite frank, he went insane
three months ago.

Speaker 27 (01:05:03):
Oh why don't you kill him? Put him out of
his misery.

Speaker 30 (01:05:08):
You forget, mister Feursten, that the serum still protects him
from death. He can't die, and that is.

Speaker 28 (01:05:14):
That what will happen to me in a few months.

Speaker 29 (01:05:17):
Yes, I'm sorry to say, but.

Speaker 28 (01:05:19):
Professor, there must be something you can do. Maybe you
got another serum, anything, I've got money.

Speaker 29 (01:05:25):
I'm sorry, but it isn't a question of money. He
can offer you no help.

Speaker 28 (01:05:30):
I can't go on this way, waiting for each new attack,
and then in the end if only there was an end,
if only I could die.

Speaker 30 (01:05:39):
Possibly there is a way out, there is tell me,
I'll do anything. Where As you know, my serum can
prevent death from a dozen bullet wounds. But there might
be one way, it's great healing powers could be defeated.

Speaker 27 (01:05:51):
Yeah, which way is that?

Speaker 30 (01:05:52):
If you were to use an explosive, a powerful explosive,
you might blow yourself up into so many pieces that
the serum would no longer be able to defeat death.

Speaker 28 (01:06:02):
Yeah, yeah, I see what you mean. One of Dabab
once had an accident with nitro. They never found a
trace of him. Yeah, you're nitro. That would do the trick.

Speaker 29 (01:06:14):
Yes, quite possibly.

Speaker 30 (01:06:16):
If the attacks continue and they're beyond endurance, it may
be your one way of escape.

Speaker 27 (01:06:21):
My one way of escape.

Speaker 28 (01:06:24):
Once I thought that with your serum, I come to
rule the world.

Speaker 27 (01:06:29):
Now I'm looking for a way out of it.

Speaker 2 (01:06:43):
Huh what you do?

Speaker 19 (01:06:46):
Yeah?

Speaker 27 (01:06:47):
You're expecting someone else?

Speaker 19 (01:06:49):
No, No, of course not.

Speaker 27 (01:06:50):
What are you so genery about for me?

Speaker 28 (01:06:52):
Yeah?

Speaker 27 (01:06:53):
Okay?

Speaker 19 (01:06:55):
What the guy you want to see say?

Speaker 27 (01:06:57):
He can't help me? No one can.

Speaker 19 (01:07:00):
What are you gonna do?

Speaker 4 (01:07:01):
Duke?

Speaker 28 (01:07:01):
There's nothing I can do but wait? Maybe maybe he
was wrong. Maybe I won't get them attacks anymore.

Speaker 27 (01:07:09):
After all.

Speaker 28 (01:07:09):
Just because it happened to the dog doesn't mean that.

Speaker 27 (01:07:13):
Hey, what's that?

Speaker 28 (01:07:15):
That that steady pounding. It's growing louder and louder.

Speaker 19 (01:07:19):
It must be another attack.

Speaker 27 (01:07:21):
I can't stand it. He keeps pounding, pounding, louder and louder.

Speaker 19 (01:07:27):
Maybe it's the face and the kitchen's been leaking like.

Speaker 28 (01:07:30):
Me, I will look at I can't go on this way,
I tell you I can't. It's gone now, but there'll
be another attack and then another.

Speaker 19 (01:07:40):
The faucet was leaking. I just turned it off. Was
that what was troubling your duke?

Speaker 27 (01:07:43):
Yeah, it's no use.

Speaker 28 (01:07:45):
I can't go on this way waiting for it to
happen all the time and then ending up like that dog?

Speaker 4 (01:07:51):
What dog?

Speaker 28 (01:07:53):
Never mind, Get out the car. We're going on a
little trip trip. Yeah, where to, duke? Stake to the
old hideout. I'm gonna try to take the one way out, Duke.

Speaker 19 (01:08:17):
Won't you tell me what we come to this old
place for?

Speaker 27 (01:08:20):
You'll see? Come on, what are you looking around for?

Speaker 28 (01:08:23):
Nothing?

Speaker 2 (01:08:25):
No?

Speaker 10 (01:08:25):
No?

Speaker 27 (01:08:25):
Have you got the shovel?

Speaker 4 (01:08:27):
Yeah?

Speaker 19 (01:08:28):
Once you at least tell me what we need to
shovel for. You're gonna do some digging for me in
the cellar.

Speaker 28 (01:08:33):
There's something paried in the cellar, yeah, Nitro, All right,
here's the cellar door, Nitro.

Speaker 19 (01:08:39):
I mean that's what's paried down here.

Speaker 15 (01:08:40):
Yeah.

Speaker 28 (01:08:41):
We started here for safe cracking jobs. Now I got
a better.

Speaker 4 (01:08:45):
Use for it.

Speaker 28 (01:08:46):
Gonna get me to tack it up, would be sure, sir?
You say this gun, don't you, Joe? You're having much choice?
Now start down those steps, but I can't see. It's
a bit stark down here. That's okay, just failure. Way
down the steps, we get to the bottom.

Speaker 27 (01:09:01):
I light a candle. Do please? Don't me keep going?

Speaker 19 (01:09:09):
Dude, that was the bottom step? What about lighting the match?

Speaker 28 (01:09:12):
Okay, just a second. I've got one here.

Speaker 26 (01:09:16):
I got his gun.

Speaker 32 (01:09:18):
I got to reach that night throw. Let's go get him.
Genial blows all squeal on me, harly, light, un enjoying.
You've got to let me get to the night throw.
It's the only way I can die.

Speaker 27 (01:09:32):
Is as crazy as a long Yeah, place for this
guy's in a padded cell.

Speaker 19 (01:09:49):
All right, fast and then you go there.

Speaker 24 (01:09:52):
You won't be able to hurt yourself in that nice
padded cell, and you won't be able to hear any
of those loud again. You are any radios or watches
or automobile horns that can bother you, and that sell
It's guaranteed one hundred percent sound proof.

Speaker 28 (01:10:13):
Now be a good boy.

Speaker 27 (01:10:16):
Oh you gotta let me go. I want to die
to you here.

Speaker 28 (01:10:20):
You can't let me live and suffer these attacks.

Speaker 18 (01:10:23):
Let me out of here.

Speaker 28 (01:10:24):
Let me out, do you hear. I can't stay.

Speaker 33 (01:10:28):
It's starting again, another attack. It's growing louder and louder,
a steady pounding. It's my heart beating, growing louder and louder.

Speaker 2 (01:10:41):
I can't stop it.

Speaker 32 (01:10:43):
I can't stop it.

Speaker 1 (01:10:45):
I can't step.

Speaker 26 (01:10:57):
And that is the story of the King of the World,
as it is written in the Sealed Book. Years have passed,
but Luke Ferguson is still locked up in the padded cell.

Speaker 18 (01:11:10):
Day and night.

Speaker 27 (01:11:11):
He begs to be executed, and yet.

Speaker 26 (01:11:13):
At the same moment he knows he can't die, that
the serum in his blood has given him immortality and
sentence him to a life filled with torturous sounds from
which there is no escape. There is no escape. It
is so written here in the Sealed Book. But the

(01:11:39):
sound of the Great Gong tells me I must close
the great Book once again.

Speaker 23 (01:11:44):
One moment, Keeper of the Book. What story from the
Sealed Book will you tell us next time?

Speaker 18 (01:11:50):
Next time?

Speaker 27 (01:11:52):
What shall it be?

Speaker 26 (01:11:54):
A tale of madness, of terror, of dark deeds in
far lands?

Speaker 29 (01:11:59):
I have them here, all the stories that ever.

Speaker 26 (01:12:03):
Happened, and many that have yet to come to pass,
And I'll find one for you in just a moment,

(01:13:56):
the Sealed Book.

Speaker 23 (01:14:00):
The Sealed Book, written by Bob Arthur and David Cogan,
is produced and directed by Jack McGregor.

Speaker 1 (01:14:09):
Well, that fire is burning very bright. I hope it's
keeping the chill away, at least the one you don't enjoy. Well,
I suppose there's even more to enjoy. It seems there's
no rush, right, This is the time for relaxing and

(01:14:36):
reflecting that I can get behind. Maybe I will get
one of those fun sweaters. Everyone seems to love them
so much, and we could all use a little love. Yes,

(01:14:57):
I suppose it would be a good sake.

Speaker 10 (01:15:04):
Tired of the everyday grind, ever dream of a life.

Speaker 4 (01:15:10):
Of romantic adventure. I want to get away from it all.

Speaker 9 (01:15:17):
We offer you.

Speaker 34 (01:15:20):
Escape, Escape, transcribed to free you from the four walls
of today for a half hour of high adventure.

Speaker 10 (01:15:45):
You are in the heart of a Philippine jungle, searching
out an Negro village. Those people are practiced in savagery
and head hunting, while your civilized companion is coldly making
his plan.

Speaker 9 (01:16:03):
To see that the first had taken It will be
your own.

Speaker 35 (01:16:08):
Listen now as escape brings you Kathleen Height's exciting story
A good thing.

Speaker 10 (01:16:32):
This time, Matthew found me in a Sophie Lee bag
of a hotel room in Manila. Before that, it had
been Shanghai, rangon Cape Tom name.

Speaker 36 (01:16:43):
Your port of car, My boy, I'm around one Dan,
Dan snap too. You really tied one on this time,
didn't you. Well, we've done it before.

Speaker 4 (01:17:08):
Mm hmmm here boy.

Speaker 2 (01:17:12):
Catch, Oh.

Speaker 4 (01:17:21):
It's you.

Speaker 9 (01:17:22):
How long you've been like this? This time?

Speaker 15 (01:17:26):
So uh.

Speaker 2 (01:17:29):
Fun?

Speaker 9 (01:17:31):
Hyeah? You always send for me, Dan and your own
unique fashion.

Speaker 2 (01:17:37):
I send for money, Yeah, I mean it's all.

Speaker 9 (01:17:43):
I always check on my investments.

Speaker 2 (01:17:45):
Next time, you just send the money.

Speaker 9 (01:17:48):
I won't be you next time.

Speaker 2 (01:17:49):
Here. This time you're going with me, you know I'm not.

Speaker 36 (01:17:56):
I think I'll get a kick out of this joint
I'm going up in the back country where a KiHa
get material for my book. No expedition, no fancy trappings,
just you and me and the Igoroos.

Speaker 29 (01:18:06):
It's just you and the No.

Speaker 9 (01:18:08):
It'll be good for you, Dan. We'll get you in shape,
rest up a bit before we strike out.

Speaker 36 (01:18:16):
We'll get all that stuff boiled out of your system.
Might even get you to quit hating yourself. I know
you think you hate me.

Speaker 9 (01:18:25):
Maybe you do.

Speaker 36 (01:18:27):
All I know is you're my brother, and I'm not
gonna let you go completely to pieces. It makes you
feel great, doesn't it.

Speaker 2 (01:18:39):
It's there when I want it, and it never talks
back sprinting on the label sixteen full ounces, no platitudes.

Speaker 36 (01:18:49):
You have any clothes except those on your back travel
light and that's the square.

Speaker 9 (01:18:55):
Women to play Kate before we clear out of.

Speaker 2 (01:18:56):
Here, crazy fool, we really think I'm going with him?

Speaker 36 (01:19:02):
Might make it as far as Kapan tonight. We'll put
up with Cass for a while.

Speaker 9 (01:19:05):
He'd like that.

Speaker 2 (01:19:07):
Cass. You mean Cass bledso sure?

Speaker 9 (01:19:11):
He's still around, must be in his middle sixties.

Speaker 2 (01:19:14):
Buy him now.

Speaker 9 (01:19:14):
He's fatter than ever and Richard.

Speaker 36 (01:19:16):
I see him a couple of times a year I guess, well,
maybe you'd forgotten casts It's been a long time.

Speaker 10 (01:19:23):
It had been a long time, but Cass Bledsoe was
one guy I'd never forget. I used to hang around
his plantation near Gapan when I was a kid.

Speaker 2 (01:19:33):
My old man was an engineer in the Islands.

Speaker 10 (01:19:36):
I knew a good thing when I saw it even then,
and Cass had it made looked good. A lot of
cheap native labor, all the money in the world. That's
what I call a good thing. That's what I'd looked
for all my life. Robert Matthew I hated as inside.

(01:19:57):
I always hadn't.

Speaker 2 (01:19:59):
It wasn't so bad when he was off somewhere, but
when he was around, I thought I'd blow my car.
I hated him that much. He had me this time, though,
I was flat broke, and he knew what I had
to go with him.

Speaker 36 (01:20:13):
You see, no one's done exactly the kind of study
I want to do on the igor roach. Still, lecture
can wait till we get the castes.

Speaker 9 (01:20:23):
Come on, damn, admit it's not a bad idea.

Speaker 2 (01:20:27):
I think it's a lousy idea. One Matt tell Cass
all about him.

Speaker 18 (01:20:46):
Yeah, explain to me I've lived on the fingers of
the big country for years. I never gave a hoot.
What makes the hugorotes? You stubborn old baboon.

Speaker 36 (01:20:55):
You still won't give a hoot even if I do
explain it to you.

Speaker 18 (01:20:58):
No, No, I mean I really want to know, do
you know, Daniel.

Speaker 29 (01:21:03):
I'm like you.

Speaker 4 (01:21:04):
I don't give a hop.

Speaker 36 (01:21:07):
Dan and I will have to do a lot of
talking together before we go in. Well, briefly, it's good.
The thing that's intriguing about the Agroes is this. On
the one hand, there a tribe of highly developed skills
mining principally, they live in orderly villages, practice monogamy, and
generally lead productive, peaceful lives. But yeah, well, on the

(01:21:30):
other hand, some of these same people are thoroughly pagan
practice headhunting man.

Speaker 18 (01:21:34):
You want to know why.

Speaker 36 (01:21:38):
Partly, I want to know where the sism is in
the tribe. You know what makes one group completely diverse
from the other. There's a link of development that's just missing,
and I want to know what it is and why
it is, And just the.

Speaker 18 (01:21:50):
Two of you are going in there to find out.

Speaker 36 (01:21:52):
Well, I've got a theory that large expeditions marching in,
setting up camp and equipment, whether to simply drive the
natives fither into the brush. But Daniel and I can
go in, make friends with him, and very quietly observe them.
You'll get used to us after a while. And I
really believe that we can come up with some important
data anyway.

Speaker 9 (01:22:12):
It's worth a try, isn't it.

Speaker 2 (01:22:13):
Then that's what she keeps saying.

Speaker 18 (01:22:15):
I know, and I don't understand what gets inside a
man that makes him blaze trails, risk his life to
track down his data for a book. No one but
professors will give a hang about you, Daniel. What drives
you to do?

Speaker 17 (01:22:30):
Matthew?

Speaker 2 (01:22:31):
He thinks the other pagans and I'll get along just fine.

Speaker 18 (01:22:34):
We do al misunderstand, fat pineapple. I admire, I thank
you whatever it is Matthew here, we'll tell you. Every
time I see him, I marvel at his plan. I
listen and admire him all the more. But I never
quite understand. All I know is I wish I'd had
some of the quality when I was young enough to

(01:22:55):
do something about it.

Speaker 36 (01:22:56):
It always made me sound like a bloody hero cast.
I'm not at all this try to call it or
something while you're born with it. Well, you're born with it.

Speaker 18 (01:23:05):
Money, huh, money and an inherited capacity for doing nothing
in a very elaborate fashion. That's what's wrong. Everything was
always too dad blamed easy?

Speaker 4 (01:23:19):
Is that bad?

Speaker 2 (01:23:20):
The things have to be tough? What's wrong with money?
Especially if someone just hands it me?

Speaker 18 (01:23:25):
A man needs challenge in his life. I never had any,
Thank Heaven, I can appreciate when I see it. I
turned this whole blasted plantation over the Matthew in a minute,
just to feel that this if I'd done one worthwhile
thing in my fat life, that he won't hear of it.
And he calls me stubbers, I lose money for you?

Speaker 3 (01:23:47):
You know it.

Speaker 18 (01:23:47):
You would not, You'd have one hundred innovations going before
the first week was out. Ever see him tackle anything
and not come out on top?

Speaker 6 (01:23:54):
Do you?

Speaker 29 (01:23:56):
Never?

Speaker 4 (01:23:56):
In my whole life?

Speaker 18 (01:23:57):
Well, I'll tell you one thing. I wouldn't think much
of you if you're any different than you are. And
if they give me the years back and let me
have another try, you.

Speaker 36 (01:24:08):
Wouldn't do it any differently than you have.

Speaker 18 (01:24:12):
All right, I think you're right, But I know this much.
I'll never turn this place over to a bum like me.
Either I'll let you'll run it first, wor's one I'd
like some coffee? No, yeah, yeah, yes, we all need
something worn yourself coffee, said, You'll bring fine coffe and

(01:24:36):
don't forget. Also bring brandy plenty brandy, good.

Speaker 9 (01:24:40):
Boy all roun y Yeah please thanks?

Speaker 36 (01:24:43):
So Hi, Yollo, how's reading coming?

Speaker 18 (01:24:48):
You'll are very finely think you said?

Speaker 19 (01:24:51):
Good?

Speaker 36 (01:24:52):
Oh, this is my brother, Yolo Daniel, this is Cassa's
prize possession.

Speaker 18 (01:24:57):
Please to meet you said, very please, Hello, Yo, Yollo
read about mister Dan in a place lions Den. What
uh tell Daniels what you think of Matthew? Oh, mister
matt very pine man said, and what do you think

(01:25:17):
of me, mister cass very rich man. You see, Daniels,
I've raised his in great us if he were my son,
and he thinks more of Matthew than he does of me.

Speaker 2 (01:25:34):
The love feast went on and on and on.

Speaker 10 (01:25:37):
Every time cass took another slug of brand to eat,
hand the plantation over to Matthew again and warn the
boy just kept handing it back.

Speaker 27 (01:25:46):
I had time.

Speaker 10 (01:25:47):
We're going to stay on with cass for a few
days and hard as it was on my insides. It
looked smart to come up as a carbon copy of
brother Matthew.

Speaker 2 (01:25:57):
The drunkery got the moral brandy began to look like
a good thing, and may real good thing. I was
a model boy those next few days.

Speaker 36 (01:26:08):
Now, if we start out early enough in the morning,
Yolo thinks we can make it too. Yeah.

Speaker 9 (01:26:14):
Yeah, this clearing right here is by tomorrow nine. Yeah.

Speaker 36 (01:26:18):
What is yella know about this country is the back
of his hand hasn't cast Tolia. Yolo's in Negrou. His
family still lives back up in the hills.

Speaker 2 (01:26:27):
Okay, Okay, so we hear tomorrow.

Speaker 4 (01:26:29):
Nice.

Speaker 36 (01:26:29):
Yeah, when do we hit the person of it, Well
about mid afternoon the second day. We'll set up headquarters
there and work out of there as soon as we
know the territory and make a few friends.

Speaker 2 (01:26:37):
Sounds real cozy, I guess we're said the.

Speaker 9 (01:26:43):
Dam Yeah, you're doing a good job. I'm proud of them.

Speaker 4 (01:26:49):
Nice.

Speaker 9 (01:26:51):
It's a long time since we really been brothers. It'll
be a good thing this.

Speaker 2 (01:26:58):
Trip, yeah, I think so.

Speaker 18 (01:27:02):
Yeah, if you're away, come on ahead, jass, come in
gold and wake Matthew. Oh well, no, wonder thought we'd
just have a little drink together to the egoes.

Speaker 36 (01:27:19):
Then we'll have a nightcap with your cast. I'm want
to talk to Yellow again and hit the side a right,
all right, see you in the morning.

Speaker 4 (01:27:24):
Cast.

Speaker 18 (01:27:24):
Yeah like that?

Speaker 2 (01:27:26):
Yeah, nine, you were sure you need that drink?

Speaker 9 (01:27:35):
Cast?

Speaker 18 (01:27:36):
You sound just lay him? Pretty sure? I don't need it, boy,
pretty sure. I don't need most of them. I take
pretty sure here. Okay, So you your man save Jo Nay.

Speaker 2 (01:27:54):
Thanks.

Speaker 18 (01:27:59):
I don't know you like I know him. But you've
got something I can tell something.

Speaker 13 (01:28:07):
Doers.

Speaker 18 (01:28:08):
That's what you are amount or something. Never did myself. Look,
you're pretty hard on yourself and you got you got
got both of you. Never had any myself, never.

Speaker 2 (01:28:24):
Done all right without him?

Speaker 18 (01:28:26):
Listen, boy, oh question. Don't let anything happened to Matthew
like a son to me. I don't know you know him.
I know this though, h you're a bad one, a
lot of devil in you like me. That's just like

(01:28:51):
a son to me. Man needs a sun man when
you get back, if we'll get by.

Speaker 4 (01:29:05):
Him.

Speaker 10 (01:29:07):
Hey, it was like carrying a beast, well, packing him
off to his room, loading him in the bed. I
made him comfortable. The drunken old fool was shopping around
for her son and make it easy for him to

(01:29:29):
find one.

Speaker 2 (01:29:32):
Matthew and Chass had one more good natured exchange before
we left the next morning.

Speaker 4 (01:29:37):
Jas kill me we didn't have a hangover.

Speaker 18 (01:29:40):
Will be my way. I won't let you go, Mayhew.
If you're idiot enough to go in and pack caught
the head hunters, I'll at least have the satisfaction of
knowing I sent.

Speaker 36 (01:29:49):
You in good head Cash. You can't yolost your right hand.

Speaker 18 (01:29:52):
You need him here. Just let him lead you to
his old village and he'll come back an Yes, sir,
make baby passed with no trail, very good. Also, help
make a traind you'd be a big help.

Speaker 36 (01:30:07):
You'll, oh sure, But Matthew.

Speaker 2 (01:30:08):
I think it's a good idea. Cass can spare him
a few days.

Speaker 18 (01:30:11):
I certainly can. Besides, it'll make me feel as if
I'm doing something for you.

Speaker 9 (01:30:17):
At least you can.

Speaker 36 (01:30:17):
All right, all right, you hurry back to cast as
soon as we're safely in the village.

Speaker 18 (01:30:22):
You'll know, Yes, sir, you'll understand that's better. And you, Daniel,
any young man who can lift me in my full
load of brandy is worth having around anytime. Matthew doesn't
need you.

Speaker 2 (01:30:37):
Let me know well, Banks, Cass, I remember that.

Speaker 35 (01:30:52):
We will return to escape in just a moment. But first,
highway safety is a state of mind. Yes, the state
of the driver's mind, his viewpoint about taking chances on
his own others' lives, governs whether or not our roadways
are safe or unsafe. With warm weather returning and this
holiday weekend many parts of the nation, be cautious, be

(01:31:12):
extremely cautious. Watch your state of mind when behind the
steering wheel. Your life depends on it. Others do too.
Now back to escape, a.

Speaker 10 (01:31:40):
Yolo picked a path forward for the thick on the growth,
and I kept looking back with the mark signs that
would lead me out again.

Speaker 2 (01:31:45):
When the time came by.

Speaker 10 (01:31:47):
Evening yellow it knows doubt a little clearing, we made
camp there. I watch Yolo in the fire light. His
eyes kept darting out into the night, his head cock listening.

Speaker 36 (01:31:58):
Here as I can tell, we must be about halfway
between Gimbahn bunga Bun that just that tomorrow afternoon should
see us in Yolo's home village. He did a good job, Yollow.
He wouldn't be this far without you.

Speaker 18 (01:32:12):
You'llow very slow tomorrow. Do better. You're asleep, yollow, Watch
and listen.

Speaker 2 (01:32:19):
You know what kind of sounds a headhunter?

Speaker 4 (01:32:21):
Make?

Speaker 18 (01:32:22):
No sound? Oh very quick, mister Dan, have no pear?

Speaker 2 (01:32:27):
No?

Speaker 18 (01:32:28):
Why not have a pine head like mister Matt.

Speaker 9 (01:32:33):
What's a dubious honor?

Speaker 18 (01:32:34):
Head hunter? Think soul in head? See pine head?

Speaker 29 (01:32:38):
Cut up?

Speaker 18 (01:32:39):
May hunter? Very smart, fellow, Put head in ground, Make
craps grow.

Speaker 9 (01:32:45):
They won't come after unless we trouble. Then, don't worry
about it, Dan, get some sleep.

Speaker 10 (01:32:49):
Yeah, apparently I don't have a thing to worry about.
Yolo rotted us out on the trail early the next morning.
I got so I could sense the path, look around
at the brush, know where the footing was. We made

(01:33:10):
good time, and by afternoon we could see the village ahead.
As we moved closer, Yolo seemed somehow to become wary.
His head snapped in all directions of the slightest sound,
But finally he led us into the clear, flanked by
huts on all sides. A few natives we saw backed
away and disappeared at the sight of us.

Speaker 9 (01:33:31):
More frightened of us than we are them. Damn, smile, smile,
show more friendly.

Speaker 2 (01:33:39):
Over there. What my femiy we go there. You go on,
tell them we're friends.

Speaker 4 (01:33:44):
He'll know what to do.

Speaker 9 (01:33:45):
What we do is much more important. To smile now
and don't panic.

Speaker 18 (01:33:52):
Mean here he's hut you go in or empty.

Speaker 36 (01:33:58):
You go in, Dan, You know what you're doing. They'll
see we didn't come to harmon. Once they're sure of that,
they'll come back. Come on inside.

Speaker 2 (01:34:06):
Yeah, just keep you a little handy.

Speaker 9 (01:34:08):
That's all worry about.

Speaker 4 (01:34:09):
You're a loryer.

Speaker 37 (01:34:10):
Yoo yoa come out here, well out on us first chance,
a guess, come back here you food?

Speaker 27 (01:34:16):
Then let him go.

Speaker 9 (01:34:18):
He did his job.

Speaker 4 (01:34:19):
I just calmed down.

Speaker 2 (01:34:20):
What are you a brave man?

Speaker 9 (01:34:21):
It's just that I've been through this kind of thing before.

Speaker 36 (01:34:24):
Natives always run fast and may steal back to take
a look at you.

Speaker 9 (01:34:29):
If you convince him you didn't.

Speaker 36 (01:34:30):
Come to destroy him, you're all right. No, well I
think you're n so I'm not. Come on right down,
take it easier. W I'll keep watch.

Speaker 2 (01:34:40):
Dan.

Speaker 9 (01:34:40):
We don't have a thing to worry about.

Speaker 2 (01:34:58):
I didn't expect to sleep. I must have, because when
I opened my eyes again, it was dusk. The brush
was alive with sounds.

Speaker 10 (01:35:06):
But there was another sound, a rumble of voices out
in the clearing voices. It seemed to come closer to
the hut. Matthews stood in the doorway.

Speaker 2 (01:35:14):
Looking out.

Speaker 36 (01:35:17):
You wake then, Yeah, some of the natives are coming back.

Speaker 18 (01:35:20):
It's all right.

Speaker 9 (01:35:22):
You stay inside. I'll go out and meet them.

Speaker 2 (01:35:23):
Don't you let them in here.

Speaker 9 (01:35:24):
They won't come in. Just stay where you are and
don't make it tough for us.

Speaker 38 (01:35:35):
White man, one big friend, you see good good the
white man, No knife, no gun, one big friend. Want
to meet cheap meet, cheap headfella, my friends.

Speaker 2 (01:36:01):
I stood there with blank faces, as Matthew did his
great white father act. I took it as long as
I could rise.

Speaker 38 (01:36:07):
They ran, but I just would stop soon me a
crazy fool stom.

Speaker 21 (01:36:11):
I got him out of here, didn't I give me.

Speaker 18 (01:36:15):
The matter with you? You hadn't done anything.

Speaker 1 (01:36:18):
It wouldn't have hurt you.

Speaker 21 (01:36:19):
You're not.

Speaker 35 (01:36:20):
I told you.

Speaker 18 (01:36:21):
I thought it was a lowsy idea. I didn't have
to come here.

Speaker 13 (01:36:23):
You.

Speaker 18 (01:36:23):
I'll give me back my guns here.

Speaker 9 (01:36:27):
You set us back days and weeks. I suppose it
meant to.

Speaker 36 (01:36:30):
But I've worked a long time to get ready for
this trip and you just blew it with half a
dozen bullets that you've never been fired.

Speaker 39 (01:36:34):
All right, all right, tell me all about it on
the way back to cat.

Speaker 27 (01:36:37):
We're not going back, we're not sitting here.

Speaker 36 (01:36:39):
No, we'll have to go on to the next village
and hope we make it before the news of what
you did reach is there.

Speaker 2 (01:36:43):
No, I know you're not Saif you're smart, you'll clear
out of here with me, Dan.

Speaker 36 (01:36:46):
Dan, I'll come on, just settle down, all right.

Speaker 9 (01:36:49):
Now, we made a bad start. We'll start over.

Speaker 2 (01:36:53):
I'm going back, get Jos to it.

Speaker 9 (01:36:56):
You can help me if you stay here.

Speaker 2 (01:36:58):
I don't want to have you.

Speaker 36 (01:36:59):
If you give it a real chance, this could do
a lot of good too, Danna. I've got to stay here.
I want to This book's important to don't tell me
what's good, all right, all.

Speaker 9 (01:37:11):
Right, then have it your way, go back. I can't
stop you.

Speaker 2 (01:37:17):
That's right, you know, you know. I think you're right, brother,
I think you've got to stay here.

Speaker 9 (01:37:28):
Well that's one thing we agree on.

Speaker 37 (01:37:32):
Yeah, yeah, I'll sort of like thinking of you out
here since your stinking all right, then you've made your point.

Speaker 9 (01:37:46):
I think I'll check the supplies you.

Speaker 18 (01:37:48):
Never get that far, miss and mat one fine head. Uho,
Lord Dana.

Speaker 6 (01:38:00):
Mm hm.

Speaker 21 (01:38:02):
Oh dud ah.

Speaker 2 (01:38:08):
Alrite your book.

Speaker 17 (01:38:11):
Brother.

Speaker 10 (01:38:24):
I felt good, good and good because now all I
all I had to hate was the idea my nerve hell,
And until I got to the part about his head.

Speaker 2 (01:38:39):
I couldn't do it.

Speaker 39 (01:38:42):
All night long, I tried to find a nerve, but
I couldn't. By morning, I picked him up, pulled him
out into the brush. There wasn't a sign of light,
but dug a grave, crammed him into it, pulled a
thicket back over. It would make a good story. Everyone
would figure him for a hero's death, and that's how

(01:39:04):
he got his, at the hands of bad hunters.

Speaker 10 (01:39:17):
Two days later, Matthew's weary brother Brambles, grasped and sick
with grief, stumbled into Cass's plantation.

Speaker 18 (01:39:23):
And told the sad yours, oh hero, much of been horrible?

Speaker 2 (01:39:31):
What's awful?

Speaker 17 (01:39:32):
You don't know how off get easy?

Speaker 13 (01:39:34):
I know how you feel.

Speaker 18 (01:39:35):
It was his life. He was doing what he believed in.

Speaker 2 (01:39:40):
I want to go back.

Speaker 39 (01:39:41):
I want to get a party and go back, clean them.

Speaker 18 (01:39:42):
All off for what they do know.

Speaker 9 (01:39:44):
But you won't.

Speaker 18 (01:39:45):
I won't let you I tried to stop, Matthew.

Speaker 9 (01:39:47):
I've got to stop you.

Speaker 18 (01:39:51):
So tired, man, you'll get rest along.

Speaker 9 (01:39:54):
Rest, then we'll talk about plant. Don't try a thing now.

Speaker 27 (01:39:58):
No what you was saying.

Speaker 2 (01:40:02):
I can't help him now anymore than I could help him.

Speaker 18 (01:40:06):
Man, beat yourself. Sam, you did everything you could. I
thought Yola was the answer.

Speaker 9 (01:40:15):
I guess.

Speaker 2 (01:40:17):
He ran as soon as we hit the village.

Speaker 18 (01:40:19):
And he didn't show up when the trouble started.

Speaker 2 (01:40:23):
Now, No, he headed back here like he was supposed to.

Speaker 18 (01:40:25):
I told him to stay in the background. He was
supposed to be there when you were man, you needed him.

Speaker 9 (01:40:33):
Yeah, he isn't here.

Speaker 4 (01:40:36):
He didn't come back.

Speaker 18 (01:40:38):
They reverted the type they do sometimes. I thought I
was giving my boy some protections.

Speaker 27 (01:40:46):
I think I'll go lie down.

Speaker 18 (01:40:48):
Sure, silence, all right.

Speaker 21 (01:40:53):
Come back.

Speaker 18 (01:40:54):
You're you.

Speaker 40 (01:40:57):
You posed to wash after them?

Speaker 18 (01:40:59):
Dad, mister sure the old time you lie. You're lying.

Speaker 15 (01:41:03):
You're lying.

Speaker 35 (01:41:04):
I saw you.

Speaker 40 (01:41:05):
No, you're a state. You'na bring back mister matth Come
you see.

Speaker 4 (01:41:24):
That his head?

Speaker 18 (01:41:27):
Daniel, you sell all right, buddy dead? Oh shot mister
Dan No oh shot a.

Speaker 13 (01:41:48):
M hm.

Speaker 15 (01:41:50):
Hm.

Speaker 35 (01:41:51):
Under the direction of Anthony, Ella's escape has brought You
a Good Thing by Kathleen Hyde, starring Anthony Barrett as
Daniel and John Dayner as Matthew featured in the cast
where Herb Butterfield is cast, and Jack Krusian as Yolow.
The special music for Escape is composed and conducted by
Leith Stephens.

Speaker 9 (01:42:15):
Next week, you.

Speaker 10 (01:42:19):
Are living in a new and fabulous land, surrounded by
all that is generous and kind, while your hosts, heedless
of your please, are planning, as is the custom of
their country, to kill you in a strange and terrible manner.

Speaker 35 (01:42:41):
So listen next week when Escape brings you a fantastic
adventure in the voyages of sindbad.

Speaker 9 (01:43:02):
Hm.

Speaker 1 (01:43:04):
I suppose that tea is a little more merry with
the peppermint in it. Well, my dear, I hope you
know that I won't be expecting any gifts from you,
per se, because the best gift I get from you
is your presence. Your presence is a present. Well, that

(01:43:33):
was a nice distraction, albeit short lived. Sometimes my mood,
my temperament, my mind is just a crawling thing.

Speaker 14 (01:43:49):
And now.

Speaker 17 (01:43:54):
The whole of letasy.

Speaker 41 (01:44:00):
Welcome to the Hall of Fantasy, Welcome to the series
of radio follows dedicated to the supernatural, the unusual.

Speaker 13 (01:44:10):
And the unknown.

Speaker 41 (01:44:11):
Couple with me, my friends, we shall descend to the
world or the unknown and forbidden, down to the depths,
where a veil of time is lifted and the supernatural.

Speaker 26 (01:44:22):
Raigs is cap Come with me and listen to the tailor.

Speaker 4 (01:44:28):
The crawling thing. Be quiet. I don't want to wait
the others. Look at the cage. What happened to the mouse?
Let's go over to the cage.

Speaker 17 (01:44:46):
The spider.

Speaker 4 (01:44:46):
Its s doubled in size again.

Speaker 41 (01:44:48):
I know the mouse is gone. Now look at the
petition between the two pens. There isn't any petition that's right.
And I don't think the petition slips down between the
two cages. I think that the two holders for it
were opened and bend. The petition slipped down. If that
means you're in DNS with intelligence, Yes, that's right. Remember

(01:45:09):
what I said earlier, what would happened to the Yes.
Quantity also re marks the ability of the brain to think, well,
it's happened that spider will kill it can think that
hairy crawling thing can't think why? And now for our story.

(01:45:30):
An original tale of fantasy by Richard Thorne entitled the
crawling thing. Quite by chance, I've come upon this little
diary of memories, the mirror of a man's mind. I
shall read you only those parts which concerned the experiment,

(01:45:52):
the months which brought him into contact with his ultimate death. Oh, yes,
he begins on this page. July seventh. Today I met
doctor Henry Sindler. I've always recognized him to be one
of the greatest research men in this field. I applied

(01:46:14):
for the position of his assistant. I only hope that
he accepted me. It would be a great opportunity for
me if I managed to get the position. I remember
when he walked out to meet me. I take it
that you are, mister Bolton. Yes, similar, doctor Henry Sindlar.

Speaker 17 (01:46:32):
Yes, I know.

Speaker 41 (01:46:32):
I Please sit down, mister Bolton. It distresses me to
see a man like you nervous and shaking. I'm not
going to hurt you till I'm sorry, sir. You no
doubt her aware that I drive my assistance to a
state of utter exhaustion, that I expect quite a good
deal from them. Yes, I'm aware of that, doctor saying
it's all right, good and thank you for you for
coming to see me. Mister Bolton, I have many other
applicants to see before the day is over. If you

(01:46:54):
are accepted, we will notify you, so, doctor said, that
is all, mister Bolton. July eleventh, I was accepted. He
called me this morning and said that he had chosen
me to fill the position. Yesterday I felt sure that
I've been rejected and almost accepted the position with Gates

(01:47:16):
if something held me back.

Speaker 17 (01:47:18):
I am to see him tonight for dinner.

Speaker 41 (01:47:22):
This is Donna Atwell, mister Bolton, another member of the
research team. How do you do.

Speaker 17 (01:47:26):
It's a pleasure to reach you, Miss Atwell. You join
us in the Martini. Yes, certainly.

Speaker 41 (01:47:30):
The laboratory up in the mountain should be completed by
the end of this month. I have a few things
to stay up here before we start on this new research.
I imagine you're willing to live with me and the
rest of my staff.

Speaker 17 (01:47:39):
Oh, yes, by all means, Doctor Sindlon. He's excellent. I'm
very interested in knowing what we're going to do.

Speaker 4 (01:47:44):
Tell him, Donna.

Speaker 42 (01:47:45):
Doctor Sindler is endeavoring to discover a method by which
he can make plants and animals larger, larger.

Speaker 41 (01:47:52):
Yes, Emray, we how every living thing be it qlant
or animal gives off electricity to a greater or lesser degree.
By means of the electroncephalograph. Science is already discovered the
human brain gives off small microvolts of electricity. When a
man becomes angry, this charge is strengthened. With the increased
flow of electricity, his physical strength is also increased.

Speaker 42 (01:48:14):
Doctor Sendler is looking for the chemical which is released
into a man's body along with adrenaline, which gives a
man this added strength, and which also increases the microvolt
of electricity.

Speaker 17 (01:48:23):
I see your cocktail. Allow me to propose a toast
to our work together. May we have success.

Speaker 41 (01:48:37):
July twenty third, the laboratory has finally completed. Sendser and
I are going up by car tomorrow. I am impatient
to begin. July twenty fourth. We arrived shortly after noon today.
I'll take you on a tour of the building later.

Speaker 29 (01:48:55):
Memory.

Speaker 41 (01:48:56):
Now, I want you to meet the others. Donna, will
you and doctor Henderson come into my office please. Besides
the four of us, the only other persons in the
building are the cook and janitor. I dislike having too
many people engaged on one problem.

Speaker 17 (01:49:10):
You understand, of course, certainly.

Speaker 41 (01:49:15):
Missat Will and doctor Henderson have in my colleagues on
several other occasions. The building is perfect, Henry, yes, and
may They've certainly given us everything to work with this time.
Emory Bolton, this is doctor Paul Henderson. You already know missaqwell.

Speaker 17 (01:49:26):
How are you doing?

Speaker 41 (01:49:27):
Glad to have you with us, Bolton, Emory, you are
to work on the effects of the unknown chemical which
is released into the body at moments of anger of
peril along with adrenaline. I shall try to isolate the chemical.
You are to discover what effect it has upon the
nerves and brain. August fourth similar has isolated the chemical.

(01:49:50):
Hecalls it the strength quantity or s quantity. He fed
some to a lab mask. How much time has passed
since the injections three hours.

Speaker 17 (01:50:00):
Let's look at the pen I hope we have more
success this time.

Speaker 2 (01:50:04):
I think we will.

Speaker 42 (01:50:05):
Maybe I'm wrong, but the mouse does seem to be larger.

Speaker 17 (01:50:09):
It is larger, Donna than we found the formula.

Speaker 18 (01:50:12):
We can't be too sure if it's safe.

Speaker 21 (01:50:14):
The other subjects dying Sindri Yes, how large will the animal?

Speaker 10 (01:50:18):
Girl?

Speaker 17 (01:50:19):
We have no idea of knowing that, My dear, do you.

Speaker 42 (01:50:21):
Think there's any possibility of it growing too large? What
do you mean we're changing the size of that animal beyond.

Speaker 21 (01:50:27):
All proportion to what nature has evolved.

Speaker 14 (01:50:29):
Do you think there's any possibility of the subject.

Speaker 8 (01:50:31):
Growing too large for us to handle?

Speaker 42 (01:50:34):
That mouse there might grow into some hideous monster that
it could destroy us.

Speaker 41 (01:50:38):
All back now to our story an original tale of
fantasy by Richard Thorne entitled The Crawling Thing. I'm here
in this seemingly deserted laboratory my hands. I held the

(01:51:00):
diary of Emery both and there's nothing in this words
that had caused me to feel any alarm. There there's
something something I feel that causes me to look back
over my.

Speaker 2 (01:51:11):
Shoulder in the shadows.

Speaker 4 (01:51:16):
I continue with the diary or his shit it The.

Speaker 17 (01:51:20):
Animal is three times its normal size.

Speaker 41 (01:51:23):
It's killed two other mice. Yes, how is your part
of the research coming? I've written it down for you here.

Speaker 2 (01:51:33):
Let me see the.

Speaker 41 (01:51:35):
Effect of the s quantity increases the microroltive electricity and
we're going, Yes, what is it?

Speaker 7 (01:51:41):
Don want you in the isolation room immediately right?

Speaker 34 (01:51:43):
What's wrong?

Speaker 15 (01:51:44):
I don't know.

Speaker 18 (01:51:44):
He just told me to get you.

Speaker 41 (01:51:45):
I'll come with us Emory.

Speaker 17 (01:51:48):
I wonder what's happened. We'll know in a minute.

Speaker 2 (01:51:53):
What is it, Paul Henry, the.

Speaker 18 (01:51:55):
Mouse died a few minutes ago.

Speaker 13 (01:51:57):
What?

Speaker 17 (01:51:58):
Yes, as you know the S quantity the mess effect
on metabolism.

Speaker 2 (01:52:01):
I imagine the animal was able to stand the string.

Speaker 15 (01:52:03):
What are we going to do?

Speaker 17 (01:52:04):
We'll try it again.

Speaker 4 (01:52:06):
They did, may mean nothing.

Speaker 17 (01:52:07):
Perhaps the animal was sick. We're not sure that the
strength quantity will kill.

Speaker 41 (01:52:16):
August nine, Singer told us to feed the S quantity
to another mouse, and also to one of the large
hairy banana Spoty is a member of the deadly tarantula
family in the cage next to the mouse.

Speaker 17 (01:52:28):
I was with Henderson when the feeding began.

Speaker 21 (01:52:31):
Open the cage door, right, I'll set the food in
here like this.

Speaker 17 (01:52:39):
Alright, close the door now, the other one.

Speaker 41 (01:52:44):
Open the cage door. All right, yeah, I'll do it.
Oh do you think the spider will react to it?

Speaker 4 (01:52:54):
I don't know.

Speaker 41 (01:52:55):
I maddened. So spider, right, what's the matter? Ever since
I was a small child, I I've hated the mice.
Get nervous whenever I see one this type. Especially here's
a scientist, fall. You should be completely objective in this experiment.
I know I should, but that's spider, that hairy, crawling thing.
I wish I could forget my fear and hatred of them,

(01:53:17):
but I can't. We seem so cold.

Speaker 3 (01:53:21):
A person feels that they have an unearthly inhuman intelligence
behind the beaty little eyes.

Speaker 17 (01:53:27):
Course that's not possible. I think it just the same.

Speaker 41 (01:53:30):
I wonder if the s quantity will also increase the
size of the brain and its ability to think. Still
August nine, four hours later, the mouse has increased slightly
in size, but the growth of the spider has been amazing.
It's twice the size has been more than troubled. It's

(01:53:52):
almost as large as a child's fast August tenth, three
in the morning, and woke me and we went into
the isolation room with a mouse and spider were kept
in a double cage. Be quiet, I don't wait the
others look at the cages.

Speaker 4 (01:54:10):
That would you the mouse? What happened to the mouse?

Speaker 2 (01:54:15):
Let's go over to the cage.

Speaker 17 (01:54:19):
The spider stubbled in size again, I.

Speaker 4 (01:54:22):
Know, and the mouse is gone.

Speaker 41 (01:54:25):
Now look at the partition between the two pins. There
isn't any partition that's right. It slipped or was moved
down to the bottom of the cage. Then that means
that the mouse and the spider had nothing to separate them.
But what happened to the mouse, don't you know, Emery,
unless unless what unless the spider? And that's just what happened.

(01:54:49):
Another thing, Emery, I don't think the petition slipped down
between the two cages. I think that the two holders
for it were opened, and then the petitioners slipped down.
That means you and dying the spider with intelligence.

Speaker 9 (01:55:01):
Yes, that's right.

Speaker 41 (01:55:03):
Remember what I said earlier would have happened that the
s quality also enlarge the ability of the brain to think, well,
it has happened that spider will kill it, can think
that hairy crawling thing can think. August tenth forenoon. I

(01:55:26):
didn't get much of a chance to see Sindlar before eleven.
When I did, I discovered Henderson had already told him
what had happened in the isolation room.

Speaker 17 (01:55:34):
And you know about the spider, Yes, Emory, I do.

Speaker 2 (01:55:36):
Henderson told me earlier.

Speaker 17 (01:55:37):
Well you think about it. Think, what do you mean
you think we ought to destroy it? Destroy it?

Speaker 4 (01:55:42):
Of course not.

Speaker 17 (01:55:43):
This may be what we're looking for, Emory. This may
lead us to success. But Doctor Sendler, it might be dangerous.

Speaker 41 (01:55:47):
It might be, but you remember that the development of
the atomic bomb was dangerous, and so is the research
going on incompless laboratories across the nation, across the world. Emory,
that spider as intelligence, doctor center of qraftic cunning intelligence.
I know that we have found a new formula to
increase the intelligence and size of an animal, and Emory,
it will increase men's intelligence too. Our contribution to the

(01:56:08):
science of the world will be invaluable. There's nothing to
worry about, absolutely nothing. August fifteenth. The spider has grown
so large that it cannot be kept in the cage anymore.
The isolation room is its pen. Now it as the
run of the entire room. It's as large as a
large dog. I must admit that every time I enter

(01:56:31):
the isolation room, I'm nervous lest that thing should attack me.
But it generally stays over in one corner of the room.
Apparently it has no desire to harness. August twenty fifth,
Donna and I have taken this stroll outside the laboratory.

Speaker 8 (01:56:53):
Emory.

Speaker 42 (01:56:54):
Yes, Emory, I've been with doctor Sender for several years
and all that time.

Speaker 21 (01:56:59):
He's never made a mistake.

Speaker 14 (01:57:01):
That is up to now.

Speaker 17 (01:57:02):
What do you mean done?

Speaker 21 (01:57:04):
I think he's created something that will only bring evil,
that will only Oh.

Speaker 42 (01:57:08):
I wish I had the words to express myself.

Speaker 17 (01:57:10):
I know exactly how you feel.

Speaker 13 (01:57:11):
Done now.

Speaker 41 (01:57:12):
I've talked to him about this before. I'm going to
talk to him again when we get back.

Speaker 15 (01:57:16):
I wish you would, I wish you would.

Speaker 23 (01:57:23):
What are you doing in here?

Speaker 4 (01:57:24):
Emory?

Speaker 17 (01:57:25):
Want to talk to you, doctor Sindri. Can't it wait
till later?

Speaker 10 (01:57:27):
No?

Speaker 41 (01:57:30):
But no, it's what it's the sound of the spiders
that moves closer to us. What did you want to say, Emory?

Speaker 17 (01:57:36):
I'll be quite frank about it, sir. I think we
should destroy it.

Speaker 41 (01:57:41):
Why that's nonsense, Emory, No, it's not. It's true we
may learn something. It's true that we may even succeed
in our research.

Speaker 17 (01:57:47):
But let's start over again.

Speaker 41 (01:57:48):
Let's experiment with something else, something that doesn't look like
a monstrous throwback to a prehistoric age crawls and slides
across the floor with its large, beady eyes always open
staring at you.

Speaker 17 (01:57:59):
Let's destroy what's the matter coming towards us?

Speaker 4 (01:58:04):
Come with me, very quickly, a creature who's crawling towards us.
I wonder if you can't understand us. I wonder if
it knows what we're saying, not.

Speaker 17 (01:58:17):
A mat or a sense that I was urging its destruction.

Speaker 41 (01:58:21):
Maybe I'm wrong in me I feel there's something malevolent
about that spider. Get the feeling that it's waiting for
the right moment, waiting for the time when it will
kill us. Back now to our story, an original tale
of fantasy by Richard Thorne entitled The Crawling Thing. I

(01:58:49):
am beginning to feel some of the terror that Emory
Bolsham must have felt. I'm beginning to feel the presence
of the crawling thing about which he writes through the
words upon these pages. The diary continues so temberly the
cook cojanitor let it today. If we remain here, they'll
be forced to do all the work they did. Henderson

(01:59:11):
has been acting queerly. It's a strange, haunted look to
his eyes. He barely eats it all either. He's ill
physically lementally. What's the matter with you, Paul, What.

Speaker 27 (01:59:23):
Do you mean?

Speaker 17 (01:59:24):
You look ill? You're not yourself? Can you be yourself?

Speaker 4 (01:59:27):
Emery?

Speaker 41 (01:59:28):
A crawling monster? In the isolation room. Well can you No,
not exactly. Let me tell you something, Emery, my dreams.
I see it, my dreams in the dead of Nia.
I see those beady eyes looking for me, trying to
pierce the darkness.

Speaker 21 (01:59:45):
And I feel drown to it.

Speaker 2 (01:59:47):
It's a that hypnotizes me, and I feel that I'm
caught in. It's a web, just like a fly.

Speaker 17 (01:59:53):
Emory, It's like a fly. It's only your imagination.

Speaker 41 (01:59:56):
I'm not insane if that's what you think quickly being
driven there. Yeah, do you ever look at those eyes
for any length of time?

Speaker 2 (02:00:03):
Only do you see the hatred, loathing, and evil mirrored
in them?

Speaker 4 (02:00:08):
I'm not imagining it.

Speaker 2 (02:00:10):
I see it. When the opportunity comes, I'm going to
destroy it. Similar or no similar, I.

Speaker 5 (02:00:18):
Swear to you, I'll kill it.

Speaker 41 (02:00:25):
October tenth Henderson has been so quiet lately, but I
know he has some plan in his mind, some plan
that will culminate in the destruction of the Spider.

Speaker 17 (02:00:34):
Similar hasn't noticed any change in Henderson. He's engrossed in
his work.

Speaker 41 (02:00:41):
October sixteenth, Henderson whispered to me this evening that tonight
he will kill the Spider. I sit in my room
and write this with only the desk clamplet. It's almost
eleven o'clock now, and I have the feeling that the
moment is drawing near.

Speaker 2 (02:01:05):
I heard a square.

Speaker 37 (02:01:06):
I don't know.

Speaker 17 (02:01:07):
I think we might find the answer in the isolation room.
Come with me.

Speaker 41 (02:01:10):
If you don't mean that Henderson went in there alone, Fred,
he did, But that's against all my orders.

Speaker 18 (02:01:14):
Why would he want to go in there.

Speaker 2 (02:01:15):
Let's kill it.

Speaker 17 (02:01:15):
What do you mean he hate it and fear the spie.
We'll see what happened right now.

Speaker 4 (02:01:20):
Kiss the key if we.

Speaker 17 (02:01:20):
Don't need it. The door's open. Turn on the light.

Speaker 41 (02:01:27):
Stood heavens back back for the other side of the rooms.

Speaker 15 (02:01:35):
Do you understand you?

Speaker 41 (02:01:36):
Doctorson, probably from the tone of my voice, now to
examine Henderson. He's dead, yes, after all, and the spider's
original size.

Speaker 4 (02:01:49):
The poison could kill a man.

Speaker 41 (02:01:51):
Here, give me a hand, help me get him out
of here, right?

Speaker 15 (02:01:57):
Look?

Speaker 17 (02:01:58):
Can me jok? You help me with Henderson.

Speaker 41 (02:02:01):
An't get out of Harry.

Speaker 17 (02:02:07):
Locked the door down. I don't want that thing to
get out of that room. Don't you think we should
destroy it?

Speaker 41 (02:02:15):
No, Henderson was a fool. He went in there to
kill the spider. I think the spider sensed it. That's
why Henderson's dead. We are still going on with the experiment.
October seventeenth. We buried Henderson in the graying light of dawn.

(02:02:35):
Even Sindler was quiet. October eighteenth. I'm in charge of
feeding it. Donna and I were in the isolation room
to day when.

Speaker 17 (02:02:48):
A curious thing happened. Memory, Luck, what's wrong?

Speaker 8 (02:02:55):
The spider crawling over to the table where the ES
quantity is it?

Speaker 41 (02:03:00):
What spider's trying to get more of the S quantity?
Stop growing now because we stopped the injection.

Speaker 21 (02:03:07):
To get more of the serum, it would grow larger.

Speaker 17 (02:03:09):
Going to get that bottle and take it out of it?

Speaker 39 (02:03:12):
I will.

Speaker 17 (02:03:15):
They wanted to get past.

Speaker 14 (02:03:16):
We gotta get out of here.

Speaker 41 (02:03:21):
The table.

Speaker 15 (02:03:22):
You have to stop a can slifty.

Speaker 2 (02:03:24):
One of its legs.

Speaker 7 (02:03:25):
What is it trying to do?

Speaker 17 (02:03:27):
Get the bottle down to the bottle of serum.

Speaker 15 (02:03:30):
Knock the bottle to the floor.

Speaker 17 (02:03:31):
It's going to get drink. That's terreum.

Speaker 21 (02:03:32):
Get out of here, right.

Speaker 36 (02:03:37):
What are we trying to do?

Speaker 17 (02:03:38):
I don't know, I don't know. I heard some commotion
down here. What's the matter? Spider?

Speaker 41 (02:03:43):
Just got through knocking the bottle of chemical serum to
the floor. What that means that it'll grow larger. I
told you we should destroy that thing, and then now
it's too late. You know not how large it'll get
me quiet, that's right, use your mind now, since then.

Speaker 17 (02:03:57):
When it's too late, we had a chance to destroy
it earlier.

Speaker 41 (02:03:59):
But no, you wouldn't have any of that. A man
of science, that's what you are. But you're a fool, too, Sindlar,
a stupid, misguided fool. That thing in there could kill
us all trying to break the door down.

Speaker 17 (02:04:10):
We got to barricade that door.

Speaker 2 (02:04:12):
If we don't, it'll break it on the matter of seconds.

Speaker 41 (02:04:21):
October twenty fourth, Six terrifying days have passed. This creature
in the isolation room is out of all proportion that
we've barricaded it. The door is weakening. It won't rold
up much longer. I called Frank today. If we can't
leave that thing alone, if it were.

Speaker 4 (02:04:41):
To get loose, they must have stored it.

Speaker 18 (02:04:44):
Sintra has a plan.

Speaker 41 (02:04:46):
We've placed explosives just outside the door for give way
any minute.

Speaker 13 (02:04:49):
Now.

Speaker 17 (02:04:52):
It's only a matter of when it breaks.

Speaker 41 (02:04:55):
Down the door and comes through that doorway, the explosive.

Speaker 18 (02:04:58):
Will automatically go off.

Speaker 4 (02:04:59):
Die. I hope we're successful.

Speaker 2 (02:05:01):
Why don't we just leave? We can't do that. We
have to see it destroyed.

Speaker 17 (02:05:04):
That's the only way we can be sure.

Speaker 41 (02:05:06):
What if the explosive does not kill it, I don't
know what will the door It's turning again.

Speaker 7 (02:05:13):
Y'all need to come through.

Speaker 4 (02:05:21):
What times?

Speaker 2 (02:05:33):
As if I were hypnocratic, I can't move.

Speaker 13 (02:05:40):
My god.

Speaker 41 (02:05:49):
Even though the last entry in the diary was marked
October twenty fourth at seven in the morning, in my
mind I've reconstructed what must have happened after that last entry.
There is evidence all around on the death and destructive
power of that hairy, crawling thing.

Speaker 2 (02:06:04):
Must have left the building after what happened. Right, better
get back to the city and notify the front of me.

Speaker 4 (02:06:15):
Something so large.

Speaker 13 (02:06:19):
Gigantic eyes.

Speaker 2 (02:06:23):
Up.

Speaker 41 (02:06:36):
So runs Tonight's tale of the Unusual, the Terrify, the Unknown.
Join us again when next week journey down the corridors
of the Hall of Fantasy to hear another strange tale.

Speaker 29 (02:06:50):
Of the supernatural.

Speaker 41 (02:06:54):
All characters and events for trading these programs are fictional,
and any similarity to actual eventure persons living or dead
is purely coincidental.

Speaker 1 (02:07:28):
Well, my dear, I see no reason to wrap things
up yet. We're having too much fun. So do you
ever wonder? Do you ever look up at the night sky,
see the stars, see the moon, and wonder if where

(02:07:49):
you should really be looking is not up at all?
Perhaps the best thing you could do is take a
moment and look down. Now you may be thinking, well,
you're about as far down as you can get, am
I right? Well, there's always, and I mean always, a sub.

Speaker 18 (02:08:15):
Basement Archobaler's lights out everybody.

Speaker 13 (02:08:28):
It is.

Speaker 18 (02:08:32):
Later then.

Speaker 11 (02:08:36):
You think, turn out your lights now.

Speaker 43 (02:08:51):
Some of you may not know this, but beneath many
of our cities there's a subworld, not only of subways,
but sub sub basements and need caverns, where little trains
run and deliver the goods to the department stores and
the factories of our industrial complex. Today we're going to
some of those sub sub basements and a play I've

(02:09:13):
written for you titled sub Basements.

Speaker 2 (02:09:25):
But of course I can run an elevator. I was
just asking, and I told you, well, here we are.
Oh all right, you're getting out. I suppose to suppose
so for ten years that's all I've heard. Where do

(02:09:47):
you work? What do you do? Why don't you let
me do? Oh? I'm not angry. I'm just telling you.
Come on this way.

Speaker 7 (02:09:57):
That's a big basement.

Speaker 2 (02:10:00):
We don't know the half of it, like a whole
city down here.

Speaker 14 (02:10:04):
Person goes to the department store and doesn't know all
this is underneath. Say that again, m you are in
charge of everything down here.

Speaker 4 (02:10:12):
That's another fact.

Speaker 2 (02:10:14):
Yeah, what are they?

Speaker 14 (02:10:17):
What are they?

Speaker 2 (02:10:19):
Oil? Being? Each in their conditions the whole building up above?
Funny stories, h where is everybody? I haven't better watchman
at this hour than I. Everything shut down.

Speaker 13 (02:10:33):
It's the matter with you.

Speaker 2 (02:10:35):
What did you do that for?

Speaker 15 (02:10:37):
What?

Speaker 14 (02:10:38):
I just wanted to hear my voice. It's like a
big cave down here.

Speaker 2 (02:10:43):
Out like that. Won't you ever grow up?

Speaker 7 (02:10:45):
You don't be angry on me?

Speaker 2 (02:10:47):
Come on, yes, come on in here. You want to
see everything, don't you?

Speaker 4 (02:10:57):
Yes?

Speaker 6 (02:10:57):
Yes, I do.

Speaker 14 (02:11:04):
Down Siminola. Yeah all right, another basement.

Speaker 2 (02:11:17):
Yeah, go ahead, funny a light to see behind what's
down here? Right over here? I'll show you there in
the wall.

Speaker 14 (02:11:31):
Is it a tunnel, that's what it is, But a
tunnel down here?

Speaker 4 (02:11:37):
Those tracks?

Speaker 8 (02:11:39):
Where did it go.

Speaker 2 (02:11:40):
How do you think all the merchandise has brought to
all the stores in the business section tunnel system? That's
how right under the city streets. I had no idea
mighty few people have trains run on those tracks. Bring
the stuff right in train? Oh you think all I
got to do is make jokes? Do you think the
only kind of a train is a big one?

Speaker 18 (02:12:01):
I just don't know a little one.

Speaker 2 (02:12:03):
They run on electric batteries, just like they have down
on the mines. Come on, I'll show you in the tunnel.

Speaker 8 (02:12:08):
But it's a jog.

Speaker 2 (02:12:10):
Lights every little ways. Come on, I don't think so
what's the matter with you?

Speaker 21 (02:12:14):
I'm afraid?

Speaker 2 (02:12:15):
Well, John's sake, for years you've tested me and tested
me to see you come along and understand. Or honeye there,
this is fine, John's sake. What's the matter with you?

Speaker 4 (02:12:36):
Now?

Speaker 2 (02:12:37):
There's one of the little engines popped out at the
end of the tunnel. You might as well see it.
I'll keep walking down this way you'll see the train.

Speaker 14 (02:12:48):
Yes, But honey, a light, Honey, where are you.

Speaker 2 (02:12:53):
Right here? Matter matter?

Speaker 15 (02:12:58):
Why are you standing so close to me?

Speaker 4 (02:13:00):
I'm your husband?

Speaker 2 (02:13:01):
Oh I need don't be silly I'm going to tell
you something.

Speaker 14 (02:13:08):
What's the matter with you?

Speaker 2 (02:13:09):
For the last time?

Speaker 7 (02:13:11):
Last time, Honnie, what's the matter with you?

Speaker 2 (02:13:16):
You know that you can't get out of here? What
you can't get out of here?

Speaker 14 (02:13:22):
Honnie? What are you talking about?

Speaker 3 (02:13:24):
Her?

Speaker 14 (02:13:25):
What are you talking about?

Speaker 21 (02:13:28):
Oh?

Speaker 14 (02:13:31):
You haven't made a joke like that in you. The
last time you tried to scare me was right after
we were married.

Speaker 6 (02:13:38):
Remember what That first piece you made off was a
dead animal that had gotten in the bedroom, you remember,
I remember.

Speaker 2 (02:13:46):
I'm along for them.

Speaker 14 (02:13:52):
As long as I know what you're up to, I
don't mind. How far are we going?

Speaker 2 (02:13:58):
A long way, all right, Annie, anything you say, but
I know it.

Speaker 4 (02:14:08):
All right?

Speaker 2 (02:14:09):
All right, God, this is as far as where're going. Oh, I.

Speaker 14 (02:14:17):
Feel funny. I've never been under the ground, so fine,
so long. It was very nice of Joannie to take
me down here, so interesting, Very nice of you, Ernie.

Speaker 7 (02:14:30):
I have to say something, Honey, is.

Speaker 18 (02:14:33):
Something that.

Speaker 2 (02:14:36):
Really you can't frighten me?

Speaker 4 (02:14:38):
Not?

Speaker 14 (02:14:38):
Now you know, Honey?

Speaker 44 (02:14:41):
Are we waiting for someone?

Speaker 7 (02:14:42):
If we are, I think I hear him.

Speaker 2 (02:14:44):
Hear him?

Speaker 15 (02:14:45):
Well, yes, don't you no?

Speaker 2 (02:14:48):
But I heard tell there?

Speaker 18 (02:14:50):
All right?

Speaker 15 (02:14:51):
All right?

Speaker 7 (02:14:51):
If you say so army, I say so.

Speaker 2 (02:14:53):
If I say so, If I say so, can't you
say something else but that? Even now?

Speaker 14 (02:14:58):
Now?

Speaker 2 (02:14:58):
Yes, I'm gone.

Speaker 15 (02:15:01):
I heard it again?

Speaker 44 (02:15:03):
Are there trains running this late at night?

Speaker 4 (02:15:05):
Train?

Speaker 15 (02:15:05):
If it's a train, you are to get out of
here tunnel?

Speaker 14 (02:15:07):
So now, amy case shut up?

Speaker 2 (02:15:09):
Any listen here? Will you shut up?

Speaker 4 (02:15:19):
Who's there?

Speaker 21 (02:15:21):
Who's there?

Speaker 14 (02:15:23):
Isn't there supposed to be anyone?

Speaker 2 (02:15:24):
Of course?

Speaker 13 (02:15:25):
Not?

Speaker 2 (02:15:25):
I thought to it is that you?

Speaker 18 (02:15:28):
Is that you?

Speaker 8 (02:15:29):
Tom?

Speaker 4 (02:15:30):
Tom?

Speaker 21 (02:15:31):
Are you down here?

Speaker 15 (02:15:31):
One of the watchmen?

Speaker 21 (02:15:33):
I told him?

Speaker 2 (02:15:33):
Police boxes the night? I told him Tom, Hey, Tom,
what's wrong?

Speaker 17 (02:15:37):
Tom?

Speaker 2 (02:15:37):
What's the matter with you? Come on out here?

Speaker 4 (02:15:40):
Do you hear me?

Speaker 2 (02:15:41):
Come out right away? I'm firing you.

Speaker 11 (02:15:43):
Tom.

Speaker 21 (02:15:44):
Is he's playing to pool?

Speaker 42 (02:15:46):
I'll break his neck at mynd No, Honey, don't raise me, Hanny.

Speaker 15 (02:15:50):
Where did you go? Honey?

Speaker 6 (02:15:53):
So dark to tell him? Honey?

Speaker 2 (02:15:55):
Where are you.

Speaker 14 (02:15:57):
You?

Speaker 21 (02:16:01):
Honey?

Speaker 4 (02:16:02):
It is you?

Speaker 6 (02:16:03):
Did you cry?

Speaker 13 (02:16:03):
Hard?

Speaker 15 (02:16:04):
What?

Speaker 4 (02:16:05):
Stay back?

Speaker 7 (02:16:07):
A man?

Speaker 15 (02:16:09):
Who?

Speaker 2 (02:16:10):
From what's left of his face? I I think it's Tom?

Speaker 15 (02:16:14):
What what happened? The train ran over?

Speaker 4 (02:16:18):
I know?

Speaker 21 (02:16:18):
Answer me?

Speaker 15 (02:16:19):
What?

Speaker 4 (02:16:20):
Pray?

Speaker 2 (02:16:22):
Ah? Something's torn out of his through? Come on, I
gotta get out of here. I'm playing down here, honey, honeyway,
I can't get the police morning.

Speaker 21 (02:16:40):
Why don't get any When I open the door.

Speaker 2 (02:16:44):
Door wasn't closed before. It won't open.

Speaker 7 (02:16:57):
It won't open.

Speaker 2 (02:17:15):
Oh, we'll be there in a minute. But I'm just
sure it is an emergency. Always kept hoping I was off,
asking me that I don't know what I'm Stop talking
with you. I don't know anything.

Speaker 17 (02:17:31):
Honey.

Speaker 21 (02:17:32):
Why did you stop talking?

Speaker 14 (02:17:35):
Why stop?

Speaker 21 (02:17:36):
You said the emergency exits?

Speaker 2 (02:17:38):
I said, behind those timbers, it's blocked off. You understand
it's blocked off.

Speaker 4 (02:17:46):
What do we do?

Speaker 44 (02:17:48):
We can't under stand here an that man was killed.

Speaker 21 (02:17:52):
There's someone down here.

Speaker 44 (02:17:53):
Have a said, don't get me on it.

Speaker 14 (02:17:55):
Oh, wait a minute, Wait a minute.

Speaker 2 (02:17:58):
You gotta think, Oh, whoever killed Tom? Not down here?
Necessarily you don't say so. Why should he be nothing
to steal down here? Tom's always borrowing money from people,
everybody he didn't pay back. Yeah, that's it.

Speaker 4 (02:18:20):
Put the door.

Speaker 2 (02:18:22):
Well, he got out and closed the doors. Whatever we
can get out, Come on where I told you. These
tunnels lead to the buildings all over the business section.
All of the tunnel to the next sub basement of
the next building. Will get out, that's all.

Speaker 7 (02:18:34):
Honey, I'll get too.

Speaker 21 (02:18:35):
Fill just walk back.

Speaker 15 (02:18:37):
With a fold.

Speaker 2 (02:18:42):
So very much to tonight.

Speaker 21 (02:18:44):
It had been so long since to even thought about this.

Speaker 41 (02:18:47):
I was asked, it's nice.

Speaker 7 (02:18:50):
I was calling up some time any nature here, and
then he's trying.

Speaker 21 (02:18:55):
To play those crazy scary shows.

Speaker 8 (02:18:59):
Even us and.

Speaker 21 (02:19:03):
M hmmm, you see it too, he can after the talk.

Speaker 7 (02:19:28):
Oh my, it is too bad, honey, don't leave behind, honey,
I can't want andy, says honey.

Speaker 44 (02:19:36):
Honey, honey, honey, ken, honey, come.

Speaker 14 (02:19:51):
On, hold a whim.

Speaker 21 (02:19:53):
No, no, you can't mind. Hear the thing's coming.

Speaker 13 (02:19:56):
I don't know.

Speaker 7 (02:19:57):
I can't see it.

Speaker 21 (02:19:59):
I running rock under my foot.

Speaker 7 (02:20:02):
I'll be here, tyler.

Speaker 14 (02:20:03):
Pocket is hide behind me.

Speaker 21 (02:20:05):
If I help you to the hide, give me your arm.

Speaker 7 (02:20:09):
Oh, hold my hand tight.

Speaker 17 (02:20:13):
Come get over there.

Speaker 21 (02:20:15):
I'm gonna help you to get.

Speaker 15 (02:20:16):
Easy with it.

Speaker 7 (02:20:19):
Getting hurt back here?

Speaker 4 (02:20:22):
Oh help me down?

Speaker 10 (02:20:30):
Oh h.

Speaker 8 (02:20:35):
Well they all right?

Speaker 2 (02:20:41):
Can you.

Speaker 4 (02:20:43):
Can you see it?

Speaker 29 (02:20:45):
No?

Speaker 14 (02:20:47):
No, it's gone. I don't think about the honey.

Speaker 4 (02:21:01):
And you hear me?

Speaker 15 (02:21:03):
What was it?

Speaker 2 (02:21:06):
You went to school? You would study things like that?
I think was it?

Speaker 14 (02:21:13):
Oh?

Speaker 2 (02:21:13):
But didn't you hear me?

Speaker 4 (02:21:15):
Yes?

Speaker 14 (02:21:17):
I heard you.

Speaker 4 (02:21:20):
It was was a lizard.

Speaker 2 (02:21:23):
Hey, some kind of a lizard. I did the lizard?

Speaker 7 (02:21:28):
Some kind of a lizard?

Speaker 2 (02:21:31):
Oh? Why do you? Why do you say it that way?

Speaker 14 (02:21:36):
I felt it good, Arnie.

Speaker 4 (02:21:38):
Wow.

Speaker 14 (02:21:40):
In school one of the books, there was an animal
like that.

Speaker 2 (02:21:44):
How didn't get down here? A lizard that big?

Speaker 14 (02:21:48):
Don't know you you don't understand geology books. The thing
wasn't a lizard exactly.

Speaker 4 (02:21:55):
Huh.

Speaker 15 (02:21:57):
That was a.

Speaker 7 (02:21:59):
Dinosaur.

Speaker 2 (02:22:02):
Are you crazy?

Speaker 14 (02:22:04):
No, I'm telling you what I saw. It sort of
sat up on its time, seated, just at the picture
in the book.

Speaker 2 (02:22:13):
What are you trying to do? Make me crazy too?
Why those things died millions of years ago? Hony, looker.

Speaker 14 (02:22:22):
Lay down the tunnel as a lighthole.

Speaker 15 (02:22:28):
It is.

Speaker 8 (02:22:31):
I it is a dinosaur.

Speaker 14 (02:22:41):
Has it gone away? I don't know, it's been so long.

Speaker 2 (02:22:48):
I just don't move.

Speaker 7 (02:22:51):
It just looked at us.

Speaker 2 (02:22:54):
Yeah, why doesn't it co masterus? Why?

Speaker 13 (02:23:00):
Huh?

Speaker 2 (02:23:01):
Maybe maybe he didn't see it, but it was it
was like something that that has been in the docks
for a long long time. Yes, over round, that's a
little How would you rather go out there.

Speaker 4 (02:23:22):
Angry?

Speaker 2 (02:23:22):
Why should I be angry?

Speaker 4 (02:23:25):
I mean you went to school.

Speaker 2 (02:23:26):
You used tody those things you you called it.

Speaker 14 (02:23:29):
A sun fer?

Speaker 4 (02:23:33):
Yeah?

Speaker 2 (02:23:36):
How many these hours I've been thinking, how could have
thing like that was supposed to have passed out of
the world so many years ago? How could it be
a wife?

Speaker 14 (02:23:47):
Now? I don't know.

Speaker 2 (02:23:50):
Remember this, and I know this tunnel under the business
district they were putting on an extension blasting in the rock.
Maybe that thing came out from inside the ear maybe yeah,
and I'll frightened. I no, why not?

Speaker 14 (02:24:16):
Because I'm with you.

Speaker 2 (02:24:18):
If it came back.

Speaker 4 (02:24:20):
What could I do for you?

Speaker 14 (02:24:22):
It's just being with you. Yeah, I keep thinking, why
but cool watchman?

Speaker 2 (02:24:32):
Yeah, it would really be something on this morning and
everyone finds out about it.

Speaker 14 (02:24:35):
What do you think they'll do?

Speaker 2 (02:24:36):
I'll hunt it down, please, we'll get it soon enough.
I not, Yeah, I do.

Speaker 14 (02:24:44):
What if it won't be his name?

Speaker 4 (02:24:45):
Huh?

Speaker 14 (02:24:46):
It's an hour since the last starts standing down there.
What if it's gone back or cansome?

Speaker 2 (02:24:51):
It's all right with me, But what is it? They'll
hunt it down, they'll find it.

Speaker 9 (02:24:56):
Oh h.

Speaker 2 (02:25:00):
Hm, I'm what's all right, everything's all right. But what
was six o'clock?

Speaker 4 (02:25:11):
That was the bell back in the basement.

Speaker 2 (02:25:14):
The day engineer turned off one of the sprinkler. Alon.

Speaker 7 (02:25:17):
Oh, oh, come on, come on out, help you going?

Speaker 15 (02:25:22):
What do you.

Speaker 2 (02:25:24):
Look over there?

Speaker 7 (02:25:31):
That it's back?

Speaker 15 (02:25:34):
He who.

Speaker 4 (02:25:39):
She's brooking right at us.

Speaker 21 (02:25:42):
But they didn't hear us.

Speaker 2 (02:25:43):
But it did. H it's starting this way.

Speaker 16 (02:25:56):
Lake.

Speaker 7 (02:26:00):
Oh, I'm slowing, it's smoothing.

Speaker 3 (02:26:07):
It.

Speaker 2 (02:26:09):
Godly see, that's you done. That's what it's blind. That
things blind. It's lived under the earth alone and can't see.

Speaker 7 (02:26:19):
But it's still coming this way.

Speaker 2 (02:26:22):
Hold on to me alone, going, I try, I care
you can't carry ahead. I'm going ahead.

Speaker 15 (02:26:28):
I carry you on.

Speaker 2 (02:26:29):
Don't stay here, I can go on. Please stay here
with me. I wanted to kill you, then, actually hear me.
I brought you down here to kill you.

Speaker 21 (02:26:37):
Know you're only telling you. I'm telling you the truth.

Speaker 2 (02:26:39):
I brought you down here to kill you.

Speaker 15 (02:26:40):
No one else stay with you.

Speaker 2 (02:26:43):
I brought you down here to kill you. Now that's
the truth. Look at me and believe it, because it's
the truth.

Speaker 8 (02:26:49):
That's why.

Speaker 2 (02:26:50):
That's why I suddenly got so wonderful. I'm sick and
tired of you, are sick and tired of living. So
I brought you down here to kill you and then
kill myself. Look at it out here, feeling its way along. Well,
he'll take care of me. But you you've got to

(02:27:10):
get out of here. On No, got to get out.
I deserve to die, im not you. You're so blasted good.
I guess that's why I got tired of you, of it.
That's no reason for you to die. Ierma, stopped looking
at me like that. You've got to get out, Run
straight down the tunnel, keep hanging you get away, Irma,
just don't look at me, get going. No, why don't

(02:27:32):
you say what you've always said to me? All easy
is just as you say, Annie, just as you say, Oh, er,
will you get out of here?

Speaker 15 (02:27:40):
Oh?

Speaker 2 (02:27:41):
Murmur It isn't blind you look when you listen to me,
Will you go? You've got to go.

Speaker 21 (02:27:47):
They'll think I've killed you, know, they won't say, well
I will.

Speaker 2 (02:27:50):
I left a note back home of the police. I
told him I had kill you. If that thing kills
you and me, they'll still think I was the one
who did it. Now do you want me to be
a murderer? Yeah? You want that?

Speaker 14 (02:28:02):
You left a note?

Speaker 2 (02:28:03):
Yes, yes, don't you remember I turned back after you
went out the door. On the dining room table and
get out of here and get that note. Don't make
them go chilled. You and I didn't. I don't want to.
You know, such a good it's it's a good million.

(02:28:24):
I was tired and I was crazy. Don't make me
a murderer. Goodbye, goodbye, Yes, yes, straight ahead. She won't
get you, I promise. M all right, you blind thing.

Speaker 18 (02:28:51):
You here.

Speaker 6 (02:28:54):
I am.

Speaker 2 (02:28:57):
M h yeah, here, I am h m hm h.

Speaker 8 (02:29:06):
I'm not scared.

Speaker 21 (02:29:11):
Come and get me. H.

Speaker 13 (02:29:29):
It is.

Speaker 17 (02:29:33):
Later.

Speaker 9 (02:29:35):
Then you.

Speaker 1 (02:29:39):
Think, what's that? Well, my dear, I suppose it is
homie in here and it's in its way. Or maybe
that's just the dele setting in. Either way, I'm with

(02:30:05):
you there. Well, I will say, I try to make
the space whatever it is so inviting. It's not always
easy building something, creating something, well, it takes vision, but

(02:30:26):
it takes a lot more, especially when your fear paints
a picture.

Speaker 2 (02:31:05):
This is the Man in Black here again to introduce
Columbia's program Suspense. Our leading lady tonight is Miss Nancy Coleman,
one of Hollywood's most powerful and resourceful young stars, whose
performances you may have admired in King's role the current
Warner Brothers picture Edge of Darkness, and other noted films.

(02:31:27):
The story called Fear Paints a Picture is tonight's tale
of suspense. If you've been with us on these Tuesday nights,
you will know that suspense is compounded of mystery and
suspicion and dangerous adventure. In this series are tales calculated
to intrigue you, stir your nerves, to offer you a

(02:31:50):
precarious situation, and then withhold a solution until the last
possible moment. And so it is with Fear Paints a
Picture and Miss Nancy Coleman's performance, we again hope to
keep you in suspense. There is a picture hanging on

(02:32:18):
a wall. You look at it casually, an extraordinary picture,
you will say, skillfully done with those fine brushstrokes, those
superb colors. Isn't the subject matter a little bizarre? It
is something more than just bizarre. But let us begin
from the beginning with the death of Benjamin Powell, a

(02:32:41):
rich and strange man. They were dark rumors.

Speaker 9 (02:32:45):
About the Powells.

Speaker 2 (02:32:46):
His wife had died many years ago, no one knows how,
But Benjamin Powell had a daughter, Julia, a high strung
and Eurotic girl, and many of us wondered about her too.
Benjamin Powell died, and in his last will and testament
he made Julia heir to all his considerable fortune, except that,

(02:33:08):
but let me read you the will. I, Benjamin Powell,
being of sound mind and in full possession of all
my faculties, hereby request that after my death, my daughter
Julia live with mister Harvey Lyons, my lifelong friend, until

(02:33:29):
her twenty third birthday, at which state all my worldly
belongings will come into her possession, provided that nothing untore
happens to her by that time. But in the event
that she is incapable of taking over my estate upon
her twenty third birthday, I hereby appoint Harvey and Laura

(02:33:52):
Lyons as my final heirs, there being no other living
blood relatives, and trust to their judgment that they will
take care of Julia adequately and with kindness. Signed Benjamin Powell.
Three months later, seated around the huge ornate fireplace in

(02:34:13):
the dark wings coated living room are free, silent people.
The heavy drapes that run from the high ceiling to
the floor move softly in a gust of wind. The
past quarter hour, no one has spoken, Harvey reads his newspaper.
Laura knits with nimble fingers, and Julia Julia stares with

(02:34:33):
unseeing eyes at an unopen book.

Speaker 7 (02:34:36):
You're not reading, Julia, I'm not concentrating. Are you feeling
all right?

Speaker 14 (02:34:42):
I'm all right.

Speaker 9 (02:34:43):
You do believe it's a little tired, Julia. Perhaps you'd
better get some rest.

Speaker 7 (02:34:47):
I'm not tired, Harvey. I've been wanting to ask you.
In a week, Julia will be twenty three. Isn't that wonderful, Harvey.
Next Tuesday's her birth we'll have a party.

Speaker 9 (02:34:57):
I'll get old Tom and his fiddle, and we'll have
a real old party.

Speaker 2 (02:35:00):
Harvick.

Speaker 7 (02:35:01):
What did bo mean by the will?

Speaker 4 (02:35:03):
The will?

Speaker 7 (02:35:03):
Julia, Perhaps you better go to bed. You look a
little pale. Will said I might not be able to
take over this date by my twenty third birthday. What
does it mean?

Speaker 9 (02:35:12):
I don't remember that I didn't read the will very carefully.

Speaker 7 (02:35:16):
Yes you did, Harvey. You know what I'm talking about.
Perhaps we better discuss it in the morning your time.
I'm not tired, Laura.

Speaker 9 (02:35:22):
Please, Julia, I'd rather you wouldn't ask me.

Speaker 7 (02:35:27):
That's a delicate handkerchief, Julia, twisting it will only tear
the lace. I'm sorry. I didn't realize that it's one
of your best handkerchiefs.

Speaker 15 (02:35:35):
It's no use, Laura.

Speaker 9 (02:35:36):
I've got to know you're a very high strung girl. Julia.
I'd rather not upset you before bedtime.

Speaker 7 (02:35:42):
Upset me.

Speaker 9 (02:35:43):
You sort of get moody very often, Julia Carvey Norah.

Speaker 7 (02:35:48):
I'm not going to bed until I find out what
all this means. I've got to find out you.

Speaker 9 (02:35:54):
You don't like your room, do you?

Speaker 16 (02:35:56):
No?

Speaker 2 (02:35:56):
I don't.

Speaker 7 (02:35:58):
It's too big, the wall paper. I don't like the
pictures on the wall.

Speaker 9 (02:36:02):
There's nothing wrong with the big room. Everyone prefers a
large room. Everyone likes pictures on the wall.

Speaker 7 (02:36:08):
Well, maybe it's the kind of pictures. Yes, it's the pictures.
They they rubbed me the wrong way.

Speaker 9 (02:36:14):
You see, your feelings about things are different, different from
the feelings of normal people.

Speaker 7 (02:36:19):
Normal people.

Speaker 9 (02:36:20):
Oh, I'm sorry, I shouldn't.

Speaker 7 (02:36:22):
I can't stand this torturous way of telling her. I'll
tell you, Julia, your mother died in an asylum. She
went mad after her twenty third year. It's been in
the family for generations. I never saw my mother. If
we didn't want to tell you this. I wish we hadn't,
but you Fosters. You mean I'm liable to become insane.

Speaker 9 (02:36:46):
Well, you see, any one of us can become insane.

Speaker 7 (02:36:49):
There's nothing wrong with me. I'm perfectly all right. I'm
saying as anyone high strung doesn't make me mad. I
don't like it here, I don't like this.

Speaker 15 (02:37:01):
I'm saying, of course.

Speaker 7 (02:37:03):
You are nothing the matter with you.

Speaker 18 (02:37:06):
It would be all right.

Speaker 7 (02:37:08):
Your father wasn't sure, that's all. You're as sane as
any of us. Come along, I'll take you to your room.
We'll have a cup of tea together.

Speaker 9 (02:37:24):
How is she, Laura?

Speaker 7 (02:37:25):
She's calmed down?

Speaker 4 (02:37:27):
Is she asleep?

Speaker 15 (02:37:28):
No?

Speaker 2 (02:37:28):
Harmy?

Speaker 7 (02:37:29):
She's reading.

Speaker 9 (02:37:31):
That must be doctor Barrow's. I'll open the door. Hello,
doctor Barrow. How do you do, mister Lion? Come in,
Come in, Thank you. This is my wife, Laura.

Speaker 4 (02:37:44):
How do you do.

Speaker 7 (02:37:44):
I'm glad to meet you. Doctor.

Speaker 9 (02:37:46):
Let me take your things. The maid will have your
room read in a few minutes. That's very good of him. Here,
sit down and make yourself comfortable. Thank you.

Speaker 4 (02:37:55):
Well.

Speaker 9 (02:37:55):
How is Julia. She's been very moody lately.

Speaker 7 (02:37:59):
Very she seems so unhappy. I've tried to draw her out,
but I haven't been much good at it.

Speaker 9 (02:38:05):
Is she still grieving over her father's death. No, it
isn't that. I don't think she likes our house. She
has some queer ideas about her room and the roll paper.

Speaker 7 (02:38:16):
She doesn't like that. She doesn't like the pictures on
the wall either.

Speaker 9 (02:38:20):
I've got Julia several times staring into the mirror, looking
at herself with hate. I've heard her talking to herself
very often. That's nothing. All of us talk to ourselves once,
No one. I don't know, doctor. I don't think she's
very stable. There are things that go on in her
mind that she won't talk about. All of escape things
to ourselves, things we never talk about. Mister Powell described

(02:38:42):
Julia's case to me just before he died. I've had
occasion to observe her just once.

Speaker 7 (02:38:46):
Oh you knew, mister Powell, did you?

Speaker 15 (02:38:48):
Oh?

Speaker 9 (02:38:48):
Yes, We've got a number of years. I fitted his wife,
poor missus Powell. She went mad started somewhat the same
way as Julia. Oh, I wouldn't make that comparison so far.
There's no bab this is for any such theory. Well,
then let's say that Julia has strong dislikes. Took her
hate to the pictures in the room. Pictures.

Speaker 7 (02:39:08):
Eh, I'd like to go up and see her if
she's not asleep. Well, I guess it's all right. She's
not asleep yet. Her room is the second from the
right as you reach the top of the stairs.

Speaker 9 (02:39:20):
Thank you. I'll just stop in for a few minutes.
Come in, hello, Julia. You remember me, don't you?

Speaker 7 (02:39:37):
No, not exactly.

Speaker 9 (02:39:38):
I'm doctor Berrow, a friend of your father. I treated
your mother. No, no, don't be alarmed. I'm staying with
your guardians for a few weeks. Do you mind if
I come in for a few minutes.

Speaker 8 (02:39:51):
No.

Speaker 9 (02:39:53):
Well, this is a fine room, Julia, A very comfortable one.

Speaker 7 (02:39:57):
I don't like it. It's too big, mixed man comfortable.

Speaker 9 (02:40:00):
Nonsense, sure, just imaginative. You think someone might be hiding
in here while you're asleep?

Speaker 15 (02:40:07):
Is that?

Speaker 13 (02:40:07):
It?

Speaker 8 (02:40:08):
Isn't that?

Speaker 4 (02:40:11):
Don't you like that picture? Julia?

Speaker 7 (02:40:13):
What picture?

Speaker 9 (02:40:14):
The one you're staring at it?

Speaker 7 (02:40:15):
I wasn't staring at it.

Speaker 9 (02:40:16):
I just just looking at it. Looks like a fine painting.

Speaker 14 (02:40:21):
I don't like it.

Speaker 7 (02:40:22):
I'm I'm going to have it removed.

Speaker 9 (02:40:24):
I'm going to be like Julia, but I don't think
you shouldn't.

Speaker 7 (02:40:28):
It's an unpleasant picture. Gives me nightmares. Look at it,
that frightful looking man about to come through the doorway
and the unsuspecting girl sitting in a chair with her
back towards him.

Speaker 9 (02:40:38):
He's not right for looking at all. It's just the
black scarf around his neck.

Speaker 7 (02:40:43):
He's about to kill it.

Speaker 9 (02:40:44):
You certainly have a vivid imagination. I'm sure the artist
had no such idea mine.

Speaker 7 (02:40:49):
I hate the picture. I'm going to ask Harvey to
take it out of the here.

Speaker 9 (02:40:52):
No, Julia, you mustn't be afraid of it. The longer
you keep looking at it, the less afraid of it
you will be. You've got to conquer your or, or
they'll conquer you.

Speaker 7 (02:41:03):
That picture has a horrible fascination for me. I can't
take my eyes from him. Last night I dreamed that
the man in the picture came through the door with
a knife in his hand and killed the girl.

Speaker 9 (02:41:15):
It was an awful dream, But that was only a dream.
If I take that painting off the wall, you'll find
other things to be afraid of. How you do as
I say, forget about that picture, Get a good night's sleep.
Nothing like a good night's sleep to lift your spirits.
If that picture fascinates you, keep looking at it, don't
be afraid of it. Will you do that?

Speaker 7 (02:41:35):
Yes, Doctor Beryl, If you say so.

Speaker 9 (02:41:37):
That's fine. I'll see you in the morning. Good night, Junior,
Good night.

Speaker 2 (02:41:51):
In this big, rambling house of Harvey lions, midnight came
and went. One by one, the lights went out, and
soon the whole house was blackened by the cover of night.
Not a single light gleamed from any window, the ominous
rumble of an approaching thunderstorm. Julia's room, the large room
with its many pictures. She was dreaming, dreaming again of

(02:42:12):
the man in the picture. To figure with the flowing
black scarf is alive, and his hands grow longer and longer.
Julia tosses in asleep, as if trying to avoid him,
trying not to look at him.

Speaker 15 (02:42:27):
Oh, who's there?

Speaker 7 (02:42:35):
On a Sunday?

Speaker 15 (02:42:38):
What a terrible dream, that awful picture?

Speaker 14 (02:42:44):
What was that?

Speaker 7 (02:42:46):
There's someone in this room, someone's hiding in this room.

Speaker 15 (02:42:50):
The light, where's the switch? Where is it? Oh?

Speaker 7 (02:42:54):
Yeah, there is no one here, coming from the ceiling
from up above me.

Speaker 15 (02:43:07):
It's my imagination.

Speaker 7 (02:43:09):
Is nobody's there. This aren't nobody. I've got to go
back to sleep. The barrel said, I need sleep. I've
here in the hallway.

Speaker 15 (02:43:34):
He moved.

Speaker 40 (02:43:35):
What do you mean the man at the door.

Speaker 15 (02:43:38):
He's not at the door, he's inside the room.

Speaker 7 (02:43:40):
Been dreaming, it was only a dream.

Speaker 9 (02:43:42):
I heard a scream, and let's have an She says
she saw a man on one of the paintings move.

Speaker 15 (02:43:49):
He did move. I saw he's not not outside the
door anymore.

Speaker 6 (02:43:52):
He's inside.

Speaker 2 (02:43:55):
That's what I said.

Speaker 7 (02:43:56):
It wasn't a dream. Thunder wakened me.

Speaker 2 (02:43:58):
I woke up and heard what that's coming from the ceiling.

Speaker 15 (02:44:01):
I thought it was my imagination. And then I looked
at the.

Speaker 7 (02:44:04):
Picture, the picture I told you I didn't like, doctor,
the man was inside the room.

Speaker 9 (02:44:09):
That's hardly possible, Julia. Figures and pictures can't move, of.

Speaker 7 (02:44:12):
Course, not. It was just a bad dream.

Speaker 15 (02:44:14):
No, it's true.

Speaker 9 (02:44:15):
I saw it from along, Julia. We'll all take a look.

Speaker 2 (02:44:16):
At the picture.

Speaker 15 (02:44:17):
No, I don't want to go back into the room.

Speaker 9 (02:44:19):
No, no, there's nothing to be afraid of. Come on, Julia,
don't be frightened. You've got to fight off these delusions.

Speaker 7 (02:44:24):
Here, give me your hand, Come along.

Speaker 9 (02:44:34):
Well, now, what picture was it with the one near
the bed? Oh, yes, the picture by Greg Gray.

Speaker 7 (02:44:39):
It's one of our oldest paintings.

Speaker 9 (02:44:40):
Well, that is, it's the same as I saw it
a few hours ago. Look at it, Julia. I can't
believe the man with the black scarf is still outside
the door, and he'll stay there until that picture crumbles
to dust.

Speaker 15 (02:44:55):
Christ's one.

Speaker 7 (02:44:56):
I saw him inside the room, approaching the girl.

Speaker 9 (02:44:58):
Dreams can be very vivid, and there are no footsteps
coming from the storeroom.

Speaker 15 (02:45:04):
I must be out of my mind.

Speaker 7 (02:45:05):
I couldn't swamping it all, Julia. All of us occasionally
have vivid, realistic dreams. One side dreamed I was being
chased by a herd of elophants. It was so real.
I heard the thundering footsteps even after I woke up.

Speaker 9 (02:45:21):
It was so Delusions can be very real. You do
be horrifying. You do believe, don't you, Julia, that it
was only a nightmare.

Speaker 7 (02:45:29):
Yes, I I think so. If Julia wants to, I'll
take the picture out of her room.

Speaker 9 (02:45:34):
I don't think it's wise. You have to fight these
unreasonable fears, That's true, Julia, never give in to them.

Speaker 7 (02:45:40):
Well, crazy, I keep looking at that picture.

Speaker 9 (02:45:42):
It might be the other way around, Julia. If you
run away from it, the mental disease prevalent in your
family will take firm hold in you. You will get
worse and worse. As doctor Barrow says, until you be
afraid of your own shadow, you'll be afraid of everything,
of everyone you meet, afraid to be alone, afraid to
be with people, afraid of yourself, afraid of your own
clutching fingers. There's no need for this kind of talk, Julia.

(02:46:08):
Look at the picture. It's nothing but some paint on
a canvas. But the frame around it, there's nothing about
it that can harm you and the dangelies on yourself.
You've got to keep staring at it as often as
you can, by candlelight or in the dark, until you've
learned to laugh at it. It won't be easy.

Speaker 7 (02:46:27):
I'll try. That's fine. I knew you had courage.

Speaker 9 (02:46:31):
Get your sedatives so that you'll be able to sleep.

Speaker 7 (02:46:34):
I'll be all right in the morning. I'm sorry I became.

Speaker 9 (02:46:37):
Hysterical, and I'm sure you won't let yourself go anymore.

Speaker 7 (02:46:41):
I promise you're sure you're not afraid. No, no, I'll
be all right. I'm sure I'll be all right. Well, Julia,

(02:47:10):
it's eleven o'clock. You know what doctor Barrow says. I'm
not at all sleepy, Laura. I'd rather stay up for
a while. I'm in the middle of a fascinating story.
You run along. I'll go to bed presently. Is anything wrong, Julia, No,
of course not.

Speaker 8 (02:47:23):
Everything's fine, Laura.

Speaker 7 (02:47:25):
You're afraid to go to sleep, aren't you?

Speaker 9 (02:47:26):
Julia?

Speaker 7 (02:47:27):
Oh no, it isn't that. Is that picture bothering you again?

Speaker 11 (02:47:32):
Yes?

Speaker 7 (02:47:33):
Last night I heard footsteps again. Sound woke me in
refiguring the pictures. It moved, it moved closer to the girl.
How terrible. Why didn't you call me? We thought you
were over it. It hasn't bothered you these past three nights.
I didn't want anyone to know. I took some sleeping
tablets and I fell asleep again. In the morning. Picture

(02:47:55):
was the same as ever. That's a brave girl, Laura.

Speaker 14 (02:48:02):
Laura.

Speaker 7 (02:48:02):
Do you think I'm crazy? Of course not.

Speaker 8 (02:48:05):
You're a.

Speaker 7 (02:48:07):
As sane as I am.

Speaker 15 (02:48:08):
Tell me the truth. I must know.

Speaker 7 (02:48:09):
You're just nervous and high strung, and you have a
vivid imagination. That's all You're trying to soothe me. Why
didn't you tell the doctor that you brought the picture moved?
I was ashamed. You shouldn't be ashamed. Doctor Barrow is
here to help you get well. Oh that must be
Harvey and doctor Barrow.

Speaker 9 (02:48:28):
Now, hello, Laura. I've ready to have Old harmed this
spittle here tomorrow night for Julia's birthday, and I've invited
the Grovers. They'll be delighted to come. That is, if
Julia's feeling well, you should be in bed. It's after eleven.

Speaker 7 (02:48:40):
She's afraid to go to sleep. Please, Laura.

Speaker 9 (02:48:43):
It's the footsteps in the picture again, isn't it?

Speaker 15 (02:48:45):
Yes?

Speaker 7 (02:48:45):
Doctor, it moved again. At least I thought it moved,
but I went back to sleep.

Speaker 9 (02:48:50):
Well that's an improvement. At least you didn't get hysterical
and try to run away like the last time. You
were all right for a few nights, it's come back.
There as much I can do for you except to
tell you to go to sleep. Fight off these delusions.
You've got to do that.

Speaker 7 (02:49:04):
Come, Julia, I'll go with you to your room. Perhaps
you could sleep in my room tonight, Laura. Just tonight,
I feel a lot more comfortable tomorrow night, I'll be
able to face.

Speaker 15 (02:49:14):
It alone much better.

Speaker 9 (02:49:15):
No, Julia, that would be an admission of defeat.

Speaker 7 (02:49:18):
All right, if you think it's best, good night, Good night, Judah.

Speaker 9 (02:49:23):
We'll keep up your courage. It doesn't look so good,
does it, doctor, Well, not too good, but it's not hopeless.
She has an unstable mind, subject to delusions which become
very real to her. Her obsession about the picture is
not so bad. We all suffer occasionally from optical illusions.
But hearing footsteps coming from the storeroom abobber a storeroom?

(02:49:45):
How did you know if there's a storeroom above her?
Your wife told me? Of course, that storeroom hasn't been
open in years. I guess there's no point in investigating it,
is there?

Speaker 4 (02:49:55):
I don't think so.

Speaker 9 (02:49:57):
That's footsteps, like the moving figure and the painting are
all in her. Her mother behaved just like that before
she went mad, didn't she. Well, there's some similarity. You
haven't been to the storeroom recently, have you.

Speaker 3 (02:50:10):
No?

Speaker 9 (02:50:10):
I just mentioned to you that there hasn't been open
in years. Oh, yes, so you did. I'll give me
for not listening more closely. That's perfectly all right, doctor, Well,
I just hope that Julia will be well for her
birthday party tomorrow. Oh, I had no idea she was
having a birthday. How old will Julia be she'll be
twenty three. I must remember to get her a gift.

(02:50:31):
Oh well, I guess I'll go to bed, so will I.
I'll see you in the morning.

Speaker 2 (02:50:44):
But Julia wasn't thinking about her birthday during the ten
or fifteen minutes she spent in Laura's room. Here fluttered
in her heart. When she finally stood alone inside her
own room, panic, black, unreasoning panic began to take hold
of her wild haste. She began to undress, never looking
at the picture.

Speaker 15 (02:51:03):
I won't look at it.

Speaker 18 (02:51:05):
I won't.

Speaker 7 (02:51:06):
I'll go right to sleep out, take some pills, and
fall asleep.

Speaker 14 (02:51:11):
What was that?

Speaker 7 (02:51:14):
Oh, it was nothing, nothing at all. All I have
to do is keep from looking at the picture. I
won't look at it. It can't do me any harm
if I don't see it, I mustn't even think of it.
I'll think about the trip I made to South America.

(02:51:35):
It was a wonderful trip. The sunset, I was there, footsteps,
those footsteps again.

Speaker 15 (02:51:46):
I might hear it, I might hear it.

Speaker 7 (02:51:51):
It was a wonderful trip, the Blue Caribbean, Reuse, a
beautiful city, Siglove, Mountain music, the Dancy's Must It's not footsteps,
it's just my heart beating up. I could close my eyes.
I'll sleep, sleep.

Speaker 15 (02:52:15):
Why can't I sleep? Oh Lord, let me sleep.

Speaker 7 (02:52:21):
I don't want to look at the picture. Won't I
know what I'll see. He'll be closer to her, maybe
he'll have killed her.

Speaker 15 (02:52:32):
I mustn't open my eyes. I won't.

Speaker 7 (02:52:35):
I've got to look at her.

Speaker 15 (02:52:45):
Oh he's moved, he's close to the girl. I'm not dreaming.
It's real, girl. It's me. That girl is me me.
I can't stand Laura, Lara, Oh, Laura, Laura.

Speaker 7 (02:53:10):
Let me in, Let me in, Julia, Oh you poor goodness,
and keep crying and tell me all about it.

Speaker 21 (02:53:18):
Tell me in the tale.

Speaker 15 (02:53:19):
Don't be ashamed to get it out of you.

Speaker 7 (02:53:21):
It'll do you good to talk. It's the same thing,
again and again.

Speaker 15 (02:53:26):
I try not to look at the picture.

Speaker 2 (02:53:28):
I tried so very hard, but it was hopeless.

Speaker 40 (02:53:30):
I had to.

Speaker 7 (02:53:33):
Think it with a black scarf was inside the room,
a knife in his hands, very close to the girl.

Speaker 15 (02:53:39):
But at this time the girl had turned around and
it was my face, my face.

Speaker 7 (02:53:44):
Did you hear any footsteps? Yes, I heard them as
soon as I got into the room. You think it's
very real, don't you, Julia. Despite the fact that everyone
says it's a delusion, it's very real to me.

Speaker 15 (02:53:56):
I must be rerilliant. Say I'm going to.

Speaker 7 (02:53:58):
Crayon't say that.

Speaker 15 (02:53:59):
It's no use.

Speaker 7 (02:54:00):
I'm not getting any better. It's getting worse and worse.
Don't give up.

Speaker 2 (02:54:03):
You mustn't come along. I'll go to your room with you.

Speaker 7 (02:54:07):
I'll stay there until you fall asleep. Unless you want
to stay here. I don't know. I don't know what
to do. Will you stay with me, Laura? Yes, Julia, Come,
let's go back. Well, the picture doesn't seem to but

(02:54:30):
the mat of Laura nothing, nothing at all. Did you
hear it for depth? It was probably a bird creaking.
Now you go to sleep. I think everything will be
all right in the morning. You won't leave me, No, Julia,
I'll be here. Thank you, Laura, Thank you very much.

Speaker 2 (02:54:55):
Laura stayed in Julia's room until she was sure that
she was fast asleep, and carefully she tiptoed out of
the room, closing the door gently behind her. Julia slept peacefully,
feeling safe and secure. Several hours passed, and then suddenly
Julia awoke. She sat bowed upright and wide awake, with
her heart pounding away.

Speaker 15 (02:55:14):
Laura, Laura, is that you, Laura?

Speaker 7 (02:55:19):
Oh she's gone. She left me alone, But I'm not alone.
Something woke me a picture. It's the picture. I must
look at it again. If he's moved again, I don't
know what I'll do. I'll turn around and look straight

(02:55:40):
at it.

Speaker 15 (02:55:42):
I looked straight at it. He's killed the girl. She
stabbed me. I'm a girl. Oh, I got to get
out out.

Speaker 2 (02:56:00):
Oh it's no use.

Speaker 7 (02:56:03):
I've lost lost everything, I reason, my sanity. I can't
fight anything more. I can't fight against you in the
Black's car. And now you're here, I can touch you,
I can see you.

Speaker 15 (02:56:21):
It's real good time.

Speaker 7 (02:56:25):
What do you want me to do? No, I won't
run away, I won't scream. Do I want to spend
the rest of my life in the sidn like my mother?
I don't.

Speaker 4 (02:56:44):
I don't.

Speaker 7 (02:56:47):
You're pointing at the window. You'll want me to open
the window. Yes, I'll open it, he said, it will
be best for everybody to fright chum. Yes, the only

(02:57:08):
way up, the only way.

Speaker 2 (02:57:12):
I'll do it.

Speaker 7 (02:57:14):
I'll do it now.

Speaker 15 (02:57:17):
It will only take him home. Julia, Laura, we came
just in time.

Speaker 7 (02:57:23):
I've got her heart. Does she say I'm safe?

Speaker 9 (02:57:26):
You can come out from behind that chair, my friend, Come,
I'll shoot.

Speaker 15 (02:57:30):
I don't understand my head going around, sir.

Speaker 9 (02:57:31):
I can explain everything I was really procedure was a
little unusual. All they explaining, Doctor Barrow, you tried to
drive Julia crazy.

Speaker 15 (02:57:40):
Try to drive me crazy.

Speaker 14 (02:57:41):
That's right.

Speaker 7 (02:57:41):
He tried to do it with the picture.

Speaker 9 (02:57:43):
You're all making a serious mistake. Mistake. Look at the picture.
The figure is inside the room stabbing the girl. No,
it wasn't your imagination, Julia. He painted several pictures, each
one of them with a figure close to the girl.
He was the storeroom upstairs. That's why you heard footsteps.

Speaker 7 (02:57:55):
I got suspicious when I found a black scuff in
his room. And when I looked at the picture a
little while ago, it was full of dust. I dusted
it off myself a few hours before.

Speaker 9 (02:58:03):
Yes, and doctor Barrow seemed to know there was a
store of above you. I couldn't understand how knew that
since it had been closed for years.

Speaker 15 (02:58:08):
Why why should he want to drive me crazy?

Speaker 9 (02:58:10):
Because he's not Doctor Barrow. He's Ralph Power, your cousin
who disappeared many years ago. Everyone thought he was dead.

Speaker 7 (02:58:16):
After I got suspicious, Harvey and I went up to
the storeroom and found a lot of pictures he's been painting.

Speaker 9 (02:58:20):
This scoundrel is a very talented artist. He's been changing
the pictures on the wall. His plan was to drive
you insane and then contest the will, since he's your
nearest blood relative.

Speaker 7 (02:58:28):
Horrible, And I really thought I had.

Speaker 9 (02:58:30):
No intention of killing Julia. I swear I didn't. I
I just wanted to frighten her.

Speaker 7 (02:58:34):
Almost jumped out of the window. I might have been
dead right now, lying dead outside. Don't think about it, Julia.
It's all over now, you're all right. I'm not insane,
of course, not Julia. Why I almost forgot? It's already Tuesday.
Happy birthday, Julia. How does it feel to be twenty

(02:58:54):
three years old?

Speaker 15 (02:58:56):
It feels wonderful, And.

Speaker 2 (02:59:13):
So closes Fear paints a picture starring Nancy Coleman Tonight's
Tale of.

Speaker 4 (02:59:19):
Sus Penn's.

Speaker 2 (02:59:22):
Appearing with Mss Coleman were Edwin Maxwell as Harvey Lyons,
Fred Mackay as Doctor Barrow, and Beatrice Benedeator is Laura.
This is your narrator, the man in black, who conveys
to you Columbia's invitation to spend this half hour in
suspense with us again next Tuesday. William Spear, the producer,
Ted Bliss, the director, Lucian Morowick the composer, At Gluskin

(02:59:43):
the musical director, and Sigmund Miller, the author, collaborated on
tonight's suspense.

Speaker 9 (02:59:50):
This is the Columbia Broadcasting System.

Speaker 1 (03:00:02):
Well, my dear, I suppose this evening has come to
an end, But well there always be another evening, as
you know, and I'll be here at the same time
and same place when you return, and I do so
hope to see you again, especially as we get a

(03:00:24):
little holly and jolly. But now I suppose you should
go home. You do have a beautiful one, and I'll
go back to wherever it is I come from. But please,
but please, as your body goes slack and you become

(03:00:47):
one with the pillow and head off to the land
of nar as a personal favor, take a moment and
be thankful for what you have. I'll be seen.

Speaker 4 (03:01:03):
In my family.

Speaker 11 (03:01:04):
That's your family.

Speaker 3 (03:01:05):
When the drink im like begin to follow all into.

Speaker 9 (03:01:11):
Coma again, that's the wrong bring, bringing

Speaker 40 (03:01:21):
Mumbling breakrant

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Unknown Broadcast | Six Horror Stories of Fate, Hubris, and the Crawling Night

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