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Episode Transcript
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Speaker 1 (00:09):
Ah, good to have you back, my dear. Well, I
suppose the witching season is going quite well. Have you
been listening to the breeze, I mean interpreting it, understanding
its words? Well, I hope so I've been very well,

(00:34):
although much better having you here with me. Please relax.
I know the fall months get so chilly at night,
and the fire is of course burning bright, the tea
is steeping, almost ready for your sipping. And of course
as I fantasize about looking up at the night sky

(00:59):
and seeing shooting star. Well, it's time to make the
death wish.

Speaker 2 (01:06):
This radio mystery theater presents.

Speaker 3 (01:26):
Come in. Welcome.

Speaker 2 (01:30):
I'm a g Marshall. How well are you plugged into
your world? I don't mean the world around you outside
of you, I mean your own private world, the one
inside of you. Most men and women are content enough
to take themselves as they find themselves, but some, either
running from the world outside or searching for the one within,

(01:54):
seek new frontiers far more dangerous than even the boundaries
of space, more exotic than the mysteries of the ancient East.

Speaker 4 (02:03):
If your wife has toned someone else, why.

Speaker 2 (02:07):
Not do the same, George, Not really, Sena, What does
it means if she has the first, I must kill
them both. Our mystery drama The Death Wish was written

(02:30):
especially for the Mystery Theater by Ian Martin and stars
Ralph Bell.

Speaker 3 (02:35):
It is sponsored in part by True Value Hardware Stories.

Speaker 2 (02:39):
I'll be that shortly with that one. It was Satul Page,
the ageless baseball pitcher, who said, never look back, somebody
might be gaining on you. That's a pretty apt description

(02:59):
of almost any of us these days. Life is a
perpetual train. We are running to catch a race, just
to stay ahead of the bill collector, a mad dash
to accumulate enough of the world's goods to buy security,
which dances farther and farther away. George Solway is so
little different from any of us that it would not
be unfair to say that he could be you for me.

Speaker 3 (03:24):
Take its place. Come on, commuters and the uppat.

Speaker 2 (03:28):
Oh well, mister Soway, Okay, how's going back and forth?

Speaker 3 (03:35):
How's it with you? You know it is us brokers
up and down to day, down the market.

Speaker 2 (03:42):
No may, I'm pooped, but at the back of the background,
get me a little more started. You gotta watch that stuff.
Mister Sollaway could get to you. Well, I hope it
does before I fizz off. I have a rocket to
the ceiling. Something wrong in the process of coping with
every day, Lily, it's getting out of my nerves.

Speaker 3 (04:02):
I know what you mean. I wonder if you do, Connie.

Speaker 2 (04:05):
I'll hope you don't forget it.

Speaker 3 (04:08):
I'm just not can.

Speaker 2 (04:10):
I fell a passenger here. I almost forgot his his ticket.
He asked me to give it to you so he
wouldn't be disturbed.

Speaker 3 (04:17):
He looks to it. Better check him before we get
to his station.

Speaker 2 (04:21):
We don't worry, Connie. He gets off before me, and I'll.

Speaker 5 (04:24):
See he doesn't miss it.

Speaker 3 (04:26):
You might cook off yourself. Forget it.

Speaker 2 (04:28):
I wound up like a spring with these days. The
last thing I can do is sleep anywhere. It's been
building slowly. I can't say I haven't been conscious of it,
but I try to put it out of my mind.

Speaker 3 (04:45):
Something specials just where I live.

Speaker 2 (04:48):
Trade to the market floor all day, hit the commute home,
try to be a husband and the father, commute back
all the time. Inside it's like a pressure cooking without
any safety valve.

Speaker 3 (05:00):
I'm gonna do something, but what I was gonna live?
This is the only way I know how to.

Speaker 2 (05:08):
When I got back with my double muntednie, my companion
was awake.

Speaker 3 (05:14):
Excuse please, I wish to thank you so much.

Speaker 6 (05:17):
What for troutating my meditician with your pleasure?

Speaker 3 (05:22):
My name is Ranji Trabbit at the cord. It was
most kind of you to tender. I think it as
my pleasure. I have to have it. You see, to
have some meditician by this time of day and on
the day train, so it was important to me.

Speaker 2 (05:36):
I remain undisturbed, okay, by man, I thought you're going
to sleep?

Speaker 3 (05:39):
Who would not know? So far from that? My mind
is too thirty a week.

Speaker 6 (05:43):
I hear all you and the conductors say, but I
do not have to break my concentration.

Speaker 3 (05:49):
At the same time, I am addressed.

Speaker 2 (05:52):
You may you could meditrate and hear us at the
same time.

Speaker 3 (05:57):
That what good is it done?

Speaker 6 (06:00):
The most good, such peace, such redaxation, such risk for
result in rhapsodic meditation.

Speaker 3 (06:08):
I am in perfect balance.

Speaker 6 (06:10):
I can put away all care, get away from all treasures,
step back far enough to.

Speaker 2 (06:16):
See them for what they are. Rap sonic meditations. What
is that one of those new religion?

Speaker 3 (06:24):
No religion at all, My dear man, pure common sense.

Speaker 2 (06:28):
Yeah, so what what works for you doesn't necessarily work
for me, though I have never suggested it might.

Speaker 3 (06:34):
I only answered your questions.

Speaker 2 (06:36):
Oh sure, but shows me if I stick to the
old food and wine they get me back off the ceiling.

Speaker 7 (06:45):
To each his own, as long as it works. But
I think one is a negative approach and the other
it positive. May I give you my card?

Speaker 5 (06:56):
Sure?

Speaker 3 (06:56):
What forest market? I am interested in many things, of course,
but at the moment will be you. Why Because I
think you are looking for Head and in r M
you might find him.

Speaker 5 (07:16):
Next me.

Speaker 3 (07:20):
Please, this is where I must get us.

Speaker 2 (07:27):
Strange character, and yet I give a lot to be
as calm as he seemed to be.

Speaker 3 (07:33):
So crazy.

Speaker 2 (07:34):
All this meditation stuff it'll never do for me because
my teen he had me all relapsed. So I was
ad at a home and face married, maybe just for once,
not fly off the handle.

Speaker 5 (07:48):
I MA, I'm tired, Jude.

Speaker 8 (07:52):
How is your dead?

Speaker 9 (07:53):
Oh?

Speaker 2 (07:53):
You know?

Speaker 3 (07:54):
Kat on a hots and roof.

Speaker 8 (07:55):
You feight hours passed? Eventually?

Speaker 3 (07:58):
How about a drink? Honey?

Speaker 10 (08:00):
You get the late train dinners already. I thought we
might skip it tonight. You mean you thought I might
well it wouldn't do you any harm?

Speaker 3 (08:10):
Do you think?

Speaker 11 (08:12):
So?

Speaker 3 (08:12):
I take it myself. You're gonna join me? No, what
does that mean? You gonna fight me?

Speaker 8 (08:19):
If I fight?

Speaker 12 (08:20):
Darling, it's only for us.

Speaker 8 (08:23):
Please eat dinner instead of drinking it.

Speaker 1 (08:27):
Hey, what is this?

Speaker 2 (08:28):
You're going to exhorb the temperance onions.

Speaker 10 (08:30):
You're so thin, dear, you need proper nourishment from worried,
desperately worried.

Speaker 3 (08:37):
That's all above on you.

Speaker 10 (08:39):
You're driving yourself right over the brink. You're so hyped up,
you're making yourself a nervous wrest.

Speaker 3 (08:45):
You talk as oh I was sick.

Speaker 8 (08:47):
Well in a way you are, dearest. Even your doctor
says you're hypertense.

Speaker 2 (08:51):
So that's the nature of the beast.

Speaker 3 (08:53):
What can I do about it?

Speaker 10 (08:56):
There is something you can do about it, if you'd
only maybe I will join you in one drinks so
we can talk about it.

Speaker 3 (09:05):
Oh a week, one please, one week?

Speaker 8 (09:10):
Un let's sit a minute. Oh, thank you darling to us?

Speaker 3 (09:18):
Sure, well this is better, I am.

Speaker 8 (09:24):
I was talking to March Finley today.

Speaker 3 (09:27):
What's she looking for my contribution?

Speaker 8 (09:29):
Nothing like that.

Speaker 10 (09:31):
We were talking about traveling, traveling towards She and Bill
are just like us, except they're taking advantage of their freedom.
Six months ago they have that delirious Caribbean cruise. Now
next week they're all for another whole months in the Pacific.

Speaker 3 (09:48):
That's all very well for Bill.

Speaker 2 (09:50):
They can afford it.

Speaker 3 (09:51):
I just don't see.

Speaker 8 (09:52):
Where he finds the time, same place you could find.

Speaker 3 (09:55):
I can't get away from the street.

Speaker 8 (09:57):
Mary, You're not a customer's man. Nobody depends on you.

Speaker 13 (10:00):
You have no plan.

Speaker 2 (10:01):
Your employers depend on me to make trades for them.

Speaker 10 (10:04):
Blastonbury and Pepper have plenty of others to fill your shoes,
and they don't mind taking vacations.

Speaker 8 (10:10):
Lord knows you filled in for enough events.

Speaker 3 (10:12):
It's different for them. We have a children to worry about.

Speaker 8 (10:16):
What children? Tom and Alex are both off at college.

Speaker 14 (10:19):
That isn't borting.

Speaker 2 (10:21):
She goes on weekends and vacation, not many weekends.

Speaker 8 (10:25):
George, George, you're killing yourself at this pace. You've just
got to slow down. Do you want me to do
to workaholic?

Speaker 10 (10:34):
I think you've given yourself till you're ready to snap
any moment.

Speaker 8 (10:39):
I'm trying to save you from that. Don't you understand
You've got to see a doctor.

Speaker 3 (10:46):
I've seen a doctor. What does he have to tell
me that I don't know?

Speaker 8 (10:49):
Well, it isn't a medical doctor you need.

Speaker 2 (10:54):
Oh, so that's what all this is working up to her.
You think I've flipped down. Huh, that's what you're think
of me.

Speaker 8 (11:00):
I didn't say that, but.

Speaker 3 (11:01):
It's what I thought. I don't ride a me me.

Speaker 15 (11:07):
Do it?

Speaker 10 (11:09):
Gigs, Where are you going?

Speaker 5 (11:11):
No?

Speaker 2 (11:11):
No, Pardia, walk anywhere, Just hide and find a little peace.
Every nerve in my body was singing, every vein and
artery hammering. I could feel my heart pounding rapidly as
if it were rising, my chest pushing up against my throat,
so it was.

Speaker 3 (11:29):
Hard to breathe.

Speaker 2 (11:31):
I had to do something, but I wasn't ready for
some jerk to pick my brains or rummage around in
my psyche.

Speaker 5 (11:39):
Not yet.

Speaker 2 (11:40):
There must be some other way. And then I remember
the little Indian gentleman on the train. I fumbled in
my pocket for his calm and founded I'd give him
one try, mister uh Rabina to gore. You will call

(12:02):
Mashi let your name her?

Speaker 15 (12:04):
Did I see my title?

Speaker 3 (12:07):
What does it mean?

Speaker 16 (12:08):
Oh, teacher, will be good enough?

Speaker 3 (12:13):
Is that what you do? Teach? This uh, rhapsodic meditation.
I teach that and the way well is there is
there some way you could teach me?

Speaker 5 (12:25):
How do you use it?

Speaker 3 (12:26):
But of course it is it expensive.

Speaker 6 (12:30):
That would be up to you to join the society
as a fee of two hundred dollars to those who
can afford.

Speaker 3 (12:36):
I think you can do.

Speaker 17 (12:38):
We think in many ways.

Speaker 5 (12:40):
I think you cannot afford.

Speaker 18 (12:42):
Not to mister s.

Speaker 17 (12:46):
You know me?

Speaker 5 (12:47):
You know my name?

Speaker 19 (12:48):
Oh yes, mister, I have been expecting your call.

Speaker 2 (12:58):
It seems that the Marish she operated out of his
house in Denton's, so I had to make an appointment
for late Friday afternoon. I felt better making it. At
least I'd taken some step to relieve my tensions. But
I'd reckon without Mary, who had the same object in view.

Speaker 8 (13:17):
Hi, Marris, me George, we're out on the patio.

Speaker 3 (13:23):
Well, I'll be right there.

Speaker 8 (13:29):
I didn't expect your home so soon, George, I have.

Speaker 3 (13:32):
An apartment in that and I wanted to pick up
a car so.

Speaker 2 (13:35):
I could drive back. I hope I'm not sputting in.
I didn't know you were expecting company.

Speaker 8 (13:42):
Well I wasn't. I mean, well, look who just dropped
in this is Phil Eagan.

Speaker 3 (13:49):
I don't believe I've had a pleasure when you haven't met, but.

Speaker 8 (13:52):
Heavens knows you've heard me talk about him enough.

Speaker 3 (13:55):
Phil and I went to high school together, not the
same class. I think I was too great ahead. How
do you do, mister Solway?

Speaker 8 (14:03):
Would you like to join us for a drink? Darling?

Speaker 2 (14:05):
Thanks, You've got to be on my way to my appointment.
Don't let me break up the party. No party, Your
wife and I were just renewing old acquaintance. Yeah, so
I see. Don't let me standing away at the bow
out anyway?

Speaker 8 (14:20):
You or you don't understand?

Speaker 3 (14:23):
He's your guest.

Speaker 2 (14:23):
Yes, you take care of him. I have my own problems.

Speaker 8 (14:26):
Where are you going?

Speaker 2 (14:27):
That's my secret? Sony, fair, isn't it, Since you seem
to have some of your own. I'll be back for dinner.

Speaker 3 (14:36):
There is going to be dinner, of course.

Speaker 2 (14:42):
The last thing I needed was to meet the man
that Mary might have married, would have until she met me, Philipagan.
Meeting him at last, I had only one blind desire,
want to kill him, wipe him up forever. But I
never imagine then that that was exactly what I had

(15:05):
condemned myself to do the eternal triangle, one of life's
most terrifying cliches.

Speaker 3 (15:16):
But stop a minute, do we know that this one
is a cliche?

Speaker 2 (15:22):
Or other angles within angles that may change the shape
of things to come? Can rhapsotic meditation bring George Solway
a piece that may not passive understanding, but at least
may bring understanding itself? Or will it start him on
a voyage within himself that will lead him to a
whirlpool of disaster. I shall return shortly with that too.

(15:56):
What we are concerned with here is.

Speaker 3 (15:58):
A product of our time.

Speaker 2 (16:00):
A man pushed by the circumstances of his lifestyle to
the end of his control. A man afflicted by one
of the most prevalent diseases of our century, a silent
killer hypertension. Not the least of this condition's results is
that it not always only kills, but may develop into
something far worse, a situation where the victim not only

(16:23):
punishes himself, but becomes psychotic enough to blame his agony
on others and seeks their deaths rather than his to
achieve redeption. I was stunned at the size of the
little man's property. The Marishi owned an estate. A servant
in a tucked up sarrey that looked like a loose

(16:44):
diaver showed me into a small anteroom with a highest ceiling.
I was there for a long while, with some sort
of bells chiming steadily leaped in the house, and the
room heavy withincense.

Speaker 3 (16:58):
I was more than half.

Speaker 2 (16:59):
Asleep with She came not in western clothes now, but
in a long flowing robe, which made him seem taller
and more impressive.

Speaker 3 (17:10):
Greetings, my friend, mister Sorley.

Speaker 2 (17:13):
Pretty impressive place you have here, and that me and
mister Surley, all of us who study the way belong
to it, not it to us. Maybe I'm getting it
over my head here. All I wanted to do was
to try this meditation.

Speaker 3 (17:29):
Why not there are no strings attached.

Speaker 2 (17:32):
But we've got kind of a whole thing going here,
I mean, like a religion. We want to progress beyond
the meditation.

Speaker 3 (17:41):
That is your election. No one will presdent you to
do so. Only three things are asked.

Speaker 6 (17:48):
What that you pay the initiation fee which you have,
that you promise to try to use.

Speaker 3 (17:53):
This gift for what it is and never try to
make it something it is not.

Speaker 20 (17:58):
And that you keep the word door mantra. We give
you a secret norm only to yourself. For sure, I agree,
But do you think this will work for me? That
is a question only you, yourself can answer. Come let
us see what it means for you.

Speaker 2 (18:23):
It was a wrong shrouded in darkness, with flowers all
around and a scent of incense everywhere. He told me
to remove my shoes, set me in an ordinary chair,
told me to close my eyes, and murmured the rhythmic
syllables of the mantra quietly in my ear. I remained

(18:48):
repeating them in my mind and for forteen minutes, even
though I was partly conscious of other sounds, a passing plane,
voice someplace in my house, a door closing. I sank
through layers and then floated to the top for some
lulling sea. For the first time since I could remember

(19:10):
in years, I knew peace.

Speaker 18 (19:20):
Were just leaving East Williston. Pambrock is the next stop
front two cars. Please come back to third card to
the mark for Pembroke. Fambroke is Alexation.

Speaker 3 (19:35):
Hey George, you awake. We're going to track back a
couple of cars.

Speaker 2 (19:39):
I wasn't a safe I was testing something on that
last night raapsotic meditation. Okay, Okay, I just want you
right on up to Middleton. That happened to me last
week and was my old woman saw at me. By
the time I cockbike, I was meditating.

Speaker 15 (19:54):
Ok.

Speaker 2 (19:54):
You can lose everything while they're in meditation. There are
no thoughts, which is a soft blank We have nothingness
a blanket, so forgetfulness. You can't talk to Max Burger.
He has to put down everything he is. That's why

(20:14):
he's not well liked. Still, it's difficult to talk about
our m to anyone, even my wife.

Speaker 8 (20:22):
More confie, George, Oh.

Speaker 3 (20:24):
This will do so much train time.

Speaker 8 (20:26):
Oh George, if you would just talk to this psychiatrist.

Speaker 3 (20:31):
Want I don't need a psychiatrist.

Speaker 8 (20:33):
I have our end I've been going to and he's wondering.

Speaker 3 (20:36):
We better off with meditation.

Speaker 2 (20:38):
I think I'm a lot cheaper.

Speaker 8 (20:39):
If we don't have to worry about money, George.

Speaker 2 (20:41):
Which is exactly why I want you to stay out
of the crunches.

Speaker 3 (20:44):
Some headshrinker.

Speaker 8 (20:45):
That is a terrible thing to say if you knew
how much this man has put himself out to help
us without asking anything in return.

Speaker 3 (20:53):
I want to help you. Maybe is that it Mary?
You just hired me and looking for something better?

Speaker 8 (20:58):
If that's the last thing you should ever say to me, George.

Speaker 3 (21:00):
Well, how could I blame you?

Speaker 2 (21:02):
And I'm such a terrible grouch, impossible to live with
already halfway around the bend, for seven's sake, let's stop arguing.
I have a train to catch. Driving to the station,
parking the car, my nerves were exploding in small bursts
all over my body, like electrical charges. I thought, what

(21:27):
if Mary was unfaithful to me? And then the corollary,
perhaps she already is? And I knew I needed meditation
more than ever. I could hardly wait for the train
to start rolling. So tell me, George, how were the
dreams last night getting better all the time. I don't
dray max, at least I try not to. It's night

(21:48):
by a time. Yeah, I know what you mean, the
way things go sometimes I just no escape. Well I
found one, eh, Oh you mean that meditation giving hey
showers that you meet any luscious dames while your data. No,
it's not the object and it isn't day draining.

Speaker 3 (22:07):
Well whatever it.

Speaker 2 (22:07):
Is, no dy no, whether you can better if I
went in for it, that's what would tease me into
the spended animation, or knock it off when the night.

Speaker 3 (22:15):
Oh, pardon me, you take this thing?

Speaker 5 (22:17):
See, yes, I do.

Speaker 3 (22:19):
So what do you get out of it? Peace? Relaxation.

Speaker 2 (22:28):
I sat back, letting my hands fall on my knees,
and I started the rhythmic cadence of my mantra running
through my head. Although I could still hear the rattle
of the train, it had ceased to be part of
my consciousness. I was in a warm, encircling sea, spinning

(22:49):
gently but insistently to the vortex in the center.

Speaker 3 (22:54):
It was content. There was no fear, and the voice.

Speaker 5 (23:01):
Was calling George, George.

Speaker 9 (23:07):
Who.

Speaker 5 (23:09):
Is it?

Speaker 3 (23:11):
Who are you?

Speaker 8 (23:12):
I am Serena.

Speaker 19 (23:14):
I'm waiting for you.

Speaker 8 (23:17):
Where beyond the edge?

Speaker 3 (23:22):
The edge of what?

Speaker 8 (23:24):
The edge that separate your world from mine?

Speaker 3 (23:30):
How can I cross it?

Speaker 15 (23:32):
When you are ready to leave your world behind, you will.

Speaker 3 (23:37):
Know why should I want to?

Speaker 2 (23:42):
Because only this will you know?

Speaker 8 (23:45):
An edge to draw it and the fine peace?

Speaker 2 (23:54):
Why did you look so hauntingly for media? Why did
you draw me so strongly? Confided? I feel, in spite
of almost overwhelming desire, that I must resist her.

Speaker 3 (24:09):
That she meant dangerous and disaster.

Speaker 18 (24:11):
For your attention, pays. You're coming into Central station last time.
Please your granny belonging before.

Speaker 2 (24:21):
You leave this straight Hey hey, hey, hey, hey, better
come on back and join the common books.

Speaker 3 (24:26):
Are we in already? It's just about And don't tell
me you've been meditating for a whole hour, I must promisely.

Speaker 21 (24:34):
Yeah.

Speaker 2 (24:35):
Sure, from the look of you, you must have had sundary.
Oh that must have been some gorgeous babe.

Speaker 3 (24:40):
Come on, Max lay offer news man, you must have
a guilty conscience.

Speaker 2 (24:44):
It's not me who should have the guilty conscience.

Speaker 3 (24:46):
How odd does that?

Speaker 2 (24:47):
I'll forget it when you plan say in I want
to get off. All through the business day, I couldn't
forget it what I meant by remark Once during the
morning I called Mary and twice in the afternoon, but
he wasn't home.

Speaker 3 (25:08):
But it wasn't until after.

Speaker 2 (25:09):
An unsuccessful meditation on the train going home that I
finally faced the truth. I couldn't wait to face Mary
with him.

Speaker 3 (25:20):
Where were you all day?

Speaker 17 (25:21):
Mary?

Speaker 10 (25:22):
I went shopping in the morning, had lunch with some
of the girls, had my session with a psychiatrist in
the afternoon.

Speaker 3 (25:29):
Why I was trying to reach you all day.

Speaker 8 (25:31):
I'm sorry, George.

Speaker 2 (25:34):
Anything important that depends on the point of view.

Speaker 3 (25:39):
Mary. Are you having an affair?

Speaker 8 (25:42):
An affair.

Speaker 2 (25:45):
With whom a psychiatrist, whatever his name is, and you're
out of your mind? George, strange question for you to ask.
I thought you decided I was, but you haven't answered
my question.

Speaker 8 (25:57):
I won't dignify it by giving it one as you are,
which means nothing of the source.

Speaker 5 (26:02):
You're lying.

Speaker 12 (26:03):
I am not lying.

Speaker 8 (26:06):
Oh really, George, this is the last straw.

Speaker 10 (26:10):
If you don't do something to put yourself together again,
and I'm going to have.

Speaker 8 (26:14):
To leave you, or maybe I will have that affair.

Speaker 2 (26:17):
You better not.

Speaker 8 (26:19):
I wouldn't think you'd care much anymore.

Speaker 3 (26:22):
I care this much.

Speaker 2 (26:24):
If I catch you even so much as looking at
another man, I'll kill you and him.

Speaker 8 (26:29):
Oh, don't be ridiculous.

Speaker 3 (26:30):
I mean I believe you do.

Speaker 8 (26:33):
Don't you see how sick you are?

Speaker 3 (26:35):
I'm not you.

Speaker 8 (26:37):
Look at you to vain, standing out in your throat.
You're shaking all over.

Speaker 10 (26:41):
Even if you're not sick, then you must be feeling
guilty about something.

Speaker 8 (26:46):
What is it, George? Is it you the telling the affair?

Speaker 3 (26:51):
N Nay?

Speaker 12 (26:54):
You know I've remained so much as much of another woman.

Speaker 3 (26:57):
But what is the word in my mind?

Speaker 22 (26:58):
What is it?

Speaker 4 (26:59):
Darn?

Speaker 10 (27:00):
What is it that's driving you, pulling you apart, destroying
you on me?

Speaker 2 (27:10):
For once, I had to admit Mary was right.

Speaker 3 (27:13):
I was shaky.

Speaker 2 (27:15):
I could hear myself coming apart of the scenes, and
she was right about something else.

Speaker 3 (27:20):
I hadn't told her the whole truth. All day long,
I had been thinking about.

Speaker 2 (27:25):
Another woman, the woman in my meditation, Serena, the woman
every instinct told me I must resist, and yet whose
spells still lay on me, drawing me irresistibly back to her.
I couldn't wait to return to my meditation the next morning.

Speaker 23 (27:46):
You mean.

Speaker 3 (27:49):
Yes, sor Ena, I knew you would.

Speaker 11 (27:53):
Are you put to me?

Speaker 3 (27:56):
How can I tell me?

Speaker 24 (28:01):
Come your ties?

Speaker 8 (28:03):
If your way, I'm stepping to mine.

Speaker 3 (28:07):
I don't know how to help.

Speaker 25 (28:12):
Stand up.

Speaker 2 (28:14):
That's stressed.

Speaker 8 (28:18):
Look back.

Speaker 4 (28:20):
Up your feet.

Speaker 3 (28:23):
I can see myself.

Speaker 2 (28:26):
Sitting eyes closed, only eight thirty seven, on my way
into the city.

Speaker 3 (28:37):
That's me George alway, that's my buddy, not the.

Speaker 4 (28:45):
George always cold, the welcome with pelfilled.

Speaker 15 (28:53):
Why don't you leave the honor behind George?

Speaker 2 (29:00):
I turn and look at the woman. She is blindingly beautifully,
so beautiful. I can't separate her features, only the overall
loveliness and the radiance of calm and promise that makes
me long to go to her arms. But another force

(29:22):
drags my glance back to the figure sitting so still
and unmoving on the swaying train seat. I'm cold, Suddenly
I'm afraid, and for the first time in my life,
I understand what is meant by the death wish. What

(29:43):
a terrifying thing it is to invade the privacy of
a man's mind, to watch him struggle between illusion and reality.
The sense of decency prompts us to walk away, And
yet how can we deny the fascination of a struggle unresolved?
Won't you join me to discover how it is? When

(30:04):
I return with Act three? Now, shall we return again
to the haunted chambers of George so Alway's mind. As
he rides in the suspended animation on his morning Commuters train,

(30:24):
he hangs in a half world between the bright promise
of illusion and the black, stark reality of his crumbling
personal life.

Speaker 3 (30:33):
Which way should he reach for.

Speaker 2 (30:35):
The blessed anodyne of total nothingness and a shadowy world
of release from pain, or the old world, which has
become as agonizing as the tortures of the rack.

Speaker 3 (30:46):
Let us find out. I'm absurd, sir, nothing.

Speaker 8 (30:54):
To be afraid. Coue before it's too late, too late
for what to say in your arm old possess.

Speaker 15 (31:10):
Me me your own.

Speaker 3 (31:13):
I can't Serena. I have a wife. I know I
can't leave her.

Speaker 25 (31:22):
Why not?

Speaker 8 (31:24):
She don't love you anymore?

Speaker 2 (31:26):
No, no way I've been lately. I could hardly blame her.
If she's turned to someone.

Speaker 3 (31:33):
I don't know. I'm afraid I think she has. If she.

Speaker 15 (31:46):
I think you do the same.

Speaker 3 (31:48):
No, not first, what.

Speaker 17 (31:52):
It means that Mary has?

Speaker 3 (31:54):
And I find that first, I kill them both.

Speaker 8 (31:58):
If you did that, and you wouldn't be able to
return to me, why they would be wrong.

Speaker 2 (32:06):
For you and my feet?

Speaker 15 (32:08):
It or never to be.

Speaker 3 (32:12):
I guess it has. It has to be never.

Speaker 5 (32:21):
No what went?

Speaker 3 (32:29):
She was gone.

Speaker 2 (32:31):
I took some steps after her, but she was swallowed
in the midst. Quickly, shakily, I stumbled back to where
my body lay like a wax star on the train seat.
In sudden weakness, I reached for the armor of its protection,
collapsing into it and coming awake with a roaring in
my head, my mouth dry and burning. It was an

(32:57):
endless day and exchange by the cloth well. My head
was one solid dull ache. I couldn't wait to get
to the train and go back into meditation. It was strange.
I dropped quickly away into nothingness. But as soon as
I reached that plane, I found myself leaving my body
easily and quickly. I roamed endlessly, free of the shackles

(33:19):
of my aching head and twitching nerves. There was no times.
It could have been a week, a day, and eternity.
It was a shock to get home and find no
Mary waiting for me. My choptor turned quickly into a
nail biting fury that drove me straight to the bar.

Speaker 8 (33:47):
George, Oh, I'm sorry. I didn't mean to be late
like this.

Speaker 3 (33:52):
Where did then?

Speaker 8 (33:53):
Out nowhere?

Speaker 3 (33:56):
Just driving? What train did you catch at four o'clock?

Speaker 5 (34:01):
Oh?

Speaker 8 (34:02):
I wasn't expecting you back till the four fifty at
the earliest.

Speaker 3 (34:05):
Ye, I'll bet. I don't like your tone, and I
don't like your lies. What lies? H Do you think
you're kidding?

Speaker 5 (34:13):
Just driving around?

Speaker 3 (34:16):
If you were who with myself. You'll expect me to
believe that.

Speaker 14 (34:19):
Who do you think I was with a guy?

Speaker 2 (34:22):
God, my god, Where you're having an affair with you
are impossible.

Speaker 10 (34:27):
I can't take it anymore. If you have to know
where I was, I'll tell you. I was with Ruth Harris. Oh,
Ruth Harris. She's a travel agent. I was talking with
her about going away for a couple of weeks so
I could get hold of myself, and maybe you could
do the same. Your dinner's on the stove, you can
heat it yourself.

Speaker 8 (34:46):
I'll leave breakfast in the morning while you're.

Speaker 10 (34:48):
Going upstairs to get my stuff and move.

Speaker 8 (34:50):
It into the guest room.

Speaker 14 (34:51):
I have had all I can take.

Speaker 2 (34:57):
I had a lousy night, couldn't sleep. By morning, I
was ready to break down the door of the guest room.
Then I had a better idea. I clumped downstairs to
a noisy breakfast, which I didn't eat, and left for
the station by a car at my usual time. But
I didn't go to the station. I parked at the

(35:19):
nearest shopping mall and walked back to the house. I
found a place in the shrubbery where I could watch
the front door and settle down the way. It was
nearly eleven o'clock that he came, getting out of his
car and going up bowl of his breast during the
front door bell. The man I'd surprised Mary with less

(35:40):
than a week before, something Eagan.

Speaker 3 (35:44):
Oh yeah, Philip, that was here.

Speaker 8 (35:48):
Oh Phil it's you. I've been frantic waiting.

Speaker 3 (35:52):
I came as soon as I could.

Speaker 8 (35:53):
Oh, you don't know how wonderful it is to see
you or Mary.

Speaker 3 (35:57):
Take it easy.

Speaker 8 (35:58):
I can't anymore. This thing has got to be settled, phil,
I can't live with it anymore.

Speaker 3 (36:05):
Look at me, dear.

Speaker 2 (36:07):
I'll simmer down. We'll find a way to settle it.
Let's go inside, now, shall I've seen it. I'd seen
the proof, but for a moment I couldn't believe it.
I was being driven to murder, But coldly I decided

(36:27):
I had no intention of paying the price for it.
I didn't have to, but just punishment.

Speaker 3 (36:31):
For that treachery to me could be meted out.

Speaker 2 (36:33):
While I was miles away from the scene and securely alibied,
I turned and headed for the railroad station.

Speaker 3 (36:45):
You're taking a very dreemsy Ah, Yes, I had some
business that attain that home. I have some that takes
me from man, and may I enjoin you? Well, we
are sure?

Speaker 17 (37:00):
Why not?

Speaker 3 (37:01):
Thank you so much?

Speaker 6 (37:03):
Are you meditating regularity?

Speaker 3 (37:07):
I sure I am. Has it brought you a redic season?

Speaker 5 (37:12):
Yeah?

Speaker 3 (37:12):
In its own way?

Speaker 2 (37:14):
Oh? Would you excuse me? I usually meditate on the train.

Speaker 3 (37:20):
But of course I have steered my harbing paper to.

Speaker 2 (37:23):
Read for what I had in mind that couldn't suit
me better. And I witness my presence on a train
miles away from my house established as an unshakable alibi
and an opportunity to prove the incontrovertibility whether or not
my wife was cheating on me before I killed her

(37:45):
and her lover.

Speaker 3 (37:48):
No effort.

Speaker 2 (37:48):
I stepped away from my body to become my astral self,
you know, with an instant, I stepped through space and
time to my house, climbing the stairs to our big room.

Speaker 3 (38:01):
It was just as I suspected. Mary was already in bed.
The man seated beside her, smoothing back her hair from
her forehead is.

Speaker 8 (38:11):
A cold only just a minute. Please do all right?

Speaker 3 (38:16):
But I hope you're not going to change your mind.

Speaker 8 (38:19):
No, no, I won't back out now. I see that
he's got to go.

Speaker 2 (38:29):
I didn't have to hear anymore. It was beyond revenge.
It was my life for theirs. I turned to the
table drawer on the opposite side of the bed, knowing
they couldn't see me, I took out the revolval we
kept there for household protection. And even knowing they couldn't.

Speaker 3 (38:46):
Hear me, I had to say the words die, die,
both of you.

Speaker 8 (38:51):
I have no life now, George, George, Darling, can you
hear me? Well, well, oh, my darling, listen to me.

(39:14):
It's Mary, Mary, Yes, dear.

Speaker 3 (39:19):
He can't be set dead.

Speaker 8 (39:22):
No, no, Darling, open your eyes and look.

Speaker 2 (39:27):
I don't understand.

Speaker 3 (39:30):
I fired the shots, I sweep ut fall back.

Speaker 26 (39:37):
The blood, the blood.

Speaker 8 (39:39):
I don't think of all that. Now it's over. I
think you'd better talk to the doctor.

Speaker 2 (39:46):
What doctor my name is, doctor Egan, Mister Solway. If
you remember we have met once, I killed you in
your mind. Perhaps, Fortunately the wish only remain the father
to the deed. It never actually happened. I don't understand

(40:06):
what did happen?

Speaker 8 (40:08):
Where am are in a hospital? Darling?

Speaker 3 (40:12):
How did I get here?

Speaker 10 (40:13):
A nice little Indian gentleman with a name I couldn't
even pronounce let alone. Remember we're sitting next to you
on the train when you had your seizure.

Speaker 8 (40:21):
He brought you here.

Speaker 3 (40:24):
What you made seizure for?

Speaker 2 (40:25):
You went into convulsions, and if you hadn't gotten to
the hospital in time, you would have been dead.

Speaker 8 (40:37):
I still don't understand, Phil. It wasn't just hypertension.

Speaker 3 (40:42):
That was a result, not a cause.

Speaker 8 (40:44):
What was the cause?

Speaker 3 (40:45):
That was the difficult thing to pin down.

Speaker 2 (40:48):
If the orangines had been psychiatric, I couldn't have promised
you a cure.

Speaker 3 (40:52):
But they weren't.

Speaker 2 (40:54):
Almost entirely somatic, somatic physical. The anorexia nervosa was the
clue under eating From that. Here in the hospital they
managed to pin it down to hypoglycemia lack of sugar.
All the other symptoms devolved from that, fatigue, irritation, delusions
and so on.

Speaker 3 (41:12):
And can he be cured, of course, once he'll cooperate.

Speaker 8 (41:16):
But he thought we were lovers.

Speaker 2 (41:18):
He thought he'd killed us only in the mind, and
he had the total excuse that at the time he
was not in his right mind.

Speaker 3 (41:26):
He was very ill. Don't hold it against him, Mary.

Speaker 8 (41:30):
I won't. If only I could be sure that he
wants me back.

Speaker 3 (41:35):
In his right mind, he will cherish your marry.

Speaker 2 (41:39):
If he didn't feel as deeply as he does about you,
he wouldn't have been ready to risk everything to make
sure that no.

Speaker 3 (41:45):
One else could have you.

Speaker 2 (41:51):
I do a lot of meditating these days, Oh not
the rhapsonical cond I don't need any magic or mantras
to daydream where I.

Speaker 3 (42:01):
Am with Mary.

Speaker 2 (42:03):
It's part of the course on the island of Maui,
where the waves breaking the shore and form again to
run backwards to the horizon. There's something to this traveling,
after all, and taking a long break every so often,
no matter what it costs.

Speaker 3 (42:22):
Why didn't I find it out sooner? An object lesson
for all of us.

Speaker 2 (42:32):
It is William Wordsworth who warned us a century and
a half ago that the world is too much with
us getting and spending, we lay waste our powers. George
saw where was lucky. He had a fearful warning, of course,
but it was enough to save the rest of his life.
I'll be back shortly, Hi, This is Michael. The pace

(43:03):
of life today is inexorable. We're all in danger of
being driven faster than we have the physique physical as
well as mental.

Speaker 3 (43:10):
To ride the treadmill.

Speaker 2 (43:12):
What's the answer if one falters or fails, stop the
world because we want to get off?

Speaker 3 (43:19):
That's scarcely practical.

Speaker 2 (43:21):
But how about just getting off, stop yourself and let
the world go on until you're ready to catch up? Impossible, impractical.
It's an individual choice. It's a matter of what values
you place upon life and the living of it. Our
cast included Ralph Bell, Caroll t Tell, William Griffith and

(43:42):
Ian Martin. The entire production was under the direction of
Hymon Brown. Until next Time, Pleasant Dreams.

Speaker 1 (44:28):
I feel positively jubilant after that one. How about you,
my dear? Oh what's that?

Speaker 5 (44:35):
Well?

Speaker 1 (44:37):
I suppose we'll just have to wait and see, won't wait.
I keep thinking about the big day. I'm so excited
to see just a little beyond this world I've built. Well,
we've built, I suppose.

Speaker 3 (45:00):
Well.

Speaker 1 (45:01):
It's always nice to have something to look forward to,
like a hot cup of tea or walking the streets
as a well dressed corpse.

Speaker 27 (45:19):
Auto Light and It's ninety six thousand Dealers Present suspends.
Nice Auto Light brings you a suspense play of love
and death in a New York penthouse, A well dressed
corpse and starring Miss Eve Varden. Before our play begins,

(45:45):
here's a word about auto light from our good friend
Holow Wilcox.

Speaker 28 (45:49):
Hi, mister Wilcox, what can I do for you? Well,
sam my friendly autolite spark plug man? You can tell
me what do you think of those fresh, frisky and
frolicsome ignition engineered auto light.

Speaker 29 (46:00):
Spark plug They're tops, mister Wilcox.

Speaker 28 (46:02):
Now tell me if replacing one out spark plugs with
ignition engineered autolite spark plugs will give a car smoother
performance quick starts.

Speaker 3 (46:12):
Guess saving you bet?

Speaker 29 (46:13):
What else would you like to know?

Speaker 5 (46:15):
Well?

Speaker 28 (46:16):
Are auto light spark plugs made by the same auto
light engineers who design coils, distributors and all the other
important parts of the complete ignition system used as original
factory equipment on many leading makes.

Speaker 22 (46:28):
Of our finest cars.

Speaker 28 (46:29):
Why, of course on That's why we say auto light
spark plugs are ignition engineered, designed to perform as a
perfect team with your car's ignition system.

Speaker 29 (46:37):
Sure, can I tell you more?

Speaker 18 (46:39):
Yes?

Speaker 28 (46:40):
Do auto light spark plug dealers like you replace one
out spark plugs with ignition engineered autolite spark plugs either
standard or resistor type, of course.

Speaker 29 (46:49):
But you know all about that, mister Wilcox.

Speaker 22 (46:51):
Yeah, but I just love to hear it.

Speaker 2 (46:53):
But you said it, and I'll say it again because
you're always right with autolite, And now with a well
dressed corpse and the performance of miss eve Arden's auto
light hopes once again to keep you in saucepan.

Speaker 3 (47:13):
She's lying on the couch in my office. Thought I'd
just let her alone until you showed up, Captain Rook.
And I never was considered of your lieutenant. Here we
are inside. Are you sure that's her? Positive? Where was
she picked up? In her bedroom?

Speaker 17 (47:28):
Hell's kitchen?

Speaker 3 (47:29):
And Ali she lost her dress and one of the
boys gave his overcoat. Got your name?

Speaker 22 (47:38):
My name is Ruth Franklin.

Speaker 3 (47:40):
How old are you?

Speaker 22 (47:42):
Thirty three?

Speaker 3 (47:43):
Where do you live?

Speaker 22 (47:44):
Pickwick Arms on Riverside Drive.

Speaker 3 (47:47):
Do you drive a car?

Speaker 22 (47:48):
Yes, a blue convertible Mediterranean blue.

Speaker 3 (47:53):
Did you go to school in the city.

Speaker 22 (47:55):
Graduate school, Columbia University? I went to Stanford. I worked
for the Rington Green Advertising Agency. My secretary's name is P. D. Wright.
I'm the murderer you're looking.

Speaker 3 (48:07):
For, Okay, I guess you're Ruth Franklin.

Speaker 22 (48:11):
All right, I guess I can't blame you for not
recognizing me. Did you know that six weeks ago I
was voted one of the ten best dressed women in America?

Speaker 3 (48:21):
Yeah, I've read something about it.

Speaker 22 (48:23):
I always knew that someday I would be, but when
it actually happened, it was just as exciting as if
it had been a total surprise. The invitation to the
buffet luncheon to meet the press came on Friday. I
ran right out and bought the most elegant and expensive
dress I could find, and when I swept into the luncheon,

(48:46):
everyone was looking at me, including the other nine well
dressed women. Percy Hamilton of Radcliffe, a little bald headed
man who moved and looked like a startled chipmunk, met
me as I came in.

Speaker 3 (49:02):
Oh, who, Miss Franklin.

Speaker 29 (49:04):
I'm so happy to see you right this way.

Speaker 2 (49:06):
Please, you're a little.

Speaker 22 (49:07):
Date, you know, Percy, Baby, You've confused me, perhaps with
the debutante I work for a living.

Speaker 19 (49:14):
I'm going to put you here at table thirteen.

Speaker 11 (49:17):
Oh pardon me, mister Mason.

Speaker 3 (49:18):
I'm sorry, mister Mason. May I present Miss Franklin. How
do you doing.

Speaker 30 (49:23):
How do you do that?

Speaker 2 (49:24):
You two are going to be luncheon partners?

Speaker 29 (49:28):
Well, I run along.

Speaker 28 (49:33):
You, of course, couldn't be anyone else but the best
dressed Franklin.

Speaker 22 (49:37):
I'm not sure I like the way you said that,
mister Mason.

Speaker 28 (49:40):
My tone was not meant to imply a personal indictment,
as Franklin in facts accommodation.

Speaker 3 (49:45):
You play your part very well on this racket. Racket, racket.

Speaker 22 (49:50):
Oh, I always draw the most charming luncheon partners. It
was undoubtedly something in your childhood. They made you wear
buster brown collars of velveteen.

Speaker 3 (50:00):
I wore dungarees.

Speaker 28 (50:03):
No, it's just that I have the best prima vasia
evidence anyone ever had that this is a travesty on
good taste in artistic judgment.

Speaker 22 (50:10):
Before I moved to another table, mister Mason, I'd be
utterly amused to hear one sentence telling me why you
feel this way.

Speaker 3 (50:16):
I'd be happy to oblige.

Speaker 5 (50:18):
You.

Speaker 3 (50:18):
See, I was picked as one of the best dressed.

Speaker 22 (50:21):
Men, mister Mason, for the first time. I'm beginning to
savor the sweetness of your judgment. Well, that was the
way it began a little careless banter while we sized
each other up, and something in our measurements had meaning because,

(50:42):
despite speeches and cold chicken, Ala King and news photographers
interfering with most of our conversation, we later found ourselves
at the Start Club, analyzing everything from Picasso to paper hanging.
Sometime in the evening, he said he had to catch
a plane somewhere, but he'd get in touch with me soon.

(51:02):
The next morning, when I walked into my office, Pete,
my secretary, was wearing the smug smile of a girl
who had caught her older sister with a boy on
the back porch. Hammock seen it yet, boss? The gimbal ads,
how were they? I can wait all right, seem what
the picture of you and Roy Mason? Mason, I hardly

(51:24):
spoke a word to the man. They told me to
look at him as if he just found a cure
for the common cold. Hardly a word of how'd you
converse at the Star Club? Smoke signals with your cigarettes,
pe d you're very close to being fired. Let me
read what some of the columnists say.

Speaker 31 (51:40):
The most handsome tusome in town last night were Ruth Franklin,
the best dressed huckster and Roy Mason.

Speaker 22 (51:46):
Pety, what do you know about him?

Speaker 31 (51:49):
I'll save you the embarrassment of asking me to get
a file on him. I've already done it.

Speaker 22 (51:54):
Here you are, boss.

Speaker 31 (51:55):
The Life and Loves of Roy Mason, assembled by Pete Wright,
girl Old Boswell.

Speaker 22 (52:01):
All right, tell it.

Speaker 31 (52:02):
He was a work correspondent, distinguished. He's written two books
on world politics, The Long Road of Destruction in the
Coming Asiatic War.

Speaker 22 (52:10):
I've ordered both of them so you can talk his language.

Speaker 31 (52:12):
He has a weekly car I'm in a weekly radio program,
Yale thirty eight, unmarried. Just call me quick, thank you,
and goodbye. I'll just leave these things here so you
can drool over them. Have fun, pd, Yes, boss man,
you've had your fun. Now, hands off. I'm going to
marry him.

Speaker 22 (52:40):
I read those clippings through from beginning to end, and
when I went home that night, I took both of
Roy Mason's books with me, and the following night he
called me. And then it was practically every evening and
cocktails and weekends and meals and fireplaces and books and
talk and talk. I knew, and I let the papers

(53:00):
know that Ruth Franklin finally found a man. Who came
up to her epic requirements. I had him hooked. Now
it was time to real him in. Roy, I have
some news I know you'll be interested in.

Speaker 3 (53:15):
You're going to run for president?

Speaker 22 (53:16):
Oh no, nothing as small as that. I'm going to
get married.

Speaker 3 (53:22):
Are you going to get what.

Speaker 22 (53:24):
Married?

Speaker 25 (53:26):
Uh?

Speaker 22 (53:27):
Come a man named Roy Mason? I just decided, Ruth.

Speaker 3 (53:35):
I'm sorry, I can't. I'm already engaged.

Speaker 11 (53:41):
Who is it?

Speaker 18 (53:41):
Roy?

Speaker 3 (53:42):
A Long Island socialid Elizabeth Granger? You know him?

Speaker 22 (53:47):
No, and I don't believe i'd want to.

Speaker 3 (53:49):
Oh, Ruth, did you think we were going to be married?

Speaker 22 (53:52):
Of course I did, and so did every newspaper and
columnist in town.

Speaker 3 (53:55):
I never pay any attention to the gossip columnists.

Speaker 22 (53:57):
A lot of people do.

Speaker 26 (53:58):
Oh.

Speaker 3 (53:59):
Now, don't make it like this. You must have known
I had a light before I met you.

Speaker 22 (54:02):
I should have known a lot more, I guess than
I do.

Speaker 11 (54:05):
Ruth.

Speaker 3 (54:05):
Don't lose your head over this.

Speaker 22 (54:07):
What do you expect me to do? Break down and
beg you to change your mind and marry me. I'm sorry, Roy,
I'll go home and read an old coward play and
get over it. So that's the way it was. I'd
saved myself for the one man who had what I

(54:29):
had brains and guts and talent. And I suddenly found
out I'd saved myself for what I couldn't have. I
went home through his books in the fireplace and sat
down to have a long look at me, and all
I found was a big, ugly hurt. Then it was
light and time to go to the office. Pete, what

(54:52):
are you doing at my desk? Oh?

Speaker 19 (54:54):
Boss?

Speaker 22 (54:55):
I really didn't think you'd be in today, considering everything.
Why shouldn't I be in?

Speaker 31 (55:00):
One of the best dressed women in America doesn't find
out that her boyfriend is a wolf in best dressed
clothes every day.

Speaker 22 (55:06):
That's enough, Pete, to get out of here and get
to work, all right, Boss, But it's happened to all
of us one time or another. You should have practiced
when you were young. Then you'd know more about what
happened to you. Listen, you brainless little typist. Get out
of here, Go on, get out.

Speaker 31 (55:19):
Okay, I'm going, But I know a good psychiatrist. He
has a couch just made for people like you.

Speaker 22 (55:29):
You know I could quit too. The whole office knew
about it. It pleased their tight little minds that I'd
been caught off guard. Most everyone, including our three vice presidents,
found some sort of excuse to come in and see

(55:50):
the woman who'd been taken in love. They were disappointed
when they didn't find me planning a sudden trip to
London or enrolling in Helena Rubinstein's charm school. But the
lower echelon was even worse, especially the stenographers. They handed
me those grief sharing eyes usually reserved for sixteen year
old girls who've been jilted by the high school full back.

(56:13):
But by five o'clock I swallowed two aspirin and my
pride and called Roy, you.

Speaker 28 (56:21):
Had three cigarettes and two martinis? Any conversation coming up?

Speaker 15 (56:27):
What is it?

Speaker 22 (56:28):
Gross newsprint? For one thing, those nasty little black tracks
on those clean sheets of white paper. They came right
out and said you jilted me, the same way they
came out and said we were a torrid twosome.

Speaker 3 (56:40):
Oh yeah, it's my fault. How fun tomorrow? Un tell
them how wrong they've been.

Speaker 5 (56:45):
You will not.

Speaker 22 (56:46):
Did it only make me look a bigger fool. Besides
they aren't the only ones. Oh, for heaven's sake. To ROI,
I asked that strange looking little man to fill my
glass at tempty. Sure, waiter, I haven't seen one person
today who isn't in high glee over the whole thing.
And incidentally, you look a little too smug to suit
my taste.

Speaker 3 (57:05):
Right now, if we don't, don't do this to yourself.
You're too good a guy.

Speaker 22 (57:09):
It's easy for you to say, I wish I were
in your position and you were in mine. Oh, don't
you look at me that way.

Speaker 28 (57:15):
I'm I'm truly sorry. It's embursed. You're distressed now, but
it'll pass.

Speaker 22 (57:20):
Can you marry someone like her? You'll be bored to
death in six weeks.

Speaker 3 (57:24):
Let's not talk about it.

Speaker 22 (57:25):
What she ever done to deserve you? Gone to a
few parties, made a trip to Europe every year, learned
how to play six hand canasta? Or maybe it's her figure,
y ruth. If it's her figure, remember somebody pounds it
back into shape every morning after those big nights. And
if it weren't for several dozen foundation guards.

Speaker 3 (57:42):
Let's stop at roths.

Speaker 22 (57:43):
You made a fool out of me for some grown
up child who probably never did anything for herself. Servants
paid to live for.

Speaker 3 (57:50):
Please, you're raising your voice people are looking.

Speaker 22 (57:53):
Let them look. A scene in a cocktail lounge makes
good reading. And we always make the papers.

Speaker 3 (57:58):
Don't voice? Will you keep your voice?

Speaker 22 (58:01):
Why don't you go back to Asia someplace and write
another book? I hope I never see you again.

Speaker 8 (58:06):
Ruth.

Speaker 22 (58:15):
Roy looked foolish shouting after me. I looked even more foolish,
trying to make a dignified exit through the tears. Oh,
leave it to me. I did a good job. I
went off stage like a second lead in a little
theater production. The next day, I didn't go to the office.
I felt weak and weary and sick all over, and

(58:38):
I didn't answer the phone until three in the afternoon.
Hello me, Oh, trying to get you all day?

Speaker 19 (58:47):
What for to tell you that we're friends?

Speaker 5 (58:50):
You and I.

Speaker 32 (58:52):
I ain't like the levil to think that you really
meant it when you said you never wanted to see
me again. I sent you a letter last night. I
got to tell you what I said in person.

Speaker 22 (59:01):
Now, look, I'll let me go on you.

Speaker 32 (59:04):
A man rarely meets a woman like you. I was lucky,
real lucky, Ruth. You can send me away all together
if you want to, But I'd miss you for the
rest of my life, and that's the truth.

Speaker 22 (59:15):
But you're going to marry her, Ruth.

Speaker 32 (59:17):
I want to talk with you, calmly, decently, honestly. I
want you for a friend. Mixing a couple of drinks
in my apartment around five tonight, I hope you'll be there.

Speaker 22 (59:38):
All of a sudden, I saw a way out of everything,
and I spent the next two hours getting ready for roy.
I remember I was wearing a new black crape sheet
by there, and my pastel mink. It was a cold night,
but the air made me feel good, better than I've
ever felt. I was politely late.

Speaker 5 (01:00:04):
You came.

Speaker 3 (01:00:05):
Let me take your coat.

Speaker 22 (01:00:06):
Huh, it's a little chili. I think I'll keep it
on Martini Manhattan Music. I think now a Martini.

Speaker 3 (01:00:17):
Already had them fixed. I knew you wouldn't pass up
a Mason special.

Speaker 22 (01:00:22):
You were rather certain in your pretty speech on the phone,
weren't you.

Speaker 28 (01:00:26):
I met it, and I am glad you're here, Ruth,
all of that highly lacquered veneer. You're sure your public
is all right for them, but it's for me. I'll
take you away.

Speaker 19 (01:00:34):
I know you.

Speaker 22 (01:00:35):
Oh tell me more.

Speaker 3 (01:00:38):
Underneath forty thousand dollars a year and being the best dressed.
You're quite a galon one.

Speaker 22 (01:00:44):
Luck told me that this amounts to a hats off conversation.

Speaker 19 (01:00:48):
Ruth.

Speaker 3 (01:00:48):
We're ready to talk to you and I let's do it.

Speaker 5 (01:00:50):
Huh.

Speaker 3 (01:00:51):
For the first time since we met. I know all
about you, I know what makes you work, and I
don't like.

Speaker 22 (01:00:56):
That one bit.

Speaker 2 (01:00:56):
Roy.

Speaker 22 (01:00:57):
I don't like being ripped open for the.

Speaker 3 (01:00:59):
Public to watch it and understand. Touch me, Ruth.

Speaker 22 (01:01:04):
Yes, it's a gun, right.

Speaker 33 (01:01:05):
If I haven't sake, will stop this. He got a
little wrong. Put down that gun, Get a doctor him,
We'll say it was an accident.

Speaker 22 (01:01:19):
Stay away from me.

Speaker 16 (01:01:23):
No, No, it wasn't supposed to be this weight off, Ruth,
I wrote you.

Speaker 22 (01:01:40):
I stood there looking down at him. He tried to
talk again, but he couldn't say a word, and then
all of a sudden he was dead.

Speaker 27 (01:02:02):
At the light is bringing you, Miss e v Arden
in the well Dressed Corpse Lights production in Radio's outstanding
theater of thrills sauspends.

Speaker 29 (01:02:21):
Check your spark plugs, mister Wilcox.

Speaker 28 (01:02:22):
You sure can, Sam, because it pays to have spark
plugs checked and cleaned regularly.

Speaker 16 (01:02:27):
Helps keep a car running right.

Speaker 28 (01:02:29):
Sure does, mister Wilcox, And it only takes a couple
of minutes for an auto light spark plug dealer like myself.
Why when worn out spark plugs are replaced with new
Ignition engineered auto light spark plugs, you will get away
in a flash for a ride that's smoother than a
jigglow's line because you'll get smoother performance, quick starts and
gas savings.

Speaker 29 (01:02:47):
He's off again.

Speaker 28 (01:02:48):
Ignition engineered auto lights spark plugs, you know, are installed
right on the assembly line as original factory equipment on
millions of leading makes of our finest cars and trucks.
Money just can't buy better spark plugs for your car
than Autolite.

Speaker 29 (01:03:02):
You're right, mister Wilcox.

Speaker 28 (01:03:04):
So friends see your neighborhood Autolite spark plug dealer soon
and have him replace worn out spark plugs with world
famous Ignition engineered Autolite spark plugs. And whether you choose
the resistor type or the standard type, you can be
sure you're right, because you're always right with Autolite. And
now Autolite brings back to our Hollywood sound stage, Miss

(01:03:26):
Eve Arden in Elliott Lewis's production of The Well Dressed Corpse,
a tale well calculated to keep you in suspend.

Speaker 22 (01:03:46):
It hadn't occurred to me exactly what I was going
to do after I had killed Roy Mason. I remember, though,
I finished my Martini, wiped up the spill drink, and
then just sat and looked at Roy lying there on
the floor.

Speaker 3 (01:04:01):
Hello.

Speaker 22 (01:04:03):
And then I was aware of someone pounding.

Speaker 3 (01:04:05):
Hello there, What happened? Hello?

Speaker 17 (01:04:10):
Answer me?

Speaker 3 (01:04:11):
Somebody?

Speaker 19 (01:04:12):
Hello?

Speaker 23 (01:04:12):
Hello?

Speaker 22 (01:04:13):
Is everything all right in there? Oh? Hello, missa. I
live in the apartment next door.

Speaker 16 (01:04:19):
I heard gunshots in here?

Speaker 23 (01:04:21):
You did what?

Speaker 22 (01:04:23):
I'll be there?

Speaker 3 (01:04:26):
Oh?

Speaker 16 (01:04:27):
Oh, well, I've been phone the police.

Speaker 22 (01:04:31):
Is there a phone on the desk?

Speaker 5 (01:04:36):
But hello, I'll have an operator.

Speaker 3 (01:04:39):
I give me the police.

Speaker 5 (01:04:41):
Yes, I said the.

Speaker 22 (01:04:42):
Police right away.

Speaker 3 (01:04:43):
There's gonna shoot.

Speaker 22 (01:04:52):
No one lifted a hand to stop me. Downstairs, I
got a taxi back to my own apartment, changed threw
some things into a bag, gathered up my jewelry and
what money I had. I took my car out of
the garage and drove to the station and caught a
train as far as Greenwich. There I registered under another
name at a small hotel. I was going to go

(01:05:14):
on up to Canada the next day, but there was
something I just had to see before I left the country,
So instead I caught a train back to New York. Sergeant, Colinside, Sergeant,
I wonder if you could give me some information.

Speaker 2 (01:05:35):
I'll try.

Speaker 22 (01:05:36):
I'm from the Kansas City Star. I happened to be
on vacation in New York. But as long as I'm here,
I'm trying to cover the Mason case.

Speaker 4 (01:05:43):
Yeah.

Speaker 22 (01:05:44):
Well, has mister Mason been buried yet? Or do you?

Speaker 34 (01:05:48):
Edge Flower Mortuary Rosary tonight, very old tomorrow.

Speaker 22 (01:05:52):
Thank you, sergeant. I was at the edge Flower or
early waiting across the street. It was cold and blustery,
but I wanted to see her walk in. I wanted
to see how well she could take it. But Elizabeth
Granger didn't appear at his rosary. The next morning, I

(01:06:16):
wore dark glasses and a veil. I went to his funeral,
but she didn't. Hello, Pet, I've been waiting for.

Speaker 11 (01:06:34):
You, boss.

Speaker 22 (01:06:36):
Don't you know the police are looking all over town
for you. Pet. Who is Elizabeth Granger? Where does she live?

Speaker 15 (01:06:43):
Oh?

Speaker 22 (01:06:43):
That she isn't in the phone book. She wasn't at
his funeral. There are no pictures of her in the papers.
You know these things. Tell me, please, I can't help you.
Nobody can help you.

Speaker 17 (01:06:56):
Now.

Speaker 22 (01:06:57):
You're a walking dead woman. Pete, listen to me. I
don't want to listen to you. I'm afraid to I'm
afraid I'll end up.

Speaker 31 (01:07:03):
Like you someday, well fed, well dressed, successful, well known,
but dead.

Speaker 22 (01:07:09):
I came here for help, not to listen to your repeat.
Everything you ever said in your life was a lie.

Speaker 31 (01:07:13):
I did your legwork, looked up things for you, verified them,
checked them well. I checked about you, just to satisfy
my curiosity. You didn't go to Stanford or graduate school
at Columbia. You were born and brought up in Hell's kitchen.
You went as far as PS four thirty two. You
hated everything you had and were, and you tried to
wipe it out.

Speaker 22 (01:07:31):
Peter, you must know tell me about Elizabeth Granger.

Speaker 31 (01:07:35):
I'll tell you this much. You're not gonna have the
pleasure of watching her suffer along with you. You know why,
because Roy Mason wrote you a letter that came this morning.
I read it because I never thought i'd see you again.
Do you want to know what's in it?

Speaker 22 (01:07:54):
Yes?

Speaker 14 (01:07:54):
Please?

Speaker 22 (01:07:56):
It makes you look ten times as foolish as you
do even now. He said that there was no such
person as Elizabeth Granger. You're lying. He just invented her,
just invented her to get away from you. You're lying.
There has to be an Elizabeth Granger. Here's a letter,
look for yourself. It was true, every word of it.

(01:08:26):
There was no Elizabeth Granger. Roy just didn't want me
and had to find some excuse. I walked to the door,
wondering what to do, where to go?

Speaker 31 (01:08:39):
One more thing, Boss, ten seconds after you're out that door,
I'm going to call the police here.

Speaker 22 (01:08:50):
I didn't answer or look back. I just ran out
of the apartment house and found a cab and had
him drive me around and around, through streets and down
streets and across streets. I scarcely even saw a policeman
or people. Finally, I left the cab and began walking around,
trying to understand myself and why I'd killed Roy, and

(01:09:14):
everything that came out of my mind revolted me. I
wanted to drink a dozen drinks, a hundred drinks.

Speaker 17 (01:09:21):
You sure you're in the right place, lady, Just give.

Speaker 22 (01:09:23):
Me a double Bourbon Scotch. Triple. I don't care.

Speaker 17 (01:09:27):
Well, you're old enough.

Speaker 22 (01:09:28):
Hurry it up. Here's my money.

Speaker 3 (01:09:32):
Hey, Eddie, get a load of the doll.

Speaker 16 (01:09:35):
Haven't got any dame dressed like that from in the
place like this?

Speaker 17 (01:09:39):
Slumming?

Speaker 3 (01:09:40):
What are you stupid?

Speaker 17 (01:09:41):
As something?

Speaker 34 (01:09:42):
I like to content where life is rough, where men
and men I've seen lots of in my day looking
for thrills. Yeah, yeah, what do you think she came
in here for? I thought it was the White House
and something talk talk talk, talk talk.

Speaker 3 (01:09:55):
So you had a handle a.

Speaker 17 (01:09:56):
Doll like that.

Speaker 3 (01:10:00):
By your drink, ma'am?

Speaker 22 (01:10:02):
Hmmm, no, get away from me.

Speaker 17 (01:10:05):
Oh no, you don't really mean ned, Tony. The drink's
on me.

Speaker 3 (01:10:10):
Why don't we have it in the booth over here?
We can talk?

Speaker 22 (01:10:14):
Get away from me? Who do you think you are?

Speaker 19 (01:10:16):
All right?

Speaker 5 (01:10:17):
Eddie? No?

Speaker 17 (01:10:17):
So what does she think she is? Anyway?

Speaker 34 (01:10:19):
She's got no right in here unless she wants to
be sociable. She's a bombing you know it, Tony, Eddie,
can't you see this as a lady and I go
for a walk?

Speaker 5 (01:10:26):
Lady?

Speaker 17 (01:10:27):
Since when do we have ladies in here?

Speaker 22 (01:10:28):
Give me the drink bartender?

Speaker 16 (01:10:30):
Hey, wait a minute, but she was in the paper
this morning.

Speaker 22 (01:10:35):
She kills somebud. I ran out of there. It was
only a matter of seconds until they called the police.

Speaker 18 (01:10:46):
So I just ran.

Speaker 22 (01:10:48):
I saw a police car and I ran the other way.
Two blocks away. There was another police car at the intersection.
I found an alley and ran down and fell over
sharbage can into the dirty, foul snow. I couldn't get up,
and I cried cold tears.

Speaker 3 (01:11:10):
Come on, dearie, come on, what are you doing?

Speaker 22 (01:11:12):
You'll need this cult where you So that's all right, dearie,
that's all right.

Speaker 35 (01:11:17):
Come on the dress now, Ruby, help me get it
off your b.

Speaker 22 (01:11:23):
I can hear that sense of dressed like that, and
you can't wear it in jail. I'll tear it off
your flat.

Speaker 5 (01:11:38):
Okay, you let them do it?

Speaker 16 (01:11:42):
Why did you let them do We'll get them.

Speaker 11 (01:11:44):
Come on, I got a see.

Speaker 22 (01:11:48):
Don't hurt me, please, I'm somebody.

Speaker 3 (01:11:54):
Yeah, that's what I thought, Frank, I'm so buddy.

Speaker 27 (01:12:24):
Suspense presented by Auto Light Light Star Miss E Varden.

Speaker 3 (01:12:31):
Hey, Sam, d dust my windshield?

Speaker 19 (01:12:34):
Will you?

Speaker 3 (01:12:34):
I can write my name on it?

Speaker 28 (01:12:36):
You can write to mister Wilcox. Can I write why
I blister? Blackboards? Writing about the over four hundred products
made by auto Light for cars, trucks, planes, and boats
in twenty eight plants from coast to coast. These include
complete ignition systems used as original factory equipment on many
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(01:12:57):
windshield wipers, voltage regulators, wire and cable starting motors, all
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part of the Autolite team. So friends don't accept electrical
parts supposed to be as good, ask for and insist
on original factory parts at your neighborhood service station, car dealer, garage,

(01:13:19):
or repair shop. And because all Autolite parts are original
factory parts, you can be sure you're always right with
auto lighte Next week on Suspense, the appearance of the
distinguished star of the New York Stage and the Metropolitan Opera,
mister Etzio Pinza in Aria from Murder. In the weeks
to follow, we will present such famous stars as Paul Douglass, then,

(01:13:42):
in one of his infrequent radio appearances, Fred McMurray, to
be followed by the first Lady of Suspense, missus Acnes
moorehead all appearing entails well calculated to keep you in suspense.
Suspense is produced and directed by Elliot Lewis. Music composed
by Lucian more Awake and conducted by lud Bluskin. The

(01:14:04):
Well Dressed Corpse was written for suspense by E. Jack
Newman and John Michael Hayes. Steve Varden appeared through the
curtesy of the Colgate Palmelli Fleet Company, sponsors of our
Miss Brooks. This is CBS, the Columbia Broadcasting System.

Speaker 1 (01:14:30):
Oh, please have a little more. It is so chilly
as we go deeper into the night. I'd hate for
you to catch cold. Or what's that?

Speaker 16 (01:14:42):
What's that?

Speaker 1 (01:14:43):
Well, well perhaps perhaps, yes, we'll see, we'll see. I
stand by that, we'll see see.

Speaker 3 (01:14:52):
But for now, just.

Speaker 1 (01:14:53):
Enjoy the moment. Just enjoy the dark, the fire burning
by our feet, the warmth fighting the cold to chill.
A battle I don't know will ever end, almost like
a song that never ends, a song of hope and dread,

(01:15:19):
almost murder.

Speaker 36 (01:15:22):
In jazz time, Mutual presents the mysterious Traveler.

Speaker 37 (01:15:53):
This is the mysterious traveler, inviting you to join me
on another journey into the realm of the strange and
the terrifying. I hope you will enjoy the trip, and
it will frie you a little and chill you a little.
So settle back, get a good rip on your nerves,
and be comfortable if you can, as you hear the

(01:16:13):
story I call murder in Jazz Time. Tonight, we're going
to delve into the strange and confusing events in the
life of Alexander Drake. But what person can tell you

(01:16:36):
these events better than alex Drake himself. As our story begins,
Drake is seated at the small table, staring at several
blank sheets of writing paper. Slowly, he picks up a pen, hesitates,
and starts to write.

Speaker 30 (01:16:54):
I scarcely know at what point to begin telling of
the things that have happened to me these past months.
I suppose I should begin with Vicky. Vicky, whom I
have loved ever since we were children. If my love
was never returned by her, I was contented to wait, ever,

(01:17:15):
hopeful that someday she would reciprocate my feelings. We saw
a great deal of each other after she graduated college,
and I watched with interest as she embarked upon a
singing career. Success came to Vicky quickly and smoothly, as
all things did. She sang with several named bands and

(01:17:36):
then became a star attraction.

Speaker 11 (01:17:37):
At the swankier nightclubs.

Speaker 30 (01:17:41):
Several years passed, and then one night, as I had
always dreamed of it happening, Vicky agreed to marry me.
That was the happiest moment of my life. A week
later we were married and driving to New Orleans on
our honeymoon.

Speaker 11 (01:17:57):
Happy darling.

Speaker 38 (01:17:58):
Oh yes, Alex, Yes, no.

Speaker 11 (01:18:00):
Regrets about giving up your career, none at all. Oh,
it's good of you to say that, Vickie. I'll try
to make it up to you.

Speaker 38 (01:18:06):
No, really, Alex, giving up my career is in any sacrifice.
For a long time now, I've known that I wasn't
very good, not.

Speaker 30 (01:18:14):
Very good while you were getting one thousand dollars a
week at the Casa Blanca.

Speaker 11 (01:18:18):
And look at the way your recordings are selling.

Speaker 38 (01:18:20):
Oh, let's face it, Alex. I have a nice voice,
I'm fairly attractive, and thanks to find publicity, I've come
a long way. But I'm not really a very good singer.

Speaker 11 (01:18:30):
Oh nonsense. I think you're a wonderful singer.

Speaker 38 (01:18:33):
That's because you're in love with me, Darling, but I
know better. Take for example, that recording of Easy Living
that I made.

Speaker 11 (01:18:41):
That was one of the best things you ever did. Yes, Alex,
it was.

Speaker 38 (01:18:45):
But have you ever heard the recording that Billie Holiday
made of that number?

Speaker 11 (01:18:49):
No, I don't think I have.

Speaker 38 (01:18:50):
Well, if you had heard it, you'd know the difference
between good singing and really great singing.

Speaker 11 (01:18:55):
You mean, she was so much better, Yes, Alex.

Speaker 38 (01:18:59):
And if I can't be a top blue singer, then
I won't.

Speaker 5 (01:19:01):
Sing it all.

Speaker 11 (01:19:02):
Oh, Vicky, you're young yet it takes time.

Speaker 38 (01:19:05):
No, Alex, you either have it or you don't.

Speaker 17 (01:19:08):
I see.

Speaker 30 (01:19:10):
Is that why you decided to give up your career
marry me? Yes, Darling, I'm glad you told me. Oh look, Vicky,
that sign only thirty seven miles to New Orleans.

Speaker 5 (01:19:20):
Oh wonderful.

Speaker 38 (01:19:22):
At last, I'm going to see New Orleans.

Speaker 5 (01:19:26):
You don't know how long I've waited for this.

Speaker 11 (01:19:28):
Why all this enthusiasm for New Orleans?

Speaker 5 (01:19:31):
Why, Alex?

Speaker 38 (01:19:31):
New Orleans is the birthplace of jazz. Think of all
the great musicians and singers who come from there and
the wonderful jazz they created. People like Willie Johnson, Bertha
Hill and Jack Simmons, and just think Jeff Becker is
still in New Orleans and we can hear him play.

Speaker 30 (01:19:49):
He's the fellow that owns the famous waterfront cafe, isn't he.

Speaker 38 (01:19:52):
Oh, Alex, Jeff Becker isn't famous because he owns a cafe.
Why he's one of the great names of jazz. Many
critics think he's the finest jazz pianist who ever live.

Speaker 30 (01:20:04):
Forgive my ignorance, Darling, I'm afraid I'm just the long
hair at heart. Tell me if this fellow Jeff Becker
is as great as you say, how come I haven't
heard more about him?

Speaker 38 (01:20:15):
Because he's always refused to leave New Orleans. He's had
some fabulous office to play in New York, but he's
turned them all down. That's why he isn't widely known.
But real lovers of jazz come from all over the
country to hear Jeff Becker play at his cafe.

Speaker 30 (01:20:29):
Well, and I guess there isn't any question as to
where we're going tonight, Jeff Becker's it is. An hour later,
we were in New Orleans and registered at a hotel.

Speaker 11 (01:20:44):
Early that evening.

Speaker 30 (01:20:46):
Vicky and I had suppered Antwin's and then we left
for Jeff Becker's cafe. As we drove, Vicky was unable
to hide the excitement she felt. Jeff Becker's cafe turned
out to be a long, rambling, shabby building with a
balcony that ran the length of it and hung over
the river. The inside of the cafe was as unpretentious

(01:21:06):
as the outside. There were forty ancient tables or so,
a small bandstand, and an equally small dance floor. A
mahogany bar ran the length of one wall, with a
long mirror behind it, reflecting the shabbiness of the cafe.
As we were seated, a few musicians began to drift
in and take their places on the bandstand. Vicky whispered

(01:21:27):
excitedly to me the names of the musicians, whom she
seemed to know without ever having seen before.

Speaker 11 (01:21:32):
And suddenly Vicky clutched.

Speaker 14 (01:21:33):
At my arm, Alex, Look, there's Jeff Becker.

Speaker 38 (01:21:37):
Where there he is, walking towards the piano that little
Sandy heard man. Yes, that's Jeff Becker.

Speaker 30 (01:21:44):
I stared at him and felt somewhat disappointed. For no
good reason whatsoever, My imagination had led me to see
Jeff Becker as an impressive looking individual, whereas in reality
he was a slight man, being no more than five
feet five with a plain, undistinguished looking face. He looked

(01:22:04):
a good deal younger than the fifty he was reputed
to be. There were two very attractive looking women with him,
both of whom followed his every move. As he sat
down at his piano, the talk and the laughter in
the cafe died out, and Jeff Becker and his men
began to play. As Jeff Becker played, the disappointment I

(01:22:40):
had felt about him passed with me As he sat
there at the piano, playing smoothly, effortlessly. He was no
longer a small, slight man with a plain face. There
was a warmth and greatness about him, and even I,
who was no lover of jazz, could sense the genius
of Jeff Becker.

Speaker 38 (01:23:27):
Oh, Alex, isn't he wonderful?

Speaker 11 (01:23:30):
Yes? Thinker, he is, he really is, Alex.

Speaker 38 (01:23:32):
Look he's coming this way, Yes.

Speaker 11 (01:23:34):
He seems to be coming to our table.

Speaker 17 (01:23:37):
Good evening, Miss Saunders. Welcome to New Orleans.

Speaker 38 (01:23:39):
Why, thank you, mister Becker, Thank you very much.

Speaker 17 (01:23:43):
Just call me Jeff. Only tourists call me mister.

Speaker 13 (01:23:47):
All right, Jeff.

Speaker 38 (01:23:49):
Oh, This is my husband, Alex Drake.

Speaker 17 (01:23:51):
Read to meet you.

Speaker 11 (01:23:52):
How do you do won't you join us?

Speaker 17 (01:23:54):
Sorry?

Speaker 21 (01:23:54):
No, I only have a minute. The boys and me
got some playing to do.

Speaker 38 (01:23:57):
I've heard brown Bee Boogie played before, but never as
wonderfully as you do it.

Speaker 17 (01:24:03):
Thanks very much, Vickie.

Speaker 22 (01:24:04):
How did you know who I was?

Speaker 17 (01:24:06):
I've seen pictures.

Speaker 11 (01:24:08):
Have you ever heard my wife sing?

Speaker 5 (01:24:09):
Jeff?

Speaker 17 (01:24:10):
Yes, and I have. Well, I got to be getting
back to work. It's been nice meeting you folks. See
you around, Yes, of course.

Speaker 5 (01:24:17):
Huh.

Speaker 11 (01:24:18):
An abrupt sort of fellow, isn't it.

Speaker 38 (01:24:21):
He was being tactful, darling, not abrupt. He was afraid
you might ask him what he thought of my singing.

Speaker 11 (01:24:26):
Well, what's wrong with my asking him that?

Speaker 5 (01:24:28):
Oh?

Speaker 38 (01:24:29):
Nothing, I mean it would have made Jeff Becker unhappy
to have told you the truth about my singing.

Speaker 11 (01:24:34):
Well, anyway, I still think you're great.

Speaker 38 (01:24:38):
Thank you, darling. Oh look they're going to play now.

Speaker 30 (01:24:56):
We sat listening to the magic of Jeff Becker's music
for our When I suggested to Vicky that we leave,
she refused, insisting that we remain until closing time, which
was four in the morning. The next evening found us
once again at Jeff's cafe, and again we remained until closing.

(01:25:17):
Try as I might, I couldn't get Vicky interested in
the sights of New Orleans and a fascinating swamp country nearby.
Night after night, despite my protests, we would end up
at Jeff's cafe. Life to Vicky came to revolve around
these nightly visits, and all else seemed unreal to her.

Speaker 11 (01:25:34):
Soon even I lost track of time.

Speaker 30 (01:25:37):
Weeks passed, and then one night, at closing time, Jeff
Becker came over to our table for the first.

Speaker 11 (01:25:43):
Time since the night we'd met.

Speaker 17 (01:25:45):
How do you folks? Glad to see you still with it?

Speaker 38 (01:25:47):
Hello, Jeff?

Speaker 17 (01:25:48):
Well, how do you folks like New Orleans having a
good time?

Speaker 30 (01:25:51):
Frankly, we've seen very little of New Orleans outside of
this cafe. Well just between earths, ain't very much more
to see, I agree.

Speaker 38 (01:26:01):
Oh dear, it's closing time already. No sooner do we
get here than it's time to go home.

Speaker 21 (01:26:05):
Well, if you'd like to hear more music, why not
stay on? The boys and me always have a small
session after closing hour.

Speaker 11 (01:26:12):
Well, thanks very much, Jeff, but I'm afraid.

Speaker 38 (01:26:14):
That we really oh we'd love to stay on.

Speaker 17 (01:26:16):
Jeff. It's wonderful of you to ask us, glad to
have you see you're around, Vicky.

Speaker 11 (01:26:21):
Enough is enough. We've been here since nine o'clock, Alex.

Speaker 38 (01:26:23):
You don't understand it's an honor to have Jeff ask
you to stay on.

Speaker 14 (01:26:27):
Few people get that invitation.

Speaker 30 (01:26:29):
Well, I'm duly appreciative, believe me. But seven hours is
enough of this place for one night. Now, come along, Vicky,
Let's go back to the hotel.

Speaker 22 (01:26:36):
No, I want to stay for this session, Ricky.

Speaker 30 (01:26:39):
I think I've been more than reasonable, coming here night
after night for weeks. Now it's about time I got
my way.

Speaker 11 (01:26:45):
I insist we leave.

Speaker 38 (01:26:46):
I won't go. I tell you I'm staying here. If
you want to go back to the hotel, don't let
me keep you.

Speaker 30 (01:26:52):
As Vicky screamed at me, for a brief, flashing moment,
I almost imagined I'd seen hate in her eyes. The
shock of that moment was like a revelation. Suddenly I
realized that Vicky had changed, that I was losing her.
Her face as she listened to the music was like
the faces of the musicians and Jeff Becker's himself. Their

(01:27:16):
emotion laid there my turns ecstatic, impassioned and resisting. I
was an outsider looking in on a way of life
of which I could never be part. The lateness of
the hour, the smoke filled room, and my confused thoughts
were too much for me, and I fell asleep with
my head on the table. I have no idea how

(01:27:49):
long I slept, but when I awoke it was daylight.
I became aware of a woman singing.

Speaker 11 (01:27:56):
I looked up. I saw it was Vicky.

Speaker 30 (01:27:59):
Vicky standing on the piano, singing to Jeff Becker, the jazz.

Speaker 39 (01:28:07):
Jezz.

Speaker 5 (01:28:19):
Well, Jeff, I don't know, Vicky, what's wrong?

Speaker 17 (01:28:25):
Hard to say, oh, Vicky. Jazz was born in these parts.

Speaker 21 (01:28:34):
They came from the people people worked on the levees,
the riverside, whalers and in the fields. It was part
of the bone and flesh of old timers like Willie
Johnson and Joe Fletcher. They played jazz the way it
was in their hearts, singing like Chippy Hill just stepped up,

(01:28:55):
flapped our anne's.

Speaker 17 (01:28:56):
And gave out with the blues. That's what I did. Great.
They played and sang as they felt pissy.

Speaker 21 (01:29:06):
Second rate musicians picked up something that was fine and clean,
and took it to the big cities in the north
that they weren't playing for the sake of music, they
were playing for greenbacks.

Speaker 38 (01:29:19):
And is that what's wrong with my singing?

Speaker 17 (01:29:22):
Praid?

Speaker 21 (01:29:22):
So I reckon you had too many teachers, Vicky, and
they all torture to sing by the book or maybe popular.

Speaker 11 (01:29:31):
But it ain't good.

Speaker 3 (01:29:32):
Do you think it's too late to go back?

Speaker 17 (01:29:34):
Hard to say, Vicky?

Speaker 3 (01:29:36):
Do you want to start all?

Speaker 15 (01:29:37):
Oh?

Speaker 14 (01:29:37):
Yes, Jeff, yes?

Speaker 38 (01:29:39):
Would you let me stay on here and sing with
your band?

Speaker 11 (01:29:45):
Alex, you're not singing with the band. Were leading New Orleans.

Speaker 2 (01:29:48):
At once, Alex be reasonab but you know you, Spicky,
we're leading.

Speaker 30 (01:29:51):
New Orleans today and that's final. I'll get your suitcases
from the closet key so that you can start packing.

Speaker 38 (01:30:07):
I tell you, Alex, I'm not leaving New Orleans. Not
only am I staying, but I'm going to sing with
Jeff Becker's band.

Speaker 30 (01:30:12):
Vicky, are you blind? Can't you see what's happening? You're
losing all sense of perception of values. Life to you
has come to mean only Jeff Becker's cafe.

Speaker 11 (01:30:20):
I don't care.

Speaker 38 (01:30:21):
That's where I belong where I really feel alive. If
you love jazz felt about the way I do, you'd understand.

Speaker 5 (01:30:28):
I do understand.

Speaker 30 (01:30:29):
But there are other things besides Jeff Becker and his musing.

Speaker 38 (01:30:32):
There aren't.

Speaker 11 (01:30:33):
Now here's a suitcase, start packer.

Speaker 38 (01:30:34):
It's no use, Alex, I'm not leaving.

Speaker 11 (01:30:37):
You will have to choose between Jeff Becker and myself.

Speaker 17 (01:30:39):
Vicky.

Speaker 38 (01:30:41):
Well, I'm sorry it's come to this, Alex, but I'm
still going to sing with Jeff Becker's band.

Speaker 30 (01:30:50):
It was at that moment I knew that I had
lost Vicky has she turned away from me. An overwhelming
hatred for Jeff Becker surged up within me. Had he
been in the room at that moment, I would have
killed him without any hesitation.

Speaker 11 (01:31:06):
I left the hotel, walked the streets of New Orleans.

Speaker 30 (01:31:11):
I knew that Vicky would never be mine as long
as Jeff Becker were alive, and I also knew that
I couldn't go on without Vicky. There was only one answer.
I returned to the hotel, told Vicky I would remain
in New Orleans with it. Night after night, we continued

(01:31:32):
going to that waterfront cafe, and each night after the
place had closed, Vicky would sing with the band. As
I listened to Vicky sing, even I, who knew very

(01:31:52):
little of music, for sense that her singing was superb.

Speaker 11 (01:31:56):
The musicians in the band.

Speaker 30 (01:31:58):
Looked approvingly and accepted her as one of themselves under
Jeff Becker's almost hypnotic guidance, and she sang with war. Really,
as much as I hated Jeff Becker, I couldn't help
but admire his genius for bringing out talent. The music ended,
and Jeff rose from piano and padded Vicky on the

(01:32:20):
shoulder encouragingly. He left the band stand and started walking
through the cafe towards his office in the back.

Speaker 11 (01:32:27):
This was the moment I had long waited for.

Speaker 30 (01:32:30):
I quickly eased out of my chair, which was in
the darkened part of the cafe, and slipped out into
the balcony. I then ran quietly along the balcony until
I reached the French door that opened into Jeff Becker's office.
I got there just as Jeff sat down at his desk.

Speaker 11 (01:32:45):
He was alone. I opened the door and stepped into
his office.

Speaker 17 (01:32:51):
Oh hello, Alex, what can I do for you?

Speaker 11 (01:32:56):
I've come for my wife.

Speaker 17 (01:32:58):
My wife isn't in here.

Speaker 11 (01:33:01):
Vicky is wherever you are, and I can't have that.

Speaker 5 (01:33:04):
Jeff.

Speaker 11 (01:33:04):
She's got to be mine.

Speaker 3 (01:33:05):
She is yours.

Speaker 19 (01:33:06):
You know that.

Speaker 30 (01:33:07):
No, no, she belongs to you now, she said, as
much as long as you're alive, Vicky will never be mine.

Speaker 17 (01:33:12):
I know that You're wrong, Alex, believe me.

Speaker 11 (01:33:14):
It's mule. She's got to be mine, She's got to.

Speaker 30 (01:33:20):
Be I felt Jeff's body go limp in my hands,
and I knew he was dead. I quickly picked up
his slight body in my arms and carried it out
to the balcony.

Speaker 11 (01:33:40):
There was no one in sight.

Speaker 30 (01:33:42):
I leaned over the balcony rail and dropped Jeff's body.
It fell into the river with a small splash.

Speaker 17 (01:33:51):
And was gone.

Speaker 30 (01:33:55):
I quietly walked to the other end of the balcony
and slipped into my seat in the dark and cafe.
The musicians and Vicky were still on the band stand talking,
and I knew they hadn't missed me during the few
minutes I had been gone.

Speaker 3 (01:34:10):
The ordeal was over.

Speaker 30 (01:34:16):
A week past, and Jeff Becker's disappearance was the talk
of New Orleans. The police questioned everyone, but were unable
to solve the mystery. Vicky was inconsolable and locked herself
in her room at the hotel, refusing to see anyone. Salix, Darling,
please let me in, Darling. You can't stay in your

(01:34:38):
room like this day after day.

Speaker 11 (01:34:40):
You know it isn't good for you.

Speaker 5 (01:34:42):
Vicky.

Speaker 11 (01:34:42):
Let's leave New Orleans, go to New York.

Speaker 38 (01:34:44):
Now, I'm gonna wait until Jeff comes back.

Speaker 11 (01:34:47):
Vicky, Jeff isn't coming back.

Speaker 8 (01:34:52):
What what do you mean?

Speaker 30 (01:34:57):
A body was found floating in the gulf this morning.
The police think it's Jeff's body. Oh no, after a
week in the water, naturally, it was hard to identify it.

Speaker 11 (01:35:09):
Dead. Yes, Darling, it's in all the papers. Oh allie,
you mustn't cry, Darling. Here, let me wipe your tears.
Don't you think it would be better if we left
New Orleans?

Speaker 38 (01:35:32):
All right, Alex, anything you say.

Speaker 30 (01:35:41):
A few days later, we were back in New York.
There was snow on the ground and the air was invigorating.
What had happened in New Orleans seemed like a dream,
a bad dream. At first, Vicky was melancholy, but as
days passed she grew better, and I felt confident that
in time she'd.

Speaker 11 (01:35:58):
Be her old self.

Speaker 30 (01:36:00):
We saw the shows in town and dined at the
finest restaurants, and then one night I took her to
Carnegie Hall to hear the Philharmonic Orchestra.

Speaker 11 (01:36:07):
Here, Darling, here's a program.

Speaker 22 (01:36:09):
Thank you.

Speaker 30 (01:36:09):
Oh, I see they're going to play the rock maninav
first piano Concerto with Andre de Vana soloist.

Speaker 11 (01:36:15):
You've always liked that concetto, haven't you.

Speaker 22 (01:36:18):
Yes, Alex?

Speaker 11 (01:36:19):
Look well, just come up on street young, isn't it Yes?

Speaker 3 (01:36:25):
He is happy, Alex. They're going to play now.

Speaker 30 (01:36:57):
As I sat there in that great concert hall listen
into the orchestra, I became aware of this cordon playing.

Speaker 11 (01:37:05):
I looked at Vicky at other concert doors, but none
seemed aware of it. But this cordancy grew, and then
suddenly I.

Speaker 30 (01:37:13):
Realized it wasn't the music of Black Monatof I was hearing.

Speaker 3 (01:37:17):
It was the music of Jeff Ficker being played faster
and faster, louder and louder.

Speaker 16 (01:37:23):
I walked the post to scream out.

Speaker 11 (01:37:25):
As I put my hands to my ears, I became
aware of my arm being shaken.

Speaker 22 (01:37:28):
It was being corrected.

Speaker 11 (01:37:30):
Gave the music.

Speaker 17 (01:37:31):
Listen to it.

Speaker 22 (01:37:32):
Let's be quiet everyone is looking at it.

Speaker 11 (01:37:34):
I can't stand at anymore.

Speaker 13 (01:37:35):
That's gonna right.

Speaker 22 (01:37:36):
Please be quiet.

Speaker 11 (01:37:37):
Everybody's looking.

Speaker 19 (01:37:38):
Hurry, hurry.

Speaker 3 (01:37:46):
Oh it's gone. Thank goodness.

Speaker 11 (01:37:48):
I can't hear anymore.

Speaker 38 (01:37:49):
What's gone?

Speaker 3 (01:37:50):
The music?

Speaker 38 (01:37:51):
You aren't making any sense. We came to the concert
to hear music. What's wrong with you?

Speaker 17 (01:37:56):
Wrong?

Speaker 11 (01:37:57):
Nothing? Nothing at all. I just suddenly felt ill in
there and had to get out.

Speaker 14 (01:38:02):
Perhaps we'd better see a doctor.

Speaker 22 (01:38:05):
He looks so pale.

Speaker 11 (01:38:06):
No, no, I'm all right now, are you sure? Yes, yes,
Let's go home.

Speaker 17 (01:38:10):
Now, Vick.

Speaker 30 (01:38:14):
All the way home, I kept thinking of the amazing
hallucination I'd had. Obviously it was the result of a
mental strain I had undergone in New Orleans, but with
sufficient rest and relaxation, I would soon forget the horrible
events that had occurred there. Arriving home, I went to bed,
but found it difficult to fall asleep. Hours later, I

(01:38:37):
drifted off into an uneasy sleep, and then I started dreaming.

Speaker 39 (01:38:42):
I dreamt that I was in Jeff Becker's cafe. I'm
the only people there with Jeff and myself. He was
seated at the piano, playing smiling at me. I walked
over to the bandstand, and he spoke.

Speaker 17 (01:38:55):
To me, Hello, Alex, how do you like this number?
Pretty good? Red dead Man?

Speaker 11 (01:39:00):
Eh, you can't play if you're dead.

Speaker 21 (01:39:04):
Yes I can, Alex. You hear my music, don't you?

Speaker 30 (01:39:07):
Yes?

Speaker 17 (01:39:07):
I am always gonna hear it, Alex.

Speaker 5 (01:39:10):
Always.

Speaker 17 (01:39:11):
My music will never die. Even if you did kill me,
It'll go on and stop.

Speaker 38 (01:39:18):
Way, Alex, Alex, what is it you were having a nightmare?

Speaker 8 (01:39:31):
You screened and wrote me up?

Speaker 12 (01:39:34):
I remember now?

Speaker 2 (01:39:36):
What are you dreaming about?

Speaker 40 (01:39:38):
New Orleans?

Speaker 3 (01:39:40):
Yes, go back to sleep, not the game.

Speaker 11 (01:39:42):
I'm all right, I'm all right, I said to her.

Speaker 3 (01:39:47):
But I wasn't.

Speaker 30 (01:39:50):
That was the beginning of a series of nightmares and
hallucinations in which I heard Jeff Becker playing that I
cursed music of his.

Speaker 11 (01:39:57):
When an attack came, I would flee from room to room,
my fingers against my ears, but there was no escape.
I could hear the rhythmic pounding of Jeff Becker's music
in my head join a lot of relentlessly hammering away.

Speaker 5 (01:40:10):
I knew that it would only be a question of
time of bory.

Speaker 11 (01:40:12):
Don't be mad.

Speaker 5 (01:40:14):
I fucked for my sanity.

Speaker 37 (01:40:18):
Good morning, mister Drake. Are you feeling today? Oh, I
see you've done quite a bit of writing.

Speaker 17 (01:40:25):
Good. I'm glad you followed my suggestion.

Speaker 11 (01:40:28):
It's all written down, doctor, everything that happened to me.

Speaker 17 (01:40:31):
It's fine, mister Drake.

Speaker 21 (01:40:32):
I'm sure it'll be of great help to both of us.

Speaker 17 (01:40:36):
You were feeling the mood for a visitor.

Speaker 19 (01:40:39):
Visitor?

Speaker 11 (01:40:39):
Yes, your wife, Yes, I'd like to see the keys.

Speaker 17 (01:40:42):
She's just outside.

Speaker 3 (01:40:43):
I'll have a come in.

Speaker 19 (01:40:45):
Will you come in to today?

Speaker 22 (01:40:48):
Hello, Alic, how are you done?

Speaker 5 (01:40:51):
Vicky?

Speaker 11 (01:40:52):
It's good to see you again and have you near me?

Speaker 22 (01:40:55):
Oh, Alex. Doctor Mitch just says that you're much better.

Speaker 11 (01:41:00):
Yes, yes, I'm much better.

Speaker 17 (01:41:02):
Doctor.

Speaker 22 (01:41:02):
Will you tell him?

Speaker 17 (01:41:03):
Yes?

Speaker 5 (01:41:04):
Tell me what?

Speaker 11 (01:41:06):
Won't you sit down?

Speaker 3 (01:41:07):
Mister Drake.

Speaker 5 (01:41:09):
That's it.

Speaker 37 (01:41:11):
Now.

Speaker 11 (01:41:12):
What I'm going to tell you will.

Speaker 37 (01:41:13):
Come as a shock, but I'm hopeful, little Ridge of
the hallucinations you suffer from. Yes, doctor, mister Drake, you
did not murder Jeff Becker.

Speaker 5 (01:41:24):
But I did.

Speaker 11 (01:41:25):
I did.

Speaker 30 (01:41:26):
I choked him until he was dead, and then I
threw him into the river.

Speaker 37 (01:41:32):
Now, mister Drake, Jeff Becker was not dead when you
threw him into the river. He was only unconscious, and
the water revived him.

Speaker 30 (01:41:41):
His body made a splash, a small splash.

Speaker 37 (01:41:45):
Jeff Becker is alive. He was picked up by a
fishing trawler going to see. Do you understand, mister drake,
Jeff Becker is alive.

Speaker 5 (01:42:00):
You come in please.

Speaker 11 (01:42:02):
I didn't want to do it, but he made me hello.
I like, oh, no, you're dead.

Speaker 5 (01:42:12):
You're dead? Ye?

Speaker 15 (01:42:15):
What?

Speaker 5 (01:42:15):
Your music?

Speaker 3 (01:42:16):
It goes on and on.

Speaker 5 (01:42:18):
I can't get away from your music.

Speaker 19 (01:42:20):
It follows me everywhere.

Speaker 17 (01:42:22):
Can't you fail again? Overwhelming?

Speaker 21 (01:42:28):
It's getting a lot of I can't estate from him.

Speaker 37 (01:42:57):
This is the mysterious traveler again. Too bad about poor Alex,
wasn't it. It just goes to prove you may be
able to escape the law, but there's always your conscience
to reckon with.

Speaker 17 (01:43:10):
What happened to Alex?

Speaker 26 (01:43:11):
Oh?

Speaker 37 (01:43:12):
He finally responded to medical treatment, and today and VICKI
are a very happy couper. However, there are still two
things Alex can't stand, jazz and the sight of rivers.

Speaker 3 (01:43:25):
He's strictly a long hair these days.

Speaker 37 (01:43:29):
I recall another young man once who decided that two
murders are better than one, and so, oh, you have
to get off here.

Speaker 3 (01:43:37):
I'm sorry, but I'm sure we'll meet again. I take
this same train every week at the same time.

Speaker 36 (01:43:58):
You've just heard The Mysterious Trouble, a series of dramas
of the strange and terrifying. All characters in tonight's story
were fictitious, and any resemblance to the names of actual
persons was purely coincidental. In tonight's cast were Maurice Toplin,
Frank Barns, John Alexander, and John Gibson. All recordings heard
in this program were played by Miss Hazel Scott and

(01:44:19):
may be found in her latest album Dat Scott. Organ
music was played by Paul Taubman, sound by George Cooney,
broadcast engineer Al King. The Mysterious Traveler is written, produced,
and directed by Robert J. Arthur and David Cogan.

Speaker 1 (01:44:39):
Well, my dear, I suppose things are getting a bit exciting, eh, Well,
your visit is generally the most excitement I get, aside
from during the witching season. As you know, things get
more exciting for me. My world gets a little bigger,

(01:45:03):
The world in general gets a little bigger, a little darker.
And as I think about all the things I could do,
all the places I could be, all the hope I
could hold on to. I feel comfortable and safe being

(01:45:27):
the thing from the darkness.

Speaker 3 (01:45:41):
Guy, and just be eating on the darkness. Yeah.

Speaker 15 (01:46:05):
H h.

Speaker 3 (01:46:10):
H what's that? Oh? Telephone close? The first chance of
d gets sleep in this country in the dead. Blame
telephone that's awakened. I should let it ring till doomsday. Yes, yes,

(01:46:36):
this is San Canyan Airport. Oh, it's a Don Thurman speaking. Yeah,
there's a plane.

Speaker 5 (01:46:42):
Here where.

Speaker 3 (01:46:47):
Mantella. I don't care much for that trip across the desert,
but you need the plane or willing to pay me
for flying into yet it will make it six hundred.
It's a deal. Oh right, I'll make the arrangements. Yeah,
you can expect me in about about seven hours if
everything goes all right. Yeah fine, I have that six

(01:47:11):
hundred waiting for me. I'll need it at Mantella. Mm hmm.
And let's see north and northeast thirteen degrees and then

(01:47:35):
tell lies in that direction. I'm gonna buck ahead wind
most of the way. I'm afraid and mountains worry me dangerous.
Let's see now this way is Sania.

Speaker 5 (01:47:51):
No, not that way for me?

Speaker 3 (01:47:55):
If I ever ended up in Santia, right, wouldn't want
to bet anything on my chances of getting to that
place coming out to tell about it. M hm m
hm hm. I can't stay up here much longer. That

(01:48:22):
sandstorm over the desert's getting worse every minute. I can't
see a thing down there like his peace soup. Oh confounded,
There goes the motor choked up with sand. Yeah, here goes.
I can't see where I'm heading, but maybe I can
bring her in on her belly war drums, trouble. I

(01:48:57):
have been pounding in my ears for hours. Oh, my
eyes blinded. But that awful sand storm. I can't see
whether it's a dead or night.

Speaker 15 (01:49:08):
Oh I know.

Speaker 3 (01:49:09):
Is that someone found me out there on that desert
and brought me here? Is that someone? Someone there?

Speaker 41 (01:49:16):
I have come to take you through the King will
be placed in the den of the leopards.

Speaker 3 (01:49:23):
Leopards.

Speaker 41 (01:49:24):
It is our custom here to feed uninvited guests as
a sacrifice to the leopards of the pit.

Speaker 5 (01:49:31):
What is this?

Speaker 3 (01:49:32):
It nears the time of the full moon.

Speaker 41 (01:49:36):
When the moon is full, it's rays affect our leopards,
maddens and makes them vicious me uncontrol. Only the flesh
of man will quiet, and only the king can perform
the ceremony for sacrifice. King what King dingels Sentia? Am

(01:49:59):
I it's SENTI you are.

Speaker 3 (01:50:02):
Yes, you have come. A white man is forbidden. But
my plane was forced down on the desert. I was
purposely avoiding Santia. I was trying to reach Mantella. You
wort five hundred miles from Mantella. But I can't be
I was only in that storm for a few hours.
M has been raging for three days. Three days. Why

(01:50:23):
I've been only two hours on the desert. The storm
came up only a few hours ago. The entire desert
has been covered with a storm for three days. I
don't understand.

Speaker 41 (01:50:32):
You were discovered only because the Hona has once again
displayed her temper towards her father, daughter of King Janasi.
It's been arranged that Theanna was to wed within the
changing of the moon. Theanna has reveled, and you attempted

(01:50:55):
to flee Santia through the desert storm.

Speaker 3 (01:50:58):
She was followed. She were discovered there with you. Then
she found me.

Speaker 41 (01:51:05):
Yes, the two of you will return here the tear
to the village. Oh, it will come with me.

Speaker 3 (01:51:15):
I can't see a thing.

Speaker 5 (01:51:16):
Is the justice of Santia.

Speaker 3 (01:51:17):
What do you mean you have to guide me and
take my arm?

Speaker 42 (01:51:24):
No?

Speaker 3 (01:51:25):
All right, let's go this way? How far right? Anama
Hush said, what's the matter?

Speaker 5 (01:51:33):
Canamahs tam a Hossey?

Speaker 3 (01:51:35):
What fundre you talking about? There in a sand Canama Hussey?

Speaker 18 (01:51:38):
Pig?

Speaker 5 (01:51:39):
What I told you? I can't see me?

Speaker 3 (01:51:40):
What Canama hassee? Pig?

Speaker 5 (01:51:42):
Leppard foot follow my man leopard.

Speaker 18 (01:51:44):
Yes, they're in the sand.

Speaker 3 (01:51:46):
Leopard tracks followed by man tracks. Come, Hiraate, waits a minute.

Speaker 5 (01:51:49):
We must hurry.

Speaker 18 (01:51:50):
Evil spirits that loose against my old Hannema Hassei big lewards,
come we hurried.

Speaker 3 (01:52:04):
I have brought you the prisoner, wise one prisoner. Look here?

Speaker 5 (01:52:10):
What is this? You have come? Mister Thurman? Where you
are not?

Speaker 3 (01:52:16):
I tried to tell you flunky here that I didn't
come to sands here purposely. I was headed for Mantella.

Speaker 23 (01:52:21):
Not a very wise man, mister Gorman, to make such
an non wise statement. And Telly is half a thousand
miles from you.

Speaker 3 (01:52:30):
No, I got off my course. I ran into a sandstorm.
My plane was forced down a lack. But it's true
I was blinded by the sand. I'm still blind. If
you have a doctor, I'm.

Speaker 5 (01:52:40):
Blind.

Speaker 3 (01:52:41):
I am I need medical attention right away. It is
the justice of what are you talking about?

Speaker 23 (01:52:51):
Should a white man look up on the countenance of
Princess Yana's I shall be blind.

Speaker 3 (01:52:57):
I don't know what you're talking about, Nazi. I've never
seen your We've found you with her on the descercald
I was unconscious when you found me, but she was
with you. Then she found the same spot where I
took refuge. We are not fool share, mister darmand fools.
I don't understand. It is so ridiculously evidence. What's so evident?

Speaker 23 (01:53:18):
I have met complete arrangements for my daughter the web.
She has refused to marry as I wish her to.
Last night she fled from Santia, and when we found her,
she was with you.

Speaker 3 (01:53:29):
What you think isn't true.

Speaker 23 (01:53:30):
You had the rendezvous there with her.

Speaker 3 (01:53:31):
No how many times should have met, I do not know.

Speaker 23 (01:53:37):
But each meeting has been in complete defiance of the
laws of Santia.

Speaker 5 (01:53:43):
No white man may look upon.

Speaker 3 (01:53:45):
The count and ends of the pre night deny it.
I don't know your print.

Speaker 5 (01:53:50):
The evidence speaks for itself.

Speaker 3 (01:53:52):
Blind on the sandstone, because the gods are venge I
tell you the Scian blinded me. It's only temporary.

Speaker 5 (01:54:00):
It was written ages ago.

Speaker 23 (01:54:03):
Whatever white man looks upon the countenance of Santia princess
will be doomed forever doing time out.

Speaker 3 (01:54:11):
It's not eternal. It's sand blindness. It happens to lots
of men who get caught in sandstones. All I need
is a.

Speaker 5 (01:54:16):
Dark can cure the blindness and down.

Speaker 3 (01:54:19):
But the God give me a chance. I may be
blind permanently if you don't let a doctor look in
my eyes. Change gassi. Oh, doctor approaches.

Speaker 22 (01:54:31):
My daughter and my father?

Speaker 13 (01:54:33):
My father, have you heard what he was in the
campan game last night? Let could put prince on near
your heart? Followed by many Marcy's spirit again in the
full of the moon.

Speaker 23 (01:54:48):
I saw them too many tracks big we most tell
the wise ones. They would work a charm to protect us.
Must oh look chilence, my daughter, Yeah, yeah.

Speaker 5 (01:55:08):
He's a white man.

Speaker 23 (01:55:10):
Look you at his face and tell me where have
you seen him before?

Speaker 5 (01:55:16):
My child?

Speaker 8 (01:55:17):
Right, I do not know him.

Speaker 3 (01:55:21):
I've never seen him before.

Speaker 23 (01:55:23):
But my king I saw them together. Most wise, my
daughter what most wise? To deny your foreign enough?

Speaker 3 (01:55:35):
But I'm not her lover. I've never seen her. I
can't even see her now.

Speaker 23 (01:55:38):
The American is blind enough because he has broken the law,
because he has looked upon the face of the Princess
of Santia.

Speaker 3 (01:55:47):
The gods have blinded him. It's not true. I've never
seen her face. Ask her, she'll tell you it's not true.
He go back to the prison mate.

Speaker 5 (01:55:55):
Wait there toil the body of wise ones in George.
One of his drive.

Speaker 8 (01:56:05):
H m h m hmmm.

Speaker 3 (01:56:10):
Mm hmm. The knife.

Speaker 5 (01:56:16):
He's a nine huey on.

Speaker 11 (01:56:20):
Mm hm.

Speaker 5 (01:56:22):
H m hm.

Speaker 22 (01:56:29):
H h h h h h.

Speaker 3 (01:56:37):
H those drums. He's still pounding. My eyes burning in
my head. If I could only find a little cool water. Yeah,
I wonder where I am. King told you I'm to
take me to the prison, but instead he brought me

(01:56:59):
here here where m hm, somewhere off in the open, bushes,
shrubbery all around it. Wait a minute, what's that a
light up there through the trees. A light? Why it's

(01:57:21):
a star. I can see. I can see again, one lonely,
single little star in a sky of heavy clouds. There
coming over the ridge, the full moon. What's that? Someone
something there in those bushes? Is someone there.

Speaker 5 (01:57:45):
Who is it.

Speaker 3 (01:57:47):
Princess Sanna, do not.

Speaker 8 (01:57:48):
Speak too loudly.

Speaker 3 (01:57:49):
Why are you here?

Speaker 25 (01:57:51):
I came to see you. I went first to the prison,
but it was empty. Then I knew there had been chickery.
Jvan did not do when I order, no, drop me
here instead. When are we on the edge of the corner,
the connor the precipice. Yes, tis hundreds of feet over

(01:58:11):
the side of the corner. Listen this rock, I will
show you.

Speaker 3 (01:58:22):
One knew you were blind.

Speaker 25 (01:58:25):
He left you here alone, knowing you would eventually wander
over the edge and be crushed on the jagged rocks
down there. He could not wait for the sacrifice.

Speaker 3 (01:58:36):
Sacrifice.

Speaker 25 (01:58:37):
Yes, with each fullness of the moon, the leopards in
the pitus on Tea become madly enraged.

Speaker 8 (01:58:46):
The wise men say the moon rays affects them. They
must be appeased by the flesh of a.

Speaker 25 (01:58:53):
Human, and the moon will soon be full again. Yes, Donaldo,
pleasant thought. But Ivanne could not wait. He years all americanus,
so he brought you here to be a victim.

Speaker 3 (01:59:09):
Of the Khanah nice fellow.

Speaker 25 (01:59:12):
I despise him, My father says I must marry him.

Speaker 3 (01:59:16):
You mean you don't mean you're supposed to marry him.

Speaker 22 (01:59:19):
Do you blame me for running away?

Speaker 3 (01:59:21):
I certainly don't.

Speaker 8 (01:59:22):
Even dead on the desert would have been deader than him.

Speaker 3 (01:59:26):
Princess, Why have you come here?

Speaker 8 (01:59:28):
Because I would not have you die as Ivan wishes?

Speaker 3 (01:59:34):
How did you find me?

Speaker 2 (01:59:35):
I have ways?

Speaker 5 (01:59:36):
Tell me?

Speaker 3 (01:59:37):
Evan said, the storm on the desert had been blowing
for three days? Is that true? Is it is true?
But I was only an hour and a half journey
from San Filidor. I ran into the storm suddenly.

Speaker 42 (01:59:49):
I cannot say about that. Snato your eyes you look
upon me as though as though you see me.

Speaker 3 (01:59:59):
I you said, just come back. I'm not glad I
can see again.

Speaker 13 (02:00:05):
No, I mean, oh, yes, that to know to look upon.

Speaker 3 (02:00:10):
My faith nonsense, it's all a lot of tribe.

Speaker 5 (02:00:17):
Evil leopard.

Speaker 3 (02:00:18):
Oh look here, what is this evil spirit?

Speaker 13 (02:00:21):
Leopard? But if it goes tracks always followed by those
of men they killed there full of morn.

Speaker 3 (02:00:26):
A leopard man, because he is a leopard man. Have
you ever seen him? Come on, that's right over here someplace,
And now don't have care.

Speaker 13 (02:00:38):
If he is an evil.

Speaker 3 (02:00:40):
You have any kind of a weapon, give it to me.

Speaker 13 (02:00:43):
No weapons will hunt him as I will.

Speaker 3 (02:00:46):
See wait the clouds. Oh there he is over there.

Speaker 8 (02:00:51):
Defun o O look at him. He would die.

Speaker 3 (02:00:56):
We must take him back to the villain's unconscious jule
when not task you, who's that?

Speaker 23 (02:01:03):
Advance to your hut, remain there.

Speaker 41 (02:01:08):
I fear the gods even now hired their faces from you.

Speaker 13 (02:01:12):
But father, he vanished sadly ad once, Oh.

Speaker 3 (02:01:18):
Mister man, this man needs attention. Put him out what
I said, put him down. But he's badly wounded by
the claws of an anime. Yes, he heard the animal screaming.
The princess tells me it's a leopard.

Speaker 23 (02:01:28):
Man, it is Strowdmase, the evil spirit, a spirit which
takes possession of a man and changes him into a leopard.

Speaker 3 (02:01:40):
Yes, but what man who we have not known up
to now? Up now?

Speaker 43 (02:01:50):
Look at your hands. Mhm blood, Ye needs your nails.
But it is an evil disease, mister Turman. To bring
it here among us, he is still more evil. But
I say, look here, do you think I did that
a bit? Look at your hand so no, you're wrong.

(02:02:14):
It's Evan's blood.

Speaker 19 (02:02:15):
So it is.

Speaker 3 (02:02:15):
I got it on my hands when I try to
help you.

Speaker 23 (02:02:17):
Put him down, mister Turman, I do not try to escape,
then will be returned to the camp.

Speaker 3 (02:02:26):
Our medicine men.

Speaker 5 (02:02:27):
Will heal him. Oh, will go with me?

Speaker 3 (02:02:31):
Now where your spirit? What's be destroyed?

Speaker 17 (02:02:38):
Mm hmmmm.

Speaker 8 (02:02:41):
Mm hm.

Speaker 3 (02:02:44):
Hm m hm.

Speaker 23 (02:02:50):
You have held division of our head there is mister tarman.
You are guilty of the most power scene against us.
You must pay the penalty, and your unfortunate daughter are
equally easy with him.

Speaker 5 (02:03:08):
I cannot pay for you. The law is so written.
You have seen two yana.

Speaker 3 (02:03:14):
Tomorrow night, the two of you shall perish. Mm hmmm.

Speaker 18 (02:03:24):
Mm hmmm mm hmmahah.

Speaker 41 (02:03:35):
The stone stairway leads to the leopard pit. The two
of you row.

Speaker 3 (02:03:42):
First, come another deep taith and thinking of you Ianna
yah yah.

Speaker 15 (02:03:57):
H h.

Speaker 11 (02:04:03):
H h.

Speaker 13 (02:04:11):
This pitches a hundred feet into the earth.

Speaker 8 (02:04:16):
We're halfway down there.

Speaker 3 (02:04:18):
Look up above us, good Lord, This pit is immense,
huge and wrong. Yes, you look up there. All the
tribes people send to your perched around its ridge, peering
down to watch this tacrify. How can they see down here?
It's pitch dark. Can hardly make our way in the blackness.

Speaker 13 (02:04:36):
Soon the full moon will be directly above the pitch.

Speaker 25 (02:04:41):
It is only when the moon is full, that its
rays rich here into the tat, and its beams madden
the leopards.

Speaker 3 (02:04:51):
I see the beasts, now, two of them. There's a
man down there with them, petting them. Look your father, No,
he's a white man. M I too am white, but
I am not his daughter.

Speaker 25 (02:05:05):
He has been king of Dantia for many years. He
stole me when I was an infant at Montayla because
he wanted a white princess's coming over the edge of
the pit. The people up there canzias. Now you see

(02:05:26):
the moon rays affects the beasts.

Speaker 3 (02:05:28):
Quickly move one down through the pit's bottom.

Speaker 22 (02:05:33):
Come, Donaldo h.

Speaker 3 (02:05:44):
Iana, there must be some escape for you.

Speaker 22 (02:05:47):
I am not afraid, Donaldo noh.

Speaker 3 (02:05:50):
Isn't there any way to escape?

Speaker 11 (02:05:55):
Only one?

Speaker 3 (02:05:57):
An impossible one? What does he mean?

Speaker 25 (02:06:02):
It has always been a belief if the prisoners are
not truly guilty, the leopards will not harm them.

Speaker 3 (02:06:14):
There the full moon is directly over the pit. I
remain here, you too, through this irony is.

Speaker 14 (02:06:25):
Come.

Speaker 25 (02:06:29):
There is only one margate now, the one that separates
us from the animals.

Speaker 3 (02:06:36):
Come that man controls those animals of the full moon.
Then there is another way if we can keep away
from the animals until the moon has crossed the pit, No,
that would be ours.

Speaker 22 (02:06:50):
Never will be released upon us any moment.

Speaker 3 (02:06:54):
This is as far as we go.

Speaker 5 (02:07:00):
Yeah, I don't know. Ye.

Speaker 3 (02:07:06):
If I could only save you, there's no way.

Speaker 13 (02:07:09):
Courage.

Speaker 3 (02:07:10):
No, I'm not afraid for myself.

Speaker 23 (02:07:12):
Oh oh die oh I offered you all for the
gods upping the game.

Speaker 3 (02:07:21):
Where is he yelping?

Speaker 8 (02:07:22):
Look the moon?

Speaker 22 (02:07:24):
He is gone.

Speaker 12 (02:07:26):
No no, I didn't have it behind the clough.

Speaker 2 (02:07:30):
And do you kill you?

Speaker 11 (02:07:35):
Oh no, no, no, do.

Speaker 3 (02:07:42):
Join me? No, do stand to see you have heard

(02:08:11):
the thing from the Darkness. Tonight's original Tale of dark
Patasay by Scott Bishop, originating in the studios of w K. Y.
Ben Marris was heard tonight as Donald Thurmon. Eleanor Naylorcarran
was Princess Eanna. Fred Wayne played King Tanase and your
hype was Yvonne.

Speaker 1 (02:08:34):
I think savoring your time of year is very important.
It's why holidays are soul beil. It makes sense, you know.
We get used to everything. We get used to our
nights and our evenings and our days. We get used
to our jobs and our friends. We get used to well.

(02:08:57):
The air in our lungs. So hard for anything to
be special after so long. But when a day is special,
when a time is special, it breaks apart the monotony
and allows you to appreciate the moment that much more

(02:09:18):
so that you don't waste your time, or worse, you
don't commit murder in haste.

Speaker 44 (02:09:27):
The Signal Oil Program, the Chistler, that is your signal
oil program.

Speaker 40 (02:10:09):
I am the Whistler, and I know many things. For
I walk by night.

Speaker 45 (02:10:15):
I know many strange tales hidden in the hearts of
men and women who have stepped into the shadows.

Speaker 40 (02:10:22):
Yes, I know the nameless terrors of which they dare
not speak.

Speaker 44 (02:10:34):
Yes, friends, it's time for the Whistler, rated by independent research,
the most popular West Coast program. And remember, let every
traffic signal remind you with new signal gasoline you do
go farther than ever. Look for the familiar big yellow
and black circle sign that identifies those popular signal service

(02:10:55):
stations in seven Western states from Canada to Mexico.

Speaker 12 (02:11:00):
And now the Whistler's strange story Murder in Haste.

Speaker 45 (02:11:13):
Albert Taylor was two people to the Cafe Society crowd
in Miami. He was the charming young husband of a
silver fortune from Denver, aged forty five, amply mature, and
a little crotchety. To his wife Helen the silver fortune,
he was something else again, an unpleasant little boy whose

(02:11:35):
unpleasantness had to be bought off with hundred dollar bills
instead of chewing gum was made for friction.

Speaker 40 (02:11:42):
Of course, after.

Speaker 45 (02:11:44):
Three years of marriage, Helen was heartily sick of both
Albert's and more careful with the hundred dollar Billhoos and
Elbert too had reached the saturation point. As a matter
of fact, the unpleasant little boy was on the verge
of a tantrum.

Speaker 22 (02:12:00):
Elvers, Is that you?

Speaker 12 (02:12:02):
Yeah, Elvers?

Speaker 40 (02:12:04):
I'm awfully upset.

Speaker 12 (02:12:06):
Oh what now? My bracelet, the diamond and Emerald room.

Speaker 40 (02:12:10):
I put it in the drawer of my vanity.

Speaker 35 (02:12:12):
Last night after the party.

Speaker 40 (02:12:14):
Well what about it? It's gone.

Speaker 12 (02:12:16):
I've questioned the servants and the as you call the police.
No good, what do you mean?

Speaker 45 (02:12:24):
I told you i'd get money somewhere, Helen, you of
course I took it, I see, And what did you
do with it?

Speaker 12 (02:12:31):
I sold it? Of course? What do you expect? I
think I'm going to sit up and beg you for
every time I need five dollars. Sure that's what you want,
isn't it. Come on, come on, watch Albert the train terrier.
He sleeps, walks, talks, thinks like a human being. Enough
you better, it's enough. I'm sick of it. I'm through
being your favorite charity.

Speaker 35 (02:12:48):
You do know how right you are?

Speaker 12 (02:12:51):
What does that mean? It's very simple.

Speaker 10 (02:12:55):
I'm going to call the police and tell them you've
stolen my bracelet.

Speaker 3 (02:12:58):
Wait a minute, don't be rich it.

Speaker 12 (02:13:00):
Keep straight from give me.

Speaker 8 (02:13:01):
That phone for you.

Speaker 40 (02:13:04):
It's a disagreeable.

Speaker 1 (02:13:08):
Do you want to watch me?

Speaker 40 (02:13:09):
You want to crack the weapon?

Speaker 3 (02:13:10):
Watch me jump.

Speaker 40 (02:13:13):
Go feet to ours. I'd like to shake you unto.

Speaker 14 (02:13:19):
Thee.

Speaker 45 (02:13:35):
Well, Albert, why don't you do something? Why don't you
go over there to the heart and help her up?
Or perhaps you're not as dazed as you look standing
there in the middle of the room. Maybe even now
you realize Helen isn't going to get up because she
struck her temple on the end and when you held
her across the room. Yeah, Albert, she's lying there, so

(02:13:59):
they still because she's.

Speaker 2 (02:14:04):
Dead.

Speaker 44 (02:14:12):
And with the prologue of Tonight's story, Murder in Haste,
the Signal Oil Company brings you another strange story by
the Whistler. When you see those big New Signal billboards
that say go.

Speaker 12 (02:14:31):
Farther than ever with New Signal.

Speaker 44 (02:14:34):
Gasoline, remember it's power that puts more mile age into
New Signal Gasoline. Amazingly increase power the chemists created by
actually rearranging the atoms in gasoline molecules. You'll notice signals
power first in the way your motor springs to life
the instant you touch the starter. You'll notice signal power

(02:14:54):
again in the way your car steps ahead in traffic
with pickup that makes you proud. You'll notice it in
the knock free purr of your motor on hill steep
ones that you'll breeze up in high Yes, New Signal
Gasoline is packed with a kind of performance that makes
even old cars feel young again. But while you're enjoying
this performance, don't forget the amazing power and New Signal

(02:15:18):
gasoline that makes this performance possible. Also makes New Signal
more than ever the go Farther Gasoline.

Speaker 12 (02:15:28):
And now back to the whistler.

Speaker 45 (02:15:37):
Mm yeah, Albert, There'll be no more ugly squabbles over money,
no more jumping through hoops, for Helen because the last

(02:15:58):
argument was final. Wasn't it so final? That Helen lies
dead in front of the high A minute later, you've
decided I'm the only course of action possible. You leave
her in her bedroom and lock the door. The servants
in their separate quarters are used to your arguments and
probably have paid no attention. Two hours and twenty minutes later,

(02:16:20):
you're standing on the observation platform of the Limited Express
bound for Jacksonville in Points North.

Speaker 12 (02:16:29):
Nice night, Oh I didn't hear you come up? Sorry?
I said it was a nice night. Yeah, yeah, I
saw you running for the train when we were pulling out.
Just made it, didn't you. Yeah, it's kind of close,
are right?

Speaker 40 (02:16:46):
You've been in Miami long?

Speaker 12 (02:16:48):
No, I've been fishing off the keys just a week
or so to see. My name's Ricketts.

Speaker 22 (02:16:55):
I know you.

Speaker 12 (02:16:56):
I'm Brown, Richard Brown. You going up to New York Brown?

Speaker 3 (02:17:04):
That's right?

Speaker 12 (02:17:06):
Well, I uh, I guess I'll be getting inside Ricketts.

Speaker 3 (02:17:10):
Good idea, I'll go with you.

Speaker 40 (02:17:22):
You knew at the minute he opened his mouth, didn't you.

Speaker 45 (02:17:24):
Albert Ricketts is a plain clothes cop, and there can
be only one reason why he's so interested in you.
He's right behind you as you walk back through the
train to your seat, and you're wondering if you'll sit
beside you when you stop there. Then when you're ten
feet from it, it hits you. You realize why he's
following you. Your luggage with your initials et on it

(02:17:46):
is in the baggage rack over the seat, and Ricketts
is just waiting for you to stop there.

Speaker 12 (02:17:51):
You'll hold your breath and keep on going. Uh Brown, Yeah,
isn't this your seat?

Speaker 3 (02:17:58):
Why?

Speaker 9 (02:17:59):
No?

Speaker 15 (02:18:00):
Oh?

Speaker 12 (02:18:00):
I have a compartment up ahead. Oh I see, Oh,
good night Brown, good night.

Speaker 45 (02:18:14):
There's only one place to go, the club car and
the bar where you can sit for a minute and think. Yes, sir,
I make it to Manhattan, dry rye, Manhattan, right, thank you?
Oh is this your magazine here?

Speaker 22 (02:18:29):
Sir?

Speaker 15 (02:18:30):
What?

Speaker 5 (02:18:30):
Oh? No?

Speaker 15 (02:18:31):
No?

Speaker 5 (02:18:32):
Sure?

Speaker 3 (02:18:33):
Are you going to New York? Yes?

Speaker 12 (02:18:36):
I want to be cool up there this time of year,
A lot of snow and all that. Yes, I suppose,
So you know, I'm as excited as a kid. I
haven't seen snow for an age. Matter of fact, I
haven't set foot in America for twell five years. It's
great to be back. I get a kick out of
just talking to Americans again. Yeah, I was sitting in
my compartment a few minutes ago, and you have a compartment.

Speaker 3 (02:19:00):
Oh yeah, yeah, a couple of cars ahead.

Speaker 12 (02:19:01):
Oh my name's Brown, mister Jamison, Leslie, Jamison, Jamison.

Speaker 45 (02:19:09):
Wait a minute, jown up the mystery writer. I'm afraid
I am here, sirra man hands. Oh thank you, Well,
here's to you, mister.

Speaker 3 (02:19:20):
What's the matter?

Speaker 5 (02:19:22):
Oh?

Speaker 12 (02:19:23):
Nothing, say see Jamison. Why don't we go to your
compartment be quieter there, we could have the drinks and.

Speaker 3 (02:19:31):
Why of course you'd like.

Speaker 45 (02:19:40):
Yeah, al, but the compartment would be quieter and you
would feel a little more comfortable, particularly since you noticed
your friend mister Ricketts stroll into the bar and sit down,
still hunting for the occupant of your seat. No doubt,
mister Jamison finds the compartment pleasanter too.

Speaker 5 (02:19:58):
Well.

Speaker 12 (02:19:59):
A man can't stay forever in Buenos Aire's and continue
to write for the American public. Has to keep in touch,
you know, don't you think so? Oh yes, yes, of course.
So you say you left Buenos Aires. Huh, yeah, it's
planned to anyway, but made it a little earlier on
a kind of that nasty business with my assistant. Yes,
I see. Oh, I'll probably go back in a year

(02:20:20):
or so. Did you ever read anything of mine?

Speaker 5 (02:20:22):
Bron?

Speaker 45 (02:20:23):
I can't say I've done much reading in the detective storyline.

Speaker 12 (02:20:27):
You have a serial running in one of the magazines
right now, haven't you, Yes, Murder in haste. I don't
suppose you're reading it.

Speaker 40 (02:20:34):
No, I'm sorry.

Speaker 12 (02:20:35):
If i'd known I was going to meet the author,
i'd have bulled.

Speaker 22 (02:20:37):
Up on it.

Speaker 3 (02:20:37):
Oh, don't apologize, Bron. Well, how about a nightcap before
we turn in?

Speaker 26 (02:20:43):
Eh?

Speaker 12 (02:20:43):
Oh, it's early, Jamison. Surely you're not going to give
up the ship so soon. Well, I've got to confess
on a little bush I've.

Speaker 3 (02:20:50):
Been writing on like a magpie all evening.

Speaker 12 (02:20:52):
Yeah, there you are.

Speaker 3 (02:20:54):
Thanks.

Speaker 12 (02:20:55):
Ah, that's beautiful, brandly none better? Well Brown, What do
we drink too?

Speaker 8 (02:21:00):
Oh?

Speaker 15 (02:21:01):
I have?

Speaker 12 (02:21:01):
It's a crime, Bron, mighty profitable business for me at least. Yeah,
here's the crime. Hey, you know that's a murder is
my business. And yet I've never in my life seen
a murdered man a thank, No ever been in a
police court, hardly ever known a policeman. I'm really sort

(02:21:23):
of a phony. When you get right down to it. Well, Brown,
it has been great talking to you. Tell me more
about your agents. You were saying you've never met him personally. Oh, Pharaoh,
he's a great agent. I've often wondered what he looks like.
Sometimes I think he must be a magician with a
long beard, the way he pulls royalties out of her hat.

Speaker 3 (02:21:42):
Uh huh?

Speaker 12 (02:21:42):
Who sold by leading character to a radio series?

Speaker 44 (02:21:45):
Wow, you've never even been to New York never, Probably
the only man in the business who can say that.

Speaker 3 (02:21:51):
Well, Brown, it's close to Josh.

Speaker 12 (02:21:53):
What about the cereal you're running? Maybe you could bring
me up to date on it. I tell you about
it tomorrow, Brown, awfully tired. I'll see here. I don't
want to be rude, but I'll have to.

Speaker 5 (02:22:05):
Ask you to.

Speaker 19 (02:22:07):
But what what's back?

Speaker 5 (02:22:08):
It's going to stop, stop.

Speaker 15 (02:22:09):
And.

Speaker 45 (02:22:20):
An open switch, a signal down, and the southbound local
is suddenly there on the same track without warning.

Speaker 40 (02:22:28):
It's over in a split second.

Speaker 12 (02:22:29):
And then you open your eyes.

Speaker 40 (02:22:31):
Albert, you're all.

Speaker 45 (02:22:32):
Right, miraculously safe in the tangled network of steel and
sprinted wood. That used to be a pullman car. And
there's Leslie Jamison. He wasn't so lucky Albert. There's nothing
you can do for him.

Speaker 3 (02:22:46):
Now.

Speaker 45 (02:22:47):
The other end of the coaches in flames, and they're
moving towards you. Finally you manage to get out.

Speaker 12 (02:22:52):
Gotta get up through this window, watch this glass.

Speaker 3 (02:22:56):
Let me help you give you a hand.

Speaker 12 (02:23:01):
Oh thanks, all right, I think son a little Disney
for shuret oh to mister Brown. Oh rickets, you're lucky.
This coach got it worse the ball I got fire
got out justin John I Funny were drinking with at
the bar. What're your compartment with you? He's still in
there my compartment. Pretty sure he's Albert. He tailor murdered
his wife in Miami. Is he still there?

Speaker 3 (02:23:20):
No?

Speaker 12 (02:23:21):
No, he he left a few minutes before the crash.
Well you better get on ahead, mister Brown. I gotta
get my hand here. Can you make it up to
the crossing. There's a highway restaurant up there. Show sure.
I'm okay, thanks, okay.

Speaker 45 (02:23:31):
Well, Albert, you stand there dazed for a minute, watching
the fire move closer.

Speaker 40 (02:23:45):
Then you decide to take a chance.

Speaker 45 (02:23:47):
Go back to Leslie Jamison's body, take his wallet, his ring,
and watch exchange them for your ring and watch.

Speaker 12 (02:23:54):
Engraved to Elbert with all my love Helen.

Speaker 45 (02:23:57):
Then, as the flames move close, in his briefcase and
bag and crawl out for him. Ten minutes later, you
stagger into the Highway restaurant, into the grade crossing, say one,
if you fellows can help.

Speaker 12 (02:24:11):
Me, I hurt, mister, We got the doc in the
back room. Come on, no, no, I'm all right. I
just want to get out of here. I thought I
could hire a car, get a bus.

Speaker 3 (02:24:18):
In New York.

Speaker 45 (02:24:19):
You were in the wreck, yeah, they I'm the AP
correspondent here. Could you give me a name?

Speaker 12 (02:24:23):
Uh, I'm Leslie Jameson. Say aren't you the fellow who
writes those murder mysteries? Yeah?

Speaker 3 (02:24:32):
Yeah, that's right.

Speaker 12 (02:24:33):
Well if they adn't a coincidence, Frank, only last night
you and me made that bet. Yeah, and now we
can settle it once and for all. Yeah, we was
betting which one would turn out to be the murder
in that Syria you're running in a post. Oh wow,
that's very flattering. Now I wonder if you could help
me about the bus I named mister Jamison. Could could
you give us an advanced tip on the murderer? Yeah?
Then we won't have to wait for the magazine to
come out tomorrow. Who wasn't mister Jamison? Pooh, well I

(02:24:54):
don't think that would past couple of coffee? Yeah sure, oh,
rickets Oh pretty rough out there, three cars gone. What
do you guys stand around here for? You've been out
there and looked at it? Why I gotta stand by that.
I'm a reporter, Palin, I'm getting a story, or I
was until you. How do you feel?

Speaker 5 (02:25:11):
Brown?

Speaker 40 (02:25:12):
Brown?

Speaker 12 (02:25:13):
That's Leslie Jamison, the writer. Huh, I thought your name
was brown? Well, of course, I well, do you know
how it is?

Speaker 3 (02:25:20):
Here's your coffee?

Speaker 46 (02:25:21):
Thanks so, mister Brown, I don't know how it is?
How is it LESLEYE. Jamison, famous mystery story writer? Well,
traveling incognito? Escape you see, Ricketson, I didn't want to.

Speaker 3 (02:25:39):
Oh, I get it.

Speaker 12 (02:25:40):
We've been reading mister Jamison cereal in the post murder
in Haste, had a little bit with Frank here on
who the murder was.

Speaker 45 (02:25:45):
Well, I can tell you that I read the last
installment last night. Yeah, sure, got it the newsstand in Miami. Well,
we ain't got it here yet. Well, mister Jamison, who
done it?

Speaker 12 (02:25:55):
Well? I don't want to spoil the story for you.
You ought to finish braid me?

Speaker 40 (02:25:59):
Want buy another copy of the magazine?

Speaker 3 (02:26:01):
Yeah?

Speaker 12 (02:26:01):
Yeah, Come on, Jamison.

Speaker 45 (02:26:03):
Well it's a matter of ethics.

Speaker 12 (02:26:06):
A writer in ethics, I know how it is. You're Jamison.
I can tell the boys. I got it straight from
the office mouth. Come on, now what goat? Well, I
don't want I got your car, lieutenant. Oh good, I'll
be right with you.

Speaker 3 (02:26:18):
Hey, you guys know anyone wants to go to New York.

Speaker 12 (02:26:20):
I got a car and I want someone to share
the driver. Well, James, jo I used that you were
going to New York, didn't you, Jamison. As a matter
of fact, you can come with me. Huh, give me
a hand with the driving. Come on, all right, well
the first give him a break. Tell them who the
murderer was. Oh no, I'm sorry, it's against my principles.

Speaker 3 (02:26:39):
Well it's your business.

Speaker 12 (02:26:40):
Come on, Hey, was the old lady?

Speaker 5 (02:26:44):
Did it?

Speaker 3 (02:26:57):
You got hotel space in New York? Jameson, No, no, jet,
I thought i'd arrange that when I arrived.

Speaker 12 (02:27:02):
You haven't been around much lately, I say, probably isn't
a room that he had had that worse, But I
think I might be able to fix up at the
Midtown I.

Speaker 3 (02:27:10):
Know the manager. Oh I couldn't possibly, Oh forget it.
Jameson glad to help you out.

Speaker 15 (02:27:23):
M m.

Speaker 12 (02:27:26):
Can you fix them up?

Speaker 5 (02:27:27):
Waller?

Speaker 12 (02:27:27):
Oh I think so. Just signed the register, mister Jamison,
Leslie Jamison, the writer.

Speaker 3 (02:27:33):
Why didn't you say so?

Speaker 12 (02:27:34):
Look, I don't want to put you out own nonsense.
We're honored, mister Jamison. I'm a mystery fan myself. I
want to tell you that murder and Haste has me
food right up to the last page. Oh, Peters, this
is mister Leslie Jamison. I get the boys over. I
want to take a few pictures. Pictures, No, no, no,
wait a minute. I don't want to know nothing to it,
mister Jamison. Just a couple of the boys in the

(02:27:55):
Star Express. I know you're tired, but it won't take long.
And Peters, have some flowers sent up to mister Jamison's room.
We'll have the pictures taken there. Peters is our press agent,
mister Jamison. He'll take care of you. Oh certainly will,
mister Jamison. Right this way. See look here, Peters, you

(02:28:15):
look like a reasonable man. I never have my picture
taken and I don't intend to stand for it.

Speaker 3 (02:28:20):
Now, you just don't know.

Speaker 12 (02:28:22):
New York News paper photographers, mister Jamison, it's much easier
if you give in. What will happen if I refuse?
You'll find out? And you did find out, didn't you, Elbt,
You were helpless.

Speaker 45 (02:28:40):
There was nothing you could do. They came, they saw,
they took pictures, and all you could do was rage
and try to keep your face covered.

Speaker 40 (02:28:48):
That only made a better story for them. They were delighted, Elbert.

Speaker 45 (02:28:53):
The next day there are pictures of you in the tabloids,
hiding your face under the caption Leslie Jamison, mystery author
stages publicity scene in room at Midtown Hotel. And to
complete the success of your change of identity, the second
page of the same paper carries the news that you,
Albert Taylor, wanted for the murder of his wife in Miami,

(02:29:17):
perished in the train rate. You're all mixed up now,
aren't you, Albert. But you almost wish Helen was with
you again to make the decisions for you like she
used to, And then suddenly there's nothing for you to do.

Speaker 40 (02:29:29):
The decision is all made, Yes, mister Jamison, Yes.

Speaker 2 (02:29:38):
And missus Jamison is on our way up.

Speaker 3 (02:29:41):
What your wife? I assumed it would be all right
to tell.

Speaker 2 (02:29:44):
Us, sir?

Speaker 12 (02:29:46):
Never mind? Hello, Leslie?

Speaker 3 (02:29:56):
What are you?

Speaker 35 (02:29:57):
Maybe i'd better commandm.

Speaker 3 (02:30:01):
Well, well, what all right?

Speaker 12 (02:30:06):
What you're gonna do about it?

Speaker 35 (02:30:08):
You're an awfully simple thought, aren't you? Mister whatever your
name is?

Speaker 3 (02:30:13):
All right? I suppose I am.

Speaker 8 (02:30:15):
How did you expect to get away with it?

Speaker 35 (02:30:17):
After all the publicity? All right?

Speaker 40 (02:30:20):
Worthy?

Speaker 3 (02:30:20):
What have you done?

Speaker 26 (02:30:21):
Oh?

Speaker 45 (02:30:21):
Wait a minute, missusjameis and I can explain, maybe you better.
Your husband was killed in that train wreck in Florida.
I had reasons for wanting to disappear, so I took
his identity.

Speaker 3 (02:30:32):
You never meant to keep it up.

Speaker 45 (02:30:35):
If you'll just guess what now? Look, there's nothing we
can do for your husband now he was killed. You
believe that, don't you. I'm going to leave town. All
I ask is that you forget you ever saw I see?

Speaker 5 (02:30:49):
What do you?

Speaker 3 (02:30:50):
What are you gonna do?

Speaker 8 (02:30:51):
I I could go to the police.

Speaker 3 (02:30:54):
Wait a minute, I can make it worth your while too.

Speaker 35 (02:30:58):
Oh stop simpering? Does anyone know you here in New York?
That's very fortunate. You see, Well, Leslie and I we
didn't get along as a matter of fact, we'd been
separated for some time. He said he was cutting me
out of his will. So with Leslie dead, I don't
get anything at all. But with Leslie alive, Wait a minute,

(02:31:21):
you wouldn't.

Speaker 38 (02:31:22):
Why not?

Speaker 35 (02:31:23):
He could retire right now and live off his royalties
without doing another link.

Speaker 12 (02:31:27):
You want me to keep this up?

Speaker 45 (02:31:29):
Come will be ridiculous. A dozen reasons why I can't.
You'll discover it in a week.

Speaker 47 (02:31:34):
You have his baggage, yes, and I know his signature.
I can imitate it perfectly. I know his background like
a book. You may as well get used to it.
Mister James, I tell you I won't do it. It's
the most fantastic thing I ever heard.

Speaker 35 (02:31:49):
Kenneth Ricketts down on the lobby. You know, he seemed
quite interested in the in our relationship. Of course, if
you like, I'll bring him up to.

Speaker 2 (02:31:57):
Date, all right, missus jameson Darling.

Speaker 35 (02:32:04):
Just call me Ruth.

Speaker 40 (02:32:06):
There's a dear.

Speaker 5 (02:32:16):
Ruth.

Speaker 3 (02:32:17):
Ruth.

Speaker 12 (02:32:18):
I tell you this can't go on.

Speaker 45 (02:32:19):
You're spending money like a child, twenty eight thousand dollars
in three months. Besides the deposits I made your account
while we're behind in the rent. The mate hasn't been paid.
Just look at these bills. Look at them. I haven't
got a penny.

Speaker 8 (02:32:31):
Are you all through?

Speaker 35 (02:32:32):
You know there's your quarterly royalty check do tomorrow.

Speaker 12 (02:32:35):
That'll only pay part of them.

Speaker 35 (02:32:36):
It's not saying any of them, darling. It's going into
my account.

Speaker 5 (02:32:40):
I see.

Speaker 12 (02:32:41):
Maybe you've got a fast way of getting out from.

Speaker 35 (02:32:43):
Under these bills that you're worried, dear, Not mine, I
having trouble.

Speaker 45 (02:33:00):
Oh, nothing at all, sweetheart. It's just that my account's
over drawn by five hundred dollars.

Speaker 35 (02:33:05):
Because you could finish your book.

Speaker 45 (02:33:07):
There, sure finish the book writer Leslie Jamison mystery novel.

Speaker 35 (02:33:12):
Well, then I suppose you'll just have to think of
something else, Ruth.

Speaker 12 (02:33:18):
Be honest with me, Actually, how long do you intend
to carry on with this?

Speaker 35 (02:33:26):
Infinitely?

Speaker 3 (02:33:26):
Dear?

Speaker 35 (02:33:27):
I know when I have a good thing, you mean,
then there's no end. Oh there is if you want one?
There are always the police.

Speaker 12 (02:33:35):
Are you quit throwing that up to me?

Speaker 45 (02:33:38):
If you could be decent about it, you know there
could have been plenty without you bleeding me.

Speaker 40 (02:33:42):
I fair with you.

Speaker 12 (02:33:45):
No sleep a day and night. I can't eat.

Speaker 35 (02:33:47):
This isn't getting us anywhere to dodge my shadow.

Speaker 45 (02:33:50):
I'm getting nowhere afraid all the time, there's dagger hanging
over my head.

Speaker 14 (02:33:54):
But what happened to you?

Speaker 35 (02:33:56):
Get ahold of you?

Speaker 12 (02:33:59):
I'm trapped, run into a corner, no way to turn, no.

Speaker 5 (02:34:06):
Where to turn.

Speaker 9 (02:34:14):
M h.

Speaker 8 (02:34:18):
M m mm hmm.

Speaker 12 (02:34:29):
It's sir. Yeah, the deak sighton. That's right.

Speaker 3 (02:34:34):
What can I do for you? He will take this down.
I h matter bell just killed my wife.

Speaker 12 (02:34:54):
The whistler will return in just a moment.

Speaker 44 (02:34:56):
With the strange ending of tonight's story, we time a
word about that extra something you get when you have
your car service and independently operated signal gasoline stations.

Speaker 12 (02:35:08):
I'm talking about that feeling.

Speaker 44 (02:35:10):
Of confidence and well being you have as you drive out,
knowing that your car has been thoroughly and conscientiously taken
care of.

Speaker 15 (02:35:18):
You.

Speaker 44 (02:35:18):
See, signal dealers, being in business for themselves, do go
out of their way to give you the kind of
job their proudest stand back out. When they lubricate your car,
for instance, here's what signal dealers do to make sure
not a single point is overlooked. Instead of relying on memory,
they check each point against signals lubrication chart, which shows

(02:35:38):
every lubrication point on your car and specifies which of
signals nine specialized oils and greases each part should have
for long trouble free service. But they don't even stop there,
no serve. Just to make doubly sure, they check each
point again, which is why it's called signal double check lubrication.

(02:36:00):
That's the kind of service you want these days, when
your car has to last until who knows when. That's
the kind of service you'll get from your friendly neighborhood
signal gasoline dealer.

Speaker 12 (02:36:13):
Now back to the whistler.

Speaker 45 (02:36:26):
Well, well, but for the first time since that awful
night in Miami, you feel relaxed. It's over now, isn't
the hounding, the fear, the dagger hanging over your head?

Speaker 12 (02:36:38):
They're gone.

Speaker 45 (02:36:39):
Now you sit down on a chair by the sergeant's
desk and start to tell him the whole thing. And
then I wandered around the streets all night. I thought
about running away again, and.

Speaker 3 (02:36:56):
Then it all seems so so useless.

Speaker 12 (02:36:58):
So you came into the station and spilled it. Eh,
aren't you going over there? You've been there found her
an hour after you did it.

Speaker 3 (02:37:08):
Let's see, you.

Speaker 12 (02:37:11):
May as well know that she's not my wife. Yeah, yeah,
we know that, mister Jamieson. She was your assistant, bonus
Aire's you're saying she was shaking you down? Eh, what
you have on your my sister?

Speaker 3 (02:37:27):
Oh, that's right, your assistant.

Speaker 12 (02:37:30):
If you had a lapse of memory or something, Jamison,
your sister, tell me, Jamison, what was she threatened undertake
to the police. Okay, but at three year old would
have known it was a bluff. That's the last thing
in the world she would have done.

Speaker 3 (02:37:46):
No, you don't know her.

Speaker 12 (02:37:48):
She would have done anything.

Speaker 3 (02:37:50):
Met her neck fowl.

Speaker 40 (02:37:51):
Huh.

Speaker 12 (02:37:52):
You have got above memory, Jamison. It was all over,
bonus Aires, six months ago. She's wanted down there the murder.

Speaker 44 (02:38:27):
This program, produced by George w Allen, with tonight's story
by Eleanor Beeson, music by Wilbur Hatch, is transmitted to
our troops overseas by the Armed Forces Radio Service.

Speaker 1 (02:38:51):
Ah. Well, it is getting rather late, I suppose, But
I don't fear the sun like I did. Oh what's that?

Speaker 3 (02:39:05):
Well?

Speaker 1 (02:39:07):
I suppose that is true, but I'm just I'm just
feeling so different. The the leaves skittering across the ground,
the sound of the trees as they die, but not truly. Well,

(02:39:29):
what's not to like about that? I suppose in the end,
if all things are considered, I just love the Terror
in the Air.

Speaker 2 (02:39:46):
The CBS Radio Mystery Theater presents.

Speaker 5 (02:40:06):
Come in.

Speaker 18 (02:40:09):
Welcome.

Speaker 17 (02:40:11):
I'm E. G.

Speaker 5 (02:40:12):
Marshall.

Speaker 2 (02:40:14):
Wherever you live in the North American continent, it's hard
to imagine that given a reasonably clear day without cloud cover.

Speaker 3 (02:40:23):
You won't see an airplane.

Speaker 2 (02:40:26):
The great silver birds roaming the sky, sometimes leading the
contrail in their wake, written like a chalk mark on
the blue board of the heavens. So safe, so sure,
so poised. The actuarial figures prove beyond a shadow of
a doubt, there is no safer method of transport.

Speaker 5 (02:40:49):
Despite the myriad things.

Speaker 3 (02:40:50):
That could go wrong, the only trouble is that.

Speaker 5 (02:40:54):
When something does.

Speaker 9 (02:40:57):
Flat flat three Transways air airlines to traffic control.

Speaker 5 (02:41:07):
Do you read me?

Speaker 4 (02:41:09):
Ah?

Speaker 5 (02:41:10):
Do you read me?

Speaker 9 (02:41:13):
Fly Flight one one three traffic Control?

Speaker 5 (02:41:18):
Oh read me read me?

Speaker 15 (02:41:24):
Oh?

Speaker 17 (02:41:24):
Avery?

Speaker 5 (02:41:24):
Transceiver came bit.

Speaker 2 (02:41:28):
I'm flight one one three trans Ways to shame. I
can't pay way hey. Our mystery drama Terror in the

(02:41:53):
Air was written especially for the Mystery Theater by Ian
Martin and Stars Robert Dryden and Jennifer Harmon. It is
sponsored in part by the Florida Orange Growers and Buick
Motor Division.

Speaker 5 (02:42:07):
I'll be back shortly with that one.

Speaker 4 (02:42:10):
All right, class, quite down, please, Jimmy, would you tell
the class what you learned about squirt fruit? Squirt fruit
is what happens to real.

Speaker 48 (02:42:18):
Grapefruit when it gets inside bottles of squirt Anything else, well,
I couldn't find much more about sport fruit, but I
learned a lot about squirt It's a natural soft drink
with no artificial colors or flavors. I guess it makes
sense to call grapefruit squirtfruit. Maybe they should put squirt
fruit in the dictionary.

Speaker 8 (02:42:35):
Also, I like squirt very much.

Speaker 4 (02:42:37):
Very good, Jimmy, Now, class, it's time for music appreciation.

Speaker 5 (02:42:41):
Oh the grape print don't grow all the fine.

Speaker 14 (02:42:45):
It ain't even purple, and it makes cloudy wine.

Speaker 5 (02:42:48):
So call it sport work if.

Speaker 3 (02:42:50):
It was, call it tastes like work in that fa
Oh the squirt.

Speaker 5 (02:42:55):
Grate, it's squirted it.

Speaker 14 (02:42:58):
It's the tangy, soft drinking.

Speaker 5 (02:43:00):
Great party mix the pol.

Speaker 14 (02:43:04):
The start take it backwards.

Speaker 44 (02:43:07):
And that's good.

Speaker 2 (02:43:11):
Here's a tip from your better business Bureau on the
metric system. You know, the worldwide trend today is toward
a universal system of measurement, the metric system. The names
of this new system may sound strange to you at first,
but fortunately there are only a few words that have
to be learned for everyday use, and these are the millimeter, centimeter, meter,

(02:43:33):
and kilometer for describing length and distance, the millimeter and
leader for capacity or volume, the gram, kilogram and ton
for weight, the kilometer per hour for highway speed, and
the degree celsius or centigrade for temperature. You're already using
some of these terms more.

Speaker 5 (02:43:52):
Than you may realize.

Speaker 2 (02:43:54):
For example, when you go to the supermarket, you see
weights expressed in grams on more and more packaged items.
Now for more information on this whole metric system, right
to Metric Information Office, National Bureau of Standards, Washington, d C.

(02:44:15):
And Flight one one three Transaway's Airlines took off from
Miami a sleek DC nine four engine jet bound for Seattle, Washington,
with one set down at Kansas City. The bulk of

(02:44:37):
her manifest was a large charter of meatpackers returning from
the convention to be dropped off at Kansas City. The
small remaining nucleus of passengers was to be increased by
only one pickup, sixty five year old doctor Sam McCall,
a man the crew, and his fellow passengers were to
thank God for the rest of their lives. For Flight

(02:45:01):
one one three was the junction ship doom to a
nightmare that is shared by anyone who flies, and against
which every precaution is taken so that it won't come true.
This is the story of the million to one chance
when it did, and which began before the floor.

Speaker 3 (02:45:21):
As you take off.

Speaker 9 (02:45:22):
This is flight one one three, Transways Airline Post K two.
I'm ready to roll as soon as you get me
someone to hold my hands.

Speaker 19 (02:45:29):
He's on his way right now from reserve. What happened
to Davey?

Speaker 9 (02:45:33):
His father had a corner. It's pretty hairy, I guess
second time around. Dave took off for the hospital like
he was fired from a gun. We're all checked out.
I'll get back as soon as Dave's relief gets here.
Come all right, Freddie, Well, what the sam Hill is at?

Speaker 4 (02:45:49):
It's just a moment, Captain that I jolly little cargo
one hundred and fifteen slap happy meattackers on their way.

Speaker 14 (02:45:58):
Home from the convention. Oh brother, let's just be glad
you don't have to move among them. It's worse than
being in Rome. I probably won't be able to sit down.

Speaker 5 (02:46:06):
For a week.

Speaker 3 (02:46:07):
I'll get my blast on the horn they tone them down.

Speaker 4 (02:46:09):
Oh no, they're all right. I can handle them. I
just wanted you to know we're loaded and your relief
co pilot is on the way.

Speaker 5 (02:46:16):
Who draw you know?

Speaker 2 (02:46:19):
Lucky day, Captain Thomas.

Speaker 5 (02:46:21):
Look what you got, Doug Flitcher, not you now. I
know we're jixed. Dicks and stones will break my bones.

Speaker 2 (02:46:28):
But a few breasts coming through that crowd out there,
and I'm already as high as kite.

Speaker 9 (02:46:32):
Oh come on, let's cut the comedy we're telling us
late already? Friend, did Charlie check you out on the manifest?

Speaker 2 (02:46:38):
Yes, Captain, is the off plan yet we're all buttoned up.

Speaker 9 (02:46:42):
Okay, I'll go get that bunch quieted down out there.

Speaker 2 (02:46:48):
Hit the no smoke and seatbelts right.

Speaker 5 (02:46:51):
Nice to have you board.

Speaker 9 (02:46:53):
Let's earn our pay. This is K flight one one
three transways Port K two. The ground can control requests
permission to start engines.

Speaker 5 (02:47:03):
You have permission, Captain, hit them, Doug.

Speaker 9 (02:47:10):
Ready to roll as soon as we get the good
word and hold it a second, Roger, Doug, where gee
all at home? The little woman, you and babies. I
never can pass up that Chiffon pumpkin pie.

Speaker 5 (02:47:24):
Hey, that's funny. You know I have my way down.

Speaker 19 (02:47:26):
They're still on the pipe Transways one, one, three.

Speaker 5 (02:47:29):
Yeah, waiting to roll.

Speaker 19 (02:47:30):
Okay, you're player to taxi to runway five.

Speaker 5 (02:47:35):
Roger, we still have CAVU for the flight.

Speaker 26 (02:47:38):
As far as Kansas City, ceiling in visibility unlimited.

Speaker 5 (02:47:42):
Thanks, we're on our way. Have a nice fight waiting, please,
it's the Lord. We're caring. We can't lose. Most of
them can make it under their own car. Otherwise looks
like a milk run all the.

Speaker 2 (02:47:57):
Way, a new run, the flight where nothing happens, where
everything goes according to the book. And so it did
as far as Kansas City, in spite of the slightly
raucous conventioneers who soon passed out quietly to be poured
off the plane gently by the stewardess.

Speaker 3 (02:48:17):
Is two and a half hours.

Speaker 2 (02:48:18):
Later, waiting to take off again, Captain Thomas and his
co piloted Fletcher could have no slightest suspicion that the
second half of a flight was to make disaster history.

Speaker 14 (02:48:33):
What are we waiting for?

Speaker 5 (02:48:34):
Captain clearance?

Speaker 14 (02:48:36):
Anything wrong?

Speaker 2 (02:48:38):
Something coming in?

Speaker 5 (02:48:38):
I guess to have load?

Speaker 14 (02:48:41):
You could shoot deer back there.

Speaker 4 (02:48:43):
Let's see, we have only thirty two left.

Speaker 5 (02:48:46):
We didn't pick up anyone here, only.

Speaker 14 (02:48:48):
One a doctor, very handy to have a board.

Speaker 5 (02:48:51):
Now what does that mean?

Speaker 15 (02:48:53):
Well, just that we have a lady aboard.

Speaker 4 (02:48:55):
A married lady who's very pregnant.

Speaker 9 (02:48:57):
Ooh, I hope we don't pick up any rough Will
you knock it off? YouTube Cassandra's And now let's get
airborne before you discourage me from the whole flight. This
is flight one one three Transways Airlines. I am at
number one requesting permission for takeoff.

Speaker 26 (02:49:14):
Acknowledge one one three Transways ad fis you are now
cleared for takeoff.

Speaker 41 (02:49:19):
Though here goes nothing.

Speaker 5 (02:49:20):
We're on our way, my happy captain, the only way
to go. Thanks Kansas and.

Speaker 15 (02:49:25):
Out any takers I need?

Speaker 14 (02:49:40):
Yes, but now you have to get the drink cart
out to Scotch.

Speaker 3 (02:49:43):
Is one better than a stinger for.

Speaker 5 (02:49:45):
The lady in first? We got not a stinger.

Speaker 4 (02:49:47):
I'll take that one to a personally crabby old bitty
I can then. Oh, I'm going up on anyway I
need Maybe the boys want some coffee?

Speaker 5 (02:49:55):
Shall I call them?

Speaker 4 (02:49:56):
No, any little exercise. I want to check on our
little mother to anyway.

Speaker 14 (02:50:00):
She's pretty near up time, I think not too. I
hope ever been a midwife of what? Did you ever
deliver a baby?

Speaker 2 (02:50:08):
Oh?

Speaker 25 (02:50:09):
Not me?

Speaker 14 (02:50:10):
Either for myself or anyone.

Speaker 5 (02:50:12):
I think I would freak out.

Speaker 14 (02:50:14):
How that makes two of us? I hope we don't
have to find out?

Speaker 19 (02:50:25):
Are you sure?

Speaker 5 (02:50:25):
If you all right?

Speaker 22 (02:50:26):
Honey?

Speaker 14 (02:50:26):
Will you stop worrying?

Speaker 5 (02:50:27):
Free?

Speaker 3 (02:50:28):
It's just maybe I worry we shouldn't let them.

Speaker 15 (02:50:33):
It's a little late for that now.

Speaker 5 (02:50:35):
So I didn't mean the baby. I mean find the seattle.

Speaker 14 (02:50:39):
It's still too late. Everything okay?

Speaker 5 (02:50:41):
With you to love for it?

Speaker 8 (02:50:43):
Oh?

Speaker 35 (02:50:43):
Sure, So everything's just fine.

Speaker 14 (02:50:45):
Start is to make it.

Speaker 4 (02:50:46):
Frand where it's small enough group to be a family.
Anything I can get you, Mary Banks, how about you?

Speaker 5 (02:50:52):
It's beer? Oh no, no, no, no, I'm just fine.
It's only Jackie. No worry.

Speaker 8 (02:50:57):
What of the world about everything?

Speaker 14 (02:50:59):
It's just his nature.

Speaker 2 (02:51:00):
All this time, I really have something to worry about.

Speaker 19 (02:51:03):
Well, not much.

Speaker 15 (02:51:04):
Longer, only about an hour and a half to Seattle.

Speaker 4 (02:51:07):
I wouldn't want anyone to be embarrassed.

Speaker 15 (02:51:10):
I'll hold on until then.

Speaker 14 (02:51:12):
Oh, Jackie, she's putting you on.

Speaker 4 (02:51:15):
He bought a stop watch so he can time the
pains when they start.

Speaker 14 (02:51:19):
But don't get me wrong, I love him.

Speaker 4 (02:51:21):
If that's my exit cue, I've got to deliver this
drink to someone.

Speaker 14 (02:51:29):
Excuse me, and doctor McCall, isn't it what?

Speaker 5 (02:51:33):
Oh?

Speaker 4 (02:51:33):
Oh yeah, I just delivered a drink to your only companion,
the lady in the back.

Speaker 14 (02:51:38):
Is there anything I can get for you for me?

Speaker 5 (02:51:42):
Oh?

Speaker 14 (02:51:43):
Ah, fasten your seat.

Speaker 5 (02:51:48):
Belt, doctor, it is fast.

Speaker 14 (02:51:50):
Mind if I sit beside you for a moment.

Speaker 5 (02:51:52):
Ok?

Speaker 2 (02:51:53):
What is it?

Speaker 5 (02:51:54):
Big storm?

Speaker 4 (02:51:55):
You weren't expecting it, or the seatbelt fights would have
been up for now.

Speaker 14 (02:51:59):
Are you feeling okay?

Speaker 15 (02:52:00):
Me?

Speaker 5 (02:52:01):
Oh yes, yes, what it's just the airpock.

Speaker 14 (02:52:06):
General turbulent. We should be through it in a moment.
I just wanted to make sure you didn't feel sick.

Speaker 5 (02:52:13):
I feel sick, all right, but not from this.

Speaker 22 (02:52:17):
I'm sorry.

Speaker 14 (02:52:18):
What can I say?

Speaker 17 (02:52:19):
Nothing?

Speaker 5 (02:52:21):
What can anyone say? Pete would have been thirty next week.
From my angle, that's where life begins, but his ended. Pete,
my son, the first time.

Speaker 2 (02:52:37):
I ever flew first class in my life.

Speaker 19 (02:52:40):
Thanks to the Air Force.

Speaker 2 (02:52:42):
They're flying Pete's body and the rest of his crew
back from wah that's when they crashed. His mother is
buried in Winks where I used to practice.

Speaker 5 (02:52:55):
I wanted him to lie with her.

Speaker 4 (02:52:59):
I'm sorry, I misunderstood about the way you were looking.

Speaker 5 (02:53:03):
That's all right.

Speaker 2 (02:53:06):
If it worked for the rest of you board, I
just soon cash in my chips right here.

Speaker 5 (02:53:12):
Well, it won't be that bad.

Speaker 2 (02:53:14):
It's just a peewee squad. We're coming out of it.
You can go on about your business free and me.

Speaker 14 (02:53:20):
I guess we did blow right through it.

Speaker 4 (02:53:23):
Maybe I should get up and see if the captain
the copilot.

Speaker 22 (02:53:25):
Wants to coffee.

Speaker 5 (02:53:29):
Do you travel control yet, Doug, I'm on my third frequency?
Nor response? Were the devil already not? Couldn't they have
picked up what we just came through on the radar?

Speaker 9 (02:53:38):
Search me.

Speaker 2 (02:53:39):
There's flight one one three transways to control tower.

Speaker 11 (02:53:42):
Do you read me?

Speaker 5 (02:53:45):
Negative? The Baker's up? No, Captain, I checked, Well, what
do you want from what happened?

Speaker 2 (02:53:51):
No warning on the fireworks came out of nowhere, no
advance from control.

Speaker 5 (02:53:55):
Yeah, we can't dig them up. Not do you want anything?

Speaker 14 (02:53:58):
No, just as long as we're off the bar. So
I thought you might like some coffee.

Speaker 5 (02:54:02):
Yeah, heavy on cream, easy on the sugar. Skip the coffee.
I'm feeling a little off the feet hold of This.

Speaker 9 (02:54:10):
Is flight one one three Transways traffic Control.

Speaker 14 (02:54:14):
Do you read me anything serious?

Speaker 26 (02:54:16):
Duck?

Speaker 5 (02:54:16):
It will be. If we don't make contact, I'll forget it.

Speaker 2 (02:54:20):
There's so many backup systems beyond the regular frequencies. Emergency Army, Navy,
Sea rescue.

Speaker 5 (02:54:26):
Relayed through another plane. One sweat, baby, I was worried
about you. You don't look so hot, and.

Speaker 3 (02:54:31):
You should feel my stock.

Speaker 5 (02:54:34):
Look, bring me a color, lots of ice. Wait a minute,
we read you loud and clear.

Speaker 19 (02:54:40):
Where the hell have you been?

Speaker 5 (02:54:41):
We've been trying to raise you did oh here? Now,
where the devil have you been? I'm an emergency back
up now and we are.

Speaker 9 (02:54:48):
Twenty seven thousand cruising speed or eight five knots holding
steady heading two nine zero. You didn't get anything from
us on the regular channels, and we just came through
a freak electrical storm.

Speaker 5 (02:55:03):
Didn't you picked that up on radar?

Speaker 26 (02:55:04):
That's why we were trying to reach you. It came
in from nowhere. It's a whole front by now.

Speaker 9 (02:55:10):
Now maybe that's what not the radio as I was
thinking of turning back, but maybe I better off as
we go.

Speaker 5 (02:55:15):
I what's up ahead?

Speaker 26 (02:55:17):
C Avu on present course? A little storm to the
north over the rockies. But you should bypass it, and
we better.

Speaker 9 (02:55:23):
We got a pregnant lady aboard. I like to void
any more turbulence, just in case you want to.

Speaker 5 (02:55:29):
Send us up top stand by? Call I clear you
standing by?

Speaker 3 (02:55:35):
Well it looks okay now except.

Speaker 5 (02:55:37):
For you, Doug. Well, what's the matter with me?

Speaker 9 (02:55:39):
You're a little green around the gills. It's out home
cooking or did a few buffs make years?

Speaker 5 (02:55:45):
Sie? Oh no, no, no, I don't know what it is.
I got the cold sweats seeing double.

Speaker 2 (02:55:54):
Wasn't anything I got from Helen. Maybe I should have
five past ant Phoebe's what do you mean?

Speaker 5 (02:56:01):
Amt bhibious? I try?

Speaker 15 (02:56:04):
I tell you.

Speaker 5 (02:56:04):
Before we took off in Florida, I couldn't.

Speaker 2 (02:56:07):
Resist stopping offer and having some shift on pumpkin pie
and dessert.

Speaker 3 (02:56:12):
Damn it, that's what I am.

Speaker 5 (02:56:14):
So you're lucky it wasn't too rich for you. H
I don't know. I think I'm gonna pass out.

Speaker 2 (02:56:27):
Friend, Trin, I hate to layness on you, but I've
been having the symptoms.

Speaker 5 (02:56:32):
Doug's complaining about.

Speaker 3 (02:56:33):
Good Lord, it's crazy.

Speaker 5 (02:56:36):
It can't be happening and just couldn't be. But you'd
be to get babe and bring that doctor up here.

Speaker 9 (02:56:47):
I feel like I can hardly move, But look at Doug.
He's out your doctor, friend, that'd be for real, and
get one of us. There's gonna be nobody left the
lands right away. Hello, Flight one one three, Transways two,

(02:57:12):
Traffic Control. You read me, damn Fly one one three,
the traffic controull Oh you read me?

Speaker 5 (02:57:25):
Read me, Harry, trans see her? Can't be out? Fly
one one three translad.

Speaker 2 (02:57:42):
Way may day, the final and ultimate cry for help
when an aircraft is disabled or out of control. The
last word air traffic Control, ever wants to hear. For

(02:58:04):
Once that dread alert is sounded, everything moves with controlled pandemonium.

Speaker 3 (02:58:11):
I'll return shortly with that too.

Speaker 2 (02:58:13):
I'mheimen Brown, producer of Radio Mystery Theater, delighted to announce
the name of the second winner in our big contest
with Warp Disney World. Congratulations to Missus Athelda Barrows of Melrose, Massachusetts.
She's won an all expense paid week at Walt Disney
World near Orlando, Florida, and she'll be treating three family

(02:58:34):
members or friends to the fund. We could be announcing
your names next week. You have just as much chance
to win as Missus Barrows or young Mike Hannick of
Fort Madison, Iowa, our first week's winner. You too could
fly first class to Walt Disney World, stay at the
Dutch Inn, do all the vacation things like play golf, camping, swimming,

(02:58:56):
enjoy all rides and attractions, including Disney's Bison Tennial.

Speaker 5 (02:59:00):
Celebration America on parade.

Speaker 2 (02:59:03):
We have one hundred neat Mickey Mouse Watches as runner
up prizes.

Speaker 3 (02:59:07):
Each week too, and it's so easy to enter.

Speaker 2 (02:59:10):
I'll return with the contest details right after the next
act of Mystery Theater.

Speaker 49 (02:59:30):
Hello everybody, this is cousin Bruce Morrow for the Foundation Church. Now,
these are troubled times to have a lot of money around.
Work's got a tough to get half of these here
with dissolutions, wondering what's going to go down next, Well,
it's easy to go along with it.

Speaker 5 (02:59:45):
Right, I mean just sit around and say, who cares?

Speaker 8 (02:59:47):
You know what?

Speaker 5 (02:59:47):
The next guy?

Speaker 3 (02:59:48):
Worry about it? But does it have to be like this?

Speaker 49 (02:59:50):
Pride, dignity, truth, being straight with one another? Now, these
qualities have not disappeared. They've just gone to sleep for
a while, right, But now's the time to wake them up.

Speaker 19 (03:00:01):
Only we can do it.

Speaker 49 (03:00:03):
This mess is brought to you by the Foundation Church.
What about at East thirty eighth Street, New York, New York,
Zip one zero zero one six.

Speaker 2 (03:00:27):
In the air, secure on automatic pilot, the Big DC
nine is a symbol of man's ability to conquer a
hostile medium, to make it his own, as safely and
sure as any bird.

Speaker 5 (03:00:42):
Inside this big bird from.

Speaker 2 (03:00:45):
The cockpit aft, the passengers have no notion of what
lies ahead as yet, but on the ground, if the
May day alert has gotten through, control tower will be
in charge. His voice arm but precise, but underlying it
the ragged edge of knowledge he shares with every pilot

(03:01:06):
who receives that man may conquer the elements, but never
wholly subdue them.

Speaker 4 (03:01:14):
Excuse me, doctor mccallar, Oh, oh yes, stars, I'm sitting
down beside you because I have no wish to alarm
the rest of the plane.

Speaker 14 (03:01:25):
You are a medical doctor, aren't you.

Speaker 2 (03:01:28):
If I'm not, I've kept up the pretense successfully for
more years than that.

Speaker 14 (03:01:33):
Care say, do you have a doctor's bag with you?
By any chance?

Speaker 9 (03:01:37):
He is?

Speaker 2 (03:01:39):
I don't know, I force of heaven.

Speaker 14 (03:01:42):
Why, yes, there's some trouble in the cockpit.

Speaker 4 (03:01:45):
The pilot and the co pilot seem to be in
some sort of well, have some sort of food poisoning.

Speaker 14 (03:01:51):
Could we just walk up there casually?

Speaker 5 (03:01:53):
We better get there fast.

Speaker 4 (03:01:54):
Not too fast as a lady watching us, who is
how volatile? For one of a better words, I don't
want to get the rest of the plane alarmed.

Speaker 14 (03:02:03):
I tell you what.

Speaker 4 (03:02:04):
I left the cabin door open. I'll keep her busy
while you go forward.

Speaker 2 (03:02:09):
Whatever you say, my dear.

Speaker 14 (03:02:11):
The conscious I don't know the captain was when I left.
Don't worry. The plane's on automatic pilot.

Speaker 4 (03:02:19):
Well, missus Miller, did you enjoy your stinger?

Speaker 15 (03:02:22):
Perhaps you like a ring beat.

Speaker 2 (03:02:26):
The scene in the control room of the plane is
enough to turn anyone's blood to water. In the co
pilot's seat, Guvn. Fletcher is half slumped to the floor
out cool. In the pilot's seat to the left. Captain
Thomas is valiantly trying to fight off his blackout.

Speaker 3 (03:02:42):
But only half conscious himself.

Speaker 5 (03:02:46):
Like one three is there? See you rescue?

Speaker 19 (03:02:52):
Do you do you read?

Speaker 5 (03:02:56):
I'm a doctor, Captain. What's trouble in the stomach? How
to flow up?

Speaker 9 (03:03:03):
But I can let's see the double I can't keep my.

Speaker 5 (03:03:07):
Eyelids from clothing. Let us have a look. The same
with your co pilot.

Speaker 2 (03:03:15):
Yeah, did you heat together before you left on this flight?

Speaker 9 (03:03:19):
I know we both have the same pie in Miami
place called Anne babies form.

Speaker 5 (03:03:27):
Can ship from I don't sound so I'm afraid.

Speaker 14 (03:03:36):
How are they doctor?

Speaker 5 (03:03:37):
What's your name again?

Speaker 14 (03:03:38):
Friend?

Speaker 5 (03:03:39):
Okay, fred?

Speaker 2 (03:03:40):
I ain't got to make a snap diagnosis and damn
little information. Looks like we have a couple of cases
of botulism. That's kind of food poisoning that affects the
nervous system. Both of them are in coma, and there's
some toxins that might be helpful.

Speaker 5 (03:03:58):
I don't have them in my bag.

Speaker 2 (03:04:00):
The best we're going to do is get plenty of
cold towels and hope.

Speaker 5 (03:04:02):
That we can bring one of them out of it.

Speaker 8 (03:04:04):
If we don't, we are in real trouble.

Speaker 5 (03:04:09):
Any idea of our ata.

Speaker 14 (03:04:11):
About midnights theattle time, that's about an.

Speaker 19 (03:04:14):
Hour and a half.

Speaker 5 (03:04:15):
It's about well.

Speaker 2 (03:04:18):
The first thing is to try to save these boys.
Can you call back on the intercom to one of
the other hostesses and.

Speaker 5 (03:04:24):
Get some ice and play it towels?

Speaker 2 (03:04:26):
Yes, sir, yeah, First, help me move the captain out
of the floor.

Speaker 14 (03:04:37):
DCD, know what you want to control.

Speaker 4 (03:04:39):
Take a deep breath on you sound like you's bought enough.

Speaker 2 (03:04:42):
News for me to possible are out.

Speaker 22 (03:04:43):
It isn't good, but I'm counting on you.

Speaker 5 (03:04:46):
You put it that way from you can come only have.

Speaker 50 (03:04:49):
Much of trouble up front, but we don't want to
get the passengers panicked.

Speaker 5 (03:04:53):
Sure, but kay, what goes?

Speaker 50 (03:04:55):
We need all the ice and towels we can get
up front, use the drink card of the and come
throw as fast as you can't.

Speaker 5 (03:05:02):
And kada leave it the way.

Speaker 19 (03:05:04):
Is you all right?

Speaker 5 (03:05:09):
Baby?

Speaker 14 (03:05:10):
I'm fine?

Speaker 5 (03:05:11):
Why fred I don't know. You seem to be sort
of squirming around.

Speaker 14 (03:05:16):
That isn't me.

Speaker 35 (03:05:17):
It's your first born.

Speaker 5 (03:05:18):
If he comes to hostess with a card knock, he
wants some milk or something.

Speaker 4 (03:05:22):
You were shut in air maybe active, but he's not
quite ready for that yet.

Speaker 5 (03:05:27):
What milk?

Speaker 12 (03:05:29):
I don't know.

Speaker 5 (03:05:30):
Jackie may get the notion you're working me over. Maybe
we shouldn't have taken this trip.

Speaker 9 (03:05:35):
Why not because you resent it. I just thought, you know,
a first baby and all you'd be safer in Seattle
with mom, and then all alone in Kansas City.

Speaker 14 (03:05:43):
I wasn't exactly alone there.

Speaker 5 (03:05:45):
Well, you didn't have any kids, hope to help us.

Speaker 4 (03:05:49):
Did it ever occur to you, I'd just like to
have my baby by myself.

Speaker 5 (03:05:54):
Oh, it's my baby too, Sure it is.

Speaker 4 (03:05:57):
You've just got to excuse us uptight females. The end
of the pregnancy route, we forget it's anything but just
us in junior.

Speaker 5 (03:06:05):
You're the only two the count, and you first.

Speaker 4 (03:06:09):
Cheer up, Honey, everything's going to be all right. I
was thinking about something cold to drink, But we missed
the boat, or I should say, card denez is already
all the way through the first class.

Speaker 5 (03:06:22):
I could go and get us.

Speaker 14 (03:06:23):
No, no, no, it doesn't matter.

Speaker 5 (03:06:25):
So I'll catch her them fly the way back.

Speaker 14 (03:06:32):
Who dens with the towels and ice? Dolement? Let me
in quick, big nose? There is smelling trouble. Who the
lady with the singers, Oh.

Speaker 4 (03:06:43):
She doesn't matter. Help me and the doctor get some
cold towels on the captain and Doug.

Speaker 14 (03:06:48):
They are pasted out. I hope that's all. Then who
is flying the blade? That's a good question.

Speaker 5 (03:06:58):
It's no use. Girls, they're in deep coma.

Speaker 14 (03:07:01):
Can't you bring them out of it?

Speaker 5 (03:07:03):
I doubted? Do we get them hospitalized?

Speaker 2 (03:07:06):
If then they're not going to die from food poisoning,
botualism that may be academic unless we figure out some
way to land this plane either you pilots, no, not me.
Are we dead heading any back?

Speaker 5 (03:07:24):
There no jet manifesto, I've had it right here.

Speaker 14 (03:07:29):
None of our pilots.

Speaker 5 (03:07:30):
Anyone on the list who flies?

Speaker 22 (03:07:32):
I doubt it.

Speaker 5 (03:07:34):
No, So that leaves me you're a pilot.

Speaker 2 (03:07:40):
In a matter of speaking, Before my wife died, when
we lived in Wenatchki, I used to share beat up
old Cherokee one prop plane with another doctor. Only way
to get the patients in outlying areas. I guess that's
what got Pete all strung out on fly.

Speaker 5 (03:08:00):
That was small potatoes. It's over six years since I
touched the controls.

Speaker 17 (03:08:06):
What can I do with this?

Speaker 4 (03:08:08):
Somebody's got to do something, not only to save the
captain and dug lives, but thirty four more of us,
including you.

Speaker 5 (03:08:15):
Well, what do we got to lose?

Speaker 2 (03:08:18):
You keep those coal towels on the captain on the
floor and will leave the coat pilot in a seat
to save room.

Speaker 5 (03:08:25):
Doc.

Speaker 2 (03:08:26):
Oh, this maze the forest Prime egle all right, give
me the headphones.

Speaker 5 (03:08:33):
Now where's radio in this mess? Right here?

Speaker 4 (03:08:36):
Doctor, But they were having trouble with the regular frequencies.

Speaker 5 (03:08:40):
What's it said on now?

Speaker 4 (03:08:41):
I don't know Army Air rescue emergency maybe, So.

Speaker 5 (03:08:45):
Let's see what we can raise. Hello, Hello, anyone, and
you call me. Can you hear me?

Speaker 19 (03:08:53):
We are receiving identify yourself please?

Speaker 2 (03:08:57):
Oh sure, there's doctor Sam McCall.

Speaker 19 (03:09:00):
We are awaiting identification.

Speaker 5 (03:09:02):
I just told you this.

Speaker 2 (03:09:05):
I guess I have to remember to press down the
button on the wheel for you to hear me.

Speaker 19 (03:09:11):
We can hear your reply.

Speaker 3 (03:09:12):
What did you say?

Speaker 5 (03:09:13):
Wait a minute, what did you say?

Speaker 22 (03:09:16):
Let go of the button.

Speaker 26 (03:09:17):
Oh, to explain to you that to receive us, you
must release the red button on the wheel and to
transmit you must press it down over to you.

Speaker 5 (03:09:29):
I get it.

Speaker 19 (03:09:30):
Then what do you identify?

Speaker 22 (03:09:32):
Sure?

Speaker 2 (03:09:33):
I'm doctor Sam McCall, Pete McCall's father.

Speaker 5 (03:09:39):
You go, my son, very well, but that doesn't matter
for the moment.

Speaker 19 (03:09:45):
When do you identify your aircraft?

Speaker 9 (03:09:47):
Oh?

Speaker 4 (03:09:48):
Yes, this is flight what's the number one one three
Transways Airlines?

Speaker 14 (03:09:54):
And as you hang in here, I'm going back to
check the passengers.

Speaker 2 (03:09:58):
The flight one one three Trensway's hair line. Oh yes,
you're the may Day that's us, brother, Well, can you
give us your position? I can try, but with this
maze of instruments, I'm not familiar with them. Where are
your pilots both in a coma botulism poisoning.

Speaker 19 (03:10:19):
Any chance they'll be out of it within the next
hour and a half hard.

Speaker 2 (03:10:22):
To tell, I'd say, kind of doubtful. They both hit
so bad it's a toss up where they can hold
out against respiratory paralysis.

Speaker 19 (03:10:31):
And there's no other qualified commercial pilot aboard.

Speaker 17 (03:10:34):
That's right.

Speaker 2 (03:10:36):
The only guy ever flew anything as me, And then
it was just a little one lung Cherokee prop.

Speaker 5 (03:10:41):
You flew by the seat of your pants.

Speaker 19 (03:10:43):
If you can fly at Cherokee, you can fly at
DC nine.

Speaker 2 (03:10:47):
You're going to have to teach me, brother, And I
sure hope you can in the next hour and a half,
because if you don't tell me how to bring it down,
I guess we're just gonna head out over the Pacific
till we run out of gas drop into the sea.
A situation to challenge the worst nightmare you ever dreamed.

(03:11:11):
Behind him are over thirty people depending on him for
their lives. Facing him is a mass of instruments, dials, switches, buttons,
and levers, most of them unfamiliar to him, which control
one hundred plus tons of airplane that he must put
down on the ground safely within a short span of

(03:11:32):
ninety minutes. I shall return as soon as I can
with Act three, Like the.

Speaker 5 (03:11:41):
Carnival, I like to.

Speaker 19 (03:12:06):
When you get really.

Speaker 5 (03:12:10):
Is where there's.

Speaker 3 (03:12:12):
The riet around the corner.

Speaker 30 (03:12:25):
It's happy eating at the Sonic Drive in at twelve
ten West Miller Road in Garland, because Tonic in.

Speaker 51 (03:12:31):
Summertime, go together, Oh great Spirit.

Speaker 41 (03:12:42):
Whose voice and the winds idea and whose breath do
you give life to all the world?

Speaker 5 (03:12:47):
Hear me?

Speaker 28 (03:12:49):
The voice is paradiseed coding of the Cherokee Nation.

Speaker 5 (03:12:52):
The words are a prayer for spoken four hundred.

Speaker 2 (03:12:55):
Years ago by his people, of people who loved the land,
make me walk, and you make my heart respect all
you have made, make me wise.

Speaker 5 (03:13:05):
And I mean know all you have taught my people
the lessons who have hidden in every rock in some Americans.
Today that spirit is reborn throughout the land.

Speaker 49 (03:13:15):
Areas of bufalos, litter and pollution are being restored to
their natural beauty.

Speaker 3 (03:13:20):
And yet we still have so far to goo.

Speaker 5 (03:13:22):
So everyone must get involved.

Speaker 2 (03:13:24):
To contact the Keep America Beautiful team there ist you right,
Keep America Beautiful, ninety nine Park Avenue, New York, New York.

Speaker 5 (03:13:33):
People start pollution, people.

Speaker 3 (03:13:35):
Can stop it.

Speaker 2 (03:13:36):
A public service message in this station and the advertising Council.
He sits in the cockpit of a fore engine jet monster,
thirty one thousand feet above the ground alone, a sixty

(03:14:01):
five year old man who joined this flight with nothing
but death on his mind. Doctor Sam McCall, widow word,
now flying to pick up the coffin and the body
of his pilot's son who died tragically.

Speaker 3 (03:14:15):
In a crash on Guam.

Speaker 2 (03:14:18):
Now suddenly, by a massive wrench of fate, he is
thrown back into the stream of life because he is
the only person aboard who can fly this plane and
landing it safely depends on the quiet.

Speaker 5 (03:14:33):
Voice in his headphones.

Speaker 17 (03:14:36):
Now, did you.

Speaker 19 (03:14:36):
Locate the altimeter?

Speaker 5 (03:14:38):
Yeah?

Speaker 15 (03:14:38):
I have it.

Speaker 19 (03:14:39):
What does it read?

Speaker 2 (03:14:41):
Thirty ten?

Speaker 19 (03:14:42):
Good? Good?

Speaker 26 (03:14:44):
Now you're at thirty one thousand, and that is your
altitude until further instructions.

Speaker 5 (03:14:49):
Look at the instrument panel. I hate to excuse the
hell out of me.

Speaker 2 (03:14:56):
There's the bank of turned indicator and this looks like
I think it could be the airspeed indicator.

Speaker 19 (03:15:02):
So just take it easy, Doc, You've got this thing licked.
You know enough about it?

Speaker 2 (03:15:08):
Okay, Doc confirm Hey I like the doc part too.
Something about having a name makes me feel more at home.

Speaker 5 (03:15:17):
Do I get one for you, affirmative?

Speaker 19 (03:15:20):
This is Colonel Blake?

Speaker 2 (03:15:22):
Okay, Colonel, Well here's our titles.

Speaker 5 (03:15:27):
Now, how do I fly this? Crazy?

Speaker 19 (03:15:29):
That's a breeze, Doc to just look down and you'll
see the rudder pedals. Put your feet on them. Now
look for your air speed indicator and get familiar with it.
That's the one left of the two circles. Dead ahead. Yeah,
I got it, enough of That is your climb and

(03:15:49):
dive indicator.

Speaker 30 (03:15:51):
I see it.

Speaker 26 (03:15:52):
Directly to your right are stabilizer and trim levers. Now
you come to your throttles.

Speaker 19 (03:16:00):
They should be set at cruising speed. What is your
ear speed indicator?

Speaker 9 (03:16:05):
Read?

Speaker 5 (03:16:06):
I have four eighty five roger.

Speaker 26 (03:16:09):
That's right where she should be. Now the pedestal, those
are the yellow throttles. The forward increases your speed check.

Speaker 2 (03:16:19):
Shake a back decreases right right, right, But they must
be coordinated and gentle.

Speaker 19 (03:16:27):
Now do you locate the automatic pilot switch. It's up
there on the console over your head, to the right slightly.

Speaker 5 (03:16:36):
Yeah, I have a colonel.

Speaker 19 (03:16:37):
Now you are ready to fly the plane?

Speaker 5 (03:16:40):
Doctor, he who knows what?

Speaker 19 (03:16:43):
Now you've flown before? This baby's ja just a little
bit bigger. Now, hands on the wheel, feed on the runners,
reach forward and flip off automatic.

Speaker 5 (03:16:56):
Shake What she lurks?

Speaker 14 (03:17:00):
Not?

Speaker 26 (03:17:00):
No, No, that's to be expected. You now have control
of the aircraft. Keep her just as she is. Watch
your climb and dive indicator, watch your ear speed all
it steady?

Speaker 19 (03:17:16):
How's she coming?

Speaker 5 (03:17:18):
Brother? What a difference? I can feel every ton of her.
It sluggish, heavy.

Speaker 19 (03:17:26):
Don't let her fool you.

Speaker 26 (03:17:27):
Sure, sure she feels different from a Cherokee. But remember, Doc,
all controls are on serble mechanism, the reacting you over
the slightest touch, the like power controls in a car.

Speaker 19 (03:17:39):
And we're gonna let you feel that out very very gently.
We're gonna have you descend a little.

Speaker 5 (03:17:45):
Okay, Doc, you're the boss, colonel.

Speaker 19 (03:17:49):
Justin you take over, So rip the four knobs in
the center. We're gonna ease up on the throttle. Not
so fast, easy, ease it off. You notice it's getting quiet?
Now easy? Push forward slowly.

Speaker 3 (03:18:09):
On the wheel, boy, She responds, quick, full.

Speaker 26 (03:18:13):
Back, all back now the ease forward again. You notice
she's going quiet?

Speaker 5 (03:18:22):
Yeah, I don't like it.

Speaker 19 (03:18:25):
That's the way she goes. Now push forward on the wheel.

Speaker 2 (03:18:30):
Easy, easy, she's getting away from me.

Speaker 5 (03:18:34):
Took it right out of my head. But slow, Yeah,
I am. But she's puffing like a stree.

Speaker 19 (03:18:40):
You're over correcting, easy, Edie, does it? Remember Doc, it's
justin touch the serbo mechanism. Does all rest? Now, bring
your nose down.

Speaker 11 (03:18:51):
Will go.

Speaker 19 (03:18:52):
That's a comforting gold word.

Speaker 5 (03:18:54):
It's all scary, real scary. Are you going? Oh right,
I'm making you.

Speaker 19 (03:19:01):
Can cut it, Doc.

Speaker 26 (03:19:02):
As soon as we get you off top again, we're
gonna dry banking left and right a little.

Speaker 19 (03:19:09):
Just so you have the plane well in hand.

Speaker 5 (03:19:16):
Huh.

Speaker 3 (03:19:17):
What is a Jackie baby?

Speaker 5 (03:19:20):
Baby?

Speaker 8 (03:19:23):
I'm afraid, yes, it's so near.

Speaker 14 (03:19:28):
The peans romans every minute.

Speaker 5 (03:19:30):
Oh oh lord, what are we gonna do.

Speaker 8 (03:19:34):
I'll try to hold on, honestly I will.

Speaker 5 (03:19:37):
But Stewardess friend, it's Jackie, it's my wife.

Speaker 14 (03:19:42):
She's having the baby here.

Speaker 4 (03:19:44):
Help me get these seatbacks down in front, stretch her out.
I'll get blankets. I now, Yes, get up to the
cockpit and tell doctor missus Pearce's baby is coming.

Speaker 14 (03:19:54):
I'll do my best to handle it.

Speaker 4 (03:19:55):
I'll try not to bother him, but I might have
to call for instructions on the intercom.

Speaker 14 (03:20:00):
Sure, sure, so get going.

Speaker 4 (03:20:04):
Ladies and gentlemen, listen to me, please, there is no
reason for panic.

Speaker 14 (03:20:11):
The plane is in good hands.

Speaker 4 (03:20:13):
I want to get all of us as far back
towards the tail as we can.

Speaker 15 (03:20:19):
Everyone find their life.

Speaker 4 (03:20:20):
Jackets and inflate them as instructed when we were taking off.
We have a lady who is about to deliver her child.
I'm asking you to the rear as much for her
privacy as for any other reason.

Speaker 14 (03:20:34):
We are all going to be all right.

Speaker 4 (03:20:38):
If the Good Lord grants us a new somebody into
the world.

Speaker 14 (03:20:42):
He sure doesn't plan to take all the rest of
us out of it. Excuse me, doctor, how is it going?

Speaker 5 (03:20:55):
I'm not so bad.

Speaker 2 (03:20:56):
Now back on automatic, taking a little rest.

Speaker 5 (03:21:01):
How's everything back there? Oh? Not fad and not good.

Speaker 3 (03:21:04):
I mean Fran.

Speaker 25 (03:21:06):
She asked me to tell you she is handling it,
but she might have to call by the intercom in
case because there's a lady having a baby.

Speaker 5 (03:21:14):
Oh that's nice. Oh, try to set it down easy
as I can. When is it do?

Speaker 14 (03:21:20):
I don't know exactly when, but it's on the way right.

Speaker 5 (03:21:23):
Now, in the midst of death. We are in life?
Or is the other way around?

Speaker 2 (03:21:31):
Does Fran know what to do?

Speaker 11 (03:21:33):
I don't know.

Speaker 5 (03:21:34):
She said she would do her a this.

Speaker 2 (03:21:35):
But what's that intercom?

Speaker 5 (03:21:38):
You throw this switch here?

Speaker 17 (03:21:39):
Oh?

Speaker 19 (03:21:40):
Hello, hello doctor, it's France.

Speaker 5 (03:21:44):
Everything okay up there for the moment.

Speaker 19 (03:21:46):
I'm sorry to.

Speaker 2 (03:21:47):
Bother you, but I have a problem the lady who
is giving birth.

Speaker 50 (03:21:51):
Yes, the baby is coming, but it's positioned the wrong way.

Speaker 5 (03:21:56):
Breach birth.

Speaker 2 (03:21:58):
Look, you can't handle that.

Speaker 3 (03:22:00):
I'll tell you what.

Speaker 2 (03:22:01):
We have an odd twenty five minutes to play around with.
Hold everything, I'll be right back Flight one one three
to control.

Speaker 19 (03:22:10):
I am receiving you.

Speaker 2 (03:22:12):
Well, how much time do I have before we start
decent approach?

Speaker 19 (03:22:15):
Twenty five thirty minutes?

Speaker 2 (03:22:17):
All right, Then to hang on till I get back
to you. Before I try to land this plane, I
got to do something I really know about. I've got
to go deliver a baby. This is flight one thirteen
of my term to control.

Speaker 19 (03:22:39):
We have you, Doc, how's the baby?

Speaker 2 (03:22:42):
A fine boy? Kind of makes up a little for
my own. How do we stand?

Speaker 26 (03:22:48):
You're ready to get off automatic and commence descent at
four hundred and eighty five knots.

Speaker 19 (03:22:54):
You should be coming down at fifteen hundred feet.

Speaker 2 (03:22:58):
Per minute, Roger, I'm now commencing dissent.

Speaker 5 (03:23:04):
Very good.

Speaker 26 (03:23:05):
Now, all that dissent rate to eighteen hundred feet a minute,
and then we'll go into landing approach.

Speaker 5 (03:23:13):
Funny thing, Colonel, what's that?

Speaker 19 (03:23:15):
Doctor?

Speaker 2 (03:23:16):
I just accomplished something very difficult, bringing one life into
the world. I hope I'm successful in keeping thirty seven
lives protected that are already here.

Speaker 19 (03:23:36):
We're now coming in on your final approach. The descent
is fine. How do you feel?

Speaker 5 (03:23:41):
Oh, I'm okay, going a little fast?

Speaker 24 (03:23:45):
No, no, okay, all right, now we lower the wheels.

Speaker 2 (03:23:51):
You remember the exercise affirm pull out rear lever and
pushed down. Watch the three lights indicating wheels down. I agree, okay,
the landing gear is down.

Speaker 19 (03:24:07):
We have you in sight. Now give her some throttle
as the gear slows you down.

Speaker 5 (03:24:13):
I feel the drag boards.

Speaker 19 (03:24:15):
Rob to watch the flap indicator.

Speaker 5 (03:24:18):
You remember, yeah, I remember? Ten degrees of flaps at.

Speaker 26 (03:24:22):
It confirmed, Roger, Old there, maintain air speed at one
twenty seven.

Speaker 5 (03:24:29):
That maintaining speed.

Speaker 26 (03:24:30):
You're doing fine. To keep your feet on the pedals,
keep her nice in the level.

Speaker 29 (03:24:36):
Can you see the runway?

Speaker 5 (03:24:38):
I see you all right?

Speaker 26 (03:24:38):
All right, now, maintain all configurations. You're doing just fine. Doctors, fine,
we like the picture. Come as easy as you are.

Speaker 5 (03:24:47):
I'm getting awful flows.

Speaker 19 (03:24:48):
Just keep your nose up. Watch the ear speed.

Speaker 2 (03:24:51):
Yeah, yeah, it is ten twenty.

Speaker 19 (03:24:55):
That's as all right. You know you're slowing her up
and you're in So get your.

Speaker 2 (03:25:00):
Breaks and drop your nose a firm, Hey, she's yours
your rudder.

Speaker 19 (03:25:06):
Firm, hold your attitude, keep back you up, back far back,
keep back your back.

Speaker 18 (03:25:12):
Push hard on those breaks.

Speaker 19 (03:25:14):
Not push hard?

Speaker 5 (03:25:16):
Should I reverse?

Speaker 11 (03:25:17):
He Joe?

Speaker 26 (03:25:17):
No, steady on the rudder pedals, keep that nose down.

Speaker 19 (03:25:22):
Give it all you have on the brakes.

Speaker 15 (03:25:30):
I'm a.

Speaker 3 (03:25:33):
I'm amaze.

Speaker 26 (03:25:34):
That's all your son asked for. Signing off now, Doc
and turning you over.

Speaker 2 (03:25:46):
The plane is down, and in the operations office of
the airport, the hero of the hour has been sequestered
in blessed relief from all the hooplah and excitement by.

Speaker 5 (03:25:57):
The airport director.

Speaker 2 (03:25:59):
Anything I can get you a drink or something.

Speaker 5 (03:26:01):
Doctor a bed Mainly.

Speaker 2 (03:26:04):
First, I've got some thank yous to dispense.

Speaker 5 (03:26:08):
Was it you who talked me down? I don't understand
with somebody.

Speaker 2 (03:26:14):
On ground communications landed that big crate without damage, not
me who was on the horn with me all the way,
And well nobody, what do you mean nobody? I was
talking to myself. All I mean is that out of
Kansas City everyone lost contact with flight one one three.

(03:26:35):
As far as we're concerned, on the ground, only one
man set her down. Doctor Sam McCall, Yeah, but that's crazy.
Colonel Blake was the one who monitored every move I made.
If it wasn't for him, me and everyone aboard, including
the new young man, would have been gone.

Speaker 5 (03:26:55):
Geese.

Speaker 2 (03:26:56):
I couldn't have landed that skyscraper by myself. You say
you were in radio contact all the way for sure
with Colonel Blake. Colonel Jackson Blake.

Speaker 5 (03:27:09):
I never did get his first name. Well, why you
know him?

Speaker 2 (03:27:13):
But no, not personally, but well he was the pilot
of the plane in which your son crashed and all
personnel were lost. He said he knew my son Pete.
You're trying to say he was dead all the time. Well,

(03:27:35):
the only thing I know is that right beside your son,
petch coffin is one that contains a Colonel Blake. And
your radio was out cold, but no one else could.

Speaker 5 (03:27:47):
Have talked you down.

Speaker 3 (03:27:53):
What can you add to that?

Speaker 2 (03:27:55):
An elderly man who hadn't touched a plane control in
six years and then only a single engine landed several
tons of modern multi engine jets by himself in radio silence.

Speaker 5 (03:28:11):
Or was there some other.

Speaker 2 (03:28:13):
Force beyond that which brought him home? You make up
your minds.

Speaker 5 (03:28:21):
I'll be back shortly.

Speaker 3 (03:28:52):
When you gave before.

Speaker 5 (03:28:56):
Where there's.

Speaker 24 (03:28:59):
The d around the corner by you, it's happy eating.

Speaker 11 (03:29:13):
It's a sonic drive in in Stephenville.

Speaker 5 (03:29:16):
Because sonic and semtime go toget.

Speaker 2 (03:29:36):
I won't vouch for the story you just heard.

Speaker 5 (03:29:39):
It's part and parcel of many legends.

Speaker 2 (03:29:42):
There was a whole crew who got poisoned eating keey
lime pie. There is a story of the radio operator
of a sunken aircraft carrier who talked the plane home.

Speaker 5 (03:29:54):
Tale of a dead son who brought his father down,
and so on and so on.

Speaker 2 (03:29:59):
All we asked on this program is not belief, just
suspension of disbelief. Our cast included Robert Dryden, Jennifer Harmon,
Earl Hammond, Richard Seth and Hetty Galen. The entire production
was under the direction of Hyman Brown.

Speaker 1 (03:30:19):
I do so appreciate you staying up so late with me.
Next week, when I hope to see you again, well
it will be so close to time. We may have
to do something special. At the very least, make the

(03:30:40):
most of what time we have left. Oh, but I'm
getting ahead of myself.

Speaker 5 (03:30:47):
Now.

Speaker 1 (03:30:47):
Why don't you just get ready and head back to
your home, and I'll spend my time wherever it is
I belong, and I'll be waiting right here for you,
my dear, But one favor if I may, As you
make your way home, As you enter your soft, delicate bedroom,

(03:31:12):
and lay your head on that cushy, cool pillow. Take
one moment and be thankful for what you have. I'll
be seeing you

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Unknown Broadcast | Echoes of Murder: Six Scary Horror Stories of Death, Darkness, and Dread

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Unknown Broadcast | Echoes of Murder: Six Scary Horror Stories of Death, Darkness, and Dread